WEBVTT - From the Vault: Hellraiser 0:00:05.720 --> 0:00:07.800 Hey, welcome to Stuff to blow your mind. My name 0:00:07.800 --> 0:00:10.640 is Robert Lamb and I'm Joe McCormick, and it's Saturday. 0:00:10.680 --> 0:00:12.760 Time to go into the vault for a classic episode 0:00:12.760 --> 0:00:17.400 of the show. This one originally aired on October nineteen 0:00:17.520 --> 0:00:19.880 and it was about hell Raiser. Yeah, this one is 0:00:19.880 --> 0:00:23.560 a lot of fun. It's seasonally appropriate and as I remember, Uh, 0:00:23.640 --> 0:00:27.400 they always excellent. Any Reese uh engages in a little 0:00:27.440 --> 0:00:31.240 cold opening for us here excellent. Couldn't ask for more? 0:00:33.440 --> 0:00:37.400 What city is this? One of the four inquired. Frank 0:00:37.479 --> 0:00:41.400 had difficulty guessing the speaker's gender with any certainty. Its clothes, 0:00:41.440 --> 0:00:44.200 some of which were sown to and through its skin, 0:00:44.600 --> 0:00:46.720 hit its private parts, and there was nothing in the 0:00:46.800 --> 0:00:50.400 dregs of its voice or in its willfully disfigured features 0:00:50.400 --> 0:00:53.920 that offered the least clue when it spoke. The hooks 0:00:53.960 --> 0:00:56.840 that transfixed the flaps of its eyes and were wed 0:00:56.920 --> 0:01:00.360 by an intricate system of chains passed through leshi and 0:01:00.440 --> 0:01:03.880 bone alike two similar hooks through the lower lip. We're 0:01:03.960 --> 0:01:08.080 teased by the motion exposing the glistening meat underneath. I 0:01:08.160 --> 0:01:12.080 asked you a question, do you understand the figure beside 0:01:12.120 --> 0:01:16.080 the first speaker demanded. Its voice, unlike that of its companion, 0:01:16.200 --> 0:01:19.280 was light and breathy, the voice of an excited girl. 0:01:20.000 --> 0:01:22.440 Every inch of its head had been tattooed with an 0:01:22.480 --> 0:01:26.280 intricate grid, and at every intersection of horizontal and vertical 0:01:26.280 --> 0:01:30.360 axes a jeweled pin driven through to the bone. Its 0:01:30.400 --> 0:01:34.480 tongue was similarly decorated. Do you even know who we are? 0:01:38.720 --> 0:01:40.600 Welcome to Stuff to Blow Your Mind, a production of 0:01:40.640 --> 0:01:49.640 I Heart Radios How to Work. Hey, Welcome to Stuff 0:01:49.680 --> 0:01:52.000 to Blow your Mind. My name is Robert Lamb, and 0:01:52.040 --> 0:01:54.520 I'm Joe McCormick and Robert. I guess you've been reading 0:01:54.520 --> 0:01:58.320 Clive Barker, right, that's right? Yes, Our cold Open ishi 0:01:58.400 --> 0:02:01.840 Is was a passage from nineteen eighties six novella The 0:02:01.920 --> 0:02:05.680 hell Bound Heart by Clive Barker, which he himself adapted 0:02:05.680 --> 0:02:09.080 and directed in nine seven into the horror film We 0:02:09.160 --> 0:02:11.880 All Know as Hell Raizor Wait a minute, there was 0:02:11.960 --> 0:02:14.640 just one year gap in between writing the novella and 0:02:14.680 --> 0:02:17.519 making the movie. Yeah, yeah, Clive Barker was on a 0:02:17.639 --> 0:02:19.960 roll in the in the late eighties, like he was. 0:02:20.040 --> 0:02:21.320 I mean, he's still on a roll. He's one of 0:02:21.360 --> 0:02:25.160 these uh these creators. It really has has not visibly 0:02:25.200 --> 0:02:28.640 slown down. Um, says Stephen King. Quote from that year, 0:02:28.720 --> 0:02:30.639 he said, I've seen the future of horror and it 0:02:30.800 --> 0:02:33.880 is Clive Barker. Yeah, yeah, quote quote the King. I 0:02:33.919 --> 0:02:36.200 think that that that quote was actually in the trailer 0:02:36.360 --> 0:02:41.840 for for hell Raiser the film, as was I am Pain. No, No, 0:02:42.000 --> 0:02:44.000 I think he doesn't. He doesn't declare that he is 0:02:44.080 --> 0:02:49.680 Pain until three year possibly four. Um, I'm imagining a 0:02:49.760 --> 0:02:52.760 future crossover sequel. It's like Jetson's Meet the flint Stones, 0:02:52.840 --> 0:02:56.320 but it's Judge dread meets Pinhead and they just alternate 0:02:56.360 --> 0:02:58.880 back and forth with I am the Law and I 0:02:59.080 --> 0:03:02.120 am pay that. That actually sounds like a great match up. 0:03:02.760 --> 0:03:04.960 I actually I would be all surprised if it hasn't 0:03:05.240 --> 0:03:07.280 been done or at least pitch, because Judge Dredd is 0:03:07.320 --> 0:03:11.040 thrown down with like Alien before, and I think he's 0:03:11.040 --> 0:03:14.639 met Batman. Pinhead's been in a number of comic books. 