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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 1: This is Rob Lamb and this is Joe McCormick. And

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Speaker 1: today we're going to be talking about Mario Bava's nineteen

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Speaker 1: sixty gothic horror classic Black Sunday. And I selected this

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Speaker 1: movie for this week because it is Halloween season. We're

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Speaker 1: in October, and I think if you're looking for a

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Speaker 1: very just core Halloween viewing experience and you've never seen

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Speaker 1: this one before, it's about as good as you can do.

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Speaker 1: Please take my recommendation and check out Black Sunday. It is,

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Speaker 1: I think, simultaneously, about as good and as close to

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Speaker 1: the bullseye of the gothic horror target as you can get.

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Speaker 1: It's got pretty much everything you could want in terms

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Speaker 1: of gothic horror texture, gothic horror themes, but it also

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Speaker 1: has added dashes of weirdness. It kind of cuts harder

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Speaker 1: and goes harder than most movies of this type. But

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Speaker 1: as far as the texture, you've got like searing, raging,

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Speaker 1: very hate oriented witchcraft. You know, the core witch in

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Speaker 1: the movie is constantly selling the virtues of hating. It's

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Speaker 1: got surprise vampires and the second act that I don't

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Speaker 1: think I really expected. There's sort of like one line

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Speaker 1: about vampires at the very beginning, but I don't know

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Speaker 1: when you get to them. I'm like, I didn't realize

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Speaker 1: this was going to be a vampire movie. It's got

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Speaker 1: undead paramours, you know, roaming the hills. It's got ruined castles,

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Speaker 1: roaring fires, secret passageways and trap doors, canopy beds, silver crucifixes,

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Speaker 1: some menacing Doperman's. I like that that detail in the prologue.

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Speaker 1: It's got the inquisition, hooded executioners, it has bat attacks,

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Speaker 1: it has moldy tombs and coffins with windows. It's got

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Speaker 1: beautiful deep black shadows, great high contrasts lighting and photography.

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Speaker 1: A lot of scenes with this, you know, kind of

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Speaker 1: frightening quality of being lit only by fading candlelight. This

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Speaker 1: unique concept, I would say, of a spiked bronze torture mask.

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Speaker 2: Rob.

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Speaker 1: Maybe we can get into if there's any really, really

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Speaker 1: any precedent for this. I'm sure it's come up before,

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Speaker 1: but it's imagine just an iron maiden, but only for

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Speaker 1: your face. And I have some notes on this, yeah,

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Speaker 1: and then also maybe one of the film's defining visual

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Speaker 1: features Barber Steel making laser eyes and giving monologues about

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Speaker 1: the exquisite pleasures of hate.

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Speaker 2: That's right. It really does have it all. Funeral shadows,

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Speaker 2: black hooded figures, the whole nine yards. This is a

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Speaker 2: film that everyone loves, and we're not going to really

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Speaker 2: pull any hot takes here. We love it as well.

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Speaker 2: It is a mass piece. It holds up exceedingly well.

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Speaker 2: And you know, I'm it's one of those films that

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Speaker 2: it's kind of surprising that I took so long to

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Speaker 2: see it myself. I've kind of come to it late

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Speaker 2: in my viewing of Mario Bava films, because I when

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Speaker 2: I think of Bava, I think of his you know,

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Speaker 2: those bright technicolor pictures, the fan hasmogorical color schemes of

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Speaker 2: like Planet of the Vampires or Blood and Black Lace,

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Speaker 2: And so whenever I would be in the mood to

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Speaker 2: put on a Bava film, I often find I watched

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Speaker 2: them on airplanes, by the way, and I watched this

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Speaker 2: one on an airplane. I'll often just sort of navigate

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Speaker 2: to the color ones. I'm like, okay, how about Lisa

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Speaker 2: and the devil or whatever. We'll try this one out,

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Speaker 2: and I'll just skip over Black Sunday because I'm like, well,

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Speaker 2: that's black and white. I don't know if I want

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Speaker 2: to see a Mario Bava black and white film. But

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Speaker 2: to no one's you know, to no one's surprised, it

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Speaker 2: is absolutely gorgeous and black and white. And as we'll discuss,

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Speaker 2: like this was his intention as well, he intentionally chose

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Speaker 2: to make this film his first solo directorial credit in

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Speaker 2: this just splendid, deep black and white gothic format.

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Speaker 1: I know exactly what you're talking about, because yes, also

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Speaker 1: I admire Bava as a filmmaker on mini levels. But

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Speaker 1: one of the first things I think about when I

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Speaker 1: think Mario Bava is like colored jell lights. I think

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Speaker 1: of or just strange, kind of non realistic but very

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Speaker 1: intuitively powerful uses uses of color in his films. You know,

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Speaker 1: his supernatural films often have this feeling where there is

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Speaker 1: magic in the air, and that magic is signaled by

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Speaker 1: the fact that the light is purple when there's no

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Speaker 1: realistic reason that it should be or you know, or

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Speaker 1: is green or some other strange color. So yeah, I

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Speaker 1: love those colors. And also you know the colors in

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Speaker 1: his sets, so the black and white energy is a

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Speaker 1: very different thing than I'm used to with Bava, but

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Speaker 1: it is so strong, And I like to be clear,

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Speaker 1: I like Black Sunday on pretty much every level. I

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Speaker 1: like the story, The script is very good, the the

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Speaker 1: acting is mostly pretty good. That you know, there's some

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Speaker 1: kind of creaky acting that you would get in a

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Speaker 1: lot of especially mid century dubbed horror films. Yeah, but

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Speaker 1: it's got very good editing, strong propulsive editing that drives

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Speaker 1: the story and heightens the horror and the tension. But

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Speaker 1: the best thing about this movie is the way that

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Speaker 1: it looks. The black and white cinematography is gorgeous. It's

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Speaker 1: got clever shot framing, beautiful use of shadows and light,

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Speaker 1: great set design and locations. And also I have to

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Speaker 1: single out a surprising, even shocking quality of gore for

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Speaker 1: a black and white film from nineteen sixty. And when

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Speaker 1: I say that, I don't mean that there's a lot

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Speaker 1: of gore. This is not a splatterfest. But what little

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Speaker 1: gore is there is just much more disturbing and visceral

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Speaker 1: than you would expect.

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Speaker 2: Absolutely, those moments of gore actually make you a little

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Speaker 2: thankful that it's not in color. There's more than enough

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Speaker 2: to disturb you in the black and line.

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Speaker 1: Yeah. And also in terms of the film's visual appeal,

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Speaker 1: I would have to call out Barbara Steele's face as

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Speaker 1: an important part of the visual palette of the film.

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Speaker 1: I don't mean that just in the sense that like, oh,

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Speaker 1: she's a beautiful actress, which a lot of people do say,

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Speaker 1: but I mean that the faces she pulls for the

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Speaker 1: camera are like a distinct part of what this movie

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Speaker 1: is trying to do in terms of imagery. And it's

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Speaker 1: no accident. I think that most of the posters and

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Speaker 1: the artwork for the film are just like a sort

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Speaker 1: of almost caricature level drawing of Barbara Steele's face, making

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Speaker 1: those wide, horrifying eyes. She is a unique looking actress naturally,

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Speaker 1: but in this movie she makes faces that could peel garlic.

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Speaker 1: It's absolutely unreal.

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Speaker 2: Yeah, Because, as we'll discuss it, as a dual role,

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Speaker 2: she plays a long ago executed witch who has now

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Speaker 2: in the course of the film, come back to life

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Speaker 2: in unnatural, undead form, and she also plays that character's

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Speaker 2: great granddaughter, so she gets to play enormy and then

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Speaker 2: she also gets to play you know, queen of the

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Speaker 2: Dead essentially, So it is in that role as this

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Speaker 2: undead witch that she really gets to just shine with

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Speaker 2: manic energy.

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Speaker 1: Yeah, and actually you can combine two of those things

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Speaker 1: I singled out in some of the film's most striking frames,

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Speaker 1: the gore and the barber steel eyes on. There's sometimes

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Speaker 1: where she's in witch mode and she's making the witch face,

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Speaker 1: but also she has holes in her face from this

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Speaker 1: torture mask and they look like barnacles. It's disgusting.

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Speaker 2: Yes, yeah, we'll have a lot to say about this,

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Speaker 2: but yeah, it makes perfect sense that this film would

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Speaker 2: be absolutely stunning and beautiful in black and white. Take

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Speaker 2: Mario Baba's additional color palette away from him, and he

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Speaker 2: still is a master cinematographer, you know, and at this

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Speaker 2: point in his career we'll allude to, you know, he

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Speaker 2: had served as a cinematographer on numerous films. He was

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Speaker 2: he was not a newbie, even though this was his

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Speaker 2: first solo directorial effort. And for listeners to the show,

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Speaker 2: you have heard us talk about Mario Baba before. This

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Speaker 2: is actually our fifth Mario Baba selection for Weird House Cinema.

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Speaker 2: Following episodes on sixty three's Black Sabbath, which was essentially

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Speaker 2: a kind of a sequel, not really a sequel, but

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Speaker 2: a spiritual successor to this film in some ways.

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Speaker 1: An anthology film in that.

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Speaker 2: Case, Yeah, Boris Karloff of course, sixty five's Planet of

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Speaker 2: the Vampires essentially like the granddaddy of sci fi horror,

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Speaker 2: sixty eight Danger Diabolic, an excellent super crime movie, and

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Speaker 2: sixty one's Hercules in the Haunted World, that rare horror

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Speaker 2: peplam film in which Hercules and a tragically dubbed Christopher

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Speaker 2: Lee go at it in the underworld.

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Speaker 1: Oh yeah, I can sometimes forget Christopher Lee is in

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Speaker 1: that one. That is not one of Christopher Lee's greatest roles,

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Speaker 1: but the movie's pretty fun.

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Speaker 2: Yeah, And as of this recording, the only other director

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Speaker 2: whose work we featured five times on the show is

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Speaker 2: Roger Corman. So yeah, Bob and Corman are right there

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Speaker 2: at the top as of this recording. Maybe we'll do

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Speaker 2: a bunch of other films by another director and they'll

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Speaker 2: equal and surpass them, But we'll see. I will allude

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Speaker 2: to some other facts about this film's release. There are

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Speaker 2: some different versions of it, depending on where it was released.

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Speaker 2: But I was looking in some of my favorite film

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Speaker 2: volumes for a few tidbits about the movie, and Michael Weldon,

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Speaker 2: in one of his Psychotronic Film Guides, points out that

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Speaker 2: when the film premiered in Cleveland at the Allen Theater,

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Speaker 2: I believe this would have been This would have been

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Speaker 2: the AIP the American International Pictures release. As a promotionary tactic,

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Speaker 2: they handed out cards to the patrons that featured a

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Speaker 2: protective chant. I guess, so when the film gets too scary,

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Speaker 2: you can just look down at your chant card and

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Speaker 2: start reciting it in order to protect you from the

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Speaker 2: evils on the screen.

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Speaker 1: Oh, it's like the Tingler. It's like you have to

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Speaker 1: scream in the theater to protect yourself from the Tingler

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Speaker 1: getting you. But in this case there are words you

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Speaker 1: got to yeah, or not memorized. You can read off

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Speaker 1: the cards.

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Speaker 2: Yeah, I mean, if you really are concerned, you can

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Speaker 2: memorize it. But yeah, I wish, we wish we did

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Speaker 2: more things like this going to the There are all

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Speaker 2: these bells and whistles with going to the theater, and

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Speaker 2: theaters are doing, you know, all sorts of things to

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Speaker 2: keep theaters going as they should. I think it's an

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Speaker 2: important part of of the the film viewing experience. But

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Speaker 2: we need we need more gimmicks like this. We need

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Speaker 2: protective amulets, we need you know, death clauses. I don't know,

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Speaker 2: all the bells.

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Speaker 1: And whistles, smellovision, Yeah, bring back smell vision. Okay. Were

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Speaker 1: you able to find any good trailer audio for this one?

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Speaker 2: Yeah, there's a little bit here. This is a this

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Speaker 2: is a US trailer. I guess this is the A

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Speaker 2: I P trailer. Uh so, let's hear a little bit

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Speaker 2: from this. It does have some nice old fashioned narration.

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Speaker 2: Maybe we won't listen to the whole thing, we'll just

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Speaker 2: listen to a little bit.

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Speaker 3: Anguish and terror are powerful words, but more than words,

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Speaker 3: the chill language of living images shows that The Mask

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Speaker 3: of Satan is a picture of unparalleled emotion, but it

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Speaker 3: hards a tale of a strange, dark fascination set in

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Speaker 3: a spine chilling atmosphere of fear.

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Speaker 1: Fear.

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Speaker 4: It's death.

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Speaker 3: I've just seen death, suspense in the unexpected, combined to

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Speaker 3: create an impression beyond any imagination, of an indescribable fantasy,

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Speaker 3: coupled with an unmeasurable reality.

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Speaker 4: Ah, but it's impossible. Father, he moved, even spoke to me,

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Speaker 4: then he ran away.

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Speaker 3: Sometimes Satan, with his capacity for doing evil, even plays

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Speaker 3: tricks with the dead.

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Speaker 2: All right, So if you would like to jump out

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Speaker 2: and watch Black Sunday for the first time, or just

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Speaker 2: to refresh yourself before continuing on with this episode, or

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Speaker 2: you want to look up look it up after listening

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Speaker 2: to the whole episode, that's also okay. Well, I think

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Speaker 2: the most important Well, there are two things that are

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Speaker 2: important to realize about it. First of all, it is

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Speaker 2: the nineteen sixty Black Sunday film you want to defind,

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Speaker 2: not the Black Sunday film about the blimp. That's a

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Speaker 2: different picture entirely and has nothing to do with vampire's

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Speaker 2: or satanic worship.

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Speaker 1: I've never seen that with like a crime thriller?

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Speaker 3: Is it?

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Speaker 1: John Frankenheimer.

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Speaker 2: I know it's what is based on Thomas Harris book,

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Speaker 2: but it's not one of the Thomas Harris books that

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Speaker 2: I ever read. Maybe Thomas Harris was a co author

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Speaker 2: on that one. I'm a little foggy on it, but

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Speaker 2: it does not contain witches. So that's your first step.

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Speaker 2: Make sure you're watching the right Black Sunday. And then

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Speaker 2: on top of that, there have been a few different releases.

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Speaker 2: There's that American International Pictures cut of the film that

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Speaker 2: was originally released in the US, and I believe that

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Speaker 2: one cut down eighty seven minutes of screen time to

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Speaker 2: eighty three, cutting out a little bit of gore, a

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Speaker 2: little bit of sexuality, also adding in different dubbing and

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Speaker 2: a different score. More details on that in a minute.

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Speaker 2: It was released as The Mask of Satan, which I

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Speaker 2: think is actually the translation of the original Italian title,

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Speaker 2: and there have been at least two other versions released

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Speaker 2: as well, including a UK Revenge of the Vampire release.

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Speaker 2: Not a good title, I'm gonna go ahead and say,

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Speaker 2: but yeah, a lot of American viewers grew up with

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Speaker 2: that AIP version and it has an important place in

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Speaker 2: their heart. But I think the more widely available version

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Speaker 2: right now, especially via streaming, is an eighty seven minute

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Speaker 2: cut restored from the original camera negative, and I believe

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Speaker 2: this is the version with the original Italian score and

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Speaker 2: the original English audio that was recorded in Rome, as

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Speaker 2: opposed to the AIP audio. But going back and forth

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Speaker 2: on some of these details, I was a little bit

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Speaker 2: confused about which version I saw and heard, because I

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Speaker 2: don't know. It's like they as we'll discuss, there are

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Speaker 2: these two distinct scores, but it's not like a legend

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Speaker 2: situation where one is Tangerine Dream and one isn't, and

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Speaker 2: therefore you can hear a startling difference between the two.

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Speaker 2: It's perhaps more of a subtle difference between the two score,

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Speaker 2: but one you know, certainly more you can see where

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Speaker 2: less Baxter's score was maybe a little more palpable for

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Speaker 2: the American audience. But the eighty seven minute version that

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Speaker 2: I watched, I believe this is also the version is

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Speaker 2: sometimes called the international version, the one that's currently widely

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Speaker 2: available from Shout Screen Factory via their Black Sunday Collector's edition,

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Speaker 2: also their Mario Bava Collection box set, and outside the US.

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Speaker 2: I think Aro has also put out a nice blu

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Speaker 2: ray of this as well. But just look for the

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Speaker 2: eighty seven minutes. I think if you get the eighty

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Speaker 2: seven minute version, you're going to get all the good stuff.

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Speaker 2: You're going to get the right amount of gore, and

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Speaker 2: you're going to get as far as the sexuality, it's

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Speaker 2: like there's a single kiss in the film that I

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Speaker 2: believe was cut out that sort of thing.

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Speaker 1: It's not the sexiest film in.

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Speaker 2: History, no, but it was maybe a little too sexy

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Speaker 2: for nineteen sixties America.

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Speaker 1: Regarding the score, I actually meant to check out the

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Speaker 1: Less Baxter score to make sure that wasn't the one

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Speaker 1: that I heard. I don't think it was, but I'm

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Speaker 1: intra in that from what I've read, the Less Baxter

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Speaker 1: score is actually considered more bombastic and kind of like

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Speaker 1: high energy, and the Italian score is thought to be

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Speaker 1: more subtle.

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Speaker 2: Yeah, that's my understanding as well. And interestingly enough, it's

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Speaker 2: the exact same individuals involved with the score of sixty

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Speaker 2: three's Black Sabbath. So the original score is by Italian

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Speaker 2: jazz band leader Roberto Nicolosi, who lived nineteen fourteen through

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Speaker 2: nineteen eighty nine, and then it's Less Baxter, who lived

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Speaker 2: on the American version twenty two through ninety six, the

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Speaker 2: King of Exotica and also later a dabbler in minimal

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Speaker 2: electronic synth scoring. We have discussed him multiple times in

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Speaker 2: the show before I've listened. I tried to compare a

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Speaker 2: little bit, and yeah, I did get a sense that

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Speaker 2: Baxter's score is a little bit more brassy, you know,

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Speaker 2: and a little bit more in your face. But also,

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Speaker 2: you know, I don't know, I'm I think I wouldn't

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Speaker 2: really have paid that much attention. I feel like either

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Speaker 2: score is probably pretty good.

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Speaker 1: All right, we talked about the connections.

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Speaker 2: Yeah, yeah, I guess we did skip ahead and went

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Speaker 2: ahead and talked about the music. So we'll come back

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Speaker 2: to the top and talk just a little bit about

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Speaker 2: Mario Bava, the director, the cinematographer on this one. He

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Speaker 2: lived nineteen fourteen through nineteen eighty. We've discussed him before,

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Speaker 2: legendary Italian director with an unmistakable just obsessive, fadantasmagorical emphasis

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Speaker 2: on visual composition. Even already you were talking about this

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Speaker 2: is a film in which the casket has a window

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Speaker 2: in it. Yes, And I think that's such a great

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Speaker 2: Mario Bava touch, because I feel like any film that

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Speaker 2: I see of his, there is a fascination with, or

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Speaker 2: even an obsession with portals and windows and doors, seeing

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Speaker 2: things through other things, through other frames. Yes, yeah, yeah,

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Speaker 2: so yeah, you see a lot of that in his work.

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Speaker 2: This is a guy who took it all very seriously.

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Speaker 2: So he'd worked as a cinematographer, special effects artist and

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Speaker 2: co director for decades at this point, but again, this

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Speaker 2: was his first solo directorial credit in nineteen sixty He

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Speaker 2: previously worked on several films by Italian production company Galatea,

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Speaker 2: and this was his chance to make a film aimed

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Speaker 2: at the foreign market, a gothic horror film patterned on

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Speaker 2: the recent success of Terrence Fisher's Dracula in nineteen fifty eight.

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Speaker 1: Oh interesting, So this is kind of a response to

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Speaker 1: early Hammer exactly.

