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

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Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and I'm Joe McCormick. And is this

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Speaker 1: our first killer appliance movie? I sure think so. The

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Speaker 1: only thing that I was thinking could possibly compete with

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Speaker 1: it is when we did Chopping Mall, which is about

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Speaker 1: some some like security robots in a shopping mall that

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Speaker 1: go mad and try to murder a bunch of party teens.

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Speaker 1: But I think this may well be our first, our

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Speaker 1: first film more in the in the zone of consumer

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Speaker 1: or or domestic appliances that go hay wire and seek blood.

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Speaker 1: I think you're probably right. The only other film that

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Speaker 1: we've looked at on Weird How Cinema that comes close

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Speaker 1: would be Ghost in the Machine, which wasn't about like

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Speaker 1: the appliances or the or the or any kind of

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Speaker 1: AI going going hey wire. It was about like a

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Speaker 1: spirit uh, an entity of mind possessing all of these things.

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Speaker 1: And and that is the thing that causes say, a

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Speaker 1: microwave to malfunction and microwave an entire room. Oh yeah,

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Speaker 1: it's a serial killer whose brain gets sucked into the

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Speaker 1: telephone wires and then it can inhabit any machine. But

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Speaker 1: but but oh yeah, yeah, okay, so that's a good point.

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Speaker 1: That is kind of a killer appliance movie. But I

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Speaker 1: think you have to break killer appliance horror movies down

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Speaker 1: into two very distinct camps. There is one in which

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Speaker 1: multiple appliances can be commondered by an evil spirit, or

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Speaker 1: multiple appliances are attacking, so goes to the machine would

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Speaker 1: be one. Maximum overdrive is another one. I think there's

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Speaker 1: some alien force in that that turns I think maximum

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Speaker 1: overdrive should be our terminology for a full blown all

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Speaker 1: appliances attack, all human scenario, right exactly. Yes, So so

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Speaker 1: that's like all your soda machines, all your hair dryers,

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Speaker 1: they're they're all on the attack. But the other camp

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Speaker 1: is the movie in which there is a single appliance

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Speaker 1: or machine or an animate object that seeks human blood.

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Speaker 1: And there are your examples would be something like Deathbed,

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Speaker 1: the bed that eats people, or or the movie we're

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Speaker 1: gonna be talking about today, the Lift from nineteen eighty three,

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Speaker 1: a Dutch killer elevator movie. And based on what I've

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Speaker 1: been able to determine, I think this may be the

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Speaker 1: first real killer elevator movie that that either inspired other

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Speaker 1: elevate killer elevator movies or at least beat them to

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Speaker 1: the punch. Are there really other killer elevator movies? I

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Speaker 1: feel like I looked up a list of elevator horror movies,

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Speaker 1: but they're just like they just take place in an

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Speaker 1: elevator or feature an elevator. Um. I mean, I don't know.

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Speaker 1: I guess some of these would would would require getting

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Speaker 1: to the like the spoiler point to find out is

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Speaker 1: this an elevator or is there is there like an

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Speaker 1: evil psychopath controlling the elevator. I don't know what the

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Speaker 1: you know, the particular twist is going to be, but

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Speaker 1: this is definitely a killer elevator movie. Uh, absolutely to

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Speaker 1: its core. Oh wait, I just remembered something. I don't

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Speaker 1: know if you did. You ever see Speed, you know,

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Speaker 1: the nineties Kiana Reeves Sandra, Yeah, that begins with a

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Speaker 1: and it's sort of a killer elevator scenario. The elevator

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Speaker 1: has been hijacked by Dennis Hopper and it smashes An

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Speaker 1: Esteves right before he waited. An Estevez does no, no, no,

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Speaker 1: you're there. You're confusing it with the nineteen nineties Mission

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Speaker 1: Impossible movie. And there that's an elevator that I don't

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Speaker 1: know if, I don't know if there's a psychopath behind it,

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Speaker 1: but that John goes haywire and it smashes an Estevez.

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Speaker 1: Are you telling me an Estevez is not smashed in Speed? Uh? No,

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Speaker 1: I think someone is killed, but it's no. The problem

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Speaker 1: in Speed is that Dennis Hopper commandeers an elevator. Okay, anyway,

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Speaker 1: he it's his it's his trial run of the bus plan. Basically,

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Speaker 1: he puts a bunch of bombs on an elevator and

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Speaker 1: he okay, and it does not kill. No, I don't

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Speaker 1: think there is an Esteves in Bead. Okay. There's Jeff

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Speaker 1: Daniels in Speed? Is there? Yeah? Okay? Man, it's Keanu

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Speaker 1: and Jeff Daniels or the cops um and and Sandra

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Speaker 1: Bullock is the bus passenger who ends up driving. Okay,

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Speaker 1: it's been a while since I've seen I've clearly fused

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Speaker 1: it together with at least two other films. Well, we're

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Speaker 1: off to a great start here. But okay, let's just

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Speaker 1: name some other movies you can think of that have

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Speaker 1: elevator scenes. And well, I mean that's That's one of

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Speaker 1: the things about elevators. I think they're an interesting subject

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Speaker 1: for a film like like this because there's something about elevators,

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Speaker 1: uh that resonate with us. You think of all the

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Speaker 1: various elevator scenes in various films, and sometimes it's an

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Speaker 1: action centerpiece, other times it's just a situation. Very often

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Speaker 1: was just a place for two characters to have a

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Speaker 1: conversation between scenes, but they're often very memorable. Like just

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Speaker 1: I was thinking, like, off the top of my head,

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Speaker 1: what are some of the key elevator scenes I think of.

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Speaker 1: I think of Big Trouble and Little China. Uh, they're

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Speaker 1: not they're basically just standing around in there. But it's

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Speaker 1: a great scene. Um, I'm kind of feeling good. Yeah,

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Speaker 1: it's a wonderful, wonderful scene, even though they're just they're

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Speaker 1: just using it like normal people us an elevator as

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Speaker 1: a way. Well. Actually, there are multiple elevator scenes in

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Speaker 1: that movie that are great because there's a flooding elevator

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Speaker 1: they have to escape. Yeah, but then you have you

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Speaker 1: have some real action centerpieces, uh, particularly in two different

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Speaker 1: James Cameron films. You've got aliens and you've got Terminator

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Speaker 1: to both of which involved people flinging into an elevator

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Speaker 1: and then a superpowered uh enemy prying the elevator open,

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Speaker 1: only to be blasted with a shotgun. What do you know?

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Speaker 1: You're right? Yes, so in one case it's Robert Patrick

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Speaker 1: as the liquid metal and then the other case is

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Speaker 1: just an alien warrior. Yeah. And I don't think until today,

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Speaker 1: I'd ever put it together that those two scenes are

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Speaker 1: essentially the same scene. Uh, but they're both great. Other

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Speaker 1: key elevator scenes that come to mind. I mean, you've

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Speaker 1: got like the shining with the blood flowing out of it.

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Speaker 1: You've got that wonderful switchero that takes place in the

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Speaker 1: Silence the Lambs. Uh, there's a really bloody reveal in

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Speaker 1: the Untouchables from Brian to Palma. Uh. So those are

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Speaker 1: just some of the ones that come to mind. Like,

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Speaker 1: there's something about the elevator that just works great for theater.

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Speaker 1: It has its own curtains that open and close. Um,

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Speaker 1: it goes up and down, it smashes that you can

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Speaker 1: climb on top of it. Their cables up there, Like

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Speaker 1: we're just obsessed with the elevator. Oh yeah, yeah, Well,

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Speaker 1: I mean the fact that the elevator doors open in

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Speaker 1: the same way that curtains open. Like you say, I

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Speaker 1: think that has a natural revelatory quality that that calls

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Speaker 1: to mind sort of an unveiling, because there are a

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Speaker 1: lot of scenes in movies, even beyond what you mentioned,

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Speaker 1: where elevator doors peel back to reveal a scene that

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Speaker 1: shocks someone who's there waiting for the elevator to arrive.

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Speaker 1: So like and die Hard too, you know, there's a

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Speaker 1: there's a scene like that, and The Lift, of the

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Speaker 1: movie we're gonna talk about today, I would say has

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Speaker 1: at least five scenes where we don't immediately see what's

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Speaker 1: in the elevator, but we see the doors open, and

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Speaker 1: then someone is there waiting for the elevator and they

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Speaker 1: react with horror to whatever they see inside. You know,

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Speaker 1: they react like they're looking at the security footage from

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Speaker 1: event Horizon. Yeah, and uh, you know what is we'll

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Speaker 1: get into. I think, you know, you you might well

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Speaker 1: go into a movie like The Lift and think, all right, um,

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Speaker 1: elevators work well, like a small dose here and there,

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Speaker 1: maybe a couple of elevator scenes in the film, But

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Speaker 1: if you build an entire movie based on the elevator.

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Speaker 1: Are you going to be able to maintain that level

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Speaker 1: of interest in the elevator? You can be able to

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Speaker 1: define all these interesting ways to use it. And I

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Speaker 1: think the answer is yes. I think this movie pulls

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Speaker 1: it off well yeah, and I think it partially does

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Speaker 1: so by having a sense of humor. I mean, one

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Speaker 1: thing I was kind of surprised by was the trailer

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Speaker 1: made me think that this movie would be uh dryer,

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Speaker 1: and that more of the absurdity of it would just

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Speaker 1: kind of flow out of an understated realization of its

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Speaker 1: absurd core premise. But in fact, this is a fairly

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Speaker 1: juicy camp e move v. It's it's more along the

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Speaker 1: lines of chopping Mall or something like that. I can

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Speaker 1: only suspect that this is even more the case if

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Speaker 1: one is um he's watching it in the original language,

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Speaker 1: because I watched it dubbed into English and this was

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Speaker 1: the only option available to me, and the dub is

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Speaker 1: very good. But the dub is also like, I feel

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Speaker 1: like I've heard these same dub voices before in some cases,

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Speaker 1: you know, it feels like the same sort of American

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Speaker 1: dub you'd get on any number of Italian films from

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Speaker 1: the same time period. Oh, but I absolutely loved the

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Speaker 1: dub because some of the casting, or at least I

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Speaker 1: don't know if it was like that they just cast

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Speaker 1: people who sound this way, or if they made conscious

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Speaker 1: choices to deliver their lines in this hilarious manner. But

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Speaker 1: for example, the detective in The Who, his English dubbed

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Speaker 1: voice sounds like somebody doing audio book tracks for an

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Speaker 1: Encyclopedia Britannica. So there's like a when we first meet him,

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Speaker 1: he's talking about why he doesn't like elevators. He says,

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Speaker 1: I prefer the stairs suffer from claustrophobia. That's why I

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Speaker 1: became a leaseman. Would much rather put others in cells

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Speaker 1: than wind up myself in prison. Yeah, yeah, it's the

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Speaker 1: dub is very enjoyable. But I think that dubbing in general, uh,

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Speaker 1: it kind of it lends itself to a sort of

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Speaker 1: dry humor at times. You know, yes, um, so I

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Speaker 1: can only imagine what the original language of this would

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Speaker 1: have would have felt like if if one is a

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Speaker 1: you know, an actual Dutch viewer of the film, and yeah,

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Speaker 1: I should I should drive that home. This is uh,

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Speaker 1: I think our first Dutch movie that we've looked at

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Speaker 1: on Weird House Cinema. Though we have discussed films with

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Speaker 1: that have involved Dutch directors. We've also of course discussed

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Speaker 1: Dutch actors Rugger Howard as of course probably the most

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Speaker 1: famous Dutch actor of of of the twentieth century and beyond.

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Speaker 1: And then also I'm pretty sure that Hawaiian Werewolf movie

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Speaker 1: we watched had Dutch subtitles, because that's where we got

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Speaker 1: work beast. Yes, that the version that we found on

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Speaker 1: YouTube had Dutch titles. Um though it was itself not

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Speaker 1: a Dutch film, but that but that was another foray

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Speaker 1: into the Dutch world on this this podcast. I apologize

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Speaker 1: I interrupted your flow though what was What was the

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Speaker 1: other thing you were going to say? Oh? I was

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Speaker 1: just gonna reiterate that their first true killer appliance movie.

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Speaker 1: Oh okay, Yeah, absolutely. I would say that chopping Mall

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Speaker 1: does not count. Ghost in the Machine does not count

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Speaker 1: because ghost in the Machine is more in the maximum

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Speaker 1: overdrive vein chopping Mall. Those are killer robots anyway, they

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Speaker 1: just started attacking the wrong people. Now, sometimes killer appliance

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Speaker 1: movies And when I say appliance, I'm going to use

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Speaker 1: that very broadly to apply to everything from a bad

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Speaker 1: to an elevator. Um. But a lot of times it

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Speaker 1: is something like a bad something that you don't think

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Speaker 1: of is being dangerous at all. But I think the

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Speaker 1: elevator is a very interesting pick because for it's an

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Speaker 1: amazing technological advancement um and one that you know, it's

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Speaker 1: like all in like all technological inventions, you know, you

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Speaker 1: had maybe rocky or start at times, but you know,

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Speaker 1: for the most part, I don't think I really hesitate

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Speaker 1: when I board an elevator, or at least that wasn't

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Speaker 1: the case in pre pandemic times. I might think about

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Speaker 1: that more now, like how many people are going to

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Speaker 1: be on this, are they masked? Etcetera. But generally I

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Speaker 1: have a lot of compidence in the technology and the

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Speaker 1: regulation surrounding that technology. And yet at the same time

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Speaker 1: I know that I have these on and off dreams

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Speaker 1: about boarding strange elevators that are in varying stages of disrepair.

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Speaker 1: So I feel like underneath the surface of of my consciousness, uh,

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Speaker 1: there are a lot of more complicated thoughts about the

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Speaker 1: elevator and what the elevator is capable of. Oh, it

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Speaker 1: sounds like you're a kindred Soul with the Inspector in

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Speaker 1: this film. Well, but that's the thing I'm not I'm

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Speaker 1: not afraid of elevators at all. I'm perfectly comfortable getting

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Speaker 1: on and I just have the dreams where you inhabit

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Speaker 1: his frame of mind, right, which makes me me think

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Speaker 1: that you know, with all of us, and part of

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Speaker 1: it probably comes from movies, right, I mean, we we

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Speaker 1: ride of elevators, and for the most part, I think

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Speaker 1: we're you know, most of us out there probably don't

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Speaker 1: encounter much in the way of mishaps involving elevators. Um

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Speaker 1: though I could see where that would that would certainly

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Speaker 1: impact your appreciation of the technology if if it happened

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Speaker 1: that way. But otherwise, we're watching all these movies, and

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Speaker 1: in movies, elevators very often get stuck and people have

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Speaker 1: to climb through them and on top of them, or

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Speaker 1: they plummet, etcetera. And in this movie, elevators will do

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Speaker 1: all of those things. Yes, yes, and well, But another

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Speaker 1: thing is that I can't tell how much of the

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Speaker 1: weirdness of the way elevators are treated in this movie

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Speaker 1: is due to this being a movie from the early eighties.

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Speaker 1: In the Netherlands, or if it's just like weird about elevators,

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Speaker 1: because the characters in this movie talk about elevators like

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Speaker 1: they are a kind of new and dangerous thing, and

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Speaker 1: I don't think they were particularly new or dangerous in

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Speaker 1: in the Netherlands in the nineteen eighties. Is I don't know?

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Speaker 1: It could be wrong. Yeah, I didn't. I didn't get

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Speaker 1: a chance to really research that. But there there's at

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Speaker 1: least a time or two where a character makes a

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Speaker 1: seemingly outrageous claim about elevator safety at the time. Um,

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Speaker 1: I mean, I'm happy to be corrected on the matter.

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Speaker 1: But we'll discuss that in a bit. There's some scene

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Speaker 1: we're like, they're like, did you know that seven million

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Speaker 1: people are decapitated by elevators? Everyone? Yeah, it's it's almost

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Speaker 1: that ridiculous. I have it in the notes, So goog.

