1
00:00:04,519 --> 00:00:08,239
Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is

2
00:00:08,400 --> 00:00:12,120
Speaker 1: Rob Lamb and today we're going to revisit an episode

3
00:00:12,119 --> 00:00:15,680
Speaker 1: that published last year on nine twenty seven, twenty twenty four.

4
00:00:16,440 --> 00:00:20,160
Speaker 1: It is definitely a horror film. It is the Joe

5
00:00:20,239 --> 00:00:27,520
Speaker 1: Dematto directed George Eastman starring notorious slasher film Absurd from

6
00:00:27,640 --> 00:00:30,440
Speaker 1: nineteen eighty one. Let's jump right in.

7
00:00:33,960 --> 00:00:39,680
Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

8
00:00:44,080 --> 00:00:47,640
Speaker 1: Hey you welcome to Weird House Cinema. This is Rob Lamb.

9
00:00:47,600 --> 00:00:50,320
Speaker 2: And this is Joe McCormick. And today on Weird House

10
00:00:50,360 --> 00:00:52,960
Speaker 2: Cinema we are going to be talking about the nineteen

11
00:00:53,080 --> 00:00:58,680
Speaker 2: eighty one Italian slasher movie Absurd, directed by Joe Demato

12
00:00:58,920 --> 00:01:03,600
Speaker 2: and starring George Eastman. Now, Rob, I understand you wanted

13
00:01:03,680 --> 00:01:09,039
Speaker 2: to talk about how this movie typifies a movie subgenre,

14
00:01:09,800 --> 00:01:13,760
Speaker 2: maybe not defined within the movie itself, but the sort

15
00:01:13,800 --> 00:01:17,360
Speaker 2: of meta subgenre of the video nasty.

16
00:01:17,920 --> 00:01:20,880
Speaker 1: That's right. We've referred to video nasties before on the show,

17
00:01:20,959 --> 00:01:23,080
Speaker 1: and those of you know what we're talking about, you know,

18
00:01:23,120 --> 00:01:25,200
Speaker 1: probably not in your head. And if you don't know

19
00:01:25,200 --> 00:01:26,920
Speaker 1: what video nasty is, you might have just you know,

20
00:01:26,959 --> 00:01:30,520
Speaker 1: picked up on context and all, but basically it's essentially

21
00:01:30,680 --> 00:01:34,800
Speaker 1: UK slang for films, usually low budget horror and exploitation

22
00:01:34,959 --> 00:01:37,800
Speaker 1: films that were highly controversial during the nineteen eighties as

23
00:01:37,880 --> 00:01:41,560
Speaker 1: they were able to enter the UK distribution market through

24
00:01:41,560 --> 00:01:45,200
Speaker 1: a loophole that allowed the distributors to avoid official classification,

25
00:01:46,040 --> 00:01:50,360
Speaker 1: part of a video gold rush that came with VHS

26
00:01:50,400 --> 00:01:54,080
Speaker 1: technology at the time. This is the description given by

27
00:01:54,480 --> 00:01:58,320
Speaker 1: David Correki's and David Slater in the twenty twenty three

28
00:01:58,520 --> 00:02:02,880
Speaker 1: book Cannibal Error, Anti Film Propaganda and the Video Nasties

29
00:02:02,920 --> 00:02:04,600
Speaker 1: Panic of the nineteen eighties.

30
00:02:05,160 --> 00:02:08,880
Speaker 2: So this would be sort of an informal list of

31
00:02:09,040 --> 00:02:14,000
Speaker 2: films that what were not necessarily illegal, but were singled

32
00:02:14,000 --> 00:02:19,760
Speaker 2: out for being obscene or terrible or just worthy of

33
00:02:19,840 --> 00:02:22,119
Speaker 2: moral appropriate approbation in some way.

34
00:02:22,440 --> 00:02:25,040
Speaker 1: Well you kind of get both things. There's like it

35
00:02:25,080 --> 00:02:27,360
Speaker 1: does become formalized, but then there's also kind of like

36
00:02:27,400 --> 00:02:30,799
Speaker 1: an informal list as well. So basically the short version

37
00:02:30,840 --> 00:02:33,200
Speaker 1: of how this went down as you had and again

38
00:02:33,240 --> 00:02:38,120
Speaker 1: this is a you're involving like new technology, new distribution patterns,

39
00:02:38,800 --> 00:02:43,040
Speaker 1: and also changes in you know, what the public wants,

40
00:02:43,720 --> 00:02:47,919
Speaker 1: and then public anxiety about obscenity. So basically you haven't

41
00:02:48,000 --> 00:02:51,840
Speaker 1: had an advocacy group called the National Viewers and Listeners Association,

42
00:02:52,200 --> 00:02:55,120
Speaker 1: and it made a big outcry about these these films

43
00:02:55,120 --> 00:02:57,600
Speaker 1: that we're making it into the UK on VHS, and

44
00:02:57,680 --> 00:03:00,840
Speaker 1: it led to just a whole saga of politic, moral

45
00:03:00,880 --> 00:03:04,880
Speaker 1: panic censorship discussion, and the end result was the imposition

46
00:03:05,040 --> 00:03:08,160
Speaker 1: of state video censorship in the UK in nineteen eighty

47
00:03:08,160 --> 00:03:11,919
Speaker 1: four and the creation of a Director of Public Prosecutions

48
00:03:12,200 --> 00:03:14,639
Speaker 1: DPP list of films that would come to be known

49
00:03:14,720 --> 00:03:18,079
Speaker 1: as video nasties. Though I think this term also ends

50
00:03:18,160 --> 00:03:21,480
Speaker 1: up becoming especially outside of the UK and in just

51
00:03:21,480 --> 00:03:27,160
Speaker 1: sort of VHS horror exploitation film circles, it becomes something

52
00:03:27,200 --> 00:03:32,000
Speaker 1: of a loose term that is used for various sort

53
00:03:32,000 --> 00:03:37,240
Speaker 1: of grimy, low budget, often euro films of the time period.

54
00:03:37,800 --> 00:03:41,440
Speaker 2: Ah okay, So thus my confusion. So some of the

55
00:03:41,480 --> 00:03:44,720
Speaker 2: things referred to as video nasties were actually targeted by

56
00:03:44,760 --> 00:03:47,360
Speaker 2: the law in the UK, and other things just sort

57
00:03:47,360 --> 00:03:51,040
Speaker 2: of informally get that title as a kind of descriptor

58
00:03:51,160 --> 00:03:53,120
Speaker 2: of what these movies tend to be.

59
00:03:53,360 --> 00:03:55,640
Speaker 1: Like, Yeah, because you definitely had a list, you had

60
00:03:55,640 --> 00:03:59,560
Speaker 1: like section one prosecuted films included actually a few different

61
00:03:59,560 --> 00:04:03,320
Speaker 1: films we discussed on Weird House nineteen eighties, Cannibal Apocalypse

62
00:04:04,000 --> 00:04:07,360
Speaker 1: nineteen eighty one's The House by the Cemetery, and today's

63
00:04:07,400 --> 00:04:10,600
Speaker 1: film Absurd, which is also from nineteen eighty one as

64
00:04:10,680 --> 00:04:14,760
Speaker 1: His House by the Cemetery. Now, naturally there's some really

65
00:04:14,800 --> 00:04:17,440
Speaker 1: grimy exploitation fodder in that list as well, but there's

66
00:04:17,440 --> 00:04:20,360
Speaker 1: also plenty of stuff that I don't know. It's all subjective,

67
00:04:20,400 --> 00:04:22,599
Speaker 1: but it feels, at least to me, kind of tame

68
00:04:22,680 --> 00:04:25,640
Speaker 1: by today's standards. But naturally, the line between art and

69
00:04:25,680 --> 00:04:29,119
Speaker 1: obscenity is always going to be subjective to a certain extent,

70
00:04:29,200 --> 00:04:32,440
Speaker 1: and there's gonna be a point of disagreement in figuring

71
00:04:32,480 --> 00:04:36,000
Speaker 1: out what is what. But apart from these official classifications

72
00:04:36,000 --> 00:04:38,880
Speaker 1: and uproars in the UK, the term video nasty again

73
00:04:39,000 --> 00:04:42,000
Speaker 1: kind of becomes kind of comes to be a badge

74
00:04:42,040 --> 00:04:44,679
Speaker 1: of honor for many horror films from this time period,

75
00:04:44,760 --> 00:04:47,840
Speaker 1: especially in later decades. By the time many of us

76
00:04:47,880 --> 00:04:51,279
Speaker 1: were looking these up in books like The Psychotronic Film Guide,

77
00:04:51,400 --> 00:04:54,960
Speaker 1: or buying bootleg VHS tapes off of eBay back in

78
00:04:54,960 --> 00:04:58,640
Speaker 1: the day, or learning about them online, you know, browsing

79
00:04:58,680 --> 00:05:02,279
Speaker 1: Internet movie data Bay, looking at various blogs, forums, or

80
00:05:02,279 --> 00:05:06,039
Speaker 1: today venturing around on letterbox dot com. You know, it

81
00:05:06,040 --> 00:05:08,480
Speaker 1: adds that extra bit of intrigue to a title. This

82
00:05:08,560 --> 00:05:11,000
Speaker 1: is a video nasty, this is a curse tape. You know,

83
00:05:11,120 --> 00:05:12,200
Speaker 1: watch at your own risk.

84
00:05:12,839 --> 00:05:15,119
Speaker 2: Now, that might lead you to wonder, okay, if this

85
00:05:15,200 --> 00:05:17,760
Speaker 2: is one of those films that was considered so bad

86
00:05:17,800 --> 00:05:20,200
Speaker 2: as to be you know, targeted by the law in

87
00:05:20,279 --> 00:05:24,160
Speaker 2: the UK. Is there like, what's it about? What goes on?

88
00:05:24,400 --> 00:05:26,839
Speaker 2: It is? You know, is it a Texas chainsaw massacre

89
00:05:26,920 --> 00:05:30,560
Speaker 2: kind of thing? I think the best way to describe

90
00:05:30,640 --> 00:05:34,080
Speaker 2: absurd is that it must have been pitched as a

91
00:05:34,120 --> 00:05:37,760
Speaker 2: Halloween clone. Halloween came out in nineteen seventy eight, is

92
00:05:37,760 --> 00:05:40,600
Speaker 2: that right? Yeah, just checked, it was seventy eight, So

93
00:05:40,640 --> 00:05:42,960
Speaker 2: this is a few years after that, and there were

94
00:05:43,160 --> 00:05:46,400
Speaker 2: many many Halloween clones. Halloween was a big hit, and

95
00:05:46,440 --> 00:05:48,760
Speaker 2: so a lot of movies tried to copy it. In fact,

96
00:05:48,800 --> 00:05:53,800
Speaker 2: some of the big slasher franchises in the American market.

97
00:05:54,320 --> 00:05:57,680
Speaker 2: I think you could argue began as Halloween clones. One

98
00:05:57,760 --> 00:06:00,520
Speaker 2: might sing, one might point to like Friday the thirteenth,

99
00:06:00,640 --> 00:06:02,920
Speaker 2: and so forth. You know. It even picks like a

100
00:06:03,000 --> 00:06:06,680
Speaker 2: day of the year as the title. But anyway, so

101
00:06:06,800 --> 00:06:09,120
Speaker 2: I think Absurd it was imagined as a kind of

102
00:06:09,120 --> 00:06:13,719
Speaker 2: Halloween clone, but much more gory and disgusting. Halloween is

103
00:06:13,720 --> 00:06:17,120
Speaker 2: actually fairly light on the blood and gore. You don't

104
00:06:17,200 --> 00:06:21,520
Speaker 2: see a lot of explicit consequences of violence in it.

105
00:06:21,520 --> 00:06:24,120
Speaker 2: It's more, you know, Halloween is much more focused on

106
00:06:24,200 --> 00:06:28,360
Speaker 2: the building of tension through proximity and terror and perspective

107
00:06:28,480 --> 00:06:31,080
Speaker 2: and all that kind of stuff. Absurd gets into a

108
00:06:31,120 --> 00:06:35,400
Speaker 2: lot more just gross, explicit sort of meat exercises, but

109
00:06:35,640 --> 00:06:38,960
Speaker 2: it has very similar plot dynamics. So both movies are

110
00:06:39,000 --> 00:06:43,800
Speaker 2: about a seemingly indestructible killer who escapes from a facility

111
00:06:43,839 --> 00:06:47,160
Speaker 2: of some kind and strikes out with random murders in

112
00:06:47,160 --> 00:06:49,960
Speaker 2: a nearby neighborhood. Well, actually no, in Absurd it's not

113
00:06:50,000 --> 00:06:51,960
Speaker 2: a nearby neighborhood for some reason. He goes to a

114
00:06:51,960 --> 00:06:56,680
Speaker 2: different country. But in both cases strikes out with random

115
00:06:56,760 --> 00:06:59,880
Speaker 2: murders in a neighborhood with no discernible motive.

116
00:07:00,360 --> 00:07:01,839
Speaker 1: Yeah, just random killings.

117
00:07:02,080 --> 00:07:06,719
Speaker 2: Both movies follow babysitters as the sort of the victims

118
00:07:06,760 --> 00:07:10,760
Speaker 2: and protagonists in a way. Both movies have a kid

119
00:07:10,800 --> 00:07:14,160
Speaker 2: who refers to the killer as the Boogeyman. You remember,

120
00:07:14,200 --> 00:07:17,520
Speaker 2: that's in Halloween, and they really emphasize that in Absurd

121
00:07:17,560 --> 00:07:20,720
Speaker 2: as well. And in both cases, the killer is pursued

122
00:07:20,920 --> 00:07:26,200
Speaker 2: by a sort of eccentric, obsessive foreign cleric, and in

123
00:07:26,240 --> 00:07:29,480
Speaker 2: the case of Halloween that's Donald Pleasance as doctor loomis

124
00:07:29,920 --> 00:07:33,640
Speaker 2: in this movie. It is a Greek priest. So you

125
00:07:33,640 --> 00:07:35,760
Speaker 2: can see a lot of similarities, but you can see

126
00:07:35,760 --> 00:07:39,680
Speaker 2: differences as well. And one that I think is interesting

127
00:07:39,800 --> 00:07:47,040
Speaker 2: is exactly what makes Halloween so effective as horror in

128
00:07:47,080 --> 00:07:49,440
Speaker 2: a way is its restraint, the way in which it

129
00:07:49,520 --> 00:07:53,640
Speaker 2: really like takes its time, the way in which you know,

130
00:07:53,880 --> 00:07:56,440
Speaker 2: it plays with as I was saying, distance and perspective,

131
00:07:56,520 --> 00:07:59,000
Speaker 2: you know, showing things in the background of shots instead

132
00:07:59,000 --> 00:08:02,119
Speaker 2: of just going for immediate jump scares and so forth.

133
00:08:02,840 --> 00:08:05,960
Speaker 2: Absurd is the exact opposite. It does not play with restraint.

134
00:08:06,080 --> 00:08:07,560
Speaker 2: It plays to excess.

135
00:08:07,840 --> 00:08:09,800
Speaker 1: Though it does take its time in some of the sites.

136
00:08:10,040 --> 00:08:12,920
Speaker 1: That's true, yeah, but not necessarily in a good way.

137
00:08:13,120 --> 00:08:15,760
Speaker 2: I mean, it'll like really take its time showing how

138
00:08:15,800 --> 00:08:19,920
Speaker 2: long a murder takes to complete. Yeah, but no, it

139
00:08:19,960 --> 00:08:22,160
Speaker 2: also does take its time. I mean, yeah, it does

140
00:08:22,200 --> 00:08:24,720
Speaker 2: have the killer lurking in the background sometimes as well,

141
00:08:25,280 --> 00:08:27,440
Speaker 2: so in some ways you've got that element going on.

142
00:08:27,520 --> 00:08:33,200
Speaker 2: It's kind of a Halloween clone, but with Italian excess sensibilities.

143
00:08:34,000 --> 00:08:35,800
Speaker 2: On the other hand, I would say this is an

144
00:08:35,840 --> 00:08:40,440
Speaker 2: Italian horror movie of the early nineteen eighties, and while

145
00:08:40,480 --> 00:08:43,600
Speaker 2: absurd does earn a number of superlatives, I'm not trying

146
00:08:43,600 --> 00:08:46,160
Speaker 2: to put it down here. One thing I do think

147
00:08:46,320 --> 00:08:48,480
Speaker 2: it kind of makes it stand out is is it

148
00:08:48,520 --> 00:08:52,240
Speaker 2: does not manage to be as visually exciting as a

149
00:08:52,240 --> 00:08:54,600
Speaker 2: lot of the Italian horror movies of this period that

150
00:08:54,640 --> 00:08:57,160
Speaker 2: we love. In fact, I would say it almost has

151
00:08:57,600 --> 00:09:04,680
Speaker 2: a pointedly intentionally drab, lifeless and colorless visual style. The

152
00:09:04,720 --> 00:09:08,439
Speaker 2: sets all seem to be various shades of white, brown, yellow,

153
00:09:08,480 --> 00:09:12,440
Speaker 2: and tan. There's not much, really any use of colored

154
00:09:12,520 --> 00:09:16,079
Speaker 2: lighting that I can recall. There aren't any beautiful vistas

155
00:09:16,200 --> 00:09:19,560
Speaker 2: or stained glass effects or anything like that. It is

156
00:09:19,679 --> 00:09:23,680
Speaker 2: a almost intentionally quite drab looking film.

157
00:09:24,200 --> 00:09:26,280
Speaker 1: Yeah, I mean de Motto gets into he gets into

158
00:09:26,280 --> 00:09:28,760
Speaker 1: some creative territory with some of the shots, and he

159
00:09:28,840 --> 00:09:30,520
Speaker 1: makes I think he makes pretty good use of the

160
00:09:30,840 --> 00:09:34,440
Speaker 1: villa location in some scenes. But yeah, this is not

161
00:09:34,559 --> 00:09:36,800
Speaker 1: a movie you seek out for its rich colors or

162
00:09:36,800 --> 00:09:41,199
Speaker 1: its amazing production design. There's not even any monster makeup,

163
00:09:41,360 --> 00:09:44,800
Speaker 1: just no grimy gore. And I think most people who

164
00:09:44,800 --> 00:09:46,480
Speaker 1: seek it out aren't going to seek it out for

165
00:09:46,520 --> 00:09:51,280
Speaker 1: its reputation as a low budget video nasty and stick

166
00:09:51,320 --> 00:09:54,240
Speaker 1: with it for some of its well absurd choices, you know,

167
00:09:55,400 --> 00:09:58,959
Speaker 1: because despite his reputation, it's not the gorious film from

168
00:09:58,960 --> 00:10:01,920
Speaker 1: this time period, nor is it the most disturbing by

169
00:10:01,960 --> 00:10:05,600
Speaker 1: any stretch. It's worth noting, especially with Dematto here, that

170
00:10:05,679 --> 00:10:09,120
Speaker 1: there's no nudity in this film at all, virtually no

171
00:10:09,360 --> 00:10:13,880
Speaker 1: sexual content of any kind. So it's amazingly tame on

172
00:10:14,120 --> 00:10:18,600
Speaker 1: that side of the exploitation scales, I would say.