0:03:14.720 --> 0:03:17.440 You could see the more nuanced side coming out of 0:03:17.480 --> 0:03:21.160 each because you discovered that in small ways, Judge Dredd 0:03:21.240 --> 0:03:25.200 is also Pain and Pinhead is also the Law. Yeah. Um, 0:03:25.560 --> 0:03:27.920 so I want to you know, wax nostalgic for a 0:03:27.960 --> 0:03:30.520 moment here. I didn't get into hell Razor movies until 0:03:30.600 --> 0:03:34.400 probably because I was too young for them really prior 0:03:34.480 --> 0:03:37.600 to that. Wait, how old was that though? Oh, don't 0:03:37.640 --> 0:03:39.400 make me do math, Joe, But I was. I was 0:03:39.440 --> 0:03:42.600 like in junior higher or so. Uh in ninety five, 0:03:43.280 --> 0:03:46.200 and by that point, the first three films were already 0:03:46.200 --> 0:03:49.280 out and Doug Bradley's Pinhead was already cemented as a 0:03:49.360 --> 0:03:51.680 as a horror icon. Yeah. I mean he's up there 0:03:51.680 --> 0:03:53.800 with like Freddie and Jason at that point. Yeah, like 0:03:54.120 --> 0:03:57.400 in the nine Simpsons tree House of Horror episodes of 0:03:57.400 --> 0:04:00.040 the Shinning episode, Oh, the Shinning is so good. In 0:04:00.160 --> 0:04:03.440 Head is one of the horror icons that drags Homer 0:04:03.560 --> 0:04:10.360 out of the refrigerator. Oh yeah, it's like it's like Jason, Freddie, Pinheads, 0:04:10.480 --> 0:04:12.600 and just some werewolf or something. I think. So. Yeah, 0:04:12.600 --> 0:04:15.160 it's like a quick scene. But like already by that point, 0:04:15.440 --> 0:04:19.120 I think it had been decided that this, uh, this, this, 0:04:19.120 --> 0:04:23.200 this creature, this entity had a role in the Halloween 0:04:23.200 --> 0:04:27.000 pantheon of Hollywood. So you read the book before you 0:04:27.080 --> 0:04:29.880 saw the movie. Um, I think I read the book 0:04:29.920 --> 0:04:32.560 after I saw the movie. I remember reading it on 0:04:32.600 --> 0:04:35.440 a school trip. Yeah, and it's a it's it's short, 0:04:35.440 --> 0:04:38.279 it's a novella, but yeah, it was really it was 0:04:38.279 --> 0:04:41.920 really impressive at the time. As our cold open illustrates, 0:04:42.560 --> 0:04:45.280 it has a slightly different feel. It's the film hell 0:04:45.360 --> 0:04:48.800 Raiser is essentially the hell Bound Heart. It is, you know, 0:04:48.960 --> 0:04:52.839 Barker's own adaptation of it. But at the same time 0:04:53.160 --> 0:04:56.480 there are differences, and one of the key differences is, uh, 0:04:56.520 --> 0:04:59.840 this character of Pinhead, the hell Priest, whatever you want 0:04:59.839 --> 0:05:01.719 to hall it is just called lead Cinobyte and the 0:05:01.760 --> 0:05:04.640 first hell Raiser that the role played by Doug Bradley 0:05:04.680 --> 0:05:08.040 in the novella it is, it has a slightly different 0:05:08.240 --> 0:05:10.560 flare to it. Yeah. I was reading some things about 0:05:10.560 --> 0:05:14.159 the production and it seems to me that the reason 0:05:14.480 --> 0:05:18.120 Doug Bradley's Pinhead became such an icon in the movie 0:05:19.000 --> 0:05:22.440 had to do with the practical necessities of filmmaking. Again, 0:05:22.480 --> 0:05:26.720 it was something about like character, like the other Cinobytes 0:05:27.320 --> 0:05:30.800 that appear in the film would have been given more dialogue, 0:05:30.839 --> 0:05:34.240 but their makeup effects didn't allow it, right, because you 0:05:34.279 --> 0:05:37.840 have like the Chatter and the butter being Cinobytes and 0:05:38.400 --> 0:05:45.080 Butterball Butterball butter similar but but yeah, that makes sense 0:05:45.080 --> 0:05:48.760 that the makeup prevented them from speaking, and Doug Bradley 0:05:48.800 --> 