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Speaker 1: We'll get to that stat But first, Joe, would you

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Speaker 1: would would you go ahead and give us an elevator

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Speaker 1: pitch for this elevator movie. Oh, I think here's one

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Speaker 1: where we were obligated to say pun not intended. But

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Speaker 1: when an elevator in a Dutch tower building starts attacking

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Speaker 1: and killing random people, it is up to intrepid elevator

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Speaker 1: repairman Felix Adler to debug the death lift. All right, well,

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Speaker 1: let's go ahead and listen to that trailer. Inside this

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Speaker 1: vertical city, a machine has come to life, a machine

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Speaker 1: with a terrible secret wash. Modern technology gave burn to

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Speaker 1: the lift, but the lip has made itself smarter, stronger,

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Speaker 1: and deadly. Earn, take the stairs, Take the stairs, for

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Speaker 1: God's sake, Take the stairs now. I don't know if

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Speaker 1: the audio we just featured included the tagline, but if not,

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Speaker 1: it is take the stairs, Take the stairs, for God's say,

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Speaker 1: Take the stairs. Excellent classic heart you know is it's

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Speaker 1: very don't awesome? Yeah? I have to admit I usually

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Speaker 1: watched the trailer for a film before I view it,

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Speaker 1: but in this case, I just, uh, you know, you

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Speaker 1: you you were you were convinced that this was a

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Speaker 1: movie to watch. I looked at the IMDb listing for it.

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Speaker 1: I said, let's do it. But I went ahead and

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Speaker 1: skipped watching the trailer completely so I could go into it,

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Speaker 1: uh you know, rather fresh. Well, sometimes it's good to

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Speaker 1: go into fresh, but in this case, I just say,

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Speaker 1: you know what, watch the trailer now. I guess to

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Speaker 1: talk about the real creative forces behind the lift. Uh.

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Speaker 1: Number one has got to be Old Dick Moss. That's right,

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Speaker 1: Dick Moss. Uh the last name spelled m A A

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Speaker 1: S director, writer and also compose the music on this film, uh,

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Speaker 1: which which I have to say is I thought was

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Speaker 1: rather pleasant. It's a nice atmospheric electronic score. Um, you know,

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Speaker 1: nothing that I need to seek out on vinyl necessarily,

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Speaker 1: but but but I thought it was solid and did

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Speaker 1: its job well. Uh. No acoustic instruments to get your

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Speaker 1: hackles up right right, No, no stirring piano pieces. Uh.

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Speaker 1: So I say, good, good job. Dick Moss. Now Dick Moss,

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Speaker 1: Uh yeah, Dutch film director, screenwriter, film producer and film

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Speaker 1: composer who has produced quite a filmography of TV and

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Speaker 1: screen credits between nine and two thousand sixteen. His first

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Speaker 1: feature was a comedy called Rigor Mortis in one, and

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Speaker 1: this film from eight three was the follow up, and

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Speaker 1: it was apparently something of a hit, at least in

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Speaker 1: the long run, earning sort of a B movie following

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Speaker 1: over time. It's it's listed in the Psychotronic Video Guide

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Speaker 1: and allegedly Dick Moss was offered the chance to direct

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Speaker 1: both a Nightmare on Elm Street movie after this, as

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Speaker 1: well as a Gean Claude van Dam film. One assumes

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Speaker 1: that these are two separate films and not the same film,

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Speaker 1: but any rate, he declined and instead went on to

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Speaker 1: make the Dutch action flick Amster Damned instead, a film

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Speaker 1: that I haven't seen but was already familiar with due

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Speaker 1: to it's um it's following. And of course that's just

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Speaker 1: ridiculous title that was so well chosen. Having seen the lift,

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Speaker 1: I would love to see what his Nightmare on Elm

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Speaker 1: Street movie would have been like, Yeah, I mean I can,

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Speaker 1: I can, I can see it, I can see it.

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Speaker 1: Where would you have if you could, you could put

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Speaker 1: him in there, put him in the mix? Where which

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Speaker 1: which director would you take out? And uh and slot

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Speaker 1: Dick mosson. Oh, that's a good question. I don't know.

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Speaker 1: I might replace part five the dream Child. That one's

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Speaker 1: not a lot of fun, okay. And do you think

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Speaker 1: you could also fit Jean Claud van Damm in there

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Speaker 1: as well? Yes, Jean Claude Vandam would play let's see,

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Speaker 1: he would play Freddie Krueger's twin brother. Uh No, no

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Speaker 1: explanation on that will just you know, put him in

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Speaker 1: another sweater. It'll work. Okay, sounds go alright. Dick Moss

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Speaker 1: also had a lot of success with the Flatterer comedy series,

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Speaker 1: which I'm to understand is kind of a politically incorrect

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Speaker 1: satire series that was controversial at the time but also

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Speaker 1: generated a big following. And while his comedy seem more

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Speaker 1: aimed at a Dutch audience, his action in horror films

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Speaker 1: seemed to have a broader aim in mind, and he

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Speaker 1: eventually made a few films with more American star power,

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Speaker 1: which includes Do Not Disturb starring William Hurt, Jennifer Tilley,

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Speaker 1: Michael Chiklis, and Dennis Leary. Weird okay, and he of

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Speaker 1: course also helmed an American remake of this movie, The

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Speaker 1: Lift in two thousand and one, a film titled either

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Speaker 1: Down or The Shaft, depending on where you're acquiring it

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Speaker 1: where where you might have seen it? Um it is.

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Speaker 1: So it's not a film that I've watched in its entirety,

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Speaker 1: but I I signed up for the full Moon Channel

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Speaker 1: to watch The Lift, and uh, the remake is also

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Speaker 1: on the full Moon Channel, so I I watched a

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Speaker 1: little of it and skipped around, and it's not a

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Speaker 1: it's not in an it's not in its entirety a

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Speaker 1: shot for shot remake, but sections of it are definitely

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Speaker 1: seemed to be a shot for shot remake with say

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Speaker 1: c g I assisted effects instead of practical effects. Oh bummer.

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Speaker 1: Though I'm sure that is safer, there's there so I Uh.

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Speaker 1: The main reading about the production I did was on IMDb,

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Speaker 1: which has, you know, some users submitted content. You can't

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Speaker 1: always be sure about that, but it does sound like

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Speaker 1: some of the some of the effects may have had

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Speaker 1: people a little bit worried while they were shooting them,

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Speaker 1: like at least at some point. It is alleged that

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Speaker 1: they filmed the scene where a guy gets decapitated by

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Speaker 1: an elevator by actually sort of putting a guy's head

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Speaker 1: under an elevator, but they did in reverse. Uh So

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Speaker 1: I don't know that is a that is a legitimately

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Speaker 1: horrifying scene, and I and I will say it is

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Speaker 1: horrifying in BO the remake UM and the original. Even

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Speaker 1: though I'm going to lean towards the practical effects versus

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Speaker 1: the c G I, I still have to have to

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Speaker 1: say it's it's pretty hard fine to watch in both cases. Well,

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Speaker 1: I guess I'd say my preferences. Yes, I always prefer

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Speaker 1: practical effects pretty much. They look better. But you can

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Speaker 1: do you can build like a fake elevator that has

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Speaker 1: no weight, you know, right, But I think that probably

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Speaker 1: wasn't within the budget of what right. I definitely like

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Speaker 1: knowing that nobody almost got actually decapitated in a film

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Speaker 1: that I'm watching. UM now that that update. That two

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Speaker 1: thou one Uh remake also had a pretty great cast.

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Speaker 1: It had Naomi Watts. This is Naomi Watts pre Mulholland Drive.

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Speaker 1: By the way, UM featured a villainous role played by

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Speaker 1: Michael Ironside, who is of course always tremendous. You have

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Speaker 1: Ron Pearlman in there, Edward Herman and Dan hideya oh.

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Speaker 1: And also this is funny. The main character in the remake,

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Speaker 1: by the way, I did not know that that this

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Speaker 1: guy remade the Lift for American audiences when I picked

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Speaker 1: this movie. But the main character in the remake is

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Speaker 1: James Marshall, who was the biker boy in Twin Peaks

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Speaker 1: and he he was also one of the kids in

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Speaker 1: what's it called A Few Good Men. He's the kind

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Speaker 1: of not too bright of the two accused. Well, um, yeah,

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Speaker 1: I barely remember that that film, but I'll tell you this, Uh,

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Speaker 1: it's not really weird. How cinema material? Yeah yeah, I

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Speaker 1: love a good sanctimonious courtroom drama. Uh at any rate. Um,

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Speaker 1: it looks like the remake is is enjoyable on its

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Speaker 1: own terms as well. Um, but but it it is

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Speaker 1: definitely you definitely get that American eye sense, like from

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Speaker 1: the get go. There are more curse words. Uh, there's

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Speaker 1: there's more nudity. Uh. And and there's also a bazooka

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Speaker 1: and an Aerosmith song in there. An Aerosmith song? Which song?

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Speaker 1: Oh you know which song? It's an elevator movie, which

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Speaker 1: which one? Are they going to put it? Oh? Of course? Okay,

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Speaker 1: I was thinking maybe don't want to miss a thing. No,

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Speaker 1: this is playing as the guy gets decapitated by an elevator.

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Speaker 1: I think it's the club. I think it's the credit song.

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Speaker 1: Actually all right, well, Moss was He was not done there.

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Speaker 1: Dick Moss also went on to direct the two thousand

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Speaker 1: ten film scent Or. I think it's sometimes released as

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Speaker 1: The Saint, and this was his return to the horror genre.

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Speaker 1: It is a film about a killer Satanic uh center

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00:22:32,680 --> 00:22:37,199
Speaker 1: clause figure a um like a like an evil punishing

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Speaker 1: Dutch Santa Clause, which was something of a hit at

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Speaker 1: the time. Apparently it was kind of controversial but had

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Speaker 1: been garnered an audience like I think I've been noticing

400
00:22:46,680 --> 00:22:49,280
Speaker 1: the box for this film at video Drome for many years,

401
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Speaker 1: but I just haven't seen it. Mass's most recent film

402
00:22:53,359 --> 00:22:56,359
Speaker 1: was two thousand Sixteens Prey, and this was about a

403
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Speaker 1: killer c G I lion rampaging through Amsterdam star English

404
00:23:00,520 --> 00:23:03,560
Speaker 1: actor Mark Frost. And while this was his last film

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Speaker 1: to date, uh, Dick Moss was the subject of the

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Speaker 1: documentary did Dick Moss Method, which I was looking around.

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Speaker 1: I don't know that this is available um to us yet,

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Speaker 1: but I'm I'm kind of interested to see it. What

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Speaker 1: is the Dick Moss method. I'm not sure, but it's

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Speaker 1: it seems to be have been a successful method because

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Speaker 1: he was, by by all accounts, a pretty successful filmmaker,

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Speaker 1: especially uh, you know, with within the Netherlands, uh you know,

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00:23:33,920 --> 00:23:36,600
Speaker 1: and uh and clearly was able to to reach beyond it.

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Speaker 1: I mean, we're talking about him here today, okay, But

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Speaker 1: it is at least a method. The method is a

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Speaker 1: method of filmmaking. I was trying to imagine, is this

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Speaker 1: like an alternative to the Heimlich maneuver? Like, no, I

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Speaker 1: assume I'm I'm assuming it's about his his approach to filmmaking. Okay, alright,

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00:23:53,119 --> 00:23:56,960
Speaker 1: so that is the creative force behind the scenes. We

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Speaker 1: should get into the cast a little bit though. This

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00:23:59,600 --> 00:24:01,960
Speaker 1: is definitely only one of those cases where a lot

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00:24:01,960 --> 00:24:04,520
Speaker 1: of people were involved in this and just about everybody

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00:24:04,520 --> 00:24:07,160
Speaker 1: in it is is great in their own way. But

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Speaker 1: how many Dutch actors, you know, can we really mentioned

425
00:24:11,000 --> 00:24:13,200
Speaker 1: on the show if there aren't a lot of real

426
00:24:13,200 --> 00:24:16,000
Speaker 1: connections to be made, especially for a largely uh, you know,

427
00:24:16,400 --> 00:24:20,480
Speaker 1: English speaking audience. Apologies in in advance on our attempts

428
00:24:20,520 --> 00:24:23,960
Speaker 1: to pronounce these Dutch names, But we should talk about

429
00:24:23,960 --> 00:24:29,160
Speaker 1: the guy who plays the protagonist hub Stopple Staple. Yeah,

430
00:24:29,240 --> 00:24:34,200
Speaker 1: he plays what Felix Adlar and yeah and so yeah.

431
00:24:34,200 --> 00:24:38,200
Speaker 1: Otolar is our elevator technician hero uh. He was born

432
00:24:38,520 --> 00:24:41,720
Speaker 1: n four Dutch actor who has popped up in a

433
00:24:41,800 --> 00:24:44,320
Speaker 1: number of Dick Moss pictures, often in the lead. So

434
00:24:44,760 --> 00:24:48,280
Speaker 1: he's in Flatterer, He's also in He's the lead in

435
00:24:48,359 --> 00:24:53,240
Speaker 1: Amsterdamned and he's also the evil Nicholas in the Scent movie,

436
00:24:53,320 --> 00:24:56,080
Speaker 1: so he plays the evil Santa Claus figure in that.

437
00:24:56,600 --> 00:24:59,680
Speaker 1: This would explain. So in in the Lift, he's got

438
00:24:59,800 --> 00:25:03,520
Speaker 1: very boyish good looks, so I kept comparing. Actually he

439
00:25:03,560 --> 00:25:06,800
Speaker 1: looks a lot like Paul McCartney in a way. He does. Yeah,

440
00:25:07,119 --> 00:25:09,360
Speaker 1: I mean he's he's got a great look um. And

441
00:25:09,359 --> 00:25:11,800
Speaker 1: and he's and he's a solid actor. Yeah yeah, yeah

442
00:25:11,840 --> 00:25:14,520
Speaker 1: he so, yeah, he's he's got a good kind of

443
00:25:14,560 --> 00:25:17,679
Speaker 1: stoic screen presence. He's good looking. He looks kind of

444
00:25:17,720 --> 00:25:20,680
Speaker 1: like a Paul McCartney with a little dash of Oscar

445
00:25:20,720 --> 00:25:23,920
Speaker 1: Isaac in there as well. Yeah yeah, I could see that. Yeah.

446
00:25:24,200 --> 00:25:26,200
Speaker 1: But but but the thing about the same, this would

447
00:25:26,240 --> 00:25:29,480
Speaker 1: explain why we found this hilarious. When we first looked

448
00:25:29,560 --> 00:25:33,280
Speaker 1: him up, the picture that came up was a picture

449
00:25:33,280 --> 00:25:36,680
Speaker 1: of him dressed as Father Christmas with like scary looking

450
00:25:36,720 --> 00:25:40,480
Speaker 1: shadows around him, right, and an inverted cross on the

451
00:25:40,520 --> 00:25:45,520
Speaker 1: big Santa Paul pat. Yeah, the Bishop's hat very good.

452
00:25:47,000 --> 00:25:50,920
Speaker 1: So uh. Staple has been in a number of Dutch films,

453
00:25:50,960 --> 00:25:54,040
Speaker 1: so it's you know, very active. Um. So I'm not

454
00:25:54,080 --> 00:25:56,320
Speaker 1: going to mention everything, but I have to miss mention

455
00:25:56,400 --> 00:26:00,600
Speaker 1: this one. Uh, he was in the t V movie

456
00:26:00,640 --> 00:26:07,240
Speaker 1: about Anne Frank, starring Mary Steinbergen, Paul Scofield, and Tom Wilkinson. Actually,

457
00:26:07,280 --> 00:26:09,240
Speaker 1: I think Tom Wilkinson had a smaller role, but he's

458
00:26:09,280 --> 00:26:12,199
Speaker 1: in it. I don't think I ever saw this. I

459
00:26:12,240 --> 00:26:15,760
Speaker 1: didn't either. But the interesting thing about it, it's it's again.

460
00:26:16,480 --> 00:26:19,359
Speaker 1: It's titled The Attic The Idea, The Hiding of Anne Frank,

461
00:26:19,880 --> 00:26:22,640
Speaker 1: and I'm not sure that's, you know, good or bad.

462
00:26:22,720 --> 00:26:24,919
Speaker 1: I have no information about the quality of the picture,

463
00:26:25,200 --> 00:26:29,600
Speaker 1: but it featured the cinematography talents of one Peter Jackson.

