WEBVTT - Weirdhouse Cinema Rewind: Footprints on the Moon 0:00:04.680 --> 0:00:09.200 Hey, welcome to Weird House Cinema. Rewind. In this episode 0:00:09.520 --> 0:00:13.360 you'll hear our take on Footprints on the Moon from 0:00:13.480 --> 0:00:18.360 nineteen seventy five. This episode originally published one twenty four, 0:00:18.680 --> 0:00:24.720 twenty twenty five. A beautifully shot, surreal mystery. This one's 0:00:24.760 --> 0:00:27.840 a lot of fun. Hope you enjoy. 0:00:29.480 --> 0:00:32.520 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:40.080 --> 0:00:43.480 Hey, welcome to Weird House Cinema. This is Rob Lamb. 0:00:43.520 --> 0:00:47.080 And this is Joe McCormick. And today on Weird House Cinema, 0:00:47.120 --> 0:00:50.080 we are going to be talking about the nineteen seventy 0:00:50.120 --> 0:00:56.080 five Italian mystery thriller Footprints on the Moon aka Primal 0:00:56.280 --> 0:01:01.680 Impulse aka just Footprints, much less intriguing title. I don't 0:01:01.680 --> 0:01:04.320 know why anybody would just say footprints, Footprints on the Moon, 0:01:04.480 --> 0:01:09.800 much much better. But this movie stars Florinda Bulkan, Peter mckinnery, 0:01:10.160 --> 0:01:12.399 and in a bit part, klaus Kinski. 0:01:13.040 --> 0:01:14.960 Right right though, even if you just have a dash 0:01:15.000 --> 0:01:18.640 of klaus Kinski in there, you know it, people notice. 0:01:18.760 --> 0:01:19.880 It's a powerful spice. 0:01:20.800 --> 0:01:24.280 So I came to this selection in a slightly awkward 0:01:24.319 --> 0:01:28.000 way because here's where it came from, Folks to get 0:01:28.000 --> 0:01:28.800 the whole backstory. 0:01:28.880 --> 0:01:29.119 Rob. 0:01:29.240 --> 0:01:34.120 Earlier this month, you had mentioned that some creatures of 0:01:34.160 --> 0:01:39.880 the Cinemadrome celebrate something called Jallo January, a sort of 0:01:40.080 --> 0:01:42.959 J and B guzzling leather gloved cousin. 0:01:42.800 --> 0:01:43.840 Of Noir November. 0:01:45.000 --> 0:01:47.960 And when you mentioned this, I was definitely intrigued because 0:01:47.960 --> 0:01:51.400 I'm sort of something of a Jallo fan. But I 0:01:51.400 --> 0:01:54.040 think I had already decided I wanted to do a 0:01:54.080 --> 0:01:57.000 Santo movie for my previous pick, but when this week 0:01:57.040 --> 0:01:59.160 came around, I decided to give in to the reason 0:01:59.240 --> 0:02:02.640 for the season and look for a Jallo to talk about, 0:02:02.760 --> 0:02:05.880 one that would be weird enough for Weird House and 0:02:06.120 --> 0:02:08.600 one that I had never seen before. So I was 0:02:08.639 --> 0:02:11.440 poking around online reading things trying to find a good 0:02:11.480 --> 0:02:14.560 weird Jallo I was not familiar with, and I ended 0:02:14.639 --> 0:02:18.520 up settling on Footprints on the Moon. And while I 0:02:18.560 --> 0:02:22.800 think this movie is very excellent, I'm more than pleased 0:02:22.800 --> 0:02:26.280 with the choice, I am skeptical whether it would actually 0:02:26.320 --> 0:02:29.640 be considered a jallo by most fans of the genre. 0:02:30.040 --> 0:02:33.880 A lot of the online references were classifying it as such, 0:02:33.960 --> 0:02:38.519 but it's missing some of the key genre elements, though 0:02:38.560 --> 0:02:40.600 on the other hand, still maintaining a lot of the 0:02:40.639 --> 0:02:44.360 genre's signature esthetics. So maybe we can talk about this 0:02:44.440 --> 0:02:46.560 more later in the episode, but I think there will 0:02:46.600 --> 0:02:49.080 be serious debate over whether it should be thought of 0:02:49.120 --> 0:02:50.040 as a Jallo or not. 0:02:50.680 --> 0:02:53.880 Yeah, you could make a case for it being Jallo adjacent. 0:02:54.840 --> 0:02:57.639 I guess which is close enough for our purposes here. 0:02:58.440 --> 0:03:01.400 Now, if you're not familiar with the term monology, I 0:03:01.480 --> 0:03:04.480 think we've probably gabbed about this on the show before, 0:03:04.520 --> 0:03:06.680 but hey, why not talk about it again. It's always 0:03:06.680 --> 0:03:10.160 fun to define and try to understand what the soul 0:03:10.240 --> 0:03:13.359 of the Jallo. But if you're not familiar Jallo movies, 0:03:13.600 --> 0:03:18.600 the plural is technically Jalli are typically understood as a 0:03:18.760 --> 0:03:24.760 genre of Italian murder mystery thrillers, often with strong horror 0:03:24.760 --> 0:03:29.600 elements and often erotically charged. Jalo movies are kind of 0:03:29.600 --> 0:03:32.160 a long running staple in our house. Used to be 0:03:32.320 --> 0:03:36.240 whenever I visited Videodrome, whatever else I was checking out, 0:03:36.280 --> 0:03:41.160 I would also always grab at least one unfamiliar disc 0:03:41.280 --> 0:03:44.040 from the video corner of shame, the Jallo corner there, 0:03:44.680 --> 0:03:47.440 so we know and are fans of Jallo around here, 0:03:47.840 --> 0:03:51.240 So any seemingly disparaging comments I make about the genre 0:03:51.360 --> 0:03:53.400 in the rest of this episode come from a place 0:03:53.440 --> 0:03:54.720 of familiarity in love. 0:03:55.440 --> 0:03:57.120 Yeah, yeah, I mean it makes sense. You want to 0:03:57.120 --> 0:03:59.560 get a little side item from the Jalla menu. You 0:03:59.600 --> 0:04:03.160 know it's you know, it's not super nutritious, but you 0:04:03.160 --> 0:04:05.640 know you're having a meal out, you might as well 0:04:05.640 --> 0:04:06.440 indulge yourself. 0:04:06.600 --> 0:04:09.040 It's just I don't know. So often on a Friday night, 0:04:09.080 --> 0:04:11.320 what Rachel and I wanted was a shallow. 0:04:12.520 --> 0:04:15.240 And there's so many this genre has. Just it's a 0:04:15.320 --> 0:04:21.240 never ending well. Anytime we dive into even just into 0:04:21.279 --> 0:04:25.760 the filmographies of people who worked in this genre or subgenre, 0:04:26.080 --> 0:04:29.320 I'm always discovering new titles, and it sometimes helps that 0:04:29.760 --> 0:04:32.680 there are generally multiple titles in the mix for any 0:04:32.720 --> 0:04:35.400 given film. Yeah. 0:04:35.440 --> 0:04:38.480 So, coming back to what makes a shallow, of course 0:04:38.480 --> 0:04:43.680 they are these usually murder mystery thrillers. Usually the plot 0:04:43.839 --> 0:04:49.200 involves a series of grizzly, shocking homicides, often committed with 0:04:49.279 --> 0:04:52.960 a strange or disturbing weapon. So it's usually not just 0:04:53.080 --> 0:04:55.680 like a gun or a regular knife, but more often 0:04:56.040 --> 0:04:59.680 say a knitting needle or a shard of glass, or 0:04:59.720 --> 0:05:04.520 a nimous animal, or like an antique suit of armor, 0:05:04.520 --> 0:05:07.040 glove with spikes on the knuckles or something. 0:05:07.560 --> 0:05:10.760 Yeah, but it's worth noting that this is distinct from 0:05:10.800 --> 0:05:14.400 like the whole slasher genre that would then bubble up 0:05:15.080 --> 0:05:19.719 mostly in America, especially strongly during the nineteen eighties. Like 0:05:19.760 --> 0:05:23.479 there's there's something different about the way murders are committed, 0:05:23.839 --> 0:05:27.440 the way that they're stylistically portrayed, and so forth. Yeah. 0:05:27.480 --> 0:05:30.080 Well, I mean, I think Jallo is often considered a 0:05:30.160 --> 0:05:34.360 major predecessor of an influence on the wave of American 0:05:34.400 --> 0:05:36.800 slasher films that would come in the late seventies and 0:05:36.960 --> 0:05:39.600 especially in the nineteen eighties, though I think there are 0:05:39.640 --> 0:05:43.520 important differences. But I think definitely the soul of the 0:05:43.560 --> 0:05:47.120 shallow movies of the sixties and seventies is influential on 0:05:47.360 --> 0:05:50.880 the slasher movies that would come later. So the plot 0:05:51.120 --> 0:05:53.360 involves a series of murders, but the other thing is 0:05:53.440 --> 0:05:56.479 that the story is a mystery. The identity of the 0:05:56.560 --> 0:05:59.920 killer is unknown, and the viewer is pulled along to 0:06:00.120 --> 0:06:02.599 the conclusion of the movie wanting to find out who 0:06:02.680 --> 0:06:06.599 the killer is and what their motivation was. So a 0:06:06.600 --> 0:06:09.680 lot of the big jallow movies have an exciting payoff 0:06:09.760 --> 0:06:13.200 because the reveal of the killer is quite surprising. Often 0:06:13.240 --> 0:06:16.760 it's a minor character you wouldn't have expected, or someone 0:06:16.839 --> 0:06:20.000 who gave no sign of danger previously. A lot of 0:06:20.040 --> 0:06:24.479 times the reveal I think this is sort of influenced 0:06:24.520 --> 0:06:28.880 by Alfred Hitchcock's Psycho. The reveal of the killer's motivations 0:06:28.960 --> 0:06:33.960 is often a divulging of some kind of like psychological 0:06:34.120 --> 0:06:38.720 trauma that was previously unknown in a pre existing character's backstory. 0:06:39.680 --> 0:06:43.359 Common esthetic features of Jello, I notice what feels like 0:06:43.400 --> 0:06:47.600 a real combination of high art and pulp sensibilities all 0:06:47.680 --> 0:06:51.680 jumbled together. So these movies are on one hand, quite 0:06:51.720 --> 0:06:57.360 often trashy and prurient, but also with a really palpable 0:06:57.440 --> 0:07:00.240 sense of artistic pride that you don't get in most 0:07:00.240 --> 0:07:03.919 American slasher movies. In these Italian movies, you get the 0:07:04.000 --> 0:07:07.160 feeling that you know, while they were staging some tawdry 0:07:07.200 --> 0:07:10.240 potato peel or murder scene, they were thinking, I am 0:07:10.320 --> 0:07:13.679 like Michaelangelo, this is important artistic work. 0:07:14.160 --> 0:07:16.920 They're often It's also I think important to stress that 0:07:17.360 --> 0:07:22.840 jaala are almost always, if not always, thoroughly modern, and 0:07:23.160 --> 0:07:26.440 there's probably a subtext in there somewhere. In most of 0:07:26.480 --> 0:07:31.880 these films too, like dealing with issues boiling up around 0:07:31.880 --> 0:07:35.880 the state of modernity, be it you know, current social norms, 0:07:36.680 --> 0:07:40.920 social problems, and so forth. But yeah, it's not surprising 0:07:40.960 --> 0:07:45.160 to see like all the latest technologies that are going 0:07:45.240 --> 0:07:48.280 to be present in say nineteen seventy three or something 0:07:48.840 --> 0:07:51.600 in a given example of this sub genre. 0:07:51.880 --> 0:07:54.760 That's right, and in terms of dealing with like current 0:07:54.880 --> 0:07:58.240 social issues. Another big thing about JALLA movies is that 0:07:58.280 --> 0:08:03.160 they often explore themes of sex and gender conflict, sometimes 0:08:03.160 --> 0:08:07.280 projecting misogynist attitudes by casting women as helpless sort of 0:08:07.680 --> 0:08:11.880 feeble objects of male lust and violence, or treating women 0:08:11.920 --> 0:08:15.680 as especially psychologically frail, but in other cases sort of 0:08:15.720 --> 0:08:19.200 taking the woman's point of view and showing misogyny and 0:08:19.680 --> 0:08:23.920 pathetic forms of resentment against women as the primary motivators 0:08:23.920 --> 0:08:26.040 of the movie's villainy and the thing that has to 0:08:26.080 --> 0:08:28.080 be unmasked and destroyed at the end. 0:08:28.600 --> 0:08:32.640 Yeah, so there's definitely room in a holo picture for 0:08:32.760 --> 0:08:36.000 a strong female character. You don't always find them there, 0:08:36.080 --> 0:08:39.400 but there are examples that you can turn to. Some 0:08:39.480 --> 0:08:40.920 do and some really don't. Yes. 0:08:41.960 --> 0:08:44.480 Another thing is that they tend to be visually striking 0:08:44.520 --> 0:08:48.520 a lot of times high contrast, bold or even lurid 0:08:48.559 --> 0:08:53.640 color palette, artistic attention to shot composition. Like a lot 0:08:53.679 --> 0:08:57.160 of these movies in terms of plot content might be 0:08:57.240 --> 0:09:00.360 kind of trash, but a lot of them really look great. 0:09:00.520 --> 0:09:04.640 They're kind of beautiful. Yeah, murder is often beautiful or 0:09:04.640 --> 0:09:06.840 at least stylish in these pictures. Yeah. 0:09:06.880 --> 0:09:10.840 Another thing is an often unsubtle musical score. So you 0:09:10.840 --> 0:09:13.560 can think about if you've ever heard this Dario Argento's 0:09:13.559 --> 0:09:17.320 work with Goblin that goes in his movies or in 0:09:17.360 --> 0:09:19.680 the movie we're talking about today, though it's debatable whether 0:09:19.720 --> 0:09:22.839 it's actually a jello, the kind of fugue like blasts 0:09:22.880 --> 0:09:26.959 of organ that we get throughout the film. Another thing 0:09:27.040 --> 0:09:31.199 is a tendency toward voyeuristic camera work. So in these movies, 0:09:31.320 --> 0:09:35.520 the camera watches the protagonist or the murder victim from 0:09:35.559 --> 0:09:38.520 a hiding place, maybe peeking through the slats in a 0:09:38.559 --> 0:09:42.120 wall or looking through a keyhole, or it just in 0:09:42.160 --> 0:09:45.560 some other way kind of intrudes into private spaces to 0:09:45.640 --> 0:09:49.000 see the characters at their most vulnerable, or it takes 0:09:49.040 --> 0:09:53.840 the killer's point of view. This is a cinematography choice 0:09:53.840 --> 0:09:56.800 that is often poured over into the American slashers as well. 0:09:58.160 --> 0:10:01.040 In terms of like set dressing and costuming, there are 0:10:01.080 --> 0:10:04.480 some very strong themes that occur again and again the killer. 0:10:04.600 --> 0:10:07.800 The killer often hides their identity by wearing a hat, 0:10:07.880 --> 0:10:11.800 a trench coat, and black leather gloves. And there's also 0:10:12.120 --> 0:10:16.880 just a general kind of inflammation of seventies clothing. It's 0:10:16.920 --> 0:10:19.480 one of our favorite elements of these movies when when 0:10:19.480 --> 0:10:21.800 my wife and I watch them, I love the clothes. 0:10:22.200 --> 0:10:24.199 Oh, I agree to you. I mean, anytime I watched 0:10:24.240 --> 0:10:27.040 one of these films, it's it's that that focus on 0:10:27.240 --> 0:10:31.520 the modern world and often some sense of fashion that 0:10:31.840 --> 0:10:35.280 is just thoroughly captivating. I mean, for me, having been 0:10:35.280 --> 0:10:38.200 born in the seventies, I'm just you know, endlessly fascinated 0:10:38.240 --> 0:10:40.840 with you know, the style and the culture that I 0:10:40.880 --> 0:10:41.600 was born out of. 0:10:42.000 --> 0:10:44.520 Yeah, another thing I have to mention, can't make a 0:10:44.600 --> 0:10:46.880 jallo without a J and B bottle. So you will 0:10:46.920 --> 0:10:49.520 always see one either on a shelf or being poured 0:10:49.520 --> 0:10:51.920 into a glass, into a into a kind of ornate 0:10:52.000 --> 0:10:54.920 crystal tumbler glass. There's you know, there's a lot of 0:10:54.920 --> 0:10:57.959 good glassware in the films, and and always a J 0:10:58.080 --> 0:11:01.720 and B. Also just a lot of focus on loud 0:11:01.800 --> 0:11:06.000 flourishes of art and design and interior decor. The movie 0:11:06.120 --> 0:11:10.120 often features, or sometimes actually directly involves in the plot 0:11:10.880 --> 0:11:16.840 crazy wallpaper patterns, bizarre tapestries, oil paintings, art exhibits, stained 0:11:16.880 --> 0:11:21.360 glass statuary, and things like that. Now, beyond that, there 0:11:21.400 --> 0:11:27.160 are also some common plot and character features of Jolly. 0:11:27.320 --> 0:11:30.280 One is that it's been observed that the main character 0:11:30.520 --> 0:11:35.160 is usually an outsider of some kind or is alienated, 0:11:35.960 --> 0:11:39.400 so they might be in an unfamiliar place, or they 0:11:39.440 --> 0:11:42.720 might be estranged from their social group for some reason. 