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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today on Weird House Cinema, we are going to be

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Speaker 3: discussing the nineteen seventy six Romanian Soviet French co produced

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Speaker 3: psychotropic children's fairytale musical Mama aka Rock and Roll Wolf,

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Speaker 3: directed by the Romanian filmmaker Eliza Beta Boston. And I

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Speaker 3: really mean it when I say this movie has everything.

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Speaker 3: It is so much, so fast, and so wonderful, infectiously

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Speaker 3: lovable music. Russian ballet dancer is dressed up like spiders

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Speaker 3: and or sparrows. Nearly just NonStop locomotive energy. Maybe flags

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Speaker 3: a little bit in the second half of the movie,

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Speaker 3: but at least the first half is like it. It

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Speaker 3: is a freight train. It does not stop. It's got

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Speaker 3: diverse frolicking theeomorphs in a secret village in the deep woods.

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Speaker 3: It's got rooftop sea saws, bridges over nothing, goat boy, levitation,

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Speaker 3: ice based wolf traps, strawberries coated and honeydew, a rainbow

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Speaker 3: parrot with like mad auctioneer energy, plaintive, donkey, solos, pendulum beds,

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Speaker 3: secret passwords, red squirrel, acorn rituals, A dangerously handsome bad

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Speaker 3: boy wolf man, a gorgeous angelic goat mother, and non

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Speaker 3: stop historical smoking. Yes, this is one of those where

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Speaker 3: I am definitely in how have I never seen this before? Territory?

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Speaker 3: A rock and roll wolf is so so in my

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Speaker 3: wheelhouse and I can't recommend it enough, super weird and

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Speaker 3: pushes like every single sensory boundary at once.

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Speaker 2: I showed part of this to my wife at lunch

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Speaker 2: after I'd finished watching it, and she thought it like

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Speaker 2: an acid trip. And her follow up question was, how

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Speaker 2: did Joe find out about this movie? And I don't

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Speaker 2: have the answer. Do you have an answer? Can you

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Speaker 2: answer it?

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Speaker 3: For this? I wish I remember? No. I honestly I

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Speaker 3: don't know how this movie first came onto my radar.

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Speaker 3: I've like had it on a list of movies I

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Speaker 3: was gonna come back and check out later, and then

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Speaker 3: this week I did. I looked at my list and

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Speaker 3: I was like, oh, okay, what's the deal with this one?

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Speaker 3: So I know one reason I became intrigued this week

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Speaker 3: is that I started looking into user reviews and comments

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Speaker 3: online just how people were reacting to this movie, and

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Speaker 3: I noticed there were several distinct tranches of audience reaction.

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Speaker 3: One type was pretty similar to how I'm reacting now, like, WTF,

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Speaker 3: I just discovered this insane movie as an adult. My

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Speaker 3: senses are overwhelmed and I am delighted and confused. But interestingly,

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Speaker 3: another type of reaction was and I think this is

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Speaker 3: probably particularly common in people from certain countries in yours.

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Speaker 3: It was a reaction like I grew up watching this

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Speaker 3: over and over on TV, and it is intensely nostalgic

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Speaker 3: for me. I couldn't verify this, but I read a

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Speaker 3: bit of unsourced trivia online that this movie was played

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Speaker 3: every year at Christmas on Norwegian television, where I believe

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Speaker 3: it would have been known as a RockA Uven, meaning

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Speaker 3: the Rock Wolf. And so I don't know. I guess

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Speaker 3: we are in Christmas movie territory, whether whether or not

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Speaker 3: we meant to be this week.

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Speaker 2: Yeah, And it's when we get into the plot later on,

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Speaker 2: it does seem like there is some sort of well,

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Speaker 2: you know, so there is some winter folkloric magic going

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Speaker 2: on here. So it does seem to fit well within

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Speaker 2: like the Holiday movie Universe.

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Speaker 3: Yeah, yeah, we get a winter fairy who comes and

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Speaker 3: saves a little goat boy who has gotten lost in

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Speaker 3: the in the wilderness. Oh but I should mention the

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Speaker 3: third major type of reaction, so we've got the this

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Speaker 3: movie is is weird. I love it. We've got this

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Speaker 3: movie is anstee for me. I saw it when I

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Speaker 3: was a kid. And then the third type is my

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Speaker 3: fanatical celebrity crush is a weird pipe smoking wolf or

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Speaker 3: a heavenly goat mother or both. Uh and this type

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Speaker 3: of reaction could overlap with one of the other histories possibly,

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Speaker 3: but a lot of people crushing on the main sort

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Speaker 3: of lead animals in this movie.

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Speaker 2: Yeah, this movie has dare I say, strong furry energy

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Speaker 2: to it. If you if you at any point in

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Speaker 2: your life, you've really gotten into the practical makeup effects

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Speaker 2: for the cat's musical or perhaps the I finally remember

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Speaker 2: this show Zublie Zoo starring Ben Vereen. This was a

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Speaker 2: like a kid's musical dance show, very Broadway, and all

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Speaker 2: the makeup was very cats.

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Speaker 3: I've never seen Zubalizo, but I watched part of this

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Speaker 3: movie with my wife and she she compared it to

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Speaker 3: Zublizu as well.

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Speaker 2: Yes, strong Zubali zoo energy and uh and yeah, it

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Speaker 2: has a a lot of attractive people dressed up as

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Speaker 2: these animals. So I did have to wonder at times

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Speaker 2: like if I was bringing that energy into it with

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Speaker 2: other people. We're having that reaction as well, because I

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Speaker 2: just came off a couple of viewings of nineteen seventy

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Speaker 2: six is were Wolf Woman. So I don't know if

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Speaker 2: I'm letting like the were Wolf Woman experience taint my

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Speaker 2: viewing of a family children's Christmas story, you know, from

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Speaker 2: several countries away.

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Speaker 3: No, I mean, it's not the only movie of this sort,

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Speaker 3: but I think from what I can tell, everything explicit

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Speaker 3: about it is, you know, very it's very family friendly,

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Speaker 3: and it's you know, it's a children's movie. It's a

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Speaker 3: fairy tale movie. But there's sort of a second level

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Speaker 3: of interpretation that a lot of people I think, look

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Speaker 3: back on it with after they grew up watching it,

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Speaker 3: and in fact, regarding that first type of reaction, like

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Speaker 3: all the people who were saying, oh, I watched this

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Speaker 3: so many times as a child, like maybe on Norwy

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Speaker 3: TV or in Norway. Somehow this connects to another interesting

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Speaker 3: thing I found online which was a trailer for a

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Speaker 3: live musical stage adaptation which played at the Norwegian National

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Speaker 3: Theater in twenty eleven, and I so wish I could

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Speaker 3: go back in time and see this. I would fly

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Speaker 3: to Norway. If they do a revival, I don't know,

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Speaker 3: maybe they keep doing this thing. But kind of interesting

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Speaker 3: thing about it is the movie I think is firmly

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Speaker 3: aimed at kids. It's like a it's extremely weird, but

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Speaker 3: it is a family fairy tale adventure. Just from the trailer,

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Speaker 3: this stage musical looks to me more explicitly aimed at adults.

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Speaker 2: It has slight, slight, rocky horror energy.

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Speaker 3: Yes, yes, soft, but yes, I see what you're saying.

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Speaker 3: Like the little clips in the trailer feel like something

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Speaker 3: in one sense, aimed at adults who have passionate nostalgia

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Speaker 3: for a movie they loved as children, with a sense

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Speaker 3: of irony about the weirder aspects. For example, a few

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Speaker 3: of the clips from the stage version really seem to

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Speaker 3: press on the sexual tension between Mamma Goat and mister Wolf. Like.

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Speaker 3: I pulled out a few screenshots for you to look at.

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Speaker 3: Rob This is again, this is not from the movie.

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Speaker 3: This is from the stage version, where we've got Mamma

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Speaker 3: Goat here spanking the wolf them just like making weird

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Speaker 3: faces at each other. And then here's this one scene

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Speaker 3: where suddenly Mamma Goat has had a costume change and

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Speaker 3: she's no longer in her Romanian folk dress and is

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Speaker 3: wearing some kind of black leather thing with a bunch

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Speaker 3: of metal rivets.

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Speaker 2: Yeah, at this point, I feel like we're in a

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Speaker 2: meat love video.

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Speaker 3: Yes, yeah, but no. Yeah. Again. To be clear, this

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Speaker 3: does not happen in the movie. I think adult viewers

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Speaker 3: will find it impossible to miss the weird tension between

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Speaker 3: the wolf Titisuru and the goat mother Rada, but it's

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Speaker 3: not explicit in the movie, and it's not played for

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Speaker 3: laughs like it seems to be here. So technically this

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Speaker 3: movie is a film adaptation of one version of the

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Speaker 3: fairy tale known as The Wolf and the Seven Young

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Speaker 3: Kids in the Brothers Grim Catalog. And we'll get to

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Speaker 3: the details of that story later on. I'll summarize it

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Speaker 3: when we get to the plot, but overall the movie

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Speaker 3: is quite loose on plot. Rock and Roll Wolf is,

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Speaker 3: like many musicals, more of an experience. It's kind of

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Speaker 3: hard to communicate how much experience is packed into this

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Speaker 3: eighty minute movie, the kind of time I personally had

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Speaker 3: with it. The runtime just flew by, especially in the

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Speaker 3: first half, with the song and dance number is just

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Speaker 3: coming so fast, and the tone and the visual and

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Speaker 3: sonic texture constantly switching up with this kind of rapid

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Speaker 3: shuffling deck of cards kind of feeling. I loved Rock

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Speaker 3: and Roll Wolf, and I think it's a real shame that,

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Speaker 3: as far as I'm aware, there is not like a

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Speaker 3: high quality blu ray of the English version available today.

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Speaker 3: I really really want that, because this is a gem

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Speaker 3: of a film. Oh and I guess sorry. That brings

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Speaker 3: up a second impressive thing about this movie. It is

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Speaker 3: a film where the main creative inputs were Romanian and Russian.

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Speaker 3: But there is a native English version of the film,

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Speaker 3: so not just subtitles, not even just a dub. There

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Speaker 3: is a version of the movie where the songs have

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Speaker 3: lyrics in English and are performed in English by the cast. Now,

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Speaker 3: it might be different voice actors than the people playing

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Speaker 3: the characters on screen. I'm not sure, because I did

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Speaker 3: listen to snippets of songs from the different versions there's

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Speaker 3: at least one in Romanian, one in Russian, and one

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Speaker 3: in English. I don't know if there are any other

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Speaker 3: language versions. And the voices sound kind of different to me,

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Speaker 3: so I think it might be different singers. But like

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Speaker 3: one example was that I recall in the Russian version

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Speaker 3: the wolf's sound did a lot less suave than in

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Speaker 3: the English version and more kind of rascally.

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Speaker 2: Yeah, I did notice that the English track was recorded

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Speaker 2: in London, so you know, I mean that kind of

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Speaker 2: leads me to believe it is a different a different

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Speaker 2: vocal cast for the English cut. But the English cuts,

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Speaker 2: the version we watched, that's at least a version that

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Speaker 2: as of this recording is floating around out there. I

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Speaker 2: asked around about this movie at Video Drome here in Atlanta,

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Speaker 2: the video rental store, and John, one of the guys

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Speaker 2: who works there, is quite knowledgeable. He was looking around

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Speaker 2: looking stuff up, and he pointed out there is a

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Speaker 2: DVD version of this film, or a DVD R I'm

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Speaker 2: not sure I'm the technical specs there, but there is

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Speaker 2: some sort of diss you can buy. You might have

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Speaker 2: to go on eBay to get it, he said, but

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Speaker 2: it does exist. But in terms of like a really

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Speaker 2: nice like Blu ray edition, which clearly a film like

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Speaker 2: this deserves. He said, you know, a good place to

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Speaker 2: watch out for it would maybe be the deaf Crocodile guys.

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Speaker 2: That company puts out a number of great films, some

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Speaker 2: you know, some Russian films for sure, and so that

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Speaker 2: those would be the guys to pester with your with

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Speaker 2: your requests for rock and roll Wolf aka Mama.

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Speaker 3: Well, yes, I fully endorse that please put this out

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Speaker 3: because this is you can tell you can just look

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Speaker 3: through the core of visual assets here are fantastic. This

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Speaker 3: is a movie of beautiful production values. It has these

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Speaker 3: great sets. It's set in this fairy tale animal village

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Speaker 3: in the middle of a forest with all these you know,

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Speaker 3: strain like these Romanian folk cabins and weird sets. But

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Speaker 3: it's also got like some disco kind of sets.

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Speaker 2: Oh yeah, for sure.

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Speaker 3: So yeah, the psychotropic elements dominate as well. The costumes

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Speaker 3: and the makeup are just you know, push to eleven.

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Speaker 3: It's almost constantly something something beautiful to behold.

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Speaker 2: It is definitely a nineteen seventies musical. There's that no

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Speaker 2: doubting that. If you have ever seen like the original

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Speaker 2: film adaptation of Godspell. Indeed Rocky Heart Picture Show or

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Speaker 2: a movie if we've talked about on the show before,

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Speaker 2: The Apple, which came out in the nineteen eighties, but

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Speaker 2: he's still a seventies rock musical, like this has all

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Speaker 2: of that energy, the rock and rolls there, the disco

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Speaker 2: elements are there, and also that kind of like bohemian vibe.

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Speaker 2: You know of these troubadours and bards floating around in

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Speaker 2: a troubled decade but still keeping you know, some of

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Speaker 2: that energy of the late nineteen sixties alive in their art.

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Speaker 3: Yeah, hey, hey, hey, Wolf's on the way. So, like

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Speaker 3: I can see that comparison with The Apple and all that,

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Speaker 3: And another one I saw people a comparison I saw

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Speaker 3: people making online was Tommy you know, of the Who album.

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Speaker 3: So I absolutely see that. Though something about this does

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Speaker 3: feel a little it has common esthetic elements, but it

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Speaker 3: feels less decadent than a lot of your western seventies

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Speaker 3: rock operas. It feels more wholesome and kind of forest

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Speaker 3: magic based.

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Speaker 2: Yeah. Yeah, it is ultimately angling for children and features

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Speaker 2: a lot of child characters. So yeah, it's it's it's

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Speaker 2: managing to be all these things at once.

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Speaker 3: But on the other hand, don't want to over sell

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Speaker 3: the wholesomeness or make it sound bland like it does

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Speaker 3: have strong Mother Goose drops acid energy.

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Speaker 2: Is that your elevator pitch?

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Speaker 3: Yeah, that's got to be mother. Mother Goose drops acid

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Speaker 3: and joins the spiders from Mars.

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Speaker 2: All right, you know, I'm not sure we actually have

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Speaker 2: any trailer audio for this one, given the nature of

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Speaker 2: the picture. We'll hunt around a little bit and if

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Speaker 2: we can find something, we'll throw it in here. If not,

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Speaker 2: maybe we can get JJ to sample just a tiny

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Speaker 2: bit of the audio. If not, you know, you'll never

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Speaker 2: hear this part because we'll cut it out. I shall

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Speaker 2: say like this.

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Speaker 3: Esse home. Now you can open the door. Don't be

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Speaker 3: afraid now, not any more. He suits costious pain terrors

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Speaker 3: of occupation. We let up helping can in sua summation.

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Speaker 2: He ho ho, I'm the donkeeper treacle he hoy.

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Speaker 3: All my rather a good care cale.

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Speaker 2: All right, if you want to see this film for yourself,

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Speaker 2: we already discussed ways you might be able to find it,

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Speaker 2: and perhaps find it in the future. Who knows, but

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Speaker 2: this is always the case. We do urge you to

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Speaker 2: watch it in the best quality possible in however you

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Speaker 2: obtain it. All right, let's get into the people behind

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Speaker 2: this picture, all right. Starting at the top, we have

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Speaker 2: Elizabeta Boston born nineteen thirty one, the director Romanian film

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Speaker 2: director and screenwriter whose credits include nineteen sixty four's Memories

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Speaker 2: of My Childhood, nineteen sixty eight's Kingdom in the Clouds,

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Speaker 2: seventy twos Veronica, and seventy threes Veronica Comes Back. She's

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Speaker 2: been involved in various stage and screen projects over the

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Speaker 2: course of her long career, as well as in academia

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Speaker 2: concerning film.

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Speaker 3: Apparently, these Veronica movies she did are also sort of wild,

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Speaker 3: sort of fairy tale fantasies aimed at children, and I'm

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Speaker 3: interested in checking those out because oh and we didn't

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Speaker 3: I guess we didn't mention this yet. But one of

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Speaker 3: the appeals of getting into this movie this week is that,

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Speaker 3: of course, every Christmas season, Rob and I get in

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Speaker 3: get in mind the mind of Jack Frost or moros

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Speaker 3: Co the Great the you know, Christmas Tale of the

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Speaker 3: Russo Finish Taiga. But that one I saw little echoes

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Speaker 3: of that in the movie we're talking about today, and

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Speaker 3: in the screenshots I saw from the Veronica movies, I

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Speaker 3: saw some comparisons one could make to moros Coo as well,

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Speaker 3: So those are going to be on my radar. I

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Speaker 3: want to come back and check them out. All right.

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Speaker 2: As for the writing, here, we have two screenplay credits.

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Speaker 2: One is a is a Russian and the other is

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Speaker 2: a Romanian. We have a Yuri Intin born nineteen thirty five,

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Speaker 2: Russian author, a musician whose other credits include various other

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Speaker 2: children's pictures. And then we have Vasilica is trade Livenin

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Speaker 2: teen thirty four through two thousand and two, Romanian producer

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Speaker 2: and writer who works several times in a writing capacity

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Speaker 2: with Bustan. And this is a good a time as

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Speaker 2: any to add usual caveat my apologies for any mispronunciations

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Speaker 2: of the various Russian, Romanian and French names that are

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Speaker 2: going to be involved in this multi national production here,

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Speaker 2: all right, This film, there's no doubt about it, stars

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Speaker 2: Ludmila Gorchhenko playing Ratra the Goat. This is the titular

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Speaker 2: Mama from the versions of the film you'll find with

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Speaker 2: the title Mama, and she lived nineteen thirty five through

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Speaker 2: twenty eleven.

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Speaker 3: Radiating goodness and light even when the forest is dark.

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Speaker 3: She has strong you know, she's the paladin, she's the

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Speaker 3: heroin character, and she comes off as so good and

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Speaker 3: so pure, even when she's like flirting with the wolf

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Speaker 3: who's going to eat her children.

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Speaker 2: I mean, you very well may think that you were

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Speaker 2: immune to the wiles of various Satyrs and Baphamets and

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Speaker 2: even mister Tumness, but you know, you need to watch

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Speaker 2: this film and see how Rada hits for you, because

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Speaker 2: her charisma, her brightness or just absolute goodness shines through.

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Speaker 2: And also something about you know, she has this little

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Speaker 2: button nose that seems to just work so well with

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Speaker 2: the big goat horns and all.

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Speaker 3: Yeah, yeah, she does have goat horns and they do

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Speaker 3: the It feels like a very Eastern block style of

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Speaker 3: makeup effects. Though I think the makeup in this movie

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Speaker 3: might have been done by the fringe.

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Speaker 2: I'm not sure, but yeah, I think I saw at

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Speaker 2: least some French credits for the makeup.