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Speaker 2: Yeah, early, yeah. Those early Hammer films were making a

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Speaker 2: lot of money, and so the studios like, let's do it,

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Speaker 2: let's get in on this action.

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Speaker 1: Baba, turn it up, turn up, yeah, turn it up

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Speaker 1: to eleven.

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Speaker 2: Yeah. Yeah. So Baba got to pick the story, and

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Speaker 2: he made his choice, reportedly based on a scary bedtime

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Speaker 2: story that he had read to his own children, This

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Speaker 2: being v by Nikolai Gogel, which had already been adapted

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Speaker 2: for film as early as nineteen oh nine in What

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Speaker 2: Was I'm to Understand, the first Russian horror film, a

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Speaker 2: short silent picture, and would also later be adapted more

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Speaker 2: notably in nineteen sixty seven in a film of the

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Speaker 2: same name, Black Sunday, however, is ultimately only loosely based

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Speaker 2: on that Gogle story. Bava, apparently, as I alluded to,

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Speaker 2: already had the chance to film this one in technicolor,

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Speaker 2: but pushed for black and white. He said, you know,

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Speaker 2: this is going to be the better fit. This is

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Speaker 2: going to fit the mood. This is Gothic horr. It

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Speaker 2: needs to be black and white.

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Speaker 1: I think it's a good choice.

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Speaker 2: Yeah. He also has apparently he did some uncredited work

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Speaker 2: on the screenplay. He also did paintings and matte paintings

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Speaker 2: and special effects for the picture, just as is often

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Speaker 2: the case, hyper involved in the visuals. And I should

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Speaker 2: also point out that Mario Bava was the son of

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Speaker 2: cinematographer and special effects artist Eugeniobava, who lived eighteen eighty

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Speaker 2: six through nineteen sixty six, who is credited on this

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Speaker 2: film as sculptor of masks and faces.

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Speaker 1: Oh, I wonder if that includes the titular in some versions,

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Speaker 1: mask of Satan.

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Speaker 2: That is I assume that has to be the case. Yeah,

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Speaker 2: all right. There are some additional screenplay play credits, and

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Speaker 2: I'm going to focus on the ones that are definitely credited. Here.

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Speaker 2: We have screenplay credit to Eneo di Concini, who lived

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Speaker 2: nineteen twenty three through two thousand and eight Italian writer,

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Speaker 2: director and producer, whose other scripts include nineteen sixty three's

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Speaker 2: Divorce Italian Style, which earned him and his co writers

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Speaker 2: the nineteen sixty three Oscar for Best Writing Story and

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Speaker 2: Screenplay written directly for the screen. Other scripts include fifty

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Speaker 2: six is War in Peace, sixty three's The Girl who

365
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Speaker 2: Knew Too Much, sixty nine is The Red Tense, seventy

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Speaker 2: six is Salon Kitty, and seventy eight's Just a Jigglow

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Speaker 2: that's the David Bowie film, among many others.

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Speaker 1: I was about to say that I thought The Girl

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Speaker 1: who Knew Too Much was another Mario Bava film that

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Speaker 1: I'd seen more of, a Jallo style film, also in

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Speaker 1: black and white. But then I was like, wait a minute,

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Speaker 1: or am I confusing that with another movie called The

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Speaker 1: Evil Eye. I guess I was, and I wasn't, because

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Speaker 1: they're different cuts of the same movie known by different titles.

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Speaker 2: Oh man, yeah, I haven't seen this one. This one

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Speaker 2: is John Saxon in it.

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Speaker 1: Yeah. John Saxon plays an Italian hunk, so the main

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Speaker 1: character in it is an American tourist played by Letitia

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Speaker 1: Ramon who she's in Rome and she witnesses a murderer

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Speaker 1: I think, and then believes that somebody's coming after her,

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Speaker 1: so she's running around Rome trying to do murder investigation.

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Speaker 1: I don't know, It's been a little while since I've

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Speaker 1: seen it, so I forgot some of the details. But

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Speaker 1: John Saxon is the local honk who she ends up

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Speaker 1: having a romance with.

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Speaker 2: I need to see that one. I mean, I have

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Speaker 2: to put that one on the list. Let's see another

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Speaker 2: screenplay credit goes to Mario Serre, who have nineteen oh

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Speaker 2: seven through nineteen sixty six, a film editor who worked

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Speaker 2: with Bava on several films I believe, including this one

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Speaker 2: and the excellent nineteen sixty four Blood and Black Lace.

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Speaker 2: But he was also an occasional writer. And then on

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Speaker 2: top of that, we have George Higgins nineteen seventeen through

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Speaker 2: two thousand and five credited with English dialogue. I'm a

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Speaker 2: little now, I have to stress, I'm a little uncertain

396
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Speaker 2: of we're dealing with the original English dub recorded in

397
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Speaker 2: Rome or the AIP dub at any rate. He was

398
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Speaker 2: an American writer, actor, and voice dubber so yeah. Of note,

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Speaker 2: it's my understanding that everyone is dubbed here, even the

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Speaker 2: English language actors in the English language dub.

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Speaker 1: Feels that way, all the dialogue feels dubbed. Yeah, and

402
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Speaker 1: you know this as was the custom at the end,

403
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Speaker 1: as was the custom, yeah, regarding films that were presented

404
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Speaker 1: with a you know, international cast for international release. But

405
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Speaker 1: also even as we've.

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Speaker 2: Discussed before, like you'll have Spanish films for a Spanish

407
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Speaker 2: audience and everybody's dubbed anyway, because that's just how you

408
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Speaker 2: did it. Yeah, all right, let's get into the cast here.

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Speaker 2: I was starting with Barber Steele. We've already been talking

410
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Speaker 2: about her. Born nineteen thirty seven, and as of this

411
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Speaker 2: recording still with us, has the dual role here, playing

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Speaker 2: Princess Oza Vida and Katia Vida again dual role. Barbara

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Speaker 2: Steele is an English actress who, yeah, can't help but

414
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Speaker 2: be best remembered for this film. It was only her

415
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Speaker 2: ninth screen credit, occurring during just the first few years

416
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Speaker 2: of her film career, but it helped to cement her

417
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Speaker 2: status as one of the original screen queens and ultimately

418
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Speaker 2: a familiar face in Gothic horror for decades. Subsequent films

419
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Speaker 2: include some big ones here sixty ones, The Pit and

420
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Speaker 2: the Pendulum. This is a Corman price po film. We

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Speaker 2: haven't talked about this one yet, but we may well

422
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Speaker 2: get to it here on Weird House Cinema in the future.

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Speaker 1: I believe she plays a deceased character in this who's

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Speaker 1: like a phantom, a spectral kind of character who appears

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Speaker 1: in visions.

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Speaker 2: Yeah, yeah, I mean she you know, she created a

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Speaker 2: type for herself here. Yeah, let's see. There's also sixty

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Speaker 2: two's The Horrible Doctor Hitchcock. Oh, and then there's sixty

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Speaker 2: threes eight and a half. That's the Fellini film, sixty

430
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Speaker 2: threes The Ghost, sixty four's Castle of Blood.

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Speaker 1: I just watched that one for the first time a

432
00:24:09,520 --> 00:24:13,720
Speaker 1: few weeks ago. Yeah, that one also has a lot

433
00:24:13,800 --> 00:24:16,919
Speaker 1: going for it. It's a very very strong black and

434
00:24:16,960 --> 00:24:20,080
Speaker 1: white Gothic cinematography, you know, all the same kind of stuff,

435
00:24:20,840 --> 00:24:24,600
Speaker 1: ruined castles, candelabras, that sort of thing. That one, I

436
00:24:24,640 --> 00:24:27,640
Speaker 1: will offer a bit of criticism in that it truly

437
00:24:27,800 --> 00:24:31,080
Speaker 1: is quite slow moving. There are some parts where it's like,

438
00:24:31,320 --> 00:24:34,119
Speaker 1: you know, even I, who really I enjoy bathing in

439
00:24:34,119 --> 00:24:36,520
Speaker 1: this kind of texture, but like you are walking too

440
00:24:36,560 --> 00:24:40,040
Speaker 1: slow as you approach the coffin. You could be moving faster.

441
00:24:42,320 --> 00:24:44,919
Speaker 2: Let's see a few other titles include sixty four is

442
00:24:44,920 --> 00:24:48,000
Speaker 2: The Long Hair of Death, sixty fives Terror Creatures from

443
00:24:48,080 --> 00:24:52,639
Speaker 2: the Grave, sixty six's She Beast, sixty eight's The Crimson Cult,

444
00:24:52,920 --> 00:24:55,160
Speaker 2: and then later on in your career, we have Voked

445
00:24:55,280 --> 00:24:59,840
Speaker 2: nineteen seventy five Shivers, the David Cronenberg film, seventy eight's Piranha,

446
00:25:00,080 --> 00:25:04,640
Speaker 2: that's the Jodante film about killer Fish. And then very

447
00:25:04,720 --> 00:25:07,439
Speaker 2: late in her career here she did a voice acting

448
00:25:07,520 --> 00:25:11,320
Speaker 2: role in the twenty twenty Castlevania series. Oh. I only

449
00:25:11,320 --> 00:25:12,840
Speaker 2: watched a little of that, but it has a great

450
00:25:12,920 --> 00:25:13,920
Speaker 2: voice cast. For sure.

451
00:25:14,280 --> 00:25:16,960
Speaker 1: I did not even know that existed. But I'm glad

452
00:25:17,000 --> 00:25:20,960
Speaker 1: if somebody was making a Castlevania adaptation and their voice casting,

453
00:25:21,000 --> 00:25:22,639
Speaker 1: it's like, let's call it Barbara Steel.

454
00:25:22,800 --> 00:25:26,600
Speaker 2: Yeah, It's like that gets the six budget, let's do it. Yeah. Yeah.

455
00:25:26,640 --> 00:25:30,520
Speaker 2: Her last IMDb credit was twenty twenty three. TV credits

456
00:25:30,720 --> 00:25:35,040
Speaker 2: from throughout her career include Alfred Hitchcock Presents, The Original

457
00:25:35,160 --> 00:25:38,200
Speaker 2: Night Gallery, and the nineteen nineties Dark Shadows series.

458
00:25:38,760 --> 00:25:41,480
Speaker 1: So, like you said, Rob she's got a dual role here.

459
00:25:41,520 --> 00:25:44,320
Speaker 1: She's playing both a good character and a bad character,

460
00:25:44,440 --> 00:25:48,560
Speaker 1: the main villain of the film and the young princess

461
00:25:48,600 --> 00:25:51,439
Speaker 1: who's sort of the target or the victim who is

462
00:25:51,520 --> 00:25:56,360
Speaker 1: being being attacked attacked for her life force by this ancestor.

463
00:25:57,520 --> 00:26:00,880
Speaker 1: And she's good in both roles. But she I think

464
00:26:01,119 --> 00:26:06,159
Speaker 1: especially excels when playing the witch. It's like it's I

465
00:26:06,200 --> 00:26:09,840
Speaker 1: said this earlier, but it is unreal the kind of evil,

466
00:26:10,000 --> 00:26:13,640
Speaker 1: malevolent faces that she manages to make for the camera here.

467
00:26:14,000 --> 00:26:14,200
Speaker 3: Yeah.

468
00:26:14,280 --> 00:26:18,359
Speaker 2: Yeah, she just does a terrific job here, great, haunting, intense,

469
00:26:18,440 --> 00:26:22,919
Speaker 2: dual performance. So she's undeniably the star. But if we

470
00:26:23,000 --> 00:26:28,719
Speaker 2: have a protagonist, really, I guess it is doctor Andre

471
00:26:28,880 --> 00:26:33,679
Speaker 2: gorbec Our. This is our handsome doctor character who is

472
00:26:33,720 --> 00:26:36,320
Speaker 2: going to be venturing into the world of the supernatural

473
00:26:36,480 --> 00:26:37,880
Speaker 2: and hopefully surviving it.

474
00:26:38,119 --> 00:26:40,640
Speaker 1: He's the love interest. Yeah, yeah, he's the handsome guy

475
00:26:40,640 --> 00:26:42,960
Speaker 1: who shows up in town to you know, like she

476
00:26:43,040 --> 00:26:44,800
Speaker 1: needs a hunk in her life, and here he is.

477
00:26:45,280 --> 00:26:48,920
Speaker 2: Yes, played by John Richardson, who lived nineteen thirty four

478
00:26:49,040 --> 00:26:52,680
Speaker 2: through twenty twenty one English leading man actor, best known

479
00:26:52,720 --> 00:26:55,960
Speaker 2: for such films as sixty five. She nineteen fifty six

480
00:26:56,040 --> 00:26:59,719
Speaker 2: is one million Years BC. That's a caveman movie, and

481
00:26:59,840 --> 00:27:03,560
Speaker 2: you you may recognize him more from this in the

482
00:27:03,800 --> 00:27:06,200
Speaker 2: posters and publicity shots for this where he has the

483
00:27:06,240 --> 00:27:09,680
Speaker 2: big shaggy hair and the big full beard. Let's see

484
00:27:09,720 --> 00:27:12,399
Speaker 2: nineteen seventies On a clear day, you can see Forever

485
00:27:12,480 --> 00:27:15,920
Speaker 2: and nineteen seventy seven's War of the Planets. He also

486
00:27:15,960 --> 00:27:19,280
Speaker 2: had a late career appearance as the architect in the

487
00:27:19,400 --> 00:27:21,720
Speaker 2: nineteen eighty nine Italian horror film The Church.

488
00:27:22,080 --> 00:27:23,560
Speaker 1: Oh is that the one by Suave?

489
00:27:24,040 --> 00:27:27,520
Speaker 2: Yeah? Yeah, Oh, that's one that I have a lot

490
00:27:27,520 --> 00:27:29,480
Speaker 2: of fondness for, but I haven't seen in a while.

491
00:27:30,119 --> 00:27:34,760
Speaker 2: But it very much at the time felt like a

492
00:27:34,880 --> 00:27:38,760
Speaker 2: sort of horror, a very well done horrshlock cinema response

493
00:27:38,800 --> 00:27:40,919
Speaker 2: to the Name of the Rose features some of the

494
00:27:40,960 --> 00:27:41,640
Speaker 2: same actors.

495
00:27:41,880 --> 00:27:45,000
Speaker 1: Oh, I'd almost say that I hadn't thought of it

496
00:27:45,040 --> 00:27:47,080
Speaker 1: till now, But that's a candidate for next week.

497
00:27:47,359 --> 00:27:51,440
Speaker 2: Oh okay. So Richardson worked quite a bit in Italian

498
00:27:51,520 --> 00:27:54,600
Speaker 2: genre cinema. Two other films of note includes seventy three's

499
00:27:54,640 --> 00:27:58,240
Speaker 2: Torso and seventy five's Eyeball. I guess all the rest

500
00:27:58,240 --> 00:28:00,280
Speaker 2: of the body parts He didn't get around, but he

501
00:28:00,280 --> 00:28:01,760
Speaker 2: got Torso and eyeball out there.

502
00:28:02,119 --> 00:28:05,359
Speaker 1: Yeah, and he lean the motion picture.

503
00:28:05,440 --> 00:28:08,640
Speaker 2: It's clean. He was reportedly up for the Bond role

504
00:28:08,680 --> 00:28:12,320
Speaker 2: that ultimately went to George Lazenby for On Her Majesty's

505
00:28:12,320 --> 00:28:15,080
Speaker 2: Secret Service in nineteen sixty nine. So he's that sort

506
00:28:15,080 --> 00:28:18,360
Speaker 2: of actor, you know, handsome British leading man sort and

507
00:28:18,400 --> 00:28:21,439
Speaker 2: so in this film. Yeah, predictably, you know, he is

508
00:28:21,480 --> 00:28:24,679
Speaker 2: a solid leading man in this film. He's not he

509
00:28:24,720 --> 00:28:28,520
Speaker 2: doesn't do anything amazingly out of the ordinary, but he

510
00:28:28,520 --> 00:28:30,160
Speaker 2: does a really good job at what he does.

511
00:28:30,560 --> 00:28:33,879
Speaker 1: Yeah. I mentioned earlier that I think the acting in

512
00:28:33,920 --> 00:28:37,240
Speaker 1: this movie is mostly good. I would say if there

513
00:28:37,359 --> 00:28:40,160
Speaker 1: is a weak link, I think it's in some of

514
00:28:40,200 --> 00:28:44,320
Speaker 1: the dialogue delivery by this guy, though I actually I

515
00:28:44,360 --> 00:28:46,560
Speaker 1: don't know if that's actually John Richardson. I think that

516
00:28:46,600 --> 00:28:49,440
Speaker 1: would be whoever's dubbing him sometimes has some kind of

517
00:28:49,520 --> 00:28:53,360
Speaker 1: dull line deliveries that. Yeah, I don't know what Richardson

518
00:28:53,480 --> 00:28:56,840
Speaker 1: himself actually actually sounded like, but his visual presence on

519
00:28:56,880 --> 00:28:57,520
Speaker 1: screen is good.

520
00:28:58,280 --> 00:29:00,560
Speaker 2: I'll also note that I have it was a little

521
00:29:00,640 --> 00:29:03,520
Speaker 2: surreal watching this guy. I'm not gonna be so vain

522
00:29:03,560 --> 00:29:05,800
Speaker 2: as to say that I look really all that much

523
00:29:05,920 --> 00:29:10,600
Speaker 2: like classically handsome British actor John Richardson, but at certain angles,

524
00:29:10,640 --> 00:29:13,320
Speaker 2: like watching this on the airplane, I was thrown off

525
00:29:13,360 --> 00:29:15,840
Speaker 2: a little bit because he would he would look enough

526
00:29:16,240 --> 00:29:18,520
Speaker 2: like me, at least in some profile shots that I

527
00:29:18,600 --> 00:29:21,320
Speaker 2: kind of got that uncanny looking at myself in photos

528
00:29:21,640 --> 00:29:23,959
Speaker 2: feeling oh yeah.

529
00:29:23,360 --> 00:29:26,600
Speaker 1: Yeah, so you told me this, and I wouldn't have

530
00:29:26,640 --> 00:29:29,480
Speaker 1: caught that myself just watching the film, but after you

531
00:29:29,520 --> 00:29:31,240
Speaker 1: said it, I could see it. I was like, oh, yeah,

532
00:29:31,240 --> 00:29:32,000
Speaker 1: there's rob.

533
00:29:31,880 --> 00:29:34,160
Speaker 2: Yeah yeah, but in like in a weird way, like

534
00:29:34,240 --> 00:29:36,400
Speaker 2: that's not actually me and I'm not supposed to be

535
00:29:36,440 --> 00:29:39,840
Speaker 2: in the horror movie. So it probably added like an

536
00:29:39,880 --> 00:29:43,600
Speaker 2: extra like personal creep factor to the viewing of the film.

537
00:29:43,640 --> 00:29:46,160
Speaker 2: But it only applies to people who look more or

538
00:29:46,240 --> 00:29:47,200
Speaker 2: less like like me.

539
00:29:47,360 --> 00:29:48,080
Speaker 1: So there you go.

540
00:29:49,960 --> 00:29:52,200
Speaker 2: Let's let's move on to the rest of the cast.

541
00:29:52,280 --> 00:29:52,520
Speaker 1: Though.

542
00:29:52,920 --> 00:30:00,320
Speaker 2: We also have the character of Krubyon. Professor Krubion. This

543
00:30:00,360 --> 00:30:02,720
Speaker 2: one I know how to pronounce because they say this

544
00:30:02,880 --> 00:30:05,520
Speaker 2: name so many times in the picture. Everyone's looking for

545
00:30:05,600 --> 00:30:09,840
Speaker 2: Crubian and they are calling for him through ruins, through castles,

546
00:30:10,080 --> 00:30:11,320
Speaker 2: out in the field, you name it.

547
00:30:11,440 --> 00:30:13,720
Speaker 1: He gets name checked a lot, yes.

