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

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Speaker 2: Hey you welcome to Weird House Cinema.

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

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Speaker 3: today's movie on Weird House Cinema is the nineteen eighty

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Speaker 3: one or maybe nineteen eighty I saw some dispute about

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Speaker 3: that Spanish horror film Night of the Werewolf also known

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Speaker 3: as Return of the wolf Man, also known as Maybe

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Speaker 3: some other titles too, directed by Paul Nashi, Written by

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Speaker 3: Paul Nashi, starring Paul Nashi, the creative trifecta previously accomplished

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Speaker 3: by such luminaries as Orson Wells and Edward D. Wood Junior. Now,

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Speaker 3: if you have been listening to Weird House for a while,

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Speaker 3: you will probably recognize that name. You know that we

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Speaker 3: have covered several Paul Nashy movies in the past, and

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Speaker 3: the one we're talking about today is part of a saga,

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Speaker 3: actually saga of a recurring character. It is one of

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Speaker 3: his many, many Valdemar movies, and this time the character Valdemar,

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Speaker 3: returns from beyond the grave to engage wolf mode overdrive,

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Speaker 3: adjacent to a necro vivified countess Bathory and by the

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Speaker 3: end of the movie, he will either do evil or

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Speaker 3: stop evil, or maybe both, but probably not neither.

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Speaker 2: That's right, That's right. I mean this is a you

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Speaker 2: know what you're getting into with this film, and you

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Speaker 2: know there are a lot of the beats are the

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Speaker 2: same compared to other films that Paul Nashy did or

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Speaker 2: films unrelated mostly to Paul Nashey, we've discussed already a

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Speaker 2: couple of fun facts. You mentioned that, Yeah, he's he's

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Speaker 2: the director, he's the writer. He's also the star, though

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Speaker 2: I will say he only plays one role in this film.

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Speaker 2: Other films he plays multiple roles on top of that.

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Speaker 2: But the Blu Rays set that I have that this

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Speaker 2: came out of has some great notes in it by

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Speaker 2: Nashi scholar Irik Lipinski, and he points out that Cince

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Speaker 2: Nashi was directing as well as acting, and was wearing

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Speaker 2: heavy werewolf makeup in some of the scenes. There were

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Speaker 2: times where he was directing the movie in full were

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Speaker 2: wolf makeup, which must have been a sight.

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Speaker 3: I would love to see set photos of that, like

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Speaker 3: is he in the chair with the bullhorn in the

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Speaker 3: wolfman makeup? One would hope, now we should clarify, I

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Speaker 3: think this comes up whenever we talk about a werewolf movie.

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Speaker 3: What werewolf morph are we dealing with in this film?

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Speaker 3: Your two basic categories are the more canine, long snout

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Speaker 3: werewolf that often is paired with a more quadrupedal posture

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Speaker 3: or at least a more hunched posture. Or you've on

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Speaker 3: the other hand, you've got the more humanoid shaped wolf man,

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Speaker 3: sort of the Lawn Cheney junior version that has a

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Speaker 3: human shaped head just covered in hair with fangs. In

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Speaker 3: this movie, we're dealing with the latter, no long snouts

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Speaker 3: to be seen.

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Speaker 2: Yeah, and it's a look that I think a lot

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Speaker 2: lot of films got away from for a while, especially

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Speaker 2: in the wake of an American were wolf in London.

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Speaker 2: You know, everything got snouty, and there's this feeling that, oh,

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Speaker 2: the classic wolfman look was just done and we shouldn't

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Speaker 2: go back to that. But I don't know. I think

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Speaker 2: that I think we're coming back around to realizing that

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Speaker 2: a classic wolf man, if done well, looks amazing. One

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Speaker 2: example of this recently is the excellent Werewolf by Night

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Speaker 2: special from Marvel. This is this is tremendous. It has

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Speaker 2: a were wolf in it, and it is a classic

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Speaker 2: wolf Man look and it's done really well.

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Speaker 3: Haven't seen it, so I can't comment.

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Speaker 2: It's worth checking out. Yeah, but put it on your

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Speaker 2: list for Halloween. It's like, it's less than an hour.

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Speaker 2: It's fun.

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Speaker 3: But okay, So, Rob, I know you are much deeper

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Speaker 3: in the Paul Nashy canon and the Valdemar verse than

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Speaker 3: I am, So can you explain where and how this

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Speaker 3: movie fits into the overall Valdemar.

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Speaker 2: Soaka okay, So this is, with some caveats, the ninth

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Speaker 2: cinematic Adventure of Count Valdemir Daninsky. For our part, we

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Speaker 2: previously watched the third movie in the saga, nineteen seventies

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Speaker 2: Assignment Terror, and we've also watched the unrelated Nashi film

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Speaker 2: Horror Rises from the Tomb from seventy two. So Dninski

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Speaker 2: the character first appears in nineteen sixty eight's The Mark

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Speaker 2: of the Wolfman, which Nashi wrote, and originally he was

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Speaker 2: just going to be the writer on that one, and

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Speaker 2: they were going to get Lon Cheney Junior to play

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Speaker 2: the part, but Lon Chaney Junior was too sick to

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Speaker 2: travel at that point in his life, so Nashi jumped

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Speaker 2: in and acted as well. Daninsky's final appearance in a

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Speaker 2: Nashy directed picture was nineteen eighty three's The Beast and

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Speaker 2: the Magic Sword, the tenth Daniski film, though two more

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Speaker 2: films of other lesser directors would also utilize the character,

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Speaker 2: with Nashi in the role and nash the only Nashi

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Speaker 2: only wrote one of those, still Night of the Werewolf,

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Speaker 2: which we're talking about here eighty one was the first

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Speaker 2: Doninski film in like five years now. An interesting caveat

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Speaker 2: here to putting a fine number on the Voldemart Dninski

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Speaker 2: films is that nineteen sixty eight Knights of the wolf

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Speaker 2: Man is often referred to as the second Dninski film,

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Speaker 2: but it either wasn't actually made or finished, or might

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Speaker 2: not have ever existed to begin with. If it did exist,

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Speaker 2: it's considered a lost film because even Nashi did not

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Speaker 2: see it. Nashi alone seemed to insist it he had

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Speaker 2: actually filmed scenes for this in Paris. I think the

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Speaker 2: story was that the director died in a car crash

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Speaker 2: and the film was never picked up from the processing

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Speaker 2: lab and then was eventually probably destroyed. But no one

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Speaker 2: has ever seen it, and that's assuming it was finished

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Speaker 2: at all. So it's uncertain what's going on there. It's

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Speaker 2: also been theorized that perhaps Nashi kind of embellished it

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Speaker 2: early in his career when he didn't have that many credentials.

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Speaker 2: So I don't know. I don't know where the truth

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Speaker 2: lies on that.

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Speaker 3: Oh, Like I have a girlfriend, but she lives in Canada.

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Speaker 3: Like I already made a movie but it was never released.

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Speaker 2: Yeah, I made a wear we'll film a second wear

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Speaker 2: of film, but it was in Paris, and I don't know.

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Speaker 2: They haven't done anything with the footage, which you know,

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Speaker 2: I guess was the safe there was no IMDb back

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Speaker 2: in those days.

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Speaker 3: Well, interesting that he would go on to make a

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Speaker 3: movie of the same name later on, that's well, almost

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Speaker 3: exactly the same name, but with singular instead of plural

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Speaker 3: Night versus Knights.

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Speaker 2: Yeah. Now, I haven't seen all of the Dninsky films.

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Speaker 2: I've only seen really a handful of these. But it's

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Speaker 2: important to note that all of them are essentially standalone.

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Speaker 2: You don't have to watch these in order. Each one

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Speaker 2: seems to reinvent Dninsky's origin story to fit the plot

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Speaker 2: as needed, so sometimes his origin is very modern, other

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Speaker 2: times his origin is in the case of this film

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Speaker 2: is situated in the past. For instance, the previous film

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Speaker 2: to this one nineteen seventy five is The Where Wolf

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Speaker 2: and the Yetti, which I've seen. It's a pretty fun one.

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Speaker 2: But Dninsky transforms into a were wolf in that one

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Speaker 2: because a pair of Tibetan were wolf women capture him

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Speaker 2: while he's on an excursion into bed.

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Speaker 3: So you're saying they're all stand alone, and in many

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Speaker 3: ways they sort of recapitulate some of the same plot

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Speaker 3: elements and reimagine the origin each time. So it might

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Speaker 3: be more apt to compare Valdimarre Doninsky to a character

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Speaker 3: like Dracula that is in many movies but gets but

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Speaker 3: most of those movies stand alone, as opposed to thinking

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Speaker 3: of it as a continuity or a cannon.

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Speaker 2: Absolutely Dracula of Frankenstein, all those characters were very much

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Speaker 2: characters that inspired Paul Nashy, and therefore that they're part

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Speaker 2: of the DNA of this character that he created.

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Speaker 3: So the two Dninsky movies we've seen, it's interesting because

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Speaker 3: the Dninsky elements in them have a lot in common,

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Speaker 3: but the movies overall are very different. Assignment Terror was

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Speaker 3: a I call it like a sort of a gonzo

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Speaker 3: mashup of the classic Universal monsters. The premise was that

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Speaker 3: aliens want to conquer Earth, and they do so by

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Speaker 3: rounding up Frankenstein, Dracula Dninsky as a wolf man I

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Speaker 3: think a mummy too, and some other critters, and they're like,

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Speaker 3: we're going to use these monsters to attack earthlings and

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Speaker 3: get them. I don't know, I guess to surrender to us.

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Speaker 3: I remember the vibe of that movie was a very wild,

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Speaker 3: chaotic and science fiction though the Dninsky element in particular

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Speaker 3: felt almost a little out of place. It was more

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Speaker 3: this kind of like tragic Gothic horror love story that

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Speaker 3: was just one little wedge of that whole pie. You

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Speaker 3: could tell me if you disagree with my characterization in

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Speaker 3: a second, but I'm going to say this movie is

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Speaker 3: very different than Assignment Terror in that it feels more

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Speaker 3: like they were trying to go for sort of like

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Speaker 3: what some of the Hammer horror movies of the seventies

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Speaker 3: were liked, of a sexy escapade in the Carpathian Mountains.

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Speaker 2: Yeah, I no, I agree with that. Assignment Terror also

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Speaker 2: came out at a time where it's like Spanish cinema

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Speaker 2: wasn't really ready to fully embrace the horror. But then

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Speaker 2: horror is embraced throughout the nineteen seventies and at this

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Speaker 2: point Paul Nashley's setting out to make a just a

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Speaker 2: gothic horror film. You don't have to have a spy

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Speaker 2: story in there.

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Speaker 3: Oh yeah, there were spies too, weren't there.

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Speaker 2: There was a boring spy story and assignment terror that. Yeah,

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Speaker 2: amid all the monsters, you only remember the monsters. Those

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Speaker 2: were the best scenes.

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Speaker 3: I remember it being funny that the that the Frankenstein

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Speaker 3: monster was like the really bad monster. Like of all

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Speaker 3: you could sort of rank the monsters in terms of

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Speaker 3: morality in that movie, and frank was one of the worst.

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Speaker 3: He was like the sort of the enforcer droid who

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Speaker 3: was doing all the hits for the bad aliens, which

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Speaker 3: seemed like a strange thing because the Frankenstein character from

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Speaker 3: the novel is so conflicted and tragic.

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Speaker 2: Yeah, but you had you ultimately had a good, uh

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Speaker 2: tear down battle between the were wolf and the Frankenstein monsters,

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Speaker 2: so so it is worth it, all right. Well, the

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Speaker 2: elevator pitch on this one is pretty simple. It's were

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Speaker 2: wolf versus vampire. More specifically, it's Doninsky versus Bathory.

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Speaker 3: So it's Elizabeth Bathory as a vampire.

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Speaker 2: Yes, let's hear probably not all of the trailer audio,

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Speaker 2: but let's hear just a little bit of that trailer

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Speaker 2: audio hit us. All right, Well, if you're wondering where

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Speaker 2: you can watch this film, you can stream it a

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Speaker 2: few different ways. Sometimes it's available under the title The

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Speaker 2: Craving that was one of its American release titles. Though

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Speaker 2: the best streaming option is probably shout Factory TV, since

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Speaker 2: shout Factory also put this film out on a glorious

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Speaker 2: blu ray set part of their excellent Paul Nashy collection.

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Speaker 2: Part one and two are out. I own both of them.

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Speaker 2: I hope we're getting a part three as well. There's

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Speaker 2: plenty more stuff for them to throw on a disc.

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Speaker 2: This particular set, Part one collects Knight of the Werewolf,

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Speaker 2: Vengeance of the Zombies, Horror Rises from the Tune, which

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Speaker 2: is another favorite of mine, Blue Eyes of the Broken Doll,

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Speaker 2: and Human Beasts. All right, well, let's get into the

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Speaker 2: cast here. Starting at the top, obviously, we have Paul

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Speaker 2: Nashi He's playing Valdemarter Doninski in this He also wrote it,

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Speaker 2: he directed it, he lived nineteen thirty four through two

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Speaker 2: thousand and nine the Spanish horror icon the Lon Cheney

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Speaker 2: Junior of Madrid. As a young man, he grew upon

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Speaker 2: a cinematic diet of universal monster pictures, and after a

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Speaker 2: brief foray into architecture school, he got into weightlifting and

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Speaker 2: then into acting, writing, and eventually directing. He ranked up

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Speaker 2: more than one hundred acting credits, fifty two writing credits,

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Speaker 2: twenty three directing credits. Not all of his work is horror.

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Speaker 2: He appeared in and worked on crime, comedy, war western

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Speaker 2: movies as well, but it's his horror films that continue

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Speaker 2: to resonate and have earned him recognition internationally. There's a

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Speaker 2: lot to dissect in a Nashi film and in a

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Speaker 2: Nashi performance. You know, they are these themes of tragic

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Speaker 2: gothic melodrama on really thick, and this courses through his films.

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Speaker 2: But at least in my opinion, amid the budget and

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Speaker 2: time constraints and the elements of exploitation cinema, they're all

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Speaker 2: over these pictures. I feel like Paul Nashey's passion shines through,

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Speaker 2: especially in his monsters and his outsider characters, which is

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Speaker 2: one of the prime reasons. I think his films continue

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Speaker 2: to resonate. And it wasn't just you know, fantastic monstrous

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Speaker 2: and supernatural outsider characters that interested interest Nashi as well.

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Speaker 2: I was reading about this. I didn't know about this

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Speaker 2: until a research for this picture, but apparently after meeting

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Speaker 2: a trans woman at a Madrid gay club, he was

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Speaker 2: inspired to write and then also acted in a supporting

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Speaker 2: role in a film that would become nineteen seventy seven's

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Speaker 2: Al Transsexual, which I've not seen, but it's apparently a

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Speaker 2: really compassionate and shockingly non exploitive picture. It's a cabaret

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Speaker 2: romance drama with a lot of music in it, intercut

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Speaker 2: with documentary testimonials from a spanished trans woman about transidentity.

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Speaker 2: I've read that the story itself isn't the best, but

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Speaker 2: the film serves as kind of a time capsule for

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Speaker 2: the Madrid LGBTQ club scene of Madrid at the time.

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Speaker 2: Oh interesting, But in general, like Nashy could really bust

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Speaker 2: out these scripts. I was reading that like Harror Rises

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Speaker 2: from the Tomb, he wrote in like a day and

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Speaker 2: a half, Like that was his deadline to get a

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Speaker 2: script in, and he's like Thank goodness for amphetamines, because

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Speaker 2: I got it done. But like in nineteen seventy two alone,

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Speaker 2: he wrote and starred in seven movies, and then he

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Speaker 2: eventually started directing as well in seventy six with the

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Speaker 2: film Inquisition.

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Speaker 3: His seventy two sounds kind of like Roger Corman's nineteen

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Speaker 3: fifty seven or something.

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Speaker 2: Yeah, prime Year.

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Speaker 3: Well, as an actor, there is always something I do

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Speaker 3: enjoy about Paul Nashy, But in this movie in particular,

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Speaker 3: I noticed he's kind of He's a one track lover

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Speaker 3: down a two way lane. He brings a lot of

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Speaker 3: passion of the wolf. Yes, but also I did want

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Speaker 3: to know that that Rachel watching part of the movie

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Speaker 3: over my shoulder here. It was during one of the

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Speaker 3: brooding human mode scenes. She was like, is this a

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Speaker 3: Matt Berry character? And I had to say, oh, yes.

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Speaker 2: A little bit, a little bit, yeah, yeah, it's it's

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Speaker 2: It's pretty much the case. I could see this kind

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Speaker 2: of character fitting in really well on dark plays. There's

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Speaker 2: a certain, you know, over seriousness to everything.

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Speaker 3: But I find it interesting that it seems like he's

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Speaker 3: doing all these different things, but he's always trying to

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Speaker 3: write a tragic, supernatural love story, and then in the

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Speaker 3: end he always gets a gets like a steak or

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Speaker 3: a dagger to the heart, and that's the end of it,

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Speaker 3: but in a kind of like a bittersweet resolution of

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Speaker 3: the curse. Yeah.

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Speaker 2: There's actually a wonderful quote from Paul Nashy in the

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Speaker 2: booklet that comes with the Paul nashi Collection, Volume one.

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Speaker 2: He said of this film quote, it contains all the

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Speaker 2: coordinates of my own life fitting together, the pieces of

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Speaker 2: a jigsaw puzzle. The claustrophobic castle, the gothic tombs, the

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Speaker 2: ill fated love affair, the menace of the undead, the

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Speaker 2: ostracism of someone who is despised for being different, and

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Speaker 2: the all pervading shadow of death. All these elements go

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Speaker 2: to make up my personality and my work. So I

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Speaker 2: think that's the thing. It's like these like he's however,

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Speaker 2: it comes together in Paul Nashy's head and then comes

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Speaker 2: out in his work like it's personal for him. You know,

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Speaker 2: they're cranking these pictures out, you know it's about you know,

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Speaker 2: their limited budget, limited time, But for him it's still

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Speaker 2: personal when it comes to characters like Voldemar Doninsky.

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Speaker 3: Yeah, So to maybe revise a bit the comparison to

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Speaker 3: hammer horror, like that he's sort of trying to make

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Speaker 3: something along the lines of those like lusty seventies hammer films.

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Speaker 3: It's kind of in that mode, but it is at

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Speaker 3: the same time a little bit less professional, like it's

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Speaker 3: a little bit sloppier, but it's also far more like

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Speaker 3: of a passion project. You can tell it's less of

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Speaker 3: a less of a business product and more of like

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Speaker 3: this guy is pouring his heart and soul in.

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Speaker 2: Yeah, and this was also worth It's worth pointing out

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Speaker 2: this was at a time where the horror world in

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Speaker 2: general was kind of moving on into slasher territory, like

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Speaker 2: Gothic horror wasn't really like at the forefront anymore. All Right,

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Speaker 2: So that's Paul Nashy, that's our werewolf, but we also

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Speaker 2: need our vampire. We need our Countess Elizabeth Bathory. And

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Speaker 2: she has played in this film by Julius Sally. Now

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Speaker 2: her dates run now. I couldn't find any birthdate for her.

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Speaker 2: I think she's still around. She's retired at this point,

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Speaker 2: but she is a Spanish ballerina turned actor and producer

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Speaker 2: that was active from nineteen seventy two through nineteen eighty five.

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Speaker 2: She got her acting start in the nineteen seventy three

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Speaker 2: war movie La Gorilla starring Francisco Rebal. He was in

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Speaker 2: that three D movie we watched. He played.

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Speaker 3: Treasure of the Four Crowns. Is that for this The

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Speaker 3: Four Crowns?

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Speaker 2: Yes? Yes, yeah, he was the guy who shows up

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Speaker 2: playing painted blue. He's the strong man with the heart problems.

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Speaker 3: Oh yeah, our tragic hulk.

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Speaker 2: Yes. She only had a big part in that, and

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Speaker 2: she was credited in that as Lepoca, which apparently loosely

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Speaker 2: translates to the white girl. She's also credited as Lopoka

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Speaker 2: on her next small role in Armando Diosrio's demon witch

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Speaker 2: Child from seventy five, and she worked with that director

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Speaker 2: again on his other film released in seventy five, Night

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Speaker 2: of the Seagulls. That's his fourth and final blind dead movie.