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Speaker 3: Yeah. Well, anyway, it's something I recognize from Morosco as well,

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Speaker 3: that the freckles she has, which are just done. It

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Speaker 3: looks like with like a black felt tip pin, just

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Speaker 3: black felt tip little freckles on her cheeks well.

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Speaker 2: Grushenko was a Ukrainian born, Russian and Soviet actress, singer,

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Speaker 2: and overall in her While she at times was seen

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Speaker 2: as too Western by Soviet entertainment tastemakers earlier in her career,

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Speaker 2: she went on to be a highly regarded actress in

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Speaker 2: Soviet and post Soviet Russia, receiving the highest acting honors

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Speaker 2: during both eras she worked well into her seventies on

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Speaker 2: stage and in TV and film. She put out several

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Speaker 2: albums in the seventies, eighties, and nineties, and her best

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Speaker 2: known films include nineteen fifty six's Carnival Nights, nineteen seventy Nines,

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Speaker 2: Siberi Day, and nineteen seventy six is Twenty Days Without War,

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Speaker 2: which was apparently suppressed to some degree due to its

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Speaker 2: anti war themes and wasn't released until nineteen eighty one,

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Speaker 2: and that was after the success of seventy nine Siberi Day,

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Speaker 2: so you know, at that point there was no stopping her.

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Speaker 2: I was exploring her filmography a bit I have this

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Speaker 2: is the only film I've seen starring her, but clearly

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Speaker 2: she's a huge name and a number of prestige pictures, like,

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Speaker 2: she's not an actress that you find in any like

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Speaker 2: sci fi and horror pictures. But of note, there's nineteen

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Speaker 2: ninety one's Sex Kaska, which I think translates to sex story,

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Speaker 2: and it's a fantasy mystery picture. It looks like it

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Speaker 2: has some like sexy aspects to it, but also seems

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Speaker 2: to have a very almost kind of noir quality to

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Speaker 2: the filmmaking. The only other two films that I think

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Speaker 2: fall roughly into a fantasy genre for her were nineteen

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Speaker 2: sixty ones The Man from Nowhere in nineteen seventy one's Ten.

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Speaker 2: So yeah, this is my first time seeing her in

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Speaker 2: a film, but it seems based on what I was reading,

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Speaker 2: and like the oh bit that ran in the Guardian

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Speaker 2: when she passed, it seems difficult to overstress how successful

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Speaker 2: she was as an actress in Russia.

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Speaker 3: It seems hard to believe that she didn't do more

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Speaker 3: like sci fi and genre type movies. When you look

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Speaker 3: at some of her press photos, yere one you share

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Speaker 3: I don't know what this is from, but there's one

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Speaker 3: photo you shared with me. It's clearly from some kind

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Speaker 3: of magazine shoot or something where she's I guess she's

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Speaker 3: having a picnic. She's sitting out in the middle of

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Speaker 3: a field with a blanket spread out under her, and

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Speaker 3: she's got you know, kind of like a rattan lined

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Speaker 3: wine bottle there, but she's got several daggers in ornate sheathes.

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Speaker 3: She's wearing one of those like felt mountaineer hats with

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Speaker 3: feathers in it. She's got a flask of some guy

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Speaker 3: next to her, just some kind of bunches of grapes

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Speaker 3: lying around, and then a falcon in her hand like

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Speaker 3: it's per she's got one of those leather gloves and

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Speaker 3: just yeah, falconing.

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Speaker 2: Between this image and the still I shared with you

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Speaker 2: from Sex Story, in which she's wearing like some sort

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Speaker 2: of like she got crazy makeup on and this big

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Speaker 2: furry hat, like both of these images, and i'd really

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Speaker 2: to an extent also the screen cap here we have

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Speaker 2: from today's movie. If I encountered all of these and

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Speaker 2: like a Google image search, I would be like, get

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Speaker 2: this AI stuff out of here. Nice try mid journey,

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Speaker 2: But I'm not believing that this is a real image

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Speaker 2: of a woman with a falcon and a ceremonial dagger

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Speaker 2: and a big flowery hat out on a pick neck.

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Speaker 3: Yeah, somebody put into the prompt like a Russian actress

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Speaker 3: as Edward scissorhands.

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Speaker 2: Yeah, but these are all real, These are actual photos.

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Speaker 2: I think I found the bird one on a blog

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Speaker 2: about like Russian pop culture. All right, so that that

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Speaker 2: is our star. That is mama that. But on the

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Speaker 2: other hand, this film was also known as rock and

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Speaker 2: Roll Wolf, So who is our wolf? Well, the character

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Speaker 2: is Titisuru, played by Mikhail Boyarsky born nineteen forty nine,

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Speaker 2: Russian actor and singer, apparently best known for some adventure

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Speaker 2: films he did, especially a nineteen seventy nine Soviet Three

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Speaker 2: Musketeers movie in which he played the lead role of d'Artagnan.

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Speaker 2: In fact, I think the name of that movie this

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Speaker 2: may be in translation or you know, international releases, but

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Speaker 2: I saw it referenced as d'Artagnan and the Three Musketeers.

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Speaker 2: So he must have stood out from the rest of

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Speaker 2: the bum.

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Speaker 3: Yeah. Well, wait a minute, No is d'Artagnan one of

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Speaker 3: the three Musketeers. I think he might not be.

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Speaker 2: He's not. It's been a long time sin they've done

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Speaker 2: Three Musketeers.

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Speaker 3: But I gotta look this up. I'm not gonna be

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Speaker 3: able to rest until I know.

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Speaker 2: Yeah, I haven't. As a kid, I watched at least

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Speaker 2: one of the versions that had Oliver Reid in it.

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Speaker 2: But yeah, it's been a long time since they interacted.

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Speaker 2: Because sometimes there are four of them. Right, they're three musketeers.

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Speaker 3: Right, Yes, that's right. It's d'Artagnan, Athos Aramis, and Porthos.

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Speaker 3: I could, I just looked it up.

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Speaker 2: So Porthos was Oliver Reed.

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Speaker 3: Okay, I didn't know that, but yeah, that's right. It's

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Speaker 3: like d'Artagnan appreciates these other three guys, the three Musketeers.

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Speaker 2: All right, Well there you go. Well this is apparently

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Speaker 2: his big role that skyrocketed his career. I believe he's

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Speaker 2: currently retired from acting, but apparently remains an active voice

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Speaker 2: in Russian politics.

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Speaker 3: So this guy is obviously a big part of the

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Speaker 3: impression this movie makes on people. Like I think there's

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Speaker 3: a reason that one of the release names, like the

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Speaker 3: international title was rock and Roll Wolf because people online

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Speaker 3: have thoughts about this guy.

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Speaker 2: Yeah, I mean, I mean he's a slind, tall slender really,

417
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Speaker 2: you know, has like kind of kind of lichen, you know,

418
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Speaker 2: aspects to his his body and face already. But yeah,

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Speaker 2: he's wearing all black. He's constantly smoking a pipe, and

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Speaker 2: I mean constantly. I don't know if there's a single

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Speaker 2: scene where he isn't smoking a pipe. He's always creeping around. Yeah,

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Speaker 2: he has a real rock star energy. Reminded. I was

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Speaker 2: reminded at times of like Frank Zappa, you know.

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Speaker 3: Yes, yeah, a little bit Frank Zappa, because he's got that.

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Speaker 3: He's got a strong mustache and part of a little

426
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Speaker 3: beard with with the dark hair and the heavy eyebrows.

427
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Speaker 3: I'm thinking a cross between somewhere between Jerreth the Goblin

428
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Speaker 3: King and I remember in Almost Famous, when Billy Krudi

429
00:24:53,560 --> 00:24:55,679
Speaker 3: plays a rock star, there's a little bit of a

430
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Speaker 3: resemblance there. He's the one.

431
00:24:57,880 --> 00:25:00,600
Speaker 2: I'm a Golden God, right I remember, remember.

432
00:25:00,480 --> 00:25:03,240
Speaker 3: Yeah, I think that's right. Yeah, So there's a good

433
00:25:03,240 --> 00:25:05,800
Speaker 3: bit of that. But he is just a just a

434
00:25:05,960 --> 00:25:08,720
Speaker 3: rascally gyrate and rock star in the middle of this

435
00:25:08,840 --> 00:25:12,840
Speaker 3: fairy tale village with a twinkle in his eye so

436
00:25:12,960 --> 00:25:16,240
Speaker 3: bright it would be like registered on telescopes and other

437
00:25:16,600 --> 00:25:22,160
Speaker 3: star systems, like he is up to no good. Oh,

438
00:25:22,240 --> 00:25:24,880
Speaker 3: and I almost forgot to mention this is true of

439
00:25:25,080 --> 00:25:27,880
Speaker 3: most of the characters in the movie. But it's especially

440
00:25:27,920 --> 00:25:32,760
Speaker 3: notable in his case wearing an Amadaeas style wig, gigantic

441
00:25:32,960 --> 00:25:36,480
Speaker 3: voluminous wig in his case with just these you know,

442
00:25:36,800 --> 00:25:40,160
Speaker 3: kind of swishes of curly wavy hair going all over

443
00:25:40,200 --> 00:25:45,080
Speaker 3: the place. Everybody's got their own type of voluminous wig,

444
00:25:45,200 --> 00:25:47,760
Speaker 3: but his is I don't know, it looks really good.

445
00:25:48,520 --> 00:25:50,600
Speaker 2: Yeah, So we'll have a lot more to say about

446
00:25:50,640 --> 00:25:52,879
Speaker 2: this performance, but at this point we're going to get

447
00:25:52,920 --> 00:25:56,680
Speaker 2: into some of the supporting players and animals playing Donkey.

448
00:25:57,000 --> 00:26:02,159
Speaker 2: We have George Mihaitza born nineteen forty eight. This is

449
00:26:02,160 --> 00:26:04,919
Speaker 2: a Romanian actor and direct director, apparently a pretty big

450
00:26:05,000 --> 00:26:08,320
Speaker 2: name in Romanian cinema. His films include nineteen sixty eight's

451
00:26:08,320 --> 00:26:12,240
Speaker 2: Reconstruction and two thousand and eight Silent Wedding, as well

452
00:26:12,280 --> 00:26:15,439
Speaker 2: as the sci fi comedy A Fantastic Comedy from nineteen

453
00:26:15,520 --> 00:26:19,280
Speaker 2: seventy five. This was I thought one of the creepier

454
00:26:19,600 --> 00:26:22,040
Speaker 2: characters in the film. I don't know, every time Donkey

455
00:26:22,160 --> 00:26:25,000
Speaker 2: was on screen, I was at least a little creeped out,

456
00:26:25,240 --> 00:26:28,760
Speaker 2: in part because he falls in with the gang that

457
00:26:28,880 --> 00:26:35,159
Speaker 2: is supporting mister Wolf, that's supporting Suru. In his various schemes,

458
00:26:35,400 --> 00:26:37,199
Speaker 2: but I don't know. There's something about his face, like

459
00:26:37,240 --> 00:26:42,159
Speaker 2: he puts out this like calm, serene kind of clown face,

460
00:26:43,080 --> 00:26:46,720
Speaker 2: but he's like actively supporting the main villain. And he's

461
00:26:46,760 --> 00:26:49,159
Speaker 2: a donkey, Like this is not an animal that I

462
00:26:49,160 --> 00:26:51,600
Speaker 2: would necessarily think of as, Oh, yeah, the donkey's gonna

463
00:26:51,600 --> 00:26:52,879
Speaker 2: definitely fall in with the wolf.

464
00:26:53,119 --> 00:26:56,240
Speaker 3: He's the only herbivore in the wolf gang.

465
00:26:56,840 --> 00:27:00,879
Speaker 2: Yeah, what does that mean? Maybe gets into I don't know.

466
00:27:00,920 --> 00:27:03,720
Speaker 2: It could be something cultural. We've talked before about about

467
00:27:03,760 --> 00:27:07,080
Speaker 2: donkeys and how sometimes they are associated, at least in

468
00:27:07,480 --> 00:27:12,800
Speaker 2: ancient Babylon or ancient Sumeria, with various demons and so forth.

469
00:27:12,880 --> 00:27:16,520
Speaker 3: So I don't know. His emotional key is strange. He's

470
00:27:16,560 --> 00:27:20,680
Speaker 3: like a morose gray clown. Where we were just talking

471
00:27:20,680 --> 00:27:25,960
Speaker 3: about everybody's wigs. His wig is gray Nigel Toughnell, and

472
00:27:26,160 --> 00:27:29,800
Speaker 3: he has got big donkey ears on top, though he

473
00:27:30,600 --> 00:27:33,280
Speaker 3: strangely has a lot of soul at a few moments.

474
00:27:33,520 --> 00:27:35,920
Speaker 3: Do you remember the he haw song, Like the part

475
00:27:35,960 --> 00:27:41,000
Speaker 3: where he's just plaintively singing he haw, he haw, he haw.

476
00:27:41,240 --> 00:27:43,960
Speaker 2: Yeah, yeah, and Andy gets a love interest later then

477
00:27:44,240 --> 00:27:47,000
Speaker 2: I don't know why, but that was decided we needed that,

478
00:27:47,240 --> 00:27:53,320
Speaker 2: so so yes, Donkey, we'll come back to Donkey, fascinating

479
00:27:53,400 --> 00:27:57,880
Speaker 2: character in the Rock and Roll Wolf universe. Another care

480
00:27:57,920 --> 00:27:59,640
Speaker 2: this is on when we're introduced to, like right off

481
00:27:59,640 --> 00:28:03,400
Speaker 2: the bat, we have the character Parrot. It is kind

482
00:28:03,400 --> 00:28:06,080
Speaker 2: of a stretch to see him as a parrot. At first,

483
00:28:06,160 --> 00:28:08,040
Speaker 2: he seems like maybe he's some sort of a clown,

484
00:28:08,160 --> 00:28:11,919
Speaker 2: but yeah, he's a parrot. Played by Florian Pittis who

485
00:28:12,000 --> 00:28:14,480
Speaker 2: of nineteen forty three through two thousand and seven. This

486
00:28:14,640 --> 00:28:17,960
Speaker 2: is a Romanian actor, a folk musician and general entertainer.

487
00:28:18,520 --> 00:28:20,760
Speaker 3: They mainly signal that he's a parrot just by giving

488
00:28:20,840 --> 00:28:25,399
Speaker 3: him a very colorful outfit and wig. But yeah, he

489
00:28:25,440 --> 00:28:28,359
Speaker 3: doesn't have a beak or anything. And the role of

490
00:28:28,400 --> 00:28:31,199
Speaker 3: the parrot here is interesting because he's a kind of

491
00:28:32,960 --> 00:28:38,320
Speaker 3: entertainer slash vender or slash auctioneer. You know, he's kind.

492
00:28:38,120 --> 00:28:43,800
Speaker 2: Of a traveling bard or something, perhaps you know, music man,

493
00:28:43,960 --> 00:28:45,719
Speaker 2: perhaps I don't know. At times I was like, it

494
00:28:45,760 --> 00:28:47,520
Speaker 2: was this guy up to no good? Is he a

495
00:28:47,560 --> 00:28:49,240
Speaker 2: con man or something? But now he's just here to

496
00:28:49,280 --> 00:28:52,840
Speaker 2: tell stories and sing songs and gather everyone together inside

497
00:28:52,880 --> 00:28:54,200
Speaker 2: the magical Disco Ball.

498
00:28:54,560 --> 00:28:58,720
Speaker 3: Yeah, It's interesting the level that they go to communicate

499
00:28:59,120 --> 00:29:02,760
Speaker 3: what animal you person is. So I'd say, you know Rada.

500
00:29:03,280 --> 00:29:05,040
Speaker 3: I mean, she looks very human in one sense, but

501
00:29:05,080 --> 00:29:06,720
Speaker 3: you can tell she's a goat. She's got the clearer

502
00:29:07,840 --> 00:29:11,000
Speaker 3: in the ears. There's no mistaking a parrot here. I

503
00:29:11,040 --> 00:29:13,280
Speaker 3: don't know. Yeah, he could just be like a human clown.

504
00:29:14,000 --> 00:29:18,040
Speaker 3: And there's another one, like the bear family. They don't

505
00:29:18,080 --> 00:29:20,600
Speaker 3: work that hard to make them come off as bears.

506
00:29:20,640 --> 00:29:23,440
Speaker 3: They just look like humans in strange makeup.

507
00:29:23,600 --> 00:29:25,920
Speaker 2: They just look like human clowns. And in fact, I

508
00:29:25,920 --> 00:29:28,520
Speaker 2: don't think the next character, Father Martin the Bear, is

509
00:29:28,640 --> 00:29:32,280
Speaker 2: named in the English version that we watched, but Father

510
00:29:32,360 --> 00:29:35,440
Speaker 2: Martin the Bear is played by noted Soviet and Russian

511
00:29:35,480 --> 00:29:39,080
Speaker 2: clown and circus artists Ol'legg Popoff, who lived nineteen thirty

512
00:29:39,120 --> 00:29:42,040
Speaker 2: through twenty sixteen. Not to be confused, I think there's

513
00:29:42,040 --> 00:29:44,680
Speaker 2: an old egg pop Off Mma fighter right now. This

514
00:29:44,760 --> 00:29:47,800
Speaker 2: is a different different. This guy's a lover not a fighter,

515
00:29:49,200 --> 00:29:53,200
Speaker 2: and laugher not a fighter. Maybe mostly worked in purely

516
00:29:53,240 --> 00:29:57,000
Speaker 2: Russian film, but also appeared in nineteen seventy six is

517
00:29:57,040 --> 00:29:59,720
Speaker 2: the Bluebird. I wasn't familiar with this, but this is

518
00:29:59,760 --> 00:30:03,680
Speaker 2: a an American Soviet co production. An American Soviet co

519
00:30:03,760 --> 00:30:07,480
Speaker 2: production made during the height of the Cold War, starring

520
00:30:07,520 --> 00:30:09,320
Speaker 2: Elizabeth Taylor and Jane Fonda.

521
00:30:09,600 --> 00:30:11,520
Speaker 3: Huh, I did not know there was such a thing.

522
00:30:11,720 --> 00:30:14,840
Speaker 2: Yeah, I don't know much about it beyond that, but uh,

523
00:30:15,400 --> 00:30:18,640
Speaker 2: that's fascinating. As for Olig pop Off, I'm not sure,

524
00:30:18,680 --> 00:30:20,400
Speaker 2: but I feel like this is a name I'd heard before.

525
00:30:20,480 --> 00:30:23,400
Speaker 2: I don't know if in the past, someone like I

526
00:30:24,000 --> 00:30:27,320
Speaker 2: ran into a clowning enthusiast at a party or something

527
00:30:27,320 --> 00:30:29,240
Speaker 2: and they decided to tell me about the Great Olig

528
00:30:29,280 --> 00:30:31,960
Speaker 2: pop Off, but I feel like this name has come

529
00:30:32,040 --> 00:30:34,600
Speaker 2: up for me before. And this is also, by the way,

530
00:30:34,600 --> 00:30:36,520
Speaker 2: a guy. When you see him in the film, you're like,

531
00:30:36,600 --> 00:30:38,960
Speaker 2: this guy's a pro clown. There's no doubt about it.

532
00:30:39,440 --> 00:30:42,280
Speaker 3: Not at all in how he physically looks, but in

533
00:30:42,520 --> 00:30:44,880
Speaker 3: the way that he is dressed here and the way

534
00:30:44,920 --> 00:30:48,160
Speaker 3: that he acts, like his physical comedy reminded me of

535
00:30:48,160 --> 00:30:48,960
Speaker 3: Harpo Marx.

