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Speaker 1: Hey, you, welcome to Weird House Cinema. Rewind, this is

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Speaker 1: Rob Lamb. You've caught us on our fall Break week,

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Speaker 1: but since fall Break is in October, we have loaded

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Speaker 1: it up with October episodes from previous years. This episode

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Speaker 1: is going to be one that originally published ten twenty

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Speaker 1: five twenty twenty four. It is our discussion of nineteen

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Speaker 1: sixties House of Usher. So yes, another fabulous Corman Poe

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Speaker 1: feature starring a platinum blonde Vincent Price. Let's jump right in.

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

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

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Speaker 3: And I am Joe McCormick. And October continues, so we

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Speaker 3: are still bringing you Halloween themed episodes of Weird House

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Speaker 3: Cinema and also core episodes of Stuff to Blow Your

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Speaker 3: Mind throughout this month. Today we are covering the nineteen

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Speaker 3: sixty Roger Corman adaptation of Edgar Allan Poe's short story

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Speaker 3: The Fall of the House of Usher, starring who else,

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Speaker 3: it's Vincent Price. This movie is sometimes billed with the

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Speaker 3: full name of the story as its title, The Fall

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Speaker 3: of the House of Usher, but sometimes you'll see it

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Speaker 3: shortened to just House of Usher. In fact, I've seen

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Speaker 3: it the latter format more times. I think it looks

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Speaker 3: like that in all the classic Posters.

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Speaker 1: Yeah, this is another one of those cases where there

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Speaker 1: have been enough adaptations of the original post story in

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Speaker 1: question that you should just go ahead and throw nineteen

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Speaker 1: sixty on there whenever you're looking it up anywhere, just

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Speaker 1: to be sure. Especially this is complicated since you don't

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Speaker 1: know how this film is actually going to be titled

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Speaker 1: in a given release.

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Speaker 3: So this is one of a series of films from

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Speaker 3: the nineteen sixties that had three production elements in common.

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Speaker 3: The first element is a script adapted from the works

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Speaker 3: of Edgar Allan Poe, conveniently in the public domain by

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Speaker 3: this time. The second element is it was directed by

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Speaker 3: Drive in double feature god Roger Corman. And the third

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Speaker 3: feature is that the movie starred the peerless Vincent Price,

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Speaker 3: who I love the way Price fits into these Edgar

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Speaker 3: Allan Poe characters. He just gets in there so perfectly.

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Speaker 3: I was trying to think of an analogy, and what

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Speaker 3: came to mind is it's like when you drop one

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Speaker 3: of the game pieces into a Connect four set, you know,

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Speaker 3: it just falls into place with this happy little click.

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Speaker 1: Yeah, yeah, well it certainly clicks, that's for sure.

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Speaker 3: So anyway, it was a three way collaboration, the Poe

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Speaker 3: Price Corman collaboration that was so nice. They did it

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Speaker 3: like seven or eight times, depending on how much of

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Speaker 3: a stickler you are for accurate story credits. And we'll

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Speaker 3: come back to the Corman post cycle later in the

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Speaker 3: Connections part of this episode. But I wanted to start

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Speaker 3: today by mentioning that we've cover one of these movies

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Speaker 3: on the show before for a previous Halloween season Weird House,

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Speaker 3: and that previous movie was The Mask of the Red

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Speaker 3: Death from nineteen sixty four, a lavish satanic plague tale

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Speaker 3: featuring Vincent Price as the wicked corruptor of innocence Prince Prospero.

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Speaker 3: And I love Mask of the Red Death. If you

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Speaker 3: go back and listen to that episode. I'm sure I'm

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Speaker 3: just running out of positive things to say about it,

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Speaker 3: but I still think about it all the time. I

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Speaker 3: love the atmosphere of good and evil as almost physically

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Speaker 3: embodied powers. I love the use of extravagant, brightly colored

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Speaker 3: masquerade costumes set against this gray world. It creates this

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Speaker 3: jewels on bone visual texture that I find so pleasing.

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Speaker 3: Of course, I love Vincent Price, and I also love

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Speaker 3: how Mask contrasts with Roger Corman's previous B movie work,

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Speaker 3: stuff like Attack of the Crab, Monsters, Not of This

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Speaker 3: Earth and It Conquered the World, all movies that I

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Speaker 3: love and we have talked about lovingly on the show

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Speaker 3: many times. But all of these previous movies I think

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Speaker 3: you could say are self consciously schlock, Like Corman sort

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Speaker 3: of knew he was making trash, but he was trying

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Speaker 3: to make like fun, scrappy, sort of intelligent trash. Mask

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Speaker 3: of the Red Death, on the other hand, I think

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Speaker 3: is not schlock in the same way. You can argue

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Speaker 3: that it has some subtle bits of self parody, but

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Speaker 3: ultimately I think Mask is a very successful classic Gothic

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Speaker 3: horror film when taken straightforwardly and it's made with real finesse,

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Speaker 3: and then sort of on top of that, once you

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Speaker 3: accept it at that level, you can unlock maybe second

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Speaker 3: and third levels of pleasure by watching it with a

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Speaker 3: more ironic lens.

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Speaker 1: It is a very pleasurable film, and it is a

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Speaker 1: prestige Roger Corman picture, And I would say Ultimately, if

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Speaker 1: you're too good for Mask of the Red Death, then

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Speaker 1: we probably don't have much in common. We probably I

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Speaker 1: don't have even like a groundwork upon which to build

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Speaker 1: out this friendship.

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Speaker 3: Yeah, but so anyway, I love to Mask of the

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Speaker 3: Red Death so much. I wanted to come back to

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Speaker 3: one of the Corman Poe Price movies this October, and

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Speaker 3: I decided we should watch the one that started it all,

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Speaker 3: the first of these collaborations. So here we are with

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Speaker 3: House of Usher from nineteen sixty. So as a point

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Speaker 3: of comparison, I think it's interesting how scaled back this

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Speaker 3: movie feels compared to Mask. Mask has a big cast,

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Speaker 3: a lot of extras, lots of location changes, you know,

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Speaker 3: interior exterior. It has a lot of location changes within.

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Speaker 3: The main castle, has bright colors, interesting costumes, big sets,

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Speaker 3: and light effects that in some cases even border on psychedelic.

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Speaker 3: You could say. Usher, by contrast, I think feels like

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Speaker 3: a really good bottle episode of a TV show. The

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Speaker 3: cast is small, there are only four characters, really, three

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Speaker 3: principal characters in sort of a gruel boiling butler. The

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Speaker 3: setting is mostly confined to the interior of one house.

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Speaker 3: There's nothing too crazy visually, at least not until around

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Speaker 3: the climax. Then toward the end there are some sights

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Speaker 3: and sounds that get kind of weird. But in general,

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Speaker 3: I would just say that Usher contains less flambuoyant original

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Speaker 3: creativity than Mask, and it is a more disciplined attempt

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Speaker 3: to capture the tone and plot of the original Pose story.

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Speaker 3: But this is by no means a dig A lot

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Speaker 3: of people cite Usher as their favorite of the Corman

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Speaker 3: Price collaborations, and I think I can see why. Like

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Speaker 3: the wildness of Mask is a bit more my speed,

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Speaker 3: but Usher has a really good script and a chillingly

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Speaker 3: effective and ambiguous performance by Price, who has bleach blonde hair.

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Speaker 3: By the way, where else are you going to get that?

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Speaker 1: Yeah, that's right, We'll come back to the look of

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Speaker 1: the Price in this picture. That alone makes it stand out.

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Speaker 1: But I agree this is a picture that in many

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Speaker 1: ways makes it a smaller picture, but a smaller picture

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Speaker 1: that's really allowed to breathe, you know, like the fewer

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Speaker 1: elements involved all managed to sort of build up their

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Speaker 1: own energy that by the end of the picture you

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Speaker 1: don't feel like you've been slided at all. That being said,

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Speaker 1: I think it is fair to say this is maybe

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Speaker 1: a movie in which not as much happens compared to

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Speaker 1: other pictures, and you've got to be on board with that.

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Speaker 1: Like I watched this film zonked Out on an airplane,

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Speaker 1: and it was the perfect perfect picture for that sort

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Speaker 1: of setting. You know. I like a nice slow film

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Speaker 1: like this. You can breathe in all the sights and sounds,

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Speaker 1: especially the sites more so than the sounds here. But

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Speaker 1: then also some strong performances in here as well. But

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Speaker 1: like I say, if you want something that's really snappy,

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Speaker 1: this is maybe not yet you've got to be on

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Speaker 1: its wavelength. But if you're on its wavelength, a film

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Speaker 1: like this is perfect.

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Speaker 3: Oh this is a gloomy, languid, classic gothic haunted mansion story. Yeah, well,

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Speaker 3: wait a minute now that I say haunted mansion. Actually

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Speaker 3: I think a great thing. Maybe we can discuss the

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Speaker 3: themes more when we get into the plot section, but

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Speaker 3: I think this movie is interesting in that you could

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Speaker 3: legitimately ask, at least for most of the runtime, whether

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Speaker 3: there's actually anything supernatural happening or not, or whether it's

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Speaker 3: all just kind of the the consequences of Vincent Price's

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Speaker 3: character Roderick and his delusional behavior.

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Speaker 1: Yeah, if nothing out as else, it is a film

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Speaker 1: haunted by multi generational human evil. Yeah, and it definitely

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Speaker 1: ruminates on that.

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Speaker 3: All right, we usually do an elevator pitch. I'll try

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Speaker 3: to give a straightforward plot set up here. Philip Winthrop

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Speaker 3: travels to the desolate and decomposing Usher Estate to visit

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Speaker 3: his fiance, Madeleine, whom he courted and became engaged to

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Speaker 3: during their time together in Boston. So she's gone ahead

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Speaker 3: of him back to the Usher Estate and he's coming

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Speaker 3: to beat her. But when he arrives, Philip discovers that

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Speaker 3: Madeleine is in ill health and she is under the

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Speaker 3: constant control of her strange and morose brother, Roderick played

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Speaker 3: by Vincent Price. Over time, Philip begins to doubt what

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Speaker 3: he's being told by Roderick and the household butler. Is

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Speaker 3: Madeline really sick or is she having her will to

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Speaker 3: live sapped by Roderick's psychic manipulations? Or is there something

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Speaker 3: more sinister and ghostly operating underneath it all?

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Speaker 1: We'll find out, all right, Let's go ahead and listen

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Speaker 1: to a little trailer audio for House of Usher.

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Speaker 4: Go take her man, now let me go.

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Speaker 5: Only the incomparable genius of Edgar Allan Poe could knit

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Speaker 5: them so closely together, the burning passions of the purest

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Speaker 5: of loves, the deadly passions of the madly blurian.

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Speaker 1: Hope when you're leaving this house with me tomorrow, Oh

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Speaker 1: I God. For hundreds of years, evil thoughts and evil deeds.

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Speaker 5: Have been committed within these walls.

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Speaker 1: The house itself is evil.

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Speaker 4: Now they all are ashes. This is monstrous.

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Speaker 1: It waits for me because very soon I shall be dead.

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Speaker 4: Oh, Madeline, come away with me. Now where is she?

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Speaker 4: You buried your own sister alive?

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Speaker 5: I did, but.

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Speaker 1: She's dead now.

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Speaker 5: The master hand of the maccab creates its masterpiece.

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Speaker 1: All right. If you want to watch House of USh,

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Speaker 1: or follow the House of USh, or whatever you want

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Speaker 1: to call this nineteen sixty film, there are a couple

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Speaker 1: of ways to do it. If you're in the UK,

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Speaker 1: I believe you have access to the Beautiful Arrow blu Ray.

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Speaker 1: If you're in the US, I think you can find

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Speaker 1: it in the Vincent Price Collection box set from Shout Factory.

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Speaker 1: Off the top of my head, I'm not sure about

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Speaker 1: the current production status of either of those, But that's

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Speaker 1: kind of the beauty of physical media is that even

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Speaker 1: if it's out of print, there's a good chance you'll

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Speaker 1: be able to find a copy out there. And if

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Speaker 1: you have a rental store in your neighborhood in your city,

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Speaker 1: like Atlanta's own Videodrome, for example, you can just go

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Speaker 1: and rent it. And that's so beautifully simple.

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Speaker 3: I have that Vincent Price box set from Shout Factory,

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Speaker 3: and that is how I watched this movie. It's also

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Speaker 3: how I watched Pitt in the Pendulum. It's got Mask

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Speaker 3: of the Red Death in there, and it's also got

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Speaker 3: some other fun stuff like Witchfinder General and The Abominable

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Speaker 3: Doctor Five. So highly recommend that collection. It's very solid.

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Speaker 1: Yeah, the witch Finder General film is said to be

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Speaker 1: another great Price performance.

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Speaker 3: That one I've only watched on mute while doing other things,

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Speaker 3: but it looked interesting, so maybe I'll have to go

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Speaker 3: back and turn the sound on sometime. It's by a

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Speaker 3: filmmaker who we watched another movie by him. It was

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Speaker 3: the guy who made that movie The Sorcerers, about the

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Speaker 3: people like the old people who can get into the

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Speaker 3: young guy's brain.

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Speaker 1: Yeah, short lived. Director died tragically young, but showed so

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Speaker 1: much promise. Anyway, again, I watched this film. No doubt

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Speaker 1: is Roger Corman intended on an iPhone in an airplane.

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Speaker 1: But you know there are fewer distractions in some ways

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Speaker 1: when watching a film in that format, so you know,

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Speaker 1: sometimes it's the right time for that sort of treatment.

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Speaker 3: Roger wouldn't hate on you for that. He don't love

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Speaker 3: it all right.

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Speaker 1: Well, since we're already talking about him, Yeah, let's get

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Speaker 1: into the people behind this film, starting with Roger Corman,

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Speaker 1: the director of the producer who lived nineteen twenty six

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Speaker 1: through twenty twenty four. We've talked about him numerous times

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Speaker 1: on the show, so we're going to try not to

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Speaker 1: repeat too much of that instead sort of frame this

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Speaker 1: within his output and within the history of weird House

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Speaker 1: cinema shows. I believe this is our fifth Corman directed

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Speaker 1: motion picture, but he also served as producer on some

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Speaker 1: of the films we've covered. This, of course, is one

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Speaker 1: of the films loosely classified as being part of the

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Speaker 1: Pose cycle. In fact, again it is the film that

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Speaker 1: kicked off the entire cycle. Usher came on the heels

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Speaker 1: of nineteen fifty nine's Eye Moobster, The Wasp Woman, and

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Speaker 1: Bucket of Blood. Those all directed by Corman, and it

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Speaker 1: was one of four Corman directed films that came out

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Speaker 1: in nineteen sixty, along with Ski Troop Attack, The Little

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Speaker 1: Shop of Horrors, and Last Woman on Earth.

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Speaker 3: Well, I know Little Shop of Horrors. Now I'm curious

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Speaker 3: about Ski Troop Attack. Yeah, it's like real stands the

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Speaker 3: test of time, I bet, yeah.

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Speaker 1: I mean, that's the thing about Corman's output is, you know,

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Speaker 1: certain genre films have become a legendary of his, and

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Speaker 1: you know, you instantly think of them when you think

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Speaker 1: of Roger Corman. But for every one or two of those,

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Speaker 1: there are three or four more in other genres, often

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Speaker 1: that have just kind of fallen through the cracks. For many,

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Speaker 1: except for the Roger Corman completest, I suppose. Anyway, the

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Speaker 1: Corman post cycle is generally considered to run eight films.

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Speaker 1: You have Usher, then you have sixty ones, The Pit

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Speaker 1: in the Pendulum, sixty two's The Premature Burial and Tales

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Speaker 1: of Terror, sixty threes the Raven and the Haunted Palace,

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Speaker 1: and then sixty four is The Mask of the Red

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Speaker 1: Death and the Tomb of Like. Of course, we should

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Speaker 1: note that The Haunted Palace is actually based on a

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Speaker 1: Lovecraft story and not a post story. It's just the

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Speaker 1: title that ties into Poe's work. All of them Starvincent Price,

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Speaker 1: except for the premature Burial.

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Speaker 3: Yeah, so I've seen three of these movies at this point.

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Speaker 3: I've seen Usher, the Pit and the Pendulum, and Mask

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Speaker 3: of the Red Death Mask is my favorite easily, though.

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Speaker 3: All three of them I think are quite good, And

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Speaker 3: maybe we'll have to come back to the Pit and

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Speaker 3: the Pendulum sometime. Price's performance in that movie is a

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Speaker 3: lot more unhinged and off the wall than in Usher.

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Speaker 3: But let's see the premature Burial and Tales of Terror.

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Speaker 3: I think, is that one movie or two movies? That's

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Speaker 3: two Tales of Terror is supposed to be anthology?

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Speaker 1: Yeah, I mean that's the thing. These are Corman films,

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Speaker 1: so sometimes there's two coming out a year, and those

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Speaker 1: are inevitably not the only pictures he directed. It certainly

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Speaker 1: not the only pictures he produced during a given year.

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Speaker 3: Yeah, and then The Raven is interesting because that one

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Speaker 3: is supposed to be a comedy. I have not seen it.

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Speaker 3: I'm a little curious how that works. I feel like

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Speaker 3: I would be less interested in an overt comedy with

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Speaker 3: Price and po themes, but who knows, maybe it's great.

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Speaker 1: Well, I mean, you have to acknowledge that that Vincent

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Speaker 1: Price is terrific in everything. Oh so his kind of

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Speaker 1: comedic timing is solid, so he may be able to

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Speaker 1: deliver there. And you know, you do have some really

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Speaker 1: good Roger Corman directed dark comedies such as Bucket of

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Speaker 1: Blood or Little Shop of Horrors and so forth.

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Speaker 3: Yeah, And frankly, I would say all of the movies

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Speaker 3: of his I've seen that I've liked have some sense

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Speaker 3: of humor about them. Probably House of Usher has the

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Speaker 3: least humor of any of them, but he's always got

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Speaker 3: a little bit of eye twinkling going on.

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Speaker 1: Yeah, we of course have to drive home that this

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Speaker 1: is an adaptation of the work of Edgar Allan Poe,

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Speaker 1: who lived eighteen oh nine through eighteen forty nine, American writer, poet, editor,

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Speaker 1: and literary critic, best remembered for his spooky poems and stories,

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Speaker 1: not only in the United State dates but internationally.

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Speaker 3: Oh yeah, well, so I guess Rob is referring to there.

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Speaker 3: There was an article that we were sharing off Mike

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Speaker 3: that I read by a writer named winn Bin from

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Speaker 3: I think it was just published a couple of days ago,

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Speaker 3: at least published October of this year, twenty twenty four,

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Speaker 3: about the popularity of Edgar Allan Poe among a lot

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Speaker 3: of the writers and poets of Vietnam in the first

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Speaker 3: half of the twentieth century. I think that's interesting, like

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Speaker 3: what authors really resonate in different language cultures around the world,

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Speaker 3: But apparently, like, yeah, a lot of Vietnamese writers in

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Speaker 3: I think it would be around the nineteen twenties and

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Speaker 3: thirties or so really really thought that Poe was just

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Speaker 3: like the best of the American writers.

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Speaker 1: Yeah. And of course that reminds me a bit of

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Speaker 1: a Japanese author that we've discussed in the show before,

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Speaker 1: because we've discussed adaptations of his work in cinema, Edugawa Rampo,

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Speaker 1: whose name is an allusion to the name Edgar Allan Pope.

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Speaker 3: And he was a writer of detective stories.

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Speaker 1: Wasn't Yeah, yeah, a lot of detective stories and the

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Speaker 1: mysteries thriller is that sort of thing. Yeah, all right,

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Speaker 1: So that's the source material. But then the screenplay, the

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Speaker 1: adaptation comes to us via another name that we've talked

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Speaker 1: about on the show before the legendary Richard Matheson, who

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Speaker 1: lived nineteen twenty six through twenty thirteen. American writer who's

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Speaker 1: best remembered, I would say as the author of the

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Speaker 1: excellent nineteen fifty four novel I Am Legend, upon which

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Speaker 1: three films have been based. One even had Vincent Price

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Speaker 1: in it.

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Speaker 3: I've been thinking we should do that on the show.

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Speaker 3: By the way, Yeah, I think it's called Last Man

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Speaker 3: on Earth.

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Speaker 1: Yes, yeah, and of course the others being I Am

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Speaker 1: Legend with Will Smith and then The Omega Man with

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Speaker 1: Chuck Huston.

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Speaker 3: The Vincent Price one is it's got some really good

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Speaker 3: things about it, and I really enjoyed. I sampled that

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Speaker 3: one in some music that I was working on. It

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Speaker 3: works out pretty good.

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Speaker 1: The episodes where we discussed Richard Matheson previously there was

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Speaker 1: the film The Devil Rides Out. He did the adaptation

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Speaker 1: on that as well, adapting a weekly novel, and then

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Speaker 1: we talked about the film adaptation The Incredible Shrinking Man.

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Speaker 1: That's an adaptation by Matheson of one of Matheson's own books.

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Speaker 1: If I remember correctly.

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Speaker 3: This guy snuck up on me. I didn't realize it

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Speaker 3: first but I think Matheson has written the scripts for

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Speaker 3: a lot of the best movies or the movies with

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Speaker 3: the best scripts that we've done from the mid twentieth century.

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Speaker 1: Yeah, I mean he was excellent, excellent writer, worked on

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Speaker 1: a lot of shows like the original Twilight Zone, Night Gallery,

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Speaker 1: Alfred Hitchcock Hour, and had a big influence on an

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Speaker 1: entire generation of horror and terror scribes, especially including Stephen King.

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Speaker 1: Stephen King has frequently cited Richard Matheson as an influence.

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Speaker 3: The Incredible Shrinking Man I remember in particular, had a

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Speaker 3: really good script.

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Speaker 1: Yeah, that's a great picture. If you haven't seen that,

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Speaker 1: when you haven't listened to our episode on that, go

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Speaker 1: back to one or the other. Don't be afraid of

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Speaker 1: that kind of goofy title and perhaps you know comedic

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Speaker 1: idea of a tiny man inside a house being attacked

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Speaker 1: by his cat, because it's much more than that. It's

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Speaker 1: actually a pretty deep flip. Yeah, all right, onto the cast,

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Speaker 1: and this is going to be a pretty short cast.