173
00:10:19,000 --> 00:10:19,920
Speaker 2: Yeah.

174
00:10:20,320 --> 00:10:23,120
Speaker 1: Also, despite the American title, it's worth noting that it's

175
00:10:23,200 --> 00:10:25,320
Speaker 1: I don't know, you could make a strong argument that

176
00:10:25,360 --> 00:10:29,680
Speaker 1: this film is not really absurd. It's not a surrealistic film,

177
00:10:29,800 --> 00:10:33,559
Speaker 1: it's not psychedelic. But again, I think three things help

178
00:10:33,600 --> 00:10:34,920
Speaker 1: it to stand out from a lot of the other

179
00:10:34,960 --> 00:10:37,440
Speaker 1: slot films of the time period. It's got a fun score,

180
00:10:38,200 --> 00:10:41,520
Speaker 1: there are some weird choices that are made, I think,

181
00:10:41,559 --> 00:10:44,920
Speaker 1: some deliberately and some just via the speed of the production.

182
00:10:45,320 --> 00:10:48,240
Speaker 1: And then you've got the screen presence near constant screen

183
00:10:48,280 --> 00:10:50,080
Speaker 1: presence of George Eastman.

184
00:10:50,080 --> 00:10:53,000
Speaker 2: Which alone puts this film in a kind of rare category.

185
00:10:53,080 --> 00:10:57,080
Speaker 2: I mean, everybody, even if you don't know anything about

186
00:10:57,320 --> 00:11:00,520
Speaker 2: these Italian exploitation movies and you don't know who George

187
00:11:00,559 --> 00:11:02,640
Speaker 2: Eastman is. I think if you see a movie with

188
00:11:02,679 --> 00:11:05,280
Speaker 2: George Eastman in it, you're gonna remember him. You're gonna

189
00:11:05,320 --> 00:11:07,200
Speaker 2: be like, who is that guy? Yeah?

190
00:11:07,280 --> 00:11:09,640
Speaker 1: Yeah, A lot of times it's a small role. He's

191
00:11:09,679 --> 00:11:11,960
Speaker 1: come up in films before. He pops up, for instance

192
00:11:12,000 --> 00:11:14,520
Speaker 1: in Hands of Steel that we watched a while back,

193
00:11:15,800 --> 00:11:17,800
Speaker 1: and here he gets a chance to shine.

194
00:11:18,000 --> 00:11:20,240
Speaker 2: Now, regarding the question you said, the movie is not

195
00:11:20,400 --> 00:11:24,760
Speaker 2: even that absurd, I was wondering if maybe the absurd

196
00:11:24,920 --> 00:11:27,960
Speaker 2: title refers not to the more common usage like you

197
00:11:28,000 --> 00:11:32,520
Speaker 2: were saying there, comparing it to something that is psychedelic

198
00:11:32,640 --> 00:11:35,680
Speaker 2: or surreal. Maybe we often use the word just to

199
00:11:35,720 --> 00:11:40,040
Speaker 2: mean like weird, illogical, or unreasonable. I was wondering if

200
00:11:40,040 --> 00:11:43,720
Speaker 2: it is not that usage of absurd, but the philosophical

201
00:11:43,840 --> 00:11:47,680
Speaker 2: usage a lah absurdism, the core tenets of which are

202
00:11:47,960 --> 00:11:51,480
Speaker 2: that the universe is meaningless and our lives are meaningless,

203
00:11:51,880 --> 00:11:54,160
Speaker 2: and that much of the struggle of human life, and

204
00:11:54,200 --> 00:11:58,280
Speaker 2: so many of our conflicts and contradictions arise because people

205
00:11:58,320 --> 00:12:01,720
Speaker 2: are trying to find the mean in meaningless things.

206
00:12:02,559 --> 00:12:04,840
Speaker 1: All right, all right, I hear what you're laying down.

207
00:12:05,080 --> 00:12:07,880
Speaker 2: Well, yeah, So I think the movie Absurd is quite

208
00:12:07,920 --> 00:12:10,680
Speaker 2: the plot is quite compatible with the view that life

209
00:12:10,760 --> 00:12:14,959
Speaker 2: is meaningless. You know, the attacks are completely random, And

210
00:12:15,080 --> 00:12:18,680
Speaker 2: I wonder if George Eastman's problem as a character is

211
00:12:18,720 --> 00:12:21,360
Speaker 2: that he is engaged in a futile search for the

212
00:12:21,400 --> 00:12:24,240
Speaker 2: meaning of life, and that search involves power drills and

213
00:12:24,320 --> 00:12:25,640
Speaker 2: bandsaws and so forth.

214
00:12:27,559 --> 00:12:30,360
Speaker 1: It is interesting that he does not have a signature weapon.

215
00:12:30,440 --> 00:12:32,640
Speaker 1: He just makes use of what is immediately around him

216
00:12:32,679 --> 00:12:34,080
Speaker 1: and doesn't care anything with him.

217
00:12:34,280 --> 00:12:37,920
Speaker 2: It's usually powered mechanisms, isn't it Not in every case,

218
00:12:37,960 --> 00:12:40,360
Speaker 2: But that's kind of strange. He like a he likes

219
00:12:40,360 --> 00:12:42,040
Speaker 2: a weapon you can plug into the wall.

220
00:12:42,480 --> 00:12:44,760
Speaker 1: Yeah, and he'll drag you through the house to get

221
00:12:44,760 --> 00:12:46,520
Speaker 1: to it. It's not just a matter of like what's

222
00:12:46,679 --> 00:12:51,280
Speaker 1: immediately around me. It's like did I see an oven earlier? Yeah,

223
00:12:51,360 --> 00:12:53,800
Speaker 1: there's got to be a kitchen around here, somewhere. We'll

224
00:12:53,800 --> 00:12:55,160
Speaker 1: spend five minutes searching for it.

225
00:12:55,559 --> 00:12:58,439
Speaker 2: So if we haven't warned you enough already, do be

226
00:12:58,559 --> 00:13:01,440
Speaker 2: warned that this movie does have some really gross violence

227
00:13:01,480 --> 00:13:03,440
Speaker 2: in it. So if you're going to watch it, be prepared.

228
00:13:03,720 --> 00:13:05,880
Speaker 1: Yeah, And I also, I don't want to oversell this

229
00:13:05,920 --> 00:13:09,599
Speaker 1: movie like sometimes, you know, I'm big on really championing

230
00:13:09,640 --> 00:13:12,160
Speaker 1: a film and saying like there's this is a hidden gym,

231
00:13:12,280 --> 00:13:14,520
Speaker 1: or there's some there are some diamonds in this one.

232
00:13:15,960 --> 00:13:17,880
Speaker 1: This is a film that a lot of people don't like.

233
00:13:18,040 --> 00:13:20,960
Speaker 1: Even people we're into into horror. You know, we'll give

234
00:13:21,000 --> 00:13:23,720
Speaker 1: it maybe like mediocre reviews. So if you're on the

235
00:13:23,760 --> 00:13:27,880
Speaker 1: fence about seeing absurd there's a very strong chance you're

236
00:13:27,920 --> 00:13:30,360
Speaker 1: not going to like it. So fair warning. This might

237
00:13:30,400 --> 00:13:31,800
Speaker 1: be a case where you just want to hear us

238
00:13:31,840 --> 00:13:34,800
Speaker 1: talk about it. But if if you're into this sort

239
00:13:34,840 --> 00:13:38,240
Speaker 1: of thing, well, you know, dive in because there's there

240
00:13:38,280 --> 00:13:41,040
Speaker 1: is some absurdity. There is some weirdness here that I

241
00:13:41,080 --> 00:13:42,080
Speaker 1: thought was pretty fun.

242
00:13:42,880 --> 00:13:45,960
Speaker 2: Speaking of the absurdity and the weirdness, just a few

243
00:13:45,960 --> 00:13:48,080
Speaker 2: things I want to call out at the beginnings, these

244
00:13:48,440 --> 00:13:51,720
Speaker 2: these strange contradictions in the movie where there are things

245
00:13:51,760 --> 00:13:54,240
Speaker 2: where I don't even know how to characterize them really

246
00:13:54,280 --> 00:13:59,520
Speaker 2: because they contain contradictions. One of them is the sets

247
00:13:59,840 --> 00:14:05,240
Speaker 2: in this film which have this They are simultaneously opulent

248
00:14:05,520 --> 00:14:07,800
Speaker 2: and squalid, do you know what I'm saying?

249
00:14:08,280 --> 00:14:10,880
Speaker 1: Yeah, yeah, like the one of the key The key

250
00:14:10,920 --> 00:14:14,520
Speaker 1: set in the film, the key location is this obvious

251
00:14:14,559 --> 00:14:17,439
Speaker 1: Italian villa, you know, and it's clearly has old bone,

252
00:14:17,600 --> 00:14:24,520
Speaker 1: spacious interiors, but the way that the space is decorated

253
00:14:24,720 --> 00:14:28,240
Speaker 1: at times feels very sparse and slapped together. And it's

254
00:14:29,040 --> 00:14:31,120
Speaker 1: also we'll get back to this more, but this is

255
00:14:31,200 --> 00:14:34,760
Speaker 1: essentially presented to us as an American home where Americans

256
00:14:34,800 --> 00:14:37,760
Speaker 1: live and are ready for some American football.

257
00:14:38,200 --> 00:14:38,280
Speaker 2: Ye.

258
00:14:38,600 --> 00:14:42,720
Speaker 1: And I've this with suits of armor inside that. Yes, yes,

259
00:14:43,280 --> 00:14:45,080
Speaker 1: So it's the It's a weird missmash And I think

260
00:14:45,080 --> 00:14:47,800
Speaker 1: this is ultimately one of its charms, you know, you know,

261
00:14:47,840 --> 00:14:51,840
Speaker 1: at least watching it as an American, you know, it's

262
00:14:51,880 --> 00:14:53,680
Speaker 1: just seeing the sort of mismatch of things.

263
00:14:54,000 --> 00:14:57,360
Speaker 2: Another thing, what is going on with people's accents in

264
00:14:57,440 --> 00:15:01,640
Speaker 2: this movie The Babysit is a great example. She seems

265
00:15:01,680 --> 00:15:04,800
Speaker 2: to go from I've heard I hear English accent at

266
00:15:04,800 --> 00:15:09,280
Speaker 2: some point like a very formal kind of received pronunciation accent.

267
00:15:09,520 --> 00:15:13,280
Speaker 2: Sometimes I hear Irish, sometimes I hear Italian, sometimes I

268
00:15:13,400 --> 00:15:15,720
Speaker 2: hear American. It is all over the place.

269
00:15:16,160 --> 00:15:18,680
Speaker 1: Well, you have to remember Absurd as a prestige picture

270
00:15:18,760 --> 00:15:23,040
Speaker 1: with an international cast, so you know it was you

271
00:15:23,080 --> 00:15:26,120
Speaker 1: know it's not, but it was conceived and produced not

272
00:15:26,160 --> 00:15:28,480
Speaker 1: so much for native Italian audiences, but to be shipped

273
00:15:28,520 --> 00:15:31,320
Speaker 1: out to various international markets, each with their own particular

274
00:15:31,360 --> 00:15:34,240
Speaker 1: and shifting censorship standards. And so we have a predominantly

275
00:15:34,280 --> 00:15:39,480
Speaker 1: Italian cast, but with some like UK and I guess,

276
00:15:39,720 --> 00:15:43,080
Speaker 1: and I guess largely UK talent thrown in there as

277
00:15:43,120 --> 00:15:46,320
Speaker 1: well as this American setting, though again everything was filmed

278
00:15:46,320 --> 00:15:46,720
Speaker 1: in Italy.

279
00:15:47,080 --> 00:15:48,840
Speaker 2: Okay, I was just thinking before we get to the

280
00:15:48,880 --> 00:15:51,160
Speaker 2: elevator pitch. I was thinking of like three different ways

281
00:15:51,160 --> 00:15:57,000
Speaker 2: of categorizing mad slasher villains in movies like this. One

282
00:15:57,280 --> 00:16:00,600
Speaker 2: is the question we already addressed of is a motive

283
00:16:00,720 --> 00:16:02,960
Speaker 2: or not? Sometimes the motive of the slasher is like

284
00:16:03,080 --> 00:16:06,160
Speaker 2: revenge or something, and other times there is no motive.

285
00:16:06,200 --> 00:16:08,600
Speaker 2: This is a case of no motive firmly on the

286
00:16:08,880 --> 00:16:10,800
Speaker 2: random violence into the scale.

287
00:16:11,240 --> 00:16:13,240
Speaker 1: Yeah, yeah, this is on the Halloween end of the spectrum,

288
00:16:13,240 --> 00:16:17,320
Speaker 1: as opposed to say the Burning or Nightmare on Elm Street,

289
00:16:17,360 --> 00:16:20,640
Speaker 1: where there is some symblance of vengeance bound up in

290
00:16:20,720 --> 00:16:21,920
Speaker 1: the motives of the killer.

291
00:16:22,080 --> 00:16:24,920
Speaker 2: Yeah, or the original Friday the thirteenth. Yeah, oh yeah, Yeah,

292
00:16:24,920 --> 00:16:25,280
Speaker 2: that's right.

293
00:16:25,320 --> 00:16:27,040
Speaker 1: I kind of forget because he kind of becomes just

294
00:16:27,480 --> 00:16:31,280
Speaker 1: a mindless killing machine and the franchise later on, certainly

295
00:16:31,280 --> 00:16:32,760
Speaker 1: by the time he takes Manhattan.

296
00:16:33,920 --> 00:16:37,920
Speaker 2: Yeah, exactly. Okay, that's criterion number one. Criterion number two

297
00:16:38,080 --> 00:16:42,880
Speaker 2: is the form, the form and costuming of the slasher villain.

298
00:16:43,240 --> 00:16:45,920
Speaker 2: Do they wear a mask or are they physically altered

299
00:16:45,960 --> 00:16:50,400
Speaker 2: in some way this case, no, he's just George Eastman. No,

300
00:16:50,400 --> 00:16:54,280
Speaker 2: no makeup, no mask, no nothing. He's just a guy. Yeah.

301
00:16:54,400 --> 00:16:58,080
Speaker 2: I mean an interesting looking guy, but just a guy. Yeah.

302
00:16:58,120 --> 00:17:00,000
Speaker 1: For much of it, like he's just wearing like gene

303
00:17:00,160 --> 00:17:03,680
Speaker 1: and a shirt, just wearing like I'd assume he's just

304
00:17:03,800 --> 00:17:04,520
Speaker 1: normal clothes.

305
00:17:04,640 --> 00:17:07,680
Speaker 2: Okay. Third distinction I would make is is this mad

306
00:17:07,720 --> 00:17:12,600
Speaker 2: slasher the beneficiary of any kind of supernatural intervention or magic?

307
00:17:13,080 --> 00:17:15,320
Speaker 2: And in this case I would say, once again, no,

308
00:17:15,600 --> 00:17:19,359
Speaker 2: this is a super powered slasher. But it's not like

309
00:17:19,520 --> 00:17:22,439
Speaker 2: in the later Halloween sequels where we discover that Michael

310
00:17:22,480 --> 00:17:28,080
Speaker 2: Myers is some kind of like reincarnated Celtic deity or something. No,

311
00:17:28,160 --> 00:17:31,200
Speaker 2: he's just a guy, except we get a science fiction

312
00:17:31,400 --> 00:17:34,160
Speaker 2: explanation for why he is so strong and why bullets

313
00:17:34,200 --> 00:17:38,040
Speaker 2: do not stop him. It's because he was the result

314
00:17:38,040 --> 00:17:40,040
Speaker 2: of some experiment in a lab or I think they

315
00:17:40,040 --> 00:17:43,160
Speaker 2: say there was a contamination. Now, they don't get deep

316
00:17:43,160 --> 00:17:47,200
Speaker 2: into the explanation. But he is a product of science,

317
00:17:47,320 --> 00:17:48,640
Speaker 2: not magic. Yeah.

318
00:17:48,720 --> 00:17:52,840
Speaker 1: Yeah, the explanation is a little garble. There's some contradictions

319
00:17:52,840 --> 00:17:55,520
Speaker 1: there we'll get into, but essentially it's like a weapons

320
00:17:55,680 --> 00:17:58,920
Speaker 1: X program. He has a mutant healing factor. It's explicitly stated.

321
00:17:59,160 --> 00:18:01,679
Speaker 1: He's kind of like the Italian or I guess the

322
00:18:01,720 --> 00:18:03,720
Speaker 1: Greek saber tooth here.

323
00:18:04,080 --> 00:18:06,399
Speaker 2: Yeah, yeah, yeah. So I feel like all three of

324
00:18:06,440 --> 00:18:11,720
Speaker 2: these distinctions push it more into the philosophical absurdism side

325
00:18:11,720 --> 00:18:14,959
Speaker 2: of the scale. Right, that he is just a man's

326
00:18:15,280 --> 00:18:19,879
Speaker 2: like he's not physically represented in any unusual way, that

327
00:18:20,119 --> 00:18:24,080
Speaker 2: his motives are non existent, it's just random, And that

328
00:18:24,320 --> 00:18:28,080
Speaker 2: there is no magic or supernatural intervention of any kind.

329
00:18:28,200 --> 00:18:31,639
Speaker 2: He's just a product of a science experiment gone wrong.

330
00:18:33,200 --> 00:18:36,479
Speaker 1: Well, building on that and in lieu of an actual

331
00:18:36,480 --> 00:18:39,840
Speaker 1: elevator pitch I'm going to read a quote from Albert Camu,

332
00:18:40,000 --> 00:18:44,000
Speaker 1: the myth of Sisyphus. Thus, I draw from the absurd

333
00:18:44,080 --> 00:18:48,160
Speaker 1: three consequences, which are my revolt, my freedom, and my passion.

334
00:18:48,520 --> 00:18:49,719
Speaker 2: Bravo wow.

