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

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Speaker 2: Hey you welcome to Weird House Cinema.

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

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Speaker 2: In this October episode of Weird House Cinema, we return

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Speaker 2: once more to the classic universal horror pictures of yesteryear.

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Speaker 2: And I picked this one in large part because it

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Speaker 2: played here in Atlanta the Plaza Theater as part of

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Speaker 2: the Silver Screams spook Show. And I'm a sucker for

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Speaker 2: the chance to see a gorgeous looking black and white

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Speaker 2: horror film in a historic theater that likely showed this

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Speaker 2: movie back in nineteen forty three. It's hard to get exact,

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Speaker 2: you know. I think you'd have to go in and

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Speaker 2: look at newspaper clippings and so forth to figure out

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Speaker 2: what exactly played there. But given that this was, you know,

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Speaker 2: a major release and a popular film, there's a very

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Speaker 2: good chance that played at that particular theater back in

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Speaker 2: the day.

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Speaker 3: If I had a time machine, Yeah, to see the

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Speaker 3: either excitement or disappointment on the children's faces when we

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Speaker 3: get to the closing credits.

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Speaker 2: That's true. I mean the children who are wanting the

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Speaker 2: monster mash that this movie offers up. Yeah, they're they're

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Speaker 2: gonna have to wait a little bit. There's not a

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Speaker 2: lot of mashing at first.

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Speaker 3: So do we say what the movie is yet? It's

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Speaker 3: nineteen forty three's Frankenstein Meets the Wolfman, one of the

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Speaker 3: great later universal horror sequels.

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Speaker 2: Yes, yes, and note it is Frankenstein meets the wolf Man.

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Speaker 2: You know, it's not versus the Wolfman battles the Wolfman.

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Speaker 2: They meet. They're setting them up with each other. It's

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Speaker 2: kind of like my Dinner with Andre sort of situation,

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Speaker 2: or at least that's what he could seem to imply.

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Speaker 2: So Yet to be clear, this is not generally considered

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Speaker 2: among the best Universal Studios monster pictures, but it is,

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Speaker 2: I believe, the first major film in which a monster

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Speaker 2: from one movie meets, fights, or teams up with the

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Speaker 2: monster from another film. This sort of monster mash has

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Speaker 2: become just a staple of monster films, and this is

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Speaker 2: where the tradition seems to kick off, Like Frankenstein Meets

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Speaker 2: the Wolfman shambles so that mathra versus Godzilla can run

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Speaker 2: later on.

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Speaker 3: Yeah, yeah, or Freddy versus Jason for that matter. I

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Speaker 3: mean it started a long tradition, and this does seem

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Speaker 3: to be the first big one. So yeah, my opinion

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Speaker 3: is that while this movie is not the best of

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Speaker 3: the best for Universal, it does not rise to the

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Speaker 3: level of like the really exquisite Frank sequels like Bride

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Speaker 3: and Sun, which are both great. If you think about

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Speaker 3: it as something like a late Universal B movie, it's

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Speaker 3: a pretty excellent example. And I love the atmosphere and

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Speaker 3: the use of eerie sets, particularly there's one at the

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Speaker 3: beginning that's like this wind swept cemetery and the opening

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Speaker 3: grave robbing scene. I also really love the model and

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Speaker 3: miniature work with the castle at the end, and the

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Speaker 3: you know, the blowing up of the dam and the

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Speaker 3: flood and all that. I love lun Cheney Junior's tortured performance.

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Speaker 3: It's big and emotional and sometimes funny and often you know,

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Speaker 3: quite empathic. And the monster mash stuff. The fight at

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Speaker 3: the end, while quite brief, is a treat.

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Speaker 2: Yeah, yeah, I agree. I look forward to discussing that sequence.

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Speaker 2: So yeah, it is a lot of fun. Like we

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Speaker 2: were talking about this off, Mike, I rewatch were actually

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Speaker 2: for me, I watched for the first time in full

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Speaker 2: The Wolfman in preparation for this because I don't think

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Speaker 2: I'd ever watched the entire picture. And while The Wolfman

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Speaker 2: the immediate predecessor, one of the two immediate predecessors to

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Speaker 2: this film, while it is definitely the better movie, I

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Speaker 2: don't think it would have been as fun a picture

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Speaker 2: to talk about here on Weird House Cinema.

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Speaker 3: I agree. I mean this confirms a trend we have

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Speaker 3: observed many times in the past, which is the quality

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Speaker 3: of a Weird House episode doesn't necessarily relate to the

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Speaker 3: quality of the film. Yeah, some are just great to

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Speaker 3: talk about whether or not they're actually all that good.

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Speaker 3: But this movie is not bad. Just the ways in

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Speaker 3: which it's good are more limited.

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Speaker 2: Yeah, the critical reception was luke warm. I meant, I'm

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Speaker 2: to understand that it was a successful movie though from

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Speaker 2: a business standpoint, and it certainly inspired people. You know,

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Speaker 2: just the idea alone of Wolfman meeting Frankenstein. You know,

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Speaker 2: it unleashes the gate for all of these these monster

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Speaker 2: mashes to come. And I've read I've actually mentioned this

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Speaker 2: on the show before, but Spanish horror movie icon Paul

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Speaker 2: Nashy was was particularly inspired by this motion picture. Saw

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Speaker 2: it at a young age, and it inspired him to

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Speaker 2: eventually become all of the Universal monsters himself, because yes,

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Speaker 2: he did, at some point or another play a version

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Speaker 2: of all of the main universal monsters with the with

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Speaker 2: the exception of the gill Man. I don't I don't

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Speaker 2: think Paul Nashi ever played a gil Man, but everybody

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Speaker 2: else he definitely got in there and played all the

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Speaker 2: big Gothic characters for sure.

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Speaker 3: Yeah, we saw, of course, he created a full universal

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Speaker 3: monster mash of his own in Assignment Terror. I think

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Speaker 3: that was maybe not the only time he even did

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Speaker 3: that in the era. And then there's another later career

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Speaker 3: one in a sleazy or nashy movie called Howl of

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Speaker 3: the Devil, which is essentially a slasher film, but it

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Speaker 3: involves a child imagining encounters with his deceased father who

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Speaker 3: was a movie star and played all of the Universal monsters,

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Speaker 3: so he gets to appear in ghostly form in the

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Speaker 3: monster makeup of every one of them.

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Speaker 2: So, even at a point where Spanish cinema especially was

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Speaker 2: turning away from Gothic horror and embracing slashers, he still

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Speaker 2: managed to shoehorn Gothic universal inspired horror into the picture anyway, Yes, yes,

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Speaker 2: all right, So this is generally considered part of the

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Speaker 2: Universal Monsters timeline, the Universal Frankenstein timeline. So I figured

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Speaker 2: it might make sense to just break down where we

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Speaker 2: are with this picture in the sequence of films. Okay, okay,

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Speaker 2: So first of all, there came nineteen thirty one Frankenstein

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Speaker 2: James Whale Classic Picture, yep, and then came nineteen thirty

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Speaker 2: five's Bride of Frankenstein. Arguably the best of the whole series,

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Speaker 2: and this is one that we covered on Weird House

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Speaker 2: Cinema several years back.

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Speaker 3: I would say beyond arguably for me, it's not just

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Speaker 3: the best of the series, it's the best Universal monster

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Speaker 3: movie ever made. It's like, you can't top it. But

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Speaker 3: one of the closest runners up, I think is actually

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Speaker 3: the next one in the series, Son of Frankenstein from

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Speaker 3: thirty nine, which is I saw for the first time

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Speaker 3: when we were getting ready to cover it on the show,

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Speaker 3: and I thought was way better than I would have expected,

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Speaker 3: so much better than really it had any right to be.

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Speaker 2: That's right. We talked about this film last year and

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Speaker 2: I think it just reran this Monday of this week.

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Speaker 2: But yeah, this is the film that introduced Bella Lugosi's

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Speaker 2: Igor character wonderful, Yeah, which is a wonderful plotting character

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Speaker 2: that becomes increasingly important before he's forgotten. Run him in

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Speaker 2: just a minute. Okay, So that was thirty nine. Then

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Speaker 2: came nineteen forty one's The wolf Man, which which we

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Speaker 2: just alluded to that of course starred Lon Chaney Junior.

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Speaker 2: He's going to reprise that role in this picture. This

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Speaker 2: movie was a big hit and again is a solid

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Speaker 2: moody where a wolf story that is set in Cardiff.

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Speaker 4: Yeah.

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Speaker 3: Now at this point there's no interaction whatsoever between the

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Speaker 3: Frankenstein universe and the Wolfman universe. The first Wolfman movie

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Speaker 3: is a standalone film. We're just mentioning it as one

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Speaker 3: of the multiple streams that feeds into Frankenstein meets the

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Speaker 3: wolf Man.

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Speaker 4: Yeah.

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Speaker 2: And I mean, nowadays we kind of know the trope

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Speaker 2: right that you start doing the crossovers once you run

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Speaker 2: out of things to do. And they had not quite

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Speaker 2: run out of things to do, certainly with Frankenstein just yet,

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Speaker 2: because in forty two they put out The Ghost of Frankenstein.

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Speaker 2: This is not one I have seen in full, but

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Speaker 2: I went ahead and pulled up the ending and watched

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Speaker 2: it prior to coming in here, and I read about

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Speaker 2: the plot. Basically, this film continues the son of Frankenstein

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Speaker 2: plot line, where we get we get a we get

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Speaker 2: another doctor Frankenstein in the mix. We have the monster, yeah,

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Speaker 2: something like that. We have the Monster again. Confusingly, this

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Speaker 2: time the monster is played by Lon Cheney Junior, who

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Speaker 2: is just coming off of playing the wolf Man. And

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Speaker 2: we had Bella Lagosi once more is Egor. And in

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Speaker 2: this picture there's like a plot to put a new

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Speaker 2: brain in the monster, and Igor, who of course has

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Speaker 2: you know, is suffering from various you know, health problems

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Speaker 2: at this point, manages plots to get his own brain

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Speaker 2: put in the monster. So in the final moments of

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Speaker 2: the film, the monster speaks in Bela Lugosi's voice and

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Speaker 2: and and is talking about how he's you know, you know,

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Speaker 2: seek vengeance on all his enemies and so forth. But

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Speaker 2: there's been some sort of a mishap some the blood

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Speaker 2: he didn't factor in the blood of the of the

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Speaker 2: host and so forth, and so the man is blind,

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Speaker 2: and the heroes were able to overcome the monster, and

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Speaker 2: the monster burns up in the castle, or so we thought. Okay,

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Speaker 2: because then comes today's film, nineteen forty three's Frankenstein Meets

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Speaker 2: the wolf Man. This is a movie that comes in

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Speaker 2: and serves as a sequel of sorts to the previous

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Speaker 2: two films, though it's a lot easier, I would argue,

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Speaker 2: to pick up the pieces of the Ghost of Frankenstein

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Speaker 2: than it is to pick up the pieces of the

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Speaker 2: wolf Man, because the Wolfman comes to a pretty satisfying,

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Speaker 2: gloomy close in a way, superstition triumphing over logic, and

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Speaker 2: we have the character of Larry Talbot, the wolf Man,

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Speaker 2: beaten to death with a silver cane by his own father.

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Speaker 4: It's done.

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Speaker 2: It's like Highlander one done at that point. But as

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Speaker 2: with Highlander one, sometimes you just got to make a

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Speaker 2: sequel and you've got to just find a way to

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Speaker 2: make it work on the page.

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Speaker 3: This film today fits mo more comfortably as a Frankenstein

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Speaker 3: sequel than it does as a Wolfman sequel.

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Speaker 4: And you can.

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Speaker 3: Especially tell that because of all the ways that it

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Speaker 3: ignores elements of the Wolfman lore and like ret CON's

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Speaker 3: things from the previous Wolfman film. And we'll talk about

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Speaker 3: that more as we go on, but but yeah, it

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Speaker 3: works more as a Frankenstein's sequel, but then, confusingly, we

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Speaker 3: don't get to the Frankenstein stuff until halfway through the movie.

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Speaker 2: Yeah, we have to. I think we have to put

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Speaker 2: in a lot more legwork to bring the wolf back

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Speaker 2: to life. And then the wolfman is Larry Talbot, and

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Speaker 2: even though he's dealing with like, you know, miraculous or

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Speaker 2: infernal resurrection here, you know, he's still the most relatable

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Speaker 2: human character in the picture, and therefore we spend a

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Speaker 2: lot of time with him. All Right, the Frankenstein series

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Speaker 2: would go three more films after this, House of Frankenstein

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Speaker 2: in forty four, House of Dracula in forty five. Let's

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Speaker 2: get Dracula into the mix on all this, right, sure,

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Speaker 2: people were paying for it. And then finally Abd and

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Speaker 2: Costello meet Frankenstein in forty eight, which kind of finishes

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Speaker 2: things out on an obvious, obviously comedic level. Bella's in

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Speaker 2: that as well. I believe that's his last performance as Dracula.

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Speaker 2: I've never actually watched it, but I'm to understand, like

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Speaker 2: you know, Bella gives it his all, and he doesn't

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Speaker 2: he doesn't give into the hamminess of it. He like

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Speaker 2: plays it straight.

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Speaker 3: I've considered checking out House of Frankenstein for Weird House before.

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Speaker 3: I haven't gotten there yet, but I'm sure i'll watch

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Speaker 3: it at some point.

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Speaker 2: Maybe maybe we'll get to it next October.

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Speaker 3: Okay, So I was thinking about how some interesting themes

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Speaker 3: are brought to light by the overlap of the two

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Speaker 3: characters in Frankenstein Meets the wolf Man. Something Frankenstein's Monster

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Speaker 3: and the Wolfman have in common as distinct from the

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Speaker 3: other universal monsters, is that they are the two monsters

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Speaker 3: who both evoke pity. Both of them are dangerous. They

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Speaker 3: you know, they're violent, and they kill, but neither one

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Speaker 3: is consciously malicious. Larry Talbot, the character who becomes a

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Speaker 3: werewolf in The Wolfman, is depicted as not in control

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Speaker 3: of his actions when he transforms into the beast, so

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Speaker 3: he you know, he wolfs out and then he later

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Speaker 3: awakens in the morning to learn what he has done

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Speaker 3: and is filled with horror and remorse, but he has

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Speaker 3: no ability to stop it or control it.

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Speaker 2: Yeah, and Larry Talbot is portrayed in both films as

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Speaker 2: basically a likable guy, you know, really kind of an

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Speaker 2: everyday guy. Because ultimately, you know, we have a character

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Speaker 2: actor playing the role. You know, he doesn't have that

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Speaker 2: kind of like sharp job leading man vibe that various

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Speaker 2: other leads have. He feels very relatable and people like him,

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Speaker 2: the ladies like him. He's easy going, you know, and

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Speaker 2: except for the fact that he does turn into a

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Speaker 2: murderous monster on a full note.

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Speaker 3: Yeah, but it's not by his choice, right though, I

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Speaker 3: do recall in the original wolf Man is something about

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Speaker 3: he's like really really trying to date a lady who's

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Speaker 3: already engaged something like that. But you know, maybe that's

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Speaker 3: a more minor character flaw here. So that's Larry Talbot

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Speaker 3: very sympathetic, you know, pitiable character even though he's a monster.

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Speaker 3: It's not his fault. Meanwhile, Frankenstein's creature is it seems

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Speaker 3: very much also not his fault. He has reanimated against

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Speaker 3: his own will. As he says at the end of

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Speaker 3: Bride of Frankenstein, we be long dead, like he recognizes

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Speaker 3: that he should not be and he comes into the

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Speaker 3: world as an innocent only harming people at first by

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Speaker 3: accident and then later out of desperation and rage after

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Speaker 3: being persecuted. And so you could contrast this with the

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Speaker 3: other universal horror villains of the era, such as Dracula,

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Speaker 3: The Mummy, the Invisible Man, which are all much more

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Speaker 3: vicious and devilish. I think it's an interesting choice. The

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Speaker 3: first ever monster mash film decided to combine the two

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Speaker 3: monsters that don't want to be monsters and would live

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Speaker 3: in peace if they could.

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Speaker 2: Yeah, that's a great point. Yeah, even when you listen Dracula,

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Speaker 2: the Mummy and the Invisible Man, like the Invisible Man

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Speaker 2: is kind of the most evil.

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Speaker 3: Yeah, like some megalomaniac.

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Speaker 4: Yeah.

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Speaker 2: Yeah, I mean at least Dracula and the Mummy they

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Speaker 2: have undead status, like they're not completely human anymore. But

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Speaker 2: the Invisible Man is just a man who has made

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Speaker 2: himself invisible. And uh, and I mean that's I think

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Speaker 2: that's ultimately as part of why he's so fascinating. It's

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Speaker 2: the whole idea, like if if I were invisible as well,

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Speaker 2: would I become if I had some sort of a

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Speaker 2: power that was brought upon me, would it change me like.

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Speaker 4: This as well?

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Speaker 3: Yeah, that one asks the question what would you do

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Speaker 3: if you could get away with anything?

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Speaker 2: Yeah, but again this movie is also interesting and just

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Speaker 2: how you forced the whole concept basically is because both

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Speaker 2: titular monsters had effectively been killed off in their previous film,

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Speaker 2: the movie has to first really put in the work

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Speaker 2: to not only bring one of them back to life,

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Speaker 2: but bring them both back to life, get them in

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Speaker 2: the same plot, in the same place at the same time,

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Speaker 2: arrange the plot so that they have to meet, they

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Speaker 2: have to essentially work together, and the plot entails the

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Speaker 2: resurrection of one monster to kill the other essentially, And

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Speaker 2: as we'll discuss, by the end of the film, you'll

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Speaker 2: be wondering what really came of any of this.

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Speaker 3: Yeah, by the end of the film, I was very

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Speaker 3: fuzzy on what exactly the mechanics were, Why are they

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Speaker 3: training the energies from one monster? What exactly is the

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Speaker 3: doctor trying to do? We know there's what he says

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Speaker 3: he's going to do, but then it's clear that his

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Speaker 3: actual intentions are different, and I think it's never made

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Speaker 3: clear really what they are. Certainly with regard to Talbot,

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Speaker 3: we do get an idea of what he wants to

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Speaker 3: do with regard to the monster.

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Speaker 2: Right, Yeah, And as we'll discuss, even though it is

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Speaker 2: cinematically treated as a victory at the end, I really

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Speaker 2: have some serious questions about whether there was any victory

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Speaker 2: at all, but we'll come back to all that.

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Speaker 3: Also, one thing I just have to mention at the

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Speaker 3: top here is the main character of the wolfman in

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Speaker 3: this movie. His name is Larry Talbot. I think it's

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Speaker 3: almost certain that at least once in this episode I'm

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Speaker 3: going to accidentally call him Lyle Talbot, which is the

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Speaker 3: name of a prolific mid twentieth century American actor. The

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Speaker 3: reason I would Sayle Talbot is that I'm aware of

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Speaker 3: him because he ended up repeatedly collaborating with ed Wood

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Speaker 3: by virtue of the fact that Talbot, by his own admission,

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Speaker 3: never once in his entire career, turned down a job offer.

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Speaker 3: So if you've got a movie, he'll be in it.

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Speaker 2: All right, Joe, do you have an elevator pitch for

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Speaker 2: this one?

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Speaker 3: It is, can't medical science find a way to kill me?

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Speaker 4: Like?

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Speaker 3: What's a guy got to do to get dead? Around here?

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Speaker 2: All right, let's listen to some of that trailer audio.

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Speaker 4: But he doesn't understand there's a curse upon me. I

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Speaker 4: changed into a wolf. Listen to the movie. I saw

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Speaker 4: my father become obsessed plankings collar he died a horrible

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Speaker 4: there's no deeps order storm after her. She would come

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Speaker 4: in to by Oscar. Why should we treat it so fancy?

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Speaker 4: She's a Frankenstein, all right?

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Speaker 2: If you want to go watch Frankenstein Meets the wolf Man,

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Speaker 2: well it's widely available wherever you get your Universal Studios

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Speaker 2: Monster movies. You want to watch them, uh streaming, you

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Speaker 2: want to watch them and on on Blu ray, on DVD, VHS,

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Speaker 2: laser disc, what have you. There is a way out there.

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Speaker 2: This is This one has been released so many in

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Speaker 2: so many different formats. Alright, let's get into the people

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Speaker 2: behind the picture here, starting with the director. This one

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Speaker 2: was directed by Roy William Neil. He lived eighteen eighty

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Speaker 2: seven through nineteen forty six, Irish born American film director,

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Speaker 2: best remembered for this film as well as a whole

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Speaker 2: bunch of Basil Rathbone Sherlock Holmes movies. He directed I

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Speaker 2: Think most of them like eleven films from nineteen forty

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Speaker 2: three through nineteen forty six. His other movies include nineteen

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Speaker 2: thirty four's Black Moon starring Fey Ray, thirty four as

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Speaker 2: the ninth Guest, and nineteen thirty five's of The Black

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Speaker 2: Room starring Boris Karloff.

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Speaker 3: Black Moon and the Black Room.

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Speaker 2: Yeah, that's right. I don't think these films are at

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Speaker 2: all related, but he did direct both of them. I

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Speaker 2: think well, black Moon is like a voodoo picture, all right,

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Speaker 2: And the screenplay on this one is once more the

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Speaker 2: word of Kurtziodnik, who lived nineteen oh two through the

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Speaker 2: year two thousand. We discussed him previously on Weird House,

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Speaker 2: as he wrote the screenplay for nineteen forty six's The

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Speaker 2: Beast with Five Fingers, as well as another movie.

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Speaker 3: Oh Creature with the Adam Brain.

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Speaker 2: That's right. So, Siodnc was a German born novelist, screenwriter,

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Speaker 2: and director who left Germany for first first for the

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Speaker 2: United Kingdom and then for the United States due to

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Speaker 2: concerns over rising anti Semitism under the Nazis. His German

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Speaker 2: output was already pretty successful prior to this, including a

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Speaker 2: sci fi film that I haven't seen, but it involves

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Speaker 2: a sort of an aircraft carrier base titled FP One

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Speaker 2: Doesn't Answer. And he did British war thrillers and some comedies,

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Speaker 2: and then he struck it big with his nineteen forty

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Speaker 2: one screenplay for The Invisible Man Returns and his original

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Speaker 2: screenplay for forty one's The Wolfman. He went on to

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Speaker 2: write tons of screenplays, let's say, including this one, also

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Speaker 2: a nineteen forty three film titled Oh.

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Speaker 3: I didn't realize what you were getting at for a second,

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Speaker 3: I walked with a zombie. So Rocky went in on

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Speaker 3: two songs for two so Odmac scripts.