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Speaker 2: We watched one of the blind Dead movies previously on

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Speaker 2: Weird House. But then in seventy six, she had a

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Speaker 2: supporting role in Leon Kolimowsky's The People Who Owned the Dark,

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Speaker 2: which featured Paul Nashey in a very small role. I

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Speaker 2: believe they met at a cast party for this film,

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Speaker 2: and afterwards the two would work together on thirteen films,

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Speaker 2: with South serving as producer on six of those. Apparently,

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Speaker 2: while traveling in Japan for ballet, she made connections with

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Speaker 2: Japanese film producers and these connections would prove vital for

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Speaker 2: various productions that they would work on together. So if

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Speaker 2: Paul Nashi is the dark Count of Spanish horror, then

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Speaker 2: I think Julia Sally may well be considered the dark countess.

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Speaker 2: Their films together include seventy sevens So Multiple Films in

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Speaker 2: seventy seven, Inquisition Death of a Delinquent and Commando Chiki

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Speaker 2: Death of a President in seventy eight, The Frenchman's Garden

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Speaker 2: seventy nine, Madrid Al Desnudo nineteen eighties, The Beast Carnival

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Speaker 2: slash Human Beasts, as well as a movie called the

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Speaker 2: Cantabrians nineteen eighty one s Night of the Werewolf. Of course,

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Speaker 2: eighty three is The Beast and the Magic Sore. That's

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Speaker 2: a Dninski film set in Japan with Japanese actors. Nineteen

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Speaker 2: eighty four Is the Last Kamikazi, nineteen eighty four's Miamiko

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Speaker 2: El Levaga Bun. This is a Paul Nashy written and

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Speaker 2: directed family movie Oh, and then nineteen eighty five's Operation Mantis,

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Speaker 2: apparently a disastrous film that nobody liked and did not

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Speaker 2: make any money. But it's a really wacky spy comedy

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Speaker 2: that has been compared to like, you know, wacky on

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Speaker 2: like the Naked Gun kind of level. Did not work,

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Speaker 2: And this was their final collaboration in her final film project.

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Speaker 3: I did not know Paul Nashy had made a family film.

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Speaker 3: I'm kind of curious to see what that is.

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Speaker 2: Like, I know, like I say, we know him best

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Speaker 2: certainly outside of outside of his time period and outside

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Speaker 2: of Spain for these horror films, but he made and

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Speaker 2: or was involved in various genres.

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Speaker 3: Like it's hard for me to imagine him making a

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Speaker 3: film that does not end with the silver dagger in

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Speaker 3: the heart.

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Speaker 2: Right or some sort of blood coming out of his

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Speaker 2: mouth at some point.

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Speaker 3: Yeah.

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Speaker 2: But as for Julius Sally, I love her in This Countess.

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Speaker 2: Bathory is a frequent subject in horror movies, especially more

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Speaker 2: sort of erotically aligned horror projects, because it's at base level,

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Speaker 2: it's an excuse to bay the woman in blood, or

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Speaker 2: have a woman in a bathtub full of blood, or

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Speaker 2: have someone hanging over aub with blood, and it's certainly possible,

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Speaker 2: you know that in this picture too, Like that could

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Speaker 2: be it, that could be the sole reason for having

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Speaker 2: her in the movie. But I think Sally gives this

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Speaker 2: character like a great physical presence. You know, she's a

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Speaker 2: beautiful actor, certainly, but she has these like really piercing eyes,

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Speaker 2: this kind of like smoldering intensity, and her costuming is

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Speaker 2: also very on point, helping her to further mirror illustrations

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Speaker 2: of the historic Bathrooy who she already kind of resembles,

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Speaker 2: and it also kind of helps give her this lean

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Speaker 2: or ravenous energy that makes her feel like this pale,

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Speaker 2: deathly hunger burning within the folds of her dark garments.

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Speaker 3: I think that's well said. Yes, she is absolutely like

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Speaker 3: pulsing with Bathorian energy in this film. It's a very

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Speaker 3: convincing performance. No, I thought maybe we should mention here,

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Speaker 3: of course, the fact that she is playing a real

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Speaker 3: historical figure. That's kind of a strange twist on this.

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Speaker 3: I don't know a lot about Elizabeth Bathory, so I

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Speaker 3: can't do a full history lesson here, but just in

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Speaker 3: case you don't know, this is a real historical figure,

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Speaker 3: a Hungarian Countess who lived from fifteen sixty to sixteen fourteen,

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Speaker 3: and she was accused, tried, and convicted of like an

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Speaker 3: unseene number of murders hundreds. So she is often identified

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Speaker 3: as one of the most prolific serial killers in history.

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Speaker 3: And though I don't have the requisite historical knowledge to

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Speaker 3: judge on this issue, I think it's worth flagging that

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Speaker 3: I have read some modern writers have doubts about whether

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Speaker 3: she was actually guilty, or whether she was the target

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Speaker 3: of some kind of I don't know, persecution or witch hunt.

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Speaker 3: At the very least, it seems that a lot, if

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Speaker 3: not all, of the evidence used against her was either

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Speaker 3: hearsay or confessions extracted under torture, neither of which would

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Speaker 3: be considered a legitimate form of evidence in any good

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Speaker 3: judicial proceeding today. But it also looks like some people

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Speaker 3: think there might have been solid physical evidence as well.

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Speaker 3: I don't know, so I didn't have time to look

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Speaker 3: deeply into this question for Today's Weird House, but if

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00:23:14,240 --> 00:23:17,080
Speaker 3: you want somebody exploring this in more depth, I am

402
00:23:17,119 --> 00:23:19,879
Speaker 3: almost certain that our colleagues Holly and Tracy at Stuff

403
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Speaker 3: You Missed in History Class have one or more good

404
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Speaker 3: episodes on this.

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Speaker 2: They might even have one on Polish count Voldemono Doninsky.

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Speaker 2: I'm looking forward to that as well.

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Speaker 3: Wait, I don't know if you're pulling my leg. I

408
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Speaker 3: think this is a made up character, right yeah, yeah, okay, okay,

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Speaker 3: but no, this is all a good point, you know.

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Speaker 2: Yeah, Bathory is based on a historic figure. And yeah,

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Speaker 2: my understanding as well is that there's legitimate reason to

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Speaker 2: doubt that she actually did all of these things. Maybe

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Speaker 2: some of these things, who knows, but certainly there were

414
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Speaker 2: those that benefited politically from these accusations being leveled at her. Also,

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Speaker 2: I'm going to just go ahead and that she did

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Speaker 2: not become a vampire. I think we can go ahead

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Speaker 2: and put that to rest.

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Speaker 3: See, you just reveal your closed mind in this.

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Speaker 2: All right, Well, we got some some more actors to

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Speaker 2: run through. Here. We have Erica. Erica is one of

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Speaker 2: the would be witches in this film. She's the head

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Speaker 2: would be witch played by Sylvia Aguilar, dates unknown, leader

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Speaker 2: of three college friends who aspire to have Satanic powers

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Speaker 2: and become masters of over life and death. She's the

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Speaker 2: most devoted to the three, and, as we quickly see,

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Speaker 2: is ruthless in her pursuit of dark powers. She'd previously

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Speaker 2: worked with Nashi on his seventy nine film The Traveler,

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Speaker 2: in which Nash plays the Devil, and the same year

429
00:24:54,520 --> 00:24:57,000
Speaker 2: she had a small part in Jaguar Lives, an action

430
00:24:57,119 --> 00:25:01,600
Speaker 2: movie starring kickboxer Joe Lewis, Christopher Donald, pleasants, Barbara Bach

431
00:25:01,680 --> 00:25:04,800
Speaker 2: and John Houston, and she was also in various Spanish

432
00:25:04,880 --> 00:25:05,520
Speaker 2: b movies.

433
00:25:05,880 --> 00:25:07,520
Speaker 3: Now, I don't know if I would agree with your

434
00:25:07,600 --> 00:25:12,760
Speaker 3: characterization of these three friends all wanting to have satanic powers.

435
00:25:13,560 --> 00:25:17,040
Speaker 3: Erica clearly wants to have satanic powers, but the other two,

436
00:25:17,240 --> 00:25:21,439
Speaker 3: especially what's her name, Karen, she just is protesting that

437
00:25:21,480 --> 00:25:25,440
Speaker 3: she's just a scientist. Now, what exactly field of science

438
00:25:25,600 --> 00:25:27,800
Speaker 3: is she studying? I think we can explore that later.

439
00:25:27,880 --> 00:25:32,280
Speaker 3: That is a rather strange question as approached by the movie.

440
00:25:32,320 --> 00:25:35,520
Speaker 3: But I'm gonna say mixed motivations in this group of

441
00:25:35,560 --> 00:25:36,200
Speaker 3: three friends.

442
00:25:36,880 --> 00:25:39,280
Speaker 2: Yeah, it kind of reminds me of a Perana Man Dear,

443
00:25:39,920 --> 00:25:45,879
Speaker 2: where one person's quest to end a deadly multi generational

444
00:25:45,920 --> 00:25:49,720
Speaker 2: curse is another person's vacation. Same thing here, one person's

445
00:25:49,800 --> 00:25:55,680
Speaker 2: quest to resurrect a dead vampire queen and an acquire

446
00:25:55,760 --> 00:25:58,600
Speaker 2: dark powers it's just another person's excuse to get out

447
00:25:58,600 --> 00:25:59,560
Speaker 2: of room for a few days.

448
00:26:00,200 --> 00:26:02,680
Speaker 3: Right. So Erica wants to become the Queen of Hell.

449
00:26:02,840 --> 00:26:05,760
Speaker 3: Karen just wants to do science about raising the dead.

450
00:26:06,200 --> 00:26:10,000
Speaker 2: And Karen is played by Azosina Hernandez, who lived nineteen

451
00:26:10,040 --> 00:26:14,600
Speaker 2: sixty through twenty nineteen. Yeah, I think I agree with you.

452
00:26:14,680 --> 00:26:16,520
Speaker 2: I think she's a good, good girl who falls in

453
00:26:16,960 --> 00:26:20,240
Speaker 2: with a bad crowd of ultimately aspiring satanic which is

454
00:26:20,600 --> 00:26:24,520
Speaker 2: she's also our romantic female lead. Hernandez acted in various

455
00:26:24,840 --> 00:26:29,040
Speaker 2: Spanish sex comedies and horror films, including Nashi's nineteen eighty

456
00:26:29,080 --> 00:26:31,919
Speaker 2: film The Beast Carnival aka Human Beasts.

457
00:26:32,200 --> 00:26:34,680
Speaker 3: So this is our character who Yeah, as you say,

458
00:26:35,000 --> 00:26:38,679
Speaker 3: she falls into a tragic, doomed love story with Valdemar,

459
00:26:38,800 --> 00:26:41,160
Speaker 3: except they left out the love story. Did you notice

460
00:26:41,200 --> 00:26:43,399
Speaker 3: that It's like it got cut from the film, the

461
00:26:43,480 --> 00:26:45,000
Speaker 3: whole thing with them falling in love.

462
00:26:45,800 --> 00:26:48,199
Speaker 2: Yeah. I mean you almost don't need it, just like

463
00:26:48,280 --> 00:26:51,520
Speaker 2: trust this it happened. I mean it's Paul Nashy.

464
00:26:51,720 --> 00:26:54,119
Speaker 3: I mean I meit that literally, like it feels like

465
00:26:54,119 --> 00:26:55,080
Speaker 3: a scene got cut.

466
00:26:55,440 --> 00:26:59,159
Speaker 2: Yeah. Yeah, yeah. There are a number of places, like

467
00:26:59,200 --> 00:27:01,479
Speaker 2: you point out where it feels like, wait, who are

468
00:27:01,520 --> 00:27:04,679
Speaker 2: these characters? Why are they here? It seems like there

469
00:27:04,680 --> 00:27:06,560
Speaker 2: should be some connective material.

470
00:27:06,560 --> 00:27:08,480
Speaker 3: And I did see. I didn't have time to watch it,

471
00:27:08,480 --> 00:27:11,560
Speaker 3: but on the DVD was there was something about deleted

472
00:27:11,600 --> 00:27:14,640
Speaker 3: scenes and I was like, oh, okay, yeah, that would

473
00:27:14,680 --> 00:27:15,760
Speaker 3: make sense all right now.

474
00:27:15,760 --> 00:27:19,320
Speaker 2: The remaining of the three friends is Barbara. Barbara is

475
00:27:19,640 --> 00:27:23,840
Speaker 2: played by Pilar al Cone born nineteen fifty two. This

476
00:27:23,960 --> 00:27:26,040
Speaker 2: was her debut, but she went on to play there

477
00:27:26,040 --> 00:27:29,560
Speaker 2: are often uncredited roles. Two notable uncredited roles. In nineteen

478
00:27:29,600 --> 00:27:32,840
Speaker 2: eighty two, she's a victim in the Spanish horror movie Pieces,

479
00:27:33,200 --> 00:27:35,960
Speaker 2: and she plays one of Fulsa Doom's slave girls in

480
00:27:36,040 --> 00:27:39,840
Speaker 2: Conan the Barbarian. There's an English language interview with her

481
00:27:39,960 --> 00:27:43,320
Speaker 2: at the Conan Completest website where she talks about the

482
00:27:43,359 --> 00:27:46,640
Speaker 2: shoot and identifies which extra she is. She says, quote,

483
00:27:46,640 --> 00:27:49,159
Speaker 2: if you pay attention, I stand out from the other girls.

484
00:27:49,400 --> 00:27:51,639
Speaker 2: I'm first seen topless with some sort of helmet on

485
00:27:51,680 --> 00:27:54,760
Speaker 2: my head, looking kind of stoned, drugged. Then I rise

486
00:27:54,800 --> 00:27:57,679
Speaker 2: to go towards Conan, who wounds me with his sword

487
00:27:57,760 --> 00:27:59,880
Speaker 2: at belly level, killing me on the spot.

488
00:28:00,400 --> 00:28:02,120
Speaker 3: Okay, she knows how to sell her role.

489
00:28:02,560 --> 00:28:06,320
Speaker 2: Yeah, yeah, all right. There's another character that's important to

490
00:28:06,320 --> 00:28:10,840
Speaker 2: the plot, and that's Merkea. She is a scarred woman.

491
00:28:10,880 --> 00:28:14,040
Speaker 2: We find out she has a tragic backstory involving accusations

492
00:28:14,040 --> 00:28:19,280
Speaker 2: of witchcraft, played by Beatrice el Rita dates unknown as well,

493
00:28:19,359 --> 00:28:21,679
Speaker 2: Spanish actor of the seventies and eighties who worked as

494
00:28:21,680 --> 00:28:24,760
Speaker 2: a costume designer and stylist on Spanish films in the nineties.

495
00:28:25,000 --> 00:28:28,640
Speaker 2: Her other films include nineteen seventy one's necro Fagus, which

496
00:28:28,680 --> 00:28:31,320
Speaker 2: I've not seen but has bloodsucking lizard men in it.

497
00:28:32,000 --> 00:28:34,600
Speaker 2: Seventy two is called the Vampire. In nineteen eighty six's

498
00:28:34,800 --> 00:28:37,560
Speaker 2: Blood Hunt. All right, this is a bit part, but

499
00:28:37,840 --> 00:28:41,040
Speaker 2: a familiar face shows up as Sando the Bandit. It's

500
00:28:41,360 --> 00:28:44,160
Speaker 2: Louis Barbou, who lived nineteen twenty seven three two thousand

501
00:28:44,160 --> 00:28:47,360
Speaker 2: and one. Familiar face in Spanish cinema of this time period,

502
00:28:47,680 --> 00:28:50,200
Speaker 2: former circus performer turned actor with a knack for heavies

503
00:28:50,200 --> 00:28:53,200
Speaker 2: and villains. You might remember him from from Amando Dio

504
00:28:53,280 --> 00:28:55,720
Speaker 2: Sorio's Return of the Blind Dead, which we talked about,

505
00:28:55,800 --> 00:28:58,920
Speaker 2: as well as The Laurelized Grasp, which we also talked

506
00:28:58,960 --> 00:29:01,479
Speaker 2: about on Weird House. He played a major role in that.

507
00:29:02,000 --> 00:29:03,400
Speaker 2: In this one, he's just a bit part.

508
00:29:04,000 --> 00:29:06,360
Speaker 3: He's like a nasty bandit who attacks heroes.

509
00:29:06,880 --> 00:29:08,520
Speaker 2: Yeah, yeah, he's got I mean, like I said, he's

510
00:29:08,520 --> 00:29:11,320
Speaker 2: got that classic heavy face. All right. The makeup on

511
00:29:11,360 --> 00:29:15,240
Speaker 2: this one was angel Lewis di Diego, responsible for the

512
00:29:15,280 --> 00:29:18,360
Speaker 2: werewolf makeup in particular, which I think is pretty top notch.

513
00:29:18,360 --> 00:29:21,040
Speaker 2: In this film, I thought the werewolf makeup looked good.

514
00:29:22,720 --> 00:29:24,320
Speaker 2: I think they had a higher budget on this one

515
00:29:24,400 --> 00:29:29,000
Speaker 2: than some previous Doninsky films. And then Antonio Molina has

516
00:29:29,160 --> 00:29:32,400
Speaker 2: effects credit. This is a familiar name from Spanish productions,

517
00:29:32,800 --> 00:29:35,959
Speaker 2: the special effects on them from the mid sixties through today.

518
00:29:36,080 --> 00:29:39,320
Speaker 2: Like he's still involved in pictures that often big Western

519
00:29:39,360 --> 00:29:42,959
Speaker 2: pictures that are shooting in Spain. All right. And finally

520
00:29:43,040 --> 00:29:45,840
Speaker 2: note on the music here. The music credit on this

521
00:29:45,960 --> 00:29:50,040
Speaker 2: film is just the cam Espana library, but it pulls

522
00:29:50,080 --> 00:29:52,480
Speaker 2: in some awesome tracks. So it pulls in tracks from

523
00:29:52,480 --> 00:29:56,280
Speaker 2: other movies. It doesn't have its own original score. The

524
00:29:56,320 --> 00:29:59,000
Speaker 2: opening track is the most notable example. It is an

525
00:29:59,040 --> 00:30:03,320
Speaker 2: exuberant disco track that I personally first heard in a

526
00:30:03,400 --> 00:30:06,160
Speaker 2: DJ mix by DJ Boba Fat for the Death Waltz

527
00:30:06,280 --> 00:30:09,800
Speaker 2: Record Company several years back, and I didn't know what

528
00:30:09,840 --> 00:30:11,400
Speaker 2: it was for the longest. I just knew that I

529
00:30:11,520 --> 00:30:15,760
Speaker 2: liked it, and it pops up early in this movie.

530
00:30:15,840 --> 00:30:19,160
Speaker 2: It's a splendid track titled too Risky a Day for

531
00:30:19,200 --> 00:30:26,400
Speaker 2: a Regatta by Stelvio Capriana aka Viastell, who lived nineteen

532
00:30:26,400 --> 00:30:29,520
Speaker 2: thirty seven through twenty eighteen, an Italian composer behind the

533
00:30:29,560 --> 00:30:32,120
Speaker 2: scores of such movies as nineteen seventy one's Bay of Blood,

534
00:30:32,400 --> 00:30:36,160
Speaker 2: eighty two's Pieces Piranha to the Spawning, plus a load

535
00:30:36,160 --> 00:30:39,400
Speaker 2: of other B movies. This track is from his score

536
00:30:39,520 --> 00:30:43,400
Speaker 2: for the nineteen seventy seven Jaws rip off Tentacles, which

537
00:30:43,440 --> 00:30:46,680
Speaker 2: I believe may have also recycled some elements from an

538
00:30:46,720 --> 00:30:50,920
Speaker 2: earlier score he did. Tentacles benefited from a solid cast

539
00:30:51,080 --> 00:30:55,080
Speaker 2: John Houston, Shelley Winters, Bo Hopkins, and Henry Fonda, and

540
00:30:55,120 --> 00:30:56,800
Speaker 2: it seems to have made money, but it does not

541
00:30:56,920 --> 00:31:00,680
Speaker 2: have a reputation for being good. Even Michael Eldon's main

542
00:31:00,760 --> 00:31:04,479
Speaker 2: comment about it is just about how stupendously boring the

543
00:31:04,520 --> 00:31:05,680
Speaker 2: octopus scenes are.

