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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob

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Speaker 1: Lamb and today we are re airing our Valentine's Day

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Speaker 1: episode from last year. It is our discussion of the

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Speaker 1: nineteen eighty three Tony Scott film The Hunger. This one's

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Speaker 1: a lot of fun, so so stylish, So Gothy, let's

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Speaker 1: dive right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema. This is Rob

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Speaker 1: Lamb and this is Joe McCormick. Happy Valentine's Day, everybody

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Speaker 1: here in today's episode. You know, I really wanted to

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Speaker 1: cover a paranormal love story of some sort for the holiday,

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Speaker 1: and I gave myself this task and probably spend a

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Speaker 1: little bit too much time looking at different films. I'm

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Speaker 1: trying to figure out what would be what felt like

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Speaker 1: the right fit. I looked at a few different, very

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Speaker 1: well regarded films that seemed to fit the mold, but

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Speaker 1: ended up being drawn into today's selection the highly stylish

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Speaker 1: nineteen eighty three erotic horror film The Hunger, a movie

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Speaker 1: that was really only on my radar for being a

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Speaker 1: film in which David Bowie plays a Vampire. But it's

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Speaker 1: actually so much more than just that. It's become a

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Speaker 1: cult favorite with many due to its heavy goth vibes.

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Speaker 1: It's LGBTQ themes, and it's absolutely bursting at the scenes

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Speaker 1: with visual and sonic pizazz. And I tell you, I

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Speaker 1: hope you like Venetian blinds because there are a lot

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Speaker 1: of them in this movie.

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Speaker 3: Yes, and doves, JJ was reminded. JJ also watched the

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Speaker 3: movie this week and we were talking about it off

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Speaker 3: Mike before we started this. JJ reminded me that there

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Speaker 3: are just doves in their house all the time. Is

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Speaker 3: full of birds. They have like an open air attic.

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Speaker 3: Is just birds coming and going all the time. Yes.

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Speaker 1: Yeah, I watched this one with my wife, and in fact,

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Speaker 1: it was partially her suggestion. I was just brainstorming all

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Speaker 1: these ideas and she pulled up some lists online of

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Speaker 1: paranormal horror films and she was like, how about The

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Speaker 1: Hunger And I was like, oh, well, you know, The

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Speaker 1: Hunger has been on my radar a little bit. We've

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Speaker 1: it's come up in passing on the show before when

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Speaker 1: we've discussed David Billie films, And so she watched it

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Speaker 1: with me she really enjoyed it. She loved all the

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Speaker 1: like the gothy eighty eighties vibe to it. But also

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Speaker 1: she pointed out, like this feels like a feature length

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Speaker 1: music video, and in many ways that is absolutely accurate

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Speaker 1: and one of its strengths.

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Speaker 3: Yeah, yeah, turn around Bright Eyes for ninety minutes or

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Speaker 3: a hundred or so. It's But don't let don't get

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Speaker 3: the wrong idea from that. I do think this is

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Speaker 3: actually a very strong film. I liked it a lot,

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Speaker 3: despite the fact that critics apparently largely did not appreciate

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Speaker 3: it when it came out. But I get the feeling

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Speaker 3: this one has has gotten a critical reappraisal, like a

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Speaker 3: lot more people like it than did when it first released.

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Speaker 1: Yeah, and I believe that the cult following for it

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Speaker 1: was really building up within the decade following its release,

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Speaker 1: so you know, kind of a slow build there, But

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Speaker 1: I think it achieved cult status by at least the nineties.

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Speaker 1: As we'll discuss now.

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Speaker 3: One thing I want to say close to the top

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Speaker 3: of this episode is despite the fact that The Hunger

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Speaker 3: is not especially plot driven, I'd say it's more of

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Speaker 3: a mood driven or character driven film. It does have

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Speaker 3: some major surprises in store, and we're going to have

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Speaker 3: to talk about those surprises in the episode, so please

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Speaker 3: be forewarned if you want to see The Hunger without

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Speaker 3: having anything spoiled, and I would recommend that a good

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Speaker 3: time to pause and go watch the movie would be Now.

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Speaker 1: That being said, this movie is so committed to style.

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Speaker 1: I feel like it's one of those where if you're

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Speaker 1: spoiled on it, you can still really enjoy it.

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Speaker 3: So rob like you. I had never seen The Hunger before,

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Speaker 3: but I found it very, as I said, surprise, but

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Speaker 3: also delightful, interesting, different. It felt fresh at its core.

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Speaker 3: I think you could call this kind of a tainted

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Speaker 3: love tale. It's a story primarily about romantic relationships, but

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Speaker 3: one in which it is not all, you know, steamy

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Speaker 3: arrows and desire and lust like a lot of vampire

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Speaker 3: love movies are. It's also not rom com energy. It's

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Speaker 3: not like all cute falling for you kind of moments.

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Speaker 3: And it's certainly not the case that this is full

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Speaker 3: of feel good morals about the eternal and all conquering

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Speaker 3: power of love. This movie, like other tainted love tales,

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Speaker 3: is about the ambiguities and contradictions of romantic love, the

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Speaker 3: sort of vast gray space that defines a lot of

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Speaker 3: what love is. Where people might feel one way but

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Speaker 3: act another, where it's impossible to put your emotions into words,

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Speaker 3: you don't know how to talk about what you're feeling

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Speaker 3: or what your frustrations with your love. Are situations in

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Speaker 3: which people genuinely love one another but also cause each

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Speaker 3: other pain, where love just gets smashed into a million

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Speaker 3: pieces against the surface of problems that cannot be fixed.

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Speaker 3: And strangely, once I realized that was the kind of

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Speaker 3: movie this was, it helped resolve something curious I noticed

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Speaker 3: while watching The Hunger. Despite the fact that this movie

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Speaker 3: has a different writer, a different director, totally different plot,

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Speaker 3: and for much of its runtime a different star, I

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Speaker 3: really kept being reminded of the other big David Bowie

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Speaker 3: movie we have watched on the show, which was The

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Speaker 3: Man Who Fell to Earth from nineteen seventy six, directed

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Speaker 3: by Nicholas Rogue. That movie stars David Bowie as a

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Speaker 3: tragic alien agent on a mission to Earth to secure

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Speaker 3: water resources which could save his home planet. But of

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Speaker 3: course that ultimately is a story about failure, about distraction

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Speaker 3: and the inability to sort of stay on task and

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Speaker 3: getting led astray by television and alcohol and love and

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Speaker 3: all that and table tennis right exactly, yes, And so

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Speaker 3: I was thinking while I was watching it, why did

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Speaker 3: these movies feel so similar despite all the totally different

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Speaker 3: creative inputs. Could it just be that the power of

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Speaker 3: David Bowie is so strong that it paves over everything

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Speaker 3: that might be a little part of it. But I

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Speaker 3: really think there are some other truly strong similarities in

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Speaker 3: that both stories involve these tainted love themes. They're both

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Speaker 3: love stories that have genuine feeling and passion in them.

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Speaker 3: They're not just about people using each other for sex

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Speaker 3: or for power or whatever. They are love stories, but

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Speaker 3: they're also tragic love stories that cannot possibly have happy endings,

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Speaker 3: in part because of the sci fi or supernatural mechanics

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Speaker 3: that are operating in each story, and in part because

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Speaker 3: of the kinds of human failings and contradict that are

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Speaker 3: present in all relationships of mortal humans, not just aliens

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Speaker 3: and vampires. And I guess, since it's been a while,

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Speaker 3: just a refresher. The love story central in The Man

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Speaker 3: Who Fell to Earth is the one between David Bowie's

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Speaker 3: alien character and an earthling played by Candy Clark. That

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Speaker 3: story is at once both genuine and doomed, doomed by

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Speaker 3: Bowie's alien mission and then by the pressures of money

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Speaker 3: and betrayal and alcoholism. In The Hunger, I think one

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Speaker 3: of the central thematic tainted love questions is what if

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Speaker 3: you could only be with the person you love by

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Speaker 3: dooming them to a fate worse than death if you

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Speaker 3: choose to do it anyway, If you choose to be

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Speaker 3: with them knowing that your love is an unspeakable curse,

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Speaker 3: could it really be love? But at the same time,

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Speaker 3: could it really be love if you could stand not

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Speaker 3: to be with them in the first place. I guess

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Speaker 3: we'll have to answer those questions as we go on

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Speaker 3: throughout the up But another similarity I would say between

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Speaker 3: The Men Who Fell to Earth and The Hunger is

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Speaker 3: certain the presence of certain cinematography choices. Both of them

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Speaker 3: are very mood driven, and they both have a kind

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Speaker 3: of dreamy, elegic editing style with a lot of slow

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Speaker 3: motion and lingering on wistful and melancholy scenes featuring two

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Speaker 3: subjects who are suffering but who are unable to fix

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Speaker 3: what's wrong between them.

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Speaker 1: Yeah, it's worth noting. In the commentary track which I

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Speaker 1: listened to, part of the director Tony Scott does mention

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Speaker 1: Nicholas Rogue, the director of the Man Who Fell to Earth,

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Speaker 1: being one of his inspirations, though he singles out the

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Speaker 1: film performance more than anything. But of course The Man

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Speaker 1: Who Fell to Earth is still in the mix there somewhere,

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Speaker 1: I imagine.

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Speaker 3: On the other hand, I would say The Hunger does

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Speaker 3: not have like the comic elements that we got in

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Speaker 3: The Man Who Fell to Earth when he's watching all

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Speaker 3: the TVs and screaming, get out of my mind.

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Speaker 1: Yeah, there's not really much in the way of humor

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Speaker 1: in this picture, and I think that's one of the

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Speaker 1: things that the critics kind of picked up on. They

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Speaker 1: thought it was like too self serious, which I don't know.

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Speaker 1: I feel like, if you're dealing with, you know, with

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Speaker 1: a story like this, and you're dealing with, you know,

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Speaker 1: with these all these gothic vibes on top of it, like,

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Speaker 1: I don't know, I don't think I really was wanting

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Speaker 1: any comic relief in this picture.

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Speaker 3: I certainly was not hurting for want of comic relief.

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Speaker 3: And no, this movie doesn't need that. It's just not

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Speaker 3: its style. It's not what it's about. Another surprising element

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Speaker 3: I found about The Hunger, at least a violation of

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Speaker 3: my expectations going in, was the relatively grounded science fiction subplot.

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Speaker 3: Did not think it would have that kind of thing happening.

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Speaker 3: So this will require some discussion of the plot, but

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Speaker 3: I guess it's good to lay out a bit of

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Speaker 3: the premise here at the top, because we can refer

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Speaker 3: back to that as we talk about the cast and

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Speaker 3: so forth. So two of the main characters of this

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Speaker 3: movie begin the story as vampires, as vampire lovers, and

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Speaker 3: they are faced with a unique consequence of their condition.

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Speaker 3: In the lore of this movie, the vampire's spawn enjoys

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Speaker 3: a long life of suspended youth and vitality for perhaps

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Speaker 3: hundreds of years, but at some point it all comes

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Speaker 3: crashing down as a kind of rapid degenerative aging disease,

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Speaker 3: where the vampire spawn suddenly grows old and withers into

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Speaker 3: a powerless but still conscious, crumbling husk over the course

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Speaker 3: of a few days or weeks. So in the movie,

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Speaker 3: Catherine Denov plays a sort of vampire queen of ancient

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Speaker 3: but otherwise uncertain origins named Miriam, who is in a

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Speaker 3: centuries long love affair with her vampire spawn, John played

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Speaker 3: by David Bowie. Originally a man, she turned into a

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Speaker 3: vampire sometime in Europe in the seventeen hundreds. There's like

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Speaker 3: a scene of them kissing in a barn in powdered wigs,

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Speaker 3: and so the situation is while they seem to have

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Speaker 3: been happy and ageless hunting for blood together for hundreds

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Speaker 3: of years, suddenly, in the modern day setting of the

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Speaker 3: film in New York in the nineteen eighties, John finds

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Speaker 3: himself rapidly aging, and he seems to know this was

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Speaker 3: something that could happen to him one day, but obviously

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Speaker 3: it leaves him greatly demoralized and distressed. So this brings

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Speaker 3: him into contact with another one of our major characters,

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Speaker 3: Sarah Roberts played by Susan Sarandon, who is a research scientist.

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Speaker 3: She's a gerontologist studying diseases that cause accelerated aging, and

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Speaker 3: her work provides some hope of a way to stop

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Speaker 3: the advance of the cellular clock and arrest the rapid

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Speaker 3: advance of agent to and so as John desperately seeks

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Speaker 3: her help, she becomes entangled in the lives of these vampires.

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Speaker 3: She doesn't initially know their vampires, of course, and she

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Speaker 3: becomes it becomes more than just the kind of mechanical

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Speaker 3: science fiction connection to the story, like she becomes romantically

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Speaker 3: involved as well. But it was so strange to me

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Speaker 3: that the movie ended up having so much having as

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Speaker 3: much science fiction as it did, and also the form

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Speaker 3: the science fiction took, because it was not the kind of,

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Speaker 3: you know, the kind of loose fantasy science fiction that

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Speaker 3: you get in The Man Who Fell to Earth. It's

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Speaker 3: instead a story about like research scientists in their lab

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Speaker 3: doing experiments on monkeys. And we can come back to

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Speaker 3: that later. But like some of the goorioesst and grossest

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Speaker 3: stuff in the movie is not from the horror premise.

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Speaker 3: It's from the sci fi premise.

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Speaker 1: Yeah, yeah, it's so as we'll get to in more

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Speaker 1: detail in a bed. This is based on a novel,

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Speaker 1: a nineteen eighty one novel by Whitley Streiber, And it's

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Speaker 1: my understanding that the original novel is essentially one of

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Speaker 1: these kind of like how would this work treatments of

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Speaker 1: vamporism with sci fi elements backing it up, And I'm

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Speaker 1: to understand that the script for the picture ended up

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Speaker 1: drifting somewhat away from that vision, and then Tony Scott's

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Speaker 1: direction and the work of all the other talented folks

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Speaker 1: involved in like the visual and sonic flare of the

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Speaker 1: picture are able to bring it into more of a

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Speaker 1: surreal territory. So, you know, it's kind of an interesting

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Speaker 1: trajectory to like maybe start in something that's a little

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Speaker 1: more grounded in the sci fi and ending up via

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Speaker 1: a curve, ending up with something more surreal and ambiguous,

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Speaker 1: but the sci fi roots are still present.

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Speaker 3: Yeah, totally. But it creates such an an unusual and

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Speaker 3: interesting millage of themes. It's just it doesn't really feel

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Speaker 3: like any other movie I can think of.

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Speaker 1: Yeah, it really does stand apart. And I think that's

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Speaker 1: one of the reasons that it just so instantly captivated me.

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Speaker 1: Because some of the other picture as I was checking out,

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Speaker 1: they felt more like a definite artifact of their time

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Speaker 1: and or they fit more clearly into genres that we're

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Speaker 1: already more familiar with on the show, and this one, Yeah,

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Speaker 1: it really stood out. It seemed to have a different

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Speaker 1: vision and exist in its own sonic and visual universe.

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Speaker 3: Now, another big surprise that this movie had for me

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Speaker 3: is that I really expected there to be more David

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Speaker 3: Bowie in this David Bowie movie. He almost gets the

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Speaker 3: treatment of Steven segall an executive decision. Maybe that's a

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Speaker 3: horrible comparison, maybe more like Drew Barrymore in Scream or

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Speaker 3: Samuel L. Jackson in Deep Blue Sea. Though, of course

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Speaker 3: all of those characters what happens is they die. The

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Speaker 3: fate of David Bowie's character in this movie is even

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Speaker 3: more tragic and horrifying than death. But I think it's

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Speaker 3: interesting that I don't know if there's a formal like

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Speaker 3: showbiz term for this, but I would call it like

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Speaker 3: a meta shock. You know, it is a violation of

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Speaker 3: your expectations, which are established. Those expectations are established not

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Speaker 3: through the narrative of the movie itself, but through your

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Speaker 3: real world and knowledge of the movie's marketing context. So,

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Speaker 3: for example, it is a surprising move to kill off

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Speaker 3: the character played by the big star, the presence of

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Speaker 3: whom ostensibly brought people into the movie theaters in the

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Speaker 3: first place. So that's always a surprising move. It's a

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Speaker 3: bold and gutsy move usually, though I think it's a

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Speaker 3: lot less gimmicky in The Hunger than it is in

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Speaker 3: most of these metashock deaths you get in the film industry.

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Speaker 3: In this movie, it it feels less like a gimmicky

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Speaker 3: attempt at surprise, and instead it emphasizes the movie's kind

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Speaker 3: of shadow themes of unfairness and the injustice of love

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Speaker 3: and of real life.

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Speaker 1: Yeah. Absolutely, And I do want to stress for anyone

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Speaker 1: out there who who happens to be interested in The

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Speaker 1: Hunger primarily because of David Bowie, still valid reason to

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Speaker 1: be interested in this film. David Bowie will not disappoint you.

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Speaker 1: The role may have less screen time than you expected,

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Speaker 1: but he still makes the most of that screen time.

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Speaker 1: So definitely worth checking out for Bowie fans.

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Speaker 3: Though also for some of the screen time he does have,

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Speaker 3: he looks like Richard Lynch or he looks like he

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Speaker 3: Oh this is an unkind comparison, but he looks like

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Speaker 3: a better version of Guy Pierce and the old Man

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Speaker 3: makeup in Prometheus.

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Speaker 1: Yeah, that's a great observation. But you know, Prometheus didn't

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Speaker 1: have Dick Smith. As we'll be discussing special effects makeup master.

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Speaker 1: Dick Smith is largely responsible for the aging of David

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Speaker 1: Bowie in this picture. And I think it was Tony

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Speaker 1: Scott on the commentary track pointing out how or maybe

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Speaker 1: it was maybe with Susan's frand and somebody who's pointing

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Speaker 1: out how he's under so much makeup for parts of this.

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Speaker 1: But Bowie would just go to sleep in the chair

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Speaker 1: like he was like super, he's a going while they

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Speaker 1: were replying, you know, hours upon hours of makeup and yeah,

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Speaker 1: and nobody did it better than Dick Smith.

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Speaker 3: It is really great old man makeup, way better than

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Speaker 3: all the other examples I can think of.

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Speaker 1: All right, well, more on that in a bit, but

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Speaker 1: first let's go ahead and roll out the elevator pitch.

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Speaker 1: As the song will play a huge role in the

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Speaker 1: opening sequence of a picture. I'm just going to quote

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Speaker 1: a few lines from the nineteen eighty two goth rock

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Speaker 1: hit Bela Lugosi's Dead by bow House with one pronoun

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Speaker 1: change to make it fit better. The virginal brides file

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Speaker 1: past her tomb strewn with times, dead flowers, bereft in

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Speaker 1: Deathly Bloom, alone in a darkened room, the count.

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Speaker 3: Bell refed in Deathly Bloom, Yes exactly, Oh what a delivery.

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Speaker 3: Who's the singer of Bowhouse.

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Speaker 1: That's Peter Murphy and we'll sleep. We'll see Peter Murphy

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Speaker 1: in the opening sequence here.

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Speaker 3: Tremendous flat delivery there, very good.

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Speaker 1: Yeah, I mean it's a class, It's probably one of,

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Speaker 1: if not the better known, you know, goth tracks out there.

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Speaker 1: Like if you're going to do a goth dance night

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Speaker 1: at a club or something, they need to play Bella

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Speaker 1: Lugosi's dead at least for a little bit. Maybe not

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Speaker 1: the whole with like nine and a half minute runtime,

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Speaker 1: but even still, like, yeah, go ahead and do the

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Speaker 1: nine and a half minute runtime because the whole song's tremendous.

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Speaker 1: All Right, we'll come back to baw House in a bit,

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Speaker 1: but first let's go ahead and listen to a little

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Speaker 1: bit of trailer audio from The Hunger.

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Speaker 3: Sarah Roberts is in jeopardy. Hey lady, how about it

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Speaker 3: stay with her? Help her, for she has begun to

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Speaker 3: feel the awful horror of the hunger. John Blaylock, the

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Speaker 3: hunger has given him everlasting life until now. Pray for him.

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Speaker 3: Miriam Blaylock.

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Speaker 2: She feeds one day in seven on the unsuspecting, and

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Speaker 2: soon she will turn into something that you will never

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Speaker 2: be able to forget.

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Speaker 3: No matter how hard and how long you try fear her?

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Speaker 2: What have you done to me.

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Speaker 3: For my life? Signs terminate right here.

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Speaker 1: Haunting, mysterious, sensual, strange, perverse, riveting The Hunger. All right, well,

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Speaker 1: if you would like to watch The Hunger, well, luckily

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Speaker 1: for you, it's widely available on digital formats as well

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Speaker 1: his home video formats. There's a Blu ray, and I

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Speaker 1: was gonna rent the Blu ray, but it was checked

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Speaker 1: out when I dropped by Video Drum, so I ended

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Speaker 1: up having to make do with the DVD version, which

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Speaker 1: was also solid. I believe both the Blue and the

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Speaker 1: DVD feature the same commentary track, which is a bit

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Speaker 1: dry but still informative, featuring both Tony Scott and Susan Sarandon,

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Speaker 1: though it sounds like maybe they weren't in the same room,

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Speaker 1: like they recorded them separately and kind of like splice

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Speaker 1: them in. So if you like a nice, boisterous commentary track,

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Speaker 1: then maybe this one isn't the one, but it's still

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Speaker 1: a lot of great info in it. All right, Well,

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Speaker 1: let's run through the people involved here, or at least

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Speaker 1: some of them. We can't touch on everybody as usual,

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Speaker 1: but the director is, of course Tony Scott. As previously mentioned,

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Speaker 1: he lived nineteen forty four through twenty twelve, the late

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Speaker 1: younger brother of Ridley Scott, who, like his brother, came

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Speaker 1: up through TV commercial production before branching out into films,

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Speaker 1: and this was his first feature theatrical film. And it

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Speaker 1: really throws everything at you from a stylistic standpoint. It's flashy,

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Speaker 1: it's sexy, it's daring, it's somber, it's serious. It delivers

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Speaker 1: all the flare of a music video or a high

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Speaker 1: end commercial, and as we alluded to at the time

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Speaker 1: of its release, it was not a success. Critics panned it,

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Speaker 1: including Roger Ebert, who called it quote an agonizingly bad

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Speaker 1: vampire movie, circling around an exquisitely effective sex scene. Which

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Speaker 1: sex scene, I assume it has to be the big

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Speaker 1: love scene between Sarah and Miriam, which I mean it's

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Speaker 1: almost I think a disservice to call it a quote

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Speaker 1: unquote sex scene because it's so stylish. It is like

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Speaker 1: the like the bed is glowing. I think one point,

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Speaker 1: you know, it's like it's very surreal. It's not it's

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Speaker 1: not raw or explicit, but it is still you know,

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Speaker 1: highly erotic and just, and to Ebert's point, it is effective.