0:11:43.160 --> 0:11:47.000 That the protagonist of Agallo is not in their element 0:11:47.120 --> 0:11:49.520 as they try to piece together the clues and solve 0:11:49.600 --> 0:11:53.920 the mystery. Another thing is protagonists are very often found 0:11:54.000 --> 0:11:59.000 questioning their sanity or being thought insane by others. And then, finally, 0:11:59.200 --> 0:12:01.240 this is one that I've read about less, but I've 0:12:01.240 --> 0:12:03.840 just always noticed it myself and found it so interesting. 0:12:04.520 --> 0:12:07.719 So so many of the movies within this one subgenre 0:12:08.040 --> 0:12:13.640 have the same plot device, which is a protagonist who 0:12:13.960 --> 0:12:18.840 already saw the solution to the mystery, or saw some 0:12:19.240 --> 0:12:22.680 important clue with their own eyes, or sensed it with 0:12:22.720 --> 0:12:25.760 their own senses. Maybe they heard something but in somehow, 0:12:25.800 --> 0:12:29.160 they somehow sensed with their own senses, the solution to 0:12:29.400 --> 0:12:33.439 the mystery, but they can't quite remember it, or they 0:12:33.480 --> 0:12:36.440 can't quite make sense of it, and they spend the 0:12:36.480 --> 0:12:40.520 rest of the film trying to reconstruct the memory or 0:12:40.559 --> 0:12:44.520 trying to understand what it is they already saw. And 0:12:44.679 --> 0:12:48.680 this has always struck me as a potent psychological metaphor 0:12:48.800 --> 0:12:53.480 that may have some deeper cultural significance. I don't know 0:12:53.640 --> 0:12:57.200 enough about Italy in the sixties and seventies to speculate 0:12:57.240 --> 0:12:59.920 on exactly what that cultural kind of metaphor would be, 0:13:00.480 --> 0:13:03.480 but it's very interesting that the solution to the murder 0:13:03.520 --> 0:13:08.000 mystery is so often not completely hidden. It's something that 0:13:08.160 --> 0:13:11.959 you already saw, you already took it in, but now, 0:13:12.040 --> 0:13:15.000 for whatever reason, you can't remember it or can't make 0:13:15.040 --> 0:13:17.559 sense of it. So the final piece of puzzle in 0:13:18.040 --> 0:13:21.160 terms of the plot structure, is often an event or 0:13:21.200 --> 0:13:25.880 a clue that causes the protagonist to suddenly fully remember 0:13:26.120 --> 0:13:29.920 or finally understand what they already saw in the beginning. 0:13:30.679 --> 0:13:33.360 I'm trying to think if there's much precedent for this 0:13:33.440 --> 0:13:37.800 in other mystery stories outside of the shallow subgenre, and 0:13:37.840 --> 0:13:39.800 nothing's really coming to mind, though, I'm sure there are 0:13:39.880 --> 0:13:40.560 stories like this. 0:13:41.240 --> 0:13:43.600 Yeah, I wouldn't be surprised if it's a trope that 0:13:43.679 --> 0:13:47.280 is present in the larger mystery genre. But then within 0:13:47.440 --> 0:13:50.200 Jalloh becomes like a part of the blueprint more or less, 0:13:50.240 --> 0:13:52.280 you know. Yeah, you often see that, I guess with 0:13:52.600 --> 0:13:56.679 different genre spinoffs and subgenres. Yeah. 0:13:56.760 --> 0:14:00.880 Yeah, And I wonder how this plot convention like in 0:14:00.920 --> 0:14:03.839 a way you already saw the answer, but you can't 0:14:03.880 --> 0:14:06.760 remember it or understand it is connected to another thing 0:14:06.760 --> 0:14:12.200 about Jelly, which is that usually the investigator or the 0:14:12.240 --> 0:14:16.280 protagonist who's trying to solve the mystery is not is 0:14:16.280 --> 0:14:19.000 not an investigator by way of like their job. 0:14:19.160 --> 0:14:19.360 You know. 0:14:19.440 --> 0:14:22.000 It's not like these cop mystery movies where I'm a 0:14:22.040 --> 0:14:24.440 detective and I've got to be here and solve the mystery. 0:14:24.840 --> 0:14:28.800 Usually the protagonist has a personal connection to the crimes 0:14:28.840 --> 0:14:32.760 taking place and they are a non professional investigator. 0:14:33.200 --> 0:14:37.480 Yeah. Yeah, It's it's interesting when you start piecing together 0:14:37.560 --> 0:14:40.440 all of these different attributes and you get this sort 0:14:40.480 --> 0:14:43.400 of this picture of a of a stranger in a 0:14:43.720 --> 0:14:46.720 strange modern world, almost a sense of future shock to it, 0:14:46.960 --> 0:14:50.080 at least, well but less on the technological side of 0:14:50.120 --> 0:14:52.600 things and more on just like the social side of things. 0:14:52.840 --> 0:14:55.960 And you know, I guess this movie is the one 0:14:56.400 --> 0:14:58.520 that is that is that I'm most current on since 0:14:58.560 --> 0:15:00.840 I just watched it. But it lines up with this 0:15:00.920 --> 0:15:03.000 theme in a number of ways, you know, the sense 0:15:03.000 --> 0:15:08.680 of like a globe trotting modern professional woman. And while 0:15:08.680 --> 0:15:12.480 there there are you know, there are some elements where 0:15:12.520 --> 0:15:15.480 we can see that she's maybe not at odds with 0:15:15.520 --> 0:15:18.520 the world, but it has like real world stressors in play, 0:15:18.840 --> 0:15:22.080 and that sort of like bleeds over into this more 0:15:22.200 --> 0:15:25.200 surreal scenario that we see in the picture. Yeah. 0:15:25.320 --> 0:15:28.200 Yeah, I don't want to spoil too much about the 0:15:28.240 --> 0:15:30.480 ending of the film now, though by the by the 0:15:30.560 --> 0:15:32.240 time we get to the end of the plot section, 0:15:32.320 --> 0:15:34.440 we definitely are going to spoil the ending. And this 0:15:34.480 --> 0:15:36.360 movie is full of surprises. So if you want to 0:15:36.360 --> 0:15:39.480 see Footprints on the Moon without having anything spoiled, I 0:15:39.480 --> 0:15:41.200 guess now would be a good time to pause the 0:15:41.200 --> 0:15:46.120 episode and go watch it yourself. But there are questions 0:15:46.240 --> 0:15:48.440 raised by the reveal at the end of the movie 0:15:48.440 --> 0:15:51.720 about it, like exactly what the motivation for the main 0:15:51.800 --> 0:15:57.200 character's psychological state or struggle is and to what extent 0:15:57.240 --> 0:16:00.440 that's brought on by by something within her or by 0:16:00.480 --> 0:16:05.400 circumstances outside her control. So anyway, having reviewed all of 0:16:05.400 --> 0:16:09.040 this stuff about what Jallo is is Footprints on the 0:16:09.080 --> 0:16:11.400 Moon a shallo? I think a lot of people would 0:16:11.440 --> 0:16:15.440 say no, because it is not a murder mystery. The 0:16:15.480 --> 0:16:18.200 film does not begin with a murder, and there is 0:16:18.280 --> 0:16:23.880 really almost no violence in it until closer to the end. Nevertheless, 0:16:24.240 --> 0:16:27.960 it does really feel like a shallo. It's a mystery 0:16:28.120 --> 0:16:32.080 with an aura of menace. It is somewhat sexually charged. 0:16:32.320 --> 0:16:35.840 It involves an out of place protagonist physically out of 0:16:35.880 --> 0:16:40.960 place and also alienated, a protagonist haunted by something that 0:16:41.040 --> 0:16:45.320 she apparently cannot remember. It looks and sounds like a 0:16:45.360 --> 0:16:48.120 shallo in terms of the musical soundtrack, it looks like 0:16:48.120 --> 0:16:50.440 one in the shot composition and the use of color 0:16:50.480 --> 0:16:51.000 and all that. 0:16:51.800 --> 0:16:52.840 And one of. 0:16:52.800 --> 0:16:55.600 The clues to solve the mystery is a memory of 0:16:55.640 --> 0:17:00.000 a giant stained glass peacock. So my ruling is, I think, yeah, 0:17:00.080 --> 0:17:02.240 you can call it a yellow even though it does 0:17:02.280 --> 0:17:06.320 not have the main plot element that defines as shallow. Uh, 0:17:06.560 --> 0:17:08.720 you know, it's not solving a murder mystery, though it 0:17:08.760 --> 0:17:12.359 does have murders within a recurring dream, and as a bonus, 0:17:12.440 --> 0:17:14.120 they are they are moon murders. 0:17:14.400 --> 0:17:16.760 I'm glad you mentioned that the giant stained glass peacock, 0:17:16.800 --> 0:17:19.000 which we'll come back to, because that is almost literally 0:17:19.160 --> 0:17:23.959 a bird with crystal plumage, you know, Yes, yeah, I 0:17:23.960 --> 0:17:26.919 think the most important thing to stress about the and 0:17:26.960 --> 0:17:29.960 the Gallo or no Jallo conversation is that I think 0:17:30.320 --> 0:17:32.840 you probably do the film a disservice if you hype 0:17:32.880 --> 0:17:36.200 it up Ashallo too much, because then you run the 0:17:36.280 --> 0:17:39.920 risk of people coming into it expecting an Argento film 0:17:40.040 --> 0:17:43.280 or expecting a folk sci film. And if you do that, 0:17:43.320 --> 0:17:45.720 you're going to be disappointed. It's just not that sort 0:17:45.720 --> 0:17:48.960 of picture, and it's it's really very tame by Jallow standard. 0:17:48.960 --> 0:17:53.639 It's almost like g rated Joao likewise, even on the 0:17:53.680 --> 0:17:56.760 color uh in visual spectrum. If you're if you come 0:17:56.800 --> 0:17:59.480 in expecting it to be in line with Mario Bava, 0:17:59.560 --> 0:18:02.080 I mean, gon be disappointed with any non Mariobava film 0:18:02.080 --> 0:18:04.639 if you're doing that, but come in expecting suspiria or 0:18:04.680 --> 0:18:09.320 something like that. This film is gorgeous in its own right, 0:18:09.520 --> 0:18:12.640 but it's it's doing its own thing for the most part. 0:18:12.960 --> 0:18:16.440 Some scenes are definitely more surreal in their color scheme 0:18:16.480 --> 0:18:19.520 than others. But you're it's not a picture that's going 0:18:19.520 --> 0:18:21.560 for those Mario Bava sequences either. 0:18:21.840 --> 0:18:24.320 Yeah, it's not going nuts with the Jeli. It's like 0:18:24.320 --> 0:18:25.600 Bob right, Yeah. 0:18:25.720 --> 0:18:27.560 Right, So I think it's better to really think of 0:18:27.640 --> 0:18:31.440 it as art house surreal or psychological mystery. 0:18:31.880 --> 0:18:35.560 Yes, But I don't know if I've emphasized this enough already. 0:18:35.600 --> 0:18:38.240 I loved Footprints on the Moon. I thought this movie 0:18:38.320 --> 0:18:42.760 created such an enticing atmosphere of mystery. I can't remember 0:18:42.800 --> 0:18:44.560 the last time I saw a movie and I was 0:18:44.680 --> 0:18:47.119 so curious to know what the solution was. 0:18:47.800 --> 0:18:52.359 Yeah, and it's it's exceedingly beautiful, as we'll discuss, Like 0:18:52.440 --> 0:18:54.840 the first twenty minutes of this picture, I was just 0:18:54.920 --> 0:19:00.960 captivated by the cinematography and the shot composition. Like I get, 0:19:01.200 --> 0:19:03.040 it's something you can take for granted in a lot 0:19:03.040 --> 0:19:06.680 of movies, obviously, but this film does such a great 0:19:06.760 --> 0:19:11.000 job with just like the little details and like's there's 0:19:11.000 --> 0:19:13.439 some puttsing around in an apartment building early on in 0:19:13.480 --> 0:19:17.000 the picture. They could just be, you know, thankless and 0:19:18.240 --> 0:19:20.000 maybe a little bit boring in another picture, But It 0:19:20.040 --> 0:19:22.479 was very captivating here, just in large part because of 0:19:22.520 --> 0:19:24.880 the way it was shot and the way it was presented. Yeah. 0:19:24.920 --> 0:19:27.280 I mentioned that a lot of shallow films are more 0:19:27.400 --> 0:19:30.520 visually striking than you would imagine given their subject matter. 0:19:31.280 --> 0:19:34.440 But I feel like this is an especially beautiful movie. 0:19:34.520 --> 0:19:37.880 It is better looking even than the shallow standard. Yeah, 0:19:37.920 --> 0:19:40.359 and there are some ugly shallows. I just meant that 0:19:40.640 --> 0:19:42.120 generalization on average. 0:19:42.320 --> 0:19:47.400 Yeah, the better ones are often remembered for their stunning visuals. Yeah, 0:19:47.440 --> 0:19:50.640 all right, well hit us with an elevator pitch. Here 0:19:50.680 --> 0:19:51.000 we go. 0:19:51.440 --> 0:19:54.840 Alice Chespie is missing three days of her memory and 0:19:54.960 --> 0:19:58.080 is haunted by visions of an astronaut murdered on the 0:19:58.080 --> 0:20:01.680 surface of the moon to her, And what does klaus 0:20:01.760 --> 0:20:02.760 Kinsky have to do with it? 0:20:03.720 --> 0:20:21.640 All right, let's hear a little bit of the trailer audio. 0:20:24.880 --> 0:20:27.719 Why am I here? Why did I come to Gama, 0:20:28.520 --> 0:20:31.000 to this strange town? I know I was never in 0:20:31.080 --> 0:20:36.840 before your pinces, Alice, my name is Alice. That's not true. 0:20:37.640 --> 0:20:48.000 Look it looks like blood. What was I doing for 0:20:48.080 --> 0:20:51.720 those three things? Why can't I remember a single thing 0:20:51.800 --> 0:20:54.600 about them? It's all those tranquilized as you take You 0:20:54.680 --> 0:20:57.480 probably took a larger notes than usual and slept right 0:20:57.520 --> 0:20:59.360 through to this morning. I saw you on the beach. 0:20:59.400 --> 0:21:00.520 I think one day this week? 0:21:00.760 --> 0:21:01.440 Was it Tuesday? 0:21:01.480 --> 0:21:04.800 Are you sure it was me? No? I didn't see 0:21:04.800 --> 0:21:08.800 her at all on Tuesday, Alice. 0:21:09.600 --> 0:21:11.680 I know you can hear me open the door. 0:21:17.760 --> 0:21:22.160 Did you find him? Name? Who? Your friend? What friend? 0:21:22.640 --> 0:21:23.119 Your friend? 0:21:23.119 --> 0:21:23.479 Harry? 0:21:24.240 --> 0:22:00.159 Who told you I had a friend named Harry? 0:22:06.920 --> 0:22:08.920 All right, So at this point, if you would like 0:22:09.000 --> 0:22:11.840 to go out and watch Footprints on the Moon, well, 0:22:11.880 --> 0:22:14.520 there is a DVD of the film, but it's also 0:22:14.560 --> 0:22:17.800 widely available for digital rental or purchase, and is also 0:22:17.840 --> 0:22:21.399 in some of the package streaming services. I was snowed in, 0:22:21.760 --> 0:22:24.959 so I rented it on Prime and the quality was great. However, 0:22:25.040 --> 0:22:29.240 I will say I had no audio options. I do 0:22:29.359 --> 0:22:32.840 not know if there are other language dubs for this, 0:22:33.720 --> 0:22:36.040 but the version I watched it in was English. 0:22:36.720 --> 0:22:39.000 You said the disc version is a DVD, but I'm 0:22:39.040 --> 0:22:42.400 pretty sure there is a blu ray from Severin. 0:22:42.440 --> 0:22:44.840 Is there? Okay? Yeah? Well that, oh it would be 0:22:44.880 --> 0:22:45.399 even better. 0:22:45.640 --> 0:22:48.159 It's under the alternate title. It's not called Footprints on 0:22:48.200 --> 0:22:52.560 the Moon. It just says Footprints. I mean, why I 0:22:52.760 --> 0:22:55.359 put the Moon in the title. That's what sells it. 0:22:55.800 --> 0:22:59.560 I think that was the name of the original Italian novel. 0:23:00.160 --> 0:23:03.680 But all right, now I'm pulling up the Severin's website. 0:23:03.680 --> 0:23:05.600 I'm looking at the cuts. Let's see what do we have. 0:23:06.400 --> 0:23:10.480 We have an Italian cut and a US cut. I'm 0:23:10.520 --> 0:23:14.639 assuming I probably watched the US cut based on everything. 0:23:15.040 --> 0:23:16.919 Yeah, that's probably what I saw that. We may have 0:23:16.960 --> 0:23:19.639 watched the same streaming version. I watched the one available 0:23:19.680 --> 0:23:23.280 through scream Box, which is a premium subscription on Prime. 0:23:24.119 --> 0:23:26.959 My main question is just about like the version I watched, 0:23:27.040 --> 0:23:31.240 Kloskinski is dubbed. It's not Klaskinski's voice. Yeah, and you 0:23:31.280 --> 0:23:33.800 know is we'll discuss his is a bit part and 0:23:33.840 --> 0:23:37.160 it doesn't really matter. But I mean that whether it's 0:23:37.200 --> 0:23:39.919 his voice or not. But I was just wondering, well, 0:23:40.280 --> 0:23:42.280 does this mean there's a different cut like in the 0:23:42.320 --> 0:23:43.000 Italian cut? 0:23:43.119 --> 0:23:43.199 Is? 0:23:43.320 --> 0:23:45.200 I mean, I don't know. They're probably dubbed in either case, 0:23:45.240 --> 0:23:48.120 But at any rate, the version I watched was in English. 