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

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I am Joe McCormick. And October continues. So we

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Speaker 3: are still bringing you Halloween themed episodes of Weird House

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Speaker 3: Cinema and also core episodes of Stuff to Blow Your

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Speaker 3: Mind throughout this month. Today we are covering the nineteen

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Speaker 3: sixty Roger Corman adaptation of Edgar Allan Poe's short story

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Speaker 3: The Fall of the House of Usher, starring who else,

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Speaker 3: it's Vincent Price. This movie is sometimes billed with the

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Speaker 3: full name of the story, as it's titled The Fall

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Speaker 3: of the House of Usher, but sometimes you'll see it

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Speaker 3: shortened to just House of Usher. In fact, I've seen

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Speaker 3: it the latter format more times. I think it looks

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Speaker 3: like that in all the classic posters.

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Speaker 2: Yeah, this is another one of those cases where there

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Speaker 2: have been enough at ats of the original post story

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Speaker 2: in question that you should just go ahead and throw

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Speaker 2: nineteen sixty on there whenever you're looking it up anywhere,

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Speaker 2: just to be sure. And especially this is complicated since

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Speaker 2: you don't know how this film is actually going to

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Speaker 2: be titled in a given release.

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Speaker 3: So this is one of a series of films from

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Speaker 3: the nineteen sixties that had three production elements in common.

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Speaker 3: The first element is a script adapted from the works

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Speaker 3: of Edgar Allan Poe, conveniently in the public domain by

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Speaker 3: this time. The second element is it was directed by

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Speaker 3: Drive in double feature god Roger Corman. And the third

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Speaker 3: feature is that the movie starred the peerless Vincent Price,

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Speaker 3: who I love the way Price fits into these Edgar

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Speaker 3: Allan Poe characters. He just gets in there so perfectly.

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Speaker 3: I was trying to think of an analogy, and what

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Speaker 3: came to mind is it's like when you drop one

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Speaker 3: of the game pieces into a Connect four set, you know,

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Speaker 3: it just falls into place with this happy little clip.

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Speaker 2: Yeah. Yeah, well it certainly clicks, that's for sure.

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Speaker 3: So anyway, it was a three way collaboration, the Po

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Speaker 3: Price Corman collaboration that was so nice. They did it

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Speaker 3: like seven or eight times, depending on how much of

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Speaker 3: a stickler you are for accurate story credits. And we'll

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Speaker 3: come back to the Corman post cycle later in the

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Speaker 3: Connections part of this episode. But I wanted to start

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Speaker 3: today by mentioning that we've covered one of these movies

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Speaker 3: on the show before for a previous Halloween season Weird House,

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Speaker 3: and that previous movie was The Mask of the Red

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Speaker 3: Death from nineteen sixty four, a lavish satanic plague tale

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Speaker 3: featuring Vincent Price as the wicked corruptor of innocence Prince Prospero.

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Speaker 3: And I love Mask of the Red Death. If you

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Speaker 3: go back and listen to that episode. I'm sure I'm

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Speaker 3: just running out of positive things to say about it,

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Speaker 3: but I still think about it all the time. I

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Speaker 3: love the atmosphere of good and evil as almost physically

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Speaker 3: embodied power. I love the use of extravagant, brightly colored

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Speaker 3: masquerade costumes set against this gray world. It creates this

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Speaker 3: jewels on bone visual texture that I find so pleasing.

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Speaker 3: Of course, I love Vincent Price, and I also love

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Speaker 3: how Mask contrasts with Roger Corman's previous B movie work,

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Speaker 3: stuff like Attack of the Crab, Monsters, Not of This

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Speaker 3: Earth and It Conquered the World. All movies that I love,

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Speaker 3: and we have talked about lovingly on the show many times,

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Speaker 3: But all of these previous movies, I think you could

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Speaker 3: say are self consciously schlock. Like Corman sort of knew

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Speaker 3: he was making trash, but he was trying to make

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Speaker 3: like fun, scrappy, sort of intelligent trash. Mask at the

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Speaker 3: Red Death, on the other hand, I think is not

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Speaker 3: schlock in the same way. You can argue that it

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Speaker 3: has some subtle bits of self parody, but ultimately I

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Speaker 3: think Mask is a very successful classic Gothic horror film

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Speaker 3: when taken straightforwardly and it's made with real finesse, and

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Speaker 3: then sort of on top of that, once you accept

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Speaker 3: it at that level, you can unlock maybe second and

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Speaker 3: third levels of pleasure by watching it with a more

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Speaker 3: ironic lens.

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Speaker 2: It is a very pleasurable film, and it is it

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Speaker 2: is a prestige Roger Corman picture. And I would say, ultimately,

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Speaker 2: if you're too good for Mask of the Red Death,

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Speaker 2: then we probably don't have much in common. We probably

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Speaker 2: probably don't have even like a groundwork upon which to

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Speaker 2: build out this friendship.

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Speaker 3: Yeah, but so anyway, I love to Mask of the

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Speaker 3: Red Death so much. I wanted to come back to

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Speaker 3: one of the Corman Poe Price movies this October, and

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Speaker 3: I decided we should watch the one that started it all,

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Speaker 3: the first of these collaborations. So here we are with

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Speaker 3: House of Usher, from nineteen sixty. So as a point

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Speaker 3: of comparison, I think it's interesting how scaled back this

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Speaker 3: movie feels compared to Mask. Mask has a big cast,

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Speaker 3: a lot of extra lots of location changes, you know,

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Speaker 3: interior exterior. It has a lot of location changes within

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Speaker 3: the main castle as bright colors, interesting costumes, big sets,

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Speaker 3: and light effects that in some cases even border on psychedelic.

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Speaker 3: You could say. Usher, by contrast, I think, feels like

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Speaker 3: a really good bottle episode of a TV show. The

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Speaker 3: cast is small, there are only four characters, really three

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Speaker 3: principal characters in sort of a gruel boiling Butler. The

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Speaker 3: setting is mostly confined to the interior of one house.

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Speaker 3: There's nothing too crazy visually, at least not until around

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Speaker 3: the climax. Then toward the end there are some sites

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Speaker 3: and sounds that get kind of weird. But in general

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Speaker 3: I would just say that Usher contains less flambuoyant original

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Speaker 3: creativity than Mask, and it is a more disciplined attempt

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Speaker 3: to capture the tone and plot of the original Pose story.

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Speaker 3: But this is by no means. A dig lot of

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Speaker 3: people cite Usher as their favorite of the Corman Price collaborations,

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Speaker 3: and I think I can see why, like the wildness

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Speaker 3: of Mask is a bit more my speed, but Usher

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Speaker 3: has a really good script and a chillingly effective and

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Speaker 3: ambiguous performance by Price, who has bleach blonde hair. By

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Speaker 3: the way, where else are you going to get that?

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Speaker 2: Yeah, that's right, We'll come back to the look of

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Speaker 2: Vincent Price in this picture. That alone makes it stand out.

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Speaker 2: But I agree this is a picture that in many

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Speaker 2: ways makes it a smaller picture, but a smaller picture

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Speaker 2: that's really allowed to breathe, you know, like the fewer

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Speaker 2: elements involved all managed to sort of build up their

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Speaker 2: own energy that by the end of the picture you

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Speaker 2: don't feel like you've been slided at all. That being said,

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Speaker 2: I think it is fair to say this is maybe

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Speaker 2: a movie in which not as much happens compared to

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Speaker 2: other pictures, and you've got to be on board with that.

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Speaker 2: Like I watched this film zonked Out on an airplane

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Speaker 2: and was the perfect perfect picture for that sort of setting,

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Speaker 2: you know. I like a nice slow film like this.

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Speaker 2: You can breathe in all the sights and sounds, especially

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Speaker 2: the sites more so than the sounds here, but then

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Speaker 2: also some strong performances in here as well. But like

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Speaker 2: I say, if you want something that's really snappy, this

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Speaker 2: is maybe not yet, so you've got to be on

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Speaker 2: its wavelength. But if you're on its wavelength, a film

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Speaker 2: like this is perfect.

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Speaker 3: Oh this is a gloomy, languid, classic gothic haunted mansion story. Yeah,

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Speaker 3: well wait a minute now that I say haunted mansion,

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Speaker 3: actually I think a great thing. Maybe we can discuss

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Speaker 3: the themes more when we get into the plot section,

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Speaker 3: but I think this movie is interesting in that you

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Speaker 3: could legitimately ask, at least for most of the runtime,

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Speaker 3: whether there's actually anything supernatural happening or not, or whether

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Speaker 3: it's all just kind of the consequences of Vincent Price's

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Speaker 3: character Roderick and his delusional behave.

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Speaker 2: Yeah, if nothing out as Ilset is a film haunted

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Speaker 2: by multi generational human evil. Yeah, and it definitely ruminates

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Speaker 2: on that.

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Speaker 3: All right, we usually do an elevator pitch. I'll try

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Speaker 3: to give a straightforward plot set up here. Philip Winthrop

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Speaker 3: travels to the desolate and decomposing Usher Estate to visit

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Speaker 3: his fiancee, Madeleine, whom he courted and became engaged to

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Speaker 3: during their time together in Boston. So she's gone ahead

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Speaker 3: of him back to the Usher estate, and he's coming

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Speaker 3: to beat her. But when he arrives, Philip discovers that

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Speaker 3: Madeleine is in ill health and she is under the

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Speaker 3: constant control of her strange and morose brother, Roderick played

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Speaker 3: by Vincent Price. Over time, Philip begins to doubt what

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Speaker 3: he's being told by Roderick and the household butler. Is

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Speaker 3: Madeline really sick or is she having her will to

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Speaker 3: live sapped by Roderick's psychic manipulations, or is there something

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Speaker 3: more sinister and ghostly operating underneath it all?

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Speaker 2: We'll find out, all right. Let's go ahead and listen

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Speaker 2: to a little trailer audio for House of Usher.

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Speaker 4: Don't take her man now, let me go in there.

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Speaker 5: Only the incomparable genius of Edgar Allen Poe could knit

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Speaker 5: them so closely together, the burning passions of the purest

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Speaker 5: of loves, the deadly passions of the madly buriant.

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Speaker 4: Hope when you're leaving this house with me tomorrow, Only

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Speaker 4: I could.

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Speaker 2: For hundreds of years, evil thoughts and evil deeds have

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Speaker 2: been committed within these walls.

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Speaker 4: The house itself is evil.

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Speaker 5: Now they all are ashes.

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Speaker 4: It's monstrous.

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Speaker 2: It waits for me, because very soon I shall be dead.

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Speaker 4: Oh medline, come away with me?

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Speaker 2: Now?

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Speaker 5: Where is she? You buried your own sister alive?

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Speaker 4: I did, but she's dead now. The master hand of

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Speaker 4: the macap creates its masterpiece, all right.

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Speaker 2: If you want to watch House of USh or follow

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Speaker 2: the House of USh, or whatever you want to call

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Speaker 2: this nineteen sixty film, there are a couple of ways

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Speaker 2: to do it. If you're in the UK, I believe

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Speaker 2: you have access to the beautiful Arrow Blue. If you're

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Speaker 2: in the US, I think you can find it in

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Speaker 2: the Vincent Price Collection box set from Shout Factory. Off

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Speaker 2: the top of my head, I'm not sure about the

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Speaker 2: current production status of either of those, but that's kind

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Speaker 2: of the beauty of physical media is that even if

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Speaker 2: it's out of print, there's a good chance you'll be

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Speaker 2: able to find a copy out there. And if you

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Speaker 2: have a rental store in your neighborhood in your city,

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Speaker 2: like Atlanta's own Video Drone, for example, you can just

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Speaker 2: go and rent it. And that's so beautifully simple.

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Speaker 3: I have that Vincent Price box set from Shout Factory,

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Speaker 3: and that is how I watched this movie. It's also

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Speaker 3: how I watched Pitt in the Pendulum. It's got Mask

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Speaker 3: of the Red Death in there, and it's also got

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Speaker 3: some other fun stuff like Witchfinder General and The Abominable

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Speaker 3: Doctor Five. So highly recommend that collection. It's very solid.

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Speaker 2: Yeah, the Witchfinder General film is said to be another

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Speaker 2: great price performance.

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Speaker 3: That one I've only watched on mute while doing other things,

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Speaker 3: but it looked interesting, so maybe I'll have to go

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Speaker 3: back and turn the sound on. Sometimes it's by a

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Speaker 3: filmmaker who we watched another movie by him. He was

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Speaker 3: the guy who made that movie The Sorcerers about the

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Speaker 3: people like the old people who can get into the

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Speaker 3: young guy's brain.

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Speaker 2: Yeah, short lived director died tragically young, but showed so

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Speaker 2: much promise. Anyway, again, I watched this film. No doubt

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Speaker 2: is Roger Corman intended on an iPhone in an airplane.

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Speaker 2: But you know there are fewer distractions in some ways

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Speaker 2: when watching a film in that format, so you know,

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Speaker 2: sometimes it's the right time for that sort of treatment.

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Speaker 3: Roger wouldn't hate on you for that.

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Speaker 2: You don't know it all right, Well, since we're already

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Speaker 2: talking about him, Yeah, let's get into the people behind

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Speaker 2: this film, starting with Roger Corman, the director, the producer

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Speaker 2: who lived nineteen twenty six through twenty twenty four. We've

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Speaker 2: talked about him numerous times on the show, so we're

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Speaker 2: going to try not to repeat too much of that

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Speaker 2: instead sort of frame this within his output and within

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Speaker 2: the history of Weird House. I believe this is our

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Speaker 2: fifth Corman directed motion picture, but he also served as

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Speaker 2: producer on some of the films we've covered. This, of course,

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Speaker 2: is one of the films loosely classified as being part

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Speaker 2: of the Pose cycle. In fact, again it is the

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Speaker 2: film that kicked off the entire cycle. Usher came on

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Speaker 2: the heels of nineteen fifty nine's Eye, Moobster, The Wasp Woman,

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Speaker 2: and Bucket of Blood. Those all directed by Corman, and

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Speaker 2: it was one of four Corman directed films that came

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Speaker 2: out in nineteen sixty, along with Ski Troop Attack, The

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Speaker 2: Little Shop of Horrors, and Last Woman on Earth.

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Speaker 3: Well, I know Little Shop of Horrors. Now I'm curious

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Speaker 3: about Ski Troop Attack. Yeah, it's like real stands the

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Speaker 3: test of time. I bet, yeah.

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Speaker 2: I mean that's the thing about Corman's output is, you know,

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Speaker 2: certain genre films have become a legendary of his and

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Speaker 2: you know, you instantly think of them when you think

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Speaker 2: of Roger Corman. But for every one or two of those,

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Speaker 2: there are three or four more in other genres, often

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Speaker 2: that have just kind of fallen through the cracks for many,

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Speaker 2: except for the Roger Corman completest, I suppose. Anyway, the

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Speaker 2: Corman post cycle is generally considered to run eight films.

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Speaker 2: You have Usher, then you have sixty ones, The Pitt

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Speaker 2: in the Pendulum, sixty two's the Premature Burial and Tales

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Speaker 2: of Terror, sixty threes the Raven and the Haunted Palace,

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Speaker 2: and then sixty four is The Mask of the Red

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Speaker 2: Death and The Tomb of Lagia. Of course, we should

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Speaker 2: note that the Haunted Palace is actually based on a

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Speaker 2: Lovecraft story and not a post story. It's just the

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Speaker 2: title that ties into pose work. All of them star

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Speaker 2: Vincent Price, except for the Premature Burial.

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Speaker 3: Yeah, so I've seen three of these movies at this point.

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Speaker 3: I've seen Usher, the Pit and the Pendulum, and Mask

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Speaker 3: of the Red Death. Mask is my favorite, easily, though

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Speaker 3: all three of them I think are quite good, and

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Speaker 3: maybe we'll have to come back to the Pit and

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Speaker 3: the Pendulum sometime. Price's performance in that movie is a

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Speaker 3: lot more unhinged and off the wall than in Usher.

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Speaker 3: But let's see the premature Aerial and Tales of Terror.

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Speaker 3: I think, is that one movie or two movies?

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Speaker 2: That's true?

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Speaker 3: Tales of Terror is supposed to be anthology.

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Speaker 2: Yeah, I mean, that's the thing. These are Corman films,

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Speaker 2: so sometimes there's two coming out a year, and those

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Speaker 2: are inevitably not the only pictures he directed, certainly didn't

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Speaker 2: not the only pictures he produced heuring a given year.

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Speaker 3: Yeah, and then The Raven is interesting because that one

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Speaker 3: is supposed to be a comedy. I have not seen it.

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Speaker 3: I'm a little curious how that works. I feel like

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Speaker 3: I would be less interested in an overt comedy with

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Speaker 3: Price and po themes. But who knows. Maybe it's great.

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Speaker 2: Well, I mean you have to acknowledge that that Vincent

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Speaker 2: Price is terrific in everything. Oh, so he's kind of comedic.

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Speaker 2: Timing is solid, so he may be able to deliver there.

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Speaker 2: And you know, you do have some really good Roger

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Speaker 2: Corman directed dark comedies such as Bucket of Blood or

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Speaker 2: Little Shop of Horrors and so forth.

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Speaker 3: Yeah, And frankly, I would say all of the movies

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Speaker 3: of his I've seen that I've liked have some sense

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Speaker 3: of humor about them. Probably House of Usher has the

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Speaker 3: least humor of any of them, but he's always got

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Speaker 3: a little bit of eye twinkling going on.

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Speaker 2: Yeah, we of course have to drive home that this

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Speaker 2: is an adaptation of the work of Edgar Allan Poe,

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Speaker 2: who have eighteen oh nine through eighteen forty nine American writer, poet, editor,

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Speaker 2: and literary critic, best remembered for his spooky poems and stories,

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Speaker 2: not only in the United States but internationally.

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Speaker 3: Oh yeah, well, so, I guess Rob is referring to there.

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Speaker 3: There was an article that we were sharing off Mike

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Speaker 3: that I read by a writer named Wynn Bin from

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Speaker 3: I think it was just published a couple of days ago,

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Speaker 3: at least published October of this year, twenty twenty four,

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Speaker 3: about the popularity of Edgar Allan Poe among a lot

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Speaker 3: of the writers and poets of Vietnam in the first

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Speaker 3: half of the twentieth century. I think that's interesting, like

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Speaker 3: what authors really resonate in different language cultures around the world,

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Speaker 3: but apparently, like, yeah, a lot of Vietnamese writers in

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Speaker 3: I think it would be around the nineteen twenties and

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Speaker 3: thirties or so, really really thought that Poe was just

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Speaker 3: like the best of the American writers.

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Speaker 2: Yeah, And of course that reminds me a bit of

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Speaker 2: a Japanese author that we've discussed in the show before,

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Speaker 2: because we've discussed adaptations of his work in cinema, Edugawa Ranpo,

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Speaker 2: whose name is an allusion to the name Edgar Allan.

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Speaker 3: Poe, and he was a writer of detective stories, wasn't.

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Speaker 2: Yeah, yeah, a lot of detective stories and the mysteries

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Speaker 2: thriller is that sort of thing. Yeah, all right, So

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Speaker 2: that's the source material. But then the screenplay, the adaptation

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Speaker 2: comes to us via another name that we've talked about

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Speaker 2: on the show before, the legendary Richard Matheson, who lived

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Speaker 2: nineteen twenty six through twenty thirteen. American writer who's best remembered,

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Speaker 2: I would say, as the author of the excellent nineteen

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Speaker 2: fifty four novel I Am Legend, upon which three films

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Speaker 2: have been based. One even had Vincent Price in it.

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Speaker 3: I've been thinking we should do that on the show.

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Speaker 3: By the way, I think it's called Last Man on Earth.

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Speaker 2: Yes, yeah, And of course the others being I Am

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Speaker 2: Legend with Will Smith and then The Omega Man with

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Speaker 2: Chuck Huston.

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Speaker 3: The Vincent Price one is it's got some really good

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Speaker 3: things about it, and I really enjoyed. I sampled that

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Speaker 3: one in some music that I was working on. It

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Speaker 3: works out pretty good.

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Speaker 2: The episodes where we discussed Richard Matheson previously there was

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Speaker 2: the film The Devil Rides Out. He did the adaptation

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Speaker 2: on that as well, adapting a weekly novel. And then

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Speaker 2: we talked about the film adaptation The Incredible Shrinking Man.

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Speaker 2: That's an adaptation by Matheson of one of Matheson's own books.

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Speaker 2: If I remember correctly.

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Speaker 3: This guy snuck up on me. I didn't realize it first,

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Speaker 3: but I think Matheson has written the scripts for a

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Speaker 3: lot of the best movies or the movies with the

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Speaker 3: best scripts that we've done from the mid twentieth century.

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Speaker 2: Yeah, I mean he was excellent, excellent writer, worked on

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Speaker 2: a lot of shows like Original Twilight Zone, Night Gallery,

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Speaker 2: Alfred Hitchcock Hour, and had a big influence on an

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Speaker 2: entire generation of horror and terror scribes, especially including Stephen King.

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Speaker 2: Stephen King has frequently cited Richard Matheson as an influence.

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Speaker 3: The Incredible Shrinking man I remember in particular, had a

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Speaker 3: really good script.

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Speaker 2: Yeah, that's a great picture. If you haven't seen that one,

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Speaker 2: you haven't listened to our episode on that, go back

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Speaker 2: to one or the other. Don't be afraid of that

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Speaker 2: kind of goofy title and perhaps you know comedic idea

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Speaker 2: of a tiny man inside a house being attacked by

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Speaker 2: his cat, because it's much more than that. It's actually

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Speaker 2: a pretty deep flip. Yeah, all right, onto the cast,

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Speaker 2: and this is going to be a pretty short cast.

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Speaker 2: There are really only four people in this for the

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Speaker 2: most part. A few extras here and there, but really

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Speaker 2: only four people. The lead, of course, again being Vincent

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Speaker 2: Prize playing Roderick Usher. Price lived nineteen eleven through nineteen

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Speaker 2: ninety three. We've talked about him plenty of times on

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Speaker 2: the show because we keep coming back to Vincent Price

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Speaker 2: films and you never know exactly what you're going to

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Speaker 2: get from him. He was active on screen from the

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Speaker 2: late thirties to the early nineties. And you know, there's

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Speaker 2: a certain vision, a certain version of Vincent Price that

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Speaker 2: I think is solidified in the horror canon that instantly

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Speaker 2: comes to mind when you think about him, and a

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Speaker 2: lot of it is defined by his look, Right, what

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Speaker 2: do you think of? You think of like that dark

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Speaker 2: or certainly in later live gray and even white, slicked

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Speaker 2: back hair. You think about that sharpened mustache, an optional

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Speaker 2: goatee add on, and then of course he's going to

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Speaker 2: be wearing some sort of a suit, maybe an optional

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Speaker 2: Dracula cape, that sort of thing.

