WEBVTT - Weirdhouse Cinema: Rock'n Roll Wolf

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema.

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<v Speaker 3>This is Rob Lamb and this is Joe McCormick. And

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<v Speaker 3>today on Weird House Cinema, we are going to be

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<v Speaker 3>discussing the nineteen seventy six Romanian Soviet French co produced

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<v Speaker 3>psychotropic children's fairytale musical Mama aka Rock and Roll Wolf,

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<v Speaker 3>directed by the Romanian filmmaker Eliza Beta Boston. And I

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<v Speaker 3>really mean it when I say this movie has everything.

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<v Speaker 3>It is so much, so fast, and so wonderful, infectiously

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<v Speaker 3>lovable music. Russian ballet dancer is dressed up like spiders

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<v Speaker 3>and or sparrows. Nearly just NonStop locomotive energy. Maybe flags

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<v Speaker 3>a little bit in the second half of the movie,

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<v Speaker 3>but at least the first half is like it. It

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<v Speaker 3>is a freight train. It does not stop. It's got

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<v Speaker 3>diverse frolicking theeomorphs in a secret village in the deep woods.

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<v Speaker 3>It's got rooftop sea saws, bridges over nothing, goat boy, levitation,

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<v Speaker 3>ice based wolf traps, strawberries coated and honeydew, a rainbow

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<v Speaker 3>parrot with like mad auctioneer energy, plaintive, donkey, solos, pendulum beds,

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<v Speaker 3>secret passwords, red squirrel, acorn rituals, A dangerously handsome bad

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<v Speaker 3>boy wolf man, a gorgeous angelic goat mother, and non

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<v Speaker 3>stop historical smoking. Yes, this is one of those where

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<v Speaker 3>I am definitely in how have I never seen this before? Territory?

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<v Speaker 3>A rock and roll wolf is so so in my

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<v Speaker 3>wheelhouse and I can't recommend it enough, super weird and

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<v Speaker 3>pushes like every single sensory boundary at once.

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<v Speaker 2>I showed part of this to my wife at lunch

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<v Speaker 2>after I'd finished watching it, and she thought it like

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<v Speaker 2>an acid trip. And her follow up question was, how

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<v Speaker 2>did Joe find out about this movie? And I don't

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<v Speaker 2>have the answer. Do you have an answer? Can you

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<v Speaker 2>answer it?

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<v Speaker 3>For this? I wish I remember? No. I honestly I

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<v Speaker 3>don't know how this movie first came onto my radar.

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<v Speaker 3>I've like had it on a list of movies I

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<v Speaker 3>was gonna come back and check out later, and then

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<v Speaker 3>this week I did. I looked at my list and

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<v Speaker 3>I was like, oh, okay, what's the deal with this one?

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<v Speaker 3>So I know one reason I became intrigued this week

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<v Speaker 3>is that I started looking into user reviews and comments

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<v Speaker 3>online just how people were reacting to this movie, and

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<v Speaker 3>I noticed there were several distinct tranches of audience reaction.

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<v Speaker 3>One type was pretty similar to how I'm reacting now, like, WTF,

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<v Speaker 3>I just discovered this insane movie as an adult. My

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<v Speaker 3>senses are overwhelmed and I am delighted and confused. But interestingly,

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<v Speaker 3>another type of reaction was and I think this is

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<v Speaker 3>probably particularly common in people from certain countries in yours.

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<v Speaker 3>It was a reaction like I grew up watching this

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<v Speaker 3>over and over on TV, and it is intensely nostalgic

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<v Speaker 3>for me. I couldn't verify this, but I read a

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<v Speaker 3>bit of unsourced trivia online that this movie was played

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<v Speaker 3>every year at Christmas on Norwegian television, where I believe

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<v Speaker 3>it would have been known as a RockA Uven, meaning

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<v Speaker 3>the Rock Wolf. And so I don't know. I guess

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<v Speaker 3>we are in Christmas movie territory, whether whether or not

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<v Speaker 3>we meant to be this week.

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<v Speaker 2>Yeah, And it's when we get into the plot later on,

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<v Speaker 2>it does seem like there is some sort of well,

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<v Speaker 2>you know, so there is some winter folkloric magic going

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<v Speaker 2>on here. So it does seem to fit well within

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<v Speaker 2>like the Holiday movie Universe.

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<v Speaker 3>Yeah, yeah, we get a winter fairy who comes and

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<v Speaker 3>saves a little goat boy who has gotten lost in

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<v Speaker 3>the in the wilderness. Oh but I should mention the

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<v Speaker 3>third major type of reaction, so we've got the this

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<v Speaker 3>movie is is weird. I love it. We've got this

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<v Speaker 3>movie is anstee for me. I saw it when I

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<v Speaker 3>was a kid. And then the third type is my

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<v Speaker 3>fanatical celebrity crush is a weird pipe smoking wolf or

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<v Speaker 3>a heavenly goat mother or both. Uh and this type

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<v Speaker 3>of reaction could overlap with one of the other histories possibly,

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<v Speaker 3>but a lot of people crushing on the main sort

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<v Speaker 3>of lead animals in this movie.

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<v Speaker 2>Yeah, this movie has dare I say, strong furry energy

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<v Speaker 2>to it. If you if you at any point in

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<v Speaker 2>your life, you've really gotten into the practical makeup effects

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<v Speaker 2>for the cat's musical or perhaps the I finally remember

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<v Speaker 2>this show Zublie Zoo starring Ben Vereen. This was a

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<v Speaker 2>like a kid's musical dance show, very Broadway, and all

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<v Speaker 2>the makeup was very cats.

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<v Speaker 3>I've never seen Zubalizo, but I watched part of this

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<v Speaker 3>movie with my wife and she she compared it to

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<v Speaker 3>Zublizu as well.

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<v Speaker 2>Yes, strong Zubali zoo energy and uh and yeah, it

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<v Speaker 2>has a a lot of attractive people dressed up as

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<v Speaker 2>these animals. So I did have to wonder at times

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<v Speaker 2>like if I was bringing that energy into it with

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<v Speaker 2>other people. We're having that reaction as well, because I

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<v Speaker 2>just came off a couple of viewings of nineteen seventy

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<v Speaker 2>six is were Wolf Woman. So I don't know if

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<v Speaker 2>I'm letting like the were Wolf Woman experience taint my

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<v Speaker 2>viewing of a family children's Christmas story, you know, from

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<v Speaker 2>several countries away.

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<v Speaker 3>No, I mean, it's not the only movie of this sort,

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<v Speaker 3>but I think from what I can tell, everything explicit

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<v Speaker 3>about it is, you know, very it's very family friendly,

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<v Speaker 3>and it's you know, it's a children's movie. It's a

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<v Speaker 3>fairy tale movie. But there's sort of a second level

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<v Speaker 3>of interpretation that a lot of people I think, look

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<v Speaker 3>back on it with after they grew up watching it,

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<v Speaker 3>and in fact, regarding that first type of reaction, like

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<v Speaker 3>all the people who were saying, oh, I watched this

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<v Speaker 3>so many times as a child, like maybe on Norwy

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<v Speaker 3>TV or in Norway. Somehow this connects to another interesting

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<v Speaker 3>thing I found online which was a trailer for a

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<v Speaker 3>live musical stage adaptation which played at the Norwegian National

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<v Speaker 3>Theater in twenty eleven, and I so wish I could

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<v Speaker 3>go back in time and see this. I would fly

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<v Speaker 3>to Norway. If they do a revival, I don't know,

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<v Speaker 3>maybe they keep doing this thing. But kind of interesting

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<v Speaker 3>thing about it is the movie I think is firmly

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<v Speaker 3>aimed at kids. It's like a it's extremely weird, but

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<v Speaker 3>it is a family fairy tale adventure. Just from the trailer,

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<v Speaker 3>this stage musical looks to me more explicitly aimed at adults.

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<v Speaker 2>It has slight, slight, rocky horror energy.

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<v Speaker 3>Yes, yes, soft, but yes, I see what you're saying.

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<v Speaker 3>Like the little clips in the trailer feel like something

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<v Speaker 3>in one sense, aimed at adults who have passionate nostalgia

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<v Speaker 3>for a movie they loved as children, with a sense

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<v Speaker 3>of irony about the weirder aspects. For example, a few

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<v Speaker 3>of the clips from the stage version really seem to

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<v Speaker 3>press on the sexual tension between Mamma Goat and mister Wolf. Like.

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<v Speaker 3>I pulled out a few screenshots for you to look at.

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<v Speaker 3>Rob This is again, this is not from the movie.

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<v Speaker 3>This is from the stage version, where we've got Mamma

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<v Speaker 3>Goat here spanking the wolf them just like making weird

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<v Speaker 3>faces at each other. And then here's this one scene

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<v Speaker 3>where suddenly Mamma Goat has had a costume change and

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<v Speaker 3>she's no longer in her Romanian folk dress and is

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<v Speaker 3>wearing some kind of black leather thing with a bunch

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<v Speaker 3>of metal rivets.

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<v Speaker 2>Yeah, at this point, I feel like we're in a

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<v Speaker 2>meat love video.

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<v Speaker 3>Yes, yeah, but no. Yeah. Again. To be clear, this

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<v Speaker 3>does not happen in the movie. I think adult viewers

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<v Speaker 3>will find it impossible to miss the weird tension between

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<v Speaker 3>the wolf Titisuru and the goat mother Rada, but it's

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<v Speaker 3>not explicit in the movie, and it's not played for

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<v Speaker 3>laughs like it seems to be here. So technically this

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<v Speaker 3>movie is a film adaptation of one version of the

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<v Speaker 3>fairy tale known as The Wolf and the Seven Young

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<v Speaker 3>Kids in the Brothers Grim Catalog. And we'll get to

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<v Speaker 3>the details of that story later on. I'll summarize it

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<v Speaker 3>when we get to the plot, but overall the movie

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<v Speaker 3>is quite loose on plot. Rock and Roll Wolf is,

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<v Speaker 3>like many musicals, more of an experience. It's kind of

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<v Speaker 3>hard to communicate how much experience is packed into this

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<v Speaker 3>eighty minute movie, the kind of time I personally had

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<v Speaker 3>with it. The runtime just flew by, especially in the

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<v Speaker 3>first half, with the song and dance number is just

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<v Speaker 3>coming so fast, and the tone and the visual and

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<v Speaker 3>sonic texture constantly switching up with this kind of rapid

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<v Speaker 3>shuffling deck of cards kind of feeling. I loved Rock

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<v Speaker 3>and Roll Wolf, and I think it's a real shame that,

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<v Speaker 3>as far as I'm aware, there is not like a

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<v Speaker 3>high quality blu ray of the English version available today.

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<v Speaker 3>I really really want that, because this is a gem

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<v Speaker 3>of a film. Oh and I guess sorry. That brings

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<v Speaker 3>up a second impressive thing about this movie. It is

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<v Speaker 3>a film where the main creative inputs were Romanian and Russian.

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<v Speaker 3>But there is a native English version of the film,

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<v Speaker 3>so not just subtitles, not even just a dub. There

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<v Speaker 3>is a version of the movie where the songs have

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<v Speaker 3>lyrics in English and are performed in English by the cast. Now,

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<v Speaker 3>it might be different voice actors than the people playing

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<v Speaker 3>the characters on screen. I'm not sure, because I did

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<v Speaker 3>listen to snippets of songs from the different versions there's

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<v Speaker 3>at least one in Romanian, one in Russian, and one

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<v Speaker 3>in English. I don't know if there are any other

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<v Speaker 3>language versions. And the voices sound kind of different to me,

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<v Speaker 3>so I think it might be different singers. But like

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<v Speaker 3>one example was that I recall in the Russian version

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<v Speaker 3>the wolf's sound did a lot less suave than in

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<v Speaker 3>the English version and more kind of rascally.

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<v Speaker 2>Yeah, I did notice that the English track was recorded

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<v Speaker 2>in London, so you know, I mean that kind of

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<v Speaker 2>leads me to believe it is a different a different

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<v Speaker 2>vocal cast for the English cut. But the English cuts,

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<v Speaker 2>the version we watched, that's at least a version that

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<v Speaker 2>as of this recording is floating around out there. I

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<v Speaker 2>asked around about this movie at Video Drome here in Atlanta,

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<v Speaker 2>the video rental store, and John, one of the guys

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<v Speaker 2>who works there, is quite knowledgeable. He was looking around

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<v Speaker 2>looking stuff up, and he pointed out there is a

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<v Speaker 2>DVD version of this film, or a DVD R I'm

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<v Speaker 2>not sure I'm the technical specs there, but there is

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<v Speaker 2>some sort of diss you can buy. You might have

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<v Speaker 2>to go on eBay to get it, he said, but

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<v Speaker 2>it does exist. But in terms of like a really

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<v Speaker 2>nice like Blu ray edition, which clearly a film like

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<v Speaker 2>this deserves. He said, you know, a good place to

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<v Speaker 2>watch out for it would maybe be the deaf Crocodile guys.

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<v Speaker 2>That company puts out a number of great films, some

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<v Speaker 2>you know, some Russian films for sure, and so that

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<v Speaker 2>those would be the guys to pester with your with

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<v Speaker 2>your requests for rock and roll Wolf aka Mama.

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<v Speaker 3>Well, yes, I fully endorse that please put this out

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<v Speaker 3>because this is you can tell you can just look

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<v Speaker 3>through the core of visual assets here are fantastic. This

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<v Speaker 3>is a movie of beautiful production values. It has these

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<v Speaker 3>great sets. It's set in this fairy tale animal village

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<v Speaker 3>in the middle of a forest with all these you know,

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<v Speaker 3>strain like these Romanian folk cabins and weird sets. But

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<v Speaker 3>it's also got like some disco kind of sets.

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<v Speaker 2>Oh yeah, for sure.

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<v Speaker 3>So yeah, the psychotropic elements dominate as well. The costumes

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<v Speaker 3>and the makeup are just you know, push to eleven.

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<v Speaker 3>It's almost constantly something something beautiful to behold.

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<v Speaker 2>It is definitely a nineteen seventies musical. There's that no

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<v Speaker 2>doubting that. If you have ever seen like the original

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<v Speaker 2>film adaptation of Godspell. Indeed Rocky Heart Picture Show or

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<v Speaker 2>a movie if we've talked about on the show before,

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<v Speaker 2>The Apple, which came out in the nineteen eighties, but

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<v Speaker 2>he's still a seventies rock musical, like this has all

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<v Speaker 2>of that energy, the rock and rolls there, the disco

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<v Speaker 2>elements are there, and also that kind of like bohemian vibe.

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<v Speaker 2>You know of these troubadours and bards floating around in

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<v Speaker 2>a troubled decade but still keeping you know, some of

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<v Speaker 2>that energy of the late nineteen sixties alive in their art.

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<v Speaker 3>Yeah, hey, hey, hey, Wolf's on the way. So, like

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<v Speaker 3>I can see that comparison with The Apple and all that,

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<v Speaker 3>And another one I saw people a comparison I saw

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<v Speaker 3>people making online was Tommy you know, of the Who album.

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<v Speaker 3>So I absolutely see that. Though something about this does

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<v Speaker 3>feel a little it has common esthetic elements, but it

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<v Speaker 3>feels less decadent than a lot of your western seventies

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<v Speaker 3>rock operas. It feels more wholesome and kind of forest

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<v Speaker 3>magic based.

0:13:10.480 --> 0:13:13.920
<v Speaker 2>Yeah. Yeah, it is ultimately angling for children and features

0:13:13.960 --> 0:13:17.280
<v Speaker 2>a lot of child characters. So yeah, it's it's it's

0:13:17.320 --> 0:13:18.840
<v Speaker 2>managing to be all these things at once.

0:13:19.400 --> 0:13:21.680
<v Speaker 3>But on the other hand, don't want to over sell

0:13:21.800 --> 0:13:24.640
<v Speaker 3>the wholesomeness or make it sound bland like it does

0:13:24.679 --> 0:13:28.880
<v Speaker 3>have strong Mother Goose drops acid energy.

0:13:29.679 --> 0:13:30.760
<v Speaker 2>Is that your elevator pitch?

0:13:30.920 --> 0:13:33.680
<v Speaker 3>Yeah, that's got to be mother. Mother Goose drops acid

0:13:33.720 --> 0:13:36.000
<v Speaker 3>and joins the spiders from Mars.

0:13:38.280 --> 0:13:41.440
<v Speaker 2>All right, you know, I'm not sure we actually have

0:13:41.480 --> 0:13:45.720
<v Speaker 2>any trailer audio for this one, given the nature of

0:13:45.800 --> 0:13:48.600
<v Speaker 2>the picture. We'll hunt around a little bit and if

0:13:48.600 --> 0:13:50.520
<v Speaker 2>we can find something, we'll throw it in here. If not,

0:13:50.640 --> 0:13:54.280
<v Speaker 2>maybe we can get JJ to sample just a tiny

0:13:54.320 --> 0:13:57.520
<v Speaker 2>bit of the audio. If not, you know, you'll never

0:13:57.559 --> 0:14:04.360
<v Speaker 2>hear this part because we'll cut it out. I shall

0:14:04.480 --> 0:14:05.480
<v Speaker 2>say like this.

0:14:09.080 --> 0:14:14.720
<v Speaker 3>Esse home. Now you can open the door. Don't be

0:14:14.840 --> 0:14:29.760
<v Speaker 3>afraid now, not any more. He suits costious pain terrors

0:14:29.840 --> 0:14:37.240
<v Speaker 3>of occupation. We let up helping can in sua summation.

0:14:40.280 --> 0:14:47.880
<v Speaker 2>He ho ho, I'm the donkeeper treacle he hoy.

0:14:48.520 --> 0:14:52.400
<v Speaker 3>All my rather a good care cale.

0:15:00.280 --> 0:15:03.320
<v Speaker 2>All right, if you want to see this film for yourself,

0:15:03.360 --> 0:15:05.960
<v Speaker 2>we already discussed ways you might be able to find it,

0:15:06.280 --> 0:15:09.160
<v Speaker 2>and perhaps find it in the future. Who knows, but

0:15:10.000 --> 0:15:11.480
<v Speaker 2>this is always the case. We do urge you to

0:15:11.800 --> 0:15:15.240
<v Speaker 2>watch it in the best quality possible in however you

0:15:15.280 --> 0:15:26.600
<v Speaker 2>obtain it. All right, let's get into the people behind

0:15:26.840 --> 0:15:29.400
<v Speaker 2>this picture, all right. Starting at the top, we have

0:15:29.480 --> 0:15:35.320
<v Speaker 2>Elizabeta Boston born nineteen thirty one, the director Romanian film

0:15:35.320 --> 0:15:38.880
<v Speaker 2>director and screenwriter whose credits include nineteen sixty four's Memories

0:15:38.880 --> 0:15:42.200
<v Speaker 2>of My Childhood, nineteen sixty eight's Kingdom in the Clouds,

0:15:42.480 --> 0:15:46.880
<v Speaker 2>seventy twos Veronica, and seventy threes Veronica Comes Back. She's

0:15:46.920 --> 0:15:49.760
<v Speaker 2>been involved in various stage and screen projects over the

0:15:49.760 --> 0:15:52.960
<v Speaker 2>course of her long career, as well as in academia

0:15:53.040 --> 0:15:53.880
<v Speaker 2>concerning film.

0:15:54.400 --> 0:15:59.200
<v Speaker 3>Apparently, these Veronica movies she did are also sort of wild,

0:15:59.640 --> 0:16:02.480
<v Speaker 3>sort of fairy tale fantasies aimed at children, and I'm

0:16:02.520 --> 0:16:05.840
<v Speaker 3>interested in checking those out because oh and we didn't

0:16:05.880 --> 0:16:08.800
<v Speaker 3>I guess we didn't mention this yet. But one of

0:16:08.840 --> 0:16:12.040
<v Speaker 3>the appeals of getting into this movie this week is that,

0:16:12.120 --> 0:16:14.360
<v Speaker 3>of course, every Christmas season, Rob and I get in

0:16:14.520 --> 0:16:17.880
<v Speaker 3>get in mind the mind of Jack Frost or moros

0:16:17.920 --> 0:16:22.040
<v Speaker 3>Co the Great the you know, Christmas Tale of the

0:16:22.120 --> 0:16:27.640
<v Speaker 3>Russo Finish Taiga. But that one I saw little echoes

0:16:27.680 --> 0:16:30.160
<v Speaker 3>of that in the movie we're talking about today, and

0:16:30.200 --> 0:16:32.680
<v Speaker 3>in the screenshots I saw from the Veronica movies, I

0:16:32.720 --> 0:16:36.120
<v Speaker 3>saw some comparisons one could make to moros Coo as well,

0:16:36.640 --> 0:16:38.480
<v Speaker 3>So those are going to be on my radar. I

0:16:38.520 --> 0:16:40.880
<v Speaker 3>want to come back and check them out. All right.