0:23:48.320 --> 0:23:51.120 But this blu ray does look excellent, soul. This would 0:23:51.160 --> 0:24:03.280 be the ideal physical media viewing choice right here. All right, Well, 0:24:03.320 --> 0:24:06.560 let's get into the people behind Footprints on the Moon, 0:24:06.760 --> 0:24:11.240 starting at the top with the director Luigi Bzzoni born 0:24:11.320 --> 0:24:15.080 nineteen twenty nine died at twenty twelve, also a writer 0:24:15.240 --> 0:24:18.120 on the picture, A Tiger director and screenwriter with five 0:24:18.160 --> 0:24:21.280 films to his credit, all genre pictures of different types. 0:24:21.320 --> 0:24:24.240 There's a nineteen sixty five's The Possessed that was a 0:24:24.280 --> 0:24:28.600 mystery starring Peter Baldwin. Sixty seven's Man Pride and Vengeance 0:24:28.680 --> 0:24:32.520 that's a Western with Franco Nero and Klauskinski. Seventy one's 0:24:32.600 --> 0:24:36.800 The Fifth Chord that's a Franco Nero Jallo and and 0:24:36.800 --> 0:24:39.879 then there's seventy three's Brothers Blue that's say western with 0:24:40.000 --> 0:24:43.800 Jack Pallets. And then came this film, Footprints on the Moon, 0:24:43.960 --> 0:24:45.879 which was his final picture. 0:24:46.600 --> 0:24:49.040 Never seen anything else by this guy, but Footprints is 0:24:49.040 --> 0:24:51.760 so strong. I may have to check these other ones out. 0:24:51.800 --> 0:24:56.280 Even the westerns. Oh, come on a Franco Niro and 0:24:56.359 --> 0:24:57.760 Klauskinski western. 0:24:57.960 --> 0:25:00.640 What I mean? They are a number of of spaghetti 0:25:00.680 --> 0:25:06.080 westerns that are on my eventual viewing list. Sometimes it's 0:25:06.160 --> 0:25:09.000 really hard to pass up a horror film for a western, 0:25:09.080 --> 0:25:11.840 but some of these are very well regarded, and there 0:25:11.880 --> 0:25:13.680 you know, obviously there are some real classics in the 0:25:13.680 --> 0:25:17.359 spaghetti western zone, so yeah, we should maybe come back 0:25:17.359 --> 0:25:19.240 to one, even on Weird House. There are some weird 0:25:19.480 --> 0:25:24.800 spaghetti westerns for sure, all right. The other writing credit 0:25:24.840 --> 0:25:28.760 and also credit for the original novel goes to Mario Finelli, 0:25:28.880 --> 0:25:31.399 who lived nineteen twenty four through nineteen ninety one, an 0:25:31.440 --> 0:25:34.720 Italian writer, screenwriter, and director in his own right. In fact, 0:25:34.960 --> 0:25:39.560 he seemingly directed some on this film in an uncredited capacity. Again, 0:25:39.600 --> 0:25:42.080 the film is based on his original novel The Footprints, 0:25:42.640 --> 0:25:45.520 but he'd also worked with Bozzoni on The Fifth Chord 0:25:45.640 --> 0:25:49.480 and Brothers Blue. He has an extensive directing filmography as well, 0:25:49.520 --> 0:25:52.800 including a great deal of TV work. All right, Now 0:25:52.840 --> 0:25:56.080 getting into the cast, The star of the picture is 0:25:56.359 --> 0:26:01.600 Florinda Bulkin playing Alice. Born nineteen forty one, Brazilian actress 0:26:01.600 --> 0:26:05.719 and model who moved through both art house and like grindhouse, 0:26:05.720 --> 0:26:09.439 Italian cinema. She was active to one degree or another 0:26:09.520 --> 0:26:13.639 from nineteen sixty eight through twenty nineteen. Her first film 0:26:13.680 --> 0:26:16.720 credit was a supporting role in the nineteen sixty eight 0:26:16.760 --> 0:26:19.879 picture of Candy, which had an all star international cast. 0:26:20.000 --> 0:26:22.800 Like I Think, John Houston was in it, and Ringo 0:26:22.920 --> 0:26:25.760 star and just various other folks. It was a lot 0:26:25.760 --> 0:26:29.199 of pretty crowded cast on that one. What kind of 0:26:29.200 --> 0:26:33.199 movie is that? Is it a screwball comedy or it 0:26:33.240 --> 0:26:38.040 is a sex farce? Oh boy? But it's from a 0:26:38.080 --> 0:26:41.640 screenplay by Buck Henry. I haven't seen it, but again, 0:26:41.680 --> 0:26:46.399 it's like, it's got Marlon Brando, Richard Burton, Walter Mathowl, Yeah, oh, 0:26:46.520 --> 0:26:50.399 James Coburn. Yeah, it's a loaded cast. But I can't 0:26:50.440 --> 0:26:53.240 I can't really speak for it beyond that, just that 0:26:53.320 --> 0:26:56.479 it's it has a lot of people I recognize in it. 0:26:56.680 --> 0:27:00.520 Oki Dokie her subsequent work again weave's back and forth 0:27:00.560 --> 0:27:04.000 between the genres, including the likes of Luccio Fulci's Lizard 0:27:04.000 --> 0:27:06.760 in a Woman's Skin in seventy one and Don't Torture 0:27:06.800 --> 0:27:10.159 a Duckling in seventy two, as well as pictures like 0:27:10.320 --> 0:27:15.439 the James Clavel directed and adapted The Last Valley in 0:27:15.560 --> 0:27:19.080 seventy one that starred Michael Caine and Omar Sharif. I 0:27:19.119 --> 0:27:20.960 was a big fan of this picture when I was younger. 0:27:21.000 --> 0:27:22.840 I haven't seen it in a long time, but it's 0:27:22.840 --> 0:27:25.359 set during the thirty years war has to do with 0:27:26.400 --> 0:27:31.240 this whole mercenary crew that's headed up by Michael Kaine's character, 0:27:31.320 --> 0:27:34.919 and they defect, and as they defect, he stabs somebody 0:27:34.960 --> 0:27:38.400 to death with his spiked tilmeut. So that was That's 0:27:38.400 --> 0:27:40.280 a pretty fun I think I've probably mentioned that before 0:27:40.320 --> 0:27:44.200 on the show. Okay, anyway, Bulkan was also in nineteen 0:27:44.240 --> 0:27:48.640 seventy's Investigation of a Citizen Above Suspicion, and yeah, she's 0:27:48.680 --> 0:27:50.919 been in a ton of stuff. She also wrote and 0:27:50.960 --> 0:27:55.600 directed the two thousand film I Didn't Know Taruru, and 0:27:55.720 --> 0:27:58.600 she was the longtime partner of producer Marina Chigona. 0:27:59.160 --> 0:28:03.200 Florida Bolcan is fantastic in this movie, and she has 0:28:03.240 --> 0:28:06.360 to The movie really rests on her because there are 0:28:06.480 --> 0:28:10.040 long stretches of the film where she is acting alone. 0:28:10.400 --> 0:28:13.840 She is in scenes without anyone, in scenes with no dialogue, 0:28:13.880 --> 0:28:17.120 with no one to act against, and so she's communicating 0:28:17.160 --> 0:28:20.560 the whole arc of her of her characters, you know, 0:28:20.680 --> 0:28:23.880 feelings and discovery of things, just silently kind of reacting 0:28:23.920 --> 0:28:28.480 to her environment. And I think she's she really carries 0:28:28.520 --> 0:28:29.680 the film. She's wonderful. 0:28:29.880 --> 0:28:33.080 Absolutely, she's terrific in this This is not a picture 0:28:33.359 --> 0:28:35.760 where she's going to spend the run time running from 0:28:35.760 --> 0:28:37.800 a mass man trying to stab her with a moon rock. 0:28:38.160 --> 0:28:44.760 And now it's it's it's her quietly investigating her surroundings, 0:28:45.080 --> 0:28:48.360 and it's very psychological in nature for the most part, 0:28:48.400 --> 0:28:53.280 with that psiological psychological focus turned inward. So yeah, it 0:28:53.320 --> 0:28:55.640 always takes a skilled performer to really bring that sort 0:28:55.680 --> 0:28:58.000 of thing to life. So we were talking about the 0:28:58.000 --> 0:29:01.400 potential for strong female characters in a Jallah or Jallah 0:29:01.400 --> 0:29:03.760 adjacent film, and I feel like this is a pretty 0:29:03.760 --> 0:29:08.040 strong character in a definitely a strong performance. Definitely strong performance. 0:29:08.080 --> 0:29:10.720 I think, I don't know people would argue about the 0:29:10.840 --> 0:29:14.080 meaning of the ending in that regard, but yeah, I mean, 0:29:14.920 --> 0:29:17.719 regardless there, I mean, I think it is definitely a 0:29:17.800 --> 0:29:21.160 fascinating character and a wonderful performance by Florinda Bulkan. 0:29:21.280 --> 0:29:24.720 Yeah, all right. Another character that turns up is the 0:29:24.800 --> 0:29:29.600 character Henry played by Peter mcchinry born nineteen forty, a 0:29:29.600 --> 0:29:32.160 well regarded actor with a long career on the British 0:29:32.200 --> 0:29:36.360 stage and in British television obviously some euro projects as well. 0:29:36.800 --> 0:29:39.160 We chatted about him before in one of our core 0:29:39.200 --> 0:29:42.560 Stuff to Blow Your Mind episodes anthology of Horror seven, 0:29:42.640 --> 0:29:45.640 because he starred in the nineteen eighty Hammer House of 0:29:45.640 --> 0:29:48.240 Horror episode The Mark of Satan. Oh. 0:29:48.320 --> 0:29:51.640 Yeah, we did that in an anthology episode because it 0:29:51.680 --> 0:29:55.920 was a movie about a man who became who became 0:29:56.680 --> 0:29:59.960 possessed of the notion that there was an evil virus 0:30:00.200 --> 0:30:02.920 that was infecting people and turning them against him. 0:30:03.560 --> 0:30:04.600 And it was a kind of. 0:30:05.720 --> 0:30:09.360 Loss of sanity play as well. But that was an 0:30:09.400 --> 0:30:13.120 interesting Hammer episode, and I think we ended up relating 0:30:13.120 --> 0:30:16.840 it to certain kinds of viral viral conditions in real life. 0:30:17.080 --> 0:30:20.280 Yeah. Among the other things that he was in, there 0:30:20.320 --> 0:30:23.200 was a seventy three this nineteen seventy three horror anthology 0:30:23.240 --> 0:30:26.760 picture Tales that Witness Madness. Oh, and he was in 0:30:26.800 --> 0:30:30.480 a wonderful nineteen eighty one adaptation of A Midsummer Night's Dream, 0:30:31.080 --> 0:30:34.240 one that I believe I watched in a Shakespeare class 0:30:34.240 --> 0:30:37.440 in college. It's not too much if I remember correctly, 0:30:37.440 --> 0:30:39.959 it's not too much more than a film play. There 0:30:39.960 --> 0:30:42.200 are a number of these that, you know, like British 0:30:42.240 --> 0:30:44.760 productions where it's you know, there aren't a bunch of 0:30:44.800 --> 0:30:48.640 like Lavish locations and sets. It's pretty minimal. But then 0:30:48.680 --> 0:30:52.800 the performances are generally really top notch, and this particular 0:30:52.800 --> 0:30:56.320 production had the likes of Helen Mirren as Titania, Phil 0:30:56.440 --> 0:30:59.480 Daniels from Billy the Kid in the Green Bays Vampire 0:31:00.480 --> 0:31:03.000 and many other things. Obviously, but he played Puck in it, 0:31:03.080 --> 0:31:06.840 and then Brian Glover from Alien three plays bottom. You 0:31:07.000 --> 0:31:10.440 remember Brian Glover. He was the bald guy. Yeah, he's 0:31:10.480 --> 0:31:13.000 the he's like the boss at the prison. Yes, yes, 0:31:13.680 --> 0:31:20.080 they're all bald. That's the joke for H'm sorry, you're 0:31:20.160 --> 0:31:22.640 right there. His head, I think, is bigger, so he's more. 0:31:23.080 --> 0:31:28.200 He's more. Yeah. But mcginny played Oberon in that adaptation 0:31:28.480 --> 0:31:29.760 of Midsummer Night's Dream. 0:31:29.920 --> 0:31:32.000 I can see that he's got range. I mean in 0:31:32.120 --> 0:31:36.440 the Hammer House of Horror episode he played a very unsettling, 0:31:36.600 --> 0:31:40.440 troubled guy who did not at all have the same 0:31:40.560 --> 0:31:42.720 energy he has in this and Footprints on the Moon, 0:31:42.800 --> 0:31:48.160 he plays a kind of intriguing, good natured and mysterious hunk. 0:31:48.800 --> 0:31:51.600 Yeah. Yeah, and and one is mustache and one is 0:31:51.600 --> 0:31:54.200 not must No mustache. In this picture he had a mustache. 0:31:54.240 --> 0:31:57.880 And yeah the Hammer Horror anthology. But yeah, he's he's 0:31:57.960 --> 0:32:00.200 quite good. And there may be some other thing I've 0:32:00.240 --> 0:32:01.880 seen him in. He has, like I say, he has 0:32:01.880 --> 0:32:05.200 had a very long career. All right, another role in 0:32:05.200 --> 0:32:07.360 this one, and this one definitely gets into some other 0:32:07.480 --> 0:32:12.360 Jallo credits. We have Nicoletta Elmi playing this child, this 0:32:13.080 --> 0:32:16.520 child that wanders up and has various interactions with our 0:32:16.560 --> 0:32:20.440 star and a face that you will recognize from various 0:32:20.560 --> 0:32:26.680 nineteen seventies Italian genre in horror pictures, including seventy one's 0:32:26.680 --> 0:32:30.480 Bay of Blood, seventy two's Barren Blood, seventy three's Flesh 0:32:30.520 --> 0:32:34.400 for Frankenstein, seventy five's Night Child, and of course nineteen 0:32:34.400 --> 0:32:38.880 seventy five's Deep Red Dario Argento film. And she continued 0:32:38.880 --> 0:32:41.560 to act through the nineteen eighties as an adult, appearing 0:32:41.600 --> 0:32:43.960 in such pictures as nineteen eighty five's Demons. 0:32:44.400 --> 0:32:46.560 What would it be like to, you know, have your 0:32:46.600 --> 0:32:49.240 acting career start when you were younger? Is like, I 0:32:49.960 --> 0:32:54.040 was the recurring character character type of creepy child in 0:32:54.160 --> 0:32:58.840 Jallo film. Actually she's not so creepy in this one. 0:32:58.840 --> 0:33:00.640 She's creepy I think in some of the other ones. 0:33:01.000 --> 0:33:04.200 Yeah, yeah, in this she's I mean she's a little creepy, 0:33:04.560 --> 0:33:07.160 but but not to the to the point where you're like, 0:33:07.240 --> 0:33:09.880 is this a ghost child or not? Yeah, Like when 0:33:09.920 --> 0:33:12.320 this character is I believe she slapped at one point 0:33:12.360 --> 0:33:15.880 at one point, oh yeah, yeah, our main character slaps her, 0:33:15.920 --> 0:33:18.320 and I'm like, that's not okay. And whereas if we 0:33:18.400 --> 0:33:21.160 thought she was a ghost child, I don't know, then 0:33:21.200 --> 0:33:23.560 it's it's kind of a gray area at that point. 0:33:23.640 --> 0:33:25.400 Is it okay to slap a ghost It's not really 0:33:25.480 --> 0:33:28.719 a child, it's not really a person anymore. It's a ghost. 0:33:28.800 --> 0:33:31.080 And can your hand make contact with a ghost? I'm 0:33:31.080 --> 0:33:35.880 not sure important questions? Yeah, all right, the okay, the 0:33:35.920 --> 0:33:38.840 next two actors. I want to mention there are characters 0:33:38.880 --> 0:33:43.280 I honestly don't completely one remember from this film because 0:33:44.040 --> 0:33:46.239 not all the A lot of the investigations end up 0:33:46.280 --> 0:33:49.480 being very visually memorable, but I don't necessarily remember what 0:33:49.640 --> 0:33:56.040 information was gained from them. There's a character named Mary, 0:33:56.840 --> 0:33:59.400 and then there's a character named Marie. 0:33:59.560 --> 0:34:02.959 So, if I'm getting this right, Alice has there are 0:34:03.040 --> 0:34:06.800 essentially three other women her age that she interacts with 0:34:06.920 --> 0:34:09.520 in the beginning of the movie before she leaves for Garma, 0:34:10.200 --> 0:34:13.440 and they are named Rosemary, Mary, and Marie. 0:34:14.040 --> 0:34:17.320 Okay, these two characters are not very important to the 0:34:17.360 --> 0:34:22.080 picture towards, but I did want to mention them briefly, 0:34:22.120 --> 0:34:24.440 just because they do have connections to other Jallo pictures 0:34:24.480 --> 0:34:26.680 and some pictures we've talked about on the show before. 0:34:27.520 --> 0:34:31.520 So Ida Golli born nineteen thirty nine, credited here as 0:34:31.600 --> 0:34:38.800 Evelyn Stewart, She's an Italian actress who pops up in 0:34:38.840 --> 0:34:42.440 a number of Spaghetti Western Jaalo pictures. We previously mentioned 0:34:42.440 --> 0:34:45.400 her in our episode on Mario Bava's dark peplum film 0:34:45.480 --> 0:34:49.160 Hercules in the Haunted World, in which she played a 0:34:49.239 --> 0:34:52.480 character I don't one hundred percent remember named miss Otidi. 0:34:53.000 --> 0:34:56.120 I don't remember her at all, but her other credits 0:34:56.120 --> 0:34:58.560 include sixty threes, The Whip in the Body, sixty fours, 0:34:58.640 --> 0:35:02.600 War of the Zombies, sixty six, Django Shoots First, and 0:35:03.080 --> 0:35:06.600 Lucio Fulci's seventy seven thriller The Psychic and Then Marie 0:35:06.760 --> 0:35:11.640 is played by Rosita Torros. As Rosita Torros, she lived 0:35:11.719 --> 0:35:14.839 nineteen forty five through nineteen ninety five Italian actress who 0:35:14.840 --> 0:35:17.920 also appeared in various Shalloh and horror films, including nineteen 0:35:17.920 --> 0:35:21.480 seventies The Bird with the Crystal Plumage Gentle Picture and 0:35:21.600 --> 0:35:24.760 seventy four is almost human from umberto Lindsay. 