Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is
Speaker 1: Rob Lamb and today we're going to revisit an episode
Speaker 1: that published last year on nine twenty seven, twenty twenty four.
Speaker 1: It is definitely a horror film. It is the Joe
Speaker 1: Dematto directed George Eastman starring notorious slasher film Absurd from
Speaker 1: nineteen eighty one. Let's jump right in.
Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.
Speaker 1: Hey you welcome to Weird House Cinema. This is Rob Lamb.
Speaker 2: And this is Joe McCormick. And today on Weird House
Speaker 2: Cinema we are going to be talking about the nineteen
Speaker 2: eighty one Italian slasher movie Absurd, directed by Joe Demato
Speaker 2: and starring George Eastman. Now, Rob, I understand you wanted
Speaker 2: to talk about how this movie typifies a movie subgenre,
Speaker 2: maybe not defined within the movie itself, but the sort
Speaker 2: of meta subgenre of the video nasty.
Speaker 1: That's right. We've referred to video nasties before on the show,
Speaker 1: and those of you know what we're talking about, you know,
Speaker 1: probably not in your head. And if you don't know
Speaker 1: what video nasty is, you might have just you know,
Speaker 1: picked up on context and all, but basically it's essentially
Speaker 1: UK slang for films, usually low budget horror and exploitation
Speaker 1: films that were highly controversial during the nineteen eighties as
Speaker 1: they were able to enter the UK distribution market through
Speaker 1: a loophole that allowed the distributors to avoid official classification,
Speaker 1: part of a video gold rush that came with VHS
Speaker 1: technology at the time. This is the description given by
Speaker 1: David Correki's and David Slater in the twenty twenty three
Speaker 1: book Cannibal Error, Anti Film Propaganda and the Video Nasties
Speaker 1: Panic of the nineteen eighties.
Speaker 2: So this would be sort of an informal list of
Speaker 2: films that what were not necessarily illegal, but were singled
Speaker 2: out for being obscene or terrible or just worthy of
Speaker 2: moral appropriate approbation in some way.
Speaker 1: Well you kind of get both things. There's like it
Speaker 1: does become formalized, but then there's also kind of like
Speaker 1: an informal list as well. So basically the short version
Speaker 1: of how this went down as you had and again
Speaker 1: this is a you're involving like new technology, new distribution patterns,
Speaker 1: and also changes in you know, what the public wants,
Speaker 1: and then public anxiety about obscenity. So basically you haven't
Speaker 1: had an advocacy group called the National Viewers and Listeners Association,
Speaker 1: and it made a big outcry about these these films
Speaker 1: that we're making it into the UK on VHS, and
Speaker 1: it led to just a whole saga of politic, moral
Speaker 1: panic censorship discussion, and the end result was the imposition
Speaker 1: of state video censorship in the UK in nineteen eighty
Speaker 1: four and the creation of a Director of Public Prosecutions
Speaker 1: DPP list of films that would come to be known
Speaker 1: as video nasties. Though I think this term also ends
Speaker 1: up becoming especially outside of the UK and in just
Speaker 1: sort of VHS horror exploitation film circles, it becomes something
Speaker 1: of a loose term that is used for various sort
Speaker 1: of grimy, low budget, often euro films of the time period.
Speaker 2: Ah okay, So thus my confusion. So some of the
Speaker 2: things referred to as video nasties were actually targeted by
Speaker 2: the law in the UK, and other things just sort
Speaker 2: of informally get that title as a kind of descriptor
Speaker 2: of what these movies tend to be.
Speaker 1: Like, Yeah, because you definitely had a list, you had
Speaker 1: like section one prosecuted films included actually a few different
Speaker 1: films we discussed on Weird House nineteen eighties, Cannibal Apocalypse
Speaker 1: nineteen eighty one's The House by the Cemetery, and today's
Speaker 1: film Absurd, which is also from nineteen eighty one as
Speaker 1: His House by the Cemetery. Now, naturally there's some really
Speaker 1: grimy exploitation fodder in that list as well, but there's
Speaker 1: also plenty of stuff that I don't know. It's all subjective,
Speaker 1: but it feels, at least to me, kind of tame
Speaker 1: by today's standards. But naturally, the line between art and
Speaker 1: obscenity is always going to be subjective to a certain extent,
Speaker 1: and there's gonna be a point of disagreement in figuring
Speaker 1: out what is what. But apart from these official classifications
Speaker 1: and uproars in the UK, the term video nasty again
Speaker 1: kind of becomes kind of comes to be a badge
Speaker 1: of honor for many horror films from this time period,
Speaker 1: especially in later decades. By the time many of us
Speaker 1: were looking these up in books like The Psychotronic Film Guide,
Speaker 1: or buying bootleg VHS tapes off of eBay back in
Speaker 1: the day, or learning about them online, you know, browsing
Speaker 1: Internet movie data Bay, looking at various blogs, forums, or
Speaker 1: today venturing around on letterbox dot com. You know, it
Speaker 1: adds that extra bit of intrigue to a title. This
Speaker 1: is a video nasty, this is a curse tape. You know,
Speaker 1: watch at your own risk.
Speaker 2: Now, that might lead you to wonder, okay, if this
Speaker 2: is one of those films that was considered so bad
Speaker 2: as to be you know, targeted by the law in
Speaker 2: the UK. Is there like, what's it about? What goes on?
Speaker 2: It is? You know, is it a Texas chainsaw massacre
Speaker 2: kind of thing? I think the best way to describe
Speaker 2: absurd is that it must have been pitched as a
Speaker 2: Halloween clone. Halloween came out in nineteen seventy eight, is
Speaker 2: that right? Yeah, just checked, it was seventy eight, So
Speaker 2: this is a few years after that, and there were
Speaker 2: many many Halloween clones. Halloween was a big hit, and
Speaker 2: so a lot of movies tried to copy it. In fact,
Speaker 2: some of the big slasher franchises in the American market.
Speaker 2: I think you could argue began as Halloween clones. One
Speaker 2: might sing, one might point to like Friday the thirteenth,
Speaker 2: and so forth. You know. It even picks like a
Speaker 2: day of the year as the title. But anyway, so
Speaker 2: I think Absurd it was imagined as a kind of
Speaker 2: Halloween clone, but much more gory and disgusting. Halloween is
Speaker 2: actually fairly light on the blood and gore. You don't
Speaker 2: see a lot of explicit consequences of violence in it.
Speaker 2: It's more, you know, Halloween is much more focused on
Speaker 2: the building of tension through proximity and terror and perspective
Speaker 2: and all that kind of stuff. Absurd gets into a
Speaker 2: lot more just gross, explicit sort of meat exercises, but
Speaker 2: it has very similar plot dynamics. So both movies are
Speaker 2: about a seemingly indestructible killer who escapes from a facility
Speaker 2: of some kind and strikes out with random murders in
Speaker 2: a nearby neighborhood. Well, actually no, in Absurd it's not
Speaker 2: a nearby neighborhood for some reason. He goes to a
Speaker 2: different country. But in both cases strikes out with random
Speaker 2: murders in a neighborhood with no discernible motive.
Speaker 1: Yeah, just random killings.
Speaker 2: Both movies follow babysitters as the sort of the victims
Speaker 2: and protagonists in a way. Both movies have a kid
Speaker 2: who refers to the killer as the Boogeyman. You remember,
Speaker 2: that's in Halloween, and they really emphasize that in Absurd
Speaker 2: as well. And in both cases, the killer is pursued
Speaker 2: by a sort of eccentric, obsessive foreign cleric, and in
Speaker 2: the case of Halloween that's Donald Pleasance as doctor loomis
Speaker 2: in this movie. It is a Greek priest. So you
Speaker 2: can see a lot of similarities, but you can see
Speaker 2: differences as well. And one that I think is interesting
Speaker 2: is exactly what makes Halloween so effective as horror in
Speaker 2: a way is its restraint, the way in which it
Speaker 2: really like takes its time, the way in which you know,
Speaker 2: it plays with as I was saying, distance and perspective,
Speaker 2: you know, showing things in the background of shots instead
Speaker 2: of just going for immediate jump scares and so forth.
Speaker 2: Absurd is the exact opposite. It does not play with restraint.
Speaker 2: It plays to excess.
Speaker 1: Though it does take its time in some of the sites.
Speaker 1: That's true, yeah, but not necessarily in a good way.
Speaker 2: I mean, it'll like really take its time showing how
Speaker 2: long a murder takes to complete. Yeah, but no, it
Speaker 2: also does take its time. I mean, yeah, it does
Speaker 2: have the killer lurking in the background sometimes as well,
Speaker 2: so in some ways you've got that element going on.
Speaker 2: It's kind of a Halloween clone, but with Italian excess sensibilities.
Speaker 2: On the other hand, I would say this is an
Speaker 2: Italian horror movie of the early nineteen eighties, and while
Speaker 2: absurd does earn a number of superlatives, I'm not trying
Speaker 2: to put it down here. One thing I do think
Speaker 2: it kind of makes it stand out is is it
Speaker 2: does not manage to be as visually exciting as a
Speaker 2: lot of the Italian horror movies of this period that
Speaker 2: we love. In fact, I would say it almost has
Speaker 2: a pointedly intentionally drab, lifeless and colorless visual style. The
Speaker 2: sets all seem to be various shades of white, brown, yellow,
Speaker 2: and tan. There's not much, really any use of colored
Speaker 2: lighting that I can recall. There aren't any beautiful vistas
Speaker 2: or stained glass effects or anything like that. It is
Speaker 2: a almost intentionally quite drab looking film.
Speaker 1: Yeah, I mean de Motto gets into he gets into
Speaker 1: some creative territory with some of the shots, and he
Speaker 1: makes I think he makes pretty good use of the
Speaker 1: villa location in some scenes. But yeah, this is not
Speaker 1: a movie you seek out for its rich colors or
Speaker 1: its amazing production design. There's not even any monster makeup,
Speaker 1: just no grimy gore. And I think most people who
Speaker 1: seek it out aren't going to seek it out for
Speaker 1: its reputation as a low budget video nasty and stick
Speaker 1: with it for some of its well absurd choices, you know,
Speaker 1: because despite his reputation, it's not the gorious film from
Speaker 1: this time period, nor is it the most disturbing by
Speaker 1: any stretch. It's worth noting, especially with Dematto here, that
Speaker 1: there's no nudity in this film at all, virtually no
Speaker 1: sexual content of any kind. So it's amazingly tame on
Speaker 1: that side of the exploitation scales, I would say.