536
00:30:49,400 --> 00:30:55,520
Speaker 2: Hmmm, yes, all right. Next, we have a severely Kramarov

537
00:30:55,600 --> 00:30:58,680
Speaker 2: playing the young wolf. Let's see there's another They refer

538
00:30:58,720 --> 00:31:02,120
Speaker 2: to him as something else like little young you, nephew

539
00:31:02,160 --> 00:31:05,960
Speaker 2: wolf something, but he's definitely part of the villain gang obviously.

540
00:31:06,040 --> 00:31:07,200
Speaker 2: I mean he's a blood relative.

541
00:31:08,760 --> 00:31:09,760
Speaker 3: But yeah.

542
00:31:09,800 --> 00:31:12,800
Speaker 2: He lived nineteen thirty four through nineteen ninety five, a

543
00:31:12,840 --> 00:31:16,120
Speaker 2: Soviet actor who then ended up immigrating to the US

544
00:31:16,160 --> 00:31:18,720
Speaker 2: in nineteen seventy nine at the what was apparently the

545
00:31:18,800 --> 00:31:22,280
Speaker 2: height of his popularity in the USSR, and his subsequent

546
00:31:22,440 --> 00:31:26,080
Speaker 2: US films included nineteen eighty four's Moscow in the Hudson

547
00:31:26,200 --> 00:31:30,040
Speaker 2: starring Robin Williams, twenty ten, The Year We Make Contact,

548
00:31:30,520 --> 00:31:33,520
Speaker 2: nineteen eighty six is Armed and Dangerous, nineteen eighty eight's

549
00:31:33,520 --> 00:31:36,760
Speaker 2: Red Heat, and nineteen eighty nine's Tango in Cash. I

550
00:31:36,800 --> 00:31:39,560
Speaker 2: don't have to tell you that he generally played supporting

551
00:31:39,640 --> 00:31:43,000
Speaker 2: Russian characters and or Russian bad guys in these pictures.

552
00:31:43,440 --> 00:31:45,440
Speaker 3: One of these days I got to watch Red Heat.

553
00:31:45,880 --> 00:31:48,080
Speaker 3: Not that I expected to be good. It just seems

554
00:31:48,160 --> 00:31:49,920
Speaker 3: like one of those that would be a kind of

555
00:31:50,040 --> 00:31:50,800
Speaker 3: history lesson.

556
00:31:51,480 --> 00:31:53,920
Speaker 2: I think, of those the films I just named, twenty

557
00:31:53,960 --> 00:31:56,080
Speaker 2: ten is the one I need to see. I haven't

558
00:31:56,080 --> 00:31:58,240
Speaker 2: seen that one, and I've heard that while it's no.

559
00:31:58,800 --> 00:32:02,560
Speaker 2: Two thousand and one, it is interesting in its own right.

560
00:32:03,640 --> 00:32:08,520
Speaker 3: Yeah, I've seen it. It's not bad, but it's I

561
00:32:08,560 --> 00:32:10,320
Speaker 3: don't know. I just don't know if I feel like

562
00:32:10,360 --> 00:32:12,920
Speaker 3: two thousand and one needs needs a sequel film, but

563
00:32:13,280 --> 00:32:15,200
Speaker 3: I don't know, you know, go for it.

564
00:32:15,720 --> 00:32:17,880
Speaker 2: I saw Moscow on the Hudson though at a very

565
00:32:17,880 --> 00:32:21,840
Speaker 2: young age, way too young. It has as I recall,

566
00:32:21,920 --> 00:32:24,120
Speaker 2: there's like a lot of naked Robin Williams in it,

567
00:32:25,080 --> 00:32:29,640
Speaker 2: but I don't remember its quality beyond that. I don't

568
00:32:29,640 --> 00:32:31,960
Speaker 2: think I was at an age to understand what this

569
00:32:32,040 --> 00:32:36,840
Speaker 2: movie was even about. Let's see moving on, Okay, This

570
00:32:36,880 --> 00:32:40,280
Speaker 2: is just a very supporting character, but she stands out

571
00:32:40,320 --> 00:32:42,760
Speaker 2: all the time in the scenes because she's our hot

572
00:32:42,800 --> 00:32:47,040
Speaker 2: squirrel lady. She is played by Marina Poliak born nineteen

573
00:32:47,080 --> 00:32:50,320
Speaker 2: fifty one, Russian actress best known for this film. Maybe

574
00:32:50,320 --> 00:32:52,280
Speaker 2: she was a squirrel woman, I don't know, And if so,

575
00:32:52,440 --> 00:32:55,040
Speaker 2: like it's it's hard to get work in serious cinema.

576
00:32:55,120 --> 00:32:56,840
Speaker 3: You mean, in real life she was part squirrel. I

577
00:32:56,880 --> 00:32:57,120
Speaker 3: think she.

578
00:32:57,480 --> 00:32:59,560
Speaker 2: I don't think she's in makeup here. She's just a

579
00:32:59,640 --> 00:33:00,840
Speaker 2: human squirrel person.

580
00:33:01,120 --> 00:33:04,959
Speaker 3: There are near constant squirrel antics in this film. You know,

581
00:33:05,000 --> 00:33:07,760
Speaker 3: there'll be a scene where you're trying to focus on

582
00:33:07,800 --> 00:33:10,360
Speaker 3: what the main characters are doing, but then a squirrel

583
00:33:10,440 --> 00:33:11,720
Speaker 3: just like runs through the frame.

584
00:33:13,720 --> 00:33:17,280
Speaker 2: All right. The next character is the Swallow. I thought

585
00:33:17,280 --> 00:33:19,840
Speaker 2: she was a spider when I watched the film, because

586
00:33:20,040 --> 00:33:22,280
Speaker 2: the spider people like, she kind of looks like a

587
00:33:22,320 --> 00:33:24,200
Speaker 2: spider woman. I don't know, Like.

588
00:33:24,520 --> 00:33:27,160
Speaker 3: She lives in a tree and dangles from threads.

589
00:33:27,520 --> 00:33:29,760
Speaker 2: Yeah, like she doesn't have a beak, and she also

590
00:33:29,800 --> 00:33:33,440
Speaker 2: doesn't have like mandibles or anything. But but yeah, I

591
00:33:33,440 --> 00:33:37,200
Speaker 2: thought she was a spider. She's played by Violetta Andrei

592
00:33:37,840 --> 00:33:41,680
Speaker 2: born nineteen forty one, a Romanian actress whose credits include

593
00:33:41,720 --> 00:33:44,600
Speaker 2: the East German sci fi film The Dust of the Stars,

594
00:33:45,080 --> 00:33:48,240
Speaker 2: which I believe I've seen and it's one that's been

595
00:33:48,280 --> 00:33:50,280
Speaker 2: on the Weird House Cinema list for a while. To

596
00:33:50,320 --> 00:33:53,360
Speaker 2: come back to, okay, all right, And then coming to

597
00:33:53,400 --> 00:33:56,800
Speaker 2: the musical credits, we have two. One's French, one's Romanian.

598
00:33:57,440 --> 00:34:01,960
Speaker 2: The French composer that's credited is Just Bournois, who lived

599
00:34:02,000 --> 00:34:05,280
Speaker 2: nineteen thirty six through twenty sixteen, not to be confused

600
00:34:05,280 --> 00:34:07,800
Speaker 2: with the French silent film era director of the same name.

601
00:34:08,000 --> 00:34:12,160
Speaker 2: This guy was a composer songwriter. He composed a few

602
00:34:12,200 --> 00:34:14,360
Speaker 2: songs that were made famous by Bridget Bardot in the

603
00:34:14,440 --> 00:34:17,680
Speaker 2: late sixties, and he also had a singles run as

604
00:34:17,719 --> 00:34:21,080
Speaker 2: a musician in the early to mid nineteen sixties. And

605
00:34:21,120 --> 00:34:25,759
Speaker 2: then on the Romanian side we have Domesticole Popa or

606
00:34:25,920 --> 00:34:30,400
Speaker 2: Papa nineteen twenty one through twenty thirteen. He's a Romanian

607
00:34:30,400 --> 00:34:33,000
Speaker 2: composer who worked with the director of this film on

608
00:34:33,160 --> 00:34:36,000
Speaker 2: numerous projects. I think he scored Veronica. I could be

609
00:34:36,040 --> 00:34:37,759
Speaker 2: wrong on that, but if it wasn't Veronica, it was

610
00:34:37,760 --> 00:34:40,080
Speaker 2: one of the other pictures that she'd done.

611
00:34:40,440 --> 00:34:42,440
Speaker 3: As I said earlier, I think the music in the

612
00:34:42,480 --> 00:34:45,200
Speaker 3: movie is quite strong in constant.

613
00:34:45,320 --> 00:34:48,040
Speaker 2: This is so, you know, there are different types of musicals,

614
00:34:48,040 --> 00:34:49,880
Speaker 2: and you know, I don't even know that I have

615
00:34:49,960 --> 00:34:52,600
Speaker 2: the terminology in my head for the different types, but

616
00:34:52,680 --> 00:34:55,360
Speaker 2: this is one where there are a handful of songs,

617
00:34:55,880 --> 00:34:58,239
Speaker 2: but we keep coming back to them again and again,

618
00:34:58,440 --> 00:35:03,200
Speaker 2: different characters singing them, also different renditions of those numbers,

619
00:35:03,680 --> 00:35:06,240
Speaker 2: and it's nearly constant. It's not one of these where

620
00:35:06,280 --> 00:35:08,120
Speaker 2: all right, we've had a little dialogue and now it's

621
00:35:08,120 --> 00:35:10,960
Speaker 2: time for a full blown song. So much, but it's

622
00:35:10,960 --> 00:35:12,680
Speaker 2: also not opera.

623
00:35:13,000 --> 00:35:16,319
Speaker 3: You know. Yeah, And it really varies in terms of

624
00:35:16,440 --> 00:35:19,800
Speaker 3: genre like. Parts of this are full on like rock opera.

625
00:35:19,880 --> 00:35:23,480
Speaker 3: They're like rock songs, almost prog rock. Others feel more

626
00:35:23,520 --> 00:35:26,240
Speaker 3: like traditional kind of stage musical numbers.

627
00:35:26,719 --> 00:35:29,520
Speaker 2: Yeah, and at times it's a little like we've got

628
00:35:29,560 --> 00:35:31,919
Speaker 2: some almost kind of like a Caribbean drum beat going

629
00:35:31,960 --> 00:35:32,880
Speaker 2: on at times, you know.

630
00:35:33,400 --> 00:35:35,640
Speaker 3: And the parrot songs, Yeah, the parrot.

631
00:35:35,440 --> 00:35:37,520
Speaker 2: Songs, which I guess that makes sense, like what's a

632
00:35:37,560 --> 00:35:39,879
Speaker 2: parrot doing here? Like it turn in from somewhere else.

633
00:35:39,880 --> 00:35:42,600
Speaker 2: Maybe we brought some different drum beats with it. And

634
00:35:42,640 --> 00:35:46,359
Speaker 2: then other times there's certainly what feels like more of

635
00:35:46,440 --> 00:35:49,719
Speaker 2: a I don't know, you know, you know, Russo or

636
00:35:49,800 --> 00:35:54,160
Speaker 2: Romanian like folk music kind of mentality there certainly in

637
00:35:54,239 --> 00:35:57,080
Speaker 2: some of like the more lullabot eccentric songs we hear.

638
00:35:57,400 --> 00:36:08,759
Speaker 3: Yeah, I agreed. So I figure when we start off

639
00:36:08,760 --> 00:36:11,239
Speaker 3: talking about the plot, we should talk about the folktale

640
00:36:11,280 --> 00:36:13,440
Speaker 3: this is based on I mentioned earlier. This is based

641
00:36:13,480 --> 00:36:18,840
Speaker 3: on a traditional fairy tale, and so the Grim's fairy

642
00:36:18,880 --> 00:36:22,360
Speaker 3: Tales rendition of this story is known as The Wolf

643
00:36:22,520 --> 00:36:25,279
Speaker 3: and the Seven Young Kids. Here, I'm going to be

644
00:36:25,320 --> 00:36:28,239
Speaker 3: drawing on a translation that's available online by D. L

645
00:36:28,360 --> 00:36:32,520
Speaker 3: Ashleman and The story goes like this. So you've got

646
00:36:32,560 --> 00:36:35,040
Speaker 3: a mother goat who has seven children, and they live

647
00:36:35,120 --> 00:36:37,600
Speaker 3: together in a house in the forest, and one day

648
00:36:37,719 --> 00:36:41,319
Speaker 3: mother has to leave home to forage for something to eat.

649
00:36:41,480 --> 00:36:44,440
Speaker 3: She warns her children that there is a wolf in

650
00:36:44,480 --> 00:36:46,960
Speaker 3: the woods, and while she is gone, the wolf of

651
00:36:46,960 --> 00:36:48,880
Speaker 3: the woods will come to the door and ask to

652
00:36:48,880 --> 00:36:51,440
Speaker 3: be let inside, and if they let him through the door,

653
00:36:51,480 --> 00:36:53,399
Speaker 3: he will eat them all up, so they better keep

654
00:36:53,440 --> 00:36:55,960
Speaker 3: the door shut. The children ask, how are we to

655
00:36:56,040 --> 00:36:59,120
Speaker 3: know if it's you coming home, mummy, And so she says,

656
00:36:59,320 --> 00:37:01,840
Speaker 3: if the young go here knocking at the door, they'll

657
00:37:01,880 --> 00:37:04,120
Speaker 3: be able to know that it's their mother by listening

658
00:37:04,120 --> 00:37:07,880
Speaker 3: for her soft voice and looking at her feet, either

659
00:37:08,040 --> 00:37:10,640
Speaker 3: under the door or through the window. And the wolf

660
00:37:10,680 --> 00:37:13,680
Speaker 3: will have a rough voice and will have furry black paws.

661
00:37:14,200 --> 00:37:16,960
Speaker 3: And so she goes out. She leaves the house, and

662
00:37:16,960 --> 00:37:19,880
Speaker 3: then the text reads quote, it was not long before

663
00:37:19,960 --> 00:37:24,040
Speaker 3: someone knocked at the door and called out open the door, children, Dear,

664
00:37:24,160 --> 00:37:26,799
Speaker 3: your mother is here and has brought something for each

665
00:37:26,840 --> 00:37:29,960
Speaker 3: one of you. But the little kids knew from the

666
00:37:30,040 --> 00:37:32,680
Speaker 3: rough voice that it was the wolf. We will not

667
00:37:32,800 --> 00:37:35,520
Speaker 3: open the door, they cried out, you are not our mother.

668
00:37:35,800 --> 00:37:38,560
Speaker 3: She has a soft and gentle voice, but your voice

669
00:37:38,600 --> 00:37:42,040
Speaker 3: is rough. You are the wolf. So after this, the

670
00:37:42,080 --> 00:37:44,759
Speaker 3: wolf is like, hmm okay, thwarted. So he goes to

671
00:37:44,800 --> 00:37:47,640
Speaker 3: a shop and he buys a piece of chalk and

672
00:37:47,680 --> 00:37:51,240
Speaker 3: then he eats the chalk and that makes his voice soft.

673
00:37:52,200 --> 00:37:53,799
Speaker 3: Don't know how that works, but that is what the

674
00:37:53,800 --> 00:37:56,799
Speaker 3: story says. He goes back to the house again and

675
00:37:56,840 --> 00:38:00,400
Speaker 3: pretends to be the mother, goat on once again. This

676
00:38:00,560 --> 00:38:03,040
Speaker 3: time the kids they hear the soft voice, but then

677
00:38:03,080 --> 00:38:05,080
Speaker 3: they look out the window and they see the wolf's

678
00:38:05,120 --> 00:38:07,520
Speaker 3: black paw and they know he is a wolf, and

679
00:38:07,560 --> 00:38:09,760
Speaker 3: they tell him to go away. And then the text

680
00:38:09,840 --> 00:38:13,160
Speaker 3: reads quote. So the wolf ran to a baker and said,

681
00:38:13,320 --> 00:38:16,359
Speaker 3: I have sprained my foot. Rubbed some dough on it

682
00:38:16,440 --> 00:38:19,080
Speaker 3: for me. After the baker had rubbed a dough on

683
00:38:19,160 --> 00:38:21,919
Speaker 3: his foot, the wolf ran to the miller and said,

684
00:38:22,080 --> 00:38:25,160
Speaker 3: sprinkle some white flour on my foot for me. The

685
00:38:25,200 --> 00:38:28,880
Speaker 3: miller thought this wolf wants to deceive someone and refused

686
00:38:28,920 --> 00:38:31,320
Speaker 3: to do it. So the wolf said, if you will

687
00:38:31,360 --> 00:38:34,400
Speaker 3: not do it, I will eat you up. That frightened

688
00:38:34,400 --> 00:38:37,479
Speaker 3: the miller, and he made his paw white for him. Yes,

689
00:38:37,800 --> 00:38:42,359
Speaker 3: that is the way people are morals in the middle

690
00:38:42,400 --> 00:38:46,120
Speaker 3: of the story, that is the way people are so anyway,

691
00:38:46,640 --> 00:38:48,560
Speaker 3: Now that he has swallowed the chalk to make his

692
00:38:48,640 --> 00:38:51,680
Speaker 3: voice soft and gotten the flowered up dough foot, the

693
00:38:51,719 --> 00:38:53,680
Speaker 3: wolf goes back to the house and tries it again,

694
00:38:53,840 --> 00:38:56,920
Speaker 3: tries again. This time he does trick. The young goats,

695
00:38:57,000 --> 00:38:59,360
Speaker 3: and the little goats led him inside, and he eats

696
00:38:59,440 --> 00:39:02,080
Speaker 3: all of them except for the youngest one, who hides

697
00:39:02,120 --> 00:39:05,960
Speaker 3: inside a clock. Then, satisfied, the wolf goes off takes

698
00:39:06,000 --> 00:39:09,080
Speaker 3: a nap in a meadow. Meanwhile, mother Goat comes home

699
00:39:09,120 --> 00:39:11,319
Speaker 3: from her foraging, and she finds the house all in

700
00:39:11,400 --> 00:39:14,840
Speaker 3: disarray and her children missing. And then she finally she

701
00:39:14,920 --> 00:39:17,759
Speaker 3: locates the youngest goat hiding in the clock, who tells

702
00:39:17,800 --> 00:39:20,320
Speaker 3: her what happened, and together they run to the meadow

703
00:39:20,360 --> 00:39:23,359
Speaker 3: and find the wolf sleeping off his meal. But they

704
00:39:23,400 --> 00:39:27,239
Speaker 3: see something moving and jiggling inside the wolf's belly, And

705
00:39:27,239 --> 00:39:29,920
Speaker 3: then the text reads quote the mother goat sent the

706
00:39:30,000 --> 00:39:33,400
Speaker 3: kid home and to fetch scissors and a needle and thread,

707
00:39:33,719 --> 00:39:37,359
Speaker 3: and then she cut open the monster's paunch. She had

708
00:39:37,360 --> 00:39:40,439
Speaker 3: scarcely made one cut before a little kid stuck its

709
00:39:40,440 --> 00:39:43,440
Speaker 3: head out, and as she continued to cut one after

710
00:39:43,600 --> 00:39:46,440
Speaker 3: the other. All six jumped out, and they were all

711
00:39:46,480 --> 00:39:49,760
Speaker 3: still alive. They were not even hurt, for in his greed,

712
00:39:49,920 --> 00:39:53,720
Speaker 3: the monster had swallowed them down hole. How happy they were.