0:16:40.920 --> 0:16:43.440
<v Speaker 2>As for the writing, here, we have two screenplay credits.

0:16:44.400 --> 0:16:47.320
<v Speaker 2>One is a is a Russian and the other is

0:16:47.320 --> 0:16:52.400
<v Speaker 2>a Romanian. We have a Yuri Intin born nineteen thirty five,

0:16:52.480 --> 0:16:55.040
<v Speaker 2>Russian author, a musician whose other credits include various other

0:16:55.160 --> 0:16:59.920
<v Speaker 2>children's pictures. And then we have Vasilica is trade Livenin

0:17:00.000 --> 0:17:02.360
<v Speaker 2>teen thirty four through two thousand and two, Romanian producer

0:17:02.400 --> 0:17:04.959
<v Speaker 2>and writer who works several times in a writing capacity

0:17:05.119 --> 0:17:07.520
<v Speaker 2>with Bustan. And this is a good a time as

0:17:07.520 --> 0:17:12.480
<v Speaker 2>any to add usual caveat my apologies for any mispronunciations

0:17:12.480 --> 0:17:16.439
<v Speaker 2>of the various Russian, Romanian and French names that are

0:17:16.440 --> 0:17:21.280
<v Speaker 2>going to be involved in this multi national production here,

0:17:22.200 --> 0:17:25.440
<v Speaker 2>all right, This film, there's no doubt about it, stars

0:17:26.040 --> 0:17:31.120
<v Speaker 2>Ludmila Gorchhenko playing Ratra the Goat. This is the titular

0:17:31.320 --> 0:17:35.159
<v Speaker 2>Mama from the versions of the film you'll find with

0:17:35.520 --> 0:17:40.240
<v Speaker 2>the title Mama, and she lived nineteen thirty five through

0:17:40.440 --> 0:17:41.600
<v Speaker 2>twenty eleven.

0:17:42.000 --> 0:17:45.040
<v Speaker 3>Radiating goodness and light even when the forest is dark.

0:17:45.520 --> 0:17:49.600
<v Speaker 3>She has strong you know, she's the paladin, she's the

0:17:49.960 --> 0:17:53.359
<v Speaker 3>heroin character, and she comes off as so good and

0:17:53.440 --> 0:17:56.320
<v Speaker 3>so pure, even when she's like flirting with the wolf

0:17:56.320 --> 0:17:57.920
<v Speaker 3>who's going to eat her children.

0:17:59.080 --> 0:18:01.760
<v Speaker 2>I mean, you very well may think that you were

0:18:01.760 --> 0:18:05.800
<v Speaker 2>immune to the wiles of various Satyrs and Baphamets and

0:18:05.920 --> 0:18:10.520
<v Speaker 2>even mister Tumness, but you know, you need to watch

0:18:10.560 --> 0:18:13.280
<v Speaker 2>this film and see how Rada hits for you, because

0:18:13.960 --> 0:18:17.760
<v Speaker 2>her charisma, her brightness or just absolute goodness shines through.

0:18:18.960 --> 0:18:20.600
<v Speaker 2>And also something about you know, she has this little

0:18:20.640 --> 0:18:23.359
<v Speaker 2>button nose that seems to just work so well with

0:18:23.440 --> 0:18:25.000
<v Speaker 2>the big goat horns and all.

0:18:25.320 --> 0:18:27.919
<v Speaker 3>Yeah, yeah, she does have goat horns and they do

0:18:27.960 --> 0:18:32.560
<v Speaker 3>the It feels like a very Eastern block style of

0:18:32.600 --> 0:18:34.960
<v Speaker 3>makeup effects. Though I think the makeup in this movie

0:18:35.000 --> 0:18:37.159
<v Speaker 3>might have been done by the fringe.

0:18:37.240 --> 0:18:39.000
<v Speaker 2>I'm not sure, but yeah, I think I saw at

0:18:39.040 --> 0:18:40.919
<v Speaker 2>least some French credits for the makeup.

0:18:41.000 --> 0:18:44.080
<v Speaker 3>Yeah. Well, anyway, it's something I recognize from Morosco as well,

0:18:44.920 --> 0:18:47.600
<v Speaker 3>that the freckles she has, which are just done. It

0:18:47.640 --> 0:18:50.240
<v Speaker 3>looks like with like a black felt tip pin, just

0:18:50.320 --> 0:18:54.080
<v Speaker 3>black felt tip little freckles on her cheeks well.

0:18:54.280 --> 0:18:59.080
<v Speaker 2>Grushenko was a Ukrainian born, Russian and Soviet actress, singer,

0:18:59.200 --> 0:19:02.680
<v Speaker 2>and overall in her While she at times was seen

0:19:02.760 --> 0:19:06.480
<v Speaker 2>as too Western by Soviet entertainment tastemakers earlier in her career,

0:19:06.800 --> 0:19:09.239
<v Speaker 2>she went on to be a highly regarded actress in

0:19:09.320 --> 0:19:12.879
<v Speaker 2>Soviet and post Soviet Russia, receiving the highest acting honors

0:19:12.960 --> 0:19:16.720
<v Speaker 2>during both eras she worked well into her seventies on

0:19:16.840 --> 0:19:19.960
<v Speaker 2>stage and in TV and film. She put out several

0:19:20.000 --> 0:19:23.720
<v Speaker 2>albums in the seventies, eighties, and nineties, and her best

0:19:23.760 --> 0:19:28.960
<v Speaker 2>known films include nineteen fifty six's Carnival Nights, nineteen seventy Nines,

0:19:29.920 --> 0:19:34.720
<v Speaker 2>Siberi Day, and nineteen seventy six is Twenty Days Without War,

0:19:34.840 --> 0:19:38.240
<v Speaker 2>which was apparently suppressed to some degree due to its

0:19:38.480 --> 0:19:42.000
<v Speaker 2>anti war themes and wasn't released until nineteen eighty one,

0:19:42.320 --> 0:19:47.920
<v Speaker 2>and that was after the success of seventy nine Siberi Day,

0:19:48.359 --> 0:19:51.080
<v Speaker 2>so you know, at that point there was no stopping her.

0:19:51.720 --> 0:19:54.320
<v Speaker 2>I was exploring her filmography a bit I have this

0:19:54.400 --> 0:19:57.359
<v Speaker 2>is the only film I've seen starring her, but clearly

0:19:57.400 --> 0:20:00.679
<v Speaker 2>she's a huge name and a number of prestige pictures, like,

0:20:00.760 --> 0:20:03.119
<v Speaker 2>she's not an actress that you find in any like

0:20:03.160 --> 0:20:08.240
<v Speaker 2>sci fi and horror pictures. But of note, there's nineteen

0:20:08.320 --> 0:20:14.359
<v Speaker 2>ninety one's Sex Kaska, which I think translates to sex story,

0:20:14.560 --> 0:20:18.119
<v Speaker 2>and it's a fantasy mystery picture. It looks like it

0:20:18.160 --> 0:20:20.680
<v Speaker 2>has some like sexy aspects to it, but also seems

0:20:20.720 --> 0:20:24.440
<v Speaker 2>to have a very almost kind of noir quality to

0:20:24.880 --> 0:20:28.600
<v Speaker 2>the filmmaking. The only other two films that I think

0:20:28.640 --> 0:20:32.359
<v Speaker 2>fall roughly into a fantasy genre for her were nineteen

0:20:32.400 --> 0:20:35.720
<v Speaker 2>sixty ones The Man from Nowhere in nineteen seventy one's Ten.

0:20:37.119 --> 0:20:39.119
<v Speaker 2>So yeah, this is my first time seeing her in

0:20:39.160 --> 0:20:41.879
<v Speaker 2>a film, but it seems based on what I was reading,

0:20:41.920 --> 0:20:44.000
<v Speaker 2>and like the oh bit that ran in the Guardian

0:20:44.040 --> 0:20:47.840
<v Speaker 2>when she passed, it seems difficult to overstress how successful

0:20:48.000 --> 0:20:51.240
<v Speaker 2>she was as an actress in Russia.

0:20:51.760 --> 0:20:54.320
<v Speaker 3>It seems hard to believe that she didn't do more

0:20:54.560 --> 0:20:57.520
<v Speaker 3>like sci fi and genre type movies. When you look

0:20:57.520 --> 0:21:00.680
<v Speaker 3>at some of her press photos, yere one you share

0:21:00.720 --> 0:21:02.720
<v Speaker 3>I don't know what this is from, but there's one

0:21:02.720 --> 0:21:05.320
<v Speaker 3>photo you shared with me. It's clearly from some kind

0:21:05.320 --> 0:21:08.960
<v Speaker 3>of magazine shoot or something where she's I guess she's

0:21:09.000 --> 0:21:11.720
<v Speaker 3>having a picnic. She's sitting out in the middle of

0:21:11.760 --> 0:21:14.919
<v Speaker 3>a field with a blanket spread out under her, and

0:21:14.960 --> 0:21:17.720
<v Speaker 3>she's got you know, kind of like a rattan lined

0:21:17.920 --> 0:21:21.960
<v Speaker 3>wine bottle there, but she's got several daggers in ornate sheathes.

0:21:22.480 --> 0:21:25.199
<v Speaker 3>She's wearing one of those like felt mountaineer hats with

0:21:25.320 --> 0:21:28.480
<v Speaker 3>feathers in it. She's got a flask of some guy

0:21:28.640 --> 0:21:31.240
<v Speaker 3>next to her, just some kind of bunches of grapes

0:21:31.320 --> 0:21:33.600
<v Speaker 3>lying around, and then a falcon in her hand like

0:21:33.600 --> 0:21:35.800
<v Speaker 3>it's per she's got one of those leather gloves and

0:21:35.880 --> 0:21:36.920
<v Speaker 3>just yeah, falconing.

0:21:37.440 --> 0:21:40.719
<v Speaker 2>Between this image and the still I shared with you

0:21:40.800 --> 0:21:43.040
<v Speaker 2>from Sex Story, in which she's wearing like some sort

0:21:43.040 --> 0:21:45.679
<v Speaker 2>of like she got crazy makeup on and this big

0:21:46.040 --> 0:21:48.880
<v Speaker 2>furry hat, like both of these images, and i'd really

0:21:48.880 --> 0:21:51.320
<v Speaker 2>to an extent also the screen cap here we have

0:21:51.400 --> 0:21:54.320
<v Speaker 2>from today's movie. If I encountered all of these and

0:21:54.440 --> 0:21:56.600
<v Speaker 2>like a Google image search, I would be like, get

0:21:56.600 --> 0:21:59.240
<v Speaker 2>this AI stuff out of here. Nice try mid journey,

0:21:59.359 --> 0:22:01.800
<v Speaker 2>But I'm not believing that this is a real image

0:22:01.800 --> 0:22:04.840
<v Speaker 2>of a woman with a falcon and a ceremonial dagger

0:22:05.200 --> 0:22:07.280
<v Speaker 2>and a big flowery hat out on a pick neck.

0:22:07.520 --> 0:22:10.560
<v Speaker 3>Yeah, somebody put into the prompt like a Russian actress

0:22:10.600 --> 0:22:12.000
<v Speaker 3>as Edward scissorhands.

0:22:12.280 --> 0:22:15.440
<v Speaker 2>Yeah, but these are all real, These are actual photos.

0:22:15.720 --> 0:22:18.240
<v Speaker 2>I think I found the bird one on a blog

0:22:18.280 --> 0:22:21.840
<v Speaker 2>about like Russian pop culture. All right, so that that

0:22:22.000 --> 0:22:25.159
<v Speaker 2>is our star. That is mama that. But on the

0:22:25.160 --> 0:22:27.919
<v Speaker 2>other hand, this film was also known as rock and

0:22:28.000 --> 0:22:30.840
<v Speaker 2>Roll Wolf, So who is our wolf? Well, the character

0:22:31.280 --> 0:22:37.359
<v Speaker 2>is Titisuru, played by Mikhail Boyarsky born nineteen forty nine,

0:22:37.600 --> 0:22:41.200
<v Speaker 2>Russian actor and singer, apparently best known for some adventure

0:22:41.240 --> 0:22:45.440
<v Speaker 2>films he did, especially a nineteen seventy nine Soviet Three

0:22:45.520 --> 0:22:48.920
<v Speaker 2>Musketeers movie in which he played the lead role of d'Artagnan.

0:22:49.240 --> 0:22:51.600
<v Speaker 2>In fact, I think the name of that movie this

0:22:51.720 --> 0:22:54.399
<v Speaker 2>may be in translation or you know, international releases, but

0:22:54.400 --> 0:22:57.600
<v Speaker 2>I saw it referenced as d'Artagnan and the Three Musketeers.

0:22:57.640 --> 0:22:59.680
<v Speaker 2>So he must have stood out from the rest of

0:22:59.720 --> 0:22:59.920
<v Speaker 2>the bum.

0:23:00.560 --> 0:23:03.520
<v Speaker 3>Yeah. Well, wait a minute, No is d'Artagnan one of

0:23:03.520 --> 0:23:05.240
<v Speaker 3>the three Musketeers. I think he might not be.

0:23:05.720 --> 0:23:07.320
<v Speaker 2>He's not. It's been a long time sin they've done

0:23:07.320 --> 0:23:08.119
<v Speaker 2>Three Musketeers.

0:23:08.160 --> 0:23:10.760
<v Speaker 3>But I gotta look this up. I'm not gonna be

0:23:10.800 --> 0:23:12.040
<v Speaker 3>able to rest until I know.

0:23:12.440 --> 0:23:14.760
<v Speaker 2>Yeah, I haven't. As a kid, I watched at least

0:23:14.800 --> 0:23:17.159
<v Speaker 2>one of the versions that had Oliver Reid in it.

0:23:17.240 --> 0:23:19.359
<v Speaker 2>But yeah, it's been a long time since they interacted.

0:23:19.359 --> 0:23:22.720
<v Speaker 2>Because sometimes there are four of them. Right, they're three musketeers.

0:23:22.280 --> 0:23:26.800
<v Speaker 3>Right, Yes, that's right. It's d'Artagnan, Athos Aramis, and Porthos.

0:23:27.440 --> 0:23:28.880
<v Speaker 3>I could, I just looked it up.

0:23:28.880 --> 0:23:30.320
<v Speaker 2>So Porthos was Oliver Reed.

0:23:31.000 --> 0:23:33.680
<v Speaker 3>Okay, I didn't know that, but yeah, that's right. It's

0:23:33.720 --> 0:23:37.320
<v Speaker 3>like d'Artagnan appreciates these other three guys, the three Musketeers.

0:23:37.520 --> 0:23:39.320
<v Speaker 2>All right, Well there you go. Well this is apparently

0:23:39.480 --> 0:23:42.400
<v Speaker 2>his big role that skyrocketed his career. I believe he's

0:23:42.400 --> 0:23:45.480
<v Speaker 2>currently retired from acting, but apparently remains an active voice

0:23:45.800 --> 0:23:47.119
<v Speaker 2>in Russian politics.

0:23:47.480 --> 0:23:52.119
<v Speaker 3>So this guy is obviously a big part of the

0:23:52.160 --> 0:23:55.240
<v Speaker 3>impression this movie makes on people. Like I think there's

0:23:55.280 --> 0:23:58.119
<v Speaker 3>a reason that one of the release names, like the

0:23:58.160 --> 0:24:03.280
<v Speaker 3>international title was rock and Roll Wolf because people online

0:24:03.320 --> 0:24:04.600
<v Speaker 3>have thoughts about this guy.

0:24:05.359 --> 0:24:09.200
<v Speaker 2>Yeah, I mean, I mean he's a slind, tall slender really,

0:24:09.440 --> 0:24:13.119
<v Speaker 2>you know, has like kind of kind of lichen, you know,

0:24:13.160 --> 0:24:17.400
<v Speaker 2>aspects to his his body and face already. But yeah,

0:24:17.400 --> 0:24:20.080
<v Speaker 2>he's wearing all black. He's constantly smoking a pipe, and

0:24:20.160 --> 0:24:22.080
<v Speaker 2>I mean constantly. I don't know if there's a single

0:24:22.119 --> 0:24:26.720
<v Speaker 2>scene where he isn't smoking a pipe. He's always creeping around. Yeah,

0:24:26.840 --> 0:24:30.480
<v Speaker 2>he has a real rock star energy. Reminded. I was

0:24:30.520 --> 0:24:33.600
<v Speaker 2>reminded at times of like Frank Zappa, you know.

0:24:34.200 --> 0:24:36.399
<v Speaker 3>Yes, yeah, a little bit Frank Zappa, because he's got that.

0:24:36.520 --> 0:24:39.600
<v Speaker 3>He's got a strong mustache and part of a little

0:24:39.600 --> 0:24:43.200
<v Speaker 3>beard with with the dark hair and the heavy eyebrows.

0:24:43.960 --> 0:24:49.160
<v Speaker 3>I'm thinking a cross between somewhere between Jerreth the Goblin

0:24:49.280 --> 0:24:53.399
<v Speaker 3>King and I remember in Almost Famous, when Billy Krudi

0:24:53.560 --> 0:24:55.679
<v Speaker 3>plays a rock star, there's a little bit of a

0:24:55.720 --> 0:24:57.880
<v Speaker 3>resemblance there. He's the one.

0:24:57.880 --> 0:25:00.600
<v Speaker 2>I'm a Golden God, right I remember, remember.

0:25:00.480 --> 0:25:03.240
<v Speaker 3>Yeah, I think that's right. Yeah, So there's a good

0:25:03.240 --> 0:25:05.800
<v Speaker 3>bit of that. But he is just a just a

0:25:05.960 --> 0:25:08.720
<v Speaker 3>rascally gyrate and rock star in the middle of this

0:25:08.840 --> 0:25:12.840
<v Speaker 3>fairy tale village with a twinkle in his eye so

0:25:12.960 --> 0:25:16.240
<v Speaker 3>bright it would be like registered on telescopes and other

0:25:16.600 --> 0:25:22.160
<v Speaker 3>star systems, like he is up to no good. Oh,

0:25:22.240 --> 0:25:24.880
<v Speaker 3>and I almost forgot to mention this is true of

0:25:25.080 --> 0:25:27.880
<v Speaker 3>most of the characters in the movie. But it's especially

0:25:27.920 --> 0:25:32.760
<v Speaker 3>notable in his case wearing an Amadaeas style wig, gigantic

0:25:32.960 --> 0:25:36.480
<v Speaker 3>voluminous wig in his case with just these you know,

0:25:36.800 --> 0:25:40.160
<v Speaker 3>kind of swishes of curly wavy hair going all over

0:25:40.200 --> 0:25:45.080
<v Speaker 3>the place. Everybody's got their own type of voluminous wig,

0:25:45.200 --> 0:25:47.760
<v Speaker 3>but his is I don't know, it looks really good.

0:25:48.520 --> 0:25:50.600
<v Speaker 2>Yeah, So we'll have a lot more to say about

0:25:50.640 --> 0:25:52.879
<v Speaker 2>this performance, but at this point we're going to get

0:25:52.920 --> 0:25:56.680
<v Speaker 2>into some of the supporting players and animals playing Donkey.

0:25:57.000 --> 0:26:02.159
<v Speaker 2>We have George Mihaitza born nineteen forty eight. This is

0:26:02.160 --> 0:26:04.919
<v Speaker 2>a Romanian actor and direct director, apparently a pretty big

0:26:05.000 --> 0:26:08.320
<v Speaker 2>name in Romanian cinema. His films include nineteen sixty eight's

0:26:08.320 --> 0:26:12.240
<v Speaker 2>Reconstruction and two thousand and eight Silent Wedding, as well

0:26:12.280 --> 0:26:15.439
<v Speaker 2>as the sci fi comedy A Fantastic Comedy from nineteen

0:26:15.520 --> 0:26:19.280
<v Speaker 2>seventy five. This was I thought one of the creepier

0:26:19.600 --> 0:26:22.040
<v Speaker 2>characters in the film. I don't know, every time Donkey

0:26:22.160 --> 0:26:25.000
<v Speaker 2>was on screen, I was at least a little creeped out,

0:26:25.240 --> 0:26:28.760
<v Speaker 2>in part because he falls in with the gang that

0:26:28.880 --> 0:26:35.159
<v Speaker 2>is supporting mister Wolf, that's supporting Suru. In his various schemes,

0:26:35.400 --> 0:26:37.199
<v Speaker 2>but I don't know. There's something about his face, like

0:26:37.240 --> 0:26:42.159
<v Speaker 2>he puts out this like calm, serene kind of clown face,

0:26:43.080 --> 0:26:46.720
<v Speaker 2>but he's like actively supporting the main villain. And he's

0:26:46.760 --> 0:26:49.159
<v Speaker 2>a donkey, Like this is not an animal that I

0:26:49.160 --> 0:26:51.600
<v Speaker 2>would necessarily think of as, Oh, yeah, the donkey's gonna

0:26:51.600 --> 0:26:52.879
<v Speaker 2>definitely fall in with the wolf.