548
00:30:14,000 --> 00:30:18,520
Speaker 2: And he is played by the Italian actor Andrea Kecki

549
00:30:19,200 --> 00:30:24,000
Speaker 2: who lived nineteen sixteen through nineteen seventy four. Italian Award

550
00:30:24,040 --> 00:30:27,080
Speaker 2: winning actor who was pretty prolific, yet this is one

551
00:30:27,120 --> 00:30:30,040
Speaker 2: of only two horror films he ever did, the other

552
00:30:30,160 --> 00:30:33,240
Speaker 2: being the bizarre sounding nineteen sixty four War of the

553
00:30:33,360 --> 00:30:38,400
Speaker 2: Zombies that seems to have Roman centurions battling the undead,

554
00:30:39,400 --> 00:30:43,200
Speaker 2: a rare additional example of horror peplam, but one that's

555
00:30:43,240 --> 00:30:46,680
Speaker 2: not as celebrated as Baba's Hercules in The Haunted World.

556
00:30:47,000 --> 00:30:48,920
Speaker 1: Sounds more like a movie that would have been made

557
00:30:48,920 --> 00:30:52,520
Speaker 1: in the past decade. Yeah, from nineteen sixty four.

558
00:30:52,800 --> 00:30:54,760
Speaker 2: Yeah, yeah, it's kind of crazy to think that this

559
00:30:55,000 --> 00:30:57,400
Speaker 2: here we have an early example of a zombie film

560
00:30:57,440 --> 00:31:01,160
Speaker 2: that feels like a more recent like you know, zombie

561
00:31:01,240 --> 00:31:03,920
Speaker 2: over exposure pictures.

562
00:31:03,920 --> 00:31:07,000
Speaker 1: So fascinating, Maybe not the past ticket actually, yeah, it

563
00:31:07,040 --> 00:31:10,280
Speaker 1: sounds like a movie that came directed to DVD in

564
00:31:10,360 --> 00:31:11,240
Speaker 1: twenty fourteen.

565
00:31:11,560 --> 00:31:14,640
Speaker 2: Yeah, yeah, that's exactly where it would be. All right,

566
00:31:14,680 --> 00:31:17,680
Speaker 2: let's look at other cast members here. Let's see. Oh

567
00:31:17,720 --> 00:31:21,880
Speaker 2: we have we have Prince Vida, played by Ivo Gharani

568
00:31:22,000 --> 00:31:24,920
Speaker 2: who lived nineteen twenty four through twenty fifteen Italian actor

569
00:31:24,960 --> 00:31:28,040
Speaker 2: whose other credits include fifty eighth, The Day This Guy Exploded,

570
00:31:28,520 --> 00:31:33,240
Speaker 2: nineteen sixties, adam Age Vampire seventy seven, Holocaust two thousand

571
00:31:33,640 --> 00:31:37,280
Speaker 2: and the Year two thousand, zor the Vampire, as well

572
00:31:37,320 --> 00:31:40,360
Speaker 2: as numerous Italian historical dramas that I'm sure are much

573
00:31:40,360 --> 00:31:42,520
Speaker 2: better than the schlock that caught my eye.

574
00:31:43,200 --> 00:31:46,200
Speaker 1: Yeah, this guy's good and that he's you know, he's

575
00:31:46,240 --> 00:31:49,720
Speaker 1: an actor with I would say, physically robust presence, Like

576
00:31:49,800 --> 00:31:52,640
Speaker 1: he looks like somebody who's like strong and healthy, but

577
00:31:52,760 --> 00:31:58,000
Speaker 1: he manages through his performance to convey that he is

578
00:31:58,520 --> 00:32:01,360
Speaker 1: shriveled and weakened by the way that he has been

579
00:32:01,400 --> 00:32:04,040
Speaker 1: haunted by the knowledge of this curse in his family.

580
00:32:04,840 --> 00:32:09,720
Speaker 2: Yeah, definitely a haunted figure, but not as haunted in

581
00:32:09,760 --> 00:32:14,320
Speaker 2: another way as the next character, and that is Igor Javuch.

582
00:32:14,960 --> 00:32:18,320
Speaker 2: This is our Satanic warlock and ultimately I guess kind

583
00:32:18,360 --> 00:32:22,880
Speaker 2: of like vampire underling of our central vampire princess.

584
00:32:23,240 --> 00:32:28,160
Speaker 1: Yes, the lover and the servant of the witch Asavaida.

585
00:32:28,720 --> 00:32:32,360
Speaker 1: So he is interesting in rob I wonder if you

586
00:32:32,360 --> 00:32:36,680
Speaker 1: know what I mean. In some shots he goes in

587
00:32:37,040 --> 00:32:40,800
Speaker 1: within the same shot from looking a little bit funny

588
00:32:41,200 --> 00:32:46,200
Speaker 1: to looking scary. Yeah, yeah, yeah, yeah, he like his

589
00:32:46,320 --> 00:32:51,400
Speaker 1: look is not naturally menacing. He almost has a kind

590
00:32:51,440 --> 00:32:53,520
Speaker 1: of like he could be a comic actor with the

591
00:32:53,640 --> 00:32:57,840
Speaker 1: mustache and the haircut and stuff. But he, like the

592
00:32:57,880 --> 00:33:00,480
Speaker 1: stare goes on a little bit too long, and then

593
00:33:00,520 --> 00:33:03,400
Speaker 1: it hardens, and then he moves towards you and it

594
00:33:03,400 --> 00:33:05,440
Speaker 1: has this extra chilling effect for that.

595
00:33:05,920 --> 00:33:09,440
Speaker 2: Yeah, it's ultimately a great presence and you're like, yeah,

596
00:33:09,480 --> 00:33:12,560
Speaker 2: of course this guy fell into worshiping the devil. But

597
00:33:13,480 --> 00:33:17,680
Speaker 2: played here by Ortruro Dominici, who lived nineteen sixteen through

598
00:33:17,720 --> 00:33:21,800
Speaker 2: nineteen ninety two, Italian actor who worked in numerous Peplam films,

599
00:33:22,240 --> 00:33:24,320
Speaker 2: as well as sixty fourth Castle of Blood. I don't

600
00:33:24,320 --> 00:33:26,200
Speaker 2: know if you remember him from Castle of Blood or not.

601
00:33:26,520 --> 00:33:27,840
Speaker 1: I don't remember who he was in that.

602
00:33:28,240 --> 00:33:33,080
Speaker 2: Yeah, he's also in fifty nine's Caltiki The Immortal Monster.

603
00:33:33,280 --> 00:33:36,640
Speaker 2: This is the black and white Italian Mayan blob movie

604
00:33:37,440 --> 00:33:41,040
Speaker 2: that Mario Bava served as cinematographer on and also co directed.

605
00:33:41,160 --> 00:33:42,360
Speaker 1: I haven't seen that one.

606
00:33:42,760 --> 00:33:44,440
Speaker 2: It's been on my list because it's supposed to be

607
00:33:44,480 --> 00:33:46,080
Speaker 2: interest I mean, how can you not be interested? In

608
00:33:46,120 --> 00:33:50,360
Speaker 2: a black and white blob movie with like Mayan elements

609
00:33:50,400 --> 00:33:53,520
Speaker 2: involved in it, that is co directed by Mario Pava.

610
00:33:53,600 --> 00:33:55,240
Speaker 1: Yeah, has my attention?

611
00:33:55,520 --> 00:33:57,480
Speaker 2: All right, we have another character of note, and that's

612
00:33:57,760 --> 00:34:03,520
Speaker 2: Constantine Vaida, and he has Enrico Oliveri. He lived nineteen

613
00:34:03,520 --> 00:34:06,760
Speaker 2: thirty nine through twenty twenty two, Italian actor who did

614
00:34:06,760 --> 00:34:08,719
Speaker 2: it a little more than a dozen pictures, and this

615
00:34:08,800 --> 00:34:11,200
Speaker 2: was seemingly his only horror film and also one of

616
00:34:11,239 --> 00:34:14,719
Speaker 2: his last. I'm to understand he retired from acting and

617
00:34:14,719 --> 00:34:18,520
Speaker 2: became an accountant. Oh okay, Yeah, sometimes that's as boring

618
00:34:18,640 --> 00:34:21,279
Speaker 2: and as every day as the story needs to be.

619
00:34:30,880 --> 00:34:32,720
Speaker 1: Okay, are you ready to talk about the plot?

620
00:34:32,960 --> 00:34:34,720
Speaker 2: Let's jump into Let's jump into the fire.

621
00:34:35,000 --> 00:34:37,520
Speaker 1: That's right. We open on a fire, in fact, a

622
00:34:37,520 --> 00:34:41,600
Speaker 1: big roasting fire in a brazier in the center of

623
00:34:41,640 --> 00:34:45,319
Speaker 1: a dark field with dead trees all around, and the

624
00:34:45,400 --> 00:34:48,120
Speaker 1: air is full of smoke. That there is a menacing

625
00:34:48,160 --> 00:34:52,080
Speaker 1: figure in a black executioner's hood, a shirtless and muscle

626
00:34:52,120 --> 00:34:55,320
Speaker 1: bound with leather bracers on his wrists, and he's turning

627
00:34:55,320 --> 00:34:58,319
Speaker 1: an iron brand in the fire pit. And then we

628
00:34:58,360 --> 00:35:04,000
Speaker 1: get voiceover. Narration says in the seventeenth century, Satan was

629
00:35:04,040 --> 00:35:07,800
Speaker 1: abroad on the earth, and great was the wrath against

630
00:35:07,840 --> 00:35:12,560
Speaker 1: those monstrous beings thirsty for human blood, to whom tradition

631
00:35:12,719 --> 00:35:17,000
Speaker 1: has given the name of vampires. No appeal for pity

632
00:35:17,160 --> 00:35:18,560
Speaker 1: or mercy availed.

633
00:35:18,840 --> 00:35:20,799
Speaker 2: All right, there you go, vampires from the good go.

634
00:35:21,080 --> 00:35:25,040
Speaker 1: Yeah, And I think that's talking about the punishers of

635
00:35:25,120 --> 00:35:29,400
Speaker 1: vampires that know no pity or mercy availed. If you

636
00:35:29,560 --> 00:35:32,440
Speaker 1: made it like have mercy on the vampires, it's like,

637
00:35:32,520 --> 00:35:35,400
Speaker 1: no nothing doing, because it goes without saying that. You know,

638
00:35:35,440 --> 00:35:37,800
Speaker 1: there's no mercy from the vampires themselves.

639
00:35:37,480 --> 00:35:40,920
Speaker 2: Right right. It would be a little more complicated if that.

640
00:35:40,880 --> 00:35:44,279
Speaker 1: Were the fact. So here the camera pans over and

641
00:35:44,320 --> 00:35:48,000
Speaker 1: we see more hooded muscle boys looking on, and then

642
00:35:48,080 --> 00:35:51,280
Speaker 1: more figures lined up behind the branches of these dead trees.

643
00:35:51,440 --> 00:35:54,200
Speaker 1: These guys are wearing black robes from head to toe.

644
00:35:54,320 --> 00:35:57,359
Speaker 1: Their faces are shrouded in black with little slits over

645
00:35:57,400 --> 00:36:00,480
Speaker 1: their eyes to look out, and they were holding toes,

646
00:36:01,000 --> 00:36:05,680
Speaker 1: and the narration continues. Brothers did not hesitate to accuse brothers,

647
00:36:06,080 --> 00:36:10,200
Speaker 1: and fathers accused sons in the frantic attempt to purify

648
00:36:10,280 --> 00:36:14,320
Speaker 1: the earth of that horrible race of blood devouring assassins,

649
00:36:15,120 --> 00:36:18,040
Speaker 1: and now we see the whole scene in frame. The

650
00:36:19,000 --> 00:36:22,040
Speaker 1: hooded inquisitors, they stand in a great mass in the

651
00:36:22,080 --> 00:36:25,520
Speaker 1: field between the bare trees. They're holding up torches in

652
00:36:25,560 --> 00:36:29,280
Speaker 1: the light, and before them are two prisoners, one man

653
00:36:29,320 --> 00:36:33,920
Speaker 1: and one woman, bound to large wooden pillars, and the

654
00:36:34,000 --> 00:36:39,160
Speaker 1: narrator says, before putting them to death, human justice anticipated

655
00:36:39,239 --> 00:36:43,160
Speaker 1: divine judgment by burning into the flesh of those damned

656
00:36:43,200 --> 00:36:47,320
Speaker 1: ones the brand of Satan. And then here we see

657
00:36:47,360 --> 00:36:51,200
Speaker 1: the executioner approach the woman with the iron that he

658
00:36:51,280 --> 00:36:53,839
Speaker 1: had been turning in the fire. He holds it up

659
00:36:53,880 --> 00:36:56,360
Speaker 1: away from his body and then he plunges it against

660
00:36:56,440 --> 00:36:59,000
Speaker 1: the flesh of the woman's back, and we get a

661
00:36:59,040 --> 00:37:01,919
Speaker 1: close up of the scar. And I was thinking, what's

662
00:37:01,960 --> 00:37:03,640
Speaker 1: it going to be? Is it gonna be a pentagram

663
00:37:03,680 --> 00:37:07,279
Speaker 1: and inverted cross? It is a big letter s I

664
00:37:07,320 --> 00:37:09,480
Speaker 1: think for Satan, like property of Satan.

665
00:37:10,400 --> 00:37:12,840
Speaker 2: Well, you know, maybe that was just a brand they

666
00:37:12,920 --> 00:37:16,200
Speaker 2: already had ready to go. They didn't really have time

667
00:37:16,280 --> 00:37:19,520
Speaker 2: in their persecution of devil worshippers to really create a

668
00:37:19,520 --> 00:37:21,719
Speaker 2: brand new brand, and then they had to stick to it.

669
00:37:21,760 --> 00:37:25,279
Speaker 2: You know, you want it to be consistent across your brandings.

670
00:37:25,719 --> 00:37:26,879
Speaker 1: Nasty effect too.

671
00:37:27,239 --> 00:37:30,000
Speaker 2: Oh yeah, this looks super gross. This is definitely the

672
00:37:30,040 --> 00:37:32,160
Speaker 2: scene where I was thankful for the black and white.

673
00:37:32,200 --> 00:37:34,760
Speaker 2: Did not need to see this in a thousand colors.

674
00:37:35,000 --> 00:37:37,800
Speaker 1: Yeah. So, after the branding, the woman who's tied to

675
00:37:37,840 --> 00:37:40,080
Speaker 1: the pillar, she turns to look at her captors and

676
00:37:40,120 --> 00:37:44,120
Speaker 1: it's Barbara Steel. She is pale, with long dark hair

677
00:37:44,239 --> 00:37:49,400
Speaker 1: and these wide, intense eyes. And one of the inquisitors says, Asa,

678
00:37:49,800 --> 00:37:52,880
Speaker 1: daughter of the House of Vida, this High Court of

679
00:37:52,880 --> 00:37:56,960
Speaker 1: the Inquisition of Moldavia has declared you guilty. I, the

680
00:37:57,000 --> 00:38:00,440
Speaker 1: second born son of Prince Vida, as grand and Quisitor,

681
00:38:00,560 --> 00:38:04,200
Speaker 1: do condemn you, and as your brother, I repudiate you.

682
00:38:04,680 --> 00:38:04,919
Speaker 2: Too.

683
00:38:05,000 --> 00:38:08,560
Speaker 1: Many evil deeds have you done to satisfy your monstrous

684
00:38:08,680 --> 00:38:13,480
Speaker 1: love for that surf of the devil igor Yavooditch. So,

685
00:38:13,640 --> 00:38:16,720
Speaker 1: you know, I'm almost getting a little feeling of horror

686
00:38:16,800 --> 00:38:19,480
Speaker 1: rizes from the tomb about this a you know, a

687
00:38:20,840 --> 00:38:26,000
Speaker 1: cursed witch and warlock power couple who are being sentenced

688
00:38:26,000 --> 00:38:30,040
Speaker 1: to death by the Inquisition hundreds of years ago because

689
00:38:30,680 --> 00:38:32,799
Speaker 1: not only did they do things for Satan, they did

690
00:38:32,840 --> 00:38:35,960
Speaker 1: things for Satan for each other. You know, it's like

691
00:38:36,120 --> 00:38:38,160
Speaker 1: love that made them drink blood.

692
00:38:38,760 --> 00:38:41,520
Speaker 2: You know. I would imagine that this film was one

693
00:38:41,560 --> 00:38:45,920
Speaker 2: of the key influences on Paul Nashi for horror rises

694
00:38:45,960 --> 00:38:49,239
Speaker 2: from the Tomb. There's another example we'll get to here

695
00:38:49,280 --> 00:38:51,800
Speaker 2: in a minute where you can see a clear connection

696
00:38:51,960 --> 00:38:56,520
Speaker 2: between Black Sunday and the Gothic imagination of Paul Nashi.

697
00:38:56,840 --> 00:38:59,279
Speaker 1: Totally. Yeah. I don't know if it's the same one

698
00:38:59,360 --> 00:39:01,160
Speaker 1: you have in mind. I do, but I was thinking

699
00:39:01,200 --> 00:39:04,160
Speaker 1: of one as well. But anyway, so here we see

700
00:39:04,360 --> 00:39:07,200
Speaker 1: the other prisoner, Yavudich, the one they just talked about.

701
00:39:07,200 --> 00:39:09,840
Speaker 1: This is the man condemned with her. He's tied to

702
00:39:09,880 --> 00:39:13,359
Speaker 1: a pillory and some kind of hideous bronze mask with

703
00:39:13,400 --> 00:39:17,680
Speaker 1: a large nose, a grotesque mouth with a forked tongue,

704
00:39:17,920 --> 00:39:20,759
Speaker 1: and a big fin running down from the forehead down

705
00:39:20,800 --> 00:39:23,360
Speaker 1: the middle of the fight face to the nose. I

706
00:39:23,400 --> 00:39:25,800
Speaker 1: assume this is one of the masks made by Mario

707
00:39:25,840 --> 00:39:26,520
Speaker 1: Baba's dad.

708
00:39:26,880 --> 00:39:32,360
Speaker 2: Yeah, yeah, And it looks incredible, you know, definitely in

709
00:39:32,400 --> 00:39:36,760
Speaker 2: its design nearors a lot of the European devil masks,

710
00:39:36,800 --> 00:39:38,959
Speaker 2: and also some of the devil masks that you would

711
00:39:38,960 --> 00:39:43,120
Speaker 2: see in parts of Central and South America that were

712
00:39:43,120 --> 00:39:45,480
Speaker 2: influenced by European traditions.

713
00:39:45,640 --> 00:39:49,120
Speaker 1: Yeah, so the brother says, may God have pity on

714
00:39:49,160 --> 00:39:52,640
Speaker 1: your soul in this your final hour, cover her face

715
00:39:52,880 --> 00:39:57,239
Speaker 1: with the mask of Satan. And what's this, Well, she's

716
00:39:57,280 --> 00:40:00,280
Speaker 1: about to get her own metal mask, just like her accomplice.

717
00:40:00,480 --> 00:40:03,160
Speaker 1: And so we see another mask like the first. It's

718
00:40:03,239 --> 00:40:07,080
Speaker 1: lying in the dead grass, and the inquisitor says, nail

719
00:40:07,160 --> 00:40:11,040
Speaker 1: it down. May the cleansing flames reduce her foul body

720
00:40:11,080 --> 00:40:14,360
Speaker 1: to ashes, so that the wind will obliterate all trace

721
00:40:14,400 --> 00:40:18,480
Speaker 1: of her existence. Then we see an executioner lift the

722
00:40:18,560 --> 00:40:22,160
Speaker 1: mask up from the grass and we see inside the mask,

723
00:40:22,280 --> 00:40:26,400
Speaker 1: the inside face of it, and it is an Iron

724
00:40:26,680 --> 00:40:29,879
Speaker 1: Maiden mask. So the inside of the mask is all

725
00:40:30,000 --> 00:40:32,440
Speaker 1: pointy nails turned toward the face.