335
00:18:51,640 --> 00:18:54,160
Speaker 1: I mean it is revolting. So and I think we're

336
00:18:54,160 --> 00:18:57,000
Speaker 1: gonna we're gonna skip trailer audio on this one, in

337
00:18:57,040 --> 00:18:59,560
Speaker 1: part because the trailer is just music and screaming.

338
00:18:59,560 --> 00:19:01,280
Speaker 2: I believe, like, oh yeah.

339
00:19:01,440 --> 00:19:03,280
Speaker 1: I would be inclined to include it if we had

340
00:19:03,320 --> 00:19:06,280
Speaker 1: a narrator saying absurd, but they don't.

341
00:19:06,800 --> 00:19:08,680
Speaker 2: I'm going to go on record here and say, even

342
00:19:08,720 --> 00:19:11,360
Speaker 2: for horror movies, I do not like trailers that are

343
00:19:11,400 --> 00:19:14,199
Speaker 2: just full of screaming. Not a fan. I like a

344
00:19:14,320 --> 00:19:18,639
Speaker 2: narrator or at least some clips of dialogue and ominous music.

345
00:19:18,720 --> 00:19:20,720
Speaker 2: This is the screaming. Save it for the climax of

346
00:19:20,760 --> 00:19:23,800
Speaker 2: the film. I'm not interested in hearing just three minutes

347
00:19:23,840 --> 00:19:25,840
Speaker 2: of screaming to preview a movie.

348
00:19:26,280 --> 00:19:30,480
Speaker 1: Absolutely all right. So if at this point you're like, Okay,

349
00:19:30,520 --> 00:19:32,919
Speaker 1: I'm in I do actually want to watch Absurd before

350
00:19:33,200 --> 00:19:35,439
Speaker 1: finishing this episode, well, then more power to you.

351
00:19:36,000 --> 00:19:36,240
Speaker 2: Now.

352
00:19:36,560 --> 00:19:39,480
Speaker 1: The thing is Absurd has circulated under various titles and

353
00:19:39,520 --> 00:19:43,600
Speaker 1: with various cuts for a long time. The region free

354
00:19:43,640 --> 00:19:46,920
Speaker 1: Severn Films Blu ray is hard to beat, though, featuring

355
00:19:46,960 --> 00:19:49,600
Speaker 1: both the original Italian cut that comes in at eighty

356
00:19:49,600 --> 00:19:52,359
Speaker 1: eight minutes and the uncensored US cut, which comes in

357
00:19:52,359 --> 00:19:56,040
Speaker 1: at ninety four minutes. The discs also features a handful

358
00:19:56,040 --> 00:19:58,959
Speaker 1: of informative interviews which I'll refer back to, and it

359
00:19:59,000 --> 00:20:01,560
Speaker 1: has the whole the entire score on CD as a

360
00:20:01,560 --> 00:20:05,080
Speaker 1: bonus disc. Now, if you are not into the physical media,

361
00:20:05,119 --> 00:20:07,000
Speaker 1: you don't have access to it, don't have time, and

362
00:20:07,040 --> 00:20:10,840
Speaker 1: so forth. You can also stream the US cut and

363
00:20:10,880 --> 00:20:13,399
Speaker 1: it has the box art for the Severign release, so

364
00:20:13,400 --> 00:20:15,320
Speaker 1: I guess it's connected to that. You can stream it

365
00:20:15,359 --> 00:20:18,439
Speaker 1: on toov currently, at least in the United States. I

366
00:20:18,520 --> 00:20:21,320
Speaker 1: own the disc. It's great. I think. Once I'm done

367
00:20:21,320 --> 00:20:23,120
Speaker 1: with it, I'm going to be donating it to Video

368
00:20:23,200 --> 00:20:25,960
Speaker 1: Drome here in Atlanta, so if you're local, you can

369
00:20:25,960 --> 00:20:36,520
Speaker 1: rent the disc there. All right, let's get into the

370
00:20:36,520 --> 00:20:38,800
Speaker 1: folks who made this film, starting at the top with

371
00:20:38,840 --> 00:20:42,600
Speaker 1: the director, the producer, and the cinematographer. It's Joe Demato,

372
00:20:43,040 --> 00:20:46,320
Speaker 1: who lived nineteen thirty six through nineteen ninety nine, a

373
00:20:46,560 --> 00:20:50,000
Speaker 1: truly legendary name in the realm of Italian exploitation and

374
00:20:50,080 --> 00:20:53,199
Speaker 1: trash cinema. We have mentioned him numerous times on the show,

375
00:20:53,480 --> 00:20:57,119
Speaker 1: often in connection to other actors who are working in

376
00:20:57,160 --> 00:21:01,720
Speaker 1: eurocinema or in Italian cinema. Sometimes forth also for things

377
00:21:01,760 --> 00:21:03,840
Speaker 1: that he did besides directing. For instance, he was at

378
00:21:03,920 --> 00:21:05,720
Speaker 1: least one of the producers on Troll Too.

379
00:21:06,160 --> 00:21:08,040
Speaker 2: Was he involved at all in Shocking Dark?

380
00:21:08,520 --> 00:21:10,200
Speaker 1: You know, I don't think he was, but we will

381
00:21:10,240 --> 00:21:13,720
Speaker 1: have a Shocking Dark connection here in just a bit. Okay, So,

382
00:21:14,160 --> 00:21:17,040
Speaker 1: Joe Tomato is one of the many monikers that he

383
00:21:17,160 --> 00:21:20,199
Speaker 1: used for his directorial work over the years. It's just

384
00:21:20,200 --> 00:21:24,119
Speaker 1: the one that seemed to stick the most. But his

385
00:21:24,200 --> 00:21:28,359
Speaker 1: birth name was Artista day Masa Cheese. We're going to

386
00:21:28,440 --> 00:21:31,920
Speaker 1: keep referring to him as Joe Tomaca. So, Joe Tomato

387
00:21:31,960 --> 00:21:34,080
Speaker 1: did everything in film at one point or another, in

388
00:21:34,440 --> 00:21:38,359
Speaker 1: part because, you know, based on an interview, the interviews

389
00:21:38,359 --> 00:21:40,240
Speaker 1: that I've seen with him, in interviews with George Eastman,

390
00:21:40,240 --> 00:21:42,560
Speaker 1: who worked with him multiple times, he's a guy who

391
00:21:42,560 --> 00:21:46,600
Speaker 1: loves cinema and you know, love the craft of cinema. Anyway,

392
00:21:46,640 --> 00:21:48,800
Speaker 1: I think he often said that he was not an

393
00:21:48,880 --> 00:21:51,320
Speaker 1: artist and did not see himself as an artist, but

394
00:21:51,320 --> 00:21:53,280
Speaker 1: he clearly, like you know it, was really into the

395
00:21:53,640 --> 00:21:56,960
Speaker 1: craft of making films and all. But also he was

396
00:21:57,000 --> 00:22:00,240
Speaker 1: notoriously cheap and was generally operating on a shoestring budget.

397
00:22:00,440 --> 00:22:04,040
Speaker 1: You know, make it fast, make it cheap. Eastman has

398
00:22:04,040 --> 00:22:05,960
Speaker 1: pointed out in interviews that like, if they could do

399
00:22:06,000 --> 00:22:08,240
Speaker 1: it with one take, they would do it with one take,

400
00:22:08,320 --> 00:22:11,040
Speaker 1: you know. And he wasn't the type of director to

401
00:22:11,960 --> 00:22:14,040
Speaker 1: instruct the actors at all. So if it was a

402
00:22:14,080 --> 00:22:16,040
Speaker 1: good actor, you know, you might get a good performance.

403
00:22:16,320 --> 00:22:18,840
Speaker 1: If they were green, it was gonna be as green

404
00:22:18,920 --> 00:22:21,200
Speaker 1: as it came out, you know. It just wasn't his thing,

405
00:22:21,840 --> 00:22:25,520
Speaker 1: Eastman says, to and to instruct and build upon the performance.

406
00:22:25,960 --> 00:22:28,080
Speaker 2: One take, that's what I love that. That's like the

407
00:22:28,600 --> 00:22:30,600
Speaker 2: ed would rule, right, you know, why do it again

408
00:22:30,640 --> 00:22:31,400
Speaker 2: when it's perfect?

409
00:22:31,680 --> 00:22:33,720
Speaker 1: Yeah, yeah, and we've got to we've got to crank

410
00:22:33,760 --> 00:22:37,679
Speaker 1: this out, you know. So yeah, these were the defining

411
00:22:37,760 --> 00:22:40,920
Speaker 1: qualities of his work, you know, is that he really

412
00:22:40,960 --> 00:22:43,000
Speaker 1: loved the craft. He wanted to do everything, and he

413
00:22:43,040 --> 00:22:45,760
Speaker 1: wanted to do it cheap. But he was also said

414
00:22:45,800 --> 00:22:48,760
Speaker 1: to be pretty easy going, humorous about his productions, gave

415
00:22:48,800 --> 00:22:52,840
Speaker 1: collaborators room to do their thing. But would, as Eastman

416
00:22:52,920 --> 00:22:56,080
Speaker 1: put it, far, rather do ten cheap films than one

417
00:22:56,160 --> 00:23:00,640
Speaker 1: film with a bigger budget to Motto himself, right, yeah, yeah,

418
00:23:00,680 --> 00:23:02,440
Speaker 1: I mean Demtto himself would say, like the pay is

419
00:23:02,480 --> 00:23:04,760
Speaker 1: the same, Why would I do that one big film

420
00:23:04,880 --> 00:23:06,240
Speaker 1: and put all that work into it. I'll just do

421
00:23:06,320 --> 00:23:08,439
Speaker 1: ten cheap films and it'll be the same for me

422
00:23:08,480 --> 00:23:09,160
Speaker 1: at the end of the day.

423
00:23:09,440 --> 00:23:09,800
Speaker 2: Wow.

424
00:23:10,200 --> 00:23:12,880
Speaker 1: Now he's been observed that this this also really held

425
00:23:12,960 --> 00:23:16,520
Speaker 1: him back because he thinks that de Motto could have

426
00:23:16,560 --> 00:23:19,359
Speaker 1: had more success if he'd specialized as a producer and

427
00:23:19,800 --> 00:23:23,520
Speaker 1: as a cinematographer and like let other people direct. But

428
00:23:23,560 --> 00:23:25,760
Speaker 1: he kept on directing, and when the demand for Italian

429
00:23:25,920 --> 00:23:29,760
Speaker 1: genre films went south, he worked on what was internationally marketable.

430
00:23:30,080 --> 00:23:31,400
Speaker 1: And that's something to keep in mind with a lot

431
00:23:31,400 --> 00:23:35,239
Speaker 1: of these films like this. This film in particular, it

432
00:23:35,320 --> 00:23:37,960
Speaker 1: was not really made for Italian audiences. I think it did,

433
00:23:38,520 --> 00:23:41,160
Speaker 1: you know, show in theaters very briefly. It was mostly

434
00:23:41,400 --> 00:23:44,479
Speaker 1: to be shipped out to other markets in various cuts,

435
00:23:44,840 --> 00:23:47,200
Speaker 1: and when the demand for those sorts of films went away,

436
00:23:47,920 --> 00:23:49,680
Speaker 1: it meant, you know, he had to turn to other things.

437
00:23:49,680 --> 00:23:53,199
Speaker 1: That were internationally marketable, which meant mostly adult films. But

438
00:23:53,359 --> 00:23:56,720
Speaker 1: during his prime he shot pretty much everything like every

439
00:23:56,760 --> 00:24:00,000
Speaker 1: type of B movie anyway, from you know, from gladiator

440
00:24:00,080 --> 00:24:04,760
Speaker 1: flicks to post apocalyptic gladiator flicks. And there's a lot

441
00:24:04,800 --> 00:24:07,199
Speaker 1: of garbage in there, to be sure, But of the

442
00:24:07,280 --> 00:24:11,000
Speaker 1: various video nasties and cult classics worth mentioning here you

443
00:24:11,080 --> 00:24:13,320
Speaker 1: have the likes of seventy three's Death Smiles and a

444
00:24:13,400 --> 00:24:17,840
Speaker 1: Murderer seventy nine Beyond the Darkness. Oh and also there's

445
00:24:17,920 --> 00:24:21,320
Speaker 1: a tour the Fighting Eagle that one I believe that

446
00:24:21,920 --> 00:24:23,840
Speaker 1: or one of the a tour films was featured on

447
00:24:23,880 --> 00:24:27,680
Speaker 1: a Mystery Science Theater three thousand, twenty twenty Texas. Gladiators

448
00:24:27,720 --> 00:24:32,440
Speaker 1: and Endgame from eighty three also various Emmanuel films in

449
00:24:32,520 --> 00:24:36,639
Speaker 1: the erotic genre. In nineteen eighty he collaborated with George

450
00:24:36,640 --> 00:24:41,199
Speaker 1: Eastman on the film and Throw Pophagus, the predecessor to

451
00:24:41,280 --> 00:24:45,119
Speaker 1: this film, and it was enough of a hit internationally

452
00:24:45,359 --> 00:24:48,000
Speaker 1: that they came back for a kind of spiritual sequel,

453
00:24:48,119 --> 00:24:51,160
Speaker 1: spiritual successor, and that is this film absurd.

454
00:24:51,560 --> 00:24:54,359
Speaker 2: That is one I've heard warnings about even from people

455
00:24:54,400 --> 00:24:58,479
Speaker 2: who are like hardened low budget gory horror movie fans,

456
00:24:58,520 --> 00:25:01,000
Speaker 2: they're like, that one is disgusting.

457
00:25:01,760 --> 00:25:05,000
Speaker 1: Yeah, it's it's gross, it's you know, it's it's shot

458
00:25:05,040 --> 00:25:09,840
Speaker 1: in grease. That it's very really grimy. So it does

459
00:25:09,880 --> 00:25:14,200
Speaker 1: have Eastman as the villain, as the cannibalistic monster, though

460
00:25:14,240 --> 00:25:17,399
Speaker 1: in that film he has like a bald cap and

461
00:25:17,440 --> 00:25:21,959
Speaker 1: some monster makeup on. And that film famously ends with

462
00:25:22,080 --> 00:25:25,919
Speaker 1: the monster being like partially disemboweled, and then Eastman's character

463
00:25:26,000 --> 00:25:27,879
Speaker 1: pulls out his own guts and takes a big bite

464
00:25:27,880 --> 00:25:31,120
Speaker 1: out of them and dies. So that's that's the kind

465
00:25:31,160 --> 00:25:34,879
Speaker 1: of film it is. And it had various titles as

466
00:25:34,880 --> 00:25:36,760
Speaker 1: where like like the Grim Reaper and so.

467
00:25:36,720 --> 00:25:39,320
Speaker 2: Forth, and they're like, for absurd, what if you take

468
00:25:39,400 --> 00:25:42,720
Speaker 2: the ending of that movie and start there exactly.

469
00:25:42,840 --> 00:25:44,960
Speaker 1: Yeah, that's essentially what they do. We have a fun,

470
00:25:45,080 --> 00:25:48,960
Speaker 1: fun callback to that disemboweling sequence, all right. Yeah, getting

471
00:25:49,000 --> 00:25:50,560
Speaker 1: to the star, we very talked about him a little bit,

472
00:25:50,600 --> 00:25:54,000
Speaker 1: but George Eastman born nineteen forty two still with us

473
00:25:54,080 --> 00:25:57,080
Speaker 1: as of this recording. Not only does he play our

474
00:25:57,200 --> 00:25:59,640
Speaker 1: central monster who this is one of those films where

475
00:26:00,480 --> 00:26:02,520
Speaker 1: this character has both a first and last name in

476
00:26:02,560 --> 00:26:08,119
Speaker 1: the credits, which is ridiculous. Mikos Stenopolis never is I

477
00:26:08,119 --> 00:26:09,560
Speaker 1: think either name referred to.

478
00:26:10,440 --> 00:26:16,760
Speaker 2: No, they do, they do. They Stopolis where the detective is. Oh,

479
00:26:16,800 --> 00:26:18,879
Speaker 2: I can't wait to talk about him. But the detective

480
00:26:18,960 --> 00:26:21,680
Speaker 2: is interviewing the Greek priest, who you don't know is

481
00:26:21,720 --> 00:26:24,800
Speaker 2: a priest at this point, and they're talking about the killer.

482
00:26:24,920 --> 00:26:28,639
Speaker 2: They say his name is whatever, Mikos or Nicos Stenopolis,

483
00:26:29,240 --> 00:26:31,640
Speaker 2: whichever it is, and so they say his last name.

484
00:26:31,680 --> 00:26:34,960
Speaker 2: But it's not the only time we have a slasher

485
00:26:35,040 --> 00:26:37,200
Speaker 2: movie villain with the first and last name. I admit

486
00:26:37,320 --> 00:26:39,480
Speaker 2: it also did sound funny here, but then I thought,

487
00:26:39,520 --> 00:26:43,320
Speaker 2: wait a minute, Michael Myers, Jason Voorhees, Freddy Krueger, we

488
00:26:43,440 --> 00:26:45,800
Speaker 2: know their first and last names. Why does it feel

489
00:26:45,800 --> 00:26:48,280
Speaker 2: weird here? I'm not sure, but it did feel really

490
00:26:48,359 --> 00:26:51,000
Speaker 2: funny when we got his whole name. It just seems

491
00:26:51,040 --> 00:26:53,400
Speaker 2: like a character who should not have a name or something,

492
00:26:53,440 --> 00:26:55,440
Speaker 2: or you wouldn't know what his name was. They would

493
00:26:55,480 --> 00:27:00,439
Speaker 2: just call him the being or something. And yeah, it

494
00:27:00,600 --> 00:27:05,560
Speaker 2: also I think is especially funny because it's George Eastman,

495
00:27:05,880 --> 00:27:09,159
Speaker 2: and something about the way George Eastman looks in this

496
00:27:09,280 --> 00:27:14,480
Speaker 2: movie is corrupted by knowing that he has a full name.

497
00:27:14,600 --> 00:27:15,600
Speaker 2: Does that make any sense?

498
00:27:15,760 --> 00:27:21,880
Speaker 1: Yeah, yeah, so obviously the name George Eastman is also

499
00:27:21,960 --> 00:27:24,320
Speaker 1: a moniker. This is the stage name, one of many

500
00:27:24,320 --> 00:27:28,720
Speaker 1: stage names about ultimately the one that's stuck for Luigi Montefiori,

501
00:27:30,320 --> 00:27:33,480
Speaker 1: and he is. But he's always going to be George Eastman.