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Speaker 1: There are really only four people in this for the

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Speaker 1: most part. A few extras here and there, but really

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Speaker 1: only four people. The lead of course, again being Vincent

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Speaker 1: Price playing Roderick Usher Price lived nineteen eleven through nineteen

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Speaker 1: ninety three. We've talked about him plenty of times on

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Speaker 1: the show because we keep coming back to Vincent Price

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Speaker 1: films and you never know exactly what you're going to

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Speaker 1: get from him. He was active on screen from the

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Speaker 1: late thirties to the early nineties, and you know, there's

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Speaker 1: a certain vision, a certain version of Vincent Price that

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Speaker 1: I think is solidified in the horror canon that instantly

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Speaker 1: comes to mind when you think about him, and a

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Speaker 1: lot of it is defined by his look, Right, what

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Speaker 1: do you think of? You think of like that dark

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Speaker 1: or certainly in later life gray and even white, slicked

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Speaker 1: back hair. You think about that sharpened mustache, an optional

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Speaker 1: goatee add on, and then of course he's going to

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Speaker 1: be wearing some sort of a suit, maybe an optional

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Speaker 1: Dracula cape, that sort of thing.

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Speaker 3: If this makes any sense. He's somebody who really I

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Speaker 3: think has the face of a character actor, a kind

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Speaker 3: of interesting, memorable face you would see pop up playing

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Speaker 3: like second build characters with a little bit of personality

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Speaker 3: to them, but instead he more often ended up playing

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Speaker 3: leading male characters or leading villains, and it works pretty

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Speaker 3: well that way, because he can sort of manipulate his

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Speaker 3: interesting look with just sort of an inversion of the

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Speaker 3: slant of his eyebrows to look quite sympathetic or quite evil.

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Speaker 1: Absolutely, and as we were alluding to earlier, this film

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Speaker 1: also gives us a rather different looking Price because he's

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Speaker 1: clean shaven and he has bleached blonde hair. You might

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Speaker 1: want to call him Peroxide Price or platinum blonde Price,

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Speaker 1: you pick, but either way, a very distinctive look. It

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Speaker 1: reminds me a bit of in the movie The Ten Commandments.

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Speaker 1: He shows up in that, and he's clean shaven there

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Speaker 1: as well, which can throw you off if you're used

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Speaker 1: to Vincent Price with facial hair. But add in the

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Speaker 1: screaming blonde hair in this picture, and yeah, he looks

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Speaker 1: sufficiently different. It ends up influencing your entire reception of

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Speaker 1: the character.

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Speaker 3: I think I was thinking about Barbie's hair color, so

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Speaker 3: I was thinking, like Malibu Price.

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Speaker 1: Yeah, yeah, yeah, I think that's fair. At this point

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Speaker 1: in his career, Price had already taken on the mantle

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Speaker 1: of horror star. I think by having already done House

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Speaker 1: of Wax, which we've talked about in the show, that's

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Speaker 1: one that really elevated him in the horror genre. But

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Speaker 1: then also he'd already done fifty eight's The Fly, fifty

403
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Speaker 1: nine's House on Haunted Hill, and Return of the Fly,

404
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Speaker 1: as well as The Tingler and The bat oh Man.

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Speaker 3: There's so many good Price roles in horror movies that

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Speaker 3: sometimes you can't hold them all in your head. I

407
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Speaker 3: was getting ready for this episode and I didn't even

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Speaker 3: think of The Tingler until you just said it.

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Speaker 1: Yeah, that's a fun film as well. Yeah, but this

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Speaker 1: is a really fun performance beyond just the different appearance

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Speaker 1: for Vincent Price, because he's this character is firm but

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Speaker 1: very fragile. You know. It's an interesting performance of emotional extremes,

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Speaker 1: as we'll get into, Like there's a really strong will,

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Speaker 1: but not if you're raising your voice or touching his

415
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Speaker 1: garments or not taking your shoes off in the house

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Speaker 1: it is. It is worth stressing that the House of

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Speaker 1: Usher is a shoes off household, and you need to

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Speaker 1: be prepared for that.

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Speaker 3: Yeah, Roderick Usher is a character who I like how

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Speaker 3: you us. This character is like you. For a long

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Speaker 3: time in the movie, you're not clear if he's friend

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Speaker 3: or foe. How dangerous he is what's going on, and

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Speaker 3: even when it does become clear in some ways that

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Speaker 3: he is dangerous and to be feared, at the same

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Speaker 3: time he is so weak he could He's just easily

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Speaker 3: physically bested, and yet that doesn't solve the problem.

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Speaker 1: Yeah, he's almost like a living ghost in that regard. Yeah,

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Speaker 1: all right, so that's the that's the lead. But then

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Speaker 1: second billing, we have the personable Mark Damon as Philip Winthrop.

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Speaker 1: This is the the individual that is engaged to the

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Speaker 1: sister of Roderick Usher.

432
00:24:38,200 --> 00:24:41,560
Speaker 3: By normal accounting, this is the protagonist, right, He is

433
00:24:41,680 --> 00:24:44,040
Speaker 3: the good guy of the movie. Though I think you

434
00:24:44,080 --> 00:24:47,120
Speaker 3: could still say that the main character is Vincent Prices

435
00:24:47,280 --> 00:24:50,120
Speaker 3: as Roderick Usher, but that's you know, villain first framing.

436
00:24:51,000 --> 00:24:53,000
Speaker 3: This is the supposed good guy.

437
00:24:53,640 --> 00:24:57,440
Speaker 1: Yeah, yeah, personable Mark Damon. We previously talked about him

438
00:24:57,440 --> 00:25:00,359
Speaker 1: because he was in Mario Bava's Black Sabbath from nineteen

439
00:25:00,400 --> 00:25:03,679
Speaker 1: sixty three, so that would be in the future of

440
00:25:03,720 --> 00:25:07,280
Speaker 1: the Mark Damon that we're seeing here. This was apparently

441
00:25:07,280 --> 00:25:10,359
Speaker 1: a big, big film for him. He actually won a

442
00:25:10,400 --> 00:25:15,359
Speaker 1: Golden Globe for Most Promising Newcomer for this film, and

443
00:25:15,440 --> 00:25:17,840
Speaker 1: it was a familiar face in motion pictures during the

444
00:25:17,840 --> 00:25:23,479
Speaker 1: fifties and sixties, but he's probably best remembered for Usher

445
00:25:23,640 --> 00:25:26,240
Speaker 1: and Sabbath, at least as far as acting goes. But then,

446
00:25:26,440 --> 00:25:28,600
Speaker 1: as we discussed previously, went on to be a really

447
00:25:28,840 --> 00:25:31,960
Speaker 1: major producer in Hollywood and had his hands in some

448
00:25:32,040 --> 00:25:35,560
Speaker 1: major pictures of note, including dust Boat or dust Boot

449
00:25:35,640 --> 00:25:38,720
Speaker 1: if you will, The never Ending Story, Clan of the

450
00:25:38,760 --> 00:25:41,480
Speaker 1: Cave Bear nine and a half week short circuit Flight

451
00:25:41,480 --> 00:25:46,840
Speaker 1: of the Navigator, The Lost Boys Beast Master two, as

452
00:25:46,880 --> 00:25:50,800
Speaker 1: well as a pair of Universal Soldier sequels, among other pictures.

453
00:25:51,359 --> 00:25:54,280
Speaker 1: When we last talked about him, he was still alive,

454
00:25:54,760 --> 00:25:57,960
Speaker 1: but he actually passed away over the summer at the

455
00:25:58,000 --> 00:26:02,200
Speaker 1: age of ninety one. He also, I have to mention again,

456
00:26:02,200 --> 00:26:04,760
Speaker 1: he has one writing credit, and it's The Devil's Wedding

457
00:26:04,880 --> 00:26:09,440
Speaker 1: Night from nineteen seventy three. This is essentially a Dracula

458
00:26:09,520 --> 00:26:15,480
Speaker 1: movie despite the title. Oh and Joe Tomato apparently did

459
00:26:15,480 --> 00:26:18,600
Speaker 1: some uncredited directing on it, but it's said to be

460
00:26:18,600 --> 00:26:20,200
Speaker 1: pretty good. Actually I haven't.

461
00:26:19,960 --> 00:26:24,760
Speaker 3: Seen it, okay, Yeah. Well, Also, in case you don't

462
00:26:24,800 --> 00:26:26,520
Speaker 3: know what we're talking about when we keep calling him

463
00:26:26,560 --> 00:26:31,240
Speaker 3: the personable, that's from the trailer for Mario Bava's Black Sabbath.

464
00:26:31,800 --> 00:26:35,320
Speaker 3: So the announcers like, ooh, the chilling Boris Karloff, the

465
00:26:35,400 --> 00:26:36,919
Speaker 3: personable Mark Damon.

466
00:26:38,760 --> 00:26:42,360
Speaker 1: You know, maybe Mark Damon is fine in this. I'm

467
00:26:42,359 --> 00:26:44,720
Speaker 1: not criticizing his work at all. It's more the sort

468
00:26:44,760 --> 00:26:48,639
Speaker 1: of role this is. I guess I don't find it

469
00:26:48,680 --> 00:26:51,200
Speaker 1: as personable as I would find like a Vincent Price

470
00:26:51,320 --> 00:26:55,639
Speaker 1: character or you know, a Peter Lorie character and so forth.

471
00:26:56,880 --> 00:26:59,280
Speaker 1: And then also I'm wondering, if you have to say

472
00:26:59,320 --> 00:27:02,480
Speaker 1: the personable, an't name it, how personable is this performer?

473
00:27:02,880 --> 00:27:05,320
Speaker 3: It makes it. It makes him seem less personable. It's

474
00:27:05,400 --> 00:27:09,800
Speaker 3: like introducing somebody by calling them trustworthy. Immediately you start

475
00:27:09,800 --> 00:27:11,120
Speaker 3: wondering should I trust them?

476
00:27:11,520 --> 00:27:14,560
Speaker 1: Yeah, but he is good in this. I mean he's

477
00:27:14,600 --> 00:27:17,480
Speaker 1: he is the straight man in this story where he's

478
00:27:17,600 --> 00:27:21,439
Speaker 1: encountering like nothing but strange happenings and strange surroundings. So

479
00:27:21,520 --> 00:27:25,280
Speaker 1: he's our grounding, our he's the point at the center

480
00:27:25,320 --> 00:27:27,720
Speaker 1: of the dial, and so he's essential and it is

481
00:27:27,800 --> 00:27:31,760
Speaker 1: essential that you have, you know, a square jowed, handsome

482
00:27:32,040 --> 00:27:35,479
Speaker 1: young actor playing that role, really, especially during this time period.

483
00:27:35,680 --> 00:27:38,399
Speaker 3: I agree, I think he does fine. I'm not trying

484
00:27:38,720 --> 00:27:40,760
Speaker 3: to slam him at all. I think he's good in

485
00:27:40,760 --> 00:27:45,040
Speaker 3: this role. He is somewhat upstaged by the more interesting performances,

486
00:27:45,119 --> 00:27:48,000
Speaker 3: like especially of course by Vincent Price. But then I

487
00:27:48,040 --> 00:27:50,960
Speaker 3: would say also later in the film, upstage somewhat by

488
00:27:50,960 --> 00:27:53,800
Speaker 3: the performance of Murna Fay, he as Madeline Usher, who

489
00:27:53,960 --> 00:27:55,760
Speaker 3: gets weirder as the movie goes on.

490
00:27:56,520 --> 00:27:59,560
Speaker 1: Yeah. Yeah, mRNA Fay, who lived nineteen thirty three through

491
00:27:59,640 --> 00:28:04,199
Speaker 1: nineteen seventy three, is the third build out of like

492
00:28:04,320 --> 00:28:07,920
Speaker 1: four actors in this picture, and she is quite good.

493
00:28:07,960 --> 00:28:10,880
Speaker 1: She's I think best remembered probably for this film role

494
00:28:10,920 --> 00:28:13,399
Speaker 1: as well as various television works she did. She did

495
00:28:13,400 --> 00:28:15,479
Speaker 1: a lot of TV work in addition to a handful

496
00:28:15,520 --> 00:28:18,959
Speaker 1: of films like Disney Zoro. She was on that series.

497
00:28:19,080 --> 00:28:21,800
Speaker 1: She was on Father of the Bride in the early sixties.

498
00:28:22,400 --> 00:28:25,280
Speaker 1: But yeah, yeah, it's a good role that it first

499
00:28:25,320 --> 00:28:28,520
Speaker 1: maybe seems like a little subdued, and you might think

500
00:28:28,520 --> 00:28:31,120
Speaker 1: that she's not going to have much agency, but stick

501
00:28:31,200 --> 00:28:33,679
Speaker 1: with it because she does get she does get to

502
00:28:33,680 --> 00:28:34,920
Speaker 1: get some work in towards the end.

503
00:28:34,800 --> 00:28:37,480
Speaker 3: Of the picture, it gets kind of wild. I was

504
00:28:37,520 --> 00:28:40,960
Speaker 3: reading a biography of her somewhere online that mentioned she

505
00:28:41,040 --> 00:28:42,680
Speaker 3: did an interview I think it was in the year

506
00:28:42,760 --> 00:28:45,320
Speaker 3: nineteen sixties, so the same year as House of Usher,

507
00:28:46,200 --> 00:28:48,880
Speaker 3: where she was sort of complaining that she had been

508
00:28:48,920 --> 00:28:53,000
Speaker 3: typecast in like moral upstanding roles. You know, she was always, oh,

509
00:28:53,120 --> 00:28:55,640
Speaker 3: you know, tisk, tisk, I am very good, I am

510
00:28:55,760 --> 00:28:59,280
Speaker 3: very low abiding, and she wanted to explore, you know,

511
00:28:59,480 --> 00:29:03,080
Speaker 3: a more complicated, maybe darker roles, and well I think

512
00:29:03,120 --> 00:29:04,200
Speaker 3: she got her wish.

513
00:29:04,560 --> 00:29:04,840
Speaker 1: Yes.

514
00:29:06,440 --> 00:29:09,000
Speaker 3: She also apparently went on to be in an episode

515
00:29:09,040 --> 00:29:13,040
Speaker 3: of the TV anthology series Thriller, hosted by Boris Karloff.

516
00:29:13,080 --> 00:29:16,360
Speaker 3: The episode is called Girl with the Secret, which is

517
00:29:16,400 --> 00:29:19,000
Speaker 3: about her, which is about a character who has to

518
00:29:19,560 --> 00:29:22,320
Speaker 3: keep a secret about her husband and is being blackmailed

519
00:29:22,360 --> 00:29:24,720
Speaker 3: by someone. I haven't seen this episode of the show,

520
00:29:24,720 --> 00:29:28,320
Speaker 3: but I pulled up like the IMDb listing for the episode,

521
00:29:28,760 --> 00:29:31,880
Speaker 3: and the screenshot from it is somebody driving a car

522
00:29:32,040 --> 00:29:36,200
Speaker 3: making this incredibly creepy grinning face. So now I'm tempted

523
00:29:36,240 --> 00:29:36,840
Speaker 3: to look it up.

524
00:29:37,520 --> 00:29:39,800
Speaker 1: Yeah, yeah, I haven't watched a lot of Thriller, but

525
00:29:41,080 --> 00:29:43,760
Speaker 1: it's said to be a very good horror anthology series.

526
00:29:44,280 --> 00:29:47,239
Speaker 3: I've seen at least one episode of Thriller. It was

527
00:29:47,560 --> 00:29:51,760
Speaker 3: an adaptation of the Roberty Howard story Pigeons from Hell,

528
00:29:51,880 --> 00:29:53,680
Speaker 3: which is like a ghost horror story.

529
00:29:54,040 --> 00:29:57,160
Speaker 1: Oh yeah, probably one of the rare non conan kin

530
00:29:57,720 --> 00:30:01,760
Speaker 1: adaptations of his work. I pretty much The fourth and

531
00:30:01,880 --> 00:30:05,920
Speaker 1: final human in this picture is the butler Bristol, played

532
00:30:05,960 --> 00:30:10,800
Speaker 1: by American actor and Atlanta native Harry Ellerby, who lived

533
00:30:10,880 --> 00:30:14,720
Speaker 1: nineteen oh one through nineteen ninety two. He worked extensively

534
00:30:14,720 --> 00:30:17,440
Speaker 1: in stage, screen, and TV, with his screen and TV

535
00:30:17,520 --> 00:30:20,200
Speaker 1: credits going from the early nineteen thirties through the early

536
00:30:20,280 --> 00:30:23,560
Speaker 1: nineteen seventies, though I understand he remained active in theater

537
00:30:24,640 --> 00:30:28,120
Speaker 1: longer than that, especially in like local Atlanta theater. His

538
00:30:28,200 --> 00:30:31,080
Speaker 1: film credits include nineteen sixty threes The Haunted Palace, and

539
00:30:31,240 --> 00:30:35,440
Speaker 1: nineteen sixty six's Chamber of Horrors. He appeared in an

540
00:30:35,480 --> 00:30:39,200
Speaker 1: episode of the original Outer Limits as well. Okay, and

541
00:30:39,360 --> 00:30:41,720
Speaker 1: you know he's good in this. He basically he's the middleman.

542
00:30:41,800 --> 00:30:45,720
Speaker 1: Though he's the butler in a haunted mansion, so you

543
00:30:46,000 --> 00:30:46,960
Speaker 1: kind of know what you're going to get.

544
00:30:47,160 --> 00:30:49,480
Speaker 3: Yeah, it is his job to help carry the coffins

545
00:30:49,520 --> 00:30:50,520
Speaker 3: and boil the gruel.

546
00:30:50,920 --> 00:30:55,240
Speaker 1: Yes. Oh, but we have a very interesting credit to

547
00:30:55,280 --> 00:30:59,880
Speaker 1: share regarding this picture Now. I mentioned Night Gallery earlier

548
00:31:00,120 --> 00:31:05,120
Speaker 1: and passing, and it's appropriate because this movie features a

549
00:31:05,240 --> 00:31:09,600
Speaker 1: number of very creepy paintings that would look perfectly at

550
00:31:09,600 --> 00:31:14,400
Speaker 1: home on the walls of the Night Gallery. These paintings

551
00:31:14,480 --> 00:31:18,360
Speaker 1: are credited to Bert Schoenberg, who lived nineteen thirty three

552
00:31:18,840 --> 00:31:24,400
Speaker 1: through nineteen seventy seven, American painter whose work could be

553
00:31:24,440 --> 00:31:31,160
Speaker 1: described as surrealist or psychedelic, and he was certainly celebrated

554
00:31:31,240 --> 00:31:33,920
Speaker 1: during the nineteen sixties, though he was also exploring this

555
00:31:34,040 --> 00:31:37,080
Speaker 1: style in the fifties and seventies as well. In fact,

556
00:31:37,120 --> 00:31:38,840
Speaker 1: I've seen some people argue that he was one of

557
00:31:38,880 --> 00:31:42,400
Speaker 1: those artists working in California at the time that was

558
00:31:42,480 --> 00:31:46,520
Speaker 1: kind of a precursor to the psychedelic art scene in

559
00:31:46,800 --> 00:31:52,240
Speaker 1: nineteen sixties California. So ultimately, when you get into like

560
00:31:52,360 --> 00:31:56,520
Speaker 1: surrealism and strange art, there's plenty of stuff that seems

561
00:31:56,560 --> 00:31:59,240
Speaker 1: ahead of its time and kind of informs that air.

562
00:31:59,360 --> 00:32:02,800
Speaker 1: I suppose. So his work is, and you can look

563
00:32:02,840 --> 00:32:05,040
Speaker 1: it up online. It's Schoenberg s H O N B

564
00:32:05,160 --> 00:32:11,040
Speaker 1: E r G. His work is dreamy and weird at times,

565
00:32:11,120 --> 00:32:15,600
Speaker 1: invoking occult imagery. Again, look it up because it's worth

566
00:32:15,680 --> 00:32:17,719
Speaker 1: checking out, and certainly you get to see it a

567
00:32:17,760 --> 00:32:20,120
Speaker 1: lot in this movie. It's not just it's not just

568
00:32:20,160 --> 00:32:25,280
Speaker 1: an incidental detail. The paintings are important plot points and

569
00:32:25,360 --> 00:32:27,360
Speaker 1: you really get to drink them in. I think they

570
00:32:27,440 --> 00:32:31,719
Speaker 1: really contribute to the great vibe of this picture.

571
00:32:32,440 --> 00:32:35,440
Speaker 3: Yeah, there's a this is never made explicit, but there

572
00:32:35,520 --> 00:32:38,760
Speaker 3: is almost an implied picture of Dory and Gray kind

573
00:32:38,800 --> 00:32:41,640
Speaker 3: of concept at work, where there are these paintings of

574
00:32:41,760 --> 00:32:44,920
Speaker 3: the the you know, the patriarchs and matriarchs of the

575
00:32:45,840 --> 00:32:48,320
Speaker 3: of the Usher household, and when we start to learn

576
00:32:48,360 --> 00:32:52,200
Speaker 3: about their evils and their crimes, we see the paintings,

577
00:32:52,360 --> 00:32:55,320
Speaker 3: and the paintings appear almost kind of warped or melted,

578
00:32:55,400 --> 00:32:58,200
Speaker 3: as sort of altered in a way that reveals the

579
00:32:58,280 --> 00:32:59,959
Speaker 3: evil of the character lying underneath.

580
00:33:01,040 --> 00:33:03,080
Speaker 1: You know. It's interesting to think about the use of

581
00:33:03,200 --> 00:33:06,600
Speaker 1: painted portraits in movies because it's often the case that

582
00:33:06,640 --> 00:33:09,320
Speaker 1: you'll find either either a portrait actually does its job

583
00:33:09,400 --> 00:33:11,720
Speaker 1: and you just buy it as being a portrait of

584
00:33:11,760 --> 00:33:13,760
Speaker 1: a character. Generally it looks like one of the actors

585
00:33:13,760 --> 00:33:16,600
Speaker 1: in the film, right, or it looks like the old

586
00:33:16,680 --> 00:33:19,560
Speaker 1: count or the old baron that will inevitably come back

587
00:33:19,600 --> 00:33:21,800
Speaker 1: to life. And is you know, played by Christopher Lee

588
00:33:21,880 --> 00:33:23,920
Speaker 1: or something, so you know what they're supposed to look like.

589
00:33:25,480 --> 00:33:27,560
Speaker 1: But then in other pictures you can tell, like the

590
00:33:27,600 --> 00:33:31,200
Speaker 1: portrait just does not pass the sniff test. You know,

591
00:33:31,280 --> 00:33:34,040
Speaker 1: you're like this, I'm not buying it. I'm not buying

592
00:33:34,080 --> 00:33:38,080
Speaker 1: this as an historic work of art. Yes, this picture

593
00:33:39,080 --> 00:33:43,520
Speaker 1: dodges those pitfalls and instead just goes for the utterly weird.