544
00:31:06,240 --> 00:31:08,520
Speaker 3: I was looking up stills from this because I found,

545
00:31:08,680 --> 00:31:11,680
Speaker 3: wait a minute, there's a seventy seven Jaws ripoff about

546
00:31:11,680 --> 00:31:15,720
Speaker 3: an octopus called the tentacles or in Italian Tintacoli, and

547
00:31:16,320 --> 00:31:18,640
Speaker 3: I haven't seen this, so I'm like, oh, I've got

548
00:31:18,640 --> 00:31:21,000
Speaker 3: to see it. I'm looking at stills and they're just

549
00:31:21,360 --> 00:31:26,880
Speaker 3: all close ups of people's faces under blaring direct sunlight.

550
00:31:27,720 --> 00:31:30,200
Speaker 3: So it's like they had not discovered Magic Hour yet.

551
00:31:30,720 --> 00:31:34,640
Speaker 3: And I was like, where's the where's the octopus, Where's

552
00:31:34,720 --> 00:31:39,040
Speaker 3: where's the speculative elopment? It just it did not look appealing.

553
00:31:40,760 --> 00:31:43,240
Speaker 2: At some point, we need to do a proper Jobs ripoff.

554
00:31:43,280 --> 00:31:45,880
Speaker 2: There's so many, so there's so many of them, there's

555
00:31:45,880 --> 00:31:48,280
Speaker 2: got to be one that hits the sweet spot. You know.

556
00:31:48,360 --> 00:31:51,160
Speaker 3: I have watched a lot of bad shark movies in

557
00:31:51,200 --> 00:31:54,400
Speaker 3: my life, but it's strange. I find a lot of

558
00:31:54,400 --> 00:31:57,800
Speaker 3: the early Jaws ripoffs, like the ones that came directly

559
00:31:57,840 --> 00:32:00,720
Speaker 3: in its wake and were usually about some other type

560
00:32:00,760 --> 00:32:03,840
Speaker 3: of animal but followed the same plot arc as Jaws,

561
00:32:04,760 --> 00:32:06,800
Speaker 3: a lot of those are just like not very fun

562
00:32:06,960 --> 00:32:07,640
Speaker 3: for some reason.

563
00:32:07,880 --> 00:32:11,200
Speaker 2: I don't know. Yeah, yeah, I mean it's kind of

564
00:32:11,400 --> 00:32:14,280
Speaker 2: the problems about a cash grab, right, Sometimes that really

565
00:32:14,360 --> 00:32:17,440
Speaker 2: is all it is. Sometimes there's nobody's personal vision wrapped

566
00:32:17,520 --> 00:32:19,600
Speaker 2: up in the project. One more note on the music

567
00:32:19,680 --> 00:32:23,720
Speaker 2: here in the Blu Ray material, Lipinski writes that Neo

568
00:32:23,760 --> 00:32:27,480
Speaker 2: Morriconi was originally promoted as being the guy doing the

569
00:32:27,520 --> 00:32:30,480
Speaker 2: score before the film was released, but obviously that didn't

570
00:32:30,520 --> 00:32:34,040
Speaker 2: come to pass. Still, they apparently use some Morricone tracks

571
00:32:34,080 --> 00:32:38,600
Speaker 2: sprinkled throughout the film. There's another Capriani track in there,

572
00:32:38,760 --> 00:32:42,800
Speaker 2: and also it features some of the work of Carlo Rusticelli,

573
00:32:43,080 --> 00:32:46,160
Speaker 2: who scored Mario Baba's nineteen sixty four film Blood and

574
00:32:46,280 --> 00:32:47,000
Speaker 2: Black Lace.

575
00:32:47,680 --> 00:32:51,200
Speaker 3: Well, too Risky A Day for Regatta is an excellent track.

576
00:32:51,240 --> 00:32:53,800
Speaker 3: It's kind of a yeah, I guess at Tello disco

577
00:32:53,920 --> 00:32:55,920
Speaker 3: would be the correct term. I was thinking of it

578
00:32:55,960 --> 00:32:59,840
Speaker 3: as a funk rock track, like Eurofunk. Rocket has this

579
00:33:00,320 --> 00:33:05,160
Speaker 3: walk down baseline, but it has harpsichord music just jingling

580
00:33:05,200 --> 00:33:08,120
Speaker 3: in the background, while it's sort of rock electric rock

581
00:33:08,200 --> 00:33:09,280
Speaker 3: instruments in the front.

582
00:33:09,600 --> 00:33:16,760
Speaker 2: Let's hear it thasman, all right, I love it. I

583
00:33:16,840 --> 00:33:19,480
Speaker 2: love it. Well, now that we're all revved up, let's

584
00:33:19,520 --> 00:33:22,280
Speaker 2: get into the plot of Night of the Werewolf.

585
00:33:22,880 --> 00:33:27,040
Speaker 3: All Right, we get a title. It says Hungary XVII century.

586
00:33:27,080 --> 00:33:30,480
Speaker 3: I guess that's sixteenth century and an establishing shot of

587
00:33:30,480 --> 00:33:33,720
Speaker 3: a stone castle on a hillside, and there are soldiers

588
00:33:33,760 --> 00:33:37,960
Speaker 3: with long pole axes and red cross tunics walking alongside

589
00:33:38,000 --> 00:33:40,920
Speaker 3: an elegant woman in a wine colored dress as she

590
00:33:41,120 --> 00:33:44,160
Speaker 3: passes through the castle gates. And they're marching with her

591
00:33:44,200 --> 00:33:47,520
Speaker 3: as if escorting a prisoner. But could this beautiful and

592
00:33:47,560 --> 00:33:50,080
Speaker 3: regal lady really be in such a position? Is she

593
00:33:50,120 --> 00:33:53,480
Speaker 3: a prisoner? Well, they pass by an ominous scene. There

594
00:33:53,560 --> 00:33:56,720
Speaker 3: is a muscled man in a red executioner's hood and

595
00:33:56,760 --> 00:33:59,960
Speaker 3: a crowd of onlookers. A bearded man on a scaf

596
00:34:00,080 --> 00:34:02,920
Speaker 3: fold lash to an X shaped cross. Wait a minute,

597
00:34:02,960 --> 00:34:05,680
Speaker 3: that bearded man, he looks familiar. We'll come back to him.

598
00:34:06,320 --> 00:34:09,080
Speaker 3: In the foreground there is a podium facing a row

599
00:34:09,120 --> 00:34:12,600
Speaker 3: of seated nobles and judges. And then the soldiers march

600
00:34:12,680 --> 00:34:14,840
Speaker 3: the woman up to the podium and she takes her place.

601
00:34:15,320 --> 00:34:18,759
Speaker 3: And there's like a steward who unrolls a scroll and

602
00:34:18,800 --> 00:34:21,920
Speaker 3: begins to read to the crowd. He says, Countess Elizabeth

603
00:34:21,960 --> 00:34:25,919
Speaker 3: Bathory nadasdi. And then of course, people who know they're

604
00:34:25,960 --> 00:34:28,880
Speaker 3: morbid history, they hear that name, They go, ah, Elizabeth Bathory.

605
00:34:28,960 --> 00:34:32,360
Speaker 3: Now they understand why she's being held Prisoner Stewart says,

606
00:34:32,520 --> 00:34:35,520
Speaker 3: this high court presided by the Supreme Judge of the Realm,

607
00:34:35,640 --> 00:34:40,800
Speaker 3: Lord Theodosius de Zulo, and the Noble Governor, Georgy Thurzo.

608
00:34:41,560 --> 00:34:43,680
Speaker 3: And here we get a cutaway to these guys, and

609
00:34:43,800 --> 00:34:46,040
Speaker 3: as soon as we get close ups on the nobleman,

610
00:34:46,239 --> 00:34:48,719
Speaker 3: I get the feeling like these old perverts are way

611
00:34:48,760 --> 00:34:51,680
Speaker 3: too excited about the prospect of punishing this woman.

612
00:34:52,040 --> 00:34:54,360
Speaker 2: And I can't help but feel like that. We're supposed

613
00:34:54,400 --> 00:34:56,480
Speaker 2: to feel that to some extent. You know, even though

614
00:34:56,520 --> 00:34:58,839
Speaker 2: Bathory is going to be set up is the main

615
00:34:59,000 --> 00:35:01,640
Speaker 2: villain of the piece, it's still, you know, we're gonna

616
00:35:01,680 --> 00:35:03,719
Speaker 2: have that sort of built in sympathy for the outsider

617
00:35:03,760 --> 00:35:04,520
Speaker 2: and the persecuted.

618
00:35:04,960 --> 00:35:10,319
Speaker 3: Yeah, so they say so. The steward says that it

619
00:35:10,360 --> 00:35:14,879
Speaker 3: finds you guilty of the execrable crimes of witchcraft, vamporism,

620
00:35:15,000 --> 00:35:18,840
Speaker 3: and pacts with the devil. I'm like, are those the crimes?

621
00:35:18,920 --> 00:35:20,680
Speaker 3: Is murder not good enough anymore?

622
00:35:21,360 --> 00:35:23,240
Speaker 2: That's like a lower court in these days.

623
00:35:23,520 --> 00:35:27,280
Speaker 3: Yeah, Hence you are to be sentenced to be immured

624
00:35:27,400 --> 00:35:30,319
Speaker 3: in your chambers and to stay there forever until the

625
00:35:30,360 --> 00:35:34,120
Speaker 3: hour of your death. Your servants named. Some servants will

626
00:35:34,120 --> 00:35:37,160
Speaker 3: be tortured and burned at the stake. That's what he says.

627
00:35:37,200 --> 00:35:39,520
Speaker 3: And I was like, is that how they would say

628
00:35:39,560 --> 00:35:42,840
Speaker 3: it even in the sixteenth century, like they will be tortured?

629
00:35:43,360 --> 00:35:46,040
Speaker 3: I think there would be more euphemistic somehow.

630
00:35:46,760 --> 00:35:50,120
Speaker 2: Now, a quick quick question, did you do the dub

631
00:35:50,239 --> 00:35:53,480
Speaker 2: or the subtitles on these the subtitles? Okay, yeah, I

632
00:35:53,480 --> 00:35:55,319
Speaker 2: did the subtitles as well. That there is never a

633
00:35:55,320 --> 00:35:57,399
Speaker 2: problem with doing a dub on a Nashy film, because

634
00:35:57,400 --> 00:36:01,160
Speaker 2: it's my understanding that Nashi is almost all always dubbed anyway,

635
00:36:01,239 --> 00:36:04,880
Speaker 2: even if you're listening to it in the original language. Okay,

636
00:36:04,880 --> 00:36:05,880
Speaker 2: but continue the sentence.

637
00:36:05,880 --> 00:36:08,279
Speaker 3: Continue, okay, Okay, it goes on. He names a bunch

638
00:36:08,280 --> 00:36:12,760
Speaker 3: of other co conspirators. Your cousin Moses Otvos will be hanged,

639
00:36:13,120 --> 00:36:17,120
Speaker 3: and the rest of your criminal accomplices Darvula, Barsony and

640
00:36:17,239 --> 00:36:22,720
Speaker 3: Torco will be beheaded. And then oh, then Bathory herself.

641
00:36:22,760 --> 00:36:25,920
Speaker 3: She has some things to say in a witchy whisper.

642
00:36:25,960 --> 00:36:28,920
Speaker 3: As the camera slowly zooms in on her face. She says,

643
00:36:29,040 --> 00:36:32,680
Speaker 3: progeny of bastards, I will return, I will rise from

644
00:36:32,680 --> 00:36:35,560
Speaker 3: my ashes, and your world will turn into hell.

645
00:36:36,760 --> 00:36:39,800
Speaker 2: We had, of course a similar scene in Perana Mandir

646
00:36:40,120 --> 00:36:43,680
Speaker 2: as well, and also in Horror Rises from the Tomb.

647
00:36:43,920 --> 00:36:46,720
Speaker 2: You think that if you're if you're, if you're trying

648
00:36:46,760 --> 00:36:50,439
Speaker 2: and executing warlocks and witches, you need to stop giving

649
00:36:50,480 --> 00:36:54,040
Speaker 2: them this chance to publicly curse everybody. It's just gonna

650
00:36:54,040 --> 00:36:56,880
Speaker 2: bite you in the butt. It always does, and they

651
00:36:56,920 --> 00:36:58,839
Speaker 2: always think they can beat it. They're like, look, if

652
00:36:58,880 --> 00:37:02,000
Speaker 2: we bury them in like two separate places, there is

653
00:37:02,120 --> 00:37:05,200
Speaker 2: no way people will ever come along later and reunite

654
00:37:05,239 --> 00:37:07,560
Speaker 2: their corpses. Yeah, Or in this case, they're like, we

655
00:37:07,719 --> 00:37:10,440
Speaker 2: grounded her for life, Like, yeah, she's not gonna be

656
00:37:10,440 --> 00:37:12,279
Speaker 2: a problem anymore, trust me, she's not allowed to come

657
00:37:12,280 --> 00:37:12,759
Speaker 2: out of her ring.

658
00:37:13,280 --> 00:37:17,120
Speaker 3: Yeah. So the creepy nobles are whispering to themselves. They're like,

659
00:37:17,160 --> 00:37:21,000
Speaker 3: that woman is a monster. She practiced cannibalism, drank blood,

660
00:37:21,120 --> 00:37:25,160
Speaker 3: and sold her soul to the devil. But I was like, wait,

661
00:37:25,280 --> 00:37:27,600
Speaker 3: wasn't that already established in the charges they just heard.

662
00:37:27,600 --> 00:37:31,160
Speaker 3: I guess the cannibalism is new information. But they say

663
00:37:31,200 --> 00:37:35,120
Speaker 3: that thousands were murdered. Ah, but here's something new. One

664
00:37:35,160 --> 00:37:37,480
Speaker 3: of the nobles then points to the guy tied to

665
00:37:37,520 --> 00:37:40,520
Speaker 3: the X shaped cross and what do you know that

666
00:37:40,560 --> 00:37:43,200
Speaker 3: looks a lot like Paul Nashi That is Paul Nashy,

667
00:37:43,200 --> 00:37:46,239
Speaker 3: but he is very bummed out. He is just in

668
00:37:46,280 --> 00:37:47,840
Speaker 3: a bad place in the scene.

669
00:37:48,320 --> 00:37:51,319
Speaker 2: Yeah, I mean not just that he's gonna be executed,

670
00:37:51,360 --> 00:37:53,920
Speaker 2: but like his heart has been broken. Yeah.

671
00:37:54,000 --> 00:37:56,440
Speaker 3: Now, as a funny note, I did his tunic has

672
00:37:56,480 --> 00:37:59,080
Speaker 3: a design on it that'll play into the plot later on.

673
00:37:59,200 --> 00:38:01,719
Speaker 3: And it was finding me of something I couldn't put

674
00:38:01,719 --> 00:38:03,880
Speaker 3: my finger on. And then when I finally realized what

675
00:38:03,920 --> 00:38:06,080
Speaker 3: it was, it was hilarious because it reminded me of

676
00:38:06,080 --> 00:38:10,040
Speaker 3: the Major League Baseball logo. It's like that it was

677
00:38:10,080 --> 00:38:12,319
Speaker 3: just like a diagonal slash with like the blue and

678
00:38:12,360 --> 00:38:12,760
Speaker 3: the red.

679
00:38:13,520 --> 00:38:15,640
Speaker 2: Yeah. I'm glad you pointed this out, because when I

680
00:38:15,719 --> 00:38:18,239
Speaker 2: was watching it, I was like, something feels off. I

681
00:38:18,239 --> 00:38:20,040
Speaker 2: don't know what it is, but I don't like something

682
00:38:20,040 --> 00:38:22,720
Speaker 2: about this coat of arms, even though like clearly it's

683
00:38:22,719 --> 00:38:24,360
Speaker 2: supposed to be some sort of coat of arms that

684
00:38:24,600 --> 00:38:27,000
Speaker 2: I guess it's the Dninsky coat of arms, and I

685
00:38:27,239 --> 00:38:29,200
Speaker 2: you know, I guess the color scheme matches up with

686
00:38:29,280 --> 00:38:31,279
Speaker 2: some of the Polish and Hungarian coat of arms that

687
00:38:31,320 --> 00:38:34,960
Speaker 2: you see, but yeah it now that you pointed out, yeah,

688
00:38:35,360 --> 00:38:36,879
Speaker 2: major League bifball, I.

689
00:38:36,840 --> 00:38:39,960
Speaker 3: Think his costume deserved a better coat of arms. Yeah,

690
00:38:40,000 --> 00:38:42,319
Speaker 3: like maybe they could have just done it like black

691
00:38:42,360 --> 00:38:43,160
Speaker 3: and red or something.

692
00:38:43,160 --> 00:38:43,560
Speaker 2: I don't know.

693
00:38:43,800 --> 00:38:46,680
Speaker 3: Yeah, anyway, so the nobles say that you know him,

694
00:38:46,719 --> 00:38:49,839
Speaker 3: that's Valdemar Doninski. He's a Polish noble and he has

695
00:38:49,880 --> 00:38:52,520
Speaker 3: served her faithfully, which probably means he's done a lot

696
00:38:52,520 --> 00:38:55,000
Speaker 3: of bad stuff. But one of them says, you know,

697
00:38:55,080 --> 00:38:58,600
Speaker 3: he carries the pentagon sign on his chest. And I

698
00:38:58,640 --> 00:39:02,440
Speaker 3: was thinking at first that they referring to the baseball symbol,

699
00:39:02,480 --> 00:39:05,000
Speaker 3: but no, I think they're talking about how he has

700
00:39:05,040 --> 00:39:08,000
Speaker 3: like a scar on his chest in the shape of

701
00:39:08,040 --> 00:39:10,040
Speaker 3: a pentagon, like the polygon.

702
00:39:10,480 --> 00:39:12,600
Speaker 2: Now I don't remember if they actually discussed this much,

703
00:39:12,640 --> 00:39:16,400
Speaker 2: but we see it later, and my understanding was that, like,

704
00:39:16,480 --> 00:39:20,400
Speaker 2: this is the mark that Bathory gave him and cursed

705
00:39:20,440 --> 00:39:25,040
Speaker 2: him with lecanthropy and so and made him, of course

706
00:39:25,080 --> 00:39:25,680
Speaker 2: her servant.

707
00:39:26,040 --> 00:39:28,759
Speaker 3: I think that's right. So the nobles say she dominated

708
00:39:28,800 --> 00:39:31,440
Speaker 3: him with her satanic trickery and used him in her

709
00:39:31,560 --> 00:39:37,800
Speaker 3: evil revenges. So he's been convicted as well. The steward

710
00:39:37,840 --> 00:39:40,480
Speaker 3: is reading out the charges against him, says quote, it

711
00:39:40,560 --> 00:39:43,960
Speaker 3: is proved that in full moon and turned into a

712
00:39:44,080 --> 00:39:48,560
Speaker 3: gigantic wolf, you devoured hundreds of innocent souls. Thus your

713
00:39:48,600 --> 00:39:52,400
Speaker 3: face will be covered with the mask of shame, and

714
00:39:52,440 --> 00:39:55,560
Speaker 3: your black heart will be pierced by the sacred cross

715
00:39:55,800 --> 00:40:00,440
Speaker 3: wrought with silver from the Bayer to Chalice and now

716
00:40:00,480 --> 00:40:03,600
Speaker 3: Paul Nashy, he looks really bummed. But actually this is

717
00:40:03,680 --> 00:40:05,319
Speaker 3: kind of a relief to him. I think he sort

718
00:40:05,320 --> 00:40:08,200
Speaker 3: of looks up at God, I guess, and says, now

719
00:40:08,239 --> 00:40:10,640
Speaker 3: my spirit will finally be able to rest in peace.

720
00:40:10,800 --> 00:40:13,440
Speaker 3: So it seems like actually he's not even mad about it.

721
00:40:13,480 --> 00:40:16,200
Speaker 3: He's like, finally they're going to just do the silver

722
00:40:16,320 --> 00:40:18,000
Speaker 3: thing in my heart and everything will be.

723
00:40:17,920 --> 00:40:20,320
Speaker 2: Okay, bring on the mask of shame then.

