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

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

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Speaker 3: And this is Joe McCormick. And today on Weird House

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Speaker 3: Cinema we're going to be talking about the Oh. I

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Speaker 3: usually say the year, but now I'm not so sure.

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Speaker 3: Was it actually released in nineteen seventy two?

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Speaker 2: Yes it was, And I want to stress Joe that

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Speaker 2: it was released nineteen seventy two of the common era.

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Speaker 3: Okay, not nineteen seventy two BCE. Right, this is Dracula

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Speaker 3: AD nineteen seventy two, the Hammer horror movie starring Christopher

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Speaker 3: Lee and Peter Cushing.

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Speaker 2: That's right. So last week we not only did a

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Speaker 2: Frankenstein movie, we did one of the best known and

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Speaker 2: most beloved of all Frankenstein movies, nineteen thirty five is

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Speaker 2: Bride of Frankenstein. And to follow that up, I just

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Speaker 2: I have been feeling weeks in advance. It's like we

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Speaker 2: would need to do a Dracula movie after that. But

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Speaker 2: which one? Right, There's so many Dracula films to choose from.

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Speaker 2: We've been talking about doing nineteen thirty one's Dracula or

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Speaker 2: the Mexican Dracula film that came out the same year.

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Speaker 2: Those I think are both fine choices. But I found

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Speaker 2: I was craving not just a drac movie, but a

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Speaker 2: weird spin on Dracula, which brings us back to the

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Speaker 2: world of late franchise ingenuity, which is something I always enjoy.

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Speaker 2: You know that point in a film franchise where people realize,

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Speaker 2: all right, we've done the same thing over and over again.

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Speaker 2: We need to go in a new direction. We need

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Speaker 2: to spice it up. What can we do?

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Speaker 3: Dracula goes West or Dracula in Space that's actually that's

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Speaker 3: a real movie, Dracula three thousand.

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Speaker 2: Yeah, yeah, these are all valid choices. Dracula and the

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Speaker 2: Old West has also been done. I just love it

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Speaker 2: when a franchise gets maybe a little desperate and starts

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Speaker 2: taking some risks. And that's where we are with the

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Speaker 2: seventh film. In Hammer Horror Dracula series kicked it off

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Speaker 2: with fifty eight Stracula the nineteen sixties, The Brides of Dracula,

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Speaker 2: then Dracula Prince of Darkness in sixty six, then Dracula

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Speaker 2: Has Risen from the Grave in sixty eight, then Taste

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Speaker 2: the Blood of Dracula in seventy well, and then we

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Speaker 2: have Scars of Dracula I think that's the same year.

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Speaker 2: And then we get to Dracula AD nineteen seventy two,

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Speaker 2: which had the fabulous working title of Dracula Today.

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Speaker 3: It sounds almost like the name of a publication, like

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Speaker 3: it's a magazine for the modern Dracula connoisseur.

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Speaker 2: Yeah, alright. I mentioned it to my wife and she's like,

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Speaker 2: it sounds like a morning show, like Dracula hosts the

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Speaker 2: morning show. It's Dracula Today, and he's got his hot

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Speaker 2: mug of blood. So yeah, I think it's so at

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Speaker 2: this point in the film franchise, Yeah, we're definitely in

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Speaker 2: that experimental mode and it would stay that way for

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Speaker 2: the duration. The film to follow this up was seventy

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Speaker 2: three is The Satanic Rites of Dracula, which I have

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Speaker 2: not seen, but I've definitely flagged it because it's my

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Speaker 2: understanding that it's sort of a Dracula spy movie.

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Speaker 3: Yes, I have seen this one. I've mentioned this on

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Speaker 3: the show before, but this was an especially hilarious movie

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Speaker 3: viewing experience because I watched it with early YouTube auto

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Speaker 3: generated subtitles with a group of friends, and the subtitles

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Speaker 3: were all wrong. There was one point where somebody I

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Speaker 3: don't remember what the actual line in the movie was,

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Speaker 3: but the subtitle took it for the boat carrying general freeballs.

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Speaker 2: General freebops. Okay, I don't think he's established in this film,

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Speaker 2: though some of the characters from this film will carry

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Speaker 2: on into the next one.

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Speaker 3: There's also a line that the subtitles interpreted as Peter

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Speaker 3: Cushing or a Peter Cushing type guy answering a telephone

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Speaker 3: and saying saw it on Twitter, and I was shocked.

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Speaker 2: All right. So we've definitely flagged that one for later.

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Speaker 2: The final Dracula movie from Hammer Pictures was actually a

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Speaker 2: co production with Shaw Brothers. It is nineteen seventy four,

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Speaker 2: is the Legend of the Seven Golden Vampires and East

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Speaker 2: Meets West Vampires film. This one's been on the list

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Speaker 2: for a long time. I haven't seen it yet, but

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Speaker 2: I mean, how can you resist such a mashup?

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Speaker 3: How could it go wrong? I've got to see that one.

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Speaker 2: So yeah. Today's movie, Dracula AD nineteen seventy two, takes

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Speaker 2: the Dracula franchise into modern times in a way. It's

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Speaker 2: kind of a predecessor to nineteen seventy nine's Time after Time,

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Speaker 2: which we previously talked about in the show.

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Speaker 3: Oh yeah, I can see that. I mean so in

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Speaker 3: that episode we came up with a taxonomy of different

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Speaker 3: kinds of time travel movies. This isn't exactly a time

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Speaker 3: travel movie because nobody actually travels, there is no time machine,

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Speaker 3: nobody leaves the time they're naturally in. But it is

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Speaker 3: a generation spanning movie where the vampire is slain in

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Speaker 3: one era and resurrected in another. So you might expect

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Speaker 3: there to be some I don't know so kind of

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Speaker 3: a fish out of time elements like we talked about

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Speaker 3: in that episode where the character from the past is

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Speaker 3: forced to deal with how things have changed in the

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Speaker 3: modern world. I must say, none of that. There's nothing,

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Speaker 3: nothing like that at all. Yeah.

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Speaker 2: And I've seen some reviewers who come more recent reviewers

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Speaker 2: who've commented on that, like saying, why is there not

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Speaker 2: like a fish out of water, a fish out of

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Speaker 2: time plot element to this? And I'm part of my

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Speaker 2: thinking on that, I'm thinking, Okay, well, you don't want

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Speaker 2: to make Dracula look foolish. This film takes Dracula's status seriously,

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Speaker 2: and Dracula remains like a severe threat. He is just

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Speaker 2: hunger and evil. But on the other hand, as we've

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Speaker 2: seen in other films, it can be done. You can

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Speaker 2: do the Fish out of Time at least a little

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Speaker 2: bit and have the character that is engaging and it

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Speaker 2: still be fearsome. The example that comes to mind, just

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Speaker 2: off the top of my head would be The Terminator.

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Speaker 2: It's not much of a Fish out of Time, but

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Speaker 2: there is that one funny moment where he tries to

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Speaker 2: go in and buy a plasma rifle from Dick Miller.

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Speaker 3: Yeah, yeah, just what you see pal.

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Speaker 2: Yeah, And that's a funny moment, but it doesn't make

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Speaker 2: the Terminator less terrifying in that film. So there's some

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Speaker 2: sort of balance that would have been possible with Dracula

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Speaker 2: going out at night and feeding on hippies. But Dracula

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Speaker 2: just doesn't get out in this movie and do that

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Speaker 2: sort of thing.

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Speaker 3: That's exactly the issue. So the movie is trying to

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Speaker 3: be a it's trying to be conceptually Fish out of Time.

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Speaker 3: It's trying to say, okay, we have this monster from

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Speaker 3: a different era. You know, he came to London in

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Speaker 3: this movie. In the eighteen seventies and suddenly he's here

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Speaker 3: in the nineteen seventies, and whoa, it's a crazy context.

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Speaker 3: There are all these hippies and cars everywhere. This is

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Speaker 3: not what we expect to see surrounding Dracula. But Dracula

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Speaker 3: is never like, he never meets any of that stuff

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Speaker 3: in his resurrected form. He just hangs out in a church.

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Speaker 3: So I don't think he ever even sees any of

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Speaker 3: the signs of the modern world.

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Speaker 2: Right right, He's just ordering like takeout delivery essentially the

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Speaker 2: whole time. He doesn't get out and see that world.

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Speaker 2: You know, whether he'd be phased by the changes in

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Speaker 2: the world, who can say. I mean, maybe maybe Dracula

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Speaker 2: just sees blood at the end of the day and

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Speaker 2: so it doesn't matter. He's like, that's it doesn't it

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Speaker 2: doesn't matter at all. Just bring me the blood. But

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Speaker 2: maybe you could have had some neat moments.

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Speaker 3: The Dracula in this movie does not seem very impressed

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Speaker 3: or even very reactive to anything around him. He you know,

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Speaker 3: there's the part where his lackey raises him from the

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Speaker 3: dead and says, master, I've brought you back, and he

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Speaker 3: just says it was my will. He walks past him,

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Speaker 3: So I don't know. I kind of think that that

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Speaker 3: aloofness and high handedness might come through as well if

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Speaker 3: he were forced to, you know, be around automobiles or

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Speaker 3: something and be like, you wouldn't even notice them. He

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Speaker 3: just walked past him.

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Speaker 2: Yeah, it would have been interesting to see how they

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Speaker 2: would have handled it. Now, one thing I want to

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Speaker 2: mention about this this particular the movie is with its

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Speaker 2: elements of like hippies and groovy London counterculture to the

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Speaker 2: limited extent that it is explored. As I was digging

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Speaker 2: on this one, I was like, oh, man, I wonder

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Speaker 2: if this one is Electric Wizard certified, because the themes

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Speaker 2: just seem to fit too perfectly for this to not

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Speaker 2: be the case, And so I looked it up. I

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Speaker 2: grabbed the book Come My Fanatics, A Journey into the

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Speaker 2: World of Electric Wizard by Dan Franklin, which came out

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Speaker 2: earlier this year, and it basically is just filled with

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Speaker 2: various movies references and movie mentions that line up with

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Speaker 2: their work, and it is in fact cited as an influence.

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Speaker 2: Dracula eighty nineteen seventy two is cited as an influence

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Speaker 2: on the excellent two thousand and seven album which cult today.

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Speaker 3: I know the Wizard and I can see this movie

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Speaker 3: being right up their alley. They love some witch Finders

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Speaker 3: and some hammer Horror and all that good stuff.

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Speaker 2: Yeah, I mean satanic rites of Drugula obvious. Obviously there's

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Speaker 2: a connection there. The title of track on the album

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Speaker 2: which cult today, it's one of Dracula today. And then

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Speaker 2: they also have that Torquamada seventy one track which also

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Speaker 2: has sort of like similarities to the title here. So yeah,

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Speaker 2: I can see this one as having been a strong

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Speaker 2: influence now that it's been pointed out to me.

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Speaker 3: Now here's a question. This is a convention. I can

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Speaker 3: think of several examples of movies like this where it's

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Speaker 3: Dracula and then just the number of years. So there's

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Speaker 3: Dracula nineteen seventy two, Dracula two thousand, and Dracula three thousand,

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Speaker 3: which is the one in space with Casper van Deen.

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Speaker 2: Is that one in the year three thousand?

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Speaker 3: I guess it's supposed to be. That one's really really

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Speaker 3: not good like z Grade, though it does make one

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Speaker 3: choice that I really like, which is it sets it

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Speaker 3: in the future. So they're on like a space ship.

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Speaker 3: I think Casper Vanden's character is Captain von Helsing of

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Speaker 3: the USS whatever it is, maybe the Demoter, I don't know,

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Speaker 3: but the like they come across Dracula in a Darrylic spaceship.

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Speaker 3: But then when they wake him up, is he like

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Speaker 3: a spacey Dracula. Is he wearing kind of a spooky

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Speaker 3: space suit. No, he's just dressed in like a Halloween

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Speaker 3: store Dracula costume, with like the cape and the high

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Speaker 3: collar and the ruffles.

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Speaker 2: You know. I doubt they pulled it off and made

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Speaker 2: it work, but on paper, I respect the choice. I

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Speaker 2: do like it when Dracula is like powerful in spite

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Speaker 2: of the tropiness of the way he is dressed. And

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Speaker 2: I think that an example that can be found in

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Speaker 2: this movie because Christopher Lee, again his Dracula, maybe doesn't

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Speaker 2: have as much to do, doesn't get to do as

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Speaker 2: much killing and exploring as we would like, but it

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Speaker 2: is still a strong screen presence. It is still like

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Speaker 2: a terrifying vision of Dracula.

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Speaker 3: Yeah. I think Christopher Lee is almost always pretty strong.

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Speaker 3: I think he's good in the moments he has, though

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Speaker 3: I do think the movie under uses him. We kind

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Speaker 3: of don't get enough Christopher Lee, and we don't get

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Speaker 3: enough of several of the movie's big selling points.

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Speaker 2: That's true, that's true. Oh but come back to what

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Speaker 2: you were saying. Yeah, Dracula said. But it was also

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Speaker 2: released as Dracula's seventy three in France and Spain as

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Speaker 2: it came out in seventy three, so they had upgrade

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Speaker 2: the title. Nobody wants last year's Dracula. I mean, come on,

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Speaker 2: but it's worth looking up the French poster for Dracula

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Speaker 2: seventy three because it's absolutely stunning. It's like, I don't

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Speaker 2: even know how to explain it. It's got this weird

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Speaker 2: kind of I don't know, almost kind of like our

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Speaker 2: deco looking font. And then Dracula's head is like this

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Speaker 2: psychedelic floating visage in the sky, gazing hungrily at bikini women.

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Speaker 3: It really doesn't look like Christopher Lee. It's more like

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Speaker 3: a floating monster mask that is bleeding colors into the stratosphere.

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Speaker 2: Yes, so look that up. It's good. Now. I want

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Speaker 2: to stress that this movie is not everyone's favorite. Roger

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Speaker 2: Ebert only gave it one star, single star. Michael Weldon

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Speaker 2: of Psychotronic Film Guide called this one's time quote a

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Speaker 2: big mistake. And I even touch base with Hammer fan

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Speaker 2: and former producer of the show Seth Nichols Johnson, who

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Speaker 2: again big fan of a lot of Hammer films. He

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Speaker 2: says this is not one of his favorites. He likes it,

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Speaker 2: but is not one of his favorites.

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Speaker 3: Fair enough. I think it'll make for a good discussion

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Speaker 3: on the show, But I say it's not one of

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Speaker 3: the best Hammer Horror Draculas. I think Horror of Dracula

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Speaker 3: is much better.

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Speaker 2: No, No, I think to enjoy this film, you've got

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Speaker 2: to be on board for again late franchise innovation, for

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Speaker 2: some sort of you know, risky if not completely realized,

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Speaker 2: dream of where Dracula could take you. And I guess

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Speaker 2: also the further away we are from it in time,

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Speaker 2: the more it has been allowed to age, because I

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Speaker 2: know a lot of these commentators were talking about when

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Speaker 2: it first came out. Weldon criticized it as being already

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Speaker 2: dated when it hit the screen, But we've had decades

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Speaker 2: for this film to mature, and now we can appreciate

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Speaker 2: it for what it is.

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Speaker 3: I suspect people might have found the hippie caricatures more

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Speaker 3: grating in the seventies. I find them delightfully amusing.

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Speaker 2: Now, yeah, yeah, I think that could be part of it.

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Speaker 2: All right, elevator pitch for this one. I would say

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Speaker 2: these hippies are such a drain on society. Of course,

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Speaker 2: they resurrected Dracula.

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Speaker 3: It's the dope, it's the Devil music, it's the Dracula rites.

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Speaker 2: That's right, my other one that came up with his parents.

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Speaker 2: Be aware of these warning signs that your twenty five

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Speaker 2: year old teenager may be involved with drugs, sex, black masses,

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Speaker 2: rock music, and Dracula resurrection.

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Speaker 3: We do have several parenting scenes where Peter Cushing is

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Speaker 3: trying to exert a positive influence on his granddaughter Jessica.

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Speaker 3: You know, he's trying to figure out, like, hey, are

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Speaker 3: her friends on the level, but it just doesn't go anywhere.

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Speaker 2: No, all right, let's listen to some trailer audio.

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Speaker 4: Yesterday, Draculife was the most fearsome being the screen has

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Speaker 4: ever seen. Today tonight you you.

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Speaker 5: You could be Dracula's next victim.

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Speaker 6: Something new yet as old as time. Come on, Johnny,

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Speaker 6: a date with the Devil. Are you ready? He's ready?

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Speaker 7: He's waiting to freak you out right out of this world.

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Speaker 6: Night September eighteenth, eighteen seventy two, one hundred years ago

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Speaker 6: to the day.

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Speaker 2: You witnesses.

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Speaker 6: You must swear before the name of the devil to

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Speaker 6: keep it secret.

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Speaker 5: Who knows about vampires?

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Speaker 3: For God's sake, my.

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Speaker 4: Grandfather died fat, most terrible us go.

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Speaker 5: To them out of altar.

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Speaker 7: The year is nineteen seventy two, a leap year in horror,

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Speaker 7: a vintage year for vampires. Come the time for the

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Speaker 7: masters of horror to meet again in.

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Speaker 5: The twentieth century.

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Speaker 7: Come to me, Condracula.

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Speaker 2: All right. Well, if at this point you would like

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Speaker 2: to go watch Dracula eighty nineteen seventy two for yourself,

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Speaker 2: well you're in luck because this one was released through

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Speaker 2: Warner Brothers, so it's widely available. It's even currently available

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Speaker 2: in the States, at least on Max. Looks like they

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Speaker 2: have a number of Hammer horror flicks in there, so yeah,

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Speaker 2: go crazy. You can also get it on basically any

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Speaker 2: physical or digital format you desire.

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Speaker 3: All right, let's do those connections.

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Speaker 2: All right. The director is Alan Gibson, who lived nineteen

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Speaker 2: thirty eight through nineteen eighty seven, Canadian director who worked

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Speaker 2: a lot in the UK, with TV work going back

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Speaker 2: to the mid sixties, but it's his horror work that

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Speaker 2: most remember him for today. His credits include nineteen seventies

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Speaker 2: Goodbye Jim and I, which I believe is some sort

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Speaker 2: of scary twin movie this film, of course, and its

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Speaker 2: follow up nineteen seventy three is The Satanic Rights of Dracula.

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Speaker 2: He also continued to work in TV and directed episodes

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Speaker 2: of the anthology series thriller Tales of the Unexpected and

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Speaker 2: Hammer House of Horror. In fact, one of the Hammer

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Speaker 2: House of Horror episodes he directed was The Silent Scream,

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Speaker 2: starring Peter Cushing, but also a young Brian Cox, who

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Speaker 2: was actually I think we did the Math. He would

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Speaker 2: have been like thirty four at the time.