0:26:53.119 --> 0:26:56.240
<v Speaker 3>He's the only herbivore in the wolf gang.

0:26:56.840 --> 0:27:00.879
<v Speaker 2>Yeah, what does that mean? Maybe gets into I don't know.

0:27:00.920 --> 0:27:03.720
<v Speaker 2>It could be something cultural. We've talked before about about

0:27:03.760 --> 0:27:07.080
<v Speaker 2>donkeys and how sometimes they are associated, at least in

0:27:07.480 --> 0:27:12.800
<v Speaker 2>ancient Babylon or ancient Sumeria, with various demons and so forth.

0:27:12.880 --> 0:27:16.520
<v Speaker 3>So I don't know. His emotional key is strange. He's

0:27:16.560 --> 0:27:20.680
<v Speaker 3>like a morose gray clown. Where we were just talking

0:27:20.680 --> 0:27:25.960
<v Speaker 3>about everybody's wigs. His wig is gray Nigel Toughnell, and

0:27:26.160 --> 0:27:29.800
<v Speaker 3>he has got big donkey ears on top, though he

0:27:30.600 --> 0:27:33.280
<v Speaker 3>strangely has a lot of soul at a few moments.

0:27:33.520 --> 0:27:35.920
<v Speaker 3>Do you remember the he haw song, Like the part

0:27:35.960 --> 0:27:41.000
<v Speaker 3>where he's just plaintively singing he haw, he haw, he haw.

0:27:41.240 --> 0:27:43.960
<v Speaker 2>Yeah, yeah, and Andy gets a love interest later then

0:27:44.240 --> 0:27:47.000
<v Speaker 2>I don't know why, but that was decided we needed that,

0:27:47.240 --> 0:27:53.320
<v Speaker 2>so so yes, Donkey, we'll come back to Donkey, fascinating

0:27:53.400 --> 0:27:57.880
<v Speaker 2>character in the Rock and Roll Wolf universe. Another care

0:27:57.920 --> 0:27:59.640
<v Speaker 2>this is on when we're introduced to, like right off

0:27:59.640 --> 0:28:03.400
<v Speaker 2>the bat, we have the character Parrot. It is kind

0:28:03.400 --> 0:28:06.080
<v Speaker 2>of a stretch to see him as a parrot. At first,

0:28:06.160 --> 0:28:08.040
<v Speaker 2>he seems like maybe he's some sort of a clown,

0:28:08.160 --> 0:28:11.919
<v Speaker 2>but yeah, he's a parrot. Played by Florian Pittis who

0:28:12.000 --> 0:28:14.480
<v Speaker 2>of nineteen forty three through two thousand and seven. This

0:28:14.640 --> 0:28:17.960
<v Speaker 2>is a Romanian actor, a folk musician and general entertainer.

0:28:18.520 --> 0:28:20.760
<v Speaker 3>They mainly signal that he's a parrot just by giving

0:28:20.840 --> 0:28:25.399
<v Speaker 3>him a very colorful outfit and wig. But yeah, he

0:28:25.440 --> 0:28:28.359
<v Speaker 3>doesn't have a beak or anything. And the role of

0:28:28.400 --> 0:28:31.199
<v Speaker 3>the parrot here is interesting because he's a kind of

0:28:32.960 --> 0:28:38.320
<v Speaker 3>entertainer slash vender or slash auctioneer. You know, he's kind.

0:28:38.120 --> 0:28:43.800
<v Speaker 2>Of a traveling bard or something, perhaps you know, music man,

0:28:43.960 --> 0:28:45.719
<v Speaker 2>perhaps I don't know. At times I was like, it

0:28:45.760 --> 0:28:47.520
<v Speaker 2>was this guy up to no good? Is he a

0:28:47.560 --> 0:28:49.240
<v Speaker 2>con man or something? But now he's just here to

0:28:49.280 --> 0:28:52.840
<v Speaker 2>tell stories and sing songs and gather everyone together inside

0:28:52.880 --> 0:28:54.200
<v Speaker 2>the magical Disco Ball.

0:28:54.560 --> 0:28:58.720
<v Speaker 3>Yeah, It's interesting the level that they go to communicate

0:28:59.120 --> 0:29:02.760
<v Speaker 3>what animal you person is. So I'd say, you know Rada.

0:29:03.280 --> 0:29:05.040
<v Speaker 3>I mean, she looks very human in one sense, but

0:29:05.080 --> 0:29:06.720
<v Speaker 3>you can tell she's a goat. She's got the clearer

0:29:07.840 --> 0:29:11.000
<v Speaker 3>in the ears. There's no mistaking a parrot here. I

0:29:11.040 --> 0:29:13.280
<v Speaker 3>don't know. Yeah, he could just be like a human clown.

0:29:14.000 --> 0:29:18.040
<v Speaker 3>And there's another one, like the bear family. They don't

0:29:18.080 --> 0:29:20.600
<v Speaker 3>work that hard to make them come off as bears.

0:29:20.640 --> 0:29:23.440
<v Speaker 3>They just look like humans in strange makeup.

0:29:23.600 --> 0:29:25.920
<v Speaker 2>They just look like human clowns. And in fact, I

0:29:25.920 --> 0:29:28.520
<v Speaker 2>don't think the next character, Father Martin the Bear, is

0:29:28.640 --> 0:29:32.280
<v Speaker 2>named in the English version that we watched, but Father

0:29:32.360 --> 0:29:35.440
<v Speaker 2>Martin the Bear is played by noted Soviet and Russian

0:29:35.480 --> 0:29:39.080
<v Speaker 2>clown and circus artists Ol'legg Popoff, who lived nineteen thirty

0:29:39.120 --> 0:29:42.040
<v Speaker 2>through twenty sixteen. Not to be confused, I think there's

0:29:42.040 --> 0:29:44.680
<v Speaker 2>an old egg pop Off Mma fighter right now. This

0:29:44.760 --> 0:29:47.800
<v Speaker 2>is a different different. This guy's a lover not a fighter,

0:29:49.200 --> 0:29:53.200
<v Speaker 2>and laugher not a fighter. Maybe mostly worked in purely

0:29:53.240 --> 0:29:57.000
<v Speaker 2>Russian film, but also appeared in nineteen seventy six is

0:29:57.040 --> 0:29:59.720
<v Speaker 2>the Bluebird. I wasn't familiar with this, but this is

0:29:59.760 --> 0:30:03.680
<v Speaker 2>a an American Soviet co production. An American Soviet co

0:30:03.760 --> 0:30:07.480
<v Speaker 2>production made during the height of the Cold War, starring

0:30:07.520 --> 0:30:09.320
<v Speaker 2>Elizabeth Taylor and Jane Fonda.

0:30:09.600 --> 0:30:11.520
<v Speaker 3>Huh, I did not know there was such a thing.

0:30:11.720 --> 0:30:14.840
<v Speaker 2>Yeah, I don't know much about it beyond that, but uh,

0:30:15.400 --> 0:30:18.640
<v Speaker 2>that's fascinating. As for Olig pop Off, I'm not sure,

0:30:18.680 --> 0:30:20.400
<v Speaker 2>but I feel like this is a name I'd heard before.

0:30:20.480 --> 0:30:23.400
<v Speaker 2>I don't know if in the past, someone like I

0:30:24.000 --> 0:30:27.320
<v Speaker 2>ran into a clowning enthusiast at a party or something

0:30:27.320 --> 0:30:29.240
<v Speaker 2>and they decided to tell me about the Great Olig

0:30:29.280 --> 0:30:31.960
<v Speaker 2>pop Off, but I feel like this name has come

0:30:32.040 --> 0:30:34.600
<v Speaker 2>up for me before. And this is also, by the way,

0:30:34.600 --> 0:30:36.520
<v Speaker 2>a guy. When you see him in the film, you're like,

0:30:36.600 --> 0:30:38.960
<v Speaker 2>this guy's a pro clown. There's no doubt about it.

0:30:39.440 --> 0:30:42.280
<v Speaker 3>Not at all in how he physically looks, but in

0:30:42.520 --> 0:30:44.880
<v Speaker 3>the way that he is dressed here and the way

0:30:44.920 --> 0:30:48.160
<v Speaker 3>that he acts, like his physical comedy reminded me of

0:30:48.160 --> 0:30:48.960
<v Speaker 3>Harpo Marx.

0:30:49.400 --> 0:30:55.520
<v Speaker 2>Hmmm, yes, all right. Next, we have a severely Kramarov

0:30:55.600 --> 0:30:58.680
<v Speaker 2>playing the young wolf. Let's see there's another They refer

0:30:58.720 --> 0:31:02.120
<v Speaker 2>to him as something else like little young you, nephew

0:31:02.160 --> 0:31:05.960
<v Speaker 2>wolf something, but he's definitely part of the villain gang obviously.

0:31:06.040 --> 0:31:07.200
<v Speaker 2>I mean he's a blood relative.

0:31:08.760 --> 0:31:09.760
<v Speaker 3>But yeah.

0:31:09.800 --> 0:31:12.800
<v Speaker 2>He lived nineteen thirty four through nineteen ninety five, a

0:31:12.840 --> 0:31:16.120
<v Speaker 2>Soviet actor who then ended up immigrating to the US

0:31:16.160 --> 0:31:18.720
<v Speaker 2>in nineteen seventy nine at the what was apparently the

0:31:18.800 --> 0:31:22.280
<v Speaker 2>height of his popularity in the USSR, and his subsequent

0:31:22.440 --> 0:31:26.080
<v Speaker 2>US films included nineteen eighty four's Moscow in the Hudson

0:31:26.200 --> 0:31:30.040
<v Speaker 2>starring Robin Williams, twenty ten, The Year We Make Contact,

0:31:30.520 --> 0:31:33.520
<v Speaker 2>nineteen eighty six is Armed and Dangerous, nineteen eighty eight's

0:31:33.520 --> 0:31:36.760
<v Speaker 2>Red Heat, and nineteen eighty nine's Tango in Cash. I

0:31:36.800 --> 0:31:39.560
<v Speaker 2>don't have to tell you that he generally played supporting

0:31:39.640 --> 0:31:43.000
<v Speaker 2>Russian characters and or Russian bad guys in these pictures.

0:31:43.440 --> 0:31:45.440
<v Speaker 3>One of these days I got to watch Red Heat.

0:31:45.880 --> 0:31:48.080
<v Speaker 3>Not that I expected to be good. It just seems

0:31:48.160 --> 0:31:49.920
<v Speaker 3>like one of those that would be a kind of

0:31:50.040 --> 0:31:50.800
<v Speaker 3>history lesson.

0:31:51.480 --> 0:31:53.920
<v Speaker 2>I think, of those the films I just named, twenty

0:31:53.960 --> 0:31:56.080
<v Speaker 2>ten is the one I need to see. I haven't

0:31:56.080 --> 0:31:58.240
<v Speaker 2>seen that one, and I've heard that while it's no.

0:31:58.800 --> 0:32:02.560
<v Speaker 2>Two thousand and one, it is interesting in its own right.

0:32:03.640 --> 0:32:08.520
<v Speaker 3>Yeah, I've seen it. It's not bad, but it's I

0:32:08.560 --> 0:32:10.320
<v Speaker 3>don't know. I just don't know if I feel like

0:32:10.360 --> 0:32:12.920
<v Speaker 3>two thousand and one needs needs a sequel film, but

0:32:13.280 --> 0:32:15.200
<v Speaker 3>I don't know, you know, go for it.

0:32:15.720 --> 0:32:17.880
<v Speaker 2>I saw Moscow on the Hudson though at a very

0:32:17.880 --> 0:32:21.840
<v Speaker 2>young age, way too young. It has as I recall,

0:32:21.920 --> 0:32:24.120
<v Speaker 2>there's like a lot of naked Robin Williams in it,

0:32:25.080 --> 0:32:29.640
<v Speaker 2>but I don't remember its quality beyond that. I don't

0:32:29.640 --> 0:32:31.960
<v Speaker 2>think I was at an age to understand what this

0:32:32.040 --> 0:32:36.840
<v Speaker 2>movie was even about. Let's see moving on, Okay, This

0:32:36.880 --> 0:32:40.280
<v Speaker 2>is just a very supporting character, but she stands out

0:32:40.320 --> 0:32:42.760
<v Speaker 2>all the time in the scenes because she's our hot

0:32:42.800 --> 0:32:47.040
<v Speaker 2>squirrel lady. She is played by Marina Poliak born nineteen

0:32:47.080 --> 0:32:50.320
<v Speaker 2>fifty one, Russian actress best known for this film. Maybe

0:32:50.320 --> 0:32:52.280
<v Speaker 2>she was a squirrel woman, I don't know, And if so,

0:32:52.440 --> 0:32:55.040
<v Speaker 2>like it's it's hard to get work in serious cinema.

0:32:55.120 --> 0:32:56.840
<v Speaker 3>You mean, in real life she was part squirrel. I

0:32:56.880 --> 0:32:57.120
<v Speaker 3>think she.

0:32:57.480 --> 0:32:59.560
<v Speaker 2>I don't think she's in makeup here. She's just a

0:32:59.640 --> 0:33:00.840
<v Speaker 2>human squirrel person.

0:33:01.120 --> 0:33:04.959
<v Speaker 3>There are near constant squirrel antics in this film. You know,

0:33:05.000 --> 0:33:07.760
<v Speaker 3>there'll be a scene where you're trying to focus on

0:33:07.800 --> 0:33:10.360
<v Speaker 3>what the main characters are doing, but then a squirrel

0:33:10.440 --> 0:33:11.720
<v Speaker 3>just like runs through the frame.

0:33:13.720 --> 0:33:17.280
<v Speaker 2>All right. The next character is the Swallow. I thought

0:33:17.280 --> 0:33:19.840
<v Speaker 2>she was a spider when I watched the film, because

0:33:20.040 --> 0:33:22.280
<v Speaker 2>the spider people like, she kind of looks like a

0:33:22.320 --> 0:33:24.200
<v Speaker 2>spider woman. I don't know, Like.

0:33:24.520 --> 0:33:27.160
<v Speaker 3>She lives in a tree and dangles from threads.

0:33:27.520 --> 0:33:29.760
<v Speaker 2>Yeah, like she doesn't have a beak, and she also

0:33:29.800 --> 0:33:33.440
<v Speaker 2>doesn't have like mandibles or anything. But but yeah, I

0:33:33.440 --> 0:33:37.200
<v Speaker 2>thought she was a spider. She's played by Violetta Andrei

0:33:37.840 --> 0:33:41.680
<v Speaker 2>born nineteen forty one, a Romanian actress whose credits include

0:33:41.720 --> 0:33:44.600
<v Speaker 2>the East German sci fi film The Dust of the Stars,

0:33:45.080 --> 0:33:48.240
<v Speaker 2>which I believe I've seen and it's one that's been

0:33:48.280 --> 0:33:50.280
<v Speaker 2>on the Weird House Cinema list for a while. To

0:33:50.320 --> 0:33:53.360
<v Speaker 2>come back to, okay, all right, And then coming to

0:33:53.400 --> 0:33:56.800
<v Speaker 2>the musical credits, we have two. One's French, one's Romanian.

0:33:57.440 --> 0:34:01.960
<v Speaker 2>The French composer that's credited is Just Bournois, who lived

0:34:02.000 --> 0:34:05.280
<v Speaker 2>nineteen thirty six through twenty sixteen, not to be confused

0:34:05.280 --> 0:34:07.800
<v Speaker 2>with the French silent film era director of the same name.

0:34:08.000 --> 0:34:12.160
<v Speaker 2>This guy was a composer songwriter. He composed a few

0:34:12.200 --> 0:34:14.360
<v Speaker 2>songs that were made famous by Bridget Bardot in the

0:34:14.440 --> 0:34:17.680
<v Speaker 2>late sixties, and he also had a singles run as

0:34:17.719 --> 0:34:21.080
<v Speaker 2>a musician in the early to mid nineteen sixties. And

0:34:21.120 --> 0:34:25.759
<v Speaker 2>then on the Romanian side we have Domesticole Popa or

0:34:25.920 --> 0:34:30.400
<v Speaker 2>Papa nineteen twenty one through twenty thirteen. He's a Romanian

0:34:30.400 --> 0:34:33.000
<v Speaker 2>composer who worked with the director of this film on

0:34:33.160 --> 0:34:36.000
<v Speaker 2>numerous projects. I think he scored Veronica. I could be

0:34:36.040 --> 0:34:37.759
<v Speaker 2>wrong on that, but if it wasn't Veronica, it was

0:34:37.760 --> 0:34:40.080
<v Speaker 2>one of the other pictures that she'd done.

0:34:40.440 --> 0:34:42.440
<v Speaker 3>As I said earlier, I think the music in the

0:34:42.480 --> 0:34:45.200
<v Speaker 3>movie is quite strong in constant.

0:34:45.320 --> 0:34:48.040
<v Speaker 2>This is so, you know, there are different types of musicals,

0:34:48.040 --> 0:34:49.880
<v Speaker 2>and you know, I don't even know that I have

0:34:49.960 --> 0:34:52.600
<v Speaker 2>the terminology in my head for the different types, but

0:34:52.680 --> 0:34:55.360
<v Speaker 2>this is one where there are a handful of songs,

0:34:55.880 --> 0:34:58.239
<v Speaker 2>but we keep coming back to them again and again,

0:34:58.440 --> 0:35:03.200
<v Speaker 2>different characters singing them, also different renditions of those numbers,

0:35:03.680 --> 0:35:06.240
<v Speaker 2>and it's nearly constant. It's not one of these where

0:35:06.280 --> 0:35:08.120
<v Speaker 2>all right, we've had a little dialogue and now it's

0:35:08.120 --> 0:35:10.960
<v Speaker 2>time for a full blown song. So much, but it's

0:35:10.960 --> 0:35:12.680
<v Speaker 2>also not opera.

0:35:13.000 --> 0:35:16.319
<v Speaker 3>You know. Yeah, And it really varies in terms of

0:35:16.440 --> 0:35:19.800
<v Speaker 3>genre like. Parts of this are full on like rock opera.

0:35:19.880 --> 0:35:23.480
<v Speaker 3>They're like rock songs, almost prog rock. Others feel more

0:35:23.520 --> 0:35:26.240
<v Speaker 3>like traditional kind of stage musical numbers.

0:35:26.719 --> 0:35:29.520
<v Speaker 2>Yeah, and at times it's a little like we've got

0:35:29.560 --> 0:35:31.919
<v Speaker 2>some almost kind of like a Caribbean drum beat going

0:35:31.960 --> 0:35:32.880
<v Speaker 2>on at times, you know.

0:35:33.400 --> 0:35:35.640
<v Speaker 3>And the parrot songs, Yeah, the parrot.

0:35:35.440 --> 0:35:37.520
<v Speaker 2>Songs, which I guess that makes sense, like what's a

0:35:37.560 --> 0:35:39.879
<v Speaker 2>parrot doing here? Like it turn in from somewhere else.

0:35:39.880 --> 0:35:42.600
<v Speaker 2>Maybe we brought some different drum beats with it. And

0:35:42.640 --> 0:35:46.359
<v Speaker 2>then other times there's certainly what feels like more of

0:35:46.440 --> 0:35:49.719
<v Speaker 2>a I don't know, you know, you know, Russo or

0:35:49.800 --> 0:35:54.160
<v Speaker 2>Romanian like folk music kind of mentality there certainly in

0:35:54.239 --> 0:35:57.080
<v Speaker 2>some of like the more lullabot eccentric songs we hear.