594
00:33:44,040 --> 00:33:46,880
Speaker 1: These pictures feel like, you know, drawing on the door,

595
00:33:47,000 --> 00:33:50,880
Speaker 1: the portrait drawing gray here. It's it's like they are

596
00:33:51,120 --> 00:33:54,720
Speaker 1: like snapshots of the corrupted soul. They seem like they

597
00:33:54,720 --> 00:33:58,479
Speaker 1: are dark, wrong, perhaps insane works.

598
00:33:59,000 --> 00:34:02,920
Speaker 3: Yeah, absolutely, and they're not subtle, you know all It's

599
00:34:02,920 --> 00:34:05,480
Speaker 3: not like they look a little bit creepy. It's they

600
00:34:05,560 --> 00:34:11,719
Speaker 3: are oozing evil, demonic energy and just advertising the wickedness

601
00:34:11,719 --> 00:34:12,800
Speaker 3: of the people portrayed.

602
00:34:13,200 --> 00:34:14,080
Speaker 4: Yeah.

603
00:34:14,160 --> 00:34:16,040
Speaker 1: I was reading a bit more about these on the

604
00:34:16,040 --> 00:34:20,520
Speaker 1: excellent website Vincent Price Legacy dot uk, and the author

605
00:34:20,560 --> 00:34:23,799
Speaker 1: there points out that Schoenberg provided five portraits and two

606
00:34:23,800 --> 00:34:28,040
Speaker 1: additional paintings to this production, and again they certainly pulled

607
00:34:28,040 --> 00:34:31,360
Speaker 1: their weight in delivering the film's vibe. Afterwards, two of

608
00:34:31,400 --> 00:34:34,279
Speaker 1: these paintings apparently went to Roger Corman and then were

609
00:34:34,280 --> 00:34:38,799
Speaker 1: subsequently stolen from his office. Another portrait was reportedly given

610
00:34:38,840 --> 00:34:42,680
Speaker 1: to Vincent Price himself, who was an avid art collector,

611
00:34:43,120 --> 00:34:46,920
Speaker 1: but according to the website Vincent Price Legacy, the whereabouts

612
00:34:46,920 --> 00:34:50,520
Speaker 1: of this painting are unknown and it was never listed

613
00:34:50,560 --> 00:34:54,960
Speaker 1: in the official estate documents concerning Price's extensive art collection,

614
00:34:55,080 --> 00:34:57,520
Speaker 1: So it's unknown what happened to it, Like, did it

615
00:34:58,560 --> 00:35:02,640
Speaker 1: you know, did he sell it? Is it lost? Is

616
00:35:02,680 --> 00:35:05,279
Speaker 1: it I'm assuming at this point that all of these

617
00:35:05,320 --> 00:35:07,479
Speaker 1: paintings are like on the Dark Side of the Moon,

618
00:35:07,600 --> 00:35:11,680
Speaker 1: somewhere transported there through dark arcade magic.

619
00:35:11,920 --> 00:35:15,399
Speaker 3: Wow, that's a wild story. I'm almost tempted to doubt it,

620
00:35:15,440 --> 00:35:18,440
Speaker 3: but no, it's got to be true, right, these paintings

621
00:35:18,440 --> 00:35:20,480
Speaker 3: were made to disappear mysteriously.

622
00:35:20,800 --> 00:35:23,280
Speaker 1: Yeah. Now, to be clear, I'm not sure if all

623
00:35:23,360 --> 00:35:27,160
Speaker 1: of the Schoenberg paintings for this picture are missing, but

624
00:35:27,200 --> 00:35:30,280
Speaker 1: at least some of them are, which adds to the mystique.

625
00:35:31,040 --> 00:35:35,759
Speaker 1: But that website, Vincent Price Legacy also has some other

626
00:35:36,000 --> 00:35:40,560
Speaker 1: additional details about Schoenberg that are obtained from out there.

627
00:35:40,760 --> 00:35:44,440
Speaker 1: The Transcendent Life and Art of Bert Schoenberg by Spencer

628
00:35:44,640 --> 00:35:47,799
Speaker 1: Kanza and This is a book from twenty seventeen. The

629
00:35:47,840 --> 00:35:50,520
Speaker 1: author points out that Schoenberg was very much a part

630
00:35:50,560 --> 00:35:53,800
Speaker 1: of the occult and counterculture scene in LA at the time.

631
00:35:54,239 --> 00:35:59,120
Speaker 1: In the LA area, he partially owned the controversial weirdo

632
00:35:59,280 --> 00:36:01,799
Speaker 1: hippie coffee shop in Orange County that was known as

633
00:36:01,880 --> 00:36:06,839
Speaker 1: Cafe Frankenstein. Definitely look up a picture of Cafe Frankenstein.

634
00:36:07,360 --> 00:36:10,960
Speaker 1: It has this signature glass window piece, like a stained

635
00:36:10,960 --> 00:36:14,719
Speaker 1: glass picture of Frankenstein's Monster in the front, and this

636
00:36:14,880 --> 00:36:19,200
Speaker 1: was created by Schoenberg. He also had murals inside of

637
00:36:19,239 --> 00:36:22,320
Speaker 1: the establishment, and it was apparently kind of like a

638
00:36:22,360 --> 00:36:25,759
Speaker 1: notorious hangout for dangerous hippies, you know, like there's some

639
00:36:25,960 --> 00:36:28,879
Speaker 1: art going on there, there's some coffee drinking, maybe there's

640
00:36:28,880 --> 00:36:33,319
Speaker 1: some other substances, who knows, And the local squares were

641
00:36:33,320 --> 00:36:37,360
Speaker 1: not amused. I read one anecdote that they did not

642
00:36:37,640 --> 00:36:39,920
Speaker 1: like that he had the Frankestein's monster art in the

643
00:36:39,920 --> 00:36:42,640
Speaker 1: front of the establishment, and when they pressured him, he

644
00:36:42,680 --> 00:36:44,360
Speaker 1: was like, well, maybe I should do one of of

645
00:36:44,360 --> 00:36:48,520
Speaker 1: Frankenstein's monster crucified. Maybe that would make everyone happy. So

646
00:36:48,560 --> 00:36:50,680
Speaker 1: he was kind of a provocateur as well.

647
00:36:51,440 --> 00:36:54,040
Speaker 3: I'm so sad this place no longer exists. I would

648
00:36:54,080 --> 00:36:57,719
Speaker 3: want to go to California just to go here this.

649
00:36:57,880 --> 00:37:00,719
Speaker 1: I believe the stained glass piece still though, I think

650
00:37:00,760 --> 00:37:04,480
Speaker 1: that is in someone's collection. But at any rate, Yeah,

651
00:37:04,480 --> 00:37:06,480
Speaker 1: he was apparently quite a character. At one point he

652
00:37:06,520 --> 00:37:10,000
Speaker 1: was in a relationship with artist, poet and occultist Marjorie Cameron,

653
00:37:10,160 --> 00:37:14,319
Speaker 1: who had previously been married to Jack Parsons. Oh yeah,

654
00:37:14,360 --> 00:37:18,839
Speaker 1: and Schoenberg also provided paintings for the nineteen sixty two

655
00:37:18,920 --> 00:37:21,760
Speaker 1: film The Premature Burial, and he served as art director

656
00:37:21,840 --> 00:37:25,160
Speaker 1: on fifty eight's The Brain Eaters in nineteen sixties Code

657
00:37:25,160 --> 00:37:25,720
Speaker 1: of Silence.

658
00:37:26,120 --> 00:37:29,239
Speaker 3: Oh, we covered The brain Eaters is Let's see what

659
00:37:29,239 --> 00:37:30,960
Speaker 3: were all the weird things about that one? I think

660
00:37:30,960 --> 00:37:34,480
Speaker 3: it had Leonard Nimoy in a minor role and he

661
00:37:34,520 --> 00:37:37,120
Speaker 3: never got paid for it or something. And was it

662
00:37:38,040 --> 00:37:40,880
Speaker 3: maybe or maybe not based on a Robert heinlend story.

663
00:37:41,960 --> 00:37:43,600
Speaker 1: Yeah, it might have been. I remember, this is one

664
00:37:43,600 --> 00:37:46,759
Speaker 1: that has a great poster that perhaps over sells the

665
00:37:46,800 --> 00:37:49,640
Speaker 1: rest of the picture. But it was a still fun,

666
00:37:49,680 --> 00:37:51,439
Speaker 1: fun one, still fun episode to check out.

667
00:37:51,840 --> 00:37:52,040
Speaker 5: Oh.

668
00:37:52,120 --> 00:37:54,480
Speaker 3: I was trying to think what was the hilarious character

669
00:37:54,560 --> 00:37:57,440
Speaker 3: from it, and it was Senator Walter K. Powers you

670
00:37:57,480 --> 00:37:59,040
Speaker 3: remember Walter k Powers.

671
00:37:59,280 --> 00:38:03,760
Speaker 1: Yeah, yeah, So anyway, we'll come back to these paintings

672
00:38:03,760 --> 00:38:08,000
Speaker 1: because again they are vital parts of the picture and

673
00:38:08,040 --> 00:38:11,640
Speaker 1: they're great. Okay, two more credits, just to run through

674
00:38:11,760 --> 00:38:13,960
Speaker 1: really quickly before we get to the main plot. But

675
00:38:14,160 --> 00:38:17,640
Speaker 1: the cinematography is by Floyd Crosby, who I can't remember

676
00:38:17,640 --> 00:38:19,600
Speaker 1: if we talked about him before, but he lived eighteen

677
00:38:19,680 --> 00:38:23,480
Speaker 1: ninety nine through nineteen eighty five. Academy Award winning cinematographer

678
00:38:23,880 --> 00:38:26,880
Speaker 1: and father of musician David Crosby. He worked on a

679
00:38:26,920 --> 00:38:29,560
Speaker 1: number of Corman pictures, including Attack of the Crab Monsters

680
00:38:29,560 --> 00:38:30,560
Speaker 1: in nineteen fifty seven.

681
00:38:30,960 --> 00:38:35,320
Speaker 3: You know, I've never really analyzed the cinematography of Attack

682
00:38:35,360 --> 00:38:37,920
Speaker 3: of the Crab Monsters, but you know I love the movie.

683
00:38:37,920 --> 00:38:39,040
Speaker 3: That's got to be a part of it.

684
00:38:40,760 --> 00:38:44,279
Speaker 1: And then finally, the music is by Les Baxter, who

685
00:38:44,280 --> 00:38:47,239
Speaker 1: lived nineteen twenty two through nineteen ninety six. So he's

686
00:38:47,239 --> 00:38:50,520
Speaker 1: popped up on the show before because we have considered

687
00:38:50,640 --> 00:38:54,239
Speaker 1: other scores by the master of exotica music, and none

688
00:38:54,280 --> 00:38:57,400
Speaker 1: of these scores have been examples of exotica. Like if

689
00:38:57,440 --> 00:39:00,480
Speaker 1: you look, I do recommend if you're having a tropical

690
00:39:00,560 --> 00:39:04,000
Speaker 1: drink and you want to have a nice like loungy vibe,

691
00:39:04,640 --> 00:39:06,880
Speaker 1: you know. Pull up some Less Baxter play some of

692
00:39:06,920 --> 00:39:11,120
Speaker 1: his exotica work. It's a great sound, but we don't

693
00:39:11,160 --> 00:39:13,719
Speaker 1: really get that sound as far as I know, out

694
00:39:13,719 --> 00:39:15,719
Speaker 1: of any of the scores he did. If you know

695
00:39:15,920 --> 00:39:19,880
Speaker 1: of a Less Baxter score that is actually an exotica score,

696
00:39:20,520 --> 00:39:22,120
Speaker 1: let me know about it, because I want to dig

697
00:39:22,160 --> 00:39:22,920
Speaker 1: into that picture.

698
00:39:23,440 --> 00:39:28,080
Speaker 3: Can you imagine if House of Usher had exoticas they

699
00:39:28,200 --> 00:39:31,080
Speaker 3: go into Roderick Usher has got like a drink with

700
00:39:31,120 --> 00:39:33,759
Speaker 3: a toothpick that's got three different kinds of fruit on it.

701
00:39:34,320 --> 00:39:36,160
Speaker 1: I mean, on one hand, I want to say it

702
00:39:36,200 --> 00:39:38,759
Speaker 1: would be completely inappropriate. But on the other hand, like

703
00:39:38,840 --> 00:39:42,600
Speaker 1: a lot of Baxter's exotica work, it has this kind

704
00:39:42,640 --> 00:39:44,920
Speaker 1: of like a dark undertone. There's a sense of like

705
00:39:45,080 --> 00:39:50,120
Speaker 1: rumbling volcanoes, you know, and slow moving lava. So in

706
00:39:50,160 --> 00:39:52,040
Speaker 1: a way it might it might have lined up with

707
00:39:52,080 --> 00:39:56,640
Speaker 1: some of those sort of geologic sensibilities of House of Usher.

708
00:39:56,719 --> 00:39:59,359
Speaker 1: So I'm not sure. But again, this is not an

709
00:39:59,360 --> 00:40:01,239
Speaker 1: exotica score or this is more of just like a

710
00:40:01,360 --> 00:40:06,400
Speaker 1: nineteen fifty style orchestral score. But there are other example

711
00:40:06,440 --> 00:40:08,560
Speaker 1: like for instance, Frogs from nineteen seventy two, which we

712
00:40:08,600 --> 00:40:10,120
Speaker 1: talked about in the show before. That one has a

713
00:40:10,160 --> 00:40:15,320
Speaker 1: minimalist electronic score from Les Baxter, and I think maybe

714
00:40:15,400 --> 00:40:18,759
Speaker 1: arguably it could have benefitted from an Exotica score as well.

715
00:40:18,800 --> 00:40:28,880
Speaker 1: I don't know. All right, well, why don't we go

716
00:40:28,920 --> 00:40:31,960
Speaker 1: ahead and just jump right into the plot of House.

717
00:40:31,719 --> 00:40:35,560
Speaker 3: Of Usher, As is often the case with Roger Korman movies.

718
00:40:35,600 --> 00:40:37,840
Speaker 3: I like the effect of the credits, and there are

719
00:40:37,880 --> 00:40:39,560
Speaker 3: not a whole lot of credits to get to in

720
00:40:39,560 --> 00:40:42,279
Speaker 3: this movie, as we've already alluded to, I guess a

721
00:40:42,360 --> 00:40:45,879
Speaker 3: shorter credit sequence than usual. But the effect behind them

722
00:40:46,000 --> 00:40:50,360
Speaker 3: is this swirling mix mixing of clouds of colored mists.

723
00:40:50,400 --> 00:40:54,280
Speaker 3: So you've got pink, green, violet, red, and blue, seemingly

724
00:40:54,360 --> 00:40:57,439
Speaker 3: timed with the appearance of different actors' names. Like I'm

725
00:40:57,480 --> 00:41:00,600
Speaker 3: not sure if there is any intended signific against that.

726
00:41:00,640 --> 00:41:04,000
Speaker 3: There's suddenly a blast of sprite canned green across the

727
00:41:04,040 --> 00:41:07,480
Speaker 3: picture when the name of the personable Mark Damon splashes up.

728
00:41:07,960 --> 00:41:09,359
Speaker 3: But that is what we get.

729
00:41:09,640 --> 00:41:11,800
Speaker 1: Yeah, it's very colorful. I mean it's a color picture.

730
00:41:11,840 --> 00:41:13,480
Speaker 1: We might as well enjoy the color.

731
00:41:13,440 --> 00:41:15,840
Speaker 3: That's right, And it is something that we should appreciate

732
00:41:15,880 --> 00:41:19,480
Speaker 3: that at this time, making this kind of movie, it

733
00:41:19,520 --> 00:41:22,239
Speaker 3: was still a question like would you pony up for

734
00:41:22,440 --> 00:41:25,480
Speaker 3: the to make this movie in color or would you

735
00:41:25,560 --> 00:41:28,280
Speaker 3: just shoot it in black and white? You know, today

736
00:41:28,480 --> 00:41:30,360
Speaker 3: that's not really much of a I mean, some films

737
00:41:30,360 --> 00:41:32,040
Speaker 3: are still made in black and white, but for the

738
00:41:32,040 --> 00:41:34,719
Speaker 3: most part, it's just assumed, Yeah, you're making a movie,

739
00:41:34,719 --> 00:41:37,560
Speaker 3: you will make it in color. In nineteen sixty, making

740
00:41:37,560 --> 00:41:39,920
Speaker 3: a movie of this sword, it was like a toss up,

741
00:41:39,920 --> 00:41:41,600
Speaker 3: you know, you could go either way. It was a

742
00:41:41,600 --> 00:41:42,880
Speaker 3: different type of investment.

743
00:41:43,400 --> 00:41:46,239
Speaker 1: Yeah, yeah, and you could have made a strong case.

744
00:41:46,280 --> 00:41:49,239
Speaker 1: You know, got the car, gloomy setting, maybe that does

745
00:41:49,320 --> 00:41:50,800
Speaker 1: need to be in black and white. So I don't know.

746
00:41:50,840 --> 00:41:53,120
Speaker 1: Maybe they did feel like they needed to prove themselves

747
00:41:53,120 --> 00:41:54,719
Speaker 1: a little bit with the title sequence.

748
00:41:55,440 --> 00:41:58,560
Speaker 3: So after the credits, the action opens on a barren

749
00:41:58,680 --> 00:42:03,400
Speaker 3: landscape of brown and gray swampland you've got mud, fog,

750
00:42:03,840 --> 00:42:07,759
Speaker 3: matted tufts of dead grass, withered tree limbs without a

751
00:42:07,760 --> 00:42:11,040
Speaker 3: single leaf. All of the dead plants are also wrapped

752
00:42:11,080 --> 00:42:14,719
Speaker 3: in these brittle, dead vines. So the land is it

753
00:42:14,760 --> 00:42:19,319
Speaker 3: appears totally strangled, just death upon death. And then a

754
00:42:19,400 --> 00:42:22,360
Speaker 3: character enters the picture. It is Mark Damon playing the

755
00:42:22,440 --> 00:42:26,359
Speaker 3: character of Philip Winthrop, and he is on horseback in

756
00:42:26,400 --> 00:42:29,680
Speaker 3: a heavy purple riding cloak and a tall top hat.

757
00:42:30,320 --> 00:42:33,440
Speaker 3: He makes his way through the swamp on horseback along

758
00:42:33,480 --> 00:42:37,400
Speaker 3: a sodden dirt path to reach his ultimate destination, the

759
00:42:37,440 --> 00:42:40,960
Speaker 3: titular House of Usher, which is shown to us as

760
00:42:41,000 --> 00:42:45,360
Speaker 3: a dark, decrepit mansion with curtains drawn across the windows,

761
00:42:46,040 --> 00:42:49,960
Speaker 3: no light emanating from it, and mist surrounding the foundation

762
00:42:50,160 --> 00:42:51,280
Speaker 3: like a white blanket.

763
00:42:52,239 --> 00:42:55,640
Speaker 1: Ah. And this just looks tremendous. I can't drive home

764
00:42:56,320 --> 00:43:00,040
Speaker 1: enough just how incredible this house looks. It is like

765
00:43:01,280 --> 00:43:04,000
Speaker 1: it is, Yes, it is a great, big, old Gothic

766
00:43:04,160 --> 00:43:07,239
Speaker 1: hulk of a mansion, but it also looks kind of

767
00:43:07,280 --> 00:43:11,239
Speaker 1: like just a decaying whale carcass, you know, just you know,

768
00:43:11,280 --> 00:43:14,120
Speaker 1: a heap of excess in a ruin that is literally

769
00:43:14,160 --> 00:43:18,040
Speaker 1: poisoning the surrounding landscape is on the verge of falling

770
00:43:18,120 --> 00:43:21,959
Speaker 1: into hell itself. Like this is like wealth and over

771
00:43:22,040 --> 00:43:27,680
Speaker 1: indulgence dragged across the centuries, you know, pulling souls down

772
00:43:27,760 --> 00:43:28,799
Speaker 1: into darkness with it.

773
00:43:29,280 --> 00:43:33,840
Speaker 3: Yeah, So Winthrop approaches this, this whale carcass, the mansion

774
00:43:34,120 --> 00:43:37,120
Speaker 3: passing through a broken stone gate, and he goes in

775
00:43:37,160 --> 00:43:40,920
Speaker 3: between these black, twisted, almost melted looking trees. And I

776
00:43:40,960 --> 00:43:44,080
Speaker 3: actually read a production note that somewhere in here the

777
00:43:44,080 --> 00:43:47,520
Speaker 3: designers used some trees that had partially burned in a

778
00:43:47,560 --> 00:43:50,719
Speaker 3: recent California wildfire when the film was made. I don't

779
00:43:50,719 --> 00:43:52,759
Speaker 3: know if it's in this shot, but if it were,

780
00:43:52,840 --> 00:43:53,680
Speaker 3: that would make sense.

781
00:43:54,280 --> 00:43:57,239
Speaker 1: Yeah, yeah, I know. I recently was in California. We

782
00:43:57,280 --> 00:43:59,719
Speaker 1: did a lot of driving through the countryside. We saw

783
00:44:00,080 --> 00:44:03,440
Speaker 1: a number of these sorts of trees, and this, well,

784
00:44:03,440 --> 00:44:05,440
Speaker 1: not a landscape like the Fall of the House of Usher,

785
00:44:05,480 --> 00:44:09,319
Speaker 1: but trees landscapes that had these sorts of trees in them,

786
00:44:09,320 --> 00:44:12,680
Speaker 1: And yeah, you can certainly lean into a haunted interpretation

787
00:44:12,880 --> 00:44:13,560
Speaker 1: and so forth.

788
00:44:14,040 --> 00:44:16,360
Speaker 3: So Philip comes to the front door, which is wreathed

789
00:44:16,400 --> 00:44:20,000
Speaker 3: in cobwebs, and he raps with the giant bronze knocker.

790
00:44:20,719 --> 00:44:23,440
Speaker 3: The door is answered by a gray haired servant in

791
00:44:23,480 --> 00:44:26,920
Speaker 3: a black coat, and he's got a sad, apprehensive face

792
00:44:27,040 --> 00:44:31,320
Speaker 3: framed by these silver sideburns. Philip introduces himself to the

793
00:44:31,360 --> 00:44:35,919
Speaker 3: servant as Madeline Usher's fiance and asks to see her.

