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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema.

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

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Speaker 2: Today. This is an exciting intrigue in the Weird House

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Speaker 2: Cinema catalog because we are going to be covering our

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Speaker 2: first film from India. It's always fun when we can

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Speaker 2: dive into a new film culture, a new national film tradition.

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Speaker 2: And I know, for me personally Indian cinema Bollywood in particular,

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Speaker 2: this is a whole area of film that I really

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Speaker 2: don't have much of any exposure to. So I was

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Speaker 2: excited to watch this movie research it a bit because

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Speaker 2: not only is it is it Bollywood, it is Bollywood horror.

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Speaker 2: We're going to be talking about Purana mandir A not

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Speaker 2: only a horror movie, but like the horror movie from

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Speaker 2: India from nineteen eighty four.

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Speaker 3: This is also my first full viewing of a Bollywood movie.

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Speaker 3: I've watched a lot of clips from them before. Often,

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Speaker 3: like people will clip out really great musical numbers from

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Speaker 3: them and put them online, so I've seen plenty of those,

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Speaker 3: but yeah, this was the first time I've seen the

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Speaker 3: whole thing. But man, this movie was mostly great, at

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Speaker 3: some points awful and really got my mind cranking about

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Speaker 3: the what it means to have musical numbers in a film.

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Speaker 2: Yes, because one of the if you don't know anything,

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Speaker 2: or you don't know much about Indian cinema and Bollywood

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Speaker 2: in particular, you may know that there are musical numbers.

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Speaker 2: It's a big song and dance numbers. And I think

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Speaker 2: at times this can be like knowing this can be

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Speaker 2: kind of like a barrier to entry. You might think, well,

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Speaker 2: I don't know if I'm up for that. I mean,

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Speaker 2: I'm not a musical fan. Or even if you decide, oh,

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Speaker 2: well there's a horror genre I want to get into that,

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Speaker 2: but then you realize there are musical numbers, maybe you're

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Speaker 2: going to hold back, but yeah, it's to sort of

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Speaker 2: break that down, like, well, how different is that from

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Speaker 2: anything we watch over here? You know, we have this

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Speaker 2: a genre of musical obviously that goes in various directions,

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Speaker 2: but also we have strong musical segments in various pictures

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Speaker 2: where you'll feature a particular track. It just maybe you

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Speaker 2: don't have characters actually singing that song.

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Speaker 3: Yes, I agree with all of that. I mean It

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Speaker 3: really got me thinking, why don't American horror movies tend

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Speaker 3: to have musical numbers in them? And if they did,

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Speaker 3: why would we say, well, actually, this is just a

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Speaker 3: totally different genre now it is a musical. Why couldn't

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Speaker 3: all genres have musical numbers, because, as you say, music

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Speaker 3: features in other movies, diagetic and non diegetic music features

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Speaker 3: in as long as the characters aren't singing, it's not

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Speaker 3: a musical. But there's no particular reason I think of

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Speaker 3: why the fact that characters do sing in a movie

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Speaker 3: should make that a separate genre from whatever the narrative

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Speaker 3: content is. So yeah, I think we should have more fantasy,

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Speaker 3: sci fi movies, whatever, horror movies that have characters singing songs,

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Speaker 3: because songs are great. Now that I've experienced a Bollywood film,

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Speaker 3: it in no way takes away from my enjoyment of

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Speaker 3: this as a cheesy horror movie. And I don't really

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Speaker 3: see why you would resist. I think maybe there's one

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Speaker 3: impulse that says like musical numbers could take away from

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Speaker 3: the seriousness of the film. There's another that says it

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Speaker 3: could take away from the quote realism. I'd say, if

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Speaker 3: you're overly concerned with either of those, maybe you shouldn't

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Speaker 3: be making a horror movie.

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Speaker 2: I think another sort of barrier to entry or sort

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Speaker 2: of expectation is that might be for many and it

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Speaker 2: was kind of this way for me. Is I expected

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Speaker 2: going into a musical number to be clunkier and take

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Speaker 2: me out of the picture more. And there are sections

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Speaker 2: of the film that do manage to take me out

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Speaker 2: of the picture and are clunky, but the musical numbers,

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Speaker 2: like you get the impressional like this, this is down

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Speaker 2: to like an art just in Indian cinema in general,

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Speaker 2: And so if a movie's going into a musical number,

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Speaker 2: they know what they're doing. They like it's you're gonna

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Speaker 2: have a smooth takeoff and landing with the emotional arc

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Speaker 2: of whatever that particular song happens to be.

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Speaker 3: Every time a song kicked in, I was like, okay,

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Speaker 3: now we're cooking. Even the kind of sad, slower paced songs.

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Speaker 2: Yeah, yeah, because it's it's it's not coming out of nowhere,

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Speaker 2: it's coming out of what's going on emotionally with the characters,

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Speaker 2: or especially towards the end of this picture, with like

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Speaker 2: the driving nature of the plot.

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Speaker 3: Oh yes, the human sacrifice song I think was my

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Speaker 3: favorite song in the movie.

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Speaker 2: All right, So again, this was my first Bollywood film.

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Speaker 2: I'd never watched one in its entirety, like you had

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Speaker 2: seen some clips, so I had to I had to

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Speaker 2: do a little extra reading about everything. There's a lot

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Speaker 2: of things about Bollywood cinema that I was not familiar

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Speaker 2: with and just did not know about. So, for instance,

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Speaker 2: bear with me if you already knew all of this.

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Speaker 2: But when we talk about Bollywood cinema, we're talking about

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Speaker 2: films specifically coming out of the Mumbai film industry. Mumbai

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Speaker 2: formerly known as Bombay. You get it, like Bombay plus

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Speaker 2: Hollywood equals Bollywood. And while it's perhaps the most well

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Speaker 2: known internationally of the various Indian film centers, Indian cinema

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Speaker 2: is not a monolith like India itself. India cinema consists

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Speaker 2: of various languages and cultures and in the different cinematic

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Speaker 2: traditions and centers have like different strengths, different histories and

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Speaker 2: so forth. So with some of the various extras on

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Speaker 2: the disc or discs that we looked at for this

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Speaker 2: as well as some articles, it was a real learning

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Speaker 2: experience for me to familiarize myself somewhat with this. I

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Speaker 2: mean it goes beyond genre with this, just whole realm

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Speaker 2: of cinema.

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Speaker 3: By the way, just as one example of other film

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Speaker 3: subcultures of India, I know there is also the so

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Speaker 3: called Tollywood, which refers to Tollywood with a tea, referring

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Speaker 3: to films made in the Telugu language, which is one

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Speaker 3: of the many languages of India.

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Speaker 2: Yeah. Yeah, And then likewise you have in Pakistan you

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Speaker 2: have Lollywood that is centered in Lahore. I didn't know

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Speaker 2: anything about Lollywood either until I started absorbing some of

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Speaker 2: these extras on these discs. But this film Purana Mandha

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Speaker 2: from eighty four is very much Bollywood. It is a

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Speaker 2: Bollywood film, it is a Bollywood horror film. And it's

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Speaker 2: going to be interesting to discuss exactly what all of

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Speaker 2: that means because to a very large degree, the filmmakers

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Speaker 2: the other here, the Ramsey brothers, are pushing into an

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Speaker 2: area that had traditionally been less successful and more of

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Speaker 2: fringe within Bollywood cinema. But still it's going to have

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Speaker 2: things in it that are very much part of the

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Speaker 2: Bollywood blueprint, and that includes a compelling story of starcrossed lovers,

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Speaker 2: a fair amount of family melodrama, multiple music numbers, Now

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Speaker 2: this was interesting. I was looking at an excer where

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Speaker 2: it was an interview with a critic Omar Khan, and

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Speaker 2: he pointed out that eight or so musical numbers per

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Speaker 2: movie is pretty standard.

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Speaker 3: Oh so this seems under the average, right, I think

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Speaker 3: there were maybe five in this movie.

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Speaker 2: Is that right? I lost count after a little while,

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Speaker 2: just because I'm not used to seeing any in my heart,

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Speaker 2: but I saw something where he was talking about a

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Speaker 2: later Ramsey Brothers film where he's like, well, there are

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Speaker 2: only four musical numbers in this, which may seem like

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Speaker 2: a lot too Outsiders, but like really it's like a

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Speaker 2: half load. But on top of the music, on top

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Speaker 2: of the horror, which we'll get to, we also have

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Speaker 2: martial arts action, you got a little dancing. You've got

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Speaker 2: some comedic segments which we're probably not going to talk

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Speaker 2: about too much other than to say they are are

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Speaker 2: they are awful. But all of this comes together into

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Speaker 2: what felt to me it's kind of like a circus. Right.

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Speaker 2: It's like you go to a circus, They're going to

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Speaker 2: be a number of acts. You may not be there

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Speaker 2: primarily to see the clowns. You may be there to

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Speaker 2: see the trapeze act, but the clowns are going to

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Speaker 2: be there because somebody came with the expectation of clowns.

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Speaker 2: Within talk of Bollywood film in particular, i've seen this

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Speaker 2: described as Massala film that is a reference to the

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Speaker 2: spice blend. You know, you're going to the theater to

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Speaker 2: see this show, and by golly, it needs to deliver

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Speaker 2: a little something for everyone. A little of this spice,

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Speaker 2: a little of that, all under the big top of cinema.

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Speaker 3: Now, if it sounds like that's a lot to fit

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Speaker 3: into one movie, it is. This is a long movie.

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Speaker 3: This is definitely the longest movie we've covered on Weird House, right.

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Speaker 2: Yeah, it beats out Blade by twenty minutes, which I

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Speaker 2: think is it's important to keep that in mind because

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Speaker 2: it's not absurdly long, like they are longer. Plenty of

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Speaker 2: longer Bollywood films, and there are plenty of longer Western

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Speaker 2: films as well. Avatar two is longer than Piranhamundi, so

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Speaker 2: you know, don't necessarily let the linth, you know, keep

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Speaker 2: you away from these films. And there's an intermission too,

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Speaker 2: so you got that going for you love an intermission

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Speaker 2: now the disc we watched this on, and I'll give

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Speaker 2: a full mention of that and just a bit here

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Speaker 2: has an introduction from Indian horror expert Tim Paxton. He

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Speaker 2: provides the intro and he points out that Parana Mandir

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Speaker 2: is one of the most important films in Bollywood history

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Speaker 2: and probably the most important film in the history of

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Speaker 2: Indian horror cinema specifically in one of the interesting things

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Speaker 2: here is produced on a very modest budget, but it

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Speaker 2: was a colossal hit. I was looking at some of

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Speaker 2: the numbers and if I was doing my math correctly,

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Speaker 2: it like multiplied its budget in revenue on the scale

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Speaker 2: of something like Rocky or Blair Witch Project. Like that

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Speaker 2: level of success. Just did amazing business.

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Speaker 3: Have you read anything from somebody who knows it was

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Speaker 3: about the Bollywood market, like what audience has responded to

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Speaker 3: so much about this movie in particular? Like why was

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Speaker 3: it so popular? Well?

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Speaker 2: Omar Con gets into this a little bit on some

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Speaker 2: of the extras from this blue ray set, and a

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Speaker 2: lot of it kind of comes down to luck, you know,

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Speaker 2: like the Ramsays at this point had been pumping out

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Speaker 2: horror content since seventy two, I believe, and none of

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Speaker 2: those films had certainly had anything like the success, but

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Speaker 2: they were out there. It was on the fringes, you know,

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Speaker 2: And so I mean, I guess part of it is

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Speaker 2: like by this point they definitely knew what they were

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Speaker 2: doing with a number of these elements. They knew how

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Speaker 2: to put together things, they knew how to do them

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Speaker 2: a sola film offering. So they did have a little

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Speaker 2: bit for everybody. And I don't know, it was just

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Speaker 2: like the right time, Like audience has just really responded

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Speaker 2: to it. And he described it as being like a

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Speaker 2: generational date movie, like if you were going to cinemas

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Speaker 2: in India during this time period, you saw this movie

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Speaker 2: and it was also he points out, you know, probably

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Speaker 2: going to be especially for for how mainstream it became.

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Speaker 2: It was offering things people just hadn't seen before because

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Speaker 2: Western horror films could only really enter into like the

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Speaker 2: the general zeitgeist there so much because they weren't coming

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Speaker 2: in on like satellite TV or anything. They were they

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Speaker 2: were coming in on it. They weren't being shown in

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Speaker 2: the theater for the most part. They were coming in

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Speaker 2: on VHS tapes and those were in rare, you know,

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Speaker 2: and there were those were hard to get. Only certain

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Speaker 2: people had access to those. And so this is a

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Speaker 2: film that has some really scary stuff in it, and

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Speaker 2: you can just imagine how much more scary it is

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Speaker 2: if you didn't have direct exposure to say The Exorcist

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Speaker 2: or the first Evil Dead movie or something like that.

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Speaker 3: I can also see how it would be such a

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Speaker 3: great date movie since it has you know, it's like,

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Speaker 3: it's like scary, so the classical cliches. It gets you

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Speaker 3: hugging clothes because you know, because the same reason out

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Speaker 3: here are about to do something evil. But it's also

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Speaker 3: got a great love story.

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Speaker 2: Yeah, yeah, you got again. You've got a romance of

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Speaker 2: the heart of it. You've got family melodrama the heart

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Speaker 2: of it. You've got the music, You've got the comedy,

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Speaker 2: you've got the dancing girl. You've got all these things

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Speaker 2: that any given viewer is going to be wanting to

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Speaker 2: see out of a Bollywood film. But it's also offering

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Speaker 2: something that is new, and that the newness ends up

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Speaker 2: being key because this kicks off a horror boom in India.

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Speaker 2: The Ramsey Brothers end up coming out a lot of

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Speaker 2: additional horror films, they have competitors, and also, you know,

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Speaker 2: other folks just jump in to try and ride that bandwagon,

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Speaker 2: and it actually they end up writing it out by

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Speaker 2: something like I want to say, ninety two, so the

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Speaker 2: boom doesn't last too long. But during that time, everybody

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Speaker 2: gets in there, and some of the films are supposed

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Speaker 2: to be quite good, but there's a sort of sameness

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Speaker 2: to everything, and after a while people seen it and

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Speaker 2: it loses that new edge that this film seemed to have.

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Speaker 3: I think a similar thing happened with some of the

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Speaker 3: biggest money making horror films in the United States in

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Speaker 3: the eighties. Also kind of the Slasher for Me got

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Speaker 3: repeated and played out to death.

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Speaker 2: Yeah, or the or later on the speaking of Blair

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Speaker 2: Witch the found footage formula. Because you know, that's a

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Speaker 2: case where, for the most part, people hadn't really seen

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Speaker 2: a film like this. It was produced on a very

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Speaker 2: low budget, made tremendous money, and lots of folks jumped

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Speaker 2: in there to try and recreate that success, and God goodness,

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Speaker 2: off the top of my head, I'm not sure anybody

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Speaker 2: really did, so, yeah, I think it's a it's a

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Speaker 2: good comparison though only in terms of like sort of

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Speaker 2: business and impact, not so much style.

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Speaker 3: I think following the blair Witch model, the Paranormal Activity

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Speaker 3: franchise did pretty good, Okay, I think, hmmm, I'm trying

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Speaker 3: to think of another one. I don't know. Yeah, I mean,

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Speaker 3: the found footage style is obviously very appealing because it's

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Speaker 3: cheap to make. But when people were trying to just make,

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Speaker 3: you know, cash in on found footage movies with very

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Speaker 3: uninspired ideas, I think a lot of them missed out

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Speaker 3: on how creative the original blair Witch project actually was.

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Speaker 2: Yeah. Yeah, And I mean that's kind of like written

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Speaker 2: across the horror genre. Wherever you look, right, a successful

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Speaker 2: horror movie comes out and somebody's gonna think I can

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Speaker 2: do that. Horror is easy. Horror films can't be that

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Speaker 2: hard to do, and there is an art to it.

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Speaker 2: There is a certain amount of style, and then there's

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Speaker 2: a certain amount of luck to hitting things just right.

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Speaker 2: And that's what Perana Mander seems to have done. Let's

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Speaker 2: see just a couple of other notes. Paxton points out

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Speaker 2: that this movie, which deals specifically with a resurrected evil

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Speaker 2: decapitated wizard, does draw heavily on two prior films, One

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Speaker 2: American in one Spanish nineteen fifty eight is The Thing

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Speaker 2: that Couldn't Die that stars Robin Hughes as the Wizard

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Speaker 2: Gideon Drew, and nineteen seventy two's Horror Rises from the

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Speaker 2: Tomb starring Paul Nashy as the Wizard Alaak Demarnac. This

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Speaker 2: is a film, of course, we discussed on Weird House Cinema.

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Speaker 3: Not expect that. Yeah, Paul Nashy plays the Wizard. He's

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Speaker 3: actually part of like an evil sorcerer power couple in

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Speaker 3: Horror Rises from the Tomb. Right, he has a he

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Speaker 3: has like a wife or a girlfriend who's also a

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Speaker 3: powerful wizard. Yeah.

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Speaker 2: I mean the thing about Paul Nashy films is Paul

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Speaker 2: Nashy monsters you're supposed to feel some sort of sympathy for,

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Speaker 2: you know, that's where he's coming from. He's coming from

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Speaker 2: that that that love of universal horror and sympathy for

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Speaker 2: the monster, the wizard. In this film, Samri is unlovable.

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Speaker 2: He is just a complete monster. Every crime that is

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Speaker 2: committable he has done. We are not meant to have

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Speaker 2: any sympathy at all for Samri. And and ultimately have

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Speaker 2: to say, even though the early stages of the film do,

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Speaker 2: like the historical opening does kind of mirror the opening

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Speaker 2: of Horizons from the Tomb, it ultimately goes in its

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Speaker 2: own direction as opposed to being anything like like a

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Speaker 2: clone of that movie.

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Speaker 3: Well, on one hand, yes, I agree. Samri is not

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Speaker 3: sympathetic at all in terms of the narrative. He doesn't

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Speaker 3: have like a tragic love story or anything like that.

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Speaker 3: There's nothing likable about him except just his physical vibe.

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Speaker 3: Like the presence of the actor who plays summary in

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Speaker 3: the opening is so cool.

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Speaker 2: Oh, absolutely, Yeah. The performance here by aj Agarwal is

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Speaker 2: tremendous and this is a role that launched him as

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Speaker 2: like a true monster actor for Indian horror cinema.

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Speaker 3: We'll have to come back to him.

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Speaker 2: Yeah, we'll come back to him for sure, because he's

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Speaker 2: at a light. There are long stretches of the film where

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Speaker 2: he's not there, but when he is there, he's tremendous. Right.

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Speaker 2: Just a couple other small points before we get to

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Speaker 2: the trailer. Basically the film is predominantly in Hindi, though

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Speaker 2: the characters do throw in a little English here and there,

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Speaker 2: and the action ventures into a rural setting, so you'll

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Speaker 2: hear some characters speaking another dialect or language. It's referenced

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Speaker 2: in the Hindi dialogue as well, but I couldn't find

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Speaker 2: an indicator of which language this is.

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Speaker 3: I noticed something interesting in the movie where a couple

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Speaker 3: of times somebody would say something in Hindi and then

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Speaker 3: they would say the same thing again in English, almost

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Speaker 3: as if for emphasis. And I don't know if that's

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Speaker 3: like something specific to Bollywood movies or just a quirk

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Speaker 3: of this movie in particular, or a convention of of

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Speaker 3: Hindi language in general. I don't know, but I thought

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Speaker 3: that was interesting.

