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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. In this episode

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Speaker 1: you'll hear our take on Footprints on the Moon from

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Speaker 1: nineteen seventy five. This episode originally published one twenty four,

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Speaker 1: twenty twenty five. A beautifully shot, surreal mystery. This one's

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Speaker 1: a lot of fun. Hope you enjoy.

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

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

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Speaker 3: And this is Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we are going to be talking about the nineteen seventy

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Speaker 3: five Italian mystery thriller Footprints on the Moon aka Primal

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Speaker 3: Impulse aka just Footprints, much less intriguing title. I don't

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Speaker 3: know why anybody would just say footprints, Footprints on the Moon,

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Speaker 3: much much better. But this movie stars Florinda Bulkan, Peter mckinnery,

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Speaker 3: and in a bit part, klaus Kinski.

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Speaker 1: Right right though, even if you just have a dash

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Speaker 1: of klaus Kinski in there, you know it, people notice.

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Speaker 1: It's a powerful spice.

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Speaker 3: So I came to this selection in a slightly awkward

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Speaker 3: way because here's where it came from, Folks to get

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Speaker 3: the whole backstory.

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Speaker 1: Rob.

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Speaker 3: Earlier this month, you had mentioned that some creatures of

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Speaker 3: the Cinemadrome celebrate something called Jallo January, a sort of

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Speaker 3: J and B guzzling leather gloved cousin.

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Speaker 1: Of Noir November.

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Speaker 3: And when you mentioned this, I was definitely intrigued because

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Speaker 3: I'm sort of something of a Jallo fan. But I

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Speaker 3: think I had already decided I wanted to do a

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Speaker 3: Santo movie for my previous pick, but when this week

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Speaker 3: came around, I decided to give in to the reason

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Speaker 3: for the season and look for a Jallo to talk about,

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Speaker 3: one that would be weird enough for Weird House and

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Speaker 3: one that I had never seen before. So I was

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Speaker 3: poking around online reading things trying to find a good

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Speaker 3: weird Jallo I was not familiar with, and I ended

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Speaker 3: up settling on Footprints on the Moon. And while I

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Speaker 3: think this movie is very excellent, I'm more than pleased

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Speaker 3: with the choice, I am skeptical whether it would actually

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Speaker 3: be considered a jallo by most fans of the genre.

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Speaker 3: A lot of the online references were classifying it as such,

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Speaker 3: but it's missing some of the key genre elements, though

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Speaker 3: on the other hand, still maintaining a lot of the

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Speaker 3: genre's signature esthetics. So maybe we can talk about this

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Speaker 3: more later in the episode, but I think there will

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Speaker 3: be serious debate over whether it should be thought of

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Speaker 3: as a Jallo or not.

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Speaker 1: Yeah, you could make a case for it being Jallo adjacent.

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Speaker 1: I guess which is close enough for our purposes here.

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Speaker 3: Now, if you're not familiar with the term monology, I

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Speaker 3: think we've probably gabbed about this on the show before,

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Speaker 3: but hey, why not talk about it again. It's always

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Speaker 3: fun to define and try to understand what the soul

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Speaker 3: of the Jallo. But if you're not familiar Jallo movies,

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Speaker 3: the plural is technically Jalli are typically understood as a

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Speaker 3: genre of Italian murder mystery thrillers, often with strong horror

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Speaker 3: elements and often erotically charged. Jalo movies are kind of

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Speaker 3: a long running staple in our house. Used to be

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Speaker 3: whenever I visited Videodrome, whatever else I was checking out,

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Speaker 3: I would also always grab at least one unfamiliar disc

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Speaker 3: from the video corner of shame, the Jallo corner there,

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Speaker 3: so we know and are fans of Jallo around here,

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Speaker 3: So any seemingly disparaging comments I make about the genre

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Speaker 3: in the rest of this episode come from a place

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Speaker 3: of familiarity in love.

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Speaker 1: Yeah, yeah, I mean it makes sense. You want to

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Speaker 1: get a little side item from the Jalla menu. You

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Speaker 1: know it's you know, it's not super nutritious, but you

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Speaker 1: know you're having a meal out, you might as well

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Speaker 1: indulge yourself.

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Speaker 3: It's just I don't know. So often on a Friday night,

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Speaker 3: what Rachel and I wanted was a shallow.

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Speaker 1: And there's so many this genre has. Just it's a

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Speaker 1: never ending well. Anytime we dive into even just into

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Speaker 1: the filmographies of people who worked in this genre or subgenre,

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Speaker 1: I'm always discovering new titles, and it sometimes helps that

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Speaker 1: there are generally multiple titles in the mix for any

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Speaker 1: given film. Yeah.

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Speaker 3: So, coming back to what makes a shallow, of course

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Speaker 3: they are these usually murder mystery thrillers. Usually the plot

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Speaker 3: involves a series of grizzly, shocking homicides, often committed with

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Speaker 3: a strange or disturbing weapon. So it's usually not just

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Speaker 3: like a gun or a regular knife, but more often

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Speaker 3: say a knitting needle or a shard of glass, or

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Speaker 3: a nimous animal, or like an antique suit of armor,

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Speaker 3: glove with spikes on the knuckles or something.

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Speaker 1: Yeah, but it's worth noting that this is distinct from

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Speaker 1: like the whole slasher genre that would then bubble up

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Speaker 1: mostly in America, especially strongly during the nineteen eighties. Like

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Speaker 1: there's there's something different about the way murders are committed,

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Speaker 1: the way that they're stylistically portrayed, and so forth. Yeah.

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Speaker 3: Well, I mean, I think Jallo is often considered a

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Speaker 3: major predecessor of an influence on the wave of American

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Speaker 3: slasher films that would come in the late seventies and

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Speaker 3: especially in the nineteen eighties, though I think there are

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Speaker 3: important differences. But I think definitely the soul of the

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Speaker 3: shallow movies of the sixties and seventies is influential on

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Speaker 3: the slasher movies that would come later. So the plot

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Speaker 3: involves a series of murders, but the other thing is

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Speaker 3: that the story is a mystery. The identity of the

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Speaker 3: killer is unknown, and the viewer is pulled along to

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Speaker 3: the conclusion of the movie wanting to find out who

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Speaker 3: the killer is and what their motivation was. So a

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Speaker 3: lot of the big jallow movies have an exciting payoff

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Speaker 3: because the reveal of the killer is quite surprising. Often

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Speaker 3: it's a minor character you wouldn't have expected, or someone

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Speaker 3: who gave no sign of danger previously. A lot of

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Speaker 3: times the reveal I think this is sort of influenced

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Speaker 3: by Alfred Hitchcock's Psycho. The reveal of the killer's motivations

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Speaker 3: is often a divulging of some kind of like psychological

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Speaker 3: trauma that was previously unknown in a pre existing character's backstory.

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Speaker 3: Common esthetic features of Jello, I notice what feels like

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Speaker 3: a real combination of high art and pulp sensibilities all

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Speaker 3: jumbled together. So these movies are on one hand, quite

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Speaker 3: often trashy and prurient, but also with a really palpable

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Speaker 3: sense of artistic pride that you don't get in most

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Speaker 3: American slasher movies. In these Italian movies, you get the

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Speaker 3: feeling that you know, while they were staging some tawdry

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Speaker 3: potato peel or murder scene, they were thinking, I am

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Speaker 3: like Michaelangelo, this is important artistic work.

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Speaker 1: They're often It's also I think important to stress that

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Speaker 1: jaala are almost always, if not always, thoroughly modern, and

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Speaker 1: there's probably a subtext in there somewhere. In most of

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Speaker 1: these films too, like dealing with issues boiling up around

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Speaker 1: the state of modernity, be it you know, current social norms,

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Speaker 1: social problems, and so forth. But yeah, it's not surprising

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Speaker 1: to see like all the latest technologies that are going

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Speaker 1: to be present in say nineteen seventy three or something

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Speaker 1: in a given example of this sub genre.

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Speaker 3: That's right, and in terms of dealing with like current

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Speaker 3: social issues. Another big thing about JALLA movies is that

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Speaker 3: they often explore themes of sex and gender conflict, sometimes

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Speaker 3: projecting misogynist attitudes by casting women as helpless sort of

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Speaker 3: feeble objects of male lust and violence, or treating women

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Speaker 3: as especially psychologically frail, but in other cases sort of

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Speaker 3: taking the woman's point of view and showing misogyny and

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Speaker 3: pathetic forms of resentment against women as the primary motivators

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Speaker 3: of the movie's villainy and the thing that has to

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Speaker 3: be unmasked and destroyed at the end.

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Speaker 1: Yeah, so there's definitely room in a holo picture for

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Speaker 1: a strong female character. You don't always find them there,

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Speaker 1: but there are examples that you can turn to. Some

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Speaker 1: do and some really don't. Yes.

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Speaker 3: Another thing is that they tend to be visually striking

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Speaker 3: a lot of times high contrast, bold or even lurid

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Speaker 3: color palette, artistic attention to shot composition. Like a lot

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Speaker 3: of these movies in terms of plot content might be

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Speaker 3: kind of trash, but a lot of them really look great.

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Speaker 1: They're kind of beautiful. Yeah, murder is often beautiful or

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Speaker 1: at least stylish in these pictures. Yeah.

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Speaker 3: Another thing is an often unsubtle musical score. So you

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Speaker 3: can think about if you've ever heard this Dario Argento's

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Speaker 3: work with Goblin that goes in his movies or in

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Speaker 3: the movie we're talking about today, though it's debatable whether

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Speaker 3: it's actually a jello, the kind of fugue like blasts

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Speaker 3: of organ that we get throughout the film. Another thing

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Speaker 3: is a tendency toward voyeuristic camera work. So in these movies,

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Speaker 3: the camera watches the protagonist or the murder victim from

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Speaker 3: a hiding place, maybe peeking through the slats in a

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Speaker 3: wall or looking through a keyhole, or it just in

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Speaker 3: some other way kind of intrudes into private spaces to

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Speaker 3: see the characters at their most vulnerable, or it takes

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Speaker 3: the killer's point of view. This is a cinematography choice

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Speaker 3: that is often poured over into the American slashers as well.

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Speaker 3: In terms of like set dressing and costuming, there are

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Speaker 3: some very strong themes that occur again and again the killer.

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Speaker 3: The killer often hides their identity by wearing a hat,

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Speaker 3: a trench coat, and black leather gloves. And there's also

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Speaker 3: just a general kind of inflammation of seventies clothing. It's

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Speaker 3: one of our favorite elements of these movies when when

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Speaker 3: my wife and I watch them, I love the clothes.

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Speaker 1: Oh, I agree to you. I mean, anytime I watched

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Speaker 1: one of these films, it's it's that that focus on

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Speaker 1: the modern world and often some sense of fashion that

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Speaker 1: is just thoroughly captivating. I mean, for me, having been

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Speaker 1: born in the seventies, I'm just you know, endlessly fascinated

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Speaker 1: with you know, the style and the culture that I

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Speaker 1: was born out of.

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Speaker 3: Yeah, another thing I have to mention, can't make a

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Speaker 3: jallo without a J and B bottle. So you will

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Speaker 3: always see one either on a shelf or being poured

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Speaker 3: into a glass, into a into a kind of ornate

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Speaker 3: crystal tumbler glass. There's you know, there's a lot of

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Speaker 3: good glassware in the films, and and always a J

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Speaker 3: and B. Also just a lot of focus on loud

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Speaker 3: flourishes of art and design and interior decor. The movie

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Speaker 3: often features, or sometimes actually directly involves in the plot

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Speaker 3: crazy wallpaper patterns, bizarre tapestries, oil paintings, art exhibits, stained

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Speaker 3: glass statuary, and things like that. Now, beyond that, there

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Speaker 3: are also some common plot and character features of Jolly.

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Speaker 3: One is that it's been observed that the main character

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Speaker 3: is usually an outsider of some kind or is alienated,

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Speaker 3: so they might be in an unfamiliar place, or they

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Speaker 3: might be estranged from their social group for some reason.

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Speaker 3: That the protagonist of Agallo is not in their element

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Speaker 3: as they try to piece together the clues and solve

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Speaker 3: the mystery. Another thing is protagonists are very often found

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Speaker 3: questioning their sanity or being thought insane by others. And then, finally,

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Speaker 3: this is one that I've read about less, but I've

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Speaker 3: just always noticed it myself and found it so interesting.

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Speaker 3: So so many of the movies within this one subgenre

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Speaker 3: have the same plot device, which is a protagonist who

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Speaker 3: already saw the solution to the mystery, or saw some

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Speaker 3: important clue with their own eyes, or sensed it with

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Speaker 3: their own senses. Maybe they heard something but in somehow,

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Speaker 3: they somehow sensed with their own senses, the solution to

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Speaker 3: the mystery, but they can't quite remember it, or they

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Speaker 3: can't quite make sense of it, and they spend the

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Speaker 3: rest of the film trying to reconstruct the memory or

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Speaker 3: trying to understand what it is they already saw. And

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Speaker 3: this has always struck me as a potent psychological metaphor

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Speaker 3: that may have some deeper cultural significance. I don't know

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Speaker 3: enough about Italy in the sixties and seventies to speculate

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Speaker 3: on exactly what that cultural kind of metaphor would be,

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Speaker 3: but it's very interesting that the solution to the murder

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Speaker 3: mystery is so often not completely hidden. It's something that

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Speaker 3: you already saw, you already took it in, but now,

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Speaker 3: for whatever reason, you can't remember it or can't make

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Speaker 3: sense of it. So the final piece of puzzle in

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Speaker 3: terms of the plot structure, is often an event or

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Speaker 3: a clue that causes the protagonist to suddenly fully remember

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Speaker 3: or finally understand what they already saw in the beginning.

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Speaker 3: I'm trying to think if there's much precedent for this

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Speaker 3: in other mystery stories outside of the shallow subgenre, and

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Speaker 3: nothing's really coming to mind, though, I'm sure there are

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Speaker 3: stories like this.

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Speaker 1: Yeah, I wouldn't be surprised if it's a trope that

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Speaker 1: is present in the larger mystery genre. But then within

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Speaker 1: Jalloh becomes like a part of the blueprint more or less,

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Speaker 1: you know. Yeah, you often see that, I guess with

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Speaker 1: different genre spinoffs and subgenres. Yeah.

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Speaker 3: Yeah, And I wonder how this plot convention like in

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Speaker 3: a way you already saw the answer, but you can't

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Speaker 3: remember it or understand it is connected to another thing

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Speaker 3: about Jelly, which is that usually the investigator or the

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Speaker 3: protagonist who's trying to solve the mystery is not is

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Speaker 3: not an investigator by way of like their job.

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Speaker 1: You know.

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Speaker 3: It's not like these cop mystery movies where I'm a

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Speaker 3: detective and I've got to be here and solve the mystery.

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Speaker 3: Usually the protagonist has a personal connection to the crimes

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Speaker 3: taking place and they are a non professional investigator.

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Speaker 1: Yeah. Yeah, It's it's interesting when you start piecing together

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Speaker 1: all of these different attributes and you get this sort

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Speaker 1: of this picture of a of a stranger in a

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Speaker 1: strange modern world, almost a sense of future shock to it,

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Speaker 1: at least, well but less on the technological side of

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Speaker 1: things and more on just like the social side of things.

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Speaker 1: And you know, I guess this movie is the one

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Speaker 1: that is that is that I'm most current on since

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Speaker 1: I just watched it. But it lines up with this

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Speaker 1: theme in a number of ways, you know, the sense

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Speaker 1: of like a globe trotting modern professional woman. And while

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Speaker 1: there there are you know, there are some elements where

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Speaker 1: we can see that she's maybe not at odds with

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Speaker 1: the world, but it has like real world stressors in play,

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Speaker 1: and that sort of like bleeds over into this more

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Speaker 1: surreal scenario that we see in the picture. Yeah.

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Speaker 3: Yeah, I don't want to spoil too much about the

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Speaker 3: ending of the film now, though by the by the

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Speaker 3: time we get to the end of the plot section,

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Speaker 3: we definitely are going to spoil the ending. And this

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Speaker 3: movie is full of surprises. So if you want to

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Speaker 3: see Footprints on the Moon without having anything spoiled, I

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Speaker 3: guess now would be a good time to pause the

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Speaker 3: episode and go watch it yourself. But there are questions

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Speaker 3: raised by the reveal at the end of the movie

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Speaker 3: about it, like exactly what the motivation for the main

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Speaker 3: character's psychological state or struggle is and to what extent

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Speaker 3: that's brought on by by something within her or by

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Speaker 3: circumstances outside her control. So anyway, having reviewed all of

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Speaker 3: this stuff about what Jallo is is Footprints on the

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Speaker 3: Moon a shallo? I think a lot of people would

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Speaker 3: say no, because it is not a murder mystery. The

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Speaker 3: film does not begin with a murder, and there is

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Speaker 3: really almost no violence in it until closer to the end. Nevertheless,

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Speaker 3: it does really feel like a shallo. It's a mystery

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Speaker 3: with an aura of menace. It is somewhat sexually charged.

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Speaker 3: It involves an out of place protagonist physically out of

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Speaker 3: place and also alienated, a protagonist haunted by something that

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Speaker 3: she apparently cannot remember. It looks and sounds like a

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Speaker 3: shallo in terms of the musical soundtrack, it looks like

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Speaker 3: one in the shot composition and the use of color

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Speaker 3: and all that.

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Speaker 1: And one of.

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Speaker 3: The clues to solve the mystery is a memory of

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Speaker 3: a giant stained glass peacock. So my ruling is, I think, yeah,

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Speaker 3: you can call it a yellow even though it does

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Speaker 3: not have the main plot element that defines as shallow. Uh,

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Speaker 3: you know, it's not solving a murder mystery, though it

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Speaker 3: does have murders within a recurring dream, and as a bonus,

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Speaker 3: they are they are moon murders.

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Speaker 1: I'm glad you mentioned that the giant stained glass peacock,

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Speaker 1: which we'll come back to, because that is almost literally

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Speaker 1: a bird with crystal plumage, you know, Yes, yeah, I

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Speaker 1: think the most important thing to stress about the and

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Speaker 1: the Gallo or no Jallo conversation is that I think

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Speaker 1: you probably do the film a disservice if you hype

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Speaker 1: it up Ashallo too much, because then you run the

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Speaker 1: risk of people coming into it expecting an Argento film

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Speaker 1: or expecting a folk sci film. And if you do that,

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Speaker 1: you're going to be disappointed. It's just not that sort

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Speaker 1: of picture, and it's it's really very tame by Jallow standard.

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Speaker 1: It's almost like g rated Joao likewise, even on the

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Speaker 1: color uh in visual spectrum. If you're if you come

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Speaker 1: in expecting it to be in line with Mario Bava,

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Speaker 1: I mean, gon be disappointed with any non Mariobava film

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Speaker 1: if you're doing that, but come in expecting suspiria or

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Speaker 1: something like that. This film is gorgeous in its own right,

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Speaker 1: but it's it's doing its own thing for the most part.

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Speaker 1: Some scenes are definitely more surreal in their color scheme

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Speaker 1: than others. But you're it's not a picture that's going

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Speaker 1: for those Mario Bava sequences either.

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Speaker 3: Yeah, it's not going nuts with the Jeli. It's like

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Speaker 3: Bob right, Yeah.

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Speaker 1: Right, So I think it's better to really think of

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Speaker 1: it as art house surreal or psychological mystery.

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Speaker 3: Yes, But I don't know if I've emphasized this enough already.

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Speaker 3: I loved Footprints on the Moon. I thought this movie

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Speaker 3: created such an enticing atmosphere of mystery. I can't remember

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Speaker 3: the last time I saw a movie and I was

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Speaker 3: so curious to know what the solution was.