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Speaker 2: That's right, that's right. I mean, this guy was prolific,

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Speaker 2: Son of Dracula in forty three, House of Frankenstein in

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Speaker 2: forty four, and many more. He also wrote the nineteen

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Speaker 2: forty two sci fi novel Donovan's Brain, which has been

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Speaker 2: adapted three different times as The Lady in The Monster

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Speaker 2: in forty four, Donovan's Brain in fifty three, and The

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Speaker 2: Brain in sixty two. Now, I found it notable that

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Speaker 2: multiple films based on his work or screenplays that he

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Speaker 2: wrote for motion pictures concern mind or brain transference, most

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Speaker 2: famously Donovan's Brain in its various adaptations, but also nineteen

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Speaker 2: forties Black Friday, which by the way, stars Karloff and

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Speaker 2: Lagosi and I think is otherwise like a crime thriller,

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Speaker 2: but it has brain or mind transference in it. And

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Speaker 2: then in nineteen seventy film titled House Memory. And the

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Speaker 2: really interesting part about Frankenstein meets the Wolfman is that

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Speaker 2: you wouldn't be able to guess this from watching the film,

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Speaker 2: but this movie was also supposed to feature a mind

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Speaker 2: or brain transference plot as.

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Speaker 3: Well, between who between Frankenstein and the Wolfman or somebody else.

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Speaker 2: No, no, So it's this would not be original to

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Speaker 2: this picture, but it's picking up the pieces from the

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Speaker 2: end of nineteen forty twos The Ghost of Frankenstein, in

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Speaker 2: which again Lugosi's Igor manages to get his own brain

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Speaker 2: transplant planted into the body of the monster again played

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Speaker 2: in that film by Lyncheney Junior, before the castle gets

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Speaker 2: burned up. So in this film, the monster, who will

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Speaker 2: now be played by Lugosi was originally had dialogue spoken

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Speaker 2: by Lagosi, because it's not just Frankenstein's monster, It is

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Speaker 2: supposed to be Igor's brain in the monster's body, and

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Speaker 2: so he would have been he was blind. That's why

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Speaker 2: in this film we'll see Frankenstein's monster walking with arms outstretched,

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Speaker 2: which became kind of like a cartoon stereotype or trope

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Speaker 2: of Frankenstein's monster, and that's where it comes from. This film,

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Speaker 2: but you would know this from the film because they

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Speaker 2: don't mention the blindness. They certainly don't mention the Egor's

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Speaker 2: brain plot, like that's just completely removed along with all

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Speaker 2: of Lugosi's dialogue.

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Speaker 3: That would make sense, and that would also kind of

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Speaker 3: spoil some of the themes I was talking about if

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Speaker 3: they had stuck with the Egor's brain thing, though, I

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Speaker 3: guess you could still assume that they just don't discuss

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Speaker 3: it in this movie, because so I was talking about

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Speaker 3: how Frankenstein is essentially an innocent but Egor is not

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Speaker 3: an Igor is a malicious, sadistic killer. In fact, it's

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Speaker 3: part of his character and son of Frankenstein that he

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Speaker 3: was already once hanged for his crimes but survived the hanging,

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Speaker 3: putting him in a kind of legal limbo where he

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Speaker 3: couldn't be punished again.

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Speaker 2: Yeah, you know, we're obviously we're speculating here about a

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Speaker 2: version of the film that didn't survive. But I don't know,

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Speaker 2: maybe Egor is more to be pitied in this film

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Speaker 2: because he's kind of like really written himself into a

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Speaker 2: corner here and it's like, oh, well, I'm stuck in

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Speaker 2: the body of a blind monster that apparently can't die either.

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Speaker 3: But as you said, apart from the fact that the

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Speaker 3: monster in this film is being played by Bella Lagosi,

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Speaker 3: there's nothing about it that would indicate it his ego

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Speaker 3: or like, he never identifies with the igor and the

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Speaker 3: characters don't discuss this.

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Speaker 4: Yeah, You've got to.

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Speaker 2: You have to have read about that or heard about

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Speaker 2: that somewhere else. It is not It is not a

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Speaker 2: part of the picture experience here, Okay, all right. Lon

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Speaker 2: Chaney Junior once more, yeah, plays Lawrence Talbot The Wolfman.

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Speaker 2: Ln Chaney Junior lived nineteen oh six through nineteen seventy three,

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Speaker 2: second generation horror film icon, son of the legendary Ln Cheney.

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Speaker 2: Lon Chaney himself lived eighteen eighty three through nineteen thirty.

433
00:23:48,800 --> 00:23:52,040
Speaker 2: The Man of a Thousand Faces right across four decades

434
00:23:52,040 --> 00:23:55,920
Speaker 2: of cinema, Lon Chaney Junior's role as Larry Talbot the

435
00:23:56,000 --> 00:23:59,520
Speaker 2: wolf Man easily his most famous role and one that

436
00:23:59,640 --> 00:24:03,240
Speaker 2: in many ways just ends up defining his career. In

437
00:24:03,359 --> 00:24:05,760
Speaker 2: many ways, you could even argue I would say that

438
00:24:05,800 --> 00:24:09,080
Speaker 2: Lawn Cheney Junior becomes more famous than his father. I mean,

439
00:24:09,160 --> 00:24:11,760
Speaker 2: he is the guy mentioned in where Wolves of London

440
00:24:11,840 --> 00:24:15,159
Speaker 2: after all, he and he is one of the like

441
00:24:15,320 --> 00:24:19,040
Speaker 2: the Key, he's on the Mount rushmore of Universal monsters.

442
00:24:19,040 --> 00:24:20,879
Speaker 2: You know, he is the Wolfman now and forever.

443
00:24:21,560 --> 00:24:23,000
Speaker 4: That's right. It is not a woo.

444
00:24:23,160 --> 00:24:25,480
Speaker 3: I saw Lawn Chaney Senior walking with the Queen.

445
00:24:25,800 --> 00:24:29,520
Speaker 2: Yeah, not to take anything away from lawn Chaney Senior's career,

446
00:24:29,600 --> 00:24:33,720
Speaker 2: obviously a very important figure in his own era, but

447
00:24:34,520 --> 00:24:36,840
Speaker 2: I would say overall, more people are going to be

448
00:24:36,880 --> 00:24:39,920
Speaker 2: familiar with Lawn Chaney Junior. So he apparently had a

449
00:24:39,920 --> 00:24:43,159
Speaker 2: pretty rough childhood. He was discouraged from entering show business

450
00:24:43,200 --> 00:24:46,359
Speaker 2: by his father and instead went into business, only to

451
00:24:46,720 --> 00:24:49,680
Speaker 2: begin his own acting career after his father's death from

452
00:24:49,720 --> 00:24:53,640
Speaker 2: throat cancer. At first, he acted under his own name

453
00:24:53,960 --> 00:24:57,240
Speaker 2: and steadily got larger parts and serials and action movies.

454
00:24:57,680 --> 00:25:00,159
Speaker 2: He also did stunt work to pay the bills, and

455
00:25:00,240 --> 00:25:03,200
Speaker 2: after some bigger independent roles in the mid thirties, ultimately

456
00:25:03,359 --> 00:25:06,720
Speaker 2: Universal Studios signs him and they say, hey, you know,

457
00:25:06,760 --> 00:25:08,240
Speaker 2: we're going to sign it to this contract. We're going

458
00:25:08,240 --> 00:25:11,159
Speaker 2: to put you in some movies. But what about what

459
00:25:11,240 --> 00:25:13,760
Speaker 2: about let's go ahead and call you Lawn Cheney Junior.

460
00:25:14,040 --> 00:25:18,040
Speaker 2: Because that is not his birth name birth name actually

461
00:25:18,119 --> 00:25:21,840
Speaker 2: frightened Toll Cheney, and so his earlier appearances he's builled

462
00:25:21,840 --> 00:25:23,880
Speaker 2: as such, but universal is like, nope, you're the son

463
00:25:23,920 --> 00:25:28,439
Speaker 2: of Lawn Cheney. You're Lawn Cheney junior. Okay. So at

464
00:25:28,480 --> 00:25:30,560
Speaker 2: this point he begins appearing in all manner of films.

465
00:25:30,840 --> 00:25:33,520
Speaker 2: He even plays Lenny in a nineteen thirty nine adaptation

466
00:25:33,760 --> 00:25:37,359
Speaker 2: of Mice and Men. But he didn't actually act in

467
00:25:37,400 --> 00:25:40,200
Speaker 2: a horror film until nineteen forty one, when he appear

468
00:25:40,280 --> 00:25:43,399
Speaker 2: in Man Made Monster and of course The Wolfman, and

469
00:25:43,520 --> 00:25:47,360
Speaker 2: this film's the Wolfman's success and legendary status. This propels

470
00:25:47,440 --> 00:25:51,640
Speaker 2: him into a horror icon territory pretty quickly, with subsequent

471
00:25:51,680 --> 00:25:55,440
Speaker 2: horror films including well The Ghost of Frankenstein, which we've mentioned,

472
00:25:55,600 --> 00:25:58,520
Speaker 2: in which he plays the monster. Nineteen forty two is

473
00:25:58,560 --> 00:26:01,880
Speaker 2: The Mummy's Tomb, in which he plays the Mummy. Then

474
00:26:01,920 --> 00:26:05,040
Speaker 2: he's back for Frankenstein meets Wolfman. Then he's in Son

475
00:26:05,080 --> 00:26:08,920
Speaker 2: of Dracula in forty three, playing Count Alocard. I guess

476
00:26:09,040 --> 00:26:10,040
Speaker 2: is Dracula junr.

477
00:26:10,600 --> 00:26:13,200
Speaker 3: He does not have vampire energy.

478
00:26:14,080 --> 00:26:17,040
Speaker 2: He doesn't. He really has a great like I say,

479
00:26:17,040 --> 00:26:19,399
Speaker 2: I watched part of Ghost of Frankenstein. And he has

480
00:26:19,440 --> 00:26:23,040
Speaker 2: a great Frankenstein's monster face. You know, he's a big guy. Yeah,

481
00:26:23,119 --> 00:26:26,520
Speaker 2: and so you know, he really embodies the monster rather well,

482
00:26:26,840 --> 00:26:29,720
Speaker 2: as we'll discuss. I think a lot. Eve embodies the

483
00:26:29,760 --> 00:26:32,040
Speaker 2: monster far better than Bela Lagosi.

484
00:26:32,560 --> 00:26:32,760
Speaker 4: Yeah.

485
00:26:33,200 --> 00:26:36,600
Speaker 2: Let's see, he played more mummies in two nineteen forty

486
00:26:36,640 --> 00:26:39,880
Speaker 2: four movies, The Mummies Ghost and The Mummies Curse. Let's

487
00:26:39,880 --> 00:26:43,120
Speaker 2: see forty four's House of Frankenstein as Larry Talbot once more,

488
00:26:43,520 --> 00:26:47,080
Speaker 2: forty five's House of Dracula Talbot again. And then he's

489
00:26:47,080 --> 00:26:49,720
Speaker 2: also in forty eight's Avid in Costello Meet Frankenstein. I

490
00:26:49,760 --> 00:26:51,560
Speaker 2: think he's just built as the wolfman in that, but

491
00:26:51,880 --> 00:26:54,520
Speaker 2: I guess it's less important who the wolfman is. And

492
00:26:54,600 --> 00:26:57,000
Speaker 2: of course that's the final movie in the classic universal

493
00:26:57,040 --> 00:27:01,000
Speaker 2: Frankenstein series. And from here list goes on, but a

494
00:27:01,040 --> 00:27:03,920
Speaker 2: few notable horror entries meant to mention include nineteen fifty

495
00:27:04,000 --> 00:27:05,200
Speaker 2: nine's The Alligator People.

496
00:27:05,480 --> 00:27:07,400
Speaker 3: Oh, Alligator Person's in the Bog and Fog.

497
00:27:07,560 --> 00:27:10,879
Speaker 2: Yeah, yeah, another Rocky ericson reference. Another one is nineteen

498
00:27:10,920 --> 00:27:12,880
Speaker 2: sixty three's The Haunted Palace.

499
00:27:13,440 --> 00:27:15,160
Speaker 3: Oh, I've got that one on disc, but I haven't

500
00:27:15,200 --> 00:27:19,120
Speaker 3: watched it yet. The is Corman Poe is Vincent Price

501
00:27:19,200 --> 00:27:19,840
Speaker 3: in that one he.

502
00:27:20,040 --> 00:27:22,240
Speaker 2: Is, Yes, he plays Charles dexter Ward. This is the

503
00:27:22,280 --> 00:27:26,439
Speaker 2: one that is they're giving it the Poe treatment, call

504
00:27:26,480 --> 00:27:29,479
Speaker 2: it Edgar Allen Poe's The Haunted Palace, but it's actually

505
00:27:30,040 --> 00:27:32,560
Speaker 2: to some extent based on an HP Lovecraft story. That's

506
00:27:32,600 --> 00:27:35,719
Speaker 2: fun case of Charles dexter Ward. Yeah, let's see. Then

507
00:27:35,720 --> 00:27:38,360
Speaker 2: there's a sixty seven's Hillbilly's in a Haunted House, which

508
00:27:38,400 --> 00:27:41,439
Speaker 2: I think I watched the riff version of that, and oh,

509
00:27:41,600 --> 00:27:45,199
Speaker 2: nineteen sixty seven Spider Baby. If you haven't seen this one,

510
00:27:45,280 --> 00:27:49,399
Speaker 2: this is a great proto Texas Chainsaw Massacre film, directed

511
00:27:49,440 --> 00:27:53,240
Speaker 2: by Jack Hill. He plays the patriarch of like a

512
00:27:53,960 --> 00:27:57,119
Speaker 2: you know, like a killer hillbilly family, but with some

513
00:27:57,280 --> 00:28:00,760
Speaker 2: interesting twists, basically like their two daughters, in particular, one

514
00:28:00,840 --> 00:28:03,239
Speaker 2: of which likes to play spider Uh.

515
00:28:03,280 --> 00:28:05,200
Speaker 3: Oh, I haven't seen that one.

516
00:28:05,600 --> 00:28:06,000
Speaker 4: It's good.

517
00:28:06,040 --> 00:28:08,040
Speaker 2: I recommend it. I think I watched that one on

518
00:28:08,320 --> 00:28:12,800
Speaker 2: Criterion Channel. Other films of note, just to pull out

519
00:28:12,840 --> 00:28:15,240
Speaker 2: another couple these are non horror films, but he was

520
00:28:15,280 --> 00:28:17,679
Speaker 2: in nineteen fifty two is High Noon, and also nineteen

521
00:28:17,720 --> 00:28:20,440
Speaker 2: fifty eight's The Defiant Ones. So again, this is a

522
00:28:20,640 --> 00:28:23,520
Speaker 2: ridiculous movie in so many ways, but Lon Chaney Junior's

523
00:28:23,520 --> 00:28:27,600
Speaker 2: performance is Larry Talbot Tragic Cursed where wolf turned wandering

524
00:28:27,720 --> 00:28:31,600
Speaker 2: immortal seeking death is easily the most commanding performance in

525
00:28:31,640 --> 00:28:34,640
Speaker 2: the picture, and it gives us, weirdly, the most relatable

526
00:28:34,760 --> 00:28:40,040
Speaker 2: character despite his very unrelatable circumstances. Like again, clearly a

527
00:28:40,120 --> 00:28:44,280
Speaker 2: gifted character actor, you know, charismatic and relatable, and we

528
00:28:44,360 --> 00:28:46,600
Speaker 2: get to see him employ all of his talents in

529
00:28:46,680 --> 00:28:49,040
Speaker 2: a lead role here quite nicely. Yeah.

530
00:28:49,160 --> 00:28:51,960
Speaker 3: Yeah, despite the fact that, as you say, his main

531
00:28:52,120 --> 00:28:54,640
Speaker 3: character struggle is h I can't get death in me.

532
00:28:56,680 --> 00:28:59,880
Speaker 3: But he is really good in the role. And I

533
00:29:00,040 --> 00:29:02,920
Speaker 3: can't remember if you already mentioned this. I apologize, but

534
00:29:03,160 --> 00:29:05,240
Speaker 3: I think it is strange that I was reading he

535
00:29:05,400 --> 00:29:08,760
Speaker 3: was originally when they're planning to make this movie, they

536
00:29:08,800 --> 00:29:12,960
Speaker 3: were originally going to have him play both roles, Frankenstein's

537
00:29:13,000 --> 00:29:16,480
Speaker 3: Monster and the wolf Man, and then they were like,

538
00:29:16,720 --> 00:29:18,720
Speaker 3: and no, that would be too difficult, So maybe he'll

539
00:29:18,920 --> 00:29:22,000
Speaker 3: just play Frankenstein's Monster because he had done that also,

540
00:29:22,360 --> 00:29:25,040
Speaker 3: and goes to Frankenstein and then they were like, oh no,

541
00:29:25,200 --> 00:29:26,960
Speaker 3: he'll just be the wolf Man. So this was like

542
00:29:27,400 --> 00:29:30,880
Speaker 3: the third option for who Lonchani Junior would be in

543
00:29:30,960 --> 00:29:31,320
Speaker 3: the film.

544
00:29:32,040 --> 00:29:34,160
Speaker 2: I think it's the right choice, though, Yeah, I mean

545
00:29:34,720 --> 00:29:37,120
Speaker 2: you can't have I mean, he's the only guy who

546
00:29:37,120 --> 00:29:40,000
Speaker 2: can play Larry Talbot, so it had to be. Now,

547
00:29:40,040 --> 00:29:42,440
Speaker 2: if he played the monster as well, I mean, that

548
00:29:42,480 --> 00:29:44,960
Speaker 2: could have worked. But again, setting up this film, the

549
00:29:45,000 --> 00:29:47,800
Speaker 2: whole idea was that the monster would speak with Belo

550
00:29:47,920 --> 00:29:50,720
Speaker 2: Lagosi's voice. So what if the monster was played by

551
00:29:50,760 --> 00:29:53,200
Speaker 2: Bela Lagosi? Like on paper, that makes sense?

552
00:29:53,360 --> 00:29:54,840
Speaker 3: Oh, should we talk about Bella Agosi?

553
00:29:54,920 --> 00:29:57,280
Speaker 2: Now, yeah, we're already talking about him. Let's let's talk

554
00:29:57,280 --> 00:30:00,640
Speaker 2: about Bella. So yeah, Belo Lagos, we've talked about him

555
00:30:00,720 --> 00:30:03,160
Speaker 2: multiple times in the show already, with eighteen eighty two

556
00:30:03,240 --> 00:30:07,240
Speaker 2: through nineteen fifty six here playing the role or a

557
00:30:07,440 --> 00:30:10,280
Speaker 2: version of it that he allegedly passed on back in

558
00:30:10,400 --> 00:30:13,640
Speaker 2: nineteen thirty one. I'm not sure if there's one hundred

559
00:30:13,640 --> 00:30:16,560
Speaker 2: percent certainty on any of this. You know, help film

560
00:30:16,640 --> 00:30:19,120
Speaker 2: mythmaking goes and you know, one person says one thing,

561
00:30:19,160 --> 00:30:21,480
Speaker 2: one says the other, but the story generally goes that.

562
00:30:21,560 --> 00:30:24,600
Speaker 2: Writing high on the success of Dracula, he wanted the

563
00:30:24,680 --> 00:30:29,360
Speaker 2: part of Frankenstein doctor Frankenstein for himself, and he didn't

564
00:30:29,360 --> 00:30:33,000
Speaker 2: want to play a mute monster as the monster appeared

565
00:30:33,040 --> 00:30:35,400
Speaker 2: in the script at that time, and so it just

566
00:30:35,480 --> 00:30:36,280
Speaker 2: didn't come together.

567
00:30:36,640 --> 00:30:38,680
Speaker 3: So when you say frankenzein, he wanted to play the

568
00:30:39,040 --> 00:30:41,320
Speaker 3: doctor the creator, Okay, yes.

569
00:30:41,280 --> 00:30:44,320
Speaker 2: Yeah, that speaking role. And you know, I think at

570
00:30:44,320 --> 00:30:46,360
Speaker 2: the time the story is that he considered the monster

571
00:30:46,520 --> 00:30:48,000
Speaker 2: part beneath his abilities.

572
00:30:48,640 --> 00:30:49,240
Speaker 4: You know, I.

573
00:30:49,600 --> 00:30:53,080
Speaker 3: Adore Bella Legosi, but somehow I think this is one

574
00:30:53,120 --> 00:30:58,120
Speaker 3: of the weakest performances of his that I've seen something about.

575
00:30:58,320 --> 00:31:00,640
Speaker 3: He seems to have not found his them or ever

576
00:31:00,760 --> 00:31:03,760
Speaker 3: landed on the right posture as the Frankenstein Monster here.

577
00:31:04,280 --> 00:31:07,080
Speaker 3: And this really makes me appreciate all the more how

578
00:31:07,320 --> 00:31:11,920
Speaker 3: extraordinary Boris Karloff's performance is. Carloff in the role is not,

579
00:31:12,360 --> 00:31:15,280
Speaker 3: to quote the film ed would all grunting and makeup.

580
00:31:15,400 --> 00:31:18,000
Speaker 3: He's bringing a lot of He's bringing a lot to

581
00:31:18,200 --> 00:31:20,880
Speaker 3: the performance, and you really appreciate it when you see

582
00:31:20,920 --> 00:31:23,720
Speaker 3: somebody else, even as somebody as wonderful of an actor

583
00:31:23,760 --> 00:31:25,920
Speaker 3: as Bella Legosi, try to do the role and I

584
00:31:26,000 --> 00:31:30,240
Speaker 3: think sort of fail. Worth flagging again however, that despite

585
00:31:30,320 --> 00:31:33,280
Speaker 3: his turn as the Monster being a low point, I

586
00:31:33,360 --> 00:31:36,680
Speaker 3: think Bella still did play one of the best villains

587
00:31:36,760 --> 00:31:39,120
Speaker 3: ever in the Frankenstein universe. I mean, there's actually a

588
00:31:39,160 --> 00:31:42,200
Speaker 3: lot of great competition because you got Septimus Pretorious and

589
00:31:42,280 --> 00:31:45,680
Speaker 3: Bride that's all time great villain. But right up there

590
00:31:45,760 --> 00:31:49,600
Speaker 3: with Septimus Pretorious is Bella Leegosi as Igor and son

591
00:31:49,640 --> 00:31:53,080
Speaker 3: of Frankenstein. Again, one of my favorite Universal films and

592
00:31:53,640 --> 00:31:55,240
Speaker 3: my favorite role in that film.

593
00:31:55,720 --> 00:31:57,960
Speaker 2: Yeah, I agree with all that I can. Granted, again,

594
00:31:58,040 --> 00:32:00,920
Speaker 2: we don't get to see the performance and the character

595
00:32:01,040 --> 00:32:04,640
Speaker 2: here as it was originally intended, the Igor Monster. But yeah,

596
00:32:04,960 --> 00:32:07,840
Speaker 2: Lugosi's Monster just always feels awkward to me in this picture.

597
00:32:07,880 --> 00:32:10,280
Speaker 2: It's just nothing. It just doesn't click for me for

598
00:32:10,400 --> 00:32:10,840
Speaker 2: some reason.

599
00:32:11,040 --> 00:32:13,520
Speaker 3: Yeah, he does have some great moments in close up

600
00:32:13,640 --> 00:32:16,280
Speaker 3: on his face, that is true. Yeah, I'll give him that,

601
00:32:17,360 --> 00:32:20,480
Speaker 3: but the full physicality of the performance doesn't quite work.