794
00:44:36,040 --> 00:44:39,399
Speaker 3: But the butler, whose name is Bristol tells him that

795
00:44:39,440 --> 00:44:42,359
Speaker 3: she is confined to her bed because she is taken ill.

796
00:44:42,760 --> 00:44:46,279
Speaker 3: So Bristol tries to deny Philip Entree, saying that Madeleine's

797
00:44:46,280 --> 00:44:50,680
Speaker 3: brother Roderick, has forbidden any visitors, but Philip is very pushy.

798
00:44:50,719 --> 00:44:53,239
Speaker 3: He won't take no for an answer, so Bristol leads

799
00:44:53,280 --> 00:44:54,440
Speaker 3: him inside.

800
00:44:54,320 --> 00:44:57,640
Speaker 1: And already we are seeing some red candles. This film

801
00:44:57,680 --> 00:45:00,680
Speaker 1: is all about the red Candle's only red candles in

802
00:45:00,719 --> 00:45:02,359
Speaker 1: the house of Usher, That's right.

803
00:45:02,400 --> 00:45:04,680
Speaker 3: So yeah, the interior of the house is a little

804
00:45:04,719 --> 00:45:08,360
Speaker 3: more inviting than the outside, but there's still some threatening energy.

805
00:45:10,040 --> 00:45:13,640
Speaker 3: One thing that this is not really a complaint about

806
00:45:13,640 --> 00:45:16,200
Speaker 3: the movie. It's rather just sort of a fact about

807
00:45:16,200 --> 00:45:19,480
Speaker 3: how movies are made, especially at this time, based on

808
00:45:19,719 --> 00:45:23,560
Speaker 3: things the characters say. I think we're supposed to understand

809
00:45:23,600 --> 00:45:27,720
Speaker 3: that it is always kept very dark inside the Usher mansion.

810
00:45:27,800 --> 00:45:32,040
Speaker 3: Even candlelight is weak and scarce, but it doesn't really

811
00:45:32,200 --> 00:45:35,080
Speaker 3: look that way like for the audience looking at the sets,

812
00:45:35,160 --> 00:45:38,880
Speaker 3: everything is usually quite brightly lit. There may just be

813
00:45:38,960 --> 00:45:41,279
Speaker 3: no way around that. It's kind of like suspending your

814
00:45:41,320 --> 00:45:43,399
Speaker 3: disbelief for a play. You know that this is really

815
00:45:43,400 --> 00:45:45,319
Speaker 3: taking place in a room even though you're looking up

816
00:45:45,360 --> 00:45:48,920
Speaker 3: at a stage. But this does raise an interesting ongoing

817
00:45:48,960 --> 00:45:52,799
Speaker 3: problem even in movies today, with the art of visual storytelling,

818
00:45:53,120 --> 00:45:57,320
Speaker 3: how do you convincingly show that a scene is dark

819
00:45:57,440 --> 00:46:00,600
Speaker 3: but also allow the audience to see what's happening. It's

820
00:46:00,640 --> 00:46:04,000
Speaker 3: kind of a oxymoron, but it's a thing different filmmakers

821
00:46:04,000 --> 00:46:08,320
Speaker 3: have tried to tackle in different ways. Sometimes they just brightly,

822
00:46:08,480 --> 00:46:10,600
Speaker 3: you know, they just brightly light it anyway and then

823
00:46:10,640 --> 00:46:13,840
Speaker 3: ask you to suspend your disbelief. Other times the scene

824
00:46:14,000 --> 00:46:16,360
Speaker 3: is actually dark and that contributes to a kind of

825
00:46:16,400 --> 00:46:20,839
Speaker 3: emotional or atmospheric effect, but it can create frustrations when

826
00:46:20,880 --> 00:46:22,080
Speaker 3: trying to follow the drama.

827
00:46:22,800 --> 00:46:24,720
Speaker 1: Yeah, there was there was a time or two watching

828
00:46:24,719 --> 00:46:26,640
Speaker 1: this film where they were talking about how dark the

829
00:46:26,680 --> 00:46:28,359
Speaker 1: room was, and I was like, well, even I can

830
00:46:28,640 --> 00:46:32,200
Speaker 1: really make out everything. Maybe the lighting is off on

831
00:46:32,239 --> 00:46:33,839
Speaker 1: my phone or something. Yeah.

832
00:46:33,880 --> 00:46:35,920
Speaker 3: I think this is still just a tension that visual

833
00:46:35,920 --> 00:46:39,760
Speaker 3: storytellers struggle with eve until today. You know, I remember

834
00:46:39,840 --> 00:46:43,279
Speaker 3: people talking about stuff in the last season of Game

835
00:46:43,280 --> 00:46:45,680
Speaker 3: of Thrones, you know, apart from any like writing issues

836
00:46:45,680 --> 00:46:49,319
Speaker 3: about that, but questions about certain scenes and episodes that

837
00:46:49,360 --> 00:46:52,880
Speaker 3: were like very very dimly lit and dark scenes, and

838
00:46:53,640 --> 00:46:56,359
Speaker 3: even that does highlight like, yeah, you can do that,

839
00:46:56,640 --> 00:46:58,640
Speaker 3: and that can be good in some ways. It can

840
00:46:58,719 --> 00:47:01,239
Speaker 3: create and intended at spheric effect. It can make you

841
00:47:01,280 --> 00:47:03,360
Speaker 3: feel a certain way, But then you're going to have

842
00:47:03,400 --> 00:47:05,799
Speaker 3: a lot of viewers complaining that they can't tell what's

843
00:47:05,840 --> 00:47:08,360
Speaker 3: going on, or they can't follow what's what's supposed to

844
00:47:08,400 --> 00:47:09,440
Speaker 3: be happening in a scene.

845
00:47:09,920 --> 00:47:13,560
Speaker 1: I've also read I'm I can't one percent match my

846
00:47:14,000 --> 00:47:17,480
Speaker 1: experience up with this, but I've I've observed some conversations

847
00:47:18,000 --> 00:47:22,920
Speaker 1: about how really dark scenes in movies, especially modern movies,

848
00:47:23,840 --> 00:47:28,960
Speaker 1: perhaps don't play as well on streaming platforms versus physical media,

849
00:47:29,040 --> 00:47:31,319
Speaker 1: you know, And I'm not enough of a tech head

850
00:47:31,400 --> 00:47:33,640
Speaker 1: on all of that to really weigh in, but if

851
00:47:33,680 --> 00:47:35,560
Speaker 1: listeners out there have any feedback on that, I'd love

852
00:47:35,640 --> 00:47:37,640
Speaker 1: to I'd love to hear from you. I mean, I'm

853
00:47:37,680 --> 00:47:40,440
Speaker 1: kind of like all in on any argument for physical

854
00:47:40,480 --> 00:47:43,120
Speaker 1: media over depending entirely on streamers, so when it comes

855
00:47:43,160 --> 00:47:44,040
Speaker 1: to films.

856
00:47:44,000 --> 00:47:46,640
Speaker 3: Or I would wonder also just about watching things on

857
00:47:46,840 --> 00:47:50,080
Speaker 3: home video versus in the movie theater. The movie theater

858
00:47:50,160 --> 00:47:53,080
Speaker 3: might be a case where more dimly lit scenes come

859
00:47:53,080 --> 00:47:53,800
Speaker 3: across better.

860
00:47:53,840 --> 00:47:56,360
Speaker 1: I don't know, Yeah, that's the in theater. Propaganda is

861
00:47:56,400 --> 00:47:58,960
Speaker 1: really big on telling me that the darks are darker,

862
00:47:59,400 --> 00:48:02,680
Speaker 1: and you know, having watched Son of Frankenstein on the

863
00:48:02,680 --> 00:48:05,600
Speaker 1: big screen, I mean those those really those dark shadows

864
00:48:05,600 --> 00:48:07,840
Speaker 1: are really luscious up there, so I got kind of

865
00:48:07,840 --> 00:48:08,360
Speaker 1: buy into it.

866
00:48:08,760 --> 00:48:11,160
Speaker 3: Anyway, that's not what's going on in House of Usher.

867
00:48:11,160 --> 00:48:15,319
Speaker 3: Everything is very well lit here. But so we come

868
00:48:15,320 --> 00:48:18,000
Speaker 3: inside and yes, we do have these these red candles everywhere,

869
00:48:18,080 --> 00:48:22,040
Speaker 3: cherry red candles. And I like this little moment where

870
00:48:22,040 --> 00:48:24,960
Speaker 3: Bristol the butler asks Philip to take off his boots

871
00:48:25,239 --> 00:48:28,160
Speaker 3: and he's like, what for, and he just says, you know,

872
00:48:28,200 --> 00:48:32,719
Speaker 3: mister Roderick will explain, and Bristol disappears mysteriously for a

873
00:48:32,760 --> 00:48:34,919
Speaker 3: moment here, but then reappears with slippers for him.

874
00:48:35,080 --> 00:48:38,120
Speaker 1: Yeah, some real culture shock being asked to take your

875
00:48:38,400 --> 00:48:42,319
Speaker 1: shoes off in this shoes off household here, which which

876
00:48:42,360 --> 00:48:46,600
Speaker 1: I really I really appreciated this because I prior to

877
00:48:46,600 --> 00:48:48,880
Speaker 1: watching the film, I'd been meeting up with some family

878
00:48:49,160 --> 00:48:52,200
Speaker 1: and it was clearly like a mix of shoes on

879
00:48:52,360 --> 00:48:55,040
Speaker 1: households and shoes off households. Meeting in a rental home,

880
00:48:55,080 --> 00:48:57,120
Speaker 1: you know, where you're like what why are people in

881
00:48:57,160 --> 00:48:59,680
Speaker 1: the kitchen with their shoes on? What's happening? And you

882
00:48:59,719 --> 00:49:01,160
Speaker 1: know their different approaches?

883
00:49:01,560 --> 00:49:03,680
Speaker 3: Wait, if you're comfortable sharing, which way are you? I

884
00:49:03,719 --> 00:49:05,480
Speaker 3: don't even know? Do you all take shoes off in

885
00:49:05,520 --> 00:49:05,839
Speaker 3: the house?

886
00:49:05,960 --> 00:49:08,759
Speaker 1: We're shoes off house? Okay? Cool? But you know, I

887
00:49:08,760 --> 00:49:12,000
Speaker 1: mean if someone comes and I forget to say, hey,

888
00:49:12,040 --> 00:49:13,879
Speaker 1: you can take your shoes off, and they're wearing their shoes,

889
00:49:13,920 --> 00:49:15,480
Speaker 1: I'm not going to freak out. It's like that's on

890
00:49:15,600 --> 00:49:18,560
Speaker 1: me because I didn't give you a heads up. Also,

891
00:49:18,840 --> 00:49:22,280
Speaker 1: as comedian Shang Wang points out, there are certain circumstances

892
00:49:22,320 --> 00:49:25,160
Speaker 1: where you may have to like run through the house

893
00:49:25,239 --> 00:49:27,480
Speaker 1: with the shoes on to do something, you know, like

894
00:49:27,520 --> 00:49:29,440
Speaker 1: turn the alarm system off or something. I don't know.

895
00:49:29,480 --> 00:49:34,840
Speaker 1: There are circumstances that the demand you keep them on.

896
00:49:35,400 --> 00:49:38,360
Speaker 3: Well, what is totally a commonplace in some cultures and

897
00:49:38,400 --> 00:49:40,760
Speaker 3: some families is treated as quite strange.

898
00:49:40,760 --> 00:49:40,960
Speaker 1: Here.

899
00:49:41,080 --> 00:49:43,279
Speaker 3: This is not something that Philip Winthrop is used to.

900
00:49:43,400 --> 00:49:46,800
Speaker 3: But yeah, we're told that Roderick will explain. So Philip

901
00:49:46,840 --> 00:49:49,600
Speaker 3: is led up the grand staircase. So he goes along

902
00:49:49,640 --> 00:49:53,799
Speaker 3: this carved banister and hand rail past these tapestries. Again,

903
00:49:53,880 --> 00:49:57,480
Speaker 3: the cherry red candles to an upper hallway and eventually

904
00:49:57,480 --> 00:50:00,600
Speaker 3: to Roderick's room. And ooh, there's a very good boo

905
00:50:00,680 --> 00:50:03,680
Speaker 3: scare right at the first time we meet Vincent Price.

906
00:50:03,760 --> 00:50:06,840
Speaker 3: So Bristol goes to knock on the bedroom door, but

907
00:50:07,040 --> 00:50:10,280
Speaker 3: before his knuckles can touch the wood, the door swings

908
00:50:10,320 --> 00:50:13,799
Speaker 3: inward and into the doorway bursts Roderick. It is a

909
00:50:14,080 --> 00:50:18,359
Speaker 3: fierce looking, clean shaven Vincent Price with platinum blonde hair,

910
00:50:18,680 --> 00:50:21,960
Speaker 3: wearing a red velvet jacket and a black tie.

911
00:50:22,760 --> 00:50:25,960
Speaker 1: Yeah, seeming to tower over him as well. Here.

912
00:50:26,480 --> 00:50:30,880
Speaker 3: Yes, Price does come off as very physically large in

913
00:50:30,920 --> 00:50:33,160
Speaker 3: this movie, and I think that'll be interesting to talk

914
00:50:33,200 --> 00:50:36,520
Speaker 3: about maybe later when we I don't talk about the

915
00:50:36,960 --> 00:50:42,320
Speaker 3: weird contrasting aspects of his physical presence and whether or

916
00:50:42,400 --> 00:50:43,960
Speaker 3: not he should be taken as threatening.

917
00:50:44,320 --> 00:50:47,560
Speaker 1: Yeah, because he seems physically imposing that we learned that

918
00:50:47,840 --> 00:50:49,239
Speaker 1: he's actually quite fragile.

919
00:50:50,600 --> 00:50:53,560
Speaker 3: Yeah, we'll get to that soon. So Roderick is initially

920
00:50:53,600 --> 00:50:57,680
Speaker 3: furious that Bristol has admitted a visitor. He's furious but

921
00:50:58,000 --> 00:51:01,480
Speaker 3: soft spoken, so he's like, how dare you? But in

922
00:51:01,520 --> 00:51:06,080
Speaker 3: a library voice, and Philip explains that he insisted he

923
00:51:06,120 --> 00:51:08,719
Speaker 3: believed he had the right. So Roderick brings Philip into

924
00:51:08,719 --> 00:51:12,800
Speaker 3: his room to discuss, and in here Philip starts talking,

925
00:51:12,880 --> 00:51:16,440
Speaker 3: but before he can even finish a sentence, Roderick winces,

926
00:51:16,600 --> 00:51:19,960
Speaker 3: covering his ears and saying, mister Winthrop, if you please,

927
00:51:20,200 --> 00:51:24,320
Speaker 3: an affliction of the hearing. Sounds of any exaggerated degree

928
00:51:24,440 --> 00:51:28,360
Speaker 3: cut into my brain like knives, So you have to

929
00:51:28,400 --> 00:51:30,960
Speaker 3: be you have to use your inside voice when speaking

930
00:51:30,960 --> 00:51:34,520
Speaker 3: to Roderick. He cannot stand a raised voice. It causes

931
00:51:34,600 --> 00:51:38,759
Speaker 3: him such pain. So Roderick goes to rest in a

932
00:51:38,840 --> 00:51:41,799
Speaker 3: high back chair and Philip begins to explain what's going on.

933
00:51:41,920 --> 00:51:44,640
Speaker 3: He says that he must be allowed to see Madeline

934
00:51:44,680 --> 00:51:50,040
Speaker 3: since they are engaged to be married. Roderick seems disturbed

935
00:51:50,080 --> 00:51:53,840
Speaker 3: by this news and tells him that it's impossible. Madeleine

936
00:51:53,880 --> 00:51:57,000
Speaker 3: is confined to her bed and their engagement has to

937
00:51:57,040 --> 00:51:59,040
Speaker 3: be called off. It was He should think of it

938
00:51:59,160 --> 00:52:02,560
Speaker 3: just as an unform fortunate mistake, and Philip must leave

939
00:52:02,600 --> 00:52:05,279
Speaker 3: the estate at once. He says, it is not a

940
00:52:05,320 --> 00:52:09,120
Speaker 3: healthy place for you to be. Philip, of course, does

941
00:52:09,160 --> 00:52:11,960
Speaker 3: not accept this, and it would be a strange thing

942
00:52:12,000 --> 00:52:14,600
Speaker 3: if he just conformed. He's like, no, I don't understand

943
00:52:14,600 --> 00:52:17,000
Speaker 3: why you're saying this, and he says he's not going

944
00:52:17,040 --> 00:52:20,840
Speaker 3: to leave without seeing Madeleine. Multiple times in this argument,

945
00:52:20,880 --> 00:52:24,040
Speaker 3: again Philip raises his voice and whenever he gets louder,

946
00:52:24,120 --> 00:52:27,240
Speaker 3: Price closes his eyes and grits his teeth in pain.

947
00:52:27,320 --> 00:52:30,560
Speaker 3: So he reacts every time. But while they're going back

948
00:52:30,600 --> 00:52:33,960
Speaker 3: and forth, their dispute is cut short when Madeleine herself

949
00:52:34,000 --> 00:52:37,799
Speaker 3: appears in the doorway of Roderick's room, and again this

950
00:52:37,920 --> 00:52:41,759
Speaker 3: is mRNA Fahe Now, she's obviously very happy to see

951
00:52:41,800 --> 00:52:44,640
Speaker 3: Philip and flattered that he made the journey here to

952
00:52:45,040 --> 00:52:48,760
Speaker 3: the mansion. But there is some kind of cloud hanging

953
00:52:48,800 --> 00:52:53,360
Speaker 3: over their reunion, somewhat literally, in the form of Roderick himself,

954
00:52:53,400 --> 00:52:56,600
Speaker 3: who cuts it short to escort Madeleine back to her room,

955
00:52:57,000 --> 00:52:59,399
Speaker 3: explaining that she must go back to bed.

956
00:53:01,200 --> 00:53:04,040
Speaker 1: Yes, this is another film where people are sent to

957
00:53:04,080 --> 00:53:06,200
Speaker 1: bed a very strict bedtime schedule here in the House

958
00:53:06,239 --> 00:53:06,600
Speaker 1: of Usher.

959
00:53:06,960 --> 00:53:09,680
Speaker 3: Yeah, so they go, and Philip is left alone in

960
00:53:09,760 --> 00:53:13,840
Speaker 3: Roderick's room, And here is where we see one of

961
00:53:13,880 --> 00:53:17,239
Speaker 3: the first of the Bert Schoenberg paintings, not of a

962
00:53:17,600 --> 00:53:20,880
Speaker 3: person in this case, but of the house itself. In

963
00:53:20,920 --> 00:53:24,840
Speaker 3: a wild impressionistic style. I was trying to think of

964
00:53:24,880 --> 00:53:28,360
Speaker 3: a way to describe this. It's this is a great painting.

965
00:53:28,520 --> 00:53:32,480
Speaker 3: It looks so it's so colorful and almost happy in

966
00:53:32,560 --> 00:53:35,200
Speaker 3: the way the colors are jumbled, but also does look

967
00:53:35,280 --> 00:53:39,080
Speaker 3: quite evil. It's like a cross between a haunted mansion,

968
00:53:39,560 --> 00:53:42,920
Speaker 3: a monet painting of a big pile of Halloween candies,

969
00:53:43,320 --> 00:53:46,160
Speaker 3: and also sort of a boss from Legend of Zelda

970
00:53:46,239 --> 00:53:47,200
Speaker 3: Ocarina of Time.

971
00:53:47,840 --> 00:53:51,440
Speaker 1: Yeah, it's pretty fabulous. So again, very strong night Gallery vibes.

972
00:53:52,080 --> 00:53:55,040
Speaker 1: You know, I can basically hear the theme music in

973
00:53:55,080 --> 00:53:59,040
Speaker 1: my head. You know. It looks like a like a

974
00:53:59,480 --> 00:54:02,920
Speaker 1: decaying anson made out of meat, with like an eye

975
00:54:02,960 --> 00:54:04,319
Speaker 1: opening in the center of it.

976
00:54:04,320 --> 00:54:07,120
Speaker 3: It's tremendous, the eye in the center. That's what I'm

977
00:54:07,120 --> 00:54:09,400
Speaker 3: reacting to with the Zelda comparison. It looks like the

978
00:54:09,400 --> 00:54:11,960
Speaker 3: first boss you fight in Okarina of Time, that thing

979
00:54:12,000 --> 00:54:15,719
Speaker 3: in the tree. Anyway, While Philip is looking at the

980
00:54:15,719 --> 00:54:20,640
Speaker 3: painting waiting for Roderick to return, the fireplace suddenly spits

981
00:54:20,640 --> 00:54:23,160
Speaker 3: a bunch of cinders onto his legs, and this will

982
00:54:23,200 --> 00:54:25,239
Speaker 3: be the first of many attempts by the house to

983
00:54:25,320 --> 00:54:28,520
Speaker 3: murder the characters. But he just kind of brushes it off.

984
00:54:28,920 --> 00:54:32,600
Speaker 3: Roderick comes back and asks with concern what happened, But

985
00:54:32,719 --> 00:54:34,880
Speaker 3: Philip is not worried about it. He's just like, I

986
00:54:34,880 --> 00:54:38,680
Speaker 3: think your fireplace needs a screen, and Price says, does it.

987
00:54:41,160 --> 00:54:43,439
Speaker 3: After this, they pick up the conversation sort of where

988
00:54:43,440 --> 00:54:47,120
Speaker 3: they left off. We learn that Roderick is a man

989
00:54:47,239 --> 00:54:50,319
Speaker 3: of the arts. He paints. The painted work we were

990
00:54:50,360 --> 00:54:54,360
Speaker 3: just talking about is his own, and Roderick also plays

991
00:54:54,400 --> 00:54:59,479
Speaker 3: the lute. But here the conversation gets weirder. Roderick wants

992
00:54:59,520 --> 00:55:03,480
Speaker 3: to know if Philip really intends to marry Madeleine. Philip says,

993
00:55:03,520 --> 00:55:06,360
Speaker 3: of course he does, and Roderick says, do you intend

994
00:55:06,440 --> 00:55:10,280
Speaker 3: to have children? And Philip says, god willing. Then Roderick

995
00:55:10,480 --> 00:55:14,480
Speaker 3: gasps with despair and he says god willing. He explains

996
00:55:14,520 --> 00:55:19,080
Speaker 3: that this would be a nightmare and it cannot happen. Why. Well,

997
00:55:19,080 --> 00:55:23,359
Speaker 3: here we get one of Vincent Price's many lovely tortured monologues.

