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

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Speaker 1: we're not gonna be able to bring you a new

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Speaker 1: episode of Weird House Cinema today. Uh and next week

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Speaker 1: is actually going to be a repeat episode as well.

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Speaker 1: But after that we shall return with all new episodes

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Speaker 1: to fill up your October. Oh you're November, Yeah, you're

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Speaker 1: December as well. We're very excited about some of the

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Speaker 1: films we have. We have picked out, but I thought

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Speaker 1: we'd we'd feature a rerun here or a a rewind

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Speaker 1: if you will. That that certainly feels in keeping with

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Speaker 1: the season. This is going to be the nineteen six

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Speaker 1: nine supernatural Lucha Libre film Santo in the Treasure of Dracula.

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Speaker 1: I hope you enjoy Welcome to Stuff to Blow Your

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Speaker 1: Mind production of My Heart Radio. Hey, welcome to Weird

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Speaker 1: House Cinema. This is Rob Lamb and I'm Joe McCormick.

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Speaker 1: And today I'm really excited about this one because we're

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Speaker 1: getting into one of my favorite types of movie weirdness,

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Speaker 1: which is unlikely genre crossovers. Uh So, I think people

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Speaker 1: who have listened to Stuff to Blow Your Mind for

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Speaker 1: a while probably heard us talk about the subject of

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Speaker 1: supernatural biker movies. This is something that we keep coming

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Speaker 1: back to over the years. Um in that extreme niche

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Speaker 1: crossover sub genre, you've got stuff like a you know,

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Speaker 1: grimy seventies exploitation that the musk of something like Werewolves

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Speaker 1: on Wheels, which is a kind of I don't know,

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Speaker 1: satanic werewolf biker movie where you can really smell the armpits.

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Speaker 1: But then you've also got stuff like the the extreme

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Speaker 1: litch Pope Nigel tough Knell energy of psychomania. Psychomania's it's

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Speaker 1: very British, It's almost visually easel somehow, but it's beautiful

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Speaker 1: in its own right. And I think I especially enjoy

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Speaker 1: unlikely genre crossovers when at least one of the genres

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Speaker 1: that's being crossed is not a universal type like horror

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Speaker 1: or romance or comedy, but something much more deeply associated

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Speaker 1: with a particular place and time. And biker movies are

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Speaker 1: a great example here because they sort of hit their

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Speaker 1: peak in the late sixties and early seventies, and American

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Speaker 1: movies it was I think it was part of that

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Speaker 1: kind of general panic about lawless counterculture and the Hell's

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Speaker 1: Angels and the horror of Altamont and all that you

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Speaker 1: you can you can hear Nixon kind of grumbling right

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Speaker 1: over the back of your shoulder while you're watching these movies.

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Speaker 1: And so these biker movies are all the more stimulating

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Speaker 1: to me, at least if you can make the biker

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Speaker 1: gang also a lych coven or a satanic werewolf conspiracy.

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Speaker 1: And so a few weeks back, I was sitting at

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Speaker 1: my desk working on something, and I don't remember what

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Speaker 1: it was, but I remember I kind of closed my

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Speaker 1: eyes and my mind's I opened and there was this

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Speaker 1: void of howling, undifferentiated chaos, and the darkness was suspended

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Speaker 1: over the infinite pit. And then slowly, the blizzard of

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Speaker 1: emptiness in my mind's I resolved into a single phrase,

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Speaker 1: which was supernatural wrestling movies. Now, you may you may

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Speaker 1: not have been aware this is a thing. Rob. I

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Speaker 1: know you are aware, but but you the listener. But

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Speaker 1: this absolutely is a thing. Uh. There are, of course,

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Speaker 1: lots of different kinds of wrestling movies throughout history. One

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Speaker 1: of the things I associate most with wrestling movies is

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Speaker 1: Barton Fink, one of the most disturbing movies I've ever seen,

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Speaker 1: but the one of the plot lines in that is

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Speaker 1: that John Turturro's character is a playwright who has been

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Speaker 1: brought to Hollywood to write a wrestling movie, and he

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Speaker 1: is not very familiar with the genre conventions of the

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Speaker 1: wrastle and picture. I forgot about this that was that

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Speaker 1: was a detail and in that particular film, and and

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Speaker 1: that might be worth coming back to again later because

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Speaker 1: I haven't researched it fully, But a lot there's all,

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Speaker 1: there was a lot of wrestling media in the old days,

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Speaker 1: like wrestling short stories in the same way that there

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Speaker 1: were a lot of boxing short stories. And it's my

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Speaker 1: understanding that a lot of it has not been um

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Speaker 1: has has not been uh like, you know, researched and

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Speaker 1: preserved in the way that other genre literature has been

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Speaker 1: uh preserved, you know. But it all came out during

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Speaker 1: the golden age of pro wrestling, right well, so in

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Speaker 1: Barton Fink, of course, that they're asking John Tataro's character

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Speaker 1: to write a Hollywood style wrestling movie, you know, the

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Speaker 1: Wallace Beery type movie. But I think what is probably

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Speaker 1: inarguable is that the greatest examples realized on Earth of

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Speaker 1: the platonic form of the wrastling picture would be Mexican

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Speaker 1: wrestling movies, and especially Mexican wrestling movies starring the incomparable

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Speaker 1: El Santo. That's right. So yeah, you you mentioned to me,

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Speaker 1: you were like, we should, we should do an Al

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Speaker 1: Santo movie and I and my response was like, Okay,

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Speaker 1: I'm definitely in, but we've got to make sure we

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Speaker 1: pick a good one. We got because they're a bunch

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Speaker 1: of them. I haven't seen most of them. I'm just

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Speaker 1: kind of like aware of them. Um, I'm more familiar

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Speaker 1: with Lucha Libre itself than than these films. So I

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Speaker 1: started looking around and then i've I've I've found what

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Speaker 1: seemed to be the perfect pick, and we'll explain why

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Speaker 1: as we go. And it is Santo in the Treasure

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Speaker 1: of Dracula. Now, this is actually not the only El

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Speaker 1: Santo supernatural wrestling movie. In fact, El Santo battled many

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Speaker 1: a creature of the night and and undead type. I

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Speaker 1: think he fought some zombies at some point. He's he's

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Speaker 1: gone up against mummies. I think probably aliens. I don't

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Speaker 1: remember all of the ones that came across. I haven't

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Speaker 1: really seen many of these movies. I've I've actually seen

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Speaker 1: bits and pieces of some of them. I think because

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Speaker 1: there used to be a bar we would go to

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Speaker 1: in town years ago that would project these movies on

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Speaker 1: the wall pretty often, and that always looked like tremendous fun. Yeah,

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Speaker 1: they made for great casual viewing. I've done that as well.

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Speaker 1: And and some folks maybe you're with at least one

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Speaker 1: of them was was riffed on Mystery Sense Theater three

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Speaker 1: thousand back in the day, but it's not an episode

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Speaker 1: I've seen a lot. But yes, anyway, so so so

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Speaker 1: given this theme of supernatural wrestling movies, the one you

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Speaker 1: landed on was Santo in the Treasure of Dracula, and

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Speaker 1: this movie was was a hoot. Yes, it has so

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Speaker 1: many things going for it. Um, the backstory is fascinating.

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Speaker 1: We'll get into because you have different versions. You have

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Speaker 1: lost versions, uh you know, color and black and white,

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Speaker 1: and and also a newly restored and released version that

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Speaker 1: you can get on Blu Ray. Yes. But in addition

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Speaker 1: to this movie's particular singular qualities, I think it's also

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Speaker 1: very important that it needs to be understood as part

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Speaker 1: of a genre in which you can't really, I think,

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Speaker 1: understand this movie without having a larger picture of what

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Speaker 1: the deal with Mexican wrestling, Mexican wrestling movies and El

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Speaker 1: Santo movies and the al Cento phenomena in general are.

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Speaker 1: So I'm not gonna I'm gonna gonna try not to

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Speaker 1: go overboard here, but I think it is necessary to

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Speaker 1: have just a basic understanding of lucha libre that's Mexican

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Speaker 1: pro wrestling, free fight, free fighting. Uh, just an understanding

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Speaker 1: of what it is and how it sort of loosely

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Speaker 1: fits into um uh and into its culture. So um yeah.

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Speaker 1: So first, first of all, at its heart, it is

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Speaker 1: pro wrestling. It's a work fight with an athletic performance

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Speaker 1: central to it. So it's you know, it's highly athletic.

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Speaker 1: People can be injured and are injured and sometimes die

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Speaker 1: performing uh like this, Uh it is you know, it's

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Speaker 1: the actual contact is often made. But it's also it

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Speaker 1: is a performance. So it's when contact is made, you

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Speaker 1: want it. You generally want to try and make it

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Speaker 1: look even better, more intense than it than it actually was.

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Speaker 1: But this is this is a choreographed, performative fighting style.

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Speaker 1: I mean, it is as absolutely actual athleticism. But it's

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Speaker 1: not like m M A or something right. Um, and

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Speaker 1: and it's my understanding that the choreograph and drove it

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Speaker 1: kind of depends on who's performing. Like I think a

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Speaker 1: lot of these guys they get to the point where

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Speaker 1: they're they're able to sort of improve a bit, but

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Speaker 1: there is a structure to the match there. It does

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Speaker 1: have a predetermined finish, etcetera. But but yeah, this is

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Speaker 1: professional wrestling, but it is the distinctly Mexican evolution of

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Speaker 1: professional wrestling. Professional wrestling itself seems to have emerged out

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Speaker 1: of wrestling folk traditions in British grappling contests at fairs

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Speaker 1: in the late nineteenth century. And of course this in

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Speaker 1: and of itself entails a great deal of Carney tactics,

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Speaker 1: you know, worked matches, cheats, you know, strongman competitions, all

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Speaker 1: of that, and uh, but it begins to really take

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Speaker 1: hold and solidify into a form, and the sport becomes

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Speaker 1: increasingly popular in the United States and in the British Isles,

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Speaker 1: and then popularity declines during World War Two and skyrockets

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Speaker 1: afterwards into what is sometimes described as kind of a

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Speaker 1: Golden Age of wrestling. So it takes roots in other parts,

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Speaker 1: it sikes roots in other parts of the world, and

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Speaker 1: you see different styles and traditions emerge, most notably in

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Speaker 1: Japan and Mexico, but especially in Mexico because this is

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Speaker 1: where we see the birth of lucha libre, which probably

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Speaker 1: dates back to the early twentieth century. Here. Now, what

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Speaker 1: are some of the main and most recognizable characteristics of

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Speaker 1: lucha libre? Obviously, Uh, if this hasn't come through already,

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Speaker 1: Rob is our in house wrestling expert. Well, I don't

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Speaker 1: want to oversell your experts. It's not um but I

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Speaker 1: don't know all that much about wrestling. But you're a

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Speaker 1: big wrestling fan, and like almost any time I have

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Speaker 1: a question about wrestling, you've got an answer. Uh, yeah,

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Speaker 1: I am. I'm a lucha fan, or I have been.

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Speaker 1: I keep up with it now, but I don't watch

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Speaker 1: it religiously like I used to. But I'd say the

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Speaker 1: most obvious characteristic colorful masks or at least shiny mask

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Speaker 1: and you know, sometimes demonic masks, etcetera, high flying moves,

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Speaker 1: and fast paced action. But there's there's even more to

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Speaker 1: it than this, and I think most people are familiar

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Speaker 1: with those aspects of it. But I want to roll

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Speaker 1: through just a few of the of the ways that

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Speaker 1: it is a little bit distinct from other wrestling traditions. So,

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Speaker 1: first of all, there's a strict dichotomy of good guys

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Speaker 1: and bad guys. In traditional lucha libre. You have the

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Speaker 1: technicos the good guys, and the rudo's the bad guys.

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Speaker 1: The good guys are really really good and the bad

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Speaker 1: guys are really really bad. And this would kind of

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Speaker 1: correlate to like, if you watch WW today, you might, uh,

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Speaker 1: what are the terms the face and the heel? Like, yeah,

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Speaker 1: so you'd have, you know, the hero wrestlers that the

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Speaker 1: crowd loves and then the one who comes out and

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Speaker 1: there they exist to rile up the crowd and get

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Speaker 1: booed and cheat and stuff. Right now, in an added

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Speaker 1: drink on lucha libre is that there will often be

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Speaker 1: two refs in the ring, not just one referee, but

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Speaker 1: to a rudo ref and a technico ref, because that's

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Speaker 1: just fair. It's also more like the real world. Yeah, yeah,

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Speaker 1: each it's it's like a legal case. It's being presented

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Speaker 1: physically in the ring, and we have a legal representation

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Speaker 1: for both sides. Now, another big thing, and this is

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Speaker 1: this is something that's very widely known about Lucca is

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Speaker 1: that masks, the colorful masks, they may be bartered and lost. Uh.

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Speaker 1: You put your mask on the line in a big

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Speaker 1: match against usually against another mask or sometimes against another

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Speaker 1: wrestler's hair. Uh. And if you lose your mask, that's

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Speaker 1: not only going to reveal your face to everybody, it's

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Speaker 1: going to reveal your identity. So the identity of a

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Speaker 1: mask wrestler is often not a manner a manner of

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Speaker 1: public knowledge until you lose your mask. So the great

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Speaker 1: star Alsanto, he I mean he he would wear his

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Speaker 1: mask always in public, not just while he was in

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Speaker 1: a wrestling capacity, Like if he was doing something in public,

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Speaker 1: he was masked, right, Yeah, this was his public persona. Uh.

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Speaker 1: This was how he was photographed. Uh. And a lot

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Speaker 1: of this still remains to this day, but especially at

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Speaker 1: the time. Again, this was like the golden age of

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Speaker 1: Lucha libre we're talking about here, and uh and yeah

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Speaker 1: he would. He was the El Santo, was this figure

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Speaker 1: with the mask, and that's all you ever saw of him.

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Speaker 1: So in closing for now, we'll probably touch more on

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Speaker 1: this in a bit, but yeah, lucha libre is it's

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Speaker 1: kind of a passion play. You know, it's good versus evil,

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Speaker 1: and again, the good guys are really really good. I

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Speaker 1: can't stress that enough, especially as far as El Santo

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Speaker 1: is concerned. I mean, he is the saint. Yeah. The

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Speaker 1: movie really goes out of its way to show that

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Speaker 1: El Santo is is lawful, good to the max. He's

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Speaker 1: like Batman from Heaven. Yeah, I mean he's He's basically

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Speaker 1: like classic Superman, right where there's just not a shred

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Speaker 1: of evil in him. There's no grim dark to this, uh,

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Speaker 1: this version of the hero. Alright, So, considering all the

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Speaker 1: context we've just talked about with with Lucha libre, how

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Speaker 1: does a wrestling tradition like this end up blending with

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Speaker 1: Dracula in a feature film? Well, I mean basically by

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Speaker 1: virtue of him being this larger than life character that

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Speaker 1: then transitions into film and uh, yeah, you're you're left

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Speaker 1: with just a whole series of films. Will name some

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Speaker 1: of the other other ones of note here in a bit,

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Speaker 1: but in this particular one, this is the elevator pitch.

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Speaker 1: What if Lucador and uh famous research scientist Al Santo

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Speaker 1: invented a time machine that could send women back to

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Speaker 1: their past lives and in doing so, encounter Dracula and

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Speaker 1: his fantastic treasure. That's that's basically the wedded that's the

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Speaker 1: all fair pitch. Yeah, you know, somehow the mask does

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Speaker 1: a lot of work because I could buy Elsento inventing

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Speaker 1: a time machine much better than I could buy one

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Speaker 1: of the like face revealed famous American wrestlers of today

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Speaker 1: inventing the time machine, like oh Stone called Steve Austin

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Speaker 1: invents the time machine and he goes back, that's not

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Speaker 1: a time machine, that's just beer. Um, very good. Should

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Speaker 1: we hit that trailer audio? Yeah, let's let's hear some audio.

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Speaker 1: All right, Well, let's let's start talking about some of

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Speaker 1: the folks that are that are involved in this picture,

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Speaker 1: because it's really a fun group here, even outside of

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Speaker 1: El Santo. So we'll get to Al Santo in a minute.

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Speaker 1: But first let's talk about the director, and this is

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Speaker 1: Renee Cardona Um who lived nineteen o five through nine.

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Speaker 1: Am I wrong in thinking that he also directed the

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Speaker 1: Santa Claus movie with the with the extremely expressive devil figure? Yes?

