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

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Speaker 1: Lamb and oh we have a fun one here for you.

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Speaker 1: Today we're gonna be talking about the nineteen seventy six

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Speaker 1: film Rock and Roll Wolf, also known as Mama. It

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Speaker 1: is a Romanian Soviet French co production and a live

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Speaker 1: action adaptation of the brothers grim tale The Wolf and

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Speaker 1: the Seven Young Goats. It is weird, It rocks, and

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Speaker 1: it originally published twelve thirteen, twenty twenty four. Let's jump in.

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

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Speaker 1: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today on Weird House Cinema we're going to be discussing

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Speaker 3: the nineteen seventy six Romanian Soviet French produced psychotropic children's

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Speaker 3: fairytale musical Mama aka Rock and Roll Wolf, directed by

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Speaker 3: the Romanian filmmaker Elisa Beta Boston. And I really mean

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Speaker 3: it when I say this movie has everything. It is

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Speaker 3: so much, so fast, and so wonderful, infectiously lovable music.

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Speaker 3: Russian ballet dancer is dressed up like spiders and or sparrows.

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Speaker 3: Nearly just NonStop locomotive energy. Maybe flags a little bit

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Speaker 3: in the second half of the movie, but at least

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Speaker 3: the first half is like it is. It is a

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Speaker 3: freight train, it does not stop. It's got diverse frolicking,

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Speaker 3: theeomorphs in a secret village in the deep woods. It's

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Speaker 3: got rooftop seesaws, bridges over nothing, goat boy, levitation, ice

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Speaker 3: based wolf traps, strawberries coated and honeydew, a rainbow parrot

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Speaker 3: with like mad auctioneer energy, plaintive donkey, solos, pendulum beds,

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Speaker 3: secret passwords, red squirrel, acorn rituals, a dangerously handsome bad

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Speaker 3: boy wolf man, a gorgeous angelic goat mother, and NonStop

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Speaker 3: historical smoking. Yes, this is one of those where I

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Speaker 3: am definitely in how have I never seen this before? Territory?

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Speaker 3: A rock and roll wolf is so so in my

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Speaker 3: wheelhouse and I can't recommend it enough, super weird and

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Speaker 3: pushes like every single sensory boundary at once.

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Speaker 1: I showed part of this to my wife at line

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Speaker 1: after I'd finished watching it, and she thought it looked

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Speaker 1: like an acid trip. And her follow up question was,

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Speaker 1: how did Joe find out about this movie? And I

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Speaker 1: don't have the answer. Do you have an answer? Can

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Speaker 1: you answer it? For this?

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Speaker 3: I wish I remember it. No, I honestly, I don't

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Speaker 3: know how this movie first came onto my radar. I've

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Speaker 3: like had it on a list of movies I was

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Speaker 3: gonna come back and check out later, and then this

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Speaker 3: week I did. I looked at my list and I

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Speaker 3: was like, oh, okay, what's the deal with this one?

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Speaker 3: So I know. The one reason I became intrigued this

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Speaker 3: week is that I started looking into user reviews and

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Speaker 3: comments online just how people were reacting to this movie,

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Speaker 3: and I noticed there were several distinct tranches of audience reaction.

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Speaker 3: One type was pretty similar to how I'm reacting now, like, wtf,

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Speaker 3: I just discovered this insane movie as an adult. My

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Speaker 3: senses are overwhelmed and I am delighted and confused. But interestingly,

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Speaker 3: another type of reaction was and I think this is

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Speaker 3: probably particularly common in people from certain countries in Europe.

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Speaker 3: It was a reaction like I grew up watching this

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Speaker 3: over and over on TV, and it is intensely nostalgic

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Speaker 3: for me. I couldn't verify this, but I read a

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Speaker 3: bit of unsourced trivia online that this movie was played

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Speaker 3: every year at Christmas on Norwegian television, where I believe

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Speaker 3: it would have been known as a RockA uven, meaning

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Speaker 3: the rock Wolf. And so I don't know, I guess

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Speaker 3: we are in Christmas movie territory, whether whether or not

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Speaker 3: we meant to be this week.

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Speaker 1: Yeah, and it's when we get into the plot later on,

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Speaker 1: it does seem like there is some sort of well,

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Speaker 1: you know, there is some winter folkloric magic going on here,

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Speaker 1: so it does seem to fit well within like the

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Speaker 1: Holiday movie universe.

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Speaker 3: Yeah, yeah, we get a winter fairy who comes and

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Speaker 3: saves a little goat boy who has gotten lost in

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Speaker 3: the in the wilderness. Oh but I should mention the

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Speaker 3: third major type of reaction, So we've got the this

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Speaker 3: movie is is weird. I love it. We've got this

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Speaker 3: movie is nostalgic for me. I saw it when I

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Speaker 3: was a kid. And then the third type is my

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Speaker 3: fanatical celebrity crush. Is a weird pipe smoking wolf or

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Speaker 3: a heavenly goat mother or both. And this type of

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Speaker 3: reaction could overlap with one of the other histories possibly,

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Speaker 3: but a lot of people crushing on the main sort

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Speaker 3: of lead animals in this movie.

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Speaker 1: Yeah, this movie has dare I say, strong furry energy

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Speaker 1: to it. If you if you at any point in

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Speaker 1: your life you've really gotten into the practical makeup effects

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Speaker 1: for the cat's musical or perhaps the I finally remember

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Speaker 1: this show Zubli Zoo starring Ben Vereen. This was like

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Speaker 1: a kid's musical dance show, very Broadway, and all the

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Speaker 1: makeup was very cats.

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Speaker 3: I've never seen Zubalizo, but I watched part of this

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Speaker 3: movie with my wife and she she compared it to

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Speaker 3: Zublizu as well.

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Speaker 1: Yes, strong Zubali Zoo energy, and yeah, it has a

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Speaker 1: lot of attractive people dressed up as these animals. So

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Speaker 1: I did have to wonder at times like if I

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Speaker 1: was bringing that energy into it, if other people were

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Speaker 1: having that reaction as well, Because I just came off

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Speaker 1: a couple of viewings of nineteen seventy six is were

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Speaker 1: Wolf Woman. So I don't know if I'm letting like

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Speaker 1: the were Wolf Woman experience taint my viewing of a

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Speaker 1: family children's Christmas story, you know, from several countries away.

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Speaker 3: No, I mean, it's not the only movie of this sort,

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Speaker 3: but I think from what I can tell, everything explicit

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Speaker 3: about it is you know, very it's very family friendly

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Speaker 3: and it's you know, it's a children's movie. It's a

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Speaker 3: fairy tale movie. But there's sort of a second level

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Speaker 3: of interpretation that a lot of people I think, look

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Speaker 3: back on it with after they grew up watching it,

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Speaker 3: and in fact regarding that first type of reaction, like

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Speaker 3: all the people who were saying, oh, I watched this

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Speaker 3: so many times as a child, like maybe on Norwegian

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Speaker 3: TV or in Norway. Somehow this connects to another interesting

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Speaker 3: thing I found online, which was a trailer for a

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Speaker 3: live musical stage adaptation which played at the Norwegian National

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Speaker 3: Theater in twenty eleven. And I so wish I could

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Speaker 3: go back in time and see this. I would fly

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Speaker 3: to Norway. If they do a revival, I don't know,

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Speaker 3: maybe they keep doing this thing. But kind of interesting

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Speaker 3: thing about it is the movie I think is firmly

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Speaker 3: aimed at kids. It's like a it's extremely weird, but

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Speaker 3: it is a family fairy tale adventure. Just from the trailer,

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Speaker 3: this stage musical looks to me more explicitly aimed at adults.

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Speaker 1: It has slight, slight, rocky horror energy.

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Speaker 3: Yes, yes, soft, but yes, I see what you're saying

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Speaker 3: like the little clips in the trailer feel like something

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Speaker 3: in one sense aimed at adults who have passionate nostalgia

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Speaker 3: for a movie they loved as children, but with a

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Speaker 3: sense of irony about the weirder aspects. For example, a

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Speaker 3: few of the clips from the stage version really seem

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Speaker 3: to press on the sexual tension between Mama Goat and

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Speaker 3: mister Wolf. Like. I pulled out a few screenshots for

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Speaker 3: you to look at. Rob. This is again, this is

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Speaker 3: not from the movie. This is from the stage version,

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Speaker 3: where we've got Mama Goat here spanking the wolf them

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Speaker 3: just like making weird faces each other. And then here's

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Speaker 3: this one scene where suddenly Mama Goat has had a

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Speaker 3: costume change and she's no longer in her Romanian folk

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Speaker 3: dress and is wearing some kind of black leather thing

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Speaker 3: with a bunch of metal rivets.

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Speaker 1: Yeah, at this point, I feel like we're in a

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Speaker 1: meat love video.

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Speaker 3: Yes, yeah, but no yeah again. To be clear, this

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Speaker 3: does not happen in the movie. I think adult viewers

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Speaker 3: will find it impossible to miss the weird tension between

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Speaker 3: the wolf Titisuru and the goat mother Rata, but it's

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Speaker 3: not explicit in the movie, and it's not played for

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Speaker 3: laughs like it seems to be here. So technically, this

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Speaker 3: movie is a film adaptation of one version of the

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Speaker 3: fairy tale known as The Wolf and the Seven Young

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Speaker 3: Kids in the Brother's Grim Catalog, and we'll get to

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Speaker 3: the details of that story later on. I'll summarize it

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Speaker 3: when we get to the plot, but overall the movie

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Speaker 3: is quite loose on plot. Rock and Roll Wolf is

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Speaker 3: like many musicals of an experience. It's kind of hard

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Speaker 3: to communicate how much experience is packed into this eighty

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Speaker 3: minute movie, the kind of time I personally had with it.

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Speaker 3: The runtime just flew by, especially in the first half,

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Speaker 3: with the song and dance numbers just coming so fast,

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Speaker 3: and the tone and the visual and sonic texture constantly

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Speaker 3: switching up with this kind of rapid shuffling deck of

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Speaker 3: cards kind of feeling. I loved Rock and Roll Wolf,

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Speaker 3: and I think it's a real shame that, as far

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Speaker 3: as I'm aware, there is not like a high quality

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Speaker 3: blu ray of the English version available today. I really

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Speaker 3: really want that, because this is a gem of a film.

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Speaker 3: Oh and I guess sorry. That brings up a second

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Speaker 3: impressive thing about this movie. It is a film where

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Speaker 3: the main creative inputs were Romanian and Russian. But there

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Speaker 3: is a native English version of the film, so not

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Speaker 3: just subtitles, not even just to d U. There is

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Speaker 3: a version of the movie where the songs have lyrics

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Speaker 3: in English and are performed in English by the cast. Now,

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Speaker 3: it might be different voice actors than the people playing

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Speaker 3: the characters on screen. I'm not sure, because I did

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Speaker 3: listen to snippets of songs from the different versions. There's

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Speaker 3: at least one in Romanian, one in Russian, and one

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Speaker 3: in English. I don't know if there are any other

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Speaker 3: language versions, And the voices sound kind of different to me,

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Speaker 3: so I think it might be different singers. But like

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Speaker 3: one example was that I recall in the Russian version

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Speaker 3: the wolf sounded a lot less suave than in the

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Speaker 3: English version and more kind of rascally.

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Speaker 1: Yeah, I did notice that the English track was recorded

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Speaker 1: in London, so you know, I mean, that kind of

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Speaker 1: leads me to believe it is a different a different

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Speaker 1: vocal cast for the English cut. But the English cut's

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Speaker 1: the version we watched. That's at least a version that

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Speaker 1: as of this recording is floating around out there. I

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Speaker 1: asked around about this movie at Video Drome here in Atlanta,

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Speaker 1: the video rental store, and John, one of the guys

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Speaker 1: who works there, is quite knowledgeable. He was looking around

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Speaker 1: looking stuff up and he pointed out there is a

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Speaker 1: DVD version of this film or a DVD R. I'm

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Speaker 1: not sure in the technical specs there, but there is

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Speaker 1: some sort of diss you can buy. You might have

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Speaker 1: to go on eBay to get it, he said, but

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Speaker 1: it does exist. But in terms of like a really

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Speaker 1: nice like Blu ray edition, which clearly a film like

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Speaker 1: this deserves, he said. You know, a good place to

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Speaker 1: watch out for it would maybe be the Deaf Crocodile guys.

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Speaker 1: That company puts out a number of great films, some

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Speaker 1: you know, some Russian films for sure, and so that

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Speaker 1: those would be the guys to pester with your with

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Speaker 1: your requests for Rock and Roll Wolf aka Mama.

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Speaker 3: Well, yes, I fully endorse that please put this out

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Speaker 3: because this is you can tell you can just look through.

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Speaker 3: The core of visual assets are fantastic. This is a

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Speaker 3: movie of beautiful production values. It has these great sets.

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Speaker 3: It's set in this fairy tale animal village in the

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Speaker 3: middle of a forest with all these you know strang

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Speaker 3: like these Romanian folk cabins and weird sets. But it's

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Speaker 3: also got like some disco kind of sets. Oh yeah

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Speaker 3: for sure. So yeah, the psychotropic elements dominate as well.

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Speaker 3: The costumes and the makeup are just you know, push

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Speaker 3: to eleven. It's almost constantly something something beautiful to behold.

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Speaker 1: It is definitely a nineteen seventies musical, There's absolutely no

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Speaker 1: doubting that. Like if you have ever seen like the

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Speaker 1: original film adaptation of Godspell, indeed Rocky Heart Picture Show

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Speaker 1: or a movie if we've talked about on the show

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Speaker 1: before The Apple, which came out in the nineteen eighties,

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Speaker 1: but he's still a seventies rock musical, Like this has

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Speaker 1: all of that energy, the rock and rolls there, the

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Speaker 1: disco elements are there, and also that kind of like

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Speaker 1: bohemian vibe, you know of these troubadours and bards floating

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Speaker 1: around in a troubled decade but still keeping some of

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Speaker 1: that energy of the late nineteen sixties alive in their art.

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Speaker 3: Yeah. Hey, hey, hey, Wolf's on the way. So like

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Speaker 3: I can see that comparison with The Apple and all that,

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Speaker 3: and another one I saw people a comparison I saw

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Speaker 3: people making online was Tommy, you know, the adamiation of

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Speaker 3: the Who album. So yeah, I absolutely see that though

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Speaker 3: something about this does feel a little It has common

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Speaker 3: esthetic elements, but it feels less decadent than a lot

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Speaker 3: of your western seventies rock operas. It feels more wholesome

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Speaker 3: and kind of forest magic based.

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Speaker 1: Yeah.

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Speaker 3: Yeah.

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Speaker 1: It is ultimately angling for children and features a lot

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Speaker 1: of child characters. So yeah, it's it's it's managing to

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Speaker 1: be all these things at once.

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Speaker 3: But on the other hand, don't want to over sell

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Speaker 3: the wholesomeness or make its ound bland like it does

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Speaker 3: have strong Mother Goose drops acid energy.

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Speaker 1: Is that your elevator pitch?

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Speaker 3: Yeah, that's gotta be Mother Mother Goose drops acid and

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Speaker 3: joins the spiders from Mars.

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Speaker 1: All right, you know, I'm not sure we actually have

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Speaker 1: any trailer audio for this one, given the nature of

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Speaker 1: the picture. We'll hunt around a little bit and if

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Speaker 1: we can find something, we'll throw it in here. If not,

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Speaker 1: maybe we can get JJ to sample just a tiny

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Speaker 1: bit of the audio. If not, you know, you'll never

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Speaker 1: hear this part because we'll cut it down.

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Speaker 3: I should say home now you can open the door.

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Speaker 1: Don't be afraid now not any more.

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Speaker 2: He suus coucis plains, tell us an occuntation.

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Speaker 3: We lend a helping hand in suit operation.

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Speaker 1: I'm the don't keeper trincle. He ho my brother a

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Speaker 1: good kicker. All right, if you want to see this

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Speaker 1: film for yourself, we already discussed ways you might be

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Speaker 1: able to find it, and perhaps find it in the future.

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Speaker 1: Who knows, but this is always the case. We do

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Speaker 1: urge you to watch it in the best quality possible,

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Speaker 1: however you obtain it. All right, Let's get into the

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Speaker 1: people behind this picture, all right. Starting at the top,

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Speaker 1: we have ELIZABETHA. Boston born nineteen thirty one, the director

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Speaker 1: Romanian film director and screenwriter whose credits include nineteen sixty

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Speaker 1: four's Memories of My Childhood, nineteen sixty eight's Kingdom in

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Speaker 1: the Clouds, seventy two is Veronica, and seventy threes Veronica

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Speaker 1: Comes Back. She's been involved in various stage and screen

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Speaker 1: projects over the course of her long career, as well

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Speaker 1: as in academia concerning film.

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Speaker 3: Apparently, these Veronica movies she did are also sort of wild,

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Speaker 3: sort of fairy tale fantasies aimed at children. And I'm

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Speaker 3: interested in checking those out because oh we didn't. I

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Speaker 3: guess we didn't mention this yet. But one of the

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Speaker 3: appeals of getting into this movie this week is that,

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Speaker 3: of course every Christmas season, Rob and I get in

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Speaker 3: mind the mind of Jack Frost or Morosco the Great

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Speaker 3: the Christmas Tale of the Russo Finished Taiga, But that

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Speaker 3: one I saw little echoes of that in the movie

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Speaker 3: we're talking about today. And in the screenshots I saw

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Speaker 3: from the Veronica movies, I saw some comparisons one could

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Speaker 3: make to moros Co as well. So those are going

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Speaker 3: to be on my radiar. I want to come back

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Speaker 3: and check them out.

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Speaker 1: All right. As for the writing here, we have two

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Speaker 1: screenplay credits. One is a Russian and the other is

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Speaker 1: a Romanian. We have a Yuri Intin born nineteen thirty five,

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Speaker 1: Russian author, a musician whose other credits include various other

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Speaker 1: children's pictures. And then we have Vasilica Istrad lived nineteen

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Speaker 1: thirty four through two thousand and two, Romanian producer and

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Speaker 1: writer who works several times in a writing capacity with Bustan.

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Speaker 1: And this is a good a time as any to

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Speaker 1: add usual caveat my apologies for any mispronunciations of the

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Speaker 1: various Russian, Romanian and French names that are going to

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Speaker 1: be involved in this multi national production. Here, all right,

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Speaker 1: this film, there's no doubt about it, stars Ludmila Gorshenko

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Speaker 1: playing Rata the Goat. This is the titular Mama from

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Speaker 1: the versions of the film you'll find with the title Mama,

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Speaker 1: and she lived nineteen thirty five through twenty eleven.

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Speaker 3: Radiating goodness and light even when the forest is dark.

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Speaker 3: She has strong you know, she's the paladin, she's the

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Speaker 3: heroin character, and she comes off as so good and

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Speaker 3: so pure, even when she's like flirting with the wolf

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Speaker 3: who's going to eat her children.

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Speaker 1: I mean, you very well may think that you were

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Speaker 1: immune to the wiles of various satyrs and Baphamets and

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Speaker 1: even mister Tumness. But you know, you need to watch

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Speaker 1: this film and see how Rada hits for you, because

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Speaker 1: her charisma, her brightness or just absolute goodness shines through.

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Speaker 1: And also something about you know, she has this little

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Speaker 1: button nose that seems to just work so well with

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Speaker 1: the big goat horns and all.