502
00:27:33,600 --> 00:27:35,479
Speaker 1: This is the name that's going to be written in

503
00:27:35,760 --> 00:27:39,600
Speaker 1: b movie lore forever. And you just have to see

504
00:27:39,680 --> 00:27:41,520
Speaker 1: him to know what we're talking about. He pops up

505
00:27:41,520 --> 00:27:44,040
Speaker 1: in a lot of things, Spaghetti western, certainly at first,

506
00:27:44,480 --> 00:27:49,040
Speaker 1: horror films, post apocalyptic pictures. At least in his prime

507
00:27:49,320 --> 00:27:53,160
Speaker 1: he was at least six', six But i've also seen

508
00:27:53,240 --> 00:27:56,320
Speaker 1: him promoted as six.' nine it's sometimes hard to tell

509
00:27:56,320 --> 00:27:59,440
Speaker 1: and show business how tall someone, actually is but. Very

510
00:27:59,480 --> 00:28:04,479
Speaker 1: tall man looks very tall on, the screen lean, but muscular.

511
00:28:04,880 --> 00:28:05,080
Speaker 2: You know.

512
00:28:05,800 --> 00:28:11,720
Speaker 1: Handsome guy but also there's like a fairal, you know like.

513
00:28:11,800 --> 00:28:14,640
Speaker 1: In quality, you know there's a lean and hungry look

514
00:28:14,680 --> 00:28:18,359
Speaker 1: to him that he's that allows him to like naturally

515
00:28:18,480 --> 00:28:20,280
Speaker 1: lean into villain and.

516
00:28:20,320 --> 00:28:25,000
Speaker 2: Heavy roles he does not. Look trustworthy he has a

517
00:28:25,040 --> 00:28:29,160
Speaker 2: face that looks like a like a predatory mammal kind Of, wolfin.

518
00:28:29,440 --> 00:28:33,200
Speaker 1: Yeah yeah so you know that's what you get oodles

519
00:28:33,200 --> 00:28:35,720
Speaker 1: off in, this film but he was in a lot

520
00:28:35,760 --> 00:28:38,040
Speaker 1: of stuff we. Already mentioned eighty Six is Hand, Of

521
00:28:38,040 --> 00:28:41,000
Speaker 1: steel Hands. Of steel he was also in let's see

522
00:28:41,040 --> 00:28:44,640
Speaker 1: nineteen Ninety The bronx warriors From then there's twenty nineteen

523
00:28:44,680 --> 00:28:48,600
Speaker 1: After the Fall Of new York Blast Fighter. Rabid dogs

524
00:28:48,960 --> 00:28:51,600
Speaker 1: he had attended, film school and his acting credits go

525
00:28:51,680 --> 00:28:54,520
Speaker 1: back at least to nineteen, sixty six but he also,

526
00:28:54,560 --> 00:28:57,640
Speaker 1: wrote screenplays AND if i remember correctly from Past interviews,

527
00:28:57,640 --> 00:29:00,680
Speaker 1: i've watched he was sometimes asked to work over scripts

528
00:29:00,960 --> 00:29:05,160
Speaker 1: and make them like at least. Less Bad And de

529
00:29:05,280 --> 00:29:08,280
Speaker 1: Motto and eastman first worked Together on cormac Of the

530
00:29:08,320 --> 00:29:11,680
Speaker 1: mounties from nineteen. Seventy five this is a film where

531
00:29:11,720 --> 00:29:16,560
Speaker 1: the lead actor apparently rejected the, existing screenplay but after

532
00:29:16,600 --> 00:29:19,320
Speaker 1: they had already set the shooting schedule for the picture

533
00:29:19,400 --> 00:29:22,520
Speaker 1: based on the, old script And so eastman had to

534
00:29:22,520 --> 00:29:25,479
Speaker 1: be brought in to write a brand new script to

535
00:29:25,520 --> 00:29:29,160
Speaker 1: please the lead but also appease the shooting schedule that

536
00:29:29,240 --> 00:29:31,760
Speaker 1: was already, agreed upon and it ended up at least

537
00:29:31,760 --> 00:29:35,240
Speaker 1: working to. Some degree so this led to an extended

538
00:29:35,280 --> 00:29:38,959
Speaker 1: writer director partnership on various, exploitation films some of them

539
00:29:39,040 --> 00:29:44,040
Speaker 1: really grimy in, various countries including The aforementioned greek, cannibal

540
00:29:44,080 --> 00:29:47,920
Speaker 1: film In which eastman starred and also was. The writer,

541
00:29:48,480 --> 00:29:50,880
Speaker 1: and yeah that was enough of a success they came

542
00:29:50,880 --> 00:29:53,240
Speaker 1: back and made. This film eastman went on to direct

543
00:29:53,280 --> 00:29:57,040
Speaker 1: the nineteen Ninety, film metamorphosis but quit acting around the

544
00:29:57,040 --> 00:29:59,480
Speaker 1: same time to focus on, his screenwriting and apparently enjoyed

545
00:29:59,480 --> 00:30:02,320
Speaker 1: a fair amount of success writing for Higher budget italian.

546
00:30:02,400 --> 00:30:06,320
Speaker 1: Television projects he also had a couple Of non they

547
00:30:06,360 --> 00:30:08,960
Speaker 1: are also a couple of non exploitation acting credits worth

548
00:30:08,960 --> 00:30:11,880
Speaker 1: mentioning in. His filmography he played the minotaur in nineteen

549
00:30:11,920 --> 00:30:15,719
Speaker 1: Sixty Nine's Fellini, satira coon and he plays The giant

550
00:30:15,720 --> 00:30:19,440
Speaker 1: goliath in the nineteen eighty five Biblical Epic, king David starring.

551
00:30:19,520 --> 00:30:23,720
Speaker 2: Richard, GEAR hmmm i wonder if they, reused it Because

552
00:30:23,880 --> 00:30:26,040
Speaker 2: because david's got A, chop galai it's. HEAD off i

553
00:30:26,120 --> 00:30:28,680
Speaker 2: wonder if they reused the head prop from absurd IN

554
00:30:28,760 --> 00:30:29,640
Speaker 2: that i.

555
00:30:29,680 --> 00:30:32,280
Speaker 1: DON'T know i was wondering whatever happened to the head prop? From,

556
00:30:32,320 --> 00:30:34,680
Speaker 1: HERE like i hope somebody. Has it it could go

557
00:30:34,760 --> 00:30:39,680
Speaker 1: for a pretty penny on, the open, you know exploitation fan.

558
00:30:40,040 --> 00:30:43,440
Speaker 2: Cinema market so we already mentioned earlier that this is

559
00:30:43,520 --> 00:30:46,880
Speaker 2: a slasher movie villain who does not wear a mask

560
00:30:47,080 --> 00:30:51,040
Speaker 2: or any. Special makeup he's just. A GUY and i

561
00:30:51,040 --> 00:30:53,680
Speaker 2: think it was before we started recording that we were

562
00:30:53,720 --> 00:30:57,680
Speaker 2: talking about actors who can actors who can pull this

563
00:30:57,800 --> 00:31:02,720
Speaker 2: off where just their their unmodified look is enough to

564
00:31:02,800 --> 00:31:05,600
Speaker 2: be a. Movie monster, you know You Got, Tour johnson

565
00:31:06,240 --> 00:31:08,360
Speaker 2: and of course sometimes they would give him like contacts

566
00:31:08,360 --> 00:31:11,320
Speaker 2: in his eyes, or something but, you know mostly unmodified

567
00:31:11,320 --> 00:31:13,920
Speaker 2: look can be. A monster You, got tour You Got.

568
00:31:13,920 --> 00:31:16,720
Speaker 2: GEORGE eastman i know there are other people, like THIS,

569
00:31:17,040 --> 00:31:19,320
Speaker 2: but i, you KNOW sometimes i kind, of wonder like

570
00:31:19,360 --> 00:31:22,720
Speaker 2: what did that feel like for these Actors like tour,

571
00:31:22,840 --> 00:31:26,720
Speaker 2: and THAT like i can be a movie monster without

572
00:31:26,840 --> 00:31:27,560
Speaker 2: changing THE way.

573
00:31:27,600 --> 00:31:31,360
Speaker 1: I look, it's interesting, You, know one this is a

574
00:31:31,520 --> 00:31:34,040
Speaker 1: very strange comparison to make because we're talking about just

575
00:31:34,120 --> 00:31:39,760
Speaker 1: an entirely different stratosphere of. Acting ABILITY but i also

576
00:31:39,800 --> 00:31:42,360
Speaker 1: can't help but Think Of anthony hopkins In the silence Of.

577
00:31:42,360 --> 00:31:45,720
Speaker 1: The lambs, you know, they definitely, you know they definitely

578
00:31:45,840 --> 00:31:49,920
Speaker 1: use makeup, on him but it's not, monster makeup and

579
00:31:49,960 --> 00:31:51,960
Speaker 1: a whole lot. Of it, of course Hinges on hopkins'

580
00:31:52,000 --> 00:31:56,520
Speaker 1: fabulous performance in. That film h he is a, tremendous

581
00:31:56,560 --> 00:32:00,160
Speaker 1: actor but he is just he is, a monster and

582
00:32:00,480 --> 00:32:03,720
Speaker 1: you buy it completely in that film WITH minimal i,

583
00:32:03,760 --> 00:32:06,560
Speaker 1: would say as far as, monster makeup goes minimal makeup

584
00:32:06,560 --> 00:32:08,000
Speaker 1: effects to make it come of.

585
00:32:08,040 --> 00:32:11,360
Speaker 2: THE life i also realized there's a fairly i think

586
00:32:11,480 --> 00:32:16,080
Speaker 2: famous Image Of george eastman doing this absolutely satanic grin

587
00:32:16,160 --> 00:32:19,120
Speaker 2: as he looks down, at something and that comes from,

588
00:32:19,200 --> 00:32:23,200
Speaker 2: this movie in the scene where he is putting a

589
00:32:23,240 --> 00:32:24,120
Speaker 2: bandsaw to.

590
00:32:24,360 --> 00:32:28,400
Speaker 1: Illicit, use yeah he doesn't maintain this energy throughout the,

591
00:32:28,520 --> 00:32:31,320
Speaker 1: entire performance but in key moments it.

592
00:32:31,400 --> 00:32:31,560
Speaker 2: Really.

593
00:32:31,640 --> 00:32:34,560
Speaker 1: Pops yeah, all right let's get into the church and

594
00:32:34,600 --> 00:32:36,840
Speaker 1: state elements of, the picture because we. Got it we

595
00:32:36,920 --> 00:32:40,480
Speaker 1: already mentioned the claret who is chasing after, our killer

596
00:32:40,520 --> 00:32:41,640
Speaker 1: and then of course we also have to.

597
00:32:41,560 --> 00:32:42,120
Speaker 2: Have some local.

598
00:32:42,160 --> 00:32:49,120
Speaker 1: Law enforcement the priest who's discredited as father is Played By,

599
00:32:49,720 --> 00:32:52,680
Speaker 1: edmund purdome who of nineteen twenty six through two thousand

600
00:32:52,720 --> 00:32:55,880
Speaker 1: And nine English born italian actor with extensive stage Credits

601
00:32:55,920 --> 00:32:59,760
Speaker 1: on broadway and In The Royal. Shakespeare theater apparently he

602
00:32:59,800 --> 00:33:02,960
Speaker 1: had leading role in the nineteen fifty four Twentieth century

603
00:33:03,000 --> 00:33:06,440
Speaker 1: Fox Epic, the egyptian and was also in Fifty Three's.

604
00:33:06,480 --> 00:33:10,640
Speaker 1: Julius caesar he works steadily In various italian and euro,

605
00:33:10,800 --> 00:33:16,040
Speaker 1: genre Pictures including pieces, Twenty nineteen After the Fall Of,

606
00:33:16,040 --> 00:33:20,280
Speaker 1: new york A Tour night child from, seventy five and

607
00:33:20,320 --> 00:33:22,240
Speaker 1: in nineteen eighty four he directed and starred In the

608
00:33:22,240 --> 00:33:23,480
Speaker 1: british Horror Film Don't Open.

609
00:33:23,640 --> 00:33:27,400
Speaker 2: TILL christmas i think what they were going for with

610
00:33:27,680 --> 00:33:31,920
Speaker 2: this Guy in Absurd Is Greek. Gregory, peck yeah so

611
00:33:32,000 --> 00:33:36,240
Speaker 2: he's Playing a greek, priest character AND certainly i think

612
00:33:36,280 --> 00:33:39,240
Speaker 2: there are Elements Of doctor Loomis from halloween in the,

613
00:33:39,280 --> 00:33:41,760
Speaker 2: Here TOO but i think they're also trying to get

614
00:33:41,800 --> 00:33:45,800
Speaker 2: a bit Of The gregory peck vibe From the omen

615
00:33:46,560 --> 00:33:51,000
Speaker 2: and it Helps That edmund purdham looks a decent Amount Like. Gregory, peck,

616
00:33:51,600 --> 00:33:52,160
Speaker 2: yeah yeah.

617
00:33:52,200 --> 00:33:56,320
Speaker 1: He does and THIS is i think probably the best

618
00:33:56,360 --> 00:33:58,520
Speaker 1: actor in. THE picture i don't know how much evidence

619
00:33:58,520 --> 00:34:00,400
Speaker 1: of that. WE see I don't this is not a

620
00:34:00,400 --> 00:34:03,920
Speaker 1: picture that really asked much of the, actors present but,

621
00:34:04,000 --> 00:34:06,200
Speaker 1: you know he does bring a silent dignity to his

622
00:34:06,280 --> 00:34:09,200
Speaker 1: scenes as much as is as possible In A joe,

623
00:34:09,239 --> 00:34:12,960
Speaker 1: tomato picture and, In interviews eastman spoke highly, of him

624
00:34:12,960 --> 00:34:14,520
Speaker 1: saying that, you know they were surprised they were able

625
00:34:14,520 --> 00:34:16,440
Speaker 1: to get him for the picture for a picture, like

626
00:34:16,480 --> 00:34:18,719
Speaker 1: this and they pointed out that he's one of those

627
00:34:18,719 --> 00:34:21,920
Speaker 1: actors that took his craft so so seriously and was

628
00:34:21,960 --> 00:34:25,920
Speaker 1: so professional that, you know he was just super professional,

629
00:34:25,920 --> 00:34:29,360
Speaker 1: on set even in a low budget genre piece. Like

630
00:34:29,400 --> 00:34:32,480
Speaker 1: this like we've heard similar things about Like Say peter cushing.

631
00:34:32,560 --> 00:34:36,359
Speaker 2: For, example, yeah, yeah no almost nobody in this movie

632
00:34:36,360 --> 00:34:38,680
Speaker 2: has really given much of a chance to. Actually act

633
00:34:39,160 --> 00:34:43,000
Speaker 2: he may get the most opportunity. Of anyone there are

634
00:34:43,000 --> 00:34:46,239
Speaker 2: other actors who get the idea that if they had

635
00:34:46,280 --> 00:34:48,799
Speaker 2: a role to do, something with they might be. QUITE

636
00:34:48,840 --> 00:34:52,040
Speaker 2: good i kind of felt That About, hanya kochansky but

637
00:34:52,200 --> 00:34:55,680
Speaker 2: she who plays the mom in. The family, but again,

638
00:34:55,840 --> 00:34:57,640
Speaker 2: you know this is not a movie that's written for,

639
00:34:57,800 --> 00:34:59,960
Speaker 2: dramatic performances, Right right.

640
00:35:01,120 --> 00:35:03,920
Speaker 1: Oh yeah the law end of the, Spectrum Here charles

641
00:35:04,560 --> 00:35:08,640
Speaker 1: Burrammel Plays Sergeant. Ben engelman he lived nineteen thirty three

642
00:35:08,640 --> 00:35:12,279
Speaker 1: through two thousand. And seven scottish actor who, worked extensively if,

643
00:35:12,320 --> 00:35:18,319
Speaker 1: not Exclusively in italian cinema And in italy. Based productions

644
00:35:19,120 --> 00:35:22,040
Speaker 1: he Also did english. Voice dubbing he does Appear In

645
00:35:22,160 --> 00:35:24,560
Speaker 1: lady hawk as. INSANE prisoner.

646
00:35:25,680 --> 00:35:27,960
Speaker 2: I thought this guy was and this sort of is

647
00:35:28,000 --> 00:35:29,560
Speaker 2: a class, of actor if you KNOW what. I mean

648
00:35:29,640 --> 00:35:32,800
Speaker 2: rob the kind of actor who reminds you of about

649
00:35:32,880 --> 00:35:37,400
Speaker 2: fifteen other, different actors, you know who keeps giving you notes,

650
00:35:37,440 --> 00:35:39,719
Speaker 2: of like, oh here he's kind of reminding me of so.

651
00:35:39,760 --> 00:35:42,920
Speaker 2: AND so i would say the two most prominent likenesses

652
00:35:43,000 --> 00:35:46,799
Speaker 2: for Me Were robin Williams and. Darren McGavin but like

653
00:35:46,880 --> 00:35:50,360
Speaker 2: A Haggard. Robin, WILLIAMS yeah i think. That, Works, yeah

654
00:35:50,520 --> 00:35:50,920
Speaker 2: yeah he is.

655
00:35:51,040 --> 00:35:56,040
Speaker 1: Very haggard he's one of the stereotypical horror film police

656
00:35:56,120 --> 00:35:59,959
Speaker 1: chief type character who is just, really tired but also

657
00:36:00,560 --> 00:36:02,920
Speaker 1: only devoted to. Clearing cases that's all he.

658
00:36:02,960 --> 00:36:05,520
Speaker 2: Cares, about yeah. That's RIGHT though i think he's also

659
00:36:05,600 --> 00:36:07,960
Speaker 2: prone to taking it too personal if you know what.

660
00:36:08,000 --> 00:36:11,920
Speaker 1: You. Mean yeah now You Mentioned hanya kochanski playing. The

661
00:36:11,960 --> 00:36:15,319
Speaker 1: mom She Plays. Carol bennett So the bennetts are like

662
00:36:15,360 --> 00:36:17,000
Speaker 1: the key threatened family in.

663
00:36:17,040 --> 00:36:17,160
Speaker 2: The.