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Speaker 2: Yeah, with that, with that specifically and just generally out there,

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Speaker 2: we'd love to hear from listeners after this episode. If

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Speaker 2: you have more experience with Bollywood cinema, if you, if

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Speaker 2: you speak Hindi, if you certainly, if you, if you

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Speaker 2: have experience with the theater, experience of going to these films,

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Speaker 2: all of that is on the table, because I've heard

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Speaker 2: it pointed out that it's one thing to watch like

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Speaker 2: a Bollywood film or a Bollywood horror film in your

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Speaker 2: living room by yourself, But that of course was not

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Speaker 2: how they intended a film like this to be viewed, No,

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Speaker 2: this was to be viewed in the theater.

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Speaker 3: Can you imagine how much fun it would have been

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Speaker 3: to like see this in a pact theater of like

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Speaker 3: young people out on date night?

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Speaker 2: Oh yeah? And can you imagine how afraid people were

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Speaker 2: again if you hadn't seen many horror films and you

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Speaker 2: had to see Sammary. I mean, he's terrifying almost all

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Speaker 2: the time on the screen. He's at least unnerving, if

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Speaker 2: not just outright terrifying. All right, well, I mean the

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Speaker 2: elevator pitch on this one is basically it's the biggest

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Speaker 2: Bollywood horror film of them all. It's the it's the

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Speaker 2: granddaddy of Bollywood horror films. It's your basic evil wizard,

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Speaker 2: multi generational family curse romance film with added music and comedy.

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Speaker 2: We have a trailer here. I don't think we're going

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Speaker 2: to play at all, but we'll play at least a

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Speaker 2: nice sampling of this so you can get sort of

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Speaker 2: an audio taste of what's ahead.

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Speaker 1: How many another.

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Speaker 2: Shaw man? How about rights? Gonna be all right? Well,

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Speaker 2: before we go any further, if you would like to

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Speaker 2: watch this movie for yourself, if you'd like to check

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Speaker 2: out here, go and see it, and then come back

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Speaker 2: to the rest of the episode. Well, you don't have

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Speaker 2: to depend on sort of weird stream to view this film,

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Speaker 2: because there's a wonderful Bollywood Horror limited edition box that

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Speaker 2: is out from Mondo Macabre, and I checked out a

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Speaker 2: couple of discs from this, the disc for this film

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Speaker 2: and then a disc for another movie that had some

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Speaker 2: extras on it, and we rented these discs from Atlanta's

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Speaker 2: own videodrome rental store.

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Speaker 3: It's a great print, though it does warn you that

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Speaker 3: there will be some variable quality and different scenes of

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Speaker 3: the movie due to just like storage issues with the

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Speaker 3: film over the years, so the restoration is a bit

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Speaker 3: patchy in places. But for the most part it looks great.

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Speaker 2: Yeah, there's one particular I don't even know what to

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Speaker 2: call it, but there's some sort of an error in

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Speaker 2: the final print that we have on the disc here

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Speaker 2: that has almost kind of a psychedelic quality to it,

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Speaker 2: and I didn't really I don't think i'd seen it

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Speaker 2: on a film before, this particular kind of noise. So

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Speaker 2: it's very watchable. Nothing in this gets in the way

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Speaker 2: of your enjoyment of the movie, all right, well, let's

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Speaker 2: jump into the people involved here. The main ones to

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Speaker 2: really highlight here are the Ramsey brothers, the directors. It's

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Speaker 2: impossible to discuss Indian horror cinema without discussing the Ramsey brothers. Again,

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Speaker 2: they had been doing this since seventy two, and this

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Speaker 2: is the movie that kicked off an enormous boom in

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Speaker 2: Indian cinema for horror. And even like contemporary horror movies,

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Speaker 2: they still have connections to the work of the Ramsey

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Speaker 2: brothers here. Now, Ramsey brothers, I think can at times

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Speaker 2: refer to just different sons and grandsons of f U Ramsey.

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Speaker 2: But in particular the directors here are Shyam Ramsey and

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Speaker 2: Tulsi Ramsey. Chyam lived fifty two through twenty nineteen and

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Speaker 2: Tulci lived nineteen forty four through twenty eighteen. Other Ramsey

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Speaker 2: brothers would get in on directing game at times, like

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Speaker 2: Kishu and Kieran. But yeah, these are the main two

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Speaker 2: we're talking about. They're the ones who directed horror films

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Speaker 2: in the early seventies, beginning with a nineteen seventy two film.

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Speaker 2: In the title for this one translates to two yards

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Speaker 2: under the Ground so already like kind of a grim

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Speaker 2: beginning there. They followed this up with a string of

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Speaker 2: horror and creature films. There's one from eighty two Matt Kasaya.

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Speaker 2: I'm probably mispronouncing that, but it looks interesting to me

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Speaker 2: because it has some sort of like big creature water

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Speaker 2: monster in it. I'm not sure this one is available

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Speaker 2: widely in the West, but I put it on my

399
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Speaker 2: radar because it looks interesting. Neat monster anyway. But anyway,

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Speaker 2: all of these films that they were putting out, these

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Speaker 2: were outliers. The horror pictures just weren't viewed as culturally viable.

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Speaker 2: They weren't seen as potentially anything that would make money

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Speaker 2: at the box office. So it was more fringe stuff.

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Speaker 2: And you know a lot of these pictures, particularly Ramsey

405
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Speaker 2: productions at the time, they were also pushing boundaries of

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Speaker 2: what was accepted in Hindi cinema at the time. As again,

407
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Speaker 2: as Omar Khan points out, most Indian film viewers had

408
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Speaker 2: little or no exposure to Western horror films and Indian

409
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Speaker 2: horror films were barely a thing. In fact, I saw

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Speaker 2: an interview with aj Aguah, the main monster actor in

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Speaker 2: this picture, and he said that he didn't know the

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Speaker 2: difference between horror films and regular films before being cast

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Speaker 2: by the Ramses, like that's how little horror was established

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Speaker 2: in the general audience's mind. But with this movie again,

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Speaker 2: it hits it just the right time, takes off. Nineteen

416
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Speaker 2: eighty four becomes a huge hit, a generational date movie,

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Speaker 2: as Cohn describes, it sets off this massive boom that

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Speaker 2: doesn't really subside till ninety two. The Ramsees continue to

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Speaker 2: apply their trade, tons of competitors and imitators trying to

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Speaker 2: get in on the craze as well, until overexposure kicks

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Speaker 2: in and the boom ties out. The Ramses followed this

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Speaker 2: movie up with nineteen eighty five's Telephone nineteen eighty five's

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Speaker 2: three D Samary What, which is obviously the Yeah, the

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Speaker 2: three D sequel of sorts to this movie.

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Speaker 3: Well, but I thought the evil Wizard was destroyed at

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Speaker 3: the end of this movie.

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Speaker 2: If an evil wizard makes you enough money, there's no

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Speaker 2: destroying him. He will come back. There's a nineteen and

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Speaker 2: I'm not Also, I haven't seen three D Samary. I

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Speaker 2: assume it's Samar because it's the title is the name

431
00:24:31,200 --> 00:24:34,240
Speaker 2: of the character. But you know, sometimes a movie like this,

432
00:24:34,440 --> 00:24:37,199
Speaker 2: maybe it's not a direct sequel, maybe it's a spiritual sequel.

433
00:24:37,240 --> 00:24:40,880
Speaker 2: I'm not sure. But there are a slew of interesting

434
00:24:40,920 --> 00:24:43,160
Speaker 2: looking features that they came out with in the wake

435
00:24:43,440 --> 00:24:48,880
Speaker 2: of Parana Mandir, including Takhana from eighty six, Verana from

436
00:24:48,920 --> 00:24:54,040
Speaker 2: eighty eight, Pirani Haveli from eighty nine, and nineteen ninety's

437
00:24:54,520 --> 00:24:57,359
Speaker 2: Bond Darwazo, which is said to be quite good, more

438
00:24:57,400 --> 00:25:01,399
Speaker 2: of a traditional Dracula style film, and after that the

439
00:25:01,520 --> 00:25:04,960
Speaker 2: well kind of dries up. One of their last big films,

440
00:25:04,960 --> 00:25:07,119
Speaker 2: if not their last big film, was a nineteen ninety

441
00:25:07,240 --> 00:25:11,919
Speaker 2: four movie titled Mahakal, which a number of you might

442
00:25:12,000 --> 00:25:15,359
Speaker 2: be familiar with because it is, to be kind, it

443
00:25:16,080 --> 00:25:18,879
Speaker 2: is very inspired by Nightmare on Elm Street. It is

444
00:25:19,119 --> 00:25:22,240
Speaker 2: at least a strong homage to Nightmare on Elm Street

445
00:25:22,240 --> 00:25:26,280
Speaker 2: and features a Freddy Krueger esque character on the cover.

446
00:25:26,480 --> 00:25:28,720
Speaker 2: So I think this one has gotten some amount of traction.

447
00:25:28,800 --> 00:25:31,359
Speaker 2: If nothing else. You might have seen some clips or

448
00:25:31,520 --> 00:25:32,479
Speaker 2: the poster art.

449
00:25:33,040 --> 00:25:36,080
Speaker 3: It does have a guy with knives for fingers.

450
00:25:36,359 --> 00:25:38,959
Speaker 2: Yes, yeah, yeah, And if you're not sure like how

451
00:25:38,960 --> 00:25:40,439
Speaker 2: to spell that title and you want to look it up.

452
00:25:40,520 --> 00:25:43,399
Speaker 2: Just do a search for like Bollywood Freddy Krueger and

453
00:25:43,720 --> 00:25:46,240
Speaker 2: you'll you'll find it, all right. The screenplay on this

454
00:25:46,320 --> 00:25:49,720
Speaker 2: one was written by another Ramsey, Kumar Ramsey, who lived

455
00:25:49,760 --> 00:25:52,560
Speaker 2: thirty six through twenty twenty one. He was the screenwriter

456
00:25:52,680 --> 00:25:54,280
Speaker 2: and a number of their films. This is one of

457
00:25:54,320 --> 00:25:58,199
Speaker 2: those situations where you know the brothers and the family here,

458
00:25:58,240 --> 00:26:00,639
Speaker 2: they'll often draw in some of the same talent. So

459
00:26:01,119 --> 00:26:04,760
Speaker 2: this Ramsey also wrote Samari three D in a movie

460
00:26:04,840 --> 00:26:08,320
Speaker 2: called Guest House. There are also three other contributors also

461
00:26:08,520 --> 00:26:11,160
Speaker 2: credited here, but I couldn't find out much about them.

462
00:26:11,240 --> 00:26:15,040
Speaker 2: But there's a story credit, there's a dialogue credit, and

463
00:26:15,119 --> 00:26:18,760
Speaker 2: there's an assistant dialogue writer. All right, let's get into

464
00:26:18,800 --> 00:26:21,119
Speaker 2: the cast. So we've talked about him already. But Aj

465
00:26:21,720 --> 00:26:25,760
Speaker 2: Agerwahl I believe AJ is short for Annarrud. He was

466
00:26:25,800 --> 00:26:28,600
Speaker 2: born in nineteen forty nine. As of this recording is

467
00:26:29,040 --> 00:26:31,960
Speaker 2: still out there. I think he's retired now. But yes,

468
00:26:32,080 --> 00:26:35,080
Speaker 2: he plays our dark wizard of evil who's eventually going

469
00:26:35,119 --> 00:26:37,360
Speaker 2: to rise from the tomb and get his head back

470
00:26:38,040 --> 00:26:42,360
Speaker 2: and go on a rampage. He only acted in three

471
00:26:42,480 --> 00:26:45,159
Speaker 2: Ramsey Brothers films. He played a monster in two of

472
00:26:45,280 --> 00:26:48,359
Speaker 2: them in Parana Mandir. Of course in the follow up

473
00:26:48,720 --> 00:26:51,400
Speaker 2: Samari three D or three D Sammary in eighty five.

474
00:26:51,680 --> 00:26:54,520
Speaker 2: He also played more of a traditional Dracula in that

475
00:26:54,680 --> 00:26:59,679
Speaker 2: nineteen ninety film Bandowaza, and he continued to act through

476
00:26:59,720 --> 00:27:05,040
Speaker 2: twenty He's retired now but mostly just almost exclusively in

477
00:27:05,160 --> 00:27:07,920
Speaker 2: Hindi films, but he does have a role in Steven

478
00:27:08,000 --> 00:27:12,400
Speaker 2: Summer's The Jungle Book from nineteen ninety four. I included

479
00:27:12,440 --> 00:27:14,280
Speaker 2: a picture here for you, Joe. As you can you

480
00:27:14,320 --> 00:27:17,960
Speaker 2: can see he's playing heavy of some sort in this.

481
00:27:18,240 --> 00:27:23,040
Speaker 2: He's standing next to the villain holding Lena Hetty by

482
00:27:23,080 --> 00:27:23,600
Speaker 2: the arms.

483
00:27:23,920 --> 00:27:26,720
Speaker 3: Well, that's also Carrie Elwis. I know all three of

484
00:27:26,800 --> 00:27:29,080
Speaker 3: these actors. I don't think I would have recognized a

485
00:27:29,119 --> 00:27:31,480
Speaker 3: single one of them in this screenshots. Yeah.

486
00:27:31,560 --> 00:27:35,000
Speaker 2: Yeah, they're very young. I mean especially Lena. I wouldn't

487
00:27:35,000 --> 00:27:38,040
Speaker 2: have recognized her. But anyway, yeah, he's in it. He's

488
00:27:38,080 --> 00:27:40,040
Speaker 2: very tall. He was like six four six ' five,

489
00:27:40,200 --> 00:27:44,240
Speaker 2: so especially among a lot of actors, he's pretty towering.

490
00:27:44,760 --> 00:27:48,040
Speaker 2: Andy has just very pronounced features. I've read this might

491
00:27:48,080 --> 00:27:51,399
Speaker 2: have been due to like some sort of underlying medical

492
00:27:51,440 --> 00:27:55,040
Speaker 2: condition as well, that sort of gave him pronounced facial features.

493
00:27:55,960 --> 00:27:59,800
Speaker 2: Also yeah, again very tall and based on I read

494
00:27:59,800 --> 00:28:01,560
Speaker 2: an article about him and I was looking at an

495
00:28:01,600 --> 00:28:05,280
Speaker 2: interview conducted with him, and basically he made two goes

496
00:28:05,359 --> 00:28:08,600
Speaker 2: at getting into acting before and after earning like a

497
00:28:08,680 --> 00:28:12,199
Speaker 2: civil engineering certificate or degree of some sort, but at

498
00:28:12,200 --> 00:28:15,560
Speaker 2: both times he didn't have any luck. Until he had

499
00:28:15,600 --> 00:28:19,480
Speaker 2: some sort of ill health or injury while working in Muntumbai,

500
00:28:20,080 --> 00:28:23,639
Speaker 2: and he looked even more haggard afterwards. I'm not sure

501
00:28:23,680 --> 00:28:25,639
Speaker 2: if he had some sort of like facial bruising or

502
00:28:25,680 --> 00:28:28,560
Speaker 2: whatever the case may be, but someone came up to

503
00:28:28,640 --> 00:28:31,240
Speaker 2: him and said, hey, you look pretty tough. You should

504
00:28:31,280 --> 00:28:33,120
Speaker 2: be in movies and he's like, well, that's what I've

505
00:28:33,160 --> 00:28:36,480
Speaker 2: been trying to do, but nobody will hire me. And

506
00:28:36,640 --> 00:28:38,480
Speaker 2: they said, say, well, you know what, you need to

507
00:28:38,480 --> 00:28:41,080
Speaker 2: go talk to the Ramsey brothers because they will give

508
00:28:41,160 --> 00:28:43,800
Speaker 2: you a chance. And so he went. He talked to

509
00:28:43,840 --> 00:28:46,040
Speaker 2: the Ramsey brothers, and the Ramsey brothers at that point

510
00:28:46,240 --> 00:28:50,280
Speaker 2: were apparently six months into shooting Piranha Mandir, but they

511
00:28:50,320 --> 00:28:53,440
Speaker 2: hadn't done any of the horror sequences yet. What I

512
00:28:53,480 --> 00:28:56,680
Speaker 2: guess they didn't even have a Samari cast. Wow, and

513
00:28:57,200 --> 00:29:00,840
Speaker 2: they'd leaned heavily on masks and makeup and previous films,

514
00:29:01,080 --> 00:29:04,400
Speaker 2: but then in walks a man who doesn't need as

515
00:29:04,520 --> 00:29:07,560
Speaker 2: much makeup, you know, and like he's We've seen this

516
00:29:07,680 --> 00:29:11,880
Speaker 2: in time and time again in various horror cinema periods

517
00:29:11,960 --> 00:29:15,360
Speaker 2: and settings, where somebody comes in and they just have

518
00:29:15,480 --> 00:29:18,200
Speaker 2: that unique look where you don't have to do much

519
00:29:18,360 --> 00:29:22,120
Speaker 2: to them, you know, just a subtle amount of makeup

520
00:29:22,560 --> 00:29:26,080
Speaker 2: and right lighting and the right lighting and effects, and

521
00:29:26,560 --> 00:29:30,080
Speaker 2: you're already in the horror realm. And that's what he

522
00:29:30,240 --> 00:29:31,080
Speaker 2: offered to them here.

523
00:29:31,640 --> 00:29:35,560
Speaker 3: It's interesting because, as we were saying earlier, this character

524
00:29:35,800 --> 00:29:38,400
Speaker 3: is in no way likable or sympathetic. They just make

525
00:29:38,480 --> 00:29:43,320
Speaker 3: him an absolute demon, like pure evil, not like charismatic

526
00:29:43,440 --> 00:29:46,160
Speaker 3: or anything, except in the opening sequence before he gets

527
00:29:46,240 --> 00:29:50,720
Speaker 3: transformed into a more Frankenstein type creature. The like human

528
00:29:50,960 --> 00:29:56,080
Speaker 3: Somary evokes strong rock star charisma. He has kind of

529
00:29:56,120 --> 00:29:59,440
Speaker 3: a shaggy Keith Richards haircut, and the back of his

530
00:29:59,600 --> 00:30:04,640
Speaker 3: shirt sparkles. It's got this like Sequin wolfman motif. It

531
00:30:04,720 --> 00:30:06,840
Speaker 3: looks kind of like something David Bowie would have worn.

532
00:30:07,040 --> 00:30:09,600
Speaker 3: And he's just like tall and has a kind of

533
00:30:10,840 --> 00:30:14,200
Speaker 3: you know, lead guitarist posture. I don't know. He seems

534
00:30:14,360 --> 00:30:14,960
Speaker 3: very cool.

535
00:30:15,400 --> 00:30:18,320
Speaker 2: Yeah, he's at least a head taller than everybody around him.

536
00:30:18,840 --> 00:30:20,560
Speaker 2: At times, he kind of felt like he had kind

537
00:30:20,600 --> 00:30:23,800
Speaker 2: of a Boris Karloff kind of a presence to him,

538
00:30:23,840 --> 00:30:26,080
Speaker 2: you know, and you know, and also reminds me of

539
00:30:26,160 --> 00:30:31,200
Speaker 2: various other you know, actors with unique appearances. But yeah,

540
00:30:31,400 --> 00:30:34,760
Speaker 2: very strong screen presence from this guy. And and when

541
00:30:34,800 --> 00:30:37,000
Speaker 2: he shows back up, he just keeps looking more and

542
00:30:37,120 --> 00:30:41,640
Speaker 2: more monstrous, and the lighting, the effects are always just

543
00:30:41,760 --> 00:30:46,160
Speaker 2: really on point whenever he's on screen. So he's very terrifying.