0:05:51.960 could speak, though he couldn't walk around very well. Apparently 0:05:52.000 --> 0:05:55.719 he had these black contact lenses in that made it 0:05:55.760 --> 0:05:57.080 hard for him to see, and he was afraid of 0:05:57.120 --> 0:06:01.200 tripping over the skirts of his of Cinobyte robe, so 0:06:01.279 --> 0:06:04.080 he didn't move very easily. But he could talk, and 0:06:04.120 --> 0:06:07.200 so he could say things like save your tears, it's 0:06:07.200 --> 0:06:09.600 a waste of good suffering. Yeah, he has a very 0:06:09.640 --> 0:06:14.920 commanding voice. Whereas in the original Develoo, the character that 0:06:14.960 --> 0:06:19.680 would become Pinhead is described as this excited girl and 0:06:19.720 --> 0:06:22.720 the nd the Cinobytes themselves come off. They still come 0:06:22.760 --> 0:06:25.840 off is grotesque in their own way, but they're more 0:06:25.880 --> 0:06:29.000 and they're more androgynous for starters. And then there is 0:06:29.080 --> 0:06:32.000 this there's more, this sense that they are not as 0:06:32.040 --> 0:06:35.279 demonic as they are just other worldly, like they have 0:06:35.520 --> 0:06:39.800 lived in another realm of the senses for so long, uh, 0:06:40.279 --> 0:06:43.279 that they just don't have anything in common with human 0:06:43.400 --> 0:06:47.159 sense perception anymore. Right, They're there are explorers that go 0:06:47.279 --> 0:06:49.960 beyond the boundaries of pleasure and pain. And that's a 0:06:49.960 --> 0:06:51.640 lot of what we're gonna be talking about today when 0:06:51.640 --> 0:06:54.680 we get to the science portion of today's episode. But 0:06:54.720 --> 0:06:56.880 I know you're not done talking about hell Raiser, right, 0:06:57.160 --> 0:06:59.839 Oh no, And I do want to just remind everybody 0:06:59.839 --> 0:07:02.400 as far as The hell Bound Heart goes you can. 0:07:02.520 --> 0:07:04.799 You can find it for yourself on Amazon or wherever 0:07:04.839 --> 0:07:07.839 you get your book in all formats, including a dollar 0:07:07.960 --> 0:07:10.760 ninety nine e book and both an audio book production 0:07:10.840 --> 0:07:14.120 and a full blown like audio play production, so you 0:07:14.160 --> 0:07:16.640 have no excuse not to go and grab a copy 0:07:16.640 --> 0:07:18.000 of it if you want to check it out. I 0:07:18.000 --> 0:07:20.440 also highly recommend the books of Blood. Uh. Those are 0:07:20.440 --> 0:07:24.360 some There's some really great short stories in those collections. Uh. 0:07:24.400 --> 0:07:27.040 But yeah, I've always been a Clive Barker fan. I 0:07:27.040 --> 0:07:33.160 haven't read everything he's written, but it's just an unmatched creativity. 0:07:33.280 --> 0:07:36.200 They're both on the written written page, but behind the 0:07:36.240 --> 0:07:39.600 camera and visual art as well. Just before we came 0:07:39.640 --> 0:07:42.239 in here, I was having a conversation with our colleague 0:07:42.240 --> 0:07:44.360 Ben Bolan of stuff they don't want you to know 0:07:44.520 --> 0:07:48.080 and ridiculous history, and he was asking what my favorite 0:07:48.080 --> 0:07:50.040 Clive Barker was, and I had to admit I have 0:07:50.120 --> 0:07:53.000 not read any For some reason, I just never gotten 0:07:53.040 --> 0:07:55.040 into Barker. He was very surprised because he knows I 0:07:55.080 --> 0:07:57.640 like horror fiction. But uh, I don't know. For some reason, 0:07:57.640 --> 0:08:01.560 I just never went there, maybe because when I don't know, 0:08:01.600 --> 0:08:04.000 when I first saw the movie Hell Raiser, I think 0:08:04.080 --> 0:08:06.800 this was like my freshman year of college. I found 0:08:06.840 --> 0:08:10.920 it actually very depressing. Yeah, well, I found it. It 0:08:11.040 --> 0:08:13.360 was full of interesting imagery. I thought it was actually 0:08:13.440 --> 0:08:17.240 kind of original and imaginative. But something about the world 0:08:17.320 --> 0:08:20.320 it pictured it seemed very bleak to me. It was 0:08:20.360 --> 0:08:23.560 like a world where nothing is good and everything goes 0:08:23.640 --> 0:08:26.600 to hell