0:35:24.840 --> 0:35:28.880 So, I think this is the character of Marie Leblanche, 0:35:29.080 --> 0:35:34.759 the translator who takes Alice's job after she disappeared. 0:35:34.840 --> 0:35:39.600 That's right, yeah, So again they're not vital too the 0:35:40.000 --> 0:35:43.600 large stretches of the picture, but they're kind of interesting connections. 0:35:44.160 --> 0:35:47.960 And then, of course Klaskinsky we mentioned plays Professor Blackman. 0:35:49.760 --> 0:35:50.960 I don't know if it was the same for you, 0:35:51.000 --> 0:35:54.880 but I found different versions. Different renditions of this character's 0:35:54.960 --> 0:35:57.319 name have different numbers of n's and k's in it, 0:35:57.719 --> 0:36:01.720 so that may vary depending on where you're looking. Kinsky 0:36:01.880 --> 0:36:06.520 saught two ends at the end. Maybe I just I 0:36:06.520 --> 0:36:09.880 imagined the extra k, but at any rate, Klaus Kinsky 0:36:09.920 --> 0:36:12.320 lived nineteen twenty six through nineteen ninety one. We've previously 0:36:12.320 --> 0:36:15.120 discussed Kinsky in our episodes on Venom from eighty one 0:36:15.480 --> 0:36:19.239 and Creature from eighty five. You know, this was, of 0:36:19.280 --> 0:36:24.120 course an infamous actor known for his crazed intensity, and 0:36:24.360 --> 0:36:26.760 his career also is one of those that straddles worlds 0:36:26.800 --> 0:36:29.520 of both art house and grind house, you know, B 0:36:29.719 --> 0:36:34.040 movies and very well regarded productions as well. We're not 0:36:34.080 --> 0:36:36.000 going to go into put too much depth here, in 0:36:36.120 --> 0:36:39.319 part because it is a bit part for Kinski. We 0:36:39.400 --> 0:36:42.960 only see him in dream sequences in Stunning Black and White, 0:36:43.200 --> 0:36:45.880 and his voice, at least for me, was dubbed with 0:36:45.960 --> 0:36:47.680 a thoroughly non Kinsky voice. 0:36:47.880 --> 0:36:50.160 Yeah, it didn't sound like him at all. I don't 0:36:50.160 --> 0:36:51.760 think even had a German accent. 0:36:52.000 --> 0:36:54.719 No, they weren't even going for Kinski. They were just like, ye, 0:36:55.120 --> 0:36:55.919 just dub him over. 0:36:56.239 --> 0:36:58.840 But Kinsky's voice would have made sense because the character 0:36:59.000 --> 0:37:02.239 he plays as a mad scientist, like the character he 0:37:02.280 --> 0:37:04.680 plays as a character who sounds like Klaus Kinsky does 0:37:04.719 --> 0:37:05.320 in real life. 0:37:05.840 --> 0:37:08.600 Yeah, and like Kinski's voice is one of those that, like, 0:37:08.680 --> 0:37:11.120 I feel like a lot of people can do, so 0:37:11.719 --> 0:37:15.359 it seems like a very deliberate choice. Yeah, it's kind 0:37:15.360 --> 0:37:17.200 of like if you dubbed Peter Lorie, you know, it's 0:37:17.280 --> 0:37:20.640 like somebody could do that voice. Come on. Yeah, yeah, 0:37:21.239 --> 0:37:23.520 all right. I mentioned how I spent the first twenty 0:37:23.560 --> 0:37:26.160 minutes of the film like just really admiring the composition 0:37:26.200 --> 0:37:28.440 of it all. And that's the point where I was like, oh, 0:37:28.480 --> 0:37:32.360 I didn't check to see who the cinematographer was. And 0:37:32.719 --> 0:37:34.840 that's when I checked and saw that the director of 0:37:34.840 --> 0:37:40.800 photography was Vittorio Storaro, who was born in nineteen forty 0:37:41.040 --> 0:37:45.080 and is a three time Oscar winner. He earned the 0:37:45.120 --> 0:37:48.200 Oscar for his work on nineteen seventy nine Apocalypse Now, 0:37:49.239 --> 0:37:52.279 nineteen eighty one's Reds that was I Haven't seen That 0:37:52.360 --> 0:37:55.479 was written and directed by Warren Beatty, and nineteen eighty 0:37:55.520 --> 0:37:59.640 seven's The Last Emperor. So a legendary cinematographer working on 0:37:59.680 --> 0:38:02.240 this pic. Sure he was also nominated for nineteen nineties 0:38:02.320 --> 0:38:02.960 Dick Tracy. 0:38:04.840 --> 0:38:08.000 I've wondered before if we should cover Dick Tracy on 0:38:08.040 --> 0:38:08.840 the show because. 0:38:08.680 --> 0:38:13.920 Talk about weird, weird movies. Yes, a weird film that 0:38:14.040 --> 0:38:17.080 I loved as a kid, haven't seen in forever, but yeah, 0:38:17.120 --> 0:38:22.120 it's like a brightly colored comic book, old time comic book, 0:38:22.120 --> 0:38:24.480 gangster picture full of mutant gangsters. 0:38:24.760 --> 0:38:28.600 Yeah, yeah, I don't know how well it would hold up, 0:38:28.640 --> 0:38:31.680 but it's got to be one of the weirder mainstream 0:38:31.719 --> 0:38:32.760 films ever released. 0:38:33.160 --> 0:38:35.280 It has to be. Yeah, I would like to revisit 0:38:35.320 --> 0:38:40.080 it sometime. Other pictures of note for Starro include nineteen 0:38:40.120 --> 0:38:44.040 seventies The Bird with a Crystal Plumage Another Bird related 0:38:44.040 --> 0:38:48.360 picture nineteen eighty five's Lady Hawk and the two thousand 0:38:48.440 --> 0:38:51.480 Doune mini series, which all of these had very strong 0:38:52.480 --> 0:38:56.879 visual composition, So you know, yeah, this is a big 0:38:56.960 --> 0:38:58.960 name and it makes sense that a big name was 0:38:59.000 --> 0:39:01.200 involved here given out great everything looks. 0:39:01.840 --> 0:39:04.840 It is a gorgeously shot film, so this makes a 0:39:04.880 --> 0:39:07.759 lot of sense. I'm still kind of processing where the 0:39:07.800 --> 0:39:11.120 two thousand Dune mini series fits in. Maybe I'm not 0:39:11.160 --> 0:39:13.239 being fair because I haven't seen that, but I've seen 0:39:13.280 --> 0:39:18.200 stills from it. It never struck me as something that 0:39:18.520 --> 0:39:20.720 looked amazing, But maybe I'm wrong. 0:39:22.160 --> 0:39:24.840 I recently rewatched parts of it and I will have 0:39:24.920 --> 0:39:28.640 to say the CGI did not hold up well at all, 0:39:29.160 --> 0:39:33.720 and it does feel I know it cost a pretty penny, 0:39:33.760 --> 0:39:38.360 but it feels like a TV production, you know, in 0:39:38.400 --> 0:39:41.719 many respects. But on the other hand, like the costumes 0:39:41.760 --> 0:39:44.839 are very inventive, It's got some great performances in it, 0:39:45.560 --> 0:39:48.479 and given its length, it actually gives you a chance 0:39:48.480 --> 0:39:51.240 to see some of the scenes that are often omitted 0:39:51.239 --> 0:39:55.360 from adaptations of Doom. All Right, and finally, the composer 0:39:55.400 --> 0:39:57.279 on this one already mentioned how nice the music is. 0:39:57.520 --> 0:40:01.479 It is the work of Nicola Piovan born nineteen forty six, 0:40:01.520 --> 0:40:04.520 Italian composer who won an Oscar himself in nineteen ninety 0:40:04.600 --> 0:40:08.440 nine for Life Is Beautiful. His other credits include seventy 0:40:08.480 --> 0:40:11.160 four's The Perfume of the Lady in Black. I don't 0:40:11.160 --> 0:40:12.880 think I have to tell you that's a Jalla picture 0:40:12.920 --> 0:40:16.440 with a title like that, as well as Flavia the Heretic, 0:40:16.640 --> 0:40:28.160 which starred Florinda bulcan Ah. All right, do you want 0:40:28.160 --> 0:40:30.399 to start talking about the plot. Yeah, let's get into 0:40:30.440 --> 0:40:33.720 the plot of Footprints on the Moon. Okay. 0:40:33.760 --> 0:40:37.040 Well, the credits play in yellow type script over a 0:40:37.120 --> 0:40:40.640 deep blue night sky with no stars in sight, just 0:40:40.760 --> 0:40:43.920 the moon, which is pale and gray in the center 0:40:43.960 --> 0:40:47.040 of the frame. And I quite like the music that 0:40:47.080 --> 0:40:49.720 plays over the opening credits here, So at the beginning 0:40:50.200 --> 0:40:54.919 it's mostly strings and flute, and the melody is subtle, mysterious, 0:40:55.440 --> 0:40:58.279 kind of cold. I was thinking of it as the 0:40:58.320 --> 0:41:02.520 sound of like seeing something that looks very odd far 0:41:02.560 --> 0:41:05.600 away out of window, and then looking back to try 0:41:05.640 --> 0:41:09.000 to see it more clearly, and it's gone. But suddenly 0:41:09.120 --> 0:41:12.759 into this texture, the pipe organ comes roaring in and 0:41:13.080 --> 0:41:17.320 it's immediately like we are phantoming the opera out of this, yes, 0:41:18.440 --> 0:41:20.319 So the credits roll and we zoom in on the 0:41:20.320 --> 0:41:23.560 Moon to reveal this is not genuine night sky photography. 0:41:24.080 --> 0:41:28.080 This is an illustration of the Moon in a gorgeous 0:41:28.200 --> 0:41:30.839 but old school style, so it looks like something out 0:41:30.840 --> 0:41:33.800 of one of those great old nineteenth century astronomy books 0:41:33.840 --> 0:41:36.279 with the hand drawn illustrations of the craters and the 0:41:36.360 --> 0:41:40.920 lunar maria. And then in the foreground we see a 0:41:41.040 --> 0:41:45.480 lunar landing vehicle appear, so it's drifting gracefully down toward 0:41:45.880 --> 0:41:49.080 toward the Moon, down toward the surface. And then when 0:41:49.120 --> 0:41:52.280 we see the surface in close up, it's another classic 0:41:52.320 --> 0:41:55.200 style illustration, the kind of planet surface you would get 0:41:55.239 --> 0:41:58.920 in Planet of the Vampires and these landing party adventures 0:41:58.920 --> 0:42:02.000 of the fifties and sixties. So it's not just rocks 0:42:02.000 --> 0:42:05.640 and dust, but these craggy spires which you don't really 0:42:05.640 --> 0:42:08.640 get in the actual topography of the Moon, at least 0:42:08.640 --> 0:42:12.600 not our moon. So after the lander sets down, we 0:42:12.760 --> 0:42:16.920 cut to a rather surprising shot. We see one astronaut 0:42:16.960 --> 0:42:21.400 in a suit and a classic bubble helmet, apparently unconscious, 0:42:21.800 --> 0:42:26.120 being dragged across the surface by another astronaut with his 0:42:26.320 --> 0:42:29.280 boots leaving these streaks in the regolith as his limp 0:42:29.320 --> 0:42:34.000 body is pulled along, and then the upright astronaut drops 0:42:34.040 --> 0:42:36.480 the other one in the dust in a field that 0:42:36.640 --> 0:42:39.600 is framed by these pointy moon spires, and then begins 0:42:39.640 --> 0:42:42.960 to walk away. So is somebody just being abandoned on 0:42:43.040 --> 0:42:46.360 the surface of the Moon, It seems yes. We watch 0:42:46.480 --> 0:42:49.360 the lander begin to take off and then rise up 0:42:49.400 --> 0:42:53.440 into orbit once again, and it's only once the lander 0:42:53.520 --> 0:42:56.440 is far away that the astronaut comes to and sits 0:42:56.560 --> 0:43:00.120 up and realizes what's happening, and they watch in terror 0:43:00.200 --> 0:43:03.480 as the vehicle departs and rob I attached a couple 0:43:03.480 --> 0:43:05.839 of screenshots of this moment for you to look at 0:43:05.840 --> 0:43:08.680 here because I thought this part was wonderful. It's so 0:43:09.239 --> 0:43:14.400 strange and mysterious and evocative. The soundtrack goes on alternating 0:43:14.440 --> 0:43:18.400 between the cold, ominous strings and woodwinds with these sudden 0:43:18.480 --> 0:43:22.239 explosions of pipe organ and we're thrown off by this 0:43:22.400 --> 0:43:26.880 unusual scenario and the mid century science fiction aesthetics of 0:43:26.920 --> 0:43:30.160 the eva suits and the lunar set design. So it 0:43:30.239 --> 0:43:33.080 sounds based on that the latter stuff there like the 0:43:33.160 --> 0:43:36.040 effect of this could be comical, but it's really not 0:43:36.360 --> 0:43:40.400 in this moment, because we're seeing the abandoned astronaut's eyes 0:43:40.560 --> 0:43:43.480 wide in fear behind the curved glass of the face plate, 0:43:43.880 --> 0:43:47.280 but the glass is partially fogged over, so we only 0:43:47.320 --> 0:43:51.319 see their face through this obscuring screen of fog, which 0:43:51.400 --> 0:43:54.799 kind of mutes the detection of emotion there and makes 0:43:54.840 --> 0:43:59.160 them inaccessible and haunting. I think it's a really great moments. 0:43:59.320 --> 0:44:03.600 It's extremely well executed because it manages to walk that 0:44:03.760 --> 0:44:08.279 line where it never feels hokey, but it also is 0:44:08.360 --> 0:44:15.320 not going for like a like a high highly accurate rendition, 0:44:15.440 --> 0:44:17.480 like they're not trying to make it look like the 0:44:17.520 --> 0:44:20.400 actual surface of the moon in actual like lunar landings 0:44:20.440 --> 0:44:21.040 and so forth. 0:44:21.280 --> 0:44:24.520 Yeah, then from here we cut to a different scene, 0:44:24.760 --> 0:44:28.360 still in the esthetics of old school sci fi, but 0:44:28.480 --> 0:44:31.319 now fully in black and white. So we see a 0:44:31.400 --> 0:44:35.480 gruff man in an EVA helmet starting a radio communication. 0:44:35.640 --> 0:44:39.120 He announces himself as Gunter, and he calls out for 0:44:39.239 --> 0:44:43.680 a professor Blachmann. Who could that be? Why it's Klaus Kinski. 0:44:44.360 --> 0:44:48.360 Kinsky says, receiving you over in a non Kinsky voice, 0:44:48.960 --> 0:44:52.239 and so Kinsky is hunched over in some kind of 0:44:52.440 --> 0:44:56.799 mad science mission control room with lights flashing everywhere and 0:44:56.880 --> 0:45:00.719 computers making little beeps and boops, and we learn from 0:45:00.800 --> 0:45:05.239 their exchange that Blackman and Gunter are collaborating on some 0:45:05.320 --> 0:45:10.680 kind of morbid experiment. They intentionally abandoned the other astronaut, 0:45:10.680 --> 0:45:14.160 whose name is we learn as McGregor, on the Moon 0:45:14.360 --> 0:45:17.360 so they could study something about him from a distance. 0:45:17.920 --> 0:45:19.879 And by the way, when we get a look at 0:45:19.880 --> 0:45:22.160 this full control room, I was kind of wondering for 0:45:22.160 --> 0:45:25.200 some reason if they shot these in like a real 0:45:25.320 --> 0:45:28.520 decommissioned nuclear plant like they did in Shocking Dark. Whatever 0:45:28.520 --> 0:45:30.479 these control panels are, they look pretty good. 0:45:30.960 --> 0:45:34.680 Yeah, And I love this gritty black and white that 0:45:34.680 --> 0:45:36.600 they shoot everything, And it reminds me a lot of 0:45:37.120 --> 0:45:40.040 a picture that would come much later two thousand and 0:45:40.040 --> 0:45:43.520 one's the American Astronauts. The same kind of quality where 0:45:43.520 --> 0:45:47.960 it's just like grungy black and white and it doesn't 0:45:47.960 --> 0:45:50.200 feel it doesn't have that feeling like you just turned 0:45:50.280 --> 0:45:53.440 down the color settings on your old school television or anything. 0:45:53.520 --> 0:45:57.480 You know. Yeah, yeah, black and white. You can taste 0:45:57.560 --> 0:46:00.239 get the grid of it in your teeth. Yeah, it's 0:46:00.640 --> 0:46:02.719 a little bit salty. Yeah. 0:46:02.760 --> 0:46:07.200 Anyway, the mads mad scientists conspirators. Here they confirm that 0:46:07.280 --> 0:46:10.640 the experiment is underway, and then Kinsky says, I will 0:46:10.680 --> 0:46:14.840 alert the organization. And from here we cut to a 0:46:14.920 --> 0:46:18.960 telephone buzzing on a furry shag carpet. Could this be 0:46:19.080 --> 0:46:21.799 Kinsky's call to the organization? I don't think so, because 0:46:21.840 --> 0:46:24.400 something has changed. We have gone from black and white 0:46:24.520 --> 0:46:28.239 to full color, and we pan up to see our protagonist, 0:46:28.400 --> 0:46:32.240 Alice Chespie, sleeping on her bed. She's wearing a black 0:46:32.360 --> 0:46:36.640 eye mask, curiously in almost the same posture as the 0:46:36.800 --> 0:46:40.680 unconscious astronaut from the other story, and the blinds are 0:46:40.719 --> 0:46:42.960 drawn over the windows in the room, but from in 0:46:43.040 --> 0:46:46.120 between them. The light is falling in over her face 0:46:46.160 --> 0:46:48.359 in a way that suggests it's late morning. She has 0:46:48.400 --> 0:46:54.239 overslept groggily. Alice answers the phone, and it's her friend Rosemary, 0:46:54.280 --> 0:46:56.600 who says she's been trying to reach her for hours. 