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Speaker 3: Yeah, yeah, she does have goat horns and they do

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Speaker 3: the It feels like a very Eastern Bloc style of

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Speaker 3: makeup effects. Though I think the makeup in this movie

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Speaker 3: might have been done by the fringe. I'm not sure, but.

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Speaker 1: Yeah, I think I saw at least some French credits

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Speaker 1: for the makeup. Yeah.

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Speaker 3: Well, anyway, it's something I recognized from Morosco as well,

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Speaker 3: the freckles she has, which are just done. It looks

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Speaker 3: like with like a black felt tip pin, just black

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Speaker 3: felt tip, little freckles on her cheeks. Well.

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Speaker 1: Grushenko was a Ukrainian born, Russian and Soviet actress, singer,

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Speaker 1: and overall entertainer. While she at times was seen as

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Speaker 1: too Western by Soviet entertainment tastemakers earlier in her career,

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Speaker 1: she went on to be a highly regarded actress in

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Speaker 1: Soviet and post Soviet Russia, receiving the highest acting honors

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Speaker 1: during both eras she worked well into her seventies on

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Speaker 1: stage and in TV and film. She put out several

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Speaker 1: albums in the seventies, eighties, and nineties, and her best

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Speaker 1: known films include nineteen fifty six's Carnival Nights, nineteen seventy Nines,

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Speaker 1: Sibera Day, and nineteen seventy six is Twenty Days Without War,

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Speaker 1: which was apparently suppressed to some degree due to its

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Speaker 1: anti war themes and wasn't released until nineteen eighty one,

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Speaker 1: and that was after the success of seventy nine Siberi Day,

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Speaker 1: so you know, at that point there was no stopping her.

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Speaker 1: I was exploring her filmography a bit I have. This

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Speaker 1: is the only film I've seen starring her, but clearly

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Speaker 1: she's a huge name and a number of prestige pictures,

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Speaker 1: like she's not an actress that you find in any

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Speaker 1: like sci fi and horror pictures. But of note, there's

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Speaker 1: nineteen ninety one's Sex Kaska, which I think translates to

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Speaker 1: sex story, and it's a fantasy mystery picture. It looks

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Speaker 1: like it has some like sexy aspects to it, but

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Speaker 1: also seems to have a very almost kind of noir

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Speaker 1: quality to the filmmaking. The only other two films that

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Speaker 1: I think fall roughly into a fantasy genre for her

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Speaker 1: were nineteen sixty ones The Man from Nowhere in nineteen

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Speaker 1: seventy one's Ten. So yeah, this is my first time

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Speaker 1: seeing her in a film, but it seems based on

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Speaker 1: what I was reading and like the oh bit that

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Speaker 1: ran in The Guardian when she passed it seems difficult

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Speaker 1: to overstress how successful she was as an actress in Russia.

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Speaker 3: It seems hard to believe that she didn't do more

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Speaker 3: like sci fi and genre type movies when you look

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Speaker 3: at some of her press photos. Yeah, there's one you share.

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Speaker 3: I don't know what this is from, but there's one

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Speaker 3: photo you shared with me. It's clearly from some kind

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Speaker 3: of magazine shoot or something where she's I guess she's

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Speaker 3: having a picnic. She's sitting out in the middle of

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Speaker 3: a field with a blanket spread out under her, and

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Speaker 3: she's got you know, kind of like a ratan lined

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Speaker 3: wine bottle there, but she's got several daggers in ornate sheaths.

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Speaker 3: She's wearing one of those like felt mountaineer hats with

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Speaker 3: feathers in it. She's got a flask of some guy

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Speaker 3: next to her, just some kind of bunches of grapes

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Speaker 3: lying around, and then a falcon in her hand like

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Speaker 3: it's per she's got one those leather gloves and just yeah, falconing.

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Speaker 1: Between this image and the still I shared with you

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Speaker 1: from sex Story, in which she's wearing like some sort

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Speaker 1: of like she got crazy makeup on and this big

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Speaker 1: furry hat like both of these images, and I really

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Speaker 1: to an extent. Also the screen cap here we have

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Speaker 1: from today's movie. If I encountered all of these and

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Speaker 1: like a Google image search, I would be like, get

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Speaker 1: this AI stuff out of here. Nice try mid journey.

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Speaker 1: But I'm not believing that this is a real image

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Speaker 1: of a woman with a falcon and a ceremonial dagger

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Speaker 1: and a big flowery hat out on a picnck.

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Speaker 3: Yeah, somebody put into the prompt like a Russian actress

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Speaker 3: as Edward scissor hands.

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Speaker 1: Yeah, but these are all real, These are actual photos.

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Speaker 1: I think I found the bird one on a blog

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Speaker 1: about like Russian pop culture. All right, so that that

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Speaker 1: is our star. That is mama that. But on the

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Speaker 1: other hand, this film was also known as rock and

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Speaker 1: Roll Wolf, So who is our wolf? Well, the character

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Speaker 1: is Titisuru played by Mikhail Boyarsky born nineteen forty nine

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Speaker 1: Russian actor and singer, apparently best known for some adventure

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Speaker 1: films he did, especially a nineteen seventy nine Soviet Three

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Speaker 1: Musketeers movie in which he played the lead role of d'Artagnan.

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Speaker 1: In fact, I think the name of that movie this

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Speaker 1: may be in translation or you know international releases, but

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Speaker 1: I saw it referenced as d'Artagnan and the Three Musketeers,

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Speaker 1: so he must have stood out from the rest of

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Speaker 1: the bunch.

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Speaker 3: Yeah, well, wait a minute, No is d'Artagnan one of

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Speaker 3: the three Musketeers. I think he might not be.

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Speaker 1: He's not. It's been a long time sin they've done

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Speaker 1: Three Musketeers.

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Speaker 3: But I gotta look this up. I'm not gonna be

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Speaker 3: able to rest until I know.

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Speaker 1: Yeah, I haven't. As a kid, I watched at least

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Speaker 1: one of the versions that had Oliver Reid in it.

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Speaker 1: But yeah, it's been a long time since they interacted.

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Speaker 1: Because sometimes there are four of them, right, they're three Musketeers.

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Speaker 3: Yes, that's right, it's d'Artagnan, Athos Aramis, and Porthos. I could.

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Speaker 3: I just looked it up. So Porthos was Oliver Reed. Okay,

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Speaker 3: I didn't know that, but yeah, that's right. It's like

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Speaker 3: d'Artagnan appreciates these other three guys, the Three Musketeers.

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Speaker 1: All right, well, there you go. Well this is apparently

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Speaker 1: his big role that skyrocketed his career.

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Speaker 3: I believe he's.

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Speaker 1: Currently retired from acting, but apparently remains an active voice

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Speaker 1: in Russian politics.

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Speaker 3: So this guy is obviously a big part of the

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Speaker 3: impression this movie makes on people. Like I think there's

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Speaker 3: a reason that one of the release names, like the

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Speaker 3: international title was rock and Roll Wolf, because people online

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Speaker 3: have thoughts about this guy.

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Speaker 1: Yeah, I mean, I mean he's a slind, tall slender really,

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Speaker 1: you know, has like kind of kind of liking you know,

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Speaker 1: aspects to his his body and face already. But yeah,

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Speaker 1: he's wearing all black. He's constantly smoking a pipe, and

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Speaker 1: I mean constantly. I don't know if there's a single

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Speaker 1: scene where he isn't smoking a pipe. Yeah, he has

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Speaker 1: a real rock star energy. Reminded, I was reminded at

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Speaker 1: times of like Frank Zappa, you know.

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Speaker 3: Yes, yeah, a little bit Frank Zappa, because he's got

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Speaker 3: that He's got a strong mustache and part of a

431
00:25:16,000 --> 00:25:19,840
Speaker 3: little beard with with the dark hair and the heavy eyebrows.

432
00:25:20,359 --> 00:25:20,479
Speaker 1: Uh.

433
00:25:20,640 --> 00:25:25,800
Speaker 3: I'm thinking a cross between somewhere between Jerreth the Goblin

434
00:25:25,960 --> 00:25:30,200
Speaker 3: King and I remember in Almost Famous, when Billy Krudip

435
00:25:30,200 --> 00:25:32,359
Speaker 3: plays a rock star, there's a little bit of a

436
00:25:32,359 --> 00:25:33,960
Speaker 3: resemblance there.

437
00:25:34,119 --> 00:25:37,360
Speaker 1: He's the one I'm a Golden God, right remember remember, yeah?

438
00:25:37,920 --> 00:25:40,520
Speaker 3: Right? Yeah, So there's a good bit of that. But

439
00:25:40,640 --> 00:25:44,320
Speaker 3: he is just a just a rascally gyrate and rock

440
00:25:44,359 --> 00:25:47,720
Speaker 3: star in the middle of this fairy tale village with

441
00:25:47,720 --> 00:25:50,280
Speaker 3: with a twinkle in his eye so bright it would

442
00:25:50,280 --> 00:25:54,200
Speaker 3: be like registered on telescopes and other other star systems.

443
00:25:55,160 --> 00:25:59,040
Speaker 3: Like he he is up to no good. Oh and

444
00:25:59,080 --> 00:26:02,000
Speaker 3: I almost forgot him in. This is true of most

445
00:26:02,040 --> 00:26:04,919
Speaker 3: of the characters in the movie, but it's especially notable

446
00:26:04,920 --> 00:26:10,440
Speaker 3: in his case wearing an Amadeas style wig, gigantic voluminous

447
00:26:10,520 --> 00:26:13,600
Speaker 3: wig in his case, with just these you know, kind

448
00:26:13,640 --> 00:26:17,320
Speaker 3: of swishes of curly wavy hair going all over the place.

449
00:26:18,440 --> 00:26:22,480
Speaker 3: Everybody's got their own type of voluminous wig, but his

450
00:26:22,640 --> 00:26:24,400
Speaker 3: is I don't know. It looks really good.

451
00:26:25,160 --> 00:26:27,280
Speaker 1: Yeah, So we'll have a lot more to say about

452
00:26:27,280 --> 00:26:29,560
Speaker 1: this performance, but at this point we're going to get

453
00:26:29,560 --> 00:26:33,320
Speaker 1: into some of the supporting players and animals playing Donkey.

454
00:26:33,680 --> 00:26:38,800
Speaker 1: We have George Mihaitz born nineteen forty eight. This is

455
00:26:38,800 --> 00:26:41,600
Speaker 1: a Romanian actor and direct director, apparently a pretty big

456
00:26:41,640 --> 00:26:44,920
Speaker 1: name in Romanian cinema. His films include nineteen sixty eight's

457
00:26:45,000 --> 00:26:48,920
Speaker 1: Reconstruction and two thousand and eight Silent Wedding, as well

458
00:26:48,960 --> 00:26:52,119
Speaker 1: as the sci fi comedy, A Fantastic comedy from nineteen

459
00:26:52,160 --> 00:26:55,920
Speaker 1: seventy five. This was I thought one of the creepier

460
00:26:56,240 --> 00:26:58,679
Speaker 1: characters in the film. I don't know, every time Donkey

461
00:26:58,800 --> 00:27:01,680
Speaker 1: was on screen, I was at least a little creeped out,

462
00:27:01,880 --> 00:27:05,439
Speaker 1: in part because he falls in with the gang that

463
00:27:05,520 --> 00:27:11,800
Speaker 1: is supporting mister Wolf, that's supporting Suru in his various schemes.

464
00:27:12,080 --> 00:27:13,840
Speaker 1: But I don't know, there's something about his face, like

465
00:27:13,880 --> 00:27:18,840
Speaker 1: he puts out this like calm, serene kind of clown face,

466
00:27:19,760 --> 00:27:23,400
Speaker 1: but he's like actively supporting the main villain. And he's

467
00:27:23,400 --> 00:27:25,560
Speaker 1: a donkey, like not this is not an animal that

468
00:27:25,760 --> 00:27:28,000
Speaker 1: I would necessarily think of as, Oh, yeah, the Donkey's

469
00:27:28,040 --> 00:27:29,520
Speaker 1: gonna definitely fall in with the wolf.

470
00:27:29,800 --> 00:27:32,879
Speaker 3: He's the only herbivore in the wolf gang.

471
00:27:33,480 --> 00:27:37,240
Speaker 1: Yeah, what does that mean? Maybe it gets into I

472
00:27:37,280 --> 00:27:39,600
Speaker 1: don't know, it could be something cultural. We've talked before

473
00:27:39,640 --> 00:27:43,440
Speaker 1: about about donkeys and how sometimes they are associated, at

474
00:27:43,480 --> 00:27:48,880
Speaker 1: least in ancient Babylon or ancient Sumeria, with various demons

475
00:27:48,880 --> 00:27:50,080
Speaker 1: and so forth. So I don't know.

476
00:27:50,600 --> 00:27:55,840
Speaker 3: His emotional key is strange. He's like a morose gray clown.

477
00:27:56,119 --> 00:27:59,480
Speaker 3: Where we were just talking about everybody's wigs. His wig

478
00:27:59,640 --> 00:28:04,520
Speaker 3: is great Nigel Toughnell, and he has got big donkey

479
00:28:04,560 --> 00:28:08,520
Speaker 3: ears on top, though he strangely has a lot of

480
00:28:08,600 --> 00:28:10,919
Speaker 3: soul at a few moments. Do you remember the he

481
00:28:11,080 --> 00:28:15,000
Speaker 3: haw song, Like the part where he's just plaintively singing

482
00:28:15,080 --> 00:28:17,639
Speaker 3: he haw, he haw, he haw.

483
00:28:17,880 --> 00:28:20,600
Speaker 1: Yeah? Yeah, and Andy gets a love interest later then

484
00:28:20,880 --> 00:28:23,679
Speaker 1: I don't know why, but that was decided we needed that,

485
00:28:23,920 --> 00:28:30,000
Speaker 1: so so yes, Donkey, We'll come back to Donkey. Fascinating

486
00:28:30,080 --> 00:28:34,520
Speaker 1: character in the Rock and Roll Wolf universe. Another care

487
00:28:34,560 --> 00:28:36,800
Speaker 1: this is one we're introduced to, like right off the bat,

488
00:28:37,040 --> 00:28:40,200
Speaker 1: we have the character Parrot. It is kind of a

489
00:28:40,240 --> 00:28:42,880
Speaker 1: stretch to see him as a parrot. At first, he

490
00:28:42,920 --> 00:28:45,560
Speaker 1: seems like maybe he's some sort of a clown, but yeah,

491
00:28:45,600 --> 00:28:49,160
Speaker 1: he's a parrot. Played by Florian Pittis who of nineteen

492
00:28:49,200 --> 00:28:51,480
Speaker 1: forty three through two thousand and seven. This is a

493
00:28:51,640 --> 00:28:54,600
Speaker 1: Romanian actor, a folk musician and general entertainer.

494
00:28:55,160 --> 00:28:57,440
Speaker 3: They mainly signal that he's a parrot just by giving

495
00:28:57,480 --> 00:29:02,080
Speaker 3: him a very colorful outfit and wig. But yeah, he

496
00:29:02,120 --> 00:29:05,040
Speaker 3: doesn't have a beak or anything. And the role of

497
00:29:05,080 --> 00:29:07,840
Speaker 3: the parrot here is interesting because he's a kind of

498
00:29:09,600 --> 00:29:14,960
Speaker 3: entertainer slash vender or slash auctioneer. You know, he's kind.

499
00:29:14,760 --> 00:29:20,920
Speaker 1: Of a traveling bard or something, perhaps you know, music man. Perhaps,

500
00:29:21,160 --> 00:29:22,480
Speaker 1: I don't know. At times I was like, it was

501
00:29:22,520 --> 00:29:24,440
Speaker 1: this guy up to no good? Is he a con

502
00:29:24,480 --> 00:29:26,120
Speaker 1: man or something? But now he's just here to tell

503
00:29:26,160 --> 00:29:29,720
Speaker 1: stories and sing songs and gather everyone together inside the

504
00:29:29,760 --> 00:29:30,840
Speaker 1: Magical Disco Ball.

505
00:29:31,200 --> 00:29:35,360
Speaker 3: Yeah, it's interesting the level that they go to communicate

506
00:29:35,800 --> 00:29:39,440
Speaker 3: what animal each person is. So i'd say, you know, Rada,

507
00:29:39,960 --> 00:29:41,720
Speaker 3: I mean, she looks very human in one sense, but

508
00:29:41,760 --> 00:29:43,360
Speaker 3: you can tell she's a goat. She's got the clear

509
00:29:44,480 --> 00:29:47,640
Speaker 3: in the ears. There's no mistaking a parrot here. I

510
00:29:47,680 --> 00:29:49,920
Speaker 3: don't know. Yeah, he could just be like a human clown.

511
00:29:50,680 --> 00:29:54,680
Speaker 3: And there's another one, like the Bear family. They don't

512
00:29:54,720 --> 00:29:57,240
Speaker 3: work that hard to make them come off as bears.

513
00:29:57,280 --> 00:30:00,200
Speaker 3: They just look like humans in strange makeup.

514
00:30:00,280 --> 00:30:02,560
Speaker 1: They just look like human clowns. And in fact, I

515
00:30:02,560 --> 00:30:05,160
Speaker 1: don't think the next character, Father Martin the Bear, is

516
00:30:05,280 --> 00:30:08,960
Speaker 1: named in the English version that we watched, but Father

517
00:30:09,000 --> 00:30:12,080
Speaker 1: Martin the Bear is played by noted Soviet and Russian

518
00:30:12,120 --> 00:30:15,760
Speaker 1: clown and circus artists Oleg Popoff, who lived nineteen thirty

519
00:30:15,760 --> 00:30:18,560
Speaker 1: through two twenty sixteen. Not to be confused. I think

520
00:30:18,560 --> 00:30:21,360
Speaker 1: there's an Olegg pop Off MMA fighter right now. This

521
00:30:21,400 --> 00:30:25,959
Speaker 1: is different. This guy's a lover, not a fighter, and

522
00:30:26,120 --> 00:30:29,840
Speaker 1: a laugher not a fighter. Maybe mostly worked in purely

523
00:30:29,920 --> 00:30:33,640
Speaker 1: Russian film, but also appeared in nineteen seventy six is

524
00:30:33,680 --> 00:30:36,440
Speaker 1: the Bluebird. I wasn't familiar with this, but this is

525
00:30:36,480 --> 00:30:40,360
Speaker 1: apparently an American Soviet co production, an American Soviet co

526
00:30:40,440 --> 00:30:44,160
Speaker 1: production made during the height of the Cold War, starring

527
00:30:44,160 --> 00:30:46,000
Speaker 1: Elizabeth Taylor and Jane Fonda.

528
00:30:46,680 --> 00:30:48,160
Speaker 3: I did not know there was such a thing.

529
00:30:48,360 --> 00:30:51,280
Speaker 1: Yeah, I don't know much about it beyond that, but

530
00:30:52,320 --> 00:30:55,320
Speaker 1: that's fascinating. As for Oleg pop Off, I'm not sure,

531
00:30:55,320 --> 00:30:56,480
Speaker 1: but I feel like this is a name I had

532
00:30:56,520 --> 00:30:59,480
Speaker 1: heard before. I don't know if in the past, someone

533
00:30:59,760 --> 00:31:03,560
Speaker 1: like I ran into a clowning enthusiast at a party

534
00:31:03,640 --> 00:31:05,320
Speaker 1: or something and they decided to tell me about the

535
00:31:05,360 --> 00:31:08,240
Speaker 1: Great Oily pop Off, But I feel like this name

536
00:31:08,280 --> 00:31:10,840
Speaker 1: has come up for me before. And this is also,

537
00:31:10,880 --> 00:31:12,440
Speaker 1: by the way, a guy. When you see him in

538
00:31:12,480 --> 00:31:14,640
Speaker 1: the film, you're like, this guy's a pro clown. There's

539
00:31:14,680 --> 00:31:15,720
Speaker 1: no doubt about.

