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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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

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Speaker 1: is Rob Lamb and this is Joe McCormick. This week

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Speaker 1: on Weird House Cinema, we're going to continue our ongoing

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Speaker 1: Johnt through fantasy films. We didn't I don't think we

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Speaker 1: quite intended to do this, but but this is the

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Speaker 1: journey we're on. We kicked things off with Thrilling Bloody Sword,

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Speaker 1: then we returned to Oz, then we visited Krall, and

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Speaker 1: we're actually in the same cinematic year as Krall for

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Speaker 1: this episode. Uh, this time, we're going to be talking

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Speaker 1: about Italian gore master Luccio Folci's film Conquest. I'd say

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Speaker 1: this is a decidedly different vibe than Kral. If Karl

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Speaker 1: is kind of a lofty but dopey but beautiful but

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Speaker 1: highly disorganized, uh high fantasy attempt, this movie is a hallucinatory,

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Speaker 1: sort of disturbed child's imagination of a Conan rip off. Yeah,

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Speaker 1: it is a totally different film from Kral. That is,

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Speaker 1: that is for sure. It is it is like it

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Speaker 1: is like a dream. I feel like the movie needs

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Speaker 1: a disclaimer at the beginning that says the film you're

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Speaker 1: about to experience is a dream. Because once you embrace

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Speaker 1: the dream like qualities of a Fulschi film, I think

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Speaker 1: it kind of frees you up a little bit to

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Speaker 1: uh to to to uh just to speak or listen

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Speaker 1: to the language of the film. I think it is.

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Speaker 1: I mean, we've compared Fulchi to two Dreams a number

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Speaker 1: of times before, but it's oh, it's almost more like

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Speaker 1: it in this case than any of the other ones. Uh.

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Speaker 1: I had a weird point of comparison here. So, Rob,

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Speaker 1: do you remember a children's horror TV show Nickelodeon called

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Speaker 1: Are You Afraid of the Dark? So there was a

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Speaker 1: time when I was a kid when I went to

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Speaker 1: school and I had a memory of an Are You

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Speaker 1: Afraid of the Dark episode that I was trying to

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Speaker 1: describe to some friend of mine on the playground, I think,

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Speaker 1: And the memory of that episode was that it was

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Speaker 1: about a scarecrow who had a chainsaw and he ran

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Speaker 1: into a school and was like cutting up students at

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Speaker 1: the school with a chainsaw. Now, I don't think that's

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Speaker 1: a real episode of the show. I think I dreamed

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Speaker 1: it or something and then mistook that memory of the

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Speaker 1: dream for a real episode of this TV show, and

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Speaker 1: that would not be an episode of this children's horror

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Speaker 1: TV show. The most grizzly thing that ever happened on

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Speaker 1: it was probably like a vampire bite somebody. Uh. And

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Speaker 1: yet I would say Conquest is like that memory of

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Speaker 1: an Are You Afraid of the Dark? Episode? Yeah, I

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Speaker 1: think that's a valid comparison. It is like the deranged

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Speaker 1: dream memory of another film, or of or of all

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Speaker 1: Barbarian films um because like the the the influences are there,

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Speaker 1: and certainly when you're when you're dig digging around in

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Speaker 1: Italian b cinema of the eighties, it's easy to point like, oh,

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Speaker 1: well they got they got this little bit from Indiana Jones.

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Speaker 1: You know, here's a little bit of Conan sprinkled here, etcetera.

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Speaker 1: And and that's fair. But a lot of times it's

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Speaker 1: also more overt. I feel like maybe it's a little

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Speaker 1: less overt in the in this particular picture, but the

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Speaker 1: dreamlike quality very strong. The I mean, the picture is hazy,

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Speaker 1: as if viewed through a mist, an effect that I

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Speaker 1: was reading was generated via smoke machines and soft focused

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Speaker 1: Len's filter. The narrative is strange and despite the trappings

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Speaker 1: of genre and and obvious cinematic inspirations, it's it's difficult

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Speaker 1: to predict what's going to happen in this film. Uh

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Speaker 1: Like even this is like the third or fourth time

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Speaker 1: I watched it, well, I watched it twice over the weekend,

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Speaker 1: but but still, like, I'm I've seen it enough times

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Speaker 1: that I should know everything that's going to happen, and

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Speaker 1: yet I really didn't feel like I knew exactly where

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Speaker 1: we were going at any point. So this is definitely

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Speaker 1: not your first runaround with Conquests. When you suggested doing

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Speaker 1: this for the show, you were already a conquest veteran. Yes.

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Speaker 1: And I feel like it gets better every time I

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Speaker 1: see it, um and and that may that may be infinite,

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Speaker 1: Like every time I see this movie, it will get better.

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Speaker 1: It will get more coherent and uh and and and

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Speaker 1: more contemplated somehow. Uh it is. It's like it's like

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Speaker 1: a dream that keeps like a recurring dream, and the

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Speaker 1: gore is also dream like, you know, like as with

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Speaker 1: most folksy movies, it's surreal at times. It presents kind

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Speaker 1: of you get a weird sense of fixation on the

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Speaker 1: fragility of the flesh in it. It's full of magic

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Speaker 1: and monsters, their alien voices, their dreams within dreams. Um yeah,

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Speaker 1: and well, you know, I'll be the first that this

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Speaker 1: is not a film for everyone. Lucio Fulci is not

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Speaker 1: for everyone, but I feel like it does draw all

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Speaker 1: the viewer in with a certain hypnotic power. No viewer

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Speaker 1: be warned. This one is gross, like like all Fulchi movies.

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Speaker 1: But yeah, it is nasty. Yeah it's but it's like

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Speaker 1: it's like exposing yourself to a religious text from another dimension. Yes, yeah,

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Speaker 1: it's it's it's a weird one, and maybe that's just

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Speaker 1: part of it, is just me reading more and more

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Speaker 1: into it each time I see Yet No, it's like that, Um,

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Speaker 1: you know that trope in the movie where character has

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Speaker 1: a recurring dream and every time they have the dream,

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Speaker 1: they get a little bit farther into it. They're like

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Speaker 1: a little farther down the hall and they're going to

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Speaker 1: open the door and see what's on the other side.

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Speaker 1: I imagine that's you with watching Conquests. So eventually, one

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Speaker 1: of these days you're gonna put it on and you're

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Speaker 1: going to see the other side of the door. And

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Speaker 1: what's there. It's it's bats. It's bats flying around in

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Speaker 1: the cave and you've got to go to to knock

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Speaker 1: them down now to be sure. Yeah, this is this

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Speaker 1: is definitely an Italian B movie as well. It's well

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Speaker 1: technically it's a Mexican, Spanish Italian production, and so many

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Speaker 1: of the expected budgetary constraints are very much in place,

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Speaker 1: so it has all of those charms. Uh, you're it's

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Speaker 1: certainly a film that you can watch and and and

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Speaker 1: laugh at and enjoy yourself, though I don't want to

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Speaker 1: build it up like what like this is just a

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Speaker 1: pure you know, fantasy surrealist art film like no, no, no,

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Speaker 1: There's there's plenty of genre stuff and and B movie

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Speaker 1: fun to be had in the picture as well. Now,

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Speaker 1: this movie is also what's known as a peplum film,

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Speaker 1: which descended from Hercules. Author Robert A. Rushing points out,

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Speaker 1: is a term that generally generally it's going beyond dismissive

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Speaker 1: categorization such as sword and sandal or gladiator films or

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Speaker 1: what what's your favorite term for for this sort of picture, Joe, Oh,

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Speaker 1: what the leather diaper Barbarian movie? Yes, a leather diaper

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Speaker 1: barbarian movie, but generally, especially when talking about Italian cinema,

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Speaker 1: apparently peplum is often used to quote signal a more

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Speaker 1: serious stance, though Rushing also points out that these films

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Speaker 1: are are very often not taken seriously and many very

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Speaker 1: much invite mockery. But that doesn't mean there's not a

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Speaker 1: lot to read into them, given their their their palates

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Speaker 1: of history is real and imagined, the fetishization of masculine

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Speaker 1: and feminine bodies, violence, Smith, and more, and he does

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Speaker 1: discuss conquest in the book, noting ful chys quote loving

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Speaker 1: treatment for the body's disintegration, and he spends a fair

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Speaker 1: amount of time in the book talking about what this means. Um.

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Speaker 1: I won't attempt to summarize it, but I think it

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Speaker 1: kind of speaks volumes for the sort of mystery cult

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Speaker 1: that kind of rises up around fulshy films. You know,

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Speaker 1: like people people really get into fulshy films because they're again,

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Speaker 1: they have all these B movie qualities to them, their

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Speaker 1: gore movies, but there is this strange dream and like

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Speaker 1: intensity to it, and some of the fixations in these

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Speaker 1: films are also really odd. Yes, I agree that the

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Speaker 1: like the juicy nous is not just gross, it is

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Speaker 1: it is weird in a kind of fascinating way, like that,

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Speaker 1: there's a scene in Conquest where one of the heroes

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Speaker 1: is hit with the poison dart and we get to

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Speaker 1: just watch his wound like like gush juice for I

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Speaker 1: don't know, several minutes in close up and the full

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Speaker 1: cheese fascination with just the juice coming out of the

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Speaker 1: dart wound as like the poison gets into the guy's blood.

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Speaker 1: There's something so unappealing about it and the choice to

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Speaker 1: focus on that like gross image that makes you think

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Speaker 1: that there must be like some kind of transcendent truth

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Speaker 1: hidden there. You're like, why why are we still looking

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Speaker 1: at this? There's some mystery to it. Yeah, that's that's

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Speaker 1: actually the main thing that had Rushing focuses on talking about, like, well,

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Speaker 1: that and also the something else that happens later. We'll

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Speaker 1: get into that, we get into spoilers. But yeah, they're

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Speaker 1: they're the boils have like six minutes of screen time

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Speaker 1: just panning up and down the body and he actually

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Speaker 1: he does draw on this specifically and points out they

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Speaker 1: know a lot of these Peplin movies, you spend a

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Speaker 1: lot of time with the camera kind of dragging itself

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Speaker 1: over untarnished flesh, generally the untarnished flesh of your central

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Speaker 1: muscle man character. Uh, this film is instead going to

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Speaker 1: focus on pus covered and boil written flesh. That's just

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Speaker 1: the sort of film that Fulchi makes. But then again,

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Speaker 1: there is something kind of different and distinguished about full

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Speaker 1: cheese use of this nasty imagery. Like, I think it's

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Speaker 1: not a coincidence. There is some reason why there are

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Speaker 1: tons of academic books and papers and film criticism about

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Speaker 1: Fulchi that there is not nearly to the same extent

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Speaker 1: for lots of other just makers of gross gory films

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Speaker 1: where there's blood flying all over the place. Yeah, now

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Speaker 1: you might wonder, well where can I where can I

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Speaker 1: see this movie? Well, um, I'd rented it twice before

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Speaker 1: from Atlanta's own video Drome, and I believe this would

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Speaker 1: have been subsequent rentals anyway, where the Blue Underground DVD

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Speaker 1: that came out years back. However, for this viewing, I

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Speaker 1: picked up the special edition Blu ray of at A

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Speaker 1: two thousand nineteen code read special edition Blu ray with

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Speaker 1: special cover art by heavy metal artist west Bin's Carter,

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Speaker 1: who I think has done like a lot of like

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Speaker 1: really cool Grizzly images for various bands. You can look

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Speaker 1: him up online. But uh, yeah, this this is a

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Speaker 1: really awesome Blue Ray package. I'm usually don't get that

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Speaker 1: into the physical Blu Ray, like like the need to

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Speaker 1: own it and add it to my permanent collection, but

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Speaker 1: with this one, I got kind of obsessed and had

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Speaker 1: to hunt it down. Um It's a little hard to

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Speaker 1: find if you want to like the special edition art,

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Speaker 1: but the disc itself is widely available, um, and you

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Speaker 1: can you can rent or buy this most places. It

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Speaker 1: is a two thousand nineteen HD master of the film,

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Speaker 1: and um, I don't know how different the film quality

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Speaker 1: actually is compared to the DVD. I mean, this is

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Speaker 1: not a film where I feel like the difference is

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Speaker 1: necessarily night and day, but it's still it's still a

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Speaker 1: very nice special edition. Well with Conquest, a lot of

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Speaker 1: the grime is not something that happened to the film

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Speaker 1: over time. I think it is baked in from the beginning.

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Speaker 1: Like the joke when I was very first introduced to

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Speaker 1: this movie was that that they had shot at by

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Speaker 1: smearing vasoline on the ends of the camera. Yeah. Yeah,

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Speaker 1: and you definitely get that kind of vibe. I mean,

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Speaker 1: right from the get go, you're on this this shore

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Speaker 1: and it's just like in this world of dream and

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Speaker 1: stuff's fading in and out of existence and everything's hazy

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Speaker 1: and uh yeah, it's uh it has a distinct look

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Speaker 1: to it. So, yeah, this film is widely available. If

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Speaker 1: you want to see it, you can digitally rent or

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Speaker 1: buy it from Apple or Prime. You can stream it

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Speaker 1: on such services as shout TV to be plex free

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Speaker 1: v I'm not sure what that is, but it exists

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Speaker 1: as a place where you can get it. And yeah,

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Speaker 1: it's come out over the years on DVD and vhs, uh,

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Speaker 1: sometimes with some pretty awesome cover art. I included some

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Speaker 1: of these for you here, Joe, including that that that

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Speaker 1: recent image by m by Wes Ben Scotter here, But

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Speaker 1: even the like the some of the original art was

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Speaker 1: pretty incredible. Like there, I think people were familiar with

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Speaker 1: this film. You may have seen the poster that has

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Speaker 1: our barbarian character some sort of big gold um like

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Speaker 1: robot man in the background with laser shooting out of

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Speaker 1: his eyes, and then are evil sorceress queen here with

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Speaker 1: the golden head. That one's really cool. I also like

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Speaker 1: the one where the where the font that the title

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Speaker 1: is printed in definitely the lowercase e and the s

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Speaker 1: do not look different enough, so it looks like the

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Speaker 1: movie is called Concrete. Oh and that's something to point

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Speaker 1: out the title of the film. Um. I think it's

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Speaker 1: like a lot of these films, they just had different

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Speaker 1: titles depending on where it was released. A different title

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Speaker 1: in Mexico, different title in Spain. Uh, different title in Italy.

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Speaker 1: I think it was sometimes known as uh, his Mace

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Speaker 1: the Loner or something to that effect. Uh. And there

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Speaker 1: was there's an extra on the on the blue ray

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Speaker 1: edition that I watched where they talked to Jorge Rivero,

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Speaker 1: the star the Mexican film star in this picture, and

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Speaker 1: he points out it's like, yeah, I don't really I

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Speaker 1: don't really know what these films were released as, like

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Speaker 1: they were released as so many different things. He doesn't

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Speaker 1: necessarily know what to refer to them as you could

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Speaker 1: almost make up a name at random. Because Conquest, I

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Speaker 1: don't really like, there's not really a Conquest in the film,

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Speaker 1: per se. No, no, not at all. I I can't

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Speaker 1: think of one. I mean, I would say the closest

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Speaker 1: is that the evil, uh, the evil naked sorceress like

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Speaker 1: conquers the land and she's in charge of it, and

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Speaker 1: then they tried to depose her. I guess, but they're

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Speaker 1: not really the heroes are not really conquering the land. Yeah,

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Speaker 1: so it doesn't particularly make sense, but but fair enough. So.