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Speaker 1: But I also don't feel like it comes off as

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Speaker 1: an oasis in a desert in this film or anything

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Speaker 1: to that extent.

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Speaker 3: No, I just would not agree with Ebert on this one.

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Speaker 3: I think the film overall has a lot more to offer. Sorry,

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Speaker 3: just now that we're on the subject of Tony Scott,

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Speaker 3: I was repeatedly thinking to myself while watching I can't

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Speaker 3: believe this is made by the same director as Top Gun.

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Speaker 1: I mean, it is crazy to think about this, right

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Speaker 1: because Top Gun, which was his follow up, what four

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Speaker 1: years later? That was the next time that the studios

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Speaker 1: gave him a shot at a film, like three years later.

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Speaker 1: We always say, well, what this one's eighty would have

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Speaker 1: been made in what an eighty two and either yeah,

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Speaker 1: three or four years, so he didn't have to wait

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Speaker 1: that long. But still he was kind of shut out

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Speaker 1: for a little bit there. But then he comes out

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Speaker 1: of the gate with again with Top Gun, which of

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Speaker 1: course is a massive hit. It was the highest grossing

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Speaker 1: film domestic or otherwise for nineteen eighty six. That's a

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Speaker 1: film that cemented Cruise's ascension into long lasting fame and

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Speaker 1: established Scott as not a director of erotic horror, but

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Speaker 1: as an action and thriller director. You know, because when

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Speaker 1: you think about Tony Scott, those tend to be the

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Speaker 1: films you think about. You think about things like eighty

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Speaker 1: seven's Beverly Hills Cop two, nineteen nineties Days of Thunder,

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Speaker 1: ninety three's True Romance, ninety fives, Crimson Tide ninety eight,

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Speaker 1: Enemy of the State, two thousand and four's Man on Fire,

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Speaker 1: or his final film twenty tens Unstoppable. But yeah, compare

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Speaker 1: this film to Top Gun and I'm yeah, like, what

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Speaker 1: connective tissue is there? Really? I mean, I'm sure you

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Speaker 1: could know, probably get down and point to some of

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Speaker 1: the stylistic touches that are distinctly Tony Scott. But it

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Speaker 1: does kind of feel like a complete at least in

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Speaker 1: my eyes, it feels like a complete, like restart of

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Speaker 1: his cinematic trajectory. Now. Tony Scott would return to horror

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Speaker 1: twice in the late nineties for two episodes of an

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Speaker 1: erotic horror anthology series titled The Hunger, very much spinning

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Speaker 1: off of this film. Like I said, this is one

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Speaker 1: of the reasons I think we can assume that By

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Speaker 1: the late nineties there was a cult following for this

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Speaker 1: picture because they decided to produce forty four episodes of

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Speaker 1: a spinoff series on it. The first season was hosted

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Speaker 1: by Terrence stamp Oh General Zod Yeah, he was your

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Speaker 1: Sexy Cryptkeeper for the first season, and then You're a

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Speaker 1: Sexy crypt Keeper for the second season was none other

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Speaker 1: than David Bowie.

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Speaker 3: Got to see this now well.

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Speaker 1: The two episodes directed by Tony Scott were The Swords

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Speaker 1: from season one and that starred Balthazar Getty, Amanda Ryan,

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Speaker 1: and Timothy Spall. And then there was a season two

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Speaker 1: episode titled Sanctuary starring Giovanni Ribisi and Lisa Repo Martel.

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Speaker 1: I've never watched it again. They made forty four episodes.

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Speaker 1: Russell McKay directed like six episodes of it, and the

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Speaker 1: cast is pretty extensive as well. Gen Carlo Esposito plays

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Speaker 1: a vampire in one of them. I don't know if

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Speaker 1: it's a major vampire role or a small one, but

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Speaker 1: he's in there. Daniel Craig shows up, Margo Kidder, Lori Petty,

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Speaker 1: David Warner, Jason Fleming, among many others. I don't know

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Speaker 1: where Off the top of my head. I don't know

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Speaker 1: where this aired. I'm guessing it maybe showed up on

432
00:25:19,880 --> 00:25:24,119
Speaker 1: USA Network at some point, but I I have no

433
00:25:24,200 --> 00:25:25,120
Speaker 1: memory of this at all.

434
00:25:25,400 --> 00:25:26,320
Speaker 3: Sounds tremendous.

435
00:25:26,440 --> 00:25:29,159
Speaker 1: Yeah, so yeah, by the late nineties, I feel like

436
00:25:29,160 --> 00:25:31,760
Speaker 1: people were coming back around to this film. It's become

437
00:25:31,760 --> 00:25:34,639
Speaker 1: a cult classic for a variety of reasons. It's style,

438
00:25:34,760 --> 00:25:40,200
Speaker 1: it's cast, it's goth vibes, it's LGBTQ elements. Now Tony

439
00:25:40,200 --> 00:25:43,960
Speaker 1: Scott sadly passed away in twenty twelve, but fourth noting

440
00:25:43,960 --> 00:25:47,639
Speaker 1: that this film and Ridley Scott's Blade Runner from the

441
00:25:47,680 --> 00:25:51,520
Speaker 1: previous year were both dedicated to their older brother Frank,

442
00:25:51,640 --> 00:25:54,359
Speaker 1: who had passed away in nineteen eighty all Right, I

443
00:25:54,359 --> 00:25:58,400
Speaker 1: already mentioned that Whitley Streiber is the author of the

444
00:25:58,440 --> 00:26:02,560
Speaker 1: original novel upon which the based came out in eighty one,

445
00:26:02,720 --> 00:26:06,240
Speaker 1: the first of a trilogy of vampire novels, and these

446
00:26:06,240 --> 00:26:08,960
Speaker 1: were a follow up to his nineteen seventy eight werewolf

447
00:26:09,000 --> 00:26:12,040
Speaker 1: novel The Wolf, in which was also adapted into a

448
00:26:12,080 --> 00:26:15,400
Speaker 1: film nineteen eighty One's Wolfen starring Albert Finnie.

449
00:26:15,359 --> 00:26:18,720
Speaker 3: Which I always confused with the movie Wolf starring Is

450
00:26:18,760 --> 00:26:20,360
Speaker 3: it Wolf starring Jack Nicholson.

451
00:26:20,480 --> 00:26:23,119
Speaker 1: Yeah, Wolf is the one with Jack Nicholson. Wolfen is

452
00:26:23,160 --> 00:26:26,440
Speaker 1: the one with Albert Finnie. And then there's the howling.

453
00:26:27,000 --> 00:26:29,520
Speaker 1: You know that. Occasionally there's the big werewolf bump in

454
00:26:29,680 --> 00:26:34,600
Speaker 1: the in the horror industry, and you get several different

455
00:26:34,640 --> 00:26:37,600
Speaker 1: horror horror films about were wolf's more or less at once.

456
00:26:38,640 --> 00:26:41,040
Speaker 3: Yeah. We go through monster waves, don't we.

457
00:26:41,560 --> 00:26:44,160
Speaker 1: Yeah, there have been several werewolf films recently. We're kind

458
00:26:44,160 --> 00:26:47,359
Speaker 1: of experiencing a werewolf bump right now.

459
00:26:48,000 --> 00:26:50,000
Speaker 3: That would make sense. Yeah, But I feel, you know,

460
00:26:50,040 --> 00:26:52,760
Speaker 3: we had like zombies in the two thousands, and then

461
00:26:52,800 --> 00:26:56,240
Speaker 3: you had a vampire craze after that, and I don't

462
00:26:56,240 --> 00:26:57,800
Speaker 3: know what we're in right now. I think we had

463
00:26:57,800 --> 00:26:59,280
Speaker 3: a witch craze for a bit.

464
00:26:59,720 --> 00:27:03,320
Speaker 1: Yeah, it's got to come out mummies again, but I'm

465
00:27:03,359 --> 00:27:06,919
Speaker 1: waiting on it anyway. This author has written numerous books,

466
00:27:06,960 --> 00:27:10,480
Speaker 1: including The Coming Global Superstorm, which was written with Art Bell,

467
00:27:10,720 --> 00:27:13,479
Speaker 1: of all People, and adapted into the two thousand and

468
00:27:13,480 --> 00:27:15,240
Speaker 1: four film The Day After Tomorrow.

469
00:27:15,480 --> 00:27:15,920
Speaker 3: Okay.

470
00:27:16,480 --> 00:27:20,200
Speaker 1: He's also well known for his nineteen eighty seven ufology

471
00:27:20,240 --> 00:27:23,480
Speaker 1: book Communion, which was adapted into a nineteen eighty nine

472
00:27:23,520 --> 00:27:27,680
Speaker 1: film in which Christopher Walken plays Whitley Striber.

473
00:27:28,200 --> 00:27:31,200
Speaker 3: I've never read that or seen the movie, but I've

474
00:27:31,200 --> 00:27:35,160
Speaker 3: had general cultural awareness of them. For some reason, for years,

475
00:27:35,240 --> 00:27:39,000
Speaker 3: I had in my mind Whitley Striber categorized as somebody

476
00:27:39,000 --> 00:27:44,040
Speaker 3: who was like a promoter of UFO encounters more than

477
00:27:44,200 --> 00:27:45,240
Speaker 3: like a novelist.

478
00:27:45,760 --> 00:27:47,639
Speaker 1: Well, I think he's apparently both.

479
00:27:47,760 --> 00:27:47,879
Speaker 3: Like.

480
00:27:48,240 --> 00:27:51,399
Speaker 1: He definitely he claimed, you know, very much, claims to

481
00:27:51,400 --> 00:27:56,080
Speaker 1: believe in UFOs and communion is presented as a work

482
00:27:56,119 --> 00:27:59,280
Speaker 1: of nonfiction. But then he also has written a lot

483
00:27:59,280 --> 00:28:02,040
Speaker 1: of as well. I don't, as far as I know,

484
00:28:02,119 --> 00:28:06,000
Speaker 1: he doesn't actually believe in the reality of vampires and werewolves.

485
00:28:06,560 --> 00:28:10,080
Speaker 1: So that's separate from the aliens. Okay now, and as

486
00:28:10,080 --> 00:28:13,800
Speaker 1: far as the screenplay goes here, James Costagan, writing as

487
00:28:13,880 --> 00:28:18,240
Speaker 1: Ian Davis, is one of the credited writers. He lived

488
00:28:18,320 --> 00:28:20,879
Speaker 1: nineteen twenty six through two thousand and seven. Emmy Award

489
00:28:20,920 --> 00:28:24,800
Speaker 1: winning screenwriter for fifty nine's Little Moon of alban seventy

490
00:28:24,800 --> 00:28:27,560
Speaker 1: six is Eleanor and Franklin, and seventy five's Love among

491
00:28:27,600 --> 00:28:29,960
Speaker 1: the Ruins. He was also a writer on nineteen eighty

492
00:28:29,960 --> 00:28:33,240
Speaker 1: five's King David, in which Richard Gear battles George Eastman.

493
00:28:34,040 --> 00:28:37,720
Speaker 1: And then we also have Michael Thomas credited on the screenplay, screenwriter,

494
00:28:37,880 --> 00:28:40,880
Speaker 1: perhaps best known for his work on nineteen eighty five's

495
00:28:40,960 --> 00:28:44,520
Speaker 1: Lady Hawk as well as twenty eleven's The Devil's Double.

496
00:28:45,160 --> 00:28:48,080
Speaker 1: All right, now getting into the cast, starting at the top,

497
00:28:48,440 --> 00:28:52,520
Speaker 1: this film stars Catherine Daneuve, who mentioned her already. She

498
00:28:52,600 --> 00:28:58,200
Speaker 1: plays Miriam Blaylock. This is our vampire queen. And yeah,

499
00:28:58,440 --> 00:29:03,480
Speaker 1: Daneuve very very talented actress here obviously born nineteen forty three.

500
00:29:03,560 --> 00:29:06,200
Speaker 1: I'm not sure I had seen her in anything before.

501
00:29:07,480 --> 00:29:11,280
Speaker 1: French actress who has only appeared in a handful of

502
00:29:11,320 --> 00:29:14,680
Speaker 1: genre pictures during the course of her long career. They

503
00:29:14,760 --> 00:29:19,120
Speaker 1: include nineteen sixty five's Repulsion, seventy seven's Lost Soul, seventy

504
00:29:19,200 --> 00:29:22,160
Speaker 1: nine See Here My Love, in eighty eight Frequent Death.

505
00:29:22,840 --> 00:29:26,200
Speaker 1: She's probably best known for such films as sixty four

506
00:29:26,240 --> 00:29:30,120
Speaker 1: As the Umbrellas of Cherbourg, sixty seven's The Young Girls

507
00:29:30,280 --> 00:29:34,600
Speaker 1: of Rockfort, and nineteen seventies Donkey Skin. This is based

508
00:29:34,640 --> 00:29:36,959
Speaker 1: on the Donkey Skin fairy tale, which I think has

509
00:29:36,960 --> 00:29:39,200
Speaker 1: come up on stuff to blow your mind episodes before

510
00:29:39,720 --> 00:29:41,000
Speaker 1: the fairy tale, not the movie.

511
00:29:41,240 --> 00:29:42,920
Speaker 3: Oh yeah, well, I think we might have talked about

512
00:29:42,960 --> 00:29:43,680
Speaker 3: covering the movie.

513
00:29:43,880 --> 00:29:45,280
Speaker 1: Yeah, okay, I.

514
00:29:45,200 --> 00:29:47,080
Speaker 3: Think it's supposed to be pretty weird.

515
00:29:47,400 --> 00:29:51,000
Speaker 1: Yeah, well, I'm all for it. You know, if it

516
00:29:51,000 --> 00:29:53,680
Speaker 1: has been move in it, I'm certainly worth another book.

517
00:29:54,000 --> 00:29:56,680
Speaker 1: She also appears in two thousand Dancer in the Dark

518
00:29:57,160 --> 00:29:59,720
Speaker 1: and lends her voice to two thousand and sevens animated

519
00:29:59,720 --> 00:30:03,560
Speaker 1: film Persepolis, based on the graphic novel. She was nominated

520
00:30:03,600 --> 00:30:06,400
Speaker 1: for an Academy Award for her leading role in nineteen

521
00:30:06,480 --> 00:30:09,320
Speaker 1: ninety three's End of Chime. So yeah, I think she's

522
00:30:09,400 --> 00:30:12,800
Speaker 1: terrific in this, as we'll discuss. While her character certainly

523
00:30:12,880 --> 00:30:16,560
Speaker 1: has plenty of like fem fatale elements, she's never presented

524
00:30:16,600 --> 00:30:21,240
Speaker 1: as like a cold, unfeeling vamp, and certainly Miriam could

525
00:30:21,240 --> 00:30:25,240
Speaker 1: have been presented in that way. Like her passion is real,

526
00:30:25,560 --> 00:30:28,880
Speaker 1: her love is real. I believe these things when I

527
00:30:29,280 --> 00:30:32,760
Speaker 1: experienced her character on the screen, all this despite the tragic,

528
00:30:32,840 --> 00:30:36,160
Speaker 1: supernatural ramifications of that passion and that love.

529
00:30:36,760 --> 00:30:42,320
Speaker 3: Yeah, she's a very ambiguous character. Is I mean, is

530
00:30:42,360 --> 00:30:47,000
Speaker 3: she the protagonist of the film or is she the

531
00:30:47,080 --> 00:30:50,920
Speaker 3: villain of the film? Should we think of should we

532
00:30:50,920 --> 00:30:53,960
Speaker 3: think of John and Sarah as the kind of trading

533
00:30:54,000 --> 00:30:57,040
Speaker 3: off protagonists of the film, and in a way Deneve

534
00:30:57,200 --> 00:31:00,720
Speaker 3: is the villain, or in a way, it's more her

535
00:31:00,840 --> 00:31:02,600
Speaker 3: story than it is anybody else's.

536
00:31:02,640 --> 00:31:06,680
Speaker 1: Though, Yeah, it does make me wonder who might be

537
00:31:06,720 --> 00:31:11,840
Speaker 1: the central protagonist of the novel, because there does seem

538
00:31:11,880 --> 00:31:14,120
Speaker 1: to feel it feels like there's maybe a certain amount

539
00:31:14,160 --> 00:31:18,240
Speaker 1: of confusion with this story as as it's presented in

540
00:31:18,240 --> 00:31:21,239
Speaker 1: the film, like, yeah, whose story is it? And you know,

541
00:31:21,280 --> 00:31:24,400
Speaker 1: some would argue, you know, rather strongly that a film

542
00:31:24,440 --> 00:31:27,680
Speaker 1: does need one key protagonist. There may essentially be two,

543
00:31:27,760 --> 00:31:30,480
Speaker 1: but there needs to be in the writing of the thing,

544
00:31:30,480 --> 00:31:33,200
Speaker 1: there needs to be like one central protagonist. The writer

545
00:31:33,360 --> 00:31:34,400
Speaker 1: needs to know who that is.

546
00:31:34,880 --> 00:31:37,880
Speaker 3: I guess you could argue then it might be Sarah,

547
00:31:37,960 --> 00:31:43,240
Speaker 3: But Sarah also is never She's never really made fully

548
00:31:43,360 --> 00:31:47,600
Speaker 3: aware of the of the whole emotional arc of the story.

549
00:31:47,640 --> 00:31:52,240
Speaker 3: The only character who really knows everything is is Miriam,

550
00:31:52,440 --> 00:31:56,640
Speaker 3: and so anyway, I guess we can talk more about

551
00:31:56,640 --> 00:31:59,000
Speaker 3: that in the plot if necessary. But either way, I

552
00:31:59,040 --> 00:32:03,160
Speaker 3: agree with you is wonderful in the movie. I mean,

553
00:32:03,200 --> 00:32:06,120
Speaker 3: there is I think a kind of coldness to her,

554
00:32:06,880 --> 00:32:11,160
Speaker 3: but it doesn't come off as cruelty necessarily.

555
00:32:11,000 --> 00:32:14,400
Speaker 1: Yeah, I think that's the key coldness but not cruelty.

556
00:32:14,720 --> 00:32:18,000
Speaker 3: Yeah, she is somebody who's projecting. I mean, I guess

557
00:32:18,040 --> 00:32:19,920
Speaker 3: this is a problem in a lot of vampire movies

558
00:32:19,960 --> 00:32:24,280
Speaker 3: because you have these characters who are supposed to have

559
00:32:24,440 --> 00:32:27,120
Speaker 3: lived many, many lives. You know, they've been around for

560
00:32:27,240 --> 00:32:30,760
Speaker 3: hundreds or thousands of years in her case, and it

561
00:32:30,800 --> 00:32:34,840
Speaker 3: always raises the question that the normal kinds of performances,

562
00:32:34,880 --> 00:32:39,200
Speaker 3: of human feelings and thoughts and intelligence and memory and

563
00:32:39,240 --> 00:32:42,959
Speaker 3: everything that we get in the film in films is

564
00:32:43,200 --> 00:32:45,959
Speaker 3: based on the arc of a normal human lifetime. Like

565
00:32:46,000 --> 00:32:48,720
Speaker 3: you know, part of playing a character is what it

566
00:32:48,800 --> 00:32:51,040
Speaker 3: means to play a character in their youth or in

567
00:32:51,160 --> 00:32:54,360
Speaker 3: middle age or something like that. Vampires achieve a kind

568
00:32:54,400 --> 00:32:58,600
Speaker 3: of age that no human ever does, and so that

569
00:32:58,760 --> 00:33:02,479
Speaker 3: raises questions of like does that age manifest in their character?

570
00:33:02,600 --> 00:33:05,440
Speaker 3: How should it manifest in their emotions and how they

571
00:33:05,480 --> 00:33:09,280
Speaker 3: react to things, and what their philosophical outlook is. And

572
00:33:09,360 --> 00:33:12,360
Speaker 3: I feel like Daneuve contains a lot of that mystery

573
00:33:12,600 --> 00:33:17,480
Speaker 3: in her performance. There is something that feels unreal and

574
00:33:17,520 --> 00:33:20,640
Speaker 3: a little beyond human about her, and a lot of

575
00:33:20,680 --> 00:33:25,000
Speaker 3: times it's because she is difficult to read in situations

576
00:33:25,040 --> 00:33:29,840
Speaker 3: where otherwise an actor might be more inclined to portray

577
00:33:29,920 --> 00:33:31,840
Speaker 3: something very clear and overt.

578
00:33:32,040 --> 00:33:35,600
Speaker 1: Does that make sense, Yeah, yeah, yeah, I agree. You know,

579
00:33:35,640 --> 00:33:38,040
Speaker 1: there are these scenes I think, in particular about some

580
00:33:38,080 --> 00:33:42,320
Speaker 1: of the scenes where David Bowie's character John is like

581
00:33:42,920 --> 00:33:47,719
Speaker 1: trying to discuss not only his aging his illness if

582
00:33:47,760 --> 00:33:51,000
Speaker 1: you will, with her, but also like the ramifications of it,

583
00:33:51,360 --> 00:33:54,200
Speaker 1: and you don't get the sense that she's you know,

584
00:33:54,560 --> 00:33:59,200
Speaker 1: unfeeling to it. But also she doesn't fully engage with

585
00:33:59,280 --> 00:34:03,280
Speaker 1: him on it. Either she's in walking this line where

586
00:34:03,280 --> 00:34:06,760
Speaker 1: it doesn't come off entirely like she's completely blowing him

587
00:34:06,800 --> 00:34:09,040
Speaker 1: off or like, well, that's your problem, John, you solve it.