540
00:31:15,440 --> 00:31:18,720
Speaker 3: It, not at all. In how he physically looks, but

541
00:31:18,840 --> 00:31:21,240
Speaker 3: in the way that he is dressed here and the

542
00:31:21,280 --> 00:31:24,680
Speaker 3: way that he acts like his physical comedy reminded me

543
00:31:24,720 --> 00:31:25,600
Speaker 3: of Harpo Marx.

544
00:31:26,080 --> 00:31:32,160
Speaker 1: Hmmm, yes, all right. Next we have a severely Kramarov

545
00:31:32,240 --> 00:31:35,360
Speaker 1: playing the young wolf. Let's see, there's another. They refer

546
00:31:35,480 --> 00:31:40,640
Speaker 1: him as something else, like little nephew Wolf something. But

547
00:31:40,720 --> 00:31:42,880
Speaker 1: he's definitely part of the villain gang obviously, I mean

548
00:31:42,920 --> 00:31:43,840
Speaker 1: he's a blood relative.

549
00:31:45,440 --> 00:31:46,440
Speaker 3: But yeah.

550
00:31:46,440 --> 00:31:49,440
Speaker 1: He lived nineteen thirty four through nineteen ninety five, a

551
00:31:49,480 --> 00:31:52,720
Speaker 1: Soviet actor who then ended up immigrating to the US

552
00:31:52,800 --> 00:31:55,440
Speaker 1: in nineteen seventy nine at the what was apparently the

553
00:31:55,440 --> 00:31:58,960
Speaker 1: height of his popularity in the USSR, and his subsequent

554
00:31:59,120 --> 00:32:02,760
Speaker 1: US films included nineteen eighty four's Moscow in the Hudson

555
00:32:02,840 --> 00:32:06,680
Speaker 1: starring Robin Williams, twenty ten, The Year We Make Contact,

556
00:32:07,200 --> 00:32:10,160
Speaker 1: nineteen eighty six is Armed and Dangerous, nineteen eighty eight's

557
00:32:10,200 --> 00:32:13,440
Speaker 1: Red Heat, and nineteen eighty nine's Tango in Cash. I

558
00:32:13,480 --> 00:32:16,240
Speaker 1: don't have to tell you that he generally played supporting

559
00:32:16,280 --> 00:32:19,640
Speaker 1: Russian characters and or Russian bad guys in these pictures.

560
00:32:20,080 --> 00:32:22,080
Speaker 3: One of these days I got to watch Red Heat,

561
00:32:22,520 --> 00:32:24,760
Speaker 3: not that I expected to be good. It just seems

562
00:32:24,800 --> 00:32:26,600
Speaker 3: like one of those that would be a kind of

563
00:32:26,680 --> 00:32:27,440
Speaker 3: history lesson.

564
00:32:28,160 --> 00:32:30,560
Speaker 1: I think of those the films I just named, twenty

565
00:32:30,600 --> 00:32:32,720
Speaker 1: ten is the one I need to see. I haven't

566
00:32:32,760 --> 00:32:34,920
Speaker 1: seen that one, and I've heard that while it's no

567
00:32:35,480 --> 00:32:39,240
Speaker 1: two thousand and one, it is interesting in its own right.

568
00:32:40,320 --> 00:32:45,160
Speaker 3: Yeah, I've seen it. It's not bad, but it's I

569
00:32:45,200 --> 00:32:46,960
Speaker 3: don't know. I just don't know if I feel like

570
00:32:47,000 --> 00:32:49,960
Speaker 3: two thousand and one needs a sequel film, but I

571
00:32:50,000 --> 00:32:51,800
Speaker 3: don't know, you know, go for it.

572
00:32:52,360 --> 00:32:54,520
Speaker 1: I saw Moscow in the Hudson though at a very

573
00:32:54,560 --> 00:32:58,520
Speaker 1: young age, way too young. It has as I recall,

574
00:32:58,560 --> 00:33:00,760
Speaker 1: there's like a lot of naked rock and Williams in it,

575
00:33:01,760 --> 00:33:06,280
Speaker 1: but I don't remember its quality beyond that. I don't

576
00:33:06,320 --> 00:33:08,640
Speaker 1: think I was at an age to understand what this

577
00:33:08,720 --> 00:33:13,520
Speaker 1: movie was even about. Let's see moving on, Okay. This

578
00:33:13,520 --> 00:33:16,960
Speaker 1: is just a very supporting character, but she stands out

579
00:33:16,960 --> 00:33:19,440
Speaker 1: all the time in the scenes because she's our hot

580
00:33:19,440 --> 00:33:23,680
Speaker 1: squirrel lady. She is played by Marina Poliak born nineteen

581
00:33:23,720 --> 00:33:26,960
Speaker 1: fifty one, Russian actress best known for this film. Maybe

582
00:33:27,000 --> 00:33:28,920
Speaker 1: she was a squirrel woman, I don't know, and if so,

583
00:33:29,080 --> 00:33:31,680
Speaker 1: like it's it's hard to get work in serious cinema.

584
00:33:31,760 --> 00:33:33,520
Speaker 3: You mean, in real life she was part squirrel. I

585
00:33:33,520 --> 00:33:33,760
Speaker 3: think she.

586
00:33:34,160 --> 00:33:36,240
Speaker 1: I don't think she's in makeup here. She's just a

587
00:33:36,320 --> 00:33:37,520
Speaker 1: humanoid squirrel person.

588
00:33:37,800 --> 00:33:41,600
Speaker 3: There are near constant squirrel antics in this film. You know,

589
00:33:41,680 --> 00:33:44,400
Speaker 3: there'll be a scene where you're trying to focus on

590
00:33:44,480 --> 00:33:47,000
Speaker 3: what the main characters are doing, but then a squirrel

591
00:33:47,120 --> 00:33:50,760
Speaker 3: just like runs through the frame. All right.

592
00:33:50,840 --> 00:33:54,160
Speaker 1: The next character is the Swallow. I thought she was

593
00:33:54,160 --> 00:33:57,320
Speaker 1: a spider when I watched the film, because the spider

594
00:33:57,520 --> 00:33:59,640
Speaker 1: people like, she kind of looks like a spider woman.

595
00:34:00,040 --> 00:34:02,400
Speaker 3: I don't know, like she lives in a tree in

596
00:34:02,520 --> 00:34:03,800
Speaker 3: dangles from threads.

597
00:34:04,200 --> 00:34:06,400
Speaker 1: Yeah, Like she doesn't have a beak, and she also

598
00:34:06,440 --> 00:34:10,080
Speaker 1: doesn't have like mandibles or anything. But but yeah, I

599
00:34:10,120 --> 00:34:13,880
Speaker 1: thought she was a spider. She's played by Violetta Andrei

600
00:34:14,480 --> 00:34:18,360
Speaker 1: born nineteen forty one, a Romanian actress whose credits include

601
00:34:18,400 --> 00:34:21,280
Speaker 1: the East German sci fi film The Dust of the Stars,

602
00:34:21,719 --> 00:34:24,920
Speaker 1: which I believe I've seen and it's one that's been

603
00:34:24,920 --> 00:34:26,920
Speaker 1: on the Weird House Cinema list for a while. To

604
00:34:26,960 --> 00:34:29,960
Speaker 1: come back to okay, all right, and then coming to

605
00:34:30,040 --> 00:34:33,480
Speaker 1: the musical credits, we have two one's French, one's Romanian.

606
00:34:34,080 --> 00:34:38,600
Speaker 1: The French composer that's credited is Gerard Bourgeois, who lived

607
00:34:38,640 --> 00:34:41,960
Speaker 1: nineteen thirty six through twenty sixteen, not to be confused

608
00:34:41,960 --> 00:34:44,439
Speaker 1: with the French silent film era director of the same name.

609
00:34:44,680 --> 00:34:49,160
Speaker 1: This guy's a composer songwriter. He composed a few songs

610
00:34:49,200 --> 00:34:51,880
Speaker 1: that were made famous by Bridget Bardoux in the late sixties,

611
00:34:52,080 --> 00:34:54,960
Speaker 1: and he also had a singles run as a musician

612
00:34:54,960 --> 00:34:58,319
Speaker 1: in the early to mid nineteen sixties. And then on

613
00:34:58,360 --> 00:35:03,320
Speaker 1: the Romanian side, we have to Mestoicole Popa or Papa

614
00:35:03,800 --> 00:35:07,520
Speaker 1: nineteen twenty one through twenty thirteen. He's a Romanian composer

615
00:35:07,560 --> 00:35:10,640
Speaker 1: who worked with the director of this film on numerous projects.

616
00:35:10,680 --> 00:35:13,160
Speaker 1: I think he scored Veronica. I could be wrong on that,

617
00:35:13,239 --> 00:35:14,719
Speaker 1: but if it wasn't Veronica, it was one of the

618
00:35:14,760 --> 00:35:16,720
Speaker 1: other pictures that she'd done.

619
00:35:17,080 --> 00:35:19,120
Speaker 3: As I said earlier, I think the music in the

620
00:35:19,120 --> 00:35:21,880
Speaker 3: movie is quite strong and constant.

621
00:35:21,960 --> 00:35:24,680
Speaker 1: This is so, you know, there are different types of musicals,

622
00:35:24,719 --> 00:35:26,560
Speaker 1: and you know, I don't even know that I have

623
00:35:26,640 --> 00:35:29,279
Speaker 1: the terminology in my head for the different types, but

624
00:35:29,320 --> 00:35:32,040
Speaker 1: this is one where there are a handful of songs,

625
00:35:32,560 --> 00:35:34,920
Speaker 1: but we keep coming back to them again and again,

626
00:35:35,120 --> 00:35:39,880
Speaker 1: different characters singing them, also different renditions of those numbers,

627
00:35:40,360 --> 00:35:42,879
Speaker 1: and it's nearly constant. It's not one of these where

628
00:35:42,960 --> 00:35:44,759
Speaker 1: all right, we've had a little dialogue and now it's

629
00:35:44,800 --> 00:35:47,600
Speaker 1: time for a full blown song. So much, but it's

630
00:35:47,640 --> 00:35:49,840
Speaker 1: also not opera, you know.

631
00:35:49,960 --> 00:35:53,880
Speaker 3: Yeah, and it really varies in terms of genre. Like

632
00:35:53,960 --> 00:35:56,800
Speaker 3: parts of this are full on like rock opera. They're

633
00:35:56,840 --> 00:36:00,239
Speaker 3: like rock songs, almost prog rock. Others feel more like

634
00:36:00,480 --> 00:36:02,880
Speaker 3: traditional kind of stage musical numbers.

635
00:36:03,360 --> 00:36:06,160
Speaker 1: Yeah, and at times it's a little like we've got

636
00:36:06,200 --> 00:36:08,600
Speaker 1: some almost kind of like a Caribbean drum beat going

637
00:36:08,640 --> 00:36:09,600
Speaker 1: on at times.

638
00:36:09,360 --> 00:36:12,239
Speaker 3: You know, and the parrot songs, Yeah, the parrot.

639
00:36:12,080 --> 00:36:14,200
Speaker 1: Songs, which I guess that makes sense, like what's a

640
00:36:14,200 --> 00:36:16,719
Speaker 1: parrot doing here? Like it came from somewhere else, maybe

641
00:36:16,719 --> 00:36:19,480
Speaker 1: we brought some different drum beats with it. And then

642
00:36:19,800 --> 00:36:23,200
Speaker 1: other times there's certainly what feels like more of a

643
00:36:23,440 --> 00:36:27,040
Speaker 1: I don't know, you know, you know, Russo or Romanian

644
00:36:27,880 --> 00:36:31,000
Speaker 1: like folk music kind of mentality there. Certainly in some

645
00:36:31,040 --> 00:36:33,560
Speaker 1: of like the more lullabot eccentric songs we.

646
00:36:33,560 --> 00:36:45,239
Speaker 3: Hear, Yeah, I agreed, So I figure when we start

647
00:36:45,239 --> 00:36:47,200
Speaker 3: off talking about the plot, we should talk about the

648
00:36:47,320 --> 00:36:49,640
Speaker 3: folk tale this is based on I mentioned earlier. This

649
00:36:49,680 --> 00:36:53,600
Speaker 3: is based on a traditional fairy tale, and so the

650
00:36:54,600 --> 00:36:58,400
Speaker 3: Grim's fairy Tales rendition of this story is known as

651
00:36:58,560 --> 00:37:01,759
Speaker 3: The Wolf and the Seven Young Kids. Here, I'm going

652
00:37:01,800 --> 00:37:05,600
Speaker 3: to be drawing on a translation that's available online by d. L. Ashleman,

653
00:37:07,000 --> 00:37:09,279
Speaker 3: and the story goes like this. So you've got a

654
00:37:09,320 --> 00:37:12,080
Speaker 3: mother goat who has seven children, and they live together

655
00:37:12,080 --> 00:37:14,640
Speaker 3: in a house in the forest, and one day mother

656
00:37:14,760 --> 00:37:17,960
Speaker 3: has to leave home to forage for something to eat.

657
00:37:18,120 --> 00:37:21,080
Speaker 3: She warns her children that there is a wolf in

658
00:37:21,120 --> 00:37:23,600
Speaker 3: the woods, and while she is gone, the wolf of

659
00:37:23,640 --> 00:37:25,520
Speaker 3: the woods will come to the door and ask to

660
00:37:25,560 --> 00:37:28,080
Speaker 3: be let inside, and if they let him through the door,

661
00:37:28,120 --> 00:37:30,080
Speaker 3: he will eat them all up, so they better keep

662
00:37:30,080 --> 00:37:32,600
Speaker 3: the door shut. The children ask, how are we to

663
00:37:32,680 --> 00:37:35,760
Speaker 3: know if it's you coming home, mummy, And so she says,

664
00:37:35,960 --> 00:37:38,520
Speaker 3: if the young goat's here knocking at the door, they'll

665
00:37:38,560 --> 00:37:40,760
Speaker 3: be able to know that it's their mother by listening

666
00:37:40,800 --> 00:37:44,520
Speaker 3: for her soft voice and looking at her feet either

667
00:37:44,680 --> 00:37:47,280
Speaker 3: under the door or through the window. And the wolf

668
00:37:47,320 --> 00:37:49,840
Speaker 3: will have a rough voice and will have furry black

669
00:37:49,960 --> 00:37:53,040
Speaker 3: paws and so she goes out. She leaves the house,

670
00:37:53,480 --> 00:37:56,120
Speaker 3: and then the text reads quote, it was not long

671
00:37:56,200 --> 00:37:59,360
Speaker 3: before someone knocked at the door and called out, open

672
00:37:59,440 --> 00:38:02,200
Speaker 3: the door, children, Dear, your mother is here and has

673
00:38:02,200 --> 00:38:05,439
Speaker 3: brought something for each one of you. But the little

674
00:38:05,560 --> 00:38:08,400
Speaker 3: kids knew from the rough voice that it was the wolf.

675
00:38:08,880 --> 00:38:11,279
Speaker 3: We will not open the door, they cried out. You

676
00:38:11,320 --> 00:38:14,320
Speaker 3: are not our mother. She has a soft and gentle voice,

677
00:38:14,360 --> 00:38:17,880
Speaker 3: but your voice is rough. You are the wolf. So

678
00:38:18,080 --> 00:38:20,799
Speaker 3: after this, the wolf is like, hmm okay, thwarted. So

679
00:38:20,880 --> 00:38:23,240
Speaker 3: he goes to a shop and he buys a piece

680
00:38:23,239 --> 00:38:26,160
Speaker 3: of chalk, and then he eats the chalk and that

681
00:38:26,320 --> 00:38:29,920
Speaker 3: makes his voice soft. Don't know how that works, but

682
00:38:30,000 --> 00:38:32,480
Speaker 3: that is what the story says. He goes back to

683
00:38:32,520 --> 00:38:34,839
Speaker 3: the house again and pretends to be the mother, goat

684
00:38:34,880 --> 00:38:38,759
Speaker 3: on once again. This time the kids they hear the

685
00:38:38,800 --> 00:38:40,799
Speaker 3: soft voice. But then they look out the window and

686
00:38:40,840 --> 00:38:43,520
Speaker 3: they see the wolf's black paw and they know he

687
00:38:43,640 --> 00:38:45,320
Speaker 3: is a wolf, and they tell him to go away.

688
00:38:45,719 --> 00:38:48,439
Speaker 3: And then the text reads quote, So the wolf ran

689
00:38:48,560 --> 00:38:51,480
Speaker 3: to a baker and said, I have sprained my foot.

690
00:38:51,719 --> 00:38:54,760
Speaker 3: Rub some dough on it for me. After the baker

691
00:38:54,800 --> 00:38:57,200
Speaker 3: had rubbed a dough on his foot. The wolf ran

692
00:38:57,280 --> 00:39:00,400
Speaker 3: to the miller and said, sprinkle some white flour on

693
00:39:00,440 --> 00:39:03,600
Speaker 3: my foot for me. The miller thought this wolf wants

694
00:39:03,640 --> 00:39:06,600
Speaker 3: to deceive someone and refused to do it. So the

695
00:39:06,640 --> 00:39:08,960
Speaker 3: wolf said, if you will not do it, I will

696
00:39:09,000 --> 00:39:12,160
Speaker 3: eat you up. That frightened the miller, and he made

697
00:39:12,160 --> 00:39:15,160
Speaker 3: his pall white for him. Yes, that is the way

698
00:39:15,160 --> 00:39:19,880
Speaker 3: people are morals in the middle of the story, that

699
00:39:20,000 --> 00:39:23,799
Speaker 3: is the way people are. So anyway, Now that he

700
00:39:23,800 --> 00:39:26,120
Speaker 3: has swallowed the chalk to make his voice soft and

701
00:39:26,239 --> 00:39:29,120
Speaker 3: gotten the flowered up dough foot, the wolf goes back

702
00:39:29,120 --> 00:39:32,160
Speaker 3: to the house and tries tries again. This time he

703
00:39:32,200 --> 00:39:34,759
Speaker 3: does trick the young goats, and the little goats led

704
00:39:34,840 --> 00:39:37,200
Speaker 3: him inside, and he eats all of them except for

705
00:39:37,239 --> 00:39:41,480
Speaker 3: the youngest one, who hides inside a clock. Then, satisfied,

706
00:39:41,520 --> 00:39:44,640
Speaker 3: the wolf goes off takes a nap in a meadow. Meanwhile,

707
00:39:44,680 --> 00:39:47,200
Speaker 3: mother goat comes home from her foraging, and she finds

708
00:39:47,239 --> 00:39:50,200
Speaker 3: the house all in disarray and her children missing. And

709
00:39:50,239 --> 00:39:53,319
Speaker 3: then she finally she locates the youngest goat hiding in

710
00:39:53,320 --> 00:39:56,120
Speaker 3: the clock, who tells her what happened, and together they

711
00:39:56,200 --> 00:39:58,520
Speaker 3: run to the meadow and find the wolf sleeping off

712
00:39:58,560 --> 00:40:02,320
Speaker 3: his meal. But they see something moving and jiggling inside

713
00:40:02,360 --> 00:40:05,640
Speaker 3: the wolf's belly. And then the text reads quote the

714
00:40:05,680 --> 00:40:08,400
Speaker 3: mother goat sent the kid home and to fetch scissors

715
00:40:08,680 --> 00:40:11,960
Speaker 3: and a needle and thread, and then she cut open

716
00:40:12,040 --> 00:40:15,760
Speaker 3: the monster's paunch. She had scarcely made one cut before

717
00:40:15,800 --> 00:40:18,400
Speaker 3: a little kid stuck its head out, And as she

718
00:40:18,480 --> 00:40:22,120
Speaker 3: continued to cut, one after the other, all six jumped out,

719
00:40:22,200 --> 00:40:25,360
Speaker 3: and they were all still alive. They were not even hurt,

720
00:40:25,440 --> 00:40:28,800
Speaker 3: for in his greed, the monster had swallowed them down hole.