664
00:36:17,160 --> 00:36:20,440
Speaker 1: Picture yeah so She Plays, carol bennett the mom and

665
00:36:21,480 --> 00:36:25,520
Speaker 1: her two of her real life children play, The daughter

666
00:36:26,480 --> 00:36:31,800
Speaker 1: katya and The. Son willie so it's. Really INTERESTING when

667
00:36:31,840 --> 00:36:36,040
Speaker 1: i was looking, into this so she is a Former like,

668
00:36:36,120 --> 00:36:40,120
Speaker 1: croatian singer model, and actress just a handful. Of credits

669
00:36:40,160 --> 00:36:43,360
Speaker 1: but she was married at one Point to american actor

670
00:36:43,640 --> 00:36:48,239
Speaker 1: who worked extensively, In Europroductions. William berger we talked about

671
00:36:48,320 --> 00:36:50,960
Speaker 1: him in our discussion of the nineteen Eighty three. Hercules

672
00:36:50,960 --> 00:36:54,480
Speaker 1: film He Plays king minos. In that and so the

673
00:36:54,520 --> 00:36:58,759
Speaker 1: two kids, in this one of them Is is burger's

674
00:36:59,000 --> 00:37:04,960
Speaker 1: biological Son with kochanski and the, other child the, older

675
00:37:05,040 --> 00:37:10,360
Speaker 1: child he was. Her stepfather, so yeah The Children katya

676
00:37:11,080 --> 00:37:16,640
Speaker 1: Burger And. Kazimir burger katya born nineteen, Sixty six kazimir

677
00:37:16,680 --> 00:37:20,680
Speaker 1: born nineteen. Seventy four AND as i, WAS looking i, saw,

678
00:37:20,719 --> 00:37:22,799
Speaker 1: that okay she's apparently. A SINGER maybe i can find

679
00:37:22,840 --> 00:37:26,000
Speaker 1: some information about her. Singing CAREER so i was doing

680
00:37:26,000 --> 00:37:29,080
Speaker 1: some searches on her NAME and i ended up running

681
00:37:29,120 --> 00:37:33,719
Speaker 1: across something on The UK's National, portrait gallery and it

682
00:37:33,840 --> 00:37:38,560
Speaker 1: turns out there were a series of nude portraits that

683
00:37:39,080 --> 00:37:43,359
Speaker 1: photographs that were Taken by russian born fine Art photographer

684
00:37:43,440 --> 00:37:46,280
Speaker 1: ida car who of nineteen oh eight through nineteen seventy

685
00:37:46,280 --> 00:37:49,840
Speaker 1: four and in, these photos which, you know, very tasteful,

686
00:37:49,920 --> 00:37:54,560
Speaker 1: you know. Art photography here We have hanya and she

687
00:37:54,719 --> 00:37:57,560
Speaker 1: is pregnant with, Her, son kasimir the boy in this

688
00:37:57,680 --> 00:38:00,239
Speaker 1: film at, the time and in one of The pictures

689
00:38:00,560 --> 00:38:01,239
Speaker 1: katya is.

690
00:38:01,280 --> 00:38:04,719
Speaker 2: ALSO present i would not have expected absurd, to have,

691
00:38:05,120 --> 00:38:07,839
Speaker 2: you know like one degree connections to fine. Art.

692
00:38:07,840 --> 00:38:12,160
Speaker 1: Photography yeah and Then On, GETTY images i found some

693
00:38:12,200 --> 00:38:16,320
Speaker 1: images from the opening of a presentation of, these images

694
00:38:16,680 --> 00:38:20,279
Speaker 1: and here. We Are there's hanya and Her son kazimir from.

695
00:38:20,320 --> 00:38:23,600
Speaker 1: Twenty eleven so here's the little boy from this picture

696
00:38:24,239 --> 00:38:24,520
Speaker 1: as a.

697
00:38:24,520 --> 00:38:27,879
Speaker 2: Grown, man well this is. So sweet mother and son

698
00:38:27,920 --> 00:38:30,520
Speaker 2: here pictured in. Twenty eleven they both look very proud

699
00:38:30,640 --> 00:38:33,359
Speaker 2: standing by. THE photos i guess this is some kind

700
00:38:33,400 --> 00:38:38,200
Speaker 2: of gallery showing. Or, something, yeah yeah so. That's GREAT

701
00:38:38,840 --> 00:38:42,200
Speaker 2: but i have to say this is the case always

702
00:38:42,200 --> 00:38:44,680
Speaker 2: pretty Much in italian movies of, this period if they

703
00:38:44,680 --> 00:38:48,680
Speaker 2: have a, child character the dubbing is. So creepy and

704
00:38:48,719 --> 00:38:52,520
Speaker 2: the same, thing here the dubbing of this, kid's voice The,

705
00:38:52,560 --> 00:38:55,520
Speaker 2: son willie the character in, the movie it's. SO unwholesome

706
00:38:55,560 --> 00:38:57,840
Speaker 2: i don't know how. TO explain i don't know in,

707
00:38:57,880 --> 00:39:00,319
Speaker 2: this case if it was dubbed by. An adult it

708
00:39:00,360 --> 00:39:02,919
Speaker 2: may have actually been dubbed by a child. VOICE actor

709
00:39:02,960 --> 00:39:06,560
Speaker 2: i don't know if It was. Casimir himself but why

710
00:39:06,640 --> 00:39:09,480
Speaker 2: is it that the dubbed voices of children in these

711
00:39:09,520 --> 00:39:10,560
Speaker 2: movies just always sounds?

712
00:39:10,680 --> 00:39:13,240
Speaker 1: So, WRONG yeah I mean i think they are often

713
00:39:13,280 --> 00:39:16,600
Speaker 1: done by like, adult women as is the case Of

714
00:39:16,680 --> 00:39:20,560
Speaker 1: the house By, The cemetery so similar. Vibe here, also generally,

715
00:39:20,960 --> 00:39:22,759
Speaker 1: you know with child actors, IN general i mean there's

716
00:39:22,800 --> 00:39:26,040
Speaker 1: sometimes a CERTAIN there's, i mean they, are children, ye

717
00:39:26,040 --> 00:39:28,799
Speaker 1: know sometimes there's kind of a wild. Element too, so uh,

718
00:39:29,200 --> 00:39:31,879
Speaker 1: you know you have a kid in, this picture you're

719
00:39:32,239 --> 00:39:35,080
Speaker 1: maybe getting one or two takes and then you're having

720
00:39:35,080 --> 00:39:38,320
Speaker 1: somebody dub. The voice so the boy does feel a

721
00:39:38,360 --> 00:39:40,480
Speaker 1: little bit almost fair all at times in.

722
00:39:40,560 --> 00:39:45,080
Speaker 2: This, PICTURE yeah i want to watch. The game oh

723
00:39:45,120 --> 00:39:47,640
Speaker 2: we haven't even talked about the. Game yet they wait

724
00:39:47,680 --> 00:39:49,000
Speaker 2: to get to the case at. The.

725
00:39:49,040 --> 00:39:53,200
Speaker 1: Game uh, The Dad ian bennett is played By Not,

726
00:39:53,320 --> 00:39:56,040
Speaker 1: william berger but an actor by the Name of William Of.

727
00:39:56,120 --> 00:39:59,879
Speaker 1: Ian dandy, and yeah he just had some minor parts

728
00:40:00,000 --> 00:40:02,680
Speaker 1: a Few different italian productions and Did some english language

729
00:40:02,680 --> 00:40:03,400
Speaker 1: translation on.

730
00:40:03,440 --> 00:40:06,560
Speaker 2: Some pictures so the actor Is, named ian the character

731
00:40:06,640 --> 00:40:10,280
Speaker 2: Is named ian but in this movie he is referred

732
00:40:10,320 --> 00:40:12,160
Speaker 2: to by at least one other Character.

733
00:40:12,280 --> 00:40:18,080
Speaker 1: As Eon, all right three victims to profile here. Really

734
00:40:18,160 --> 00:40:21,040
Speaker 1: quickly i'll try and streamline these. A bit We Have

735
00:40:21,120 --> 00:40:25,120
Speaker 1: annie Bella playing Emily. The nurse she lived nineteen fifty

736
00:40:25,120 --> 00:40:27,960
Speaker 1: six through twenty. Twenty four french actress with a at

737
00:40:27,960 --> 00:40:31,040
Speaker 1: the time distinctive, short cut blonde hairstyle that worked in

738
00:40:31,080 --> 00:40:35,640
Speaker 1: a Lot of italian erotic and exploitation FILMS before, i

739
00:40:35,719 --> 00:40:39,600
Speaker 1: Believe if i'm, reading correctly earned a degree and ended

740
00:40:39,680 --> 00:40:42,280
Speaker 1: up going into. Social work her films include Nineteen eighty's

741
00:40:42,320 --> 00:40:44,400
Speaker 1: house On the edge Of the park in nineteen Seventy

742
00:40:44,400 --> 00:40:47,160
Speaker 1: Six Is. Black velvet then we Also have Peggy, the

743
00:40:47,160 --> 00:40:50,839
Speaker 1: babysitter Played By, Cindy leadbetter american model and actress whose

744
00:40:50,880 --> 00:40:54,480
Speaker 1: credits include Seventy Eight, star crash nineteen Eighty, Four's rats Night,

745
00:40:54,520 --> 00:40:58,200
Speaker 1: of Terror And the Adventures. Of, hercules wait Was Was

746
00:40:58,239 --> 00:40:59,000
Speaker 1: george Eastman In?

747
00:40:59,080 --> 00:41:01,680
Speaker 2: Star? Crash not? Why not they could have?

748
00:41:01,800 --> 00:41:04,880
Speaker 1: USED him, i, know yeah if he's, not in there's a.

749
00:41:04,920 --> 00:41:08,239
Speaker 1: Missed opportunity and, Then finally i'm not going to go

750
00:41:08,239 --> 00:41:10,480
Speaker 1: into the. Depth lines we'll come back to this guy

751
00:41:10,520 --> 00:41:13,719
Speaker 1: when we look at one of. His Pictures But mikaelay

752
00:41:13,800 --> 00:41:18,000
Speaker 1: suave born nineteen fifty seven plays a biker, in this

753
00:41:18,160 --> 00:41:21,399
Speaker 1: a biker who is brutally Murdered By. Georg chiesman this

754
00:41:21,440 --> 00:41:22,879
Speaker 1: is the man who would go on to direct such

755
00:41:22,880 --> 00:41:25,440
Speaker 1: films as nineteen Eighty nine It's the church and nineteen

756
00:41:25,520 --> 00:41:28,600
Speaker 1: Ninety Four. Cemetery man at, this time he was just

757
00:41:29,320 --> 00:41:31,560
Speaker 1: an up, and coming a young man who just wanted

758
00:41:31,600 --> 00:41:34,480
Speaker 1: to be involved. In films and if, you were if

759
00:41:34,480 --> 00:41:37,080
Speaker 1: you had this kind of enthusiasm and you didn't mind not,

760
00:41:37,200 --> 00:41:41,440
Speaker 1: Being Paid joe tomato was here. For you And So

761
00:41:41,760 --> 00:41:44,799
Speaker 1: joe tomato is one of several different directors that he

762
00:41:44,880 --> 00:41:49,239
Speaker 1: worked with, early on including others Included Like dario argento

763
00:41:49,280 --> 00:41:51,480
Speaker 1: And The. Murdo bava and of course he'd also gone

764
00:41:51,480 --> 00:41:54,920
Speaker 1: to work Some With. Terry gilliam so just kind of

765
00:41:54,920 --> 00:41:57,399
Speaker 1: a fun little ultimately. A cameo we get To see

766
00:41:57,640 --> 00:41:59,640
Speaker 1: suave and his motorbike in.

767
00:41:59,680 --> 00:42:03,040
Speaker 2: This picure he's one of a gang of motorcycling youths

768
00:42:03,120 --> 00:42:08,640
Speaker 2: that feel almost quite. Lightly, directed yes.

769
00:42:09,840 --> 00:42:12,680
Speaker 1: All right and then finally the music here is it's

770
00:42:12,680 --> 00:42:16,919
Speaker 1: another Score By Carlo maria cordillo born nineteen. Fifty two

771
00:42:17,239 --> 00:42:19,880
Speaker 1: we talked about him recently because he did the Score For. Shocking.

772
00:42:19,960 --> 00:42:21,799
Speaker 2: Dark, ah okay there.

773
00:42:21,800 --> 00:42:23,359
Speaker 1: You, Go Yeah so i'm not going to go into

774
00:42:23,400 --> 00:42:25,520
Speaker 1: the full profile, on HIM but i will say THAT

775
00:42:25,560 --> 00:42:27,879
Speaker 1: the i think the Score for absurd is a lot.

776
00:42:27,920 --> 00:42:30,080
Speaker 1: Of fun you got, some synth you got some prog.

777
00:42:30,200 --> 00:42:34,640
Speaker 1: Rock elements you can find The track absurd on. Streaming

778
00:42:34,880 --> 00:42:37,920
Speaker 1: currently this is this one starts off with kind of like,

779
00:42:37,960 --> 00:42:42,480
Speaker 1: a wonderful atmospheric kind of vibe and you know it,

780
00:42:42,640 --> 00:42:45,440
Speaker 1: very ambient and then, you know get some organs thrown

781
00:42:45,440 --> 00:42:50,120
Speaker 1: in there before transitioning into, this heavy overly dramatic prog

782
00:42:50,239 --> 00:42:52,440
Speaker 1: rock build towards obvious on.

783
00:42:52,520 --> 00:42:55,480
Speaker 2: Screen violence the use of music in the movie is

784
00:42:55,520 --> 00:43:01,280
Speaker 2: occasionally funny because of the way it pairs, this soft

785
00:43:01,400 --> 00:43:07,360
Speaker 2: melancholy Melody With george eastman just wandering around at night looking. For, Victims,

786
00:43:07,760 --> 00:43:10,879
Speaker 2: yeah like it makes it almost kind, of like oh,

787
00:43:11,000 --> 00:43:12,920
Speaker 2: the sadness he's. So Lonely.

788
00:43:14,560 --> 00:43:17,560
Speaker 1: The severn, blu RAY as, i mentioned includes the whole

789
00:43:17,560 --> 00:43:20,920
Speaker 1: score AS a cd, bonus disc and then The Excellent

790
00:43:21,000 --> 00:43:23,879
Speaker 1: Death Waltz record company put the score out on a

791
00:43:23,920 --> 00:43:28,800
Speaker 1: beautiful double vinyl back in twenty fifteen with this really

792
00:43:28,800 --> 00:43:32,439
Speaker 1: grotesque and beautiful bit of cover Art By Wes, ben

793
00:43:32,480 --> 00:43:35,319
Speaker 1: scotter combining two of the grisliest moments in.

794
00:43:35,360 --> 00:43:38,000
Speaker 2: The film oh. You're right so here We Have george

795
00:43:38,000 --> 00:43:41,640
Speaker 2: eastman with his guts hanging out and he his intestines

796
00:43:41,680 --> 00:43:45,520
Speaker 2: are spelling the. Word. Absurd beautiful? Wait beautiful did we

797
00:43:45,560 --> 00:43:48,600
Speaker 2: look AT the I Think severin films also puts out

798
00:43:48,600 --> 00:43:51,239
Speaker 2: a Sticker Of george eastman with his guts, hanging out

799
00:43:51,239 --> 00:43:53,359
Speaker 2: but in the sticker they're. Spelling chow.

800
00:43:55,600 --> 00:43:56,440
Speaker 1: Also brilliant.

801
00:43:56,520 --> 00:44:06,680
Speaker 3: Also brilliant, all right you ready to talk about, The

802
00:44:06,680 --> 00:44:07,359
Speaker 3: plot let's.

803
00:44:07,360 --> 00:44:09,839
Speaker 2: Do it so after the credits we get a montage

804
00:44:09,880 --> 00:44:12,839
Speaker 2: of different. Opening images first, of all we see some

805
00:44:12,880 --> 00:44:16,680
Speaker 2: action inside. A house there is a young woman tracing

806
00:44:16,680 --> 00:44:20,359
Speaker 2: out circles on drafting paper with a. Compass tool so she,

807
00:44:20,400 --> 00:44:22,400
Speaker 2: you know she's got one. Of those it's like the

808
00:44:22,440 --> 00:44:25,720
Speaker 2: spike and the, pencil attaches so's she's making perfect circles.

809
00:44:25,760 --> 00:44:30,200
Speaker 2: On paper but she's actually lying in a, hospital bed

810
00:44:30,280 --> 00:44:33,800
Speaker 2: and so what she's drawing on is like this pad

811
00:44:33,840 --> 00:44:36,640
Speaker 2: that sort of set up over her. Hospital bed and

812
00:44:36,680 --> 00:44:39,080
Speaker 2: she's in a room in a large house restrained to

813
00:44:39,120 --> 00:44:42,120
Speaker 2: the cot with straps and some kind of brace around,

814
00:44:42,160 --> 00:44:45,400
Speaker 2: her neck jaw. AND chin i guess we could go

815
00:44:45,400 --> 00:44:47,760
Speaker 2: ahead and mention that the house and the other. People

816
00:44:47,800 --> 00:44:50,760
Speaker 2: present so this is sort of the house the villa

817
00:44:50,880 --> 00:44:54,120
Speaker 2: that we were alluding to earlier that, is big full of.

818
00:44:54,160 --> 00:44:57,480
Speaker 2: OPEN spaces i think is supposed to Be an, american

819
00:44:57,600 --> 00:45:03,160
Speaker 2: home but it's, this Strange huge italian mansion with suits

820
00:45:03,160 --> 00:45:07,880
Speaker 2: of armor and roaring fireplaces, and stuff but also, just

821
00:45:08,120 --> 00:45:12,720
Speaker 2: WEIRD as, i said kind of. Squalid touches like the

822
00:45:12,920 --> 00:45:16,200
Speaker 2: dad's liquor collection we see later is like up on

823
00:45:16,239 --> 00:45:19,480
Speaker 2: a mantle over a fireplace and it just looks like

824
00:45:19,520 --> 00:45:21,520
Speaker 2: a dorm. ROOM stash i.

825
00:45:21,560 --> 00:45:24,000
Speaker 1: Don't, KNOW yeah i, WAS like i haven't seen. This

826
00:45:24,040 --> 00:45:25,560
Speaker 1: BEFORE am i supposed to be doing it? Like THIS

827
00:45:25,640 --> 00:45:26,840
Speaker 1: should i have a mantle for my?

828
00:45:26,920 --> 00:45:31,320
Speaker 2: Liquor bottles, so anyway the girl in the hospital bed Is.