0:46:56.600 --> 0:46:57.040 I think she. 0:46:57.080 --> 0:47:00.279 Literally says the phone, the phone has been ringing for hours. 0:47:01.120 --> 0:47:03.960 That's that's dedication for Rosemary to wait that long? 0:47:04.000 --> 0:47:07.080 What is wrong with you? Why would you the phone 0:47:07.160 --> 0:47:10.279 ring for hours, not just on the receiving end, but 0:47:10.640 --> 0:47:13.040 on the calling in is why would you do that? 0:47:13.600 --> 0:47:16.719 So Alice seems disoriented, but discovers it's late in the 0:47:16.719 --> 0:47:19.360 morning and she has to turn in a translation she 0:47:19.400 --> 0:47:22.960 hasn't finished yet. Alice works as a translator for some 0:47:23.040 --> 0:47:27.600 kind of consolate or diplomatic office, apparently specializing in scientific topics, 0:47:27.640 --> 0:47:30.520 I think. So she makes plans to meet with Rosemary 0:47:30.600 --> 0:47:32.960 later that morning, and then she gets to business. So 0:47:33.000 --> 0:47:34.960 there are kind of some scenes here of like you 0:47:35.000 --> 0:47:37.520 said earlier, Alice, she's just kind of puttering around her 0:47:37.520 --> 0:47:41.400 apartment doing nothing all that mysterious, but they are framed 0:47:41.560 --> 0:47:46.840 in such a strange and beautiful way. Immediately something feels significant. 0:47:47.000 --> 0:47:49.880 I'm kind of looking for clues, even before the plot 0:47:49.960 --> 0:47:51.080 suggests I should. 0:47:51.480 --> 0:47:52.839 Yeah, And we. 0:47:52.760 --> 0:47:55.360 See her standing at her window, looking in the mirror, 0:47:55.400 --> 0:47:58.239 getting ready for the day, lighting the gas under her 0:47:58.239 --> 0:48:01.680 coffee maker, settling down to typing her translation of an 0:48:01.719 --> 0:48:06.440 audio tape. And one thing I noticed is that outside 0:48:06.440 --> 0:48:08.759 of her apartment window there is first of all, a 0:48:08.800 --> 0:48:10.719 beautiful view of whatever city this is. 0:48:11.320 --> 0:48:13.120 I don't know if this is Rome or whatever. 0:48:13.200 --> 0:48:18.040 But the second thing is there is a giant construction crane, 0:48:18.560 --> 0:48:22.160 and Alice's body is a couple of times seen framed 0:48:22.239 --> 0:48:26.040 within the angle of the crane, feels like it means something, 0:48:27.200 --> 0:48:30.480 So while she goes about her business, Alice at one 0:48:30.520 --> 0:48:33.279 point finds something on the floor of her kitchen next 0:48:33.280 --> 0:48:36.719 to the garbage can. It is a torn up postcard 0:48:37.080 --> 0:48:41.760 bearing the image of a stately old hotel. She puzzles 0:48:41.760 --> 0:48:44.000 the pieces back together and then looks at it and 0:48:44.000 --> 0:48:46.080 then flips it over to see that this is the 0:48:46.160 --> 0:48:49.200 hotel Garma, of a place called Garma. 0:48:49.719 --> 0:48:50.200 What is it? 0:48:50.239 --> 0:48:52.960 She has no idea where it came from, so Alice 0:48:53.040 --> 0:48:56.080 leaves home and then goes about her day. First of all, 0:48:56.120 --> 0:48:58.840 she meets up with her friend Rosemary. There's a funny 0:48:58.840 --> 0:49:01.000 scene where Rosemary's trying to tell her a story about 0:49:01.040 --> 0:49:03.359 something that happened when she went to a club on 0:49:03.440 --> 0:49:06.920 Tuesday night, which is strange because we just saw Alice 0:49:06.920 --> 0:49:11.440 flip her daily calendar from Monday to Tuesday. And she 0:49:11.560 --> 0:49:14.640 realizes Alice is lost in thought, not really paying attention, 0:49:15.200 --> 0:49:18.160 and Alice says she is thinking about a dream she 0:49:18.239 --> 0:49:20.680 had the night before, and in fact, a dream she's 0:49:20.719 --> 0:49:24.359 had many times, where she says a man is abandoned 0:49:24.440 --> 0:49:28.320 on the moon for an experiment. Rosemary says this sounds 0:49:28.320 --> 0:49:31.800 like science fiction, and Alice says, yes, it was. In fact, 0:49:31.960 --> 0:49:34.320 this was a dream that was inspired by a film 0:49:34.440 --> 0:49:37.040 she saw when she was young. The movie was called 0:49:37.239 --> 0:49:40.640 Footprints on the Moon, and it scared her so much 0:49:40.680 --> 0:49:43.160 that she ran out of the theater and never saw 0:49:43.239 --> 0:49:45.160 the end of it, so it's just kind of been 0:49:45.200 --> 0:49:47.080 hanging in her mind all these years. 0:49:47.680 --> 0:49:47.839 Now. 0:49:47.880 --> 0:49:50.520 After this, we see Alice going to work. She's going 0:49:50.560 --> 0:49:55.000 to whatever this diplomatic office is to turn in her translations, 0:49:55.120 --> 0:49:58.160 and on the way there she moves through such interesting spaces, 0:49:58.880 --> 0:50:01.480 like this big empty audio datorium with all these green 0:50:01.600 --> 0:50:05.839 chairs lined up and these stained wooden walls, and then 0:50:05.880 --> 0:50:10.360 walking through behind this colonnade with these doorways framed against 0:50:10.360 --> 0:50:13.719 the sunlight. She eventually comes for a meeting with her 0:50:13.719 --> 0:50:15.080 boss or maybe it's her client. 0:50:15.239 --> 0:50:15.759 I think. 0:50:15.800 --> 0:50:18.680 Actually she's supposed to be a freelancer. But when she 0:50:18.680 --> 0:50:22.000 gets there, everything is confused, like she tries to turn 0:50:22.040 --> 0:50:25.680 in the translation which was due at noon, but this 0:50:25.800 --> 0:50:30.319 leads to a bizarre revelation. The translation was of a 0:50:30.440 --> 0:50:34.880 speech I think concerning science and astronautics that was given 0:50:35.040 --> 0:50:37.440 on Monday, and it was supposed to be turned in 0:50:37.640 --> 0:50:41.200 at noon on Tuesday, which is what time Alice believes 0:50:41.200 --> 0:50:45.040 it is, but actually her client here informs her that 0:50:45.080 --> 0:50:48.839 it is now noon on Thursday, and Alice has no 0:50:49.000 --> 0:50:52.879 memory of the missing two days. Her handler tells her 0:50:52.960 --> 0:50:57.760 that she abruptly left in the middle of the address 0:50:57.480 --> 0:51:00.479 in the forum there and then for the fall several 0:51:00.560 --> 0:51:04.200 days they tried to contact her and got nothing, so 0:51:04.320 --> 0:51:07.560 in her absence they had to hire a different translator, 0:51:07.640 --> 0:51:11.680 a miss Lablanche, and Alice is clearly shaken by this. 0:51:11.760 --> 0:51:13.720 She doesn't know what to make of it, and apparently 0:51:13.800 --> 0:51:16.400 has no memory of leaving the speech or of the 0:51:16.400 --> 0:51:17.120 missing time. 0:51:17.800 --> 0:51:19.600 And so in this we really begin to get into 0:51:19.640 --> 0:51:24.480 the big psychological mysteries of the picture of missing time, 0:51:25.080 --> 0:51:29.680 of lost memories. And again these are questions that are 0:51:30.000 --> 0:51:32.840 very internal, and so it's another way that this performance 0:51:32.920 --> 0:51:35.560 is so good. It's that you know, they're not really 0:51:36.200 --> 0:51:39.319 exploring all this through flashbacks or exploring it through conversations 0:51:40.920 --> 0:51:43.160 in facial expressions. It's very nice. 0:51:43.360 --> 0:51:45.640 Yeah, And this is also another way it really does 0:51:45.719 --> 0:51:48.560 fit Jallo conventions, even though it's not a murder mystery. 0:51:48.600 --> 0:51:51.960 I mean this idea of like having to reconstruct the 0:51:52.040 --> 0:51:54.960 lost memory to solve the mystery of what happened is 0:51:55.480 --> 0:51:57.560 absolutely like core Jallo feeling. 0:51:57.960 --> 0:51:59.880 Yeah. So Alice meets with. 0:52:00.000 --> 0:52:02.879 Another friend of hers named Mary to talk about what's 0:52:02.920 --> 0:52:07.000 going on. Mary asks if she can remember anything about 0:52:07.000 --> 0:52:10.640 what happened at this session in the assembly that she 0:52:10.680 --> 0:52:13.120 apparently ran out in the middle of. So we cut 0:52:13.120 --> 0:52:16.600 to this big public auditorium with a stage and electern 0:52:17.320 --> 0:52:20.960 with a speaker talking into the microphone, and at the 0:52:21.000 --> 0:52:24.520 back of the room there are sound isolated translation booths 0:52:24.680 --> 0:52:27.960 surrounded by glass, with a line of these different booths, 0:52:28.000 --> 0:52:31.320 each one filled with a worker translating the speech into 0:52:31.320 --> 0:52:34.719 different languages in real time, and Alice is one of 0:52:34.760 --> 0:52:39.400 these translators. Curiously, this memory is in black and white 0:52:39.560 --> 0:52:42.319 and on a grainier film stock, and in that way 0:52:42.360 --> 0:52:46.520 it resembles Alice's dreams of the science fiction movie Footprints 0:52:46.520 --> 0:52:50.680 on the Moon. The speaker who's talking and being translated 0:52:50.719 --> 0:52:54.560 in the scene is someone named Madame Verdi, who says, 0:52:55.040 --> 0:52:57.640 I actually wrote down because it's kind of confusing because 0:52:57.640 --> 0:53:01.840 we were seeing subtitles of the translation of the narration, 0:53:02.160 --> 0:53:05.600 but then also the subtitles of the speech that's going on. 0:53:05.960 --> 0:53:09.399 The speech says so that man will find the possibility 0:53:09.440 --> 0:53:14.040 of surviving extremely difficult unless he begins immediately to totally 0:53:14.120 --> 0:53:17.439 alter his ways of thinking and living, to devote all 0:53:17.520 --> 0:53:20.239 his energies to try to avoid these dangers which are 0:53:20.320 --> 0:53:24.640 rushing upon him. By nineteen ninety, pollution and poisoning will 0:53:24.640 --> 0:53:27.759 have killed all the biological life in the sea. Our 0:53:27.760 --> 0:53:30.560 computer has also shown us that in the year two thousand, 0:53:30.840 --> 0:53:33.440 it will be almost impossible for men to live on 0:53:33.560 --> 0:53:37.520 planet Earth. So within the scenario of this movie, it's 0:53:37.560 --> 0:53:41.040 funny because she's listening to this speech that's full of 0:53:41.120 --> 0:53:46.120 these extremely dire warnings of like coming environmental catastrophe, but 0:53:46.239 --> 0:53:50.360 she makes no direct reference to the contents of the speech. Instead, 0:53:50.360 --> 0:53:53.759 this is just presented as like it's just her job 0:53:53.840 --> 0:53:57.200 to translate this, and the content is almost like neutral, 0:53:57.280 --> 0:54:00.200 it doesn't matter what's being said. She's just there to trans. 0:54:00.800 --> 0:54:05.439 But it's so effective, isn't it, Because the content is horrifying. Yes, 0:54:05.920 --> 0:54:09.319 it's just it's just flowing through her being translated. It's 0:54:09.360 --> 0:54:11.440 part of her job. And so you get kind of 0:54:11.640 --> 0:54:15.799 an early idea that, yeah, this could be having a 0:54:15.840 --> 0:54:18.239 toll on her. She may not be quite aware of it, 0:54:18.320 --> 0:54:21.759 but like this is horrible news, and you know, it's 0:54:21.840 --> 0:54:25.680 interesting to sort of take this sort of forecast, you know, 0:54:25.800 --> 0:54:28.400 certainly within the context again of a very modern setting 0:54:29.239 --> 0:54:32.400 of the original picture, but then as a contemporary viewer 0:54:32.400 --> 0:54:34.399 of this film, like on one level, like you hear 0:54:34.440 --> 0:54:37.000 that and you're like, oh, it's like it's like realizing 0:54:37.040 --> 0:54:40.879 you've been you know, eating, you know, using a jar 0:54:40.920 --> 0:54:45.680 of jam and it expired you know, twenty five years ago. Yeah, yeah, 0:54:46.080 --> 0:54:49.399 you know, so in a way it like feels even 0:54:49.440 --> 0:54:51.680 more dire. And then also the other part of the course, 0:54:51.680 --> 0:54:53.360 it is that like this is still the scenario that 0:54:53.400 --> 0:54:56.360 we have roughly without the exact dates in play, Like yeah, 0:54:56.719 --> 0:55:01.360 like we're on a terrible path and it does to 0:55:01.400 --> 0:55:03.480 have a toll take a toll on one. 0:55:03.560 --> 0:55:06.560 Yes, But it's so interesting the way that it's like 0:55:06.680 --> 0:55:09.239 it's presented to us the viewer, so we can see 0:55:09.239 --> 0:55:12.279 that and we can see the emotional effect it should have, 0:55:12.360 --> 0:55:14.680 but she doesn't really comment on it. 0:55:15.040 --> 0:55:19.320 Yeah, this is a wonderful tool that is these sometimes 0:55:19.360 --> 0:55:22.600 you see used in pictures. I'm reminded of the nineteen 0:55:22.600 --> 0:55:26.000 eighty five neo noir film Trouble in Mind by Alan 0:55:26.080 --> 0:55:31.040 Rudolph that starred Chris Christofferson. That picture is also super weird, 0:55:31.160 --> 0:55:33.200 and I go back and forth on whether we should 0:55:33.200 --> 0:55:36.799 cover it on the show maybe someday. But in the 0:55:36.840 --> 0:55:39.839 background of that setting, like it's clear that there's some 0:55:39.880 --> 0:55:43.560 sort of a foreign occupation of the city, which I 0:55:43.560 --> 0:55:46.520 think is like Seattle or something, but it's never really 0:55:46.719 --> 0:55:48.920 like nobody ever really comments on it as far as 0:55:48.920 --> 0:55:52.279 I remember, it's just sort of in the background. But 0:55:52.360 --> 0:55:54.880 then you know, it's in the psyche, it's in the world, 0:55:55.480 --> 0:55:59.000 Like it's definitely it's presented as background material, but it's 0:55:59.120 --> 0:56:02.640 very much a part of the four as well. Yeah. 0:56:02.880 --> 0:56:06.759 Absolutely, I mean in storytelling, like what characters don't see 0:56:06.840 --> 0:56:09.759 fit to comment on, it can be such a powerful 0:56:10.800 --> 0:56:11.680 storytelling tool. 0:56:12.120 --> 0:56:16.000 Absolutely, and so they're just wonderful job with it here 0:56:16.040 --> 0:56:16.640 in this picture. 0:56:17.040 --> 0:56:20.480 So anyway, in this scene, we pan over the different translators, 0:56:20.520 --> 0:56:23.800 each speaking their respective languages while taking down the speech. 0:56:24.480 --> 0:56:26.640 And this really also kind of takes on the feeling 0:56:26.719 --> 0:56:29.719 of a political espionage thriller. You know, it has that 0:56:29.760 --> 0:56:32.600 feeling of I don't know, like three Days of Condor 0:56:32.719 --> 0:56:33.040 or something. 0:56:33.840 --> 0:56:35.040 Alice talking to. 0:56:35.000 --> 0:56:37.680 Mary while we watched this scene play out in black 0:56:37.719 --> 0:56:40.239 and white from her memory. Talking to Mary, she says 0:56:40.280 --> 0:56:43.640 that the speech was very long, and in her isolation booth, 0:56:43.719 --> 0:56:47.480 she became very hot, so hot she couldn't breathe and 0:56:47.600 --> 0:56:51.040 she couldn't really concentrate. And then she noticed, looking down 0:56:51.080 --> 0:56:54.879 at the crowd below, that Marie le Blanche was sitting there, 0:56:55.280 --> 0:56:58.319 and ooh, we get a rear window style zoom in 0:56:58.400 --> 0:57:02.080 on Leblanche. Remember she's the woman who the Diplomatic Office 0:57:02.200 --> 0:57:05.919 hired to replace Alice when she disappeared. And she says 0:57:05.960 --> 0:57:08.360 that le Blanche was just staring at her, so like 0:57:08.440 --> 0:57:11.520 everybody else in the room is looking forward, but Leblanche 0:57:11.600 --> 0:57:15.360 is in her chair looking straight back up at Alice, 0:57:15.760 --> 0:57:18.240 and she says, you know, it's like she was willing 0:57:18.240 --> 0:57:20.280 her to make a mistake, kind of putting a curse 0:57:20.360 --> 0:57:24.400 on her from a distance. And Alice says she felt overwhelmed. 0:57:24.440 --> 0:57:26.840 She couldn't keep up with the voice she was translating. 