464
00:26:30,480 --> 00:26:35,200
Speaker 1: And it launched on the Craft Golden Showcase Network, Yes,

465
00:26:35,240 --> 00:26:40,000
Speaker 1: a television network that was created by Craft Foods, and

466
00:26:40,040 --> 00:26:43,199
Speaker 1: I think ultimately lasted in one form or another almost

467
00:26:43,280 --> 00:26:48,119
Speaker 1: a decade with the dramatization about Anne Frank. Yeah, that

468
00:26:48,280 --> 00:26:51,840
Speaker 1: is a weird venue for I was not able to

469
00:26:51,880 --> 00:26:56,640
Speaker 1: find any other information about this TV network that perhaps

470
00:26:56,720 --> 00:27:01,000
Speaker 1: comes from another dimension, but I I'm very interested, like,

471
00:27:01,240 --> 00:27:02,959
Speaker 1: how did what else was on there? I think there

472
00:27:02,960 --> 00:27:05,120
Speaker 1: were like two different movies that I saw credited as

473
00:27:05,160 --> 00:27:09,359
Speaker 1: having been a Craft Golden Showcase Network production. But clearly

474
00:27:09,400 --> 00:27:12,520
Speaker 1: you gotta have more than that, especially if you're on

475
00:27:12,560 --> 00:27:16,000
Speaker 1: the air in some form or another for for many years. Wow. Well,

476
00:27:16,040 --> 00:27:18,320
Speaker 1: as far as I know, I've never heard of that. Okay,

477
00:27:18,400 --> 00:27:21,760
Speaker 1: let's move on to our next. Our next actor. Um,

478
00:27:21,880 --> 00:27:26,760
Speaker 1: this is the the actor Villa Cave van amil Roy

479
00:27:26,840 --> 00:27:31,320
Speaker 1: who plays Mickey de Beer. She is this character is

480
00:27:31,400 --> 00:27:33,680
Speaker 1: essentially our scrappy news reporter. You know, you've gotta have

481
00:27:33,720 --> 00:27:37,040
Speaker 1: a scrappy news reporter in a picture like this is

482
00:27:37,040 --> 00:27:39,560
Speaker 1: all about getting in there finding the answers. Yeah. She.

483
00:27:39,960 --> 00:27:41,600
Speaker 1: In fact, I would say that this movie sort of

484
00:27:41,600 --> 00:27:45,960
Speaker 1: has two protagonists that that uh huge staple as as

485
00:27:46,000 --> 00:27:48,560
Speaker 1: the elevator repairman is one, and she sort of comes

486
00:27:48,600 --> 00:27:51,520
Speaker 1: in later to become the the other lead, and she's

487
00:27:51,600 --> 00:27:55,520
Speaker 1: pursuing forbidden knowledge and sort of spurs our our young

488
00:27:55,520 --> 00:28:00,560
Speaker 1: Paul McCartney hero to to to to dive deeper. Right. Yeah.

489
00:28:00,640 --> 00:28:04,320
Speaker 1: So the interesting thing here is that Villik is a

490
00:28:04,440 --> 00:28:07,840
Speaker 1: major Dutch actor and director who appeared in films during

491
00:28:07,840 --> 00:28:12,000
Speaker 1: the nineteen seventies opposite such actors as Rugger hower Uh

492
00:28:12,000 --> 00:28:14,720
Speaker 1: in the films The Year of the Cancer and a

493
00:28:14,800 --> 00:28:19,800
Speaker 1: film by the name of H. Gritstra and d gere Uh.

494
00:28:19,800 --> 00:28:22,720
Speaker 1: And then she's also worked with with other major actors

495
00:28:22,800 --> 00:28:26,000
Speaker 1: of of Dutch cinema and international cinema, such as Rick

496
00:28:26,080 --> 00:28:30,720
Speaker 1: de Gour and Telly Savalis that uh in the film

497
00:28:31,200 --> 00:28:33,600
Speaker 1: Killer The Killer is on the Phone from two. That's

498
00:28:33,640 --> 00:28:37,400
Speaker 1: the one with Telly Seplas in it. She also appeared

499
00:28:37,440 --> 00:28:41,240
Speaker 1: in the one atte de young film A Flight of

500
00:28:41,400 --> 00:28:45,640
Speaker 1: rain Birds starring Jerome Crabby. Uh. Aute DeJong of course

501
00:28:45,680 --> 00:28:50,760
Speaker 1: directed Highway to Hell. Oh that's funny. Yeah, but this

502
00:28:50,800 --> 00:28:53,080
Speaker 1: is just just working up to our Probably her most

503
00:28:53,120 --> 00:28:57,400
Speaker 1: famous film credit, she appeared in um uh because this

504
00:28:57,440 --> 00:28:59,640
Speaker 1: one was a major hit. She has the lead role

505
00:29:00,080 --> 00:29:06,000
Speaker 1: in the Marlene Gorris film Antonia's Line, which is about

506
00:29:06,120 --> 00:29:08,600
Speaker 1: a Dutch matron. This is a movie that won an

507
00:29:08,600 --> 00:29:11,800
Speaker 1: Academy Award for Best Foreign Film. And if you're not

508
00:29:11,840 --> 00:29:15,840
Speaker 1: familiar with Marlene Gorris, she was a noted Dutch feminist

509
00:29:16,160 --> 00:29:20,720
Speaker 1: and LGBT director and writer. Um ye uh yeah it

510
00:29:21,000 --> 00:29:22,320
Speaker 1: was a it was a huge hit and it's supposed

511
00:29:22,320 --> 00:29:24,440
Speaker 1: to be just a great film. Well I've never seen

512
00:29:24,480 --> 00:29:26,360
Speaker 1: any of her good movies, but she's great in this

513
00:29:26,480 --> 00:29:29,440
Speaker 1: B movie. She she's got a great sense of human like.

514
00:29:29,480 --> 00:29:31,960
Speaker 1: I think she gets what this movie is about. She

515
00:29:32,080 --> 00:29:35,560
Speaker 1: gets the tone, She gets the vibe um and has

516
00:29:35,600 --> 00:29:38,480
Speaker 1: the right kind of sense of mischief about about pursuing

517
00:29:38,480 --> 00:29:41,680
Speaker 1: the plot. Yeah, yeah, totally, she nails it and she's

518
00:29:41,800 --> 00:29:45,959
Speaker 1: I think still active. Um Uh. A film that some

519
00:29:46,520 --> 00:29:49,880
Speaker 1: viewers slash listeners may be familiar with UH is that

520
00:29:50,160 --> 00:29:52,640
Speaker 1: Villiki was in the two thousand six film The Lake

521
00:29:52,680 --> 00:29:56,880
Speaker 1: House that started Kano Reeves, Sandra Bullock and Christopher Plummer

522
00:29:57,800 --> 00:30:00,600
Speaker 1: never saw that either. Now, once again, they're various other

523
00:30:00,640 --> 00:30:02,680
Speaker 1: actors in this who are all all great. A number

524
00:30:02,720 --> 00:30:06,320
Speaker 1: of them seem to have been Dick Moss regular players, uh,

525
00:30:06,360 --> 00:30:08,680
Speaker 1: and and any number of them have connections to you know,

526
00:30:08,720 --> 00:30:12,320
Speaker 1: to folks like Rudger Howard and Rick de gour Um

527
00:30:12,560 --> 00:30:16,040
Speaker 1: and and and into each other of course. But I

528
00:30:16,040 --> 00:30:17,880
Speaker 1: think that'll that'll that'll have to do it. But if

529
00:30:17,880 --> 00:30:20,280
Speaker 1: you're if you were more familiar with Dutch cinema than

530
00:30:20,320 --> 00:30:23,160
Speaker 1: we are, definitely take a look at the listing for

531
00:30:23,480 --> 00:30:36,400
Speaker 1: the Lift on IMDb and you may find some amusing connections. Well,

532
00:30:36,480 --> 00:30:39,080
Speaker 1: are you ready to talk about the plot. Let's get

533
00:30:39,120 --> 00:30:42,520
Speaker 1: into the plot. You know, this movie lets you know

534
00:30:42,560 --> 00:30:46,000
Speaker 1: what it's about at the very beginning, because it begins

535
00:30:46,440 --> 00:30:50,680
Speaker 1: with a pan over a passing elevator that mimics the

536
00:30:50,760 --> 00:30:55,400
Speaker 1: Star Destroyer at the beginning of Star Wars. Yes, so

537
00:30:55,440 --> 00:30:57,480
Speaker 1: that comes along with the credits. But when we first

538
00:30:57,520 --> 00:31:00,800
Speaker 1: meet some humans and and uh and have some rama,

539
00:31:01,480 --> 00:31:04,520
Speaker 1: we get into something that is a regular feature of

540
00:31:04,600 --> 00:31:07,440
Speaker 1: killer appliance movies, in fact, not just killer appliance movies,

541
00:31:07,480 --> 00:31:11,000
Speaker 1: because killer appliance movies have something in common with creature features,

542
00:31:11,320 --> 00:31:15,000
Speaker 1: slasher movies, uh, a lot of monster movies, and other

543
00:31:15,080 --> 00:31:19,800
Speaker 1: horror subgenres, which is that the film must begin with

544
00:31:19,960 --> 00:31:24,360
Speaker 1: an attack by the antagonist, whether that's human, animal, monster,

545
00:31:24,560 --> 00:31:28,400
Speaker 1: or even an inanimate object on a random person or

546
00:31:28,520 --> 00:31:32,880
Speaker 1: group of random people before we meet our protagonist. Absolutely.

547
00:31:32,920 --> 00:31:34,800
Speaker 1: I mean you see this rule and play probably most

548
00:31:34,800 --> 00:31:38,560
Speaker 1: famously in Jaws, but you can you can probably pinpoint

549
00:31:38,600 --> 00:31:41,560
Speaker 1: it in just about anything. Um. Like, one prime example

550
00:31:41,600 --> 00:31:43,760
Speaker 1: that comes to mind is u is the Game of

551
00:31:43,800 --> 00:31:47,920
Speaker 1: Thrones franchise. I think both the first novel and the

552
00:31:48,240 --> 00:31:51,400
Speaker 1: Sea It series begin with just a little prologue in

553
00:31:51,440 --> 00:31:54,560
Speaker 1: which people are slaughtered by whitewalkers. Oh yeah, that's right,

554
00:31:54,600 --> 00:31:57,320
Speaker 1: what's a I can almost remember one of their names,

555
00:31:57,360 --> 00:31:59,720
Speaker 1: like Waymar Royce I think is one of them. And

556
00:31:59,760 --> 00:32:02,720
Speaker 1: they are up north of the wall or something, and yeah,

557
00:32:02,800 --> 00:32:06,040
Speaker 1: I remember get them. I remember reading it for the

558
00:32:06,080 --> 00:32:08,200
Speaker 1: first time, and I was doing that thing that you

559
00:32:08,240 --> 00:32:09,960
Speaker 1: sometimes do with books, were like, all right, this is

560
00:32:09,960 --> 00:32:12,280
Speaker 1: my guy. All right, I got his name down. Yep,

561
00:32:12,400 --> 00:32:14,719
Speaker 1: I'm picturing what he looks like. And then George R.

562
00:32:14,760 --> 00:32:18,680
Speaker 1: Martin like kills him in one chapter. Oh did yeah?

563
00:32:18,920 --> 00:32:21,240
Speaker 1: All of them? Oh no, one of them survives the

564
00:32:21,240 --> 00:32:25,080
Speaker 1: pro lingue to be beheaded in the following chapter. Okay, okay,

565
00:32:25,920 --> 00:32:29,080
Speaker 1: but anyway, anyway, the lift adheres to form on the

566
00:32:29,160 --> 00:32:31,960
Speaker 1: on this matter. So we begin the movie in a

567
00:32:32,080 --> 00:32:36,200
Speaker 1: restaurant on the top floor of an office slash apartment building.

568
00:32:36,240 --> 00:32:39,200
Speaker 1: I guess this would technically be a mixed use development

569
00:32:39,640 --> 00:32:41,440
Speaker 1: to use. I don't know if they use that term

570
00:32:41,480 --> 00:32:44,520
Speaker 1: back then, but that's what it is. It's this tower building,

571
00:32:44,880 --> 00:32:47,440
Speaker 1: it's got apartments, it's got offices, and it's got a

572
00:32:47,480 --> 00:32:50,800
Speaker 1: restaurant on the top floor. And there are four rowdy,

573
00:32:50,880 --> 00:32:54,440
Speaker 1: drunk people who are overstaying their welcome after clothes at

574
00:32:54,440 --> 00:32:56,800
Speaker 1: a restaurant on the top floor that we later find

575
00:32:56,840 --> 00:33:01,959
Speaker 1: out it's called restaurant Chorus, which is interesting choice. I

576
00:33:02,000 --> 00:33:04,320
Speaker 1: did not notice that in my viewing of the film

577
00:33:04,400 --> 00:33:08,600
Speaker 1: this morning. So that's that's wonderful, wonderfully. On the notes,

578
00:33:08,760 --> 00:33:11,120
Speaker 1: it's like, if we try to earn a Michelin star,

579
00:33:11,320 --> 00:33:13,560
Speaker 1: we will we will soar too high and then crash

580
00:33:13,600 --> 00:33:18,800
Speaker 1: into the waves outbreaks of listeria. Oh and by the way,

581
00:33:18,840 --> 00:33:21,680
Speaker 1: regarding this scene, get up on my my as someone

582
00:33:21,720 --> 00:33:26,440
Speaker 1: with restaurant experienced soapbox. Uh, Folks, please don't overstay your

583
00:33:26,480 --> 00:33:29,600
Speaker 1: welcome at a restaurant after close. If you come in late,

584
00:33:29,760 --> 00:33:31,960
Speaker 1: you know, that's fine, But people are trying to close up.

585
00:33:32,000 --> 00:33:33,720
Speaker 1: Just just try to get done with what you're doing

586
00:33:33,760 --> 00:33:36,560
Speaker 1: as quickly as possible and get out of there. People

587
00:33:36,600 --> 00:33:38,560
Speaker 1: got things to do when they're closing up a restaurant.

588
00:33:38,560 --> 00:33:40,840
Speaker 1: You gotta bus dishes, you gotta clean the dining room.

589
00:33:41,280 --> 00:33:43,720
Speaker 1: A lot of times people can't do that until you're gone.

590
00:33:43,720 --> 00:33:46,600
Speaker 1: So just don't don't hang around if it's after clothes.

591
00:33:47,360 --> 00:33:49,040
Speaker 1: I remember a pizza hut that I went to when

592
00:33:49,040 --> 00:33:50,239
Speaker 1: I was a kid. What they would do is they

593
00:33:50,240 --> 00:33:52,600
Speaker 1: would flip the lights on and off. I don't know

594
00:33:52,640 --> 00:33:56,040
Speaker 1: if that's standard operating procedure at restaurants. I like that.

595
00:33:56,040 --> 00:33:58,720
Speaker 1: That's a good assertive manager. Trying to get you out

596
00:33:58,720 --> 00:34:02,440
Speaker 1: of there. Well, that flies at pizza, but this is

597
00:34:02,480 --> 00:34:05,560
Speaker 1: restaurant acres, so there, I can't do that. This is

598
00:34:05,560 --> 00:34:09,200
Speaker 1: a fancy place though. So this is a fancy place

599
00:34:09,239 --> 00:34:11,680
Speaker 1: with like a matre d in a in a you know,

600
00:34:11,760 --> 00:34:15,160
Speaker 1: fancy little outfit. I think, uh, the matre d here

601
00:34:15,239 --> 00:34:17,080
Speaker 1: might be the guy we saw in the credits whose

602
00:34:17,160 --> 00:34:21,080
Speaker 1: name was Johann Hobo. It is it is definitely okay,

603
00:34:21,200 --> 00:34:24,200
Speaker 1: um but so but but but despite this being a

604
00:34:24,200 --> 00:34:26,960
Speaker 1: fancy place, these diners are I don't know, they're up

605
00:34:27,000 --> 00:34:29,120
Speaker 1: to no good. I'm not sure exactly what's going on

606
00:34:29,239 --> 00:34:32,560
Speaker 1: with them, but they're clearly u drunk and getting into trouble.