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Speaker 1: I think a lot of our listeners will know cardona

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Speaker 1: best from the really that the excellent nineteen fifty nine

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Speaker 1: film Santa Claus, in which Santa Claus and the devil

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Speaker 1: battle for the soul of poor Lupita in Mexico City. Um.

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Speaker 1: That one was of course featured on Mystery Science Theater

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Speaker 1: three thousand and UM. Interestingly enough, I've I've read that

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Speaker 1: it apparently played an actual role in introduce seeing the

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Speaker 1: character of Santa Claus to the Mexican public, which which

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Speaker 1: is interesting. Well, but there are a lot of features

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Speaker 1: in that movie that are I don't know where they

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Speaker 1: come from or how they ended up being accepted in

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Speaker 1: general folklore. But uh, but like in that movie, Santa

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Speaker 1: Claus has a bunch of science fiction technology. He's got

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Speaker 1: like these machines that allows survey lance of the entire earth,

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Speaker 1: and he's got a thing called the Flower to Disappear,

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Speaker 1: which allows him to teleport. Yeah, in a way, you

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Speaker 1: could compare these two films rather favorably because Santa and

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Speaker 1: El Santo are both super achievers. Though I would say

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Speaker 1: Santo is even better than Santa. But if you haven't

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Speaker 1: seen it, that's a tremendous Christmas film. Now. Cardona was

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Speaker 1: a director, an actor, a producer, a writer, and editor,

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Speaker 1: but he's best remembered as a director in the Golden

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Speaker 1: Age of Mexican cinema. He was born in Havana, Cuba,

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Speaker 1: and began medical school there, but then he had to

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Speaker 1: flee the country. His family had to flee the country

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Speaker 1: for New York City. Uh, and he was unable to

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Speaker 1: continue his studies and got involved in filmmaking, which took

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Speaker 1: him to Hollywood, and then he made the move to

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Speaker 1: Mexico City, first as an actor, but then eventually as

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Speaker 1: a director as well. So on IMDb he has a

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Speaker 1: hundred and twenty three acting credits, fifty five writing credits,

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Speaker 1: and hundred and forty six directorial credits. As an actor,

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Speaker 1: he was in some really well received in Mexican films

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Speaker 1: of the day, such as The Priest's Secret from ninety

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Speaker 1: one and The Rock of Souls from nineteen forty three. Uh.

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Speaker 1: In any of you out there that are, you know,

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Speaker 1: far more familiar with Mexican cinema and Golden Age of

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Speaker 1: Mexican cinema, let us know about those films, because I

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Speaker 1: haven't seen either of them, but I understand that they're

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Speaker 1: very well received and and you know, kind of legendary.

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Speaker 1: But as a director, this was not his only Santo movie. Right, No, no,

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Speaker 1: he directed, I believe, unless there's some that are missing

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Speaker 1: or the titles obscure them. Seven different Santo movies, as

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Speaker 1: well as some other titles such as She Wolves of

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Speaker 1: the Ring, which I believe is also a wrestling picture

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Speaker 1: but without Santo um and then some other genre films

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Speaker 1: that will mention in a bit. Now, maybe this is

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Speaker 1: a place to talk about how one thing that's interesting

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Speaker 1: about this movie is that there are a couple of

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Speaker 1: different versions of it that are extremely different from one another. Yes,

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Speaker 1: and this this was when I discovered this detail. This

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Speaker 1: was another thing that pushed this film over the edge

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Speaker 1: for me as our selection, because apparently when Cardona shot

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Speaker 1: the film, he shot a color version and a black

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Speaker 1: and white version, and more to the point, he shot

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Speaker 1: a family version for distribution in Mexico. This would be

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Speaker 1: the black and white, and also a quote unquote adult

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Speaker 1: version that was mostly for the European market. And so

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Speaker 1: from what I can tell, the adult version is just

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Speaker 1: the exact same movie, but with a bunch of absolutely

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Speaker 1: extraneous nudity added in right or at least toplessness among

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Speaker 1: the various women that Dracula interacts with. And we cannot

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Speaker 1: stress stress it enough. None of the scenes with nudity

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Speaker 1: in them um are Santo scenes. Santo scenes are are

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Speaker 1: entirely upright, So it's only Dracula scenes that have this

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Speaker 1: added nudity. Again in this color European version, that is true.

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Speaker 1: You can almost feel like a force field barrier between

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Speaker 1: Santo and his scenes and any of the scenes that

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Speaker 1: display like obvious prurian qualities. Right. Yeah, they were clearly

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Speaker 1: kept separate. I believe that was probably the arrangement as well.

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Speaker 1: It was like, well, if you're going to shoot these

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Speaker 1: added scenes, if that's for the Europeans, fine, but this

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Speaker 1: is not from Mexico. It's funny that they had to

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Speaker 1: do that for the Europeans. So the idea is like, hey,

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Speaker 1: we want to show this to French people. They are

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Speaker 1: not going to watch it unless there's like a solid

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Speaker 1: ten minutes of extraneous nudity, right and and ultimately I

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Speaker 1: mean it, it's do not go out and buy this

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Speaker 1: just for the nudity, because the nudity scenes are very

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Speaker 1: boring there, and they're very they're I should stress too,

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Speaker 1: they're they're pretty tame too, especially by modern standards, but

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Speaker 1: even by nineteen seventies standards. Really. Oh yeah, I would

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Speaker 1: say the star of this movie is is Santo and

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Speaker 1: the and the time machine stuff like that's that's what

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Speaker 1: you're here for. The Dracula stuff is funny and great

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Speaker 1: because it exists in contrast to the Santo content, right right.

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Speaker 1: But if it was just the Dracula stuff on its own,

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Speaker 1: that would be a bit it would be a bit dry. Um.

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Speaker 1: But that's Dracula, He's undead, right. Um. So. The the

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Speaker 1: interesting thing about this color quote unquote adult version or

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Speaker 1: the sexy version is that sometimes referred is that it

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Speaker 1: was thought lost for a long time until it finally

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Speaker 1: turned up in the Cardona vault in eleven. And there

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Speaker 1: was initially some controversy and even legal concerns over releasing it.

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Speaker 1: I think there were, you know, concerns with the estate

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Speaker 1: of El Santo himself. Um. But and this was despite

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Speaker 1: advocates stepping forward like Giama de Toro, who was like, hey,

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Speaker 1: this is great, this is vampire uh cinema of Mexico.

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Speaker 1: It should it should be shared with the world. Um.

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Speaker 1: But it was restored and then it was It was

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Speaker 1: successfully screened later that year and finally released on Blu

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Speaker 1: Ray by vc I Entertainment just earlier this month. Now,

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Speaker 1: I think another one of the things that's complicated is

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Speaker 1: you did mention this it to emphasize the difference with

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Speaker 1: these what was called the European cut is not just

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Speaker 1: the extraneous nudity, but also that it was shot in

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Speaker 1: color and the restoration looks great. Yeah, you do side

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Speaker 1: beside comparison. You look at the black and white and

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Speaker 1: you look at the color, and I mean, the color

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Speaker 1: is just so much more beautiful and alive. Like. One

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Speaker 1: of the things that really I really noticed this the

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Speaker 1: most in was a scene that had nothing to do

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Speaker 1: with Santo or Dracula, somebody mowing a lawn. Uh, and

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Speaker 1: it was just like this feel like I felt like

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Speaker 1: I was transported in time just by virtue of just

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Speaker 1: how clean and restored the footage was. Nevertheless, I can

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Speaker 1: see why this version might have been lost, or at

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Speaker 1: least why there might have been an impulse to cut

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Speaker 1: the nudity stuff. I mean, apart from just opposing that

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Speaker 1: on its own grounds, it's totally extremely jarring because of

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Speaker 1: how wholesome Santo is. Yeah, yeah, absolutely, And like there

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Speaker 1: are scenes where there's there's Dracula and this nudity, and

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Speaker 1: then Santo enters the room and everyone is magically clothed again,

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Speaker 1: Like you can really feel that. The jarring edit that

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Speaker 1: was like, okay, we're gonna now paste over the nude

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Speaker 1: scene here in the nude scene here, all right, trip

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Speaker 1: of Europe. Now, who was the mind who brought us

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Speaker 1: this script? Alright? So the writer was one Alfredo Salazar um.

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Speaker 1: He was writer and director brother of actor Abel Salazar,

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Speaker 1: who start as the brain drinking vampire in the nineteen

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00:21:32,800 --> 00:21:35,280
Speaker 1: sixty two filmed The Brainy Act. So if you're if

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Speaker 1: you want more Mexican cinema vamporism, that one's must see.

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Speaker 1: It's really good. We might need to come back to

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Speaker 1: that one in the future. Now. Alfredo Salazar wrote five

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Speaker 1: Santo films as well as The Batwoman, which was also

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Speaker 1: directed by Cardona. And this also is really interesting looking

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Speaker 1: because it's an unofficial adaptation, very unofficial adaptation of the

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Speaker 1: d C Comics character. And I believe it involved at

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Speaker 1: times of the keenie clad Batwoman battling fish monsters. Well,

396
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Speaker 1: you've attached an image and I see this fish monster here,

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00:22:07,200 --> 00:22:09,960
Speaker 1: but I gotta say he looks like the rocketeer with claws.

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Speaker 1: He does. It's like an organic rocketeer. Yeah, alright, Well

399
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Speaker 1: let's talk about Santo himself. El Santo the Saint, real

400
00:22:17,600 --> 00:22:23,080
Speaker 1: name Rodolfo Gozman Hirta born nineteen seventeen died in ninety four.

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Speaker 1: Again probably the most I mean, without a doubt, the

402
00:22:26,640 --> 00:22:30,639
Speaker 1: most famous and instantly identifiable luchador of all time. He

403
00:22:30,720 --> 00:22:33,240
Speaker 1: was active for five decades and in addition to being

404
00:22:33,280 --> 00:22:36,400
Speaker 1: just a superstar in the ring, he was featured in comics.

405
00:22:36,440 --> 00:22:38,919
Speaker 1: He was a numerous films, often as a kind of

406
00:22:39,000 --> 00:22:44,200
Speaker 1: crime fighter or superhero super scientist, even taking on corruption,

407
00:22:44,359 --> 00:22:48,120
Speaker 1: supernatural evil. He was again the just the ultimate technico.

408
00:22:48,400 --> 00:22:52,120
Speaker 1: He never lost his mask, but he did. This is interesting.

409
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Speaker 1: He did famously reveal his face on TV prior to

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Speaker 1: his death from a heart attack in ninetour and uh

411
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Speaker 1: in just a year after his retirement. Um it was.

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00:23:01,840 --> 00:23:03,399
Speaker 1: You can look it up on YouTube and see it.

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Speaker 1: It's this very like human moment where where he's kind

414
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Speaker 1: of like, I'm going to show you who I really

415
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Speaker 1: am before I'm gone. I just have to add, especially

416
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Speaker 1: seeing this restored version of the movie where you can

417
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Speaker 1: get more detail up close with Santo's face, like seeing

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00:23:17,240 --> 00:23:21,119
Speaker 1: his eyes through the mask, It's easy for me to

419
00:23:21,160 --> 00:23:24,560
Speaker 1: see why Santo was such a star even outside of wrestling,

420
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Speaker 1: because in this movie he's wearing his mask the entire time,

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Speaker 1: of course, and his voice this is only available in

422
00:23:32,440 --> 00:23:34,840
Speaker 1: the version that we were watching. It only available with

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00:23:34,880 --> 00:23:38,119
Speaker 1: an English dub, so his voice is dubbed by someone else.

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00:23:38,720 --> 00:23:43,840
Speaker 1: And yet somehow he still has this absolutely powerful likableness

425
00:23:43,880 --> 00:23:47,680
Speaker 1: and charisma that burns through all of those obstacles, through

426
00:23:47,720 --> 00:23:51,240
Speaker 1: the mask, through having his voice completely dubbed over. I

427
00:23:51,280 --> 00:23:53,600
Speaker 1: guess it's all just in his body language and like

428
00:23:53,720 --> 00:23:56,480
Speaker 1: seeing his eyes through the slits in his mask. But

429
00:23:56,560 --> 00:24:00,280
Speaker 1: he really did seem like, yeah, this guy is pure good. Yeah.

430
00:24:00,440 --> 00:24:03,240
Speaker 1: I mean it's we have to It's like you really

431
00:24:03,240 --> 00:24:05,679
Speaker 1: can't stress it enough that Santo was not just a

432
00:24:05,760 --> 00:24:08,879
Speaker 1: lucha star or a movie star. He was he was

433
00:24:08,920 --> 00:24:13,160
Speaker 1: a cultural icon. Um. I've I've read wrestling journalist Dave

434
00:24:13,200 --> 00:24:16,160
Speaker 1: Meltzer uh talking about this, and he says that it's

435
00:24:16,240 --> 00:24:18,760
Speaker 1: it's ultimately difficult to really you can't really point to

436
00:24:19,160 --> 00:24:24,440
Speaker 1: any like American um or even a Japanese wrestling icon

437
00:24:24,840 --> 00:24:27,920
Speaker 1: and and have any idea about like just how popular

438
00:24:28,000 --> 00:24:31,320
Speaker 1: Santo was, Like you would have to compare him to

439
00:24:31,440 --> 00:24:36,080
Speaker 1: someone instead like Muhammad Ali or Elvis Presley, like he was.

440
00:24:36,400 --> 00:24:38,560
Speaker 1: He was that big of a star. Yeah, I mean

441
00:24:38,760 --> 00:24:41,560
Speaker 1: even after seeing him in this ridiculous movie like I

442
00:24:41,600 --> 00:24:44,000
Speaker 1: get it. Yeah, and and again he's been dead for

443
00:24:44,040 --> 00:24:46,880
Speaker 1: decades and it still has this status that has outlived

444
00:24:46,960 --> 00:24:50,720
Speaker 1: him now. Um, it isn't worth noting. Santo had nine children,

445
00:24:50,720 --> 00:24:53,600
Speaker 1: but only one of them followed him into Lucca uh

446
00:24:54,119 --> 00:24:57,920
Speaker 1: Hio del Santo born nineteen sixty three, who was seemingly,

447
00:24:57,960 --> 00:25:00,960
Speaker 1: against all odds, an incredible warmer in his own right,

448
00:25:01,280 --> 00:25:03,399
Speaker 1: who was able to carry on the tradition, you know,

449
00:25:03,440 --> 00:25:06,920
Speaker 1: the mass, the costume, the move set. Um. He still

450
00:25:06,960 --> 00:25:10,120
Speaker 1: wrestles today, but he slowed down quite a bit, and

451
00:25:10,200 --> 00:25:12,920
Speaker 1: he's been an independent talent for like fifteen years now,

452
00:25:12,960 --> 00:25:15,080
Speaker 1: so asn't shown up in either of the two major

453
00:25:15,160 --> 00:25:18,280
Speaker 1: lucha promotions in Mexico. Like I said earlier, I have

454
00:25:18,320 --> 00:25:20,439
Speaker 1: not watched nearly as much wrestling as you, and so

455
00:25:20,680 --> 00:25:23,360
Speaker 1: I was less familiar with this. But you you posted

456
00:25:23,440 --> 00:25:26,240
Speaker 1: a a match for me to take a look at.

457
00:25:26,280 --> 00:25:28,919
Speaker 1: It was one that was l Ejo del Santo and

458
00:25:29,040 --> 00:25:35,639
Speaker 1: Octagon versus Art bar and Eddie Guerrero from and this

459
00:25:35,680 --> 00:25:38,560
Speaker 1: one was fantastic and Eo del Santo was great. I

460
00:25:38,560 --> 00:25:41,880
Speaker 1: mean doing like, uh, a lot of like really uh,

461
00:25:42,359 --> 00:25:44,719
Speaker 1: I don't know what jumpy kind of moves like up

462
00:25:44,760 --> 00:25:49,040
Speaker 1: in the air. Yeah yeah, high flying, twisty moves. Uh. Yeah.