721
00:40:29,280 --> 00:40:32,279
Speaker 3: How happy they were. They hugged their dear mother and

722
00:40:32,440 --> 00:40:36,880
Speaker 3: jumped about like a tailor on his wedding day. But

723
00:40:36,920 --> 00:40:40,280
Speaker 3: the mother said, go now and look for some big stones.

724
00:40:40,400 --> 00:40:43,399
Speaker 3: We will fill the godless beast's stomach with them while

725
00:40:43,400 --> 00:40:47,040
Speaker 3: he is still asleep. So the kids go gather the stones,

726
00:40:47,080 --> 00:40:49,080
Speaker 3: they bring him back. They put the stones in the

727
00:40:49,120 --> 00:40:51,880
Speaker 3: wolf's belly, and then they sew him up again, and

728
00:40:51,920 --> 00:40:54,640
Speaker 3: the wolf wakes up thirsty, and he decides, well, I'm

729
00:40:54,680 --> 00:40:56,600
Speaker 3: gonna go to a nearby well and get some water.

730
00:40:57,080 --> 00:40:59,880
Speaker 3: But when he begins to walk, he cries out in pain.

731
00:41:00,080 --> 00:41:03,960
Speaker 3: He cries out quote what rumbles and tumbles inside of me.

732
00:41:04,440 --> 00:41:07,200
Speaker 3: I thought it was kids, but its stones that they be.

733
00:41:08,680 --> 00:41:11,000
Speaker 3: And so the story finishes quote when he got to

734
00:41:11,040 --> 00:41:13,000
Speaker 3: the well and leaned over the water to drink, the

735
00:41:13,040 --> 00:41:16,600
Speaker 3: heavy stones pulled him in and he drowned miserably. When

736
00:41:16,640 --> 00:41:19,000
Speaker 3: the seven kids saw what had happened, they ran up

737
00:41:19,040 --> 00:41:22,160
Speaker 3: and cried out, the wolf is dead. The wolf is dead,

738
00:41:22,520 --> 00:41:25,480
Speaker 3: and with their mother they danced for joy around about

739
00:41:25,520 --> 00:41:29,239
Speaker 3: the well. So how much does this overlap with the

740
00:41:29,239 --> 00:41:35,080
Speaker 3: plot of the movie. I would say medium moderately. Unfortunately,

741
00:41:35,320 --> 00:41:37,680
Speaker 3: in this movie they never cut the wolf open and

742
00:41:37,760 --> 00:41:41,680
Speaker 3: fill him up with stones, But the major conflict of

743
00:41:41,880 --> 00:41:46,120
Speaker 3: the film is the same. And I guess because the

744
00:41:46,120 --> 00:41:48,360
Speaker 3: plot here is very loose, we should just sort of

745
00:41:48,400 --> 00:41:50,919
Speaker 3: summarize up top, and then we can go and fill

746
00:41:50,920 --> 00:41:54,560
Speaker 3: in some texture when we talk about individual songs and scenes.

747
00:41:55,000 --> 00:41:59,200
Speaker 3: But the general plot is that Mama Goat aka Missus

748
00:41:59,280 --> 00:42:02,520
Speaker 3: Rada lives in a house in the forest with her

749
00:42:02,520 --> 00:42:05,680
Speaker 3: goat children. In this case, it's within a kind of

750
00:42:05,760 --> 00:42:09,080
Speaker 3: animal village where one house is full of rabbit people,

751
00:42:09,200 --> 00:42:12,880
Speaker 3: one house's sheep, one house is squirrels, and so forth,

752
00:42:12,920 --> 00:42:16,120
Speaker 3: and there's also a donkey, and there is a pipe

753
00:42:16,120 --> 00:42:20,439
Speaker 3: smoking wolf in this village named Titisuru who he lives

754
00:42:20,480 --> 00:42:22,839
Speaker 3: in town, and he spends the first quarter of the

755
00:42:22,840 --> 00:42:25,680
Speaker 3: movie telling Rada that he is going to eat her children,

756
00:42:26,040 --> 00:42:28,360
Speaker 3: and she tells him no, and then they dance and

757
00:42:28,400 --> 00:42:29,439
Speaker 3: make eyes at each other.

758
00:42:29,840 --> 00:42:32,200
Speaker 1: Yeah, there's a lot of like, no, for real, I'm

759
00:42:32,200 --> 00:42:35,560
Speaker 1: going to eat your brats, like he calls them brats essentially,

760
00:42:36,160 --> 00:42:39,280
Speaker 1: and he is pretty clear, like I'm a predator there,

761
00:42:39,320 --> 00:42:41,640
Speaker 1: baby goats, i am going to eat your children. And

762
00:42:41,680 --> 00:42:43,840
Speaker 1: she's like, oh, no, you won't. But there's kind of

763
00:42:43,840 --> 00:42:44,480
Speaker 1: a wink there.

764
00:42:44,760 --> 00:42:48,080
Speaker 3: Yeah. Yeah. And so in the movie, kind of like

765
00:42:48,080 --> 00:42:52,000
Speaker 3: in the folk tale, there's a secret code that Mamorada

766
00:42:52,160 --> 00:42:54,520
Speaker 3: uses to enter the goat castle, but in the movie,

767
00:42:54,880 --> 00:42:58,520
Speaker 3: it's a song. It's a song that Rada teaches her children,

768
00:42:59,080 --> 00:43:01,440
Speaker 3: and she has to say it note for note perfect

769
00:43:01,560 --> 00:43:05,560
Speaker 3: to be granted access. And I'm sure anybody who's seen

770
00:43:05,600 --> 00:43:08,320
Speaker 3: this movie will have this song burned in their brain forever.

771
00:43:08,440 --> 00:43:11,320
Speaker 3: You hear it many many times, in both its correct

772
00:43:11,360 --> 00:43:16,000
Speaker 3: form and in its incorrect form. When when crudely attempted

773
00:43:16,000 --> 00:43:20,240
Speaker 3: by the wolf and his companions, but he goes MoMA's home.

774
00:43:20,360 --> 00:43:22,799
Speaker 3: Now you can open the door and it goes on

775
00:43:22,880 --> 00:43:25,120
Speaker 3: with this whole thing about like I've brought you strawberries

776
00:43:25,160 --> 00:43:27,319
Speaker 3: covered in honeydew and stuff like that.

777
00:43:28,680 --> 00:43:30,640
Speaker 1: And so the idea is the kids will listen, is like,

778
00:43:30,960 --> 00:43:33,680
Speaker 1: is that is that Mama? I don't know. Let's hear yep,

779
00:43:33,719 --> 00:43:36,400
Speaker 1: that's her. Her voice sounds perfect, it's beautiful. Then you

780
00:43:36,440 --> 00:43:38,960
Speaker 1: open the door and she comes in right now.

781
00:43:39,080 --> 00:43:42,680
Speaker 3: Sue Ru spends much of the movie trying to learn

782
00:43:42,760 --> 00:43:45,759
Speaker 3: to sing this song correctly. He's like outside the house

783
00:43:45,840 --> 00:43:49,600
Speaker 3: eavesdropping and writing out sheet music quickly as he hears it.

784
00:43:49,960 --> 00:43:51,959
Speaker 1: Yeah. Yeah, yeah, So he spends a lot of time

785
00:43:52,040 --> 00:43:57,400
Speaker 1: like workshopping at with his his buddies, the Donkey, the

786
00:43:57,520 --> 00:43:59,239
Speaker 1: what the.

787
00:43:58,480 --> 00:43:59,640
Speaker 3: The Links, the Lynk.

788
00:44:01,400 --> 00:44:03,680
Speaker 1: Yeah, so they're all working on it, and at times

789
00:44:03,680 --> 00:44:06,520
Speaker 1: it's just, you know, it's it's too rock and roll.

790
00:44:06,560 --> 00:44:09,000
Speaker 1: You know, he is a rock and roll wolf after all,

791
00:44:09,560 --> 00:44:11,880
Speaker 1: So it takes him a while to really refine the

792
00:44:11,960 --> 00:44:14,640
Speaker 1: performance to the point where he can attempt to pull

793
00:44:14,680 --> 00:44:17,040
Speaker 1: off this this scheme.

794
00:44:17,520 --> 00:44:19,799
Speaker 3: Yeah. Now, there's a subplot in the middle here where

795
00:44:19,840 --> 00:44:24,080
Speaker 3: one of the Goat children, the older boy Mattei, wants

796
00:44:24,120 --> 00:44:26,439
Speaker 3: to escape the house and go to the fair while

797
00:44:26,480 --> 00:44:29,200
Speaker 3: Mama is out even though it's dangerous and the wolf

798
00:44:29,280 --> 00:44:31,600
Speaker 3: is prowling around, so he runs out and then he

799
00:44:31,640 --> 00:44:33,880
Speaker 3: gets into trouble and he gets pursued by the wolf

800
00:44:33,880 --> 00:44:37,160
Speaker 3: and his allies. But that's just sort of a b

801
00:44:37,320 --> 00:44:40,000
Speaker 3: plot in the middle of the movie. Eventually, the wolf

802
00:44:40,120 --> 00:44:43,200
Speaker 3: and his goons kidnap a couple of the goat kids,

803
00:44:44,120 --> 00:44:47,080
Speaker 3: and even though early on it was suggested that the

804
00:44:47,120 --> 00:44:50,040
Speaker 3: wolf would eat the children, he doesn't eat them. It

805
00:44:50,080 --> 00:44:52,239
Speaker 3: seems what he really wants is to hold them for

806
00:44:52,480 --> 00:44:55,720
Speaker 3: ransom so that Mama Rada must pay him a bag

807
00:44:55,800 --> 00:44:58,879
Speaker 3: of gold. He's like, give me the gold. He has

808
00:44:58,960 --> 00:45:02,399
Speaker 3: this short speech about how much he wants gold. Of

809
00:45:02,440 --> 00:45:04,600
Speaker 3: what use is gold to a wolf? I don't know,

810
00:45:04,640 --> 00:45:06,360
Speaker 3: but he wants gold, gold, gold.

811
00:45:06,680 --> 00:45:08,480
Speaker 1: Well, I think one of his cronies ask him, like,

812
00:45:08,520 --> 00:45:09,799
Speaker 1: what are you going to do with the gold, and

813
00:45:09,840 --> 00:45:12,400
Speaker 1: he's like, I'm gonna do what everybody does with the gold, baby,

814
00:45:13,080 --> 00:45:14,880
Speaker 1: which is spend it. But I mean, again, what's he

815
00:45:14,920 --> 00:45:17,840
Speaker 1: going to spend it on? I guess I don't know. Food.

816
00:45:18,640 --> 00:45:22,680
Speaker 3: The wolf in the Brother's Grim story does buy something. Remember,

817
00:45:22,719 --> 00:45:24,839
Speaker 3: he goes and he buys chalk and then eats it.

818
00:45:25,280 --> 00:45:29,879
Speaker 1: Okay, all right, so open question then yeah, so.

819
00:45:29,880 --> 00:45:32,680
Speaker 3: Anyway, yeah, so a couple of the goat children get kidnapped,

820
00:45:33,120 --> 00:45:35,680
Speaker 3: but then Rada comes up with a plan to get

821
00:45:35,719 --> 00:45:38,959
Speaker 3: her children back and get revenge. So she first there's

822
00:45:39,000 --> 00:45:42,080
Speaker 3: a lot of dancing, like ice skating and dancing around

823
00:45:42,120 --> 00:45:44,319
Speaker 3: on the ice, and the whole village comes out to

824
00:45:44,360 --> 00:45:47,280
Speaker 3: the frozen pond in the wintertime and ice skates around

825
00:45:47,320 --> 00:45:50,160
Speaker 3: and dances and stuff. And then Rada dances with the

826
00:45:50,200 --> 00:45:54,120
Speaker 3: wolf and there, you know, it's very flirty dancing. But

827
00:45:54,160 --> 00:45:56,120
Speaker 3: then also he's like, give me the gold, and what

828
00:45:56,200 --> 00:46:00,239
Speaker 3: the gold? And so she eventually uses what I don't

829
00:46:00,239 --> 00:46:01,960
Speaker 3: know if it's actually a bag of gold, but it's

830
00:46:02,000 --> 00:46:04,080
Speaker 3: something made to look like a bag of gold. She

831
00:46:04,239 --> 00:46:07,480
Speaker 3: uses it as bait to trick him into falling into

832
00:46:07,640 --> 00:46:10,160
Speaker 3: a trap that the villagers have made in the ice

833
00:46:10,239 --> 00:46:14,040
Speaker 3: of the frozen pond. So the wolf falls into the water,

834
00:46:14,280 --> 00:46:17,080
Speaker 3: and while he's drowning in the freezing water, his co

835
00:46:17,040 --> 00:46:21,080
Speaker 3: conspirators again, the younger Wolf, the Lynx, and the donkey,

836
00:46:20,840 --> 00:46:23,680
Speaker 3: they sort of have a change of heart and they

837
00:46:24,040 --> 00:46:27,360
Speaker 3: bring Roda's children back to her, and then mister Wolf

838
00:46:27,480 --> 00:46:29,680
Speaker 3: is pulled from the water and allowed to live, and

839
00:46:29,719 --> 00:46:32,560
Speaker 3: he promises he has a changed wolf, he will never

840
00:46:32,680 --> 00:46:35,919
Speaker 3: kidnap her children again, and everyone lives happily ever after.

841
00:46:36,760 --> 00:46:39,200
Speaker 1: That's it, and that's how it goes down. Nobody is

842
00:46:39,239 --> 00:46:42,920
Speaker 1: cut open, no stones are implanet in anybody's body, and

843
00:46:43,040 --> 00:46:47,200
Speaker 1: everyone learns their lesson. But we cannot stress how much

844
00:46:47,440 --> 00:46:50,959
Speaker 1: dancing and dare I say prancing occurs on the road?

845
00:46:51,040 --> 00:46:51,920
Speaker 1: Did this conclusion?

846
00:46:52,120 --> 00:46:57,319
Speaker 3: Oh, unbelievable amounts of gambling and gyrating about Oh, and

847
00:46:57,440 --> 00:46:59,319
Speaker 3: I haven't mentioned this anywhere else, so I guess I'll

848
00:46:59,360 --> 00:47:01,840
Speaker 3: just throw it in he or I mentioned that the

849
00:47:01,960 --> 00:47:04,200
Speaker 3: you know, the visual textures of the movie are good,

850
00:47:04,320 --> 00:47:07,960
Speaker 3: like the costumes and the and the makeup and the

851
00:47:08,000 --> 00:47:10,240
Speaker 3: sets and all that are great. But I just really

852
00:47:10,360 --> 00:47:16,760
Speaker 3: want to emphasize again how much how much landscape texture

853
00:47:16,840 --> 00:47:19,560
Speaker 3: there is in the village set, which is a great

854
00:47:20,120 --> 00:47:23,040
Speaker 3: is a great compliment to the choreography and the dancing.

855
00:47:23,760 --> 00:47:26,400
Speaker 3: So it's in this lovely natural setting in the forest,

856
00:47:26,400 --> 00:47:29,239
Speaker 3: but there are just all these interesting little things for

857
00:47:29,360 --> 00:47:32,360
Speaker 3: the dancers to kind of move around and react to,

858
00:47:32,800 --> 00:47:37,000
Speaker 3: all these little pathways and gates and staircases and ladders

859
00:47:37,000 --> 00:47:41,000
Speaker 3: and railings and little bridges, and it's all very rustic

860
00:47:41,120 --> 00:47:45,279
Speaker 3: and pretty, and it makes for a perfect landscape for

861
00:47:45,400 --> 00:47:48,520
Speaker 3: these rambling dance numbers that lead the characters from one

862
00:47:48,600 --> 00:47:49,760
Speaker 3: edge of the village to another.

863
00:47:50,480 --> 00:47:55,200
Speaker 1: Absolutely. Yeah, it really the environment feels very authentic, you know,

864
00:47:55,440 --> 00:47:59,160
Speaker 1: like it's almost like they these actors, as these animals

865
00:47:59,200 --> 00:48:02,520
Speaker 1: lived here for months or something leading up to the

866
00:48:02,600 --> 00:48:03,440
Speaker 1: actual filming.

867
00:48:03,800 --> 00:48:07,200
Speaker 3: Yeah, okay, you want to talk about the individual scenes

868
00:48:07,200 --> 00:48:08,160
Speaker 3: and musical numbers.

869
00:48:08,640 --> 00:48:10,919
Speaker 1: Yeah, let's start at the beginning, because, you know, Joe,

870
00:48:10,960 --> 00:48:14,480
Speaker 1: they pull a reverse Holy Mountain on us here, which

871
00:48:14,520 --> 00:48:15,400
Speaker 1: is kind of interesting.

872
00:48:15,600 --> 00:48:20,799
Speaker 3: Yeah. Yeah, So we start outside of the story with

873
00:48:20,960 --> 00:48:25,840
Speaker 3: the credit sequence taking place over shots of the actors

874
00:48:25,880 --> 00:48:30,120
Speaker 3: being introduced with credits as they get into costume and

875
00:48:30,160 --> 00:48:33,319
Speaker 3: have their makeup applied. Interesting choice.

876
00:48:33,480 --> 00:48:36,399
Speaker 1: Yeah, And for some reason for me, this really drove

877
00:48:36,480 --> 00:48:39,080
Speaker 1: home the nineteen seventies musical quality. I don't know why.

878
00:48:39,120 --> 00:48:41,920
Speaker 1: Maybe it's just because you're seeing, you know, guys and

879
00:48:41,960 --> 00:48:44,960
Speaker 1: gals who are clearly denizens of the nineteen seventies, like

880
00:48:45,040 --> 00:48:50,160
Speaker 1: in their casual clothing, being transformed into these timeless woodland creatures.

881
00:48:50,560 --> 00:48:55,000
Speaker 3: Yeah, there is a softening, kind of humanizing element to

882
00:48:55,040 --> 00:48:57,600
Speaker 3: it because, for example, One of the things we see

883
00:48:58,280 --> 00:49:02,880
Speaker 3: is the actor who plays the villain, who plays mister Wolf,

884
00:49:03,560 --> 00:49:05,759
Speaker 3: is like sitting in a chair in his makeup chair,

885
00:49:06,160 --> 00:49:08,960
Speaker 3: and the kids who play the goat children in the

886
00:49:09,000 --> 00:49:12,040
Speaker 3: movie are like play They're like putting funny makeup on

887
00:49:12,120 --> 00:49:15,520
Speaker 3: his face and they're all laughing about it. So it's like, oh, okay,

888
00:49:15,800 --> 00:49:17,799
Speaker 3: he's the bad guy in the movie, but in real

889
00:49:17,840 --> 00:49:18,880
Speaker 3: life they're all friends.