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Speaker 3: If this makes any sense, He's somebody who, really I

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Speaker 3: think has the face of a character actor, a kind

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Speaker 3: of interesting memorable face you would see pop up playing

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Speaker 3: like second build characters with a little bit of personality

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Speaker 3: to them, but instead he more often ended up playing

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Speaker 3: leading male characters or leading villains. And it works pretty

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Speaker 3: well that way, because he can sort of manipulate his

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Speaker 3: interesting look with just sort of an inversion of the

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Speaker 3: slant of his eyebrows to look quite sympathetic or quite evil.

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Speaker 2: Absolutely, and as we were alluding to earlier, this film

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Speaker 2: also gives us a rather different looking price because he's

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Speaker 2: clean shaven and he has bleached blonde hair. You might

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Speaker 2: want to call him peroxide Price or platinum blonde Price,

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Speaker 2: you pick, but either way, a very distinctive look. It

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Speaker 2: reminds me a bit of in the movie The Ten Commandments,

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Speaker 2: he shows up in that, and he's clean shaven there

382
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Speaker 2: as well, which can throw you off if you're used

383
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Speaker 2: to Vincent Price with facial hair. But add in the

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Speaker 2: screaming blonde hair in this picture, and yeah, he looks

385
00:22:01,080 --> 00:22:05,359
Speaker 2: sufficiently different. It ends up influencing your entire reception of

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Speaker 2: the character.

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Speaker 3: I think I was thinking about Barbie's hair color, so

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Speaker 3: I was thinking, like Malibu Price.

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Speaker 2: Yeah, yeah, yeah, I think that's fair. At this point

390
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Speaker 2: in his career, Price had already taken on the mantle

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Speaker 2: of horror star. I think by having already done House

392
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Speaker 2: of Wax, which we've talked about in the show, that's

393
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Speaker 2: one that really elevated him in the horror genre. But

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Speaker 2: then also he'd already done fifty eight's The Fly, fifty

395
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Speaker 2: nine's House on Haunted Hill, and Return of the Fly,

396
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Speaker 2: as well as The Tingler and The bat oh Man.

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Speaker 3: There's so many good Price roles in horror movies that

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Speaker 3: sometimes you can't hold them all in your head. I

399
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Speaker 3: was getting ready for this episode and I didn't even

400
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Speaker 3: think of The Tingler until you just said it.

401
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Speaker 2: Yeah, that's a fun film as well. Yeah, but this

402
00:22:49,040 --> 00:22:53,800
Speaker 2: is a really fun performance beyond just the different appearance

403
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Speaker 2: for Vincent Price because he's this character is firm but fragile.

404
00:23:01,720 --> 00:23:04,720
Speaker 2: You know, it's an interesting performance of emotional extremes as

405
00:23:04,720 --> 00:23:08,199
Speaker 2: we'll get into, like there's a really strong will, but

406
00:23:08,320 --> 00:23:11,760
Speaker 2: not if you're raising your voice or touching his garments

407
00:23:12,119 --> 00:23:14,160
Speaker 2: or not taking your shoes. Shoes off in the house

408
00:23:14,200 --> 00:23:16,199
Speaker 2: it is it is worth stressing that the house of

409
00:23:16,280 --> 00:23:18,840
Speaker 2: Usher is a shoes off household and you need to

410
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Speaker 2: be prepared for that.

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Speaker 3: Yeah, Roderick Usher is a character who I like how

412
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Speaker 3: ambiguous this character is, Like you, for a long time

413
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Speaker 3: in the movie, you're not clear if he's friend or foe,

414
00:23:29,640 --> 00:23:33,360
Speaker 3: how dangerous he is, what's going on. And even when

415
00:23:33,359 --> 00:23:35,639
Speaker 3: it does become clear in some ways that he is

416
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Speaker 3: dangerous and to be feared, at the same time, he

417
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Speaker 3: is so weak he could he's just easily physically bested,

418
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Speaker 3: and yet that doesn't solve the problem.

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Speaker 2: Yeah, he's almost like a living ghost in that regard. Yeah,

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Speaker 2: all right, so that's the that's the lead. But then

421
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Speaker 2: second billing, we have the personal Mark Damon as Philip Winthrop.

422
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Speaker 2: This is the the individual that is engaged to the

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Speaker 2: sister of Roderick Usher.

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Speaker 3: By normal accounting, This is the protagonist, right, He is

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Speaker 3: the good guy of the movie. Though I think you

426
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Speaker 3: could still say that the main character is Vincent Price

427
00:24:10,640 --> 00:24:13,760
Speaker 3: as Roderick Usher, but that's you know, villain first framing.

428
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Speaker 3: This is the supposed good guy.

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Speaker 2: Yeah, yeah, personable Mark Damon. We previously talked about him

430
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Speaker 2: because he was in Mario Bava's Black Sabbath from nineteen

431
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Speaker 2: sixty three, so that would be in the future of

432
00:24:27,320 --> 00:24:30,879
Speaker 2: the Mark Damon that we're seeing here. This was apparently

433
00:24:30,920 --> 00:24:34,000
Speaker 2: a big, big film for him. He actually won a

434
00:24:34,000 --> 00:24:38,040
Speaker 2: Golden Globe for Most Promising Newcomer for this film and

435
00:24:38,520 --> 00:24:41,360
Speaker 2: when I was a familiar face in motion pictures during

436
00:24:41,359 --> 00:24:46,480
Speaker 2: the fifties and sixties. But he's probably best remembered for

437
00:24:46,720 --> 00:24:49,480
Speaker 2: Usher and Sabbath, at least as far as acting goes.

438
00:24:49,520 --> 00:24:51,560
Speaker 2: But then, as we discussed previously, went on to be

439
00:24:51,680 --> 00:24:55,320
Speaker 2: a really major producer in Hollywood and had his hands

440
00:24:55,359 --> 00:24:58,560
Speaker 2: in some major pictures of note, including dust Boat or

441
00:24:58,640 --> 00:25:02,080
Speaker 2: dust Boot if you will, The Never Ending Story Clan

442
00:25:02,160 --> 00:25:04,200
Speaker 2: of the Cave Bear nine and a half week short

443
00:25:04,280 --> 00:25:08,080
Speaker 2: circuit Fly to the Navigator, The Lost Boys, beast Master two,

444
00:25:10,119 --> 00:25:12,800
Speaker 2: and as well as a pair of Universal Soldier sequels,

445
00:25:13,359 --> 00:25:16,359
Speaker 2: among other pictures. When we last talked about him, he

446
00:25:17,280 --> 00:25:20,119
Speaker 2: was still alive, but he actually passed away over the

447
00:25:20,119 --> 00:25:25,040
Speaker 2: summer at the age of ninety one. He also, I

448
00:25:25,080 --> 00:25:27,359
Speaker 2: have to mention again he has one writing credit, and

449
00:25:27,400 --> 00:25:31,640
Speaker 2: it's The Devil's Wedding Night from nineteen seventy three. This

450
00:25:31,680 --> 00:25:36,840
Speaker 2: is essentially a Dracula movie, despite the title. Oh and

451
00:25:37,000 --> 00:25:41,639
Speaker 2: Joe Tomato apparently did some uncredited directing on it. But

452
00:25:41,720 --> 00:25:43,800
Speaker 2: it's said to be pretty good. Actually I haven't.

453
00:25:43,600 --> 00:25:48,520
Speaker 3: Seen it, Okay, Yeah, Well, in case you don't know

454
00:25:48,520 --> 00:25:50,840
Speaker 3: what we're talking about when we keep calling him the personable,

455
00:25:50,880 --> 00:25:55,560
Speaker 3: that's from the trailer for Mario Bava's Black Sabbath. So

456
00:25:55,840 --> 00:25:59,680
Speaker 3: the announcers like, ooh, the chilling Boris Karloff, the personable

457
00:25:59,760 --> 00:26:00,520
Speaker 3: Mark Damon.

458
00:26:02,359 --> 00:26:05,960
Speaker 2: You know, maybe Mark Damon is fine in this. I'm

459
00:26:05,960 --> 00:26:08,359
Speaker 2: not criticizing his work at all. It's more the sort

460
00:26:08,359 --> 00:26:12,240
Speaker 2: of role this is. I guess I don't find it

461
00:26:12,280 --> 00:26:14,800
Speaker 2: as personable as I would find like a Vincent Price

462
00:26:14,920 --> 00:26:19,240
Speaker 2: character or you know, a Peter Lourie character and so forth.

463
00:26:19,960 --> 00:26:22,679
Speaker 2: But and then also I'm wondering, if you have to

464
00:26:22,680 --> 00:26:26,280
Speaker 2: say the personable Mark Damon, how personable. Is this performer right?

465
00:26:26,480 --> 00:26:28,960
Speaker 3: It makes it, It makes him seem less personable. It's

466
00:26:29,000 --> 00:26:33,399
Speaker 3: like introducing somebody by calling them trustworthy. Immediately you start

467
00:26:33,440 --> 00:26:34,720
Speaker 3: wondering should I trust them?

468
00:26:35,119 --> 00:26:38,159
Speaker 2: Yeah, but he is good in this I mean he's

469
00:26:38,240 --> 00:26:41,120
Speaker 2: he is the straight man in this story where he's

470
00:26:41,200 --> 00:26:45,040
Speaker 2: encountering like nothing but strange happenings and strange surroundings. So

471
00:26:45,119 --> 00:26:48,600
Speaker 2: he's our grounding, he's our he's the point at the

472
00:26:48,640 --> 00:26:51,159
Speaker 2: center of the dial. And so he's essential and it

473
00:26:51,240 --> 00:26:54,800
Speaker 2: is essential that you have, you know, a square jowed,

474
00:26:54,920 --> 00:26:58,479
Speaker 2: handsome young actor playing that role really, especially during this

475
00:26:58,520 --> 00:26:59,080
Speaker 2: time period.

476
00:26:59,280 --> 00:27:02,040
Speaker 3: I agree, I think he does fine. I'm not trying

477
00:27:02,320 --> 00:27:04,359
Speaker 3: to slam him at all. I think he's good in

478
00:27:04,400 --> 00:27:08,640
Speaker 3: this role. He is somewhat upstaged by the more interesting performances,

479
00:27:09,240 --> 00:27:11,840
Speaker 3: especially of course by Vincent Price. But then I would

480
00:27:11,880 --> 00:27:14,639
Speaker 3: say also later in the film, upstage somewhat by the

481
00:27:14,680 --> 00:27:17,840
Speaker 3: performance of Murna Fay, he as Madeline Usher, who gets

482
00:27:17,960 --> 00:27:19,359
Speaker 3: weirder as the movie goes on.

483
00:27:20,119 --> 00:27:20,479
Speaker 4: Yeah.

484
00:27:20,600 --> 00:27:23,639
Speaker 2: Yeah. mRNA Fay, who lived nineteen thirty three through nineteen

485
00:27:23,680 --> 00:27:28,160
Speaker 2: seventy three, is the third build out of like four

486
00:27:28,200 --> 00:27:32,080
Speaker 2: actors in this picture, and she is quite good. She's

487
00:27:32,400 --> 00:27:34,680
Speaker 2: I think best remembered probably for this film role, as

488
00:27:34,680 --> 00:27:37,080
Speaker 2: well as various television works she did. She did a

489
00:27:37,119 --> 00:27:39,239
Speaker 2: lot of TV work in addition to a handful of

490
00:27:39,240 --> 00:27:42,760
Speaker 2: films like Disney Zoro. She was on that series. She

491
00:27:42,840 --> 00:27:45,480
Speaker 2: was on Father of the Bride in the early sixties.

492
00:27:46,040 --> 00:27:48,879
Speaker 2: But yeah, yeah, it's a good role that it first

493
00:27:48,920 --> 00:27:52,120
Speaker 2: maybe seems like a little subdued, and you might think

494
00:27:52,119 --> 00:27:54,760
Speaker 2: that she's not going to have much agency, but stick

495
00:27:54,800 --> 00:27:57,280
Speaker 2: with it because she does get she does get to

496
00:27:57,280 --> 00:27:59,520
Speaker 2: get some work in towards the end of the picture, it.

497
00:27:59,440 --> 00:28:03,159
Speaker 3: Gets kind of I was reading a biography of her

498
00:28:03,160 --> 00:28:05,639
Speaker 3: somewhere online that mentioned she did an interview I think

499
00:28:05,680 --> 00:28:07,640
Speaker 3: it was in the year nineteen sixty, so the same

500
00:28:07,720 --> 00:28:11,239
Speaker 3: year as House of Usher, where she was sort of

501
00:28:11,240 --> 00:28:15,280
Speaker 3: complaining that she had been typecast in like moral upstanding roles.

502
00:28:15,320 --> 00:28:17,640
Speaker 3: You know, she was always, oh, you know, tisk tisk,

503
00:28:18,080 --> 00:28:20,959
Speaker 3: I am very good, I am very law abiding, and

504
00:28:21,000 --> 00:28:25,760
Speaker 3: she wanted to explore, you know, more complicated, maybe darker roles,

505
00:28:25,840 --> 00:28:27,840
Speaker 3: and well, I think she got her wish.

506
00:28:28,200 --> 00:28:29,120
Speaker 2: Yes.

507
00:28:30,040 --> 00:28:32,640
Speaker 3: She also apparently went on to be in an episode

508
00:28:32,640 --> 00:28:36,639
Speaker 3: of the TV anthology series Thriller hosted by Boris Karloff.

509
00:28:36,680 --> 00:28:40,000
Speaker 3: The episode is called Girl with the Secret, which is

510
00:28:40,000 --> 00:28:42,600
Speaker 3: about Her, which is about a character who has to

511
00:28:42,680 --> 00:28:45,240
Speaker 3: like keep a secret about her husband and is being

512
00:28:45,240 --> 00:28:48,320
Speaker 3: blackmailed by someone. I haven't seen this episode of the show,

513
00:28:48,360 --> 00:28:52,000
Speaker 3: but I pulled up like the IMDb listing for the episode,

514
00:28:52,360 --> 00:28:55,480
Speaker 3: and the screenshot from it is somebody driving a car

515
00:28:55,640 --> 00:28:59,760
Speaker 3: making this incredibly creepy grinning face. So now I'm tempted

516
00:28:59,760 --> 00:29:00,440
Speaker 3: to it up.

517
00:29:01,120 --> 00:29:03,440
Speaker 2: Yeah, yeah, I haven't watched a lot of Thriller, but

518
00:29:04,680 --> 00:29:07,440
Speaker 2: it's said to be a very good horror anthology series.

519
00:29:07,920 --> 00:29:10,840
Speaker 3: I've seen at least one episode of Thriller. It was

520
00:29:11,160 --> 00:29:15,400
Speaker 3: an adaptation of the Roberty Howard story Pigeons from Hell,

521
00:29:15,480 --> 00:29:17,280
Speaker 3: which is like a ghost horror story.

522
00:29:17,680 --> 00:29:20,760
Speaker 2: Oh yeah, probably one of the rare non conan kin

523
00:29:21,320 --> 00:29:25,240
Speaker 2: adaptations of his work. All right, pretty much. The fourth

524
00:29:25,280 --> 00:29:28,680
Speaker 2: and final human in this picture is the Butler Bristol,

525
00:29:29,160 --> 00:29:34,160
Speaker 2: played by American actor and Atlanta native Harry Ellerby, who

526
00:29:34,240 --> 00:29:37,760
Speaker 2: lived nineteen oh one through nineteen ninety two. He worked

527
00:29:37,800 --> 00:29:40,760
Speaker 2: extensively in stage, screen and TV, with his screen and

528
00:29:40,800 --> 00:29:43,520
Speaker 2: TV credits going from the early nineteen thirties through the

529
00:29:43,600 --> 00:29:46,800
Speaker 2: early nineteen seventies, though I understand he remained active in

530
00:29:46,840 --> 00:29:50,880
Speaker 2: theater longer than that, especially in like local Atlanta theater.

531
00:29:51,600 --> 00:29:54,600
Speaker 2: His film credits include nineteen sixty threes, The Haunted Palace

532
00:29:54,640 --> 00:29:58,320
Speaker 2: and nineteen sixty six's Chamber of Horrors. He appeared in

533
00:29:58,960 --> 00:30:02,200
Speaker 2: an episode of the original Outer Limits as well. Okay,

534
00:30:02,680 --> 00:30:04,840
Speaker 2: and you know he's good in this He basically he's

535
00:30:04,880 --> 00:30:08,600
Speaker 2: the middleman. Though he's the butler in a haunted mansion,

536
00:30:08,720 --> 00:30:10,600
Speaker 2: so you kind of know what you're going to get.

537
00:30:10,760 --> 00:30:13,120
Speaker 3: Yeah, it is his job to help carry the coffins

538
00:30:13,120 --> 00:30:14,120
Speaker 3: and boil the gruel.

539
00:30:14,520 --> 00:30:14,760
Speaker 5: Yes.

540
00:30:15,640 --> 00:30:19,160
Speaker 2: Oh, but we have a very interesting credit to share

541
00:30:19,560 --> 00:30:24,400
Speaker 2: regarding this picture. Now. I mentioned Night Gallery earlier in passing,

542
00:30:24,600 --> 00:30:29,360
Speaker 2: and it's appropriate because this movie features a number of

543
00:30:29,640 --> 00:30:33,720
Speaker 2: very creepy paintings that would look perfectly at home on

544
00:30:33,840 --> 00:30:38,800
Speaker 2: the walls of the Night Gallery. These paintings are credited

545
00:30:38,840 --> 00:30:43,280
Speaker 2: to Bert Schoenberg, who live nineteen thirty three through nineteen

546
00:30:43,400 --> 00:30:48,840
Speaker 2: seventy seven, American painter whose work could be described as

547
00:30:49,840 --> 00:30:55,080
Speaker 2: surrealist or psychedelic, and he was certainly celebrated during the

548
00:30:55,160 --> 00:30:58,080
Speaker 2: nineteen sixties, though he was also exploring the style in

549
00:30:58,120 --> 00:31:01,080
Speaker 2: the fifties and seventies as well. In fact, I've seen

550
00:31:01,120 --> 00:31:03,160
Speaker 2: some people argue that he was one of those artists

551
00:31:03,680 --> 00:31:06,280
Speaker 2: working in California at the time that was kind of

552
00:31:06,440 --> 00:31:12,160
Speaker 2: a precursor to the psychedelic art scene in nineteen sixties California.

553
00:31:12,960 --> 00:31:16,760
Speaker 2: You know. So ultimately, when you get into like surrealism

554
00:31:16,920 --> 00:31:20,440
Speaker 2: and strange art, there's plenty of stuff that seems ahead

555
00:31:20,440 --> 00:31:23,560
Speaker 2: of its time and kind of informs that era. I suppose.

556
00:31:25,040 --> 00:31:27,040
Speaker 2: So his work is, and you can look it up online.

557
00:31:27,080 --> 00:31:28,640
Speaker 2: It's Schoenberg s H O. N. B.

558
00:31:28,800 --> 00:31:29,200
Speaker 3: E Erg.

559
00:31:30,360 --> 00:31:37,360
Speaker 2: His work is dreamy and weird at times, invoking occult imagery. Again,

560
00:31:37,440 --> 00:31:40,440
Speaker 2: look it up because it's worth checking out. And certainly

561
00:31:40,440 --> 00:31:42,320
Speaker 2: you get to see it a lot in this movie.

562
00:31:42,360 --> 00:31:47,440
Speaker 2: It's not just an incidental detail. The paintings are important

563
00:31:47,480 --> 00:31:50,440
Speaker 2: plot points, and you really get to drink them in.

564
00:31:50,560 --> 00:31:54,719
Speaker 2: I think they really contribute to the great vibe of

565
00:31:54,720 --> 00:31:55,360
Speaker 2: this picture.

566
00:31:56,040 --> 00:31:59,200
Speaker 3: Yeah, there's this is never made explicit, but there is

567
00:31:59,240 --> 00:32:02,400
Speaker 3: almost an Clyde a Picture of Dory and Gray kind

568
00:32:02,400 --> 00:32:05,280
Speaker 3: of concept at work, where there are these paintings of

569
00:32:05,360 --> 00:32:08,560
Speaker 3: the the you know, the patriarchs and matriarchs of the

570
00:32:09,440 --> 00:32:11,920
Speaker 3: of the Usher household, and when we start to learn

571
00:32:12,000 --> 00:32:15,800
Speaker 3: about their evils and their crimes, we see the paintings,

572
00:32:15,960 --> 00:32:18,920
Speaker 3: and the paintings appear almost kind of warped or melted,

573
00:32:19,000 --> 00:32:21,840
Speaker 3: as sort of altered in a way that reveals the

574
00:32:21,880 --> 00:32:23,880
Speaker 3: evil of the character lying underneath.

575
00:32:24,640 --> 00:32:26,680
Speaker 2: You know, it's interesting to think about the use of

576
00:32:26,800 --> 00:32:30,200
Speaker 2: painted portraits in movies because it's often the case that

577
00:32:30,240 --> 00:32:32,960
Speaker 2: you'll find either either a portrait actually does its job

578
00:32:33,000 --> 00:32:35,320
Speaker 2: and you just buy it as being a portrait of

579
00:32:35,360 --> 00:32:37,360
Speaker 2: a character. Generally it looks like one of the actors

580
00:32:37,360 --> 00:32:40,200
Speaker 2: in the film, right, or it looks like the old

581
00:32:40,280 --> 00:32:43,160
Speaker 2: count or the old baron that will inevitably come back

582
00:32:43,200 --> 00:32:45,400
Speaker 2: to life and is you know, played by Christopher Lee

583
00:32:45,480 --> 00:32:47,560
Speaker 2: or something, so you know what they're supposed to look like.

584
00:32:49,080 --> 00:32:51,160
Speaker 2: But then in other pictures you can tell like the

585
00:32:51,200 --> 00:32:54,840
Speaker 2: portrait just does not pass the sniff test. You know,

586
00:32:54,880 --> 00:32:57,680
Speaker 2: you're like this, I'm not buying it. I'm not buying

587
00:32:57,680 --> 00:33:03,160
Speaker 2: this as an historic work of art. This picture dodges

588
00:33:03,200 --> 00:33:07,120
Speaker 2: those pitfalls and instead just goes for the utterly weird.