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Speaker 1: The the elevator pitch for this one, uh, I was

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Speaker 1: the best I could come up with is a blood

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Speaker 1: drenched mushroom trip in Hyperborea. There go, Yeah, that's it.

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Speaker 1: So they have a pretty good one on the posters.

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Speaker 1: In the trailer, he says, we may hear this in

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Speaker 1: the trailer were about to listen to In a Place

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Speaker 1: Beyond Time Comes a Terrifying Challenge beyond imagination. What was

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Speaker 1: it again that was on the poster for Krawl. It

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Speaker 1: was like the lamest tagline ever. It was something like

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Speaker 1: in a place ruled by an evil beast, a hero

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Speaker 1: must save a princess or something. He has something to

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Speaker 1: that effect, like, yeah, we can tell that from the poster.

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Speaker 1: Are some word play in there? Well. The one thing

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Speaker 1: I like about in In a Place Beyond Time Comes

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Speaker 1: a Terrifying Challenge Beyond Imagination is that it doesn't really

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Speaker 1: say anything and you can change you can switch all

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Speaker 1: the nouns around and it still makes as much sense.

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Speaker 1: In a time beyond challenge comes a terrifying imagination beyond place,

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Speaker 1: there you go, makes just pretty good. Yeah, all right,

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Speaker 1: let's listen to that trailer audio from a place beyond

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Speaker 1: Time comes a terrifying challenge beyond imagination. Conquest. Two men

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Speaker 1: joined forces in a struggle for power in a realm

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Speaker 1: of fear. Conquest an act of courage to conquer the

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Speaker 1: Queen of darkness. They faced the armies of evil to

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Speaker 1: win the weapons of light. Feel the power, accept the

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Speaker 1: challenge of conquest. All right, Well, let's talk about some

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Speaker 1: of the folks involved here. We'll start at the top.

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Speaker 1: We're gonna talk a little bit about Luccio Fulci. But

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Speaker 1: again we we did talk about him previously when we

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Speaker 1: cover the one Haunted House slash monster movie The House

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Speaker 1: by the Cemetery that would have been last October, so

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Speaker 1: notable B movie director from Italy through UM Cinematic gore

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Speaker 1: master h Then again, there's very much kind of a

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Speaker 1: mystery cult surrounding a lot of his his his work

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Speaker 1: very much as a as a fan based these days

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Speaker 1: UM The House by the Cemeteries we discussed that was

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Speaker 1: a film that had a lot of the elements that

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Speaker 1: he's most famous for. Undead Things Um, absolutely over the top,

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Speaker 1: gore as phantasmagorical approach that feels less concerned with cohesion

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Speaker 1: of plot and more about chasing certain dreams and nine Mayors.

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Speaker 1: He's best remembered today for his horror films of the

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Speaker 1: nineteen eighties and yeah, it's without a doubt one of

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Speaker 1: the titans of Italian B cinema from this era. All

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Speaker 1: of this really kicked into high gear with nineteen seventy

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Speaker 1: nine Zombie Um. That was a very prolific period of

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Speaker 1: his career that produced some of his best remembered films.

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Speaker 1: But he'd been directing full length films for something like

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Speaker 1: twenty years at that point, including such um horror movies

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Speaker 1: is nineteen seventy ones A Lizard in a Woman's Skin,

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Speaker 1: seventy two is Don't Torture at Duckling. He did a

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Speaker 1: nineteen sixty nine Jallow film titled One on Top of

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Speaker 1: the Other. But he directed a number of different genre

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Speaker 1: films before the nineteen eighties, including Western spy thrillers, comedies

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Speaker 1: and more. He did a Jack London adaptation of White Fang,

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Speaker 1: which um I was reading a review of and someone

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Speaker 1: pointed out, well, how can you tell a Luccio Fulti

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Speaker 1: white fan from any other White Fang adaptation? Well, and

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Speaker 1: this one white thing is definitely going to rip somebody's

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Speaker 1: throat out and you get to see it all. Conquest

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Speaker 1: Or or Mace the Outcast, if you will, is his

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Speaker 1: only really fantasy film, and it does stand somewhat apart

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Speaker 1: from his his other movies. But it has a lot

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Speaker 1: of the elements you would expect. You know, there's the gore,

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Speaker 1: there's the gratuity. Um they are these dreamlike qualities and

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Speaker 1: it has that in spades. But it also, um, I

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Speaker 1: don't know it. Some of the some of the other

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Speaker 1: Folky films that I've seen do feel like less put together.

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Speaker 1: And I felt like like this is a pretty strong

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Speaker 1: entry in his filmography. I feel like it doesn't doesn't

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Speaker 1: have a lot of downtime. It feels like like everyone,

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Speaker 1: despite budgetary restraints, was trying really hard on this one.

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Speaker 1: Uh So, I think it kind of stands out. It

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Speaker 1: might be my favorite Folky film. I would say, actually,

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Speaker 1: in other Folky movies, the dream logic construction stands out

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Speaker 1: more because the other ones that are set in the

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Speaker 1: modern world and that have modern characters, you're just constantly

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Speaker 1: thinking like why who is this, Why are they here?

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Speaker 1: Why are they doing that? But you don't need this

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Speaker 1: just setting up a sequence that he just wants to

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Speaker 1: show you something. Uh. So there's this dream logic about

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Speaker 1: like how did I end up in this room? What

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Speaker 1: am I doing here? But that feels weirder when it's

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Speaker 1: supposedly the the uh, you know, the superficially rational setting

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Speaker 1: of like characters from modern day New York City living

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Speaker 1: in a house or something. Um. When it's in the

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Speaker 1: world of conquest, it's just you know, barbarians and sorcerers

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Speaker 1: and were wolves, and there is not as much superficial

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Speaker 1: expectation that people's behavior and uh and location should be comprehensible.

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Speaker 1: Right like with the House by the Cemetery. There are

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Speaker 1: plenty of times where you might say, well, is it

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Speaker 1: logical that a child would say this? Would an adult

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Speaker 1: ever say this to a child? And you don't really

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Speaker 1: ask those questions about a movie that's mostly about barbarians,

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Speaker 1: dream warriors, were wolves and evil queens. You know, yeah,

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Speaker 1: that shalt not question concrete alright, some of the writing

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Speaker 1: credits on this one, and a couple of these are

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Speaker 1: also involved in production. I'm going to mention them here.

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Speaker 1: There's Giovanni Dick Clemente, who has a story producer credit,

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Speaker 1: who he lived eighteen, Italian producer and writer. This is

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Speaker 1: one of his own, only like three story credits that

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Speaker 1: he has, so I think it seems fair to say

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Speaker 1: that he's largely a producer, and the same producer who

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Speaker 1: I believe, according to star Jorge Rivero, at one point,

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Speaker 1: tried to tell them that they had to go ahead,

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Speaker 1: just need to go ahead and stop filming, like, go

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Speaker 1: ahead and you know we're done. Just make the movie

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Speaker 1: out of what you've shot so far. And fol she

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Speaker 1: had to had to like rally the cast and crew

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Speaker 1: so they could keep going and keep filming, and uh,

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Speaker 1: and they did. But this is the guy who produced.

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Speaker 1: This guy produced a bunch of films, including the Italian

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Speaker 1: Top Gun rip off with Aliens, Blue Tornado. I gotta

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Speaker 1: see that. It looks it looks interesting. Has David Warner

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Speaker 1: in it now? The writer of Blue Tornado is also

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Speaker 1: also has a screenplay credit on this Uh. Dino capone

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Speaker 1: and then let's see who else do we have? We

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Speaker 1: have Jose Antonio dil Loma, who lived two thousand and four,

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Speaker 1: has a screenplay production manager credit. Spanish writer, director, and producer.

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Speaker 1: He wrote and directed nineteen eight two Is Target Eagle,

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Speaker 1: starring Jore Rivero, Max Voncito, George Boppard and Chuck Connors.

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Speaker 1: He also wrote the Rivero movie Counter Force, in which

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Speaker 1: also stared star George Kennedy, Andrew Stevens, Isaac Hayes, Louis Jordan,

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Speaker 1: and Robert Forrester. All Right, and then another screenplay credit

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Speaker 1: is Carlos Vassalo, Spanish producer, writer and director who produced

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Speaker 1: and co directed nineteen nine Day of the Assassin starring

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Speaker 1: Glenn Ford, Chuck Connors, Richard Rowntree, Jorge Rivero and Henry Silva.

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Speaker 1: He also produced dial Lomo's nine eight four film Goma

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Speaker 1: To starring Margot Hemingway, Lee Van Cleef, Jorge Rivero and

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Speaker 1: Frank Bronna. He also produced Pit Fight, starring you Guessed

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Speaker 1: It Jorge Rivero. So is you can imagine here this

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Speaker 1: whole team seems very much in the Jorge Rivero business.

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Speaker 1: It says a lot of writers for movies that apparently

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Speaker 1: need a lot of writing. Yeah, and you'd yeah, I

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Speaker 1: really would have. You expected it to be more of

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Speaker 1: a mess. Like generally that's kind of a sign, right,

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Speaker 1: The longer the list of writing credits, the more you know,

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Speaker 1: the more cooks in the kitchen. Uh So it's it's

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Speaker 1: kind of a minor miracle that this one makes as

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Speaker 1: much sense as it does, or doesn't try to make

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Speaker 1: more sense than it does. It strikes the right balance.

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Speaker 1: Now you've already said his name about forty seven times,

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Speaker 1: so I think we should talk about Jorge Rivero, who

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Speaker 1: fans of mystery science theater will definitely recognize as the

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Speaker 1: breakout star of the movie We're Wolf. Yes, film where

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Speaker 1: Wolf starring Richard Lynch and Joe Estevez. I guess that's

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Speaker 1: probably where I saw him for the first time. So

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Speaker 1: there's there's certainly a whole generation of film fans who

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Speaker 1: probably know him best from that. He has a lot

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Speaker 1: of great moments. But he plays a like an archaeologist

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Speaker 1: named Yuri who decides he's going to create a werewolf

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Speaker 1: by hitting a man with a werewolf skull. Yeah, so yeah,

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Speaker 1: he's fun in that, but um yeah, Jorio Rivero bord

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Speaker 1: a true Mexican film superstar who worked with some of

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Speaker 1: the biggest international film names of the sixties and seventies,

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Speaker 1: and that seems to have been like, really that was

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Speaker 1: his his heyday, um way before he ended up working

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Speaker 1: with Joe Esteves. Um So. I already mentioned some of

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Speaker 1: these pictures that had Rivero in and you would probably

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Speaker 1: recognize some of the names involved there. But Rivero also

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Speaker 1: worked with both John Wayne and El Santo. He worked

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Speaker 1: with Chuck Heston or Charles Heston. I don't know why

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Speaker 1: I always come Chuck James Coburn Um. Yeah, he was.

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Speaker 1: He was working with some of the the biggest names

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Speaker 1: of the time. That the John Wayne film in question

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Speaker 1: is Rio Lobo from nineteen seventy, which was the last

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Speaker 1: film directed by Howard Hawks of the Thing from Another

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Speaker 1: World Thing Wow. The El Santo movie is nineteen sixty

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Speaker 1: seven's Operation sixty seven and that's directed by Renee Cardona Jr.

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Speaker 1: And Renee Cardona Senior. And in that one he plays

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Speaker 1: santos sidekick. We should watch that. Uh. Jorge Rivero is

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Speaker 1: somebody who you know, I think you could kind of

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Speaker 1: compare him to Arnold Schwarzenegger in that somebody who clearly

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Speaker 1: like his original appeal is muscles. He was cast for

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Speaker 1: his muscles and his body, but actually does have a

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Speaker 1: a an appealing screen presence, even if you wouldn't say

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Speaker 1: he's a very subtle dramatic actor, Jorge Rivero is you know,

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Speaker 1: you don't tune him out when he's talking. You're you're

425
00:24:50,920 --> 00:24:53,000
Speaker 1: there for it. He reminds me a little bit of

426
00:24:53,080 --> 00:24:56,520
Speaker 1: John Saxon, you know, and they both have similarity directories.

427
00:24:56,680 --> 00:24:59,160
Speaker 1: Both both started off as kind of like muscle guy

428
00:24:59,760 --> 00:25:04,240
Speaker 1: mo old guy kind of actors and their careers long

429
00:25:04,280 --> 00:25:07,560
Speaker 1: outlasted like the the youthful appeal of their bodies. So

430
00:25:07,680 --> 00:25:09,080
Speaker 1: they both kept it. I mean they both kept it

431
00:25:09,119 --> 00:25:11,320
Speaker 1: really tight to be clear. And as if this recording

432
00:25:11,320 --> 00:25:15,000
Speaker 1: and Jorge still around, um, he looks pretty pretty good

433
00:25:15,000 --> 00:25:17,080
Speaker 1: for his age. He he has some extras on the

434
00:25:17,240 --> 00:25:19,240
Speaker 1: on the Blu ray that I watched, and he has

435
00:25:19,280 --> 00:25:22,640
Speaker 1: several fun stories. There's one about when he was filming

436
00:25:22,840 --> 00:25:25,480
Speaker 1: the Santo movie. Like first they sent him down them

437
00:25:25,480 --> 00:25:28,480
Speaker 1: to down to like Mexico City to train with the

438
00:25:28,560 --> 00:25:30,480
Speaker 1: luch doors and they like they beat the hell out

439
00:25:30,480 --> 00:25:32,440
Speaker 1: of him because it was like, you know, really tough training.