602
00:32:21,280 --> 00:32:24,000
Speaker 2: All right, Let's look at some of we've covered the

603
00:32:24,040 --> 00:32:26,160
Speaker 2: big hitters here. Let's talk about some of the supporting

604
00:32:26,280 --> 00:32:29,480
Speaker 2: human roles here. So we do have a descendant of

605
00:32:29,560 --> 00:32:34,280
Speaker 2: Frankenstein a showing back up and this is the character

606
00:32:34,480 --> 00:32:40,000
Speaker 2: Baroness Else of Frankenstein, and she is played by Ilona Massey,

607
00:32:40,400 --> 00:32:45,400
Speaker 2: who lived nineteen ten through nineteen seventy four Hungarian American, film,

608
00:32:45,480 --> 00:32:48,840
Speaker 2: stage and radio performer, best remembered for this film. It

609
00:32:48,880 --> 00:32:52,720
Speaker 2: would seem her only true horror movie, but she also

610
00:32:52,960 --> 00:32:56,320
Speaker 2: starred in nineteen forty two's Invisible Agent. This was a

611
00:32:56,480 --> 00:33:01,000
Speaker 2: comedy thriller in which the Invisible Man's grandson battles Nazis.

612
00:33:01,840 --> 00:33:04,880
Speaker 2: Peter Lorrie co starred in it, but that alone has

613
00:33:05,000 --> 00:33:07,360
Speaker 2: not been enough to get me to watch it just yet.

614
00:33:07,960 --> 00:33:09,280
Speaker 3: That is an interesting premise.

615
00:33:09,680 --> 00:33:10,320
Speaker 4: Yeah, I don't know.

616
00:33:10,400 --> 00:33:14,680
Speaker 2: It's like, Yeah, I don't know horror comedies of this era,

617
00:33:15,040 --> 00:33:15,680
Speaker 2: I'm weary of.

618
00:33:16,600 --> 00:33:18,560
Speaker 3: It's not her fault. I would blame it more on

619
00:33:18,640 --> 00:33:20,720
Speaker 3: the writing, but I would say her presence in this

620
00:33:20,880 --> 00:33:24,760
Speaker 3: film is largely curious. She is often kind of standing

621
00:33:24,880 --> 00:33:28,840
Speaker 3: around in a scene where you would think she would

622
00:33:28,880 --> 00:33:31,160
Speaker 3: be having more of a reaction to what's going on,

623
00:33:31,400 --> 00:33:32,080
Speaker 3: but she doesn't.

624
00:33:32,640 --> 00:33:36,200
Speaker 2: Yeah, I feel like, especially since she is the Frankenstein

625
00:33:36,640 --> 00:33:39,840
Speaker 2: character in this picture, I wanted her to be more

626
00:33:39,920 --> 00:33:43,600
Speaker 2: involved in everything. I guess she feels a little more

627
00:33:43,640 --> 00:33:47,000
Speaker 2: passive than she could have been, Like she's not strapping

628
00:33:47,040 --> 00:33:49,600
Speaker 2: on the goggles herself if I remember correctly.

629
00:33:50,000 --> 00:33:51,640
Speaker 3: I mean she does go at the end in like

630
00:33:51,760 --> 00:33:54,520
Speaker 3: sort of short circuit all the machinery and that lab.

631
00:33:55,280 --> 00:33:57,440
Speaker 3: But yeah, that's basically the one moment like that.

632
00:33:58,080 --> 00:34:01,080
Speaker 2: Otherwise, her role in this movie seems to be just

633
00:34:01,160 --> 00:34:04,880
Speaker 2: to light up the screen as a porcelain starlet. Like

634
00:34:04,920 --> 00:34:07,040
Speaker 2: she's always wearing like white and she has like basically

635
00:34:07,160 --> 00:34:10,640
Speaker 2: white hair, super white skin, so she amid all the

636
00:34:10,719 --> 00:34:15,080
Speaker 2: gloom and the grayness. It really feels like she's almost

637
00:34:15,239 --> 00:34:21,200
Speaker 2: has like an angelic presence despite being a Frankenstein. And yeah,

638
00:34:21,480 --> 00:34:24,040
Speaker 2: she also another important role she has is to be

639
00:34:24,120 --> 00:34:29,680
Speaker 2: physically carried around like an unconscious bride by the monster.

640
00:34:29,800 --> 00:34:33,160
Speaker 2: At one point, this is teased on the poster, and

641
00:34:33,600 --> 00:34:36,160
Speaker 2: for once, we actually get it in the film. As

642
00:34:36,200 --> 00:34:38,759
Speaker 2: we've discussed many times, there's so many movies where the

643
00:34:38,840 --> 00:34:42,520
Speaker 2: poster art features the monster carrying a woman around and

644
00:34:42,760 --> 00:34:46,280
Speaker 2: it doesn't actually happen. Here, we get it Monster Bridle

645
00:34:46,360 --> 00:34:47,160
Speaker 2: carry certified.

646
00:34:47,480 --> 00:34:51,720
Speaker 3: That is true true advertising in this case. She also

647
00:34:52,320 --> 00:34:56,640
Speaker 3: this character does indirectly contribute one of the most unintentionally

648
00:34:56,719 --> 00:34:59,120
Speaker 3: funny moments of the movie, and it's when Lon Chaney

649
00:34:59,200 --> 00:35:02,640
Speaker 3: Junior is digging through the burned remnants of the ruined

650
00:35:02,680 --> 00:35:06,480
Speaker 3: Frankenstein Castle, and he identifies a new lead in his

651
00:35:06,680 --> 00:35:11,640
Speaker 3: detective work by finding the glamour photo of Ilona Massey

652
00:35:11,880 --> 00:35:15,640
Speaker 3: autographed as like elsa Frankenstein to my father, but it's

653
00:35:15,680 --> 00:35:20,239
Speaker 3: like a Hollywood photo, like posing in a sequin dress.

654
00:35:22,120 --> 00:35:26,719
Speaker 2: Yeah, all right, let's see other supporting characters. We have

655
00:35:26,840 --> 00:35:29,839
Speaker 2: Patrick Knowles playing doctor frank mannering. I mean, he's more

656
00:35:29,840 --> 00:35:32,160
Speaker 2: than supporting this is he's an important.

657
00:35:31,880 --> 00:35:35,200
Speaker 3: Character, major in terms of plot developments, but also feels

658
00:35:35,360 --> 00:35:38,080
Speaker 3: very much like a rando who wandered into the story,

659
00:35:38,320 --> 00:35:38,920
Speaker 3: you know what I mean.

660
00:35:39,320 --> 00:35:42,799
Speaker 2: Yeah, Like, in a way, shouldn't the baroness be doing

661
00:35:42,880 --> 00:35:45,319
Speaker 2: all the things that he's doing. I feel like, yeah,

662
00:35:45,760 --> 00:35:48,919
Speaker 2: she would if she were a male character. But yeah,

663
00:35:48,920 --> 00:35:50,799
Speaker 2: they're just switching it up and they're like, oh, well,

664
00:35:51,000 --> 00:35:53,680
Speaker 2: the female character can't actually be the mad scientist.

665
00:35:54,360 --> 00:35:56,239
Speaker 3: It would have been a lot better if she had been.

666
00:35:56,360 --> 00:35:58,480
Speaker 3: That could have worked, but instead, no, we have this

667
00:35:58,680 --> 00:36:01,560
Speaker 3: character like, oh, remember this random guy who didn't really

668
00:36:01,600 --> 00:36:03,800
Speaker 3: make an impression from the first act. He's going to

669
00:36:03,880 --> 00:36:05,000
Speaker 3: do some mad science now.

670
00:36:05,360 --> 00:36:09,319
Speaker 2: Yeah, so the actor here. He lived nineteen eleven through

671
00:36:09,400 --> 00:36:12,560
Speaker 2: nineteen ninety five. He'd previously appeared in The Wolfman, though

672
00:36:12,560 --> 00:36:15,880
Speaker 2: in a different role. He also played Will Scarlett in

673
00:36:16,000 --> 00:36:18,320
Speaker 2: nineteen thirty eight's The Adventures of Robin Hood, so he

674
00:36:18,520 --> 00:36:22,400
Speaker 2: was a certified swashbuckler. His other credits include nineteen forty

675
00:36:22,440 --> 00:36:25,040
Speaker 2: one's How Green Was My Valley, nineteen forty two is

676
00:36:25,080 --> 00:36:30,759
Speaker 2: the Strange Case of Doctor RX Prescription, Okay, and then

677
00:36:30,840 --> 00:36:33,200
Speaker 2: nineteen seventy three is Terror in the Wax Museum.

678
00:36:33,480 --> 00:36:38,040
Speaker 3: Okay. He's very smooth in this film. Do you notice

679
00:36:38,080 --> 00:36:41,000
Speaker 3: how smooth his skin is? Extreme babyface?

680
00:36:41,880 --> 00:36:45,320
Speaker 2: That's true, that's true. Let's see Lionel app while is

681
00:36:45,400 --> 00:36:48,960
Speaker 2: back in this one. He's in a number of these

682
00:36:49,120 --> 00:36:52,839
Speaker 2: universal horror movies, this time in a more reduced role.

683
00:36:53,600 --> 00:36:56,040
Speaker 2: He played the inspector and son of Frankenstein, you know,

684
00:36:56,120 --> 00:36:58,920
Speaker 2: with he had the artificial arm and had got to

685
00:36:59,360 --> 00:37:02,680
Speaker 2: really eat up up fairly ample screen time and had

686
00:37:02,719 --> 00:37:05,719
Speaker 2: some great scenes. Here he plays the mayor, so he

687
00:37:05,800 --> 00:37:09,400
Speaker 2: has much less to do. But by god, Lionel Atwell

688
00:37:09,480 --> 00:37:12,240
Speaker 2: is going to act his heart out in any scene

689
00:37:12,280 --> 00:37:15,360
Speaker 2: you get him in, so he really chews it up,

690
00:37:15,400 --> 00:37:17,440
Speaker 2: and there's there are a few scenes where he's standing

691
00:37:17,480 --> 00:37:20,720
Speaker 2: amid other villagers kind of looking up at things occurring,

692
00:37:20,880 --> 00:37:25,120
Speaker 2: like Castle's exploding and whatnot. And he's the most animated

693
00:37:25,160 --> 00:37:25,680
Speaker 2: of the bunch.

694
00:37:26,000 --> 00:37:28,880
Speaker 3: Oh yes, which is also in contrast to the way

695
00:37:28,960 --> 00:37:32,120
Speaker 3: this character is written, who is just the calming voice

696
00:37:32,160 --> 00:37:36,040
Speaker 3: of reason as other goings on are happening. Like He'll

697
00:37:36,080 --> 00:37:39,319
Speaker 3: literally be in scenes where he's standing there as other

698
00:37:39,440 --> 00:37:43,040
Speaker 3: characters are discussing the planning of a terrorist plot and

699
00:37:43,160 --> 00:37:45,880
Speaker 3: he's just like, Oh, you don't mean any of what

700
00:37:45,960 --> 00:37:47,359
Speaker 3: you're saying, and then he walks away.

701
00:37:48,400 --> 00:37:50,440
Speaker 2: Yeah, but he Yeah, he was. He was in a

702
00:37:50,480 --> 00:37:54,239
Speaker 2: bunch of these old films and was a numerous Frankenstein movies.

703
00:37:54,280 --> 00:37:57,000
Speaker 2: In fact, he was in Ghost of Frankenstein previously. I

704
00:37:57,280 --> 00:37:59,800
Speaker 2: believe I could be mistaken here, but I think he

705
00:38:00,120 --> 00:38:03,760
Speaker 2: is the doctor that ends up betraying Frankenstein by helping

706
00:38:03,840 --> 00:38:05,520
Speaker 2: Igor put his brain in the monster.

707
00:38:05,920 --> 00:38:06,040
Speaker 4: Uh.

708
00:38:06,080 --> 00:38:09,440
Speaker 3: Oh yeah, Well, I would like to see lionel atwill

709
00:38:09,520 --> 00:38:11,480
Speaker 3: do more villain roles, so I'm gonna have to check

710
00:38:11,520 --> 00:38:12,360
Speaker 3: out Ghosts next.

711
00:38:12,840 --> 00:38:13,040
Speaker 4: Yeah.

712
00:38:13,120 --> 00:38:15,680
Speaker 2: Yeah, I'm very interested based on all of the crazy

713
00:38:15,800 --> 00:38:18,880
Speaker 2: choices it seems to make. Yeah, all right, let's see

714
00:38:19,000 --> 00:38:22,040
Speaker 2: other We also have another like returning player from the

715
00:38:22,480 --> 00:38:27,000
Speaker 2: Universal Horror franchise. Dwight Frye is back. Dwight fry you

716
00:38:27,120 --> 00:38:31,080
Speaker 2: remember played Renfield opposite Lugosi and Dracula and pops up

717
00:38:31,120 --> 00:38:34,600
Speaker 2: in bit sometimes almost invisible roles in other pictures. Here

718
00:38:34,680 --> 00:38:37,279
Speaker 2: he plays a character named Rudy who's just kind of

719
00:38:37,560 --> 00:38:39,040
Speaker 2: one of the vocal townspeople.

720
00:38:39,200 --> 00:38:41,680
Speaker 3: Right, Yeah, he's a he's a villager. It feels almost

721
00:38:41,719 --> 00:38:44,680
Speaker 3: like a cameo. He's only got a few lines, but.

722
00:38:44,760 --> 00:38:46,600
Speaker 2: When he when he does speak though, he has that

723
00:38:47,000 --> 00:38:50,000
Speaker 2: that signature Dwight fry kind of live wire energy.

724
00:38:50,120 --> 00:38:51,399
Speaker 3: So yeah, I really like him.

725
00:38:51,680 --> 00:38:51,920
Speaker 4: All right.

726
00:38:51,960 --> 00:38:57,320
Speaker 2: We have another returning actor reprising her role as the

727
00:38:57,480 --> 00:39:02,759
Speaker 2: wise roma woman Maleva. We have Maria Ospinskaya who lived

728
00:39:02,840 --> 00:39:06,120
Speaker 2: eighteen seventy six through nineteen forty nine. She played this

729
00:39:06,200 --> 00:39:08,920
Speaker 2: character in The Wolfman. Russian actress who started out in

730
00:39:09,000 --> 00:39:11,680
Speaker 2: silent film and then late in her career played a

731
00:39:11,719 --> 00:39:15,360
Speaker 2: lot of older woman roles in Hollywood. Two time Academy

732
00:39:15,360 --> 00:39:18,600
Speaker 2: Award nominee for Best Supporting Actress for nineteen thirty seven's

733
00:39:18,680 --> 00:39:22,720
Speaker 2: Dodsworth and nineteen forty's Love Affair. Her only other horror

734
00:39:22,800 --> 00:39:26,000
Speaker 2: film was nineteen forty two's The Mystery of Marie Roget

735
00:39:26,480 --> 00:39:29,360
Speaker 2: which I've not read the original story. This is an

736
00:39:29,480 --> 00:39:32,680
Speaker 2: Edgar Allan Poe story, a sequel to the Murders in

737
00:39:32,760 --> 00:39:34,960
Speaker 2: the Room Morgue. Does it have gorillas in it? I

738
00:39:35,040 --> 00:39:39,240
Speaker 2: don't know. I would hope like doing a Dracula sequel

739
00:39:39,280 --> 00:39:41,080
Speaker 2: without vampires, right, yeah, totally.

740
00:39:41,440 --> 00:39:41,680
Speaker 4: Okay.

741
00:39:41,800 --> 00:39:44,680
Speaker 2: One more character. This is another film has a number

742
00:39:44,680 --> 00:39:47,840
Speaker 2: of these. The character is not much, seems to be

743
00:39:47,960 --> 00:39:50,560
Speaker 2: just the background side character, but ends up being very

744
00:39:50,640 --> 00:39:53,560
Speaker 2: pivotal to the plot. Yeah, and that is the character Vazik,

745
00:39:53,640 --> 00:39:56,759
Speaker 2: the Innkeeper, played by Rex Evans who lived nineteen oh

746
00:39:56,800 --> 00:40:00,840
Speaker 2: three through nineteen sixty nine. This guy, I was in

747
00:40:01,000 --> 00:40:03,600
Speaker 2: various films at the time. A heavyset actor did a

748
00:40:03,640 --> 00:40:07,719
Speaker 2: lot of heavy set character roles. Played Hermann Goring in

749
00:40:07,760 --> 00:40:11,840
Speaker 2: the nineteen forty three anti Axis Powers comedy Nazi Nuisance.

750
00:40:13,760 --> 00:40:14,320
Speaker 3: I could see that.

751
00:40:14,600 --> 00:40:16,560
Speaker 2: Okay, Yeah, I think it's one that was like positioning

752
00:40:16,600 --> 00:40:18,960
Speaker 2: the leaders of the Axis Powers is like three stooges.

753
00:40:19,880 --> 00:40:23,520
Speaker 2: I am not putting this on the watch list, but

754
00:40:24,360 --> 00:40:27,720
Speaker 2: interesting connection for this actor. His other credits, though, include

755
00:40:27,760 --> 00:40:31,239
Speaker 2: nineteen forties The Philadelphia Story, nineteen forties The Invisible Man,

756
00:40:31,360 --> 00:40:35,759
Speaker 2: returns and Hitchcock's Suspicion in nineteen forty one. All right,

757
00:40:35,800 --> 00:40:38,360
Speaker 2: I'll just mention in passing that Jack P. Pierce, the

758
00:40:38,440 --> 00:40:42,640
Speaker 2: monster makeup Master, returns once more to do the makeup.

759
00:40:42,680 --> 00:40:45,840
Speaker 2: Here he worked on nineteen twenty eight's The Man Who Laughs,

760
00:40:45,960 --> 00:40:48,680
Speaker 2: thirty one's Dracula, thirty two is The Mummy, thirty three

761
00:40:48,760 --> 00:40:52,000
Speaker 2: is The Invisible Man, forty one's The Wolfman, and and

762
00:40:52,080 --> 00:40:55,680
Speaker 2: so forth. So you know everything, all the makeup looks

763
00:40:56,160 --> 00:40:59,680
Speaker 2: pretty darn good, especially the Wolfman makeup, as we'll discuss,

764
00:41:00,320 --> 00:41:02,719
Speaker 2: and then the music comes to us from Hans Jay

765
00:41:03,000 --> 00:41:06,560
Speaker 2: Salter born eighteen ninety six died in nineteen ninety four

766
00:41:06,640 --> 00:41:10,720
Speaker 2: Austrian American film composer. His most celebrated scores or scores

767
00:41:10,760 --> 00:41:12,960
Speaker 2: that he worked on include The Wolfman from forty one,

768
00:41:13,040 --> 00:41:17,680
Speaker 2: Scarlett Street from forty five, and he's also he's not credited,

769
00:41:17,760 --> 00:41:21,320
Speaker 2: but he's one of like three different uncredited composers on

770
00:41:21,480 --> 00:41:25,000
Speaker 2: The Creature from the Black Lagoon from fifty four. He's

771
00:41:25,040 --> 00:41:28,320
Speaker 2: one of these composers who is Oftentimes he's either uncredited

772
00:41:28,440 --> 00:41:31,000
Speaker 2: or he's one of two or three different composers whose

773
00:41:31,040 --> 00:41:33,880
Speaker 2: work was used and sometimes it's stock music, but he

774
00:41:34,040 --> 00:41:36,240
Speaker 2: himself was a six time Oscar nominee himself.

775
00:41:44,640 --> 00:41:46,640
Speaker 3: All right, are you ready to talk about the plot?

776
00:41:46,920 --> 00:41:47,279
Speaker 4: Let's do it.

777
00:41:47,800 --> 00:41:51,239
Speaker 3: So the title in opening credits play over a chemistry

778
00:41:51,400 --> 00:41:54,760
Speaker 3: laboratory set with a bunch of bubbling flasks and beakers

779
00:41:54,840 --> 00:41:58,040
Speaker 3: pouring fog all over the table. And I think this

780
00:41:58,239 --> 00:42:01,680
Speaker 3: opening imagery feels like an odd fit for most of

781
00:42:01,800 --> 00:42:06,840
Speaker 3: the runtime of the film, because while unrestrained scientific research

782
00:42:07,560 --> 00:42:10,960
Speaker 3: is a major theme of the original Frankenstein series, it

783
00:42:11,080 --> 00:42:13,920
Speaker 3: does not really become a major theme of this movie

784
00:42:14,080 --> 00:42:16,640
Speaker 3: until the very end, until like right at the end.

785
00:42:17,120 --> 00:42:20,080
Speaker 3: The first half is all wolfman stuff and there's very

786
00:42:20,120 --> 00:42:22,279
Speaker 3: little laboratory work until the climax.

787
00:42:22,840 --> 00:42:25,839
Speaker 2: Yeah, but it's like like a glass with the dry

788
00:42:25,880 --> 00:42:28,040
Speaker 2: eyes in it, you know, getting the smoking like you

789
00:42:28,280 --> 00:42:30,120
Speaker 2: want to reach up and grab it off the screen

790
00:42:30,239 --> 00:42:31,160
Speaker 2: and take a sip.

791
00:42:31,560 --> 00:42:32,399
Speaker 3: It does look nice.

792
00:42:32,480 --> 00:42:32,680
Speaker 4: Yeah.

793
00:42:33,520 --> 00:42:36,399
Speaker 3: So the action opens on a lonely cemetery at night.

794
00:42:36,480 --> 00:42:39,600
Speaker 3: And I said this earlier, but I love this opening set.

795
00:42:39,960 --> 00:42:44,040
Speaker 3: The atmosphere is wonderful. There's a bright full moon and

796
00:42:44,320 --> 00:42:47,840
Speaker 3: banks of mist pour across the sky down on the ground.

797
00:42:47,920 --> 00:42:50,439
Speaker 3: We can see. It must be late autumn or winter,

798
00:42:50,680 --> 00:42:53,399
Speaker 3: because the trees and the shrubs are bare, they've got

799
00:42:53,480 --> 00:42:57,520
Speaker 3: black limbs casting shadows in the moonlight. The cemetery is

800
00:42:57,600 --> 00:43:01,279
Speaker 3: surrounded by this ancient tumble down all of stone, which

801
00:43:01,320 --> 00:43:04,800
Speaker 3: has wrought iron spikes and marble ornaments on top. And

802
00:43:04,960 --> 00:43:07,880
Speaker 3: then on one of these gateside flourishes there is a

803
00:43:08,040 --> 00:43:12,040
Speaker 3: raven perch just cawing, so the wind rattles the tree

804
00:43:12,080 --> 00:43:14,640
Speaker 3: branches and it blows these little dead leaves through the

805
00:43:14,680 --> 00:43:18,360
Speaker 3: air like confetti, and we see a bronze placard on

806
00:43:18,440 --> 00:43:21,600
Speaker 3: the stone gate engraved with the words here rest the

807
00:43:21,719 --> 00:43:27,880
Speaker 3: Dead of Lenwelly and Lenwlly viewers would probably remember at

808
00:43:27,920 --> 00:43:30,520
Speaker 3: the time this movie came out is the fictional village

809
00:43:30,560 --> 00:43:33,239
Speaker 3: in Wales that is the setting of The Wolf Man,

810
00:43:33,719 --> 00:43:35,839
Speaker 3: and I think later became the setting of a bunch

811
00:43:35,920 --> 00:43:40,399
Speaker 3: of horror stories and films. So up the hillside path

812
00:43:40,600 --> 00:43:43,320
Speaker 3: to the cemetery come two men. They're both kind of

813
00:43:43,560 --> 00:43:47,440
Speaker 3: leaning and staggering as they walk. One carries a lantern,

814
00:43:47,680 --> 00:43:50,160
Speaker 3: the other a shovel. These guys do not feel like

815
00:43:50,280 --> 00:43:54,399
Speaker 3: the first string of the grave robbing team. They seem

816
00:43:54,400 --> 00:43:58,359
Speaker 3: a little incompetent, but perhaps under the influence and they

817
00:43:58,480 --> 00:44:01,320
Speaker 3: approach a big old as a liam in the cemetery

818
00:44:01,440 --> 00:44:02,840
Speaker 3: bearing the name Talbot.