713
00:39:54,000 --> 00:39:56,880
Speaker 3: They hugged their dear mother and jumped about like a

714
00:39:56,960 --> 00:40:01,640
Speaker 3: tailor on his wedding day. But the mother said, go

715
00:40:01,760 --> 00:40:04,400
Speaker 3: now and look for some big stones. We will fill

716
00:40:04,480 --> 00:40:08,040
Speaker 3: the godless beast's stomach with them while he is still asleep.

717
00:40:08,560 --> 00:40:11,120
Speaker 3: So the kids go gather the stones, they bring him back.

718
00:40:11,239 --> 00:40:13,560
Speaker 3: They put the stones in the wolf's belly, and then

719
00:40:13,600 --> 00:40:16,759
Speaker 3: they sow him up again. And the wolf wakes up thirsty,

720
00:40:16,840 --> 00:40:18,520
Speaker 3: and he decides, well, I'm going to go to a

721
00:40:18,560 --> 00:40:21,360
Speaker 3: nearby well and get some water. But when he begins

722
00:40:21,400 --> 00:40:24,120
Speaker 3: to walk, he cries out in pain. He cries out

723
00:40:24,200 --> 00:40:28,200
Speaker 3: quote what rumbles and tumbles inside of me? I thought

724
00:40:28,239 --> 00:40:32,080
Speaker 3: it was kids, but it stones that they be. And

725
00:40:32,160 --> 00:40:34,480
Speaker 3: so the story finishes. Quote. When he got to the

726
00:40:34,480 --> 00:40:36,680
Speaker 3: well and leaned over the water to drink, the heavy

727
00:40:36,680 --> 00:40:40,040
Speaker 3: stones pulled him in and he drowned miserably. When the

728
00:40:40,080 --> 00:40:42,480
Speaker 3: seven kids saw what had happened, they ran up and

729
00:40:42,520 --> 00:40:45,520
Speaker 3: cried out, the wolf is dead. The wolf is dead,

730
00:40:45,840 --> 00:40:48,840
Speaker 3: and with their mother. They danced for joy around about

731
00:40:48,880 --> 00:40:52,560
Speaker 3: the well. So how much does this overlap with the

732
00:40:52,600 --> 00:40:58,359
Speaker 3: plot of the movie. Uh, I would say medium moderately. Unfortunately,

733
00:40:58,640 --> 00:41:01,040
Speaker 3: in this movie they never cut the wolf open and

734
00:41:01,080 --> 00:41:05,040
Speaker 3: fill him up with stones. But the major conflict of

735
00:41:05,200 --> 00:41:09,440
Speaker 3: the film is the same. And I guess because the

736
00:41:09,480 --> 00:41:11,719
Speaker 3: plot here is very loose, we should just sort of

737
00:41:11,719 --> 00:41:14,239
Speaker 3: summarize up top and then we can go and fill

738
00:41:14,280 --> 00:41:17,880
Speaker 3: in some texture when we talk about individual songs and scenes.

739
00:41:18,360 --> 00:41:22,520
Speaker 3: But the general plot is that Mama Goat aka missus

740
00:41:22,640 --> 00:41:25,839
Speaker 3: Rada lives in a house in the forest with her

741
00:41:25,880 --> 00:41:29,000
Speaker 3: goat children. In this case, it's within a kind of

742
00:41:29,080 --> 00:41:32,400
Speaker 3: animal village where one house is full of rabbit people,

743
00:41:32,560 --> 00:41:36,200
Speaker 3: one house's sheep, one house is squirrels, and so forth,

744
00:41:36,239 --> 00:41:39,400
Speaker 3: and there's also a donkey. And there is a pipe

745
00:41:39,480 --> 00:41:43,800
Speaker 3: smoking wolf in this village named Titisuru who he lives

746
00:41:43,800 --> 00:41:46,160
Speaker 3: in town, and he spends the first quarter of the

747
00:41:46,200 --> 00:41:49,000
Speaker 3: movie telling Rada that he is going to eat her children,

748
00:41:49,360 --> 00:41:51,719
Speaker 3: and she tells him no, and then they dance and

749
00:41:51,760 --> 00:41:52,799
Speaker 3: make eyes at each other.

750
00:41:53,200 --> 00:41:55,520
Speaker 2: Yeah, there's a lot of like, no, for real, I'm

751
00:41:55,560 --> 00:41:58,920
Speaker 2: going to eat your brats, like he calls them. Brats essentially,

752
00:41:59,480 --> 00:42:02,600
Speaker 2: and he is pretty clear like I'm a predator there,

753
00:42:02,640 --> 00:42:05,000
Speaker 2: baby goats, I am going to eat your children. And

754
00:42:05,040 --> 00:42:07,200
Speaker 2: she's like, oh, no, you won't. But there's kind of

755
00:42:07,200 --> 00:42:07,799
Speaker 2: a wink there.

756
00:42:08,120 --> 00:42:11,400
Speaker 3: Yeah. Yeah. And so in the movie, kind of like

757
00:42:11,440 --> 00:42:15,000
Speaker 3: in the folk tale, there's a secret code that Mama

758
00:42:15,080 --> 00:42:17,880
Speaker 3: Rada uses to enter the goat castle, but in the movie,

759
00:42:18,239 --> 00:42:21,880
Speaker 3: it's a song. It's a song that Rada teaches her children,

760
00:42:22,400 --> 00:42:24,800
Speaker 3: and she has to sing it note for note perfect

761
00:42:24,880 --> 00:42:28,919
Speaker 3: to be granted access. And I'm sure anybody who's seen

762
00:42:28,960 --> 00:42:31,640
Speaker 3: this movie will have this song burned in their brain forever.

763
00:42:31,760 --> 00:42:34,680
Speaker 3: You hear it many many times, in both its correct

764
00:42:34,719 --> 00:42:39,360
Speaker 3: form and in its incorrect form when when crudely attempted

765
00:42:39,360 --> 00:42:43,560
Speaker 3: by the wolf and his companions, but he goes Mama's home.

766
00:42:43,680 --> 00:42:46,160
Speaker 3: Now you can open the door, and it goes on

767
00:42:46,239 --> 00:42:48,480
Speaker 3: with this whole thing about like I've brought you strawberries

768
00:42:48,520 --> 00:42:50,680
Speaker 3: covered in honeydew and stuff like that.

769
00:42:52,040 --> 00:42:53,840
Speaker 2: And so the idea is the kids will listen, is

770
00:42:53,920 --> 00:42:57,040
Speaker 2: like that is that Mama, I don't know, let's hear yep,

771
00:42:57,080 --> 00:42:59,719
Speaker 2: that's her. Her voice sounds perfect, it's beautiful. Then you

772
00:42:59,760 --> 00:43:02,279
Speaker 2: open door and she comes in right now.

773
00:43:02,400 --> 00:43:06,000
Speaker 3: Sue Ru spends much of the movie trying to learn

774
00:43:06,080 --> 00:43:09,120
Speaker 3: to sing this song correctly. He's like outside the house

775
00:43:09,200 --> 00:43:12,960
Speaker 3: eavesdropping and writing out sheet music quickly as he hears it.

776
00:43:13,320 --> 00:43:15,319
Speaker 2: Yeah yeah, yeah. So he spends a lot of time

777
00:43:15,400 --> 00:43:20,760
Speaker 2: like workshopping at with his his buddies, the Donkey, the

778
00:43:20,640 --> 00:43:22,600
Speaker 2: the What, the.

779
00:43:21,840 --> 00:43:25,000
Speaker 3: The Lynx, the Lyne. Yeah.

780
00:43:25,040 --> 00:43:27,359
Speaker 2: So they're all working on it, and at times it's just,

781
00:43:27,400 --> 00:43:30,160
Speaker 2: you know, it's too it's too rock and roll. You know,

782
00:43:30,520 --> 00:43:33,000
Speaker 2: he is a rock and roll wolf after all, So

783
00:43:33,040 --> 00:43:36,000
Speaker 2: it takes him a while to really refine the performance

784
00:43:36,239 --> 00:43:38,280
Speaker 2: to the point where he can attempt to pull off

785
00:43:39,239 --> 00:43:40,400
Speaker 2: this this scheme.

786
00:43:40,840 --> 00:43:43,160
Speaker 3: Yeah. Now, there's a subplot in the middle here where

787
00:43:43,200 --> 00:43:47,400
Speaker 3: one of the Goat children, the older boy Mattei, wants

788
00:43:47,440 --> 00:43:49,759
Speaker 3: to escape the house and go to the fair while

789
00:43:49,840 --> 00:43:52,560
Speaker 3: mama is out, even though it's dangerous and the wolf

790
00:43:52,600 --> 00:43:54,960
Speaker 3: is prowling around. So he runs out and then he

791
00:43:55,000 --> 00:43:57,200
Speaker 3: gets into trouble and he gets pursued by the wolf

792
00:43:57,239 --> 00:44:00,520
Speaker 3: and his allies. But that that's sort of a b

793
00:44:00,640 --> 00:44:03,320
Speaker 3: plot in the middle of the movie. Eventually, the wolf

794
00:44:03,480 --> 00:44:06,560
Speaker 3: and his goons kidnap a couple of the goat kids.

795
00:44:07,480 --> 00:44:10,440
Speaker 3: And even though early on it was suggested that the

796
00:44:10,440 --> 00:44:13,360
Speaker 3: wolf would eat the children, he doesn't eat them. It

797
00:44:13,400 --> 00:44:15,600
Speaker 3: seems what he really wants is to hold them for

798
00:44:15,800 --> 00:44:19,080
Speaker 3: ransom so that Mama Rada must pay him a bag

799
00:44:19,160 --> 00:44:22,239
Speaker 3: of gold. He's like, give me the gold. He has

800
00:44:22,320 --> 00:44:25,759
Speaker 3: this short speech about how much he wants gold. Of

801
00:44:25,800 --> 00:44:27,960
Speaker 3: what use is gold to a wolf? I don't know,

802
00:44:28,000 --> 00:44:29,720
Speaker 3: but he wants gold, gold, gold.

803
00:44:30,040 --> 00:44:31,840
Speaker 2: Well, I think one of his cronies ask him, like,

804
00:44:31,840 --> 00:44:33,400
Speaker 2: what are you gonna do with the gold, and he's like,

805
00:44:33,440 --> 00:44:35,720
Speaker 2: I'm gonna do what everybody does with the gold, baby,

806
00:44:36,440 --> 00:44:38,200
Speaker 2: which is spend it. But I mean, again, what's he

807
00:44:38,239 --> 00:44:41,200
Speaker 2: gonna spend it on? I guess I don't know. Food.

808
00:44:42,000 --> 00:44:45,520
Speaker 3: The wolf in the Brother's Grim story does buy something.

809
00:44:45,640 --> 00:44:48,160
Speaker 3: Remember he goes and he buys chalk and then eats it.

810
00:44:48,640 --> 00:44:53,520
Speaker 2: Okay, all right, so open question then yeah.

811
00:44:53,040 --> 00:44:55,200
Speaker 3: So anyway, Yeah, So a couple of the goat children

812
00:44:55,239 --> 00:44:58,520
Speaker 3: get kidnapped, but then Rada comes up with a plan

813
00:44:58,640 --> 00:45:01,840
Speaker 3: to get her children back in revenge. So she first

814
00:45:02,040 --> 00:45:05,080
Speaker 3: there's a lot of dancing, like ice skating and dancing

815
00:45:05,120 --> 00:45:07,560
Speaker 3: around on the ice, and the whole village comes out

816
00:45:07,560 --> 00:45:10,280
Speaker 3: to the frozen pond in the wintertime, and ice skates

817
00:45:10,320 --> 00:45:13,319
Speaker 3: around and dances and stuff. And then Rada dances with

818
00:45:13,400 --> 00:45:17,200
Speaker 3: the wolf and they're, you know, it's very flirty dancing.

819
00:45:17,360 --> 00:45:19,320
Speaker 3: But then also he's like, give me the gold, and

820
00:45:19,400 --> 00:45:23,239
Speaker 3: what the gold? And so she eventually uses what I

821
00:45:23,280 --> 00:45:25,080
Speaker 3: don't know if it's actually a bag of gold, but

822
00:45:25,120 --> 00:45:27,280
Speaker 3: it's something made to look like a bag of gold.

823
00:45:27,360 --> 00:45:30,360
Speaker 3: She uses it as bait to trick him into falling

824
00:45:30,440 --> 00:45:33,160
Speaker 3: into a trap that the villagers have made in the

825
00:45:33,200 --> 00:45:36,959
Speaker 3: ice of the frozen pond. So the wolf falls into

826
00:45:36,960 --> 00:45:39,560
Speaker 3: the water, and while he's drowning in the freezing water,

827
00:45:40,000 --> 00:45:43,279
Speaker 3: his co conspirators again, the younger wolf, the Lynx, and

828
00:45:43,280 --> 00:45:46,120
Speaker 3: the donkey, they sort of have a change of heart

829
00:45:46,280 --> 00:45:50,040
Speaker 3: and they bring Rada's children back to her. And then

830
00:45:50,080 --> 00:45:52,799
Speaker 3: mister Wolf is pulled from the water and allowed to live,

831
00:45:52,920 --> 00:45:55,440
Speaker 3: and he promises he has a changed wolf, will he

832
00:45:55,440 --> 00:45:58,760
Speaker 3: will never kidnap her children again, and everyone lives happily

833
00:45:58,760 --> 00:45:59,280
Speaker 3: ever after.

834
00:46:00,160 --> 00:46:02,520
Speaker 2: That's it, and that's how it goes down. Nobody is

835
00:46:02,560 --> 00:46:06,279
Speaker 2: cut open, no stones are implanet in anybody's body, and

836
00:46:06,400 --> 00:46:10,520
Speaker 2: everyone learns their lesson. But we cannot stress how much

837
00:46:10,800 --> 00:46:14,320
Speaker 2: dancing and dare I say prancing occurs on the road?

838
00:46:14,360 --> 00:46:15,200
Speaker 2: Did this conclusion?

839
00:46:15,480 --> 00:46:20,640
Speaker 3: Oh? Unbelievable amounts of gambling and gyrating about Oh, And

840
00:46:20,760 --> 00:46:22,680
Speaker 3: I haven't mentioned this anywhere else, so I guess I'll

841
00:46:22,680 --> 00:46:25,520
Speaker 3: just throw it in here. I mentioned that the you know,

842
00:46:25,560 --> 00:46:27,880
Speaker 3: the visual textures of the movie are good, like the

843
00:46:28,520 --> 00:46:31,759
Speaker 3: costumes and the and the makeup and the sets and

844
00:46:31,800 --> 00:46:34,040
Speaker 3: all that are great. But I just really want to

845
00:46:34,560 --> 00:46:40,560
Speaker 3: emphasize again how much how much landscape texture there is

846
00:46:40,600 --> 00:46:43,600
Speaker 3: in the village set, which is a great is a

847
00:46:43,640 --> 00:46:47,440
Speaker 3: great compliment to the choreography and the dancing. So it's

848
00:46:47,480 --> 00:46:50,000
Speaker 3: in this lovely natural setting in the forest, but there

849
00:46:50,000 --> 00:46:53,719
Speaker 3: are just all these interesting little things for the dancers

850
00:46:53,760 --> 00:46:56,440
Speaker 3: to kind of move around and react to, all these

851
00:46:56,480 --> 00:47:01,080
Speaker 3: little pathways and gates and staircases and lap and railings

852
00:47:01,120 --> 00:47:05,280
Speaker 3: and little bridges, and it's all very rustic and pretty,

853
00:47:05,600 --> 00:47:09,480
Speaker 3: and it makes for a perfect landscape for these rambling

854
00:47:09,600 --> 00:47:12,200
Speaker 3: dance numbers that lead the characters from one edge of

855
00:47:12,200 --> 00:47:13,120
Speaker 3: the village to another.

856
00:47:13,840 --> 00:47:18,560
Speaker 2: Absolutely, yeah, it really the environment feels very authentic, you know,

857
00:47:18,760 --> 00:47:22,520
Speaker 2: like it's almost like they these actors, as these animals

858
00:47:22,520 --> 00:47:25,880
Speaker 2: lived here for months or something leading up to the

859
00:47:25,920 --> 00:47:26,760
Speaker 2: actual filming.

860
00:47:27,160 --> 00:47:30,520
Speaker 3: Yeah, okay, you want to talk about the individual scenes

861
00:47:30,560 --> 00:47:31,520
Speaker 3: and musical numbers.

862
00:47:32,000 --> 00:47:34,279
Speaker 2: Yeah, let's start with the beginning, because you know, Joe,

863
00:47:34,280 --> 00:47:37,839
Speaker 2: they pull a reverse Holy Mountain on us here, which

864
00:47:37,840 --> 00:47:38,719
Speaker 2: is kind of interesting.

865
00:47:38,960 --> 00:47:44,160
Speaker 3: Yeah. Yeah, So we start outside of the story with

866
00:47:44,280 --> 00:47:49,160
Speaker 3: the credit sequence taking place over shots of the actors

867
00:47:49,239 --> 00:47:53,480
Speaker 3: being introduced with credits as they get into costume and

868
00:47:53,520 --> 00:47:56,680
Speaker 3: have their makeup applied. Interesting choice.

869
00:47:56,840 --> 00:47:59,719
Speaker 2: Yeah, And for some reason for me, this really drove

870
00:47:59,760 --> 00:48:02,440
Speaker 2: home the nineteen seventies musical quality. I don't know why.

871
00:48:02,440 --> 00:48:05,279
Speaker 2: Maybe it's just because you're seeing, you know, guys and

872
00:48:05,320 --> 00:48:08,319
Speaker 2: gals who are clearly denizens of the nineteen seventies, like

873
00:48:08,400 --> 00:48:13,520
Speaker 2: in their casual clothing, being transformed into these timeless woodland creatures.

874
00:48:13,920 --> 00:48:18,319
Speaker 3: Yeah, there is a softening, kind of humanizing element to

875
00:48:18,400 --> 00:48:20,960
Speaker 3: it because, for example, one of the things we see

876
00:48:21,640 --> 00:48:26,200
Speaker 3: is the actor who plays the villain, who plays mister Wolf,

877
00:48:26,920 --> 00:48:29,120
Speaker 3: is like sitting in a chair in his makeup chair,

878
00:48:29,520 --> 00:48:32,319
Speaker 3: and the kids who play the goat children in the

879
00:48:32,360 --> 00:48:35,360
Speaker 3: movie are like play They're like putting funny makeup on

880
00:48:35,440 --> 00:48:38,840
Speaker 3: his face and they're all laughing about it. So it's like, oh, okay,

881
00:48:39,120 --> 00:48:41,120
Speaker 3: he's the bad guy in the movie, but in real

882
00:48:41,200 --> 00:48:42,240
Speaker 3: life they're all friends.

883
00:48:42,480 --> 00:48:45,160
Speaker 2: Yeah, it's all in good fun. Children. Yeah, don't be

884
00:48:45,200 --> 00:48:47,040
Speaker 2: stressed out by anything. You're about to see.