440
00:25:32,720 --> 00:25:35,520
Speaker 1: But then he was filming on location with Santo and

441
00:25:35,520 --> 00:25:37,320
Speaker 1: everybody else, and then he had like a day off

442
00:25:37,359 --> 00:25:38,479
Speaker 1: or a part of the day off, so he went

443
00:25:38,480 --> 00:25:40,919
Speaker 1: to the grocery store and he goes in there and

444
00:25:40,920 --> 00:25:44,560
Speaker 1: he sees this kind of muscular, barrel shaped man buying

445
00:25:44,600 --> 00:25:49,240
Speaker 1: some groceries, and he has like a nose that's clearly

446
00:25:49,240 --> 00:25:52,080
Speaker 1: been broken several times, and he has a tan line

447
00:25:52,520 --> 00:25:56,760
Speaker 1: that perfectly matches the one version of the Santo mask,

448
00:25:56,880 --> 00:25:59,320
Speaker 1: like Santo had a different mask for eating food or

449
00:25:59,359 --> 00:26:02,200
Speaker 1: for doing an of view, and he had the tan

450
00:26:02,359 --> 00:26:04,440
Speaker 1: line to match it. And so he goes up to

451
00:26:04,520 --> 00:26:06,800
Speaker 1: him and he's like, oh, Santo, and Santo is like,

452
00:26:06,880 --> 00:26:09,520
Speaker 1: don't you ever tell anybody something without my mask on

453
00:26:10,119 --> 00:26:13,400
Speaker 1: A's a a fun little story, wow, But in this

454
00:26:13,640 --> 00:26:17,280
Speaker 1: he is Mace, a barbarian, a friend of animals and

455
00:26:17,480 --> 00:26:20,720
Speaker 1: enemy of all men. He swings a stone bone set

456
00:26:20,720 --> 00:26:23,400
Speaker 1: of nun chucks, and he's he's kind of the destined

457
00:26:23,400 --> 00:26:26,440
Speaker 1: savior of the world. There's an interesting dynamic where when

458
00:26:26,480 --> 00:26:29,880
Speaker 1: we first meet him, he appears to be the sidekick character,

459
00:26:30,920 --> 00:26:33,800
Speaker 1: but then he seems to become the actual hero of

460
00:26:33,880 --> 00:26:37,399
Speaker 1: the movie. Because when it first gets going, it's really

461
00:26:37,440 --> 00:26:42,240
Speaker 1: seems like the hero of this story is is young Ilius. Yeah,

462
00:26:42,320 --> 00:26:45,439
Speaker 1: Ilius is. It seems to be our destined hero, our

463
00:26:45,520 --> 00:26:49,240
Speaker 1: destined savior. And Elius is played by Andrea o Chapinti

464
00:26:49,600 --> 00:26:52,560
Speaker 1: born nineteen fifty seven. This is an Italian actor who

465
00:26:52,640 --> 00:26:56,720
Speaker 1: worked with Fulci in New York Ripper, which I could

466
00:26:56,720 --> 00:26:59,960
Speaker 1: be wrong. I remember that as not being a good one. Uh,

467
00:27:00,160 --> 00:27:04,040
Speaker 1: maybe it has some appeal. But other roles include Lomberto

468
00:27:04,160 --> 00:27:08,119
Speaker 1: Baba three film ape Lad in the Dark, but he

469
00:27:08,160 --> 00:27:10,080
Speaker 1: seems to have made a bigger splash as a film

470
00:27:10,119 --> 00:27:14,560
Speaker 1: producer and distributor, involved in such films as two thousand elevens,

471
00:27:14,560 --> 00:27:17,080
Speaker 1: This must be the Place, two thousand elevens, The Kid

472
00:27:17,119 --> 00:27:21,639
Speaker 1: with the Bike, Anti Christ, Funny Games, Open Your Eyes,

473
00:27:21,760 --> 00:27:24,439
Speaker 1: and many others. In this movie, he's our He's our

474
00:27:24,560 --> 00:27:27,200
Speaker 1: wide eyed young hero. He's sort of the the Luke

475
00:27:27,280 --> 00:27:33,399
Speaker 1: Skywalker to Jorge Rivero's Han solo. Yes, yeah, and no

476
00:27:33,480 --> 00:27:36,680
Speaker 1: spoilers yet, but it goes. It goes in some unexpected places,

477
00:27:36,920 --> 00:27:40,680
Speaker 1: but also not completely unexpected. Uh, we'll get into it.

478
00:27:40,680 --> 00:27:44,600
Speaker 1: It's it's it's interesting to think about, alright, our central villain,

479
00:27:44,640 --> 00:27:48,199
Speaker 1: we've already alluded to them, the half nude sorceress with

480
00:27:48,200 --> 00:27:51,240
Speaker 1: the golden helmet for a head. Uh. This is the

481
00:27:51,359 --> 00:27:57,840
Speaker 1: character Okron, played by Sabrina Sanny, also credited as Sabrina Sellers.

482
00:27:57,840 --> 00:28:00,399
Speaker 1: I think she's credited as Sabrina Sellers in the film

483
00:28:00,560 --> 00:28:03,600
Speaker 1: um Sometimes the case again part of the international distribution.

484
00:28:04,160 --> 00:28:07,880
Speaker 1: Born nine, Italian actress who was mostly active from seventy

485
00:28:07,920 --> 00:28:11,800
Speaker 1: nine through eight nine and retired from acting around but

486
00:28:12,119 --> 00:28:14,200
Speaker 1: during this time she was in a bunch of Italian

487
00:28:14,200 --> 00:28:18,119
Speaker 1: B movies, many of which we were violent, gladiator or

488
00:28:18,200 --> 00:28:22,720
Speaker 1: barbarian movies. Some of the titles include um Gunan King

489
00:28:22,760 --> 00:28:26,720
Speaker 1: of the Barbarians, A Tour, The Fighting Eagle. Oh, that's

490
00:28:26,760 --> 00:28:30,680
Speaker 1: the one that ms T three k covered as Cave Dwellers, Yeah,

491
00:28:31,600 --> 00:28:35,359
Speaker 1: Texas Gladiators, The Throne of Fire, and Cobra Nero starring

492
00:28:35,400 --> 00:28:38,720
Speaker 1: Fred Williamson. Wow, I don't think I've seen any of

493
00:28:38,720 --> 00:28:41,080
Speaker 1: those except the tor movie. Yeah, I think A Tour

494
00:28:41,120 --> 00:28:43,240
Speaker 1: is the only one I've seen. But yeah. She worked

495
00:28:43,280 --> 00:28:46,320
Speaker 1: with such directors as Fulty, of course, and Berto Lindsay,

496
00:28:46,440 --> 00:28:51,760
Speaker 1: Antonio Margredi, Um, Joe Diamatto and Jeff Franco and yeah,

497
00:28:51,760 --> 00:28:54,880
Speaker 1: and then she plays the evil witch Queen Okron, whose

498
00:28:54,920 --> 00:28:58,640
Speaker 1: face is always obscured behind a golden mask. I'd say

499
00:28:58,640 --> 00:29:01,160
Speaker 1: it's still a good performance. Give and the limitations here,

500
00:29:01,600 --> 00:29:03,720
Speaker 1: there's um this is this is not a like a

501
00:29:04,200 --> 00:29:07,400
Speaker 1: real human kind of role. No, this is a villain

502
00:29:07,440 --> 00:29:11,640
Speaker 1: with super weird vibes, scary head covering, helmet with the

503
00:29:11,680 --> 00:29:15,760
Speaker 1: metal face mask, uh, pretty much naked otherwise, always has

504
00:29:15,760 --> 00:29:19,560
Speaker 1: a snake, wears like a sort of feathery cape, and

505
00:29:19,680 --> 00:29:22,960
Speaker 1: loves to do evil magic and order her werewolf soldiers

506
00:29:23,000 --> 00:29:26,320
Speaker 1: to kill right and eat brains. Also eats brains, Yes,

507
00:29:26,360 --> 00:29:29,800
Speaker 1: eats brains. It does a weird like drugs through sort

508
00:29:29,800 --> 00:29:33,200
Speaker 1: of like a cocaine blow dart gun. Yeah. Yeah. Engaged

509
00:29:33,280 --> 00:29:36,040
Speaker 1: to too, I guess some in dream visions so that

510
00:29:36,080 --> 00:29:38,720
Speaker 1: she can predict the future and then freak out about it.

511
00:29:39,600 --> 00:29:42,720
Speaker 1: But another role in this film is the character Zora,

512
00:29:42,880 --> 00:29:46,560
Speaker 1: which we'll get into, which is a character just covered

513
00:29:46,560 --> 00:29:49,280
Speaker 1: head to toe and some sort of strange black armor

514
00:29:49,360 --> 00:29:53,240
Speaker 1: from another dimension. Uh. It's a small part completely again,

515
00:29:53,280 --> 00:29:55,640
Speaker 1: completely obscured by a suit. So I'm uncertain if this

516
00:29:55,680 --> 00:29:58,840
Speaker 1: is a physical role or a voice roll or both,

517
00:29:58,960 --> 00:30:02,800
Speaker 1: but the character is credited to Conrados and Martin Prolific

518
00:30:02,840 --> 00:30:07,520
Speaker 1: Spanish actor with credit stretching from ninety one through fifteen.

519
00:30:07,960 --> 00:30:11,640
Speaker 1: He lived one through twenty nineteen. He worked with such

520
00:30:11,640 --> 00:30:15,280
Speaker 1: directors as Sergiolione, Jeff Franco and more. Oh and we

521
00:30:15,280 --> 00:30:19,960
Speaker 1: should mention the cinematographer Alejandro Uloa, who lived nineteen twenty

522
00:30:20,040 --> 00:30:21,840
Speaker 1: six through two thousand and four. This is the man

523
00:30:21,920 --> 00:30:24,520
Speaker 1: responsible for all the soft focus and fog machines in

524
00:30:24,520 --> 00:30:28,040
Speaker 1: the film, apparently. Other films of note include nineteen seventy

525
00:30:28,080 --> 00:30:31,760
Speaker 1: two Horror Express, The Exterminators of the Year three thousand,

526
00:30:31,880 --> 00:30:35,440
Speaker 1: Operation Kid Brother. That one was was actually was featured

527
00:30:35,480 --> 00:30:37,240
Speaker 1: on the MST three K. That's the one with Sean

528
00:30:37,280 --> 00:30:40,720
Speaker 1: Connery's brother in it playing a Bond knockoff. Oh yeah,

529
00:30:40,840 --> 00:30:44,760
Speaker 1: that one's terrible. Yeah. The Diabolical Doctor Z that's no

530
00:30:44,960 --> 00:30:48,880
Speaker 1: relation to Za. And also the Paul Nashy Werewolf movie

531
00:30:48,920 --> 00:30:52,040
Speaker 1: from One Night of the Werewolf. Is this the one

532
00:30:52,120 --> 00:30:55,640
Speaker 1: you were showing me clips from the other week? I

533
00:30:55,720 --> 00:30:58,800
Speaker 1: don't think so. There's a million of these and it

534
00:30:58,880 --> 00:31:01,280
Speaker 1: is not not one that I've looked. Lesli. Yeah, okay,

535
00:31:01,320 --> 00:31:05,360
Speaker 1: I'm gonna say uh true. Star of of Conquests. The

536
00:31:05,560 --> 00:31:08,959
Speaker 1: single best thing about the movie the music, The music

537
00:31:09,240 --> 00:31:13,280
Speaker 1: is a Gamma ray burst. I love it. I absolutely

538
00:31:13,320 --> 00:31:17,200
Speaker 1: agree this is a great score. This is by Claudio

539
00:31:17,280 --> 00:31:21,720
Speaker 1: Semonetti bord N two, a true synth legend. This is

540
00:31:21,760 --> 00:31:24,920
Speaker 1: our second film to feature a Claudio Semonetti score. The

541
00:31:24,960 --> 00:31:27,640
Speaker 1: first was Hands of Steel, which was a lot of fun,

542
00:31:27,720 --> 00:31:29,880
Speaker 1: but I remember as commenting that while I had some

543
00:31:30,040 --> 00:31:33,520
Speaker 1: nice moments, it maybe wasn't Claudio Semonetti at his finest.

544
00:31:34,520 --> 00:31:37,840
Speaker 1: This one is just absolutely terrific. It's a gentle and

545
00:31:37,920 --> 00:31:42,080
Speaker 1: ethereal in places, frightening and unsettling in other places. You know,

546
00:31:42,160 --> 00:31:45,600
Speaker 1: has a jarring synth quality um that you know goes

547
00:31:45,680 --> 00:31:48,680
Speaker 1: well with nightmare imagery. And there are notes here and

548
00:31:48,800 --> 00:31:51,920
Speaker 1: there that reminded me a lot of the I d

549
00:31:52,200 --> 00:31:55,640
Speaker 1: M the intelligent dance music genre to come. And indeed

550
00:31:56,320 --> 00:31:59,800
Speaker 1: you have albums like Boards of Canada's Tomorrow's Harvest is

551
00:32:00,000 --> 00:32:03,120
Speaker 1: really inspired by scores much like this. I'm to understand,

552
00:32:03,480 --> 00:32:06,840
Speaker 1: if not this film in particular, because again Claudio Semonetti

553
00:32:06,960 --> 00:32:10,480
Speaker 1: is a big name in when it comes to synth

554
00:32:10,680 --> 00:32:13,080
Speaker 1: scores of this era, certainly when you're looking at it

555
00:32:13,120 --> 00:32:16,680
Speaker 1: tag in cinema, I believe I've seen Claudio Semonetti in concert.

556
00:32:16,720 --> 00:32:21,000
Speaker 1: I've seen Goblin, Uh, so I think he was with them. Yeah, yeah,

557
00:32:21,040 --> 00:32:23,880
Speaker 1: he's he's the of course, the the long time keyboardist

558
00:32:24,200 --> 00:32:28,360
Speaker 1: for Italian Prague rock band Goblin. He's still active today

559
00:32:28,480 --> 00:32:30,000
Speaker 1: and yeah, he's had his hands in some of the

560
00:32:30,040 --> 00:32:34,720
Speaker 1: most iconic scores of Italian genre cinema. Uh, films like

561
00:32:34,800 --> 00:32:39,640
Speaker 1: what Suspiria deep Red, also some lesser known works that

562
00:32:40,240 --> 00:32:43,440
Speaker 1: that I really love, like Warriors of the Wasteland. That

563
00:32:43,520 --> 00:32:47,160
Speaker 1: one's from three as well. I think the score for Conquest,

564
00:32:48,320 --> 00:32:51,960
Speaker 1: I think it's actually made even more wonderful by how

565
00:32:52,120 --> 00:32:55,360
Speaker 1: it is sometimes very inappropriate for the sen you're watching,

566
00:32:55,960 --> 00:32:59,360
Speaker 1: Like it doesn't always match the movie. Sometimes it does,

567
00:32:59,440 --> 00:33:02,600
Speaker 1: sometimes it doesn't. But if the music is always great,

568
00:33:02,840 --> 00:33:04,840
Speaker 1: I don't know, if you see it enough times, I

569
00:33:04,960 --> 00:33:08,720
Speaker 1: think those that they come together perfectly, so I can't

570
00:33:08,760 --> 00:33:12,600
Speaker 1: imagine any of these scenes without uh the existing score. Now,

571
00:33:12,920 --> 00:33:15,040
Speaker 1: sometimes it's the case where a really great score on

572
00:33:15,080 --> 00:33:17,520
Speaker 1: one of these pictures has not been re released and

573
00:33:17,720 --> 00:33:20,520
Speaker 1: isn't available. Uh, this is not It's not the case

574
00:33:20,920 --> 00:33:24,080
Speaker 1: with a Conquest from Claudio Seminetti. You can stream it

575
00:33:24,160 --> 00:33:26,200
Speaker 1: through all the major places. I've had to go to

576
00:33:26,240 --> 00:33:28,960
Speaker 1: the grocery store earlier today, and I streamed it to

577
00:33:29,200 --> 00:33:32,920
Speaker 1: and from the grocery store. Absolutely loved it. But if

578
00:33:32,960 --> 00:33:36,040
Speaker 1: you're a vinyl collector, then you're also in luck because

579
00:33:36,160 --> 00:33:39,200
Speaker 1: Russ Blade Records the same the same company to put

580
00:33:39,240 --> 00:33:41,520
Speaker 1: out the Hands of Steel vinyl. Uh. They have it

581
00:33:41,600 --> 00:33:45,000
Speaker 1: out in a limited vinyl release with movie poster, and

582
00:33:45,120 --> 00:33:49,880
Speaker 1: it is fittingly printed on smoke transparent vinyl. It actually

583
00:33:50,080 --> 00:33:52,959
Speaker 1: even has tracks that are not featured in the digital release,

584
00:33:53,080 --> 00:33:55,680
Speaker 1: which is exciting. It almost makes me wish I had

585
00:33:55,680 --> 00:33:57,960
Speaker 1: a record player. What is the which Which is the

586
00:33:58,040 --> 00:34:02,760
Speaker 1: track that has that awesome like synth symbol beat that

587
00:34:03,280 --> 00:34:07,200
Speaker 1: plays when they are throwing the poop grenades at the

588
00:34:07,280 --> 00:34:12,279
Speaker 1: werewolves in the camp? Um, I'm not sure. Is it

589
00:34:12,320 --> 00:34:14,600
Speaker 1: the one that kind of goes done to Dunton don't

590
00:34:14,800 --> 00:34:18,279
Speaker 1: Dunton da da don da da da da da No?