588
00:34:10,320 --> 00:34:13,200
Speaker 1: But she's also not fully embracing him. She is to

589
00:34:13,280 --> 00:34:17,840
Speaker 1: some degree distancing herself from his suffering, but in a

590
00:34:17,840 --> 00:34:20,799
Speaker 1: way that also feels more real and more mortal and

591
00:34:21,000 --> 00:34:23,440
Speaker 1: is not like just this vamp queen who's like I

592
00:34:23,480 --> 00:34:25,000
Speaker 1: am done with you, you know, you have served your

593
00:34:25,000 --> 00:34:26,160
Speaker 1: purpose or something like that.

594
00:34:26,520 --> 00:34:29,560
Speaker 3: I agree. Again, it's a different take on the vampire

595
00:34:29,680 --> 00:34:31,120
Speaker 3: character than I'm used to seeing.

596
00:34:31,640 --> 00:34:33,600
Speaker 1: We'll have more to say about about this character as

597
00:34:33,600 --> 00:34:36,759
Speaker 1: we get into the plot a bit later. Now moving

598
00:34:36,760 --> 00:34:39,399
Speaker 1: on to David Bowie, who of nineteen forty seven through

599
00:34:39,400 --> 00:34:43,879
Speaker 1: twenty sixteen, again playing John Blairlocke. So far in Weird House,

600
00:34:43,880 --> 00:34:46,799
Speaker 1: we've considered films where Bowie plays a space alien and

601
00:34:46,840 --> 00:34:49,080
Speaker 1: the changeland king of a Goblin realm, so it's only

602
00:34:49,160 --> 00:34:52,160
Speaker 1: natural that we now consider him as a vampire. Instead

603
00:34:52,160 --> 00:34:54,399
Speaker 1: of covering all the main notes of his career, we'll

604
00:34:54,440 --> 00:34:56,319
Speaker 1: catch this instead in terms of where he was with

605
00:34:56,400 --> 00:34:59,719
Speaker 1: his music and acting career at the time. So we're

606
00:34:59,719 --> 00:35:01,960
Speaker 1: only six years out from The Man Who Fell to Earth,

607
00:35:02,120 --> 00:35:04,560
Speaker 1: and I believe the only other feature film he'd appeared

608
00:35:04,600 --> 00:35:07,520
Speaker 1: in in addition to The Man Who Fell to Earth

609
00:35:07,560 --> 00:35:09,880
Speaker 1: at this point was seventy eight to Just to Jigglo,

610
00:35:10,400 --> 00:35:13,360
Speaker 1: So he really only had one what we would consider

611
00:35:13,440 --> 00:35:16,960
Speaker 1: now iconic film role in his filmography at this point,

612
00:35:17,080 --> 00:35:19,640
Speaker 1: and I think was far from established as the cult

613
00:35:19,680 --> 00:35:23,239
Speaker 1: film icon that he would later become and certainly would

614
00:35:23,239 --> 00:35:28,200
Speaker 1: be cemented in following his passing in twenty sixteen. Musically,

615
00:35:28,280 --> 00:35:31,160
Speaker 1: this film falls between Scary Monsters and Super Creeps from

616
00:35:31,200 --> 00:35:35,320
Speaker 1: nineteen eighty and Let's Dance from eighty three, both massive

617
00:35:35,360 --> 00:35:38,720
Speaker 1: critical and commercial hits, and by the way, Let's Dance

618
00:35:38,760 --> 00:35:42,120
Speaker 1: includes a track he did with Giorgio Moroder for the

619
00:35:42,239 --> 00:35:44,720
Speaker 1: nineteen eighty two It Rout a Car film Cat People,

620
00:35:44,800 --> 00:35:47,120
Speaker 1: which of course is a remake of the nineteen forties

621
00:35:47,160 --> 00:35:50,720
Speaker 1: Cat People, except with Malcolm McDowell turning into a cat.

622
00:35:50,880 --> 00:35:52,960
Speaker 3: I've seen the original Cat People years ago, and I

623
00:35:53,040 --> 00:35:55,440
Speaker 3: remember I quite liked it. So we may want to

624
00:35:55,480 --> 00:35:57,880
Speaker 3: come back to that on the show one day, But

625
00:35:58,400 --> 00:36:01,440
Speaker 3: the remake I have not, and I'm to understand it

626
00:36:01,480 --> 00:36:02,520
Speaker 3: goes a little bit harder.

627
00:36:03,280 --> 00:36:05,000
Speaker 1: Yeah, And I don't know. I don't know if I

628
00:36:05,000 --> 00:36:07,879
Speaker 1: want to watch Malcolm McDowell turn into a cat every

629
00:36:07,880 --> 00:36:12,080
Speaker 1: time he orgasms, But I don't know. It's a product

630
00:36:12,080 --> 00:36:15,640
Speaker 1: of the time, I guess. As for Bowie in this film, though,

631
00:36:16,040 --> 00:36:19,560
Speaker 1: I think he's terrific. As well. As always, Bowie excels

632
00:36:19,600 --> 00:36:21,600
Speaker 1: at playing the outsider, and here he's kind of a

633
00:36:21,600 --> 00:36:24,759
Speaker 1: double outsider. He's a vampire, thus set apart from the

634
00:36:24,800 --> 00:36:27,880
Speaker 1: mortal world and a stranger to many aspects of modernity.

635
00:36:28,360 --> 00:36:30,880
Speaker 1: But he is also, as we come to realize, something

636
00:36:30,920 --> 00:36:35,239
Speaker 1: of a thrall uninitiated into all the intricacies of vampiric existence.

637
00:36:36,000 --> 00:36:38,600
Speaker 1: Much of John Blaylock's journey is one of struggling with

638
00:36:38,680 --> 00:36:42,879
Speaker 1: aging immortality, which Bowie handles with a kind of kind

639
00:36:42,880 --> 00:36:45,840
Speaker 1: of like a quiet anxiety that feels very palpable on

640
00:36:45,880 --> 00:36:46,320
Speaker 1: the screen.

641
00:36:46,880 --> 00:36:49,839
Speaker 3: Even though at some points I think we referred to

642
00:36:49,920 --> 00:36:52,160
Speaker 3: his performance in The Man Who Fell to Earth as

643
00:36:52,480 --> 00:36:57,560
Speaker 3: kind of quailudic. He also did have outbursts in The

644
00:36:57,600 --> 00:36:59,319
Speaker 3: Man Who Filled to Earth, Like there were moments where

645
00:36:59,320 --> 00:37:02,160
Speaker 3: his performance got quite big, kind of like the pressure

646
00:37:02,239 --> 00:37:04,280
Speaker 3: came up and blew the top off and he screams,

647
00:37:04,280 --> 00:37:06,480
Speaker 3: get out of my mind, or when he like smacks

648
00:37:06,520 --> 00:37:10,680
Speaker 3: the tray of cookies in the air. I recall less

649
00:37:10,719 --> 00:37:13,760
Speaker 3: of anything like that in here. This is a much tighter,

650
00:37:14,320 --> 00:37:18,759
Speaker 3: more subdued, controlled performance throughout, despite the fact that we

651
00:37:18,800 --> 00:37:23,640
Speaker 3: can see his character is suffering immensely. John Blaylock is

652
00:37:23,760 --> 00:37:29,319
Speaker 3: a character who you know, he weathers his suffering with

653
00:37:29,440 --> 00:37:33,880
Speaker 3: a kind of with a kind of quiet, melancholy and

654
00:37:34,960 --> 00:37:38,439
Speaker 3: indignant resentment. Like there are parts where you can see

655
00:37:38,440 --> 00:37:42,320
Speaker 3: his ego is wounded it but it never turns into

656
00:37:42,400 --> 00:37:46,120
Speaker 3: a big reaction. Instead, he just kind of he subsumes it.

657
00:37:46,960 --> 00:37:50,560
Speaker 1: Yeah, yeah, Like there's a scene in the picture where

658
00:37:50,560 --> 00:37:56,600
Speaker 1: he's he's significantly aged, and this this this youth that's

659
00:37:56,640 --> 00:37:59,439
Speaker 1: been coming to the apartment for you know, like music

660
00:37:59,560 --> 00:38:03,080
Speaker 1: lessons and so forth, thinks that he is the father

661
00:38:03,400 --> 00:38:06,200
Speaker 1: of John. And she's like, oh, you know, I thought

662
00:38:06,200 --> 00:38:09,480
Speaker 1: that because you have the same eyes. And yeah. His

663
00:38:09,560 --> 00:38:12,839
Speaker 1: response is so haunting. He's like, he's like, he says

664
00:38:12,840 --> 00:38:15,759
Speaker 1: something the effective Well, that's interesting. I've known him for

665
00:38:15,800 --> 00:38:18,200
Speaker 1: so long and I never realized that, you know, I

666
00:38:18,239 --> 00:38:21,000
Speaker 1: don't know. The little moments like that are just so

667
00:38:21,080 --> 00:38:33,280
Speaker 1: well executed, all right. And then we also have Susan

668
00:38:33,320 --> 00:38:37,520
Speaker 1: Sarandon playing Sarah Roberts, as we mentioned earlier. Born nineteen

669
00:38:37,560 --> 00:38:40,560
Speaker 1: forty six, she's the first of three Rocky Horror Picture

670
00:38:40,600 --> 00:38:45,040
Speaker 1: Show connections in this film. Susan Sarandon's career entails a

671
00:38:45,040 --> 00:38:48,759
Speaker 1: great deal of mainstream dramatic success, obviously, but for many

672
00:38:48,800 --> 00:38:50,279
Speaker 1: of us, I think she's always going to be a

673
00:38:50,360 --> 00:38:53,680
Speaker 1: legend for her performances. Janet Weiss a heroin in the

674
00:38:53,760 --> 00:38:57,440
Speaker 1: nineteen seventy five film Rocky hor Picture Show. Her screen

675
00:38:57,480 --> 00:39:00,480
Speaker 1: and TV credits go back to nineteen seventy and includes

676
00:39:00,520 --> 00:39:03,640
Speaker 1: such titles as seventy four as the Satan Murders, eighty

677
00:39:03,640 --> 00:39:06,360
Speaker 1: seven's The Witches of Eastwick, ninety one's film and Louise

678
00:39:06,480 --> 00:39:09,920
Speaker 1: ninety five's dead Man Walking and twenty twelve's Cloud Atlas,

679
00:39:10,360 --> 00:39:13,520
Speaker 1: one time Oscar winner for dead Man Walking and five

680
00:39:13,600 --> 00:39:17,120
Speaker 1: time nominee, including a nomination for Film and Louise, And

681
00:39:17,320 --> 00:39:19,520
Speaker 1: you know, I also have nothing but great things to

682
00:39:19,560 --> 00:39:22,759
Speaker 1: say about Sarandon in this picture, she's sporting a great

683
00:39:23,239 --> 00:39:27,520
Speaker 1: androgynous look with short red hair. She is, essentially for

684
00:39:27,640 --> 00:39:30,200
Speaker 1: most of the film our protagonists. I guess you could

685
00:39:30,280 --> 00:39:34,640
Speaker 1: argue a gerontologist whose obsession for her works and transforms

686
00:39:34,640 --> 00:39:39,920
Speaker 1: into an obsession for the mysterious Miriam Blaylock. And while

687
00:39:40,040 --> 00:39:44,480
Speaker 1: our bisexual vampire duo here more stated with Miriam and

688
00:39:44,640 --> 00:39:47,880
Speaker 1: implied with John, are maybe a bit more cliche in

689
00:39:47,920 --> 00:39:52,440
Speaker 1: their depiction of bisexuality, you know, their indiscriminate supernatural beings

690
00:39:52,480 --> 00:39:55,840
Speaker 1: the vampires here, I do feel like Sarah is presented

691
00:39:55,920 --> 00:39:59,439
Speaker 1: in a especially for the time like refreshingly believable light.

692
00:40:00,080 --> 00:40:04,200
Speaker 1: So her attraction to Miriam, despite her character having a boyfriend,

693
00:40:04,560 --> 00:40:07,120
Speaker 1: is not presented as something that is in and of

694
00:40:07,160 --> 00:40:11,680
Speaker 1: itself alarming or something that would otherwise be inconceivable for

695
00:40:11,800 --> 00:40:16,719
Speaker 1: this character, you know, without the supernatural intrigue. So I

696
00:40:16,760 --> 00:40:18,600
Speaker 1: applaud that in this film for sure.

697
00:40:18,960 --> 00:40:21,120
Speaker 3: Oh, that seems to me to be just kind of

698
00:40:21,120 --> 00:40:24,839
Speaker 3: an understood part of her character, Like they don't really

699
00:40:24,880 --> 00:40:28,440
Speaker 3: discuss it explicitly, but like, for example, her kind of

700
00:40:28,520 --> 00:40:31,759
Speaker 3: jerk boyfriend is suspicious of her when he learns that

701
00:40:31,840 --> 00:40:35,200
Speaker 3: she spent the whole afternoon with this mysterious, beautiful woman.

702
00:40:35,640 --> 00:40:38,680
Speaker 1: Yeah. Yeah. And the fact that it is understood without

703
00:40:38,760 --> 00:40:41,400
Speaker 1: being like really called out in a way where like

704
00:40:41,440 --> 00:40:44,840
Speaker 1: there's no scene where she explains it to him or anything,

705
00:40:44,880 --> 00:40:48,560
Speaker 1: you know. Again, I think that's quite refreshing.

706
00:40:49,040 --> 00:40:53,279
Speaker 3: I think Susan Sarandon's performance here is great, especially in

707
00:40:53,320 --> 00:40:56,919
Speaker 3: the way that in the way that it changes over

708
00:40:56,920 --> 00:40:59,279
Speaker 3: the course of the film, because when we first get

709
00:40:59,280 --> 00:41:02,600
Speaker 3: to know her, she is in work mode. She is

710
00:41:02,760 --> 00:41:07,360
Speaker 3: fully a professional, and all we're seeing is her interaction

711
00:41:07,520 --> 00:41:11,000
Speaker 3: with the research that she does, like her engaging with

712
00:41:11,080 --> 00:41:15,719
Speaker 3: the topics of her work as a professional. And even

713
00:41:15,760 --> 00:41:19,640
Speaker 3: when she first meets John Blaylock played by Bowie, it's

714
00:41:19,760 --> 00:41:23,560
Speaker 3: in that context. It's like a work thing. And then

715
00:41:23,680 --> 00:41:27,640
Speaker 3: there is the strangest and most surprising shift, as like

716
00:41:27,719 --> 00:41:32,680
Speaker 3: she is brought into the vampire characters' lives, that her

717
00:41:32,760 --> 00:41:36,319
Speaker 3: role turns into an emotional and erotic one, and that

718
00:41:36,520 --> 00:41:40,319
Speaker 3: she instead we instead learn about what she wants and

719
00:41:40,320 --> 00:41:44,680
Speaker 3: what she feels, and her desires and her suffering, which

720
00:41:44,800 --> 00:41:46,759
Speaker 3: was not really part of the character at all when

721
00:41:46,800 --> 00:41:49,360
Speaker 3: we first met her, except in so far as like

722
00:41:49,400 --> 00:41:54,480
Speaker 3: her desires and suffering related to her struggles with her research.

723
00:41:55,000 --> 00:41:57,080
Speaker 3: That's a weird kind of arc to pull off within

724
00:41:57,120 --> 00:42:00,640
Speaker 3: a story, and I think Sarandon handles it so well.

725
00:42:00,760 --> 00:42:03,399
Speaker 1: Yeah, a lesser film and a lesser performance, it would

726
00:42:03,440 --> 00:42:05,960
Speaker 1: have been the character taking her glasses off, you know,

727
00:42:06,040 --> 00:42:09,480
Speaker 1: that sort of thing where it's just a complete shift

728
00:42:09,920 --> 00:42:11,680
Speaker 1: and you just kind of roll with it because that's

729
00:42:11,760 --> 00:42:15,719
Speaker 1: just how movies do it. But her performance brings those

730
00:42:15,760 --> 00:42:18,719
Speaker 1: two sides together and make them both believable parts of

731
00:42:19,040 --> 00:42:22,600
Speaker 1: the same human character. Now we mentioned the jerk boyfriend.

732
00:42:22,880 --> 00:42:25,640
Speaker 1: The jerk boyfriend is Tom have Her played by Cliff

733
00:42:25,640 --> 00:42:29,680
Speaker 1: de Young born nineteen forty five, a sixties rock star.

734
00:42:29,880 --> 00:42:32,799
Speaker 1: The group was clear light not familiar with them. Turn

735
00:42:32,880 --> 00:42:36,280
Speaker 1: Broadway actor. He was in Hair Turn film and TV actor,

736
00:42:36,600 --> 00:42:40,640
Speaker 1: and he absolutely played Brad Major's and Farley flavors in

737
00:42:40,760 --> 00:42:44,279
Speaker 1: nineteen eighty one Shock Treatment, Richard O'Brien's follow up to

738
00:42:44,400 --> 00:42:47,400
Speaker 1: Rocky Horror, so in this de Young would be was

739
00:42:47,400 --> 00:42:51,080
Speaker 1: taking over the role from Barry Bostwick, who played Brad

740
00:42:51,440 --> 00:42:54,239
Speaker 1: in the original Rocky R Picture Show. Cliff de Young's

741
00:42:54,280 --> 00:42:57,360
Speaker 1: other credits include nineteen eighty nine's Glory, nineteen ninety two's

742
00:42:57,360 --> 00:43:00,000
Speaker 1: Doctor Giggles, and nineteen ninety six Is the Craft.

743
00:43:01,000 --> 00:43:03,720
Speaker 3: Don't Forget. Also that he was in the nineteen eighties

744
00:43:03,840 --> 00:43:07,879
Speaker 3: or maybe early nineties film called Pulse, which is an

745
00:43:08,000 --> 00:43:12,279
Speaker 3: all appliances attack film. Like an evil I don't know,

746
00:43:12,360 --> 00:43:15,440
Speaker 3: alien virus or something gets into the power lines and

747
00:43:15,480 --> 00:43:18,120
Speaker 3: it makes the toasters go crazy and try to kill people.

748
00:43:18,480 --> 00:43:22,600
Speaker 1: Oh man, maximum overdrive. Yeah, all right, we mentioned the youth.

749
00:43:23,200 --> 00:43:26,719
Speaker 1: This is the character Alice. Alice Cavender played by Beth

750
00:43:26,840 --> 00:43:30,560
Speaker 1: Ellers born nineteen sixty eight, a child slash youth actor

751
00:43:30,600 --> 00:43:32,759
Speaker 1: at the time, but she'd go on to a long

752
00:43:32,800 --> 00:43:35,960
Speaker 1: and award winning career on the soap Opera's Guiding Light

753
00:43:36,239 --> 00:43:37,160
Speaker 1: and All My Children.

754
00:43:37,760 --> 00:43:40,640
Speaker 3: Very tragic, innocent character. When you first meet her, you're

755
00:43:40,680 --> 00:43:43,960
Speaker 3: just like, oh no, I think she's going to get

756
00:43:43,960 --> 00:43:44,600
Speaker 3: her blood drank.

757
00:43:44,800 --> 00:43:49,920
Speaker 1: And yeah, now when vampires start drinking folks blood. You know,

758
00:43:49,920 --> 00:43:53,359
Speaker 1: occasionally the law starts sniffing around. In this film, that

759
00:43:53,480 --> 00:43:57,719
Speaker 1: character is Lieutenant Ali Greza, played by Dan Hedeia born

760
00:43:57,800 --> 00:44:00,680
Speaker 1: nineteen forty. We referenced him all the time, I feel like,

761
00:44:01,000 --> 00:44:03,360
Speaker 1: but this is actually our first Dan Hidea film.

762
00:44:03,840 --> 00:44:08,640
Speaker 3: I was shocked how cute Dan Hidea is in this movie.

763
00:44:08,680 --> 00:44:15,480
Speaker 3: I think of him as, oh, you know, perennially crusty, mean, gristly,

764
00:44:15,680 --> 00:44:19,799
Speaker 3: cantankerous old dude, or like the villain in Commando. But

765
00:44:19,880 --> 00:44:24,640
Speaker 3: either way, a kind of perpetually older seeming character actor

766
00:44:25,520 --> 00:44:28,200
Speaker 3: who just has a different energy than the Dan Hodea

767
00:44:28,280 --> 00:44:30,760
Speaker 3: we get in this film. I think the major difference

768
00:44:30,800 --> 00:44:32,480
Speaker 3: being this is one of the only times I've ever

769
00:44:32,520 --> 00:44:35,239
Speaker 3: seen him with his hair grown out this long, and

770
00:44:35,280 --> 00:44:38,560
Speaker 3: he looks positively scruffy as a police detective, which is

771
00:44:38,600 --> 00:44:41,120
Speaker 3: against type anyway. So I don't know what's going on,

772
00:44:41,239 --> 00:44:43,560
Speaker 3: but strange different turn for Dan.

773
00:44:44,200 --> 00:44:46,840
Speaker 1: Yeah. Yeah. If you're not familiar with Danadeya, a memorable

774
00:44:46,920 --> 00:44:51,200
Speaker 1: character actor with a real talent for playing often sleazy characters,

775
00:44:52,280 --> 00:44:55,800
Speaker 1: villains and so forth. Be it the vengeful husband in

776
00:44:55,880 --> 00:44:58,560
Speaker 1: nineteen eighty four's Blood Simple from the Coen Brothers or

777
00:44:58,680 --> 00:45:02,360
Speaker 1: Richard Nixon in nineteen ninety nine. Dick, he's been active

778
00:45:02,360 --> 00:45:07,000
Speaker 1: on screening TV since the mid seventies. And let's see,

779
00:45:07,000 --> 00:45:08,880
Speaker 1: at this point in his career, he had just appeared

780
00:45:08,920 --> 00:45:12,560
Speaker 1: in Alan Rudolph's cattle mutilation thriller in Dangered Species.