829
00:45:31,400 --> 00:45:35,240
Speaker 2: Named katchya she is in traction to treat a. Spinal

830
00:45:35,280 --> 00:45:40,480
Speaker 2: disorder her Mother, is carol her little Brother, is willie

831
00:45:40,560 --> 00:45:45,880
Speaker 2: and their Babysitter. Is, peggy, now meanwhile somewhere, else outdoors

832
00:45:46,000 --> 00:45:49,280
Speaker 2: someone is running in. The woods Why That's george eastman

833
00:45:49,400 --> 00:45:53,440
Speaker 2: running through. The woods he's, looking, massive shaggy covered. In

834
00:45:53,480 --> 00:45:56,839
Speaker 2: sweat he's got, the beard, long hair and with the

835
00:45:56,880 --> 00:45:59,960
Speaker 2: beard and the mop, like haircut he looks kind of

836
00:46:00,280 --> 00:46:04,600
Speaker 2: like a giant Seventies era beetle or maybe one Of.

837
00:46:04,600 --> 00:46:05,680
Speaker 2: The beg's do you?

838
00:46:05,719 --> 00:46:09,040
Speaker 1: See, that yeah he looks like like the scariest dude in. The, disco,

839
00:46:09,200 --> 00:46:10,080
Speaker 1: yeah Yeah.

840
00:46:10,200 --> 00:46:14,360
Speaker 2: Killer beiji and he is being chased through the forest

841
00:46:14,480 --> 00:46:17,480
Speaker 2: by an older man in a black. Trench coat they're

842
00:46:17,480 --> 00:46:20,200
Speaker 2: going to play up a mid story reveal that the

843
00:46:20,200 --> 00:46:24,400
Speaker 2: Guy Chasing george eastman is Actually done dundune. A priest

844
00:46:24,680 --> 00:46:27,520
Speaker 2: they show that by ripping open his coat and revealing the.

845
00:46:27,520 --> 00:46:30,440
Speaker 2: Clerical COLLAR but i got that he was a priest

846
00:46:30,480 --> 00:46:32,319
Speaker 2: from the very first time we. SAW him i, Don't

847
00:46:32,320 --> 00:46:34,680
Speaker 2: know he's like he's dressed in all black and his collar.

848
00:46:34,760 --> 00:46:37,080
Speaker 2: Is hidden, there's like, you know coming up. His neck

849
00:46:37,840 --> 00:46:39,759
Speaker 2: this was never in doubt. For me did you feel. The?

850
00:46:39,800 --> 00:46:42,000
Speaker 1: Same yeah and plus he also he doesn't pull out

851
00:46:42,000 --> 00:46:44,680
Speaker 1: a gun, or, Anything right, so yeah he doesn't seem

852
00:46:44,719 --> 00:46:46,600
Speaker 1: like he's. Law enforcement why are you chasing? A?

853
00:46:46,640 --> 00:46:50,440
Speaker 2: Madman, yeah so but also, the priest he sort of

854
00:46:50,520 --> 00:46:53,160
Speaker 2: he clutches at his chest as he runs so it's

855
00:46:53,160 --> 00:46:54,840
Speaker 2: like he's not. Cut out he's not cut out. For,

856
00:46:54,920 --> 00:46:57,759
Speaker 2: this now back at, the house the mom Comes into

857
00:46:57,840 --> 00:47:01,680
Speaker 2: kachia's room and sees her drawing circles upon circles with

858
00:47:02,120 --> 00:47:05,360
Speaker 2: her compass and encourages her to do. Something else, it's, Like,

859
00:47:05,400 --> 00:47:09,560
Speaker 2: oh katya you're making drawing hundreds of, circles again wouldn't

860
00:47:09,560 --> 00:47:13,280
Speaker 2: you rather watch television? Or SOMETHING and i, was wondering

861
00:47:13,800 --> 00:47:16,239
Speaker 2: does this ever pay off in any way or do

862
00:47:16,280 --> 00:47:19,000
Speaker 2: we get any kind of explanation. ABOUT it i know

863
00:47:19,080 --> 00:47:21,960
Speaker 2: there is a payoff with the, compass tool like a

864
00:47:22,800 --> 00:47:25,960
Speaker 2: something is done with, That LATER but i mean the drawing.

865
00:47:26,040 --> 00:47:29,400
Speaker 2: Circles part is there a reason she's drawing hundreds of

866
00:47:29,440 --> 00:47:32,040
Speaker 2: circles on top of? Each other or do the circle

867
00:47:32,080 --> 00:47:33,279
Speaker 2: patterns ever connect? To?

868
00:47:33,320 --> 00:47:36,160
Speaker 1: ANYTHING no i. DON'T think i don't think the circles.

869
00:47:36,200 --> 00:47:38,319
Speaker 1: Actually do it made me think about that Moment In

870
00:47:38,360 --> 00:47:41,880
Speaker 1: the simpsons about kids being obsessed with spirographs or how

871
00:47:41,880 --> 00:47:44,240
Speaker 1: they should be obsessed with spirographs and they're. Not anymore,

872
00:47:44,400 --> 00:47:47,360
Speaker 1: oh yeah, but yeah this doesn't QUITE come i guess it.

873
00:47:47,440 --> 00:47:49,200
Speaker 1: KIND of i guess the idea is maybe it connects

874
00:47:49,239 --> 00:47:53,040
Speaker 1: to other moments and other films where children drawing things

875
00:47:53,360 --> 00:47:54,200
Speaker 1: does connect into.

876
00:47:54,200 --> 00:47:54,960
Speaker 2: The PLOT.

877
00:47:56,200 --> 00:47:57,839
Speaker 1: But i kind of liked it, as texture even if

878
00:47:57,840 --> 00:47:58,160
Speaker 1: it doesn't.

879
00:47:58,160 --> 00:48:01,160
Speaker 2: Go anywhere, yeah, Yeah yeah well it just made, me

880
00:48:01,200 --> 00:48:04,120
Speaker 2: think wait, a Minute Is katya is she into geometry

881
00:48:04,239 --> 00:48:07,160
Speaker 2: or is she OBSESSED with i. DON'T know i don't

882
00:48:07,160 --> 00:48:09,880
Speaker 2: know why she's doing this SHE likes i guess, so

883
00:48:10,400 --> 00:48:15,040
Speaker 2: well who doesn't one of. THE best. I agree, back

884
00:48:15,080 --> 00:48:18,120
Speaker 2: outside the chase is, still happening but eventually the crypto

885
00:48:18,200 --> 00:48:24,520
Speaker 2: Priest Chases george eastman onto the wrought iron gate surrounding a,

886
00:48:24,520 --> 00:48:27,320
Speaker 2: big mansion and this is the house with the people

887
00:48:27,400 --> 00:48:30,800
Speaker 2: we just saw. Inside It george eastman seems to be frantic.

888
00:48:30,840 --> 00:48:33,840
Speaker 2: TO escape i don't exactly know why he's running from, the,

889
00:48:33,840 --> 00:48:37,160
Speaker 2: priest because as we come, to see he's, basically invulnerable

890
00:48:37,280 --> 00:48:39,480
Speaker 2: so HE should i. Don't know it seems like he

891
00:48:39,880 --> 00:48:42,799
Speaker 2: would be doing, the chasing not the. Running away but he.

892
00:48:42,920 --> 00:48:45,839
Speaker 2: Runs away he climbs, the gate but he falls and

893
00:48:46,000 --> 00:48:50,040
Speaker 2: ends up impaling his midsection on the cold iron spikes of.

894
00:48:50,080 --> 00:48:54,080
Speaker 2: This gate, After This, george eastman what we see inside

895
00:48:54,120 --> 00:48:56,640
Speaker 2: the house and there's a knock on the door and

896
00:48:56,800 --> 00:48:59,680
Speaker 2: the little, boy goes he's like hanging out with. HIS

897
00:48:59,719 --> 00:49:02,239
Speaker 2: baby i think they're. Eating breakfast and it's sort of

898
00:49:02,280 --> 00:49:05,319
Speaker 2: confusing because in this interior shot we see out the

899
00:49:05,320 --> 00:49:08,279
Speaker 2: window and it's pitch, black outside, totally dark but it

900
00:49:08,320 --> 00:49:10,960
Speaker 2: was just daylight when we were so it. Doesn't match,

901
00:49:12,160 --> 00:49:15,400
Speaker 2: but anyway the little boy goes to answer, the door opens,

902
00:49:15,440 --> 00:49:18,960
Speaker 2: it up and, oh No Here's george eastman standing here

903
00:49:19,000 --> 00:49:24,760
Speaker 2: with his intestines hanging out of. His, stomach yeah with, Eyes, wide.

904
00:49:25,800 --> 00:49:31,000
Speaker 1: Yeah sweaty. It's wonderful this is our shocking callback to

905
00:49:31,600 --> 00:49:35,960
Speaker 1: the disembowlment scene at the end of the previous film

906
00:49:36,440 --> 00:49:39,000
Speaker 1: that is again just this is just a. SPIRITUAL successor

907
00:49:39,040 --> 00:49:42,520
Speaker 1: i don't think we're to connect these characters in any other.

908
00:49:42,880 --> 00:49:46,920
Speaker 2: Real, sense now, after this we go to a, surgery

909
00:49:47,000 --> 00:49:51,600
Speaker 2: scene a long, surgery scene one of Multiple And george

910
00:49:51,640 --> 00:49:54,799
Speaker 2: eastman is on. A hospital he's on a hospital bed being.

911
00:49:54,840 --> 00:49:59,239
Speaker 2: Operated on his intestines are still. Hanging out and this

912
00:49:59,280 --> 00:50:03,279
Speaker 2: scene is a an interesting mix of what feels realistic

913
00:50:03,480 --> 00:50:06,640
Speaker 2: and what. Does not so it's a full surgical setup

914
00:50:06,680 --> 00:50:09,720
Speaker 2: that has a lot of authentic looking props. And apparatus

915
00:50:10,120 --> 00:50:12,279
Speaker 2: but then whenever they show a close up of the,

916
00:50:12,320 --> 00:50:14,800
Speaker 2: surgical action, which yeah they're going to show quite. A

917
00:50:14,840 --> 00:50:18,040
Speaker 2: few the doctors and nurses just appear to be like

918
00:50:18,200 --> 00:50:21,520
Speaker 2: poking and tossing the guts around like they're moving food

919
00:50:21,560 --> 00:50:21,759
Speaker 2: in a.

920
00:50:21,800 --> 00:50:25,160
Speaker 1: Frying, pan yeah they're essentially just pushing around pig flesh

921
00:50:25,200 --> 00:50:27,760
Speaker 1: and cale intestines Here on georgie, SPAN stomach.

922
00:50:27,800 --> 00:50:28,240
Speaker 2: I believe.

923
00:50:28,320 --> 00:50:31,920
Speaker 1: So, wow yeah it is a mix of of of

924
00:50:31,920 --> 00:50:35,759
Speaker 1: something that looks real and is real and in, some respects,

925
00:50:36,040 --> 00:50:37,040
Speaker 1: but yeah it's also.

926
00:50:37,360 --> 00:50:40,640
Speaker 2: Like fake Oh and eastman wakes up during the procedure

927
00:50:40,680 --> 00:50:42,160
Speaker 2: and they get him to go back. TO sleep i,

928
00:50:42,160 --> 00:50:44,360
Speaker 2: think they, you know give him give him. Higher. Dose,

929
00:50:45,480 --> 00:50:48,480
Speaker 2: uh meanwhile elsewhere and now, It's nighttime so this is

930
00:50:48,480 --> 00:50:50,680
Speaker 2: one of those movies just cuts back and forth between

931
00:50:50,719 --> 00:50:54,000
Speaker 2: day and night all. The, time uh it's nighttime and

932
00:50:54,040 --> 00:50:58,640
Speaker 2: we see bikers harassing an old Man. Named shaughnessy there's

933
00:50:58,680 --> 00:51:00,600
Speaker 2: this old man like wandering in the middle of, the

934
00:51:00,600 --> 00:51:05,160
Speaker 2: street swigging from a giant. Green bottle these young bikers

935
00:51:05,440 --> 00:51:08,000
Speaker 2: circle around him and yell at him and then, motor

936
00:51:08,040 --> 00:51:10,800
Speaker 2: away and then the. Cops come have. A turn a

937
00:51:10,960 --> 00:51:14,960
Speaker 2: police car pulls up and we first meet our Police Detective. Sergeant,

938
00:51:15,120 --> 00:51:19,120
Speaker 2: ingelman engleman leaning out of a, car, window SAYS if

939
00:51:19,160 --> 00:51:21,400
Speaker 2: i catch you drunk just, Once more i'm gonna have

940
00:51:21,440 --> 00:51:25,439
Speaker 2: to lock, you Up, and shaughnessy in a quite, unconvincing,

941
00:51:25,480 --> 00:51:30,439
Speaker 2: Way says i'm, not drunk and then takes a big

942
00:51:30,480 --> 00:51:34,359
Speaker 2: swig of his. Green bottle but before this situation, Can

943
00:51:34,440 --> 00:51:36,799
Speaker 2: resolve ingleman gets a call on the radio that there

944
00:51:36,880 --> 00:51:39,480
Speaker 2: is a badly wounded man at, the hospital so he

945
00:51:39,520 --> 00:51:41,759
Speaker 2: has to go check. That out this leads back to.

946
00:51:41,920 --> 00:51:44,480
Speaker 2: MORE surgery i hope you, like this there's plenty. Of

947
00:51:44,520 --> 00:51:47,799
Speaker 2: it and then after the surgery, is done one of

948
00:51:47,880 --> 00:51:50,880
Speaker 2: the nurses who is assisting with the procedure talks to.

949
00:51:50,920 --> 00:51:53,839
Speaker 2: The doctor This, is emily who we will meet again

950
00:51:53,960 --> 00:51:56,759
Speaker 2: later in the movie because she moonlights as a home

951
00:51:56,800 --> 00:51:59,880
Speaker 2: care nurse for the, main family taking Care of kacia

952
00:52:00,080 --> 00:52:04,200
Speaker 2: and helping with. Her attraction emily and the doctor talk

953
00:52:04,360 --> 00:52:06,880
Speaker 2: about this dude they were. Operating on it's one Of

954
00:52:06,880 --> 00:52:10,319
Speaker 2: those i've never seen anything like. It conversations apparently the

955
00:52:10,360 --> 00:52:14,000
Speaker 2: issue is that quote his blood COAGULATED while i was

956
00:52:14,040 --> 00:52:17,880
Speaker 2: in the middle of operating, On him, SO yeah i,

957
00:52:17,920 --> 00:52:19,359
Speaker 2: don't know his blood's, clotten up.

958
00:52:19,400 --> 00:52:22,760
Speaker 1: Really, fast yeah and there's a lot of mumbo jumbo

959
00:52:22,960 --> 00:52:26,480
Speaker 1: as they're describing what's up with his mutant. Healing factor

960
00:52:27,080 --> 00:52:29,319
Speaker 1: but it's either this scene or a subsequent scene where

961
00:52:29,320 --> 00:52:33,560
Speaker 1: the doctor gives us the official medical diagnosis of absurd that's.

962
00:52:33,640 --> 00:52:37,400
Speaker 2: Right, now next we have a Scene Where sargeant engleman.

963
00:52:37,600 --> 00:52:40,160
Speaker 2: Is interviewing he's back at the house and He's interviewing

964
00:52:40,239 --> 00:52:43,399
Speaker 2: carol the mom about the guts incident at her. Home

965
00:52:43,440 --> 00:52:46,799
Speaker 2: earlier he's smoking a cigarette in her living Room with

966
00:52:46,840 --> 00:52:49,920
Speaker 2: willie on the couch next to him and gruffly explaining

967
00:52:50,320 --> 00:52:52,759
Speaker 2: his guts were. All destroyed they don't think he'll pull

968
00:52:52,840 --> 00:52:56,480
Speaker 2: through with. The kids, right there and the mom says

969
00:52:56,560 --> 00:52:59,200
Speaker 2: she thinks that he was a thief intent on robbing.

970
00:52:59,239 --> 00:53:02,480
Speaker 2: The house engleman doesn't seem sold, on that but she

971
00:53:02,520 --> 00:53:05,799
Speaker 2: also explains their plans for. The night, this is, oh

972
00:53:05,840 --> 00:53:08,759
Speaker 2: boy this. Is exciting she and her husband are going

973
00:53:08,800 --> 00:53:12,160
Speaker 2: to go to a neighbor's house to watch. The game

974
00:53:12,800 --> 00:53:16,040
Speaker 2: the first of, many references and we get evil Glares

975
00:53:16,080 --> 00:53:19,279
Speaker 2: from willie during. This conversation but they're Going, to yeah

976
00:53:19,280 --> 00:53:21,200
Speaker 2: they're going to go over to the forest's house to

977
00:53:21,200 --> 00:53:23,319
Speaker 2: watch the Game and they don't say here that they're

978
00:53:23,360 --> 00:53:25,920
Speaker 2: going to eat spaghetti and watch, the game but that is.

979
00:53:25,960 --> 00:53:28,799
Speaker 1: The plan, Oh yes oh. My god this is one

980
00:53:28,840 --> 00:53:30,920
Speaker 1: of my favorite elements of. The film and we get

981
00:53:30,960 --> 00:53:36,319
Speaker 1: this scene later On of americans In this, american home

982
00:53:36,360 --> 00:53:40,200
Speaker 1: which is Actually an, italian Villa watching, american Football actual

983
00:53:40,200 --> 00:53:44,080
Speaker 1: american football on the telly and chowing down. On spaghetti

984
00:53:44,400 --> 00:53:46,680
Speaker 1: and it's either one of these things that is like

985
00:53:47,600 --> 00:53:50,120
Speaker 1: a fun little bit of humor that east beIN in

986
00:53:50,160 --> 00:53:53,280
Speaker 1: the moatto slid into, the picture or it's a. Complete

987
00:53:53,560 --> 00:53:57,680
Speaker 1: accident it. Just happenstance in, either case. IT'S amazing i

988
00:53:57,719 --> 00:54:01,080
Speaker 1: am not really a football watcher of, football fan but

989
00:54:01,400 --> 00:54:04,560
Speaker 1: if there was the prospect of absurd style spaghetti and,

990
00:54:04,560 --> 00:54:06,720
Speaker 1: FOOTBALL parties i would.

991
00:54:06,719 --> 00:54:10,600
Speaker 2: Be interested, oh absolutely this is an. Amazing party it

992
00:54:10,719 --> 00:54:15,760
Speaker 2: takes place in this another. Weird interior there's a Couch

993
00:54:16,000 --> 00:54:18,680
Speaker 2: that ian ends up sitting on later when he's brooding

994
00:54:18,719 --> 00:54:21,120
Speaker 2: about the fact that he Ran Over george eastman with

995
00:54:21,160 --> 00:54:24,760
Speaker 2: his car and didn't. Tell, anybody, yeah yeah he's sitting

996
00:54:24,760 --> 00:54:28,440
Speaker 2: there brooding on. This couch that is the pattern on.