589
00:33:07,640 --> 00:33:10,520
Speaker 2: These pictures feel like, you know, drawing on the door,

590
00:33:10,600 --> 00:33:14,840
Speaker 2: the portrait drawing gray here. It's like they are like

591
00:33:15,240 --> 00:33:19,600
Speaker 2: snapshots of the corrupted soul. They seem like they are dark, wrong,

592
00:33:20,640 --> 00:33:22,080
Speaker 2: perhaps insane works.

593
00:33:22,640 --> 00:33:26,640
Speaker 3: Yeah, absolutely, and they're not subtle. You know, It's not

594
00:33:26,680 --> 00:33:29,320
Speaker 3: like they look a little bit creepy. It's they are

595
00:33:29,480 --> 00:33:35,400
Speaker 3: oozing evil, demonic energy and just advertising the wickedness of

596
00:33:35,440 --> 00:33:36,400
Speaker 3: the people portrayed.

597
00:33:36,800 --> 00:33:37,480
Speaker 5: Yeah.

598
00:33:37,800 --> 00:33:39,640
Speaker 2: I was reading a bit more about these on the

599
00:33:39,680 --> 00:33:44,120
Speaker 2: excellent website Vincent Price Legacy dot UK, and the author

600
00:33:44,160 --> 00:33:47,440
Speaker 2: there points out that Schoenberg provided five portraits and two

601
00:33:47,440 --> 00:33:51,600
Speaker 2: additional paintings to this production, and again they certainly pull

602
00:33:51,640 --> 00:33:54,960
Speaker 2: their weight in delivering the film's vibe. Afterwards, two of

603
00:33:55,000 --> 00:33:57,880
Speaker 2: these paintings apparently went to Roger Corman and then were

604
00:33:57,920 --> 00:34:02,440
Speaker 2: subsequently stolen from his office. Another portrait was reportedly given

605
00:34:02,440 --> 00:34:06,320
Speaker 2: to Vincent Price himself, who was an avid art collector,

606
00:34:06,720 --> 00:34:10,520
Speaker 2: but according to the website Vincent Price Legacy, they whereabouts

607
00:34:10,520 --> 00:34:14,160
Speaker 2: of this painting are unknown and it was never listed

608
00:34:14,160 --> 00:34:18,560
Speaker 2: in the official estate documents concerning Price's extensive art collection,

609
00:34:18,680 --> 00:34:21,120
Speaker 2: so it's unknown what happened to it, Like, did it

610
00:34:22,160 --> 00:34:26,440
Speaker 2: you know, did he sell it? Is it lost? Is it?

611
00:34:26,840 --> 00:34:29,360
Speaker 2: I'm assuming at this point that all of these paintings

612
00:34:29,360 --> 00:34:31,640
Speaker 2: are like on the dark side of the moon somewhere,

613
00:34:32,239 --> 00:34:35,320
Speaker 2: you know, transported there through dark arcade magic.

614
00:34:35,520 --> 00:34:39,000
Speaker 3: Wow, that's a wild story. I'm almost tempted to doubt it,

615
00:34:39,040 --> 00:34:42,040
Speaker 3: but no, it's got to be true, right, These paintings

616
00:34:42,040 --> 00:34:44,080
Speaker 3: were made to disappear mysteriously.

617
00:34:44,440 --> 00:34:44,640
Speaker 5: Yeah.

618
00:34:44,680 --> 00:34:47,080
Speaker 2: Now, to be clear, I'm not sure if all of

619
00:34:47,120 --> 00:34:50,920
Speaker 2: the Schoenberg paintings for this picture are missing, but at

620
00:34:51,000 --> 00:34:53,920
Speaker 2: least some of them are, which adds to the mystique.

621
00:34:54,640 --> 00:34:59,359
Speaker 2: But that website, Vincent Price Legacy also has some other

622
00:34:59,719 --> 00:35:04,240
Speaker 2: dish details about Schoenberg that were obtained from out there.

623
00:35:04,360 --> 00:35:08,040
Speaker 2: The Transcendent Life and Art of Bert Schoenberg by Spencer

624
00:35:08,239 --> 00:35:11,440
Speaker 2: Kanza and this is a book from twenty seventeen. The

625
00:35:11,440 --> 00:35:14,120
Speaker 2: author points out that Schoenberg was very much a part

626
00:35:14,160 --> 00:35:17,400
Speaker 2: of the occult and counterculture scene in LA at the time.

627
00:35:17,840 --> 00:35:22,760
Speaker 2: In the LA area, he partially owned the controversial weirdo

628
00:35:22,920 --> 00:35:25,440
Speaker 2: hippie coffee shop in Orange County that was known as

629
00:35:25,520 --> 00:35:30,520
Speaker 2: Cafe Frankenstein. Definitely look up a picture of Cafe Frankenstein

630
00:35:31,560 --> 00:35:35,000
Speaker 2: has this signature glass window piece like a stained glass

631
00:35:35,440 --> 00:35:38,600
Speaker 2: picture of Frankenstein's monster in the front, and this was

632
00:35:38,640 --> 00:35:43,719
Speaker 2: created by Schoenberg. He also had murals inside of the establishment,

633
00:35:44,080 --> 00:35:47,320
Speaker 2: and it was apparently kind of like a notorious hangout

634
00:35:47,360 --> 00:35:50,000
Speaker 2: for dangerous hippies, you know, like there's some art going

635
00:35:50,040 --> 00:35:53,440
Speaker 2: on there, there's some coffee drinking, maybe there's some other substances,

636
00:35:53,480 --> 00:35:58,200
Speaker 2: who knows, and the local squares were not amused. I

637
00:35:58,280 --> 00:36:01,759
Speaker 2: read one anecdote that they did not like that he

638
00:36:01,840 --> 00:36:04,640
Speaker 2: had the Frankstein's Monster art in the front of the establishment,

639
00:36:04,680 --> 00:36:06,920
Speaker 2: and when they pressured him, he was like, well, maybe

640
00:36:06,920 --> 00:36:09,920
Speaker 2: I should do one of Frankenstein's Monster crucified. Maybe that

641
00:36:09,920 --> 00:36:13,120
Speaker 2: would make everyone happy. So he was kind of a

642
00:36:13,120 --> 00:36:15,800
Speaker 2: provocateur as well.

643
00:36:15,040 --> 00:36:17,680
Speaker 3: I'm so sad this place no longer exists. I would

644
00:36:17,719 --> 00:36:20,919
Speaker 3: want to go to California just to go here.

645
00:36:21,480 --> 00:36:24,160
Speaker 2: I believe the stained glass piece still exists, though I

646
00:36:24,160 --> 00:36:28,080
Speaker 2: think that isn't someone's collection, But at any rate, Yeah,

647
00:36:28,120 --> 00:36:30,080
Speaker 2: he was apparently quite a character. At one point he

648
00:36:30,120 --> 00:36:33,640
Speaker 2: was in a relationship with artist, poet and occultist Marjorie Cameron,

649
00:36:33,760 --> 00:36:37,919
Speaker 2: who had previously been married to Jack Parsons. Oh yeah,

650
00:36:37,960 --> 00:36:42,400
Speaker 2: and Schoenberg also provided paintings for the nineteen sixty two

651
00:36:42,520 --> 00:36:45,360
Speaker 2: film The Premature Burial, and he served as art director

652
00:36:45,480 --> 00:36:48,759
Speaker 2: on fifty Eights The Brain Eaters in nineteen sixties Code

653
00:36:48,800 --> 00:36:49,360
Speaker 2: of Silence.

654
00:36:49,719 --> 00:36:52,600
Speaker 3: Oh, we covered the brain Eaters is Let's see what

655
00:36:52,880 --> 00:36:54,560
Speaker 3: were all the weird things about that one? I think

656
00:36:54,600 --> 00:36:58,080
Speaker 3: it had Leonard Nimoy in a minor role and he

657
00:36:58,120 --> 00:37:00,719
Speaker 3: never got paid for it or something. And was it

658
00:37:01,640 --> 00:37:04,480
Speaker 3: maybe or maybe not based on a Robert Heinlend story.

659
00:37:05,600 --> 00:37:07,160
Speaker 2: Yeah, it might have been. I remember, this is one

660
00:37:07,200 --> 00:37:10,360
Speaker 2: that has a great poster that perhaps over sells the

661
00:37:10,400 --> 00:37:13,239
Speaker 2: rest of the picture. But it was a still fun,

662
00:37:13,280 --> 00:37:15,080
Speaker 2: fun one, still a fun episode to check out.

663
00:37:15,480 --> 00:37:15,640
Speaker 5: Oh.

664
00:37:15,760 --> 00:37:18,080
Speaker 3: I was trying to think what was the hilarious character

665
00:37:18,160 --> 00:37:21,080
Speaker 3: from it, and it was Senator Walter k. Powers. You

666
00:37:21,120 --> 00:37:22,640
Speaker 3: remember Walter k Powers.

667
00:37:22,920 --> 00:37:24,400
Speaker 4: Yeah?

668
00:37:24,600 --> 00:37:25,600
Speaker 3: Yeah.

669
00:37:25,719 --> 00:37:27,879
Speaker 2: So anyway, we'll come back to these paintings because again

670
00:37:27,920 --> 00:37:33,440
Speaker 2: they are vital parts of the picture and they're great. Okay,

671
00:37:33,840 --> 00:37:36,239
Speaker 2: two more credits, just to run through really quickly before

672
00:37:36,280 --> 00:37:38,799
Speaker 2: we get to the main plot. But the cinematography is

673
00:37:38,800 --> 00:37:41,640
Speaker 2: by Floyd Crosby, who I can't remember if we talked

674
00:37:41,640 --> 00:37:43,880
Speaker 2: about him before, but he lived eighteen ninety nine through

675
00:37:43,920 --> 00:37:48,120
Speaker 2: nineteen eighty five. Academy Award winning cinematographer and father of

676
00:37:48,200 --> 00:37:51,640
Speaker 2: musician David Crosby. He worked on a number of Corman pictures,

677
00:37:51,680 --> 00:37:54,160
Speaker 2: including Attack of the Crab Monsters in nineteen fifty seven.

678
00:37:54,600 --> 00:37:58,920
Speaker 3: You know, it never really analyzed the cinematography of Attack

679
00:37:58,960 --> 00:38:01,520
Speaker 3: of the Crab Monster, but you know, I love the movie.

680
00:38:01,560 --> 00:38:02,640
Speaker 3: That's got to be a part of it.

681
00:38:04,400 --> 00:38:07,839
Speaker 2: And then finally, the music is by Les Baxter, who

682
00:38:07,920 --> 00:38:10,839
Speaker 2: lived nineteen twenty two through nineteen ninety six. So he's

683
00:38:10,840 --> 00:38:14,160
Speaker 2: popped up on the show before because we have considered

684
00:38:14,280 --> 00:38:17,879
Speaker 2: other scores by the master of exotica music, and none

685
00:38:17,920 --> 00:38:21,040
Speaker 2: of these scores have been examples of exotica. Like if

686
00:38:21,040 --> 00:38:23,640
Speaker 2: you look, I do recommend if you're having like a

687
00:38:23,640 --> 00:38:26,400
Speaker 2: tropical drink and you want to have a nice, like

688
00:38:26,600 --> 00:38:30,240
Speaker 2: loungy vibe, you know, pull up some Less Baxter play

689
00:38:30,239 --> 00:38:34,160
Speaker 2: some of his exotica work. It's a great sound, but

690
00:38:34,400 --> 00:38:37,120
Speaker 2: we don't really get that sound as far as I know,

691
00:38:37,160 --> 00:38:39,160
Speaker 2: out of any of the scores he did. If you

692
00:38:39,239 --> 00:38:41,920
Speaker 2: know of a Less Baxter score that is actually an

693
00:38:41,920 --> 00:38:45,480
Speaker 2: exotica score, let me know about it, because I want

694
00:38:45,480 --> 00:38:46,520
Speaker 2: to dig into that picture.

695
00:38:47,080 --> 00:38:52,000
Speaker 3: Can you imagine if House of Usher had exotica going

696
00:38:52,040 --> 00:38:55,360
Speaker 3: to Roderick Usher has got like a drink with a toothpick.

697
00:38:55,440 --> 00:38:57,359
Speaker 3: That's got three different kinds of fruit on it.

698
00:38:57,960 --> 00:38:59,680
Speaker 2: I mean, on one hand, I want to say it

699
00:38:59,719 --> 00:39:02,400
Speaker 2: would be completely inappropriate, But on the other hand, like

700
00:39:02,440 --> 00:39:06,239
Speaker 2: a lot of Baxter's exotica work, it has this kind

701
00:39:06,280 --> 00:39:08,560
Speaker 2: of like a dark undertone. There's a sense of like

702
00:39:08,719 --> 00:39:13,719
Speaker 2: rumbling volcanoes, you know, and slow moving lava. So in

703
00:39:13,760 --> 00:39:15,640
Speaker 2: a way it might it might have lined up with

704
00:39:15,680 --> 00:39:20,240
Speaker 2: some of those sort of geologic sensibilities of House of Usher.

705
00:39:20,360 --> 00:39:22,960
Speaker 2: So I'm not sure. But again, this is not an

706
00:39:23,000 --> 00:39:25,320
Speaker 2: exotica score. This is more of just like a nineteen

707
00:39:25,400 --> 00:39:30,120
Speaker 2: fifty style orchestral score. But there are other example like,

708
00:39:30,120 --> 00:39:32,399
Speaker 2: for instance, Frogs from nineteen seventy two, which we talked

709
00:39:32,400 --> 00:39:34,360
Speaker 2: about in the show before, that one has a minimalist

710
00:39:34,360 --> 00:39:39,520
Speaker 2: electronic score from Les Baxter, and I think maybe arguably

711
00:39:39,680 --> 00:39:42,359
Speaker 2: it could have benefited from an exotica score as well.

712
00:39:42,400 --> 00:39:52,480
Speaker 2: I don't know. All right, well, why don't we go

713
00:39:52,520 --> 00:39:55,320
Speaker 2: ahead and just jump right into the plot of House

714
00:39:55,360 --> 00:39:55,800
Speaker 2: of Usher?

715
00:39:56,560 --> 00:39:59,319
Speaker 3: As is often the case with Roger Korman movies. I

716
00:39:59,360 --> 00:40:01,640
Speaker 3: like the effect the credits, and there are not a

717
00:40:01,680 --> 00:40:03,640
Speaker 3: whole lot of credits to get to in this movie,

718
00:40:03,680 --> 00:40:06,600
Speaker 3: as we've already alluded to. I guess a shorter credit

719
00:40:06,600 --> 00:40:09,920
Speaker 3: sequence than usual. But the effect behind them is this

720
00:40:10,040 --> 00:40:16,279
Speaker 3: swirling mixing of clouds of colored mists. So you've got pink, green, violet, red,

721
00:40:16,360 --> 00:40:20,640
Speaker 3: and blue, seemingly timed with the appearance of different actors' names.

722
00:40:20,680 --> 00:40:24,040
Speaker 3: Like I'm not sure if there is any intended significance

723
00:40:24,120 --> 00:40:27,480
Speaker 3: that there's suddenly a blast of sprite canned green across

724
00:40:27,520 --> 00:40:30,280
Speaker 3: the picture when the name of the personable Mark Damon

725
00:40:30,360 --> 00:40:33,000
Speaker 3: splashes up, But that is what we get.

726
00:40:33,239 --> 00:40:35,680
Speaker 2: Yeah, it's very colorful. It's a color picture. We might

727
00:40:35,719 --> 00:40:36,800
Speaker 2: as well enjoy the color.

728
00:40:37,040 --> 00:40:39,440
Speaker 3: That's right, and it is something that we should appreciate

729
00:40:39,520 --> 00:40:43,080
Speaker 3: that at this time making this kind of movie, it

730
00:40:43,160 --> 00:40:45,840
Speaker 3: was still a question like would you pony up for

731
00:40:46,040 --> 00:40:49,080
Speaker 3: the to make this movie in color or would you

732
00:40:49,200 --> 00:40:51,880
Speaker 3: just shoot it in black and white? You know, today

733
00:40:52,080 --> 00:40:53,920
Speaker 3: that's not really much of a I mean, some films

734
00:40:53,960 --> 00:40:55,640
Speaker 3: are still made in black and white, but for the

735
00:40:55,680 --> 00:40:58,279
Speaker 3: most part, it's just assumed, Yeah, you're making a movie,

736
00:40:58,320 --> 00:41:01,160
Speaker 3: you will make it in color. In nineteen sixty making

737
00:41:01,200 --> 00:41:03,520
Speaker 3: a movie of this sword, it was like a toss up,

738
00:41:03,560 --> 00:41:05,200
Speaker 3: you know, you could go either way. It was a

739
00:41:05,200 --> 00:41:06,480
Speaker 3: different type of investment.

740
00:41:07,040 --> 00:41:09,879
Speaker 2: Yeah, yeah, and you could have made a strong case,

741
00:41:09,880 --> 00:41:13,080
Speaker 2: you know, gothic car gloomy setting. Maybe that does need

742
00:41:13,120 --> 00:41:14,440
Speaker 2: to be in black and white. So I don't know.

743
00:41:14,440 --> 00:41:16,720
Speaker 2: Maybe they did feel like they needed to prove themselves

744
00:41:16,760 --> 00:41:18,320
Speaker 2: a little bit with the title sequence.

745
00:41:19,080 --> 00:41:22,160
Speaker 3: So after the credits, the action opens on a barren

746
00:41:22,280 --> 00:41:27,000
Speaker 3: landscape of brown and gray swampland you've got mud, fog,

747
00:41:27,480 --> 00:41:31,360
Speaker 3: matted tufts of dead grass, withered tree limbs without a

748
00:41:31,360 --> 00:41:34,680
Speaker 3: single leaf. All of the dead plants are also wrapped

749
00:41:34,680 --> 00:41:38,319
Speaker 3: in these brittle, dead vines. So the land is it

750
00:41:38,360 --> 00:41:42,920
Speaker 3: appears totally strangled, just death upon death. And then a

751
00:41:43,000 --> 00:41:45,960
Speaker 3: character enters the picture. It is Mark Damon, playing the

752
00:41:46,040 --> 00:41:49,960
Speaker 3: character of Philip Winthrop, and he is on horseback in

753
00:41:50,000 --> 00:41:53,280
Speaker 3: a heavy purple riding cloak and a tall top hat.

754
00:41:53,920 --> 00:41:57,040
Speaker 3: He makes his way through the swamp on horseback along

755
00:41:57,080 --> 00:42:00,319
Speaker 3: a sodden dirt path to reach his ultimate destiny nation,

756
00:42:00,920 --> 00:42:04,400
Speaker 3: the titular House of Usher, which is shown to us

757
00:42:04,440 --> 00:42:08,960
Speaker 3: as a dark, decrepit mansion with curtains drawn across the windows,

758
00:42:09,640 --> 00:42:13,560
Speaker 3: no light emanating from it, and mist surrounding the foundation

759
00:42:13,800 --> 00:42:14,920
Speaker 3: like a white blanket.

760
00:42:15,840 --> 00:42:20,200
Speaker 2: Oh and this just looks tremendous. I can't drive home enough,

761
00:42:20,320 --> 00:42:23,799
Speaker 2: just how incredible this house looks. It is like a

762
00:42:24,920 --> 00:42:27,600
Speaker 2: it is, yes, it is a great, big, old Gothic

763
00:42:27,760 --> 00:42:30,840
Speaker 2: hulk of a mansion, but it also looks kind of

764
00:42:30,920 --> 00:42:34,880
Speaker 2: like just a decaying whale carcass, you know, just you know,

765
00:42:34,880 --> 00:42:38,320
Speaker 2: a heap of excess in ruin that is literally poisoning

766
00:42:38,360 --> 00:42:41,960
Speaker 2: the surrounding landscape is on the verge of falling into

767
00:42:42,080 --> 00:42:46,399
Speaker 2: hell itself. Like this is like wealth and over indulgence

768
00:42:46,560 --> 00:42:51,600
Speaker 2: dragged across the centuries, you know, pulling souls down into

769
00:42:51,680 --> 00:42:52,400
Speaker 2: darkness with it.

770
00:42:52,880 --> 00:42:53,440
Speaker 4: Yeah.

771
00:42:53,560 --> 00:42:58,080
Speaker 3: So Winthrop approaches this, this whale carcass, the mansion, passing

772
00:42:58,120 --> 00:43:01,120
Speaker 3: through a broken stone gate, and he goes in between

773
00:43:01,120 --> 00:43:04,920
Speaker 3: these black, twisted, almost melted looking trees. And I actually

774
00:43:04,920 --> 00:43:08,279
Speaker 3: read a production note that somewhere in here the designers

775
00:43:08,360 --> 00:43:11,480
Speaker 3: used some trees that had partially burned in a recent

776
00:43:11,520 --> 00:43:14,360
Speaker 3: California wildfire when the film was made. I don't know

777
00:43:14,440 --> 00:43:16,520
Speaker 3: if it's in this shot, but if it were, that

778
00:43:16,520 --> 00:43:17,280
Speaker 3: would make sense.

779
00:43:17,880 --> 00:43:21,040
Speaker 2: Yeah. Yeah, I recently was in California. We did a

780
00:43:21,080 --> 00:43:24,160
Speaker 2: lot of driving through the countryside. We saw a number

781
00:43:24,280 --> 00:43:27,239
Speaker 2: of these sorts of trees, and this, well, not a

782
00:43:27,320 --> 00:43:29,160
Speaker 2: landscape like the fall of the House of Usher, but

783
00:43:29,719 --> 00:43:32,880
Speaker 2: trees landscapes that had these sorts of trees in them,

784
00:43:32,920 --> 00:43:36,279
Speaker 2: and yeah, you can certainly lean into a haunted interpretation

785
00:43:36,520 --> 00:43:37,200
Speaker 2: and so forth.

786
00:43:37,640 --> 00:43:39,960
Speaker 3: So Philip comes to the front door, which is wreathed

787
00:43:40,000 --> 00:43:43,600
Speaker 3: in cobwebs, and he wraps with the giant bronze knocker.

788
00:43:44,320 --> 00:43:47,040
Speaker 3: The door is answered by a gray haired servant in

789
00:43:47,080 --> 00:43:50,520
Speaker 3: a black coat, and he's got a sad, apprehensive face

790
00:43:50,640 --> 00:43:54,960
Speaker 3: framed by these silver sideburns. Philip introduces himself to the

791
00:43:54,960 --> 00:43:59,480
Speaker 3: servant as Madeline Usher's fiance and asks to see her,

792
00:43:59,640 --> 00:44:03,000
Speaker 3: but the butler, whose name is Bristol, tells him that

793
00:44:03,040 --> 00:44:05,959
Speaker 3: she is confined to her bed because she is taken ill.

