1 00:00:03,000 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow your Mind, a production of 2 00:00:05,360 --> 00:00:15,480 Speaker 1: My Heart Radio. Hey, welcome to Weird How Cinema. This 3 00:00:15,520 --> 00:00:19,120 Speaker 1: is Rob Lamb and I'm Joe McCormick. Yeah. Today we 4 00:00:19,200 --> 00:00:23,799 Speaker 1: have another fun collision of B cinema genres. Here. What 5 00:00:23,960 --> 00:00:28,880 Speaker 1: happens when you take Italian cannibal exploitation films and you 6 00:00:29,000 --> 00:00:32,160 Speaker 1: cross them with a good old fashioned Nam exploitation film, 7 00:00:32,200 --> 00:00:34,479 Speaker 1: as in Vietnam, and then you go ahead and just 8 00:00:34,479 --> 00:00:37,640 Speaker 1: set the whole picture right here in Atlanta, Georgia. One 9 00:00:37,640 --> 00:00:39,879 Speaker 1: thing I will say about this concept is it does 10 00:00:39,920 --> 00:00:45,000 Speaker 1: not sound like it will be under seasoned. Yeah, yeah, 11 00:00:45,720 --> 00:00:48,120 Speaker 1: how tender eyes? Would you say? This film is? Oh 12 00:00:48,159 --> 00:00:50,239 Speaker 1: my god, it has used the spiky side of the 13 00:00:50,280 --> 00:00:54,960 Speaker 1: meat mallet. It has covered everything in in pineapple puree. Uh, 14 00:00:55,240 --> 00:00:58,160 Speaker 1: it's gonna be uh, it's gonna be fork tinder all right. 15 00:00:58,200 --> 00:01:03,040 Speaker 1: The film is Cannibal Apocalypse. The original title in Italian 16 00:01:03,240 --> 00:01:07,920 Speaker 1: Apocalypse Domani, which I believe is Italian for apocalypse tomorrow. 17 00:01:08,200 --> 00:01:10,319 Speaker 1: Oh yes, yes, So it took me a while to 18 00:01:10,400 --> 00:01:15,040 Speaker 1: understand this title because I actually watched this movie. So, uh, 19 00:01:15,080 --> 00:01:17,240 Speaker 1: this was your pick, you handed it off. I watched 20 00:01:17,280 --> 00:01:19,800 Speaker 1: it last night and then I immediately started watching it 21 00:01:19,840 --> 00:01:22,959 Speaker 1: a second time after I watched the first time with 22 00:01:23,040 --> 00:01:25,280 Speaker 1: the with the commentary track that's actually on the disc 23 00:01:25,360 --> 00:01:28,440 Speaker 1: that you rented um by a film critic and historian 24 00:01:28,520 --> 00:01:32,080 Speaker 1: named Tim Lucas who has written a lot on exploitation cinema, 25 00:01:32,120 --> 00:01:35,560 Speaker 1: particularly Italian movies and Jello and stuff like that. And 26 00:01:35,560 --> 00:01:37,800 Speaker 1: I know he wrote a book about Mario Bava that 27 00:01:38,040 --> 00:01:41,160 Speaker 1: is that is pretty popular. But anyway, I might mention 28 00:01:41,280 --> 00:01:43,800 Speaker 1: some more of Lucas's observations as we go on, because 29 00:01:44,000 --> 00:01:46,240 Speaker 1: his commentary track was pretty good. But like I said, 30 00:01:46,280 --> 00:01:48,800 Speaker 1: I was watching this and I kept trying to understand 31 00:01:48,840 --> 00:01:53,120 Speaker 1: the title Cannibal Apocalypse. I would have expected with that 32 00:01:53,160 --> 00:01:56,120 Speaker 1: title that the movie would be a little more apocalyptic, 33 00:01:56,200 --> 00:01:59,560 Speaker 1: but there's not really anything apocalyptic about it in either 34 00:01:59,640 --> 00:02:02,240 Speaker 1: sense of the word, so not the original literal sense 35 00:02:02,240 --> 00:02:06,240 Speaker 1: of apocalypse meaning a revelation or unveiling. There's nothing really 36 00:02:06,240 --> 00:02:10,440 Speaker 1: revelatory about the movie, nor in the common understanding today 37 00:02:10,520 --> 00:02:12,440 Speaker 1: having to do with the end of the world. It's 38 00:02:12,480 --> 00:02:14,720 Speaker 1: not really an end of the world movie. But then 39 00:02:14,760 --> 00:02:18,519 Speaker 1: I realized, oh, it's called that because of apocalypse now, 40 00:02:19,480 --> 00:02:22,880 Speaker 1: but the Vietnam movie, right, So what comes after Apocalypse Now, 41 00:02:23,040 --> 00:02:27,280 Speaker 1: Apocalypse Tomorrow, Apocalypse Demani. Uh. So, if you want to 42 00:02:27,320 --> 00:02:29,720 Speaker 1: cut right to the quick, what you actually do is 43 00:02:29,760 --> 00:02:32,800 Speaker 1: you take one word from the title of a recent 44 00:02:32,919 --> 00:02:35,919 Speaker 1: popular movie with similar themes, and then you take another 45 00:02:36,000 --> 00:02:40,480 Speaker 1: word that is a lurid, conceptual hook word like cannibalism. 46 00:02:40,760 --> 00:02:43,239 Speaker 1: So you end up with cannibal Apocalypse. It would be 47 00:02:43,320 --> 00:02:44,960 Speaker 1: kind of like if you made a movie today called 48 00:02:45,000 --> 00:02:50,280 Speaker 1: like the Necrophilia and the Furious or something, uh and 49 00:02:50,320 --> 00:02:53,360 Speaker 1: then other. There are tons of connections actually with other 50 00:02:53,520 --> 00:02:58,000 Speaker 1: Vietnam movies, but mainly with Apocalypse Now. For example, the 51 00:02:58,040 --> 00:03:00,280 Speaker 1: main character in this film, what's his name? Him? His 52 00:03:00,360 --> 00:03:03,520 Speaker 1: name is Norman Hopper. I think it's pretty clear where 53 00:03:03,520 --> 00:03:06,080 Speaker 1: this comes from. It is a combination of Norman Bates, 54 00:03:06,160 --> 00:03:09,600 Speaker 1: the main character in Psycho, and Dennis Hopper, the actor 55 00:03:09,680 --> 00:03:12,720 Speaker 1: in Apocalypse Now. Oh yeah, yeah, that's a good point. 56 00:03:12,760 --> 00:03:15,160 Speaker 1: And it is this the sort of role that Dennis 57 00:03:15,160 --> 00:03:18,120 Speaker 1: Hopper could have conceivably played. You know, you could imagine 58 00:03:18,160 --> 00:03:20,360 Speaker 1: him playing this sort of character. I guess you could. 59 00:03:20,360 --> 00:03:23,360 Speaker 1: That would be very different. I mean, Dennis Hopper, he's 60 00:03:23,440 --> 00:03:26,120 Speaker 1: notable in Apocalypse Now for being wild. You know, he 61 00:03:26,200 --> 00:03:28,560 Speaker 1: is on a permanent trip, and he is fully in 62 00:03:28,600 --> 00:03:32,079 Speaker 1: the thrall of the warrior poet of of Marlon Brando's 63 00:03:32,120 --> 00:03:34,920 Speaker 1: Kurts in the movie. In this movie, the main character, 64 00:03:35,000 --> 00:03:37,960 Speaker 1: Norman Hopper is very much on the edge, but because 65 00:03:38,040 --> 00:03:42,040 Speaker 1: it's cast as John Saxon, John Saxon has an undeniably 66 00:03:42,680 --> 00:03:46,920 Speaker 1: even tempered, steady kind of presence. I mean, he he's 67 00:03:46,920 --> 00:03:50,200 Speaker 1: an extremely grounded actor, and that's contrasted with some of 68 00:03:50,240 --> 00:03:54,800 Speaker 1: the the very like ratlike energy of characters in this movie, 69 00:03:54,840 --> 00:03:58,280 Speaker 1: such as the character named again, this is really the 70 00:03:58,360 --> 00:04:01,480 Speaker 1: character's name, Charles Bukowski, exactly the same as the name 71 00:04:01,520 --> 00:04:03,960 Speaker 1: of the author and poet. Oh but but but we're 72 00:04:04,000 --> 00:04:07,240 Speaker 1: we're burying one of the leads here. Uh so this movie, 73 00:04:07,280 --> 00:04:09,880 Speaker 1: each kid just have two names for a movie that, 74 00:04:10,040 --> 00:04:12,440 Speaker 1: you know, it was an Italian exploitation movie released in 75 00:04:12,520 --> 00:04:15,360 Speaker 1: nineteen eighty, you've got to have at least like six names, right, 76 00:04:15,880 --> 00:04:19,480 Speaker 1: Oh yeah, yeah, it's It's also been released as Cannibals 77 00:04:19,480 --> 00:04:23,040 Speaker 1: in the Streets, which weirdly enough, is the main title 78 00:04:23,080 --> 00:04:25,880 Speaker 1: for the film on its IMDb listing. Right now, I 79 00:04:25,880 --> 00:04:28,279 Speaker 1: feel like this was surely not always the case. I 80 00:04:28,279 --> 00:04:30,000 Speaker 1: think I because I've been aware of this film for 81 00:04:30,000 --> 00:04:31,720 Speaker 1: a very long time, but just had not set down 82 00:04:31,720 --> 00:04:34,120 Speaker 1: and watched it. I think it used to just it 83 00:04:34,200 --> 00:04:37,000 Speaker 1: used to just be listed as um, Cannibal Apocalypse, because 84 00:04:37,000 --> 00:04:40,000 Speaker 1: that is it's it's most famous name, I thought. But 85 00:04:40,040 --> 00:04:43,320 Speaker 1: then again, I think Michael Weldon in the Psychotronic Video 86 00:04:43,360 --> 00:04:46,560 Speaker 1: Guide also lists it as Cannibals in the Streets, so 87 00:04:46,680 --> 00:04:50,160 Speaker 1: I don't know. I think it also got an American 88 00:04:50,600 --> 00:04:52,960 Speaker 1: R rated release, so it was released with in a 89 00:04:53,080 --> 00:04:57,719 Speaker 1: in a somewhat edited form, especially in the Southern United States, 90 00:04:58,320 --> 00:05:01,480 Speaker 1: under the name Invasion of of Flesh Eaters. Is that right, 91 00:05:02,720 --> 00:05:04,960 Speaker 1: I believe so, yeah, and it may have been released 92 00:05:05,000 --> 00:05:08,039 Speaker 1: it was released in UM to the German market with 93 00:05:08,120 --> 00:05:10,600 Speaker 1: it with several different titles as well, so it's It's 94 00:05:10,600 --> 00:05:12,760 Speaker 1: definitely one of these films that's often referred to as 95 00:05:12,760 --> 00:05:15,080 Speaker 1: a video nasty because it was. I think it was 96 00:05:15,160 --> 00:05:18,240 Speaker 1: banned in the UK for a period of time. Um. 97 00:05:18,360 --> 00:05:22,600 Speaker 1: Though it is interesting how you assume that the pictures 98 00:05:22,600 --> 00:05:25,280 Speaker 1: are that are classified as such that they're all going 99 00:05:25,320 --> 00:05:29,160 Speaker 1: to have like the same level of of nastiness to them, uh, 100 00:05:29,200 --> 00:05:32,160 Speaker 1: and it's really not the case. Um. I think one 101 00:05:32,160 --> 00:05:34,479 Speaker 1: of the things about this film is that. Yes, it 102 00:05:34,560 --> 00:05:37,760 Speaker 1: has its grotesque moments and themes. For sure. It is 103 00:05:37,800 --> 00:05:40,240 Speaker 1: not a family movie by any stretch of the imagination. 104 00:05:40,880 --> 00:05:45,320 Speaker 1: But it's also not nearly as as bad as or 105 00:05:45,440 --> 00:05:47,840 Speaker 1: And when I say bad, I don't mean quality wise, 106 00:05:47,880 --> 00:05:49,880 Speaker 1: but just in terms of taste, it's not. It doesn't 107 00:05:49,920 --> 00:05:53,240 Speaker 1: nearly have the level of bad taste that it certainly 108 00:05:53,320 --> 00:05:55,560 Speaker 1: could have had. And it's gonna be fun to discuss 109 00:05:56,000 --> 00:05:59,120 Speaker 1: why that seems to be as we go through this episode. 110 00:05:59,320 --> 00:06:01,560 Speaker 1: I don't think it's the only reason, but one that 111 00:06:01,600 --> 00:06:05,039 Speaker 1: has been mentioned in several sources I came across is 112 00:06:05,120 --> 00:06:08,279 Speaker 1: just the influence of John Saxon being in the lead 113 00:06:08,720 --> 00:06:11,200 Speaker 1: and repeatedly saying about things he was asked to do 114 00:06:11,240 --> 00:06:16,400 Speaker 1: by the script no I'm not doing that. Yeah, seemed 115 00:06:16,400 --> 00:06:19,520 Speaker 1: to be a moderating influence on the content of the film. 116 00:06:19,680 --> 00:06:22,120 Speaker 1: That's what you when you when you cast John Saxon, 117 00:06:22,279 --> 00:06:23,760 Speaker 1: you know you're going to get a certain level of 118 00:06:23,839 --> 00:06:27,240 Speaker 1: energy from the performance and intensity. But yes you're gonna 119 00:06:27,240 --> 00:06:30,559 Speaker 1: get you're gonna get some some other grounding influences as well, 120 00:06:30,800 --> 00:06:33,640 Speaker 1: which ultimately makes this a better film. I think, all right, well, 121 00:06:33,680 --> 00:06:36,440 Speaker 1: let's talk just a second about these these different genres 122 00:06:36,520 --> 00:06:40,839 Speaker 1: that are colliding here. First of all, I mentioned Nam sploitation. Uh, 123 00:06:40,920 --> 00:06:44,719 Speaker 1: these elements aligned with the various Vietnam action films of 124 00:06:44,760 --> 00:06:49,479 Speaker 1: the day, including both numerous US films and then international 125 00:06:49,520 --> 00:06:54,120 Speaker 1: films that were clearly springboarding off American pictures. For instance, 126 00:06:54,120 --> 00:06:57,680 Speaker 1: some of the American films, particularly films that dealt with 127 00:06:58,279 --> 00:07:02,120 Speaker 1: Vietnam vets returning home and d with with post traumatic 128 00:07:02,120 --> 00:07:05,320 Speaker 1: stress to some degree or another. Your funder, Yeah, you 129 00:07:05,320 --> 00:07:07,839 Speaker 1: have like Deer Hunter seventy eight, also Coming Home in 130 00:07:07,880 --> 00:07:12,440 Speaker 1: seventy eight starring Bruce Dern, and even First Blood. Yeah, 131 00:07:12,440 --> 00:07:15,120 Speaker 1: I guess the first Rambo movie would fit more into 132 00:07:15,160 --> 00:07:17,800 Speaker 1: that category. Though. It's funny with even within the progression 133 00:07:17,840 --> 00:07:19,920 Speaker 1: of the Rambo movies, you see the change in how 134 00:07:20,000 --> 00:07:23,920 Speaker 1: Vietnam subject matter is dealt with. Like earlier on, I 135 00:07:24,000 --> 00:07:27,560 Speaker 1: think you get more of these movies that are uh, 136 00:07:27,640 --> 00:07:29,720 Speaker 1: you know, dealing with some of the with some of 137 00:07:29,720 --> 00:07:32,120 Speaker 1: the horrors and the moral ambiguities of the war, and 138 00:07:32,160 --> 00:07:36,480 Speaker 1: then later on turning uh, the lingering residue of Vietnam 139 00:07:36,640 --> 00:07:40,239 Speaker 1: more into just kind of like pure exploitation action cinema 140 00:07:40,320 --> 00:07:43,320 Speaker 1: subject matter. So like Rambo by the time you get 141 00:07:43,360 --> 00:07:47,040 Speaker 1: to First Blood Part two, Rambo, the character of John 142 00:07:47,120 --> 00:07:50,560 Speaker 1: Rambo has gone from a you know, a a brutalized 143 00:07:50,640 --> 00:07:53,680 Speaker 1: man who just wants to be left alone and has 144 00:07:53,760 --> 00:07:56,920 Speaker 1: turned into a like a human slaughter house who you know, 145 00:07:57,040 --> 00:07:59,120 Speaker 1: the point of the movie is to watch his greased 146 00:07:59,200 --> 00:08:02,360 Speaker 1: up muscles as he just guns down millions of enemies. 147 00:08:03,000 --> 00:08:05,360 Speaker 1: So like in the first one, you're asking the question 148 00:08:05,440 --> 00:08:07,800 Speaker 1: is is Rambo okay? I don't think he's okay? And 149 00:08:07,800 --> 00:08:10,080 Speaker 1: then the second one and on from there Rambo is 150 00:08:10,120 --> 00:08:12,520 Speaker 1: doing great. Look at him. Go ye, all right. So 151 00:08:12,560 --> 00:08:14,200 Speaker 1: we have those elements in the film and we'll talk 152 00:08:14,200 --> 00:08:16,400 Speaker 1: about some of that. But then, of course, also it's 153 00:08:16,440 --> 00:08:19,520 Speaker 1: in the title, this is a cannibal film. And cannibal 154 00:08:19,560 --> 00:08:22,680 Speaker 1: films at their their absolute worst, they tend to be 155 00:08:22,800 --> 00:08:27,200 Speaker 1: movies that follow a basic structure where modern day explorers 156 00:08:27,360 --> 00:08:30,720 Speaker 1: or journalists, or you know, whatever their case may be, 157 00:08:31,160 --> 00:08:33,360 Speaker 1: they're traveling to a remote part of the world and 158 00:08:33,400 --> 00:08:37,719 Speaker 1: they're encountering cannibalism and cannibalistic violence as practiced by an 159 00:08:37,720 --> 00:08:40,640 Speaker 1: isolated tribal group. I've long known there are a bunch 160 00:08:40,679 --> 00:08:42,680 Speaker 1: of movies like this, but I've never really watched any 161 00:08:42,720 --> 00:08:45,280 Speaker 1: of them. It's one of those that just seems conceptually 162 00:08:45,480 --> 00:08:49,120 Speaker 1: just like not enjoyable at all to me. Yeah. Yeah, 163 00:08:49,240 --> 00:08:52,000 Speaker 1: they you know, they're often marketed for their just sheer 164 00:08:52,120 --> 00:08:55,320 Speaker 1: shock value. That was part of their appeal, and it 165 00:08:55,360 --> 00:08:57,640 Speaker 1: remains part of their appeal for people who who dig 166 00:08:57,679 --> 00:09:00,839 Speaker 1: them today. Uh. They can of course be area exploited. 