997
00:54:28,480 --> 00:54:32,080
Speaker 2: The couch it's more ornate than any picture frame In

998
00:54:32,160 --> 00:54:38,239
Speaker 2: the louver and they're just all wolfing down spaghetti with.

999
00:54:38,320 --> 00:54:42,239
Speaker 2: These plates they're standing around holding plates of spaghetti in,

1000
00:54:42,320 --> 00:54:46,480
Speaker 2: their hands not sitting at a table, watching football and shoveling.

1001
00:54:46,560 --> 00:54:51,799
Speaker 2: The spaghetti it's so. Good anyway. That's later the next

1002
00:54:51,800 --> 00:54:54,400
Speaker 2: thing that happens in the movie is that the police find, the,

1003
00:54:54,440 --> 00:54:57,839
Speaker 2: priest right so. You got engelman finds the priest who

1004
00:54:57,880 --> 00:55:00,680
Speaker 2: Was chasing eastman at. The beginning he's one undering along

1005
00:55:00,719 --> 00:55:03,520
Speaker 2: a dark road in, the Night and engleman pulls up and.

1006
00:55:03,600 --> 00:55:06,680
Speaker 2: Questions him, the priest who we're not supposed to know

1007
00:55:06,719 --> 00:55:09,960
Speaker 2: as a, priest yet claims his car, broke Down and,

1008
00:55:10,320 --> 00:55:12,560
Speaker 2: engleman says it's a good thing you ran. Into me

1009
00:55:12,719 --> 00:55:17,480
Speaker 2: everyone else is watching the, game, tonight oh and he

1010
00:55:17,520 --> 00:55:20,680
Speaker 2: Says it's Rams. Versus steelers is that a? GOOD game i.

1011
00:55:20,719 --> 00:55:25,200
Speaker 2: Don't know is that an especially? COMPELLING game i don't

1012
00:55:25,239 --> 00:55:26,239
Speaker 2: know in the, EARLY eighties i.

1013
00:55:26,239 --> 00:55:27,279
Speaker 1: Don't know football fans let.

1014
00:55:27,360 --> 00:55:31,799
Speaker 2: Us know, So next engleman goes to the hospital and

1015
00:55:31,920 --> 00:55:36,400
Speaker 2: He Finds greek Drakomas In george. Eastman's pants they just

1016
00:55:36,440 --> 00:55:39,200
Speaker 2: Bring him eastman's pants and he's going through the pockets

1017
00:55:39,920 --> 00:55:42,520
Speaker 2: and He's, like drakmas and he connects that to the

1018
00:55:42,600 --> 00:55:45,080
Speaker 2: dude he just ran into Who was greek. As well

1019
00:55:45,120 --> 00:55:47,480
Speaker 2: it's all coming. TOGETHER now i don't know what, it

1020
00:55:47,560 --> 00:55:51,920
Speaker 2: means but he thinks this. Is Significant so engelman is

1021
00:55:52,120 --> 00:55:55,440
Speaker 2: talking to a nurse and he asks To. See eastman,

1022
00:55:55,960 --> 00:55:59,200
Speaker 2: he can't not until. He's recovered and then he asks

1023
00:55:59,239 --> 00:56:03,120
Speaker 2: the nurse for, a description to which, she replies, he's

1024
00:56:03,320 --> 00:56:10,160
Speaker 2: huge not my type. At all what that's? Some writing

1025
00:56:11,160 --> 00:56:14,600
Speaker 2: and then also there's an incredibly awkward flirting scene between

1026
00:56:14,600 --> 00:56:18,440
Speaker 2: the cop and, the nurse some. Inappropriate comments he Hands

1027
00:56:18,440 --> 00:56:21,000
Speaker 2: Back george eastman's pants and, Then, leaves.

1028
00:56:20,880 --> 00:56:23,480
Speaker 1: YEAH yeah i love the handling of. The, pants here

1029
00:56:23,520 --> 00:56:28,040
Speaker 1: these gross pants that were worn by. This psychopath here

1030
00:56:28,640 --> 00:56:31,359
Speaker 1: that maybe they've. Been longered hopefully they've.

1031
00:56:31,360 --> 00:56:34,640
Speaker 2: Been longer so the nurse goes back to the operating

1032
00:56:34,719 --> 00:56:36,880
Speaker 2: Room where eastman is still on, the table and like

1033
00:56:36,960 --> 00:56:39,120
Speaker 2: another nurse comes in to Check on eastman and, he

1034
00:56:39,160 --> 00:56:42,840
Speaker 2: says they indicate his blood is reproducing itself at triple the. Normal,

1035
00:56:42,920 --> 00:56:46,279
Speaker 2: rate wow that's that's a lot. OF blood i don't

1036
00:56:46,280 --> 00:56:49,799
Speaker 2: know triple best? Right exactly and then you know it's.

1037
00:56:49,800 --> 00:56:53,919
Speaker 2: Safe somehow Now the greek guy The other greek guy

1038
00:56:54,000 --> 00:56:56,839
Speaker 2: is here at, the hospital and he makes his way

1039
00:56:56,960 --> 00:56:58,880
Speaker 2: to the room that the cop wasn't allowed to, go

1040
00:56:58,960 --> 00:57:01,560
Speaker 2: to and he's looking looking in through a window in

1041
00:57:01,640 --> 00:57:05,200
Speaker 2: the Door, at Eastman and eastman, wakes up sees the

1042
00:57:05,280 --> 00:57:08,399
Speaker 2: dude and starts raging and has to be restrained by

1043
00:57:08,440 --> 00:57:11,640
Speaker 2: hospital staff until they can get. Him sedated and this

1044
00:57:11,760 --> 00:57:16,000
Speaker 2: leads to two. Simultaneous scenes one of them is the

1045
00:57:16,040 --> 00:57:18,680
Speaker 2: Scene Where sargent engleman Gets the greek priest into a

1046
00:57:18,760 --> 00:57:21,240
Speaker 2: room and he interviews him about what's. Going on, he's,

1047
00:57:21,280 --> 00:57:25,120
Speaker 2: like so you decided to come to the hospital to

1048
00:57:25,200 --> 00:57:28,400
Speaker 2: get your? Car fixed is? That it what are you up?

1049
00:57:28,440 --> 00:57:32,240
Speaker 2: To mister are you responsible for? The wounds he's got

1050
00:57:32,680 --> 00:57:36,480
Speaker 2: some great delivery, in here and so the beginning of

1051
00:57:36,520 --> 00:57:40,000
Speaker 2: the explanation is coming. Out here but meanwhile there is

1052
00:57:40,160 --> 00:57:40,760
Speaker 2: nurse murder.

1053
00:57:40,840 --> 00:57:45,520
Speaker 1: Going, on yeah this is a, grizzly sequence, quite disturbing

1054
00:57:45,600 --> 00:57:49,520
Speaker 1: with The shirtless eastman emerging from the table here with

1055
00:57:50,240 --> 00:57:54,080
Speaker 1: the white sheet following off, of him grabs a surgical

1056
00:57:54,200 --> 00:57:57,640
Speaker 1: drill and uses it to slowly drill through the, nurse's head,

1057
00:57:58,280 --> 00:58:00,880
Speaker 1: killing her skewering her brain with drill coming out on

1058
00:58:00,920 --> 00:58:02,080
Speaker 1: the other side of, the, Head.

1059
00:58:02,240 --> 00:58:04,680
Speaker 2: Right so the cops hear the commotion they, come running

1060
00:58:04,760 --> 00:58:08,000
Speaker 2: but by the time they, get there The east man is,

1061
00:58:08,080 --> 00:58:10,640
Speaker 2: already gone and instead there's just like a nurse hanging

1062
00:58:10,680 --> 00:58:13,880
Speaker 2: out dead with a drill. Through head so here we

1063
00:58:13,920 --> 00:58:16,920
Speaker 2: get the first of many Scenes Of george eastman just

1064
00:58:17,200 --> 00:58:20,200
Speaker 2: wandering through this village in, the dark and he's back

1065
00:58:20,240 --> 00:58:22,600
Speaker 2: in his original, clothes somehow so he got his Jeens

1066
00:58:22,640 --> 00:58:26,000
Speaker 2: and charity's not in his hospital. Scrubs anymore he walks

1067
00:58:26,080 --> 00:58:29,720
Speaker 2: the streets and we get this, melancholy music and there's

1068
00:58:29,760 --> 00:58:33,520
Speaker 2: more interrogation between the police And the. Greek Priest so

1069
00:58:33,680 --> 00:58:37,160
Speaker 2: engelman tries to intimidate him by he does this whole

1070
00:58:37,240 --> 00:58:39,960
Speaker 2: Routine with i'm just a dumb small. Town cop you

1071
00:58:40,040 --> 00:58:43,520
Speaker 2: better make, me understand and the. Priest explains first, of

1072
00:58:43,560 --> 00:58:46,160
Speaker 2: all he says there is a reality we do not.

1073
00:58:46,400 --> 00:58:50,520
Speaker 2: See that this does not really satisfy, the cop and

1074
00:58:50,600 --> 00:58:55,120
Speaker 2: so eventually they call in the doctor who Operated On

1075
00:58:55,200 --> 00:58:57,560
Speaker 2: george eastman to. Help explain so we get a scene

1076
00:58:57,600 --> 00:59:01,280
Speaker 2: of the doctor putting up PUT up x Rays Of

1077
00:59:01,400 --> 00:59:06,080
Speaker 2: george eastman's brain and saying. It's extraordinary i've never seen

1078
00:59:06,200 --> 00:59:11,360
Speaker 2: such an extensive. Cerebral mass, and yeah so we learn

1079
00:59:11,440 --> 00:59:15,600
Speaker 2: his Name Is nico Stenopolis Or, miko stonopolis whichever, it

1080
00:59:15,640 --> 00:59:19,600
Speaker 2: is and he is. Functionally immortal his body can regenerate,

1081
00:59:19,640 --> 00:59:22,720
Speaker 2: dead cells and his blood coagulates quickly to heal. Any

1082
00:59:22,720 --> 00:59:26,240
Speaker 2: wounds we also this is the scene where they the

1083
00:59:26,280 --> 00:59:29,280
Speaker 2: copper rips open the priest's coat to reveal his. Priestly

1084
00:59:29,360 --> 00:59:34,000
Speaker 2: collar but the, PRIEST says I serve god with biochemistry

1085
00:59:34,240 --> 00:59:38,720
Speaker 2: more than with rights. And sermons And Apparently george eastman

1086
00:59:39,320 --> 00:59:44,240
Speaker 2: escaped from his laboratory quote after, the contamination so they

1087
00:59:44,400 --> 00:59:47,200
Speaker 2: organized a great hunt and that's how we got to

1088
00:59:47,520 --> 00:59:49,880
Speaker 2: where we. Are now but the one piece, of evidence

1089
00:59:49,880 --> 00:59:53,560
Speaker 2: the one piece of useful information that the, priest has

1090
00:59:53,680 --> 00:59:56,840
Speaker 2: is it is his brain that is his. Weak, point.

1091
00:59:58,080 --> 01:00:00,680
Speaker 1: Yeah this of course makes very little because like we're

1092
01:00:00,680 --> 01:00:02,440
Speaker 1: looking at scans of the brain and, was, like oh

1093
01:00:02,440 --> 01:00:05,560
Speaker 1: look at that, Cerebral mass like his brain is, doing

1094
01:00:05,600 --> 01:00:08,240
Speaker 1: stuff his brain's healing or he's. Healed wrong but the

1095
01:00:08,240 --> 01:00:10,600
Speaker 1: brain is also the. Weak point you destroyed, the brain

1096
01:00:11,000 --> 01:00:13,680
Speaker 1: you destroy, the creature which of course is true.

1097
01:00:13,680 --> 01:00:18,440
Speaker 2: Of everything, all, right well this reduces very much to ramiro. Zombie. Logic.

1098
01:00:18,880 --> 01:00:23,160
Speaker 2: Yeah no and also the priest says he is a creature.

1099
01:00:23,160 --> 01:00:26,240
Speaker 2: Of evil the Spark of god was smothered the moment

1100
01:00:26,320 --> 01:00:29,040
Speaker 2: the devil took possession. OF him i think this is just,

1101
01:00:29,200 --> 01:00:32,840
Speaker 2: metaphorical though because there's no indication of devil magic in.

1102
01:00:32,880 --> 01:00:35,960
Speaker 2: The movie it's more, like SAYING when i did these

1103
01:00:36,000 --> 01:00:39,680
Speaker 2: experiments on him and he, was contaminated that also the

1104
01:00:39,680 --> 01:00:41,120
Speaker 2: devil took possession. Of. Him.

1105
01:00:41,640 --> 01:00:47,680
Speaker 1: Yeah yeah also probably, you know a less effective shadow

1106
01:00:47,960 --> 01:00:51,640
Speaker 1: of some of the dialogue that we Get in halloween from, loomis.

1107
01:00:51,960 --> 01:01:04,120
Speaker 2: Yes exactly the evil, has escaped so we get more

1108
01:01:04,160 --> 01:01:08,520
Speaker 2: Of the eastman walk about the, slow music and eventually

1109
01:01:08,600 --> 01:01:12,280
Speaker 2: this leads up to him WANDERING into i believe In,

1110
01:01:12,360 --> 01:01:15,520
Speaker 2: the abbatoir where there is a guy here who's some

1111
01:01:15,640 --> 01:01:18,800
Speaker 2: kind of night janitor at the slaughterhouse cleaning, the Floors

1112
01:01:19,480 --> 01:01:23,400
Speaker 2: and eastman first tries to attack him with a, butcher

1113
01:01:23,480 --> 01:01:28,560
Speaker 2: knife but then this slaughterhouse janitor runs and retrieves a

1114
01:01:28,680 --> 01:01:32,720
Speaker 2: gun from his apron at work and tries To, shoot

1115
01:01:32,760 --> 01:01:36,040
Speaker 2: eastman but that, doesn't work and then there's a long

1116
01:01:36,080 --> 01:01:38,360
Speaker 2: set Up, to eastman like putting this guy on a big,

1117
01:01:38,400 --> 01:01:40,880
Speaker 2: butcher block and then, he's, like yep gonna get you

1118
01:01:40,920 --> 01:01:43,080
Speaker 2: with a band saw right through the top of, the

1119
01:01:43,120 --> 01:01:45,080
Speaker 2: head and, He, does yeah eventually.

1120
01:01:45,080 --> 01:01:46,840
Speaker 1: He does this is a scene that manages to be

1121
01:01:46,880 --> 01:01:50,920
Speaker 1: boring and gross at the, same time but we do

1122
01:01:51,040 --> 01:01:53,600
Speaker 1: get that. Iconic SMILE oh i just made.

1123
01:01:53,640 --> 01:01:57,200
Speaker 2: A connection It's The afhex twin. Album cover It's The

1124
01:01:57,320 --> 01:02:00,960
Speaker 2: george eastman smile is. Quite, similar yeah he loves.

1125
01:02:01,000 --> 01:02:03,160
Speaker 1: His work then the next thing, we get, of course

1126
01:02:03,240 --> 01:02:05,680
Speaker 1: is that the biker MURDER that i think we alluded.

1127
01:02:05,680 --> 01:02:09,920
Speaker 1: To earlier and then so this is when one of

1128
01:02:09,960 --> 01:02:16,680
Speaker 1: the biker gang members gets Killed. By eastman and then

1129
01:02:16,840 --> 01:02:18,680
Speaker 1: pretty much right away we get the hit and run

1130
01:02:18,720 --> 01:02:24,400
Speaker 1: out of nowhere where the dad Accidentally clips eastman with

1131
01:02:24,440 --> 01:02:25,160
Speaker 1: his car and just.

1132
01:02:25,240 --> 01:02:28,120
Speaker 2: Keep rolling so eventually the dad is going to come

1133
01:02:28,160 --> 01:02:31,200
Speaker 2: back to, The house Ian or eon will, come back

1134
01:02:31,200 --> 01:02:33,280
Speaker 2: and he's preoccupied by the fact that he did a

1135
01:02:33,360 --> 01:02:36,919
Speaker 2: hit and run On, east man and that leads to

1136
01:02:37,000 --> 01:02:39,520
Speaker 2: the scene where he goes to his liquor collection on.

1137
01:02:39,560 --> 01:02:42,360
Speaker 2: The mantle but eventually the mom and the dad are

1138
01:02:42,400 --> 01:02:45,040
Speaker 2: going to go out to the friend's house to watch

1139
01:02:45,240 --> 01:02:47,920
Speaker 2: the game and, have spaghetti and so that leaves the

1140
01:02:48,000 --> 01:02:51,280
Speaker 2: kids home alone with first the babysitter and later, the

1141
01:02:51,400 --> 01:02:55,080
Speaker 2: nurse who will, huge surprise become the next victims Of.

1142
01:02:55,240 --> 01:02:58,640
Speaker 1: East, man Yeah Because george eastman is for some reason

1143
01:02:58,760 --> 01:03:00,920
Speaker 1: drawn back to. This house a lot reason for him

1144
01:03:00,960 --> 01:03:03,000
Speaker 1: to come, back here but he's back here to get

1145
01:03:03,040 --> 01:03:05,760
Speaker 1: inside and. Do MURDERS and i mean then. And again

1146
01:03:05,800 --> 01:03:07,560
Speaker 1: that's pretty much what the rest of the film. Consists

1147
01:03:07,640 --> 01:03:11,760
Speaker 1: of let's see some one Fun little there's a scene

1148
01:03:11,760 --> 01:03:15,160
Speaker 1: where the boy is. Watching television there's some really boring

1149
01:03:15,200 --> 01:03:20,880
Speaker 1: looking like living room dialogue scene that he really wants,

1150
01:03:20,960 --> 01:03:23,600
Speaker 1: to watch and the babysitter legs, Is done, you're done

1151
01:03:23,680 --> 01:03:24,680
Speaker 1: and he gets a.

1152
01:03:24,680 --> 01:03:27,160
Speaker 2: LITTLE upset i thought the boy wanted to watch.

1153
01:03:27,200 --> 01:03:30,720
Speaker 1: The, game oh really wants to watch, the game but

1154
01:03:30,760 --> 01:03:33,680
Speaker 1: he is at some point watching some DRAMA on tv

1155
01:03:34,400 --> 01:03:39,480
Speaker 1: and it's actually tame scenes from a really grimy Nineteen eighty,

1156
01:03:39,680 --> 01:03:42,960
Speaker 1: dematto film which is not a. Family MOVIE so i

1157
01:03:42,960 --> 01:03:44,760
Speaker 1: guess this is another like sort of in Joke.