794
00:44:06,400 --> 00:44:09,880
Speaker 3: So Bristol tries to deny Philip entry, saying that Madeleine's

795
00:44:09,920 --> 00:44:14,280
Speaker 3: brother Roderick, has forbidden any visitors, but Philip is very pushy.

796
00:44:14,320 --> 00:44:16,839
Speaker 3: He won't take no for an answer, so Bristol leads

797
00:44:16,920 --> 00:44:18,000
Speaker 3: him inside.

798
00:44:17,920 --> 00:44:21,240
Speaker 2: And already we are seeing some red candles. This film

799
00:44:21,320 --> 00:44:24,279
Speaker 2: is all about the red candles. Only red candles in

800
00:44:24,320 --> 00:44:25,960
Speaker 2: the House of Usher, that's right.

801
00:44:26,040 --> 00:44:28,320
Speaker 3: So yeah, the interior of the house is a little

802
00:44:28,320 --> 00:44:31,960
Speaker 3: more inviting than the outside, but there's still some threatening energy.

803
00:44:33,640 --> 00:44:37,240
Speaker 3: One thing that this is not really a complaint about

804
00:44:37,239 --> 00:44:39,840
Speaker 3: the movie. It's rather just sort of a fact about

805
00:44:39,840 --> 00:44:43,160
Speaker 3: how movies are made, especially at this time, based on

806
00:44:43,320 --> 00:44:47,160
Speaker 3: things the characters say. I think we're supposed to understand

807
00:44:47,200 --> 00:44:51,320
Speaker 3: that it is always kept very dark inside the Usher mansion.

808
00:44:51,400 --> 00:44:55,680
Speaker 3: Even candlelight is weak and scarce, but it doesn't really

809
00:44:55,800 --> 00:44:58,720
Speaker 3: look that way like for the audience looking at the sets,

810
00:44:58,760 --> 00:45:02,480
Speaker 3: everything is usually quite brightly lit. There may just be

811
00:45:02,560 --> 00:45:04,920
Speaker 3: no way around that. It's kind of like suspending your

812
00:45:04,920 --> 00:45:06,960
Speaker 3: disbelief for a play. You know that this is really

813
00:45:07,000 --> 00:45:08,920
Speaker 3: taking place in a room, even though you're looking up

814
00:45:09,320 --> 00:45:12,520
Speaker 3: at a stage. But this does raise an interesting ongoing

815
00:45:12,560 --> 00:45:16,399
Speaker 3: problem even in movies today, with the art of visual storytelling,

816
00:45:16,760 --> 00:45:20,920
Speaker 3: how do you convincingly show that a scene is dark

817
00:45:21,080 --> 00:45:24,200
Speaker 3: but also allow the audience to see what's happening. It's

818
00:45:24,280 --> 00:45:27,600
Speaker 3: kind of an oxymoron, but it's a thing different filmmakers

819
00:45:27,600 --> 00:45:31,920
Speaker 3: have tried to tackle in different ways. Sometimes they just brightly,

820
00:45:32,080 --> 00:45:34,200
Speaker 3: you know, they just brightly light it anyway and then

821
00:45:34,239 --> 00:45:37,600
Speaker 3: ask you to suspend your disbelief. Other Times the scene

822
00:45:37,640 --> 00:45:40,000
Speaker 3: is actually dark and that contributes to a kind of

823
00:45:40,040 --> 00:45:44,440
Speaker 3: emotional or atmospheric effect, but it can create frustrations when

824
00:45:44,480 --> 00:45:45,720
Speaker 3: trying to follow the drama.

825
00:45:46,400 --> 00:45:48,680
Speaker 2: Yeah, there was a time or two watching this film

826
00:45:48,719 --> 00:45:50,680
Speaker 2: where they were talking about how dark the room was,

827
00:45:50,719 --> 00:45:52,719
Speaker 2: and I was like, well, even I can really make

828
00:45:52,760 --> 00:45:56,280
Speaker 2: out everything. Maybe the lighting is off on my phone

829
00:45:56,360 --> 00:45:56,760
Speaker 2: or something.

830
00:45:57,280 --> 00:45:57,480
Speaker 5: Yeah.

831
00:45:57,480 --> 00:45:59,480
Speaker 3: I think this is still just a tension that visual

832
00:45:59,480 --> 00:46:03,400
Speaker 3: storytellers struggle with even until today. You know, I remember

833
00:46:03,440 --> 00:46:06,640
Speaker 3: people talking about stuff in the the last season of

834
00:46:06,680 --> 00:46:08,880
Speaker 3: Game of Thrones, you know, apart from any like writing

835
00:46:08,920 --> 00:46:12,759
Speaker 3: issues about that, but questions about certain scenes and episodes

836
00:46:12,840 --> 00:46:16,320
Speaker 3: that were like very very dimly lit and dark scenes,

837
00:46:16,360 --> 00:46:19,960
Speaker 3: and even that does highlight, Like, yeah, you can do that,

838
00:46:20,239 --> 00:46:22,239
Speaker 3: and that can be good in some ways. It can

839
00:46:22,320 --> 00:46:25,120
Speaker 3: create an intended atmospheric effect. It can make you feel

840
00:46:25,160 --> 00:46:27,080
Speaker 3: a certain way, but then you're going to have a

841
00:46:27,080 --> 00:46:29,839
Speaker 3: lot of viewers complaining that they can't tell what's going on,

842
00:46:30,000 --> 00:46:32,400
Speaker 3: or they can't follow what's what's supposed to be happening

843
00:46:32,440 --> 00:46:33,040
Speaker 3: in a scene.

844
00:46:33,520 --> 00:46:37,160
Speaker 2: I've also read I'm I can't one percent match my

845
00:46:37,600 --> 00:46:41,120
Speaker 2: experience up with this, but I've I've observed some conversations

846
00:46:41,640 --> 00:46:46,520
Speaker 2: about how really dark scenes in movies, especially modern movies,

847
00:46:47,440 --> 00:46:52,560
Speaker 2: perhaps don't play as well on streaming platforms versus physical media,

848
00:46:52,680 --> 00:46:54,919
Speaker 2: you know, And I'm not enough of a tech head

849
00:46:55,000 --> 00:46:57,279
Speaker 2: on all of that to really weigh in, but if

850
00:46:57,280 --> 00:46:59,200
Speaker 2: listeners out there have any feedback on that, I'd love

851
00:46:59,280 --> 00:47:01,240
Speaker 2: to I love to hear from you. I mean, I'm

852
00:47:01,320 --> 00:47:04,040
Speaker 2: kind of like all in on any argument for physical

853
00:47:04,080 --> 00:47:06,759
Speaker 2: media over depending entirely on streamers. So when it comes

854
00:47:06,800 --> 00:47:07,640
Speaker 2: to films.

855
00:47:07,600 --> 00:47:10,239
Speaker 3: Or I would wonder also just about watching things on

856
00:47:10,480 --> 00:47:13,680
Speaker 3: home video versus in the movie theater, the movie theater

857
00:47:13,800 --> 00:47:16,680
Speaker 3: might be a case where more dimly lit scenes come

858
00:47:16,719 --> 00:47:17,400
Speaker 3: across better.

859
00:47:17,440 --> 00:47:19,960
Speaker 2: I don't know, Yeah, that's the in theater propaganda is

860
00:47:20,000 --> 00:47:22,600
Speaker 2: really big on telling me that the darks are darker,

861
00:47:23,040 --> 00:47:26,279
Speaker 2: and you know, having watched Son of Frankenstein on the

862
00:47:26,280 --> 00:47:29,200
Speaker 2: big screen, I mean those those really those dark shadows

863
00:47:29,200 --> 00:47:31,640
Speaker 2: are really luscious up there, so I kind of buy

864
00:47:31,680 --> 00:47:31,960
Speaker 2: into it.

865
00:47:32,360 --> 00:47:34,760
Speaker 3: Anyway, That's not what's going on in House of Usher.

866
00:47:34,800 --> 00:47:38,920
Speaker 3: Everything is very well lit here. But so we come

867
00:47:38,920 --> 00:47:41,600
Speaker 3: inside and yes, we do have these these red candles everywhere,

868
00:47:41,719 --> 00:47:45,640
Speaker 3: cherry red candles. And I like this little moment where

869
00:47:45,640 --> 00:47:48,600
Speaker 3: Bristol the butler asks Philip to take off his boots

870
00:47:48,840 --> 00:47:51,759
Speaker 3: and he's like, what for and he just says, you know,

871
00:47:51,800 --> 00:47:56,319
Speaker 3: mister Roderick will explain, and Bristol disappears mysteriously for a

872
00:47:56,360 --> 00:47:58,520
Speaker 3: moment here, but then reappears with slippers for him.

873
00:47:58,719 --> 00:48:01,719
Speaker 2: Yeah, some real culture show being asked to take your

874
00:48:02,000 --> 00:48:06,040
Speaker 2: shoes off in this shoes off household here, which I

875
00:48:06,080 --> 00:48:10,520
Speaker 2: really I really appreciated this because I prior to watching

876
00:48:10,520 --> 00:48:12,880
Speaker 2: the film, I've been meeting up with some family and

877
00:48:12,920 --> 00:48:16,480
Speaker 2: it was clearly like a mix of shoes on households

878
00:48:16,520 --> 00:48:18,840
Speaker 2: and shoes off households. Meeting in a rental home, you know,

879
00:48:18,880 --> 00:48:21,200
Speaker 2: where you're like, what, why are people in the kitchen

880
00:48:21,200 --> 00:48:23,520
Speaker 2: with their shoes on? What's happening? And you know it

881
00:48:23,680 --> 00:48:24,760
Speaker 2: just they're different approaches.

882
00:48:25,200 --> 00:48:27,319
Speaker 3: Wait, if you're comfortable sharing, which way are you? I

883
00:48:27,320 --> 00:48:29,080
Speaker 3: don't even know? Do you all take shoes off in

884
00:48:29,120 --> 00:48:29,480
Speaker 3: the house?

885
00:48:29,560 --> 00:48:30,680
Speaker 2: Were shoes off households?

886
00:48:30,760 --> 00:48:31,080
Speaker 3: Okay?

887
00:48:31,120 --> 00:48:31,400
Speaker 4: Cool?

888
00:48:31,680 --> 00:48:34,360
Speaker 2: But you know I mean if someone comes and I

889
00:48:34,480 --> 00:48:36,640
Speaker 2: forget to say, hey, you can take your shoes off

890
00:48:36,680 --> 00:48:38,359
Speaker 2: and they're wearing their shoes, I'm not going to freak out.

891
00:48:38,480 --> 00:48:40,239
Speaker 2: It's like, that's on me because I didn't give you

892
00:48:40,239 --> 00:48:44,520
Speaker 2: a heads up. Also, as comedian Shang Wang points out,

893
00:48:44,560 --> 00:48:47,840
Speaker 2: there are certain circumstances where you may have to like

894
00:48:47,960 --> 00:48:50,560
Speaker 2: run through the house with the shoes on to do something,

895
00:48:50,719 --> 00:48:52,640
Speaker 2: you know, like turn the alarm system off or something

896
00:48:52,640 --> 00:48:57,960
Speaker 2: I don't know. There are circumstances that the demands you

897
00:48:58,040 --> 00:48:58,480
Speaker 2: keep them on.

898
00:48:59,000 --> 00:49:02,200
Speaker 3: Well, what is totally commonplace in some cultures and some

899
00:49:02,239 --> 00:49:05,120
Speaker 3: families is treated as quite strange here. This is not

900
00:49:05,200 --> 00:49:07,680
Speaker 3: something that Philip Winthrop is used to. But yeah, we're

901
00:49:07,719 --> 00:49:11,080
Speaker 3: told that Roderick will explain. So Philip is led up

902
00:49:11,120 --> 00:49:14,800
Speaker 3: the grand staircase. So he goes along this carved banister

903
00:49:14,880 --> 00:49:18,799
Speaker 3: and hand rail past these tapestries again the cherry red candles,

904
00:49:19,120 --> 00:49:23,000
Speaker 3: to an upper hallway and eventually to Roderick's room and ooh,

905
00:49:23,000 --> 00:49:25,960
Speaker 3: there's a very good boo scare right at the first

906
00:49:26,040 --> 00:49:28,920
Speaker 3: time we meet Vincent Price. So Bristol goes to knock

907
00:49:28,960 --> 00:49:32,120
Speaker 3: on the bedroom door, but before his knuckles can touch

908
00:49:32,160 --> 00:49:35,400
Speaker 3: the wood, the door swings inward and into the doorway

909
00:49:35,480 --> 00:49:40,000
Speaker 3: bursts Roderick. It is a fierce looking, clean shaven Vincent

910
00:49:40,040 --> 00:49:44,400
Speaker 3: Price with platinum blonde hair, wearing a red velvet jacket

911
00:49:44,440 --> 00:49:45,600
Speaker 3: and a black tie.

912
00:49:46,360 --> 00:49:49,560
Speaker 2: Yeah, seeming to tower over him as well. Here.

913
00:49:50,080 --> 00:49:54,480
Speaker 3: Yes, Price does come off as very physically large in

914
00:49:54,520 --> 00:49:56,759
Speaker 3: this movie, and I think that'll be interesting to talk

915
00:49:56,800 --> 00:50:00,520
Speaker 3: about maybe later when we I don't talk about the

916
00:50:00,600 --> 00:50:05,960
Speaker 3: weird contrasting aspects of his physical presence and whether or

917
00:50:06,000 --> 00:50:07,600
Speaker 3: not he should be taken as threatening.

918
00:50:07,960 --> 00:50:11,200
Speaker 2: Yeah, because he seems physically imposing that we've learned that

919
00:50:11,440 --> 00:50:12,880
Speaker 2: he's actually quite fragile.

920
00:50:14,200 --> 00:50:17,160
Speaker 3: Yeah, we'll get to that soon. So Roderick is initially

921
00:50:17,239 --> 00:50:21,279
Speaker 3: furious that Bristol has admitted a visitor. He's furious but

922
00:50:21,600 --> 00:50:25,080
Speaker 3: soft spoken, so he's like, how dare you? But in

923
00:50:25,120 --> 00:50:29,719
Speaker 3: a library voice, and Philip explains that he insisted he

924
00:50:29,760 --> 00:50:32,279
Speaker 3: believed he had the right. So Roderick brings Philip into

925
00:50:32,320 --> 00:50:36,440
Speaker 3: his room to discuss, and in here Philip starts talking,

926
00:50:36,480 --> 00:50:40,080
Speaker 3: but before he can even finish a sentence, Roderick winces,

927
00:50:40,200 --> 00:50:43,600
Speaker 3: covering his ears and saying, mister Winthrop, if you please,

928
00:50:43,840 --> 00:50:47,880
Speaker 3: an affliction of the hearing sounds of any exaggerated degree

929
00:50:48,040 --> 00:50:51,960
Speaker 3: cut into my brain like knives. So you have to

930
00:50:52,000 --> 00:50:54,560
Speaker 3: be you have to use your inside voice when speaking

931
00:50:54,560 --> 00:50:58,120
Speaker 3: to Roderick. He cannot stand a raised voice. It causes

932
00:50:58,200 --> 00:51:02,400
Speaker 3: him such pain. So Roderick goes to rest in a

933
00:51:02,480 --> 00:51:05,399
Speaker 3: high back chair and Philip begins to explain what's going on.

934
00:51:05,520 --> 00:51:08,239
Speaker 3: He says that he must be allowed to see Madeline

935
00:51:08,280 --> 00:51:13,640
Speaker 3: since they are engaged to be married. Roderick seems disturbed

936
00:51:13,680 --> 00:51:17,480
Speaker 3: by this news and tells him that it's impossible. Madeleine

937
00:51:17,480 --> 00:51:20,600
Speaker 3: is confined to her bed and their engagement has to

938
00:51:20,640 --> 00:51:22,680
Speaker 3: be called off. It was he should think of it

939
00:51:22,800 --> 00:51:26,279
Speaker 3: just as an unfortunate mistake, and Philip must leave the

940
00:51:26,400 --> 00:51:29,320
Speaker 3: estate at once. He says, it is not a healthy

941
00:51:29,360 --> 00:51:32,880
Speaker 3: place for you to be. Philip, of course, does not

942
00:51:33,000 --> 00:51:35,759
Speaker 3: accept this, and it would be a strange thing if

943
00:51:35,760 --> 00:51:38,359
Speaker 3: he just conformed. He's like, no, I don't understand why

944
00:51:38,400 --> 00:51:40,680
Speaker 3: you're saying this, and he says he's not going to

945
00:51:40,800 --> 00:51:44,719
Speaker 3: leave without seeing Madeline. Multiple times in this argument, again

946
00:51:44,800 --> 00:51:48,080
Speaker 3: Philip raises his voice and whenever he gets louder, Price

947
00:51:48,280 --> 00:51:51,040
Speaker 3: closes his eyes and grits his teeth in pain. So

948
00:51:51,080 --> 00:51:54,640
Speaker 3: he reacts every time. But while they're going back and forth,

949
00:51:54,960 --> 00:51:58,319
Speaker 3: their dispute is cut short when Madeleine herself appears in

950
00:51:58,480 --> 00:52:03,399
Speaker 3: the doorway of Roderick's and again this is mRNA Fahe now,

951
00:52:03,440 --> 00:52:06,920
Speaker 3: she's obviously very happy to see Philip and flattered that

952
00:52:06,960 --> 00:52:10,280
Speaker 3: he made the journey here. To the mansion, but there

953
00:52:10,400 --> 00:52:15,080
Speaker 3: is some kind of cloud hanging over their reunion, somewhat literally,

954
00:52:15,160 --> 00:52:18,200
Speaker 3: in the form of Roderick himself, who cuts it short

955
00:52:18,280 --> 00:52:21,440
Speaker 3: to escort Madeleine back to her room, explaining that she

956
00:52:21,680 --> 00:52:23,040
Speaker 3: must go back to bed.

957
00:52:24,840 --> 00:52:27,640
Speaker 2: Yes, this is another film where people are sent to

958
00:52:27,680 --> 00:52:30,480
Speaker 2: bed a very strict bedtime schedule here in House of USh.

959
00:52:30,600 --> 00:52:33,279
Speaker 3: Yeah, so they go and Philip is left alone in

960
00:52:33,360 --> 00:52:37,440
Speaker 3: Roderick's room, and here is where we see one of

961
00:52:37,480 --> 00:52:40,840
Speaker 3: the first of the Bert Schoenberg paintings, not of a

962
00:52:41,200 --> 00:52:44,480
Speaker 3: person in this case, but of the house itself in

963
00:52:44,520 --> 00:52:48,440
Speaker 3: a wild impressionistic style. I was trying to think of

964
00:52:48,480 --> 00:52:51,960
Speaker 3: a way to describe this. This is a great painting.

965
00:52:52,160 --> 00:52:56,120
Speaker 3: It looks so it's so colorful and almost happy in

966
00:52:56,160 --> 00:52:58,799
Speaker 3: the way the colors are jumbled, but also does look

967
00:52:58,880 --> 00:53:02,680
Speaker 3: quite evil. It's like a cross between a haunted mansion,

968
00:53:03,160 --> 00:53:06,560
Speaker 3: a monet painting of a big pile of Halloween candies,

969
00:53:06,920 --> 00:53:09,800
Speaker 3: and also sort of a boss from Legend of Zelda

970
00:53:09,840 --> 00:53:10,800
Speaker 3: Ocarina of Time.

971
00:53:11,440 --> 00:53:15,040
Speaker 2: Yeah, it's pretty fabulous again, very strong night Gallery vibes.

972
00:53:15,680 --> 00:53:18,680
Speaker 2: You know, I can basically hear the theme music in

973
00:53:18,680 --> 00:53:22,640
Speaker 2: my head. You know, it looks like a like a

974
00:53:23,120 --> 00:53:26,520
Speaker 2: decaying mansion made out of meat, with like an eye

975
00:53:26,600 --> 00:53:27,960
Speaker 2: opening in the center of it.

976
00:53:27,960 --> 00:53:30,719
Speaker 3: It's tremendous, the eye in the center. That's what I'm

977
00:53:30,760 --> 00:53:33,000
Speaker 3: reacting to with the Zelda comparison. It looks like the

978
00:53:33,040 --> 00:53:35,560
Speaker 3: first boss you fight in Okarina of Time. That thing

979
00:53:35,600 --> 00:53:39,319
Speaker 3: in the tree. Anyway, While Philip is looking at the

980
00:53:39,320 --> 00:53:44,240
Speaker 3: painting waiting for Roderick to return, the fireplace suddenly spits

981
00:53:44,280 --> 00:53:46,759
Speaker 3: a bunch of cinders onto his legs, and this will

982
00:53:46,800 --> 00:53:48,880
Speaker 3: be the first of many attempts by the house to

983
00:53:48,960 --> 00:53:52,160
Speaker 3: murder the characters, but he just kind of brushes it off.

984
00:53:52,560 --> 00:53:56,239
Speaker 3: Roderick comes back and asks with concern what happened, but

985
00:53:56,320 --> 00:53:58,480
Speaker 3: Philip is not worried about it. He's just like, I

986
00:53:58,520 --> 00:54:02,279
Speaker 3: think your fireplace needs a screen, and Price says, does it.

987
00:54:04,760 --> 00:54:07,040
Speaker 3: After this, they pick up the conversation sort of where

988
00:54:07,080 --> 00:54:10,720
Speaker 3: they left off. We learn that Roderick is a man

989
00:54:10,840 --> 00:54:13,960
Speaker 3: of the arts. He paints. The painted work we were

990
00:54:14,000 --> 00:54:17,960
Speaker 3: just talking about is his own, and Roderick also plays

991
00:54:18,040 --> 00:54:23,120
Speaker 3: the lute. But here the conversation gets weirder. Roderick wants

992
00:54:23,120 --> 00:54:26,520
Speaker 3: to know if Philip really intends to marry Madeleine, if

993
00:54:26,520 --> 00:54:29,520
Speaker 3: Philip says, of course he does, and Roderick says, do

994
00:54:29,560 --> 00:54:32,640
Speaker 3: you intend to have children? And Philip says, god willing?

995
00:54:33,239 --> 00:54:36,800
Speaker 3: Then Roderick gasps with despair, and he says god willing.

