1
00:00:04,320 --> 00:00:08,000
Speaker 1: Hey, you, welcome to Weird House Cinema. Rewind, we have

2
00:00:08,039 --> 00:00:10,240
Speaker 1: a fun one here for you today. This one originally

3
00:00:10,320 --> 00:00:12,880
Speaker 1: published three twenty eight, twenty twenty five. It is the

4
00:00:13,000 --> 00:00:18,640
Speaker 1: nineteen sixty five Mexican female werewolf film Leloba, also known

5
00:00:18,680 --> 00:00:22,760
Speaker 1: as The She Wolf. I'm a big fan of this movie.

6
00:00:23,280 --> 00:00:26,279
Speaker 1: I really hope more people watch it, and you know,

7
00:00:26,360 --> 00:00:30,520
Speaker 1: fingers crossed, it's my secret hope that out there, somewhere

8
00:00:30,520 --> 00:00:33,400
Speaker 1: in the world there's a pristine copy of this, something

9
00:00:33,440 --> 00:00:35,800
Speaker 1: that can be restored so we can get an even

10
00:00:35,880 --> 00:00:38,440
Speaker 1: better quality version of this out in the world. This

11
00:00:38,600 --> 00:00:40,880
Speaker 1: was fitting because we're also going to get it back

12
00:00:40,920 --> 00:00:44,080
Speaker 1: into a little more were wolf action on this Friday's

13
00:00:44,159 --> 00:00:47,960
Speaker 1: brand new episode of Weird House Cinema. So without further ado,

14
00:00:48,040 --> 00:00:48,960
Speaker 1: let's jump right in.

15
00:00:52,360 --> 00:00:58,640
Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

16
00:01:02,880 --> 00:01:05,920
Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb

17
00:01:06,200 --> 00:01:09,640
Speaker 1: and this is Joe McCormick. This week we are returning

18
00:01:09,720 --> 00:01:13,640
Speaker 1: to the wild world of Mexican cinema. Six episodes ago,

19
00:01:13,720 --> 00:01:16,680
Speaker 1: we watched a non lucha vampire film in the form

20
00:01:16,720 --> 00:01:19,919
Speaker 1: of nineteen sixty two's The Brainiac and so it feels

21
00:01:19,920 --> 00:01:23,000
Speaker 1: fitting that today's episode is a werewolf movie, and not

22
00:01:23,160 --> 00:01:27,360
Speaker 1: just any werewolf movie. It's widely considered the first Mexican

23
00:01:27,400 --> 00:01:32,800
Speaker 1: werewolf film. Nineteen sixty five's La Loba or The she Wolf.

24
00:01:33,080 --> 00:01:36,160
Speaker 3: Really the first one in nineteen sixty five, huh.

25
00:01:35,959 --> 00:01:40,160
Speaker 1: Yeah, yeah yeah, So to give that a little context

26
00:01:41,200 --> 00:01:45,480
Speaker 1: in comparison just to the wider cinematic tradition, nineteen thirteen's

27
00:01:45,680 --> 00:01:49,680
Speaker 1: The Werewolf, which is now presumed to be lost in

28
00:01:49,680 --> 00:01:52,600
Speaker 1: one of the studio fires. The Werewolf from nineteen thirteen

29
00:01:52,680 --> 00:01:55,760
Speaker 1: is considered to be the very first werewolf film period,

30
00:01:56,280 --> 00:02:00,080
Speaker 1: and interestingly enough, it too centers around a female werewolf.

31
00:02:01,520 --> 00:02:05,120
Speaker 1: So I've been wanting to cover some sort of female

32
00:02:05,160 --> 00:02:09,280
Speaker 1: werewolf movie for a while here. Most of your werewolf films,

33
00:02:10,000 --> 00:02:13,760
Speaker 1: they tend to employ some sort of a male, hyper

34
00:02:13,840 --> 00:02:16,160
Speaker 1: masculine werewolf. We'll get into some of this in a bit,

35
00:02:16,800 --> 00:02:19,000
Speaker 1: And looking around, it's like some of the possibilities for

36
00:02:19,160 --> 00:02:22,079
Speaker 1: like a female centered werewolf film, I mean, there are

37
00:02:22,080 --> 00:02:26,120
Speaker 1: some standouts. Ginger Snaps is often held up as a

38
00:02:26,200 --> 00:02:30,680
Speaker 1: kind of a classic of its own sort. There's nineteen

39
00:02:30,720 --> 00:02:34,320
Speaker 1: seventy six is Werewolf Woman starring Anique Borel, which is

40
00:02:34,400 --> 00:02:38,000
Speaker 1: pretty great if you're looking for grindhouse ridiculousness. And then,

41
00:02:38,040 --> 00:02:40,320
Speaker 1: of course, female werewolves also play into a number of

42
00:02:40,400 --> 00:02:43,400
Speaker 1: really good lik in films. Joe Dante is the Howling

43
00:02:43,480 --> 00:02:46,320
Speaker 1: for one. Even two thousand and seven's Trick or Treat

44
00:02:46,360 --> 00:02:48,480
Speaker 1: has some really cool female werewolves in one of its

45
00:02:48,520 --> 00:02:52,840
Speaker 1: sequences if I remember correctly, Yeah for my money. However,

46
00:02:53,200 --> 00:02:56,160
Speaker 1: none of these films are as great as a Lolova. Lalova,

47
00:02:56,320 --> 00:02:59,080
Speaker 1: I think, does a great job of telling its own

48
00:02:59,120 --> 00:03:05,920
Speaker 1: little mad science infused Gothic horror tale with lots of

49
00:03:05,919 --> 00:03:09,840
Speaker 1: werewolf intrigue and just some terrifying sequences.

50
00:03:09,840 --> 00:03:13,720
Speaker 3: In general, I have some real questions about the backstory

51
00:03:13,760 --> 00:03:18,440
Speaker 3: in this movie. There are hints as to where the

52
00:03:18,440 --> 00:03:20,520
Speaker 3: were wolves came from, or i'd say more than hints.

53
00:03:20,520 --> 00:03:23,440
Speaker 3: It is strongly suggested where the were wolves came from,

54
00:03:23,840 --> 00:03:28,520
Speaker 3: but we're not exactly told, and there are elements that

55
00:03:28,639 --> 00:03:31,440
Speaker 3: don't really fit with other elements of the story, like

56
00:03:32,160 --> 00:03:36,880
Speaker 3: it is suggested that doctor Bernstein's research is what created

57
00:03:37,080 --> 00:03:40,680
Speaker 3: the two main werewolves in this movie, but also there's

58
00:03:40,720 --> 00:03:44,600
Speaker 3: a character who seems to have pursued a werewolf around

59
00:03:44,680 --> 00:03:48,120
Speaker 3: the world searching for revenge, and that doesn't fit with

60
00:03:48,160 --> 00:03:50,640
Speaker 3: the Bernstein thing. So I don't know what's going on,

61
00:03:50,760 --> 00:03:54,320
Speaker 3: but I kind of like the ambiguity, as I often do.

62
00:03:54,400 --> 00:03:57,600
Speaker 3: And maybe I'm on record saying this about enough films

63
00:03:57,640 --> 00:04:00,160
Speaker 3: at this point that it's just a part of what

64
00:04:00,200 --> 00:04:02,160
Speaker 3: my taste is, but I kind of like it when

65
00:04:02,200 --> 00:04:04,520
Speaker 3: it's not exactly clear what the backstory is.

66
00:04:05,240 --> 00:04:08,320
Speaker 1: Yeah, this film does have its ambiguity about it, and

67
00:04:08,760 --> 00:04:11,640
Speaker 1: I want to drive home that the tone is pretty

68
00:04:11,680 --> 00:04:15,600
Speaker 1: serious and ultimately quite grizzly and grim, especially for the

69
00:04:15,640 --> 00:04:18,760
Speaker 1: time period. This is not, again, not a luchador or

70
00:04:18,880 --> 00:04:23,120
Speaker 1: luchadora movie. Nobody in a shining mask is going to

71
00:04:23,160 --> 00:04:24,400
Speaker 1: show up and save the day.

72
00:04:25,200 --> 00:04:28,520
Speaker 3: No, though more loosely defined, there is a good bit

73
00:04:28,560 --> 00:04:31,039
Speaker 3: of wrestling in it. It doesn't have like all the

74
00:04:31,080 --> 00:04:34,320
Speaker 3: definable moves that you see in a Luca film, even

75
00:04:34,360 --> 00:04:38,240
Speaker 3: the Luca genre crossovers, but it does have a lot

76
00:04:38,320 --> 00:04:40,560
Speaker 3: of like grappling and rolling around.

77
00:04:41,000 --> 00:04:43,400
Speaker 1: Yeah. Yeah, there is a brawl towards the end of

78
00:04:43,440 --> 00:04:46,760
Speaker 1: the picture that I look forward to talking about. And

79
00:04:46,800 --> 00:04:51,400
Speaker 1: while it is not strongly Luca in its vibe, there's

80
00:04:51,400 --> 00:04:54,200
Speaker 1: a little Luca sprinkled in there, I mean, it was unavoidable.

81
00:04:54,800 --> 00:04:56,640
Speaker 1: So yeah, we'll come back to that in a bit.

82
00:04:57,440 --> 00:05:00,280
Speaker 1: Coming back to the female werewolf aspect of the movie,

83
00:05:00,520 --> 00:05:03,440
Speaker 1: We've had plenty of tales of female wear wolves, you know,

84
00:05:03,680 --> 00:05:07,520
Speaker 1: dating back hundreds of years and so forth, but again,

85
00:05:07,600 --> 00:05:11,360
Speaker 1: male likingthropes often receive more attention. I'm currently reading a

86
00:05:11,360 --> 00:05:14,760
Speaker 1: book titled she Wolf, A Cultural History of Female Werewolves

87
00:05:14,760 --> 00:05:17,240
Speaker 1: that it did by Hannah Priest, and one thing it

88
00:05:17,279 --> 00:05:20,600
Speaker 1: points out is that we can often so there's sort

89
00:05:20,600 --> 00:05:23,880
Speaker 1: of like two ways. There's one primary way you tend

90
00:05:24,080 --> 00:05:27,880
Speaker 1: to see where wolf tales in general handled, and that

91
00:05:28,000 --> 00:05:32,839
Speaker 1: is to trace it back to humanity's prehistoric history, the

92
00:05:32,880 --> 00:05:37,160
Speaker 1: domestication of wild wolves, our relationship with wild wolves, looking

93
00:05:37,160 --> 00:05:40,200
Speaker 1: at wild wolves, and so forth. But one thing that

94
00:05:40,480 --> 00:05:42,960
Speaker 1: the authors in this book point out is that you

95
00:05:43,000 --> 00:05:46,280
Speaker 1: can also, perhaps more even more accurately, look at where

96
00:05:46,320 --> 00:05:51,360
Speaker 1: wolf tales is something that really emerged specifically during an

97
00:05:51,400 --> 00:05:56,520
Speaker 1: agricultural era. So narratives in which a male landowner is threatened,

98
00:05:56,960 --> 00:05:59,440
Speaker 1: in the case of a male werewolf, by a dangerous

99
00:05:59,480 --> 00:06:03,200
Speaker 1: outside and in the case of female werewolves, by a

100
00:06:03,240 --> 00:06:07,320
Speaker 1: threat within his own house or community. And as we'll

101
00:06:07,320 --> 00:06:10,800
Speaker 1: discuss it's notable, you know, perhaps by accident, that today's

102
00:06:10,800 --> 00:06:13,960
Speaker 1: film Loloba manages to reflect both of these models, the

103
00:06:14,000 --> 00:06:17,080
Speaker 1: werewolf as a threatening outsider and the werewolf as some

104
00:06:17,120 --> 00:06:20,760
Speaker 1: sort of interior threat within the family or social unit.

105
00:06:21,200 --> 00:06:22,200
Speaker 3: Oh that's interesting.

106
00:06:22,279 --> 00:06:25,440
Speaker 1: Yeah, another thing I want to say, and we'll come

107
00:06:25,480 --> 00:06:27,200
Speaker 1: back to this as well as we can get into

108
00:06:27,320 --> 00:06:31,560
Speaker 1: the specifics from the film, But cinematic werewolf visions are always,

109
00:06:31,560 --> 00:06:34,160
Speaker 1: I think, a careful balancing act. How are you going

110
00:06:34,200 --> 00:06:37,120
Speaker 1: to stylishly deliver on a concept that is, in many

111
00:06:37,120 --> 00:06:41,039
Speaker 1: ways like deeply rooted in the human psyche, but do

112
00:06:41,120 --> 00:06:43,839
Speaker 1: it in a believable way, make us buy into it

113
00:06:43,920 --> 00:06:47,359
Speaker 1: with our heart, but also with our skepticism, you know.

114
00:06:48,480 --> 00:06:52,320
Speaker 1: And so werewolf effects can absolutely connect with us on

115
00:06:52,360 --> 00:06:54,760
Speaker 1: a primal level in a picture, but they can also

116
00:06:54,920 --> 00:06:57,719
Speaker 1: flounder and fail, and we see that occur at pretty

117
00:06:57,760 --> 00:07:00,839
Speaker 1: much every budget and artistry level. You know, you can

118
00:07:00,920 --> 00:07:03,760
Speaker 1: throw millions and millions of dollars at your werewolf effects

119
00:07:04,120 --> 00:07:07,200
Speaker 1: and it doesn't mean I'm necessarily going to buy it.

120
00:07:07,200 --> 00:07:08,119
Speaker 1: It's a fine line.

121
00:07:08,839 --> 00:07:11,000
Speaker 3: Well, yeah, and that's drue on multiple levels. I mean,

122
00:07:11,040 --> 00:07:13,800
Speaker 3: in one sense, that's true of basically any monster design.

123
00:07:13,960 --> 00:07:15,640
Speaker 3: Like we've talked on the show before, I think this

124
00:07:15,720 --> 00:07:18,480
Speaker 3: came up in our episode on the Thing from Another World,

125
00:07:18,560 --> 00:07:23,720
Speaker 3: where the presence of the monster is way more than

126
00:07:23,800 --> 00:07:26,360
Speaker 3: just the monster makeup or the monster suit. It's very

127
00:07:26,440 --> 00:07:29,400
Speaker 3: much in how it is framed, how it is lit,

128
00:07:29,760 --> 00:07:31,840
Speaker 3: how much of it you get to see, and in

129
00:07:31,880 --> 00:07:36,040
Speaker 3: what context, the kind of management of music and tension

130
00:07:36,120 --> 00:07:38,440
Speaker 3: and all these things in the lead up to our

131
00:07:38,480 --> 00:07:41,200
Speaker 3: glimpse of it on the screen. So in the context

132
00:07:41,240 --> 00:07:43,840
Speaker 3: of a movie, in a story, a monster is a

133
00:07:43,880 --> 00:07:47,240
Speaker 3: lot more than just you know, it's costume design. So yeah,

134
00:07:47,240 --> 00:07:50,640
Speaker 3: you can have cheaper costumes or cheaper makeup effects that

135
00:07:50,680 --> 00:07:53,480
Speaker 3: can be used quite well, and vice versa. But I

136
00:07:53,560 --> 00:07:55,480
Speaker 3: think maybe part of what you were getting at is

137
00:07:55,520 --> 00:07:59,200
Speaker 3: that there's something about the werewolf in particular, this kind

138
00:07:59,240 --> 00:08:02,160
Speaker 3: of difficult cult to manage in this way. Some movies

139
00:08:02,200 --> 00:08:06,200
Speaker 3: really do pull it off well, but it's just a

140
00:08:06,280 --> 00:08:10,720
Speaker 3: kind of monster design that's maybe harder, not as easy

141
00:08:10,760 --> 00:08:11,120
Speaker 3: as some.

142
00:08:11,840 --> 00:08:15,120
Speaker 1: Yeah, And it's made me think about one of the

143
00:08:15,160 --> 00:08:19,320
Speaker 1: reasons that I find myself preferring like an actor ensued

144
00:08:19,360 --> 00:08:23,680
Speaker 1: effect as opposed to CGI stop motion animatronics. And to

145
00:08:23,720 --> 00:08:26,360
Speaker 1: be clear, there are plenty of examples of CGI stop

146
00:08:26,520 --> 00:08:29,760
Speaker 1: motion and animatronic werewolves that I very much enjoy. But

147
00:08:29,840 --> 00:08:34,080
Speaker 1: I think maybe you know, like I've been reading about

148
00:08:34,240 --> 00:08:37,080
Speaker 1: the various traditions that entail the use of a specific

149
00:08:37,120 --> 00:08:40,760
Speaker 1: animals that have pelt in a werewolf transformation, or the

150
00:08:40,840 --> 00:08:43,520
Speaker 1: taking on of an animal's skin or human bodies that

151
00:08:43,559 --> 00:08:47,480
Speaker 1: are revealed when the skin of the wolf falls away

152
00:08:47,600 --> 00:08:50,840
Speaker 1: or is peeled away from the defeated monster. And of

153
00:08:50,840 --> 00:08:53,160
Speaker 1: course this goes beyond just were wolf myths, but also

154
00:08:53,360 --> 00:08:57,760
Speaker 1: like various transformation into animals and transformation of animals into

155
00:08:57,840 --> 00:09:01,680
Speaker 1: humans that you find in various traditions. So I wonder

156
00:09:01,760 --> 00:09:04,240
Speaker 1: if it is important on some level, maybe even a

157
00:09:04,240 --> 00:09:07,200
Speaker 1: crucial level, to understand that we're looking at a person

158
00:09:07,320 --> 00:09:10,480
Speaker 1: in a werewolf costume, at a human dressed in a skin,

159
00:09:11,000 --> 00:09:16,360
Speaker 1: you know, tying into a ritualistic embodiment and shamanistic transformation

160
00:09:16,840 --> 00:09:20,160
Speaker 1: underlying like the power of cinema in these instances. I'm

161
00:09:20,200 --> 00:09:22,920
Speaker 1: not saying that it's its heat all cinema, but maybe

162
00:09:22,960 --> 00:09:27,280
Speaker 1: for just werewolf pictures, it's like a shamanistic act where

163
00:09:27,720 --> 00:09:31,040
Speaker 1: we're viewing there is a sacredness to watching someone like

164
00:09:31,160 --> 00:09:34,400
Speaker 1: Lon Jenny Junior or Paul Nashi perform their art.

165
00:09:34,880 --> 00:09:36,760
Speaker 3: Yes, I can see what you're saying. So like the

166
00:09:36,880 --> 00:09:40,400
Speaker 3: versions of Werewolf design that look more clearly like a

167
00:09:40,440 --> 00:09:45,240
Speaker 3: person in a furry suit have a more religious feeling,

168
00:09:45,360 --> 00:09:48,000
Speaker 3: a kind of ancient mythical feeling, than the ones where

169
00:09:48,000 --> 00:09:53,080
Speaker 3: somebody is just fully transformed into a convincing canine morph,

170
00:09:53,280 --> 00:09:56,560
Speaker 3: like where it's just a human covered in fur that

171
00:09:56,640 --> 00:09:59,320
Speaker 3: feels more like a priest donning an animal skin to

172
00:09:59,360 --> 00:10:00,520
Speaker 3: do some kind of ritual.

173
00:10:00,920 --> 00:10:02,839
Speaker 1: Yeah, or when the person just turns into a full

174
00:10:02,880 --> 00:10:05,040
Speaker 1: blown German shepherd right there on the screen, which we've

175
00:10:05,080 --> 00:10:05,720
Speaker 1: seen before.

176
00:10:06,679 --> 00:10:08,959
Speaker 3: I might come back to more about how this movie's

177
00:10:09,000 --> 00:10:11,960
Speaker 3: form of where Wolf fits more into into movie history,

178
00:10:12,000 --> 00:10:13,559
Speaker 3: but maybe later in the plot section.

179
00:10:14,160 --> 00:10:17,360
Speaker 1: All right, moving on to elevator pitch. Mine is simply

180
00:10:17,720 --> 00:10:19,600
Speaker 1: house of usher, but make it wear wolves.

181
00:10:19,800 --> 00:10:25,920
Speaker 3: Yep, there's some weird family energy here, like arriving at

182
00:10:25,960 --> 00:10:31,120
Speaker 3: a cursed mansion and somebody's you know, a suitor is

183
00:10:31,160 --> 00:10:35,800
Speaker 3: there to marry various family members. There are actually multiple versions.

184
00:10:36,040 --> 00:10:38,480
Speaker 3: I was thinking of it as if this were a

185
00:10:38,520 --> 00:10:40,920
Speaker 3: click whole article, it would be quiz which of my

186
00:10:41,000 --> 00:10:42,520
Speaker 3: garbage wolf daughters are you.

187
00:10:44,360 --> 00:10:47,120
Speaker 1: That's good too, all right, So, as far as I know,

188
00:10:47,240 --> 00:10:49,400
Speaker 1: there's not a trailer for this picture, So maybe we'll

189
00:10:49,440 --> 00:10:51,160
Speaker 1: just get a little taste of some of the Spanish

190
00:10:51,200 --> 00:11:01,600
Speaker 1: dialogue becan Tropia.

191
00:11:02,840 --> 00:11:11,319
Speaker 4: See that's pro number in Lobo in love, lascha existential

192
00:11:16,480 --> 00:11:20,480
Speaker 4: pinotsmo no I can think about.

193
00:11:26,040 --> 00:11:28,960
Speaker 1: All right, if you would like to see nineteen sixty

194
00:11:28,960 --> 00:11:31,640
Speaker 1: five's La Loba, first of all, just make sure you're

195
00:11:31,880 --> 00:11:34,360
Speaker 1: if you're looking for Lo Loba or she Wolf, make

196
00:11:34,360 --> 00:11:36,600
Speaker 1: sure you're throwing that nineteen sixty five because these titles

197
00:11:36,600 --> 00:11:37,360
Speaker 1: have been used a lot.

198
00:11:37,960 --> 00:11:38,080
Speaker 4: Uh.

199
00:11:38,280 --> 00:11:41,839
Speaker 1: There are some DVDs floating around, but I can't speak

200
00:11:41,880 --> 00:11:44,080
Speaker 1: to their quality. I think if I had to do

201
00:11:44,120 --> 00:11:46,440
Speaker 1: it over again, I would have gone out of my

202
00:11:46,440 --> 00:11:48,160
Speaker 1: way to try and get my hands on one of

203
00:11:48,160 --> 00:11:50,800
Speaker 1: these DVDs on just the chance that the quality could

204
00:11:50,800 --> 00:11:53,920
Speaker 1: be a little better. Because we had to depend on

205
00:11:54,040 --> 00:11:58,040
Speaker 1: like archive dot org and some other streaming options, they're

206
00:11:58,080 --> 00:12:01,120
Speaker 1: just there. There's not a high qual quality physical release

207
00:12:01,160 --> 00:12:03,559
Speaker 1: out there as far as I can tell, and I

208
00:12:03,600 --> 00:12:06,080
Speaker 1: would love to see such a release occur in the

209
00:12:06,120 --> 00:12:07,280
Speaker 1: future for this movie.