890
00:49:19,160 --> 00:49:21,840
Speaker 1: Yeah, it's all in good fun. Children. Yeah, don't be

891
00:49:21,880 --> 00:49:23,680
Speaker 1: stressed out by anything. You're about to see.

892
00:49:24,120 --> 00:49:27,759
Speaker 3: Kind of interesting cinematography choice here in the scene where

893
00:49:27,760 --> 00:49:31,760
Speaker 3: we're meeting all the characters is that most often sometimes

894
00:49:31,800 --> 00:49:33,839
Speaker 3: we just get like a headshot where they smile at

895
00:49:33,880 --> 00:49:37,120
Speaker 3: the camera, but more often we see performers making eye

896
00:49:37,120 --> 00:49:40,320
Speaker 3: contact with the camera through a mirror, so the camera's

897
00:49:40,400 --> 00:49:43,320
Speaker 3: over their shoulder and we're looking into their makeup mirror

898
00:49:43,400 --> 00:49:45,640
Speaker 3: and connecting with them that way.

899
00:49:46,160 --> 00:49:47,120
Speaker 1: Yeah. Yeah.

900
00:49:47,360 --> 00:49:50,239
Speaker 3: Also, did you notice how in this part, basically everybody

901
00:49:50,360 --> 00:49:53,120
Speaker 3: is smiling as they meet the camera except the actor

902
00:49:53,160 --> 00:49:57,319
Speaker 3: who plays Donkey, who's just grimacing and looking like, you know,

903
00:49:57,800 --> 00:49:59,799
Speaker 3: why go on with this masquerade of.

904
00:49:59,800 --> 00:50:03,520
Speaker 1: A well, he's method. You know, he's Donkey from the

905
00:50:03,560 --> 00:50:07,080
Speaker 1: get go. He showed up this morning, donkey, before he

906
00:50:07,120 --> 00:50:08,680
Speaker 1: even put the makeup or the ears on.

907
00:50:09,120 --> 00:50:11,239
Speaker 3: He looks like he has just about had it with

908
00:50:11,280 --> 00:50:16,839
Speaker 3: this job. I'm sick of playing donkey. Okay, but let's

909
00:50:16,880 --> 00:50:20,440
Speaker 3: go into the world. Now. We go into the forest,

910
00:50:20,560 --> 00:50:25,160
Speaker 3: into the village of fantastic magical creatures. And what's our

911
00:50:25,200 --> 00:50:25,840
Speaker 3: first song?

912
00:50:26,400 --> 00:50:29,000
Speaker 1: Oh, the first one is I honestly don't remember what

913
00:50:29,120 --> 00:50:32,160
Speaker 1: the song is, but this one is by a parrot

914
00:50:32,800 --> 00:50:35,400
Speaker 1: and it's kind of an upbeat, prancing tune set to

915
00:50:35,440 --> 00:50:39,600
Speaker 1: some furious, kind of almost Caribbean drumming.

916
00:50:39,680 --> 00:50:41,719
Speaker 3: You know, yeah, yeah, this is the one that goes

917
00:50:41,800 --> 00:50:47,360
Speaker 3: ladies and gentlemen. So before the song even starts, I

918
00:50:47,400 --> 00:50:49,640
Speaker 3: think one of the first things we see is like

919
00:50:49,719 --> 00:50:52,560
Speaker 3: the squirrel lady. She's she's looking out at the road

920
00:50:52,680 --> 00:50:55,960
Speaker 3: leading to the village and she screams like here he comes.

921
00:50:56,520 --> 00:51:01,200
Speaker 3: And then mister Parrot, a tweet voiced master of ceremonies

922
00:51:01,320 --> 00:51:06,359
Speaker 3: type presence in a teal tuxedo jacket, a red cravat

923
00:51:06,600 --> 00:51:09,600
Speaker 3: and a rainbow wig is riding into town on this

924
00:51:09,840 --> 00:51:14,839
Speaker 3: rag and bone shop velocipede, singing a song I had

925
00:51:14,840 --> 00:51:16,960
Speaker 3: to This is one of the many parts where when

926
00:51:16,960 --> 00:51:19,520
Speaker 3: I went back and I listened to the lyrics more closely,

927
00:51:19,920 --> 00:51:22,360
Speaker 3: I was like, wait, what is this about. It sounds

928
00:51:22,400 --> 00:51:25,399
Speaker 3: like the song is about artifacts he has stolen from

929
00:51:25,560 --> 00:51:29,040
Speaker 3: various places around the world. He says that he went

930
00:51:29,080 --> 00:51:32,640
Speaker 3: to Tehran where he got a rock that shows the future,

931
00:51:33,320 --> 00:51:36,640
Speaker 3: and from Bali he took something referred to as the

932
00:51:36,760 --> 00:51:38,880
Speaker 3: ancient magic tree.

933
00:51:39,000 --> 00:51:40,960
Speaker 1: Well, I've got news for mister Parrett. I feel like

934
00:51:41,000 --> 00:51:43,759
Speaker 1: those artifacts and tales of their exploits are going to

935
00:51:43,840 --> 00:51:47,000
Speaker 1: be lost on this crowd, because then these animals are

936
00:51:47,000 --> 00:51:49,480
Speaker 1: a little more down to earth in their yeah, their

937
00:51:49,560 --> 00:51:50,760
Speaker 1: needs and aspirations.

938
00:51:50,880 --> 00:51:53,080
Speaker 3: Yeah, I think they would rather have like some cakes

939
00:51:53,120 --> 00:51:58,000
Speaker 3: and stuff. Yeah, this is the shire. In fact, this

940
00:51:58,080 --> 00:52:00,680
Speaker 3: is exactly this is the shire. Because the other thing

941
00:52:00,760 --> 00:52:04,400
Speaker 3: is the implication in this song is that everybody loves Parrot.

942
00:52:04,600 --> 00:52:07,480
Speaker 3: And it's like when Gandalf arrives at the Shire in

943
00:52:07,520 --> 00:52:10,960
Speaker 3: his cart, the children are all running around screeching with joy.

944
00:52:11,719 --> 00:52:14,160
Speaker 3: Parrot here does not set off any fireworks, but he

945
00:52:14,280 --> 00:52:17,480
Speaker 3: might as well. We also get several close up shots

946
00:52:17,520 --> 00:52:21,120
Speaker 3: of the various like lady animals of the village watching

947
00:52:21,160 --> 00:52:25,360
Speaker 3: Parrot's arrival with rapturous admiration, Like we see the lamb

948
00:52:25,480 --> 00:52:29,720
Speaker 3: lady looking at him like what a honk. But anyway,

949
00:52:29,760 --> 00:52:33,520
Speaker 3: the whole number has this traveling medicine show quality to it.

950
00:52:33,560 --> 00:52:36,640
Speaker 3: He comes in on his velocipede cart and then they

951
00:52:36,640 --> 00:52:38,759
Speaker 3: set up a kind of stage where he stands there

952
00:52:38,800 --> 00:52:42,920
Speaker 3: singing to the crowd, and Parrot's arrival is presaging a

953
00:52:43,400 --> 00:52:46,359
Speaker 3: fare that will be held I think the following day.

954
00:52:46,920 --> 00:52:49,800
Speaker 1: Now, he doesn't particularly have any role in the plot.

955
00:52:49,960 --> 00:52:54,000
Speaker 1: He's just here to facilitate dance numbers though, so unlike.

956
00:52:53,719 --> 00:52:57,680
Speaker 3: Gandalf, Yeah, yeah, yeah, that's right. Anyway, while all this

957
00:52:57,719 --> 00:53:01,680
Speaker 3: is going on, we also see another major carecharacter, the Wolf.

958
00:53:01,880 --> 00:53:03,800
Speaker 3: He's up in his tower. I don't know what you

959
00:53:03,800 --> 00:53:06,080
Speaker 3: would call this building he lives in, but he's in

960
00:53:06,120 --> 00:53:08,399
Speaker 3: this building that's like got a view up and over

961
00:53:08,480 --> 00:53:12,960
Speaker 3: everything else, and he's standing standing watching the celebrations suspiciously

962
00:53:13,080 --> 00:53:15,600
Speaker 3: through a wooden spyglass.

963
00:53:15,960 --> 00:53:16,920
Speaker 1: Up in his wolf tower.

964
00:53:17,360 --> 00:53:19,600
Speaker 3: So he's there with his flowing mane of hair, a

965
00:53:19,719 --> 00:53:23,560
Speaker 3: strong eyebrows, strong mustache. He makes an impression the first

966
00:53:23,560 --> 00:53:26,960
Speaker 3: time you see him, and also he's keenly peering out

967
00:53:26,800 --> 00:53:30,440
Speaker 3: at things going on. He has a predator's gaze. You

968
00:53:30,480 --> 00:53:32,279
Speaker 3: know he's ready. He's ready to eat some of the

969
00:53:32,320 --> 00:53:36,839
Speaker 3: herbivores of the village, and wolf begins to watch a

970
00:53:36,880 --> 00:53:40,920
Speaker 3: single family among the crowd, that of mother Goat missus

971
00:53:41,000 --> 00:53:43,680
Speaker 3: Rada and her children who are on their way home.

972
00:53:44,320 --> 00:53:47,480
Speaker 3: The children are begging to be taken to the upcoming fair,

973
00:53:47,880 --> 00:53:50,640
Speaker 3: and this leads into the second song, which is performed

974
00:53:50,680 --> 00:53:51,360
Speaker 3: by the wolf.

975
00:53:52,080 --> 00:53:55,680
Speaker 1: Yeah, this is a bold, sauntering number that it occupies

976
00:53:55,719 --> 00:54:00,240
Speaker 1: that place where comedic brass and seductive brass meet. It's

977
00:54:00,239 --> 00:54:04,160
Speaker 1: also it's basically his allow me to introduce myself toune

978
00:54:04,200 --> 00:54:06,120
Speaker 1: where he tells you who he is and what he's

979
00:54:06,160 --> 00:54:06,640
Speaker 1: all about.

980
00:54:06,840 --> 00:54:09,000
Speaker 3: This got funny era once again when I went and

981
00:54:09,040 --> 00:54:13,560
Speaker 3: transcribed the lyrics. He's saying, how do you do? I'm

982
00:54:13,600 --> 00:54:17,680
Speaker 3: Titi Suru, friendliest wolf you've met. You'll hear the strangest

983
00:54:17,680 --> 00:54:21,080
Speaker 3: things about me, for it's been said that I could

984
00:54:21,080 --> 00:54:26,920
Speaker 3: be responsible for incidents unexplained. People do invent the oddest tales.

985
00:54:27,600 --> 00:54:29,680
Speaker 3: That's not what I would put in my cover letter.

986
00:54:29,880 --> 00:54:32,200
Speaker 3: The first thing you're hearing from is from him is

987
00:54:32,280 --> 00:54:34,040
Speaker 3: people tell a little lies about me.

988
00:54:34,520 --> 00:54:37,880
Speaker 1: M m yeah. People will try to pin various unsolved

989
00:54:37,960 --> 00:54:41,440
Speaker 1: murders on me. But there's actually no connection. My alibi

990
00:54:41,520 --> 00:54:44,520
Speaker 1: is pretty solid. Yeah, it's not a convincing start.

991
00:54:45,360 --> 00:54:48,399
Speaker 3: It's great when like the first thing somebody says when

992
00:54:48,400 --> 00:54:50,680
Speaker 3: you meet them is like, my haters are all lying.

993
00:54:51,680 --> 00:54:52,680
Speaker 1: Yeah.

994
00:54:53,080 --> 00:54:56,160
Speaker 3: Anyway, Titisuru goes out dancing through the middle of the

995
00:54:56,239 --> 00:54:59,920
Speaker 3: village with his posse, which includes his nephew, the young

996
00:55:00,760 --> 00:55:03,600
Speaker 3: and as we mentioned earlier, also a lynx and the

997
00:55:03,640 --> 00:55:07,200
Speaker 3: town donkey, who is a kind of dolorous clown. And

998
00:55:07,560 --> 00:55:10,799
Speaker 3: mister Wolf greets people in town and they mostly seem

999
00:55:10,920 --> 00:55:13,920
Speaker 3: to regard him with naive trust. Is that how you

1000
00:55:13,960 --> 00:55:16,839
Speaker 3: took this in the beginning, Like everybody seems to be like, oh,

1001
00:55:16,920 --> 00:55:20,280
Speaker 3: mister Wolf, Yeah, he's handsome, he's a nice guy. He says,

1002
00:55:20,320 --> 00:55:20,880
Speaker 3: he's nice.

1003
00:55:21,560 --> 00:55:24,200
Speaker 1: Yeah. Yeah. They have kind of this I don't know,

1004
00:55:24,920 --> 00:55:28,360
Speaker 1: you know this, this kind of like passive response to

1005
00:55:28,400 --> 00:55:30,319
Speaker 1: the predator in their midst is like, well, he's not

1006
00:55:30,360 --> 00:55:33,840
Speaker 1: attactively attacking anyone right now, so I guess we'll keep grazing.

1007
00:55:34,239 --> 00:55:37,719
Speaker 3: Yeah. But then Wolf comes up. He squares off with

1008
00:55:37,840 --> 00:55:41,600
Speaker 3: Rada and her children. Rada, the way she reacts to

1009
00:55:41,680 --> 00:55:45,759
Speaker 3: him is complex. It's like she sees through this, and

1010
00:55:45,880 --> 00:55:48,120
Speaker 3: she knows better than to trust him, So there's no

1011
00:55:49,480 --> 00:55:52,799
Speaker 3: she doesn't have the naive reaction that the other villagers have,

1012
00:55:53,000 --> 00:55:55,520
Speaker 3: like she knows immediately what's up with this guy. She's

1013
00:55:55,520 --> 00:55:59,040
Speaker 3: too wise and so she rebukes him. But there is

1014
00:55:59,120 --> 00:56:04,160
Speaker 3: also a con instant, simmering underlying element of hubba hubbah. Yeah.

1015
00:56:04,200 --> 00:56:07,399
Speaker 1: I mean it's basically like, I know you're a bad boy,

1016
00:56:07,680 --> 00:56:10,719
Speaker 1: but I kind of like bad boy, And that's basically

1017
00:56:10,760 --> 00:56:13,360
Speaker 1: their tension throughout the picture with the but with the

1018
00:56:13,360 --> 00:56:16,319
Speaker 1: added detail that said bad boy wants to kill and

1019
00:56:16,360 --> 00:56:17,040
Speaker 1: eat her children.

1020
00:56:17,280 --> 00:56:20,360
Speaker 3: Yeah, yeah, so he explains in the song, well, he

1021
00:56:20,400 --> 00:56:23,680
Speaker 3: doesn't say that at first. Instead, at first he says,

1022
00:56:23,760 --> 00:56:26,360
Speaker 3: your children, uh number one, they make too much noise

1023
00:56:26,520 --> 00:56:29,759
Speaker 3: and they tease me and I can't tolerate that. So

1024
00:56:29,880 --> 00:56:33,000
Speaker 3: he says, this is your final warning, and also I

1025
00:56:33,040 --> 00:56:36,000
Speaker 3: am a wolf and my wolf instinct will not be suppressed.

1026
00:56:37,360 --> 00:56:40,120
Speaker 3: But then, almost as if to play down the danger,

1027
00:56:40,200 --> 00:56:42,360
Speaker 3: SUERU just kind of like dances off. He does like

1028
00:56:42,360 --> 00:56:47,040
Speaker 3: a little tap dance number with his goons, and he's

1029
00:56:47,120 --> 00:56:49,520
Speaker 3: you know, running around the village dancing, and while he's

1030
00:56:49,520 --> 00:56:52,560
Speaker 3: off with his guys, he starts singing about how ooh,

1031
00:56:52,680 --> 00:56:55,359
Speaker 3: of all the children I've ever seen, missus Rawda's kids

1032
00:56:55,400 --> 00:56:58,160
Speaker 3: would be the finest cuisine. So he's like, I am

1033
00:56:58,200 --> 00:56:59,480
Speaker 3: going to eat those goats.

1034
00:57:00,160 --> 00:57:03,200
Speaker 1: So this leads almost immediately into the third song. I

1035
00:57:03,280 --> 00:57:06,520
Speaker 1: guess this one's performed by Rada basically putting the wolf

1036
00:57:06,560 --> 00:57:10,560
Speaker 1: in his place, saying, let my children be. Basically, we're

1037
00:57:10,600 --> 00:57:12,680
Speaker 1: gonna go into and out of a lot of songs

1038
00:57:12,680 --> 00:57:15,400
Speaker 1: in this picture at the drop of a hat, but

1039
00:57:15,880 --> 00:57:19,240
Speaker 1: sometimes just for like less than a minute even, and

1040
00:57:19,240 --> 00:57:21,480
Speaker 1: then sometimes for longer. You never know how long they're

1041
00:57:21,480 --> 00:57:23,760
Speaker 1: going to sing a particular song which keeps you on

1042
00:57:23,800 --> 00:57:25,919
Speaker 1: your feet. You know, you don't get that. It's easy

1043
00:57:25,920 --> 00:57:27,560
Speaker 1: to get worn out with musicals where it's like, oh

1044
00:57:27,640 --> 00:57:30,120
Speaker 1: I hear another song coming on. Well, yeah, you're gonna

1045
00:57:30,120 --> 00:57:31,760
Speaker 1: get hit with them constantly, but some of them are

1046
00:57:31,880 --> 00:57:44,160
Speaker 1: very short. Okay, where are we in the plot to

1047
00:57:44,360 --> 00:57:46,040
Speaker 1: kidnap the goat children?

1048
00:57:46,280 --> 00:57:48,200
Speaker 3: Well, I think there isn't a plot. Yeah, we've just

1049
00:57:48,280 --> 00:57:53,400
Speaker 3: had the conflict between between Wolf and Rada, like they've

1050
00:57:53,440 --> 00:57:56,760
Speaker 3: had their their square off. It's kind of flirting but

1051
00:57:56,880 --> 00:58:00,000
Speaker 3: also threatening each other. Rada is seeing through the wolf

1052
00:58:00,240 --> 00:58:04,280
Speaker 3: suave exterior, but she's wary of him, but she's also

1053
00:58:04,360 --> 00:58:08,600
Speaker 3: kind of into him, and so that's strange. But yeah, yeah,

1054
00:58:08,400 --> 00:58:10,840
Speaker 3: so so far, that's where we are. And here we

1055
00:58:10,920 --> 00:58:14,000
Speaker 3: get into a medley that was one of my favorite

1056
00:58:14,000 --> 00:58:16,960
Speaker 3: parts of the movie because it's just sort of a

1057
00:58:17,000 --> 00:58:19,840
Speaker 3: string of songs that are mostly sung by the bad

1058
00:58:19,920 --> 00:58:23,840
Speaker 3: guys but then interrupted by some good dance numbers by

1059
00:58:23,920 --> 00:58:27,160
Speaker 3: the good characters. But this string of songs by the

1060
00:58:27,200 --> 00:58:30,080
Speaker 3: Wolf's Gang goes on for like ten minutes and it's

1061
00:58:30,120 --> 00:58:34,760
Speaker 3: just one wacky, hard hitting Tommy style rock opera song

1062
00:58:34,880 --> 00:58:37,840
Speaker 3: after another. And I was thinking about how, you know,

1063
00:58:37,960 --> 00:58:40,920
Speaker 3: sometimes people say that a Batman movie is really only

1064
00:58:40,960 --> 00:58:43,760
Speaker 3: as good as its villain, Like, you know, Batman's always

1065
00:58:43,920 --> 00:58:46,800
Speaker 3: you know, I don't want to discount differences, but Batman's

1066
00:58:46,800 --> 00:58:49,840
Speaker 3: always just sort of Batman. So it's really the villain

1067
00:58:49,880 --> 00:58:51,080
Speaker 3: that defines the film.