Speaker 2: Yeah.
Speaker 1: Also, despite the American title, it's worth noting that it's
Speaker 1: I don't know, you could make a strong argument that
Speaker 1: this film is not really absurd. It's not a surrealistic film,
Speaker 1: it's not psychedelic. But again, I think three things help
Speaker 1: it to stand out from a lot of the other
Speaker 1: slot films of the time period. It's got a fun score,
Speaker 1: there are some weird choices that are made, I think,
Speaker 1: some deliberately and some just via the speed of the production.
Speaker 1: And then you've got the screen presence near constant screen
Speaker 1: presence of George Eastman.
Speaker 2: Which alone puts this film in a kind of rare category.
Speaker 2: I mean, everybody, even if you don't know anything about
Speaker 2: these Italian exploitation movies and you don't know who George
Speaker 2: Eastman is. I think if you see a movie with
Speaker 2: George Eastman in it, you're gonna remember him. You're gonna
Speaker 2: be like, who is that guy? Yeah?
Speaker 1: Yeah, A lot of times it's a small role. He's
Speaker 1: come up in films before. He pops up, for instance
Speaker 1: in Hands of Steel that we watched a while back,
Speaker 1: and here he gets a chance to shine.
Speaker 2: Now, regarding the question you said, the movie is not
Speaker 2: even that absurd, I was wondering if maybe the absurd
Speaker 2: title refers not to the more common usage like you
Speaker 2: were saying there, comparing it to something that is psychedelic
Speaker 2: or surreal. Maybe we often use the word just to
Speaker 2: mean like weird, illogical, or unreasonable. I was wondering if
Speaker 2: it is not that usage of absurd, but the philosophical
Speaker 2: usage a lah absurdism, the core tenets of which are
Speaker 2: that the universe is meaningless and our lives are meaningless,
Speaker 2: and that much of the struggle of human life, and
Speaker 2: so many of our conflicts and contradictions arise because people
Speaker 2: are trying to find the mean in meaningless things.
Speaker 1: All right, all right, I hear what you're laying down.
Speaker 2: Well, yeah, So I think the movie Absurd is quite
Speaker 2: the plot is quite compatible with the view that life
Speaker 2: is meaningless. You know, the attacks are completely random, And
Speaker 2: I wonder if George Eastman's problem as a character is
Speaker 2: that he is engaged in a futile search for the
Speaker 2: meaning of life, and that search involves power drills and
Speaker 2: bandsaws and so forth.
Speaker 1: It is interesting that he does not have a signature weapon.
Speaker 1: He just makes use of what is immediately around him
Speaker 1: and doesn't care anything with him.
Speaker 2: It's usually powered mechanisms, isn't it Not in every case,
Speaker 2: But that's kind of strange. He like a he likes
Speaker 2: a weapon you can plug into the wall.
Speaker 1: Yeah, and he'll drag you through the house to get
Speaker 1: to it. It's not just a matter of like what's
Speaker 1: immediately around me. It's like did I see an oven earlier? Yeah,
Speaker 1: there's got to be a kitchen around here, somewhere. We'll
Speaker 1: spend five minutes searching for it.
Speaker 2: So if we haven't warned you enough already, do be
Speaker 2: warned that this movie does have some really gross violence
Speaker 2: in it. So if you're going to watch it, be prepared.
Speaker 1: Yeah, And I also, I don't want to oversell this
Speaker 1: movie like sometimes, you know, I'm big on really championing
Speaker 1: a film and saying like there's this is a hidden gym,
Speaker 1: or there's some there are some diamonds in this one.
Speaker 1: This is a film that a lot of people don't like.
Speaker 1: Even people we're into into horror. You know, we'll give
Speaker 1: it maybe like mediocre reviews. So if you're on the
Speaker 1: fence about seeing absurd there's a very strong chance you're
Speaker 1: not going to like it. So fair warning. This might
Speaker 1: be a case where you just want to hear us
Speaker 1: talk about it. But if if you're into this sort
Speaker 1: of thing, well, you know, dive in because there's there
Speaker 1: is some absurdity. There is some weirdness here that I
Speaker 1: thought was pretty fun.
Speaker 2: Speaking of the absurdity and the weirdness, just a few
Speaker 2: things I want to call out at the beginnings, these
Speaker 2: these strange contradictions in the movie where there are things
Speaker 2: where I don't even know how to characterize them really
Speaker 2: because they contain contradictions. One of them is the sets
Speaker 2: in this film which have this They are simultaneously opulent
Speaker 2: and squalid, do you know what I'm saying?
Speaker 1: Yeah, yeah, like the one of the key The key
Speaker 1: set in the film, the key location is this obvious
Speaker 1: Italian villa, you know, and it's clearly has old bone,
Speaker 1: spacious interiors, but the way that the space is decorated
Speaker 1: at times feels very sparse and slapped together. And it's
Speaker 1: also we'll get back to this more, but this is
Speaker 1: essentially presented to us as an American home where Americans
Speaker 1: live and are ready for some American football.
Speaker 2: Ye.
Speaker 1: And I've this with suits of armor inside that. Yes, yes,
Speaker 1: So it's the It's a weird missmash And I think
Speaker 1: this is ultimately one of its charms, you know, you know,
Speaker 1: at least watching it as an American, you know, it's
Speaker 1: just seeing the sort of mismatch of things.
Speaker 2: Another thing, what is going on with people's accents in
Speaker 2: this movie The Babysit is a great example. She seems
Speaker 2: to go from I've heard I hear English accent at
Speaker 2: some point like a very formal kind of received pronunciation accent.
Speaker 2: Sometimes I hear Irish, sometimes I hear Italian, sometimes I
Speaker 2: hear American. It is all over the place.
Speaker 1: Well, you have to remember Absurd as a prestige picture
Speaker 1: with an international cast, so you know it was you
Speaker 1: know it's not, but it was conceived and produced not
Speaker 1: so much for native Italian audiences, but to be shipped
Speaker 1: out to various international markets, each with their own particular
Speaker 1: and shifting censorship standards. And so we have a predominantly
Speaker 1: Italian cast, but with some like UK and I guess,
Speaker 1: and I guess largely UK talent thrown in there as
Speaker 1: well as this American setting, though again everything was filmed
Speaker 1: in Italy.
Speaker 2: Okay, I was just thinking before we get to the
Speaker 2: elevator pitch. I was thinking of like three different ways
Speaker 2: of categorizing mad slasher villains in movies like this. One
Speaker 2: is the question we already addressed of is a motive
Speaker 2: or not? Sometimes the motive of the slasher is like
Speaker 2: revenge or something, and other times there is no motive.
Speaker 2: This is a case of no motive firmly on the
Speaker 2: random violence into the scale.
Speaker 1: Yeah, yeah, this is on the Halloween end of the spectrum,
Speaker 1: as opposed to say the Burning or Nightmare on Elm Street,
Speaker 1: where there is some symblance of vengeance bound up in
Speaker 1: the motives of the killer.
Speaker 2: Yeah, or the original Friday the thirteenth. Yeah, oh yeah, Yeah,
Speaker 2: that's right.
Speaker 1: I kind of forget because he kind of becomes just
Speaker 1: a mindless killing machine and the franchise later on, certainly
Speaker 1: by the time he takes Manhattan.
Speaker 2: Yeah, exactly. Okay, that's criterion number one. Criterion number two
Speaker 2: is the form, the form and costuming of the slasher villain.
Speaker 2: Do they wear a mask or are they physically altered
Speaker 2: in some way this case, no, he's just George Eastman. No,
Speaker 2: no makeup, no mask, no nothing. He's just a guy. Yeah.
Speaker 2: I mean an interesting looking guy, but just a guy. Yeah.
Speaker 1: For much of it, like he's just wearing like gene
Speaker 1: and a shirt, just wearing like I'd assume he's just
Speaker 1: normal clothes.
Speaker 2: Okay. Third distinction I would make is is this mad
Speaker 2: slasher the beneficiary of any kind of supernatural intervention or magic?
Speaker 2: And in this case I would say, once again, no,
Speaker 2: this is a super powered slasher. But it's not like
Speaker 2: in the later Halloween sequels where we discover that Michael
Speaker 2: Myers is some kind of like reincarnated Celtic deity or something. No,
Speaker 2: he's just a guy, except we get a science fiction
Speaker 2: explanation for why he is so strong and why bullets
Speaker 2: do not stop him. It's because he was the result
Speaker 2: of some experiment in a lab or I think they
Speaker 2: say there was a contamination. Now, they don't get deep
Speaker 2: into the explanation. But he is a product of science,
Speaker 2: not magic. Yeah.
Speaker 1: Yeah, the explanation is a little garble. There's some contradictions
Speaker 1: there we'll get into, but essentially it's like a weapons
Speaker 1: X program. He has a mutant healing factor. It's explicitly stated.
Speaker 1: He's kind of like the Italian or I guess the
Speaker 1: Greek saber tooth here.
Speaker 2: Yeah, yeah, yeah. So I feel like all three of
Speaker 2: these distinctions push it more into the philosophical absurdism side
Speaker 2: of the scale. Right, that he is just a man's
Speaker 2: like he's not physically represented in any unusual way, that
Speaker 2: his motives are non existent, it's just random, And that
Speaker 2: there is no magic or supernatural intervention of any kind.
Speaker 2: He's just a product of a science experiment gone wrong.
Speaker 1: Well, building on that and in lieu of an actual
Speaker 1: elevator pitch I'm going to read a quote from Albert Camu,
Speaker 1: the myth of Sisyphus. Thus, I draw from the absurd
Speaker 1: three consequences, which are my revolt, my freedom, and my passion.