167 00:09:01,400 --> 00:09:04,679 Speaker 1: They can be very sleazy. They include such films as uh, 168 00:09:04,880 --> 00:09:08,320 Speaker 1: Sergio Martino, Slave of the Cannibal God from seventy eight, 169 00:09:08,600 --> 00:09:11,480 Speaker 1: Umberto Lindsay's Sacrifice from seventy two, which I think was 170 00:09:11,520 --> 00:09:15,440 Speaker 1: the first major Italian cannibal movie, Umberto Lindsay's Eating Alive 171 00:09:15,440 --> 00:09:17,880 Speaker 1: in nineteen eighty, and so many more. But the most 172 00:09:17,920 --> 00:09:23,360 Speaker 1: notorious example is of course rogero uh Deodata's Cannibal Holocaust 173 00:09:23,400 --> 00:09:27,480 Speaker 1: from eighty notable for its extreme violence and gore as 174 00:09:27,520 --> 00:09:31,160 Speaker 1: well as animal cruelty. Yeah, I remember. Actually I think 175 00:09:31,240 --> 00:09:34,520 Speaker 1: maybe even like reading some sort of like film scholarship 176 00:09:34,679 --> 00:09:37,960 Speaker 1: about that movie when I was in college. It seems 177 00:09:37,960 --> 00:09:40,920 Speaker 1: like the kind of thing that is maybe more interesting 178 00:09:41,000 --> 00:09:44,800 Speaker 1: as like subject matter for film criticism and film historians 179 00:09:44,800 --> 00:09:46,680 Speaker 1: than it is actually something you would ever want to 180 00:09:46,679 --> 00:09:49,840 Speaker 1: sit down and watch. Yeah, I agree, and I'll get 181 00:09:49,880 --> 00:09:51,960 Speaker 1: into some some of the scholarship about it. Though. I'll 182 00:09:52,000 --> 00:09:54,840 Speaker 1: also point out that when I was when I had decided, like, yeah, 183 00:09:54,840 --> 00:09:57,400 Speaker 1: I want to check out Cannibal Apocalypse, I pulled up 184 00:09:57,440 --> 00:10:00,559 Speaker 1: what I thought was Cannibal Apocalypse online and it was 185 00:10:00,640 --> 00:10:02,760 Speaker 1: Cannibal Holocaust. So I ended up watching the first five 186 00:10:02,800 --> 00:10:06,040 Speaker 1: and a half minutes of it, which which are actually 187 00:10:06,080 --> 00:10:09,000 Speaker 1: pretty goofy and don't have any cannibalism in them. But 188 00:10:09,240 --> 00:10:11,520 Speaker 1: that is as far as I can recommend anyone watch 189 00:10:11,600 --> 00:10:13,840 Speaker 1: in this film. Once I realized, oh, this is not 190 00:10:13,880 --> 00:10:16,839 Speaker 1: the film, this is not John Saxon, I cut out 191 00:10:17,280 --> 00:10:19,440 Speaker 1: and uh and actually send an email to Video Drome, 192 00:10:19,520 --> 00:10:21,760 Speaker 1: our local video store, to make sure they had a 193 00:10:21,760 --> 00:10:24,800 Speaker 1: copy of Cannibal Holocaust for us. You mean Cannibal Apocalypse. 194 00:10:25,000 --> 00:10:27,040 Speaker 1: Cannibal Apocalypse. I'm doing it again. It's so easy to 195 00:10:27,080 --> 00:10:31,000 Speaker 1: get them confused. So if you hear me reference Cannibal 196 00:10:31,000 --> 00:10:34,440 Speaker 1: Holocaust again outside of the context of that film, I 197 00:10:34,640 --> 00:10:38,160 Speaker 1: probably mean Cannibal Apocalypse. Well, I mean it's clearly. I 198 00:10:38,160 --> 00:10:40,360 Speaker 1: think it shows what these titles have in common, which 199 00:10:40,360 --> 00:10:42,800 Speaker 1: is they're just trying to like jam your radar with 200 00:10:42,840 --> 00:10:45,640 Speaker 1: the most shocking words they can possibly fit into a 201 00:10:45,640 --> 00:10:49,280 Speaker 1: title like ultimate Shocking title density. Yeah, I mean it's 202 00:10:49,280 --> 00:10:52,160 Speaker 1: all about the shock. So for a little more. I 203 00:10:52,240 --> 00:10:55,360 Speaker 1: was interested early because you can engage with these films 204 00:10:55,360 --> 00:10:57,319 Speaker 1: at the shock level and all. But then I'm also 205 00:10:57,360 --> 00:11:00,160 Speaker 1: thinking like, why why cannibalism? Why were these cannibals and 206 00:11:00,200 --> 00:11:02,520 Speaker 1: films so big at that in the time. So I 207 00:11:02,600 --> 00:11:05,960 Speaker 1: was reading Cannibalism in Literature and Film by Jennifer Brown, 208 00:11:06,600 --> 00:11:09,320 Speaker 1: which is a really interesting book. You can you can 209 00:11:09,360 --> 00:11:11,920 Speaker 1: pick this up as an e book, um, for example. 210 00:11:12,559 --> 00:11:15,640 Speaker 1: But the author argues that much of what we see 211 00:11:15,679 --> 00:11:20,040 Speaker 1: in this in this genre, especially the colonial cannibalism film, 212 00:11:20,520 --> 00:11:23,640 Speaker 1: as opposed to the domestic cannibalism film. So again, think, 213 00:11:23,840 --> 00:11:27,040 Speaker 1: are you encountering cannibals in Texas, as in the Texas 214 00:11:27,080 --> 00:11:31,320 Speaker 1: Chainsaw Masacre, or are the characters traveling to some you know, 215 00:11:31,400 --> 00:11:35,360 Speaker 1: former colonial holding, um, some you know nation that was 216 00:11:35,440 --> 00:11:40,240 Speaker 1: under a colonial rule and encountering cannibalism in those settings, right, Yeah, 217 00:11:40,280 --> 00:11:43,840 Speaker 1: I see the distinction. So Brown's argument is that these 218 00:11:43,840 --> 00:11:49,000 Speaker 1: colonial cannibalism films are probably resulting from post colonial anxieties 219 00:11:49,040 --> 00:11:52,680 Speaker 1: in the West and media coverage from this time period, 220 00:11:52,720 --> 00:11:54,880 Speaker 1: you know, especially like the late seventies or the eighties 221 00:11:54,960 --> 00:11:59,040 Speaker 1: and so forth, um of political and social unrest in 222 00:11:59,160 --> 00:12:03,400 Speaker 1: parts of the world previously under colonial rule. Quote amidst 223 00:12:03,440 --> 00:12:06,400 Speaker 1: the litany of atrocities, arose the feeling that without the 224 00:12:06,440 --> 00:12:10,520 Speaker 1: civilizing arm of British colonial law, the world had descended 225 00:12:10,600 --> 00:12:13,760 Speaker 1: into chaos. And they also explained that there there there's 226 00:12:13,800 --> 00:12:16,480 Speaker 1: a familiar trope of the cannibal other in all of this, 227 00:12:16,559 --> 00:12:19,920 Speaker 1: of course, as well as a specific variation on colonial 228 00:12:20,000 --> 00:12:24,839 Speaker 1: cannibalism based on US foreign policy and its ramifications. So 229 00:12:24,960 --> 00:12:29,360 Speaker 1: imagining audiences already have a kind of embedded colonial mentality, 230 00:12:29,600 --> 00:12:33,000 Speaker 1: like this fear that people would have that without boots 231 00:12:33,040 --> 00:12:35,040 Speaker 1: on the ground in every part of the world and 232 00:12:35,360 --> 00:12:38,520 Speaker 1: soldiers managing every other country on the world, we can 233 00:12:38,520 --> 00:12:41,440 Speaker 1: only imagine what kind of grizzly horrors are taking place 234 00:12:41,480 --> 00:12:43,040 Speaker 1: in every other part of the world if we are 235 00:12:43,040 --> 00:12:46,920 Speaker 1: not constantly pointing a gun at people right, right, and 236 00:12:46,960 --> 00:12:49,960 Speaker 1: so Brown discusses this at length, and they also they 237 00:12:49,960 --> 00:12:53,160 Speaker 1: also get into cannibal holocaust itself and talks about sort 238 00:12:53,200 --> 00:12:55,840 Speaker 1: of the the things that are important about it from 239 00:12:55,880 --> 00:12:58,760 Speaker 1: a film history standpoint, but also you know why it 240 00:12:58,880 --> 00:13:01,760 Speaker 1: is so notorious. But but I should be clear that 241 00:13:01,800 --> 00:13:05,880 Speaker 1: Cannibal Apocalypse, the film were primarily discussing here today, doesn't 242 00:13:05,880 --> 00:13:09,160 Speaker 1: really draw on any of these cultural cannibalism tropes and 243 00:13:09,200 --> 00:13:12,840 Speaker 1: seems to be largely exploring a concept a model of 244 00:13:13,240 --> 00:13:17,480 Speaker 1: PTSD as viral cannibalism. Yeah, despite the fact that it 245 00:13:17,559 --> 00:13:22,199 Speaker 1: does use all these tropes of Vietnam exploitation movies. Really, 246 00:13:22,400 --> 00:13:25,040 Speaker 1: I would say it is a domestic cannibalism movie. It's 247 00:13:25,040 --> 00:13:29,720 Speaker 1: a it's about you know, the cannibals are all Americans. Yeah. 248 00:13:29,720 --> 00:13:34,600 Speaker 1: I ultimately really enjoyed this model of cannibalism that is 249 00:13:34,760 --> 00:13:37,080 Speaker 1: deployed in this film. It reminds me a lot of 250 00:13:37,120 --> 00:13:42,040 Speaker 1: the later film by um uh Antonia Birds Ravenous, which 251 00:13:42,080 --> 00:13:44,719 Speaker 1: is a wonderful I guess largely it's got It's a 252 00:13:44,760 --> 00:13:48,880 Speaker 1: domestic cannibalism film, kind of a frontier cannibalism film as well. Right, 253 00:13:48,920 --> 00:13:52,200 Speaker 1: it's about all these soldiers at an outpost in frontier 254 00:13:52,240 --> 00:13:56,160 Speaker 1: California who are switched onto the magical wonder of eating 255 00:13:56,240 --> 00:13:59,720 Speaker 1: human flesh. Yeah. Yeah, Ultimately even more of a vampiric 256 00:13:59,760 --> 00:14:02,320 Speaker 1: model of cannibalism in that film. Well, that one also 257 00:14:02,400 --> 00:14:04,920 Speaker 1: I guess it does loosely draw on some rough like 258 00:14:05,280 --> 00:14:09,280 Speaker 1: Windigo mythology, but but then it's I think it's one 259 00:14:09,320 --> 00:14:11,160 Speaker 1: of those movies where you kind of wonder, like wait 260 00:14:11,200 --> 00:14:13,719 Speaker 1: a minute, like within the world of the movie, like 261 00:14:13,840 --> 00:14:16,280 Speaker 1: is there real magic going on here? Or is this 262 00:14:16,440 --> 00:14:19,360 Speaker 1: just like an idea that has captured and motivated the 263 00:14:19,360 --> 00:14:21,920 Speaker 1: minds of the characters. And you could probably argue the 264 00:14:21,960 --> 00:14:25,640 Speaker 1: same thing about this movie. Yeah. Now, Cannibal Apocalypse, though, 265 00:14:25,720 --> 00:14:28,320 Speaker 1: is about more than just eating human flesh and US 266 00:14:28,360 --> 00:14:31,640 Speaker 1: foreign policy. This film is also exciting for us because 267 00:14:31,640 --> 00:14:34,960 Speaker 1: it is a Georgia movie. It is an Atlanta and 268 00:14:35,120 --> 00:14:39,120 Speaker 1: Decatur movie filmed here back when that was something that 269 00:14:39,200 --> 00:14:42,080 Speaker 1: was notable, you know, back when you weren't filming all 270 00:14:42,120 --> 00:14:45,480 Speaker 1: these big blockbusters in the state of Georgia. There actually 271 00:14:45,600 --> 00:14:49,480 Speaker 1: were a good number of Italian horror films shot in 272 00:14:49,520 --> 00:14:52,800 Speaker 1: the US South though, right around this time, like Luccio 273 00:14:52,880 --> 00:14:55,560 Speaker 1: full Chiese The Beyond, which he shot in New Orleans, 274 00:14:55,880 --> 00:14:58,720 Speaker 1: said in New Orleans, or like, uh, I think it 275 00:14:58,760 --> 00:15:01,800 Speaker 1: was also ful Chi who may um City of the 276 00:15:01,840 --> 00:15:05,640 Speaker 1: Living Dead or also known as Gates of Hell. Is 277 00:15:05,680 --> 00:15:08,960 Speaker 1: that Savannah? Yeah, that was in Savannah, which I actually 278 00:15:09,280 --> 00:15:12,960 Speaker 1: watched just earlier this year. Yeah, there's also the wonderful 279 00:15:13,320 --> 00:15:16,520 Speaker 1: film The Visitor, which is very much filmed in Atlanta 280 00:15:16,600 --> 00:15:20,200 Speaker 1: around the time, same time period that is the God 281 00:15:20,280 --> 00:15:22,720 Speaker 1: talking about Weird House. That is one of the most 282 00:15:22,800 --> 00:15:25,560 Speaker 1: bizarre movies I have ever seen in my life. I mean, 283 00:15:25,600 --> 00:15:29,200 Speaker 1: that one will make you leave your body. Yeah, we 284 00:15:29,240 --> 00:15:30,640 Speaker 1: may have to come back to that one. That's a 285 00:15:30,640 --> 00:15:33,400 Speaker 1: fun one. So so yeah, if you're a if you're 286 00:15:33,400 --> 00:15:35,920 Speaker 1: a local, if you have any connection to Atlanta, Georgia 287 00:15:36,240 --> 00:15:40,240 Speaker 1: or Decatur, Georgia, Uh, it's worth watching because there's a 288 00:15:40,280 --> 00:15:43,080 Speaker 1: lot of a lot of local locations that are used, 289 00:15:43,400 --> 00:15:47,480 Speaker 1: including the Decatur Marta station, which I was looking this up. 290 00:15:47,560 --> 00:15:50,800 Speaker 1: This film came out in nineteen eighty and the station 291 00:15:50,920 --> 00:15:55,800 Speaker 1: opened June nine, So it's like a fresh spanking new 292 00:15:56,000 --> 00:15:59,920 Speaker 1: Marta station there that which Marta is the train system 293 00:16:00,000 --> 00:16:02,440 Speaker 1: here in Atlanta. Uh. But but yeah, you get to 294 00:16:02,440 --> 00:16:05,160 Speaker 1: see it fresh and new and and uh, you know, 295 00:16:05,280 --> 00:16:08,320 Speaker 1: unsoiled by by cannibalism. Oh. I just thought of another 296 00:16:08,360 --> 00:16:10,240 Speaker 1: one that I forgot to mention earlier, though this one 297 00:16:10,320 --> 00:16:14,520 Speaker 1: is actually not Italian. Some Marta stations appear in uh 298 00:16:14,600 --> 00:16:18,080 Speaker 1: in Escape from New York John Carpenter's movie One of 299 00:16:18,080 --> 00:16:21,440 Speaker 1: the Marta stations here in Town is extensively featured in 300 00:16:21,480 --> 00:16:24,600 Speaker 1: a sequence that was cut from the movie that involves 301 00:16:24,880 --> 00:16:27,720 Speaker 1: Kurt Russell robbing a bank at the beginning of the movie, 302 00:16:27,840 --> 00:16:30,480 Speaker 1: or maybe sort of like digitally robbing a bank. I 303 00:16:30,480 --> 00:16:33,360 Speaker 1: think he like steals computer stuff. Um, but he like 304 00:16:33,400 --> 00:16:35,680 Speaker 1: gets on a Marta train and then like rides it 305 00:16:35,720 --> 00:16:37,920 Speaker 1: to a station and then him and his co conspirator 306 00:16:37,960 --> 00:16:40,200 Speaker 1: are ambushed right in the middle of a Marta station 307 00:16:40,200 --> 00:16:43,560 Speaker 1: by a bunch of police. That's how Snake gets caught. 