and there's nothing to care about. Yeah, it's 0:08:26.600 --> 0:08:29.640 a bleak, brooding film. And and I can see why 0:08:29.800 --> 0:08:33.080 I was especially into it as like a brooding junior 0:08:33.160 --> 0:08:35.960 high student and as a you know, a teen spoke 0:08:36.000 --> 0:08:38.720 to you then yeah, I mean then also it felt, 0:08:39.280 --> 0:08:41.280 you know, it's a cool d rebel. I think too, 0:08:41.280 --> 0:08:43.440 because like Stephen King, I was stupid into Stephen King 0:08:43.480 --> 0:08:46.240 at the time, and Stephen King has certainly be you know, graphic, 0:08:46.320 --> 0:08:50.400 but but Barker always felt weirder, more counterculture in a 0:08:50.440 --> 0:08:53.480 way that really resonated with me. And you know, there's 0:08:53.480 --> 0:08:55.920 probably no better way to push back against small town 0:08:56.040 --> 0:08:59.040 Southern Baptist upbringing than to turn to and you know, 0:08:59.240 --> 0:09:04.040 the explosive, creative world of an openly gay British horror writer. Well, 0:09:04.080 --> 0:09:07.160 and I will say it is uh despite its flaws. 0:09:07.160 --> 0:09:09.199 I mean, I will talk about how I just rewatched 0:09:09.200 --> 0:09:11.720 the movie uh and it did not match up with 0:09:11.760 --> 0:09:13.800 my memories at all. I found it. I have to 0:09:13.800 --> 0:09:17.400 admit I found it rather funny upon rewatching it, especially 0:09:17.440 --> 0:09:19.800 a lot of the line delivery by the cinabytes and 0:09:19.880 --> 0:09:24.480 it's over the top ponderousness that like, uh, there were 0:09:24.480 --> 0:09:27.400 a whole there was a lot of unintentional laughter. But 0:09:27.800 --> 0:09:31.480 I will say it is still a pretty imaginative concept. 0:09:31.559 --> 0:09:35.160 It was like very original for its time. Let's now 0:09:35.160 --> 0:09:38.720 that we're speaking on Pinhead's voice in the movie, let's 0:09:38.760 --> 0:09:43.480 have a quick uh splash from the trailer will your 0:09:43.800 --> 0:09:49.120 soul part? That's just a sample though, because most of 0:09:49.160 --> 0:09:53.880 the original theatrical trailer is screaming okay, uh yeah. So 0:09:54.040 --> 0:09:57.640 I guess should we briefly discussed the plot of the movie. Yes, 0:09:57.720 --> 0:09:59.959 And for anybody who hasn't listened to a movie at 0:10:00.080 --> 0:10:02.760 so we've done before we will get to uh, you know, 0:10:03.000 --> 0:10:06.719 a lot more science and interpretation of of this particular 0:10:07.120 --> 0:10:09.679 you know, cinematic installment. But but first we do need 0:10:09.720 --> 0:10:13.280 to remind everybody about what's up in Hell Racer, because 0:10:13.320 --> 0:10:15.120 it's easy forget, especially if you've seen a lot of 0:10:15.120 --> 0:10:17.880 the sequels. Uh and and if you've seen some of 0:10:17.920 --> 0:10:20.640 the later sequels then then truly God help you. But 0:10:21.440 --> 0:10:24.760 the original plot line goes like this, do you have 0:10:24.800 --> 0:10:28.280 a creepy uncle? Well, did your creepy uncle ever, say, 0:10:28.400 --> 0:10:30.480 have an affair with your mom? And then use an 0:10:30.480 --> 0:10:33.280 antique puzzle box to open a dimensional rift in your 0:10:33.280 --> 0:10:38.320 grandma's house, summoning a weird sect of transdimensional Cincinnats in 0:10:38.400 --> 0:10:41.600 your uncle's quest for new extremes of pleasure. Well, that 0:10:41.720 --> 0:10:45.160 uncle is Frank Cotton, and yes, he's dragged away to 0:10:45.200 --> 0:10:47.520 the realm of the Cinabytes so the order of the Gash, 0:10:47.520 --> 0:10:50.600 and after a while manages to escape in a much 0:10:50.679 --> 0:10:54.079 reduced state um and works out a plot to reclaim 0:10:54.200 --> 0:10:57.679 his body. And that's essentially the plot line of Hell Racers. Right, 0:10:57.720 --> 0:11:00.400 So you've got your core elements of this miss serious 0:11:00.440 --> 0:11:03.280 puzzle box that is just a normal kind of cube 0:11:03.320 --> 0:11:05.760 with some paintings on it. But if you manipulate it 0:11:05.760 --> 0:11:07.840 in the right way, press here and