781
00:45:13,200 --> 00:45:15,520
Speaker 3: Now, this just came up recently. That's different than the

782
00:45:15,560 --> 00:45:18,120
Speaker 3: cattle mutilation movie that we did with Martin Landau.

783
00:45:18,600 --> 00:45:21,319
Speaker 1: Correct, Yeah, different film. This one is more of a

784
00:45:21,440 --> 00:45:25,840
Speaker 1: conspiracy thriller and it's quite good. So I recommend it

785
00:45:25,840 --> 00:45:28,799
Speaker 1: if if you need to have a viewing party back

786
00:45:28,840 --> 00:45:32,040
Speaker 1: to back cattle mutilation films, you watch those two.

787
00:45:33,040 --> 00:45:37,120
Speaker 3: Also, though Dan Headea's character, correct me if I'm wrong,

788
00:45:37,200 --> 00:45:40,080
Speaker 3: But I don't think the police make any progress one, no.

789
00:45:40,000 --> 00:45:43,880
Speaker 1: Progress at all. He's completely ineffective. He doesn't even get killed.

790
00:45:43,920 --> 00:45:45,600
Speaker 1: Like when he showed up, I was like, oh, he's

791
00:45:45,600 --> 00:45:48,040
Speaker 1: getting the psycho treatment. This guy's going down the stairs.

792
00:45:48,560 --> 00:45:51,319
Speaker 1: But no, there's just like nothing comes to the investigation,

793
00:45:51,680 --> 00:45:53,440
Speaker 1: and then he comes up, comes back at the end

794
00:45:53,440 --> 00:45:55,400
Speaker 1: of the picture and just kind of pokes around a

795
00:45:55,400 --> 00:45:57,080
Speaker 1: little bit and figures out nothing.

796
00:45:57,960 --> 00:46:00,320
Speaker 3: Why would they make him cute like this? If Atharine

797
00:46:00,360 --> 00:46:03,000
Speaker 3: Danuve's not gonna drink his blood. I have no idea.

798
00:46:04,280 --> 00:46:06,400
Speaker 1: Maybe they had to drop a subplot. I don't know,

799
00:46:06,960 --> 00:46:09,680
Speaker 1: all right. I said there were three Rocky horror reference

800
00:46:09,680 --> 00:46:12,680
Speaker 1: points in this picture. Well, the third is the actor

801
00:46:12,840 --> 00:46:15,680
Speaker 1: Rufus Collins, who lived nineteen thirty five through nineteen ninety six.

802
00:46:15,719 --> 00:46:19,560
Speaker 1: He plays the character Charlie Humphreyes. He's one of the

803
00:46:19,600 --> 00:46:23,560
Speaker 1: other research scientists that Sarah is working with.

804
00:46:24,160 --> 00:46:27,160
Speaker 3: Yeah, so with Susan Sarandon, Clifty Young, and Rufus Collins

805
00:46:27,239 --> 00:46:30,200
Speaker 3: together are the three gerontologists who were working in this

806
00:46:30,320 --> 00:46:34,880
Speaker 3: lab brutally rotting monkeys alive in order to discover the

807
00:46:34,920 --> 00:46:35,720
Speaker 3: secret of aging.

808
00:46:36,120 --> 00:46:38,160
Speaker 1: Yeah, it's a stop motion effect. By the way, when

809
00:46:38,160 --> 00:46:41,120
Speaker 1: we see that monkey rot, it's pretty nice.

810
00:46:41,520 --> 00:46:41,839
Speaker 3: But yeah.

811
00:46:41,920 --> 00:46:44,279
Speaker 1: Rufus Collins New York actor who started out in a

812
00:46:44,320 --> 00:46:47,399
Speaker 1: living theater, which is an experimental acting troop of the day.

813
00:46:47,719 --> 00:46:50,120
Speaker 1: He worked in the UK as well, which maybe why

814
00:46:50,120 --> 00:46:52,160
Speaker 1: he's in this film because most of it was filmed

815
00:46:52,200 --> 00:46:55,759
Speaker 1: in London. But he has some wild credits, including Andy

816
00:46:55,800 --> 00:46:59,759
Speaker 1: Warhol's Batman Dracula from sixty four. I'm not sure what

817
00:46:59,800 --> 00:47:02,400
Speaker 1: that is entailed. I've seen it referenced almost as like

818
00:47:02,400 --> 00:47:05,840
Speaker 1: a lost film, so some sort of experimental Warhol project.

819
00:47:06,239 --> 00:47:09,120
Speaker 1: But he's in both The Rocky Horror Picture Show and

820
00:47:09,200 --> 00:47:13,800
Speaker 1: Shock Treatment, playing an uncredited, uncredited Transylvanian. In the former,

821
00:47:14,680 --> 00:47:17,000
Speaker 1: if you look in the background, there's like at least

822
00:47:17,080 --> 00:47:21,960
Speaker 1: one black Transylvanian with like really cool hair and sunglasses.

823
00:47:22,160 --> 00:47:25,040
Speaker 1: That's Rufus Collins. Yeah, and then he plays a member

824
00:47:25,040 --> 00:47:26,560
Speaker 1: of the camera crew in the latter picture.

825
00:47:26,920 --> 00:47:30,439
Speaker 3: He wears like some neon sunglasses indoors in this movie.

826
00:47:30,560 --> 00:47:33,520
Speaker 3: Lots of characters were sunglasses indoors in The Hunger, but

827
00:47:33,880 --> 00:47:37,080
Speaker 3: he is one of them, and his sunglasses are cooler

828
00:47:37,160 --> 00:47:38,160
Speaker 3: looking than most.

829
00:47:38,520 --> 00:47:39,920
Speaker 1: Yeah, they're a whole sit in. My wife and I

830
00:47:40,000 --> 00:47:41,960
Speaker 1: were coming on this. There's a scene later on where

831
00:47:42,800 --> 00:47:46,600
Speaker 1: I believe a Jigglow is brought back by Miriam purely

832
00:47:46,640 --> 00:47:49,560
Speaker 1: for the purpose or mostly for the purposes of blood,

833
00:47:50,200 --> 00:47:54,160
Speaker 1: and he's wearing sunglasses, as is she. She's a vampire,

834
00:47:54,239 --> 00:47:56,719
Speaker 1: so we're like, Okay, she can wear sunglasses at night,

835
00:47:56,760 --> 00:47:59,680
Speaker 1: but this dude's wearing sunglasses at night anyway. And the

836
00:48:00,000 --> 00:48:04,200
Speaker 1: heart is so dark. Is anyone seeing anything? But yeah,

837
00:48:04,280 --> 00:48:07,960
Speaker 1: everybody's wearing sunglasses. Everyone's smoking, like a chimney, all right.

838
00:48:08,000 --> 00:48:11,560
Speaker 1: And finally it's worth noting that we have little more

839
00:48:11,600 --> 00:48:14,960
Speaker 1: than a cameo here, very bit part. But Willem Dafoe

840
00:48:15,000 --> 00:48:20,640
Speaker 1: pops up playing second phone booth youth and he was

841
00:48:20,680 --> 00:48:22,839
Speaker 1: like he was twenty seven or twenty eight at the time,

842
00:48:23,040 --> 00:48:26,000
Speaker 1: and it is this is the youngest I've seen Dafoe

843
00:48:26,040 --> 00:48:28,320
Speaker 1: in a motion picture. This was only like his fourth

844
00:48:28,360 --> 00:48:32,600
Speaker 1: screen or TV appearance. Dude, he is smooth, yeah, like

845
00:48:32,680 --> 00:48:34,440
Speaker 1: he you know, you think of Dafoe or you know,

846
00:48:34,760 --> 00:48:36,759
Speaker 1: or I think of William Dafoe. I think of like

847
00:48:36,880 --> 00:48:39,640
Speaker 1: that rugged face, you know, you know, a very very

848
00:48:39,640 --> 00:48:42,480
Speaker 1: handsome face, but very rugged. The lines are important to

849
00:48:42,560 --> 00:48:45,279
Speaker 1: the overall work, and it's almost a little jarring to

850
00:48:45,280 --> 00:48:47,600
Speaker 1: see him this young. He doesn't have much to do here.

851
00:48:47,640 --> 00:48:51,160
Speaker 1: He doesn't drink blood, nor get his blood drink, but

852
00:48:51,320 --> 00:48:54,399
Speaker 1: this would This still qualifies as the first of five

853
00:48:54,480 --> 00:48:57,560
Speaker 1: Willem Dafoe vampire films that I know of, alongside A

854
00:48:57,560 --> 00:48:59,719
Speaker 1: two thousand and one Shadow of a Vampire, twenty ten,

855
00:48:59,840 --> 00:49:02,680
Speaker 1: Day Breakers, two thousand and nine circ A Freak The

856
00:49:02,760 --> 00:49:06,960
Speaker 1: Vampire's Assistant, and of course twenty twenty four is Nosferatu.

857
00:49:07,040 --> 00:49:10,040
Speaker 3: He doesn't play a vampire in this, but he looks

858
00:49:10,239 --> 00:49:13,160
Speaker 3: like a vampire in his regular human makeup in Streets

859
00:49:13,200 --> 00:49:13,600
Speaker 3: of Fire.

860
00:49:14,560 --> 00:49:16,920
Speaker 1: Oh yeah, yeah, that would be that. And I guess

861
00:49:16,960 --> 00:49:19,600
Speaker 1: like eighty five's Roadhouse sixty six and To Live and

862
00:49:19,640 --> 00:49:22,560
Speaker 1: Die in La were really those are more the launching

863
00:49:22,600 --> 00:49:25,000
Speaker 1: points of his career. So he was really under the

864
00:49:25,080 --> 00:49:26,000
Speaker 1: radar at this point.

865
00:49:26,320 --> 00:49:28,239
Speaker 3: Have you never seen Streets of Fire and you want

866
00:49:28,239 --> 00:49:30,840
Speaker 3: to have a good time, just look up Willem Defoe

867
00:49:30,880 --> 00:49:33,720
Speaker 3: screaming Streets of Fire. That's that's a good face.

868
00:49:34,239 --> 00:49:37,360
Speaker 1: All right, Really, I'll try and speak this along. I

869
00:49:37,440 --> 00:49:39,640
Speaker 1: realized we're taking a while on the connections here, but

870
00:49:39,920 --> 00:49:43,719
Speaker 1: we mentioned Dick Smith. Make Up illusions is what he's

871
00:49:43,760 --> 00:49:46,960
Speaker 1: credited with here. We live twenty two through twenty fourteen.

872
00:49:48,280 --> 00:49:50,720
Speaker 1: You know a host of talented makeup artists we're involved

873
00:49:50,719 --> 00:49:53,000
Speaker 1: in bringing these characters to life. But Dick Smith played

874
00:49:53,000 --> 00:49:56,280
Speaker 1: a key role in David Bowie's on screen aging effects.

875
00:49:56,719 --> 00:49:59,640
Speaker 1: We previously discussed Smith in our episode on Scanners, which

876
00:49:59,640 --> 00:50:03,120
Speaker 1: features number of amazing body horror effects, but he was

877
00:50:03,239 --> 00:50:07,120
Speaker 1: also legendary for his aging makeup effects, most famously that

878
00:50:07,239 --> 00:50:11,479
Speaker 1: of f Murray Abraham's Sealiari in eighty four Zamadaeis, which

879
00:50:11,480 --> 00:50:14,520
Speaker 1: earned him an Academy Award. His other credits include seventy

880
00:50:14,560 --> 00:50:17,480
Speaker 1: three's The Exorcist. In nineteen eighties Altered states.

881
00:50:17,520 --> 00:50:20,359
Speaker 3: Oh does he do the just the de I wonder

882
00:50:20,440 --> 00:50:23,880
Speaker 3: if The Exorcist was just demon makeup or if he

883
00:50:23,960 --> 00:50:26,520
Speaker 3: also was making Father Maren look older.

884
00:50:27,080 --> 00:50:30,480
Speaker 1: Hmm, yeah, I'm not entirely sure, but you know he was.

885
00:50:30,800 --> 00:50:34,040
Speaker 1: You know, clearly he was skilled beyond mere aging effects,

886
00:50:34,080 --> 00:50:37,080
Speaker 1: but he became well known for it. And to your

887
00:50:37,120 --> 00:50:40,160
Speaker 1: point earlier about Prometheus, yeah, I feel like there are

888
00:50:40,160 --> 00:50:43,240
Speaker 1: plenty of examples of movies that probably had more money

889
00:50:45,320 --> 00:50:49,640
Speaker 1: behind them than films that utilized Dick Smith that ended

890
00:50:49,719 --> 00:50:54,560
Speaker 1: up being less convincing in their aging makeup. He had

891
00:50:54,719 --> 00:50:56,680
Speaker 1: a true gift for this sort of thing. Tony Scott

892
00:50:56,719 --> 00:51:00,600
Speaker 1: mentions in the commentary track that Smith was disappointed that

893
00:51:00,640 --> 00:51:03,640
Speaker 1: the lighting wasn't more intense in some of these scenes

894
00:51:03,920 --> 00:51:06,880
Speaker 1: where David Bowie is aged and you know, and you

895
00:51:06,880 --> 00:51:08,879
Speaker 1: know Tony's you know basically think, well, you know, that's

896
00:51:08,920 --> 00:51:11,800
Speaker 1: part of it. Also, it's not just the makeup. You

897
00:51:11,880 --> 00:51:13,680
Speaker 1: got to have the lighting, and you know, it makes

898
00:51:13,680 --> 00:51:16,160
Speaker 1: it more effective. If things are not maybe completely in

899
00:51:16,200 --> 00:51:19,719
Speaker 1: focus or completely lit, but it's kind of telling like

900
00:51:19,760 --> 00:51:23,440
Speaker 1: that's how strongly Dick Smith believed in his makeup effects here.

901
00:51:23,440 --> 00:51:26,440
Speaker 1: It's like, shine the lights on him. They can go

902
00:51:26,480 --> 00:51:27,120
Speaker 1: out in the sun.

903
00:51:27,480 --> 00:51:30,560
Speaker 3: Well, he's good. I understand why you had the confidence. Yeah.

904
00:51:30,800 --> 00:51:34,080
Speaker 1: Costume. We don't always mention costuming, but Molina kind of

905
00:51:34,160 --> 00:51:37,440
Speaker 1: Narrow was the costume and key to the costuming here.

906
00:51:37,480 --> 00:51:40,880
Speaker 1: Born nineteen forty six, another legendary behind the scenes figure

907
00:51:41,080 --> 00:51:44,040
Speaker 1: and thirty three time Oscar winner. Where do you even

908
00:51:44,120 --> 00:51:48,000
Speaker 1: keep all those trophies? I'm not sure, But there's this

909
00:51:48,200 --> 00:51:51,680
Speaker 1: one story, and this is one that that Tony shares

910
00:51:51,680 --> 00:51:54,400
Speaker 1: on the commentary track. She's famously fled the set of

911
00:51:54,440 --> 00:51:56,640
Speaker 1: the film one day and they were like, where is she?

912
00:51:56,920 --> 00:52:00,160
Speaker 1: Where'd she go? Nobody knew. Turns out she flew from

913
00:52:00,200 --> 00:52:04,440
Speaker 1: London to Rome just to get the right cloth for

914
00:52:04,680 --> 00:52:08,319
Speaker 1: like a pocket square on David Bowie's costume. She was like,

915
00:52:08,360 --> 00:52:10,160
Speaker 1: there's nothing here in London, I have to go to

916
00:52:10,239 --> 00:52:12,080
Speaker 1: Rome to get it. So she just just flew in

917
00:52:12,120 --> 00:52:13,719
Speaker 1: her own dime and came back with it.

918
00:52:14,000 --> 00:52:14,440
Speaker 3: Wow.

919
00:52:14,840 --> 00:52:17,800
Speaker 1: She's worked with such directors as Stanley Kubrick, Realley Scott,

920
00:52:17,920 --> 00:52:21,400
Speaker 1: Francis Ford Coppola, and Wes Anderson, some of them, you know,

921
00:52:21,480 --> 00:52:25,240
Speaker 1: multiple times. We're talking such costume rich films as seventy

922
00:52:25,280 --> 00:52:28,800
Speaker 1: one's a Clockwork Orange, nineteen nineties Dick Tracy, and nineteen

923
00:52:28,880 --> 00:52:29,920
Speaker 1: ninety nine's Titus.

924
00:52:30,320 --> 00:52:32,839
Speaker 3: Those are all eye popping films. Yeah.

925
00:52:33,320 --> 00:52:37,040
Speaker 1: The director of photography was Steven Goldblatt born nineteen forty five,

926
00:52:37,239 --> 00:52:39,759
Speaker 1: South African born cinematographer who worked on such films as

927
00:52:39,840 --> 00:52:43,600
Speaker 1: nineteen eighty one's Outland, eighty five's Young Sherlock Holmes, and

928
00:52:43,719 --> 00:52:47,640
Speaker 1: nineteen ninety seven's Batman Forever, for which he was nominated.

929
00:52:47,120 --> 00:52:53,359
Speaker 3: For an oscar That was the one. Yeah, it's boy

930
00:52:53,480 --> 00:52:54,360
Speaker 3: Ling acid.

931
00:52:57,080 --> 00:52:59,480
Speaker 1: I'm gonna mention the editor. We don't always mention the editor,

932
00:52:59,480 --> 00:53:01,359
Speaker 1: but the editor in this film, I feel like it's

933
00:53:01,400 --> 00:53:05,920
Speaker 1: something else. There's some very alarming editing choices at times.

934
00:53:06,800 --> 00:53:09,960
Speaker 1: Pamela Power born nineteen forty two. She worked with Ridley

935
00:53:09,960 --> 00:53:14,440
Speaker 1: Scott multiple times on seventy seven's The Duellist, his Apple

936
00:53:14,560 --> 00:53:17,960
Speaker 1: Mac commercial from eighty four, eighty five's Legend, and ninety

937
00:53:18,000 --> 00:53:22,000
Speaker 1: seven's Gije. Okay, now we get to the music and

938
00:53:22,120 --> 00:53:25,600
Speaker 1: there are several people to mention on the musical note here,

939
00:53:25,680 --> 00:53:28,640
Speaker 1: so much like the editing, the music is pretty wild.

940
00:53:28,640 --> 00:53:32,120
Speaker 1: We have a mixture of needle drop classical tracks, experimental

941
00:53:32,200 --> 00:53:36,279
Speaker 1: electronic sounds, and then a riveting opening performance by Bauhaus.

942
00:53:36,880 --> 00:53:39,680
Speaker 1: Howard Blake born in nineteen thirty eight was the musical

943
00:53:39,680 --> 00:53:42,600
Speaker 1: director in the film. He also served in this role

944
00:53:42,960 --> 00:53:45,840
Speaker 1: on nineteen eighties Flash Gordon, which we previously talked about.

945
00:53:46,680 --> 00:53:50,480
Speaker 1: Let's see that multiple classical tracks are used here. There's

946
00:53:50,520 --> 00:53:55,080
Speaker 1: also a score by Guinea Jaguera, who also did the

947
00:53:55,080 --> 00:53:58,640
Speaker 1: theme song for TVs The Powers of Matthew Starr, and

948
00:53:58,960 --> 00:54:02,479
Speaker 1: Michael Rubini, who also worked on Matthew Starr but also

949
00:54:02,520 --> 00:54:04,319
Speaker 1: went on to score the Likes of nineteen eighty four

950
00:54:04,400 --> 00:54:07,840
Speaker 1: is What Waits below nineteen eighty six is Manhunter and

951
00:54:07,920 --> 00:54:09,120
Speaker 1: ninety two's Nemesis.

952
00:54:09,560 --> 00:54:11,000
Speaker 3: Oh, it's been a while since I've seen it, but

953
00:54:11,040 --> 00:54:13,879
Speaker 3: I remember Man Hunter having intriguing music.

954
00:54:13,960 --> 00:54:17,160
Speaker 1: As a stylish picture. Yeah, all right. And then finally,

955
00:54:18,000 --> 00:54:22,360
Speaker 1: David Lawson or Dave Lawson is credited with performer, additional

956
00:54:22,400 --> 00:54:26,800
Speaker 1: Electronic Music and Effects composer Additional Electronic music and Effects

957
00:54:26,880 --> 00:54:30,239
Speaker 1: uncredited on that latter pump Point. But this guy's pretty

958
00:54:30,280 --> 00:54:33,360
Speaker 1: interesting as well. There are a number of weird supernatural

959
00:54:33,440 --> 00:54:36,040
Speaker 1: synth flourishes in the film, and when I heard them,

960
00:54:36,080 --> 00:54:39,360
Speaker 1: I was like, this sounds like Jim Henson's Labyrinth. You

961
00:54:39,400 --> 00:54:44,840
Speaker 1: know these sort of there's sort of like cascading synth

962
00:54:45,000 --> 00:54:49,040
Speaker 1: waterfalls of supernatural intrigue, and they happen a lot in

963
00:54:49,080 --> 00:54:53,120
Speaker 1: this picture, and they happen periodically in Labyrinth. And sure enough,

964
00:54:53,440 --> 00:54:55,239
Speaker 1: I mean the same guy was involved in both of

965
00:54:55,239 --> 00:54:59,600
Speaker 1: these pictures. Oh wow, yeah, so he Let's see, he

966
00:55:00,040 --> 00:55:04,239
Speaker 1: he did supply. He supplied synthesized electronic sounds for The

967
00:55:04,320 --> 00:55:07,520
Speaker 1: Dark Crystal in eighty two and also contributed to the

968
00:55:07,600 --> 00:55:12,480
Speaker 1: Labyrinth score. Otherwise, he has a handful of film credits

969
00:55:13,080 --> 00:55:15,880
Speaker 1: on the major databases, though sometimes he's not credited on

970
00:55:15,920 --> 00:55:19,719
Speaker 1: the film, but if you look up the score album elsewhere,

971
00:55:20,280 --> 00:55:23,359
Speaker 1: you can find that he's credited. Let's see, he worked

972
00:55:23,360 --> 00:55:26,480
Speaker 1: on ninety four as Frankenstein. He worked with Trevor Jones

973
00:55:26,480 --> 00:55:29,080
Speaker 1: on such films as Angel Heart in eighty seven Mississippi

974
00:55:29,080 --> 00:55:32,040
Speaker 1: Burning in eighty eight. So he's a British keyboardist who

975
00:55:32,120 --> 00:55:35,800
Speaker 1: was a member of the UK progressive rock band Greenslade.