819
00:44:03,960 --> 00:44:06,879
Speaker 2: Well, you know they're not robbing graves because things were

820
00:44:06,920 --> 00:44:09,080
Speaker 2: working out well for them elsewhere in life.

821
00:44:09,160 --> 00:44:09,320
Speaker 4: You know.

822
00:44:09,680 --> 00:44:12,719
Speaker 3: Yeah, now we've sort of already covered this, but just

823
00:44:12,800 --> 00:44:16,120
Speaker 3: to get the backstory straight again, Talbot is the name

824
00:44:16,239 --> 00:44:19,399
Speaker 3: of the family. In the original film The wolf Man,

825
00:44:19,520 --> 00:44:22,120
Speaker 3: the main character played by Lon Chaney Junior is Larry

826
00:44:22,239 --> 00:44:25,800
Speaker 3: Talbot who comes back to visit his ancestral estate in

827
00:44:25,920 --> 00:44:29,040
Speaker 3: Wales after being away for many years. He gets bitten

828
00:44:29,360 --> 00:44:31,600
Speaker 3: I think, on the chest one night by a werewolf

829
00:44:32,080 --> 00:44:35,400
Speaker 3: and the curse is transferred to him. You know, you

830
00:44:35,480 --> 00:44:37,960
Speaker 3: probably know the general lightline of the story from there.

831
00:44:38,040 --> 00:44:40,360
Speaker 3: Wakes up in the morning, what have I done? But

832
00:44:40,520 --> 00:44:43,120
Speaker 3: worth noting is that at the end of The Wolfman,

833
00:44:43,360 --> 00:44:47,160
Speaker 3: Larry Talbot is dead, dead, dead, beaten to death with

834
00:44:47,280 --> 00:44:50,480
Speaker 3: a silver headed cane by his own father played by

835
00:44:50,600 --> 00:44:51,440
Speaker 3: Claude Rains.

836
00:44:51,920 --> 00:44:55,719
Speaker 2: Yeah, and it's sad, it's grim. And again this is

837
00:44:55,800 --> 00:44:57,920
Speaker 2: not a moment that leaves you wondering, I wonder what

838
00:44:58,000 --> 00:45:01,320
Speaker 2: will happen to Larry Talbot all these adventures continue, No,

839
00:45:01,719 --> 00:45:02,480
Speaker 2: it seems done.

840
00:45:03,239 --> 00:45:06,160
Speaker 3: So the two grave robbers climb through the transom over

841
00:45:06,200 --> 00:45:08,880
Speaker 3: the door to the mausoleum. They head inside and they

842
00:45:08,960 --> 00:45:11,560
Speaker 3: surveyed the tombs, eventually coming to the one they're looking for.

843
00:45:12,400 --> 00:45:15,920
Speaker 3: The shorter grave robber reads the inscription out loud, saying,

844
00:45:16,280 --> 00:45:19,920
Speaker 3: Lawrence Stewart Talbot, who died at the youthful age of

845
00:45:20,160 --> 00:45:26,239
Speaker 3: thirty one. R ip ooh man. When viewing this, this

846
00:45:26,440 --> 00:45:28,520
Speaker 3: is really one of those I am older than Homer

847
00:45:28,600 --> 00:45:32,960
Speaker 3: Simpson moments. Larry Talbot does not read as younger than

848
00:45:33,000 --> 00:45:35,520
Speaker 3: I am now to be fair Lawn Cheney Junior was

849
00:45:35,520 --> 00:45:38,719
Speaker 3: a bit older than the character, but still younger than me.

850
00:45:39,160 --> 00:45:42,839
Speaker 3: Wild Wow, I assume many people your age, my age,

851
00:45:42,920 --> 00:45:45,640
Speaker 3: or anywhere in between, we have a similar reaction. Just

852
00:45:46,239 --> 00:45:50,440
Speaker 3: he seems like a more mature fellow. Yes, it was

853
00:45:50,480 --> 00:45:54,359
Speaker 3: a different time anyway. So the grave robberies here crack

854
00:45:54,440 --> 00:45:57,440
Speaker 3: the vault with a chisel while discussing what they're looking for.

855
00:45:58,160 --> 00:46:00,560
Speaker 3: Room around the village is that Talbot buried with a

856
00:46:00,600 --> 00:46:03,160
Speaker 3: big wad of cash, a gold watch and a ring,

857
00:46:03,640 --> 00:46:05,759
Speaker 3: And they say it's a sin to bury good money

858
00:46:05,840 --> 00:46:08,800
Speaker 3: when it could help people. The taller one says, what

859
00:46:08,880 --> 00:46:11,200
Speaker 3: do you think it'll look like after so many years,

860
00:46:11,320 --> 00:46:14,000
Speaker 3: and the other one says, just bones in an empty skull.

861
00:46:14,719 --> 00:46:17,440
Speaker 3: So the lid pops open and they peer inside, and

862
00:46:17,600 --> 00:46:19,680
Speaker 3: the body appears to be covered in some kind of

863
00:46:19,840 --> 00:46:24,959
Speaker 3: dried herb. They pull like crispy branches of this herb

864
00:46:25,040 --> 00:46:28,640
Speaker 3: off the body, and one of them recognizes what it is.

865
00:46:28,960 --> 00:46:33,120
Speaker 3: It is wolf spain. Then the lead grave robber freezes

866
00:46:33,239 --> 00:46:36,360
Speaker 3: as if startled, and he begins to recite a poem

867
00:46:36,480 --> 00:46:39,480
Speaker 3: he knows by heart. Even a man who's pure at

868
00:46:39,520 --> 00:46:42,840
Speaker 3: heart and says his prayers by night may become a wolf.

869
00:46:42,920 --> 00:46:45,439
Speaker 3: When the wolf Spain blooms and the moon is full

870
00:46:45,480 --> 00:46:48,759
Speaker 3: and bright, the face of the body lying in the

871
00:46:48,880 --> 00:46:52,120
Speaker 3: tomb is then uncovered, and it is clearly not just

872
00:46:52,239 --> 00:46:55,320
Speaker 3: bones in an empty skull. The body is fleshy and quick.

873
00:46:55,960 --> 00:46:57,880
Speaker 3: One of the robbers mutters that he looks to be

874
00:46:58,000 --> 00:47:01,759
Speaker 3: merely sleeping, and despite this, the smaller thief gets to work.

875
00:47:01,920 --> 00:47:05,200
Speaker 3: He lifts Talbot's dead hand and wrenches a ring from

876
00:47:05,280 --> 00:47:07,560
Speaker 3: his finger, observing it in the moonlight to see that

877
00:47:07,640 --> 00:47:11,120
Speaker 3: it's made of gold. But then suddenly Talbot stirs and

878
00:47:11,200 --> 00:47:14,600
Speaker 3: we see his long fingernails, which they press on nails

879
00:47:14,600 --> 00:47:19,840
Speaker 3: aren't they. He's got sharp, long fingernails, revealing he is

880
00:47:19,920 --> 00:47:22,600
Speaker 3: not dead, and he reaches up with one hand and

881
00:47:22,760 --> 00:47:26,680
Speaker 3: snatches the arm of the smaller thief. Note that at

882
00:47:26,719 --> 00:47:29,240
Speaker 3: this point he is fully human looking. There's no wolfman

883
00:47:29,360 --> 00:47:31,960
Speaker 3: makeup in this scene except for we see the long nails,

884
00:47:33,080 --> 00:47:35,720
Speaker 3: and the thief cries for help. He drops his lantern

885
00:47:35,760 --> 00:47:38,480
Speaker 3: into the ground that starts a fire. The second grave

886
00:47:38,560 --> 00:47:41,920
Speaker 3: robber panics and abandons his partner, escaping through the transom,

887
00:47:42,000 --> 00:47:44,680
Speaker 3: over the door and running away through the graveyard while

888
00:47:44,680 --> 00:47:49,160
Speaker 3: the wind shakes the trees, and I think, okay, good start,

889
00:47:49,280 --> 00:47:53,319
Speaker 3: strong opening scene. The writing and the acting don't especially sing,

890
00:47:53,560 --> 00:47:56,720
Speaker 3: but they're good enough, and the set design and cinematography

891
00:47:56,760 --> 00:47:59,400
Speaker 3: are wonderful, so it's a really good mood at the beginning.

892
00:48:00,080 --> 00:48:00,279
Speaker 1: Yeah.

893
00:48:00,520 --> 00:48:05,440
Speaker 2: I love this sequence, And it was ultimately rather rather

894
00:48:05,520 --> 00:48:09,759
Speaker 2: a revelation concerning other werewolf films that I've seen that

895
00:48:09,880 --> 00:48:12,920
Speaker 2: you know, all were clearly influenced by this and The

896
00:48:13,000 --> 00:48:16,880
Speaker 2: wolf Man on one level. I mentioned Paul Nashy earlier,

897
00:48:17,280 --> 00:48:21,560
Speaker 2: and we previously discussed nineteen eighties Night of the Werewolf

898
00:48:21,920 --> 00:48:25,200
Speaker 2: on Weird House Cinema. This movie basically opens the same

899
00:48:25,280 --> 00:48:28,120
Speaker 2: way grave robbers come to the tomb, this time of

900
00:48:28,440 --> 00:48:33,160
Speaker 2: Voldemar Leninski Nashi's werewolf character. They're going to rob the grave,

901
00:48:33,200 --> 00:48:35,839
Speaker 2: but when they open it up, werewolf gets them. Though

902
00:48:35,920 --> 00:48:39,960
Speaker 2: in the Nashy picture, the werewolf is already like fully transformed,

903
00:48:40,040 --> 00:48:44,600
Speaker 2: and it's a good bit more terrifying, you know.

904
00:48:45,560 --> 00:48:47,520
Speaker 3: Is riping in wolf mode?

905
00:48:47,800 --> 00:48:51,239
Speaker 2: Yes, And then this scene also solves another puzzle from

906
00:48:51,320 --> 00:48:54,719
Speaker 2: another werewolf film, and that is why does a werewolf

907
00:48:54,760 --> 00:48:57,520
Speaker 2: emerge from a casket? In nineteen sixty five Sola Loba,

908
00:48:59,400 --> 00:49:03,680
Speaker 2: in my opinion and anyway, excellent female werewolf film from Mexico,

909
00:49:04,160 --> 00:49:08,120
Speaker 2: we see the werewolf arising fully transformed out of a casket.

910
00:49:08,560 --> 00:49:11,000
Speaker 2: And in that episode we were discussing and we're like,

911
00:49:11,000 --> 00:49:12,680
Speaker 2: why is she getting out of a casket? And I

912
00:49:12,760 --> 00:49:15,360
Speaker 2: think this is probably the reason because that movie, like

913
00:49:15,800 --> 00:49:19,239
Speaker 2: a lot of werewolf movies, was inspired by Frankenstein meets

914
00:49:19,280 --> 00:49:19,799
Speaker 2: the Wolf Man.

915
00:49:20,040 --> 00:49:22,480
Speaker 3: That does make a lot of sense because typically the

916
00:49:22,520 --> 00:49:25,800
Speaker 3: werewolf is not understood as an undead type of character,

917
00:49:25,960 --> 00:49:27,600
Speaker 3: so why would it be coming out of a grave.

918
00:49:27,800 --> 00:49:28,719
Speaker 4: It's not dead.

919
00:49:28,960 --> 00:49:32,080
Speaker 3: This is a living person who transforms. But yeah, if

920
00:49:32,120 --> 00:49:37,440
Speaker 3: it's a callback to this scene where the werewolf has

921
00:49:37,560 --> 00:49:40,839
Speaker 3: been assumed dead and lying, you know, laying. I think

922
00:49:40,880 --> 00:49:43,560
Speaker 3: the implication is that all of the wolf spain piled

923
00:49:43,640 --> 00:49:46,719
Speaker 3: up on top of him is some kind of talisman

924
00:49:46,800 --> 00:49:49,600
Speaker 3: that has like suppressed his power and kept him down there.

925
00:49:49,880 --> 00:49:51,040
Speaker 3: Did you read it the same way?

926
00:49:51,280 --> 00:49:54,040
Speaker 2: I guess so. Yeah, Like, you know, one of the

927
00:49:54,080 --> 00:49:57,200
Speaker 2: big problems with the plot of this picture is that, yeah,

928
00:49:57,239 --> 00:49:59,440
Speaker 2: Talbot is like, I wish I could die. There's got

929
00:49:59,520 --> 00:50:02,840
Speaker 2: to be a way to me die. And despite the

930
00:50:02,880 --> 00:50:05,280
Speaker 2: fact that he very clearly died in the first film,

931
00:50:05,320 --> 00:50:08,080
Speaker 2: and we had, you know, lore that established that werewolves

932
00:50:08,120 --> 00:50:10,839
Speaker 2: could die, and then it also just seems like, isn't

933
00:50:10,880 --> 00:50:13,279
Speaker 2: this something you could maybe manage, like, I don't know,

934
00:50:13,480 --> 00:50:16,680
Speaker 2: shackle yourself whenever there's a full moon, or you have

935
00:50:16,800 --> 00:50:18,840
Speaker 2: somebody lay a bunch of wolf'spine on you and you

936
00:50:18,880 --> 00:50:21,360
Speaker 2: can just kind of like cry o sleep through the

937
00:50:21,440 --> 00:50:23,600
Speaker 2: full moons. Like it seems like there might be another

938
00:50:23,680 --> 00:50:24,520
Speaker 2: way forward here.

939
00:50:24,800 --> 00:50:29,120
Speaker 3: It really does, but the film it just elides these details.

940
00:50:29,160 --> 00:50:30,719
Speaker 3: Don't worry about that. Yeah, you know, we got we

941
00:50:30,800 --> 00:50:32,160
Speaker 3: got a plot to persist a film.

942
00:50:32,239 --> 00:50:32,439
Speaker 4: Yeah.

943
00:50:32,480 --> 00:50:35,560
Speaker 3: Yeah. Anyway, what happens next is we cut to a

944
00:50:35,640 --> 00:50:37,560
Speaker 3: nearby city. I didn't know where this was at first,

945
00:50:37,600 --> 00:50:39,600
Speaker 3: but I think this is supposed to be already in Cardiff,

946
00:50:40,000 --> 00:50:42,680
Speaker 3: in you know, the big city in Wales, where a

947
00:50:42,760 --> 00:50:45,680
Speaker 3: policeman is patrolling an empty street at night and he

948
00:50:45,800 --> 00:50:50,120
Speaker 3: comes across the unconscious body of Lon Chaney Junior, collapsed

949
00:50:50,160 --> 00:50:54,160
Speaker 3: on the cobblestones with a gaping head wound. And then

950
00:50:54,200 --> 00:50:56,680
Speaker 3: we cut to some time later in a hospital where

951
00:50:56,760 --> 00:50:59,879
Speaker 3: Talbot is recovering in bed with bandages around his head.

952
00:51:00,520 --> 00:51:04,880
Speaker 3: His surgeon, a doctor Mannering played by again a very

953
00:51:04,960 --> 00:51:08,640
Speaker 3: baby faced Patrick Knowles, enters the ward accompanied by a

954
00:51:08,680 --> 00:51:12,040
Speaker 3: police inspector named Owen. They are informed that not only

955
00:51:12,160 --> 00:51:14,760
Speaker 3: is the patient recovering well from surgery, he is already

956
00:51:14,840 --> 00:51:18,360
Speaker 3: conscious and talking, and this is quite unexpected given the

957
00:51:18,520 --> 00:51:21,200
Speaker 3: severity of his head wound and the procedure required to

958
00:51:21,239 --> 00:51:24,360
Speaker 3: fix it. So the doctor and the inspector go to

959
00:51:24,400 --> 00:51:28,000
Speaker 3: see him. Talbot's awake, but at this point very soft

960
00:51:28,120 --> 00:51:31,279
Speaker 3: spoken and tentative. He says that he feels no pain

961
00:51:31,360 --> 00:51:33,879
Speaker 3: at the moment, but he's confused. He doesn't know where

962
00:51:33,920 --> 00:51:36,799
Speaker 3: he is, and to his distress, he doesn't remember how

963
00:51:36,880 --> 00:51:40,200
Speaker 3: he got there. Talbot gives them his name, and the

964
00:51:40,320 --> 00:51:42,359
Speaker 3: doctor and inspector leave to go see what they can

965
00:51:42,440 --> 00:51:47,000
Speaker 3: find out. So Owen phones police in Llanwelly to inquire

966
00:51:47,040 --> 00:51:50,680
Speaker 3: about Lawrence Talbot and they inform him with certainty that yes,

967
00:51:50,800 --> 00:51:53,959
Speaker 3: Lawrence Talbot is from Lanwelli, but he is also dead.

968
00:51:54,440 --> 00:51:56,920
Speaker 3: He died four years ago, so it was supposed to

969
00:51:56,960 --> 00:52:00,439
Speaker 3: be four years since the events of the first film. Also,

970
00:52:00,680 --> 00:52:03,400
Speaker 3: I will say that the inside of the land Welly

971
00:52:03,440 --> 00:52:05,879
Speaker 3: police station does not look like a police station, looks

972
00:52:05,880 --> 00:52:08,879
Speaker 3: like a beer hall. It's got these stone arches, long

973
00:52:09,000 --> 00:52:12,080
Speaker 3: tables and big roaring fireplace. And then one of the

974
00:52:12,160 --> 00:52:15,719
Speaker 3: policemen is pumping air into the tire of a bicycle

975
00:52:15,800 --> 00:52:18,080
Speaker 3: in the middle of the room. Seems like outdoor work.

976
00:52:18,160 --> 00:52:23,080
Speaker 3: But yeah, anyway, of course, Inspector Owen concludes that Talbot

977
00:52:23,200 --> 00:52:26,560
Speaker 3: is an impostor, but doctor Mannering convinces the police to

978
00:52:26,640 --> 00:52:30,239
Speaker 3: hold off on interrogating him any further, you know, until

979
00:52:30,280 --> 00:52:34,600
Speaker 3: he's recovered. But unfortunately before that can happen. There is

980
00:52:34,680 --> 00:52:35,520
Speaker 3: a full moon.

981
00:52:36,000 --> 00:52:38,040
Speaker 2: Something about the pacing and the sense of time in

982
00:52:38,080 --> 00:52:41,160
Speaker 2: this film, but it feels like there are roughly four

983
00:52:41,280 --> 00:52:44,600
Speaker 2: full moons a week in the universe of Frankenstein Mee's

984
00:52:44,640 --> 00:52:45,120
Speaker 2: the Wolfman.

985
00:52:45,360 --> 00:52:48,080
Speaker 3: Full moons are constantly happening and randomly.

986
00:52:48,160 --> 00:52:50,160
Speaker 2: You don't know when's going to occur. You can't possibly

987
00:52:50,200 --> 00:52:50,839
Speaker 2: prepare for them.

988
00:52:50,920 --> 00:52:52,799
Speaker 3: That does seem like part of the plot. You don't

989
00:52:52,880 --> 00:52:54,680
Speaker 3: know when it will be a full moon, which is

990
00:52:54,800 --> 00:52:55,680
Speaker 3: not how it works.

991
00:52:56,000 --> 00:52:58,160
Speaker 2: Yeah, Larry's like, oh, geez, when's the next full moon.

992
00:52:58,200 --> 00:52:59,080
Speaker 2: He's like, oh, it's right now.

993
00:53:01,000 --> 00:53:01,200
Speaker 4: Yeah.

994
00:53:03,600 --> 00:53:06,560
Speaker 3: So Talbot is lying in his hospital bed and the

995
00:53:06,640 --> 00:53:09,000
Speaker 3: moonlight falls on him through a large window at the

996
00:53:09,080 --> 00:53:12,120
Speaker 3: end of the room. His eyes go glassy, and then

997
00:53:12,200 --> 00:53:14,400
Speaker 3: as he lies there in his bed staring into space,

998
00:53:14,480 --> 00:53:17,040
Speaker 3: we begin to see the changes. And this is the

999
00:53:17,080 --> 00:53:21,560
Speaker 3: classic Wolfman transformation, where a sequence of different shots fade

1000
00:53:21,680 --> 00:53:24,640
Speaker 3: into one another, and in each one he has more

1001
00:53:24,800 --> 00:53:28,520
Speaker 3: of the wolfman makeup applied, so he quickly grows a beard.

1002
00:53:28,800 --> 00:53:31,479
Speaker 3: The beard creeps in from his jaw toward the center

1003
00:53:31,560 --> 00:53:34,360
Speaker 3: of his face until his head and face are fully

1004
00:53:34,480 --> 00:53:38,640
Speaker 3: covered in dark hair, his teeth turned into piercing canines.

1005
00:53:39,040 --> 00:53:42,560
Speaker 3: His nose becomes somewhat canine too, though to be clear,

1006
00:53:42,680 --> 00:53:45,920
Speaker 3: this is not the long snout kind of where wolf makeup.

1007
00:53:46,120 --> 00:53:48,720
Speaker 3: We've talked about these differences in other episodes in the past,

1008
00:53:49,080 --> 00:53:54,160
Speaker 3: but the wolfman makeup is relatively humanoid, flat faced, just

1009
00:53:54,239 --> 00:53:56,640
Speaker 3: with lots of hair, claws and fangs.

1010
00:53:57,320 --> 00:53:57,520
Speaker 4: Yeah.

1011
00:53:57,640 --> 00:53:59,759
Speaker 2: And I think I've probably said this before, but yeah,

1012
00:54:00,040 --> 00:54:02,879
Speaker 2: on with snouted were wolves, I don't okay anymore. It's

1013
00:54:03,000 --> 00:54:07,239
Speaker 2: it's the wolfman slash wolf woman. Look, that's what I'm into.

1014
00:54:07,520 --> 00:54:10,719
Speaker 2: That's that's that's what I like to see. And so yeah,

1015
00:54:10,960 --> 00:54:12,960
Speaker 2: the makeup here looks incredible. I mean, you could maybe

1016
00:54:13,239 --> 00:54:15,400
Speaker 2: critique it and say, well, maybe the nose looks a

1017
00:54:15,440 --> 00:54:20,080
Speaker 2: little peaky there's but you still can't take much away

1018
00:54:20,120 --> 00:54:21,719
Speaker 2: from it. It is the classic wolf man.