607
00:34:33,120 --> 00:34:37,040
Speaker 1: They are cavorting around with sloppy jokes that very much

608
00:34:37,120 --> 00:34:39,680
Speaker 1: reminded me of the guy in the five Hundred Little

609
00:34:39,719 --> 00:34:42,400
Speaker 1: Wigs sketch, and I think you should leave. You remember

610
00:34:42,400 --> 00:34:46,279
Speaker 1: the he's comfortable in his skin because he can go

611
00:34:46,360 --> 00:34:50,960
Speaker 1: bald gracefully. I know I do not remember that one specifically,

612
00:34:51,000 --> 00:34:55,000
Speaker 1: but I totally get you on the the general Tim

613
00:34:55,440 --> 00:35:00,000
Speaker 1: Tim Robinson vibe here, because yeah, they're just ridiculously outrageous

614
00:35:00,080 --> 00:35:04,600
Speaker 1: a drunk, these four we're embarrassed for them. We're embarrassed

615
00:35:04,640 --> 00:35:06,399
Speaker 1: for the people who have to watch them and are

616
00:35:06,400 --> 00:35:09,799
Speaker 1: waiting for them to leave. Right. So, anyway, they get

617
00:35:09,840 --> 00:35:12,640
Speaker 1: showed out of the restaurant and they're taking the elevator

618
00:35:12,640 --> 00:35:15,480
Speaker 1: down to meet their cab. But while they're in the elevator,

619
00:35:15,600 --> 00:35:19,080
Speaker 1: lightning strikes and the power goes out, and then they

620
00:35:19,200 --> 00:35:21,959
Speaker 1: they're fooling around in the elevator doing all kinds of stuff,

621
00:35:22,000 --> 00:35:26,279
Speaker 1: and then something starts happening and it is as if

622
00:35:26,400 --> 00:35:31,280
Speaker 1: they are being ambient lee attacked by like the air

623
00:35:31,600 --> 00:35:34,080
Speaker 1: in the elevator. I really did not understand what was

624
00:35:34,120 --> 00:35:37,520
Speaker 1: going on here. They react almost as if they are

625
00:35:37,560 --> 00:35:40,960
Speaker 1: being attacked with some kind of sonic weapon or psychic

626
00:35:41,120 --> 00:35:44,400
Speaker 1: pain ray. Yeah, we're too, I guess we're to understand

627
00:35:44,440 --> 00:35:47,160
Speaker 1: that that something goes seems to go wrong with both

628
00:35:47,200 --> 00:35:51,480
Speaker 1: the the movement of the elevator and also the air circulation,

629
00:35:51,880 --> 00:35:54,400
Speaker 1: like and and also and also suddenly they're heating up,

630
00:35:54,440 --> 00:35:56,279
Speaker 1: so it's like, yeah, it's like they're being microwaved in

631
00:35:56,320 --> 00:35:59,759
Speaker 1: the elevator somehow, yes, like raise or hitting them and

632
00:36:00,040 --> 00:36:03,440
Speaker 1: using agonizing pain. Uh. And also but there's like a

633
00:36:03,520 --> 00:36:06,440
Speaker 1: kind of grating noise which made me think sonic weapons.

634
00:36:06,440 --> 00:36:08,239
Speaker 1: Somebody's aiming, so I'm kind of like, do you do

635
00:36:08,280 --> 00:36:10,799
Speaker 1: you kind of thing at them? But no, it turns out.

636
00:36:10,920 --> 00:36:12,839
Speaker 1: Oh and also I was sure they were dead when

637
00:36:12,880 --> 00:36:15,239
Speaker 1: the power came. Yeah, I thought so too, because you see,

638
00:36:15,360 --> 00:36:17,680
Speaker 1: like you have a p o V shot from one

639
00:36:17,680 --> 00:36:20,279
Speaker 1: of the women in there, as like everybody else falls out,

640
00:36:20,360 --> 00:36:24,160
Speaker 1: and then her vision blurs and goes dark exactly. And

641
00:36:24,200 --> 00:36:27,120
Speaker 1: so then the doors open to reveal a gaggle of

642
00:36:27,200 --> 00:36:30,440
Speaker 1: dumbfounded waiters and they look inside the elevator in horror.

643
00:36:31,000 --> 00:36:33,360
Speaker 1: But then the next scene lets us onto the facts

644
00:36:33,400 --> 00:36:37,120
Speaker 1: that they were not killed. They were nearly killed, and

645
00:36:37,239 --> 00:36:41,239
Speaker 1: the problem was that the air conditioning failed, which just

646
00:36:41,360 --> 00:36:44,839
Speaker 1: does not I don't know, it doesn't really comport with

647
00:36:44,880 --> 00:36:47,560
Speaker 1: what we were seeing. But okay, but that's our prologue,

648
00:36:47,600 --> 00:36:50,279
Speaker 1: that's our our attack before we meet the protagonist. So

649
00:36:50,320 --> 00:36:52,719
Speaker 1: the next thing you gotta do is meet the protagonist.

650
00:36:52,920 --> 00:36:55,400
Speaker 1: We meet him with his family, and again this is

651
00:36:55,480 --> 00:36:58,960
Speaker 1: a Hube Stopple or Hube Staple who plays this character

652
00:36:59,000 --> 00:37:02,560
Speaker 1: named Felix ad Or, our stoic elevator repair man. Again,

653
00:37:02,600 --> 00:37:05,320
Speaker 1: he looks kind of like Paul McCartney, um, and we

654
00:37:05,400 --> 00:37:08,600
Speaker 1: get some foreshadowing of some family dynamics that are going

655
00:37:08,680 --> 00:37:11,600
Speaker 1: to go on later in the movie, because when we

656
00:37:11,640 --> 00:37:14,879
Speaker 1: first meet him, he is nursing a black eye that

657
00:37:14,960 --> 00:37:18,160
Speaker 1: he received apparently because he smiled at some lady and

658
00:37:18,200 --> 00:37:22,200
Speaker 1: her husband punched him in the face. Yeah, and this

659
00:37:22,280 --> 00:37:26,000
Speaker 1: is like the first kind of red flag with this character. Um,

660
00:37:26,200 --> 00:37:28,560
Speaker 1: we end up spending a lot of time with the family.

661
00:37:29,080 --> 00:37:31,799
Speaker 1: And I think one of the things that I'm I've

662
00:37:31,800 --> 00:37:35,600
Speaker 1: been thinking about with this movie is that generally in

663
00:37:35,600 --> 00:37:38,759
Speaker 1: a film like this, the film of this caliber, you know,

664
00:37:38,960 --> 00:37:41,640
Speaker 1: essentially a B film that's a horror film, you're gonna

665
00:37:41,680 --> 00:37:44,440
Speaker 1: go by just widely in one direction or another with

666
00:37:44,480 --> 00:37:48,120
Speaker 1: a character like this, like either he's a great family man,

667
00:37:48,560 --> 00:37:52,480
Speaker 1: you know, put in a um an unnatural situation, or

668
00:37:52,560 --> 00:37:57,120
Speaker 1: he's a complete dog put in an unnatural situation. He's

669
00:37:57,160 --> 00:37:59,920
Speaker 1: not really either here. No, And in fact, there's a

670
00:38:00,000 --> 00:38:04,320
Speaker 1: fair amount of ambiguity regarding like what what's really wrong

671
00:38:04,360 --> 00:38:07,640
Speaker 1: in this relationship with his wife. Uh, they've where we

672
00:38:07,680 --> 00:38:09,880
Speaker 1: find out later they've been together like ten years or

673
00:38:09,880 --> 00:38:13,719
Speaker 1: nearly ten years, and um, you know, there's not I

674
00:38:13,760 --> 00:38:18,000
Speaker 1: don't know, it's it's almost like within this killer Elevator movie. Um,

675
00:38:18,760 --> 00:38:23,000
Speaker 1: Dick Moss was also making this kind of more subtle

676
00:38:23,080 --> 00:38:25,719
Speaker 1: family meditation, you know, and a sort of a look

677
00:38:25,760 --> 00:38:28,680
Speaker 1: at like what happens with relationships over time. I don't know.

678
00:38:29,480 --> 00:38:31,719
Speaker 1: So we get more information about this as we move on.

679
00:38:31,800 --> 00:38:35,040
Speaker 1: But but we begin with this breakfast scene, family breakfast scene,

680
00:38:35,520 --> 00:38:38,880
Speaker 1: and UM, I think it's actually a really admirable sequence

681
00:38:38,880 --> 00:38:41,440
Speaker 1: because there's a lot going on in this scene. We're

682
00:38:41,520 --> 00:38:43,960
Speaker 1: establishing the characters that, you know, getting a hint of

683
00:38:43,960 --> 00:38:47,320
Speaker 1: this family dynamic we've been discussing, we're you know, entering

684
00:38:47,320 --> 00:38:50,239
Speaker 1: into the plot. Uh, and there's still time for some

685
00:38:50,320 --> 00:38:53,080
Speaker 1: family humor in there. There's some like legitimately kind of

686
00:38:53,120 --> 00:38:55,839
Speaker 1: like you know, some funny stuff that's discussed. And then

687
00:38:55,840 --> 00:38:58,600
Speaker 1: in the background at the end, there's a cat scratching

688
00:38:58,640 --> 00:39:02,359
Speaker 1: at the sliding glass door trying to get in. Um. So,

689
00:39:02,440 --> 00:39:03,400
Speaker 1: I don't know, I just felt like it was a

690
00:39:03,480 --> 00:39:06,520
Speaker 1: very competent scene for for a horror movie. Plus you

691
00:39:06,560 --> 00:39:09,520
Speaker 1: also have a toy ambulance gag that's really great. Like

692
00:39:09,600 --> 00:39:12,880
Speaker 1: after that whole business happened with the with the elevator

693
00:39:12,920 --> 00:39:15,359
Speaker 1: and the four drunks, we cut slat you know, just

694
00:39:16,080 --> 00:39:19,919
Speaker 1: a flash cut to an ambulance seemingly going down the road,

695
00:39:20,280 --> 00:39:21,759
Speaker 1: and then you're watching it and you're like, oh, I

696
00:39:21,800 --> 00:39:24,000
Speaker 1: think that's a toy. And then you're like, no, no,

697
00:39:24,080 --> 00:39:25,560
Speaker 1: I don't think it's a toy at all, and it's

698
00:39:25,600 --> 00:39:27,680
Speaker 1: it's a real ambulance and then it runs into somebody's

699
00:39:27,680 --> 00:39:29,600
Speaker 1: foot and your, guys, it is a toy. It is

700
00:39:29,640 --> 00:39:32,879
Speaker 1: the Sun's toy. Yeah, that one got me too. I

701
00:39:32,880 --> 00:39:34,960
Speaker 1: I thought that was a really good visual gag. And

702
00:39:35,000 --> 00:39:37,640
Speaker 1: then one of the funny things is that immediately, uh,

703
00:39:37,680 --> 00:39:40,360
Speaker 1: the mom is like, couldn't you get our son a

704
00:39:40,480 --> 00:39:43,600
Speaker 1: quieter toy, like a book? And and he's like, no,

705
00:39:43,840 --> 00:39:47,600
Speaker 1: you know, loud toys are good. That doesn't seem like

706
00:39:47,600 --> 00:39:51,760
Speaker 1: a very common parental opinion. But right, they have very

707
00:39:51,880 --> 00:39:54,200
Speaker 1: very different opinions on this, and and there doesn't seem

708
00:39:54,239 --> 00:39:56,360
Speaker 1: to be a lot of room to compromise. So another

709
00:39:56,880 --> 00:40:00,239
Speaker 1: another problem signed for this relationship. Well, anyway, feel Lix

710
00:40:00,280 --> 00:40:03,080
Speaker 1: gets a call to go check out the lift and

711
00:40:03,120 --> 00:40:05,799
Speaker 1: so begins the investigation that will define the rest of

712
00:40:05,800 --> 00:40:08,600
Speaker 1: the film. But he he gets a call, you know,

713
00:40:08,640 --> 00:40:12,240
Speaker 1: he owe some people nearly suffocated and in an elevator

714
00:40:12,360 --> 00:40:14,960
Speaker 1: last night. You gotta go figure out what's wrong with it.

715
00:40:15,080 --> 00:40:18,200
Speaker 1: So we see him drive to the office tower and

716
00:40:18,320 --> 00:40:22,319
Speaker 1: he gets into a consultation with Uh is this with

717
00:40:22,360 --> 00:40:24,799
Speaker 1: the building superintendent or with a different guy. It's with

718
00:40:24,840 --> 00:40:29,759
Speaker 1: the guy named Bush, the really tall, chatty guy. Yes. Uh.

719
00:40:29,800 --> 00:40:32,239
Speaker 1: And so he he meets with Bush and starts trying

720
00:40:32,239 --> 00:40:34,279
Speaker 1: to figure out what's going on with the elevator. And

721
00:40:34,320 --> 00:40:36,160
Speaker 1: I thought one of the first things that was funny

722
00:40:36,239 --> 00:40:37,840
Speaker 1: was he goes he goes in there and he just

723
00:40:37,880 --> 00:40:40,560
Speaker 1: kind of fiddles with one button or switch real quick,

724
00:40:40,600 --> 00:40:42,960
Speaker 1: and then he's like, looks like nothing's wrong to me. Yeah,

725
00:40:43,040 --> 00:40:45,080
Speaker 1: They're able to tell so much from just that one

726
00:40:45,120 --> 00:40:49,080
Speaker 1: little switch, which isn't it. I don't know, maybe there

727
00:40:49,120 --> 00:40:52,000
Speaker 1: was something in the dub on this, because I feel like,

728
00:40:52,080 --> 00:40:54,000
Speaker 1: for the most part, this is a movie that seems

729
00:40:54,040 --> 00:40:57,799
Speaker 1: to take elevators very seriously. Uh, Like we're using a

730
00:40:57,840 --> 00:41:02,800
Speaker 1: lot of like legitimate elevator show uh you know, uh locations.

731
00:41:03,120 --> 00:41:04,960
Speaker 1: They at one point we're in a we're in an

732
00:41:05,040 --> 00:41:09,200
Speaker 1: elevator factory or repair shop or something, so like it

733
00:41:09,280 --> 00:41:12,080
Speaker 1: really got in there and wanted to learn about elevators.

734
00:41:12,080 --> 00:41:14,000
Speaker 1: And there's a lot of talk about how elevators work,

735
00:41:14,080 --> 00:41:16,840
Speaker 1: so uh it feels a little weird that we have

736
00:41:16,920 --> 00:41:19,279
Speaker 1: this sequence where they're just flipping a switch and making

737
00:41:19,400 --> 00:41:22,360
Speaker 1: very broad statements about the functionality of this particular lift.

738
00:41:22,719 --> 00:41:25,800
Speaker 1: Now on the flip side of what you say, UM,

739
00:41:25,840 --> 00:41:27,799
Speaker 1: you know, I I feel like you and I are

740
00:41:28,040 --> 00:41:33,440
Speaker 1: usually pretty careful not to uh conclude things are really simple.