0:35:57.400 --> 0:36:08.759
<v Speaker 3>Yeah, I agreed. So I figure when we start off

0:36:08.760 --> 0:36:11.239
<v Speaker 3>talking about the plot, we should talk about the folktale

0:36:11.280 --> 0:36:13.440
<v Speaker 3>this is based on I mentioned earlier. This is based

0:36:13.480 --> 0:36:18.840
<v Speaker 3>on a traditional fairy tale, and so the Grim's fairy

0:36:18.880 --> 0:36:22.360
<v Speaker 3>Tales rendition of this story is known as The Wolf

0:36:22.520 --> 0:36:25.279
<v Speaker 3>and the Seven Young Kids. Here, I'm going to be

0:36:25.320 --> 0:36:28.239
<v Speaker 3>drawing on a translation that's available online by D. L

0:36:28.360 --> 0:36:32.520
<v Speaker 3>Ashleman and The story goes like this. So you've got

0:36:32.560 --> 0:36:35.040
<v Speaker 3>a mother goat who has seven children, and they live

0:36:35.120 --> 0:36:37.600
<v Speaker 3>together in a house in the forest, and one day

0:36:37.719 --> 0:36:41.319
<v Speaker 3>mother has to leave home to forage for something to eat.

0:36:41.480 --> 0:36:44.440
<v Speaker 3>She warns her children that there is a wolf in

0:36:44.480 --> 0:36:46.960
<v Speaker 3>the woods, and while she is gone, the wolf of

0:36:46.960 --> 0:36:48.880
<v Speaker 3>the woods will come to the door and ask to

0:36:48.880 --> 0:36:51.440
<v Speaker 3>be let inside, and if they let him through the door,

0:36:51.480 --> 0:36:53.399
<v Speaker 3>he will eat them all up, so they better keep

0:36:53.440 --> 0:36:55.960
<v Speaker 3>the door shut. The children ask, how are we to

0:36:56.040 --> 0:36:59.120
<v Speaker 3>know if it's you coming home, mummy, And so she says,

0:36:59.320 --> 0:37:01.840
<v Speaker 3>if the young go here knocking at the door, they'll

0:37:01.880 --> 0:37:04.120
<v Speaker 3>be able to know that it's their mother by listening

0:37:04.120 --> 0:37:07.880
<v Speaker 3>for her soft voice and looking at her feet, either

0:37:08.040 --> 0:37:10.640
<v Speaker 3>under the door or through the window. And the wolf

0:37:10.680 --> 0:37:13.680
<v Speaker 3>will have a rough voice and will have furry black paws.

0:37:14.200 --> 0:37:16.960
<v Speaker 3>And so she goes out. She leaves the house, and

0:37:16.960 --> 0:37:19.880
<v Speaker 3>then the text reads quote, it was not long before

0:37:19.960 --> 0:37:24.040
<v Speaker 3>someone knocked at the door and called out open the door, children, Dear,

0:37:24.160 --> 0:37:26.799
<v Speaker 3>your mother is here and has brought something for each

0:37:26.840 --> 0:37:29.960
<v Speaker 3>one of you. But the little kids knew from the

0:37:30.040 --> 0:37:32.680
<v Speaker 3>rough voice that it was the wolf. We will not

0:37:32.800 --> 0:37:35.520
<v Speaker 3>open the door, they cried out, you are not our mother.

0:37:35.800 --> 0:37:38.560
<v Speaker 3>She has a soft and gentle voice, but your voice

0:37:38.600 --> 0:37:42.040
<v Speaker 3>is rough. You are the wolf. So after this, the

0:37:42.080 --> 0:37:44.759
<v Speaker 3>wolf is like, hmm okay, thwarted. So he goes to

0:37:44.800 --> 0:37:47.640
<v Speaker 3>a shop and he buys a piece of chalk and

0:37:47.680 --> 0:37:51.240
<v Speaker 3>then he eats the chalk and that makes his voice soft.

0:37:52.200 --> 0:37:53.799
<v Speaker 3>Don't know how that works, but that is what the

0:37:53.800 --> 0:37:56.799
<v Speaker 3>story says. He goes back to the house again and

0:37:56.840 --> 0:38:00.400
<v Speaker 3>pretends to be the mother, goat on once again. This

0:38:00.560 --> 0:38:03.040
<v Speaker 3>time the kids they hear the soft voice, but then

0:38:03.080 --> 0:38:05.080
<v Speaker 3>they look out the window and they see the wolf's

0:38:05.120 --> 0:38:07.520
<v Speaker 3>black paw and they know he is a wolf, and

0:38:07.560 --> 0:38:09.760
<v Speaker 3>they tell him to go away. And then the text

0:38:09.840 --> 0:38:13.160
<v Speaker 3>reads quote. So the wolf ran to a baker and said,

0:38:13.320 --> 0:38:16.359
<v Speaker 3>I have sprained my foot. Rubbed some dough on it

0:38:16.440 --> 0:38:19.080
<v Speaker 3>for me. After the baker had rubbed a dough on

0:38:19.160 --> 0:38:21.919
<v Speaker 3>his foot, the wolf ran to the miller and said,

0:38:22.080 --> 0:38:25.160
<v Speaker 3>sprinkle some white flour on my foot for me. The

0:38:25.200 --> 0:38:28.880
<v Speaker 3>miller thought this wolf wants to deceive someone and refused

0:38:28.920 --> 0:38:31.320
<v Speaker 3>to do it. So the wolf said, if you will

0:38:31.360 --> 0:38:34.400
<v Speaker 3>not do it, I will eat you up. That frightened

0:38:34.400 --> 0:38:37.479
<v Speaker 3>the miller, and he made his paw white for him. Yes,

0:38:37.800 --> 0:38:42.359
<v Speaker 3>that is the way people are morals in the middle

0:38:42.400 --> 0:38:46.120
<v Speaker 3>of the story, that is the way people are so anyway,

0:38:46.640 --> 0:38:48.560
<v Speaker 3>Now that he has swallowed the chalk to make his

0:38:48.640 --> 0:38:51.680
<v Speaker 3>voice soft and gotten the flowered up dough foot, the

0:38:51.719 --> 0:38:53.680
<v Speaker 3>wolf goes back to the house and tries it again,

0:38:53.840 --> 0:38:56.920
<v Speaker 3>tries again. This time he does trick. The young goats,

0:38:57.000 --> 0:38:59.360
<v Speaker 3>and the little goats led him inside, and he eats

0:38:59.440 --> 0:39:02.080
<v Speaker 3>all of them except for the youngest one, who hides

0:39:02.120 --> 0:39:05.960
<v Speaker 3>inside a clock. Then, satisfied, the wolf goes off takes

0:39:06.000 --> 0:39:09.080
<v Speaker 3>a nap in a meadow. Meanwhile, mother Goat comes home

0:39:09.120 --> 0:39:11.319
<v Speaker 3>from her foraging, and she finds the house all in

0:39:11.400 --> 0:39:14.840
<v Speaker 3>disarray and her children missing. And then she finally she

0:39:14.920 --> 0:39:17.759
<v Speaker 3>locates the youngest goat hiding in the clock, who tells

0:39:17.800 --> 0:39:20.320
<v Speaker 3>her what happened, and together they run to the meadow

0:39:20.360 --> 0:39:23.359
<v Speaker 3>and find the wolf sleeping off his meal. But they

0:39:23.400 --> 0:39:27.239
<v Speaker 3>see something moving and jiggling inside the wolf's belly, And

0:39:27.239 --> 0:39:29.920
<v Speaker 3>then the text reads quote the mother goat sent the

0:39:30.000 --> 0:39:33.400
<v Speaker 3>kid home and to fetch scissors and a needle and thread,

0:39:33.719 --> 0:39:37.359
<v Speaker 3>and then she cut open the monster's paunch. She had

0:39:37.360 --> 0:39:40.439
<v Speaker 3>scarcely made one cut before a little kid stuck its

0:39:40.440 --> 0:39:43.440
<v Speaker 3>head out, and as she continued to cut one after

0:39:43.600 --> 0:39:46.440
<v Speaker 3>the other. All six jumped out, and they were all

0:39:46.480 --> 0:39:49.760
<v Speaker 3>still alive. They were not even hurt, for in his greed,

0:39:49.920 --> 0:39:53.720
<v Speaker 3>the monster had swallowed them down hole. How happy they were.

0:39:54.000 --> 0:39:56.880
<v Speaker 3>They hugged their dear mother and jumped about like a

0:39:56.960 --> 0:40:01.640
<v Speaker 3>tailor on his wedding day. But the mother said, go

0:40:01.760 --> 0:40:04.400
<v Speaker 3>now and look for some big stones. We will fill

0:40:04.480 --> 0:40:08.040
<v Speaker 3>the godless beast's stomach with them while he is still asleep.

0:40:08.560 --> 0:40:11.120
<v Speaker 3>So the kids go gather the stones, they bring him back.

0:40:11.239 --> 0:40:13.560
<v Speaker 3>They put the stones in the wolf's belly, and then

0:40:13.600 --> 0:40:16.759
<v Speaker 3>they sow him up again. And the wolf wakes up thirsty,

0:40:16.840 --> 0:40:18.520
<v Speaker 3>and he decides, well, I'm going to go to a

0:40:18.560 --> 0:40:21.360
<v Speaker 3>nearby well and get some water. But when he begins

0:40:21.400 --> 0:40:24.120
<v Speaker 3>to walk, he cries out in pain. He cries out

0:40:24.200 --> 0:40:28.200
<v Speaker 3>quote what rumbles and tumbles inside of me? I thought

0:40:28.239 --> 0:40:32.080
<v Speaker 3>it was kids, but it stones that they be. And

0:40:32.160 --> 0:40:34.480
<v Speaker 3>so the story finishes. Quote. When he got to the

0:40:34.480 --> 0:40:36.680
<v Speaker 3>well and leaned over the water to drink, the heavy

0:40:36.680 --> 0:40:40.040
<v Speaker 3>stones pulled him in and he drowned miserably. When the

0:40:40.080 --> 0:40:42.480
<v Speaker 3>seven kids saw what had happened, they ran up and

0:40:42.520 --> 0:40:45.520
<v Speaker 3>cried out, the wolf is dead. The wolf is dead,

0:40:45.840 --> 0:40:48.840
<v Speaker 3>and with their mother. They danced for joy around about

0:40:48.880 --> 0:40:52.560
<v Speaker 3>the well. So how much does this overlap with the

0:40:52.600 --> 0:40:58.359
<v Speaker 3>plot of the movie. Uh, I would say medium moderately. Unfortunately,

0:40:58.640 --> 0:41:01.040
<v Speaker 3>in this movie they never cut the wolf open and

0:41:01.080 --> 0:41:05.040
<v Speaker 3>fill him up with stones. But the major conflict of

0:41:05.200 --> 0:41:09.440
<v Speaker 3>the film is the same. And I guess because the

0:41:09.480 --> 0:41:11.719
<v Speaker 3>plot here is very loose, we should just sort of

0:41:11.719 --> 0:41:14.239
<v Speaker 3>summarize up top and then we can go and fill

0:41:14.280 --> 0:41:17.880
<v Speaker 3>in some texture when we talk about individual songs and scenes.

0:41:18.360 --> 0:41:22.520
<v Speaker 3>But the general plot is that Mama Goat aka missus

0:41:22.640 --> 0:41:25.839
<v Speaker 3>Rada lives in a house in the forest with her

0:41:25.880 --> 0:41:29.000
<v Speaker 3>goat children. In this case, it's within a kind of

0:41:29.080 --> 0:41:32.400
<v Speaker 3>animal village where one house is full of rabbit people,

0:41:32.560 --> 0:41:36.200
<v Speaker 3>one house's sheep, one house is squirrels, and so forth,

0:41:36.239 --> 0:41:39.400
<v Speaker 3>and there's also a donkey. And there is a pipe

0:41:39.480 --> 0:41:43.800
<v Speaker 3>smoking wolf in this village named Titisuru who he lives

0:41:43.800 --> 0:41:46.160
<v Speaker 3>in town, and he spends the first quarter of the

0:41:46.200 --> 0:41:49.000
<v Speaker 3>movie telling Rada that he is going to eat her children,

0:41:49.360 --> 0:41:51.719
<v Speaker 3>and she tells him no, and then they dance and

0:41:51.760 --> 0:41:52.799
<v Speaker 3>make eyes at each other.

0:41:53.200 --> 0:41:55.520
<v Speaker 2>Yeah, there's a lot of like, no, for real, I'm

0:41:55.560 --> 0:41:58.920
<v Speaker 2>going to eat your brats, like he calls them. Brats essentially,

0:41:59.480 --> 0:42:02.600
<v Speaker 2>and he is pretty clear like I'm a predator there,

0:42:02.640 --> 0:42:05.000
<v Speaker 2>baby goats, I am going to eat your children. And

0:42:05.040 --> 0:42:07.200
<v Speaker 2>she's like, oh, no, you won't. But there's kind of

0:42:07.200 --> 0:42:07.799
<v Speaker 2>a wink there.

0:42:08.120 --> 0:42:11.400
<v Speaker 3>Yeah. Yeah. And so in the movie, kind of like

0:42:11.440 --> 0:42:15.000
<v Speaker 3>in the folk tale, there's a secret code that Mama

0:42:15.080 --> 0:42:17.880
<v Speaker 3>Rada uses to enter the goat castle, but in the movie,

0:42:18.239 --> 0:42:21.880
<v Speaker 3>it's a song. It's a song that Rada teaches her children,

0:42:22.400 --> 0:42:24.800
<v Speaker 3>and she has to sing it note for note perfect

0:42:24.880 --> 0:42:28.919
<v Speaker 3>to be granted access. And I'm sure anybody who's seen

0:42:28.960 --> 0:42:31.640
<v Speaker 3>this movie will have this song burned in their brain forever.

0:42:31.760 --> 0:42:34.680
<v Speaker 3>You hear it many many times, in both its correct

0:42:34.719 --> 0:42:39.360
<v Speaker 3>form and in its incorrect form when when crudely attempted

0:42:39.360 --> 0:42:43.560
<v Speaker 3>by the wolf and his companions, but he goes Mama's home.

0:42:43.680 --> 0:42:46.160
<v Speaker 3>Now you can open the door, and it goes on

0:42:46.239 --> 0:42:48.480
<v Speaker 3>with this whole thing about like I've brought you strawberries

0:42:48.520 --> 0:42:50.680
<v Speaker 3>covered in honeydew and stuff like that.

0:42:52.040 --> 0:42:53.840
<v Speaker 2>And so the idea is the kids will listen, is

0:42:53.920 --> 0:42:57.040
<v Speaker 2>like that is that Mama, I don't know, let's hear yep,

0:42:57.080 --> 0:42:59.719
<v Speaker 2>that's her. Her voice sounds perfect, it's beautiful. Then you

0:42:59.760 --> 0:43:02.279
<v Speaker 2>open door and she comes in right now.

0:43:02.400 --> 0:43:06.000
<v Speaker 3>Sue Ru spends much of the movie trying to learn

0:43:06.080 --> 0:43:09.120
<v Speaker 3>to sing this song correctly. He's like outside the house

0:43:09.200 --> 0:43:12.960
<v Speaker 3>eavesdropping and writing out sheet music quickly as he hears it.

0:43:13.320 --> 0:43:15.319
<v Speaker 2>Yeah yeah, yeah. So he spends a lot of time

0:43:15.400 --> 0:43:20.760
<v Speaker 2>like workshopping at with his his buddies, the Donkey, the

0:43:20.640 --> 0:43:22.600
<v Speaker 2>the What, the.

0:43:21.840 --> 0:43:25.000
<v Speaker 3>The Lynx, the Lyne. Yeah.

0:43:25.040 --> 0:43:27.359
<v Speaker 2>So they're all working on it, and at times it's just,

0:43:27.400 --> 0:43:30.160
<v Speaker 2>you know, it's too it's too rock and roll. You know,

0:43:30.520 --> 0:43:33.000
<v Speaker 2>he is a rock and roll wolf after all, So

0:43:33.040 --> 0:43:36.000
<v Speaker 2>it takes him a while to really refine the performance

0:43:36.239 --> 0:43:38.280
<v Speaker 2>to the point where he can attempt to pull off

0:43:39.239 --> 0:43:40.400
<v Speaker 2>this this scheme.

0:43:40.840 --> 0:43:43.160
<v Speaker 3>Yeah. Now, there's a subplot in the middle here where

0:43:43.200 --> 0:43:47.400
<v Speaker 3>one of the Goat children, the older boy Mattei, wants

0:43:47.440 --> 0:43:49.759
<v Speaker 3>to escape the house and go to the fair while

0:43:49.840 --> 0:43:52.560
<v Speaker 3>mama is out, even though it's dangerous and the wolf

0:43:52.600 --> 0:43:54.960
<v Speaker 3>is prowling around. So he runs out and then he

0:43:55.000 --> 0:43:57.200
<v Speaker 3>gets into trouble and he gets pursued by the wolf

0:43:57.239 --> 0:44:00.520
<v Speaker 3>and his allies. But that that's sort of a b

0:44:00.640 --> 0:44:03.320
<v Speaker 3>plot in the middle of the movie. Eventually, the wolf

0:44:03.480 --> 0:44:06.560
<v Speaker 3>and his goons kidnap a couple of the goat kids.

0:44:07.480 --> 0:44:10.440
<v Speaker 3>And even though early on it was suggested that the

0:44:10.440 --> 0:44:13.360
<v Speaker 3>wolf would eat the children, he doesn't eat them. It

0:44:13.400 --> 0:44:15.600
<v Speaker 3>seems what he really wants is to hold them for

0:44:15.800 --> 0:44:19.080
<v Speaker 3>ransom so that Mama Rada must pay him a bag

0:44:19.160 --> 0:44:22.239
<v Speaker 3>of gold. He's like, give me the gold. He has

0:44:22.320 --> 0:44:25.759
<v Speaker 3>this short speech about how much he wants gold. Of

0:44:25.800 --> 0:44:27.960
<v Speaker 3>what use is gold to a wolf? I don't know,

0:44:28.000 --> 0:44:29.720
<v Speaker 3>but he wants gold, gold, gold.

0:44:30.040 --> 0:44:31.840
<v Speaker 2>Well, I think one of his cronies ask him, like,

0:44:31.840 --> 0:44:33.400
<v Speaker 2>what are you gonna do with the gold, and he's like,

0:44:33.440 --> 0:44:35.720
<v Speaker 2>I'm gonna do what everybody does with the gold, baby,

0:44:36.440 --> 0:44:38.200
<v Speaker 2>which is spend it. But I mean, again, what's he

0:44:38.239 --> 0:44:41.200
<v Speaker 2>gonna spend it on? I guess I don't know. Food.

0:44:42.000 --> 0:44:45.520
<v Speaker 3>The wolf in the Brother's Grim story does buy something.

0:44:45.640 --> 0:44:48.160
<v Speaker 3>Remember he goes and he buys chalk and then eats it.

0:44:48.640 --> 0:44:53.520
<v Speaker 2>Okay, all right, so open question then yeah.

0:44:53.040 --> 0:44:55.200
<v Speaker 3>So anyway, Yeah, So a couple of the goat children

0:44:55.239 --> 0:44:58.520
<v Speaker 3>get kidnapped, but then Rada comes up with a plan

0:44:58.640 --> 0:45:01.840
<v Speaker 3>to get her children back in revenge. So she first

0:45:02.040 --> 0:45:05.080
<v Speaker 3>there's a lot of dancing, like ice skating and dancing

0:45:05.120 --> 0:45:07.560
<v Speaker 3>around on the ice, and the whole village comes out

0:45:07.560 --> 0:45:10.280
<v Speaker 3>to the frozen pond in the wintertime, and ice skates

0:45:10.320 --> 0:45:13.319
<v Speaker 3>around and dances and stuff. And then Rada dances with

0:45:13.400 --> 0:45:17.200
<v Speaker 3>the wolf and they're, you know, it's very flirty dancing.

0:45:17.360 --> 0:45:19.320
<v Speaker 3>But then also he's like, give me the gold, and

0:45:19.400 --> 0:45:23.239
<v Speaker 3>what the gold? And so she eventually uses what I

0:45:23.280 --> 0:45:25.080
<v Speaker 3>don't know if it's actually a bag of gold, but

0:45:25.120 --> 0:45:27.280
<v Speaker 3>it's something made to look like a bag of gold.