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Speaker 3: Wow, it's hard to understand that I'm looking at Brian

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Speaker 3: Cox younger than I am now.

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Speaker 2: Yeah, yeah, he came out with I mean, Brian Cox

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Speaker 2: has always made a career of you know, playing at

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Speaker 2: least you know, heavies and formidable personalities. Formidable personalities, yeah,

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Speaker 2: not so much, you know, leading man type stuff. So yeah,

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Speaker 2: he's one of those actors who, perhaps even early on,

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Speaker 2: always looked like he was in his late forties at least.

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Speaker 2: But great actor. I haven't seen the episode, but I'm

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Speaker 2: might have to seek it out.

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Speaker 3: And you said it's also got Peter Cushing.

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Speaker 2: Yeah, yeah, Peter Cushing. You know, it's just he was

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Speaker 2: he was on speed dial for Himmer. They needed him

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Speaker 2: for something. He's like, yeah, is it a movie? Fine?

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Speaker 2: There TV show, Great, I need a flight to China. Great,

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Speaker 2: Let's make it work.

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Speaker 3: It's nice to have steady work.

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Speaker 2: Yes, all right. The screenwriter for this one is Don Hoten,

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Speaker 2: who lived nineteen thirty through nineteen ninety one, British television

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Speaker 2: screenwriter and producer whose writing credits include thirteen episodes of

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Speaker 2: Doctor Who from nineteen seventy, The Satanic Rites of Dracula,

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Speaker 2: the Seven Golden Vampires movie, and also another show, Brothers

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Speaker 2: Hammer co production from seventy four, an action picture titled Shatter.

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Speaker 2: I believe Peter Cushing is in that one as well. Okay?

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Speaker 3: Is it about a man who has the power to shatter?

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Speaker 2: It looks like it's kind of like crime or act

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Speaker 2: crime action, maybe spy. I'm not sure. You know, it's

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Speaker 2: one of those non horror Hammer films that perhaps gets

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Speaker 2: re explored less in the modern era. I see, all right, Well,

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Speaker 2: who's playing the title character of Count Dracula. Well, of

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Speaker 2: course it's Christopher Lee, who lived nineteen twenty two through

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Speaker 2: twenty fifteen. We've talked about Lee before on the show,

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Speaker 2: as he's popped up in numerous films we've discussed already

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Speaker 2: and is just going to keep popping up because he's

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Speaker 2: an icon of horror. But here he is in one

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Speaker 2: of his most iconic roles, the one that influenced his

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Speaker 2: casting and presentation in late career hits like the Star

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Speaker 2: Wars prequels like Peter Jackson's Lord of the Rings films.

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Speaker 2: He was, I think, rather famously tired of playing Dracula

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Speaker 2: at this point in his career, or at least tired

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Speaker 2: of playing Dracula the hammer away. I'm to understand the

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Speaker 2: nineteen seventy Jess Franco picture Count Dracula was more in

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Speaker 2: line with what he wanted to do with the character

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Speaker 2: at that point in his career. But still, again, it's

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Speaker 2: a great screen presence, and one can only imagine that

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Speaker 2: he enjoyed working once more with his friend and a

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Speaker 2: long time co star of twenty two films, Peter Cushing.

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Speaker 3: What is his Do you know what his take in

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Speaker 3: the Franco count Dracula is. How's it different?

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Speaker 2: I haven't seen it in its entirety yet, it's been

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Speaker 2: It was actually a film I was considering for this

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Speaker 2: month on Weird House because it's supposed to be, first

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Speaker 2: of all, not as sleazy as other just Franco films,

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Speaker 2: like it's a little more mainstream, has a great cast,

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Speaker 2: you have like Kloskinski playing Renfield in it. But it's

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Speaker 2: supposed to be more of like a sympathetic tragic Dracula.

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Speaker 2: And I'm to understand it's the first Dracula film in

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Speaker 2: which we initially meet an elderly Dracula who is then

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Speaker 2: made young again through the consumption of blood.

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Speaker 3: Oh okay, so this has many things in common with

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Speaker 3: what would later happen in Bram Stoker's Dracula, directed by Coppola,

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Speaker 3: which we were just talking about in our Core episodes

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Speaker 3: earlier this week. Yeah. Yeah, that has the at least

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Speaker 3: partially sympathetic Dracula. Adds in a love story for Dracula,

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Speaker 3: which I want to emphasize is not in the book.

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Speaker 3: Dracula is not in love. He does not romance in

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Speaker 3: the book. He is just a demon and he's just bad.

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Speaker 3: And that also has a Dracula who when Jonathan Harker

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Speaker 3: first meets him in Transylvania, he looks very old and decrepit,

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Speaker 3: but by the time he reaches London he is young

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Speaker 3: and rejuvenated and old many So.

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Speaker 2: Yeah, the Dracula that we get in Dracula eighty seventy

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Speaker 2: two is certainly the demonic Dracula. In fact, they call

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Speaker 2: him the demon vampire in the pro to the picture.

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Speaker 2: He is just pure supernatural hunger. He has more in

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Speaker 2: common with the Terminator than some of the more sympathetic

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Speaker 2: film versions of Dracula that we've seen in this film's way.

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Speaker 3: Yeah, just a mean, nasty, vengeful, uncomplicated, demonic vampire. Now

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Speaker 3: I mentioned this earlier, but just to get a little

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Speaker 3: bit deeper into it. I feel like Christopher Lee is

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Speaker 3: good in this movie. But one of my major complaints

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Speaker 3: about the film is that it is reserved in the

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Speaker 3: deployment of its key selling points, one of them being

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Speaker 3: Christopher Lee. He's a kind of He's an ineffectual vampire.

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Speaker 3: He doesn't have a lot of lines, and he has

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Speaker 3: limited screen time, and that screen time is confined to

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Speaker 3: basically just two locations. It feels almost like they were

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Speaker 3: trying to make sure they could shoot all of his

390
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Speaker 3: scenes on the same day and you could see how

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Speaker 3: his like the fact that he never leaves the church

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Speaker 3: he's resurrected in in the modern era unless he I

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Speaker 3: don't think there's ever a scene of him going anywhere else.

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Speaker 3: Is there. I can't think of one.

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Speaker 2: I don't think so.

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Speaker 3: Yeah, so he's just there, so you could say, well

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Speaker 3: that that speaks to his power, right, so you know,

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Speaker 3: he just stays there and he has his servants bringing

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Speaker 3: him victims, so like he doesn't he's so powerful he

400
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Speaker 3: doesn't even have to go out hunting. But I don't know.

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Speaker 3: I feel like this movie would deliver more on its

402
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Speaker 3: promise of Dracula nineteen seventy two AD if it had

403
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Speaker 3: both more of Dracula on screen and going out and

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Speaker 3: doing things in the world, and had more of the

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Speaker 3: world of nineteen seventy two a D which it's it's

406
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Speaker 3: also actually relatively tame on save for like one silly

407
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Speaker 3: party scene. I think what they should have done is

408
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Speaker 3: have Dracula go to the coffee bar. While it's like hoppin'

409
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Speaker 3: and everybody's partying and he goes and I don't know,

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Speaker 3: I guess he wouldn't dance, but he would at least

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Speaker 3: like get encounter hippie culture there.

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Speaker 2: Yeah, like kill Nick Jagger in the street or something, right, Yeah, yeah,

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Speaker 2: I think just one sequence of him feasting on hippie

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Speaker 2: blood elsewhere in London would have gone a long way.

415
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Speaker 2: And if you were determined to have him not leave

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Speaker 2: the churchyard, maybe just like one scene where he like

417
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Speaker 2: looks out the window at night and like sees what's

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Speaker 2: out there. You could even play it up like, oh man,

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Speaker 2: if Dracula gets loose in nineteen seventy two London, it's

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Speaker 2: all over, Like that's why he has to be stopped

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Speaker 2: here before he has reached full feasting power again. But

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Speaker 2: they don't really explore any of those ideas.

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Speaker 3: I mean, it's easy to forget because the book itself

424
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Speaker 3: is very old now, but I think one of the

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Speaker 3: themes in the novel Dracula is the idea of some

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Speaker 3: part of the old world coming into the New world.

427
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Speaker 3: It's like, you know it that this you know figure

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Speaker 3: from a decaying castle in the Carpathian Mountains out in

429
00:23:44,880 --> 00:23:48,200
Speaker 3: the forest at the at the edge of Europe, as

430
00:23:48,240 --> 00:23:50,840
Speaker 3: these people would have thought of it coming to the

431
00:23:51,119 --> 00:23:54,640
Speaker 3: biggest metropolis that they knew of coming to modern London.

432
00:23:55,760 --> 00:23:58,600
Speaker 2: Yeah, that's a great point. So it's already built into

433
00:23:58,680 --> 00:24:02,679
Speaker 2: the text quite a bit there that he's traveling across

434
00:24:03,160 --> 00:24:06,359
Speaker 2: time and space to something new and yeah, and to

435
00:24:06,400 --> 00:24:08,240
Speaker 2: come back to time after time. One of the great

436
00:24:08,640 --> 00:24:12,879
Speaker 2: serious threads in that is that when Jack the Ripper

437
00:24:13,080 --> 00:24:16,720
Speaker 2: arrives in the modern era, he's like, this place is great,

438
00:24:16,960 --> 00:24:20,000
Speaker 2: Like I can really thrive here, like and you know,

439
00:24:20,040 --> 00:24:21,800
Speaker 2: And of course that would come later that film, but

440
00:24:22,920 --> 00:24:24,880
Speaker 2: a similar vibe I think would have gone a long

441
00:24:24,960 --> 00:24:27,919
Speaker 2: way here. All right, So that's Dracula. But you can't

442
00:24:27,960 --> 00:24:32,040
Speaker 2: have a hammer Dracula without a Hammer van Helsing. And

443
00:24:32,080 --> 00:24:35,200
Speaker 2: that's where Peter Cushing comes in playing This is technically

444
00:24:35,200 --> 00:24:37,000
Speaker 2: going to be a dual role because he starts off

445
00:24:37,040 --> 00:24:40,520
Speaker 2: playing Lawrence van Helsing, but then we'll go on to

446
00:24:40,560 --> 00:24:44,320
Speaker 2: play his descendant Lauramir van Helsing.

447
00:24:44,560 --> 00:24:46,600
Speaker 3: I got some notes on these names. I'll come back

448
00:24:46,640 --> 00:24:46,800
Speaker 3: to that.

449
00:24:48,280 --> 00:24:52,360
Speaker 2: So Peter Cushing lived nineteen thirteen through nineteen ninety four.

450
00:24:52,400 --> 00:24:54,520
Speaker 2: Again we've discussed Peter Cushing on the show before, and

451
00:24:54,560 --> 00:24:57,159
Speaker 2: he's just going to continue to pop up because he was.

452
00:24:57,920 --> 00:25:01,399
Speaker 2: He was, like Christopher Lee, just an iconic player in

453
00:25:01,480 --> 00:25:04,040
Speaker 2: horror and sci fi cinema of the day. And I

454
00:25:04,040 --> 00:25:07,080
Speaker 2: think he was even more prolific. He's one of those

455
00:25:07,119 --> 00:25:09,399
Speaker 2: actors that everyone seems to have had nice things to

456
00:25:09,400 --> 00:25:12,720
Speaker 2: say about, both personally and professionally. Just a consummant pro

457
00:25:12,920 --> 00:25:16,000
Speaker 2: no matter what the material had him doing or saying,

458
00:25:16,320 --> 00:25:19,760
Speaker 2: he always he always brings an air of dignity to

459
00:25:19,920 --> 00:25:24,200
Speaker 2: most pictures. This movie is from the later stage of

460
00:25:24,240 --> 00:25:27,000
Speaker 2: his career, after the death of his wife in nineteen

461
00:25:27,040 --> 00:25:29,920
Speaker 2: seventy one. In fact, film just eight months after her passing.

462
00:25:30,880 --> 00:25:33,639
Speaker 2: This is an event that apparently took a huge toll

463
00:25:33,680 --> 00:25:37,080
Speaker 2: on him. In fact, he was apparently originally intended to

464
00:25:37,080 --> 00:25:40,240
Speaker 2: be to play the father of the character Jessica van

465
00:25:40,280 --> 00:25:43,720
Speaker 2: Helsing in this movie, but he had visibly aged so

466
00:25:43,880 --> 00:25:47,200
Speaker 2: much since his wife's passing that they rewrote the script

467
00:25:47,240 --> 00:25:51,840
Speaker 2: a little bit to make him be her grandfather. Oh okay,

468
00:25:51,920 --> 00:25:53,639
Speaker 2: So you know, I think we might be forgiven for

469
00:25:53,720 --> 00:25:56,800
Speaker 2: viewing films from this era of his career and detecting

470
00:25:57,240 --> 00:26:00,639
Speaker 2: that loss and that distance in his screen presence, especially

471
00:26:00,680 --> 00:26:02,919
Speaker 2: in the various examples of films that cast him as

472
00:26:02,920 --> 00:26:06,480
Speaker 2: a man who's experienced a great loss. But you know

473
00:26:06,560 --> 00:26:10,200
Speaker 2: that being said again, consummate professional. He does a solid

474
00:26:10,280 --> 00:26:13,520
Speaker 2: job in this and I'm to understand he actually does

475
00:26:13,560 --> 00:26:16,240
Speaker 2: his own stunts in the opening, which is wow, which

476
00:26:16,240 --> 00:26:21,120
Speaker 2: concerns like a thunderous carriage based action sequence. So it's

477
00:26:21,160 --> 00:26:23,159
Speaker 2: you know, it's not just like, oh, he you know,

478
00:26:23,240 --> 00:26:25,080
Speaker 2: he fell out of a chair. No, like he's on

479
00:26:25,480 --> 00:26:27,680
Speaker 2: like a moving carriage. It looks kind of dangerous, and

480
00:26:27,720 --> 00:26:30,640
Speaker 2: apparently he does whatever stunts are required of him. There.

481
00:26:30,920 --> 00:26:33,399
Speaker 3: Wow, I'm impressed. Well, I was going to say that,

482
00:26:34,280 --> 00:26:36,680
Speaker 3: you know, I love Peter Cushing, but I'll admit sometimes

483
00:26:36,720 --> 00:26:38,800
Speaker 3: he phones it in. You give him a break. He

484
00:26:38,840 --> 00:26:40,800
Speaker 3: did a lot of movies and a lot of very

485
00:26:40,840 --> 00:26:44,919
Speaker 3: similar movies, but strangely, I thought it seemed to me

486
00:26:45,040 --> 00:26:47,280
Speaker 3: he was putting a lot of feeling into this one.

487
00:26:47,680 --> 00:26:50,359
Speaker 3: This is not one of his best written roles, but

488
00:26:50,480 --> 00:26:55,440
Speaker 3: he really exceeds what is required of him, and there

489
00:26:55,560 --> 00:26:58,320
Speaker 3: was more emotion in this performance than I expected.

490
00:26:59,359 --> 00:27:01,960
Speaker 2: Yeah. Yeah, I mean, it's not just about the man

491
00:27:02,000 --> 00:27:04,639
Speaker 2: who must defeat the monster, but there's like someone in

492
00:27:04,680 --> 00:27:07,359
Speaker 2: his life he's trying to protect as well, and not

493
00:27:07,400 --> 00:27:10,119
Speaker 2: only protect from supernatural threats, but also just sort of

494
00:27:10,480 --> 00:27:13,520
Speaker 2: ambiguous social threats as well that he's concerned about.

495
00:27:13,720 --> 00:27:17,160
Speaker 3: Yeah, his protective care for his grandchild comes through as

496
00:27:17,240 --> 00:27:18,480
Speaker 3: genuine emotion. Yeah.

497
00:27:18,720 --> 00:27:23,200
Speaker 2: Yeah, Now playing that grandchild, Jessica van Helsing is Stephanie

498
00:27:23,240 --> 00:27:27,200
Speaker 2: Beacham More nineteen forty seven. This is our young, prematurely

499
00:27:27,240 --> 00:27:31,880
Speaker 2: white haired descendant of the original Van Helsing. Stephanie Beacham

500
00:27:32,080 --> 00:27:35,040
Speaker 2: is an English actor of stage, screen and television, with

501
00:27:35,119 --> 00:27:38,480
Speaker 2: a very long and still very active career. She'd mostly

502
00:27:38,520 --> 00:27:40,679
Speaker 2: done TV in stage at this point in her career,

503
00:27:40,760 --> 00:27:43,600
Speaker 2: but had popped up in some films, including Roddy McDowell's

504
00:27:43,800 --> 00:27:47,560
Speaker 2: tam Lynn from nineteen seventy and The Nightcomers from seventy one.

505
00:27:48,240 --> 00:27:52,280
Speaker 2: After Dracula eight nineteen seventy two, she acted in seventy

506
00:27:52,320 --> 00:27:55,720
Speaker 2: Threes and Now The Screaming Starts, seventy six's House of

507
00:27:55,800 --> 00:27:59,639
Speaker 2: Mortal Sin and Schizo, and nineteen eighty one's Horror Planet.

508
00:28:00,000 --> 00:28:04,320
Speaker 2: TV credits include forty nine episodes of The Colby's twenty

509
00:28:04,359 --> 00:28:07,560
Speaker 2: three episodes of Dynasty, in which she plays Sable Colby

510
00:28:07,640 --> 00:28:09,359
Speaker 2: I'm not sure how this works, but I'm guessing this

511
00:28:09,400 --> 00:28:11,800
Speaker 2: is the same character. There's some sort of like I

512
00:28:11,840 --> 00:28:14,080
Speaker 2: don't know if this was a spinoff of Dynasty or

513
00:28:15,200 --> 00:28:17,920
Speaker 2: if like a character from the Colby's joined the cast

514
00:28:18,000 --> 00:28:20,280
Speaker 2: of Dynasty. I'm not sure how soap operas really work.

515
00:28:20,600 --> 00:28:21,640
Speaker 3: I don't know either, but.

516
00:28:21,560 --> 00:28:23,440
Speaker 2: Anyway, it was apparently a big role for her. It's

517
00:28:23,560 --> 00:28:26,960
Speaker 2: like the top thing that's mentioned diner on her IMDb page.

518
00:28:27,160 --> 00:28:29,040
Speaker 2: But she was another STI she's like on the Love Boat.

519
00:28:30,000 --> 00:28:35,640
Speaker 2: She apparently played Margaret Thatcher on an episode of Alfe Poles. Yeah,

520
00:28:35,680 --> 00:28:38,360
Speaker 2: so there's that. I could not find a screenshot of it.

521
00:28:38,440 --> 00:28:40,480
Speaker 2: I was really looking for it, could not find it.