741
00:41:33,560 --> 00:41:36,239
Speaker 1: You know, you always assume that things might be more

742
00:41:36,320 --> 00:41:39,600
Speaker 1: complicated than they look at first. But I don't know

743
00:41:39,680 --> 00:41:43,680
Speaker 1: if elevators are really as electronically complicated as this movie

744
00:41:43,760 --> 00:41:47,760
Speaker 1: ultimately makes them. Soon because the next thing that happens

745
00:41:47,960 --> 00:41:49,640
Speaker 1: is he's like, well, okay, I gotta go up and

746
00:41:49,640 --> 00:41:53,040
Speaker 1: look at the control panel. And when they reach the

747
00:41:53,080 --> 00:41:55,480
Speaker 1: you know, the roof, I guess the I don't know,

748
00:41:55,520 --> 00:41:57,719
Speaker 1: the machine room at the top of the building where

749
00:41:57,719 --> 00:42:01,200
Speaker 1: the control panel is. They start talking about how there's

750
00:42:01,239 --> 00:42:05,920
Speaker 1: this other box, this blue box containing the micro processors

751
00:42:05,920 --> 00:42:08,600
Speaker 1: that guide the lift, and it's full of all these

752
00:42:08,680 --> 00:42:12,520
Speaker 1: chips and it's all this complicated computer stuff that's way

753
00:42:12,560 --> 00:42:15,080
Speaker 1: over his head. Again, I want to be fair, but

754
00:42:15,400 --> 00:42:20,520
Speaker 1: I don't know if elevators are really all that computationally complicated. Well,

755
00:42:20,560 --> 00:42:23,280
Speaker 1: they mentioned that you don't want all three elevators opening

756
00:42:23,280 --> 00:42:25,520
Speaker 1: on the same floor at the same time, and you've

757
00:42:25,520 --> 00:42:27,920
Speaker 1: got to have microprocess. You've gotta have chips to take

758
00:42:27,960 --> 00:42:31,200
Speaker 1: care of that. Joe, all right, Maybe I'm wrong here,

759
00:42:31,280 --> 00:42:33,799
Speaker 1: Maybe I'm wrong. There used to be a guy in

760
00:42:33,840 --> 00:42:38,319
Speaker 1: there controlling the elevator. Now it right by the way,

761
00:42:38,360 --> 00:42:41,080
Speaker 1: we're gonna get this is not the last we've heard

762
00:42:41,080 --> 00:42:43,399
Speaker 1: of chips in this movie. There's gonna be so much

763
00:42:43,400 --> 00:42:45,760
Speaker 1: about chips, and it's one of my favorite things about

764
00:42:45,760 --> 00:42:49,040
Speaker 1: the film. But while he's up there fiddling around with

765
00:42:49,080 --> 00:42:51,600
Speaker 1: the control panel trying to see if that gives any

766
00:42:51,640 --> 00:42:54,920
Speaker 1: indication of what went wrong the night before, uh, there's

767
00:42:55,120 --> 00:42:57,720
Speaker 1: some idle chit chat about the last guy, the last

768
00:42:57,719 --> 00:43:01,240
Speaker 1: elevator repair man, whose name was Brooker, and they're like, oh,

769
00:43:01,280 --> 00:43:04,040
Speaker 1: too bad. He went totally insane. He spent a really

770
00:43:04,120 --> 00:43:07,040
Speaker 1: long time on the last maintenance visit. But they said

771
00:43:07,040 --> 00:43:08,680
Speaker 1: he was great. They said this was why he was

772
00:43:08,719 --> 00:43:10,960
Speaker 1: like so competent he spent I'll spent a lot of

773
00:43:11,000 --> 00:43:14,440
Speaker 1: time on the last visit to this elevator, right. Uh. So,

774
00:43:14,560 --> 00:43:18,040
Speaker 1: Felix is not able to identify the problem. He says, well,

775
00:43:18,080 --> 00:43:21,279
Speaker 1: maybe it's just a short circuit, but ultimately he doesn't know,

776
00:43:21,400 --> 00:43:23,040
Speaker 1: so he goes back home and then we get some

777
00:43:23,080 --> 00:43:27,440
Speaker 1: more scenes at the home with the family discussing things. Uh.

778
00:43:27,640 --> 00:43:31,239
Speaker 1: Felix and his wife discuss how she is saving the

779
00:43:31,320 --> 00:43:35,120
Speaker 1: caps to some kind of brand of beverage bottle. I

780
00:43:35,120 --> 00:43:38,560
Speaker 1: think it might be just Seltzer or something. Um. And

781
00:43:38,640 --> 00:43:41,560
Speaker 1: she's saving the caps because if she collects a hundred

782
00:43:41,600 --> 00:43:45,680
Speaker 1: of them, she could win a trip to Hawaii. Right, Yeah,

783
00:43:45,719 --> 00:43:47,640
Speaker 1: And he's just kind of like, didn't we go to

784
00:43:47,640 --> 00:43:51,239
Speaker 1: an island last year? So the huge disconnect here where

785
00:43:51,280 --> 00:43:54,439
Speaker 1: like she wants to go to Hawaii. He's like, I've

786
00:43:54,480 --> 00:43:59,080
Speaker 1: been to an island. What could Hawaii possibly offer me? Yes? Uh?

787
00:43:59,120 --> 00:44:02,319
Speaker 1: And then all sides, I've done it. They have some

788
00:44:02,400 --> 00:44:05,000
Speaker 1: great exchange I don't remember exactly. It's something she's like,

789
00:44:05,360 --> 00:44:11,359
Speaker 1: you're not romantic anymore and he goes, I'm still that way.

790
00:44:13,040 --> 00:44:15,520
Speaker 1: I am still that thing he said. I will not

791
00:44:15,600 --> 00:44:17,920
Speaker 1: say it, but I am that thing. Uh. And then

792
00:44:17,960 --> 00:44:20,680
Speaker 1: so okay, from here, the movie continues according to the

793
00:44:20,800 --> 00:44:24,760
Speaker 1: Killer X movie format. So you've got your initial attack, check,

794
00:44:25,360 --> 00:44:30,120
Speaker 1: meet your protagonist, check, initial investigation turns up nothing. Check.

795
00:44:30,440 --> 00:44:32,799
Speaker 1: So now you're twenty minutes in, guess what, it's time

796
00:44:32,880 --> 00:44:36,239
Speaker 1: for one to three more Killer X attacks. In this

797
00:44:36,280 --> 00:44:38,759
Speaker 1: case it is the killer elevator and what do you know,

798
00:44:38,960 --> 00:44:40,920
Speaker 1: I think we get two of them in this case.

799
00:44:41,560 --> 00:44:45,840
Speaker 1: So in the first attack the elevator, the elevator murders

800
00:44:45,880 --> 00:44:48,919
Speaker 1: a blind man by opening the doors without a car

801
00:44:49,040 --> 00:44:52,160
Speaker 1: present and tricking him into and it tricks him into

802
00:44:52,160 --> 00:44:54,440
Speaker 1: walking into the shaft and falling to his death. And

803
00:44:54,640 --> 00:44:57,600
Speaker 1: this one felt especially awful. Yeah, this is one they

804
00:44:57,640 --> 00:45:01,120
Speaker 1: also did in the remake, so so fans of the

805
00:45:01,120 --> 00:45:03,839
Speaker 1: first film don't worry they did it again. But yeah,

806
00:45:03,880 --> 00:45:07,319
Speaker 1: I I did particularly like this one because I mean,

807
00:45:07,640 --> 00:45:10,680
Speaker 1: it felt kind of mean spirited, but also it runs

808
00:45:10,760 --> 00:45:16,600
Speaker 1: contrary to everything I've I've seen regarding um uh blind

809
00:45:16,719 --> 00:45:20,480
Speaker 1: or side challenge people navigating public spaces. Uh, you know,

810
00:45:20,920 --> 00:45:24,680
Speaker 1: like generally it seems like uh like like like people

811
00:45:24,800 --> 00:45:27,920
Speaker 1: like using a cane in these cases are more aware

812
00:45:27,920 --> 00:45:31,719
Speaker 1: of their physical around surroundings than sighted people who were

813
00:45:31,840 --> 00:45:34,640
Speaker 1: distracted by their phones and so forth. So I didn't

814
00:45:34,640 --> 00:45:36,880
Speaker 1: really buy for a minute that that he would have

815
00:45:36,920 --> 00:45:40,880
Speaker 1: just walked into that empty elevator shaft without like tapping

816
00:45:41,040 --> 00:45:43,640
Speaker 1: the floor of the elevator or in this case, the

817
00:45:43,640 --> 00:45:46,520
Speaker 1: the the the yawning absence in front of him. But

818
00:45:46,560 --> 00:45:49,560
Speaker 1: then the second attack feels more more sort of on

819
00:45:49,760 --> 00:45:52,520
Speaker 1: brand for a movie of this type. It is where

820
00:45:52,560 --> 00:45:57,239
Speaker 1: the elevator attacks a couple of night security guards. So

821
00:45:57,320 --> 00:45:59,040
Speaker 1: there are two guards who were there, I don't know,

822
00:45:59,080 --> 00:46:00,560
Speaker 1: you know, it's two in the more ing in in

823
00:46:00,960 --> 00:46:03,759
Speaker 1: the place the place should be deserted. Uh. And you've

824
00:46:03,760 --> 00:46:06,000
Speaker 1: got your two guards. You've got a young guard who's

825
00:46:06,120 --> 00:46:08,719
Speaker 1: very well behaved, he's an eagle scout type. You find

826
00:46:08,760 --> 00:46:10,879
Speaker 1: out he is engaged to be married, and he does

827
00:46:10,920 --> 00:46:13,440
Speaker 1: not drink on the job. And then there's an older

828
00:46:13,480 --> 00:46:17,719
Speaker 1: guard who very much advocates drinking on the job. Oh yeah, yeah,

829
00:46:17,960 --> 00:46:20,239
Speaker 1: not not only does he advocate drinking on the job,

830
00:46:20,480 --> 00:46:23,640
Speaker 1: he advocates just all matter of hell raising and brags

831
00:46:23,680 --> 00:46:27,280
Speaker 1: about the fact that he apparently caught so many STDs

832
00:46:27,440 --> 00:46:30,040
Speaker 1: when he was younger that he is now immune to penicillin.

833
00:46:30,400 --> 00:46:33,920
Speaker 1: That is what he says, yes, um, And then he

834
00:46:34,200 --> 00:46:36,480
Speaker 1: wouldn't you know it? You know that they start noticing

835
00:46:36,480 --> 00:46:39,400
Speaker 1: the elevators are acting weird, so that they've run up

836
00:46:39,400 --> 00:46:42,200
Speaker 1: and down the stairs, chasing the elevators that appeared to

837
00:46:42,200 --> 00:46:45,320
Speaker 1: be going up and down by themselves. And then eventually

838
00:46:45,400 --> 00:46:49,160
Speaker 1: the the jin guzzling guard goes up to an elevator

839
00:46:49,200 --> 00:46:52,000
Speaker 1: shaft and then the door slam shut on his head

840
00:46:52,400 --> 00:46:55,680
Speaker 1: and then the elevator just slides on down and decapitates

841
00:46:55,760 --> 00:46:59,760
Speaker 1: him like a square guillotine. It is a horrifying scene.

842
00:46:59,800 --> 00:47:02,359
Speaker 1: This the scene we were talking about earlier. Uh, there's

843
00:47:02,360 --> 00:47:05,120
Speaker 1: a version of it in both the original and the remake.

844
00:47:05,200 --> 00:47:07,359
Speaker 1: And like again it's this one where it's virtually shot

845
00:47:07,400 --> 00:47:11,400
Speaker 1: for shot remake with a c G I instead of practical.

846
00:47:11,520 --> 00:47:14,960
Speaker 1: But yeah, in this movie, you know, absolutely horrifying, uh

847
00:47:15,120 --> 00:47:18,560
Speaker 1: fake head falling down the elevator shaft and landing virtually

848
00:47:18,600 --> 00:47:21,319
Speaker 1: in the dead blind man's lap. I would say this

849
00:47:21,360 --> 00:47:25,879
Speaker 1: scene in particular is a is a strangely powerful combination

850
00:47:26,000 --> 00:47:30,919
Speaker 1: of actually horrifying and comedic at the same time. Yeah. Yeah,

851
00:47:31,000 --> 00:47:33,439
Speaker 1: And and like you've pointed out before on the show,

852
00:47:33,520 --> 00:47:38,200
Speaker 1: like having that that that that comedic element perhaps intensifies

853
00:47:38,280 --> 00:47:40,520
Speaker 1: what you're willing to buy, you know, in the sequence,

854
00:47:40,560 --> 00:47:43,000
Speaker 1: so it helps the helps make it work better. So anyway,

855
00:47:43,000 --> 00:47:45,880
Speaker 1: after this, we meet the bumbling detective who comes in

856
00:47:45,920 --> 00:47:49,200
Speaker 1: to explain that he doesn't like elevators prefers the stairs,

857
00:47:49,880 --> 00:47:54,040
Speaker 1: um and uh, and starts spitting like elevator elevator tragedy

858
00:47:54,080 --> 00:47:56,920
Speaker 1: facts that people. But this is also the guy I

859
00:47:56,960 --> 00:48:00,160
Speaker 1: mentioned earlier who sounds like he's he's doing the the

860
00:48:00,160 --> 00:48:03,120
Speaker 1: audiobook track for an encyclopedia. You know what. I realized

861
00:48:03,200 --> 00:48:07,000
Speaker 1: this may be way too niche, but for anybody who's

862
00:48:07,040 --> 00:48:11,640
Speaker 1: ever played the Mass Effect video games, he sounds like

863
00:48:11,760 --> 00:48:16,120
Speaker 1: the voiceover who reads all of the like encyclopedia entries

864
00:48:16,160 --> 00:48:20,200
Speaker 1: in that game for the aliens and stuff. Okay, now

865
00:48:21,320 --> 00:48:24,440
Speaker 1: this is the character that that has some some wonderful

866
00:48:24,480 --> 00:48:29,239
Speaker 1: sort of anti elevator facts and propaganda on hand. The

867
00:48:29,360 --> 00:48:32,319
Speaker 1: one that he he belts out that really astounded me

868
00:48:32,840 --> 00:48:36,280
Speaker 1: is is the idea that two hundred and fifty thousand

869
00:48:36,320 --> 00:48:41,240
Speaker 1: people per year get stuck in elevators in the Netherlands alone.

870
00:48:42,320 --> 00:48:46,480
Speaker 1: So this is three. I didn't research this, but that

871
00:48:46,600 --> 00:48:49,040
Speaker 1: just sounds like a very high number. Two hundred and

872
00:48:49,120 --> 00:48:52,520
Speaker 1: fifty thousand people per year in the Netherlands stuck in elevators.

873
00:48:52,680 --> 00:48:55,560
Speaker 1: Where are they getting their elevators? I don't know, I mean,

874
00:48:55,800 --> 00:48:58,839
Speaker 1: I would, I mean it just I want to see

875
00:48:58,840 --> 00:49:00,960
Speaker 1: a full breakdown on that like, how many elevators were

876
00:49:01,000 --> 00:49:04,080
Speaker 1: there in the Netherlands? How many people were getting stuck

877
00:49:04,120 --> 00:49:09,719
Speaker 1: on each one? Who's collecting? Yeah? How are they? How

878
00:49:09,719 --> 00:49:13,240
Speaker 1: are they getting this number? Do they have a government

879
00:49:13,280 --> 00:49:16,120
Speaker 1: task force that has to collect a report anytime somebody

880
00:49:16,120 --> 00:49:19,680
Speaker 1: gets stuck in an elevator? Yeah? So I don't know.

881
00:49:19,760 --> 00:49:22,920
Speaker 1: It felt it felt really high. Maybe it's accurate. Maybe

882
00:49:23,239 --> 00:49:25,839
Speaker 1: you know I'm the fool here, but I don't know.

883
00:49:26,120 --> 00:49:29,760
Speaker 1: Well anyway, So the police are investigating these elevator attacks,

884
00:49:29,840 --> 00:49:32,080
Speaker 1: and then Felix of course gets called back to the

885
00:49:32,120 --> 00:49:35,080
Speaker 1: building again because he's got to take another crack at

886
00:49:35,120 --> 00:49:37,960
Speaker 1: figuring out what went wrong. And while he's there, he

887
00:49:38,000 --> 00:49:41,520
Speaker 1: meets up with our secondary protagonist, Mickey de beer Uh,

888
00:49:41,560 --> 00:49:45,400
Speaker 1: the journalist who rights for the New Review. When she

889
00:49:45,480 --> 00:49:47,239
Speaker 1: mentions this to him, I don't know if this is

890
00:49:47,280 --> 00:49:50,960
Speaker 1: a real magazine or or paper, or if it's made

891
00:49:51,040 --> 00:49:54,000
Speaker 1: up for the film, But Felix reacts by saying, Oh,

892
00:49:54,040 --> 00:49:56,279
Speaker 1: the New Review, Huh. I see it sometimes in my

893
00:49:56,320 --> 00:49:59,880
Speaker 1: neighbor's bird cage. That was a good line. So that

894
00:50:00,040 --> 00:50:02,360
Speaker 1: makes me wonder, Oh, is the New Review supposed to

895
00:50:02,400 --> 00:50:04,880
Speaker 1: be something of tabloid? It's like the weekly World News

896
00:50:05,040 --> 00:50:08,400
Speaker 1: for maybe so for for the Netherlands. I don't know.