210
00:12:07,600 --> 00:12:10,480
Speaker 3: Oh yeah, Crisp Blu ray of this would be really nice.

211
00:12:10,679 --> 00:12:13,640
Speaker 3: I would love to see what treasures there are in

212
00:12:13,679 --> 00:12:16,240
Speaker 3: all the corners of the frame. Even the version we

213
00:12:16,240 --> 00:12:19,000
Speaker 3: were watching, I think, which seems like the best streaming

214
00:12:19,040 --> 00:12:22,040
Speaker 3: option out there, it's kind of cropped, like you can't

215
00:12:22,080 --> 00:12:26,280
Speaker 3: see the full frame, and it's certainly a little bit

216
00:12:26,320 --> 00:12:29,839
Speaker 3: fuzzy around the edges everywhere. So yeah, if you're out

217
00:12:29,880 --> 00:12:31,480
Speaker 3: there and you can get the rights to this thing,

218
00:12:31,559 --> 00:12:34,000
Speaker 3: please release in the highest quality possible.

219
00:12:34,240 --> 00:12:36,880
Speaker 1: Yeah, because I mean, this film does have its following.

220
00:12:36,920 --> 00:12:40,200
Speaker 1: It's considered a cult classic in many regards. It just

221
00:12:40,200 --> 00:12:50,520
Speaker 1: needs a better releases off. All right, let's get into

222
00:12:50,520 --> 00:12:53,400
Speaker 1: the people behind this picture. Starting at the top with

223
00:12:53,440 --> 00:12:58,760
Speaker 1: the director. It's Rafael Baldon, who live nineteen nineteen through

224
00:12:58,880 --> 00:13:04,080
Speaker 1: nineteen ninety four, Mexican Golden Age actor, director, screenwriter and producer,

225
00:13:04,360 --> 00:13:08,040
Speaker 1: whose nineteen fifty seven film The Savages was nominated for

226
00:13:08,080 --> 00:13:11,200
Speaker 1: a Golden Lion at the Venice Film Festival. This is

227
00:13:11,280 --> 00:13:13,960
Speaker 1: just one of several horror movies that he directed, including

228
00:13:14,040 --> 00:13:17,360
Speaker 1: nineteen fifty seven's Swamp of the Lost Monster, which has

229
00:13:17,400 --> 00:13:20,880
Speaker 1: a little creature from the Black Lagoon action going on there,

230
00:13:21,240 --> 00:13:24,760
Speaker 1: nineteen fifty nine's The Man and the Monster. In nineteen

231
00:13:24,760 --> 00:13:27,640
Speaker 1: sixty three, he's the Curse of the Crying Woman. Both

232
00:13:27,679 --> 00:13:31,040
Speaker 1: of these two man and the Monstering Crying Woman. Those

233
00:13:31,120 --> 00:13:34,000
Speaker 1: had Abel Salazar in them, who was in the Brainiac.

234
00:13:34,480 --> 00:13:37,199
Speaker 1: He also did nineteen sixty four's Museum of Horror and

235
00:13:37,320 --> 00:13:40,200
Speaker 1: nineteen sixty nine's per Verse Doll. Oh.

236
00:13:40,240 --> 00:13:42,720
Speaker 3: I just realized we've talked about Swamp of the Lost

237
00:13:42,760 --> 00:13:45,800
Speaker 3: Monster before. I think it was in chat one time,

238
00:13:45,880 --> 00:13:49,400
Speaker 3: because it's one of the great examples of like mismatch

239
00:13:49,520 --> 00:13:52,480
Speaker 3: between what the monster looks like on the poster versus

240
00:13:52,480 --> 00:13:56,480
Speaker 3: in the movie. On the poster, well, you're getting in

241
00:13:56,480 --> 00:13:58,920
Speaker 3: the classic the Tour Johnson framing where the monster is

242
00:13:58,960 --> 00:14:02,720
Speaker 3: carrying an unconscious woman and the monster looks like a

243
00:14:02,800 --> 00:14:06,840
Speaker 3: cross between the brain Mutant from This Island Earth and

244
00:14:07,080 --> 00:14:11,319
Speaker 3: Kiff from Futurama. But in fact, in the movie it

245
00:14:11,400 --> 00:14:15,360
Speaker 3: is like it looks like a killer clownfish. I guess

246
00:14:14,960 --> 00:14:19,080
Speaker 3: it looks like a weird little fish with teeth going eh,

247
00:14:19,480 --> 00:14:21,920
Speaker 3: nothing like it. And also there's another poster for this

248
00:14:22,040 --> 00:14:24,680
Speaker 3: movie that is boring as all get out, doesn't have

249
00:14:24,760 --> 00:14:26,600
Speaker 3: the monster on it and instead it's just like a

250
00:14:26,640 --> 00:14:29,680
Speaker 3: cowboy on horseback. Why would you make that your your

251
00:14:29,760 --> 00:14:30,880
Speaker 3: Monster Movie poster.

252
00:14:31,840 --> 00:14:34,240
Speaker 1: I don't know. Maybe in some markets you were going

253
00:14:34,280 --> 00:14:37,400
Speaker 1: more for the Cowboy film crowd as a post of

254
00:14:37,440 --> 00:14:38,680
Speaker 1: the Monster movie film crowd.

255
00:14:38,720 --> 00:14:41,960
Speaker 3: I don't know. Well, having seen Loloba, now I'm impressed

256
00:14:42,040 --> 00:14:44,160
Speaker 3: enough that I do want to seek out these other movies.

257
00:14:44,800 --> 00:14:47,840
Speaker 1: All right, Moving on to the story and screenplay credit,

258
00:14:47,880 --> 00:14:51,760
Speaker 1: we have Raman o'ban, who lived nineteen sixteen through nineteen

259
00:14:51,800 --> 00:14:55,320
Speaker 1: sixty five, costa Rican born writer whose credits include a

260
00:14:55,400 --> 00:15:00,320
Speaker 1: number of lucha horror western in action films, including With

261
00:15:00,320 --> 00:15:04,160
Speaker 1: the Lost Monster nineteen fifty eight's The Vampire's Coffin with

262
00:15:04,240 --> 00:15:07,720
Speaker 1: Abel Salazar, nineteen fifty nine's The Black Pit of Doctor

263
00:15:07,920 --> 00:15:11,800
Speaker 1: m Perverse Doll, nineteen seventy six is Santo versus The

264
00:15:11,840 --> 00:15:14,400
Speaker 1: She Wolves, Oh, which yeah, we had to have some

265
00:15:14,520 --> 00:15:17,840
Speaker 1: lady were wolves in that as well, seventy seven's The

266
00:15:17,880 --> 00:15:21,160
Speaker 1: Black Widow. And he also directed nineteen sixty five's one

267
00:15:21,240 --> 00:15:25,000
Speaker 1: hundred Cries of Terror. Just one hundred, just one hundred.

268
00:15:25,000 --> 00:15:26,960
Speaker 1: I mean, you know, you have to fit it all

269
00:15:27,000 --> 00:15:31,920
Speaker 1: within a certain run time. But yeah, he's the historian

270
00:15:31,960 --> 00:15:34,200
Speaker 1: screenplay credit here, and I have to say I think

271
00:15:34,200 --> 00:15:37,600
Speaker 1: it's a nice amalgam of gothic horror and mad science

272
00:15:38,160 --> 00:15:41,440
Speaker 1: with a kind of like provincial Mexican feel to it

273
00:15:41,480 --> 00:15:44,080
Speaker 1: as well, like almost a folk car vibe.

274
00:15:44,520 --> 00:15:47,240
Speaker 3: When does this movie take place?

275
00:15:48,360 --> 00:15:49,520
Speaker 1: That is a great question.

276
00:15:49,920 --> 00:15:54,320
Speaker 3: Definitely riding around in carts, yeah, like horse strong buggies.

277
00:15:54,880 --> 00:15:57,000
Speaker 3: I don't think we ever see a motor car in

278
00:15:57,040 --> 00:16:01,240
Speaker 3: the film. And yet there are industrial there's like a

279
00:16:01,320 --> 00:16:03,880
Speaker 3: walk in freezer and microscopes and.

280
00:16:03,880 --> 00:16:07,480
Speaker 1: The most advanced microscope. We were looking at it. It

281
00:16:07,560 --> 00:16:09,840
Speaker 1: just looks like a standard microscope, but we're told it's

282
00:16:09,920 --> 00:16:12,920
Speaker 1: very good. All right. Well, let's move on to the cast.

283
00:16:13,400 --> 00:16:17,560
Speaker 1: And this film concerns the Fernandez family, so let's meet

284
00:16:17,600 --> 00:16:20,840
Speaker 1: the Fernandezes here. First of all, we have the patriarch

285
00:16:20,880 --> 00:16:24,280
Speaker 1: of the Fernandez family, a brilliant scientist working in the

286
00:16:24,320 --> 00:16:31,680
Speaker 1: field of metaplasia. This is Professor Fernandez, played by Jose Eleas. Moreno,

287
00:16:32,760 --> 00:16:36,160
Speaker 1: ladies and gentlemen, it's Mexico Santa Claus himself. This is

288
00:16:36,200 --> 00:16:39,920
Speaker 1: the guy who played Santa Claus in Santa Claus, which

289
00:16:39,960 --> 00:16:42,600
Speaker 1: we previously talked about on Weird House Cinema. That film

290
00:16:42,640 --> 00:16:43,840
Speaker 1: was just six years earlier.

291
00:16:44,200 --> 00:16:48,000
Speaker 3: I thought he seemed familiar. Now, wouldn't it have been

292
00:16:48,040 --> 00:16:51,120
Speaker 3: horrible if the Santa Claus movie ended with him getting

293
00:16:51,200 --> 00:16:53,240
Speaker 3: mauled by a werewolf played them this one.

294
00:16:53,680 --> 00:16:58,120
Speaker 1: Yeah, that would have been tough for the kids for sure. Yeah,

295
00:16:58,120 --> 00:17:00,120
Speaker 1: he does not have a beard in this film. I

296
00:17:00,120 --> 00:17:01,640
Speaker 1: don't think he had a beard in real life. He

297
00:17:01,680 --> 00:17:05,280
Speaker 1: does have a mustache, as does I think every male

298
00:17:05,520 --> 00:17:09,880
Speaker 1: actor in the picture, So you can't really tell anybody

299
00:17:09,920 --> 00:17:11,840
Speaker 1: apart purely based on their facial hair.

300
00:17:12,080 --> 00:17:13,320
Speaker 3: Oops, all mustaches.

301
00:17:13,600 --> 00:17:14,919
Speaker 1: Yeah.

302
00:17:15,400 --> 00:17:15,480
Speaker 3: So.

303
00:17:16,560 --> 00:17:20,400
Speaker 1: Moreno was an Aerial Award winning character actor, largely known

304
00:17:20,440 --> 00:17:24,080
Speaker 1: outside of the Santa Claus role for playing heavies and

305
00:17:24,200 --> 00:17:28,080
Speaker 1: sometimes villains. His other credits include nineteen fifty two is

306
00:17:28,119 --> 00:17:31,560
Speaker 1: the Magnificent Beast, This is the one. He was awarded

307
00:17:31,600 --> 00:17:34,639
Speaker 1: an Aerial Award for nineteen sixty nine's Night of the

308
00:17:34,680 --> 00:17:38,040
Speaker 1: Bloody Apes, and he also played an ogre in Renee

309
00:17:38,040 --> 00:17:41,840
Speaker 1: Cardona's nineteen fifty eight movie pol Brisito. I think it's

310
00:17:41,840 --> 00:17:43,560
Speaker 1: great for me to finally see him in something other

311
00:17:43,600 --> 00:17:46,040
Speaker 1: than Santa Claus, which I've seen so many times, because

312
00:17:46,280 --> 00:17:49,200
Speaker 1: I think he's really good here. It's a very expressive performance.

313
00:17:51,000 --> 00:17:53,879
Speaker 1: He's not a villain, but he's I guess, kind of

314
00:17:53,920 --> 00:17:57,080
Speaker 1: a morally complicated character at the center of things here.

315
00:17:57,359 --> 00:18:03,040
Speaker 3: Well, he's a cursed, troubled man who has maybe turned

316
00:18:03,040 --> 00:18:05,960
Speaker 3: his daughter into a werewolf or just happens to be

317
00:18:06,040 --> 00:18:09,840
Speaker 3: working on werewolf related research. Meanwhile, one of his colleagues

318
00:18:09,880 --> 00:18:11,800
Speaker 3: fell in love with his daughter and turned her into

319
00:18:11,840 --> 00:18:13,240
Speaker 3: a were wolf. Which one is it?

320
00:18:13,520 --> 00:18:17,800
Speaker 1: We don't know, but he seems to hold a great

321
00:18:17,800 --> 00:18:21,160
Speaker 1: deal of guilt in this. Is it because he created

322
00:18:21,160 --> 00:18:24,600
Speaker 1: the lacanthropy that is in his daughter or daughters we

323
00:18:24,640 --> 00:18:27,359
Speaker 1: don't know early on in the picture, or is it

324
00:18:27,760 --> 00:18:31,400
Speaker 1: because he's aware of it and like out of perhaps

325
00:18:31,520 --> 00:18:34,600
Speaker 1: a bit out of like professional pride and also out

326
00:18:34,600 --> 00:18:36,879
Speaker 1: of love for his daughters, thinks that he can cure it,

327
00:18:37,320 --> 00:18:39,720
Speaker 1: even if deep down he knows that he cannot and

328
00:18:39,720 --> 00:18:43,320
Speaker 1: should have put a different stop to things earlier. You know,

329
00:18:43,400 --> 00:18:48,919
Speaker 1: it's all left rather ambiguous now. A note on the

330
00:18:48,960 --> 00:18:52,240
Speaker 1: Aerial Awards, by the way, I've mentioned them in passing

331
00:18:52,240 --> 00:18:54,040
Speaker 1: on the show before, and I'm gonna mention them several

332
00:18:54,040 --> 00:18:57,000
Speaker 1: times here, but I'm not sure we've ever stopped to

333
00:18:57,000 --> 00:18:59,719
Speaker 1: define this for those not familiar. These are, in some

334
00:18:59,720 --> 00:19:02,480
Speaker 1: ways the oscars of Mexican cinema, and they've been going

335
00:19:02,520 --> 00:19:05,800
Speaker 1: on since nineteen forty six. All right, so sticking with

336
00:19:05,840 --> 00:19:09,280
Speaker 1: the Fernandez family here, we're going to move on to

337
00:19:09,440 --> 00:19:14,160
Speaker 1: Marcella de Fernandez. This is Professor Fernandez's wife and mother

338
00:19:14,600 --> 00:19:19,520
Speaker 1: to his two daughters, played by Columba Dominguez. She lived

339
00:19:19,600 --> 00:19:23,520
Speaker 1: nineteen twenty nine through twenty fourteen Mexican actress, best known

340
00:19:23,720 --> 00:19:28,000
Speaker 1: for the nineteen forty nine film Maclovia, for which she

341
00:19:28,080 --> 00:19:31,760
Speaker 1: won the Best Supporting Actress Ariel Award. Frequently worked with

342
00:19:32,480 --> 00:19:36,400
Speaker 1: Roberto Conedo, and once co starred with Japanese acting legend

343
00:19:36,680 --> 00:19:40,000
Speaker 1: to Shira Mafuni in nineteen sixty one's The Important Man,

344
00:19:40,320 --> 00:19:41,840
Speaker 1: which was nominated for an Oscar.

345
00:19:42,880 --> 00:19:43,080
Speaker 3: Now.

346
00:19:43,119 --> 00:19:46,399
Speaker 1: I will say it was rather confusing at times because

347
00:19:46,480 --> 00:19:49,040
Speaker 1: mom in this picture does not look any older than

348
00:19:49,080 --> 00:19:52,880
Speaker 1: her daughter's. In fact, the actress here playing the mom

349
00:19:53,000 --> 00:19:55,200
Speaker 1: is only six years older than one of the actresses

350
00:19:55,240 --> 00:19:56,879
Speaker 1: playing one of the daughters.

351
00:19:57,160 --> 00:20:00,480
Speaker 3: I also found that confusing the first this time I

352
00:20:00,560 --> 00:20:04,000
Speaker 3: watched it, I was mighty confused by the family relationships,

353
00:20:04,119 --> 00:20:08,760
Speaker 3: especially because there is I believe intentional misdirection at first

354
00:20:08,800 --> 00:20:11,600
Speaker 3: on which one of the daughters is the werewolf.

355
00:20:12,000 --> 00:20:14,760
Speaker 1: Right, Yeah, this film, we've kind of already spoiled to

356
00:20:14,760 --> 00:20:17,680
Speaker 1: a certain extent. This film is sort of a werewolf

357
00:20:17,680 --> 00:20:20,399
Speaker 1: who'd done it, But I have to say doesn't lean

358
00:20:20,560 --> 00:20:24,720
Speaker 1: heavily enough on that gimmick to where it's it's absolutely necessary.

359
00:20:24,840 --> 00:20:26,840
Speaker 3: It's only a werewolf who'd done it for like twenty

360
00:20:26,920 --> 00:20:29,360
Speaker 3: or thirty minutes at most. Yeah, I mean you get

361
00:20:29,400 --> 00:20:31,600
Speaker 3: to the who way before the end.

362
00:20:31,960 --> 00:20:35,160
Speaker 1: Yes, all right, Now getting to the daughters, the Fernandez daughters,

363
00:20:35,160 --> 00:20:38,919
Speaker 1: We're going to start with Claressa Fernandez, played by Kitty

364
00:20:39,080 --> 00:20:43,159
Speaker 1: de Oyos, who lived nineteen forty one through nineteen ninety nine.

365
00:20:44,000 --> 00:20:46,480
Speaker 1: This is the Professor's favorite daughter, or it must be so,

366
00:20:46,960 --> 00:20:50,360
Speaker 1: because she's played by our top bill performer, Golden Age

367
00:20:50,359 --> 00:20:54,280
Speaker 1: starlett Kitty de Oios, an actress of stage and screen

368
00:20:54,400 --> 00:20:56,919
Speaker 1: and an enormously famous sex symbol of the day in

369
00:20:57,000 --> 00:21:01,040
Speaker 1: Mexican cinema. She's sometimes called the Marilyn mon Row of Mexico.

370
00:21:01,440 --> 00:21:04,320
Speaker 1: M Okay. So, she was the daughter of an opera

371
00:21:04,400 --> 00:21:07,720
Speaker 1: singer and she took to acting early, and her film

372
00:21:07,720 --> 00:21:11,280
Speaker 1: credits go back to the mid nineteen fifties. Apparently the

373
00:21:11,359 --> 00:21:14,320
Speaker 1: nineteen fifty sixth film as opposed to us in Felis

374
00:21:14,359 --> 00:21:18,919
Speaker 1: really skyrocketer career. This is like the This is like

375
00:21:19,320 --> 00:21:23,199
Speaker 1: a drama about infidelity, and she only has a bit

376
00:21:23,280 --> 00:21:27,800
Speaker 1: part in it, but it features artistic nudity, or at least,

377
00:21:27,800 --> 00:21:31,840
Speaker 1: you know, topless nudity, which got a lot of people

378
00:21:31,880 --> 00:21:36,200
Speaker 1: talking and ultimately Mexican censors talking, but it very much

379
00:21:36,240 --> 00:21:39,680
Speaker 1: put her on the map. Afterwards, she often played film

380
00:21:39,720 --> 00:21:44,159
Speaker 1: fatale type characters, though appeared in both serious films and comedies.

381
00:21:44,400 --> 00:21:47,320
Speaker 1: Her best known films include nineteen sixties To Each his Own,

382
00:21:48,040 --> 00:21:50,639
Speaker 1: nineteen sixty five's Adventures at the Center of the Earth.

383
00:21:50,880 --> 00:21:53,800
Speaker 1: If you look around online you can find some screenshots

384
00:21:53,880 --> 00:21:56,040
Speaker 1: some promotional images from them in which she's being carried

385
00:21:56,080 --> 00:21:59,679
Speaker 1: around by some sort of a bat creature, and also

386
00:21:59,760 --> 00:22:03,200
Speaker 1: a couple of films from nineteen sixty six, The Witch

387
00:22:03,280 --> 00:22:07,560
Speaker 1: Riders and the Crows Are in Mourning, the latter being

388
00:22:07,640 --> 00:22:09,520
Speaker 1: I think, another gothic horror picture.

389
00:22:10,160 --> 00:22:12,360
Speaker 3: Now, maybe we should have said this earlier for listeners

390
00:22:12,359 --> 00:22:14,840
Speaker 3: who were new. But as usual, we're going to be

391
00:22:14,840 --> 00:22:18,200
Speaker 3: talking about various twists and turns in the plot and reveal.

392
00:22:18,359 --> 00:22:20,560
Speaker 3: So if you want to go into the movie unspoiled,

393
00:22:20,560 --> 00:22:24,400
Speaker 3: you should probably pause and go do that now. But Okay.

394
00:22:24,440 --> 00:22:27,920
Speaker 3: So now on the other side of that, Kinny Doios's

395
00:22:28,000 --> 00:22:31,119
Speaker 3: character is of course the daughter who is the werewolf.

396
00:22:31,600 --> 00:22:36,119
Speaker 3: And one thing that I did find kind of strange

397
00:22:36,400 --> 00:22:39,640
Speaker 3: was I couldn't tell exactly what they were going for,

398
00:22:39,680 --> 00:22:42,520
Speaker 3: and a couple of the transformation scenes like is this

399
00:22:42,560 --> 00:22:45,720
Speaker 3: supposed to be scary or is this supposed to be sexy?

400
00:22:45,800 --> 00:22:49,200
Speaker 3: And I think maybe it's it's both understanding her as

401
00:22:49,359 --> 00:22:52,159
Speaker 3: like a known star in Mexican cinema, as kind of

402
00:22:52,200 --> 00:22:56,040
Speaker 3: the Marilyn Monroe of Mexican cinema makes more sense of

403
00:22:56,080 --> 00:23:01,160
Speaker 3: like the nude transformation scenes where no significant nudity is revealed.

404
00:23:01,200 --> 00:23:04,240
Speaker 3: But I think clearly these scenes are supposed to be

405
00:23:04,320 --> 00:23:05,840
Speaker 3: somewhat exciting to the viewer.

406
00:23:06,359 --> 00:23:09,400
Speaker 1: Yes, yeah, I think so. And I have to say

407
00:23:09,440 --> 00:23:12,720
Speaker 1: as a performer, perfectly fine when she's a human, but

408
00:23:12,800 --> 00:23:15,280
Speaker 1: I feel like she really shines when she's the were wolf,

409
00:23:16,200 --> 00:23:19,800
Speaker 1: and I feel like it's a really great physical performance.