turn there and 0:11:07.880 --> 0:11:11.120 that kind of stuff. It starts opening up, and then 0:11:11.160 --> 0:11:15.760 once it opens up, a familiar series of events unfolds, 0:11:15.800 --> 0:11:18.960 where lights shine in through you know, cracks in the 0:11:19.000 --> 0:11:22.280 walls and stuff chains with hooks at the ends of 0:11:22.320 --> 0:11:24.640 them shoot out of the walls and grab you. And 0:11:24.679 --> 0:11:27.760 then the Centabyites show up, and they're these people usually 0:11:27.760 --> 0:11:32.080 with like shaved heads or just generally weird heads. Usually 0:11:32.120 --> 0:11:34.440 something has happened to their head. They're wearing black leather 0:11:34.640 --> 0:11:37.160 robes as if they're a combination of the there's sort 0:11:37.200 --> 0:11:40.559 of like S and M priests. And they show up 0:11:40.559 --> 0:11:42.720 and they're like, okay, it's time to take you away 0:11:42.760 --> 0:11:46.760 to a dimension beyond sensation. It's time to experience pain 0:11:46.840 --> 0:11:50.520 and pleasure indivisible. Right. Yeah, and they're you know, they're 0:11:50.559 --> 0:11:53.199 they're very much there's a boundary confusion with them, right, 0:11:53.240 --> 0:11:56.360 because they're both ghastly and beautiful in their own way. 0:11:56.360 --> 0:11:59.280 They're erotic and grotesque at the same time. Yeah. And 0:11:59.440 --> 0:12:02.080 the suggestion question, I think it's explored much more in 0:12:02.160 --> 0:12:06.440 the book, is that these creatures are there part of 0:12:06.480 --> 0:12:11.880 some weird, esoteric, other dimensional religious order that worships the 0:12:11.960 --> 0:12:16.079 exploration of the extremes of sensation right then, and so 0:12:16.160 --> 0:12:18.480 that they've gotten to the point where where they can 0:12:18.520 --> 0:12:21.200 no longer tell the difference between pleasure and pain. It's 0:12:21.280 --> 0:12:25.400 just sort of like experiences to the max all the time, 0:12:26.480 --> 0:12:29.520 of whatever valence possible. Yeah, it's it's more it's not 0:12:29.600 --> 0:12:32.600 like I'm gonna pull your skin off blooh. It's more like, oh, 0:12:32.679 --> 0:12:34.880 I'm I'm sorry, I'm rude, I'm being rude. I should 0:12:34.920 --> 0:12:37.280 pull your skin off, I should be a good host, 0:12:37.559 --> 0:12:41.480 and this is the natural thing to do. Yeah, though 0:12:41.600 --> 0:12:43.760 I feel like that, I think that's more there in 0:12:43.800 --> 0:12:45.440 the book, which again I haven't read, but in the 0:12:45.480 --> 0:12:49.720 movie it does come to feel more like they're there 0:12:49.760 --> 0:12:52.920 to punish you sometimes. I don't know if this conceit 0:12:52.960 --> 0:12:55.600 about them just being sort of experiment ers is really 0:12:55.640 --> 0:12:59.000 consistent in the film now. I mean, even in the 0:12:59.000 --> 0:13:02.559 first film, which is which is certainly the truest to 0:13:02.679 --> 0:13:05.600 the original source material, even in that you can tell 0:13:05.600 --> 0:13:08.720 that that Barker is leaning more into the idea of 0:13:08.760 --> 0:13:12.760 them as movie monsters, though it's still it's still Clive 0:13:12.800 --> 0:13:15.240 Barker's movie monsters, and Clive Barker is one of those 0:13:15.240 --> 0:13:18.480 creators who has always loved his monsters most of all. 0:13:18.640 --> 0:13:22.360 You know. But but still even in the film, you know, 0:13:22.720 --> 0:13:26.920 the cinemabytes are not the most important aspect of the plot. 0:13:26.960 --> 0:13:31.520 They're not the central antagonist. Even our heroine, uh, Kirstie 0:13:31.559 --> 0:13:35.080 Cotton and her father Larry Cotton aren't as central to 0:13:35.120 --> 0:13:39.079 the plot as Frank, the the individual who just described 0:13:39.080 --> 0:13:43.360 the uncle and Chris, Kirstie's mom Julia. It's ultimately about 0:13:43.360 --> 0:13:46.720 their dark love affair that ultimately transcends the boundaries of 0:13:46.760 --> 0:13:49.839 life and death. Uh. You know, they're the characters at 0:13:49.880 --> 0:13:52.079 the heart of all this, and