308 00:16:43,880 --> 00:16:46,760 Speaker 1: Oh yeah, that's right. Um. And to be fair, there 309 00:16:46,760 --> 00:16:49,600 Speaker 1: are some other Georgia horror movies of note from back 310 00:16:49,600 --> 00:16:51,720 Speaker 1: in the day. I think Squirm from seventy six, I 311 00:16:51,720 --> 00:16:54,840 Speaker 1: think that was a Georgia movie. And oh, I'm trying 312 00:16:54,840 --> 00:16:57,640 Speaker 1: to remember the name of the one that's set at 313 00:16:57,640 --> 00:17:01,240 Speaker 1: the Beach, um Man, I was just down there recently 314 00:17:01,240 --> 00:17:02,960 Speaker 1: and I had I think I even sent you a 315 00:17:02,960 --> 00:17:05,280 Speaker 1: picture of one of the locations. Or was it The 316 00:17:05,320 --> 00:17:08,840 Speaker 1: Slayer from Type Island? Yes, from Tybee Island, The Slayer, 317 00:17:09,200 --> 00:17:12,880 Speaker 1: which is which actually quite good, um, maybe even too good. 318 00:17:12,880 --> 00:17:16,359 Speaker 1: It could have it could have been a bit crappier, 319 00:17:16,359 --> 00:17:17,720 Speaker 1: and that would have been probably been better for the 320 00:17:17,800 --> 00:17:21,040 Speaker 1: viewing experience. It's it's pretty seriously serious minded, but it's 321 00:17:21,040 --> 00:17:22,520 Speaker 1: so it's a fun view So if you ever, if 322 00:17:22,520 --> 00:17:25,560 Speaker 1: you ever find yourself out on Tybee Island enjoying, you know, 323 00:17:25,640 --> 00:17:37,600 Speaker 1: beach vacation, bring a copy of The Slayer with you. Okay, 324 00:17:37,640 --> 00:17:42,119 Speaker 1: So what's the elevator pitch on Cannibal Apocalypse? Green Beret 325 00:17:42,280 --> 00:17:45,679 Speaker 1: Norman Hooper or is it Hopper? I guess because it's 326 00:17:45,680 --> 00:17:49,440 Speaker 1: like Dennis Hopper, Queen Beret Norman Hopper survived the Vietnam War, 327 00:17:49,560 --> 00:17:52,359 Speaker 1: but he brought something back with him, a stress activated 328 00:17:52,480 --> 00:17:55,960 Speaker 1: viral hunger for human flesh. Let's set that trailer audio 329 00:17:57,080 --> 00:18:19,320 Speaker 1: cannibalism that very ridd in the flu market taking pot 330 00:18:19,320 --> 00:18:26,600 Speaker 1: shots got side. Okay, that's an avoid about Please please 331 00:18:26,680 --> 00:18:31,160 Speaker 1: try to understand. Listen to me. While she was here, 332 00:18:31,320 --> 00:18:35,199 Speaker 1: I had this urge tood by her, good bye her, 333 00:18:35,320 --> 00:18:48,760 Speaker 1: you understand, like Posky, it's so good, it's so good. 334 00:18:49,119 --> 00:18:51,040 Speaker 1: I love the music in this film. I can't wait 335 00:18:51,119 --> 00:18:54,480 Speaker 1: to talk in more depth about the music. Music is 336 00:18:54,640 --> 00:18:57,600 Speaker 1: great and some of the musical choices, as is common 337 00:18:57,680 --> 00:19:01,879 Speaker 1: in Italian movies of this period are quite hilarious in 338 00:19:01,960 --> 00:19:05,080 Speaker 1: their in their deployment in the film, despite being pretty 339 00:19:05,119 --> 00:19:08,560 Speaker 1: great on their own. But first let's talk about Let's 340 00:19:08,560 --> 00:19:11,520 Speaker 1: talk about the director, the writer, and some of the 341 00:19:11,720 --> 00:19:16,880 Speaker 1: some of the cast. So the director here is Antonio Madretti, director, 342 00:19:16,960 --> 00:19:21,040 Speaker 1: co writer, lived through two thousand and two. Um, I 343 00:19:21,119 --> 00:19:24,120 Speaker 1: believe you're you're very familiar with one of his other works. Oh, yes, 344 00:19:24,240 --> 00:19:27,119 Speaker 1: he's so. He's the director of your The Hunter from 345 00:19:27,160 --> 00:19:30,119 Speaker 1: the Future from three so a few years after this 346 00:19:30,280 --> 00:19:33,720 Speaker 1: one was made. That is a Conan the Barbarian rip off, 347 00:19:33,840 --> 00:19:37,520 Speaker 1: a leather diaper barbarian movie starring Reb Brown, the guy 348 00:19:37,600 --> 00:19:41,160 Speaker 1: from Space Mutiny who screams. You remember him? Oh yes, 349 00:19:41,600 --> 00:19:44,520 Speaker 1: he's an all time great muscle bro and in this 350 00:19:44,680 --> 00:19:47,159 Speaker 1: movie he's playing the Conan. But I like how this 351 00:19:47,359 --> 00:19:53,680 Speaker 1: movie mixes cheap barbarian rip off movie with dinosaurs and 352 00:19:54,000 --> 00:19:58,280 Speaker 1: science fiction. So it has aliens and robots and spaceships 353 00:19:58,760 --> 00:20:00,560 Speaker 1: and the villain at the end of the movie is 354 00:20:00,560 --> 00:20:05,639 Speaker 1: basically Darth Vader. Well, it makes sense for Margarity because 355 00:20:05,640 --> 00:20:08,479 Speaker 1: he worked in pretty much every genre. He did Vietnam 356 00:20:08,560 --> 00:20:11,960 Speaker 1: War movies, horror movies, sci fi movies, and more. Yeah, 357 00:20:11,960 --> 00:20:15,680 Speaker 1: I think he's widely considered sort of an ultimate top 358 00:20:15,800 --> 00:20:19,840 Speaker 1: tier schlock granddaddy. Uh. And in fact, he gets he 359 00:20:19,920 --> 00:20:22,679 Speaker 1: gets name dropped by a lot of other film nerds 360 00:20:22,720 --> 00:20:26,000 Speaker 1: and stuff. And if you are not familiar with these 361 00:20:26,200 --> 00:20:30,200 Speaker 1: Italian schlock movies, but you recognize his name an Tonio Marghariti, 362 00:20:30,760 --> 00:20:33,720 Speaker 1: that might be because you have heard him name checked 363 00:20:33,760 --> 00:20:37,399 Speaker 1: in movies by Quentin Tarantino. For example, in Inglorious Bastards, 364 00:20:37,760 --> 00:20:42,200 Speaker 1: Tarantino has a character who is assuming a false name 365 00:20:42,880 --> 00:20:46,520 Speaker 1: as and pretending to be an Italian Uh, camera operator. 366 00:20:46,560 --> 00:20:51,080 Speaker 1: I think say that his name is Antonio Margariti. I 367 00:20:51,200 --> 00:20:54,520 Speaker 1: forgot about that. Um, yeah, yeah, he did it. All 368 00:20:54,560 --> 00:20:56,879 Speaker 1: he did did like you can pretty much name it, 369 00:20:57,040 --> 00:21:00,440 Speaker 1: and he did it. Did he do underwater horror movie? Yes, 370 00:21:00,720 --> 00:21:03,240 Speaker 1: he didn't want called aliens from the deep, so many 371 00:21:03,320 --> 00:21:06,520 Speaker 1: of those. Did he do a Hercules movie? Yes, he 372 00:21:06,600 --> 00:21:08,200 Speaker 1: did a couple of them. Oh yeah, I think he 373 00:21:08,240 --> 00:21:10,800 Speaker 1: actually did a number of them. So the Sword and 374 00:21:10,960 --> 00:21:14,119 Speaker 1: Sandal movies, as they're often called in the States, uh, 375 00:21:14,160 --> 00:21:17,280 Speaker 1: they're they're often referred to as peplum movies in the 376 00:21:17,840 --> 00:21:20,639 Speaker 1: in the Italian press, I think named after sort of 377 00:21:20,720 --> 00:21:23,399 Speaker 1: like the Greek garment that the Hercules type character or 378 00:21:23,440 --> 00:21:27,360 Speaker 1: the Ercole character would wear. Uh in these movies. Uh, 379 00:21:28,359 --> 00:21:31,600 Speaker 1: these were really popular in Italian cinema from like the 380 00:21:31,800 --> 00:21:35,680 Speaker 1: mid fifties until the early sixties. I think they, like 381 00:21:35,800 --> 00:21:38,800 Speaker 1: they absolutely dominated the Italian movie scene at the time. 382 00:21:39,240 --> 00:21:43,160 Speaker 1: What Marvel movies are today. Peplum movies were to Italian 383 00:21:43,200 --> 00:21:45,720 Speaker 1: movies in the in the fifties through the early sixties. 384 00:21:45,800 --> 00:21:47,840 Speaker 1: And and he definitely made a few. Yeah, I mean 385 00:21:47,920 --> 00:21:52,040 Speaker 1: he also did literary adaptations. He did a Treasure Island adaptation. Okay, 386 00:21:52,400 --> 00:21:55,399 Speaker 1: he did a Christopher Lee horror movie titled Horror Castle 387 00:21:55,480 --> 00:21:58,240 Speaker 1: in nineteen sixty three. He did a number of science 388 00:21:58,359 --> 00:22:00,720 Speaker 1: fiction movies that I think are can that I haven't 389 00:22:00,760 --> 00:22:02,800 Speaker 1: seen any of them, but I think they're considered less 390 00:22:03,119 --> 00:22:05,320 Speaker 1: over the top and grotesque than a lot of his 391 00:22:05,480 --> 00:22:09,159 Speaker 1: later works. Uh. And there it seemed to me like 392 00:22:09,240 --> 00:22:13,720 Speaker 1: they're sort of like competent, pretty solid, well grounded, well 393 00:22:13,800 --> 00:22:17,120 Speaker 1: executed sci fi movies from the fifties. Yeah, it would 394 00:22:17,119 --> 00:22:19,479 Speaker 1: be interesting to explore. I I read that he did 395 00:22:19,520 --> 00:22:22,440 Speaker 1: special effects as well, including working on two thousand and 396 00:22:22,480 --> 00:22:27,360 Speaker 1: one of Space Odyssey in the special effects department. But yeah, 397 00:22:27,400 --> 00:22:30,680 Speaker 1: he Also I should note that, even though his his 398 00:22:30,880 --> 00:22:34,399 Speaker 1: name carries more weight today, he generally worked under the 399 00:22:35,040 --> 00:22:38,920 Speaker 1: moniker Anthony M. Dawson. You know, you had to americanize 400 00:22:38,960 --> 00:22:40,760 Speaker 1: that name, right right. A lot of a lot of 401 00:22:40,840 --> 00:22:44,159 Speaker 1: Italian people in film, not just directors, would have a 402 00:22:44,200 --> 00:22:47,960 Speaker 1: sort of anglicized pseudonym that they would release their movies under. 403 00:22:48,000 --> 00:22:50,080 Speaker 1: I don't know if that was designed to make them 404 00:22:50,160 --> 00:22:54,080 Speaker 1: seem more appealing to English speaking audiences, but so, yeah, 405 00:22:54,119 --> 00:22:55,880 Speaker 1: he would be Anthony UM Dawson. I think I read 406 00:22:55,960 --> 00:22:59,080 Speaker 1: somewhere that he sometimes directed under the name uh an 407 00:22:59,560 --> 00:23:04,480 Speaker 1: Tony Daisies or Anthony Daisies, which is what Margariti actually 408 00:23:04,560 --> 00:23:08,080 Speaker 1: means Daisies. So he's co writer on this. But also 409 00:23:08,480 --> 00:23:13,880 Speaker 1: we have Dardano Sacchetti, who was born ninety four, Italian 410 00:23:13,960 --> 00:23:17,120 Speaker 1: screenwriter who worked with oh, just about all the big 411 00:23:17,240 --> 00:23:19,840 Speaker 1: names in in um you know, the sort of B 412 00:23:20,040 --> 00:23:24,280 Speaker 1: movie uh schlock market. He worked with Lomberto Bavo, with 413 00:23:24,400 --> 00:23:30,280 Speaker 1: Lucio Fulci, with in Zog Casta Castelleri, uh, Dario Argento. Uh. 414 00:23:30,320 --> 00:23:32,560 Speaker 1: In fact, his first credit was Argento's The Cat of 415 00:23:32,640 --> 00:23:35,640 Speaker 1: Nine Tales. Ah, that one. Despite what you would guess 416 00:23:35,680 --> 00:23:40,440 Speaker 1: from the title is about genetic engineering. I think I've 417 00:23:40,480 --> 00:23:43,200 Speaker 1: never said it. It involves a murder that takes place 418 00:23:43,280 --> 00:23:45,879 Speaker 1: in like a genetics lab in the seventies, which is 419 00:23:46,040 --> 00:23:49,120 Speaker 1: very strange. Uh And I think it shares a cast 420 00:23:49,240 --> 00:23:52,040 Speaker 1: member with this movie. Now. He worked with Fucci a lot, 421 00:23:52,240 --> 00:23:54,960 Speaker 1: including some of his most well known films such as 422 00:23:55,080 --> 00:23:59,720 Speaker 1: Zombie House by the Cemetery That Beyond New York, ripper Man, 423 00:23:59,800 --> 00:24:03,800 Speaker 1: Hat and Baby, etcetera. He worked on Baba's Monster, Shark 424 00:24:03,880 --> 00:24:08,440 Speaker 1: and Demons, and he worked on Castellarity's nineteen ninety The 425 00:24:08,520 --> 00:24:11,360 Speaker 1: Bronx Warriors. So he's just an important name in Italian 426 00:24:11,400 --> 00:24:14,600 Speaker 1: be cinema. You're gonna if you start watching b movies 427 00:24:14,640 --> 00:24:16,760 Speaker 1: from Italy in this time period, you're going to see 428 00:24:16,800 --> 00:24:19,120 Speaker 1: his name. Now, the next person we got to introduce 429 00:24:19,200 --> 00:24:22,040 Speaker 1: for this film is uh Is is someone who was 430 00:24:22,160 --> 00:24:25,679 Speaker 1: born by the name of Carmine Rico, though you might 431 00:24:25,760 --> 00:24:28,840 Speaker 1: know him better as John Saxon. That's right. I believe 432 00:24:28,840 --> 00:24:33,240 Speaker 1: he was the son of Italian immigrants if I recall correctly. Yeah, 433 00:24:33,280 --> 00:24:36,040 Speaker 1: he's He's Italian American. He was born in New York. 434 00:24:36,119 --> 00:24:39,000 Speaker 1: I think his father was a was It was a 435 00:24:39,080 --> 00:24:42,720 Speaker 1: dock worker in Brooklyn. Yeah, yeah, he. If you have 436 00:24:42,840 --> 00:24:45,200 Speaker 1: been listening to our Weird House Cinema episodes, you will 437 00:24:45,240 --> 00:24:48,480 Speaker 1: remember he was our villain in Hands of Steel. Just 438 00:24:48,600 --> 00:24:53,480 Speaker 1: a legendary American B movie actor. Um. He wasn't close 439 00:24:53,520 --> 00:24:56,760 Speaker 1: to two pictures. He he was born in ninety six, 440 00:24:57,240 --> 00:25:01,360 Speaker 1: died in um but had a very long career. Uh. 441 00:25:01,560 --> 00:25:04,160 Speaker 1: He started out in some beach hunk movies I guess 442 00:25:04,160 --> 00:25:07,119 Speaker 1: you'd call them in the nineteen fifties, and he went 443 00:25:07,160 --> 00:25:09,119 Speaker 1: on to be in some really iconic films. He was 444 00:25:09,160 --> 00:25:12,400 Speaker 1: in the Original and Nightmare on Elm Street playing Nancy's dad. 445 00:25:12,480 --> 00:25:14,760 Speaker 1: He was in Inner the Dragon, of course, had a 446 00:25:14,920 --> 00:25:17,560 Speaker 1: huge role in that opposite Bruce Lee. I think that 447 00:25:17,720 --> 00:25:20,920 Speaker 1: is in some ways considered his big breakout role. Yeah yeah, 448 00:25:21,280 --> 00:25:24,639 Speaker 1: I mean he it's an incredible role. But yeah, he's 449 00:25:24,640 --> 00:25:27,679 Speaker 1: a guy that was always working, so the films were 450 00:25:27,760 --> 00:25:33,359 Speaker 1: not always top shelf, but he always brought this quiet intensity, 451 00:25:33,480 --> 00:25:35,720 Speaker 1: you know his he's really piercing eyes. Were already talked 452 00:25:35,720 --> 00:25:39,480 Speaker 1: about he has kind of a grounding um acting presence 453 00:25:39,480 --> 00:25:41,760 Speaker 1: in a film. Yeah he. I mean he's one of 454 00:25:41,840 --> 00:25:43,879 Speaker 1: these people. Actually. I think Tim Lucas talks about this 455 00:25:43,960 --> 00:25:48,400 Speaker 1: in his commentary track that Saxon operated at the boundary 456 00:25:48,640 --> 00:25:52,159 Speaker 1: between a cinema and be cinema, and it seemed like 457 00:25:52,280 --> 00:25:54,480 Speaker 1: he had a choice where he could sort of be 458 00:25:54,680 --> 00:25:58,240 Speaker 1: a supporting player in A cinema or he could be 459 00:25:58,560 --> 00:26:02,440 Speaker 1: a leading player and top name in B cinema. And 460 00:26:02,560 --> 00:26:05,040 Speaker 1: it was around the time of this movie that it 461 00:26:05,080 --> 00:26:08,159 Speaker 1: seemed like he just fully embraced I'll be top billing 462 00:26:08,240 --> 00:26:12,120 Speaker 1: guy in B movies. Yeah. I was reading an interview 463 00:26:12,240 --> 00:26:15,560 Speaker 1: with him that was from a two thousand two Dutch 464 00:26:15,640 --> 00:26:17,320 Speaker 1: fan convention where they were talking to him and he 465 00:26:17,400 --> 00:26:19,840 Speaker 1: was talking a little bit about working in Italy. He 466 00:26:19,960 --> 00:26:22,840 Speaker 1: mentioned that, you know, he spoke some Italian, uh, you know, 467 00:26:23,000 --> 00:26:25,879 Speaker 1: enough to get by, but he was took from this 468 00:26:25,960 --> 00:26:28,520 Speaker 1: interview that he wasn't like truly fluent. Sometimes I see, 469 00:26:28,600 --> 00:26:31,399 Speaker 1: like an IMDb, I see factoids about him being fluent 470 00:26:31,480 --> 00:26:34,000 Speaker 1: in Italian, and I don't think that was necessarily the 471 00:26:34,080 --> 00:26:36,040 Speaker 1: case based on his own words there, because he talks 472 00:26:36,040 --> 00:26:40,879 Speaker 1: about there being communication issues sometimes um between Italian directors 473 