998
00:55:23,400 --> 00:55:25,120
Speaker 3: So I just want to read from part of what

999
00:55:25,160 --> 00:55:29,080
Speaker 3: he says here with some abridgments. Price says, because the

1000
00:55:29,200 --> 00:55:33,400
Speaker 3: usher line is tainted, you saw Madeleine and you see me.

1001
00:55:34,080 --> 00:55:37,400
Speaker 3: We are dying mister Winthrop, as you saw her today,

1002
00:55:37,520 --> 00:55:40,880
Speaker 3: she is and will remain. Which, by the way, again,

1003
00:55:40,920 --> 00:55:45,160
Speaker 3: in suspension of disbelief, I will say, nothing looked all

1004
00:55:45,200 --> 00:55:48,520
Speaker 3: that unhealthy about Madeleine. Like she looked fine. But by

1005
00:55:48,600 --> 00:55:51,480
Speaker 3: the way the characters talk, we're supposed to understand that

1006
00:55:51,560 --> 00:55:54,120
Speaker 3: when we saw her in the previous scene, she looks

1007
00:55:54,160 --> 00:55:56,399
Speaker 3: sickly and like like she is about to die.

1008
00:55:56,560 --> 00:55:58,600
Speaker 1: But really she just looks like she still has her

1009
00:55:58,680 --> 00:56:02,200
Speaker 1: night down on and it's had time to put on

1010
00:56:02,280 --> 00:56:02,960
Speaker 1: all her makeup.

1011
00:56:03,200 --> 00:56:05,680
Speaker 3: Yeah, so Madeleine is supposed to look sick in the

1012
00:56:05,680 --> 00:56:08,239
Speaker 3: same way that these brightly rooms are supposed to look dark.

1013
00:56:08,320 --> 00:56:09,200
Speaker 1: Yeah.

1014
00:56:09,280 --> 00:56:12,960
Speaker 3: But anyway, Price continues. Believe me, sir, I bear you

1015
00:56:13,080 --> 00:56:16,439
Speaker 3: no malice were things otherwise I should welcome you into

1016
00:56:16,440 --> 00:56:21,280
Speaker 3: our family joyously. But under the circumstances it is quite impossible.

1017
00:56:22,080 --> 00:56:24,680
Speaker 3: And then a little later he says, Madeline and I

1018
00:56:24,800 --> 00:56:28,920
Speaker 3: are like figures of fine glass. The slightest touch and

1019
00:56:28,960 --> 00:56:31,920
Speaker 3: we may shatter. Both of us suffer from a morbid

1020
00:56:31,960 --> 00:56:35,920
Speaker 3: acuteness of the senses. Mine is the worse for having

1021
00:56:35,960 --> 00:56:39,239
Speaker 3: existed the longer, but both of us are afflicted with it.

1022
00:56:39,719 --> 00:56:42,920
Speaker 3: Any sort of food more exotic than the most pallid

1023
00:56:43,120 --> 00:56:47,160
Speaker 3: mash is unendurable to my taste buds. Any sort of

1024
00:56:47,239 --> 00:56:50,879
Speaker 3: garment other than the softest is agony to my flesh.

1025
00:56:51,360 --> 00:56:54,960
Speaker 3: My eyes are tormented by all but the faintest illumination.

1026
00:56:55,719 --> 00:56:59,400
Speaker 3: Odors assail me constantly, and as I've said, sounds of

1027
00:56:59,440 --> 00:57:05,120
Speaker 3: any degree whatsoever inspire me with terror. And then Philip reasons, ah,

1028
00:57:05,160 --> 00:57:07,720
Speaker 3: that's why your servant asked me to remove my boots,

1029
00:57:08,719 --> 00:57:11,640
Speaker 3: and Roderick says yes. And even so, I could hear

1030
00:57:11,680 --> 00:57:15,920
Speaker 3: your coming, every footstep, every rustle of your clothes. I

1031
00:57:15,960 --> 00:57:18,880
Speaker 3: could hear your horse approaching, hear the clatter of its

1032
00:57:18,920 --> 00:57:22,480
Speaker 3: hoofs across the courtyard, Your knock, the grating of the

1033
00:57:22,560 --> 00:57:25,400
Speaker 3: door bolt was like a sword stroke to my ears.

1034
00:57:25,840 --> 00:57:28,560
Speaker 3: I can hear the scratch of rat claws within the

1035
00:57:28,600 --> 00:57:32,480
Speaker 3: stone wall. Mister Winthrop, three quarters of my family have

1036
00:57:32,560 --> 00:57:36,080
Speaker 3: fallen into madness, and in their madness have acquired a

1037
00:57:36,240 --> 00:57:39,720
Speaker 3: superhuman strength, so that it took the power of many

1038
00:57:39,840 --> 00:57:43,360
Speaker 3: to subdue them. Oh excellent, and I love this for

1039
00:57:43,480 --> 00:57:46,080
Speaker 3: many reasons. First of all, the evincent Price's delivery in

1040
00:57:46,120 --> 00:57:49,000
Speaker 3: the scene is great, but I also thought it was

1041
00:57:49,040 --> 00:57:54,560
Speaker 3: really interesting the relationship between the supposedly afflicted characters and

1042
00:57:54,640 --> 00:57:58,480
Speaker 3: the senses. I think a lot of times characters in

1043
00:57:58,960 --> 00:58:01,440
Speaker 3: horror stories like this seem to be suffering from some

1044
00:58:01,560 --> 00:58:05,200
Speaker 3: kind of vague affliction are presented in the opposite way.

1045
00:58:05,240 --> 00:58:10,800
Speaker 3: They're presented as insensate or unconscious, kind of detached from reality.

1046
00:58:11,440 --> 00:58:17,439
Speaker 3: The Ushers instead are hyper sensitive to all stimulize, sound, light,

1047
00:58:17,600 --> 00:58:21,760
Speaker 3: and taste, and they are thus more present and more

1048
00:58:21,880 --> 00:58:27,040
Speaker 3: vulnerable to every little bit of life. And there's also

1049
00:58:27,040 --> 00:58:31,200
Speaker 3: an interesting relationship of this to their cursed super strength.

1050
00:58:31,760 --> 00:58:34,560
Speaker 3: And warning there will be spoilers ahead, So if you

1051
00:58:34,600 --> 00:58:37,320
Speaker 3: want to see this movie without anything spoiled, you know,

1052
00:58:37,400 --> 00:58:41,000
Speaker 3: go ahead and watch it for yourself. But spoiler's incoming.

1053
00:58:41,440 --> 00:58:44,000
Speaker 3: Later in the film, when Madeline does finally succumb to

1054
00:58:44,040 --> 00:58:46,640
Speaker 3: the Usher madness, we see that she's able to break

1055
00:58:46,720 --> 00:58:49,440
Speaker 3: metal chains and she kind of becomes a goth hulk.

1056
00:58:50,000 --> 00:58:53,280
Speaker 1: Yeah, it is like there, the multi generational evil of

1057
00:58:53,320 --> 00:58:57,200
Speaker 1: the Usher family has reached terminal velocity, and you can

1058
00:58:57,280 --> 00:59:00,880
Speaker 1: tap into that velocity if you want to, if you

1059
00:59:00,960 --> 00:59:02,280
Speaker 1: have the willpower, I guess.

1060
00:59:02,960 --> 00:59:05,200
Speaker 3: Yeah. So it's like at the same time that they

1061
00:59:05,240 --> 00:59:10,000
Speaker 3: are dying and incredibly fragile. They're also becoming Superman. They're

1062
00:59:10,040 --> 00:59:13,760
Speaker 3: gain they're gaining all of Superman's sensory powers, like his

1063
00:59:13,880 --> 00:59:17,040
Speaker 3: superhering and everything, and they're gaining Superman's strength.

1064
00:59:17,520 --> 00:59:18,240
Speaker 1: Yeah.

1065
00:59:18,320 --> 00:59:21,840
Speaker 3: So Winthrop of course reacts to this with extreme skepticism.

1066
00:59:22,440 --> 00:59:25,040
Speaker 3: And then he's like, it is so dark in here, Roderick,

1067
00:59:25,040 --> 00:59:27,880
Speaker 3: can you light a candle? And so Roderick goes and

1068
00:59:28,000 --> 00:59:31,160
Speaker 3: lights two red candles on the mantle above the fireplace,

1069
00:59:31,560 --> 00:59:35,000
Speaker 3: and then he says, two pale drops of fire guttering

1070
00:59:35,040 --> 00:59:39,800
Speaker 3: in the vast, consuming darkness, my sister and myself. Shortly

1071
00:59:39,840 --> 00:59:40,920
Speaker 3: they will burn no more.

1072
00:59:41,960 --> 00:59:43,760
Speaker 1: I think this may have been the scene where I

1073
00:59:43,800 --> 00:59:46,640
Speaker 1: thought to myself, I can see every corner of this room.

1074
00:59:47,520 --> 00:59:50,320
Speaker 1: I think you're overreacting, Roderick, but you know, he kind

1075
00:59:50,320 --> 00:59:51,280
Speaker 1: of does a lot of the time.

1076
00:59:51,880 --> 00:59:55,080
Speaker 3: But so here the sort of the central dispute between

1077
00:59:55,120 --> 00:59:59,320
Speaker 3: the characters is established. Roderick says, hey, our family line

1078
00:59:59,360 --> 01:00:02,480
Speaker 3: is cursed. Madeleine and I are suffering from a physical

1079
01:00:02,560 --> 01:00:05,880
Speaker 3: and mental decomposition as a result of this curse. And

1080
01:00:06,120 --> 01:00:09,600
Speaker 3: Madeleine cannot be allowed to leave this house, cannot have children,

1081
01:00:09,840 --> 01:00:11,920
Speaker 3: or she will pass the curse along to them. And

1082
01:00:11,960 --> 01:00:14,640
Speaker 3: the evil will continue. Philip, on the other hand, does

1083
01:00:14,680 --> 01:00:17,200
Speaker 3: not believe in the idea of this curse. He's dismissive

1084
01:00:17,280 --> 01:00:20,080
Speaker 3: of the whole thing and says, if Madeleine still wishes

1085
01:00:20,120 --> 01:00:22,240
Speaker 3: to marry him and wishes to have children, they will

1086
01:00:22,240 --> 01:00:26,040
Speaker 3: do so and they will leave the house together. This

1087
01:00:26,080 --> 01:00:28,760
Speaker 3: is something that Philip does bring up. It is the

1088
01:00:28,800 --> 01:00:32,680
Speaker 3: fact that he does already know her. Yeah, it's you know,

1089
01:00:33,320 --> 01:00:37,760
Speaker 3: like they have a relationship already. They you know, It's like,

1090
01:00:37,840 --> 01:00:41,800
Speaker 3: it's just that now he is on Roderick's turf and

1091
01:00:41,840 --> 01:00:45,520
Speaker 3: he he has come to meet her family and is

1092
01:00:45,600 --> 01:00:49,680
Speaker 3: therefore encountering different dynamics. I do think that's actually very

1093
01:00:49,680 --> 01:00:54,800
Speaker 3: interesting because this is an exaggerated horror version of a

1094
01:00:54,840 --> 01:00:58,040
Speaker 3: real dynamic, which is that, you know, people often act

1095
01:00:58,160 --> 01:01:00,800
Speaker 3: different when they're around their family. Can meet a person

1096
01:01:00,880 --> 01:01:03,120
Speaker 3: in one setting, and then when you go to meet

1097
01:01:03,160 --> 01:01:06,320
Speaker 3: their family, they just changed a little bit. They act

1098
01:01:06,320 --> 01:01:09,320
Speaker 3: a little bit different. I think a lot of people

1099
01:01:09,360 --> 01:01:12,120
Speaker 3: have probably experienced this with like the family of a

1100
01:01:12,160 --> 01:01:14,760
Speaker 3: significant other, you know, with their in laws or whatever.

1101
01:01:15,400 --> 01:01:19,120
Speaker 3: Of course, this takes that too monstrous dimensions.

1102
01:01:19,040 --> 01:01:22,440
Speaker 1: Yes, but but yeah, it does plan some real dynamics

1103
01:01:22,440 --> 01:01:24,680
Speaker 1: I think, you know, like even in my own life,

1104
01:01:24,680 --> 01:01:27,400
Speaker 1: you know, I recognize that. Yeah, you know, I love

1105
01:01:27,440 --> 01:01:30,560
Speaker 1: my family, but if I'm visiting with them more than

1106
01:01:30,560 --> 01:01:33,120
Speaker 1: a couple of days, I feel myself falling back into

1107
01:01:33,120 --> 01:01:35,760
Speaker 1: a former self. You know. I feel like I can

1108
01:01:35,760 --> 01:01:39,920
Speaker 1: only maintain who I am outside of that dynamic for

1109
01:01:40,000 --> 01:01:41,800
Speaker 1: like a day or so, and then I begin to

1110
01:01:41,880 --> 01:01:46,320
Speaker 1: slip into this former self. And you know, I just

1111
01:01:46,520 --> 01:01:51,640
Speaker 1: observing the way that I change or regress when I

1112
01:01:51,680 --> 01:01:52,640
Speaker 1: am in this environment.

1113
01:01:52,960 --> 01:01:56,200
Speaker 3: Yeah, I think it's a really common experience. But so

1114
01:01:56,480 --> 01:01:58,400
Speaker 3: Philip here, he says, I'm going to stay at the

1115
01:01:58,400 --> 01:02:02,120
Speaker 3: house until Madeline is well enough to leave. And Roderick

1116
01:02:02,280 --> 01:02:05,760
Speaker 3: is like, you know, okay, but now now that you know,

1117
01:02:05,880 --> 01:02:09,800
Speaker 3: whatever consequences fall upon you here, that's not my responsibility.

1118
01:02:09,840 --> 01:02:11,200
Speaker 3: That's on you, you know.

1119
01:02:11,280 --> 01:02:14,040
Speaker 1: And he's gonna have some time to kill in the

1120
01:02:14,280 --> 01:02:16,520
Speaker 1: House of Usher here. He's going to start pointing out

1121
01:02:16,560 --> 01:02:19,640
Speaker 1: some problems with the foundation and so forth. And I

1122
01:02:19,640 --> 01:02:22,200
Speaker 1: couldn't help, but think, wouldn't it be an interesting read

1123
01:02:22,280 --> 01:02:25,160
Speaker 1: on this if Philip was a real fixer upper, you know,

1124
01:02:25,240 --> 01:02:27,360
Speaker 1: like a handyman type, and he was like, let me

1125
01:02:27,400 --> 01:02:29,520
Speaker 1: get it. Roderick let me go over to the home depot.

1126
01:02:29,920 --> 01:02:31,480
Speaker 1: I'm going to pick up a few things I can.

1127
01:02:31,520 --> 01:02:33,760
Speaker 1: I can spackle this crack up. We'll get sho up

1128
01:02:33,760 --> 01:02:34,680
Speaker 1: and running a noe time.

1129
01:02:34,960 --> 01:02:37,520
Speaker 3: Now pards to the lab and.

1130
01:02:37,480 --> 01:02:41,040
Speaker 1: Roderick would be like, you can try, but this home

1131
01:02:41,120 --> 01:02:44,640
Speaker 1: is beyond repair because of the curves.

1132
01:02:44,960 --> 01:02:48,080
Speaker 3: Oh you know what Roderick is. He's like Homer Simpson

1133
01:02:48,120 --> 01:02:50,480
Speaker 3: in that episode where he's like, you know, the problem

1134
01:02:50,520 --> 01:02:55,760
Speaker 3: was water damage. A simple five cent washer will get out.

1135
01:02:56,760 --> 01:03:00,400
Speaker 3: So anyway, one of the weird things. The first time

1136
01:03:00,400 --> 01:03:02,400
Speaker 3: I was watching this, I was confused about I thought

1137
01:03:02,440 --> 01:03:05,440
Speaker 3: Philip arrived late at night, but I think he's supposed

1138
01:03:05,480 --> 01:03:07,600
Speaker 3: to have arrived earlier in the day, because we see

1139
01:03:07,600 --> 01:03:09,760
Speaker 3: like time pass and then it's like later in the

1140
01:03:09,840 --> 01:03:14,080
Speaker 3: evening and Philip is alone in his guest room getting

1141
01:03:14,120 --> 01:03:17,000
Speaker 3: ready to go down for supper. And here we see

1142
01:03:17,000 --> 01:03:19,640
Speaker 3: the first of the Poultergeist. Ye stuff like he's got

1143
01:03:19,840 --> 01:03:22,720
Speaker 3: a chamber stick that's like a little candle holder with

1144
01:03:22,760 --> 01:03:25,160
Speaker 3: a dish on the bottom. You know, He's got that

1145
01:03:25,280 --> 01:03:27,920
Speaker 3: sitting on a table and it starts to scoot across

1146
01:03:28,000 --> 01:03:31,360
Speaker 3: the surface of the table by itself. Now, when I

1147
01:03:31,400 --> 01:03:34,160
Speaker 3: first saw this, I was like, ah, okay, so there

1148
01:03:34,200 --> 01:03:38,440
Speaker 3: are definitely ghosts here. But then Philip hears a rumbling

1149
01:03:38,560 --> 01:03:40,880
Speaker 3: sound and he goes to look out his window and

1150
01:03:40,920 --> 01:03:43,520
Speaker 3: sees there is a giant crack running up from the

1151
01:03:43,560 --> 01:03:45,920
Speaker 3: foundation up the side of the house. Part of the

1152
01:03:45,920 --> 01:03:48,920
Speaker 3: frame of the house seems to be shifting, so maybe

1153
01:03:49,760 --> 01:03:52,280
Speaker 3: that's what made the candle inside move. Maybe it wasn't

1154
01:03:52,280 --> 01:03:54,880
Speaker 3: a ghost. And we get some nice creepy close ups

1155
01:03:55,000 --> 01:03:57,960
Speaker 3: of the crack running along the length of the exterior wall.

1156
01:03:58,280 --> 01:04:00,720
Speaker 3: It's just drooling cobweb and dust.

1157
01:04:01,080 --> 01:04:03,760
Speaker 1: Yeah, this house is not up to cut. We're we're

1158
01:04:03,880 --> 01:04:04,520
Speaker 1: we're learning.

1159
01:04:04,800 --> 01:04:14,040
Speaker 3: Yeah.

1160
01:04:14,080 --> 01:04:14,280
Speaker 1: Oh.

1161
01:04:14,320 --> 01:04:16,800
Speaker 3: As Philip is coming down for supper, he nearly gets

1162
01:04:16,840 --> 01:04:20,640
Speaker 3: squashed by a falling chandelier, you know, just misses him.

1163
01:04:20,640 --> 01:04:23,720
Speaker 3: He dodges out of the way, and Madeline comes out

1164
01:04:23,760 --> 01:04:26,160
Speaker 3: and sees this, and she begs him to leave the

1165
01:04:26,200 --> 01:04:28,920
Speaker 3: house for his own safety, but he's like, no, it's fine.

1166
01:04:28,960 --> 01:04:33,320
Speaker 3: It's just an old creaky chandelier. Everything's okay. So they

1167
01:04:33,320 --> 01:04:36,000
Speaker 3: have dinner and they're sitting at the strange dinner table.

1168
01:04:36,040 --> 01:04:39,640
Speaker 3: Apparently again the Ushers can only eat unseasoned mash and

1169
01:04:39,720 --> 01:04:43,560
Speaker 3: white bread, but Roderick does appear to have a taste

1170
01:04:43,560 --> 01:04:48,160
Speaker 3: for wine served in nearly opaque blood red goblets. I

1171
01:04:48,160 --> 01:04:50,640
Speaker 3: guess maybe wine is not too exotic a flavor.

1172
01:04:51,200 --> 01:04:53,880
Speaker 1: No, no, you know, especially if you're just having potatoes

1173
01:04:53,880 --> 01:04:56,560
Speaker 1: and molasses for dinner and you can you can handle

1174
01:04:57,280 --> 01:04:58,520
Speaker 1: slightly spicy wine.

1175
01:04:58,840 --> 01:05:02,200
Speaker 3: Yeah. Philip notices that Madeleine is not eating at all.

1176
01:05:02,440 --> 01:05:04,640
Speaker 3: He's also like, hey, Roderick, are you going to get

1177
01:05:04,680 --> 01:05:06,920
Speaker 3: that crack in the wall fixed? What you're talking about?

1178
01:05:06,920 --> 01:05:09,400
Speaker 3: And I do not think Roderick is planning on it.

1179
01:05:10,880 --> 01:05:14,800
Speaker 3: Other topics of conversation at dinner are that the soil

1180
01:05:14,840 --> 01:05:17,400
Speaker 3: around the mansion is turned sour, no plants will grow

1181
01:05:17,440 --> 01:05:21,040
Speaker 3: in the usherlands, and then also that friends in Boston

1182
01:05:21,200 --> 01:05:25,000
Speaker 3: keep asking about Madeline, and she seems encouraged by this,

1183
01:05:25,120 --> 01:05:28,520
Speaker 3: but Roderick looks irritated at the delivery of this news.

1184
01:05:29,040 --> 01:05:31,840
Speaker 3: So after supper, Philip and Madeleine they go up to

1185
01:05:31,880 --> 01:05:34,000
Speaker 3: the sitting room, I guess with Roderick, and they listen

1186
01:05:34,080 --> 01:05:36,360
Speaker 3: to him giving a little concert. He plays his lute,

1187
01:05:36,400 --> 01:05:40,080
Speaker 3: Remember the lute from earlier. Roderick says, yes, I play

1188
01:05:40,120 --> 01:05:42,360
Speaker 3: the lute, but I don't know listening in this scene

1189
01:05:42,680 --> 01:05:46,480
Speaker 3: does he play it either sounds like he is just

1190
01:05:46,640 --> 01:05:50,640
Speaker 3: now learning and kind of improvising, or he is so

1191
01:05:50,920 --> 01:05:54,000
Speaker 3: advanced as a lute player that now he is only

1192
01:05:54,040 --> 01:05:57,680
Speaker 3: interested in non rhythmic twelve tone compositions.

1193
01:05:58,920 --> 01:06:01,880
Speaker 1: At the very least. It's it's you know, he can

1194
01:06:01,920 --> 01:06:06,640
Speaker 1: only handle these very soft sounds. He gentle music, So yeah,

1195
01:06:06,680 --> 01:06:09,120
Speaker 1: maybe he's into some sort of like weird or deep

1196
01:06:09,120 --> 01:06:12,200
Speaker 1: ambient kind of a thing, or or yeah, it's like

1197
01:06:12,840 --> 01:06:14,760
Speaker 1: I don't need to learn to play this lute all

1198
01:06:14,760 --> 01:06:17,360
Speaker 1: that much because this is about all I can handle anyway.