and they're the ones 0:13:52.120 --> 0:13:55.520 whose desires we most understand and even on some level 0:13:55.600 --> 0:13:58.800 sympathize with, even though they are you know, dark, desperate 0:13:59.080 --> 0:14:02.120 and depressing characters. Yeah, I think the deal is Frank 0:14:02.280 --> 0:14:04.559 is just this guy who's seen it all. He's had 0:14:04.640 --> 0:14:08.640 every hedonistic pleasure of the flesh possible. He's he you know, 0:14:08.840 --> 0:14:11.880 he's beyond good and evil. He has no morality left. 0:14:11.960 --> 0:14:15.480 He's just he's just like trying to to seek the 0:14:15.520 --> 0:14:19.160 next highest possible sensation. Uh. And he's usually got a 0:14:19.240 --> 0:14:21.720 knife out because he's just that kind of guy. Right. 0:14:21.760 --> 0:14:24.400 And then Julia, on the other hand, played by the 0:14:24.400 --> 0:14:28.400 the excellent Claire Higgins. In this she's you know, by 0:14:28.400 --> 0:14:31.280 and large, the best performance in the film. There is 0:14:31.320 --> 0:14:33.200 one scene where I don't know if they did this 0:14:33.280 --> 0:14:35.360 on purpose, but the way they did her makeup and 0:14:35.480 --> 0:14:38.280 her hair, she looks exactly like David Bowie and his 0:14:38.360 --> 0:14:41.760 Aladdin sane persona. Oh huh, I I didn't notice that, 0:14:41.840 --> 0:14:44.320 have to to look back at it. But but yeah, 0:14:44.360 --> 0:14:46.960 she's wonderful in it. And in a same way her character. 0:14:46.960 --> 0:14:50.200 Her character is also like trapped in a life of 0:14:50.360 --> 0:14:54.040 tedium and boredom. Like her husband is this boring guy 0:14:54.080 --> 0:14:56.920 who watched his boxing on television and and she just 0:14:56.960 --> 0:14:59.480 seems to be, you know, putting up with him. Uh. 0:14:59.640 --> 0:15:02.520 And and so thus comes her attraction to Frank. And 0:15:02.640 --> 0:15:05.520 even when Frank comes back from the dead uh in 0:15:05.600 --> 0:15:08.680 this you know, grotesque body, uh, you know, she still 0:15:09.000 --> 0:15:11.520 ends up helping him. Oh and of course helping him 0:15:11.520 --> 0:15:14.080 involves like killing a bunch of people again so he 0:15:14.120 --> 0:15:17.320 can it's not exactly clear he can basically drink their 0:15:17.360 --> 0:15:22.120 blood and thus reconstitute his original body. Yeah, Like, yeah, 0:15:22.160 --> 0:15:24.680 it's it's a little vague, and I like that it's vague, 0:15:24.720 --> 0:15:27.440 you know, weren't really sure exactly what the necromancy is 0:15:27.440 --> 0:15:29.600 of all this, but that that is the thing. Frank 0:15:29.720 --> 0:15:34.360 is essentially a necromancer. Uh and and has these these powers. Uh. 0:15:34.800 --> 0:15:36.840 You know, looking back at at the film, it's you 0:15:36.880 --> 0:15:39.520 really can't overstate the importance of Frank and Juliet. They 0:15:39.520 --> 0:15:42.240 are the core of the film. They are its main characters, 0:15:42.280 --> 0:15:45.520 and they are its main monsters. Yeah. The cinembytes show 0:15:45.560 --> 0:15:48.880 up mostly in the third act as a kind of 0:15:49.200 --> 0:15:52.240 almost as a kind of d S X machina. Yeah, 0:15:52.320 --> 0:15:55.360 which is fitting because they are literally coming out of 0:15:55.400 --> 0:15:59.680 the machine, right d S xbox in. Uh. Let's a 0:15:59.680 --> 0:16:01.240 few of are things I want to say about the 0:16:01.240 --> 0:16:04.880 film just rewatching it. Um, the music is fine, It's 0:16:04.880 --> 0:16:07.880 a bit dramatic, but I've long wanted to see a 0:16:07.960 --> 0:16:10.520 cut of it with the original score by Post and 0:16:10.600 --> 0:16:14.160 tut Industrial Act Coil. This was the late Peter Christofferson 0:16:14.400 --> 0:16:17.560 of who was also in Throbbing Gristle, and the late 0:16:17.640 --> 0:16:20.600 John Balance was also in Psychic TV, so that they 0:16:20.640 --> 0:16:23.200 had conducted the original put together the original score for 0:16:23.320 --> 0:16:27.480 the film and the replacement score. This more traditional and 0:16:27.520 --> 0:16:31.080 cinematic was supposedly a condition of additional funding that Barker 0:16:31.160 --> 0:16:34.600 received in order to finish the special effects in the film. 0:16:35.120 --> 0:16:39.560 Uh So, I would my musical taste lean far more 0:16:39.640 --> 0:16:44.280 coil than they do traditional cinematic score. So, uh, you know, 0:16:44.320 --> 0:16:46.400 when what I've heard of it, it sounds really interesting. 