996
00:54:37,400 --> 00:54:39,880
Speaker 3: He explains that this would be a nightmare and it

997
00:54:39,960 --> 00:54:43,760
Speaker 3: cannot happen. Why, well, here we get one of Vincent

998
00:54:43,760 --> 00:54:47,640
Speaker 3: Price's many lovely tortured monologues. So I just want to

999
00:54:47,680 --> 00:54:50,279
Speaker 3: read from part of what he says here with some abridgements.

1000
00:54:51,200 --> 00:54:56,160
Speaker 3: Price says, because the usher line is tainted, you saw Madeleine,

1001
00:54:56,239 --> 00:55:00,120
Speaker 3: and you see me, we are dying, mister Winthrop. As

1002
00:55:00,160 --> 00:55:03,680
Speaker 3: you saw her today, she is and will remain, which,

1003
00:55:03,760 --> 00:55:07,000
Speaker 3: by the way, again, in suspension of disbelief, I will say,

1004
00:55:07,760 --> 00:55:11,160
Speaker 3: nothing looked all that unhealthy about Madeline. Like she looked fine.

1005
00:55:11,200 --> 00:55:13,480
Speaker 3: But we are by the way the characters talk, we're

1006
00:55:13,520 --> 00:55:16,040
Speaker 3: supposed to understand that when we saw her in the

1007
00:55:16,080 --> 00:55:19,319
Speaker 3: previous scene, she looks sickly and like like she is

1008
00:55:19,360 --> 00:55:20,120
Speaker 3: about to die.

1009
00:55:20,160 --> 00:55:22,200
Speaker 2: But really she just looks like she still has her

1010
00:55:22,280 --> 00:55:25,719
Speaker 2: night down on, yeah, and has had time to put

1011
00:55:25,719 --> 00:55:26,560
Speaker 2: on all her makeup.

1012
00:55:26,840 --> 00:55:27,160
Speaker 4: Yeah.

1013
00:55:27,239 --> 00:55:29,480
Speaker 3: So Madeleine is supposed to look sick in the same

1014
00:55:29,520 --> 00:55:32,760
Speaker 3: way that these brightly. Rooms are supposed to look dark. Yeah,

1015
00:55:32,880 --> 00:55:36,680
Speaker 3: but anyway, price continues. Believe me, sir, I bear you

1016
00:55:36,680 --> 00:55:40,040
Speaker 3: no malice were things otherwise I should welcome you into

1017
00:55:40,080 --> 00:55:44,880
Speaker 3: our family joyously. But under the circumstances it is quite impossible.

1018
00:55:45,680 --> 00:55:48,279
Speaker 3: And then a little later he says, Madeleine and I

1019
00:55:48,440 --> 00:55:52,560
Speaker 3: are like figures of fine glass. The slightest touch and

1020
00:55:52,600 --> 00:55:55,520
Speaker 3: we may shatter. Both of us suffer from a morbid

1021
00:55:55,560 --> 00:55:59,520
Speaker 3: acuteness of the senses. Mine is the worse for having

1022
00:55:59,560 --> 00:56:02,839
Speaker 3: existed the longer, but both of us are afflicted with it.

1023
00:56:03,360 --> 00:56:06,560
Speaker 3: Any sort of food more exotic than the most pallid

1024
00:56:06,719 --> 00:56:10,759
Speaker 3: mash is unendurable to my taste buds. Any sort of

1025
00:56:10,840 --> 00:56:14,520
Speaker 3: garment other than the softest is agony to my flesh.

1026
00:56:14,960 --> 00:56:18,560
Speaker 3: My eyes are tormented by all but the faintest illumination.

1027
00:56:19,320 --> 00:56:23,040
Speaker 3: Odors assail me constantly, and as I've said, sounds of

1028
00:56:23,080 --> 00:56:28,719
Speaker 3: any degree whatsoever inspire me with terror. And then Philip reasons, ah,

1029
00:56:28,760 --> 00:56:31,320
Speaker 3: that's why your servant asked me to remove my boots,

1030
00:56:32,320 --> 00:56:35,239
Speaker 3: and Roderick says yes. And even so I could hear

1031
00:56:35,320 --> 00:56:39,560
Speaker 3: your coming, every footstep, every rustle of your clothes. I

1032
00:56:39,560 --> 00:56:42,520
Speaker 3: could hear your horse approaching. Hear the clatter of its

1033
00:56:42,520 --> 00:56:46,080
Speaker 3: hoofs across the courtyard. Your knock, the grating of the

1034
00:56:46,160 --> 00:56:49,000
Speaker 3: door bolt was like a sword stroke to my ears.

1035
00:56:49,480 --> 00:56:52,160
Speaker 3: I can hear the scratch of rat claws within the

1036
00:56:52,200 --> 00:56:56,080
Speaker 3: stone wall. Mister Winthrop, three quarters of my family have

1037
00:56:56,200 --> 00:56:59,640
Speaker 3: fallen into madness, and in their madness have acquired a

1038
00:57:00,000 --> 00:57:02,920
Speaker 3: super human strength, so that it took the power of

1039
00:57:03,040 --> 00:57:06,839
Speaker 3: many to subdue them. Oh excellent, and I love this

1040
00:57:06,920 --> 00:57:09,600
Speaker 3: for many reasons. First of all, the eventsid Price's delivery

1041
00:57:09,640 --> 00:57:12,520
Speaker 3: in the scene is great, but I also thought it

1042
00:57:12,560 --> 00:57:18,000
Speaker 3: was really interesting the relationship between the supposedly afflicted characters

1043
00:57:18,080 --> 00:57:21,960
Speaker 3: and the senses. I think a lot of times characters

1044
00:57:22,400 --> 00:57:24,680
Speaker 3: in horror stories like this who seem to be suffering

1045
00:57:24,720 --> 00:57:28,040
Speaker 3: from some kind of vague affliction are presented in the

1046
00:57:28,120 --> 00:57:32,600
Speaker 3: opposite way. They're presented as insensate or unconscious, kind of

1047
00:57:32,920 --> 00:57:38,760
Speaker 3: detached from reality. The ushers instead are hyper sensitive to

1048
00:57:38,960 --> 00:57:43,520
Speaker 3: all stimuliz sound, light, and taste, and they are thus

1049
00:57:43,800 --> 00:57:48,600
Speaker 3: more present and more vulnerable to every little bit of life.

1050
00:57:49,320 --> 00:57:52,840
Speaker 3: And there's also an interesting relationship of this to their

1051
00:57:52,960 --> 00:57:57,840
Speaker 3: cursed super strength. And warning there will be spoilers ahead,

1052
00:57:57,880 --> 00:58:00,720
Speaker 3: so if you want to see this movie without things spoiled,

1053
00:58:00,760 --> 00:58:02,800
Speaker 3: you know, go ahead and watch it for yourself. But uh,

1054
00:58:03,040 --> 00:58:06,640
Speaker 3: a spoiler's incoming. Later in the film, when Madeline does

1055
00:58:06,680 --> 00:58:09,520
Speaker 3: finally succumb to the Usher madness, we see that she's

1056
00:58:09,560 --> 00:58:12,120
Speaker 3: able to break metal chains and she kind of becomes

1057
00:58:12,120 --> 00:58:13,040
Speaker 3: a goth hulk.

1058
00:58:13,600 --> 00:58:16,760
Speaker 2: Yeah. It's it is like they're the multi generational evil

1059
00:58:16,800 --> 00:58:20,640
Speaker 2: of the Usher family has reached terminal velocity, and you

1060
00:58:20,680 --> 00:58:23,960
Speaker 2: can tap into that velocity if you want to, if

1061
00:58:24,000 --> 00:58:25,880
Speaker 2: you have the willpower, I guess.

1062
00:58:26,560 --> 00:58:28,800
Speaker 3: Yeah. So it's like, at the same time that they

1063
00:58:28,880 --> 00:58:33,600
Speaker 3: are dying and incredibly fragile, they're also becoming Superman. They're

1064
00:58:33,640 --> 00:58:37,400
Speaker 3: gain they're gaining all of Superman's sensory powers, like his

1065
00:58:37,480 --> 00:58:40,640
Speaker 3: superheroing and everything, and they're gaining Superman's strength.

1066
00:58:41,120 --> 00:58:41,840
Speaker 2: Yeah.

1067
00:58:41,920 --> 00:58:45,400
Speaker 3: So Winthrop of course reacts to this with extreme skepticism.

1068
00:58:45,760 --> 00:58:45,880
Speaker 5: Uh.

1069
00:58:46,080 --> 00:58:48,640
Speaker 3: And then he's like, it is so dark in here, Roderic,

1070
00:58:48,680 --> 00:58:51,520
Speaker 3: can you light a candle? And so Roderick goes and

1071
00:58:51,600 --> 00:58:54,760
Speaker 3: lights two red candles on the mantle above the fireplace,

1072
00:58:55,160 --> 00:58:58,640
Speaker 3: and then he says, two pale drops of fire guttering

1073
00:58:58,680 --> 00:59:03,440
Speaker 3: in the vast, consuming darkness. My sister and myself. Shortly

1074
00:59:03,480 --> 00:59:04,520
Speaker 3: they will burn no more.

1075
00:59:05,560 --> 00:59:07,400
Speaker 2: I think this may have been the scene where I

1076
00:59:07,400 --> 00:59:10,360
Speaker 2: thought to myself, I can see every corner of this room.

1077
00:59:11,160 --> 00:59:13,680
Speaker 2: I think you're over reacting, Roderick, but you know, he

1078
00:59:13,760 --> 00:59:14,919
Speaker 2: kind of is a lot of the time.

1079
00:59:15,480 --> 00:59:18,680
Speaker 3: But so here the sort of the central dispute between

1080
00:59:18,720 --> 00:59:22,880
Speaker 3: the characters is established. Roderick says, hey, our family line

1081
00:59:23,000 --> 00:59:26,080
Speaker 3: is cursed. Madeleine and I are suffering from a physical

1082
00:59:26,160 --> 00:59:29,520
Speaker 3: and mental decomposition as a result of this curse. And

1083
00:59:29,720 --> 00:59:33,240
Speaker 3: Madeleine cannot be allowed to leave this house, cannot have children,

1084
00:59:33,440 --> 00:59:35,520
Speaker 3: or she will pass the curse along to them and

1085
00:59:35,560 --> 00:59:38,240
Speaker 3: the evil will continue. Philip, on the other hand, does

1086
00:59:38,280 --> 00:59:40,840
Speaker 3: not believe in the idea of this curse. He's dismissive

1087
00:59:40,880 --> 00:59:43,680
Speaker 3: of the whole thing and says, if Madeleine still wishes

1088
00:59:43,720 --> 00:59:45,840
Speaker 3: to marry him and wishes to have children, they will

1089
00:59:45,880 --> 00:59:47,960
Speaker 3: do so and they will leave the house together.

1090
00:59:49,480 --> 00:59:52,280
Speaker 2: This is something that Philip does bring up. It is

1091
00:59:52,320 --> 00:59:55,800
Speaker 2: the fact that he does already know her. Yes, it's

1092
00:59:56,080 --> 01:00:01,000
Speaker 2: you know, like they have a relationship already they you know.

1093
01:00:01,080 --> 01:00:05,280
Speaker 2: It's like it's just that now he is on Roderick's turf,

1094
01:00:05,320 --> 01:00:08,919
Speaker 2: and here he has come to meet her family and

1095
01:00:09,080 --> 01:00:11,520
Speaker 2: is therefore encountering different dynamics.

1096
01:00:12,000 --> 01:00:14,480
Speaker 3: I do think that's actually very interesting because this is

1097
01:00:14,600 --> 01:00:19,840
Speaker 3: an exaggerated horror version of a real dynamic, which is that,

1098
01:00:20,000 --> 01:00:23,280
Speaker 3: you know, people often act different when they're around their family.

1099
01:00:23,400 --> 01:00:25,800
Speaker 3: You can meet a person in one setting, and then

1100
01:00:25,840 --> 01:00:29,160
Speaker 3: when you go to meet their family, they just change

1101
01:00:29,160 --> 01:00:31,400
Speaker 3: a little bit. They act a little bit different. I

1102
01:00:31,440 --> 01:00:34,400
Speaker 3: think a lot of people have probably experienced this with

1103
01:00:34,440 --> 01:00:37,240
Speaker 3: like the family of a significant other, you know, with

1104
01:00:37,280 --> 01:00:40,080
Speaker 3: their in laws or whatever. Of course, this takes that

1105
01:00:40,200 --> 01:00:42,720
Speaker 3: to monstrous dimensions.

1106
01:00:42,640 --> 01:00:46,040
Speaker 2: Yes, but but yeah, it does plan on some real dynamics.

1107
01:00:46,080 --> 01:00:48,240
Speaker 2: I think, you know, like even in my own life,

1108
01:00:48,280 --> 01:00:51,040
Speaker 2: you know, I recognize that, Yeah, you know, I love

1109
01:00:51,080 --> 01:00:54,160
Speaker 2: my family, But if I'm visiting with them more than

1110
01:00:54,160 --> 01:00:56,720
Speaker 2: a couple of days, I feel myself falling back into

1111
01:00:56,760 --> 01:00:59,360
Speaker 2: a former self. You know. I feel like I can

1112
01:00:59,400 --> 01:01:03,240
Speaker 2: only main pin who I am outside of that dynamic

1113
01:01:03,360 --> 01:01:05,280
Speaker 2: for like a day or so, and then I begin

1114
01:01:05,360 --> 01:01:09,600
Speaker 2: to slip into this former self, and you know, I

1115
01:01:09,840 --> 01:01:15,160
Speaker 2: just observing the way that I change or regress when

1116
01:01:15,200 --> 01:01:16,240
Speaker 2: I am in this environment.

1117
01:01:16,560 --> 01:01:19,800
Speaker 3: Yeah, I think it's a really common experience. But so

1118
01:01:20,080 --> 01:01:22,000
Speaker 3: Philip here he says, I'm going to stay at the

1119
01:01:22,040 --> 01:01:25,760
Speaker 3: house until Madeline is well enough to leave. And Roderick

1120
01:01:25,880 --> 01:01:29,400
Speaker 3: is like, you know, okay, but now now that you know,

1121
01:01:29,520 --> 01:01:33,440
Speaker 3: whatever consequences fall upon you here, that's not my responsibility.

1122
01:01:33,440 --> 01:01:34,840
Speaker 3: That's on you, you know.

1123
01:01:34,920 --> 01:01:37,640
Speaker 2: And he's gonna have some time to kill in the

1124
01:01:37,880 --> 01:01:40,240
Speaker 2: House of Usher here. He's gonna start pointing out some

1125
01:01:41,040 --> 01:01:43,800
Speaker 2: problems with the foundation and so forth. And I couldn't help,

1126
01:01:43,800 --> 01:01:46,120
Speaker 2: but think, wouldn't it be an interesting read on this

1127
01:01:46,240 --> 01:01:48,920
Speaker 2: if Philip was a real fixer upper, you know, like

1128
01:01:48,960 --> 01:01:51,600
Speaker 2: a handyman type, and he was like, let me get it, Roderck,

1129
01:01:51,680 --> 01:01:53,800
Speaker 2: let me go over to the home depot. I'm going

1130
01:01:53,880 --> 01:01:55,920
Speaker 2: to pick up a few things. I can spackle this

1131
01:01:56,000 --> 01:01:58,280
Speaker 2: crack up. We'll get shoup and running a noe time

1132
01:01:58,560 --> 01:02:02,480
Speaker 2: now pards the lab and Roderick would be like, you

1133
01:02:02,560 --> 01:02:07,480
Speaker 2: can try, but this home is beyond repair because of

1134
01:02:07,520 --> 01:02:08,240
Speaker 2: the curves.

1135
01:02:08,560 --> 01:02:11,680
Speaker 3: Oh you know what Roderick is. He's like Homer Simpson

1136
01:02:11,720 --> 01:02:14,080
Speaker 3: in that episode where it's like, you know, the problem

1137
01:02:14,120 --> 01:02:19,560
Speaker 3: was water damage. A simple five cent washer will get out.

1138
01:02:20,360 --> 01:02:23,960
Speaker 3: So anyway, one of the weird things. The first time

1139
01:02:24,000 --> 01:02:25,880
Speaker 3: I was watching this, I was confused about I thought

1140
01:02:26,040 --> 01:02:29,040
Speaker 3: Philip arrived late at night, but I think he's supposed

1141
01:02:29,080 --> 01:02:31,200
Speaker 3: to have arrived earlier in the day, because we see

1142
01:02:31,240 --> 01:02:33,400
Speaker 3: like time pass and then it's like later in the

1143
01:02:33,440 --> 01:02:37,720
Speaker 3: evening and Philip is alone in his guest room getting

1144
01:02:37,760 --> 01:02:40,600
Speaker 3: ready to go down for supper, and here we see

1145
01:02:40,640 --> 01:02:43,560
Speaker 3: the first of the Poltergeistye stuff, Like he's got a

1146
01:02:43,640 --> 01:02:46,480
Speaker 3: chamber stick that's like a little candle holder with a

1147
01:02:46,520 --> 01:02:49,200
Speaker 3: dish on the bottom, you know, He's got that sitting

1148
01:02:49,200 --> 01:02:51,680
Speaker 3: on a table, and it starts to scoot across the

1149
01:02:51,720 --> 01:02:55,200
Speaker 3: surface of the table by itself. Now, when I first

1150
01:02:55,240 --> 01:02:58,000
Speaker 3: saw this, I was like, ah, okay, so there are

1151
01:02:58,160 --> 01:03:02,440
Speaker 3: definitely ghosts here. But then Philip hears a rumbling sound

1152
01:03:02,560 --> 01:03:04,840
Speaker 3: and he goes to look out his window and sees

1153
01:03:04,880 --> 01:03:07,680
Speaker 3: there is a giant crack running up from the foundation

1154
01:03:07,880 --> 01:03:09,800
Speaker 3: up the side of the house. Part of the frame

1155
01:03:09,840 --> 01:03:13,640
Speaker 3: of the house seems to be shifting, so maybe that's

1156
01:03:13,640 --> 01:03:16,320
Speaker 3: what made the candle inside move. Maybe it wasn't a ghost,

1157
01:03:16,360 --> 01:03:18,880
Speaker 3: And we get some nice creepy close ups of the

1158
01:03:18,920 --> 01:03:22,120
Speaker 3: crack running along the length of the exterior wall. It's

1159
01:03:22,200 --> 01:03:24,320
Speaker 3: just drooling cobwebs and dust.

1160
01:03:24,680 --> 01:03:28,120
Speaker 2: Yeah, this house is not up to cut. We are learning.

1161
01:03:28,400 --> 01:03:39,720
Speaker 3: Yeah. Oh, as Philip is coming down for supper, he

1162
01:03:39,880 --> 01:03:43,600
Speaker 3: nearly gets squashed by a falling chandelier, you know, just

1163
01:03:43,680 --> 01:03:46,840
Speaker 3: misses him. He dodges out of the way, and Madeline

1164
01:03:46,920 --> 01:03:49,400
Speaker 3: comes out and sees this, and she begs him to

1165
01:03:49,480 --> 01:03:51,840
Speaker 3: leave the house for his own safety. But he's like, no,

1166
01:03:52,040 --> 01:03:55,280
Speaker 3: it's fine. It's just an old, creaky chandelier. Everything's okay.

1167
01:03:56,640 --> 01:03:58,960
Speaker 3: So they have dinner and they're sitting at the strange

1168
01:03:59,000 --> 01:04:02,720
Speaker 3: dinner table. Apparently again the ushers can only eat unseasoned

1169
01:04:02,800 --> 01:04:06,680
Speaker 3: mash and white bread. But Roderick does appear to have

1170
01:04:06,720 --> 01:04:11,240
Speaker 3: a taste for wine served in nearly opaque blood red goblets.

1171
01:04:11,680 --> 01:04:14,240
Speaker 3: I guess maybe wine is not too exotic a flavor.

1172
01:04:14,840 --> 01:04:17,480
Speaker 2: No, no, you know, especially if you're just having potatoes

1173
01:04:17,480 --> 01:04:22,120
Speaker 2: and molasses for dinner and you can handle slightly spicy wine.

1174
01:04:22,440 --> 01:04:25,800
Speaker 3: Yeah. Philip notices that Madeline is not eating at all.

1175
01:04:26,040 --> 01:04:28,280
Speaker 3: He's also like, hey, Roderick, are you going to get

1176
01:04:28,280 --> 01:04:30,480
Speaker 3: that crack in the wall fixed? What you're talking about?

1177
01:04:30,560 --> 01:04:33,000
Speaker 3: And I do not think Roderick is planning on it.

1178
01:04:34,520 --> 01:04:38,400
Speaker 3: Other topics of conversation at dinner are that the soil

1179
01:04:38,440 --> 01:04:41,040
Speaker 3: around the mansion is turned sour. No plants will grow

1180
01:04:41,040 --> 01:04:44,680
Speaker 3: in the usherlands. And then also that friends in Boston

1181
01:04:44,800 --> 01:04:48,600
Speaker 3: keep asking about Madeline, and she seems encouraged by this,

1182
01:04:48,720 --> 01:04:52,120
Speaker 3: but Roderick looks irritated at the delivery of this news.

1183
01:04:52,640 --> 01:04:55,480
Speaker 3: So after supper, Philip and Madeline they go up to

1184
01:04:55,480 --> 01:04:57,600
Speaker 3: the sitting room I guess with Roderick, and they listen

1185
01:04:57,680 --> 01:05:00,360
Speaker 3: to him giving a little concert. He places loot. Remember

1186
01:05:00,360 --> 01:05:04,160
Speaker 3: the lute from earlier. Roderick says, yes, I play the lute,

1187
01:05:04,200 --> 01:05:06,800
Speaker 3: but I don't know listening in this scene, does he

1188
01:05:06,840 --> 01:05:10,920
Speaker 3: play it Either sounds like he is just now learning

1189
01:05:11,000 --> 01:05:15,240
Speaker 3: and kind of improvising, or he is so advanced as

1190
01:05:15,240 --> 01:05:18,400
Speaker 3: a lute player that now he is only interested in

1191
01:05:18,480 --> 01:05:21,280
Speaker 3: like non rhythmic twelve tone compositions.

1192
01:05:22,520 --> 01:05:25,520
Speaker 2: At the very least, it's it's you know, he can

1193
01:05:25,520 --> 01:05:30,280
Speaker 2: only handle these very soft sounds. He gentle music. So yeah,

1194
01:05:30,320 --> 01:05:32,440
Speaker 2: maybe it's he's into some sort of like weird or

1195
01:05:32,480 --> 01:05:35,640
Speaker 2: deep ambient kind of a thing. Or or yeah, it's

1196
01:05:35,720 --> 01:05:38,200
Speaker 2: like I don't need to learn to play this lute

1197
01:05:38,240 --> 01:05:40,120
Speaker 2: all that much because this is about all I can

1198
01:05:40,160 --> 01:05:40,960
Speaker 2: handle anyway.