1199
01:06:17,680 --> 01:06:20,520
Speaker 3: Yeah, I am cursed. It is forbidden for me to

1200
01:06:20,520 --> 01:06:24,120
Speaker 3: play in a key, so I shall only pluck the

1201
01:06:24,160 --> 01:06:28,280
Speaker 3: notes at random. And then Philip says, remarkable, you composed

1202
01:06:28,280 --> 01:06:33,240
Speaker 3: it yourself. But Philip kind of like he can't get

1203
01:06:33,360 --> 01:06:35,840
Speaker 3: enough of the twelve tone lude. He's like, give me another,

1204
01:06:36,000 --> 01:06:39,480
Speaker 3: let's hear another song, but Roderick insists with a severe

1205
01:06:39,560 --> 01:06:42,680
Speaker 3: expression that now Madeleine must go to sleep. In fact,

1206
01:06:42,800 --> 01:06:44,720
Speaker 3: all three of them must go to sleep.

1207
01:06:45,160 --> 01:06:49,840
Speaker 1: It is nice seven thirty p m. All too bad.

1208
01:06:50,720 --> 01:06:54,600
Speaker 3: So there's another scene later that night where Philip sneaks

1209
01:06:54,640 --> 01:06:57,760
Speaker 3: into Madeleine's room to talk with her in secret. He

1210
01:06:57,800 --> 01:06:59,720
Speaker 3: tells her that in the morning he wants to take

1211
01:06:59,720 --> 01:07:02,360
Speaker 3: her away from the house if she'll let him. What

1212
01:07:02,560 --> 01:07:05,520
Speaker 3: is Madeleine's state of mind again, She seems conflicted, like

1213
01:07:05,600 --> 01:07:10,160
Speaker 3: she does buy into the idea that she is sick

1214
01:07:10,200 --> 01:07:13,160
Speaker 3: from a curse and terrible things could befall them if

1215
01:07:13,200 --> 01:07:15,960
Speaker 3: she were to leave, but also you can tell that

1216
01:07:16,080 --> 01:07:19,320
Speaker 3: she wants to leave. She's excited by the idea and

1217
01:07:19,360 --> 01:07:22,360
Speaker 3: something kind of comes alive within her at the idea

1218
01:07:22,360 --> 01:07:25,640
Speaker 3: of escaping with the man she loves. So she's sort

1219
01:07:25,680 --> 01:07:28,280
Speaker 3: of in the middle position between the two other characters.

1220
01:07:28,360 --> 01:07:32,240
Speaker 3: Roderick is fully convinced of the usher curse, Philip doesn't

1221
01:07:32,240 --> 01:07:35,200
Speaker 3: believe it at all, and Madeleine is torn in between

1222
01:07:35,240 --> 01:07:39,120
Speaker 3: the two ideas. But this scene takes an interesting turn

1223
01:07:39,240 --> 01:07:43,800
Speaker 3: because Roderick suddenly appears at the door. Remember, he's got

1224
01:07:43,840 --> 01:07:46,520
Speaker 3: super sensitive hearing, so he hears any time someone is

1225
01:07:46,560 --> 01:07:50,280
Speaker 3: talking in the house. He's stern and angry at first

1226
01:07:50,320 --> 01:07:54,040
Speaker 3: and tries to send Philip to bed, but after Madeleine

1227
01:07:54,120 --> 01:07:56,840
Speaker 3: shows a bit of defiance, shows that maybe the spell

1228
01:07:56,960 --> 01:07:59,240
Speaker 3: is breaking and she might want to leave the house

1229
01:07:59,280 --> 01:08:04,520
Speaker 3: with Philip. Roderick then changes tack and he sort of

1230
01:08:04,560 --> 01:08:09,120
Speaker 3: turns and becomes pathetic and pitiable, which I think you

1231
01:08:09,120 --> 01:08:12,560
Speaker 3: could interpret multiple ways. As I've said, this movie and

1232
01:08:12,880 --> 01:08:16,360
Speaker 3: Price's performance and contain a lot of ambiguities that you

1233
01:08:16,360 --> 01:08:19,160
Speaker 3: could read in different directions. But I think you could

1234
01:08:19,160 --> 01:08:23,000
Speaker 3: certainly interpret this as a kind of emotional manipulation. If

1235
01:08:23,000 --> 01:08:26,680
Speaker 3: he can't convince her that she has to stay for

1236
01:08:26,760 --> 01:08:29,400
Speaker 3: her own well being, you know, something bad will happen

1237
01:08:29,400 --> 01:08:32,160
Speaker 3: to her if she leaves. I guess something bad is

1238
01:08:32,160 --> 01:08:35,120
Speaker 3: going to happen to her anyway, maybe he can at

1239
01:08:35,200 --> 01:08:38,680
Speaker 3: least recruit her to stay on behalf of his feelings

1240
01:08:38,720 --> 01:08:39,679
Speaker 3: and his well being.

1241
01:08:40,280 --> 01:08:43,280
Speaker 1: Yeah, yeah, I think it's important to note that this

1242
01:08:43,720 --> 01:08:44,880
Speaker 1: is a film where have you just had it on

1243
01:08:44,960 --> 01:08:46,880
Speaker 1: the background. You could think of it as just like, okay,

1244
01:08:46,880 --> 01:08:49,519
Speaker 1: here's Vincent Price and Vincent Price role. But there are

1245
01:08:49,560 --> 01:08:51,919
Speaker 1: a lot of little nuances to the way he plays

1246
01:08:52,000 --> 01:08:55,639
Speaker 1: all of these decisions and all of these actions from

1247
01:08:55,640 --> 01:09:00,240
Speaker 1: his character. I feel like any prime Vincent Price perform

1248
01:09:00,640 --> 01:09:04,599
Speaker 1: is going to be, you know, a masterclass in its

1249
01:09:04,600 --> 01:09:06,720
Speaker 1: own way. You know, sometimes he's more hamming it up,

1250
01:09:06,760 --> 01:09:09,960
Speaker 1: sometimes there are more subtleties, but he's never just going

1251
01:09:10,000 --> 01:09:13,840
Speaker 1: through the motions, so certainly at this period in his career. Yeah,

1252
01:09:14,160 --> 01:09:16,240
Speaker 1: by the time we get to the Muppet Show, you know, maybe,

1253
01:09:16,280 --> 01:09:18,160
Speaker 1: but but not not here.

1254
01:09:19,160 --> 01:09:22,240
Speaker 3: So later that night and yes, still the same twenty

1255
01:09:22,240 --> 01:09:25,120
Speaker 3: four hour period, the scenes just keep piling up. Before daybreak,

1256
01:09:25,800 --> 01:09:27,760
Speaker 3: Philip is lying in bed and then he hears a

1257
01:09:27,760 --> 01:09:31,400
Speaker 3: bunch of weird sounds echoing through the house. So he

1258
01:09:31,479 --> 01:09:34,720
Speaker 3: runs around, investigating the sounds and looking for Madeline. He

1259
01:09:34,760 --> 01:09:37,880
Speaker 3: sees some creepy sights along the way, like wind blowing

1260
01:09:37,920 --> 01:09:41,479
Speaker 3: in through the windows. There's a staircase railing that gives

1261
01:09:41,520 --> 01:09:44,599
Speaker 3: way under his hand. There's a heavy door creaking open

1262
01:09:44,640 --> 01:09:49,040
Speaker 3: and shut over and over. And Philip eventually follows the

1263
01:09:49,120 --> 01:09:53,240
Speaker 3: sounds into the mansion's chapel. There's a chapel inside the house,

1264
01:09:53,840 --> 01:09:56,920
Speaker 3: where he finds Madeline sprawled out I believe on the

1265
01:09:56,960 --> 01:10:01,639
Speaker 3: altar asleep, and Bristol the comes in to tell him

1266
01:10:01,680 --> 01:10:04,439
Speaker 3: that Madeleine often sleep walks and ends up here in

1267
01:10:04,479 --> 01:10:07,960
Speaker 3: the chapel. Bristol says that she is obsessed by thoughts

1268
01:10:08,000 --> 01:10:11,280
Speaker 3: of death and has been ever since her return from Boston.

1269
01:10:12,240 --> 01:10:15,640
Speaker 3: So Bristol takes Madeline back to her bed and Then

1270
01:10:15,680 --> 01:10:18,599
Speaker 3: the next morning, there's a scene where Philip comes into

1271
01:10:18,640 --> 01:10:22,400
Speaker 3: the kitchen. Bristol is here again, and now he's boiling

1272
01:10:22,439 --> 01:10:26,640
Speaker 3: a huge cauldron of gruel over an open fire, and

1273
01:10:26,720 --> 01:10:29,120
Speaker 3: I'm looking at that. I'm thinking, I don't know how

1274
01:10:29,120 --> 01:10:32,080
Speaker 3: many gallons of ruel that is, But who is going

1275
01:10:32,120 --> 01:10:35,000
Speaker 3: to eat all that gruel? There are four people in

1276
01:10:35,040 --> 01:10:35,599
Speaker 3: this house.

1277
01:10:35,880 --> 01:10:38,360
Speaker 1: Well, you know you can free some for later, you know,

1278
01:10:39,560 --> 01:10:41,120
Speaker 1: you give me want leftovers.

1279
01:10:42,640 --> 01:10:45,400
Speaker 3: So Philip says he's gonna take breakfast up up to

1280
01:10:45,439 --> 01:10:48,400
Speaker 3: Madeline in bed. He's like, hey, how about some eggs

1281
01:10:48,439 --> 01:10:51,800
Speaker 3: for my Madeline? And Bristol is like, oh no, no, no, sir,

1282
01:10:52,000 --> 01:10:55,120
Speaker 3: not eggs much too threatening to the taste buds. She

1283
01:10:55,200 --> 01:10:58,160
Speaker 3: will only want gruel. Eggs are one of the exotic flavors.

1284
01:10:58,320 --> 01:11:00,799
Speaker 1: Eggs are too spicy for the ushers.

1285
01:11:00,880 --> 01:11:05,160
Speaker 3: Yes, so gruel it is. We also get more like

1286
01:11:05,840 --> 01:11:09,240
Speaker 3: more of the crumbling house attacks, Like at one point,

1287
01:11:10,240 --> 01:11:13,639
Speaker 3: Philip is standing by the gruel cauldron talking to Bristol,

1288
01:11:13,680 --> 01:11:16,120
Speaker 3: and the cauldron like the wall is sort of shaking

1289
01:11:16,160 --> 01:11:18,600
Speaker 3: and the cauldron swings toward him. But Bristol is like,

1290
01:11:18,640 --> 01:11:19,759
Speaker 3: oh careful, sir.

1291
01:11:20,040 --> 01:11:22,120
Speaker 1: Well, I mean if your gruel is pretty thick. You're

1292
01:11:22,160 --> 01:11:24,920
Speaker 1: gonna get some bubbles and you could get splattered. I mean,

1293
01:11:24,920 --> 01:11:26,519
Speaker 1: that's just that's just gruel one on one.

1294
01:11:26,880 --> 01:11:30,400
Speaker 3: Yeah. So after this, there's a very funny scene where

1295
01:11:30,400 --> 01:11:33,800
Speaker 3: Winthrop awkwardly tries to feed Madeline gruel in bed. He's like,

1296
01:11:33,840 --> 01:11:37,240
Speaker 3: come on, eat up, honey. She's not hungry, not even

1297
01:11:37,240 --> 01:11:40,400
Speaker 3: for gruel, and he tries to cheer her up by

1298
01:11:40,400 --> 01:11:43,719
Speaker 3: opening the windows and letting sunshine in. Tries to convince

1299
01:11:43,720 --> 01:11:45,920
Speaker 3: her once again to come back to Boston with him,

1300
01:11:46,360 --> 01:11:49,479
Speaker 3: but in this scene, she seems to have regressed to

1301
01:11:49,600 --> 01:11:53,240
Speaker 3: her original state of hopelessness. She tells him soon I

1302
01:11:53,280 --> 01:11:57,040
Speaker 3: shall be dead, and he obviously does not like hearing this.

1303
01:11:57,120 --> 01:11:59,439
Speaker 3: He tries to remind her of how happy and full

1304
01:11:59,479 --> 01:12:03,439
Speaker 3: of life she was in Boston, but she says, maybe

1305
01:12:03,439 --> 01:12:07,439
Speaker 3: you'll understand once you see see what. Well, it's time

1306
01:12:07,479 --> 01:12:11,000
Speaker 3: to go investigate the family crypt. Here we're going to

1307
01:12:11,080 --> 01:12:14,559
Speaker 3: get another kind of partial explanation of what is going on.

1308
01:12:14,760 --> 01:12:18,800
Speaker 3: So underneath the mansion there is a subterranean crypt full

1309
01:12:18,840 --> 01:12:23,160
Speaker 3: of bones of all of Madeline and Roderick Usher's ancestors.

1310
01:12:23,960 --> 01:12:27,400
Speaker 3: She shows Philip the coffins one by one, going down

1311
01:12:27,439 --> 01:12:30,280
Speaker 3: the line and listing their names and saying their relationship

1312
01:12:30,320 --> 01:12:33,360
Speaker 3: to her, until finally she gets to the spot of

1313
01:12:33,400 --> 01:12:36,639
Speaker 3: her own coffin, which is empty and waiting for her.

1314
01:12:37,080 --> 01:12:40,080
Speaker 3: And Philip hates this. He's like, there's a coffin here

1315
01:12:40,120 --> 01:12:43,320
Speaker 3: with your name on it. This is monstrous. She says,

1316
01:12:43,360 --> 01:12:46,360
Speaker 3: it waits for me. And as a side note, I

1317
01:12:46,360 --> 01:12:48,400
Speaker 3: think the crypt set here is nice by the way

1318
01:12:48,439 --> 01:12:51,080
Speaker 3: the characters talk about how there's something wrong with the

1319
01:12:51,120 --> 01:12:53,920
Speaker 3: air in the crypt. They never fully explain that, but

1320
01:12:54,760 --> 01:12:56,640
Speaker 3: I like that just as a little like detail that

1321
01:12:56,720 --> 01:12:58,600
Speaker 3: kind of excites the mind, like, Oh, could there be

1322
01:12:58,640 --> 01:13:00,920
Speaker 3: something in the air that's causing a problem or are

1323
01:13:00,920 --> 01:13:02,920
Speaker 3: they just saying like it is evil in here?

1324
01:13:03,360 --> 01:13:07,000
Speaker 1: Mmm? Yeah, yeah, who knows what's like leaking up through

1325
01:13:07,040 --> 01:13:11,360
Speaker 1: the earth into this mansion. No, it also also seems

1326
01:13:11,400 --> 01:13:13,120
Speaker 1: like there's a lot of evil leaking out of this

1327
01:13:13,200 --> 01:13:14,240
Speaker 1: mansion into the earth.

1328
01:13:14,560 --> 01:13:18,760
Speaker 3: Yeah, exactly. So once again, Madeleine says to Philip that

1329
01:13:18,800 --> 01:13:22,760
Speaker 3: he just doesn't understand, and there is something I think

1330
01:13:23,000 --> 01:13:26,840
Speaker 3: very effectively unsettling about this repeated theme that multiple times

1331
01:13:26,920 --> 01:13:30,880
Speaker 3: characters tell Philip that there's something wrong but he doesn't understand,

1332
01:13:30,960 --> 01:13:34,040
Speaker 3: and then they don't explain it immediately, like, you know,

1333
01:13:34,120 --> 01:13:36,519
Speaker 3: I'm soon to die. This coffin waits for me, and

1334
01:13:36,520 --> 01:13:38,479
Speaker 3: he's like, why would you say that you can live?

1335
01:13:38,720 --> 01:13:41,439
Speaker 3: And she can't explain. All she can do is tell

1336
01:13:41,479 --> 01:13:45,640
Speaker 3: him that he doesn't understand. I think the idea that

1337
01:13:45,720 --> 01:13:48,599
Speaker 3: there is some understanding that would make sense of this

1338
01:13:48,680 --> 01:13:50,840
Speaker 3: all but it can't be explained to him or can't

1339
01:13:50,880 --> 01:13:52,559
Speaker 3: be explained yet, is very creepy.

1340
01:13:53,080 --> 01:13:55,759
Speaker 1: Yeah. Yeah, And I feel like Matheson in the script

1341
01:13:55,800 --> 01:13:59,599
Speaker 1: here is really, you know, touching on the actual gap

1342
01:13:59,800 --> 01:14:05,120
Speaker 1: that often exists between my experience and your experience, between

1343
01:14:05,479 --> 01:14:08,240
Speaker 1: my mental state and your mental state, and it can

1344
01:14:08,280 --> 01:14:12,080
Speaker 1: feel like there's something that can't be bridged there, you know,

1345
01:14:12,320 --> 01:14:15,080
Speaker 1: at least not with the tools that one has immediately

1346
01:14:15,120 --> 01:14:16,719
Speaker 1: at their disposal. Yeah.

1347
01:14:16,800 --> 01:14:19,880
Speaker 3: Yeah. Oh. In the scene we get another house attack,

1348
01:14:19,960 --> 01:14:23,200
Speaker 3: there's a coffin scare, like a coffin falls out of

1349
01:14:23,240 --> 01:14:26,280
Speaker 3: the wall nearly crushes the two of them, but they

1350
01:14:26,320 --> 01:14:29,040
Speaker 3: dodge out of the way, and then Madeline faints once

1351
01:14:29,080 --> 01:14:32,760
Speaker 3: again and Roderick arrives and carries her away. So in

1352
01:14:32,800 --> 01:14:36,240
Speaker 3: the next scene we finally are going to get some explanation.

1353
01:14:37,000 --> 01:14:40,920
Speaker 3: Roderick says it is time for Philip to understand. So

1354
01:14:40,960 --> 01:14:44,599
Speaker 3: they go out on the balcony overlooking the twisted marsh below,

1355
01:14:45,080 --> 01:14:48,280
Speaker 3: and Roderick says, the tarn is very deep. One of

1356
01:14:48,280 --> 01:14:51,679
Speaker 3: the Usher women drowned herself in it. She was never found.

1357
01:14:52,240 --> 01:14:55,519
Speaker 3: I dare say it's deep enough to swallow this house entire.

1358
01:14:56,520 --> 01:14:59,000
Speaker 3: And then there's another little exchange, but Usher goes on

1359
01:14:59,000 --> 01:15:01,479
Speaker 3: to I again want to quote his monologue here, because

1360
01:15:01,640 --> 01:15:05,799
Speaker 3: I think it's great. Roderick says, once this land was fertile,

1361
01:15:06,280 --> 01:15:10,439
Speaker 3: Farms abounded, earth yielded her riches at harvest time, there

1362
01:15:10,479 --> 01:15:14,559
Speaker 3: were trees and plant life, flowers, fields of grain. There

1363
01:15:14,640 --> 01:15:17,640
Speaker 3: was great beauty here. At that time. This water was

1364
01:15:17,720 --> 01:15:22,959
Speaker 3: clear and fresh. Swans glided upon its crystal surface. Animals

1365
01:15:23,000 --> 01:15:26,720
Speaker 3: came to its bank trustingly to drink. But this was

1366
01:15:26,760 --> 01:15:30,640
Speaker 3: long before my time. And then something crept across the

1367
01:15:30,760 --> 01:15:34,840
Speaker 3: land and blighted it. The trees lost their foliage, the

1368
01:15:34,920 --> 01:15:39,439
Speaker 3: flowers languished and died. Shrubs grew brown and shriveled. The

1369
01:15:39,479 --> 01:15:44,040
Speaker 3: grain fields perished. The lakes and ponds became black and stagnant,

1370
01:15:44,240 --> 01:15:47,960
Speaker 3: and the land withered as before a plague, a plague

1371
01:15:48,040 --> 01:15:52,519
Speaker 3: of evil, and here Roderick takes Philip inside to show

1372
01:15:52,600 --> 01:15:55,639
Speaker 3: him the paintings, the paintings that we alluded to earlier,

1373
01:15:55,800 --> 01:16:00,000
Speaker 3: of the portraits of his ancestors. So we go through

1374
01:16:00,160 --> 01:16:02,760
Speaker 3: them one by one and we see each painting, and

1375
01:16:02,800 --> 01:16:06,519
Speaker 3: then Roderick names his relative and then begins to list

1376
01:16:06,640 --> 01:16:10,320
Speaker 3: sort of the high points of each relative's biography, which

1377
01:16:10,320 --> 01:16:14,600
Speaker 3: are mostly negative epithets and lists of crimes. So it

1378
01:16:14,640 --> 01:16:19,599
Speaker 3: turns out all of the Usher ancestors were horrible. They

1379
01:16:19,600 --> 01:16:28,240
Speaker 3: were thieves, swindlers, betrayers, blackmailers, liars, exploiters, slave traders, murderers,

1380
01:16:28,240 --> 01:16:29,200
Speaker 3: and assassins.

1381
01:16:29,960 --> 01:16:33,160
Speaker 1: Yeah. This this rundown reminds me a lot of the

1382
01:16:33,439 --> 01:16:35,920
Speaker 1: card game Gloom. I don't know if you're familiar with

1383
01:16:35,560 --> 01:16:37,320
Speaker 1: with with this one, Joe, it has kind of like

1384
01:16:37,400 --> 01:16:40,680
Speaker 1: an Edward Gory kind of vibe to it, where you're

1385
01:16:40,720 --> 01:16:44,200
Speaker 1: trying to like play the most cursed upper crust family.

1386
01:16:45,000 --> 01:16:47,040
Speaker 3: I've always about it, but I've never played it.

1387
01:16:47,040 --> 01:16:49,160
Speaker 1: It's pretty fun, as Zarich, it's been a number of years,

1388
01:16:49,160 --> 01:16:51,040
Speaker 1: but it has this kind of vibe like who can

1389
01:16:51,080 --> 01:16:53,240
Speaker 1: out usher the other player.

1390
01:16:53,720 --> 01:16:55,600
Speaker 3: Who has the most evil ancestry.

1391
01:16:57,120 --> 01:16:59,960
Speaker 1: But oh yeah, this is this tour of the world.