Speaker 2: Bravo wow.
Speaker 1: I mean it is revolting. So and I think we're
Speaker 1: gonna we're gonna skip trailer audio on this one, in
Speaker 1: part because the trailer is just music and screaming.
Speaker 2: I believe, like, oh yeah.
Speaker 1: I would be inclined to include it if we had
Speaker 1: a narrator saying absurd, but they don't.
Speaker 2: I'm going to go on record here and say, even
Speaker 2: for horror movies, I do not like trailers that are
Speaker 2: just full of screaming. Not a fan. I like a
Speaker 2: narrator or at least some clips of dialogue and ominous music.
Speaker 2: This is the screaming. Save it for the climax of
Speaker 2: the film. I'm not interested in hearing just three minutes
Speaker 2: of screaming to preview a movie.
Speaker 1: Absolutely all right. So if at this point you're like, Okay,
Speaker 1: I'm in I do actually want to watch Absurd before
Speaker 1: finishing this episode, well, then more power to you.
Speaker 2: Now.
Speaker 1: The thing is Absurd has circulated under various titles and
Speaker 1: with various cuts for a long time. The region free
Speaker 1: Severn Films Blu ray is hard to beat, though, featuring
Speaker 1: both the original Italian cut that comes in at eighty
Speaker 1: eight minutes and the uncensored US cut, which comes in
Speaker 1: at ninety four minutes. The discs also features a handful
Speaker 1: of informative interviews which I'll refer back to, and it
Speaker 1: has the whole the entire score on CD as a
Speaker 1: bonus disc. Now, if you are not into the physical media,
Speaker 1: you don't have access to it, don't have time, and
Speaker 1: so forth. You can also stream the US cut and
Speaker 1: it has the box art for the Severign release, so
Speaker 1: I guess it's connected to that. You can stream it
Speaker 1: on toov currently, at least in the United States. I
Speaker 1: own the disc. It's great. I think. Once I'm done
Speaker 1: with it, I'm going to be donating it to Video
Speaker 1: Drome here in Atlanta, so if you're local, you can
Speaker 1: rent the disc there. All right, let's get into the
Speaker 1: folks who made this film, starting at the top with
Speaker 1: the director, the producer, and the cinematographer. It's Joe Demato,
Speaker 1: who lived nineteen thirty six through nineteen ninety nine, a
Speaker 1: truly legendary name in the realm of Italian exploitation and
Speaker 1: trash cinema. We have mentioned him numerous times on the show,
Speaker 1: often in connection to other actors who are working in
Speaker 1: eurocinema or in Italian cinema. Sometimes forth also for things
Speaker 1: that he did besides directing. For instance, he was at
Speaker 1: least one of the producers on Troll Too.
Speaker 2: Was he involved at all in Shocking Dark?
Speaker 1: You know, I don't think he was, but we will
Speaker 1: have a Shocking Dark connection here in just a bit. Okay, So,
Speaker 1: Joe Tomato is one of the many monikers that he
Speaker 1: used for his directorial work over the years. It's just
Speaker 1: the one that seemed to stick the most. But his
Speaker 1: birth name was Artista day Masa Cheese. We're going to
Speaker 1: keep referring to him as Joe Tomaca. So, Joe Tomato
Speaker 1: did everything in film at one point or another, in
Speaker 1: part because, you know, based on an interview, the interviews
Speaker 1: that I've seen with him, in interviews with George Eastman,
Speaker 1: who worked with him multiple times, he's a guy who
Speaker 1: loves cinema and you know, love the craft of cinema. Anyway,
Speaker 1: I think he often said that he was not an
Speaker 1: artist and did not see himself as an artist, but
Speaker 1: he clearly, like you know it, was really into the
Speaker 1: craft of making films and all. But also he was
Speaker 1: notoriously cheap and was generally operating on a shoestring budget.
Speaker 1: You know, make it fast, make it cheap. Eastman has
Speaker 1: pointed out in interviews that like, if they could do
Speaker 1: it with one take, they would do it with one take,
Speaker 1: you know. And he wasn't the type of director to
Speaker 1: instruct the actors at all. So if it was a
Speaker 1: good actor, you know, you might get a good performance.
Speaker 1: If they were green, it was gonna be as green
Speaker 1: as it came out, you know. It just wasn't his thing,
Speaker 1: Eastman says, to and to instruct and build upon the performance.
Speaker 2: One take, that's what I love that. That's like the
Speaker 2: ed would rule, right, you know, why do it again
Speaker 2: when it's perfect?
Speaker 1: Yeah, yeah, and we've got to we've got to crank
Speaker 1: this out, you know. So yeah, these were the defining
Speaker 1: qualities of his work, you know, is that he really
Speaker 1: loved the craft. He wanted to do everything, and he
Speaker 1: wanted to do it cheap. But he was also said
Speaker 1: to be pretty easy going, humorous about his productions, gave
Speaker 1: collaborators room to do their thing. But would, as Eastman
Speaker 1: put it, far, rather do ten cheap films than one
Speaker 1: film with a bigger budget to Motto himself, right, yeah, yeah,
Speaker 1: I mean Demtto himself would say, like the pay is
Speaker 1: the same, Why would I do that one big film
Speaker 1: and put all that work into it. I'll just do
Speaker 1: ten cheap films and it'll be the same for me
Speaker 1: at the end of the day.
Speaker 2: Wow.
Speaker 1: Now he's been observed that this this also really held
Speaker 1: him back because he thinks that de Motto could have
Speaker 1: had more success if he'd specialized as a producer and
Speaker 1: as a cinematographer and like let other people direct. But
Speaker 1: he kept on directing, and when the demand for Italian
Speaker 1: genre films went south, he worked on what was internationally marketable.
Speaker 1: And that's something to keep in mind with a lot
Speaker 1: of these films like this. This film in particular, it
Speaker 1: was not really made for Italian audiences. I think it did,
Speaker 1: you know, show in theaters very briefly. It was mostly
Speaker 1: to be shipped out to other markets in various cuts,
Speaker 1: and when the demand for those sorts of films went away,
Speaker 1: it meant, you know, he had to turn to other things.
Speaker 1: That were internationally marketable, which meant mostly adult films. But
Speaker 1: during his prime he shot pretty much everything like every
Speaker 1: type of B movie anyway, from you know, from gladiator
Speaker 1: flicks to post apocalyptic gladiator flicks. And there's a lot
Speaker 1: of garbage in there, to be sure, But of the
Speaker 1: various video nasties and cult classics worth mentioning here you
Speaker 1: have the likes of seventy three's Death Smiles and a
Speaker 1: Murderer seventy nine Beyond the Darkness. Oh and also there's
Speaker 1: a tour the Fighting Eagle that one I believe that
Speaker 1: or one of the a tour films was featured on
Speaker 1: a Mystery Science Theater three thousand, twenty twenty Texas. Gladiators
Speaker 1: and Endgame from eighty three also various Emmanuel films in
Speaker 1: the erotic genre. In nineteen eighty he collaborated with George
Speaker 1: Eastman on the film and Throw Pophagus, the predecessor to
Speaker 1: this film, and it was enough of a hit internationally
Speaker 1: that they came back for a kind of spiritual sequel,
Speaker 1: spiritual successor, and that is this film absurd.
Speaker 2: That is one I've heard warnings about even from people
Speaker 2: who are like hardened low budget gory horror movie fans,
Speaker 2: they're like, that one is disgusting.
Speaker 1: Yeah, it's it's gross, it's you know, it's it's shot
Speaker 1: in grease. That it's very really grimy. So it does
Speaker 1: have Eastman as the villain, as the cannibalistic monster, though
Speaker 1: in that film he has like a bald cap and
Speaker 1: some monster makeup on. And that film famously ends with
Speaker 1: the monster being like partially disemboweled, and then Eastman's character
Speaker 1: pulls out his own guts and takes a big bite
Speaker 1: out of them and dies. So that's that's the kind
Speaker 1: of film it is. And it had various titles as
Speaker 1: where like like the Grim Reaper and so.
Speaker 2: Forth, and they're like, for absurd, what if you take
Speaker 2: the ending of that movie and start there exactly.
Speaker 1: Yeah, that's essentially what they do. We have a fun,
Speaker 1: fun callback to that disemboweling sequence, all right. Yeah, getting
Speaker 1: to the star, we very talked about him a little bit,
Speaker 1: but George Eastman born nineteen forty two still with us
Speaker 1: as of this recording. Not only does he play our
Speaker 1: central monster who this is one of those films where
Speaker 1: this character has both a first and last name in
Speaker 1: the credits, which is ridiculous. Mikos Stenopolis never is I
Speaker 1: think either name referred to.
Speaker 2: No, they do, they do. They Stopolis where the detective is. Oh,
Speaker 2: I can't wait to talk about him. But the detective
Speaker 2: is interviewing the Greek priest, who you don't know is
Speaker 2: a priest at this point, and they're talking about the killer.
Speaker 2: They say his name is whatever, Mikos or Nicos Stenopolis,
Speaker 2: whichever it is, and so they say his last name.
Speaker 2: But it's not the only time we have a slasher
Speaker 2: movie villain with the first and last name. I admit
Speaker 2: it also did sound funny here, but then I thought,
Speaker 2: wait a minute, Michael Myers, Jason Voorhees, Freddy Krueger, we
Speaker 2: know their first and last names. Why does it feel
Speaker 2: weird here? I'm not sure, but it did feel really
Speaker 2: funny when we got his whole name. It just seems
Speaker 2: like a character who should not have a name or something,
Speaker 2: or you wouldn't know what his name was. They would
Speaker 2: just call him the being or something. And yeah, it
Speaker 2: also I think is especially funny because it's George Eastman,
Speaker 2: and something about the way George Eastman looks in this
Speaker 2: movie is corrupted by knowing that he has a full name.
Speaker 2: Does that make any sense?
Speaker 1: Yeah, yeah, so obviously the name George Eastman is also
Speaker 1: a moniker. This is the stage name, one of many
Speaker 1: stage names about ultimately the one that's stuck for Luigi Montefiori,
Speaker 1: and he is. But he's always going to be George Eastman.