0:45:27.360 --> 0:45:30.360
<v Speaker 3>She uses it as bait to trick him into falling

0:45:30.440 --> 0:45:33.160
<v Speaker 3>into a trap that the villagers have made in the

0:45:33.200 --> 0:45:36.959
<v Speaker 3>ice of the frozen pond. So the wolf falls into

0:45:36.960 --> 0:45:39.560
<v Speaker 3>the water, and while he's drowning in the freezing water,

0:45:40.000 --> 0:45:43.279
<v Speaker 3>his co conspirators again, the younger wolf, the Lynx, and

0:45:43.280 --> 0:45:46.120
<v Speaker 3>the donkey, they sort of have a change of heart

0:45:46.280 --> 0:45:50.040
<v Speaker 3>and they bring Rada's children back to her. And then

0:45:50.080 --> 0:45:52.799
<v Speaker 3>mister Wolf is pulled from the water and allowed to live,

0:45:52.920 --> 0:45:55.440
<v Speaker 3>and he promises he has a changed wolf, will he

0:45:55.440 --> 0:45:58.760
<v Speaker 3>will never kidnap her children again, and everyone lives happily

0:45:58.760 --> 0:45:59.280
<v Speaker 3>ever after.

0:46:00.160 --> 0:46:02.520
<v Speaker 2>That's it, and that's how it goes down. Nobody is

0:46:02.560 --> 0:46:06.279
<v Speaker 2>cut open, no stones are implanet in anybody's body, and

0:46:06.400 --> 0:46:10.520
<v Speaker 2>everyone learns their lesson. But we cannot stress how much

0:46:10.800 --> 0:46:14.320
<v Speaker 2>dancing and dare I say prancing occurs on the road?

0:46:14.360 --> 0:46:15.200
<v Speaker 2>Did this conclusion?

0:46:15.480 --> 0:46:20.640
<v Speaker 3>Oh? Unbelievable amounts of gambling and gyrating about Oh, And

0:46:20.760 --> 0:46:22.680
<v Speaker 3>I haven't mentioned this anywhere else, so I guess I'll

0:46:22.680 --> 0:46:25.520
<v Speaker 3>just throw it in here. I mentioned that the you know,

0:46:25.560 --> 0:46:27.880
<v Speaker 3>the visual textures of the movie are good, like the

0:46:28.520 --> 0:46:31.759
<v Speaker 3>costumes and the and the makeup and the sets and

0:46:31.800 --> 0:46:34.040
<v Speaker 3>all that are great. But I just really want to

0:46:34.560 --> 0:46:40.560
<v Speaker 3>emphasize again how much how much landscape texture there is

0:46:40.600 --> 0:46:43.600
<v Speaker 3>in the village set, which is a great is a

0:46:43.640 --> 0:46:47.440
<v Speaker 3>great compliment to the choreography and the dancing. So it's

0:46:47.480 --> 0:46:50.000
<v Speaker 3>in this lovely natural setting in the forest, but there

0:46:50.000 --> 0:46:53.719
<v Speaker 3>are just all these interesting little things for the dancers

0:46:53.760 --> 0:46:56.440
<v Speaker 3>to kind of move around and react to, all these

0:46:56.480 --> 0:47:01.080
<v Speaker 3>little pathways and gates and staircases and lap and railings

0:47:01.120 --> 0:47:05.280
<v Speaker 3>and little bridges, and it's all very rustic and pretty,

0:47:05.600 --> 0:47:09.480
<v Speaker 3>and it makes for a perfect landscape for these rambling

0:47:09.600 --> 0:47:12.200
<v Speaker 3>dance numbers that lead the characters from one edge of

0:47:12.200 --> 0:47:13.120
<v Speaker 3>the village to another.

0:47:13.840 --> 0:47:18.560
<v Speaker 2>Absolutely, yeah, it really the environment feels very authentic, you know,

0:47:18.760 --> 0:47:22.520
<v Speaker 2>like it's almost like they these actors, as these animals

0:47:22.520 --> 0:47:25.880
<v Speaker 2>lived here for months or something leading up to the

0:47:25.920 --> 0:47:26.760
<v Speaker 2>actual filming.

0:47:27.160 --> 0:47:30.520
<v Speaker 3>Yeah, okay, you want to talk about the individual scenes

0:47:30.560 --> 0:47:31.520
<v Speaker 3>and musical numbers.

0:47:32.000 --> 0:47:34.279
<v Speaker 2>Yeah, let's start with the beginning, because you know, Joe,

0:47:34.280 --> 0:47:37.839
<v Speaker 2>they pull a reverse Holy Mountain on us here, which

0:47:37.840 --> 0:47:38.719
<v Speaker 2>is kind of interesting.

0:47:38.960 --> 0:47:44.160
<v Speaker 3>Yeah. Yeah, So we start outside of the story with

0:47:44.280 --> 0:47:49.160
<v Speaker 3>the credit sequence taking place over shots of the actors

0:47:49.239 --> 0:47:53.480
<v Speaker 3>being introduced with credits as they get into costume and

0:47:53.520 --> 0:47:56.680
<v Speaker 3>have their makeup applied. Interesting choice.

0:47:56.840 --> 0:47:59.719
<v Speaker 2>Yeah, And for some reason for me, this really drove

0:47:59.760 --> 0:48:02.440
<v Speaker 2>home the nineteen seventies musical quality. I don't know why.

0:48:02.440 --> 0:48:05.279
<v Speaker 2>Maybe it's just because you're seeing, you know, guys and

0:48:05.320 --> 0:48:08.319
<v Speaker 2>gals who are clearly denizens of the nineteen seventies, like

0:48:08.400 --> 0:48:13.520
<v Speaker 2>in their casual clothing, being transformed into these timeless woodland creatures.

0:48:13.920 --> 0:48:18.319
<v Speaker 3>Yeah, there is a softening, kind of humanizing element to

0:48:18.400 --> 0:48:20.960
<v Speaker 3>it because, for example, one of the things we see

0:48:21.640 --> 0:48:26.200
<v Speaker 3>is the actor who plays the villain, who plays mister Wolf,

0:48:26.920 --> 0:48:29.120
<v Speaker 3>is like sitting in a chair in his makeup chair,

0:48:29.520 --> 0:48:32.319
<v Speaker 3>and the kids who play the goat children in the

0:48:32.360 --> 0:48:35.360
<v Speaker 3>movie are like play They're like putting funny makeup on

0:48:35.440 --> 0:48:38.840
<v Speaker 3>his face and they're all laughing about it. So it's like, oh, okay,

0:48:39.120 --> 0:48:41.120
<v Speaker 3>he's the bad guy in the movie, but in real

0:48:41.200 --> 0:48:42.240
<v Speaker 3>life they're all friends.

0:48:42.480 --> 0:48:45.160
<v Speaker 2>Yeah, it's all in good fun. Children. Yeah, don't be

0:48:45.200 --> 0:48:47.040
<v Speaker 2>stressed out by anything. You're about to see.

0:48:47.440 --> 0:48:51.080
<v Speaker 3>Kind of interesting cinematography choice here in this scene where

0:48:51.120 --> 0:48:55.120
<v Speaker 3>we're meeting all the characters is that most often sometimes

0:48:55.160 --> 0:48:57.200
<v Speaker 3>we just get like a headshot where they smile at

0:48:57.200 --> 0:49:00.399
<v Speaker 3>the camera, but more often we see performers making eye

0:49:00.480 --> 0:49:03.680
<v Speaker 3>contact with the camera through a mirror, so the camera's

0:49:03.760 --> 0:49:06.680
<v Speaker 3>over their shoulder and we're looking into their makeup mirror

0:49:06.719 --> 0:49:11.200
<v Speaker 3>and connecting with them that way. Yeah. Yeah, Also, did

0:49:11.239 --> 0:49:14.320
<v Speaker 3>you notice how in this part, basically everybody is smiling

0:49:14.360 --> 0:49:17.480
<v Speaker 3>as they meet the camera except the actor who plays Donkey,

0:49:17.600 --> 0:49:21.640
<v Speaker 3>who's just grimacing and looking like, you know, why go

0:49:21.719 --> 0:49:23.800
<v Speaker 3>on with this masquerade of a life.

0:49:24.280 --> 0:49:27.200
<v Speaker 2>Well, he's method, you know, he's Donkey from the get go.

0:49:27.320 --> 0:49:30.919
<v Speaker 2>He showed up this morning Donkey before he even put

0:49:31.000 --> 0:49:31.719
<v Speaker 2>the makeup.

0:49:31.480 --> 0:49:33.520
<v Speaker 3>Or the ears on. He looks like he has just

0:49:33.560 --> 0:49:39.800
<v Speaker 3>about had it with this job. Sick of playing Donkey. Okay,

0:49:39.800 --> 0:49:43.160
<v Speaker 3>but let's go into the world. Now, we go into

0:49:43.200 --> 0:49:48.000
<v Speaker 3>the forest, into the village of fantastic magical creatures. And

0:49:48.120 --> 0:49:49.160
<v Speaker 3>what's our first song?

0:49:49.719 --> 0:49:52.319
<v Speaker 2>Oh, the first one is I honestly don't remember what

0:49:52.440 --> 0:49:55.520
<v Speaker 2>the song is, but this one is by a parrot

0:49:56.160 --> 0:49:58.719
<v Speaker 2>and it's kind of an upbeat, prancing tune set to

0:49:58.800 --> 0:50:03.279
<v Speaker 2>some furious It's kind of almost Caribbean drumming, you know.

0:50:03.400 --> 0:50:06.839
<v Speaker 3>Yeah, yeah, this is the one that goes ladies and gentlemen.

0:50:09.000 --> 0:50:11.279
<v Speaker 3>So before the song even starts, I think one of

0:50:11.280 --> 0:50:14.040
<v Speaker 3>the first things we see is like the squirrel lady,

0:50:14.280 --> 0:50:16.520
<v Speaker 3>she's she's looking out at the road leading to the

0:50:16.600 --> 0:50:20.200
<v Speaker 3>village and she screams like here he comes. And then

0:50:20.480 --> 0:50:25.480
<v Speaker 3>mister Parrot, a twee voiced master of ceremonies type presence

0:50:25.800 --> 0:50:30.200
<v Speaker 3>in a teal tuxedo jacket, a red cravat and a

0:50:30.280 --> 0:50:33.520
<v Speaker 3>rainbow wig, is riding into town on this rag and

0:50:33.680 --> 0:50:38.600
<v Speaker 3>bone shop velocipede, singing a song I had to. This

0:50:38.640 --> 0:50:40.600
<v Speaker 3>is one of the many parts where when I went

0:50:40.680 --> 0:50:43.359
<v Speaker 3>back and I listened to the lyrics more closely, I

0:50:43.440 --> 0:50:45.799
<v Speaker 3>was like, wait, what is this about. It sounds like

0:50:45.840 --> 0:50:49.320
<v Speaker 3>the song is about artifacts he has stolen from various

0:50:49.360 --> 0:50:52.480
<v Speaker 3>places around the world. He says that he went to

0:50:52.600 --> 0:50:56.000
<v Speaker 3>Tehran where he got a rock that shows the future,

0:50:56.640 --> 0:51:00.080
<v Speaker 3>and from Bali he took something referred to as the

0:51:00.120 --> 0:51:01.600
<v Speaker 3>ancient magic tree.

0:51:02.360 --> 0:51:04.279
<v Speaker 2>Well, I've got news for mister Parrett. I feel like

0:51:04.320 --> 0:51:07.239
<v Speaker 2>those artifacts and tales of their exploits are gonna be

0:51:07.280 --> 0:51:10.680
<v Speaker 2>lost on this crowd because these animals are a little

0:51:10.719 --> 0:51:14.080
<v Speaker 2>more down to earth in their yeah, their needs and aspirations.

0:51:14.200 --> 0:51:16.440
<v Speaker 3>Yeah, I think they would rather have like some cakes

0:51:16.480 --> 0:51:21.319
<v Speaker 3>and stuff. Yeah, this is the Shire. In fact, this

0:51:21.400 --> 0:51:24.040
<v Speaker 3>is exactly this is the shire. Because the other thing

0:51:24.120 --> 0:51:27.720
<v Speaker 3>is the implication in this song is that everybody loves Parrot.

0:51:27.920 --> 0:51:30.799
<v Speaker 3>And it's like when gandhlf arrives at the Shire in

0:51:30.880 --> 0:51:34.280
<v Speaker 3>his cart, the children are all running around screeching with joy.

0:51:35.080 --> 0:51:37.520
<v Speaker 3>Parrot here does not set off any fireworks, but he

0:51:37.600 --> 0:51:40.840
<v Speaker 3>might as well. We also get several close up shots

0:51:40.840 --> 0:51:44.440
<v Speaker 3>of the various like lady animals of the village watching

0:51:44.520 --> 0:51:48.760
<v Speaker 3>Parrot's arrival with rapturous admiration, Like we see the lamb

0:51:48.840 --> 0:51:53.080
<v Speaker 3>lady looking at him like what a hunk. But anyway,

0:51:53.120 --> 0:51:56.839
<v Speaker 3>the whole number has this traveling medicine show quality to it.

0:51:56.920 --> 0:51:59.799
<v Speaker 3>He he comes in on his velocipede cart and then

0:51:59.840 --> 0:52:01.880
<v Speaker 3>they set up a kind of stage where he stands

0:52:01.920 --> 0:52:06.160
<v Speaker 3>there singing to the crowd. And Parrot's arrival is presaging

0:52:06.200 --> 0:52:09.680
<v Speaker 3>a fare that will be held I think the following day.

0:52:10.280 --> 0:52:13.120
<v Speaker 2>Now, he doesn't particularly have any role in the plot.

0:52:13.280 --> 0:52:17.560
<v Speaker 2>He's just here to facilitate dance numbers though, so unlike Gandalf.

0:52:18.200 --> 0:52:21.160
<v Speaker 3>Yeah yeah, yeah, that's right. Anyway, while all this is

0:52:21.200 --> 0:52:25.000
<v Speaker 3>going on, we also see another major character, the Wolf.

0:52:25.239 --> 0:52:27.120
<v Speaker 3>He's up in his tower. I don't know what you

0:52:27.160 --> 0:52:29.360
<v Speaker 3>would call this building he lives in, but he's in

0:52:29.440 --> 0:52:31.759
<v Speaker 3>this building that's like got a view up and over

0:52:31.840 --> 0:52:36.320
<v Speaker 3>everything else, and he's standing standing watching the celebrations suspiciously

0:52:36.440 --> 0:52:40.799
<v Speaker 3>through a wooden spyglass up in his wolf tower. So

0:52:40.840 --> 0:52:44.120
<v Speaker 3>he's there with his flowing mane of hair, a strong eyebrows,

0:52:44.200 --> 0:52:47.160
<v Speaker 3>strong mustache. He makes an impression the first time you

0:52:47.200 --> 0:52:50.880
<v Speaker 3>see him. And also he's keenly peering out at things

0:52:50.920 --> 0:52:53.880
<v Speaker 3>going on. He has he has a predator's gaze. You know,

0:52:53.960 --> 0:52:56.279
<v Speaker 3>he's ready. He's ready to eat some of the herbivores

0:52:56.320 --> 0:53:00.600
<v Speaker 3>of the village. And Wolf begins to watch a single

0:53:00.640 --> 0:53:04.680
<v Speaker 3>family among the crowd, that of mother Goat missus Rada

0:53:04.880 --> 0:53:07.719
<v Speaker 3>and her children, who are on their way home. The

0:53:07.800 --> 0:53:10.799
<v Speaker 3>children are begging to be taken to the upcoming fair,

0:53:11.239 --> 0:53:14.000
<v Speaker 3>and this leads into the second song, which is performed

0:53:14.040 --> 0:53:14.720
<v Speaker 3>by the wolf.

0:53:15.400 --> 0:53:19.040
<v Speaker 2>Yeah, this is a bold, sauntering number that it occupies

0:53:19.040 --> 0:53:23.560
<v Speaker 2>that place where comedic brass and seductive brass meet. It's

0:53:23.600 --> 0:53:25.960
<v Speaker 2>also it's based of his his allow me to introduce

0:53:26.040 --> 0:53:29.120
<v Speaker 2>myself toun where he tells you who he is and

0:53:29.120 --> 0:53:29.960
<v Speaker 2>what he's all about.

0:53:30.200 --> 0:53:33.120
<v Speaker 3>This got funnier once again when I went and transcribed

0:53:33.200 --> 0:53:37.800
<v Speaker 3>the lyrics. He's saying, how do you do? I'm Titisuru,

0:53:37.920 --> 0:53:41.880
<v Speaker 3>friendliest wolf you've met. You'll hear the strangest things about me,

0:53:42.040 --> 0:53:45.719
<v Speaker 3>for it's been said that I could be responsible for

0:53:45.840 --> 0:53:51.359
<v Speaker 3>incidents unexplained. People do invent the oddest tales. That's not

0:53:51.400 --> 0:53:53.680
<v Speaker 3>what I would put in my cover letter. The first

0:53:53.680 --> 0:53:56.399
<v Speaker 3>thing you're hearing from him is people tell a little

0:53:56.520 --> 0:53:58.919
<v Speaker 3>lies about me. M Yeah.

0:53:58.960 --> 0:54:01.960
<v Speaker 2>People will try to pin various unsolved murders on me,

0:54:02.239 --> 0:54:06.279
<v Speaker 2>but there's actually no connection. My alibi is pretty solid. Yeah,

0:54:06.560 --> 0:54:07.840
<v Speaker 2>it's not a convincing start.

0:54:08.719 --> 0:54:11.719
<v Speaker 3>It's great when like, the first thing somebody says when

0:54:11.760 --> 0:54:14.040
<v Speaker 3>you meet them is like, my haters are all lying.

0:54:15.040 --> 0:54:16.400
<v Speaker 2>Yeah.

0:54:16.440 --> 0:54:19.520
<v Speaker 3>Anyway, Titisuru goes out dancing through the middle of the

0:54:19.600 --> 0:54:23.720
<v Speaker 3>village with his posse, which includes his nephew, the young Wolf,

0:54:24.080 --> 0:54:26.920
<v Speaker 3>and as we mentioned earlier, also a lynx and the

0:54:26.960 --> 0:54:30.560
<v Speaker 3>town donkey who is a kind of dolorous clown. And

0:54:30.880 --> 0:54:34.160
<v Speaker 3>mister Wolf greets people in town and they mostly seem

0:54:34.239 --> 0:54:37.279
<v Speaker 3>to regard him with naive trust. Is that how you

0:54:37.320 --> 0:54:40.200
<v Speaker 3>took this in the beginning, Like everybody seems to be like, oh,

0:54:40.239 --> 0:54:43.600
<v Speaker 3>mister Wolf, Yeah he's handsome, he's a nice guy. He says,

0:54:43.640 --> 0:54:44.240
<v Speaker 3>he's nice.

0:54:44.880 --> 0:54:48.439
<v Speaker 2>Yeah. Yeah. They have kind of this I don't know, Yeah,

0:54:48.480 --> 0:54:52.360
<v Speaker 2>this kind of like passive response to the predator in

0:54:52.360 --> 0:54:55.120
<v Speaker 2>their midst It's like, well, he's not attractively attacking anyone

0:54:55.200 --> 0:54:57.160
<v Speaker 2>right now, so I guess we'll keep grazing.

0:54:57.600 --> 0:55:01.040
<v Speaker 3>Yeah, But then Wolf comes up. He squares off with

0:55:01.200 --> 0:55:04.920
<v Speaker 3>Rada and her children. Rada, the way she reacts to

0:55:05.000 --> 0:55:09.080
<v Speaker 3>him is complex. It's like she sees through this and

0:55:09.200 --> 0:55:11.480
<v Speaker 3>she knows better than to trust him. So there's no

0:55:12.800 --> 0:55:16.120
<v Speaker 3>she doesn't have the naive reaction that the other villagers have,

0:55:16.360 --> 0:55:18.839
<v Speaker 3>Like she knows immediately what's up with this guy. She's

0:55:18.840 --> 0:55:22.400
<v Speaker 3>too wise, and so she rebukes him. But there is

0:55:22.480 --> 0:55:26.920
<v Speaker 3>also a constant, simmering underlying element of hubba hubbah.

0:55:27.280 --> 0:55:30.200
<v Speaker 2>Yeah, I mean it's basically like, I know you're a

0:55:30.239 --> 0:55:32.919
<v Speaker 2>bad boy, but I kind of like bad boy. And

0:55:33.200 --> 0:55:36.360
<v Speaker 2>that's basically that tension throughout the picture with the but

0:55:36.440 --> 0:55:39.279
<v Speaker 2>with the added detail that said bad boy wants to

0:55:39.360 --> 0:55:40.400
<v Speaker 2>kill and eat her children.

0:55:40.640 --> 0:55:43.719
<v Speaker 3>Yeah. Yeah, so he explains in the song, well, he

0:55:43.760 --> 0:55:47.000
<v Speaker 3>doesn't say that at first. Instead, at first he says,

0:55:47.120 --> 0:55:49.720
<v Speaker 3>your children, uh, number one, they make too much noise

0:55:49.840 --> 0:55:53.160
<v Speaker 3>and they tease me, and I can't tolerate that. So

0:55:53.239 --> 0:55:56.359
<v Speaker 3>he says, this is your final warning, and also I

0:55:56.400 --> 0:55:59.320
<v Speaker 3>am a wolf and my wolf instinct will not be suppressed.