463
00:25:49,040 --> 00:25:51,359
Speaker 1: That that match in particular is one that that that

464
00:25:51,760 --> 00:25:54,480
Speaker 1: Dave Meltzer gave five stars to, which is his highest rating,

465
00:25:54,520 --> 00:25:56,560
Speaker 1: and it's it's often held up is is one of

466
00:25:56,680 --> 00:25:59,600
Speaker 1: one of the great luchen matches, certainly of that period

467
00:25:59,640 --> 00:26:02,000
Speaker 1: of the the nineties. Uh. And you can find this

468
00:26:02,040 --> 00:26:05,639
Speaker 1: one in all the usual places online. But if you're wondering, okay, well,

469
00:26:05,640 --> 00:26:08,840
Speaker 1: what how about Santo himself and his wrestling, Well don't worry,

470
00:26:08,880 --> 00:26:10,520
Speaker 1: we'll get to that because one of the things that

471
00:26:10,560 --> 00:26:14,960
Speaker 1: this movie features is an entire wrestling match in the

472
00:26:15,359 --> 00:26:17,720
Speaker 1: latter half of the film. And uh and I think

473
00:26:17,720 --> 00:26:21,320
Speaker 1: it's an excellent representation of lucha libre. There's a plot

474
00:26:21,359 --> 00:26:24,639
Speaker 1: conflict that takes place outside the wrestling ring, and somehow,

475
00:26:24,720 --> 00:26:29,520
Speaker 1: through some contrivance, it's it's like, whatever is the outstanding

476
00:26:29,640 --> 00:26:33,840
Speaker 1: problem in the plot must be settled through a wrestling match. Yeah,

477
00:26:33,880 --> 00:26:35,800
Speaker 1: I mean it makes perfect sense, right. I mean people

478
00:26:35,840 --> 00:26:37,359
Speaker 1: are coming to see a wrestling picture. They want to

479
00:26:37,359 --> 00:26:39,960
Speaker 1: see some wrestling, not just a you know, an occasional

480
00:26:39,960 --> 00:26:43,040
Speaker 1: wrestling move thrown into a street fight. I think it

481
00:26:43,080 --> 00:26:45,679
Speaker 1: often will involve like a bet of some kind, like

482
00:26:45,920 --> 00:26:48,679
Speaker 1: you know, some amount of money or object or something

483
00:26:48,760 --> 00:26:51,199
Speaker 1: is in dispute, and it's like, well, whoever wins the

484
00:26:51,240 --> 00:26:55,880
Speaker 1: wrestling match gets the outcome they want. Yeah, the combat

485
00:26:55,880 --> 00:27:00,359
Speaker 1: by champion once again. But of course, lest we forget,

486
00:27:00,400 --> 00:27:05,080
Speaker 1: this film also does have Dracula, and yes, yes, Dracula

487
00:27:05,160 --> 00:27:08,680
Speaker 1: is played by Aldo Monty, who lived nineteen twenty nine

488
00:27:08,720 --> 00:27:12,000
Speaker 1: through sixteen, who was an actor and director. Born in

489
00:27:12,119 --> 00:27:15,520
Speaker 1: Rome but spent his entire career in Mexico. He played

490
00:27:15,600 --> 00:27:19,480
Speaker 1: Dracula twice in this film, as well as in nineteen

491
00:27:19,480 --> 00:27:23,240
Speaker 1: seventy threes Santo and Blue Demon Versus Dracula and the

492
00:27:23,280 --> 00:27:27,639
Speaker 1: Wolfman that that sounds like it's worth of watch. He

493
00:27:27,680 --> 00:27:29,879
Speaker 1: also played a role in the Santo movie The Vengeance

494
00:27:29,920 --> 00:27:32,680
Speaker 1: of the Vampire Women in nineteen seventy, and he directed

495
00:27:32,800 --> 00:27:37,600
Speaker 1: nineteen seventy five Santo in Anonymous death threat that doesn't

496
00:27:37,600 --> 00:27:44,120
Speaker 1: sound fun? Who's he gonna wrestle? It's anonymous. I don't know. Well,

497
00:27:44,160 --> 00:27:46,159
Speaker 1: they were probably under a mask, right, that's probably the

498
00:27:46,200 --> 00:27:48,200
Speaker 1: whole thing. I haven't seen that one, though it could be.

499
00:27:49,119 --> 00:27:52,480
Speaker 1: He also directed some horror movies, two different um bloody

500
00:27:52,520 --> 00:27:57,080
Speaker 1: horror movies, Bloody Holidays and Bloody Seduction in nineteen six

501
00:27:57,119 --> 00:28:03,040
Speaker 1: and nineteen nine Vacationes angrient Us Yeah, which I guess

502
00:28:03,160 --> 00:28:06,920
Speaker 1: that's like bloody Holiday and then um yeah, yeah, so

503
00:28:07,040 --> 00:28:09,240
Speaker 1: that these I have known nothing about them, but the

504
00:28:09,280 --> 00:28:12,919
Speaker 1: box art was bloody, so maybe they're good. Uh he was.

505
00:28:13,040 --> 00:28:16,080
Speaker 1: He also acted in an interesting nineteen sixty six movie

506
00:28:16,080 --> 00:28:20,639
Speaker 1: titled Panico or Panic, which which sounds like a potentially

507
00:28:20,680 --> 00:28:24,840
Speaker 1: interesting Mexican horror anthology film. In this movie, as Dracula,

508
00:28:25,040 --> 00:28:28,520
Speaker 1: he's um, he's a kind of standard sub Christopher Lee

509
00:28:29,359 --> 00:28:32,840
Speaker 1: type Dracula from but but fits in with the hammer

510
00:28:32,880 --> 00:28:37,119
Speaker 1: horror Victorian type vibe. Uh he. He also sort of

511
00:28:37,119 --> 00:28:40,360
Speaker 1: has George Lason b energy he does Yeah, so he

512
00:28:40,520 --> 00:28:43,240
Speaker 1: and in George Lason by fashion. You know, he does,

513
00:28:43,280 --> 00:28:45,960
Speaker 1: he does the job. You know, it's not exceptional, but

514
00:28:46,000 --> 00:28:48,080
Speaker 1: it's not bad. It's you know, there's only so much

515
00:28:48,120 --> 00:28:50,760
Speaker 1: that's required of a Dracula, all right, then we have

516
00:28:51,480 --> 00:28:56,080
Speaker 1: the actor playing Louisa. This is Noelia Noel, this was

517
00:28:56,560 --> 00:29:00,200
Speaker 1: this is our our beautiful time traveling heroin in the film.

518
00:29:00,320 --> 00:29:04,239
Speaker 1: Um pretty amazing time travel jumpsuit. That will touch on.

519
00:29:04,320 --> 00:29:07,200
Speaker 1: She was an Argentinian actress. She was only in a

520
00:29:07,200 --> 00:29:12,440
Speaker 1: handful of films, but her filmography includes nineteen nine Night

521
00:29:12,520 --> 00:29:15,560
Speaker 1: of the Bloody Apes, which is also directed by Cardona.

522
00:29:15,840 --> 00:29:18,920
Speaker 1: That sounds intense. Yeah, it looks pretty interesting. I haven't

523
00:29:18,920 --> 00:29:21,360
Speaker 1: seen it, but it's it's on my like loose list

524
00:29:21,400 --> 00:29:23,920
Speaker 1: of things to check out in the future. Um oh,

525
00:29:24,000 --> 00:29:26,840
Speaker 1: and uh, I'm not sure on this, but it looks

526
00:29:26,880 --> 00:29:28,600
Speaker 1: like she might have been a pop singer at the

527
00:29:28,640 --> 00:29:31,920
Speaker 1: time as well. I found some I found I found

528
00:29:31,960 --> 00:29:36,720
Speaker 1: some some old Mexican or Argentinian albums. I'm not sure which,

529
00:29:36,760 --> 00:29:39,040
Speaker 1: but it's her name on it, and it looks a

530
00:29:39,040 --> 00:29:41,040
Speaker 1: lot like her because she has this like signature red

531
00:29:41,120 --> 00:29:44,040
Speaker 1: hair and all. Uh So I'm like, sure, if this

532
00:29:44,120 --> 00:29:46,840
Speaker 1: is her, I gotta look up her music. I wasn't

533
00:29:46,880 --> 00:29:48,360
Speaker 1: able to find any of it. I just found I

534
00:29:48,360 --> 00:29:50,680
Speaker 1: found some records for sale, but that doesn't really do

535
00:29:50,720 --> 00:29:53,360
Speaker 1: me much good. Well, I've got a turntable, maybe I

536
00:29:53,400 --> 00:29:56,440
Speaker 1: can Yeah, yeah, all right, then we we also have

537
00:29:56,480 --> 00:29:58,640
Speaker 1: the comic relief in this film. And this is the

538
00:29:58,880 --> 00:30:04,800
Speaker 1: uh this the character Perico. Yeah, Periko played by Alberto Rojas,

539
00:30:05,360 --> 00:30:07,840
Speaker 1: Yes who I wasn't able to find a birthdate for him,

540
00:30:07,880 --> 00:30:12,560
Speaker 1: but he died in And this is Perico is Santos

541
00:30:12,720 --> 00:30:18,840
Speaker 1: super cowardly and largely incompetent, but hilarious. Friend. I don't

542
00:30:18,880 --> 00:30:20,960
Speaker 1: think he's really this actor is really known outside of

543
00:30:21,000 --> 00:30:23,320
Speaker 1: Mexican cinema. Could be wrong, but he seems to have

544
00:30:23,360 --> 00:30:26,840
Speaker 1: a had a very long career in Mexico, playing comedic

545
00:30:26,960 --> 00:30:30,120
Speaker 1: roles for film and television from nine nine all the

546
00:30:30,120 --> 00:30:33,120
Speaker 1: way up to two thousand fifteen. This was his first

547
00:30:33,160 --> 00:30:36,280
Speaker 1: acting role, though, according to IMDb, and he apparently is

548
00:30:36,320 --> 00:30:40,120
Speaker 1: also known by his nickname El Caballo Cabio. I think

549
00:30:40,160 --> 00:30:42,800
Speaker 1: I think that's horse. Oh is it the horse? I

550
00:30:42,840 --> 00:30:47,400
Speaker 1: think so? So he's either because Perrico means I think parakeet.

551
00:30:48,200 --> 00:30:50,560
Speaker 1: Uh so he's either a parakeet or a horse, depending

552
00:30:50,600 --> 00:30:54,160
Speaker 1: on which nickname you're going by. Yeah, I can see

553
00:30:54,200 --> 00:30:57,800
Speaker 1: there one fitting. I think he's supposed to be a skinny,

554
00:30:57,840 --> 00:31:01,800
Speaker 1: cowardly butt of a joe. He wears a huge dollar

555
00:31:01,920 --> 00:31:05,840
Speaker 1: sign necklace for some reason. Yeah, it's never explained. He's

556
00:31:05,840 --> 00:31:11,040
Speaker 1: got big, big old glasses, like gigantic lenses. Uh. And

557
00:31:11,200 --> 00:31:14,720
Speaker 1: I gotta say so there the one time in this

558
00:31:14,760 --> 00:31:17,640
Speaker 1: movie where el Cento was anything other than just like

559
00:31:17,760 --> 00:31:20,960
Speaker 1: perfectly virtuous is when he was sort of a little

560
00:31:20,960 --> 00:31:24,920
Speaker 1: bit bullying to Perico. But I think I think it's

561
00:31:24,960 --> 00:31:28,640
Speaker 1: just because Perico is supposed to be super annoying. Yeah,

562
00:31:28,720 --> 00:31:31,120
Speaker 1: he's so annoying even if you're a saint. Um, you know,

563
00:31:31,160 --> 00:31:33,680
Speaker 1: it's kind of hard to take. But but he's I

564
00:31:34,080 --> 00:31:38,360
Speaker 1: have to say, sometimes the comedic figure in films like this,

565
00:31:38,440 --> 00:31:41,000
Speaker 1: it's a they're a bit much to take. But I

566
00:31:41,360 --> 00:31:43,640
Speaker 1: thought this guy was great in this. Like I legitimately

567
00:31:43,720 --> 00:31:47,280
Speaker 1: laughed out loud at some of his antics. Um. And

568
00:31:47,320 --> 00:31:49,040
Speaker 1: I think he plays an important role in keeping the

569
00:31:49,080 --> 00:31:52,120
Speaker 1: movie clicking around, because otherwise most of the other characters

570
00:31:52,120 --> 00:31:55,240
Speaker 1: are ultimately kind of static. I mean, it's Dracula, it's Masknin,

571
00:31:55,440 --> 00:31:59,240
Speaker 1: it's sexy vampire thralls. But this guy's just overflowing with

572
00:31:59,320 --> 00:32:03,120
Speaker 1: comedic vod Villian energy. There's a great scene where he,

573
00:32:03,560 --> 00:32:07,200
Speaker 1: in his terror, accidentally swallows a whistle and then he

574
00:32:07,240 --> 00:32:13,760
Speaker 1: can't stop whistling while talking. Yeah, and he's always terrified. Yeah, alright,

575
00:32:13,800 --> 00:32:15,840
Speaker 1: any other actors we want to mention before we get

576
00:32:15,880 --> 00:32:18,520
Speaker 1: into the plot. I would say, just very briefly, there

577
00:32:18,520 --> 00:32:22,120
Speaker 1: are two guys in this that that we're wrestlers. There's

578
00:32:22,160 --> 00:32:26,840
Speaker 1: this guy, um wrestler XU, Guillermo Hernandez, and he shows up,

579
00:32:26,880 --> 00:32:30,120
Speaker 1: as is this guy that is one of Santo's training buddies.

580
00:32:30,360 --> 00:32:33,320
Speaker 1: Oh is this like his his Burgess Meredith type guy,

581
00:32:33,400 --> 00:32:36,920
Speaker 1: the gravelly voiced guy who helps him out. Yeah, and

582
00:32:36,960 --> 00:32:39,320
Speaker 1: I believe he wrestled, if I'm not mistaken here, he

583
00:32:39,360 --> 00:32:42,840
Speaker 1: did wrestled as a lobo negro and um and unwrestled

584
00:32:42,880 --> 00:32:45,800
Speaker 1: Santo even back in the day. And then there's also

585
00:32:45,840 --> 00:32:48,960
Speaker 1: a guy named Atlas that pops up that is the

586
00:32:49,040 --> 00:32:53,360
Speaker 1: villain's son that Santo ultimately has to wrestle and Um.

587
00:32:53,440 --> 00:32:56,480
Speaker 1: I don't think the actor playing Atlas is credited, but

588
00:32:56,640 --> 00:32:58,800
Speaker 1: I think it's clearly a luchador from the era. And

589
00:32:58,840 --> 00:33:02,120
Speaker 1: I think it's a guy named Mr Atlas, which was

590
00:33:02,760 --> 00:33:07,120
Speaker 1: Daniel torriko um Balderrama, and he would have been a

591
00:33:07,120 --> 00:33:09,360
Speaker 1: contemporary of Santo's. But I couldn't find out a lot

592
00:33:09,360 --> 00:33:13,320
Speaker 1: of information about him. Okay, he was interesting because he

593
00:33:13,400 --> 00:33:15,960
Speaker 1: was like he was the champion of the villains, but

594
00:33:16,040 --> 00:33:19,040
Speaker 1: he wasn't as villainous as the He was just a wrestler.

595
00:33:19,560 --> 00:33:22,200
Speaker 1: He was just pure muscle. Yeah, yeah, all right, Well

596
00:33:22,280 --> 00:33:25,000
Speaker 1: let's let's get into the plot of this film. Okay.

597
00:33:25,040 --> 00:33:27,440
Speaker 1: So it's got a good I love a good like

598
00:33:27,560 --> 00:33:30,800
Speaker 1: production company title card, and this one has it. There's

599
00:33:30,840 --> 00:33:34,520
Speaker 1: like an excellent, wacky one that says cinemato Graphica. That's

600
00:33:34,520 --> 00:33:37,880
Speaker 1: a hard word, Cinematographica Calderon, which I think is named

601
00:33:37,880 --> 00:33:42,000
Speaker 1: after the head of the production company um that made

602
00:33:42,040 --> 00:33:45,320
Speaker 1: this and and it says it stars Santo the Silver Mask.

603
00:33:45,760 --> 00:33:47,920
Speaker 1: We may not have mentioned that point, but Santo's mask

604
00:33:48,040 --> 00:33:51,000
Speaker 1: is silver, and also his his pants are silver when

605
00:33:51,000 --> 00:33:53,760
Speaker 1: he wrestles. But in a lot of this movie he's

606
00:33:53,800 --> 00:33:57,360
Speaker 1: just like wearing a suit, which is fun. Yeah, with

607
00:33:57,440 --> 00:34:01,280
Speaker 1: the mask, it's fun. But it gives you two different

608
00:34:01,280 --> 00:34:05,440
Speaker 1: titles for the movie, by the way, because the European version,

609
00:34:05,520 --> 00:34:09,399
Speaker 1: with all of the totally pointless nudity scenes, that one

610
00:34:09,680 --> 00:34:15,080
Speaker 1: had apparently been retitled l vampiro e l sexo so,

611
00:34:15,520 --> 00:34:19,800
Speaker 1: which literally translates to the Vampire and the sex Uh.