591
00:34:18,440 --> 00:34:22,319
Speaker 1: I don't think so, it's more it's more just percussive. Okay, Well,

592
00:34:22,320 --> 00:34:24,719
Speaker 1: I'm not sure exactly which track that is, but but

593
00:34:24,920 --> 00:34:26,680
Speaker 1: I loved all the music I heard in the film.

594
00:34:27,000 --> 00:34:29,959
Speaker 1: Let's hear just a little bit, if we can hear seth,

595
00:34:30,000 --> 00:34:33,040
Speaker 1: if we can have the legal limit on the track

596
00:34:33,160 --> 00:34:50,839
Speaker 1: titled black Birds. Anyway, that one's definitely on the digital release. Uh,

597
00:34:51,640 --> 00:34:54,560
Speaker 1: well worth picking up or or checking out. This music

598
00:34:54,719 --> 00:35:06,160
Speaker 1: is your jam like it is mine. All right, let's

599
00:35:06,160 --> 00:35:08,640
Speaker 1: dive into the plot, Rob, I could feel your love

600
00:35:08,719 --> 00:35:11,000
Speaker 1: for the movie because I noticed that your notes about

601
00:35:11,000 --> 00:35:14,759
Speaker 1: the plot were copious. Um, and who can blame you.

602
00:35:14,920 --> 00:35:19,040
Speaker 1: But so the the opening of this movie, it's weird,

603
00:35:19,160 --> 00:35:21,880
Speaker 1: and I was trying to find the way to describe it.

604
00:35:22,280 --> 00:35:24,880
Speaker 1: I'd say it's like this. The opening shot is like

605
00:35:25,000 --> 00:35:27,799
Speaker 1: you are trying to pull up a Google street view

606
00:35:28,480 --> 00:35:31,640
Speaker 1: of a bay in Australia that's famous for shark attacks,

607
00:35:31,800 --> 00:35:35,120
Speaker 1: but the image won't finish loading, so it's just a

608
00:35:35,239 --> 00:35:39,320
Speaker 1: blurry inlet with a blurry beach and then this droning,

609
00:35:39,640 --> 00:35:42,840
Speaker 1: shimmering music of the spheres, Rob, is it kind of

610
00:35:43,000 --> 00:35:45,560
Speaker 1: a little bit music from the Hearts of Space? Yeah?

611
00:35:45,680 --> 00:35:47,880
Speaker 1: I think that's a very fair comparison. I mean that

612
00:35:47,920 --> 00:35:49,680
Speaker 1: they do feature a lot of different sorts of music,

613
00:35:49,920 --> 00:35:52,640
Speaker 1: a lot of different ambient varieties of music on Hearts

614
00:35:52,680 --> 00:35:55,480
Speaker 1: of Space. But yeah, a lot of the music that

615
00:35:55,600 --> 00:35:58,800
Speaker 1: Seminettie did for this film has a very ethereal quality

616
00:35:58,880 --> 00:36:01,359
Speaker 1: to it, and is their chill again. You have those

617
00:36:01,400 --> 00:36:04,160
Speaker 1: alarming tracks, those jarring tracks, but a lot of it,

618
00:36:04,239 --> 00:36:06,840
Speaker 1: a lot of it is just very relaxing, chill stuff.

619
00:36:07,080 --> 00:36:10,600
Speaker 1: Then while we're watching, we're waiting for the street view

620
00:36:10,680 --> 00:36:13,120
Speaker 1: to load, and it never does. Instead, we sort of

621
00:36:13,280 --> 00:36:17,239
Speaker 1: fade into a different, blurry view of the same scene. Uh.

622
00:36:17,360 --> 00:36:20,040
Speaker 1: And it's some kind of ritual. We see like wizards

623
00:36:20,239 --> 00:36:23,600
Speaker 1: and some priestesses dressed in white robes, and we see

624
00:36:23,640 --> 00:36:26,040
Speaker 1: an a tour kind of guy and this is our

625
00:36:26,200 --> 00:36:29,760
Speaker 1: this is our young hero Ilias. Yeah, this and there,

626
00:36:30,600 --> 00:36:33,400
Speaker 1: this is their character that is is faded, uh, to

627
00:36:33,719 --> 00:36:37,920
Speaker 1: journey into another land, right, he has a quest of

628
00:36:38,160 --> 00:36:42,920
Speaker 1: sacrifice and courage. Sacrifice has mentioned at least once, if

629
00:36:42,960 --> 00:36:45,080
Speaker 1: not a couple of times here, and he's going to

630
00:36:45,160 --> 00:36:48,520
Speaker 1: be sent into an evil land. That's right here, there's

631
00:36:48,560 --> 00:36:53,080
Speaker 1: like a Santa Zeus character, and Santa Zeus says, you've

632
00:36:53,200 --> 00:36:56,400
Speaker 1: chosen the path of courage and sacrifice, Elias, a journey

633
00:36:56,440 --> 00:36:58,840
Speaker 1: into the heart of a very dark and evil domain.

634
00:36:59,239 --> 00:37:01,800
Speaker 1: Many blessing on your son. You are an example of

635
00:37:01,880 --> 00:37:05,480
Speaker 1: bravery among men. Come back safely and govern us with

636
00:37:05,600 --> 00:37:08,440
Speaker 1: the wisdom of your experience. So it's almost like I

637
00:37:08,520 --> 00:37:11,600
Speaker 1: think he's being sent on a journey into an evil

638
00:37:11,760 --> 00:37:15,360
Speaker 1: land as tryouts to become king maybe or to become

639
00:37:15,400 --> 00:37:18,520
Speaker 1: their leader. I guess it's like an excursion. He's supposed

640
00:37:18,560 --> 00:37:21,000
Speaker 1: to learn and grow and then come back and and

641
00:37:21,200 --> 00:37:23,600
Speaker 1: rule them. But they're they're not sending him in there

642
00:37:23,880 --> 00:37:26,279
Speaker 1: with nothing there. They put some leather armor on him.

643
00:37:26,760 --> 00:37:29,880
Speaker 1: And then Santa SEUs reaches out and like with a

644
00:37:30,000 --> 00:37:33,239
Speaker 1: tractor beam, grabs this bow. And this bow is a

645
00:37:33,320 --> 00:37:36,520
Speaker 1: major plot device. It is the bow of Chronos. And

646
00:37:37,160 --> 00:37:40,719
Speaker 1: we find out that many sons ago, Chronos fought with

647
00:37:40,840 --> 00:37:43,920
Speaker 1: this magic bow and drove back the terrible creatures that

648
00:37:44,040 --> 00:37:47,000
Speaker 1: invaded the land. Uh. And we learned a legend. It's

649
00:37:47,080 --> 00:37:50,000
Speaker 1: that when Chronos ran out of arrows and the sun

650
00:37:50,160 --> 00:37:53,880
Speaker 1: dropped down from the sky and became arrows that shot

651
00:37:54,000 --> 00:37:58,640
Speaker 1: from his bow as flames and uh. And then Santa

652
00:37:58,719 --> 00:38:01,920
Speaker 1: Zeus explains that this story means that Chronos had become

653
00:38:02,000 --> 00:38:05,160
Speaker 1: a man, and you have chosen the path of courage

654
00:38:05,200 --> 00:38:09,359
Speaker 1: and sacrifice, you will not turn back. You are a man, etcetera. Uh,

655
00:38:09,719 --> 00:38:12,800
Speaker 1: there's some kind of repetitive talk in there about that.

656
00:38:12,880 --> 00:38:15,600
Speaker 1: But then Elias says, no matter what happens, I shall

657
00:38:15,680 --> 00:38:19,080
Speaker 1: not forget these words, and I think that's incredibly wrong.

658
00:38:19,160 --> 00:38:23,680
Speaker 1: He definitely will forget those words. Now, it's this whole sequence,

659
00:38:23,880 --> 00:38:26,600
Speaker 1: it's really unclear if these are supposed to be human

660
00:38:26,719 --> 00:38:31,440
Speaker 1: characters or these kind of like Elvin characters, or they gods,

661
00:38:32,200 --> 00:38:35,279
Speaker 1: they they it's it's we quickly learned that they seem

662
00:38:35,360 --> 00:38:38,600
Speaker 1: to have at the very least a level of technology

663
00:38:38,719 --> 00:38:41,640
Speaker 1: above that of the denizens of the Evil World that

664
00:38:41,719 --> 00:38:44,080
Speaker 1: he's about to take a boat too. Yeah, no, I

665
00:38:44,120 --> 00:38:46,839
Speaker 1: think they're supposed to be humans, but they come from

666
00:38:47,520 --> 00:38:50,480
Speaker 1: a better place. So they're from this bay in Australia,

667
00:38:50,600 --> 00:38:54,120
Speaker 1: whatever this is. And we learned through some dialogue later,

668
00:38:54,320 --> 00:38:57,920
Speaker 1: like he's explaining to Jorge Rivero. He's like, you know,

669
00:38:58,040 --> 00:39:00,880
Speaker 1: in our place, we don't have to hunt down food

670
00:39:00,960 --> 00:39:03,560
Speaker 1: every time we're hungry. We actually have farms. We grow

671
00:39:03,680 --> 00:39:06,960
Speaker 1: the food near where we live. And Mace is like, oh,

672
00:39:07,160 --> 00:39:10,640
Speaker 1: that's that's too complicated for me. So it's just like,

673
00:39:10,960 --> 00:39:13,000
Speaker 1: I think he comes from a place where they've got

674
00:39:13,760 --> 00:39:16,680
Speaker 1: more peace and more technology than in the Evil Land

675
00:39:16,719 --> 00:39:19,160
Speaker 1: where most of the movie takes place. I think that's fair.

676
00:39:19,400 --> 00:39:21,600
Speaker 1: But these people are still very much like fading in

677
00:39:21,760 --> 00:39:24,560
Speaker 1: and out of focusing, out of reality. Though we have

678
00:39:24,719 --> 00:39:28,080
Speaker 1: that dream layer of from fulg that kind of throws

679
00:39:28,120 --> 00:39:31,440
Speaker 1: everything potentially into question and keeps you wondering. Yeah, And

680
00:39:31,520 --> 00:39:34,759
Speaker 1: speaking of layers, I mean, I think the film in

681
00:39:34,920 --> 00:39:39,560
Speaker 1: this scene, we're we're seeing multiple layers of camera exposure

682
00:39:39,600 --> 00:39:42,360
Speaker 1: at the same time. And there are some shots in

683
00:39:42,440 --> 00:39:45,640
Speaker 1: this opening sequence where it seems literally like there was

684
00:39:45,840 --> 00:39:49,440
Speaker 1: gunk physically stuck to the camera lens, because there are

685
00:39:49,480 --> 00:39:52,080
Speaker 1: parts where there's like a blob in the frame, and

686
00:39:52,160 --> 00:39:54,759
Speaker 1: then the camera pans and the blob stays in the

687
00:39:54,880 --> 00:39:58,719
Speaker 1: same place. Yeah, And I don't know enough about like

688
00:39:58,840 --> 00:40:00,440
Speaker 1: the details of this sort of thing to know if

689
00:40:00,680 --> 00:40:03,239
Speaker 1: what I'm looking at is just an artifact of like

690
00:40:03,320 --> 00:40:06,160
Speaker 1: the quality of the remaining footage, or if this is

691
00:40:06,280 --> 00:40:09,360
Speaker 1: something that's an artifact from whatever kind of technique they

692
00:40:09,440 --> 00:40:12,480
Speaker 1: were doing, uh, in addition to like soft focus and

693
00:40:12,640 --> 00:40:15,719
Speaker 1: fog to make this look the way it does. Right.

694
00:40:15,800 --> 00:40:17,880
Speaker 1: But so Elias he's got to go on his journey

695
00:40:17,920 --> 00:40:20,759
Speaker 1: and then begin titles, and immediately I just typed like,

696
00:40:20,880 --> 00:40:24,920
Speaker 1: o MG, the theme music is absolutely sick, just awesome.

697
00:40:25,400 --> 00:40:27,920
Speaker 1: So some of these compositions I think also would have

698
00:40:28,000 --> 00:40:31,680
Speaker 1: been really cool in chip tunes form as like music

699
00:40:31,760 --> 00:40:33,880
Speaker 1: to an A E. S game. Can't you imagine like

700
00:40:33,960 --> 00:40:36,880
Speaker 1: the main conquest theme is like one of you know,

701
00:40:36,960 --> 00:40:40,480
Speaker 1: like a Batman for the NES style side scroller. Yeah, yeah,

702
00:40:40,480 --> 00:40:41,920
Speaker 1: I think this is the track you're talking about here,

703
00:40:42,000 --> 00:40:46,040
Speaker 1: kind of has a data vibe to it. Oh yeah,

704
00:40:46,320 --> 00:40:49,839
Speaker 1: So Elias jumps on the boat. Um, everyone fades out

705
00:40:49,880 --> 00:40:53,400
Speaker 1: of existence, and Elias is on his way to the

706
00:40:53,600 --> 00:40:56,520
Speaker 1: new and evil land, right, and so what goes on

707
00:40:56,640 --> 00:40:58,560
Speaker 1: in the evil Land while they're gonna show us? So

708
00:40:58,640 --> 00:41:01,960
Speaker 1: we see like tribes of people hanging out, sitting around campfires,

709
00:41:02,040 --> 00:41:04,680
Speaker 1: hanging out with goats, and then we see that all

710
00:41:04,760 --> 00:41:09,480
Speaker 1: of these people are under the spell of a scary, evil,

711
00:41:09,719 --> 00:41:13,680
Speaker 1: nude sorceress wearing a metal mask who like makes them worshiper.

712
00:41:14,080 --> 00:41:16,880
Speaker 1: And then she sends werewolf soldiers to attack them and

713
00:41:17,040 --> 00:41:21,000
Speaker 1: rip them literally rip them apart. That's right, okrun As

714
00:41:21,080 --> 00:41:23,839
Speaker 1: we we learned her name is, she causes the sun

715
00:41:23,960 --> 00:41:26,759
Speaker 1: to rise and the people of this land worshiper, and

716
00:41:26,880 --> 00:41:29,759
Speaker 1: she sends she sends forth her minions, which I thought

717
00:41:29,840 --> 00:41:32,719
Speaker 1: was very interesting that her minions consists of people in

718
00:41:32,880 --> 00:41:36,360
Speaker 1: beast masks. With kind of like wooden beast masks and furs.

719
00:41:36,440 --> 00:41:39,280
Speaker 1: And then there are people who have become half beast

720
00:41:39,719 --> 00:41:44,160
Speaker 1: that are like werewolves or dog men. So they come

721
00:41:44,560 --> 00:41:48,520
Speaker 1: rampaging down. They meet with the humans who live here

722
00:41:48,600 --> 00:41:51,319
Speaker 1: that are kind of like their goat herds and maybe

723
00:41:51,400 --> 00:41:56,840
Speaker 1: hunter gatherers. Uh. They demand tribute, but refuse the offer

724
00:41:56,880 --> 00:42:00,560
Speaker 1: of goat flesh, and they also refuse the Bible leader

725
00:42:00,560 --> 00:42:02,759
Speaker 1: who's like, take me, I'm old, and they're like, no, no,

726
00:42:02,960 --> 00:42:06,720
Speaker 1: you're too old. Oak prefer prefers young flesh. And Okra's

727
00:42:06,719 --> 00:42:10,120
Speaker 1: demands must be met, we're told otherwise she will plunge

728
00:42:10,200 --> 00:42:13,719
Speaker 1: them all into eternal night, because again she commands the sun.