885
00:48:47,440 --> 00:48:51,080
Speaker 3: Kind of interesting cinematography choice here in this scene where

886
00:48:51,120 --> 00:48:55,120
Speaker 3: we're meeting all the characters is that most often sometimes

887
00:48:55,160 --> 00:48:57,200
Speaker 3: we just get like a headshot where they smile at

888
00:48:57,200 --> 00:49:00,399
Speaker 3: the camera, but more often we see performers making eye

889
00:49:00,480 --> 00:49:03,680
Speaker 3: contact with the camera through a mirror, so the camera's

890
00:49:03,760 --> 00:49:06,680
Speaker 3: over their shoulder and we're looking into their makeup mirror

891
00:49:06,719 --> 00:49:11,200
Speaker 3: and connecting with them that way. Yeah. Yeah, Also, did

892
00:49:11,239 --> 00:49:14,320
Speaker 3: you notice how in this part, basically everybody is smiling

893
00:49:14,360 --> 00:49:17,480
Speaker 3: as they meet the camera except the actor who plays Donkey,

894
00:49:17,600 --> 00:49:21,640
Speaker 3: who's just grimacing and looking like, you know, why go

895
00:49:21,719 --> 00:49:23,800
Speaker 3: on with this masquerade of a life.

896
00:49:24,280 --> 00:49:27,200
Speaker 2: Well, he's method, you know, he's Donkey from the get go.

897
00:49:27,320 --> 00:49:30,919
Speaker 2: He showed up this morning Donkey before he even put

898
00:49:31,000 --> 00:49:31,719
Speaker 2: the makeup.

899
00:49:31,480 --> 00:49:33,520
Speaker 3: Or the ears on. He looks like he has just

900
00:49:33,560 --> 00:49:39,800
Speaker 3: about had it with this job. Sick of playing Donkey. Okay,

901
00:49:39,800 --> 00:49:43,160
Speaker 3: but let's go into the world. Now, we go into

902
00:49:43,200 --> 00:49:48,000
Speaker 3: the forest, into the village of fantastic magical creatures. And

903
00:49:48,120 --> 00:49:49,160
Speaker 3: what's our first song?

904
00:49:49,719 --> 00:49:52,319
Speaker 2: Oh, the first one is I honestly don't remember what

905
00:49:52,440 --> 00:49:55,520
Speaker 2: the song is, but this one is by a parrot

906
00:49:56,160 --> 00:49:58,719
Speaker 2: and it's kind of an upbeat, prancing tune set to

907
00:49:58,800 --> 00:50:03,279
Speaker 2: some furious It's kind of almost Caribbean drumming, you know.

908
00:50:03,400 --> 00:50:06,839
Speaker 3: Yeah, yeah, this is the one that goes ladies and gentlemen.

909
00:50:09,000 --> 00:50:11,279
Speaker 3: So before the song even starts, I think one of

910
00:50:11,280 --> 00:50:14,040
Speaker 3: the first things we see is like the squirrel lady,

911
00:50:14,280 --> 00:50:16,520
Speaker 3: she's she's looking out at the road leading to the

912
00:50:16,600 --> 00:50:20,200
Speaker 3: village and she screams like here he comes. And then

913
00:50:20,480 --> 00:50:25,480
Speaker 3: mister Parrot, a twee voiced master of ceremonies type presence

914
00:50:25,800 --> 00:50:30,200
Speaker 3: in a teal tuxedo jacket, a red cravat and a

915
00:50:30,280 --> 00:50:33,520
Speaker 3: rainbow wig, is riding into town on this rag and

916
00:50:33,680 --> 00:50:38,600
Speaker 3: bone shop velocipede, singing a song I had to. This

917
00:50:38,640 --> 00:50:40,600
Speaker 3: is one of the many parts where when I went

918
00:50:40,680 --> 00:50:43,359
Speaker 3: back and I listened to the lyrics more closely, I

919
00:50:43,440 --> 00:50:45,799
Speaker 3: was like, wait, what is this about. It sounds like

920
00:50:45,840 --> 00:50:49,320
Speaker 3: the song is about artifacts he has stolen from various

921
00:50:49,360 --> 00:50:52,480
Speaker 3: places around the world. He says that he went to

922
00:50:52,600 --> 00:50:56,000
Speaker 3: Tehran where he got a rock that shows the future,

923
00:50:56,640 --> 00:51:00,080
Speaker 3: and from Bali he took something referred to as the

924
00:51:00,120 --> 00:51:01,600
Speaker 3: ancient magic tree.

925
00:51:02,360 --> 00:51:04,279
Speaker 2: Well, I've got news for mister Parrett. I feel like

926
00:51:04,320 --> 00:51:07,239
Speaker 2: those artifacts and tales of their exploits are gonna be

927
00:51:07,280 --> 00:51:10,680
Speaker 2: lost on this crowd because these animals are a little

928
00:51:10,719 --> 00:51:14,080
Speaker 2: more down to earth in their yeah, their needs and aspirations.

929
00:51:14,200 --> 00:51:16,440
Speaker 3: Yeah, I think they would rather have like some cakes

930
00:51:16,480 --> 00:51:21,319
Speaker 3: and stuff. Yeah, this is the Shire. In fact, this

931
00:51:21,400 --> 00:51:24,040
Speaker 3: is exactly this is the shire. Because the other thing

932
00:51:24,120 --> 00:51:27,720
Speaker 3: is the implication in this song is that everybody loves Parrot.

933
00:51:27,920 --> 00:51:30,799
Speaker 3: And it's like when gandhlf arrives at the Shire in

934
00:51:30,880 --> 00:51:34,280
Speaker 3: his cart, the children are all running around screeching with joy.

935
00:51:35,080 --> 00:51:37,520
Speaker 3: Parrot here does not set off any fireworks, but he

936
00:51:37,600 --> 00:51:40,840
Speaker 3: might as well. We also get several close up shots

937
00:51:40,840 --> 00:51:44,440
Speaker 3: of the various like lady animals of the village watching

938
00:51:44,520 --> 00:51:48,760
Speaker 3: Parrot's arrival with rapturous admiration, Like we see the lamb

939
00:51:48,840 --> 00:51:53,080
Speaker 3: lady looking at him like what a hunk. But anyway,

940
00:51:53,120 --> 00:51:56,839
Speaker 3: the whole number has this traveling medicine show quality to it.

941
00:51:56,920 --> 00:51:59,799
Speaker 3: He he comes in on his velocipede cart and then

942
00:51:59,840 --> 00:52:01,880
Speaker 3: they set up a kind of stage where he stands

943
00:52:01,920 --> 00:52:06,160
Speaker 3: there singing to the crowd. And Parrot's arrival is presaging

944
00:52:06,200 --> 00:52:09,680
Speaker 3: a fare that will be held I think the following day.

945
00:52:10,280 --> 00:52:13,120
Speaker 2: Now, he doesn't particularly have any role in the plot.

946
00:52:13,280 --> 00:52:17,560
Speaker 2: He's just here to facilitate dance numbers though, so unlike Gandalf.

947
00:52:18,200 --> 00:52:21,160
Speaker 3: Yeah yeah, yeah, that's right. Anyway, while all this is

948
00:52:21,200 --> 00:52:25,000
Speaker 3: going on, we also see another major character, the Wolf.

949
00:52:25,239 --> 00:52:27,120
Speaker 3: He's up in his tower. I don't know what you

950
00:52:27,160 --> 00:52:29,360
Speaker 3: would call this building he lives in, but he's in

951
00:52:29,440 --> 00:52:31,759
Speaker 3: this building that's like got a view up and over

952
00:52:31,840 --> 00:52:36,320
Speaker 3: everything else, and he's standing standing watching the celebrations suspiciously

953
00:52:36,440 --> 00:52:40,799
Speaker 3: through a wooden spyglass up in his wolf tower. So

954
00:52:40,840 --> 00:52:44,120
Speaker 3: he's there with his flowing mane of hair, a strong eyebrows,

955
00:52:44,200 --> 00:52:47,160
Speaker 3: strong mustache. He makes an impression the first time you

956
00:52:47,200 --> 00:52:50,880
Speaker 3: see him. And also he's keenly peering out at things

957
00:52:50,920 --> 00:52:53,880
Speaker 3: going on. He has he has a predator's gaze. You know,

958
00:52:53,960 --> 00:52:56,279
Speaker 3: he's ready. He's ready to eat some of the herbivores

959
00:52:56,320 --> 00:53:00,600
Speaker 3: of the village. And Wolf begins to watch a single

960
00:53:00,640 --> 00:53:04,680
Speaker 3: family among the crowd, that of mother Goat missus Rada

961
00:53:04,880 --> 00:53:07,719
Speaker 3: and her children, who are on their way home. The

962
00:53:07,800 --> 00:53:10,799
Speaker 3: children are begging to be taken to the upcoming fair,

963
00:53:11,239 --> 00:53:14,000
Speaker 3: and this leads into the second song, which is performed

964
00:53:14,040 --> 00:53:14,720
Speaker 3: by the wolf.

965
00:53:15,400 --> 00:53:19,040
Speaker 2: Yeah, this is a bold, sauntering number that it occupies

966
00:53:19,040 --> 00:53:23,560
Speaker 2: that place where comedic brass and seductive brass meet. It's

967
00:53:23,600 --> 00:53:25,960
Speaker 2: also it's based of his his allow me to introduce

968
00:53:26,040 --> 00:53:29,120
Speaker 2: myself toun where he tells you who he is and

969
00:53:29,120 --> 00:53:29,960
Speaker 2: what he's all about.

970
00:53:30,200 --> 00:53:33,120
Speaker 3: This got funnier once again when I went and transcribed

971
00:53:33,200 --> 00:53:37,800
Speaker 3: the lyrics. He's saying, how do you do? I'm Titisuru,

972
00:53:37,920 --> 00:53:41,880
Speaker 3: friendliest wolf you've met. You'll hear the strangest things about me,

973
00:53:42,040 --> 00:53:45,719
Speaker 3: for it's been said that I could be responsible for

974
00:53:45,840 --> 00:53:51,359
Speaker 3: incidents unexplained. People do invent the oddest tales. That's not

975
00:53:51,400 --> 00:53:53,680
Speaker 3: what I would put in my cover letter. The first

976
00:53:53,680 --> 00:53:56,399
Speaker 3: thing you're hearing from him is people tell a little

977
00:53:56,520 --> 00:53:58,919
Speaker 3: lies about me. M Yeah.

978
00:53:58,960 --> 00:54:01,960
Speaker 2: People will try to pin various unsolved murders on me,

979
00:54:02,239 --> 00:54:06,279
Speaker 2: but there's actually no connection. My alibi is pretty solid. Yeah,

980
00:54:06,560 --> 00:54:07,840
Speaker 2: it's not a convincing start.

981
00:54:08,719 --> 00:54:11,719
Speaker 3: It's great when like, the first thing somebody says when

982
00:54:11,760 --> 00:54:14,040
Speaker 3: you meet them is like, my haters are all lying.

983
00:54:15,040 --> 00:54:16,400
Speaker 2: Yeah.

984
00:54:16,440 --> 00:54:19,520
Speaker 3: Anyway, Titisuru goes out dancing through the middle of the

985
00:54:19,600 --> 00:54:23,720
Speaker 3: village with his posse, which includes his nephew, the young Wolf,

986
00:54:24,080 --> 00:54:26,920
Speaker 3: and as we mentioned earlier, also a lynx and the

987
00:54:26,960 --> 00:54:30,560
Speaker 3: town donkey who is a kind of dolorous clown. And

988
00:54:30,880 --> 00:54:34,160
Speaker 3: mister Wolf greets people in town and they mostly seem

989
00:54:34,239 --> 00:54:37,279
Speaker 3: to regard him with naive trust. Is that how you

990
00:54:37,320 --> 00:54:40,200
Speaker 3: took this in the beginning, Like everybody seems to be like, oh,

991
00:54:40,239 --> 00:54:43,600
Speaker 3: mister Wolf, Yeah he's handsome, he's a nice guy. He says,

992
00:54:43,640 --> 00:54:44,240
Speaker 3: he's nice.

993
00:54:44,880 --> 00:54:48,439
Speaker 2: Yeah. Yeah. They have kind of this I don't know, Yeah,

994
00:54:48,480 --> 00:54:52,360
Speaker 2: this kind of like passive response to the predator in

995
00:54:52,360 --> 00:54:55,120
Speaker 2: their midst It's like, well, he's not attractively attacking anyone

996
00:54:55,200 --> 00:54:57,160
Speaker 2: right now, so I guess we'll keep grazing.

997
00:54:57,600 --> 00:55:01,040
Speaker 3: Yeah, But then Wolf comes up. He squares off with

998
00:55:01,200 --> 00:55:04,920
Speaker 3: Rada and her children. Rada, the way she reacts to

999
00:55:05,000 --> 00:55:09,080
Speaker 3: him is complex. It's like she sees through this and

1000
00:55:09,200 --> 00:55:11,480
Speaker 3: she knows better than to trust him. So there's no

1001
00:55:12,800 --> 00:55:16,120
Speaker 3: she doesn't have the naive reaction that the other villagers have,

1002
00:55:16,360 --> 00:55:18,839
Speaker 3: Like she knows immediately what's up with this guy. She's

1003
00:55:18,840 --> 00:55:22,400
Speaker 3: too wise, and so she rebukes him. But there is

1004
00:55:22,480 --> 00:55:26,920
Speaker 3: also a constant, simmering underlying element of hubba hubbah.

1005
00:55:27,280 --> 00:55:30,200
Speaker 2: Yeah, I mean it's basically like, I know you're a

1006
00:55:30,239 --> 00:55:32,919
Speaker 2: bad boy, but I kind of like bad boy. And

1007
00:55:33,200 --> 00:55:36,360
Speaker 2: that's basically that tension throughout the picture with the but

1008
00:55:36,440 --> 00:55:39,279
Speaker 2: with the added detail that said bad boy wants to

1009
00:55:39,360 --> 00:55:40,400
Speaker 2: kill and eat her children.

1010
00:55:40,640 --> 00:55:43,719
Speaker 3: Yeah. Yeah, so he explains in the song, well, he

1011
00:55:43,760 --> 00:55:47,000
Speaker 3: doesn't say that at first. Instead, at first he says,

1012
00:55:47,120 --> 00:55:49,720
Speaker 3: your children, uh, number one, they make too much noise

1013
00:55:49,840 --> 00:55:53,160
Speaker 3: and they tease me, and I can't tolerate that. So

1014
00:55:53,239 --> 00:55:56,359
Speaker 3: he says, this is your final warning, and also I

1015
00:55:56,400 --> 00:55:59,320
Speaker 3: am a wolf and my wolf instinct will not be suppressed.

1016
00:56:00,680 --> 00:56:03,440
Speaker 3: But then, almost as if to play down the danger,

1017
00:56:03,520 --> 00:56:05,680
Speaker 3: Sueru just kind of like dances off. He does like

1018
00:56:05,680 --> 00:56:10,360
Speaker 3: a little tap dance number with his goons, and he's

1019
00:56:10,440 --> 00:56:12,879
Speaker 3: you know, running around the village dancing. And while he's

1020
00:56:12,880 --> 00:56:16,000
Speaker 3: off with this guys, he starts singing about how ooh,

1021
00:56:16,040 --> 00:56:18,719
Speaker 3: of all the children I've ever seen, missus Rada's kids

1022
00:56:18,719 --> 00:56:21,520
Speaker 3: would be the finest cuisine. So he's like, I Am

1023
00:56:21,560 --> 00:56:22,800
Speaker 3: going to eat those goats.

1024
00:56:23,480 --> 00:56:26,600
Speaker 2: So this leads almost immediately into the third song I

1025
00:56:26,600 --> 00:56:29,520
Speaker 2: guess this is. This one's performed by Rada basically putting

1026
00:56:29,520 --> 00:56:33,440
Speaker 2: the wolf in his place, saying, let my children be Basically,

1027
00:56:33,480 --> 00:56:35,600
Speaker 2: we're gonna go into and out of a lot of

1028
00:56:35,680 --> 00:56:38,439
Speaker 2: songs in this picture at the drop of a hat,

1029
00:56:38,680 --> 00:56:42,120
Speaker 2: but sometimes just for like less than a minute even,

1030
00:56:42,480 --> 00:56:44,600
Speaker 2: and then sometimes for longer. You never know how long

1031
00:56:44,640 --> 00:56:46,960
Speaker 2: they're going to sing a particular song which keeps you

1032
00:56:47,000 --> 00:56:49,000
Speaker 2: on your feet. You know, you don't get that. It's

1033
00:56:49,000 --> 00:56:50,960
Speaker 2: easy to get worn out with musicals where it's like, oh,

1034
00:56:50,960 --> 00:56:53,439
Speaker 2: I hear another song coming on. Well, yeah, you're gonna

1035
00:56:53,440 --> 00:56:55,160
Speaker 2: get hit with him constantly, but some of them are

1036
00:56:55,200 --> 00:57:07,480
Speaker 2: very short. Okay, where are we in the plot to

1037
00:57:07,719 --> 00:57:09,360
Speaker 2: kidnap the Goat children?

1038
00:57:09,640 --> 00:57:11,560
Speaker 3: Well, I think there isn't a plot yet. We've just

1039
00:57:11,600 --> 00:57:16,760
Speaker 3: had the conflict between between Wolf and Rada, like they've

1040
00:57:16,760 --> 00:57:20,480
Speaker 3: had their square off. Its kind of flirting but also

1041
00:57:20,560 --> 00:57:24,560
Speaker 3: threatening each other. Rada is seeing through the Wolf's suave exterior,

1042
00:57:25,280 --> 00:57:27,920
Speaker 3: but she's wary of him, but she's also kind of

1043
00:57:27,920 --> 00:57:31,760
Speaker 3: into him, and so that's strange. But yeah, yeah, so

1044
00:57:32,240 --> 00:57:34,439
Speaker 3: so far, that's where we are. And here we get

1045
00:57:34,440 --> 00:57:37,640
Speaker 3: into a medley that was one of my favorite parts

1046
00:57:37,680 --> 00:57:40,640
Speaker 3: of the movie because it's just sort of a string

1047
00:57:40,680 --> 00:57:43,640
Speaker 3: of songs that are mostly sung by the bad guys

1048
00:57:44,200 --> 00:57:47,360
Speaker 3: but then interrupted by some good dance numbers by the

1049
00:57:47,360 --> 00:57:50,960
Speaker 3: good characters, but the string of songs by the Wolf's

1050
00:57:51,000 --> 00:57:53,560
Speaker 3: Gang goes on for like ten minutes, and it's just

1051
00:57:53,680 --> 00:57:58,880
Speaker 3: one wacky, hard hitting Tommy style rock opera song after another.

1052
00:57:59,440 --> 00:58:02,040
Speaker 3: And I was thinking about how, you know, sometimes people

1053
00:58:02,080 --> 00:58:04,640
Speaker 3: say that a Batman movie is really only as good

1054
00:58:04,640 --> 00:58:07,480
Speaker 3: as its villain, Like, you know, Batman's always you know,

1055
00:58:07,960 --> 00:58:10,600
Speaker 3: I don't want to discount differences, but Batman's always just

1056
00:58:10,640 --> 00:58:13,880
Speaker 3: sort of Batman. So it's really the villain that defines

1057
00:58:13,920 --> 00:58:14,400
Speaker 3: the film.