00:26:40,920 --> 00:26:43,080 Speaker 1: who did not speak English or very good English and 474 00:26:43,119 --> 00:26:46,120 Speaker 1: the cast um. But he says that in these Italian 475 00:26:46,200 --> 00:26:48,920 Speaker 1: films he was often given just a lot of room 476 00:26:49,040 --> 00:26:52,280 Speaker 1: to do like what he wanted with a role. And 477 00:26:52,440 --> 00:26:54,760 Speaker 1: part of that might have been that they couldn't communicate 478 00:26:54,800 --> 00:26:57,320 Speaker 1: with him that well. Um, or that maybe they were 479 00:26:57,320 --> 00:27:01,720 Speaker 1: a little intimidated because again he's this this boundary walker 480 00:27:01,840 --> 00:27:04,119 Speaker 1: between a film and B film and a lot of 481 00:27:04,160 --> 00:27:05,760 Speaker 1: these guys, I mean, they knew they were making a 482 00:27:05,840 --> 00:27:10,280 Speaker 1: B film. Uh, and so illusions there. Yeah, and here's 483 00:27:10,320 --> 00:27:12,760 Speaker 1: John Saxon. We're paying money for John Saxon. We're gonna 484 00:27:12,840 --> 00:27:14,679 Speaker 1: let Saxon do his thing. You know what I had 485 00:27:14,720 --> 00:27:17,359 Speaker 1: forgotten is that John Saxon has a prominent role in 486 00:27:17,560 --> 00:27:22,159 Speaker 1: tenne Brey Another, a famous Italian jello movie made by 487 00:27:22,240 --> 00:27:25,560 Speaker 1: Dario Argento. Some people consider it Argento's best movie, or 488 00:27:25,560 --> 00:27:28,119 Speaker 1: one of his best movies. I'd put it maybe like 489 00:27:28,280 --> 00:27:31,239 Speaker 1: fourth or fifth. But but yeah, it's good. That's one. 490 00:27:31,280 --> 00:27:33,840 Speaker 1: I haven't seen it yet, but I've listened to the 491 00:27:33,880 --> 00:27:38,240 Speaker 1: soundtrack before. Oh yeah, good soundtrack. If you see Goblin live, 492 00:27:38,359 --> 00:27:42,280 Speaker 1: they will play tenner bre definitely. Now. That a two 493 00:27:42,320 --> 00:27:44,879 Speaker 1: thousand two interview from the Dutch Fan convention. UM. I 494 00:27:45,040 --> 00:27:48,840 Speaker 1: was reading it on a site to title the flashback file. Um, 495 00:27:48,920 --> 00:27:51,200 Speaker 1: if you just look for John Saxon interview there you'll 496 00:27:51,240 --> 00:27:54,040 Speaker 1: find it. But he has a wonderful little story about 497 00:27:54,160 --> 00:27:58,040 Speaker 1: this film that I think is very revealing. So I'm 498 00:27:58,080 --> 00:28:00,560 Speaker 1: gonna quote here. This is a quote from John's Good One. 499 00:28:01,760 --> 00:28:03,800 Speaker 1: Let me tell you about that film. It's a real 500 00:28:03,840 --> 00:28:07,359 Speaker 1: funny story. When the script came, I thought it was interesting. 501 00:28:07,520 --> 00:28:09,639 Speaker 1: It was talking about the Vietnam War, like it was 502 00:28:09,720 --> 00:28:11,920 Speaker 1: a virus you could bring home. I thought it was 503 00:28:11,960 --> 00:28:15,080 Speaker 1: a great metaphor for a psychological condition. So I went 504 00:28:15,160 --> 00:28:17,920 Speaker 1: down there and I met within Tonio Margretti, and I 505 00:28:17,960 --> 00:28:20,720 Speaker 1: told him how I really liked the script. He said 506 00:28:20,800 --> 00:28:24,800 Speaker 1: he did not. I didn't understand why he would say that, 507 00:28:25,160 --> 00:28:27,399 Speaker 1: but I didn't ask him. Turns out I got an 508 00:28:27,440 --> 00:28:31,119 Speaker 1: English translation of the Italian script, but the translators weren't 509 00:28:31,240 --> 00:28:33,920 Speaker 1: very good. They just left stuff out. But we got 510 00:28:34,040 --> 00:28:38,880 Speaker 1: babble fished into a role. Yep. Yeah, And he says, 511 00:28:39,080 --> 00:28:41,720 Speaker 1: but I always found out that that When we were 512 00:28:41,800 --> 00:28:44,440 Speaker 1: actually shooting, I thought it was just one guy biting 513 00:28:44,440 --> 00:28:46,840 Speaker 1: another guy in the virus spreads. But at one point 514 00:28:46,920 --> 00:28:48,800 Speaker 1: we were shooting a scene and a guy brings in 515 00:28:48,880 --> 00:28:51,200 Speaker 1: this tray of meat. I asked what it was for, 516 00:28:51,440 --> 00:28:53,920 Speaker 1: and they explained to me it was supposed to be 517 00:28:54,040 --> 00:28:57,320 Speaker 1: body parts, even genitals, and we were supposed to gnaw 518 00:28:57,440 --> 00:29:02,920 Speaker 1: on them. He continues, I asked Margaritti to take me 519 00:29:03,000 --> 00:29:05,160 Speaker 1: out of the scene and I went to my hotel room. 520 00:29:05,720 --> 00:29:07,760 Speaker 1: Once I found out what the true nature of the 521 00:29:07,800 --> 00:29:10,360 Speaker 1: film was, I got so depressed. I had three days 522 00:29:10,400 --> 00:29:12,480 Speaker 1: off and I flew to New York, and all the 523 00:29:12,520 --> 00:29:16,120 Speaker 1: while I was dreading to go back there. I've never 524 00:29:16,240 --> 00:29:18,160 Speaker 1: seen it, and I tried to forget about it. But 525 00:29:18,240 --> 00:29:21,120 Speaker 1: in four I met with a Korean producer who wanted 526 00:29:21,160 --> 00:29:23,160 Speaker 1: me for a film, and he said, you know, your 527 00:29:23,160 --> 00:29:25,479 Speaker 1: film is a big hit in Korea. I asked him 528 00:29:25,520 --> 00:29:30,600 Speaker 1: which film, Yeah, that one. Oh my god. But even 529 00:29:30,720 --> 00:29:33,720 Speaker 1: in observing the difference between this story and the final film, 530 00:29:33,800 --> 00:29:37,440 Speaker 1: you will see some of John Saxon's influence and saying like, no, 531 00:29:37,640 --> 00:29:40,520 Speaker 1: I'm not doing that, because here he's being asked to 532 00:29:40,600 --> 00:29:43,040 Speaker 1: gnaw on in trails, and he never does that in 533 00:29:43,120 --> 00:29:46,800 Speaker 1: the movie. Other characters do, but Saxon, I do not 534 00:29:46,960 --> 00:29:48,880 Speaker 1: think you ever see him with any kind of meat 535 00:29:48,920 --> 00:29:51,200 Speaker 1: in his mouth. Now. I think the most he ever 536 00:29:51,280 --> 00:29:53,480 Speaker 1: does is he wiped some blood off of his mouth, 537 00:29:53,600 --> 00:29:56,640 Speaker 1: you know, So it's implied that he engaged in cannibalism, right, 538 00:29:56,720 --> 00:29:59,160 Speaker 1: it is implied that he does all kinds of horrible things, 539 00:29:59,240 --> 00:30:02,520 Speaker 1: but off camp ra Yeah, alright, so again Saxon plays 540 00:30:02,600 --> 00:30:06,600 Speaker 1: Norman Hopper and then his wife in the movie, Jane Hopper, 541 00:30:06,920 --> 00:30:10,200 Speaker 1: is played by Elizabeth Turner, an Italian actor. This was 542 00:30:10,240 --> 00:30:13,880 Speaker 1: her last film. She was also in Full Chise the Psychic. 543 00:30:14,680 --> 00:30:20,360 Speaker 1: She was in a truly throbbingly bizarre movie called Beyond 544 00:30:20,600 --> 00:30:23,560 Speaker 1: the Door that came out in nineteen seventy four. Though, 545 00:30:24,320 --> 00:30:26,960 Speaker 1: so she's credited as being in that film, But then again, 546 00:30:27,080 --> 00:30:30,320 Speaker 1: I don't really remember her from it, and it's possible 547 00:30:30,840 --> 00:30:33,400 Speaker 1: that big parts of her performance may have actually been 548 00:30:33,480 --> 00:30:36,640 Speaker 1: cut out of the movie. But anyway, I'll leave that 549 00:30:36,760 --> 00:30:39,440 Speaker 1: for you to sort out. Anyway, Beyond the Door, it's 550 00:30:39,480 --> 00:30:43,840 Speaker 1: worth saying, is a fascinatingly weird, blatant rip off of 551 00:30:43,920 --> 00:30:46,720 Speaker 1: The Exorcist released just so. The Exorcist came out in 552 00:30:46,760 --> 00:30:49,960 Speaker 1: seventy three, This is seventy four. It's set in San Francisco, 553 00:30:50,080 --> 00:30:53,840 Speaker 1: but of course it is actually super Italian. I feel 554 00:30:53,840 --> 00:30:55,640 Speaker 1: like we should get a sting from the trailer here. 555 00:30:56,080 --> 00:31:00,040 Speaker 1: Let's hear it where Demonic possession lives an evil and 556 00:31:00,120 --> 00:31:07,720 Speaker 1: it trates the soul. Step inside. If you dare you, 557 00:31:10,160 --> 00:31:15,520 Speaker 1: Jessica has gone beyond the door. At first she didn't believe, 558 00:31:16,400 --> 00:31:20,040 Speaker 1: but she does now. No one must attempt to interfere 559 00:31:20,120 --> 00:31:25,160 Speaker 1: with her pregnancy. You understand, the child must be born 560 00:31:33,360 --> 00:31:39,040 Speaker 1: beyond the door where demonic possession lives and grows and grows, 561 00:31:39,760 --> 00:31:47,080 Speaker 1: and beyond the door, we dare you not to believe 562 00:31:49,480 --> 00:31:52,560 Speaker 1: it's a demon possession movie. But the weirdest thing I 563 00:31:52,640 --> 00:31:55,160 Speaker 1: remember is a scene where there's a couple of the 564 00:31:55,240 --> 00:31:57,400 Speaker 1: main couple in the movie, or they're like having lunch 565 00:31:57,400 --> 00:32:00,120 Speaker 1: shout on a on a patio, and they're discussing what 566 00:32:00,240 --> 00:32:02,680 Speaker 1: to name their unborn child, and the woman says, with 567 00:32:02,800 --> 00:32:09,080 Speaker 1: great passion, what about Steve? No offensitive people named Steve 568 00:32:09,240 --> 00:32:12,560 Speaker 1: or Steven. But I don't know that that seemed really funny. Well, 569 00:32:12,600 --> 00:32:14,800 Speaker 1: the trailer is great. I've I've never seen it, but 570 00:32:15,320 --> 00:32:18,280 Speaker 1: in looking it up, I do see that it's another 571 00:32:18,320 --> 00:32:21,640 Speaker 1: one of these Italian franchises of sorts where you have 572 00:32:21,880 --> 00:32:25,360 Speaker 1: otherwise unconnected or or you know, just unconnected films that 573 00:32:25,400 --> 00:32:28,680 Speaker 1: have been relabeled in some cases in order to loosely 574 00:32:28,800 --> 00:32:32,040 Speaker 1: be a franchise. I think this one may have actually 575 00:32:32,120 --> 00:32:34,720 Speaker 1: been such a blatant rip off of The Exorcist that 576 00:32:34,800 --> 00:32:38,440 Speaker 1: there were some legal troubles, but all that aside. I mean, 577 00:32:38,480 --> 00:32:44,680 Speaker 1: who can resist going beyond the door. All right, let's 578 00:32:44,680 --> 00:32:48,200 Speaker 1: move on to our next actor. This is um Giovanni 579 00:32:48,560 --> 00:32:52,880 Speaker 1: Lombardo Radici. That I hit that right, Yeah, yeah, yeah, 580 00:32:53,440 --> 00:32:55,800 Speaker 1: this is the guy playing that uh that character named 581 00:32:55,880 --> 00:32:59,040 Speaker 1: again Charles Bukowski. Like, I think this is just a 582 00:32:59,160 --> 00:33:03,160 Speaker 1: direct nod to the author. Um. I was trying to understand, 583 00:33:03,240 --> 00:33:07,720 Speaker 1: like what the what the connection might be, And I 584 00:33:07,800 --> 00:33:10,600 Speaker 1: think basically the idea is that Bakowski was a writer 585 00:33:10,760 --> 00:33:13,240 Speaker 1: who was uh you know, he he was sort of 586 00:33:13,440 --> 00:33:17,160 Speaker 1: is self characterized as an outsider. His whole thing was like, well, 587 00:33:17,680 --> 00:33:20,240 Speaker 1: you know, I I need drugs and alcohol to cope 588 00:33:20,280 --> 00:33:22,960 Speaker 1: with the fact that I have horrible memories of my 589 00:33:23,120 --> 00:33:26,240 Speaker 1: experiences throughout life and that I don't fit in in society. 590 00:33:26,400 --> 00:33:31,520 Speaker 1: So just somebody who's uh embracing the role of an unaccepted, 591 00:33:31,680 --> 00:33:35,400 Speaker 1: sort of despised outsider who doesn't fit in. Okay, that 592 00:33:35,520 --> 00:33:40,520 Speaker 1: matches up. So Radici again an Italian actor born nineteen 593 00:33:40,600 --> 00:33:43,680 Speaker 1: fifty four as of this recording still at it. Played 594 00:33:43,800 --> 00:33:46,080 Speaker 1: a lot of sleeves bags in his career, especially his 595 00:33:46,200 --> 00:33:48,840 Speaker 1: early career. Uh. And and was in more than one 596 00:33:48,960 --> 00:33:52,080 Speaker 1: cannibal film. Yeah, he was in I think he is 597 00:33:52,120 --> 00:33:56,560 Speaker 1: in a very famous disgusting gore scene from Full Cheese 598 00:33:56,600 --> 00:33:58,640 Speaker 1: City of the Living Dead, in which he gets like 599 00:33:58,720 --> 00:34:02,560 Speaker 1: a power drill to the head. Okay, I noticed. He's 600 00:34:02,560 --> 00:34:07,360 Speaker 1: also in Joe Diamato's Cannibal Love, uh, acting alongside Big 601 00:34:07,440 --> 00:34:10,440 Speaker 1: George Eastman. So that's that's exciting. He's also in the 602 00:34:10,560 --> 00:34:13,600 Speaker 1: Church by Michael A Suave. Oh yeah, that's a good 603 00:34:13,600 --> 00:34:17,040 Speaker 1: one from nine. And he's also a in Berto Lindsay's 604 00:34:17,239 --> 00:34:20,719 Speaker 1: Cannibal Fear Rox film that proudly boasted that it was 605 00:34:20,800 --> 00:34:23,400 Speaker 1: banned in thirty one countries. That's another one of the 606 00:34:23,480 --> 00:34:26,440 Speaker 1: cannibal movies that I have never watched. Yeah, same here, 607 00:34:26,520 --> 00:34:30,080 Speaker 1: but it's not on my list either. But uh, but yeah, 608 00:34:30,120 --> 00:34:32,200 Speaker 1: this is a cannibal apocalypse though. And this was his 609 00:34:32,360 --> 00:34:35,279 Speaker 1: first film, but he's gone on to have quite a career, 610 00:34:35,400 --> 00:34:37,840 Speaker 1: including showing up in a couple of Big Us pictures. 611 00:34:38,120 --> 00:34:41,040 Speaker 1: The two thousand and six reboot of The Omen, which 612 00:34:41,160 --> 00:34:43,279 Speaker 1: falls in line with some of what we're talking about here. 613 00:34:43,560 --> 00:34:47,000 Speaker 1: But also he has a role in Martin Scorsese's Gangs 614 00:34:47,040 --> 00:34:49,360 Speaker 1: of New York. Oh do you remember who he plays 615 00:34:49,360 --> 00:34:51,799 Speaker 1: in that? He's pretty far down the list. I think 616 00:34:51,840 --> 00:34:54,160 Speaker 1: he he but he has a name, his character has 617 00:34:54,200 --> 00:34:57,520 Speaker 1: a name. Um, he's just I'm assuming one of the 618 00:34:57,600 --> 00:35:00,759 Speaker 1: Italian characters. I haven't actually seen Gangs in New York, 619 00:35:00,800 --> 00:35:03,880 Speaker 1: so I can't I can't be more specific than that. Okay, alright. 620 00:35:03,920 --> 00:35:07,719 Speaker 1: Another actor in this we have a Sinsiad Carols, who 621 00:35:07,800 --> 00:35:11,919 Speaker 1: plays Mary the Neighbor. Born nineteen sixty an Italian actor, again, 622 00:35:12,000 --> 00:35:14,560 Speaker 1: a former child actor. I think she was twenty at 623 00:35:14,600 --> 00:35:17,239 Speaker 1: the time that this film was put together, but she 624 00:35:17,360 --> 00:35:20,160 Speaker 1: had already been in Argento's The Cat of Nine Tales. 