410
00:23:20,160 --> 00:23:23,200
Speaker 3: Oh. I actually quite like her in some of the

411
00:23:23,280 --> 00:23:26,800
Speaker 3: human drama scenes because she brings a danger to the

412
00:23:26,880 --> 00:23:30,720
Speaker 3: character even when she's not in wolf mode. There is

413
00:23:30,800 --> 00:23:35,000
Speaker 3: a I don't know, a kind of harshness in her

414
00:23:35,080 --> 00:23:38,280
Speaker 3: eyes where there are things that are never said out

415
00:23:38,320 --> 00:23:41,520
Speaker 3: loud in the film, but you since that maybe she

416
00:23:41,760 --> 00:23:45,520
Speaker 3: is accepting of the idea that, yeah, she will transform

417
00:23:45,560 --> 00:23:48,560
Speaker 3: and go out and kill in exchange for having some

418
00:23:48,680 --> 00:23:51,359
Speaker 3: kind of some kind of other power, some kind of

419
00:23:51,480 --> 00:23:53,679
Speaker 3: experience beyond life and death.

420
00:23:54,640 --> 00:23:56,560
Speaker 1: Oh. Absolutely, Yeah, that is a great point. I mean,

421
00:23:56,600 --> 00:23:59,760
Speaker 1: she does have a terrific monologue about all of this

422
00:23:59,840 --> 00:24:02,639
Speaker 1: later on in the picture. And oh and then that

423
00:24:02,680 --> 00:24:05,600
Speaker 1: great piano playing sequence which you'll get too as well.

424
00:24:05,640 --> 00:24:08,560
Speaker 3: The piano scene which it's almost like the piano playing

425
00:24:08,600 --> 00:24:12,639
Speaker 3: scene in Reefer Madness, but less funny and more serious

426
00:24:12,640 --> 00:24:16,240
Speaker 3: where she's It's like, right when we're coming up to

427
00:24:16,280 --> 00:24:20,480
Speaker 3: the climax of the film, she is furiously madly playing

428
00:24:20,520 --> 00:24:22,920
Speaker 3: the piano, and the lead up to win the full

429
00:24:23,000 --> 00:24:26,040
Speaker 3: Moon is going to be revealed, and she I think

430
00:24:26,119 --> 00:24:28,720
Speaker 3: it's implied that she knows she is going to change

431
00:24:28,760 --> 00:24:30,520
Speaker 3: and that she is going to kill, that she's going

432
00:24:30,520 --> 00:24:31,359
Speaker 3: to kill innocence.

433
00:24:31,800 --> 00:24:36,000
Speaker 1: Yeah. Meanwhile, her sister, Alicia Fernandez is complaining like, you

434
00:24:36,000 --> 00:24:37,919
Speaker 1: shouldn't be playing the piano. You're supposed to be mourning,

435
00:24:39,280 --> 00:24:44,400
Speaker 1: and yeah. Alicia is played by Adriana Roel. She lived

436
00:24:44,440 --> 00:24:48,159
Speaker 1: nineteen thirty four through twenty twenty two. She was an

437
00:24:48,280 --> 00:24:52,800
Speaker 1: Aerial Award winning actress herself for nineteen seventy nine's Anacrusa

438
00:24:53,200 --> 00:24:56,239
Speaker 1: and twenty fourteen she Doesn't Want to Sleep Alone. She

439
00:24:56,280 --> 00:25:00,000
Speaker 1: also has a supporting part in Juan Lopez Matuzuma's nineteen

440
00:25:00,080 --> 00:25:02,920
Speaker 1: seventy seven horror film Alokarta.

441
00:25:03,640 --> 00:25:05,040
Speaker 3: Spell that backwards, folks.

442
00:25:05,200 --> 00:25:07,360
Speaker 1: Yeah, and it's a dracula.

443
00:25:09,400 --> 00:25:12,240
Speaker 3: A dracula means non dracula.

444
00:25:13,119 --> 00:25:15,680
Speaker 1: I need to watch that one for myself. But I've

445
00:25:15,720 --> 00:25:19,640
Speaker 1: seen at least one film by one Lopez Mantuzuma, and

446
00:25:19,760 --> 00:25:22,639
Speaker 1: I was very impressed by it. So at some point

447
00:25:22,760 --> 00:25:25,960
Speaker 1: I'd like to watch one of his films for weird house.

448
00:25:26,000 --> 00:25:28,119
Speaker 1: But I'm not sure just yet which one is gonna be.

449
00:25:28,560 --> 00:25:31,520
Speaker 3: But wait, okay, so that's the Fernandez family. But both

450
00:25:31,640 --> 00:25:34,439
Speaker 3: of the adult daughters in the Fernandez family. I was

451
00:25:34,560 --> 00:25:36,680
Speaker 3: gonna have to mention this at some point because it's

452
00:25:36,720 --> 00:25:41,800
Speaker 3: a weird plot decision. Both of the daughters, the adult daughters,

453
00:25:41,880 --> 00:25:44,760
Speaker 3: are dating coworkers of the father.

454
00:25:45,560 --> 00:25:49,240
Speaker 1: Well, this is what happens when you lock your suspected

455
00:25:49,240 --> 00:25:52,080
Speaker 1: werewolf daughters up all the time. You don't let them

456
00:25:52,119 --> 00:25:54,240
Speaker 1: go out into the world and meet people. You're just

457
00:25:54,280 --> 00:25:56,359
Speaker 1: gonna end up falling in love with your various like

458
00:25:56,440 --> 00:25:59,560
Speaker 1: co authors and fellow scientists. Yeah.

459
00:25:59,600 --> 00:26:01,560
Speaker 3: So the two a few other doctors who come to do

460
00:26:01,600 --> 00:26:05,800
Speaker 3: werewolf research at the manch just happens to be like, Wow,

461
00:26:05,840 --> 00:26:07,880
Speaker 3: I've never seen another man before. I guess we're gonna

462
00:26:07,880 --> 00:26:08,359
Speaker 3: get married.

463
00:26:08,640 --> 00:26:12,959
Speaker 1: Yeah. Yeah, So Clarissa has a suitor in the form

464
00:26:13,200 --> 00:26:18,240
Speaker 1: of doctor Alejandro Bernstein, played by Jaquim Cordero, who lived

465
00:26:18,280 --> 00:26:22,520
Speaker 1: nineteen twenty three through twenty thirteen. Mexican actor of stage, screen,

466
00:26:22,560 --> 00:26:24,960
Speaker 1: and TV actor for active from the mid forties through

467
00:26:25,240 --> 00:26:29,280
Speaker 1: twenty eleven. His career particularly picked up in the nineteen

468
00:26:29,359 --> 00:26:32,879
Speaker 1: fifties when he won nineteen fifty one Aerial Award for

469
00:26:33,080 --> 00:26:36,600
Speaker 1: The Two Little Orphans. His credits include nineteen fifty four's

470
00:26:36,600 --> 00:26:40,200
Speaker 1: The River and Death. Nineteen sixty six is Doctor Satan,

471
00:26:41,000 --> 00:26:44,640
Speaker 1: in which he plays the title character Doctor Satan, who

472
00:26:44,840 --> 00:26:47,880
Speaker 1: I'm to understand is kind of like a super criminal

473
00:26:47,960 --> 00:26:50,359
Speaker 1: character and a bit of a hypnotist with maybe some

474
00:26:50,640 --> 00:26:52,080
Speaker 1: occult flavoring.

475
00:26:52,560 --> 00:26:53,440
Speaker 3: Hmm okay.

476
00:26:54,440 --> 00:26:57,560
Speaker 1: He returns to play Doctor Satan wants more in nineteen

477
00:26:57,600 --> 00:27:01,399
Speaker 1: sixty eight Doctor Satan Versus Black Magic then there's nineteen

478
00:27:01,440 --> 00:27:04,000
Speaker 1: sixty nine's The Book of Stone, and certainly a few

479
00:27:04,080 --> 00:27:06,920
Speaker 1: lucha movies in there, including a couple of Santo films

480
00:27:07,200 --> 00:27:10,520
Speaker 1: and nineteen sixty nine's Wrestling Women Versus the Killer Robot.

481
00:27:11,160 --> 00:27:14,600
Speaker 3: I liked this guy as well, so he is again

482
00:27:14,640 --> 00:27:18,160
Speaker 3: he's kiddy to OOS's character's suitor, and they play well

483
00:27:18,200 --> 00:27:20,439
Speaker 3: together in their scenes. There's one of their scenes is

484
00:27:20,440 --> 00:27:24,640
Speaker 3: sort of the central motivation scene in the movie, where

485
00:27:24,680 --> 00:27:27,160
Speaker 3: he sort of explains what he wants. I'll talk about

486
00:27:27,160 --> 00:27:30,960
Speaker 3: the monologue later on, which is echoed by Clarissa in

487
00:27:31,000 --> 00:27:33,200
Speaker 3: a voice over later in the film. But he gives

488
00:27:33,240 --> 00:27:37,560
Speaker 3: this monologue about how he wants some kind of secret,

489
00:27:37,760 --> 00:27:42,320
Speaker 3: some kind of pleasure or possibility that exists only beyond life.

490
00:27:42,400 --> 00:27:47,000
Speaker 3: So like a he's got a kind of death drive embodied,

491
00:27:47,160 --> 00:27:49,760
Speaker 3: embodied in a way like he wants something that cannot

492
00:27:49,800 --> 00:27:54,000
Speaker 3: be achieved as immortal, it can only be achieved beyond death.

493
00:27:54,440 --> 00:27:57,600
Speaker 3: And we really don't get a lot of explanation of

494
00:27:57,600 --> 00:28:01,200
Speaker 3: what that is, except it is somehow related to likeanthropy,

495
00:28:02,160 --> 00:28:06,760
Speaker 3: and in the way he announces his desire for this

496
00:28:06,880 --> 00:28:10,359
Speaker 3: thing beyond death, he has a quality that reminds me

497
00:28:10,400 --> 00:28:14,480
Speaker 3: of some other cool characters in movies we've watched, kind

498
00:28:14,480 --> 00:28:18,400
Speaker 3: of like the antagonist beater Beck in the Doctor Fibes sequel.

499
00:28:18,520 --> 00:28:25,119
Speaker 3: You know, this character who is strong, driven, focused, and

500
00:28:25,200 --> 00:28:28,040
Speaker 3: kind of beyond good and evil. Not quite a villain,

501
00:28:28,119 --> 00:28:32,240
Speaker 3: but not necessarily good either, just like on a kind

502
00:28:32,280 --> 00:28:35,879
Speaker 3: of amoral quest that has no precedent.

503
00:28:36,280 --> 00:28:38,920
Speaker 1: Yeah, I think that's a good way of framing it.

504
00:28:39,240 --> 00:28:43,160
Speaker 1: So that's Clarisis suitor. But then we have another suitor

505
00:28:43,160 --> 00:28:46,280
Speaker 1: in the mix, and that is doctor Gonzalez played by

506
00:28:46,760 --> 00:28:51,360
Speaker 1: Roberto Canado who lived nineteen eighteen through nineteen ninety ninety eight.

507
00:28:51,840 --> 00:28:53,400
Speaker 1: This is an actor we've talked about on the show

508
00:28:53,440 --> 00:28:55,960
Speaker 1: before because he played the Doctor of Doom in nineteen

509
00:28:55,960 --> 00:29:00,640
Speaker 1: sixty three's Doctor of Doom the Luchadora picture. He's the

510
00:29:00,640 --> 00:29:02,560
Speaker 1: the mad scientist in that one, which is a bit

511
00:29:02,600 --> 00:29:05,480
Speaker 1: of a spoiler, but a really fun role for him

512
00:29:05,480 --> 00:29:09,040
Speaker 1: because he got to play like the meek, friendly scientist

513
00:29:09,080 --> 00:29:12,640
Speaker 1: but also like his secret, true identity, that of a

514
00:29:12,760 --> 00:29:16,080
Speaker 1: raving mad man who wants to, you know, do all

515
00:29:16,120 --> 00:29:20,719
Speaker 1: sorts of unspeakable experiments and trans transplant. I can't remember

516
00:29:20,720 --> 00:29:24,280
Speaker 1: if it's I think it's Gorilla brains into or some

517
00:29:24,320 --> 00:29:27,880
Speaker 1: sort of beast brains into the bodies of luchadoras.

518
00:29:28,120 --> 00:29:32,000
Speaker 3: Yeah, transplanting gorilla brains into women, I think, or vice versa,

519
00:29:32,000 --> 00:29:34,720
Speaker 3: maybe both. But this is a great role. It's a

520
00:29:34,720 --> 00:29:37,640
Speaker 3: great double role in that it's not that he's playing

521
00:29:37,680 --> 00:29:40,760
Speaker 3: Clark Kent and Superman is playing He's playing Clark Kent

522
00:29:40,880 --> 00:29:41,760
Speaker 3: and Doctor Doom.

523
00:29:42,160 --> 00:29:45,440
Speaker 1: Yeah. So that's a fun one. Go back and watch

524
00:29:45,480 --> 00:29:47,719
Speaker 1: that one slash listening to our episode on it if

525
00:29:47,720 --> 00:29:52,320
Speaker 1: you haven't already. But Canado was a talented Mexican performer

526
00:29:52,400 --> 00:29:54,600
Speaker 1: during the golden age of Mexican cinema. He acted in

527
00:29:54,640 --> 00:29:57,840
Speaker 1: over three hundred pictures, which included a lot of B films,

528
00:29:57,880 --> 00:30:01,280
Speaker 1: but also some serious dramas. On the B cinema end

529
00:30:01,320 --> 00:30:04,560
Speaker 1: of things, he pops up in several Santo pictures, nineteen

530
00:30:04,600 --> 00:30:07,560
Speaker 1: sixty eight's The bat Woman, which is which is pretty great,

531
00:30:08,120 --> 00:30:11,360
Speaker 1: as well as a nineteen eighty six slasher film called

532
00:30:11,560 --> 00:30:15,200
Speaker 1: Bestia Nocturna in the nineteen eighty nine Mexican slasher film

533
00:30:15,240 --> 00:30:19,480
Speaker 1: Grave Robbers. Two of his most well received films include

534
00:30:19,720 --> 00:30:22,880
Speaker 1: Pulverina from nineteen forty nine and an adaptation of Crime

535
00:30:22,920 --> 00:30:24,640
Speaker 1: and Punishment from nineteen fifty one.

536
00:30:25,080 --> 00:30:27,400
Speaker 3: So I may have misspoke earlier when I framed both

537
00:30:27,520 --> 00:30:32,400
Speaker 3: of the medical colleagues of doctor Fernandez as like werewolf researchers.

538
00:30:33,160 --> 00:30:36,160
Speaker 3: Rob corrects me if you disagree, But I think Gonzalez

539
00:30:36,280 --> 00:30:39,160
Speaker 3: is not a werewolf researcher. I think he's just a

540
00:30:39,440 --> 00:30:43,600
Speaker 3: general medical colleague and it's only Bernstein who is working

541
00:30:43,640 --> 00:30:46,800
Speaker 3: on the werewolf frequency with Fernandez. Is that how you

542
00:30:46,800 --> 00:30:47,160
Speaker 3: took it?

543
00:30:47,480 --> 00:30:50,960
Speaker 1: Yes, Yeah, this guy's not in on any of the

544
00:30:51,000 --> 00:30:54,240
Speaker 1: more scandalous research operations that are going on. He's just

545
00:30:54,280 --> 00:30:58,360
Speaker 1: a doctor. He's doing doctory type business in the area

546
00:30:58,520 --> 00:31:04,320
Speaker 1: and beyond, including the local law enforcement officers about mutilated

547
00:31:04,320 --> 00:31:05,880
Speaker 1: corpses that suddenly pop up.

548
00:31:06,240 --> 00:31:09,040
Speaker 3: Yeah, He's like, I here is the attacker's blood. I

549
00:31:09,040 --> 00:31:11,040
Speaker 3: can tell you what kind of creature it came from.

550
00:31:11,200 --> 00:31:14,160
Speaker 3: That sort of thing. Actually, though, in keeping with his

551
00:31:14,240 --> 00:31:16,240
Speaker 3: role in Doctor of Doom where I said he was

552
00:31:16,280 --> 00:31:20,120
Speaker 3: a Clark Kent slash Doctor Doom, in this movie, he

553
00:31:20,200 --> 00:31:22,880
Speaker 3: really has an impressive range, which is he goes from

554
00:31:23,760 --> 00:31:27,800
Speaker 3: I would say the most kind of like handsome and

555
00:31:27,960 --> 00:31:32,960
Speaker 3: capable Indiana Jones looking character in the film to making

556
00:31:33,040 --> 00:31:36,880
Speaker 3: the goofiest reaction face I've ever seen in a movie.

557
00:31:37,960 --> 00:31:42,920
Speaker 1: He does. It happens pretty early on. He pulls this

558
00:31:43,000 --> 00:31:46,360
Speaker 1: wonderful face when he uncovers a mutilated corpse, and it's

559
00:31:46,680 --> 00:31:50,560
Speaker 1: it's amazing. It's like, yeah, the toilet has overflown reaction

560
00:31:50,760 --> 00:31:51,280
Speaker 1: face here.

561
00:31:53,760 --> 00:31:55,720
Speaker 3: You know what it is. It's that face they put

562
00:31:55,760 --> 00:31:58,800
Speaker 3: on YouTube thumbnails to make people click on them.

563
00:31:59,120 --> 00:32:04,560
Speaker 1: Yeah, oh yeah yeah, or Netflix thumbs for films like

564
00:32:04,600 --> 00:32:08,160
Speaker 1: if le Looba was a modern film and was featured

565
00:32:08,200 --> 00:32:10,920
Speaker 1: on Netflix, it would be this face or some other

566
00:32:11,040 --> 00:32:13,840
Speaker 1: ridiculous face that somebody's pulling. All right, we have two

567
00:32:13,840 --> 00:32:17,600
Speaker 1: more characters, two more actors really to highlight here. We

568
00:32:17,640 --> 00:32:20,320
Speaker 1: have a character by the name of Krumba. He's a

569
00:32:20,360 --> 00:32:23,440
Speaker 1: stoic man, kind of dreat We were talking about this

570
00:32:23,480 --> 00:32:26,560
Speaker 1: off Mike, kind of dressed like a barbarian who aids

571
00:32:26,600 --> 00:32:30,080
Speaker 1: Professor Fernandez and owes him some sort of mysterious life debt.

572
00:32:30,640 --> 00:32:34,640
Speaker 3: Crumba is cool. Every time he's on screen, I was like, Okay,

573
00:32:34,720 --> 00:32:35,760
Speaker 3: we're in good hands.

574
00:32:35,960 --> 00:32:40,360
Speaker 1: Yeah. He mostly just stands around, smokes a pipe. Occasionally,

575
00:32:40,520 --> 00:32:44,840
Speaker 1: man's the secret passage cranks. But he has a very chill,

576
00:32:46,120 --> 00:32:50,280
Speaker 1: intimidating five So Krumba is played by Crux Alvarado, who

577
00:32:50,320 --> 00:32:54,920
Speaker 1: lived nineteen ten through nineteen eighty four, costa Rican luchador

578
00:32:55,040 --> 00:32:59,080
Speaker 1: referee and cartoonists turned actor, best known actually for various

579
00:32:59,080 --> 00:33:01,600
Speaker 1: heart throb roles during the Golden age of Mexican cinema.

580
00:33:01,600 --> 00:33:03,480
Speaker 1: If you look up pictures of him, you'll see a

581
00:33:03,520 --> 00:33:07,000
Speaker 1: lot of like very like. Sometimes he's shirtless and doing

582
00:33:07,080 --> 00:33:09,680
Speaker 1: like a you know, muscle poses. Other times, you know,

583
00:33:09,760 --> 00:33:14,200
Speaker 1: looks very dapper with a pencil thin mustache and all.

584
00:33:14,560 --> 00:33:17,480
Speaker 1: He's perhaps best known for playing the Professor in nineteen

585
00:33:17,480 --> 00:33:20,760
Speaker 1: fifty sevens The as Tech Mummy and it's fifty eight sequel,

586
00:33:20,920 --> 00:33:23,720
Speaker 1: The Robot Versus the as Tech Mummy. He's also in

587
00:33:23,800 --> 00:33:26,200
Speaker 1: nineteen sixty eight's The Batwoman Man.

588
00:33:26,200 --> 00:33:29,000
Speaker 3: I would not have guessed he played romantically. I'm not

589
00:33:29,040 --> 00:33:31,320
Speaker 3: saying he's ugly or something, but just the way he's

590
00:33:31,360 --> 00:33:33,120
Speaker 3: done up in this movie. They've got him in this

591
00:33:33,280 --> 00:33:36,400
Speaker 3: leather tunic that again it looks like like a D

592
00:33:36,480 --> 00:33:41,520
Speaker 3: and D barbarian outfit. And his hair is interesting. It's

593
00:33:41,560 --> 00:33:44,800
Speaker 3: just like straight up on top and nothing on the sides. Actually,

594
00:33:44,840 --> 00:33:48,080
Speaker 3: it's kind of like some of those trendy haircuts with

595
00:33:48,120 --> 00:33:50,040
Speaker 3: the kids, and I don't know if it's still today,

596
00:33:50,040 --> 00:33:55,000
Speaker 3: but in recent years. Yeah, and the pipe and everything.

597
00:33:55,040 --> 00:33:56,640
Speaker 3: It's just like it's not a heart throb.

598
00:33:56,720 --> 00:33:59,880
Speaker 1: Look yeah, yeah, kind of like a bohemian barbarian thing

599
00:34:00,160 --> 00:34:03,360
Speaker 1: got going on here. Later on in the picture we

600
00:34:03,400 --> 00:34:06,080
Speaker 1: also meet a character by the name of Kazadar de

601
00:34:06,200 --> 00:34:11,719
Speaker 1: Lobos played by Noeh Murayama, who lived nineteen thirty through

602
00:34:11,800 --> 00:34:15,000
Speaker 1: nineteen ninety seven. We will find out that this is

603
00:34:15,040 --> 00:34:18,120
Speaker 1: in fact a wandering foreign werewolf hunter with his own

604
00:34:18,160 --> 00:34:24,000
Speaker 1: special werewolf hunting dog named Jack. Murayama was a Mexican

605
00:34:24,000 --> 00:34:27,440
Speaker 1: actor of Japanese and Mexican descent who often played villains.

606
00:34:27,960 --> 00:34:30,840
Speaker 1: He won a claim for his performance in nineteen sixty

607
00:34:30,920 --> 00:34:36,760
Speaker 1: two's Tleo Khan and later for nineteen eighty three's Lapachanga.