612
00:34:19,840 --> 00:34:23,040
Speaker 1: And then then it gives you. But the actual title

613
00:34:23,040 --> 00:34:26,640
Speaker 1: of the movie is Santo in the Treasure of Dracula, right,

614
00:34:26,880 --> 00:34:30,040
Speaker 1: which is a that's a more authentic title, like that's

615
00:34:30,040 --> 00:34:32,440
Speaker 1: what it's about. And the first thing we get is

616
00:34:32,760 --> 00:34:35,319
Speaker 1: a location establishment. We see like a plaque on the

617
00:34:35,320 --> 00:34:40,319
Speaker 1: wall that says Dr Caesar sepulveda physical nuclear nuclear physicist.

618
00:34:40,680 --> 00:34:42,920
Speaker 1: And so it's a meeting at the office of this

619
00:34:42,920 --> 00:34:47,240
Speaker 1: this nuclear physicist, Dr Sepulveda. And I think it's important

620
00:34:47,280 --> 00:34:50,360
Speaker 1: to hear the opening spoken line of the film because

621
00:34:50,360 --> 00:34:54,239
Speaker 1: it gets so much done. Dr Sepulveda is speaking and

622
00:34:54,320 --> 00:34:58,160
Speaker 1: he says, my dearest colleagues, I took the liberty of

623
00:34:58,200 --> 00:35:01,240
Speaker 1: holding this meeting here at my house to inform you, all,

624
00:35:01,400 --> 00:35:05,879
Speaker 1: distinguished members of the Metaphysic Research Society, about the work

625
00:35:05,920 --> 00:35:08,719
Speaker 1: of an esteemed friend of mine, known to all of

626
00:35:08,719 --> 00:35:12,400
Speaker 1: you for his scientific work, as well as having dedicated

627
00:35:12,520 --> 00:35:16,120
Speaker 1: his whole life while hiding his identity to fight effectively

628
00:35:16,160 --> 00:35:21,640
Speaker 1: against crime. Let me introduce you to Santo. So many

629
00:35:21,640 --> 00:35:24,360
Speaker 1: funny things here. Number one, I'm curious why it's the

630
00:35:24,440 --> 00:35:27,400
Speaker 1: Metaphysic Research Society. I think these people are supposed to

631
00:35:27,400 --> 00:35:32,120
Speaker 1: be physicists, not metaphysicists. Um, But then the other thing

632
00:35:32,160 --> 00:35:34,640
Speaker 1: would be uh. He says, he needs to tell you

633
00:35:34,680 --> 00:35:38,000
Speaker 1: about the scientific work of this person who is known

634
00:35:38,040 --> 00:35:42,120
Speaker 1: to all of you for his scientific work. But anyway,

635
00:35:42,160 --> 00:35:44,440
Speaker 1: then Santo walks into the room and from the moment

636
00:35:44,520 --> 00:35:46,960
Speaker 1: he's on screen, he's just in command. It's like what

637
00:35:47,640 --> 00:35:49,680
Speaker 1: anybody else is talking, I don't care. I want to

638
00:35:49,719 --> 00:35:52,400
Speaker 1: hear what Santo has to say. So his pitch is

639
00:35:52,480 --> 00:35:56,240
Speaker 1: pretty much, gentlemen, I have invented a way to materialize

640
00:35:56,280 --> 00:36:00,279
Speaker 1: your body into a past existence. And he says that

641
00:36:00,560 --> 00:36:03,080
Speaker 1: we could use this to study cultures of the past

642
00:36:03,239 --> 00:36:05,960
Speaker 1: and things like that. And all the scientists in the

643
00:36:06,040 --> 00:36:08,480
Speaker 1: room or there were somewhat interested, and so they want

644
00:36:08,520 --> 00:36:11,560
Speaker 1: an explanation, and he takes them next door into the lab.

645
00:36:12,360 --> 00:36:14,400
Speaker 1: And the lab there are a bunch of scenes that

646
00:36:14,440 --> 00:36:16,520
Speaker 1: take place in the lab. It's great. It's got a

647
00:36:16,520 --> 00:36:22,400
Speaker 1: big red leather office chair, beeping machines, hoses, levers, flashing lights,

648
00:36:23,120 --> 00:36:25,200
Speaker 1: and Santo says, and and by the way, I just

649
00:36:25,239 --> 00:36:27,120
Speaker 1: gotta say this comes through in a bunch of parts

650
00:36:27,120 --> 00:36:31,319
Speaker 1: of the movie. Whoever did the English dub over for

651
00:36:31,400 --> 00:36:35,520
Speaker 1: Santo's lines has some extremely funny line delivery. I don't

652
00:36:35,560 --> 00:36:39,040
Speaker 1: know whose voice that was, but bravo to them. You know,

653
00:36:39,040 --> 00:36:40,799
Speaker 1: I have to stress in a way that feels very

654
00:36:40,800 --> 00:36:43,400
Speaker 1: respectful though, like it's not. It's not some sort of

655
00:36:43,400 --> 00:36:47,200
Speaker 1: a wonky, you know, high jinks kind of dubbing, even

656
00:36:47,200 --> 00:36:49,520
Speaker 1: though I do feel like it is. It is it

657
00:36:49,600 --> 00:36:53,480
Speaker 1: was done recently, Like I don't think this is dubbing

658
00:36:53,480 --> 00:36:55,839
Speaker 1: from the sixties or seventies, but it but it did.

659
00:36:56,040 --> 00:36:58,279
Speaker 1: It did feel authentic. It felt like they were they

660
00:36:58,280 --> 00:37:01,440
Speaker 1: were doing their best to give fitting dubbing for a

661
00:37:01,520 --> 00:37:05,279
Speaker 1: nineteen nine film. Yes, and the I mean often what's

662
00:37:05,320 --> 00:37:09,480
Speaker 1: so funny about the dub is the the flatness and

663
00:37:09,560 --> 00:37:14,640
Speaker 1: directionists with which ridiculous lines are delivered. And this would

664
00:37:14,640 --> 00:37:16,520
Speaker 1: be an example. So they walk into the room and

665
00:37:16,560 --> 00:37:20,160
Speaker 1: Santo says, this is my mechanical invention. It is actually

666
00:37:20,160 --> 00:37:24,239
Speaker 1: a time machine. Yes, um, and that that's one of

667
00:37:24,280 --> 00:37:26,680
Speaker 1: the great things too, is that he then goes on

668
00:37:26,760 --> 00:37:30,560
Speaker 1: to explain how this time machine works. And I really

669
00:37:30,560 --> 00:37:32,840
Speaker 1: admired that it's not just a hey, I made a

670
00:37:32,880 --> 00:37:34,640
Speaker 1: magic portal and you walk through it and you're in

671
00:37:34,640 --> 00:37:37,359
Speaker 1: the past, Like it's it's more elaborate than that. It's

672
00:37:37,400 --> 00:37:40,320
Speaker 1: ultimately it's a bit different than you might expect. You

673
00:37:40,320 --> 00:37:42,800
Speaker 1: would expect kind of a walky time to our situation,

674
00:37:43,120 --> 00:37:46,080
Speaker 1: but that's not what Santo has invented. Well no, In fact,

675
00:37:46,360 --> 00:37:51,640
Speaker 1: this piece of technology assumes the premise of reincarnation because

676
00:37:51,640 --> 00:37:56,160
Speaker 1: it says that by decomposing a subject's atoms, it causes

677
00:37:56,239 --> 00:37:59,400
Speaker 1: them to be sent back to one of their previous lives.

678
00:38:00,000 --> 00:38:02,279
Speaker 1: And that's just science. I mean, if you stuff to

679
00:38:02,280 --> 00:38:04,080
Speaker 1: blow your mind enough, you know that's just what happens

680
00:38:04,080 --> 00:38:07,759
Speaker 1: when you decompose an atom, right, regrets to previous lives.

681
00:38:07,880 --> 00:38:10,279
Speaker 1: Uh So the scientists are like, well, why haven't you

682
00:38:10,320 --> 00:38:12,520
Speaker 1: tested it yet? And he says that he hasn't found

683
00:38:12,560 --> 00:38:16,560
Speaker 1: a willing test subject because, as we will learn in

684
00:38:16,600 --> 00:38:20,080
Speaker 1: the ensuing scenes, the test subject to travel back to

685
00:38:20,120 --> 00:38:22,959
Speaker 1: a previous life really needs to be a woman in

686
00:38:22,960 --> 00:38:26,319
Speaker 1: in good health because, as we will learn, women have

687
00:38:26,440 --> 00:38:30,359
Speaker 1: quote four times more resistance than men, and it will

688
00:38:30,400 --> 00:38:33,560
Speaker 1: be easier to radiate her cells for a longer period

689
00:38:33,640 --> 00:38:36,440
Speaker 1: of time. They do not say resistance to us, just

690
00:38:36,520 --> 00:38:39,480
Speaker 1: four times more resistance. Well, and it's like they say,

691
00:38:39,520 --> 00:38:42,120
Speaker 1: females are strong as hell, so you know it makes

692
00:38:42,160 --> 00:38:45,000
Speaker 1: sense that they are the ones that can survive time travel.

693
00:38:45,160 --> 00:38:47,160
Speaker 1: I mean, I buy it. I'm I'm here for this

694
00:38:47,200 --> 00:38:51,840
Speaker 1: plot device. So the visiting scientists demand proof, and because

695
00:38:51,880 --> 00:38:55,640
Speaker 1: he can't give them proof, they leave, scoffing mercilessly. These

696
00:38:55,680 --> 00:38:59,000
Speaker 1: are the scoffers who come scoffing, and they scoff off

697
00:38:59,040 --> 00:39:02,440
Speaker 1: on their way, and Santo and his friends are very disappointed.

698
00:39:02,880 --> 00:39:06,520
Speaker 1: If only they had a volunteer, right, So so they

699
00:39:06,520 --> 00:39:08,960
Speaker 1: sit around talking about how they could fix this if

700
00:39:08,960 --> 00:39:12,840
Speaker 1: they had a volunteer. Everybody turns to look at Santo's

701
00:39:12,840 --> 00:39:16,520
Speaker 1: friend Perico, who we've discussed already, his cowardly buddy, and

702
00:39:16,560 --> 00:39:21,000
Speaker 1: he's like, oh, not me, boss, I'm so scared and uh.

703
00:39:21,040 --> 00:39:24,839
Speaker 1: Then they turned to their esteemed colleague Dr. Sepulvida, and

704
00:39:24,960 --> 00:39:27,040
Speaker 1: the answer is no, he can't do it. He tries

705
00:39:27,080 --> 00:39:30,440
Speaker 1: to volunteer, but he's too old and he's male. Uh.

706
00:39:30,520 --> 00:39:33,399
Speaker 1: And then finally their friend Luisa asks if she can

707
00:39:33,440 --> 00:39:35,960
Speaker 1: be the volunteer, and there's a little bit of himing

708
00:39:36,000 --> 00:39:38,560
Speaker 1: and hawing, but basically Santo is like, yep, let's get

709
00:39:38,560 --> 00:39:42,239
Speaker 1: to the lab. Oh and we should say. All the while,

710
00:39:42,360 --> 00:39:45,319
Speaker 1: there is a creep in a hood spying on what

711
00:39:45,480 --> 00:39:49,120
Speaker 1: Santo and friends are doing. Yeah, and at least at

712
00:39:49,120 --> 00:39:50,960
Speaker 1: this point of the film, we are to assume that

713
00:39:51,080 --> 00:39:54,920
Speaker 1: this is privileged knowledge for the viewer and not something

714
00:39:54,960 --> 00:39:57,960
Speaker 1: that Santo and company are aware of, right exactly. Yeah,

715
00:39:58,040 --> 00:40:00,160
Speaker 1: there is a creep sort of like peeking in the

716
00:40:00,160 --> 00:40:02,920
Speaker 1: windows and over the hedges at what they're doing in

717
00:40:02,920 --> 00:40:07,120
Speaker 1: the lab. And so Luisa puts on a rad silver

718
00:40:07,280 --> 00:40:10,000
Speaker 1: time travel jumpsuit with I might add, I don't know

719
00:40:10,000 --> 00:40:14,759
Speaker 1: if you noticed this a very Dracula style color on it. Oh,

720
00:40:14,840 --> 00:40:16,279
Speaker 1: I didn't notice that. I'm gonna have to go back

721
00:40:16,280 --> 00:40:18,319
Speaker 1: and look at stills. Yeah, it's got that I don't

722
00:40:18,320 --> 00:40:20,120
Speaker 1: know what you call that in fashion terms, but the

723
00:40:20,160 --> 00:40:22,359
Speaker 1: kind of collar that's like sort of puffed up and

724
00:40:22,520 --> 00:40:27,120
Speaker 1: large and raised. It's like a Dracula cape collar. In anyway,

725
00:40:27,160 --> 00:40:30,040
Speaker 1: these scenes where they're they're getting the time machine working,

726
00:40:30,080 --> 00:40:32,439
Speaker 1: this is one of the ones where I was really thinking, like, man,

727
00:40:32,520 --> 00:40:34,759
Speaker 1: it is. It's just easy to see why Santo was

728
00:40:34,800 --> 00:40:37,680
Speaker 1: a star again, through the mask, through the dub, his

729
00:40:37,760 --> 00:40:41,400
Speaker 1: charisma shines through. Yeah, I mean again, El Santo is

730
00:40:41,440 --> 00:40:45,000
Speaker 1: presented as the absolute best of us. He's noble, intelligent, strong,

731
00:40:45,280 --> 00:40:48,960
Speaker 1: he's just absolutely good. He's an athlete, a warrior, a scientist,

732
00:40:49,280 --> 00:40:52,879
Speaker 1: and as we'll see, even his enemies often just recognize

733
00:40:52,920 --> 00:40:55,719
Speaker 1: his honor just just it's just a given. Oh yeah,

734
00:40:55,760 --> 00:40:58,200
Speaker 1: that's great. There are parts where the enemies are like,

735
00:40:58,600 --> 00:41:00,600
Speaker 1: you know, I would like to kill him, but he

736
00:41:00,600 --> 00:41:05,359
Speaker 1: he is too sacred. Yes. Um. So Luisa gets into

737
00:41:05,400 --> 00:41:07,840
Speaker 1: the time machine, and the time machine is very funny.

738
00:41:07,880 --> 00:41:11,360
Speaker 1: It's like it's like a hallway in Christopher Lee's house

739
00:41:11,400 --> 00:41:13,239
Speaker 1: and the Man with the Golden Gun. It's got this

740
00:41:13,320 --> 00:41:18,560
Speaker 1: big spiraling turning disc and weird psychedelic effects all over

741
00:41:18,600 --> 00:41:22,240
Speaker 1: the place. Yeah. Like it's basically it's basically a time tunnel,

742
00:41:22,280 --> 00:41:24,960
Speaker 1: which makes sense because the Time Tunnel was on television

743
00:41:25,000 --> 00:41:28,120
Speaker 1: sixty six through sixty seven. Okay, I don't know anything

744
00:41:28,160 --> 00:41:30,799
Speaker 1: about that. What what is that? I've never said. I

745
00:41:30,800 --> 00:41:33,080
Speaker 1: just remember seeing ads for it on the Sci Fi

746
00:41:33,160 --> 00:41:35,840
Speaker 1: Channel back in the day reruns, and it is is

747
00:41:35,880 --> 00:41:38,880
Speaker 1: just a show that featured a psychedelic time tunnel that

748
00:41:38,960 --> 00:41:41,560
Speaker 1: was like this crazy spiral and I believe you went

749
00:41:41,640 --> 00:41:43,919
Speaker 1: through it and that allows you to travel in time.

750
00:41:44,280 --> 00:41:48,879
Speaker 1: I see. So Luisa travels through time and she reverts

751
00:41:48,920 --> 00:41:51,880
Speaker 1: into one of her past lives where she lands on

752
00:41:51,920 --> 00:41:55,319
Speaker 1: a big bed with two visible puncture wounds in her neck.

753
00:41:55,800 --> 00:41:58,080
Speaker 1: And I think we can immediately see where this going.