1058
00:58:15,320 --> 00:58:18,280
Speaker 2: Yeah, yeah, I mean I think that translates into musicals too.

1059
00:58:18,360 --> 00:58:21,560
Speaker 2: Like in Disney musicals, the villains always have the best songs.

1060
00:58:22,240 --> 00:58:24,600
Speaker 2: In Rocky horror, all the best songs are sung by

1061
00:58:24,600 --> 00:58:28,240
Speaker 2: the villains. I mean, I guess they're villains and so forth.

1062
00:58:28,280 --> 00:58:31,120
Speaker 2: I mean, yeah, if you're gonna have a musical film

1063
00:58:31,200 --> 00:58:34,040
Speaker 2: like this Phantom of the Opera, he's got all the

1064
00:58:34,040 --> 00:58:35,560
Speaker 2: great songs, obviously.

1065
00:58:35,200 --> 00:58:37,240
Speaker 3: I absolutely so. I was gonna say, I think the

1066
00:58:37,280 --> 00:58:41,280
Speaker 3: same thing is often true about musicals, musicals, and especially

1067
00:58:41,360 --> 00:58:44,720
Speaker 3: rock operas. The villains get the best songs, and so

1068
00:58:44,880 --> 00:58:47,280
Speaker 3: it's the villain songs that end up kind of sticking

1069
00:58:47,280 --> 00:58:50,040
Speaker 3: with you and defining how the musical feels, and that

1070
00:58:50,200 --> 00:58:52,600
Speaker 3: is definitely how I feel about this part of the movie.

1071
00:58:53,120 --> 00:58:56,080
Speaker 3: So the first tune in this Bad Guy medley is

1072
00:58:56,280 --> 00:59:00,000
Speaker 3: the Wolf's gang singing a song about the confrontation between

1073
00:59:00,360 --> 00:59:02,720
Speaker 3: Rada and the Wolf, and we see all like the

1074
00:59:02,760 --> 00:59:06,720
Speaker 3: townspeople running and hiding, slamming their doors shut after watching

1075
00:59:06,720 --> 00:59:10,600
Speaker 3: the altercation. The squirrely squirrel lady is very upset. You

1076
00:59:10,600 --> 00:59:14,800
Speaker 3: can see she's nervous. And it's this song. It's the

1077
00:59:14,840 --> 00:59:19,959
Speaker 3: one that goes where they're seeing like wahhoo t Tsuru's furious.

1078
00:59:20,320 --> 00:59:23,040
Speaker 2: Yeah, this is the one where they're like, mother, goat, Rada,

1079
00:59:23,080 --> 00:59:24,400
Speaker 2: better run away, that kind of thing.

1080
00:59:24,640 --> 00:59:29,040
Speaker 3: Yeah, yeah, okay, yeah, Rada's future is dubious. It's sort

1081
00:59:29,080 --> 00:59:31,760
Speaker 3: of like like there has just been a rap battle

1082
00:59:32,040 --> 00:59:35,160
Speaker 3: and they're their guy lost, and so they're walking away

1083
00:59:35,640 --> 00:59:38,400
Speaker 3: being like, oh, next time it's gonna be it's gonna

1084
00:59:38,400 --> 00:59:42,320
Speaker 3: be really bad. We're gonna get you. But interestingly, while

1085
00:59:42,320 --> 00:59:45,840
Speaker 3: everybody else runs and hides, Rada and her children do

1086
00:59:45,960 --> 00:59:48,800
Speaker 3: not hide at all. They're not afraid, and they do

1087
00:59:48,920 --> 00:59:52,560
Speaker 3: a frenetic dance number on their front lawn. They're very happy.

1088
00:59:53,160 --> 00:59:58,240
Speaker 3: They're like sliding down this extremely splintery looking wooden plane

1089
00:59:59,080 --> 01:00:02,000
Speaker 3: and playing on all kinds stuffy. They go swinging, all

1090
01:00:02,040 --> 01:00:05,320
Speaker 3: seven of them on one wooden rope, swing all seven

1091
01:00:05,320 --> 01:00:07,480
Speaker 3: at the same time, and then they get on the

1092
01:00:07,560 --> 01:00:09,920
Speaker 3: rooftop sea saws, which god.

1093
01:00:10,800 --> 01:00:14,640
Speaker 2: What Yeah, Like I meant to go back and rewatch

1094
01:00:14,680 --> 01:00:17,680
Speaker 2: this sequence because my recollection is there's no way they

1095
01:00:17,760 --> 01:00:19,920
Speaker 2: faked this. I mean, there may not be actual children

1096
01:00:19,960 --> 01:00:21,720
Speaker 2: up there, but there might be, I don't know. It

1097
01:00:21,760 --> 01:00:26,200
Speaker 2: looks like a sizable building with kids on seesaws up there,

1098
01:00:26,360 --> 01:00:32,160
Speaker 2: you know, at the most extreme height, they're what twenty

1099
01:00:32,240 --> 01:00:35,480
Speaker 2: thirty feet off the ground or something like. It's intimidating.

1100
01:00:35,640 --> 01:00:38,840
Speaker 3: Yeah, it's at the apex of the roof is the

1101
01:00:38,840 --> 01:00:42,040
Speaker 3: fulcrum of the teeter totter, and the kids are just

1102
01:00:42,120 --> 01:00:46,240
Speaker 3: going up and down. And maybe it's adult stunt performers,

1103
01:00:46,240 --> 01:00:47,880
Speaker 3: but it looks not faked.

1104
01:00:48,080 --> 01:00:50,120
Speaker 2: Yeah, does not look like a model.

1105
01:00:50,480 --> 01:00:54,240
Speaker 3: So Rata is not one of these safety obsessed helicopter parents.

1106
01:00:54,280 --> 01:00:57,480
Speaker 3: She's like children. We will now be playing on equipment

1107
01:00:57,520 --> 01:01:00,480
Speaker 3: that is illegal in most countries and all, so you're

1108
01:01:00,520 --> 01:01:02,680
Speaker 3: going to have to defend the goat house on your

1109
01:01:02,720 --> 01:01:05,280
Speaker 3: own against wolf attacks. While I am gone at the fair.

1110
01:01:05,840 --> 01:01:07,480
Speaker 2: Yeah.

1111
01:01:07,800 --> 01:01:10,400
Speaker 3: But anyway, while the children are playing, the bad guys

1112
01:01:10,480 --> 01:01:13,240
Speaker 3: kind of peep over the fence and watch the goats

1113
01:01:13,480 --> 01:01:16,720
Speaker 3: at play. And there is an interesting moment here where

1114
01:01:17,120 --> 01:01:19,320
Speaker 3: we see a lot of this throughout the film, where

1115
01:01:19,600 --> 01:01:21,680
Speaker 3: we get a close up on Donkey and at first

1116
01:01:21,680 --> 01:01:24,280
Speaker 3: he's smiling. It's like he's having a lot of fun

1117
01:01:24,360 --> 01:01:27,200
Speaker 3: watching the goats play. Oh, isn't it nice? And then

1118
01:01:27,280 --> 01:01:31,440
Speaker 3: suddenly his smile just fades. It melts into the saddest

1119
01:01:31,480 --> 01:01:35,240
Speaker 3: face you've ever seen yours if you will, Yeah, exactly,

1120
01:01:36,160 --> 01:01:38,680
Speaker 3: And so this is kind of establishing a theme upon

1121
01:01:38,800 --> 01:01:41,600
Speaker 3: rewatching for me. I didn't catch it as much the

1122
01:01:41,640 --> 01:01:44,560
Speaker 3: first time, but Donkey was really emerging as one of

1123
01:01:44,600 --> 01:01:48,680
Speaker 3: the most interesting and subtle characters. But from here we

1124
01:01:48,760 --> 01:01:51,440
Speaker 3: get into one of my favorite tracks, which is a

1125
01:01:51,640 --> 01:01:55,560
Speaker 3: rock number where the members of the Wolf's Gang introduce

1126
01:01:55,680 --> 01:02:00,360
Speaker 3: themselves and sing about their loyalty to Titisuru. I think

1127
01:02:00,800 --> 01:02:02,680
Speaker 3: it starts with kind of a chant where they say

1128
01:02:02,720 --> 01:02:06,480
Speaker 3: like one for all and all for Suru. So there's

1129
01:02:06,600 --> 01:02:09,840
Speaker 3: it's very top down, you know, leader oriented kind of

1130
01:02:09,840 --> 01:02:10,440
Speaker 3: friend group.

1131
01:02:10,680 --> 01:02:14,000
Speaker 2: Yes, he has big followers of Suuman here, you know,

1132
01:02:14,040 --> 01:02:16,640
Speaker 2: we have links Donkey and oh yeah, yeah, Little Bad Wolf.

1133
01:02:16,680 --> 01:02:19,680
Speaker 2: I believe he's referred to either one way or another

1134
01:02:19,760 --> 01:02:22,640
Speaker 2: in this bit the nephew, and yeah, there's a lot

1135
01:02:22,640 --> 01:02:27,720
Speaker 2: of snarling, moderate cartwheels added to the general prancing. And yeah,

1136
01:02:27,760 --> 01:02:30,240
Speaker 2: there's some great lyrics in here, like tears our occupation

1137
01:02:30,360 --> 01:02:34,960
Speaker 2: well into helping hand, into Suru's operation. So they're just

1138
01:02:35,000 --> 01:02:37,640
Speaker 2: all like trying to really get it out there that

1139
01:02:37,680 --> 01:02:40,800
Speaker 2: they're as close as friends, and they also throw in

1140
01:02:40,840 --> 01:02:43,000
Speaker 2: some added little tidbits like one of them's like, I've

1141
01:02:43,000 --> 01:02:43,680
Speaker 2: never read a book.

1142
01:02:43,840 --> 01:02:47,840
Speaker 3: Okay, Well, they're contrasting that little I think Little Bad

1143
01:02:47,880 --> 01:02:52,160
Speaker 3: Wolf says I've never read a book, because he's contrasting

1144
01:02:52,240 --> 01:02:54,960
Speaker 3: with the fact that Donkey says he does read books.

1145
01:02:55,080 --> 01:02:57,200
Speaker 2: M M yeah, I think they're getting a little off

1146
01:02:57,200 --> 01:03:02,160
Speaker 2: track in their commitment to speech here about Okay, so.

1147
01:03:02,080 --> 01:03:05,720
Speaker 3: We hear from the links he says, I'm Rascuel the Lynx.

1148
01:03:05,800 --> 01:03:08,800
Speaker 3: My missions are nocturnal. When your eyes start to blink,

1149
01:03:08,920 --> 01:03:13,200
Speaker 3: my role becomes essential. And then the donkeys verse goes,

1150
01:03:13,800 --> 01:03:17,840
Speaker 3: he haw he haw, he haw, I'm the donkey Patrica

1151
01:03:17,560 --> 01:03:21,919
Speaker 3: he haw he haw, I'm rather a good kicker, and

1152
01:03:22,240 --> 01:03:24,600
Speaker 3: so he's bragging about how good at kicking he is,

1153
01:03:24,640 --> 01:03:26,960
Speaker 3: but then he also mentions I like to read books,

1154
01:03:27,320 --> 01:03:29,800
Speaker 3: And so there's tension in the gang. Rassul the Lynx

1155
01:03:29,800 --> 01:03:32,640
Speaker 3: and Little Bad Wolf mock the Donkey first of all

1156
01:03:32,680 --> 01:03:36,520
Speaker 3: because they think he's he's delusional for thinking he's very

1157
01:03:36,560 --> 01:03:39,720
Speaker 3: strong and a good kicker. They don't agree, but they

1158
01:03:39,720 --> 01:03:42,120
Speaker 3: also mock him by saying I've never read a book.

1159
01:03:42,280 --> 01:03:45,720
Speaker 3: The implication is like, that's for nerds, and I'm not

1160
01:03:46,000 --> 01:03:49,120
Speaker 3: fully grasping the significance. I think there might be some

1161
01:03:49,200 --> 01:03:53,120
Speaker 3: kind of cultural archetype coding going on with Donkey, but

1162
01:03:53,280 --> 01:03:56,080
Speaker 3: like he's one of the bad guys, but he doesn't

1163
01:03:56,120 --> 01:03:59,160
Speaker 3: really fit in with them. The other bad guys mock him,

1164
01:03:59,760 --> 01:04:03,040
Speaker 3: and and there are scenes of him with conflicted emotions

1165
01:04:03,080 --> 01:04:05,200
Speaker 3: that the other bad guys don't show, or at least

1166
01:04:05,360 --> 01:04:08,200
Speaker 3: Little Bad Wolf and Links don't show. You get some

1167
01:04:08,200 --> 01:04:11,960
Speaker 3: some conflicted emotions from the main bad Wolf. But anyway,

1168
01:04:12,040 --> 01:04:14,360
Speaker 3: I just think it's interesting the way Donkeys is set

1169
01:04:14,400 --> 01:04:15,760
Speaker 3: apart from the other villains.

1170
01:04:16,560 --> 01:04:21,880
Speaker 2: Yeah, that is something to contemplate. He Yeah, he seemed

1171
01:04:21,880 --> 01:04:24,680
Speaker 2: I don't know, like maybe we're really supposed to put

1172
01:04:24,680 --> 01:04:25,880
Speaker 2: ourselves in donkey's shoes.

1173
01:04:25,920 --> 01:04:26,520
Speaker 3: I'm not sure.

1174
01:04:27,800 --> 01:04:30,480
Speaker 2: Now we eventually go back to the house here, right,

1175
01:04:30,520 --> 01:04:32,560
Speaker 2: And I want to point out that the inside of

1176
01:04:32,600 --> 01:04:35,280
Speaker 2: the goat household it looks like a cat cafe. If

1177
01:04:35,280 --> 01:04:37,640
Speaker 2: you've ever been to a cat cafe, that's kind of

1178
01:04:37,640 --> 01:04:40,200
Speaker 2: the vibe I'm getting here. Lots of little shelves and

1179
01:04:40,280 --> 01:04:44,080
Speaker 2: places for cats or I guess goats to walk around on.

1180
01:04:44,160 --> 01:04:45,800
Speaker 2: That would make sense, you know, goats like to be

1181
01:04:45,880 --> 01:04:48,560
Speaker 2: up high. And then they have like cool what hanging

1182
01:04:48,640 --> 01:04:50,000
Speaker 2: beds or loungers here.

1183
01:04:50,320 --> 01:04:54,000
Speaker 3: Yeah, the the young goats sleep in these like pendulum beds.

1184
01:04:54,120 --> 01:04:56,680
Speaker 3: They're dangling from the ceiling like a I don't know,

1185
01:04:56,760 --> 01:04:57,800
Speaker 3: like a like a planter.

1186
01:04:58,400 --> 01:04:59,640
Speaker 2: Yeah, they put a lot of thought at the end

1187
01:04:59,640 --> 01:05:01,800
Speaker 2: of this. I'm I'm actually a little bit reminded of

1188
01:05:01,880 --> 01:05:04,640
Speaker 2: the kids rooms in Santa Claus Conquers the Martians, you know,

1189
01:05:04,680 --> 01:05:07,960
Speaker 2: where they're like, what did the Martian children's bedrooms look like?

1190
01:05:08,040 --> 01:05:09,160
Speaker 2: How do martians sleep?

1191
01:05:10,040 --> 01:05:12,920
Speaker 3: And so forth. But this scene also has an interesting

1192
01:05:12,920 --> 01:05:15,880
Speaker 3: part where one of the kids asks Rada, why does

1193
01:05:15,920 --> 01:05:19,040
Speaker 3: the wolf want to take us away? Oh?

1194
01:05:19,120 --> 01:05:22,800
Speaker 2: Yeah, And the answer is, well, because he's lonely and childless,

1195
01:05:23,320 --> 01:05:28,520
Speaker 2: is an interesting way to view predation, but that's what

1196
01:05:28,680 --> 01:05:29,280
Speaker 2: she tells them.

1197
01:05:29,720 --> 01:05:32,240
Speaker 3: One of the children ask she says this, and one

1198
01:05:32,280 --> 01:05:35,040
Speaker 3: of the children says, is it wrong to be lonely?

1199
01:05:35,160 --> 01:05:37,960
Speaker 3: And Rada says, no, it just makes you feel bad.

1200
01:05:39,120 --> 01:05:42,360
Speaker 2: Maybe something's was lost in translation a bit into the

1201
01:05:42,360 --> 01:05:43,040
Speaker 2: English version.

1202
01:05:43,040 --> 01:05:45,600
Speaker 3: I don't know. Oh, but then after this we go

1203
01:05:45,680 --> 01:05:49,160
Speaker 3: straight into a psychedelic disco dance number by the Bad

1204
01:05:49,200 --> 01:05:52,160
Speaker 3: Guys who oh yeah, there's no singing. They're just like

1205
01:05:52,320 --> 01:05:58,360
Speaker 3: out in inside a five dimensional kaleidoscope doing some real

1206
01:05:58,480 --> 01:05:59,880
Speaker 3: like Saturday night fever move.

1207
01:06:00,360 --> 01:06:03,000
Speaker 2: Oh yeah, this is like the dark disco scene. And

1208
01:06:03,320 --> 01:06:06,720
Speaker 2: I was really hoping this would erupt into vocalizations as well,

1209
01:06:06,760 --> 01:06:12,160
Speaker 2: but it's just you know, darkness prancing. It's like a

1210
01:06:12,240 --> 01:06:15,680
Speaker 2: raven mordor or something. I'm not sure, but it's fun.

1211
01:06:15,720 --> 01:06:18,040
Speaker 3: I like it. In some parts of the choreography here

1212
01:06:18,040 --> 01:06:20,400
Speaker 3: reminded me of that Okay Go Treadmill video.

1213
01:06:20,840 --> 01:06:22,760
Speaker 2: Yeah yeah, yeah, they really get into it.

1214
01:06:22,800 --> 01:06:25,760
Speaker 3: They get some moods, but they're like standing out on

1215
01:06:25,800 --> 01:06:28,200
Speaker 3: some kind of bridge in the darkness, with like the

1216
01:06:28,320 --> 01:06:31,720
Speaker 3: night sky behind them, and sometimes there's this aurora in

1217
01:06:31,760 --> 01:06:33,919
Speaker 3: the sky and sometimes it looks like a giant fish

1218
01:06:33,960 --> 01:06:39,000
Speaker 3: pig face. But then here we go into a lullaby

1219
01:06:39,240 --> 01:06:42,760
Speaker 3: sung by Rada, which we sort of go around and

1220
01:06:42,840 --> 01:06:46,520
Speaker 3: see all the villagers going to sleep. I gotta say,

1221
01:06:47,120 --> 01:06:50,040
Speaker 3: I've been playing some of the music from this movie

1222
01:06:50,040 --> 01:06:53,680
Speaker 3: in my house and my toddler is obsessed with this

1223
01:06:53,760 --> 01:06:56,200
Speaker 3: lullaby song. She asked me to play it like ten

1224
01:06:56,320 --> 01:06:59,000
Speaker 3: times yesterday. It's the night night song to her, and

1225
01:06:59,040 --> 01:06:59,880
Speaker 3: she loves it.