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Speaker 1: Yeah, and it's it's exceedingly beautiful, as we'll discuss, Like

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Speaker 1: the first twenty minutes of this picture, I was just

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Speaker 1: captivated by the cinematography and the shot composition. Like I get,

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Speaker 1: it's something you can take for granted in a lot

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Speaker 1: of movies, obviously, but this film does such a great

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Speaker 1: job with just like the little details and like's there's

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Speaker 1: some puttsing around in an apartment building early on in

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Speaker 1: the picture. They could just be, you know, thankless and

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Speaker 1: maybe a little bit boring in another picture, But It

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Speaker 1: was very captivating here, just in large part because of

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Speaker 1: the way it was shot and the way it was presented. Yeah.

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Speaker 3: I mentioned that a lot of shallow films are more

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Speaker 3: visually striking than you would imagine given their subject matter.

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Speaker 3: But I feel like this is an especially beautiful movie.

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Speaker 3: It is better looking even than the shallow standard. Yeah,

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Speaker 3: and there are some ugly shallows. I just meant that

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Speaker 3: generalization on average.

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Speaker 1: Yeah, the better ones are often remembered for their stunning visuals. Yeah,

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Speaker 1: all right, well hit us with an elevator pitch. Here

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Speaker 1: we go.

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Speaker 3: Alice Chespie is missing three days of her memory and

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Speaker 3: is haunted by visions of an astronaut murdered on the

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Speaker 3: surface of the moon to her, And what does klaus

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Speaker 3: Kinsky have to do with it?

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Speaker 1: All right, let's hear a little bit of the trailer audio.

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Speaker 4: Why am I here? Why did I come to Gama,

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Speaker 4: to this strange town? I know I was never in

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Speaker 4: before your pinces, Alice, my name is Alice. That's not true.

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Speaker 4: Look it looks like blood. What was I doing for

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Speaker 4: those three things? Why can't I remember a single thing

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Speaker 4: about them? It's all those tranquilized as you take You

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Speaker 4: probably took a larger notes than usual and slept right

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Speaker 4: through to this morning. I saw you on the beach.

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Speaker 4: I think one day this week?

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Speaker 1: Was it Tuesday?

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Speaker 4: Are you sure it was me? No? I didn't see

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Speaker 4: her at all on Tuesday, Alice.

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Speaker 1: I know you can hear me open the door.

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Speaker 4: Did you find him? Name? Who? Your friend? What friend?

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Speaker 4: Your friend?

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Speaker 1: Harry?

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Speaker 4: Who told you I had a friend named Harry?

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Speaker 1: All right, So at this point, if you would like

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Speaker 1: to go out and watch Footprints on the Moon, well,

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Speaker 1: there is a DVD of the film, but it's also

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Speaker 1: widely available for digital rental or purchase, and is also

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Speaker 1: in some of the package streaming services. I was snowed in,

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Speaker 1: so I rented it on Prime and the quality was great. However,

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Speaker 1: I will say I had no audio options. I do

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Speaker 1: not know if there are other language dubs for this,

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Speaker 1: but the version I watched it in was English.

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Speaker 3: You said the disc version is a DVD, but I'm

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Speaker 3: pretty sure there is a blu ray from Severin.

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Speaker 1: Is there? Okay? Yeah? Well that, oh it would be

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Speaker 1: even better.

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Speaker 3: It's under the alternate title. It's not called Footprints on

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Speaker 3: the Moon. It just says Footprints. I mean, why I

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Speaker 3: put the Moon in the title. That's what sells it.

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Speaker 1: I think that was the name of the original Italian novel.

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Speaker 1: But all right, now I'm pulling up the Severin's website.

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Speaker 1: I'm looking at the cuts. Let's see what do we have.

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Speaker 1: We have an Italian cut and a US cut. I'm

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Speaker 1: assuming I probably watched the US cut based on everything.

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Speaker 3: Yeah, that's probably what I saw that. We may have

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Speaker 3: watched the same streaming version. I watched the one available

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Speaker 3: through scream Box, which is a premium subscription on Prime.

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Speaker 1: My main question is just about like the version I watched,

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Speaker 1: Kloskinski is dubbed. It's not Klaskinski's voice. Yeah, and you

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Speaker 1: know is we'll discuss his is a bit part and

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Speaker 1: it doesn't really matter. But I mean that whether it's

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Speaker 1: his voice or not. But I was just wondering, well,

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Speaker 1: does this mean there's a different cut like in the

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Speaker 1: Italian cut?

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Speaker 4: Is?

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Speaker 1: I mean, I don't know. They're probably dubbed in either case,

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Speaker 1: But at any rate, the version I watched was in English.

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Speaker 1: But this blu ray does look excellent, soul. This would

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Speaker 1: be the ideal physical media viewing choice right here. All right, Well,

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Speaker 1: let's get into the people behind Footprints on the Moon,

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Speaker 1: starting at the top with the director Luigi Bzzoni born

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Speaker 1: nineteen twenty nine died at twenty twelve, also a writer

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Speaker 1: on the picture, A Tiger director and screenwriter with five

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Speaker 1: films to his credit, all genre pictures of different types.

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Speaker 1: There's a nineteen sixty five's The Possessed that was a

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Speaker 1: mystery starring Peter Baldwin. Sixty seven's Man Pride and Vengeance

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Speaker 1: that's a Western with Franco Nero and Klauskinski. Seventy one's

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Speaker 1: The Fifth Chord that's a Franco Nero Jallo and and

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Speaker 1: then there's seventy three's Brothers Blue that's say western with

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Speaker 1: Jack Pallets. And then came this film, Footprints on the Moon,

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Speaker 1: which was his final picture.

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Speaker 3: Never seen anything else by this guy, but Footprints is

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Speaker 3: so strong. I may have to check these other ones out.

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Speaker 3: Even the westerns. Oh, come on a Franco Niro and

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Speaker 3: Klauskinski western.

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Speaker 1: What I mean? They are a number of of spaghetti

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Speaker 1: westerns that are on my eventual viewing list. Sometimes it's

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Speaker 1: really hard to pass up a horror film for a western,

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Speaker 1: but some of these are very well regarded, and there

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Speaker 1: you know, obviously there are some real classics in the

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Speaker 1: spaghetti western zone, so yeah, we should maybe come back

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Speaker 1: to one, even on Weird House. There are some weird

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Speaker 1: spaghetti westerns for sure, all right. The other writing credit

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Speaker 1: and also credit for the original novel goes to Mario Finelli,

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Speaker 1: who lived nineteen twenty four through nineteen ninety one, an

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Speaker 1: Italian writer, screenwriter, and director in his own right. In fact,

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00:25:34,960 --> 00:25:39,560
Speaker 1: he seemingly directed some on this film in an uncredited capacity. Again,

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Speaker 1: the film is based on his original novel The Footprints,

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Speaker 1: but he'd also worked with Bozzoni on The Fifth Chord

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Speaker 1: and Brothers Blue. He has an extensive directing filmography as well,

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Speaker 1: including a great deal of TV work. All right, Now

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Speaker 1: getting into the cast, The star of the picture is

433
00:25:56,359 --> 00:26:01,600
Speaker 1: Florinda Bulkin playing Alice. Born nineteen forty one, Brazilian actress

434
00:26:01,600 --> 00:26:05,719
Speaker 1: and model who moved through both art house and like grindhouse,

435
00:26:05,720 --> 00:26:09,439
Speaker 1: Italian cinema. She was active to one degree or another

436
00:26:09,520 --> 00:26:13,639
Speaker 1: from nineteen sixty eight through twenty nineteen. Her first film

437
00:26:13,680 --> 00:26:16,720
Speaker 1: credit was a supporting role in the nineteen sixty eight

438
00:26:16,760 --> 00:26:19,879
Speaker 1: picture of Candy, which had an all star international cast.

439
00:26:20,000 --> 00:26:22,800
Speaker 1: Like I Think, John Houston was in it, and Ringo

440
00:26:22,920 --> 00:26:25,760
Speaker 1: star and just various other folks. It was a lot

441
00:26:25,760 --> 00:26:29,199
Speaker 1: of pretty crowded cast on that one. What kind of

442
00:26:29,200 --> 00:26:33,199
Speaker 1: movie is that? Is it a screwball comedy or it

443
00:26:33,240 --> 00:26:38,040
Speaker 1: is a sex farce? Oh boy? But it's from a

444
00:26:38,080 --> 00:26:41,640
Speaker 1: screenplay by Buck Henry. I haven't seen it, but again,

445
00:26:41,680 --> 00:26:46,399
Speaker 1: it's like, it's got Marlon Brando, Richard Burton, Walter Mathowl, Yeah, oh,

446
00:26:46,520 --> 00:26:50,399
Speaker 1: James Coburn. Yeah, it's a loaded cast. But I can't

447
00:26:50,440 --> 00:26:53,240
Speaker 1: I can't really speak for it beyond that, just that

448
00:26:53,320 --> 00:26:56,479
Speaker 1: it's it has a lot of people I recognize in it.

449
00:26:56,680 --> 00:27:00,520
Speaker 1: Oki Dokie her subsequent work again weave's back and forth

450
00:27:00,560 --> 00:27:04,000
Speaker 1: between the genres, including the likes of Luccio Fulci's Lizard

451
00:27:04,000 --> 00:27:06,760
Speaker 1: in a Woman's Skin in seventy one and Don't Torture

452
00:27:06,800 --> 00:27:10,159
Speaker 1: a Duckling in seventy two, as well as pictures like

453
00:27:10,320 --> 00:27:15,439
Speaker 1: the James Clavel directed and adapted The Last Valley in

454
00:27:15,560 --> 00:27:19,080
Speaker 1: seventy one that starred Michael Caine and Omar Sharif. I

455
00:27:19,119 --> 00:27:20,960
Speaker 1: was a big fan of this picture when I was younger.

456
00:27:21,000 --> 00:27:22,840
Speaker 1: I haven't seen it in a long time, but it's

457
00:27:22,840 --> 00:27:25,359
Speaker 1: set during the thirty years war has to do with

458
00:27:26,400 --> 00:27:31,240
Speaker 1: this whole mercenary crew that's headed up by Michael Kaine's character,

459
00:27:31,320 --> 00:27:34,919
Speaker 1: and they defect, and as they defect, he stabs somebody

460
00:27:34,960 --> 00:27:38,400
Speaker 1: to death with his spiked tilmeut. So that was That's

461
00:27:38,400 --> 00:27:40,280
Speaker 1: a pretty fun I think I've probably mentioned that before

462
00:27:40,320 --> 00:27:44,200
Speaker 1: on the show. Okay, anyway, Bulkan was also in nineteen

463
00:27:44,240 --> 00:27:48,640
Speaker 1: seventy's Investigation of a Citizen Above Suspicion, and yeah, she's

464
00:27:48,680 --> 00:27:50,919
Speaker 1: been in a ton of stuff. She also wrote and

465
00:27:50,960 --> 00:27:55,600
Speaker 1: directed the two thousand film I Didn't Know Taruru, and

466
00:27:55,720 --> 00:27:58,600
Speaker 1: she was the longtime partner of producer Marina Chigona.

467
00:27:59,160 --> 00:28:03,200
Speaker 3: Florida Bolcan is fantastic in this movie, and she has

468
00:28:03,240 --> 00:28:06,360
Speaker 3: to The movie really rests on her because there are

469
00:28:06,480 --> 00:28:10,040
Speaker 3: long stretches of the film where she is acting alone.

470
00:28:10,400 --> 00:28:13,840
Speaker 3: She is in scenes without anyone, in scenes with no dialogue,

471
00:28:13,880 --> 00:28:17,120
Speaker 3: with no one to act against, and so she's communicating

472
00:28:17,160 --> 00:28:20,560
Speaker 3: the whole arc of her of her characters, you know,

473
00:28:20,680 --> 00:28:23,880
Speaker 3: feelings and discovery of things, just silently kind of reacting

474
00:28:23,920 --> 00:28:28,480
Speaker 3: to her environment. And I think she's she really carries

475
00:28:28,520 --> 00:28:29,680
Speaker 3: the film. She's wonderful.

476
00:28:29,880 --> 00:28:33,080
Speaker 1: Absolutely, she's terrific in this This is not a picture

477
00:28:33,359 --> 00:28:35,760
Speaker 1: where she's going to spend the run time running from

478
00:28:35,760 --> 00:28:37,800
Speaker 1: a mass man trying to stab her with a moon rock.

479
00:28:38,160 --> 00:28:44,760
Speaker 1: And now it's it's it's her quietly investigating her surroundings,

480
00:28:45,080 --> 00:28:48,360
Speaker 1: and it's very psychological in nature for the most part,

481
00:28:48,400 --> 00:28:53,280
Speaker 1: with that psiological psychological focus turned inward. So yeah, it

482
00:28:53,320 --> 00:28:55,640
Speaker 1: always takes a skilled performer to really bring that sort

483
00:28:55,680 --> 00:28:58,000
Speaker 1: of thing to life. So we were talking about the

484
00:28:58,000 --> 00:29:01,400
Speaker 1: potential for strong female characters in a Jallah or Jallah

485
00:29:01,400 --> 00:29:03,760
Speaker 1: adjacent film, and I feel like this is a pretty

486
00:29:03,760 --> 00:29:08,040
Speaker 1: strong character in a definitely a strong performance. Definitely strong performance.

487
00:29:08,080 --> 00:29:10,720
Speaker 3: I think, I don't know people would argue about the

488
00:29:10,840 --> 00:29:14,080
Speaker 3: meaning of the ending in that regard, but yeah, I mean,

489
00:29:14,920 --> 00:29:17,719
Speaker 3: regardless there, I mean, I think it is definitely a

490
00:29:17,800 --> 00:29:21,160
Speaker 3: fascinating character and a wonderful performance by Florinda Bulkan.

491
00:29:21,280 --> 00:29:24,720
Speaker 1: Yeah, all right. Another character that turns up is the

492
00:29:24,800 --> 00:29:29,600
Speaker 1: character Henry played by Peter mcchinry born nineteen forty, a

493
00:29:29,600 --> 00:29:32,160
Speaker 1: well regarded actor with a long career on the British

494
00:29:32,200 --> 00:29:36,360
Speaker 1: stage and in British television obviously some euro projects as well.

495
00:29:36,800 --> 00:29:39,160
Speaker 1: We chatted about him before in one of our core

496
00:29:39,200 --> 00:29:42,560
Speaker 1: Stuff to Blow Your Mind episodes anthology of Horror seven,

497
00:29:42,640 --> 00:29:45,640
Speaker 1: because he starred in the nineteen eighty Hammer House of

498
00:29:45,640 --> 00:29:48,240
Speaker 1: Horror episode The Mark of Satan. Oh.

499
00:29:48,320 --> 00:29:51,640
Speaker 3: Yeah, we did that in an anthology episode because it

500
00:29:51,680 --> 00:29:55,920
Speaker 3: was a movie about a man who became who became

501
00:29:56,680 --> 00:29:59,960
Speaker 3: possessed of the notion that there was an evil virus

502
00:30:00,200 --> 00:30:02,920
Speaker 3: that was infecting people and turning them against him.

503
00:30:03,560 --> 00:30:04,600
Speaker 1: And it was a kind of.

504
00:30:05,720 --> 00:30:09,360
Speaker 3: Loss of sanity play as well. But that was an

505
00:30:09,400 --> 00:30:13,120
Speaker 3: interesting Hammer episode, and I think we ended up relating

506
00:30:13,120 --> 00:30:16,840
Speaker 3: it to certain kinds of viral viral conditions in real life.

507
00:30:17,080 --> 00:30:20,280
Speaker 1: Yeah. Among the other things that he was in, there

508
00:30:20,320 --> 00:30:23,200
Speaker 1: was a seventy three this nineteen seventy three horror anthology

509
00:30:23,240 --> 00:30:26,760
Speaker 1: picture Tales that Witness Madness. Oh, and he was in

510
00:30:26,800 --> 00:30:30,480
Speaker 1: a wonderful nineteen eighty one adaptation of A Midsummer Night's Dream,

511
00:30:31,080 --> 00:30:34,240
Speaker 1: one that I believe I watched in a Shakespeare class

512
00:30:34,240 --> 00:30:37,440
Speaker 1: in college. It's not too much if I remember correctly,

513
00:30:37,440 --> 00:30:39,959
Speaker 1: it's not too much more than a film play. There

514
00:30:39,960 --> 00:30:42,200
Speaker 1: are a number of these that, you know, like British

515
00:30:42,240 --> 00:30:44,760
Speaker 1: productions where it's you know, there aren't a bunch of

516
00:30:44,800 --> 00:30:48,640
Speaker 1: like Lavish locations and sets. It's pretty minimal. But then

517
00:30:48,680 --> 00:30:52,800
Speaker 1: the performances are generally really top notch, and this particular

518
00:30:52,800 --> 00:30:56,320
Speaker 1: production had the likes of Helen Mirren as Titania, Phil

519
00:30:56,440 --> 00:30:59,480
Speaker 1: Daniels from Billy the Kid in the Green Bays Vampire

520
00:31:00,480 --> 00:31:03,000
Speaker 1: and many other things. Obviously, but he played Puck in it,

521
00:31:03,080 --> 00:31:06,840
Speaker 1: and then Brian Glover from Alien three plays bottom. You

522
00:31:07,000 --> 00:31:10,440
Speaker 1: remember Brian Glover. He was the bald guy. Yeah, he's

523
00:31:10,480 --> 00:31:13,000
Speaker 1: the he's like the boss at the prison. Yes, yes,

524
00:31:13,680 --> 00:31:20,080
Speaker 1: they're all bald. That's the joke for H'm sorry, you're

525
00:31:20,160 --> 00:31:22,640
Speaker 1: right there. His head, I think, is bigger, so he's more.

526
00:31:23,080 --> 00:31:28,200
Speaker 1: He's more. Yeah. But mcginny played Oberon in that adaptation

527
00:31:28,480 --> 00:31:29,760
Speaker 1: of Midsummer Night's Dream.

528
00:31:29,920 --> 00:31:32,000
Speaker 3: I can see that he's got range. I mean in

529
00:31:32,120 --> 00:31:36,440
Speaker 3: the Hammer House of Horror episode he played a very unsettling,

530
00:31:36,600 --> 00:31:40,440
Speaker 3: troubled guy who did not at all have the same

531
00:31:40,560 --> 00:31:42,720
Speaker 3: energy he has in this and Footprints on the Moon,

532
00:31:42,800 --> 00:31:48,160
Speaker 3: he plays a kind of intriguing, good natured and mysterious hunk.

533
00:31:48,800 --> 00:31:51,600
Speaker 1: Yeah. Yeah, and and one is mustache and one is

534
00:31:51,600 --> 00:31:54,200
Speaker 1: not must No mustache. In this picture he had a mustache.

535
00:31:54,240 --> 00:31:57,880
Speaker 1: And yeah the Hammer Horror anthology. But yeah, he's he's

536
00:31:57,960 --> 00:32:00,200
Speaker 1: quite good. And there may be some other thing I've

537
00:32:00,240 --> 00:32:01,880
Speaker 1: seen him in. He has, like I say, he has

538
00:32:01,880 --> 00:32:05,200
Speaker 1: had a very long career. All right, another role in

539
00:32:05,200 --> 00:32:07,360
Speaker 1: this one, and this one definitely gets into some other

540
00:32:07,480 --> 00:32:12,360
Speaker 1: Jallo credits. We have Nicoletta Elmi playing this child, this

541
00:32:13,080 --> 00:32:16,520
Speaker 1: child that wanders up and has various interactions with our

542
00:32:16,560 --> 00:32:20,440
Speaker 1: star and a face that you will recognize from various

543
00:32:20,560 --> 00:32:26,680
Speaker 1: nineteen seventies Italian genre in horror pictures, including seventy one's

544
00:32:26,680 --> 00:32:30,480
Speaker 1: Bay of Blood, seventy two's Barren Blood, seventy three's Flesh

545
00:32:30,520 --> 00:32:34,400
Speaker 1: for Frankenstein, seventy five's Night Child, and of course nineteen

546
00:32:34,400 --> 00:32:38,880
Speaker 1: seventy five's Deep Red Dario Argento film. And she continued

547
00:32:38,880 --> 00:32:41,560
Speaker 1: to act through the nineteen eighties as an adult, appearing

548
00:32:41,600 --> 00:32:43,960
Speaker 1: in such pictures as nineteen eighty five's Demons.