1068
00:58:51,960 --> 00:58:54,919
Speaker 1: Yeah, yeah, I mean I think that translates into musicals too,

1069
00:58:55,040 --> 00:58:58,240
Speaker 1: Like in Disney musicals, the villains always have the best songs.

1070
00:58:58,920 --> 00:59:01,240
Speaker 1: In Rocky Horror, all the best songs are sung by

1071
00:59:01,280 --> 00:59:05,479
Speaker 1: the villains. I guess they're villains and so forth. I mean, yeah,

1072
00:59:05,680 --> 00:59:08,800
Speaker 1: if you're gonna have a musical film like this Phantom

1073
00:59:08,840 --> 00:59:12,160
Speaker 1: of the Opera, He's got all the great songs, obviously.

1074
00:59:12,200 --> 00:59:14,160
Speaker 3: Absolutely, So I was gonna say, I think the same

1075
00:59:14,200 --> 00:59:18,680
Speaker 3: thing is often true about musicals, musicals and especially rock operas.

1076
00:59:18,680 --> 00:59:21,880
Speaker 3: The villains get the best songs, and so it's the

1077
00:59:21,960 --> 00:59:24,240
Speaker 3: villain songs that end up kind of sticking with you

1078
00:59:24,320 --> 00:59:27,520
Speaker 3: and defining how the musical feels. And that is definitely

1079
00:59:27,560 --> 00:59:29,880
Speaker 3: how I feel about this part of the movie. So

1080
00:59:30,000 --> 00:59:33,000
Speaker 3: the first tune in this Bad Guy medley is the

1081
00:59:33,040 --> 00:59:37,360
Speaker 3: Wolf's gang singing a song about the confrontation between Rada

1082
00:59:37,400 --> 00:59:40,040
Speaker 3: and the Wolf, and we see all like the townspeople

1083
00:59:40,120 --> 00:59:44,120
Speaker 3: running and hiding, slamming their doors shut. After watching the altercation.

1084
00:59:44,640 --> 00:59:47,680
Speaker 3: The squirrely squirrel lady is very upset. You can see

1085
00:59:47,680 --> 00:59:51,840
Speaker 3: she's nervous. And it's this song. It's the one that

1086
00:59:51,920 --> 00:59:56,520
Speaker 3: goes where they're singing like wahoo t tsuru's furious.

1087
00:59:56,960 --> 00:59:59,200
Speaker 1: Yeah, this is the one where they're like, mother goat

1088
00:59:59,280 --> 01:00:01,080
Speaker 1: Rata better run away, that kind of thing.

1089
01:00:01,320 --> 01:00:05,720
Speaker 3: Yeah, yeah, okay, Yeah, Rada's future is dubious. It's sort

1090
01:00:05,760 --> 01:00:08,840
Speaker 3: of like like there's just been a rap battle and

1091
01:00:08,880 --> 01:00:13,320
Speaker 3: they're their guy lost, and so they're walking away, being like, oh,

1092
01:00:13,520 --> 01:00:15,600
Speaker 3: next time it's gonna be it's gonna be really bad.

1093
01:00:15,600 --> 01:00:20,000
Speaker 3: We're gonna get you. But interestingly, while everybody else runs

1094
01:00:20,000 --> 01:00:23,439
Speaker 3: and hides, Rada and her children do not hide at all.

1095
01:00:23,560 --> 01:00:27,160
Speaker 3: They're not afraid, and they do a frenetic dance number

1096
01:00:27,160 --> 01:00:30,800
Speaker 3: on their front lawn. They're very happy. They're like sliding

1097
01:00:30,840 --> 01:00:36,280
Speaker 3: down this extremely splintery looking wooden plane and playing on

1098
01:00:36,320 --> 01:00:39,160
Speaker 3: all kinds of stuffy. They go swinging, all seven of

1099
01:00:39,200 --> 01:00:42,200
Speaker 3: them on one wooden rope, swing all seven at the

1100
01:00:42,200 --> 01:00:45,520
Speaker 3: same time, and then they get on the rooftop seesaws,

1101
01:00:45,600 --> 01:00:48,000
Speaker 3: which got what.

1102
01:00:48,480 --> 01:00:51,400
Speaker 1: Yeah, Like, I meant to go back and rewatch this

1103
01:00:51,440 --> 01:00:54,840
Speaker 1: sequence because my recollection is there's no way they fake this.

1104
01:00:55,080 --> 01:00:56,880
Speaker 1: I mean, there may not be actual children up there,

1105
01:00:56,920 --> 01:00:58,880
Speaker 1: but there might be, I don't know. It looks like

1106
01:00:59,280 --> 01:01:03,200
Speaker 1: a sizeable building with kids on seesaws up there, you know,

1107
01:01:03,280 --> 01:01:09,479
Speaker 1: at the most extreme height, they're what twenty thirty feet

1108
01:01:09,520 --> 01:01:12,160
Speaker 1: off the ground or something like. It's intimidating.

1109
01:01:12,280 --> 01:01:15,440
Speaker 3: Yeah, it's at the apex of the roof is the

1110
01:01:15,520 --> 01:01:18,720
Speaker 3: fulcrum of the teeter totter, and the kids are just

1111
01:01:18,760 --> 01:01:22,880
Speaker 3: going up and down and maybe it's adult stunt performers,

1112
01:01:22,920 --> 01:01:24,560
Speaker 3: but it looks not faked.

1113
01:01:24,760 --> 01:01:26,800
Speaker 1: Yeah, does not look like a model.

1114
01:01:27,120 --> 01:01:30,880
Speaker 3: So Rata is not one of these safety obsessed helicopter parents.

1115
01:01:30,920 --> 01:01:34,120
Speaker 3: She's like children. We will now be playing on equipment

1116
01:01:34,160 --> 01:01:37,400
Speaker 3: that is illegal in most countries. And also you're going

1117
01:01:37,400 --> 01:01:39,560
Speaker 3: to have to defend the goat house on your own

1118
01:01:39,560 --> 01:01:41,919
Speaker 3: against wolf attacks while I am gone at the fair.

1119
01:01:42,520 --> 01:01:44,120
Speaker 1: Yeah.

1120
01:01:44,440 --> 01:01:47,040
Speaker 3: But anyway, while the children are playing, the bad guys

1121
01:01:47,160 --> 01:01:49,880
Speaker 3: kind of peep over the fence and watch the goats

1122
01:01:50,120 --> 01:01:53,400
Speaker 3: at play. And there is an interesting moment here where

1123
01:01:53,760 --> 01:01:56,000
Speaker 3: we see a lot of this throughout the film, where

1124
01:01:56,240 --> 01:01:58,320
Speaker 3: we get a close up on Donkey and at first

1125
01:01:58,360 --> 01:02:00,959
Speaker 3: he's smiling. It's like he's having a lot of fun

1126
01:02:01,000 --> 01:02:03,840
Speaker 3: watching the goats play. Oh, isn't it nice? And then

1127
01:02:03,960 --> 01:02:08,080
Speaker 3: suddenly his smile just fades. It melts into the saddest

1128
01:02:08,120 --> 01:02:11,920
Speaker 3: face you've ever seen yours if you will, Yeah, exactly,

1129
01:02:12,800 --> 01:02:15,320
Speaker 3: And so this is kind of establishing a theme upon

1130
01:02:15,480 --> 01:02:18,280
Speaker 3: rewatching For me, I didn't catch it as much the

1131
01:02:18,280 --> 01:02:21,240
Speaker 3: first time, but Donkey was really emerging as one of

1132
01:02:21,240 --> 01:02:25,320
Speaker 3: the most interesting and subtle characters. But from here we

1133
01:02:25,400 --> 01:02:28,160
Speaker 3: get into one of my favorite tracks, which is a

1134
01:02:28,280 --> 01:02:32,200
Speaker 3: rock number where the members of the Wolf's gang introduce

1135
01:02:32,320 --> 01:02:37,000
Speaker 3: themselves and sing about their loyalty to Titisuru. I think

1136
01:02:37,440 --> 01:02:39,360
Speaker 3: it starts with kind of a chant where they say

1137
01:02:39,400 --> 01:02:42,640
Speaker 3: like one for all and all for Suru. So there,

1138
01:02:43,000 --> 01:02:46,480
Speaker 3: it's very top down, you know, leader oriented kind of

1139
01:02:46,480 --> 01:02:47,080
Speaker 3: friend group.

1140
01:02:47,360 --> 01:02:50,800
Speaker 1: Yes, hees big followers of Suuman here. You know, we

1141
01:02:50,800 --> 01:02:53,320
Speaker 1: have links Donkey and oh yeah, yeah, Little Bad Wolf.

1142
01:02:53,320 --> 01:02:56,360
Speaker 1: I believe he's referred to either one way or another

1143
01:02:56,400 --> 01:02:59,280
Speaker 1: in this bed the nephew and yeah, there's a lot

1144
01:02:59,320 --> 01:03:04,400
Speaker 1: of snarling, moderate cartwheels added to the general prancing. And yeah,

1145
01:03:04,440 --> 01:03:06,880
Speaker 1: there's some great lyrics in here, like tears our occupation

1146
01:03:07,000 --> 01:03:11,600
Speaker 1: well into helping hand in Titusuru's operation. So they're just

1147
01:03:11,680 --> 01:03:14,320
Speaker 1: all like trying to really get it out there that

1148
01:03:14,320 --> 01:03:17,480
Speaker 1: they're as close as friends. And they also throw in

1149
01:03:17,520 --> 01:03:19,640
Speaker 1: some added little tidbits, like one of them's like, I've

1150
01:03:19,680 --> 01:03:20,360
Speaker 1: never read a book.

1151
01:03:20,520 --> 01:03:24,480
Speaker 3: Okay, well they're contrasting that little I think Little Bad

1152
01:03:24,520 --> 01:03:28,840
Speaker 3: Wolf says I've never read a book, because he's contrasting

1153
01:03:28,920 --> 01:03:31,600
Speaker 3: with the fact that Donkey says he does read books.

1154
01:03:31,760 --> 01:03:34,120
Speaker 1: Hmmm. Yeah, I think they're getting a little off track

1155
01:03:34,160 --> 01:03:37,160
Speaker 1: in their commitment to speech here.

1156
01:03:37,240 --> 01:03:40,880
Speaker 3: But okay, so we hear from the Links. He says,

1157
01:03:41,000 --> 01:03:44,320
Speaker 3: I'm Rasul the Links. My missions are nocturnal. When your

1158
01:03:44,360 --> 01:03:48,200
Speaker 3: eyes start to blink, my role becomes essential. And then

1159
01:03:48,360 --> 01:03:52,280
Speaker 3: the donkeys verse goes, he he haw, he haw, I'm

1160
01:03:52,320 --> 01:03:57,360
Speaker 3: the Donkey Patrica, he he haw. I'm rather a good kicker,

1161
01:03:58,320 --> 01:04:01,280
Speaker 3: And so he's bragging about how good at kicking he is.

1162
01:04:01,280 --> 01:04:03,560
Speaker 3: But then he also mentions I like to read books,

1163
01:04:04,000 --> 01:04:06,440
Speaker 3: and so there's tension in the gang. Rassele, the Lynx

1164
01:04:06,480 --> 01:04:09,280
Speaker 3: and Little Bad Wolf mock the Donkey first of all

1165
01:04:09,320 --> 01:04:13,200
Speaker 3: because they think he's he's delusional for thinking he's very

1166
01:04:13,240 --> 01:04:16,360
Speaker 3: strong and a good kicker. They don't agree, but they

1167
01:04:16,400 --> 01:04:18,720
Speaker 3: also mock him by saying I've never read a book.

1168
01:04:18,920 --> 01:04:22,400
Speaker 3: The implication is like, that's for nerds, and I'm not

1169
01:04:22,680 --> 01:04:25,760
Speaker 3: fully grasping the significance. I think there might be some

1170
01:04:25,840 --> 01:04:29,800
Speaker 3: kind of cultural archetype coding going on with Donkey, but

1171
01:04:29,960 --> 01:04:32,720
Speaker 3: like he's one of the bad guys, but he doesn't

1172
01:04:32,760 --> 01:04:35,840
Speaker 3: really fit in with them. The other bad guys mock him,

1173
01:04:36,480 --> 01:04:39,840
Speaker 3: and there are scenes of him with conflicted emotions that

1174
01:04:39,920 --> 01:04:42,280
Speaker 3: the other bad guys don't show, or at least Little

1175
01:04:42,320 --> 01:04:45,600
Speaker 3: Bad Wolf and Links don't show you get some conflicted

1176
01:04:45,640 --> 01:04:48,880
Speaker 3: emotions from the main bad wolf. But anyway, I just

1177
01:04:48,920 --> 01:04:51,560
Speaker 3: think it's interesting the way Donkeys is set apart from

1178
01:04:51,600 --> 01:04:52,400
Speaker 3: the other villains.

1179
01:04:53,200 --> 01:04:58,600
Speaker 1: Yeah, that is something to contemplate. Yeah, he seemed I

1180
01:04:58,600 --> 01:05:01,320
Speaker 1: don't know, like maybe we're really supposed to to put

1181
01:05:01,360 --> 01:05:02,520
Speaker 1: ourselves in Donkey's shoes.

1182
01:05:02,560 --> 01:05:03,200
Speaker 3: I'm not sure.

1183
01:05:04,480 --> 01:05:07,120
Speaker 1: Now we eventually go back to the house here, right,

1184
01:05:07,200 --> 01:05:09,240
Speaker 1: And I want to point out that the inside of

1185
01:05:09,240 --> 01:05:11,960
Speaker 1: the goat household it looks like a cat cafe. If

1186
01:05:11,960 --> 01:05:14,280
Speaker 1: you've ever been to a cat cafe, that's kind of

1187
01:05:14,280 --> 01:05:16,880
Speaker 1: the vibe I'm getting here. Lots of little shelves and

1188
01:05:16,920 --> 01:05:20,720
Speaker 1: places for cats or I guess goats to walk around on.

1189
01:05:20,840 --> 01:05:22,440
Speaker 1: That would make sense, you know, goats like to be

1190
01:05:22,520 --> 01:05:25,240
Speaker 1: up high. And then they have like cool what hanging

1191
01:05:25,280 --> 01:05:26,680
Speaker 1: beds or loungers here.

1192
01:05:26,960 --> 01:05:30,640
Speaker 3: Yeah, the the young goats sleep in these like pendulum beds.

1193
01:05:30,800 --> 01:05:33,360
Speaker 3: They're dangling from the ceiling like a I don't know,

1194
01:05:33,440 --> 01:05:34,440
Speaker 3: like a like a planter.

1195
01:05:35,040 --> 01:05:36,320
Speaker 1: Yeah. They put a lot of thought at the end

1196
01:05:36,320 --> 01:05:38,600
Speaker 1: of this. I'm actually a little bit reminded of the

1197
01:05:38,720 --> 01:05:41,320
Speaker 1: kids rooms in Santa Claus Conquers the Martians, you know,

1198
01:05:41,320 --> 01:05:44,600
Speaker 1: where they're like, what do the Martian children's bedrooms look like?

1199
01:05:44,680 --> 01:05:47,400
Speaker 1: How do Martians sleep? And so forth.

1200
01:05:47,760 --> 01:05:50,120
Speaker 3: But this scene also has an interesting part where one

1201
01:05:50,120 --> 01:05:53,200
Speaker 3: of the kids asks Rada, why does the wolf want

1202
01:05:53,240 --> 01:05:55,360
Speaker 3: to take us away?

1203
01:05:55,560 --> 01:05:57,560
Speaker 1: Oh yeah, and the answer is, well, because he's lonely

1204
01:05:57,600 --> 01:06:03,320
Speaker 1: and childless, which it's an interesting way to view predation,

1205
01:06:03,840 --> 01:06:05,960
Speaker 1: but that's what she tells them.

1206
01:06:06,360 --> 01:06:08,920
Speaker 3: One of the children ask she says this, and one

1207
01:06:08,920 --> 01:06:11,680
Speaker 3: of the children says, is it wrong to be lonely?

1208
01:06:11,840 --> 01:06:14,600
Speaker 3: And Rada says, no, it just makes you feel bad.

1209
01:06:15,080 --> 01:06:18,919
Speaker 1: Hmm. Maybe something's was lost in translation a bit into

1210
01:06:18,920 --> 01:06:19,680
Speaker 1: the English version.

1211
01:06:19,720 --> 01:06:22,240
Speaker 3: I don't know. Oh, but then after this we go

1212
01:06:22,360 --> 01:06:25,800
Speaker 3: straight into a psychedelic disco dance number by the Bad

1213
01:06:25,880 --> 01:06:28,800
Speaker 3: Guys who Oh yeah, there's no singing. They're just like

1214
01:06:28,960 --> 01:06:35,040
Speaker 3: out in inside a five dimensional kaleidoscope doing some real

1215
01:06:35,120 --> 01:06:36,720
Speaker 3: like Saturday night fever moves.

1216
01:06:37,000 --> 01:06:39,680
Speaker 1: Oh yeah, this is like the dark disco scene. And

1217
01:06:39,960 --> 01:06:43,400
Speaker 1: I was really hoping this would erupt into vocalizations as well,

1218
01:06:43,440 --> 01:06:48,840
Speaker 1: but it's just you know, darkness prancing. It's like a

1219
01:06:48,920 --> 01:06:52,320
Speaker 1: raven Mordoor or something. I'm not sure, but it's it's fun.

1220
01:06:52,400 --> 01:06:54,680
Speaker 3: I like it in some parts of the choreography here

1221
01:06:54,720 --> 01:06:57,040
Speaker 3: reminded me of that Okay Go Treadmill video.

1222
01:06:57,480 --> 01:06:59,720
Speaker 1: Yeah, yeah, yeah, they really get into it. They get

1223
01:06:59,760 --> 01:07:01,240
Speaker 1: some but.

1224
01:07:01,200 --> 01:07:03,600
Speaker 3: They're like standing out on some kind of bridge in

1225
01:07:03,680 --> 01:07:06,280
Speaker 3: the darkness with like the night sky behind them, and

1226
01:07:06,320 --> 01:07:09,520
Speaker 3: sometimes there's this aurora in the sky and sometimes it

1227
01:07:09,520 --> 01:07:14,000
Speaker 3: looks like a giant fish pig face. But then here

1228
01:07:14,040 --> 01:07:18,440
Speaker 3: we go into a lullaby sung by Rada, which we

1229
01:07:18,480 --> 01:07:21,080
Speaker 3: sort of go around and see all the villagers going

1230
01:07:21,080 --> 01:07:24,760
Speaker 3: to sleep. I gotta say, I've been playing some of

1231
01:07:24,840 --> 01:07:28,320
Speaker 3: the music from this movie in my house and my

1232
01:07:28,480 --> 01:07:32,040
Speaker 3: toddler is obsessed with this lullaby song. She asked me

1233
01:07:32,080 --> 01:07:34,840
Speaker 3: to play like ten times yesterday. It's the night Night

1234
01:07:34,960 --> 01:07:36,520
Speaker 3: song to her, and she loves it.