0:57:27.640 --> 0:57:30.120 She was afraid it would just keep going on without her, 0:57:30.200 --> 0:57:32.040 which I guess it would write, you know, if she 0:57:32.040 --> 0:57:34.440 can't keep up, it's just going to keep going. Then 0:57:34.440 --> 0:57:37.880 she says, something happened, and we don't really know exactly 0:57:37.880 --> 0:57:40.680 what it was. But in the black and white memory, 0:57:41.000 --> 0:57:44.720 now everyone in the hall turns to stare up at Alice, 0:57:45.280 --> 0:57:47.919 And in this moment, we don't really have a way 0:57:47.960 --> 0:57:52.480 of knowing whether that actually happened, or whether her memory 0:57:52.520 --> 0:57:54.640 of this event might be faulty, or we're getting a 0:57:54.720 --> 0:57:59.080 kind of emotionally tinged version of it. So suddenly everybody 0:57:59.200 --> 0:58:01.440 turns and looks and is staring at her in this 0:58:01.520 --> 0:58:05.320 isolation booth, and she gets up and runs. She remembers 0:58:05.360 --> 0:58:07.640 she got up and ran out and rushed out of 0:58:07.640 --> 0:58:10.280 the building through the gardens next door, like she was 0:58:10.400 --> 0:58:13.720 running away from something. But that's where her memory stops. 0:58:13.760 --> 0:58:17.479 She can't recall where she went after that or why now. 0:58:17.520 --> 0:58:22.600 Mary suggests it's all those tranquilizers in take. She says, 0:58:22.640 --> 0:58:24.880 you know, you took a big dose and you just 0:58:24.920 --> 0:58:28.120 simply slept through two whole days. And Mary reminds her 0:58:28.160 --> 0:58:30.560 of how exhausted she has been from work. 0:58:31.280 --> 0:58:33.200 She's like, look, it's the seventies. 0:58:33.240 --> 0:58:37.440 It happens, yeah, But Alice has good reason for thinking 0:58:37.480 --> 0:58:40.920 that's not what happened, because she brings up something she 0:58:40.920 --> 0:58:44.040 hasn't told anybody else so far, the torn up postcard 0:58:44.080 --> 0:58:47.400 of the Hotel Garma. She says that the facade of 0:58:47.440 --> 0:58:50.600 the building looked so familiar to her. She doesn't have 0:58:50.640 --> 0:58:52.680 a memory of going there, but she could swear she 0:58:52.720 --> 0:58:55.600 had seen it before. And she has a memory of 0:58:55.640 --> 0:58:59.360 a room inside the hotel with a window painted and 0:58:59.440 --> 0:59:05.000 stained showing a giant peacock. Oh, then there are some 0:59:05.080 --> 0:59:08.720 more clues that something must have been going on. Back 0:59:08.760 --> 0:59:11.840 in her apartment, Alice realizes that she only has one 0:59:11.880 --> 0:59:14.760 of her two gold ear rings. She's got one for 0:59:14.840 --> 0:59:18.280 one ear but it's missing its mate. Also, she is 0:59:18.360 --> 0:59:21.240 missing a gray suit that should be in her closet, 0:59:21.360 --> 0:59:24.760 and in its place she finds a yellow dress her 0:59:24.840 --> 0:59:28.160 size that she has never seen before. Then on that 0:59:28.280 --> 0:59:31.400 yellow dress there is a small stain, a spot of blood. 0:59:33.160 --> 0:59:36.200 Also right around here. There's these little things throughout the 0:59:36.240 --> 0:59:38.800 movie that I think are so clever, because there will 0:59:38.840 --> 0:59:43.280 be a scene where nothing overtly scary happens, but there's 0:59:43.520 --> 0:59:49.800 just a little strange, slightly ominous accident. So one case 0:59:49.840 --> 0:59:53.480 of something like that that happens here is her phone 0:59:53.600 --> 0:59:56.120 rings and she answers and there's just silence on the 0:59:56.120 --> 0:59:59.360 other side. No one is there, Nothing super scary happens. 0:59:59.360 --> 0:59:59.880 But I don't know what. 1:00:00.120 --> 1:00:02.400 Things like that pile up in a movie. They can really, 1:00:03.200 --> 1:00:05.480 they can really be effective. It just feels like something 1:00:05.560 --> 1:00:09.040 is wrong with the world. She's being targeted somehow. And 1:00:09.080 --> 1:00:11.880 I also love that the phone looks like a computer mouse. 1:00:12.320 --> 1:00:15.280 This phone is it is a this is a plug 1:00:15.320 --> 1:00:18.800 into the wall telephone. Yes, but yeah, it looks the 1:00:18.840 --> 1:00:21.440 most like a like a mouse. But I couldn't even 1:00:21.480 --> 1:00:22.840 I didn't even know what it was when I saw 1:00:22.880 --> 1:00:25.479 it there. I was like, is this something that you 1:00:25.600 --> 1:00:29.720 use like on your body or you scan something? I like, 1:00:29.760 --> 1:00:32.680 I just this is clearly some sort of modern technology, 1:00:32.920 --> 1:00:38.439 but it's like so cutting edge that it's unrecognizable decades later, 1:00:38.560 --> 1:00:38.720 you know. 1:00:47.080 --> 1:00:50.840 So Alice is troubled by this situation and by her 1:00:50.840 --> 1:00:54.120 inability to remember the past two days. So she wakes 1:00:54.200 --> 1:00:57.880 up in the middle of the night. She's clearly wrestling 1:00:57.920 --> 1:01:00.680 with this, and she goes to the kitchen and retrieves 1:01:00.760 --> 1:01:03.600 the pieces of the torn up postcard and once again 1:01:03.640 --> 1:01:06.520 puts them together. And this causes her to think once 1:01:06.560 --> 1:01:09.800 again of the painted peacock in the glass, what is 1:01:09.880 --> 1:01:13.000 the source of that memory? And it seems if there 1:01:13.040 --> 1:01:15.520 is an answer to this riddle. It may lie in 1:01:15.600 --> 1:01:16.640 Garma wherever. 1:01:16.680 --> 1:01:17.120 That is. 1:01:17.680 --> 1:01:20.320 From what I can tell, Garma is not a real place. 1:01:20.360 --> 1:01:22.240 I tried to look it up and couldn't really come 1:01:22.320 --> 1:01:25.520 up with anything. But within the world of the movie, 1:01:26.080 --> 1:01:29.200 it is a small island in the Mediterranean. I think 1:01:29.520 --> 1:01:31.600 it's supposed to be off the coast of Turkey. 1:01:32.440 --> 1:01:35.720 Yeah, it looks like they film at a couple of 1:01:35.720 --> 1:01:39.480 different locations in Turkey, so I think that's fair too soon. 1:01:40.240 --> 1:01:42.640 So Alice books a flight to the nearest airport. There's 1:01:42.680 --> 1:01:44.840 no airport on Garma. She has to fly to another 1:01:44.880 --> 1:01:47.080 island or a town on the mainland, I think, and 1:01:47.120 --> 1:01:50.680 then take a boat out to Garma. And on the 1:01:50.720 --> 1:01:53.760 airplane we see she like sleeps in the in the 1:01:53.800 --> 1:01:56.800 airplane chair and she's dreaming about the astronauts strained on 1:01:56.840 --> 1:02:00.960 the moon again. And it's again a haunting image because 1:02:01.160 --> 1:02:04.439 the astronaut is this is after the lander has already left. 1:02:04.440 --> 1:02:08.320 So the astronaut is like stumbling around in the moon dust. 1:02:08.440 --> 1:02:09.560 But where can he go? 1:02:09.680 --> 1:02:12.720 You know, you imagine yourself in that situation, like why 1:02:12.920 --> 1:02:15.120 what sense would it even make to walk anywhere? 1:02:15.160 --> 1:02:17.000 There's no help to be found? You're on the moon. 1:02:18.160 --> 1:02:20.360 So she arrives at the port of Garma, where she 1:02:20.480 --> 1:02:23.200 disembarks from the boat and then meets a friendly young 1:02:23.280 --> 1:02:26.800 man with a British accent named Henry, who offers to 1:02:26.840 --> 1:02:29.560 give her a ride to the hotel. And on the 1:02:29.600 --> 1:02:33.040 way we see some beautiful local sites and architecture. There 1:02:33.040 --> 1:02:37.320 are these old stone mosques with huge rising domes and minarets. 1:02:37.880 --> 1:02:42.400 There are wooded cemeteries with tall, slender headstones. I really 1:02:42.480 --> 1:02:45.640 liked these graveyards where there would be like trees in them, 1:02:45.720 --> 1:02:49.040 and the trees are kind of the low branches are 1:02:49.120 --> 1:02:53.280 hanging out and mingling among the tall headstones of the graves. 1:02:54.200 --> 1:02:57.040 There's even what looks like an antique city wall with 1:02:57.080 --> 1:03:00.080 an arched gateway and the car just drives underneath it. 1:03:00.080 --> 1:03:01.760 It looks like something where I don't know, they want 1:03:01.800 --> 1:03:04.600 to keep traffic away from it or something, But I 1:03:04.600 --> 1:03:07.040 guess you get that more in I don't know, in 1:03:07.080 --> 1:03:09.800 like Europe and Turkey and stuff, where just like the 1:03:10.120 --> 1:03:13.920 ancient and the modern or just commingled, everything's right there together. 1:03:14.600 --> 1:03:16.360 Yeah, yeah, I mean that is one of the great 1:03:16.360 --> 1:03:20.120 things about about traveling to locations like this. I've never 1:03:20.160 --> 1:03:24.080 been to Turkey, but these these Turkish locations look look fabulous, 1:03:24.120 --> 1:03:27.480 and this film really found some great locations for these shots. 1:03:27.800 --> 1:03:30.600 Yeah, I wonder what this main mosque that we keep 1:03:30.640 --> 1:03:33.280 seeing is with the minarets. It's really really gorgeous. 1:03:34.120 --> 1:03:36.080 Yeah, I'm not sure. I think there are, like there 1:03:36.080 --> 1:03:39.920 are three different Turkish locations that are cited in IMDb. 1:03:41.360 --> 1:03:44.080 One of them is Kemra, which I'm to understand is 1:03:44.240 --> 1:03:48.120 essentially like a Mediterranean vacation destination. So I think when 1:03:48.160 --> 1:03:52.720 we see the more vacation y parts of this place 1:03:52.840 --> 1:03:57.200 where we're looking at Kemra, I'm not sure about these, 1:03:57.320 --> 1:04:00.560 about the cemetery or the mosque and so forth. 1:04:01.120 --> 1:04:03.240 So Alice tells Henry on the car ride that it 1:04:03.320 --> 1:04:06.600 is her first time visiting Garma, and Henry explains that 1:04:06.680 --> 1:04:09.880 he's there because he owns an old house. There's an 1:04:09.880 --> 1:04:11.919 old house on the island in the woods, and he's 1:04:11.960 --> 1:04:14.160 trying to fix it up, though he says he is 1:04:14.240 --> 1:04:16.400 not a very good carpenter, and he holds up a 1:04:16.440 --> 1:04:18.160 bandaged hand as proof of that. 1:04:18.280 --> 1:04:18.960 I guess. 1:04:20.440 --> 1:04:21.960 It would have been funnier if there was like still 1:04:21.960 --> 1:04:24.080 a nail sticking out of it, but it's just a 1:04:24.080 --> 1:04:27.800 bandage hand. Henry drops Alice off at the hotel, the 1:04:28.160 --> 1:04:30.560 one from the postcard, and we see it framed exactly 1:04:30.600 --> 1:04:32.680 the same way it is in the postcard. There's a 1:04:32.760 --> 1:04:35.840 nice little touch where a flock of pigeons on the 1:04:35.880 --> 1:04:38.880 sidewalk scatter into the air as the car arrives outside, 1:04:38.920 --> 1:04:40.640 and then they all just kind of settle down again. 1:04:42.000 --> 1:04:44.640 But at the hotel, Alice tries to ask. 1:04:44.440 --> 1:04:47.000 For the room she remembers the room with the peacock 1:04:47.080 --> 1:04:49.680 painted on the window, but the manager doesn't seem to 1:04:49.680 --> 1:04:51.600 know what she's talking about, so she takes a regular 1:04:51.680 --> 1:04:54.440 room with a balcony facing the ocean. And as with 1:04:54.600 --> 1:04:57.560 so many of the sets, the inside of this hotel 1:04:57.800 --> 1:05:03.160 is elegantly wacky. Lobby is just beautiful. It has these 1:05:04.280 --> 1:05:10.240 pillars and arches and this tile pattern, and I guess 1:05:10.680 --> 1:05:12.160 a lot of this looks like, you know, kind of 1:05:12.160 --> 1:05:16.640 classic Islamic architecture, so those kind of like arch window styles. 1:05:17.400 --> 1:05:20.760 But then also these beautiful hanging lights that have I 1:05:20.760 --> 1:05:23.000 don't know, they're not like a normal chandelier. They're more 1:05:23.040 --> 1:05:27.760 like randomly arranged lights along I don't know, kind of 1:05:27.760 --> 1:05:31.520 a Christmas light vibe and then the plants indoors and 1:05:31.960 --> 1:05:35.040 old furniture. It's just a beautiful looking place. And also 1:05:35.080 --> 1:05:40.840 her room is by contrast, kind of lovely but hideous, 1:05:40.880 --> 1:05:44.400 like a totally red blanket on the bed and then 1:05:44.480 --> 1:05:48.320 these wallpaper walls and like bear light bulbs. Yeah, it's 1:05:48.360 --> 1:05:48.960 it's something. 1:05:49.360 --> 1:05:51.920 Yeah, this movie does a great job at something that. 1:05:52.040 --> 1:05:53.600 This is another thing is easy to take for granted 1:05:53.600 --> 1:05:55.720 in a film, and not all films pulled this off, 1:05:56.160 --> 1:06:02.479 but making you so invested in the speculativelopment or pre 1:06:02.840 --> 1:06:06.040 call to adventures and so forth aspect of the plot. 1:06:06.520 --> 1:06:09.360 You're like on vacation with this woman and you're like this, 1:06:09.360 --> 1:06:11.520 this is pleasant. I want to see what's next. What's 1:06:11.560 --> 1:06:14.040 she doing for lunch? Yeah, right, let's look at more 1:06:14.040 --> 1:06:16.720 details in her hotel room. Like I'm game. I'm totally 1:06:16.760 --> 1:06:19.280 down with the pace at which we're exploring this world. 1:06:19.560 --> 1:06:20.000 That's right. 1:06:20.040 --> 1:06:22.560 So Alice explores the island, she takes in more of 1:06:22.560 --> 1:06:26.320 the sites in the atmosphere. There's one particularly lovely shot 1:06:26.360 --> 1:06:29.200 where she's i think, wandering around outside the mosque we 1:06:29.240 --> 1:06:32.080 saw earlier, and there are these trees in the courtyard. 1:06:32.240 --> 1:06:35.640 Sort of you just see like the tree trunks and 1:06:35.760 --> 1:06:39.000 these stone pillars framed in almost the same way, like 1:06:39.040 --> 1:06:42.800 you can mistake one for the other, and it's quite beautiful. 1:06:43.320 --> 1:06:46.480 And so she's exploring the island, lounging on the coast. 1:06:47.200 --> 1:06:51.000 There's one thing that's kind of interesting here. We were 1:06:51.040 --> 1:06:54.440 talking about the scene earlier with the speech about the 1:06:54.440 --> 1:07:00.560 coming environmental catastrophe, where this very captivating and disturbing premise 1:07:00.720 --> 1:07:03.320 is established by what's happening in the background, but the 1:07:03.400 --> 1:07:06.520 characters don't really acknowledge or comment on this at all, 1:07:07.200 --> 1:07:09.520 So it's like it might not be affecting them, or 1:07:09.560 --> 1:07:13.040 maybe maybe it is affecting them, but they don't acknowledge 1:07:13.160 --> 1:07:15.240 or realize themselves. 1:07:14.600 --> 1:07:15.720 How it is affecting them. 1:07:16.040 --> 1:07:19.520 There's a similar thing with the history in the setting, 1:07:19.640 --> 1:07:24.640 this island being full of old buildings, holy places, ruins, 1:07:24.840 --> 1:07:29.240 ruins in the woods, ancient city walls, and cemeteries. Very 1:07:29.240 --> 1:07:32.800 little is said about this, but the setting really contributes 1:07:32.840 --> 1:07:37.080 to the psychic connotations of the action, like something is old, buried, 1:07:37.240 --> 1:07:41.280 maybe sacred may be haunted. So I guess at this 1:07:41.320 --> 1:07:43.120 point it makes sense to kind of zoom out and 1:07:43.200 --> 1:07:45.800 give a more summary description of this middle portion of 1:07:45.840 --> 1:07:48.520 the movie, a lot of which is Alice going about 1:07:49.000 --> 1:07:52.840 having various encounters on the island, trying to piece together 1:07:53.880 --> 1:07:57.320 what happened, what her connection to this place is, and 1:07:57.440 --> 1:07:59.720 what people know. And a big thing is that as 1:07:59.760 --> 1:08:03.240 she meets people on the island, especially other tourists, she 1:08:03.760 --> 1:08:08.760 gets recognized. So she meets a red haired girl named Paula. 