544
00:30:46,800 --> 00:30:50,440
Speaker 2: So that's Sounary, that's our monster. But you to have

545
00:30:50,480 --> 00:30:52,240
Speaker 2: an effective monster, you have to have a bunch of

546
00:30:52,720 --> 00:30:56,800
Speaker 2: mortals that are in peril or cursed by said monster.

547
00:30:57,280 --> 00:31:01,520
Speaker 2: And so the next major character of note here is

548
00:31:01,920 --> 00:31:06,360
Speaker 2: Suman Sing played by Arti Gupta. She's our heroin I

549
00:31:06,400 --> 00:31:11,400
Speaker 2: guess you know. She's born into a long line along

550
00:31:11,560 --> 00:31:16,960
Speaker 2: cursed lineage of sings here. It's a very charismatic performance.

551
00:31:16,960 --> 00:31:20,360
Speaker 2: She's a lot of fun on the screen. The actor here, Gupta,

552
00:31:20,400 --> 00:31:23,200
Speaker 2: would come back for three D summary and also apparently

553
00:31:23,280 --> 00:31:25,800
Speaker 2: produced a few films much later, including two thousand and

554
00:31:25,840 --> 00:31:28,560
Speaker 2: Seven's a Mighty Heart starring Angelina Jolie.

555
00:31:28,800 --> 00:31:31,200
Speaker 3: Yeah, I think Arti Gupta is great. She conveys a

556
00:31:31,280 --> 00:31:34,520
Speaker 3: lot of emotion, especially in the musical numbers. Though I

557
00:31:34,680 --> 00:31:37,600
Speaker 3: was wondering, dude, do you know if the actors in

558
00:31:37,760 --> 00:31:41,360
Speaker 3: this movie sing their own parts in the musical numbers

559
00:31:41,600 --> 00:31:45,040
Speaker 3: or are they sort of lip singing along to professional singers.

560
00:31:45,680 --> 00:31:50,880
Speaker 2: It is my understanding, and again I invite further education

561
00:31:51,400 --> 00:31:53,760
Speaker 2: on Bollywood by anyone out there listening, but it's my

562
00:31:53,840 --> 00:31:58,760
Speaker 2: understanding that it's almost it's usually not the actor doing

563
00:31:58,840 --> 00:32:01,200
Speaker 2: with singing that that's added later. And I think that

564
00:32:01,240 --> 00:32:04,960
Speaker 2: would make sense given that if you have, if there's

565
00:32:05,000 --> 00:32:08,440
Speaker 2: no real division between films and musicals, it just makes

566
00:32:08,480 --> 00:32:10,400
Speaker 2: sense to do that. And of course this is not

567
00:32:10,560 --> 00:32:13,840
Speaker 2: unprecedented in Western musicals as well. I mean, I think

568
00:32:13,880 --> 00:32:17,040
Speaker 2: of Oh Brother, We're Art Thou, which is a tremendous musical,

569
00:32:17,320 --> 00:32:19,680
Speaker 2: but George Clooney is not doing his own singing in that.

570
00:32:19,800 --> 00:32:22,719
Speaker 3: Film, and it works great in both cases. I mean,

571
00:32:22,960 --> 00:32:25,840
Speaker 3: I know, sometimes for some reason, people talk disparagingly about

572
00:32:25,880 --> 00:32:27,800
Speaker 3: lip syncing. I think they talk about it like that

573
00:32:27,920 --> 00:32:32,440
Speaker 3: when it's like a band is faking doing a live performance,

574
00:32:32,600 --> 00:32:34,680
Speaker 3: just like full on trying to trick people that they're

575
00:32:34,720 --> 00:32:35,280
Speaker 3: playing live.

576
00:32:36,040 --> 00:32:36,680
Speaker 2: But in a movie.

577
00:32:36,800 --> 00:32:38,360
Speaker 3: No, there's no problem at all. I like it.

578
00:32:38,800 --> 00:32:42,920
Speaker 2: Yeah, And I imagine there are Bollywood films where at

579
00:32:43,000 --> 00:32:44,800
Speaker 2: least some of the actors are doing their own singing.

580
00:32:44,880 --> 00:32:47,600
Speaker 2: I mean, it makes sense, but I did not get

581
00:32:47,640 --> 00:32:49,400
Speaker 2: a sense of that from looking at the credits for

582
00:32:49,480 --> 00:32:53,840
Speaker 2: this movie. All right, So we have Suman sing She's

583
00:32:54,040 --> 00:32:59,000
Speaker 2: our heroine. Her father, Thakor Singh, is played by pra

584
00:32:59,160 --> 00:33:02,959
Speaker 2: Deep Kumar, who lived nineteen twenty five through two thousand

585
00:33:02,960 --> 00:33:08,160
Speaker 2: and one. This is Suman's father, a loving but overly

586
00:33:08,240 --> 00:33:12,480
Speaker 2: protective father, but he's overly protected for reasons that go

587
00:33:12,600 --> 00:33:15,480
Speaker 2: beyond the norm and get into the realm of supernatural,

588
00:33:15,600 --> 00:33:19,680
Speaker 2: multi generational curses as we'll discuss. But Kumar hero is

589
00:33:19,960 --> 00:33:22,280
Speaker 2: a veteran Indian actor with credits going back to the

590
00:33:22,360 --> 00:33:26,720
Speaker 2: late nineteen forties. Apparently highly regarded, though largely lacking in

591
00:33:26,880 --> 00:33:30,800
Speaker 2: like highly successful roles. He often acted in period dramas

592
00:33:30,840 --> 00:33:35,000
Speaker 2: and seems to have just always boasted a meticulously trimmed mustache,

593
00:33:35,160 --> 00:33:38,160
Speaker 2: just a real, real, gorgeous and stylish mustache on this

594
00:33:38,280 --> 00:33:39,000
Speaker 2: man and.

595
00:33:39,040 --> 00:33:42,000
Speaker 3: It's a mustache of the thin style, which I feel

596
00:33:42,040 --> 00:33:43,760
Speaker 3: like is hard to pull off, but it looks good

597
00:33:43,800 --> 00:33:44,160
Speaker 3: on him.

598
00:33:44,680 --> 00:33:47,920
Speaker 2: Yeah, kind of like a swashbuckling old Hollywood kind of

599
00:33:47,960 --> 00:33:48,600
Speaker 2: a mustache.

600
00:33:49,200 --> 00:33:49,400
Speaker 3: Yeah.

601
00:33:49,760 --> 00:33:51,760
Speaker 2: All right, so we have the daughter, we have the father,

602
00:33:52,000 --> 00:33:55,960
Speaker 2: but now it's time to talk about the daughter's secret boyfriend, Sanjay,

603
00:33:56,400 --> 00:34:00,800
Speaker 2: played by Manish Bell, who was born in nineteen sixty one.

604
00:34:02,160 --> 00:34:05,440
Speaker 2: He's a he plays a low born photographer, but he's handsome,

605
00:34:05,520 --> 00:34:08,520
Speaker 2: he's a good lad. You know, he's our lover boy.

606
00:34:08,840 --> 00:34:10,400
Speaker 2: This was only his fifth credit, but he went on

607
00:34:10,480 --> 00:34:11,920
Speaker 2: to act in more than one hundred pictures.

608
00:34:12,200 --> 00:34:15,120
Speaker 3: I think it's interesting that they try to what seemed

609
00:34:15,160 --> 00:34:18,840
Speaker 3: to me to like fit in a very standard forbidden

610
00:34:18,960 --> 00:34:22,680
Speaker 3: love dynamic, even though it's only like a red herring.

611
00:34:22,880 --> 00:34:27,920
Speaker 3: So like, for the first bit of the movie, Suman

612
00:34:28,000 --> 00:34:32,520
Speaker 3: and Sanjay understand that Suman's father disapproves of their relationship

613
00:34:32,640 --> 00:34:35,960
Speaker 3: because she is a rich girl. She's from a you know,

614
00:34:36,080 --> 00:34:38,719
Speaker 3: a high class family, and he's middle class. He's not

615
00:34:38,880 --> 00:34:40,960
Speaker 3: rich like them. So that seems like a very standard

616
00:34:41,080 --> 00:34:45,600
Speaker 3: kind of romance obstacle. But then there's a twist which

617
00:34:45,680 --> 00:34:48,560
Speaker 3: is like, oh no, actually he's opposed to their romance

618
00:34:48,680 --> 00:34:50,960
Speaker 3: because there's a curse on the family and if you know,

619
00:34:51,120 --> 00:34:52,959
Speaker 3: she gets married, she may one day have a child,

620
00:34:53,000 --> 00:34:56,080
Speaker 3: and that means she will die. Well, actually she will

621
00:34:56,120 --> 00:34:59,680
Speaker 3: turn into like a witch and then die. Yeah, but

622
00:34:59,800 --> 00:35:01,759
Speaker 3: it's seemed interesting that it's almost like they were trying

623
00:35:01,800 --> 00:35:05,600
Speaker 3: to fit like a second, like short romance movie into

624
00:35:05,640 --> 00:35:07,239
Speaker 3: the beginning of this movie.

625
00:35:07,680 --> 00:35:10,960
Speaker 2: Well, he lets viewers know where they stand. It's kind

626
00:35:11,000 --> 00:35:13,560
Speaker 2: of like Sons of Anarchy, Right, you jump into watching

627
00:35:13,600 --> 00:35:16,000
Speaker 2: Sons of Anarchy, and it's like, oh, it's like Shakespeare bikers.

628
00:35:16,560 --> 00:35:20,440
Speaker 2: That doesn't really hold on to the Shakespeare aspect of

629
00:35:20,600 --> 00:35:22,359
Speaker 2: the thing for the most part. I guess it comes

630
00:35:22,440 --> 00:35:25,279
Speaker 2: back towards the end, but a little bit, but it's

631
00:35:25,280 --> 00:35:27,560
Speaker 2: still it gives you sort of an initial footing on

632
00:35:27,719 --> 00:35:30,560
Speaker 2: which to proceed with the picture. Or in the case

633
00:35:30,560 --> 00:35:33,239
Speaker 2: of Sons of Anarchy the TV series, all right, we've

634
00:35:33,280 --> 00:35:36,480
Speaker 2: got the monster, we've got the father, the daughter, the

635
00:35:36,560 --> 00:35:40,080
Speaker 2: daughter's boyfriend. Now it's time for the boyfriend's best friend.

636
00:35:40,600 --> 00:35:45,040
Speaker 2: This is the character Anand played by Plunette Isar born

637
00:35:45,120 --> 00:35:48,840
Speaker 2: nineteen fifty nine. Yeah, he plays a best friend. Martial

638
00:35:48,960 --> 00:35:52,560
Speaker 2: arts and personal fitness enthusiast. The actor here outside of

639
00:35:52,640 --> 00:35:54,879
Speaker 2: this is apparently well known in India for his role

640
00:35:55,360 --> 00:35:58,719
Speaker 2: in the Mahabarat TV show that ran eighty eight through

641
00:35:58,800 --> 00:36:03,520
Speaker 2: nineteen ninety. He played Duri o'hanna, eldest of the Carava's,

642
00:36:03,840 --> 00:36:06,879
Speaker 2: one of the two feuding houses in that epic. He's

643
00:36:06,920 --> 00:36:11,040
Speaker 2: also written, directed, and produced, and is especially known for

644
00:36:11,280 --> 00:36:14,840
Speaker 2: his negative roles. This is terminology I was not familiar

645
00:36:14,920 --> 00:36:18,520
Speaker 2: with until I started reading about different Bollywood actors. But apparently,

646
00:36:18,640 --> 00:36:20,520
Speaker 2: like when you talk about somebody being like a great

647
00:36:20,600 --> 00:36:23,520
Speaker 2: villain or being great at villain roles, you talk about

648
00:36:23,520 --> 00:36:26,560
Speaker 2: how they're great at playing negative roles, which I thought

649
00:36:26,640 --> 00:36:29,040
Speaker 2: was an interesting turn of phrase there.

650
00:36:29,560 --> 00:36:32,440
Speaker 3: So I thought Punitasar was one of the highlights of

651
00:36:32,520 --> 00:36:35,440
Speaker 3: the film. Actually, my favorite stuff about this movie is

652
00:36:35,480 --> 00:36:38,680
Speaker 3: sort of like the tall, macho guys in it. So

653
00:36:38,800 --> 00:36:42,000
Speaker 3: I like the villain. I love Anon a nod Is,

654
00:36:42,719 --> 00:36:45,920
Speaker 3: so he's yeah, he's the main dude's best friend. But

655
00:36:46,040 --> 00:36:48,520
Speaker 3: in a way, it's a movie where the side the

656
00:36:48,600 --> 00:36:52,040
Speaker 3: so called sidekick, actually does most of the heroism. It's

657
00:36:52,120 --> 00:36:55,920
Speaker 3: like Big Trouble in Little China, and every time Anon

658
00:36:56,040 --> 00:36:59,600
Speaker 3: shows up to save the day, it is it's increasingly

659
00:36:59,680 --> 00:37:03,120
Speaker 3: HILARI there's like an amazing scene where Sanjay is getting

660
00:37:03,400 --> 00:37:06,000
Speaker 3: beaten up by twelve guys or something. You know, they're

661
00:37:06,000 --> 00:37:10,200
Speaker 3: all like these guys in fancy red footman's uniforms, these

662
00:37:10,480 --> 00:37:13,800
Speaker 3: red jackets, and they're all ganging up on Sanjay, and

663
00:37:13,880 --> 00:37:16,960
Speaker 3: then suddenly a Nod appears sort of over the top

664
00:37:17,040 --> 00:37:20,360
Speaker 3: of a mountain. He's like, comes up on this ridge

665
00:37:20,400 --> 00:37:22,840
Speaker 3: overlooking the whole scene, and he's like, oh, my friend,

666
00:37:22,920 --> 00:37:26,600
Speaker 3: and then charges down into the fracas to just slam me,

667
00:37:26,960 --> 00:37:29,960
Speaker 3: just like beat beat all these guys up, which he

668
00:37:30,000 --> 00:37:32,560
Speaker 3: can do pretty much single handedly. He is the center

669
00:37:32,680 --> 00:37:35,600
Speaker 3: of a number of martial arts scenes that I think

670
00:37:35,600 --> 00:37:39,680
Speaker 3: are actually quite good. And there's also a really funny

671
00:37:39,719 --> 00:37:43,080
Speaker 3: scene where they have a they're on a road trip

672
00:37:43,160 --> 00:37:45,120
Speaker 3: and they have a car. They have a flat tire,

673
00:37:45,560 --> 00:37:48,279
Speaker 3: and it's clear that they staged this just so a

674
00:37:48,400 --> 00:37:50,560
Speaker 3: Nod it could be like, hey, it's no problem that

675
00:37:50,600 --> 00:37:52,480
Speaker 3: we don't have a car jack, I'll just lift the

676
00:37:52,560 --> 00:37:53,839
Speaker 3: car while you fix the tire.

677
00:37:55,920 --> 00:38:00,320
Speaker 2: Yeah, and he's yeah. He's he's basically the the the

678
00:38:00,480 --> 00:38:03,759
Speaker 2: the action star of the film, while Sonja is the

679
00:38:03,880 --> 00:38:07,600
Speaker 2: romantic star of the film. And Annan, Yeah, he's a

680
00:38:07,640 --> 00:38:09,920
Speaker 2: lot of fun. These martial arts sequences are cool. He's

681
00:38:09,960 --> 00:38:13,040
Speaker 2: got these really long legs, so he's one of these guys.

682
00:38:13,160 --> 00:38:16,279
Speaker 2: When he's throwing kicks, it's like he he manages to

683
00:38:16,400 --> 00:38:18,160
Speaker 2: kick around you and then kick you on the other

684
00:38:18,239 --> 00:38:21,120
Speaker 2: side of your face, kind of a thing. And he's

685
00:38:21,200 --> 00:38:24,200
Speaker 2: also able to somehow pull off the leather vest over

686
00:38:24,280 --> 00:38:26,560
Speaker 2: a bare chest look. He also wears a lot of

687
00:38:26,600 --> 00:38:29,080
Speaker 2: fun T shirts, but sometimes no T shirt, just the vest.

688
00:38:29,840 --> 00:38:32,759
Speaker 3: In the scene where he where he intervenes to save

689
00:38:32,880 --> 00:38:35,080
Speaker 3: Sanjay and beats all the guys up, I think he's

690
00:38:35,200 --> 00:38:39,560
Speaker 3: wearing a sleeveless polo shirt tucked into jeans.

691
00:38:40,239 --> 00:38:43,560
Speaker 2: Somehow he makes it work all right. Now, Anon, his

692
00:38:43,800 --> 00:38:48,320
Speaker 2: character has a wife, and the wife is Sapna played

693
00:38:48,360 --> 00:38:51,440
Speaker 2: by and I'm mostly sure on this. This character in

694
00:38:51,520 --> 00:38:54,280
Speaker 2: this actor was not listed in some of the databases

695
00:38:54,320 --> 00:38:56,120
Speaker 2: I was looking at, so like not on IMDb. I

696
00:38:56,120 --> 00:38:59,920
Speaker 2: had to go to another database. But pretty sap rou

697
00:39:00,400 --> 00:39:03,800
Speaker 2: Wallya born nineteen fifty seven, I believe is the actor

698
00:39:03,840 --> 00:39:07,439
Speaker 2: playing his wife. She wishes he was a little less

699
00:39:07,480 --> 00:39:11,200
Speaker 2: into martial arts and personal fitness and more into love making,

700
00:39:11,880 --> 00:39:15,000
Speaker 2: which makes for at least one amusing sequence in the film.

701
00:39:16,040 --> 00:39:17,880
Speaker 2: You know, it's a fun performance. I think she has

702
00:39:18,160 --> 00:39:20,600
Speaker 2: only a couple of scenes to really shine in, but

703
00:39:20,719 --> 00:39:21,440
Speaker 2: she does shine.

704
00:39:21,680 --> 00:39:24,160
Speaker 3: Oh yeah, she's good. It's a real bummer when the

705
00:39:24,200 --> 00:39:26,280
Speaker 3: evil Wizard throws her off the top of a building.

706
00:39:26,880 --> 00:39:29,319
Speaker 2: Yeah, so in a way, it's like, you know, she's

707
00:39:29,560 --> 00:39:31,920
Speaker 2: she's I guess she was dimmed, you know, from the start,

708
00:39:32,239 --> 00:39:34,840
Speaker 2: like this, somebody's got to be killed by the monster.

709
00:39:35,320 --> 00:39:38,040
Speaker 2: We've got to give, you know, the certain plot elements

710
00:39:38,120 --> 00:39:39,040
Speaker 2: have to be put in place.

711
00:39:39,320 --> 00:39:41,440
Speaker 3: The two main lovers go on a road trip with

712
00:39:41,600 --> 00:39:44,239
Speaker 3: their two friends to go stop the evil Wizard. What

713
00:39:44,280 --> 00:39:46,719
Speaker 3: do you think is going to happen to the two friends? Yeah?

714
00:39:47,320 --> 00:39:51,160
Speaker 2: Now, do we have a creepy groundskeeper in the film? Yeah,

715
00:39:51,200 --> 00:39:52,759
Speaker 2: we kind of have two of them, because we also

716
00:39:52,840 --> 00:39:56,839
Speaker 2: have a creepy, creepy woodcutter. The creepy woodcutter, I'll mention

717
00:39:56,960 --> 00:40:00,760
Speaker 2: really quickly is Sanga played by Satis Sha born nineteen

718
00:40:00,800 --> 00:40:04,680
Speaker 2: fifty one. Basically, he's just a scarred woodcutter who really

719
00:40:04,719 --> 00:40:07,000
Speaker 2: would like a bit of that treasure. But the main

720
00:40:07,200 --> 00:40:10,520
Speaker 2: grounds keeper at the haunted mansion where everyone ends up

721
00:40:11,040 --> 00:40:16,440
Speaker 2: is this character Durjon played by Sadashev a'm Rapokur who

722
00:40:16,480 --> 00:40:22,360
Speaker 2: lived nineteen fifty through twenty fourteen. There's something about his performance.