754
00:41:58,520 --> 00:42:01,440
Speaker 1: Um oh, and we should say that Santo and Sepulvida

755
00:42:01,480 --> 00:42:03,800
Speaker 1: and Perico have a way to watch what Luis says

756
00:42:03,840 --> 00:42:06,920
Speaker 1: doing on on a TV screen, so they can watch

757
00:42:06,960 --> 00:42:10,160
Speaker 1: her doings in the past on TV. Yeah. I love

758
00:42:10,200 --> 00:42:13,600
Speaker 1: this because it's it's so ridiculous but also so powerful.

759
00:42:13,600 --> 00:42:16,080
Speaker 1: Like if you were able to do this, like think

760
00:42:16,120 --> 00:42:19,000
Speaker 1: of I mean, all you could just discover about the past,

761
00:42:19,120 --> 00:42:22,319
Speaker 1: like like forget actually sending the person back to their

762
00:42:22,360 --> 00:42:25,239
Speaker 1: past life somehow, being to being able to watch it

763
00:42:25,440 --> 00:42:29,359
Speaker 1: on like some sort of direct video feed Like that's

764
00:42:29,440 --> 00:42:32,040
Speaker 1: that's incredible, it is. And it's interesting to see the

765
00:42:32,040 --> 00:42:34,399
Speaker 1: way they apply their knowledge to what they're looking at,

766
00:42:34,440 --> 00:42:36,920
Speaker 1: Like we find out that santo Is is also a

767
00:42:36,960 --> 00:42:40,719
Speaker 1: furniture expert because he immediately deduces the time period they're

768
00:42:40,760 --> 00:42:44,160
Speaker 1: looking at by the furniture in the room. Oh. Absolutely, yeah,

769
00:42:44,160 --> 00:42:46,880
Speaker 1: he's a detective. He's he's he's an expert in all things.

770
00:42:47,280 --> 00:42:50,920
Speaker 1: So in the past we see old furniture, there's horse

771
00:42:50,960 --> 00:42:55,200
Speaker 1: and carriage and so for a while here it becomes

772
00:42:55,320 --> 00:42:58,799
Speaker 1: a movie within a movie. It just turns into a

773
00:42:58,920 --> 00:43:03,920
Speaker 1: Dracula movie, with Santo and friends occasionally popping in to

774
00:43:04,080 --> 00:43:06,800
Speaker 1: comment on the action, like I don't know, like Grandpa

775
00:43:06,920 --> 00:43:08,640
Speaker 1: Monster coming in in the middle of the movie to

776
00:43:08,680 --> 00:43:12,400
Speaker 1: introduce a commercial break. Yeah, which again is is I

777
00:43:12,480 --> 00:43:14,440
Speaker 1: think it's admirable that we we don't just have a

778
00:43:14,480 --> 00:43:17,319
Speaker 1: standard Santa goes back in time and fights things like

779
00:43:17,360 --> 00:43:21,439
Speaker 1: we have a far more kind of elaborate plot going

780
00:43:21,480 --> 00:43:24,359
Speaker 1: on here. Santo watches a movie about the past that

781
00:43:24,760 --> 00:43:28,040
Speaker 1: then later becomes a life and death struggle in the present. Yes,

782
00:43:28,840 --> 00:43:31,080
Speaker 1: and so this movie about the past, I'm not going

783
00:43:31,120 --> 00:43:33,279
Speaker 1: to go super into the details about it. It's a

784
00:43:33,400 --> 00:43:37,440
Speaker 1: very standard Dracula style plot. So you get a slayer

785
00:43:37,520 --> 00:43:41,240
Speaker 1: professor Professor van Roth, who is clearly the Van Helsing character.

786
00:43:41,600 --> 00:43:45,520
Speaker 1: He meets a Professor Solar. Solar's daughter is sick. Her

787
00:43:45,560 --> 00:43:48,520
Speaker 1: health is declining day by day. She's weak and pale

788
00:43:48,560 --> 00:43:51,280
Speaker 1: in the mornings, just like what happened to her friend

789
00:43:51,400 --> 00:43:55,000
Speaker 1: Maura previously. I think we might recognize the like Lucy

790
00:43:55,239 --> 00:44:00,239
Speaker 1: mina vampiric illness plot line from Dracula. I do love

791
00:44:00,320 --> 00:44:03,719
Speaker 1: that when this whole setup is being explained Dr. Van

792
00:44:03,800 --> 00:44:06,920
Speaker 1: Roth or Professor van Roth and Solar and their study,

793
00:44:06,920 --> 00:44:09,360
Speaker 1: and suddenly there's a bat attack, just like a rubber

794
00:44:09,360 --> 00:44:11,520
Speaker 1: bat attacks the window and they have to ward it

795
00:44:11,520 --> 00:44:15,120
Speaker 1: off with mistletoe, which Professor van Roth says is a

796
00:44:15,200 --> 00:44:19,279
Speaker 1: herb that grows in Transylvania and vampires can't stand the

797
00:44:19,320 --> 00:44:22,719
Speaker 1: smell of it. Uh you know, I'd never encountered this

798
00:44:22,880 --> 00:44:24,960
Speaker 1: use of missiletoe before, but I mean, I guess it

799
00:44:24,960 --> 00:44:28,239
Speaker 1: would make sense given the you know, Druidic properties of

800
00:44:28,239 --> 00:44:31,120
Speaker 1: mistletoe and what has kind of like magical properties in

801
00:44:31,160 --> 00:44:34,440
Speaker 1: some legends, So why not sure? Uh ye? And to

802
00:44:34,480 --> 00:44:37,279
Speaker 1: pick up further on the druidic themes right after that,

803
00:44:37,360 --> 00:44:39,560
Speaker 1: I laughed out loud when I saw this when Luisa

804
00:44:39,600 --> 00:44:42,560
Speaker 1: comes into the room and she's wearing this I don't

805
00:44:42,560 --> 00:44:44,440
Speaker 1: know why it was so funny, but it's this green

806
00:44:44,719 --> 00:44:48,600
Speaker 1: velvet robe with like huge puffy Santa Claus cuffs on

807
00:44:48,680 --> 00:44:52,080
Speaker 1: the sleeves, and she gives this whole spiel about how

808
00:44:52,600 --> 00:44:56,200
Speaker 1: at night fog comes, there are dogs barking, and I

809
00:44:56,239 --> 00:44:58,919
Speaker 1: see a pale face with blood red eyes, and then

810
00:44:58,920 --> 00:45:03,080
Speaker 1: her Dad's like, yeah, I don't worry about that and

811
00:45:03,120 --> 00:45:05,439
Speaker 1: then oh, and then a dude shows up and he's

812
00:45:05,480 --> 00:45:09,120
Speaker 1: introduced as Count Alucard, and he just sort of like

813
00:45:09,239 --> 00:45:12,880
Speaker 1: does some uh jousting back and forth verbally with the

814
00:45:13,480 --> 00:45:18,719
Speaker 1: with the professor's uh and you count Alucard yet get it? Yeah,

815
00:45:18,880 --> 00:45:22,560
Speaker 1: it's of course Dracula backwards. Uh. And this is this

816
00:45:22,600 --> 00:45:26,200
Speaker 1: is not the only place you encounter Count alocard um.

817
00:45:26,360 --> 00:45:29,200
Speaker 1: You see. We see this pop up in various Dracula movies,

818
00:45:29,239 --> 00:45:35,320
Speaker 1: including Dracula two and in ninety three Son of Dracula

819
00:45:35,840 --> 00:45:38,560
Speaker 1: starting Lon Chaney Jr. And I guess the whole thing

820
00:45:38,640 --> 00:45:42,200
Speaker 1: is Dracula is ultimately lazy and if he needs to

821
00:45:42,239 --> 00:45:44,600
Speaker 1: fake his identity, he's just going to spell his name

822
00:45:44,640 --> 00:45:47,120
Speaker 1: backwards and leave it at that, Like I imagine his

823
00:45:47,520 --> 00:45:49,480
Speaker 1: like he would be horrible at coming up with a

824
00:45:49,480 --> 00:45:52,279
Speaker 1: password for his email account. It reminds me of the

825
00:45:52,360 --> 00:45:55,560
Speaker 1: episode of the Office where Dwight is pretending to have

826
00:45:55,640 --> 00:45:58,479
Speaker 1: gone to the dentist but he's lying and Michael asks

827
00:45:58,560 --> 00:46:01,080
Speaker 1: him what the dentist name was. He takes about ten

828
00:46:01,200 --> 00:46:08,680
Speaker 1: seconds and then says Crentict. Yeah. Yeah. Alcartes is very

829
00:46:08,760 --> 00:46:13,520
Speaker 1: very much on the Crentest level of creative line, but

830
00:46:13,600 --> 00:46:15,920
Speaker 1: it's working for Count Alkard here because he's he's on

831
00:46:15,920 --> 00:46:19,000
Speaker 1: a roll. Yeah, they're there. I mean it's basically, these

832
00:46:19,040 --> 00:46:21,680
Speaker 1: people would fall for the crentest excuse. They would they

833
00:46:21,680 --> 00:46:33,640
Speaker 1: would accept that that doctor's note. But anyway, van Roth

834
00:46:33,719 --> 00:46:36,880
Speaker 1: introduces the idea, oh, what if Luisa is being attacked

835
00:46:36,880 --> 00:46:39,640
Speaker 1: by a vampire and that's the cause of the punctures

836
00:46:39,680 --> 00:46:41,839
Speaker 1: in her neck, and you know, that could be like

837
00:46:41,880 --> 00:46:45,200
Speaker 1: the many other girls who have disappeared. And then here

838
00:46:45,239 --> 00:46:47,640
Speaker 1: we we transition into one of the long I think

839
00:46:47,680 --> 00:46:51,400
Speaker 1: European cut sequences. So when we see Count Alucard and

840
00:46:51,520 --> 00:46:55,879
Speaker 1: his army of vampire women and they're vamping some new victims. Uh,

841
00:46:55,920 --> 00:46:59,960
Speaker 1: they're long, extraneous scenes of of extended nudity that are

842
00:47:00,080 --> 00:47:02,839
Speaker 1: in no way necessary to the plot. There was one

843
00:47:02,920 --> 00:47:06,640
Speaker 1: detail from this part that was funny where it seems that, uh,

844
00:47:06,920 --> 00:47:10,800
Speaker 1: Count Alucard puts a cute little stick on bat tattoo

845
00:47:11,040 --> 00:47:14,680
Speaker 1: on all of his lady vampire soldiers. Oh yeah, like

846
00:47:14,719 --> 00:47:17,560
Speaker 1: it's they don't seem to be implying or trying very

847
00:47:17,560 --> 00:47:19,480
Speaker 1: hard to make it seem like he's branding them or

848
00:47:19,520 --> 00:47:21,880
Speaker 1: anything or doing any kind of like magical tattoo or

849
00:47:22,040 --> 00:47:24,600
Speaker 1: it's just like he's kind of, yeah, putting a sticker

850
00:47:24,640 --> 00:47:27,399
Speaker 1: on him, um, you know, stamping him in. And then

851
00:47:27,400 --> 00:47:30,319
Speaker 1: he tells them, now, go quench your vampire thirst for

852
00:47:30,440 --> 00:47:34,200
Speaker 1: human blood, as all of us must do. And there's

853
00:47:34,320 --> 00:47:38,239
Speaker 1: fog and bat squeaks and blood sucking havoc. I think

854
00:47:38,280 --> 00:47:39,880
Speaker 1: there was a there was a funny I was watching

855
00:47:39,880 --> 00:47:42,680
Speaker 1: with subtitles and it did have like the parentheses bat

856
00:47:42,719 --> 00:47:47,400
Speaker 1: squeaks sounded uh. And Count Alucard attacks Luisa in or

857
00:47:47,440 --> 00:47:49,800
Speaker 1: sleep and you know, I guess as he's been doing

858
00:47:49,840 --> 00:47:53,160
Speaker 1: throughout this whole time. And then we cut back to

859
00:47:53,200 --> 00:47:55,719
Speaker 1: Santo and friends and they're watching all this on TV,

860
00:47:55,880 --> 00:47:59,040
Speaker 1: putting the pieces together, and you know, they they figured

861
00:47:59,160 --> 00:48:01,920
Speaker 1: that Luisa has had a past life in which she

862
00:48:02,040 --> 00:48:06,080
Speaker 1: lived at the same time as this vampire, Count Alucard.

863
00:48:06,560 --> 00:48:08,640
Speaker 1: And then we get one of my favorite quotes from

864
00:48:08,640 --> 00:48:11,560
Speaker 1: the film. Santa watching this on the screen says that

865
00:48:11,680 --> 00:48:16,920
Speaker 1: vampire is Dracula. I I legitimately laughed out loud at

866
00:48:16,960 --> 00:48:19,600
Speaker 1: that part. Um. This was another one of those The

867
00:48:19,680 --> 00:48:23,040
Speaker 1: voice actor who does the dub has some really hilariously

868
00:48:23,200 --> 00:48:27,239
Speaker 1: straight line readings. But anyway, so the Dracula subplot here

869
00:48:27,320 --> 00:48:29,560
Speaker 1: the movie. Within the movie, it just sort of barrels

870
00:48:29,640 --> 00:48:33,120
Speaker 1: on towards the resolution of the standard Dracula plot along

871
00:48:33,200 --> 00:48:37,200
Speaker 1: standard lines like van Roth the Slayer goes about some stakings,

872
00:48:37,600 --> 00:48:41,399
Speaker 1: Dracula closes in on Luisa to seal her doom. He says,

873
00:48:41,400 --> 00:48:44,320
Speaker 1: I have chosen you as my wife for all eternity.

874
00:48:44,680 --> 00:48:47,600
Speaker 1: Um I I do wonder though, is there is the

875
00:48:47,719 --> 00:48:50,680
Speaker 1: suspense in this lesson by knowing that this is one

876
00:48:50,719 --> 00:48:55,600
Speaker 1: of Luisa's past lives? Well? Maybe, but then again we

877
00:48:55,640 --> 00:48:57,800
Speaker 1: don't really it's not established, like what happens if you

878
00:48:57,840 --> 00:49:00,200
Speaker 1: go into a past life and then you die in

879
00:49:00,239 --> 00:49:03,279
Speaker 1: that past life, and then then ultimately we know via

880
00:49:03,320 --> 00:49:05,600
Speaker 1: the rules of time travel that have been presented to us,

881
00:49:06,000 --> 00:49:09,400
Speaker 1: the male characters cannot travel back, like Santo can't go

882
00:49:09,440 --> 00:49:11,800
Speaker 1: back and help her. And even if he could, I

883
00:49:11,840 --> 00:49:13,640
Speaker 1: don't know if there's any guarantee that he would be

884
00:49:13,680 --> 00:49:16,200
Speaker 1: in the same time or in the same life, or

885
00:49:16,239 --> 00:49:18,719
Speaker 1: you know, in that same part of the world. Who knows.

886
00:49:18,960 --> 00:49:21,799
Speaker 1: That's a good point. Yeah, well, and also you get

887
00:49:21,880 --> 00:49:25,040
Speaker 1: the sense that Luisa in the past, does she ever

888
00:49:25,120 --> 00:49:28,919
Speaker 1: give an indication in the past that she like retains

889
00:49:28,960 --> 00:49:32,759
Speaker 1: her knowledge about the future. I don't recall anything like that.

890
00:49:32,880 --> 00:49:36,960
Speaker 1: It's almost as she just like becomes her past self,

891
00:49:37,360 --> 00:49:40,879
Speaker 1: possessing only the knowledge of that past self. Yeah, of course,

892
00:49:40,880 --> 00:49:43,560
Speaker 1: it's complicated by the fact that she also falls under

893
00:49:43,600 --> 00:49:45,520
Speaker 1: the power of a of a of a you know,

894
00:49:45,560 --> 00:49:50,279
Speaker 1: tremendously powerful vampire lord almost immediately. But yeah, we've not

895
00:49:50,280 --> 00:49:52,759
Speaker 1: given a lot to go on here. But anyway, as

896
00:49:52,760 --> 00:49:56,400
Speaker 1: I said, the vampire plot just barrels towards the conclusion

897
00:49:56,400 --> 00:49:59,280
Speaker 1: you would expect. Van Roth is trying to find Dracula

898
00:49:59,320 --> 00:50:02,080
Speaker 1: and stake him. He says, I have hired a wolfhound.