729
00:42:14,280 --> 00:42:17,480
Speaker 1: And so then the dog men rip a woman from

730
00:42:17,480 --> 00:42:19,520
Speaker 1: the tribe limb from limb and carry her head back

731
00:42:19,560 --> 00:42:22,080
Speaker 1: to Okrahn. It's a really gross scene, but then it's

732
00:42:22,080 --> 00:42:24,920
Speaker 1: immediately funny after that, because so the werewolves bring the

733
00:42:25,000 --> 00:42:29,080
Speaker 1: severed head back and Ocron starts eating the brains of

734
00:42:29,160 --> 00:42:32,920
Speaker 1: the severed head, and she goes yum uh. There's the

735
00:42:32,960 --> 00:42:35,800
Speaker 1: feast of the brains, and then we have the gentle

736
00:42:36,000 --> 00:42:41,160
Speaker 1: Claudio Simonetti music playing, and the werewolf beings take these

737
00:42:41,520 --> 00:42:45,520
Speaker 1: like straws, and they take turns blowing some sort of

738
00:42:45,560 --> 00:42:48,560
Speaker 1: substance into each other's nostril, and then one of them

739
00:42:48,600 --> 00:42:53,120
Speaker 1: blows the substance through the nostrils of the mask of Okron,

740
00:42:53,800 --> 00:42:57,120
Speaker 1: and then she begins to writhe on a bed of

741
00:42:57,200 --> 00:43:00,759
Speaker 1: furs while snake crawls over. And then she has given

742
00:43:00,800 --> 00:43:04,000
Speaker 1: the dream prophecy, a dream prophecy of her own death,

743
00:43:04,080 --> 00:43:07,840
Speaker 1: in which a faceless warrior jumps out of the mist

744
00:43:08,160 --> 00:43:11,359
Speaker 1: and slays her with an arrow of light. Oh, I mean,

745
00:43:11,520 --> 00:43:13,680
Speaker 1: so we just heard about a prophecy of this guy.

746
00:43:13,840 --> 00:43:16,560
Speaker 1: Sounds like sounds like Ilius and Okron here are going

747
00:43:16,600 --> 00:43:19,640
Speaker 1: to clash. Yeah. Yeah, it seems like there's their destined

748
00:43:19,760 --> 00:43:22,440
Speaker 1: to run into each other. But okay, Ilius is uh,

749
00:43:22,560 --> 00:43:24,719
Speaker 1: he's arrived in the land now, so he's gonna be

750
00:43:24,760 --> 00:43:27,880
Speaker 1: wandering around and he starts meeting people. That's right. He

751
00:43:28,400 --> 00:43:32,680
Speaker 1: saves a human water gatherer from a snake, kills the

752
00:43:32,719 --> 00:43:35,480
Speaker 1: snake with his arrow. I think this might be important

753
00:43:35,600 --> 00:43:38,759
Speaker 1: later on. But then hey, the agents of Okron are

754
00:43:38,840 --> 00:43:41,200
Speaker 1: washing and they're like, hey, that guy's got a bow. Uh.

755
00:43:41,520 --> 00:43:43,080
Speaker 1: I think there was a dream about this. Were supposed

756
00:43:43,080 --> 00:43:45,560
Speaker 1: to be on the lookout for this guy, so they

757
00:43:45,840 --> 00:43:48,279
Speaker 1: jump out and they attack him. After the human water

758
00:43:48,360 --> 00:43:50,920
Speaker 1: gather has left, it looks like Elias might not be

759
00:43:51,000 --> 00:43:53,920
Speaker 1: long for this world, but then Mace jumps in and

760
00:43:54,120 --> 00:43:56,919
Speaker 1: makes the save. This is I think a pretty fun

761
00:43:57,120 --> 00:44:00,640
Speaker 1: fight because is this the first time we get to

762
00:44:00,719 --> 00:44:05,480
Speaker 1: see Mace use those fun like stone bone nunchucks that

763
00:44:05,560 --> 00:44:07,279
Speaker 1: he has, Well, this is the first time we see

764
00:44:07,320 --> 00:44:09,640
Speaker 1: Mace at all. But yeah, in the very first scene

765
00:44:09,680 --> 00:44:13,719
Speaker 1: he's he's swinging around his rock nunchucks and uh, just

766
00:44:13,920 --> 00:44:16,359
Speaker 1: whirling them and whack in the I don't know where

767
00:44:16,360 --> 00:44:18,160
Speaker 1: there werewolves here. I think there are, but they're they're

768
00:44:18,160 --> 00:44:20,879
Speaker 1: also just dudes and masks. He beats them all up

769
00:44:20,920 --> 00:44:23,319
Speaker 1: and they run away, and so, you know what, Mace

770
00:44:23,440 --> 00:44:25,680
Speaker 1: what a good guy he's he's helping Ilius out. But

771
00:44:25,719 --> 00:44:28,279
Speaker 1: then we find out that, uh, maybe he's not so

772
00:44:28,520 --> 00:44:31,560
Speaker 1: initially friendly because he explains he's like, oh, I'm not

773
00:44:31,640 --> 00:44:35,400
Speaker 1: your friend. Every man is my enemy. Yeah, but animals

774
00:44:35,640 --> 00:44:39,120
Speaker 1: are his friends because he almost immediately engages in some

775
00:44:39,239 --> 00:44:41,480
Speaker 1: bird rescue. There's like a bloody bird and he's like,

776
00:44:41,560 --> 00:44:43,800
Speaker 1: let's get this bird cleaned up, and so he rescues

777
00:44:43,840 --> 00:44:46,800
Speaker 1: the bird it's very sweet. He's actually got a tattoo

778
00:44:46,920 --> 00:44:49,840
Speaker 1: on his head though, like he has a face tattoo,

779
00:44:49,880 --> 00:44:51,960
Speaker 1: and he says, see this tattoo, it means every man

780
00:44:52,160 --> 00:44:54,560
Speaker 1: is my enemy. To let them know. Like, it doesn't

781
00:44:54,600 --> 00:44:56,840
Speaker 1: really help Mace out because he can't actually see it.

782
00:44:57,400 --> 00:45:00,920
Speaker 1: How's he going to get a job with that? Now,

783
00:45:00,960 --> 00:45:04,200
Speaker 1: there's a great scene that follows where we have we're

784
00:45:04,239 --> 00:45:07,960
Speaker 1: back in Okron's misty chambers and wounded I think a

785
00:45:08,040 --> 00:45:11,359
Speaker 1: human soldier here, one of her minions is. They're telling

786
00:45:11,400 --> 00:45:15,239
Speaker 1: her about this fabulous weapon, this new weapon technology that

787
00:45:15,360 --> 00:45:19,000
Speaker 1: this stranger had, and so she's instantly interested. Uh, and

788
00:45:19,120 --> 00:45:21,360
Speaker 1: of course this ties in with her her vision. So

789
00:45:21,480 --> 00:45:24,400
Speaker 1: she sends her Lieutenant Wolfman. I think this guy is

790
00:45:24,760 --> 00:45:27,520
Speaker 1: that he her main Wolfman is sometimes called Fargo or

791
00:45:27,760 --> 00:45:31,400
Speaker 1: Furgo or something. Uh. She's like, hey, go out and

792
00:45:31,480 --> 00:45:34,440
Speaker 1: get this bow, get this guy. So she sends him out.

793
00:45:34,520 --> 00:45:36,920
Speaker 1: He and the rest of the crew are out to

794
00:45:37,000 --> 00:45:40,600
Speaker 1: find this guy. So, I think, did you understand it

795
00:45:40,640 --> 00:45:43,120
Speaker 1: the same way that there are no bows in this land?

796
00:45:43,160 --> 00:45:45,080
Speaker 1: This is the first time any of them has seen

797
00:45:45,160 --> 00:45:48,320
Speaker 1: a bow and arrow, right, So even ignoring the idea

798
00:45:48,360 --> 00:45:51,160
Speaker 1: that this bow might one day shoot arrows of light.

799
00:45:51,360 --> 00:45:55,560
Speaker 1: The mere fact that it shoots arrows is instantly aweing

800
00:45:55,719 --> 00:45:59,120
Speaker 1: everybody in this land, like this is new weapon technology,

801
00:45:59,520 --> 00:46:02,680
Speaker 1: and and that alone is is of note. I. Meanwhile,

802
00:46:02,719 --> 00:46:04,759
Speaker 1: Elias is just kind of handing it around, like he

803
00:46:04,880 --> 00:46:07,120
Speaker 1: lets Mace use it. Yeah, he's like check it out.

804
00:46:07,200 --> 00:46:08,560
Speaker 1: And ma says like, oh, this is good. There's a

805
00:46:08,600 --> 00:46:11,480
Speaker 1: good weapon. And in fact, Nice uses it to kill

806
00:46:11,560 --> 00:46:15,120
Speaker 1: a man almost immediately. There's this there's like a guy

807
00:46:15,280 --> 00:46:17,720
Speaker 1: over here that's he's got some sort of dead animal,

808
00:46:17,840 --> 00:46:21,560
Speaker 1: you know, hunter gatherer. Mace murders him with the bow

809
00:46:22,120 --> 00:46:24,799
Speaker 1: and then goes and steals the animal flesh from him,

810
00:46:24,840 --> 00:46:28,839
Speaker 1: and and it's a deeply weird scene that's thankfully expanded upon. Uh,

811
00:46:28,920 --> 00:46:31,600
Speaker 1: there's this. There's this great scene at the campfire where

812
00:46:32,040 --> 00:46:35,480
Speaker 1: Elias and Mace are eating the meat and Mace explains,

813
00:46:35,760 --> 00:46:38,160
Speaker 1: when a man meets a man, you never know which

814
00:46:38,239 --> 00:46:40,480
Speaker 1: one will die, but when an animal meets a man,

815
00:46:40,560 --> 00:46:43,640
Speaker 1: it's always the animal that dies. I'm on the animal side.

816
00:46:44,440 --> 00:46:47,399
Speaker 1: And then Elias says, isn't that this an animal you're eating?

817
00:46:47,960 --> 00:46:52,359
Speaker 1: And Mace says, I didn't kill him, very good point. Yeah,

818
00:46:53,360 --> 00:46:59,359
Speaker 1: is road kill vegan. Possibly we Mace has a very

819
00:46:59,400 --> 00:47:02,040
Speaker 1: particular code of honor here, like he is a friend

820
00:47:02,080 --> 00:47:03,960
Speaker 1: of the animals, he is an enemy of all men.

821
00:47:04,560 --> 00:47:06,800
Speaker 1: He's not gonna go hunting animals and eating them, but

822
00:47:07,160 --> 00:47:09,600
Speaker 1: he has to eat. And so if he encounters a human,

823
00:47:09,880 --> 00:47:11,800
Speaker 1: well all men and all men are his enemy, so

824
00:47:11,920 --> 00:47:14,200
Speaker 1: he can certainly kill those men and get their food,

825
00:47:14,360 --> 00:47:16,839
Speaker 1: even if that food is an animal that had been

826
00:47:16,960 --> 00:47:19,759
Speaker 1: previously killed. But it's not long into this feast before

827
00:47:19,800 --> 00:47:23,320
Speaker 1: there's some sort of commotion outside. Um Elius is like,

828
00:47:23,400 --> 00:47:26,239
Speaker 1: it's probably animals, probably for for food, and May says,

829
00:47:26,280 --> 00:47:28,439
Speaker 1: now it's probably men looking for trouble. So they grab

830
00:47:28,480 --> 00:47:31,200
Speaker 1: their weapons, they go out there, or they start to

831
00:47:31,280 --> 00:47:33,400
Speaker 1: go out, and then here are the agents of Okron

832
00:47:33,480 --> 00:47:36,359
Speaker 1: are attacking again. They've lit some fires, and so our

833
00:47:36,400 --> 00:47:39,520
Speaker 1: heroes have to escape into the caverns. They seem trapped.

834
00:47:39,960 --> 00:47:41,520
Speaker 1: But then this is where we have that kind of

835
00:47:41,600 --> 00:47:43,359
Speaker 1: raiders at the lost dark moment where they're like, oh,

836
00:47:43,480 --> 00:47:46,080
Speaker 1: here's a snake. Uh. And this is one of the

837
00:47:46,160 --> 00:47:49,279
Speaker 1: many scenes in which Mace is guided by animals, and

838
00:47:49,400 --> 00:47:52,360
Speaker 1: so he follows the snake and they're able to escape

839
00:47:52,440 --> 00:47:56,160
Speaker 1: once more. Alias gets freaked out by the snake. But um,

840
00:47:57,160 --> 00:47:59,960
Speaker 1: but Mace explains a snake is harmless as long as

841
00:48:00,080 --> 00:48:04,719
Speaker 1: he doesn't bite you. This, of course, is in stark

842
00:48:04,760 --> 00:48:08,640
Speaker 1: contrast to Elias's slaying of a snake earlier. Yea, now

843
00:48:08,680 --> 00:48:11,480
Speaker 1: we get some of the more whimsical Claudio Semonetti music

844
00:48:11,640 --> 00:48:15,760
Speaker 1: and the scenes that follow followed by joyous music, because

845
00:48:15,800 --> 00:48:18,920
Speaker 1: first our heroes steal a dead sheep from from a

846
00:48:19,080 --> 00:48:20,839
Speaker 1: from a guy. They don't kill him that they make

847
00:48:20,880 --> 00:48:23,040
Speaker 1: off with the meat, and then they run off and

848
00:48:23,120 --> 00:48:25,400
Speaker 1: we have joyous music and they head to the this

849
00:48:25,960 --> 00:48:28,920
Speaker 1: population of cave people, and these are the folks are

850
00:48:28,920 --> 00:48:31,080
Speaker 1: going to hang out with, and they're gonna cook some

851
00:48:31,160 --> 00:48:34,360
Speaker 1: goat flesh with uh. Mace has basically got like a

852
00:48:34,920 --> 00:48:37,200
Speaker 1: sort of on and off girl friend here at the cave.