723
00:40:22,440 --> 00:40:24,960
Speaker 2: At first, I didn't I didn't pick up on it,

724
00:40:25,040 --> 00:40:27,040
Speaker 2: but you know, it's kind of like a nice haunted vibe.

725
00:40:27,120 --> 00:40:30,640
Speaker 2: He has kind of haunted eyes. And when I looked

726
00:40:30,719 --> 00:40:33,040
Speaker 2: him up, apparently he made a name for himself playing

727
00:40:33,160 --> 00:40:37,680
Speaker 2: villains or negative ones or negative roles in various films.

728
00:40:38,239 --> 00:40:42,240
Speaker 2: In fact, I saw a twenty fourteen Indian Express article

729
00:40:42,320 --> 00:40:45,280
Speaker 2: that called him quote Bollywood's most memorable villain.

730
00:40:45,520 --> 00:40:49,800
Speaker 3: So oh interesting. Yeah, not a villain in this though, no,

731
00:40:50,120 --> 00:40:50,560
Speaker 3: just more.

732
00:40:50,440 --> 00:40:54,279
Speaker 2: Of he's the local, that is, the haunted local who

733
00:40:54,440 --> 00:40:58,680
Speaker 2: knows more about goings on than the main characters in

734
00:40:58,960 --> 00:40:59,319
Speaker 2: the film.

735
00:41:00,000 --> 00:41:02,719
Speaker 3: At one point, he quite crucially hides a trident in

736
00:41:02,840 --> 00:41:05,560
Speaker 3: a chandelier and I did not understand why he did that,

737
00:41:05,719 --> 00:41:06,640
Speaker 3: but it comes in later.

738
00:41:07,400 --> 00:41:09,239
Speaker 2: He just knew that it would come in handy later.

739
00:41:09,400 --> 00:41:13,400
Speaker 2: Somebody's going to need to drop this chandelier. Sometimes. Yeah, sometimes,

740
00:41:13,440 --> 00:41:16,040
Speaker 2: I guess it's just the film logic of the thing. Now,

741
00:41:16,080 --> 00:41:17,360
Speaker 2: there are a lot of other actors in this, and

742
00:41:17,400 --> 00:41:19,000
Speaker 2: I'm not going to go through all of them here,

743
00:41:19,160 --> 00:41:22,880
Speaker 2: I will say that we do have a bandit character

744
00:41:23,200 --> 00:41:28,560
Speaker 2: named Machar, I believe, and he is played by this

745
00:41:28,840 --> 00:41:33,400
Speaker 2: actor who went by the moniker Jack Deep. This is

746
00:41:33,640 --> 00:41:35,719
Speaker 2: an Indian actor and comedian who appeared in more than

747
00:41:35,760 --> 00:41:40,440
Speaker 2: four hundred films, including I think some various Ramsey Brothers films.

748
00:41:41,440 --> 00:41:44,080
Speaker 2: This is our sort of I don't know, Benny Hill

749
00:41:44,360 --> 00:41:49,480
Speaker 2: esque misogynistic slapstick specialist that is brought in for at

750
00:41:49,600 --> 00:41:52,960
Speaker 2: least two, maybe three long segments of the film that

751
00:41:53,120 --> 00:41:57,240
Speaker 2: are concerned only with comedy that do not really connect

752
00:41:57,520 --> 00:41:59,480
Speaker 2: much at all with the rest of the film and

753
00:41:59,640 --> 00:42:01,080
Speaker 2: are really difficult to watch.

754
00:42:01,400 --> 00:42:05,080
Speaker 3: Agreed. I had read in multiple commentaries that the comedy

755
00:42:05,120 --> 00:42:07,360
Speaker 3: segments are by far the low point of the film,

756
00:42:07,440 --> 00:42:10,920
Speaker 3: and they are for the most part, extremely unpleasant, not

757
00:42:11,160 --> 00:42:14,520
Speaker 3: funny and just like a lot of jokes about sex crimes.

758
00:42:15,120 --> 00:42:18,239
Speaker 2: Yeah yeah, so's it goes beyond like, oh, this is

759
00:42:18,400 --> 00:42:21,840
Speaker 2: out of keeping with the main vibe of the picture.

760
00:42:21,960 --> 00:42:27,799
Speaker 2: Is just like content wise, it's gross. So I would

761
00:42:27,800 --> 00:42:30,440
Speaker 2: advise if you're just casually watching this movie, you know,

762
00:42:30,520 --> 00:42:32,959
Speaker 2: feel free to get up and get a snack during

763
00:42:33,000 --> 00:42:37,759
Speaker 2: the comedy segments. Don't necessarily bother reading the subtitles during

764
00:42:37,800 --> 00:42:41,560
Speaker 2: these segments and feel free to skip them all right. Finally,

765
00:42:41,800 --> 00:42:47,399
Speaker 2: the music for Piranha mandir Ajit Singh. I don't think

766
00:42:47,400 --> 00:42:49,000
Speaker 2: I was able to find any dates for him, but

767
00:42:49,080 --> 00:42:52,920
Speaker 2: he worked on subsequent Ramsey pictures as well, including Takana

768
00:42:52,960 --> 00:42:56,719
Speaker 2: in eighty six, Perani Haveli in eighty nine, and a

769
00:42:56,800 --> 00:43:00,080
Speaker 2: friendly Yetti movie that came out in ninety one that

770
00:43:00,160 --> 00:43:02,520
Speaker 2: looked pretty interesting as well. But the music in this

771
00:43:02,640 --> 00:43:06,319
Speaker 2: picture is I guess at times I loved it. It's

772
00:43:06,320 --> 00:43:09,880
Speaker 2: a little abrasive, like at times the synths come on

773
00:43:10,120 --> 00:43:13,680
Speaker 2: really strong, but I still can't fault it too much,

774
00:43:13,800 --> 00:43:17,040
Speaker 2: Like it definitely gets in there and it comes at

775
00:43:17,080 --> 00:43:17,880
Speaker 2: you with its clause.

776
00:43:18,200 --> 00:43:19,839
Speaker 3: Oh yeah, I really liked a lot of the music.

777
00:43:19,920 --> 00:43:22,080
Speaker 3: There's one theme that really stuck in my head that

778
00:43:22,280 --> 00:43:25,800
Speaker 3: was not especially complex melodically, but it was just like

779
00:43:25,920 --> 00:43:28,960
Speaker 3: a real rubbery synth tone as the characters were like

780
00:43:29,040 --> 00:43:32,200
Speaker 3: exploring a secret passageway and I was grooving on it

781
00:43:32,320 --> 00:43:32,839
Speaker 3: really hard.

782
00:43:33,760 --> 00:43:36,880
Speaker 2: Samri has a pretty strong theme as well that I

783
00:43:36,960 --> 00:43:39,560
Speaker 2: think Omar Khan. I think it was Omar Khan compared

784
00:43:39,600 --> 00:43:43,239
Speaker 2: it to the main theme from the Omen, not that

785
00:43:43,320 --> 00:43:46,520
Speaker 2: it's directly that or reuse of that, but maybe has

786
00:43:46,760 --> 00:43:49,400
Speaker 2: hit similar notes of that score.

787
00:43:58,160 --> 00:44:00,439
Speaker 3: All right, so you wanted to talk about the plot, now, yeah,

788
00:44:00,560 --> 00:44:03,719
Speaker 3: let's do it. Okay. So one thing is we absolutely

789
00:44:03,920 --> 00:44:06,960
Speaker 3: cannot do the kind of granular commentary we do with

790
00:44:07,080 --> 00:44:09,880
Speaker 3: some movies, especially like seventy minute drive in movies, or

791
00:44:09,960 --> 00:44:12,719
Speaker 3: this episode would be six hours long. And I want

792
00:44:12,760 --> 00:44:15,279
Speaker 3: to say this is not only because this is the

793
00:44:15,440 --> 00:44:18,520
Speaker 3: longest movie we've ever done. I'd also argue, I wonder

794
00:44:18,560 --> 00:44:21,080
Speaker 3: if you'd agree with this, that it's in the running

795
00:44:21,200 --> 00:44:25,560
Speaker 3: for the dnsesst movie we've done, meaning that the amount

796
00:44:25,640 --> 00:44:30,120
Speaker 3: of plot or stuff happening per minute of run time

797
00:44:30,800 --> 00:44:32,160
Speaker 3: is unusually high.

798
00:44:33,520 --> 00:44:36,840
Speaker 2: Yeah. Yeah, everybody gets their stuff in on this film.

799
00:44:37,440 --> 00:44:39,960
Speaker 2: And again it's it's having to deliver all of the

800
00:44:40,440 --> 00:44:43,719
Speaker 2: various spices. So yeah, there's a lot that happens in

801
00:44:43,800 --> 00:44:45,640
Speaker 2: this movie, and to just cover every bit of it

802
00:44:46,920 --> 00:44:49,000
Speaker 2: we just wouldn't have time for. And certainly we're going

803
00:44:49,080 --> 00:44:51,840
Speaker 2: to skip over stuff like the comedic segments, which you know,

804
00:44:52,719 --> 00:44:53,640
Speaker 2: the less said the better.

805
00:44:54,280 --> 00:44:56,280
Speaker 3: Okay, First of all, I like a film that begins

806
00:44:56,320 --> 00:44:59,200
Speaker 3: by showing you its papers. The first thing we see

807
00:44:59,239 --> 00:45:01,960
Speaker 3: here is a is scan of the certificate from the

808
00:45:02,040 --> 00:45:06,520
Speaker 3: Central Board of Film Certification of the Indian government. Seem

809
00:45:06,560 --> 00:45:09,560
Speaker 3: to recall seeing similar paperwork at the beginning of like

810
00:45:10,040 --> 00:45:13,520
Speaker 3: British movies from the thirties, like those old Alfred Hitchcock

811
00:45:13,600 --> 00:45:16,560
Speaker 3: movies that show you the certificate from the British Board

812
00:45:16,600 --> 00:45:17,520
Speaker 3: of Film Censors.

813
00:45:17,920 --> 00:45:19,600
Speaker 2: Yeah, I agree, I really like this makes it feel

814
00:45:19,640 --> 00:45:21,600
Speaker 2: kind of like more like a cultural artifact, you know.

815
00:45:21,880 --> 00:45:25,359
Speaker 3: Yeah, yeah. So the narration begins two hundred years ago.

816
00:45:25,560 --> 00:45:31,120
Speaker 3: Bijapor Sultanate was ruled by Raja Hariman Singh. In those days,

817
00:45:31,239 --> 00:45:34,080
Speaker 3: the fear of ghosts and demons prevailed in the hearts

818
00:45:34,120 --> 00:45:38,440
Speaker 3: of people. The most feared demon of all was called Somri.

819
00:45:38,880 --> 00:45:40,680
Speaker 3: And as they mentioned these different people, we see like

820
00:45:40,760 --> 00:45:44,400
Speaker 3: painted portraits of them. Samri's portrait has a kind of

821
00:45:44,560 --> 00:45:49,080
Speaker 3: purple glow, so he is emitting rays of evil magic

822
00:45:49,200 --> 00:45:53,040
Speaker 3: even in painted likeness. The action begins with a historical

823
00:45:53,160 --> 00:45:57,440
Speaker 3: flashback where Hariman Singh is traveling with his daughter Rupali

824
00:45:57,640 --> 00:46:02,600
Speaker 3: and his retainers when his chariot breaks down. Unfortunately, it

825
00:46:02,719 --> 00:46:07,520
Speaker 3: breaks down in the middle of Samri's land, and even

826
00:46:07,560 --> 00:46:10,160
Speaker 3: worse than that, his daughter wanders away while the carriage

827
00:46:10,239 --> 00:46:14,280
Speaker 3: is being fixed and fearing for her life, the rajah

828
00:46:14,640 --> 00:46:17,279
Speaker 3: sends his men out looking for her. They are of

829
00:46:17,360 --> 00:46:20,640
Speaker 3: course attacked and picked off by the Evil Sorcerer. And

830
00:46:21,080 --> 00:46:22,719
Speaker 3: I just want to say this again. One thing I

831
00:46:22,800 --> 00:46:28,120
Speaker 3: noticed immediately about the opening segment is the extremely high

832
00:46:28,400 --> 00:46:33,040
Speaker 3: energy editing and pacing of each shot. So the cuts

833
00:46:33,120 --> 00:46:37,360
Speaker 3: between shots are frequent, and the action in each shot

834
00:46:37,560 --> 00:46:42,040
Speaker 3: develops very quickly, so it's this kind of near frantic

835
00:46:42,160 --> 00:46:44,880
Speaker 3: pace for the first couple of minutes. But it's not

836
00:46:45,040 --> 00:46:48,880
Speaker 3: just fast. It's also loud, full of like screaming and

837
00:46:49,120 --> 00:46:52,399
Speaker 3: blasts of music, like slamming the audio into the red

838
00:46:52,800 --> 00:46:53,640
Speaker 3: It's just a lot.

839
00:46:54,440 --> 00:46:58,799
Speaker 2: Yeah. Yeah, I've seen Sam Rainey's Evil Dead for maybe

840
00:46:58,880 --> 00:47:01,960
Speaker 2: one mentioned as an influence on the Ramsey Brothers as

841
00:47:02,000 --> 00:47:04,479
Speaker 2: well as the films of Wes Craven, so I don't

842
00:47:04,480 --> 00:47:06,399
Speaker 2: know if maybe we see a little bit of those

843
00:47:06,480 --> 00:47:08,200
Speaker 2: influences in this editing style.

844
00:47:08,920 --> 00:47:11,480
Speaker 3: It's not going to keep up at quite this pace

845
00:47:11,560 --> 00:47:13,880
Speaker 3: and level of intensity for the rest of the movie,

846
00:47:13,960 --> 00:47:19,280
Speaker 3: but overall for this film, the Ramsey Brothers do stick

847
00:47:19,360 --> 00:47:23,560
Speaker 3: to a pretty fast moving and intense editing style. It

848
00:47:23,640 --> 00:47:27,440
Speaker 3: always feels energetic. Things are always happening really quickly. There's

849
00:47:27,520 --> 00:47:30,680
Speaker 3: not a lot of establishing or waiting around.

850
00:47:31,640 --> 00:47:34,800
Speaker 2: Yeah. Yeah, and you don't have to wait to see Samri.

851
00:47:34,960 --> 00:47:37,840
Speaker 2: He's there. He's going to disappear for a while for

852
00:47:38,040 --> 00:47:40,960
Speaker 2: reasons that will that makes sense. But yeah, he's there

853
00:47:41,000 --> 00:47:42,480
Speaker 2: from the get go, and you get to you get

854
00:47:42,520 --> 00:47:45,239
Speaker 2: a good look at him, and and boy, it's he's

855
00:47:45,320 --> 00:47:46,480
Speaker 2: just a great sight to take in.

856
00:47:46,960 --> 00:47:51,279
Speaker 3: As I said earlier, strong evocations of rock stardom. He's

857
00:47:51,520 --> 00:47:56,719
Speaker 3: like he is singing devil music. But okay, Samary is

858
00:47:56,800 --> 00:48:00,160
Speaker 3: running around. He kills all of Harryman Singh's men, and

859
00:48:00,239 --> 00:48:04,239
Speaker 3: then he vamps through Paully Harry Mun Singh's daughter. How

860
00:48:04,280 --> 00:48:06,200
Speaker 3: are we supposed to understand what happened to her? I

861
00:48:06,280 --> 00:48:09,400
Speaker 3: don't know exactly. Like he leans over her as if

862
00:48:09,440 --> 00:48:12,200
Speaker 3: he's biting her, and then there's blood on her face

863
00:48:12,360 --> 00:48:15,160
Speaker 3: and her eyes look different. There's sort of like her

864
00:48:15,200 --> 00:48:18,279
Speaker 3: eyes have turned white, as if she's in a kind

865
00:48:18,280 --> 00:48:19,280
Speaker 3: of magical trance.

866
00:48:20,040 --> 00:48:22,640
Speaker 2: One thing I loved about Samre just throughout the picture

867
00:48:22,840 --> 00:48:25,560
Speaker 2: is I never really know what the rules are with him.

868
00:48:25,640 --> 00:48:30,479
Speaker 2: He's just overpoweringly evil, like he yeah, he can drink

869
00:48:30,520 --> 00:48:33,360
Speaker 2: your blood but it's just he just looks at you.

870
00:48:33,520 --> 00:48:35,839
Speaker 2: If you just think about him too much, you may

871
00:48:36,040 --> 00:48:39,279
Speaker 2: just lose your soul. And then in terms of like

872
00:48:39,400 --> 00:48:42,440
Speaker 2: what he is, yeah, there's the basic Kahara rises from

873
00:48:42,480 --> 00:48:46,600
Speaker 2: the tomb undead sorcerer aspect of the whole thing. But like,

874
00:48:46,719 --> 00:48:48,880
Speaker 2: especially when he starts showing up later, I mean, he

875
00:48:48,960 --> 00:48:51,920
Speaker 2: already has things at this point, and then later on

876
00:48:52,080 --> 00:48:55,000
Speaker 2: in the movie, his body becomes even more monstrous in

877
00:48:55,080 --> 00:48:58,000
Speaker 2: ways that don't line up with just pure like decay

878
00:48:58,120 --> 00:49:03,520
Speaker 2: and resurrection. Like his body becomes just increasingly like just

879
00:49:03,880 --> 00:49:05,040
Speaker 2: materially evil.

880
00:49:05,520 --> 00:49:10,480
Speaker 3: Yeah, his later form is part Frankenstein, part decaying zombie,

881
00:49:10,680 --> 00:49:11,920
Speaker 3: and part pro wrestler.

882
00:49:12,760 --> 00:49:15,399
Speaker 2: Yeah, with like some Bigfoot thrown in there.

883
00:49:15,760 --> 00:49:16,200
Speaker 3: Yeah yeah.

884
00:49:16,320 --> 00:49:16,480
Speaker 2: Yeah.

885
00:49:17,080 --> 00:49:20,600
Speaker 3: Anyway, Harry Munsingh comes back with his full forces and

886
00:49:20,800 --> 00:49:24,120
Speaker 3: they capture the demon. They capture Sammary, taming him with

887
00:49:24,280 --> 00:49:27,239
Speaker 3: holy things like there is a priest chasing him with

888
00:49:27,320 --> 00:49:32,440
Speaker 3: a trisula, the trident of Shiva, and there is an

889
00:49:32,520 --> 00:49:35,640
Speaker 3: altar with the statue of Shiva, et cetera. And he's

890
00:49:35,680 --> 00:49:38,239
Speaker 3: ultimately held in chains. They stand him up for a

891
00:49:38,360 --> 00:49:42,000
Speaker 3: kind of trial while the accusations against him are read

892
00:49:42,040 --> 00:49:47,319
Speaker 3: before the crowd. Basically, he did everything bad. He did murder, rape, cannibalism,

893
00:49:47,480 --> 00:49:50,880
Speaker 3: all of it, all in service of his evil, demonic masters.

894
00:49:51,320 --> 00:49:53,879
Speaker 2: I liked how the priest is reading these charges out

895
00:49:53,960 --> 00:49:56,640
Speaker 2: and finally stumbles a bit, reading the charge of digging

896
00:49:56,760 --> 00:49:58,320
Speaker 2: up graves and eating corpses.

897
00:49:58,760 --> 00:50:00,520
Speaker 3: That doesn't seem like the word of them.