976
00:55:36,239 --> 00:55:38,560
Speaker 1: I was unfamiliar with Greenslade, but I pulled them up

977
00:55:38,640 --> 00:55:41,120
Speaker 1: as I was working on notes here, and I like

978
00:55:41,160 --> 00:55:43,520
Speaker 1: what they're laying down. It's kind of a neat prog

979
00:55:43,640 --> 00:55:46,080
Speaker 1: rock sound with some synth in there. You know, maybe

980
00:55:46,080 --> 00:55:48,279
Speaker 1: feels a little old fashioned, but in a good way,

981
00:55:48,360 --> 00:55:51,240
Speaker 1: you know. Okay, So he's something of a synth legend.

982
00:55:51,280 --> 00:55:53,440
Speaker 1: He played on the soundtrack for seventy six. Is the

983
00:55:53,440 --> 00:55:55,520
Speaker 1: man who fell to Earth and worked with the likes

984
00:55:55,520 --> 00:55:58,080
Speaker 1: of Jimmy Page and Kate Bush said to own one

985
00:55:58,120 --> 00:55:59,960
Speaker 1: of the largest synth systems in Europe.

986
00:56:00,840 --> 00:56:03,680
Speaker 3: The largest synth systems. What does that mean, like the

987
00:56:03,680 --> 00:56:04,760
Speaker 3: physically largest.

988
00:56:05,000 --> 00:56:07,319
Speaker 1: I guess it's kind of like, I think, maybe a

989
00:56:07,360 --> 00:56:11,680
Speaker 1: collection of synths, but they're active and all like hooked together.

990
00:56:11,800 --> 00:56:15,720
Speaker 1: I don't know. I found some. There's a Psychedelic Baby

991
00:56:15,719 --> 00:56:19,239
Speaker 1: magazine has an interview with him from twenty twenty three

992
00:56:19,239 --> 00:56:21,960
Speaker 1: and includes a number of photographs of him back in

993
00:56:22,000 --> 00:56:24,920
Speaker 1: the day and in present times. And yeah, the ones

994
00:56:24,920 --> 00:56:26,880
Speaker 1: from the seventies are pretty great because here's this like

995
00:56:26,960 --> 00:56:30,480
Speaker 1: long haired dude, you know, of course, surrounded by synths

996
00:56:30,520 --> 00:56:33,640
Speaker 1: and keyboards and all looks like he was quite the

997
00:56:33,640 --> 00:56:34,799
Speaker 1: synth wizard of the day.

998
00:56:36,640 --> 00:56:38,319
Speaker 3: I was trying to see if I could recognize any

999
00:56:38,320 --> 00:56:40,759
Speaker 3: brands to know what his style was, But I do

1000
00:56:40,760 --> 00:56:41,680
Speaker 3: not know what these are.

1001
00:56:42,320 --> 00:56:44,680
Speaker 1: I mean, yeah, even when I hear guys like this

1002
00:56:44,880 --> 00:56:47,600
Speaker 1: talk about their dear I'm just not a gearhead for

1003
00:56:47,640 --> 00:56:49,960
Speaker 1: this sort of thing. So all the names of these

1004
00:56:50,040 --> 00:56:53,959
Speaker 1: various devices and innovations just go completely over my head.

1005
00:56:54,000 --> 00:56:59,040
Speaker 1: But I love the results. So you definitely hear his

1006
00:56:59,560 --> 00:57:03,960
Speaker 1: inflous on the sounds of the Hunger. But again, it's

1007
00:57:04,040 --> 00:57:05,799
Speaker 1: kind of all over the place. You have electronic, you

1008
00:57:05,840 --> 00:57:08,760
Speaker 1: have classical, and also some I guess more traditional score

1009
00:57:08,840 --> 00:57:12,400
Speaker 1: hidden in there as well, in addition to contemporary tracks

1010
00:57:12,440 --> 00:57:14,480
Speaker 1: like the Bauhause track that opens up the picture.

1011
00:57:22,720 --> 00:57:24,320
Speaker 3: Okay, well, is it time to talk a bit about

1012
00:57:24,320 --> 00:57:24,800
Speaker 3: the plot?

1013
00:57:25,280 --> 00:57:26,160
Speaker 1: Yeah, I let's jump in.

1014
00:57:26,400 --> 00:57:28,880
Speaker 3: So this is not one of those movies where we're

1015
00:57:28,920 --> 00:57:31,440
Speaker 3: going to do a kind of chronological scene by scene

1016
00:57:31,480 --> 00:57:34,640
Speaker 3: talk through the plot like we often do. Sometimes it

1017
00:57:34,720 --> 00:57:36,600
Speaker 3: just doesn't feel right with what the movie is. I

1018
00:57:36,600 --> 00:57:39,600
Speaker 3: think this is one of those cases. I've already described

1019
00:57:39,640 --> 00:57:41,440
Speaker 3: some of the plot, but here I think maybe we

1020
00:57:41,480 --> 00:57:44,240
Speaker 3: can do a kind of general overview and then talk

1021
00:57:44,280 --> 00:57:48,360
Speaker 3: about some specific scenes and elements and themes. So at

1022
00:57:48,360 --> 00:57:51,479
Speaker 3: the beginning of the story, John and Miriam Blaylock. That's

1023
00:57:51,560 --> 00:57:54,520
Speaker 3: David Bowie and Catherine Deneuve. They live in a house

1024
00:57:54,640 --> 00:57:58,000
Speaker 3: in New York City and they have seemingly been together

1025
00:57:58,600 --> 00:58:02,800
Speaker 3: for hundreds of years. Miriam is some kind of ancient being.

1026
00:58:03,360 --> 00:58:06,440
Speaker 3: We see brief flashbacks of her in what appeared to

1027
00:58:06,440 --> 00:58:10,200
Speaker 3: be palaces and maybe ancient Greece and certainly ancient Egypt.

1028
00:58:10,520 --> 00:58:13,000
Speaker 3: There are these different kind of costumes. I think we

1029
00:58:13,080 --> 00:58:18,400
Speaker 3: see some kind of Egyptian priesthood paraphernalia. I don't know

1030
00:58:18,400 --> 00:58:22,040
Speaker 3: if you had any particular observations about the ancient flashbacks,

1031
00:58:22,040 --> 00:58:26,080
Speaker 3: but I couldn't detect a lot of plot from them.

1032
00:58:26,720 --> 00:58:28,880
Speaker 3: They were not full of information. They were more full

1033
00:58:28,920 --> 00:58:29,480
Speaker 3: of vibe.

1034
00:58:29,840 --> 00:58:33,000
Speaker 1: Yeah, these are not flashbacks in the Highlander sense where

1035
00:58:33,040 --> 00:58:34,840
Speaker 1: it's like, all right, we're going back now, and here's

1036
00:58:34,840 --> 00:58:37,560
Speaker 1: a definite time stamp of where we're going and when

1037
00:58:37,600 --> 00:58:42,200
Speaker 1: we're going to. It's presented very surrealistically and jarringly. There

1038
00:58:42,200 --> 00:58:44,560
Speaker 1: are multiple times like this in the picture where you're like,

1039
00:58:44,600 --> 00:58:47,960
Speaker 1: what's happening? Is this is the past? Yes, it must

1040
00:58:48,000 --> 00:58:49,520
Speaker 1: be the past, and then you kind of piece it

1041
00:58:49,520 --> 00:58:52,880
Speaker 1: together later. But yeah, Greco Egyptian is about the most

1042
00:58:52,880 --> 00:58:53,760
Speaker 1: I could make out of it.

1043
00:58:54,040 --> 00:58:58,800
Speaker 3: Though you could be forgiven for being confused when we

1044
00:58:58,840 --> 00:59:02,240
Speaker 3: cut to these palaces of the past, because in the opening,

1045
00:59:02,320 --> 00:59:04,840
Speaker 3: John and Miriam live together in this beautiful house in

1046
00:59:04,840 --> 00:59:07,960
Speaker 3: New York City that is very old world like. They

1047
00:59:08,000 --> 00:59:11,520
Speaker 3: are apparently fabulously wealthy, and their home is full of

1048
00:59:11,640 --> 00:59:14,840
Speaker 3: magnificent art. It's full of marble statues that they say

1049
00:59:14,840 --> 00:59:17,200
Speaker 3: are thousands of years old, and it's got these big,

1050
00:59:17,240 --> 00:59:20,800
Speaker 3: spacious Baroque rooms and musical instruments and stuff. So it

1051
00:59:20,840 --> 00:59:23,280
Speaker 3: seems like the kind of place you might suddenly go

1052
00:59:23,360 --> 00:59:25,560
Speaker 3: around a corner and be in a room that looks

1053
00:59:25,600 --> 00:59:27,520
Speaker 3: like it is a palace in ancient Egypt.

1054
00:59:27,760 --> 00:59:30,120
Speaker 1: When I am in New York and I get to

1055
00:59:30,160 --> 00:59:31,960
Speaker 1: walk around New York and I see a home where

1056
00:59:31,960 --> 00:59:34,520
Speaker 1: people live, I just assume these are sorts of people

1057
00:59:34,520 --> 00:59:37,480
Speaker 1: that live there, and this must be ancient vampires with

1058
00:59:37,680 --> 00:59:41,560
Speaker 1: you know, generational wealth and supernatural blood.

1059
00:59:41,720 --> 00:59:44,640
Speaker 3: So the flashbacks they showed that, but they also show

1060
00:59:44,720 --> 00:59:47,800
Speaker 3: us Miriam and John falling in love when John was

1061
00:59:47,840 --> 00:59:50,600
Speaker 3: a mortal, and I believe this is supposed to be

1062
00:59:50,760 --> 00:59:53,120
Speaker 3: somewhere in Europe in the seventeenth century. I think I

1063
00:59:53,200 --> 00:59:55,520
Speaker 3: read somewhere it said France, but I don't recall the

1064
00:59:55,560 --> 00:59:56,600
Speaker 3: movie saying France.

1065
00:59:57,280 --> 00:59:58,320
Speaker 1: It feels very French.

1066
00:59:58,960 --> 01:00:02,360
Speaker 3: So they are falling in love in powdered Wigland, and

1067
01:00:03,080 --> 01:00:07,040
Speaker 3: she promises him eternal life and eternal love, and they

1068
01:00:07,120 --> 01:00:10,840
Speaker 3: drink one another's blood to turn John into her youthful

1069
01:00:10,960 --> 01:00:15,880
Speaker 3: vampire lover for ages to come. And there's something about

1070
01:00:15,880 --> 01:00:20,240
Speaker 3: this scene where they prose the promise is forever, and

1071
01:00:20,320 --> 01:00:23,800
Speaker 3: this promise of forever is repeated later in the story,

1072
01:00:23,920 --> 01:00:26,800
Speaker 3: like I think I'm remembering this right. There are scenes

1073
01:00:26,840 --> 01:00:30,320
Speaker 3: of them early in the film, in their nineteen eighties

1074
01:00:30,400 --> 01:00:34,240
Speaker 3: New York phase where they're still trading these reassurances, Like

1075
01:00:34,280 --> 01:00:36,160
Speaker 3: there's one part where I think they're in the shower

1076
01:00:36,320 --> 01:00:40,560
Speaker 3: and John just asks forever and she says forever. Now.

1077
01:00:40,560 --> 01:00:44,240
Speaker 3: Maybe here we should do an aside on the opening sequence,

1078
01:00:44,360 --> 01:00:46,960
Speaker 3: because that gives us a flavor of part of what

1079
01:00:47,000 --> 01:00:51,120
Speaker 3: they do in their nineteen eighties New York life. Before

1080
01:00:51,200 --> 01:00:53,240
Speaker 3: seeing this movie, I really did not know what it

1081
01:00:53,280 --> 01:00:55,640
Speaker 3: was going to be like, but I guess I assumed

1082
01:00:55,720 --> 01:00:57,640
Speaker 3: that the whole thing was going to be a lot

1083
01:00:57,720 --> 01:01:01,600
Speaker 3: more like the first ten minutes. This was not the case,

1084
01:01:01,640 --> 01:01:06,240
Speaker 3: but the opening sequence rocks strictly in terms of what happens.

1085
01:01:06,360 --> 01:01:09,440
Speaker 3: It's just our two original vampires, Miriam and John. They

1086
01:01:09,480 --> 01:01:12,000
Speaker 3: go to a goth club, they pick up a couple

1087
01:01:12,000 --> 01:01:14,600
Speaker 3: of dates, they bring them back home and they drink

1088
01:01:14,600 --> 01:01:18,680
Speaker 3: their blood. But the sequence is so fun everybody. So

1089
01:01:18,720 --> 01:01:21,840
Speaker 3: there's the goth clothing, all this dark leather, people wearing

1090
01:01:21,880 --> 01:01:27,120
Speaker 3: sunglasses inside in the dark, and Bawhouse performing apparently inside

1091
01:01:27,120 --> 01:01:28,720
Speaker 3: some kind of animal cage.

1092
01:01:29,160 --> 01:01:33,840
Speaker 1: Yeah, you will observe many things in this film through slits, slats, blinds, cages,

1093
01:01:34,120 --> 01:01:38,520
Speaker 1: and of course translucent black capes and drapes and veils.

1094
01:01:39,440 --> 01:01:41,000
Speaker 1: And again I also, I hope you're not trying to

1095
01:01:41,040 --> 01:01:43,280
Speaker 1: quit smoking while watching this film because there's a lot

1096
01:01:43,320 --> 01:01:47,280
Speaker 1: of cigarette smoking. Yes, But yeah, that's Bowhouse, sweet singer

1097
01:01:47,320 --> 01:01:50,680
Speaker 1: Peter Murphy performing in the goth club himself looking like

1098
01:01:50,720 --> 01:01:55,040
Speaker 1: some sort of an undead creature, and they're performing their

1099
01:01:55,040 --> 01:01:58,840
Speaker 1: biggest tip, Bela Lugosi's Dead. I do wish they'd included

1100
01:01:58,880 --> 01:02:01,360
Speaker 1: all nine minutes and thirty four seconds of the track

1101
01:02:01,360 --> 01:02:04,600
Speaker 1: because it's a tremendous track. I got to see Baohaus

1102
01:02:04,640 --> 01:02:08,200
Speaker 1: perform at Coachella back in two thousand and five, and

1103
01:02:08,320 --> 01:02:13,600
Speaker 1: they opened with Peter Murphy performing Bela Lugosi's Dead whilst

1104
01:02:13,680 --> 01:02:15,040
Speaker 1: suspended upside.

1105
01:02:14,720 --> 01:02:16,880
Speaker 3: Down on stage. It was pretty great.

1106
01:02:17,600 --> 01:02:20,280
Speaker 1: So here, yeah, we get these scenes of the club,

1107
01:02:20,680 --> 01:02:25,040
Speaker 1: Peter Murphy, our vampire couple strolling in, but then we

1108
01:02:25,080 --> 01:02:27,120
Speaker 1: get also we can also get some like crazy cuts.

1109
01:02:27,120 --> 01:02:29,120
Speaker 1: This is where we first started start getting hit with

1110
01:02:29,120 --> 01:02:32,800
Speaker 1: like crazy cuts to them, like driving and stuff later on,

1111
01:02:32,840 --> 01:02:36,440
Speaker 1: and then we keep cutting back to Peter Murphy's performance

1112
01:02:36,800 --> 01:02:41,480
Speaker 1: during the vampire blood drinking scene that shortly follows.

1113
01:02:41,680 --> 01:02:45,560
Speaker 3: That's right, So Miriam and John they both pick up someone,

1114
01:02:45,680 --> 01:02:49,120
Speaker 3: they bring them back together to their home, and they

1115
01:02:49,520 --> 01:02:52,080
Speaker 3: start like they're going to have sex, but instead they

1116
01:02:52,240 --> 01:02:55,040
Speaker 3: end up, of course, cutting them and drinking their blood.

1117
01:02:55,040 --> 01:02:57,200
Speaker 3: We'll talk more about the mechanics of the blood drinking

1118
01:02:57,240 --> 01:03:01,080
Speaker 3: in a moment, but we do see here something that

1119
01:03:01,240 --> 01:03:03,320
Speaker 3: is I think, while a lot of this movie is

1120
01:03:03,360 --> 01:03:06,400
Speaker 3: different than other vampire movies and very fresh and unusual,

1121
01:03:07,200 --> 01:03:11,560
Speaker 3: a common convention you see in vampire films that's also

1122
01:03:11,600 --> 01:03:15,400
Speaker 3: present here is that some of the most erotically charged

1123
01:03:15,480 --> 01:03:18,960
Speaker 3: imagery is used in the lead up to blood drinking

1124
01:03:19,280 --> 01:03:22,880
Speaker 3: rather than to sex. This does imply a kind of

1125
01:03:22,960 --> 01:03:27,000
Speaker 3: blurring of the lines between like the vampire's carnal desires

1126
01:03:27,000 --> 01:03:31,400
Speaker 3: and appetites, Like, to them, is the blood sexier than sex?

1127
01:03:32,000 --> 01:03:34,600
Speaker 3: And if so, how does this affect the way we

1128
01:03:34,640 --> 01:03:37,000
Speaker 3: should think about the vampire's love stories.

1129
01:03:37,680 --> 01:03:40,000
Speaker 1: Yeah, this is a great point. Yeah, multiple points in

1130
01:03:40,040 --> 01:03:42,960
Speaker 1: the film, including some very subtle moments, it's clear that

1131
01:03:43,040 --> 01:03:46,720
Speaker 1: the desire to feed is also the desire for sex. Yeah,

1132
01:03:46,760 --> 01:03:48,840
Speaker 1: and one, I don't know, I got the impression that

1133
01:03:48,880 --> 01:03:50,800
Speaker 1: made that one is not merely a stepping stone for

1134
01:03:50,840 --> 01:03:53,200
Speaker 1: the other, like it, Like, I didn't get as much

1135
01:03:53,280 --> 01:03:55,480
Speaker 1: the idea that it's like, oh, well, only they only

1136
01:03:55,520 --> 01:03:58,080
Speaker 1: do sex because they just want to do blood, like

1137
01:03:59,080 --> 01:03:59,960
Speaker 1: the two scene instead.

1138
01:04:00,600 --> 01:04:03,840
Speaker 3: I guess you're right, Yeah, they are kind of the same. Yeah.

1139
01:04:04,120 --> 01:04:08,200
Speaker 1: There's a great scene later on where John is aging

1140
01:04:09,000 --> 01:04:12,480
Speaker 1: rather rapidly and he's in I guess it's so just

1141
01:04:12,520 --> 01:04:15,280
Speaker 1: a restroom, but it feels like a locker room, and

1142
01:04:15,560 --> 01:04:19,000
Speaker 1: there's like a shirtless man like splashing his face with

1143
01:04:19,120 --> 01:04:22,200
Speaker 1: watter next to him, and he's like eyeing the guy's throat,

1144
01:04:22,640 --> 01:04:25,720
Speaker 1: And that too, is also a very like less overt,

1145
01:04:25,880 --> 01:04:29,080
Speaker 1: more subtle moment where there's a feeling of the desire

1146
01:04:29,200 --> 01:04:32,720
Speaker 1: both for flesh in the sexual sense and also blood

1147
01:04:33,280 --> 01:04:34,400
Speaker 1: in the vampiric sense.

1148
01:04:35,160 --> 01:04:39,120
Speaker 3: Now a note on the vampire mechanics here. The vampires

1149
01:04:39,120 --> 01:04:43,280
Speaker 3: in this movie do not, I believe, have fangs, or

1150
01:04:43,280 --> 01:04:45,120
Speaker 3: at least I don't recall ever seeing them. I don't

1151
01:04:45,160 --> 01:04:47,000
Speaker 3: know what the novel describes, but I don't think we

1152
01:04:47,040 --> 01:04:49,840
Speaker 3: see fangs in the movie, and that would make sense

1153
01:04:49,920 --> 01:04:54,880
Speaker 3: because instead they slice. The way they get the blood

1154
01:04:54,920 --> 01:04:59,520
Speaker 3: from their victims is they attack with a particular dedicated tool,

1155
01:05:00,200 --> 01:05:04,840
Speaker 3: slice their victims' arteries with this little ank blade and

1156
01:05:04,880 --> 01:05:07,720
Speaker 3: then like they wear it around their neck like a crucifix,

1157
01:05:07,760 --> 01:05:11,640
Speaker 3: except it's an Egyptian style onk and then they cut

1158
01:05:11,680 --> 01:05:13,920
Speaker 3: the neck and then they drink the blood like you

1159
01:05:13,960 --> 01:05:15,240
Speaker 3: would from a water fountain.

1160
01:05:16,080 --> 01:05:18,000
Speaker 1: Yeah, yeah, I believe you're right, No, fans, I never

1161
01:05:18,040 --> 01:05:21,240
Speaker 1: saw any things. And they're tool users and they're feeding.