549
00:32:44,400 --> 00:32:46,560
Speaker 3: What would it be like to, you know, have your

550
00:32:46,600 --> 00:32:49,240
Speaker 3: acting career start when you were younger? Is like, I

551
00:32:49,960 --> 00:32:54,040
Speaker 3: was the recurring character character type of creepy child in

552
00:32:54,160 --> 00:32:58,840
Speaker 3: Jallo film. Actually she's not so creepy in this one.

553
00:32:58,840 --> 00:33:00,640
Speaker 3: She's creepy I think in some of the other ones.

554
00:33:01,000 --> 00:33:04,200
Speaker 1: Yeah, yeah, in this she's I mean she's a little creepy,

555
00:33:04,560 --> 00:33:07,160
Speaker 1: but but not to the to the point where you're like,

556
00:33:07,240 --> 00:33:09,880
Speaker 1: is this a ghost child or not? Yeah, Like when

557
00:33:09,920 --> 00:33:12,320
Speaker 1: this character is I believe she slapped at one point

558
00:33:12,360 --> 00:33:15,880
Speaker 1: at one point, oh yeah, yeah, our main character slaps her,

559
00:33:15,920 --> 00:33:18,320
Speaker 1: and I'm like, that's not okay. And whereas if we

560
00:33:18,400 --> 00:33:21,160
Speaker 1: thought she was a ghost child, I don't know, then

561
00:33:21,200 --> 00:33:23,560
Speaker 1: it's it's kind of a gray area at that point.

562
00:33:23,640 --> 00:33:25,400
Speaker 1: Is it okay to slap a ghost It's not really

563
00:33:25,480 --> 00:33:28,719
Speaker 1: a child, it's not really a person anymore. It's a ghost.

564
00:33:28,800 --> 00:33:31,080
Speaker 1: And can your hand make contact with a ghost? I'm

565
00:33:31,080 --> 00:33:35,880
Speaker 1: not sure important questions? Yeah, all right, the okay, the

566
00:33:35,920 --> 00:33:38,840
Speaker 1: next two actors. I want to mention there are characters

567
00:33:38,880 --> 00:33:43,280
Speaker 1: I honestly don't completely one remember from this film because

568
00:33:44,040 --> 00:33:46,239
Speaker 1: not all the A lot of the investigations end up

569
00:33:46,280 --> 00:33:49,480
Speaker 1: being very visually memorable, but I don't necessarily remember what

570
00:33:49,640 --> 00:33:56,040
Speaker 1: information was gained from them. There's a character named Mary,

571
00:33:56,840 --> 00:33:59,400
Speaker 1: and then there's a character named Marie.

572
00:33:59,560 --> 00:34:02,959
Speaker 3: So, if I'm getting this right, Alice has there are

573
00:34:03,040 --> 00:34:06,800
Speaker 3: essentially three other women her age that she interacts with

574
00:34:06,920 --> 00:34:09,520
Speaker 3: in the beginning of the movie before she leaves for Garma,

575
00:34:10,200 --> 00:34:13,440
Speaker 3: and they are named Rosemary, Mary, and Marie.

576
00:34:14,040 --> 00:34:17,320
Speaker 1: Okay, these two characters are not very important to the

577
00:34:17,360 --> 00:34:22,080
Speaker 1: picture towards, but I did want to mention them briefly,

578
00:34:22,120 --> 00:34:24,440
Speaker 1: just because they do have connections to other Jallo pictures

579
00:34:24,480 --> 00:34:26,680
Speaker 1: and some pictures we've talked about on the show before.

580
00:34:27,520 --> 00:34:31,520
Speaker 1: So Ida Golli born nineteen thirty nine, credited here as

581
00:34:31,600 --> 00:34:38,800
Speaker 1: Evelyn Stewart, She's an Italian actress who pops up in

582
00:34:38,840 --> 00:34:42,440
Speaker 1: a number of Spaghetti Western Jaalo pictures. We previously mentioned

583
00:34:42,440 --> 00:34:45,400
Speaker 1: her in our episode on Mario Bava's dark peplum film

584
00:34:45,480 --> 00:34:49,160
Speaker 1: Hercules in the Haunted World, in which she played a

585
00:34:49,239 --> 00:34:52,480
Speaker 1: character I don't one hundred percent remember named miss Otidi.

586
00:34:53,000 --> 00:34:56,120
Speaker 1: I don't remember her at all, but her other credits

587
00:34:56,120 --> 00:34:58,560
Speaker 1: include sixty threes, The Whip in the Body, sixty fours,

588
00:34:58,640 --> 00:35:02,600
Speaker 1: War of the Zombies, sixty six, Django Shoots First, and

589
00:35:03,080 --> 00:35:06,600
Speaker 1: Lucio Fulci's seventy seven thriller The Psychic and Then Marie

590
00:35:06,760 --> 00:35:11,640
Speaker 1: is played by Rosita Torros. As Rosita Torros, she lived

591
00:35:11,719 --> 00:35:14,839
Speaker 1: nineteen forty five through nineteen ninety five Italian actress who

592
00:35:14,840 --> 00:35:17,920
Speaker 1: also appeared in various Shalloh and horror films, including nineteen

593
00:35:17,920 --> 00:35:21,480
Speaker 1: seventies The Bird with the Crystal Plumage Gentle Picture and

594
00:35:21,600 --> 00:35:24,760
Speaker 1: seventy four is almost human from umberto Lindsay.

595
00:35:24,840 --> 00:35:28,880
Speaker 3: So, I think this is the character of Marie Leblanche,

596
00:35:29,080 --> 00:35:34,759
Speaker 3: the translator who takes Alice's job after she disappeared.

597
00:35:34,840 --> 00:35:39,600
Speaker 1: That's right, yeah, So again they're not vital too the

598
00:35:40,000 --> 00:35:43,600
Speaker 1: large stretches of the picture, but they're kind of interesting connections.

599
00:35:44,160 --> 00:35:47,960
Speaker 1: And then, of course Klaskinsky we mentioned plays Professor Blackman.

600
00:35:49,760 --> 00:35:50,960
Speaker 1: I don't know if it was the same for you,

601
00:35:51,000 --> 00:35:54,880
Speaker 1: but I found different versions. Different renditions of this character's

602
00:35:54,960 --> 00:35:57,319
Speaker 1: name have different numbers of n's and k's in it,

603
00:35:57,719 --> 00:36:01,720
Speaker 1: so that may vary depending on where you're looking. Kinsky

604
00:36:01,880 --> 00:36:06,520
Speaker 1: saught two ends at the end. Maybe I just I

605
00:36:06,520 --> 00:36:09,880
Speaker 1: imagined the extra k, but at any rate, Klaus Kinsky

606
00:36:09,920 --> 00:36:12,320
Speaker 1: lived nineteen twenty six through nineteen ninety one. We've previously

607
00:36:12,320 --> 00:36:15,120
Speaker 1: discussed Kinsky in our episodes on Venom from eighty one

608
00:36:15,480 --> 00:36:19,239
Speaker 1: and Creature from eighty five. You know, this was, of

609
00:36:19,280 --> 00:36:24,120
Speaker 1: course an infamous actor known for his crazed intensity, and

610
00:36:24,360 --> 00:36:26,760
Speaker 1: his career also is one of those that straddles worlds

611
00:36:26,800 --> 00:36:29,520
Speaker 1: of both art house and grind house, you know, B

612
00:36:29,719 --> 00:36:34,040
Speaker 1: movies and very well regarded productions as well. We're not

613
00:36:34,080 --> 00:36:36,000
Speaker 1: going to go into put too much depth here, in

614
00:36:36,120 --> 00:36:39,319
Speaker 1: part because it is a bit part for Kinski. We

615
00:36:39,400 --> 00:36:42,960
Speaker 1: only see him in dream sequences in Stunning Black and White,

616
00:36:43,200 --> 00:36:45,880
Speaker 1: and his voice, at least for me, was dubbed with

617
00:36:45,960 --> 00:36:47,680
Speaker 1: a thoroughly non Kinsky voice.

618
00:36:47,880 --> 00:36:50,160
Speaker 3: Yeah, it didn't sound like him at all. I don't

619
00:36:50,160 --> 00:36:51,760
Speaker 3: think even had a German accent.

620
00:36:52,000 --> 00:36:54,719
Speaker 1: No, they weren't even going for Kinski. They were just like, ye,

621
00:36:55,120 --> 00:36:55,919
Speaker 1: just dub him over.

622
00:36:56,239 --> 00:36:58,840
Speaker 3: But Kinsky's voice would have made sense because the character

623
00:36:59,000 --> 00:37:02,239
Speaker 3: he plays as a mad scientist, like the character he

624
00:37:02,280 --> 00:37:04,680
Speaker 3: plays as a character who sounds like Klaus Kinsky does

625
00:37:04,719 --> 00:37:05,320
Speaker 3: in real life.

626
00:37:05,840 --> 00:37:08,600
Speaker 1: Yeah, and like Kinski's voice is one of those that, like,

627
00:37:08,680 --> 00:37:11,120
Speaker 1: I feel like a lot of people can do, so

628
00:37:11,719 --> 00:37:15,359
Speaker 1: it seems like a very deliberate choice. Yeah, it's kind

629
00:37:15,360 --> 00:37:17,200
Speaker 1: of like if you dubbed Peter Lorie, you know, it's

630
00:37:17,280 --> 00:37:20,640
Speaker 1: like somebody could do that voice. Come on. Yeah, yeah,

631
00:37:21,239 --> 00:37:23,520
Speaker 1: all right. I mentioned how I spent the first twenty

632
00:37:23,560 --> 00:37:26,160
Speaker 1: minutes of the film like just really admiring the composition

633
00:37:26,200 --> 00:37:28,440
Speaker 1: of it all. And that's the point where I was like, oh,

634
00:37:28,480 --> 00:37:32,360
Speaker 1: I didn't check to see who the cinematographer was. And

635
00:37:32,719 --> 00:37:34,840
Speaker 1: that's when I checked and saw that the director of

636
00:37:34,840 --> 00:37:40,800
Speaker 1: photography was Vittorio Storaro, who was born in nineteen forty

637
00:37:41,040 --> 00:37:45,080
Speaker 1: and is a three time Oscar winner. He earned the

638
00:37:45,120 --> 00:37:48,200
Speaker 1: Oscar for his work on nineteen seventy nine Apocalypse Now,

639
00:37:49,239 --> 00:37:52,279
Speaker 1: nineteen eighty one's Reds that was I Haven't seen That

640
00:37:52,360 --> 00:37:55,479
Speaker 1: was written and directed by Warren Beatty, and nineteen eighty

641
00:37:55,520 --> 00:37:59,640
Speaker 1: seven's The Last Emperor. So a legendary cinematographer working on

642
00:37:59,680 --> 00:38:02,240
Speaker 1: this pic. Sure he was also nominated for nineteen nineties

643
00:38:02,320 --> 00:38:02,960
Speaker 1: Dick Tracy.

644
00:38:04,840 --> 00:38:08,000
Speaker 3: I've wondered before if we should cover Dick Tracy on

645
00:38:08,040 --> 00:38:08,840
Speaker 3: the show because.

646
00:38:08,680 --> 00:38:13,920
Speaker 1: Talk about weird, weird movies. Yes, a weird film that

647
00:38:14,040 --> 00:38:17,080
Speaker 1: I loved as a kid, haven't seen in forever, but yeah,

648
00:38:17,120 --> 00:38:22,120
Speaker 1: it's like a brightly colored comic book, old time comic book,

649
00:38:22,120 --> 00:38:24,480
Speaker 1: gangster picture full of mutant gangsters.

650
00:38:24,760 --> 00:38:28,600
Speaker 3: Yeah, yeah, I don't know how well it would hold up,

651
00:38:28,640 --> 00:38:31,680
Speaker 3: but it's got to be one of the weirder mainstream

652
00:38:31,719 --> 00:38:32,760
Speaker 3: films ever released.

653
00:38:33,160 --> 00:38:35,280
Speaker 1: It has to be. Yeah, I would like to revisit

654
00:38:35,320 --> 00:38:40,080
Speaker 1: it sometime. Other pictures of note for Starro include nineteen

655
00:38:40,120 --> 00:38:44,040
Speaker 1: seventies The Bird with a Crystal Plumage Another Bird related

656
00:38:44,040 --> 00:38:48,360
Speaker 1: picture nineteen eighty five's Lady Hawk and the two thousand

657
00:38:48,440 --> 00:38:51,480
Speaker 1: Doune mini series, which all of these had very strong

658
00:38:52,480 --> 00:38:56,879
Speaker 1: visual composition, So you know, yeah, this is a big

659
00:38:56,960 --> 00:38:58,960
Speaker 1: name and it makes sense that a big name was

660
00:38:59,000 --> 00:39:01,200
Speaker 1: involved here given out great everything looks.

661
00:39:01,840 --> 00:39:04,840
Speaker 3: It is a gorgeously shot film, so this makes a

662
00:39:04,880 --> 00:39:07,759
Speaker 3: lot of sense. I'm still kind of processing where the

663
00:39:07,800 --> 00:39:11,120
Speaker 3: two thousand Dune mini series fits in. Maybe I'm not

664
00:39:11,160 --> 00:39:13,239
Speaker 3: being fair because I haven't seen that, but I've seen

665
00:39:13,280 --> 00:39:18,200
Speaker 3: stills from it. It never struck me as something that

666
00:39:18,520 --> 00:39:20,720
Speaker 3: looked amazing, But maybe I'm wrong.

667
00:39:22,160 --> 00:39:24,840
Speaker 1: I recently rewatched parts of it and I will have

668
00:39:24,920 --> 00:39:28,640
Speaker 1: to say the CGI did not hold up well at all,

669
00:39:29,160 --> 00:39:33,720
Speaker 1: and it does feel I know it cost a pretty penny,

670
00:39:33,760 --> 00:39:38,360
Speaker 1: but it feels like a TV production, you know, in

671
00:39:38,400 --> 00:39:41,719
Speaker 1: many respects. But on the other hand, like the costumes

672
00:39:41,760 --> 00:39:44,839
Speaker 1: are very inventive, It's got some great performances in it,

673
00:39:45,560 --> 00:39:48,479
Speaker 1: and given its length, it actually gives you a chance

674
00:39:48,480 --> 00:39:51,240
Speaker 1: to see some of the scenes that are often omitted

675
00:39:51,239 --> 00:39:55,360
Speaker 1: from adaptations of Doom. All Right, and finally, the composer

676
00:39:55,400 --> 00:39:57,279
Speaker 1: on this one already mentioned how nice the music is.

677
00:39:57,520 --> 00:40:01,479
Speaker 1: It is the work of Nicola Piovan born nineteen forty six,

678
00:40:01,520 --> 00:40:04,520
Speaker 1: Italian composer who won an Oscar himself in nineteen ninety

679
00:40:04,600 --> 00:40:08,440
Speaker 1: nine for Life Is Beautiful. His other credits include seventy

680
00:40:08,480 --> 00:40:11,160
Speaker 1: four's The Perfume of the Lady in Black. I don't

681
00:40:11,160 --> 00:40:12,880
Speaker 1: think I have to tell you that's a Jalla picture

682
00:40:12,920 --> 00:40:16,440
Speaker 1: with a title like that, as well as Flavia the Heretic,

683
00:40:16,640 --> 00:40:28,160
Speaker 1: which starred Florinda bulcan Ah. All right, do you want

684
00:40:28,160 --> 00:40:30,399
Speaker 1: to start talking about the plot. Yeah, let's get into

685
00:40:30,440 --> 00:40:33,720
Speaker 1: the plot of Footprints on the Moon. Okay.

686
00:40:33,760 --> 00:40:37,040
Speaker 3: Well, the credits play in yellow type script over a

687
00:40:37,120 --> 00:40:40,640
Speaker 3: deep blue night sky with no stars in sight, just

688
00:40:40,760 --> 00:40:43,920
Speaker 3: the moon, which is pale and gray in the center

689
00:40:43,960 --> 00:40:47,040
Speaker 3: of the frame. And I quite like the music that

690
00:40:47,080 --> 00:40:49,720
Speaker 3: plays over the opening credits here, So at the beginning

691
00:40:50,200 --> 00:40:54,919
Speaker 3: it's mostly strings and flute, and the melody is subtle, mysterious,

692
00:40:55,440 --> 00:40:58,279
Speaker 3: kind of cold. I was thinking of it as the

693
00:40:58,320 --> 00:41:02,520
Speaker 3: sound of like seeing something that looks very odd far

694
00:41:02,560 --> 00:41:05,600
Speaker 3: away out of window, and then looking back to try

695
00:41:05,640 --> 00:41:09,000
Speaker 3: to see it more clearly, and it's gone. But suddenly

696
00:41:09,120 --> 00:41:12,759
Speaker 3: into this texture, the pipe organ comes roaring in and

697
00:41:13,080 --> 00:41:17,320
Speaker 3: it's immediately like we are phantoming the opera out of this, yes,

698
00:41:18,440 --> 00:41:20,319
Speaker 3: So the credits roll and we zoom in on the

699
00:41:20,320 --> 00:41:23,560
Speaker 3: Moon to reveal this is not genuine night sky photography.