Speaker 1: This is the name that's going to be written in
Speaker 1: b movie lore forever. And you just have to see
Speaker 1: him to know what we're talking about. He pops up
Speaker 1: in a lot of things, Spaghetti western, certainly at first,
Speaker 1: horror films, post apocalyptic pictures. At least in his prime
Speaker 1: he was at least six', six But i've also seen
Speaker 1: him promoted as six.' nine it's sometimes hard to tell
Speaker 1: and show business how tall someone, actually is but. Very
Speaker 1: tall man looks very tall on, the screen lean, but muscular.
Speaker 2: You know.
Speaker 1: Handsome guy but also there's like a fairal, you know like.
Speaker 1: In quality, you know there's a lean and hungry look
Speaker 1: to him that he's that allows him to like naturally
Speaker 1: lean into villain and.
Speaker 2: Heavy roles he does not. Look trustworthy he has a
Speaker 2: face that looks like a like a predatory mammal kind Of, wolfin.
Speaker 1: Yeah yeah so you know that's what you get oodles
Speaker 1: off in, this film but he was in a lot
Speaker 1: of stuff we. Already mentioned eighty Six is Hand, Of
Speaker 1: steel Hands. Of steel he was also in let's see
Speaker 1: nineteen Ninety The bronx warriors From then there's twenty nineteen
Speaker 1: After the Fall Of new York Blast Fighter. Rabid dogs
Speaker 1: he had attended, film school and his acting credits go
Speaker 1: back at least to nineteen, sixty six but he also,
Speaker 1: wrote screenplays AND if i remember correctly from Past interviews,
Speaker 1: i've watched he was sometimes asked to work over scripts
Speaker 1: and make them like at least. Less Bad And de
Speaker 1: Motto and eastman first worked Together on cormac Of the
Speaker 1: mounties from nineteen. Seventy five this is a film where
Speaker 1: the lead actor apparently rejected the, existing screenplay but after
Speaker 1: they had already set the shooting schedule for the picture
Speaker 1: based on the, old script And so eastman had to
Speaker 1: be brought in to write a brand new script to
Speaker 1: please the lead but also appease the shooting schedule that
Speaker 1: was already, agreed upon and it ended up at least
Speaker 1: working to. Some degree so this led to an extended
Speaker 1: writer director partnership on various, exploitation films some of them
Speaker 1: really grimy in, various countries including The aforementioned greek, cannibal
Speaker 1: film In which eastman starred and also was. The writer,
Speaker 1: and yeah that was enough of a success they came
Speaker 1: back and made. This film eastman went on to direct
Speaker 1: the nineteen Ninety, film metamorphosis but quit acting around the
Speaker 1: same time to focus on, his screenwriting and apparently enjoyed
Speaker 1: a fair amount of success writing for Higher budget italian.
Speaker 1: Television projects he also had a couple Of non they
Speaker 1: are also a couple of non exploitation acting credits worth
Speaker 1: mentioning in. His filmography he played the minotaur in nineteen
Speaker 1: Sixty Nine's Fellini, satira coon and he plays The giant
Speaker 1: goliath in the nineteen eighty five Biblical Epic, king David starring.
Speaker 2: Richard, GEAR hmmm i wonder if they, reused it Because
Speaker 2: because david's got A, chop galai it's. HEAD off i
Speaker 2: wonder if they reused the head prop from absurd IN
Speaker 2: that i.
Speaker 1: DON'T know i was wondering whatever happened to the head prop? From,
Speaker 1: HERE like i hope somebody. Has it it could go
Speaker 1: for a pretty penny on, the open, you know exploitation fan.
Speaker 2: Cinema market so we already mentioned earlier that this is
Speaker 2: a slasher movie villain who does not wear a mask
Speaker 2: or any. Special makeup he's just. A GUY and i
Speaker 2: think it was before we started recording that we were
Speaker 2: talking about actors who can actors who can pull this
Speaker 2: off where just their their unmodified look is enough to
Speaker 2: be a. Movie monster, you know You Got, Tour johnson
Speaker 2: and of course sometimes they would give him like contacts
Speaker 2: in his eyes, or something but, you know mostly unmodified
Speaker 2: look can be. A monster You, got tour You Got.
Speaker 2: GEORGE eastman i know there are other people, like THIS,
Speaker 2: but i, you KNOW sometimes i kind, of wonder like
Speaker 2: what did that feel like for these Actors like tour,
Speaker 2: and THAT like i can be a movie monster without
Speaker 2: changing THE way.
Speaker 1: I look, it's interesting, You, know one this is a
Speaker 1: very strange comparison to make because we're talking about just
Speaker 1: an entirely different stratosphere of. Acting ABILITY but i also
Speaker 1: can't help but Think Of anthony hopkins In the silence Of.
Speaker 1: The lambs, you know, they definitely, you know they definitely
Speaker 1: use makeup, on him but it's not, monster makeup and
Speaker 1: a whole lot. Of it, of course Hinges on hopkins'
Speaker 1: fabulous performance in. That film h he is a, tremendous
Speaker 1: actor but he is just he is, a monster and
Speaker 1: you buy it completely in that film WITH minimal i,
Speaker 1: would say as far as, monster makeup goes minimal makeup
Speaker 1: effects to make it come of.
Speaker 2: THE life i also realized there's a fairly i think
Speaker 2: famous Image Of george eastman doing this absolutely satanic grin
Speaker 2: as he looks down, at something and that comes from,
Speaker 2: this movie in the scene where he is putting a
Speaker 2: bandsaw to.
Speaker 1: Illicit, use yeah he doesn't maintain this energy throughout the,
Speaker 1: entire performance but in key moments it.
Speaker 2: Really.
Speaker 1: Pops yeah, all right let's get into the church and
Speaker 1: state elements of, the picture because we. Got it we
Speaker 1: already mentioned the claret who is chasing after, our killer
Speaker 1: and then of course we also have to.
Speaker 2: Have some local.
Speaker 1: Law enforcement the priest who's discredited as father is Played By,
Speaker 1: edmund purdome who of nineteen twenty six through two thousand
Speaker 1: And nine English born italian actor with extensive stage Credits
Speaker 1: on broadway and In The Royal. Shakespeare theater apparently he
Speaker 1: had leading role in the nineteen fifty four Twentieth century
Speaker 1: Fox Epic, the egyptian and was also in Fifty Three's.
Speaker 1: Julius caesar he works steadily In various italian and euro,
Speaker 1: genre Pictures including pieces, Twenty nineteen After the Fall Of,
Speaker 1: new york A Tour night child from, seventy five and
Speaker 1: in nineteen eighty four he directed and starred In the
Speaker 1: british Horror Film Don't Open.
Speaker 2: TILL christmas i think what they were going for with
Speaker 2: this Guy in Absurd Is Greek. Gregory, peck yeah so
Speaker 2: he's Playing a greek, priest character AND certainly i think
Speaker 2: there are Elements Of doctor Loomis from halloween in the,
Speaker 2: Here TOO but i think they're also trying to get
Speaker 2: a bit Of The gregory peck vibe From the omen
Speaker 2: and it Helps That edmund purdham looks a decent Amount Like. Gregory, peck,
Speaker 2: yeah yeah.
Speaker 1: He does and THIS is i think probably the best
Speaker 1: actor in. THE picture i don't know how much evidence
Speaker 1: of that. WE see I don't this is not a
Speaker 1: picture that really asked much of the, actors present but,
Speaker 1: you know he does bring a silent dignity to his
Speaker 1: scenes as much as is as possible In A joe,
Speaker 1: tomato picture and, In interviews eastman spoke highly, of him
Speaker 1: saying that, you know they were surprised they were able
Speaker 1: to get him for the picture for a picture, like
Speaker 1: this and they pointed out that he's one of those
Speaker 1: actors that took his craft so so seriously and was
Speaker 1: so professional that, you know he was just super professional,
Speaker 1: on set even in a low budget genre piece. Like
Speaker 1: this like we've heard similar things about Like Say peter cushing.
Speaker 2: For, example, yeah, yeah no almost nobody in this movie
Speaker 2: has really given much of a chance to. Actually act
Speaker 2: he may get the most opportunity. Of anyone there are
Speaker 2: other actors who get the idea that if they had
Speaker 2: a role to do, something with they might be. QUITE
Speaker 2: good i kind of felt That About, hanya kochansky but
Speaker 2: she who plays the mom in. The family, but again,
Speaker 2: you know this is not a movie that's written for,
Speaker 2: dramatic performances, Right right.
Speaker 1: Oh yeah the law end of the, Spectrum Here charles
Speaker 1: Burrammel Plays Sergeant. Ben engelman he lived nineteen thirty three
Speaker 1: through two thousand. And seven scottish actor who, worked extensively if,
Speaker 1: not Exclusively in italian cinema And in italy. Based productions
Speaker 1: he Also did english. Voice dubbing he does Appear In
Speaker 1: lady hawk as. INSANE prisoner.
Speaker 2: I thought this guy was and this sort of is
Speaker 2: a class, of actor if you KNOW what. I mean
Speaker 2: rob the kind of actor who reminds you of about
Speaker 2: fifteen other, different actors, you know who keeps giving you notes,
Speaker 2: of like, oh here he's kind of reminding me of so.
Speaker 2: AND so i would say the two most prominent likenesses
Speaker 2: for Me Were robin Williams and. Darren McGavin but like
Speaker 2: A Haggard. Robin, WILLIAMS yeah i think. That, Works, yeah
Speaker 2: yeah he is.
Speaker 1: Very haggard he's one of the stereotypical horror film police
Speaker 1: chief type character who is just, really tired but also
Speaker 1: only devoted to. Clearing cases that's all he.
Speaker 2: Cares, about yeah. That's RIGHT though i think he's also
Speaker 2: prone to taking it too personal if you know what.
Speaker 1: You. Mean yeah now You Mentioned hanya kochanski playing. The
Speaker 1: mom She Plays. Carol bennett So the bennetts are like
Speaker 1: the key threatened family in.