522
00:28:40,520 --> 00:28:42,160
Speaker 2: But she's also been on things like Star Trek, The

523
00:28:42,200 --> 00:28:45,280
Speaker 2: Next Generation, SeaQuest, and Coronation Street.

524
00:28:46,480 --> 00:28:48,720
Speaker 3: I think she's quite good in this though. She has

525
00:28:48,960 --> 00:28:52,040
Speaker 3: the same issue that almost all of the teenagers have,

526
00:28:52,160 --> 00:28:54,440
Speaker 3: which is that none of them seem like teenagers. I

527
00:28:54,440 --> 00:28:57,080
Speaker 3: think I don't know how old they're supposed to be.

528
00:28:57,120 --> 00:28:59,320
Speaker 3: I would guess they're supposed to be like, I don't know,

529
00:28:59,360 --> 00:29:02,640
Speaker 3: eighteen to but they all come off as about thirty

530
00:29:02,840 --> 00:29:04,120
Speaker 3: or at least late twenties.

531
00:29:04,880 --> 00:29:07,720
Speaker 2: Yeah, I think she was like twenty five at the time.

532
00:29:08,480 --> 00:29:10,480
Speaker 3: Not really a problem. I just think it's funny when

533
00:29:10,520 --> 00:29:14,200
Speaker 3: movies have these these groups of all extremely adult teenagers.

534
00:29:14,760 --> 00:29:17,840
Speaker 2: All right. The next actor of note is Christopher Neim

535
00:29:18,160 --> 00:29:24,720
Speaker 2: playing Johnny Alocard. This is the drugish occult enthusiast in

536
00:29:24,760 --> 00:29:29,080
Speaker 2: the group of friends that we meet, the young Londoners.

537
00:29:29,640 --> 00:29:32,680
Speaker 2: He cares about only one thing, and it is, of course,

538
00:29:32,720 --> 00:29:35,560
Speaker 2: the resurrection of Dracula. He has a Dracula cultist.

539
00:29:36,080 --> 00:29:38,120
Speaker 3: It's interesting that I think there are a lot of

540
00:29:38,160 --> 00:29:42,800
Speaker 3: stories that where people become the servants of a satanic

541
00:29:42,960 --> 00:29:46,880
Speaker 3: entity or demonic overlord so that they can pursue a

542
00:29:46,920 --> 00:29:50,920
Speaker 3: party lifestyle and hedonistic pleasures. Like the powers they acquire

543
00:29:51,080 --> 00:29:54,560
Speaker 3: by serving the demon lord give them the ability to

544
00:29:54,680 --> 00:29:57,440
Speaker 3: party the way they want to. He's the other way around.

545
00:29:57,560 --> 00:30:01,320
Speaker 3: Johnny Alucard parties in order to serve a demon lord,

546
00:30:01,440 --> 00:30:05,400
Speaker 3: like he apparently only does the swing and hippie thing

547
00:30:05,840 --> 00:30:08,800
Speaker 3: in order to attract a group of friends who can

548
00:30:09,160 --> 00:30:11,920
Speaker 3: be brought as snacks to the vampire that he wants

549
00:30:11,920 --> 00:30:12,640
Speaker 3: to resurrect.

550
00:30:13,160 --> 00:30:15,720
Speaker 2: That's right, Johnny Alcard just wants to do Dracula stuff,

551
00:30:15,720 --> 00:30:18,920
Speaker 2: that's all. He wants in life, and he's going to

552
00:30:18,960 --> 00:30:22,160
Speaker 2: do whatever it takes to get there. So Johnny Alickhard

553
00:30:22,240 --> 00:30:26,280
Speaker 2: is played by Christopher Niem born nineteen forty seven. He

554
00:30:26,320 --> 00:30:29,200
Speaker 2: has a great look. He brings some great hungry energy

555
00:30:29,240 --> 00:30:32,480
Speaker 2: to this role as a Dracula cultist and vampire wanna be.

556
00:30:33,040 --> 00:30:35,120
Speaker 2: He kicked off his film career in the nineteen seventy

557
00:30:35,200 --> 00:30:38,600
Speaker 2: environmental disaster film No Blade of Grass, followed by seventy

558
00:30:38,600 --> 00:30:41,120
Speaker 2: one's Lust for a Vampire. This is These are small

559
00:30:41,200 --> 00:30:45,400
Speaker 2: roles I'm to understand, but this role in Dracula eighty

560
00:30:45,480 --> 00:30:47,000
Speaker 2: nineteen seventy two, so it to have been a big

561
00:30:47,000 --> 00:30:49,400
Speaker 2: step up for him. He goes on from here to

562
00:30:49,440 --> 00:30:52,080
Speaker 2: work steadily in all manner of pictures and TV shows,

563
00:30:52,120 --> 00:30:55,960
Speaker 2: including thirty episodes of Days of Our Lives nineteen eighty seven,

564
00:30:56,040 --> 00:30:59,680
Speaker 2: Steel Dawn, a really weird sounding nineteen eighty eight sci

565
00:30:59,720 --> 00:31:04,080
Speaker 2: fi horror film titled Transformations. He did episodes of Dynasty

566
00:31:04,160 --> 00:31:07,000
Speaker 2: episodes of Dallas. He pops up in the nineteen eighty

567
00:31:07,040 --> 00:31:09,800
Speaker 2: nine James Bond film Licensed to Kill, in which he

568
00:31:09,840 --> 00:31:13,800
Speaker 2: plays the agent that is sent to collect the rogue

569
00:31:13,880 --> 00:31:15,600
Speaker 2: agent James Bond.

570
00:31:16,040 --> 00:31:19,680
Speaker 3: Mmmm, yeah, okay, this is the one where Bond go

571
00:31:20,240 --> 00:31:22,480
Speaker 3: he like quits I six and he goes on a

572
00:31:22,520 --> 00:31:23,480
Speaker 3: mission of vengeance.

573
00:31:24,360 --> 00:31:29,560
Speaker 2: Yeah, this is the one where oh what's his name? Explodes?

574
00:31:30,320 --> 00:31:33,760
Speaker 3: Robert Davey feeds his friend Felix to a shark and

575
00:31:33,880 --> 00:31:37,200
Speaker 3: leaves a note saying he disagreed with something that aid him.

576
00:31:37,440 --> 00:31:41,440
Speaker 3: And so James Bond goes to kill Robert Dovey.

577
00:31:41,960 --> 00:31:44,520
Speaker 2: Yeah, and Anthony's er explodes, right, I think that's how

578
00:31:44,520 --> 00:31:45,920
Speaker 2: it goes goes maybe?

579
00:31:46,040 --> 00:31:47,480
Speaker 3: Yeah.

580
00:31:47,520 --> 00:31:50,520
Speaker 2: Anyway, Christopher nine was in a bunch of stuff. He

581
00:31:50,560 --> 00:31:53,720
Speaker 2: pops up in Ghostbusters two playing a nitro d. He's

582
00:31:53,760 --> 00:31:56,960
Speaker 2: in the hul Cogan films Suburban Commando from ninety one.

583
00:31:57,400 --> 00:32:00,959
Speaker 2: He's in the nineteen ninety four Chuck Norris film hell Bound.

584
00:32:01,280 --> 00:32:04,040
Speaker 2: He's in Species three from two thousand and four, and

585
00:32:04,080 --> 00:32:06,200
Speaker 2: then goes on to be in the Prestige from two

586
00:32:06,240 --> 00:32:10,080
Speaker 2: thousand and six. Just a bunch more all the way

587
00:32:10,120 --> 00:32:11,320
Speaker 2: up through twenty nineteen.

588
00:32:11,760 --> 00:32:16,640
Speaker 3: He's perfect in this. He's got a creepy, malevolent, froggy smile.

589
00:32:16,960 --> 00:32:19,480
Speaker 3: He just he looks like he's up to no good.

590
00:32:20,240 --> 00:32:23,560
Speaker 2: Yeah, dangerous youngster. They're very drugish.

591
00:32:23,920 --> 00:32:26,720
Speaker 3: He also just gives strong like cult leader. It's like

592
00:32:26,800 --> 00:32:28,960
Speaker 3: you see him and it's like, get this guy a

593
00:32:29,000 --> 00:32:30,080
Speaker 3: cult stat.

594
00:32:30,440 --> 00:32:34,680
Speaker 2: Yeah, all right. We also have the law present in

595
00:32:34,720 --> 00:32:38,440
Speaker 2: this film, investigating manner matters that turn out to be

596
00:32:38,520 --> 00:32:42,560
Speaker 2: Dracula related. We have Inspector Murray played by Michael cole

597
00:32:42,640 --> 00:32:44,920
Speaker 2: So of nineteen thirty four through two thousand and five.

598
00:32:45,080 --> 00:32:48,040
Speaker 2: This is our chief law officer investigating a stream of

599
00:32:48,080 --> 00:32:52,360
Speaker 2: strange murders in London. He's presented as a more progressive

600
00:32:52,440 --> 00:32:55,479
Speaker 2: and sympathetic policeman, but at the same time he's totally

601
00:32:55,520 --> 00:32:58,120
Speaker 2: down to invoke draconian drug laws in order to weed

602
00:32:58,160 --> 00:32:59,280
Speaker 2: out dangerous hippies.

603
00:32:59,800 --> 00:33:02,120
Speaker 3: Yeah, I'm gonna say no offense to Michael Coles. He

604
00:33:02,160 --> 00:33:06,280
Speaker 3: does find. But this oddly shaggy and in some ways

605
00:33:06,320 --> 00:33:10,000
Speaker 3: sympathetic detective character feels like it was meant for David Warner.

606
00:33:10,480 --> 00:33:13,160
Speaker 2: Oh well, yeah, David Warner would have been good. I mean,

607
00:33:13,240 --> 00:33:15,560
Speaker 2: David what You could cast David Warner in anything in

608
00:33:15,600 --> 00:33:18,880
Speaker 2: this film and he would have nailed it. As for

609
00:33:19,000 --> 00:33:22,520
Speaker 2: Michael Coles, he would reprise this role in seventy three's

610
00:33:22,520 --> 00:33:26,960
Speaker 2: The Satanic Rights of Dracula. So I guess the investigation continues.

611
00:33:27,560 --> 00:33:30,360
Speaker 2: His other credits include nineteen sixty five's doctor who in

612
00:33:30,440 --> 00:33:32,880
Speaker 2: the Dalaks all right, we basically as far as the

613
00:33:33,760 --> 00:33:36,080
Speaker 2: cast goes, there are just a couple other people of note.

614
00:33:36,120 --> 00:33:39,160
Speaker 2: These are other members of the youth group. Well it's

615
00:33:39,200 --> 00:33:40,480
Speaker 2: not a youth group. That makes it sound like it's

616
00:33:40,520 --> 00:33:42,920
Speaker 2: church affiliated. These are some more of the swing in

617
00:33:42,960 --> 00:33:46,440
Speaker 2: Londoners the young people, the first of which is the

618
00:33:46,520 --> 00:33:50,720
Speaker 2: character Gaynor, played by Marcia A. Hunt born nineteen forty six.

619
00:33:51,640 --> 00:33:54,560
Speaker 2: She's an American model, singer, actor, and a later author

620
00:33:54,680 --> 00:33:57,400
Speaker 2: and editor. She only acted in eleven films, but they

621
00:33:57,440 --> 00:33:59,920
Speaker 2: include such titles as nineteen eighty two as the Cinder

622
00:34:00,280 --> 00:34:04,480
Speaker 2: It's Like a psychic, sort of Scanner esque flick, nineteen

623
00:34:04,520 --> 00:34:08,759
Speaker 2: eighty three's Never Say Never Again, a Bond film, Howling two,

624
00:34:08,880 --> 00:34:12,120
Speaker 2: Your Sister is Aware a Wolf, which is obviously part

625
00:34:12,160 --> 00:34:17,480
Speaker 2: of the ups and downs of the Howling franchise her office.

626
00:34:19,360 --> 00:34:23,600
Speaker 2: Her bibliography includes an autobiography, a memoir, and the nineteen

627
00:34:23,680 --> 00:34:27,200
Speaker 2: ninety novel Joy. Her discography includes three albums from the

628
00:34:27,280 --> 00:34:30,080
Speaker 2: nineteen seventies, and she was also famously in a relationship

629
00:34:30,120 --> 00:34:32,160
Speaker 2: with Mick Jagger, and the two had a daughter together.

630
00:34:32,520 --> 00:34:35,680
Speaker 3: Ah. She's one of the more friendly presences in the

631
00:34:35,719 --> 00:34:39,680
Speaker 3: group of London hippies, though she tragically is eaten by Dracula,

632
00:34:39,920 --> 00:34:41,399
Speaker 3: like several characters are.

633
00:34:42,719 --> 00:34:47,440
Speaker 2: Another doomed character that fits the same description for the

634
00:34:47,440 --> 00:34:52,600
Speaker 2: most part is Carolyn Monroe's Laura Bellows. We've talked about

635
00:34:52,640 --> 00:34:55,080
Speaker 2: Monroe on the show before, because yeah, she was a

636
00:34:55,080 --> 00:34:58,120
Speaker 2: pin up model and actress who stole many a seventies

637
00:34:58,200 --> 00:35:01,839
Speaker 2: film nerds heart, with such genre appearances as The Spy

638
00:35:01,880 --> 00:35:05,480
Speaker 2: Who Loved Me seventy seven, Maniac in nineteen eighty, Slaughter

639
00:35:05,600 --> 00:35:08,440
Speaker 2: High in eighty six, The Golden Voyage of Sinbad earlier

640
00:35:08,520 --> 00:35:12,600
Speaker 2: in seventy three, Captain Crono's Vampire Hunter, Another Hammer Picture

641
00:35:12,600 --> 00:35:15,239
Speaker 2: from seventy four, at the Earth's Core in seventy six,

642
00:35:15,280 --> 00:35:18,239
Speaker 2: and also Star Crash in seventy eight. She also has

643
00:35:18,280 --> 00:35:23,440
Speaker 2: a just slight cameo as a picture of Doctor Phib's

644
00:35:24,640 --> 00:35:27,880
Speaker 2: wife in nineteen seventy one's The Abominable Doctor Fibes.

645
00:35:28,320 --> 00:35:31,040
Speaker 3: She is the main character in Star Crash, didn't she

646
00:35:31,040 --> 00:35:32,239
Speaker 3: She's still a star so.

647
00:35:32,560 --> 00:35:35,720
Speaker 2: Oh yeah, yeah, yeah, she's right there, She's on the poster.

648
00:35:36,200 --> 00:35:39,040
Speaker 3: Yeah. She is also eaten by Dracula in this movie,

649
00:35:39,080 --> 00:35:43,440
Speaker 3: and her character is is just goga for demons. Ever

650
00:35:43,480 --> 00:35:48,080
Speaker 3: since there's like the moment the Johnny Alucard brings up, hey,

651
00:35:48,080 --> 00:35:51,120
Speaker 3: what if we did a black mass, She's like, yes, yes,

652
00:35:51,200 --> 00:35:52,040
Speaker 3: do it now, let's go.

653
00:35:53,640 --> 00:35:55,879
Speaker 2: It's true. Yeah, she's kind of presented as the Well,

654
00:35:56,120 --> 00:35:58,719
Speaker 2: of course she was killed by Dracula because she was

655
00:35:58,960 --> 00:36:03,200
Speaker 2: a bad hippie, so so yeah, what early victim here.

656
00:36:03,400 --> 00:36:06,520
Speaker 3: But I don't understand, like, why is she so into demons.

657
00:36:06,640 --> 00:36:08,560
Speaker 3: There are several characters in this movie who have a

658
00:36:08,640 --> 00:36:11,440
Speaker 3: history of like investigating the occult, so like it's an

659
00:36:11,520 --> 00:36:15,879
Speaker 3: established interest of theirs. She seems like she's never thought

660
00:36:15,880 --> 00:36:18,319
Speaker 3: of it until Johnny Alukhard brings it up. But the

661
00:36:18,400 --> 00:36:21,560
Speaker 3: moment he's like, let's summon the Prince of darkness, she

662
00:36:22,080 --> 00:36:24,239
Speaker 3: can't think of anything else. It's like this is all

663
00:36:24,280 --> 00:36:25,000
Speaker 3: I want now.

664
00:36:25,400 --> 00:36:27,320
Speaker 2: Yeah, I mean, I guess it's you know, I guess

665
00:36:27,480 --> 00:36:31,800
Speaker 2: we're already thinking about it more deeply than anyone involved

666
00:36:31,800 --> 00:36:34,080
Speaker 2: in the film, I think. But you know, maybe she's

667
00:36:34,120 --> 00:36:36,560
Speaker 2: supposed to be just sort of like the shallow enthusiast

668
00:36:36,560 --> 00:36:39,880
Speaker 2: of the occult that doesn't realize that there are, you know,

669
00:36:39,920 --> 00:36:42,960
Speaker 2: in the world of this film, real threats involved in

670
00:36:43,040 --> 00:36:46,520
Speaker 2: trying to summon up the spirit of a slain Dracula

671
00:36:47,320 --> 00:36:52,000
Speaker 2: creature from the past, that sort of thing. All right,

672
00:36:52,040 --> 00:36:54,600
Speaker 2: we're gonna skip over the rest of the youth in

673
00:36:54,640 --> 00:36:56,759
Speaker 2: this film and just get right to the music. The

674
00:36:56,840 --> 00:37:00,040
Speaker 2: music is by Michael Vickers born nineteen forty I a

675
00:37:00,120 --> 00:37:03,600
Speaker 2: member of the nineteen sixties band Manfred Mann. I'm not

676
00:37:03,640 --> 00:37:07,479
Speaker 2: familiar with, but the scorer and soundtrack for this film

677
00:37:07,520 --> 00:37:09,279
Speaker 2: is widely available, and I have to say it's a

678
00:37:09,280 --> 00:37:12,760
Speaker 2: lot of fun. Most of the score tracks are very jazzy,

679
00:37:12,840 --> 00:37:16,080
Speaker 2: lots of blaring like horn or saxophone or whatever is

680
00:37:16,160 --> 00:37:19,759
Speaker 2: Dracula and Van helsing chase each other around. But he

681
00:37:19,920 --> 00:37:23,880
Speaker 2: also gives us a wonderful Black Mass track titled Devil's

682
00:37:23,880 --> 00:37:27,600
Speaker 2: Circle Music. That is you see it being played on screen.