1199
01:05:41,280 --> 01:05:43,840
Speaker 3: Yeah, I am I am cursed. It is forbidden for

1200
01:05:43,920 --> 01:05:47,280
Speaker 3: me to play in a key, so I shall only

1201
01:05:47,320 --> 01:05:51,200
Speaker 3: pluck the notes at random, and then Philip says, remarkable,

1202
01:05:51,280 --> 01:05:56,440
Speaker 3: you composed it yourself. But Philip kind of like he

1203
01:05:56,480 --> 01:05:58,640
Speaker 3: can't get enough of the twelve tone lute. He's like,

1204
01:05:58,880 --> 01:06:02,360
Speaker 3: give me another, let's hear song. But Roderick insists with

1205
01:06:02,440 --> 01:06:05,920
Speaker 3: a severe expression, that now Madeleine must go to sleep.

1206
01:06:05,960 --> 01:06:08,360
Speaker 3: In fact, all three of them must go to sleep.

1207
01:06:08,760 --> 01:06:13,440
Speaker 2: It is nice seven point thirty p m. All to bed.

1208
01:06:14,360 --> 01:06:18,240
Speaker 3: So there's another scene later that night where Philip sneaks

1209
01:06:18,240 --> 01:06:21,400
Speaker 3: into Madeleine's room to talk with her in secret. He

1210
01:06:21,440 --> 01:06:23,400
Speaker 3: tells her that in the morning he wants to take

1211
01:06:23,440 --> 01:06:25,960
Speaker 3: her away from the house if she'll let him. What

1212
01:06:26,160 --> 01:06:29,120
Speaker 3: is Madeleine's state of mind again, She seems conflicted, Like

1213
01:06:29,200 --> 01:06:33,400
Speaker 3: she she does buy into the idea that she is

1214
01:06:33,480 --> 01:06:36,560
Speaker 3: sick from a curse and terrible things could befall them

1215
01:06:36,600 --> 01:06:39,479
Speaker 3: if she were to leave, But also you can tell

1216
01:06:39,520 --> 01:06:42,360
Speaker 3: that she wants to leave. She's excited by the idea,

1217
01:06:42,800 --> 01:06:45,600
Speaker 3: and something kind of comes alive within her at the

1218
01:06:45,680 --> 01:06:49,080
Speaker 3: idea of escaping with the man she loves. So she's

1219
01:06:49,080 --> 01:06:51,880
Speaker 3: sort of in the middle position between the two other characters.

1220
01:06:51,960 --> 01:06:55,800
Speaker 3: Roderick is fully convinced of the Usher curse, Philip doesn't

1221
01:06:55,880 --> 01:06:58,800
Speaker 3: believe it at all, and Madeleine is torn in between

1222
01:06:58,840 --> 01:07:02,760
Speaker 3: the two ideas. But this scene takes an interesting turn

1223
01:07:02,880 --> 01:07:07,440
Speaker 3: because Roderick suddenly appears at the door. Remember he's got

1224
01:07:07,440 --> 01:07:10,480
Speaker 3: super sensitive hearing, so he hears anytime someone is talking

1225
01:07:10,520 --> 01:07:14,040
Speaker 3: in the house. He's stern and angry at first, and

1226
01:07:14,160 --> 01:07:18,000
Speaker 3: tries to send Philip to bed, but after Madeleine shows

1227
01:07:18,040 --> 01:07:20,640
Speaker 3: a bit of defiance, shows that maybe the spell is

1228
01:07:20,680 --> 01:07:23,480
Speaker 3: breaking and she might want to leave the house with Philip,

1229
01:07:24,440 --> 01:07:28,760
Speaker 3: Roderick then changes tack, and he sort of turns and

1230
01:07:28,800 --> 01:07:33,360
Speaker 3: becomes pathetic and pitiable, which I think you could interpret

1231
01:07:33,440 --> 01:07:37,560
Speaker 3: multiple ways. As I've said, this movie and Price's performance

1232
01:07:37,880 --> 01:07:40,439
Speaker 3: and contain a lot of ambiguities that you could read

1233
01:07:40,520 --> 01:07:43,680
Speaker 3: in different directions. But I think you could certainly interpret

1234
01:07:43,760 --> 01:07:47,120
Speaker 3: this as a kind of emotional manipulation. If he can't

1235
01:07:47,240 --> 01:07:51,360
Speaker 3: convince her that she has to stay for her own wellbeing,

1236
01:07:51,480 --> 01:07:54,000
Speaker 3: you know something bad will happen to her if she leaves.

1237
01:07:54,880 --> 01:07:56,840
Speaker 3: I guess something bad is going to happen to her anyway,

1238
01:07:58,000 --> 01:08:00,520
Speaker 3: Maybe he can at least recruit her to stay on

1239
01:08:00,600 --> 01:08:03,280
Speaker 3: behalf of his feelings and his well being.

1240
01:08:03,880 --> 01:08:06,880
Speaker 2: Yeah, yeah, I think it's important to note that this

1241
01:08:07,040 --> 01:08:09,040
Speaker 2: is a film where you just had it on the background.

1242
01:08:09,080 --> 01:08:10,680
Speaker 2: You could think of it as just like, okay, here's

1243
01:08:10,720 --> 01:08:13,240
Speaker 2: Vincent Price and Vincent Price role. But there are a

1244
01:08:13,240 --> 01:08:15,760
Speaker 2: lot of little nuances to the way he plays all

1245
01:08:15,800 --> 01:08:19,799
Speaker 2: of these decisions and all of these actions from his character.

1246
01:08:20,840 --> 01:08:24,479
Speaker 2: I feel like any prime Vincent Price performance is going

1247
01:08:24,560 --> 01:08:28,639
Speaker 2: to be, you know, a masterclass in its own way.

1248
01:08:28,680 --> 01:08:30,840
Speaker 2: You know, sometimes he's more hamming it up. Sometimes there

1249
01:08:30,840 --> 01:08:34,480
Speaker 2: are more subtleties, but he's never just going through the motions.

1250
01:08:34,960 --> 01:08:37,920
Speaker 2: So certainly at this period in his career. Yeah, by

1251
01:08:37,920 --> 01:08:39,400
Speaker 2: the time we get to them up at show, you know,

1252
01:08:39,520 --> 01:08:41,800
Speaker 2: maybe but not here.

1253
01:08:42,760 --> 01:08:45,840
Speaker 3: So later that night and yes, still the same twenty

1254
01:08:45,880 --> 01:08:48,719
Speaker 3: four hour period, the scenes just keep piling up. Before daybreak,

1255
01:08:49,400 --> 01:08:51,320
Speaker 3: Philip is lying in bed and then he hears a

1256
01:08:51,360 --> 01:08:55,000
Speaker 3: bunch of weird sounds echoing through the house. So he

1257
01:08:55,080 --> 01:08:58,320
Speaker 3: runs around, investigating the sounds and looking for Madeline. He

1258
01:08:58,400 --> 01:09:01,479
Speaker 3: sees some creepy sits along the way, like wind blowing

1259
01:09:01,520 --> 01:09:05,080
Speaker 3: in through the windows. There's a staircase railing that gives

1260
01:09:05,160 --> 01:09:08,200
Speaker 3: way under his hand, there's a heavy door creaking open

1261
01:09:08,240 --> 01:09:12,640
Speaker 3: and shut over and over, and Philip eventually follows the

1262
01:09:12,720 --> 01:09:16,519
Speaker 3: sounds into the mansion's chapel. There's a chapel inside the

1263
01:09:16,560 --> 01:09:20,439
Speaker 3: house where he finds Madeline sprawled out I believe, on

1264
01:09:20,479 --> 01:09:24,600
Speaker 3: the altar, asleep, and Bristol, the butler, comes in to

1265
01:09:24,800 --> 01:09:27,760
Speaker 3: tell him that Madeleine often sleep walks and ends up

1266
01:09:27,760 --> 01:09:31,000
Speaker 3: here in the chapel. Bristol says that she is obsessed

1267
01:09:31,080 --> 01:09:33,840
Speaker 3: by thoughts of death and has been ever since her

1268
01:09:33,840 --> 01:09:38,679
Speaker 3: return from Boston. So Bristol takes Madeline back to her bed,

1269
01:09:39,000 --> 01:09:41,639
Speaker 3: and then the next morning there's a scene where Philip

1270
01:09:41,720 --> 01:09:45,200
Speaker 3: comes into the kitchen. Bristol is here again, and now

1271
01:09:45,240 --> 01:09:49,599
Speaker 3: he's boiling a huge cauldron of gruel over and open fire.

1272
01:09:50,160 --> 01:09:52,519
Speaker 3: And I'm looking at that. I'm thinking, I don't know

1273
01:09:52,560 --> 01:09:55,400
Speaker 3: how many gallons of ruel that is, but who is

1274
01:09:55,479 --> 01:09:58,400
Speaker 3: going to eat all that gruel? There are four people

1275
01:09:58,520 --> 01:09:59,200
Speaker 3: in this house.

1276
01:09:59,439 --> 01:10:04,760
Speaker 2: Well, freeesome for later, you know, you give me want leftovers.

1277
01:10:06,240 --> 01:10:08,920
Speaker 3: So Philip says he's gonna take breakfast up to up

1278
01:10:08,920 --> 01:10:11,519
Speaker 3: to Madeline in bed. He's like, hey, how about some

1279
01:10:11,600 --> 01:10:15,400
Speaker 3: eggs for my Madeline? And Bristol is like, oh no, no, no, sir,

1280
01:10:15,600 --> 01:10:18,760
Speaker 3: not eggs much too threatening to the taste buds. She

1281
01:10:18,800 --> 01:10:21,800
Speaker 3: will only want gruel. Eggs are one of the exotic flavors.

1282
01:10:21,920 --> 01:10:24,400
Speaker 2: Eggs are too spicy for the ushers.

1283
01:10:24,479 --> 01:10:28,760
Speaker 3: Yes, so gruel it is. We also get more, like

1284
01:10:29,439 --> 01:10:32,840
Speaker 3: more of the crumbling house attacks, like at one point,

1285
01:10:33,840 --> 01:10:37,280
Speaker 3: Philip is standing by the gruel cauldron talking to Bristol

1286
01:10:37,280 --> 01:10:39,759
Speaker 3: and the cauldron like the wall is sort of shaking

1287
01:10:39,760 --> 01:10:42,200
Speaker 3: and the cauldron swings toward him, but Bristol is like,

1288
01:10:42,240 --> 01:10:43,320
Speaker 3: oh careful, sir.

1289
01:10:43,680 --> 01:10:45,720
Speaker 2: Well, I mean, if your gruel is pretty thick, you're

1290
01:10:45,760 --> 01:10:48,519
Speaker 2: gonna get some bubbles and you could get splattered. I mean,

1291
01:10:48,520 --> 01:10:50,160
Speaker 2: that's just that's just gruel one on one.

1292
01:10:50,479 --> 01:10:54,000
Speaker 3: Yeah. So after this, there's a very funny scene where

1293
01:10:54,040 --> 01:10:57,400
Speaker 3: Winthrop awkwardly tries to feed Madeline gruel in bed. He's like,

1294
01:10:57,439 --> 01:11:00,840
Speaker 3: come on, eat up, honey. She's not angry, not even

1295
01:11:00,880 --> 01:11:04,000
Speaker 3: for gruel, and he tries to cheer her up by

1296
01:11:04,040 --> 01:11:07,320
Speaker 3: opening the windows and letting sunshine in. Tries to convince

1297
01:11:07,360 --> 01:11:09,519
Speaker 3: her once again to come back to Boston with him,

1298
01:11:10,000 --> 01:11:13,120
Speaker 3: but in this scene she seems to have regressed to

1299
01:11:13,200 --> 01:11:16,840
Speaker 3: her original state of hopelessness. She tells him soon I

1300
01:11:16,920 --> 01:11:20,600
Speaker 3: shall be dead, and he obviously does not like hearing this.

1301
01:11:20,720 --> 01:11:23,080
Speaker 3: He tries to remind her of how happy and full

1302
01:11:23,120 --> 01:11:27,000
Speaker 3: of life she was in Boston, but she says, maybe

1303
01:11:27,080 --> 01:11:31,040
Speaker 3: you'll understand once you see see what. Well, it's time

1304
01:11:31,080 --> 01:11:34,640
Speaker 3: to go investigate the family crypt here. We're going to

1305
01:11:34,680 --> 01:11:38,200
Speaker 3: get another kind of partial explanation of what is going on.

1306
01:11:38,400 --> 01:11:42,439
Speaker 3: So underneath the mansion there is a subterranean crypt full

1307
01:11:42,439 --> 01:11:46,800
Speaker 3: of bones of all of Madeline and Roderick Usher's ancestors.

1308
01:11:47,560 --> 01:11:51,000
Speaker 3: She shows Philip the coffins one by one, going down

1309
01:11:51,040 --> 01:11:53,880
Speaker 3: the line and listing their names and saying their relationship

1310
01:11:53,920 --> 01:11:56,960
Speaker 3: to her, until finally she gets to the spot of

1311
01:11:57,000 --> 01:12:00,000
Speaker 3: her own coffin, which is empty and waiting for her.

1312
01:12:00,720 --> 01:12:03,720
Speaker 3: And Philip hates this. He's like, there's a coffin here

1313
01:12:03,720 --> 01:12:06,920
Speaker 3: with your name on it. This is monstrous. She says,

1314
01:12:06,960 --> 01:12:09,920
Speaker 3: it waits for me. And as a side note, I

1315
01:12:10,000 --> 01:12:12,000
Speaker 3: think the crypt set here is nice. By the way

1316
01:12:12,040 --> 01:12:14,679
Speaker 3: the characters talk about how there's something wrong with the

1317
01:12:14,720 --> 01:12:17,519
Speaker 3: air in the crypt. They never fully explain that, but

1318
01:12:18,360 --> 01:12:20,240
Speaker 3: I like that just as a little like detail that

1319
01:12:20,320 --> 01:12:22,200
Speaker 3: kind of excites the mind, like, oh, could there be

1320
01:12:22,240 --> 01:12:24,519
Speaker 3: something in the air that's causing a problem. Or are

1321
01:12:24,520 --> 01:12:27,280
Speaker 3: they just saying like it is evil in here Mmm?

1322
01:12:27,600 --> 01:12:30,760
Speaker 2: Yeah, yeah, who knows what's like leaking up through the

1323
01:12:30,800 --> 01:12:35,120
Speaker 2: earth into this mansion, though it also also seems like

1324
01:12:35,240 --> 01:12:37,160
Speaker 2: there's a lot of evil leaking out of this mansion

1325
01:12:37,200 --> 01:12:37,840
Speaker 2: into the earth.

1326
01:12:38,160 --> 01:12:42,360
Speaker 3: Yeah, exactly. So, once again, Madeleine says to Philip that

1327
01:12:42,400 --> 01:12:46,360
Speaker 3: he just doesn't understand. And there is something I think

1328
01:12:46,640 --> 01:12:50,439
Speaker 3: very effectively unsettling about this repeated theme that multiple times

1329
01:12:50,560 --> 01:12:54,480
Speaker 3: characters tell Philip that there's something wrong but he doesn't understand,

1330
01:12:54,600 --> 01:12:57,640
Speaker 3: and then they don't explain it immediately, like you know,

1331
01:12:57,720 --> 01:13:00,160
Speaker 3: I'm soon to die. This coffin waits for me, and

1332
01:13:00,160 --> 01:13:02,120
Speaker 3: he's like, why would you say that you can live?

1333
01:13:02,320 --> 01:13:05,040
Speaker 3: And she can't explain. All she can do is tell

1334
01:13:05,120 --> 01:13:09,320
Speaker 3: him that he doesn't understand. I think the idea that

1335
01:13:09,360 --> 01:13:12,200
Speaker 3: there is some understanding that would make sense of this

1336
01:13:12,280 --> 01:13:14,439
Speaker 3: all but it can't be explained to him or can't

1337
01:13:14,479 --> 01:13:16,200
Speaker 3: be explained yet, is very creepy.

1338
01:13:16,680 --> 01:13:16,920
Speaker 5: Yeah.

1339
01:13:17,040 --> 01:13:19,519
Speaker 2: Yeah, And I feel like Matheson in the script here

1340
01:13:19,600 --> 01:13:23,599
Speaker 2: is really, you know, touching on the actual gap that

1341
01:13:23,960 --> 01:13:29,200
Speaker 2: often exists between my experience and your experience, between my

1342
01:13:29,320 --> 01:13:32,240
Speaker 2: mental state and your mental state, and it can feel

1343
01:13:32,320 --> 01:13:35,680
Speaker 2: like there's something that can't be bridged there, you know,

1344
01:13:35,920 --> 01:13:38,679
Speaker 2: at least not with the tools that one has immediately

1345
01:13:38,720 --> 01:13:39,560
Speaker 2: at their disposal.

1346
01:13:40,080 --> 01:13:40,320
Speaker 5: Yeah.

1347
01:13:40,439 --> 01:13:43,519
Speaker 3: Yeah, Oh. In the scene we get another house attack.

1348
01:13:43,600 --> 01:13:46,800
Speaker 3: There's a coffin scare, like a coffin falls out of

1349
01:13:46,840 --> 01:13:49,920
Speaker 3: the wall, nearly crushes the two of them, but they

1350
01:13:49,960 --> 01:13:53,000
Speaker 3: dodge out of the way, and then Madeline faints once again,

1351
01:13:53,040 --> 01:13:56,519
Speaker 3: and Roderick arrives and carries her away. So in the

1352
01:13:56,560 --> 01:13:59,840
Speaker 3: next scene we finally are going to get some explanation.

1353
01:14:00,600 --> 01:14:04,559
Speaker 3: Roderick says it is time for Philip to understand. So

1354
01:14:04,600 --> 01:14:08,200
Speaker 3: they go out on the balcony overlooking the twisted marsh below,

1355
01:14:08,680 --> 01:14:11,880
Speaker 3: and Roderick says, the tarn is very deep. One of

1356
01:14:11,920 --> 01:14:15,360
Speaker 3: the Usher women drowned herself in it. She was never found.

1357
01:14:15,840 --> 01:14:19,120
Speaker 3: I dare say, it's deep enough to swallow this house entire.

1358
01:14:20,120 --> 01:14:22,600
Speaker 3: And then there's another little exchange, but Usher goes on

1359
01:14:22,640 --> 01:14:25,080
Speaker 3: to I again want to quote his monologue here because

1360
01:14:25,240 --> 01:14:29,400
Speaker 3: I think it's great. Roderick says, once this land was fertile,

1361
01:14:29,920 --> 01:14:34,080
Speaker 3: farms abounded, earth yielded her riches. At harvest time, there

1362
01:14:34,080 --> 01:14:38,200
Speaker 3: were trees and plant life, flowers, fields of grain. There

1363
01:14:38,240 --> 01:14:41,280
Speaker 3: was great beauty here at that time. This water was

1364
01:14:41,320 --> 01:14:46,600
Speaker 3: clear and fresh. Swans glided upon its crystal surface. Animals

1365
01:14:46,640 --> 01:14:50,320
Speaker 3: came to its bank trustingly to drink. But this was

1366
01:14:50,400 --> 01:14:54,280
Speaker 3: long before my time. And then something crept across the

1367
01:14:54,360 --> 01:14:58,439
Speaker 3: land and blighted it. The trees lost their foliage, the

1368
01:14:58,520 --> 01:15:03,400
Speaker 3: flowers languished, and shrubs grew brown and shriveled. The grain

1369
01:15:03,479 --> 01:15:07,640
Speaker 3: fields perished, the lakes and ponds became black and stagnant,

1370
01:15:07,880 --> 01:15:11,640
Speaker 3: and the land withered as before a plague, a plague

1371
01:15:11,680 --> 01:15:16,120
Speaker 3: of evil. And here Roderick takes Philip inside to show

1372
01:15:16,200 --> 01:15:19,280
Speaker 3: him the paintings, the paintings that we alluded to earlier,

1373
01:15:19,400 --> 01:15:23,679
Speaker 3: of the portraits of his ancestors. So we go through

1374
01:15:23,680 --> 01:15:26,400
Speaker 3: them one by one and we see each painting, and

1375
01:15:26,439 --> 01:15:30,080
Speaker 3: then Roderick names his relative and then begins to list

1376
01:15:30,280 --> 01:15:33,920
Speaker 3: sort of the high points of each relative's biography, which

1377
01:15:33,920 --> 01:15:38,200
Speaker 3: are mostly negative epithets and lists of crimes. So it

1378
01:15:38,280 --> 01:15:43,200
Speaker 3: turns out all of the Usher ancestors were horrible. They

1379
01:15:43,200 --> 01:15:51,840
Speaker 3: were thieves, swindlers, betrayers, blackmailers, liars, exploiters, slave traders, murderers,

1380
01:15:51,880 --> 01:15:52,840
Speaker 3: and assassins.

1381
01:15:53,600 --> 01:15:57,320
Speaker 2: Yeah, this Rundown reminds me a lot of the card

1382
01:15:57,320 --> 01:15:59,200
Speaker 2: game Gloom. I don't know if you're familiar with with

1383
01:15:59,600 --> 01:16:02,040
Speaker 2: this one. It has kind of like an Edward Gory

1384
01:16:03,000 --> 01:16:04,800
Speaker 2: kind of vibe to it, where you're trying to like

1385
01:16:04,840 --> 01:16:07,799
Speaker 2: play the most cursed upper crust family.

1386
01:16:08,600 --> 01:16:10,639
Speaker 3: I'm alware of it, but I've never played it.

1387
01:16:10,640 --> 01:16:12,760
Speaker 2: It's pretty fun, as Zarich, it's been a number of years,

1388
01:16:12,760 --> 01:16:14,679
Speaker 2: but it has this kind of vibe like who can

1389
01:16:14,680 --> 01:16:16,880
Speaker 2: out usher the other player.

1390
01:16:17,320 --> 01:16:19,200
Speaker 3: Who has the most evil ancestor?

1391
01:16:20,720 --> 01:16:24,040
Speaker 2: But oh yeah, this tour of the worst of the

1392
01:16:24,080 --> 01:16:28,280
Speaker 2: worst in the Usher family is tremendous, and we have illustrations.