899
00:50:02,200 --> 00:50:06,520
Speaker 1: The animal has the power to track vampire assassins. And

900
00:50:06,560 --> 00:50:10,360
Speaker 1: then while they're watching the movie Paraco, he's commenting like, oh,

901
00:50:10,400 --> 00:50:13,440
Speaker 1: where is Alucard taking her? And he's he's very scared

902
00:50:13,440 --> 00:50:15,680
Speaker 1: about what's going to happen. But then he sees all

903
00:50:15,719 --> 00:50:19,880
Speaker 1: of the jewels in Dracula's treasure box, and when Dracula

904
00:50:19,920 --> 00:50:22,919
Speaker 1: reveals his treasure, Perico is intrigued. He's like, could those

905
00:50:23,000 --> 00:50:26,000
Speaker 1: jewels be real? I guess we're supposed to understand that

906
00:50:26,120 --> 00:50:30,479
Speaker 1: he likes riches because he wears the dollar sign necklace. Yeah, yeah,

907
00:50:31,600 --> 00:50:34,280
Speaker 1: and again the riches here it's um is I remember,

908
00:50:34,320 --> 00:50:36,920
Speaker 1: it's a it's a casket, one of the caskets in

909
00:50:37,160 --> 00:50:40,400
Speaker 1: this vault of Dracula. This just filled with what we

910
00:50:40,480 --> 00:50:44,640
Speaker 1: assume to be a treasure, jewels and stuff. Yeah. But

911
00:50:44,760 --> 00:50:47,880
Speaker 1: so Dracula and Luisa they brag about how no mortal

912
00:50:47,960 --> 00:50:50,799
Speaker 1: will ever find Dracula's treasure, and they go into their

913
00:50:50,800 --> 00:50:54,280
Speaker 1: coffins to rest, and then van Roth arrives to stake

914
00:50:54,360 --> 00:50:56,759
Speaker 1: the vamps. So he stakes Dracula, do you get the

915
00:50:56,760 --> 00:51:00,120
Speaker 1: big hiss? And then he's about to stake Luisa. Oh oh,

916
00:51:00,680 --> 00:51:03,399
Speaker 1: So Santo and friends have to intervene to save her,

917
00:51:03,600 --> 00:51:05,880
Speaker 1: and they do this by bringing her back through the

918
00:51:05,920 --> 00:51:09,440
Speaker 1: time machine with a reverse footage effect before she can

919
00:51:09,480 --> 00:51:12,080
Speaker 1: be staked in the past. I'm not sure exactly how

920
00:51:12,120 --> 00:51:14,839
Speaker 1: that works. Yeah, but this is suddenly really like this

921
00:51:14,920 --> 00:51:18,799
Speaker 1: is interesting because Dracula is staked in the past and

922
00:51:18,840 --> 00:51:21,880
Speaker 1: now we're back in the present and we still have

923
00:51:22,200 --> 00:51:24,000
Speaker 1: quite a bit of film to go. So this is

924
00:51:24,000 --> 00:51:25,560
Speaker 1: the point where I was really intrigued. I was like,

925
00:51:25,640 --> 00:51:27,920
Speaker 1: I wonder where this is going, you know, like it

926
00:51:28,000 --> 00:51:31,120
Speaker 1: seems like we resolved this journey into the past. Yeah,

927
00:51:31,120 --> 00:51:33,520
Speaker 1: the movie is like less than half over at this point.

928
00:51:34,040 --> 00:51:36,680
Speaker 1: But then the plot in the present develops in a

929
00:51:36,719 --> 00:51:39,799
Speaker 1: pretty awesome way. So we get some info filled in

930
00:51:39,920 --> 00:51:42,320
Speaker 1: on the creep in the hood who has been snooping

931
00:51:42,360 --> 00:51:45,239
Speaker 1: on Santo and friends the whole time while they're doing

932
00:51:45,239 --> 00:51:49,080
Speaker 1: their experiment. He comes back home and he meets with

933
00:51:49,280 --> 00:51:52,360
Speaker 1: a bodybuilder or like a wrestling dude, a kid who's

934
00:51:52,400 --> 00:51:57,440
Speaker 1: like pushing up, you know, doing uh barbell exercises named Atlas,

935
00:51:57,480 --> 00:52:00,160
Speaker 1: and Atlas addresses the guy in the hood as Faber

936
00:52:00,760 --> 00:52:02,879
Speaker 1: and father fills him in on what's going to happen.

937
00:52:02,920 --> 00:52:04,839
Speaker 1: The guy in the hood is like, I can find

938
00:52:04,960 --> 00:52:08,279
Speaker 1: Dracula's treasure because I spied. Yeah, there's a lot of

939
00:52:08,280 --> 00:52:11,000
Speaker 1: spine going on in this, because Santo and company knew

940
00:52:11,000 --> 00:52:14,920
Speaker 1: about the Draculus treasure because they spied through the time machine.

941
00:52:15,360 --> 00:52:17,640
Speaker 1: And then we have a father and company who were

942
00:52:17,680 --> 00:52:21,480
Speaker 1: spying on Santo and therefore learn about the treasure as well. Right,

943
00:52:22,080 --> 00:52:23,799
Speaker 1: so we we see there are a bunch of I

944
00:52:23,840 --> 00:52:26,640
Speaker 1: guess the guy, the guy in the black hood is

945
00:52:26,640 --> 00:52:30,520
Speaker 1: supposed to be a crime boss of some sort. He's

946
00:52:30,520 --> 00:52:33,840
Speaker 1: got gangster thugs who worked for him, and there's a

947
00:52:33,840 --> 00:52:36,200
Speaker 1: great scene where he calls them on the phone and

948
00:52:36,239 --> 00:52:39,440
Speaker 1: they're sitting around a table playing cards with liquor bottles

949
00:52:39,480 --> 00:52:42,920
Speaker 1: and cigarettes and guns. And one of the guys at

950
00:52:42,920 --> 00:52:46,480
Speaker 1: the table playing cards looks like a standard nineteen forties

951
00:52:46,560 --> 00:52:50,560
Speaker 1: or fifties film noir button man, you know, he's suspenders,

952
00:52:50,640 --> 00:52:53,759
Speaker 1: a Fedora cigarette, that kind of thing. But then there's

953
00:52:53,800 --> 00:52:56,600
Speaker 1: another one of the thugs who looks like a philosophy

954
00:52:56,680 --> 00:52:59,960
Speaker 1: professor or something. It's like he's got like a turtleneck

955
00:53:00,080 --> 00:53:03,480
Speaker 1: can a sport coat and he's smoking a pipe. But anyway,

956
00:53:03,520 --> 00:53:06,840
Speaker 1: the gangster guys here, they get their instructions from the

957
00:53:07,239 --> 00:53:10,000
Speaker 1: dude in the Black Hood. They are told to do

958
00:53:10,160 --> 00:53:14,520
Speaker 1: surveillance on Dr Sepulvida's house, but no guns. He says

959
00:53:14,560 --> 00:53:17,840
Speaker 1: that the life of Santo must be sacred to you all.

960
00:53:18,320 --> 00:53:21,000
Speaker 1: That's right, even the villains, they have a code when

961
00:53:21,040 --> 00:53:24,160
Speaker 1: it comes to Santo. So here we get Santo and

962
00:53:24,200 --> 00:53:27,520
Speaker 1: friends investigating the remains of the vampires Layer. They're going to,

963
00:53:27,719 --> 00:53:30,600
Speaker 1: you know, like where Dracula got steaked. That's like a

964
00:53:30,640 --> 00:53:33,120
Speaker 1: secret crypt and they know how to access it because

965
00:53:33,160 --> 00:53:36,440
Speaker 1: they watched the past on TV. And they go to

966
00:53:36,480 --> 00:53:39,960
Speaker 1: find it and Perico is very afraid. There's a part

967
00:53:39,960 --> 00:53:42,359
Speaker 1: where Santo says, aren't you a man? And he says,

968
00:53:42,400 --> 00:53:45,880
Speaker 1: I am a little mouse. Yes, he's like cowering in

969
00:53:45,920 --> 00:53:49,080
Speaker 1: the backseat. Uh yeah, it's it's great. He he hits

970
00:53:49,080 --> 00:53:51,840
Speaker 1: this note all the time in the film and and

971
00:53:51,920 --> 00:53:54,520
Speaker 1: somehow it works like he's you can compare him very

972
00:53:54,520 --> 00:53:59,000
Speaker 1: easily to uh Shaggy and Scooby Doo. Right, um oh, totally,

973
00:53:59,280 --> 00:54:02,920
Speaker 1: except more hilarious. He should have been eating, like, you know,

974
00:54:03,000 --> 00:54:08,000
Speaker 1: fourteen layer sandwiches. But so they're searching for the right

975
00:54:08,040 --> 00:54:11,279
Speaker 1: crypt and they're paraic oceananigans where he's running around being

976
00:54:11,320 --> 00:54:14,799
Speaker 1: scared and uh and and Santo tells him if he's

977
00:54:14,840 --> 00:54:16,920
Speaker 1: in danger, he can just blow the whistle and we

978
00:54:16,960 --> 00:54:20,279
Speaker 1: will come to help you. Uh. And while they're investigating

979
00:54:20,280 --> 00:54:22,960
Speaker 1: the crypt, the hooded Man and his dudes follow behind,

980
00:54:23,080 --> 00:54:25,640
Speaker 1: and then eventually there's a big fight Santo and his

981
00:54:25,680 --> 00:54:29,360
Speaker 1: friends versus the hooded Man and and his his sgoons.

982
00:54:30,320 --> 00:54:32,760
Speaker 1: And this is the part where Perico swallows the whistle

983
00:54:32,920 --> 00:54:37,200
Speaker 1: and he can't talk without whistling. But of course Santo

984
00:54:37,280 --> 00:54:39,839
Speaker 1: wins the fight and chases the other guys off, and

985
00:54:39,920 --> 00:54:44,240
Speaker 1: Santo gets the It's actually a little more complicated because

986
00:54:44,280 --> 00:54:46,719
Speaker 1: like they they don't just know where the treasure is.

987
00:54:46,760 --> 00:54:50,480
Speaker 1: It's that Dracula has a couple of pieces of jewelry,

988
00:54:50,600 --> 00:54:54,319
Speaker 1: like a medallion and a ring that have markings on

989
00:54:54,440 --> 00:54:58,320
Speaker 1: them in Serbian that tell the location of the treasure.

990
00:54:58,360 --> 00:55:00,560
Speaker 1: Did I get that right? Yeah, because like there's a

991
00:55:00,640 --> 00:55:03,240
Speaker 1: later scene where the guy in the black mask the villain,

992
00:55:03,280 --> 00:55:04,840
Speaker 1: is like, I'm going to get these artifacts, then I

993
00:55:04,880 --> 00:55:07,680
Speaker 1: need to fly to Transylvania and find somebody who can

994
00:55:07,680 --> 00:55:11,000
Speaker 1: translate the Serbian. Yes, yeah, that's it, but you need

995
00:55:11,120 --> 00:55:13,920
Speaker 1: both of the pieces of jewelry, and Santo and friends

996
00:55:13,960 --> 00:55:17,719
Speaker 1: only take one piece. They take the medallion, but me

997
00:55:17,880 --> 00:55:21,080
Speaker 1: and meanwhile the bad guys get the ring. So each

998
00:55:21,160 --> 00:55:24,080
Speaker 1: side has one of the pieces of jewelry. Uh. And

999
00:55:24,120 --> 00:55:28,160
Speaker 1: Santo wants to continue investigating Dracula, despite Luisa having a

1000
00:55:28,200 --> 00:55:30,719
Speaker 1: bad feeling about this. She says, like humans should not

1001
00:55:30,840 --> 00:55:34,800
Speaker 1: venture into the world of the unknown, but Santo says,

1002
00:55:34,840 --> 00:55:37,760
Speaker 1: we have to keep investigating Dracula and find the treasure

1003
00:55:37,800 --> 00:55:40,839
Speaker 1: for two reasons. He says, first to prove to those

1004
00:55:40,880 --> 00:55:44,319
Speaker 1: scientists who mocked me that my theory is right, and

1005
00:55:44,360 --> 00:55:48,440
Speaker 1: then second uh quote to find a vampire's famous treasure

1006
00:55:48,480 --> 00:55:51,400
Speaker 1: which will help the people in need. And I like

1007
00:55:51,480 --> 00:55:53,600
Speaker 1: this because they make it clear that Santo would not

1008
00:55:53,800 --> 00:55:56,719
Speaker 1: keep the vampire's treasure to himself. He would he would

1009
00:55:56,800 --> 00:55:59,399
Speaker 1: give it to the needy, right yeah, I mean that's

1010
00:55:59,400 --> 00:56:01,560
Speaker 1: just the code, that's the way he is right now. Now,

1011
00:56:01,640 --> 00:56:03,759
Speaker 1: one thing that's worth driving home here, and we'll come

1012
00:56:03,800 --> 00:56:05,719
Speaker 1: back to this in a bit too, is that it

1013
00:56:05,840 --> 00:56:07,840
Speaker 1: is revealed in all this and the obtaining of the

1014
00:56:08,200 --> 00:56:12,400
Speaker 1: ring and the medallion, that that Draculus body is still

1015
00:56:12,520 --> 00:56:16,160
Speaker 1: steaked there. Like his body went one steaked, It did

1016
00:56:16,160 --> 00:56:19,000
Speaker 1: not you know, burn away or melt into snakes and

1017
00:56:19,040 --> 00:56:22,440
Speaker 1: crickets or anything like. He's still there with that steak

1018
00:56:22,840 --> 00:56:26,520
Speaker 1: through his heart. Um And and that will become important

1019
00:56:26,520 --> 00:56:30,120
Speaker 1: in a bit, right. So eventually Santo and his friends

1020
00:56:30,239 --> 00:56:32,960
Speaker 1: end up in another big fight with the Black Hood

1021
00:56:33,160 --> 00:56:37,160
Speaker 1: and UH and his goons, and Dr Sepulvida proposes a

1022
00:56:37,239 --> 00:56:40,120
Speaker 1: solution to their problem because Santo will not hand over

1023
00:56:40,280 --> 00:56:42,960
Speaker 1: the medallion even though the guy in the Hood wants it,

1024
00:56:43,680 --> 00:56:48,120
Speaker 1: and the solution proposed by by Dr saysar here is

1025
00:56:48,160 --> 00:56:50,960
Speaker 1: that there should be a wrestling match between Santo and

1026
00:56:51,040 --> 00:56:53,920
Speaker 1: the Black Hood's son Atlas, and the outcome of the

1027
00:56:53,960 --> 00:56:57,520
Speaker 1: match will determine who gets Draculus treasure, who gets both

1028
00:56:57,560 --> 00:57:01,279
Speaker 1: of these artifacts that will together spell the location. Yeah,

1029
00:57:01,280 --> 00:57:02,920
Speaker 1: and of course Santo agrees to this because this is

1030
00:57:03,000 --> 00:57:06,280
Speaker 1: highly honorable and like, let's face it, he's he's El Santo,

1031
00:57:07,440 --> 00:57:09,719
Speaker 1: like he has a very strong chance of winning this

1032
00:57:10,040 --> 00:57:13,160
Speaker 1: no matter how great Atlas happens to be, right, And

1033
00:57:13,200 --> 00:57:15,279
Speaker 1: then we get a great scene that's a tutorial on

1034
00:57:15,320 --> 00:57:18,200
Speaker 1: the rules of wrestling, using Perico kind of as a

1035
00:57:18,200 --> 00:57:21,800
Speaker 1: as a dummy, just getting body slammed over and over

1036
00:57:22,520 --> 00:57:24,640
Speaker 1: and uh and and of course here's where we meet

1037
00:57:24,680 --> 00:57:29,680
Speaker 1: Santo's own gravelly voice trainer. Yeah, yeah, you know it's

1038
00:57:29,720 --> 00:57:31,720
Speaker 1: got I don't know, it's it's it's like he's training

1039
00:57:31,760 --> 00:57:34,280
Speaker 1: him or training with him. But I remember I was

1040
00:57:34,280 --> 00:57:36,600
Speaker 1: also thinking, like, why does al Santo need anybody to

1041
00:57:36,640 --> 00:57:38,360
Speaker 1: train with him? But I guess for the purpose of

1042
00:57:38,360 --> 00:57:41,560
Speaker 1: the plot, and also just for the comedic fun of

1043
00:57:42,080 --> 00:57:45,800
Speaker 1: having Paraico slammed on a on a comfy mat and

1044
00:57:45,800 --> 00:57:48,800
Speaker 1: then having like what six luchadors all pile on him

1045
00:57:49,200 --> 00:57:52,680
Speaker 1: for comedic effective was pretty great. And then it's wrestling time.