625 00:35:20,600 --> 00:35:22,320 Speaker 1: She was She went on to be in an Italian 626 00:35:22,400 --> 00:35:25,560 Speaker 1: TV bio of Helen Keller, and I believe she's worked 627 00:35:25,640 --> 00:35:28,920 Speaker 1: as a as a dubber, dubbing helping to dub various 628 00:35:29,040 --> 00:35:32,560 Speaker 1: like uh, English language films for instance, into Italian. We 629 00:35:32,680 --> 00:35:36,200 Speaker 1: also have in this film Tony King. Also known I 630 00:35:36,280 --> 00:35:39,960 Speaker 1: think more properly known today is Malik Farrakhan Uh. He 631 00:35:40,040 --> 00:35:42,560 Speaker 1: plays Tom Thompson, a vet. He was born in nineteen 632 00:35:42,640 --> 00:35:45,960 Speaker 1: forty seven. He played for the NFL on the Buffalo Bills, 633 00:35:46,000 --> 00:35:49,320 Speaker 1: I think for one season in nineteen sixty seven, I believe, 634 00:35:49,480 --> 00:35:50,640 Speaker 1: and then he went on to act in a lot 635 00:35:50,680 --> 00:35:53,400 Speaker 1: of B movies throughout the seventies. He's been a political 636 00:35:54,000 --> 00:35:57,080 Speaker 1: movies though he's oh yeah, yeah, yeah, yeah yeah. He 637 00:35:57,160 --> 00:35:58,719 Speaker 1: did a lot of B movie work. But he also 638 00:35:58,760 --> 00:36:01,920 Speaker 1: pops up in Shaft. I believe. He has a brief, 639 00:36:02,120 --> 00:36:06,279 Speaker 1: maybe uncredited role in the Godfather. He was in The Toy. 640 00:36:06,480 --> 00:36:10,640 Speaker 1: He was in Sharky's Machine with Burt Reynolds. Yeah yeah, uh, 641 00:36:10,760 --> 00:36:13,360 Speaker 1: and I I read that he also served and I 642 00:36:13,440 --> 00:36:17,160 Speaker 1: think perhaps still serves as the hip hop group Public 643 00:36:17,320 --> 00:36:22,080 Speaker 1: Enemies head of security. Uh. There's apparently a documentary about 644 00:36:22,160 --> 00:36:24,840 Speaker 1: about him in the works titled The Long Road Projects, 645 00:36:24,920 --> 00:36:27,520 Speaker 1: So check that out. It's The Long Road Project dot com. 646 00:36:28,040 --> 00:36:30,520 Speaker 1: He's great in this, Yeah, he has all right. We 647 00:36:30,640 --> 00:36:35,160 Speaker 1: also have the character Dr. Phil Mindez played by Ramiro 648 00:36:35,680 --> 00:36:39,239 Speaker 1: al oliver Eros, who was born in n and is 649 00:36:39,280 --> 00:36:41,840 Speaker 1: a Spanish actor. It's It's worth driving home. I'm not 650 00:36:41,920 --> 00:36:43,600 Speaker 1: sure if I mentioned this already, but this is a 651 00:36:44,000 --> 00:36:47,880 Speaker 1: Spanish Italian co production. Um so here's our Spanish presence 652 00:36:47,920 --> 00:36:50,200 Speaker 1: in the film. He's known for such titles as The 653 00:36:50,239 --> 00:36:53,760 Speaker 1: Swamp of Ravens and Black Commando. Tim lucas Is commentary 654 00:36:53,840 --> 00:36:58,160 Speaker 1: track pointed out the distinctive Italian nous of the inappropriateness 655 00:36:58,360 --> 00:37:02,560 Speaker 1: of this character, This guy who, ostensibly, in another in 656 00:37:02,640 --> 00:37:05,080 Speaker 1: another version of this movie, would be able to kind 657 00:37:05,120 --> 00:37:07,439 Speaker 1: of be the hero of the movie, like the person 658 00:37:07,520 --> 00:37:11,480 Speaker 1: who uh can can like step in and intervene. Instead, 659 00:37:11,600 --> 00:37:14,680 Speaker 1: he's just like he's just wrong in every possible way. 660 00:37:16,719 --> 00:37:18,839 Speaker 1: He is well, and we'll get to some examples here 661 00:37:18,880 --> 00:37:21,680 Speaker 1: in a second. Now, one thing about this film is 662 00:37:21,760 --> 00:37:24,480 Speaker 1: that it's it's filmed in Atlanta for the most part. 663 00:37:24,520 --> 00:37:27,560 Speaker 1: I think they shot some tunnel sequences in Rome, but 664 00:37:28,000 --> 00:37:30,839 Speaker 1: not Room, Georgia, but Rome, Italy. So it's very much 665 00:37:30,880 --> 00:37:33,960 Speaker 1: filmed in Atlanta, and it is set in Atlanta. Not 666 00:37:34,080 --> 00:37:36,200 Speaker 1: in like a hard way. They don't say things like 667 00:37:36,480 --> 00:37:38,520 Speaker 1: what will this cannibalism due to the city of Atlanta 668 00:37:38,600 --> 00:37:40,360 Speaker 1: or anything to that nature, but they don't hide the 669 00:37:40,400 --> 00:37:42,640 Speaker 1: fact and they seem to embrace on some level that 670 00:37:42,760 --> 00:37:45,719 Speaker 1: it takes place here. That being said, we have a 671 00:37:45,840 --> 00:37:50,160 Speaker 1: number of Italian actors who are clearly dubbed, including a 672 00:37:50,280 --> 00:37:53,640 Speaker 1: couple of them at least that have just ridiculous Southern accents, 673 00:37:53,719 --> 00:37:58,520 Speaker 1: like like country loyal chicken accents. Oh my god, Foghorn, Leghorn, 674 00:37:58,640 --> 00:38:02,320 Speaker 1: the doctor Fog were in Leghorn at the psychiatric hospital. 675 00:38:02,520 --> 00:38:06,200 Speaker 1: That was so funny. Um. I don't know the actor's name, 676 00:38:06,239 --> 00:38:08,879 Speaker 1: but I think he was an Italian actor who looks 677 00:38:09,000 --> 00:38:11,359 Speaker 1: just the slightest bit like I forget the actor's name, 678 00:38:11,360 --> 00:38:13,560 Speaker 1: but the guy who plays the President in Clear and 679 00:38:13,640 --> 00:38:19,120 Speaker 1: President Danger. You know that guy, um, Donald Moffatt. Yes, yes, Oh. 680 00:38:19,160 --> 00:38:21,359 Speaker 1: Also he's in the Thing, the Captain and the Thing. 681 00:38:21,920 --> 00:38:24,480 Speaker 1: Oh yeah, yeah, yeah, so yeah, I do agree. When 682 00:38:24,480 --> 00:38:26,440 Speaker 1: I was watching this, I was like, he looks like somebody, 683 00:38:26,480 --> 00:38:27,799 Speaker 1: and I looked him up and I was like, oh, 684 00:38:27,880 --> 00:38:30,319 Speaker 1: he's he's an Italian actor I've never heard of. Yeah, yeah, 685 00:38:30,400 --> 00:38:32,480 Speaker 1: it just slightly like in the eyes, looks like him. 686 00:38:32,520 --> 00:38:35,600 Speaker 1: But anyway, he's like many characters in this movie and 687 00:38:35,719 --> 00:38:38,440 Speaker 1: many other Italian movies of this period, totally dubbed, so 688 00:38:38,520 --> 00:38:40,239 Speaker 1: you don't know what his real voice sounds like, but 689 00:38:40,360 --> 00:38:44,880 Speaker 1: they dubbed him with This guy with the most hilariously 690 00:38:44,960 --> 00:38:50,120 Speaker 1: implausible Southern accent ever, and sometimes edges almost into Cajun 691 00:38:50,320 --> 00:38:53,920 Speaker 1: accent where he's at the hospital, you know, treating somebody 692 00:38:53,920 --> 00:38:57,719 Speaker 1: who's been bitten by by a cannibal and he is like, oh, 693 00:38:57,800 --> 00:39:00,200 Speaker 1: geryon d you know, he sounds like Paul Prude m 694 00:39:00,360 --> 00:39:03,160 Speaker 1: or something. Yeah, it's ridiculous. So you have a lot 695 00:39:03,239 --> 00:39:06,120 Speaker 1: of that going on. But but again not every actor 696 00:39:06,280 --> 00:39:09,279 Speaker 1: is dubbed, So you have this this weird exception that 697 00:39:09,400 --> 00:39:12,200 Speaker 1: makes those accents even more ridiculous because he had this actor, 698 00:39:12,480 --> 00:39:17,320 Speaker 1: Wallace Wilkinson playing Captain McCoy of the Atlanta Police and 699 00:39:17,480 --> 00:39:20,040 Speaker 1: he is not only an actual Southern he's an actual 700 00:39:20,239 --> 00:39:24,239 Speaker 1: who was an actual Atlanta native who lived nine two 701 00:39:24,239 --> 00:39:26,759 Speaker 1: thousand and one. Yeah, so he plays like the hard 702 00:39:26,920 --> 00:39:30,759 Speaker 1: edged police captain in this Yes, and he has some 703 00:39:31,160 --> 00:39:33,960 Speaker 1: some wonderful lines and it's some some hilarious lines in 704 00:39:34,000 --> 00:39:36,359 Speaker 1: the film. So he's a he's a real pleasure. Uh. 705 00:39:36,440 --> 00:39:38,960 Speaker 1: He was, of course, when it goes without saying he 706 00:39:39,000 --> 00:39:41,680 Speaker 1: was the nineteen seventy nine The Visitor, that other one 707 00:39:41,719 --> 00:39:44,040 Speaker 1: of the other Italian movies set in Atlanta, like that, 708 00:39:44,320 --> 00:39:46,200 Speaker 1: it just lines up too well, you know, he would 709 00:39:46,200 --> 00:39:48,120 Speaker 1: have to be in that one as well. The cast 710 00:39:48,200 --> 00:39:50,839 Speaker 1: in that one is so weird, so it has like people. 711 00:39:50,880 --> 00:39:54,720 Speaker 1: It's got Franco neary as as like a space Jesus 712 00:39:54,840 --> 00:39:59,919 Speaker 1: in it. But then it's got Sam Peckinpah the director. Yeah, 713 00:40:00,040 --> 00:40:03,040 Speaker 1: a doctor in the movie for no reason that I 714 00:40:03,120 --> 00:40:06,120 Speaker 1: can discern. He's just like, Hi, I'm a doctor. I 715 00:40:06,160 --> 00:40:08,279 Speaker 1: think he just gives somebody like a prescription. And then 716 00:40:08,280 --> 00:40:11,440 Speaker 1: the scenes over. Yeah. Yeah, you've got John Houston in 717 00:40:11,560 --> 00:40:15,440 Speaker 1: that one. You've got Lance Hendrickson showing up. He's got 718 00:40:15,480 --> 00:40:19,120 Speaker 1: a weird cast. I believe there's a there's a particular 719 00:40:20,080 --> 00:40:22,560 Speaker 1: long running um or. I think he's retired now. But 720 00:40:22,600 --> 00:40:26,279 Speaker 1: there's a particular political radio host that was Atlanta based 721 00:40:26,400 --> 00:40:28,879 Speaker 1: that pops up in it for no real reason. Oh yeah, 722 00:40:28,920 --> 00:40:32,239 Speaker 1: he's a background extra. Oh yeah, right wing radio guy 723 00:40:32,320 --> 00:40:35,560 Speaker 1: Neil Boards. Yeah, he's just I think he's just in 724 00:40:35,600 --> 00:40:38,760 Speaker 1: a in the background in like a boardroom scene or something. Alright, 725 00:40:38,800 --> 00:40:42,000 Speaker 1: So Wallace Wilkinson, he's fun in this. Um This doesn't 726 00:40:42,040 --> 00:40:43,719 Speaker 1: mean anything to me, but I'm gonna pass it on. 727 00:40:44,000 --> 00:40:46,880 Speaker 1: There's a character in it that's just called Brunette Jogger, 728 00:40:47,120 --> 00:40:51,480 Speaker 1: played by Laura Dean, and apparently she is Sophie from Friends. 729 00:40:51,520 --> 00:40:53,600 Speaker 1: I never watched Friends, so I don't know how meaningful 730 00:40:53,680 --> 00:40:58,200 Speaker 1: that is. I don't really know friends, So okay, well friends, fans, 731 00:40:58,280 --> 00:41:00,600 Speaker 1: you can just take that run with it. Then. Uh, 732 00:41:00,880 --> 00:41:05,000 Speaker 1: but then finally, let's come back to the music. Oh boy, Yes, yes, 733 00:41:05,160 --> 00:41:09,480 Speaker 1: the score of Cannibal Apocalypse is by Alexander block Steiner, 734 00:41:09,800 --> 00:41:13,719 Speaker 1: who lived nineteen thirty through five. And for my money, 735 00:41:14,080 --> 00:41:16,280 Speaker 1: this is one of the real stars of this picture 736 00:41:16,800 --> 00:41:21,000 Speaker 1: because this is just a fabulously like funky disco score. 737 00:41:21,520 --> 00:41:24,759 Speaker 1: It's just absolutely tremendous. It may not always feel completely 738 00:41:24,840 --> 00:41:27,239 Speaker 1: at home in this picture, at least for a lot 739 00:41:27,320 --> 00:41:31,040 Speaker 1: of our our our listeners out there. Uh, but it's 740 00:41:31,080 --> 00:41:33,560 Speaker 1: impossible to imagine this movie without it. It has some 741 00:41:33,719 --> 00:41:36,719 Speaker 1: synth delights in there, it has some spooky bits that 742 00:41:36,800 --> 00:41:39,400 Speaker 1: feel very much in keeping with Italian horror. But it 743 00:41:39,520 --> 00:41:42,680 Speaker 1: has to be the funkiest horror movie score ever. And 744 00:41:42,800 --> 00:41:45,320 Speaker 1: it also has a saxophone love theme. I know what 745 00:41:45,440 --> 00:41:47,560 Speaker 1: you're saying, but actually there's a thing I wanted to 746 00:41:47,640 --> 00:41:50,040 Speaker 1: talk about regarding the music. I was gonna bring it 747 00:41:50,120 --> 00:41:52,160 Speaker 1: up later, but maybe I'll get into it right now. Yeah, 748 00:41:52,280 --> 00:41:54,520 Speaker 1: let's do it. This is also something that Tim Lucas 749 00:41:54,600 --> 00:41:57,560 Speaker 1: pointed out when commenting on the opening sequence of the 750 00:41:57,600 --> 00:42:00,759 Speaker 1: movie that takes place in Vietnam. Uh And it's something 751 00:42:00,840 --> 00:42:03,120 Speaker 1: that's true of that scene in this movie, but also 752 00:42:03,280 --> 00:42:07,520 Speaker 1: just more broadly true of Italian movies of this period. Generally, 753 00:42:08,320 --> 00:42:13,560 Speaker 1: there is this weird cultural disconnect between Italian sensibilities for 754 00:42:13,640 --> 00:42:16,880 Speaker 1: the uses of different types of music and genres of 755 00:42:17,040 --> 00:42:22,880 Speaker 1: music versus American sensibilities. Many Italian directors of the seventies 756 00:42:22,920 --> 00:42:27,440 Speaker 1: and eighties have a distinct predisposition to take a scene 757 00:42:27,920 --> 00:42:32,360 Speaker 1: of high tension, terror and suspense and choose these exact 758 00:42:32,520 --> 00:42:36,840 Speaker 1: moments to let the musical score get the funkiest. And 759 00:42:37,000 --> 00:42:41,360 Speaker 1: this always elicits laughter from American audiences because I don't know, 760 00:42:41,480 --> 00:42:44,040 Speaker 1: I mean, it just doesn't feel right, like funky bass 761 00:42:44,160 --> 00:42:48,120 Speaker 1: and saxophone is not really what would seem to heighten 762 00:42:48,200 --> 00:42:51,080 Speaker 1: the effect of a scene where someone is creeping up 763 00:42:51,160 --> 00:42:53,680 Speaker 1: on somebody else behind them with a knife or something. 764 00:42:54,560 --> 00:42:57,279 Speaker 1: But for some reason this made sense to the Italians. 765 00:42:57,560 --> 00:42:59,640 Speaker 1: So what is going on here with the intended effect 766 00:42:59,719 --> 00:43:03,240 Speaker 1: of funky music? I I don't don't don't hear funky 767 00:43:03,360 --> 00:43:07,279 Speaker 1: music and think, oh wow, I'm getting really nervous. I 768 00:43:07,400 --> 00:43:09,160 Speaker 1: think I have a theory on this. I don't know 769 00:43:09,200 --> 00:43:11,680 Speaker 1: if I'm correct, but because certainly there are people that 770 00:43:12,000 --> 00:43:15,480 Speaker 1: have more expertise in the genres involved here. But I 771 00:43:15,640 --> 00:43:17,520 Speaker 1: think part of it might be might come down to 772 00:43:17,560 --> 00:43:22,719 Speaker 1: the disconnect regarding disco culture between the Italian market and 773 00:43:22,800 --> 00:43:26,640 Speaker 1: the Europe in general and the United States, because disco 774 00:43:26,760 --> 00:43:30,960 Speaker 1: obviously exploded in the States, but there was this for 775 00:43:31,000 --> 00:43:33,160 Speaker 1: a long time, there was this kind of disco backlash, 776 00:43:33,320 --> 00:43:35,600 Speaker 1: and I feel like a lot of us grew up 777 00:43:35,800 --> 00:43:38,719 Speaker 1: exposed to that backlash, you know, jokes about disco and 778 00:43:38,760 --> 00:43:42,799 Speaker 1: about disco being dead and and being lame to some extent, right, 779 00:43:43,080 --> 00:43:47,040 Speaker 1: oh yeah, sure, yeah, yeah, But but in Europe, disco 780 00:43:47,239 --> 00:43:50,840 Speaker 1: never really died, and horror disco was able to to 781 00:43:50,960 --> 00:43:55,120 Speaker 1: sort of thrive and evolve as its own genre or subgenre. 