726
00:40:33,400 --> 00:40:37,920
Speaker 2: Yeah, yeah, ghastly yes, And I was looking into this

727
00:40:38,000 --> 00:40:40,600
Speaker 2: a little bit. This mask was seemingly very much an

728
00:40:40,680 --> 00:40:44,719
Speaker 2: invention of Mario Baba's or the Bava's father and son

729
00:40:44,760 --> 00:40:48,360
Speaker 2: in general, though clearly based on first of all, the

730
00:40:48,400 --> 00:40:51,880
Speaker 2: you know Iron Maiden fictions I think we've discussed in

731
00:40:51,880 --> 00:40:53,520
Speaker 2: the show before. The Iron Maiden is one of those

732
00:40:53,600 --> 00:40:58,160
Speaker 2: artifacts that did not originally actually seem to exist as

733
00:40:58,200 --> 00:41:03,319
Speaker 2: a physical torture or execution device, though that may have

734
00:41:03,440 --> 00:41:07,320
Speaker 2: changed much later in its history as people were inspired

735
00:41:07,360 --> 00:41:11,960
Speaker 2: by its design. You do have various face shackles from

736
00:41:12,000 --> 00:41:15,600
Speaker 2: throughout the history of human torture and punishment. You know there,

737
00:41:15,640 --> 00:41:17,719
Speaker 2: you know, sometimes you know, some sort of thing that

738
00:41:17,800 --> 00:41:23,520
Speaker 2: was locked on the head to to mock the individual. Yeah, scolds,

739
00:41:23,560 --> 00:41:26,080
Speaker 2: bridles and the like. And then there's also a bit

740
00:41:26,120 --> 00:41:28,440
Speaker 2: of the man in the iron mask to this side. Imagine.

741
00:41:28,480 --> 00:41:31,360
Speaker 2: I mean, that's a pretty big literary footprint to ignore.

742
00:41:32,080 --> 00:41:35,600
Speaker 2: But what a creation. Yes, this mask is just incredible,

743
00:41:35,640 --> 00:41:37,960
Speaker 2: and the way it's presented, I mean, this whole opening

744
00:41:37,960 --> 00:41:42,279
Speaker 2: sequence is just incredible. Like there's you know, a lot

745
00:41:42,320 --> 00:41:44,360
Speaker 2: of these older films that we watch, you can you

746
00:41:44,400 --> 00:41:47,520
Speaker 2: can easily imagine people walking out during the opening sequence

747
00:41:47,520 --> 00:41:49,319
Speaker 2: because sometimes they can take it takes a little while

748
00:41:49,320 --> 00:41:51,000
Speaker 2: to get going. But this one is just off to

749
00:41:51,080 --> 00:41:54,600
Speaker 2: the races right away, and it's just brutal in its execution,

750
00:41:54,960 --> 00:41:56,280
Speaker 2: I mean literal excuse.

751
00:41:57,160 --> 00:42:00,239
Speaker 1: Yeah, So the executioner comes up to the witch, to

752
00:42:00,280 --> 00:42:04,080
Speaker 1: Barber Steele, and he's holding the mask outstretched to ASA's

753
00:42:04,120 --> 00:42:06,759
Speaker 1: face and we see from her perspective as like the

754
00:42:06,800 --> 00:42:11,480
Speaker 1: mask is sort of lowered down over the camera and ooh,

755
00:42:11,600 --> 00:42:13,240
Speaker 1: it's it's shocking.

756
00:42:13,480 --> 00:42:17,520
Speaker 2: Yeah, absolutely terrifying sequence here is that mask is is

757
00:42:17,840 --> 00:42:21,440
Speaker 2: lowered into place, and we the viewer are in the

758
00:42:21,760 --> 00:42:24,600
Speaker 2: are experiencing it. We have the POV shot of the

759
00:42:24,760 --> 00:42:27,839
Speaker 2: of the spiked mask of Satan closing over us. And

760
00:42:28,000 --> 00:42:30,480
Speaker 2: I can only assume that this sequence helped inform a

761
00:42:30,560 --> 00:42:34,800
Speaker 2: key moment in Revenge of the Sith. There's the sequence

762
00:42:34,800 --> 00:42:36,600
Speaker 2: towards the end of that where the mask of Darth

763
00:42:36,680 --> 00:42:40,200
Speaker 2: Vader is closed over Anakin's face for the first time,

764
00:42:40,600 --> 00:42:43,800
Speaker 2: and and it's it's a terrifying visual in Revenge of

765
00:42:43,840 --> 00:42:47,920
Speaker 2: the Sith. I think it's often overlooked in the evaluation

766
00:42:48,000 --> 00:42:50,080
Speaker 2: of the film's final moment. So there's a lot of

767
00:42:50,400 --> 00:42:52,440
Speaker 2: a lot of fun is made of the no moment.

768
00:42:52,800 --> 00:42:55,560
Speaker 2: You know, once he is fully Darth Vader, but that

769
00:42:55,640 --> 00:42:58,799
Speaker 2: moment where the Vader mask is being lowered onto his

770
00:42:58,880 --> 00:43:01,439
Speaker 2: face and we see through Anakin's eyes and we see

771
00:43:01,440 --> 00:43:06,920
Speaker 2: his world change as it comes to encase him. I

772
00:43:06,920 --> 00:43:08,600
Speaker 2: think it's a really haunting moment, and I think it

773
00:43:08,640 --> 00:43:11,120
Speaker 2: had to have been inspired by this moment in Black

774
00:43:11,120 --> 00:43:11,920
Speaker 2: Sunday that.

775
00:43:11,920 --> 00:43:15,120
Speaker 1: Seems quite likely to me strange connection. You mentioned the

776
00:43:15,200 --> 00:43:17,640
Speaker 1: no from Revenge of the Sith. The very next thing,

777
00:43:17,680 --> 00:43:19,839
Speaker 1: barbar Steele says when they lower the mask over her

778
00:43:19,840 --> 00:43:21,319
Speaker 1: face as she screams no.

779
00:43:22,520 --> 00:43:24,960
Speaker 2: I mean, that's the thing about the whole no thing

780
00:43:25,120 --> 00:43:29,440
Speaker 2: is like people scream no a lot in films, certainly

781
00:43:29,520 --> 00:43:32,360
Speaker 2: the films I end up saying. And sometimes it works,

782
00:43:32,520 --> 00:43:35,520
Speaker 2: sometimes it doesn't, And sometimes it's hard to decide exactly

783
00:43:35,560 --> 00:43:37,840
Speaker 2: why it works and why it doesn't work, you know.

784
00:43:37,880 --> 00:43:40,239
Speaker 2: I guess it comes down to the nuances of performance

785
00:43:40,280 --> 00:43:44,160
Speaker 2: and how everything's shot. But also sometimes it just seems

786
00:43:44,160 --> 00:43:46,319
Speaker 2: to be like a case of yeah, it worked there,

787
00:43:46,360 --> 00:43:48,439
Speaker 2: I buy it. In other cases and I'm like, oh,

788
00:43:48,480 --> 00:43:49,520
Speaker 2: it feels a little hokey.

789
00:43:50,120 --> 00:43:53,600
Speaker 1: So in this case, after shouting no, Barbara Steele says

790
00:43:53,600 --> 00:43:56,799
Speaker 1: to her brother Griabi, that's his name. It is I

791
00:43:57,120 --> 00:44:00,960
Speaker 1: who repudiate you, and in the name of Satan, I

792
00:44:01,040 --> 00:44:04,440
Speaker 1: place a curse upon you. Go ahead, tie me down

793
00:44:04,520 --> 00:44:07,720
Speaker 1: to the steak, but you will never escape my hunger,

794
00:44:07,960 --> 00:44:12,920
Speaker 1: nor that of Satan. And then lightning strikes and we

795
00:44:13,560 --> 00:44:16,160
Speaker 1: hear her say, the unchained elements of the powers of

796
00:44:16,280 --> 00:44:20,640
Speaker 1: Darkness are lying in ambush. Beware Griabi. My revenge will

797
00:44:20,680 --> 00:44:23,960
Speaker 1: strike down you and your accursed house, and in the

798
00:44:24,000 --> 00:44:26,560
Speaker 1: blood of your sons and the sons of their sons,

799
00:44:26,719 --> 00:44:30,680
Speaker 1: I will continue to live immortal. They shall restore to

800
00:44:30,760 --> 00:44:33,760
Speaker 1: me the life that you rob from me. I shall

801
00:44:33,800 --> 00:44:37,440
Speaker 1: return to torment and destroy throughout the night of time.

802
00:44:38,000 --> 00:44:38,840
Speaker 2: It's quite a curse.

803
00:44:39,080 --> 00:44:43,279
Speaker 1: Yeah. So, as she's saying this last part, the executioners fix.

804
00:44:43,560 --> 00:44:47,680
Speaker 1: They fixed the spiked mask against her face and then,

805
00:44:48,040 --> 00:44:51,600
Speaker 1: oh my god, the big guy executioner he approaches with

806
00:44:51,760 --> 00:44:55,239
Speaker 1: a huge wooden mallet and he draws back and on

807
00:44:55,360 --> 00:44:58,440
Speaker 1: the command of the inquisitor, he hammers the mask.

808
00:44:58,920 --> 00:45:01,920
Speaker 2: Oh my god, this is just absolutely brutal. And this

809
00:45:02,080 --> 00:45:06,560
Speaker 2: is another moment where the gore is not over the

810
00:45:06,719 --> 00:45:08,280
Speaker 2: top but just highly effective.

811
00:45:08,600 --> 00:45:11,319
Speaker 1: Yeah. So we hear the princess scream and then dark

812
00:45:11,400 --> 00:45:14,400
Speaker 1: blood trickles out from every hole in the face of

813
00:45:14,480 --> 00:45:17,759
Speaker 1: the mask, and the music swells and we see the

814
00:45:17,840 --> 00:45:20,759
Speaker 1: title the Mask of Satan, though now, of course the

815
00:45:20,840 --> 00:45:22,600
Speaker 1: movie is more often known as Black Sunday.

816
00:45:23,080 --> 00:45:26,680
Speaker 2: Again, an incredible sequence here, and it would go on

817
00:45:26,760 --> 00:45:30,480
Speaker 2: to influence various other weird execution masks in horror cinema.

818
00:45:31,880 --> 00:45:34,200
Speaker 2: To go back to Paul Nashy, there's the mask of

819
00:45:34,320 --> 00:45:38,520
Speaker 2: Shame that his Voldemar Doninski wears in nineteen eighties Night

820
00:45:38,560 --> 00:45:41,240
Speaker 2: of the Werewolf as part of his execution.

821
00:45:41,560 --> 00:45:42,080
Speaker 1: That's right.

822
00:45:42,280 --> 00:45:46,160
Speaker 2: Yeah, and another one, ooh, this is I think another

823
00:45:46,280 --> 00:45:50,480
Speaker 2: clear connection. We have the powerful warlock Nix in Clive

824
00:45:50,600 --> 00:45:54,640
Speaker 2: Barker's nineteen ninety five film Lord of Illusions, a great

825
00:45:54,680 --> 00:45:59,640
Speaker 2: performance by Daniel von Bargin as the Warlock. That mask

826
00:45:59,640 --> 00:46:02,560
Speaker 2: can be the Knicks mask seems especially based on the

827
00:46:02,640 --> 00:46:06,600
Speaker 2: Mask of Satan, because the warlock in that film, once

828
00:46:06,640 --> 00:46:10,040
Speaker 2: he's freed of it, he bears the scars, like intense

829
00:46:10,120 --> 00:46:13,240
Speaker 2: scarification from where the mask had been locked in place.

830
00:46:14,160 --> 00:46:16,040
Speaker 1: I've actually never seen Lord of Illusions.

831
00:46:16,320 --> 00:46:18,680
Speaker 2: Oh, it's been a long time since I've seen it,

832
00:46:18,760 --> 00:46:21,640
Speaker 2: but I remember it having some great elements to it.

833
00:46:24,440 --> 00:46:28,600
Speaker 2: It's a tremendous undead warlock character, for sure. I was

834
00:46:28,640 --> 00:46:31,040
Speaker 2: also reading It's been a long time since I've seen

835
00:46:31,120 --> 00:46:35,120
Speaker 2: this film either. But Tim Burton's sweepy Hollow from nineteen

836
00:46:35,200 --> 00:46:39,239
Speaker 2: ninety nine begins with a sequence that features not a

837
00:46:39,440 --> 00:46:42,320
Speaker 2: mask of Satan but an actual Iron Maiden, and I

838
00:46:42,400 --> 00:46:45,439
Speaker 2: believe in interviews Tim Burton has pointed directly to Black

839
00:46:45,480 --> 00:46:47,920
Speaker 2: Sunday as an inspiration on that.

840
00:46:48,080 --> 00:46:49,719
Speaker 1: Sequence, That wouldn't surprise me.

841
00:46:49,840 --> 00:46:55,560
Speaker 2: Yeah, so again, amazing opening already. I mean, it would

842
00:46:55,560 --> 00:46:58,120
Speaker 2: be difficult to screw this up, and as we all know,

843
00:46:58,280 --> 00:47:00,680
Speaker 2: Mario Obava is not going to screw up Sunday. It

844
00:47:00,760 --> 00:47:04,320
Speaker 2: is a classic. It is often considered the grandfather of

845
00:47:04,360 --> 00:47:05,400
Speaker 2: Italian horror cinema.

846
00:47:05,960 --> 00:47:08,040
Speaker 1: Yeah, I still remember actually the first time I saw

847
00:47:08,120 --> 00:47:10,719
Speaker 1: this movie, how strong of an effect the opening had

848
00:47:10,800 --> 00:47:14,160
Speaker 1: on me. It's it's great. So, of course, after this

849
00:47:14,280 --> 00:47:16,239
Speaker 1: we get the credits, and then after the credits play,

850
00:47:16,320 --> 00:47:18,760
Speaker 1: we sort of pick up where we left off. Asa

851
00:47:18,800 --> 00:47:22,560
Speaker 1: and Yavoudich are dead, but just when the inquisitors are

852
00:47:22,760 --> 00:47:26,000
Speaker 1: setting about to burn their bodies with the purifying flame

853
00:47:26,120 --> 00:47:29,680
Speaker 1: that they talked about, a rainstorm breaks out, as if

854
00:47:29,760 --> 00:47:32,360
Speaker 1: by command of the devil, and it quenches all of

855
00:47:32,480 --> 00:47:37,120
Speaker 1: their fires. So instead, the body of Yavoodich is buried

856
00:47:37,160 --> 00:47:41,120
Speaker 1: in the graveyard, but covered in unconsecrated earth, in the

857
00:47:41,160 --> 00:47:45,000
Speaker 1: place reserved for murderers. So I like that this graveyard

858
00:47:45,040 --> 00:47:49,640
Speaker 1: has an exclusive murderers when you got to bury him somewhere. Yeah,

859
00:47:49,880 --> 00:47:53,040
Speaker 1: and then Asa is buried in her family tomb and

860
00:47:53,200 --> 00:47:57,320
Speaker 1: like the family's chapel along with her ancestors.

861
00:47:56,840 --> 00:47:59,839
Speaker 2: Because again her burning it was rained out, and they're like, well,

862
00:48:00,000 --> 00:48:01,200
Speaker 2: what are we going to do? I thought we were

863
00:48:01,280 --> 00:48:03,600
Speaker 2: gonna have her burn and her ashes are you know,

864
00:48:04,000 --> 00:48:06,560
Speaker 2: distributed by the winds, and they're like, well, it's raining,

865
00:48:06,680 --> 00:48:07,239
Speaker 2: let's just bury.

866
00:48:07,600 --> 00:48:09,600
Speaker 1: This is like this in this, like that story of

867
00:48:09,640 --> 00:48:14,000
Speaker 1: Saint Switin, Like they were going to move the body,

868
00:48:14,080 --> 00:48:15,960
Speaker 1: but then it just kept raining and the like must

869
00:48:16,000 --> 00:48:19,920
Speaker 1: be magic. Yeah, yeah, the rain has spoken, so uh,

870
00:48:20,719 --> 00:48:23,840
Speaker 1: text tells us it is now two centuries later. I

871
00:48:23,920 --> 00:48:26,640
Speaker 1: think we're going from the seventeenth century to the nineteenth.

872
00:48:27,080 --> 00:48:27,279
Speaker 3: Yeah.

873
00:48:27,440 --> 00:48:30,280
Speaker 2: Yeah, though, as is often the case in Gothic Gara films,

874
00:48:30,360 --> 00:48:32,080
Speaker 2: it's not like you're going to really see that much

875
00:48:32,120 --> 00:48:34,800
Speaker 2: of the difference, except there's no longer like an active

876
00:48:34,880 --> 00:48:37,200
Speaker 2: inquisition press. Yeah, that's about the main difference.

877
00:48:37,880 --> 00:48:41,840
Speaker 1: So the action reopens with a horse drawn carriage clattering

878
00:48:42,040 --> 00:48:45,560
Speaker 1: through a crossroads. This is in the countryside of Moldavia,

879
00:48:46,080 --> 00:48:49,640
Speaker 1: which would be I believe, in modern day Romaine. The

880
00:48:49,760 --> 00:48:54,560
Speaker 1: passengers are two medical doctors. The elder is doctor Choma

881
00:48:54,719 --> 00:48:59,480
Speaker 1: Krubaion and his younger assistant, doctor Andre gora Beck. They

882
00:48:59,480 --> 00:49:01,640
Speaker 1: are travel in cross country to make their way to

883
00:49:01,760 --> 00:49:06,160
Speaker 1: a medical conference in Moscow. Goro Bec says that if

884
00:49:06,239 --> 00:49:10,480
Speaker 1: they stop at the nearest town, a place called Mr. Garad, quote,

885
00:49:10,560 --> 00:49:14,520
Speaker 1: we'll never be able to reach Moscow by evening. I

886
00:49:14,680 --> 00:49:16,360
Speaker 1: was like, what, I don't know if they have some

887
00:49:16,480 --> 00:49:19,319
Speaker 1: hidden rockets on that carriage. But I did a little math.

888
00:49:19,440 --> 00:49:22,040
Speaker 1: This has got to be a roughly two thousand kilometer

889
00:49:22,239 --> 00:49:25,680
Speaker 1: journey or more. They're not going to make Moscow by evening.

890
00:49:27,880 --> 00:49:31,720
Speaker 1: But either way, the older doctor Krubayon is not concerned

891
00:49:31,760 --> 00:49:34,520
Speaker 1: with reaching Moscow. He wants to stay the night at

892
00:49:34,640 --> 00:49:38,520
Speaker 1: the inn in Mr. Garod, where they have good smoked salmon,

893
00:49:38,680 --> 00:49:41,240
Speaker 1: and he says they have excellent vodka.

894
00:49:41,800 --> 00:49:44,960
Speaker 2: Yeah, they're very excited for this vodka. And later on,

895
00:49:45,080 --> 00:49:47,120
Speaker 2: later on, we will see that the vodka here is

896
00:49:47,239 --> 00:49:51,200
Speaker 2: served in like pictures at the table, like capwater is

897
00:49:51,360 --> 00:49:53,360
Speaker 2: served at restaurants today.

898
00:49:53,360 --> 00:49:55,160
Speaker 1: That look like water pitchers. Yeah.

899
00:49:55,239 --> 00:49:58,479
Speaker 2: Yeah, like there's just that much vodka. It's just there's

900
00:49:58,520 --> 00:49:59,600
Speaker 2: like a stream of it here.