898
00:50:01,440 --> 00:50:04,400
Speaker 2: No, But at that point he's this is too far.

899
00:50:04,480 --> 00:50:06,480
Speaker 2: We're not used to this one. We don't even have

900
00:50:06,600 --> 00:50:07,960
Speaker 2: this one on the books. I'm not sure this is

901
00:50:08,040 --> 00:50:11,319
Speaker 2: technically illegal. It's just bad manners. Now.

902
00:50:11,400 --> 00:50:14,920
Speaker 3: There was a cultural and language question here that interested me.

903
00:50:15,080 --> 00:50:18,520
Speaker 3: In the English subtitles of this scene, it says that

904
00:50:18,719 --> 00:50:23,720
Speaker 3: Samri is accused of using his Satanic powers to create

905
00:50:23,880 --> 00:50:27,000
Speaker 3: terror among the people. It says that he slaked his

906
00:50:27,360 --> 00:50:31,239
Speaker 3: satanic thirst by drinking the blood of children, and it

907
00:50:31,320 --> 00:50:34,560
Speaker 3: says he is so vile that even Satan would shun him.

908
00:50:35,320 --> 00:50:38,480
Speaker 3: So given the Hindu context here, and it seems very

909
00:50:38,560 --> 00:50:41,120
Speaker 3: much in a Hindu context, like there are other scenes where,

910
00:50:41,520 --> 00:50:43,600
Speaker 3: you know, there are temples of the temples of Shiva,

911
00:50:43,680 --> 00:50:47,560
Speaker 3: people offering prayers to Shiva in order to help them.

912
00:50:48,360 --> 00:50:52,120
Speaker 3: I kind of wonder whether they actually said satanic and

913
00:50:52,360 --> 00:50:55,320
Speaker 3: Satan in these scenes. I guess they could have because

914
00:50:55,320 --> 00:50:59,280
Speaker 3: I kept hearing a word in the audio that sounded

915
00:50:59,400 --> 00:51:03,759
Speaker 3: like shatan. So I was just curious, what's going on here,

916
00:51:03,920 --> 00:51:08,080
Speaker 3: Like what is the most direct translation of what they're saying. Because,

917
00:51:08,120 --> 00:51:11,600
Speaker 3: of course, in the context of like a Christian culture

918
00:51:11,640 --> 00:51:15,080
Speaker 3: horror movie, it's very normal, like the evil sorcerer is

919
00:51:15,200 --> 00:51:17,920
Speaker 3: understood to get his powers from Satan or some kind

920
00:51:17,920 --> 00:51:21,520
Speaker 3: of demonic force. In the Hindu context, where does the

921
00:51:21,600 --> 00:51:24,919
Speaker 3: evil sorcerer's power, where's it understood to come from?

922
00:51:25,920 --> 00:51:27,480
Speaker 2: Yeah, I had the same thought here. I thought, well,

923
00:51:27,520 --> 00:51:30,759
Speaker 2: maybe they're just referring to mentions of Satan and Western films,

924
00:51:30,760 --> 00:51:33,239
Speaker 2: which would have obviously been an influence here. And then

925
00:51:33,320 --> 00:51:36,680
Speaker 2: I was thinking, well, maybe it's there's an Arabic loanword

926
00:51:37,520 --> 00:51:41,680
Speaker 2: at play here. I looked up to some basic stuff

927
00:51:41,719 --> 00:51:44,279
Speaker 2: in translation. Again, I do not know what I'm doing

928
00:51:44,760 --> 00:51:47,959
Speaker 2: with the Hindi language at all, but it does seem

929
00:51:48,120 --> 00:51:56,560
Speaker 2: like we do have this term chatan, which means devil, satan, freaks, beasts,

930
00:51:56,760 --> 00:51:59,839
Speaker 2: or demons, So I guess that's what we're talking about.

931
00:52:00,640 --> 00:52:04,480
Speaker 3: Interesting. Okay, again, Hindi speaking listeners, please write in let us.

932
00:52:04,480 --> 00:52:06,920
Speaker 2: Know at any rate, he's done all the bad things

933
00:52:07,360 --> 00:52:09,160
Speaker 2: and something's got to be done about it, right.

934
00:52:09,360 --> 00:52:12,759
Speaker 3: Right, So harry Mon Sing's advisors all they argue about

935
00:52:12,760 --> 00:52:15,959
Speaker 3: the best way to punish this evil sorcerer. The priest says,

936
00:52:16,000 --> 00:52:17,879
Speaker 3: you know, why don't we burn him to ashes, that'll

937
00:52:17,920 --> 00:52:20,960
Speaker 3: purify him with flame. Harryman Sing says, no, I've got

938
00:52:21,000 --> 00:52:24,040
Speaker 3: a better idea. We're gonna cut his head off and

939
00:52:24,200 --> 00:52:27,440
Speaker 3: keep it in a different building than his body, and

940
00:52:27,600 --> 00:52:30,440
Speaker 3: that way we'll know that his head and body can

941
00:52:30,600 --> 00:52:32,879
Speaker 3: never possibly be reunited.

942
00:52:33,320 --> 00:52:35,520
Speaker 2: There you go. Sounds like a winning plan.

943
00:52:35,760 --> 00:52:39,160
Speaker 3: And then the holy man suggests using the trident the

944
00:52:39,200 --> 00:52:42,160
Speaker 3: trisula to guard his head. I think they're going to

945
00:52:42,239 --> 00:52:43,760
Speaker 3: like lay it over the top of the box.

946
00:52:44,440 --> 00:52:46,440
Speaker 2: Okay, again, sounds sounds good. That's a good way to

947
00:52:46,440 --> 00:52:46,840
Speaker 2: secure it.

948
00:52:47,480 --> 00:52:51,480
Speaker 3: Then the prologue ends, suddenly lightning strikes and there are

949
00:52:51,680 --> 00:52:56,480
Speaker 3: more credits. After these credits, we get the story picks up,

950
00:52:56,480 --> 00:53:00,719
Speaker 3: but it's still in the historical prologue. See them leading

951
00:53:00,840 --> 00:53:03,680
Speaker 3: Samri off to his fate, and then they're sort of

952
00:53:03,760 --> 00:53:06,280
Speaker 3: leading him in procession in chains, and then he stops

953
00:53:06,360 --> 00:53:09,479
Speaker 3: to rage at everyone like he rages at Hariman Singh,

954
00:53:10,080 --> 00:53:13,279
Speaker 3: and he issues a curse upon his household, which is

955
00:53:13,440 --> 00:53:16,439
Speaker 3: he says that all of his female heirs will die

956
00:53:16,520 --> 00:53:20,320
Speaker 3: in childbirth until Samri's head and body are joined again.

957
00:53:21,320 --> 00:53:24,280
Speaker 3: Note that in the scene they haven't been separated yet. Also,

958
00:53:24,440 --> 00:53:26,520
Speaker 3: he says, on the day that his head and body

959
00:53:26,560 --> 00:53:29,720
Speaker 3: are joined again, that will be the end of Hariman

960
00:53:29,840 --> 00:53:32,400
Speaker 3: Singh's dynasty, I guess, meaning he will destroy them all.

961
00:53:34,280 --> 00:53:36,040
Speaker 3: Then they do it. They cut his head off and

962
00:53:36,200 --> 00:53:39,280
Speaker 3: they bury the body in the ruins of a temple.

963
00:53:39,360 --> 00:53:43,040
Speaker 3: They say it's Shunkar's polygot temple. And they take his

964
00:53:43,239 --> 00:53:46,160
Speaker 3: head to throw it in a trunk wrapped with chains,

965
00:53:46,280 --> 00:53:48,400
Speaker 3: and then they hide that in the dungeon of the

966
00:53:48,520 --> 00:53:52,160
Speaker 3: Raja's palace. And then they of course put the Trishulas

967
00:53:52,200 --> 00:53:54,600
Speaker 3: she was holy trident on top of the trunk and

968
00:53:54,760 --> 00:53:56,480
Speaker 3: they wall it up like Fortunado.

969
00:53:57,080 --> 00:54:00,440
Speaker 2: All in all, a pretty great historical prologue that then

970
00:54:00,560 --> 00:54:05,840
Speaker 2: leads us into modern day Aka in an early eighties Bombay.

971
00:54:06,480 --> 00:54:09,120
Speaker 3: Right, so we meet our modern day characters. There is

972
00:54:09,520 --> 00:54:13,240
Speaker 3: Takur Ranbier Singh. He is the descendant of the Raja

973
00:54:13,320 --> 00:54:16,120
Speaker 3: from the prologue. So the curse has passed down through

974
00:54:16,160 --> 00:54:19,440
Speaker 3: his family. He's a rich man. He loves his family,

975
00:54:19,560 --> 00:54:23,000
Speaker 3: but he is preoccupied with fears about the ancestral curse.

976
00:54:23,840 --> 00:54:27,920
Speaker 3: There is Ranbier's daughter, Suman, who is a college student.

977
00:54:28,200 --> 00:54:31,160
Speaker 3: She's got a kind of sunny disposition, and her father

978
00:54:31,560 --> 00:54:34,520
Speaker 3: laments her growing up because that means that she may

979
00:54:34,680 --> 00:54:37,400
Speaker 3: marry and try to have children and then the curse

980
00:54:37,440 --> 00:54:42,799
Speaker 3: of Samri will kill her. Then there is Suman's boyfriend Sanjay. Again,

981
00:54:42,920 --> 00:54:45,880
Speaker 3: he is not rich, but he is handsome and brave,

982
00:54:46,040 --> 00:54:50,080
Speaker 3: loyal and scrappy. And then there is Sanjay's friend Anand

983
00:54:50,280 --> 00:54:52,920
Speaker 3: who this is a buff guy who cuts the sleeves

984
00:54:52,960 --> 00:54:55,319
Speaker 3: off of all of his shirts. Not all of them,

985
00:54:55,360 --> 00:54:56,280
Speaker 3: He's got some sleeves.

986
00:54:56,880 --> 00:54:58,880
Speaker 2: Yeah, some slaves are cap but most of them they

987
00:54:58,960 --> 00:54:59,520
Speaker 2: just get in the way.

988
00:55:00,000 --> 00:55:04,360
Speaker 3: San and Sonjay being in love, they go out on dates.

989
00:55:04,400 --> 00:55:06,759
Speaker 3: They like go to a pool party. They go out

990
00:55:07,200 --> 00:55:10,080
Speaker 3: to a nightclub where there's a dancer dressed in gold,

991
00:55:10,160 --> 00:55:11,719
Speaker 3: and here we get our first musical number.

992
00:55:12,120 --> 00:55:14,880
Speaker 2: Yeah, this is kind of a cabaret number. The dancer

993
00:55:15,200 --> 00:55:18,319
Speaker 2: is Lena Doas and it's a it's a pretty fun

994
00:55:18,480 --> 00:55:23,640
Speaker 2: Indian disco type musical performance. I guess I really enjoyed it.

995
00:55:23,719 --> 00:55:25,560
Speaker 2: I turned the volume up a little bit on this one.

996
00:55:26,320 --> 00:55:29,080
Speaker 3: I was thinking though about this night club here. It's

997
00:55:29,120 --> 00:55:33,560
Speaker 3: a strange mix of inside it seems cool but also claustrophobic.

998
00:55:33,760 --> 00:55:36,400
Speaker 3: I think maybe the claustrophobic aspect comes from like the

999
00:55:36,560 --> 00:55:38,960
Speaker 3: solid black walls and what felt like a sort of

1000
00:55:39,080 --> 00:55:43,560
Speaker 3: low ceiling. But it's got these cool like red bench

1001
00:55:43,680 --> 00:55:46,880
Speaker 3: seats and then posters on the wall for movies and

1002
00:55:46,920 --> 00:55:49,520
Speaker 3: stuff like there's a poster for Superman up on the walls.

1003
00:55:50,280 --> 00:55:50,480
Speaker 2: Yeah.

1004
00:55:50,680 --> 00:55:50,839
Speaker 3: Yeah.

1005
00:55:50,880 --> 00:55:53,120
Speaker 2: And we also we get a little bit of Sonjay

1006
00:55:53,480 --> 00:55:56,319
Speaker 2: is looking at the dancer, maybe a little bit too much,

1007
00:55:56,760 --> 00:55:58,960
Speaker 2: and Suman is so it was a little bit jealous.

1008
00:55:59,440 --> 00:56:00,760
Speaker 3: This is a curring motif.

1009
00:56:01,280 --> 00:56:03,640
Speaker 2: Yes, whole songs will be sung about this later on.

1010
00:56:03,960 --> 00:56:07,120
Speaker 3: So Suman and Sonjay are in love, but Suman has

1011
00:56:07,200 --> 00:56:09,799
Speaker 3: to lie to her father about where she's going when

1012
00:56:09,840 --> 00:56:12,520
Speaker 3: she heads out on dates with him. However, her father

1013
00:56:12,680 --> 00:56:16,120
Speaker 3: finds out Ron Beer is not pleased and he forbids

1014
00:56:16,200 --> 00:56:19,960
Speaker 3: her to see Sanjay again. But of course she's in love.

1015
00:56:20,040 --> 00:56:22,160
Speaker 3: There's no stopping her. So she's not going to just

1016
00:56:22,280 --> 00:56:26,840
Speaker 3: leave her boyfriend hanging. And so this is an ongoing

1017
00:56:26,920 --> 00:56:29,520
Speaker 3: conflict at the beginning of the movie, and again, as

1018
00:56:29,560 --> 00:56:32,160
Speaker 3: I mentioned earlier, there's a misunderstanding about the reason her

1019
00:56:32,239 --> 00:56:36,399
Speaker 3: father forbids the romance. She and like the young people

1020
00:56:36,520 --> 00:56:39,000
Speaker 3: think it is a class thing, that she's rich and

1021
00:56:39,120 --> 00:56:42,040
Speaker 3: he's not. Actually it's a demonic curse thing, but they

1022
00:56:42,040 --> 00:56:42,799
Speaker 3: don't know that yet.

1023
00:56:43,280 --> 00:56:46,280
Speaker 2: Yeah, he won't tell her about that, he's keeping that secret. Instead,

1024
00:56:46,360 --> 00:56:49,239
Speaker 2: he just says things like like, hey, our family name

1025
00:56:49,320 --> 00:56:51,279
Speaker 2: is not so deluded that our blood can just flow

1026
00:56:51,400 --> 00:56:54,680
Speaker 2: directly into the gutter and things like that, and of

1027
00:56:54,760 --> 00:56:57,239
Speaker 2: course that just pushes her further away. He won't tell

1028
00:56:57,320 --> 00:57:02,600
Speaker 2: her the real demonic curse rationale that is behind his fear.

1029
00:57:03,200 --> 00:57:05,000
Speaker 3: But then we get like a love song on a

1030
00:57:05,120 --> 00:57:08,600
Speaker 3: beach or it's on rocks near the shore, where Sanjay

1031
00:57:08,800 --> 00:57:10,720
Speaker 3: is singing about his love for Suman.

1032
00:57:11,520 --> 00:57:13,200
Speaker 2: Yeah, and it's nice, you know, it's like just a

1033
00:57:13,280 --> 00:57:14,439
Speaker 2: nice music video. Break.

1034
00:57:14,800 --> 00:57:17,760
Speaker 3: Somewhere in here we get the first martial arts scene,

1035
00:57:17,800 --> 00:57:21,360
Speaker 3: and this is with Okay, So the basic situation is

1036
00:57:21,480 --> 00:57:24,320
Speaker 3: ron Bier. Again, he forbids Sanjay and Suman to date,

1037
00:57:24,720 --> 00:57:27,560
Speaker 3: but then he catches them together. So he sends his

1038
00:57:28,000 --> 00:57:30,080
Speaker 3: men who are all dressed up in these cool red

1039
00:57:30,160 --> 00:57:33,000
Speaker 3: jackets to beat up Sanjay and then on on to

1040
00:57:33,120 --> 00:57:35,520
Speaker 3: like comes over the mountain top. It comes over like

1041
00:57:35,560 --> 00:57:38,400
Speaker 3: a ridge looking down on them and runs into the

1042
00:57:38,480 --> 00:57:41,240
Speaker 3: rescue and then together they beat up all of the

1043
00:57:41,680 --> 00:57:44,040
Speaker 3: all of the bad guys. I guess they're not bad guys.

1044
00:57:44,040 --> 00:57:45,800
Speaker 3: I don't know. The guy's working for her dad.

1045
00:57:46,160 --> 00:57:50,120
Speaker 2: They're just Dad's goon squad that's to beat up Sanjay.

1046
00:57:50,520 --> 00:57:53,240
Speaker 3: But we see a lot of signs of Ron Beer's worries,

1047
00:57:53,400 --> 00:57:55,640
Speaker 3: like he has a freak out dream sequence with a

1048
00:57:55,720 --> 00:57:58,400
Speaker 3: giant beast samary head. And this is where we start

1049
00:57:58,440 --> 00:58:00,960
Speaker 3: getting signs of what Samri will look like in his

1050
00:58:01,400 --> 00:58:05,000
Speaker 3: in his sort of undead form, which is again less

1051
00:58:05,120 --> 00:58:08,520
Speaker 3: rock star and more kind of I don't yeah, like bigfoot,

1052
00:58:08,680 --> 00:58:10,040
Speaker 3: pro wrestler zombie.

1053
00:58:10,840 --> 00:58:14,840
Speaker 2: Yeah, just seething in darkness. Just these great eyes, just

1054
00:58:15,080 --> 00:58:19,360
Speaker 2: in this in this pronounced brow. It's just a tremendous look.

1055
00:58:19,640 --> 00:58:23,520
Speaker 2: And I can just imagine moviegoers screaming when they see

1056
00:58:23,560 --> 00:58:24,320
Speaker 2: this on the screen.

1057
00:58:24,720 --> 00:58:28,160
Speaker 3: But eventually the curse is revealed to Suman and Sanjay

1058
00:58:28,320 --> 00:58:31,120
Speaker 3: and they have a bunch more you know, back and

1059
00:58:31,240 --> 00:58:33,960
Speaker 3: forth about how Ronberd disapproves of them, but eventually, like

1060
00:58:34,040 --> 00:58:36,440
Speaker 3: there's one scene where he's repeatedly getting a gun off

1061
00:58:36,520 --> 00:58:39,560
Speaker 3: the wall, but eventually he breaks down and confesses to

1062
00:58:39,640 --> 00:58:42,920
Speaker 3: them what's really going on. He explains the curse, and

1063
00:58:43,040 --> 00:58:46,240
Speaker 3: there are exchanges like one that was funny was he's like,

1064
00:58:46,640 --> 00:58:48,800
Speaker 3: you know, it's a secret, and they say what's the

1065
00:58:48,880 --> 00:58:51,120
Speaker 3: secret and he says, it's one I can't reveal, and

1066
00:58:51,160 --> 00:58:54,040
Speaker 3: they're like, but you must reveal it. But then when

1067
00:58:54,080 --> 00:58:57,200
Speaker 3: he does, it's horrifying. It's there's a horrifying flashback to

1068
00:58:57,960 --> 00:59:01,960
Speaker 3: when Ronbier reveals that after Suman was born, her mother

1069
00:59:02,320 --> 00:59:06,480
Speaker 3: was transformed into some kind of devil creature with these

1070
00:59:06,640 --> 00:59:10,320
Speaker 3: long fingernails, these claws and like barnacles on her face,

1071
00:59:10,400 --> 00:59:11,200
Speaker 3: and then she died.

1072
00:59:11,640 --> 00:59:14,080
Speaker 2: Yeah, there's nothing. It turns out there's nothing ambiguous about it.