1393
01:16:28,320 --> 01:16:31,479
Speaker 2: Of course, we have those wonderful, dark, grotesque portraits of

1394
01:16:31,520 --> 01:16:35,200
Speaker 2: each individual, each one not as much a photorealistic image

1395
01:16:35,240 --> 01:16:39,000
Speaker 2: of the individual, but like a psychic portrait of their soul.

1396
01:16:39,479 --> 01:16:43,680
Speaker 3: Yeah. So I included some screenshots of these paintings here

1397
01:16:43,680 --> 01:16:45,280
Speaker 3: in the outline for you to look at. Robie, do

1398
01:16:45,320 --> 01:16:47,800
Speaker 3: you want to comment on any individually. I think this

1399
01:16:47,840 --> 01:16:52,000
Speaker 3: first one mentioned Anthony Usher, is interesting because it is

1400
01:16:52,360 --> 01:16:55,519
Speaker 3: h This is supposed to be like an evil old man,

1401
01:16:55,640 --> 01:16:59,360
Speaker 3: but this face looks almost childlike in a way, except

1402
01:16:59,400 --> 01:17:03,240
Speaker 3: the face rendered with these sort of jigsaw puzzle lines

1403
01:17:03,360 --> 01:17:05,360
Speaker 3: running through it. But it's you know, pictured with these

1404
01:17:05,400 --> 01:17:10,240
Speaker 3: like large eyes with large dilated pupils, cannoting a kind

1405
01:17:10,320 --> 01:17:12,599
Speaker 3: of I don't even know how to explain it. It's

1406
01:17:12,640 --> 01:17:15,160
Speaker 3: it looks like a kind of evil innocence.

1407
01:17:15,880 --> 01:17:20,479
Speaker 2: Yeah, yeah, yeah, I think so. It's it's hard to

1408
01:17:20,479 --> 01:17:22,559
Speaker 2: really put it in words. Yeah, but those those eyes

1409
01:17:22,600 --> 01:17:25,400
Speaker 2: are wide and curious and kind of innocent. But the

1410
01:17:25,439 --> 01:17:29,160
Speaker 2: rest is almost decade and patchwork.

1411
01:17:29,880 --> 01:17:33,120
Speaker 3: There's another one that shows a man who whose eyes

1412
01:17:33,160 --> 01:17:36,880
Speaker 3: are hidden in shadow, but it's like his outline is

1413
01:17:36,920 --> 01:17:41,280
Speaker 3: sort of sort of shifting through the air so that

1414
01:17:41,360 --> 01:17:45,360
Speaker 3: he actually does not have a fixed outline at the

1415
01:17:44,840 --> 01:17:47,680
Speaker 3: back of his neck and his head. Instead, there are

1416
01:17:47,680 --> 01:17:50,600
Speaker 3: like these multiple lines that just blur out into this

1417
01:17:50,760 --> 01:17:54,360
Speaker 3: cloud of red, as if he is taking form out

1418
01:17:54,360 --> 01:17:55,639
Speaker 3: of a mist of blood.

1419
01:17:56,439 --> 01:17:59,559
Speaker 2: Yeah, this one has a has strong vampiric elements to it,

1420
01:17:59,720 --> 01:18:04,559
Speaker 2: like get a sense of like biological disorder, like inner

1421
01:18:04,600 --> 01:18:08,240
Speaker 2: disease or disease of the soul. And you know, virtually

1422
01:18:08,240 --> 01:18:11,559
Speaker 2: no eyes, just dark pits as well, so less innocence

1423
01:18:11,640 --> 01:18:12,799
Speaker 2: with this particular character.

1424
01:18:13,200 --> 01:18:16,400
Speaker 3: Yeah. And then we also see probably the most infernal

1425
01:18:16,439 --> 01:18:19,120
Speaker 3: looking boat Captain picture I've ever seen.

1426
01:18:19,720 --> 01:18:22,559
Speaker 2: Oh yes, oh my goodness, the boat Captain was like

1427
01:18:22,600 --> 01:18:27,080
Speaker 2: just the burning ember eyes. Yeah, like he this is

1428
01:18:27,120 --> 01:18:30,519
Speaker 2: the guy who volunteers to bring Dragula to England. Like

1429
01:18:30,720 --> 01:18:32,840
Speaker 2: this is He's like, yeah, bloawed him up.

1430
01:18:33,240 --> 01:18:35,320
Speaker 3: But so the point is that going back through time

1431
01:18:35,640 --> 01:18:39,599
Speaker 3: before Roderick and Madeleine, everyone in the Usher line seems

1432
01:18:39,640 --> 01:18:42,000
Speaker 3: to have been, in one way or another, the worst

1433
01:18:42,120 --> 01:18:47,160
Speaker 3: kind of person imaginable, someone who becomes rich by destroying

1434
01:18:47,200 --> 01:18:50,639
Speaker 3: the lives of others and then, at least in terms

1435
01:18:50,720 --> 01:18:54,400
Speaker 3: of the external world, gets away with it. But do

1436
01:18:54,439 --> 01:18:56,240
Speaker 3: they really get away with it because a lot of

1437
01:18:56,280 --> 01:19:00,679
Speaker 3: these people were told end ups. It's something bad does

1438
01:19:00,720 --> 01:19:03,200
Speaker 3: happen to them. But it's not like they face justice

1439
01:19:03,240 --> 01:19:07,080
Speaker 3: from outside. It's like they go mad or they're taken

1440
01:19:07,120 --> 01:19:08,080
Speaker 3: ill or something.

1441
01:19:08,680 --> 01:19:11,000
Speaker 2: Yeah. Yeah, like they don't. They don't get their come

1442
01:19:11,040 --> 01:19:14,120
Speaker 2: uppance in a real firm manner like they in the

1443
01:19:14,160 --> 01:19:17,360
Speaker 2: sense that they they stay rich, they stay highly successful

1444
01:19:17,439 --> 01:19:21,200
Speaker 2: in their own deplorable fields, and then the rest of

1445
01:19:21,200 --> 01:19:23,479
Speaker 2: our world, the world just kind of looks on is like, well, yeah,

1446
01:19:23,520 --> 01:19:26,000
Speaker 2: of course the Ushers got away with it. Again, that's

1447
01:19:26,040 --> 01:19:28,280
Speaker 2: what they do. And here we are.

1448
01:19:29,040 --> 01:19:33,639
Speaker 3: So Philip protests. He is like, but sir, you cannot

1449
01:19:33,640 --> 01:19:36,240
Speaker 3: believe that the sins of the father should be visited

1450
01:19:36,320 --> 01:19:39,599
Speaker 3: upon the children. And Roderick says you do not, sir.

1451
01:19:39,960 --> 01:19:43,400
Speaker 3: Then the House of Usher seems to you normal. And

1452
01:19:43,400 --> 01:19:46,400
Speaker 3: then Philip says it is neither normal nor abnormal. It

1453
01:19:46,479 --> 01:19:49,680
Speaker 3: is only a house. And I think this plays on

1454
01:19:49,720 --> 01:19:52,880
Speaker 3: another interesting theme in the movie, that the duality the

1455
01:19:52,920 --> 01:19:56,800
Speaker 3: different meanings of the word house in English. So it

1456
01:19:56,880 --> 01:19:59,559
Speaker 3: is the house of Usher that we're told is evil

1457
01:19:59,640 --> 01:20:03,639
Speaker 3: and cur and house can mean the literal building, an

1458
01:20:03,640 --> 01:20:08,080
Speaker 3: ancestral family dwelling which seems infused with wickedness and crumbles

1459
01:20:08,120 --> 01:20:11,280
Speaker 3: kind of pointedly with the intent to cause harm. But

1460
01:20:11,400 --> 01:20:13,720
Speaker 3: also the word house is used to refer to a

1461
01:20:13,760 --> 01:20:18,120
Speaker 3: lineage a family, usually an aristocratic or royal one, as

1462
01:20:18,160 --> 01:20:20,600
Speaker 3: in the House of Windsor. It's kind of interesting that

1463
01:20:21,600 --> 01:20:23,519
Speaker 3: you only use the word house to refer to a

1464
01:20:23,560 --> 01:20:27,320
Speaker 3: family if it's like a prominent, rich family. And adding

1465
01:20:27,360 --> 01:20:29,599
Speaker 3: to that, there's this kind of overlap with the idea

1466
01:20:29,840 --> 01:20:31,880
Speaker 3: of the curse here in the two meanings of house,

1467
01:20:31,960 --> 01:20:35,519
Speaker 3: because if the idea is that the ancestors of the

1468
01:20:35,600 --> 01:20:39,880
Speaker 3: Usher line became rich by way of their sins. It

1469
01:20:40,000 --> 01:20:43,680
Speaker 3: is their wickedness that generated the money to buy the

1470
01:20:43,800 --> 01:20:46,879
Speaker 3: land and build the physical house, which are the physical

1471
01:20:46,920 --> 01:20:49,760
Speaker 3: things that are now cursed. So the reason they have

1472
01:20:49,920 --> 01:20:53,479
Speaker 3: a mansion and a vast estate is because of the

1473
01:20:53,520 --> 01:20:55,040
Speaker 3: evil crimes of the past.

1474
01:20:55,560 --> 01:20:59,720
Speaker 2: Yeah, all of these things that were purchased and acquired

1475
01:21:00,200 --> 01:21:03,800
Speaker 2: via that wealth is tainted by the acts that generated it.

1476
01:21:04,640 --> 01:21:08,120
Speaker 3: So Roderick explains his theory that evil is not just

1477
01:21:08,160 --> 01:21:11,880
Speaker 3: a word, it is a substance, a living reality, and

1478
01:21:12,040 --> 01:21:15,000
Speaker 3: like any living thing, it can be created and was

1479
01:21:15,160 --> 01:21:19,280
Speaker 3: created by his ancestors. And now the evil they created

1480
01:21:19,360 --> 01:21:22,960
Speaker 3: lives on within the house. Again, the ambiguity, he says

1481
01:21:23,000 --> 01:21:25,560
Speaker 3: house so is that the building or the living descendants

1482
01:21:25,640 --> 01:21:28,960
Speaker 3: or both, and it will live on as long as

1483
01:21:29,000 --> 01:21:33,080
Speaker 3: the house still exists, which is why Roderick insists that

1484
01:21:33,200 --> 01:21:36,080
Speaker 3: neither he nor Madeleine should ever have children. It would

1485
01:21:36,120 --> 01:21:39,000
Speaker 3: be to allow the evil to live on for another generation.

1486
01:21:40,000 --> 01:21:43,719
Speaker 3: So Roderick says explicitly that all of the near fatal

1487
01:21:43,760 --> 01:21:47,560
Speaker 3: accidents that have occurred since Philip arrived were not accidents.

1488
01:21:47,600 --> 01:21:50,559
Speaker 3: It is the evil of the house lashing out trying

1489
01:21:50,600 --> 01:21:55,799
Speaker 3: to kill Philip and Philip violently rejects this. He says, no, Roderick,

1490
01:21:56,000 --> 01:21:59,160
Speaker 3: the evil in this house is you. I will not

1491
01:21:59,320 --> 01:22:03,120
Speaker 3: let your sick can fantasies destroy Madeleine's life. She leaves

1492
01:22:03,120 --> 01:22:05,840
Speaker 3: with me today. And when he yells price again, he

1493
01:22:05,920 --> 01:22:08,879
Speaker 3: shows the fragility. He clutches his ears and he shrinks

1494
01:22:08,920 --> 01:22:09,400
Speaker 3: in pain.

1495
01:22:10,200 --> 01:22:12,840
Speaker 2: You know, this is a common response in films when

1496
01:22:13,160 --> 01:22:15,880
Speaker 2: there's a new theory regarding the nature of evil. It

1497
01:22:15,920 --> 01:22:17,920
Speaker 2: reminds me a little bit of the nineteen seventy three

1498
01:22:17,960 --> 01:22:20,720
Speaker 2: British horror film The Creeping Flesh, which is not one

1499
01:22:20,760 --> 01:22:26,040
Speaker 2: of my favorites. It's a little I don't know. I

1500
01:22:26,040 --> 01:22:28,960
Speaker 2: don't like the mouth feel of this particular one, but

1501
01:22:29,000 --> 01:22:31,040
Speaker 2: it has Christopher Lee and Peter Cushing in it, and

1502
01:22:31,080 --> 01:22:32,880
Speaker 2: one of the characters. At one point it's like I

1503
01:22:32,880 --> 01:22:35,040
Speaker 2: have made a breakthrough in the nature of evil. Evil

1504
01:22:35,120 --> 01:22:37,680
Speaker 2: is real and we can put it under a microscope

1505
01:22:37,720 --> 01:22:40,400
Speaker 2: and study it. Look look at the evil, and you

1506
01:22:40,400 --> 01:22:49,600
Speaker 2: know it's always a controversial hypothesis.

1507
01:22:51,680 --> 01:22:55,400
Speaker 3: Now regarding the evil is you interpretation of the story

1508
01:22:55,439 --> 01:22:59,080
Speaker 3: referring to Roderick here, one thing I think worth mentioning

1509
01:22:59,200 --> 01:23:01,519
Speaker 3: is that it is never are made explicit in the movie,

1510
01:23:01,640 --> 01:23:04,320
Speaker 3: but there is sort of an unspoken theme that a

1511
01:23:04,360 --> 01:23:07,599
Speaker 3: lot of viewers have picked up on in like film

1512
01:23:07,680 --> 01:23:11,479
Speaker 3: critics literary critics talking about the story over the years.

1513
01:23:11,160 --> 01:23:15,200
Speaker 3: It could be implied that Roderick is acting in a

1514
01:23:15,240 --> 01:23:19,280
Speaker 3: way out of jealousy, that in fact, he has desire

1515
01:23:19,439 --> 01:23:22,320
Speaker 3: for his own sister and he wants to control her

1516
01:23:22,479 --> 01:23:24,839
Speaker 3: and keep her at the house because he can't stand

1517
01:23:24,880 --> 01:23:28,640
Speaker 3: the thought of her going away and marrying Philip. I

1518
01:23:28,640 --> 01:23:31,360
Speaker 3: think that's a plausible reading of the evil as you

1519
01:23:31,600 --> 01:23:34,719
Speaker 3: interpretation of the story, though the evil is you could

1520
01:23:34,760 --> 01:23:37,840
Speaker 3: also be true about Roderick and simply be that he's

1521
01:23:37,880 --> 01:23:41,120
Speaker 3: so wrapped up in his delusions about the physical manifestation

1522
01:23:41,200 --> 01:23:45,360
Speaker 3: of evil caused by the horrible ancestors that he unknowingly

1523
01:23:45,439 --> 01:23:49,519
Speaker 3: projects this delusion onto Madeline and unnecessarily warps her mind

1524
01:23:49,560 --> 01:23:53,000
Speaker 3: and ruins her life as well. But then another interpretation

1525
01:23:53,200 --> 01:23:56,679
Speaker 3: is that the external evil is real and Roderick is correct.

1526
01:23:56,760 --> 01:24:00,800
Speaker 3: And I think the interesting thing is that it's possible

1527
01:24:00,920 --> 01:24:04,760
Speaker 3: to take the movie on any of these interpretations.

1528
01:24:05,280 --> 01:24:09,240
Speaker 2: Yeah, though I think the middle is the more. It's

1529
01:24:09,240 --> 01:24:11,040
Speaker 2: the one I lean more towards. I think it's the

1530
01:24:11,080 --> 01:24:14,160
Speaker 2: more interesting of the concepts, you know, because if it's

1531
01:24:14,280 --> 01:24:18,599
Speaker 2: just him, you know, creeping on her and having designs

1532
01:24:18,600 --> 01:24:20,960
Speaker 2: for her, I don't know that's you know, that's gross

1533
01:24:20,960 --> 01:24:22,960
Speaker 2: and all, but it's not matter. It only gets me

1534
01:24:23,000 --> 01:24:26,479
Speaker 2: so far. And then like the actual physical reality of

1535
01:24:26,560 --> 01:24:29,160
Speaker 2: evil too. I mean that, you know, definitely gets into

1536
01:24:29,200 --> 01:24:32,080
Speaker 2: a nice supernatural zone. But it's that that middle area,

1537
01:24:32,160 --> 01:24:36,680
Speaker 2: that idea that it's just like sheer projection of paranoia

1538
01:24:37,360 --> 01:24:42,559
Speaker 2: and and and shame and uh and so forth from Roderic,

1539
01:24:42,640 --> 01:24:47,120
Speaker 2: Like just this is the sheer power of his dark thoughts,

1540
01:24:47,200 --> 01:24:50,280
Speaker 2: you know, uh, in a non supernatural way. Like I

1541
01:24:50,280 --> 01:24:51,479
Speaker 2: feel like that's very compelling.

1542
01:24:51,800 --> 01:24:55,040
Speaker 3: I agree, that is also my preferred interpretation. But I

1543
01:24:55,040 --> 01:24:57,719
Speaker 3: thought it was worth mentioning the three different ways because

1544
01:24:57,880 --> 01:25:01,280
Speaker 3: I've seen sort of u people writing about this movie

1545
01:25:01,320 --> 01:25:02,240
Speaker 3: that take it all three.

1546
01:25:02,560 --> 01:25:05,360
Speaker 2: Yeah, And I do like that ambiguity in a film,

1547
01:25:05,400 --> 01:25:07,880
Speaker 2: you know, where you're open to your own interpretation.

1548
01:25:08,840 --> 01:25:12,639
Speaker 3: Anyway, After this confrontation between Philip and Roderick, Philip goes

1549
01:25:12,680 --> 01:25:15,200
Speaker 3: to Madeleine's room and makes one last bid to convince

1550
01:25:15,240 --> 01:25:17,960
Speaker 3: her remember she's been vacillating. She'll say like, yeah, okay,

1551
01:25:18,040 --> 01:25:20,080
Speaker 3: let's go and then like, no, no, I'm cursed. I

1552
01:25:20,120 --> 01:25:23,120
Speaker 3: have to stay. So he's like, you've got to leave

1553
01:25:23,120 --> 01:25:25,439
Speaker 3: with me. There is nothing wrong with you that leaving

1554
01:25:25,479 --> 01:25:28,320
Speaker 3: this house won't cure. And Hope kind of gathers in

1555
01:25:28,400 --> 01:25:30,320
Speaker 3: her mind again and she says, yes, I will go,

1556
01:25:30,400 --> 01:25:34,280
Speaker 3: and they kiss. She seems afraid but also excited. So

1557
01:25:34,520 --> 01:25:36,479
Speaker 3: they got to pack their things and get ready to go.

1558
01:25:37,479 --> 01:25:39,400
Speaker 3: But while they are packing their things and they're in

1559
01:25:39,439 --> 01:25:43,080
Speaker 3: their separate rooms, Roderick goes into Madeleine's room and begins

1560
01:25:43,080 --> 01:25:45,839
Speaker 3: to argue with her, reminding her of all the evils

1561
01:25:45,840 --> 01:25:48,400
Speaker 3: and calamities that he says will occur if she leaves

1562
01:25:48,439 --> 01:25:52,400
Speaker 3: the house. And tensions rise, and you can hear Philip

1563
01:25:52,400 --> 01:25:55,280
Speaker 3: hears through the wall that they begin to yell, which is,

1564
01:25:55,360 --> 01:25:58,280
Speaker 3: you know, that's not normal normally everybody keeps the Library

1565
01:25:58,360 --> 01:26:01,800
Speaker 3: voice in this house. And phil Pilip finally hears Madeleine's

1566
01:26:01,800 --> 01:26:04,559
Speaker 3: scream and when he comes into the room, Roderick is

1567
01:26:04,560 --> 01:26:07,879
Speaker 3: standing at the window and Madeleine is lying on her sheets,

1568
01:26:07,920 --> 01:26:12,280
Speaker 3: apparently dead. Now Philip yells at Roderick, you killed her,

1569
01:26:12,360 --> 01:26:14,880
Speaker 3: but Roderick says, no, there is no mark on her.

1570
01:26:15,320 --> 01:26:17,840
Speaker 3: You are the one who killed her. He's like, I

1571
01:26:17,920 --> 01:26:20,439
Speaker 3: warned you, and I warned you. Her heart could not

1572
01:26:20,560 --> 01:26:24,479
Speaker 3: withstand the strain of leaving, the strain you put upon her.

1573
01:26:24,720 --> 01:26:27,120
Speaker 3: At least she's now been spared the agony of trying

1574
01:26:27,160 --> 01:26:31,960
Speaker 3: to escape. One candle left to burn. Now before the darkness.

1575
01:26:31,520 --> 01:26:34,080
Speaker 2: Comes way to go, Philip, you killed her.

1576
01:26:34,520 --> 01:26:37,120
Speaker 3: And the interesting thing is that Philip and Roderick have

1577
01:26:37,200 --> 01:26:39,559
Speaker 3: been at opposite ends of this, and Madeleine's been in

1578
01:26:39,600 --> 01:26:42,479
Speaker 3: the middle. Roderick's like, there's a curse. Madeleine is sick.

1579
01:26:42,760 --> 01:26:44,960
Speaker 3: Philip is like, there's not a curse. She's not sick,

1580
01:26:45,000 --> 01:26:49,040
Speaker 3: she's fine, And they're both sort of trying to convince Madeline.

1581
01:26:49,360 --> 01:26:52,320
Speaker 3: But now that Madeleine is apparently dead, you start to

1582
01:26:52,320 --> 01:26:57,439
Speaker 3: see Philip succumbing to Roderick's interpretation. So they're like in

1583
01:26:57,479 --> 01:27:00,320
Speaker 3: the family chapel praying over Madeleine's body, and you can

1584
01:27:00,360 --> 01:27:03,559
Speaker 3: see Philip is is filled with guilt, and he even

1585
01:27:03,600 --> 01:27:06,320
Speaker 3: asks in a subsequent scene he's he's talking to Bristol

1586
01:27:06,400 --> 01:27:09,000
Speaker 3: later and he's like, could it be that I that

1587
01:27:09,080 --> 01:27:11,400
Speaker 3: I did this, that I, you know, excited her her

1588
01:27:11,479 --> 01:27:14,720
Speaker 3: illness and I killed her? Like he is starting to

1589
01:27:14,760 --> 01:27:16,080
Speaker 3: buy into the curse theory.

1590
01:27:16,120 --> 01:27:19,679
Speaker 2: Now he's been there too long. He's becoming a part

1591
01:27:19,760 --> 01:27:20,639
Speaker 2: of the House of Usher.