1046
00:57:53,320 --> 00:57:56,240
Speaker 1: So we get a great wrestling match where where it's

1047
00:57:56,280 --> 00:57:58,640
Speaker 1: Atlas versus El Santo, and they do they show you

1048
00:57:58,640 --> 00:58:01,960
Speaker 1: the whole thing. It's three rounds and it's just like

1049
00:58:02,040 --> 00:58:05,400
Speaker 1: there is a wrestling match in the middle of this movie. Uh,

1050
00:58:05,400 --> 00:58:08,480
Speaker 1: and it's it's actually pretty good. Like you, by modern standards,

1051
00:58:08,560 --> 00:58:10,960
Speaker 1: you might expect the wrestling scene to be like, have

1052
00:58:11,000 --> 00:58:13,640
Speaker 1: a bunch of hypercuts, or to be a montage or something,

1053
00:58:14,080 --> 00:58:16,600
Speaker 1: but no, this is like a complete I mean, maybe

1054
00:58:16,600 --> 00:58:18,160
Speaker 1: it's not as long as it would be in real life.

1055
00:58:18,160 --> 00:58:21,120
Speaker 1: I'm not exactly sure, but it feels like a very

1056
00:58:21,160 --> 00:58:24,680
Speaker 1: complete wrestling match loog libre match with all of the

1057
00:58:24,760 --> 00:58:27,280
Speaker 1: signature spots and sort of the you know, the the

1058
00:58:27,320 --> 00:58:31,080
Speaker 1: Rudeau winning the Matt the round he's supposed to win. Um,

1059
00:58:31,320 --> 00:58:33,360
Speaker 1: you get to see the high flying moves, you get

1060
00:58:33,400 --> 00:58:36,000
Speaker 1: to see the Matt wrestling, which is also important, you know,

1061
00:58:36,080 --> 00:58:39,560
Speaker 1: complicated submission moves and all. And it's it's it's great,

1062
00:58:39,600 --> 00:58:41,600
Speaker 1: Like if you want to see a fun little Santo match,

1063
00:58:42,120 --> 00:58:45,000
Speaker 1: just watch this film because it's there in its entirety,

1064
00:58:45,040 --> 00:58:48,840
Speaker 1: extremely impressive tumbling moves. Again, I'm not as big a

1065
00:58:48,840 --> 00:58:51,640
Speaker 1: wrestling fan as you are, but I got into it.

1066
00:58:51,680 --> 00:58:54,320
Speaker 1: I really wanted Santo to win. Yeah, Like, there's a

1067
00:58:54,320 --> 00:58:57,480
Speaker 1: part where, you know the the Rudeau uses a special

1068
00:58:57,480 --> 00:59:00,440
Speaker 1: submission move to win one of the falls, and then

1069
00:59:00,440 --> 00:59:02,840
Speaker 1: in the towards the end of the match for the

1070
00:59:02,920 --> 00:59:05,440
Speaker 1: final fall, he tries to put the same move on

1071
00:59:05,520 --> 00:59:07,720
Speaker 1: it in Santo fights out of it. So it's it's

1072
00:59:07,720 --> 00:59:11,240
Speaker 1: it's right, it's right, good totally. And the one thing though,

1073
00:59:11,240 --> 00:59:12,880
Speaker 1: in the middle of the match, there was a moment

1074
00:59:12,880 --> 00:59:14,920
Speaker 1: where I started thinking, wait a second, wasn't there a

1075
00:59:15,000 --> 00:59:18,200
Speaker 1: vampire in this movie? And then I was worried for

1076
00:59:18,240 --> 00:59:19,680
Speaker 1: a bit. I was like, are there going to be

1077
00:59:19,760 --> 00:59:22,280
Speaker 1: no undead in the conclusion of this film? Has it

1078
00:59:22,400 --> 00:59:25,560
Speaker 1: just turned into pure wrestling? And like the vampire stuff

1079
00:59:25,640 --> 00:59:28,080
Speaker 1: was just for the first third of it. Oh ye

1080
00:59:28,200 --> 00:59:31,760
Speaker 1: of little faith. Yeah, So Santo wins the wrestling match

1081
00:59:31,880 --> 00:59:35,120
Speaker 1: and the bad dude hands over the ring but gasp,

1082
00:59:35,640 --> 00:59:39,160
Speaker 1: he has made a copy. He is not honorable. He cheats,

1083
00:59:39,320 --> 00:59:42,480
Speaker 1: I guess because he's a Rudeau. So what's the bad

1084
00:59:42,480 --> 00:59:45,439
Speaker 1: guy's plan at this point? Well, they've got a brilliant plan.

1085
00:59:45,640 --> 00:59:49,000
Speaker 1: It's too unstaked. Dracula wake him up from the sleep

1086
00:59:49,040 --> 00:59:51,600
Speaker 1: of the damned, and then he will kill Santo and

1087
00:59:51,720 --> 00:59:54,520
Speaker 1: his friends, and after Santo and his friends are dead,

1088
00:59:54,600 --> 00:59:56,640
Speaker 1: the bad guys will be able to get the medallion

1089
00:59:56,760 --> 00:59:59,600
Speaker 1: necklace from them, and then together with their copy of

1090
00:59:59,600 --> 01:00:02,720
Speaker 1: the ring, they can find the treasure. Yeah. That they

1091
01:00:02,960 --> 01:00:05,680
Speaker 1: kind of skipped over how they're planning to so to

1092
01:00:05,760 --> 01:00:09,320
Speaker 1: lose Dracula and all of this because they're also awakening

1093
01:00:09,400 --> 01:00:12,680
Speaker 1: this terrible undead threat, right right, I mean I think

1094
01:00:12,800 --> 01:00:15,640
Speaker 1: the logic is, we we stand a better chance against

1095
01:00:15,680 --> 01:00:19,120
Speaker 1: Dracula than we do against Santo. Well that's fair, that's fair, right.

1096
01:00:19,600 --> 01:00:22,560
Speaker 1: So what so then it goes kind of into third

1097
01:00:22,560 --> 01:00:25,880
Speaker 1: act warp speed. Uh, you know, so the vampire is awakened,

1098
01:00:26,000 --> 01:00:31,400
Speaker 1: he hypnotizes Luisa again, the bad guys scheme and scheme again. Uh.

1099
01:00:31,440 --> 01:00:33,920
Speaker 1: There's one part where the villain in the in the

1100
01:00:33,960 --> 01:00:36,720
Speaker 1: hood tells one of his one of his buddies, Uh,

1101
01:00:37,080 --> 01:00:39,560
Speaker 1: you fool, they haven't invented a bullet that can kill

1102
01:00:39,560 --> 01:00:43,960
Speaker 1: a vampire yet. And it also there's a car chase

1103
01:00:43,960 --> 01:00:45,960
Speaker 1: where they're, you know, Santo and the bad guys are

1104
01:00:46,040 --> 01:00:48,720
Speaker 1: chasing each other around and it has one of my

1105
01:00:48,720 --> 01:00:52,240
Speaker 1: favorite sound effects, which is car tires screeching on a

1106
01:00:52,240 --> 01:00:55,680
Speaker 1: dirt road. Well, I mean, you gotta try, no matter

1107
01:00:55,720 --> 01:00:56,960
Speaker 1: what kind of road you have to work with, you

1108
01:00:57,000 --> 01:00:58,680
Speaker 1: gotta try and make it look like a car chase.

1109
01:00:58,720 --> 01:01:00,360
Speaker 1: But you've also got to make it sound like a

1110
01:01:00,360 --> 01:01:03,640
Speaker 1: car chase. Right, And then there's another big throwdown fight.

1111
01:01:03,760 --> 01:01:06,760
Speaker 1: It's Santo versus the Hooded Man's goons, and in the end,

1112
01:01:06,880 --> 01:01:10,880
Speaker 1: the black Hooded Man's identity is revealed. I won't spoil it,

1113
01:01:10,920 --> 01:01:13,919
Speaker 1: but it's a it's a good villain unmasking. Yeah, yeah,

1114
01:01:14,000 --> 01:01:16,400
Speaker 1: very This is a sort of unmasking that would become

1115
01:01:16,440 --> 01:01:20,680
Speaker 1: popular with Scooby Doo cartoons. Later on, pull the mask off,

1116
01:01:20,880 --> 01:01:24,520
Speaker 1: find out who was behind all this dastardly plotting all along.

1117
01:01:25,280 --> 01:01:28,320
Speaker 1: There's also a final confrontation with Dracula and with his

1118
01:01:28,520 --> 01:01:32,240
Speaker 1: Army of the Damned. But I won't reveal how Santo

1119
01:01:32,360 --> 01:01:35,160
Speaker 1: wins that one. I will say there I was slightly

1120
01:01:35,160 --> 01:01:39,320
Speaker 1: disappointed that Santo never directly wrestles Dracula, but I will

1121
01:01:39,360 --> 01:01:42,000
Speaker 1: say he outsmarts him, and it reminds us that a

1122
01:01:42,000 --> 01:01:45,360
Speaker 1: hero is not only braun but also wits and while yeah,

1123
01:01:45,400 --> 01:01:48,160
Speaker 1: and it makes sense too, right because Dracula is so

1124
01:01:48,280 --> 01:01:53,040
Speaker 1: much about like carnal physicality and desire and uh and

1125
01:01:53,040 --> 01:01:56,480
Speaker 1: and Santo defeats him without ever even having to physically

1126
01:01:56,520 --> 01:01:59,360
Speaker 1: touch him, so uh, you know, in a way it works.

1127
01:02:00,040 --> 01:02:03,200
Speaker 1: To be clear, there have been vampire themed rudo luchadors

1128
01:02:03,280 --> 01:02:07,240
Speaker 1: over time. Yeah, there was one guy that wrestled as Nosferat.

1129
01:02:07,760 --> 01:02:11,440
Speaker 1: Those costume didn't particularly look very like vampire ask he

1130
01:02:11,480 --> 01:02:14,040
Speaker 1: didn't look like enough Ferat too so much, but his

1131
01:02:14,160 --> 01:02:16,680
Speaker 1: name was not s Farato, and I enjoyed that. Well,

1132
01:02:16,720 --> 01:02:19,880
Speaker 1: I would like to watch some more supernatural wrestling movies

1133
01:02:19,960 --> 01:02:22,760
Speaker 1: that resolve in a more brutal direct way where the

1134
01:02:22,800 --> 01:02:25,400
Speaker 1: monster is just wrestled to a submission at the end.

1135
01:02:27,160 --> 01:02:31,480
Speaker 1: What if you did a frankensteiner on Frankenstein, Well, that

1136
01:02:31,680 --> 01:02:34,160
Speaker 1: that would be that would be interesting. Yeah, I don't

1137
01:02:34,160 --> 01:02:35,640
Speaker 1: know if that's ever been done. I don't know. That

1138
01:02:35,720 --> 01:02:37,800
Speaker 1: seems like someone should have done it by now. I'm

1139
01:02:37,800 --> 01:02:40,040
Speaker 1: not sure you You had a lot of different horror

1140
01:02:40,040 --> 01:02:43,320
Speaker 1: movie characters pop up in in wrestling, certainly in Luca

1141
01:02:43,360 --> 01:02:46,640
Speaker 1: Libre like for a long time. Maybe still you could

1142
01:02:46,680 --> 01:02:50,920
Speaker 1: find teenage mutant ninja turtles wrestling in Lucca um just

1143
01:02:50,920 --> 01:02:52,720
Speaker 1: just kind of a standard get some guys in some

1144
01:02:53,000 --> 01:02:56,320
Speaker 1: turtle costumes and get them out there wrestling for the kids. Uh.

1145
01:02:56,360 --> 01:02:59,160
Speaker 1: You know, if it had various um, like I think

1146
01:02:59,160 --> 01:03:04,200
Speaker 1: in Japan you had like Jason Vorhees wrestled, leather Face wrestled, Uh,

1147
01:03:04,240 --> 01:03:07,720
Speaker 1: Freddie somebody, Freddy Krueger outfit wrestled. So, uh you know

1148
01:03:07,760 --> 01:03:10,600
Speaker 1: that the two go together quite well. I also like

1149
01:03:10,680 --> 01:03:13,440
Speaker 1: how at the end of the movie, Santo agrees with

1150
01:03:13,520 --> 01:03:16,480
Speaker 1: Luisa that it's sort of the final moral of the piece.

1151
01:03:16,680 --> 01:03:19,400
Speaker 1: It's that humans should never ever enter the world of

1152
01:03:19,440 --> 01:03:25,120
Speaker 1: the Unknown. Yeah, though apparently it paid off right there

1153
01:03:25,160 --> 01:03:27,520
Speaker 1: because presumably they were able to get the treasure and

1154
01:03:27,560 --> 01:03:29,720
Speaker 1: then give it to the needy. So I'm I'm not

1155
01:03:29,760 --> 01:03:33,280
Speaker 1: sure we should say never venture into the unknown because

1156
01:03:33,320 --> 01:03:35,840
Speaker 1: it seemed to have some benefits here. That's a good point.

1157
01:03:35,880 --> 01:03:39,960
Speaker 1: They've probably saved lives by entering the world of the Unknown. Yeah,

1158
01:03:40,200 --> 01:03:42,520
Speaker 1: you know, um all told I was. I was very

1159
01:03:42,520 --> 01:03:44,800
Speaker 1: impressed with the plot in the pacing of this film

1160
01:03:44,840 --> 01:03:47,280
Speaker 1: because again it could have even knowing that it was

1161
01:03:47,280 --> 01:03:49,800
Speaker 1: gonna have time travel and Dracula in it, I was

1162
01:03:49,880 --> 01:03:52,400
Speaker 1: kind of expecting something a lot clunkier, you know, Like

1163
01:03:52,400 --> 01:03:55,480
Speaker 1: Santo goes back in time and wrestles Dracula. But there

1164
01:03:55,480 --> 01:03:57,800
Speaker 1: are a lot has all these twists and turns in it.

1165
01:03:57,800 --> 01:04:00,640
Speaker 1: It's it's very watchable. Towards the end of it, like

1166
01:04:00,800 --> 01:04:03,400
Speaker 1: towards the end of other films from this era and

1167
01:04:03,440 --> 01:04:05,720
Speaker 1: of this sort of caliber, you know, you often reach

1168
01:04:05,800 --> 01:04:07,680
Speaker 1: that point where're like, jeez, when is this going to end?

1169
01:04:08,240 --> 01:04:09,600
Speaker 1: But with this one, you're more like, I don't know

1170
01:04:09,640 --> 01:04:11,080
Speaker 1: if they're gonna be able to wrap it up. How

1171
01:04:11,080 --> 01:04:13,000
Speaker 1: are they gonna wrap it up in just ten more minutes?

1172
01:04:13,520 --> 01:04:15,080
Speaker 1: Uh now? Now. One of the things that I found

1173
01:04:15,080 --> 01:04:18,200
Speaker 1: really interesting in this is the whole business with staking

1174
01:04:18,600 --> 01:04:22,520
Speaker 1: Dracula and Dracula not dying but then being able to

1175
01:04:22,720 --> 01:04:24,960
Speaker 1: He's just frozen in the box in this state of

1176
01:04:25,080 --> 01:04:28,640
Speaker 1: suspended animation, and then when he's unstaked, he just wakes

1177
01:04:28,720 --> 01:04:33,160
Speaker 1: up and carries on where he left off. Um, so

1178
01:04:33,600 --> 01:04:35,080
Speaker 1: this does seem to be you know, this is a

1179
01:04:35,560 --> 01:04:38,200
Speaker 1: variation of the vampire legend that you see other places,

1180
01:04:38,240 --> 01:04:40,440
Speaker 1: the idea that the steak doesn't kill the monster but

1181
01:04:40,640 --> 01:04:43,640
Speaker 1: rather fixes it and freezes it to the spot, very

1182
01:04:43,680 --> 01:04:46,240
Speaker 1: much like staking something down to the earth, so that

1183
01:04:46,440 --> 01:04:50,360
Speaker 1: like staking a tent down. Sure, so you know, it's

1184
01:04:50,400 --> 01:04:52,560
Speaker 1: interesting that while one often encounters the stake to the

1185
01:04:52,560 --> 01:04:55,600
Speaker 1: heart detail and vompire legends, you know, sometimes there are

1186
01:04:55,640 --> 01:04:58,720
Speaker 1: particular wood requirements for the steak. There's at least one

1187
01:04:58,800 --> 01:05:01,680
Speaker 1: variety where the empire must be steaked through the mouth.