724
00:40:20,640 --> 00:40:22,960
Speaker 3: Yeah, So they behead one of the murder servants and

725
00:40:22,960 --> 00:40:25,239
Speaker 3: then they go up to Valdemar with the mask of shame,

726
00:40:25,360 --> 00:40:27,359
Speaker 3: and I gotta say it is it is a quite

727
00:40:27,440 --> 00:40:30,120
Speaker 3: shameful mask. It looks like an iron Ewok.

728
00:40:31,880 --> 00:40:34,439
Speaker 2: Yeah, I got kind of notes of a bat off

729
00:40:34,480 --> 00:40:36,759
Speaker 2: of it. But you know, it's the mask of shame, Joe,

730
00:40:36,760 --> 00:40:39,920
Speaker 2: It's not the mask of looking really cool though, I

731
00:40:39,920 --> 00:40:43,480
Speaker 2: guess it does look cooler than some actual historic masks

732
00:40:43,480 --> 00:40:45,399
Speaker 2: of shame that you find it tend to just look

733
00:40:45,440 --> 00:40:48,000
Speaker 2: a little bit more goofy fair point.

734
00:40:48,080 --> 00:40:51,040
Speaker 3: So they hammer the silver dagger into his heart, and

735
00:40:51,920 --> 00:40:54,400
Speaker 3: I guess that's it for Voldemar. He will never rise again.

736
00:40:54,880 --> 00:40:57,400
Speaker 2: He's wearing the mask. The blood comes out of the

737
00:40:57,440 --> 00:40:58,400
Speaker 2: mouth of the mask.

738
00:40:58,920 --> 00:41:00,680
Speaker 3: And here's where we get the song. Is this the

739
00:41:00,680 --> 00:41:01,560
Speaker 3: the regatta song?

740
00:41:01,800 --> 00:41:07,880
Speaker 2: Yeah? Boom boom, yeah, boom boom boom boom.

741
00:41:07,000 --> 00:41:12,080
Speaker 3: Groovy bassline, some some horns blasting, and then the harpsichord

742
00:41:12,080 --> 00:41:12,799
Speaker 3: at the same time.

743
00:41:13,600 --> 00:41:15,080
Speaker 2: Now, I think I had to look at two different

744
00:41:15,120 --> 00:41:17,800
Speaker 2: versions of the credits because I think on the the

745
00:41:17,800 --> 00:41:21,840
Speaker 2: the the American opening credits, there are there's like a

746
00:41:21,840 --> 00:41:23,959
Speaker 2: long stretch where there are no credits over the mask.

747
00:41:24,040 --> 00:41:28,440
Speaker 2: It's just music and bloody mask of shame. But in

748
00:41:28,480 --> 00:41:30,880
Speaker 2: the you look back at the original Spanish credits and like,

749
00:41:30,960 --> 00:41:34,480
Speaker 2: there are credits rolling over that. So if that looks

750
00:41:34,520 --> 00:41:37,520
Speaker 2: weird in the international versions of it, that's just the

751
00:41:37,560 --> 00:41:38,440
Speaker 2: international version.

752
00:41:39,000 --> 00:41:42,359
Speaker 3: Then we cut to modern day and I know this

753
00:41:42,440 --> 00:41:45,920
Speaker 3: is a Spanish movie, but this first scene in the

754
00:41:45,920 --> 00:41:49,359
Speaker 3: modern era, it is just so in line with the

755
00:41:49,480 --> 00:41:52,160
Speaker 3: like archetype of the first scene you get where you

756
00:41:52,200 --> 00:41:56,239
Speaker 3: meet the protagonists in an Italian horror movie of the seventies.

757
00:41:57,120 --> 00:41:59,000
Speaker 3: So let me describe it and maybe you'll know what

758
00:41:59,040 --> 00:42:04,160
Speaker 3: I mean. Where we're somewhere in Rome in the modern era.

759
00:42:04,360 --> 00:42:07,440
Speaker 3: Four hip young people are hanging out on a blanket

760
00:42:07,480 --> 00:42:10,600
Speaker 3: in the grass by a pool somewhere. It's two men,

761
00:42:10,680 --> 00:42:16,359
Speaker 3: two women. The women are beautiful. The men are skeezy jerks, bikinis,

762
00:42:16,480 --> 00:42:20,080
Speaker 3: dudes in swim briefs, gold jewelry. There is a ratan

763
00:42:20,280 --> 00:42:23,319
Speaker 3: TV tray on which there is an ice bucket and

764
00:42:23,360 --> 00:42:26,719
Speaker 3: a quart of scotch, and they're mixing scotch with schwepes

765
00:42:26,880 --> 00:42:30,960
Speaker 3: over ice in fancy crystal pattern lowball glasses. And then

766
00:42:30,960 --> 00:42:33,040
Speaker 3: there is a pack. The camera is close on a

767
00:42:33,080 --> 00:42:36,480
Speaker 3: pack of Lark brand cigarettes lying between them and the grass,

768
00:42:36,960 --> 00:42:39,520
Speaker 3: next to an ash tray with like thirty cigarette butts

769
00:42:39,560 --> 00:42:41,759
Speaker 3: in it. It looks like it's like noon, so like

770
00:42:41,880 --> 00:42:45,560
Speaker 3: high sun beating down on them. At least we zoom out.

771
00:42:45,640 --> 00:42:48,480
Speaker 3: At least two more packs of cigarettes become visible within

772
00:42:48,480 --> 00:42:51,760
Speaker 3: a five foot radius of the original. A portable radio

773
00:42:51,920 --> 00:42:55,120
Speaker 3: is blasting some kind of song that has like it's

774
00:42:55,160 --> 00:42:58,279
Speaker 3: like candy sweet pop love song harmonies, but also what

775
00:42:58,400 --> 00:43:03,080
Speaker 3: sounds like prog rock guitar. Then the women hanging out

776
00:43:03,080 --> 00:43:05,560
Speaker 3: here are talking about a friend of theirs named Erica,

777
00:43:05,840 --> 00:43:09,120
Speaker 3: who is about to head to Transylvania to explore quote

778
00:43:09,239 --> 00:43:12,360
Speaker 3: the mysteries. They say, it's like going back in time.

779
00:43:13,120 --> 00:43:15,400
Speaker 3: And then the two dudes are like, your friend is

780
00:43:15,440 --> 00:43:18,680
Speaker 3: stupid who still believes in ghosts and black magic in

781
00:43:18,719 --> 00:43:22,040
Speaker 3: this day and age. And then the other guy's like, hey,

782
00:43:22,080 --> 00:43:24,719
Speaker 3: remember when she got drunk and started talking about how

783
00:43:24,760 --> 00:43:29,280
Speaker 3: she could communicate with the spirit of a dead Hungarian countess. Preposterous.

784
00:43:30,080 --> 00:43:32,760
Speaker 3: And then one of the ladies is like, hey, stop

785
00:43:32,760 --> 00:43:36,520
Speaker 3: insulting our friend. We are scientists. And then the dudes

786
00:43:36,560 --> 00:43:40,520
Speaker 3: are like, scientists, but you're women. You're beautiful, you can't

787
00:43:40,560 --> 00:43:44,400
Speaker 3: be scientists. You should stop being interested in things that

788
00:43:44,520 --> 00:43:47,320
Speaker 3: end with ology. And then the women shove the dudes

789
00:43:47,320 --> 00:43:50,280
Speaker 3: into the pool, and the dudes appear to yell something

790
00:43:50,320 --> 00:43:53,480
Speaker 3: offensive at the women for which there were no subtitles.

791
00:43:54,680 --> 00:43:58,160
Speaker 2: Now give this film credit, though. They shove these these

792
00:43:58,280 --> 00:44:01,960
Speaker 2: really annoying UDEs into the pool and you never see

793
00:44:02,000 --> 00:44:02,560
Speaker 2: them again.

794
00:44:02,560 --> 00:44:05,160
Speaker 3: Never see them again. They're just done with those guys.

795
00:44:05,600 --> 00:44:07,440
Speaker 2: Yeah, I'm so glad they didn't come on the trip.

796
00:44:07,719 --> 00:44:10,000
Speaker 2: I mean, if they'd come on the trip, they would die,

797
00:44:10,200 --> 00:44:12,000
Speaker 2: to be sure, and there would be some sort of

798
00:44:12,640 --> 00:44:15,919
Speaker 2: Catharsis in that. But I'm glad they stayed stayed in Rome.

799
00:44:16,440 --> 00:44:16,880
Speaker 3: I agree.

800
00:44:16,920 --> 00:44:17,200
Speaker 2: I was.

801
00:44:17,320 --> 00:44:19,200
Speaker 3: When we met them. I was like, oh, no, we

802
00:44:19,400 --> 00:44:21,600
Speaker 3: just are these guys going to be around the whole movie?

803
00:44:21,640 --> 00:44:24,399
Speaker 3: But nope, shoved in the pool. They yell some kind

804
00:44:24,400 --> 00:44:27,560
Speaker 3: of insult, not even bothered to subtitle it, and then

805
00:44:27,600 --> 00:44:31,040
Speaker 3: we're gone. Now the whole thing about the two women

806
00:44:31,080 --> 00:44:35,320
Speaker 3: from the scene being scientists, I was a little iffy

807
00:44:35,360 --> 00:44:39,040
Speaker 3: on that because from what they're saying, whatever field of

808
00:44:39,080 --> 00:44:42,400
Speaker 3: science these two people are studying seems to involve magic

809
00:44:42,520 --> 00:44:47,960
Speaker 3: and necromancy and maybe not even like studying it, but

810
00:44:48,239 --> 00:44:52,759
Speaker 3: like practicing it. So I'm confused what science this is?

811
00:44:53,680 --> 00:44:55,600
Speaker 2: This is the kind of science that is backed up

812
00:44:55,600 --> 00:44:59,080
Speaker 2: in ads for shady products, Like scientists agree, Well, it's

813
00:44:59,600 --> 00:45:00,760
Speaker 2: it's it's it's these.

814
00:45:00,640 --> 00:45:05,080
Speaker 3: Folks, maybe of the more pseudo variety. Okay, So there's

815
00:45:05,160 --> 00:45:07,600
Speaker 3: there's another scene we cut to where there's like an

816
00:45:07,600 --> 00:45:10,160
Speaker 3: old professor and a young woman and they're having tea

817
00:45:10,280 --> 00:45:14,719
Speaker 3: discussing Countess Bathory. This lady is the Erica that the

818
00:45:14,760 --> 00:45:17,400
Speaker 3: other people were talking about behind her back in the

819
00:45:17,440 --> 00:45:21,799
Speaker 3: previous scene. And the professor is in possession in this

820
00:45:22,120 --> 00:45:25,759
Speaker 3: he's got he's got a gold medallion with a pentagram

821
00:45:25,960 --> 00:45:29,720
Speaker 3: goat head on it and it says Astoth. And he says,

822
00:45:29,760 --> 00:45:33,160
Speaker 3: you know, this medallion belonged to Countess Bathory. And according

823
00:45:33,160 --> 00:45:35,360
Speaker 3: to legend, if the blood of a young woman is

824
00:45:35,400 --> 00:45:39,239
Speaker 3: spilled on the ashes of the Countess and the medallion

825
00:45:39,520 --> 00:45:44,400
Speaker 3: ritual is used to invoke Astaroth, then Elizabeth Bathory is

826
00:45:44,440 --> 00:45:48,720
Speaker 3: going to return from the grave. And Erica says, you know, Karen,

827
00:45:48,800 --> 00:45:52,080
Speaker 3: Barbara and I and Karen and Barbara where the women

828
00:45:52,120 --> 00:45:55,120
Speaker 3: and the other scene, the three of us, We've researched

829
00:45:55,160 --> 00:45:59,919
Speaker 3: old libraries, ruined castles, monasteries, and all kinds of documents.

830
00:46:00,520 --> 00:46:02,480
Speaker 3: And the professor is like, I know you were my

831
00:46:02,560 --> 00:46:06,120
Speaker 3: best students. I'm proud of your dedication. Though at the

832
00:46:06,160 --> 00:46:07,759
Speaker 3: same time it does kind of sound like he's just

833
00:46:07,800 --> 00:46:13,319
Speaker 3: trying to get her to stop talking about Elizabeth Bathory. Yeah,

834
00:46:12,600 --> 00:46:16,600
Speaker 3: but he's like, you know, nobody knows where Bathory's remains are,

835
00:46:16,640 --> 00:46:19,600
Speaker 3: so we cannot continue our studies on this. But then

836
00:46:19,800 --> 00:46:24,239
Speaker 3: Erica reveals she does know. She discovered the location of

837
00:46:24,320 --> 00:46:28,799
Speaker 3: Bathory's ashes, as well as of Voldemar Doninski and her

838
00:46:28,840 --> 00:46:32,160
Speaker 3: cousin Otvos. They're all hiding in a castle somewhere in

839
00:46:32,200 --> 00:46:35,800
Speaker 3: the Carpathian Mountains, and she says, and we will go there.

840
00:46:36,640 --> 00:46:40,360
Speaker 3: And what exactly is the outcome they're looking for unclear

841
00:46:40,400 --> 00:46:41,319
Speaker 3: at this point.

842
00:46:41,400 --> 00:46:43,399
Speaker 2: But I think we know. I think we know what

843
00:46:43,719 --> 00:46:45,520
Speaker 2: Erica anyway has in store.

844
00:46:45,680 --> 00:46:48,360
Speaker 3: Right, Because so Erica wants to raise she asked the

845
00:46:48,400 --> 00:46:50,879
Speaker 3: professor if she can take the medallion with her when

846
00:46:50,880 --> 00:46:54,000
Speaker 3: she goes to the Carpathian Mountains, and he gets very angry.

847
00:46:54,160 --> 00:46:57,120
Speaker 3: So he's like, hey, I am a respected academic. I'm

848
00:46:57,120 --> 00:47:01,320
Speaker 3: not somebody who engages in necromancy. So whatever his research

849
00:47:01,400 --> 00:47:04,439
Speaker 3: project is, it is not explicitly raising the dead. Maybe

850
00:47:04,480 --> 00:47:07,399
Speaker 3: it's like learning how to raise the dead, but not

851
00:47:07,520 --> 00:47:09,840
Speaker 3: doing it.

852
00:47:09,840 --> 00:47:14,279
Speaker 2: It's like, I, yes, I do own the historic Astaroth

853
00:47:14,680 --> 00:47:17,799
Speaker 2: medallion that will raise Count's Bathory from the grave, but

854
00:47:17,840 --> 00:47:20,520
Speaker 2: I'm not into this stuff. Should be into this stuff?

855
00:47:20,960 --> 00:47:26,160
Speaker 3: Yeah, yeah, this is just for historical interest. It's not

856
00:47:26,320 --> 00:47:38,279
Speaker 3: because I'm into it. But Erica starts seeing visions of

857
00:47:38,320 --> 00:47:41,440
Speaker 3: a face in the flames of the fireplace. Maybe it's

858
00:47:41,440 --> 00:47:44,719
Speaker 3: Bathory's face, I don't remember. And she says, you know,

859
00:47:45,160 --> 00:47:48,280
Speaker 3: it's been a long time since I fully embraced Satanism,

860
00:47:49,000 --> 00:47:52,000
Speaker 3: but I've been talking to Elizabeth Bathory a lot, talking

861
00:47:52,040 --> 00:47:54,120
Speaker 3: to her spirit, really getting to know her. And she

862
00:47:54,239 --> 00:47:56,680
Speaker 3: got a raw deal. So here's what I'm gonna do.

863
00:47:56,840 --> 00:47:58,719
Speaker 3: I'm gonna take Karen and Barbara with me to the

864
00:47:58,760 --> 00:48:01,240
Speaker 3: castle and I'm gonna kill them and use their blood

865
00:48:01,320 --> 00:48:03,920
Speaker 3: to raise the Countess from the dead, and then we

866
00:48:04,000 --> 00:48:07,200
Speaker 3: will enter a world of infinite power. And it doesn't

867
00:48:07,239 --> 00:48:09,520
Speaker 3: matter that you won't give me the medallion, because I'm

868
00:48:09,560 --> 00:48:11,480
Speaker 3: going to kill you and take it. And then she

869
00:48:11,640 --> 00:48:16,080
Speaker 3: strangles him with gold Mardy grubides and as this is happening,

870
00:48:16,120 --> 00:48:18,920
Speaker 3: we cut away to a painting on the wall. I

871
00:48:18,960 --> 00:48:20,959
Speaker 3: think this is supposed to be a painting of Paul

872
00:48:21,040 --> 00:48:24,759
Speaker 3: nashy uh and it I'm gonna say, it's not a

873
00:48:24,800 --> 00:48:28,200
Speaker 3: great likeness. It looks more like acid test John Ham

874
00:48:28,239 --> 00:48:32,239
Speaker 3: with like a beard and long hair. But it's when

875
00:48:32,280 --> 00:48:34,439
Speaker 3: it zooms out you see the other portraits on the wall.

876
00:48:34,520 --> 00:48:36,440
Speaker 3: This again, he's this is the guy who's like, I

877
00:48:36,480 --> 00:48:39,879
Speaker 3: will not do necromancy. The paintings on his wall are

878
00:48:39,920 --> 00:48:43,760
Speaker 3: Paul Nashy, Vlad the Impaler, and Bathory.

879
00:48:44,120 --> 00:48:46,080
Speaker 2: Yeah, he really brought this on himself, but.

880
00:48:46,080 --> 00:48:47,640
Speaker 3: Okay, Erica has the medallion.

881
00:48:47,719 --> 00:48:47,919
Speaker 2: Now.

882
00:48:48,680 --> 00:48:50,680
Speaker 3: Next scene, we get a couple of guys in a

883
00:48:50,680 --> 00:48:53,160
Speaker 3: cemetery somewhere in the middle of the night, and they

884
00:48:53,200 --> 00:48:55,680
Speaker 3: are arguing about whether it is a good idea to

885
00:48:55,760 --> 00:48:59,960
Speaker 3: engage in grave robbery. There's like a sort of a stammering,

886
00:49:00,080 --> 00:49:04,080
Speaker 3: rustic character who isn't so sure about the propriety of

887
00:49:04,080 --> 00:49:07,200
Speaker 3: stealing dead bodies. And then there is a rotund wealthy

888
00:49:07,280 --> 00:49:09,560
Speaker 3: man in a tuxedo of sorts, I guess it's more

889
00:49:09,640 --> 00:49:14,280
Speaker 3: kind of an old fashioned tuxedoish looking thing. He's gesticulating

890
00:49:14,360 --> 00:49:17,160
Speaker 3: with a skull top cane in his hand. It's got

891
00:49:17,200 --> 00:49:20,239
Speaker 3: like a silver skull on top, and he seems to

892
00:49:20,280 --> 00:49:23,600
Speaker 3: have hired the other guy, and he's offering these smooth

893
00:49:23,680 --> 00:49:28,360
Speaker 3: assurances that what they're doing is super cool, all above board.

894
00:49:28,880 --> 00:49:30,680
Speaker 3: His story is they're gonna, you know, they're going to

895
00:49:30,719 --> 00:49:33,960
Speaker 3: recover some priceless artifacts and donate them to the museum

896
00:49:34,000 --> 00:49:37,719
Speaker 3: in Budapest. Oh and as They're wandering around, arguing, we

897
00:49:37,840 --> 00:49:42,719
Speaker 3: keep hearing this distant, booming, animalistic shriek like one of

898
00:49:42,719 --> 00:49:46,080
Speaker 3: the dinosaurs in Jurassic Park, just bellowing in the night.

899
00:49:46,360 --> 00:49:48,120
Speaker 3: Did you notice this too? What was going on?

900
00:49:48,520 --> 00:49:50,640
Speaker 2: I didn't notice this, but it makes sense given the

901
00:49:50,640 --> 00:49:53,880
Speaker 2: way that they present the region surrounding the castle, like

902
00:49:53,920 --> 00:49:56,160
Speaker 2: this is this is a bad area. This is like

903
00:49:56,400 --> 00:50:00,480
Speaker 2: raven Loft territory. The only people who initially seem to

904
00:50:00,719 --> 00:50:04,400
Speaker 2: be in this area are like grave robbers, bandits, and

905
00:50:04,440 --> 00:50:06,360
Speaker 2: folks who are generally up to no good. That begins

906
00:50:06,360 --> 00:50:08,880
Speaker 2: to shift a little bit, but at least initially like

907
00:50:09,000 --> 00:50:11,560
Speaker 2: this is a bad land full of bad folk.