700
00:41:24,080 --> 00:41:28,080
Speaker 3: This is an illustration of the Moon in a gorgeous

701
00:41:28,200 --> 00:41:30,839
Speaker 3: but old school style, so it looks like something out

702
00:41:30,840 --> 00:41:33,800
Speaker 3: of one of those great old nineteenth century astronomy books

703
00:41:33,840 --> 00:41:36,279
Speaker 3: with the hand drawn illustrations of the craters and the

704
00:41:36,360 --> 00:41:40,920
Speaker 3: lunar maria. And then in the foreground we see a

705
00:41:41,040 --> 00:41:45,480
Speaker 3: lunar landing vehicle appear, so it's drifting gracefully down toward

706
00:41:45,880 --> 00:41:49,080
Speaker 3: toward the Moon, down toward the surface. And then when

707
00:41:49,120 --> 00:41:52,280
Speaker 3: we see the surface in close up, it's another classic

708
00:41:52,320 --> 00:41:55,200
Speaker 3: style illustration, the kind of planet surface you would get

709
00:41:55,239 --> 00:41:58,920
Speaker 3: in Planet of the Vampires and these landing party adventures

710
00:41:58,920 --> 00:42:02,000
Speaker 3: of the fifties and sixties. So it's not just rocks

711
00:42:02,000 --> 00:42:05,640
Speaker 3: and dust, but these craggy spires which you don't really

712
00:42:05,640 --> 00:42:08,640
Speaker 3: get in the actual topography of the Moon, at least

713
00:42:08,640 --> 00:42:12,600
Speaker 3: not our moon. So after the lander sets down, we

714
00:42:12,760 --> 00:42:16,920
Speaker 3: cut to a rather surprising shot. We see one astronaut

715
00:42:16,960 --> 00:42:21,400
Speaker 3: in a suit and a classic bubble helmet, apparently unconscious,

716
00:42:21,800 --> 00:42:26,120
Speaker 3: being dragged across the surface by another astronaut with his

717
00:42:26,320 --> 00:42:29,280
Speaker 3: boots leaving these streaks in the regolith as his limp

718
00:42:29,320 --> 00:42:34,000
Speaker 3: body is pulled along, and then the upright astronaut drops

719
00:42:34,040 --> 00:42:36,480
Speaker 3: the other one in the dust in a field that

720
00:42:36,640 --> 00:42:39,600
Speaker 3: is framed by these pointy moon spires, and then begins

721
00:42:39,640 --> 00:42:42,960
Speaker 3: to walk away. So is somebody just being abandoned on

722
00:42:43,040 --> 00:42:46,360
Speaker 3: the surface of the Moon, It seems yes. We watch

723
00:42:46,480 --> 00:42:49,360
Speaker 3: the lander begin to take off and then rise up

724
00:42:49,400 --> 00:42:53,440
Speaker 3: into orbit once again, and it's only once the lander

725
00:42:53,520 --> 00:42:56,440
Speaker 3: is far away that the astronaut comes to and sits

726
00:42:56,560 --> 00:43:00,120
Speaker 3: up and realizes what's happening, and they watch in terror

727
00:43:00,200 --> 00:43:03,480
Speaker 3: as the vehicle departs and rob I attached a couple

728
00:43:03,480 --> 00:43:05,839
Speaker 3: of screenshots of this moment for you to look at

729
00:43:05,840 --> 00:43:08,680
Speaker 3: here because I thought this part was wonderful. It's so

730
00:43:09,239 --> 00:43:14,400
Speaker 3: strange and mysterious and evocative. The soundtrack goes on alternating

731
00:43:14,440 --> 00:43:18,400
Speaker 3: between the cold, ominous strings and woodwinds with these sudden

732
00:43:18,480 --> 00:43:22,239
Speaker 3: explosions of pipe organ and we're thrown off by this

733
00:43:22,400 --> 00:43:26,880
Speaker 3: unusual scenario and the mid century science fiction aesthetics of

734
00:43:26,920 --> 00:43:30,160
Speaker 3: the eva suits and the lunar set design. So it

735
00:43:30,239 --> 00:43:33,080
Speaker 3: sounds based on that the latter stuff there like the

736
00:43:33,160 --> 00:43:36,040
Speaker 3: effect of this could be comical, but it's really not

737
00:43:36,360 --> 00:43:40,400
Speaker 3: in this moment, because we're seeing the abandoned astronaut's eyes

738
00:43:40,560 --> 00:43:43,480
Speaker 3: wide in fear behind the curved glass of the face plate,

739
00:43:43,880 --> 00:43:47,280
Speaker 3: but the glass is partially fogged over, so we only

740
00:43:47,320 --> 00:43:51,319
Speaker 3: see their face through this obscuring screen of fog, which

741
00:43:51,400 --> 00:43:54,799
Speaker 3: kind of mutes the detection of emotion there and makes

742
00:43:54,840 --> 00:43:59,160
Speaker 3: them inaccessible and haunting. I think it's a really great moments.

743
00:43:59,320 --> 00:44:03,600
Speaker 1: It's extremely well executed because it manages to walk that

744
00:44:03,760 --> 00:44:08,279
Speaker 1: line where it never feels hokey, but it also is

745
00:44:08,360 --> 00:44:15,320
Speaker 1: not going for like a like a high highly accurate rendition,

746
00:44:15,440 --> 00:44:17,480
Speaker 1: like they're not trying to make it look like the

747
00:44:17,520 --> 00:44:20,400
Speaker 1: actual surface of the moon in actual like lunar landings

748
00:44:20,440 --> 00:44:21,040
Speaker 1: and so forth.

749
00:44:21,280 --> 00:44:24,520
Speaker 3: Yeah, then from here we cut to a different scene,

750
00:44:24,760 --> 00:44:28,360
Speaker 3: still in the esthetics of old school sci fi, but

751
00:44:28,480 --> 00:44:31,319
Speaker 3: now fully in black and white. So we see a

752
00:44:31,400 --> 00:44:35,480
Speaker 3: gruff man in an EVA helmet starting a radio communication.

753
00:44:35,640 --> 00:44:39,120
Speaker 3: He announces himself as Gunter, and he calls out for

754
00:44:39,239 --> 00:44:43,680
Speaker 3: a professor Blachmann. Who could that be? Why it's Klaus Kinski.

755
00:44:44,360 --> 00:44:48,360
Speaker 3: Kinsky says, receiving you over in a non Kinsky voice,

756
00:44:48,960 --> 00:44:52,239
Speaker 3: and so Kinsky is hunched over in some kind of

757
00:44:52,440 --> 00:44:56,799
Speaker 3: mad science mission control room with lights flashing everywhere and

758
00:44:56,880 --> 00:45:00,719
Speaker 3: computers making little beeps and boops, and we learn from

759
00:45:00,800 --> 00:45:05,239
Speaker 3: their exchange that Blackman and Gunter are collaborating on some

760
00:45:05,320 --> 00:45:10,680
Speaker 3: kind of morbid experiment. They intentionally abandoned the other astronaut,

761
00:45:10,680 --> 00:45:14,160
Speaker 3: whose name is we learn as McGregor, on the Moon

762
00:45:14,360 --> 00:45:17,360
Speaker 3: so they could study something about him from a distance.

763
00:45:17,920 --> 00:45:19,879
Speaker 3: And by the way, when we get a look at

764
00:45:19,880 --> 00:45:22,160
Speaker 3: this full control room, I was kind of wondering for

765
00:45:22,160 --> 00:45:25,200
Speaker 3: some reason if they shot these in like a real

766
00:45:25,320 --> 00:45:28,520
Speaker 3: decommissioned nuclear plant like they did in Shocking Dark. Whatever

767
00:45:28,520 --> 00:45:30,479
Speaker 3: these control panels are, they look pretty good.

768
00:45:30,960 --> 00:45:34,680
Speaker 1: Yeah, And I love this gritty black and white that

769
00:45:34,680 --> 00:45:36,600
Speaker 1: they shoot everything, And it reminds me a lot of

770
00:45:37,120 --> 00:45:40,040
Speaker 1: a picture that would come much later two thousand and

771
00:45:40,040 --> 00:45:43,520
Speaker 1: one's the American Astronauts. The same kind of quality where

772
00:45:43,520 --> 00:45:47,960
Speaker 1: it's just like grungy black and white and it doesn't

773
00:45:47,960 --> 00:45:50,200
Speaker 1: feel it doesn't have that feeling like you just turned

774
00:45:50,280 --> 00:45:53,440
Speaker 1: down the color settings on your old school television or anything.

775
00:45:53,520 --> 00:45:57,480
Speaker 1: You know. Yeah, yeah, black and white. You can taste

776
00:45:57,560 --> 00:46:00,239
Speaker 1: get the grid of it in your teeth. Yeah, it's

777
00:46:00,640 --> 00:46:02,719
Speaker 1: a little bit salty. Yeah.

778
00:46:02,760 --> 00:46:07,200
Speaker 3: Anyway, the mads mad scientists conspirators. Here they confirm that

779
00:46:07,280 --> 00:46:10,640
Speaker 3: the experiment is underway, and then Kinsky says, I will

780
00:46:10,680 --> 00:46:14,840
Speaker 3: alert the organization. And from here we cut to a

781
00:46:14,920 --> 00:46:18,960
Speaker 3: telephone buzzing on a furry shag carpet. Could this be

782
00:46:19,080 --> 00:46:21,799
Speaker 3: Kinsky's call to the organization? I don't think so, because

783
00:46:21,840 --> 00:46:24,400
Speaker 3: something has changed. We have gone from black and white

784
00:46:24,520 --> 00:46:28,239
Speaker 3: to full color, and we pan up to see our protagonist,

785
00:46:28,400 --> 00:46:32,240
Speaker 3: Alice Chespie, sleeping on her bed. She's wearing a black

786
00:46:32,360 --> 00:46:36,640
Speaker 3: eye mask, curiously in almost the same posture as the

787
00:46:36,800 --> 00:46:40,680
Speaker 3: unconscious astronaut from the other story, and the blinds are

788
00:46:40,719 --> 00:46:42,960
Speaker 3: drawn over the windows in the room, but from in

789
00:46:43,040 --> 00:46:46,120
Speaker 3: between them. The light is falling in over her face

790
00:46:46,160 --> 00:46:48,359
Speaker 3: in a way that suggests it's late morning. She has

791
00:46:48,400 --> 00:46:54,239
Speaker 3: overslept groggily. Alice answers the phone, and it's her friend Rosemary,

792
00:46:54,280 --> 00:46:56,600
Speaker 3: who says she's been trying to reach her for hours.

793
00:46:56,600 --> 00:46:57,040
Speaker 1: I think she.

794
00:46:57,080 --> 00:47:00,279
Speaker 3: Literally says the phone, the phone has been ringing for hours.

795
00:47:01,120 --> 00:47:03,960
Speaker 3: That's that's dedication for Rosemary to wait that long?

796
00:47:04,000 --> 00:47:07,080
Speaker 1: What is wrong with you? Why would you the phone

797
00:47:07,160 --> 00:47:10,279
Speaker 1: ring for hours, not just on the receiving end, but

798
00:47:10,640 --> 00:47:13,040
Speaker 1: on the calling in is why would you do that?

799
00:47:13,600 --> 00:47:16,719
Speaker 3: So Alice seems disoriented, but discovers it's late in the

800
00:47:16,719 --> 00:47:19,360
Speaker 3: morning and she has to turn in a translation she

801
00:47:19,400 --> 00:47:22,960
Speaker 3: hasn't finished yet. Alice works as a translator for some

802
00:47:23,040 --> 00:47:27,600
Speaker 3: kind of consolate or diplomatic office, apparently specializing in scientific topics,

803
00:47:27,640 --> 00:47:30,520
Speaker 3: I think. So she makes plans to meet with Rosemary

804
00:47:30,600 --> 00:47:32,960
Speaker 3: later that morning, and then she gets to business. So

805
00:47:33,000 --> 00:47:34,960
Speaker 3: there are kind of some scenes here of like you

806
00:47:35,000 --> 00:47:37,520
Speaker 3: said earlier, Alice, she's just kind of puttering around her

807
00:47:37,520 --> 00:47:41,400
Speaker 3: apartment doing nothing all that mysterious, but they are framed

808
00:47:41,560 --> 00:47:46,840
Speaker 3: in such a strange and beautiful way. Immediately something feels significant.

809
00:47:47,000 --> 00:47:49,880
Speaker 3: I'm kind of looking for clues, even before the plot

810
00:47:49,960 --> 00:47:51,080
Speaker 3: suggests I should.

811
00:47:51,480 --> 00:47:52,839
Speaker 1: Yeah, And we.

812
00:47:52,760 --> 00:47:55,360
Speaker 3: See her standing at her window, looking in the mirror,

813
00:47:55,400 --> 00:47:58,239
Speaker 3: getting ready for the day, lighting the gas under her

814
00:47:58,239 --> 00:48:01,680
Speaker 3: coffee maker, settling down to typing her translation of an

815
00:48:01,719 --> 00:48:06,440
Speaker 3: audio tape. And one thing I noticed is that outside

816
00:48:06,440 --> 00:48:08,759
Speaker 3: of her apartment window there is first of all, a

817
00:48:08,800 --> 00:48:10,719
Speaker 3: beautiful view of whatever city this is.

818
00:48:11,320 --> 00:48:13,120
Speaker 1: I don't know if this is Rome or whatever.

819
00:48:13,200 --> 00:48:18,040
Speaker 3: But the second thing is there is a giant construction crane,

820
00:48:18,560 --> 00:48:22,160
Speaker 3: and Alice's body is a couple of times seen framed

821
00:48:22,239 --> 00:48:26,040
Speaker 3: within the angle of the crane, feels like it means something,

822
00:48:27,200 --> 00:48:30,480
Speaker 3: So while she goes about her business, Alice at one

823
00:48:30,520 --> 00:48:33,279
Speaker 3: point finds something on the floor of her kitchen next

824
00:48:33,280 --> 00:48:36,719
Speaker 3: to the garbage can. It is a torn up postcard

825
00:48:37,080 --> 00:48:41,760
Speaker 3: bearing the image of a stately old hotel. She puzzles

826
00:48:41,760 --> 00:48:44,000
Speaker 3: the pieces back together and then looks at it and

827
00:48:44,000 --> 00:48:46,080
Speaker 3: then flips it over to see that this is the

828
00:48:46,160 --> 00:48:49,200
Speaker 3: hotel Garma, of a place called Garma.

829
00:48:49,719 --> 00:48:50,200
Speaker 1: What is it?

830
00:48:50,239 --> 00:48:52,960
Speaker 3: She has no idea where it came from, so Alice

831
00:48:53,040 --> 00:48:56,080
Speaker 3: leaves home and then goes about her day. First of all,

832
00:48:56,120 --> 00:48:58,840
Speaker 3: she meets up with her friend Rosemary. There's a funny

833
00:48:58,840 --> 00:49:01,000
Speaker 3: scene where Rosemary's trying to tell her a story about

834
00:49:01,040 --> 00:49:03,359
Speaker 3: something that happened when she went to a club on

835
00:49:03,440 --> 00:49:06,920
Speaker 3: Tuesday night, which is strange because we just saw Alice

836
00:49:06,920 --> 00:49:11,440
Speaker 3: flip her daily calendar from Monday to Tuesday. And she

837
00:49:11,560 --> 00:49:14,640
Speaker 3: realizes Alice is lost in thought, not really paying attention,

838
00:49:15,200 --> 00:49:18,160
Speaker 3: and Alice says she is thinking about a dream she

839
00:49:18,239 --> 00:49:20,680
Speaker 3: had the night before, and in fact, a dream she's

840
00:49:20,719 --> 00:49:24,359
Speaker 3: had many times, where she says a man is abandoned

841
00:49:24,440 --> 00:49:28,320
Speaker 3: on the moon for an experiment. Rosemary says this sounds

842
00:49:28,320 --> 00:49:31,800
Speaker 3: like science fiction, and Alice says, yes, it was. In fact,

843
00:49:31,960 --> 00:49:34,320
Speaker 3: this was a dream that was inspired by a film

844
00:49:34,440 --> 00:49:37,040
Speaker 3: she saw when she was young. The movie was called

845
00:49:37,239 --> 00:49:40,640
Speaker 3: Footprints on the Moon, and it scared her so much

846
00:49:40,680 --> 00:49:43,160
Speaker 3: that she ran out of the theater and never saw

847
00:49:43,239 --> 00:49:45,160
Speaker 3: the end of it, so it's just kind of been

848
00:49:45,200 --> 00:49:47,080
Speaker 3: hanging in her mind all these years.

849
00:49:47,680 --> 00:49:47,839
Speaker 1: Now.

850
00:49:47,880 --> 00:49:50,520
Speaker 3: After this, we see Alice going to work. She's going

851
00:49:50,560 --> 00:49:55,000
Speaker 3: to whatever this diplomatic office is to turn in her translations,

852
00:49:55,120 --> 00:49:58,160
Speaker 3: and on the way there she moves through such interesting spaces,

853
00:49:58,880 --> 00:50:01,480
Speaker 3: like this big empty audio datorium with all these green

854
00:50:01,600 --> 00:50:05,839
Speaker 3: chairs lined up and these stained wooden walls, and then

855
00:50:05,880 --> 00:50:10,360
Speaker 3: walking through behind this colonnade with these doorways framed against

856
00:50:10,360 --> 00:50:13,719
Speaker 3: the sunlight. She eventually comes for a meeting with her

857
00:50:13,719 --> 00:50:15,080
Speaker 3: boss or maybe it's her client.

858
00:50:15,239 --> 00:50:15,759
Speaker 1: I think.

859
00:50:15,800 --> 00:50:18,680
Speaker 3: Actually she's supposed to be a freelancer. But when she

860
00:50:18,680 --> 00:50:22,000
Speaker 3: gets there, everything is confused, like she tries to turn

861
00:50:22,040 --> 00:50:25,680
Speaker 3: in the translation which was due at noon, but this

862
00:50:25,800 --> 00:50:30,319
Speaker 3: leads to a bizarre revelation. The translation was of a

863
00:50:30,440 --> 00:50:34,880
Speaker 3: speech I think concerning science and astronautics that was given

864
00:50:35,040 --> 00:50:37,440
Speaker 3: on Monday, and it was supposed to be turned in

865
00:50:37,640 --> 00:50:41,200
Speaker 3: at noon on Tuesday, which is what time Alice believes

866
00:50:41,200 --> 00:50:45,040
Speaker 3: it is, but actually her client here informs her that

867
00:50:45,080 --> 00:50:48,839
Speaker 3: it is now noon on Thursday, and Alice has no

868
00:50:49,000 --> 00:50:52,879
Speaker 3: memory of the missing two days. Her handler tells her

869
00:50:52,960 --> 00:50:57,760
Speaker 3: that she abruptly left in the middle of the address

870
00:50:57,480 --> 00:51:00,479
Speaker 3: in the forum there and then for the fall several

871
00:51:00,560 --> 00:51:04,200
Speaker 3: days they tried to contact her and got nothing, so

872
00:51:04,320 --> 00:51:07,560
Speaker 3: in her absence they had to hire a different translator,

873
00:51:07,640 --> 00:51:11,680
Speaker 3: a miss Lablanche, and Alice is clearly shaken by this.

874
00:51:11,760 --> 00:51:13,720
Speaker 3: She doesn't know what to make of it, and apparently

875
00:51:13,800 --> 00:51:16,400
Speaker 3: has no memory of leaving the speech or of the

876
00:51:16,400 --> 00:51:17,120
Speaker 3: missing time.

877
00:51:17,800 --> 00:51:19,600
Speaker 1: And so in this we really begin to get into

878
00:51:19,640 --> 00:51:24,480
Speaker 1: the big psychological mysteries of the picture of missing time,

879
00:51:25,080 --> 00:51:29,680
Speaker 1: of lost memories. And again these are questions that are

880
00:51:30,000 --> 00:51:32,840
Speaker 1: very internal, and so it's another way that this performance

881
00:51:32,920 --> 00:51:35,560
Speaker 1: is so good. It's that you know, they're not really

882
00:51:36,200 --> 00:51:39,319
Speaker 1: exploring all this through flashbacks or exploring it through conversations

883
00:51:40,920 --> 00:51:43,160
Speaker 1: in facial expressions. It's very nice.

884
00:51:43,360 --> 00:51:45,640
Speaker 3: Yeah, And this is also another way it really does

885
00:51:45,719 --> 00:51:48,560
Speaker 3: fit Jallo conventions, even though it's not a murder mystery.

886
00:51:48,600 --> 00:51:51,960
Speaker 3: I mean this idea of like having to reconstruct the

887
00:51:52,040 --> 00:51:54,960
Speaker 3: lost memory to solve the mystery of what happened is

888
00:51:55,480 --> 00:51:57,560
Speaker 3: absolutely like core Jallo feeling.

889
00:51:57,960 --> 00:51:59,880
Speaker 1: Yeah. So Alice meets with.