Speaker 2: The.
Speaker 1: Picture yeah so She Plays, carol bennett the mom and
Speaker 1: her two of her real life children play, The daughter
Speaker 1: katya and The. Son willie so it's. Really INTERESTING when
Speaker 1: i was looking, into this so she is a Former like,
Speaker 1: croatian singer model, and actress just a handful. Of credits
Speaker 1: but she was married at one Point to american actor
Speaker 1: who worked extensively, In Europroductions. William berger we talked about
Speaker 1: him in our discussion of the nineteen Eighty three. Hercules
Speaker 1: film He Plays king minos. In that and so the
Speaker 1: two kids, in this one of them Is is burger's
Speaker 1: biological Son with kochanski and the, other child the, older
Speaker 1: child he was. Her stepfather, so yeah The Children katya
Speaker 1: Burger And. Kazimir burger katya born nineteen, Sixty six kazimir
Speaker 1: born nineteen. Seventy four AND as i, WAS looking i, saw,
Speaker 1: that okay she's apparently. A SINGER maybe i can find
Speaker 1: some information about her. Singing CAREER so i was doing
Speaker 1: some searches on her NAME and i ended up running
Speaker 1: across something on The UK's National, portrait gallery and it
Speaker 1: turns out there were a series of nude portraits that
Speaker 1: photographs that were Taken by russian born fine Art photographer
Speaker 1: ida car who of nineteen oh eight through nineteen seventy
Speaker 1: four and in, these photos which, you know, very tasteful,
Speaker 1: you know. Art photography here We have hanya and she
Speaker 1: is pregnant with, Her, son kasimir the boy in this
Speaker 1: film at, the time and in one of The pictures
Speaker 1: katya is.
Speaker 2: ALSO present i would not have expected absurd, to have,
Speaker 2: you know like one degree connections to fine. Art.
Speaker 1: Photography yeah and Then On, GETTY images i found some
Speaker 1: images from the opening of a presentation of, these images
Speaker 1: and here. We Are there's hanya and Her son kazimir from.
Speaker 1: Twenty eleven so here's the little boy from this picture
Speaker 1: as a.
Speaker 2: Grown, man well this is. So sweet mother and son
Speaker 2: here pictured in. Twenty eleven they both look very proud
Speaker 2: standing by. THE photos i guess this is some kind
Speaker 2: of gallery showing. Or, something, yeah yeah so. That's GREAT
Speaker 2: but i have to say this is the case always
Speaker 2: pretty Much in italian movies of, this period if they
Speaker 2: have a, child character the dubbing is. So creepy and
Speaker 2: the same, thing here the dubbing of this, kid's voice The,
Speaker 2: son willie the character in, the movie it's. SO unwholesome
Speaker 2: i don't know how. TO explain i don't know in,
Speaker 2: this case if it was dubbed by. An adult it
Speaker 2: may have actually been dubbed by a child. VOICE actor
Speaker 2: i don't know if It was. Casimir himself but why
Speaker 2: is it that the dubbed voices of children in these
Speaker 2: movies just always sounds?
Speaker 1: So, WRONG yeah I mean i think they are often
Speaker 1: done by like, adult women as is the case Of
Speaker 1: the house By, The cemetery so similar. Vibe here, also generally,
Speaker 1: you know with child actors, IN general i mean there's
Speaker 1: sometimes a CERTAIN there's, i mean they, are children, ye
Speaker 1: know sometimes there's kind of a wild. Element too, so uh,
Speaker 1: you know you have a kid in, this picture you're
Speaker 1: maybe getting one or two takes and then you're having
Speaker 1: somebody dub. The voice so the boy does feel a
Speaker 1: little bit almost fair all at times in.
Speaker 2: This, PICTURE yeah i want to watch. The game oh
Speaker 2: we haven't even talked about the. Game yet they wait
Speaker 2: to get to the case at. The.
Speaker 1: Game uh, The Dad ian bennett is played By Not,
Speaker 1: william berger but an actor by the Name of William Of.
Speaker 1: Ian dandy, and yeah he just had some minor parts
Speaker 1: a Few different italian productions and Did some english language
Speaker 1: translation on.
Speaker 2: Some pictures so the actor Is, named ian the character
Speaker 2: Is named ian but in this movie he is referred
Speaker 2: to by at least one other Character.
Speaker 1: As Eon, all right three victims to profile here. Really
Speaker 1: quickly i'll try and streamline these. A bit We Have
Speaker 1: annie Bella playing Emily. The nurse she lived nineteen fifty
Speaker 1: six through twenty. Twenty four french actress with a at
Speaker 1: the time distinctive, short cut blonde hairstyle that worked in
Speaker 1: a Lot of italian erotic and exploitation FILMS before, i
Speaker 1: Believe if i'm, reading correctly earned a degree and ended
Speaker 1: up going into. Social work her films include Nineteen eighty's
Speaker 1: house On the edge Of the park in nineteen Seventy
Speaker 1: Six Is. Black velvet then we Also have Peggy, the
Speaker 1: babysitter Played By, Cindy leadbetter american model and actress whose
Speaker 1: credits include Seventy Eight, star crash nineteen Eighty, Four's rats Night,
Speaker 1: of Terror And the Adventures. Of, hercules wait Was Was
Speaker 1: george Eastman In?
Speaker 2: Star? Crash not? Why not they could have?
Speaker 1: USED him, i, know yeah if he's, not in there's a.
Speaker 1: Missed opportunity and, Then finally i'm not going to go
Speaker 1: into the. Depth lines we'll come back to this guy
Speaker 1: when we look at one of. His Pictures But mikaelay
Speaker 1: suave born nineteen fifty seven plays a biker, in this
Speaker 1: a biker who is brutally Murdered By. Georg chiesman this
Speaker 1: is the man who would go on to direct such
Speaker 1: films as nineteen Eighty nine It's the church and nineteen
Speaker 1: Ninety Four. Cemetery man at, this time he was just
Speaker 1: an up, and coming a young man who just wanted
Speaker 1: to be involved. In films and if, you were if
Speaker 1: you had this kind of enthusiasm and you didn't mind not,
Speaker 1: Being Paid joe tomato was here. For you And So
Speaker 1: joe tomato is one of several different directors that he
Speaker 1: worked with, early on including others Included Like dario argento
Speaker 1: And The. Murdo bava and of course he'd also gone
Speaker 1: to work Some With. Terry gilliam so just kind of
Speaker 1: a fun little ultimately. A cameo we get To see
Speaker 1: suave and his motorbike in.
Speaker 2: This picure he's one of a gang of motorcycling youths
Speaker 2: that feel almost quite. Lightly, directed yes.
Speaker 1: All right and then finally the music here is it's
Speaker 1: another Score By Carlo maria cordillo born nineteen. Fifty two
Speaker 1: we talked about him recently because he did the Score For. Shocking.
Speaker 2: Dark, ah okay there.
Speaker 1: You, Go Yeah so i'm not going to go into
Speaker 1: the full profile, on HIM but i will say THAT
Speaker 1: the i think the Score for absurd is a lot.
Speaker 1: Of fun you got, some synth you got some prog.
Speaker 1: Rock elements you can find The track absurd on. Streaming
Speaker 1: currently this is this one starts off with kind of like,
Speaker 1: a wonderful atmospheric kind of vibe and you know it,
Speaker 1: very ambient and then, you know get some organs thrown
Speaker 1: in there before transitioning into, this heavy overly dramatic prog
Speaker 1: rock build towards obvious on.
Speaker 2: Screen violence the use of music in the movie is
Speaker 2: occasionally funny because of the way it pairs, this soft
Speaker 2: melancholy Melody With george eastman just wandering around at night looking. For, Victims,
Speaker 2: yeah like it makes it almost kind, of like oh,
Speaker 2: the sadness he's. So Lonely.
Speaker 1: The severn, blu RAY as, i mentioned includes the whole
Speaker 1: score AS a cd, bonus disc and then The Excellent
Speaker 1: Death Waltz record company put the score out on a
Speaker 1: beautiful double vinyl back in twenty fifteen with this really
Speaker 1: grotesque and beautiful bit of cover Art By Wes, ben
Speaker 1: scotter combining two of the grisliest moments in.
Speaker 2: The film oh. You're right so here We Have george
Speaker 2: eastman with his guts hanging out and he his intestines
Speaker 2: are spelling the. Word. Absurd beautiful? Wait beautiful did we
Speaker 2: look AT the I Think severin films also puts out
Speaker 2: a Sticker Of george eastman with his guts, hanging out
Speaker 2: but in the sticker they're. Spelling chow.
Speaker 1: Also brilliant.
Speaker 3: Also brilliant, all right you ready to talk about, The
Speaker 3: plot let's.
Speaker 2: Do it so after the credits we get a montage
Speaker 2: of different. Opening images first, of all we see some
Speaker 2: action inside. A house there is a young woman tracing
Speaker 2: out circles on drafting paper with a. Compass tool so she,
Speaker 2: you know she's got one. Of those it's like the
Speaker 2: spike and the, pencil attaches so's she's making perfect circles.
Speaker 2: On paper but she's actually lying in a, hospital bed
Speaker 2: and so what she's drawing on is like this pad
Speaker 2: that sort of set up over her. Hospital bed and
Speaker 2: she's in a room in a large house restrained to
Speaker 2: the cot with straps and some kind of brace around,
Speaker 2: her neck jaw. AND chin i guess we could go
Speaker 2: ahead and mention that the house and the other. People
Speaker 2: present so this is sort of the house the villa
Speaker 2: that we were alluding to earlier that, is big full of.
Speaker 2: OPEN spaces i think is supposed to Be an, american
Speaker 2: home but it's, this Strange huge italian mansion with suits
Speaker 2: of armor and roaring fireplaces, and stuff but also, just
Speaker 2: WEIRD as, i said kind of. Squalid touches like the
Speaker 2: dad's liquor collection we see later is like up on
Speaker 2: a mantle over a fireplace and it just looks like
Speaker 2: a dorm. ROOM stash i.