908
00:50:11,920 --> 00:50:16,480
Speaker 3: Yes, like literally everyone in this geographic area will violently

909
00:50:16,560 --> 00:50:17,600
Speaker 3: attack you on site.

910
00:50:18,680 --> 00:50:20,439
Speaker 2: But these two, these two are also kind of fun.

911
00:50:20,520 --> 00:50:22,919
Speaker 2: Like I could have followed them around for a little

912
00:50:22,920 --> 00:50:25,800
Speaker 2: bit more. I could see, like this the basic comic

913
00:50:26,520 --> 00:50:27,879
Speaker 2: mechanisms in play here.

914
00:50:28,080 --> 00:50:30,280
Speaker 3: Oh yeah, yeah, this was good. It was a good dynamic.

915
00:50:30,360 --> 00:50:33,439
Speaker 3: So they go down into this underground crypt. They find

916
00:50:33,440 --> 00:50:36,240
Speaker 3: the grave of Count Voldemar Doninski, and the grave digger

917
00:50:36,760 --> 00:50:42,560
Speaker 3: reads the inscription, which is just effusive promises of vicious,

918
00:50:42,600 --> 00:50:47,160
Speaker 3: supernatural revenge against anyone who disturbs these remains, and tuxedo

919
00:50:47,280 --> 00:50:48,959
Speaker 3: guys like, all right, let's get a move on. Open

920
00:50:49,000 --> 00:50:54,560
Speaker 3: it up, so they, you know, they take the stone

921
00:50:54,560 --> 00:50:56,759
Speaker 3: cover off the vault and there's Paul Nashi still in

922
00:50:56,800 --> 00:50:59,640
Speaker 3: his iron Ewok mask with a silver dagger poking out

923
00:50:59,640 --> 00:51:03,760
Speaker 3: of his chin. The tuxedo guy greedily removes the dagger

924
00:51:03,840 --> 00:51:07,719
Speaker 3: and then bam, it is instant lightning strikes and Valdemar's

925
00:51:07,800 --> 00:51:10,920
Speaker 3: eyes start darting around behind the slits in his mask.

926
00:51:11,320 --> 00:51:13,400
Speaker 3: This shot I thought was very scary.

927
00:51:14,480 --> 00:51:16,680
Speaker 2: Yeah, yeah, this is pretty good. And of course this

928
00:51:16,719 --> 00:51:21,640
Speaker 2: also lines up with past Dninsky resurrection scenes and assignment terror.

929
00:51:21,960 --> 00:51:24,920
Speaker 2: It's done because what they get the body of Doninski

930
00:51:25,280 --> 00:51:28,200
Speaker 2: and they perform an autopsy on it and remove a

931
00:51:28,239 --> 00:51:30,960
Speaker 2: silver bullet from his heart. I think something along those lines.

932
00:51:31,320 --> 00:51:34,520
Speaker 2: So the silver's in there, but the silver doesn't really

933
00:51:35,200 --> 00:51:39,080
Speaker 2: kill Doninski, doesn't kill a super powerful where wolf. It

934
00:51:39,200 --> 00:51:41,680
Speaker 2: just like turns them off. It puts them in this

935
00:51:41,800 --> 00:51:46,040
Speaker 2: state of unlife, but that can easily be reversed.

936
00:51:46,320 --> 00:51:50,120
Speaker 3: It puts him in energy saver mode. Yeah, oh, what

937
00:51:50,200 --> 00:51:52,520
Speaker 3: do you know? These grave diggers picked the wrong neck

938
00:51:52,560 --> 00:51:56,040
Speaker 3: to do this because it's a full moon, so wolf

939
00:51:56,080 --> 00:52:00,120
Speaker 3: mode just instantly activates. He's growling and grabbing them by

940
00:52:00,160 --> 00:52:02,400
Speaker 3: the neck with his claws, blood dripping.

941
00:52:02,640 --> 00:52:03,880
Speaker 2: Yeah, they're gone.

942
00:52:04,160 --> 00:52:08,840
Speaker 3: Yep, Okay. So then Karen, Barbara and Erica they are

943
00:52:08,880 --> 00:52:11,959
Speaker 3: just already at the Carpathian Mountains. They're there. They rent

944
00:52:12,000 --> 00:52:13,840
Speaker 3: a car from a local guy. They drive up to

945
00:52:13,880 --> 00:52:17,319
Speaker 3: the mountains where they have been warned that bandits will

946
00:52:17,400 --> 00:52:21,080
Speaker 3: kill without hesitating and the Devil rules overall. On the way,

947
00:52:21,120 --> 00:52:24,799
Speaker 3: they do get attacked by horrible, violent local bandits, but

948
00:52:24,880 --> 00:52:27,440
Speaker 3: they are saved when a figure in black with a

949
00:52:27,480 --> 00:52:32,560
Speaker 3: crossbow shoots all three bandits with crossbow bolts. And they

950
00:52:32,560 --> 00:52:34,480
Speaker 3: don't really seem to have the kind of questions you

951
00:52:34,480 --> 00:52:36,719
Speaker 3: would expect about this. They just like get back into

952
00:52:36,719 --> 00:52:38,520
Speaker 3: the car and drive on to their destination.

953
00:52:39,040 --> 00:52:43,520
Speaker 2: I love too, how the crossbow user here just fires

954
00:52:43,560 --> 00:52:46,799
Speaker 2: them off in rapid order, so it's like it's a

955
00:52:46,920 --> 00:52:49,000
Speaker 2: it's like a machine gun crossbow apparently.

956
00:52:49,280 --> 00:52:51,919
Speaker 3: Yeah, yeah, you think it would take more reloading time.

957
00:52:51,960 --> 00:52:54,080
Speaker 3: But maybe he had three crossbows ready.

958
00:52:53,880 --> 00:52:55,719
Speaker 2: That's right, We don't really see. He could have just

959
00:52:55,719 --> 00:52:57,680
Speaker 2: a whole bushel of loaded crossbows on the ready.

960
00:52:58,360 --> 00:53:01,279
Speaker 3: So they go up to this castle. What's up at

961
00:53:01,320 --> 00:53:03,800
Speaker 3: the castle? Well, there's just sort of like loose bulk

962
00:53:03,840 --> 00:53:06,960
Speaker 3: skeletons everywhere, and so like you know, rats are running

963
00:53:06,960 --> 00:53:09,840
Speaker 3: in and out of rib cages, skeletons with swords poken

964
00:53:09,880 --> 00:53:13,440
Speaker 3: out of them, and there are rotting skeletons hanging by

965
00:53:13,440 --> 00:53:16,160
Speaker 3: the neck in hallways. The implication is that they've been

966
00:53:16,239 --> 00:53:18,160
Speaker 3: like that for hundreds of years. I don't know if

967
00:53:18,160 --> 00:53:18,719
Speaker 3: that would work.

968
00:53:19,360 --> 00:53:22,200
Speaker 2: I mean, we see this sort of castle in every

969
00:53:22,200 --> 00:53:26,239
Speaker 2: Spanish horror movie from this time period, and honestly, you know,

970
00:53:26,280 --> 00:53:28,400
Speaker 2: if one day I get the opportunity to go to

971
00:53:28,440 --> 00:53:31,840
Speaker 2: Spain and experience the culture and the history, part of

972
00:53:31,840 --> 00:53:34,120
Speaker 2: me is going to be a little upset if none

973
00:53:34,120 --> 00:53:35,279
Speaker 2: of these castles look like this.

974
00:53:35,680 --> 00:53:40,279
Speaker 3: Where are all the skeletons? Yes, But eventually Erica and

975
00:53:40,360 --> 00:53:42,880
Speaker 3: Barbara they go down into the crypt and they find

976
00:53:42,960 --> 00:53:47,800
Speaker 3: Voldemar Doninsky's grave, and they find Tuxedo Guy's Skullkane earlier,

977
00:53:48,400 --> 00:53:50,200
Speaker 3: one of them points out, hey, that is a silver

978
00:53:50,280 --> 00:53:52,919
Speaker 3: top that could be useful, and then they go down

979
00:53:52,920 --> 00:53:57,240
Speaker 3: the hall to find the bathory crypt. Meanwhile, Karen gets scared.

980
00:53:57,640 --> 00:54:00,600
Speaker 3: She gets startled by another woman in the castle who

981
00:54:00,640 --> 00:54:02,440
Speaker 3: she just kind of runs into, who has burns on

982
00:54:02,480 --> 00:54:05,319
Speaker 3: her face. This is mere Kaya, the character who is

983
00:54:05,400 --> 00:54:09,200
Speaker 3: sort of a tragic character. And then Karen stumbles outside.

984
00:54:09,480 --> 00:54:13,480
Speaker 3: She gets startled because she sees Valdemar standing up in

985
00:54:13,560 --> 00:54:17,080
Speaker 3: a like a window or a gateway, pointing a crossbow

986
00:54:17,120 --> 00:54:20,360
Speaker 3: at her, and then she like falls backward and faints,

987
00:54:20,719 --> 00:54:21,600
Speaker 3: falls into a hole.

988
00:54:22,680 --> 00:54:24,799
Speaker 2: I have to say, Valdemar in these scenes, he looks

989
00:54:24,840 --> 00:54:28,359
Speaker 2: like he looks great. He looks like like a medieval vigilante.

990
00:54:28,400 --> 00:54:30,680
Speaker 2: You have a medieval superhero or something here.

991
00:54:30,920 --> 00:54:34,360
Speaker 3: Yes, he's got black clothes with gold trim on the

992
00:54:34,360 --> 00:54:38,200
Speaker 3: tunic and the baseball symbol on his chest, with a

993
00:54:38,200 --> 00:54:41,520
Speaker 3: big dagger and a crossbow. He looks cool, but you

994
00:54:41,560 --> 00:54:43,880
Speaker 3: know it's it's Paul Nashy cool, which is a different

995
00:54:43,960 --> 00:54:48,880
Speaker 3: kind of cool than like Tom Cruise cool. But here's

996
00:54:48,960 --> 00:54:50,400
Speaker 3: one of those moments. I mean, there have been a

997
00:54:50,440 --> 00:54:52,960
Speaker 3: couple already that I didn't really explain, but here's one

998
00:54:52,960 --> 00:54:55,360
Speaker 3: of those moments. I think I alluded to this earlier

999
00:54:55,920 --> 00:54:58,720
Speaker 3: in this episode, but there are a bunch of moments

1000
00:54:58,719 --> 00:55:01,120
Speaker 3: in the movie where it really he feels like something

1001
00:55:01,200 --> 00:55:04,400
Speaker 3: is missing. We just suddenly jump ahead to the middle

1002
00:55:04,440 --> 00:55:08,120
Speaker 3: of another scene, and what happens here is suddenly the

1003
00:55:08,160 --> 00:55:12,560
Speaker 3: other to raise the dead ologists. Erica and Barbara are

1004
00:55:12,640 --> 00:55:15,320
Speaker 3: having dinner with Paul Nashi. They're like sitting at a

1005
00:55:15,360 --> 00:55:18,760
Speaker 3: table with him, and he's being a gracious host. It

1006
00:55:18,800 --> 00:55:21,839
Speaker 3: felt to me like something got cut. Karen is recuperating

1007
00:55:21,880 --> 00:55:25,479
Speaker 3: from her fall in a bed. The servant r Kaya

1008
00:55:25,600 --> 00:55:29,480
Speaker 3: hides a crucifix under her pillow, and Paul Nashi is just,

1009
00:55:29,719 --> 00:55:32,120
Speaker 3: you know, he's entertaining his guests. He's like, you know,

1010
00:55:32,160 --> 00:55:34,239
Speaker 3: you're welcome to stay here. Oh, by the way, drink

1011
00:55:34,280 --> 00:55:37,680
Speaker 3: this special local infusion, maybe with Transylvanian herbs. I thought

1012
00:55:37,719 --> 00:55:39,600
Speaker 3: this was going to turn them into wolves or something,

1013
00:55:39,640 --> 00:55:40,240
Speaker 3: but it doesn't.

1014
00:55:40,520 --> 00:55:42,440
Speaker 2: Now he's just looking after me and just knows it's

1015
00:55:42,440 --> 00:55:43,880
Speaker 2: a good like diuretic or something.

1016
00:55:44,200 --> 00:55:47,440
Speaker 3: Yeah. But later, Erica and Barbara are hanging out and

1017
00:55:47,440 --> 00:55:51,400
Speaker 3: they're talking about their host's identity and Erica, she is

1018
00:55:51,440 --> 00:55:53,759
Speaker 3: the evil one of the three, but she's also the

1019
00:55:53,800 --> 00:55:56,640
Speaker 3: best scholar of the three, I think. So she has

1020
00:55:56,680 --> 00:56:00,880
Speaker 3: figured out this guy that's Valdemar. Our host is Aldemar Doninsky,

1021
00:56:00,960 --> 00:56:04,160
Speaker 3: the wolf man, and she knows because of the baseball logo,

1022
00:56:04,840 --> 00:56:08,759
Speaker 3: and she explains a legend that I think the way

1023
00:56:08,800 --> 00:56:11,120
Speaker 3: she says it is his curse can only be broken

1024
00:56:11,680 --> 00:56:14,319
Speaker 3: if a woman who loves him enough to die for

1025
00:56:14,440 --> 00:56:17,200
Speaker 3: him stabs him in the heart with a silver dagger.

1026
00:56:17,960 --> 00:56:20,960
Speaker 3: And I was just thinking, wait, isn't that exact same

1027
00:56:21,280 --> 00:56:23,240
Speaker 3: legend in Assignment Terror?

1028
00:56:23,719 --> 00:56:27,040
Speaker 2: That's it. Yeah, it's the exact way that it's described

1029
00:56:27,040 --> 00:56:28,640
Speaker 2: to us, and exactly the way it plays out in

1030
00:56:28,680 --> 00:56:29,439
Speaker 2: that movie as well.

1031
00:56:29,680 --> 00:56:32,600
Speaker 3: So he's trying to create a pattern with the Voldemar character.

1032
00:56:32,680 --> 00:56:35,640
Speaker 3: It's like Dracula. It's you know, they are rules that

1033
00:56:36,080 --> 00:56:39,600
Speaker 3: persist across different Dracula media, even if the story is

1034
00:56:39,640 --> 00:56:40,400
Speaker 3: totally different.

1035
00:56:41,080 --> 00:56:42,880
Speaker 2: Yeah, though I'm off the top of my head, I

1036
00:56:42,920 --> 00:56:46,160
Speaker 2: can't remember how the Werewolf and the Yetti ended on

1037
00:56:46,280 --> 00:56:48,240
Speaker 2: that front. I did watch it while I had COVID,

1038
00:56:48,280 --> 00:56:51,279
Speaker 2: so I was a little out of it. But yeah,

1039
00:56:51,280 --> 00:56:53,080
Speaker 2: it may end the same way as well. But yeah,

1040
00:56:54,040 --> 00:56:56,360
Speaker 2: lots of things are different, but you know, your Coredaninsky

1041
00:56:56,480 --> 00:56:57,759
Speaker 2: lore more or less is the same.

1042
00:56:58,360 --> 00:57:00,239
Speaker 3: I think it's a good move building out the lore

1043
00:57:00,360 --> 00:57:04,080
Speaker 3: that way. But so Barbara's freaked out, like, oh, we're

1044
00:57:04,120 --> 00:57:06,000
Speaker 3: at the Wolfman's castle. You know, we got to get

1045
00:57:06,040 --> 00:57:08,239
Speaker 3: out of here. But Erica says, don't worry. There's no

1046
00:57:08,280 --> 00:57:10,800
Speaker 3: way he can hurt us because this cane I found

1047
00:57:10,800 --> 00:57:13,480
Speaker 3: in the crypt has a silver top, and bullets can

1048
00:57:13,520 --> 00:57:15,040
Speaker 3: be made out of that silver.

1049
00:57:15,719 --> 00:57:17,760
Speaker 2: Where are they going to make bull.

1050
00:57:17,880 --> 00:57:20,280
Speaker 3: Aren't you skipping a few steps? Also, do you have

1051
00:57:20,320 --> 00:57:21,960
Speaker 3: a gun that could shoot those bullets?

1052
00:57:22,240 --> 00:57:23,880
Speaker 2: Yeah, there's a crossbow around.

1053
00:57:24,360 --> 00:57:28,080
Speaker 3: Yeah, yeah, so I don't see. Yeah, it seems like

1054
00:57:28,080 --> 00:57:30,479
Speaker 3: they're they're skipping over a few stops on the road

1055
00:57:30,520 --> 00:57:35,440
Speaker 3: to feeling totally safe from were wolf troubles. Meanwhile, we

1056
00:57:35,480 --> 00:57:39,840
Speaker 3: see Doninsky getting it. He he does wear wolf trouble elsewhere.

1057
00:57:40,080 --> 00:57:43,080
Speaker 3: He goes into wolf mode and goes out to eat

1058
00:57:43,080 --> 00:57:45,160
Speaker 3: some people in the grounds around the castle. He gets

1059
00:57:45,160 --> 00:57:46,240
Speaker 3: into barn mischief.

1060
00:57:47,200 --> 00:57:49,800
Speaker 2: Yeah, there are multiple scenes of him going out and

1061
00:57:49,920 --> 00:57:53,960
Speaker 2: murdering and in general though even though we've we see

1062
00:57:54,000 --> 00:57:55,880
Speaker 2: a lot of bandits and we see a lot of

1063
00:57:56,000 --> 00:58:00,000
Speaker 2: grave robbers, Doninsky's finding people to kill that just don't

1064
00:58:00,000 --> 00:58:02,640
Speaker 2: seemed to necessarily be up to mischief. They just seem

1065
00:58:02,680 --> 00:58:04,280
Speaker 2: to be in the wrong place at the wrong time.

1066
00:58:04,520 --> 00:58:06,160
Speaker 2: There's just a lot of people beast.

1067
00:58:06,120 --> 00:58:09,640
Speaker 3: All camping around his castle. So it's it's bandit country

1068
00:58:09,840 --> 00:58:14,040
Speaker 3: full of horrible, nasty, violent bandits and grave robbers and thieves,

1069
00:58:15,160 --> 00:58:18,280
Speaker 3: but also people just backpacking through the country. I guess

1070
00:58:19,000 --> 00:58:19,160
Speaker 3: you know.

1071
00:58:19,160 --> 00:58:20,920
Speaker 2: They didn't have the all trails at back there, so

1072
00:58:21,080 --> 00:58:23,720
Speaker 2: you didn't have the little icons that would pop up.

1073
00:58:23,760 --> 00:58:26,280
Speaker 2: It's like, Okay, bandits, grave robbers, and wear wolves on

1074
00:58:26,280 --> 00:58:28,200
Speaker 2: this one, and maybe we should go for something a

1075
00:58:28,200 --> 00:58:29,200
Speaker 2: little closer into town.

1076
00:58:29,480 --> 00:58:32,200
Speaker 3: There have been eighty two wear wolf attacks in this

1077
00:58:32,360 --> 00:58:36,280
Speaker 3: location in the past month. Yeah, now, I think later,

1078
00:58:36,960 --> 00:58:38,400
Speaker 3: I don't know if it's that night some other time.

1079
00:58:38,520 --> 00:58:42,280
Speaker 3: Doninsky is shown talking to Mirkaya, the servant with the burns,

1080
00:58:42,320 --> 00:58:46,240
Speaker 3: and they discuss some things about their new guests. First

1081
00:58:46,240 --> 00:58:49,000
Speaker 3: of all, they say Karen is the chosen one. I

1082
00:58:49,120 --> 00:58:51,760
Speaker 3: don't know what that means yet, and they say Erica

1083
00:58:51,880 --> 00:58:54,120
Speaker 3: is evil. You gotta be careful about her. But then

1084
00:58:54,240 --> 00:58:58,560
Speaker 3: Doninski is like, but she is beautiful. It's like Valdemar,

1085
00:58:59,120 --> 00:58:59,919
Speaker 3: you should know better.

1086
00:59:00,880 --> 00:59:04,680
Speaker 2: But this is he gets into trouble like this every time. Yeah,

1087
00:59:05,080 --> 00:59:09,200
Speaker 2: remember that last girlfriend you had, that was Elizabeth Bathory.