1188
01:05:02,120 --> 01:05:04,760
Speaker 1: There's another where a large nail must be driven through

1189
01:05:04,800 --> 01:05:07,640
Speaker 1: the forehead. Um. And I was looking at a book

1190
01:05:07,680 --> 01:05:11,440
Speaker 1: by one Paul Barber titled Vampire's Burial and Death, and

1191
01:05:11,480 --> 01:05:13,800
Speaker 1: he points out that the steak to the heart might

1192
01:05:13,840 --> 01:05:17,240
Speaker 1: have picked up steam because if you if you actually

1193
01:05:17,480 --> 01:05:21,280
Speaker 1: unearthed a decaying corpse and you drive a steak into

1194
01:05:21,360 --> 01:05:25,640
Speaker 1: its chest, um, the decaying corps will very often produce

1195
01:05:25,640 --> 01:05:28,520
Speaker 1: a sound. In fact, Barbara writes that it would be

1196
01:05:28,560 --> 01:05:31,880
Speaker 1: surprising if it did not um, because the lungs are

1197
01:05:31,920 --> 01:05:34,480
Speaker 1: going to be compressed by the steake's entry into the chest,

1198
01:05:34,840 --> 01:05:37,640
Speaker 1: and this will force air and gases to explode out

1199
01:05:37,680 --> 01:05:40,480
Speaker 1: of the mouth and produce a sound not unlike a

1200
01:05:40,560 --> 01:05:43,640
Speaker 1: groan or a hiss, sometimes compared to the squealing of

1201
01:05:43,680 --> 01:05:47,640
Speaker 1: a pig. And this detail was apparently specifically pointed out

1202
01:05:47,640 --> 01:05:53,680
Speaker 1: in seventy two by the Royal Prussian Society of Science. Yeah,

1203
01:05:54,120 --> 01:05:56,760
Speaker 1: just when I thought we we discussed all of the

1204
01:05:56,840 --> 01:06:00,600
Speaker 1: vampire science facts on this show, that that's a new one. Yeah. So,

1205
01:06:00,680 --> 01:06:02,960
Speaker 1: I mean you can imagine how if you had enough people,

1206
01:06:03,160 --> 01:06:08,560
Speaker 1: certainly with superstitious ideas in mind, where unearthing bodies couldavers

1207
01:06:08,600 --> 01:06:11,720
Speaker 1: and then driving steaks into them, they might say, well,

1208
01:06:11,760 --> 01:06:13,960
Speaker 1: you heard the gas, You heard the sound coming from

1209
01:06:13,960 --> 01:06:17,280
Speaker 1: this creature's mouth. Clearly we just slight it. We killed it,

1210
01:06:17,400 --> 01:06:19,280
Speaker 1: or at least we you know, we we staked to

1211
01:06:19,360 --> 01:06:21,760
Speaker 1: the spot so it can't come up again until uh,

1212
01:06:21,800 --> 01:06:24,200
Speaker 1: you know, sometime in the future when criminals removed the

1213
01:06:24,200 --> 01:06:28,080
Speaker 1: steak as part of a ploy to steal treasure from

1214
01:06:28,080 --> 01:06:30,600
Speaker 1: a luchador. So I guess every time they did that

1215
01:06:30,680 --> 01:06:33,320
Speaker 1: and the corpse made a made a wheezing sound, they

1216
01:06:33,400 --> 01:06:35,160
Speaker 1: would have thought, oh, we should have asked where it

1217
01:06:35,200 --> 01:06:39,919
Speaker 1: had treasure hidden first. Oh yeah, yeah, I mean, of course,

1218
01:06:39,920 --> 01:06:41,280
Speaker 1: then again, it sounds like a great way to be

1219
01:06:41,320 --> 01:06:43,240
Speaker 1: tricked by a vampire, right, I mean, it's it's kind

1220
01:06:43,280 --> 01:06:46,000
Speaker 1: of like going after a lepricn s Gould at that point. Yeah,

1221
01:06:46,080 --> 01:06:48,600
Speaker 1: that can be dangerous. Why aren't there more films about

1222
01:06:48,680 --> 01:06:51,440
Speaker 1: about vampire treasure? You know? That was another thing that

1223
01:06:51,600 --> 01:06:53,920
Speaker 1: it feels a little different about this film. So oftentimes

1224
01:06:53,920 --> 01:06:56,600
Speaker 1: it's just about the threat of the vampire. But yeah,

1225
01:06:56,680 --> 01:06:59,960
Speaker 1: vampires have been around a while manipulating lots of people. Uh,

1226
01:07:00,160 --> 01:07:03,120
Speaker 1: makes sense. They have treasure. Yeah, they would always have

1227
01:07:03,880 --> 01:07:08,040
Speaker 1: stores of riches, I would imagine. I mean, Dracula is

1228
01:07:08,040 --> 01:07:11,400
Speaker 1: investing in real estate in London, He's gotta he's kinda

1229
01:07:11,640 --> 01:07:14,560
Speaker 1: of some something in his bank account. Yeah. Then he's

1230
01:07:14,640 --> 01:07:18,400
Speaker 1: leaving for Mexico. I guess it becomes difficult to really

1231
01:07:18,720 --> 01:07:21,960
Speaker 1: couch this within the timeline of Dracula's life. That's another thing.

1232
01:07:22,040 --> 01:07:25,800
Speaker 1: So in in the World of Santo in The Treasure

1233
01:07:25,840 --> 01:07:30,720
Speaker 1: of Dracula, when they watched the story of Dracula and

1234
01:07:30,800 --> 01:07:34,840
Speaker 1: Luisa's past life unfold on the TV, and the characters

1235
01:07:34,880 --> 01:07:37,760
Speaker 1: comment on the fact that I didn't know Dracula ever

1236
01:07:37,840 --> 01:07:43,680
Speaker 1: came to America, and they were like, Dracula, what Dracula

1237
01:07:43,720 --> 01:07:47,680
Speaker 1: in the Western Hemisphere. That's strange. Yeah, it seems like

1238
01:07:47,720 --> 01:07:50,200
Speaker 1: a whole side discussion should take place. Okay, there was

1239
01:07:50,240 --> 01:07:54,000
Speaker 1: an actual historic Dracula who is a vampire, but he

1240
01:07:54,120 --> 01:07:57,680
Speaker 1: was not killed in London. He has actually he actually

1241
01:07:57,720 --> 01:08:03,520
Speaker 1: lived and came to Mexico. Yeah, it's um. It probably

1242
01:08:03,560 --> 01:08:05,120
Speaker 1: strains the brain if you think about it too hard.

1243
01:08:05,120 --> 01:08:07,040
Speaker 1: But luckily it's a Santa movie, so you don't really

1244
01:08:07,040 --> 01:08:09,920
Speaker 1: have to. I think in the book he's killed in

1245
01:08:10,080 --> 01:08:13,920
Speaker 1: Transylvania because they go back to back. That's right. It's

1246
01:08:13,920 --> 01:08:16,880
Speaker 1: in the movies usually that they stake him, like at

1247
01:08:17,000 --> 01:08:20,439
Speaker 1: his abbey in London. That's right. I have to admit,

1248
01:08:20,479 --> 01:08:25,360
Speaker 1: every time I read Dracula or see if you know

1249
01:08:25,360 --> 01:08:28,840
Speaker 1: a pretty accurate adaptation of it, it's that first chunk

1250
01:08:28,920 --> 01:08:32,439
Speaker 1: of of of Dracula that I'm most into. Once it

1251
01:08:32,560 --> 01:08:37,719
Speaker 1: leaves Transylvania. Initially, I don't remember it as much. Maybe

1252
01:08:37,720 --> 01:08:40,280
Speaker 1: I'm lessening interested in it that that that first story

1253
01:08:40,400 --> 01:08:43,000
Speaker 1: is gold. Oh, I think I must admit that I

1254
01:08:43,000 --> 01:08:47,320
Speaker 1: I generally enjoy the movie adaptations of Dracula better than

1255
01:08:47,360 --> 01:08:49,840
Speaker 1: I like the book itself. Yeah, which is which is

1256
01:08:49,840 --> 01:08:53,600
Speaker 1: not true of like like Frankenstein. I love in the original,

1257
01:08:53,720 --> 01:08:58,519
Speaker 1: But yeah, frank the original a piece of literature. Not

1258
01:08:58,600 --> 01:09:00,559
Speaker 1: to say that Dracula is an import it as well

1259
01:09:00,960 --> 01:09:04,679
Speaker 1: from from a literary standpoint. All right, Well, that's Santo

1260
01:09:04,920 --> 01:09:08,639
Speaker 1: in the Treasure of Dracula. You can find both versions

1261
01:09:08,680 --> 01:09:11,120
Speaker 1: of this film out there, you know, in the usual places.

1262
01:09:11,160 --> 01:09:14,240
Speaker 1: But the new v C I version just came out

1263
01:09:14,240 --> 01:09:18,280
Speaker 1: on Blu Ray and it looks amazing. Again. The restoration

1264
01:09:18,400 --> 01:09:21,960
Speaker 1: is is wonderful. My only gripe is that I as

1265
01:09:21,960 --> 01:09:25,120
Speaker 1: good as the dubbing is. I wish I had the

1266
01:09:25,160 --> 01:09:28,439
Speaker 1: ability to have the Spanish audio, but there's no Spanish

1267
01:09:28,479 --> 01:09:31,200
Speaker 1: audio included on the disc, so I don't know what

1268
01:09:31,240 --> 01:09:33,120
Speaker 1: the reason is for that, but that would be my

1269
01:09:33,160 --> 01:09:35,439
Speaker 1: only gripe. It could be that there the audio was

1270
01:09:35,520 --> 01:09:39,479
Speaker 1: lost for this cut of the movie, but yeah, um yeah,

1271
01:09:39,520 --> 01:09:41,600
Speaker 1: I don't know what that is, but I agree it

1272
01:09:41,600 --> 01:09:43,840
Speaker 1: would also I think it would have been nice to

1273
01:09:43,840 --> 01:09:47,040
Speaker 1: to hear the original audio with and just have English subtitles.

1274
01:09:47,920 --> 01:09:49,439
Speaker 1: And of course the black and white version has been

1275
01:09:49,479 --> 01:09:53,280
Speaker 1: around for a while, but again, like it just the

1276
01:09:53,360 --> 01:09:55,840
Speaker 1: quality isn't there like that. It's just the black and

1277
01:09:55,880 --> 01:09:59,280
Speaker 1: white footage is so grimy looking. Uh. It looks like

1278
01:09:59,400 --> 01:10:01,240
Speaker 1: it was on earthed in a tomb, you know. I

1279
01:10:01,280 --> 01:10:03,799
Speaker 1: feel like what somebody should do is put together a

1280
01:10:03,800 --> 01:10:06,639
Speaker 1: a fund for the whole family cut of the great

1281
01:10:06,640 --> 01:10:09,760
Speaker 1: looking restoration, you know, so like you can cut out,

1282
01:10:09,800 --> 01:10:12,479
Speaker 1: cut out all the like you know, European cut R

1283
01:10:12,600 --> 01:10:14,479
Speaker 1: rated scenes. So it's the kind of movie you can

1284
01:10:14,560 --> 01:10:17,120
Speaker 1: enjoy with your five year old. But it's still got

1285
01:10:17,120 --> 01:10:20,479
Speaker 1: the eye popping color and all that. Yeah, absolutely, because yeah,

1286
01:10:20,479 --> 01:10:23,559
Speaker 1: it's it's it's such a colorful film. All right, Well,

1287
01:10:23,560 --> 01:10:26,360
Speaker 1: we're gonna go ahead and um drive a stake into

1288
01:10:26,400 --> 01:10:28,880
Speaker 1: this one. But yeah, who knows, maybe we'll be back

1289
01:10:28,920 --> 01:10:31,920
Speaker 1: with with another Santo film in the future, or heck,

1290
01:10:31,960 --> 01:10:34,679
Speaker 1: some of those biker films we mentioned early on, I'd

1291
01:10:34,720 --> 01:10:37,439
Speaker 1: be game to u to rewatch one of those, for sure,

1292
01:10:37,520 --> 01:10:41,160
Speaker 1: Psychomania I hear at Colin yeah, or some other biker

1293
01:10:41,240 --> 01:10:43,559
Speaker 1: There's a lot of biker films. You know, not all

1294
01:10:43,600 --> 01:10:47,320
Speaker 1: are great, and not all involved supernatural elements, but um,

1295
01:10:47,479 --> 01:10:49,400
Speaker 1: you know that's that. That would be. My one big

1296
01:10:49,400 --> 01:10:52,320
Speaker 1: gripe about the Sons of Anarchy television series is they

1297
01:10:52,360 --> 01:10:56,400
Speaker 1: never brought were wolves or vampires into the mix. I've

1298
01:10:56,400 --> 01:10:58,920
Speaker 1: never seen it, but uh, I can't imagine that where

1299
01:10:58,960 --> 01:11:06,360
Speaker 1: wolves would hurt Well, hey, Ron Pearlman, yeah get oh yeah, yeah,

1300
01:11:06,360 --> 01:11:10,439
Speaker 1: he plays like it's essentially Hamlet but with bikers for

1301
01:11:10,720 --> 01:11:14,040
Speaker 1: f X. Okay, so you got Pearlman in there. Yeah,

1302
01:11:14,080 --> 01:11:16,519
Speaker 1: he would have made a good werewolf, just having Ron

1303
01:11:16,560 --> 01:11:19,040
Speaker 1: Pearlman in the cast is almost that almost makes it

1304
01:11:19,080 --> 01:11:22,760
Speaker 1: a supernatural film in its own Yeah. Absolutely. Um, so

1305
01:11:22,960 --> 01:11:26,760
Speaker 1: we uh prompt to you, the listener, what is your

1306
01:11:26,800 --> 01:11:31,680
Speaker 1: favorite bizarre niche genre crossover film, especially if it's like

1307
01:11:31,880 --> 01:11:35,519
Speaker 1: crossing over a usually non supernatural genre with a weird

1308
01:11:35,560 --> 01:11:39,400
Speaker 1: supernatural genre that I think that's my favorite type. Yeah, yeah,

1309
01:11:39,439 --> 01:11:40,720
Speaker 1: we'd love to hear from a minute that way, we'll

1310
01:11:40,720 --> 01:11:43,240
Speaker 1: Ge've already getting some great suggestions for Weird House Cinema.

1311
01:11:43,520 --> 01:11:45,240
Speaker 1: I've added some of them to the list. There's even

1312
01:11:45,280 --> 01:11:47,599
Speaker 1: one film that I just went in order to copy

1313
01:11:47,640 --> 01:11:50,559
Speaker 1: of based on a listener suggestion, So keep them coming

1314
01:11:51,479 --> 01:11:53,240
Speaker 1: in the meantime, if you would like to check out

1315
01:11:53,280 --> 01:11:56,400
Speaker 1: other episodes of Weird House Cinema, it publishes every Friday,

1316
01:11:56,520 --> 01:11:59,080
Speaker 1: and the Stuff to Blow Your Mind podcast fee and

1317
01:11:59,120 --> 01:12:02,080
Speaker 1: you can find that fee wherever you get your podcasts.

1318
01:12:02,360 --> 01:12:05,240
Speaker 1: Huge thanks as always to our excellent audio producer Seth

1319
01:12:05,320 --> 01:12:07,760
Speaker 1: Nicholas Johnson. If you would like to get in touch

1320
01:12:07,800 --> 01:12:10,120
Speaker 1: with us with feedback on this episode or any other,

1321
01:12:10,240 --> 01:12:12,320
Speaker 1: to suggest a topic for the future, or just to

1322
01:12:12,360 --> 01:12:15,400
Speaker 1: say hello, you can email us at contact at stuff

1323
01:12:15,479 --> 01:12:25,080
Speaker 1: to Blow your Mind dot com. Stuff to Blow Your

1324
01:12:25,080 --> 01:12:28,000
Speaker 1: Mind is production of I heart Radio. For more podcasts

1325
01:12:28,040 --> 01:12:30,120
Speaker 1: for My heart Radio, visit the i heart Radio app,

1326
01:12:30,280 --> 01:12:33,000
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.