1019
00:54:21,840 --> 00:54:22,040
Speaker 4: Look.

1020
00:54:22,520 --> 00:54:26,360
Speaker 2: All other wolfman's, wolf men and wolf women wolf people

1021
00:54:26,800 --> 00:54:28,960
Speaker 2: exist in the shadow of this creation.

1022
00:54:29,360 --> 00:54:29,600
Speaker 4: Yeah.

1023
00:54:30,200 --> 00:54:32,440
Speaker 2: One more note I want to add about this transformation

1024
00:54:32,600 --> 00:54:35,279
Speaker 2: scene is that we've all seen sloppy versions of this

1025
00:54:35,400 --> 00:54:37,480
Speaker 2: effect or I don't know if your cinematic diet is

1026
00:54:37,600 --> 00:54:40,640
Speaker 2: like us, you've seen sloppy versions of this kind of transformation.

1027
00:54:41,239 --> 00:54:45,400
Speaker 2: But it's really smooth here, looks great. And one thing

1028
00:54:45,480 --> 00:54:48,520
Speaker 2: that was pointed out by Shane Morton at the Silver

1029
00:54:48,560 --> 00:54:51,319
Speaker 2: Scream Spook Show is that the pillow that his head

1030
00:54:51,400 --> 00:54:54,240
Speaker 2: is on for the transformation was made out of porcelain,

1031
00:54:54,400 --> 00:54:57,600
Speaker 2: because you know, you have to like film stop apply makeup,

1032
00:54:57,680 --> 00:55:00,880
Speaker 2: film stop, apply makeup, and you can't have the pillow

1033
00:55:01,040 --> 00:55:04,719
Speaker 2: changing underneath lawn Cheney Junior's head. So you have a

1034
00:55:04,800 --> 00:55:07,319
Speaker 2: porcelain pillow there behind his head, which wow, I thought

1035
00:55:07,360 --> 00:55:08,280
Speaker 2: was very fascinating.

1036
00:55:08,760 --> 00:55:11,440
Speaker 3: That's a good solution. I wouldn't have guessed that by

1037
00:55:11,480 --> 00:55:14,960
Speaker 3: looking at it. Yeah, But once the transformation is complete,

1038
00:55:15,080 --> 00:55:18,520
Speaker 3: we see the Wolfman on the loose in Cardiff, tearing

1039
00:55:18,600 --> 00:55:20,520
Speaker 3: through the city streets in the dark, sort of doing

1040
00:55:20,600 --> 00:55:24,320
Speaker 3: parkourp yeah, yeah, jumping up on top of crates and

1041
00:55:24,520 --> 00:55:27,880
Speaker 3: these cotton bales piled up in the street. He attacks

1042
00:55:27,920 --> 00:55:31,040
Speaker 3: a policeman, snarling and grabbing him by the throat, and

1043
00:55:31,120 --> 00:55:33,680
Speaker 3: then we can see in shadow as the Wolfman drags

1044
00:55:33,719 --> 00:55:35,080
Speaker 3: the body away down an alley.

1045
00:55:36,200 --> 00:55:39,279
Speaker 2: He's really scary and intimidating, looking the same as in

1046
00:55:39,520 --> 00:55:42,960
Speaker 2: The Wolfman. I saw this film with my family and

1047
00:55:43,040 --> 00:55:45,080
Speaker 2: afterwards my wife was asking me. She's like, do you

1048
00:55:45,160 --> 00:55:48,080
Speaker 2: think people who saw this movie originally, if they were

1049
00:55:48,160 --> 00:55:51,080
Speaker 2: they scared by it? Did they find this particular film scary?

1050
00:55:51,640 --> 00:55:55,320
Speaker 2: And I don't know. There's some based on some aspects

1051
00:55:55,360 --> 00:55:57,400
Speaker 2: of the plot, I could see an argument for it

1052
00:55:57,560 --> 00:55:59,560
Speaker 2: being not that scary, but I don't know these thnes

1053
00:55:59,560 --> 00:56:01,359
Speaker 2: with the wolf I think hold up really well.

1054
00:56:01,680 --> 00:56:05,600
Speaker 3: Yeah, some of the later stuff, especially the big climax,

1055
00:56:05,680 --> 00:56:07,960
Speaker 3: by that point, it doesn't feel like it's supposed to

1056
00:56:08,000 --> 00:56:11,040
Speaker 3: be scary. That's like fun mode. At this point it

1057
00:56:11,160 --> 00:56:13,200
Speaker 3: has turned into Godzilla versus King Kong.

1058
00:56:13,520 --> 00:56:16,480
Speaker 2: Once the monsters are fighting each other, you're safe. Yeah,

1059
00:56:16,520 --> 00:56:18,840
Speaker 2: It's like, yes, right, have them fight each other and

1060
00:56:18,920 --> 00:56:19,879
Speaker 2: I will slip out the back.

1061
00:56:20,560 --> 00:56:23,839
Speaker 3: So the next morning, the hospital staff find Talbot lying

1062
00:56:23,920 --> 00:56:26,600
Speaker 3: face down sideways on his bed. He's kind of dirty,

1063
00:56:26,719 --> 00:56:30,000
Speaker 3: his hair is must bandages are missing missing, and the

1064
00:56:30,080 --> 00:56:33,720
Speaker 3: window is hanging open. And he suddenly awakes and asks

1065
00:56:33,800 --> 00:56:36,480
Speaker 3: Mannering his doctor to call the police. He says, because

1066
00:56:36,560 --> 00:56:41,600
Speaker 3: I am a murderer. So Talbot has no control over

1067
00:56:41,680 --> 00:56:44,360
Speaker 3: his actions when he is in wolf mode. And I

1068
00:56:44,440 --> 00:56:48,760
Speaker 3: think there is some question about whether he remembers anything

1069
00:56:48,880 --> 00:56:52,120
Speaker 3: when he wakes up. I recall from the original Wolfman.

1070
00:56:52,280 --> 00:56:54,040
Speaker 3: Rob correct me if I'm wrong that he does not

1071
00:56:54,320 --> 00:56:57,719
Speaker 3: remember anything when he wakes up. But maybe what's going

1072
00:56:57,800 --> 00:57:00,439
Speaker 3: on here is he's just putting the pieces together based

1073
00:57:00,480 --> 00:57:02,719
Speaker 3: on what happened in the first movie, not based on

1074
00:57:02,920 --> 00:57:04,319
Speaker 3: memories of the previous night.

1075
00:57:04,760 --> 00:57:07,040
Speaker 2: He has a lot to figure out here. Yeah, what

1076
00:57:07,320 --> 00:57:09,440
Speaker 2: you know, Like, even if he is remembering, oh yeah,

1077
00:57:09,440 --> 00:57:11,719
Speaker 2: I'm a were wolf, he has to he's probably thinking,

1078
00:57:11,800 --> 00:57:14,160
Speaker 2: didn't I die? Yeah?

1079
00:57:15,320 --> 00:57:18,600
Speaker 3: So anyway, they call up Inspector Owen, but Mannering convinces

1080
00:57:19,120 --> 00:57:21,080
Speaker 3: he or he tries to convince Talbot that he is

1081
00:57:21,200 --> 00:57:24,640
Speaker 3: not a murderer. He says, true, there was a constable

1082
00:57:24,720 --> 00:57:26,960
Speaker 3: killed last night, but that was several streets away, and

1083
00:57:27,080 --> 00:57:30,280
Speaker 3: he was killed by a wild animal. Talbot says, that's

1084
00:57:30,440 --> 00:57:32,480
Speaker 3: just it, I turn into an animal.

1085
00:57:32,760 --> 00:57:33,160
Speaker 4: I love that.

1086
00:57:33,280 --> 00:57:34,320
Speaker 2: I did laugh at that line.

1087
00:57:34,400 --> 00:57:34,959
Speaker 4: That was great.

1088
00:57:35,560 --> 00:57:39,240
Speaker 2: Nothing on his delivery, but the line itself was pretty funny.

1089
00:57:39,400 --> 00:57:39,600
Speaker 4: Yeah.

1090
00:57:40,080 --> 00:57:42,400
Speaker 3: Mannering explains it all away. He's like, no, no, no,

1091
00:57:42,560 --> 00:57:45,360
Speaker 3: you're not a murderer. You're suffering from a delusion. So

1092
00:57:45,600 --> 00:57:47,360
Speaker 3: what's a guy got to do to get arrested for

1093
00:57:47,440 --> 00:57:53,400
Speaker 3: murder around here? Anyway? When Owen arrives, Talbot desperately recaps

1094
00:57:53,480 --> 00:57:55,840
Speaker 3: the major events of the first film. He was bitten

1095
00:57:55,880 --> 00:57:58,160
Speaker 3: by a wolf on the chest, though it wasn't a wolf,

1096
00:57:58,240 --> 00:58:01,080
Speaker 3: it was a man, a were wolf. Talbot killed the

1097
00:58:01,160 --> 00:58:03,600
Speaker 3: original werewolf in a fight. He beat it to death

1098
00:58:04,000 --> 00:58:08,400
Speaker 3: with the silver cane, but then he began himself to

1099
00:58:08,520 --> 00:58:11,080
Speaker 3: transform at night and roam Hill and Dale in a

1100
00:58:11,120 --> 00:58:15,560
Speaker 3: bloodthirsty rage beyond his control. And then he says, ask Maleva,

1101
00:58:15,720 --> 00:58:18,400
Speaker 3: you know she'll tell you this is again a character

1102
00:58:18,480 --> 00:58:21,120
Speaker 3: from the first movie. It is the mother of the

1103
00:58:21,200 --> 00:58:25,000
Speaker 3: werewolf played by Bella Lagosi that turned Talbot, and she's

1104
00:58:25,040 --> 00:58:27,640
Speaker 3: going to be back in the sequel. And I think

1105
00:58:27,760 --> 00:58:30,480
Speaker 3: the werewolf character in the first movie is not only

1106
00:58:30,520 --> 00:58:32,760
Speaker 3: played by Bella Lagosi, but is named Bella.

1107
00:58:33,840 --> 00:58:35,560
Speaker 2: Yes you're correct, yes, yeah.

1108
00:58:36,000 --> 00:58:38,840
Speaker 3: Then Talbot gets really bad news. Owen says, come on,

1109
00:58:39,040 --> 00:58:41,680
Speaker 3: tell us your real name. You can't be Lawrence Talbot.

1110
00:58:41,840 --> 00:58:45,520
Speaker 3: He died four years ago, and this leads Talbot to

1111
00:58:45,680 --> 00:58:49,200
Speaker 3: realize that he has the curse of immortality because he

1112
00:58:49,360 --> 00:58:53,760
Speaker 3: is a werewolf. He cannot die now. I recall several

1113
00:58:53,960 --> 00:58:58,000
Speaker 3: reviewers saying that the movie This movie has serious plot

1114
00:58:58,080 --> 00:59:02,120
Speaker 3: holes or at least inconsistency and premises that were not

1115
00:59:02,200 --> 00:59:05,720
Speaker 3: really reconciled with the events of the previous films. Unless

1116
00:59:05,760 --> 00:59:09,480
Speaker 3: I'm missing something, this does seem to be the big one,

1117
00:59:09,600 --> 00:59:12,840
Speaker 3: or at least a major one. It is clearly established

1118
00:59:12,880 --> 00:59:14,840
Speaker 3: in The wolf Man that you can kill a were

1119
00:59:14,880 --> 00:59:17,640
Speaker 3: wolf you need a silver weapon. Not only is this

1120
00:59:17,880 --> 00:59:21,360
Speaker 3: said by the characters, it actually happens multiple times in

1121
00:59:21,440 --> 00:59:22,960
Speaker 3: the film. The premise is proven.

1122
00:59:23,560 --> 00:59:23,760
Speaker 4: Yeah.

1123
00:59:23,880 --> 00:59:27,360
Speaker 2: Yeah, Like there are multiple places in The wolf Man

1124
00:59:27,920 --> 00:59:30,640
Speaker 2: where he's like, I just killed a wolf and they're like, no,

1125
00:59:30,720 --> 00:59:33,280
Speaker 2: you kill a were wolf? Like, yes, you can kill werewolf,

1126
00:59:33,560 --> 00:59:35,800
Speaker 2: otherwise there'd be like six of them in this movie.

1127
00:59:35,880 --> 00:59:38,240
Speaker 3: Right, yeah. But then a major theme of this movie

1128
00:59:38,440 --> 00:59:40,640
Speaker 3: is that there is no known way to kill a

1129
00:59:40,640 --> 00:59:43,040
Speaker 3: were wolf. There is no way to do it, and

1130
00:59:43,200 --> 00:59:47,680
Speaker 3: Talbot's desperation at the discovery that he cannot die is

1131
00:59:47,760 --> 00:59:50,720
Speaker 3: what sends him on the collision course with Frankenstein, with

1132
00:59:50,760 --> 00:59:54,720
Speaker 3: the Frankenstein lineage. So this is so big that it

1133
00:59:54,760 --> 00:59:57,480
Speaker 3: feels like it can't just be an oversight. It seems

1134
00:59:57,560 --> 01:00:00,320
Speaker 3: like the sequel appears to have deliberately chose and to

1135
01:00:00,520 --> 01:00:04,280
Speaker 3: ignore a major plot device established in the first movie

1136
01:00:04,640 --> 01:00:07,120
Speaker 3: for the sake of character pathos. You know, the hopeless

1137
01:00:07,240 --> 01:00:10,160
Speaker 3: frustration of Talbot's search for a way to die, that's

1138
01:00:10,240 --> 01:00:12,400
Speaker 3: like the main emotion in the film.

1139
01:00:12,920 --> 01:00:14,800
Speaker 2: Yeah, I mean, I guess, on one hand, I come

1140
01:00:14,840 --> 01:00:17,680
Speaker 2: back to Highlander. One is that when a movie wraps

1141
01:00:17,800 --> 01:00:20,840
Speaker 2: up so succinctly, you have to break something in order

1142
01:00:20,920 --> 01:00:23,720
Speaker 2: to make a sequel work. And maybe that's what's going on.

1143
01:00:23,800 --> 01:00:26,120
Speaker 2: But also, I mean, in turn, like, what is the

1144
01:00:26,160 --> 01:00:30,200
Speaker 2: most interesting choice in bringing this character back? There's an

1145
01:00:30,280 --> 01:00:32,200
Speaker 2: argument to be made that I mean, we're talking about it.

1146
01:00:32,320 --> 01:00:35,280
Speaker 2: This is you're turning him into a sort of another

1147
01:00:36,040 --> 01:00:40,440
Speaker 2: iconic creature of fantasy, like the undying wanderer, someone who

1148
01:00:41,080 --> 01:00:43,520
Speaker 2: maybe wanted well, not in Talbot's case, but in the

1149
01:00:43,600 --> 01:00:46,160
Speaker 2: mythic sense, it's sometimes someone who wanted to live forever

1150
01:00:46,240 --> 01:00:49,240
Speaker 2: and then realizes that that was a ridiculous wish and

1151
01:00:49,400 --> 01:00:50,800
Speaker 2: now they wish they could take it back.

1152
01:00:51,120 --> 01:00:54,600
Speaker 3: Yeah, but I mean, but Talbot is purely pitiable and tragic,

1153
01:00:54,720 --> 01:00:56,800
Speaker 3: like he didn't ask for this, It just happened to

1154
01:00:56,880 --> 01:00:58,800
Speaker 3: him by accident, terrible fate.

1155
01:00:59,640 --> 01:01:01,880
Speaker 2: But it fitting that he should be facing all this

1156
01:01:02,000 --> 01:01:05,560
Speaker 2: confusion and existential dread, because it's very much the nature

1157
01:01:05,600 --> 01:01:06,920
Speaker 2: of the character and the Wolfman as well.

1158
01:01:07,320 --> 01:01:09,520
Speaker 3: Right, So Talbot is put in a straight jacket and

1159
01:01:09,600 --> 01:01:13,000
Speaker 3: carried away by orderlies. He's fighting all the way, and

1160
01:01:13,080 --> 01:01:16,600
Speaker 3: then Mannerling and the Inspector have this bizarre exchange that

1161
01:01:16,680 --> 01:01:19,080
Speaker 3: I can't really decode. They go back to his office

1162
01:01:19,560 --> 01:01:23,160
Speaker 3: and Owen says, you mean to say that Talbot actually

1163
01:01:23,400 --> 01:01:26,880
Speaker 3: experienced that murder last night? And then this is what

1164
01:01:27,040 --> 01:01:32,080
Speaker 3: Mannering says, I'm afraid. So people with brain and injuries

1165
01:01:32,280 --> 01:01:36,680
Speaker 3: sometimes develop super normal mental powers that are quite extraordinary.

1166
01:01:37,200 --> 01:01:40,240
Speaker 3: Certainly he got up and opened the window. The borderline

1167
01:01:40,280 --> 01:01:44,600
Speaker 3: between delusion and reality is very narrow. Sometimes a patient

1168
01:01:44,680 --> 01:01:50,320
Speaker 3: may unknowingly overstep that line. So what is he alleging happened?

1169
01:01:50,600 --> 01:01:53,040
Speaker 2: I can't help but think this is sort of plot

1170
01:01:53,120 --> 01:01:56,440
Speaker 2: artifact from the first film, because the first film, I'm

1171
01:01:56,480 --> 01:02:00,920
Speaker 2: to understand that the odd mix the wolfman's grip originally

1172
01:02:01,400 --> 01:02:03,760
Speaker 2: left it rather vague as to whether we were dealing

1173
01:02:03,840 --> 01:02:08,000
Speaker 2: with an actual monster or just purely clinical leacanthropy. So

1174
01:02:08,120 --> 01:02:11,360
Speaker 2: somebody who thought they were turning into a wolf and

1175
01:02:12,000 --> 01:02:15,280
Speaker 2: you know, was maybe murdering even thinking they were a wolf. Yeah,

1176
01:02:15,440 --> 01:02:17,160
Speaker 2: but then they change it and they realized no, like,

1177
01:02:17,440 --> 01:02:19,600
Speaker 2: moviegoers want to see a wolf man and we're going

1178
01:02:19,680 --> 01:02:22,280
Speaker 2: to give it to them. But the film still plays

1179
01:02:22,320 --> 01:02:25,840
Speaker 2: with this idea a bit, this sort of logic and

1180
01:02:26,560 --> 01:02:30,320
Speaker 2: superstition butting heads about what's occurring. So this just seems

1181
01:02:30,360 --> 01:02:32,000
Speaker 2: like maybe another callback to that theme.

1182
01:02:32,360 --> 01:02:36,080
Speaker 3: Yeah, and so Mannering clearly thinks that Talbot is a

1183
01:02:36,200 --> 01:02:39,040
Speaker 3: clinical lichnthrow by man under the delusion that he is

1184
01:02:39,080 --> 01:02:41,720
Speaker 3: a wolf. But it sounds like he's implying here that

1185
01:02:41,920 --> 01:02:44,640
Speaker 3: that also gives him supernatural powers.

1186
01:02:45,880 --> 01:02:46,120
Speaker 2: Why not.

1187
01:02:47,680 --> 01:02:51,200
Speaker 3: Anyway, the inspector and the doctor decide to take a

1188
01:02:51,320 --> 01:02:53,760
Speaker 3: road trip up to Landwelly to figure out more about

1189
01:02:53,800 --> 01:02:56,880
Speaker 3: Talbot's backstory. So they go to the family mausoleum and

1190
01:02:56,920 --> 01:02:59,320
Speaker 3: the cemetery from the opening scene, and they find that

1191
01:02:59,400 --> 01:03:02,360
Speaker 3: the door has been broken down from the inside. They

1192
01:03:02,400 --> 01:03:05,440
Speaker 3: also find Talbot's coffin empty and the body of a

1193
01:03:05,560 --> 01:03:08,360
Speaker 3: local vagrant lying on the floor of the crypt, dead

1194
01:03:08,480 --> 01:03:12,160
Speaker 3: by way of a severed jugular. They also hear stories

1195
01:03:12,240 --> 01:03:15,320
Speaker 3: from the local constable about a wild animal who killed

1196
01:03:15,360 --> 01:03:18,760
Speaker 3: many people in these parts four years ago. They say,

1197
01:03:18,840 --> 01:03:21,959
Speaker 3: you know, bit through their throats, drained their blood. John

1198
01:03:22,040 --> 01:03:24,360
Speaker 3: Talbot thought he killed it one night, attacked it in

1199
01:03:24,440 --> 01:03:27,120
Speaker 3: the dark, But it was his son. He killed, poor

1200
01:03:27,280 --> 01:03:31,520
Speaker 3: mister Larry. And so the local police showed them a

1201
01:03:31,640 --> 01:03:34,280
Speaker 3: show our two characters. Here a photo of Lawrence Talbot

1202
01:03:34,320 --> 01:03:36,200
Speaker 3: and Wow he sure does look a lot like our

1203
01:03:36,760 --> 01:03:40,360
Speaker 3: licanthrope in Cardiff, and then Owen says, of course it's

1204
01:03:40,440 --> 01:03:41,080
Speaker 3: not the same.

1205
01:03:41,320 --> 01:03:41,520
Speaker 4: Man.

1206
01:03:41,760 --> 01:03:45,120
Speaker 3: If it were, I'd be off me top. So Owen

1207
01:03:45,280 --> 01:03:49,160
Speaker 3: and Mannering make a plan to bring the landwelly constable

1208
01:03:49,320 --> 01:03:51,840
Speaker 3: back to Cardiff to see if he can positively id

1209
01:03:52,000 --> 01:03:55,320
Speaker 3: their patient. But when the doctor calls the hospital, he

1210
01:03:55,480 --> 01:03:58,400
Speaker 3: learns that Talbot tore off his straight jacket in the

1211
01:03:58,520 --> 01:04:02,440
Speaker 3: night and escaped. Oh no, we have loose Talbot and

1212
01:04:02,600 --> 01:04:05,640
Speaker 3: they say, tore off his straight jacket. How bit right

1213
01:04:05,760 --> 01:04:07,320
Speaker 3: through it with his teeth.

1214
01:04:08,560 --> 01:04:09,439
Speaker 2: Did not wolf proof.

1215
01:04:18,840 --> 01:04:23,040
Speaker 3: So sometime later we rejoined Talbot as he wanders into

1216
01:04:23,200 --> 01:04:26,600
Speaker 3: a Romani camp dressed like a vagabond with a wide

1217
01:04:26,680 --> 01:04:31,200
Speaker 3: brimmed hat. He is looking for Maliva, the wise old

1218
01:04:31,240 --> 01:04:34,920
Speaker 3: woman from the first movie. Maliva was the mother of Bella,

1219
01:04:35,080 --> 01:04:37,720
Speaker 3: the original werewolf who turned to Talbot and then was

1220
01:04:37,800 --> 01:04:41,720
Speaker 3: killed by Talbot. Both Bella and Meliva were in the

1221
01:04:41,800 --> 01:04:45,560
Speaker 3: first film, Divulgers of Lore. So I think Talbot is

1222
01:04:45,640 --> 01:04:48,720
Speaker 3: here hoping to find answers, primarily to find out how

1223
01:04:48,840 --> 01:04:51,920
Speaker 3: he can be cured, or more likely, how he can

1224
01:04:52,080 --> 01:04:55,240
Speaker 3: just die. So he meets with Maliva and she receives

1225
01:04:55,320 --> 01:04:58,920
Speaker 3: him with sympathy. He says, Maliva, here, I still carry

1226
01:04:58,960 --> 01:05:01,520
Speaker 3: the sign of the pentagon, the mark of the werewolf.