782 00:43:55,600 --> 00:43:57,759 Speaker 1: Um and is it is actually doing quite well today, 783 00:43:57,800 --> 00:44:00,480 Speaker 1: with a lot of artists that were inspired aired by 784 00:44:00,840 --> 00:44:03,560 Speaker 1: soundtracks just such as this one. So you can even 785 00:44:03,640 --> 00:44:06,600 Speaker 1: check out whole labels. There's a wonderful label called Jollo 786 00:44:06,760 --> 00:44:10,399 Speaker 1: Disco Records um which interestingly enough put out a label 787 00:44:10,440 --> 00:44:15,839 Speaker 1: sampler titled Apocalypse Domani that's really really, really quite good. Huh. Well, 788 00:44:15,920 --> 00:44:18,480 Speaker 1: I mean, I agree with your characterization of the difference 789 00:44:18,520 --> 00:44:21,200 Speaker 1: between Like, yeah, I think clearly disco had a more 790 00:44:21,320 --> 00:44:25,680 Speaker 1: sustained survival and popularity in in European culture than it 791 00:44:25,719 --> 00:44:28,880 Speaker 1: did an American culture. But I don't know if that 792 00:44:28,920 --> 00:44:31,840 Speaker 1: would really explain the disconnect within the movies, because I 793 00:44:31,880 --> 00:44:35,400 Speaker 1: don't feel any personal particular disco backlash, and yet it 794 00:44:35,480 --> 00:44:38,640 Speaker 1: still seems very funny, and I can imagine many other 795 00:44:38,800 --> 00:44:41,799 Speaker 1: types of music that would seem equally funny to put 796 00:44:41,920 --> 00:44:43,520 Speaker 1: in these types of like if you were to put 797 00:44:43,600 --> 00:44:46,160 Speaker 1: in Simon and Garfunkel, or some kind of like a 798 00:44:46,239 --> 00:44:49,120 Speaker 1: folk music, or if you were to put in certain 799 00:44:49,160 --> 00:44:51,640 Speaker 1: times of rock music. I think, like any of that 800 00:44:51,719 --> 00:44:54,480 Speaker 1: would seem really not fitting with the tone of the 801 00:44:54,560 --> 00:44:57,759 Speaker 1: scene and would be very funny to me. Maybe may yeah, 802 00:44:58,040 --> 00:45:00,279 Speaker 1: But but I do wonder if there's something to this, 803 00:45:00,440 --> 00:45:03,640 Speaker 1: like the idea that that disco was allowed to thrive 804 00:45:04,360 --> 00:45:07,799 Speaker 1: morning Europe, and so European audiences might be just more 805 00:45:07,880 --> 00:45:11,480 Speaker 1: exposed to a wider world of disco, Like disco is 806 00:45:11,520 --> 00:45:15,839 Speaker 1: big enough in Europe and in Italy, perhaps theorizing here 807 00:45:16,440 --> 00:45:19,960 Speaker 1: big enough to encompass horror and suspense, whereas in the 808 00:45:20,080 --> 00:45:23,960 Speaker 1: United States we almost had this this effort to eradicate disco, 809 00:45:24,400 --> 00:45:26,280 Speaker 1: and so it's just not growing in all the places 810 00:45:26,360 --> 00:45:29,239 Speaker 1: it should. Well, I'll keep an open mind about that. 811 00:45:29,560 --> 00:45:32,400 Speaker 1: That's interesting. I could be completely wrong. It's just just 812 00:45:32,560 --> 00:45:35,960 Speaker 1: throwing that out there. That's that's what's going through my head. Well, 813 00:45:36,080 --> 00:45:39,640 Speaker 1: either way, so as as funny and incongress as it 814 00:45:39,719 --> 00:45:42,160 Speaker 1: does seem to me in its placement in the film, 815 00:45:42,360 --> 00:45:46,680 Speaker 1: the funky disco tracks are just great. Yes. Uh. In fact, 816 00:45:46,880 --> 00:45:49,040 Speaker 1: let's go ahead and listen to a quick sample from 817 00:45:49,080 --> 00:45:51,359 Speaker 1: the score. This is one of my absolute favorite bits 818 00:45:51,440 --> 00:46:09,320 Speaker 1: from it. Yeah, and I should also throw into the 819 00:46:09,440 --> 00:46:12,359 Speaker 1: excellent Death Waltz Recording company. They put out a really 820 00:46:12,400 --> 00:46:15,759 Speaker 1: stunning red vinyl edition of this score, which you can 821 00:46:15,800 --> 00:46:18,279 Speaker 1: still buy for you know, a reasonable price, and you 822 00:46:18,320 --> 00:46:20,520 Speaker 1: can also get it on CD, though I don't think 823 00:46:20,560 --> 00:46:23,600 Speaker 1: official digital versions or are that easy to come by. 824 00:46:23,760 --> 00:46:27,040 Speaker 1: Right now, make the score of Cannibal Apocalypse your next 825 00:46:27,080 --> 00:46:30,359 Speaker 1: Friday night. It's a it's a great it's great. I mean, 826 00:46:30,440 --> 00:46:32,160 Speaker 1: it's it feels a good time. If you did not 827 00:46:32,320 --> 00:46:35,120 Speaker 1: know this was cannibal music, I don't think most people 828 00:46:35,160 --> 00:46:38,719 Speaker 1: would would associated with cannibal you'd be like cannibals. You think, God, 829 00:46:38,800 --> 00:46:40,879 Speaker 1: this is this is great, this is this is hitting 830 00:46:40,920 --> 00:46:44,680 Speaker 1: the town music. I am at the discotheca. Yeah, about 831 00:46:44,680 --> 00:46:46,880 Speaker 1: to go out and get steak guys, French fries. I 832 00:46:46,960 --> 00:46:50,560 Speaker 1: got lots of gas, full moon and a jump in tune. 833 00:46:59,080 --> 00:47:00,840 Speaker 1: All right, So I guess we should talk about a 834 00:47:00,880 --> 00:47:04,120 Speaker 1: few elements from the plot. We mentioned already that the 835 00:47:04,200 --> 00:47:07,560 Speaker 1: movie starts with a flashback to the middle of the 836 00:47:07,640 --> 00:47:10,759 Speaker 1: Vietnam War, where you get to see some of the 837 00:47:11,920 --> 00:47:14,440 Speaker 1: themes I think the movie is trying to establish, like 838 00:47:14,560 --> 00:47:17,840 Speaker 1: it is, it is trying to depict the kind of 839 00:47:18,000 --> 00:47:21,600 Speaker 1: cold brutality of the war in Vietnam. And but also 840 00:47:21,719 --> 00:47:23,320 Speaker 1: that's the reason that it's kind of funny when the 841 00:47:23,640 --> 00:47:26,759 Speaker 1: funky music kicks in in the scene. Um. But it 842 00:47:26,840 --> 00:47:29,480 Speaker 1: sets up the plot by showing a couple of American 843 00:47:29,560 --> 00:47:32,600 Speaker 1: soldiers who have been taken as po ws at a 844 00:47:32,760 --> 00:47:36,520 Speaker 1: at a Vietcong base. And I think the implication is 845 00:47:36,680 --> 00:47:39,560 Speaker 1: that they're they're kept in captivity for so long and 846 00:47:39,719 --> 00:47:42,759 Speaker 1: and fed so little that they are driven to cannibalism, 847 00:47:42,880 --> 00:47:44,880 Speaker 1: or at least that's what you were led to believe 848 00:47:46,200 --> 00:47:49,560 Speaker 1: is the causal factor at the beginning, right right, Yeah, 849 00:47:49,920 --> 00:47:53,279 Speaker 1: So the film opens with these choppers moving in. This 850 00:47:53,480 --> 00:47:56,919 Speaker 1: is the Green Beret team coming to ultimately rescue these people. 851 00:47:56,960 --> 00:47:59,920 Speaker 1: And I should point out that the blue ray of 852 00:48:00,040 --> 00:48:04,200 Speaker 1: this we watched is a wonderful Keno Lerber addition, Um, 853 00:48:04,440 --> 00:48:06,920 Speaker 1: and I believe a new four K remaster from just 854 00:48:08,160 --> 00:48:13,960 Speaker 1: it looks absolutely gorgeous, almost too gorgeous because the just 855 00:48:14,160 --> 00:48:18,240 Speaker 1: jarringly good quality for a cannibal movie. And you notice 856 00:48:18,320 --> 00:48:21,360 Speaker 1: this when you cut back and forth between the actual 857 00:48:21,480 --> 00:48:25,319 Speaker 1: film footage and uh, the stock footage of the helicopters. Yeah. 858 00:48:25,320 --> 00:48:29,160 Speaker 1: I think the stock footage is originally archival sixteen millimeter 859 00:48:29,320 --> 00:48:31,720 Speaker 1: news footage that was taken. You know. It's like actually 860 00:48:31,800 --> 00:48:34,680 Speaker 1: from Vietnam, so it's showing helicopters landing and stuff. But 861 00:48:34,800 --> 00:48:37,279 Speaker 1: it looks extremely grainy when held up against this nice 862 00:48:37,360 --> 00:48:41,319 Speaker 1: restoration of the cannibal movie here. Yeah, so that they 863 00:48:41,440 --> 00:48:43,440 Speaker 1: they're coming in for the rescue. And then there's this 864 00:48:43,800 --> 00:48:48,280 Speaker 1: hillatious there's a number of hillacious things happen in quick succession. 865 00:48:48,640 --> 00:48:51,839 Speaker 1: Uh that can maybe make it hard for some people 866 00:48:51,920 --> 00:48:54,799 Speaker 1: to push on through this movie. Uh, because for one thing, 867 00:48:55,080 --> 00:48:58,600 Speaker 1: they break the dog rule uh pretty quickly. I want 868 00:48:58,640 --> 00:49:01,080 Speaker 1: to say, well, maybe five minutes into the film, oh less, 869 00:49:01,280 --> 00:49:03,080 Speaker 1: I mean a few minutes into the movie a a 870 00:49:03,200 --> 00:49:07,680 Speaker 1: dog explodes, so there's like a dog bomb, which, yeah, 871 00:49:07,680 --> 00:49:08,960 Speaker 1: I gotta say when I was like, I was like, 872 00:49:09,080 --> 00:49:12,560 Speaker 1: oh no. And then and obviously also like the battle 873 00:49:12,600 --> 00:49:16,640 Speaker 1: in Vietnam, uh by being based on real events is 874 00:49:16,719 --> 00:49:19,080 Speaker 1: sort of less can be. It's harder to take in 875 00:49:19,120 --> 00:49:21,560 Speaker 1: a lighthearted way like you can with the biting and 876 00:49:21,640 --> 00:49:23,279 Speaker 1: the eating of people and the rest of the movie. 877 00:49:23,880 --> 00:49:26,239 Speaker 1: Um so like the I feel like definitely the first 878 00:49:26,280 --> 00:49:28,680 Speaker 1: like ten minutes or twenty minutes of the movie are 879 00:49:29,239 --> 00:49:32,879 Speaker 1: are the most unpleasant part of it. Yeah, And there's 880 00:49:32,920 --> 00:49:35,880 Speaker 1: a there's a sequence that's ultimately pivotal to the plot 881 00:49:36,239 --> 00:49:39,360 Speaker 1: where the Green Berets they have a flamethrower and the 882 00:49:39,400 --> 00:49:43,000 Speaker 1: flamethrower hits um. It doesn't even appear to be a combatant. 883 00:49:43,040 --> 00:49:46,200 Speaker 1: It's like a Vietnamese woman she's on fire and so 884 00:49:46,280 --> 00:49:50,920 Speaker 1: it's a horrific like burn suit stunt. And then she 885 00:49:51,160 --> 00:49:54,560 Speaker 1: runs away on fire, falls into the pit where the 886 00:49:54,600 --> 00:49:57,319 Speaker 1: two p o ws are being kept and they immediately 887 00:49:57,480 --> 00:50:00,799 Speaker 1: start eating her body. Yeah. And then On Saxon, who 888 00:50:00,880 --> 00:50:03,520 Speaker 1: is the leader of the Green Berets, are actually It's 889 00:50:03,560 --> 00:50:06,000 Speaker 1: kind of confusing because he's wearing a beret that would 890 00:50:06,040 --> 00:50:08,120 Speaker 1: seem to indicate he is a Green Beret, but he's 891 00:50:08,200 --> 00:50:11,240 Speaker 1: leading a group of soldiers who are not similarly dressed. 892 00:50:11,280 --> 00:50:14,040 Speaker 1: So I'm not sure what the composition of this this 893 00:50:14,160 --> 00:50:16,200 Speaker 1: group is supposed to be. But they come in. John 894 00:50:16,239 --> 00:50:19,440 Speaker 1: Saxson like opens up the cage on top of the 895 00:50:19,480 --> 00:50:21,520 Speaker 1: pit that these guys are being kept in while they 896 00:50:21,560 --> 00:50:24,560 Speaker 1: are eating a human being and uh, and he reaches 897 00:50:24,640 --> 00:50:27,480 Speaker 1: down to to help these guys out, and what do 898 00:50:27,560 --> 00:50:30,719 Speaker 1: they do. They bite him on the arm. And then 899 00:50:30,800 --> 00:50:32,640 Speaker 1: as soon as they bite him on the arm, suddenly 900 00:50:32,760 --> 00:50:35,920 Speaker 1: John Saxon wakes up. It was all a dream. But 901 00:50:36,320 --> 00:50:39,120 Speaker 1: then he gets up and his his wife wakes up again. 902 00:50:39,160 --> 00:50:42,960 Speaker 1: This is played by Elizabeth Turner and uh, and she's like, oh, 903 00:50:43,160 --> 00:50:46,000 Speaker 1: dreams again. And we see a scar on his forearm 904 00:50:46,120 --> 00:50:47,800 Speaker 1: right where the bite was in the dream. So it 905 00:50:48,120 --> 00:50:50,440 Speaker 1: was a dream, but it was also real. He is 906 00:50:50,520 --> 00:50:52,960 Speaker 1: being haunted by the memories of what he saw in 907 00:50:53,040 --> 00:50:55,560 Speaker 1: the war and what bit him in the war. And 908 00:50:55,680 --> 00:50:57,560 Speaker 1: these are actually I think some of the best acting 909 00:50:57,640 --> 00:50:59,719 Speaker 1: scenes for for John Saxon in this you know, where 910 00:50:59,760 --> 00:51:02,400 Speaker 1: he has this real haunted. Look, it's him like getting 911 00:51:02,520 --> 00:51:07,120 Speaker 1: up in wandering shirtless around his his house. Uh. And 912 00:51:07,440 --> 00:51:10,880 Speaker 1: and he's good in these Saints. He's in great physical shape, 913 00:51:10,960 --> 00:51:13,239 Speaker 1: by the way, And I detect I feel like I 914 00:51:13,320 --> 00:51:15,480 Speaker 1: have a good sense for when this is happening in movies. 915 00:51:15,719 --> 00:51:17,560 Speaker 1: I feel like you can really tell he wants to 916 00:51:17,719 --> 00:51:20,040 Speaker 1: show off the fact that he is currently in really 917 00:51:20,080 --> 00:51:22,560 Speaker 1: good shape while they're shooting this movie. Yeah, he was, 918 00:51:22,640 --> 00:51:27,560 Speaker 1: I think at the time, but he jacked. He looks awesome. 919 00:51:27,920 --> 00:51:29,920 Speaker 1: I think he was. He was using this movie as 920 00:51:30,040 --> 00:51:34,840 Speaker 1: like his dating profile. This is his profile pick, but 921 00:51:35,120 --> 00:51:38,120 Speaker 1: also the funny thing. So he gets up and he's like, well, 922 00:51:38,680 --> 00:51:40,960 Speaker 1: another haunting dream about the war. I guess I need 923 00:51:41,000 --> 00:51:43,560 Speaker 1: to go take pills. So he goes to take pills, 924 00:51:43,640 --> 00:51:46,160 Speaker 1: and he like opens the refrigerator and just sees that 925 00:51:46,280 --> 00:51:51,400 Speaker 1: there is just raw, bloody meat just out open in 926 00:51:51,480 --> 00:51:53,880 Speaker 1: the refrigerator, not in a container of any kind, just 927 00:51:54,120 --> 00:51:59,160 Speaker 1: dripping maa globin all over. Everything in the fridge. Is disgusting. Um. 928 00:51:59,360 --> 00:52:02,320 Speaker 1: So he's doing that, uh, you know, being troubled. And 929 00:52:02,480 --> 00:52:07,080 Speaker 1: meanwhile his Elizabeth Turner, his one dubbed wife, it just 930 00:52:07,160 --> 00:52:10,520 Speaker 1: seems very irritated by his Vietnam flashbacks and she starts 931 00:52:10,560 --> 00:52:14,839 Speaker 1: flipping through a copy of Fortune magazine. I have to say, 932 00:52:15,360 --> 00:52:18,680 Speaker 1: the meat and the refrigerator scene was a moment we're 933 00:52:18,760 --> 00:52:20,880 Speaker 1: looking back in it. I can imagine this was a 934 00:52:20,960 --> 00:52:24,279 Speaker 1: sequence where they originally they might have wanted him to 935 00:52:24,360 --> 00:52:26,560 Speaker 1: to eat that meat or to drink that meat juice, 936 00:52:26,880 --> 00:52:28,680 Speaker 1: and Saxon was like, I'm not doing that. I'm not 937 00:52:28,840 --> 00:52:31,480 Speaker 1: And ultimately the film's better for it because it's not 938 00:52:31,640 --> 00:52:34,440 Speaker 1: about him, you know, being a midnight uh you know, 939 00:52:34,760 --> 00:52:37,200 Speaker 1: meat drinker, and more about like the what's going on 940 00:52:37,320 --> 00:52:39,719 Speaker 1: in his head when he's looking at it. Right. So 941 00:52:40,160 --> 00:52:42,439 Speaker 1: I guess, once again, we don't have to describe every 942 00:52:42,960 --> 00:52:45,040 Speaker 1: scene in the movie, but I think you can probably 943 00:52:45,120 --> 00:52:47,920 Speaker 1: guess the the basic format of it. So John Saxon 944 00:52:48,000 --> 00:52:50,719 Speaker 1: is still haunted by the war, and he finds out 945 00:52:50,840 --> 00:52:54,040 Speaker 1: that the POW's that he rescued in his in his 946 00:52:54,400 --> 00:52:57,200 Speaker 1: dream sequence. Of course, they are real guys, and they're 947 00:52:57,200 --> 00:52:59,239 Speaker 1: about to be they're about to be released from a 948 00:52:59,239 --> 00:53:03,040 Speaker 1: psychiatric hospital where they've been receiving treatment, and one of 949 00:53:03,080 --> 00:53:06,120 Speaker 1: them is this guy, Charlie Bakowski, and we follow him 950 00:53:06,320 --> 00:53:09,880 Speaker 1: once he is released, and pretty quickly he So he 951 00:53:09,960 --> 00:53:12,719 Speaker 1: like goes to a movie theater and starts watching a 952 00:53:12,880 --> 00:53:15,839 Speaker 1: war movie that's just like full of violence and explosions 953 00:53:15,880 --> 00:53:18,880 Speaker 1: on the screen, and immediately starts biting people in the theater. 