683
00:37:27,680 --> 00:37:29,880
Speaker 2: It is the soundtrack to the Black Mass that is

684
00:37:29,920 --> 00:37:33,400
Speaker 2: conducted in the picture, and it itself is a beautiful,

685
00:37:33,560 --> 00:37:37,760
Speaker 2: creepy cacophony of satanic sounds. So part of me wishes

686
00:37:37,800 --> 00:37:40,360
Speaker 2: the whole score for this movie sounded like that, But

687
00:37:40,480 --> 00:37:43,040
Speaker 2: on the other hand, I really like the cheesy content

688
00:37:43,080 --> 00:37:46,080
Speaker 2: of this film, so I'm glad that we have the

689
00:37:46,120 --> 00:37:57,759
Speaker 2: blaring jazz present as well, all right, with all that

690
00:37:57,840 --> 00:38:01,879
Speaker 2: behind us, Joe, take us to nineteen seventy two.

691
00:38:02,520 --> 00:38:04,440
Speaker 3: All right, we'd be well, no, we don't start in

692
00:38:04,480 --> 00:38:05,319
Speaker 3: nineteen seventy two.

693
00:38:05,960 --> 00:38:08,960
Speaker 2: Oh oh, well, that's right. We start in eighteen seventy two.

694
00:38:09,040 --> 00:38:11,399
Speaker 3: Right, that's right. I'll take you to eighteen seventy two.

695
00:38:11,440 --> 00:38:13,799
Speaker 3: How about that. How about we start there? Okay, we

696
00:38:13,920 --> 00:38:17,400
Speaker 3: begin with dead leaves blowing in the autumn wind. And

697
00:38:17,440 --> 00:38:21,799
Speaker 3: I noticed I noticed in this opening sequence in some shots, Rob,

698
00:38:21,800 --> 00:38:23,520
Speaker 3: I don't know if you saw this too. In some

699
00:38:23,640 --> 00:38:27,839
Speaker 3: shots the trees are just packed with dense green foliage,

700
00:38:28,280 --> 00:38:31,040
Speaker 3: and in other shots they have orange and yellow leaves

701
00:38:31,040 --> 00:38:34,200
Speaker 3: and fewer of them, and then in a third kind

702
00:38:34,200 --> 00:38:36,920
Speaker 3: of shot they're completely bare. I wonder why that is it.

703
00:38:36,920 --> 00:38:40,560
Speaker 3: Could it be the different shots in this, like I

704
00:38:40,600 --> 00:38:43,560
Speaker 3: don't know, minute long carriage Chase were shot at different

705
00:38:43,680 --> 00:38:47,319
Speaker 3: months of the year. That seems unlikely, but I don't know.

706
00:38:47,560 --> 00:38:51,080
Speaker 3: Maybe it's just different kind of trees or something. I

707
00:38:51,120 --> 00:38:53,120
Speaker 3: was on guard for this because I saw, like at

708
00:38:53,120 --> 00:38:55,920
Speaker 3: the the very first shot, orange leaves are blowing on

709
00:38:55,960 --> 00:38:58,320
Speaker 3: the ground, but the trees in the background are fully green,

710
00:38:58,400 --> 00:39:01,799
Speaker 3: and it reminded me of John Cars Halloween, which you

711
00:39:01,840 --> 00:39:03,880
Speaker 3: may have never noticed this before, but it's like that.

712
00:39:03,960 --> 00:39:05,960
Speaker 3: I think it was actually shot in the summer, even

713
00:39:06,000 --> 00:39:09,440
Speaker 3: though it's supposed to take place in October in Illinois,

714
00:39:10,600 --> 00:39:12,520
Speaker 3: so I think they had to like bring in bags

715
00:39:12,560 --> 00:39:15,520
Speaker 3: of dead leaves to dress the you know, the sets.

716
00:39:15,520 --> 00:39:17,680
Speaker 2: Reminds me of the neighborhood that while we both live in.

717
00:39:18,560 --> 00:39:21,239
Speaker 2: Occasionally they're film productions, and there was that one. I

718
00:39:21,320 --> 00:39:22,920
Speaker 2: think this was like in the summer where they were

719
00:39:22,920 --> 00:39:26,879
Speaker 2: filming something for Halloween, and they they decorated the whole

720
00:39:26,880 --> 00:39:32,400
Speaker 2: streak for Halloween, like like movie level Halloween decorations, and

721
00:39:32,440 --> 00:39:34,920
Speaker 2: it was it was pretty fun. Like sometimes film productions

722
00:39:34,960 --> 00:39:36,920
Speaker 2: can you know, they can get in your way and

723
00:39:36,920 --> 00:39:39,400
Speaker 2: then you can be a little grumpy about them disrupting

724
00:39:39,400 --> 00:39:43,120
Speaker 2: your morning commute or whatever. But that that film shoot,

725
00:39:43,560 --> 00:39:44,200
Speaker 2: God bless it.

726
00:39:44,840 --> 00:39:48,239
Speaker 3: Oh good lord. Yes, yeah, Halloween in July. Thank you,

727
00:39:48,520 --> 00:39:52,320
Speaker 3: I'll take it. So, yeah, we get the leaves blowing.

728
00:39:52,560 --> 00:39:55,640
Speaker 3: We see red calligraphy letters on the screen. This as

729
00:39:55,680 --> 00:39:58,640
Speaker 3: a hammer production and it's that calligoriphy font that makes

730
00:39:58,680 --> 00:40:03,080
Speaker 3: the word bathory look like bat Lord. A horse drawn

731
00:40:03,160 --> 00:40:07,200
Speaker 3: carriage is racing along on a parkside pathway goes over

732
00:40:07,200 --> 00:40:11,320
Speaker 3: a stone bridge under an archway of these dead tree limbs,

733
00:40:11,800 --> 00:40:14,600
Speaker 3: and a narrator comes in. Narrator says, the year is

734
00:40:14,640 --> 00:40:18,480
Speaker 3: eighteen seventy two, and the nightmare legend of Count Dracula

735
00:40:18,600 --> 00:40:22,840
Speaker 3: extends its terror far beyond the mountains of Carpathia to

736
00:40:22,920 --> 00:40:27,440
Speaker 3: the Victorian metropolis of London. Here in Hyde Park, the

737
00:40:27,480 --> 00:40:33,640
Speaker 3: final confrontation between Lawrence van Helsing and his arch enemy,

738
00:40:33,800 --> 00:40:37,719
Speaker 3: the demon vampire Dracula. Now, I told you I was

739
00:40:37,719 --> 00:40:40,280
Speaker 3: going to come back to the name of van Helsing

740
00:40:40,280 --> 00:40:42,440
Speaker 3: in this movie. You did hear that right? It is

741
00:40:42,640 --> 00:40:46,520
Speaker 3: Lawrence van Helsing for some reason, I'm not sure what.

742
00:40:47,560 --> 00:40:50,120
Speaker 3: This movie, and maybe at least one of the other

743
00:40:50,200 --> 00:40:53,400
Speaker 3: Hammer Horror Draculas, calls this character Lawrence. Of course, in

744
00:40:53,440 --> 00:40:57,960
Speaker 3: the novel, van Helsing's first name is Abraham. No offense

745
00:40:58,000 --> 00:41:00,120
Speaker 3: to all of the wonderful Lawrences out there for what

746
00:41:00,160 --> 00:41:02,920
Speaker 3: I'm about to say. But this name change is not great.

747
00:41:03,080 --> 00:41:07,319
Speaker 3: A van Helsing, whose friends call him Larry, does not

748
00:41:07,480 --> 00:41:12,680
Speaker 3: bring the same gravitas as Abraham. Hmm, yeah, yeah, So

749
00:41:12,800 --> 00:41:15,200
Speaker 3: why the change? I don't know. Could it possibly have

750
00:41:15,280 --> 00:41:18,960
Speaker 3: to do with intellectual property? That seems I don't know

751
00:41:19,080 --> 00:41:19,319
Speaker 3: kind of.

752
00:41:19,360 --> 00:41:21,160
Speaker 2: I mean, that would be the main reason to change

753
00:41:21,200 --> 00:41:23,879
Speaker 2: up the name of a particular character. And of course

754
00:41:24,080 --> 00:41:27,480
Speaker 2: historically we would have seen movements like that before concerning

755
00:41:27,520 --> 00:41:28,600
Speaker 2: the Dracula property.

756
00:41:28,960 --> 00:41:31,640
Speaker 3: Yeah, but I mean, but it's called Dracula, so it

757
00:41:31,680 --> 00:41:34,720
Speaker 3: would have to be something specific to that one character,

758
00:41:34,840 --> 00:41:37,319
Speaker 3: Like they could use the last name and the rest

759
00:41:37,320 --> 00:41:39,880
Speaker 3: of the plot and Dracula, but not Abraham. I don't know.

760
00:41:39,920 --> 00:41:45,600
Speaker 3: It's confusing. So anyway, the movie opens with the ending

761
00:41:45,680 --> 00:41:48,440
Speaker 3: of this other tale. We see Dracula and Van Helsing

762
00:41:48,600 --> 00:41:51,080
Speaker 3: already in the middle of fighting to the death on

763
00:41:51,120 --> 00:41:54,480
Speaker 3: the roof of this carriage as it races through Hyde Park.

764
00:41:54,800 --> 00:41:58,720
Speaker 3: They're sort of wrestling. Dracula is choking Van Helsing, until

765
00:41:58,760 --> 00:42:02,719
Speaker 3: suddenly the horn that's holding the horses to the carriage snaps.

766
00:42:03,080 --> 00:42:06,800
Speaker 3: The horses run off. The carriage veers off the path

767
00:42:06,920 --> 00:42:11,280
Speaker 3: and crashes into a tree. Van Helsing is thrown aside

768
00:42:11,280 --> 00:42:14,400
Speaker 3: into the grass, and Dracula, when we see him stagger

769
00:42:14,440 --> 00:42:17,920
Speaker 3: out from behind the carriage, is impaled on the spoke

770
00:42:18,040 --> 00:42:21,480
Speaker 3: of a carriage wheel, an accidental stake through the heart.

771
00:42:21,960 --> 00:42:24,800
Speaker 3: Dracula and Van Helsing fight a little bit more wild

772
00:42:24,880 --> 00:42:27,440
Speaker 3: drac has a wheel stuck to him, so it's just

773
00:42:27,520 --> 00:42:30,840
Speaker 3: kind of poking out of him. But eventually Dracula is defeated.

774
00:42:31,440 --> 00:42:34,360
Speaker 3: Van Helsing kind of shoves the stake into the heart

775
00:42:34,400 --> 00:42:38,839
Speaker 3: further and then he does the classic undead turbo rot.

776
00:42:38,960 --> 00:42:42,239
Speaker 3: So Dracula collapses into a pile of bones and then

777
00:42:42,320 --> 00:42:45,359
Speaker 3: that turns into ash and dust. By the riverside, Van

778
00:42:45,400 --> 00:42:47,440
Speaker 3: Helsing also collapses dead.

779
00:42:48,080 --> 00:42:52,280
Speaker 2: So at this point, the entire multifilm struggle between Professor

780
00:42:52,360 --> 00:42:56,240
Speaker 2: van Helsing and Count Dracula ends in a vehicular accident,

781
00:42:57,880 --> 00:43:01,840
Speaker 2: which I think would feel mighty underwhelming if this wered

782
00:43:01,880 --> 00:43:03,920
Speaker 2: like the end. But this isn't the end, this is

783
00:43:03,960 --> 00:43:06,720
Speaker 2: the beginning, so I guess we'll allow it. A freak

784
00:43:06,800 --> 00:43:12,160
Speaker 2: accident takes both the demon vampire and his chief adversary,

785
00:43:12,520 --> 00:43:13,720
Speaker 2: takes them both out of action.

786
00:43:14,160 --> 00:43:17,160
Speaker 3: But wait a second, who's this creep back here watching

787
00:43:17,200 --> 00:43:20,480
Speaker 3: everything go on? There is a young man observing the scene.

788
00:43:20,600 --> 00:43:24,160
Speaker 3: He'd been following the carriage on horseback. He comes galloping

789
00:43:24,200 --> 00:43:27,040
Speaker 3: in wearing a top hat, and he's a little guy

790
00:43:27,120 --> 00:43:31,200
Speaker 3: with a scuzzy mutton chop sideburn set and a toad

791
00:43:31,440 --> 00:43:35,760
Speaker 3: like grin, and he produces a glass vial and scoops

792
00:43:35,840 --> 00:43:40,040
Speaker 3: up some of Dracula's ashes after he turbo rots, Van

793
00:43:40,080 --> 00:43:43,040
Speaker 3: Helsing's just laying there dying. He ignores Van Helsing. He

794
00:43:43,120 --> 00:43:47,120
Speaker 3: also pockets Dracula's special ring. It looks like it's made

795
00:43:47,160 --> 00:43:48,919
Speaker 3: of silver, but I don't think that would make sense

796
00:43:48,960 --> 00:43:52,399
Speaker 3: for Dracula. So it's some kind of pale precious metal ring.

797
00:43:52,960 --> 00:43:55,479
Speaker 2: Yeah, maybe pewter or something. Maybe he can wear pewter.

798
00:43:55,560 --> 00:43:58,760
Speaker 3: I'm not sure Dracula's lead ring.

799
00:44:00,040 --> 00:44:02,560
Speaker 2: I would fit right, he doesn't have to worry about lead.

800
00:44:03,719 --> 00:44:07,520
Speaker 3: So we cut to a funeral scene after that, and

801
00:44:07,600 --> 00:44:10,560
Speaker 3: it's all of Van Helsing's friends and family gathered in

802
00:44:10,640 --> 00:44:14,000
Speaker 3: a churchyard where the Good Doctor's body is being committed

803
00:44:14,000 --> 00:44:16,560
Speaker 3: to the earth. And it seems most of the mourners

804
00:44:16,600 --> 00:44:20,400
Speaker 3: are variations on the Monopoly Man, shiny top hats, coats

805
00:44:20,440 --> 00:44:23,840
Speaker 3: with tails, all that. It's mostly dudes at the funeral.

806
00:44:24,360 --> 00:44:26,040
Speaker 2: And we're not introduced to any of them. We don't

807
00:44:26,080 --> 00:44:29,399
Speaker 2: know who from the novel Dracula actually showed up at

808
00:44:29,400 --> 00:44:32,080
Speaker 2: the man's funeral, Like, I feel like it would be

809
00:44:32,840 --> 00:44:35,439
Speaker 2: a little bit insulting if Jonathan Harker didn't show up

810
00:44:35,800 --> 00:44:37,360
Speaker 2: at Van Helsing's funeral, right.

811
00:44:37,440 --> 00:44:39,560
Speaker 3: I mean, did they really know each other all that? Well,

812
00:44:39,600 --> 00:44:41,800
Speaker 3: they just kind of got together for a work project

813
00:44:41,840 --> 00:44:42,239
Speaker 3: one time.

814
00:44:42,320 --> 00:44:44,399
Speaker 2: Well yeah, the way they work friends right, So.

815
00:44:44,600 --> 00:44:48,760
Speaker 3: Yeah, okay, so oh another funny thing is the line

816
00:44:48,840 --> 00:44:51,359
Speaker 3: we hear the priests say at Van Helsing's funeral. He's

817
00:44:51,400 --> 00:44:54,760
Speaker 3: quoting the Bible, so we like come in and he's saying, man,

818
00:44:54,800 --> 00:44:57,240
Speaker 3: that is born of woman hath but a short time

819
00:44:57,280 --> 00:45:00,560
Speaker 3: to live and is full of misery. And I know

820
00:45:00,640 --> 00:45:02,719
Speaker 3: that's the Bible, but man, is that really what people

821
00:45:02,760 --> 00:45:04,840
Speaker 3: want to hear at a loved one's funeral. It's like,

822
00:45:04,960 --> 00:45:07,920
Speaker 3: not only do we die soon, it's mostly bad until

823
00:45:07,920 --> 00:45:08,520
Speaker 3: we get there.

824
00:45:09,360 --> 00:45:11,560
Speaker 2: Yeah, yeah, I don't. I don't want that RD at

825
00:45:11,560 --> 00:45:12,080
Speaker 2: my funeral.

826
00:45:12,760 --> 00:45:15,840
Speaker 3: Oh but a quick side note related to recent Core episodes.

827
00:45:15,880 --> 00:45:18,439
Speaker 3: You know, the next line after that in the Book

828
00:45:18,440 --> 00:45:22,080
Speaker 3: of Job. This is from Job chapter fourteen. After the

829
00:45:22,239 --> 00:45:25,520
Speaker 3: you know it's a short time to live, full of misery,

830
00:45:25,560 --> 00:45:27,960
Speaker 3: the next line is he cometh forth like a flower

831
00:45:28,000 --> 00:45:31,400
Speaker 3: and is cut down. He fleeth also as a shadow

832
00:45:31,640 --> 00:45:36,680
Speaker 3: and continueth not anyway, So that funeral is going on. Meanwhile,

833
00:45:36,719 --> 00:45:40,040
Speaker 3: the creepy guy who collected Dracula's ring and ashes. He

834
00:45:40,120 --> 00:45:42,880
Speaker 3: shows up at the funeral. He digs a hole in

835
00:45:42,960 --> 00:45:47,319
Speaker 3: the ground just outside the churchyard, pours Dracula's ashes into

836
00:45:47,320 --> 00:45:49,960
Speaker 3: the hole, and then drives a steak, the same steak

837
00:45:50,000 --> 00:45:54,080
Speaker 3: that killed Dracula, into the soil above the hole. And

838
00:45:54,120 --> 00:45:58,799
Speaker 3: then a marvelous transition, we get jet wipe jet We like,

839
00:45:58,880 --> 00:46:02,200
Speaker 3: look up to the sky and there's a jetplane wipe

840
00:46:02,280 --> 00:46:07,160
Speaker 3: and the funky music comes on, don't damn gawow, and

841
00:46:07,280 --> 00:46:10,240
Speaker 3: the jet comes down and we see the title Dracula

842
00:46:10,320 --> 00:46:13,600
Speaker 3: nineteen seventy two A d very good, very good use

843
00:46:13,640 --> 00:46:14,440
Speaker 3: of a jetplane.

844
00:46:15,160 --> 00:46:18,040
Speaker 2: Absolutely, it's like, bam, now it's modern times. Look at

845
00:46:18,040 --> 00:46:20,760
Speaker 2: the jet plane. The music has shifted from old timey

846
00:46:20,800 --> 00:46:25,320
Speaker 2: gothic horror movie to this is thoroughly modern, jazzy, funky number.

847
00:46:25,640 --> 00:46:27,960
Speaker 2: And yeah, my only note here is that we're denied

848
00:46:28,000 --> 00:46:30,960
Speaker 2: footage of Dracula flying first class. I mean, he's not

849
00:46:31,000 --> 00:46:33,880
Speaker 2: actually supposed to be in that airplane. But you know, again,

850
00:46:33,960 --> 00:46:36,799
Speaker 2: it's like you want. The movie seems to promise this

851
00:46:36,920 --> 00:46:39,759
Speaker 2: idea of Dracula is in our world now, and it

852
00:46:39,800 --> 00:46:41,000
Speaker 2: never quite gives us that.