1227
01:05:01,680 --> 01:05:04,280
Speaker 3: I kill people. When the moon is full, I turn

1228
01:05:04,360 --> 01:05:07,640
Speaker 3: into a wolf. But unfortunately, she says that she has

1229
01:05:07,720 --> 01:05:09,840
Speaker 3: no power to help him. She doesn't seem to know

1230
01:05:10,040 --> 01:05:12,720
Speaker 3: of a way that he can die. But she says

1231
01:05:12,800 --> 01:05:15,760
Speaker 3: that she will join him and take care of him

1232
01:05:15,920 --> 01:05:19,120
Speaker 3: as she would her own son. And while she doesn't

1233
01:05:19,400 --> 01:05:21,800
Speaker 3: have the power to help him, she knows of a

1234
01:05:21,920 --> 01:05:24,800
Speaker 3: man who might. And here we get dumb, dumb, dumb.

1235
01:05:24,920 --> 01:05:27,400
Speaker 3: Nobody says the name Frankenstein yet, but that should be

1236
01:05:27,600 --> 01:05:29,919
Speaker 3: the audience. They're out there thinking, oh, is she talking

1237
01:05:29,920 --> 01:05:30,760
Speaker 3: about Frankenstein.

1238
01:05:31,640 --> 01:05:34,760
Speaker 2: That's quick note on pinograms, though, if you like pentagrams,

1239
01:05:35,200 --> 01:05:37,920
Speaker 2: watch The Wolf Man because they talk about pentagrams a lot.

1240
01:05:38,440 --> 01:05:41,160
Speaker 3: Though it's am I wrong in remembering that in the

1241
01:05:41,240 --> 01:05:45,360
Speaker 3: first Wolfman, it's not the wolf the werewolf who has

1242
01:05:45,400 --> 01:05:48,240
Speaker 3: the pinogram. Isn't it his victims who have the pinogram

1243
01:05:48,360 --> 01:05:49,240
Speaker 3: emblazoned on them?

1244
01:05:49,760 --> 01:05:51,960
Speaker 2: Well, then you also have the pinogram on the cane.

1245
01:05:52,240 --> 01:05:54,720
Speaker 2: Like the cane has this big round part that has

1246
01:05:54,760 --> 01:05:56,840
Speaker 2: the pentagram on it. And then the wolf's head, so

1247
01:05:57,160 --> 01:06:00,680
Speaker 2: it looks like like like a golf club, and in fact,

1248
01:06:01,480 --> 01:06:04,640
Speaker 2: Talbot makes a joke when he first handles the cane

1249
01:06:04,720 --> 01:06:06,800
Speaker 2: and pretends to play little golf with it.

1250
01:06:08,080 --> 01:06:10,120
Speaker 3: So Maliva is part of the team now and she

1251
01:06:10,320 --> 01:06:13,320
Speaker 3: is going to lead him to a village in the Alps.

1252
01:06:13,440 --> 01:06:16,840
Speaker 3: It's a place called Visaria, the village in the shadow

1253
01:06:16,920 --> 01:06:19,720
Speaker 3: of the ruined castle Frankenstein. They sort of on the

1254
01:06:19,760 --> 01:06:22,040
Speaker 3: way there, they go on a wagon road trip through Europe,

1255
01:06:22,080 --> 01:06:24,560
Speaker 3: and we see a bunch of still photos of different towns.

1256
01:06:25,400 --> 01:06:28,960
Speaker 3: But Talbot and Meliva when they get to Visaria, they

1257
01:06:29,080 --> 01:06:32,640
Speaker 3: visit the local inn and tavern to ask about doctor Frankenstein.

1258
01:06:33,120 --> 01:06:35,800
Speaker 3: But of course this gets them a quite frosty reception,

1259
01:06:36,040 --> 01:06:41,160
Speaker 3: particularly from Vazik, the innkeeper, a large bespectacled man with

1260
01:06:41,280 --> 01:06:44,560
Speaker 3: a handlebar mustache. I watched this with Rachel and she

1261
01:06:44,640 --> 01:06:46,120
Speaker 3: was calling him Teddy Brosevelt.

1262
01:06:47,920 --> 01:06:49,520
Speaker 2: Yeah, and when we first meet it, it seems like

1263
01:06:49,560 --> 01:06:53,480
Speaker 2: a real nice guy. You know, he's bringing around the beer. Yeah,

1264
01:06:53,840 --> 01:06:54,760
Speaker 2: it's a popular place.

1265
01:06:55,600 --> 01:07:00,320
Speaker 3: But no, he reacts unpleasantly when they ask him about Frankenstein.

1266
01:07:00,600 --> 01:07:02,640
Speaker 3: He leads them to the window and points out at

1267
01:07:02,640 --> 01:07:05,360
Speaker 3: the crumbling castle. We see that it is nestled in

1268
01:07:05,400 --> 01:07:08,720
Speaker 3: a mountain ravine next to a rushing river, just downstream

1269
01:07:08,840 --> 01:07:13,120
Speaker 3: from a large dam, and Vazik says coldly, there that

1270
01:07:13,360 --> 01:07:16,200
Speaker 3: is his burial place. The fire destroyed him and all

1271
01:07:16,280 --> 01:07:19,560
Speaker 3: of his misdeeds. He didn't die any too soon for us.

1272
01:07:20,000 --> 01:07:22,160
Speaker 3: We all wish that he had never been born. What

1273
01:07:22,360 --> 01:07:25,680
Speaker 3: did you want with him? And Maliva here says that

1274
01:07:25,800 --> 01:07:27,680
Speaker 3: she heard he was a great doctor and that he

1275
01:07:27,720 --> 01:07:31,560
Speaker 3: could help people that other doctors couldn't cure. Is that

1276
01:07:31,680 --> 01:07:34,480
Speaker 3: part of the Frankenstein story. I don't remember anything about that.

1277
01:07:35,360 --> 01:07:35,520
Speaker 4: You know.

1278
01:07:36,400 --> 01:07:40,680
Speaker 2: And it seems it's a reasonable suspicion that, hey, he

1279
01:07:40,840 --> 01:07:44,640
Speaker 2: was doing like amazing godlike things. What if uh, we

1280
01:07:44,760 --> 01:07:46,800
Speaker 2: looked at that research again, maybe we could find something

1281
01:07:46,840 --> 01:07:47,480
Speaker 2: helpful in there.

1282
01:07:47,840 --> 01:07:49,880
Speaker 3: It seems like part of the prep for his treatment

1283
01:07:50,040 --> 01:07:51,919
Speaker 3: is he'd have to go ahead and kill you before

1284
01:07:51,960 --> 01:07:56,560
Speaker 3: he could resurrect you. Right, yeah, anyway, Vazik scoffs at

1285
01:07:56,680 --> 01:07:59,360
Speaker 3: this idea as well. He says that murder is all

1286
01:07:59,480 --> 01:08:02,400
Speaker 3: that frank Stein brought to the people of Visaria. They

1287
01:08:02,480 --> 01:08:04,720
Speaker 3: say he harbored a monster at his house, a fowl

1288
01:08:04,880 --> 01:08:07,840
Speaker 3: being created by black magic and.

1289
01:08:07,880 --> 01:08:09,720
Speaker 2: He was also a job creator, though I think he

1290
01:08:10,200 --> 01:08:11,280
Speaker 2: is being a little unfair.

1291
01:08:13,120 --> 01:08:16,120
Speaker 3: The news that Frankenstein is dead hits Talbot very hard.

1292
01:08:16,240 --> 01:08:18,800
Speaker 3: He collapses into a chair. He's like, ah, this was

1293
01:08:18,880 --> 01:08:22,120
Speaker 3: my only hope. And then Vazig tries to throw them

1294
01:08:22,120 --> 01:08:23,920
Speaker 3: out of the bar. He doesn't want to serve anyone

1295
01:08:23,960 --> 01:08:26,320
Speaker 3: who would be asking about the mad doctor, and this

1296
01:08:26,479 --> 01:08:29,080
Speaker 3: leads to a confrontation. Talbot shouts at him on the

1297
01:08:29,120 --> 01:08:31,880
Speaker 3: way out, so they seem to be developing enmity for

1298
01:08:31,920 --> 01:08:36,640
Speaker 3: one another. Afterwards, Maliva and Talbot ride their wagon up

1299
01:08:36,680 --> 01:08:39,560
Speaker 3: the mountain pass and Talbot says, now I must go

1300
01:08:39,720 --> 01:08:42,640
Speaker 3: on living. There's no hope for me to die. And

1301
01:08:42,720 --> 01:08:48,720
Speaker 3: then oh, surpriseful movement just comes out of nowhere. When

1302
01:08:48,840 --> 01:08:52,400
Speaker 3: Talbot begins the transformation, he jumps off the wagon and

1303
01:08:52,520 --> 01:08:55,680
Speaker 3: runs into the woods as the change takes hold. So

1304
01:08:55,960 --> 01:08:59,080
Speaker 3: while on a wolf Ram page, he kills a young

1305
01:08:59,120 --> 01:09:01,640
Speaker 3: woman of the village, and then we later this all

1306
01:09:01,680 --> 01:09:04,520
Speaker 3: happens very fast, and then we later see the villagers

1307
01:09:04,640 --> 01:09:08,439
Speaker 3: they formed this mournful procession in the streets. Vazak is

1308
01:09:08,520 --> 01:09:12,000
Speaker 3: carrying the woman's dead body and the locals begin to

1309
01:09:12,080 --> 01:09:13,840
Speaker 3: talk about who could have done this. Could it be

1310
01:09:13,920 --> 01:09:17,920
Speaker 3: Frankenstein's monster returned? They say, no, the monster is long dead.

1311
01:09:18,040 --> 01:09:21,439
Speaker 3: An animal bit her to death, and then Dwight Fry says,

1312
01:09:22,000 --> 01:09:24,679
Speaker 3: what animals are there around here that can kill people?

1313
01:09:25,200 --> 01:09:28,160
Speaker 3: And a wolf howls in the distance. They say, a wolf,

1314
01:09:28,240 --> 01:09:31,200
Speaker 3: a wolf that's his cries, So they form a posse,

1315
01:09:31,720 --> 01:09:35,439
Speaker 3: you know, pitchforks torches, the classic Frankenstein posse.

1316
01:09:36,120 --> 01:09:39,920
Speaker 2: They've done this a few times before, soiliar quickly, Yeah,

1317
01:09:40,040 --> 01:09:41,320
Speaker 2: familiar with the procedure.

1318
01:09:42,200 --> 01:09:45,439
Speaker 3: Angry mob torches and pitchforks guns this time, and they

1319
01:09:45,479 --> 01:09:48,320
Speaker 3: go out into the woods hunting the beast. They pursue

1320
01:09:48,360 --> 01:09:51,040
Speaker 3: the wolfman through the forest in the dark, shooting him

1321
01:09:51,120 --> 01:09:54,200
Speaker 3: and driving him into the ruins of the castle, and

1322
01:09:54,280 --> 01:09:58,759
Speaker 3: eventually the wolfman, wounded, stumbles and falls into an underground

1323
01:09:58,880 --> 01:10:02,160
Speaker 3: cavern filled with ice and snow, but there's no snow

1324
01:10:02,200 --> 01:10:04,479
Speaker 3: on the surface. I was confused about this.

1325
01:10:04,800 --> 01:10:06,759
Speaker 2: Yeah, yeah, it feels like we're almost in a magical

1326
01:10:06,840 --> 01:10:08,719
Speaker 2: land at this point, but it looks really cool.

1327
01:10:08,960 --> 01:10:09,160
Speaker 4: Yeah.

1328
01:10:09,560 --> 01:10:12,240
Speaker 3: The villagers also capture Maliva and they take her back

1329
01:10:12,280 --> 01:10:16,400
Speaker 3: to town for interrogation. So later Talbot awakes in this

1330
01:10:16,720 --> 01:10:19,840
Speaker 3: snowy cavern with tattered clothes. He's back in human form,

1331
01:10:20,760 --> 01:10:23,800
Speaker 3: and he searches around and then finds, tucked away in

1332
01:10:23,880 --> 01:10:26,400
Speaker 3: a corner of the space what looks like a great

1333
01:10:26,520 --> 01:10:31,000
Speaker 3: translucent window made of ice under a stone arch. He

1334
01:10:31,120 --> 01:10:33,320
Speaker 3: begins to kind of chip at it. He bashes through

1335
01:10:33,400 --> 01:10:35,680
Speaker 3: the ice with a rock, and then behind it he

1336
01:10:35,880 --> 01:10:41,200
Speaker 3: finds the frozen, unconscious body of Frankenstein's monster. But of

1337
01:10:41,240 --> 01:10:44,000
Speaker 3: course it is not Karloff. It's Bella Legosi in the

1338
01:10:44,040 --> 01:10:45,280
Speaker 3: Karloff makeup.

1339
01:10:45,320 --> 01:10:48,240
Speaker 2: Great sequence here with the breaking ice, I did.

1340
01:10:48,280 --> 01:10:50,479
Speaker 3: Like this, yeah, And so with the ice broken away,

1341
01:10:50,520 --> 01:10:55,080
Speaker 3: the monster begins to stir and regain consciousness, so Talbot

1342
01:10:55,280 --> 01:10:58,120
Speaker 3: thinks his prayers may be answered. We see Talbot in

1343
01:10:58,160 --> 01:11:01,160
Speaker 3: the monster wandering through the room of the castle together.

1344
01:11:02,120 --> 01:11:04,880
Speaker 3: I didn't get this at first, but part of the

1345
01:11:05,080 --> 01:11:08,000
Speaker 3: reason that the monster is walking the way he is

1346
01:11:08,120 --> 01:11:10,160
Speaker 3: is that he's supposed to be blind. I don't think

1347
01:11:10,200 --> 01:11:11,240
Speaker 3: any characters say this.

1348
01:11:11,720 --> 01:11:15,519
Speaker 2: Right, And then originally he's supposed to speak, So this

1349
01:11:15,720 --> 01:11:17,760
Speaker 2: is like a true team up at this point, Like

1350
01:11:17,840 --> 01:11:20,680
Speaker 2: I don't know, Talbot's saying, like, hey, monster, you want

1351
01:11:20,680 --> 01:11:22,080
Speaker 2: to come with me and maybe we can help each

1352
01:11:22,120 --> 01:11:24,320
Speaker 2: other out and the Monster's like, yeah, let's get out

1353
01:11:24,320 --> 01:11:25,200
Speaker 2: of here. This place sucks.

1354
01:11:25,760 --> 01:11:28,240
Speaker 3: But I think the producers found the dialogue lines of

1355
01:11:28,320 --> 01:11:30,960
Speaker 3: the monster laughable, so they removed them from the film.

1356
01:11:31,120 --> 01:11:33,559
Speaker 2: That's what That's what I've read, so Talbot.

1357
01:11:33,680 --> 01:11:36,599
Speaker 3: Yeah, Talbot leads the monster by hand, asking the monster

1358
01:11:36,720 --> 01:11:39,400
Speaker 3: to show him where he can find doctor Frankenstein's notes

1359
01:11:39,479 --> 01:11:42,400
Speaker 3: and diaries, something that will explain how to kill a werewolf,

1360
01:11:42,479 --> 01:11:45,760
Speaker 3: I guess. So the monster tries to show him a

1361
01:11:45,920 --> 01:11:49,240
Speaker 3: secret hiding place behind a bookshelf, but the safe inside

1362
01:11:49,320 --> 01:11:52,240
Speaker 3: doesn't contain any use anything useful. I don't know how

1363
01:11:52,360 --> 01:11:55,200
Speaker 3: Talbot determines that these papers are not useful. He just

1364
01:11:55,320 --> 01:11:57,719
Speaker 3: dumps them out really quick and he's like, it's not here.

1365
01:11:57,920 --> 01:11:59,760
Speaker 2: Yeah, what are you looking for? Why would it stand out?

1366
01:11:59,800 --> 01:12:03,760
Speaker 3: So yeah, and Talbot is filled with despair, but in

1367
01:12:03,920 --> 01:12:06,160
Speaker 3: the safe he finds this is the part where he

1368
01:12:06,200 --> 01:12:10,840
Speaker 3: finds an autographed Hollywood Glamour photo of Alona Massey and

1369
01:12:11,080 --> 01:12:15,040
Speaker 3: it's it's signed Elsa Frankenstein, it says, to my father,

1370
01:12:16,520 --> 01:12:17,320
Speaker 3: So great news.

1371
01:12:17,680 --> 01:12:21,000
Speaker 2: There is a there is a surviving Frankenstein and she's hot.

1372
01:12:21,280 --> 01:12:23,720
Speaker 3: She's a movie star. Yeah, to my father, I made

1373
01:12:23,760 --> 01:12:28,680
Speaker 3: it big in Hollywood, signed Elsa. But okay, here's a

1374
01:12:28,720 --> 01:12:32,679
Speaker 3: new angle. Maybe doctor Frankenstein's living descendant, his daughter, Elsa,

1375
01:12:32,800 --> 01:12:36,879
Speaker 3: will know how to help them. So Talbot makes contact

1376
01:12:36,960 --> 01:12:40,200
Speaker 3: with her by deception. He poses as an investor looking

1377
01:12:40,280 --> 01:12:42,479
Speaker 3: to buy the castle, and this gets him a meeting

1378
01:12:42,560 --> 01:12:45,559
Speaker 3: with Elsa. In this part of the film, we also

1379
01:12:45,680 --> 01:12:48,839
Speaker 3: get to know the mayor of Visaria, played by Lionel Atwill,

1380
01:12:48,920 --> 01:12:52,040
Speaker 3: who is acts like he's sort of also Elsa's lawyer.

1381
01:12:52,680 --> 01:12:54,519
Speaker 2: Yeah, you got to wear a number of hats in

1382
01:12:54,640 --> 01:12:55,400
Speaker 2: this town, you know.

1383
01:12:56,479 --> 01:12:56,639
Speaker 4: Now.

1384
01:12:56,720 --> 01:12:59,040
Speaker 3: Elsa wants to be free of the memories of what

1385
01:12:59,160 --> 01:13:01,320
Speaker 3: her father did, and she is eager to sell the

1386
01:13:01,479 --> 01:13:04,639
Speaker 3: estate and put it all behind her, but she hasn't

1387
01:13:04,640 --> 01:13:08,040
Speaker 3: been able to find a buyer, so the prospect is tempting.

1388
01:13:08,240 --> 01:13:12,200
Speaker 3: But when they sit down together, Talbot reveals his true

1389
01:13:12,240 --> 01:13:14,800
Speaker 3: intentions that he simply wanted to meet with her to

1390
01:13:14,840 --> 01:13:17,479
Speaker 3: talk about something, and this was the only way. I

1391
01:13:17,600 --> 01:13:19,240
Speaker 3: have to say, I would have expected her to be

1392
01:13:19,439 --> 01:13:22,679
Speaker 3: more annoyed about this deception, but she takes it rather well,

1393
01:13:22,800 --> 01:13:23,639
Speaker 3: at least at first.

1394
01:13:23,840 --> 01:13:26,800
Speaker 2: Yeah, like this would be a huge red flag. I

1395
01:13:26,880 --> 01:13:28,880
Speaker 2: need to get away from this individual who just totally

1396
01:13:28,960 --> 01:13:32,880
Speaker 2: misrepresented themselves and is not actually interested in the business

1397
01:13:32,960 --> 01:13:35,120
Speaker 2: proposal that was presented to me.

1398
01:13:35,439 --> 01:13:39,320
Speaker 3: Yeah, but when he reveals that what he really wants

1399
01:13:39,479 --> 01:13:42,439
Speaker 3: is the records of her father's research on the subject

1400
01:13:42,520 --> 01:13:45,240
Speaker 3: of life and death, she turns cold. At that point,

1401
01:13:45,360 --> 01:13:47,920
Speaker 3: she says she doesn't have any records and if she did,

1402
01:13:48,000 --> 01:13:50,800
Speaker 3: she would have destroyed them long ago. She says, her

1403
01:13:50,840 --> 01:13:53,960
Speaker 3: father was a great scientist, but everything he created brought

1404
01:13:54,080 --> 01:13:58,240
Speaker 3: unhappiness and terror. So it seems like we're at an impasse.

1405
01:13:59,000 --> 01:14:00,920
Speaker 3: But that doesn't mean we can't party a little bit

1406
01:14:01,080 --> 01:14:05,479
Speaker 3: because outside music is playing. The mayor comes in and says, oh,

1407
01:14:05,600 --> 01:14:08,080
Speaker 3: it's the Festival of the New Wine here at the village,

1408
01:14:08,560 --> 01:14:11,600
Speaker 3: and the mayor convinces Elsa and Talbot to stay for

1409
01:14:11,720 --> 01:14:14,840
Speaker 3: the evening's festivities. Basically, he sets them up on a date.

1410
01:14:15,400 --> 01:14:18,840
Speaker 2: Basically this is Frankenstein meets the wolf Man, because we

1411
01:14:19,800 --> 01:14:24,519
Speaker 2: we get actual Frankenstein, not Frankenstein's monster, meeting Larry Talbot

1412
01:14:24,600 --> 01:14:26,680
Speaker 2: who is the wolf Man, and yeah, they essentially go

1413
01:14:26,760 --> 01:14:27,160
Speaker 2: on a date.

1414
01:14:27,720 --> 01:14:30,080
Speaker 3: Also at the wine festival that night, we are treated

1415
01:14:30,120 --> 01:14:33,040
Speaker 3: to a musical number, which I think is wonderful. It's

1416
01:14:33,360 --> 01:14:35,160
Speaker 3: I looked this up to see if this is a

1417
01:14:35,240 --> 01:14:37,920
Speaker 3: traditional song. If it is, I couldn't find evidence of that,

1418
01:14:38,120 --> 01:14:41,040
Speaker 3: but maybe I didn't look hard enough. In the one

1419
01:14:41,160 --> 01:14:42,960
Speaker 3: like YouTube rip of it I found it was just

1420
01:14:43,040 --> 01:14:45,720
Speaker 3: called the Song of the New Wine. Farroh la far

1421
01:14:45,800 --> 01:14:47,719
Speaker 3: aw lee. It's a rousing tune.

1422
01:14:48,400 --> 01:14:49,559
Speaker 2: Yeah, yeah, they have a good time.