1235
01:07:37,320 --> 01:07:39,480
Speaker 1: This is the You know, one of the great things

1236
01:07:39,520 --> 01:07:43,000
Speaker 1: about early parenthood is you get to choose what really

1237
01:07:43,080 --> 01:07:46,360
Speaker 1: obscure nonsense you and jacked into your child's life that

1238
01:07:46,520 --> 01:07:50,919
Speaker 1: will become a part of their their wholesome recollection years later,

1239
01:07:51,080 --> 01:07:53,400
Speaker 1: but no one else in their friend group will share.

1240
01:07:54,160 --> 01:07:56,000
Speaker 1: They'll be like, hey, did you guys watch that weird

1241
01:07:56,840 --> 01:08:03,120
Speaker 1: Russo Franco Romanian family animal picture every holiday? And they're like, no,

1242
01:08:03,280 --> 01:08:04,800
Speaker 1: we have no idea what you're talking about.

1243
01:08:05,240 --> 01:08:07,520
Speaker 3: Yeah, out on the playground, you don't know the tickets

1244
01:08:07,600 --> 01:08:13,840
Speaker 3: tickets song. But okay, yeah, so this is a lullaby.

1245
01:08:13,920 --> 01:08:16,559
Speaker 3: But there is an interesting moment here where the wolf

1246
01:08:16,640 --> 01:08:19,360
Speaker 3: comes in and sings along at the end of the song.

1247
01:08:19,439 --> 01:08:21,720
Speaker 3: So it's Rada singing to her children and she's like,

1248
01:08:21,760 --> 01:08:25,799
Speaker 3: close your eyes, I'm here beside you. And then suddenly

1249
01:08:25,840 --> 01:08:28,599
Speaker 3: the wolf is outside the house and he's like singing

1250
01:08:28,800 --> 01:08:33,040
Speaker 3: at Rada, And I thought this maybe is playing up

1251
01:08:33,080 --> 01:08:36,639
Speaker 3: on the idea that like, underneath his wickedness, he really

1252
01:08:36,720 --> 01:08:39,920
Speaker 3: is just lonely, like Rada was talking about. Maybe the

1253
01:08:39,960 --> 01:08:42,560
Speaker 3: subtext is that if he had someone to love, he

1254
01:08:42,600 --> 01:08:45,559
Speaker 3: wouldn't be trying to harm the goats, which plays directly

1255
01:08:45,600 --> 01:08:48,439
Speaker 3: against what he himself said, which is like, I have

1256
01:08:48,479 --> 01:08:50,720
Speaker 3: a wolf nature and it will not be suppressed.

1257
01:08:51,080 --> 01:08:53,000
Speaker 1: Yeah. I don't know. I also wasn't sure if we're

1258
01:08:53,000 --> 01:08:56,599
Speaker 1: supposed to think that she can hear him, and because

1259
01:08:56,600 --> 01:08:58,679
Speaker 1: she has kind of like a you know, winkie smile

1260
01:08:58,760 --> 01:09:00,559
Speaker 1: thing at the end here, and I don't know if

1261
01:09:00,560 --> 01:09:04,040
Speaker 1: that's more of her like oh suru, or if I'm

1262
01:09:04,080 --> 01:09:06,080
Speaker 1: just reading into it because we have been spending so

1263
01:09:06,160 --> 01:09:12,800
Speaker 1: much time already with their sort of teasing predator prey relationship. Yeah,

1264
01:09:13,120 --> 01:09:15,400
Speaker 1: oh right. Then we get a song about equilibrium from

1265
01:09:15,439 --> 01:09:18,760
Speaker 1: the children where they they're playing on a pair of

1266
01:09:18,880 --> 01:09:20,720
Speaker 1: enormous sea saws, and we see a lot of other

1267
01:09:20,800 --> 01:09:22,599
Speaker 1: children there in the scene. They're sheep children of course,

1268
01:09:22,640 --> 01:09:27,080
Speaker 1: the squirrel children, Donkey grinning like an absolute maniac, Donkey,

1269
01:09:27,240 --> 01:09:30,200
Speaker 1: Lynx and Little Bad Wolf joining into the song. They

1270
01:09:30,320 --> 01:09:33,720
Speaker 1: dance and prance around. The dance becomes cocky and aggressive

1271
01:09:34,000 --> 01:09:36,519
Speaker 1: till finally what one of the kids has enough. This

1272
01:09:36,600 --> 01:09:39,280
Speaker 1: may be the oldest kid, and he starts riding Donkey

1273
01:09:39,320 --> 01:09:41,280
Speaker 1: around and then like somebody has come break it up.

1274
01:09:41,479 --> 01:09:44,400
Speaker 3: This is Matteia, the oldest goat son who will sneak

1275
01:09:44,439 --> 01:09:46,760
Speaker 3: out of the house later he you know, he is

1276
01:09:46,880 --> 01:09:50,599
Speaker 3: up to mischief. But yeah, he rides Donkey around and

1277
01:09:51,600 --> 01:09:53,400
Speaker 3: I don't know, Donkey really gets put in his place.

1278
01:09:53,560 --> 01:09:55,599
Speaker 1: Yeah, yeah, somebody they send the ref end to break

1279
01:09:55,600 --> 01:09:56,080
Speaker 1: it out there like.

1280
01:09:57,240 --> 01:09:59,760
Speaker 3: Out of hand. Rada comes in. Rada always puts a

1281
01:09:59,760 --> 01:10:02,559
Speaker 3: stuff up to the nonsense. And then the next scene

1282
01:10:02,640 --> 01:10:05,160
Speaker 3: is we get one of the main themes of the movie,

1283
01:10:05,200 --> 01:10:08,719
Speaker 3: which is the song that Rada sings teaches her children

1284
01:10:09,120 --> 01:10:11,280
Speaker 3: in order for them to know it's her at the

1285
01:10:11,280 --> 01:10:15,240
Speaker 3: door and not someone else. So this is the mommy's home.

1286
01:10:15,360 --> 01:10:17,759
Speaker 3: Now you can open the door and don't be afraid

1287
01:10:17,800 --> 01:10:18,679
Speaker 3: children anymore.

1288
01:10:19,080 --> 01:10:21,799
Speaker 1: Yeah, it is a beautiful little number about stranger danger

1289
01:10:21,880 --> 01:10:23,280
Speaker 1: for latchkey kids.

1290
01:10:23,360 --> 01:10:23,559
Speaker 3: You know.

1291
01:10:23,800 --> 01:10:28,040
Speaker 1: It's like, don't open that door for anybody, anybody except

1292
01:10:28,080 --> 01:10:30,920
Speaker 1: for me. Except for me. I'm here to protect you, right.

1293
01:10:30,960 --> 01:10:33,439
Speaker 3: So she sings the song, and meanwhile outside the wolf

1294
01:10:33,520 --> 01:10:36,599
Speaker 3: is listening and furiously scribbling notes on how the song

1295
01:10:36,640 --> 01:10:39,240
Speaker 3: goes so that he can get into the house when

1296
01:10:39,640 --> 01:10:41,400
Speaker 3: Rada goes to the fair. So she goes off to

1297
01:10:41,400 --> 01:10:43,000
Speaker 3: the fair. What's going on at the fair?

1298
01:10:43,400 --> 01:10:46,519
Speaker 1: Oh, tickets is what's going on at That's the main

1299
01:10:46,560 --> 01:10:49,559
Speaker 1: thing I got. Because we run back, we meet Parrot

1300
01:10:49,560 --> 01:10:52,879
Speaker 1: Guy again, and we're in this fun house of mirrors.

1301
01:10:52,920 --> 01:10:54,960
Speaker 1: We're gonna spend a lot of time in this set,

1302
01:10:55,120 --> 01:10:57,320
Speaker 1: and it's pretty gorgeous. It feels like it feels like

1303
01:10:57,320 --> 01:11:00,280
Speaker 1: we're inside a disco ball, and there's yeah, a lot

1304
01:11:00,280 --> 01:11:03,600
Speaker 1: of general discussion of tickets. I don't know if you

1305
01:11:03,640 --> 01:11:05,240
Speaker 1: were able to make sense of this when you went

1306
01:11:05,280 --> 01:11:06,120
Speaker 1: back through the lyrics.

1307
01:11:06,200 --> 01:11:08,960
Speaker 3: Joe, No, I did not understand at all. The parrot

1308
01:11:09,080 --> 01:11:12,839
Speaker 3: is like throwing little like ticker tape, you know, bits

1309
01:11:12,880 --> 01:11:16,599
Speaker 3: of you know, confetti. Basically, tickets are in the air,

1310
01:11:16,960 --> 01:11:20,040
Speaker 3: and he's standing in these mirrors with silver tinsel all around.

1311
01:11:20,080 --> 01:11:23,760
Speaker 3: He's still in his rainbow outfit, and the lyrics are

1312
01:11:23,800 --> 01:11:27,160
Speaker 3: like tickets to your life, tickets to find your wife.

1313
01:11:28,160 --> 01:11:32,920
Speaker 3: I think maybe the idea is that, I don't know,

1314
01:11:32,960 --> 01:11:36,920
Speaker 3: it's some kind of commercialization or commodification, like the parrot

1315
01:11:37,040 --> 01:11:45,120
Speaker 3: is selling a kind of shallow promise of good fortune.

1316
01:11:45,280 --> 01:11:47,439
Speaker 3: But I don't know. Parrot is not really presented as

1317
01:11:47,439 --> 01:11:49,519
Speaker 3: a villain of the film. It's just kind of like, oh,

1318
01:11:49,560 --> 01:11:51,679
Speaker 3: here's what's going on at the fair. There's some kind

1319
01:11:51,680 --> 01:11:53,800
Speaker 3: of there's some kind of nonsense happening.

1320
01:12:01,320 --> 01:12:01,680
Speaker 1: All right.

1321
01:12:01,720 --> 01:12:01,880
Speaker 3: Now.

1322
01:12:02,160 --> 01:12:04,760
Speaker 1: I have to point out that at this point the

1323
01:12:04,800 --> 01:12:06,599
Speaker 1: episode is probably getting a little long, and I feel

1324
01:12:06,640 --> 01:12:09,840
Speaker 1: like I could probably talk about each and every little

1325
01:12:09,880 --> 01:12:12,280
Speaker 1: musical number because I made notes about all the weird

1326
01:12:12,320 --> 01:12:14,479
Speaker 1: little things they threw, and like suddenly there's a trampoline

1327
01:12:14,479 --> 01:12:17,519
Speaker 1: for the squirrels and I love it. Yeah, so I'm

1328
01:12:17,560 --> 01:12:20,400
Speaker 1: going to let you drive here, Joe, and just I'm

1329
01:12:20,400 --> 01:12:23,400
Speaker 1: gonna follow you through your favorite moments of the rest

1330
01:12:23,479 --> 01:12:26,040
Speaker 1: of this film, and I'll jump in if I have

1331
01:12:26,120 --> 01:12:26,679
Speaker 1: some thoughts.

1332
01:12:26,960 --> 01:12:29,720
Speaker 3: Well, we've already talked about the general outline, so you

1333
01:12:29,760 --> 01:12:31,439
Speaker 3: know that the wolf is going to keep trying to

1334
01:12:31,439 --> 01:12:34,280
Speaker 3: sing the song and sneak into the house. He fails

1335
01:12:34,280 --> 01:12:37,519
Speaker 3: the first few times we know that Mattee sneaks out

1336
01:12:37,520 --> 01:12:40,840
Speaker 3: of the house, he runs around outside, he gets chased

1337
01:12:40,880 --> 01:12:44,160
Speaker 3: by the bad guys. Of course, while we're here at

1338
01:12:44,200 --> 01:12:46,679
Speaker 3: the fair, some various things will happen. There's a bunch

1339
01:12:46,840 --> 01:12:50,599
Speaker 3: of just like songs and big ensemble numbers where everybody's singing.

1340
01:12:51,400 --> 01:12:54,800
Speaker 3: We get a ballet sequence where the people that you

1341
01:12:54,920 --> 01:12:57,519
Speaker 3: thought were spiders but I think are actually supposed to

1342
01:12:57,600 --> 01:13:00,840
Speaker 3: be sparrows. These are played by ballet dancer. I think

1343
01:13:00,880 --> 01:13:03,759
Speaker 3: these might be the Bolshoi Ballet or some Moscow based

1344
01:13:04,840 --> 01:13:08,880
Speaker 3: ballet dancers who do a very good but I don't know.

1345
01:13:09,200 --> 01:13:12,200
Speaker 3: Ballet might not exactly be my thing. But you can

1346
01:13:12,200 --> 01:13:14,000
Speaker 3: tell that they're great at what they do, and they

1347
01:13:14,000 --> 01:13:17,040
Speaker 3: do it in front of these very interesting painted backdrops.

1348
01:13:17,479 --> 01:13:19,880
Speaker 1: Yeah, yeah, the effects are very cool here, like it's

1349
01:13:19,960 --> 01:13:22,800
Speaker 1: it's not just a performance of dance on stage. And

1350
01:13:22,800 --> 01:13:25,519
Speaker 1: we've been seeing a lot of actual dance performance, but

1351
01:13:25,720 --> 01:13:29,000
Speaker 1: here we have high level ballet with cool effects.

1352
01:13:29,240 --> 01:13:31,120
Speaker 3: And I think maybe in some parts of these songs

1353
01:13:31,120 --> 01:13:35,200
Speaker 3: they're like balancing on tethers or whatever you call that, tetherwalking.

1354
01:13:34,600 --> 01:13:36,160
Speaker 1: Or it's made to look like I couldn't tell if

1355
01:13:36,160 --> 01:13:39,240
Speaker 1: this is effects or yeah, yeah, yeah.

1356
01:13:39,280 --> 01:13:42,479
Speaker 3: At the fair, there's more of a wolf following Rada around,

1357
01:13:42,520 --> 01:13:45,840
Speaker 3: being like, hey, let's dance, and so first they don't dance,

1358
01:13:45,880 --> 01:13:49,080
Speaker 3: and then they do dance. But one thing we definitely

1359
01:13:49,080 --> 01:13:53,599
Speaker 3: should mention is the the Sheep and Donkey song.

1360
01:13:54,160 --> 01:13:58,040
Speaker 1: Mm hmm, yeah, well this is a mid movie romance

1361
01:13:58,160 --> 01:13:58,800
Speaker 1: between the two.

1362
01:13:59,000 --> 01:14:02,480
Speaker 3: Yeah. Would you characterized this song as like a seduction

1363
01:14:02,840 --> 01:14:05,280
Speaker 3: of Donkey by the Lamb character.

1364
01:14:06,080 --> 01:14:09,640
Speaker 1: I think so. I mean, he's into it, but it

1365
01:14:09,800 --> 01:14:11,719
Speaker 1: kind of comes out of nowhere, like I wasn't really

1366
01:14:12,840 --> 01:14:19,280
Speaker 1: thinking about Donkey's romantic prospects. And likewise, you know, Lamb

1367
01:14:19,400 --> 01:14:23,080
Speaker 1: is one of the many cute animal ladies in the film,

1368
01:14:23,280 --> 01:14:25,479
Speaker 1: but you know, she's very much been in the background,

1369
01:14:25,640 --> 01:14:27,400
Speaker 1: and we're just like, oh, there's Lamb lady, you know,

1370
01:14:27,520 --> 01:14:30,080
Speaker 1: much like Squirrel Lady. You know she's there, but I

1371
01:14:30,120 --> 01:14:32,639
Speaker 1: didn't know that she was actually gonna do anything other

1372
01:14:32,720 --> 01:14:34,920
Speaker 1: than jump around and maybe do a trampoline flip.

1373
01:14:35,800 --> 01:14:38,639
Speaker 3: Yeah, So I was curious why is Lamb so into Donkey?

1374
01:14:38,760 --> 01:14:42,479
Speaker 3: The framing implies that Lamb is like the most eligible

1375
01:14:42,560 --> 01:14:46,640
Speaker 3: bachelorette in town, but so far Donkey has been portrayed

1376
01:14:46,680 --> 01:14:50,040
Speaker 3: as a pitiable loser, like he is the outcast of

1377
01:14:50,320 --> 01:14:53,600
Speaker 3: the village's criminal gang, and yet Lamb is coming on

1378
01:14:53,720 --> 01:14:57,400
Speaker 3: to him very strong. So I don't know, like what

1379
01:14:57,880 --> 01:15:00,560
Speaker 3: makes Donkey attractive to her? Maybe the fact that he

1380
01:15:00,680 --> 01:15:03,479
Speaker 3: reads books, Like is she into a a well read ass?

1381
01:15:04,840 --> 01:15:08,000
Speaker 1: Perhaps? Perhaps you know, I want to I want to

1382
01:15:08,000 --> 01:15:09,519
Speaker 1: throw in here because I'm looking at one of the

1383
01:15:10,080 --> 01:15:12,760
Speaker 1: I'm looking at the still you have of Lamb lady,

1384
01:15:13,280 --> 01:15:17,719
Speaker 1: and the attention to the curling hair on her lamb

1385
01:15:17,800 --> 01:15:22,240
Speaker 1: ears on her sheep ears here absolutely top notch, like

1386
01:15:22,600 --> 01:15:26,479
Speaker 1: they would. These costumes they do. You know, they're very

1387
01:15:26,560 --> 01:15:28,439
Speaker 1: much costumes. You're not gonna believe that this is. This

1388
01:15:28,520 --> 01:15:30,920
Speaker 1: is not like you know, were wolf, an American werewolf

1389
01:15:30,920 --> 01:15:32,839
Speaker 1: in London here or anything when it comes to combining

1390
01:15:32,880 --> 01:15:35,400
Speaker 1: the animal and the human form. But on another level,

1391
01:15:35,439 --> 01:15:37,800
Speaker 1: it kind of is, because look at these ears, look

1392
01:15:37,840 --> 01:15:39,760
Speaker 1: at the amount of tension they put into this hair.

1393
01:15:40,840 --> 01:15:41,160
Speaker 3: There is.

1394
01:15:42,840 --> 01:15:45,479
Speaker 1: This is something, this is something. This is a key

1395
01:15:45,560 --> 01:15:47,040
Speaker 1: part of the movie's alchemy. I'm sure.

1396
01:15:47,360 --> 01:15:50,479
Speaker 3: I totally agree. Yeah, the costuming and the makeup effects

1397
01:15:50,479 --> 01:15:52,360
Speaker 3: that they are all so wonderful, Like.

1398
01:15:52,439 --> 01:15:55,080
Speaker 1: You didn't have to do that for this film. But

1399
01:15:55,160 --> 01:15:57,960
Speaker 1: someone's like, no, no, no, these ears need to look

1400
01:15:58,080 --> 01:16:02,400
Speaker 1: one percent authentic. They need to be warm to the touch.

1401
01:16:03,040 --> 01:16:05,040
Speaker 3: Now, I think somewhere in here is we when we

1402
01:16:05,120 --> 01:16:07,880
Speaker 3: get that scene where the wolf is explaining to his

1403
01:16:08,000 --> 01:16:10,759
Speaker 3: goons that he no longer wants to eat the goat children.

1404
01:16:10,840 --> 01:16:15,040
Speaker 3: He wants gold. We've got to get gold, gold, you fools.

1405
01:16:16,800 --> 01:16:19,720
Speaker 3: It's very out of nowhere, but I like it. I

1406
01:16:19,800 --> 01:16:23,160
Speaker 3: wonder if the commercialism of the fair, like the whole

1407
01:16:23,240 --> 01:16:28,280
Speaker 3: tickets thing, inspires Wolf to switch his switch up, like

1408
01:16:28,360 --> 01:16:31,320
Speaker 3: his animal nature, his desire to just eat prey animals,

1409
01:16:31,680 --> 01:16:35,280
Speaker 3: and instead become a more civilized kind of villain that

1410
01:16:35,400 --> 01:16:37,559
Speaker 3: wants money. Do you think that? Does that make sense?