1162
01:05:21,920 --> 01:05:24,240
Speaker 1: There's a really fun Key and Peel sketch from years

1163
01:05:24,240 --> 01:05:27,000
Speaker 1: back about or where they discuss how vampires make too

1164
01:05:27,040 --> 01:05:29,000
Speaker 1: much of a mess when they feed, like they bite

1165
01:05:29,040 --> 01:05:31,160
Speaker 1: and then there's just blood everywhere, and they're not getting

1166
01:05:31,240 --> 01:05:33,960
Speaker 1: enough of the blood into their mouths. Well, this vision

1167
01:05:33,960 --> 01:05:37,160
Speaker 1: of vampirism at least excuses all the gushing and mess

1168
01:05:37,200 --> 01:05:42,120
Speaker 1: making because they don't have like dedicated, like feeding mouth

1169
01:05:42,160 --> 01:05:45,400
Speaker 1: parts so much they have to stab, They have to

1170
01:05:45,440 --> 01:05:47,400
Speaker 1: allow for there to be a gush and then feed

1171
01:05:47,440 --> 01:05:48,479
Speaker 1: on it as best they can.

1172
01:05:48,880 --> 01:05:51,840
Speaker 3: I feel like the movie also takes seriously the mess. Yeah,

1173
01:05:52,120 --> 01:05:54,160
Speaker 3: like you see them cleaning up afterwards.

1174
01:05:54,520 --> 01:05:56,800
Speaker 1: Yeah, cleanup seems to be a big deal. And there's

1175
01:05:56,800 --> 01:06:02,400
Speaker 1: some hauntingly beautiful and very power scenes I'm thinking, particularly

1176
01:06:02,480 --> 01:06:04,200
Speaker 1: after the first killing, we get the scene of the

1177
01:06:04,240 --> 01:06:08,880
Speaker 1: two bloody Anks landing in the sink during the wash up,

1178
01:06:08,920 --> 01:06:11,720
Speaker 1: and then of course we see the incineration of the

1179
01:06:11,720 --> 01:06:16,800
Speaker 1: corpses of the drained victims and that they're like wrapped

1180
01:06:16,800 --> 01:06:19,680
Speaker 1: in black garbage bags. And then they're placing the incinerator and

1181
01:06:20,080 --> 01:06:24,480
Speaker 1: the plastic is like, you know, melting around the bodies. Yeah,

1182
01:06:24,800 --> 01:06:26,400
Speaker 1: all very well executed.

1183
01:06:26,640 --> 01:06:28,920
Speaker 3: The police do not seem concerned by the fact that

1184
01:06:29,040 --> 01:06:31,600
Speaker 3: John and Miriam have an incinerator in their basement.

1185
01:06:31,960 --> 01:06:33,840
Speaker 1: I guess it's like only murders in the building, Like

1186
01:06:33,880 --> 01:06:37,800
Speaker 1: all these buildings in New York have powerful incinerators that

1187
01:06:38,000 --> 01:06:42,240
Speaker 1: just completely atomized bodies, So I guess they're just used

1188
01:06:42,240 --> 01:06:42,480
Speaker 1: to it.

1189
01:06:42,800 --> 01:06:45,280
Speaker 3: So I wanted to pause for a moment here and

1190
01:06:45,440 --> 01:06:50,040
Speaker 3: explore the question of what other powers or limitations do

1191
01:06:50,120 --> 01:06:53,760
Speaker 3: the vampires have within the lore of the film. So

1192
01:06:53,800 --> 01:06:59,120
Speaker 3: we've established that they have arrested aging or unnaturally prolonged youth,

1193
01:06:59,360 --> 01:07:04,880
Speaker 3: perhaps turn youth in Miriam's case. Unclear. I was wondering,

1194
01:07:05,400 --> 01:07:11,480
Speaker 3: are they supposed to be invulnerable or resistant to regular injuries?

1195
01:07:12,360 --> 01:07:15,560
Speaker 3: I really don't think so. In fact, several things happen

1196
01:07:15,640 --> 01:07:19,200
Speaker 3: in the movie that made it seem like the vampires

1197
01:07:19,200 --> 01:07:22,360
Speaker 3: can be harmed by standard physical forces. I get the

1198
01:07:22,360 --> 01:07:25,480
Speaker 3: impression that in this world, like you could really wound

1199
01:07:25,520 --> 01:07:28,480
Speaker 3: a vampire. A human, regular mortal could really wound a

1200
01:07:28,560 --> 01:07:31,360
Speaker 3: vampire as easily as they could wound another human. But

1201
01:07:31,720 --> 01:07:33,720
Speaker 3: maybe I'm forgetting something to the contrary.

1202
01:07:34,120 --> 01:07:35,360
Speaker 1: Yeah, I think that's right.

1203
01:07:35,560 --> 01:07:39,200
Speaker 3: Yeah, the vampires do need to drink blood. In fact,

1204
01:07:39,320 --> 01:07:44,040
Speaker 3: they have this insatiable craving, and that is really framed

1205
01:07:44,120 --> 01:07:46,680
Speaker 3: more I guess this is actually quite common, but it's

1206
01:07:46,680 --> 01:07:48,960
Speaker 3: framed more as a weakness than a power. You know,

1207
01:07:49,000 --> 01:07:52,360
Speaker 3: It's like they need they need to sate this hunger,

1208
01:07:52,680 --> 01:07:55,440
Speaker 3: and it causes them to do things that are in

1209
01:07:55,960 --> 01:07:58,240
Speaker 3: some cases destructive to their own well being.

1210
01:07:58,800 --> 01:07:59,360
Speaker 1: Right right.

1211
01:08:00,040 --> 01:08:03,440
Speaker 3: Empires in the movies often have a kind of super strength.

1212
01:08:04,040 --> 01:08:07,680
Speaker 3: I think Miriam does have super strength, because at one

1213
01:08:07,680 --> 01:08:10,640
Speaker 3: point we see her throw Sarah clear across the room.

1214
01:08:11,280 --> 01:08:14,040
Speaker 3: Does John have in human strength? I don't recall ever

1215
01:08:14,120 --> 01:08:16,000
Speaker 3: seeing in any evidence of that.

1216
01:08:16,400 --> 01:08:19,880
Speaker 1: If he does, he never employs it. So it's if

1217
01:08:19,920 --> 01:08:22,519
Speaker 1: he has that supernatural strength, using it is not really

1218
01:08:22,560 --> 01:08:24,639
Speaker 1: a part of his character. But I guess I'm inclined

1219
01:08:24,640 --> 01:08:26,760
Speaker 1: to think that maybe he doesn't have it, Like maybe

1220
01:08:26,760 --> 01:08:30,120
Speaker 1: that's one of the limitations of him being the vampire spawn,

1221
01:08:30,240 --> 01:08:33,720
Speaker 1: the vampire thrall, or a half vampiric being, however you

1222
01:08:33,760 --> 01:08:34,680
Speaker 1: want to describe it.

1223
01:08:35,280 --> 01:08:38,559
Speaker 3: Yeah, Now, there's no problem with them going out in sunlight.

1224
01:08:38,920 --> 01:08:41,960
Speaker 3: They venture out in the daytime throughout the film, and

1225
01:08:42,000 --> 01:08:43,960
Speaker 3: they don't have to sleep in coffins or in their

1226
01:08:44,000 --> 01:08:47,080
Speaker 3: native soil. They sleep in a big kind of you know,

1227
01:08:47,280 --> 01:08:49,280
Speaker 3: a wind blown music video bed.

1228
01:08:49,680 --> 01:08:52,840
Speaker 1: Yes, yes, I mean I get the impression they sleep

1229
01:08:52,840 --> 01:08:55,760
Speaker 1: in a lot, but it's not like they can't go

1230
01:08:55,880 --> 01:08:56,599
Speaker 1: out in the sun.

1231
01:08:57,040 --> 01:09:01,240
Speaker 3: Yeah, I don't recall any apparent influence of religious imagery

1232
01:09:01,320 --> 01:09:01,920
Speaker 3: or material.

1233
01:09:02,479 --> 01:09:04,040
Speaker 1: I think there's one. I think one of the phone

1234
01:09:04,080 --> 01:09:07,519
Speaker 1: booth guys, not William Dafoe, but the other guy maybe

1235
01:09:07,560 --> 01:09:10,200
Speaker 1: has a cross on, but it's ambiguous if it actually

1236
01:09:10,200 --> 01:09:15,760
Speaker 1: has any effect on the vampirically affected character who views it.

1237
01:09:16,520 --> 01:09:20,280
Speaker 3: Yeah, so maybe Miriam has super strength, and unclear if

1238
01:09:20,360 --> 01:09:24,759
Speaker 3: John does. But apart from that, really, the only great

1239
01:09:24,880 --> 01:09:29,000
Speaker 3: kind of power we see of the vampires, I think

1240
01:09:29,200 --> 01:09:33,360
Speaker 3: is just the fact that they live eternally or so

1241
01:09:33,520 --> 01:09:36,360
Speaker 3: called eternally, that they do not age, they can maintain

1242
01:09:36,479 --> 01:09:40,040
Speaker 3: youth for a long time. Would you say that there's

1243
01:09:40,080 --> 01:09:42,080
Speaker 3: any other apparent power on display.

1244
01:09:42,760 --> 01:09:46,680
Speaker 1: I think that's mostly it now. Miriam in particular is

1245
01:09:47,080 --> 01:09:51,360
Speaker 1: quite seductive and charismatic. People are drawn to her. But

1246
01:09:51,680 --> 01:09:54,960
Speaker 1: I never thought that this was presented in a definite

1247
01:09:55,080 --> 01:09:58,360
Speaker 1: Dracula's gaze sort of way, like she a Yeah, to

1248
01:09:58,400 --> 01:10:00,559
Speaker 1: an extent, you could say she casts a spell Sarah,

1249
01:10:00,600 --> 01:10:03,880
Speaker 1: but I don't think in the literal sense, not in

1250
01:10:03,920 --> 01:10:07,519
Speaker 1: a way that overrides Sarah's agency in the seduction.

1251
01:10:07,680 --> 01:10:11,839
Speaker 3: You know, Yeah, Sarah doesn't seem like hypnotized. She seems

1252
01:10:11,920 --> 01:10:16,320
Speaker 3: more I don't know, encouraged to give in to something

1253
01:10:16,360 --> 01:10:17,320
Speaker 3: that she does want.

1254
01:10:17,880 --> 01:10:20,479
Speaker 1: Yeah, it'd be more like being starstruck, except you know,

1255
01:10:20,880 --> 01:10:23,160
Speaker 1: it's like the vampiric version of that, I guess.

1256
01:10:23,479 --> 01:10:28,000
Speaker 3: Yeah. So anyway, worth noting that the vision of vamporism

1257
01:10:28,000 --> 01:10:34,000
Speaker 3: in this film is quite mechanically limited compared to most

1258
01:10:34,160 --> 01:10:37,719
Speaker 3: vampire lore. Many of the standard horror tropes do not apply.

1259
01:10:38,280 --> 01:10:41,800
Speaker 1: Yeah, no garlic in this picture. No steaks, nothing like that.

1260
01:10:41,920 --> 01:10:43,240
Speaker 3: There is steak in the picture.

1261
01:10:43,360 --> 01:10:45,040
Speaker 1: There's a steak. Yeah, there's rare steak.

1262
01:10:45,080 --> 01:10:49,920
Speaker 3: Of course, a quite significant steak scene where after Susan

1263
01:10:49,960 --> 01:10:52,519
Speaker 3: Sarandon has been turned, she's like at a restaurant trying

1264
01:10:52,560 --> 01:10:55,280
Speaker 3: to eat some steak and just like yuck, only want blood.

1265
01:10:55,680 --> 01:10:57,960
Speaker 1: Yeah yeah, And she's like He's like, I can't believe

1266
01:10:57,960 --> 01:10:59,599
Speaker 1: you spent three and a half hours with that woman.

1267
01:10:59,640 --> 01:11:00,719
Speaker 1: You need to go to a doctor.

1268
01:11:01,080 --> 01:11:01,720
Speaker 3: Yeah.

1269
01:11:02,000 --> 01:11:04,920
Speaker 1: I think you have bisexual ititis or something. I don't know.

1270
01:11:05,680 --> 01:11:09,240
Speaker 3: Anyway, So to come back to our sort of zoomed

1271
01:11:09,240 --> 01:11:12,519
Speaker 3: out overview of the plot. In the opening again, John

1272
01:11:12,520 --> 01:11:15,559
Speaker 3: and Miriam they're living this apparently fabulous life. They live

1273
01:11:15,640 --> 01:11:18,320
Speaker 3: this big, beautiful house in New York. When they're not

1274
01:11:18,439 --> 01:11:21,280
Speaker 3: hunting for victims at goth clubs. They appear to spend

1275
01:11:21,320 --> 01:11:24,439
Speaker 3: a lot of their time on artistic leisure. They are

1276
01:11:24,479 --> 01:11:27,400
Speaker 3: both musicians. I think Miriam plays the piano and John

1277
01:11:27,400 --> 01:11:31,040
Speaker 3: plays the cello, and they like to play music with

1278
01:11:31,120 --> 01:11:34,559
Speaker 3: a talented young teenage violinist from the house across the

1279
01:11:34,600 --> 01:11:38,120
Speaker 3: street named Alice. Does she take music lessons from them?

1280
01:11:38,479 --> 01:11:40,720
Speaker 1: I was unclear on that if she just jams with

1281
01:11:40,760 --> 01:11:44,479
Speaker 1: them or she takes lessons at any rate, it's you know,

1282
01:11:44,520 --> 01:11:47,240
Speaker 1: it's probably fine. This is probably totally okay that she's

1283
01:11:47,280 --> 01:11:51,080
Speaker 1: coming over here and hanging out with these two ancient vampires.

1284
01:11:51,160 --> 01:11:54,880
Speaker 3: Yeah, not going anywhere good. Anything else to say about

1285
01:11:54,880 --> 01:11:59,479
Speaker 3: their apparently somewhat happy life in the beginning, I.

1286
01:11:59,439 --> 01:12:01,800
Speaker 1: Mean much other than it does seem like they are

1287
01:12:01,800 --> 01:12:05,160
Speaker 1: happy content. That doesn't seem like they particularly have any

1288
01:12:05,280 --> 01:12:08,760
Speaker 1: vampire hunters breathing down their necks or anything. And I

1289
01:12:08,760 --> 01:12:10,880
Speaker 1: guess they've been going at it for a long time

1290
01:12:10,920 --> 01:12:13,800
Speaker 1: and they're staying on top of the fashions like sometimes,

1291
01:12:14,439 --> 01:12:17,479
Speaker 1: I mean, there's so many ways to treat longevity and

1292
01:12:17,560 --> 01:12:21,280
Speaker 1: vampires in fiction, and sometimes vampires are depicted as like

1293
01:12:21,479 --> 01:12:27,840
Speaker 1: totally out of keeping with modern fads and so forth,

1294
01:12:27,880 --> 01:12:31,640
Speaker 1: and certainly technology and also maybe being rather bored, like

1295
01:12:31,840 --> 01:12:33,920
Speaker 1: they just run out of passion. These two seem to

1296
01:12:33,920 --> 01:12:37,160
Speaker 1: still have a lot of passion for what's popular in

1297
01:12:37,200 --> 01:12:42,120
Speaker 1: the world, changing musical genres and so forth, and you know,

1298
01:12:42,120 --> 01:12:45,880
Speaker 1: they're staying active. They're still killing people and drinking their

1299
01:12:45,880 --> 01:12:47,439
Speaker 1: blood and then burning them in the basement.

1300
01:12:47,920 --> 01:12:50,479
Speaker 3: And the way in which their hip seems to be,

1301
01:12:51,200 --> 01:12:54,240
Speaker 3: I don't know, basically just keeping pace with culture. You

1302
01:12:54,240 --> 01:12:58,920
Speaker 3: don't get like that Saltation view where or it's like

1303
01:12:58,920 --> 01:13:02,080
Speaker 3: in Francis Ford Coppola is Dracula, where Gary oldman. You know,

1304
01:13:02,120 --> 01:13:04,439
Speaker 3: he's got the big bun head and he's decrepit and

1305
01:13:04,680 --> 01:13:07,599
Speaker 3: an old world, and then suddenly all at once he's

1306
01:13:07,640 --> 01:13:12,680
Speaker 3: rejuvenated and hip and stylish. Anyway, the trouble of the

1307
01:13:12,680 --> 01:13:16,640
Speaker 3: plot starts when John notices that he is losing his

1308
01:13:16,720 --> 01:13:20,960
Speaker 3: hair and he can't seem to sleep, and he notices

1309
01:13:20,960 --> 01:13:25,040
Speaker 3: several things and realizes he is aging rapidly. Apparently years

1310
01:13:25,080 --> 01:13:29,080
Speaker 3: are falling off of his life every day. Now. One

1311
01:13:29,200 --> 01:13:32,600
Speaker 3: question here I was trying to remember is what is

1312
01:13:32,680 --> 01:13:37,000
Speaker 3: the level of openness between John and Miriam about this.

1313
01:13:37,520 --> 01:13:40,080
Speaker 3: I seem to remember that they do talk about it

1314
01:13:40,120 --> 01:13:43,920
Speaker 3: as if he knew this might happen at some point,

1315
01:13:44,280 --> 01:13:47,639
Speaker 3: Like I remember he asks Miriam how long it took

1316
01:13:47,960 --> 01:13:52,080
Speaker 3: for another person to decay in this way? Presumably this

1317
01:13:52,240 --> 01:13:56,360
Speaker 3: was a previous lover of Miriam's, but I also don't

1318
01:13:56,400 --> 01:13:59,479
Speaker 3: get the impression that he knew this would happen before

1319
01:13:59,600 --> 01:14:03,400
Speaker 3: he was turned. Did you take that all the same way?

1320
01:14:03,680 --> 01:14:05,599
Speaker 1: I mean, it's this is one of the more thought

1321
01:14:05,640 --> 01:14:09,759
Speaker 1: provoking mysteries of the film, I think, because like logically

1322
01:14:09,760 --> 01:14:11,360
Speaker 1: in the film, yeah, he seems to be aware that

1323
01:14:11,400 --> 01:14:16,840
Speaker 1: there were other lovers in the past, that they they

1324
01:14:16,880 --> 01:14:20,240
Speaker 1: went away, that they know faded away one way or another,

1325
01:14:20,640 --> 01:14:23,439
Speaker 1: and that something like that could happen to him. On

1326
01:14:23,479 --> 01:14:26,160
Speaker 1: the other hand, there is the whole reassurances of things

1327
01:14:26,200 --> 01:14:29,080
Speaker 1: being forever. And then of course this also ties into

1328
01:14:29,120 --> 01:14:32,000
Speaker 1: how I think, you know, we all to varying degrees

1329
01:14:32,080 --> 01:14:35,599
Speaker 1: deal with or don't deal with aging and mortality, Like

1330
01:14:35,720 --> 01:14:39,320
Speaker 1: we all know that we will grow old and that

1331
01:14:39,400 --> 01:14:43,200
Speaker 1: we will die. That that is like the biological trajectory,

1332
01:14:44,360 --> 01:14:47,840
Speaker 1: and that you know, very little can can occur to

1333
01:14:48,160 --> 01:14:52,840
Speaker 1: to change that path. And yet I think we often

1334
01:14:53,200 --> 01:14:57,639
Speaker 1: carry on like John not thinking about it, finding ways

1335
01:14:57,760 --> 01:15:00,439
Speaker 1: to avoid the reality of it, and and then when

1336
01:15:00,479 --> 01:15:04,200
Speaker 1: it does begin to occur, it, you know, it comes

1337
01:15:04,240 --> 01:15:06,280
Speaker 1: as a shock, but it's not a shock because we

1338
01:15:06,360 --> 01:15:07,439
Speaker 1: knew it all along, you know.

1339
01:15:08,280 --> 01:15:11,599
Speaker 3: Yeah. Though, I mean for John, there's this interesting dynamic

1340
01:15:11,680 --> 01:15:15,400
Speaker 3: because it's like he short sold his life. Essentially. He

1341
01:15:16,040 --> 01:15:19,599
Speaker 3: had all these many many years unnaturally extended life and youth.

1342
01:15:19,640 --> 01:15:22,599
Speaker 3: He's been young and vigorous for so long, and now

1343
01:15:22,600 --> 01:15:25,200
Speaker 3: it's all coming home. It's all coming home at once.

1344
01:15:25,280 --> 01:15:28,560
Speaker 3: It's happening so fast. Yeah. So anyway, John is in

1345
01:15:29,280 --> 01:15:32,200
Speaker 3: this state and on TV he sees a report about

1346
01:15:32,240 --> 01:15:36,000
Speaker 3: the work of a gerontologist named doctor Sarah Roberts. This

1347
01:15:36,120 --> 01:15:38,519
Speaker 3: is the character played by Susan Sarandon. She's written a

1348
01:15:38,520 --> 01:15:42,080
Speaker 3: book about her work and she's performing experiments along with

1349
01:15:42,080 --> 01:15:45,719
Speaker 3: a couple of colleagues, Charlie Humphries and Tom have her

1350
01:15:46,240 --> 01:15:50,040
Speaker 3: Tom again is Sarah's boyfriend. Together, they are trying to

1351
01:15:50,280 --> 01:15:53,920
Speaker 3: understand the process of aging at the cellular level and

1352
01:15:54,120 --> 01:15:58,519
Speaker 3: possibly halt or reverse it, particularly to help children who

1353
01:15:58,560 --> 01:16:04,080
Speaker 3: have diseases that cause accelerated aging and deterioration. And these characters,

1354
01:16:04,200 --> 01:16:07,920
Speaker 3: the scientist characters, are interesting because On one hand, we

1355
01:16:08,000 --> 01:16:11,519
Speaker 3: see what seems to me to be obvious care, a

1356
01:16:11,600 --> 01:16:15,480
Speaker 3: real desire to help people, especially children, Like their motivations

1357
01:16:15,520 --> 01:16:20,960
Speaker 3: are represented as not impure, and yet they're also not lionized.