897
00:50:09,320 --> 00:50:12,600
Speaker 1: But she is there because she's got up. She's got

898
00:50:12,600 --> 00:50:17,200
Speaker 1: a hunch. She's investigating this company called Rising Sun that

899
00:50:17,320 --> 00:50:20,600
Speaker 1: makes the microprocessors we mentioned that are in that blue

900
00:50:20,640 --> 00:50:25,080
Speaker 1: box that supposedly controls the elevator that guides it. And

901
00:50:25,200 --> 00:50:27,680
Speaker 1: uh and of course Bush, the guy from the office,

902
00:50:28,000 --> 00:50:30,040
Speaker 1: he's trying to get rid of her. He doesn't want

903
00:50:30,040 --> 00:50:33,719
Speaker 1: her sniffing around, so he throws them out. Felix still

904
00:50:33,719 --> 00:50:36,440
Speaker 1: can't find a problem with the lift, though, though it

905
00:50:36,480 --> 00:50:38,920
Speaker 1: seems to Beer has sort of caught his attention with

906
00:50:38,960 --> 00:50:42,759
Speaker 1: her weird hunches. Oh but from here we go onto

907
00:50:42,840 --> 00:50:46,319
Speaker 1: a tremendous bowling sequence at a place that I want

908
00:50:46,360 --> 00:50:49,799
Speaker 1: to go to called Klaus party House. Yeah. I mean,

909
00:50:49,840 --> 00:50:51,840
Speaker 1: in general, this film just does a great job with

910
00:50:51,960 --> 00:50:55,560
Speaker 1: with locations, like I'm interested in every minor location like

911
00:50:55,600 --> 00:50:58,040
Speaker 1: that that the house that the family lives in is

912
00:50:58,120 --> 00:51:01,360
Speaker 1: very interesting. And this is, you know, clearly a a

913
00:51:01,480 --> 00:51:05,399
Speaker 1: Dutch bowling alley from the nineteen the early eighties, and uh,

914
00:51:05,640 --> 00:51:09,239
Speaker 1: it's I'm instantly just all into the background here. Uh

915
00:51:09,239 --> 00:51:13,160
Speaker 1: there's a banner that says Closs party House. Um, so,

916
00:51:13,360 --> 00:51:16,360
Speaker 1: which I'm assuming is the name of the bowling alley.

917
00:51:16,719 --> 00:51:19,120
Speaker 1: And then as they go to the bar and they're

918
00:51:19,160 --> 00:51:21,560
Speaker 1: they're ordering a drink that the characters and they're talking,

919
00:51:22,080 --> 00:51:24,240
Speaker 1: I'm not really listening to them all that much because

920
00:51:24,280 --> 00:51:28,120
Speaker 1: I'm noticing that the score panels above each of the

921
00:51:28,239 --> 00:51:30,719
Speaker 1: bowling lanes. Um, you know, we're used to sing the

922
00:51:30,760 --> 00:51:33,799
Speaker 1: score up there, uh, in a bowling alley, but here

923
00:51:33,880 --> 00:51:36,320
Speaker 1: it seems to be some sort of projection method because

924
00:51:36,360 --> 00:51:39,719
Speaker 1: you see scorecards up there, but then the silhouettes of

925
00:51:39,760 --> 00:51:44,640
Speaker 1: hands manually altering the scorecard. Oh, they're like those projectors,

926
00:51:44,680 --> 00:51:47,839
Speaker 1: like classroom projectors, being right on the transparency. But here

927
00:51:47,840 --> 00:51:50,560
Speaker 1: you're writing the scores, which I I just had no

928
00:51:50,640 --> 00:51:52,719
Speaker 1: idea that this was ever a thing like I've I've

929
00:51:52,800 --> 00:51:55,480
Speaker 1: mostly been to bowling alleys that have the you know,

930
00:51:55,520 --> 00:51:58,239
Speaker 1: the electronic scoring system and it scores it for you.

931
00:51:58,280 --> 00:52:01,000
Speaker 1: And I've also been to at least unbowling alley where

932
00:52:01,000 --> 00:52:03,120
Speaker 1: there we had to do everything by hand on paper,

933
00:52:03,320 --> 00:52:05,919
Speaker 1: but it wasn't in any way projected for you. Well,

934
00:52:05,960 --> 00:52:08,319
Speaker 1: I did love that, and I also love other things

935
00:52:08,360 --> 00:52:11,120
Speaker 1: about the scene, which are the central premise the character

936
00:52:11,239 --> 00:52:14,600
Speaker 1: drama in the scene is that Felix is too preoccupied

937
00:52:14,600 --> 00:52:19,000
Speaker 1: with the lift and he can't focus on bowling because

938
00:52:19,000 --> 00:52:21,319
Speaker 1: it's a it's a it's a family affair. He's out

939
00:52:21,320 --> 00:52:23,800
Speaker 1: about bowling with this a double day. He's out bowling

940
00:52:23,840 --> 00:52:25,560
Speaker 1: with his wife and a couple of friends in theirs

941
00:52:25,880 --> 00:52:28,120
Speaker 1: and the friends who like the guy. He wants a beer,

942
00:52:28,160 --> 00:52:32,360
Speaker 1: but his wife's like, no, you'll have Tonic. Tonic is

943
00:52:32,360 --> 00:52:35,680
Speaker 1: pretty good. I'm I've become a fan of Tonic. Yeah,

944
00:52:35,719 --> 00:52:46,319
Speaker 1: you gotta get your coin on you. Uh. And then

945
00:52:46,360 --> 00:52:48,759
Speaker 1: from here the middle section of the movie, we might

946
00:52:48,800 --> 00:52:51,279
Speaker 1: skip over a little more lightly. It's sort of transitions

947
00:52:51,320 --> 00:52:57,000
Speaker 1: into more investigation investigation mode. He and also um family

948
00:52:57,120 --> 00:53:01,319
Speaker 1: drama mode. But but Felix and UH and Mickey de Beer,

949
00:53:01,560 --> 00:53:04,400
Speaker 1: they start figuring out something strange is going on to

950
00:53:04,520 --> 00:53:07,440
Speaker 1: this elevator. Could it have something to do with this

951
00:53:07,480 --> 00:53:11,080
Speaker 1: company with this ominous name of Rising Sun. You know

952
00:53:11,200 --> 00:53:14,560
Speaker 1: that sounds like it could be sinister in some way.

953
00:53:15,320 --> 00:53:18,160
Speaker 1: And so one of the leads that they get into

954
00:53:18,239 --> 00:53:20,239
Speaker 1: is that Felix is at his office and he has

955
00:53:20,280 --> 00:53:24,839
Speaker 1: some uh banter with like weird crass co workers, and

956
00:53:24,840 --> 00:53:28,279
Speaker 1: then he finds out the guy they referenced earlier the

957
00:53:28,600 --> 00:53:31,120
Speaker 1: former maintenance man at this tower who had worked on

958
00:53:31,160 --> 00:53:35,200
Speaker 1: the elevator before, who is now committed to a sanitarium. Uh.

959
00:53:35,239 --> 00:53:38,400
Speaker 1: Felix is wondering could it be that he sabotaged the elevator,

960
00:53:38,520 --> 00:53:42,160
Speaker 1: But everybody talks to is like, no, that doesn't seem right. Elevators,

961
00:53:42,200 --> 00:53:47,560
Speaker 1: he would never do this elevator um. And so eventually

962
00:53:47,600 --> 00:53:52,080
Speaker 1: Felix goes to visit Brooker at the sanitarium, where Brooker

963
00:53:52,120 --> 00:53:58,120
Speaker 1: appears near catatonic. Apparently he badly lacerated his hands when

964
00:53:58,160 --> 00:54:02,200
Speaker 1: he uh when he previous attack to television after seeing

965
00:54:02,280 --> 00:54:04,839
Speaker 1: something on it he didn't like. And the question is

966
00:54:04,920 --> 00:54:07,200
Speaker 1: what did he see on the TV that that made

967
00:54:07,280 --> 00:54:10,279
Speaker 1: him smash the screen in But you know, he can't

968
00:54:10,280 --> 00:54:14,320
Speaker 1: get an answer. Um. And then meanwhile there's another elevator

969
00:54:14,360 --> 00:54:18,720
Speaker 1: attack or a nearer elevator attack. Unfortunately, this movie would

970
00:54:18,719 --> 00:54:22,560
Speaker 1: not pass the Gene Ciscle test for does this movie

971
00:54:22,600 --> 00:54:26,399
Speaker 1: depict a child in peril because it's manipulates you by

972
00:54:26,400 --> 00:54:30,040
Speaker 1: suggesting that the elevator might kill a child, who, by

973
00:54:30,080 --> 00:54:32,640
Speaker 1: the way, is she's like hanging out in the lobby

974
00:54:32,680 --> 00:54:35,120
Speaker 1: of the office building because her mom is having an

975
00:54:35,160 --> 00:54:40,839
Speaker 1: affair with the building superintendent. But fortunately the child is unharmed. Uh,

976
00:54:40,880 --> 00:54:44,399
Speaker 1: the elevator does injure her doll. So first of all, yeah,

977
00:54:44,400 --> 00:54:46,799
Speaker 1: this is this is ultimately a good sequence, one that

978
00:54:46,840 --> 00:54:50,000
Speaker 1: they again recreated almost shot for shot in the remake.

979
00:54:50,760 --> 00:54:53,600
Speaker 1: But I'm not as familiar with Gene Siskel's rule here.

980
00:54:53,680 --> 00:54:56,600
Speaker 1: Did was this something where like if if you depict

981
00:54:56,600 --> 00:54:59,200
Speaker 1: a child in peril, it's like an automatically a thumbs

982
00:54:59,200 --> 00:55:02,919
Speaker 1: down for him, or automatically ah, you know, lose the star.

983
00:55:03,360 --> 00:55:06,040
Speaker 1: Well he I don't think he actually had a formalized rule,

984
00:55:06,120 --> 00:55:09,319
Speaker 1: but I recall from a number of his reviews this

985
00:55:09,400 --> 00:55:11,440
Speaker 1: was often something he would pick out that he didn't

986
00:55:11,520 --> 00:55:14,320
Speaker 1: like about a movie was that it had a scene

987
00:55:14,360 --> 00:55:17,520
Speaker 1: where children were in peril. I don't it seems it

988
00:55:17,520 --> 00:55:19,200
Speaker 1: seems to me like he thought that maybe that was

989
00:55:19,239 --> 00:55:22,479
Speaker 1: in bad taste, or that it was manipulative or something. Well,

990
00:55:22,640 --> 00:55:25,279
Speaker 1: I'll let everybody know that no dogs or cats are

991
00:55:25,360 --> 00:55:28,560
Speaker 1: killed by elevators in this movie, though it apparently loves

992
00:55:28,560 --> 00:55:32,480
Speaker 1: to kill rats. So yeah, yeah, and no children are

993
00:55:32,480 --> 00:55:36,160
Speaker 1: actually harmed either. There is just there's just the implication. Yeah, though,

994
00:55:36,200 --> 00:55:40,000
Speaker 1: oh god, the but the Stanard to this. The scene though,

995
00:55:40,200 --> 00:55:43,840
Speaker 1: is that it like mangles her doll. Like basically, the

996
00:55:43,880 --> 00:55:45,960
Speaker 1: thing with the Killer Elevator is that it has to

997
00:55:46,080 --> 00:55:48,880
Speaker 1: be very patient, and it has to it doesn't have

998
00:55:48,920 --> 00:55:52,960
Speaker 1: that very it doesn't have very many ways to influence

999
00:55:53,000 --> 00:55:56,520
Speaker 1: the outside world, so it's not always gonna gonna actually

1000
00:55:56,560 --> 00:55:59,000
Speaker 1: score a hit. In this case, it was probably trying

1001
00:55:59,040 --> 00:56:01,279
Speaker 1: to kill a child. It just had to mangle a doll.

1002
00:56:01,680 --> 00:56:04,879
Speaker 1: And then when her mom comes out of the from

1003
00:56:04,880 --> 00:56:08,280
Speaker 1: the affair situation and finds out what's happened, she slaps

1004
00:56:08,280 --> 00:56:12,840
Speaker 1: the child across the face. Oh god, yeah that was weird. Yeah, yeah,

1005
00:56:12,840 --> 00:56:17,719
Speaker 1: I've forgotten about that. We were like what Yeah, and

1006
00:56:17,760 --> 00:56:20,160
Speaker 1: then she leaves and we never see those characters again. Yeah,

1007
00:56:20,320 --> 00:56:24,520
Speaker 1: very weird warning on that. Well, anyway, after this attack,

1008
00:56:24,560 --> 00:56:27,640
Speaker 1: we get back into the investigation, and so we've got

1009
00:56:27,640 --> 00:56:30,759
Speaker 1: we've got Felix into beer and there they're they're trying

1010
00:56:30,760 --> 00:56:33,120
Speaker 1: to figure out what's going on. And oh and there's

1011
00:56:33,160 --> 00:56:36,040
Speaker 1: a breakthrough I think when they're sitting around talking. Well,

1012
00:56:36,080 --> 00:56:38,120
Speaker 1: first of all, there's a funny I don't remember exactly

1013
00:56:38,160 --> 00:56:40,279
Speaker 1: where this happened, but there was one exchange that had

1014
00:56:40,360 --> 00:56:44,840
Speaker 1: Rachel and me laughing really hard, which was when Felix

1015
00:56:44,880 --> 00:56:48,680
Speaker 1: says something like, uh, this lift does things it shouldn't

1016
00:56:48,800 --> 00:56:54,600
Speaker 1: and Beer says, I've done things I shouldn't all right,

1017
00:56:56,480 --> 00:57:00,160
Speaker 1: good point. Yeah, yeah, yeah, So she's like taking out

1018
00:57:00,160 --> 00:57:04,359
Speaker 1: for the elevator. It's like, come on people, um but

1019
00:57:04,360 --> 00:57:06,880
Speaker 1: but but the thing they get to is that they

1020
00:57:06,880 --> 00:57:10,040
Speaker 1: start talking about Rising Sun, that manufacturer of computer chips,

1021
00:57:10,320 --> 00:57:13,680
Speaker 1: and de Beer fills Felix in on the fact that

1022
00:57:13,719 --> 00:57:16,640
Speaker 1: actually this company was featured on a science program on

1023
00:57:16,760 --> 00:57:20,080
Speaker 1: television last week. So I think we're supposed to recall,

1024
00:57:20,160 --> 00:57:24,760
Speaker 1: oh that maybe when Brooker the previous elevator and punched

1025
00:57:24,800 --> 00:57:28,560
Speaker 1: the TV tap to television. Yeah. So from at this

1026
00:57:28,600 --> 00:57:31,120
Speaker 1: point in the film we get into like full blown

1027
00:57:31,120 --> 00:57:36,480
Speaker 1: investigation mode, research and also some family drama sprinkled in there. Um,

1028
00:57:37,640 --> 00:57:40,080
Speaker 1: this makes sense, right, you can't just have constant elevator attacks.