1088
00:59:10,680 --> 00:59:13,400
Speaker 2: She got you executed and also she turned you into

1089
00:59:13,440 --> 00:59:14,080
Speaker 2: a werewolf.

1090
00:59:14,480 --> 00:59:19,040
Speaker 3: Come on, so Erica later she's talking to the grave

1091
00:59:19,280 --> 00:59:22,520
Speaker 3: of Countess Bathory, and there's one part that made me laugh.

1092
00:59:22,800 --> 00:59:25,680
Speaker 3: The line was she says, Elizabeth, the big day is near,

1093
00:59:26,640 --> 00:59:28,440
Speaker 3: so they're building up to the time when she can

1094
00:59:28,480 --> 00:59:32,800
Speaker 3: be resurrected, I think. But here's the part where again

1095
00:59:32,840 --> 00:59:36,320
Speaker 3: it feels like something is just missing. Suddenly, Karen. The

1096
00:59:36,400 --> 00:59:38,400
Speaker 3: last time we saw her, she's like recovering from her

1097
00:59:38,440 --> 00:59:42,400
Speaker 3: fall in bed. Now suddenly she's up and about and

1098
00:59:42,440 --> 00:59:45,840
Speaker 3: she and Doninski are already in a relationship. They're like

1099
00:59:45,920 --> 00:59:48,400
Speaker 3: walking around the castle together having a deep heart to

1100
00:59:48,440 --> 00:59:52,920
Speaker 3: heart conversation and they're kissing, and it feels like, Okay,

1101
00:59:53,680 --> 00:59:55,840
Speaker 3: there should have been a scene where they're like first

1102
00:59:55,920 --> 00:59:58,320
Speaker 3: meeting and falling in love, but we don't see any

1103
00:59:58,320 --> 00:59:59,800
Speaker 3: of that. It's just now they're in love.

1104
01:00:00,200 --> 01:00:02,680
Speaker 2: Yeah. Yeah, it does feel like like we skipped over

1105
01:00:02,760 --> 01:00:05,800
Speaker 2: some steps there, but here we are full blown love story.

1106
01:00:06,000 --> 01:00:08,720
Speaker 2: She is the chosen one, yeah, and by that we're

1107
01:00:08,760 --> 01:00:12,200
Speaker 2: I think to understand that means that she loves him

1108
01:00:12,320 --> 01:00:14,280
Speaker 2: enough to potentially kill him.

1109
01:00:14,280 --> 01:00:16,800
Speaker 3: With the silver dagger, with the silver yeah. Oh, and

1110
01:00:17,040 --> 01:00:20,720
Speaker 3: Erica is like staring at them with just a venom

1111
01:00:20,800 --> 01:00:21,400
Speaker 3: in her eyes.

1112
01:00:21,440 --> 01:00:24,160
Speaker 2: She's jealous yeah, because I mean it's true love. I

1113
01:00:24,160 --> 01:00:26,720
Speaker 2: mean people ask you know what he's love, and it's

1114
01:00:26,840 --> 01:00:29,800
Speaker 2: It's been a universal human question for so long. But

1115
01:00:29,880 --> 01:00:32,400
Speaker 2: I mean this movie answers it. It is do you

1116
01:00:32,520 --> 01:00:35,000
Speaker 2: love someone enough to stab them through the heart and

1117
01:00:35,080 --> 01:00:39,400
Speaker 2: destroy them when they're Awarewolf? That's that's the litmus test

1118
01:00:39,480 --> 01:00:39,840
Speaker 2: right there.

1119
01:00:40,280 --> 01:00:42,080
Speaker 3: I don't know if these are lessons that can be

1120
01:00:42,120 --> 01:00:46,120
Speaker 3: applied to your daily life in a way I hope not. Oh,

1121
01:00:46,120 --> 01:00:48,840
Speaker 3: but we also love we learn about the the mere

1122
01:00:48,920 --> 01:00:52,960
Speaker 3: Kaya backstory. Everybody loves Valdemar by so Erica loves Valdemar

1123
01:00:53,040 --> 01:00:55,400
Speaker 3: or I don't know about loves him. She's jealous at least.

1124
01:00:56,760 --> 01:01:00,280
Speaker 3: Karen loves Valdemar, and mir Kaya also loves Valdemar, but

1125
01:01:00,320 --> 01:01:02,919
Speaker 3: she's like, you know, oh no, Karen, you're the chosen one.

1126
01:01:03,200 --> 01:01:07,360
Speaker 3: You can love him. I'll just be sad. But her

1127
01:01:07,440 --> 01:01:10,120
Speaker 3: backstory is that she was accused of witchcraft and burned

1128
01:01:10,160 --> 01:01:13,000
Speaker 3: at the stake, but then a storm came and extinguished

1129
01:01:13,040 --> 01:01:16,760
Speaker 3: the fire, so she was able to escape and Valdemar

1130
01:01:16,840 --> 01:01:20,479
Speaker 3: took her in. And I was a little confused about

1131
01:01:20,480 --> 01:01:23,960
Speaker 3: the timeline here, like did this happen since he was

1132
01:01:24,400 --> 01:01:26,280
Speaker 3: brought back from the dead a few days ago.

1133
01:01:26,640 --> 01:01:28,280
Speaker 2: He would have to be right, This would have had

1134
01:01:28,280 --> 01:01:34,520
Speaker 2: to have happened in nineteen eighty in rural Europe. So yeah.

1135
01:01:35,040 --> 01:01:37,600
Speaker 2: Otherwise they're skipping over some other stuff like well, how

1136
01:01:37,600 --> 01:01:38,600
Speaker 2: did she come back to life?

1137
01:01:46,320 --> 01:01:48,640
Speaker 3: So later there's a full moon, and then we get

1138
01:01:48,640 --> 01:01:52,600
Speaker 3: our first Paul Nashy wolf transformation scene. We've already seen

1139
01:01:52,720 --> 01:01:55,760
Speaker 3: him as a wolfman going out and biting people, but

1140
01:01:55,840 --> 01:01:58,200
Speaker 3: now we actually get to see him change and the

1141
01:01:58,240 --> 01:02:01,040
Speaker 3: transformation it's full of it's you know, it's the passion

1142
01:02:01,080 --> 01:02:04,120
Speaker 3: of the wolf. The transformation is painful. It fills him

1143
01:02:04,120 --> 01:02:07,919
Speaker 3: with not just physical pain, but moral and emotional anguish.

1144
01:02:08,000 --> 01:02:10,360
Speaker 3: He seems to be trying his best to resist it,

1145
01:02:10,440 --> 01:02:13,280
Speaker 3: to fight it off, but he can't. He breaks and

1146
01:02:13,320 --> 01:02:16,160
Speaker 3: throws a lot of furnishings in his house as he's changing.

1147
01:02:16,840 --> 01:02:20,280
Speaker 3: And the physical transformation, I would say, is primarily achieved

1148
01:02:20,360 --> 01:02:23,920
Speaker 3: via a step wise migration of his beard up across

1149
01:02:23,960 --> 01:02:24,480
Speaker 3: his face.

1150
01:02:25,200 --> 01:02:29,600
Speaker 2: Yeah. Yeah, The aspects of this transformation are very much

1151
01:02:29,640 --> 01:02:31,760
Speaker 2: in line with your classic wolf man effects and I

1152
01:02:31,800 --> 01:02:36,880
Speaker 2: think have to be judged within that context. But I

1153
01:02:37,040 --> 01:02:40,440
Speaker 2: do think the ultimate look that we get the ultimate

1154
01:02:40,440 --> 01:02:45,000
Speaker 2: werewolf makeup looks really solid, and Nashy's performance, the emotion

1155
01:02:45,200 --> 01:02:47,360
Speaker 2: he pours into the transformation is so good.

1156
01:02:47,720 --> 01:02:50,560
Speaker 3: I apologize if this is a question that I've already asked,

1157
01:02:50,560 --> 01:02:53,040
Speaker 3: maybe when we were covering Assignment Terror. I don't remember,

1158
01:02:53,120 --> 01:02:57,720
Speaker 3: But I wonder if one or the other werewolf design

1159
01:02:58,360 --> 01:03:01,920
Speaker 3: better lends itself to the tragedy of the werewolf story.

1160
01:03:02,000 --> 01:03:05,920
Speaker 3: Like so, both American Werewolf in London and this this

1161
01:03:06,000 --> 01:03:08,720
Speaker 3: story both have like a tragic werewolf where you feel

1162
01:03:08,720 --> 01:03:12,360
Speaker 3: sad for him. But American werewolf has the more dog

1163
01:03:12,520 --> 01:03:16,920
Speaker 3: form quadrupedal, long snout. This one is the you know,

1164
01:03:17,000 --> 01:03:20,040
Speaker 3: the the classic one Janey human style head up on,

1165
01:03:20,160 --> 01:03:23,600
Speaker 3: you know, very bipedal. Which one do you think goes

1166
01:03:23,640 --> 01:03:26,160
Speaker 3: more for the sadness of the werewolf condition?

1167
01:03:26,680 --> 01:03:28,880
Speaker 2: Oh that's a good question. I don't know. I mean

1168
01:03:29,280 --> 01:03:31,080
Speaker 2: one would be tempted to think, well, the one that

1169
01:03:31,160 --> 01:03:34,360
Speaker 2: looks more human, maybe he leans into more of a

1170
01:03:34,440 --> 01:03:39,120
Speaker 2: human understanding of the monster, and therefore the snouted werewolves

1171
01:03:39,240 --> 01:03:43,280
Speaker 2: lean more monstrous. But I don't think it's necessarily the case,

1172
01:03:43,280 --> 01:03:45,200
Speaker 2: because you know, I think you feel a lot of

1173
01:03:45,200 --> 01:03:49,440
Speaker 2: sympathy for the beast in American werewolf in London, so

1174
01:03:50,200 --> 01:03:52,880
Speaker 2: hard to say. I will say this though, I think

1175
01:03:53,200 --> 01:03:56,720
Speaker 2: that for the most part, the traditional wolf man has

1176
01:03:56,760 --> 01:04:00,880
Speaker 2: been easier to integrate physically into a scene, whereas if

1177
01:04:00,920 --> 01:04:05,080
Speaker 2: you have an elaborate snouted beast, the practical effect may

1178
01:04:05,120 --> 01:04:07,320
Speaker 2: be difficult to integrate, and then by the time you're

1179
01:04:07,320 --> 01:04:10,000
Speaker 2: getting to CGI stuff, well obviously they're going to be

1180
01:04:10,000 --> 01:04:11,480
Speaker 2: integration problems there as well.

1181
01:04:11,800 --> 01:04:14,439
Speaker 3: Yeah. Yeah, I mean, I guess the more human form

1182
01:04:14,640 --> 01:04:21,120
Speaker 3: wolfman can do human relationship posture, like can hug somebody

1183
01:04:21,200 --> 01:04:22,040
Speaker 3: or something like that.

1184
01:04:22,400 --> 01:04:24,920
Speaker 2: Yeah, and you can. I guess. You can also make

1185
01:04:24,920 --> 01:04:27,280
Speaker 2: a strong argument for even though we're talking about a

1186
01:04:27,280 --> 01:04:30,240
Speaker 2: lot of were wolf makeup, the actor is still able

1187
01:04:30,280 --> 01:04:34,160
Speaker 2: to emote through the makeup, through that costume and embody

1188
01:04:34,240 --> 01:04:36,880
Speaker 2: that character in a way that might be more difficult

1189
01:04:37,080 --> 01:04:40,000
Speaker 2: or even impossible with other forms of effects that are

1190
01:04:40,000 --> 01:04:43,320
Speaker 2: going to be necessary for your full snout boy wear wolf.

1191
01:04:43,760 --> 01:04:47,520
Speaker 3: Yeah. Okay, So anyway, in the scene there's a transformation.

1192
01:04:47,600 --> 01:04:50,120
Speaker 3: But once wolf mode is fully throttled up, like he

1193
01:04:50,320 --> 01:04:52,800
Speaker 3: menaces Karen for a second, it's like, oh, no, is

1194
01:04:52,840 --> 01:04:56,200
Speaker 3: he going to attack his beloved? But no, just when

1195
01:04:56,200 --> 01:04:58,560
Speaker 3: he's about to Mirkaia shows up to save the day.

1196
01:04:58,640 --> 01:05:01,400
Speaker 3: She holds out a silver and holds it in his face,

1197
01:05:01,800 --> 01:05:03,800
Speaker 3: and this seems to kind of shame him out of

1198
01:05:03,880 --> 01:05:06,840
Speaker 3: eating his new girlfriend. Instead, he jumps through a window,

1199
01:05:07,320 --> 01:05:11,080
Speaker 3: runs around outside until he finds a guy camping camp

1200
01:05:12,680 --> 01:05:15,240
Speaker 3: a camper cooking a pot of something over a fire,

1201
01:05:15,600 --> 01:05:18,480
Speaker 3: and he attacks. Then he also goes to a village

1202
01:05:18,520 --> 01:05:20,919
Speaker 3: and just attacks more people. He like bites a lady

1203
01:05:20,960 --> 01:05:22,920
Speaker 3: who's getting water out of a well and then kind

1204
01:05:22,920 --> 01:05:26,440
Speaker 3: of casually drops her in a watering trough and runs away.

1205
01:05:27,160 --> 01:05:30,720
Speaker 3: And I'll say Doninsky is a very efficient werewolf. Like

1206
01:05:30,880 --> 01:05:34,040
Speaker 3: most attacks, there are some exceptions, like earlier in the movie,

1207
01:05:34,200 --> 01:05:35,960
Speaker 3: there's one part where he like attacks a lady and

1208
01:05:35,960 --> 01:05:39,120
Speaker 3: then like carries her away. But in most attacks, he

1209
01:05:39,280 --> 01:05:42,280
Speaker 3: just like bites somebody and then bolts, like he grabs

1210
01:05:42,320 --> 01:05:44,760
Speaker 3: their arms, bite the neck, show the blood on his

1211
01:05:44,840 --> 01:05:47,640
Speaker 3: teeth to the camera. They gleams in the moonlight for

1212
01:05:47,680 --> 01:05:50,080
Speaker 3: a second, and then he drops the human and runs away.

1213
01:05:50,080 --> 01:05:51,680
Speaker 3: The whole thing is about eight seconds.

1214
01:05:52,120 --> 01:05:56,040
Speaker 2: Yeah, I mean it's almost like it's he's he's shameful

1215
01:05:56,080 --> 01:05:58,640
Speaker 2: over it, you know. It's like the beast overcomes in

1216
01:05:58,800 --> 01:06:02,640
Speaker 2: and in and in satisfying this thirst, this hunger for

1217
01:06:02,720 --> 01:06:04,920
Speaker 2: just a second, like it's also enough for him to

1218
01:06:04,920 --> 01:06:06,680
Speaker 2: sort of wake up a little bit and like drop

1219
01:06:06,680 --> 01:06:10,080
Speaker 2: what he's doing and move on. M Yeah, I am

1220
01:06:10,120 --> 01:06:14,080
Speaker 2: probably being overly generous in that analysis.

1221
01:06:14,600 --> 01:06:16,840
Speaker 3: No, no, I think that makes sense. Yeah, he's like

1222
01:06:17,960 --> 01:06:21,120
Speaker 3: there's a little bit of human doninski still operative in

1223
01:06:21,200 --> 01:06:23,920
Speaker 3: there that can that can be like, oh what have

1224
01:06:24,000 --> 01:06:25,720
Speaker 3: I done? And then he runs away, But then he

1225
01:06:25,760 --> 01:06:29,080
Speaker 3: does it again because he's a wolf. So while he's out,

1226
01:06:29,480 --> 01:06:34,160
Speaker 3: Mirkaia fills Karen in on some lore. She explains, I

1227
01:06:34,200 --> 01:06:36,760
Speaker 3: don't know, so sort of the backstory, and then she's like,

1228
01:06:36,800 --> 01:06:39,320
Speaker 3: by the way, remember your scientist friends who you came

1229
01:06:39,360 --> 01:06:42,480
Speaker 3: here with. Yeah, let's hope they're dead, because if not,

1230
01:06:42,640 --> 01:06:46,000
Speaker 3: they're vampires now. And if you see them again, use

1231
01:06:46,080 --> 01:06:49,360
Speaker 3: this silver cross shaped dagger to protect yourself from them.

1232
01:06:50,240 --> 01:06:53,880
Speaker 3: And you know what, Mirkaya's instincts or right on the money.

1233
01:06:53,880 --> 01:06:57,560
Speaker 3: So Erica has done exactly what she told the professor

1234
01:06:57,600 --> 01:06:59,960
Speaker 3: she was going to do. She hypnotizes Barbara kills her,

1235
01:07:00,200 --> 01:07:05,840
Speaker 3: uses her blood to rehydrate Elizabeth Bathory like drips her

1236
01:07:05,840 --> 01:07:09,240
Speaker 3: blood down on her, and the rehydration scene has a

1237
01:07:09,240 --> 01:07:11,960
Speaker 3: pretty cool looking effect where the blood like drips onto

1238
01:07:12,280 --> 01:07:15,440
Speaker 3: the statue of Bathory on the grave and it starts

1239
01:07:15,600 --> 01:07:19,080
Speaker 3: sort of dissolving the stone and releasing puffs of steam,

1240
01:07:19,200 --> 01:07:22,720
Speaker 3: and Erica is looking around frantically. She's like, oh dude,

1241
01:07:22,720 --> 01:07:27,120
Speaker 3: I did it. What's up now? And the lid lifts

1242
01:07:27,160 --> 01:07:30,280
Speaker 3: off the vault and Bathory wakes up and she has

1243
01:07:30,320 --> 01:07:33,200
Speaker 3: a very creepy outfit. I like the costuming in the scene.

1244
01:07:33,200 --> 01:07:36,200
Speaker 3: It's a black dress with gold trim, kind of like

1245
01:07:36,240 --> 01:07:39,680
Speaker 3: Doninski's black outfit with gold trim. And it has this

1246
01:07:39,840 --> 01:07:42,240
Speaker 3: two lobed bonnet. I don't know what you call that.

1247
01:07:42,320 --> 01:07:44,760
Speaker 3: It's a bonnet that has two humps instead of one.

1248
01:07:45,000 --> 01:07:47,480
Speaker 2: Yeah, I don't know what it's called either. The bonnet.

1249
01:07:47,880 --> 01:07:50,760
Speaker 3: It's good. It's got the gold trim, the black veil,

1250
01:07:51,720 --> 01:07:54,600
Speaker 3: and no messing around it all. She just grabs Erica

1251
01:07:54,840 --> 01:07:59,120
Speaker 3: vamps her. Okay, here's one vampire servant. It's a neck bite.

1252
01:07:59,800 --> 01:08:02,600
Speaker 3: And then she also raises one of her other servants

1253
01:08:02,600 --> 01:08:05,400
Speaker 3: from the dead, but unlike Valdemar and the Countess, this

1254
01:08:05,440 --> 01:08:08,360
Speaker 3: guy is fully decayed. He's a zombie.

1255
01:08:08,600 --> 01:08:11,880
Speaker 2: Yeah, this would be otvos that she's revived as like

1256
01:08:12,200 --> 01:08:15,920
Speaker 2: a blind dead, as a zombie like. He's crumbling and skeletal,

1257
01:08:16,439 --> 01:08:19,760
Speaker 2: but also pretty bulky like obviously he's intended to be

1258
01:08:19,840 --> 01:08:21,960
Speaker 2: the heavy of the outfit. And at this point in

1259
01:08:21,960 --> 01:08:24,200
Speaker 2: the film, I'm like, oh man, it's on now, because

1260
01:08:24,360 --> 01:08:27,800
Speaker 2: Bathory not only has Bathory revived and resurrected, but now

1261
01:08:27,800 --> 01:08:32,080
Speaker 2: she has a crew. She has otvos here, she's got

1262
01:08:32,520 --> 01:08:36,200
Speaker 2: vampire ladies, a number of them, and seemingly she's going

1263
01:08:36,240 --> 01:08:39,120
Speaker 2: to recruit even more so now she is already a

1264
01:08:39,160 --> 01:08:40,240
Speaker 2: force to contend with.