1073
00:59:14,360 --> 00:59:16,480
Speaker 2: I thought they were more setting up a situation where

1074
00:59:16,520 --> 00:59:18,760
Speaker 2: it's like, oh, you're you know your mom died in

1075
00:59:18,840 --> 00:59:20,800
Speaker 2: childbirth and there is this ancient curse thing. So I

1076
00:59:20,880 --> 00:59:22,880
Speaker 2: put one and two together. No, no, no, she like

1077
00:59:23,000 --> 00:59:28,280
Speaker 2: straight up practically explodes in some sort of like just awful,

1078
00:59:29,160 --> 00:59:32,560
Speaker 2: you know, cursed flesh type of death, and it's it's

1079
00:59:32,760 --> 00:59:33,920
Speaker 2: it's a lot to watch.

1080
00:59:34,040 --> 00:59:36,439
Speaker 3: Like all the doctors and nurses run out of the room.

1081
00:59:36,560 --> 00:59:37,160
Speaker 3: There's no end.

1082
00:59:38,160 --> 00:59:40,280
Speaker 2: They're like, it's out of our hands. This is straight

1083
00:59:40,360 --> 00:59:41,640
Speaker 2: up wizardry going on in here.

1084
00:59:42,200 --> 00:59:44,440
Speaker 3: So ron Bier explains to Sanjay, you know, if you

1085
00:59:44,520 --> 00:59:47,720
Speaker 3: really love Suman, you will leave her alone, right, And

1086
00:59:47,920 --> 00:59:50,360
Speaker 3: so Sanjay does because he really does love her. But

1087
00:59:50,480 --> 00:59:53,920
Speaker 3: then very next scene it cuts straight to Anon is

1088
00:59:54,360 --> 00:59:56,840
Speaker 3: lounging on a bed or something. He's wearing a sweatshirt,

1089
00:59:57,280 --> 00:59:59,560
Speaker 3: and he says, so you left her, you lose her.

1090
01:00:00,600 --> 01:00:01,400
Speaker 3: What'll she think of you?

1091
01:00:01,520 --> 01:00:01,680
Speaker 2: Now?

1092
01:00:02,360 --> 01:00:05,600
Speaker 3: Should we do a sidebar on Anon's shirts? He wears

1093
01:00:05,680 --> 01:00:08,560
Speaker 3: a lot of interesting shirts. Some of them have English

1094
01:00:08,640 --> 01:00:12,120
Speaker 3: writing on them and interesting logos and pictures and stuff.

1095
01:00:12,160 --> 01:00:15,320
Speaker 3: He wears one shirt that just says styles, and he

1096
01:00:15,400 --> 01:00:18,880
Speaker 3: wears another shirt that says Golden Rule. He who has

1097
01:00:19,000 --> 01:00:23,480
Speaker 3: the gold makes the rules very cool. And it's weird

1098
01:00:23,520 --> 01:00:25,720
Speaker 3: because Anon in many ways does have a heart of gold,

1099
01:00:25,800 --> 01:00:29,560
Speaker 3: as we will see. But also he is I don't know,

1100
01:00:29,760 --> 01:00:33,360
Speaker 3: he is indifferent. Scenes shown to be vain and highly

1101
01:00:33,440 --> 01:00:37,320
Speaker 3: covetous of money, even doing very shady criminal things to

1102
01:00:37,360 --> 01:00:37,880
Speaker 3: get money.

1103
01:00:38,680 --> 01:00:43,880
Speaker 2: Yeah, though those occur either within or within close proximity

1104
01:00:43,960 --> 01:00:47,080
Speaker 2: to the comedic segments, and I'm never sure how much

1105
01:00:47,120 --> 01:00:49,120
Speaker 2: of that I should actually pay attention to, Like does

1106
01:00:49,200 --> 01:00:51,120
Speaker 2: that count? Is that real Anon? Or is that like

1107
01:00:51,280 --> 01:00:53,760
Speaker 2: some different version of a noon just for the comedic

1108
01:00:53,880 --> 01:00:55,120
Speaker 2: segments of the movie. I don't know.

1109
01:00:55,480 --> 01:00:57,800
Speaker 3: Well anyway, Suman shows up and she's got a better

1110
01:00:57,880 --> 01:01:01,160
Speaker 3: idea than Sanjay just leaving her. He convinces Sanjay that

1111
01:01:01,240 --> 01:01:05,080
Speaker 3: they should break the curse. Hey, great idea. So it's

1112
01:01:05,200 --> 01:01:08,320
Speaker 3: now a road trip to Bijapur, driving down the highway

1113
01:01:08,400 --> 01:01:11,400
Speaker 3: in a red convertible. The road trip buddies are the

1114
01:01:11,520 --> 01:01:14,880
Speaker 3: four of them, Suman, Sanjay, Anon, and his wife Sapna.

1115
01:01:15,480 --> 01:01:17,120
Speaker 2: So at this point it's kind of a Scooby Doo

1116
01:01:17,560 --> 01:01:19,120
Speaker 2: road trip kind of a movie, which is.

1117
01:01:19,200 --> 01:01:21,720
Speaker 3: Yeah, and all you know on the trip we see

1118
01:01:21,760 --> 01:01:24,120
Speaker 3: Anon is such a good friend. Sanjay is like, why

1119
01:01:24,160 --> 01:01:26,880
Speaker 3: would you risk your life to help us? And an

1120
01:01:27,040 --> 01:01:29,960
Speaker 3: On I think, threatens to beat him up for saying this.

1121
01:01:30,240 --> 01:01:32,440
Speaker 3: He's like, Hey, what are friends for? A friend has

1122
01:01:32,560 --> 01:01:34,520
Speaker 3: to help you break the curse on your family, even

1123
01:01:34,560 --> 01:01:38,000
Speaker 3: if that means laying down his own life. Yeah, Meanwhile,

1124
01:01:38,160 --> 01:01:40,840
Speaker 3: this is funny. Sapna is happy to come along because

1125
01:01:41,240 --> 01:01:43,880
Speaker 3: she is confident that the curse is just Suman's father

1126
01:01:44,000 --> 01:01:46,080
Speaker 3: having a delusion. So I guess it's just a regular

1127
01:01:46,160 --> 01:01:46,840
Speaker 3: road trip for her.

1128
01:01:47,520 --> 01:01:49,320
Speaker 2: Yeah, it has to get out of town.

1129
01:01:49,680 --> 01:01:52,600
Speaker 3: This married couple. They have extremely different ideas of the

1130
01:01:52,680 --> 01:01:54,200
Speaker 3: stakes of this this road trip.

1131
01:01:54,600 --> 01:01:56,680
Speaker 2: Yeah, He's like, I am ready to die and she's like,

1132
01:01:56,800 --> 01:01:59,680
Speaker 2: I am ready to see the countryside. Yeah.

1133
01:02:09,400 --> 01:02:12,040
Speaker 3: Meanwhile, Ron beerre back at home. He has visions of

1134
01:02:12,160 --> 01:02:15,480
Speaker 3: samary As in his kind of altered beast form and

1135
01:02:15,640 --> 01:02:18,240
Speaker 3: has a heart attack. He survives, but the doctors say

1136
01:02:18,320 --> 01:02:20,560
Speaker 3: he must rest, and I think they use this to

1137
01:02:20,640 --> 01:02:23,720
Speaker 3: explain why he doesn't chase after the youths to stop

1138
01:02:23,840 --> 01:02:27,080
Speaker 3: them on their quest. Yeah, but then we go into

1139
01:02:27,120 --> 01:02:29,000
Speaker 3: a part of the movie where basically the four friends

1140
01:02:29,160 --> 01:02:32,520
Speaker 3: are investigating the different settings. So they go to an

1141
01:02:32,560 --> 01:02:36,560
Speaker 3: old temple. They noticed that the statue in the temple,

1142
01:02:36,600 --> 01:02:41,520
Speaker 3: which I believe is of Shiva or maybe of Shivshankar

1143
01:02:41,680 --> 01:02:46,520
Speaker 3: maybe they say later, is missing its trident. And then

1144
01:02:47,520 --> 01:02:49,720
Speaker 3: you know, so they look around there, they have some

1145
01:02:49,920 --> 01:02:53,160
Speaker 3: visions of scary things. They drive around and just have

1146
01:02:53,840 --> 01:02:56,920
Speaker 3: encounters with scary people, like they meet a woodcutter who

1147
01:02:57,400 --> 01:02:59,640
Speaker 3: just freaks them out by smiling at them and holding

1148
01:02:59,640 --> 01:03:02,800
Speaker 3: an asp X. And then finally they reach the palace

1149
01:03:03,080 --> 01:03:07,000
Speaker 3: and they explore that and meet Dirjen, the watchman, who

1150
01:03:07,200 --> 01:03:10,320
Speaker 3: shows them around and tells them sort of the family history,

1151
01:03:10,680 --> 01:03:14,160
Speaker 3: and they start having repeated freaky reactions to portraits or

1152
01:03:14,160 --> 01:03:16,120
Speaker 3: I guess mainly it's just Suman that does. Like she

1153
01:03:16,200 --> 01:03:18,720
Speaker 3: sees a portrait of her ancestor and it zooms in

1154
01:03:18,880 --> 01:03:20,400
Speaker 3: on her eyes and it's knowing.

1155
01:03:20,280 --> 01:03:23,840
Speaker 2: Whoa whoa whoah whah. Is this the scene where the

1156
01:03:23,960 --> 01:03:26,680
Speaker 2: eyes follow her? And they do it by having clearly

1157
01:03:26,840 --> 01:03:29,640
Speaker 2: two separate paintings, one with eyes looking straight ahead and

1158
01:03:29,720 --> 01:03:31,479
Speaker 2: one with eyes looking off to the side.

1159
01:03:31,960 --> 01:03:34,400
Speaker 3: Yeah, I loved it. I really like these scenes.

1160
01:03:34,600 --> 01:03:37,640
Speaker 2: Because we know the viewer knows that behind that painting,

1161
01:03:38,440 --> 01:03:40,960
Speaker 2: behind the bricked up wall is going to be the

1162
01:03:41,040 --> 01:03:44,040
Speaker 2: head of Samari sealed up in a box with Trishula

1163
01:03:45,360 --> 01:03:47,720
Speaker 2: leaned against it to keep it from coming out and

1164
01:03:47,920 --> 01:03:48,680
Speaker 2: wreaking havoc.

1165
01:03:49,280 --> 01:03:52,200
Speaker 3: The next day, there's a funny scene where Sopna is

1166
01:03:52,320 --> 01:03:56,640
Speaker 3: annoyed because Anon won't stop doing workouts and martial arts,

1167
01:03:56,680 --> 01:04:00,400
Speaker 3: Like he's doing one handed push ups and practicing martial

1168
01:04:00,520 --> 01:04:04,320
Speaker 3: arts and she's just like, Wow, really really great romantic

1169
01:04:04,480 --> 01:04:05,760
Speaker 3: vacation you took me on.

1170
01:04:06,760 --> 01:04:08,720
Speaker 2: Yeah. This is a fun sequence though, because then she

1171
01:04:08,840 --> 01:04:11,480
Speaker 2: kind of she has the scene where she fantasizes about

1172
01:04:11,600 --> 01:04:15,600
Speaker 2: him being more into romance and less into personal fitness,

1173
01:04:16,400 --> 01:04:17,720
Speaker 2: which I thought was pretty fun.

1174
01:04:18,240 --> 01:04:21,680
Speaker 3: Then oh my, here things start taking a left turn. Well, first,

1175
01:04:21,880 --> 01:04:24,960
Speaker 3: a bunch of guys from the forest attacks Sopna from

1176
01:04:24,960 --> 01:04:27,720
Speaker 3: out of nowhere, and then Anon gets to come to

1177
01:04:27,800 --> 01:04:30,640
Speaker 3: the rescue and beat them all up. And then we

1178
01:04:30,800 --> 01:04:33,919
Speaker 3: go and meet this bandit commander who's I think giving

1179
01:04:33,960 --> 01:04:37,080
Speaker 3: the guys in the forest orders. It starts with a

1180
01:04:37,120 --> 01:04:40,480
Speaker 3: lot of over the top slapstick comedy and then descends

1181
01:04:40,600 --> 01:04:43,960
Speaker 3: into this rivalry between the bandit and a local official

1182
01:04:44,080 --> 01:04:47,800
Speaker 3: in the village. This is the barely related comedic side

1183
01:04:47,880 --> 01:04:50,480
Speaker 3: plot that we were discussing earlier, and to be frank,

1184
01:04:50,560 --> 01:04:54,560
Speaker 3: as many reviewers have mentioned, I found it extremely unpleasant.

1185
01:04:55,400 --> 01:04:57,200
Speaker 3: I'm not going to make much effort to recount it.

1186
01:04:57,280 --> 01:04:59,120
Speaker 3: But it's a lot of jokes about like a guy

1187
01:04:59,280 --> 01:05:02,280
Speaker 3: not having armed and another guy who does sex crimes.

1188
01:05:03,120 --> 01:05:06,720
Speaker 2: Yeah, that's basically it. And they just keep driving home

1189
01:05:06,760 --> 01:05:11,320
Speaker 2: these plot points and and it's it's very skippable. I

1190
01:05:11,440 --> 01:05:13,880
Speaker 2: highly recommend you skip it if you watch this movie.

1191
01:05:15,040 --> 01:05:17,000
Speaker 2: But but it is. It really throws you off when

1192
01:05:17,000 --> 01:05:19,520
Speaker 2: you first hit it because when the Bandit's men show up,

1193
01:05:19,560 --> 01:05:23,000
Speaker 2: they have like like dime store Halloween mask on the

1194
01:05:23,040 --> 01:05:25,720
Speaker 2: back of their head, and you're just like, what are

1195
01:05:25,760 --> 01:05:28,320
Speaker 2: what is happening? Did I switch channels somehow? This this

1196
01:05:28,400 --> 01:05:30,479
Speaker 2: is an error on the disk. No, you've just you've

1197
01:05:30,640 --> 01:05:33,800
Speaker 2: just descended into the comedic subplot. But don't worry. You

1198
01:05:33,880 --> 01:05:36,479
Speaker 2: will eventually rise out of it. But then you're gonna

1199
01:05:36,480 --> 01:05:38,720
Speaker 2: fall into it at least one more time, and then

1200
01:05:38,760 --> 01:05:40,680
Speaker 2: you'll fall out of it again without anything in the

1201
01:05:40,720 --> 01:05:45,360
Speaker 2: comedic plot ever really impacting the A plot or getting resolved.

1202
01:05:46,080 --> 01:05:48,360
Speaker 3: Yeah, I mean there's a little bit of interaction like

1203
01:05:48,480 --> 01:05:53,120
Speaker 3: it does develop to where the Bandit and Anon have

1204
01:05:53,320 --> 01:05:55,720
Speaker 3: a have a twoco and Blondie plot from The Good,

1205
01:05:55,760 --> 01:05:58,480
Speaker 3: the Bad, and the Ugly, where like a Noon repeatedly

1206
01:05:58,600 --> 01:06:01,480
Speaker 3: turns the Bandit in for a bounty and then freeze

1207
01:06:01,560 --> 01:06:04,000
Speaker 3: him before execution and then does it again to keep

1208
01:06:04,040 --> 01:06:04,760
Speaker 3: collecting money.

1209
01:06:05,480 --> 01:06:07,000
Speaker 2: Yeah, and then the whole time you're just like a

1210
01:06:07,080 --> 01:06:08,960
Speaker 2: non stay out of this subplot. You don't need to

1211
01:06:08,960 --> 01:06:11,520
Speaker 2: be here to stay in plot A with the rest

1212
01:06:11,600 --> 01:06:11,880
Speaker 2: of us.

1213
01:06:12,280 --> 01:06:15,560
Speaker 3: So in this middle section we get some some delivery

1214
01:06:15,600 --> 01:06:18,840
Speaker 3: of lore from the watchman Dirgin at the palace. He

1215
01:06:18,920 --> 01:06:21,760
Speaker 3: tells some backstory about the connection between the palace and

1216
01:06:21,840 --> 01:06:22,320
Speaker 3: the temple.

1217
01:06:23,080 --> 01:06:23,200
Speaker 2: Uh.

1218
01:06:23,360 --> 01:06:25,400
Speaker 3: There are also sections here where it seems like maybe

1219
01:06:25,440 --> 01:06:27,760
Speaker 3: the heroes kind of lose track of what the road

1220
01:06:27,840 --> 01:06:30,800
Speaker 3: trip was for, Like instead of furiously hunting down the

1221
01:06:31,080 --> 01:06:34,440
Speaker 3: body of the evil sorcerer, like Sanjay is fishing for

1222
01:06:34,600 --> 01:06:38,080
Speaker 3: food and Suman is doing like a couple's photoshoot of

1223
01:06:38,120 --> 01:06:39,040
Speaker 3: Ann and Sopna.

1224
01:06:39,760 --> 01:06:42,280
Speaker 2: Mm hmm. Yeah. It's like there's a curse. There's a

1225
01:06:42,320 --> 01:06:45,360
Speaker 2: deadline here, guys, got we gotta stay on this. Oh.

1226
01:06:45,480 --> 01:06:47,240
Speaker 3: But in this scene, it starts with a thing where

1227
01:06:47,280 --> 01:06:49,840
Speaker 3: there's a woman in the water, and at first I thought, oh,

1228
01:06:50,000 --> 01:06:52,520
Speaker 3: is she a mermaid? But she's like biting fish with

1229
01:06:52,680 --> 01:06:54,920
Speaker 3: her teeth and then trying to give them to Sanjay.

1230
01:06:55,640 --> 01:06:59,439
Speaker 3: Uh and I and Suman gets jealous of this woman

1231
01:06:59,560 --> 01:07:02,560
Speaker 3: because she clearly is into Sanjay and she's like a

1232
01:07:02,640 --> 01:07:03,760
Speaker 3: beautiful local woman.

1233
01:07:03,880 --> 01:07:07,920
Speaker 2: I guess, yeah, beautiful local woman that maybe I think

1234
01:07:07,920 --> 01:07:09,800
Speaker 2: maybe we're supposed to assume that she's kind of a

1235
01:07:09,880 --> 01:07:14,080
Speaker 2: bad Girl definitely a threat to their romance, but ultimately

1236
01:07:14,120 --> 01:07:15,720
Speaker 2: we're gonna find out she has a heart of gold,

1237
01:07:15,840 --> 01:07:20,440
Speaker 2: even if she's kind of like doomed to die. Like

1238
01:07:20,680 --> 01:07:21,920
Speaker 2: like like other characters in the.

1239
01:07:21,920 --> 01:07:25,360
Speaker 3: Film, general spooky do ins are afoot. There's Suman has

1240
01:07:25,400 --> 01:07:27,600
Speaker 3: more freak outs when looking at the portraits. And then

1241
01:07:27,640 --> 01:07:29,160
Speaker 3: there is the blood shower scene.

1242
01:07:29,880 --> 01:07:31,880
Speaker 2: Yes, I love this because, first of all, it's the

1243
01:07:31,920 --> 01:07:34,200
Speaker 2: middle of the night time to take a shower, but

1244
01:07:34,600 --> 01:07:38,440
Speaker 2: Suman also is gonna take that shower in a swimsuit,

1245
01:07:39,200 --> 01:07:41,640
Speaker 2: and you just know the way that the cameras zooming

1246
01:07:41,720 --> 01:07:44,080
Speaker 2: in on the showerhead. I'm like that that water's turned

1247
01:07:44,080 --> 01:07:46,720
Speaker 2: into blood. There's no way that water's not turned into blood.

1248
01:07:47,040 --> 01:07:48,600
Speaker 2: And of course the water turns to blood.