853
00:48:37,400 --> 00:48:39,160
Speaker 1: And so they're hanging out of the cave to eat

854
00:48:39,520 --> 00:48:43,359
Speaker 1: mutton and party. That's right, there's an intense meat eating

855
00:48:43,440 --> 00:48:47,960
Speaker 1: scene with another great Claudio Semonetti track going on. A

856
00:48:48,040 --> 00:48:50,120
Speaker 1: lot of scenes have you setting around the fire eating

857
00:48:50,120 --> 00:48:53,520
Speaker 1: the meat. There's an attempted seduction of Elias by one

858
00:48:53,560 --> 00:48:56,719
Speaker 1: of the cave women. But before this can go anywhere,

859
00:48:57,120 --> 00:49:00,320
Speaker 1: the agents of Okron attack once more. They kill the

860
00:49:00,440 --> 00:49:04,759
Speaker 1: human woman, they actually kill all the human denizens of

861
00:49:04,800 --> 00:49:08,480
Speaker 1: the cave, They knock a Mace out, and Elias is

862
00:49:08,560 --> 00:49:11,319
Speaker 1: taken prisoner. So there's a recurring thing in this movie

863
00:49:11,400 --> 00:49:14,800
Speaker 1: where the bad guys hit somebody over the top of

864
00:49:14,880 --> 00:49:17,520
Speaker 1: the head with the rock or over the nax or something,

865
00:49:18,120 --> 00:49:20,359
Speaker 1: and every single time it does the same thing, which

866
00:49:20,440 --> 00:49:24,960
Speaker 1: is it seems to just like completely remove the entire

867
00:49:25,280 --> 00:49:29,320
Speaker 1: top of their head in terms of skin and bone

868
00:49:29,440 --> 00:49:35,959
Speaker 1: and just like creates a perfect, perfectly exposed brain meat hemisphere. Yeah,

869
00:49:36,120 --> 00:49:40,680
Speaker 1: it's a It's one of these gory, perhaps not realistic

870
00:49:41,600 --> 00:49:44,600
Speaker 1: bits of of violence in the film, but it's very

871
00:49:44,760 --> 00:49:46,560
Speaker 1: It certainly makes an impression on you, and I think

872
00:49:46,600 --> 00:49:50,040
Speaker 1: it lines up with that idea of full cheese um

873
00:49:51,560 --> 00:49:55,320
Speaker 1: fascination with the fragility of flesh. Like one blow to

874
00:49:55,360 --> 00:49:58,200
Speaker 1: the head is just instant brain exposure in this film.

875
00:49:58,600 --> 00:50:00,919
Speaker 1: So there were a number of moments in this movie

876
00:50:00,960 --> 00:50:04,000
Speaker 1: that I found really funny. But one of the legitimate

877
00:50:04,200 --> 00:50:08,200
Speaker 1: laugh out loud ones is when Okay, everybody's been killed,

878
00:50:08,560 --> 00:50:12,840
Speaker 1: Elias is kidnapped, Mace's left alone. Things are horrible. Everything

879
00:50:12,920 --> 00:50:15,560
Speaker 1: is so grim. This this horrible kidnapping and murder has

880
00:50:15,640 --> 00:50:19,080
Speaker 1: taken place. Dark syntho music is playing, and then suddenly

881
00:50:19,280 --> 00:50:21,480
Speaker 1: Mace looks up at the sky and there's like happy

882
00:50:21,640 --> 00:50:26,239
Speaker 1: bird squawking, and it's so funny. The birds will guide him, Yeah,

883
00:50:26,360 --> 00:50:29,960
Speaker 1: the birds are his guide multiple times here and he's like, hey, birds,

884
00:50:32,480 --> 00:50:35,000
Speaker 1: well so the birds yeah, are gonna clearly take him

885
00:50:35,040 --> 00:50:39,160
Speaker 1: to Elias. Meanwhile, Elias is held captive by this whole

886
00:50:39,239 --> 00:50:43,359
Speaker 1: war band of of humans and dog men, and there's

887
00:50:43,400 --> 00:50:45,839
Speaker 1: this great scene or I thought it was great where

888
00:50:46,080 --> 00:50:48,319
Speaker 1: there there they stopped for the night and they're they're

889
00:50:48,480 --> 00:50:51,400
Speaker 1: tying Elias to the steak, and the head like the

890
00:50:51,520 --> 00:50:54,480
Speaker 1: lieutenant of the dog man comes forward and he says,

891
00:50:54,920 --> 00:50:57,759
Speaker 1: I take you to Okra and alive Okron make you die.

892
00:50:58,840 --> 00:51:01,560
Speaker 1: And then there's more Okron rule the sun and make

893
00:51:01,719 --> 00:51:04,200
Speaker 1: night and day and he and he says that's not true.

894
00:51:04,280 --> 00:51:06,200
Speaker 1: No one can rule the sun. And then the wear

895
00:51:06,320 --> 00:51:11,279
Speaker 1: of just growls. Clearly wasn't prepared for this level of

896
00:51:12,160 --> 00:51:17,040
Speaker 1: philosophical discussion. This is a fundamentalist, ochronist werewolf and he

897
00:51:17,719 --> 00:51:20,320
Speaker 1: Elias just tried to explain evolution to him, and he

898
00:51:20,400 --> 00:51:22,719
Speaker 1: did not take kindly to it. But I like how

899
00:51:22,840 --> 00:51:25,919
Speaker 1: this kind of this more than implies that Okron might act.

900
00:51:26,160 --> 00:51:28,080
Speaker 1: You know, even though she clearly is messing around with

901
00:51:28,160 --> 00:51:31,399
Speaker 1: some dark, deep magic, she may not actually control the sun.

902
00:51:31,800 --> 00:51:33,960
Speaker 1: This may also this may just be a hoax that

903
00:51:34,040 --> 00:51:38,720
Speaker 1: she's perpetrating in order to control the stone age peoples

904
00:51:38,800 --> 00:51:41,080
Speaker 1: of this land. Oh that is how I read it.

905
00:51:41,160 --> 00:51:43,120
Speaker 1: I read it as she does not actually have any

906
00:51:43,239 --> 00:51:46,160
Speaker 1: power whatsoever over the sun, and she has just convinced

907
00:51:46,239 --> 00:51:49,359
Speaker 1: people she does, right, But she clearly has some power

908
00:51:49,440 --> 00:51:51,440
Speaker 1: she's not to be messed with. And we find out

909
00:51:51,520 --> 00:51:54,440
Speaker 1: later from Mace. Like Mace is like, look, I leave

910
00:51:54,440 --> 00:51:56,560
Speaker 1: her alone. She leaves me alone. We have this whole

911
00:51:56,600 --> 00:52:00,600
Speaker 1: truce thing going on. But I mean Mace's interfering with

912
00:52:00,680 --> 00:52:04,600
Speaker 1: her business here because Mace rescues Ilius and uh rescues

913
00:52:04,680 --> 00:52:07,120
Speaker 1: him from the camp. But in this great scene where

914
00:52:07,160 --> 00:52:10,319
Speaker 1: there are dung grenades, I guess they're dung grenades. Yeah,

915
00:52:10,320 --> 00:52:13,239
Speaker 1: he's you see him grab these balls of possible dung,

916
00:52:13,320 --> 00:52:15,920
Speaker 1: wraps him in leaves and then later he's thrown him

917
00:52:15,960 --> 00:52:19,320
Speaker 1: into the dog men's campfire and causes this big explosion.

918
00:52:19,680 --> 00:52:22,600
Speaker 1: This scene has awesome music. Yeah, we get some more fighting,

919
00:52:22,840 --> 00:52:27,000
Speaker 1: so it's a successful rescue. And then but this means

920
00:52:27,040 --> 00:52:29,560
Speaker 1: that the head where Wolf, the head dog Man, has

921
00:52:29,640 --> 00:52:33,080
Speaker 1: failed and so the following scene is him being roasted

922
00:52:33,120 --> 00:52:36,520
Speaker 1: alive on a great glowing rock in Okron's layer, and

923
00:52:36,600 --> 00:52:39,279
Speaker 1: we get more terrific music on top of this. Yes,

924
00:52:39,400 --> 00:52:42,000
Speaker 1: and now there's a great part where Okron is like,

925
00:52:42,520 --> 00:52:44,880
Speaker 1: I'm gonna need some help. So what am I gonna do?

926
00:52:45,160 --> 00:52:49,239
Speaker 1: I'm going to appeal to a really evil god. Yeah,

927
00:52:49,320 --> 00:52:51,960
Speaker 1: So she goes back to the dreamtime you, back to

928
00:52:52,080 --> 00:52:56,359
Speaker 1: the furs and the snakes, and she summons the King

929
00:52:56,440 --> 00:52:59,360
Speaker 1: of Darkness, the Master of treachery, the Light of all evil.

930
00:53:00,480 --> 00:53:03,400
Speaker 1: She she reaches over and there's a dog. There's like

931
00:53:03,440 --> 00:53:07,360
Speaker 1: a wolf dog next to to where she's laying, and

932
00:53:08,280 --> 00:53:13,719
Speaker 1: she transforms, or this creature transforms into Zora, a towering

933
00:53:13,800 --> 00:53:16,920
Speaker 1: figure in black armor, who then agrees to help her,

934
00:53:17,360 --> 00:53:20,480
Speaker 1: but she must promise her soul in return. This doesn't

935
00:53:20,480 --> 00:53:23,120
Speaker 1: seem to be a big sticking point for her. She's

936
00:53:23,160 --> 00:53:25,759
Speaker 1: just like done, yeah, soul. Yeah. She's like, I've got

937
00:53:25,840 --> 00:53:28,200
Speaker 1: to get this guy taken care of, so, yes, whatever

938
00:53:28,360 --> 00:53:30,920
Speaker 1: whatever the cost. Time in so we we cut back

939
00:53:30,960 --> 00:53:34,480
Speaker 1: to to Mace and and Alias. They're discussing Okron and

940
00:53:34,800 --> 00:53:37,080
Speaker 1: and Okron is like, we we gotta, we gotta take

941
00:53:37,160 --> 00:53:39,799
Speaker 1: Okroon out. She's too powerful. She's she's she's no good.

942
00:53:39,840 --> 00:53:42,000
Speaker 1: And Mace's like, you don't want to go messing with Okron,

943
00:53:42,120 --> 00:53:45,160
Speaker 1: she's way too powerful. And I maintain this kind of

944
00:53:45,239 --> 00:53:49,600
Speaker 1: neutrality with her. Um And while they're having this discussion,

945
00:53:50,239 --> 00:53:54,439
Speaker 1: Zora attacks them. We get poison arrows ripping through the sky,

946
00:53:55,280 --> 00:53:58,160
Speaker 1: and and our heroes flee from this. They flee by raft,

947
00:53:58,239 --> 00:54:00,560
Speaker 1: but right as they're getting on the left, Elie takes

948
00:54:00,719 --> 00:54:03,880
Speaker 1: a dart in the leg and then the poison threatens

949
00:54:03,920 --> 00:54:07,000
Speaker 1: to overcome him. Wait, I'm sorry to back up just

950
00:54:07,160 --> 00:54:10,360
Speaker 1: a moment, but is this the scene where the form

951
00:54:10,520 --> 00:54:13,920
Speaker 1: that Zora takes in order to attack them is as bushes.

952
00:54:14,680 --> 00:54:17,040
Speaker 1: I didn't take it that he was the bush, but

953
00:54:17,440 --> 00:54:20,560
Speaker 1: there is some kind of like bush shaking going on. Yeah, okay,

954
00:54:20,640 --> 00:54:23,640
Speaker 1: you think he's something in the bush or I don't know.

955
00:54:23,920 --> 00:54:29,120
Speaker 1: I just thought he was the wind carrying darts of poison.

956
00:54:29,239 --> 00:54:31,680
Speaker 1: I'm not I guess I thought this was the Lord

957
00:54:31,760 --> 00:54:37,120
Speaker 1: of Darkness possessing some shrubbery and using that evil shrubbery

958
00:54:37,239 --> 00:54:40,439
Speaker 1: to shoot poison darts at our heroes, and it could

959
00:54:40,480 --> 00:54:44,520
Speaker 1: be a powerful divine or infernal entities have been known

960
00:54:44,600 --> 00:54:56,320
Speaker 1: to speak through vegetation. Well, anyway, Ilius is hit with

961
00:54:56,400 --> 00:54:59,719
Speaker 1: a poisoned dart here and then full cheese, like, let's

962
00:54:59,719 --> 00:55:03,520
Speaker 1: get a look at that. Yeah, let's spend some time

963
00:55:04,200 --> 00:55:09,560
Speaker 1: on these uh, these these pus oozing sores, blood oozing sores.

964
00:55:10,560 --> 00:55:15,480
Speaker 1: As Elias arrivees with fever and delirium. We just spend

965
00:55:15,520 --> 00:55:19,800
Speaker 1: a lot of time watching these these sores, uh swell

966
00:55:19,960 --> 00:55:22,920
Speaker 1: up and then erupt. And there's a whole sequence after this.

967
00:55:23,120 --> 00:55:26,000
Speaker 1: This that's pretty great. But Mace has to go retrieve

968
00:55:26,080 --> 00:55:30,000
Speaker 1: a medicinal herb that will cure the poison that's in

969
00:55:30,080 --> 00:55:33,040
Speaker 1: Ilius's blood now, but in order to do so, he

970
00:55:33,080 --> 00:55:34,960
Speaker 1: has to fight his way through a whole bunch of

971
00:55:35,160 --> 00:55:38,960
Speaker 1: bog zombies. And this part is great. Some of the

972
00:55:39,080 --> 00:55:43,080
Speaker 1: zombies are a little less human than others, or some

973
00:55:43,200 --> 00:55:45,919
Speaker 1: are just kind of like decaying human corpses. But there's

974
00:55:45,960 --> 00:55:47,600
Speaker 1: some rob I don't know if you noticed this that

975
00:55:47,760 --> 00:55:50,920
Speaker 1: like sort of don't have faces, Like their heads are

976
00:55:50,960 --> 00:55:54,400
Speaker 1: just sort of a big lobe. Yeah, yeah, these are

977
00:55:54,600 --> 00:55:57,200
Speaker 1: these are fultry zombies, and you know he's going to

978
00:55:57,280 --> 00:55:59,879
Speaker 1: deliver when it comes to the undead. This is also

979
00:56:00,040 --> 00:56:03,600
Speaker 1: scene that has just maximum smoke machine and and soft focus,

980
00:56:04,080 --> 00:56:07,160
Speaker 1: so at times it's it's it's all. It's almost difficult

981
00:56:07,360 --> 00:56:09,360
Speaker 1: to make out exactly what's happening. But still there's some

982
00:56:09,400 --> 00:56:12,200
Speaker 1: great zombie slang action. You definitely get to see some

983
00:56:12,360 --> 00:56:15,560
Speaker 1: zombie juice is splurting. But Mace does make it all

984
00:56:15,600 --> 00:56:19,120
Speaker 1: the way back with the medicinal herb uh, though there's

985
00:56:19,280 --> 00:56:21,400
Speaker 1: there's a little bit of a twist before before we

986
00:56:21,480 --> 00:56:24,480
Speaker 1: get the treatment here, right, that's right, because we see

987
00:56:24,520 --> 00:56:28,399
Speaker 1: Mace arrived back at Elias and uh and Macey's maze

988
00:56:28,480 --> 00:56:30,040
Speaker 1: is like, all right, I'm here, I'm gonna give it

989
00:56:30,120 --> 00:56:32,120
Speaker 1: to you, and then he lifts up a rock like

990
00:56:32,200 --> 00:56:35,279
Speaker 1: he's gonna smash Elias with it. But then no, we

991
00:56:35,440 --> 00:56:37,960
Speaker 1: realize this is an evil double of Mace. The real

992
00:56:38,120 --> 00:56:41,000
Speaker 1: Mace shows up and we have a mirror match. The

993
00:56:41,120 --> 00:56:44,799
Speaker 1: fake Mace is brandishing a wooden club and real Mace

994
00:56:44,920 --> 00:56:47,040
Speaker 1: is of course using the most stone bone nun chucks

995
00:56:47,320 --> 00:56:50,680
Speaker 1: and we get a fun fight scene here. Eventually, legit

996
00:56:50,840 --> 00:56:55,280
Speaker 1: Mace has his double pinned down, and the double reveals

997
00:56:55,320 --> 00:57:00,000
Speaker 1: itself as Zora, the black armored entity from another dimension

998
00:57:00,000 --> 00:57:03,319
Speaker 1: and or whatever, and then Zora vanishes and laughs, Yeah,

999
00:57:03,360 --> 00:57:06,480
Speaker 1: the Mace versus Mace fight scene is great. But Mace,

1000
00:57:06,840 --> 00:57:10,279
Speaker 1: the real Mace, prevails and Ilius is nursed back to

1001
00:57:10,400 --> 00:57:13,120
Speaker 1: health by Mace putting these little like leaves all over

1002
00:57:13,239 --> 00:57:16,720
Speaker 1: his skin and uh. And then basically Ilius is like,

1003
00:57:16,800 --> 00:57:20,000
Speaker 1: all right, piece out, I'm the sea. Later, I'm gonna

1004
00:57:20,040 --> 00:57:22,280
Speaker 1: go get back on my boat and go across the

1005
00:57:22,360 --> 00:57:26,000
Speaker 1: ocean and go back to our our nice, peaceful farming community.