901
00:49:59,640 --> 00:50:03,440
Speaker 1: I guess. So the difference between them, the young doctor Gorbek,

902
00:50:03,719 --> 00:50:08,000
Speaker 1: he's handsome, energetic and earnest. He's keen to learn things

903
00:50:08,080 --> 00:50:10,440
Speaker 1: at the conference that they're going to go to. He's

904
00:50:10,520 --> 00:50:13,240
Speaker 1: gonna make himself a good physician. And then the older

905
00:50:13,360 --> 00:50:16,680
Speaker 1: doctor crew Bion is a bit more seasoned. He's kindly

906
00:50:16,840 --> 00:50:20,000
Speaker 1: but with a cynical sense of humor. He's like, you know,

907
00:50:20,080 --> 00:50:22,719
Speaker 1: don't put too much salt in you know what you

908
00:50:22,800 --> 00:50:26,719
Speaker 1: hear at medical conferences. I don't know, why are they

909
00:50:26,760 --> 00:50:31,239
Speaker 1: going to a like a half scam medical conference. Crewbyon

910
00:50:31,360 --> 00:50:34,040
Speaker 1: at one point calls out to their coachman to ask

911
00:50:34,120 --> 00:50:35,960
Speaker 1: him to take a short cut through the woods. I

912
00:50:36,000 --> 00:50:38,440
Speaker 1: guess he wants to get to that vodka faster, and

913
00:50:38,560 --> 00:50:41,279
Speaker 1: the coachman tries to argue that he can't do that

914
00:50:41,400 --> 00:50:44,200
Speaker 1: because the road through the forest has fallen into disrepair.

915
00:50:44,360 --> 00:50:47,560
Speaker 1: It's too dangerous, and the doctor is like, nah, you're

916
00:50:47,640 --> 00:50:49,880
Speaker 1: just afraid of the witch. Here's a gold coin to

917
00:50:50,000 --> 00:50:54,000
Speaker 1: motivate you. And it turns out, yes, the coachman is afraid,

918
00:50:54,840 --> 00:50:57,200
Speaker 1: but you know the gold coin. He wants that, so

919
00:50:57,360 --> 00:51:01,279
Speaker 1: reluctantly he takes the dark road through the woods. At

920
00:51:01,320 --> 00:51:03,920
Speaker 1: one point, he talks about how he fought against Napoleon

921
00:51:04,040 --> 00:51:06,680
Speaker 1: when he invaded He says, I'd rather come face to

922
00:51:06,760 --> 00:51:10,320
Speaker 1: face with a cursed frenchman than meet a ghost. So

923
00:51:10,480 --> 00:51:13,920
Speaker 1: the woods are full of darkness and mist and yowling

924
00:51:14,160 --> 00:51:19,279
Speaker 1: cackling wolves, bassoon music, and trees that reach out and

925
00:51:19,360 --> 00:51:21,920
Speaker 1: try to choke your coachman, or so he claims, as

926
00:51:22,000 --> 00:51:24,479
Speaker 1: he's like tucking the vodka bottle back into his vest.

927
00:51:25,640 --> 00:51:28,520
Speaker 1: And eventually, as they're going through these haunted woods, there

928
00:51:28,600 --> 00:51:31,799
Speaker 1: is a carriage wreck. The wheel comes off, the driver

929
00:51:31,920 --> 00:51:33,880
Speaker 1: gets out to repair it, and as he does so,

930
00:51:34,239 --> 00:51:36,960
Speaker 1: the two doctors go for a walk and end up

931
00:51:37,120 --> 00:51:42,680
Speaker 1: investigating a nearby ruined building that is emitting strange whistling noises.

932
00:51:43,120 --> 00:51:44,880
Speaker 2: And they are men of science, so what are they

933
00:51:44,920 --> 00:51:45,160
Speaker 2: going to do?

934
00:51:45,200 --> 00:51:47,560
Speaker 1: They're going to investigate, right, this is the Colossi have

935
00:51:47,640 --> 00:51:51,240
Speaker 1: memnon or something. So they creep through the overgrown ruins

936
00:51:51,360 --> 00:51:53,839
Speaker 1: until they finally come across the answer. It is an

937
00:51:53,920 --> 00:51:56,840
Speaker 1: old church organ with the wind blowing through the pipes.

938
00:51:57,160 --> 00:52:01,120
Speaker 1: Krubaion knocks down the pipes with his cane. The whaling stops.

939
00:52:01,280 --> 00:52:03,759
Speaker 1: Oh so, logical explanation for everything.

940
00:52:03,520 --> 00:52:04,200
Speaker 2: Yeah, fixed.

941
00:52:04,960 --> 00:52:08,080
Speaker 1: But then the two doctors are startled when a nearby

942
00:52:08,200 --> 00:52:11,200
Speaker 1: door slams shut seemingly on its own. It is a

943
00:52:11,320 --> 00:52:14,800
Speaker 1: heavy wooden door they go to investigate, and then inside

944
00:52:14,880 --> 00:52:18,000
Speaker 1: the door there is a staircase leading down into a dank,

945
00:52:18,160 --> 00:52:23,080
Speaker 1: subterranean crypt underneath a chapel filled with cobwebs and deep shadows.

946
00:52:23,600 --> 00:52:27,759
Speaker 1: And so the doctors descend, and Crubion says, more than

947
00:52:27,840 --> 00:52:32,280
Speaker 1: a thousand years of conflicts, hates and loves, all reduced

948
00:52:32,320 --> 00:52:35,600
Speaker 1: to dust. In these tombs. Nothing remains of the ancient

949
00:52:35,680 --> 00:52:39,040
Speaker 1: princes of Vida, but the dead shadows of their former glory.

950
00:52:39,520 --> 00:52:42,880
Speaker 1: The history of ancient Moldavia is carved in these stones.

951
00:52:44,320 --> 00:52:48,440
Speaker 1: And so they approach one entombment in the crypt, and

952
00:52:48,600 --> 00:52:52,479
Speaker 1: Krubion realizes that it is the grave of the famous witch.

953
00:52:52,560 --> 00:52:56,040
Speaker 1: He knows the story. The sealed coffin has a glass

954
00:52:56,320 --> 00:53:00,520
Speaker 1: window on the lid, as we were discussing earlier, so strange,

955
00:53:00,880 --> 00:53:04,920
Speaker 1: which allows the two doctors to look inside the coffin

956
00:53:05,440 --> 00:53:08,880
Speaker 1: and see below the mask of Satan, the bronze face

957
00:53:09,120 --> 00:53:12,919
Speaker 1: nailed in place over the flesh face of the condemned witch.

958
00:53:13,680 --> 00:53:16,440
Speaker 1: Now why is there a glass window on the coffin?

959
00:53:16,560 --> 00:53:21,120
Speaker 1: While they explain uh the crew, there's a crucifix mounted

960
00:53:21,280 --> 00:53:24,200
Speaker 1: on top of the coffin lid, and the belief was

961
00:53:24,360 --> 00:53:27,879
Speaker 1: that by keeping the cross in the corpse's view through

962
00:53:27,960 --> 00:53:31,480
Speaker 1: the glass, they could prevent the dead body from returning

963
00:53:31,560 --> 00:53:33,799
Speaker 1: to life and terrorizing them once more.

964
00:53:35,600 --> 00:53:37,480
Speaker 2: You could ask a lot of questions about this, like

965
00:53:37,640 --> 00:53:40,120
Speaker 2: why not just put the cross on the like the

966
00:53:40,520 --> 00:53:44,200
Speaker 2: inside lid of the casket. You know, I think you

967
00:53:44,320 --> 00:53:46,920
Speaker 2: have to come back to the realization that this is

968
00:53:46,920 --> 00:53:51,120
Speaker 2: a Bava thing, like again, fascinated by windows and apertures.

969
00:53:51,160 --> 00:53:53,839
Speaker 2: So of course there's a glass panel in the top

970
00:53:53,880 --> 00:53:56,279
Speaker 2: of the casket, and I guess if i'm you know,

971
00:53:56,320 --> 00:53:58,200
Speaker 2: if I wanted to lean into it, I would say, well,

972
00:53:58,480 --> 00:54:00,680
Speaker 2: this would also allow the viewer to check and make

973
00:54:00,719 --> 00:54:02,560
Speaker 2: sure that the mask of Satan is still in place.

974
00:54:02,920 --> 00:54:03,120
Speaker 3: Yeah.

975
00:54:03,320 --> 00:54:06,480
Speaker 1: Well, actually there's another rational reason. There's no light inside

976
00:54:06,520 --> 00:54:08,879
Speaker 1: a coffin, So if the corpse needs to be able

977
00:54:08,960 --> 00:54:12,920
Speaker 1: to see the crucifix, it needs a window with you know,

978
00:54:13,080 --> 00:54:14,960
Speaker 1: to let the light in so it can see. So

979
00:54:15,040 --> 00:54:17,320
Speaker 1: if you're gonna put a window in there anyway to

980
00:54:17,400 --> 00:54:19,439
Speaker 1: let the light in, why not just put the cross

981
00:54:19,520 --> 00:54:21,240
Speaker 1: on the outside instead of on the inside.

982
00:54:21,280 --> 00:54:23,120
Speaker 2: Well, that's true like in D and D terms, like

983
00:54:23,239 --> 00:54:27,200
Speaker 2: even if the corpse comes alive again and has dark vision,

984
00:54:27,239 --> 00:54:29,560
Speaker 2: it still needs some amount of light, So yeah, it

985
00:54:29,719 --> 00:54:30,520
Speaker 2: totally checks out.

986
00:54:30,520 --> 00:54:34,720
Speaker 1: You're right, So cru Ion is fascinated. Gorbec gets called

987
00:54:34,719 --> 00:54:37,000
Speaker 1: out to help the coachman place the wheel back on

988
00:54:37,080 --> 00:54:40,439
Speaker 1: the axle of the carriage. In the meantime, crub Ion

989
00:54:40,600 --> 00:54:42,640
Speaker 1: is left alone in the crypt and there is a

990
00:54:42,880 --> 00:54:47,760
Speaker 1: bat attack, classic Gothic horror movie bat attack. A giant

991
00:54:47,880 --> 00:54:50,400
Speaker 1: bat flies out of a hole in the wall, and

992
00:54:50,480 --> 00:54:53,279
Speaker 1: the good Doctor starts like swinging and bashing at it

993
00:54:53,360 --> 00:54:56,960
Speaker 1: with his cane. He eventually draws a gun and shoots

994
00:54:57,080 --> 00:54:59,359
Speaker 1: this little derringer pistol. Why has he got a gun?

995
00:54:59,719 --> 00:55:02,920
Speaker 2: Well, for moments like this, That's why he can so

996
00:55:03,080 --> 00:55:06,520
Speaker 2: confidently walk into ancient crips to check the things, check

997
00:55:06,600 --> 00:55:10,640
Speaker 2: things out for science, because he's packing heat. But I

998
00:55:10,800 --> 00:55:12,480
Speaker 2: like the bad attack here. You know, it's a it's

999
00:55:12,520 --> 00:55:14,279
Speaker 2: a flappy bat like we see in a lot of

1000
00:55:14,560 --> 00:55:17,600
Speaker 2: Gothic horror films, but looks pretty darn good, as you

1001
00:55:17,640 --> 00:55:19,720
Speaker 2: would expect from from Mario Baba.

1002
00:55:19,920 --> 00:55:25,560
Speaker 1: Yes. Now, in the process of bats smashing, he inadvertently

1003
00:55:25,800 --> 00:55:30,080
Speaker 1: smashes the glass on the witch's coffin lid and smashes

1004
00:55:30,200 --> 00:55:35,280
Speaker 1: the cross on top of the grave. Uh. Oh, exactly

1005
00:55:35,360 --> 00:55:46,880
Speaker 1: what you shouldn't have done. So Gorbec comes back, and

1006
00:55:47,239 --> 00:55:50,480
Speaker 1: when Krubeon explains what happened to Gorbec is like odd

1007
00:55:50,840 --> 00:55:55,080
Speaker 1: bats are usually peaceful creatures. It almost says like, you know,

1008
00:55:55,480 --> 00:55:57,279
Speaker 1: they're more afraid of us than we are of them.

1009
00:55:57,960 --> 00:56:01,760
Speaker 2: Peaceful creatures is an interesting stretch, perhaps, but okay.

1010
00:56:02,600 --> 00:56:04,960
Speaker 1: But he also he says that they need to get

1011
00:56:05,040 --> 00:56:09,840
Speaker 1: back outside otherwise quote otherwise the coachman will be convinced

1012
00:56:09,880 --> 00:56:12,600
Speaker 1: that he's right, Like, we can't let him have that.

1013
00:56:14,480 --> 00:56:16,520
Speaker 1: I guess, right about what I don't know about the

1014
00:56:16,600 --> 00:56:17,400
Speaker 1: forest being haunted?

1015
00:56:17,440 --> 00:56:20,480
Speaker 2: Maybe, yeah, I guess the implication there is he might leave.

1016
00:56:20,960 --> 00:56:25,120
Speaker 1: Oh yeah, that's true. Fair enough. Yeah, So we got

1017
00:56:25,200 --> 00:56:27,440
Speaker 1: to get back because this guy, we can't depend on him.

1018
00:56:27,480 --> 00:56:29,600
Speaker 1: He's getting into the vodka in the vest. So we

1019
00:56:29,680 --> 00:56:32,400
Speaker 1: got to go to the carriage. But Krubeon's attention is

1020
00:56:32,520 --> 00:56:35,319
Speaker 1: drawn to the coffin. He realizes the damage he did

1021
00:56:35,440 --> 00:56:39,040
Speaker 1: in his bat smashing frenzy, and he's looking at it

1022
00:56:39,160 --> 00:56:43,120
Speaker 1: and it's like, well, the glass is broken anyway, don't

1023
00:56:43,239 --> 00:56:43,960
Speaker 1: mind if I do.

1024
00:56:46,000 --> 00:56:48,200
Speaker 2: This was hilarious, Like, at this point we'd had a

1025
00:56:48,239 --> 00:56:52,600
Speaker 2: pretty logical reason for our characters to venture this far

1026
00:56:52,680 --> 00:56:57,400
Speaker 2: into the crypt and then interfere with the various magical

1027
00:56:57,440 --> 00:57:00,239
Speaker 2: protections in place here. Yes, but at this point he's like, well,

1028
00:57:00,440 --> 00:57:03,759
Speaker 2: I've already half violated the grave. I might as well

1029
00:57:03,840 --> 00:57:04,439
Speaker 2: just keep going.

1030
00:57:04,800 --> 00:57:08,759
Speaker 1: Yes, So first he reaches in and removes from the

1031
00:57:08,800 --> 00:57:12,640
Speaker 1: coffin a little triptic icon with images of a saint

1032
00:57:12,800 --> 00:57:17,520
Speaker 1: and some inscriptions covered in dust and cobwebs, And this

1033
00:57:17,600 --> 00:57:20,520
Speaker 1: will become important for the plot later. But then beyond

1034
00:57:20,680 --> 00:57:24,720
Speaker 1: that lies the body itself, and Curubaeon can't resist his curiosity.

1035
00:57:25,120 --> 00:57:28,800
Speaker 1: He reaches in and he removes the mask from the face.

1036
00:57:29,600 --> 00:57:32,120
Speaker 1: There is kind of some good sound design here, kind

1037
00:57:32,120 --> 00:57:35,680
Speaker 1: of a sucking, squelching sound as he does this, like

1038
00:57:35,800 --> 00:57:39,000
Speaker 1: trying to pull a boot out of mud. And then

1039
00:57:40,200 --> 00:57:42,360
Speaker 1: you know, it's not exactly what you would expect it

1040
00:57:42,440 --> 00:57:45,640
Speaker 1: to look like. After two hundred years, you would expect

1041
00:57:45,960 --> 00:57:49,640
Speaker 1: nothing to remain of the witch except bones. But under

1042
00:57:49,680 --> 00:57:53,160
Speaker 1: the mask there is flesh, and there is a pale

1043
00:57:53,240 --> 00:57:57,040
Speaker 1: face pierced all over with holes from the spikes in

1044
00:57:57,120 --> 00:58:00,920
Speaker 1: the mask, with empty dark sockets the eyes should be.

1045
00:58:01,560 --> 00:58:04,320
Speaker 1: And then all over the face, into and out of

1046
00:58:04,400 --> 00:58:09,520
Speaker 1: the holes crawl scorpions. Yes, live scorpions.

1047
00:58:09,200 --> 00:58:12,320
Speaker 2: Little black scorpions. I have to say one of the

1048
00:58:12,760 --> 00:58:16,040
Speaker 2: one of the flaws in watching films on your iPhone

1049
00:58:16,440 --> 00:58:18,760
Speaker 2: on a plane is that sometimes you do miss the

1050
00:58:18,800 --> 00:58:22,080
Speaker 2: little details. So when I rewatched portions of this film

1051
00:58:22,160 --> 00:58:24,800
Speaker 2: this morning, I did get to notice that they were

1052
00:58:24,840 --> 00:58:27,080
Speaker 2: scorpions for the first time, and I was very excited.

1053
00:58:27,720 --> 00:58:30,640
Speaker 1: Crubion says, no comment on the scorpions, by the way,

1054
00:58:30,720 --> 00:58:33,240
Speaker 1: but he says, those empty eyes seem to be looking

1055
00:58:33,360 --> 00:58:38,640
Speaker 1: at us, and yeah, it is gross. But Cubion, while

1056
00:58:38,680 --> 00:58:42,040
Speaker 1: they're messing around here, he accidentally cuts his hand on

1057
00:58:42,160 --> 00:58:45,480
Speaker 1: the glass of the coffin window, and as the two

1058
00:58:45,560 --> 00:58:49,360
Speaker 1: doctors are leaving, we see that some of Crubion's blood

1059
00:58:49,680 --> 00:58:52,880
Speaker 1: drips down into the coffin and stains the face of

1060
00:58:52,960 --> 00:58:56,280
Speaker 1: the body inside. I think we can all tell where

1061
00:58:56,360 --> 00:58:58,080
Speaker 1: this is going to go. And you know what, this

1062
00:58:58,320 --> 00:59:01,280
Speaker 1: is also a plot point in a Paul Nashi film

1063
00:59:01,360 --> 00:59:03,880
Speaker 1: that would come later. And have you seen this one

1064
00:59:04,000 --> 00:59:07,040
Speaker 1: Rob the Werewolf Versus the Vampire Woman from nineteen seventy one.

1065
00:59:07,280 --> 00:59:07,760
Speaker 1: I have not.

1066
00:59:08,040 --> 00:59:12,000
Speaker 2: It's not in either of the Nashy collection volumes that

1067
00:59:12,080 --> 00:59:13,960
Speaker 2: I have, so it's still on my list.

1068
00:59:14,520 --> 00:59:17,439
Speaker 1: Yeah, so I've got the four k of that one.

1069
00:59:18,160 --> 00:59:21,760
Speaker 1: In that film, there's an ancient vampire queen who is

1070
00:59:22,000 --> 00:59:26,640
Speaker 1: revived from her cough at her burial place when a

1071
00:59:26,800 --> 00:59:30,320
Speaker 1: scholar cuts her hand and drips blood into the grave

1072
00:59:30,560 --> 00:59:34,280
Speaker 1: onto her. Also in that movie, the vampire queen is

1073
00:59:34,400 --> 00:59:37,480
Speaker 1: played by Patty Shepherd, who kind of looks like Barbara Steel.

1074
00:59:38,160 --> 00:59:39,320
Speaker 2: Yeah, yeah, yeah, you're right.

1075
00:59:39,360 --> 00:59:42,120
Speaker 1: I can see it, especially the design if you look

1076
00:59:42,200 --> 00:59:44,880
Speaker 1: up the way she's dressed with like the black veil

1077
00:59:44,960 --> 00:59:47,240
Speaker 1: as the vampire queen in that movie. It's a very

1078
00:59:47,400 --> 00:59:52,400
Speaker 1: Barbara Steele in this movie. Look, so I think Paul

1079
00:59:52,520 --> 00:59:54,960
Speaker 1: Nashi had Black Sunday on the brain a good bit.

1080
00:59:55,480 --> 00:59:59,440
Speaker 2: Yeah, yeah, I mean this film inspired just about everybody.