0:56:00.680 --> 0:56:03.440
<v Speaker 3>But then, almost as if to play down the danger,

0:56:03.520 --> 0:56:05.680
<v Speaker 3>Sueru just kind of like dances off. He does like

0:56:05.680 --> 0:56:10.360
<v Speaker 3>a little tap dance number with his goons, and he's

0:56:10.440 --> 0:56:12.879
<v Speaker 3>you know, running around the village dancing. And while he's

0:56:12.880 --> 0:56:16.000
<v Speaker 3>off with this guys, he starts singing about how ooh,

0:56:16.040 --> 0:56:18.719
<v Speaker 3>of all the children I've ever seen, missus Rada's kids

0:56:18.719 --> 0:56:21.520
<v Speaker 3>would be the finest cuisine. So he's like, I Am

0:56:21.560 --> 0:56:22.800
<v Speaker 3>going to eat those goats.

0:56:23.480 --> 0:56:26.600
<v Speaker 2>So this leads almost immediately into the third song I

0:56:26.600 --> 0:56:29.520
<v Speaker 2>guess this is. This one's performed by Rada basically putting

0:56:29.520 --> 0:56:33.440
<v Speaker 2>the wolf in his place, saying, let my children be Basically,

0:56:33.480 --> 0:56:35.600
<v Speaker 2>we're gonna go into and out of a lot of

0:56:35.680 --> 0:56:38.439
<v Speaker 2>songs in this picture at the drop of a hat,

0:56:38.680 --> 0:56:42.120
<v Speaker 2>but sometimes just for like less than a minute even,

0:56:42.480 --> 0:56:44.600
<v Speaker 2>and then sometimes for longer. You never know how long

0:56:44.640 --> 0:56:46.960
<v Speaker 2>they're going to sing a particular song which keeps you

0:56:47.000 --> 0:56:49.000
<v Speaker 2>on your feet. You know, you don't get that. It's

0:56:49.000 --> 0:56:50.960
<v Speaker 2>easy to get worn out with musicals where it's like, oh,

0:56:50.960 --> 0:56:53.439
<v Speaker 2>I hear another song coming on. Well, yeah, you're gonna

0:56:53.440 --> 0:56:55.160
<v Speaker 2>get hit with him constantly, but some of them are

0:56:55.200 --> 0:57:07.480
<v Speaker 2>very short. Okay, where are we in the plot to

0:57:07.719 --> 0:57:09.360
<v Speaker 2>kidnap the Goat children?

0:57:09.640 --> 0:57:11.560
<v Speaker 3>Well, I think there isn't a plot yet. We've just

0:57:11.600 --> 0:57:16.760
<v Speaker 3>had the conflict between between Wolf and Rada, like they've

0:57:16.760 --> 0:57:20.480
<v Speaker 3>had their square off. Its kind of flirting but also

0:57:20.560 --> 0:57:24.560
<v Speaker 3>threatening each other. Rada is seeing through the Wolf's suave exterior,

0:57:25.280 --> 0:57:27.920
<v Speaker 3>but she's wary of him, but she's also kind of

0:57:27.920 --> 0:57:31.760
<v Speaker 3>into him, and so that's strange. But yeah, yeah, so

0:57:32.240 --> 0:57:34.439
<v Speaker 3>so far, that's where we are. And here we get

0:57:34.440 --> 0:57:37.640
<v Speaker 3>into a medley that was one of my favorite parts

0:57:37.680 --> 0:57:40.640
<v Speaker 3>of the movie because it's just sort of a string

0:57:40.680 --> 0:57:43.640
<v Speaker 3>of songs that are mostly sung by the bad guys

0:57:44.200 --> 0:57:47.360
<v Speaker 3>but then interrupted by some good dance numbers by the

0:57:47.360 --> 0:57:50.960
<v Speaker 3>good characters, but the string of songs by the Wolf's

0:57:51.000 --> 0:57:53.560
<v Speaker 3>Gang goes on for like ten minutes, and it's just

0:57:53.680 --> 0:57:58.880
<v Speaker 3>one wacky, hard hitting Tommy style rock opera song after another.

0:57:59.440 --> 0:58:02.040
<v Speaker 3>And I was thinking about how, you know, sometimes people

0:58:02.080 --> 0:58:04.640
<v Speaker 3>say that a Batman movie is really only as good

0:58:04.640 --> 0:58:07.480
<v Speaker 3>as its villain, Like, you know, Batman's always you know,

0:58:07.960 --> 0:58:10.600
<v Speaker 3>I don't want to discount differences, but Batman's always just

0:58:10.640 --> 0:58:13.880
<v Speaker 3>sort of Batman. So it's really the villain that defines

0:58:13.920 --> 0:58:14.400
<v Speaker 3>the film.

0:58:15.320 --> 0:58:18.280
<v Speaker 2>Yeah, yeah, I mean I think that translates into musicals too.

0:58:18.360 --> 0:58:21.560
<v Speaker 2>Like in Disney musicals, the villains always have the best songs.

0:58:22.240 --> 0:58:24.600
<v Speaker 2>In Rocky horror, all the best songs are sung by

0:58:24.600 --> 0:58:28.240
<v Speaker 2>the villains. I mean, I guess they're villains and so forth.

0:58:28.280 --> 0:58:31.120
<v Speaker 2>I mean, yeah, if you're gonna have a musical film

0:58:31.200 --> 0:58:34.040
<v Speaker 2>like this Phantom of the Opera, he's got all the

0:58:34.040 --> 0:58:35.560
<v Speaker 2>great songs, obviously.

0:58:35.200 --> 0:58:37.240
<v Speaker 3>I absolutely so. I was gonna say, I think the

0:58:37.280 --> 0:58:41.280
<v Speaker 3>same thing is often true about musicals, musicals, and especially

0:58:41.360 --> 0:58:44.720
<v Speaker 3>rock operas. The villains get the best songs, and so

0:58:44.880 --> 0:58:47.280
<v Speaker 3>it's the villain songs that end up kind of sticking

0:58:47.280 --> 0:58:50.040
<v Speaker 3>with you and defining how the musical feels, and that

0:58:50.200 --> 0:58:52.600
<v Speaker 3>is definitely how I feel about this part of the movie.

0:58:53.120 --> 0:58:56.080
<v Speaker 3>So the first tune in this Bad Guy medley is

0:58:56.280 --> 0:59:00.000
<v Speaker 3>the Wolf's gang singing a song about the confrontation between

0:59:00.360 --> 0:59:02.720
<v Speaker 3>Rada and the Wolf, and we see all like the

0:59:02.760 --> 0:59:06.720
<v Speaker 3>townspeople running and hiding, slamming their doors shut after watching

0:59:06.720 --> 0:59:10.600
<v Speaker 3>the altercation. The squirrely squirrel lady is very upset. You

0:59:10.600 --> 0:59:14.800
<v Speaker 3>can see she's nervous. And it's this song. It's the

0:59:14.840 --> 0:59:19.959
<v Speaker 3>one that goes where they're seeing like wahhoo t Tsuru's furious.

0:59:20.320 --> 0:59:23.040
<v Speaker 2>Yeah, this is the one where they're like, mother, goat, Rada,

0:59:23.080 --> 0:59:24.400
<v Speaker 2>better run away, that kind of thing.

0:59:24.640 --> 0:59:29.040
<v Speaker 3>Yeah, yeah, okay, yeah, Rada's future is dubious. It's sort

0:59:29.080 --> 0:59:31.760
<v Speaker 3>of like like there has just been a rap battle

0:59:32.040 --> 0:59:35.160
<v Speaker 3>and they're their guy lost, and so they're walking away

0:59:35.640 --> 0:59:38.400
<v Speaker 3>being like, oh, next time it's gonna be it's gonna

0:59:38.400 --> 0:59:42.320
<v Speaker 3>be really bad. We're gonna get you. But interestingly, while

0:59:42.320 --> 0:59:45.840
<v Speaker 3>everybody else runs and hides, Rada and her children do

0:59:45.960 --> 0:59:48.800
<v Speaker 3>not hide at all. They're not afraid, and they do

0:59:48.920 --> 0:59:52.560
<v Speaker 3>a frenetic dance number on their front lawn. They're very happy.

0:59:53.160 --> 0:59:58.240
<v Speaker 3>They're like sliding down this extremely splintery looking wooden plane

0:59:59.080 --> 1:00:02.000
<v Speaker 3>and playing on all kinds stuffy. They go swinging, all

1:00:02.040 --> 1:00:05.320
<v Speaker 3>seven of them on one wooden rope, swing all seven

1:00:05.320 --> 1:00:07.480
<v Speaker 3>at the same time, and then they get on the

1:00:07.560 --> 1:00:09.920
<v Speaker 3>rooftop sea saws, which god.

1:00:10.800 --> 1:00:14.640
<v Speaker 2>What Yeah, Like I meant to go back and rewatch

1:00:14.680 --> 1:00:17.680
<v Speaker 2>this sequence because my recollection is there's no way they

1:00:17.760 --> 1:00:19.920
<v Speaker 2>faked this. I mean, there may not be actual children

1:00:19.960 --> 1:00:21.720
<v Speaker 2>up there, but there might be, I don't know. It

1:00:21.760 --> 1:00:26.200
<v Speaker 2>looks like a sizable building with kids on seesaws up there,

1:00:26.360 --> 1:00:32.160
<v Speaker 2>you know, at the most extreme height, they're what twenty

1:00:32.240 --> 1:00:35.480
<v Speaker 2>thirty feet off the ground or something like. It's intimidating.

1:00:35.640 --> 1:00:38.840
<v Speaker 3>Yeah, it's at the apex of the roof is the

1:00:38.840 --> 1:00:42.040
<v Speaker 3>fulcrum of the teeter totter, and the kids are just

1:00:42.120 --> 1:00:46.240
<v Speaker 3>going up and down. And maybe it's adult stunt performers,

1:00:46.240 --> 1:00:47.880
<v Speaker 3>but it looks not faked.

1:00:48.080 --> 1:00:50.120
<v Speaker 2>Yeah, does not look like a model.

1:00:50.480 --> 1:00:54.240
<v Speaker 3>So Rata is not one of these safety obsessed helicopter parents.

1:00:54.280 --> 1:00:57.480
<v Speaker 3>She's like children. We will now be playing on equipment

1:00:57.520 --> 1:01:00.480
<v Speaker 3>that is illegal in most countries and all, so you're

1:01:00.520 --> 1:01:02.680
<v Speaker 3>going to have to defend the goat house on your

1:01:02.720 --> 1:01:05.280
<v Speaker 3>own against wolf attacks. While I am gone at the fair.

1:01:05.840 --> 1:01:07.480
<v Speaker 2>Yeah.

1:01:07.800 --> 1:01:10.400
<v Speaker 3>But anyway, while the children are playing, the bad guys

1:01:10.480 --> 1:01:13.240
<v Speaker 3>kind of peep over the fence and watch the goats

1:01:13.480 --> 1:01:16.720
<v Speaker 3>at play. And there is an interesting moment here where

1:01:17.120 --> 1:01:19.320
<v Speaker 3>we see a lot of this throughout the film, where

1:01:19.600 --> 1:01:21.680
<v Speaker 3>we get a close up on Donkey and at first

1:01:21.680 --> 1:01:24.280
<v Speaker 3>he's smiling. It's like he's having a lot of fun

1:01:24.360 --> 1:01:27.200
<v Speaker 3>watching the goats play. Oh, isn't it nice? And then

1:01:27.280 --> 1:01:31.440
<v Speaker 3>suddenly his smile just fades. It melts into the saddest

1:01:31.480 --> 1:01:35.240
<v Speaker 3>face you've ever seen yours if you will, Yeah, exactly,

1:01:36.160 --> 1:01:38.680
<v Speaker 3>And so this is kind of establishing a theme upon

1:01:38.800 --> 1:01:41.600
<v Speaker 3>rewatching for me. I didn't catch it as much the

1:01:41.640 --> 1:01:44.560
<v Speaker 3>first time, but Donkey was really emerging as one of

1:01:44.600 --> 1:01:48.680
<v Speaker 3>the most interesting and subtle characters. But from here we

1:01:48.760 --> 1:01:51.440
<v Speaker 3>get into one of my favorite tracks, which is a

1:01:51.640 --> 1:01:55.560
<v Speaker 3>rock number where the members of the Wolf's Gang introduce

1:01:55.680 --> 1:02:00.360
<v Speaker 3>themselves and sing about their loyalty to Titisuru. I think

1:02:00.800 --> 1:02:02.680
<v Speaker 3>it starts with kind of a chant where they say

1:02:02.720 --> 1:02:06.480
<v Speaker 3>like one for all and all for Suru. So there's

1:02:06.600 --> 1:02:09.840
<v Speaker 3>it's very top down, you know, leader oriented kind of

1:02:09.840 --> 1:02:10.440
<v Speaker 3>friend group.

1:02:10.680 --> 1:02:14.000
<v Speaker 2>Yes, he has big followers of Suuman here, you know,

1:02:14.040 --> 1:02:16.640
<v Speaker 2>we have links Donkey and oh yeah, yeah, Little Bad Wolf.

1:02:16.680 --> 1:02:19.680
<v Speaker 2>I believe he's referred to either one way or another

1:02:19.760 --> 1:02:22.640
<v Speaker 2>in this bit the nephew, and yeah, there's a lot

1:02:22.640 --> 1:02:27.720
<v Speaker 2>of snarling, moderate cartwheels added to the general prancing. And yeah,

1:02:27.760 --> 1:02:30.240
<v Speaker 2>there's some great lyrics in here, like tears our occupation

1:02:30.360 --> 1:02:34.960
<v Speaker 2>well into helping hand, into Suru's operation. So they're just

1:02:35.000 --> 1:02:37.640
<v Speaker 2>all like trying to really get it out there that

1:02:37.680 --> 1:02:40.800
<v Speaker 2>they're as close as friends, and they also throw in

1:02:40.840 --> 1:02:43.000
<v Speaker 2>some added little tidbits like one of them's like, I've

1:02:43.000 --> 1:02:43.680
<v Speaker 2>never read a book.

1:02:43.840 --> 1:02:47.840
<v Speaker 3>Okay, Well, they're contrasting that little I think Little Bad

1:02:47.880 --> 1:02:52.160
<v Speaker 3>Wolf says I've never read a book, because he's contrasting

1:02:52.240 --> 1:02:54.960
<v Speaker 3>with the fact that Donkey says he does read books.

1:02:55.080 --> 1:02:57.200
<v Speaker 2>M M yeah, I think they're getting a little off

1:02:57.200 --> 1:03:02.160
<v Speaker 2>track in their commitment to speech here about Okay, so.

1:03:02.080 --> 1:03:05.720
<v Speaker 3>We hear from the links he says, I'm Rascuel the Lynx.

1:03:05.800 --> 1:03:08.800
<v Speaker 3>My missions are nocturnal. When your eyes start to blink,

1:03:08.920 --> 1:03:13.200
<v Speaker 3>my role becomes essential. And then the donkeys verse goes,

1:03:13.800 --> 1:03:17.840
<v Speaker 3>he haw he haw, he haw, I'm the donkey Patrica

1:03:17.560 --> 1:03:21.919
<v Speaker 3>he haw he haw, I'm rather a good kicker, and

1:03:22.240 --> 1:03:24.600
<v Speaker 3>so he's bragging about how good at kicking he is,

1:03:24.640 --> 1:03:26.960
<v Speaker 3>but then he also mentions I like to read books,

1:03:27.320 --> 1:03:29.800
<v Speaker 3>And so there's tension in the gang. Rassul the Lynx

1:03:29.800 --> 1:03:32.640
<v Speaker 3>and Little Bad Wolf mock the Donkey first of all

1:03:32.680 --> 1:03:36.520
<v Speaker 3>because they think he's he's delusional for thinking he's very

1:03:36.560 --> 1:03:39.720
<v Speaker 3>strong and a good kicker. They don't agree, but they

1:03:39.720 --> 1:03:42.120
<v Speaker 3>also mock him by saying I've never read a book.

1:03:42.280 --> 1:03:45.720
<v Speaker 3>The implication is like, that's for nerds, and I'm not

1:03:46.000 --> 1:03:49.120
<v Speaker 3>fully grasping the significance. I think there might be some

1:03:49.200 --> 1:03:53.120
<v Speaker 3>kind of cultural archetype coding going on with Donkey, but

1:03:53.280 --> 1:03:56.080
<v Speaker 3>like he's one of the bad guys, but he doesn't

1:03:56.120 --> 1:03:59.160
<v Speaker 3>really fit in with them. The other bad guys mock him,

1:03:59.760 --> 1:04:03.040
<v Speaker 3>and and there are scenes of him with conflicted emotions

1:04:03.080 --> 1:04:05.200
<v Speaker 3>that the other bad guys don't show, or at least

1:04:05.360 --> 1:04:08.200
<v Speaker 3>Little Bad Wolf and Links don't show. You get some

1:04:08.200 --> 1:04:11.960
<v Speaker 3>some conflicted emotions from the main bad Wolf. But anyway,

1:04:12.040 --> 1:04:14.360
<v Speaker 3>I just think it's interesting the way Donkeys is set

1:04:14.400 --> 1:04:15.760
<v Speaker 3>apart from the other villains.

1:04:16.560 --> 1:04:21.880
<v Speaker 2>Yeah, that is something to contemplate. He Yeah, he seemed

1:04:21.880 --> 1:04:24.680
<v Speaker 2>I don't know, like maybe we're really supposed to put

1:04:24.680 --> 1:04:25.880
<v Speaker 2>ourselves in donkey's shoes.

1:04:25.920 --> 1:04:26.520
<v Speaker 3>I'm not sure.

1:04:27.800 --> 1:04:30.480
<v Speaker 2>Now we eventually go back to the house here, right,

1:04:30.520 --> 1:04:32.560
<v Speaker 2>And I want to point out that the inside of

1:04:32.600 --> 1:04:35.280
<v Speaker 2>the goat household it looks like a cat cafe. If

1:04:35.280 --> 1:04:37.640
<v Speaker 2>you've ever been to a cat cafe, that's kind of

1:04:37.640 --> 1:04:40.200
<v Speaker 2>the vibe I'm getting here. Lots of little shelves and

1:04:40.280 --> 1:04:44.080
<v Speaker 2>places for cats or I guess goats to walk around on.

1:04:44.160 --> 1:04:45.800
<v Speaker 2>That would make sense, you know, goats like to be

1:04:45.880 --> 1:04:48.560
<v Speaker 2>up high. And then they have like cool what hanging

1:04:48.640 --> 1:04:50.000
<v Speaker 2>beds or loungers here.

1:04:50.320 --> 1:04:54.000
<v Speaker 3>Yeah, the the young goats sleep in these like pendulum beds.

1:04:54.120 --> 1:04:56.680
<v Speaker 3>They're dangling from the ceiling like a I don't know,

1:04:56.760 --> 1:04:57.800
<v Speaker 3>like a like a planter.

1:04:58.400 --> 1:04:59.640
<v Speaker 2>Yeah, they put a lot of thought at the end

1:04:59.640 --> 1:05:01.800
<v Speaker 2>of this. I'm I'm actually a little bit reminded of

1:05:01.880 --> 1:05:04.640
<v Speaker 2>the kids rooms in Santa Claus Conquers the Martians, you know,

1:05:04.680 --> 1:05:07.960
<v Speaker 2>where they're like, what did the Martian children's bedrooms look like?

1:05:08.040 --> 1:05:09.160
<v Speaker 2>How do martians sleep?

1:05:10.040 --> 1:05:12.920
<v Speaker 3>And so forth. But this scene also has an interesting

1:05:12.920 --> 1:05:15.880
<v Speaker 3>part where one of the kids asks Rada, why does

1:05:15.920 --> 1:05:19.040
<v Speaker 3>the wolf want to take us away? Oh?

1:05:19.120 --> 1:05:22.800
<v Speaker 2>Yeah, And the answer is, well, because he's lonely and childless,

1:05:23.320 --> 1:05:28.520
<v Speaker 2>is an interesting way to view predation, but that's what

1:05:28.680 --> 1:05:29.280
<v Speaker 2>she tells them.

1:05:29.720 --> 1:05:32.240
<v Speaker 3>One of the children ask she says this, and one

1:05:32.280 --> 1:05:35.040
<v Speaker 3>of the children says, is it wrong to be lonely?