1:08:09.840 --> 1:08:12.440 They're out on the beach. I think she's lounging in 1:08:12.480 --> 1:08:14.840 a chair sort of in the shade of a tree 1:08:14.880 --> 1:08:17.799 that's very close to the beach. It just looks closer 1:08:17.840 --> 1:08:19.960 to the beach than tree usually is, I think. But 1:08:20.840 --> 1:08:23.200 she's sitting there and this girl, Paula, comes up and 1:08:23.240 --> 1:08:26.080 talks to her as if she already knows her, and 1:08:26.160 --> 1:08:29.040 she says they've met before, but this girl knows her 1:08:29.240 --> 1:08:33.720 not as Alice, but as Nicole, and Paula says that 1:08:33.840 --> 1:08:38.760 Nicole looked alike her, but with long red hair, and 1:08:38.840 --> 1:08:42.840 I like that a sort of double doppelganger theme is 1:08:42.960 --> 1:08:46.600 established here. It's sort of spooky because not only is 1:08:46.640 --> 1:08:50.280 the implication that Alice has some kind of unknown lookalike, 1:08:50.920 --> 1:08:54.439 but also it's kind of spooky because the child telling 1:08:54.520 --> 1:08:57.920 her about this lookalike with long red hair, also has 1:08:58.000 --> 1:08:58.760 long red hair. 1:08:59.360 --> 1:09:02.120 Yeah. Yeah, and so these are the moments where you 1:09:02.560 --> 1:09:05.240 do wonder. It's like, is the child also some manner 1:09:05.320 --> 1:09:09.040 of doppelganger or a ghost of the child that you were, 1:09:09.280 --> 1:09:10.840 that sort of thing. Yeah. 1:09:11.240 --> 1:09:15.240 Paula says that Alice is similar to Nicole, but nicer. 1:09:15.520 --> 1:09:19.799 Something about Nicole was frightening and she did something scary 1:09:19.920 --> 1:09:23.120 out in the woods. And I love in the setting here, 1:09:23.160 --> 1:09:25.599 the presence of these woods kind of at the edge 1:09:25.600 --> 1:09:27.679 of a lot of these beach scenes. So we'll see 1:09:28.160 --> 1:09:30.840 Alice talking to people out on the beach or out 1:09:30.880 --> 1:09:33.200 on the rocks near the coast, and then there's often 1:09:33.400 --> 1:09:37.320 like a throw, a throw of attention towards this peninsular 1:09:37.720 --> 1:09:41.400 coast that's got a pine forest on it and it's 1:09:41.600 --> 1:09:44.519 very ominous. So something about the energy that these woods 1:09:44.640 --> 1:09:45.960 radiate is powerful. 1:09:46.760 --> 1:09:50.320 Yeah, they feel thick and wild, as if all the 1:09:50.400 --> 1:09:54.960 like the resort town energy that we see elsewhere, and 1:09:55.040 --> 1:09:58.439 even the deeper history of the island, the human history 1:09:58.640 --> 1:10:01.799 that they seem to to struggle here in these woods. 1:10:01.840 --> 1:10:06.440 These woods are more primal, wilder, and less touched by humanity. 1:10:06.640 --> 1:10:08.640 Yeah, there's a really good scene in them coming up 1:10:08.640 --> 1:10:10.920 in a minute. But first of all, Alice also has 1:10:10.920 --> 1:10:15.519 an encounter with an older woman named missus Him, also 1:10:15.560 --> 1:10:19.200 a tourist on the island, who also recently saw Nicole, 1:10:19.400 --> 1:10:20.599 This woman who looked. 1:10:20.400 --> 1:10:22.040 Like Alice but with long red hair. 1:10:22.680 --> 1:10:25.240 So what's going on? Does Alice have a secret look 1:10:25.280 --> 1:10:28.240 alike or was she somehow here in disguise in the 1:10:28.280 --> 1:10:30.960 days she can't remember? Why would she have been in 1:10:31.000 --> 1:10:34.960 disguise if that was her. She also has another meeting 1:10:35.000 --> 1:10:37.320 with Henry, the nice man who gave her a ride 1:10:37.320 --> 1:10:40.080 to the hotel, and there is a hint of romantic 1:10:40.120 --> 1:10:42.720 interest between them, and Henry invites her to meet him 1:10:42.720 --> 1:10:46.240 for a drink later. But I mentioned the creepy scene 1:10:46.240 --> 1:10:48.360 in the woods is the scene with the dog and 1:10:48.439 --> 1:10:52.320 the wig. So there's a scene where Alice and Paula, 1:10:52.439 --> 1:10:55.559 the younger girl, they go out into the woods into 1:10:55.640 --> 1:10:58.320 I think these are like there are ruins in the 1:10:58.360 --> 1:10:59.160 pine woods. 1:10:59.560 --> 1:11:02.920 Yeah, like an arch that's still intact. 1:11:03.400 --> 1:11:07.280 Yeah, And they go here because am I remembering right 1:11:07.360 --> 1:11:10.000 that this? They went here because this is the place 1:11:10.000 --> 1:11:14.519 where Paula said she saw Nicole burning things in a fire. Yes, 1:11:14.840 --> 1:11:16.960 so they go here and they find the remains of 1:11:17.040 --> 1:11:20.799 whatever Nicole had been burning, and Paula confesses that Nicole 1:11:21.080 --> 1:11:25.800 scared her. Nicole herself apparently was afraid she had been 1:11:25.880 --> 1:11:29.880 acting erradically and she was afraid that people were following her, 1:11:30.000 --> 1:11:35.400 hunting her. And there's some kind of espionage story implication, 1:11:35.720 --> 1:11:40.160 like was Alice burning documents in the woods, burning something 1:11:40.200 --> 1:11:43.840 having to do with her work, maybe diplomatic secrets about 1:11:43.880 --> 1:11:47.599 scientific research, and was somebody trying to get a hold 1:11:47.680 --> 1:11:50.679 of that information. But in the end of the scene, 1:11:50.880 --> 1:11:55.160 Paula is scared by Nicole slash Alice and runs away, 1:11:55.720 --> 1:12:00.400 and Alice sees a stray dog. I think they have 1:12:00.439 --> 1:12:02.599 a name for this dog. Is he called Fox or something? 1:12:03.040 --> 1:12:03.639 Yes? Fox? 1:12:03.760 --> 1:12:06.200 Yeah, there's a stray dog who hangs around and the 1:12:06.280 --> 1:12:10.839 dog is like chewing on a red wig. So Alice 1:12:10.880 --> 1:12:13.760 retrieves the wig, and this is another clue, and it 1:12:13.800 --> 1:12:17.280 takes her to the local wig shop. So Garma appears 1:12:17.320 --> 1:12:19.200 to have a very it's a small town, but they 1:12:19.200 --> 1:12:22.520 do have a wig shop and like a wig styling specialist. 1:12:23.720 --> 1:12:25.880 Yeah. She brings it in and she's like, I would 1:12:25.920 --> 1:12:29.959 like this washed, she says, washed and combed. Yeah, yeah, 1:12:30.000 --> 1:12:31.519 which I don't know. I don't know much about wigs, 1:12:31.520 --> 1:12:33.240 but I was just assumed, like once it's in the 1:12:33.240 --> 1:12:35.760 woods in the mouth of a dog, like, maybe that 1:12:35.800 --> 1:12:38.200 wig's gone. I don't know, but maybe you can bring 1:12:38.280 --> 1:12:38.840 him back from that. 1:12:39.320 --> 1:12:42.599 Yeah, yeah, you can always bring a wig back, I'm sure. Anyway, 1:12:42.600 --> 1:12:46.599 at the wig shop, Alice is once again recognized as Nicole. 1:12:47.280 --> 1:12:49.720 The man there fixes up her wig and offers to 1:12:49.760 --> 1:12:52.760 redo her makeup in the way that he had done 1:12:52.800 --> 1:12:58.439 it before. So, if Nicole was Alice, it seems maybe 1:12:58.439 --> 1:13:01.800 she had been trying to change her whole appearance, and 1:13:02.080 --> 1:13:06.280 there are multiple possibilities there. Was she trying to hide 1:13:06.360 --> 1:13:09.919 her identity or was she trying to change it entirely, 1:13:10.000 --> 1:13:10.760 like change. 1:13:10.520 --> 1:13:13.640 Who she was? We don't know at this point. 1:13:13.880 --> 1:13:17.720 From here, Alice traces the path of Nichole's business with 1:13:17.840 --> 1:13:20.640 various shops in town. She finds the shop where she 1:13:20.840 --> 1:13:23.240 had bought the yellow dress with the spot of blood 1:13:23.280 --> 1:13:27.120 on it that she found in her closet. She finds 1:13:27.320 --> 1:13:31.160 somehow reference to an order at the stationery store, and 1:13:31.240 --> 1:13:34.400 when she goes to pick it up, the shopkeeper there says, oh, 1:13:34.479 --> 1:13:36.880 you know, this order was already filled. You already got 1:13:36.880 --> 1:13:39.519 the item, but Alice asks for the same item again 1:13:39.560 --> 1:13:41.920 to find out what it is. When she gets it, 1:13:41.920 --> 1:13:46.719 it is a large, sharp pair of scissors. Also throughout 1:13:46.720 --> 1:13:50.640 this middle section of the movie, there are scenes that 1:13:50.880 --> 1:13:55.599 just raised the specter of Alice being pursued or watched 1:13:55.640 --> 1:13:58.800 in some way. You know, are there people who are 1:13:58.800 --> 1:14:02.680 following her? And other people are telling her that if 1:14:02.800 --> 1:14:05.599 Nicole was her Nicole was afraid of men who had 1:14:05.640 --> 1:14:08.800 been following her, and she has recurring dreams of the 1:14:08.800 --> 1:14:11.960 science fiction film with klas Kinski killing these astronauts on 1:14:12.000 --> 1:14:15.559 the moon to complete the experiment. There's a scene where 1:14:15.600 --> 1:14:19.599 Alice meets Henry for a drink, and here he acts 1:14:19.640 --> 1:14:22.880 a little bit strange. He still he comes across as 1:14:22.960 --> 1:14:26.160 very nice, like not threatening at all, but he does 1:14:26.200 --> 1:14:28.320 start to say things like is there something you'd like 1:14:28.400 --> 1:14:30.240 to tell me? You have something you want to say, 1:14:30.800 --> 1:14:33.479 and she doesn't understand what's going on and. 1:14:33.520 --> 1:14:34.320 Ends up leaving. 1:14:35.560 --> 1:14:39.040 Alice tries to make arrangements to leave the island on 1:14:39.120 --> 1:14:41.400 the last boat of the day, but this ends up 1:14:41.479 --> 1:14:44.400 going wrong. She misses the boat because she first has 1:14:44.439 --> 1:14:47.160 to pick up her wallet which she lost, which is 1:14:47.160 --> 1:14:50.920 in the possession of missus Him that other tourists she met, 1:14:51.479 --> 1:14:54.040 and missus Him has asked her to meet to meet 1:14:54.080 --> 1:14:57.559 at an organ concert in a local church, and this 1:14:57.680 --> 1:15:01.040 is supposed to be some great traveling organ who is performing. 1:15:01.360 --> 1:15:04.160 I don't normally I'm not gonna knock other people's musical 1:15:04.200 --> 1:15:07.840 performance as a sloppy musician myself, but I heard what 1:15:07.920 --> 1:15:10.639 sounded like a lot of mistakes on this organ playing. 1:15:10.680 --> 1:15:13.040 I don't know how like world class this one, this 1:15:13.160 --> 1:15:14.840 performer was it. 1:15:15.360 --> 1:15:18.000 I can't speak to that, but I did find that 1:15:18.080 --> 1:15:21.519 the whole organ performance felt kind of like creepy and 1:15:21.560 --> 1:15:23.960 low energy at the same time, where I'm like, is 1:15:24.000 --> 1:15:27.800 this really the only thing to do in this town 1:15:27.880 --> 1:15:29.720 right now? I don't know, maybe it is. 1:15:30.320 --> 1:15:32.680 It just kind of sounded like the music that's, you know, 1:15:32.800 --> 1:15:35.479 playing at a local church when people are like filing 1:15:35.520 --> 1:15:36.719 in and finding their seats. 1:15:37.120 --> 1:15:37.680 Yeah. 1:15:40.200 --> 1:15:44.240 Yeah. Now somehow from here, Alice ends up back in 1:15:44.280 --> 1:15:48.240 the woods trying to piece together what happened, and she 1:15:48.240 --> 1:15:51.840 she has some kind of mental exhaustion episode and she 1:15:52.160 --> 1:15:55.360 falls down and faints. Do you remember what the exact 1:15:55.439 --> 1:15:56.680 trigger of this moment is? 1:15:57.400 --> 1:15:59.880 I do not. I don't think it was the organ 1:16:00.080 --> 1:16:06.559 concert specifically, Yeah, that organ music was so bad. But 1:16:06.960 --> 1:16:09.240 is it? Is it ever established that it is perhaps 1:16:09.320 --> 1:16:12.639 off season in Garma? Yes, they talk about that. Yeah, 1:16:12.680 --> 1:16:14.679 I think you're good, that's what I because it feels 1:16:14.800 --> 1:16:15.639 very off season. 1:16:15.920 --> 1:16:18.760 Yes, it's not the high tourist season. Henry says that 1:16:18.800 --> 1:16:21.400 when they're first traveling together, when they're in the car 1:16:21.439 --> 1:16:25.000 heading into town. So I think this is why the 1:16:25.720 --> 1:16:28.160 tourist locations are sparsely populated. 1:16:28.360 --> 1:16:31.160 Yeah, and the organ music is the only the only 1:16:31.200 --> 1:16:33.880 act in town, because otherwise you'd think, well, maybe there'd 1:16:33.880 --> 1:16:36.400 be some more traditional Turkish music to listen to, or 1:16:36.800 --> 1:16:40.920 various uh, you know, European acts coming in to appeal 1:16:40.960 --> 1:16:44.040 to the European tourists. And I guess that's what the 1:16:44.160 --> 1:16:46.479 organist is doing here anyway. 1:16:46.560 --> 1:16:49.680 So she falls down unconscious and wakes up in a 1:16:49.680 --> 1:16:54.160 different place. She is in an old, empty mansion, and 1:16:54.640 --> 1:16:58.559 looking around, she discovers the peacock, the one from her memory, 1:16:58.760 --> 1:17:01.479 the window painted with the peacock on the glass. 1:17:02.320 --> 1:17:03.320 What is this place? 1:17:03.800 --> 1:17:06.360 Well, here we get the payoff of an earlier conversation. 1:17:06.880 --> 1:17:10.120 Remember when she met Henry, he said he was fixing 1:17:10.200 --> 1:17:13.040 up an old house in the woods here it is 1:17:13.840 --> 1:17:19.040 so with Henry's help, Alice remembers what apparently happened earlier 1:17:19.120 --> 1:17:22.640 this week, and in fact, what happened earlier in their lives. 1:17:23.880 --> 1:17:26.640 Do we learn I think here that Henry is not 1:17:26.720 --> 1:17:29.519 Henry's real name, that he has another name. 1:17:29.560 --> 1:17:32.639 I'm forgetting what it is. I don't remember what Henry's 1:17:32.640 --> 1:17:35.479 other possible name is, but there's a lot of insisting 1:17:35.560 --> 1:17:36.879 that he is actually Henry. 1:17:37.200 --> 1:17:40.719 Yes, anyway, whatever his real name is. These two characters, 1:17:40.760 --> 1:17:44.360 when Alice and Henry were both teenagers, they met one 1:17:44.400 --> 1:17:49.080 summer while Alice's family was on vacation in Garma, and 1:17:49.120 --> 1:17:53.559 I think Henry's family had owned this house there, And 1:17:53.640 --> 1:17:55.880 so when they met all these years ago, they had 1:17:55.920 --> 1:17:59.680 a brief but intense young love, and Alice recalls in 1:17:59.760 --> 1:18:03.679 me of taking Henry's hand in front of the peacock window. 1:18:04.880 --> 1:18:09.559 And so it seems earlier this week what happened was 1:18:10.040 --> 1:18:14.839 something in Alice's life back in Rome caused her to snap, 1:18:15.240 --> 1:18:19.320 and she fled Rome and fled to Garma and assumed 1:18:19.439 --> 1:18:22.800 this new identity of Nicole, and so she wore a 1:18:22.840 --> 1:18:26.920 wig and dressed herself differently. They say that She somehow 1:18:26.960 --> 1:18:30.120 remembered that Henry's favorite color was yellow, and so she 1:18:30.240 --> 1:18:33.000 bought a yellow dress in town and wore it and 1:18:33.120 --> 1:18:36.559 came to Henry, seeking to connect with this time in 1:18:36.600 --> 1:18:39.280 her past when she had felt happy, when she felt 1:18:39.320 --> 1:18:43.120 loved and felt safe. She came here, she found Henry, 1:18:43.439 --> 1:18:47.000 and they rekindled their love after these many years. But 1:18:47.479 --> 1:18:51.040 for some reason she left again. She'd only been she 1:18:51.120 --> 1:18:53.679 only stayed for I guess a day or two. She left, 1:18:53.800 --> 1:18:57.160 went back to Rome, and then somehow lost all memory 1:18:57.200 --> 1:18:58.160 of what had happened. 1:18:59.040 --> 1:19:01.439 Well that's that's a red flag for everyone involved here, 1:19:01.920 --> 1:19:02.280 I think. 1:19:02.320 --> 1:19:04.639 So now it seems at this point like, well, maybe 1:19:04.640 --> 1:19:07.559 we could have a happy ending here. Maybe they rekindle 1:19:07.600 --> 1:19:10.080 their love and they you know, they find happiness in 1:19:10.120 --> 1:19:12.040 each other. You know, they take care of each other 1:19:12.080 --> 1:19:13.160 and it's all good. 1:19:13.240 --> 1:19:19.000 Right. Unfortunately, that's not the trajectory of this motion picture. Right. 