853
00:46:41,560 --> 00:46:43,880
Speaker 3: I think they should have done a pong wipe, So

854
00:46:44,000 --> 00:46:46,560
Speaker 3: it's wiped to a screen of people playing the atari,

855
00:46:48,760 --> 00:46:51,920
Speaker 3: but it's not pong, it's an airplane. And then what

856
00:46:52,000 --> 00:46:53,800
Speaker 3: are they going to use to show We got to

857
00:46:53,840 --> 00:46:57,160
Speaker 3: get like a nineteen seventy two montage, right, show us

858
00:46:57,200 --> 00:47:00,480
Speaker 3: some footage of what it means for things to be modern?

859
00:47:01,239 --> 00:47:05,280
Speaker 3: What does that mean in this film's conception, primarily traffic,

860
00:47:05,719 --> 00:47:09,080
Speaker 3: So we're just seeing like complex highway exchanges teaming with

861
00:47:09,160 --> 00:47:13,200
Speaker 3: cars set to saxophone and whaling guitar solos.

862
00:47:13,600 --> 00:47:15,600
Speaker 2: Yeah, yeah, I guess that's all they really want to

863
00:47:15,640 --> 00:47:18,840
Speaker 2: convey about the modern world. That it's busy, and you

864
00:47:18,880 --> 00:47:21,759
Speaker 2: know that the world's fast, it's in a hurry. But meanwhile,

865
00:47:22,280 --> 00:47:27,720
Speaker 2: Dracula is patient. Dracula is long lived and is crossing

866
00:47:27,800 --> 00:47:32,160
Speaker 2: oceans of time to reach the year nineteen seventy two.

867
00:47:32,560 --> 00:47:35,879
Speaker 3: And then from here we cut straight to a party scene. Now,

868
00:47:35,960 --> 00:47:38,200
Speaker 3: this is the scene where I think they were the

869
00:47:38,280 --> 00:47:42,240
Speaker 3: movie was trying to pack in all of its modern

870
00:47:42,280 --> 00:47:45,840
Speaker 3: debauchery into like one five to seven minute sequence.

871
00:47:46,600 --> 00:47:49,480
Speaker 2: That's right with But their hippies are not like all,

872
00:47:49,640 --> 00:47:51,920
Speaker 2: is it not like we're dealing with a bunch of

873
00:47:51,960 --> 00:47:55,960
Speaker 2: sort of grind hausey, like evil hippies or anything. These

874
00:47:56,000 --> 00:48:00,520
Speaker 2: are all like, for the most part, likable, fun goofy kids. Again,

875
00:48:00,600 --> 00:48:01,960
Speaker 2: I think most of them are at least in their

876
00:48:01,960 --> 00:48:05,200
Speaker 2: mid twenties, but still goofy kids having a good time

877
00:48:05,680 --> 00:48:08,720
Speaker 2: enjoying the musical stylings of Stone Ground.

878
00:48:09,920 --> 00:48:14,960
Speaker 3: Stone Ground that's the name of the band they are playing.

879
00:48:15,160 --> 00:48:17,600
Speaker 3: Let's see how do so. The scene is like hippies

880
00:48:17,719 --> 00:48:21,240
Speaker 3: versus more monopoly men, but monopoly men from nineteen seventy

881
00:48:21,239 --> 00:48:24,320
Speaker 3: two instead of eighteen seventy two. This party is taking

882
00:48:24,320 --> 00:48:29,360
Speaker 3: place at an elegantly decorated apartment or flat belonging to

883
00:48:29,560 --> 00:48:33,120
Speaker 3: rich people, full of breakable antiques. There is a buffet

884
00:48:33,200 --> 00:48:36,040
Speaker 3: table set up with champagne and ice buckets and a

885
00:48:36,040 --> 00:48:38,480
Speaker 3: bunch of food. But I paused it. Almost all the

886
00:48:38,520 --> 00:48:40,560
Speaker 3: food appears to be fruit. I guess they thought we

887
00:48:40,560 --> 00:48:44,520
Speaker 3: wouldn't look too close, or maybe they just really like fruit. Also,

888
00:48:44,600 --> 00:48:49,040
Speaker 3: several hippies are making out underneath the buffet table. The

889
00:48:49,080 --> 00:48:52,919
Speaker 3: band Stone Ground is playing. In the living room. There

890
00:48:52,960 --> 00:48:55,400
Speaker 3: are go go dancers on top of the piano and

891
00:48:55,440 --> 00:48:59,280
Speaker 3: on the sofa table. Hippies are dancing, presumably doing drugs,

892
00:48:59,280 --> 00:49:02,040
Speaker 3: though I don't think we see any drugs being done

893
00:49:02,400 --> 00:49:06,399
Speaker 3: and getting up to sexual behavior, and all of the rich,

894
00:49:06,480 --> 00:49:08,240
Speaker 3: posh people are scandalized.

895
00:49:09,120 --> 00:49:12,280
Speaker 2: I can't stress enough that stone Ground as a band

896
00:49:12,440 --> 00:49:15,160
Speaker 2: looks like what might happen if you took the Muppet

897
00:49:15,160 --> 00:49:19,399
Speaker 2: Show band and portrayed them as human beings. Yes, they're

898
00:49:19,440 --> 00:49:20,959
Speaker 2: like a human Muppet Show band.

899
00:49:21,320 --> 00:49:24,560
Speaker 3: Yeah yeah, Or like Fraggles, like the Fragle band.

900
00:49:25,239 --> 00:49:29,680
Speaker 2: Yeah. Michael Wheldon wrote in his review quote, A party

901
00:49:29,719 --> 00:49:32,560
Speaker 2: sequence with the American band stone Ground is a real

902
00:49:32,640 --> 00:49:36,399
Speaker 2: low point. Oh come on, I would disagree, But then again,

903
00:49:36,440 --> 00:49:39,880
Speaker 2: i'm you know, we I think he was writing this

904
00:49:39,880 --> 00:49:43,239
Speaker 2: a little closer to the original release time. I would

905
00:49:43,239 --> 00:49:46,160
Speaker 2: say that it's a goofy good time that also advances

906
00:49:46,200 --> 00:49:49,560
Speaker 2: the plot somewhat introduces us to a key character, which

907
00:49:49,560 --> 00:49:51,920
Speaker 2: we'll get to in just a second. I think you

908
00:49:51,960 --> 00:49:55,480
Speaker 2: can say, well, perhaps there are some seventies bands that

909
00:49:55,520 --> 00:49:58,720
Speaker 2: would have been better suited to this film than stone Ground.

910
00:49:59,200 --> 00:50:02,040
Speaker 2: I wouldn't say I love the music, but they do

911
00:50:02,120 --> 00:50:04,279
Speaker 2: appear to have been a real band and all, like

912
00:50:04,480 --> 00:50:08,040
Speaker 2: they don't just exist in this film. South Valentino was

913
00:50:08,040 --> 00:50:10,520
Speaker 2: the singer noted for his earlier work in the sixties

914
00:50:10,560 --> 00:50:13,719
Speaker 2: group the bo Brummels. They did the song just a

915
00:50:13,760 --> 00:50:16,840
Speaker 2: little and I think they had another hit, and various

916
00:50:16,840 --> 00:50:19,560
Speaker 2: members of Stone Ground went on to other things.

917
00:50:19,960 --> 00:50:22,000
Speaker 3: One of the songs they play at this party is

918
00:50:22,800 --> 00:50:25,560
Speaker 3: it's just very generic lyrical content. It's like, oh yeah,

919
00:50:25,600 --> 00:50:28,720
Speaker 3: come on or something. But the other song is called

920
00:50:28,920 --> 00:50:31,879
Speaker 3: Alligator Man, and all of the lyrics are about how

921
00:50:31,960 --> 00:50:35,120
Speaker 3: like I'm just a by you man. You know you

922
00:50:35,160 --> 00:50:37,399
Speaker 3: can find me and the by you because that's all

923
00:50:37,400 --> 00:50:40,040
Speaker 3: I do. I swim in the water. I'm an alligator man.

924
00:50:40,800 --> 00:50:43,120
Speaker 3: I think he says I come from an alligator clan,

925
00:50:43,920 --> 00:50:46,719
Speaker 3: and I was just looking at the scene, like these

926
00:50:46,719 --> 00:50:49,640
Speaker 3: are not alligator men, if anything, these are lamprey men.

927
00:50:50,560 --> 00:50:54,040
Speaker 2: Yeah. I mean that's it's kind of a credence vibe

928
00:50:54,120 --> 00:50:58,680
Speaker 2: right where it's like, perhaps not authentic swamp music.

929
00:51:00,080 --> 00:51:02,239
Speaker 3: Oh I don't know, I go credence, they're out. They're

930
00:51:02,239 --> 00:51:05,000
Speaker 3: alligatorman to me, John Fogerty, Yeah, come on, he's an

931
00:51:05,000 --> 00:51:05,759
Speaker 3: alligator man.

932
00:51:06,040 --> 00:51:08,160
Speaker 2: The credence was great, But did they come from an

933
00:51:08,200 --> 00:51:08,880
Speaker 2: actual swamp.

934
00:51:09,320 --> 00:51:11,480
Speaker 3: I don't know. Maybe I've never looked into it.

935
00:51:11,840 --> 00:51:14,719
Speaker 2: If they don't have a swamp thing origin story, then

936
00:51:14,719 --> 00:51:17,040
Speaker 2: I'm gonna say it's it's it's a bit of an act,

937
00:51:17,040 --> 00:51:18,440
Speaker 2: but it's a fun act. I always like, I like

938
00:51:18,560 --> 00:51:20,320
Speaker 2: love Credence when I was younger.

939
00:51:20,560 --> 00:51:23,080
Speaker 3: I still love Credence. Wait, okay, but in the middle

940
00:51:23,120 --> 00:51:24,799
Speaker 3: of this whole scene, we got to explain this. So

941
00:51:24,840 --> 00:51:27,480
Speaker 3: the hippies are dancing, the band is playing, all the

942
00:51:27,560 --> 00:51:30,920
Speaker 3: rich people are are horribly offended. And in the middle

943
00:51:30,920 --> 00:51:35,400
Speaker 3: of the scene, hey, it's that same reptilian creep that

944
00:51:35,600 --> 00:51:38,920
Speaker 3: scooped up Dracula's ashes one hundred years ago. If anybody's

945
00:51:38,960 --> 00:51:40,200
Speaker 3: an alligator, man, it's him.

946
00:51:40,680 --> 00:51:40,799
Speaker 2: He.

947
00:51:41,120 --> 00:51:44,080
Speaker 3: You know, he's like got these creepy eyes. He's staring

948
00:51:44,120 --> 00:51:47,239
Speaker 3: at everybody. Uh. And I don't know if he has

949
00:51:47,360 --> 00:51:50,799
Speaker 3: like not aged since one hundred years ago, or if

950
00:51:50,800 --> 00:51:53,680
Speaker 3: this is supposed to be a descendant of that other guy.

951
00:51:54,120 --> 00:51:57,320
Speaker 3: Either way, it's the exact same dude. It looks exactly

952
00:51:57,360 --> 00:52:01,000
Speaker 3: the same, except he is now. I don't know. He's

953
00:52:01,080 --> 00:52:03,400
Speaker 3: dressed sort of for the era. He's wearing a frilly

954
00:52:03,520 --> 00:52:08,320
Speaker 3: pirate shirt, a burgundy velvet suit, and a black, wide

955
00:52:08,400 --> 00:52:11,640
Speaker 3: brimmed fedora. So cool.

956
00:52:12,000 --> 00:52:14,960
Speaker 2: I think he's supposed to be a descendant because Dracula

957
00:52:15,040 --> 00:52:17,319
Speaker 2: later says something to him about his bloodline.

958
00:52:17,880 --> 00:52:19,240
Speaker 3: Ah, that would make sense.

959
00:52:19,680 --> 00:52:22,960
Speaker 2: So like there's been a long line of Dracula enthusiasts,

960
00:52:22,960 --> 00:52:25,960
Speaker 2: some of whom never got to meet Dracula, which would

961
00:52:25,960 --> 00:52:27,840
Speaker 2: be kind of a bummer, right. Yeah.

962
00:52:27,920 --> 00:52:32,080
Speaker 3: Yeah, they're just you know, bridging the gap between generations.

963
00:52:32,480 --> 00:52:32,880
Speaker 2: Yeah.

964
00:52:33,520 --> 00:52:35,720
Speaker 3: Oh, and also we learned that his name is Johnny

965
00:52:35,760 --> 00:52:37,120
Speaker 3: Alucard Smooth.

966
00:52:37,200 --> 00:52:40,120
Speaker 2: Ah, we're not going to spoil We're not going to

967
00:52:40,160 --> 00:52:42,640
Speaker 2: spoil it yet. We're not going to tell you what

968
00:52:42,719 --> 00:52:43,640
Speaker 2: alo card means.

969
00:52:44,600 --> 00:52:46,799
Speaker 3: Oh what, We're not going to tell you what it

970
00:52:46,880 --> 00:52:51,760
Speaker 3: is spelled backwards. This is their kingdom. Yeah, Johnny Nilbog

971
00:52:51,840 --> 00:52:54,120
Speaker 3: here at the party. He's gazing out from under the

972
00:52:54,120 --> 00:52:56,799
Speaker 3: brim of his fedora while everybody else has a good time.

973
00:52:56,840 --> 00:52:58,480
Speaker 3: He doesn't look like he's having a good time. He's

974
00:52:58,480 --> 00:53:01,640
Speaker 3: just sitting there watching with no ex expression. Of course,

975
00:53:01,680 --> 00:53:04,800
Speaker 3: all of the fancy rich people are mortified. They're baffled

976
00:53:04,840 --> 00:53:07,840
Speaker 3: about how all of these disgusting partygoers ended up in

977
00:53:07,880 --> 00:53:10,560
Speaker 3: their flat. This old lady who's kind of a little

978
00:53:10,560 --> 00:53:14,319
Speaker 3: bit Angela Lansbury ish, she's like, what you know to

979
00:53:14,400 --> 00:53:17,520
Speaker 3: her son, She's like, why did you invite all of

980
00:53:17,560 --> 00:53:21,320
Speaker 3: these monsters, and he says, I didn't they're not my friends.

981
00:53:21,360 --> 00:53:24,320
Speaker 3: All I did was to invite the stone a Ground.

982
00:53:24,880 --> 00:53:27,480
Speaker 3: But that just left me more confused. I'm like, why

983
00:53:27,520 --> 00:53:30,880
Speaker 3: did he invite the stone Ground? He invited this band?

984
00:53:31,640 --> 00:53:34,520
Speaker 2: Well, because stone Ground is just a household name. Stone

985
00:53:34,520 --> 00:53:38,359
Speaker 2: Ground appeals to audiences of all ages, the old, the young,

986
00:53:38,600 --> 00:53:41,799
Speaker 2: the hip, the square. Everyone loves stone Ground. That's one

987
00:53:41,800 --> 00:53:43,640
Speaker 2: of the film's early key messages.

988
00:53:43,920 --> 00:53:46,719
Speaker 3: I understand now, yes, Oh, but there's one thing in

989
00:53:46,760 --> 00:53:48,920
Speaker 3: this party scene that I think does not make sense

990
00:53:49,000 --> 00:53:52,040
Speaker 3: and did not work at all. It's the bit about

991
00:53:52,400 --> 00:53:55,960
Speaker 3: timing how many minutes until the police arrive. So the

992
00:53:56,480 --> 00:53:59,719
Speaker 3: guy who invited the stone Ground goes and calls the

993
00:53:59,760 --> 00:54:02,400
Speaker 3: po to get all the hippies out of his apartment,

994
00:54:03,040 --> 00:54:06,759
Speaker 3: and then the hippie the friends all start being like, oh,

995
00:54:06,800 --> 00:54:09,800
Speaker 3: the fuzz will be here in four minutes. No, it'll

996
00:54:09,840 --> 00:54:12,560
Speaker 3: be six minutes, it'll be three and a half minutes,

997
00:54:12,960 --> 00:54:16,160
Speaker 3: eight minutes. And they're arguing with each other, and they

998
00:54:16,280 --> 00:54:20,600
Speaker 3: explained that they have a running practice where I guess

999
00:54:20,600 --> 00:54:25,200
Speaker 3: they party somewhere where they're unwanted until the minute before

1000
00:54:25,239 --> 00:54:28,480
Speaker 3: the police arrive, and then they leave and it's not

1001
00:54:28,520 --> 00:54:30,879
Speaker 3: really funny, and it doesn't really make sense. It sort

1002
00:54:30,920 --> 00:54:33,840
Speaker 3: of lacks very similitude, but the bit just keeps going on.

1003
00:54:34,760 --> 00:54:38,200
Speaker 2: It's a rather different relationship between hippies and law enforcement

1004
00:54:38,320 --> 00:54:41,840
Speaker 2: in this film versus certainly reality. But also I'm reminded

1005
00:54:41,920 --> 00:54:45,840
Speaker 2: of the Living Dead of the Manchester Morgue, where you know,

1006
00:54:45,880 --> 00:54:51,200
Speaker 2: it's firmly established that the man hates hippies, that law

1007
00:54:51,280 --> 00:54:56,520
Speaker 2: enforcement just despises them, whereas in this film it's like, ah,

1008
00:54:56,600 --> 00:55:00,279
Speaker 2: they're fun loving. It's a fun loving competition, you know.

1009
00:55:00,440 --> 00:55:03,200
Speaker 2: It's like, oh, you got me today, hippies, we'll get

1010
00:55:03,239 --> 00:55:05,040
Speaker 2: you tomorrow. That sort of thing.

1011
00:55:05,520 --> 00:55:08,080
Speaker 3: And in the spirit of that sort of teasingness, like

1012
00:55:08,120 --> 00:55:11,480
Speaker 3: when the police arrived to bust up the party, oh

1013
00:55:11,560 --> 00:55:15,360
Speaker 3: they discovered the hippies making out underneath the buffet table,

1014
00:55:15,440 --> 00:55:17,359
Speaker 3: and one of the hippies just says to the cop,

1015
00:55:17,480 --> 00:55:21,759
Speaker 3: peace man, and the cop smiles. But also there's a

1016
00:55:21,800 --> 00:55:25,520
Speaker 3: thing where when Johnny Alucard is about to leave the apartment,

1017
00:55:25,920 --> 00:55:29,120
Speaker 3: he takes the time to stop and torture the old

1018
00:55:29,200 --> 00:55:33,000
Speaker 3: lady about breaking her priceless antiques. Like he picks up

1019
00:55:33,320 --> 00:55:36,840
Speaker 3: this ceramic figurine and is tossing it hand to hand,

1020
00:55:36,920 --> 00:55:39,400
Speaker 3: and then just when she thinks, you know, he's setting

1021
00:55:39,440 --> 00:55:41,480
Speaker 3: it safely down on the table, he tips it over

1022
00:55:41,560 --> 00:55:42,600
Speaker 3: and it breaks on the floor.