1:05:35.160 --> 1:05:37.960
<v Speaker 3>And Rada says, no, it just makes you feel bad.

1:05:39.120 --> 1:05:42.360
<v Speaker 2>Maybe something's was lost in translation a bit into the

1:05:42.360 --> 1:05:43.040
<v Speaker 2>English version.

1:05:43.040 --> 1:05:45.600
<v Speaker 3>I don't know. Oh, but then after this we go

1:05:45.680 --> 1:05:49.160
<v Speaker 3>straight into a psychedelic disco dance number by the Bad

1:05:49.200 --> 1:05:52.160
<v Speaker 3>Guys who oh yeah, there's no singing. They're just like

1:05:52.320 --> 1:05:58.360
<v Speaker 3>out in inside a five dimensional kaleidoscope doing some real

1:05:58.480 --> 1:05:59.880
<v Speaker 3>like Saturday night fever move.

1:06:00.360 --> 1:06:03.000
<v Speaker 2>Oh yeah, this is like the dark disco scene. And

1:06:03.320 --> 1:06:06.720
<v Speaker 2>I was really hoping this would erupt into vocalizations as well,

1:06:06.760 --> 1:06:12.160
<v Speaker 2>but it's just you know, darkness prancing. It's like a

1:06:12.240 --> 1:06:15.680
<v Speaker 2>raven mordor or something. I'm not sure, but it's fun.

1:06:15.720 --> 1:06:18.040
<v Speaker 3>I like it. In some parts of the choreography here

1:06:18.040 --> 1:06:20.400
<v Speaker 3>reminded me of that Okay Go Treadmill video.

1:06:20.840 --> 1:06:22.760
<v Speaker 2>Yeah yeah, yeah, they really get into it.

1:06:22.800 --> 1:06:25.760
<v Speaker 3>They get some moods, but they're like standing out on

1:06:25.800 --> 1:06:28.200
<v Speaker 3>some kind of bridge in the darkness, with like the

1:06:28.320 --> 1:06:31.720
<v Speaker 3>night sky behind them, and sometimes there's this aurora in

1:06:31.760 --> 1:06:33.919
<v Speaker 3>the sky and sometimes it looks like a giant fish

1:06:33.960 --> 1:06:39.000
<v Speaker 3>pig face. But then here we go into a lullaby

1:06:39.240 --> 1:06:42.760
<v Speaker 3>sung by Rada, which we sort of go around and

1:06:42.840 --> 1:06:46.520
<v Speaker 3>see all the villagers going to sleep. I gotta say,

1:06:47.120 --> 1:06:50.040
<v Speaker 3>I've been playing some of the music from this movie

1:06:50.040 --> 1:06:53.680
<v Speaker 3>in my house and my toddler is obsessed with this

1:06:53.760 --> 1:06:56.200
<v Speaker 3>lullaby song. She asked me to play it like ten

1:06:56.320 --> 1:06:59.000
<v Speaker 3>times yesterday. It's the night night song to her, and

1:06:59.040 --> 1:06:59.880
<v Speaker 3>she loves it.

1:07:00.640 --> 1:07:02.840
<v Speaker 2>This is the You know, one of the great things

1:07:02.880 --> 1:07:06.400
<v Speaker 2>about early parenthood is you get to choose what really

1:07:06.440 --> 1:07:10.120
<v Speaker 2>obscure nonsense you inject into your child's life that will

1:07:10.440 --> 1:07:14.520
<v Speaker 2>become a part of their wholesome recollection years later that

1:07:14.640 --> 1:07:17.760
<v Speaker 2>no one else in their friend group will share. They'll

1:07:17.760 --> 1:07:20.560
<v Speaker 2>be like, Hey, did you guys watch that weird Russo

1:07:20.880 --> 1:07:26.520
<v Speaker 2>Frank Romanian family animal picture every holiday? And they're like, no,

1:07:26.640 --> 1:07:28.120
<v Speaker 2>we have no idea what you're talking about.

1:07:28.560 --> 1:07:30.880
<v Speaker 3>Yeah, out on the playground, you don't know the tickets

1:07:30.960 --> 1:07:37.200
<v Speaker 3>Tickets song. But okay, yeah, So this is a lullaby.

1:07:37.280 --> 1:07:39.920
<v Speaker 3>But there is an interesting moment here where the wolf

1:07:40.000 --> 1:07:42.680
<v Speaker 3>comes in and sings along at the end of the song.

1:07:42.800 --> 1:07:45.080
<v Speaker 3>So it's Rada singing to her children and She's like,

1:07:45.080 --> 1:07:49.080
<v Speaker 3>close your eyes, I'm here beside you. And then suddenly

1:07:49.160 --> 1:07:51.960
<v Speaker 3>the wolf is outside the house and he's like singing

1:07:52.120 --> 1:07:56.400
<v Speaker 3>at Rada, And I thought this maybe is playing up

1:07:56.400 --> 1:07:59.840
<v Speaker 3>on the idea that like, underneath his wickedness, he really

1:07:59.920 --> 1:08:03.240
<v Speaker 3>is just lonely, like Rada was talking about. Maybe the

1:08:03.280 --> 1:08:05.920
<v Speaker 3>subtext is that if he had someone to love, he

1:08:05.960 --> 1:08:08.880
<v Speaker 3>wouldn't be trying to harm the goats, which plays directly

1:08:08.920 --> 1:08:11.760
<v Speaker 3>against what he himself said, which is like, I have

1:08:11.840 --> 1:08:14.080
<v Speaker 3>a wolf nature and it will not be suppressed.

1:08:14.440 --> 1:08:16.320
<v Speaker 2>Yeah. I don't know. I also wasn't sure if we're

1:08:16.360 --> 1:08:19.920
<v Speaker 2>supposed to think that she can hear him, and because

1:08:19.960 --> 1:08:22.040
<v Speaker 2>she has kind of like a you know, winky smile

1:08:22.120 --> 1:08:23.880
<v Speaker 2>thing at the end here, and I don't know if

1:08:23.920 --> 1:08:27.360
<v Speaker 2>that's more of her like oh suru, or if I'm

1:08:27.400 --> 1:08:29.400
<v Speaker 2>just reading into it because we have been spending so

1:08:29.520 --> 1:08:34.560
<v Speaker 2>much time already with their sort of teasing predator prey relationship.

1:08:35.120 --> 1:08:36.800
<v Speaker 3>Yeah, oh right.

1:08:36.880 --> 1:08:39.280
<v Speaker 2>Then we get a song about equilibrium from the children

1:08:40.280 --> 1:08:43.320
<v Speaker 2>where they're playing on a pair of enormous seesaws, and

1:08:43.360 --> 1:08:44.920
<v Speaker 2>we see a lot of other children there in the scene,

1:08:44.920 --> 1:08:48.320
<v Speaker 2>their sheep children of course, the squirrel children, Donkey grinning

1:08:48.360 --> 1:08:51.840
<v Speaker 2>like an absolute maniac. Donkey, Lynx and Little Bad Wolf

1:08:51.920 --> 1:08:54.960
<v Speaker 2>joining into the song. They dance and prance around. The

1:08:55.040 --> 1:08:58.400
<v Speaker 2>dance becomes cocky and aggressive till finally what one of

1:08:58.439 --> 1:09:01.559
<v Speaker 2>the kids has enough, maybe the oldest kid, and he

1:09:01.600 --> 1:09:04.040
<v Speaker 2>starts riding Donkey around and then like somebody has come

1:09:04.080 --> 1:09:04.599
<v Speaker 2>break it up.

1:09:04.840 --> 1:09:07.759
<v Speaker 3>This is Matteia, the oldest goat son who will sneak

1:09:07.800 --> 1:09:10.360
<v Speaker 3>out of the house later. You know he is up

1:09:10.360 --> 1:09:14.960
<v Speaker 3>to mischief. But yeah, he rides Donkey around and I

1:09:15.000 --> 1:09:16.719
<v Speaker 3>don't know, Donkey really gets put in his place.

1:09:16.920 --> 1:09:18.760
<v Speaker 2>Yeah, yeah, somebody they just send the ref end to

1:09:18.760 --> 1:09:21.280
<v Speaker 2>break it out. The out of hand.

1:09:21.400 --> 1:09:24.280
<v Speaker 3>Rada comes in. Rada always puts a stop to the nonsense.

1:09:24.960 --> 1:09:27.000
<v Speaker 3>And then the next scene is we get one of

1:09:27.000 --> 1:09:29.759
<v Speaker 3>the main themes of the movie, which is the song

1:09:29.880 --> 1:09:33.479
<v Speaker 3>that Rada sings teaches her children in order for them

1:09:33.520 --> 1:09:35.840
<v Speaker 3>to know it's her at the door and not someone else.

1:09:35.880 --> 1:09:39.400
<v Speaker 3>So this is the Mommy's home. Now you can open

1:09:39.439 --> 1:09:42.000
<v Speaker 3>the door and don't be afraid children anymore.

1:09:42.400 --> 1:09:45.160
<v Speaker 2>Yeah, it is a beautiful little number about stranger danger

1:09:45.200 --> 1:09:48.840
<v Speaker 2>for latchkey kids. You know, it's like, don't open don't

1:09:48.840 --> 1:09:51.640
<v Speaker 2>open that door for anybody, anybody except for me.

1:09:51.800 --> 1:09:54.439
<v Speaker 3>Except for me. I'm here to protect you, right. So

1:09:54.520 --> 1:09:56.960
<v Speaker 3>she sings the song, and meanwhile outside the wolf is

1:09:57.040 --> 1:10:00.439
<v Speaker 3>listening and furiously scribbling notes on how the song so

1:10:00.479 --> 1:10:03.479
<v Speaker 3>that he can get into the house when Ratta goes

1:10:03.479 --> 1:10:05.080
<v Speaker 3>to the fair. So she goes off to the fair.

1:10:05.120 --> 1:10:06.320
<v Speaker 3>What's going on at the fair?

1:10:06.760 --> 1:10:09.840
<v Speaker 2>Oh, tickets is what's going on at That's the main

1:10:09.880 --> 1:10:12.880
<v Speaker 2>thing I got. Because we run back, we meet parrot

1:10:12.880 --> 1:10:16.240
<v Speaker 2>guy again, and we're in this fun house of mirrors.

1:10:16.240 --> 1:10:18.320
<v Speaker 2>We're gonna spend a lot of time in this set,

1:10:18.439 --> 1:10:20.640
<v Speaker 2>and it's pretty gorgeous. It feels like it feels like

1:10:20.640 --> 1:10:23.559
<v Speaker 2>we're inside a disco ball, and there's, yeah, a lot

1:10:23.560 --> 1:10:26.920
<v Speaker 2>of general discussion of tickets. I don't know if you

1:10:26.960 --> 1:10:28.559
<v Speaker 2>were able to make sense of this when you went

1:10:28.600 --> 1:10:30.000
<v Speaker 2>back through the lyrics, Joe.

1:10:30.000 --> 1:10:32.519
<v Speaker 3>No, I did not understand at all. The parrot is

1:10:32.760 --> 1:10:36.320
<v Speaker 3>like throwing little like ticker tape, you know, bits of

1:10:36.920 --> 1:10:40.400
<v Speaker 3>you know, confetti. Basically, tickets are in the air, and

1:10:40.439 --> 1:10:43.400
<v Speaker 3>he's standing in these mirrors with silver tinsel all around.

1:10:43.400 --> 1:10:47.080
<v Speaker 3>He's still in his rainbow outfit. And the lyrics are

1:10:47.120 --> 1:10:50.439
<v Speaker 3>like tickets to your life, tickets to find your Wife.

1:10:51.520 --> 1:10:56.240
<v Speaker 3>I think maybe the idea is that, I don't know,

1:10:56.280 --> 1:11:01.000
<v Speaker 3>it's some kind of commercialization or commodification, like is selling

1:11:01.600 --> 1:11:08.840
<v Speaker 3>a kind of shallow promise of good fortune. But I

1:11:08.880 --> 1:11:11.320
<v Speaker 3>don't know. Parrot is not really presented as a villain

1:11:11.400 --> 1:11:13.120
<v Speaker 3>of the film. It's just kind of like, Oh, here's

1:11:13.120 --> 1:11:15.080
<v Speaker 3>what's going on at the fair. There's some kind of

1:11:15.120 --> 1:11:16.719
<v Speaker 3>there's some kind of nonsense happening.

1:11:24.680 --> 1:11:26.599
<v Speaker 2>All right. Now, I have to point out that at

1:11:26.600 --> 1:11:29.559
<v Speaker 2>this point the episode is probably getting a little long,

1:11:29.560 --> 1:11:32.280
<v Speaker 2>and I feel like I could probably talk about each

1:11:32.320 --> 1:11:35.040
<v Speaker 2>and every little musical number because I made notes about

1:11:35.040 --> 1:11:37.080
<v Speaker 2>all the weird little things they threw, and like, suddenly

1:11:37.080 --> 1:11:40.080
<v Speaker 2>there's a trampoline for the squirrels and I love it. Yeah,

1:11:40.120 --> 1:11:42.640
<v Speaker 2>So I'm gonna let you drive here, Joe, and just

1:11:43.600 --> 1:11:46.519
<v Speaker 2>I'm gonna follow you through your favorite moments of the

1:11:46.560 --> 1:11:49.280
<v Speaker 2>rest of this film, and I'll jump in if I

1:11:49.320 --> 1:11:50.000
<v Speaker 2>have some thoughts.

1:11:50.280 --> 1:11:53.080
<v Speaker 3>Well, we've already talked about the general outline, so you

1:11:53.120 --> 1:11:54.760
<v Speaker 3>know that the wolf is going to keep trying to

1:11:54.800 --> 1:11:57.599
<v Speaker 3>sing the song and sneak into the house. He fails

1:11:57.640 --> 1:12:00.840
<v Speaker 3>the first few times. We know that Matis sneaks out

1:12:00.880 --> 1:12:04.200
<v Speaker 3>of the house he runs around outside, he gets chased

1:12:04.200 --> 1:12:07.479
<v Speaker 3>by the bad guys. Of course, while we're here at

1:12:07.520 --> 1:12:10.080
<v Speaker 3>the fair, some various things will happen. There's a bunch

1:12:10.160 --> 1:12:13.920
<v Speaker 3>of just like songs and big ensemble numbers where everybody's singing.

1:12:14.720 --> 1:12:18.160
<v Speaker 3>We get a ballet sequence where the people that you

1:12:18.240 --> 1:12:20.920
<v Speaker 3>thought were spiders but I think are actually supposed to

1:12:20.920 --> 1:12:24.200
<v Speaker 3>be sparrows. These are played by ballet dancers. I think

1:12:24.240 --> 1:12:27.080
<v Speaker 3>these might be the Bolshoi Ballet or some Moscow based

1:12:28.160 --> 1:12:32.200
<v Speaker 3>ballet dancers who do a very good but I don't know.

1:12:32.560 --> 1:12:35.519
<v Speaker 3>Ballet might not exactly be my thing, but you can

1:12:35.560 --> 1:12:37.320
<v Speaker 3>tell that they're great at what they do, and they

1:12:37.360 --> 1:12:40.360
<v Speaker 3>do it in front of these very interesting painted backdrops.

1:12:40.840 --> 1:12:43.439
<v Speaker 2>Yeah. Yeah, the effects are very cool here, like it's

1:12:43.560 --> 1:12:46.320
<v Speaker 2>not just a performance of dance on stage, and we've

1:12:46.360 --> 1:12:49.280
<v Speaker 2>been seeing a lot of actual dance performance, but here

1:12:49.320 --> 1:12:52.320
<v Speaker 2>we have high level ballet with cool effects.

1:12:52.600 --> 1:12:54.479
<v Speaker 3>And I think maybe in some parts of these songs

1:12:54.479 --> 1:12:55.479
<v Speaker 3>they're like balancing on.

1:12:55.479 --> 1:12:58.320
<v Speaker 2>Tethers or whatever you call that tetherwalking, or it's made

1:12:58.360 --> 1:13:00.000
<v Speaker 2>to look like I couldn't tell if this is a fact,

1:13:00.080 --> 1:13:01.600
<v Speaker 2>So yeah, yeah.

1:13:01.280 --> 1:13:05.080
<v Speaker 3>Yeah, at the Fair, there's more of a wolf following

1:13:05.160 --> 1:13:08.400
<v Speaker 3>Rada around being like, hey, let's dance, and so first

1:13:08.439 --> 1:13:11.519
<v Speaker 3>they don't dance, and then they do dance. But one

1:13:11.520 --> 1:13:15.960
<v Speaker 3>thing we definitely should mention is the the Sheep and

1:13:16.080 --> 1:13:16.960
<v Speaker 3>Donkey song.

1:13:18.439 --> 1:13:22.200
<v Speaker 2>Yes, this is a mid movie romance between the two.

1:13:22.320 --> 1:13:25.840
<v Speaker 3>Yeah. Would you characterize this song as like a seduction

1:13:26.200 --> 1:13:28.639
<v Speaker 3>of Donkey by the Lamb character?

1:13:29.439 --> 1:13:33.040
<v Speaker 2>I think so. I mean, he's into it, but it

1:13:33.160 --> 1:13:35.120
<v Speaker 2>kind of comes out of nowhere, like I wasn't really

1:13:36.200 --> 1:13:42.679
<v Speaker 2>thinking about Donkey's romantic prospects. And likewise, you know, Lamb

1:13:42.760 --> 1:13:46.479
<v Speaker 2>is one of the many cute animal ladies in the film,

1:13:46.640 --> 1:13:48.880
<v Speaker 2>but you know, she's very much been in the background

1:13:48.960 --> 1:13:50.760
<v Speaker 2>and we're just like, oh, there's Lamb lady, you know,

1:13:50.840 --> 1:13:53.439
<v Speaker 2>much like Squirrel Lady. You know she's there, But I

1:13:53.479 --> 1:13:56.000
<v Speaker 2>didn't know that she was actually gonna do anything other

1:13:56.080 --> 1:13:58.280
<v Speaker 2>than jump around and maybe do a trampoline flip.

1:13:59.160 --> 1:14:02.040
<v Speaker 3>Yeah, so I was Why is Lamb so into Donkey?

1:14:02.120 --> 1:14:05.320
<v Speaker 3>The framing implies that that Lamb is like the most

1:14:05.320 --> 1:14:09.439
<v Speaker 3>eligible bachelorette in town, but so far, Donkey has been

1:14:09.479 --> 1:14:13.080
<v Speaker 3>portrayed as a pitiable loser, like he is the outcast

1:14:13.320 --> 1:14:16.880
<v Speaker 3>of the village's criminal gang, and yet Lamb is coming

1:14:16.920 --> 1:14:20.640
<v Speaker 3>on to him very strong. So I don't know, like

1:14:20.720 --> 1:14:23.719
<v Speaker 3>what what makes Donkey attractive to her? Maybe the fact

1:14:23.720 --> 1:14:25.920
<v Speaker 3>that he reads books, Like is she into a a

1:14:26.000 --> 1:14:26.880
<v Speaker 3>well read ass?

1:14:28.200 --> 1:14:28.800
<v Speaker 2>Perhaps?

1:14:28.800 --> 1:14:29.280
<v Speaker 3>Perhaps?

1:14:29.800 --> 1:14:31.559
<v Speaker 2>Uh, you know, I want to I want to throw

1:14:31.560 --> 1:14:33.559
<v Speaker 2>in here because I'm looking at one of the I'm

1:14:33.600 --> 1:14:37.519
<v Speaker 2>looking at the still you have of lamb Lady and uh,

1:14:37.880 --> 1:14:41.479
<v Speaker 2>the attention to the curling hair on her lamb ears

1:14:41.760 --> 1:14:46.120
<v Speaker 2>on her sheep ears here absolutely top notch, like they

1:14:46.240 --> 1:14:50.439
<v Speaker 2>would these costumes they do. You know, they're very much costumes.

1:14:50.479 --> 1:14:52.000
<v Speaker 2>You're not going to believe that this is This is

1:14:52.200 --> 1:14:54.679
<v Speaker 2>not like you know, werewolf an American werewolf in London

1:14:54.720 --> 1:14:56.639
<v Speaker 2>here or anything when it comes to combining the animal

1:14:56.640 --> 1:14:59.080
<v Speaker 2>in the human form. But on another level, it kind

1:14:59.120 --> 1:15:01.679
<v Speaker 2>of is because at these ears. Look at the amount

1:15:01.680 --> 1:15:06.840
<v Speaker 2>of tension they put into this hair. There's this is something,

1:15:06.920 --> 1:15:09.280
<v Speaker 2>this is something. This is a key part of the

1:15:09.280 --> 1:15:10.000
<v Speaker 2>movie's alchemy.