890
00:52:00,000 --> 00:52:02,879
Speaker 3: Another friend of hers named Mary to talk about what's

891
00:52:02,920 --> 00:52:07,000
Speaker 3: going on. Mary asks if she can remember anything about

892
00:52:07,000 --> 00:52:10,640
Speaker 3: what happened at this session in the assembly that she

893
00:52:10,680 --> 00:52:13,120
Speaker 3: apparently ran out in the middle of. So we cut

894
00:52:13,120 --> 00:52:16,600
Speaker 3: to this big public auditorium with a stage and electern

895
00:52:17,320 --> 00:52:20,960
Speaker 3: with a speaker talking into the microphone, and at the

896
00:52:21,000 --> 00:52:24,520
Speaker 3: back of the room there are sound isolated translation booths

897
00:52:24,680 --> 00:52:27,960
Speaker 3: surrounded by glass, with a line of these different booths,

898
00:52:28,000 --> 00:52:31,320
Speaker 3: each one filled with a worker translating the speech into

899
00:52:31,320 --> 00:52:34,719
Speaker 3: different languages in real time, and Alice is one of

900
00:52:34,760 --> 00:52:39,400
Speaker 3: these translators. Curiously, this memory is in black and white

901
00:52:39,560 --> 00:52:42,319
Speaker 3: and on a grainier film stock, and in that way

902
00:52:42,360 --> 00:52:46,520
Speaker 3: it resembles Alice's dreams of the science fiction movie Footprints

903
00:52:46,520 --> 00:52:50,680
Speaker 3: on the Moon. The speaker who's talking and being translated

904
00:52:50,719 --> 00:52:54,560
Speaker 3: in the scene is someone named Madame Verdi, who says,

905
00:52:55,040 --> 00:52:57,640
Speaker 3: I actually wrote down because it's kind of confusing because

906
00:52:57,640 --> 00:53:01,840
Speaker 3: we were seeing subtitles of the translation of the narration,

907
00:53:02,160 --> 00:53:05,600
Speaker 3: but then also the subtitles of the speech that's going on.

908
00:53:05,960 --> 00:53:09,399
Speaker 3: The speech says so that man will find the possibility

909
00:53:09,440 --> 00:53:14,040
Speaker 3: of surviving extremely difficult unless he begins immediately to totally

910
00:53:14,120 --> 00:53:17,439
Speaker 3: alter his ways of thinking and living, to devote all

911
00:53:17,520 --> 00:53:20,239
Speaker 3: his energies to try to avoid these dangers which are

912
00:53:20,320 --> 00:53:24,640
Speaker 3: rushing upon him. By nineteen ninety, pollution and poisoning will

913
00:53:24,640 --> 00:53:27,759
Speaker 3: have killed all the biological life in the sea. Our

914
00:53:27,760 --> 00:53:30,560
Speaker 3: computer has also shown us that in the year two thousand,

915
00:53:30,840 --> 00:53:33,440
Speaker 3: it will be almost impossible for men to live on

916
00:53:33,560 --> 00:53:37,520
Speaker 3: planet Earth. So within the scenario of this movie, it's

917
00:53:37,560 --> 00:53:41,040
Speaker 3: funny because she's listening to this speech that's full of

918
00:53:41,120 --> 00:53:46,120
Speaker 3: these extremely dire warnings of like coming environmental catastrophe, but

919
00:53:46,239 --> 00:53:50,360
Speaker 3: she makes no direct reference to the contents of the speech. Instead,

920
00:53:50,360 --> 00:53:53,759
Speaker 3: this is just presented as like it's just her job

921
00:53:53,840 --> 00:53:57,200
Speaker 3: to translate this, and the content is almost like neutral,

922
00:53:57,280 --> 00:54:00,200
Speaker 3: it doesn't matter what's being said. She's just there to trans.

923
00:54:00,800 --> 00:54:05,439
Speaker 1: But it's so effective, isn't it, Because the content is horrifying. Yes,

924
00:54:05,920 --> 00:54:09,319
Speaker 1: it's just it's just flowing through her being translated. It's

925
00:54:09,360 --> 00:54:11,440
Speaker 1: part of her job. And so you get kind of

926
00:54:11,640 --> 00:54:15,799
Speaker 1: an early idea that, yeah, this could be having a

927
00:54:15,840 --> 00:54:18,239
Speaker 1: toll on her. She may not be quite aware of it,

928
00:54:18,320 --> 00:54:21,759
Speaker 1: but like this is horrible news, and you know, it's

929
00:54:21,840 --> 00:54:25,680
Speaker 1: interesting to sort of take this sort of forecast, you know,

930
00:54:25,800 --> 00:54:28,400
Speaker 1: certainly within the context again of a very modern setting

931
00:54:29,239 --> 00:54:32,400
Speaker 1: of the original picture, but then as a contemporary viewer

932
00:54:32,400 --> 00:54:34,399
Speaker 1: of this film, like on one level, like you hear

933
00:54:34,440 --> 00:54:37,000
Speaker 1: that and you're like, oh, it's like it's like realizing

934
00:54:37,040 --> 00:54:40,879
Speaker 1: you've been you know, eating, you know, using a jar

935
00:54:40,920 --> 00:54:45,680
Speaker 1: of jam and it expired you know, twenty five years ago. Yeah, yeah,

936
00:54:46,080 --> 00:54:49,399
Speaker 1: you know, so in a way it like feels even

937
00:54:49,440 --> 00:54:51,680
Speaker 1: more dire. And then also the other part of the course,

938
00:54:51,680 --> 00:54:53,360
Speaker 1: it is that like this is still the scenario that

939
00:54:53,400 --> 00:54:56,360
Speaker 1: we have roughly without the exact dates in play, Like yeah,

940
00:54:56,719 --> 00:55:01,360
Speaker 1: like we're on a terrible path and it does to

941
00:55:01,400 --> 00:55:03,480
Speaker 1: have a toll take a toll on one.

942
00:55:03,560 --> 00:55:06,560
Speaker 3: Yes, But it's so interesting the way that it's like

943
00:55:06,680 --> 00:55:09,239
Speaker 3: it's presented to us the viewer, so we can see

944
00:55:09,239 --> 00:55:12,279
Speaker 3: that and we can see the emotional effect it should have,

945
00:55:12,360 --> 00:55:14,680
Speaker 3: but she doesn't really comment on it.

946
00:55:15,040 --> 00:55:19,320
Speaker 1: Yeah, this is a wonderful tool that is these sometimes

947
00:55:19,360 --> 00:55:22,600
Speaker 1: you see used in pictures. I'm reminded of the nineteen

948
00:55:22,600 --> 00:55:26,000
Speaker 1: eighty five neo noir film Trouble in Mind by Alan

949
00:55:26,080 --> 00:55:31,040
Speaker 1: Rudolph that starred Chris Christofferson. That picture is also super weird,

950
00:55:31,160 --> 00:55:33,200
Speaker 1: and I go back and forth on whether we should

951
00:55:33,200 --> 00:55:36,799
Speaker 1: cover it on the show maybe someday. But in the

952
00:55:36,840 --> 00:55:39,839
Speaker 1: background of that setting, like it's clear that there's some

953
00:55:39,880 --> 00:55:43,560
Speaker 1: sort of a foreign occupation of the city, which I

954
00:55:43,560 --> 00:55:46,520
Speaker 1: think is like Seattle or something, but it's never really

955
00:55:46,719 --> 00:55:48,920
Speaker 1: like nobody ever really comments on it as far as

956
00:55:48,920 --> 00:55:52,279
Speaker 1: I remember, it's just sort of in the background. But

957
00:55:52,360 --> 00:55:54,880
Speaker 1: then you know, it's in the psyche, it's in the world,

958
00:55:55,480 --> 00:55:59,000
Speaker 1: Like it's definitely it's presented as background material, but it's

959
00:55:59,120 --> 00:56:02,640
Speaker 1: very much a part of the four as well. Yeah.

960
00:56:02,880 --> 00:56:06,759
Speaker 3: Absolutely, I mean in storytelling, like what characters don't see

961
00:56:06,840 --> 00:56:09,759
Speaker 3: fit to comment on, it can be such a powerful

962
00:56:10,800 --> 00:56:11,680
Speaker 3: storytelling tool.

963
00:56:12,120 --> 00:56:16,000
Speaker 1: Absolutely, and so they're just wonderful job with it here

964
00:56:16,040 --> 00:56:16,640
Speaker 1: in this picture.

965
00:56:17,040 --> 00:56:20,480
Speaker 3: So anyway, in this scene, we pan over the different translators,

966
00:56:20,520 --> 00:56:23,800
Speaker 3: each speaking their respective languages while taking down the speech.

967
00:56:24,480 --> 00:56:26,640
Speaker 3: And this really also kind of takes on the feeling

968
00:56:26,719 --> 00:56:29,719
Speaker 3: of a political espionage thriller. You know, it has that

969
00:56:29,760 --> 00:56:32,600
Speaker 3: feeling of I don't know, like three Days of Condor

970
00:56:32,719 --> 00:56:33,040
Speaker 3: or something.

971
00:56:33,840 --> 00:56:35,040
Speaker 1: Alice talking to.

972
00:56:35,000 --> 00:56:37,680
Speaker 3: Mary while we watched this scene play out in black

973
00:56:37,719 --> 00:56:40,239
Speaker 3: and white from her memory. Talking to Mary, she says

974
00:56:40,280 --> 00:56:43,640
Speaker 3: that the speech was very long, and in her isolation booth,

975
00:56:43,719 --> 00:56:47,480
Speaker 3: she became very hot, so hot she couldn't breathe and

976
00:56:47,600 --> 00:56:51,040
Speaker 3: she couldn't really concentrate. And then she noticed, looking down

977
00:56:51,080 --> 00:56:54,879
Speaker 3: at the crowd below, that Marie le Blanche was sitting there,

978
00:56:55,280 --> 00:56:58,319
Speaker 3: and ooh, we get a rear window style zoom in

979
00:56:58,400 --> 00:57:02,080
Speaker 3: on Leblanche. Remember she's the woman who the Diplomatic Office

980
00:57:02,200 --> 00:57:05,919
Speaker 3: hired to replace Alice when she disappeared. And she says

981
00:57:05,960 --> 00:57:08,360
Speaker 3: that le Blanche was just staring at her, so like

982
00:57:08,440 --> 00:57:11,520
Speaker 3: everybody else in the room is looking forward, but Leblanche

983
00:57:11,600 --> 00:57:15,360
Speaker 3: is in her chair looking straight back up at Alice,

984
00:57:15,760 --> 00:57:18,240
Speaker 3: and she says, you know, it's like she was willing

985
00:57:18,240 --> 00:57:20,280
Speaker 3: her to make a mistake, kind of putting a curse

986
00:57:20,360 --> 00:57:24,400
Speaker 3: on her from a distance. And Alice says she felt overwhelmed.

987
00:57:24,440 --> 00:57:26,840
Speaker 3: She couldn't keep up with the voice she was translating.

988
00:57:27,640 --> 00:57:30,120
Speaker 3: She was afraid it would just keep going on without her,

989
00:57:30,200 --> 00:57:32,040
Speaker 3: which I guess it would write, you know, if she

990
00:57:32,040 --> 00:57:34,440
Speaker 3: can't keep up, it's just going to keep going. Then

991
00:57:34,440 --> 00:57:37,880
Speaker 3: she says, something happened, and we don't really know exactly

992
00:57:37,880 --> 00:57:40,680
Speaker 3: what it was. But in the black and white memory,

993
00:57:41,000 --> 00:57:44,720
Speaker 3: now everyone in the hall turns to stare up at Alice,

994
00:57:45,280 --> 00:57:47,919
Speaker 3: And in this moment, we don't really have a way

995
00:57:47,960 --> 00:57:52,480
Speaker 3: of knowing whether that actually happened, or whether her memory

996
00:57:52,520 --> 00:57:54,640
Speaker 3: of this event might be faulty, or we're getting a

997
00:57:54,720 --> 00:57:59,080
Speaker 3: kind of emotionally tinged version of it. So suddenly everybody

998
00:57:59,200 --> 00:58:01,440
Speaker 3: turns and looks and is staring at her in this

999
00:58:01,520 --> 00:58:05,320
Speaker 3: isolation booth, and she gets up and runs. She remembers

1000
00:58:05,360 --> 00:58:07,640
Speaker 3: she got up and ran out and rushed out of

1001
00:58:07,640 --> 00:58:10,280
Speaker 3: the building through the gardens next door, like she was

1002
00:58:10,400 --> 00:58:13,720
Speaker 3: running away from something. But that's where her memory stops.

1003
00:58:13,760 --> 00:58:17,479
Speaker 3: She can't recall where she went after that or why now.

1004
00:58:17,520 --> 00:58:22,600
Speaker 3: Mary suggests it's all those tranquilizers in take. She says,

1005
00:58:22,640 --> 00:58:24,880
Speaker 3: you know, you took a big dose and you just

1006
00:58:24,920 --> 00:58:28,120
Speaker 3: simply slept through two whole days. And Mary reminds her

1007
00:58:28,160 --> 00:58:30,560
Speaker 3: of how exhausted she has been from work.

1008
00:58:31,280 --> 00:58:33,200
Speaker 1: She's like, look, it's the seventies.

1009
00:58:33,240 --> 00:58:37,440
Speaker 3: It happens, yeah, But Alice has good reason for thinking

1010
00:58:37,480 --> 00:58:40,920
Speaker 3: that's not what happened, because she brings up something she

1011
00:58:40,920 --> 00:58:44,040
Speaker 3: hasn't told anybody else so far, the torn up postcard

1012
00:58:44,080 --> 00:58:47,400
Speaker 3: of the Hotel Garma. She says that the facade of

1013
00:58:47,440 --> 00:58:50,600
Speaker 3: the building looked so familiar to her. She doesn't have

1014
00:58:50,640 --> 00:58:52,680
Speaker 3: a memory of going there, but she could swear she

1015
00:58:52,720 --> 00:58:55,600
Speaker 3: had seen it before. And she has a memory of

1016
00:58:55,640 --> 00:58:59,360
Speaker 3: a room inside the hotel with a window painted and

1017
00:58:59,440 --> 00:59:05,000
Speaker 3: stained showing a giant peacock. Oh, then there are some

1018
00:59:05,080 --> 00:59:08,720
Speaker 3: more clues that something must have been going on. Back

1019
00:59:08,760 --> 00:59:11,840
Speaker 3: in her apartment, Alice realizes that she only has one

1020
00:59:11,880 --> 00:59:14,760
Speaker 3: of her two gold ear rings. She's got one for

1021
00:59:14,840 --> 00:59:18,280
Speaker 3: one ear but it's missing its mate. Also, she is

1022
00:59:18,360 --> 00:59:21,240
Speaker 3: missing a gray suit that should be in her closet,

1023
00:59:21,360 --> 00:59:24,760
Speaker 3: and in its place she finds a yellow dress her

1024
00:59:24,840 --> 00:59:28,160
Speaker 3: size that she has never seen before. Then on that

1025
00:59:28,280 --> 00:59:31,400
Speaker 3: yellow dress there is a small stain, a spot of blood.

1026
00:59:33,160 --> 00:59:36,200
Speaker 3: Also right around here. There's these little things throughout the

1027
00:59:36,240 --> 00:59:38,800
Speaker 3: movie that I think are so clever, because there will

1028
00:59:38,840 --> 00:59:43,280
Speaker 3: be a scene where nothing overtly scary happens, but there's

1029
00:59:43,520 --> 00:59:49,800
Speaker 3: just a little strange, slightly ominous accident. So one case

1030
00:59:49,840 --> 00:59:53,480
Speaker 3: of something like that that happens here is her phone

1031
00:59:53,600 --> 00:59:56,120
Speaker 3: rings and she answers and there's just silence on the

1032
00:59:56,120 --> 00:59:59,360
Speaker 3: other side. No one is there, Nothing super scary happens.

1033
00:59:59,360 --> 00:59:59,880
Speaker 1: But I don't know what.

1034
01:00:00,120 --> 01:00:02,400
Speaker 3: Things like that pile up in a movie. They can really,

1035
01:00:03,200 --> 01:00:05,480
Speaker 3: they can really be effective. It just feels like something

1036
01:00:05,560 --> 01:00:09,040
Speaker 3: is wrong with the world. She's being targeted somehow. And

1037
01:00:09,080 --> 01:00:11,880
Speaker 3: I also love that the phone looks like a computer mouse.

1038
01:00:12,320 --> 01:00:15,280
Speaker 1: This phone is it is a this is a plug

1039
01:00:15,320 --> 01:00:18,800
Speaker 1: into the wall telephone. Yes, but yeah, it looks the

1040
01:00:18,840 --> 01:00:21,440
Speaker 1: most like a like a mouse. But I couldn't even

1041
01:00:21,480 --> 01:00:22,840
Speaker 1: I didn't even know what it was when I saw

1042
01:00:22,880 --> 01:00:25,479
Speaker 1: it there. I was like, is this something that you

1043
01:00:25,600 --> 01:00:29,720
Speaker 1: use like on your body or you scan something? I like,

1044
01:00:29,760 --> 01:00:32,680
Speaker 1: I just this is clearly some sort of modern technology,

1045
01:00:32,920 --> 01:00:38,439
Speaker 1: but it's like so cutting edge that it's unrecognizable decades later,

1046
01:00:38,560 --> 01:00:38,720
Speaker 1: you know.

1047
01:00:47,080 --> 01:00:50,840
Speaker 3: So Alice is troubled by this situation and by her

1048
01:00:50,840 --> 01:00:54,120
Speaker 3: inability to remember the past two days. So she wakes

1049
01:00:54,200 --> 01:00:57,880
Speaker 3: up in the middle of the night. She's clearly wrestling

1050
01:00:57,920 --> 01:01:00,680
Speaker 3: with this, and she goes to the kitchen and retrieves

1051
01:01:00,760 --> 01:01:03,600
Speaker 3: the pieces of the torn up postcard and once again

1052
01:01:03,640 --> 01:01:06,520
Speaker 3: puts them together. And this causes her to think once

1053
01:01:06,560 --> 01:01:09,800
Speaker 3: again of the painted peacock in the glass, what is

1054
01:01:09,880 --> 01:01:13,000
Speaker 3: the source of that memory? And it seems if there

1055
01:01:13,040 --> 01:01:15,520
Speaker 3: is an answer to this riddle. It may lie in

1056
01:01:15,600 --> 01:01:16,640
Speaker 3: Garma wherever.

1057
01:01:16,680 --> 01:01:17,120
Speaker 1: That is.

1058
01:01:17,680 --> 01:01:20,320
Speaker 3: From what I can tell, Garma is not a real place.

1059
01:01:20,360 --> 01:01:22,240
Speaker 3: I tried to look it up and couldn't really come

1060
01:01:22,320 --> 01:01:25,520
Speaker 3: up with anything. But within the world of the movie,

1061
01:01:26,080 --> 01:01:29,200
Speaker 3: it is a small island in the Mediterranean. I think

1062
01:01:29,520 --> 01:01:31,600
Speaker 3: it's supposed to be off the coast of Turkey.

1063
01:01:32,440 --> 01:01:35,720
Speaker 1: Yeah, it looks like they film at a couple of

1064
01:01:35,720 --> 01:01:39,480
Speaker 1: different locations in Turkey, so I think that's fair too soon.

1065
01:01:40,240 --> 01:01:42,640
Speaker 3: So Alice books a flight to the nearest airport. There's

1066
01:01:42,680 --> 01:01:44,840
Speaker 3: no airport on Garma. She has to fly to another

1067
01:01:44,880 --> 01:01:47,080
Speaker 3: island or a town on the mainland, I think, and

1068
01:01:47,120 --> 01:01:50,680
Speaker 3: then take a boat out to Garma. And on the

1069
01:01:50,720 --> 01:01:53,760
Speaker 3: airplane we see she like sleeps in the in the

1070
01:01:53,800 --> 01:01:56,800
Speaker 3: airplane chair and she's dreaming about the astronauts strained on

1071
01:01:56,840 --> 01:02:00,960
Speaker 3: the moon again. And it's again a haunting image because

1072
01:02:01,160 --> 01:02:04,439
Speaker 3: the astronaut is this is after the lander has already left.

1073
01:02:04,440 --> 01:02:08,320
Speaker 3: So the astronaut is like stumbling around in the moon dust.