608
00:34:37,680 --> 00:34:39,680
Speaker 1: That was the one he was nominated for an Aerial

609
00:34:39,719 --> 00:34:43,040
Speaker 1: Award for. He also starred in some grimy nineteen eighty

610
00:34:43,040 --> 00:34:46,520
Speaker 1: eight exploitation films that have their own following. You can

611
00:34:46,520 --> 00:34:48,960
Speaker 1: look them up. I'm not going to mention the title here.

612
00:34:49,400 --> 00:34:51,480
Speaker 1: He is a cool character. I like it when he

613
00:34:51,520 --> 00:34:55,160
Speaker 1: shows up. He brings a very different layer to the film,

614
00:34:55,160 --> 00:34:59,239
Speaker 1: a kind of a folklore layer that's otherwise not there

615
00:34:59,400 --> 00:35:03,439
Speaker 1: in what is otherwise I guess a science fiction were

616
00:35:03,480 --> 00:35:08,000
Speaker 1: wolf movie. Once again brings up questions about like is

617
00:35:08,040 --> 00:35:11,160
Speaker 1: this sci fi or is this fantasy horror, because like

618
00:35:11,239 --> 00:35:15,600
Speaker 1: the implements that he has that can affect a where

619
00:35:15,600 --> 00:35:21,000
Speaker 1: wolf feel very magical in nature, not very science fiction. Yeah,

620
00:35:21,120 --> 00:35:24,080
Speaker 1: he's he is dressed kind of like a wizard. Also,

621
00:35:24,280 --> 00:35:26,239
Speaker 1: he looks very much like he could be a part

622
00:35:26,280 --> 00:35:28,839
Speaker 1: of some sort of like I'm guessing like nineteen seventies

623
00:35:29,760 --> 00:35:32,680
Speaker 1: heavy metal band kind of a thing, kind of like a.

624
00:35:32,360 --> 00:35:39,640
Speaker 3: Some sort of like a Japanese Mexican Black Sabbath or something.

625
00:35:39,680 --> 00:35:42,760
Speaker 3: You know, He's got all sorts of like cool occult.

626
00:35:42,680 --> 00:35:45,600
Speaker 1: Imagery going on. And Yeah, he very much brings the

627
00:35:45,760 --> 00:35:49,799
Speaker 1: folk horror the supernatural interpretation of the werewolf to the

628
00:35:49,840 --> 00:35:53,960
Speaker 1: table and arguably has the better case compared to the scientist.

629
00:35:54,560 --> 00:35:56,960
Speaker 3: Also weird that we never learn his name. We learn

630
00:35:57,040 --> 00:35:59,480
Speaker 3: his dog's name, but not his Yeah. I think the

631
00:35:59,760 --> 00:36:02,080
Speaker 3: name that I cited is just from the credits. I

632
00:36:02,120 --> 00:36:04,640
Speaker 3: don't remember them actually referring to them by name. They're

633
00:36:04,640 --> 00:36:07,319
Speaker 3: just kind of like, hey, stranger, Well the name you said,

634
00:36:07,480 --> 00:36:10,640
Speaker 3: Casador de Lobos is just a wolf hunter, hunter of wolves.

635
00:36:11,200 --> 00:36:13,800
Speaker 1: There you go, all right, and then finally the music

636
00:36:14,640 --> 00:36:18,200
Speaker 1: is the work of Raul Lo Vista. He lived nineteen

637
00:36:18,239 --> 00:36:21,360
Speaker 1: thirteen through nineteen eighty Aeriall Award winning composer whose credits

638
00:36:21,360 --> 00:36:26,160
Speaker 1: include nineteen fifties elombresen Rostro, nineteen sixty two's The Exterminating

639
00:36:26,200 --> 00:36:29,719
Speaker 1: Angel in nineteen seventy five's Darker than Night. I have

640
00:36:29,760 --> 00:36:31,160
Speaker 1: to say effective score.

641
00:36:31,080 --> 00:36:32,680
Speaker 3: Yeah, I think so. In fact, we can talk about

642
00:36:32,680 --> 00:36:35,000
Speaker 3: it here in the opening if you want, you ready

643
00:36:35,040 --> 00:36:37,360
Speaker 3: for the plot, Yeah, let's dive right in. So we

644
00:36:37,400 --> 00:36:41,360
Speaker 3: get some great hand lettered credits playing over a misty landscape.

645
00:36:41,400 --> 00:36:43,520
Speaker 3: I think at the beginning we're looking at a hill

646
00:36:43,560 --> 00:36:46,120
Speaker 3: covered in vegetation. Honestly, it's kind of hard to tell,

647
00:36:46,800 --> 00:36:49,040
Speaker 3: but yeah, that music is playing. It's a bunch of

648
00:36:49,080 --> 00:36:54,000
Speaker 3: ominous drums. It's got skittering spider violins and horns blasting

649
00:36:54,000 --> 00:36:56,880
Speaker 3: in a minor key. So the action opens in a

650
00:36:57,000 --> 00:37:01,200
Speaker 3: cemetery on a hillside surrounded by forest, with rude grave

651
00:37:01,320 --> 00:37:04,239
Speaker 3: markers leaning this way. In that you've got banks of

652
00:37:04,400 --> 00:37:08,439
Speaker 3: fog blowing swiftly over the earth, and we cut away

653
00:37:08,520 --> 00:37:12,080
Speaker 3: to the sky. And see what I take is a

654
00:37:12,160 --> 00:37:15,880
Speaker 3: full moon, but it looks almost as bright as the sun.

655
00:37:16,160 --> 00:37:19,239
Speaker 3: And that makes sense because this was obviously shot in

656
00:37:19,320 --> 00:37:21,840
Speaker 3: the daytime, like noonday daytime.

657
00:37:22,760 --> 00:37:26,480
Speaker 1: Yeah. Yeah. After I watched the film the next day,

658
00:37:26,760 --> 00:37:29,560
Speaker 1: I showed just the opening part to my wife, and

659
00:37:30,680 --> 00:37:33,480
Speaker 1: when I pointed out, like the brightness of the quote

660
00:37:33,520 --> 00:37:37,560
Speaker 1: unquote moon and the day for night shooting here, she said, oh, no,

661
00:37:37,600 --> 00:37:41,239
Speaker 1: that's not day for night, that's just day. And indeed, yeah,

662
00:37:41,280 --> 00:37:44,840
Speaker 1: we have far less of the sort of telltale dimming

663
00:37:45,080 --> 00:37:47,600
Speaker 1: of the overall opacity that you sometimes see with day

664
00:37:47,640 --> 00:37:51,360
Speaker 1: for night shots. I've grown kind of I've grown to

665
00:37:51,440 --> 00:37:54,920
Speaker 1: kind of love old fashioned day for night shoots and

666
00:37:55,080 --> 00:37:58,120
Speaker 1: these various pictures, and this one I also dug. But

667
00:37:58,680 --> 00:38:01,279
Speaker 1: it is just so bright, so bright that I think

668
00:38:01,320 --> 00:38:03,279
Speaker 1: the way I ended up processing it was like, this

669
00:38:03,440 --> 00:38:05,640
Speaker 1: is just how bright the full moon is if you

670
00:38:05,680 --> 00:38:08,520
Speaker 1: were a werewolf, you know, it's just like inescapable. It

671
00:38:08,560 --> 00:38:11,880
Speaker 1: illuminates everything and it's just blinding in its intensity.

672
00:38:12,160 --> 00:38:15,480
Speaker 3: Oh that's a good reading on it. Yeah, you know.

673
00:38:15,560 --> 00:38:18,799
Speaker 3: Sometimes you said there's no indication that it's nighttime, that

674
00:38:18,960 --> 00:38:22,360
Speaker 3: there's visually no indication, but they do put some cricket

675
00:38:22,400 --> 00:38:23,080
Speaker 3: sound effects, and.

676
00:38:23,200 --> 00:38:25,759
Speaker 1: Yes they do. Yeah, I mean I ended up buying

677
00:38:25,840 --> 00:38:27,640
Speaker 1: it as nighttime. I knew what they were going for,

678
00:38:27,760 --> 00:38:31,000
Speaker 1: and like I was able to fully suspend disbelief.

679
00:38:31,640 --> 00:38:34,520
Speaker 3: So in the graveyard, we zoom in on a crusty

680
00:38:34,840 --> 00:38:40,080
Speaker 3: topside stone vault like a coffin vault, and suddenly the

681
00:38:40,120 --> 00:38:44,040
Speaker 3: lid starts to creak open, and then out through the

682
00:38:44,080 --> 00:38:48,920
Speaker 3: crack in the lid emerge two furry knob knuckled hands

683
00:38:48,960 --> 00:38:53,040
Speaker 3: with huge bugle claws on each fingertip. And I thought

684
00:38:53,040 --> 00:38:56,920
Speaker 3: this was a funny inversion because the coffin lid creaking

685
00:38:56,960 --> 00:39:00,760
Speaker 3: open and a sinister hand coming out is a trope

686
00:39:00,760 --> 00:39:03,160
Speaker 3: from vampire movies, not werewolf movies.

687
00:39:03,560 --> 00:39:05,640
Speaker 1: Yeah. Yeah, I can't think of another film where we

688
00:39:05,680 --> 00:39:08,120
Speaker 1: see a werewolf crawl out of a coffin, but I

689
00:39:08,280 --> 00:39:10,560
Speaker 1: like it. Here we're talking about it. It's turning heads.

690
00:39:11,080 --> 00:39:14,759
Speaker 3: Another thing that really sets this wolf movie apart is

691
00:39:14,800 --> 00:39:19,640
Speaker 3: that it does not begin with our protagonist wandering toward

692
00:39:19,760 --> 00:39:24,520
Speaker 3: an encounter with a werewolf, like you know them starting unchanged,

693
00:39:24,600 --> 00:39:26,880
Speaker 3: the meeting a were wolf, getting bitten or something, and

694
00:39:26,920 --> 00:39:31,640
Speaker 3: then being changed. Instead, we begin with a werewolf already

695
00:39:31,719 --> 00:39:35,920
Speaker 3: in wolf mode, launching into an attack on the world

696
00:39:36,080 --> 00:39:38,480
Speaker 3: from below, just like coming out like a like a

697
00:39:38,520 --> 00:39:40,000
Speaker 3: missile out of a hidden silo.

698
00:39:40,840 --> 00:39:44,480
Speaker 1: Oh yeah, and boy does she ever this. I think

699
00:39:44,480 --> 00:39:46,560
Speaker 1: one of the things that I love the most about

700
00:39:46,560 --> 00:39:50,240
Speaker 1: this film is just the way that our she wolf

701
00:39:50,320 --> 00:39:53,840
Speaker 1: is realized on the screen, the speed with which she

702
00:39:54,000 --> 00:39:57,400
Speaker 1: travels like with this we'll talk about it as we

703
00:39:57,440 --> 00:40:01,160
Speaker 1: proceed here, but just bounding and pouncing cross the landscape

704
00:40:01,200 --> 00:40:05,239
Speaker 1: with just lethal ferocity. I like, I don't I'm not

705
00:40:05,320 --> 00:40:09,200
Speaker 1: used to seeing where wolves move this swiftly in just

706
00:40:09,360 --> 00:40:11,720
Speaker 1: films in general. I can't think of another one where

707
00:40:11,760 --> 00:40:13,840
Speaker 1: like we had this sense of just like they're just

708
00:40:14,360 --> 00:40:17,960
Speaker 1: where wolf can just shoot across the forest and just

709
00:40:18,560 --> 00:40:20,440
Speaker 1: get to you like a missile. I think a missile

710
00:40:20,520 --> 00:40:22,439
Speaker 1: leaving the silo is a great analogy here.

711
00:40:23,400 --> 00:40:26,759
Speaker 3: The opening rampage here is like a runaway train. She

712
00:40:26,920 --> 00:40:29,960
Speaker 3: just gets right to business. So the order of events

713
00:40:30,040 --> 00:40:32,239
Speaker 3: is she comes out of the coffin, runs up the hill,

714
00:40:32,680 --> 00:40:36,600
Speaker 3: and then she like pushes through some brush into the

715
00:40:36,640 --> 00:40:39,080
Speaker 3: campsite of a guy with a tent and a campfire.

716
00:40:39,120 --> 00:40:41,560
Speaker 3: He's like cooking food on there, and she just jumps

717
00:40:41,560 --> 00:40:44,320
Speaker 3: on him. Like he this guy's got a wide brimmed

718
00:40:44,400 --> 00:40:47,279
Speaker 3: fedora again to invoke Indiana Jones, got kind of an

719
00:40:47,360 --> 00:40:48,640
Speaker 3: Indiana Jones hat.

720
00:40:49,760 --> 00:40:53,000
Speaker 1: And she like looks so confident too. He's like, oh,

721
00:40:53,160 --> 00:40:55,440
Speaker 1: time to start the day or the night or whatever.

722
00:40:55,840 --> 00:40:57,400
Speaker 1: But he, you know, he's like, Yep, I've got a

723
00:40:57,440 --> 00:41:00,560
Speaker 1: lot of work to do. Nothing's gonna stop old as me.

724
00:41:01,280 --> 00:41:04,800
Speaker 1: But then here comes to where wolf flying across the woods,

725
00:41:05,120 --> 00:41:09,319
Speaker 1: like yeah, I mean, yea pouncing from like I don't know,

726
00:41:09,400 --> 00:41:13,080
Speaker 1: like what hundred yards. I know, it's impressive.

727
00:41:13,239 --> 00:41:16,480
Speaker 3: We see her leap onto this guy from like a

728
00:41:16,560 --> 00:41:20,680
Speaker 3: like a forested overhang with arms outstretched. So she's doing

729
00:41:20,719 --> 00:41:23,200
Speaker 3: like a like a trapeze artist dive or like an

730
00:41:23,200 --> 00:41:24,800
Speaker 3: Olympic diver or something.

731
00:41:25,239 --> 00:41:28,360
Speaker 1: Yeah, it's amazing. Like I would say, if you're on

732
00:41:28,400 --> 00:41:30,880
Speaker 1: the fence about watching this film in its entirety, at

733
00:41:31,000 --> 00:41:34,360
Speaker 1: least watched the first fifteen minutes, it will amaze you.

734
00:41:34,719 --> 00:41:38,240
Speaker 3: Yeah, So she tackles that guy, commences clawing his face

735
00:41:38,320 --> 00:41:41,160
Speaker 3: and chewing out his throat. Later we're going to learn

736
00:41:41,239 --> 00:41:43,520
Speaker 3: that she rips out his heart, but we don't see

737
00:41:43,520 --> 00:41:46,239
Speaker 3: that here, and then we just move right onto the

738
00:41:46,239 --> 00:41:48,560
Speaker 3: next victim. So there are a couple of peasants laboring

739
00:41:48,600 --> 00:41:51,680
Speaker 3: in the woods. A man is chopping firewood with an axe,

740
00:41:51,719 --> 00:41:55,400
Speaker 3: there's a woman gathering fallen sticks, and ooh, there's this

741
00:41:55,480 --> 00:41:58,880
Speaker 3: good creepy shot where the wolf woman climbs up on

742
00:41:59,000 --> 00:42:02,080
Speaker 3: the root ball of a giant fallen tree to spy

743
00:42:02,200 --> 00:42:04,600
Speaker 3: on the woman from behind. I've got a screenshot before you,

744
00:42:04,680 --> 00:42:07,720
Speaker 3: hear Rob. I really like the way this is framed.

745
00:42:08,239 --> 00:42:11,400
Speaker 3: But once again, a flying leap from above. We just

746
00:42:11,400 --> 00:42:15,239
Speaker 3: see her like like like launched across the frame, as

747
00:42:15,400 --> 00:42:17,160
Speaker 3: like out of a bow or something.

748
00:42:17,760 --> 00:42:20,560
Speaker 1: Yeah, it is. It is amazing and terrifying and yeah,

749
00:42:20,600 --> 00:42:23,040
Speaker 1: and I love these sequences in between, with her crawling

750
00:42:23,080 --> 00:42:26,720
Speaker 1: around and these broken fallen trees and all. Yeah, it's great.

751
00:42:27,120 --> 00:42:29,600
Speaker 3: So the where wolf mauls the woman and then she

752
00:42:29,760 --> 00:42:33,120
Speaker 3: lies screaming on the ground with streams of blood running

753
00:42:33,160 --> 00:42:36,520
Speaker 3: across her face. The man chopping wood hears this woman

754
00:42:36,600 --> 00:42:39,680
Speaker 3: crying out and then comes to help. For some reason,

755
00:42:39,880 --> 00:42:41,840
Speaker 3: I didn't quite understand why this happened, but he like

756
00:42:42,000 --> 00:42:45,759
Speaker 3: throws his axe into a nearby tree, and then the

757
00:42:45,800 --> 00:42:49,320
Speaker 3: wolf turns and begins to maul the man. But suddenly

758
00:42:50,040 --> 00:42:53,840
Speaker 3: the wolf is interrupted because the full moon passes behind

759
00:42:53,880 --> 00:42:58,120
Speaker 3: a cloud, and it's like that does something, it like

760
00:42:58,640 --> 00:43:03,280
Speaker 3: maybe drains the wolf motivation or power, and the werewolf

761
00:43:03,320 --> 00:43:06,520
Speaker 3: suddenly runs away into the dark wood. Now on the

762
00:43:06,560 --> 00:43:09,880
Speaker 3: way back to her hiding place, she crosses paths with

763
00:43:10,080 --> 00:43:14,040
Speaker 3: a man driving a carriage along the forest path, and

764
00:43:14,239 --> 00:43:17,200
Speaker 3: I think this is doctor Bernstein in the carriage, isn't it.

765
00:43:17,320 --> 00:43:17,880
Speaker 1: I believe so.

766
00:43:18,280 --> 00:43:21,799
Speaker 3: Yeah, And so he watches the wolf woman run by

767
00:43:21,920 --> 00:43:24,480
Speaker 3: with a kind of knowing and apprehensive look and then

768
00:43:24,600 --> 00:43:28,520
Speaker 3: just moves on toward his destination. And as the wolf

769
00:43:28,560 --> 00:43:32,080
Speaker 3: woman is fleeing, we also see a well equipped man

770
00:43:32,120 --> 00:43:34,440
Speaker 3: in the woods, a guy with a rifle and a hat,

771
00:43:34,880 --> 00:43:37,759
Speaker 3: servying the devastation at the campsite with the tent. He

772
00:43:37,800 --> 00:43:41,200
Speaker 3: comes upon the first victim, and this is doctor Gonzalez

773
00:43:41,239 --> 00:43:44,640
Speaker 3: played by Roberto Canedo, and this is the scene where

774
00:43:44,920 --> 00:43:47,279
Speaker 3: he pulls back the tent flap and sees the dead

775
00:43:47,320 --> 00:43:48,399
Speaker 3: man and is just.

776
00:43:48,320 --> 00:43:53,040
Speaker 1: Like, oh, oh, man, Yeah, so we're off to a

777
00:43:53,040 --> 00:43:54,799
Speaker 1: great start here. And I want to drive home that

778
00:43:54,800 --> 00:43:59,880
Speaker 1: the she wolf costume here worn by Kitty, though probably

779
00:43:59,880 --> 00:44:02,200
Speaker 1: not in the shots where she's flying like a human

780
00:44:02,239 --> 00:44:04,920
Speaker 1: cannonball across the wilderness. I'm assuming that was a stunt

781
00:44:04,920 --> 00:44:08,640
Speaker 1: person or a luchador or a trapeze artist or some

782
00:44:08,680 --> 00:44:12,440
Speaker 1: sort of a professional stunt person. But the costume I

783
00:44:12,480 --> 00:44:15,680
Speaker 1: thought was really effective. It seems to depend on a

784
00:44:15,760 --> 00:44:20,560
Speaker 1: skin type bodysuit with added hair and tail and combined

785
00:44:20,600 --> 00:44:23,880
Speaker 1: with the actress's slender form, and like the ferocity of

786
00:44:23,920 --> 00:44:27,520
Speaker 1: her physical performance is a real savagery to the scenes

787
00:44:27,560 --> 00:44:31,560
Speaker 1: where the she wolf is maudeling her prey. There's also

788
00:44:31,600 --> 00:44:34,640
Speaker 1: a carnality to the act as well, which kind of

789
00:44:34,680 --> 00:44:40,640
Speaker 1: reminds me of our recent Nosferatu adaptation. You know, both

790
00:44:41,360 --> 00:44:45,759
Speaker 1: feature a kind of like you know, slender being that

791
00:44:45,880 --> 00:44:48,160
Speaker 1: is feasting, but in a way that also feels kind

792
00:44:48,160 --> 00:44:49,440
Speaker 1: of like erotically charged.

793
00:44:57,040 --> 00:44:59,440
Speaker 3: Here, I want to do a sidebar because I wonder

794
00:44:59,440 --> 00:45:01,920
Speaker 3: if you have insights on this from this book. You've

795
00:45:01,960 --> 00:45:07,680
Speaker 3: been reading about the history of female werewolves. So we've

796
00:45:07,719 --> 00:45:12,160
Speaker 3: talked before on the show about the different common werewolf

797
00:45:12,360 --> 00:45:17,240
Speaker 3: types in movies. So one type would be the quadrupedal

798
00:45:17,480 --> 00:45:21,240
Speaker 3: wolf form. This is the classic vision of the werewolf

799
00:45:21,239 --> 00:45:23,480
Speaker 3: actually in a lot of folklore, maybe not all, but

800
00:45:23,560 --> 00:45:25,800
Speaker 3: you know, in a lot of the old werewolf stories

801
00:45:25,840 --> 00:45:29,640
Speaker 3: from before the cinematic era, the werewolf itself is not

802
00:45:29,840 --> 00:45:33,680
Speaker 3: a hybridized form. The hybrid element is simply that a

803
00:45:33,800 --> 00:45:38,320
Speaker 3: person transforms into a wolf, usually a big, ferocious wolf.

804
00:45:38,880 --> 00:45:41,000
Speaker 1: Yeah. Like a lot of times it's like, oh, there

805
00:45:41,040 --> 00:45:44,080
Speaker 1: was this deadly wolf. It was killing people and or

806
00:45:44,840 --> 00:45:48,560
Speaker 1: killing livestock. We've managed to kill it, and lo and behold,

807
00:45:48,560 --> 00:45:50,319
Speaker 1: it turned into an old woman, or it turned into

808
00:45:50,400 --> 00:45:52,919
Speaker 1: this mysterious man that we've never seen before, that sort

809
00:45:52,920 --> 00:45:54,960
Speaker 1: of thing, or the skin came off and there was

810
00:45:55,000 --> 00:45:55,960
Speaker 1: a person underneath.