1226
01:07:00,640 --> 01:07:02,840
Speaker 2: This is the You know, one of the great things

1227
01:07:02,880 --> 01:07:06,400
Speaker 2: about early parenthood is you get to choose what really

1228
01:07:06,440 --> 01:07:10,120
Speaker 2: obscure nonsense you inject into your child's life that will

1229
01:07:10,440 --> 01:07:14,520
Speaker 2: become a part of their wholesome recollection years later that

1230
01:07:14,640 --> 01:07:17,760
Speaker 2: no one else in their friend group will share. They'll

1231
01:07:17,760 --> 01:07:20,560
Speaker 2: be like, Hey, did you guys watch that weird Russo

1232
01:07:20,880 --> 01:07:26,520
Speaker 2: Frank Romanian family animal picture every holiday? And they're like, no,

1233
01:07:26,640 --> 01:07:28,120
Speaker 2: we have no idea what you're talking about.

1234
01:07:28,560 --> 01:07:30,880
Speaker 3: Yeah, out on the playground, you don't know the tickets

1235
01:07:30,960 --> 01:07:37,200
Speaker 3: Tickets song. But okay, yeah, So this is a lullaby.

1236
01:07:37,280 --> 01:07:39,920
Speaker 3: But there is an interesting moment here where the wolf

1237
01:07:40,000 --> 01:07:42,680
Speaker 3: comes in and sings along at the end of the song.

1238
01:07:42,800 --> 01:07:45,080
Speaker 3: So it's Rada singing to her children and She's like,

1239
01:07:45,080 --> 01:07:49,080
Speaker 3: close your eyes, I'm here beside you. And then suddenly

1240
01:07:49,160 --> 01:07:51,960
Speaker 3: the wolf is outside the house and he's like singing

1241
01:07:52,120 --> 01:07:56,400
Speaker 3: at Rada, And I thought this maybe is playing up

1242
01:07:56,400 --> 01:07:59,840
Speaker 3: on the idea that like, underneath his wickedness, he really

1243
01:07:59,920 --> 01:08:03,240
Speaker 3: is just lonely, like Rada was talking about. Maybe the

1244
01:08:03,280 --> 01:08:05,920
Speaker 3: subtext is that if he had someone to love, he

1245
01:08:05,960 --> 01:08:08,880
Speaker 3: wouldn't be trying to harm the goats, which plays directly

1246
01:08:08,920 --> 01:08:11,760
Speaker 3: against what he himself said, which is like, I have

1247
01:08:11,840 --> 01:08:14,080
Speaker 3: a wolf nature and it will not be suppressed.

1248
01:08:14,440 --> 01:08:16,320
Speaker 2: Yeah. I don't know. I also wasn't sure if we're

1249
01:08:16,360 --> 01:08:19,920
Speaker 2: supposed to think that she can hear him, and because

1250
01:08:19,960 --> 01:08:22,040
Speaker 2: she has kind of like a you know, winky smile

1251
01:08:22,120 --> 01:08:23,880
Speaker 2: thing at the end here, and I don't know if

1252
01:08:23,920 --> 01:08:27,360
Speaker 2: that's more of her like oh suru, or if I'm

1253
01:08:27,400 --> 01:08:29,400
Speaker 2: just reading into it because we have been spending so

1254
01:08:29,520 --> 01:08:34,560
Speaker 2: much time already with their sort of teasing predator prey relationship.

1255
01:08:35,120 --> 01:08:36,800
Speaker 3: Yeah, oh right.

1256
01:08:36,880 --> 01:08:39,280
Speaker 2: Then we get a song about equilibrium from the children

1257
01:08:40,280 --> 01:08:43,320
Speaker 2: where they're playing on a pair of enormous seesaws, and

1258
01:08:43,360 --> 01:08:44,920
Speaker 2: we see a lot of other children there in the scene,

1259
01:08:44,920 --> 01:08:48,320
Speaker 2: their sheep children of course, the squirrel children, Donkey grinning

1260
01:08:48,360 --> 01:08:51,840
Speaker 2: like an absolute maniac. Donkey, Lynx and Little Bad Wolf

1261
01:08:51,920 --> 01:08:54,960
Speaker 2: joining into the song. They dance and prance around. The

1262
01:08:55,040 --> 01:08:58,400
Speaker 2: dance becomes cocky and aggressive till finally what one of

1263
01:08:58,439 --> 01:09:01,559
Speaker 2: the kids has enough, maybe the oldest kid, and he

1264
01:09:01,600 --> 01:09:04,040
Speaker 2: starts riding Donkey around and then like somebody has come

1265
01:09:04,080 --> 01:09:04,599
Speaker 2: break it up.

1266
01:09:04,840 --> 01:09:07,759
Speaker 3: This is Matteia, the oldest goat son who will sneak

1267
01:09:07,800 --> 01:09:10,360
Speaker 3: out of the house later. You know he is up

1268
01:09:10,360 --> 01:09:14,960
Speaker 3: to mischief. But yeah, he rides Donkey around and I

1269
01:09:15,000 --> 01:09:16,719
Speaker 3: don't know, Donkey really gets put in his place.

1270
01:09:16,920 --> 01:09:18,760
Speaker 2: Yeah, yeah, somebody they just send the ref end to

1271
01:09:18,760 --> 01:09:21,280
Speaker 2: break it out. The out of hand.

1272
01:09:21,400 --> 01:09:24,280
Speaker 3: Rada comes in. Rada always puts a stop to the nonsense.

1273
01:09:24,960 --> 01:09:27,000
Speaker 3: And then the next scene is we get one of

1274
01:09:27,000 --> 01:09:29,759
Speaker 3: the main themes of the movie, which is the song

1275
01:09:29,880 --> 01:09:33,479
Speaker 3: that Rada sings teaches her children in order for them

1276
01:09:33,520 --> 01:09:35,840
Speaker 3: to know it's her at the door and not someone else.

1277
01:09:35,880 --> 01:09:39,400
Speaker 3: So this is the Mommy's home. Now you can open

1278
01:09:39,439 --> 01:09:42,000
Speaker 3: the door and don't be afraid children anymore.

1279
01:09:42,400 --> 01:09:45,160
Speaker 2: Yeah, it is a beautiful little number about stranger danger

1280
01:09:45,200 --> 01:09:48,840
Speaker 2: for latchkey kids. You know, it's like, don't open don't

1281
01:09:48,840 --> 01:09:51,640
Speaker 2: open that door for anybody, anybody except for me.

1282
01:09:51,800 --> 01:09:54,439
Speaker 3: Except for me. I'm here to protect you, right. So

1283
01:09:54,520 --> 01:09:56,960
Speaker 3: she sings the song, and meanwhile outside the wolf is

1284
01:09:57,040 --> 01:10:00,439
Speaker 3: listening and furiously scribbling notes on how the song so

1285
01:10:00,479 --> 01:10:03,479
Speaker 3: that he can get into the house when Ratta goes

1286
01:10:03,479 --> 01:10:05,080
Speaker 3: to the fair. So she goes off to the fair.

1287
01:10:05,120 --> 01:10:06,320
Speaker 3: What's going on at the fair?

1288
01:10:06,760 --> 01:10:09,840
Speaker 2: Oh, tickets is what's going on at That's the main

1289
01:10:09,880 --> 01:10:12,880
Speaker 2: thing I got. Because we run back, we meet parrot

1290
01:10:12,880 --> 01:10:16,240
Speaker 2: guy again, and we're in this fun house of mirrors.

1291
01:10:16,240 --> 01:10:18,320
Speaker 2: We're gonna spend a lot of time in this set,

1292
01:10:18,439 --> 01:10:20,640
Speaker 2: and it's pretty gorgeous. It feels like it feels like

1293
01:10:20,640 --> 01:10:23,559
Speaker 2: we're inside a disco ball, and there's, yeah, a lot

1294
01:10:23,560 --> 01:10:26,920
Speaker 2: of general discussion of tickets. I don't know if you

1295
01:10:26,960 --> 01:10:28,559
Speaker 2: were able to make sense of this when you went

1296
01:10:28,600 --> 01:10:30,000
Speaker 2: back through the lyrics, Joe.

1297
01:10:30,000 --> 01:10:32,519
Speaker 3: No, I did not understand at all. The parrot is

1298
01:10:32,760 --> 01:10:36,320
Speaker 3: like throwing little like ticker tape, you know, bits of

1299
01:10:36,920 --> 01:10:40,400
Speaker 3: you know, confetti. Basically, tickets are in the air, and

1300
01:10:40,439 --> 01:10:43,400
Speaker 3: he's standing in these mirrors with silver tinsel all around.

1301
01:10:43,400 --> 01:10:47,080
Speaker 3: He's still in his rainbow outfit. And the lyrics are

1302
01:10:47,120 --> 01:10:50,439
Speaker 3: like tickets to your life, tickets to find your Wife.

1303
01:10:51,520 --> 01:10:56,240
Speaker 3: I think maybe the idea is that, I don't know,

1304
01:10:56,280 --> 01:11:01,000
Speaker 3: it's some kind of commercialization or commodification, like is selling

1305
01:11:01,600 --> 01:11:08,840
Speaker 3: a kind of shallow promise of good fortune. But I

1306
01:11:08,880 --> 01:11:11,320
Speaker 3: don't know. Parrot is not really presented as a villain

1307
01:11:11,400 --> 01:11:13,120
Speaker 3: of the film. It's just kind of like, Oh, here's

1308
01:11:13,120 --> 01:11:15,080
Speaker 3: what's going on at the fair. There's some kind of

1309
01:11:15,120 --> 01:11:16,719
Speaker 3: there's some kind of nonsense happening.

1310
01:11:24,680 --> 01:11:26,599
Speaker 2: All right. Now, I have to point out that at

1311
01:11:26,600 --> 01:11:29,559
Speaker 2: this point the episode is probably getting a little long,

1312
01:11:29,560 --> 01:11:32,280
Speaker 2: and I feel like I could probably talk about each

1313
01:11:32,320 --> 01:11:35,040
Speaker 2: and every little musical number because I made notes about

1314
01:11:35,040 --> 01:11:37,080
Speaker 2: all the weird little things they threw, and like, suddenly

1315
01:11:37,080 --> 01:11:40,080
Speaker 2: there's a trampoline for the squirrels and I love it. Yeah,

1316
01:11:40,120 --> 01:11:42,640
Speaker 2: So I'm gonna let you drive here, Joe, and just

1317
01:11:43,600 --> 01:11:46,519
Speaker 2: I'm gonna follow you through your favorite moments of the

1318
01:11:46,560 --> 01:11:49,280
Speaker 2: rest of this film, and I'll jump in if I

1319
01:11:49,320 --> 01:11:50,000
Speaker 2: have some thoughts.

1320
01:11:50,280 --> 01:11:53,080
Speaker 3: Well, we've already talked about the general outline, so you

1321
01:11:53,120 --> 01:11:54,760
Speaker 3: know that the wolf is going to keep trying to

1322
01:11:54,800 --> 01:11:57,599
Speaker 3: sing the song and sneak into the house. He fails

1323
01:11:57,640 --> 01:12:00,840
Speaker 3: the first few times. We know that Matis sneaks out

1324
01:12:00,880 --> 01:12:04,200
Speaker 3: of the house he runs around outside, he gets chased

1325
01:12:04,200 --> 01:12:07,479
Speaker 3: by the bad guys. Of course, while we're here at

1326
01:12:07,520 --> 01:12:10,080
Speaker 3: the fair, some various things will happen. There's a bunch

1327
01:12:10,160 --> 01:12:13,920
Speaker 3: of just like songs and big ensemble numbers where everybody's singing.

1328
01:12:14,720 --> 01:12:18,160
Speaker 3: We get a ballet sequence where the people that you

1329
01:12:18,240 --> 01:12:20,920
Speaker 3: thought were spiders but I think are actually supposed to

1330
01:12:20,920 --> 01:12:24,200
Speaker 3: be sparrows. These are played by ballet dancers. I think

1331
01:12:24,240 --> 01:12:27,080
Speaker 3: these might be the Bolshoi Ballet or some Moscow based

1332
01:12:28,160 --> 01:12:32,200
Speaker 3: ballet dancers who do a very good but I don't know.

1333
01:12:32,560 --> 01:12:35,519
Speaker 3: Ballet might not exactly be my thing, but you can

1334
01:12:35,560 --> 01:12:37,320
Speaker 3: tell that they're great at what they do, and they

1335
01:12:37,360 --> 01:12:40,360
Speaker 3: do it in front of these very interesting painted backdrops.

1336
01:12:40,840 --> 01:12:43,439
Speaker 2: Yeah. Yeah, the effects are very cool here, like it's

1337
01:12:43,560 --> 01:12:46,320
Speaker 2: not just a performance of dance on stage, and we've

1338
01:12:46,360 --> 01:12:49,280
Speaker 2: been seeing a lot of actual dance performance, but here

1339
01:12:49,320 --> 01:12:52,320
Speaker 2: we have high level ballet with cool effects.

1340
01:12:52,600 --> 01:12:54,479
Speaker 3: And I think maybe in some parts of these songs

1341
01:12:54,479 --> 01:12:55,479
Speaker 3: they're like balancing on.

1342
01:12:55,479 --> 01:12:58,320
Speaker 2: Tethers or whatever you call that tetherwalking, or it's made

1343
01:12:58,360 --> 01:13:00,000
Speaker 2: to look like I couldn't tell if this is a fact,

1344
01:13:00,080 --> 01:13:01,600
Speaker 2: So yeah, yeah.

1345
01:13:01,280 --> 01:13:05,080
Speaker 3: Yeah, at the Fair, there's more of a wolf following

1346
01:13:05,160 --> 01:13:08,400
Speaker 3: Rada around being like, hey, let's dance, and so first

1347
01:13:08,439 --> 01:13:11,519
Speaker 3: they don't dance, and then they do dance. But one

1348
01:13:11,520 --> 01:13:15,960
Speaker 3: thing we definitely should mention is the the Sheep and

1349
01:13:16,080 --> 01:13:16,960
Speaker 3: Donkey song.

1350
01:13:18,439 --> 01:13:22,200
Speaker 2: Yes, this is a mid movie romance between the two.

1351
01:13:22,320 --> 01:13:25,840
Speaker 3: Yeah. Would you characterize this song as like a seduction

1352
01:13:26,200 --> 01:13:28,639
Speaker 3: of Donkey by the Lamb character?

1353
01:13:29,439 --> 01:13:33,040
Speaker 2: I think so. I mean, he's into it, but it

1354
01:13:33,160 --> 01:13:35,120
Speaker 2: kind of comes out of nowhere, like I wasn't really

1355
01:13:36,200 --> 01:13:42,679
Speaker 2: thinking about Donkey's romantic prospects. And likewise, you know, Lamb

1356
01:13:42,760 --> 01:13:46,479
Speaker 2: is one of the many cute animal ladies in the film,

1357
01:13:46,640 --> 01:13:48,880
Speaker 2: but you know, she's very much been in the background

1358
01:13:48,960 --> 01:13:50,760
Speaker 2: and we're just like, oh, there's Lamb lady, you know,

1359
01:13:50,840 --> 01:13:53,439
Speaker 2: much like Squirrel Lady. You know she's there, But I

1360
01:13:53,479 --> 01:13:56,000
Speaker 2: didn't know that she was actually gonna do anything other

1361
01:13:56,080 --> 01:13:58,280
Speaker 2: than jump around and maybe do a trampoline flip.

1362
01:13:59,160 --> 01:14:02,040
Speaker 3: Yeah, so I was Why is Lamb so into Donkey?

1363
01:14:02,120 --> 01:14:05,320
Speaker 3: The framing implies that that Lamb is like the most

1364
01:14:05,320 --> 01:14:09,439
Speaker 3: eligible bachelorette in town, but so far, Donkey has been

1365
01:14:09,479 --> 01:14:13,080
Speaker 3: portrayed as a pitiable loser, like he is the outcast

1366
01:14:13,320 --> 01:14:16,880
Speaker 3: of the village's criminal gang, and yet Lamb is coming

1367
01:14:16,920 --> 01:14:20,640
Speaker 3: on to him very strong. So I don't know, like

1368
01:14:20,720 --> 01:14:23,719
Speaker 3: what what makes Donkey attractive to her? Maybe the fact

1369
01:14:23,720 --> 01:14:25,920
Speaker 3: that he reads books, Like is she into a a

1370
01:14:26,000 --> 01:14:26,880
Speaker 3: well read ass?

1371
01:14:28,200 --> 01:14:28,800
Speaker 2: Perhaps?

1372
01:14:28,800 --> 01:14:29,280
Speaker 3: Perhaps?

1373
01:14:29,800 --> 01:14:31,559
Speaker 2: Uh, you know, I want to I want to throw

1374
01:14:31,560 --> 01:14:33,559
Speaker 2: in here because I'm looking at one of the I'm

1375
01:14:33,600 --> 01:14:37,519
Speaker 2: looking at the still you have of lamb Lady and uh,

1376
01:14:37,880 --> 01:14:41,479
Speaker 2: the attention to the curling hair on her lamb ears

1377
01:14:41,760 --> 01:14:46,120
Speaker 2: on her sheep ears here absolutely top notch, like they

1378
01:14:46,240 --> 01:14:50,439
Speaker 2: would these costumes they do. You know, they're very much costumes.

1379
01:14:50,479 --> 01:14:52,000
Speaker 2: You're not going to believe that this is This is

1380
01:14:52,200 --> 01:14:54,679
Speaker 2: not like you know, werewolf an American werewolf in London

1381
01:14:54,720 --> 01:14:56,639
Speaker 2: here or anything when it comes to combining the animal

1382
01:14:56,640 --> 01:14:59,080
Speaker 2: in the human form. But on another level, it kind

1383
01:14:59,120 --> 01:15:01,679
Speaker 2: of is because at these ears. Look at the amount

1384
01:15:01,680 --> 01:15:06,840
Speaker 2: of tension they put into this hair. There's this is something,

1385
01:15:06,920 --> 01:15:09,280
Speaker 2: this is something. This is a key part of the

1386
01:15:09,280 --> 01:15:10,000
Speaker 2: movie's alchemy.

1387
01:15:10,040 --> 01:15:13,000
Speaker 3: I'm sure. I totally agree. Yeah, the costuming and the

1388
01:15:13,000 --> 01:15:15,800
Speaker 3: makeup effects that they are all so wonderful.

1389
01:15:15,640 --> 01:15:18,400
Speaker 2: Like you didn't have to do that for this film.

1390
01:15:18,400 --> 01:15:21,120
Speaker 2: But someone's like, no, no, no, these ears need to

1391
01:15:21,120 --> 01:15:25,479
Speaker 2: look percent authentic. They need to be warm to the

1392
01:15:25,520 --> 01:15:26,519
Speaker 2: touch Now.

1393
01:15:26,520 --> 01:15:28,639
Speaker 3: I think somewhere in here is we when we get

1394
01:15:28,640 --> 01:15:31,799
Speaker 3: that scene where the wolf is explaining to his goons

1395
01:15:31,840 --> 01:15:34,080
Speaker 3: that he no longer wants to eat the goat children.

1396
01:15:34,160 --> 01:15:40,000
Speaker 3: He wants gold. We've got to get gold, gold, you fools.

1397
01:15:40,120 --> 01:15:43,120
Speaker 3: It's very out of nowhere, but I like it. I

1398
01:15:43,160 --> 01:15:46,559
Speaker 3: wonder if the commercialism of the fair, like the whole

1399
01:15:46,600 --> 01:15:51,680
Speaker 3: tickets thing, inspires Wolf to switch his switch up, like

1400
01:15:51,720 --> 01:15:54,719
Speaker 3: his animal nature, his desire to just eat prey animals,

1401
01:15:55,000 --> 01:15:58,680
Speaker 3: and instead become a more civilized kind of villain that

1402
01:15:58,720 --> 01:16:00,920
Speaker 3: wants money. Do you think that? Does that make sense?