1081
01:00:00,200 --> 01:00:03,040
Speaker 1: So once the doctors get back up to the surface, bam,

1082
01:00:03,360 --> 01:00:06,600
Speaker 1: they come face to face with an extremely unsettling lady

1083
01:00:06,760 --> 01:00:09,640
Speaker 1: played by Barbara Steele, who is out walking her two

1084
01:00:09,760 --> 01:00:13,720
Speaker 1: hell hounds in the ruins. Now you might think, like, whoa,

1085
01:00:13,840 --> 01:00:16,640
Speaker 1: the witch is already resurrected, like how'd she beat them

1086
01:00:16,720 --> 01:00:18,600
Speaker 1: up to the top, But no, the witch is not

1087
01:00:18,760 --> 01:00:22,000
Speaker 1: resurrected yet. Barber Steele is, as we said earlier, playing

1088
01:00:22,080 --> 01:00:25,000
Speaker 1: two roles in the film She is the long dead

1089
01:00:25,080 --> 01:00:27,760
Speaker 1: witch Asa in the but she is also in the

1090
01:00:27,840 --> 01:00:33,760
Speaker 1: present that family line's unwitting descendant, Katya so Kachya lives

1091
01:00:33,920 --> 01:00:37,600
Speaker 1: in her ancestral estate with her father, Prince Vida, and

1092
01:00:37,760 --> 01:00:41,880
Speaker 1: her brother Constantine, and here Kaya is out walking her

1093
01:00:41,960 --> 01:00:46,600
Speaker 1: two dogs. The doctors introduce themselves, and Kaya explains that

1094
01:00:46,920 --> 01:00:49,520
Speaker 1: she was out walking her dogs when she heard the

1095
01:00:49,600 --> 01:00:52,960
Speaker 1: gun shot. So they explain what happened, and they apologize

1096
01:00:53,000 --> 01:00:56,400
Speaker 1: for entering the chapel without permission, and then she said

1097
01:00:56,920 --> 01:01:02,840
Speaker 1: she's significantly I'm going to say, more weird and ominous

1098
01:01:02,920 --> 01:01:06,280
Speaker 1: here than Katya is in some later scenes where sit

1099
01:01:07,040 --> 01:01:10,720
Speaker 1: like when they first meet her. Here, she's an odd lady,

1100
01:01:11,160 --> 01:01:14,920
Speaker 1: she says, in this dreamy voice. Everything is going to ruin.

1101
01:01:15,560 --> 01:01:19,440
Speaker 1: My father, Prince Vida refuses to repair even this old chapel.

1102
01:01:19,800 --> 01:01:23,880
Speaker 1: This place, in his eyes, is a curse. And suddenly

1103
01:01:24,320 --> 01:01:27,760
Speaker 1: the dogs start barking, and the coachman calls out that

1104
01:01:27,920 --> 01:01:32,480
Speaker 1: the carriage is repaired. So Krubayon begs Kotya's pardon and

1105
01:01:32,600 --> 01:01:35,200
Speaker 1: says that they have to leave, but Gori Bek is

1106
01:01:35,320 --> 01:01:38,680
Speaker 1: clearly he doesn't want to go. He is smitten with

1107
01:01:38,840 --> 01:01:42,520
Speaker 1: Katya's beauty and he's just got Vita fever. He's like,

1108
01:01:43,200 --> 01:01:43,920
Speaker 1: I live here now.

1109
01:01:44,160 --> 01:01:47,520
Speaker 2: Plus he's a dog guy, and she clearly has two

1110
01:01:47,600 --> 01:01:49,840
Speaker 2: dogs if she loves a lot. So you know, he

1111
01:01:50,440 --> 01:01:53,080
Speaker 2: instantly it's matchmaking in his head.

1112
01:01:53,280 --> 01:01:56,280
Speaker 1: Yeah, this is my dog. These are my dogs, Kerber

1113
01:01:56,440 --> 01:02:00,760
Speaker 1: and us, and so he tells they are like, well,

1114
01:02:00,800 --> 01:02:02,120
Speaker 1: I have to leave now, but I'm going to be

1115
01:02:02,160 --> 01:02:04,280
Speaker 1: spending the night at Mirror Garad, and I really hope

1116
01:02:04,320 --> 01:02:06,480
Speaker 1: I will see you again. He has no reason to

1117
01:02:06,520 --> 01:02:08,080
Speaker 1: think he would ever see her again.

1118
01:02:07,960 --> 01:02:10,640
Speaker 2: Right, yeah, I mean we we the viewer know that, Yeah,

1119
01:02:10,680 --> 01:02:12,720
Speaker 2: that's probably gonna happen. But why would he think he

1120
01:02:12,720 --> 01:02:13,520
Speaker 2: would run into her?

1121
01:02:14,360 --> 01:02:17,120
Speaker 1: And then she says in a kind of ominous way,

1122
01:02:17,160 --> 01:02:19,800
Speaker 1: I didn't know if this actually had any significance. She says,

1123
01:02:19,920 --> 01:02:23,000
Speaker 1: I trust you will have a good night at Mirror Garad.

1124
01:02:24,400 --> 01:02:26,480
Speaker 1: Did that ever mean anything? I don't think there's anything

1125
01:02:26,520 --> 01:02:28,000
Speaker 1: all that spooky about Mirror Garod.

1126
01:02:28,240 --> 01:02:30,240
Speaker 2: Now it's like, I guess, just the nearest town.

1127
01:02:30,400 --> 01:02:31,600
Speaker 1: I don't know this is.

1128
01:02:31,680 --> 01:02:34,280
Speaker 2: I guess this whole sequence with her does feel like

1129
01:02:34,360 --> 01:02:38,440
Speaker 2: you said, more dream like yeah, than what is to

1130
01:02:38,520 --> 01:02:41,480
Speaker 2: come with this character? And I don't know maybe Bob

1131
01:02:41,640 --> 01:02:44,640
Speaker 2: is leaning in a bit. He often has these sequences

1132
01:02:44,680 --> 01:02:47,640
Speaker 2: in his pictures that feel very dream like, and so

1133
01:02:48,000 --> 01:02:51,080
Speaker 2: maybe he's indulging all I don't want to criticize, but

1134
01:02:51,120 --> 01:02:54,760
Speaker 2: maybe he's indulging almost too much in the dreamlike qualities

1135
01:02:54,760 --> 01:02:55,440
Speaker 2: of this sequence.

1136
01:02:55,640 --> 01:02:59,080
Speaker 1: It's more feeling than logic, I think. The doctors so

1137
01:02:59,200 --> 01:03:01,560
Speaker 1: they go on their way and Katya is left alone,

1138
01:03:01,680 --> 01:03:04,560
Speaker 1: making these sad, glassy eyes at them as they leave.

1139
01:03:05,200 --> 01:03:08,280
Speaker 1: Her face is like literally sparkling in this shot, by

1140
01:03:08,320 --> 01:03:11,680
Speaker 1: the way, the I don't know how exactly they achieve

1141
01:03:11,760 --> 01:03:14,680
Speaker 1: that effect, but it's crazy. And gore Beck looks back

1142
01:03:14,720 --> 01:03:17,080
Speaker 1: at her out the window of the carriage as they leave.

1143
01:03:18,080 --> 01:03:21,480
Speaker 1: Oh also worth noting that they take the little triptic

1144
01:03:21,760 --> 01:03:25,040
Speaker 1: icon with them, So Gurubian just like yoing, that's mine.

1145
01:03:25,080 --> 01:03:26,840
Speaker 2: Now, yeah, I'm gonna go ahead and steal that from

1146
01:03:26,880 --> 01:03:30,320
Speaker 2: the grave, but not knowing that that's a load bearing artifact.

1147
01:03:30,600 --> 01:03:35,959
Speaker 1: Yes, exactly. So Meanwhile, back inside the chapel, we see

1148
01:03:36,080 --> 01:03:40,920
Speaker 1: the grave of the Witch festering, and some frightening music swells,

1149
01:03:41,360 --> 01:03:44,880
Speaker 1: and then inside the black socket of the witch's eye,

1150
01:03:45,080 --> 01:03:48,800
Speaker 1: a dark, creamy liquid begins to froth.

1151
01:03:50,560 --> 01:03:53,560
Speaker 2: Again. It's almost amazing how disgusting the gore is in

1152
01:03:53,640 --> 01:03:55,280
Speaker 2: this picture despite being black and white.

1153
01:03:55,480 --> 01:03:55,720
Speaker 3: Yeah.

1154
01:03:56,200 --> 01:03:58,360
Speaker 1: So that night at the castle we meet the rest

1155
01:03:58,400 --> 01:04:02,160
Speaker 1: of Kachia's family. Fire is roaring in the hearth. Katya

1156
01:04:02,360 --> 01:04:05,240
Speaker 1: is sitting at the piano playing music by herself. Her

1157
01:04:05,280 --> 01:04:08,400
Speaker 1: brother Constantine, who is he's kind of a young, high

1158
01:04:08,440 --> 01:04:12,440
Speaker 1: spirited guy. He's a hunter. He's busy cleaning an antique rifle.

1159
01:04:13,120 --> 01:04:16,360
Speaker 1: And her father is seated before the fire in a

1160
01:04:16,480 --> 01:04:20,440
Speaker 1: high backed chair, just staring into the blaze, looking haunted

1161
01:04:20,520 --> 01:04:21,200
Speaker 1: and depressed.

1162
01:04:21,680 --> 01:04:25,200
Speaker 2: Your typical Gothic car family really in many respects.

1163
01:04:25,600 --> 01:04:29,360
Speaker 1: Yes. So, Katya at one point stops playing the piano

1164
01:04:29,480 --> 01:04:32,800
Speaker 1: when she hears a distant wailing coming from outside the castle,

1165
01:04:33,080 --> 01:04:36,920
Speaker 1: and everybody stops to listen. Constantine believes it is a

1166
01:04:37,080 --> 01:04:40,280
Speaker 1: pack of wolves, which explains why he found no deer

1167
01:04:40,400 --> 01:04:44,080
Speaker 1: in his treks through the forest lately. But Prince Vida, however,

1168
01:04:44,640 --> 01:04:47,360
Speaker 1: he looks troubled and he says, those are not wolves.

1169
01:04:47,960 --> 01:04:49,800
Speaker 1: Then he looks up at the painting on the wall

1170
01:04:49,880 --> 01:04:52,920
Speaker 1: and he gasps in terror. He says, the griffin it

1171
01:04:53,000 --> 01:04:56,440
Speaker 1: has moved up on the wall, we see a painted

1172
01:04:56,560 --> 01:05:00,760
Speaker 1: portrait of a Vida family ancestor. A young woman who

1173
01:05:00,840 --> 01:05:04,760
Speaker 1: looks exactly like Katya, dressed in a regal gown, looking

1174
01:05:04,880 --> 01:05:08,960
Speaker 1: mysteriously toward the painter, and underfoot in the painting is

1175
01:05:09,000 --> 01:05:11,600
Speaker 1: a griffin. Gryffins seem to be a motif.

1176
01:05:11,720 --> 01:05:11,840
Speaker 2: Here.

1177
01:05:12,000 --> 01:05:15,040
Speaker 1: There are monstrous carvings on either side of the fireplace,

1178
01:05:15,120 --> 01:05:18,120
Speaker 1: and I think these are gryffins too. Yes, Prince Vida

1179
01:05:18,360 --> 01:05:21,760
Speaker 1: and Katya agreed that the painting has somehow changed. The

1180
01:05:21,840 --> 01:05:25,040
Speaker 1: griffin is different. It was once depicted as dead, but

1181
01:05:25,200 --> 01:05:27,800
Speaker 1: now it appears alive. How could it have changed in

1182
01:05:27,880 --> 01:05:32,280
Speaker 1: the painting. Constantine is skeptical. He notes that the painting

1183
01:05:32,320 --> 01:05:35,320
Speaker 1: has always had a strange effect on Katia. She says,

1184
01:05:35,440 --> 01:05:38,520
Speaker 1: it's like a flame that can't escape. There's something alive

1185
01:05:38,600 --> 01:05:41,720
Speaker 1: about it, something different about the eyes, the hands, as

1186
01:05:41,760 --> 01:05:44,760
Speaker 1: if it were hiding something. Sometimes I'm afraid to go

1187
01:05:44,880 --> 01:05:47,840
Speaker 1: near it. And then Prince Vida is like, well, we'll

1188
01:05:47,880 --> 01:05:53,800
Speaker 1: say no more about it. But the Prince is so

1189
01:05:54,200 --> 01:05:57,480
Speaker 1: he's like frightened and exhausted and he just needs to

1190
01:05:57,640 --> 01:06:00,960
Speaker 1: be alone. I think he complains that instead of warmth,

1191
01:06:01,120 --> 01:06:03,360
Speaker 1: a chill seems to be coming out of the fireplace

1192
01:06:03,440 --> 01:06:05,840
Speaker 1: and there's actually a reason for that we will discover later.

1193
01:06:06,800 --> 01:06:09,640
Speaker 1: But he says his spirit is weary and he must

1194
01:06:09,680 --> 01:06:11,880
Speaker 1: say good night to his children, so they leave him alone.

1195
01:06:12,440 --> 01:06:16,720
Speaker 1: And there is a scene here where Prince Vida describes well,

1196
01:06:16,760 --> 01:06:20,200
Speaker 1: he talks to his butler Ivan or Yvonne, and he

1197
01:06:20,320 --> 01:06:23,120
Speaker 1: describes the curse upon his family. So he says, you

1198
01:06:23,160 --> 01:06:26,160
Speaker 1: know what today is the Feast of Saint George, And

1199
01:06:26,240 --> 01:06:27,720
Speaker 1: I had to look that up for when that is

1200
01:06:27,840 --> 01:06:31,439
Speaker 1: generally celebrated April twenty third, And I kind of hate

1201
01:06:31,800 --> 01:06:35,480
Speaker 1: that this goes against the otherwise seasonally perfect setting of

1202
01:06:35,560 --> 01:06:39,600
Speaker 1: this film. It's like so halloweeny. But like a lot

1203
01:06:39,680 --> 01:06:41,160
Speaker 1: of these other stories, you know, what is it with

1204
01:06:41,480 --> 01:06:45,160
Speaker 1: There's so many old world horror stories set in the spring,

1205
01:06:45,360 --> 01:06:48,960
Speaker 1: set at the Feast of Saint George, or on Walpurgas knocked,

1206
01:06:49,480 --> 01:06:51,960
Speaker 1: you know, like late April or the beginning of May.

1207
01:06:52,320 --> 01:06:55,360
Speaker 1: Really seems to have been a powerful, spooky season.

1208
01:06:56,320 --> 01:06:59,680
Speaker 2: That's fascinating that we may have to explore that later

1209
01:06:59,800 --> 01:07:02,440
Speaker 2: on and stuff to blow your mind, because it seems

1210
01:07:02,600 --> 01:07:06,040
Speaker 2: counterintuitive when you think of, you know, the change of

1211
01:07:06,080 --> 01:07:10,120
Speaker 2: the seasons, right like, yeah, spring is upon us, the

1212
01:07:10,480 --> 01:07:13,160
Speaker 2: cold winter of death is passing away, the sun has

1213
01:07:13,240 --> 01:07:16,520
Speaker 2: returned to us. Shouldn't it just be all feasts and preparation,

1214
01:07:16,800 --> 01:07:21,600
Speaker 2: Like why are there still threats afoot? Yeah, it would

1215
01:07:21,600 --> 01:07:22,880
Speaker 2: be interesting to dig into that.

1216
01:07:23,440 --> 01:07:26,720
Speaker 1: Maybe this year, toward the end of April, we should

1217
01:07:26,720 --> 01:07:30,080
Speaker 1: do like a half Tober week where we figure out

1218
01:07:30,120 --> 01:07:34,280
Speaker 1: what it is that's spooky about spring. Yeah, absolutely spooky

1219
01:07:34,320 --> 01:07:38,480
Speaker 1: spring anyway, Prince Vida explains, Okay, it's Saint George's Day.

1220
01:07:38,760 --> 01:07:41,120
Speaker 1: And on Saint George's Day two hundred years ago, his

1221
01:07:41,240 --> 01:07:45,160
Speaker 1: ancestral relative the which Asa and her consort Yavoodisch were

1222
01:07:45,200 --> 01:07:47,880
Speaker 1: put to death for being in league with Hell, And

1223
01:07:48,480 --> 01:07:51,080
Speaker 1: one hundred years later, on the same day of the

1224
01:07:51,160 --> 01:07:54,000
Speaker 1: year the Feast of Saint George, an earthquake rocked the

1225
01:07:54,120 --> 01:07:56,920
Speaker 1: chapel where US's body was laid to rest under the

1226
01:07:57,000 --> 01:07:59,840
Speaker 1: mask of Satan, and it split her tomb a sun

1227
01:08:00,080 --> 01:08:01,720
Speaker 1: her as if she were trying to break out of

1228
01:08:01,800 --> 01:08:06,040
Speaker 1: death itself to accomplish her revenge. And that very night,

1229
01:08:06,280 --> 01:08:12,440
Speaker 1: his ancestor, Princess Macha, who looked exactly like Asa, died mysteriously.

1230
01:08:12,560 --> 01:08:16,439
Speaker 1: She was only twenty one. Now the Prince's daughter Katya

1231
01:08:16,600 --> 01:08:19,920
Speaker 1: is twenty one, and she too is the image of Asa,

1232
01:08:20,439 --> 01:08:22,640
Speaker 1: so he's terrified of what is going to happen to

1233
01:08:22,720 --> 01:08:26,160
Speaker 1: her and to them all. But if An reminds him,

1234
01:08:26,360 --> 01:08:28,880
Speaker 1: even if what you say is true, the Cross will

1235
01:08:28,960 --> 01:08:33,000
Speaker 1: protect you. Quote these monsters are terrified by the symbol

1236
01:08:33,040 --> 01:08:35,920
Speaker 1: of Christ. Always have it near you and you'll be safe.

1237
01:08:36,360 --> 01:08:38,280
Speaker 1: Drink your toddy, sir, before it gets cold.

1238
01:08:39,600 --> 01:08:41,160
Speaker 2: I like the inclusion of the toddy. Do you think

1239
01:08:41,160 --> 01:08:43,920
Speaker 2: it's a vodka toaddi, because you can. You can make

1240
01:08:44,200 --> 01:08:48,559
Speaker 2: a toddy with various spirits, or I mean even without

1241
01:08:48,600 --> 01:08:51,240
Speaker 2: a spirit. I think if you just have some hot

1242
01:08:51,320 --> 01:08:53,519
Speaker 2: water and some I've heard the lemon juice and some

1243
01:08:53,640 --> 01:08:56,040
Speaker 2: money that can coal whalifies as a TODDI.

1244
01:08:56,360 --> 01:08:58,840
Speaker 1: Is that Okay? I actually didn't know what a TODDI was.

1245
01:08:58,920 --> 01:09:01,000
Speaker 1: I assumed I just knew it was hot and that

1246
01:09:01,240 --> 01:09:02,400
Speaker 1: it had alcohol in it.

1247
01:09:02,800 --> 01:09:05,360
Speaker 2: Yeah, yeah, I think it's I don't know. Some people

1248
01:09:05,400 --> 01:09:09,920
Speaker 2: out there may be a little more specific about toddies,

1249
01:09:09,960 --> 01:09:13,120
Speaker 2: but it's my loose understanding that they're a wide variety

1250
01:09:13,280 --> 01:09:18,800
Speaker 2: of hot spirit drinks that can be referred to as toddies, Okay,

1251
01:09:19,600 --> 01:09:21,920
Speaker 2: without getting you know, full on into like hot buttered

1252
01:09:21,960 --> 01:09:22,920
Speaker 2: grum and so forth.

1253
01:09:24,439 --> 01:09:28,040
Speaker 1: So anyway he goes. He's like, yes, yes, Yvonne, I

1254
01:09:28,040 --> 01:09:30,519
Speaker 1: will drink my toddy. Goes to drink the toddy, and

1255
01:09:30,760 --> 01:09:34,400
Speaker 1: in the liquid he sees reflected the mask of Satan.

1256
01:09:34,680 --> 01:09:38,840
Speaker 1: Oh fabulous, and he says it's death. I see death.