811
00:45:56,360 --> 00:45:59,840
Speaker 3: Right. So you get versions of the quadrupedal wolf form

812
00:45:59,880 --> 00:46:03,239
Speaker 3: in some werewolf movies as well. Often it's a kind

813
00:46:03,239 --> 00:46:07,480
Speaker 3: of beefed up version of the quadrupedal wolf, so like

814
00:46:07,600 --> 00:46:11,360
Speaker 3: in American Werewolf in London or in the Twilight series.

815
00:46:11,840 --> 00:46:15,440
Speaker 3: In these movies, the werewolf is essentially canine in shape.

816
00:46:15,600 --> 00:46:18,200
Speaker 3: It runs on all fours, it's got the long snout,

817
00:46:18,719 --> 00:46:22,040
Speaker 3: but it is larger than any real wolf, and often

818
00:46:22,120 --> 00:46:24,759
Speaker 3: with the monstrosity elements beefed up.

819
00:46:25,280 --> 00:46:28,040
Speaker 1: I would say the gomork from an Everening story is

820
00:46:28,080 --> 00:46:31,799
Speaker 1: also a good example of this, and I think all

821
00:46:31,800 --> 00:46:34,120
Speaker 1: of these examples also point to the other reality here.

822
00:46:34,239 --> 00:46:36,000
Speaker 1: This is a very hard one to pull off on

823
00:46:36,080 --> 00:46:39,600
Speaker 1: screen because it's not a wolf, it's not a humanoid.

824
00:46:39,800 --> 00:46:42,160
Speaker 1: It's somewhere in between. You're gonna have to depend on

825
00:46:42,239 --> 00:46:46,040
Speaker 1: some rather elaborate special effects and is it going to

826
00:46:46,040 --> 00:46:48,880
Speaker 1: be enough to fully convince me exactly?

827
00:46:48,920 --> 00:46:52,000
Speaker 3: So that's your one type, the four four feet on

828
00:46:52,040 --> 00:46:56,759
Speaker 3: the ground quadrupedal werewolf. Then you've got your bipedal variants.

829
00:46:57,120 --> 00:46:59,440
Speaker 3: You've got the wolf man is what I'll call him,

830
00:46:59,480 --> 00:47:05,000
Speaker 3: which is bipedal, short snout, human shaped head, but covered

831
00:47:05,000 --> 00:47:07,680
Speaker 3: with fur and having fangs in the mouth. This is

832
00:47:07,680 --> 00:47:11,600
Speaker 3: your Lawn Cheney Junior, your Paul Nashy type universal werewolf.

833
00:47:12,000 --> 00:47:13,920
Speaker 1: Can't go wrong with it. Love to see more of it.

834
00:47:14,239 --> 00:47:16,239
Speaker 1: Were Wolf by Night is one of these as well,

835
00:47:16,239 --> 00:47:20,600
Speaker 1: in the recent Disney TV special, which I highly recommend.

836
00:47:20,880 --> 00:47:23,399
Speaker 3: Then after that you've got what I might call the

837
00:47:23,480 --> 00:47:29,400
Speaker 3: man wolf, which is bipedal also but long snout, wolf

838
00:47:29,480 --> 00:47:33,359
Speaker 3: shaped head as seen in movies like The Howling or

839
00:47:33,400 --> 00:47:34,600
Speaker 3: Dog Soldiers.

840
00:47:35,000 --> 00:47:36,839
Speaker 1: And I like this one too. I like all of them,

841
00:47:36,880 --> 00:47:39,880
Speaker 1: but this one is in a zone that I feel

842
00:47:39,880 --> 00:47:44,080
Speaker 1: like is achievable by competent special effects artists.

843
00:47:44,800 --> 00:47:47,239
Speaker 3: Oh yeah, totally. But anyway, here's where I wanted to

844
00:47:47,320 --> 00:47:52,200
Speaker 3: come back to the interplay between cinematic werewolves and gender.

845
00:47:52,880 --> 00:47:55,239
Speaker 3: So I think one thing that's kind of interesting is

846
00:47:55,280 --> 00:48:00,080
Speaker 3: that usually in the movies, both of the bipedal forms

847
00:48:00,120 --> 00:48:03,560
Speaker 3: of the werewolf are shaped in a way that is

848
00:48:03,880 --> 00:48:09,239
Speaker 3: very stereotypically masculine and rob I've got images for you

849
00:48:09,320 --> 00:48:11,560
Speaker 3: to look at here from like The Howling and from

850
00:48:11,600 --> 00:48:14,759
Speaker 3: Dog Soldiers and The wolf Man, just a few things

851
00:48:14,800 --> 00:48:18,520
Speaker 3: to survey. I was really trying to think of counter examples,

852
00:48:18,560 --> 00:48:20,560
Speaker 3: and they're not really coming to mind. I'm not saying

853
00:48:20,600 --> 00:48:25,640
Speaker 3: it's never happened, but most of the bipedal movie werewolves

854
00:48:25,680 --> 00:48:29,400
Speaker 3: I can think of are shaped like the typical form

855
00:48:29,680 --> 00:48:34,520
Speaker 3: of male body builders. You have like massive shoulders, chest

856
00:48:34,600 --> 00:48:39,240
Speaker 3: and upper body tapering down to narrow hips and waiste

857
00:48:39,640 --> 00:48:42,879
Speaker 3: kind of a V shape. They're structured like Arnold Schwarzenegger

858
00:48:42,920 --> 00:48:48,160
Speaker 3: in the seventies. Yeah, so it's a quite interesting variation

859
00:48:48,280 --> 00:48:52,040
Speaker 3: in this film to get a bipedal humanoid werewolf where

860
00:48:52,080 --> 00:48:56,080
Speaker 3: the body is shaped in a more stereotypically feminine form,

861
00:48:56,600 --> 00:49:01,480
Speaker 3: even with long hair. Actually, so something about like the

862
00:49:01,520 --> 00:49:06,080
Speaker 3: fur pelt worn by the Clarissa werewolf in this movie

863
00:49:06,480 --> 00:49:09,160
Speaker 3: almost looks in some shots like she is wearing a

864
00:49:09,200 --> 00:49:11,040
Speaker 3: short dress but made of fur.

865
00:49:12,200 --> 00:49:15,720
Speaker 1: Yeah. Yeah, it's interesting the way that like the mind

866
00:49:15,800 --> 00:49:22,480
Speaker 1: reads the femininity of the monster here. And this movie

867
00:49:22,560 --> 00:49:24,960
Speaker 1: is mentioned at least in passing in the book. I

868
00:49:25,040 --> 00:49:29,239
Speaker 1: referenced earlier in the chapter by Peter Hutchings titled the

869
00:49:29,280 --> 00:49:31,879
Speaker 1: she Wolves of Horror Cinema. And one of the things

870
00:49:31,960 --> 00:49:34,799
Speaker 1: that he's talking about here is that we often see

871
00:49:34,800 --> 00:49:36,759
Speaker 1: if we have a female character that's turning into a

872
00:49:36,760 --> 00:49:40,279
Speaker 1: were wolf. Oftentimes that were wolf is just going to

873
00:49:40,320 --> 00:49:42,960
Speaker 1: be a straight up wolf, and the gender of that

874
00:49:43,000 --> 00:49:47,880
Speaker 1: wolf may be ambiguous because it's a wolf. And on

875
00:49:47,920 --> 00:49:50,680
Speaker 1: the other hand, sometimes they'll transform into some sort of

876
00:49:50,680 --> 00:49:55,360
Speaker 1: a hybrid creature that is overtly masculine. And in this case,

877
00:49:55,440 --> 00:49:58,480
Speaker 1: the way they read le Looba is that we have

878
00:49:58,520 --> 00:50:02,440
Speaker 1: a feminine character turning into a more masculine form, but

879
00:50:02,560 --> 00:50:05,200
Speaker 1: one that is still distinguishable as feminine.

880
00:50:05,520 --> 00:50:09,279
Speaker 3: Ah, that's interesting. So I didn't think about her transforming

881
00:50:09,280 --> 00:50:12,640
Speaker 3: into a more masculine form, but I guess you could

882
00:50:12,680 --> 00:50:14,200
Speaker 3: maybe read it that way. Yeah.

883
00:50:14,200 --> 00:50:16,640
Speaker 1: I don't know. I just don't agree with it myself,

884
00:50:16,680 --> 00:50:18,279
Speaker 1: but as their techon it.

885
00:50:18,680 --> 00:50:20,719
Speaker 3: But either way, I thought it was interesting that this

886
00:50:20,880 --> 00:50:25,320
Speaker 3: is a bipedal humanoid werewolf form that looks more stereotypically

887
00:50:25,400 --> 00:50:28,480
Speaker 3: feminine than any basically any other examples I can think

888
00:50:28,520 --> 00:50:32,640
Speaker 3: of in horror movies, and it kind of makes you wonder, like,

889
00:50:32,840 --> 00:50:35,640
Speaker 3: why are all the other werewolf examples I can think

890
00:50:35,680 --> 00:50:39,279
Speaker 3: of coded as masculine morphs, Like, is there a particular

891
00:50:39,400 --> 00:50:42,759
Speaker 3: reason for this? I guess beyond the just kind of

892
00:50:43,040 --> 00:50:46,439
Speaker 3: unquestioned sexism of a lot of culture where that takes

893
00:50:46,480 --> 00:50:49,600
Speaker 3: sort of like the male as default. Is there something

894
00:50:49,600 --> 00:50:52,879
Speaker 3: about the wolf form, or the werewolf form in particular,

895
00:50:53,560 --> 00:50:57,840
Speaker 3: that causes people to think of human masculinity because I

896
00:50:57,880 --> 00:51:00,640
Speaker 3: know that the same assumption does not go with vampires,

897
00:51:00,840 --> 00:51:06,040
Speaker 3: because we get plenty of typically stereotypically feminine vampires. Though

898
00:51:06,040 --> 00:51:09,040
Speaker 3: of course that's kind of different because vampires are basically

899
00:51:09,160 --> 00:51:12,960
Speaker 3: human in form anyway, So I don't know. One thing

900
00:51:13,040 --> 00:51:15,920
Speaker 3: I was wondering about is if there is a general

901
00:51:15,960 --> 00:51:21,480
Speaker 3: trend in the imagination, in our tendency to imagine monsters

902
00:51:22,000 --> 00:51:25,360
Speaker 3: that thinks of them as when you have a creature

903
00:51:25,440 --> 00:51:30,920
Speaker 3: that's becoming less human in appearance, whatever humanoid elements remain,

904
00:51:31,600 --> 00:51:35,160
Speaker 3: are more likely on average to be imagined as masculine

905
00:51:35,160 --> 00:51:38,440
Speaker 3: by default, or maybe more more likely to be imagined

906
00:51:38,480 --> 00:51:40,600
Speaker 3: as masculine by default by men.

907
00:51:41,000 --> 00:51:43,920
Speaker 1: Yeah, that's a great point, I guess another. I mean,

908
00:51:43,920 --> 00:51:46,040
Speaker 1: there's so many different ways to tease this apart when

909
00:51:46,040 --> 00:51:50,240
Speaker 1: you get into like the way gender is treated in

910
00:51:49,800 --> 00:51:55,719
Speaker 1: in culture and in storytelling. One point they bring up

911
00:51:55,760 --> 00:51:58,839
Speaker 1: in the book is that body here is one way

912
00:51:58,840 --> 00:52:02,160
Speaker 1: of potentially looking at it. There may be a resistance

913
00:52:02,239 --> 00:52:05,279
Speaker 1: to want to put a bunch of hair on your

914
00:52:05,320 --> 00:52:09,759
Speaker 1: female character even as they turn into the wolf, and

915
00:52:09,880 --> 00:52:12,120
Speaker 1: at the very least, like maybe they have to get

916
00:52:12,120 --> 00:52:15,279
Speaker 1: a little more specific with how you're gonna do it. Like,

917
00:52:15,320 --> 00:52:18,960
Speaker 1: for instance, we don't see like a completely fur covered

918
00:52:19,000 --> 00:52:21,839
Speaker 1: face of our she wolf here, though there is fur

919
00:52:21,920 --> 00:52:24,799
Speaker 1: on her face. Likewise, there's fur on her body, but

920
00:52:25,080 --> 00:52:27,040
Speaker 1: not the sense that the whole body is covered in

921
00:52:27,080 --> 00:52:29,719
Speaker 1: thick fur. So there's probably a lot of just like

922
00:52:29,800 --> 00:52:34,719
Speaker 1: cultural ideas of body hair and hair and gender that

923
00:52:34,840 --> 00:52:38,320
Speaker 1: get thrown into the mix when conceptualizing these things.

924
00:52:38,640 --> 00:52:41,640
Speaker 3: I think that's right. That is interesting to point out. Yeah,

925
00:52:41,680 --> 00:52:44,240
Speaker 3: when we see because we get a male were wolf

926
00:52:44,280 --> 00:52:47,160
Speaker 3: and a female were wolf in this movie, and the

927
00:52:47,239 --> 00:52:51,040
Speaker 3: lady wolf, she has a smoother face than the dude does.

928
00:52:51,239 --> 00:52:54,480
Speaker 1: Yeah, so I get the impression they put a lot

929
00:52:54,480 --> 00:52:56,399
Speaker 1: of thought into this. How are we going to turn

930
00:52:56,480 --> 00:53:00,960
Speaker 1: Kitty into a were wolf in a way that makes

931
00:53:01,000 --> 00:53:05,759
Speaker 1: her frightening but also still like alluring to the vast

932
00:53:05,760 --> 00:53:08,680
Speaker 1: majority of the audience. You know, that's still retaining her

933
00:53:08,840 --> 00:53:12,040
Speaker 1: Marilyn Monroe image. How are we going to keep all

934
00:53:12,080 --> 00:53:14,959
Speaker 1: of that in the mix while also transforming her into

935
00:53:15,000 --> 00:53:15,760
Speaker 1: a wolf person?

936
00:53:16,239 --> 00:53:21,400
Speaker 3: Yeah? That is interesting also, So my first question was like,

937
00:53:22,160 --> 00:53:24,560
Speaker 3: why that trend? I think we got some good ideas there.

938
00:53:24,560 --> 00:53:27,759
Speaker 3: But the second thing is, the second thing I was

939
00:53:27,800 --> 00:53:34,000
Speaker 3: wondering is how does a more typically feminine humanoid werewolf

940
00:53:34,120 --> 00:53:37,680
Speaker 3: work differently on film than the more kind of like

941
00:53:37,920 --> 00:53:41,880
Speaker 3: beef bodybuilder guy were wolf does? I think in our

942
00:53:41,960 --> 00:53:44,600
Speaker 3: opening here you may get one kind of answer about

943
00:53:44,600 --> 00:53:48,600
Speaker 3: the tendencies filmmakers will have when dealing with these different

944
00:53:48,600 --> 00:53:52,760
Speaker 3: types of werewolves. In this movie, the werewolf is depicted

945
00:53:52,880 --> 00:53:56,680
Speaker 3: less as one that overwhelms you with physical size and

946
00:53:56,719 --> 00:54:00,000
Speaker 3: book and braun, and instead as a kind of murder

947
00:54:00,080 --> 00:54:03,440
Speaker 3: her acrobat like flying through the air out of hiding

948
00:54:03,480 --> 00:54:05,479
Speaker 3: to claw and slash.

949
00:54:05,800 --> 00:54:07,920
Speaker 1: Yeah, when they make a convincing argument for it. I mean,

950
00:54:07,920 --> 00:54:12,360
Speaker 1: it's so it's so well executed on the screen. I

951
00:54:12,400 --> 00:54:16,000
Speaker 1: think some other female were wolf shows a definitely lean

952
00:54:16,080 --> 00:54:19,279
Speaker 1: into the idea of seduction as being part of their

953
00:54:19,360 --> 00:54:21,960
Speaker 1: character as well. Like I believe that's an aspect of

954
00:54:22,040 --> 00:54:25,440
Speaker 1: the trick or treat example where the lady where wolves

955
00:54:25,440 --> 00:54:27,640
Speaker 1: are also a little seductive, at least at first before

956
00:54:27,680 --> 00:54:31,440
Speaker 1: they transform, you know, kind of tying into various like

957
00:54:31,520 --> 00:54:33,719
Speaker 1: you know, sort of stuckubus ideas of some sort of

958
00:54:33,719 --> 00:54:38,359
Speaker 1: seductive creature that's actually a monster. But yeah, I do

959
00:54:38,480 --> 00:54:41,040
Speaker 1: like this idea of the of the she wolf as

960
00:54:41,120 --> 00:54:44,520
Speaker 1: like a swift, stealth oriented killer.

961
00:54:45,040 --> 00:54:47,520
Speaker 3: Anyway, to come back to the plot, at the end

962
00:54:47,520 --> 00:54:50,360
Speaker 3: of this rampage, the wolf woman retreats to the coffin

963
00:54:50,440 --> 00:54:52,759
Speaker 3: she climbed out of in the beginning. But here's where

964
00:54:52,760 --> 00:54:55,640
Speaker 3: the twist comes in, because you might think it's like

965
00:54:55,719 --> 00:54:57,640
Speaker 3: the vampire, you know, the vampire just lays in the

966
00:54:57,680 --> 00:55:00,680
Speaker 3: coffin until at a certain point they they open the

967
00:55:00,719 --> 00:55:03,360
Speaker 3: lid and get out and do their business. This coffin

968
00:55:03,520 --> 00:55:06,160
Speaker 3: is not merely a coffin. The wolf is not going

969
00:55:06,200 --> 00:55:08,799
Speaker 3: in there to lie down. It is, in fact a

970
00:55:08,920 --> 00:55:10,040
Speaker 3: secret passageway.

971
00:55:10,520 --> 00:55:13,440
Speaker 1: Ah. Yeah, and this is going to tie into some dialogue,

972
00:55:13,440 --> 00:55:16,279
Speaker 1: that monologue we referenced earlier, you know, the idea of

973
00:55:16,320 --> 00:55:18,560
Speaker 1: death as a door. I don't know if they're really

974
00:55:18,920 --> 00:55:22,040
Speaker 1: deliberately trying to connect these two things, but I couldn't help.

975
00:55:22,040 --> 00:55:24,640
Speaker 3: But notice I didn't make that connection. That's a good one.

976
00:55:25,520 --> 00:55:28,400
Speaker 3: So from here, the camera retreats to a nearby mansion

977
00:55:28,480 --> 00:55:31,320
Speaker 3: surrounded by a high wall that is sort of nestled

978
00:55:31,360 --> 00:55:34,080
Speaker 3: at the edge of the woods. And here in the

979
00:55:34,200 --> 00:55:37,799
Speaker 3: upper floors of this house, we meet Krumbaugh. He is

980
00:55:38,200 --> 00:55:41,640
Speaker 3: not formally introduced yet. We'll get more of his backstory later,

981
00:55:41,960 --> 00:55:45,200
Speaker 3: but he appears as this muscle man dressed again as

982
00:55:45,280 --> 00:55:48,759
Speaker 3: the party's barbarian. He's wearing like a leather tunic, and

983
00:55:48,840 --> 00:55:53,080
Speaker 3: he shows a look of concern and then appears like

984
00:55:53,160 --> 00:55:56,719
Speaker 3: he goes into a woman's bedroom and starts well, actually, no,

985
00:55:56,800 --> 00:55:58,279
Speaker 3: I think I was gonna say he goes into the

986
00:55:58,280 --> 00:56:00,719
Speaker 3: bedroom and starts cranking the chain, but I think the

987
00:56:00,760 --> 00:56:04,280
Speaker 3: giant pole chain is in a different room. He locks

988
00:56:04,320 --> 00:56:06,960
Speaker 3: the door to a woman's bedroom and then goes to

989
00:56:07,000 --> 00:56:10,279
Speaker 3: a room nearby and starts cranking this giant chain and

990
00:56:10,320 --> 00:56:13,560
Speaker 3: As he does this, we cut over to the hearth

991
00:56:13,760 --> 00:56:17,359
Speaker 3: at the one end of the bedroom and see a

992
00:56:17,400 --> 00:56:20,600
Speaker 3: panel on the back of the fireplace lift away. It's

993
00:56:20,600 --> 00:56:23,400
Speaker 3: a secret door, and who should crawl out of it

994
00:56:23,520 --> 00:56:25,480
Speaker 3: but our wolf woman here she comes.

995
00:56:25,719 --> 00:56:27,719
Speaker 1: Oh, man, this is great and I love that.

996
00:56:27,840 --> 00:56:30,279
Speaker 3: I mean, we did those whole episodes on We did

997
00:56:30,320 --> 00:56:32,120
Speaker 3: a series of episodes and stuff to blow your mind.

998
00:56:31,960 --> 00:56:35,840
Speaker 1: About the hearth as a gateway for supernatural threats. And

999
00:56:35,880 --> 00:56:38,480
Speaker 1: here we have a hearth that's an actual literal gateway

1000
00:56:38,840 --> 00:56:41,000
Speaker 1: for a monstrous humanoid.

1001
00:56:41,400 --> 00:56:44,280
Speaker 3: Yeah, and this seems very creepy. The wolf woman crawls

1002
00:56:44,320 --> 00:56:48,239
Speaker 3: in on all fours, slowly creeping, as if maybe wounded

1003
00:56:48,400 --> 00:56:51,960
Speaker 3: or drained of energy. She comes into the room, collapses

1004
00:56:52,000 --> 00:56:55,799
Speaker 3: on the floor, unconscious, and here the camera stays on

1005
00:56:55,880 --> 00:57:00,640
Speaker 3: her as we get a slow dissolved transformation sequence. Gradually

1006
00:57:00,680 --> 00:57:04,400
Speaker 3: the claws dissolve into human fingers, and the suit of

1007
00:57:04,520 --> 00:57:07,720
Speaker 3: fur fades away and leaves behind only smooth human skin,

1008
00:57:08,200 --> 00:57:10,359
Speaker 3: and we see that it is a young woman lying

1009
00:57:10,480 --> 00:57:15,120
Speaker 3: nude on the floor. So what it's like if you

1010
00:57:15,160 --> 00:57:17,240
Speaker 3: don't know anything at this point, you're like, this family

1011
00:57:17,320 --> 00:57:21,320
Speaker 3: has a chain and muscleman operated doggy door for its

1012
00:57:21,400 --> 00:57:23,120
Speaker 3: werewolf woman inhabitant.

1013
00:57:23,920 --> 00:57:27,720
Speaker 1: Yeah, like, clearly this family has some issues. We've got

1014
00:57:27,720 --> 00:57:28,720
Speaker 1: that already.