1423
01:14:49,600 --> 01:14:53,240
Speaker 3: Here, come one and all and sing a song farroh

1424
01:14:53,320 --> 01:14:55,719
Speaker 3: la far a lee for life is short but death

1425
01:14:55,840 --> 01:14:59,120
Speaker 3: is long. Farroh la farrow lee. There'll be no music

1426
01:14:59,200 --> 01:15:01,960
Speaker 3: in the tomb, sing with joy and down with gloom

1427
01:15:02,120 --> 01:15:05,559
Speaker 3: tonight the new Wine is in bloom farro farro far

1428
01:15:05,680 --> 01:15:09,640
Speaker 3: so low. And then also you remember the part the

1429
01:15:09,720 --> 01:15:12,560
Speaker 3: song gets some sick burns in on Vasik, the innkeeper.

1430
01:15:12,960 --> 01:15:13,479
Speaker 4: Yeah. Yeah.

1431
01:15:13,520 --> 01:15:15,760
Speaker 3: The singer goes up to him, and the verse he

1432
01:15:15,840 --> 01:15:18,800
Speaker 3: sings for him is I guess he's freestyling because he's

1433
01:15:18,880 --> 01:15:21,759
Speaker 3: just making up verses about the people around in the square.

1434
01:15:22,520 --> 01:15:25,000
Speaker 3: He goes up to Vasik and says, his barrel bellies

1435
01:15:25,080 --> 01:15:28,639
Speaker 3: dipper lipped for drinking wine. He's well equipped, but where's

1436
01:15:28,680 --> 01:15:31,960
Speaker 3: his chest? It must have slipped farroh la farah lee.

1437
01:15:33,240 --> 01:15:34,200
Speaker 4: Darn yeah.

1438
01:15:34,560 --> 01:15:37,160
Speaker 3: Unfortunately, when the singer makes his way over to the

1439
01:15:37,240 --> 01:15:40,160
Speaker 3: table where Elsa and Talbot are having their date. He

1440
01:15:40,479 --> 01:15:43,519
Speaker 3: sings a verse toasting to their health and happiness, and

1441
01:15:43,640 --> 01:15:47,919
Speaker 3: he ends on a line wishing that they may live eternally. Whoops,

1442
01:15:48,320 --> 01:15:51,720
Speaker 3: it's a sore subject. Talbot freaks out. He grabs the

1443
01:15:51,800 --> 01:15:54,240
Speaker 3: singer by the collar and screams in his face, I

1444
01:15:54,320 --> 01:15:57,000
Speaker 3: don't want to live eternally. Why did just say that

1445
01:15:57,160 --> 01:15:57,360
Speaker 3: to me?

1446
01:15:57,960 --> 01:15:59,560
Speaker 2: Yeah, he really shows his butt here. I guess you

1447
01:15:59,600 --> 01:16:01,679
Speaker 2: could say this is a real I think you should

1448
01:16:01,800 --> 01:16:02,639
Speaker 2: leave sort of moment.

1449
01:16:03,880 --> 01:16:09,120
Speaker 3: Exactly why'd you show that? But in the middle of

1450
01:16:09,320 --> 01:16:12,760
Speaker 3: this explosion of anguish, a character from earlier in the

1451
01:16:12,840 --> 01:16:18,639
Speaker 3: movie suddenly returns. It's doctor Mannering from the hospital in Cardiff. Like, wait,

1452
01:16:18,840 --> 01:16:21,599
Speaker 3: he tracked Talbot down all the way to the Alps.

1453
01:16:21,680 --> 01:16:23,160
Speaker 3: Doesn't he have other patients?

1454
01:16:23,439 --> 01:16:23,639
Speaker 4: Yeah?

1455
01:16:25,439 --> 01:16:27,439
Speaker 3: I guess it just seems like this case of clinical

1456
01:16:27,520 --> 01:16:30,560
Speaker 3: like anthropy is too interesting it is worth going on

1457
01:16:30,600 --> 01:16:31,960
Speaker 3: a wolf hunt across Europe.

1458
01:16:32,040 --> 01:16:34,640
Speaker 2: Yeah. I would say that his interest here is quite suspicious,

1459
01:16:34,720 --> 01:16:36,800
Speaker 2: and that suspicion may pay off.

1460
01:16:37,080 --> 01:16:41,720
Speaker 3: Yeah, There's been nothing indicated about Mannering so far that

1461
01:16:41,760 --> 01:16:44,360
Speaker 3: would raise eyebrows or make him think make you think

1462
01:16:44,479 --> 01:16:48,400
Speaker 3: that he's like overly curious about no, no, no, secrets

1463
01:16:48,400 --> 01:16:49,040
Speaker 3: of life and death.

1464
01:16:49,160 --> 01:16:53,200
Speaker 2: At this point, he feels totally like a plot convenience. Yes,

1465
01:16:53,680 --> 01:16:55,559
Speaker 2: he's just there to move the plot along and get

1466
01:16:55,640 --> 01:16:57,800
Speaker 2: us to the point where these two monsters can really

1467
01:16:57,880 --> 01:16:58,479
Speaker 2: do more together.

1468
01:16:58,760 --> 01:17:01,720
Speaker 3: In Act one, he's a complete square. Yeah, But they

1469
01:17:01,800 --> 01:17:06,160
Speaker 3: discuss how Mannering tracked Talbot here by following newspaper reports

1470
01:17:06,200 --> 01:17:09,400
Speaker 3: of wolf attacks. And by the way, Elsa is just

1471
01:17:09,479 --> 01:17:12,120
Speaker 3: sitting at the table listening to this, and then eventually

1472
01:17:12,320 --> 01:17:14,920
Speaker 3: she almost seems to get bored and she goes to

1473
01:17:15,040 --> 01:17:18,719
Speaker 3: dance with the mayor. So Mannering wants to put Talbot

1474
01:17:18,880 --> 01:17:22,360
Speaker 3: in an asylum where he can't hurt anyone, and you know,

1475
01:17:22,600 --> 01:17:24,920
Speaker 3: seems like a reasonable plan to me, like put you

1476
01:17:25,040 --> 01:17:27,720
Speaker 3: in a locked facility so that you can't escape on

1477
01:17:27,760 --> 01:17:30,760
Speaker 3: the full moon and harm anyone. But Talbot says, no, no,

1478
01:17:31,040 --> 01:17:34,439
Speaker 3: it wouldn't work. I'd only escape again. I have to die.

1479
01:17:34,560 --> 01:17:38,759
Speaker 3: It's the only solution. Unfortunately, it seems that's impossible unless

1480
01:17:38,800 --> 01:17:42,080
Speaker 3: we can find doctor Frankenstein's diary and discover the secrets

1481
01:17:42,120 --> 01:17:43,080
Speaker 3: of life and death.

1482
01:17:43,280 --> 01:17:46,560
Speaker 2: Which again feels like a huge leap it like a

1483
01:17:46,680 --> 01:17:51,839
Speaker 2: leap that doctor Frankenstein's discoveries would be applicable to this scenario.

1484
01:17:52,000 --> 01:17:53,479
Speaker 2: But that's what the whole movie is about.

1485
01:17:53,680 --> 01:17:56,920
Speaker 3: Now, Mannering seems skeptical but a little bit interested. He's

1486
01:17:57,320 --> 01:18:00,920
Speaker 3: heard of Frankenstein, he says. Doctor Frankenstein's ex experiments were

1487
01:18:00,960 --> 01:18:06,000
Speaker 3: considered rather extraordinary. Medical science never recognized them. Meanwhile, by

1488
01:18:06,040 --> 01:18:08,519
Speaker 3: the way, Vasak, the innkeeper, is listening in on them,

1489
01:18:08,720 --> 01:18:14,439
Speaker 3: scheming this conflict here is unjammed by a monster ex machina.

1490
01:18:14,720 --> 01:18:18,560
Speaker 3: Suddenly out of nowhere and for no given reason, Frankenstein's

1491
01:18:18,600 --> 01:18:22,160
Speaker 3: monster comes wandering into the town square, and everybody starts

1492
01:18:22,160 --> 01:18:25,640
Speaker 3: screaming and running away from the new wine festival. So

1493
01:18:25,840 --> 01:18:28,400
Speaker 3: Talbot saves the day by getting the monster onto a

1494
01:18:28,520 --> 01:18:30,920
Speaker 3: horse drawn cart full of wine barrels, and then he

1495
01:18:31,080 --> 01:18:34,280
Speaker 3: drives them away from the crowd. Farroh la far a lee.

1496
01:18:35,160 --> 01:18:38,880
Speaker 3: But I guess importantly, doctor Mannering here witnesses the monster,

1497
01:18:39,120 --> 01:18:43,320
Speaker 3: and I think this somehow changes what the characters accept

1498
01:18:43,400 --> 01:18:47,000
Speaker 3: as reality. Did you take that as a motivating moment?

1499
01:18:47,520 --> 01:18:49,439
Speaker 2: Yes, I did, But I have to say I was

1500
01:18:49,439 --> 01:18:53,679
Speaker 2: also just rather distracted by the prospect of Frankenstein's monster

1501
01:18:53,880 --> 01:18:57,360
Speaker 2: and the wolf Man going on adventures together on that cart.

1502
01:18:57,479 --> 01:19:02,120
Speaker 3: Like what happens next, Yeah, yeah, him traveling a traveling duo,

1503
01:19:02,439 --> 01:19:04,160
Speaker 3: and they've got plenty of wine with them.

1504
01:19:04,160 --> 01:19:06,840
Speaker 2: So they disguise themselves as school children. I don't know,

1505
01:19:06,880 --> 01:19:08,519
Speaker 2: there's so many hijinks that you could up to.

1506
01:19:09,560 --> 01:19:11,840
Speaker 3: After this, there is a scene in the tavern where

1507
01:19:11,840 --> 01:19:14,360
Speaker 3: the prominent men of the town discuss what to do next.

1508
01:19:14,680 --> 01:19:16,840
Speaker 3: As you might expect, Vazik is sort of the hot

1509
01:19:16,920 --> 01:19:19,400
Speaker 3: head of the group. He wants to storm the castle

1510
01:19:19,520 --> 01:19:22,559
Speaker 3: and get monster blood immediately. Also seems like he wants

1511
01:19:22,640 --> 01:19:26,320
Speaker 3: to maybe kill Elsa because she's a Frankenstein, but he

1512
01:19:26,520 --> 01:19:29,719
Speaker 3: is thwarted by the reservations of the mayor and some others.

1513
01:19:30,200 --> 01:19:32,240
Speaker 3: The mayor says, we've tried to kill the monster by

1514
01:19:32,360 --> 01:19:35,720
Speaker 3: force before. We must use our brains for once, and

1515
01:19:35,880 --> 01:19:40,639
Speaker 3: Vasik says brains, I'd rather depend on my fists though

1516
01:19:40,680 --> 01:19:41,599
Speaker 3: he's a real tough guy.

1517
01:19:41,960 --> 01:19:43,320
Speaker 2: Yeah, and they're all just like oh.

1518
01:19:44,680 --> 01:19:44,880
Speaker 4: Yeah.

1519
01:19:45,960 --> 01:19:51,160
Speaker 3: After this, Doctor Mannering, Elsa, and Meliva all somehow end

1520
01:19:51,280 --> 01:19:54,439
Speaker 3: up in this big town argument scene. They're like in

1521
01:19:54,600 --> 01:19:58,600
Speaker 3: the room and the door. The doctor Mannering offers his

1522
01:19:58,720 --> 01:20:01,960
Speaker 3: opinion to the mob. He said, why would he have

1523
01:20:02,200 --> 01:20:04,679
Speaker 3: thoughts on this? I don't know. He says, the monster

1524
01:20:04,920 --> 01:20:10,280
Speaker 3: was created artificially. It must be destroyed by the same means. Artificially.

1525
01:20:11,280 --> 01:20:11,439
Speaker 4: Yeah.

1526
01:20:11,520 --> 01:20:11,760
Speaker 2: Sure.

1527
01:20:12,400 --> 01:20:15,200
Speaker 3: The doctor tells them that if the people of the

1528
01:20:15,280 --> 01:20:17,960
Speaker 3: village trust him, he'll take care of the problem. He'll

1529
01:20:18,040 --> 01:20:21,000
Speaker 3: rid Visaria of this curse once and for all. And

1530
01:20:21,280 --> 01:20:24,120
Speaker 3: instead of being like, who is this guy, the villagers

1531
01:20:24,120 --> 01:20:26,560
Speaker 3: all seem to agree, Oh, yeah, okay, let's give this

1532
01:20:26,640 --> 01:20:30,320
Speaker 3: assignment to doctor Mannering, the doctor from Cardiff who just arrived.

1533
01:20:38,640 --> 01:20:41,080
Speaker 3: So it now seems kind of the gang is getting

1534
01:20:41,120 --> 01:20:44,400
Speaker 3: all together. Maliva elsa doctor Mannering all go up to

1535
01:20:44,439 --> 01:20:48,519
Speaker 3: the ruins. There they find Talbot with the monster. Talbot

1536
01:20:48,600 --> 01:20:51,360
Speaker 3: calms the monster and convinces the monster that the new

1537
01:20:51,479 --> 01:20:55,240
Speaker 3: arrivals are friends. He says, this is doctor Mannering. He's

1538
01:20:55,280 --> 01:20:58,200
Speaker 3: come to help you, to make you well. Now what

1539
01:20:58,400 --> 01:21:01,120
Speaker 3: exactly is he supposed to be doing the monster, like

1540
01:21:01,240 --> 01:21:04,680
Speaker 3: make him undead? It's not clear what the offer is.

1541
01:21:05,160 --> 01:21:06,840
Speaker 2: I yeah, I was not able to get a hold

1542
01:21:06,880 --> 01:21:09,840
Speaker 2: of any kind of like prior script to see like

1543
01:21:10,000 --> 01:21:16,280
Speaker 2: what legosis eg or monster would have been saying, like,

1544
01:21:16,800 --> 01:21:20,400
Speaker 2: because I feel like the answer probably can be found

1545
01:21:20,760 --> 01:21:23,720
Speaker 2: there if that exists. Like is he saying like, I

1546
01:21:23,840 --> 01:21:27,040
Speaker 2: will end your existence because you're entombed blind in the

1547
01:21:27,280 --> 01:21:29,680
Speaker 2: body of this monster, or I'll make you better. I'll

1548
01:21:29,720 --> 01:21:32,280
Speaker 2: make it so the monster can see, Like what exactly

1549
01:21:32,439 --> 01:21:35,919
Speaker 2: is in it for the monster here? Whether we're considering

1550
01:21:36,000 --> 01:21:38,559
Speaker 2: this the same monster that we had in previous films,

1551
01:21:38,720 --> 01:21:41,920
Speaker 2: or is this the monster egor connection that what we

1552
01:21:42,040 --> 01:21:43,640
Speaker 2: got at the end of House of Frankenstein, I mean

1553
01:21:43,720 --> 01:21:44,560
Speaker 2: goes to Frankenstein.

1554
01:21:45,160 --> 01:21:48,439
Speaker 3: So they all agree that the doctor will help them

1555
01:21:48,479 --> 01:21:51,960
Speaker 3: find a solution, and Elsa reveals that she actually does

1556
01:21:52,200 --> 01:21:54,960
Speaker 3: know where her father's diary is hidden. It's in a

1557
01:21:55,080 --> 01:21:59,800
Speaker 3: secret compartment inside the other secret compartment. Yes, so it's

1558
01:21:59,800 --> 01:22:03,840
Speaker 3: a book called The Secret of Life and Death Triple Secret,

1559
01:22:04,160 --> 01:22:09,200
Speaker 3: and then Mannering. Mannering reads out loud from the book, fascinated.

1560
01:22:09,280 --> 01:22:13,759
Speaker 3: He says, matter ages because it loses energy. This artificial

1561
01:22:13,800 --> 01:22:17,000
Speaker 3: body I have created has been charged with superhuman power

1562
01:22:17,360 --> 01:22:20,160
Speaker 3: so that its span of life will be extended. Its

1563
01:22:20,280 --> 01:22:22,799
Speaker 3: lifetime will equal the lives of more than one hundred

1564
01:22:22,920 --> 01:22:28,160
Speaker 3: human beings. This my creation, can never perish unless unless

1565
01:22:28,200 --> 01:22:32,559
Speaker 3: its energies are drained off artificially by changing the polls

1566
01:22:32,720 --> 01:22:37,240
Speaker 3: from plus to minus. Okay, that's the secret, all right?

1567
01:22:37,880 --> 01:22:40,360
Speaker 3: And then Talbot he reacts to this by saying, but

1568
01:22:40,520 --> 01:22:43,080
Speaker 3: that's the secret of life. What good does it do me?

1569
01:22:43,360 --> 01:22:47,639
Speaker 3: I'm not interested in life. I wasn't created artificially. I'm

1570
01:22:47,680 --> 01:22:50,559
Speaker 3: a human being. I've got real blood in my veins.

1571
01:22:50,720 --> 01:22:53,640
Speaker 3: What can we do to end my life? And then

1572
01:22:53,680 --> 01:22:56,840
Speaker 3: the doctor reads on and says, energy which cannot be

1573
01:22:57,000 --> 01:23:01,920
Speaker 3: destroyed can be transmitted. And this seems to mean something

1574
01:23:02,000 --> 01:23:04,240
Speaker 3: to Talbot. He says, well, if that's the case, then

1575
01:23:04,320 --> 01:23:07,240
Speaker 3: the energies from my body can be drained off also,

1576
01:23:08,680 --> 01:23:12,879
Speaker 3: so they formulate a plan by using doctor Frankenstein's old equipment,

1577
01:23:13,240 --> 01:23:17,519
Speaker 3: they can drain off the werewolf energies from Talbot by

1578
01:23:17,680 --> 01:23:20,679
Speaker 3: changing the poles from plus to minus, which should allow

1579
01:23:20,760 --> 01:23:21,400
Speaker 3: him to die.

1580
01:23:21,960 --> 01:23:27,519
Speaker 2: And conceivably do the same thing to the monster as well. Why, again,

1581
01:23:27,560 --> 01:23:29,720
Speaker 2: we come back to why is the monster necessary for

1582
01:23:29,800 --> 01:23:30,320
Speaker 2: this process?

1583
01:23:30,360 --> 01:23:30,880
Speaker 4: At this point?

1584
01:23:31,520 --> 01:23:35,719
Speaker 3: Unclear? I mean they promised the monster help. Meanwhile, in secret,

1585
01:23:35,800 --> 01:23:38,000
Speaker 3: Elsa goes up to the doctor and she says, did

1586
01:23:38,040 --> 01:23:40,519
Speaker 3: you mean what you said about helping the monster be well?

1587
01:23:41,080 --> 01:23:44,760
Speaker 3: And the Doctor's like, oh, uh no, I mustn't do that.

1588
01:23:46,120 --> 01:23:50,880
Speaker 3: But we could see he's developing a curiosity here. So

1589
01:23:50,960 --> 01:23:53,040
Speaker 3: we've got the plan in place which will lead us

1590
01:23:53,080 --> 01:23:55,679
Speaker 3: to the climax. So we're getting up to the final

1591
01:23:55,760 --> 01:23:59,600
Speaker 3: scene here, doctor mannering. He first sets about preparations. He

1592
01:23:59,720 --> 01:24:03,919
Speaker 3: orders a bunch of equipment to repair Frankenstein's machines. Meanwhile,

1593
01:24:04,120 --> 01:24:07,320
Speaker 3: Vazik and his crew meet in the tavern grousing about

1594
01:24:07,320 --> 01:24:10,160
Speaker 3: the situation. These guys are very like they remind me

1595
01:24:10,240 --> 01:24:13,000
Speaker 3: of Senator Walter k Powers and the brain eaters. They

1596
01:24:13,080 --> 01:24:16,240
Speaker 3: want action, and the mayor tries to chill them out.

1597
01:24:16,320 --> 01:24:18,880
Speaker 3: But Vasik, Dwight Fry and a couple of the other

1598
01:24:18,960 --> 01:24:21,760
Speaker 3: guys are like, eh, the Frankenstein girl, the doctor, they're

1599
01:24:21,800 --> 01:24:25,120
Speaker 3: all up to no good. And then frank and then Vazik,

1600
01:24:25,280 --> 01:24:28,280
Speaker 3: in front of everyone, describes a plan. He says, we

1601
01:24:28,360 --> 01:24:31,320
Speaker 3: should blow up the dam that will flood the castle

1602
01:24:31,479 --> 01:24:32,200
Speaker 3: and kill them all.

1603
01:24:32,880 --> 01:24:35,800
Speaker 2: Yeah, just a little domestic terrorism, That's that's all the

1604
01:24:35,880 --> 01:24:36,680
Speaker 2: situation calls for.

1605
01:24:37,040 --> 01:24:37,240
Speaker 4: Yeah.

1606
01:24:37,960 --> 01:24:39,960
Speaker 3: So the mayor, the mayor, by the way, is sitting

1607
01:24:40,000 --> 01:24:42,200
Speaker 3: at the table and here's this whole plan, and his

1608
01:24:42,360 --> 01:24:45,599
Speaker 3: reaction is you're drunk vasik. That's why no one takes

1609
01:24:45,640 --> 01:24:46,680
Speaker 3: your word seriously.

1610
01:24:47,320 --> 01:24:48,400
Speaker 2: That'll put him in his place.

1611
01:24:48,520 --> 01:24:48,920
Speaker 4: Yeah yeah.

1612
01:24:50,000 --> 01:24:52,720
Speaker 3: Meanwhile, up at the castle, a full moon is coming

1613
01:24:52,800 --> 01:24:54,400
Speaker 3: tonight and Talbat is impatient.

1614
01:24:55,040 --> 01:24:55,400
Speaker 2: This time.

1615
01:24:55,479 --> 01:24:57,320
Speaker 3: He does seem to know a full moon's on the way.

1616
01:24:57,720 --> 01:24:57,960
Speaker 4: Don't know.

1617
01:24:58,120 --> 01:24:59,519
Speaker 2: Finally, but he.

1618
01:24:59,560 --> 01:25:02,160
Speaker 3: Doesn't want to live through another night of wolf terror,

1619
01:25:02,640 --> 01:25:05,599
Speaker 3: and Mannering promises. He says his work is almost complete

1620
01:25:05,640 --> 01:25:08,600
Speaker 3: and he will be able to kill Talbot before the transformation.

1621
01:25:10,479 --> 01:25:13,839
Speaker 3: By the way, at what point did Mannering become convinced

1622
01:25:13,920 --> 01:25:18,040
Speaker 3: that Talbot was a real werewolf and not a delusional lichanthrope.

1623
01:25:18,880 --> 01:25:22,400
Speaker 3: Was it like when he saw Frankenstein's monster or is

1624
01:25:22,479 --> 01:25:25,680
Speaker 3: he even actually convinced of that at this point? Does

1625
01:25:25,720 --> 01:25:28,080
Speaker 3: he still think that he's not a real werewolf?

1626
01:25:28,800 --> 01:25:29,120
Speaker 4: I don't.

1627
01:25:29,200 --> 01:25:31,400
Speaker 2: I mean, I assume that he bought into the werewolf

1628
01:25:31,479 --> 01:25:35,240
Speaker 2: thing by now. Yeah, but why Yeah, the closest we

1629
01:25:35,280 --> 01:25:37,840
Speaker 2: can come to is he saw, well, Frankenstein's monster is real,

1630
01:25:38,280 --> 01:25:39,800
Speaker 2: therefore why not were wolf?