0:16:46.480 --> 0:16:49.680 So that's that's that's one thought I have on it. Coil. 0:16:49.800 --> 0:16:51.480 If you're not familiar with them, they were. They were 0:16:51.520 --> 0:16:54.240 a big influence on the likes of say Trent Resner 0:16:54.440 --> 0:16:57.000 Um and uh and of course Clive Barker was also 0:16:57.160 --> 0:17:00.560 an influence on Trent Resider as well. I'd say Nine 0:17:00.600 --> 0:17:03.960 Inch Nails is pretty thoroughly cinabyte music. Yeah, especially the 0:17:04.040 --> 0:17:06.960 early stuff. Let's see what else about this film, Oh, 0:17:07.040 --> 0:17:10.080 the costumes and the practical effects I think hold up 0:17:10.200 --> 0:17:13.479 very well. They do. And I think this is this 0:17:13.560 --> 0:17:14.840 is definitely a film where you look at it and 0:17:14.880 --> 0:17:17.919 you I'm impressed by just how ambitious it really was, 0:17:18.000 --> 0:17:21.439 perhaps overly ambitious, especially given the small budget and the 0:17:21.440 --> 0:17:25.080 fact that Barker was, you know, adapting his own work 0:17:25.119 --> 0:17:27.840 here directing it as well, and this was his He'd 0:17:28.160 --> 0:17:31.159 done some screenwriting, but he had not directed anything previously. 0:17:31.600 --> 0:17:35.439 And it's really, you know, it's they go for not 0:17:35.480 --> 0:17:38.360 only they have the cinabytes in there and all these effects, 0:17:38.359 --> 0:17:42.840 but also like a regeneration scene and additional demon monsters 0:17:42.960 --> 0:17:45.159 that you know, if you were being like maybe a 0:17:45.200 --> 0:17:47.720 little more careful with your budget, you might say, well, 0:17:47.760 --> 0:17:50.000 do we need this monster? We already have this monster. 0:17:50.400 --> 0:17:53.280 Maybe we can actually cut two whole monsters in two 0:17:53.320 --> 0:17:57.240 big practical effects from the film and use those funds elsewhere. 0:17:57.280 --> 0:18:01.359 But uh, still, you know it, it mostly comes together. 0:18:01.640 --> 0:18:03.800 I'm not quite sure the purpose served by the monster 0:18:03.920 --> 0:18:06.719 that's referred to as the engineer, which doesn't look anything 0:18:06.760 --> 0:18:08.959 like an engineer. Instead, it's like a big sort of 0:18:09.080 --> 0:18:12.879 larva that crawls down the hallway with a scary mouth 0:18:12.960 --> 0:18:16.360 on the bottom part, chasing after people. Yeah, it's that's 0:18:16.400 --> 0:18:19.280 something that the engineers mentioned in the novella. But it's 0:18:19.320 --> 0:18:21.760 more it's like a being of light or something. It's 0:18:21.880 --> 0:18:24.440 it's not a monster. So that like that I feel 0:18:24.440 --> 0:18:26.560 like comes off a little confusing in the picture, like 0:18:26.640 --> 0:18:29.439 what is this and how's it connected with everything? Now? 0:18:29.440 --> 0:18:31.200 I don't want to rag on the film too much, 0:18:31.240 --> 0:18:33.359 but I will say that one of the things that 0:18:33.480 --> 0:18:37.800 was funniest about it to me, is that Pinhead even 0:18:37.840 --> 0:18:39.680 in the first movie. I mean, I think it gets 0:18:39.720 --> 0:18:42.760 even more like this as the movies go on. Pinhead 0:18:42.760 --> 0:18:46.560 gets increasingly fretified, Like he becomes like a wise cracking 0:18:46.640 --> 0:18:48.840 you know, making jokes at the camera, kind of Freddy 0:18:48.880 --> 0:18:53.000 Krueger character. But even in the first movie, almost everything 0:18:53.080 --> 0:18:57.080 he says is this like threatening, lee pretentious kind of 0:18:57.080 --> 0:18:59.879 line that could be a quote on the VHS bo 0:19:00.000 --> 0:19:03.920 ex coover. It's all stuff like will tear your soul apart? 