1257
01:09:39,760 --> 01:09:42,479
Speaker 1: But he resolves that they cannot win against the symbol

1258
01:09:42,560 --> 01:09:46,760
Speaker 1: of Christ. So once again, here we see elsewhere. We're

1259
01:09:46,840 --> 01:09:50,000
Speaker 1: back inside the tomb in the chapel, and the wind

1260
01:09:50,160 --> 01:09:53,080
Speaker 1: is whipping outside in the world above, and in ASA's

1261
01:09:53,120 --> 01:09:55,360
Speaker 1: grave we see a close up of her face. And

1262
01:09:55,479 --> 01:09:57,479
Speaker 1: last time her eye sockets were they were kind of

1263
01:09:57,560 --> 01:10:01,439
Speaker 1: pooling with that thick fluid. Now they are surging with

1264
01:10:01,560 --> 01:10:16,599
Speaker 1: a white, vitreous jelly, forming pale, empty orbs without pupils. Meanwhile,

1265
01:10:16,880 --> 01:10:19,160
Speaker 1: at the end at meer Garad, the two doctors are

1266
01:10:19,280 --> 01:10:23,400
Speaker 1: enjoying the local vodka. So everybody's having some alcohol tonight. Gorbek,

1267
01:10:23,640 --> 01:10:25,680
Speaker 1: by the way, he is drunk. And it is a

1268
01:10:25,760 --> 01:10:29,800
Speaker 1: swinging party. They got a guy playing a tuba. It's

1269
01:10:29,840 --> 01:10:30,599
Speaker 1: all over the place.

1270
01:10:30,760 --> 01:10:32,720
Speaker 2: I mean, it's Gothic horror. And as we've seen in

1271
01:10:32,800 --> 01:10:35,519
Speaker 2: our discussion of our of the universal horror pictures, you

1272
01:10:35,600 --> 01:10:37,280
Speaker 2: got to have some sort of a beer hall, right,

1273
01:10:37,479 --> 01:10:39,240
Speaker 2: Like that's you know, I guess if you're going for

1274
01:10:39,360 --> 01:10:43,360
Speaker 2: some sort of a like a Germanic or Romanian, Moldovian

1275
01:10:43,439 --> 01:10:47,080
Speaker 2: whatever setting. Like, Yeah, given the time period, it makes

1276
01:10:47,120 --> 01:10:49,080
Speaker 2: sense for there to be some sort of a pub

1277
01:10:49,880 --> 01:10:52,800
Speaker 2: type environment that's at the center of local life.

1278
01:10:53,120 --> 01:10:58,400
Speaker 1: Yeah, so Gorbec is enjoying that that pub life. He

1279
01:10:58,600 --> 01:11:01,960
Speaker 1: is thoroughly growdable here where he is revealing how obsessed

1280
01:11:01,960 --> 01:11:04,040
Speaker 1: he is with the princess, Like he's telling crew Ion,

1281
01:11:04,560 --> 01:11:07,120
Speaker 1: I'm not ready to go back to that castle right now,

1282
01:11:07,560 --> 01:11:11,080
Speaker 1: ask her to marry me. But crube Ion convinces him, no,

1283
01:11:11,160 --> 01:11:14,320
Speaker 1: you should go to bed instead, and he's like, okay,

1284
01:11:14,479 --> 01:11:17,280
Speaker 1: and he goes to bed. And the older doctor meanwhile,

1285
01:11:17,360 --> 01:11:19,160
Speaker 1: he's gonna go out for a walk in the night

1286
01:11:19,240 --> 01:11:22,200
Speaker 1: air before he turns in. And there's a very nice

1287
01:11:22,280 --> 01:11:25,439
Speaker 1: creepy little segment here where we follow the innkeeper's daughter

1288
01:11:25,680 --> 01:11:27,960
Speaker 1: as she is sent out alone to milk the cow.

1289
01:11:28,280 --> 01:11:30,479
Speaker 1: She doesn't want to go because the barn is creepy,

1290
01:11:30,560 --> 01:11:33,240
Speaker 1: it's right next to the haunted cemetery, and she's afraid,

1291
01:11:33,760 --> 01:11:36,360
Speaker 1: but she's forced to go milk the cow anyway, and

1292
01:11:36,560 --> 01:11:38,599
Speaker 1: has to. She really has to walk through some kind

1293
01:11:38,640 --> 01:11:40,920
Speaker 1: of thick woods to get there. I was thinking, wouldn't

1294
01:11:40,920 --> 01:11:42,600
Speaker 1: there be a path to the barn.

1295
01:11:43,600 --> 01:11:45,960
Speaker 2: But for some for z owning reasons, the barn was

1296
01:11:46,040 --> 01:11:49,040
Speaker 2: built next to the abandoned cemetery where all the murders

1297
01:11:49,080 --> 01:11:50,800
Speaker 2: were buried two centuries ago.

1298
01:11:51,840 --> 01:11:54,400
Speaker 1: Maybe she's cutting through the forest like as a short cut,

1299
01:11:54,479 --> 01:11:58,120
Speaker 1: and that's why it's she's like like this vegetation. Yeah,

1300
01:11:59,240 --> 01:12:01,760
Speaker 1: And along the way she is startled by bats and

1301
01:12:01,880 --> 01:12:04,800
Speaker 1: by a toad hopping in a puddle. She gets there

1302
01:12:04,840 --> 01:12:06,639
Speaker 1: to milk the cow, and the cow is named Irena.

1303
01:12:06,800 --> 01:12:08,559
Speaker 1: By the way, we learned the cow's name. I don't

1304
01:12:08,600 --> 01:12:12,400
Speaker 1: think they ever say the innkeeper's daughter's name. But there

1305
01:12:12,479 --> 01:12:16,360
Speaker 1: is a wonderfully creepy little set here where Krubaion goes

1306
01:12:16,400 --> 01:12:19,360
Speaker 1: out to smoke his pipe by a pond in the moonlight,

1307
01:12:19,680 --> 01:12:22,519
Speaker 1: and we hear the frogs croaking and the insects buzzing,

1308
01:12:23,120 --> 01:12:25,960
Speaker 1: And then the surface of the pond in our view

1309
01:12:26,120 --> 01:12:29,000
Speaker 1: dissolves and we see the face of the witch lying

1310
01:12:29,080 --> 01:12:32,160
Speaker 1: in her grave, still disfigured, with the holes in her

1311
01:12:32,240 --> 01:12:37,000
Speaker 1: face and demonically wide eyes now quickened with undead eyeballs,

1312
01:12:37,439 --> 01:12:40,120
Speaker 1: and she opens her lips and begins to speak, and

1313
01:12:40,240 --> 01:12:42,719
Speaker 1: she's got a voice like a snake, and she says,

1314
01:12:43,040 --> 01:12:47,800
Speaker 1: rise Yavoodich. And so in the cemetery across from the barn,

1315
01:12:48,080 --> 01:12:51,280
Speaker 1: a storm breaks out. The innkeeper's daughter, she's in there

1316
01:12:51,320 --> 01:12:53,080
Speaker 1: milking the cow, and she kind of watches through the

1317
01:12:53,120 --> 01:12:57,240
Speaker 1: window as lightning strikes in the grounds beyond. Then, in

1318
01:12:57,320 --> 01:13:02,559
Speaker 1: an awesome sequence, we zooms slowly on the unconsecrated grave

1319
01:13:02,720 --> 01:13:06,800
Speaker 1: of Yavoodich, which is sort of eroded now over all

1320
01:13:06,880 --> 01:13:10,479
Speaker 1: the years, and the earth in front of the grave

1321
01:13:10,600 --> 01:13:15,040
Speaker 1: slowly swells from below, with the damp soil pushing up

1322
01:13:15,160 --> 01:13:19,000
Speaker 1: and kind of unfolding outwards in clods from the void

1323
01:13:19,080 --> 01:13:22,559
Speaker 1: where the cursed body rests. And then we see a hand.

1324
01:13:22,800 --> 01:13:26,479
Speaker 1: It's slimy and pale, with nails like the claws of

1325
01:13:26,520 --> 01:13:30,120
Speaker 1: a beast, reaching up through the mud, and the body

1326
01:13:30,240 --> 01:13:33,080
Speaker 1: climbs out of the earth. And so the body stumbles

1327
01:13:33,160 --> 01:13:36,320
Speaker 1: through the haunted cemetery with the mask of Satan still

1328
01:13:36,400 --> 01:13:39,640
Speaker 1: nailed to its face. And then finally Yavootich comes to

1329
01:13:39,680 --> 01:13:42,920
Speaker 1: a stop beside this eroded table of tree roots, and

1330
01:13:43,000 --> 01:13:45,479
Speaker 1: he pulls the mask off of his face, revealing a

1331
01:13:45,880 --> 01:13:50,160
Speaker 1: fleshy butt disease looking form with a sunken left eye.

1332
01:13:51,240 --> 01:13:54,760
Speaker 2: Yeah. An incredible sequence here, I would argue, on par

1333
01:13:54,960 --> 01:13:57,840
Speaker 2: with any dead rising zombie sequence from any film of

1334
01:13:57,960 --> 01:13:59,679
Speaker 2: any decade. Just looks superb.

1335
01:14:00,320 --> 01:14:03,479
Speaker 1: So Yavoodich has demon work to do, and he does

1336
01:14:03,600 --> 01:14:06,599
Speaker 1: get right to work. He goes to Castle Vaido, where

1337
01:14:06,680 --> 01:14:10,360
Speaker 1: the Prince is sleeping fitfully. The Prince we see him

1338
01:14:10,479 --> 01:14:13,320
Speaker 1: wake from nightmares and sit up in his bed, and

1339
01:14:13,400 --> 01:14:16,559
Speaker 1: then a cold wind blows through the room, scattering music

1340
01:14:16,600 --> 01:14:20,479
Speaker 1: from the piano stand, and a secret door behind the

1341
01:14:20,560 --> 01:14:22,759
Speaker 1: fireplace hinges open slowly.

1342
01:14:23,120 --> 01:14:25,920
Speaker 2: Oh, and the griffin on it too, Yes, it looks amazing.

1343
01:14:26,200 --> 01:14:29,800
Speaker 1: Yes. And then standing in the doorway is Yavoodich, looking

1344
01:14:29,920 --> 01:14:34,360
Speaker 1: half alive and half zombie, with a modeled crust covered face,

1345
01:14:34,560 --> 01:14:38,400
Speaker 1: half hidden in shadow. And Yavoodich creeps towards the bed

1346
01:14:38,520 --> 01:14:41,439
Speaker 1: as the Prince lies there, frozen in terror. But at

1347
01:14:41,479 --> 01:14:43,920
Speaker 1: the last moment, the Prince remembers what can save him.

1348
01:14:44,000 --> 01:14:46,400
Speaker 1: It is the image of Christ, so he raises a

1349
01:14:46,479 --> 01:14:50,160
Speaker 1: silver cross and Yavootich is repelled. He snarls and he

1350
01:14:50,240 --> 01:14:56,160
Speaker 1: disappears from the room. Now Here the prince's family. They

1351
01:14:56,200 --> 01:14:59,400
Speaker 1: hear him crying out and they come running, and when

1352
01:14:59,439 --> 01:15:01,280
Speaker 1: he tells them what what happened, they decide they have

1353
01:15:01,400 --> 01:15:04,519
Speaker 1: to send for help. Katcha is like, oh, I happen

1354
01:15:04,560 --> 01:15:06,599
Speaker 1: to know there are two doctors staying at the end

1355
01:15:06,640 --> 01:15:08,760
Speaker 1: in mere Garad, let's send for them. She doesn't mention

1356
01:15:08,920 --> 01:15:11,760
Speaker 1: that one of them is her Prince Charley. So they

1357
01:15:11,840 --> 01:15:15,000
Speaker 1: send the groom of the castle to go retrieve the doctors.

1358
01:15:15,080 --> 01:15:18,000
Speaker 1: But what do you know when the carriage arrives outside

1359
01:15:18,080 --> 01:15:21,160
Speaker 1: the inn to get doctor krubayon, it is not the

1360
01:15:21,200 --> 01:15:25,040
Speaker 1: groom from the castle. It is Yavootich who's there driving

1361
01:15:25,120 --> 01:15:25,599
Speaker 1: the carriage.

1362
01:15:25,920 --> 01:15:30,680
Speaker 2: Oh yeah, this dark, elegant carriage here looking like this

1363
01:15:30,840 --> 01:15:32,639
Speaker 2: is the carriage that would take you away to Hell.

1364
01:15:33,040 --> 01:15:37,720
Speaker 1: Yes, yeah, you pass. As as Cinderella is headed toward

1365
01:15:37,800 --> 01:15:42,240
Speaker 1: the ball, you're going the opposite direction into Hell. And

1366
01:15:42,360 --> 01:15:45,679
Speaker 1: Yavootich is driving and Krubaion is just standing there beside

1367
01:15:45,680 --> 01:15:49,800
Speaker 1: the pond smoking his pipe, and Yavootich is like, you've

1368
01:15:49,800 --> 01:15:51,439
Speaker 1: got to come at once, We got to come. You

1369
01:15:51,520 --> 01:15:53,479
Speaker 1: got to come check on the prince. So off they go,

1370
01:15:54,360 --> 01:15:56,880
Speaker 1: and this scene is reminiscent of the carriage ride at

1371
01:15:56,960 --> 01:16:00,440
Speaker 1: Borgo Pass in Dracula, they go a little too fast.

1372
01:16:00,600 --> 01:16:04,480
Speaker 1: It's like the Hoggy, the Hoggy, the foggy haunted landscape.

1373
01:16:04,960 --> 01:16:09,920
Speaker 1: Yea at the castle, Yvudich leads Krubaion inside, but quickly

1374
01:16:10,080 --> 01:16:13,240
Speaker 1: starts to run ahead of him in the dim passageways,

1375
01:16:13,280 --> 01:16:17,760
Speaker 1: eventually disappearing, and so Krubion's like, what's going on, and

1376
01:16:17,840 --> 01:16:20,000
Speaker 1: he's trying to find his way. He sees the lantern

1377
01:16:20,160 --> 01:16:21,920
Speaker 1: down the hallway, but then he comes upon it and

1378
01:16:21,960 --> 01:16:25,759
Speaker 1: it's just hovering in mid air. And then Krubion wanders

1379
01:16:25,800 --> 01:16:28,240
Speaker 1: around lost until he comes into a room that is

1380
01:16:28,320 --> 01:16:32,040
Speaker 1: somewhat familiar because it is the eerie chapel where he

1381
01:16:32,280 --> 01:16:35,479
Speaker 1: was earlier the same day, with the tomb of the

1382
01:16:35,560 --> 01:16:39,799
Speaker 1: witch Aza gaping open as before, and Krubion is drawn

1383
01:16:39,920 --> 01:16:44,240
Speaker 1: to it. He approaches and looks inside to see eyes

1384
01:16:44,320 --> 01:16:46,640
Speaker 1: staring back at him. Her eyes are open now and

1385
01:16:46,720 --> 01:16:49,719
Speaker 1: they have pupils, and they see him. The witch is living.

1386
01:16:50,600 --> 01:16:52,800
Speaker 1: So he tries to run, but the doors to the

1387
01:16:52,880 --> 01:16:55,840
Speaker 1: chamber are locked. And then while he's like trying to

1388
01:16:55,880 --> 01:16:57,920
Speaker 1: get out, he turns back and he sees the witch's

1389
01:16:57,960 --> 01:17:02,559
Speaker 1: tomb shaking and rattling, and then it explodes. The rock

1390
01:17:02,640 --> 01:17:05,439
Speaker 1: walls go launching to the corners of the room and

1391
01:17:05,520 --> 01:17:08,080
Speaker 1: the witch is lying there and she gasps for breath.

1392
01:17:08,560 --> 01:17:11,080
Speaker 1: She turns to look at him, making one of the

1393
01:17:11,160 --> 01:17:15,160
Speaker 1: most alarmingly evil expressions in film history. This is one

1394
01:17:15,200 --> 01:17:18,320
Speaker 1: of the screenshots you may have seen from the film.

1395
01:17:19,880 --> 01:17:24,960
Speaker 2: Yes, absolutely, just this maniacal grin on her face, bright eyes,

1396
01:17:25,240 --> 01:17:28,960
Speaker 2: and of course, you know, tremendous makeup and lighting also

1397
01:17:29,040 --> 01:17:30,000
Speaker 2: adding to this effect.

1398
01:17:30,520 --> 01:17:35,240
Speaker 1: She says, crubion, crubion, I've been waiting for you, and

1399
01:17:35,400 --> 01:17:37,479
Speaker 1: she bids him to look into her eyes and to

1400
01:17:37,560 --> 01:17:40,599
Speaker 1: come closer. She says, just a few drops of your

1401
01:17:40,680 --> 01:17:44,160
Speaker 1: blood brought me to life again. All of your blood

1402
01:17:44,240 --> 01:17:47,519
Speaker 1: will give me the strength to accomplish my vision. Come

1403
01:17:48,240 --> 01:17:53,040
Speaker 1: kiss me. My lips will transform you so powerless. He

1404
01:17:53,120 --> 01:17:55,880
Speaker 1: walks toward her, and she says, you will be dead

1405
01:17:55,960 --> 01:17:59,360
Speaker 1: to man, but you will be alive and death. And

1406
01:17:59,560 --> 01:18:02,759
Speaker 1: slowly he leans over her and he brings his lips

1407
01:18:02,800 --> 01:18:05,559
Speaker 1: to hers, and they kiss as she sort of reaches

1408
01:18:05,680 --> 01:18:10,160
Speaker 1: up and touches his hair. It's weirdly cold and passionate

1409
01:18:10,240 --> 01:18:12,360
Speaker 1: looking at the same time. It's weird.

1410
01:18:13,160 --> 01:18:15,479
Speaker 2: Yeah, And I think this scene was one of those scenes.

1411
01:18:15,520 --> 01:18:18,040
Speaker 2: It was too hot for AIP at the time, and

1412
01:18:18,160 --> 01:18:20,920
Speaker 2: then they cut it a little bit. It's not very sexy,

1413
01:18:21,320 --> 01:18:26,040
Speaker 2: no no, but it's just too probably just too a

1414
01:18:26,280 --> 01:18:30,000
Speaker 2: mix of weirdness, darkness, and sexuality. There was just a

1415
01:18:30,040 --> 01:18:31,479
Speaker 2: little bit too much for the sensors.

1416
01:18:31,880 --> 01:18:36,599
Speaker 1: Yeah. So in Prince Vida's room, doctor Krubion arrives now,

1417
01:18:36,640 --> 01:18:40,120
Speaker 1: but he has much a changed demeanor. He is gruff

1418
01:18:40,320 --> 01:18:44,400
Speaker 1: and curt The doctor checks out the prince and he

1419
01:18:44,840 --> 01:18:47,439
Speaker 1: calms him, apparently with some kind of hypnosis. He kind

1420
01:18:47,479 --> 01:18:50,280
Speaker 1: of wipes his hand over his face and calms the prince.

1421
01:18:50,960 --> 01:18:54,080
Speaker 1: At one point, Constantine tries to explain what his father

1422
01:18:54,320 --> 01:18:57,160
Speaker 1: said had happened, and he holds out a cross to illustrate,

1423
01:18:57,960 --> 01:19:01,000
Speaker 1: and Crubion recoils. He says, take that away. He mustn't

1424
01:19:01,040 --> 01:19:05,160
Speaker 1: see it or it could provoke another attack. And then

1425
01:19:05,280 --> 01:19:09,080
Speaker 1: elsewhere we see Yavoodich in the chapel with ASA's body,

1426
01:19:09,520 --> 01:19:12,400
Speaker 1: and Yavoudich is speaking to her. He promises that he

1427
01:19:12,560 --> 01:19:15,920
Speaker 1: will help her live again and that what they he explains,

1428
01:19:15,960 --> 01:19:19,240
Speaker 1: what they need is Katya Asa will steal her youth

1429
01:19:19,360 --> 01:19:22,759
Speaker 1: and her beauty, kill her soul and live in her body.