1158
01:03:44,840 --> 01:03:47,919
Speaker 2: From dematto so it's not an explicit scene that, we're

1159
01:03:47,960 --> 01:03:51,040
Speaker 2: watching but the joke is that this is From a demato. Porn,

1160
01:03:51,080 --> 01:03:53,360
Speaker 2: film yes let's see.

1161
01:03:53,400 --> 01:03:55,480
Speaker 1: From, there yeah we get so basically we're gonna get a,

1162
01:03:55,480 --> 01:03:58,040
Speaker 1: babysitter murder and we're then we're gonna get the. Nurse

1163
01:03:58,120 --> 01:04:02,120
Speaker 1: murder the babysitter murder is one of these what's that? Sound,

1164
01:04:02,200 --> 01:04:05,680
Speaker 1: outside oh the dog. Got outside peggy the babysitter goes

1165
01:04:05,720 --> 01:04:07,240
Speaker 1: outside and gets a pickaxe to.

1166
01:04:07,320 --> 01:04:09,760
Speaker 2: The, head now this is one of those movies that

1167
01:04:09,800 --> 01:04:15,000
Speaker 2: would absolutely grotesquely Violate The gene siskel test, for movies

1168
01:04:15,040 --> 01:04:18,520
Speaker 2: which is he could not stand movies that ever depicted

1169
01:04:18,640 --> 01:04:21,480
Speaker 2: children being. In danger for the second half of this,

1170
01:04:21,560 --> 01:04:25,439
Speaker 2: whole movie just children are constantly. In, danger fortunately neither

1171
01:04:25,480 --> 01:04:28,160
Speaker 2: of the kids in the movie are. Ever harmed they

1172
01:04:28,160 --> 01:04:31,280
Speaker 2: both make it to. The end but It's JUST. George

1173
01:04:31,280 --> 01:04:34,960
Speaker 2: e sman running around the house ominously threatening both of

1174
01:04:35,000 --> 01:04:38,760
Speaker 2: them and killing babysitters and nurses until.

1175
01:04:38,760 --> 01:04:41,520
Speaker 1: The end, WELL yeah I mean ciscle's the whole thing,

1176
01:04:41,600 --> 01:04:44,440
Speaker 1: was like it's a. Cheap, trick yeah, and yes, of,

1177
01:04:44,440 --> 01:04:50,120
Speaker 1: course Yeah de motto's gonna use. Cheap tricks. He's, Cheap yeah,

1178
01:04:50,160 --> 01:04:52,720
Speaker 1: so yeah it would be a solid criticism of.

1179
01:04:52,720 --> 01:04:56,160
Speaker 2: This film but the kids. Get away who does not Escape,

1180
01:04:56,200 --> 01:04:58,800
Speaker 2: is emily the nurse we. Met earlier there's a weird

1181
01:04:58,840 --> 01:05:01,480
Speaker 2: scene of she's like wandering in the woods on the

1182
01:05:01,720 --> 01:05:04,480
Speaker 2: what she has an encounter with somebody in the woods on. The,

1183
01:05:04,480 --> 01:05:09,160
Speaker 2: way oh It's, with shaughnessy the. Drunk, guy yes, he's

1184
01:05:09,200 --> 01:05:12,240
Speaker 2: like you drop this? Back there, but anyway so she

1185
01:05:12,720 --> 01:05:15,440
Speaker 2: uh WAIT do I actually i. Don't remember now does

1186
01:05:15,480 --> 01:05:18,800
Speaker 2: anything Happen? To shaughnessy does he get Killed? By eastman if,

1187
01:05:18,840 --> 01:05:21,080
Speaker 2: HE does i don't. REMEMBER it i don't remember. It

1188
01:05:21,120 --> 01:05:24,800
Speaker 2: either if, he doesn't that would be an unusual choice

1189
01:05:24,800 --> 01:05:27,439
Speaker 2: for a film of. THIS kind, i mean the old

1190
01:05:27,520 --> 01:05:30,520
Speaker 2: drunk man wandering around singing in the dark is the

1191
01:05:30,800 --> 01:05:34,200
Speaker 2: he is your classic you know murder victim in these.

1192
01:05:34,200 --> 01:05:36,800
Speaker 1: Slasher, movies yeah it seems like the sort of thing

1193
01:05:36,840 --> 01:05:38,479
Speaker 1: that might have been in, the script but they didn't

1194
01:05:38,480 --> 01:05:40,240
Speaker 1: have time to, film it or gotten left on the

1195
01:05:40,280 --> 01:05:42,360
Speaker 1: cunning room floor for some reason because you needed more.

1196
01:05:42,400 --> 01:05:43,800
Speaker 1: SURGERY scenes i.

1197
01:05:43,840 --> 01:05:47,760
Speaker 2: Don't know, so anyway there is a there's a whole

1198
01:05:47,760 --> 01:05:51,320
Speaker 2: setup to another big murder Scene where Eastman kills emily.

1199
01:05:51,480 --> 01:05:55,880
Speaker 2: The nurse, this scene this scene is so gross. And,

1200
01:05:56,000 --> 01:05:57,280
Speaker 2: dumb yeah.

1201
01:05:57,120 --> 01:06:02,320
Speaker 1: It, takes forever and it's it generally walks that line

1202
01:06:02,360 --> 01:06:06,320
Speaker 1: between just padded tedium and, Legitimate shock like it's disturbing

1203
01:06:06,640 --> 01:06:09,400
Speaker 1: but also, it's, like man we're still. Doing this let's

1204
01:06:09,560 --> 01:06:10,200
Speaker 1: let's get it over.

1205
01:06:10,240 --> 01:06:13,520
Speaker 2: With. Here yeah so the short version Is that eastman

1206
01:06:13,600 --> 01:06:15,919
Speaker 2: decides to cook her in the oven while she's, still

1207
01:06:15,960 --> 01:06:20,120
Speaker 2: alive but she somehow survives this process and then comes

1208
01:06:20,160 --> 01:06:24,400
Speaker 2: back and saves the kid From. From eastman she like

1209
01:06:24,840 --> 01:06:26,960
Speaker 2: she's all burned up as she runs out and saves,

1210
01:06:27,000 --> 01:06:29,240
Speaker 2: the kid And, THEN eastman, i guess kills her a.

1211
01:06:29,280 --> 01:06:32,240
Speaker 1: Second, time yeah because you can't just stab him in

1212
01:06:32,280 --> 01:06:34,400
Speaker 1: the neck and expect to seal.

1213
01:06:34,480 --> 01:06:37,280
Speaker 2: The deal you got to destroy. The brain but the

1214
01:06:37,320 --> 01:06:40,600
Speaker 2: final showdown Is, between katcha who has been in traction

1215
01:06:40,720 --> 01:06:44,480
Speaker 2: in this, hospital bed And an eastman, who finally, you

1216
01:06:44,480 --> 01:06:46,800
Speaker 2: know he comes. In there he's, still raging but we

1217
01:06:46,880 --> 01:06:50,000
Speaker 2: get a great payoff with the, compass tool right because

1218
01:06:50,200 --> 01:06:54,840
Speaker 2: she she jams It Into george, eastman's eyes and then

1219
01:06:54,960 --> 01:06:57,760
Speaker 2: we get The blinded. Cyclops sequence.

1220
01:06:58,280 --> 01:07:00,800
Speaker 1: That's, right, yeah yeah, and this, YOU know i have,

1221
01:07:00,840 --> 01:07:04,400
Speaker 1: TO say i feel like this big sequence here is

1222
01:07:04,440 --> 01:07:08,240
Speaker 1: actually quite tense because you end up with the scenario

1223
01:07:08,320 --> 01:07:14,200
Speaker 1: where the playing field has been, largely Leveled Though george

1224
01:07:14,200 --> 01:07:18,720
Speaker 1: eastman's killer is still very much an, overwhelming threat so

1225
01:07:18,760 --> 01:07:21,280
Speaker 1: he's were like in the, living room, this Big expansive

1226
01:07:21,440 --> 01:07:24,480
Speaker 1: italian villa living room with a suit of armor and all,

1227
01:07:24,480 --> 01:07:29,520
Speaker 1: the furniture and he, is blinded, you know bloody, eye

1228
01:07:29,520 --> 01:07:33,680
Speaker 1: sockets and he's listening for her and grasping around at the.

1229
01:07:33,720 --> 01:07:36,680
Speaker 1: Slightest sound and she is on her, feet now but is,

1230
01:07:36,680 --> 01:07:38,680
Speaker 1: you know not one hundred percent like she's been in

1231
01:07:38,760 --> 01:07:42,520
Speaker 1: traction this, whole time and she is trying to stay

1232
01:07:42,560 --> 01:07:45,680
Speaker 1: out of his grasp but get away, from him and

1233
01:07:45,960 --> 01:07:48,400
Speaker 1: they're sitting. Her, sound yeah he's hunting her. By sound

1234
01:07:48,440 --> 01:07:52,680
Speaker 1: in some very, tense moments.

1235
01:07:51,000 --> 01:07:54,640
Speaker 2: She she does clever things like turning on music, really loud.

1236
01:07:55,280 --> 01:07:58,920
Speaker 1: But also, inevitably trips inevitably makes an accidental sound and he.

1237
01:07:58,960 --> 01:08:01,920
Speaker 2: Gets, closer okay but then, the payoff if you want

1238
01:08:01,920 --> 01:08:05,200
Speaker 2: to know the, very ending, you know, spoiler alert is

1239
01:08:05,680 --> 01:08:09,160
Speaker 2: they somehow they like fall into this suit of armor

1240
01:08:09,200 --> 01:08:13,000
Speaker 2: that has a battle axe and catya she gets the.

1241
01:08:13,000 --> 01:08:14,960
Speaker 2: Battle out, oh, wait wait but first the father. Shows

1242
01:08:15,040 --> 01:08:17,839
Speaker 2: up oh, that's, right yes well the parents arrive, yeah.

1243
01:08:17,720 --> 01:08:19,920
Speaker 1: Yeah, well yeah and. The priest the priest does a

1244
01:08:20,040 --> 01:08:22,719
Speaker 1: run in and bites it when he tries to start

1245
01:08:22,840 --> 01:08:23,560
Speaker 1: the Killer.

1246
01:08:24,280 --> 01:08:27,400
Speaker 2: So, Eastman well it's like the Ending, of halloween Except

1247
01:08:27,439 --> 01:08:31,040
Speaker 2: If michael Myers Killed. Donald. Pleasance, Yeah yeah so the

1248
01:08:31,080 --> 01:08:35,439
Speaker 2: priest shows up and he saves, her, momentarily uh and

1249
01:08:35,960 --> 01:08:39,200
Speaker 2: he is Killed By. George eastman but then while that's,

1250
01:08:39,200 --> 01:08:43,400
Speaker 2: going on she retrieves the battle axe from from the

1251
01:08:43,439 --> 01:08:45,479
Speaker 2: suit of armor and then goes to work. On him

1252
01:08:45,520 --> 01:08:48,639
Speaker 2: we don't see exactly what happened until her parents. Arrive

1253
01:08:49,200 --> 01:08:52,920
Speaker 2: home and her parents arrive home with, the Cops and

1254
01:08:53,400 --> 01:08:56,360
Speaker 2: willie's there and, everybody's There and katya's standing in, the

1255
01:08:56,360 --> 01:08:59,200
Speaker 2: doorway and we pull back to reveal that she is

1256
01:08:59,240 --> 01:09:00,720
Speaker 2: holding the seven head Of.

1257
01:09:00,800 --> 01:09:04,280
Speaker 1: East, man, yes yes he holds, it up and this

1258
01:09:04,400 --> 01:09:07,080
Speaker 1: is just this, is great this is just grade a shlock,

1259
01:09:08,040 --> 01:09:12,120
Speaker 1: as Young bloodied katya healed by violence here lifts up,

1260
01:09:12,160 --> 01:09:15,920
Speaker 1: the decapitated overtly fake head of The blinded monster and

1261
01:09:15,920 --> 01:09:17,800
Speaker 1: then we close and that's the end.

1262
01:09:17,840 --> 01:09:21,760
Speaker 2: Of absurd So now i've got to know if that,

1263
01:09:21,880 --> 01:09:23,880
Speaker 2: HEAD problem, i mean it would be, a shame a

1264
01:09:24,040 --> 01:09:26,880
Speaker 2: historical film. Making shame if that head prop was not

1265
01:09:26,960 --> 01:09:30,160
Speaker 2: reused in the biblical film where He, plays goliath it

1266
01:09:30,600 --> 01:09:31,200
Speaker 2: had To, BE.

1267
01:09:32,960 --> 01:09:36,880
Speaker 1: Yeah, I hope, i mean if not that film surely

1268
01:09:36,880 --> 01:09:38,519
Speaker 1: it shows up in another film because they've gone to

1269
01:09:38,560 --> 01:09:40,600
Speaker 1: the trouble to. Make it there's going to be some

1270
01:09:40,680 --> 01:09:43,360
Speaker 1: other film where you might want To cut eastman's head

1271
01:09:43,360 --> 01:09:45,640
Speaker 1: off or just. REUSE it i mean there are, examples of,

1272
01:09:46,400 --> 01:09:48,080
Speaker 1: you know FROM other i think there was a whole

1273
01:09:48,600 --> 01:09:50,800
Speaker 1: kind of a minor Stink on Game of thrones at, some,

1274
01:09:50,840 --> 01:09:55,920
Speaker 1: point right because they were reusing heads. Or something and, then,

1275
01:09:55,960 --> 01:09:58,599
Speaker 1: sometimes yes sometimes head cast get reused for. DIFFERENT things,

1276
01:09:58,640 --> 01:10:02,000
Speaker 1: i mean actually we go Back To John carpenter's halloween

1277
01:10:02,080 --> 01:10:06,200
Speaker 1: and we have a pretty classic example of the reuse of, head.

1278
01:10:06,200 --> 01:10:08,920
Speaker 2: Molds, right oh do you mean that It's a. Shatner. Mask,

1279
01:10:09,160 --> 01:10:14,040
Speaker 2: Yeah Yeah michael myers Wears A captain kirk mask spray,

1280
01:10:14,080 --> 01:10:17,479
Speaker 2: painted white which is you can't unsee it once you.

1281
01:10:17,520 --> 01:10:20,680
Speaker 1: See, it yeah but it's. Become iconic. Mm hmm, all

1282
01:10:20,800 --> 01:10:21,720
Speaker 1: right so there you.

1283
01:10:21,760 --> 01:10:21,880
Speaker 2: Have.

1284
01:10:21,960 --> 01:10:26,120
Speaker 1: IT absurd i think probably The Only joe tomato film

1285
01:10:26,160 --> 01:10:29,439
Speaker 1: we're gonna Do On. Weird House but I'm Sure george

1286
01:10:29,439 --> 01:10:31,880
Speaker 1: eastman will pop up again in some form, or another

1287
01:10:31,960 --> 01:10:34,320
Speaker 1: but there probably won't be As Much george eastman as

1288
01:10:34,360 --> 01:10:37,120
Speaker 1: there was in. This picture, All, right well we'll close

1289
01:10:37,160 --> 01:10:39,080
Speaker 1: it out there but we'd love to hear from everyone.

1290
01:10:39,080 --> 01:10:42,240
Speaker 1: Out there if you have thoughts on absurd or other

1291
01:10:42,560 --> 01:10:46,360
Speaker 1: or the video nasties of phenomena, in general write in

1292
01:10:46,400 --> 01:10:48,200
Speaker 1: we would love to hear. From you just a Reminder

1293
01:10:48,240 --> 01:10:49,920
Speaker 1: that stuffed To Blil your mind is primarily a science

1294
01:10:49,960 --> 01:10:52,760
Speaker 1: and culture podcast with core Episodes on Tuesdays, and thursdays

1295
01:10:53,200 --> 01:10:55,680
Speaker 1: But on fridays we set aside most serious concerns to

1296
01:10:55,760 --> 01:10:58,280
Speaker 1: just talk about a weird Film On Weird. House cinema

1297
01:10:58,320 --> 01:11:00,600
Speaker 1: and you can get the full list of films that

1298
01:11:00,640 --> 01:11:02,400
Speaker 1: we've Covered On Weird house cinema if you look us

1299
01:11:02,479 --> 01:11:04,320
Speaker 1: up on letterbox. Dot com THAT'S L E t t

1300
01:11:04,400 --> 01:11:07,599
Speaker 1: e r boxd. Dot com our handle there Is. Weird

1301
01:11:07,600 --> 01:11:10,400
Speaker 1: house you can find the whole. List there and, uh

1302
01:11:10,520 --> 01:11:13,240
Speaker 1: yeah with, this episode we're kind of launching Into the.

1303
01:11:13,240 --> 01:11:17,040
Speaker 1: Halloween season halloween is always, a big big month, for

1304
01:11:17,160 --> 01:11:21,559
Speaker 1: us a little month and some, change often so look

1305
01:11:21,640 --> 01:11:23,479
Speaker 1: you can look forward in the month ahead to a

1306
01:11:23,520 --> 01:11:28,320
Speaker 1: lot of seasonally appropriate, core episodes short, form episodes and

1307
01:11:28,360 --> 01:11:29,280
Speaker 1: Of Course Weird house.

1308
01:11:29,320 --> 01:11:33,080
Speaker 2: Cinema selections, here's thanks as always to our excellent, Audio.

1309
01:11:33,080 --> 01:11:35,880
Speaker 2: Producer jjposway if you would like to get in touch

1310
01:11:35,920 --> 01:11:38,040
Speaker 2: with us with feedback on this episode or, any other

1311
01:11:38,120 --> 01:11:40,400
Speaker 2: to suggest a topic for, the future or just to.

1312
01:11:40,439 --> 01:11:43,479
Speaker 2: Say hello you can email us at contact at Stuff

1313
01:11:43,479 --> 01:11:52,400
Speaker 2: to Blow your mind. Dot com Stuff To Blow your

1314
01:11:52,400 --> 01:11:55,479
Speaker 2: mind is Production. Of iHeartRadio for more podcasts from My,

1315
01:11:55,520 --> 01:11:58,960
Speaker 2: heart radio Visit the, iHeartRadio App, apple podcasts or wherever

1316
01:11:59,000 --> 01:12:02,040
Speaker 2: you listen to your favorite m