1265
01:08:40,760 --> 01:08:43,840
Speaker 3: No there was a part somewhere around here that made

1266
01:08:43,840 --> 01:08:46,360
Speaker 3: me laugh out loud. It's the scene where Paul Nashy

1267
01:08:46,439 --> 01:08:50,320
Speaker 3: comes home after a hard night of wolfing out. You remember,

1268
01:08:50,360 --> 01:08:53,200
Speaker 3: he staggers in the door and he's exhausted and covered

1269
01:08:53,200 --> 01:08:56,840
Speaker 3: in blood, and Karen's waiting there and embraces him. It

1270
01:08:56,960 --> 01:09:00,920
Speaker 3: just seems like it's been a hard day's night. But

1271
01:09:01,200 --> 01:09:03,880
Speaker 3: then there's a scene where Bathory has her first like,

1272
01:09:03,960 --> 01:09:07,320
Speaker 3: she has the minions assembled. They're all standing their information

1273
01:09:07,520 --> 01:09:09,920
Speaker 3: in front of her crypt. They're ready to take orders.

1274
01:09:10,640 --> 01:09:16,000
Speaker 3: And now both of the former dead rasiologists are wearing

1275
01:09:16,720 --> 01:09:19,919
Speaker 3: vampire queen dresses. Like they're now all in black dresses

1276
01:09:20,120 --> 01:09:22,800
Speaker 3: like Bathory, And I was thinking, wait, where did they

1277
01:09:22,880 --> 01:09:25,920
Speaker 3: get the new costumes. Did they pack these vampire queen

1278
01:09:26,000 --> 01:09:29,839
Speaker 3: dresses when they came to Transylvania. Or does Countess Bathory

1279
01:09:29,960 --> 01:09:34,440
Speaker 3: have a community wardrobe for new vampires to source from?

1280
01:09:34,840 --> 01:09:36,880
Speaker 2: Oh? I mean, I guess she has wardrobe because she

1281
01:09:36,920 --> 01:09:40,439
Speaker 2: can't have her new minions running around in like trendy

1282
01:09:41,280 --> 01:09:44,120
Speaker 2: T shirts that they bought in Rome. No, no, no,

1283
01:09:44,120 --> 01:09:47,759
Speaker 2: they need to look the part. They're representing a brand now.

1284
01:09:48,000 --> 01:09:51,840
Speaker 3: That's right. So they are in uniform, and Bathory says

1285
01:09:51,880 --> 01:09:54,920
Speaker 3: to them, we need Paul Nashy's power. She says, quote

1286
01:09:55,040 --> 01:09:58,320
Speaker 3: Voldemar must serve me again. We need his strength, his

1287
01:09:58,479 --> 01:10:02,200
Speaker 3: thirst for death, his in vulnerability. I won't have all

1288
01:10:02,240 --> 01:10:05,920
Speaker 3: my power back until the Great Ritual Night. Then our

1289
01:10:05,960 --> 01:10:08,439
Speaker 3: Lord Satan will answer my call and the Kingdom of

1290
01:10:08,520 --> 01:10:11,880
Speaker 3: Darkness will come to earth. Until then, the werewolf must

1291
01:10:11,880 --> 01:10:16,200
Speaker 3: be under my command. So there are basically two factions operating.

1292
01:10:16,240 --> 01:10:19,880
Speaker 3: Now You've got like Voldemar, Karen and Mirkaya on one side,

1293
01:10:19,920 --> 01:10:22,240
Speaker 3: and then Bathory and all her minions on the other.

1294
01:10:22,720 --> 01:10:25,720
Speaker 3: But they are all in the same building, which is interesting.

1295
01:10:26,760 --> 01:10:28,800
Speaker 2: Well, yeah, well there's this I don't know if this

1296
01:10:28,840 --> 01:10:31,559
Speaker 2: occurs now or later, but there's this whole subplot, the

1297
01:10:31,600 --> 01:10:36,760
Speaker 2: research plot, where they take off, that the vampires take off,

1298
01:10:36,800 --> 01:10:39,519
Speaker 2: and then they steal some coffins from somebody or they

1299
01:10:39,560 --> 01:10:46,040
Speaker 2: get delivered, get it, relocate. But then meanwhile Doninsky's researching

1300
01:10:46,080 --> 01:10:48,080
Speaker 2: and then finally he's like, oh, they didn't relocate. They're

1301
01:10:48,080 --> 01:10:50,360
Speaker 2: in the same castle. So I was a little confused

1302
01:10:50,400 --> 01:10:51,360
Speaker 2: on how that came together.

1303
01:10:51,600 --> 01:10:54,320
Speaker 3: Yeah, I didn't quite understand that either, but for now,

1304
01:10:54,360 --> 01:10:57,360
Speaker 3: they're definitely in the same place. And the Blood Countess

1305
01:10:57,600 --> 01:11:01,600
Speaker 3: she sends vampire Erica out to vampamir Kaya because she's like,

1306
01:11:01,640 --> 01:11:05,080
Speaker 3: we got to take away from his side. So you know,

1307
01:11:05,240 --> 01:11:08,439
Speaker 3: Erica does that. She vamps me your Kaya and then

1308
01:11:08,600 --> 01:11:11,960
Speaker 3: bathes in her blood. But then Valdemar and Karen find

1309
01:11:12,040 --> 01:11:16,400
Speaker 3: evidence of this, and then suddenly we cut there again.

1310
01:11:16,439 --> 01:11:19,400
Speaker 3: There's like some very like jumpy editing. We cut suddenly

1311
01:11:19,439 --> 01:11:22,960
Speaker 3: to these dudes eating with Voldemar and Karen in this

1312
01:11:23,400 --> 01:11:25,120
Speaker 3: very brown room.

1313
01:11:25,640 --> 01:11:29,280
Speaker 2: Yeah yeah, out of nowhere, suddenly they seem to be

1314
01:11:29,520 --> 01:11:33,120
Speaker 2: academics that that Valdemar has called up or something or

1315
01:11:33,120 --> 01:11:35,120
Speaker 2: they're just paying a house visit. They're like, hey, Valdemar,

1316
01:11:35,240 --> 01:11:36,840
Speaker 2: let's let's talk. What's what's going on?

1317
01:11:37,280 --> 01:11:39,439
Speaker 3: And that's what you think, Yeah, that's what you think.

1318
01:11:39,439 --> 01:11:44,000
Speaker 3: At first, they're sharing news of the surrounding towns and countryside.

1319
01:11:44,040 --> 01:11:47,360
Speaker 3: They're like, werewolves and vampires are killing everybody and draining

1320
01:11:47,400 --> 01:11:50,400
Speaker 3: their blood. So I think we are to understand now

1321
01:11:50,439 --> 01:11:53,839
Speaker 3: that like Bathorys, vampires have been operating in the area

1322
01:11:53,960 --> 01:11:56,599
Speaker 3: for a while. But that clearly would mean we've cut

1323
01:11:56,680 --> 01:12:00,040
Speaker 3: forward in time because they just rose. One of the

1324
01:12:00,160 --> 01:12:02,599
Speaker 3: guys is well, they're like, you got to use garlic

1325
01:12:02,640 --> 01:12:06,080
Speaker 3: to protect yourself. One guy recommends putting garlic in your

1326
01:12:06,120 --> 01:12:09,040
Speaker 3: in one's rectum, and then the other one scolds him

1327
01:12:09,040 --> 01:12:12,120
Speaker 3: for being crude and saying that. But they do say, hey,

1328
01:12:12,200 --> 01:12:16,439
Speaker 3: the vampires are women, and then Doninsky's like, oh, I

1329
01:12:16,520 --> 01:12:20,280
Speaker 3: know what that means. That's Bathories people. So while at

1330
01:12:20,320 --> 01:12:22,800
Speaker 3: first it seems like these guys might be professors or

1331
01:12:22,800 --> 01:12:25,280
Speaker 3: clerics of some kind, what do you know, they're also

1332
01:12:25,680 --> 01:12:29,320
Speaker 3: just thieves. They want a burglarize. They want to burglarized

1333
01:12:29,360 --> 01:12:33,479
Speaker 3: Valdemar's castle. Bad idea, guys. But before they get the chance,

1334
01:12:33,520 --> 01:12:35,920
Speaker 3: They're hanging out in a barn somewhere outside. I think

1335
01:12:35,920 --> 01:12:38,240
Speaker 3: this is the barn where everybody gets attacked. It's the

1336
01:12:38,280 --> 01:12:41,320
Speaker 3: barn of Mischief, and they're hanging out there and two

1337
01:12:41,439 --> 01:12:45,439
Speaker 3: of Bathory's vamp women, like Treadmill, glide into the room

1338
01:12:45,560 --> 01:12:47,240
Speaker 3: surrounded by unholy mist.

1339
01:12:47,960 --> 01:12:50,120
Speaker 2: It's a cool looking vamp glide scene. I love it.

1340
01:12:50,960 --> 01:12:54,320
Speaker 3: Now here's a history of cinema question. This is used

1341
01:12:54,320 --> 01:12:57,000
Speaker 3: in a lot of films where like the vampire is shot,

1342
01:12:57,240 --> 01:12:59,639
Speaker 3: you know, you see above from above their feet. They're

1343
01:12:59,640 --> 01:13:03,080
Speaker 3: shot the waist up or something, and they move towards

1344
01:13:03,120 --> 01:13:06,160
Speaker 3: you clearly without walking, like their legs are not moving,

1345
01:13:07,120 --> 01:13:09,880
Speaker 3: and suggesting that maybe they're floating an inch above the

1346
01:13:09,920 --> 01:13:12,840
Speaker 3: floor or something. What was the first movie to do that?

1347
01:13:12,920 --> 01:13:15,920
Speaker 3: Where does the glide convention come from?

1348
01:13:15,920 --> 01:13:18,719
Speaker 2: That's a great question, I would venture to guess. Not here.

1349
01:13:19,200 --> 01:13:22,479
Speaker 2: I'm assuming how borrows it from somewhere. But yeah, I

1350
01:13:22,520 --> 01:13:24,200
Speaker 2: don't know if this is a product of like the

1351
01:13:24,800 --> 01:13:27,160
Speaker 2: Hammer era, or if this goes all the way back

1352
01:13:27,160 --> 01:13:29,599
Speaker 2: to the thirties or what. Off the top of my head,

1353
01:13:29,600 --> 01:13:32,160
Speaker 2: I can't think of the earliest example that I've seen.

1354
01:13:32,479 --> 01:13:35,240
Speaker 3: I don't recall it happening in any of the universal

1355
01:13:35,800 --> 01:13:36,920
Speaker 3: vampire movies, but.

1356
01:13:37,560 --> 01:13:40,120
Speaker 2: I feel like it's a definite Hammer play, though I

1357
01:13:40,160 --> 01:13:42,080
Speaker 2: think I've seen it in Hammer films before.

1358
01:13:42,720 --> 01:13:45,280
Speaker 3: Another place where it feels like we suddenly jump ahead.

1359
01:13:45,280 --> 01:13:47,640
Speaker 3: We cut straight from the vamp ladies looming in the

1360
01:13:47,640 --> 01:13:51,720
Speaker 3: midst to Valdemar and Karen finishing graves for the two

1361
01:13:51,840 --> 01:13:54,559
Speaker 3: thief guys, talking about how, yeah, we had to put

1362
01:13:54,600 --> 01:13:56,160
Speaker 3: steaks in him and cut their heads off to make

1363
01:13:56,200 --> 01:13:58,880
Speaker 3: sure they wouldn't come back. But Valdemar goes on to say,

1364
01:13:58,920 --> 01:14:01,280
Speaker 3: you know what, Okay, so we know what's happening. Now

1365
01:14:01,360 --> 01:14:03,960
Speaker 3: Bathory's back. She's going to want to kill you, Karen,

1366
01:14:04,080 --> 01:14:06,920
Speaker 3: So tonight you've got to lock yourself in your room

1367
01:14:07,400 --> 01:14:10,280
Speaker 3: and keep this cross next to you, the silver dagger here.

1368
01:14:10,760 --> 01:14:10,960
Speaker 2: Now.

1369
01:14:11,080 --> 01:14:14,040
Speaker 3: Karen, at this point asks an extremely sensible question, the

1370
01:14:14,040 --> 01:14:16,600
Speaker 3: one I was thinking about. She's like, why don't we

1371
01:14:16,760 --> 01:14:18,920
Speaker 3: just go down in the crypts like they're down there

1372
01:14:18,960 --> 01:14:20,680
Speaker 3: in the same building we are, Why don't we go

1373
01:14:20,760 --> 01:14:24,200
Speaker 3: down and destroy them? But Valdemar has an answer. I

1374
01:14:24,200 --> 01:14:26,479
Speaker 3: guess this makes sense. He says, I'm not strong enough yet,

1375
01:14:26,600 --> 01:14:28,560
Speaker 3: can't do it until the full moon comes.

1376
01:14:28,760 --> 01:14:31,000
Speaker 2: Yeah, yeah, I mean it's it's only in the werewolf

1377
01:14:31,200 --> 01:14:33,360
Speaker 2: form that he's going to have any chance of standing

1378
01:14:33,439 --> 01:14:37,320
Speaker 2: up to Bathory and her minions. And I think you

1379
01:14:37,320 --> 01:14:39,080
Speaker 2: could probably add on top of that, it's like this

1380
01:14:39,160 --> 01:14:42,840
Speaker 2: APPARENTLYSS castle is apparently huge, and it's uh, it's it's

1381
01:14:42,960 --> 01:14:45,920
Speaker 2: dungeons and its crypts are extensive, so we're not sure

1382
01:14:45,960 --> 01:14:48,800
Speaker 2: even exactly where they might be down there, and they've

1383
01:14:48,800 --> 01:14:50,479
Speaker 2: got to they've got to spend all their time just

1384
01:14:50,560 --> 01:14:55,320
Speaker 2: cleaning up. They would be vampires. Yeah, they surrounding countryside

1385
01:14:55,320 --> 01:14:56,439
Speaker 2: and burying their dead.

1386
01:14:57,080 --> 01:15:00,439
Speaker 3: I guess that's true. So that night there are Empire

1387
01:15:00,439 --> 01:15:03,639
Speaker 3: attacks on both Karen and Valdemar, but Karen really comes through.

1388
01:15:03,680 --> 01:15:07,040
Speaker 3: She saves the day. So vampire Barbara attacks her, but

1389
01:15:07,120 --> 01:15:10,080
Speaker 3: she fights her off with the Silver Cross dagger, and

1390
01:15:10,120 --> 01:15:12,639
Speaker 3: then Barbara emits a lot of smoke, but I couldn't

1391
01:15:12,640 --> 01:15:15,479
Speaker 3: tell if she was actually like destroyed as a vampire

1392
01:15:15,560 --> 01:15:19,120
Speaker 3: or just kind of incapacitated. I'm not sure. But then

1393
01:15:19,160 --> 01:15:21,720
Speaker 3: another one of the vamps, this was Erica, comes into

1394
01:15:21,800 --> 01:15:25,519
Speaker 3: Valdemar's room and starts to hypnotize him, starts kissing him.

1395
01:15:25,560 --> 01:15:27,880
Speaker 3: She's ready to bite, but then Karen busts in with

1396
01:15:27,920 --> 01:15:29,720
Speaker 3: the silver Cross and rescues him.

1397
01:15:30,240 --> 01:15:32,400
Speaker 2: Is this the scene with the mirror over the bed.

1398
01:15:32,479 --> 01:15:34,479
Speaker 3: Yes, the vampire has no reflection.

1399
01:15:34,640 --> 01:15:38,560
Speaker 2: Yeah. Yeah, so in the forefront it's Valdemar and the

1400
01:15:38,640 --> 01:15:41,720
Speaker 2: vampire embracing and kissing. But then in the mirror behind him,

1401
01:15:41,920 --> 01:15:45,639
Speaker 2: he's like, he's like kissing an invisible woman. Yeah that's great.

1402
01:15:46,160 --> 01:15:49,000
Speaker 3: So now Valdemar and Karen. I guess he's changed his

1403
01:15:49,080 --> 01:15:51,000
Speaker 3: mind about going down to the crips. He tries to

1404
01:15:51,000 --> 01:15:55,839
Speaker 3: go on offense, goes down there, he fights the Otvos zombie.

1405
01:15:56,080 --> 01:15:57,280
Speaker 3: That's over pretty quick.

1406
01:15:57,720 --> 01:16:00,040
Speaker 2: Yeah. Yeah, he makes pretty short work about Vos. I

1407
01:16:00,120 --> 01:16:02,280
Speaker 2: was kind of hoping for a more drawn out battle

1408
01:16:02,360 --> 01:16:05,200
Speaker 2: between those two, but that he knows what he's doing

1409
01:16:05,200 --> 01:16:06,240
Speaker 2: takes him out in no time.

1410
01:16:06,400 --> 01:16:09,479
Speaker 3: But the vamps aren't there. They have now relocated. And

1411
01:16:09,520 --> 01:16:14,960
Speaker 3: then a terrible twist happens. Bathory herself sneaks into Karen's

1412
01:16:15,040 --> 01:16:17,519
Speaker 3: room at night, and she manages to get around the

1413
01:16:17,560 --> 01:16:21,439
Speaker 3: defense the security system of the Silver Dagger by covering

1414
01:16:21,439 --> 01:16:23,559
Speaker 3: it up with the cloth. Didn't think of that.

1415
01:16:24,680 --> 01:16:26,720
Speaker 2: Then she does it. She does it telekinetically, I think too.

1416
01:16:26,760 --> 01:16:27,800
Speaker 2: She's like whoaow.

1417
01:16:28,000 --> 01:16:31,720
Speaker 3: Yeah, she covers it up with the cloth and then

1418
01:16:31,760 --> 01:16:35,640
Speaker 3: she vamps Karen or partially vamps her. So maybe you

1419
01:16:35,680 --> 01:16:37,519
Speaker 3: can help explain what you thought was going on here.

1420
01:16:37,560 --> 01:16:41,320
Speaker 3: So her plan is to re recruit Valdemar to her service,

1421
01:16:42,280 --> 01:16:46,200
Speaker 3: and she's using Karen to do that. So she bites Karen.

1422
01:16:46,280 --> 01:16:49,360
Speaker 3: But then the next day Karen seems fine during the daytime.

1423
01:16:50,080 --> 01:16:52,759
Speaker 3: What's going on? She like, she does have an ominous

1424
01:16:52,800 --> 01:16:55,800
Speaker 3: look in her eye, And then we see Bathory returning

1425
01:16:55,840 --> 01:16:59,040
Speaker 3: again the next night to bite to bite Karen once again.

1426
01:16:59,120 --> 01:17:02,640
Speaker 3: So I think the vamp here is coming in installments,

1427
01:17:02,840 --> 01:17:05,160
Speaker 3: unlike the previous ones were just like one bite and

1428
01:17:05,200 --> 01:17:06,120
Speaker 3: now you're a vampire.

1429
01:17:06,760 --> 01:17:08,880
Speaker 2: Yeah, I think maybe like the willing Evil Soul, it

1430
01:17:08,920 --> 01:17:12,599
Speaker 2: only takes one dose. But yeah, you know, kay, if

1431
01:17:12,600 --> 01:17:15,280
Speaker 2: you're Karen, Karen's a good girl, so it's gonna take

1432
01:17:15,600 --> 01:17:17,400
Speaker 2: take a little more finets, you know, like a little

1433
01:17:17,479 --> 01:17:19,400
Speaker 2: this night, a little the next night, and kind of

1434
01:17:19,400 --> 01:17:23,640
Speaker 2: work up to that full vampire transformation.

1435
01:17:24,200 --> 01:17:26,719
Speaker 3: Now, there was one part here that was really funny

1436
01:17:26,800 --> 01:17:28,960
Speaker 3: and I was hoping it was going in a certain direction,

1437
01:17:29,040 --> 01:17:31,080
Speaker 3: but it just it turned out to be a dream sequence.

1438
01:17:31,080 --> 01:17:36,400
Speaker 3: But Valdemar is he's hanging out, and he I think

1439
01:17:36,479 --> 01:17:40,920
Speaker 3: imagines Bathory saying like praying to Satan or to some

1440
01:17:41,040 --> 01:17:45,320
Speaker 3: other like evil demon saying, my evil Lord, send ninety

1441
01:17:45,400 --> 01:17:48,040
Speaker 3: nine black cats.

1442
01:17:48,960 --> 01:17:51,679
Speaker 2: Yeah, I'm glad we did not get ninety nine black cats.