1023
00:55:43,320 --> 00:55:48,040
Speaker 2: Oh yeah, he's a chaotic youth. He doesn't care about anything.

1024
00:55:48,640 --> 00:55:50,279
Speaker 3: But so they split from the party. They go to

1025
00:55:50,360 --> 00:55:52,800
Speaker 3: their favorite coffee shop except is it daytime?

1026
00:55:52,840 --> 00:55:53,040
Speaker 5: Now?

1027
00:55:53,040 --> 00:55:55,640
Speaker 3: I'm a little confused about the timeline. But they go

1028
00:55:55,680 --> 00:55:58,200
Speaker 3: to their favorite coffee shop, and the coffee shop is

1029
00:55:58,239 --> 00:56:00,919
Speaker 3: called cavern in this place? Is I wish I could

1030
00:56:01,000 --> 00:56:01,359
Speaker 3: go there?

1031
00:56:02,239 --> 00:56:04,600
Speaker 2: Yeah? I kind of have to assume that what we

1032
00:56:04,640 --> 00:56:06,719
Speaker 2: see of the interiors as a set. But it's a

1033
00:56:06,760 --> 00:56:10,360
Speaker 2: great looking set. We got the like splashes of tile

1034
00:56:10,560 --> 00:56:13,400
Speaker 2: and all sorts of cool purple lighting. Like it just

1035
00:56:13,440 --> 00:56:15,239
Speaker 2: looks too cool to be a real space. But I

1036
00:56:15,239 --> 00:56:17,560
Speaker 2: could be wrong on that. And then they order up

1037
00:56:17,600 --> 00:56:20,360
Speaker 2: what at first I thought was like bowls of soup

1038
00:56:20,560 --> 00:56:23,000
Speaker 2: and coca colas. But I think this is supposed to

1039
00:56:23,080 --> 00:56:25,880
Speaker 2: be coffee and or tea plus coca colas.

1040
00:56:26,200 --> 00:56:29,600
Speaker 3: I think there are coca colas in glass bottles. But yes,

1041
00:56:29,719 --> 00:56:33,839
Speaker 3: the souper bowls are coffee cups. I think. Okay, they're

1042
00:56:33,880 --> 00:56:37,239
Speaker 3: just very wide and shallow for some reason. Oh, and

1043
00:56:37,320 --> 00:56:39,799
Speaker 3: I made a note that cavern is right next to

1044
00:56:39,840 --> 00:56:43,880
Speaker 3: a store called Chelsea Mail m al E. I don't know,

1045
00:56:44,080 --> 00:56:47,520
Speaker 3: maybe that's clothing. I don't know. Anyway, the coffee ass

1046
00:56:47,880 --> 00:56:51,279
Speaker 3: the hippies sit in a secluded booth and Johnny Alucard

1047
00:56:51,800 --> 00:56:55,319
Speaker 3: talks about how everything's just boring. I'm sick of it all.

1048
00:56:55,360 --> 00:56:57,640
Speaker 3: It's all stale. We've got to find a new way

1049
00:56:57,680 --> 00:56:59,840
Speaker 3: to get our kicks. And he says, I want some

1050
00:57:00,120 --> 00:57:04,040
Speaker 3: thing new yet as old as time. And he's got

1051
00:57:04,080 --> 00:57:06,600
Speaker 3: an idea. They all want to hear what his idea is.

1052
00:57:06,920 --> 00:57:10,400
Speaker 3: He leans forward and he says, a date with the Devil,

1053
00:57:10,960 --> 00:57:15,400
Speaker 3: a bachanal with Beelzebub. So they think he's joking around

1054
00:57:15,440 --> 00:57:18,720
Speaker 3: at first, Oh, you're just Josh and Johnny Alucard a haha,

1055
00:57:19,000 --> 00:57:23,120
Speaker 3: Oija board spirit mediums that stuff's a bunch of funny nonsense.

1056
00:57:23,400 --> 00:57:26,880
Speaker 3: But Johnny Alucard is not joking. He's serious. He says,

1057
00:57:26,960 --> 00:57:30,760
Speaker 3: don't knock it unless you've tried it. And then Jessica,

1058
00:57:30,920 --> 00:57:34,439
Speaker 3: the most intelligent and level headed of the group, comments, well,

1059
00:57:34,560 --> 00:57:37,320
Speaker 3: they do say it's dangerous. But at the other side

1060
00:57:37,320 --> 00:57:41,040
Speaker 3: of the table, Carolyn Monroe as Laura is here like, yes, yes, devil,

1061
00:57:41,200 --> 00:57:45,400
Speaker 3: take me to the devil now. So everybody eventually agrees,

1062
00:57:45,560 --> 00:57:48,600
Speaker 3: last of all and reluctantly Jessica, but they're all in.

1063
00:57:48,680 --> 00:57:53,080
Speaker 3: They're going to go to an abandoned London church later

1064
00:57:53,160 --> 00:57:56,400
Speaker 3: tonight at midnight to summon Satan. I don't know. I

1065
00:57:56,440 --> 00:57:57,959
Speaker 3: guess that's just how you have fun.

1066
00:57:59,520 --> 00:58:02,280
Speaker 2: This may come later, but I did like the way

1067
00:58:02,320 --> 00:58:06,000
Speaker 2: they set up, how various members of the friends group

1068
00:58:06,080 --> 00:58:09,400
Speaker 2: are going along with this, where I think Jessica's boyfriend

1069
00:58:09,520 --> 00:58:12,720
Speaker 2: is like this is you know, it's like, yeah, Johnny's

1070
00:58:12,760 --> 00:58:14,840
Speaker 2: enthusiastic about it, but you know what's gonna happen. We're

1071
00:58:14,880 --> 00:58:17,640
Speaker 2: gonna show up, somebody's gonna get out of guitar. I'm

1072
00:58:17,640 --> 00:58:19,640
Speaker 2: gonna have some food and some drinks. It's like it's

1073
00:58:19,640 --> 00:58:21,560
Speaker 2: just gonna be more or less like any other hang

1074
00:58:21,640 --> 00:58:25,360
Speaker 2: we do. It's just Johnny's gonna read some weird stuff beforehand.

1075
00:58:25,720 --> 00:58:28,880
Speaker 3: Yes, he said there will. It'll just be beer, food,

1076
00:58:29,040 --> 00:58:41,480
Speaker 3: guitar and loving in the end. But before we get

1077
00:58:41,560 --> 00:58:44,400
Speaker 3: to the summoning of Satan, we see a few little

1078
00:58:44,640 --> 00:58:47,360
Speaker 3: there's some interludes. First of all, we see Johnny Alucard

1079
00:58:47,480 --> 00:58:51,120
Speaker 3: head home to his sweet flat, which his flat seems

1080
00:58:51,240 --> 00:58:54,680
Speaker 3: very cool. It's like well decorated. I don't know, it

1081
00:58:54,720 --> 00:58:58,320
Speaker 3: doesn't have that bachelor quality to it.

1082
00:58:59,120 --> 00:59:01,680
Speaker 2: Yeah, yeah, I know what you mean. It feels like

1083
00:59:01,760 --> 00:59:05,640
Speaker 2: this is more space and it's in better shape than

1084
00:59:05,720 --> 00:59:08,120
Speaker 2: Johnny should have access to. He should have more of

1085
00:59:08,160 --> 00:59:11,720
Speaker 2: a like a little hovel with Dracula posters on the walls.

1086
00:59:12,360 --> 00:59:15,120
Speaker 2: Turns out the good guys are the ones with Dracula posters.

1087
00:59:15,680 --> 00:59:18,480
Speaker 3: Yeah, that's right. Yeah. So he goes to his house

1088
00:59:18,520 --> 00:59:23,000
Speaker 3: and he opens up a velvet box and inside it's

1089
00:59:23,120 --> 00:59:25,920
Speaker 3: the ring, Yes, Dracula's ring, the one we saw the

1090
00:59:25,920 --> 00:59:29,000
Speaker 3: guy who looks exactly like Johnny take off of Dracula's

1091
00:59:29,000 --> 00:59:32,600
Speaker 3: corpse earlier on and the vial of ashes, so he's

1092
00:59:32,640 --> 00:59:35,360
Speaker 3: got him. We also follow Jessica home and this is

1093
00:59:35,360 --> 00:59:39,560
Speaker 3: where we learn that she is Jessica van Helsing and

1094
00:59:39,600 --> 00:59:43,160
Speaker 3: her grandfather who she lives with, is Professor Lorimer van

1095
00:59:43,280 --> 00:59:47,200
Speaker 3: Helsing also played by Peter Cushing, again a descendant of

1096
00:59:47,320 --> 00:59:51,800
Speaker 3: Larry from the prologue, and grandfather Van Helsing is an

1097
00:59:51,840 --> 00:59:55,080
Speaker 3: expert on the occult. He has consulted with the police

1098
00:59:55,120 --> 00:59:59,440
Speaker 3: before to solve cases of ritual cult murder, and he

1099
00:59:59,480 --> 01:00:04,640
Speaker 3: comes into office catches his granddaughter reading his book, which

1100
01:00:04,680 --> 01:00:08,240
Speaker 3: is called the Treatise on Black mass. He says, Jessica,

1101
01:00:08,360 --> 01:00:10,560
Speaker 3: this is not a subject to mess around with. These

1102
01:00:10,600 --> 01:00:15,320
Speaker 3: are scientific works. But she mocks it. She says, you know,

1103
01:00:15,400 --> 01:00:17,360
Speaker 3: you can buy that kind of book in any shop

1104
01:00:17,360 --> 01:00:21,840
Speaker 3: in soho quote. It's all kinky, you know, she says,

1105
01:00:21,920 --> 01:00:27,560
Speaker 3: it's hobgoblins, black magic, etc. So she thinks it's all nonsense,

1106
01:00:27,640 --> 01:00:30,640
Speaker 3: has no interest whatsoever in the occult, and in fact

1107
01:00:30,720 --> 01:00:33,960
Speaker 3: seems to think it's it's not even superficially interesting. She

1108
01:00:34,680 --> 01:00:37,360
Speaker 3: thinks that she can't bring her friends over to this

1109
01:00:37,480 --> 01:00:40,600
Speaker 3: place or to meet him because it would be interminably boring.

1110
01:00:40,960 --> 01:00:43,440
Speaker 3: But wait a minute, Jessica, don't you know that your

1111
01:00:43,480 --> 01:00:46,640
Speaker 3: friends are obsessed with summoning the devil? Like they just

1112
01:00:47,200 --> 01:00:50,120
Speaker 3: expressed this extreme interest in the occult, And here she

1113
01:00:50,280 --> 01:00:52,640
Speaker 3: is like, I can't My friends could never find out

1114
01:00:52,680 --> 01:00:54,560
Speaker 3: that you're an expert on the occult. It would be

1115
01:00:54,600 --> 01:00:55,360
Speaker 3: so embarrassing.

1116
01:00:57,120 --> 01:00:59,320
Speaker 2: Yeah, Jessica is a bit of a brat, and I

1117
01:00:59,320 --> 01:01:03,280
Speaker 2: think intentional. So like he has to politely move her

1118
01:01:03,360 --> 01:01:05,920
Speaker 2: feet off of his desk when he comes in and

1119
01:01:05,960 --> 01:01:09,920
Speaker 2: finds her reading the Book of the Occult. But at

1120
01:01:09,920 --> 01:01:12,240
Speaker 2: the same time, it's that they do a great job

1121
01:01:12,840 --> 01:01:15,520
Speaker 2: letting us know that, yeah, he really cares about her,

1122
01:01:15,520 --> 01:01:18,000
Speaker 2: and she really cares about him. But there is this,

1123
01:01:18,160 --> 01:01:20,880
Speaker 2: you know, some awkward generational stuff where you know, the

1124
01:01:20,920 --> 01:01:24,800
Speaker 2: stuff Grandpa's into is just lame, and yeah, she's kind

1125
01:01:24,800 --> 01:01:26,640
Speaker 2: of blind to the fact that there is this strong

1126
01:01:26,760 --> 01:01:29,760
Speaker 2: connection between what's about to happen in her friend group

1127
01:01:30,120 --> 01:01:32,400
Speaker 2: and the kind of stuff that grandpa actually knows quite

1128
01:01:32,440 --> 01:01:32,919
Speaker 2: a bit about.

1129
01:01:33,440 --> 01:01:36,720
Speaker 3: Yeah, he patiently explains that, you know, our family has

1130
01:01:36,760 --> 01:01:40,320
Speaker 3: a legacy of research into the occult, and she's just like,

1131
01:01:40,400 --> 01:01:41,760
Speaker 3: it's not my bag. Baby.

1132
01:01:42,040 --> 01:01:45,760
Speaker 2: It's like the difference between a friend saying like, hey,

1133
01:01:45,800 --> 01:01:49,200
Speaker 2: I have this Doobie Brother's album and then your grandpa's saying, hey,

1134
01:01:49,320 --> 01:01:51,760
Speaker 2: I've got Doobie Brothers albums too. Like, it's not fair

1135
01:01:52,360 --> 01:01:55,520
Speaker 2: that grandpa is considered lame because he has this album

1136
01:01:55,920 --> 01:01:59,240
Speaker 2: and your friend has a pass because he just discovered it.

1137
01:01:59,560 --> 01:02:03,440
Speaker 3: But that is how it works, no accounting for the

1138
01:02:03,480 --> 01:02:08,960
Speaker 3: social influences on taste formation anyway. Oh but also he's like, hey,

1139
01:02:09,360 --> 01:02:11,680
Speaker 3: what if I was to get to meet your friends

1140
01:02:11,760 --> 01:02:14,440
Speaker 3: you know, I wonder who these people you hang out

1141
01:02:14,440 --> 01:02:16,840
Speaker 3: with all the time, who are they? And she's like, Uh,

1142
01:02:17,120 --> 01:02:19,200
Speaker 3: you're never going to meet them because this place is

1143
01:02:19,240 --> 01:02:21,560
Speaker 3: boring and dusty and old, and you're an expert on

1144
01:02:21,600 --> 01:02:23,680
Speaker 3: the occult, so you will not meet them. But she

1145
01:02:23,840 --> 01:02:27,360
Speaker 3: tries to reassure him by saying she has never dropped acid,

1146
01:02:27,680 --> 01:02:29,960
Speaker 3: she is not shooting up, and she says she is

1147
01:02:30,000 --> 01:02:32,720
Speaker 3: not sleeping with anyone just yet, so he has no

1148
01:02:32,840 --> 01:02:35,880
Speaker 3: reason to worry. She is into nothing wrong. And then

1149
01:02:35,920 --> 01:02:38,920
Speaker 3: she goes to meet her friends at the deconsecrated church

1150
01:02:39,000 --> 01:02:42,720
Speaker 3: to raise the devil. Yep, so this black Mass. What

1151
01:02:42,800 --> 01:02:45,600
Speaker 3: can we describe about the scene? Well, first of all,

1152
01:02:45,600 --> 01:02:48,480
Speaker 3: there's a thing about the tombstone. On the outside, she

1153
01:02:48,560 --> 01:02:51,280
Speaker 3: and her boyfriend Bob are talking before they go into

1154
01:02:51,280 --> 01:02:55,040
Speaker 3: the church. They're waiting to meet everybody, and they stumble

1155
01:02:55,160 --> 01:02:59,120
Speaker 3: across the tombstone of her ancestor, Lawrence van Helsing, who

1156
01:02:59,120 --> 01:03:01,280
Speaker 3: died one hundred years ago to this day.

1157
01:03:01,720 --> 01:03:03,960
Speaker 2: Yeah, which they initially think, oh, this is one of

1158
01:03:04,040 --> 01:03:07,240
Speaker 2: Johnny's jokes. This is not funny. They get a little

1159
01:03:07,320 --> 01:03:08,240
Speaker 2: disturbed over this.

1160
01:03:08,560 --> 01:03:11,800
Speaker 3: It's one of Johnny's jokes. He had a fake tombstone

1161
01:03:11,920 --> 01:03:13,600
Speaker 3: made and put in this churchyard.

1162
01:03:14,800 --> 01:03:17,200
Speaker 2: I don't know, you know, they're just they're they're trying

1163
01:03:17,240 --> 01:03:19,640
Speaker 2: to figure it out. The other thing I would say

1164
01:03:19,720 --> 01:03:23,560
Speaker 2: is is that this, this abandoned church is just is

1165
01:03:23,600 --> 01:03:27,200
Speaker 2: a great set. It's a great like Gothic setting for

1166
01:03:27,320 --> 01:03:30,560
Speaker 2: what is inevitably going to be the resurrection of Count Dracula.

1167
01:03:30,920 --> 01:03:33,880
Speaker 3: That's right. So Johnny Alucard is there. He's wearing an

1168
01:03:33,880 --> 01:03:36,680
Speaker 3: all black robe. He has everybody sit in a circle

1169
01:03:36,720 --> 01:03:39,600
Speaker 3: and listen to music. He says, no fooling around, this

1170
01:03:39,760 --> 01:03:43,080
Speaker 3: is for real. And the tape he plays sounds kind

1171
01:03:43,080 --> 01:03:45,880
Speaker 3: of like the drum solo in Inegata Davida, which is

1172
01:03:45,880 --> 01:03:48,720
Speaker 3: a thumbs up for me. Yeah.

1173
01:03:48,800 --> 01:03:52,440
Speaker 2: Yeah. It has this kind of like noisy, grimy quality

1174
01:03:52,440 --> 01:03:54,480
Speaker 2: to it, which I quite like. And again you can

1175
01:03:54,840 --> 01:03:57,040
Speaker 2: hear this track is included on the soundtrack and score

1176
01:03:57,240 --> 01:03:59,240
Speaker 2: along with those stone ground tracks if you need to

1177
01:03:59,280 --> 01:04:00,120
Speaker 2: listen to those.

1178
01:04:00,560 --> 01:04:04,520
Speaker 3: That must provide an odd contrast. But he's really telling

1179
01:04:04,560 --> 01:04:07,360
Speaker 3: them to get into it. He says, dig the music, kids,

1180
01:04:07,480 --> 01:04:10,760
Speaker 3: let it flow into you. Give yourself up to the music.