1006
00:57:26,640 --> 00:57:28,960
Speaker 1: And Mace is like, that's a great decision. You should

1007
00:57:29,040 --> 00:57:31,800
Speaker 1: definitely do that. He tries to give him his boat, don't.

1008
00:57:31,800 --> 00:57:34,840
Speaker 1: He's like, here, you love violence, you should use this. Yeah,

1009
00:57:34,960 --> 00:57:37,080
Speaker 1: And he's like now this, he says, this weapon is

1010
00:57:37,120 --> 00:57:40,360
Speaker 1: still too dangerous for this land. So Mace is very reasonable,

1011
00:57:40,400 --> 00:57:43,280
Speaker 1: like he was. He turns down the one ring here.

1012
00:57:43,640 --> 00:57:47,440
Speaker 1: That's right, so that the part ways. Yeah. Meanwhile, back

1013
00:57:47,520 --> 00:57:51,560
Speaker 1: in Oakran's layers, Zora assures, Okrun, look, it's gonna be done.

1014
00:57:51,600 --> 00:57:53,320
Speaker 1: I'm gonna take care of it. He's not gonna live

1015
00:57:53,440 --> 00:57:56,960
Speaker 1: much longer, but she and she's she does he seems

1016
00:57:56,960 --> 00:57:58,360
Speaker 1: to sort of doubt this a little bit, and she's

1017
00:57:58,440 --> 00:58:00,680
Speaker 1: very insistent, like, look, he needs to die. The archer

1018
00:58:00,760 --> 00:58:05,320
Speaker 1: needs to die because of my visions. So at this point, yeah,

1019
00:58:05,360 --> 00:58:08,800
Speaker 1: Elias has seemingly set off to return to his his land.

1020
00:58:09,320 --> 00:58:12,520
Speaker 1: Mace is marching on his own business. I'm not sure

1021
00:58:12,520 --> 00:58:14,600
Speaker 1: where he's going, but he's headed that way. He's going

1022
00:58:14,640 --> 00:58:19,200
Speaker 1: through a rocky coastal region and suddenly there are these moaning,

1023
00:58:19,560 --> 00:58:24,560
Speaker 1: chirping creatures amidst the rocks. Um they are. They are strange.

1024
00:58:24,600 --> 00:58:27,000
Speaker 1: They are kind of difficult to describe. I was gonna

1025
00:58:27,360 --> 00:58:30,959
Speaker 1: describe them as a bunch of pit pats from Mr. Show,

1026
00:58:31,120 --> 00:58:34,360
Speaker 1: but just covered in cobwebs. Yeah, they're kind of like

1027
00:58:34,600 --> 00:58:39,160
Speaker 1: cobweb covered more locks with big glassy green eyes. But

1028
00:58:39,320 --> 00:58:42,320
Speaker 1: there I think they're I mean, they're obviously not real.

1029
00:58:42,440 --> 00:58:44,240
Speaker 1: You don't look at these creatures and say, like, oh,

1030
00:58:44,600 --> 00:58:47,160
Speaker 1: real organisms, what are they? No, No, these are these

1031
00:58:47,160 --> 00:58:50,920
Speaker 1: are obviously movie monsters. But there's there's a level of

1032
00:58:51,000 --> 00:58:54,760
Speaker 1: detail to these guys that I thought was really impressive.

1033
00:58:54,840 --> 00:58:58,120
Speaker 1: Like I I buy them as impressive movie monsters. They

1034
00:58:58,200 --> 00:59:01,000
Speaker 1: have some sort of strange life going on here in

1035
00:59:01,080 --> 00:59:03,960
Speaker 1: the rocks and now they're jumping out and they're coming

1036
00:59:04,000 --> 00:59:07,240
Speaker 1: after Mace, grabbing at his ankles, saying take it from me,

1037
00:59:07,840 --> 00:59:13,040
Speaker 1: I love you. They do have weird voices. They get

1038
00:59:13,080 --> 00:59:17,160
Speaker 1: a net over him, and then the lead web morlock

1039
00:59:17,520 --> 00:59:20,640
Speaker 1: creature here says, whereas your friend, And he's like, I

1040
00:59:20,680 --> 00:59:22,600
Speaker 1: don't have any friends. I'm Mace, and he's like, do

1041
00:59:22,640 --> 00:59:27,000
Speaker 1: you lie? I will make you tell me. Yeah. It's

1042
00:59:27,040 --> 00:59:31,120
Speaker 1: kind of robot computer voice and it. Yeah. Meanwhile, Elias

1043
00:59:31,240 --> 00:59:33,640
Speaker 1: is out on the boat headed home, but he's he's

1044
00:59:33,640 --> 00:59:38,080
Speaker 1: having doubts. He's having some voiceover doubts that are reminding

1045
00:59:38,200 --> 00:59:41,120
Speaker 1: him that his is a path of courage and sacrifice.

1046
00:59:41,480 --> 00:59:43,680
Speaker 1: So what does he do. He turns the boat around,

1047
00:59:43,720 --> 00:59:46,479
Speaker 1: he looks up, he sees birds and he's like, those

1048
00:59:46,560 --> 00:59:49,840
Speaker 1: birds will take me to Mace. That's right. Yeah, remember

1049
00:59:49,880 --> 00:59:54,080
Speaker 1: what Santa Zeus said, you will be courage and a man.

1050
00:59:54,760 --> 00:59:57,480
Speaker 1: And so he's he's back into the action. Yeah, and

1051
00:59:57,600 --> 01:00:00,160
Speaker 1: it really the movie just gets crazier and crazier from

1052
01:00:00,200 --> 01:00:03,320
Speaker 1: here on out. Um. You know, obviously Mace doesn't snitch

1053
01:00:03,440 --> 01:00:07,240
Speaker 1: to these cobweb morelock creatures. Um. He also may be

1054
01:00:07,320 --> 01:00:10,640
Speaker 1: wrestling with the notion of human friends and what it

1055
01:00:10,720 --> 01:00:14,000
Speaker 1: means to have a friend. But the creatures intend to

1056
01:00:14,040 --> 01:00:16,600
Speaker 1: make him die in water. They've lashed him to some

1057
01:00:16,800 --> 01:00:21,240
Speaker 1: cross beams. But then Elias shows up, and Elias has

1058
01:00:21,320 --> 01:00:23,840
Speaker 1: now mastered the true power of the Bow of Chronos.

1059
01:00:24,080 --> 01:00:26,800
Speaker 1: He is no longer afraid, so when he pulls back

1060
01:00:27,680 --> 01:00:30,880
Speaker 1: the string, he's able to cause the bow to glow

1061
01:00:31,360 --> 01:00:35,080
Speaker 1: with like laser energy and shoot laser arrows for everyone.

1062
01:00:35,440 --> 01:00:38,240
Speaker 1: It's powerful now. I have to note that it is

1063
01:00:38,320 --> 01:00:41,720
Speaker 1: also in the in the Conan the Barbarian movie that

1064
01:00:41,800 --> 01:00:45,920
Speaker 1: Conan gets crucified, and that's Trvie Mace gets crucified. I

1065
01:00:46,000 --> 01:00:48,920
Speaker 1: don't think that's a coincidence. But a big difference is

1066
01:00:48,960 --> 01:00:51,640
Speaker 1: that Conan gets crucified in the desert, and here Mace's

1067
01:00:51,680 --> 01:00:55,560
Speaker 1: crucified on the shoreline and his cross tumbles into the

1068
01:00:55,600 --> 01:00:59,000
Speaker 1: water like he's cruizy. He he's attached to the beams

1069
01:00:59,440 --> 01:01:02,400
Speaker 1: and he falls into the surf. That's right lucky for

1070
01:01:02,760 --> 01:01:05,560
Speaker 1: for Mace, though, he's got friends underwater as well, because

1071
01:01:06,040 --> 01:01:10,040
Speaker 1: then the dolphins show up and the dolphins start breaking

1072
01:01:10,120 --> 01:01:13,720
Speaker 1: his bonds. They start freeing him from the cross. Literally,

1073
01:01:13,760 --> 01:01:16,800
Speaker 1: the dolphins are chewing the ropes off of his wrists

1074
01:01:17,000 --> 01:01:19,320
Speaker 1: to free him. I love this, Like if you could

1075
01:01:20,000 --> 01:01:23,560
Speaker 1: just another level of like late seventies early eighties weirdness

1076
01:01:23,640 --> 01:01:26,800
Speaker 1: to have the dolphins show up, uh to totally unexpected

1077
01:01:26,840 --> 01:01:29,480
Speaker 1: in this film and save the day. Okay, So maceon

1078
01:01:29,560 --> 01:01:33,200
Speaker 1: Elias are back together, um and uh, it's there's gotta

1079
01:01:33,200 --> 01:01:36,440
Speaker 1: be a showdown, right right. They realize now Okron has

1080
01:01:36,520 --> 01:01:39,000
Speaker 1: to go, like, we're both united on this front. Now

1081
01:01:39,120 --> 01:01:41,360
Speaker 1: we're both brave about it. We both realized there's no

1082
01:01:41,440 --> 01:01:43,920
Speaker 1: other way around it. So they set out that way

1083
01:01:44,000 --> 01:01:46,960
Speaker 1: towards her mountain. But they realize, well, it's better to

1084
01:01:47,000 --> 01:01:49,080
Speaker 1: travel by night because we don't want to go across

1085
01:01:49,120 --> 01:01:51,600
Speaker 1: all this open ground during the daytime. So they set

1086
01:01:51,680 --> 01:01:54,520
Speaker 1: up camp. But of course the freaks come out at night.

1087
01:01:55,120 --> 01:01:58,720
Speaker 1: Elias is pulled into the ground by these claws that

1088
01:01:58,840 --> 01:02:01,600
Speaker 1: come out of the earth. He's pulled into dark caverns

1089
01:02:01,680 --> 01:02:05,240
Speaker 1: by Okron's minions. Mace goes after him, but then we

1090
01:02:05,320 --> 01:02:07,120
Speaker 1: get this scene where it's just lots of claws and

1091
01:02:07,280 --> 01:02:10,200
Speaker 1: red eyes in the dark. There's blue and black combat.

1092
01:02:10,960 --> 01:02:15,800
Speaker 1: Mace eventually overcomes his attackers. This scene, you you cannot

1093
01:02:15,840 --> 01:02:19,480
Speaker 1: see what is happening in this scene. It's just some

1094
01:02:19,680 --> 01:02:24,720
Speaker 1: blurry dark shapes moving around, but there was there is

1095
01:02:24,760 --> 01:02:29,720
Speaker 1: an extremely hilarious part where bats start attacking Mace. I

1096
01:02:29,800 --> 01:02:32,680
Speaker 1: revealed this earlier. The bats started attacking him, and he

1097
01:02:32,760 --> 01:02:35,880
Speaker 1: whips out his nun chucks and starts screaming at the

1098
01:02:35,960 --> 01:02:38,840
Speaker 1: bats as he like whirls it around above his head.

1099
01:02:39,240 --> 01:02:41,360
Speaker 1: But then he seems to realize, oh, they're bats. I'm

1100
01:02:41,360 --> 01:02:43,320
Speaker 1: a friend of all animals, and then the bats kind

1101
01:02:43,360 --> 01:02:46,640
Speaker 1: of guide him out. Yeah. Yeah, But then tragedy because

1102
01:02:46,840 --> 01:02:48,760
Speaker 1: he's moving along through the cavern. It seems like the

1103
01:02:49,560 --> 01:02:52,040
Speaker 1: surface is just ahead, there's light, but then there's a

1104
01:02:52,120 --> 01:02:55,360
Speaker 1: dripping of blood on his shoulder. He looks up and

1105
01:02:55,520 --> 01:02:58,880
Speaker 1: there is Elias, his headless body hanging from the ceiling,

1106
01:02:59,240 --> 01:03:02,480
Speaker 1: dripping blood down on him. That's right, folks, our young

1107
01:03:02,600 --> 01:03:08,640
Speaker 1: hero is dead, like really dead like heads shocking. Yeah,

1108
01:03:09,480 --> 01:03:12,640
Speaker 1: so we get the same where Zora, the Black Armor

1109
01:03:12,960 --> 01:03:17,520
Speaker 1: demon being from beyond, brings this this head to to

1110
01:03:17,640 --> 01:03:21,360
Speaker 1: Okron and she says, while his flesh is still warm,

1111
01:03:21,440 --> 01:03:24,480
Speaker 1: I shall open his temple of secrets and devour him. So,

1112
01:03:24,560 --> 01:03:26,280
Speaker 1: in other words, it's it's time to eat it. Eat

1113
01:03:26,320 --> 01:03:29,440
Speaker 1: the head's brains, but before she can strike, she like

1114
01:03:29,520 --> 01:03:31,800
Speaker 1: gets the striker to bash open the skull like she

1115
01:03:31,920 --> 01:03:34,600
Speaker 1: did earlier. But then the eyes of the head open,

1116
01:03:35,080 --> 01:03:37,760
Speaker 1: and she says, Zora, you idiot. Shouldn't say you idiot,

1117
01:03:37,760 --> 01:03:39,680
Speaker 1: but says, Zora, you have slain his body, but not

1118
01:03:39,840 --> 01:03:42,560
Speaker 1: his soul. And she realized that she's still in danger

1119
01:03:42,680 --> 01:03:44,800
Speaker 1: from the omen. I don't know what that means. How

1120
01:03:45,080 --> 01:03:48,120
Speaker 1: was she how was he supposed to slay Ilius's soul?