1:19:19.080 --> 1:19:23.000 So Alice she rests, but she wakes again later and 1:19:23.040 --> 1:19:28.360 she sneaks downstairs to hear Henry on the phone talking 1:19:28.400 --> 1:19:31.759 to someone about the fact that he now has Alice 1:19:31.960 --> 1:19:33.880 here at his house. I think he's talking to somebody 1:19:33.880 --> 1:19:35.439 on the phone and he's like, yes, I went and 1:19:35.479 --> 1:19:38.120 I retrieved her things from the hotel. Yes, you don't 1:19:38.160 --> 1:19:40.599 have to worry about that now I've got them. And 1:19:41.240 --> 1:19:47.479 something about the conversation sounds suspicious, and Alice begins to fear. 1:19:47.840 --> 1:19:51.280 Wait a second, is this really my lost teenage love 1:19:51.920 --> 1:19:55.160 or is this guy here part of the plot, the 1:19:55.200 --> 1:19:58.080 plot of the men who have been pursuing me? Why 1:19:58.400 --> 1:20:01.280 was I hiding is Nicole when I came here last? 1:20:01.439 --> 1:20:02.519 Why was I doing that? 1:20:03.760 --> 1:20:04.000 You know? 1:20:04.160 --> 1:20:08.160 Something doesn't feel right here. So she confronts Henry, and 1:20:08.320 --> 1:20:10.960 he claims that he was only on the phone with 1:20:11.000 --> 1:20:13.360 the doctor. He was trying to arrange for her to 1:20:13.400 --> 1:20:16.639 receive some medical attention since she obviously suffered some kind 1:20:16.640 --> 1:20:21.880 of mental episode, and she doesn't believe him, and then 1:20:21.920 --> 1:20:25.839 it is revealed how their last encounter ended. The wound 1:20:25.920 --> 1:20:28.720 on his hand is not because he's a bad carpenter 1:20:28.760 --> 1:20:32.080 and like hammered his own fingers. The bandaged hand is 1:20:32.120 --> 1:20:35.880 from where she slashed him with the scissors she bought 1:20:36.040 --> 1:20:38.920 the last time they were together earlier this week. So 1:20:39.120 --> 1:20:41.879 why didn't he acknowledge this when they met the day before? 1:20:42.479 --> 1:20:45.280 Henry says that he wanted her to remember naturally, he 1:20:45.280 --> 1:20:47.840 didn't want to put pressure on her to recall this 1:20:47.920 --> 1:20:49.720 all at once, not to force it on her all 1:20:49.760 --> 1:20:53.320 at once, So he just was giving her space, I guess. 1:20:53.200 --> 1:20:57.520 But also lying, yeah, also gaslighting herself. Yeah yeah. 1:20:57.600 --> 1:21:00.679 This makes her very fearful and suspicious. She is now 1:21:00.720 --> 1:21:03.680 thinking about this more like it's the espionage movie we've 1:21:03.720 --> 1:21:07.840 been talking about, where she's being pursued by agents. Increasingly, 1:21:07.880 --> 1:21:11.080 it's clear that she's thinking of these as the agents 1:21:11.280 --> 1:21:16.320 of Blackmun, the professor in the science fiction movie that 1:21:16.360 --> 1:21:19.800 she has these nightmares about. There are agents working for this, 1:21:20.439 --> 1:21:24.439 for this evil, mad scientist, and they are following her, 1:21:25.000 --> 1:21:27.800 and it seems kind of plausible even from our perspective. 1:21:27.840 --> 1:21:31.160 I mean that the the identity of the pursuer doesn't 1:21:31.160 --> 1:21:34.599 seem plausible. But even from the viewer's perspective, I wasn't 1:21:34.600 --> 1:21:36.960 sure what was going on. I was wondering, wait a minute, 1:21:36.960 --> 1:21:40.280 maybe is Henry trying to exploit her in some way? 1:21:40.360 --> 1:21:44.840 Is he trying to get her diplomatic information, you know, 1:21:45.000 --> 1:21:48.040 like like learn something for an enemy government? 1:21:48.640 --> 1:21:52.640 Yeah, yeah, it's it's we're unsure as the viewer, like 1:21:52.640 --> 1:21:55.160 where to stand on this. And it adding to this 1:21:55.360 --> 1:22:00.920 is that this sequence feels increasingly surreal because we have 1:22:01.000 --> 1:22:05.519 that huge peacock stained glass piece behind them, the colors 1:22:05.520 --> 1:22:09.840 are very vibrant. Things. Really feel that this is the 1:22:09.840 --> 1:22:11.880 sequence in the picture that feels the most bada asque 1:22:11.920 --> 1:22:13.959 guy would say, of any sequence. 1:22:21.840 --> 1:22:24.840 And so as Henry is trying to approach her and 1:22:24.880 --> 1:22:29.040 calm her, she panics and she stabs him with the scissors, 1:22:29.320 --> 1:22:31.840 with the scissors she got from the stationary. 1:22:31.280 --> 1:22:33.360 Store, seemingly fatally this time. 1:22:33.479 --> 1:22:38.120 Yes, yes, Henry falls down dead, and then we see 1:22:38.680 --> 1:22:42.599 we see Alice in a panic. She flees out into 1:22:42.640 --> 1:22:44.920 the woods, is running through the woods and then is 1:22:45.040 --> 1:22:48.200 running on the beach and is looking over her shoulder 1:22:48.200 --> 1:22:50.360 everywhere we see her, like looking in the woods and 1:22:50.880 --> 1:22:54.720 looking for people who she thinks might be Henry's co conspirators, 1:22:54.760 --> 1:22:57.840 the people who have been following her. And in the 1:22:57.960 --> 1:23:01.519 end they appear. In fact, they are not just like 1:23:01.640 --> 1:23:04.160 I was imagining, like if there are men following her, 1:23:04.160 --> 1:23:05.680 what are we going to see kind of guys in 1:23:05.720 --> 1:23:10.160 suits with dark sunglasses or what. When they appear, they 1:23:10.200 --> 1:23:14.760 are astronauts dressed in full EVA suits with the bubble helmets, 1:23:15.200 --> 1:23:17.479 and they chase her down on the beach, which is 1:23:17.520 --> 1:23:20.439 interesting because the pebbles of the beach somewhat resemble the 1:23:20.479 --> 1:23:23.759 surface of the moon set. The astronauts chase her down 1:23:24.120 --> 1:23:26.680 and they capture her, and that is the end of 1:23:26.720 --> 1:23:27.160 the film. 1:23:27.720 --> 1:23:31.960 Yeah. And also the coloration of the chase sequence eventually 1:23:33.000 --> 1:23:36.200 transfers over to it like a deep blue very much 1:23:36.280 --> 1:23:39.160 exactly like those sequences we saw earlier in the picture 1:23:39.200 --> 1:23:41.320 at at the start of the picture. So instead of 1:23:41.360 --> 1:23:44.280 a happy ending, we get a descent into madness ending, 1:23:44.320 --> 1:23:46.960 which I guess in many ways is more in keeping 1:23:47.000 --> 1:23:47.679 with the genre. 1:23:48.200 --> 1:23:51.200 Yes, and I think it's a very ambiguous ending. I 1:23:51.200 --> 1:23:55.360 mean I took it to most likely mean she's not 1:23:55.560 --> 1:23:59.519 actually being pursued by anyone that like she's she's having 1:23:59.520 --> 1:24:03.840 delusion of persecution most likely. But then again I wondered, well, 1:24:03.840 --> 1:24:07.640 wait a minute, I wonder also if maybe somebody is 1:24:07.760 --> 1:24:12.479 pursuing her here and it's just that she's she's also 1:24:12.600 --> 1:24:16.200 having a mental health episode where she's overlaying the frame 1:24:16.280 --> 1:24:19.120 of like her nightmares about the astronauts on top of 1:24:19.160 --> 1:24:20.200 this whatever it is. 1:24:20.439 --> 1:24:24.559 Yeah, these could be operatives for some nation, but she 1:24:24.840 --> 1:24:29.439 is seeing them as astronauts from this film that scarred 1:24:29.439 --> 1:24:30.439 her so as a child. 1:24:30.760 --> 1:24:35.720 Yeah, and I really am interested by the choice that 1:24:35.800 --> 1:24:40.360 they they don't make explicitly clear what caused her to 1:24:40.600 --> 1:24:44.360 have this psychotic break where she's like where she broke 1:24:44.439 --> 1:24:47.519 down in the middle of her work and fled to 1:24:47.560 --> 1:24:50.280 Garma and was trying to seek solace in her young love. 1:24:51.560 --> 1:24:53.960 We get the indication that, like she's very stressed out 1:24:53.960 --> 1:24:56.160 by her job, and so it could just be that 1:24:56.280 --> 1:25:00.120 she's overworked and like reached, you know, a level of 1:25:00.120 --> 1:25:02.639 burnout at work that you know that sent her into 1:25:02.920 --> 1:25:06.679 having a mental health episode, or is it something else? 1:25:06.720 --> 1:25:09.680 I mean we we are also given these hints, though 1:25:09.720 --> 1:25:13.080 she never acknowledges it, that there's that there's something wrong 1:25:13.160 --> 1:25:15.720 with the world, that there's like these heavy themes of 1:25:15.800 --> 1:25:18.920 doom kind of just in the air around her all 1:25:18.920 --> 1:25:19.360 the time. 1:25:19.640 --> 1:25:22.000 Yeah, And as a translator, she's kind of been, like 1:25:22.040 --> 1:25:25.919 we said earlier, this conduit for all of this terrible 1:25:25.960 --> 1:25:29.320 news and these these terrible forecasts for the future. And 1:25:29.960 --> 1:25:32.559 you know, she feels on some level like it has 1:25:32.640 --> 1:25:35.080 just rolled through her and she has been this conduit, 1:25:35.520 --> 1:25:40.559 but perhaps it has seeped out into her in disastrous ways. 1:25:41.080 --> 1:25:44.360 I think back to the scene where she's translating, and 1:25:44.880 --> 1:25:47.679 she says that she, you know, she was feeling hot 1:25:47.760 --> 1:25:49.640 in the room and like she couldn't breathe, And she 1:25:49.720 --> 1:25:53.240 says what she feared was that the words would just 1:25:53.360 --> 1:25:55.679 keep going past her and that she wouldn't be able 1:25:55.680 --> 1:25:57.960 to keep up. And that's like, literally, what would happen, 1:25:58.040 --> 1:25:59.760 you know, if you're like, if you can't stop and 1:25:59.760 --> 1:26:02.439 you're supposed to be a real time translator. The speech 1:26:02.520 --> 1:26:04.880 doesn't stop, They just keep going. But it's also a 1:26:04.920 --> 1:26:08.439 speech about the coming destruction of human life on Earth. 1:26:09.040 --> 1:26:12.640 Yeah. Yeah, and again with kind of I think it 1:26:12.640 --> 1:26:16.920 wouldn't be unrealistic at all to apply some future shock 1:26:17.560 --> 1:26:20.479 to this scenario. I mean, it's the right decade as well, 1:26:20.560 --> 1:26:23.479 on top of everything. But again instead of it being 1:26:23.520 --> 1:26:27.760 like a pure technological future shock, which future shock, as 1:26:28.160 --> 1:26:33.799 the Toddler's laid out, doesn't necessarily mean just technological change, 1:26:33.840 --> 1:26:38.559 but also all these other changes social and environmental. Yeah. 1:26:39.400 --> 1:26:43.160 And the skin she puts on her panic is as 1:26:43.200 --> 1:26:45.760 a science fiction one. It's from this science fiction movie 1:26:45.800 --> 1:26:47.400 that scared her when she was younger. 1:26:47.920 --> 1:26:48.160 Yeah. 1:26:48.360 --> 1:26:52.280 Yeah, but it's so strange and interesting to think how 1:26:52.360 --> 1:26:56.799 that interacts or doesn't with like the kind of comfort 1:26:56.840 --> 1:26:59.559 she's seeking from what she's suffering, and the comfort she's 1:26:59.560 --> 1:27:03.000 seeking is trying to find her you know, her one 1:27:03.040 --> 1:27:05.800 true love again from you know, this boy she she 1:27:05.920 --> 1:27:08.160 met all these years ago and has never seen since. 1:27:09.000 --> 1:27:12.760 Yeah, there's probably a great deal of deconstruction one could 1:27:12.760 --> 1:27:16.719 do in the film too, regarding the differences between Alice 1:27:16.720 --> 1:27:23.559 and Nicole, Nicole being described as more feminine as having 1:27:23.640 --> 1:27:27.800 you know, a different makeup and longer hair, and yeah, 1:27:27.880 --> 1:27:29.680 so there's there's something to be made of all that 1:27:29.760 --> 1:27:33.080 as well. So there's a there's a lot going on 1:27:33.640 --> 1:27:36.080 in this in this picture, uh, and and a lot 1:27:36.080 --> 1:27:38.479 of it is kind of beneath the surface, and is 1:27:38.560 --> 1:27:41.360 you know, it's not really you know, pushed pushed down 1:27:41.400 --> 1:27:44.880 your throat at all. It's uh, there's a lot of ambiguity, 1:27:45.320 --> 1:27:46.679 and I think that's one of the things that makes 1:27:46.680 --> 1:27:50.400 it so tantalizing. It is like a it is a 1:27:50.439 --> 1:27:53.200 true mystery in so many respects, and it is it's 1:27:53.320 --> 1:27:56.559 kind of like a piece of surrealistic art where you 1:27:56.600 --> 1:27:59.200 get to sort of apply your own interpretation to it. 1:27:59.400 --> 1:28:02.080 We we do and do not get an answer to 1:28:02.120 --> 1:28:05.000 the mystery, like we do learn in the end, it 1:28:05.080 --> 1:28:08.519 seems what happened, and so like we learned the physical 1:28:08.560 --> 1:28:12.519 circumstances that were missing that we didn't know earlier, but 1:28:12.680 --> 1:28:15.320 we're still left with a lot of questions about why 1:28:15.360 --> 1:28:15.760 and how. 1:28:16.479 --> 1:28:19.600 Yeah, I also like how, and this may be this 1:28:19.760 --> 1:28:21.760 was different in the original novel, but I like how 1:28:21.880 --> 1:28:24.439 nobody was like, oh, yeah, this movie, you're talking about 1:28:24.439 --> 1:28:29.040 footprints on the moon. I remember that because there is 1:28:29.080 --> 1:28:32.879 something tantalizing about films you remember or think you remember 1:28:33.200 --> 1:28:36.080 from your childhood. You know, in some cases they might 1:28:36.120 --> 1:28:40.040 not exist or you never find out what they are. Yeah. 1:28:40.120 --> 1:28:43.839 I liked that detail as well. There's so many ways 1:28:43.880 --> 1:28:46.439 that the mystery could have been deluded by just little 1:28:46.439 --> 1:28:47.200 moments like that. 1:28:47.680 --> 1:28:50.000 The fact that nobody else in the movie ever claims 1:28:50.040 --> 1:28:53.639 to have seen this science fiction film. Yeah, it isolates her, 1:28:53.880 --> 1:28:56.920 and in many ways she is isolated in the film, 1:28:56.920 --> 1:28:59.559 I mean, keeping with the kind of Jello themes. Even 1:28:59.600 --> 1:29:03.320 though this isn't strictly as Yellow Probably, it has so 1:29:03.400 --> 1:29:05.559 many of these themes. I mean, the main character is 1:29:05.600 --> 1:29:09.400 an outsider and is alienated. She's both in an unfamiliar 1:29:09.439 --> 1:29:14.440 location and she is in psychological ways sort of estranged 1:29:14.479 --> 1:29:17.400 from everyone else. She is the astronaut who is alone 1:29:17.479 --> 1:29:18.520 on the surface. 1:29:18.120 --> 1:29:18.599 Of the Moon. 1:29:19.160 --> 1:29:22.840 Yeah, absolutely, Okay, does that do it for footprints on 1:29:22.880 --> 1:29:23.200 the Moon? 1:29:23.439 --> 1:29:26.120 I believe it does. Yeah. This was a very interesting one, 1:29:26.120 --> 1:29:29.680 and again I can't stress enough how beautiful the cinematography 1:29:29.760 --> 1:29:33.120 is in this one. It's definitely worth worth checking out. 1:29:33.120 --> 1:29:37.880 But again, don't go into it expecting Dario Argento. Don't 1:29:37.880 --> 1:29:41.320 go into it expecting, you know, Kloskinsky stabbing people with 1:29:41.360 --> 1:29:44.240 the moon rock or anything like that. It's a much 1:29:44.280 --> 1:29:48.519 more subtle affair, but it is rewarding totally. Yeah. All right, 1:29:48.640 --> 1:29:50.280 well we're gonna go ahead and close out this episode 1:29:50.280 --> 1:29:53.080 of Weird House Cinema. A reminder that Stuff to Blow 1:29:53.120 --> 1:29:55.559 Your Mind is primarily a science and culture podcast with 1:29:55.600 --> 1:29:59.000 core episodes on Tuesdays and Thursdays. We do a short 1:29:59.040 --> 1:30:02.320 form episode on Windnesdays, and on Fridays, we set aside 1:30:02.320 --> 1:30:04.519 most serious concerns to just talk about a weird film 1:30:04.520 --> 1:30:06.920 on Weird House Cinema. If you'd like to keep up 1:30:06.920 --> 1:30:09.920 with Weird House Cinema, you can find us on letterbox 1:30:10.000 --> 1:30:12.680 dot com. Our username is weird house and we have 1:30:12.720 --> 1:30:14.880 a list of all the films that we have covered 1:30:14.920 --> 1:30:17.040 so far. Sometimes there's even a peek ahead at what 1:30:17.120 --> 1:30:19.519 comes up next. You'll also find us on some other 1:30:19.560 --> 1:30:23.839 social media platforms under the Stuff to Blow Your Mind banner, 1:30:24.320 --> 1:30:27.960 including Instagram, where we are stbym podcast. 1:30:27.880 --> 1:30:31.640 Huge thanks as always to our excellent audio producer Jjposway. 1:30:32.000 --> 1:30:33.479 If you would like to get in touch with us 1:30:33.520 --> 1:30:35.880 with feedback on this episode or any other, to suggest 1:30:35.960 --> 1:30:37.960 a topic for the future, or just to say hello, 1:30:38.280 --> 1:30:41.000 you can email us at contact at stuff to Blow 1:30:41.040 --> 1:30:48.600 your Mind dot com. 1:30:48.720 --> 1:30:51.680 Stuff to Blow Your Mind is production of iHeartRadio. 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