1074
01:02:08,440 --> 01:02:09,560
Speaker 1: But where can he go?

1075
01:02:09,680 --> 01:02:12,720
Speaker 3: You know, you imagine yourself in that situation, like why

1076
01:02:12,920 --> 01:02:15,120
Speaker 3: what sense would it even make to walk anywhere?

1077
01:02:15,160 --> 01:02:17,000
Speaker 1: There's no help to be found? You're on the moon.

1078
01:02:18,160 --> 01:02:20,360
Speaker 3: So she arrives at the port of Garma, where she

1079
01:02:20,480 --> 01:02:23,200
Speaker 3: disembarks from the boat and then meets a friendly young

1080
01:02:23,280 --> 01:02:26,800
Speaker 3: man with a British accent named Henry, who offers to

1081
01:02:26,840 --> 01:02:29,560
Speaker 3: give her a ride to the hotel. And on the

1082
01:02:29,600 --> 01:02:33,040
Speaker 3: way we see some beautiful local sites and architecture. There

1083
01:02:33,040 --> 01:02:37,320
Speaker 3: are these old stone mosques with huge rising domes and minarets.

1084
01:02:37,880 --> 01:02:42,400
Speaker 3: There are wooded cemeteries with tall, slender headstones. I really

1085
01:02:42,480 --> 01:02:45,640
Speaker 3: liked these graveyards where there would be like trees in them,

1086
01:02:45,720 --> 01:02:49,040
Speaker 3: and the trees are kind of the low branches are

1087
01:02:49,120 --> 01:02:53,280
Speaker 3: hanging out and mingling among the tall headstones of the graves.

1088
01:02:54,200 --> 01:02:57,040
Speaker 3: There's even what looks like an antique city wall with

1089
01:02:57,080 --> 01:03:00,080
Speaker 3: an arched gateway and the car just drives underneath it.

1090
01:03:00,080 --> 01:03:01,760
Speaker 3: It looks like something where I don't know, they want

1091
01:03:01,800 --> 01:03:04,600
Speaker 3: to keep traffic away from it or something, But I

1092
01:03:04,600 --> 01:03:07,040
Speaker 3: guess you get that more in I don't know, in

1093
01:03:07,080 --> 01:03:09,800
Speaker 3: like Europe and Turkey and stuff, where just like the

1094
01:03:10,120 --> 01:03:13,920
Speaker 3: ancient and the modern or just commingled, everything's right there together.

1095
01:03:14,600 --> 01:03:16,360
Speaker 1: Yeah, yeah, I mean that is one of the great

1096
01:03:16,360 --> 01:03:20,120
Speaker 1: things about about traveling to locations like this. I've never

1097
01:03:20,160 --> 01:03:24,080
Speaker 1: been to Turkey, but these these Turkish locations look look fabulous,

1098
01:03:24,120 --> 01:03:27,480
Speaker 1: and this film really found some great locations for these shots.

1099
01:03:27,800 --> 01:03:30,600
Speaker 3: Yeah, I wonder what this main mosque that we keep

1100
01:03:30,640 --> 01:03:33,280
Speaker 3: seeing is with the minarets. It's really really gorgeous.

1101
01:03:34,120 --> 01:03:36,080
Speaker 1: Yeah, I'm not sure. I think there are, like there

1102
01:03:36,080 --> 01:03:39,920
Speaker 1: are three different Turkish locations that are cited in IMDb.

1103
01:03:41,360 --> 01:03:44,080
Speaker 1: One of them is Kemra, which I'm to understand is

1104
01:03:44,240 --> 01:03:48,120
Speaker 1: essentially like a Mediterranean vacation destination. So I think when

1105
01:03:48,160 --> 01:03:52,720
Speaker 1: we see the more vacation y parts of this place

1106
01:03:52,840 --> 01:03:57,200
Speaker 1: where we're looking at Kemra, I'm not sure about these,

1107
01:03:57,320 --> 01:04:00,560
Speaker 1: about the cemetery or the mosque and so forth.

1108
01:04:01,120 --> 01:04:03,240
Speaker 3: So Alice tells Henry on the car ride that it

1109
01:04:03,320 --> 01:04:06,600
Speaker 3: is her first time visiting Garma, and Henry explains that

1110
01:04:06,680 --> 01:04:09,880
Speaker 3: he's there because he owns an old house. There's an

1111
01:04:09,880 --> 01:04:11,919
Speaker 3: old house on the island in the woods, and he's

1112
01:04:11,960 --> 01:04:14,160
Speaker 3: trying to fix it up, though he says he is

1113
01:04:14,240 --> 01:04:16,400
Speaker 3: not a very good carpenter, and he holds up a

1114
01:04:16,440 --> 01:04:18,160
Speaker 3: bandaged hand as proof of that.

1115
01:04:18,280 --> 01:04:18,960
Speaker 1: I guess.

1116
01:04:20,440 --> 01:04:21,960
Speaker 3: It would have been funnier if there was like still

1117
01:04:21,960 --> 01:04:24,080
Speaker 3: a nail sticking out of it, but it's just a

1118
01:04:24,080 --> 01:04:27,800
Speaker 3: bandage hand. Henry drops Alice off at the hotel, the

1119
01:04:28,160 --> 01:04:30,560
Speaker 3: one from the postcard, and we see it framed exactly

1120
01:04:30,600 --> 01:04:32,680
Speaker 3: the same way it is in the postcard. There's a

1121
01:04:32,760 --> 01:04:35,840
Speaker 3: nice little touch where a flock of pigeons on the

1122
01:04:35,880 --> 01:04:38,880
Speaker 3: sidewalk scatter into the air as the car arrives outside,

1123
01:04:38,920 --> 01:04:40,640
Speaker 3: and then they all just kind of settle down again.

1124
01:04:42,000 --> 01:04:44,640
Speaker 1: But at the hotel, Alice tries to ask.

1125
01:04:44,440 --> 01:04:47,000
Speaker 3: For the room she remembers the room with the peacock

1126
01:04:47,080 --> 01:04:49,680
Speaker 3: painted on the window, but the manager doesn't seem to

1127
01:04:49,680 --> 01:04:51,600
Speaker 3: know what she's talking about, so she takes a regular

1128
01:04:51,680 --> 01:04:54,440
Speaker 3: room with a balcony facing the ocean. And as with

1129
01:04:54,600 --> 01:04:57,560
Speaker 3: so many of the sets, the inside of this hotel

1130
01:04:57,800 --> 01:05:03,160
Speaker 3: is elegantly wacky. Lobby is just beautiful. It has these

1131
01:05:04,280 --> 01:05:10,240
Speaker 3: pillars and arches and this tile pattern, and I guess

1132
01:05:10,680 --> 01:05:12,160
Speaker 3: a lot of this looks like, you know, kind of

1133
01:05:12,160 --> 01:05:16,640
Speaker 3: classic Islamic architecture, so those kind of like arch window styles.

1134
01:05:17,400 --> 01:05:20,760
Speaker 3: But then also these beautiful hanging lights that have I

1135
01:05:20,760 --> 01:05:23,000
Speaker 3: don't know, they're not like a normal chandelier. They're more

1136
01:05:23,040 --> 01:05:27,760
Speaker 3: like randomly arranged lights along I don't know, kind of

1137
01:05:27,760 --> 01:05:31,520
Speaker 3: a Christmas light vibe and then the plants indoors and

1138
01:05:31,960 --> 01:05:35,040
Speaker 3: old furniture. It's just a beautiful looking place. And also

1139
01:05:35,080 --> 01:05:40,840
Speaker 3: her room is by contrast, kind of lovely but hideous,

1140
01:05:40,880 --> 01:05:44,400
Speaker 3: like a totally red blanket on the bed and then

1141
01:05:44,480 --> 01:05:48,320
Speaker 3: these wallpaper walls and like bear light bulbs. Yeah, it's

1142
01:05:48,360 --> 01:05:48,960
Speaker 3: it's something.

1143
01:05:49,360 --> 01:05:51,920
Speaker 1: Yeah, this movie does a great job at something that.

1144
01:05:52,040 --> 01:05:53,600
Speaker 1: This is another thing is easy to take for granted

1145
01:05:53,600 --> 01:05:55,720
Speaker 1: in a film, and not all films pulled this off,

1146
01:05:56,160 --> 01:06:02,479
Speaker 1: but making you so invested in the speculativelopment or pre

1147
01:06:02,840 --> 01:06:06,040
Speaker 1: call to adventures and so forth aspect of the plot.

1148
01:06:06,520 --> 01:06:09,360
Speaker 1: You're like on vacation with this woman and you're like this,

1149
01:06:09,360 --> 01:06:11,520
Speaker 1: this is pleasant. I want to see what's next. What's

1150
01:06:11,560 --> 01:06:14,040
Speaker 1: she doing for lunch? Yeah, right, let's look at more

1151
01:06:14,040 --> 01:06:16,720
Speaker 1: details in her hotel room. Like I'm game. I'm totally

1152
01:06:16,760 --> 01:06:19,280
Speaker 1: down with the pace at which we're exploring this world.

1153
01:06:19,560 --> 01:06:20,000
Speaker 1: That's right.

1154
01:06:20,040 --> 01:06:22,560
Speaker 3: So Alice explores the island, she takes in more of

1155
01:06:22,560 --> 01:06:26,320
Speaker 3: the sites in the atmosphere. There's one particularly lovely shot

1156
01:06:26,360 --> 01:06:29,200
Speaker 3: where she's i think, wandering around outside the mosque we

1157
01:06:29,240 --> 01:06:32,080
Speaker 3: saw earlier, and there are these trees in the courtyard.

1158
01:06:32,240 --> 01:06:35,640
Speaker 3: Sort of you just see like the tree trunks and

1159
01:06:35,760 --> 01:06:39,000
Speaker 3: these stone pillars framed in almost the same way, like

1160
01:06:39,040 --> 01:06:42,800
Speaker 3: you can mistake one for the other, and it's quite beautiful.

1161
01:06:43,320 --> 01:06:46,480
Speaker 3: And so she's exploring the island, lounging on the coast.

1162
01:06:47,200 --> 01:06:51,000
Speaker 3: There's one thing that's kind of interesting here. We were

1163
01:06:51,040 --> 01:06:54,440
Speaker 3: talking about the scene earlier with the speech about the

1164
01:06:54,440 --> 01:07:00,560
Speaker 3: coming environmental catastrophe, where this very captivating and disturbing premise

1165
01:07:00,720 --> 01:07:03,320
Speaker 3: is established by what's happening in the background, but the

1166
01:07:03,400 --> 01:07:06,520
Speaker 3: characters don't really acknowledge or comment on this at all,

1167
01:07:07,200 --> 01:07:09,520
Speaker 3: So it's like it might not be affecting them, or

1168
01:07:09,560 --> 01:07:13,040
Speaker 3: maybe maybe it is affecting them, but they don't acknowledge

1169
01:07:13,160 --> 01:07:15,240
Speaker 3: or realize themselves.

1170
01:07:14,600 --> 01:07:15,720
Speaker 1: How it is affecting them.

1171
01:07:16,040 --> 01:07:19,520
Speaker 3: There's a similar thing with the history in the setting,

1172
01:07:19,640 --> 01:07:24,640
Speaker 3: this island being full of old buildings, holy places, ruins,

1173
01:07:24,840 --> 01:07:29,240
Speaker 3: ruins in the woods, ancient city walls, and cemeteries. Very

1174
01:07:29,240 --> 01:07:32,800
Speaker 3: little is said about this, but the setting really contributes

1175
01:07:32,840 --> 01:07:37,080
Speaker 3: to the psychic connotations of the action, like something is old, buried,

1176
01:07:37,240 --> 01:07:41,280
Speaker 3: maybe sacred may be haunted. So I guess at this

1177
01:07:41,320 --> 01:07:43,120
Speaker 3: point it makes sense to kind of zoom out and

1178
01:07:43,200 --> 01:07:45,800
Speaker 3: give a more summary description of this middle portion of

1179
01:07:45,840 --> 01:07:48,520
Speaker 3: the movie, a lot of which is Alice going about

1180
01:07:49,000 --> 01:07:52,840
Speaker 3: having various encounters on the island, trying to piece together

1181
01:07:53,880 --> 01:07:57,320
Speaker 3: what happened, what her connection to this place is, and

1182
01:07:57,440 --> 01:07:59,720
Speaker 3: what people know. And a big thing is that as

1183
01:07:59,760 --> 01:08:03,240
Speaker 3: she meets people on the island, especially other tourists, she

1184
01:08:03,760 --> 01:08:08,760
Speaker 3: gets recognized. So she meets a red haired girl named Paula.

1185
01:08:09,840 --> 01:08:12,440
Speaker 3: They're out on the beach. I think she's lounging in

1186
01:08:12,480 --> 01:08:14,840
Speaker 3: a chair sort of in the shade of a tree

1187
01:08:14,880 --> 01:08:17,799
Speaker 3: that's very close to the beach. It just looks closer

1188
01:08:17,840 --> 01:08:19,960
Speaker 3: to the beach than tree usually is, I think. But

1189
01:08:20,840 --> 01:08:23,200
Speaker 3: she's sitting there and this girl, Paula, comes up and

1190
01:08:23,240 --> 01:08:26,080
Speaker 3: talks to her as if she already knows her, and

1191
01:08:26,160 --> 01:08:29,040
Speaker 3: she says they've met before, but this girl knows her

1192
01:08:29,240 --> 01:08:33,720
Speaker 3: not as Alice, but as Nicole, and Paula says that

1193
01:08:33,840 --> 01:08:38,760
Speaker 3: Nicole looked alike her, but with long red hair, and

1194
01:08:38,840 --> 01:08:42,840
Speaker 3: I like that a sort of double doppelganger theme is

1195
01:08:42,960 --> 01:08:46,600
Speaker 3: established here. It's sort of spooky because not only is

1196
01:08:46,640 --> 01:08:50,280
Speaker 3: the implication that Alice has some kind of unknown lookalike,

1197
01:08:50,920 --> 01:08:54,439
Speaker 3: but also it's kind of spooky because the child telling

1198
01:08:54,520 --> 01:08:57,920
Speaker 3: her about this lookalike with long red hair, also has

1199
01:08:58,000 --> 01:08:58,760
Speaker 3: long red hair.

1200
01:08:59,360 --> 01:09:02,120
Speaker 1: Yeah. Yeah, and so these are the moments where you

1201
01:09:02,560 --> 01:09:05,240
Speaker 1: do wonder. It's like, is the child also some manner

1202
01:09:05,320 --> 01:09:09,040
Speaker 1: of doppelganger or a ghost of the child that you were,

1203
01:09:09,280 --> 01:09:10,840
Speaker 1: that sort of thing. Yeah.

1204
01:09:11,240 --> 01:09:15,240
Speaker 3: Paula says that Alice is similar to Nicole, but nicer.

1205
01:09:15,520 --> 01:09:19,799
Speaker 3: Something about Nicole was frightening and she did something scary

1206
01:09:19,920 --> 01:09:23,120
Speaker 3: out in the woods. And I love in the setting here,

1207
01:09:23,160 --> 01:09:25,599
Speaker 3: the presence of these woods kind of at the edge

1208
01:09:25,600 --> 01:09:27,679
Speaker 3: of a lot of these beach scenes. So we'll see

1209
01:09:28,160 --> 01:09:30,840
Speaker 3: Alice talking to people out on the beach or out

1210
01:09:30,880 --> 01:09:33,200
Speaker 3: on the rocks near the coast, and then there's often

1211
01:09:33,400 --> 01:09:37,320
Speaker 3: like a throw, a throw of attention towards this peninsular

1212
01:09:37,720 --> 01:09:41,400
Speaker 3: coast that's got a pine forest on it and it's

1213
01:09:41,600 --> 01:09:44,519
Speaker 3: very ominous. So something about the energy that these woods

1214
01:09:44,640 --> 01:09:45,960
Speaker 3: radiate is powerful.

1215
01:09:46,760 --> 01:09:50,320
Speaker 1: Yeah, they feel thick and wild, as if all the

1216
01:09:50,400 --> 01:09:54,960
Speaker 1: like the resort town energy that we see elsewhere, and

1217
01:09:55,040 --> 01:09:58,439
Speaker 1: even the deeper history of the island, the human history

1218
01:09:58,640 --> 01:10:01,799
Speaker 1: that they seem to to struggle here in these woods.

1219
01:10:01,840 --> 01:10:06,440
Speaker 1: These woods are more primal, wilder, and less touched by humanity.

1220
01:10:06,640 --> 01:10:08,640
Speaker 3: Yeah, there's a really good scene in them coming up

1221
01:10:08,640 --> 01:10:10,920
Speaker 3: in a minute. But first of all, Alice also has

1222
01:10:10,920 --> 01:10:15,519
Speaker 3: an encounter with an older woman named missus Him, also

1223
01:10:15,560 --> 01:10:19,200
Speaker 3: a tourist on the island, who also recently saw Nicole,

1224
01:10:19,400 --> 01:10:20,599
Speaker 3: This woman who looked.

1225
01:10:20,400 --> 01:10:22,040
Speaker 1: Like Alice but with long red hair.

1226
01:10:22,680 --> 01:10:25,240
Speaker 3: So what's going on? Does Alice have a secret look

1227
01:10:25,280 --> 01:10:28,240
Speaker 3: alike or was she somehow here in disguise in the

1228
01:10:28,280 --> 01:10:30,960
Speaker 3: days she can't remember? Why would she have been in

1229
01:10:31,000 --> 01:10:34,960
Speaker 3: disguise if that was her. She also has another meeting

1230
01:10:35,000 --> 01:10:37,320
Speaker 3: with Henry, the nice man who gave her a ride

1231
01:10:37,320 --> 01:10:40,080
Speaker 3: to the hotel, and there is a hint of romantic

1232
01:10:40,120 --> 01:10:42,720
Speaker 3: interest between them, and Henry invites her to meet him

1233
01:10:42,720 --> 01:10:46,240
Speaker 3: for a drink later. But I mentioned the creepy scene

1234
01:10:46,240 --> 01:10:48,360
Speaker 3: in the woods is the scene with the dog and

1235
01:10:48,439 --> 01:10:52,320
Speaker 3: the wig. So there's a scene where Alice and Paula,

1236
01:10:52,439 --> 01:10:55,559
Speaker 3: the younger girl, they go out into the woods into

1237
01:10:55,640 --> 01:10:58,320
Speaker 3: I think these are like there are ruins in the

1238
01:10:58,360 --> 01:10:59,160
Speaker 3: pine woods.

1239
01:10:59,560 --> 01:11:02,920
Speaker 1: Yeah, like an arch that's still intact.

1240
01:11:03,400 --> 01:11:07,280
Speaker 3: Yeah, And they go here because am I remembering right

1241
01:11:07,360 --> 01:11:10,000
Speaker 3: that this? They went here because this is the place

1242
01:11:10,000 --> 01:11:14,519
Speaker 3: where Paula said she saw Nicole burning things in a fire. Yes,

1243
01:11:14,840 --> 01:11:16,960
Speaker 3: so they go here and they find the remains of

1244
01:11:17,040 --> 01:11:20,799
Speaker 3: whatever Nicole had been burning, and Paula confesses that Nicole

1245
01:11:21,080 --> 01:11:25,800
Speaker 3: scared her. Nicole herself apparently was afraid she had been

1246
01:11:25,880 --> 01:11:29,880
Speaker 3: acting erradically and she was afraid that people were following her,

1247
01:11:30,000 --> 01:11:35,400
Speaker 3: hunting her. And there's some kind of espionage story implication,

1248
01:11:35,720 --> 01:11:40,160
Speaker 3: like was Alice burning documents in the woods, burning something

1249
01:11:40,200 --> 01:11:43,840
Speaker 3: having to do with her work, maybe diplomatic secrets about

1250
01:11:43,880 --> 01:11:47,599
Speaker 3: scientific research, and was somebody trying to get a hold

1251
01:11:47,680 --> 01:11:50,679
Speaker 3: of that information. But in the end of the scene,

1252
01:11:50,880 --> 01:11:55,160
Speaker 3: Paula is scared by Nicole slash Alice and runs away,

1253
01:11:55,720 --> 01:12:00,400
Speaker 3: and Alice sees a stray dog. I think they have

1254
01:12:00,439 --> 01:12:02,599
Speaker 3: a name for this dog. Is he called Fox or something?