954 00:53:18,960 --> 00:53:20,759 Speaker 1: He like bites a woman sitting in front of him, 955 00:53:21,040 --> 00:53:24,200 Speaker 1: and then the cannibalism cycle kind of ramps up from there. 956 00:53:24,840 --> 00:53:26,400 Speaker 1: And so one of the things that I thought was 957 00:53:26,480 --> 00:53:30,320 Speaker 1: really interesting about this movie was the way that it actually, 958 00:53:30,680 --> 00:53:36,720 Speaker 1: in the mechanics of plot development, very closely mirrors zombie movies, 959 00:53:38,160 --> 00:53:42,520 Speaker 1: because what normally happens in a zombie movie, especially zombie 960 00:53:42,600 --> 00:53:45,560 Speaker 1: movies that followed Night of the Living Dead and followed 961 00:53:45,600 --> 00:53:49,160 Speaker 1: the sort of formula established by George Romero, it is 962 00:53:49,840 --> 00:53:52,160 Speaker 1: you have a number of human characters and some zombies 963 00:53:52,200 --> 00:53:55,400 Speaker 1: are roaming around. A zombie bites a human character. The 964 00:53:55,560 --> 00:53:58,839 Speaker 1: bite makes the human character die, and then they turn 965 00:53:58,960 --> 00:54:01,960 Speaker 1: into a zombie and they start biting other people. This 966 00:54:02,120 --> 00:54:05,720 Speaker 1: movie has essentially the exact same dynamic, except without the death. 967 00:54:06,360 --> 00:54:08,800 Speaker 1: So you have a cannibal who you could think of 968 00:54:08,920 --> 00:54:12,000 Speaker 1: as like the zombie. They are driven to bite other people. 969 00:54:12,200 --> 00:54:15,399 Speaker 1: Once they bite someone, the bitten person has a sort 970 00:54:15,440 --> 00:54:17,920 Speaker 1: of has a sort of grace period where they are 971 00:54:17,960 --> 00:54:21,960 Speaker 1: recovering from the bite, and then eventually something about the 972 00:54:22,040 --> 00:54:25,760 Speaker 1: bite seizes them, changes them and they start biting people 973 00:54:25,800 --> 00:54:28,080 Speaker 1: in turn. And so I thought that was interesting that 974 00:54:28,200 --> 00:54:31,120 Speaker 1: in an unacknowledged way, it is like a Ramiro zombie movie, 975 00:54:31,160 --> 00:54:34,760 Speaker 1: except everybody is still alive and to a certain extent, 976 00:54:34,920 --> 00:54:37,640 Speaker 1: like even the characters who give in to the cannibalism 977 00:54:37,920 --> 00:54:41,360 Speaker 1: are still human enough that you don't have that clear disconnect, 978 00:54:41,400 --> 00:54:43,719 Speaker 1: because I've often seen it pointed out by sort of 979 00:54:43,880 --> 00:54:48,359 Speaker 1: zombie critics that in the zombie film, there is there's 980 00:54:48,400 --> 00:54:51,480 Speaker 1: no question what you do about zombies. You kill zombies. 981 00:54:51,840 --> 00:54:54,200 Speaker 1: Brutal violence is the way you deal with the problem 982 00:54:54,280 --> 00:54:57,879 Speaker 1: of zombies, and it's okay because the fiction creates gives 983 00:54:57,880 --> 00:55:01,640 Speaker 1: you license to do that. Whereas cannibals, as presented in 984 00:55:01,840 --> 00:55:05,880 Speaker 1: Cannibal Apocalypse, that's never the case, Like there's still mortal 985 00:55:06,040 --> 00:55:11,279 Speaker 1: human beings that could conceivably be pulled back um, even 986 00:55:11,320 --> 00:55:13,520 Speaker 1: if they are, you know, drifting further and further into 987 00:55:13,600 --> 00:55:17,280 Speaker 1: their their cannibalistic obsession. You can almost see several characters, 988 00:55:17,520 --> 00:55:21,320 Speaker 1: especially John Saxon, struggling with the cannibalism thing. It's almost 989 00:55:21,360 --> 00:55:24,560 Speaker 1: like they're conflicted about it, like they feel the urge 990 00:55:24,640 --> 00:55:27,279 Speaker 1: to bite and eat humans, but maybe they're resisting it 991 00:55:27,400 --> 00:55:29,520 Speaker 1: for some period of time. Well, in the film, like 992 00:55:29,600 --> 00:55:31,440 Speaker 1: he he was bitten a long time ago, and it's 993 00:55:31,480 --> 00:55:34,759 Speaker 1: like he's been fighting it this whole time, and it's 994 00:55:34,760 --> 00:55:36,560 Speaker 1: almost it's one of these areas that gets into where 995 00:55:36,600 --> 00:55:38,600 Speaker 1: it's you know, it's almost or perhaps you can go 996 00:55:38,719 --> 00:55:42,120 Speaker 1: say it it actually is like a clever um commentary 997 00:55:42,360 --> 00:55:45,680 Speaker 1: on sort of either modern life or the American condition 998 00:55:45,800 --> 00:55:48,160 Speaker 1: that you know, you that we were all bitten a 999 00:55:48,280 --> 00:55:51,160 Speaker 1: long time ago ago, and the sickness is already in us. 1000 00:55:51,239 --> 00:55:53,719 Speaker 1: The sickness is growing, and it's not a question of 1001 00:55:53,840 --> 00:55:57,440 Speaker 1: will we acquire the sickness, but will we give into it? 1002 00:55:58,080 --> 00:56:01,200 Speaker 1: You know, can we fight it off? And is it 1003 00:56:01,360 --> 00:56:03,960 Speaker 1: ultimately too much for any individual to fight off for 1004 00:56:04,040 --> 00:56:06,319 Speaker 1: too long? Yeah, I think that's a really good point. 1005 00:56:06,520 --> 00:56:09,239 Speaker 1: And uh, but there's another way of thinking about it, 1006 00:56:09,280 --> 00:56:12,879 Speaker 1: which is that so as you mentioned about the zombie movies, 1007 00:56:12,920 --> 00:56:15,400 Speaker 1: you know, a common criticism of them is that, uh, 1008 00:56:15,680 --> 00:56:18,640 Speaker 1: is that by creating the zombie plot device, you you 1009 00:56:19,120 --> 00:56:23,160 Speaker 1: remove certain types of moral ambiguity from the film. You know, 1010 00:56:23,280 --> 00:56:27,360 Speaker 1: because like in the Romero set up. It's frequently emphasized 1011 00:56:27,400 --> 00:56:30,080 Speaker 1: by characters who have a kind of scientific authority or 1012 00:56:30,160 --> 00:56:33,400 Speaker 1: something that these are no longer your friends and relatives. 1013 00:56:33,520 --> 00:56:36,840 Speaker 1: They are not human anymore. They must be destroyed on site, 1014 00:56:37,880 --> 00:56:42,239 Speaker 1: and characters are often punished for making the mistake of 1015 00:56:42,440 --> 00:56:45,279 Speaker 1: thinking that the zombies in these movies are still the 1016 00:56:45,400 --> 00:56:47,719 Speaker 1: person they were before they died. You know, they like 1017 00:56:47,840 --> 00:56:50,360 Speaker 1: try to reach out to their friends or relatives and 1018 00:56:50,600 --> 00:56:53,920 Speaker 1: then they just get bitten. This movie almost posits that 1019 00:56:54,040 --> 00:56:57,279 Speaker 1: you could be a secret zombie, that you could be 1020 00:56:57,440 --> 00:57:00,920 Speaker 1: a zombie, but that you could still blend in with 1021 00:57:01,080 --> 00:57:03,439 Speaker 1: the living, and that you could talk and you could 1022 00:57:03,480 --> 00:57:05,839 Speaker 1: seem like a normal person at least for a while, 1023 00:57:05,960 --> 00:57:07,880 Speaker 1: as long as you're able to keep it under wraps. 1024 00:57:08,239 --> 00:57:11,000 Speaker 1: But at some point your zombie nature will just sort 1025 00:57:11,040 --> 00:57:15,360 Speaker 1: of erupt out of you and then the biting starts. Yeah. Which, again, 1026 00:57:15,560 --> 00:57:18,200 Speaker 1: not to give too much credit to this movie, I 1027 00:57:18,360 --> 00:57:21,280 Speaker 1: don't want to overstate, uh, it's it's thoughtfulness, but you 1028 00:57:21,360 --> 00:57:23,320 Speaker 1: could see that as actually a kind of, you know, 1029 00:57:23,400 --> 00:57:25,360 Speaker 1: if you look at it the right way, as a 1030 00:57:25,440 --> 00:57:28,560 Speaker 1: kind of clever insight about the the effects of certain 1031 00:57:28,640 --> 00:57:33,080 Speaker 1: kinds of trauma or experiences. With brutalization, say in a war. Yeah, yeah, 1032 00:57:33,080 --> 00:57:35,960 Speaker 1: I think again this is an area where um Saxon 1033 00:57:36,040 --> 00:57:38,040 Speaker 1: and perhaps others, right, that is, and then what the 1034 00:57:38,200 --> 00:57:40,840 Speaker 1: commentary track indicated that they were it wasn't just Saxon 1035 00:57:40,920 --> 00:57:44,240 Speaker 1: that we're encouraging the director to maybe pull back from 1036 00:57:44,360 --> 00:57:47,560 Speaker 1: the from the visceral and allow some of the metaphorical 1037 00:57:48,080 --> 00:57:51,320 Speaker 1: a little more room to exist. Yeah. Yeah, there, Tim 1038 00:57:51,440 --> 00:57:53,560 Speaker 1: Lucas was saying, I think that Saxon and uh and 1039 00:57:53,840 --> 00:57:56,800 Speaker 1: Dja as well, we're sort of, uh, we're sort of 1040 00:57:56,920 --> 00:58:00,680 Speaker 1: the the angels on Antonio Marghariti's shoulder when making this movie. 1041 00:58:01,680 --> 00:58:03,920 Speaker 1: I'm not sure who the devils were. Maybe it's his 1042 00:58:04,000 --> 00:58:09,200 Speaker 1: own devil, the screenwriter. Maybe I don't. But also so 1043 00:58:09,560 --> 00:58:12,520 Speaker 1: so that's the kind of interesting, serious thematic part they're 1044 00:58:12,520 --> 00:58:17,320 Speaker 1: also there's just so much absolutely unintentionally hilarious stuff in 1045 00:58:17,400 --> 00:58:19,760 Speaker 1: this movie. Some of the dialogue and the dubbing is 1046 00:58:19,960 --> 00:58:24,360 Speaker 1: so funny, uh like especially one thing that really stands 1047 00:58:24,360 --> 00:58:27,920 Speaker 1: out to me is the character of Dr Phil played 1048 00:58:27,960 --> 00:58:32,000 Speaker 1: by Rameiro Olivero's Almost every scene he's in is so 1049 00:58:32,320 --> 00:58:35,000 Speaker 1: inappropriate and the way that the movie doesn't really seem 1050 00:58:35,040 --> 00:58:38,080 Speaker 1: to understand. Yeah, I mean it seems where he's like 1051 00:58:38,320 --> 00:58:42,120 Speaker 1: he's talking to um John Saxon's character's wife and she's like, 1052 00:58:42,160 --> 00:58:44,920 Speaker 1: I'm really concerned about Norman. Um, you know he's having 1053 00:58:44,960 --> 00:58:48,480 Speaker 1: these dreams. And he's like, no, I totally understand by 1054 00:58:48,520 --> 00:58:51,080 Speaker 1: the way, I'm still looking for my soul mate. You know. 1055 00:58:51,800 --> 00:58:55,000 Speaker 1: So good. There's one part I can't remember the exact quote, 1056 00:58:55,000 --> 00:58:57,120 Speaker 1: but this is pretty close. He's on the phone with 1057 00:58:57,200 --> 00:59:00,200 Speaker 1: her and he says something like, I do not think 1058 00:59:00,240 --> 00:59:02,320 Speaker 1: you should be alone with your husband tonight. He may 1059 00:59:02,360 --> 00:59:04,640 Speaker 1: be on the verge of a psychotic break. You should 1060 00:59:04,640 --> 00:59:10,840 Speaker 1: have married me and not him. It's so good. Uh. 1061 00:59:11,520 --> 00:59:13,840 Speaker 1: There are also some great lines that are that are 1062 00:59:13,920 --> 00:59:16,920 Speaker 1: they are not dubbed. For instance, UM, we're talking about 1063 00:59:16,960 --> 00:59:22,240 Speaker 1: the the Atlanta police chief character and he has there's 1064 00:59:22,280 --> 00:59:25,160 Speaker 1: this one scene where the cannibalism has spread two police 1065 00:59:25,240 --> 00:59:28,120 Speaker 1: officers and so they're screaming and he rushes into this 1066 00:59:28,320 --> 00:59:32,360 Speaker 1: room and cannibalism has broken out. One character cop character 1067 00:59:32,800 --> 00:59:35,640 Speaker 1: is eating human flesh and he says, oh my God, 1068 00:59:35,760 --> 00:59:39,320 Speaker 1: put that down, son, And then I think later he 1069 00:59:39,400 --> 00:59:42,960 Speaker 1: says cannibalism that maybe in the trailer that we aired 1070 00:59:43,240 --> 00:59:45,560 Speaker 1: earlier on in fact, we were we were joking that 1071 00:59:45,720 --> 00:59:49,600 Speaker 1: he's like James Brolin as the Republican Governor of Florida 1072 00:59:49,720 --> 00:59:53,200 Speaker 1: and the West Wing. You know, he's like cannibalism. Boy, 1073 00:59:53,320 --> 01:00:00,280 Speaker 1: I don't know cannibalism. Big side. Um. There was another 1074 01:00:00,400 --> 01:00:02,080 Speaker 1: one more thing I wanted to mention about the plot 1075 01:00:02,120 --> 01:00:03,760 Speaker 1: before we move on. So, of course, you know, it's 1076 01:00:03,760 --> 01:00:06,160 Speaker 1: just kind of like a spiral into cannibal hell as 1077 01:00:06,200 --> 01:00:08,440 Speaker 1: more and more people getting bitten and sort of secret 1078 01:00:08,520 --> 01:00:11,760 Speaker 1: zombified get turned into cannibals. But again with the interesting 1079 01:00:11,840 --> 01:00:15,600 Speaker 1: difference from the zombie movies that they still retain rationality, 1080 01:00:15,800 --> 01:00:18,840 Speaker 1: that they can speak, that they can form and execute plans, 1081 01:00:19,000 --> 01:00:22,360 Speaker 1: that the cannibals seem to have the ability to collaborate, 1082 01:00:22,480 --> 01:00:24,640 Speaker 1: like they can work together with each other to further 1083 01:00:24,840 --> 01:00:28,760 Speaker 1: the uh, the coordinated cannibal agenda. Yeah, and it almost 1084 01:00:28,920 --> 01:00:30,960 Speaker 1: is like it instant, like the once the switch is 1085 01:00:31,040 --> 01:00:34,360 Speaker 1: turned in the mind, you start working with the other cannibals, 1086 01:00:34,400 --> 01:00:36,800 Speaker 1: because you know what life is about now, it's about 1087 01:00:36,880 --> 01:00:40,960 Speaker 1: that human flesh. Just in terms of technical filmmaking, though, 1088 01:00:41,000 --> 01:00:43,800 Speaker 1: I thought there was something worth pointing out, which is 1089 01:00:43,920 --> 01:00:47,600 Speaker 1: that there is a central sequence of the movie that 1090 01:00:47,920 --> 01:00:51,520 Speaker 1: really stands out, and it's the entire flea market sequence 1091 01:00:51,600 --> 01:00:55,960 Speaker 1: with Radici in it um where So before this part 1092 01:00:56,000 --> 01:00:59,280 Speaker 1: of the movie, I think it starts maybe like twenty 1093 01:00:59,360 --> 01:01:02,360 Speaker 1: to thirty minute it's in, and then it just goes 1094 01:01:02,520 --> 01:01:05,040 Speaker 1: and goes for like twenty or thirty minutes, almost in 1095 01:01:05,200 --> 01:01:09,560 Speaker 1: real time. And before this part of the movie there's 1096 01:01:09,640 --> 01:01:13,880 Speaker 1: just like a lot of bizarre and inappropriate, tasteless stuff happening, 1097 01:01:14,200 --> 01:01:16,760 Speaker 1: and then afterwards it's it's more in kind of like 1098 01:01:17,320 --> 01:01:20,920 Speaker 1: cannibal escalation mode. But for this one middle chunk of 1099 01:01:21,000 --> 01:01:25,880 Speaker 1: the movie, you just get this really tight, very well executed, 1100 01:01:26,040 --> 01:01:30,560 Speaker 1: high tension standoff scene with with this character played by Ridici, 1101 01:01:30,680 --> 01:01:33,880 Speaker 1: this cannibalistic veteran, uh sort of taking over a flea 1102 01:01:34,000 --> 01:01:37,120 Speaker 1: market with a gun and the police being outside and 1103 01:01:37,280 --> 01:01:39,480 Speaker 1: there's this whole thing where they're trying to talk him 1104 01:01:39,520 --> 01:01:41,680 Speaker 1: down and get him out, And I thought it was 1105 01:01:41,760 --> 