Speaker 1: Don't, KNOW yeah i, WAS like i haven't seen. This
Speaker 1: BEFORE am i supposed to be doing it? Like THIS
Speaker 1: should i have a mantle for my?
Speaker 2: Liquor bottles, so anyway the girl in the hospital bed Is.
Speaker 2: Named katchya she is in traction to treat a. Spinal
Speaker 2: disorder her Mother, is carol her little Brother, is willie
Speaker 2: and their Babysitter. Is, peggy, now meanwhile somewhere, else outdoors
Speaker 2: someone is running in. The woods Why That's george eastman
Speaker 2: running through. The woods he's, looking, massive shaggy covered. In
Speaker 2: sweat he's got, the beard, long hair and with the
Speaker 2: beard and the mop, like haircut he looks kind of
Speaker 2: like a giant Seventies era beetle or maybe one Of.
Speaker 2: The beg's do you?
Speaker 1: See, that yeah he looks like like the scariest dude in. The, disco,
Speaker 1: yeah Yeah.
Speaker 2: Killer beiji and he is being chased through the forest
Speaker 2: by an older man in a black. Trench coat they're
Speaker 2: going to play up a mid story reveal that the
Speaker 2: Guy Chasing george eastman is Actually done dundune. A priest
Speaker 2: they show that by ripping open his coat and revealing the.
Speaker 2: Clerical COLLAR but i got that he was a priest
Speaker 2: from the very first time we. SAW him i, Don't
Speaker 2: know he's like he's dressed in all black and his collar.
Speaker 2: Is hidden, there's like, you know coming up. His neck
Speaker 2: this was never in doubt. For me did you feel. The?
Speaker 1: Same yeah and plus he also he doesn't pull out
Speaker 1: a gun, or, Anything right, so yeah he doesn't seem
Speaker 1: like he's. Law enforcement why are you chasing? A?
Speaker 2: Madman, yeah so but also, the priest he sort of
Speaker 2: he clutches at his chest as he runs so it's
Speaker 2: like he's not. Cut out he's not cut out. For,
Speaker 2: this now back at, the house the mom Comes into
Speaker 2: kachia's room and sees her drawing circles upon circles with
Speaker 2: her compass and encourages her to do. Something else, it's, Like,
Speaker 2: oh katya you're making drawing hundreds of, circles again wouldn't
Speaker 2: you rather watch television? Or SOMETHING and i, was wondering
Speaker 2: does this ever pay off in any way or do
Speaker 2: we get any kind of explanation. ABOUT it i know
Speaker 2: there is a payoff with the, compass tool like a
Speaker 2: something is done with, That LATER but i mean the drawing.
Speaker 2: Circles part is there a reason she's drawing hundreds of
Speaker 2: circles on top of? Each other or do the circle
Speaker 2: patterns ever connect? To?
Speaker 1: ANYTHING no i. DON'T think i don't think the circles.
Speaker 1: Actually do it made me think about that Moment In
Speaker 1: the simpsons about kids being obsessed with spirographs or how
Speaker 1: they should be obsessed with spirographs and they're. Not anymore,
Speaker 1: oh yeah, but yeah this doesn't QUITE come i guess it.
Speaker 1: KIND of i guess the idea is maybe it connects
Speaker 1: to other moments and other films where children drawing things
Speaker 1: does connect into.
Speaker 2: The PLOT.
Speaker 1: But i kind of liked it, as texture even if
Speaker 1: it doesn't.
Speaker 2: Go anywhere, yeah, Yeah yeah well it just made, me
Speaker 2: think wait, a Minute Is katya is she into geometry
Speaker 2: or is she OBSESSED with i. DON'T know i don't
Speaker 2: know why she's doing this SHE likes i guess, so
Speaker 2: well who doesn't one of. THE best. I agree, back
Speaker 2: outside the chase is, still happening but eventually the crypto
Speaker 2: Priest Chases george eastman onto the wrought iron gate surrounding a,
Speaker 2: big mansion and this is the house with the people
Speaker 2: we just saw. Inside It george eastman seems to be frantic.
Speaker 2: TO escape i don't exactly know why he's running from, the,
Speaker 2: priest because as we come, to see he's, basically invulnerable
Speaker 2: so HE should i. Don't know it seems like he
Speaker 2: would be doing, the chasing not the. Running away but he.
Speaker 2: Runs away he climbs, the gate but he falls and
Speaker 2: ends up impaling his midsection on the cold iron spikes of.
Speaker 2: This gate, After This, george eastman what we see inside
Speaker 2: the house and there's a knock on the door and
Speaker 2: the little, boy goes he's like hanging out with. HIS
Speaker 2: baby i think they're. Eating breakfast and it's sort of
Speaker 2: confusing because in this interior shot we see out the
Speaker 2: window and it's pitch, black outside, totally dark but it
Speaker 2: was just daylight when we were so it. Doesn't match,
Speaker 2: but anyway the little boy goes to answer, the door opens,
Speaker 2: it up and, oh No Here's george eastman standing here
Speaker 2: with his intestines hanging out of. His, stomach yeah with, Eyes, wide.
Speaker 1: Yeah sweaty. It's wonderful this is our shocking callback to
Speaker 1: the disembowlment scene at the end of the previous film
Speaker 1: that is again just this is just a. SPIRITUAL successor
Speaker 1: i don't think we're to connect these characters in any other.
Speaker 2: Real, sense now, after this we go to a, surgery
Speaker 2: scene a long, surgery scene one of Multiple And george
Speaker 2: eastman is on. A hospital he's on a hospital bed being.
Speaker 2: Operated on his intestines are still. Hanging out and this
Speaker 2: scene is a an interesting mix of what feels realistic
Speaker 2: and what. Does not so it's a full surgical setup
Speaker 2: that has a lot of authentic looking props. And apparatus
Speaker 2: but then whenever they show a close up of the,
Speaker 2: surgical action, which yeah they're going to show quite. A
Speaker 2: few the doctors and nurses just appear to be like
Speaker 2: poking and tossing the guts around like they're moving food
Speaker 2: in a.
Speaker 1: Frying, pan yeah they're essentially just pushing around pig flesh
Speaker 1: and cale intestines Here on georgie, SPAN stomach.
Speaker 2: I believe.
Speaker 1: So, wow yeah it is a mix of of of
Speaker 1: something that looks real and is real and in, some respects,
Speaker 1: but yeah it's also.
Speaker 2: Like fake Oh and eastman wakes up during the procedure
Speaker 2: and they get him to go back. TO sleep i,
Speaker 2: think they, you know give him give him. Higher. Dose,
Speaker 2: uh meanwhile elsewhere and now, It's nighttime so this is
Speaker 2: one of those movies just cuts back and forth between
Speaker 2: day and night all. The, time uh it's nighttime and
Speaker 2: we see bikers harassing an old Man. Named shaughnessy there's
Speaker 2: this old man like wandering in the middle of, the
Speaker 2: street swigging from a giant. Green bottle these young bikers
Speaker 2: circle around him and yell at him and then, motor
Speaker 2: away and then the. Cops come have. A turn a
Speaker 2: police car pulls up and we first meet our Police Detective. Sergeant,
Speaker 2: ingelman engleman leaning out of a, car, window SAYS if
Speaker 2: i catch you drunk just, Once more i'm gonna have
Speaker 2: to lock, you Up, and shaughnessy in a quite, unconvincing,
Speaker 2: Way says i'm, not drunk and then takes a big
Speaker 2: swig of his. Green bottle but before this situation, Can
Speaker 2: resolve ingleman gets a call on the radio that there
Speaker 2: is a badly wounded man at, the hospital so he
Speaker 2: has to go check. That out this leads back to.
Speaker 2: MORE surgery i hope you, like this there's plenty. Of
Speaker 2: it and then after the surgery, is done one of
Speaker 2: the nurses who is assisting with the procedure talks to.
Speaker 2: The doctor This, is emily who we will meet again
Speaker 2: later in the movie because she moonlights as a home
Speaker 2: care nurse for the, main family taking Care of kacia
Speaker 2: and helping with. Her attraction emily and the doctor talk
Speaker 2: about this dude they were. Operating on it's one Of
Speaker 2: those i've never seen anything like. It conversations apparently the
Speaker 2: issue is that quote his blood COAGULATED while i was
Speaker 2: in the middle of operating, On him, SO yeah i,
Speaker 2: don't know his blood's, clotten up.
Speaker 1: Really, fast yeah and there's a lot of mumbo jumbo
Speaker 1: as they're describing what's up with his mutant. Healing factor
Speaker 1: but it's either this scene or a subsequent scene where
Speaker 1: the doctor gives us the official medical diagnosis of absurd that's.
Speaker 2: Right, now next we have a Scene Where sargeant engleman.
Speaker 2: Is interviewing he's back at the house and He's interviewing
Speaker 2: carol the mom about the guts incident at her. Home
Speaker 2: earlier he's smoking a cigarette in her living Room with
Speaker 2: willie on the couch next to him and gruffly explaining
Speaker 2: his guts were. All destroyed they don't think he'll pull
Speaker 2: through with. The kids, right there and the mom says
Speaker 2: she thinks that he was a thief intent on robbing.
Speaker 2: The house engleman doesn't seem sold, on that but she
Speaker 2: also explains their plans for. The night, this is, oh
Speaker 2: boy this. Is exciting she and her husband are going
Speaker 2: to go to a neighbor's house to watch. The game
Speaker 2: the first of, many references and we get evil Glares
Speaker 2: from willie during. This conversation but they're Going, to yeah
Speaker 2: they're going to go over to the forest's house to
Speaker 2: watch the Game and they don't say here that they're
Speaker 2: going to eat spaghetti and watch, the game but that is.
Speaker 1: The plan, Oh yes oh. My god this is one
Speaker 1: of my favorite elements of. The film and we get
Speaker 1: this scene later On of americans In this, american home
Speaker 1: which is Actually an, italian Villa watching, american Football actual
Speaker 1: american football on the telly and chowing down. On spaghetti
Speaker 1: and it's either one of these things that is like
Speaker 1: a fun little bit of humor that east beIN in
Speaker 1: the moatto slid into, the picture or it's a. Complete
Speaker 1: accident it. Just happenstance in, either case. IT'S amazing i
Speaker 1: am not really a football watcher of, football fan but
Speaker 1: if there was the prospect of absurd style spaghetti and,
Speaker 1: FOOTBALL parties i would.