1015
00:57:29,600 --> 00:57:32,200
Speaker 3: Meanwhile, a guest arrives at the manor. It is the

1016
00:57:32,240 --> 00:57:36,080
Speaker 3: guy we saw on the road, doctor Bernstein. He's met

1017
00:57:36,080 --> 00:57:38,160
Speaker 3: by one of the servants and then he's brought inside

1018
00:57:38,480 --> 00:57:42,560
Speaker 3: and greeted by the patriarch of the house, Doctor Fernandez. Again,

1019
00:57:42,600 --> 00:57:46,840
Speaker 3: Doctor Fernandez. That's Santa Claus from Santa Claus. Yes, Fernandez

1020
00:57:46,880 --> 00:57:49,880
Speaker 3: is an older man in a white lab coat. Doctor

1021
00:57:49,920 --> 00:57:52,920
Speaker 3: Bernstein is a young man. Both have mustaches. They all

1022
00:57:52,960 --> 00:57:56,919
Speaker 3: have mustaches, and we learned that they are colleagues, both

1023
00:57:57,000 --> 00:58:01,600
Speaker 3: involved in cutting edge medical research. Fernandez is curious if

1024
00:58:01,600 --> 00:58:04,960
Speaker 3: Bernstein has come to deliver professional news from a recent

1025
00:58:05,040 --> 00:58:08,120
Speaker 3: conference he attended, but no, the main purpose of his

1026
00:58:08,240 --> 00:58:11,840
Speaker 3: visit is personal. Doctor Bernstein has come to ask to

1027
00:58:11,920 --> 00:58:16,760
Speaker 3: marry Clarissa, one of doctor Fernandez's two daughters. Now, to

1028
00:58:16,760 --> 00:58:19,120
Speaker 3: clarify once again, we mentioned this during the cast list,

1029
00:58:19,200 --> 00:58:22,800
Speaker 3: but the two daughters are Clarissa, who is in love

1030
00:58:22,840 --> 00:58:26,880
Speaker 3: with doctor Bernstein, and then Alicia. Alicia is the other daughter.

1031
00:58:27,200 --> 00:58:30,320
Speaker 3: Both of the daughters are adults, but their rooms are

1032
00:58:30,320 --> 00:58:33,040
Speaker 3: full of creepy toys that would belong to a sickly

1033
00:58:33,080 --> 00:58:37,560
Speaker 3: aristocratic Victorian child. You know, they've got all these porcelain

1034
00:58:37,720 --> 00:58:41,520
Speaker 3: dolls and music boxes that play creepy tunes, and bird

1035
00:58:41,600 --> 00:58:45,680
Speaker 3: cages and that sort of thing, little wind up toys

1036
00:58:45,720 --> 00:58:49,840
Speaker 3: that do all sorts of little tricks. So Bernstein and Clarissa,

1037
00:58:49,960 --> 00:58:52,760
Speaker 3: we find out, have secretly been in love for some time.

1038
00:58:52,880 --> 00:58:55,400
Speaker 3: But now now he's here to ask for her hand

1039
00:58:55,440 --> 00:58:58,640
Speaker 3: in marriage, and he wants the blessing of her father,

1040
00:58:59,160 --> 00:59:02,480
Speaker 3: and the father seemed torn. He likes doctor Bernstein, but

1041
00:59:02,680 --> 00:59:06,880
Speaker 3: he fears that if they marry, some terrible consequence will unfold,

1042
00:59:07,440 --> 00:59:10,520
Speaker 3: and he suggests that Bernstein stay at the house while

1043
00:59:10,560 --> 00:59:12,840
Speaker 3: he makes up his mind. And he says, you know,

1044
00:59:12,880 --> 00:59:15,560
Speaker 3: you could continue your research here anyway. I've got all

1045
00:59:15,600 --> 00:59:18,160
Speaker 3: of the best equipment facilities in the world, I think,

1046
00:59:18,200 --> 00:59:20,520
Speaker 3: he says, like I have the best microscope on the planet.

1047
00:59:20,800 --> 00:59:23,640
Speaker 1: Yeah, and there it is, that's right there on the table. Yeah.

1048
00:59:24,000 --> 00:59:26,720
Speaker 3: Now I mentioned this earlier, But one kind of interesting

1049
00:59:26,760 --> 00:59:30,840
Speaker 3: thing is it's not immediately clear which daughter is the

1050
00:59:30,840 --> 00:59:34,000
Speaker 3: were wolf, because I think they try to fake you

1051
00:59:34,040 --> 00:59:37,000
Speaker 3: out here by like the first daughter you see after

1052
00:59:37,080 --> 00:59:41,440
Speaker 3: the werewolf transformation scene is Alicia, the other daughter, And

1053
00:59:41,480 --> 00:59:44,200
Speaker 3: we also have a scene where Alicia goes to her

1054
00:59:44,240 --> 00:59:47,640
Speaker 3: mother and like confesses having this terrible dream about like

1055
00:59:47,720 --> 00:59:49,840
Speaker 3: running through the woods at night and having blood on

1056
00:59:49,880 --> 00:59:51,320
Speaker 3: her hands. Yeah.

1057
00:59:51,480 --> 00:59:54,040
Speaker 1: Yeah, So we're supposed to be unsure which of the

1058
00:59:54,080 --> 00:59:55,640
Speaker 1: two daughters is the were wolf, but.

1059
00:59:55,720 --> 00:59:57,720
Speaker 3: We know we know it's one of them though, as

1060
00:59:57,760 --> 01:00:03,240
Speaker 3: I also said earlier, of the two, Clarissa definitely feels

1061
01:00:03,320 --> 01:00:07,160
Speaker 3: the most dangerous in her personality, in her presence, so

1062
01:00:07,200 --> 01:00:11,080
Speaker 3: there's something a bit more unhinged and threatening about the

1063
01:00:11,120 --> 01:00:13,640
Speaker 3: way she just looks at people and talks.

1064
01:00:14,160 --> 01:00:23,880
Speaker 1: Yeah.

1065
01:00:23,920 --> 01:00:26,080
Speaker 3: Meanwhile, we got a little side plot going on at

1066
01:00:26,120 --> 01:00:28,960
Speaker 3: the local police station. We meet some more characters, the

1067
01:00:29,000 --> 01:00:32,400
Speaker 3: police inspector and his deputy, and we meet doctor Gonzalez

1068
01:00:32,440 --> 01:00:35,400
Speaker 3: played by Roberto Canado. Actually we met him earlier because

1069
01:00:35,400 --> 01:00:38,320
Speaker 3: he was at the campsite. But they are examining the

1070
01:00:38,400 --> 01:00:42,160
Speaker 3: dead bodies from the werewolf rampage the say, previous night

1071
01:00:42,280 --> 01:00:44,680
Speaker 3: or the same night, not sure. When this is all

1072
01:00:44,720 --> 01:00:49,800
Speaker 3: one big night, it's exactly one big night, and they

1073
01:00:49,880 --> 01:00:52,920
Speaker 3: notice the victims in this case were not only killed,

1074
01:00:53,000 --> 01:00:56,080
Speaker 3: the attacker opened up the chest and tore out the heart,

1075
01:00:56,480 --> 01:00:58,840
Speaker 3: and the inspector says it's disgusting.

1076
01:00:59,560 --> 01:01:01,760
Speaker 1: It is. Get a nice close up of the wound,

1077
01:01:01,840 --> 01:01:04,040
Speaker 1: and you know it's all black and white, but it's

1078
01:01:04,480 --> 01:01:07,120
Speaker 1: it's gooey, it's it's uh, it's juicy.

1079
01:01:07,040 --> 01:01:09,680
Speaker 3: In this one. Still, I got the wound looks like lips.

1080
01:01:10,480 --> 01:01:13,520
Speaker 1: Yeah yeah, it does, Yeah, like a lip made out

1081
01:01:13,560 --> 01:01:14,040
Speaker 1: of ribs.

1082
01:01:14,880 --> 01:01:18,280
Speaker 3: But the doctor says, we've got a clue. The attacker's

1083
01:01:18,360 --> 01:01:21,200
Speaker 3: blood is left on the victim, and he says, I

1084
01:01:21,200 --> 01:01:23,160
Speaker 3: can collect the attack I don't know how he tells

1085
01:01:23,160 --> 01:01:25,920
Speaker 3: the difference, but he says, I can collect this blood

1086
01:01:26,400 --> 01:01:29,400
Speaker 3: and analyze it and determine what kind of creature it

1087
01:01:29,480 --> 01:01:31,400
Speaker 3: came from, so we can know if it was a

1088
01:01:31,440 --> 01:01:33,440
Speaker 3: you know, a wolf for a bear or whatever that

1089
01:01:33,480 --> 01:01:34,920
Speaker 3: attacks them, or maybe a human.

1090
01:01:35,360 --> 01:01:37,800
Speaker 1: Yeah, forensic subplot up and running right.

1091
01:01:37,880 --> 01:01:40,840
Speaker 3: So back at the house, doctor Fernandez is showing off

1092
01:01:40,840 --> 01:01:46,640
Speaker 3: his lab to Bernstein and he explains his research into metaplasia,

1093
01:01:47,160 --> 01:01:51,920
Speaker 3: changing one form of life into another, and this research

1094
01:01:52,040 --> 01:01:55,880
Speaker 3: involves a giant walk in freezer, which he shows that

1095
01:01:55,960 --> 01:01:59,880
Speaker 3: he's used to flash freeze plants and even some animal

1096
01:02:00,600 --> 01:02:04,480
Speaker 3: to essentially put them into hibernation or arrest their development.

1097
01:02:04,520 --> 01:02:05,360
Speaker 3: In a particular state.

1098
01:02:05,400 --> 01:02:05,600
Speaker 1: I think.

1099
01:02:05,640 --> 01:02:08,280
Speaker 3: He says, like something was dying and he could freeze

1100
01:02:08,320 --> 01:02:12,000
Speaker 3: it until it could heal without the damage progressing anymore.

1101
01:02:12,760 --> 01:02:16,400
Speaker 3: So he has a cryo chamber essentially, Yes, And he

1102
01:02:16,520 --> 01:02:20,320
Speaker 3: explains what his research is really getting at. He says,

1103
01:02:20,440 --> 01:02:25,120
Speaker 3: mutations of nature the metamorphosis of cells. They're all equal

1104
01:02:25,240 --> 01:02:28,960
Speaker 3: and all succeed themselves. And he notes that through his

1105
01:02:29,080 --> 01:02:32,240
Speaker 3: techniques one could learn to transform the cells from one

1106
01:02:32,320 --> 01:02:37,560
Speaker 3: creature into that of another, even un Lobo. And then

1107
01:02:37,680 --> 01:02:40,480
Speaker 3: I also want to flag here Chekhov's really hard to

1108
01:02:40,520 --> 01:02:41,640
Speaker 3: open freezer door.

1109
01:02:42,040 --> 01:02:42,240
Speaker 1: Yeah.

1110
01:02:42,280 --> 01:02:44,000
Speaker 3: I don't know why you'd make it that way, but

1111
01:02:44,560 --> 01:02:49,360
Speaker 3: they show multiple times characters struggling intensely to open the

1112
01:02:49,400 --> 01:02:52,160
Speaker 3: freezer from the inside. It's hard to get this door open.

1113
01:02:52,480 --> 01:02:54,800
Speaker 1: Yeah, yeah, even Crumba has a hard time with this one.

1114
01:02:54,840 --> 01:02:57,640
Speaker 1: We see in a subsequen scene.

1115
01:02:56,920 --> 01:02:59,840
Speaker 3: For oh, I like how in the lab here Fernandez

1116
01:02:59,840 --> 01:03:03,280
Speaker 3: all explains that the moon is crucial to his experiments

1117
01:03:03,280 --> 01:03:07,280
Speaker 3: because of the power it exerts over the function of cells. Okay,

1118
01:03:08,640 --> 01:03:10,600
Speaker 3: but this is also where we learn a bit of

1119
01:03:10,600 --> 01:03:13,600
Speaker 3: the backstory of Crumba. We learned that Fernandez once saved

1120
01:03:13,600 --> 01:03:17,880
Speaker 3: Crumba's life. And now Crumba has this unrepayable debt to him,

1121
01:03:18,320 --> 01:03:21,480
Speaker 3: and so he works for Fernandez like a watchdog. He's

1122
01:03:21,600 --> 01:03:25,400
Speaker 3: very very loyal, very dependable, and you know he will

1123
01:03:25,400 --> 01:03:28,600
Speaker 3: never give up on Fernandez to repay his life debt.

1124
01:03:29,120 --> 01:03:31,760
Speaker 1: Yeah, when the bell rings in the night and someone

1125
01:03:31,760 --> 01:03:34,840
Speaker 1: has to go answer the front door, it's Crumba that doesn't.

1126
01:03:35,240 --> 01:03:38,600
Speaker 3: Now Here, we come to this scene where Alicia explains

1127
01:03:38,640 --> 01:03:41,360
Speaker 3: her recurring nightmare to her mother. She says, you know,

1128
01:03:41,440 --> 01:03:44,400
Speaker 3: she dreams that she is awake in the night and

1129
01:03:44,400 --> 01:03:47,520
Speaker 3: she's running through the woods and she hears someone coming

1130
01:03:47,600 --> 01:03:50,800
Speaker 3: and then hides herself and then she's overcome with rage

1131
01:03:50,800 --> 01:03:54,240
Speaker 3: and confusion. She doesn't understand what she's doing until she

1132
01:03:54,360 --> 01:03:59,120
Speaker 3: realizes that her hands are covered in blood. And so again,

1133
01:03:59,160 --> 01:04:01,560
Speaker 3: at this point, we don't know which daughter is the werewolf.

1134
01:04:01,640 --> 01:04:04,480
Speaker 3: We're being led to think it might be Alicia. But

1135
01:04:04,520 --> 01:04:07,160
Speaker 3: Alicia wants to know why she and her sister are

1136
01:04:07,200 --> 01:04:09,760
Speaker 3: always kept locked in their rooms on the full moon.

1137
01:04:09,960 --> 01:04:10,760
Speaker 3: Isn't that weird?

1138
01:04:10,840 --> 01:04:11,120
Speaker 1: Mom?

1139
01:04:11,200 --> 01:04:14,560
Speaker 3: And Mom's like, well, it's your father's orders. We have

1140
01:04:14,600 --> 01:04:17,280
Speaker 3: to do what he says, and Alicia literally says the

1141
01:04:17,320 --> 01:04:21,760
Speaker 3: line from step brothers. This house is a prison. Meanwhile,

1142
01:04:21,920 --> 01:04:24,600
Speaker 3: and I thought this was funny, Like while they're having

1143
01:04:24,600 --> 01:04:27,800
Speaker 3: this argument, we cut away to Clarissa in the other

1144
01:04:27,920 --> 01:04:31,280
Speaker 3: room and she's just like playing with cursed music boxes

1145
01:04:31,320 --> 01:04:32,640
Speaker 3: and grinning like a clown.

1146
01:04:33,440 --> 01:04:35,280
Speaker 1: There's not a lot to do here if you're not

1147
01:04:35,440 --> 01:04:37,880
Speaker 1: actively engaged in mad science research.

1148
01:04:38,200 --> 01:04:42,560
Speaker 3: Yeah. Oh, and also we later see Alicia, we would

1149
01:04:42,560 --> 01:04:45,280
Speaker 3: get like some humanizing stuff. Or Alicia goes to the

1150
01:04:45,360 --> 01:04:48,360
Speaker 3: quarters of some of the servants at the house and

1151
01:04:48,560 --> 01:04:52,520
Speaker 3: the servant woman's daughter is there. The daughter is named Adalita,

1152
01:04:52,720 --> 01:04:56,680
Speaker 3: and she is deaf and mute, and so Alicia seems

1153
01:04:56,680 --> 01:05:00,240
Speaker 3: to be teaching Adelita to read and try trying to

1154
01:05:00,280 --> 01:05:03,120
Speaker 3: give her some kind of speech therapy. She's like putting

1155
01:05:03,160 --> 01:05:06,800
Speaker 3: her fingers around her throat while she's trying to enunciate words.

1156
01:05:07,360 --> 01:05:10,040
Speaker 1: So it's not all just frivolous playing around with toys

1157
01:05:10,040 --> 01:05:14,080
Speaker 1: and dresses and so forth. She's also doing some good

1158
01:05:14,080 --> 01:05:14,600
Speaker 1: in the world.

1159
01:05:15,120 --> 01:05:18,880
Speaker 3: But back in the lab, the plot thickens, so Bernstein

1160
01:05:18,920 --> 01:05:22,040
Speaker 3: and Fernandez are still there, and Bernstein is saying, you

1161
01:05:22,080 --> 01:05:26,200
Speaker 3: know what, I confess You've told me you're working on metaplasia.

1162
01:05:26,680 --> 01:05:30,600
Speaker 3: I am also working on something rather alike metaplasia, and

1163
01:05:30,640 --> 01:05:34,760
Speaker 3: then Fernandez just guesses, first guess he says, like anthropy,

1164
01:05:35,360 --> 01:05:40,080
Speaker 3: and Bernstein says, yes, So, like where did everybody get

1165
01:05:40,080 --> 01:05:43,080
Speaker 3: the metaplasia research bug? Why are they all working on

1166
01:05:43,160 --> 01:05:49,880
Speaker 3: werewolf science? It's implied that this is not that they

1167
01:05:49,880 --> 01:05:52,919
Speaker 3: didn't coordinate on this. It's like a coincidence that they're

1168
01:05:52,960 --> 01:05:55,840
Speaker 3: just both working on like aanthropy but their colleagues.

1169
01:05:56,560 --> 01:05:58,920
Speaker 1: Yeah, I mean, they both certainly have their reasons, as

1170
01:05:58,960 --> 01:06:01,720
Speaker 1: we'll learn, but but yeah, this kind of just kind

1171
01:06:01,720 --> 01:06:03,720
Speaker 1: of this kind of comes up in the conversation where

1172
01:06:03,720 --> 01:06:07,480
Speaker 1: it's like, like, so you're working on where wolves is like, yep, yeah,

1173
01:06:07,480 --> 01:06:09,760
Speaker 1: well that's that's secretly what I'm working on too. We're

1174
01:06:09,760 --> 01:06:10,640
Speaker 1: in the same business.

1175
01:06:10,920 --> 01:06:15,680
Speaker 3: Bernstein says, science denies the existence of like anthropy, conceptualizes

1176
01:06:15,720 --> 01:06:18,760
Speaker 3: it as something unreal. Do you have the same opinion?

1177
01:06:19,200 --> 01:06:22,560
Speaker 3: And Fernandez says no, because I have powerful reasons to

1178
01:06:22,600 --> 01:06:25,720
Speaker 3: believe in it. So they're on the same page here.

1179
01:06:25,720 --> 01:06:29,200
Speaker 3: But then the question comes up, is like anthropy a disease?

1180
01:06:29,800 --> 01:06:33,040
Speaker 3: And Bernstein says, no, it is not a disease. It

1181
01:06:33,080 --> 01:06:37,080
Speaker 3: is something much more. Science could not understand. These secrets

1182
01:06:37,080 --> 01:06:42,040
Speaker 3: only I can decipher them. But suddenly here they're interrupted

1183
01:06:42,040 --> 01:06:45,560
Speaker 3: because Clarissa runs in, so the lovers are reunited, and

1184
01:06:45,600 --> 01:06:49,640
Speaker 3: then they go off to speak privately, and once they're alone,

1185
01:06:49,960 --> 01:06:53,800
Speaker 3: they have an interesting conversation. Bernstein says, nothing is impossible.

1186
01:06:53,880 --> 01:06:57,120
Speaker 3: See I am here with you, and Clarissa says, I

1187
01:06:57,160 --> 01:07:01,720
Speaker 3: am afraid afraid to awaken her. Who is her afraid

1188
01:07:01,760 --> 01:07:05,760
Speaker 3: to awaken her? Bernstein says, it's not an illusion, Clarissa,

1189
01:07:05,880 --> 01:07:10,600
Speaker 3: it's reality. And then Clarissa confesses to to Alejandro here

1190
01:07:10,680 --> 01:07:13,920
Speaker 3: that she is also having horrible dreams. She dreams that

1191
01:07:14,000 --> 01:07:17,680
Speaker 3: she's kissing him, but then some confusion falls over her

1192
01:07:17,960 --> 01:07:20,280
Speaker 3: and she can't find him, doesn't know where he is

1193
01:07:20,400 --> 01:07:24,760
Speaker 3: or what's happening, And then we get this wonderful monologue.

1194
01:07:24,920 --> 01:07:28,760
Speaker 3: Bernstein says, in the end, it's always the same to die,

1195
01:07:29,160 --> 01:07:32,520
Speaker 3: but not even those who died can escape from its destiny.

1196
01:07:32,960 --> 01:07:35,880
Speaker 3: The life of a mortal one realizes time only in

1197
01:07:35,960 --> 01:07:41,080
Speaker 3: an instant, because after death comes the eternity, the region

1198
01:07:41,200 --> 01:07:46,160
Speaker 3: without dimension, infinite in time and space. Reaching it is

1199
01:07:46,240 --> 01:07:50,280
Speaker 3: the most important. It's there where our love will last forever.

1200
01:07:50,800 --> 01:07:54,720
Speaker 3: Life will soon pass, and oh my God like I

1201
01:07:54,880 --> 01:07:57,200
Speaker 3: was not prepared for this. At this point in the movie,

1202
01:07:57,440 --> 01:08:01,520
Speaker 3: He's got some kind of necro erotic thing going on,

1203
01:08:01,760 --> 01:08:04,880
Speaker 3: like he yearns for death because that's the only place

1204
01:08:04,880 --> 01:08:08,440
Speaker 3: where eternity is possible, where their love can be forever.

1205
01:08:08,560 --> 01:08:11,400
Speaker 3: He thinks he has some kind of key to the

1206
01:08:11,440 --> 01:08:15,720
Speaker 3: gateway to something, some kind of expanded existence beyond death.

1207
01:08:16,600 --> 01:08:18,360
Speaker 1: Yeah, this is one of the many ways of this

1208
01:08:18,400 --> 01:08:21,640
Speaker 1: film is so deeply weird. You know, you kind of

1209
01:08:21,720 --> 01:08:25,559
Speaker 1: expect of your older black and white monster pictures to

1210
01:08:25,640 --> 01:08:29,599
Speaker 1: have some very cut and dry morality involved in how

1211
01:08:29,680 --> 01:08:33,000
Speaker 1: your human characters are so are relating or you're presumably

1212
01:08:33,120 --> 01:08:38,360
Speaker 1: human characters are relating to threats. But everyone, everyone in

1213
01:08:38,400 --> 01:08:41,320
Speaker 1: this picture has a little bit of the madness in them,

1214
01:08:41,360 --> 01:08:44,360
Speaker 1: and I really like that. I mean, except for Gunzalz.

1215
01:08:44,360 --> 01:08:48,000
Speaker 1: Gonzalez is a rock. He's straight straight down the middle.

1216
01:08:48,600 --> 01:08:50,400
Speaker 3: I'd say Alicia has kind of a straight shooter.

1217
01:08:50,520 --> 01:08:50,640
Speaker 4: Two.