1029
00:57:40,120 --> 00:57:42,720
Speaker 1: You've gotta pad things out just just right. I feel

1030
00:57:42,760 --> 00:57:44,880
Speaker 1: like in a lesser film this would have been a

1031
00:57:44,920 --> 00:57:48,720
Speaker 1: really boring slog you know. But the performances in this

1032
00:57:48,760 --> 00:57:51,760
Speaker 1: are all really good. Uh, the locations are great. All

1033
00:57:51,760 --> 00:57:55,000
Speaker 1: that helps to pull it along. Yes, And I another

1034
00:57:55,080 --> 00:57:57,960
Speaker 1: thing is my single favorite scene in the entire movie

1035
00:57:58,080 --> 00:58:01,560
Speaker 1: is in this section, which is the scene where Felix

1036
00:58:01,600 --> 00:58:05,080
Speaker 1: and de Beer go to a professor in his like

1037
00:58:05,160 --> 00:58:09,280
Speaker 1: college classroom who explains what chips are to them and

1038
00:58:09,360 --> 00:58:12,960
Speaker 1: the microchips, but he just keeps He says the word

1039
00:58:13,080 --> 00:58:16,720
Speaker 1: chips like four hundred times and starts telling all these

1040
00:58:16,760 --> 00:58:20,720
Speaker 1: bizarre anecdotes. They're all things like once there was a

1041
00:58:20,800 --> 00:58:23,520
Speaker 1: chip that went insane and acquired a soul. They had

1042
00:58:23,560 --> 00:58:26,000
Speaker 1: to launch the chip into space, and that is the

1043
00:58:26,040 --> 00:58:29,160
Speaker 1: story of chips. And then you know, once there was

1044
00:58:29,200 --> 00:58:32,120
Speaker 1: a chip that rewrote its own program and it became

1045
00:58:32,160 --> 00:58:34,680
Speaker 1: evil and they were forced to incinerate it in a

1046
00:58:34,760 --> 00:58:37,680
Speaker 1: nuclear bomb, and that is how chips work. Now, he

1047
00:58:37,760 --> 00:58:40,600
Speaker 1: does say something about like there's a they went there

1048
00:58:40,640 --> 00:58:42,520
Speaker 1: was this computer they went badman, he just bury in

1049
00:58:42,520 --> 00:58:46,440
Speaker 1: the ground. They had like seal it away, right, yes, yeah, yeah,

1050
00:58:46,520 --> 00:58:48,840
Speaker 1: it's this is a scene that I liked it as well,

1051
00:58:48,920 --> 00:58:51,160
Speaker 1: because it kind of felt like a like a scene

1052
00:58:51,200 --> 00:58:53,800
Speaker 1: from a David Cronenberg film of the time period where

1053
00:58:54,080 --> 00:58:59,520
Speaker 1: characters go to a professor or scientist who then proceeds

1054
00:58:59,560 --> 00:59:04,240
Speaker 1: to say crazy things that you don't really buy um

1055
00:59:04,320 --> 00:59:06,120
Speaker 1: and then ultimately I guess in the context of the film,

1056
00:59:06,240 --> 00:59:09,480
Speaker 1: like our protagonist, our our main character, the elevator repairman.

1057
00:59:09,560 --> 00:59:11,240
Speaker 1: He's like, like, are you sure that guy knew what

1058
00:59:11,240 --> 00:59:13,400
Speaker 1: he was talking about, and and she's like, yeah, yeah,

1059
00:59:13,400 --> 00:59:16,280
Speaker 1: he's an expert, you know, Yeah, he's brilliant. Yeah, he

1060
00:59:16,400 --> 00:59:19,000
Speaker 1: knows all about chips. He's one of the world's leading

1061
00:59:19,000 --> 00:59:22,960
Speaker 1: authorities on chips. Uh oh, and also one of the Oh.

1062
00:59:23,000 --> 00:59:25,360
Speaker 1: But the crucial fact we learned in the scene that

1063
00:59:25,400 --> 00:59:29,320
Speaker 1: will come into play later is that, according to this professor,

1064
00:59:29,440 --> 00:59:33,480
Speaker 1: sometimes chips are made out of living tissue and like

1065
00:59:33,720 --> 00:59:37,920
Speaker 1: their proteins and organic cells to create chips. But they

1066
00:59:37,960 --> 00:59:41,280
Speaker 1: stopped making chips out of things that are alive because

1067
00:59:41,360 --> 00:59:45,000
Speaker 1: the chips started growing too fast or something and could

1068
00:59:45,000 --> 00:59:51,440
Speaker 1: be influenced by radiation or magnets, and that became too dangerous. Yeah.

1069
00:59:51,480 --> 00:59:53,600
Speaker 1: And I mean this is where we're kind of getting

1070
00:59:53,560 --> 00:59:57,680
Speaker 1: into Cronenbergie territory here, where suddenly this film is beginning

1071
00:59:57,720 --> 01:00:01,600
Speaker 1: to feel like it's not entire really in the real world,

1072
01:00:01,640 --> 01:00:05,960
Speaker 1: that it is in a slightly science fiction version of

1073
01:00:06,040 --> 01:00:09,880
Speaker 1: the early nineteen eighties, which which I like very much. No, No, Rob,

1074
01:00:09,920 --> 01:00:12,960
Speaker 1: I think you're wrong. I mean, lest you forget that

1075
01:00:12,960 --> 01:00:17,080
Speaker 1: that uh episode from Real History where Bell Labs made

1076
01:00:17,080 --> 01:00:20,400
Speaker 1: a computer chip out of a ferret's brain and then

1077
01:00:20,440 --> 01:00:22,360
Speaker 1: it had to be sent into the core of the

1078
01:00:22,400 --> 01:00:24,760
Speaker 1: Earth or else it would have taken over all of

1079
01:00:24,760 --> 01:00:30,680
Speaker 1: the telephone lines. Alright, fair enough anyway, So we mentioned

1080
01:00:30,680 --> 01:00:34,080
Speaker 1: earlier that there was some some foreshadowing of like uh

1081
01:00:34,440 --> 01:00:38,520
Speaker 1: family strife and relationship drama between Felix and his wife

1082
01:00:38,600 --> 01:00:42,480
Speaker 1: and and h fears about adultery that that comes up

1083
01:00:42,600 --> 01:00:45,080
Speaker 1: later where there is I don't know. I was talking

1084
01:00:45,080 --> 01:00:47,280
Speaker 1: to Rachel about this. She she felt that this subplot

1085
01:00:47,360 --> 01:00:50,320
Speaker 1: was sort of unnecessary, and I can see why you

1086
01:00:50,320 --> 01:00:53,560
Speaker 1: would go there, because so what happens is Felix and

1087
01:00:53,640 --> 01:00:56,360
Speaker 1: de Beer while they're investigating everything, or like sitting at

1088
01:00:56,400 --> 01:01:01,000
Speaker 1: a cafe talking about their investigation, and some friends see

1089
01:01:01,040 --> 01:01:04,920
Speaker 1: them and then tell his wife and they convince his

1090
01:01:04,960 --> 01:01:08,560
Speaker 1: wife that he is having an affair. And you can

1091
01:01:08,600 --> 01:01:12,000
Speaker 1: file this under a thing that happens in a lot

1092
01:01:12,040 --> 01:01:14,720
Speaker 1: of movies and I always find really annoying, and it

1093
01:01:14,840 --> 01:01:18,200
Speaker 1: is it is this. It's plot conflicts that are the

1094
01:01:18,240 --> 01:01:22,400
Speaker 1: result of a misunderstanding, which the protagonist could easily fix

1095
01:01:22,520 --> 01:01:25,200
Speaker 1: if they would just explain things but for some reason

1096
01:01:25,280 --> 01:01:28,840
Speaker 1: they don't explain it right. So Felix's wife is like,

1097
01:01:28,880 --> 01:01:31,400
Speaker 1: you're you are committing adultery, you are cheating on me,

1098
01:01:31,720 --> 01:01:34,000
Speaker 1: And he could say, no, I'm not. I'm trying to

1099
01:01:34,000 --> 01:01:37,400
Speaker 1: figure out when elevator keeps killing people, But for some reason,

1100
01:01:37,480 --> 01:01:41,120
Speaker 1: he just doesn't explain himself and and she leaves him.

1101
01:01:41,600 --> 01:01:44,480
Speaker 1: I find this a very annoying writing tick, and it's

1102
01:01:44,480 --> 01:01:47,000
Speaker 1: in a lot of movies, and I don't know exactly

1103
01:01:47,080 --> 01:01:50,360
Speaker 1: why that is so common. It might just be a

1104
01:01:50,360 --> 01:01:53,760
Speaker 1: a problem where like, I don't know, like the writer

1105
01:01:54,040 --> 01:01:56,840
Speaker 1: realizes that it would be tedious to have a scene

1106
01:01:56,920 --> 01:02:01,880
Speaker 1: where the character explains themselves, so you just skip over it.

1107
01:02:01,960 --> 01:02:04,160
Speaker 1: But like it doesn't really make sense that a character

1108
01:02:04,240 --> 01:02:08,520
Speaker 1: would not bother to explain themselves. I don't know, Yeah, yeah,

1109
01:02:08,560 --> 01:02:10,680
Speaker 1: I mean, I mean, obviously they're trying to get at

1110
01:02:10,720 --> 01:02:13,840
Speaker 1: the fact that these two have clearly have some communication problems,

1111
01:02:14,320 --> 01:02:16,840
Speaker 1: and uh, you know, but to this level where he's

1112
01:02:16,840 --> 01:02:18,440
Speaker 1: not going to just be like, no, no, there's like

1113
01:02:18,520 --> 01:02:21,880
Speaker 1: legit people dying at this building. Look, here's the newspaper clipping,

1114
01:02:22,960 --> 01:02:27,320
Speaker 1: or yeah, or just explain the situation more. But instead

1115
01:02:27,360 --> 01:02:31,080
Speaker 1: things escalate to the next level of him of him,

1116
01:02:31,200 --> 01:02:33,640
Speaker 1: like walking in going to that little container where she

1117
01:02:33,720 --> 01:02:36,360
Speaker 1: keeps all the little uh pop tops and she's collecting

1118
01:02:36,640 --> 01:02:39,800
Speaker 1: for that to enter to win a trip to Hawaii,

1119
01:02:40,040 --> 01:02:42,440
Speaker 1: and low and behold it is. It is empty and

1120
01:02:42,560 --> 01:02:45,680
Speaker 1: his family is gone. Yes, they have gone to Hawaii

1121
01:02:45,720 --> 01:02:49,439
Speaker 1: without him. You collect the one soda pop and you

1122
01:02:49,600 --> 01:02:52,880
Speaker 1: and your and your loved ones uh and you can

1123
01:02:52,960 --> 01:02:55,760
Speaker 1: choose if your husband goes as well. Are magically transported

1124
01:02:55,800 --> 01:02:59,000
Speaker 1: to Hawaii and there's no coming back, right, And he

1125
01:02:59,080 --> 01:03:01,000
Speaker 1: but he didn't want to go to Hawaii anyway, remember,

1126
01:03:01,000 --> 01:03:02,520
Speaker 1: because he'd been to an island. But he's been to

1127
01:03:02,560 --> 01:03:05,280
Speaker 1: an island, yes, he's he's familiar with it. He's like,

1128
01:03:05,760 --> 01:03:07,840
Speaker 1: maybe we could go to peninsula. I don't know, but

1129
01:03:07,880 --> 01:03:10,840
Speaker 1: I've done an island. I would like to go to

1130
01:03:10,920 --> 01:03:16,200
Speaker 1: a butte. Well, anyway, the investigation continues, so uh de

1131
01:03:16,280 --> 01:03:20,400
Speaker 1: Beer and Felix go to the Rising Sun headquarters, the

1132
01:03:20,680 --> 01:03:24,640
Speaker 1: company that makes the chips, the chips that control the elevator.

1133
01:03:25,280 --> 01:03:27,440
Speaker 1: And a couple of things to point out about the

1134
01:03:27,520 --> 01:03:31,040
Speaker 1: Rising Sun headquarters actually more than a couple uh interesting

1135
01:03:31,080 --> 01:03:34,880
Speaker 1: location by the way, very barren. Yeah, this is another

1136
01:03:34,960 --> 01:03:37,640
Speaker 1: just a real coup of a location. Fine, because it

1137
01:03:37,720 --> 01:03:40,360
Speaker 1: feels like it's it was this is they filmed this

1138
01:03:40,440 --> 01:03:43,160
Speaker 1: in the swamp lands of Mordor or something like. I

1139
01:03:43,200 --> 01:03:45,560
Speaker 1: don't know if this is like maybe an area of

1140
01:03:45,560 --> 01:03:48,640
Speaker 1: like reclaimed land in the Netherlands and this is like

1141
01:03:48,640 --> 01:03:52,080
Speaker 1: the first industrial building built out there something. But it

1142
01:03:52,120 --> 01:03:57,200
Speaker 1: looks just suitably desolate for a suspicious technology company to

1143
01:03:57,280 --> 01:04:01,080
Speaker 1: have its headquarters. Like when you drive into the location today,

1144
01:04:01,360 --> 01:04:04,320
Speaker 1: your navigation apps which is its voice over to Andy

1145
01:04:04,400 --> 01:04:09,160
Speaker 1: Circus and starts just saying this way, precious and and

1146
01:04:09,480 --> 01:04:12,280
Speaker 1: so they're they're driving up on this barren swamp and

1147
01:04:12,360 --> 01:04:14,360
Speaker 1: there's a sign out front this. I know this is

1148
01:04:14,400 --> 01:04:18,920
Speaker 1: just regular Dutch, but to an English speech speaker, it

1149
01:04:18,920 --> 01:04:23,280
Speaker 1: looks amazing. It says verboden toe gang, which means no

1150
01:04:23,280 --> 01:04:27,440
Speaker 1: no trespassing. But Rob, I don't know if you notice

1151
01:04:27,520 --> 01:04:31,360
Speaker 1: the other interesting thing about this building where they manufacture

1152
01:04:31,440 --> 01:04:36,320
Speaker 1: these chips, these chips, it's only two stories. Oh, they

1153
01:04:36,400 --> 01:04:38,600
Speaker 1: might not have an elevator in there at all. Yeah,

1154
01:04:38,720 --> 01:04:41,040
Speaker 1: no need for an elevator in this building. They go,

1155
01:04:41,160 --> 01:04:45,400
Speaker 1: they go wide and low. So they come here and

1156
01:04:45,400 --> 01:04:48,760
Speaker 1: they meet with a Mr. Crone, a head of research

1157
01:04:49,400 --> 01:04:52,280
Speaker 1: that they don't really turn up anything interesting. In fact,

1158
01:04:52,320 --> 01:04:55,120
Speaker 1: I don't even really recall much what they talked about

1159
01:04:55,160 --> 01:04:58,360
Speaker 1: in this scene. Basically he's just trying to blow him off.

1160
01:04:58,360 --> 01:05:01,000
Speaker 1: He's like, I don't have time for you. Um. They're like,

1161
01:05:01,040 --> 01:05:02,920
Speaker 1: what's that is that? Because you go into you go

1162
01:05:02,960 --> 01:05:05,360
Speaker 1: into this this office and immediately to your left is

1163
01:05:05,360 --> 01:05:08,000
Speaker 1: the room where they're doing the top secret stuff. Um,

1164
01:05:08,000 --> 01:05:10,320
Speaker 1: but not tough so top secret that there's any security

1165
01:05:10,320 --> 01:05:13,240
Speaker 1: in place or anything. So uh, and he's just basically like,

1166
01:05:13,360 --> 01:05:14,800
Speaker 1: I don't have time for this. You've got to leave.

1167
01:05:14,840 --> 01:05:20,480
Speaker 1: And uh, this this room that's bathed in red light. Yeah. Yeah.

1168
01:05:20,520 --> 01:05:22,320
Speaker 1: We are told that most of the chips are made

1169
01:05:22,320 --> 01:05:24,840
Speaker 1: in Japan these days, but they apparently make some of

1170
01:05:24,880 --> 01:05:28,320
Speaker 1: them here and they're they're mostly doing maintenance. But but

1171
01:05:28,360 --> 01:05:30,520
Speaker 1: they're also like, yeah, we don't have anything to do

1172
01:05:30,760 --> 01:05:32,880
Speaker 1: with anything going wrong at a at a plant, Like

1173
01:05:32,920 --> 01:05:35,000
Speaker 1: we have our name on the line here, like we're

1174
01:05:35,240 --> 01:05:38,760
Speaker 1: we're a professional organization. We're not an evil corporation. Uh,

1175
01:05:38,760 --> 01:05:40,640
Speaker 1: why don't you get out of here? Did you get

1176
01:05:40,680 --> 01:05:43,080
Speaker 1: the message that the chips that are made in Japan

1177
01:05:43,280 --> 01:05:45,320
Speaker 1: or just like those are the normal chips, those are

1178
01:05:45,360 --> 01:05:47,320
Speaker 1: the ones that aren't going to start killing people, but

1179
01:05:47,360 --> 01:05:50,120
Speaker 1: the ones they make here, and these might be a problem.