1358
01:16:21,120 --> 01:16:26,240
Speaker 3: The scientists are not treated as saints. They in some

1359
01:16:26,320 --> 01:16:29,680
Speaker 3: ways come off as quite brutal, like we see them

1360
01:16:29,680 --> 01:16:34,200
Speaker 3: performing these gory, horrifying experiments on monkeys where one of

1361
01:16:34,240 --> 01:16:38,040
Speaker 3: these experiments in a really great special effects shop by

1362
01:16:38,040 --> 01:16:41,000
Speaker 3: the way, causes like a monkey to rapidly age and

1363
01:16:41,040 --> 01:16:44,000
Speaker 3: then turbo decompose in minutes, like when you drink from

1364
01:16:44,000 --> 01:16:47,759
Speaker 3: the fallse Scraale in the Last Crusade. Yeah, we also

1365
01:16:48,160 --> 01:16:51,760
Speaker 3: see them. We see just sort of human failings of

1366
01:16:51,800 --> 01:16:55,639
Speaker 3: these scientists, like when Sarah and John first meet, Sarah

1367
01:16:55,720 --> 01:16:59,639
Speaker 3: is rude and dismissive to him and she lies to him.

1368
01:17:00,280 --> 01:17:04,320
Speaker 3: John comes asking for help, and then also Tom have

1369
01:17:05,040 --> 01:17:08,120
Speaker 3: her boyfriend, the other scientist. He comes off as a

1370
01:17:08,160 --> 01:17:10,679
Speaker 3: total jerk, though at the same time there are also

1371
01:17:10,960 --> 01:17:14,000
Speaker 3: indications that he genuinely cares for Sarah.

1372
01:17:14,120 --> 01:17:15,680
Speaker 1: Yeah, I mean, he's put in a tough spot, I

1373
01:17:15,680 --> 01:17:18,920
Speaker 1: guess to some degree, and we're not maybe as privy

1374
01:17:18,920 --> 01:17:21,880
Speaker 1: as much to his side of things. But Yeah, that

1375
01:17:22,000 --> 01:17:26,400
Speaker 1: scene where John is sort of cast aside by Sarah

1376
01:17:26,439 --> 01:17:28,120
Speaker 1: and she's like, just wait wait for me in the

1377
01:17:28,120 --> 01:17:29,880
Speaker 1: waiting room and I'll get back to you later. And

1378
01:17:30,640 --> 01:17:33,080
Speaker 1: then she tells the security guy it's like, there's another

1379
01:17:33,080 --> 01:17:36,360
Speaker 1: weirdo here. Just leave him alone. He'll probably get bored

1380
01:17:36,400 --> 01:17:39,120
Speaker 1: and leave on his own. And then we the viewer

1381
01:17:39,240 --> 01:17:43,600
Speaker 1: watch as John literally grows like decades older in the

1382
01:17:43,640 --> 01:17:47,479
Speaker 1: waiting room, a scene that I think could otherwise come

1383
01:17:47,520 --> 01:17:50,880
Speaker 1: off as comedic, like because when you're explaining it's like,

1384
01:17:50,960 --> 01:17:53,280
Speaker 1: you literally watch him grow old in the waiting room.

1385
01:17:53,320 --> 01:17:57,320
Speaker 1: It sounds like a comedic bit, but it's executed in

1386
01:17:57,320 --> 01:18:01,000
Speaker 1: a way that does not feel funny. And and the effect,

1387
01:18:01,080 --> 01:18:03,479
Speaker 1: the makeup effects are of course so convincing. We don't

1388
01:18:03,520 --> 01:18:06,479
Speaker 1: see any kind of like transition effect. It's all you know,

1389
01:18:06,880 --> 01:18:08,839
Speaker 1: checking back in with him and seeing that he's visibly

1390
01:18:08,880 --> 01:18:12,320
Speaker 1: aged and yeah, like he ends up leaving the waiting

1391
01:18:12,400 --> 01:18:13,679
Speaker 1: room a much older man.

1392
01:18:14,200 --> 01:18:17,880
Speaker 3: Yeah, And then as he's leaving, Sarah sees him again

1393
01:18:18,720 --> 01:18:21,760
Speaker 3: and he and he recognizes her, knowing that like she

1394
01:18:21,880 --> 01:18:24,400
Speaker 3: totally blew him off and lied to him earlier, but

1395
01:18:24,560 --> 01:18:28,599
Speaker 3: she sees now that he has visibly rapidly aged since

1396
01:18:28,880 --> 01:18:31,519
Speaker 3: earlier that day, and at this point she tries to

1397
01:18:31,560 --> 01:18:34,120
Speaker 3: apologize and she's like, oh, no, come with me. You know,

1398
01:18:34,160 --> 01:18:36,240
Speaker 3: we'll bring you in for tests, we'll see what's going on.

1399
01:18:36,760 --> 01:18:40,160
Speaker 3: But now John's pride is hurt and he refuses her help.

1400
01:18:40,240 --> 01:18:42,320
Speaker 3: And I think we kind of talked about that earlier,

1401
01:18:42,400 --> 01:18:45,720
Speaker 3: the way that John's personality is represented as kind of

1402
01:18:47,000 --> 01:18:49,800
Speaker 3: when he faces the you know, these extreme troubles, just

1403
01:18:49,880 --> 01:18:54,759
Speaker 3: kind of like taking it inside and pushing it underneath. Yeah.

1404
01:18:54,840 --> 01:18:57,680
Speaker 1: Yeah, like this was his last, his only attempt to

1405
01:18:57,760 --> 01:19:00,519
Speaker 1: like reach out for help, and it did turn out

1406
01:19:00,520 --> 01:19:02,720
Speaker 1: the way he hoped it would, and there's not going

1407
01:19:02,800 --> 01:19:04,200
Speaker 1: to be a second chance for him.

1408
01:19:04,479 --> 01:19:08,080
Speaker 3: Yeah. And then there's a section here where John is

1409
01:19:08,200 --> 01:19:10,639
Speaker 3: you can tell he's hungry, so he's trying to feed.

1410
01:19:10,760 --> 01:19:15,719
Speaker 3: We see him have encountered. He's very rapidly aging, turning

1411
01:19:15,800 --> 01:19:18,960
Speaker 3: old in the course of this single day. And he

1412
01:19:19,200 --> 01:19:21,479
Speaker 3: goes into a bathroom the scene you talked abou where

1413
01:19:21,520 --> 01:19:24,280
Speaker 3: he sees the man I don't know, shaving or whatever

1414
01:19:24,320 --> 01:19:27,080
Speaker 3: in the sink and he's staring at him. I think

1415
01:19:27,080 --> 01:19:29,440
Speaker 3: he tries to attack a skater in a park.

1416
01:19:29,240 --> 01:19:32,680
Speaker 1: But oh, it's a roller skater. Yeah. Yeah, Like they

1417
01:19:32,720 --> 01:19:35,040
Speaker 1: set up this really cool scene where it's like, what's happening?

1418
01:19:35,120 --> 01:19:39,200
Speaker 1: Where are we now? Another music video has started. This

1419
01:19:39,680 --> 01:19:43,639
Speaker 1: guy starts doing some cool skating and then here comes John.

1420
01:19:44,000 --> 01:19:46,280
Speaker 1: Attempts to stab him and drink his blood, but then

1421
01:19:46,280 --> 01:19:48,760
Speaker 1: it doesn't fully pull it off for some reason.

1422
01:19:48,920 --> 01:19:51,720
Speaker 3: So he comes home and then oh no, because he's

1423
01:19:51,720 --> 01:19:55,880
Speaker 3: so old. Now, when the neighbor girl Alice comes over

1424
01:19:56,400 --> 01:19:59,800
Speaker 3: to play music, John has to pretend to be some

1425
01:20:00,040 --> 01:20:02,519
Speaker 3: one else because she won't recognize him he looks so

1426
01:20:02,600 --> 01:20:05,719
Speaker 3: much older. And then even worse when she's in there,

1427
01:20:06,360 --> 01:20:09,320
Speaker 3: he talks her into playing some music for him, and

1428
01:20:09,520 --> 01:20:11,800
Speaker 3: we don't see it. It happens off screen, but we

1429
01:20:11,920 --> 01:20:14,160
Speaker 3: know what. He kills her and drinks her blood.

1430
01:20:14,680 --> 01:20:17,559
Speaker 1: Yeah, And he gets more heartbreaking from there with John,

1431
01:20:18,160 --> 01:20:24,400
Speaker 1: because he just gets progressively older. Miriam is walking this

1432
01:20:24,600 --> 01:20:29,240
Speaker 1: line between comforting him and keeping him at arm's length,

1433
01:20:30,040 --> 01:20:33,759
Speaker 1: and she's having to burn Alice's body in the basement,

1434
01:20:33,800 --> 01:20:37,000
Speaker 1: and then John comes down and he's he's sold at

1435
01:20:37,040 --> 01:20:40,080
Speaker 1: this point. He asks for one more kiss and then

1436
01:20:40,240 --> 01:20:43,439
Speaker 1: he asks if she will kill him, and you know,

1437
01:20:43,680 --> 01:20:48,120
Speaker 1: and and in this and like heartbreakingly she tells him, like,

1438
01:20:48,160 --> 01:20:51,200
Speaker 1: you know, it doesn't work like that, Like, you don't die,

1439
01:20:51,400 --> 01:20:56,320
Speaker 1: you don't get to die. And and again it's maybe

1440
01:20:56,360 --> 01:20:59,600
Speaker 1: a little unclear to what extent he knew this was

1441
01:20:59,640 --> 01:21:02,679
Speaker 1: the case or remembered it was the case. I'm not sure,

1442
01:21:03,479 --> 01:21:06,559
Speaker 1: but yeah, it's quickly made obvious that that, yeah, he's

1443
01:21:06,600 --> 01:21:08,920
Speaker 1: not going to grow old and die, He's just going

1444
01:21:08,960 --> 01:21:13,680
Speaker 1: to grow perpetually older, but have eternal life in a

1445
01:21:14,200 --> 01:21:15,800
Speaker 1: very non glamorous way.

1446
01:21:16,040 --> 01:21:18,719
Speaker 3: That's right. There is no death for a vampire. That's

1447
01:21:18,760 --> 01:21:22,679
Speaker 3: the twist. There is just aging and pain and decay,

1448
01:21:22,800 --> 01:21:27,600
Speaker 3: but actually no end. And then in a ooh for me,

1449
01:21:27,680 --> 01:21:31,080
Speaker 3: a hair raising scene where she takes him up to

1450
01:21:31,160 --> 01:21:36,479
Speaker 3: the attic and she deposits his aging body inside a

1451
01:21:36,520 --> 01:21:41,600
Speaker 3: coffin next to this huge stack of other coffins that

1452
01:21:41,720 --> 01:21:46,439
Speaker 3: are filled with Miriam's previous lovers, all of whom are

1453
01:21:46,520 --> 01:21:50,360
Speaker 3: reduced to husks inside the coffins, but are not gone.

1454
01:21:50,439 --> 01:21:55,200
Speaker 3: They are all still conscious inside, and she bids her

1455
01:21:55,280 --> 01:21:58,240
Speaker 3: other previous lovers to keep him company and to treat

1456
01:21:58,280 --> 01:21:59,480
Speaker 3: him with kindness.

1457
01:21:59,760 --> 01:22:03,360
Speaker 1: Yeah, yeah, very haunting. Yeah, thousands of years worth of

1458
01:22:04,240 --> 01:22:07,040
Speaker 1: lovers here stored away in neat little stacks.

1459
01:22:16,200 --> 01:22:19,360
Speaker 3: So here the story switches. Miriam is left alone, and

1460
01:22:19,400 --> 01:22:23,080
Speaker 3: who should come to the house now, but Sarah, Sarah,

1461
01:22:23,160 --> 01:22:27,600
Speaker 3: the researcher, the gerontologist. Her initial line of inquiry is

1462
01:22:27,720 --> 01:22:31,840
Speaker 3: where is John. She somehow got his address, and she

1463
01:22:32,080 --> 01:22:35,799
Speaker 3: is trying to find him because obviously somebody who's aging

1464
01:22:35,800 --> 01:22:39,360
Speaker 3: as rapidly as him would be of interest to her research.

1465
01:22:39,960 --> 01:22:44,120
Speaker 3: Miriam initially tells tell Sarah that he went to Switzerland.

1466
01:22:44,200 --> 01:22:46,760
Speaker 3: I think so she thinks he's at a clinic there.

1467
01:22:47,240 --> 01:22:50,200
Speaker 3: But she comes in and she begins to get to

1468
01:22:50,280 --> 01:22:54,320
Speaker 3: know Miriam. And this is where the story takes a

1469
01:22:54,360 --> 01:22:59,800
Speaker 3: really different kind of turn, because I think the way again,

1470
01:23:00,080 --> 01:23:03,360
Speaker 3: Miriam is often presented in a kind of ambiguous way.

1471
01:23:03,400 --> 01:23:06,760
Speaker 3: We don't always know exactly what she's feeling. She's more

1472
01:23:06,800 --> 01:23:11,559
Speaker 3: hard to scrutinize than many of the human characters. But

1473
01:23:11,800 --> 01:23:16,920
Speaker 3: I suspect that the implication is that Miriam is now lonely,

1474
01:23:17,560 --> 01:23:19,840
Speaker 3: because there was the idea, of course, she had John,

1475
01:23:19,960 --> 01:23:23,000
Speaker 3: and she loved John. And there was also the implication

1476
01:23:24,200 --> 01:23:28,400
Speaker 3: that she and John discussed that maybe one day, when

1477
01:23:28,560 --> 01:23:31,639
Speaker 3: Alice was older, she would turn Alice into a vampire

1478
01:23:31,680 --> 01:23:35,400
Speaker 3: as well, and she would become her new companion, and

1479
01:23:35,439 --> 01:23:38,040
Speaker 3: she'd been thinking about this, but of course John killed

1480
01:23:38,080 --> 01:23:42,439
Speaker 3: Alice and drank her blood. So now Miriam really doesn't

1481
01:23:42,479 --> 01:23:44,160
Speaker 3: seem to have a friend in the world.

1482
01:23:44,760 --> 01:23:48,240
Speaker 1: But then, oh, here's Sarah, and Sarah has a lot

1483
01:23:48,240 --> 01:23:51,640
Speaker 1: of things going for and there is an opening in

1484
01:23:51,680 --> 01:23:54,760
Speaker 1: the significant other market here in Miriam's.

1485
01:23:54,320 --> 01:23:57,400
Speaker 3: House that's right now, somewhere in here, I think. Actually,

1486
01:23:57,439 --> 01:24:01,400
Speaker 3: Sarah comes twice to visit in between their two visits,

1487
01:24:01,439 --> 01:24:03,760
Speaker 3: I think, or when the cops come to investigate, and

1488
01:24:03,800 --> 01:24:05,520
Speaker 3: this goes absolutely nowhere.

1489
01:24:05,240 --> 01:24:06,040
Speaker 1: Absolutely nowhere.

1490
01:24:06,160 --> 01:24:10,759
Speaker 3: Yeah, but Sarah does eventually come back to visit Miriam again.

1491
01:24:11,160 --> 01:24:13,800
Speaker 3: And here is where things really take a turn. Upon

1492
01:24:13,840 --> 01:24:18,479
Speaker 3: the second visit, it's it becomes increasingly clear that Miriam

1493
01:24:18,560 --> 01:24:23,240
Speaker 3: and Sarah are interested in each other. They are, you know,

1494
01:24:23,320 --> 01:24:27,240
Speaker 3: Miriam is is playing the piano and they're talking about

1495
01:24:27,479 --> 01:24:30,839
Speaker 3: what the music is. Miriam is explaining the piece of music,

1496
01:24:30,960 --> 01:24:34,800
Speaker 3: and Sarah keeps commenting that it sounds like a love song. Yeah.

1497
01:24:34,840 --> 01:24:38,479
Speaker 1: And on this second visit, Sarah also you know, shows

1498
01:24:38,560 --> 01:24:42,400
Speaker 1: up wearing a sexy outfit and it's not long before

1499
01:24:42,439 --> 01:24:46,000
Speaker 1: that outfit gets what some Sherry spilled on it. And

1500
01:24:46,080 --> 01:24:49,160
Speaker 1: you know, things things progress as you might expect. Much

1501
01:24:49,200 --> 01:24:51,120
Speaker 1: is said about the fact that she doesn't even like Sherry.

1502
01:24:51,320 --> 01:24:54,200
Speaker 1: Of course that's the other part. But somehow it's different

1503
01:24:54,240 --> 01:24:58,680
Speaker 1: with Miriam, and and so they they imbbe Now.

1504
01:24:58,760 --> 01:25:02,040
Speaker 3: I guess this leads to the scene that Roger Ebert liked.

1505
01:25:03,439 --> 01:25:07,400
Speaker 3: This is the love scene between Sarah and Miriam, which,

1506
01:25:07,720 --> 01:25:10,439
Speaker 3: as we talked about earlier, it there is a kind

1507
01:25:10,479 --> 01:25:14,800
Speaker 3: of mingling of the of the romantic desire and the

1508
01:25:14,800 --> 01:25:20,280
Speaker 3: desire for blood. And it's pretty clear what Miriam's aims

1509
01:25:20,320 --> 01:25:23,360
Speaker 3: are at this point. Miriam wants not only to drink

1510
01:25:23,400 --> 01:25:26,200
Speaker 3: Sarah's blood, but to give of her blood to Sarah

1511
01:25:26,280 --> 01:25:28,440
Speaker 3: as well, to turn her into a vampire.

1512
01:25:29,120 --> 01:25:30,280
Speaker 1: She wants companionship.

1513
01:25:30,479 --> 01:25:34,760
Speaker 3: Yeah, and so it's this weird dreamlike scene where ultimately

1514
01:25:34,800 --> 01:25:36,760
Speaker 3: I think in this scene they do drink of each

1515
01:25:36,800 --> 01:25:39,720
Speaker 3: other's blood. So there's like a wound in Sarah's arm

1516
01:25:40,120 --> 01:25:43,080
Speaker 3: where she's been pierced by the onk, but she has

1517
01:25:43,200 --> 01:25:45,200
Speaker 3: also taken of Miriam's blood.

1518
01:25:45,800 --> 01:25:49,280
Speaker 1: Yeah, and again this is a very artful, stylish sequence.

1519
01:25:50,400 --> 01:25:54,280
Speaker 1: It's certainly by by today's standards. There's nothing, you know,

1520
01:25:54,600 --> 01:25:56,920
Speaker 1: very explicit about it, though it is it is very

1521
01:25:56,920 --> 01:26:02,439
Speaker 1: erotically charged. And yeah, to Susan's Randon in her comments

1522
01:26:02,439 --> 01:26:03,960
Speaker 1: on you know, says that she thinks it was probably

1523
01:26:03,960 --> 01:26:08,120
Speaker 1: ahead of its time, you know, for eighty three, But yeah,

1524
01:26:08,240 --> 01:26:10,400
Speaker 1: I mean, and to Ebert's point, it is a highly

1525
01:26:10,400 --> 01:26:11,320
Speaker 1: effective sequence.

1526
01:26:11,960 --> 01:26:14,040
Speaker 3: Now we do see Sarah kind of trying to go

1527
01:26:14,240 --> 01:26:16,720
Speaker 3: back to her own, her old life after this, but

1528
01:26:16,760 --> 01:26:18,960
Speaker 3: it's just it's not going to work out at this point.

1529
01:26:19,040 --> 01:26:21,640
Speaker 3: So there are several different scenes. There are scenes of

1530
01:26:21,680 --> 01:26:27,040
Speaker 3: her increasingly tense and failing relationship with Tom, her boyfriend.

1531
01:26:27,120 --> 01:26:29,479
Speaker 3: Like they go out to dinner and they discuss things.

1532
01:26:29,479 --> 01:26:32,280
Speaker 3: Tom airs his suspicions and they you know, they are

1533
01:26:32,280 --> 01:26:35,640
Speaker 3: fighting about that. She doesn't seem to want food for

1534
01:26:35,680 --> 01:26:38,680
Speaker 3: some reason. It's like she orders a steak, but she's like,

1535
01:26:38,920 --> 01:26:40,680
Speaker 3: I can't eat this, and I think it makes her

1536
01:26:40,680 --> 01:26:41,120
Speaker 3: throw up.

1537
01:26:41,200 --> 01:26:45,200
Speaker 1: Later, she said them oysters back. There's oysters or muscles

1538
01:26:45,200 --> 01:26:47,280
Speaker 1: every see, but she sent them back and he's like,

1539
01:26:47,320 --> 01:26:48,360
Speaker 1: I can't believe you did that.

1540
01:26:49,040 --> 01:26:52,800
Speaker 3: Also, she starts doing some tests on herself in the

1541
01:26:52,880 --> 01:26:58,880
Speaker 3: laboratory and their colleague, Charlie, he explains what's going on.

1542
01:26:58,960 --> 01:27:01,960
Speaker 3: He's like, whoops, well, looking at your blood. We see

1543
01:27:02,000 --> 01:27:04,439
Speaker 3: that you actually have some kind of alien blood in you.

1544
01:27:04,640 --> 01:27:07,320
Speaker 3: There's you, there's you blood, and then there's some other

1545
01:27:07,520 --> 01:27:10,840
Speaker 3: non human kind of blood, and they're fighting for dominance

1546
01:27:10,880 --> 01:27:13,120
Speaker 3: within your veins, and the other blood is winning.

1547
01:27:13,680 --> 01:27:17,839
Speaker 1: And so in this Sarah is feeling the titular hunger.

1548
01:27:19,280 --> 01:27:24,240
Speaker 1: She is craving the blood. She is herself becoming a vampire,

1549
01:27:24,880 --> 01:27:29,080
Speaker 1: and like Miriam needs to feed, but she doesn't know

1550
01:27:29,080 --> 01:27:30,960
Speaker 1: how to do any of these things. She needs Miriam's

1551
01:27:31,000 --> 01:27:36,120
Speaker 1: guidance in order to fully transition into this life as

1552
01:27:36,160 --> 01:27:37,000
Speaker 1: a creature of the night.