1218
01:08:50,720 --> 01:08:51,439
Speaker 1: I guess, yeah.

1219
01:08:51,600 --> 01:08:55,040
Speaker 3: Yeah. Anyway, so they get interrupted by the return of

1220
01:08:55,040 --> 01:08:57,720
Speaker 3: doctor Gonsalez. He's here to speak with Fernandez about the

1221
01:08:57,760 --> 01:09:00,960
Speaker 3: heart ripping in the woods. Apparently one of the victims

1222
01:09:01,040 --> 01:09:03,600
Speaker 3: was his best friend, and he stops to speak with

1223
01:09:03,640 --> 01:09:06,599
Speaker 3: Alicia who is troubled by her dreams and by worries

1224
01:09:06,600 --> 01:09:10,040
Speaker 3: about what's happening. And this is where we learned that

1225
01:09:10,680 --> 01:09:15,360
Speaker 3: Gonzalez is a colleague of doctor Fernandez and that he

1226
01:09:15,520 --> 01:09:18,160
Speaker 3: is the beloved of Alicia. So this is where I

1227
01:09:18,280 --> 01:09:21,600
Speaker 3: first realized what this is weird that both of this

1228
01:09:21,680 --> 01:09:24,360
Speaker 3: guy's daughters are engaged to his coworkers.

1229
01:09:24,680 --> 01:09:28,080
Speaker 1: Yeah. Again, they don't get to leave the compound much.

1230
01:09:28,200 --> 01:09:30,000
Speaker 1: These are the only men outside of their family that

1231
01:09:30,000 --> 01:09:30,599
Speaker 1: they get to meet.

1232
01:09:31,360 --> 01:09:32,840
Speaker 3: That's a rough dating scene.

1233
01:09:33,200 --> 01:09:33,400
Speaker 1: Yeah.

1234
01:09:34,080 --> 01:09:38,679
Speaker 3: So doctor Gonzalez is here to use Fernandez's microscope because

1235
01:09:38,680 --> 01:09:40,200
Speaker 3: he's got to figure out what kind of blood the

1236
01:09:40,280 --> 01:09:43,240
Speaker 3: killer had, remember that. Yeah, and I think ultimately this

1237
01:09:43,320 --> 01:09:45,640
Speaker 3: plot goes nowhere, right, it's inconclusive.

1238
01:09:46,000 --> 01:09:48,720
Speaker 1: Yeah, they're just like, it's not a beast, not a man.

1239
01:09:49,400 --> 01:09:54,800
Speaker 1: There's no possible space between those two categories. So we're

1240
01:09:54,800 --> 01:09:55,160
Speaker 1: not sure.

1241
01:09:55,720 --> 01:09:59,320
Speaker 3: Oh. Here we also get the scene where the girl,

1242
01:09:59,439 --> 01:10:03,400
Speaker 3: the child, Adalita, sneaks out at night. So in the

1243
01:10:03,439 --> 01:10:05,320
Speaker 3: anatomy of a sneak out here, because we've got a

1244
01:10:05,360 --> 01:10:08,200
Speaker 3: couple of scenes like this, she goes out of the

1245
01:10:08,200 --> 01:10:11,160
Speaker 3: window and climbs fences and goes to the woods to

1246
01:10:11,240 --> 01:10:13,920
Speaker 3: play with the tin soldier that bangs on a dramas

1247
01:10:13,960 --> 01:10:17,479
Speaker 3: like a little wind up toy, and she the place

1248
01:10:17,520 --> 01:10:19,080
Speaker 3: she goes out to play in the woods at night,

1249
01:10:19,160 --> 01:10:22,599
Speaker 3: is that this like the ruins of an old house

1250
01:10:22,680 --> 01:10:24,280
Speaker 3: with exposed rafters.

1251
01:10:24,840 --> 01:10:28,719
Speaker 1: Yeah, she's completely fearless going out into the night into

1252
01:10:28,760 --> 01:10:32,800
Speaker 1: this wilderness where multiple murders have just occurred, and goes

1253
01:10:32,840 --> 01:10:35,920
Speaker 1: to like the spookiest location you could possibly seek out

1254
01:10:36,360 --> 01:10:38,400
Speaker 1: because she left a toy there or something.

1255
01:10:39,320 --> 01:10:42,800
Speaker 3: Meanwhile, doctor Bernstein is having an argument with Fernandez about

1256
01:10:42,840 --> 01:10:46,479
Speaker 3: marrying Clarissa. Long and short is you know. Fernandez is like,

1257
01:10:46,560 --> 01:10:48,040
Speaker 3: I don't know about this. I don't think it's a

1258
01:10:48,040 --> 01:10:51,360
Speaker 3: good idea, and Bernstein is like, well, we're gonna do

1259
01:10:51,400 --> 01:10:55,200
Speaker 3: it anyway. You know, you can't stop us. But then

1260
01:10:55,439 --> 01:10:59,200
Speaker 3: as soon as Bernstein is left alone, uh oh, it's

1261
01:10:59,200 --> 01:11:01,439
Speaker 3: a full moon and he gets a crazy look in

1262
01:11:01,439 --> 01:11:05,000
Speaker 3: his eye, and the full moon just like it bugs

1263
01:11:05,040 --> 01:11:07,720
Speaker 3: out of the sky. And then whoa, he is a

1264
01:11:07,760 --> 01:11:11,559
Speaker 3: werewolf too. We got a second werewolf in the movie. Yep, yeap.

1265
01:11:11,600 --> 01:11:14,240
Speaker 1: He starts twitching, He starts itching. You know what's going

1266
01:11:14,320 --> 01:11:14,679
Speaker 1: to happen.

1267
01:11:15,280 --> 01:11:18,240
Speaker 3: So I guess we should describe the setup to this

1268
01:11:18,360 --> 01:11:22,040
Speaker 3: attack on Adalita. Fortunately, the child is not harmed. For

1269
01:11:22,200 --> 01:11:26,800
Speaker 3: the Gene Siskols in the audience, you can't stand the

1270
01:11:27,120 --> 01:11:29,880
Speaker 3: movie scenes where a child is threatened. Adalita is going

1271
01:11:29,960 --> 01:11:33,479
Speaker 3: to be okay, but it's looking perilous for her because

1272
01:11:33,479 --> 01:11:37,040
Speaker 3: she's just sitting there playing with this toy and the

1273
01:11:37,160 --> 01:11:40,559
Speaker 3: Bernstein werewolf is creeping up on her in the woods

1274
01:11:40,600 --> 01:11:42,639
Speaker 3: again at the ruins of a building.

1275
01:11:42,720 --> 01:11:42,960
Speaker 1: Here.

1276
01:11:44,080 --> 01:11:46,880
Speaker 3: Now a new thing we get in this scene is

1277
01:11:47,240 --> 01:11:49,599
Speaker 3: the presence of a character who I don't think we've

1278
01:11:49,640 --> 01:11:53,919
Speaker 3: seen before, the werewolf Hunter and his dog, the Lee Car.

1279
01:11:54,479 --> 01:11:56,960
Speaker 1: Yes Jack, Jack is the dog's neck.

1280
01:11:57,439 --> 01:12:00,960
Speaker 3: How would you describe the werewolf hunter when he first appears.

1281
01:12:00,880 --> 01:12:04,559
Speaker 1: Again, He has kind of an outsider bohemian vibe, similar

1282
01:12:04,560 --> 01:12:07,840
Speaker 1: to Crumbos but different. He looks like a little he

1283
01:12:07,880 --> 01:12:10,920
Speaker 1: looks a little metal, a little occult, but it's also

1284
01:12:11,120 --> 01:12:13,800
Speaker 1: like clearly has some sort of an international vibe to him.

1285
01:12:13,840 --> 01:12:17,479
Speaker 1: And indeed we will learn in subsequent scenes that he

1286
01:12:17,560 --> 01:12:22,080
Speaker 1: is from across the ocean, so he is of some

1287
01:12:22,120 --> 01:12:23,799
Speaker 1: sort of Asiatic origin.

1288
01:12:24,600 --> 01:12:28,559
Speaker 3: He's a wanderer though, yeah, he's been everywhere, and.

1289
01:12:28,560 --> 01:12:32,479
Speaker 1: His business is we will learn hunting werewolves and he's

1290
01:12:32,520 --> 01:12:35,080
Speaker 1: in the right place, because we've got more than one

1291
01:12:35,080 --> 01:12:37,400
Speaker 1: of them running around now.

1292
01:12:44,680 --> 01:12:47,760
Speaker 3: So the Bernstein werewolf is creeping up on little Italyita.

1293
01:12:47,840 --> 01:12:51,480
Speaker 3: But before he gets there and does anything, the werewolf

1294
01:12:51,560 --> 01:12:55,960
Speaker 3: is attacked by a dog by the the werewolf hunter's dog,

1295
01:12:56,520 --> 01:12:59,120
Speaker 3: and they tussle around, they roll around, the dog is

1296
01:12:59,200 --> 01:13:02,320
Speaker 3: sort of mauling the werewolf, and then the werewolf is

1297
01:13:02,360 --> 01:13:05,719
Speaker 3: severely wounded and runs away and then Atalie to leaves,

1298
01:13:05,760 --> 01:13:09,240
Speaker 3: I think, never realizing anything that anything almost happened.

1299
01:13:09,320 --> 01:13:11,719
Speaker 1: Yeah, completely oblivious, like so many children.

1300
01:13:12,560 --> 01:13:15,200
Speaker 3: So as the injured werewolf staggers back to the mansion,

1301
01:13:15,200 --> 01:13:20,240
Speaker 3: he transforms back into doctor Bernstein. Shirtless. Now he collapses

1302
01:13:20,240 --> 01:13:24,240
Speaker 3: into Crumba's arms, and we see Fernandez and his colleagues

1303
01:13:25,000 --> 01:13:28,080
Speaker 3: sort of come into intervene. Actually, the first thing we

1304
01:13:28,120 --> 01:13:29,760
Speaker 3: see of them is that we just cut to them

1305
01:13:29,800 --> 01:13:33,160
Speaker 3: in scrubs and they're like doing surgery. They're operating on

1306
01:13:33,240 --> 01:13:37,040
Speaker 3: Bernstein here, and Fernandez says he has moments from death.

1307
01:13:37,160 --> 01:13:39,439
Speaker 3: The only way to save him is to freeze him

1308
01:13:39,760 --> 01:13:43,280
Speaker 3: a giant freezer with the conspicuously difficult to open door.

1309
01:13:43,960 --> 01:13:48,519
Speaker 1: That's right, Yeah, it's like the man that we don't

1310
01:13:48,520 --> 01:13:52,560
Speaker 1: know is a werewolf is about to die from a

1311
01:13:52,680 --> 01:13:56,439
Speaker 1: like a bite to the heart from a dog. The

1312
01:13:56,479 --> 01:13:58,320
Speaker 1: only thing we can do is put him on ice

1313
01:13:58,800 --> 01:14:01,880
Speaker 1: and hopefully he'll be able to heal or we can

1314
01:14:02,040 --> 01:14:03,360
Speaker 1: figure out how to heal him later.

1315
01:14:03,760 --> 01:14:06,040
Speaker 3: Yeah, they're also like, we cannot tell the daughters.

1316
01:14:06,479 --> 01:14:06,759
Speaker 1: Yes.

1317
01:14:07,840 --> 01:14:10,040
Speaker 3: So next there's a scene at the police station with

1318
01:14:10,080 --> 01:14:13,000
Speaker 3: the werewolf hunter, and you know, the deputy says to

1319
01:14:13,800 --> 01:14:16,519
Speaker 3: the chief, I think they're like, we've captured the killers.

1320
01:14:16,680 --> 01:14:18,519
Speaker 3: Here he is. You know, it's the guy. It's this

1321
01:14:18,640 --> 01:14:22,160
Speaker 3: guy and his dog. They are obviously the murderers. And

1322
01:14:22,200 --> 01:14:25,080
Speaker 3: the werewolf hunter says that his dog did not harm anyone.

1323
01:14:25,160 --> 01:14:27,840
Speaker 3: His dog likes humans, he would never hurt him, never

1324
01:14:27,920 --> 01:14:32,719
Speaker 3: hurt them, and he says dogs are not hypocrites like men. Instead,

1325
01:14:32,760 --> 01:14:35,960
Speaker 3: he gives of some of his backstory. He says he's

1326
01:14:35,960 --> 01:14:39,400
Speaker 3: from very distant lands across the sea, from a small village.

1327
01:14:39,439 --> 01:14:42,200
Speaker 3: It's not even on the map. He says he has

1328
01:14:42,240 --> 01:14:46,280
Speaker 3: had this dog, Jack since he was a boy. He says,

1329
01:14:46,520 --> 01:14:48,320
Speaker 3: is it a crime for a man to take his

1330
01:14:48,360 --> 01:14:51,120
Speaker 3: dog for a ride? And then they ask what's the

1331
01:14:51,160 --> 01:14:54,360
Speaker 3: deal with that medallion around your dog's neck? And the

1332
01:14:54,400 --> 01:14:57,639
Speaker 3: werewolf hunter explains this means the dog is a leekar,

1333
01:14:58,160 --> 01:15:02,320
Speaker 3: a dog trained to fight again to lichenthrope. The cops are,

1334
01:15:02,360 --> 01:15:05,719
Speaker 3: of course incredulous. They're like, what's a lichen thrope? And

1335
01:15:06,200 --> 01:15:08,080
Speaker 3: one of them says to the other one, it's a

1336
01:15:08,080 --> 01:15:11,640
Speaker 3: were wolf, an old superstition of theirs. And I was

1337
01:15:11,640 --> 01:15:12,599
Speaker 3: the what of.

1338
01:15:12,600 --> 01:15:15,680
Speaker 1: Who's I don't know, I don't know the people, the

1339
01:15:15,720 --> 01:15:18,000
Speaker 1: non police, I guess, okay.

1340
01:15:19,040 --> 01:15:21,919
Speaker 3: But they also find out this guy is in possession

1341
01:15:21,960 --> 01:15:25,840
Speaker 3: of a special dagger, which is engraved in Latin, says

1342
01:15:26,080 --> 01:15:29,480
Speaker 3: use it only at the time of revenge.

1343
01:15:29,560 --> 01:15:33,160
Speaker 1: So I really love how they're laying out this basically

1344
01:15:33,439 --> 01:15:38,080
Speaker 1: the model for how you kill were wolves in this film. Bullets,

1345
01:15:38,160 --> 01:15:42,519
Speaker 1: as we'll learn, are useless. Human weapons useless. The things

1346
01:15:42,520 --> 01:15:47,880
Speaker 1: that work are an ivory dagger or the bite of

1347
01:15:47,920 --> 01:15:51,880
Speaker 1: a highly trained, domesticated dog. And the dog itself is

1348
01:15:51,920 --> 01:15:54,400
Speaker 1: an interesting choice because you're talking essentially about a tamed

1349
01:15:54,479 --> 01:15:57,240
Speaker 1: wolf an instrument to use against the were wolf, which

1350
01:15:57,280 --> 01:16:00,400
Speaker 1: is kind of like rewilded human. I like this energy

1351
01:16:00,439 --> 01:16:03,200
Speaker 1: of that, and I like the idea that in both cases,

1352
01:16:03,760 --> 01:16:06,760
Speaker 1: like you need a weapon of the tooth or the

1353
01:16:06,880 --> 01:16:10,280
Speaker 1: tusk to use against the were wolf, like you need

1354
01:16:10,320 --> 01:16:13,839
Speaker 1: a like a biological weapon, you need a weapon of nature,

1355
01:16:13,880 --> 01:16:19,360
Speaker 1: a weapon of predatory aggression. Only these weapons will actually

1356
01:16:19,439 --> 01:16:20,280
Speaker 1: hurt the beast.

1357
01:16:21,120 --> 01:16:23,599
Speaker 3: Yeah. I like that as well, And it's more magical

1358
01:16:23,680 --> 01:16:26,320
Speaker 3: than the sci fi premise. It's kind of mixing all

1359
01:16:26,360 --> 01:16:31,280
Speaker 3: the different shades together. Now there's another line he says

1360
01:16:31,320 --> 01:16:33,800
Speaker 3: here that I think is interesting when he says many

1361
01:16:33,800 --> 01:16:37,040
Speaker 3: people traveled the world in hunt of the wolf, the

1362
01:16:37,080 --> 01:16:40,320
Speaker 3: wolf that killed the one they love, and pairing that

1363
01:16:40,360 --> 01:16:44,000
Speaker 3: with the line on the deck or about revenge, it's

1364
01:16:44,080 --> 01:16:49,519
Speaker 3: really confusing. Actually, well, I don't mean this against the

1365
01:16:49,560 --> 01:16:51,880
Speaker 3: movie because I liked it this way, but like, wait

1366
01:16:51,880 --> 01:16:55,640
Speaker 3: a minute, so are the werewolves here like a project

1367
01:16:55,880 --> 01:16:59,800
Speaker 3: of doctor Bernstein's that is quite recent in origin, because

1368
01:17:00,160 --> 01:17:05,559
Speaker 3: you know, Clarissa and Bernstein are not that old. How

1369
01:17:05,560 --> 01:17:09,519
Speaker 3: would they have killed the person that this man loved

1370
01:17:09,920 --> 01:17:13,200
Speaker 3: I don't know, like and he chased them around the world.

1371
01:17:13,280 --> 01:17:15,280
Speaker 3: That just doesn't seem to make a lot of sense.

1372
01:17:15,320 --> 01:17:17,599
Speaker 3: But who knows that. I guess we do learn that

1373
01:17:17,600 --> 01:17:21,280
Speaker 3: Bernstein has traveled a lot, So maybe maybe Bernstein did

1374
01:17:21,360 --> 01:17:23,080
Speaker 3: kill the one he loved somewhere else.

1375
01:17:23,400 --> 01:17:27,559
Speaker 1: Yeah, or maybe it's just a general you know, vow

1376
01:17:27,760 --> 01:17:32,760
Speaker 1: taken against all were wolves based on like a specific

1377
01:17:32,880 --> 01:17:35,599
Speaker 1: loss to a different were wolf, Like once they were

1378
01:17:35,640 --> 01:17:37,200
Speaker 1: a wolf killed a member of my family, and so

1379
01:17:37,320 --> 01:17:39,040
Speaker 1: now I must always hunt were wolves.

1380
01:17:39,520 --> 01:17:40,360
Speaker 3: That could make sense.

1381
01:17:41,000 --> 01:17:42,760
Speaker 1: Also, you got that highly trained dog. I mean, you're

1382
01:17:42,800 --> 01:17:44,840
Speaker 1: you're kind of married to the profession. At that point,

1383
01:17:45,040 --> 01:17:47,439
Speaker 1: you're locked in. Yeah, the dog's got to work. It's

1384
01:17:47,439 --> 01:17:49,240
Speaker 1: a working dog. Sunk costs.

1385
01:17:49,479 --> 01:17:50,320
Speaker 3: Yeah.

1386
01:17:50,360 --> 01:17:50,479
Speaker 1: Oh.

1387
01:17:50,600 --> 01:17:52,719
Speaker 3: Also at some point the cops set him free because

1388
01:17:52,720 --> 01:17:55,000
Speaker 3: another murder takes place while he's in custody.

1389
01:17:55,360 --> 01:17:56,120
Speaker 1: Yeah.

1390
01:17:56,280 --> 01:17:58,599
Speaker 3: Oh, and there's a whoopsie at night. So the girl's

1391
01:17:58,640 --> 01:18:01,479
Speaker 3: mother in the in the mansion comes wandering down into

1392
01:18:01,479 --> 01:18:04,160
Speaker 3: the lab one night. Maybe this is just all one night.

1393
01:18:04,840 --> 01:18:06,800
Speaker 1: Who knows this is Fernandez's wife.

1394
01:18:07,120 --> 01:18:10,720
Speaker 3: Yes, this is the matriarch, Marcella.

1395
01:18:11,560 --> 01:18:12,120
Speaker 1: Yeah. Yeah.

1396
01:18:12,840 --> 01:18:15,920
Speaker 3: She sees Bernstein frozen in the freezer through the window.

1397
01:18:16,040 --> 01:18:18,280
Speaker 3: She like looks in the people, you know, through the

1398
01:18:18,320 --> 01:18:21,160
Speaker 3: little window. It's like, oh, no, he's frozen in there.

1399
01:18:21,560 --> 01:18:24,320
Speaker 3: And she goes in to investigate. I guess because they

1400
01:18:24,320 --> 01:18:25,439
Speaker 3: didn't tell her, They.

1401
01:18:25,400 --> 01:18:27,720
Speaker 1: Didn't tell anybody else in the household what was going on.

1402
01:18:28,000 --> 01:18:30,200
Speaker 1: You can peek through the window and see a body

1403
01:18:30,240 --> 01:18:30,599
Speaker 1: in there.

1404
01:18:30,920 --> 01:18:34,120
Speaker 3: I think this is Fernande's fault. You could argue that

1405
01:18:34,160 --> 01:18:37,040
Speaker 3: this could have been prevented if he'd just told his

1406
01:18:37,080 --> 01:18:39,080
Speaker 3: wife and daughters what was happening.

1407
01:18:38,840 --> 01:18:40,760
Speaker 1: Or put a sticky note up, you know, just so

1408
01:18:40,960 --> 01:18:43,920
Speaker 1: like like, hey, do not open this body's supposed to

1409
01:18:43,960 --> 01:18:45,679
Speaker 1: be in there might be where wolf.

1410
01:18:45,760 --> 01:18:48,439
Speaker 3: Do not though, But she goes in to investigate, and

1411
01:18:48,479 --> 01:18:51,080
Speaker 3: then she becomes trapped. She's like trying to open the

1412
01:18:51,120 --> 01:18:52,960
Speaker 3: door again to get out, but she can't get it

1413
01:18:53,000 --> 01:18:56,679
Speaker 3: open because it's difficult. And then I guess she's freezing

1414
01:18:56,680 --> 01:18:59,000
Speaker 3: in the freezer. So she turns off all the levers

1415
01:18:59,120 --> 01:19:02,800
Speaker 3: on the freezer to prevent herself from freezing to death.

1416
01:19:03,200 --> 01:19:07,120
Speaker 3: But then Bernstein starts to thaw and we see ice

1417
01:19:07,160 --> 01:19:08,799
Speaker 3: crystals on his face melting.

1418
01:19:08,920 --> 01:19:12,200
Speaker 1: Oh no, the were wolf awakens.

1419
01:19:11,960 --> 01:19:15,719
Speaker 3: That's right. So later we come back to the house

1420
01:19:15,760 --> 01:19:18,880
Speaker 3: and Alicia finds her mother dead on the living room

1421
01:19:18,920 --> 01:19:22,920
Speaker 3: floor with her heart torn out. That's no good, and

1422
01:19:23,000 --> 01:19:25,519
Speaker 3: Clarissa is horrified, of course, and runs to her room.