1121
01:03:48,400 --> 01:03:50,000
Speaker 1: I don't know. It's magic stuff. We're not we're not

1122
01:03:50,080 --> 01:03:52,600
Speaker 1: meant to understand the ways of wizards. But she seems

1123
01:03:52,600 --> 01:03:55,480
Speaker 1: pretty convinced that, like, you didn't really pull this off,

1124
01:03:55,560 --> 01:03:57,880
Speaker 1: because look, the eyes on this head opened. There is

1125
01:03:57,960 --> 01:04:02,520
Speaker 1: a scene where Mace burns the rest of Ilius's body,

1126
01:04:02,760 --> 01:04:06,919
Speaker 1: and uh, full cheese, Like, let's get a look at that. Yeah,

1127
01:04:07,120 --> 01:04:11,160
Speaker 1: let's watch all of this. Um, you know, I think

1128
01:04:11,200 --> 01:04:13,200
Speaker 1: he realized that a lot of times when a body

1129
01:04:13,360 --> 01:04:16,200
Speaker 1: is burned in emotion picture, you don't really get to

1130
01:04:16,320 --> 01:04:19,600
Speaker 1: see everything that happens. So this movie make sure to

1131
01:04:19,960 --> 01:04:23,720
Speaker 1: show you everything from the initial licking of the flames

1132
01:04:23,760 --> 01:04:27,160
Speaker 1: across the body to the melting of the fat and finally,

1133
01:04:27,240 --> 01:04:30,360
Speaker 1: the charring of the skeleton itself. At the risk of

1134
01:04:30,480 --> 01:04:35,480
Speaker 1: reaching I'd say the cinematography here actually seems kind of interesting,

1135
01:04:35,640 --> 01:04:41,000
Speaker 1: especially when compared to the convention within existing Peppler movies

1136
01:04:41,160 --> 01:04:45,280
Speaker 1: of spending just lots of time lingering over the immensely

1137
01:04:45,560 --> 01:04:48,920
Speaker 1: mountainously fleshed bodies of the of the heroes, where you're

1138
01:04:48,960 --> 01:04:52,520
Speaker 1: just like panning over their gleaming muscles. Uh. Here, you're

1139
01:04:52,640 --> 01:04:57,000
Speaker 1: panning over the bones as all the flesh has been removed. Yeah, yeah,

1140
01:04:57,040 --> 01:04:58,960
Speaker 1: and this is this is something that Robert A. Rushing

1141
01:04:59,080 --> 01:05:01,120
Speaker 1: spends a fair amount time in the in the book

1142
01:05:01,160 --> 01:05:06,680
Speaker 1: talking about, Yeah, the rendering, the annihilation of the hero

1143
01:05:06,920 --> 01:05:10,080
Speaker 1: body in this film. And then Mace has left, like

1144
01:05:10,200 --> 01:05:13,520
Speaker 1: Mace has taken pretty hard. And then Mace decides that

1145
01:05:13,600 --> 01:05:16,880
Speaker 1: he will avenge Jimmy, like swears to avenge Elius, and

1146
01:05:17,000 --> 01:05:19,800
Speaker 1: he covers his body in the smeared ashes of his

1147
01:05:19,960 --> 01:05:23,160
Speaker 1: dead friend. And so now we're on a collision course.

1148
01:05:23,400 --> 01:05:27,240
Speaker 1: It's Mace versus Okron. Uh. These two are going to battle.

1149
01:05:27,680 --> 01:05:31,160
Speaker 1: Um two may enter, only one can survive. I was

1150
01:05:31,200 --> 01:05:34,160
Speaker 1: surprised how quickly this battle was over. Mace shows up

1151
01:05:34,240 --> 01:05:37,400
Speaker 1: and now he's wielding Elias's bow, the bow of Kronos

1152
01:05:37,800 --> 01:05:40,840
Speaker 1: and using the multi shot lasers, and he just he

1153
01:05:40,960 --> 01:05:44,000
Speaker 1: just gets it done really quick. Yeah, so the way

1154
01:05:44,040 --> 01:05:47,360
Speaker 1: it goes down Okron with Zora by her side, she

1155
01:05:47,440 --> 01:05:49,880
Speaker 1: comes once more to those goat hurting people. She's got

1156
01:05:49,960 --> 01:05:52,600
Speaker 1: to do the rising of the Sun ritual to keep

1157
01:05:52,680 --> 01:05:55,640
Speaker 1: you know, this con going. But then yeah, Mace shows up.

1158
01:05:55,920 --> 01:05:59,240
Speaker 1: He opposes her on an opposite peak. He calls for

1159
01:05:59,360 --> 01:06:02,200
Speaker 1: the bow, it comes to him, and then Zora just

1160
01:06:02,320 --> 01:06:05,320
Speaker 1: kind of like turns and looks at Okron and just vanishes.

1161
01:06:05,400 --> 01:06:07,880
Speaker 1: He just like completely pieces out. It's like one of

1162
01:06:07,960 --> 01:06:11,760
Speaker 1: those memes where like Homer is fading into the shrubbery

1163
01:06:12,360 --> 01:06:15,520
Speaker 1: or or or the kid is just a slowly vanishing.

1164
01:06:16,560 --> 01:06:18,600
Speaker 1: Zora is like, I just remember to have to go

1165
01:06:18,680 --> 01:06:23,720
Speaker 1: return to videotapes. So Zora's gone. Okern sends her warriors

1166
01:06:23,760 --> 01:06:26,320
Speaker 1: after after Mace, but he's got the laser arrows now,

1167
01:06:26,400 --> 01:06:29,280
Speaker 1: so he just takes them out. She teleports back to

1168
01:06:29,360 --> 01:06:32,760
Speaker 1: her layer, but then Mace shoots a laser arrow through

1169
01:06:32,880 --> 01:06:36,360
Speaker 1: the side of the mountain which destroys her golden helm,

1170
01:06:36,920 --> 01:06:40,960
Speaker 1: which reveals that she has this wretched, uh like monster face.

1171
01:06:41,040 --> 01:06:45,120
Speaker 1: Like a hag's face underneath. Then Mace teleports into the

1172
01:06:45,200 --> 01:06:47,560
Speaker 1: layer somehow, I guess, with the power of the bow

1173
01:06:47,720 --> 01:06:51,640
Speaker 1: and vengeance uh and cinematography uh. And he's in the

1174
01:06:51,720 --> 01:06:54,080
Speaker 1: layer now, and so he draws back the bow once more,

1175
01:06:54,480 --> 01:06:58,120
Speaker 1: finishes her off with another laser arrow, completing the prophecy.

1176
01:06:58,200 --> 01:07:00,320
Speaker 1: It seems more or less like her her own visions

1177
01:07:00,320 --> 01:07:03,000
Speaker 1: of her own death earlier in the film. And then oh,

1178
01:07:03,240 --> 01:07:06,400
Speaker 1: this is this is the perhaps the most amazing uh

1179
01:07:06,960 --> 01:07:11,040
Speaker 1: demise of a villain ever an emotion picture, because yeah,

1180
01:07:11,120 --> 01:07:13,760
Speaker 1: he appears. He finishes off with a laser arrow, she

1181
01:07:13,960 --> 01:07:18,520
Speaker 1: falls to the misty floor, the music intensifies, and then

1182
01:07:19,120 --> 01:07:23,320
Speaker 1: then she transforms into a wolf dog, very very much

1183
01:07:23,400 --> 01:07:27,680
Speaker 1: like the wolf dog that she transformed into Zorah earlier

1184
01:07:27,720 --> 01:07:31,560
Speaker 1: in the picture. That wolf dog runs off with another

1185
01:07:31,640 --> 01:07:35,320
Speaker 1: wolf into the wilderness, and then Mace two strides off

1186
01:07:35,360 --> 01:07:39,080
Speaker 1: into the wilds as the sun rises once more. Just

1187
01:07:39,720 --> 01:07:44,280
Speaker 1: a weird, weird ending, but also feels like it's resonating

1188
01:07:44,360 --> 01:07:48,080
Speaker 1: with some sort of hidden ful chy mystery. Beautiful, beautiful,

1189
01:07:48,480 --> 01:07:51,439
Speaker 1: So did you interpret that as she's not actually killed,

1190
01:07:51,560 --> 01:07:54,800
Speaker 1: she just becomes a wolf, don't. I Mean, there's a

1191
01:07:54,880 --> 01:07:58,320
Speaker 1: lot going on in this movie with the relationship between

1192
01:07:58,480 --> 01:08:01,520
Speaker 1: humans and animals. Uh. I mean we have Mace who

1193
01:08:01,640 --> 01:08:04,280
Speaker 1: is the friend of animals, and Elias doesn't really understand

1194
01:08:04,360 --> 01:08:06,520
Speaker 1: this and has to sort of learn how to trust

1195
01:08:06,560 --> 01:08:11,280
Speaker 1: the animals. There's the fact that Okron uses like her

1196
01:08:11,320 --> 01:08:14,960
Speaker 1: minions are all wearing like beast masks or have become

1197
01:08:15,080 --> 01:08:18,800
Speaker 1: part beast. She uses a wolf for a dog to

1198
01:08:18,920 --> 01:08:22,679
Speaker 1: transform and manifest Zora. Then she turns into a dog

1199
01:08:22,800 --> 01:08:26,920
Speaker 1: or wolf when she dies. Uh. Yeah, there's it's it's strange,

1200
01:08:27,200 --> 01:08:31,519
Speaker 1: UM's it's it's weird stuff. I love it. I feel

1201
01:08:31,560 --> 01:08:34,120
Speaker 1: like there's some sort of there's some sort of hidden

1202
01:08:34,160 --> 01:08:38,000
Speaker 1: meaning behind all of this. There's some sort of like

1203
01:08:38,200 --> 01:08:42,200
Speaker 1: untranslated scripture beneath all of these strange images. Let us

1204
01:08:42,280 --> 01:08:46,120
Speaker 1: turn now to the Book of Okron, chapter three, verse fourteen.

1205
01:08:46,720 --> 01:08:48,840
Speaker 1: I don't know what happens next, Like, is Mace going

1206
01:08:48,880 --> 01:08:50,800
Speaker 1: to go explain what happened to the people or are

1207
01:08:50,800 --> 01:08:52,760
Speaker 1: they just really freaking out because they think the sun

1208
01:08:53,280 --> 01:08:56,559
Speaker 1: isn't gonna complete it's rising now or if it sets again,

1209
01:08:56,600 --> 01:08:59,000
Speaker 1: it's never gonna come up. But Mace probably doesn't care.

1210
01:08:59,040 --> 01:09:02,479
Speaker 1: He's not a friend of all humans. He's all humans

1211
01:09:02,520 --> 01:09:04,720
Speaker 1: are his enemies. He's more concerned with the animals. Do

1212
01:09:04,840 --> 01:09:07,519
Speaker 1: you think Mace has become more friendly to humans in

1213
01:09:07,640 --> 01:09:10,280
Speaker 1: general by the end? I think so. I think yeah.

1214
01:09:10,320 --> 01:09:13,040
Speaker 1: I think his friendship with Elias changed him. I think

1215
01:09:13,080 --> 01:09:14,800
Speaker 1: we see growth in his character. I think think we

1216
01:09:14,800 --> 01:09:16,920
Speaker 1: see growth in both their characters. Yeah, it could have

1217
01:09:16,960 --> 01:09:19,280
Speaker 1: been a sequel. Oh, you can't have a sequel to

1218
01:09:20,080 --> 01:09:24,000
Speaker 1: film this perfect like. They nailed it. They absolutely nailed it. Uh.

1219
01:09:24,080 --> 01:09:26,640
Speaker 1: There's a fun bit on the the the interview with

1220
01:09:27,600 --> 01:09:30,200
Speaker 1: Rivera where they're talking he was talking about filming this

1221
01:09:30,320 --> 01:09:32,519
Speaker 1: and how about how how much of a perfectionist fult

1222
01:09:32,600 --> 01:09:34,840
Speaker 1: she was. How he'd have the entire crew with him

1223
01:09:35,000 --> 01:09:38,240
Speaker 1: and there on this um, this this Italian island that's

1224
01:09:38,280 --> 01:09:40,280
Speaker 1: normally a vacation island, but this was in the winter,

1225
01:09:40,479 --> 01:09:42,840
Speaker 1: is the off season, and they'd march out into the

1226
01:09:42,880 --> 01:09:46,479
Speaker 1: middle of nowhere and he'd go, no, no, this isn't right.

1227
01:09:46,600 --> 01:09:48,519
Speaker 1: Let's keep going. And so they keep marching and they

1228
01:09:48,560 --> 01:09:51,679
Speaker 1: get to some new location. Then he go, now they'll

1229
01:09:51,720 --> 01:09:54,640
Speaker 1: go back to the other place. They march back and

1230
01:09:54,800 --> 01:09:59,320
Speaker 1: filmed there. Um. So it seems like he put a

1231
01:09:59,520 --> 01:10:01,240
Speaker 1: but a lot of a lot of energy into this one,

1232
01:10:01,280 --> 01:10:03,880
Speaker 1: and I think maybe some of it from what I understand,

1233
01:10:03,960 --> 01:10:06,919
Speaker 1: some of his later films were marred by by illness.

1234
01:10:07,840 --> 01:10:10,000
Speaker 1: But and then of course there were with films of

1235
01:10:10,080 --> 01:10:13,360
Speaker 1: this caliber, they're all always budget arey issues. But uh,

1236
01:10:13,640 --> 01:10:16,960
Speaker 1: this one, it feels it feels very complete. I feel

1237
01:10:17,040 --> 01:10:20,240
Speaker 1: like this again, there's some sort of hidden scripture behind

1238
01:10:20,280 --> 01:10:24,200
Speaker 1: this film leaking in from another dimension. All right, we're

1239
01:10:24,200 --> 01:10:26,320
Speaker 1: gonna go and close it out there, But obviously we'd

1240
01:10:26,360 --> 01:10:30,960
Speaker 1: love to hear from everyone. Do you have memories of Conquest? Um? Certainly?

1241
01:10:30,960 --> 01:10:33,439
Speaker 1: Have you ever saw this in the theater? Uh, you're

1242
01:10:33,760 --> 01:10:35,920
Speaker 1: having to catch this one onto straight back in the

1243
01:10:36,000 --> 01:10:38,720
Speaker 1: day or something. Let us know, Um, if you have

1244
01:10:38,880 --> 01:10:41,919
Speaker 1: memories of seeing it on VHS or various DVD releases

1245
01:10:41,960 --> 01:10:45,160
Speaker 1: over the years, or thoughts on other folkty films. Uh, yeah,

1246
01:10:45,320 --> 01:10:47,559
Speaker 1: right in, we'd love to hear from you. In the meantime,

1247
01:10:48,000 --> 01:10:50,080
Speaker 1: if you would like to follow all the movies we've

1248
01:10:50,120 --> 01:10:52,680
Speaker 1: covered on Weird House Cinema, you can go to letterbox

1249
01:10:52,920 --> 01:10:54,920
Speaker 1: dot com. It's L E T T E R B

1250
01:10:55,040 --> 01:10:57,879
Speaker 1: O x D. We have a we have an account

1251
01:10:57,920 --> 01:11:00,240
Speaker 1: on there just called weird House and you and find

1252
01:11:00,280 --> 01:11:02,200
Speaker 1: a list of all the movies that we've covered so far,

1253
01:11:02,560 --> 01:11:05,519
Speaker 1: and you can see like some wonderful visualizations of those

1254
01:11:05,960 --> 01:11:09,920
Speaker 1: those those box arts. You can sort them by decade

1255
01:11:10,120 --> 01:11:12,360
Speaker 1: and by order of release and so forth. And we

1256
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Speaker 1: also have links to the individual episodes there, and I

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Speaker 1: also blog about these individual episodes at Samuta music dot com.

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Speaker 1: I'll be sure to embed the Claudio Semonetti music on

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Speaker 1: that post. Hues thanks as always to our excellent audio

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Speaker 1: producer Seth Nicholas Johnson. If you would like to get

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Speaker 1: in touch with us with feedback on this episode or

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Speaker 1: any other, to suggest a topic for the future, or

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Speaker 1: just to say hello, you can email us at contact

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Speaker 1: at stuff to Blow your Mind dot com. Stuff to

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Speaker 1: Blow Your Mind is production of I Heart Radio. For

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Speaker 1: more podcasts for my heart Radio, visit the i heart

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Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

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Speaker 1: favorite shows.