1411
01:16:38,000 --> 01:16:40,280
Speaker 1: I guess so, and I it ties into a number

1412
01:16:40,320 --> 01:16:42,760
Speaker 1: we're gonna see later where we have this real after

1413
01:16:43,240 --> 01:16:46,680
Speaker 1: the kidnapping has been carried out, Rada has this bit

1414
01:16:46,720 --> 01:16:49,080
Speaker 1: where she's like, you know, why is why is the

1415
01:16:49,160 --> 01:16:51,479
Speaker 1: world like this? Why do people want to hurt you?

1416
01:16:51,800 --> 01:16:54,120
Speaker 1: Why are they hurting you still? Why are they going

1417
01:16:54,200 --> 01:16:56,240
Speaker 1: to hurt you in the future? And it's got kind

1418
01:16:56,280 --> 01:16:59,680
Speaker 1: of this real, you know, dark somber number. But you know,

1419
01:17:00,479 --> 01:17:03,120
Speaker 1: it makes sense then that you would have the wolf

1420
01:17:03,560 --> 01:17:08,040
Speaker 1: change his predatory approach from something that is purely an

1421
01:17:08,040 --> 01:17:12,160
Speaker 1: animal world activity into something that is, you know, more

1422
01:17:12,200 --> 01:17:13,240
Speaker 1: akin to human crime.

1423
01:17:13,840 --> 01:17:17,040
Speaker 3: Yeah, yeah, that's interesting. Okay, just a couple of little

1424
01:17:17,520 --> 01:17:20,320
Speaker 3: texture observations as we go along. There's one scene that

1425
01:17:20,640 --> 01:17:24,320
Speaker 3: is obviously this came earlier, but it feels straight out

1426
01:17:24,360 --> 01:17:27,200
Speaker 3: of the first Lord of the Rings film where the

1427
01:17:27,880 --> 01:17:30,679
Speaker 3: you know, the mattee is hiding from the bad guys

1428
01:17:30,720 --> 01:17:32,840
Speaker 3: and they go looking out over the edge of the

1429
01:17:33,360 --> 01:17:35,400
Speaker 3: there's like an outcropping and they're looking out and he's

1430
01:17:35,439 --> 01:17:36,519
Speaker 3: hiding right underneath it.

1431
01:17:37,439 --> 01:17:40,880
Speaker 1: Yes, yes, this and you know, and I think just

1432
01:17:41,439 --> 01:17:43,960
Speaker 1: must be an accident because I think the main framing

1433
01:17:44,240 --> 01:17:46,479
Speaker 1: of that that we're familiar with the Peter Jackson Lord

1434
01:17:46,479 --> 01:17:48,880
Speaker 1: of the Rings is based on a sequence in the

1435
01:17:48,960 --> 01:17:51,160
Speaker 1: seventy eight animated Lord of the Rings.

1436
01:17:51,560 --> 01:17:54,600
Speaker 3: But yeah, we were before that here, So this is

1437
01:17:54,680 --> 01:17:55,519
Speaker 3: seventy six. Yeah.

1438
01:17:55,600 --> 01:17:58,000
Speaker 1: Yeah, so it's just just I don't know, just just

1439
01:17:58,120 --> 01:17:59,400
Speaker 1: great framing. I don't know.

1440
01:17:59,760 --> 01:18:02,559
Speaker 3: There's it's a sad scene at some point where Rada

1441
01:18:02,640 --> 01:18:04,799
Speaker 3: comes home and she's been like out in a storm

1442
01:18:04,960 --> 01:18:08,040
Speaker 3: in the winter and she can't sing the song to

1443
01:18:08,320 --> 01:18:10,200
Speaker 3: get into the house. You know, she's trying to sing

1444
01:18:10,280 --> 01:18:13,559
Speaker 3: the password song, but her voice is all torn up.

1445
01:18:13,720 --> 01:18:15,479
Speaker 1: And yeah, she sounds like she's been hitting the bottle

1446
01:18:15,479 --> 01:18:18,240
Speaker 1: a little bit grief, and they're like, that's not mama.

1447
01:18:18,400 --> 01:18:21,160
Speaker 1: Mama's voice is good. I don't know what this thing

1448
01:18:21,360 --> 01:18:24,000
Speaker 1: is out there howling in the darkness, but we're not

1449
01:18:24,120 --> 01:18:24,680
Speaker 1: opening the door.

1450
01:18:25,760 --> 01:18:28,960
Speaker 3: Yeah. And there's also a very sweet part where I

1451
01:18:29,000 --> 01:18:31,880
Speaker 3: think it's the oldest Goat daughter. The child sings a

1452
01:18:31,960 --> 01:18:35,400
Speaker 3: song for it's like an inversion of the mother's song

1453
01:18:35,479 --> 01:18:37,760
Speaker 3: to the children. She sings a song about mommy. It's

1454
01:18:37,880 --> 01:18:38,679
Speaker 3: extremely sweet.

1455
01:18:39,200 --> 01:18:40,760
Speaker 1: Oh, and then at some point we get the song

1456
01:18:40,800 --> 01:18:44,280
Speaker 1: about modern decline. The children today are not the same, Yes,

1457
01:18:44,320 --> 01:18:47,080
Speaker 1: I'm not the same, not the same. Children today don't

1458
01:18:47,080 --> 01:18:49,800
Speaker 1: even know how to sit on a shovel. They don't

1459
01:18:49,800 --> 01:18:51,439
Speaker 1: say that, but it made me think of that moment in.

1460
01:18:51,520 --> 01:18:56,240
Speaker 3: Jack FROs Now there is a part here where Mattee

1461
01:18:56,360 --> 01:18:58,840
Speaker 3: has run out into the wilderness and gotten lost. He's

1462
01:18:58,880 --> 01:19:02,200
Speaker 3: like stranded on some kind of rocky spire in the

1463
01:19:02,240 --> 01:19:05,640
Speaker 3: middle of nothing, and the snow is falling, and it's like,

1464
01:19:05,720 --> 01:19:08,640
Speaker 3: what's going to happen to him? Well, what happens is

1465
01:19:08,760 --> 01:19:11,280
Speaker 3: we get one of the musical numbers from the Star

1466
01:19:11,360 --> 01:19:15,000
Speaker 3: Wars Holiday Special. It's like when the old Wookie puts

1467
01:19:15,040 --> 01:19:19,160
Speaker 3: the VR goggles on and he sees Diane Carroll, he's

1468
01:19:19,240 --> 01:19:21,479
Speaker 3: singing to him that kind of thing. Or it's no,

1469
01:19:21,600 --> 01:19:28,479
Speaker 3: it's those acrobats jumping around. Yes, yes, very holiday special stuff.

1470
01:19:28,520 --> 01:19:30,920
Speaker 3: But what we see instead is all these like silver

1471
01:19:31,080 --> 01:19:35,680
Speaker 3: ice skaters who are fairies. These represent the presence of

1472
01:19:35,720 --> 01:19:38,200
Speaker 3: the Winter Fairy and they come and they help matte

1473
01:19:38,400 --> 01:19:40,160
Speaker 3: magically and send him back home.

1474
01:19:40,479 --> 01:19:42,360
Speaker 1: Yes, the time has come for every start of shine

1475
01:19:42,400 --> 01:19:46,799
Speaker 1: on where you are the angels, the fairies, the stars.

1476
01:19:48,040 --> 01:19:49,960
Speaker 1: And I was looking this up. We have a lot

1477
01:19:50,000 --> 01:19:51,880
Speaker 1: of ice skating to round out the picture. And I

1478
01:19:51,960 --> 01:19:55,080
Speaker 1: believe this is a combination of the Moscow Circus and

1479
01:19:55,200 --> 01:19:57,280
Speaker 1: the Moscow Ice Ballet according to the credits.

1480
01:19:57,640 --> 01:20:02,040
Speaker 3: Yeah, so skipping ahead to the the final confrontation, So

1481
01:20:02,280 --> 01:20:05,360
Speaker 3: of course, the wolf does eventually kidnap the children. We

1482
01:20:05,520 --> 01:20:08,840
Speaker 3: have this big showdown in this frozen pond where everybody's

1483
01:20:08,920 --> 01:20:12,680
Speaker 3: ice skating, and as we said earlier, Rada outsmarts the

1484
01:20:12,720 --> 01:20:14,840
Speaker 3: wolf in the end and tricks him into falling in

1485
01:20:15,200 --> 01:20:18,920
Speaker 3: into the water through the ice and his lackeys give

1486
01:20:19,040 --> 01:20:21,040
Speaker 3: up and they're like, okay, here are your kids back,

1487
01:20:21,760 --> 01:20:24,040
Speaker 3: and in the end the wolf learns his lesson.

1488
01:20:24,560 --> 01:20:28,479
Speaker 1: That's right. Everybody. Everybody comes around, but they really threaten

1489
01:20:28,600 --> 01:20:32,000
Speaker 1: him with cold drowning in the lake. Rod is like like,

1490
01:20:32,080 --> 01:20:34,479
Speaker 1: we'll just let you drown right here, wolf unless you

1491
01:20:34,560 --> 01:20:36,840
Speaker 1: come around like your cronies just did. And they're like, yeah,

1492
01:20:36,840 --> 01:20:39,200
Speaker 1: we've changed, and he's like, you know, I've looked at

1493
01:20:39,240 --> 01:20:42,040
Speaker 1: deep inside myself and I realize I need to change

1494
01:20:42,040 --> 01:20:42,439
Speaker 1: as well.

1495
01:20:42,720 --> 01:20:45,639
Speaker 3: That's right, and he does, and we kind of seasonal

1496
01:20:45,720 --> 01:20:46,920
Speaker 3: transition as well, don't we.

1497
01:20:47,240 --> 01:20:49,360
Speaker 1: That's right. That's right. There's this idea that it's like

1498
01:20:49,439 --> 01:20:53,400
Speaker 1: we're coming out of winter now it's becoming spring. So

1499
01:20:54,680 --> 01:20:57,040
Speaker 1: this alone, we alluded to this earlier. Like this, I

1500
01:20:57,120 --> 01:20:59,760
Speaker 1: can see why this film would make so much sense

1501
01:20:59,760 --> 01:21:03,600
Speaker 1: as holiday movie, even if there's nothing directly related to

1502
01:21:04,600 --> 01:21:08,000
Speaker 1: you know, ideas of a Christian Christmas and so forth

1503
01:21:08,200 --> 01:21:10,320
Speaker 1: or Santa Claus like, no, it's still getting into that

1504
01:21:10,479 --> 01:21:14,200
Speaker 1: deep primal idea of the winter holidays. Like what is

1505
01:21:14,280 --> 01:21:17,120
Speaker 1: the magic be it? You know, you know, capital M

1506
01:21:17,240 --> 01:21:19,840
Speaker 1: magic or lower case magic that is going to help

1507
01:21:19,920 --> 01:21:20,960
Speaker 1: us through to the spring.

1508
01:21:21,479 --> 01:21:24,080
Speaker 3: Yeah, but at the ending is a spring festival. I'm

1509
01:21:24,080 --> 01:21:26,160
Speaker 3: a little disappointed that we did not put the wolf

1510
01:21:26,200 --> 01:21:29,519
Speaker 3: in a Wickerman Yeah.

1511
01:21:29,960 --> 01:21:33,640
Speaker 1: You know, if you had had like the ritual disembowment

1512
01:21:33,720 --> 01:21:37,000
Speaker 1: of the wolf, the removal of the children, the insertion

1513
01:21:37,160 --> 01:21:39,880
Speaker 1: of the stones, and the throwing of the wolf into

1514
01:21:39,920 --> 01:21:42,200
Speaker 1: the water, like I guess that would have this more

1515
01:21:42,240 --> 01:21:46,200
Speaker 1: of a Wickerman esque ritualistic vision. And you know, I

1516
01:21:46,320 --> 01:21:48,720
Speaker 1: can very much envision a sort of I don't know,

1517
01:21:48,920 --> 01:21:53,799
Speaker 1: Midsummer esque horror movie in which someone visits this small

1518
01:21:53,920 --> 01:21:59,720
Speaker 1: town perhaps in perhaps in Romania, where hey, everyone is

1519
01:21:59,760 --> 01:22:03,840
Speaker 1: dress as animals and they've made me wear this wolf

1520
01:22:03,960 --> 01:22:08,080
Speaker 1: hat for some reason, and what is this big, big

1521
01:22:08,360 --> 01:22:11,080
Speaker 1: festival that I've been invited to, and you know it's

1522
01:22:11,160 --> 01:22:13,320
Speaker 1: going to have absolutely horrifying results.

1523
01:22:13,800 --> 01:22:16,600
Speaker 3: Christopher Lee in a big wig with pigtails?

1524
01:22:16,920 --> 01:22:19,680
Speaker 1: Who would Christopher Lee? Would Christopher Lee be Donkey in this.

1525
01:22:20,439 --> 01:22:23,040
Speaker 3: Oh no, I think Christopher Lee would be the wolf

1526
01:22:23,280 --> 01:22:23,719
Speaker 3: of course.

1527
01:22:24,439 --> 01:22:27,120
Speaker 1: Oh okay, so he would get sacrificed.

1528
01:22:27,560 --> 01:22:30,000
Speaker 3: Well, spoilers for The Wickerman if you haven't seen it.

1529
01:22:30,040 --> 01:22:32,840
Speaker 3: I mean, it's an old movie, but it is great

1530
01:22:32,880 --> 01:22:34,760
Speaker 3: to see it without spoilers if you get a chance.

1531
01:22:35,680 --> 01:22:39,000
Speaker 3: But here they come at the end of The Wickerman.

1532
01:22:39,320 --> 01:22:41,920
Speaker 3: You know the inspector. What he yells at Christopher Lee

1533
01:22:42,080 --> 01:22:44,280
Speaker 3: is he says, it's you know, this is not going

1534
01:22:44,360 --> 01:22:46,960
Speaker 3: to save your crops, and when it doesn't work next year,

1535
01:22:47,000 --> 01:22:48,240
Speaker 3: they'll put you in this thing.

1536
01:22:48,360 --> 01:22:50,200
Speaker 1: That's right. I forget. It's been a long time since

1537
01:22:50,240 --> 01:22:52,800
Speaker 1: I've seen it. I forgot about that twist. Yeah, but

1538
01:22:53,040 --> 01:22:55,240
Speaker 1: it is worth noting that. Yeah, film like this, as

1539
01:22:55,280 --> 01:22:57,920
Speaker 1: wholesome as it is, it's really only two or three

1540
01:22:57,960 --> 01:23:02,360
Speaker 1: degrees removed from Full Car. So that's one of its charms.

1541
01:23:02,880 --> 01:23:06,479
Speaker 3: So that is Mama aka rock and roll Wolf. I

1542
01:23:06,600 --> 01:23:08,760
Speaker 3: did not know how much I needed this in my life,

1543
01:23:08,880 --> 01:23:11,000
Speaker 3: but I love this movie.

1544
01:23:11,160 --> 01:23:14,679
Speaker 1: A film that I feel just inevitably spread the seeds

1545
01:23:15,080 --> 01:23:19,200
Speaker 1: of furry fandom throughout throughout Europe.

1546
01:23:20,800 --> 01:23:23,040
Speaker 3: To be clear, that's not the appeal for me. I'm

1547
01:23:23,080 --> 01:23:26,559
Speaker 3: not judging no judgment there, No, no, no, that's that's

1548
01:23:26,640 --> 01:23:28,920
Speaker 3: not what I'm saying. But I think it has appeal

1549
01:23:29,000 --> 01:23:30,080
Speaker 3: beyond that as well.

1550
01:23:30,320 --> 01:23:32,040
Speaker 1: Yeah, so this is a film that can be enjoyed

1551
01:23:32,080 --> 01:23:35,559
Speaker 1: on multiple levels and is and is very very kid friendly.

1552
01:23:36,280 --> 01:23:38,280
Speaker 1: All right, well we're gonna go ahead and close out

1553
01:23:38,320 --> 01:23:40,719
Speaker 1: this episode. Yeah, I get this was a holiday episode.

1554
01:23:40,800 --> 01:23:44,439
Speaker 1: We'll go ahead and make it official of Weird House Cinema.

1555
01:23:45,280 --> 01:23:48,160
Speaker 1: Just a reminder, let's see if you enjoy our Weird

1556
01:23:48,160 --> 01:23:50,519
Speaker 1: House Cinema episodes. These are curved Friday and the Stuff

1557
01:23:50,560 --> 01:23:53,639
Speaker 1: to Blow your Mind podcast feed primarily science and culture,

1558
01:23:53,960 --> 01:23:55,800
Speaker 1: but on Fridays we set most of that aside to

1559
01:23:55,880 --> 01:23:58,160
Speaker 1: really just dig into a weird film. And if you

1560
01:23:58,200 --> 01:23:59,599
Speaker 1: want to see a list of all the movies we've

1561
01:23:59,640 --> 01:24:01,880
Speaker 1: covered so far, go over to letterbox dot com. You

1562
01:24:01,920 --> 01:24:05,680
Speaker 1: know letterboxed. Our user name there is weird House, and

1563
01:24:05,800 --> 01:24:07,920
Speaker 1: we have a nice, big old episode list of everything

1564
01:24:07,960 --> 01:24:10,240
Speaker 1: we've covered so far, and sometimes there's a peak ahead

1565
01:24:10,479 --> 01:24:13,000
Speaker 1: at what's coming up next. There's currently a peak ahead

1566
01:24:13,160 --> 01:24:15,479
Speaker 1: at what's coming up next, and it is another uh

1567
01:24:15,760 --> 01:24:19,240
Speaker 1: technically uh technically a holiday film, so uh to go

1568
01:24:19,400 --> 01:24:22,599
Speaker 1: check that out if you're if you were interested, and likewise,

1569
01:24:22,600 --> 01:24:25,320
Speaker 1: if you were on the Instagram, we're on there as

1570
01:24:25,600 --> 01:24:28,920
Speaker 1: STBYM podcast. That's our that's our main account, that's the

1571
01:24:28,960 --> 01:24:32,719
Speaker 1: one that gets up updated frequently. UH. You can follow

1572
01:24:32,840 --> 01:24:35,320
Speaker 1: us there and keep an eye on what's coming up

1573
01:24:36,240 --> 01:24:38,519
Speaker 1: on the you know, the core episodes, but also what's

1574
01:24:38,560 --> 01:24:39,759
Speaker 1: happening in Weird House Cinema.

1575
01:24:40,360 --> 01:24:43,920
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1576
01:24:44,240 --> 01:24:45,680
Speaker 3: If you would like to get in touch with us

1577
01:24:45,720 --> 01:24:48,160
Speaker 3: with feedback on this episode or any other, to suggest

1578
01:24:48,200 --> 01:24:50,040
Speaker 3: a topic for the future, or just to say hello,

1579
01:24:50,560 --> 01:24:53,280
Speaker 3: you can email us at contact at stuff to Blow

1580
01:24:53,320 --> 01:24:54,400
Speaker 3: your Mind dot com.

1581
01:25:01,080 --> 01:25:04,000
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1582
01:25:04,120 --> 01:25:07,920
Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1583
01:25:08,040 --> 01:25:09,759
Speaker 2: or wherever you listen to your favorite shows.