1553
01:27:37,560 --> 01:27:40,200
Speaker 3: That's right. So there's more negotiation on these fronts. We

1554
01:27:40,240 --> 01:27:43,640
Speaker 3: see that Sarah is not immediately into the idea of

1555
01:27:44,400 --> 01:27:48,120
Speaker 3: drinking blood to survive, but she kind of ends up

1556
01:27:48,200 --> 01:27:50,600
Speaker 3: without a choice and it doesn't she so she's like

1557
01:27:50,680 --> 01:27:55,120
Speaker 3: extremely weakened and she ends up staying at Miriam's house

1558
01:27:55,160 --> 01:27:57,519
Speaker 3: and she's like in a bed there and at one

1559
01:27:57,560 --> 01:28:00,639
Speaker 3: point they have more interactions, but eventually Miriam's look, I'm

1560
01:28:00,640 --> 01:28:02,760
Speaker 3: gonna do the work. I'm gonna show you what to do.

1561
01:28:03,120 --> 01:28:05,360
Speaker 3: I'll go get a guy, and so she goes and

1562
01:28:05,400 --> 01:28:07,120
Speaker 3: there's like a great scene where she goes out and

1563
01:28:07,160 --> 01:28:11,680
Speaker 3: gets a guy wearing sunglasses at night and brings him

1564
01:28:11,720 --> 01:28:15,280
Speaker 3: back to the house for Susan Sarandon to eat.

1565
01:28:15,640 --> 01:28:18,320
Speaker 1: Yeah, this is the Jiggolow character. And boy, they really

1566
01:28:18,360 --> 01:28:20,000
Speaker 1: went out of their ways to make sure you were

1567
01:28:20,080 --> 01:28:22,960
Speaker 1: okay with this dude getting fanged. Were not actually fanged?

1568
01:28:23,000 --> 01:28:26,559
Speaker 1: Honked and drained because he's like, he's rude, he's looking

1569
01:28:26,600 --> 01:28:28,479
Speaker 1: in the liquor cruit cabinet and he like spits his

1570
01:28:28,920 --> 01:28:32,720
Speaker 1: chewing gum out in Miriam's apartment. So we're like, we're

1571
01:28:32,800 --> 01:28:35,080
Speaker 1: totally okay with this guy getting it, and it doesn't

1572
01:28:35,120 --> 01:28:37,040
Speaker 1: take long before he does get it.

1573
01:28:37,960 --> 01:28:40,280
Speaker 3: So at this point you might be assuming, okay, well,

1574
01:28:40,400 --> 01:28:44,120
Speaker 3: is Sarah just going to embrace the new lifestyle? Is Sarah?

1575
01:28:44,600 --> 01:28:47,519
Speaker 3: This is what I am now. I am Miriam's vampire lover.

1576
01:28:47,960 --> 01:28:50,439
Speaker 3: I am her vampire spawn. I can have eternal youth,

1577
01:28:50,520 --> 01:28:53,000
Speaker 3: and I just need to pick up people at the

1578
01:28:53,000 --> 01:28:55,519
Speaker 3: goth club, bring him back here and drink their blood.

1579
01:28:55,520 --> 01:28:57,200
Speaker 3: And that's what we're gonna do for I don't know

1580
01:28:57,240 --> 01:29:00,559
Speaker 3: however long it takes. I don't recall does she get

1581
01:29:00,600 --> 01:29:04,320
Speaker 3: any indication of that what happened to John will also

1582
01:29:04,479 --> 01:29:06,720
Speaker 3: happen to her eventually do they talk about that.

1583
01:29:07,080 --> 01:29:09,519
Speaker 1: I don't know that they talk about it at all, No,

1584
01:29:09,760 --> 01:29:13,479
Speaker 1: But I mean, obviously we the viewer knows that that

1585
01:29:13,520 --> 01:29:16,880
Speaker 1: would be the end result, you know, some centuries down

1586
01:29:16,920 --> 01:29:17,439
Speaker 1: the line.

1587
01:29:17,840 --> 01:29:22,040
Speaker 3: But instead of the full embrace of what happens, there

1588
01:29:22,120 --> 01:29:27,479
Speaker 3: is a twist. Sarah proves a more recalcitrant, yeah, kind

1589
01:29:27,520 --> 01:29:32,400
Speaker 3: of new Vampa. There's something more of her original humanity

1590
01:29:32,520 --> 01:29:36,799
Speaker 3: left than it seems like happened with any of Miriam's

1591
01:29:36,800 --> 01:29:41,760
Speaker 3: previous lovers. So instead of fully embracing the new lifestyle,

1592
01:29:41,960 --> 01:29:46,320
Speaker 3: there's a confrontation and a big terrible climax. Now I

1593
01:29:46,360 --> 01:29:48,880
Speaker 3: forget exactly how it is triggered. What is it that

1594
01:29:48,960 --> 01:29:52,760
Speaker 3: Sarah does that ends up with Miriam like carrying her

1595
01:29:52,840 --> 01:29:55,760
Speaker 3: upstairs to like rapidly put her away with the other

1596
01:29:56,000 --> 01:30:00,240
Speaker 3: old lovers. Is it that she tries to make Miriam

1597
01:30:00,280 --> 01:30:01,240
Speaker 3: drink her blood.

1598
01:30:02,160 --> 01:30:04,720
Speaker 1: I'm a little unsure about how what exactly happens in

1599
01:30:04,760 --> 01:30:08,879
Speaker 1: this moment, but she ends up stabbing herself with the ank. Yeah,

1600
01:30:08,960 --> 01:30:11,439
Speaker 1: during a very close embrace, one of these embraces where

1601
01:30:11,479 --> 01:30:14,240
Speaker 1: you're not sure at first who is stabbed by and

1602
01:30:14,280 --> 01:30:18,599
Speaker 1: who does the stabbing, But yeah, she stabs herself, and

1603
01:30:18,640 --> 01:30:21,160
Speaker 1: then Miriam is like, well this is you know, she's

1604
01:30:21,200 --> 01:30:23,960
Speaker 1: clearly heartbroken by this. You know, she clearly had very

1605
01:30:23,960 --> 01:30:27,560
Speaker 1: strong feelings for Sarah and saw a future with Sarah.

1606
01:30:27,600 --> 01:30:29,800
Speaker 1: But now she's going to have to take Sarah up

1607
01:30:29,840 --> 01:30:32,280
Speaker 1: to the attic and file her away with the others.

1608
01:30:32,600 --> 01:30:36,000
Speaker 3: Right, But then it is revenge of the zombies. The

1609
01:30:36,040 --> 01:30:42,040
Speaker 3: ex lovers emerge in their withered, dusty husk forms and

1610
01:30:42,080 --> 01:30:45,360
Speaker 3: they all come out and they they take their vengeance

1611
01:30:45,560 --> 01:30:47,920
Speaker 3: or should it be thought of as vengeance, I don't

1612
01:30:47,960 --> 01:30:50,559
Speaker 3: know exactly what you how you frame it, but they

1613
01:30:50,720 --> 01:30:54,719
Speaker 3: they surround and attack Miriam and destroy her.

1614
01:30:55,520 --> 01:30:58,640
Speaker 1: There are so many places in this film where I

1615
01:30:58,640 --> 01:31:02,160
Speaker 1: feel like a lesser film would have gone in a

1616
01:31:02,200 --> 01:31:05,360
Speaker 1: different direction. I think there's certain pitfalls that a movie

1617
01:31:05,400 --> 01:31:07,920
Speaker 1: like this might have naturally veered into. And I think

1618
01:31:08,080 --> 01:31:10,120
Speaker 1: this is a key example. I think in a lesser picture,

1619
01:31:10,160 --> 01:31:12,639
Speaker 1: it would have been a pure vengeance of the zombies,

1620
01:31:12,680 --> 01:31:15,320
Speaker 1: like they would have attacked her, torn her apart or something.

1621
01:31:16,439 --> 01:31:19,160
Speaker 1: It's because the yeah, the undying husks of her former

1622
01:31:19,200 --> 01:31:22,160
Speaker 1: lovers do come out of their boxes. Yeah, And I

1623
01:31:22,160 --> 01:31:24,600
Speaker 1: think a lesser film might have had them be a

1624
01:31:24,680 --> 01:31:27,960
Speaker 1: direct physical cause of Miriam's demise. You know, she would

1625
01:31:27,960 --> 01:31:30,439
Speaker 1: have been torn apart by her demons in a literal fashion.

1626
01:31:31,400 --> 01:31:33,439
Speaker 1: But if we wouldn't have fit here because you know,

1627
01:31:33,520 --> 01:31:37,639
Speaker 1: set lovingly aside, they still love her, they still pine

1628
01:31:37,680 --> 01:31:40,920
Speaker 1: for her. I don't think they would intentionally hurt her still,

1629
01:31:41,000 --> 01:31:45,479
Speaker 1: even in the reduced state. Plus, though they're longing is strong,

1630
01:31:45,600 --> 01:31:48,519
Speaker 1: they're physically quite weak and powerless, like they're almost dust

1631
01:31:49,040 --> 01:31:51,519
Speaker 1: at this point. What could they do? And she clearly

1632
01:31:51,560 --> 01:31:57,000
Speaker 1: has heightened strength. So instead it feels more like it's

1633
01:31:57,000 --> 01:31:59,559
Speaker 1: like it's not as much it's their presence, certainly, but

1634
01:31:59,600 --> 01:32:02,680
Speaker 1: it's also the cumulative guilt of it all that overcomes

1635
01:32:02,720 --> 01:32:06,640
Speaker 1: Miriam and leads to what appears to be her physical

1636
01:32:06,720 --> 01:32:10,120
Speaker 1: death or physical demise, and this ends up ending the

1637
01:32:10,200 --> 01:32:13,639
Speaker 1: cursed existence of her thralls, like they finally crumble to dust.

1638
01:32:13,960 --> 01:32:18,080
Speaker 3: It is not exactly clear what the mechanism, what all

1639
01:32:18,160 --> 01:32:20,280
Speaker 3: is going on here, but it feels like it works.

1640
01:32:21,680 --> 01:32:24,920
Speaker 3: I will say after this, I mean, it's curious to

1641
01:32:25,120 --> 01:32:27,000
Speaker 3: because this is not quite the end of the film.

1642
01:32:27,040 --> 01:32:29,040
Speaker 3: We also see something else with Sarah, don't we.

1643
01:32:29,840 --> 01:32:33,360
Speaker 1: That's right, because I really at this point in the picture.

1644
01:32:33,400 --> 01:32:35,960
Speaker 1: I thought Sarah was dead. I thought she killed herself

1645
01:32:36,400 --> 01:32:38,920
Speaker 1: via the unk, that's why she was being filed away.

1646
01:32:40,280 --> 01:32:43,000
Speaker 1: But you know, at the end we get this really

1647
01:32:43,040 --> 01:32:47,559
Speaker 1: excellent sequence where we see Sarah standing on in the

1648
01:32:47,560 --> 01:32:50,439
Speaker 1: balcony of this like modern high rise in what I

1649
01:32:50,439 --> 01:32:54,200
Speaker 1: believe is London. And it's quite quite fetching because you

1650
01:32:54,240 --> 01:32:57,040
Speaker 1: have the varied and at times quite old bits of

1651
01:32:57,160 --> 01:32:59,519
Speaker 1: architecture visible in the city, you know, so it kind of,

1652
01:33:00,160 --> 01:33:03,040
Speaker 1: you know, it kind of meshes nicely with this idea

1653
01:33:03,200 --> 01:33:07,439
Speaker 1: of empiric life. But Mike, I had several questions, like, Okay,

1654
01:33:07,560 --> 01:33:10,080
Speaker 1: is Sarah a vampire now or is she free of

1655
01:33:10,120 --> 01:33:12,960
Speaker 1: the curse completely? In his mortal again? Did she? Or

1656
01:33:13,080 --> 01:33:15,120
Speaker 1: you know, did she dodge the fate and the curse?

1657
01:33:16,080 --> 01:33:19,240
Speaker 1: Has the experience unlocked some key into her own research?

1658
01:33:19,320 --> 01:33:21,360
Speaker 1: I assume she's keeping going with her work, but is

1659
01:33:21,400 --> 01:33:23,240
Speaker 1: it going to take a new turn now that she

1660
01:33:23,400 --> 01:33:26,840
Speaker 1: has has either been a vampire or partially been a

1661
01:33:26,880 --> 01:33:30,400
Speaker 1: vampire or is still a vampire? We don't know. We're

1662
01:33:30,479 --> 01:33:32,559
Speaker 1: left to ponder it. And what happened to Miriam, Like

1663
01:33:33,080 --> 01:33:36,800
Speaker 1: is Miriam completely destroyed or is she in one of

1664
01:33:36,800 --> 01:33:37,559
Speaker 1: the boxes now?

1665
01:33:38,520 --> 01:33:41,719
Speaker 3: Yeah, yeah, good question. Yeah, so a lot of questions

1666
01:33:41,800 --> 01:33:44,280
Speaker 3: left open at the ending, and I don't know exactly

1667
01:33:44,280 --> 01:33:48,760
Speaker 3: how to interpret it. But but yeah, despite I don't

1668
01:33:48,800 --> 01:33:50,439
Speaker 3: know exactly what to say about the ending, but I

1669
01:33:50,920 --> 01:33:52,080
Speaker 3: love the film overall.

1670
01:33:53,360 --> 01:33:56,559
Speaker 1: Yeah, I was. I was quite impressed with it, you know,

1671
01:33:57,280 --> 01:33:59,080
Speaker 1: I like you. I kind of thought the first ten minutes,

1672
01:33:59,080 --> 01:34:00,920
Speaker 1: we're going to set the tone for the entire picture,

1673
01:34:01,200 --> 01:34:03,439
Speaker 1: and it ended up being a much more poignant and

1674
01:34:03,439 --> 01:34:05,320
Speaker 1: thought provoking motion picture overall.

1675
01:34:05,880 --> 01:34:07,840
Speaker 3: One last thing I wanted to mention before we wrap

1676
01:34:07,920 --> 01:34:09,919
Speaker 3: up here, and it was the thought about the interaction

1677
01:34:10,040 --> 01:34:14,439
Speaker 3: between the vampire themes of the story and the and

1678
01:34:14,520 --> 01:34:17,439
Speaker 3: a common thing that's true about well, I was going

1679
01:34:17,520 --> 01:34:19,920
Speaker 3: to say love stories and movies, but actually just love

1680
01:34:20,000 --> 01:34:23,519
Speaker 3: in real life, and that is the way that the

1681
01:34:23,640 --> 01:34:27,599
Speaker 3: vampire setting really helps the us against the world feeling

1682
01:34:27,640 --> 01:34:31,519
Speaker 3: of being in love. I'm not the first person to

1683
01:34:31,560 --> 01:34:33,200
Speaker 3: point this out, of course, you know, this is a

1684
01:34:33,200 --> 01:34:36,720
Speaker 3: commonly observed thing, but there is a way in which

1685
01:34:36,920 --> 01:34:42,519
Speaker 3: true love really kind of it. It does encourage a

1686
01:34:42,600 --> 01:34:45,600
Speaker 3: kind of contempt for like the rest of reality. You

1687
01:34:45,600 --> 01:34:49,920
Speaker 3: know that when people are in love, they like to talk,

1688
01:34:50,200 --> 01:34:52,280
Speaker 3: you know, like to you know, to say mean things

1689
01:34:52,320 --> 01:34:55,240
Speaker 3: about other people to each other and to kind of

1690
01:34:55,280 --> 01:34:58,479
Speaker 3: be in a conspiracy. When people are in love, they

1691
01:34:58,600 --> 01:35:03,559
Speaker 3: like to do kind of selfish or irresponsible things against

1692
01:35:03,640 --> 01:35:07,200
Speaker 3: other people outside of that two person conspiracy, it's just

1693
01:35:07,280 --> 01:35:10,719
Speaker 3: kind of it happens naturally. I don't know exactly why

1694
01:35:10,760 --> 01:35:12,559
Speaker 3: that is, but it just seems to be a thing

1695
01:35:12,640 --> 01:35:16,280
Speaker 3: that flows naturally from this two person bond. And that

1696
01:35:16,400 --> 01:35:19,080
Speaker 3: works so well when your two characters are vampires, because

1697
01:35:19,080 --> 01:35:22,080
Speaker 3: that's exactly the mechanic of the story. It's like we

1698
01:35:22,439 --> 01:35:25,840
Speaker 3: together are in on this great secret. We're working this little,

1699
01:35:26,000 --> 01:35:28,400
Speaker 3: this little blood conspiracy. And so we can go out

1700
01:35:28,400 --> 01:35:30,840
Speaker 3: to the club and only you and I are in

1701
01:35:30,880 --> 01:35:32,960
Speaker 3: on the joke that the people that we bring home

1702
01:35:33,080 --> 01:35:34,880
Speaker 3: or that we're just going to kill them, and you know,

1703
01:35:34,920 --> 01:35:38,559
Speaker 3: their bodies end up in the incinerator. And you know,

1704
01:35:38,600 --> 01:35:41,160
Speaker 3: so we've talked about that us against the world quality

1705
01:35:41,240 --> 01:35:43,880
Speaker 3: in other great love movies we've done before. It's kind

1706
01:35:43,880 --> 01:35:48,080
Speaker 3: of there totally different themes, but they're in a danger diabolic,

1707
01:35:48,160 --> 01:35:50,559
Speaker 3: you know, the way that the two lovers are in

1708
01:35:50,600 --> 01:35:54,040
Speaker 3: on crimes together. Uh and and the same thing as

1709
01:35:54,120 --> 01:35:59,280
Speaker 3: present here, and that is such a fun and mysterious

1710
01:35:59,320 --> 01:36:02,479
Speaker 3: and interesting dynamic, Like it's funny to see it play

1711
01:36:02,520 --> 01:36:06,320
Speaker 3: out and it feels good, but it also just raises

1712
01:36:06,360 --> 01:36:09,400
Speaker 3: these questions like why is that so common that people

1713
01:36:09,439 --> 01:36:11,760
Speaker 3: feel and act that way when they're in love? Like

1714
01:36:12,080 --> 01:36:14,240
Speaker 3: what is it about being in love that does that

1715
01:36:14,320 --> 01:36:16,400
Speaker 3: to us? It kind of kind of makes us bad

1716
01:36:16,479 --> 01:36:17,599
Speaker 3: to the rest of the world.

1717
01:36:18,240 --> 01:36:21,800
Speaker 1: Yeah, I guess that's one of the appeals of paranormal

1718
01:36:22,560 --> 01:36:27,800
Speaker 1: romances and paranormal love stories, because the experience of being

1719
01:36:27,840 --> 01:36:30,240
Speaker 1: in love, the experience of being in a romance does

1720
01:36:30,280 --> 01:36:33,200
Speaker 1: feel supernatural. It does have that kind of energy to it.

1721
01:36:33,280 --> 01:36:36,080
Speaker 1: You know, you're not it feels like you have fallen

1722
01:36:36,120 --> 01:36:38,840
Speaker 1: in love with a vampire or a werewolf or a

1723
01:36:38,880 --> 01:36:42,479
Speaker 1: sasquatch or a centaur, you know whatever. You know, your

1724
01:36:42,760 --> 01:36:46,639
Speaker 1: interest happens to be on the page or on the screen.

1725
01:36:47,240 --> 01:36:49,400
Speaker 3: All right, Well, Happy Valentine's Day everybody.

1726
01:36:51,160 --> 01:36:53,920
Speaker 1: All right, just a reminder to everybody that's stuffed. To

1727
01:36:53,960 --> 01:36:56,439
Speaker 1: Blow Your Mind is primarily a science and culture podcast

1728
01:36:56,479 --> 01:36:59,080
Speaker 1: with core episodes on Tuesdays and Thursdays, but on Fridays

1729
01:36:59,320 --> 01:37:01,519
Speaker 1: we set aside most serious concerns to just talk about

1730
01:37:01,520 --> 01:37:04,559
Speaker 1: a weird film here on Weird House Cinema. If you

1731
01:37:04,640 --> 01:37:06,280
Speaker 1: want to check out a list of all the movies

1732
01:37:06,320 --> 01:37:08,280
Speaker 1: we've covered over the years, and sometimes a peek ahead

1733
01:37:08,280 --> 01:37:11,240
Speaker 1: of what comes next, you can go to letterbox dot com.

1734
01:37:11,439 --> 01:37:14,439
Speaker 1: Our user name there is weird House, and you'll find

1735
01:37:14,439 --> 01:37:16,599
Speaker 1: a nice list of everything. And of course you can

1736
01:37:16,600 --> 01:37:19,040
Speaker 1: write into us as well let us know what vampire

1737
01:37:19,040 --> 01:37:21,880
Speaker 1: film we should do next. You know, sometimes weeks ahead

1738
01:37:21,880 --> 01:37:24,080
Speaker 1: we're gonna do some other non vampire films for sure,

1739
01:37:24,120 --> 01:37:26,879
Speaker 1: but we'll keep coming back to vampires and were wolves

1740
01:37:26,880 --> 01:37:27,719
Speaker 1: and mummies.

1741
01:37:28,000 --> 01:37:31,439
Speaker 3: It's inevitable huge things. As always to our excellent audio

1742
01:37:31,479 --> 01:37:34,400
Speaker 3: producer Jjposway. If you would like to get in touch

1743
01:37:34,400 --> 01:37:36,400
Speaker 3: with us with feedback on this episode or any other,

1744
01:37:36,479 --> 01:37:39,160
Speaker 3: to suggest topic for the future, or just to say hello,

1745
01:37:39,280 --> 01:37:41,880
Speaker 3: you can email us at contact at stuff to Blow

1746
01:37:41,880 --> 01:37:49,400
Speaker 3: your Mind dot com.

1747
01:37:49,520 --> 01:37:52,479
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1748
01:37:52,560 --> 01:37:55,360
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1749
01:37:55,520 --> 01:38:00,200
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.