1423
01:19:25,560 --> 01:19:28,560
Speaker 3: Though I guess it's kind of implied it was Bernstein,

1424
01:19:28,600 --> 01:19:30,760
Speaker 3: that we never see it, right, so we don't know

1425
01:19:30,800 --> 01:19:32,679
Speaker 3: which werewolf it was for sure.

1426
01:19:33,479 --> 01:19:36,720
Speaker 1: Yeah, yeah, I think we know. Ultimately we know we

1427
01:19:36,840 --> 01:19:39,680
Speaker 1: know it was Bernstein, but in general it's left a

1428
01:19:39,680 --> 01:19:40,280
Speaker 1: little vague.

1429
01:19:40,479 --> 01:19:42,880
Speaker 3: So here, I guess we're setting up for the final showdown.

1430
01:19:42,920 --> 01:19:45,280
Speaker 3: We have the mother's funeral, which is at the cemetery

1431
01:19:45,280 --> 01:19:48,479
Speaker 3: on the hillside where we started the movie. I was

1432
01:19:48,479 --> 01:19:51,200
Speaker 3: thinking it would be really funny if the plot, like

1433
01:19:51,280 --> 01:19:53,760
Speaker 3: the spot they went to bury her in was the

1434
01:19:53,760 --> 01:19:56,000
Speaker 3: place where you know, they start digging, and it's just

1435
01:19:56,240 --> 01:19:59,840
Speaker 3: there's a secret passageway they are going to the going

1436
01:20:00,080 --> 01:20:04,759
Speaker 3: to the fireplace. But after the mother's funeral, the werewolf

1437
01:20:04,800 --> 01:20:07,600
Speaker 3: hunter sets out a bear trap in the cemetery to

1438
01:20:07,640 --> 01:20:10,840
Speaker 3: catch the creatures, and we see lots of characters. We

1439
01:20:10,920 --> 01:20:13,360
Speaker 3: kind of get the what do you call that montage

1440
01:20:13,360 --> 01:20:16,439
Speaker 3: where you see everybody looking kind of stern, frightened or

1441
01:20:16,479 --> 01:20:20,880
Speaker 3: determined right before we're leading up to the climax. Yeah.

1442
01:20:20,960 --> 01:20:24,040
Speaker 1: Yeah, everybody's kind of getting in the zone one way

1443
01:20:24,080 --> 01:20:26,240
Speaker 1: or another, even though they don't know exactly what's coming.

1444
01:20:26,560 --> 01:20:29,120
Speaker 3: We're getting all the pieces positioned on the board. Basically,

1445
01:20:29,200 --> 01:20:31,639
Speaker 3: we learn that everybody is going to be in and

1446
01:20:31,720 --> 01:20:35,080
Speaker 3: around the mansion tonight, almost as if they suspect. The

1447
01:20:35,080 --> 01:20:37,800
Speaker 3: climax of the film is coming, like the police inspector

1448
01:20:37,840 --> 01:20:40,200
Speaker 3: decides he's got to stay with the Fernandez family for

1449
01:20:40,280 --> 01:20:41,400
Speaker 3: their protection tonight.

1450
01:20:41,880 --> 01:20:42,400
Speaker 1: Yeah.

1451
01:20:42,479 --> 01:20:45,240
Speaker 3: Oh. In the lead up to the climax, here we

1452
01:20:45,280 --> 01:20:49,000
Speaker 3: get another child in peril scene because Adelita goes into

1453
01:20:49,000 --> 01:20:52,000
Speaker 3: Clarissa's room. She sneaks out of her quarters, goes into

1454
01:20:52,000 --> 01:20:54,560
Speaker 3: Clarissa's room secretly because she wants to play with the

1455
01:20:54,600 --> 01:20:55,360
Speaker 3: creepy dolls.

1456
01:20:55,960 --> 01:20:58,880
Speaker 1: That's right. So she's in there playing and looking at

1457
01:20:58,960 --> 01:21:03,480
Speaker 1: dolls and all. Meanwhile, this is when we have Clarissa

1458
01:21:04,640 --> 01:21:10,080
Speaker 1: playing the piano downstairs. She's feeling a number of emotions

1459
01:21:10,080 --> 01:21:12,080
Speaker 1: about the death of her mother and is going to

1460
01:21:12,120 --> 01:21:15,320
Speaker 1: take it out on the piano. And boy does she ever.

1461
01:21:15,400 --> 01:21:19,400
Speaker 1: She's playing this like this furious piano number there. It's

1462
01:21:19,439 --> 01:21:23,400
Speaker 1: pissing off her sister. It's apparently not a morning vibe

1463
01:21:23,439 --> 01:21:29,360
Speaker 1: that's being created here. And even Crumba is clearly concerned

1464
01:21:29,360 --> 01:21:30,439
Speaker 1: about what's happening here.

1465
01:21:30,640 --> 01:21:33,240
Speaker 3: Yeah, he's watching her play the piano and just looking like,

1466
01:21:33,320 --> 01:21:37,040
Speaker 3: oh boy, here we go. And then I think that

1467
01:21:37,160 --> 01:21:40,240
Speaker 3: he senses the full moon is coming out. So just

1468
01:21:40,280 --> 01:21:43,839
Speaker 3: before the change takes hold, Crumba grabs Clarissa and carries

1469
01:21:43,840 --> 01:21:47,240
Speaker 3: her up to her room and locks her inside, unfortunately

1470
01:21:47,320 --> 01:21:51,080
Speaker 3: not realizing that Adalita is in there. So Adalita hides

1471
01:21:51,160 --> 01:21:54,120
Speaker 3: under the bed and Clarissa begins to change in the

1472
01:21:54,200 --> 01:21:56,559
Speaker 3: light of the full moon in a scene that is

1473
01:21:56,640 --> 01:22:02,360
Speaker 3: pretty scary. But so she goes through this dissolved transformation

1474
01:22:02,560 --> 01:22:05,559
Speaker 3: kind of like we've seen earlier, but in the opposite direction,

1475
01:22:06,400 --> 01:22:09,519
Speaker 3: and just as she's leaving out the secret passageway in

1476
01:22:09,560 --> 01:22:14,160
Speaker 3: the fireplace, she hears a toy that Adelita had been

1477
01:22:14,160 --> 01:22:16,920
Speaker 3: playing with is like a wind up toy that gets dropped,

1478
01:22:17,320 --> 01:22:20,320
Speaker 3: and she's drawn back into the room by it. Adalita

1479
01:22:20,600 --> 01:22:24,280
Speaker 3: escapes by climbing down out of a window, but the

1480
01:22:24,320 --> 01:22:27,640
Speaker 3: she wolf chases, and this chase leads out to the

1481
01:22:27,720 --> 01:22:31,200
Speaker 3: ruined house with exposed rafters where Adalita was playing earlier,

1482
01:22:31,600 --> 01:22:35,439
Speaker 3: and this leads to a showdown between the Clarissa Wolf

1483
01:22:35,640 --> 01:22:38,519
Speaker 3: and the werewolf hunter. So here's the first of our

1484
01:22:38,560 --> 01:22:42,280
Speaker 3: big fights. And the werewolf hunter he's got his ivory

1485
01:22:42,360 --> 01:22:45,160
Speaker 3: dagger there and he's trying to fend her off, but

1486
01:22:45,240 --> 01:22:48,360
Speaker 3: she's slashing and clawing and mauling at him, and they're

1487
01:22:48,439 --> 01:22:51,519
Speaker 3: rolling around on the ground. So here's the first wrestling match.

1488
01:22:52,479 --> 01:22:57,360
Speaker 1: That's right. Meanwhile, back in the house, what's happening with

1489
01:22:57,439 --> 01:23:01,160
Speaker 1: the mail were Wolf. Well, he's back in action and

1490
01:23:01,360 --> 01:23:03,960
Speaker 1: Crumba is there to fight him, and this is where

1491
01:23:03,960 --> 01:23:07,879
Speaker 1: we get a big slobber knocker of a battle between

1492
01:23:07,880 --> 01:23:10,880
Speaker 1: these two with a little bit of Lucha libre esque

1493
01:23:10,880 --> 01:23:15,120
Speaker 1: action kind of sprinkled in. Nothing too overt, but at

1494
01:23:15,120 --> 01:23:19,000
Speaker 1: one point I do love that the were wolf grabs

1495
01:23:19,040 --> 01:23:21,840
Speaker 1: Crumba in some form of a full nelson, kind of

1496
01:23:21,880 --> 01:23:26,400
Speaker 1: like a but instead of locking his fingers behind Crumba's neck,

1497
01:23:26,840 --> 01:23:30,240
Speaker 1: he puts his claws on Crumbus's face, So I think

1498
01:23:30,240 --> 01:23:33,640
Speaker 1: it should be called the full moon nelson instead, like

1499
01:23:33,720 --> 01:23:36,640
Speaker 1: a were wolf variant of a hold. I like it,

1500
01:23:36,800 --> 01:23:39,479
Speaker 1: but this is a pretty good fight. They're throwing furniture around.

1501
01:23:40,240 --> 01:23:43,000
Speaker 1: It does not end well for Crumba. Oh and I

1502
01:23:43,000 --> 01:23:45,160
Speaker 1: should and also it doesn't end well for the Professor.

1503
01:23:45,439 --> 01:23:50,080
Speaker 1: This were wolf also brutally murders Professor Fernandez as well,

1504
01:23:50,400 --> 01:23:53,519
Speaker 1: So the body count is really beginning to stack up

1505
01:23:53,520 --> 01:23:57,639
Speaker 1: here and characters are dying in graphic detail, the black

1506
01:23:57,640 --> 01:23:58,879
Speaker 1: and white blood everywhere.

1507
01:23:59,320 --> 01:24:02,400
Speaker 3: Alicia escapes the scene out out of the house and

1508
01:24:02,560 --> 01:24:06,160
Speaker 3: is pursued. She does get her Oh she's she gets

1509
01:24:06,200 --> 01:24:08,559
Speaker 3: caught in the werewolf hunter's bear trap.

1510
01:24:08,760 --> 01:24:11,519
Speaker 1: Oh does Oh god, I was not expecting that. I

1511
01:24:11,560 --> 01:24:14,000
Speaker 1: should have expected it. They set the trap, you know,

1512
01:24:14,120 --> 01:24:17,040
Speaker 1: it's it's been established. But then when she stepped in

1513
01:24:17,080 --> 01:24:18,920
Speaker 1: it and that thing clamped on her foot, I was like,

1514
01:24:19,040 --> 01:24:23,519
Speaker 1: oh god, you know, that caught me off guard. Very

1515
01:24:23,520 --> 01:24:24,120
Speaker 1: well done.

1516
01:24:24,640 --> 01:24:27,360
Speaker 3: So several more of our good characters are attacked or

1517
01:24:27,400 --> 01:24:31,040
Speaker 3: threatened by the two by the two were wolves. Ultimately, though,

1518
01:24:31,360 --> 01:24:35,519
Speaker 3: the werewolves are defeated in one case by being mauled

1519
01:24:35,600 --> 01:24:39,040
Speaker 3: by the leecar dog the werewolf killing dog, and then

1520
01:24:39,080 --> 01:24:41,599
Speaker 3: the other case being stabbed I think by the police

1521
01:24:41,640 --> 01:24:44,519
Speaker 3: inspector with the ivory knife that was dropped by the

1522
01:24:44,560 --> 01:24:48,200
Speaker 3: werewolf hunter is unfortunately killed in action. But then the

1523
01:24:48,240 --> 01:24:50,880
Speaker 3: police inspector comes along and picks up the ivory knife

1524
01:24:50,880 --> 01:24:52,840
Speaker 3: and is able to finish off one of the two

1525
01:24:52,880 --> 01:24:53,519
Speaker 3: were wolves.

1526
01:24:53,840 --> 01:24:56,599
Speaker 1: Yes, I believe our she wolf is killed by the knife.

1527
01:24:57,000 --> 01:25:00,840
Speaker 1: Our male wolf is killed by the bite. And then

1528
01:25:00,840 --> 01:25:03,679
Speaker 1: we get that sad scene with Jack the dog laying

1529
01:25:03,720 --> 01:25:06,800
Speaker 1: there by the side of his now deceased master.

1530
01:25:07,200 --> 01:25:10,280
Speaker 3: And it's kind of interesting because we get multiple like

1531
01:25:10,320 --> 01:25:14,559
Speaker 3: it's juxtaposed with the the kind of lovers isn't the

1532
01:25:14,600 --> 01:25:16,280
Speaker 3: right word for the guy and his dog, but kind

1533
01:25:16,280 --> 01:25:19,840
Speaker 3: of the companions united in the end because the dog

1534
01:25:19,920 --> 01:25:22,200
Speaker 3: lays down next to the werewolf hunter. They're kind of

1535
01:25:22,200 --> 01:25:25,680
Speaker 3: there together and though the dog is still alive. But

1536
01:25:25,760 --> 01:25:28,360
Speaker 3: then the two werewolves lay down next to each other

1537
01:25:28,400 --> 01:25:30,639
Speaker 3: as they die, and then they both transform back into

1538
01:25:30,680 --> 01:25:31,599
Speaker 3: their human forms.

1539
01:25:32,240 --> 01:25:37,680
Speaker 1: Yeah, and she's naked and he's I think wearing like

1540
01:25:37,760 --> 01:25:41,720
Speaker 1: torn pants in this. But it's really nicely framed, the

1541
01:25:41,760 --> 01:25:45,840
Speaker 1: bodies of our cursed lovers finally coming together, entangled in

1542
01:25:45,880 --> 01:25:49,840
Speaker 1: the moonlight as our survivors look on, and we get

1543
01:25:50,000 --> 01:25:53,280
Speaker 1: a repetition of that freedom and death monologue from earlier,

1544
01:25:53,320 --> 01:25:55,599
Speaker 1: and it woo it hits pretty hard, like the ending

1545
01:25:55,680 --> 01:25:59,120
Speaker 1: for this film takes no prisoners. It's pretty brutal.

1546
01:25:59,320 --> 01:26:03,599
Speaker 3: Well, yeah, that let's raise the question. So Bernstein thought

1547
01:26:03,600 --> 01:26:08,320
Speaker 3: that they would achieve some kind of like ascension after death,

1548
01:26:08,479 --> 01:26:10,880
Speaker 3: like that would be an empowering thing where they could

1549
01:26:10,880 --> 01:26:13,840
Speaker 3: have eternity. Do they get that we never see the

1550
01:26:13,880 --> 01:26:17,040
Speaker 3: other side of death. Are they living on somehow? What's happening?

1551
01:26:17,600 --> 01:26:20,120
Speaker 1: You know? One can imagine a cut of this picture

1552
01:26:20,960 --> 01:26:23,479
Speaker 1: in which we go right from this scene to a

1553
01:26:23,520 --> 01:26:28,479
Speaker 1: heavenly wear wolf wedding. They're both in full like hybrid

1554
01:26:28,520 --> 01:26:31,680
Speaker 1: wear wolf form though, you know, with bow ties and

1555
01:26:31,960 --> 01:26:34,880
Speaker 1: veil and all, and they are wetted and they become

1556
01:26:35,000 --> 01:26:37,320
Speaker 1: husband and wife. But that's not what we get here.

1557
01:26:37,439 --> 01:26:41,360
Speaker 3: Bernstein and Clarissa are. They're like met by Dante at

1558
01:26:41,360 --> 01:26:43,520
Speaker 3: the sphere of Venus in the Paradiso.

1559
01:26:44,120 --> 01:26:47,200
Speaker 1: Yes, and the family members in attendance, they're all like

1560
01:26:47,320 --> 01:26:51,080
Speaker 1: bleeding from open wounds like American werewolf in London style.

1561
01:26:51,520 --> 01:26:53,320
Speaker 1: But I don't mean to make light of the ending here,

1562
01:26:53,439 --> 01:26:56,440
Speaker 1: because I think the ending here is really strong and

1563
01:26:56,520 --> 01:27:00,000
Speaker 1: definitely fulfills on like the vision they seem to happen

1564
01:27:00,080 --> 01:27:04,360
Speaker 1: for the picture. It's again, it's it's grim, it's it's

1565
01:27:04,400 --> 01:27:08,360
Speaker 1: not pulling any punches. But we do have our three survivors,

1566
01:27:08,400 --> 01:27:12,120
Speaker 1: I guess four survivors, but three main survivors that we

1567
01:27:12,200 --> 01:27:13,840
Speaker 1: have like real attachment to.

1568
01:27:14,040 --> 01:27:17,040
Speaker 3: Yeah, Alicia, Gonzalez and Adalita are all okay, and the

1569
01:27:17,600 --> 01:27:20,880
Speaker 3: cop survives to yeah, and I guess that's the end

1570
01:27:20,920 --> 01:27:21,559
Speaker 3: of La Loba.

1571
01:27:21,760 --> 01:27:23,280
Speaker 1: Yeah. And I have to say this one is really

1572
01:27:23,320 --> 01:27:26,160
Speaker 1: strong a big fan of La Looba. Again, I may

1573
01:27:26,200 --> 01:27:29,400
Speaker 1: have to try and find whatever kind of whatever kind

1574
01:27:29,400 --> 01:27:32,920
Speaker 1: of DVD is actually out there, and I'm hoping that

1575
01:27:33,000 --> 01:27:35,160
Speaker 1: somebody puts out a better physical release of this in

1576
01:27:35,200 --> 01:27:37,080
Speaker 1: the future, because I think this is a film that

1577
01:27:37,120 --> 01:27:41,240
Speaker 1: deserves it. Again, it has its own cult status. Looking around,

1578
01:27:41,280 --> 01:27:44,840
Speaker 1: I did notice there are multiple instances in which a

1579
01:27:45,000 --> 01:27:48,400
Speaker 1: video game or a piece of work of written fiction

1580
01:27:48,800 --> 01:27:51,680
Speaker 1: has a female werewolf in it, and they name the

1581
01:27:51,720 --> 01:27:54,599
Speaker 1: werewolf character of Kitty, which is I think a clear,

1582
01:27:54,880 --> 01:27:58,160
Speaker 1: clear reference to this picture. And it also works on

1583
01:27:58,200 --> 01:28:01,920
Speaker 1: another level because like Kitty Cat wear a wolf dog.

1584
01:28:02,320 --> 01:28:04,559
Speaker 1: It's also a little bit funny, but also a nice

1585
01:28:04,560 --> 01:28:08,439
Speaker 1: deep cut into Mexican horror cinema. All Right, we're gonna

1586
01:28:08,439 --> 01:28:10,120
Speaker 1: go ahead and close this episode up, but we'd love

1587
01:28:10,120 --> 01:28:12,040
Speaker 1: to hear from everyone out there. If you have thoughts

1588
01:28:12,120 --> 01:28:15,599
Speaker 1: on where wolf movies in general, write in. We'd love

1589
01:28:15,600 --> 01:28:17,800
Speaker 1: to hear from you. Specifically, if you have some other

1590
01:28:17,840 --> 01:28:22,280
Speaker 1: great examples of female were wolf pictures or fiction in general,

1591
01:28:22,400 --> 01:28:24,439
Speaker 1: or folk tales and so forth, rite in on that

1592
01:28:24,520 --> 01:28:26,960
Speaker 1: as well. I do want to note there are some

1593
01:28:27,080 --> 01:28:31,080
Speaker 1: examples I did not bring up because sometimes in were

1594
01:28:31,120 --> 01:28:35,480
Speaker 1: wolf who done. It's the female were wolf is the twist,

1595
01:28:35,840 --> 01:28:38,400
Speaker 1: because again, you get so used to your wolf man

1596
01:28:39,320 --> 01:28:41,439
Speaker 1: that I it's if it is a female character that's

1597
01:28:41,439 --> 01:28:44,320
Speaker 1: secretly the were wolf. Well, sometimes that's the big twist.

1598
01:28:44,680 --> 01:28:46,559
Speaker 1: So I didn't reference any of those by name, but

1599
01:28:46,640 --> 01:28:48,720
Speaker 1: maybe we could get into that in Listener Male with

1600
01:28:48,800 --> 01:28:50,080
Speaker 1: you know some spoiler warnings.

1601
01:28:50,560 --> 01:28:55,080
Speaker 3: Yeah, playing your gender assumptions against you in misdirections.

1602
01:28:54,280 --> 01:28:56,200
Speaker 1: Yeah, that's one way to get your heart ripped out

1603
01:28:56,240 --> 01:29:00,160
Speaker 1: in the woods folks. All right, Just a reminder that

1604
01:29:00,160 --> 01:29:02,439
Speaker 1: Stuff to Blow Your Mind is primarily a science and

1605
01:29:02,479 --> 01:29:05,519
Speaker 1: culture podcast, with core episodes on Tuesdays and Thursday, short

1606
01:29:05,560 --> 01:29:10,840
Speaker 1: form episodes on Wednesdays, which coincidentally are currently dealing with werewolves,

1607
01:29:11,160 --> 01:29:13,679
Speaker 1: and then on Fridays we set aside most serious concerns

1608
01:29:13,680 --> 01:29:16,600
Speaker 1: to just talk about weird films on Weird House Cinema.

1609
01:29:16,680 --> 01:29:18,960
Speaker 1: If you want to follow Weird House Cinema on social

1610
01:29:19,439 --> 01:29:22,160
Speaker 1: go to letterbox dot com. Our username is weird House

1611
01:29:22,200 --> 01:29:25,120
Speaker 1: and we have a wonderful list of all the films

1612
01:29:24,720 --> 01:29:28,080
Speaker 1: we've considered thus far. I believe we're on one ninety eight.

1613
01:29:28,400 --> 01:29:30,559
Speaker 1: We're about to do one ninety nine, and then we'll

1614
01:29:30,560 --> 01:29:33,599
Speaker 1: do the two hundredth episode where the two hundredth movie

1615
01:29:33,600 --> 01:29:35,720
Speaker 1: selection for Weird House Cinema.

1616
01:29:35,920 --> 01:29:39,760
Speaker 3: Here's thanks, as always to our excellent audio producer, Jjposway.

1617
01:29:40,040 --> 01:29:41,519
Speaker 3: If you would like to get in touch with us

1618
01:29:41,560 --> 01:29:43,960
Speaker 3: with feedback on this episode or any other, to suggest

1619
01:29:44,040 --> 01:29:46,160
Speaker 3: a topic for the future, or just to say hello,

1620
01:29:46,439 --> 01:29:49,120
Speaker 3: you can email us at contact at stuff to Blow

1621
01:29:49,160 --> 01:29:56,920
Speaker 3: your Mind dot com.

1622
01:29:57,000 --> 01:30:00,120
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. More

1623
01:30:00,240 --> 01:30:04,000
Speaker 2: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

1624
01:30:04,000 --> 01:30:05,719
Speaker 2: wherever you listen to your favorite shows.