1255
01:12:03,040 --> 01:12:03,639
Speaker 1: Yes? Fox?

1256
01:12:03,760 --> 01:12:06,200
Speaker 3: Yeah, there's a stray dog who hangs around and the

1257
01:12:06,280 --> 01:12:10,839
Speaker 3: dog is like chewing on a red wig. So Alice

1258
01:12:10,880 --> 01:12:13,760
Speaker 3: retrieves the wig, and this is another clue, and it

1259
01:12:13,800 --> 01:12:17,280
Speaker 3: takes her to the local wig shop. So Garma appears

1260
01:12:17,320 --> 01:12:19,200
Speaker 3: to have a very it's a small town, but they

1261
01:12:19,200 --> 01:12:22,520
Speaker 3: do have a wig shop and like a wig styling specialist.

1262
01:12:23,720 --> 01:12:25,880
Speaker 1: Yeah. She brings it in and she's like, I would

1263
01:12:25,920 --> 01:12:29,959
Speaker 1: like this washed, she says, washed and combed. Yeah, yeah,

1264
01:12:30,000 --> 01:12:31,519
Speaker 1: which I don't know. I don't know much about wigs,

1265
01:12:31,520 --> 01:12:33,240
Speaker 1: but I was just assumed, like once it's in the

1266
01:12:33,240 --> 01:12:35,760
Speaker 1: woods in the mouth of a dog, like, maybe that

1267
01:12:35,800 --> 01:12:38,200
Speaker 1: wig's gone. I don't know, but maybe you can bring

1268
01:12:38,280 --> 01:12:38,840
Speaker 1: him back from that.

1269
01:12:39,320 --> 01:12:42,599
Speaker 3: Yeah, yeah, you can always bring a wig back, I'm sure. Anyway,

1270
01:12:42,600 --> 01:12:46,599
Speaker 3: at the wig shop, Alice is once again recognized as Nicole.

1271
01:12:47,280 --> 01:12:49,720
Speaker 3: The man there fixes up her wig and offers to

1272
01:12:49,760 --> 01:12:52,760
Speaker 3: redo her makeup in the way that he had done

1273
01:12:52,800 --> 01:12:58,439
Speaker 3: it before. So, if Nicole was Alice, it seems maybe

1274
01:12:58,439 --> 01:13:01,800
Speaker 3: she had been trying to change her whole appearance, and

1275
01:13:02,080 --> 01:13:06,280
Speaker 3: there are multiple possibilities there. Was she trying to hide

1276
01:13:06,360 --> 01:13:09,919
Speaker 3: her identity or was she trying to change it entirely,

1277
01:13:10,000 --> 01:13:10,760
Speaker 3: like change.

1278
01:13:10,520 --> 01:13:13,640
Speaker 1: Who she was? We don't know at this point.

1279
01:13:13,880 --> 01:13:17,720
Speaker 3: From here, Alice traces the path of Nichole's business with

1280
01:13:17,840 --> 01:13:20,640
Speaker 3: various shops in town. She finds the shop where she

1281
01:13:20,840 --> 01:13:23,240
Speaker 3: had bought the yellow dress with the spot of blood

1282
01:13:23,280 --> 01:13:27,120
Speaker 3: on it that she found in her closet. She finds

1283
01:13:27,320 --> 01:13:31,160
Speaker 3: somehow reference to an order at the stationery store, and

1284
01:13:31,240 --> 01:13:34,400
Speaker 3: when she goes to pick it up, the shopkeeper there says, oh,

1285
01:13:34,479 --> 01:13:36,880
Speaker 3: you know, this order was already filled. You already got

1286
01:13:36,880 --> 01:13:39,519
Speaker 3: the item, but Alice asks for the same item again

1287
01:13:39,560 --> 01:13:41,920
Speaker 3: to find out what it is. When she gets it,

1288
01:13:41,920 --> 01:13:46,719
Speaker 3: it is a large, sharp pair of scissors. Also throughout

1289
01:13:46,720 --> 01:13:50,640
Speaker 3: this middle section of the movie, there are scenes that

1290
01:13:50,880 --> 01:13:55,599
Speaker 3: just raised the specter of Alice being pursued or watched

1291
01:13:55,640 --> 01:13:58,800
Speaker 3: in some way. You know, are there people who are

1292
01:13:58,800 --> 01:14:02,680
Speaker 3: following her? And other people are telling her that if

1293
01:14:02,800 --> 01:14:05,599
Speaker 3: Nicole was her Nicole was afraid of men who had

1294
01:14:05,640 --> 01:14:08,800
Speaker 3: been following her, and she has recurring dreams of the

1295
01:14:08,800 --> 01:14:11,960
Speaker 3: science fiction film with klas Kinski killing these astronauts on

1296
01:14:12,000 --> 01:14:15,559
Speaker 3: the moon to complete the experiment. There's a scene where

1297
01:14:15,600 --> 01:14:19,599
Speaker 3: Alice meets Henry for a drink, and here he acts

1298
01:14:19,640 --> 01:14:22,880
Speaker 3: a little bit strange. He still he comes across as

1299
01:14:22,960 --> 01:14:26,160
Speaker 3: very nice, like not threatening at all, but he does

1300
01:14:26,200 --> 01:14:28,320
Speaker 3: start to say things like is there something you'd like

1301
01:14:28,400 --> 01:14:30,240
Speaker 3: to tell me? You have something you want to say,

1302
01:14:30,800 --> 01:14:33,479
Speaker 3: and she doesn't understand what's going on and.

1303
01:14:33,520 --> 01:14:34,320
Speaker 1: Ends up leaving.

1304
01:14:35,560 --> 01:14:39,040
Speaker 3: Alice tries to make arrangements to leave the island on

1305
01:14:39,120 --> 01:14:41,400
Speaker 3: the last boat of the day, but this ends up

1306
01:14:41,479 --> 01:14:44,400
Speaker 3: going wrong. She misses the boat because she first has

1307
01:14:44,439 --> 01:14:47,160
Speaker 3: to pick up her wallet which she lost, which is

1308
01:14:47,160 --> 01:14:50,920
Speaker 3: in the possession of missus Him that other tourists she met,

1309
01:14:51,479 --> 01:14:54,040
Speaker 3: and missus Him has asked her to meet to meet

1310
01:14:54,080 --> 01:14:57,559
Speaker 3: at an organ concert in a local church, and this

1311
01:14:57,680 --> 01:15:01,040
Speaker 3: is supposed to be some great traveling organ who is performing.

1312
01:15:01,360 --> 01:15:04,160
Speaker 3: I don't normally I'm not gonna knock other people's musical

1313
01:15:04,200 --> 01:15:07,840
Speaker 3: performance as a sloppy musician myself, but I heard what

1314
01:15:07,920 --> 01:15:10,639
Speaker 3: sounded like a lot of mistakes on this organ playing.

1315
01:15:10,680 --> 01:15:13,040
Speaker 3: I don't know how like world class this one, this

1316
01:15:13,160 --> 01:15:14,840
Speaker 3: performer was it.

1317
01:15:15,360 --> 01:15:18,000
Speaker 1: I can't speak to that, but I did find that

1318
01:15:18,080 --> 01:15:21,519
Speaker 1: the whole organ performance felt kind of like creepy and

1319
01:15:21,560 --> 01:15:23,960
Speaker 1: low energy at the same time, where I'm like, is

1320
01:15:24,000 --> 01:15:27,800
Speaker 1: this really the only thing to do in this town

1321
01:15:27,880 --> 01:15:29,720
Speaker 1: right now? I don't know, maybe it is.

1322
01:15:30,320 --> 01:15:32,680
Speaker 3: It just kind of sounded like the music that's, you know,

1323
01:15:32,800 --> 01:15:35,479
Speaker 3: playing at a local church when people are like filing

1324
01:15:35,520 --> 01:15:36,719
Speaker 3: in and finding their seats.

1325
01:15:37,120 --> 01:15:37,680
Speaker 1: Yeah.

1326
01:15:40,200 --> 01:15:44,240
Speaker 3: Yeah. Now somehow from here, Alice ends up back in

1327
01:15:44,280 --> 01:15:48,240
Speaker 3: the woods trying to piece together what happened, and she

1328
01:15:48,240 --> 01:15:51,840
Speaker 3: she has some kind of mental exhaustion episode and she

1329
01:15:52,160 --> 01:15:55,360
Speaker 3: falls down and faints. Do you remember what the exact

1330
01:15:55,439 --> 01:15:56,680
Speaker 3: trigger of this moment is?

1331
01:15:57,400 --> 01:15:59,880
Speaker 1: I do not. I don't think it was the organ

1332
01:16:00,080 --> 01:16:06,559
Speaker 1: concert specifically, Yeah, that organ music was so bad. But

1333
01:16:06,960 --> 01:16:09,240
Speaker 1: is it? Is it ever established that it is perhaps

1334
01:16:09,320 --> 01:16:12,639
Speaker 1: off season in Garma? Yes, they talk about that. Yeah,

1335
01:16:12,680 --> 01:16:14,679
Speaker 1: I think you're good, that's what I because it feels

1336
01:16:14,800 --> 01:16:15,639
Speaker 1: very off season.

1337
01:16:15,920 --> 01:16:18,760
Speaker 3: Yes, it's not the high tourist season. Henry says that

1338
01:16:18,800 --> 01:16:21,400
Speaker 3: when they're first traveling together, when they're in the car

1339
01:16:21,439 --> 01:16:25,000
Speaker 3: heading into town. So I think this is why the

1340
01:16:25,720 --> 01:16:28,160
Speaker 3: tourist locations are sparsely populated.

1341
01:16:28,360 --> 01:16:31,160
Speaker 1: Yeah, and the organ music is the only the only

1342
01:16:31,200 --> 01:16:33,880
Speaker 1: act in town, because otherwise you'd think, well, maybe there'd

1343
01:16:33,880 --> 01:16:36,400
Speaker 1: be some more traditional Turkish music to listen to, or

1344
01:16:36,800 --> 01:16:40,920
Speaker 1: various uh, you know, European acts coming in to appeal

1345
01:16:40,960 --> 01:16:44,040
Speaker 1: to the European tourists. And I guess that's what the

1346
01:16:44,160 --> 01:16:46,479
Speaker 1: organist is doing here anyway.

1347
01:16:46,560 --> 01:16:49,680
Speaker 3: So she falls down unconscious and wakes up in a

1348
01:16:49,680 --> 01:16:54,160
Speaker 3: different place. She is in an old, empty mansion, and

1349
01:16:54,640 --> 01:16:58,559
Speaker 3: looking around, she discovers the peacock, the one from her memory,

1350
01:16:58,760 --> 01:17:01,479
Speaker 3: the window painted with the peacock on the glass.

1351
01:17:02,320 --> 01:17:03,320
Speaker 1: What is this place?

1352
01:17:03,800 --> 01:17:06,360
Speaker 3: Well, here we get the payoff of an earlier conversation.

1353
01:17:06,880 --> 01:17:10,120
Speaker 3: Remember when she met Henry, he said he was fixing

1354
01:17:10,200 --> 01:17:13,040
Speaker 3: up an old house in the woods here it is

1355
01:17:13,840 --> 01:17:19,040
Speaker 3: so with Henry's help, Alice remembers what apparently happened earlier

1356
01:17:19,120 --> 01:17:22,640
Speaker 3: this week, and in fact, what happened earlier in their lives.

1357
01:17:23,880 --> 01:17:26,640
Speaker 3: Do we learn I think here that Henry is not

1358
01:17:26,720 --> 01:17:29,519
Speaker 3: Henry's real name, that he has another name.

1359
01:17:29,560 --> 01:17:32,639
Speaker 1: I'm forgetting what it is. I don't remember what Henry's

1360
01:17:32,640 --> 01:17:35,479
Speaker 1: other possible name is, but there's a lot of insisting

1361
01:17:35,560 --> 01:17:36,879
Speaker 1: that he is actually Henry.

1362
01:17:37,200 --> 01:17:40,719
Speaker 3: Yes, anyway, whatever his real name is. These two characters,

1363
01:17:40,760 --> 01:17:44,360
Speaker 3: when Alice and Henry were both teenagers, they met one

1364
01:17:44,400 --> 01:17:49,080
Speaker 3: summer while Alice's family was on vacation in Garma, and

1365
01:17:49,120 --> 01:17:53,559
Speaker 3: I think Henry's family had owned this house there, And

1366
01:17:53,640 --> 01:17:55,880
Speaker 3: so when they met all these years ago, they had

1367
01:17:55,920 --> 01:17:59,680
Speaker 3: a brief but intense young love, and Alice recalls in

1368
01:17:59,760 --> 01:18:03,679
Speaker 3: me of taking Henry's hand in front of the peacock window.

1369
01:18:04,880 --> 01:18:09,559
Speaker 3: And so it seems earlier this week what happened was

1370
01:18:10,040 --> 01:18:14,839
Speaker 3: something in Alice's life back in Rome caused her to snap,

1371
01:18:15,240 --> 01:18:19,320
Speaker 3: and she fled Rome and fled to Garma and assumed

1372
01:18:19,439 --> 01:18:22,800
Speaker 3: this new identity of Nicole, and so she wore a

1373
01:18:22,840 --> 01:18:26,920
Speaker 3: wig and dressed herself differently. They say that She somehow

1374
01:18:26,960 --> 01:18:30,120
Speaker 3: remembered that Henry's favorite color was yellow, and so she

1375
01:18:30,240 --> 01:18:33,000
Speaker 3: bought a yellow dress in town and wore it and

1376
01:18:33,120 --> 01:18:36,559
Speaker 3: came to Henry, seeking to connect with this time in

1377
01:18:36,600 --> 01:18:39,280
Speaker 3: her past when she had felt happy, when she felt

1378
01:18:39,320 --> 01:18:43,120
Speaker 3: loved and felt safe. She came here, she found Henry,

1379
01:18:43,439 --> 01:18:47,000
Speaker 3: and they rekindled their love after these many years. But

1380
01:18:47,479 --> 01:18:51,040
Speaker 3: for some reason she left again. She'd only been she

1381
01:18:51,120 --> 01:18:53,679
Speaker 3: only stayed for I guess a day or two. She left,

1382
01:18:53,800 --> 01:18:57,160
Speaker 3: went back to Rome, and then somehow lost all memory

1383
01:18:57,200 --> 01:18:58,160
Speaker 3: of what had happened.

1384
01:18:59,040 --> 01:19:01,439
Speaker 1: Well that's that's a red flag for everyone involved here,

1385
01:19:01,920 --> 01:19:02,280
Speaker 1: I think.

1386
01:19:02,320 --> 01:19:04,639
Speaker 3: So now it seems at this point like, well, maybe

1387
01:19:04,640 --> 01:19:07,559
Speaker 3: we could have a happy ending here. Maybe they rekindle

1388
01:19:07,600 --> 01:19:10,080
Speaker 3: their love and they you know, they find happiness in

1389
01:19:10,120 --> 01:19:12,040
Speaker 3: each other. You know, they take care of each other

1390
01:19:12,080 --> 01:19:13,160
Speaker 3: and it's all good.

1391
01:19:13,240 --> 01:19:19,000
Speaker 1: Right. Unfortunately, that's not the trajectory of this motion picture. Right.

1392
01:19:19,080 --> 01:19:23,000
Speaker 3: So Alice she rests, but she wakes again later and

1393
01:19:23,040 --> 01:19:28,360
Speaker 3: she sneaks downstairs to hear Henry on the phone talking

1394
01:19:28,400 --> 01:19:31,759
Speaker 3: to someone about the fact that he now has Alice

1395
01:19:31,960 --> 01:19:33,880
Speaker 3: here at his house. I think he's talking to somebody

1396
01:19:33,880 --> 01:19:35,439
Speaker 3: on the phone and he's like, yes, I went and

1397
01:19:35,479 --> 01:19:38,120
Speaker 3: I retrieved her things from the hotel. Yes, you don't

1398
01:19:38,160 --> 01:19:40,599
Speaker 3: have to worry about that now I've got them. And

1399
01:19:41,240 --> 01:19:47,479
Speaker 3: something about the conversation sounds suspicious, and Alice begins to fear.

1400
01:19:47,840 --> 01:19:51,280
Speaker 3: Wait a second, is this really my lost teenage love

1401
01:19:51,920 --> 01:19:55,160
Speaker 3: or is this guy here part of the plot, the

1402
01:19:55,200 --> 01:19:58,080
Speaker 3: plot of the men who have been pursuing me? Why

1403
01:19:58,400 --> 01:20:01,280
Speaker 3: was I hiding is Nicole when I came here last?

1404
01:20:01,439 --> 01:20:02,519
Speaker 3: Why was I doing that?

1405
01:20:03,760 --> 01:20:04,000
Speaker 1: You know?

1406
01:20:04,160 --> 01:20:08,160
Speaker 3: Something doesn't feel right here. So she confronts Henry, and

1407
01:20:08,320 --> 01:20:10,960
Speaker 3: he claims that he was only on the phone with

1408
01:20:11,000 --> 01:20:13,360
Speaker 3: the doctor. He was trying to arrange for her to

1409
01:20:13,400 --> 01:20:16,639
Speaker 3: receive some medical attention since she obviously suffered some kind

1410
01:20:16,640 --> 01:20:21,880
Speaker 3: of mental episode, and she doesn't believe him, and then

1411
01:20:21,920 --> 01:20:25,839
Speaker 3: it is revealed how their last encounter ended. The wound

1412
01:20:25,920 --> 01:20:28,720
Speaker 3: on his hand is not because he's a bad carpenter

1413
01:20:28,760 --> 01:20:32,080
Speaker 3: and like hammered his own fingers. The bandaged hand is

1414
01:20:32,120 --> 01:20:35,880
Speaker 3: from where she slashed him with the scissors she bought

1415
01:20:36,040 --> 01:20:38,920
Speaker 3: the last time they were together earlier this week. So

1416
01:20:39,120 --> 01:20:41,879
Speaker 3: why didn't he acknowledge this when they met the day before?

1417
01:20:42,479 --> 01:20:45,280
Speaker 3: Henry says that he wanted her to remember naturally, he

1418
01:20:45,280 --> 01:20:47,840
Speaker 3: didn't want to put pressure on her to recall this

1419
01:20:47,920 --> 01:20:49,720
Speaker 3: all at once, not to force it on her all

1420
01:20:49,760 --> 01:20:53,320
Speaker 3: at once, So he just was giving her space, I guess.

1421
01:20:53,200 --> 01:20:57,520
Speaker 1: But also lying, yeah, also gaslighting herself. Yeah yeah.

1422
01:20:57,600 --> 01:21:00,679
Speaker 3: This makes her very fearful and suspicious. She is now

1423
01:21:00,720 --> 01:21:03,680
Speaker 3: thinking about this more like it's the espionage movie we've

1424
01:21:03,720 --> 01:21:07,840
Speaker 3: been talking about, where she's being pursued by agents. Increasingly,

1425
01:21:07,880 --> 01:21:11,080
Speaker 3: it's clear that she's thinking of these as the agents

1426
01:21:11,280 --> 01:21:16,320
Speaker 3: of Blackmun, the professor in the science fiction movie that

1427
01:21:16,360 --> 01:21:19,800
Speaker 3: she has these nightmares about. There are agents working for this,

1428
01:21:20,439 --> 01:21:24,439
Speaker 3: for this evil, mad scientist, and they are following her,

1429
01:21:25,000 --> 01:21:27,800
Speaker 3: and it seems kind of plausible even from our perspective.