1392
01:17:00,000 --> 01:17:02,760
Speaker 1: First of the worst in the Ashuer family is tremendous,

1393
01:17:03,080 --> 01:17:06,599
Speaker 1: and we have illustrations. Of course, we have those wonderful, dark,

1394
01:17:06,680 --> 01:17:10,160
Speaker 1: grotesque portraits of each individual, each one not as much

1395
01:17:10,200 --> 01:17:14,160
Speaker 1: a photorealistic image of the individual, but like a psychic

1396
01:17:14,280 --> 01:17:15,360
Speaker 1: portrait of their soul.

1397
01:17:15,880 --> 01:17:20,080
Speaker 3: Yeah. So I included some screenshots of these paintings here

1398
01:17:20,080 --> 01:17:21,640
Speaker 3: in the outline for you to look at. Robie, do

1399
01:17:21,680 --> 01:17:24,120
Speaker 3: you want to comment on any individually. I think this

1400
01:17:24,240 --> 01:17:28,360
Speaker 3: first one, mentioned Anthony Usher, is interesting because it is

1401
01:17:29,800 --> 01:17:31,880
Speaker 3: this is supposed to be like an evil old man,

1402
01:17:32,000 --> 01:17:35,759
Speaker 3: but this face looks almost childlike in a way, except

1403
01:17:35,800 --> 01:17:39,000
Speaker 3: the face is rendered with these sort of jigsaw puzzle

1404
01:17:39,160 --> 01:17:41,519
Speaker 3: lines running through it. But it's, you know, pictured with

1405
01:17:41,560 --> 01:17:46,360
Speaker 3: these like large eyes with large dilated pupils, cannoting a

1406
01:17:46,479 --> 01:17:48,639
Speaker 3: kind of I don't even know how to explain it.

1407
01:17:48,640 --> 01:17:51,520
Speaker 3: It's it looks like a kind of evil innocence.

1408
01:17:52,280 --> 01:17:57,080
Speaker 1: Yeah, yeah, yeah, I think so, It's hard to really

1409
01:17:57,080 --> 01:17:59,479
Speaker 1: put it in words. Yeah, but those eyes are wide

1410
01:17:59,520 --> 01:18:02,880
Speaker 1: and curious, same kind of innocent. But the rest is

1411
01:18:03,920 --> 01:18:05,520
Speaker 1: almost decade and patchwork.

1412
01:18:06,280 --> 01:18:09,880
Speaker 3: There's another one that shows a man whose eyes are

1413
01:18:10,000 --> 01:18:13,599
Speaker 3: hidden in shadow, but it's like his outline is sort

1414
01:18:13,600 --> 01:18:17,800
Speaker 3: of sort of shifting through the air so that he

1415
01:18:18,120 --> 01:18:21,960
Speaker 3: actually does not have a fixed outline at the back

1416
01:18:22,000 --> 01:18:24,160
Speaker 3: of his neck and his head. Instead, there are like

1417
01:18:24,200 --> 01:18:27,559
Speaker 3: these multiple lines that just blur out into this cloud

1418
01:18:27,640 --> 01:18:30,840
Speaker 3: of red, as if he is taking form out of

1419
01:18:30,880 --> 01:18:32,040
Speaker 3: a mist of blood.

1420
01:18:32,840 --> 01:18:35,920
Speaker 1: Yeah, this one has has strong vampiric elements to it,

1421
01:18:36,160 --> 01:18:40,960
Speaker 1: like get a sense of like biological disorder, like inner

1422
01:18:41,000 --> 01:18:44,599
Speaker 1: disease or disease of the soul. And you know, virtually

1423
01:18:44,640 --> 01:18:47,959
Speaker 1: no eyes, just dark pits as well, so less innocence

1424
01:18:48,000 --> 01:18:49,200
Speaker 1: with this particular character.

1425
01:18:49,560 --> 01:18:52,800
Speaker 3: Yeah. And then we also see probably the most infernal

1426
01:18:52,840 --> 01:18:55,519
Speaker 3: looking boat captain picture I've ever seen.

1427
01:18:56,120 --> 01:18:58,920
Speaker 1: Oh yes, oh my goodness. The boat Captain was like

1428
01:18:59,000 --> 01:19:03,840
Speaker 1: just the burning eyes. Yeah, like this is the guy

1429
01:19:03,880 --> 01:19:07,360
Speaker 1: who volunteers to bring Dragula to England. Like this is

1430
01:19:07,520 --> 01:19:09,200
Speaker 1: he's like, yeah, bloaded him up.

1431
01:19:09,640 --> 01:19:11,719
Speaker 3: But so the point is that going back through time

1432
01:19:12,040 --> 01:19:16,000
Speaker 3: before Rohderick and Madeline, everyone in the Usher line seems

1433
01:19:16,040 --> 01:19:18,400
Speaker 3: to have been, in one way or another, the worst

1434
01:19:18,479 --> 01:19:23,560
Speaker 3: kind of person imaginable, someone who becomes rich by destroying

1435
01:19:23,600 --> 01:19:27,080
Speaker 3: the lives of others and then, at least in terms

1436
01:19:27,120 --> 01:19:30,800
Speaker 3: of the external world gets away with it. But do

1437
01:19:30,840 --> 01:19:32,640
Speaker 3: they really get away with it because a lot of

1438
01:19:32,680 --> 01:19:37,040
Speaker 3: these people were told end ups. It's something bad does

1439
01:19:37,120 --> 01:19:39,559
Speaker 3: happen to them. But it's not like they face justice

1440
01:19:39,640 --> 01:19:43,479
Speaker 3: from outside. It's like they go mad or they're taken

1441
01:19:43,520 --> 01:19:44,479
Speaker 3: ill or something.

1442
01:19:45,040 --> 01:19:45,280
Speaker 4: Yeah.

1443
01:19:45,439 --> 01:19:47,799
Speaker 1: Yeah, like they don't. They don't get their come upance

1444
01:19:47,840 --> 01:19:50,800
Speaker 1: in a real firm manner like they in the sense

1445
01:19:50,800 --> 01:19:53,880
Speaker 1: that they they stay rich, they stay highly successful in

1446
01:19:53,920 --> 01:19:58,040
Speaker 1: their own deplorable fields, and then the rest of our world,

1447
01:19:58,120 --> 01:19:59,840
Speaker 1: the world just kind of looks on is like, well, yeah,

1448
01:20:00,000 --> 01:20:02,360
Speaker 1: of course the Ushers got away with it. Again, that's

1449
01:20:02,439 --> 01:20:04,680
Speaker 1: what they do. And here we are.

1450
01:20:05,400 --> 01:20:10,040
Speaker 3: So Philip protests. He is like, but sir, you cannot

1451
01:20:10,040 --> 01:20:12,639
Speaker 3: believe that the sins of the father should be visited

1452
01:20:12,720 --> 01:20:16,000
Speaker 3: upon the children. And Roderick says, you do not, sir.

1453
01:20:16,360 --> 01:20:19,800
Speaker 3: Then the House of Usher seems to you normal, And

1454
01:20:19,800 --> 01:20:22,800
Speaker 3: then Philip says it is neither normal nor abnormal. It

1455
01:20:22,880 --> 01:20:26,080
Speaker 3: is only a house. And I think this plays on

1456
01:20:26,080 --> 01:20:29,280
Speaker 3: another interesting theme in the movie, that the duality the

1457
01:20:29,280 --> 01:20:33,200
Speaker 3: different meanings of the word house in English. So it

1458
01:20:33,280 --> 01:20:36,000
Speaker 3: is the house of Usher that we're told is evil

1459
01:20:36,080 --> 01:20:40,000
Speaker 3: and cursed, and house can mean the literal building an

1460
01:20:40,040 --> 01:20:44,439
Speaker 3: ancestral family dwelling which seems infused with wickedness and crumbles

1461
01:20:44,520 --> 01:20:47,680
Speaker 3: kind of pointedly with the intent to cause harm. But

1462
01:20:47,760 --> 01:20:50,080
Speaker 3: also the word house is used to refer to a

1463
01:20:50,120 --> 01:20:54,519
Speaker 3: lineage a family, usually an aristocratic or royal one, as

1464
01:20:54,520 --> 01:20:56,960
Speaker 3: in the House of Windsor. Is kind of interesting that

1465
01:20:57,960 --> 01:20:59,800
Speaker 3: you only use the word house to refer to a

1466
01:20:59,800 --> 01:21:03,719
Speaker 3: family if it's like a prominent, rich family. And adding

1467
01:21:03,720 --> 01:21:06,000
Speaker 3: to that, there's this kind of overlap with the idea

1468
01:21:06,200 --> 01:21:08,240
Speaker 3: of the curse here in the two meanings of house,

1469
01:21:08,360 --> 01:21:11,920
Speaker 3: because if the idea is that the ancestors of the

1470
01:21:12,000 --> 01:21:16,280
Speaker 3: Usher line became rich by way of their sins, it

1471
01:21:16,400 --> 01:21:20,040
Speaker 3: is their wickedness that generated the money to buy the

1472
01:21:20,160 --> 01:21:23,280
Speaker 3: land and build the physical house, which are the physical

1473
01:21:23,320 --> 01:21:26,160
Speaker 3: things that are now cursed. So the reason they have

1474
01:21:26,320 --> 01:21:29,880
Speaker 3: a mansion and a vast estate is because of the

1475
01:21:29,920 --> 01:21:31,800
Speaker 3: evil crimes of the past.

1476
01:21:31,960 --> 01:21:36,160
Speaker 1: Yeah, all of these things that were purchased and acquired

1477
01:21:36,560 --> 01:21:40,160
Speaker 1: via that wealth is tainted by the acts that generated it.

1478
01:21:41,040 --> 01:21:44,519
Speaker 3: So Roderick explains his theory that evil is not just

1479
01:21:44,560 --> 01:21:48,280
Speaker 3: a word, it is a substance, a living reality, and

1480
01:21:48,400 --> 01:21:51,400
Speaker 3: like any living thing, it can be created and was

1481
01:21:51,520 --> 01:21:55,679
Speaker 3: created by his ancestors, and now the evil they created

1482
01:21:55,760 --> 01:21:59,280
Speaker 3: lives on within the house. Again the ambiguity, he says,

1483
01:21:59,400 --> 01:22:02,479
Speaker 3: house that the building or the living descendants, or both,

1484
01:22:03,280 --> 01:22:05,920
Speaker 3: and it will live on as long as the house

1485
01:22:06,120 --> 01:22:09,960
Speaker 3: still exists, which is why Roderick insists that neither he

1486
01:22:10,120 --> 01:22:12,720
Speaker 3: nor Madeleine should ever have children. It would be to

1487
01:22:12,800 --> 01:22:16,479
Speaker 3: allow the evil to live on for another generation. So

1488
01:22:16,720 --> 01:22:20,680
Speaker 3: Roderick says explicitly that all of the near fatal accidents

1489
01:22:20,720 --> 01:22:24,040
Speaker 3: that have occurred since Philip arrived were not accidents. It

1490
01:22:24,120 --> 01:22:27,040
Speaker 3: is the evil of the house lashing out trying to

1491
01:22:27,120 --> 01:22:32,200
Speaker 3: kill Philip, and Philip violently rejects this. He says, no, Roderick,

1492
01:22:32,400 --> 01:22:35,519
Speaker 3: the evil in this house is you. I will not

1493
01:22:35,720 --> 01:22:39,640
Speaker 3: let your sickened fantasies destroy Madeleine's life. She leaves with

1494
01:22:39,680 --> 01:22:42,599
Speaker 3: me today. And when he yells price again, he shows

1495
01:22:42,600 --> 01:22:45,759
Speaker 3: the fragility. He clutches his ears and he shrinks in pain.

1496
01:22:46,600 --> 01:22:49,760
Speaker 1: You know, just a common response in films when there's

1497
01:22:49,760 --> 01:22:52,719
Speaker 1: a new theory regarding the nature of evil. It reminds

1498
01:22:52,720 --> 01:22:54,679
Speaker 1: me a little bit of the nineteen seventy three British

1499
01:22:54,720 --> 01:22:57,240
Speaker 1: horror film The Creeping Flesh, which is not one of

1500
01:22:57,240 --> 01:23:02,679
Speaker 1: my favorites. It's a little I don't know, I don't

1501
01:23:02,720 --> 01:23:05,639
Speaker 1: like the mouthfeel of this particular one. But it has

1502
01:23:05,720 --> 01:23:07,680
Speaker 1: Christopher Lee and Peter Cushing in it, and one of

1503
01:23:07,680 --> 01:23:09,559
Speaker 1: the characters at one point, it's like I have made

1504
01:23:09,600 --> 01:23:11,960
Speaker 1: a breakthrough in the nature of evil. Evil is real

1505
01:23:12,280 --> 01:23:14,640
Speaker 1: and we can put it under a microscope and study it.

1506
01:23:14,680 --> 01:23:17,320
Speaker 1: Look look at the evil, and you know it's always

1507
01:23:17,320 --> 01:23:24,320
Speaker 1: a controversial hye bosis.

1508
01:23:28,080 --> 01:23:31,799
Speaker 3: Now regarding the evil is you interpretation of the story

1509
01:23:31,840 --> 01:23:35,479
Speaker 3: referring to Roderick here, one thing I think worth mentioning

1510
01:23:35,560 --> 01:23:37,920
Speaker 3: is that it is never made explicit in the movie,

1511
01:23:38,040 --> 01:23:40,640
Speaker 3: but there is sort of an unspoken theme that a

1512
01:23:40,720 --> 01:23:44,040
Speaker 3: lot of viewers have picked up on in like film

1513
01:23:44,040 --> 01:23:47,839
Speaker 3: critics literary critics talking about the story over the years.

1514
01:23:47,920 --> 01:23:51,600
Speaker 3: It could be implied that Roderick is acting in a

1515
01:23:51,640 --> 01:23:55,680
Speaker 3: way out of jealousy, that in fact, he has desire

1516
01:23:55,800 --> 01:23:58,720
Speaker 3: for his own sister and he wants to control her

1517
01:23:58,880 --> 01:24:01,200
Speaker 3: and keep her at the house because he can't stand

1518
01:24:01,240 --> 01:24:05,000
Speaker 3: the thought of her going away and marrying Philip. I

1519
01:24:05,040 --> 01:24:07,760
Speaker 3: think that's a plausible reading of the evil as you

1520
01:24:07,960 --> 01:24:11,120
Speaker 3: interpretation of the story. Though the evil as you could

1521
01:24:11,160 --> 01:24:14,240
Speaker 3: also be true about Roderick and simply be that he's

1522
01:24:14,240 --> 01:24:17,480
Speaker 3: so wrapped up in his delusions about the physical manifestation

1523
01:24:17,560 --> 01:24:20,800
Speaker 3: of evil, you know, caused by the horrible ancestors, that

1524
01:24:20,880 --> 01:24:25,439
Speaker 3: he unknowingly projects this delusion onto Madeline and unnecessarily warps

1525
01:24:25,439 --> 01:24:28,240
Speaker 3: her mind and ruins her life as well. But then

1526
01:24:28,320 --> 01:24:31,920
Speaker 3: another interpretation is that the external evil is real and

1527
01:24:32,040 --> 01:24:35,320
Speaker 3: Roderick is correct. And I think the interesting thing is

1528
01:24:35,360 --> 01:24:39,599
Speaker 3: that it's possible to take the movie on any of

1529
01:24:39,640 --> 01:24:40,880
Speaker 3: these interpretations.

1530
01:24:41,680 --> 01:24:45,639
Speaker 1: Yeah, though I think the middle is the more It's

1531
01:24:45,640 --> 01:24:47,439
Speaker 1: the one I lean more towards. I think it's the

1532
01:24:47,479 --> 01:24:50,559
Speaker 1: more interesting of the concepts, you know, because if it's

1533
01:24:50,680 --> 01:24:55,000
Speaker 1: just him, you know, creeping on her and having designs

1534
01:24:55,000 --> 01:24:57,360
Speaker 1: for her, I don't know, that's you know, that's gross

1535
01:24:57,360 --> 01:24:59,320
Speaker 1: and all, but it's not matter. It only gives me

1536
01:24:59,360 --> 01:25:02,880
Speaker 1: so far. And then like the actual physical reality of

1537
01:25:02,920 --> 01:25:05,559
Speaker 1: evil too, I mean that, you know, definitely gets into

1538
01:25:05,600 --> 01:25:08,479
Speaker 1: a nice supernatural zone. But it's that that middle area,

1539
01:25:08,560 --> 01:25:13,040
Speaker 1: that idea that it's just like sheer projection of paranoia

1540
01:25:13,720 --> 01:25:18,919
Speaker 1: and and and shame and and so forth from Roderick,

1541
01:25:19,040 --> 01:25:23,479
Speaker 1: Like just this is the sheer power of his dark thoughts,

1542
01:25:23,600 --> 01:25:26,680
Speaker 1: you know, uh, in a non supernatural way, Like I

1543
01:25:26,680 --> 01:25:27,879
Speaker 1: feel like that's very compelling.

1544
01:25:28,160 --> 01:25:31,439
Speaker 3: I agree that is also my preferred interpretation. But I

1545
01:25:31,439 --> 01:25:34,120
Speaker 3: thought it was worth mentioning the three different ways because

1546
01:25:34,120 --> 01:25:37,439
Speaker 3: I've seen sort of, you know, people writing about this

1547
01:25:37,479 --> 01:25:38,639
Speaker 3: movie that take it all three.

1548
01:25:38,960 --> 01:25:41,759
Speaker 1: Yeah, And I do like that ambiguity in a film,

1549
01:25:41,800 --> 01:25:44,280
Speaker 1: you know, where you're open to your own interpretation.

1550
01:25:45,240 --> 01:25:49,000
Speaker 3: Anyway, after this confrontation between Philip and Roderick, Philip goes

1551
01:25:49,040 --> 01:25:51,760
Speaker 3: to Madeleine's room and makes one last bid to convince her.

1552
01:25:51,760 --> 01:25:54,800
Speaker 3: Remember she's been vacillating. She'll say like, yeah, okay, let's go,

1553
01:25:54,880 --> 01:25:57,000
Speaker 3: and then like no, no, I'm cursed. I have to stay.

1554
01:25:58,240 --> 01:26:00,000
Speaker 3: So he's like, you've got to leave with me. There

1555
01:26:00,000 --> 01:26:02,280
Speaker 3: there is nothing wrong with you that leaving this house

1556
01:26:02,280 --> 01:26:05,160
Speaker 3: won't cure. And hope kind of gathers in her mind

1557
01:26:05,200 --> 01:26:07,479
Speaker 3: again and she says, yes, I will go, and they kiss.

1558
01:26:07,840 --> 01:26:11,280
Speaker 3: She seems afraid but also excited. So they got to

1559
01:26:11,320 --> 01:26:14,360
Speaker 3: pack their things and get ready to go. But while

1560
01:26:14,400 --> 01:26:16,639
Speaker 3: they are packing their things and they're in their separate rooms,

1561
01:26:17,120 --> 01:26:20,360
Speaker 3: Roderick goes into Madeleine's room and begins to argue with her.

1562
01:26:20,680 --> 01:26:23,240
Speaker 3: Reminding her of all the evils and calamities that he

1563
01:26:23,280 --> 01:26:26,840
Speaker 3: says will occur if she leaves the house. And tensions rise,

1564
01:26:27,040 --> 01:26:29,720
Speaker 3: and you can hear Philip hears through the wall that

1565
01:26:29,760 --> 01:26:32,799
Speaker 3: they begin to yell, which is, you know, that's not normal.

1566
01:26:32,920 --> 01:26:36,120
Speaker 3: Normally everybody keeps the library voice in this house. And

1567
01:26:36,240 --> 01:26:39,559
Speaker 3: Philip finally hears Madeleine's scream, and when he comes into

1568
01:26:39,600 --> 01:26:42,840
Speaker 3: the room, Roderick is standing at the window and Madeleine

1569
01:26:42,920 --> 01:26:47,280
Speaker 3: is lying on her sheets, apparently dead. Now Philip yells

1570
01:26:47,320 --> 01:26:50,320
Speaker 3: at Roderick, you killed her, but Roderick says, no, there

1571
01:26:50,360 --> 01:26:52,760
Speaker 3: is no mark on her. You are the one who

1572
01:26:52,840 --> 01:26:56,040
Speaker 3: killed her. He's like, I warned you, and I warned you.

1573
01:26:56,080 --> 01:26:59,479
Speaker 3: Her heart could not withstand the strain of leaving, the

1574
01:26:59,520 --> 01:27:02,559
Speaker 3: strain put upon her. At least she's now been spared

1575
01:27:02,600 --> 01:27:05,920
Speaker 3: the agony of trying to escape. One candle left to

1576
01:27:05,960 --> 01:27:08,360
Speaker 3: burn now before the darkness.

1577
01:27:07,880 --> 01:27:10,479
Speaker 1: Comes way to go, Philip, you killed her.

1578
01:27:10,880 --> 01:27:13,519
Speaker 3: And the interesting thing is that Philip and Roderick have

1579
01:27:13,560 --> 01:27:15,960
Speaker 3: been at opposite ends of this, and Madeleine's been in

1580
01:27:15,960 --> 01:27:18,880
Speaker 3: the middle. Roderick's like, there's a curse. Madeline is sick.

1581
01:27:19,120 --> 01:27:21,320
Speaker 3: Philip is like there's not a curse, she's not sick,

1582
01:27:21,400 --> 01:27:25,439
Speaker 3: she's fine, And they're both sort of trying to convince Madeleine.

1583
01:27:25,760 --> 01:27:28,720
Speaker 3: But now that Madeleine is apparently dead, you start to

1584
01:27:28,720 --> 01:27:33,840
Speaker 3: see Philip succumbing to Roderick's interpretation. So they're like in

1585
01:27:33,880 --> 01:27:36,720
Speaker 3: the family chapel praying over Madeleine's body, and you can

1586
01:27:36,720 --> 01:27:40,360
Speaker 3: see Philip is filled with guilt, and he even asks

1587
01:27:40,360 --> 01:27:43,200
Speaker 3: in a subsequent scene he's talking to Bristol later and

1588
01:27:43,240 --> 01:27:45,960
Speaker 3: he's like, could it be that I that I did this,

1589
01:27:46,160 --> 01:27:49,160
Speaker 3: that I, you know, excited her illness and I killed her?

1590
01:27:49,880 --> 01:27:52,760
Speaker 3: Like he is starting to buy into the curse theory now.

1591
01:27:52,760 --> 01:27:55,840
Speaker 1: M hm, he's been there too long. He's becoming a

1592
01:27:55,840 --> 01:27:57,000
Speaker 1: part of the House of Usher.