1592
01:27:20,840 --> 01:27:23,599
Speaker 3: Yeah. Oh, and then there's a part that did make

1593
01:27:23,640 --> 01:27:26,200
Speaker 3: me laugh out loud. When they're there. The two of

1594
01:27:26,240 --> 01:27:29,280
Speaker 3: them are in the chapel praying over Madeleine's dead body

1595
01:27:29,560 --> 01:27:32,760
Speaker 3: with the open casket, and Roderick is like, oh, by

1596
01:27:32,760 --> 01:27:35,200
Speaker 3: the way, she's not at peace, now she's in hell.

1597
01:27:36,640 --> 01:27:37,720
Speaker 3: All ushers go to hell.

1598
01:27:37,920 --> 01:27:39,559
Speaker 2: That is deliciously awful, isn't it.

1599
01:27:39,920 --> 01:27:45,080
Speaker 3: Yeah, And Philip's just like shut up. But so they

1600
01:27:45,120 --> 01:27:50,120
Speaker 3: start this vigorous bickering. But one thing we the audience see,

1601
01:27:50,160 --> 01:27:53,680
Speaker 3: and Roderick sees, but Philip does not see, is that

1602
01:27:53,720 --> 01:27:58,320
Speaker 3: Madeline's fingers begin to flex and stretch. Uh oh. So

1603
01:27:58,640 --> 01:28:01,200
Speaker 3: Roderick catches a glimpse of the and he quickly snaps

1604
01:28:01,280 --> 01:28:04,360
Speaker 3: the coffin lid shut, and it's like, okay, quickly, let's

1605
01:28:04,360 --> 01:28:06,439
Speaker 3: carry her coffin down to the crypt. Hurry up now,

1606
01:28:07,200 --> 01:28:10,839
Speaker 3: And so the mourners leave the chapel, they shut the crypt,

1607
01:28:10,880 --> 01:28:13,880
Speaker 3: and we zoom slowly on the coffin until finally we

1608
01:28:13,960 --> 01:28:18,000
Speaker 3: hear Madeleine scream, and we have arrived at the most

1609
01:28:18,080 --> 01:28:22,960
Speaker 3: classic of Edgar Allan Poe theme's premature burial. That's right,

1610
01:28:23,520 --> 01:28:25,960
Speaker 3: So now everything is building up to the climax. The

1611
01:28:26,000 --> 01:28:28,800
Speaker 3: next morning, Philip is getting ready to leave. He again

1612
01:28:28,880 --> 01:28:32,439
Speaker 3: is buying into the Roderick theory. He's distraught the ideas

1613
01:28:32,439 --> 01:28:34,320
Speaker 3: have gotten to him, and he's worried that he really

1614
01:28:34,320 --> 01:28:37,200
Speaker 3: did kill Madeline by putting these ideas in her head

1615
01:28:37,200 --> 01:28:40,719
Speaker 3: about leaving the house. But Bristol, the butler, is trying

1616
01:28:40,760 --> 01:28:44,520
Speaker 3: to console Philip, and he lets slip that, you know, Madeleine,

1617
01:28:44,800 --> 01:28:47,720
Speaker 3: she suffered from many health conditions, and there were many

1618
01:28:47,760 --> 01:28:50,360
Speaker 3: health conditions that run in the family. He starts to

1619
01:28:50,439 --> 01:28:54,519
Speaker 3: list them, you know, nervous conditions, something you know, a

1620
01:28:54,560 --> 01:28:57,160
Speaker 3: failure of the heart, and then he starts to say,

1621
01:28:57,160 --> 01:29:01,240
Speaker 3: but catches himself catalepsy, which is a condition where people

1622
01:29:01,280 --> 01:29:05,200
Speaker 3: fall into a kind of unconscious trance or spontaneous coma

1623
01:29:05,479 --> 01:29:08,439
Speaker 3: where they are immobile and can appear to be dead,

1624
01:29:08,520 --> 01:29:12,240
Speaker 3: but they're not. Philip hears this and he realizes what

1625
01:29:12,240 --> 01:29:15,599
Speaker 3: it means. What if Madeleine was still alive and only

1626
01:29:15,640 --> 01:29:18,240
Speaker 3: appeared to have died. What if she has been buried

1627
01:29:18,240 --> 01:29:21,680
Speaker 3: alive in the crypt so Philip. He freaks out. He

1628
01:29:21,760 --> 01:29:24,519
Speaker 3: runs down under the house into the chamber. He finds

1629
01:29:24,560 --> 01:29:29,240
Speaker 3: Madeleine's coffin strangely wrapped shut with a padlocked chain, and

1630
01:29:29,240 --> 01:29:31,920
Speaker 3: then he goes and finds an axe, breaks the chain open,

1631
01:29:32,240 --> 01:29:36,519
Speaker 3: only to discover that the coffin is empty. That's not good,

1632
01:29:37,280 --> 01:29:40,479
Speaker 3: So Philip goes and confronts Roderick, wanting to know where

1633
01:29:40,479 --> 01:29:44,080
Speaker 3: Madeleine is, and Roderick, he doesn't try to deny it.

1634
01:29:44,160 --> 01:29:47,040
Speaker 3: He says she's in a secret place and he won't tell.

1635
01:29:47,880 --> 01:29:50,880
Speaker 3: And Philip threatens Roderick with the axe, but Roderick is

1636
01:29:50,920 --> 01:29:53,519
Speaker 3: not moved. He does not back down. He says, go on,

1637
01:29:53,720 --> 01:29:57,040
Speaker 3: you would be doing me a great favor. And so

1638
01:29:57,520 --> 01:30:02,599
Speaker 3: again it's interesting here, how so physically unthreatening Roderick is

1639
01:30:02,640 --> 01:30:04,840
Speaker 3: in this scene. He has all the power, but he's

1640
01:30:04,840 --> 01:30:09,040
Speaker 3: so physically weak, so fragile. He cringes and cowers in

1641
01:30:09,120 --> 01:30:12,160
Speaker 3: pain when Philip yells at him, and when Philip threatens

1642
01:30:12,240 --> 01:30:14,640
Speaker 3: him with an axe with violence, he's just like, go

1643
01:30:14,680 --> 01:30:17,960
Speaker 3: ahead and do it. So it's a very unusual and

1644
01:30:18,040 --> 01:30:21,080
Speaker 3: fascinating power dynamic in the drama.

1645
01:30:20,960 --> 01:30:22,880
Speaker 2: Yeah, it's like you can kill me, and you know,

1646
01:30:22,920 --> 01:30:25,720
Speaker 2: and I'll go to Hell where I belong, but just

1647
01:30:25,760 --> 01:30:29,040
Speaker 2: don't raise your voice or touch my garments. And because

1648
01:30:29,360 --> 01:30:30,360
Speaker 2: it just can't take that.

1649
01:30:30,680 --> 01:30:33,160
Speaker 3: Right, So Philip is he's searching all over the house

1650
01:30:33,200 --> 01:30:36,919
Speaker 3: looking for Madeline. He eventually he just becomes totally exhausted

1651
01:30:36,960 --> 01:30:39,320
Speaker 3: and passes out. And here we get a great dream

1652
01:30:39,439 --> 01:30:42,960
Speaker 3: sequence where Philip wanders through an altered version of the

1653
01:30:42,960 --> 01:30:46,320
Speaker 3: House of Usher, filled with blue fog, and eventually makes

1654
01:30:46,320 --> 01:30:49,080
Speaker 3: his way into the chapel, which has all of the

1655
01:30:49,160 --> 01:30:52,680
Speaker 3: horrible Usher ancestors moaning at him and reaching out to

1656
01:30:52,720 --> 01:30:55,360
Speaker 3: grab his flesh. And when Philip goes to the head

1657
01:30:55,400 --> 01:30:58,559
Speaker 3: of the chapel, he finds Madeline's coffin, occupied only by

1658
01:30:58,560 --> 01:31:02,080
Speaker 3: a skeleton. And then he searches further and further deeper

1659
01:31:02,120 --> 01:31:05,000
Speaker 3: into the dream, and somewhere in the dream he can't

1660
01:31:05,000 --> 01:31:09,080
Speaker 3: find her, but he imagines Madeline alive, still covered in flesh,

1661
01:31:09,360 --> 01:31:12,479
Speaker 3: trapped in her coffin and screaming wide eyed in terror.

1662
01:31:13,400 --> 01:31:14,520
Speaker 3: I love the dream.

1663
01:31:14,280 --> 01:31:16,160
Speaker 2: Sequence, absolutely wonderful.

1664
01:31:16,240 --> 01:31:16,439
Speaker 4: Yeah.

1665
01:31:16,600 --> 01:31:19,760
Speaker 3: Yeah, So anyway, when Philip wakes up, he goes to

1666
01:31:19,840 --> 01:31:22,760
Speaker 3: Roderick's room, where Roderick is just sitting there plucking his

1667
01:31:22,880 --> 01:31:27,200
Speaker 3: lute and Phillip's like, you murdered your sister, mister usher,

1668
01:31:27,240 --> 01:31:29,160
Speaker 3: and I intend to see that you hang for it,

1669
01:31:29,600 --> 01:31:32,360
Speaker 3: and Roderick says, arrange it quickly. Then the old house

1670
01:31:32,400 --> 01:31:37,439
Speaker 3: crumbles the time window is closing, but Roderick goes on.

1671
01:31:37,560 --> 01:31:39,760
Speaker 3: He starts another monologue where he's like, if you only

1672
01:31:39,840 --> 01:31:42,400
Speaker 3: knew the agonies I have spared you in this world

1673
01:31:42,400 --> 01:31:46,160
Speaker 3: that I have endured on your behalf. Did you know

1674
01:31:46,320 --> 01:31:49,120
Speaker 3: I could hear the scratching of her fingernails on the

1675
01:31:49,200 --> 01:31:52,000
Speaker 3: casket lid? Did you know I could hear her screaming

1676
01:31:52,080 --> 01:31:55,839
Speaker 3: my name for help? And then Roderick seems he suddenly

1677
01:31:55,920 --> 01:31:59,120
Speaker 3: like it's like something seizes him and he calls out,

1678
01:31:59,240 --> 01:32:03,320
Speaker 3: be done, be done. And Philip realizes what this means.

1679
01:32:03,720 --> 01:32:07,240
Speaker 3: Madeleine is still alive and Roderick can hear her screaming

1680
01:32:07,280 --> 01:32:11,400
Speaker 3: for help now, so Roderick rants and raves in agony.

1681
01:32:11,479 --> 01:32:14,320
Speaker 3: He can hear her scratching and all that, but Philip

1682
01:32:14,320 --> 01:32:17,040
Speaker 3: doesn't know where to find her, and we cut away.

1683
01:32:17,080 --> 01:32:19,920
Speaker 3: We see a chained coffin, a different chained coffin with

1684
01:32:20,040 --> 01:32:23,320
Speaker 3: Madeline's bloody fingers reaching out through the crack. Ooh, it's

1685
01:32:23,320 --> 01:32:27,799
Speaker 3: a chilling image and then finally Philip, Roderick and Bristol.

1686
01:32:28,000 --> 01:32:31,080
Speaker 3: They run around. Philip is trying to find her. He

1687
01:32:31,120 --> 01:32:33,519
Speaker 3: makes his way into another part of the crypt where

1688
01:32:33,760 --> 01:32:36,360
Speaker 3: the coffins of the Ushers have all been pulled out

1689
01:32:36,400 --> 01:32:39,240
Speaker 3: of their places, and the skeletons the bones are scattered

1690
01:32:39,240 --> 01:32:43,840
Speaker 3: across the floor, and they find Madeleine's secret coffin thrown open.

1691
01:32:44,240 --> 01:32:47,680
Speaker 3: The chain's broken. So here's the payoff of the monologue

1692
01:32:47,680 --> 01:32:51,080
Speaker 3: we got in Act one where Roderick says, oh, she

1693
01:32:51,240 --> 01:32:54,559
Speaker 3: has the madness. Remember the madness he mentioned earlier where

1694
01:32:54,560 --> 01:32:57,160
Speaker 3: his relatives all go mad and gain the strength of

1695
01:32:57,240 --> 01:32:59,880
Speaker 3: many men. So Philip at this point is running through

1696
01:32:59,920 --> 01:33:03,640
Speaker 3: the house, finding and unlocking secret passageways to locate Madeleine.

1697
01:33:04,000 --> 01:33:07,240
Speaker 3: Roderick arms himself with a pistol, but is that going

1698
01:33:07,320 --> 01:33:09,639
Speaker 3: to do any good? Could you possibly imagine it? Would?

1699
01:33:10,000 --> 01:33:13,519
Speaker 3: We finally get the ultimate climax of the film, where

1700
01:33:14,000 --> 01:33:16,640
Speaker 3: I don't want to spoil too much, but for a

1701
01:33:16,720 --> 01:33:20,160
Speaker 3: movie that is mostly kind of visually subdued apart from

1702
01:33:20,200 --> 01:33:23,799
Speaker 3: like the paintings and the dream sequence, when we finally

1703
01:33:23,880 --> 01:33:28,240
Speaker 3: see Madeleine in her madness, in her glorious madness, with

1704
01:33:28,320 --> 01:33:31,479
Speaker 3: her hands covered in rivulets of blood from where she

1705
01:33:31,520 --> 01:33:34,320
Speaker 3: has scratched her fingernails away on the inside of the coffin.

1706
01:33:34,720 --> 01:33:39,320
Speaker 3: Her eyes are just wide with absolute terror and insanity.

1707
01:33:39,640 --> 01:33:43,280
Speaker 3: Her hair is thrown back. They cast these like these

1708
01:33:43,360 --> 01:33:47,719
Speaker 3: amazing blue lights over her face. She is awesome to behold.

1709
01:33:47,880 --> 01:33:50,840
Speaker 2: Yeah, She's like a bansheet or a wraith, you know.

1710
01:33:50,920 --> 01:33:53,519
Speaker 2: She has that kind of energy to her avengeful spirit.

1711
01:33:53,920 --> 01:33:57,280
Speaker 3: And of course we get avengeful final confrontation, whereas the

1712
01:33:57,320 --> 01:34:01,240
Speaker 3: house is fully crumbling. Everything's on fire now, the House

1713
01:34:01,280 --> 01:34:06,080
Speaker 3: of Usher is meeting its ultimate physical demise. Also Madeleine

1714
01:34:06,160 --> 01:34:08,840
Speaker 3: confronts her brother and she takes him by the neck

1715
01:34:08,960 --> 01:34:12,400
Speaker 3: and strangles Roderic amidst all the fire and the smoke

1716
01:34:12,520 --> 01:34:18,200
Speaker 3: and the falling rubble, and it's a tremendous and terrifying climax.

1717
01:34:18,760 --> 01:34:23,040
Speaker 2: Absolutely yeah, Oh my goodness. Like the mansion looked amazing

1718
01:34:23,400 --> 01:34:27,240
Speaker 2: earlier in the picture, and as a fiery husk consumed

1719
01:34:27,280 --> 01:34:31,880
Speaker 2: in this cataclysm, it also looks amazing. The curse comes

1720
01:34:31,920 --> 01:34:35,400
Speaker 2: to full fruition here, just absolutely apocalyptic.

1721
01:34:36,080 --> 01:34:38,400
Speaker 3: Yeah, And so Philip is the only one who survives.

1722
01:34:38,439 --> 01:34:41,920
Speaker 3: The house burns and collapses, and then as he walks away,

1723
01:34:42,240 --> 01:34:45,599
Speaker 3: comes out of the gate, wanders into the swamp, with

1724
01:34:45,680 --> 01:34:49,479
Speaker 3: everything he loved destroyed. We see the final quote from

1725
01:34:49,600 --> 01:34:53,080
Speaker 3: the original post story. The words appear on the screen,

1726
01:34:53,439 --> 01:34:56,719
Speaker 3: and the deep and dank tarn at my feet closed,

1727
01:34:56,760 --> 01:35:00,519
Speaker 3: sullenly and silently over the fragments of the house busher.

1728
01:35:01,080 --> 01:35:04,639
Speaker 2: Fabulous, fabulous, And of course the moral of the story

1729
01:35:04,880 --> 01:35:08,599
Speaker 2: is never meet your significant other's family. Just don't do it.

1730
01:35:09,880 --> 01:35:13,280
Speaker 3: So again, a different, different kind of film, a different

1731
01:35:13,400 --> 01:35:15,800
Speaker 3: kind of proposition than Mask of the Red Death, which

1732
01:35:15,840 --> 01:35:20,280
Speaker 3: is wilder and more visually extravagant, and you know, has

1733
01:35:20,360 --> 01:35:22,920
Speaker 3: more kind of variety in it and all that. But

1734
01:35:23,000 --> 01:35:26,280
Speaker 3: I think for what it is as a tighter, cozier

1735
01:35:26,439 --> 01:35:29,599
Speaker 3: tale of the macabre, House of Usher is really strong.

1736
01:35:30,120 --> 01:35:34,160
Speaker 2: Yeah, this is a film that vibes hard. Again, It's

1737
01:35:34,200 --> 01:35:36,320
Speaker 2: maybe not the ideal viewing experience for you if you

1738
01:35:37,000 --> 01:35:40,120
Speaker 2: want something a little more action based or something that's

1739
01:35:40,160 --> 01:35:42,080
Speaker 2: going to hit you a lot of jump scares. But

1740
01:35:42,280 --> 01:35:46,679
Speaker 2: in terms of like just pure gothic horror po vibes,

1741
01:35:47,560 --> 01:35:49,240
Speaker 2: it's hard to beat House of Usher.

1742
01:35:50,680 --> 01:35:52,280
Speaker 3: So happy Halloween, everybody.

1743
01:35:52,680 --> 01:35:55,320
Speaker 2: Yeah, yeah, this is a fun one. I enjoyed watching that.

1744
01:35:55,360 --> 01:35:59,520
Speaker 2: I'd never seen it before, and I originally enjoyed the experience.

1745
01:36:00,000 --> 01:36:02,160
Speaker 2: It's a good film to really focus on, but I mean,

1746
01:36:02,160 --> 01:36:03,400
Speaker 2: you could have it on in the background and it

1747
01:36:03,439 --> 01:36:05,920
Speaker 2: would still be very visually pleasing, but it's also a

1748
01:36:05,960 --> 01:36:10,519
Speaker 2: good one to really dive into. All Right, well, we're

1749
01:36:10,560 --> 01:36:12,400
Speaker 2: going to go ahead and close it out here, but

1750
01:36:13,040 --> 01:36:15,080
Speaker 2: just a reminder that while Stuffed About Your Mind is

1751
01:36:15,120 --> 01:36:18,240
Speaker 2: primarily a science podcast with core episodes on Tuesdays and

1752
01:36:18,240 --> 01:36:21,439
Speaker 2: Thursday science and culture podcast on Fridays. You know, we

1753
01:36:21,479 --> 01:36:23,800
Speaker 2: have to we have to release a little steam. We've

1754
01:36:23,840 --> 01:36:26,080
Speaker 2: we've got to dive into some weird films and talk

1755
01:36:26,080 --> 01:36:30,639
Speaker 2: about those. So hey, you know, you get stressful weeks ahead,

1756
01:36:30,680 --> 01:36:32,920
Speaker 2: don't worry. Weird House Cinema will be here for you.

1757
01:36:33,560 --> 01:36:35,559
Speaker 2: In fact, next week's is going to be a nice

1758
01:36:35,560 --> 01:36:40,440
Speaker 2: Halloween selection as well. I can't promise anything, but I'm

1759
01:36:40,520 --> 01:36:43,040
Speaker 2: hoping we can maybe even get it out like just

1760
01:36:43,080 --> 01:36:46,519
Speaker 2: a little after midnight on Halloween Eve, you know, so

1761
01:36:46,560 --> 01:36:50,080
Speaker 2: it's technically on Friday, but it's but it's actually Thursday,

1762
01:36:50,160 --> 01:36:52,160
Speaker 2: you know, that sort of thing. We'll see what we

1763
01:36:52,200 --> 01:36:52,559
Speaker 2: can do.

1764
01:36:52,720 --> 01:36:53,559
Speaker 3: We'll do our best.

1765
01:36:53,840 --> 01:36:57,680
Speaker 2: Yeah, and If you want a full list of all

1766
01:36:57,800 --> 01:36:59,800
Speaker 2: the movies we've covered on Weird House over the years,

1767
01:36:59,920 --> 01:37:02,120
Speaker 2: you can go to letterbox dot com. That's L E

1768
01:37:02,240 --> 01:37:04,000
Speaker 2: T T E R B O x D dot com.

1769
01:37:04,080 --> 01:37:06,320
Speaker 2: Our username is weird House. We have a nice list there.

1770
01:37:06,439 --> 01:37:09,519
Speaker 2: You can explore that. If you're on Instagram, st b

1771
01:37:09,720 --> 01:37:12,840
Speaker 2: ym podcast and that's where we also update you on

1772
01:37:12,880 --> 01:37:15,200
Speaker 2: what's happening on Weird House. And if you go to

1773
01:37:15,200 --> 01:37:17,080
Speaker 2: stuff to Blow your Mind dot com or the link

1774
01:37:17,080 --> 01:37:20,200
Speaker 2: tree on Instagram, you can eventually get to our tea

1775
01:37:20,280 --> 01:37:23,200
Speaker 2: public store. We have some new Halloween designs in there

1776
01:37:23,280 --> 01:37:25,360
Speaker 2: that we've been asked to promote, and I think they're

1777
01:37:25,360 --> 01:37:27,240
Speaker 2: pretty cool. If you need a shirt, you need a sticker,

1778
01:37:27,800 --> 01:37:30,479
Speaker 2: it's fun. It's there for fun. We don't need you

1779
01:37:30,520 --> 01:37:32,439
Speaker 2: to buy a shirt or a sticker, but if you

1780
01:37:32,439 --> 01:37:34,280
Speaker 2: would like to, it's there for you.

1781
01:37:34,680 --> 01:37:38,440
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1782
01:37:38,640 --> 01:37:40,240
Speaker 3: If you would like to get in touch with us

1783
01:37:40,280 --> 01:37:42,719
Speaker 3: with feedback on this episode or any other, to suggest

1784
01:37:42,760 --> 01:37:44,760
Speaker 3: a topic for the future, or just to say hello,

1785
01:37:44,960 --> 01:37:47,519
Speaker 3: you can email us at contact at stuff to Blow

1786
01:37:47,560 --> 01:37:55,280
Speaker 3: your Mind dot com.

1787
01:37:55,439 --> 01:37:58,360
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1788
01:37:58,439 --> 01:38:01,240
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1789
01:38:01,400 --> 01:38:04,160
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.