1443
01:17:52,080 --> 01:17:55,160
Speaker 3: My brain was immediately going ninety nine black cats, ninety

1444
01:17:55,200 --> 01:17:57,280
Speaker 3: nine fries, ninety nine tacos, ninety nine pies.

1445
01:17:57,800 --> 01:17:59,880
Speaker 2: Yeah, I don't know, I was just thinking of the animals.

1446
01:18:00,000 --> 01:18:01,599
Speaker 2: Don't want to se that many animals in one shot

1447
01:18:01,800 --> 01:18:04,759
Speaker 2: in a film of this genre and time period.

1448
01:18:05,120 --> 01:18:07,600
Speaker 3: But so anyway, we're building up to a final confrontation.

1449
01:18:07,720 --> 01:18:09,719
Speaker 3: So it's the night of the full moon, which means

1450
01:18:09,880 --> 01:18:13,240
Speaker 3: Valdemar will finally be at full power for wolf mode

1451
01:18:13,280 --> 01:18:16,360
Speaker 3: to defeat Bathory. But this is also going to be

1452
01:18:16,920 --> 01:18:20,200
Speaker 3: the night that Bathory can do the ritual to achieve

1453
01:18:20,240 --> 01:18:23,599
Speaker 3: her full power and then she would defeat him. But also,

1454
01:18:23,880 --> 01:18:25,920
Speaker 3: while he's in wolf mode, he's going to be a

1455
01:18:25,920 --> 01:18:29,439
Speaker 3: bloodthirsty monster, so Karen can't be around, so she'll have

1456
01:18:29,520 --> 01:18:34,559
Speaker 3: to hide from him and protect herself. But then after

1457
01:18:34,600 --> 01:18:37,760
Speaker 3: he explains all this and leaves Karen like admires her

1458
01:18:37,800 --> 01:18:40,919
Speaker 3: neck bites in the mirror, but she still has a reflection,

1459
01:18:41,080 --> 01:18:44,880
Speaker 3: so I think she is half vamped here. Her will

1460
01:18:45,000 --> 01:18:48,719
Speaker 3: has been partially transformed to evil, so she seems like, ah, yes,

1461
01:18:48,800 --> 01:18:51,280
Speaker 3: my neck bites, that is good. I will betray him.

1462
01:18:51,960 --> 01:18:56,040
Speaker 3: And she's serving Bathory's commands, but she can still go

1463
01:18:56,080 --> 01:18:58,479
Speaker 3: out in daytime and she still shows up in a mirror,

1464
01:18:58,760 --> 01:19:01,400
Speaker 3: which actually this seems like an ideal conversation. She's kind

1465
01:19:01,400 --> 01:19:04,160
Speaker 3: of a day walker here, but like an evil day walker.

1466
01:19:04,560 --> 01:19:07,479
Speaker 3: So wouldn't Bathory want to keep servants in this state

1467
01:19:07,640 --> 01:19:10,040
Speaker 3: so that you know they can do all this instead

1468
01:19:10,080 --> 01:19:11,680
Speaker 3: of making them full vampires.

1469
01:19:12,320 --> 01:19:15,280
Speaker 2: Well, I guess it's it's a tenuous state, and I

1470
01:19:15,280 --> 01:19:17,639
Speaker 2: think we see evidence of that, you know, like she's

1471
01:19:18,000 --> 01:19:20,519
Speaker 2: she's not fully one side or the other, and so

1472
01:19:20,600 --> 01:19:22,120
Speaker 2: we don't know which way way it's going to go.

1473
01:19:22,240 --> 01:19:25,080
Speaker 2: But also Bathory doesn't know one hundred percent which way

1474
01:19:25,160 --> 01:19:25,760
Speaker 2: she's going to go.

1475
01:19:26,040 --> 01:19:28,640
Speaker 3: Well, Karen's doing doing what she's told for now, Like

1476
01:19:28,720 --> 01:19:32,000
Speaker 3: she knocks out Valdemar with a silver cane. He wakes

1477
01:19:32,080 --> 01:19:34,640
Speaker 3: up later, he figures out what's going on, that that

1478
01:19:34,720 --> 01:19:37,960
Speaker 3: she has been half vampired, and then he goes to

1479
01:19:38,280 --> 01:19:40,559
Speaker 3: the Vampire Layer which he knows where it is now.

1480
01:19:40,640 --> 01:19:42,840
Speaker 3: For some reason, I don't remember how he discovers that.

1481
01:19:43,000 --> 01:19:46,040
Speaker 3: It's like by looking at maps. I think something occurred

1482
01:19:46,080 --> 01:19:48,519
Speaker 3: during the research portion of the film. Yeah, and he

1483
01:19:48,640 --> 01:19:49,760
Speaker 3: was like, oh, I know, I know where it is,

1484
01:19:49,920 --> 01:19:53,040
Speaker 3: and it's it's just downstairs. So we get some stakings

1485
01:19:53,080 --> 01:19:56,799
Speaker 3: of the lesser vamps, a werewolf transformation, and then plenty

1486
01:19:56,800 --> 01:20:00,439
Speaker 3: of werewolf versus vampire rastlin. It's a big it's a

1487
01:20:00,439 --> 01:20:04,960
Speaker 3: big wrestling match. At the end, more vampires are inadvertently

1488
01:20:05,000 --> 01:20:08,599
Speaker 3: staked when the Wolfman tosses them into wooden crates that

1489
01:20:08,680 --> 01:20:09,839
Speaker 3: explode on impact.

1490
01:20:10,080 --> 01:20:12,280
Speaker 2: One in particular of these was a really quality kill.

1491
01:20:12,360 --> 01:20:14,200
Speaker 2: I really like this. This is a cool effect.

1492
01:20:14,560 --> 01:20:17,240
Speaker 3: Bathory tries to force him to obey, you know, there's

1493
01:20:17,280 --> 01:20:19,840
Speaker 3: a do as I command you kind of moment, and

1494
01:20:19,920 --> 01:20:23,160
Speaker 3: he doesn't. He snarls and drools instead. The Wolfman cannot

1495
01:20:23,200 --> 01:20:27,439
Speaker 3: be cannot be tamed, so they keep on fighting. There's wrestling,

1496
01:20:27,439 --> 01:20:29,040
Speaker 3: there's some telekinesis I guess.

1497
01:20:29,479 --> 01:20:31,360
Speaker 2: Yeah. There's a great scene where she does like a

1498
01:20:31,439 --> 01:20:35,760
Speaker 2: telekinetic coffin torpedo attack against Doninsky, where she makes a

1499
01:20:35,800 --> 01:20:39,080
Speaker 2: coffin fly at him and it shatters against him. That

1500
01:20:39,200 --> 01:20:42,000
Speaker 2: was really nice. So yeah, it seems like an evenly

1501
01:20:42,040 --> 01:20:44,920
Speaker 2: matched battle for the most part because Doninsky is strong

1502
01:20:45,000 --> 01:20:47,519
Speaker 2: and fierce and has teeth, but she has teeth too,

1503
01:20:47,840 --> 01:20:50,160
Speaker 2: plus she has these kind of like force powers she's

1504
01:20:50,200 --> 01:20:51,000
Speaker 2: able to bust out.

1505
01:20:51,320 --> 01:20:54,559
Speaker 3: Yeah. So eventually though, he gets the upper hand and

1506
01:20:54,640 --> 01:20:57,439
Speaker 3: he bites Bathory and then crams her in her coffin,

1507
01:20:57,960 --> 01:21:02,559
Speaker 3: and then the bites on Karin's neck magically disappear, and

1508
01:21:02,600 --> 01:21:07,400
Speaker 3: then Bathory speed rots and emits smoke, and Karen is okay.

1509
01:21:07,400 --> 01:21:10,519
Speaker 3: Now it seems she has healed from her half vampire state.

1510
01:21:11,200 --> 01:21:15,000
Speaker 3: But unfortunately, just as he warned, wolf Mode, Valdemar can't

1511
01:21:15,000 --> 01:21:18,680
Speaker 3: be stopped. He attacks her and then Karen, just like

1512
01:21:18,760 --> 01:21:21,120
Speaker 3: the legend foretold, she stabs him in the heart with

1513
01:21:21,160 --> 01:21:23,160
Speaker 3: the silver dagger. I don't know if it's in the heart,

1514
01:21:23,160 --> 01:21:25,400
Speaker 3: actually it looks more like it's in the stomach. But

1515
01:21:25,520 --> 01:21:28,320
Speaker 3: she frees him from his curse, but he already bitter,

1516
01:21:28,479 --> 01:21:30,800
Speaker 3: so I think she's done for as well. And it's

1517
01:21:30,840 --> 01:21:34,040
Speaker 3: the classic sad ending that I think it ended almost

1518
01:21:34,080 --> 01:21:37,160
Speaker 3: exactly like this in the other Nashi movie we saw

1519
01:21:37,200 --> 01:21:40,559
Speaker 3: where they both die. But now his spirit is free,

1520
01:21:40,680 --> 01:21:43,840
Speaker 3: the curse has been lifted, and it's sad, and we

1521
01:21:43,880 --> 01:21:47,000
Speaker 3: get the classic post mortem regression to human morph of

1522
01:21:47,040 --> 01:21:50,200
Speaker 3: the were wolf and Karen crawls to his side to die.

1523
01:21:50,479 --> 01:21:53,599
Speaker 3: It is tragic, but I have to say that I

1524
01:21:53,800 --> 01:21:55,720
Speaker 3: liked this, so I wouldn't want to change it. But

1525
01:21:55,840 --> 01:21:59,080
Speaker 3: the sense of sadness and tragedy is strongly undercut by

1526
01:21:59,080 --> 01:22:02,000
Speaker 3: the fact that it cuts straight back to the funk

1527
01:22:02,080 --> 01:22:04,920
Speaker 3: theme from Tentacles, and the screen says, end.

1528
01:22:06,960 --> 01:22:09,800
Speaker 2: Yeah, that that funk theme from Tentacles too risky a

1529
01:22:09,880 --> 01:22:14,000
Speaker 2: day for Agata. It's both times it's used in the film.

1530
01:22:14,280 --> 01:22:17,519
Speaker 2: It is at once out of place and a little

1531
01:22:17,560 --> 01:22:20,559
Speaker 2: bit jarring, but also perfect, Like I wouldn't go back

1532
01:22:20,600 --> 01:22:23,760
Speaker 2: and replace it with anything. It's just it's a wonderful track.

1533
01:22:24,320 --> 01:22:28,960
Speaker 3: So many horror films, especially your generation of postmodern horror films,

1534
01:22:29,200 --> 01:22:31,680
Speaker 3: have explored the question of who would win in a

1535
01:22:31,720 --> 01:22:35,280
Speaker 3: fight between a vampire and a were wolf. This movie

1536
01:22:35,520 --> 01:22:37,760
Speaker 3: sort of answers, well, the were wolf will win, but

1537
01:22:37,880 --> 01:22:40,880
Speaker 3: in the end, love conquers all, Love defeats even the wolf.

1538
01:22:42,120 --> 01:22:44,799
Speaker 2: Yeah, I guess in many ways, like the were wolf

1539
01:22:44,880 --> 01:22:49,320
Speaker 2: is the more passionate and emotional end of the monster spectrum,

1540
01:22:49,520 --> 01:22:52,680
Speaker 2: and the vampire is like is the cold hunger? You know,

1541
01:22:52,840 --> 01:22:57,000
Speaker 2: so you would want the wolf to win out over

1542
01:22:57,040 --> 01:22:58,479
Speaker 2: the bat in this scenario.

1543
01:22:58,520 --> 01:22:58,800
Speaker 3: I don't know.

1544
01:22:58,880 --> 01:23:02,320
Speaker 2: For some reason, it feels closer to the human experience

1545
01:23:02,400 --> 01:23:06,280
Speaker 2: and more empowering of like noble human elements.

1546
01:23:06,520 --> 01:23:10,479
Speaker 3: I want to say, the vampire is somewhere between lawful

1547
01:23:10,680 --> 01:23:16,000
Speaker 3: and neutral evil, and the werewolf is somewhere between chaotic

1548
01:23:16,120 --> 01:23:17,840
Speaker 3: evil and chaotic neutral.

1549
01:23:18,439 --> 01:23:20,160
Speaker 2: Yeah. I would agree with that with all of that. Yeah,

1550
01:23:20,240 --> 01:23:21,800
Speaker 2: Like even if you were to flip either of them

1551
01:23:21,840 --> 01:23:24,759
Speaker 2: to good, you'd still want to be with the werewolf

1552
01:23:24,800 --> 01:23:28,360
Speaker 2: over the vampire because the vampire is just always going

1553
01:23:28,439 --> 01:23:31,720
Speaker 2: to have something less trustworthy about them. I don't know,

1554
01:23:32,360 --> 01:23:34,920
Speaker 2: it seems like vampire versus werewolf movies that I can

1555
01:23:34,960 --> 01:23:37,519
Speaker 2: think of, Like it's always the case the werewolf is

1556
01:23:37,560 --> 01:23:40,879
Speaker 2: the more sympathetic side. You're gonna side with the lichens

1557
01:23:40,920 --> 01:23:43,960
Speaker 2: over the vamps. If there is an example of the

1558
01:23:44,000 --> 01:23:46,920
Speaker 2: opposite out there, let us know. I would like to

1559
01:23:46,920 --> 01:23:47,960
Speaker 2: hear about that as well.

1560
01:23:48,439 --> 01:23:48,559
Speaker 1: Well.

1561
01:23:48,600 --> 01:23:51,360
Speaker 3: It's because the werewolf is still partially human I think,

1562
01:23:51,600 --> 01:23:52,760
Speaker 3: and the vampire is not.

1563
01:23:53,320 --> 01:23:57,799
Speaker 2: Yeah, And also the vampire is more strongly undead, whereas

1564
01:23:57,800 --> 01:24:00,559
Speaker 2: the werewolf is still you know, it's more within the

1565
01:24:00,560 --> 01:24:04,280
Speaker 2: realm of supernatural mammal at that point.

1566
01:24:04,280 --> 01:24:06,200
Speaker 3: And the more I think about it, there's a pretty

1567
01:24:06,200 --> 01:24:09,240
Speaker 3: straightforward moral difference in the kind of like violence they do,

1568
01:24:09,320 --> 01:24:14,360
Speaker 3: which is that the vampire is a is directly intentionally

1569
01:24:14,439 --> 01:24:18,600
Speaker 3: predatorially evil, is just doing harm to other people consciously

1570
01:24:18,800 --> 01:24:22,360
Speaker 3: on purpose, whereas the werewolf seems to be like it

1571
01:24:22,400 --> 01:24:24,519
Speaker 3: has lost its mind in a way, like it doesn't

1572
01:24:24,560 --> 01:24:25,240
Speaker 3: know what it's doing.

1573
01:24:25,720 --> 01:24:27,760
Speaker 2: Yeah, yeah, I think that's it exactly now that you

1574
01:24:27,800 --> 01:24:30,920
Speaker 2: mention it. The vampire is premeditated. Yeah, And we see

1575
01:24:30,960 --> 01:24:34,320
Speaker 2: that with these characters, like at the very beginning, Doninsky's like,

1576
01:24:34,800 --> 01:24:36,200
Speaker 2: I don't know. I guess I'm gonna die. I don't know,

1577
01:24:36,200 --> 01:24:39,200
Speaker 2: I've really thought through it. I'm just heartbroken, whereas Bathory

1578
01:24:39,360 --> 01:24:42,240
Speaker 2: is like, I will come back, I will raise an

1579
01:24:42,320 --> 01:24:44,439
Speaker 2: army of the dead, I'll have my vengeance, and we'll

1580
01:24:44,439 --> 01:24:45,840
Speaker 2: bring on a new age of darkness.

1581
01:24:46,120 --> 01:24:49,280
Speaker 3: Now I've got another question about this story. It's clear

1582
01:24:49,360 --> 01:24:52,160
Speaker 3: in this version of the story, the historical understanding of

1583
01:24:52,200 --> 01:24:54,759
Speaker 3: Bathory is that she was guilty of all the murders,

1584
01:24:54,800 --> 01:24:57,800
Speaker 3: like she was a horrible serial killer. I wonder if

1585
01:24:57,800 --> 01:25:01,200
Speaker 3: the other historical interpretation could make an interesting movie, like

1586
01:25:01,280 --> 01:25:04,320
Speaker 3: she was innocent and wrongly convicted but then comes back

1587
01:25:04,400 --> 01:25:05,000
Speaker 3: from the grave.

1588
01:25:05,479 --> 01:25:07,840
Speaker 2: Yeah, I'm up for it. I'm up for any kind

1589
01:25:07,880 --> 01:25:10,880
Speaker 2: of novel bathory film. I don't think there are a

1590
01:25:10,880 --> 01:25:13,679
Speaker 2: lot of them that are really novel. As I mentioned earlier,

1591
01:25:14,240 --> 01:25:16,160
Speaker 2: I think this one really might be more of an

1592
01:25:16,200 --> 01:25:18,719
Speaker 2: outlier and that it puts more thought into the treatment.

1593
01:25:19,200 --> 01:25:21,280
Speaker 2: All right, Well, there you have it. Night of the

1594
01:25:21,280 --> 01:25:24,680
Speaker 2: Werewolf from nineteen eighty one pretty solid Nashy film. I

1595
01:25:24,680 --> 01:25:27,320
Speaker 2: think if you've never seen a Nashy picture, this one's

1596
01:25:27,320 --> 01:25:30,400
Speaker 2: a pretty good introduction to the sort of stuff you get.

1597
01:25:31,000 --> 01:25:33,120
Speaker 2: And it also, you know, it's not for children by

1598
01:25:33,160 --> 01:25:37,000
Speaker 2: any stretch of the imagination, but it's also not too scandalous.

1599
01:25:37,080 --> 01:25:41,280
Speaker 2: So I recommend this one, and I recommend the Paul

1600
01:25:41,400 --> 01:25:44,160
Speaker 2: Nashy Collections Part one and two. Just a reminder to

1601
01:25:44,200 --> 01:25:48,639
Speaker 2: everyone out there, we are primarily a science podcast, real science,

1602
01:25:48,680 --> 01:25:51,960
Speaker 2: not just the necromancy stuff, so occasionally comes up with

1603
01:25:52,160 --> 01:25:55,800
Speaker 2: core episodes, publishing on Tuesdays and Thursdays. Listener Mail on

1604
01:25:55,880 --> 01:25:58,840
Speaker 2: Monday's short form artifactor, Monster Effect on Wednesday's, but on

1605
01:25:58,880 --> 01:26:01,080
Speaker 2: Fridays we set aside most series concerns to just talk

1606
01:26:01,080 --> 01:26:03,559
Speaker 2: about weird films on weird House Cinema. If you want

1607
01:26:03,560 --> 01:26:05,719
Speaker 2: a full list of the movies we've covered over the years,

1608
01:26:05,840 --> 01:26:08,200
Speaker 2: you can go to letterboxed dot com. That's L E

1609
01:26:08,280 --> 01:26:10,599
Speaker 2: T E R B O x D dot com. Our

1610
01:26:10,680 --> 01:26:12,719
Speaker 2: username is weird House and we have a list there.

1611
01:26:13,000 --> 01:26:14,920
Speaker 2: You can fire them all up. You can organize them

1612
01:26:14,920 --> 01:26:17,720
Speaker 2: by decade and genre and what have you. It's a

1613
01:26:17,720 --> 01:26:19,920
Speaker 2: lot of fun and I also blog about these episodes

1614
01:26:20,080 --> 01:26:21,879
Speaker 2: at simmutamusic dot com.

1615
01:26:22,000 --> 01:26:25,880
Speaker 3: Here's thanks to our excellent audio producer, Jjposway. If you

1616
01:26:25,880 --> 01:26:27,879
Speaker 3: would like to get in touch with us with feedback

1617
01:26:27,920 --> 01:26:31,000
Speaker 3: on this episode or any other, to suggest a topic

1618
01:26:31,120 --> 01:26:33,320
Speaker 3: for the future, or just to say hello, you can

1619
01:26:33,360 --> 01:26:43,320
Speaker 3: email us at contact's Stuff to Blow your Mind dot com.

1620
01:26:43,439 --> 01:26:46,360
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1621
01:26:46,439 --> 01:26:49,240
Speaker 1: more podcasts from My Heart Radio, visit the iHeartRadio app,

1622
01:26:49,400 --> 01:26:52,640
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.