1181
01:04:11,400 --> 01:04:13,960
Speaker 3: And this reminds me of Christian tracts that I have

1182
01:04:14,080 --> 01:04:19,360
Speaker 3: read genuinely espousing the idea that rock music will will

1183
01:04:19,680 --> 01:04:21,440
Speaker 3: allow a demon to possess your soul.

1184
01:04:21,840 --> 01:04:22,480
Speaker 2: Yep, yep.

1185
01:04:22,760 --> 01:04:25,120
Speaker 3: Johnny Alucard seems to agree with that point of view,

1186
01:04:25,560 --> 01:04:28,280
Speaker 3: and then he starts. He starts name and demons. You know,

1187
01:04:28,360 --> 01:04:31,800
Speaker 3: he says, I call upon Address the Grand Marquis of Hell.

1188
01:04:32,200 --> 01:04:36,280
Speaker 3: He says, Marquis, a provoker of discords, and upon ron Way,

1189
01:04:36,400 --> 01:04:40,640
Speaker 3: demon of forbidden knowledge, and upon Behemoth, the arch devil

1190
01:04:40,680 --> 01:04:44,480
Speaker 3: of black delights. I call upon as Modius, the Destroyer

1191
01:04:44,840 --> 01:04:48,120
Speaker 3: and Astroth, friend of all the great lords of Hades.

1192
01:04:48,560 --> 01:04:51,920
Speaker 3: I demand an audience with his Satanic majesty. And he

1193
01:04:51,960 --> 01:04:54,560
Speaker 3: goes on and on names like fifteen more demons, and

1194
01:04:54,840 --> 01:04:58,840
Speaker 3: ends with Count Dracula, which, even in the context of

1195
01:04:58,840 --> 01:05:00,560
Speaker 3: the movie, for some reason, it just kind of sounds

1196
01:05:00,600 --> 01:05:03,840
Speaker 3: funny in this list of I don't know, biblical or

1197
01:05:03,880 --> 01:05:07,520
Speaker 3: at least like apocryphal or hermetic kind of entities.

1198
01:05:07,720 --> 01:05:10,120
Speaker 2: Maybe, But at the same time, I don't know. We've

1199
01:05:10,160 --> 01:05:12,160
Speaker 2: talked already on the show. I think in Listener Mail

1200
01:05:12,200 --> 01:05:16,160
Speaker 2: episodes about Marvel's Dracula and how in the Marvel Comics universe,

1201
01:05:16,640 --> 01:05:20,240
Speaker 2: Dracula will occasionally have interactions with the likes of doctor Doom,

1202
01:05:20,400 --> 01:05:23,800
Speaker 2: so you know, Draculas can can hang out with Doctor

1203
01:05:23,800 --> 01:05:27,120
Speaker 2: Doom on the moon. Then I feel like it's it's

1204
01:05:27,160 --> 01:05:29,880
Speaker 2: equally okay that his name is mentioned in the same

1205
01:05:30,840 --> 01:05:34,960
Speaker 2: prayer as these various other dark and powerful demon lords.

1206
01:05:35,440 --> 01:05:37,360
Speaker 3: So he says all these demons, but then he calls

1207
01:05:37,400 --> 01:05:40,240
Speaker 3: the name of Jessica van helsing, she's right here in

1208
01:05:40,280 --> 01:05:42,600
Speaker 3: the room with us. She's here listening to the music.

1209
01:05:42,640 --> 01:05:46,160
Speaker 3: She's digging the music as instructed. And he says that

1210
01:05:46,200 --> 01:05:49,240
Speaker 3: the demons have chosen her, but she is afraid, so

1211
01:05:49,280 --> 01:05:51,520
Speaker 3: she says no, she's not going to join him up

1212
01:05:51,560 --> 01:05:55,640
Speaker 3: at the altar for whatever comes next. But somebody's ready,

1213
01:05:55,720 --> 01:05:58,000
Speaker 3: somebody wants to be to go to the altar, and

1214
01:05:58,200 --> 01:06:01,840
Speaker 3: it's Laura played by care Ellen Monroe. She's extremely jealous.

1215
01:06:01,920 --> 01:06:04,760
Speaker 3: She's like, no, me, me, me, me me, And so

1216
01:06:04,800 --> 01:06:07,440
Speaker 3: it looks like it's gonna be Laura instead for whatever

1217
01:06:07,480 --> 01:06:10,240
Speaker 3: this ritual will be. He so she goes up, lies

1218
01:06:10,280 --> 01:06:13,920
Speaker 3: down on the altar and Johnny Alukard cuts his hand,

1219
01:06:14,480 --> 01:06:18,280
Speaker 3: bleeds into a grail full of Dracula's ashes and then

1220
01:06:18,400 --> 01:06:20,800
Speaker 3: pours them out on her and it gets really thick

1221
01:06:20,840 --> 01:06:24,120
Speaker 3: and frothy, and this is disgusting. She's now covered in

1222
01:06:24,240 --> 01:06:27,680
Speaker 3: ashy blood. Everybody gets freaked out and runs away except

1223
01:06:27,720 --> 01:06:31,040
Speaker 3: for Johnny and Laura. And of course the ritual works it,

1224
01:06:31,440 --> 01:06:34,400
Speaker 3: you know, it resurrects Dracula from the earth where his

1225
01:06:34,520 --> 01:06:37,800
Speaker 3: ashes were buried one hundred years before. And then Dracula

1226
01:06:37,960 --> 01:06:40,880
Speaker 3: is shown shot from below, so we're looking up at

1227
01:06:40,960 --> 01:06:44,040
Speaker 3: him like he is the statue of liberty but a vampire,

1228
01:06:44,360 --> 01:06:48,320
Speaker 3: and he's surrounded by smoke and quite regal in his well,

1229
01:06:48,320 --> 01:06:51,360
Speaker 3: as Johnny said in his Satanic majesty, and.

1230
01:06:51,360 --> 01:06:53,200
Speaker 2: I thought this is pretty effective. Like at this point,

1231
01:06:53,200 --> 01:06:55,640
Speaker 2: I'm really digging, like, oh yeah, this is Dracula, this

1232
01:06:55,720 --> 01:06:58,480
Speaker 2: is the real deal. You've summoned him, and like this

1233
01:06:58,640 --> 01:07:01,560
Speaker 2: is an incredibly dangerous situation for everybody involved.

1234
01:07:02,200 --> 01:07:04,160
Speaker 3: But this is the part I mentioned earlier where he

1235
01:07:04,280 --> 01:07:07,760
Speaker 3: is right off the bat, extremely high handed with Johnny.

1236
01:07:07,800 --> 01:07:10,840
Speaker 3: Johnny says, master, I did it. I summoned you, and

1237
01:07:10,960 --> 01:07:13,520
Speaker 3: Dracula just kind of scowls at him and says it

1238
01:07:13,640 --> 01:07:16,680
Speaker 3: was my will and then holds out the ring for

1239
01:07:16,800 --> 01:07:17,440
Speaker 3: him to kiss.

1240
01:07:17,960 --> 01:07:20,040
Speaker 2: Well, he's not going to suffer any even if this

1241
01:07:20,160 --> 01:07:24,680
Speaker 2: is like, you know, a bloodline of Toadies that are

1242
01:07:24,720 --> 01:07:27,680
Speaker 2: supposed to look after Dracula's interest and raise him from

1243
01:07:27,720 --> 01:07:30,640
Speaker 2: the grave. Like, he's not going to suffer a wizard

1244
01:07:31,160 --> 01:07:33,440
Speaker 2: trying to pull one over him here. He's going to

1245
01:07:33,560 --> 01:07:36,680
Speaker 2: establish right from the top that Dracula is the guy.

1246
01:07:36,520 --> 01:07:39,600
Speaker 3: In charge, right. So he goes into the church, Laura

1247
01:07:39,640 --> 01:07:42,360
Speaker 3: is still hanging out there. He's like, I guess I'll

1248
01:07:42,440 --> 01:07:45,840
Speaker 3: drink her blood, and he does, and meanwhile Johnny is

1249
01:07:45,880 --> 01:07:49,400
Speaker 3: looking on biting his knuckle like I wish that was me.

1250
01:07:49,840 --> 01:07:52,200
Speaker 3: And at first I thought he was thinking like, oh,

1251
01:07:52,240 --> 01:07:55,200
Speaker 3: I wish that was me drinking her blood, but then

1252
01:07:55,240 --> 01:07:57,480
Speaker 3: I realized, no, I think he's like, I wish that

1253
01:07:57,640 --> 01:07:59,640
Speaker 3: was me getting my blood drank.

1254
01:08:00,960 --> 01:08:04,560
Speaker 2: Because that's what he ultimately wants. He wants the kiss

1255
01:08:04,600 --> 01:08:05,760
Speaker 2: of cursed immortality.

1256
01:08:06,000 --> 01:08:09,080
Speaker 3: So the next day, Laura's body is found by kids

1257
01:08:09,080 --> 01:08:12,120
Speaker 3: playing in a construction area. There's sort of the kids

1258
01:08:12,160 --> 01:08:14,560
Speaker 3: from the Spirit of Dark and Lonely Waters commercial.

1259
01:08:15,800 --> 01:08:19,240
Speaker 2: Yeah, just sort of wild, unparented seventies children running around

1260
01:08:19,439 --> 01:08:23,080
Speaker 2: finding dead bodies in the in the rubble. I mean,

1261
01:08:23,120 --> 01:08:25,160
Speaker 2: this is just how it went. I was born in

1262
01:08:25,240 --> 01:08:26,000
Speaker 2: seventies as well.

1263
01:08:26,200 --> 01:08:29,800
Speaker 3: Yeah, let's go climb on that rebar. The police show up.

1264
01:08:29,840 --> 01:08:32,920
Speaker 3: They open a murder investigation and it is led by

1265
01:08:33,000 --> 01:08:36,160
Speaker 3: Inspector Murray. This is the detective we talked about earlier.

1266
01:08:36,360 --> 01:08:39,839
Speaker 3: Inspector Murray in turn consults with Laura Mr van Helsing.

1267
01:08:39,960 --> 01:08:43,040
Speaker 3: I think they have a pre existing relationship because Van

1268
01:08:43,080 --> 01:08:47,240
Speaker 3: Helsing knows all about weird occult murders, and the detective

1269
01:08:47,280 --> 01:08:51,880
Speaker 3: then reveals that the murder is connected to his granddaughter Jessica,

1270
01:08:52,400 --> 01:08:54,639
Speaker 3: because Laura was part of her friend group.

1271
01:08:55,360 --> 01:08:58,479
Speaker 2: They do acknowledge at one point, or Inspector Murray does

1272
01:08:58,520 --> 01:09:00,000
Speaker 2: talking with somebody else, I think one of the other

1273
01:09:00,000 --> 01:09:02,760
Speaker 2: their police investigators. He's like, well, you know, here in

1274
01:09:02,800 --> 01:09:05,599
Speaker 2: the UK, we don't really have cult murders like they

1275
01:09:05,600 --> 01:09:09,000
Speaker 2: do in America. You know, they're not They're not as

1276
01:09:09,040 --> 01:09:12,840
Speaker 2: complicated as that and as heavy. We we have some

1277
01:09:12,880 --> 01:09:15,240
Speaker 2: cult murders, but it's you know, it's it's it's more

1278
01:09:15,240 --> 01:09:15,880
Speaker 2: British here.

1279
01:09:16,280 --> 01:09:19,639
Speaker 3: So there is a an investigation portion of the movie

1280
01:09:19,680 --> 01:09:23,400
Speaker 3: in the middle here that had one scene that had

1281
01:09:23,720 --> 01:09:27,200
Speaker 3: Rachel and me rolling. It was the the Alu card

1282
01:09:27,320 --> 01:09:31,559
Speaker 3: scene where man, they really they don't skip over anything.

1283
01:09:31,600 --> 01:09:33,360
Speaker 3: They let you see the whole thing.

1284
01:09:33,520 --> 01:09:37,280
Speaker 2: Come together, spoil it for us, Joe, tell everybody what

1285
01:09:37,560 --> 01:09:39,639
Speaker 2: Alo card means well.

1286
01:09:40,600 --> 01:09:43,320
Speaker 3: So that you see, like Peter Cushing there with a

1287
01:09:43,400 --> 01:09:46,400
Speaker 3: card and he has written Dracula out on this piece

1288
01:09:46,400 --> 01:09:50,200
Speaker 3: of paper, and then he's drawing lines from the letters

1289
01:09:50,840 --> 01:09:53,920
Speaker 3: in Alu card to the letters in Dracula and they

1290
01:09:53,960 --> 01:09:58,479
Speaker 3: all cross over. And he's like, it's it's Dracula spelt backwards.

1291
01:09:59,200 --> 01:10:04,759
Speaker 2: The the Dracula cipher right or Alo card cipher, as

1292
01:10:04,840 --> 01:10:09,000
Speaker 2: if he just solved like a really complex puzzle here, uh,

1293
01:10:09,320 --> 01:10:11,320
Speaker 2: when it's just so obvious in the page. But again,

1294
01:10:12,360 --> 01:10:15,519
Speaker 2: it just shows you how great Peter Cushing is. Such

1295
01:10:15,560 --> 01:10:19,440
Speaker 2: a stupid scene, but he sells it. He he patiently

1296
01:10:19,439 --> 01:10:20,960
Speaker 2: brings dignity to the scene.

1297
01:10:21,439 --> 01:10:24,320
Speaker 3: He draws. He doesn't just like write out Alu card

1298
01:10:24,360 --> 01:10:27,240
Speaker 3: and then look at he like draws all the lines.

1299
01:10:27,280 --> 01:10:28,320
Speaker 3: He does every letter.

1300
01:10:29,560 --> 01:10:31,120
Speaker 2: You know, he's checking his work. And I guess we

1301
01:10:31,200 --> 01:10:35,519
Speaker 2: have to remember at this point in in Hammer canon anyway,

1302
01:10:35,800 --> 01:10:38,880
Speaker 2: nobody had had solved the Dracula cipher yet they didn't

1303
01:10:38,920 --> 01:10:40,639
Speaker 2: know what this meant, and so we had to watch

1304
01:10:40,720 --> 01:10:41,639
Speaker 2: him do it in real time.

1305
01:10:41,920 --> 01:10:44,800
Speaker 3: That's true. It's like one of those math conjectures you know,

1306
01:10:45,080 --> 01:10:46,080
Speaker 3: remains unproven.

1307
01:10:46,720 --> 01:10:49,599
Speaker 2: Mm hmm. But this is this is also good parenting

1308
01:10:49,640 --> 01:10:53,160
Speaker 2: slash grand parenting tip uh that we're seeing here. Find

1309
01:10:53,160 --> 01:10:55,800
Speaker 2: out who your your your your your child or your

1310
01:10:55,800 --> 01:10:58,680
Speaker 2: grandchild's friends are. Write their names on a sheet of

1311
01:10:58,720 --> 01:11:01,360
Speaker 2: paper and just check and see if any of their

1312
01:11:01,360 --> 01:11:04,160
Speaker 2: first or last name happens to be Dracula spelled backwards.

1313
01:11:04,400 --> 01:11:06,479
Speaker 3: I just knew I shouldn't have let my child play

1314
01:11:06,600 --> 01:11:09,200
Speaker 3: with eoj nif.

1315
01:11:09,200 --> 01:11:09,360
Speaker 5: Ok.

1316
01:11:11,560 --> 01:11:13,360
Speaker 2: Sorry, I don't have any paper out, Joe. I can't

1317
01:11:13,400 --> 01:11:15,000
Speaker 2: fact check that one to make sure that's okay.

1318
01:11:16,080 --> 01:11:21,919
Speaker 3: Well, then you must be one of the idiots infurio. Okay,

1319
01:11:22,000 --> 01:11:24,800
Speaker 3: So what happens to that? So maybe I'm gonna skip

1320
01:11:24,880 --> 01:11:27,400
Speaker 3: more lightly over some of the plot points that follow,

1321
01:11:27,520 --> 01:11:32,719
Speaker 3: but one sequence is Dracula. He really wants to eat

1322
01:11:33,160 --> 01:11:35,400
Speaker 3: Jessica van Helsing. Actually, I think he wants to turn

1323
01:11:35,479 --> 01:11:39,320
Speaker 3: her into a vampire right to really just fully defile

1324
01:11:39,439 --> 01:11:41,760
Speaker 3: the name of Van Helsing. He wants to not just

1325
01:11:41,920 --> 01:11:44,639
Speaker 3: kill the end of the van Helsing line, but make

1326
01:11:44,760 --> 01:11:46,080
Speaker 3: her a servant of the devil.

1327
01:11:46,560 --> 01:11:49,320
Speaker 2: That's right, that's his evil plot for revenge here.

1328
01:11:49,960 --> 01:11:52,680
Speaker 3: So the way they're going to make that happen is

1329
01:11:52,720 --> 01:11:56,720
Speaker 3: Johnny Alucard. Does he invite Jessica van Helsing to go

1330
01:11:56,800 --> 01:11:59,040
Speaker 3: to the Jazz Spectacular with him?

1331
01:11:59,240 --> 01:12:01,560
Speaker 2: Yeah, He's like, I got tickets to the Jazz Spectacular,

1332
01:12:01,760 --> 01:12:04,640
Speaker 2: want to come? And she's like, uh no, no, no,

1333
01:12:04,760 --> 01:12:07,599
Speaker 2: thank you of doing something else. And then Gaynor's like, hey,

1334
01:12:08,000 --> 01:12:09,599
Speaker 2: I'm looking to go to a concert.

1335
01:12:11,880 --> 01:12:14,120
Speaker 3: What's he gonna do? Well, he figures out I can

1336
01:12:14,160 --> 01:12:16,000
Speaker 3: at least feed Gayner to Dracula.

1337
01:12:16,840 --> 01:12:19,280
Speaker 2: Yeah, but this this doesn't go over well with Dracula

1338
01:12:19,280 --> 01:12:23,200
Speaker 2: because Dracula, rightfully so is like, you, this is not

1339
01:12:23,280 --> 01:12:26,240
Speaker 2: what I charged you with. We have a specific plan

1340
01:12:26,360 --> 01:12:29,920
Speaker 2: for vengeance here. I will drink her blood and kill her,

1341
01:12:30,600 --> 01:12:34,799
Speaker 2: but you need to bring me the descendant of Van Helsing.

1342
01:12:35,200 --> 01:12:37,559
Speaker 2: And then but Johnny Alickhart is like, well, you haven't

1343
01:12:37,560 --> 01:12:40,519
Speaker 2: given me any powers, and he basically does kind of

1344
01:12:40,560 --> 01:12:43,559
Speaker 2: like a there's like a labor standoff, yes here in

1345
01:12:43,600 --> 01:12:46,920
Speaker 2: the film, and Dracula caves. He's like, all right, I'll

1346
01:12:46,920 --> 01:12:47,679
Speaker 2: give you the powers.