1430
01:21:27,840 --> 01:21:31,160
Speaker 3: I mean that the the identity of the pursuer doesn't

1431
01:21:31,160 --> 01:21:34,599
Speaker 3: seem plausible. But even from the viewer's perspective, I wasn't

1432
01:21:34,600 --> 01:21:36,960
Speaker 3: sure what was going on. I was wondering, wait a minute,

1433
01:21:36,960 --> 01:21:40,280
Speaker 3: maybe is Henry trying to exploit her in some way?

1434
01:21:40,360 --> 01:21:44,840
Speaker 3: Is he trying to get her diplomatic information, you know,

1435
01:21:45,000 --> 01:21:48,040
Speaker 3: like like learn something for an enemy government?

1436
01:21:48,640 --> 01:21:52,640
Speaker 1: Yeah, yeah, it's it's we're unsure as the viewer, like

1437
01:21:52,640 --> 01:21:55,160
Speaker 1: where to stand on this. And it adding to this

1438
01:21:55,360 --> 01:22:00,920
Speaker 1: is that this sequence feels increasingly surreal because we have

1439
01:22:01,000 --> 01:22:05,519
Speaker 1: that huge peacock stained glass piece behind them, the colors

1440
01:22:05,520 --> 01:22:09,840
Speaker 1: are very vibrant. Things. Really feel that this is the

1441
01:22:09,840 --> 01:22:11,880
Speaker 1: sequence in the picture that feels the most bada asque

1442
01:22:11,920 --> 01:22:13,959
Speaker 1: guy would say, of any sequence.

1443
01:22:21,840 --> 01:22:24,840
Speaker 3: And so as Henry is trying to approach her and

1444
01:22:24,880 --> 01:22:29,040
Speaker 3: calm her, she panics and she stabs him with the scissors,

1445
01:22:29,320 --> 01:22:31,840
Speaker 3: with the scissors she got from the stationary.

1446
01:22:31,280 --> 01:22:33,360
Speaker 1: Store, seemingly fatally this time.

1447
01:22:33,479 --> 01:22:38,120
Speaker 3: Yes, yes, Henry falls down dead, and then we see

1448
01:22:38,680 --> 01:22:42,599
Speaker 3: we see Alice in a panic. She flees out into

1449
01:22:42,640 --> 01:22:44,920
Speaker 3: the woods, is running through the woods and then is

1450
01:22:45,040 --> 01:22:48,200
Speaker 3: running on the beach and is looking over her shoulder

1451
01:22:48,200 --> 01:22:50,360
Speaker 3: everywhere we see her, like looking in the woods and

1452
01:22:50,880 --> 01:22:54,720
Speaker 3: looking for people who she thinks might be Henry's co conspirators,

1453
01:22:54,760 --> 01:22:57,840
Speaker 3: the people who have been following her. And in the

1454
01:22:57,960 --> 01:23:01,519
Speaker 3: end they appear. In fact, they are not just like

1455
01:23:01,640 --> 01:23:04,160
Speaker 3: I was imagining, like if there are men following her,

1456
01:23:04,160 --> 01:23:05,680
Speaker 3: what are we going to see kind of guys in

1457
01:23:05,720 --> 01:23:10,160
Speaker 3: suits with dark sunglasses or what. When they appear, they

1458
01:23:10,200 --> 01:23:14,760
Speaker 3: are astronauts dressed in full EVA suits with the bubble helmets,

1459
01:23:15,200 --> 01:23:17,479
Speaker 3: and they chase her down on the beach, which is

1460
01:23:17,520 --> 01:23:20,439
Speaker 3: interesting because the pebbles of the beach somewhat resemble the

1461
01:23:20,479 --> 01:23:23,759
Speaker 3: surface of the moon set. The astronauts chase her down

1462
01:23:24,120 --> 01:23:26,680
Speaker 3: and they capture her, and that is the end of

1463
01:23:26,720 --> 01:23:27,160
Speaker 3: the film.

1464
01:23:27,720 --> 01:23:31,960
Speaker 1: Yeah. And also the coloration of the chase sequence eventually

1465
01:23:33,000 --> 01:23:36,200
Speaker 1: transfers over to it like a deep blue very much

1466
01:23:36,280 --> 01:23:39,160
Speaker 1: exactly like those sequences we saw earlier in the picture

1467
01:23:39,200 --> 01:23:41,320
Speaker 1: at at the start of the picture. So instead of

1468
01:23:41,360 --> 01:23:44,280
Speaker 1: a happy ending, we get a descent into madness ending,

1469
01:23:44,320 --> 01:23:46,960
Speaker 1: which I guess in many ways is more in keeping

1470
01:23:47,000 --> 01:23:47,679
Speaker 1: with the genre.

1471
01:23:48,200 --> 01:23:51,200
Speaker 3: Yes, and I think it's a very ambiguous ending. I

1472
01:23:51,200 --> 01:23:55,360
Speaker 3: mean I took it to most likely mean she's not

1473
01:23:55,560 --> 01:23:59,519
Speaker 3: actually being pursued by anyone that like she's she's having

1474
01:23:59,520 --> 01:24:03,840
Speaker 3: delusion of persecution most likely. But then again I wondered, well,

1475
01:24:03,840 --> 01:24:07,640
Speaker 3: wait a minute, I wonder also if maybe somebody is

1476
01:24:07,760 --> 01:24:12,479
Speaker 3: pursuing her here and it's just that she's she's also

1477
01:24:12,600 --> 01:24:16,200
Speaker 3: having a mental health episode where she's overlaying the frame

1478
01:24:16,280 --> 01:24:19,120
Speaker 3: of like her nightmares about the astronauts on top of

1479
01:24:19,160 --> 01:24:20,200
Speaker 3: this whatever it is.

1480
01:24:20,439 --> 01:24:24,559
Speaker 1: Yeah, these could be operatives for some nation, but she

1481
01:24:24,840 --> 01:24:29,439
Speaker 1: is seeing them as astronauts from this film that scarred

1482
01:24:29,439 --> 01:24:30,439
Speaker 1: her so as a child.

1483
01:24:30,760 --> 01:24:35,720
Speaker 3: Yeah, and I really am interested by the choice that

1484
01:24:35,800 --> 01:24:40,360
Speaker 3: they they don't make explicitly clear what caused her to

1485
01:24:40,600 --> 01:24:44,360
Speaker 3: have this psychotic break where she's like where she broke

1486
01:24:44,439 --> 01:24:47,519
Speaker 3: down in the middle of her work and fled to

1487
01:24:47,560 --> 01:24:50,280
Speaker 3: Garma and was trying to seek solace in her young love.

1488
01:24:51,560 --> 01:24:53,960
Speaker 3: We get the indication that, like she's very stressed out

1489
01:24:53,960 --> 01:24:56,160
Speaker 3: by her job, and so it could just be that

1490
01:24:56,280 --> 01:25:00,120
Speaker 3: she's overworked and like reached, you know, a level of

1491
01:25:00,120 --> 01:25:02,639
Speaker 3: burnout at work that you know that sent her into

1492
01:25:02,920 --> 01:25:06,679
Speaker 3: having a mental health episode, or is it something else?

1493
01:25:06,720 --> 01:25:09,680
Speaker 3: I mean we we are also given these hints, though

1494
01:25:09,720 --> 01:25:13,080
Speaker 3: she never acknowledges it, that there's that there's something wrong

1495
01:25:13,160 --> 01:25:15,720
Speaker 3: with the world, that there's like these heavy themes of

1496
01:25:15,800 --> 01:25:18,920
Speaker 3: doom kind of just in the air around her all

1497
01:25:18,920 --> 01:25:19,360
Speaker 3: the time.

1498
01:25:19,640 --> 01:25:22,000
Speaker 1: Yeah, And as a translator, she's kind of been, like

1499
01:25:22,040 --> 01:25:25,919
Speaker 1: we said earlier, this conduit for all of this terrible

1500
01:25:25,960 --> 01:25:29,320
Speaker 1: news and these these terrible forecasts for the future. And

1501
01:25:29,960 --> 01:25:32,559
Speaker 1: you know, she feels on some level like it has

1502
01:25:32,640 --> 01:25:35,080
Speaker 1: just rolled through her and she has been this conduit,

1503
01:25:35,520 --> 01:25:40,559
Speaker 1: but perhaps it has seeped out into her in disastrous ways.

1504
01:25:41,080 --> 01:25:44,360
Speaker 3: I think back to the scene where she's translating, and

1505
01:25:44,880 --> 01:25:47,679
Speaker 3: she says that she, you know, she was feeling hot

1506
01:25:47,760 --> 01:25:49,640
Speaker 3: in the room and like she couldn't breathe, And she

1507
01:25:49,720 --> 01:25:53,240
Speaker 3: says what she feared was that the words would just

1508
01:25:53,360 --> 01:25:55,679
Speaker 3: keep going past her and that she wouldn't be able

1509
01:25:55,680 --> 01:25:57,960
Speaker 3: to keep up. And that's like, literally, what would happen,

1510
01:25:58,040 --> 01:25:59,760
Speaker 3: you know, if you're like, if you can't stop and

1511
01:25:59,760 --> 01:26:02,439
Speaker 3: you're supposed to be a real time translator. The speech

1512
01:26:02,520 --> 01:26:04,880
Speaker 3: doesn't stop, They just keep going. But it's also a

1513
01:26:04,920 --> 01:26:08,439
Speaker 3: speech about the coming destruction of human life on Earth.

1514
01:26:09,040 --> 01:26:12,640
Speaker 1: Yeah. Yeah, and again with kind of I think it

1515
01:26:12,640 --> 01:26:16,920
Speaker 1: wouldn't be unrealistic at all to apply some future shock

1516
01:26:17,560 --> 01:26:20,479
Speaker 1: to this scenario. I mean, it's the right decade as well,

1517
01:26:20,560 --> 01:26:23,479
Speaker 1: on top of everything. But again instead of it being

1518
01:26:23,520 --> 01:26:27,760
Speaker 1: like a pure technological future shock, which future shock, as

1519
01:26:28,160 --> 01:26:33,799
Speaker 1: the Toddler's laid out, doesn't necessarily mean just technological change,

1520
01:26:33,840 --> 01:26:38,559
Speaker 1: but also all these other changes social and environmental. Yeah.

1521
01:26:39,400 --> 01:26:43,160
Speaker 3: And the skin she puts on her panic is as

1522
01:26:43,200 --> 01:26:45,760
Speaker 3: a science fiction one. It's from this science fiction movie

1523
01:26:45,800 --> 01:26:47,400
Speaker 3: that scared her when she was younger.

1524
01:26:47,920 --> 01:26:48,160
Speaker 1: Yeah.

1525
01:26:48,360 --> 01:26:52,280
Speaker 3: Yeah, but it's so strange and interesting to think how

1526
01:26:52,360 --> 01:26:56,799
Speaker 3: that interacts or doesn't with like the kind of comfort

1527
01:26:56,840 --> 01:26:59,559
Speaker 3: she's seeking from what she's suffering, and the comfort she's

1528
01:26:59,560 --> 01:27:03,000
Speaker 3: seeking is trying to find her you know, her one

1529
01:27:03,040 --> 01:27:05,800
Speaker 3: true love again from you know, this boy she she

1530
01:27:05,920 --> 01:27:08,160
Speaker 3: met all these years ago and has never seen since.

1531
01:27:09,000 --> 01:27:12,760
Speaker 1: Yeah, there's probably a great deal of deconstruction one could

1532
01:27:12,760 --> 01:27:16,719
Speaker 1: do in the film too, regarding the differences between Alice

1533
01:27:16,720 --> 01:27:23,559
Speaker 1: and Nicole, Nicole being described as more feminine as having

1534
01:27:23,640 --> 01:27:27,800
Speaker 1: you know, a different makeup and longer hair, and yeah,

1535
01:27:27,880 --> 01:27:29,680
Speaker 1: so there's there's something to be made of all that

1536
01:27:29,760 --> 01:27:33,080
Speaker 1: as well. So there's a there's a lot going on

1537
01:27:33,640 --> 01:27:36,080
Speaker 1: in this in this picture, uh, and and a lot

1538
01:27:36,080 --> 01:27:38,479
Speaker 1: of it is kind of beneath the surface, and is

1539
01:27:38,560 --> 01:27:41,360
Speaker 1: you know, it's not really you know, pushed pushed down

1540
01:27:41,400 --> 01:27:44,880
Speaker 1: your throat at all. It's uh, there's a lot of ambiguity,

1541
01:27:45,320 --> 01:27:46,679
Speaker 1: and I think that's one of the things that makes

1542
01:27:46,680 --> 01:27:50,400
Speaker 1: it so tantalizing. It is like a it is a

1543
01:27:50,439 --> 01:27:53,200
Speaker 1: true mystery in so many respects, and it is it's

1544
01:27:53,320 --> 01:27:56,559
Speaker 1: kind of like a piece of surrealistic art where you

1545
01:27:56,600 --> 01:27:59,200
Speaker 1: get to sort of apply your own interpretation to it.

1546
01:27:59,400 --> 01:28:02,080
Speaker 3: We we do and do not get an answer to

1547
01:28:02,120 --> 01:28:05,000
Speaker 3: the mystery, like we do learn in the end, it

1548
01:28:05,080 --> 01:28:08,519
Speaker 3: seems what happened, and so like we learned the physical

1549
01:28:08,560 --> 01:28:12,519
Speaker 3: circumstances that were missing that we didn't know earlier, but

1550
01:28:12,680 --> 01:28:15,320
Speaker 3: we're still left with a lot of questions about why

1551
01:28:15,360 --> 01:28:15,760
Speaker 3: and how.

1552
01:28:16,479 --> 01:28:19,600
Speaker 1: Yeah, I also like how, and this may be this

1553
01:28:19,760 --> 01:28:21,760
Speaker 1: was different in the original novel, but I like how

1554
01:28:21,880 --> 01:28:24,439
Speaker 1: nobody was like, oh, yeah, this movie, you're talking about

1555
01:28:24,439 --> 01:28:29,040
Speaker 1: footprints on the moon. I remember that because there is

1556
01:28:29,080 --> 01:28:32,879
Speaker 1: something tantalizing about films you remember or think you remember

1557
01:28:33,200 --> 01:28:36,080
Speaker 1: from your childhood. You know, in some cases they might

1558
01:28:36,120 --> 01:28:40,040
Speaker 1: not exist or you never find out what they are. Yeah.

1559
01:28:40,120 --> 01:28:43,839
Speaker 1: I liked that detail as well. There's so many ways

1560
01:28:43,880 --> 01:28:46,439
Speaker 1: that the mystery could have been deluded by just little

1561
01:28:46,439 --> 01:28:47,200
Speaker 1: moments like that.

1562
01:28:47,680 --> 01:28:50,000
Speaker 3: The fact that nobody else in the movie ever claims

1563
01:28:50,040 --> 01:28:53,639
Speaker 3: to have seen this science fiction film. Yeah, it isolates her,

1564
01:28:53,880 --> 01:28:56,920
Speaker 3: and in many ways she is isolated in the film,

1565
01:28:56,920 --> 01:28:59,559
Speaker 3: I mean, keeping with the kind of Jello themes. Even

1566
01:28:59,600 --> 01:29:03,320
Speaker 3: though this isn't strictly as Yellow Probably, it has so

1567
01:29:03,400 --> 01:29:05,559
Speaker 3: many of these themes. I mean, the main character is

1568
01:29:05,600 --> 01:29:09,400
Speaker 3: an outsider and is alienated. She's both in an unfamiliar

1569
01:29:09,439 --> 01:29:14,440
Speaker 3: location and she is in psychological ways sort of estranged

1570
01:29:14,479 --> 01:29:17,400
Speaker 3: from everyone else. She is the astronaut who is alone

1571
01:29:17,479 --> 01:29:18,520
Speaker 3: on the surface.

1572
01:29:18,120 --> 01:29:18,599
Speaker 1: Of the Moon.

1573
01:29:19,160 --> 01:29:22,840
Speaker 3: Yeah, absolutely, Okay, does that do it for footprints on

1574
01:29:22,880 --> 01:29:23,200
Speaker 3: the Moon?

1575
01:29:23,439 --> 01:29:26,120
Speaker 1: I believe it does. Yeah. This was a very interesting one,

1576
01:29:26,120 --> 01:29:29,680
Speaker 1: and again I can't stress enough how beautiful the cinematography

1577
01:29:29,760 --> 01:29:33,120
Speaker 1: is in this one. It's definitely worth worth checking out.

1578
01:29:33,120 --> 01:29:37,880
Speaker 1: But again, don't go into it expecting Dario Argento. Don't

1579
01:29:37,880 --> 01:29:41,320
Speaker 1: go into it expecting, you know, Kloskinsky stabbing people with

1580
01:29:41,360 --> 01:29:44,240
Speaker 1: the moon rock or anything like that. It's a much

1581
01:29:44,280 --> 01:29:48,519
Speaker 1: more subtle affair, but it is rewarding totally. Yeah. All right,

1582
01:29:48,640 --> 01:29:50,280
Speaker 1: well we're gonna go ahead and close out this episode

1583
01:29:50,280 --> 01:29:53,080
Speaker 1: of Weird House Cinema. A reminder that Stuff to Blow

1584
01:29:53,120 --> 01:29:55,559
Speaker 1: Your Mind is primarily a science and culture podcast with

1585
01:29:55,600 --> 01:29:59,000
Speaker 1: core episodes on Tuesdays and Thursdays. We do a short

1586
01:29:59,040 --> 01:30:02,320
Speaker 1: form episode on Windnesdays, and on Fridays, we set aside

1587
01:30:02,320 --> 01:30:04,519
Speaker 1: most serious concerns to just talk about a weird film

1588
01:30:04,520 --> 01:30:06,920
Speaker 1: on Weird House Cinema. If you'd like to keep up

1589
01:30:06,920 --> 01:30:09,920
Speaker 1: with Weird House Cinema, you can find us on letterbox

1590
01:30:10,000 --> 01:30:12,680
Speaker 1: dot com. Our username is weird house and we have

1591
01:30:12,720 --> 01:30:14,880
Speaker 1: a list of all the films that we have covered

1592
01:30:14,920 --> 01:30:17,040
Speaker 1: so far. Sometimes there's even a peek ahead at what

1593
01:30:17,120 --> 01:30:19,519
Speaker 1: comes up next. You'll also find us on some other

1594
01:30:19,560 --> 01:30:23,839
Speaker 1: social media platforms under the Stuff to Blow Your Mind banner,

1595
01:30:24,320 --> 01:30:27,960
Speaker 1: including Instagram, where we are stbym podcast.

1596
01:30:27,880 --> 01:30:31,640
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1597
01:30:32,000 --> 01:30:33,479
Speaker 3: If you would like to get in touch with us

1598
01:30:33,520 --> 01:30:35,880
Speaker 3: with feedback on this episode or any other, to suggest

1599
01:30:35,960 --> 01:30:37,960
Speaker 3: a topic for the future, or just to say hello,

1600
01:30:38,280 --> 01:30:41,000
Speaker 3: you can email us at contact at stuff to Blow

1601
01:30:41,040 --> 01:30:48,600
Speaker 3: your Mind dot com.

1602
01:30:48,720 --> 01:30:51,680
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1603
01:30:51,760 --> 01:30:54,559
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1604
01:30:54,720 --> 01:30:57,920
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.