1249
01:07:48,720 --> 01:07:51,200
Speaker 3: I knew exactly what was coming, but it's it's a

1250
01:07:51,240 --> 01:07:55,280
Speaker 3: pretty fun scene nonetheless. So yeah, she's like then in

1251
01:07:55,400 --> 01:07:58,040
Speaker 3: the tub, screaming, covered in blood in the swimsuit, and

1252
01:07:58,120 --> 01:08:01,320
Speaker 3: then Anan and Sanjay run into the rescue and they

1253
01:08:01,440 --> 01:08:03,760
Speaker 3: like lift her out of the blood tub by her

1254
01:08:03,920 --> 01:08:06,080
Speaker 3: arms and legs and then put her directly on the

1255
01:08:06,160 --> 01:08:08,560
Speaker 3: bed and I was thinking, oh, no, you're getting blood

1256
01:08:08,600 --> 01:08:09,480
Speaker 3: all over the blanket.

1257
01:08:10,000 --> 01:08:11,520
Speaker 2: That's a white blanket, y'all. Come on.

1258
01:08:12,080 --> 01:08:14,720
Speaker 3: But then Dirgen comes in to explain that the blood

1259
01:08:14,760 --> 01:08:17,559
Speaker 3: tub incident proves the curse is real. You know, you've

1260
01:08:17,560 --> 01:08:20,040
Speaker 3: got to take it seriously now, and I think he says,

1261
01:08:20,120 --> 01:08:23,160
Speaker 3: you've got to talk to the locals to find out

1262
01:08:23,200 --> 01:08:25,160
Speaker 3: more about the curse. And then intermission.

1263
01:08:26,280 --> 01:08:29,439
Speaker 2: Yeah, so setting up basically, like if the story game

1264
01:08:29,479 --> 01:08:32,680
Speaker 2: of Arkham Harr or something, the research portion of the

1265
01:08:32,760 --> 01:08:34,519
Speaker 2: adventure where you just got to go around talking to

1266
01:08:34,560 --> 01:08:37,040
Speaker 2: people and find out how the ancient evil works.

1267
01:08:37,560 --> 01:08:39,760
Speaker 3: So that comes into play right after the intermission. But

1268
01:08:39,880 --> 01:08:43,519
Speaker 3: it leads to a lover's quarrel between Suman and Sanjay

1269
01:08:43,960 --> 01:08:45,920
Speaker 3: because Sanjay goes to talk to one of the local

1270
01:08:46,000 --> 01:08:48,200
Speaker 3: villagers and who does he pick to talk to, Well,

1271
01:08:48,240 --> 01:08:51,120
Speaker 3: it just happens to be what's her name Beaeshley, the

1272
01:08:51,160 --> 01:08:53,360
Speaker 3: beautiful woman who was bathing in the river earlier, and

1273
01:08:53,439 --> 01:08:56,200
Speaker 3: she's bathing in the river again and he's like, hey,

1274
01:08:56,320 --> 01:08:57,880
Speaker 3: I need to, you know, talk to you about a

1275
01:08:57,960 --> 01:09:00,160
Speaker 3: curse and she's like, Sanjay, I love you Mary me.

1276
01:09:01,800 --> 01:09:05,120
Speaker 2: He dead knows no his way around. You're supposed to

1277
01:09:05,200 --> 01:09:09,080
Speaker 2: go talk to the haunted drunk guy old drunk guy

1278
01:09:09,160 --> 01:09:11,360
Speaker 2: in the village. He's the one who has the secret

1279
01:09:11,439 --> 01:09:14,799
Speaker 2: knowledge to share. But now he goes to the attractive

1280
01:09:14,880 --> 01:09:17,400
Speaker 2: lady from the water that is also offering him drinks.

1281
01:09:17,680 --> 01:09:20,000
Speaker 3: Yeah, so she takes him back to her house, gives

1282
01:09:20,040 --> 01:09:22,559
Speaker 3: him some kind of alcoholic beverage, and then he watches

1283
01:09:22,600 --> 01:09:25,200
Speaker 3: her dance in front of a fire. He's clearly being

1284
01:09:25,640 --> 01:09:30,120
Speaker 3: romantically tempted. Suman is jealous and heartbroken, and she sings

1285
01:09:30,240 --> 01:09:33,360
Speaker 3: there's another musical number. She sings a forlorn song. I

1286
01:09:33,479 --> 01:09:36,719
Speaker 3: was wondering, did you detect this song? Maybe cutting off

1287
01:09:36,880 --> 01:09:39,600
Speaker 3: before the song was finished or I don't know. It

1288
01:09:39,880 --> 01:09:42,400
Speaker 3: seemed like something was missing. It ended rather abruptly.

1289
01:09:43,200 --> 01:09:44,640
Speaker 2: I didn't notice that I'd have to go back and

1290
01:09:44,680 --> 01:09:44,960
Speaker 2: the look.

1291
01:09:45,920 --> 01:09:48,840
Speaker 3: Maybe I'm wrong, But anyway, after Sanjay finds out some

1292
01:09:48,920 --> 01:09:52,000
Speaker 3: more lore from the villagers, he returns to Suman and

1293
01:09:52,280 --> 01:09:53,360
Speaker 3: they reconcile.

1294
01:09:53,800 --> 01:09:55,519
Speaker 2: Their love is tested, but remain strong.

1295
01:09:55,960 --> 01:09:59,160
Speaker 3: Yes. Now, later that night, Suman is sleeping and then

1296
01:09:59,200 --> 01:10:02,559
Speaker 3: there's a cat scare, Like literally, somebody throws a cat

1297
01:10:02,640 --> 01:10:06,000
Speaker 3: at her, just jumps on her bed, and she like

1298
01:10:06,080 --> 01:10:09,240
Speaker 3: screams and wakes up, and she's in a kind of oh,

1299
01:10:09,439 --> 01:10:12,160
Speaker 3: kind of a daze wandering around, and then she ends

1300
01:10:12,240 --> 01:10:15,639
Speaker 3: up stabbing the portrait of Hariman Singh that's on the wall,

1301
01:10:16,760 --> 01:10:19,360
Speaker 3: and after this, Anon realizes he looks up at the

1302
01:10:19,400 --> 01:10:22,720
Speaker 3: wall and realizes she stabbed through the wall behind the

1303
01:10:22,800 --> 01:10:26,479
Speaker 3: portrait as well. And then Anon and Sanjay bust down

1304
01:10:26,560 --> 01:10:29,720
Speaker 3: the wall. They investigate the secret passageway within. This is

1305
01:10:29,800 --> 01:10:31,599
Speaker 3: the scene where I mentioned there's some really cool kind

1306
01:10:31,600 --> 01:10:36,200
Speaker 3: of rubbery synth music. There's some cool bits, like Anon

1307
01:10:36,320 --> 01:10:38,840
Speaker 3: gets a snake attack to the neck. A snake wraps

1308
01:10:38,840 --> 01:10:41,200
Speaker 3: itself around his neck and they have to fight it off.

1309
01:10:42,200 --> 01:10:45,240
Speaker 3: But then they find the trishula. They find the trident

1310
01:10:45,360 --> 01:10:47,960
Speaker 3: of Shiva on top of the trunk, wrapped in chains.

1311
01:10:48,439 --> 01:10:51,280
Speaker 3: They bust it open. Inside they find the severed head,

1312
01:10:51,720 --> 01:10:54,080
Speaker 3: and Sanjay concludes that it must be the head of

1313
01:10:54,200 --> 01:10:57,360
Speaker 3: some brave soldier and it must be there out of respect.

1314
01:10:58,080 --> 01:11:00,280
Speaker 2: Oh, Sanjay couldn't be more wrong.

1315
01:11:00,439 --> 01:11:03,720
Speaker 3: Bad decision. Yeah, But then there's like, so the woodcutter

1316
01:11:03,840 --> 01:11:07,240
Speaker 3: from earlier is looking on and he decides he sees

1317
01:11:07,320 --> 01:11:09,640
Speaker 3: the box and he thinks it's full of treasure and

1318
01:11:09,760 --> 01:11:12,439
Speaker 3: he wants treasure. So he comes back in the middle

1319
01:11:12,479 --> 01:11:15,599
Speaker 3: of the night to get treasure, and instead the head

1320
01:11:15,720 --> 01:11:19,200
Speaker 3: hypnotizes him and turns his eyes into ping pong balls

1321
01:11:19,280 --> 01:11:20,439
Speaker 3: and makes him attack people.

1322
01:11:21,320 --> 01:11:24,960
Speaker 2: The ping pong bong eyes were pretty hilarious, and I

1323
01:11:25,040 --> 01:11:27,599
Speaker 2: don't think they were meant to be hilarious, but they're

1324
01:11:27,640 --> 01:11:30,200
Speaker 2: also out of keeping with what they did with other

1325
01:11:30,280 --> 01:11:32,720
Speaker 2: people's possessed eyes, Like they did some sort of like

1326
01:11:32,880 --> 01:11:35,800
Speaker 2: contact effect I guess with everyone else, but this guy

1327
01:11:35,840 --> 01:11:40,400
Speaker 2: got ping pong eyes. Yeah, and it's a questionable choice.

1328
01:11:40,840 --> 01:11:44,759
Speaker 3: Like Rupauli's eyes were creepy looking, they like they turned white,

1329
01:11:44,840 --> 01:11:47,280
Speaker 3: but they were you know, yeah, so those were different.

1330
01:11:47,720 --> 01:11:49,840
Speaker 3: He just has like they're like bulging and they look

1331
01:11:49,920 --> 01:11:50,519
Speaker 3: like plastic.

1332
01:11:51,160 --> 01:11:52,680
Speaker 2: Yeah, they're like, we couldn't get a hold of our

1333
01:11:52,720 --> 01:11:56,680
Speaker 2: contact guy for today. What else we got? What's the

1334
01:11:56,960 --> 01:11:58,960
Speaker 2: backup effect? It's ping pong balls.

1335
01:11:59,439 --> 01:12:02,839
Speaker 3: This leads to a great chase scene that I loved.

1336
01:12:03,000 --> 01:12:05,680
Speaker 3: So it's the It's like a horse drawn carriage with

1337
01:12:05,840 --> 01:12:09,679
Speaker 3: driven by the woodcutter carrying the wizard head in the carriage,

1338
01:12:10,280 --> 01:12:13,240
Speaker 3: riding through the forest at night, and then Sanjay in

1339
01:12:13,280 --> 01:12:16,040
Speaker 3: an ond in a red convertible chasing after it. So

1340
01:12:16,240 --> 01:12:17,920
Speaker 3: it's machine versus horse.

1341
01:12:19,320 --> 01:12:23,799
Speaker 2: It's great. But then they are also supernatural environmental effects

1342
01:12:23,840 --> 01:12:24,920
Speaker 2: that come into play as well.

1343
01:12:25,120 --> 01:12:27,040
Speaker 3: That's all right, So like the Sorcerer's head I think

1344
01:12:27,160 --> 01:12:30,080
Speaker 3: causes a tree to fall down and block their path

1345
01:12:30,160 --> 01:12:32,599
Speaker 3: as they pursue the head, so they can't keep up

1346
01:12:32,600 --> 01:12:36,840
Speaker 3: with it. Meanwhile, something happens in here where Dershon hangs

1347
01:12:36,920 --> 01:12:39,200
Speaker 3: the trisula up on the chandelier.

1348
01:12:39,720 --> 01:12:41,800
Speaker 2: Yeah, unsure why. He's kind of like, I got to

1349
01:12:41,880 --> 01:12:44,760
Speaker 2: hide this away for later so that it can play

1350
01:12:44,800 --> 01:12:48,240
Speaker 2: a dynamic role in the showdown or something. Yeah, it's

1351
01:12:48,240 --> 01:12:49,760
Speaker 2: the only logic that makes sense.

1352
01:12:50,120 --> 01:12:53,800
Speaker 3: So the hypnotized woodcutter like digs up Samri's body. I

1353
01:12:53,840 --> 01:12:55,640
Speaker 3: guess he knows where it is because the head has

1354
01:12:55,720 --> 01:12:58,400
Speaker 3: hypnotized him. Then he grabs the head. He puts the

1355
01:12:58,479 --> 01:13:01,040
Speaker 3: head on the body. He poked himself with a dagger

1356
01:13:01,160 --> 01:13:03,360
Speaker 3: and bleeds on the next stump, and this kind of

1357
01:13:03,479 --> 01:13:06,599
Speaker 3: glues the head back on and then Sammary wakes up

1358
01:13:06,800 --> 01:13:09,000
Speaker 3: and now it's it's clubber and time.

1359
01:13:09,520 --> 01:13:13,080
Speaker 2: That's right, it is on. Body and head are back

1360
01:13:13,160 --> 01:13:16,759
Speaker 2: together again. His body. At this point, like I alluded

1361
01:13:16,760 --> 01:13:20,920
Speaker 2: to earlier, it's the evil is just completely manifest. It's

1362
01:13:21,040 --> 01:13:27,479
Speaker 2: it's now this hairy demonic sasquatch Frankenstein creature that that

1363
01:13:27,680 --> 01:13:30,679
Speaker 2: ultimately really works. Like the way I'm describing it makes

1364
01:13:30,720 --> 01:13:33,280
Speaker 2: it sound like it's kind of patchwork and and maybe

1365
01:13:33,479 --> 01:13:35,240
Speaker 2: you know, can't decide what it wants to be. But no,

1366
01:13:35,479 --> 01:13:39,040
Speaker 2: whatever it is, it is, it totally succeeds as being that.

1367
01:13:39,320 --> 01:13:42,000
Speaker 2: It's just this, This is evil incarnate.

1368
01:13:42,360 --> 01:13:49,599
Speaker 3: Samary is wickedness and malevol I'd say he's bad. Hey, everybody,

1369
01:13:49,640 --> 01:13:51,360
Speaker 3: we just had to take a quick break. But we

1370
01:13:51,880 --> 01:13:54,120
Speaker 3: we're back now. So if we sound different, that's why.

1371
01:13:54,240 --> 01:13:58,040
Speaker 3: But we we're finishing the episode. So uh yeah, the

1372
01:13:58,080 --> 01:14:00,360
Speaker 3: plot is kind of in monster mode right now. This

1373
01:14:00,479 --> 01:14:04,720
Speaker 3: is when the Frankenstein starts shambling around, grunting, looming and

1374
01:14:04,880 --> 01:14:05,479
Speaker 3: killing people.

1375
01:14:06,080 --> 01:14:10,880
Speaker 2: Yeah, Samri has returned, has full body again, has great

1376
01:14:11,000 --> 01:14:13,840
Speaker 2: lights and effects and scynth backing him up. So it's

1377
01:14:13,880 --> 01:14:17,360
Speaker 2: just terrifying anytime he's on the screen. He's not interested

1378
01:14:17,400 --> 01:14:20,240
Speaker 2: in reasoning with anybody or negotiating. He is here too

1379
01:14:20,640 --> 01:14:23,600
Speaker 2: in dynasties. He doesn't care what has happened in the

1380
01:14:23,680 --> 01:14:27,400
Speaker 2: world over the past few centuries. He has a pretty

1381
01:14:27,400 --> 01:14:28,439
Speaker 2: straightforward agenda.

1382
01:14:28,920 --> 01:14:30,960
Speaker 3: Oh I didn't even think about that, Like he hasn't

1383
01:14:31,000 --> 01:14:33,000
Speaker 3: been around, so he doesn't know about the moon landing

1384
01:14:33,160 --> 01:14:39,400
Speaker 3: or anything. Okay, so yeah, he's killing people. Unfortunately, he

1385
01:14:39,520 --> 01:14:42,600
Speaker 3: makes Sopna jump off the roof of the palace to

1386
01:14:42,720 --> 01:14:46,479
Speaker 3: her death. Bummer. I like Sopna. And then Anon is

1387
01:14:46,680 --> 01:14:49,519
Speaker 3: obviously very upset about this, so he like runs up

1388
01:14:49,560 --> 01:14:51,320
Speaker 3: to the roof of the palace to fight him, but

1389
01:14:51,439 --> 01:14:55,360
Speaker 3: Samri is gone. And from here there is a blood

1390
01:14:55,439 --> 01:14:59,280
Speaker 3: sacrifice subplot. The villagers decide they want to do a

1391
01:14:59,400 --> 01:15:03,040
Speaker 3: human sack refice of Sanjay and Suman in order to

1392
01:15:03,240 --> 01:15:06,840
Speaker 3: appease the monster and save themselves. And here we get

1393
01:15:06,920 --> 01:15:10,519
Speaker 3: a human sacrifice musical number, which I liked quite a lot.

1394
01:15:10,880 --> 01:15:13,080
Speaker 2: Yeah, this one is good. I believe they're they're looking

1395
01:15:13,120 --> 01:15:17,200
Speaker 2: to sacrifice to Klie and it looks it looks like

1396
01:15:17,320 --> 01:15:20,920
Speaker 2: our heroes might be might be doomed once more. But

1397
01:15:21,680 --> 01:15:23,879
Speaker 2: someone comes to save them right in the naked time.

1398
01:15:23,960 --> 01:15:26,800
Speaker 3: Right, so they're like tied up awaiting death, and you know,

1399
01:15:26,880 --> 01:15:30,120
Speaker 3: the drums kick in and then suddenly here's this lady

1400
01:15:30,200 --> 01:15:33,439
Speaker 3: from earlier. The one is her name Beachley, I think

1401
01:15:35,360 --> 01:15:37,160
Speaker 3: the one who was in love with Sanjay, like he

1402
01:15:37,240 --> 01:15:40,160
Speaker 3: went to her house earlier. And she's dancing around singing

1403
01:15:40,240 --> 01:15:43,720
Speaker 3: this very jolly, upbeat song about how the man she

1404
01:15:43,920 --> 01:15:46,760
Speaker 3: loved is unfortunately going to have his blood spilled and

1405
01:15:46,840 --> 01:15:50,400
Speaker 3: she doesn't want that. And then there's a string of reversals.

1406
01:15:50,560 --> 01:15:52,720
Speaker 3: So first of all, she comes to save the day

1407
01:15:53,240 --> 01:15:57,400
Speaker 3: because she cuts Sonjay free and says she loves him

1408
01:15:57,439 --> 01:15:59,320
Speaker 3: and tries to let him free, but then he gets

1409
01:15:59,360 --> 01:16:02,160
Speaker 3: caught by the mind. But then her brother, who is

1410
01:16:02,240 --> 01:16:05,000
Speaker 3: sort of the guy leading the mob, says that he

1411
01:16:05,120 --> 01:16:08,479
Speaker 3: will still kill Suman unless Sanjay beats him in a

1412
01:16:08,560 --> 01:16:11,160
Speaker 3: sword fight. And then they get out there they're fencing

1413
01:16:11,240 --> 01:16:14,439
Speaker 3: swords and they fence for a bit. The sword fight

1414
01:16:14,600 --> 01:16:16,840
Speaker 3: is okay, it's not really on the level of an

1415
01:16:16,880 --> 01:16:21,240
Speaker 3: On's martial arts scenes. And then at the end of

1416
01:16:21,280 --> 01:16:24,760
Speaker 3: the sword fight, Sanjay sort of wins, but the brother

1417
01:16:24,960 --> 01:16:28,479
Speaker 3: tries to throw a dagger at Sanjay's back to kill him,

1418
01:16:28,840 --> 01:16:32,200
Speaker 3: but yet again, the sister who loves Sanjay intervenes. She

1419
01:16:32,320 --> 01:16:35,240
Speaker 3: steps in front of the dagger and takes it for

1420
01:16:35,439 --> 01:16:36,040
Speaker 3: him and dies.