Speaker 2: Be interested, oh absolutely this is an. Amazing party it
Speaker 2: takes place in this another. Weird interior there's a Couch
Speaker 2: that ian ends up sitting on later when he's brooding
Speaker 2: about the fact that he Ran Over george eastman with
Speaker 2: his car and didn't. Tell, anybody, yeah yeah he's sitting
Speaker 2: there brooding on. This couch that is the pattern on.
Speaker 2: The couch it's more ornate than any picture frame In
Speaker 2: the louver and they're just all wolfing down spaghetti with.
Speaker 2: These plates they're standing around holding plates of spaghetti in,
Speaker 2: their hands not sitting at a table, watching football and shoveling.
Speaker 2: The spaghetti it's so. Good anyway. That's later the next
Speaker 2: thing that happens in the movie is that the police find, the,
Speaker 2: priest right so. You got engelman finds the priest who
Speaker 2: Was chasing eastman at. The beginning he's one undering along
Speaker 2: a dark road in, the Night and engleman pulls up and.
Speaker 2: Questions him, the priest who we're not supposed to know
Speaker 2: as a, priest yet claims his car, broke Down and,
Speaker 2: engleman says it's a good thing you ran. Into me
Speaker 2: everyone else is watching the, game, tonight oh and he
Speaker 2: Says it's Rams. Versus steelers is that a? GOOD game i.
Speaker 2: Don't know is that an especially? COMPELLING game i don't
Speaker 2: know in the, EARLY eighties i.
Speaker 1: Don't know football fans let.
Speaker 2: Us know, So next engleman goes to the hospital and
Speaker 2: He Finds greek Drakomas In george. Eastman's pants they just
Speaker 2: Bring him eastman's pants and he's going through the pockets
Speaker 2: and He's, like drakmas and he connects that to the
Speaker 2: dude he just ran into Who was greek. As well
Speaker 2: it's all coming. TOGETHER now i don't know what, it
Speaker 2: means but he thinks this. Is Significant so engelman is
Speaker 2: talking to a nurse and he asks To. See eastman,
Speaker 2: he can't not until. He's recovered and then he asks
Speaker 2: the nurse for, a description to which, she replies, he's
Speaker 2: huge not my type. At all what that's? Some writing
Speaker 2: and then also there's an incredibly awkward flirting scene between
Speaker 2: the cop and, the nurse some. Inappropriate comments he Hands
Speaker 2: Back george eastman's pants and, Then, leaves.
Speaker 1: YEAH yeah i love the handling of. The, pants here
Speaker 1: these gross pants that were worn by. This psychopath here
Speaker 1: that maybe they've. Been longered hopefully they've.
Speaker 2: Been longer so the nurse goes back to the operating
Speaker 2: Room where eastman is still on, the table and like
Speaker 2: another nurse comes in to Check on eastman and, he
Speaker 2: says they indicate his blood is reproducing itself at triple the. Normal,
Speaker 2: rate wow that's that's a lot. OF blood i don't
Speaker 2: know triple best? Right exactly and then you know it's.
Speaker 2: Safe somehow Now the greek guy The other greek guy
Speaker 2: is here at, the hospital and he makes his way
Speaker 2: to the room that the cop wasn't allowed to, go
Speaker 2: to and he's looking looking in through a window in
Speaker 2: the Door, at Eastman and eastman, wakes up sees the
Speaker 2: dude and starts raging and has to be restrained by
Speaker 2: hospital staff until they can get. Him sedated and this
Speaker 2: leads to two. Simultaneous scenes one of them is the
Speaker 2: Scene Where sargent engleman Gets the greek priest into a
Speaker 2: room and he interviews him about what's. Going on, he's,
Speaker 2: like so you decided to come to the hospital to
Speaker 2: get your? Car fixed is? That it what are you up?
Speaker 2: To mister are you responsible for? The wounds he's got
Speaker 2: some great delivery, in here and so the beginning of
Speaker 2: the explanation is coming. Out here but meanwhile there is
Speaker 2: nurse murder.
Speaker 1: Going, on yeah this is a, grizzly sequence, quite disturbing
Speaker 1: with The shirtless eastman emerging from the table here with
Speaker 1: the white sheet following off, of him grabs a surgical
Speaker 1: drill and uses it to slowly drill through the, nurse's head,
Speaker 1: killing her skewering her brain with drill coming out on
Speaker 1: the other side of, the, Head.
Speaker 2: Right so the cops hear the commotion they, come running
Speaker 2: but by the time they, get there The east man is,
Speaker 2: already gone and instead there's just like a nurse hanging
Speaker 2: out dead with a drill. Through head so here we
Speaker 2: get the first of many Scenes Of george eastman just
Speaker 2: wandering through this village in, the dark and he's back
Speaker 2: in his original, clothes somehow so he got his Jeens
Speaker 2: and charity's not in his hospital. Scrubs anymore he walks
Speaker 2: the streets and we get this, melancholy music and there's
Speaker 2: more interrogation between the police And the. Greek Priest so
Speaker 2: engelman tries to intimidate him by he does this whole
Speaker 2: Routine with i'm just a dumb small. Town cop you
Speaker 2: better make, me understand and the. Priest explains first, of
Speaker 2: all he says there is a reality we do not.
Speaker 2: See that this does not really satisfy, the cop and
Speaker 2: so eventually they call in the doctor who Operated On
Speaker 2: george eastman to. Help explain so we get a scene
Speaker 2: of the doctor putting up PUT up x Rays Of
Speaker 2: george eastman's brain and saying. It's extraordinary i've never seen
Speaker 2: such an extensive. Cerebral mass, and yeah so we learn
Speaker 2: his Name Is nico Stenopolis Or, miko stonopolis whichever, it
Speaker 2: is and he is. Functionally immortal his body can regenerate,
Speaker 2: dead cells and his blood coagulates quickly to heal. Any
Speaker 2: wounds we also this is the scene where they the
Speaker 2: copper rips open the priest's coat to reveal his. Priestly
Speaker 2: collar but the, PRIEST says I serve god with biochemistry
Speaker 2: more than with rights. And sermons And Apparently george eastman
Speaker 2: escaped from his laboratory quote after, the contamination so they
Speaker 2: organized a great hunt and that's how we got to
Speaker 2: where we. Are now but the one piece, of evidence
Speaker 2: the one piece of useful information that the, priest has
Speaker 2: is it is his brain that is his. Weak, point.
Speaker 1: Yeah this of course makes very little because like we're
Speaker 1: looking at scans of the brain and, was, like oh
Speaker 1: look at that, Cerebral mass like his brain is, doing
Speaker 1: stuff his brain's healing or he's. Healed wrong but the
Speaker 1: brain is also the. Weak point you destroyed, the brain
Speaker 1: you destroy, the creature which of course is true.
Speaker 2: Of everything, all, right well this reduces very much to ramiro. Zombie. Logic.
Speaker 2: Yeah no and also the priest says he is a creature.
Speaker 2: Of evil the Spark of god was smothered the moment
Speaker 2: the devil took possession. OF him i think this is just,
Speaker 2: metaphorical though because there's no indication of devil magic in.
Speaker 2: The movie it's more, like SAYING when i did these
Speaker 2: experiments on him and he, was contaminated that also the
Speaker 2: devil took possession. Of. Him.
Speaker 1: Yeah yeah also probably, you know a less effective shadow
Speaker 1: of some of the dialogue that we Get in halloween from, loomis.
Speaker 2: Yes exactly the evil, has escaped so we get more
Speaker 2: Of the eastman walk about the, slow music and eventually
Speaker 2: this leads up to him WANDERING into i believe In,
Speaker 2: the abbatoir where there is a guy here who's some
Speaker 2: kind of night janitor at the slaughterhouse cleaning, the Floors
Speaker 2: and eastman first tries to attack him with a, butcher
Speaker 2: knife but then this slaughterhouse janitor runs and retrieves a
Speaker 2: gun from his apron at work and tries To, shoot
Speaker 2: eastman but that, doesn't work and then there's a long
Speaker 2: set Up, to eastman like putting this guy on a big,
Speaker 2: butcher block and then, he's, like yep gonna get you
Speaker 2: with a band saw right through the top of, the
Speaker 2: head and, He, does yeah eventually.
Speaker 1: He does this is a scene that manages to be
Speaker 1: boring and gross at the, same time but we do
Speaker 1: get that. Iconic SMILE oh i just made.
Speaker 2: A connection It's The afhex twin. Album cover It's The
Speaker 2: george eastman smile is. Quite, similar yeah he loves.
Speaker 1: His work then the next thing, we get, of course
Speaker 1: is that the biker MURDER that i think we alluded.
Speaker 1: To earlier and then so this is when one of
Speaker 1: the biker gang members gets Killed. By eastman and then
Speaker 1: pretty much right away we get the hit and run
Speaker 1: out of nowhere where the dad Accidentally clips eastman with
Speaker 1: his car and just.
Speaker 2: Keep rolling so eventually the dad is going to come
Speaker 2: back to, The house Ian or eon will, come back
Speaker 2: and he's preoccupied by the fact that he did a
Speaker 2: hit and run On, east man and that leads to
Speaker 2: the scene where he goes to his liquor collection on.
Speaker 2: The mantle but eventually the mom and the dad are
Speaker 2: going to go out to the friend's house to watch
Speaker 2: the game and, have spaghetti and so that leaves the
Speaker 2: kids home alone with first the babysitter and later, the
Speaker 2: nurse who will, huge surprise become the next victims Of.