1593
01:27:57,240 --> 01:27:59,960
Speaker 3: Yeah. Oh, and then there's a part that did make

1594
01:28:00,080 --> 01:28:02,600
Speaker 3: you laugh out loud when they're there. The two of

1595
01:28:02,640 --> 01:28:05,639
Speaker 3: them are in the chapel praying over Madeleine's dead body

1596
01:28:05,960 --> 01:28:09,120
Speaker 3: with the open casket, and Roderic is like, oh, by

1597
01:28:09,160 --> 01:28:11,599
Speaker 3: the way, she's not at peace now she's in hell.

1598
01:28:13,040 --> 01:28:14,120
Speaker 3: All ushers go to hell.

1599
01:28:14,320 --> 01:28:15,960
Speaker 1: It is deliciously awful, isn't it.

1600
01:28:16,280 --> 01:28:21,479
Speaker 3: Yeah, And Philip's just like, shut up. But so they

1601
01:28:21,520 --> 01:28:26,519
Speaker 3: start this vigorous bickering. But one thing we the audience see,

1602
01:28:26,560 --> 01:28:30,080
Speaker 3: and Roderick sees, but Philip does not see, is that

1603
01:28:30,120 --> 01:28:32,919
Speaker 3: Madeline's fingers begin to flex and stretch.

1604
01:28:33,960 --> 01:28:34,559
Speaker 1: Uh oh.

1605
01:28:34,600 --> 01:28:37,160
Speaker 3: So Roderick catches a glimpse of this, and he quickly

1606
01:28:37,200 --> 01:28:40,439
Speaker 3: snaps the coffin lid shut. And it's like, okay, quickly,

1607
01:28:40,520 --> 01:28:42,840
Speaker 3: let's carry her coffin down to the crypt. Hurry up now,

1608
01:28:43,600 --> 01:28:47,240
Speaker 3: And so the mourners leave the chapel, they shut the crypt,

1609
01:28:47,240 --> 01:28:50,240
Speaker 3: and we zoom slowly on the coffin until finally we

1610
01:28:50,320 --> 01:28:54,080
Speaker 3: hear Madeline scream and and we have arrived at the

1611
01:28:54,080 --> 01:28:59,320
Speaker 3: most classic of Edgar Allan Poe theme's premature burial. That's right,

1612
01:28:59,840 --> 01:29:02,360
Speaker 3: So now everything is building up to the climax. The

1613
01:29:02,360 --> 01:29:05,120
Speaker 3: next morning, Philip is getting ready to leave. He again

1614
01:29:05,280 --> 01:29:08,839
Speaker 3: is buying into the Roderick theory. He's distraught. The ideas

1615
01:29:08,840 --> 01:29:10,679
Speaker 3: have gotten to him, and he's worried that he really

1616
01:29:10,720 --> 01:29:13,599
Speaker 3: did kill Madeleine by putting these ideas in her head

1617
01:29:13,600 --> 01:29:17,120
Speaker 3: about leaving the house. But Bristol, the butler, is trying

1618
01:29:17,160 --> 01:29:20,920
Speaker 3: to console Philip, and he lets slip that you know, Madeleine,

1619
01:29:21,200 --> 01:29:24,120
Speaker 3: she suffered from many health conditions, and there were many

1620
01:29:24,160 --> 01:29:26,760
Speaker 3: health conditions that run in the family. He starts to

1621
01:29:26,840 --> 01:29:30,920
Speaker 3: list them, you know, nervous conditions, something you know, a

1622
01:29:30,960 --> 01:29:33,559
Speaker 3: failure of the heart, and then he starts to say

1623
01:29:33,560 --> 01:29:37,599
Speaker 3: but catches himself catalepsy, which is a condition where people

1624
01:29:37,680 --> 01:29:41,639
Speaker 3: fall into a kind of unconscious trance or spontaneous coma

1625
01:29:41,880 --> 01:29:44,800
Speaker 3: where they are immobile and can appear to be dead,

1626
01:29:44,920 --> 01:29:48,599
Speaker 3: but they're not. Philip hears this, and he realizes what

1627
01:29:48,640 --> 01:29:52,000
Speaker 3: it means. What if Madeleine was still alive and only

1628
01:29:52,040 --> 01:29:54,639
Speaker 3: appeared to have died. What if she has been buried

1629
01:29:54,640 --> 01:29:58,040
Speaker 3: alive in the crypt? So Philip he freaks out. He

1630
01:29:58,120 --> 01:30:00,920
Speaker 3: runs down under the house into the chamber. He finds

1631
01:30:00,960 --> 01:30:05,640
Speaker 3: Madeleine's coffin strangely wrapped shut with a padlocked chain, and

1632
01:30:05,640 --> 01:30:08,320
Speaker 3: then he goes and finds an axe, breaks the chain open,

1633
01:30:08,640 --> 01:30:12,920
Speaker 3: only to discover that the coffin is empty. That's not good,

1634
01:30:13,640 --> 01:30:16,840
Speaker 3: so Philip goes and confronts Roderick, wanting to know where

1635
01:30:16,880 --> 01:30:20,479
Speaker 3: Madeline is and Roderick he doesn't try to deny it.

1636
01:30:20,560 --> 01:30:23,439
Speaker 3: He says she's in a secret place and he won't tell.

1637
01:30:24,280 --> 01:30:27,240
Speaker 3: And Philip threatens Roderick with the axe, but Roderick is

1638
01:30:27,320 --> 01:30:29,880
Speaker 3: not moved. He does not back down. He says, go on,

1639
01:30:30,120 --> 01:30:33,439
Speaker 3: you would be doing me a great favor. And so

1640
01:30:33,880 --> 01:30:39,080
Speaker 3: again it's interesting here how physically unthreatening Roderick is in

1641
01:30:39,160 --> 01:30:41,320
Speaker 3: this scene. He has all the power, but he's so

1642
01:30:41,479 --> 01:30:45,760
Speaker 3: physically weak, so fragile. He cringes and cowers in pain

1643
01:30:45,840 --> 01:30:48,760
Speaker 3: when Philip yells at him, and when Philip threatens him

1644
01:30:48,800 --> 01:30:51,320
Speaker 3: with an axe with violence, He's just like, go ahead

1645
01:30:51,320 --> 01:30:55,080
Speaker 3: and do it. So it's a very unusual and fascinating

1646
01:30:55,240 --> 01:30:57,480
Speaker 3: power dynamic in the drama.

1647
01:30:57,520 --> 01:30:59,400
Speaker 1: It's like, you can kill me and you know, and

1648
01:30:59,439 --> 01:31:02,360
Speaker 1: I'll go to hell where I belong, but just don't

1649
01:31:02,400 --> 01:31:05,760
Speaker 1: raise your voice or touch my garments. And because I

1650
01:31:05,920 --> 01:31:06,679
Speaker 1: just can't take.

1651
01:31:06,520 --> 01:31:09,320
Speaker 3: That right, so Philip is he's searching all over the

1652
01:31:09,320 --> 01:31:12,799
Speaker 3: house looking for Madeline. He eventually he just becomes totally

1653
01:31:12,800 --> 01:31:15,280
Speaker 3: exhausted and passes out. And here we get a great

1654
01:31:15,400 --> 01:31:19,240
Speaker 3: dream sequence where Philip wanders through an altered version of

1655
01:31:19,240 --> 01:31:22,479
Speaker 3: the House of Usher, filled with blue fog, and eventually

1656
01:31:22,479 --> 01:31:25,320
Speaker 3: makes his way into the chapel, which has all of

1657
01:31:25,360 --> 01:31:28,960
Speaker 3: the horrible Usher ancestors moaning at him and reaching out

1658
01:31:29,000 --> 01:31:31,559
Speaker 3: to grab his flesh and When Philip goes to the

1659
01:31:31,560 --> 01:31:34,760
Speaker 3: head of the chapel, he finds Madeleine's coffin occupied only

1660
01:31:34,800 --> 01:31:38,000
Speaker 3: by a skeleton, and then he searches further and further

1661
01:31:38,120 --> 01:31:41,080
Speaker 3: deeper into the dream, and somewhere in the dream he

1662
01:31:41,120 --> 01:31:44,920
Speaker 3: can't find her, but he imagines Madeleine alive, still covered

1663
01:31:44,920 --> 01:31:48,280
Speaker 3: in flesh, trapped in her coffin and screaming wide eyed

1664
01:31:48,320 --> 01:31:50,920
Speaker 3: in terror. I love the dream.

1665
01:31:50,640 --> 01:31:52,920
Speaker 1: Sequence, absolutely wonderful. Yeah.

1666
01:31:53,000 --> 01:31:56,120
Speaker 3: Yeah, So anyway, when Philip wakes up, he goes to

1667
01:31:56,240 --> 01:31:59,679
Speaker 3: Roderick's room, where Roderick is just sitting there plucking his lute,

1668
01:32:00,600 --> 01:32:03,680
Speaker 3: and Philip's like, you murdered your sister, mister usher, and

1669
01:32:03,720 --> 01:32:06,080
Speaker 3: I intend to see that you hang for it, and

1670
01:32:06,160 --> 01:32:09,320
Speaker 3: Roderick says, arrange it quickly. Then the old house crumbles

1671
01:32:10,200 --> 01:32:14,040
Speaker 3: the time window is closing, but Roderick goes on. He

1672
01:32:14,040 --> 01:32:16,439
Speaker 3: starts another monologue where he's like, if you only knew

1673
01:32:16,439 --> 01:32:18,880
Speaker 3: the agonies I have spared you in this world that

1674
01:32:19,160 --> 01:32:22,760
Speaker 3: I have endured on your behalf. Did you know I

1675
01:32:22,800 --> 01:32:26,320
Speaker 3: could hear the scratching of her fingernails on the casket lid?

1676
01:32:26,800 --> 01:32:28,880
Speaker 3: Did you know I could hear her screaming my name?

1677
01:32:29,000 --> 01:32:32,960
Speaker 3: For help, and then Roderick seems he suddenly like it's

1678
01:32:33,000 --> 01:32:36,240
Speaker 3: like something seizes him and he calls out, be done,

1679
01:32:36,520 --> 01:32:40,800
Speaker 3: be done, and Philip realizes what this means. Madeline is

1680
01:32:40,880 --> 01:32:44,599
Speaker 3: still alive and Roderick can hear her screaming for help now,

1681
01:32:45,240 --> 01:32:48,240
Speaker 3: so Roderick rants and raves in agony. He can hear

1682
01:32:48,280 --> 01:32:51,320
Speaker 3: her scratching and all that, but Philip doesn't know where

1683
01:32:51,360 --> 01:32:53,840
Speaker 3: to find her, and we cut away. We see a

1684
01:32:53,920 --> 01:32:57,919
Speaker 3: chained coffin, a different chained coffin with Madeline's bloody fingers

1685
01:32:58,000 --> 01:33:01,559
Speaker 3: reaching out through the crack. Ooh, a killing image. And

1686
01:33:01,600 --> 01:33:06,160
Speaker 3: then finally Philip, Roderick and Bristol they run around, you know,

1687
01:33:06,160 --> 01:33:08,120
Speaker 3: Philip is trying to find her. He makes his way

1688
01:33:08,160 --> 01:33:10,760
Speaker 3: into another part of the crypt where the coffins of

1689
01:33:10,800 --> 01:33:13,479
Speaker 3: the Ushers have all been pulled out of their places,

1690
01:33:13,520 --> 01:33:16,479
Speaker 3: and the skeletons the bones are scattered across the floor,

1691
01:33:16,960 --> 01:33:21,799
Speaker 3: and they find Madeleine's secret coffin thrown open. The chain's broken.

1692
01:33:22,240 --> 01:33:24,400
Speaker 3: So here's the payoff of the monologue we got in

1693
01:33:24,479 --> 01:33:28,640
Speaker 3: Act one where Roderick says, oh, she has the madness,

1694
01:33:28,880 --> 01:33:31,800
Speaker 3: Remember the madness he mentioned earlier where his relatives all

1695
01:33:31,840 --> 01:33:34,680
Speaker 3: go mad and gain the strength of many men. So

1696
01:33:34,840 --> 01:33:37,120
Speaker 3: Philip at this point is running through the house, finding

1697
01:33:37,120 --> 01:33:41,599
Speaker 3: and unlocking secret passageways to locate Madeleine. Roderick arms himself

1698
01:33:41,600 --> 01:33:44,320
Speaker 3: with a pistol, but is that going to do any good?

1699
01:33:44,400 --> 01:33:47,360
Speaker 3: Could you possibly imagine it? Would? We finally get the

1700
01:33:47,560 --> 01:33:50,840
Speaker 3: the ultimate climax of the film, where I don't want

1701
01:33:50,840 --> 01:33:53,720
Speaker 3: to spoil too much, but for a movie that is

1702
01:33:53,800 --> 01:33:57,320
Speaker 3: mostly kind of visually subdued apart from like the paintings

1703
01:33:57,360 --> 01:34:01,400
Speaker 3: and the dream dream sequence, when we finally see Madeleine

1704
01:34:01,439 --> 01:34:05,400
Speaker 3: in her madness, in her glorious madness, with her hands

1705
01:34:05,479 --> 01:34:08,519
Speaker 3: covered in rivulets of blood from where she has scratched

1706
01:34:08,520 --> 01:34:11,280
Speaker 3: her fingernails away on the inside of the coffin. Her

1707
01:34:11,280 --> 01:34:16,200
Speaker 3: eyes are just wide with absolute terror and insanity. Her

1708
01:34:16,240 --> 01:34:19,720
Speaker 3: hair is thrown back and they cast these like these

1709
01:34:19,760 --> 01:34:24,120
Speaker 3: amazing blue lights over her face. She is awesome to behold.

1710
01:34:24,280 --> 01:34:27,240
Speaker 1: Yeah, She's like a bansheet or a wraith, you know.

1711
01:34:27,320 --> 01:34:29,880
Speaker 1: She has that kind of energy to her avengeful spirit.

1712
01:34:30,280 --> 01:34:33,640
Speaker 3: And of course we get avengeful final confrontation, whereas the

1713
01:34:33,680 --> 01:34:37,639
Speaker 3: house is fully crumbling, everything's on fire. Now the House

1714
01:34:37,680 --> 01:34:42,520
Speaker 3: of Usher is meeting its ultimate physical demise. Also, Madelene

1715
01:34:42,560 --> 01:34:45,280
Speaker 3: confronts her brother and she takes him by the neck

1716
01:34:45,360 --> 01:34:48,799
Speaker 3: and strangles Roderic amidst all the fire and the smoke

1717
01:34:48,880 --> 01:34:54,560
Speaker 3: and the falling rubble. And it's a tremendous and terrifying climax.

1718
01:34:55,160 --> 01:34:59,439
Speaker 1: Absolutely yeah, oh my goodness, Like the mansion looked amazing

1719
01:35:00,240 --> 01:35:03,720
Speaker 1: in the picture, and as a fiery husk consumed in

1720
01:35:03,760 --> 01:35:08,400
Speaker 1: this cataclysm, it also looks amazing. The curse comes to

1721
01:35:08,479 --> 01:35:11,800
Speaker 1: full fruition here, just absolutely apocalyptic.

1722
01:35:12,479 --> 01:35:14,800
Speaker 3: Yeah. And so Philip is the only one who survives.

1723
01:35:14,840 --> 01:35:18,320
Speaker 3: The house burns and collapses, and then as he walks away,

1724
01:35:18,600 --> 01:35:21,640
Speaker 3: comes out of the gate, wanders into the swamp, with

1725
01:35:22,080 --> 01:35:25,880
Speaker 3: everything he loved destroyed. We see the final quote from

1726
01:35:25,960 --> 01:35:29,479
Speaker 3: the original post story. The words appear on the screen,

1727
01:35:29,800 --> 01:35:33,080
Speaker 3: and the deep and dank tarn at my feet closed

1728
01:35:33,160 --> 01:35:36,840
Speaker 3: sullenly and silently over the fragments of the house of Usher.

1729
01:35:37,439 --> 01:35:41,040
Speaker 1: Fabulous, fabulous. And of course the moral of the story

1730
01:35:41,280 --> 01:35:44,960
Speaker 1: is never meet your significant other's family. Don't do it.

1731
01:35:46,240 --> 01:35:49,400
Speaker 3: So again, a different, a different kind of film, a

1732
01:35:49,400 --> 01:35:51,880
Speaker 3: different kind of proposition than Mask of the Red Death,

1733
01:35:51,960 --> 01:35:56,400
Speaker 3: which is wilder and more visually extravagant and you know,

1734
01:35:56,479 --> 01:35:59,040
Speaker 3: has more kind of variety in it and all that,

1735
01:35:59,160 --> 01:36:01,639
Speaker 3: but I think or what it is as a tighter,

1736
01:36:02,120 --> 01:36:05,920
Speaker 3: cozier tale of the macabre, House of Usher is really strong.

1737
01:36:06,520 --> 01:36:10,559
Speaker 1: Yeah, this is a film that vibes hard. Again, It's

1738
01:36:10,600 --> 01:36:12,680
Speaker 1: maybe not the ideal viewing experience for you, if you

1739
01:36:13,160 --> 01:36:16,000
Speaker 1: if you want something a little more action based or

1740
01:36:16,080 --> 01:36:18,080
Speaker 1: something that's gonna hit you a lot of jump scares.

1741
01:36:18,400 --> 01:36:23,040
Speaker 1: But in terms of like just pure gothic horror po vibes,

1742
01:36:23,960 --> 01:36:25,599
Speaker 1: it's hard to beat House of Usher.

1743
01:36:27,080 --> 01:36:28,640
Speaker 3: So happy Halloween, everybody.

1744
01:36:29,040 --> 01:36:31,720
Speaker 1: Yeah, yeah, this is a fun one. I enjoyed watching it.

1745
01:36:31,720 --> 01:36:35,280
Speaker 1: I had never seen it before, and I originally enjoyed

1746
01:36:35,280 --> 01:36:38,120
Speaker 1: the experience. It's a good film to really focus on.

1747
01:36:38,200 --> 01:36:39,280
Speaker 1: But I mean, you could have it on in the

1748
01:36:39,280 --> 01:36:41,559
Speaker 1: background and it would still be very visually pleasing. But

1749
01:36:41,640 --> 01:36:46,760
Speaker 1: it's also a good one to really dive into. All Right, well,

1750
01:36:46,760 --> 01:36:48,760
Speaker 1: we're gonna go ahead and close it out here, but

1751
01:36:49,439 --> 01:36:51,479
Speaker 1: just a reminder that while Stuffed About Your Mind is

1752
01:36:51,479 --> 01:36:54,640
Speaker 1: primarily a science podcast with core episodes on Tuesdays and

1753
01:36:54,640 --> 01:36:57,840
Speaker 1: Thursday science and culture podcast on Fridays. You know, we

1754
01:36:57,880 --> 01:37:00,200
Speaker 1: have to we have to release a little steam. We've

1755
01:37:00,240 --> 01:37:02,439
Speaker 1: we've got to dive into some weird films and talk

1756
01:37:02,479 --> 01:37:07,040
Speaker 1: about those. So, hey, you know, get stressful weeks ahead,

1757
01:37:07,040 --> 01:37:09,280
Speaker 1: don't worry, Weird House Cinema, we'll be here for you.

1758
01:37:09,920 --> 01:37:11,920
Speaker 1: In fact, next week's is going to be a nice

1759
01:37:11,960 --> 01:37:16,800
Speaker 1: Halloween selection as well. I can't promise anything, but I'm

1760
01:37:16,880 --> 01:37:19,400
Speaker 1: hoping we can maybe even get it out like just

1761
01:37:19,479 --> 01:37:22,880
Speaker 1: a little after midnight on Halloween Eve, you know, so

1762
01:37:22,960 --> 01:37:26,519
Speaker 1: it's technically on Friday, but it's but it's actually Thursday,

1763
01:37:26,520 --> 01:37:28,559
Speaker 1: you know, that sort of thing. We'll see what we

1764
01:37:28,600 --> 01:37:28,960
Speaker 1: can do.

1765
01:37:29,120 --> 01:37:29,960
Speaker 3: We'll do our best.

1766
01:37:30,200 --> 01:37:34,120
Speaker 1: Yeah, And if you want a full list of all

1767
01:37:34,160 --> 01:37:36,240
Speaker 1: the movies we've covered on Weird House over the years,

1768
01:37:36,240 --> 01:37:38,439
Speaker 1: where you can go to letterbox dot com. That's l

1769
01:37:38,479 --> 01:37:40,400
Speaker 1: E T T E R b o xd dot com.

1770
01:37:40,439 --> 01:37:42,720
Speaker 1: Our username is weird House. We have a nice list there.

1771
01:37:42,840 --> 01:37:45,920
Speaker 1: You can explore that. If you're on Instagram, st b

1772
01:37:46,120 --> 01:37:49,240
Speaker 1: ym podcast and that's where we also update you on

1773
01:37:49,280 --> 01:37:51,519
Speaker 1: what's happening on Weird House. And if you go to

1774
01:37:51,560 --> 01:37:53,719
Speaker 1: stuff to Bow Yourmind dot com or the link tree

1775
01:37:53,760 --> 01:37:57,400
Speaker 1: on Instagram, you can eventually get to our tea public store.

1776
01:37:57,880 --> 01:38:00,200
Speaker 1: We have some new Halloween designs in there that we've

1777
01:38:00,240 --> 01:38:02,160
Speaker 1: been asked to promote, and I think they're pretty cool.

1778
01:38:02,160 --> 01:38:04,920
Speaker 1: If you need a shirt, you need a sticker, it's fun.

1779
01:38:05,000 --> 01:38:07,160
Speaker 1: It's there for fun. We don't need you to buy

1780
01:38:07,160 --> 01:38:09,439
Speaker 1: a shirt or a sticker, but if you would like to,

1781
01:38:09,960 --> 01:38:10,640
Speaker 1: it's there for you.

1782
01:38:11,040 --> 01:38:14,799
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1783
01:38:15,040 --> 01:38:16,639
Speaker 3: If you would like to get in touch with us

1784
01:38:16,640 --> 01:38:19,120
Speaker 3: with feedback on this episode or any other, to suggest

1785
01:38:19,120 --> 01:38:21,200
Speaker 3: a topic for the future, or just to say hello,

1786
01:38:21,320 --> 01:38:23,920
Speaker 3: you can email us at contact at stuff to Blow

1787
01:38:23,960 --> 01:38:31,680
Speaker 3: your Mind dot com.

1788
01:38:31,800 --> 01:38:34,760
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1789
01:38:34,840 --> 01:38:37,639
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1790
01:38:37,800 --> 01:38:41,080
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.