1631
01:25:40,120 --> 01:25:43,080
Speaker 3: Elsa meanwhile, is working her angle on Mannering, which is

1632
01:25:43,160 --> 01:25:46,040
Speaker 3: destroy the monster. She's like, look, you could just lock

1633
01:25:46,080 --> 01:25:49,000
Speaker 3: Talbot up somewhere, but you've got to do what's really important,

1634
01:25:49,080 --> 01:25:54,519
Speaker 3: destroy my father's creation. And Mannering is, yeah, he's stretched

1635
01:25:54,600 --> 01:25:56,560
Speaker 3: thin by all of this work, but he indicates that

1636
01:25:56,680 --> 01:26:00,360
Speaker 3: Elsa shouldn't worry. He implies he will destroy both of

1637
01:26:00,439 --> 01:26:04,000
Speaker 3: the creatures tonight at the same time. Then he powers

1638
01:26:04,080 --> 01:26:06,720
Speaker 3: up the machines and they begin to arc with this ferocious,

1639
01:26:06,800 --> 01:26:10,160
Speaker 3: deafening electrical power. And then later that night we see

1640
01:26:10,200 --> 01:26:13,639
Speaker 3: both Talbot and the monster strapped to tables side by side,

1641
01:26:13,960 --> 01:26:18,280
Speaker 3: hooked up to the fantastical laboratory array, and Mannering reads

1642
01:26:18,320 --> 01:26:22,320
Speaker 3: from Frankenstein's notes, reading out loud, connecting the polls plus

1643
01:26:22,400 --> 01:26:25,880
Speaker 3: to minus will charge the energy output of the nervous system,

1644
01:26:26,280 --> 01:26:32,080
Speaker 3: as by connecting the minus to the minus seems utterly nonsensical.

1645
01:26:34,120 --> 01:26:34,479
Speaker 4: Mannering.

1646
01:26:34,520 --> 01:26:36,439
Speaker 3: At this point he gets a far away look in

1647
01:26:36,520 --> 01:26:39,680
Speaker 3: his eyes and he says to himself, I can't do it.

1648
01:26:40,280 --> 01:26:44,040
Speaker 3: I can't destroy Frankenstein's creation. I've got to see it

1649
01:26:44,160 --> 01:26:45,479
Speaker 3: at its full power.

1650
01:26:47,479 --> 01:26:51,320
Speaker 2: So sudden heel turn here where he's He's kind of

1651
01:26:51,439 --> 01:26:55,679
Speaker 2: like the parking valet in Ferris Bueler's Day Off, Ferris

1652
01:26:55,720 --> 01:27:00,280
Speaker 2: Bueler's Day Off, who takes the sports car and you

1653
01:27:00,320 --> 01:27:02,720
Speaker 2: know Garret grabs a buddy and rides it throughout the town,

1654
01:27:04,080 --> 01:27:06,280
Speaker 2: all over Chicago, because he's like, it would it'd be

1655
01:27:06,479 --> 01:27:08,600
Speaker 2: just a crime not to drive the heck out of

1656
01:27:08,640 --> 01:27:11,160
Speaker 2: this car. It'd be a shame a crime not to

1657
01:27:11,320 --> 01:27:14,160
Speaker 2: power Frankenstein's Monster up to full strength.

1658
01:27:14,520 --> 01:27:16,679
Speaker 3: Right, gotta take it for a spin. So he fiddles

1659
01:27:16,760 --> 01:27:21,840
Speaker 3: with some cables, retools the machine to juice Frankenstein's Monster

1660
01:27:22,000 --> 01:27:26,080
Speaker 3: to maximum frank And we see the effects of this,

1661
01:27:26,240 --> 01:27:28,839
Speaker 3: like the leads connected to the bolts, and the monster's

1662
01:27:28,920 --> 01:27:29,919
Speaker 3: neck starts smoking.

1663
01:27:30,520 --> 01:27:31,280
Speaker 2: In the monsters.

1664
01:27:31,479 --> 01:27:35,120
Speaker 3: Yeah, the monster's mouth twitches with stimulation. It's like he's

1665
01:27:35,120 --> 01:27:37,840
Speaker 3: saying words with his lips closed. This is a good

1666
01:27:37,880 --> 01:27:40,320
Speaker 3: detail in Lugosi's performance, by the way, like the close

1667
01:27:40,400 --> 01:27:43,960
Speaker 3: ups on his face are great. Elsa is in bed

1668
01:27:44,160 --> 01:27:46,280
Speaker 3: for some reason. Why didn't she stay up for this?

1669
01:27:47,600 --> 01:27:50,280
Speaker 3: She's awakened from her bed and she comes to check

1670
01:27:50,360 --> 01:27:52,840
Speaker 3: out the action and the lab, and then she realizes

1671
01:27:52,920 --> 01:27:56,400
Speaker 3: what is happening. She shouts at Mannering, no, you're making

1672
01:27:56,479 --> 01:28:00,160
Speaker 3: him strong again. But Mannering doesn't stop. He's got to

1673
01:28:00,160 --> 01:28:03,720
Speaker 3: see him in full power. So the monster turns to

1674
01:28:03,840 --> 01:28:06,600
Speaker 3: look at Mannering and smiles and again this is a

1675
01:28:06,680 --> 01:28:10,160
Speaker 3: good Lugosi close up. Meanwhile, up at the dam we

1676
01:28:10,240 --> 01:28:13,479
Speaker 3: see Vaazig just planning dynamite. He's getting ready to flood

1677
01:28:13,520 --> 01:28:16,360
Speaker 3: the castle by himself, no crew with him. It seems

1678
01:28:16,439 --> 01:28:17,599
Speaker 3: kind of sad and lonely.

1679
01:28:18,040 --> 01:28:21,519
Speaker 2: Yeah, and again, he's a big guy, so it took

1680
01:28:21,560 --> 01:28:24,519
Speaker 2: a lot for him to creep up and climb on

1681
01:28:24,600 --> 01:28:26,519
Speaker 2: the dam to find just the right spot to place

1682
01:28:26,560 --> 01:28:28,360
Speaker 2: the dynamite. But he's doing it. He is going to

1683
01:28:28,400 --> 01:28:29,080
Speaker 2: blow up the dam.

1684
01:28:29,400 --> 01:28:33,080
Speaker 3: He's on a precarious, slippery little ledge there planting this dynamite.

1685
01:28:33,200 --> 01:28:33,360
Speaker 4: Yeah.

1686
01:28:34,400 --> 01:28:36,640
Speaker 3: Again, We come back to the castle and Elsa at

1687
01:28:36,680 --> 01:28:39,479
Speaker 3: this point is actively trying to stop mannering. She throws

1688
01:28:39,520 --> 01:28:42,360
Speaker 3: a switch or something and it short circuits the machinery.

1689
01:28:42,720 --> 01:28:47,360
Speaker 3: Stuff explodes and you know, beams and rocks begin falling

1690
01:28:47,439 --> 01:28:51,360
Speaker 3: from the ceiling. But it's too late. The monster is

1691
01:28:51,479 --> 01:28:53,519
Speaker 3: all powered up. He is at full power, and he

1692
01:28:53,760 --> 01:28:56,720
Speaker 3: busts out of the straps and begins to rampage through

1693
01:28:56,800 --> 01:29:00,800
Speaker 3: the room. He goes after Elsa, he picks her up.

1694
01:29:00,960 --> 01:29:04,400
Speaker 3: She faints, of course, immediately goes unconscious, and we get

1695
01:29:04,439 --> 01:29:08,200
Speaker 3: the monster carrying away. Elsa's unconscious body like the poster promised.

1696
01:29:09,080 --> 01:29:09,960
Speaker 2: But just then.

1697
01:29:10,240 --> 01:29:14,479
Speaker 3: Talbot transforms into Wolfman and he comes to save the day.

1698
01:29:14,560 --> 01:29:18,519
Speaker 3: He attacks the monster, rescuing Elsa. I found this so

1699
01:29:18,720 --> 01:29:23,240
Speaker 3: confusing because I thought the whole thing about the Wolfman

1700
01:29:23,840 --> 01:29:26,519
Speaker 3: is that he retains none of Talbot's mind and is

1701
01:29:26,760 --> 01:29:30,479
Speaker 3: just a slavering beast. Why would the Wolfman form of

1702
01:29:30,600 --> 01:29:33,640
Speaker 3: Talbot be trying to save Elsa. That's something Talbot would do,

1703
01:29:34,120 --> 01:29:36,960
Speaker 3: But the Wolfman isn't Talbot anymore, That's the whole point.

1704
01:29:37,320 --> 01:29:39,439
Speaker 2: Yeah, it seems like the most he would do is

1705
01:29:39,600 --> 01:29:41,600
Speaker 2: like try to drag her away by the neck and

1706
01:29:41,680 --> 01:29:45,400
Speaker 2: eat her himself. Yeah, but no, he's suddenly a hero wolf.

1707
01:29:46,000 --> 01:29:47,840
Speaker 3: He's more like Valdemar Doninski here.

1708
01:29:47,960 --> 01:29:48,439
Speaker 4: Yeah. Yeah.

1709
01:29:49,920 --> 01:29:52,680
Speaker 3: Anyway, so up at the dam of Vaaak lights the

1710
01:29:52,840 --> 01:29:55,680
Speaker 3: fuse on the dynamite and we see the dam is

1711
01:29:55,680 --> 01:29:58,320
Speaker 3: about to blow in the laboratory, the Wolfman and the

1712
01:29:58,360 --> 01:30:02,040
Speaker 3: Monster begin to fight. They you could out Robinnie notes

1713
01:30:02,120 --> 01:30:03,320
Speaker 3: on this on this matchup.

1714
01:30:03,680 --> 01:30:06,720
Speaker 2: Yes, So it's we have to consider this is the

1715
01:30:06,800 --> 01:30:08,640
Speaker 2: first monster mash, so it is not going to be

1716
01:30:08,680 --> 01:30:12,080
Speaker 2: as advanced as as many of the later battles are

1717
01:30:12,200 --> 01:30:15,080
Speaker 2: going to be. Between various monsters, but it's still really good.

1718
01:30:15,760 --> 01:30:19,560
Speaker 2: There's some you know, throwing each other around. The werewolf's

1719
01:30:19,960 --> 01:30:25,280
Speaker 2: prime strategy is to try and climb on progressively higher

1720
01:30:25,360 --> 01:30:30,200
Speaker 2: pieces of furniture so as to leap off, like luchador

1721
01:30:30,320 --> 01:30:34,000
Speaker 2: style at Frankenstein's Monster, which which is a lot of

1722
01:30:34,040 --> 01:30:36,120
Speaker 2: fun and I don't know, you know, it's we see

1723
01:30:36,160 --> 01:30:38,479
Speaker 2: shades of that earlier with the world. We're always climbing

1724
01:30:38,560 --> 01:30:40,960
Speaker 2: on stuff. Wolfman likes to get up high like he's

1725
01:30:41,000 --> 01:30:41,360
Speaker 2: a goat.

1726
01:30:41,640 --> 01:30:43,760
Speaker 3: We saw that in Cardiff when he was running around

1727
01:30:43,800 --> 01:30:45,519
Speaker 3: doing parkour on the cotton bales.

1728
01:30:46,160 --> 01:30:48,080
Speaker 2: Yeah, keep getting higher and higher till you have some

1729
01:30:48,479 --> 01:30:50,160
Speaker 2: nice height come off the top rope.

1730
01:30:50,920 --> 01:30:53,639
Speaker 3: The monster is supposed to be a much bulkier, I think,

1731
01:30:53,760 --> 01:30:56,920
Speaker 3: heavyweight style fighter, So I'm imagining this is this kind

1732
01:30:57,000 --> 01:31:01,080
Speaker 3: of like a matchup between Andre the Giant and Mysterio Junior.

1733
01:31:01,720 --> 01:31:04,680
Speaker 2: Yeah, I think so. Yeah, David Goliath sort of a

1734
01:31:04,840 --> 01:31:08,160
Speaker 2: vibe here. Yeah, each of them have their strengths and

1735
01:31:08,320 --> 01:31:10,280
Speaker 2: so yeah, it's a fun smack down here.

1736
01:31:10,439 --> 01:31:10,560
Speaker 4: You know.

1737
01:31:11,000 --> 01:31:14,960
Speaker 2: Again occurs very late in the picture and doesn't last

1738
01:31:15,080 --> 01:31:18,360
Speaker 2: that long. But again, we really hadn't We didn't have

1739
01:31:18,520 --> 01:31:20,320
Speaker 2: this before. This is a this is a first, so

1740
01:31:20,520 --> 01:31:21,760
Speaker 2: everything we get here is a gift.

1741
01:31:22,080 --> 01:31:22,280
Speaker 4: Yeah.

1742
01:31:22,640 --> 01:31:25,880
Speaker 3: So while the two monsters fight, Mannering and Elsa flee

1743
01:31:25,960 --> 01:31:29,280
Speaker 3: the laboratory and they escape the castle, do we ever

1744
01:31:29,400 --> 01:31:32,599
Speaker 3: see what happens with Maliva? Does she escape? Do they

1745
01:31:32,640 --> 01:31:33,920
Speaker 3: show show her?

1746
01:31:34,720 --> 01:31:37,080
Speaker 2: I'd kind of forgotten about her by this point, but yeah,

1747
01:31:37,960 --> 01:31:39,920
Speaker 2: I hope she's okay. Maybe she found a little boat

1748
01:31:40,000 --> 01:31:42,599
Speaker 2: or something. Yeah, she's a survivor. I bet she's fine.

1749
01:31:42,800 --> 01:31:44,120
Speaker 2: She is, But we don't.

1750
01:31:44,200 --> 01:31:45,920
Speaker 3: I don't think we see her at the end unless

1751
01:31:45,920 --> 01:31:49,479
Speaker 3: there's something I'm forgetting here. So the dam explodes, water

1752
01:31:49,640 --> 01:31:52,200
Speaker 3: rushes toward the castle while the monster wrestling goes on,

1753
01:31:53,000 --> 01:31:56,800
Speaker 3: and then finally a huge, massive water bursts through into

1754
01:31:56,880 --> 01:32:00,400
Speaker 3: the laboratory and we see the rushing river roy the

1755
01:32:00,479 --> 01:32:03,640
Speaker 3: castle entirely, every part of it is washed away in

1756
01:32:03,720 --> 01:32:06,360
Speaker 3: the flood. And here I love the model work. Oh

1757
01:32:06,560 --> 01:32:08,640
Speaker 3: and the dam and the flood and the destruction of

1758
01:32:08,640 --> 01:32:11,040
Speaker 3: the castle looks great. I love this kind of stuff.

1759
01:32:11,840 --> 01:32:11,960
Speaker 2: Uh.

1760
01:32:12,160 --> 01:32:15,479
Speaker 3: And then suddenly just the end bump bump, bump, bump,

1761
01:32:15,520 --> 01:32:20,200
Speaker 3: bum feels extremely sudden. I am sure people in the

1762
01:32:20,280 --> 01:32:22,559
Speaker 3: theaters and this came out would have been been like, wait,

1763
01:32:22,720 --> 01:32:23,240
Speaker 3: it's over.

1764
01:32:24,320 --> 01:32:26,920
Speaker 2: Well, yeah, it feels I mean, on so many levels

1765
01:32:27,000 --> 01:32:30,000
Speaker 2: it feels sudden, because, first of all, we've already established

1766
01:32:30,000 --> 01:32:33,759
Speaker 2: that neither the Wolfman nor Frankenstein's Monster can be easily

1767
01:32:33,920 --> 01:32:37,080
Speaker 2: killed by conventional methods, like it was going to take

1768
01:32:37,200 --> 01:32:39,960
Speaker 2: mad science to do it. A flood is not going

1769
01:32:40,040 --> 01:32:42,920
Speaker 2: to cut it. Collapsing castle is not going to cut it.

1770
01:32:43,160 --> 01:32:46,960
Speaker 2: So I don't you know, I don't have any any

1771
01:32:47,040 --> 01:32:50,320
Speaker 2: there's no indication here that they have defeated the monsters.

1772
01:32:50,360 --> 01:32:53,360
Speaker 2: They just maybe washed them downstream and now they're you know,

1773
01:32:53,520 --> 01:32:57,800
Speaker 2: the next town's problem. And yeah, what Mannering and the

1774
01:32:57,840 --> 01:33:01,320
Speaker 2: Barrenness escape, But like, are are we supposed to believe

1775
01:33:01,400 --> 01:33:04,559
Speaker 2: that they are a magical item now because they've escaped together,

1776
01:33:04,680 --> 01:33:08,519
Speaker 2: because communication and relationship is very important, And there's already

1777
01:33:08,600 --> 01:33:12,519
Speaker 2: been a very serious betrayal with his decision to power

1778
01:33:12,600 --> 01:33:15,160
Speaker 2: the monster up to full strength instead of destroying.

1779
01:33:15,120 --> 01:33:20,280
Speaker 3: Mannering has done a serious done some serious crimes and betrayed. Yeah,

1780
01:33:20,520 --> 01:33:23,840
Speaker 3: been deceptive in the perpetration of these crimes now, and

1781
01:33:23,920 --> 01:33:26,800
Speaker 3: it seems like he's just getting away scott free. Yeah, yeah,

1782
01:33:27,200 --> 01:33:30,519
Speaker 3: and we and again maybe this was indicated and I

1783
01:33:30,720 --> 01:33:32,799
Speaker 3: just missed it. We don't know what happens to Maliva,

1784
01:33:33,160 --> 01:33:34,320
Speaker 3: yeah and yeah.

1785
01:33:34,400 --> 01:33:34,599
Speaker 4: Yeah.

1786
01:33:34,720 --> 01:33:37,920
Speaker 3: So the main question of this movie is will the

1787
01:33:38,000 --> 01:33:41,720
Speaker 3: Wolfman be able to die to you know, to to

1788
01:33:41,960 --> 01:33:46,120
Speaker 3: end his uh, to end his tormented eternity of immortality?

1789
01:33:46,840 --> 01:33:49,519
Speaker 3: And I don't think they answered that question. Like, it

1790
01:33:49,720 --> 01:33:53,040
Speaker 3: wasn't clear to me whether Mannering actually did anything to

1791
01:33:53,120 --> 01:33:56,160
Speaker 3: cure the Wolfman's immortality. I don't think so. I think

1792
01:33:56,200 --> 01:33:58,160
Speaker 3: all he did was push frank to full power.

1793
01:33:58,560 --> 01:34:00,320
Speaker 2: Yeah, Like, and we don't even get a firm answer,

1794
01:34:00,400 --> 01:34:02,280
Speaker 2: Like if we'd at least gotten I mean, this would

1795
01:34:02,280 --> 01:34:04,040
Speaker 2: have been a more of a downer ending. But if

1796
01:34:04,040 --> 01:34:06,840
Speaker 2: we'd had a scene where Talbot is like, oh, I

1797
01:34:06,880 --> 01:34:08,920
Speaker 2: guess I'm cursed after all, I'll never die and he

1798
01:34:09,040 --> 01:34:11,519
Speaker 2: just wanders off, you know, into the distance like that

1799
01:34:11,760 --> 01:34:14,599
Speaker 2: you know, incredible hole music. Yeah, that would that would

1800
01:34:14,640 --> 01:34:17,080
Speaker 2: have been That would have felt more like closure. As

1801
01:34:17,120 --> 01:34:19,800
Speaker 2: it is, We're just like, did the movie forget how

1802
01:34:20,200 --> 01:34:22,640
Speaker 2: the rules that they had already established. They were just like,

1803
01:34:22,680 --> 01:34:24,360
Speaker 2: we gotta have we gotta end the film, folks, Sorry,

1804
01:34:24,479 --> 01:34:25,360
Speaker 2: people have to go home.

1805
01:34:26,840 --> 01:34:30,760
Speaker 3: Well that is Frankenstein meets the wolf Man they do indeed.

1806
01:34:30,560 --> 01:34:35,160
Speaker 2: Meet absolutely and again, you know, just despite the ridiculousness

1807
01:34:35,200 --> 01:34:38,000
Speaker 2: that we had some fun with here, really fun film,

1808
01:34:38,880 --> 01:34:42,360
Speaker 2: definitely worth checking out. I really enjoyed it. And you know,

1809
01:34:42,439 --> 01:34:45,240
Speaker 2: it's the again the first monster mash. It's it has

1810
01:34:45,280 --> 01:34:49,559
Speaker 2: almost religious significance for film fans. All Right, we're gonna

1811
01:34:49,560 --> 01:34:51,840
Speaker 2: go ahead and close this one up, but we'll be

1812
01:34:52,000 --> 01:34:57,360
Speaker 2: back later in October with more halloweeny Weird House Cinema selections.

1813
01:34:57,960 --> 01:35:00,880
Speaker 2: In the meantime, will remind you stuff to blow your mind.

1814
01:35:00,960 --> 01:35:03,719
Speaker 2: Is primarily a science and culture podcast with core episodes

1815
01:35:03,760 --> 01:35:06,280
Speaker 2: on Tuesdays and Thursdays, but on Fridays we set aside

1816
01:35:06,320 --> 01:35:09,840
Speaker 2: most serious concerns to just talk about a weird movie

1817
01:35:10,040 --> 01:35:13,240
Speaker 2: on Weird House Cinema. And if you would like to

1818
01:35:13,280 --> 01:35:15,439
Speaker 2: see a list of all the movies we've covered over

1819
01:35:15,520 --> 01:35:18,519
Speaker 2: the years, go over to letterbox dot com look us up.

1820
01:35:18,680 --> 01:35:20,960
Speaker 2: Our username is weird House, and you can find a

1821
01:35:21,040 --> 01:35:24,200
Speaker 2: nice Weird House Cinema episode list and you can get

1822
01:35:24,200 --> 01:35:26,400
Speaker 2: a nice rundown on all the movies we've covered over

1823
01:35:26,439 --> 01:35:30,680
Speaker 2: the years. This was film number two hundred and twenty two,

1824
01:35:30,880 --> 01:35:33,599
Speaker 2: I believe. And sometimes you'll even get a peek ahead

1825
01:35:33,600 --> 01:35:34,559
Speaker 2: at what's coming up next.

1826
01:35:35,040 --> 01:35:38,680
Speaker 3: Here's thanks as always to our excellent audio producer Jjposway.

1827
01:35:39,040 --> 01:35:40,559
Speaker 3: If you would like to get in touch with us

1828
01:35:40,640 --> 01:35:43,040
Speaker 3: with feedback on this episode or any other, to suggest

1829
01:35:43,120 --> 01:35:45,000
Speaker 3: a topic for the future, or just to say hello,

1830
01:35:45,200 --> 01:35:47,679
Speaker 3: you can email us at contact at stuff to Blow

1831
01:35:47,760 --> 01:35:48,680
Speaker 3: your Mind dot com.

1832
01:35:55,560 --> 01:35:58,479
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1833
01:35:58,600 --> 01:36:01,320
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1834
01:36:01,520 --> 01:36:04,240
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.