1403
01:16:01,360 --> 01:16:03,840
Speaker 2: I guess so. And it ties into a number we're

1404
01:16:03,840 --> 01:16:06,559
Speaker 2: gonna see later where we have this real after after

1405
01:16:06,600 --> 01:16:10,040
Speaker 2: the kidnapping has been carried out, Rada has this bit

1406
01:16:10,080 --> 01:16:12,479
Speaker 2: where she's like, you know, why is why is the

1407
01:16:12,479 --> 01:16:14,880
Speaker 2: world like this? Why do people want to hurt you?

1408
01:16:15,160 --> 01:16:17,479
Speaker 2: Why are they hurting you still? Why are they going

1409
01:16:17,520 --> 01:16:19,599
Speaker 2: to hurt you in the future? And it's got kind

1410
01:16:19,600 --> 01:16:22,960
Speaker 2: of this real, you know, dark somber number, But you

1411
01:16:23,000 --> 01:16:26,000
Speaker 2: know it, It makes sense then that you would have

1412
01:16:26,040 --> 01:16:29,960
Speaker 2: the wolf change his predatory approach from something that is

1413
01:16:30,280 --> 01:16:34,880
Speaker 2: purely an animal world activity into something that is you know,

1414
01:16:35,400 --> 01:16:36,599
Speaker 2: more akin to human crime.

1415
01:16:37,160 --> 01:16:40,439
Speaker 3: Yeah, yeah, it's interesting, Okay, just a couple of little

1416
01:16:40,880 --> 01:16:44,559
Speaker 3: texture observations as we go along. There's one scene that is, uh,

1417
01:16:45,160 --> 01:16:47,800
Speaker 3: obviously this came earlier, but it feels straight out of

1418
01:16:48,280 --> 01:16:51,479
Speaker 3: the first Lord of the Rings film, where the you know,

1419
01:16:51,560 --> 01:16:54,320
Speaker 3: the mattee is hiding from the bad guys and they

1420
01:16:54,320 --> 01:16:57,040
Speaker 3: go looking out over the edge of the there's like

1421
01:16:57,080 --> 01:16:59,280
Speaker 3: an outcropping and they're looking out and he's hiding right

1422
01:16:59,360 --> 01:16:59,960
Speaker 3: underneath it.

1423
01:17:00,800 --> 01:17:04,720
Speaker 2: Yes, yes, this and you know, and I think just

1424
01:17:04,760 --> 01:17:07,360
Speaker 2: must be an accident because I think the main framing

1425
01:17:07,600 --> 01:17:09,800
Speaker 2: of that that we're familiar with the Peter Jackson Lord

1426
01:17:09,840 --> 01:17:12,280
Speaker 2: of the Rings is based on a sequence in the

1427
01:17:12,280 --> 01:17:16,559
Speaker 2: seventy eight animated Lord of the Rings. But yeah, we were.

1428
01:17:16,439 --> 01:17:18,599
Speaker 3: Before that here, so this is seventy six.

1429
01:17:18,680 --> 01:17:21,400
Speaker 2: Yeah, yeah, so it's just I don't know, just just

1430
01:17:21,439 --> 01:17:22,800
Speaker 2: great framing. I don't know.

1431
01:17:23,160 --> 01:17:26,280
Speaker 3: There's a sad scene at some point where Rada comes

1432
01:17:26,320 --> 01:17:28,360
Speaker 3: home and she's been like out in the storm in

1433
01:17:28,400 --> 01:17:31,840
Speaker 3: the winter and she can't sing the song to get

1434
01:17:31,880 --> 01:17:33,680
Speaker 3: into the house. You know, she's trying to sing the

1435
01:17:33,680 --> 01:17:37,200
Speaker 3: password song, but her voice is all torn up, and.

1436
01:17:37,200 --> 01:17:38,880
Speaker 2: Yeah, she sounds like she's been hitting the bottle a

1437
01:17:38,920 --> 01:17:42,120
Speaker 2: little bit grief, and they're like, that's not mama. Mama's

1438
01:17:42,200 --> 01:17:44,760
Speaker 2: voice is good. I don't know what this thing is

1439
01:17:44,800 --> 01:17:47,759
Speaker 2: out there, howling in the darkness, but we're not opening

1440
01:17:47,800 --> 01:17:48,080
Speaker 2: the door.

1441
01:17:49,080 --> 01:17:52,360
Speaker 3: Yeah, And there's also a very sweet part where I

1442
01:17:52,360 --> 01:17:55,280
Speaker 3: think it's the oldest Goat daughter. The child sings a

1443
01:17:55,280 --> 01:17:58,760
Speaker 3: song for it's like an inversion of the mother's song

1444
01:17:58,800 --> 01:18:01,120
Speaker 3: to the children. She sings a song about mommy. It's

1445
01:18:01,240 --> 01:18:02,080
Speaker 3: extremely sweet.

1446
01:18:02,560 --> 01:18:04,120
Speaker 2: Oh and then at some point we get the song

1447
01:18:04,160 --> 01:18:07,440
Speaker 2: about modern decline. The children today are not the same.

1448
01:18:07,439 --> 01:18:09,080
Speaker 3: Yes, the same, not the same.

1449
01:18:09,560 --> 01:18:11,799
Speaker 2: Children today don't even know how to sit on a shovel.

1450
01:18:12,800 --> 01:18:14,240
Speaker 2: They don't say that, but it made me think of

1451
01:18:14,320 --> 01:18:15,320
Speaker 2: that moment and Jeff Ross.

1452
01:18:17,840 --> 01:18:20,080
Speaker 3: Now, there is a part here where Mattee has run

1453
01:18:20,120 --> 01:18:23,000
Speaker 3: out into the wilderness and gotten lost. He's like stranded

1454
01:18:23,080 --> 01:18:26,479
Speaker 3: on some kind of rocky spire in the middle of nothing,

1455
01:18:26,600 --> 01:18:29,599
Speaker 3: and the snow is falling, and it's like, what's going

1456
01:18:29,640 --> 01:18:32,960
Speaker 3: to happen to him? Well, what happens is we get

1457
01:18:33,000 --> 01:18:35,839
Speaker 3: one of the musical numbers from the Star Wars Holiday Special.

1458
01:18:36,280 --> 01:18:39,560
Speaker 3: It's like when the old Wookie puts the VR goggles

1459
01:18:39,600 --> 01:18:43,800
Speaker 3: on and he sees Diane Carroll's singing to him that

1460
01:18:43,880 --> 01:18:48,360
Speaker 3: kind of thing. Or no, it's those acrobats jumping around. Yes, yes,

1461
01:18:49,720 --> 01:18:53,280
Speaker 3: very holiday special stuff. But what we see instead is

1462
01:18:53,360 --> 01:18:57,479
Speaker 3: all these like silver ice skaters who are fairies. These

1463
01:18:57,680 --> 01:19:00,559
Speaker 3: represent the presence of the Winter Fairy, and they come

1464
01:19:00,600 --> 01:19:03,559
Speaker 3: and they help Mattei magically and send him back home.

1465
01:19:03,840 --> 01:19:05,840
Speaker 2: Yes, the time has come for every start of shine on.

1466
01:19:05,880 --> 01:19:06,599
Speaker 3: Where you are.

1467
01:19:08,120 --> 01:19:12,160
Speaker 2: The angels, the fairies, the stars, And I was looking

1468
01:19:12,200 --> 01:19:14,200
Speaker 2: this up. We have a lot of ice skating to

1469
01:19:14,280 --> 01:19:15,960
Speaker 2: round out the picture. And I believe this is a

1470
01:19:15,960 --> 01:19:19,679
Speaker 2: combination of the Moscow Circus and the Moscow Ice Ballet

1471
01:19:19,720 --> 01:19:20,679
Speaker 2: according to the credits.

1472
01:19:21,000 --> 01:19:25,720
Speaker 3: Yeah, so skipping ahead to the final confrontation, So of

1473
01:19:25,760 --> 01:19:28,920
Speaker 3: course the wolf does eventually kidnap the children. We have

1474
01:19:29,040 --> 01:19:32,919
Speaker 3: this big showdown in this frozen pond where everybody's ice skating,

1475
01:19:33,280 --> 01:19:36,479
Speaker 3: and as we said earlier, Rada outsmarts the wolf in

1476
01:19:36,520 --> 01:19:38,840
Speaker 3: the end and tricks him into falling in into the

1477
01:19:38,920 --> 01:19:42,680
Speaker 3: water through the ice and his lackeys give up and

1478
01:19:42,720 --> 01:19:45,479
Speaker 3: they're like, okay, here are your kids back, And in

1479
01:19:45,520 --> 01:19:47,400
Speaker 3: the end the wolf learns his lesson.

1480
01:19:47,920 --> 01:19:51,880
Speaker 2: That's right, everybody. Everybody comes around, but they really threaten

1481
01:19:51,960 --> 01:19:55,400
Speaker 2: him with cold drowning in the lake. Rod is like like,

1482
01:19:55,439 --> 01:19:57,880
Speaker 2: we'll just let you drown right here, wolf, unless you

1483
01:19:57,920 --> 01:20:00,240
Speaker 2: come around like your cronies just did. And they're like, yeah,

1484
01:20:00,240 --> 01:20:02,559
Speaker 2: we've changed, and he's like, you know, I've looked at

1485
01:20:02,600 --> 01:20:05,400
Speaker 2: deep inside myself and I realize I need to change

1486
01:20:05,400 --> 01:20:07,880
Speaker 2: as well. That's right, And he does, and.

1487
01:20:07,840 --> 01:20:10,280
Speaker 3: We get a kind of seasonal transition as well, don't we.

1488
01:20:10,560 --> 01:20:11,559
Speaker 3: That's right. That's right.

1489
01:20:11,600 --> 01:20:13,880
Speaker 2: There's this idea that it's like we're coming out of

1490
01:20:13,920 --> 01:20:19,000
Speaker 2: winter now it's becoming spring. So this alone, we alluded

1491
01:20:19,000 --> 01:20:21,360
Speaker 2: to this earlier Like this, I can see why this

1492
01:20:21,439 --> 01:20:24,280
Speaker 2: film would make so much sense as a holiday movie,

1493
01:20:24,280 --> 01:20:28,760
Speaker 2: even if there's nothing directly related to, you know, ideas

1494
01:20:28,800 --> 01:20:32,640
Speaker 2: of a Christian Christmas and so forth or Santa Claus. Like, no,

1495
01:20:32,760 --> 01:20:35,680
Speaker 2: it's still getting into that deep, primal idea of the

1496
01:20:35,720 --> 01:20:38,880
Speaker 2: winter holidays. Like what is the magic be it? You know,

1497
01:20:39,560 --> 01:20:42,320
Speaker 2: you know, capital M magic or lower case magic that

1498
01:20:42,439 --> 01:20:44,320
Speaker 2: is going to help us through to the spring.

1499
01:20:44,840 --> 01:20:47,400
Speaker 3: Yeah, but if the ending is a spring festival, I'm

1500
01:20:47,439 --> 01:20:49,519
Speaker 3: a little disappointed that we did not put the wolf

1501
01:20:49,560 --> 01:20:50,200
Speaker 3: in a Wickerman.

1502
01:20:52,640 --> 01:20:55,240
Speaker 2: Yeah, you know, if you had had like the ritual

1503
01:20:56,240 --> 01:20:59,880
Speaker 2: disembowment of the wolf, the removal of the children, the

1504
01:21:00,000 --> 01:21:02,960
Speaker 2: assertion of the stones, and the throwing of the wolf

1505
01:21:03,000 --> 01:21:05,360
Speaker 2: into the water, like I guess that would have this

1506
01:21:05,400 --> 01:21:09,000
Speaker 2: more of a wickerman asque ritualistic vision. And you know,

1507
01:21:09,520 --> 01:21:12,080
Speaker 2: I can very much envision a sort of I don't know,

1508
01:21:12,240 --> 01:21:17,200
Speaker 2: Midsommer esque horror movie in which someone visits this small

1509
01:21:17,240 --> 01:21:23,160
Speaker 2: town perhaps in perhaps in Romania, where hey, everyone is

1510
01:21:23,240 --> 01:21:27,240
Speaker 2: dressed as animals and they've made me wear this wolf

1511
01:21:27,320 --> 01:21:31,519
Speaker 2: hat for some reason, and what is this big, big

1512
01:21:31,720 --> 01:21:34,479
Speaker 2: festival that I've been invited to, and you know it's

1513
01:21:34,479 --> 01:21:36,719
Speaker 2: going to have absolutely horrifying results.

1514
01:21:37,120 --> 01:21:40,040
Speaker 3: Christopher Lee in a big wig with pigtails?

1515
01:21:40,280 --> 01:21:43,120
Speaker 2: Who would Christopher Lee? Would Christopher Lee be Donkey in this?

1516
01:21:43,760 --> 01:21:46,439
Speaker 3: Oh no, I think Christopher Lee would be the wolf

1517
01:21:46,640 --> 01:21:47,120
Speaker 3: of course.

1518
01:21:47,800 --> 01:21:50,520
Speaker 2: Oh okay, so he would get sacrificed.

1519
01:21:50,880 --> 01:21:53,360
Speaker 3: Well. Spoilers for The Wickerman if you haven't seen that.

1520
01:21:53,400 --> 01:21:56,200
Speaker 3: I mean, it's an old movie, but it is great

1521
01:21:56,240 --> 01:21:58,160
Speaker 3: to see it without spoilers if you get a chance.

1522
01:21:59,000 --> 01:22:02,360
Speaker 3: But here they come at the end of The Wickerman.

1523
01:22:02,680 --> 01:22:05,519
Speaker 3: You know, the inspector what he yells at Christopher lee Is.

1524
01:22:05,520 --> 01:22:07,720
Speaker 3: He says, it's you know, this is not going to

1525
01:22:07,800 --> 01:22:10,320
Speaker 3: save your crops, and when it doesn't work, next year,

1526
01:22:10,360 --> 01:22:11,599
Speaker 3: they'll put you in this thing.

1527
01:22:11,720 --> 01:22:13,559
Speaker 2: That's right. I forget. It's been a long time since

1528
01:22:13,560 --> 01:22:16,200
Speaker 2: I've seen it. I forgot about that twist. Yeah, but

1529
01:22:16,400 --> 01:22:18,599
Speaker 2: it is worth noting that. Yeah, film like this, as

1530
01:22:18,640 --> 01:22:21,280
Speaker 2: wholesome as it is, it's really only two or three

1531
01:22:21,320 --> 01:22:25,799
Speaker 2: degrees removed from Full Car. So that's one of its charms.

1532
01:22:26,240 --> 01:22:29,880
Speaker 3: So that is Mama aka rock and roll Wolf. I

1533
01:22:29,960 --> 01:22:32,160
Speaker 3: did not know how much I needed this in my life,

1534
01:22:32,240 --> 01:22:34,440
Speaker 3: but I love this movie.

1535
01:22:34,479 --> 01:22:38,080
Speaker 2: A film that I feel just inevitably spread the seeds

1536
01:22:38,439 --> 01:22:42,599
Speaker 2: of furry fandom throughout throughout Europe.

1537
01:22:44,160 --> 01:22:46,400
Speaker 3: To be clear, that's not the appeal for me. I'm

1538
01:22:46,400 --> 01:22:49,920
Speaker 3: not judging, no judgment there, no, no, no, that's that's

1539
01:22:49,960 --> 01:22:52,280
Speaker 3: not what I'm saying. But I think it has appeal

1540
01:22:52,360 --> 01:22:53,439
Speaker 3: beyond that as well.

1541
01:22:53,640 --> 01:22:55,400
Speaker 2: Yeah, so this is a film that can be enjoyed

1542
01:22:55,400 --> 01:22:58,960
Speaker 2: on multiple levels and is and is very very kid friendly.

1543
01:22:59,600 --> 01:23:01,680
Speaker 2: All right, Well, we're gonna go ahead and close out

1544
01:23:01,680 --> 01:23:04,120
Speaker 2: this episode this Yeah, I get this was a holiday episode.

1545
01:23:04,120 --> 01:23:07,960
Speaker 2: We'll go ahead and make it official of Weird House Cinema.

1546
01:23:08,640 --> 01:23:11,519
Speaker 2: Just a reminder, let's see if you enjoy our Weird

1547
01:23:11,520 --> 01:23:13,880
Speaker 2: House Cinema episodes. These are curved Friday and the Stuff

1548
01:23:13,880 --> 01:23:17,000
Speaker 2: to Blow your Mind podcast feed primarily science and culture,

1549
01:23:17,320 --> 01:23:19,200
Speaker 2: but on Fridays we set most of that aside to

1550
01:23:19,240 --> 01:23:21,519
Speaker 2: really just dig into a weird film. And if you

1551
01:23:21,560 --> 01:23:22,960
Speaker 2: want to see a list of all the movies we've

1552
01:23:23,000 --> 01:23:25,240
Speaker 2: covered so far, go over to letterbox dot com. You

1553
01:23:25,280 --> 01:23:29,120
Speaker 2: know letterboxed. Our user name there is weird House, and

1554
01:23:29,160 --> 01:23:31,320
Speaker 2: we have a nice, big old episode list of everything

1555
01:23:31,320 --> 01:23:33,599
Speaker 2: we've covered so far, and sometimes there's a peak ahead

1556
01:23:33,800 --> 01:23:36,400
Speaker 2: at what's coming up next. There's currently a peak ahead

1557
01:23:36,479 --> 01:23:39,600
Speaker 2: at what's coming up next and it is another technically

1558
01:23:40,040 --> 01:23:43,040
Speaker 2: u technically a holiday film, So to go check that

1559
01:23:43,040 --> 01:23:46,080
Speaker 2: out if you're if you were interested, and likewise, if

1560
01:23:46,120 --> 01:23:50,320
Speaker 2: you were on the Instagram, we're on there as stbym podcast.

1561
01:23:50,680 --> 01:23:52,600
Speaker 2: That's our that's our main account, that's the one that

1562
01:23:52,680 --> 01:23:56,559
Speaker 2: gets up updated frequently. Uh. You can follow us there

1563
01:23:56,800 --> 01:24:00,360
Speaker 2: and keep an eye on what's coming up on the

1564
01:24:00,360 --> 01:24:03,400
Speaker 2: the core episodes, but also what's happening in Weird House Cinema.

1565
01:24:03,680 --> 01:24:07,280
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1566
01:24:07,600 --> 01:24:09,040
Speaker 3: If you would like to get in touch with us

1567
01:24:09,080 --> 01:24:11,519
Speaker 3: with feedback on this episode or any other, to suggest

1568
01:24:11,560 --> 01:24:13,559
Speaker 3: a topic for the future, or just to say hello,

1569
01:24:13,920 --> 01:24:16,639
Speaker 3: you can email us at contact at stuff to Blow

1570
01:24:16,680 --> 01:24:24,320
Speaker 3: your Mind dot com.

1571
01:24:24,439 --> 01:24:27,360
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1572
01:24:27,439 --> 01:24:30,280
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1573
01:24:30,400 --> 01:24:33,680
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.