1421
01:16:36,160 --> 01:16:38,920
Speaker 2: Oh no, yeah, bad girl with a good heart redeems

1422
01:16:38,960 --> 01:16:41,960
Speaker 2: herself through death. I also like that the sword fight,

1423
01:16:42,080 --> 01:16:44,040
Speaker 2: like you say, is very different from anything we've seen

1424
01:16:44,080 --> 01:16:46,720
Speaker 2: in the film up to that point, and it feels like,

1425
01:16:47,200 --> 01:16:50,000
Speaker 2: once again, this is the little something for everybody going

1426
01:16:50,080 --> 01:16:52,160
Speaker 2: on where it's like we need to have a traditional

1427
01:16:52,200 --> 01:16:55,280
Speaker 2: swashbuckling act in the picture, and this is the place

1428
01:16:55,360 --> 01:16:55,960
Speaker 2: to situate it.

1429
01:16:56,520 --> 01:17:00,320
Speaker 3: Yeah, it makes sense. So anyway, Sanjay and Suman run away,

1430
01:17:00,439 --> 01:17:03,120
Speaker 3: the mob searches after them. You know, there's kind of

1431
01:17:03,120 --> 01:17:05,160
Speaker 3: a lot of running around and hiding and chasing in

1432
01:17:05,240 --> 01:17:08,320
Speaker 3: the woods, and then here comes another Anon fight. He

1433
01:17:08,640 --> 01:17:12,400
Speaker 3: is Anon is captured by the leader of the mob

1434
01:17:13,120 --> 01:17:17,800
Speaker 3: and then they there's some fighting and On lets out

1435
01:17:17,840 --> 01:17:20,600
Speaker 3: some really weird martial arts moves in this fight, Like

1436
01:17:20,960 --> 01:17:23,120
Speaker 3: there's one where I think he steps on a guy's head.

1437
01:17:23,200 --> 01:17:23,960
Speaker 3: It's kind of gross.

1438
01:17:24,280 --> 01:17:26,960
Speaker 2: Well, he's just completely powered up with vengeance at this point,

1439
01:17:27,080 --> 01:17:28,400
Speaker 2: like he's more lethal.

1440
01:17:28,160 --> 01:17:31,760
Speaker 3: Than ever, right, and so he's yeah, he's angered by

1441
01:17:31,880 --> 01:17:35,839
Speaker 3: the death of his wife. He is motivated by defending

1442
01:17:35,880 --> 01:17:39,840
Speaker 3: his friends. So he's fighting super hard and there's there's

1443
01:17:39,880 --> 01:17:42,800
Speaker 3: a really awesome moment where the leader of the mob

1444
01:17:42,920 --> 01:17:45,599
Speaker 3: tries to stab him with a dagger, but Anon grabs

1445
01:17:45,680 --> 01:17:48,160
Speaker 3: the dagger by the blade and disarms him.

1446
01:17:48,720 --> 01:17:50,639
Speaker 2: Excellent. He just cannot be stopped at this point.

1447
01:17:51,080 --> 01:17:55,760
Speaker 3: But unfortunately, even though Anon prevails in this fight, there

1448
01:17:55,840 --> 01:17:58,920
Speaker 3: is immediately more peril. So Sanjay and Suman are chased

1449
01:17:58,960 --> 01:18:02,160
Speaker 3: in the dark by some the demon, and Anon comes

1450
01:18:02,200 --> 01:18:04,840
Speaker 3: to rescue them. He ends up giving his life so

1451
01:18:05,000 --> 01:18:07,479
Speaker 3: that they can escape, just like he said he would earlier.

1452
01:18:07,640 --> 01:18:11,560
Speaker 3: So a true friend to the end. SAMRII kind of

1453
01:18:11,880 --> 01:18:14,320
Speaker 3: strangles him, I think, and then his eyes turn white.

1454
01:18:15,120 --> 01:18:18,200
Speaker 2: So now it's just our two lovers pursued by the

1455
01:18:18,280 --> 01:18:19,080
Speaker 2: demon Somri.

1456
01:18:19,600 --> 01:18:23,120
Speaker 3: But an earlier character returns, so Suman's dad is back

1457
01:18:23,200 --> 01:18:26,439
Speaker 3: on the scene and he shows up. He's like better

1458
01:18:26,479 --> 01:18:29,679
Speaker 3: from my heart attack. Now there is only one person

1459
01:18:29,720 --> 01:18:32,680
Speaker 3: who can beat Samri, and that is Lord Shiva. So

1460
01:18:32,840 --> 01:18:36,719
Speaker 3: cut to another musical number. Now Ron Deer is singing

1461
01:18:36,960 --> 01:18:40,200
Speaker 3: to an altar of Shiva, or I think they were

1462
01:18:40,240 --> 01:18:44,120
Speaker 3: also calling this god Shiv Shankar, which I'm not sure,

1463
01:18:44,160 --> 01:18:47,240
Speaker 3: but maybe like a manifestation of Shiva, maybe like Shiva

1464
01:18:47,320 --> 01:18:49,880
Speaker 3: the destroyer of evil. Perhaps I'm not sure.

1465
01:18:50,360 --> 01:18:53,120
Speaker 2: At any rate, this seems like the right call. Get

1466
01:18:53,160 --> 01:18:56,160
Speaker 2: Shiva and on this that then we're dealing with a

1467
01:18:56,200 --> 01:18:58,880
Speaker 2: pretty powerful supernatural evil force here. We're going to need

1468
01:18:58,960 --> 01:18:59,960
Speaker 2: just a little bit of help.

1469
01:19:00,200 --> 01:19:02,560
Speaker 3: Right, praying for the God's help, and we get cutaways

1470
01:19:02,600 --> 01:19:05,560
Speaker 3: to the surviving characters, but then also cutaways to like

1471
01:19:05,640 --> 01:19:08,599
Speaker 3: a bloody sheet which is presumably covering up the dead

1472
01:19:08,640 --> 01:19:10,160
Speaker 3: body of an odd Yeah.

1473
01:19:10,360 --> 01:19:12,880
Speaker 2: Yeah, and I have to say on paper, are just

1474
01:19:13,040 --> 01:19:17,160
Speaker 2: us describing this. You might question whether it makes sense

1475
01:19:17,200 --> 01:19:19,320
Speaker 2: to throw in a religious musical number this late in

1476
01:19:19,400 --> 01:19:22,519
Speaker 2: the film, building up to the final showdown with the monster.

1477
01:19:22,920 --> 01:19:25,240
Speaker 2: But I thought it it would work. I thought it

1478
01:19:25,320 --> 01:19:28,200
Speaker 2: really worked because the musical number itself has this way

1479
01:19:28,240 --> 01:19:29,840
Speaker 2: of kind of revving up and has this kind of

1480
01:19:29,880 --> 01:19:33,000
Speaker 2: rhythmic quality to it kind of works the people in

1481
01:19:33,080 --> 01:19:36,120
Speaker 2: the scene into a frenzy, you know, to unleash our

1482
01:19:36,160 --> 01:19:38,720
Speaker 2: would be monster slayers, and you feel a little pumped up.

1483
01:19:38,720 --> 01:19:41,080
Speaker 2: You're like, let's do this, let's let's finish this up,

1484
01:19:41,200 --> 01:19:42,320
Speaker 2: Let's let's get somri.

1485
01:19:43,080 --> 01:19:46,600
Speaker 3: Absolutely, I mean as I said again, I mean this unironically.

1486
01:19:46,760 --> 01:19:50,519
Speaker 3: I fully encourage more filmmakers to make horror movies that

1487
01:19:50,640 --> 01:19:53,599
Speaker 3: are seriously scary but also have musical numbers. I think

1488
01:19:53,640 --> 01:19:54,479
Speaker 3: that's a great idea.

1489
01:19:54,800 --> 01:19:57,040
Speaker 2: Also, it's probably a good way to overpower some of

1490
01:19:57,120 --> 01:20:00,120
Speaker 2: our traditional Western movie villains like Jason vorhees how he

1491
01:20:00,200 --> 01:20:03,600
Speaker 2: can react to full blown musical numbers. He's not going

1492
01:20:03,640 --> 01:20:05,880
Speaker 2: to know it's him. This is better than like psychic powers.

1493
01:20:06,200 --> 01:20:10,240
Speaker 3: I would love that. Yeah, fully, like a religious musical

1494
01:20:10,400 --> 01:20:14,639
Speaker 3: number before somebody goes up against Jason, where they're they're

1495
01:20:14,760 --> 01:20:17,000
Speaker 3: like invoking the power of Christ.

1496
01:20:18,640 --> 01:20:20,640
Speaker 2: You know, we had something kind of similar without the

1497
01:20:20,760 --> 01:20:25,040
Speaker 2: music in the Devil Rides out right. They basically have

1498
01:20:25,120 --> 01:20:28,560
Speaker 2: a Sunday school lesson before the big confrontation, just to

1499
01:20:28,800 --> 01:20:29,559
Speaker 2: set everything right.

1500
01:20:30,120 --> 01:20:32,080
Speaker 3: We should mention by the way that the lyrics of

1501
01:20:32,240 --> 01:20:35,519
Speaker 3: the song point out the like remind the audience that

1502
01:20:35,640 --> 01:20:39,320
Speaker 3: the statue of Shiva is missing its trident, and this

1503
01:20:39,479 --> 01:20:42,400
Speaker 3: gives Sonjay the idea that the way to destroy the

1504
01:20:42,479 --> 01:20:45,800
Speaker 3: monster is to use the trisula, which is which again

1505
01:20:46,000 --> 01:20:49,040
Speaker 3: was hidden. It was in the hidden passage behind the

1506
01:20:49,120 --> 01:20:51,400
Speaker 3: painting on top of the trunk that had the head

1507
01:20:51,439 --> 01:20:54,320
Speaker 3: in it. And so Sanjay and Suman go looking for

1508
01:20:54,520 --> 01:20:57,479
Speaker 3: the trident. So there's a bunch of more scares. They're

1509
01:20:57,560 --> 01:21:00,479
Speaker 3: like looking around in the palace and they are screamed

1510
01:21:00,479 --> 01:21:04,439
Speaker 3: at by taxidermied animals and Samar appears. He chases them around.

1511
01:21:06,439 --> 01:21:09,880
Speaker 3: He is about to in the very last moment, hypnotize

1512
01:21:09,920 --> 01:21:14,200
Speaker 3: and vamp Souman. But then Sanjay sees that the trisula

1513
01:21:14,400 --> 01:21:17,360
Speaker 3: is hidden in the chandelier and he wields it. He

1514
01:21:17,520 --> 01:21:20,920
Speaker 3: drives Samri into his coffin and they trap him inside

1515
01:21:20,960 --> 01:21:23,080
Speaker 3: with the power of the trident, and then the villagers

1516
01:21:23,160 --> 01:21:26,040
Speaker 3: come collect the coffin, take it to the village square.

1517
01:21:26,520 --> 01:21:29,360
Speaker 3: Then they tie Samary to the steak and burn him

1518
01:21:29,520 --> 01:21:32,599
Speaker 3: huge burning fire and the demon is vanquished.

1519
01:21:33,280 --> 01:21:36,160
Speaker 2: Yeah, they just they burn him up, and Dad's there

1520
01:21:36,240 --> 01:21:39,360
Speaker 2: pumping his fist in the air. The monster burns. Yeah.

1521
01:21:40,000 --> 01:21:43,840
Speaker 3: In the end, Rondvier accepts Sanjay because now the threat

1522
01:21:44,600 --> 01:21:48,080
Speaker 3: to his daughter's life has passed. So he says, I'm

1523
01:21:48,120 --> 01:21:50,400
Speaker 3: proud of you, son. You destroyed the curse that haunted

1524
01:21:50,439 --> 01:21:52,840
Speaker 3: my family for two hundred years. And then this is

1525
01:21:52,880 --> 01:21:55,200
Speaker 3: one of those cases where he says something that he

1526
01:21:55,400 --> 01:21:57,880
Speaker 3: just said again but in English, so he says in English,

1527
01:21:57,920 --> 01:21:59,360
Speaker 3: I'm really proud of you, my son.

1528
01:22:00,040 --> 01:22:02,439
Speaker 2: Such it's not such a sweet ending, you know. Granted,

1529
01:22:02,439 --> 01:22:04,800
Speaker 2: a lot of people died to get us here, but

1530
01:22:05,800 --> 01:22:10,320
Speaker 2: it's getting back into like just the straight family melodrama

1531
01:22:10,400 --> 01:22:13,000
Speaker 2: aspect of it. It's a nice place to end things.

1532
01:22:13,360 --> 01:22:16,000
Speaker 3: Yeah, so Sonjay and Suman, we see them married and

1533
01:22:16,080 --> 01:22:18,559
Speaker 3: then it ends very abruptly. I was kind of thinking

1534
01:22:18,640 --> 01:22:22,439
Speaker 3: there would be an ending music number, you know, but

1535
01:22:22,560 --> 01:22:24,960
Speaker 3: there was not, or am I remembering right? Was there?

1536
01:22:25,000 --> 01:22:25,800
Speaker 3: I don't think there was.

1537
01:22:26,360 --> 01:22:29,080
Speaker 2: I don't think there was a full on musical number

1538
01:22:29,120 --> 01:22:30,400
Speaker 2: to end it out. It was just kind of like

1539
01:22:30,479 --> 01:22:33,920
Speaker 2: we end on more of a traditional note where Good

1540
01:22:34,040 --> 01:22:37,080
Speaker 2: is victorious and they kind of get a nice snapshot

1541
01:22:37,160 --> 01:22:38,760
Speaker 2: of everyone together and then we close it out.

1542
01:22:39,400 --> 01:22:43,640
Speaker 3: So all in all, I greatly enjoyed Piranhamunder Again. A

1543
01:22:44,080 --> 01:22:49,320
Speaker 3: great love story, great evil wizard, good good family, melodrama

1544
01:22:49,400 --> 01:22:54,360
Speaker 3: and stuff. Love the musical numbers, comedy segments awful, martial

1545
01:22:54,479 --> 01:22:55,160
Speaker 3: arts awesome.

1546
01:22:55,760 --> 01:22:58,240
Speaker 2: Yeah, and then of course the monster is amazing. So

1547
01:22:59,560 --> 01:23:01,400
Speaker 2: all in all, I feel like this was a pretty

1548
01:23:01,520 --> 01:23:06,240
Speaker 2: solid entry into Bollywood horror. So who knows, May I

1549
01:23:06,280 --> 01:23:08,679
Speaker 2: have to do some more research. Maybe at some point

1550
01:23:08,760 --> 01:23:10,799
Speaker 2: in the future we'll come back and do another Ramsey

1551
01:23:10,840 --> 01:23:14,519
Speaker 2: Brothers film. There's also blinking on his name at the moment.

1552
01:23:14,560 --> 01:23:17,720
Speaker 2: But there was another like top tier competitor to them

1553
01:23:17,760 --> 01:23:19,840
Speaker 2: that put out a number of movies as well, and

1554
01:23:19,920 --> 01:23:23,880
Speaker 2: some of those looked interesting, so who knows it's either way.

1555
01:23:23,920 --> 01:23:26,679
Speaker 2: I'm glad we got to dive in to the cinema

1556
01:23:26,760 --> 01:23:29,559
Speaker 2: of India here on Weird House Cinema. And once again,

1557
01:23:29,600 --> 01:23:31,760
Speaker 2: if you want to get into into some of this,

1558
01:23:32,080 --> 01:23:34,360
Speaker 2: I have to point out there's an Instagram account for

1559
01:23:34,520 --> 01:23:37,559
Speaker 2: Bollywood crypt and that was one of the first places

1560
01:23:37,600 --> 01:23:39,519
Speaker 2: I started looking around. I found that account, and I

1561
01:23:39,600 --> 01:23:42,960
Speaker 2: was seeing what this account was sharing related to Bollywood

1562
01:23:43,000 --> 01:23:45,360
Speaker 2: horror and kind of getting a taste for what seemed

1563
01:23:45,360 --> 01:23:48,880
Speaker 2: to be important. And then from there I found out

1564
01:23:48,880 --> 01:23:52,679
Speaker 2: about this awesome Blu ray set that's out from Mondo Macabro.

1565
01:23:54,040 --> 01:23:56,200
Speaker 2: I recommend checking that out. And if you're in Atlanta,

1566
01:23:56,280 --> 01:23:58,360
Speaker 2: like I said, you can go to videodrom and rent

1567
01:23:58,560 --> 01:24:01,200
Speaker 2: some of these bad boys. They just got them on

1568
01:24:01,240 --> 01:24:03,840
Speaker 2: the shelf. All right, we're going to close the book here,

1569
01:24:03,920 --> 01:24:06,040
Speaker 2: but we'd love to hear from you out there again.

1570
01:24:06,200 --> 01:24:11,320
Speaker 2: If you have experience with Bollywood cinema in general, Bollywood

1571
01:24:11,400 --> 01:24:16,960
Speaker 2: horror specifically, or you know particular memories or things to

1572
01:24:17,040 --> 01:24:19,920
Speaker 2: share about Piranha Mandir, let us know we would love

1573
01:24:19,960 --> 01:24:22,840
Speaker 2: to hear from you. In the meantime, we'll also remind

1574
01:24:22,920 --> 01:24:25,479
Speaker 2: you that stuff to Blow Your Mind is primarily a

1575
01:24:25,600 --> 01:24:28,320
Speaker 2: science podcast with core episodes on Tuesdays and Thursdays. On

1576
01:24:28,400 --> 01:24:31,240
Speaker 2: Mondays we do listener mail. On Wednesdays we do short

1577
01:24:31,280 --> 01:24:34,040
Speaker 2: form artifactor or monster Fact episode, and on Fridays we

1578
01:24:34,080 --> 01:24:36,000
Speaker 2: set aside most serious concerns to just talk about a

1579
01:24:36,000 --> 01:24:38,240
Speaker 2: weird film on Weird House Cinema. You can look us

1580
01:24:38,320 --> 01:24:40,280
Speaker 2: up on letterbox best L E T T E R

1581
01:24:40,320 --> 01:24:42,880
Speaker 2: box d dot com. We have an account there called

1582
01:24:42,960 --> 01:24:44,479
Speaker 2: weird House and we have a nice list of all

1583
01:24:44,560 --> 01:24:47,800
Speaker 2: the movies we've covered over the years. You can pull

1584
01:24:47,840 --> 01:24:49,960
Speaker 2: them up and you can also organize them anyway. This

1585
01:24:50,000 --> 01:24:51,960
Speaker 2: is how I was able to really quickly see what

1586
01:24:52,080 --> 01:24:54,320
Speaker 2: is the longest film we've ever covered and what is

1587
01:24:54,360 --> 01:24:58,400
Speaker 2: the shortest? Without a doubt, Piranha Mandir is the longest,

1588
01:24:58,640 --> 01:25:00,840
Speaker 2: but only beats out Blade by twenty minutes.

1589
01:25:01,160 --> 01:25:05,519
Speaker 3: All right, huge thanks to our excellent audio producer JJ Posway.

1590
01:25:05,840 --> 01:25:07,400
Speaker 3: If you would like to get in touch with us

1591
01:25:07,479 --> 01:25:10,160
Speaker 3: with feedback on this episode or any other, to suggest

1592
01:25:10,200 --> 01:25:12,240
Speaker 3: a topic for the future, or just to say hello,

1593
01:25:12,600 --> 01:25:15,800
Speaker 3: you can email us at contact at stuff to Blow

1594
01:25:15,880 --> 01:25:16,960
Speaker 3: your Mind dot com.

1595
01:25:23,960 --> 01:25:26,880
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio for

1596
01:25:27,000 --> 01:25:29,760
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1597
01:25:29,920 --> 01:25:32,679
Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.