Speaker 1: East, man Yeah Because george eastman is for some reason
Speaker 1: drawn back to. This house a lot reason for him
Speaker 1: to come, back here but he's back here to get
Speaker 1: inside and. Do MURDERS and i mean then. And again
Speaker 1: that's pretty much what the rest of the film. Consists
Speaker 1: of let's see some one Fun little there's a scene
Speaker 1: where the boy is. Watching television there's some really boring
Speaker 1: looking like living room dialogue scene that he really wants,
Speaker 1: to watch and the babysitter legs, Is done, you're done
Speaker 1: and he gets a.
Speaker 2: LITTLE upset i thought the boy wanted to watch.
Speaker 1: The, game oh really wants to watch, the game but
Speaker 1: he is at some point watching some DRAMA on tv
Speaker 1: and it's actually tame scenes from a really grimy Nineteen eighty,
Speaker 1: dematto film which is not a. Family MOVIE so i
Speaker 1: guess this is another like sort of in Joke.
Speaker 2: From dematto so it's not an explicit scene that, we're
Speaker 2: watching but the joke is that this is From a demato. Porn,
Speaker 2: film yes let's see.
Speaker 1: From, there yeah we get so basically we're gonna get a,
Speaker 1: babysitter murder and we're then we're gonna get the. Nurse
Speaker 1: murder the babysitter murder is one of these what's that? Sound,
Speaker 1: outside oh the dog. Got outside peggy the babysitter goes
Speaker 1: outside and gets a pickaxe to.
Speaker 2: The, head now this is one of those movies that
Speaker 2: would absolutely grotesquely Violate The gene siskel test, for movies
Speaker 2: which is he could not stand movies that ever depicted
Speaker 2: children being. In danger for the second half of this,
Speaker 2: whole movie just children are constantly. In, danger fortunately neither
Speaker 2: of the kids in the movie are. Ever harmed they
Speaker 2: both make it to. The end but It's JUST. George
Speaker 2: e sman running around the house ominously threatening both of
Speaker 2: them and killing babysitters and nurses until.
Speaker 1: The end, WELL yeah I mean ciscle's the whole thing,
Speaker 1: was like it's a. Cheap, trick yeah, and yes, of,
Speaker 1: course Yeah de motto's gonna use. Cheap tricks. He's, Cheap yeah,
Speaker 1: so yeah it would be a solid criticism of.
Speaker 2: This film but the kids. Get away who does not Escape,
Speaker 2: is emily the nurse we. Met earlier there's a weird
Speaker 2: scene of she's like wandering in the woods on the
Speaker 2: what she has an encounter with somebody in the woods on. The,
Speaker 2: way oh It's, with shaughnessy the. Drunk, guy yes, he's
Speaker 2: like you drop this? Back there, but anyway so she
Speaker 2: uh WAIT do I actually i. Don't remember now does
Speaker 2: anything Happen? To shaughnessy does he get Killed? By eastman if,
Speaker 2: HE does i don't. REMEMBER it i don't remember. It
Speaker 2: either if, he doesn't that would be an unusual choice
Speaker 2: for a film of. THIS kind, i mean the old
Speaker 2: drunk man wandering around singing in the dark is the
Speaker 2: he is your classic you know murder victim in these.
Speaker 1: Slasher, movies yeah it seems like the sort of thing
Speaker 1: that might have been in, the script but they didn't
Speaker 1: have time to, film it or gotten left on the
Speaker 1: cunning room floor for some reason because you needed more.
Speaker 1: SURGERY scenes i.
Speaker 2: Don't know, so anyway there is a there's a whole
Speaker 2: setup to another big murder Scene where Eastman kills emily.
Speaker 2: The nurse, this scene this scene is so gross. And,
Speaker 2: dumb yeah.
Speaker 1: It, takes forever and it's it generally walks that line
Speaker 1: between just padded tedium and, Legitimate shock like it's disturbing
Speaker 1: but also, it's, like man we're still. Doing this let's
Speaker 1: let's get it over.
Speaker 2: With. Here yeah so the short version Is that eastman
Speaker 2: decides to cook her in the oven while she's, still
Speaker 2: alive but she somehow survives this process and then comes
Speaker 2: back and saves the kid From. From eastman she like
Speaker 2: she's all burned up as she runs out and saves,
Speaker 2: the kid And, THEN eastman, i guess kills her a.
Speaker 1: Second, time yeah because you can't just stab him in
Speaker 1: the neck and expect to seal.
Speaker 2: The deal you got to destroy. The brain but the
Speaker 2: final showdown Is, between katcha who has been in traction
Speaker 2: in this, hospital bed And an eastman, who finally, you
Speaker 2: know he comes. In there he's, still raging but we
Speaker 2: get a great payoff with the, compass tool right because
Speaker 2: she she jams It Into george, eastman's eyes and then
Speaker 2: we get The blinded. Cyclops sequence.
Speaker 1: That's, right, yeah yeah, and this, YOU know i have,
Speaker 1: TO say i feel like this big sequence here is
Speaker 1: actually quite tense because you end up with the scenario
Speaker 1: where the playing field has been, largely Leveled Though george
Speaker 1: eastman's killer is still very much an, overwhelming threat so
Speaker 1: he's were like in the, living room, this Big expansive
Speaker 1: italian villa living room with a suit of armor and all,
Speaker 1: the furniture and he, is blinded, you know bloody, eye
Speaker 1: sockets and he's listening for her and grasping around at the.
Speaker 1: Slightest sound and she is on her, feet now but is,
Speaker 1: you know not one hundred percent like she's been in
Speaker 1: traction this, whole time and she is trying to stay
Speaker 1: out of his grasp but get away, from him and
Speaker 1: they're sitting. Her, sound yeah he's hunting her. By sound
Speaker 1: in some very, tense moments.
Speaker 2: She she does clever things like turning on music, really loud.
Speaker 1: But also, inevitably trips inevitably makes an accidental sound and he.
Speaker 2: Gets, closer okay but then, the payoff if you want
Speaker 2: to know the, very ending, you know, spoiler alert is
Speaker 2: they somehow they like fall into this suit of armor
Speaker 2: that has a battle axe and catya she gets the.
Speaker 2: Battle out, oh, wait wait but first the father. Shows
Speaker 2: up oh, that's, right yes well the parents arrive, yeah.
Speaker 1: Yeah, well yeah and. The priest the priest does a
Speaker 1: run in and bites it when he tries to start
Speaker 1: the Killer.
Speaker 2: So, Eastman well it's like the Ending, of halloween Except
Speaker 2: If michael Myers Killed. Donald. Pleasance, Yeah yeah so the
Speaker 2: priest shows up and he saves, her, momentarily uh and
Speaker 2: he is Killed By. George eastman but then while that's,
Speaker 2: going on she retrieves the battle axe from from the
Speaker 2: suit of armor and then goes to work. On him
Speaker 2: we don't see exactly what happened until her parents. Arrive
Speaker 2: home and her parents arrive home with, the Cops and
Speaker 2: willie's there and, everybody's There and katya's standing in, the
Speaker 2: doorway and we pull back to reveal that she is
Speaker 2: holding the seven head Of.
Speaker 1: East, man, yes yes he holds, it up and this
Speaker 1: is just this, is great this is just grade a shlock,
Speaker 1: as Young bloodied katya healed by violence here lifts up,
Speaker 1: the decapitated overtly fake head of The blinded monster and
Speaker 1: then we close and that's the end.
Speaker 2: Of absurd So now i've got to know if that,
Speaker 2: HEAD problem, i mean it would be, a shame a
Speaker 2: historical film. Making shame if that head prop was not
Speaker 2: reused in the biblical film where He, plays goliath it
Speaker 2: had To, BE.
Speaker 1: Yeah, I hope, i mean if not that film surely
Speaker 1: it shows up in another film because they've gone to
Speaker 1: the trouble to. Make it there's going to be some
Speaker 1: other film where you might want To cut eastman's head
Speaker 1: off or just. REUSE it i mean there are, examples of,
Speaker 1: you know FROM other i think there was a whole
Speaker 1: kind of a minor Stink on Game of thrones at, some,
Speaker 1: point right because they were reusing heads. Or something and, then,
Speaker 1: sometimes yes sometimes head cast get reused for. DIFFERENT things,
Speaker 1: i mean actually we go Back To John carpenter's halloween
Speaker 1: and we have a pretty classic example of the reuse of, head.
Speaker 2: Molds, right oh do you mean that It's a. Shatner. Mask,
Speaker 2: Yeah Yeah michael myers Wears A captain kirk mask spray,
Speaker 2: painted white which is you can't unsee it once you.
Speaker 1: See, it yeah but it's. Become iconic. Mm hmm, all
Speaker 1: right so there you.
Speaker 2: Have.
Speaker 1: IT absurd i think probably The Only joe tomato film
Speaker 1: we're gonna Do On. Weird House but I'm Sure george
Speaker 1: eastman will pop up again in some form, or another
Speaker 1: but there probably won't be As Much george eastman as
Speaker 1: there was in. This picture, All, right well we'll close
Speaker 1: it out there but we'd love to hear from everyone.
Speaker 1: Out there if you have thoughts on absurd or other
Speaker 1: or the video nasties of phenomena, in general write in
Speaker 1: we would love to hear. From you just a Reminder
Speaker 1: that stuffed To Blil your mind is primarily a science
Speaker 1: and culture podcast with core Episodes on Tuesdays, and thursdays
Speaker 1: But on fridays we set aside most serious concerns to
Speaker 1: just talk about a weird Film On Weird. House cinema
Speaker 1: and you can get the full list of films that
Speaker 1: we've Covered On Weird house cinema if you look us
Speaker 1: up on letterbox. Dot com THAT'S L E t t
Speaker 1: e r boxd. Dot com our handle there Is. Weird
Speaker 1: house you can find the whole. List there and, uh
Speaker 1: yeah with, this episode we're kind of launching Into the.
Speaker 1: Halloween season halloween is always, a big big month, for
Speaker 1: us a little month and some, change often so look
Speaker 1: you can look forward in the month ahead to a
Speaker 1: lot of seasonally appropriate, core episodes short, form episodes and
Speaker 1: Of Course Weird house.
Speaker 2: Cinema selections, here's thanks as always to our excellent, Audio.
Speaker 2: Producer jjposway if you would like to get in touch
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