0:19:04.400 --> 0:19:09.040 Or the box you opened it, we came? Or of course, uh, 0:19:09.280 --> 0:19:14.120 the the inimitable I am pain Yeah, yeah, yeah. Like Freddie, 0:19:14.119 --> 0:19:16.000 he has a lot of catch phrases and sort of 0:19:16.080 --> 0:19:18.960 quote ready samples. Uh. And I've heard him in a 0:19:19.000 --> 0:19:21.240 number of different DJ mixes as well, throwing a little 0:19:21.240 --> 0:19:24.199 pinhead right. Uh. He also reminds me a bit of 0:19:24.280 --> 0:19:27.480 nineties pro wrestlers in that regard. You know, he's like 0:19:27.520 --> 0:19:29.920 the rock you know, he has the Rocks like more 0:19:29.920 --> 0:19:31.720 post nineties, but still, you know, he has his his 0:19:31.800 --> 0:19:34.879 catch phrases that he lashes out. You can imagine macho 0:19:34.920 --> 0:19:38.879 man Randy Savage saying the box you opened it we came. 0:19:39.600 --> 0:19:43.000 I actually just learned that Doug Bradley serves as the 0:19:43.040 --> 0:19:47.200 authority figure in the indie British occult themed wrestling promotion 0:19:47.280 --> 0:19:51.640 Blackcraft Wrestling. I don't know what that means. Well, look 0:19:51.680 --> 0:19:55.199 it up, beild it exists. Um, it's like clearly he's 0:19:55.240 --> 0:19:57.120 doing kind of like a he's not in a wrestling ring. 0:19:57.160 --> 0:19:59.200 He's like showing up like they're doing a green screen 0:19:59.240 --> 0:20:02.760 thing and he's you know, making matches and whatnot. But 0:20:02.800 --> 0:20:06.680 it's it's Dug Bradley being Doug Bradley. But like he 0:20:06.720 --> 0:20:10.200 officiates a match by saying you're suffering will be legendary 0:20:10.359 --> 0:20:13.720 even in hell. Now, I will say that. In the 0:20:13.960 --> 0:20:15.520 I think it's by the fourth one, he does have 0:20:15.520 --> 0:20:18.320 a line about pain that that is I think it's 0:20:18.320 --> 0:20:21.679 actually pretty good where he says, uh, quote, what you 0:20:21.720 --> 0:20:24.720 think of as pain is only a shadow. Pain has 0:20:24.720 --> 0:20:27.000 a face. Allow me to show it to you, Allow 0:20:27.040 --> 0:20:28.639 me to show it to you, and uh and like 0:20:28.720 --> 0:20:30.080 that that line, I think it is pretty good, Like 0:20:30.119 --> 0:20:33.879 he gets at some of the the intangible aspects of pain, 0:20:34.359 --> 0:20:38.200 the how difficult it is to understand another individual's pain 0:20:38.320 --> 0:20:40.960 or relate your own. Of course, this is and this 0:20:41.000 --> 0:20:42.959 is from how rays your inferno. Then he goes on 0:20:43.000 --> 0:20:47.119 to say, uh, uh, gentleman, I am pain, and he 0:20:47.200 --> 0:20:48.720 kind of he kind of ruins the moment. You know 0:20:48.760 --> 0:20:50.840 it can go far. He can't help but go for 0:20:50.920 --> 0:20:55.639 the catchphrase, ladies and gentlemen, I am pain. So in summary, uh, 0:20:55.840 --> 0:20:58.320 this is what I'll say about How Raiser. It's a 0:20:58.320 --> 0:21:00.200 it's a film. I have a lot of staut it 0:21:00.280 --> 0:21:04.160 for and having rewatched it in the past week, I'd 0:21:04.160 --> 0:21:06.800 say that that more things will work than don't work. 0:21:06.960 --> 0:21:10.520 And it's still like it's it's astounding that that that 0:21:10.600 --> 0:21:13.440 everyone is able to put this film together and then ultimately, 0:21:13.760 --> 0:21:17.399 like clearly it resonated, even though like my personal taste, 0:21:17.440 --> 0:21:21.679 I like the cinebyites of the novella more like Pinhead worked, 0:21:21.800 --> 0:21:25.280 like Pinhead became a staple, like Pinhead is part of 0:21:25.400 --> 0:21:29.520 American popular culture now. A couple of years ago I 0:21:29.560 --> 0:21:31.960 went through the process. I don't know why I decided 0:21:32.040 --> 0:21:34.639 I needed to do this, but I watched all of 0:21:34.720 --> 0:21:38.320 the Hell Raiser sequels. I don't think that's a journey 0:21:38.320 --> 0:21:42.080 people need to go on. There. There are fleeting pleasures 0:21:42.119 --> 0:21:45.240 throughout them, like Part three has some pretty funny stuff. 0:21:45.560 --> 0:21:48.240