01:01:45,600 Speaker 1: so weird to have this one sequence that just technically 1106 01:01:45,880 --> 01:01:48,120 Speaker 1: and pacing wise, is so different than the rest of 1107 01:01:48,160 --> 01:01:50,400 Speaker 1: the movie. Yeah, yeah, now that you mentioned it, it's 1108 01:01:50,440 --> 01:01:52,880 Speaker 1: definitely a sequence section of the film that really moves 1109 01:01:52,960 --> 01:01:55,640 Speaker 1: quite along. I mean, in general, I feel like this 1110 01:01:55,800 --> 01:01:59,000 Speaker 1: movie kept me invested throughout like it. Oh yeah, yeah, 1111 01:01:59,120 --> 01:02:02,120 Speaker 1: it's it's definitely not boring. Yeah, And I think a 1112 01:02:02,160 --> 01:02:03,640 Speaker 1: lot of it has to do with certainly with it 1113 01:02:03,760 --> 01:02:05,440 Speaker 1: with some of these many of these sequences being so 1114 01:02:05,520 --> 01:02:08,720 Speaker 1: well paced and and in many cases shot really really well. 1115 01:02:08,840 --> 01:02:11,640 Speaker 1: But but also the last third of the film especially, 1116 01:02:11,680 --> 01:02:14,600 Speaker 1: it goes in a direction I wasn't expecting and in 1117 01:02:14,760 --> 01:02:19,320 Speaker 1: general didn't seem to be setting itself um in accordance 1118 01:02:19,320 --> 01:02:21,920 Speaker 1: to any particular cinematic pattern, at least one that I 1119 01:02:21,960 --> 01:02:24,920 Speaker 1: was familiar with, So I really wasn't sure how everything 1120 01:02:25,000 --> 01:02:27,360 Speaker 1: was going to play out. Yeah, And I think part 1121 01:02:27,440 --> 01:02:32,000 Speaker 1: of the unpredictability of the movie is created by having 1122 01:02:32,160 --> 01:02:35,000 Speaker 1: this chunk of the movie in the middle where or 1123 01:02:35,080 --> 01:02:38,560 Speaker 1: the early middle, where suddenly the plot stops developing at 1124 01:02:38,600 --> 01:02:42,440 Speaker 1: the at the kind of uh fast, random pace of 1125 01:02:42,520 --> 01:02:45,320 Speaker 1: what was happening earlier, and suddenly everything slows down and 1126 01:02:45,360 --> 01:02:49,720 Speaker 1: we get this real time, very very technical scene that uh. 1127 01:02:50,000 --> 01:02:52,520 Speaker 1: Tim Lucas in his commentary very much compares the way 1128 01:02:52,520 --> 01:02:55,240 Speaker 1: the flea market scene plays out to the filmmaking of 1129 01:02:55,360 --> 01:02:57,840 Speaker 1: George Romero, which again I think is a good comparison. 1130 01:02:58,320 --> 01:03:01,560 Speaker 1: It has that kind of I don't know that real 1131 01:03:01,680 --> 01:03:05,880 Speaker 1: time uh, tactical step by step progression of the way 1132 01:03:06,000 --> 01:03:08,480 Speaker 1: that that Romero does a lot of sequences, and for example, 1133 01:03:08,560 --> 01:03:10,880 Speaker 1: Dawn of the Dead, you recall a lot of What's 1134 01:03:10,880 --> 01:03:13,760 Speaker 1: actually pleasurable about Dawn and the Dead is the kind 1135 01:03:13,840 --> 01:03:17,720 Speaker 1: of is seeing the characters execute a plan very much 1136 01:03:17,800 --> 01:03:20,400 Speaker 1: in real time, step by step in a way that 1137 01:03:21,120 --> 01:03:23,479 Speaker 1: that feels very logical, and you have a good sense 1138 01:03:23,520 --> 01:03:26,000 Speaker 1: of place and and setting and do you know what 1139 01:03:26,080 --> 01:03:28,720 Speaker 1: I'm talking about. Yeah, yeah, absolutely, yeah, that all of 1140 01:03:28,800 --> 01:03:31,520 Speaker 1: that is definitely in play with this sequence. They do 1141 01:03:31,600 --> 01:03:34,680 Speaker 1: a really good job of of creating that environment and need, 1142 01:03:34,800 --> 01:03:38,000 Speaker 1: like the physical expectations of that space. Um, and it 1143 01:03:38,760 --> 01:03:41,920 Speaker 1: makes for a really solid standoff because you you know 1144 01:03:42,160 --> 01:03:45,200 Speaker 1: what the environment is like, it's well established. So question 1145 01:03:45,280 --> 01:03:47,640 Speaker 1: before we wrap up, do you think the movie would 1146 01:03:47,680 --> 01:03:50,440 Speaker 1: have been better or worse if it did include a 1147 01:03:50,480 --> 01:03:55,040 Speaker 1: shot of John Saxon just like housing role meat. I 1148 01:03:55,160 --> 01:03:57,480 Speaker 1: think it would have been worse because I think we 1149 01:03:57,560 --> 01:03:59,760 Speaker 1: would have we we would have It would have been 1150 01:03:59,800 --> 01:04:01,880 Speaker 1: hard to root for him if we had seen that, 1151 01:04:02,120 --> 01:04:04,480 Speaker 1: especially if we'd seen it early in the picture. Even 1152 01:04:04,520 --> 01:04:06,920 Speaker 1: if it was just him be again being a midnight 1153 01:04:06,960 --> 01:04:09,560 Speaker 1: meat drinker that would have I think it would have 1154 01:04:09,720 --> 01:04:12,040 Speaker 1: it would have caused that that slip to occur, and 1155 01:04:12,160 --> 01:04:14,440 Speaker 1: would we would have a harder time thinking that he 1156 01:04:14,560 --> 01:04:20,040 Speaker 1: had a shot at at a normal life anymore. Uh So, yeah, 1157 01:04:20,120 --> 01:04:22,080 Speaker 1: I think it ultimately it made the film a little 1158 01:04:22,160 --> 01:04:26,840 Speaker 1: less exploitive and and allowed for the film to feel 1159 01:04:26,880 --> 01:04:29,920 Speaker 1: a little more metaphorical for those who wanted to engage 1160 01:04:30,000 --> 01:04:32,720 Speaker 1: in that kind of experience. It's funny we keep saying 1161 01:04:32,760 --> 01:04:35,160 Speaker 1: this though, about about the ways that it seems to 1162 01:04:35,240 --> 01:04:39,160 Speaker 1: kind of like hit certain limits because you know, because 1163 01:04:39,240 --> 01:04:41,560 Speaker 1: once again, I mean, this is a gross cannibal movie 1164 01:04:41,720 --> 01:04:45,360 Speaker 1: that is like inappropriate and in bad taste in most 1165 01:04:45,480 --> 01:04:48,600 Speaker 1: ways you could imagine. But for some reason, you just 1166 01:04:48,800 --> 01:04:52,000 Speaker 1: keep noticing about it that it feels like it would 1167 01:04:52,040 --> 01:04:54,800 Speaker 1: have gone farther in that regard, and and for some 1168 01:04:54,960 --> 01:04:57,840 Speaker 1: reason it doesn't quite even though it is already pretty 1169 01:04:57,880 --> 01:05:01,080 Speaker 1: gross and tasteless. Yeah. Absolutely, And and once again, I 1170 01:05:01,160 --> 01:05:04,840 Speaker 1: think it's a far better film for those restraints being 1171 01:05:04,920 --> 01:05:07,160 Speaker 1: in place. Uh And you still get to have all 1172 01:05:07,160 --> 01:05:09,680 Speaker 1: your bloody cannibalistic fun in this film as well. So 1173 01:05:10,040 --> 01:05:12,959 Speaker 1: again it's not a family film. It still has plenty 1174 01:05:13,000 --> 01:05:16,400 Speaker 1: of gross and shocking scenes. My only question in my 1175 01:05:16,480 --> 01:05:18,600 Speaker 1: own mind is whether it would have been better had 1176 01:05:18,640 --> 01:05:21,880 Speaker 1: George Eastman been in it as well playing a cannibal, 1177 01:05:22,360 --> 01:05:24,280 Speaker 1: And on that I'm not sure. I'm kind of torn. 1178 01:05:24,400 --> 01:05:27,000 Speaker 1: On one hand, I'm always up for a good George 1179 01:05:27,000 --> 01:05:30,720 Speaker 1: Eastman appearance, but on the other hand, Um, he is 1180 01:05:30,880 --> 01:05:35,200 Speaker 1: very much a harbinger of of that kind of excessive 1181 01:05:35,960 --> 01:05:38,480 Speaker 1: quality of filmmaking of it. I feel like like his 1182 01:05:38,600 --> 01:05:40,919 Speaker 1: presence alone might have been enough to push the film, 1183 01:05:41,360 --> 01:05:45,080 Speaker 1: uh into the extremes that we're we're praising it for avoiding. 1184 01:05:45,520 --> 01:05:47,760 Speaker 1: When we saw the poster for this movie displayed on 1185 01:05:47,840 --> 01:05:50,800 Speaker 1: the menu screen from the blue ray, So Rachel and 1186 01:05:50,880 --> 01:05:53,960 Speaker 1: I she watched this with me and uh, And at 1187 01:05:54,000 --> 01:05:56,080 Speaker 1: first when I saw the guy, I thought it was 1188 01:05:56,200 --> 01:05:59,080 Speaker 1: George Eastman the guy, but you know, it's got a 1189 01:05:59,160 --> 01:06:03,440 Speaker 1: kind of eagerly rendered anthropophagus, kind of Georgie Sman appearance. 1190 01:06:04,200 --> 01:06:07,800 Speaker 1: But Rachel, upon seeing it, was like, is this a 1191 01:06:07,880 --> 01:06:11,360 Speaker 1: Sasquatch movie? But no, I think it's just supposed to 1192 01:06:11,400 --> 01:06:15,280 Speaker 1: be Uh and uh, what's his name? Radici? Yeah, some 1193 01:06:15,440 --> 01:06:17,200 Speaker 1: of the you look at some of the posters for 1194 01:06:17,320 --> 01:06:21,560 Speaker 1: this and there's like another poster or maybe VHS box art, 1195 01:06:21,600 --> 01:06:25,840 Speaker 1: I'm not sure which. That shows John Saxon's face, and 1196 01:06:26,000 --> 01:06:28,200 Speaker 1: part of half of his face is distorted into like 1197 01:06:28,280 --> 01:06:31,680 Speaker 1: a monster face, which is totally not in keeping with 1198 01:06:31,720 --> 01:06:34,560 Speaker 1: anything you see in the film at all, or even 1199 01:06:34,640 --> 01:06:37,720 Speaker 1: really in the vibe of the picture. But they certainly 1200 01:06:37,760 --> 01:06:39,720 Speaker 1: didn't have a problem presenting it on the you know, 1201 01:06:39,800 --> 01:06:42,280 Speaker 1: the post or the box art in some market or another. 1202 01:06:42,640 --> 01:06:44,680 Speaker 1: One last thing I have to mention before we finish. 1203 01:06:45,040 --> 01:06:47,480 Speaker 1: Rachel had a really good one. When I was explaining 1204 01:06:48,080 --> 01:06:50,640 Speaker 1: that I had realized the title comes from trying to 1205 01:06:51,360 --> 01:06:54,720 Speaker 1: get some of the magic of apocalypse now, she suggested 1206 01:06:54,800 --> 01:06:57,360 Speaker 1: instead of cannibal Apocalypse, they should have called this movie 1207 01:06:57,360 --> 01:07:01,960 Speaker 1: apocalypse Chow. Oh would have been good, especially because I 1208 01:07:02,000 --> 01:07:04,920 Speaker 1: can double with like the Italian greeting. Yeah like that 1209 01:07:05,080 --> 01:07:07,600 Speaker 1: like dog chow and yeah chow Okay, all right, I 1210 01:07:07,720 --> 01:07:11,000 Speaker 1: like it. All right. Uh, well, we're gonna go ahead 1211 01:07:11,040 --> 01:07:13,600 Speaker 1: and close it out there. Again, if you're wondering where 1212 01:07:13,640 --> 01:07:16,400 Speaker 1: can I watch this, well, I think it's as of 1213 01:07:16,480 --> 01:07:19,920 Speaker 1: this recording kind of hard to find on legit streaming services. 1214 01:07:20,440 --> 01:07:23,760 Speaker 1: But again, that Keno Lerber Blu ray is beautiful and 1215 01:07:23,840 --> 01:07:26,360 Speaker 1: you can buy that wherever you get your films. Um 1216 01:07:26,480 --> 01:07:30,160 Speaker 1: it's again just really great remaster four K remaster of 1217 01:07:30,280 --> 01:07:33,560 Speaker 1: the film. We rented our copy from Video Drome, Atlanta's 1218 01:07:33,600 --> 01:07:35,520 Speaker 1: last rental store, and I think it was meant to 1219 01:07:35,560 --> 01:07:38,000 Speaker 1: be because when I walked in there to inquire about 1220 01:07:38,040 --> 01:07:40,760 Speaker 1: the film, they were playing Transfers three on the on 1221 01:07:40,840 --> 01:07:44,960 Speaker 1: the screens. So so I got to talk briefly about 1222 01:07:45,000 --> 01:07:48,960 Speaker 1: the Transfers franchise with the with the owner. Uh so, Yeah, 1223 01:07:49,000 --> 01:07:50,440 Speaker 1: it's a great spot. And if you want to check 1224 01:07:50,440 --> 01:07:52,000 Speaker 1: out more about Video Drume, you can go to Video 1225 01:07:52,080 --> 01:07:54,160 Speaker 1: Drome a t L dot com or for their merchandise, 1226 01:07:54,200 --> 01:07:56,560 Speaker 1: you can go to Video Drume dot tv. Are we 1227 01:07:56,680 --> 01:08:00,920 Speaker 1: coming back for Deep Transfer sequels on on Weird House? May? 1228 01:08:01,080 --> 01:08:03,080 Speaker 1: I mean, who knows? We could do Transfers three. I 1229 01:08:03,120 --> 01:08:07,320 Speaker 1: don't know about four and five, but you know three 1230 01:08:08,080 --> 01:08:11,760 Speaker 1: three is a possibility. Three basically have like Street Sharks 1231 01:08:11,840 --> 01:08:15,000 Speaker 1: in it. There is a there is a shark character. Yes, 1232 01:08:15,080 --> 01:08:18,519 Speaker 1: there's a fun monster character that shows up, and we 1233 01:08:18,600 --> 01:08:20,960 Speaker 1: have uh in keeping with the second Transfers, there's a 1234 01:08:21,040 --> 01:08:24,679 Speaker 1: wonderful villain roll as well. Okay, that's staying on the list. 1235 01:08:25,120 --> 01:08:27,200 Speaker 1: Oh but I think I actually know what we are 1236 01:08:27,280 --> 01:08:29,080 Speaker 1: doing next week, and boy is not going to be 1237 01:08:29,160 --> 01:08:31,479 Speaker 1: a treat. Let's not spoil it. I do you want 1238 01:08:31,520 --> 01:08:33,400 Speaker 1: to tease anything about it? Of course not. No, I 1239 01:08:33,479 --> 01:08:36,240 Speaker 1: want it to be a surprise. Okay, all right, I'll 1240 01:08:36,320 --> 01:08:40,680 Speaker 1: just say it's going to be an incredible journey. Al Right, Well, 1241 01:08:40,680 --> 01:08:43,040 Speaker 1: I won't even spoil it. Then. At the at the 1242 01:08:43,080 --> 01:08:45,200 Speaker 1: blog post for this episode, which we'll find it some 1243 01:08:45,280 --> 01:08:47,960 Speaker 1: new to music dot Com, but I will include some 1244 01:08:48,600 --> 01:08:51,200 Speaker 1: some clips and some samples and some links to some 1245 01:08:51,240 --> 01:08:53,840 Speaker 1: of the soundtrack stuff we've been talking about here. And 1246 01:08:54,000 --> 01:08:56,439 Speaker 1: if you want to catch more episodes of Weird House Cinema, 1247 01:08:56,520 --> 01:08:58,680 Speaker 1: the place to get it is every Friday in the 1248 01:08:58,760 --> 01:09:00,920 Speaker 1: Stuff to Blow your Mind pod cast feed, which we'll 1249 01:09:00,960 --> 01:09:03,360 Speaker 1: find wherever you get your podcasts. Stuff to Blow Your 1250 01:09:03,400 --> 01:09:06,599 Speaker 1: Mind is primarily a science and culture podcast. We run 1251 01:09:06,640 --> 01:09:09,559 Speaker 1: our core episodes on Tuesdays and Thursdays, but we run 1252 01:09:09,640 --> 01:09:12,719 Speaker 1: an artifact episode on Wednesday's, we run listener mail on Monday's, 1253 01:09:12,760 --> 01:09:15,519 Speaker 1: we run on the weekend, and then on Friday it's 1254 01:09:15,600 --> 01:09:17,599 Speaker 1: this It's Weird Our Cinema, you know, which we get 1255 01:09:17,640 --> 01:09:20,040 Speaker 1: to talk about a weird film. Huge thanks as always 1256 01:09:20,080 --> 01:09:23,320 Speaker 1: to our excellent audio producer Seth Nicholas Johnson. If you 1257 01:09:23,360 --> 01:09:25,360 Speaker 1: would like to get in touch with us with feedback 1258 01:09:25,400 --> 01:09:27,640 Speaker 1: on this episode or any other, to suggest topic for 1259 01:09:27,680 --> 01:09:29,639 Speaker 1: the future, or just to say hello, you can email 1260 01:09:29,720 --> 01:09:32,639 Speaker 1: us at contact. That's Stuff to Blow your Mind dot com. 1261 01:09:39,960 --> 01:09:42,439 Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio. 1262 01:09:42,840 --> 01:09:44,920 Speaker 1: For more podcasts for My heart Radio, visit the i 1263 01:09:45,000 --> 01:09:47,760 Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to 1264 01:09:47,840 --> 01:09:48,639 Speaker 1: your favorite shows.