1347
01:12:48,080 --> 01:12:51,360
Speaker 3: So he bites him, turns Johnny Olichard into a vampire.

1348
01:12:51,840 --> 01:12:54,360
Speaker 3: And then Johnny ali Cart actually before he gets on

1349
01:12:54,560 --> 01:12:58,519
Speaker 3: with the business of you know, of getting Jessica van Helsing.

1350
01:12:58,520 --> 01:13:00,519
Speaker 3: He just goes out and gets a snack for and

1351
01:13:00,720 --> 01:13:03,519
Speaker 3: he like finds a lady in a laundromat and eats her.

1352
01:13:04,200 --> 01:13:06,839
Speaker 2: Yep, yep, just starts committing random vampire murders.

1353
01:13:07,280 --> 01:13:11,200
Speaker 3: But at some point Jessica's boyfriend, Bob, he comes to

1354
01:13:11,240 --> 01:13:13,639
Speaker 3: get her at her house. Now she's been warned about

1355
01:13:13,640 --> 01:13:18,040
Speaker 3: things at this point by her her grandfather Van Helsing,

1356
01:13:18,520 --> 01:13:21,639
Speaker 3: but Bob comes and says I think he says, oh,

1357
01:13:21,800 --> 01:13:24,120
Speaker 3: you know, your grandfather and the police are at the cavern.

1358
01:13:24,160 --> 01:13:26,599
Speaker 3: They're interviewing everybody and you need to come there now.

1359
01:13:27,479 --> 01:13:29,080
Speaker 3: Was that the story? I think it was.

1360
01:13:29,400 --> 01:13:29,920
Speaker 2: I believe so.

1361
01:13:30,120 --> 01:13:32,920
Speaker 3: Yes, And in the scene he strangely has a ben

1362
01:13:33,040 --> 01:13:37,640
Speaker 3: Dan tied around his neck. Yep, did you see this

1363
01:13:37,680 --> 01:13:38,240
Speaker 3: one coming?

1364
01:13:38,800 --> 01:13:39,439
Speaker 2: Yeah, yep.

1365
01:13:40,200 --> 01:13:42,559
Speaker 3: So he does take her to the cavern the coffee shop,

1366
01:13:42,640 --> 01:13:45,840
Speaker 3: but it's not the uh, it's not the good guys,

1367
01:13:45,880 --> 01:13:46,799
Speaker 3: it's the bad guys.

1368
01:13:47,479 --> 01:13:49,280
Speaker 2: That's right. It's a game of cat and mouse here

1369
01:13:49,320 --> 01:13:52,519
Speaker 2: between the Van Helsings and House Dracula.

1370
01:13:53,200 --> 01:13:56,439
Speaker 3: So eventually Jessica is taken to the deconsecrated church I

1371
01:13:56,439 --> 01:14:00,960
Speaker 3: think it's Saint Bartholf's and Dracula hip tizes her but

1372
01:14:01,040 --> 01:14:03,600
Speaker 3: doesn't vamp her yet. I think he's waiting for like

1373
01:14:03,680 --> 01:14:08,120
Speaker 3: the big midnight ritual or something. In the meantime, we

1374
01:14:08,400 --> 01:14:11,280
Speaker 3: get van Helsing on the case. He's trying to he's

1375
01:14:11,320 --> 01:14:14,479
Speaker 3: trying to find out how to rescue his granddaughter, and

1376
01:14:14,920 --> 01:14:18,479
Speaker 3: he ends up going to Johnny Alukard's house where they

1377
01:14:18,520 --> 01:14:21,200
Speaker 3: have a battle. It is Van Helsing versus a vampire,

1378
01:14:21,280 --> 01:14:25,280
Speaker 3: not Dracula yet, but the vamp, the sort of young vamp.

1379
01:14:25,640 --> 01:14:27,439
Speaker 3: And I thought this was a good battle. I like

1380
01:14:27,520 --> 01:14:28,160
Speaker 3: this scene.

1381
01:14:28,720 --> 01:14:31,040
Speaker 2: Yeah, yeah, I mean, to be fair, this is the

1382
01:14:31,080 --> 01:14:35,080
Speaker 2: first vampire that this Van Helsing has ever battled. Yeah.

1383
01:14:35,120 --> 01:14:37,160
Speaker 2: And they do a good job, yeah, of making it

1384
01:14:37,200 --> 01:14:41,040
Speaker 2: a little a little unexpected, Like, for instance, earlier in

1385
01:14:41,080 --> 01:14:43,519
Speaker 2: the film, there's a little foreshadowing where they remind us

1386
01:14:43,600 --> 01:14:47,519
Speaker 2: that there's an often ignored bit of vampire lore that

1387
01:14:47,640 --> 01:14:51,599
Speaker 2: says that moving water or moving fresh water. I think

1388
01:14:51,600 --> 01:14:55,479
Speaker 2: they're running water film clear, running running water, will you know,

1389
01:14:55,560 --> 01:14:58,519
Speaker 2: destabilize them or slay them or something. So I wonder

1390
01:14:58,560 --> 01:14:59,920
Speaker 2: if that'll come into play here.

1391
01:15:00,479 --> 01:15:02,519
Speaker 3: Yes, yes, I think he says that at the police

1392
01:15:02,560 --> 01:15:06,200
Speaker 3: station or something. He's listing all of the things that

1393
01:15:06,240 --> 01:15:09,560
Speaker 3: will harmer won't harm a vampire. Some of it's just superstition,

1394
01:15:09,720 --> 01:15:12,200
Speaker 3: but yeah, clear running water and a cross in a

1395
01:15:12,200 --> 01:15:15,120
Speaker 3: bible that'll do it. So there's a great move he

1396
01:15:15,200 --> 01:15:17,760
Speaker 3: has here where Johnny ali Card like the sun is

1397
01:15:17,880 --> 01:15:21,320
Speaker 3: rising in the window and he's trapped. He's got to

1398
01:15:21,320 --> 01:15:23,360
Speaker 3: get back to his coffin so he can rest during

1399
01:15:23,360 --> 01:15:26,719
Speaker 3: the daylight. But then Peter Cushing throws a bible into

1400
01:15:26,760 --> 01:15:30,360
Speaker 3: his coffin. He's like, oh got.

1401
01:15:30,160 --> 01:15:33,960
Speaker 2: You now, Oh yeah, sleep on that. And this is

1402
01:15:34,000 --> 01:15:35,479
Speaker 2: like a full size one too. It's not one of

1403
01:15:35,479 --> 01:15:38,000
Speaker 2: those little pocket ones that you know, you could just

1404
01:15:38,080 --> 01:15:41,479
Speaker 2: maybe like sleep around, but no, no, there's no sleeping

1405
01:15:41,479 --> 01:15:42,960
Speaker 2: in that coffin without laying on that bible.

1406
01:15:43,000 --> 01:15:47,759
Speaker 3: It's ruined, right, that's a thunk bible. So they battle,

1407
01:15:47,840 --> 01:15:51,439
Speaker 3: but eventually Johnny Alucard falls into the shower. The water

1408
01:15:51,520 --> 01:15:54,759
Speaker 3: starts running and this destroys him. Like the water's running

1409
01:15:54,760 --> 01:15:57,240
Speaker 3: over him and he's screaming. He's like, sturn it off,

1410
01:15:57,320 --> 01:15:59,920
Speaker 3: turn it off, and Van Helsing's like, where is Jessic?

1411
01:16:00,360 --> 01:16:04,120
Speaker 3: But he won't say. He's just getting obliterated by water?

1412
01:16:04,880 --> 01:16:08,479
Speaker 2: Yeah? Is it the best vampire death in cinematic history. No,

1413
01:16:09,080 --> 01:16:11,080
Speaker 2: is it at least inventive? Does it give us something

1414
01:16:11,160 --> 01:16:13,200
Speaker 2: a little bit new? Then? Yes? I think so.

1415
01:16:13,560 --> 01:16:13,800
Speaker 5: Yeah.

1416
01:16:13,840 --> 01:16:15,960
Speaker 3: I kind of like this one. It seems actually like

1417
01:16:16,160 --> 01:16:19,040
Speaker 3: plausible from a folklore standpoint, that sounds like something that

1418
01:16:19,120 --> 01:16:22,640
Speaker 3: could really be believed to harm a vampire in some scenario.

1419
01:16:23,200 --> 01:16:26,000
Speaker 3: And yeah, I don't know, it was different. I liked it.

1420
01:16:26,560 --> 01:16:28,760
Speaker 2: Yeah, I guess. There is a bathtub scene in The

1421
01:16:28,760 --> 01:16:31,080
Speaker 2: Lost Boys. There's something but that was like a bathtub

1422
01:16:31,120 --> 01:16:32,040
Speaker 2: full of holy water.

1423
01:16:32,160 --> 01:16:34,880
Speaker 3: I think, ah, okay, I've forgotten about that.

1424
01:16:35,160 --> 01:16:36,880
Speaker 2: If memory serves also.

1425
01:16:36,680 --> 01:16:39,439
Speaker 3: Lost Boys came later, yeah, oh yeah, yeah, much later.

1426
01:16:39,720 --> 01:16:42,360
Speaker 3: But eventually Laura Mr Van Helsing does go to the

1427
01:16:42,439 --> 01:16:46,080
Speaker 3: church to confront Dracula, and there is a great trap

1428
01:16:46,120 --> 01:16:49,120
Speaker 3: setting scene. He digs a pit outside the church and

1429
01:16:49,160 --> 01:16:52,040
Speaker 3: he fills it full of wooden steaks. He takes his

1430
01:16:52,160 --> 01:16:54,880
Speaker 3: trusty silver dagger with him, which he has showed off

1431
01:16:54,920 --> 01:16:58,400
Speaker 3: several times before, and there is a showdown, a final

1432
01:16:58,439 --> 01:17:00,800
Speaker 3: battle in the church. And there were a couple of

1433
01:17:00,800 --> 01:17:03,280
Speaker 3: parts here that I thought were actually kind of scary.

1434
01:17:03,560 --> 01:17:06,719
Speaker 3: I don't usually expect to find anything all that frightening

1435
01:17:06,720 --> 01:17:08,920
Speaker 3: in a hammer horror movie, but like the part where

1436
01:17:09,040 --> 01:17:12,720
Speaker 3: Dracula is chasing Van Helsing up the spiral staircase into

1437
01:17:12,760 --> 01:17:15,120
Speaker 3: the tower I thought was quite menacing.

1438
01:17:15,760 --> 01:17:17,960
Speaker 2: Yeah, because really throughout the film they do a great

1439
01:17:18,040 --> 01:17:21,920
Speaker 2: job of establishing Dracula as such a threat, and suddenly

1440
01:17:21,960 --> 01:17:25,200
Speaker 2: in that stairwell, it's like everything is so claustrophobic, and

1441
01:17:25,240 --> 01:17:28,280
Speaker 2: there's this feeling of just being in an enclosed space

1442
01:17:28,479 --> 01:17:31,799
Speaker 2: with something that is just beyond even a vicious animal,

1443
01:17:31,960 --> 01:17:33,719
Speaker 2: just pure bloodthirsty hunger.

1444
01:17:34,160 --> 01:17:38,880
Speaker 3: Yeah, and so they have a showdown. There's kind of

1445
01:17:38,880 --> 01:17:41,800
Speaker 3: a fake out here. Van Helsing stabs Dracula with his

1446
01:17:41,920 --> 01:17:48,200
Speaker 3: silver dagger, but Dracula is aided by the hypnotized Jessica

1447
01:17:48,280 --> 01:17:50,840
Speaker 3: van Helsing. She comes up and pulls the dagger out

1448
01:17:50,880 --> 01:17:54,720
Speaker 3: of him, and her grandpa is like, no, Jessica.

1449
01:17:55,320 --> 01:17:56,760
Speaker 2: This one caught me up in the moment, you know,

1450
01:17:57,000 --> 01:17:58,680
Speaker 2: you know the movie's not going to end like that.

1451
01:17:58,920 --> 01:18:02,280
Speaker 2: This movie's only ending way. But getting caught up in

1452
01:18:02,360 --> 01:18:03,840
Speaker 2: just the sort of the spirit of the film, I

1453
01:18:03,920 --> 01:18:06,880
Speaker 2: was like, oh man, this is bad news.

1454
01:18:07,200 --> 01:18:09,920
Speaker 3: But of course we saw him dig that trap earlier, right,

1455
01:18:11,360 --> 01:18:14,519
Speaker 3: so the trap comes back. In the end, he throws

1456
01:18:14,560 --> 01:18:17,519
Speaker 3: holy water. Van Helsing throws holy water on Dracula that

1457
01:18:17,600 --> 01:18:20,320
Speaker 3: kind of burns him yow, and he falls into the pit.

1458
01:18:20,880 --> 01:18:24,640
Speaker 3: And then to really drive it home, Van Helsing like

1459
01:18:25,640 --> 01:18:29,680
Speaker 3: grabs a shovel and like shoves Dracula down onto the

1460
01:18:29,720 --> 01:18:33,280
Speaker 3: wooden stakes with the shovel, and this breaks the spell

1461
01:18:33,320 --> 01:18:36,960
Speaker 3: over Jessica. They're all right, and I guess some of

1462
01:18:37,000 --> 01:18:39,560
Speaker 3: her friends are still alive or boyfriend's dead. But I

1463
01:18:39,600 --> 01:18:41,240
Speaker 3: don't know. If you with the hippie group, they're still

1464
01:18:41,320 --> 01:18:41,960
Speaker 3: kicking around.

1465
01:18:42,400 --> 01:18:44,240
Speaker 2: Yeah, I don't know if they're gonna hang out much anymore,

1466
01:18:44,320 --> 01:18:48,439
Speaker 2: but yeah, some survive. I will say, in this movie,

1467
01:18:48,600 --> 01:18:51,519
Speaker 2: you had two different scenes with the melting vampire, so

1468
01:18:51,560 --> 01:18:54,880
Speaker 2: you end up melting the same vampire twice in the

1469
01:18:54,920 --> 01:18:59,600
Speaker 2: same picture. They at least made sure to have the

1470
01:18:59,640 --> 01:19:03,720
Speaker 2: second vampire death look even better than the first. I

1471
01:19:03,720 --> 01:19:06,240
Speaker 2: have to say that this one looked really good and gnarly,

1472
01:19:06,479 --> 01:19:07,800
Speaker 2: and I liked it quite a bit.

1473
01:19:08,479 --> 01:19:12,599
Speaker 3: Agree. So that's all I got for Dracula AD nineteen

1474
01:19:12,680 --> 01:19:15,559
Speaker 3: seventy two. I enjoyed this one. I'm not gonna I'm

1475
01:19:15,560 --> 01:19:18,360
Speaker 3: not gonna say it's the best Dracula movie I've ever seen,

1476
01:19:18,479 --> 01:19:21,120
Speaker 3: But if you're looking for those early seventies vibes, and

1477
01:19:21,160 --> 01:19:23,439
Speaker 3: you want some Christopher Lee and Peter Cushing in there too,

1478
01:19:23,520 --> 01:19:24,400
Speaker 3: It's it's perfect.

1479
01:19:24,880 --> 01:19:27,880
Speaker 2: Yeah. I'm not going to recommend Dracula AD nineteen seventy

1480
01:19:27,920 --> 01:19:31,799
Speaker 2: two to everyone, but if the title Dracula AD nineteen

1481
01:19:31,840 --> 01:19:36,840
Speaker 2: seventy two stirs something inside you, then yes, you must

1482
01:19:36,880 --> 01:19:38,680
Speaker 2: see this film, and I encourage you to do so.

1483
01:19:39,240 --> 01:19:41,320
Speaker 3: It's way better than Land of the Minotaur.

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01:19:42,400 --> 01:19:45,840
Speaker 2: Yes, yes, I would agree, but the score for Land

1485
01:19:45,880 --> 01:19:47,759
Speaker 2: of the Minotar was better though I don't know.

1486
01:19:47,920 --> 01:19:51,719
Speaker 3: Yeah, but Land of the Minotaur didn't have Stone Ground.

1487
01:19:52,320 --> 01:19:54,600
Speaker 2: That's right, if they'd only had the musical stylings of

1488
01:19:54,640 --> 01:19:57,240
Speaker 2: Stone Ground. All right, we're gonna gohead and close this

1489
01:19:57,280 --> 01:20:00,160
Speaker 2: one out. But as always we remind you that we're

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01:20:00,160 --> 01:20:03,759
Speaker 2: primarily a science podcast, real science, not the Van Helsing

1491
01:20:03,880 --> 01:20:08,160
Speaker 2: branch of science, with core episodes on Tuesdays and Thursdays,

1492
01:20:08,320 --> 01:20:10,559
Speaker 2: but on Fridays we set aside most serious concerns to

1493
01:20:10,640 --> 01:20:13,040
Speaker 2: just talk about a weird movie here on Weird House Cinema.

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01:20:13,120 --> 01:20:14,639
Speaker 2: If you want a full list of the movies we've

1495
01:20:14,640 --> 01:20:16,840
Speaker 2: discussed over the years on Weird House Cinema, head on

1496
01:20:16,880 --> 01:20:18,720
Speaker 2: over to Letterbox dot com. It's l E T T

1497
01:20:18,840 --> 01:20:21,400
Speaker 2: E R b o x D dot com. Our username

1498
01:20:21,400 --> 01:20:22,960
Speaker 2: there is weird House, and we have a list and

1499
01:20:22,960 --> 01:20:24,760
Speaker 2: you can see all the films we've talked about. You

1500
01:20:24,800 --> 01:20:26,439
Speaker 2: can go back through the archives there and see, well,

1501
01:20:26,479 --> 01:20:29,599
Speaker 2: what other Dracula movies have they watched? I guess kind

1502
01:20:29,600 --> 01:20:31,519
Speaker 2: of sort of two or three other Dracula films.

1503
01:20:31,880 --> 01:20:35,560
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1504
01:20:36,040 --> 01:20:37,599
Speaker 3: If you would like to get in touch with us

1505
01:20:37,600 --> 01:20:40,120
Speaker 3: with feedback on this episode or any other, to suggest

1506
01:20:40,160 --> 01:20:42,200
Speaker 3: to topic for the future, or just to say hello,

1507
01:20:42,280 --> 01:20:44,880
Speaker 3: you can email us at contact at stuff to Blow

1508
01:20:44,920 --> 01:20:52,760
Speaker 3: your Mind dot com.

1509
01:20:52,880 --> 01:20:55,800
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1510
01:20:55,880 --> 01:20:58,679
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1511
01:20:58,840 --> 01:21:01,559
Speaker 1: Apple Podcasts, or ever you listen to your favorite shows.