1:15:10.040 --> 1:15:13.000
<v Speaker 3>I'm sure. I totally agree. Yeah, the costuming and the

1:15:13.000 --> 1:15:15.800
<v Speaker 3>makeup effects that they are all so wonderful.

1:15:15.640 --> 1:15:18.400
<v Speaker 2>Like you didn't have to do that for this film.

1:15:18.400 --> 1:15:21.120
<v Speaker 2>But someone's like, no, no, no, these ears need to

1:15:21.120 --> 1:15:25.479
<v Speaker 2>look percent authentic. They need to be warm to the

1:15:25.520 --> 1:15:26.519
<v Speaker 2>touch Now.

1:15:26.520 --> 1:15:28.639
<v Speaker 3>I think somewhere in here is we when we get

1:15:28.640 --> 1:15:31.799
<v Speaker 3>that scene where the wolf is explaining to his goons

1:15:31.840 --> 1:15:34.080
<v Speaker 3>that he no longer wants to eat the goat children.

1:15:34.160 --> 1:15:40.000
<v Speaker 3>He wants gold. We've got to get gold, gold, you fools.

1:15:40.120 --> 1:15:43.120
<v Speaker 3>It's very out of nowhere, but I like it. I

1:15:43.160 --> 1:15:46.559
<v Speaker 3>wonder if the commercialism of the fair, like the whole

1:15:46.600 --> 1:15:51.680
<v Speaker 3>tickets thing, inspires Wolf to switch his switch up, like

1:15:51.720 --> 1:15:54.719
<v Speaker 3>his animal nature, his desire to just eat prey animals,

1:15:55.000 --> 1:15:58.680
<v Speaker 3>and instead become a more civilized kind of villain that

1:15:58.720 --> 1:16:00.920
<v Speaker 3>wants money. Do you think that? Does that make sense?

1:16:01.360 --> 1:16:03.840
<v Speaker 2>I guess so. And it ties into a number we're

1:16:03.840 --> 1:16:06.559
<v Speaker 2>gonna see later where we have this real after after

1:16:06.600 --> 1:16:10.040
<v Speaker 2>the kidnapping has been carried out, Rada has this bit

1:16:10.080 --> 1:16:12.479
<v Speaker 2>where she's like, you know, why is why is the

1:16:12.479 --> 1:16:14.880
<v Speaker 2>world like this? Why do people want to hurt you?

1:16:15.160 --> 1:16:17.479
<v Speaker 2>Why are they hurting you still? Why are they going

1:16:17.520 --> 1:16:19.599
<v Speaker 2>to hurt you in the future? And it's got kind

1:16:19.600 --> 1:16:22.960
<v Speaker 2>of this real, you know, dark somber number, But you

1:16:23.000 --> 1:16:26.000
<v Speaker 2>know it, It makes sense then that you would have

1:16:26.040 --> 1:16:29.960
<v Speaker 2>the wolf change his predatory approach from something that is

1:16:30.280 --> 1:16:34.880
<v Speaker 2>purely an animal world activity into something that is you know,

1:16:35.400 --> 1:16:36.599
<v Speaker 2>more akin to human crime.

1:16:37.160 --> 1:16:40.439
<v Speaker 3>Yeah, yeah, it's interesting, Okay, just a couple of little

1:16:40.880 --> 1:16:44.559
<v Speaker 3>texture observations as we go along. There's one scene that is, uh,

1:16:45.160 --> 1:16:47.800
<v Speaker 3>obviously this came earlier, but it feels straight out of

1:16:48.280 --> 1:16:51.479
<v Speaker 3>the first Lord of the Rings film, where the you know,

1:16:51.560 --> 1:16:54.320
<v Speaker 3>the mattee is hiding from the bad guys and they

1:16:54.320 --> 1:16:57.040
<v Speaker 3>go looking out over the edge of the there's like

1:16:57.080 --> 1:16:59.280
<v Speaker 3>an outcropping and they're looking out and he's hiding right

1:16:59.360 --> 1:16:59.960
<v Speaker 3>underneath it.

1:17:00.800 --> 1:17:04.720
<v Speaker 2>Yes, yes, this and you know, and I think just

1:17:04.760 --> 1:17:07.360
<v Speaker 2>must be an accident because I think the main framing

1:17:07.600 --> 1:17:09.800
<v Speaker 2>of that that we're familiar with the Peter Jackson Lord

1:17:09.840 --> 1:17:12.280
<v Speaker 2>of the Rings is based on a sequence in the

1:17:12.280 --> 1:17:16.559
<v Speaker 2>seventy eight animated Lord of the Rings. But yeah, we were.

1:17:16.439 --> 1:17:18.599
<v Speaker 3>Before that here, so this is seventy six.

1:17:18.680 --> 1:17:21.400
<v Speaker 2>Yeah, yeah, so it's just I don't know, just just

1:17:21.439 --> 1:17:22.800
<v Speaker 2>great framing. I don't know.

1:17:23.160 --> 1:17:26.280
<v Speaker 3>There's a sad scene at some point where Rada comes

1:17:26.320 --> 1:17:28.360
<v Speaker 3>home and she's been like out in the storm in

1:17:28.400 --> 1:17:31.840
<v Speaker 3>the winter and she can't sing the song to get

1:17:31.880 --> 1:17:33.680
<v Speaker 3>into the house. You know, she's trying to sing the

1:17:33.680 --> 1:17:37.200
<v Speaker 3>password song, but her voice is all torn up, and.

1:17:37.200 --> 1:17:38.880
<v Speaker 2>Yeah, she sounds like she's been hitting the bottle a

1:17:38.920 --> 1:17:42.120
<v Speaker 2>little bit grief, and they're like, that's not mama. Mama's

1:17:42.200 --> 1:17:44.760
<v Speaker 2>voice is good. I don't know what this thing is

1:17:44.800 --> 1:17:47.759
<v Speaker 2>out there, howling in the darkness, but we're not opening

1:17:47.800 --> 1:17:48.080
<v Speaker 2>the door.

1:17:49.080 --> 1:17:52.360
<v Speaker 3>Yeah, And there's also a very sweet part where I

1:17:52.360 --> 1:17:55.280
<v Speaker 3>think it's the oldest Goat daughter. The child sings a

1:17:55.280 --> 1:17:58.760
<v Speaker 3>song for it's like an inversion of the mother's song

1:17:58.800 --> 1:18:01.120
<v Speaker 3>to the children. She sings a song about mommy. It's

1:18:01.240 --> 1:18:02.080
<v Speaker 3>extremely sweet.

1:18:02.560 --> 1:18:04.120
<v Speaker 2>Oh and then at some point we get the song

1:18:04.160 --> 1:18:07.440
<v Speaker 2>about modern decline. The children today are not the same.

1:18:07.439 --> 1:18:09.080
<v Speaker 3>Yes, the same, not the same.

1:18:09.560 --> 1:18:11.799
<v Speaker 2>Children today don't even know how to sit on a shovel.

1:18:12.800 --> 1:18:14.240
<v Speaker 2>They don't say that, but it made me think of

1:18:14.320 --> 1:18:15.320
<v Speaker 2>that moment and Jeff Ross.

1:18:17.840 --> 1:18:20.080
<v Speaker 3>Now, there is a part here where Mattee has run

1:18:20.120 --> 1:18:23.000
<v Speaker 3>out into the wilderness and gotten lost. He's like stranded

1:18:23.080 --> 1:18:26.479
<v Speaker 3>on some kind of rocky spire in the middle of nothing,

1:18:26.600 --> 1:18:29.599
<v Speaker 3>and the snow is falling, and it's like, what's going

1:18:29.640 --> 1:18:32.960
<v Speaker 3>to happen to him? Well, what happens is we get

1:18:33.000 --> 1:18:35.839
<v Speaker 3>one of the musical numbers from the Star Wars Holiday Special.

1:18:36.280 --> 1:18:39.560
<v Speaker 3>It's like when the old Wookie puts the VR goggles

1:18:39.600 --> 1:18:43.800
<v Speaker 3>on and he sees Diane Carroll's singing to him that

1:18:43.880 --> 1:18:48.360
<v Speaker 3>kind of thing. Or no, it's those acrobats jumping around. Yes, yes,

1:18:49.720 --> 1:18:53.280
<v Speaker 3>very holiday special stuff. But what we see instead is

1:18:53.360 --> 1:18:57.479
<v Speaker 3>all these like silver ice skaters who are fairies. These

1:18:57.680 --> 1:19:00.559
<v Speaker 3>represent the presence of the Winter Fairy, and they come

1:19:00.600 --> 1:19:03.559
<v Speaker 3>and they help Mattei magically and send him back home.

1:19:03.840 --> 1:19:05.840
<v Speaker 2>Yes, the time has come for every start of shine on.

1:19:05.880 --> 1:19:06.599
<v Speaker 3>Where you are.

1:19:08.120 --> 1:19:12.160
<v Speaker 2>The angels, the fairies, the stars, And I was looking

1:19:12.200 --> 1:19:14.200
<v Speaker 2>this up. We have a lot of ice skating to

1:19:14.280 --> 1:19:15.960
<v Speaker 2>round out the picture. And I believe this is a

1:19:15.960 --> 1:19:19.679
<v Speaker 2>combination of the Moscow Circus and the Moscow Ice Ballet

1:19:19.720 --> 1:19:20.679
<v Speaker 2>according to the credits.

1:19:21.000 --> 1:19:25.720
<v Speaker 3>Yeah, so skipping ahead to the final confrontation, So of

1:19:25.760 --> 1:19:28.920
<v Speaker 3>course the wolf does eventually kidnap the children. We have

1:19:29.040 --> 1:19:32.919
<v Speaker 3>this big showdown in this frozen pond where everybody's ice skating,

1:19:33.280 --> 1:19:36.479
<v Speaker 3>and as we said earlier, Rada outsmarts the wolf in

1:19:36.520 --> 1:19:38.840
<v Speaker 3>the end and tricks him into falling in into the

1:19:38.920 --> 1:19:42.680
<v Speaker 3>water through the ice and his lackeys give up and

1:19:42.720 --> 1:19:45.479
<v Speaker 3>they're like, okay, here are your kids back, And in

1:19:45.520 --> 1:19:47.400
<v Speaker 3>the end the wolf learns his lesson.

1:19:47.920 --> 1:19:51.880
<v Speaker 2>That's right, everybody. Everybody comes around, but they really threaten

1:19:51.960 --> 1:19:55.400
<v Speaker 2>him with cold drowning in the lake. Rod is like like,

1:19:55.439 --> 1:19:57.880
<v Speaker 2>we'll just let you drown right here, wolf, unless you

1:19:57.920 --> 1:20:00.240
<v Speaker 2>come around like your cronies just did. And they're like, yeah,

1:20:00.240 --> 1:20:02.559
<v Speaker 2>we've changed, and he's like, you know, I've looked at

1:20:02.600 --> 1:20:05.400
<v Speaker 2>deep inside myself and I realize I need to change

1:20:05.400 --> 1:20:07.880
<v Speaker 2>as well. That's right, And he does, and.

1:20:07.840 --> 1:20:10.280
<v Speaker 3>We get a kind of seasonal transition as well, don't we.

1:20:10.560 --> 1:20:11.559
<v Speaker 3>That's right. That's right.

1:20:11.600 --> 1:20:13.880
<v Speaker 2>There's this idea that it's like we're coming out of

1:20:13.920 --> 1:20:19.000
<v Speaker 2>winter now it's becoming spring. So this alone, we alluded

1:20:19.000 --> 1:20:21.360
<v Speaker 2>to this earlier Like this, I can see why this

1:20:21.439 --> 1:20:24.280
<v Speaker 2>film would make so much sense as a holiday movie,

1:20:24.280 --> 1:20:28.760
<v Speaker 2>even if there's nothing directly related to, you know, ideas

1:20:28.800 --> 1:20:32.640
<v Speaker 2>of a Christian Christmas and so forth or Santa Claus. Like, no,

1:20:32.760 --> 1:20:35.680
<v Speaker 2>it's still getting into that deep, primal idea of the

1:20:35.720 --> 1:20:38.880
<v Speaker 2>winter holidays. Like what is the magic be it? You know,

1:20:39.560 --> 1:20:42.320
<v Speaker 2>you know, capital M magic or lower case magic that

1:20:42.439 --> 1:20:44.320
<v Speaker 2>is going to help us through to the spring.

1:20:44.840 --> 1:20:47.400
<v Speaker 3>Yeah, but if the ending is a spring festival, I'm

1:20:47.439 --> 1:20:49.519
<v Speaker 3>a little disappointed that we did not put the wolf

1:20:49.560 --> 1:20:50.200
<v Speaker 3>in a Wickerman.

1:20:52.640 --> 1:20:55.240
<v Speaker 2>Yeah, you know, if you had had like the ritual

1:20:56.240 --> 1:20:59.880
<v Speaker 2>disembowment of the wolf, the removal of the children, the

1:21:00.000 --> 1:21:02.960
<v Speaker 2>assertion of the stones, and the throwing of the wolf

1:21:03.000 --> 1:21:05.360
<v Speaker 2>into the water, like I guess that would have this

1:21:05.400 --> 1:21:09.000
<v Speaker 2>more of a wickerman asque ritualistic vision. And you know,

1:21:09.520 --> 1:21:12.080
<v Speaker 2>I can very much envision a sort of I don't know,

1:21:12.240 --> 1:21:17.200
<v Speaker 2>Midsommer esque horror movie in which someone visits this small

1:21:17.240 --> 1:21:23.160
<v Speaker 2>town perhaps in perhaps in Romania, where hey, everyone is

1:21:23.240 --> 1:21:27.240
<v Speaker 2>dressed as animals and they've made me wear this wolf

1:21:27.320 --> 1:21:31.519
<v Speaker 2>hat for some reason, and what is this big, big

1:21:31.720 --> 1:21:34.479
<v Speaker 2>festival that I've been invited to, and you know it's

1:21:34.479 --> 1:21:36.719
<v Speaker 2>going to have absolutely horrifying results.

1:21:37.120 --> 1:21:40.040
<v Speaker 3>Christopher Lee in a big wig with pigtails?

1:21:40.280 --> 1:21:43.120
<v Speaker 2>Who would Christopher Lee? Would Christopher Lee be Donkey in this?

1:21:43.760 --> 1:21:46.439
<v Speaker 3>Oh no, I think Christopher Lee would be the wolf

1:21:46.640 --> 1:21:47.120
<v Speaker 3>of course.

1:21:47.800 --> 1:21:50.520
<v Speaker 2>Oh okay, so he would get sacrificed.

1:21:50.880 --> 1:21:53.360
<v Speaker 3>Well. Spoilers for The Wickerman if you haven't seen that.

1:21:53.400 --> 1:21:56.200
<v Speaker 3>I mean, it's an old movie, but it is great

1:21:56.240 --> 1:21:58.160
<v Speaker 3>to see it without spoilers if you get a chance.

1:21:59.000 --> 1:22:02.360
<v Speaker 3>But here they come at the end of The Wickerman.

1:22:02.680 --> 1:22:05.519
<v Speaker 3>You know, the inspector what he yells at Christopher lee Is.

1:22:05.520 --> 1:22:07.720
<v Speaker 3>He says, it's you know, this is not going to

1:22:07.800 --> 1:22:10.320
<v Speaker 3>save your crops, and when it doesn't work, next year,

1:22:10.360 --> 1:22:11.599
<v Speaker 3>they'll put you in this thing.

1:22:11.720 --> 1:22:13.559
<v Speaker 2>That's right. I forget. It's been a long time since

1:22:13.560 --> 1:22:16.200
<v Speaker 2>I've seen it. I forgot about that twist. Yeah, but

1:22:16.400 --> 1:22:18.599
<v Speaker 2>it is worth noting that. Yeah, film like this, as

1:22:18.640 --> 1:22:21.280
<v Speaker 2>wholesome as it is, it's really only two or three

1:22:21.320 --> 1:22:25.799
<v Speaker 2>degrees removed from Full Car. So that's one of its charms.

1:22:26.240 --> 1:22:29.880
<v Speaker 3>So that is Mama aka rock and roll Wolf. I

1:22:29.960 --> 1:22:32.160
<v Speaker 3>did not know how much I needed this in my life,

1:22:32.240 --> 1:22:34.440
<v Speaker 3>but I love this movie.

1:22:34.479 --> 1:22:38.080
<v Speaker 2>A film that I feel just inevitably spread the seeds

1:22:38.439 --> 1:22:42.599
<v Speaker 2>of furry fandom throughout throughout Europe.

1:22:44.160 --> 1:22:46.400
<v Speaker 3>To be clear, that's not the appeal for me. I'm

1:22:46.400 --> 1:22:49.920
<v Speaker 3>not judging, no judgment there, no, no, no, that's that's

1:22:49.960 --> 1:22:52.280
<v Speaker 3>not what I'm saying. But I think it has appeal

1:22:52.360 --> 1:22:53.439
<v Speaker 3>beyond that as well.

1:22:53.640 --> 1:22:55.400
<v Speaker 2>Yeah, so this is a film that can be enjoyed

1:22:55.400 --> 1:22:58.960
<v Speaker 2>on multiple levels and is and is very very kid friendly.

1:22:59.600 --> 1:23:01.680
<v Speaker 2>All right, Well, we're gonna go ahead and close out

1:23:01.680 --> 1:23:04.120
<v Speaker 2>this episode this Yeah, I get this was a holiday episode.

1:23:04.120 --> 1:23:07.960
<v Speaker 2>We'll go ahead and make it official of Weird House Cinema.

1:23:08.640 --> 1:23:11.519
<v Speaker 2>Just a reminder, let's see if you enjoy our Weird

1:23:11.520 --> 1:23:13.880
<v Speaker 2>House Cinema episodes. These are curved Friday and the Stuff

1:23:13.880 --> 1:23:17.000
<v Speaker 2>to Blow your Mind podcast feed primarily science and culture,

1:23:17.320 --> 1:23:19.200
<v Speaker 2>but on Fridays we set most of that aside to

1:23:19.240 --> 1:23:21.519
<v Speaker 2>really just dig into a weird film. And if you

1:23:21.560 --> 1:23:22.960
<v Speaker 2>want to see a list of all the movies we've

1:23:23.000 --> 1:23:25.240
<v Speaker 2>covered so far, go over to letterbox dot com. You

1:23:25.280 --> 1:23:29.120
<v Speaker 2>know letterboxed. Our user name there is weird House, and

1:23:29.160 --> 1:23:31.320
<v Speaker 2>we have a nice, big old episode list of everything

1:23:31.320 --> 1:23:33.599
<v Speaker 2>we've covered so far, and sometimes there's a peak ahead

1:23:33.800 --> 1:23:36.400
<v Speaker 2>at what's coming up next. There's currently a peak ahead

1:23:36.479 --> 1:23:39.600
<v Speaker 2>at what's coming up next and it is another technically

1:23:40.040 --> 1:23:43.040
<v Speaker 2>u technically a holiday film, So to go check that

1:23:43.040 --> 1:23:46.080
<v Speaker 2>out if you're if you were interested, and likewise, if

1:23:46.120 --> 1:23:50.320
<v Speaker 2>you were on the Instagram, we're on there as stbym podcast.

1:23:50.680 --> 1:23:52.600
<v Speaker 2>That's our that's our main account, that's the one that

1:23:52.680 --> 1:23:56.559
<v Speaker 2>gets up updated frequently. Uh. You can follow us there

1:23:56.800 --> 1:24:00.360
<v Speaker 2>and keep an eye on what's coming up on the

1:24:00.360 --> 1:24:03.400
<v Speaker 2>the core episodes, but also what's happening in Weird House Cinema.

1:24:03.680 --> 1:24:07.280
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

1:24:07.600 --> 1:24:09.040
<v Speaker 3>If you would like to get in touch with us

1:24:09.080 --> 1:24:11.519
<v Speaker 3>with feedback on this episode or any other, to suggest

1:24:11.560 --> 1:24:13.559
<v Speaker 3>a topic for the future, or just to say hello,

1:24:13.920 --> 1:24:16.639
<v Speaker 3>you can email us at contact at stuff to Blow

1:24:16.680 --> 1:24:24.320
<v Speaker 3>your Mind dot com.

1:24:24.439 --> 1:24:27.360
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:24:27.439 --> 1:24:30.280
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1:24:30.400 --> 1:24:33.680
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