1180
01:05:50,240 --> 01:05:53,560
Speaker 1: I suspect because we're basically leading up to a big

1181
01:05:53,560 --> 01:05:56,240
Speaker 1: reveal here. But I suspect they're making not a normal

1182
01:05:56,280 --> 01:05:58,080
Speaker 1: type of chip here, They're making some sort of a

1183
01:05:58,560 --> 01:06:03,000
Speaker 1: uh it previously established dangerous cronin burgery bergee type of chip,

1184
01:06:03,400 --> 01:06:06,240
Speaker 1: some sort of bio chip. That's right. So here we're

1185
01:06:06,240 --> 01:06:08,560
Speaker 1: going to get to our final showdown. I guess this

1186
01:06:08,640 --> 01:06:11,760
Speaker 1: is after after Felix's family has left him, you know,

1187
01:06:12,040 --> 01:06:15,800
Speaker 1: he has nothing left to live for really. Uh, he decides, Okay,

1188
01:06:15,840 --> 01:06:17,880
Speaker 1: I'm going to go in and I'm going to face

1189
01:06:18,120 --> 01:06:21,080
Speaker 1: the elevator. Yeah, and this is this is like the yeah,

1190
01:06:21,080 --> 01:06:22,920
Speaker 1: the last leg of the film. And I thought it

1191
01:06:22,960 --> 01:06:27,040
Speaker 1: was tremendous that was very well done. I was legitimately

1192
01:06:27,080 --> 01:06:29,360
Speaker 1: concerned that Felix was going to be killed by this

1193
01:06:29,440 --> 01:06:31,880
Speaker 1: elevator at times, which of course is is what you're

1194
01:06:31,920 --> 01:06:34,200
Speaker 1: supposed to feel as a as a viewer. Uh, it

1195
01:06:34,280 --> 01:06:37,160
Speaker 1: really had me on edge, like crawling, you know, in

1196
01:06:37,240 --> 01:06:39,200
Speaker 1: and out of this thing as the elevator is, of

1197
01:06:39,240 --> 01:06:42,040
Speaker 1: course moving around with a will of its own, a

1198
01:06:42,160 --> 01:06:44,720
Speaker 1: murderous will of its own. Uh you know. It's kind

1199
01:06:44,720 --> 01:06:46,600
Speaker 1: of like the Showdown in two thousand and one of

1200
01:06:46,640 --> 01:06:50,960
Speaker 1: Space Odyssey, except it's it's all elevator, but it never talks.

1201
01:06:51,040 --> 01:06:54,360
Speaker 1: The elevator never gets to tell Felix like stop, don't

1202
01:06:54,400 --> 01:06:56,880
Speaker 1: do that, It doesn't sing Daisy, It just tries to

1203
01:06:56,880 --> 01:07:00,240
Speaker 1: crush him in various ways. Yeah, and it's yeah, it's

1204
01:07:00,280 --> 01:07:03,440
Speaker 1: it's a great sequence. It's it's well shot, um and

1205
01:07:03,520 --> 01:07:05,800
Speaker 1: then we we we lead up to the like the

1206
01:07:06,520 --> 01:07:09,439
Speaker 1: final part of the showdown essentially is oh, I don't

1207
01:07:09,440 --> 01:07:11,120
Speaker 1: know if we mentioned this earlier, but one of the

1208
01:07:11,120 --> 01:07:13,280
Speaker 1: first things he tries to do is to get into

1209
01:07:13,320 --> 01:07:16,040
Speaker 1: that blue box and cut off the ships. But it's empty.

1210
01:07:16,200 --> 01:07:19,960
Speaker 1: There's nothing in it. It turns out the like the

1211
01:07:19,720 --> 01:07:24,240
Speaker 1: the the the computer center for this elevator system is

1212
01:07:24,280 --> 01:07:26,960
Speaker 1: somewhere else, and in this final sequence he finds it

1213
01:07:27,040 --> 01:07:31,320
Speaker 1: in the elevator shaft itself, in this um this compartment

1214
01:07:31,520 --> 01:07:34,120
Speaker 1: in the wall of the shaft that's leaking some sort

1215
01:07:34,160 --> 01:07:38,640
Speaker 1: of a glowing ectoplasm type substance. He has to crawl

1216
01:07:38,720 --> 01:07:41,360
Speaker 1: up there and he's opening it up and there is

1217
01:07:41,480 --> 01:07:46,440
Speaker 1: the bio chip, this kind of slimy ectoplasm, cronin burgery,

1218
01:07:46,680 --> 01:07:51,120
Speaker 1: mixture of circuitry, and I don't know, like brain fluid

1219
01:07:51,240 --> 01:07:54,200
Speaker 1: or something. I was calling it command slime. There is

1220
01:07:54,280 --> 01:07:57,040
Speaker 1: command slime at the core and and he tries to

1221
01:07:57,120 --> 01:08:00,560
Speaker 1: disrupt the command slime with a wrench. He yeah, and

1222
01:08:00,640 --> 01:08:02,520
Speaker 1: it's really great because of course it also adds the

1223
01:08:02,640 --> 01:08:05,160
Speaker 1: lighting of the sequence. So yeah, he's trying to slam

1224
01:08:05,200 --> 01:08:06,800
Speaker 1: it with a wrench, and then the whole time the

1225
01:08:06,840 --> 01:08:10,040
Speaker 1: elevator is basically going up and down, I think something

1226
01:08:10,080 --> 01:08:12,400
Speaker 1: like hitting his body at times, trying to like rip

1227
01:08:12,440 --> 01:08:17,160
Speaker 1: him in half, and it's legitimately terrifying. Um. Yeah, great sequence.

1228
01:08:17,200 --> 01:08:19,280
Speaker 1: In the remake they do the same thing, except the

1229
01:08:19,960 --> 01:08:23,600
Speaker 1: brain chip stuff is pink and bigger and kind of

1230
01:08:23,640 --> 01:08:27,240
Speaker 1: looks a little bit like crane. Does it have a face?

1231
01:08:27,439 --> 01:08:32,280
Speaker 1: No face, but but very crany Okay. Basically in the

1232
01:08:32,280 --> 01:08:36,320
Speaker 1: original it looks like Ghostbusters one slime, and in the

1233
01:08:36,320 --> 01:08:38,519
Speaker 1: remake it looks like Ghostbusters to slime, you know what

1234
01:08:38,560 --> 01:08:42,240
Speaker 1: I'm saying. Yeah, ohh And there's a great rescue scene

1235
01:08:42,280 --> 01:08:45,599
Speaker 1: actually where the elevator, the elevator is gonna crush him

1236
01:08:46,080 --> 01:08:49,439
Speaker 1: and it looks like our our protagonist is doomed. But

1237
01:08:49,560 --> 01:08:51,960
Speaker 1: then uh, Mickey de Beer shows up at the last

1238
01:08:51,960 --> 01:08:54,640
Speaker 1: moment and pulls him out of the shaft just just

1239
01:08:54,720 --> 01:08:58,760
Speaker 1: in time. I thought it was yeah, yeah, I was like,

1240
01:08:58,840 --> 01:09:01,439
Speaker 1: that's it for Felix, Who's going to repair the kid's

1241
01:09:01,520 --> 01:09:03,840
Speaker 1: toy ambulance now and make it even louder than it

1242
01:09:03,880 --> 01:09:09,559
Speaker 1: was before. Mom's new boyfriend can't do that. Um. But

1243
01:09:09,560 --> 01:09:12,200
Speaker 1: but no, no, he's rescued and and uh and so

1244
01:09:12,280 --> 01:09:15,000
Speaker 1: together they it seems like maybe they've saved the day

1245
01:09:15,000 --> 01:09:17,800
Speaker 1: and defeated the machine. But then we get then we

1246
01:09:17,840 --> 01:09:21,840
Speaker 1: get a twist. Uh, the guy from the lab that's

1247
01:09:21,880 --> 01:09:24,599
Speaker 1: bathed in red light comes back, the guy from Rising Sun.

1248
01:09:25,280 --> 01:09:28,479
Speaker 1: And so what does he explain at the end, He's like, well,

1249
01:09:28,640 --> 01:09:31,680
Speaker 1: this chip isn't working like it's supposed to. Yeah, he

1250
01:09:31,680 --> 01:09:34,880
Speaker 1: doesn't explain much, which I like, like, Basically, he shows up,

1251
01:09:34,880 --> 01:09:36,680
Speaker 1: he pulls a gun and you're like, oh, he's come

1252
01:09:36,720 --> 01:09:39,160
Speaker 1: to protect the chip and to silence these people. But

1253
01:09:39,200 --> 01:09:41,840
Speaker 1: instead he goes over to the shaft and shoots the

1254
01:09:41,880 --> 01:09:44,559
Speaker 1: bio chip a few more times. That's are again already

1255
01:09:44,600 --> 01:09:47,400
Speaker 1: been like hit with a ranch or screwdriver or whatever. Um.

1256
01:09:47,600 --> 01:09:49,719
Speaker 1: And then he says something. The fact of it was sick.

1257
01:09:50,160 --> 01:09:53,120
Speaker 1: It was very sick. He was very sick. And he

1258
01:09:53,160 --> 01:09:55,320
Speaker 1: doesn't get much of a chance to explain anything else

1259
01:09:55,360 --> 01:09:57,960
Speaker 1: because then what happens h with his back turn to

1260
01:09:58,000 --> 01:10:00,800
Speaker 1: the elevator shaft. One of the elevator cables, which had

1261
01:10:00,840 --> 01:10:05,000
Speaker 1: snapped earlier, comes comes out like a tentacle, wraps itself

1262
01:10:05,040 --> 01:10:08,439
Speaker 1: around his his neck and pulls him into the elevator

1263
01:10:08,479 --> 01:10:11,679
Speaker 1: shaft and strangles him to death. Now I think they're

1264
01:10:11,720 --> 01:10:14,040
Speaker 1: pushing it a little bit here, because I don't know

1265
01:10:14,080 --> 01:10:17,200
Speaker 1: how an elevator cable would do that, even if the

1266
01:10:17,240 --> 01:10:19,479
Speaker 1: command chip wanted it to do that, even if the

1267
01:10:19,479 --> 01:10:22,360
Speaker 1: command slide was like go go reach out and get

1268
01:10:22,360 --> 01:10:24,880
Speaker 1: that guy, there's no mechanism to do that. But you

1269
01:10:24,920 --> 01:10:28,280
Speaker 1: know what, right there at the end, our our disbelief

1270
01:10:28,360 --> 01:10:31,120
Speaker 1: is suspended. That got us that they can get away

1271
01:10:31,160 --> 01:10:34,200
Speaker 1: with it. Yeah, I totally bought it. And then of

1272
01:10:34,200 --> 01:10:36,920
Speaker 1: course we have a wonderful credit sequence where what are

1273
01:10:36,920 --> 01:10:40,000
Speaker 1: they doing. They're taking the stairs. Uh, they're taking the

1274
01:10:40,040 --> 01:10:42,519
Speaker 1: stairs down from whatever floor this was on where we

1275
01:10:42,560 --> 01:10:44,880
Speaker 1: had the show down. I also like to imagine at

1276
01:10:44,920 --> 01:10:48,200
Speaker 1: the end that that the beer ends up writing about

1277
01:10:48,240 --> 01:10:50,840
Speaker 1: this incident in her tabloid. It's like right next to

1278
01:10:50,880 --> 01:10:55,200
Speaker 1: a story about bat Boy or whatever. Yeah, it turns

1279
01:10:55,200 --> 01:10:58,479
Speaker 1: out nobody actually takes this story seriously because she doesn't

1280
01:10:58,479 --> 01:11:06,000
Speaker 1: represent reputable journalistic uh publication. And that's the Lift. Uh yeah,

1281
01:11:06,080 --> 01:11:07,280
Speaker 1: I have to say this one, This one is a

1282
01:11:07,320 --> 01:11:11,400
Speaker 1: lot of fun. Yeah. Now you you might be wondering, well, hey,

1283
01:11:11,400 --> 01:11:13,719
Speaker 1: I want to get in on this, uh this action.

1284
01:11:13,720 --> 01:11:18,479
Speaker 1: Where can I watch Three's the Lift? Well, you can

1285
01:11:18,479 --> 01:11:22,080
Speaker 1: do like I did. You can simply sign up for

1286
01:11:22,160 --> 01:11:25,599
Speaker 1: the full Moon channel. Uh. That way you have access

1287
01:11:25,600 --> 01:11:28,919
Speaker 1: to a number of B movies. But in my case, anyway,

1288
01:11:29,400 --> 01:11:32,280
Speaker 1: you got access to both The Lift and the remake.

1289
01:11:32,720 --> 01:11:35,920
Speaker 1: So that's pretty good. But I believe there was also Yeah,

1290
01:11:35,960 --> 01:11:38,920
Speaker 1: there was a Blu ray that came out, um, and

1291
01:11:39,160 --> 01:11:41,880
Speaker 1: you can pick this up. This up, This one, uh

1292
01:11:41,960 --> 01:11:45,880
Speaker 1: is out from Blue Underground, who have excelled with putting

1293
01:11:45,880 --> 01:11:49,360
Speaker 1: out some some sort of you know, a cult following

1294
01:11:49,840 --> 01:11:53,640
Speaker 1: B movie type fair Apparently the the Blu ray for

1295
01:11:53,680 --> 01:11:58,439
Speaker 1: this has auto commentary from Dick Moss, so uh that

1296
01:11:58,479 --> 01:12:01,200
Speaker 1: sounds pretty good, along as some other extress. All right,

1297
01:12:01,600 --> 01:12:05,160
Speaker 1: so check it out if you're interested. All right, if

1298
01:12:05,160 --> 01:12:07,240
Speaker 1: you'd like to listen to other episodes of Weird House Cinema.

1299
01:12:07,320 --> 01:12:09,200
Speaker 1: We put this out every Friday and the Stuff to

1300
01:12:09,200 --> 01:12:13,320
Speaker 1: Blow Your Mind podcast feed. We're primarily a science podcast,

1301
01:12:13,360 --> 01:12:15,679
Speaker 1: but on Friday's we put most of the serious matters

1302
01:12:15,680 --> 01:12:19,320
Speaker 1: aside and just discuss a weird film. And hey, if

1303
01:12:19,320 --> 01:12:22,000
Speaker 1: you if you dig Weird House Cinema, we now have

1304
01:12:22,520 --> 01:12:25,320
Speaker 1: uh an Instagram account for Weird House Cinema. It's just

1305
01:12:25,400 --> 01:12:28,679
Speaker 1: weird how cinema one word, no no brakes or anything.

1306
01:12:29,280 --> 01:12:31,720
Speaker 1: You can go look that up. And also, uh I

1307
01:12:31,640 --> 01:12:33,160
Speaker 1: if you go there, you can find the links for

1308
01:12:33,160 --> 01:12:35,479
Speaker 1: this in the link tree. But I maintain a blog

1309
01:12:35,960 --> 01:12:38,880
Speaker 1: titled Some Mood of Music and I basically just use

1310
01:12:38,960 --> 01:12:41,599
Speaker 1: that as a place to put a little blog posts

1311
01:12:41,640 --> 01:12:44,080
Speaker 1: about the episodes as they come out. Uh So, if

1312
01:12:44,080 --> 01:12:46,360
Speaker 1: there's a trailer, I'll include it there. If there's some

1313
01:12:46,400 --> 01:12:48,920
Speaker 1: additional media that we've discussed that needs to go there,

1314
01:12:48,960 --> 01:12:51,439
Speaker 1: like I don't know the trailer for Hamster Damned, uh,

1315
01:12:51,479 --> 01:12:54,040
Speaker 1: then I will put that in there as well. Huge

1316
01:12:54,040 --> 01:12:57,799
Speaker 1: things as always to our excellent audio producer Seth Nicholas Johnson.

1317
01:12:58,160 --> 01:12:59,720
Speaker 1: If you would like to get in touch with us

1318
01:12:59,760 --> 01:13:02,360
Speaker 1: with feedback on this episode or any other. To suggest

1319
01:13:02,360 --> 01:13:04,320
Speaker 1: a topic for the future, or just to say hello,

1320
01:13:04,680 --> 01:13:07,439
Speaker 1: you can email us at contact at stuff to Blow

1321
01:13:07,439 --> 01:13:17,200
Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

1322
01:13:17,240 --> 01:13:20,519
Speaker 1: production of I heart Radio. For more podcasts my heart Radio,

1323
01:13:20,720 --> 01:13:23,400
Speaker 1: visit the i heart Radio app, Apple Podcasts, or wherever

1324
01:13:23,439 --> 01:13:24,759
Speaker 1: you listen to your favorite shows.