1430
01:19:23,800 --> 01:19:26,760
Speaker 1: So that's the plan. We basically know what the bad

1431
01:19:26,800 --> 01:19:28,439
Speaker 1: guys are going to do now. The plan is to

1432
01:19:28,560 --> 01:19:32,360
Speaker 1: make vampire thralls, to get revenge on the entire Vida family,

1433
01:19:32,840 --> 01:19:35,640
Speaker 1: and to steal Kaya's life force so the witch can

1434
01:19:35,760 --> 01:19:36,720
Speaker 1: live again through her.

1435
01:19:37,880 --> 01:19:40,920
Speaker 2: There you go. Yeah, a three step plan. They seem

1436
01:19:40,960 --> 01:19:44,280
Speaker 2: perfectly capable of pulling it off. We noted that the

1437
01:19:44,400 --> 01:19:48,800
Speaker 2: narration made reference to vampires. I do feel like that

1438
01:19:48,960 --> 01:19:51,639
Speaker 2: narration hit the nail on the head a bit too hard,

1439
01:19:51,760 --> 01:19:54,519
Speaker 2: because what we have in this is like a form

1440
01:19:54,600 --> 01:19:58,639
Speaker 2: of vamporism, Like it's vamporism is more like the method

1441
01:19:59,520 --> 01:20:03,120
Speaker 2: or part of the resurrection scheme and not it doesn't

1442
01:20:03,160 --> 01:20:06,519
Speaker 2: seem to be like a clear monster identity so much

1443
01:20:06,600 --> 01:20:09,160
Speaker 2: in this picture once you get into the actual plot

1444
01:20:09,240 --> 01:20:11,080
Speaker 2: and the pacing of the thing, I agree.

1445
01:20:11,120 --> 01:20:13,160
Speaker 1: And that's what I was sort of talking about earlier,

1446
01:20:13,280 --> 01:20:15,599
Speaker 1: with the fact that the vampires, when they show back

1447
01:20:15,640 --> 01:20:17,840
Speaker 1: up again more than halfway through the movie, it feels

1448
01:20:17,880 --> 01:20:22,320
Speaker 1: like a surprise. Yeah, yeah, something doesn't even though they

1449
01:20:22,360 --> 01:20:25,800
Speaker 1: did say vampire earlier was at the very beginning, But yeah,

1450
01:20:25,840 --> 01:20:28,120
Speaker 1: it almost just feels like one of the tricks in

1451
01:20:28,200 --> 01:20:28,880
Speaker 1: the witch bag.

1452
01:20:29,280 --> 01:20:33,880
Speaker 2: Yeah, like the full array of nightmare and horror are

1453
01:20:33,960 --> 01:20:36,120
Speaker 2: their toolbox, and this just happens to be one of

1454
01:20:36,160 --> 01:20:37,240
Speaker 2: the things they can draw on.

1455
01:20:37,640 --> 01:20:37,880
Speaker 3: Yeah.

1456
01:20:39,000 --> 01:20:43,000
Speaker 1: So during the sequence, Katchia is very concerned for her

1457
01:20:43,040 --> 01:20:46,240
Speaker 1: pro for her father, Prince Vida, and she prays for him,

1458
01:20:46,960 --> 01:20:50,280
Speaker 1: but doctor Krubayon puts her mind at ease and asks

1459
01:20:50,400 --> 01:20:53,080
Speaker 1: to be left alone with Prince Vida. So she leaves

1460
01:20:53,720 --> 01:20:57,360
Speaker 1: and the doctor then turns to his patient, his victim,

1461
01:20:58,000 --> 01:21:00,799
Speaker 1: and the next morning the family is away to discover

1462
01:21:01,040 --> 01:21:03,479
Speaker 1: to their horror that Prince Vida is dead in his

1463
01:21:03,600 --> 01:21:06,599
Speaker 1: bed with horrible scars on his face, and doctor kru

1464
01:21:06,680 --> 01:21:10,200
Speaker 1: Bayon is nowhere to be found. And at this point

1465
01:21:10,280 --> 01:21:14,360
Speaker 1: I wonder if I might now transition to recounting the

1466
01:21:14,439 --> 01:21:16,280
Speaker 1: movie in a little bit less detail, and we can

1467
01:21:16,360 --> 01:21:19,439
Speaker 1: discuss in a kind of summary way. But the next

1468
01:21:19,840 --> 01:21:22,080
Speaker 1: big thing that happens is we get Gore back back

1469
01:21:22,160 --> 01:21:25,480
Speaker 1: in action, because now some heroism needs to happen.

1470
01:21:25,320 --> 01:21:28,840
Speaker 2: Right right, and Crouvion has to be found. So there's

1471
01:21:28,840 --> 01:21:32,000
Speaker 2: a lot of calling for him, calling his name, looking

1472
01:21:32,080 --> 01:21:35,320
Speaker 2: around for him, and also like just a discussing his

1473
01:21:35,479 --> 01:21:39,080
Speaker 2: bedside manner, because like they're discussing the fact that like

1474
01:21:39,120 --> 01:21:41,800
Speaker 2: he seemed to just up and leave and now the

1475
01:21:41,880 --> 01:21:43,760
Speaker 2: prince is dead because of it, and he's like, that

1476
01:21:43,840 --> 01:21:46,560
Speaker 2: doesn't sound like him at all. He would not do that,

1477
01:21:46,720 --> 01:21:48,439
Speaker 2: e would not just run off into the night. Something

1478
01:21:48,520 --> 01:21:50,240
Speaker 2: serious must have happened exactly.

1479
01:21:50,320 --> 01:21:53,920
Speaker 1: So, Yeah, Gorbeka, who we must assume is quite hung over,

1480
01:21:54,439 --> 01:21:57,639
Speaker 1: he goes to the castle to find cru Bayon, and yeah,

1481
01:21:57,720 --> 01:22:00,439
Speaker 1: he has this kind of conflict with Constant and when

1482
01:22:00,520 --> 01:22:02,679
Speaker 1: he arrives. Also, we should note at the same time

1483
01:22:03,160 --> 01:22:05,759
Speaker 1: as he's traveling to the castle, there's a very creepy

1484
01:22:05,800 --> 01:22:08,280
Speaker 1: scene where children are playing by the rushing river in

1485
01:22:08,320 --> 01:22:11,040
Speaker 1: the valley beside the castle and they come across a

1486
01:22:11,160 --> 01:22:14,240
Speaker 1: dead body. And there's a cool trick in this shot

1487
01:22:14,360 --> 01:22:18,200
Speaker 1: where we don't realize there's a dead body in frame

1488
01:22:18,560 --> 01:22:22,360
Speaker 1: until after it's already inframe, because we are following a

1489
01:22:22,520 --> 01:22:25,599
Speaker 1: shirt as it flows down the river and the children

1490
01:22:25,640 --> 01:22:28,240
Speaker 1: are chasing it, and we're watching the shirt move through

1491
01:22:28,280 --> 01:22:31,080
Speaker 1: the water, and so the camera follows it and then

1492
01:22:31,120 --> 01:22:34,599
Speaker 1: there's this dead body in frame, and then somebody screams

1493
01:22:34,640 --> 01:22:36,519
Speaker 1: and points to it, and then you realize, like, oh,

1494
01:22:36,640 --> 01:22:38,160
Speaker 1: there's yeah, there's a face right there.

1495
01:22:38,439 --> 01:22:41,799
Speaker 2: Yeah, creepy sequence, and of course.

1496
01:22:41,600 --> 01:22:44,400
Speaker 1: It was the body of Boris, the groom at the castle,

1497
01:22:44,400 --> 01:22:47,240
Speaker 1: who was supposed to be driving the carriage. But yeah,

1498
01:22:47,320 --> 01:22:49,840
Speaker 1: like you mentioned Gorbak, he arrives at the castle, it's

1499
01:22:49,840 --> 01:22:54,800
Speaker 1: an icy reception because of his association with Krubaion. They're like, yeah,

1500
01:22:54,880 --> 01:22:57,720
Speaker 1: he just left and our father is dead now, so

1501
01:22:58,680 --> 01:23:02,560
Speaker 1: that's not very cool. But he sort of talks his

1502
01:23:02,640 --> 01:23:04,800
Speaker 1: way into coming up to see the body of Prince Vida,

1503
01:23:05,120 --> 01:23:07,680
Speaker 1: and while looking at it, Kachia faints and then here

1504
01:23:07,880 --> 01:23:11,360
Speaker 1: Gorbek begins tending to her, and he's obviously just head

1505
01:23:11,400 --> 01:23:13,680
Speaker 1: over heels. I guess he already was, but in this

1506
01:23:13,800 --> 01:23:16,559
Speaker 1: scene he's like he's trying to help her recover her senses,

1507
01:23:16,640 --> 01:23:19,720
Speaker 1: and he's just overwhelmed by her beauty. The scene also

1508
01:23:19,800 --> 01:23:23,160
Speaker 1: makes a point to show Katya wearing her father's silver

1509
01:23:23,280 --> 01:23:27,479
Speaker 1: crucifix around her neck dangling on her chest, and Gorbec

1510
01:23:27,560 --> 01:23:31,240
Speaker 1: looks at that. Why his eyes are drawn there, and

1511
01:23:31,640 --> 01:23:33,880
Speaker 1: you know, they don't specify one way or another, is

1512
01:23:33,920 --> 01:23:35,839
Speaker 1: it the symbol of Christ or is it just Katya?

1513
01:23:36,680 --> 01:23:39,919
Speaker 1: But then later that will be we will be reminded

1514
01:23:39,960 --> 01:23:42,479
Speaker 1: of that because like he's gonna come across a body

1515
01:23:42,520 --> 01:23:44,920
Speaker 1: wearing the same crucifix, and it's like, wait, is this

1516
01:23:45,560 --> 01:23:50,120
Speaker 1: who is this? I'm looking at right? But news of

1517
01:23:50,280 --> 01:23:52,960
Speaker 1: the discovery of Boris's body is brought to the castle

1518
01:23:53,040 --> 01:23:55,400
Speaker 1: by a crowd of locals, and this leads to an

1519
01:23:55,439 --> 01:24:00,080
Speaker 1: interrogation of the innkeeper's daughter. She explains that when he

1520
01:24:00,160 --> 01:24:02,080
Speaker 1: saw the carriage arrive the night before, it was not

1521
01:24:02,360 --> 01:24:05,560
Speaker 1: Boris who came to pick up doctor Krubayan, it was

1522
01:24:05,600 --> 01:24:08,160
Speaker 1: a man she'd never seen before. And it turns out

1523
01:24:08,240 --> 01:24:11,320
Speaker 1: as they're walking by a painting of Ya Vootage hanging

1524
01:24:11,439 --> 01:24:13,760
Speaker 1: up on the wall in the castle, She's like, that's him,

1525
01:24:14,000 --> 01:24:16,639
Speaker 1: That's the guy from the carriage, And I was thinking,

1526
01:24:16,840 --> 01:24:19,360
Speaker 1: why is there a painting of Ya Vootage hanging up

1527
01:24:19,400 --> 01:24:20,080
Speaker 1: in the castle?

1528
01:24:20,400 --> 01:24:25,280
Speaker 2: Yeah, he was like a like a dank outcast warlock

1529
01:24:25,520 --> 01:24:29,000
Speaker 2: that one of their ancestors had a like a doomed

1530
01:24:29,479 --> 01:24:33,320
Speaker 2: romance with that ended in them both being executed and

1531
01:24:33,560 --> 01:24:37,280
Speaker 2: he was buried in a like in a murderer's grave. So, yeah,

1532
01:24:37,320 --> 01:24:39,760
Speaker 2: why is there a commissioned painting of him here? I'm

1533
01:24:39,800 --> 01:24:40,120
Speaker 2: not sure.

1534
01:24:40,360 --> 01:24:46,040
Speaker 1: Yeah, someone's confusing, but anyway, so Constantine and Katya ended

1535
01:24:46,120 --> 01:24:48,519
Speaker 1: up asking Gorbek to stay with them at the castle.

1536
01:24:48,720 --> 01:24:51,280
Speaker 1: Especially Katchya likes this guy, so, you know, stay at

1537
01:24:51,320 --> 01:24:54,000
Speaker 1: the castle and help us out. So here Gorbec goes

1538
01:24:54,040 --> 01:24:57,680
Speaker 1: into investigation mode. He investigates the body of Boris in

1539
01:24:57,800 --> 01:25:01,479
Speaker 1: the company of a local priest. This will become a

1540
01:25:01,560 --> 01:25:04,240
Speaker 1: kind of sidekick for Gorbek for much of the rest

1541
01:25:04,280 --> 01:25:04,799
Speaker 1: of the film.

1542
01:25:05,479 --> 01:25:05,599
Speaker 2: Uh.

1543
01:25:05,920 --> 01:25:09,000
Speaker 1: And you know, he's like looking at the punctures on

1544
01:25:09,080 --> 01:25:12,080
Speaker 1: the neck of the corpse. He's hearing the stories about

1545
01:25:12,120 --> 01:25:15,960
Speaker 1: crubaion strange behavior, and Gorbec is very in a familiar scene.

1546
01:25:16,000 --> 01:25:17,920
Speaker 1: He's like, I'm a man of science, but none of

1547
01:25:18,000 --> 01:25:19,480
Speaker 1: this makes logical sense.

1548
01:25:19,600 --> 01:25:22,040
Speaker 2: Right, So we get kind of like our buddy cops. Here,

1549
01:25:22,120 --> 01:25:25,320
Speaker 2: one is logic, one is religion, Yes, one is science,

1550
01:25:25,520 --> 01:25:29,240
Speaker 2: one is the dark lore. And they're going to figure

1551
01:25:29,280 --> 01:25:30,200
Speaker 2: it out there on the case.

1552
01:25:30,360 --> 01:25:33,840
Speaker 1: Yes. And here we sort of launch into the third act.

1553
01:25:34,000 --> 01:25:37,559
Speaker 1: So we see Krubaion in vampire mode and Yavudich sneaking

1554
01:25:37,600 --> 01:25:41,639
Speaker 1: around the castle menacing people. They're creeping on Katchya because ultimately,

1555
01:25:41,720 --> 01:25:43,439
Speaker 1: you remember, they're going to bring her to the witch

1556
01:25:43,520 --> 01:25:47,519
Speaker 1: so the witch can steal her life force. At one point,

1557
01:25:47,680 --> 01:25:50,599
Speaker 1: there's a scene where one of these figures. We don't

1558
01:25:50,600 --> 01:25:53,400
Speaker 1: know which one is lurking until she takes her crucifix

1559
01:25:53,520 --> 01:25:57,120
Speaker 1: off for the night and the figure starts to reach

1560
01:25:57,160 --> 01:26:00,760
Speaker 1: a hand out from around a curtain and Gorbek Constantine

1561
01:26:00,880 --> 01:26:03,000
Speaker 1: come to check things out when she screams for help

1562
01:26:03,080 --> 01:26:05,160
Speaker 1: and she's saying I saw the hand I saw it,

1563
01:26:05,360 --> 01:26:11,000
Speaker 1: I saw it, and Gorebec's like, I'll get her a sedative, okay, dude.

1564
01:26:11,520 --> 01:26:15,000
Speaker 1: But then after this scene there is an encounter between

1565
01:26:15,280 --> 01:26:19,439
Speaker 1: Creubion and gor Beec. This is interesting. Crubion comes into

1566
01:26:19,520 --> 01:26:23,120
Speaker 1: his room and Gorbek's like, oh, I thought you had left.

1567
01:26:23,200 --> 01:26:25,560
Speaker 1: I didn't understand the stories people are telling me, Like

1568
01:26:25,960 --> 01:26:29,040
Speaker 1: why did you leave? And Creubion's just like, you need

1569
01:26:29,120 --> 01:26:30,479
Speaker 1: to get out of here and this is none of

1570
01:26:30,520 --> 01:26:34,200
Speaker 1: your business. Leave the castle, and Gorbec shows him the

1571
01:26:34,280 --> 01:26:37,320
Speaker 1: triptic icon that they found in the grave and says,

1572
01:26:37,400 --> 01:26:39,920
Speaker 1: you know, I've been trying to decipher this. But when

1573
01:26:39,960 --> 01:26:42,439
Speaker 1: he shows the icon to Crubion, the older doctor is

1574
01:26:42,560 --> 01:26:45,160
Speaker 1: just like ah and runs away. Can't look at this thing.

1575
01:26:45,720 --> 01:26:48,559
Speaker 2: Yeah, but it's an interesting sequence. So we see shades

1576
01:26:48,560 --> 01:26:51,200
Speaker 2: of this in various tales of the supernatural where somebody

1577
01:26:51,240 --> 01:26:53,599
Speaker 2: has turned but there's like some bit of their humanity

1578
01:26:53,760 --> 01:26:56,160
Speaker 2: left enough that they want to in this case, you know,

1579
01:26:56,320 --> 01:27:00,920
Speaker 2: warn their friend to go away. Yeah, that may or

1580
01:27:01,080 --> 01:27:03,320
Speaker 2: may not have you know, may or may not align

1581
01:27:03,400 --> 01:27:05,400
Speaker 2: with the master evil scheme and play here.

1582
01:27:05,760 --> 01:27:09,800
Speaker 1: I didn't take his warning here as particularly benevolent. I

1583
01:27:09,880 --> 01:27:11,760
Speaker 1: feel like you could read this as just like he's

1584
01:27:11,800 --> 01:27:14,200
Speaker 1: trying to get rid of him, just like get out.

1585
01:27:14,320 --> 01:27:16,200
Speaker 1: You know, you've got nothing to do with this, get

1586
01:27:16,240 --> 01:27:16,880
Speaker 1: out of our way.

1587
01:27:17,520 --> 01:27:21,320
Speaker 2: Yeah. Yeah, he's too quick with a crucifix to kill right.

1588
01:27:21,560 --> 01:27:22,120
Speaker 3: Yeah. Yeah.

1589
01:27:23,280 --> 01:27:25,360
Speaker 1: Also in the scene we get the Hounds of Hell

1590
01:27:25,439 --> 01:27:28,800
Speaker 1: we met earlier, there's not on screen dog Gore, but

1591
01:27:29,080 --> 01:27:31,479
Speaker 1: there is, you know, it's kind of obscured in the

1592
01:27:31,520 --> 01:27:34,000
Speaker 1: black and white, but the dogs are found with their

1593
01:27:34,080 --> 01:27:36,840
Speaker 1: throats slashed here, presumably by Krubaion.

1594
01:27:37,200 --> 01:27:38,599
Speaker 2: Oh sad day for the dogs.

1595
01:27:38,760 --> 01:27:43,320
Speaker 1: Yes, And so later Gorbek and his priest's sidekick they

1596
01:27:43,479 --> 01:27:48,639
Speaker 1: translate the icon. And also at the same time, Gorbec

1597
01:27:48,760 --> 01:27:51,880
Speaker 1: is busy courting Katya, and they go walking through the

1598
01:27:51,960 --> 01:27:55,919
Speaker 1: gardens and the ruins together and there's a long exchange

1599
01:27:55,960 --> 01:27:58,160
Speaker 1: for them where they sort of they sympathize with each other,

1600
01:27:58,439 --> 01:28:02,200
Speaker 1: where Gorbeck offers or comfort because she's really despairing. She says,

1601
01:28:02,280 --> 01:28:05,680
Speaker 1: what is my life sadness and grief, something that destroys

1602
01:28:05,720 --> 01:28:08,200
Speaker 1: itself day by day and no one can rebuild it.

1603
01:28:08,720 --> 01:28:10,840
Speaker 1: Here is the image of my life. And she's pointing

1604
01:28:10,880 --> 01:28:13,519
Speaker 1: at the ruined gardens. She says, look at it. It's

1605
01:28:13,560 --> 01:28:16,880
Speaker 1: being consumed hour by hour like this garden, abandoned to

1606
01:28:16,960 --> 01:28:22,360
Speaker 1: a purposeless existence. And he tries to give her encouragement

1607
01:28:22,560 --> 01:28:24,240
Speaker 1: that she you know, that he'd like to help her.

1608
01:28:24,320 --> 01:28:26,479
Speaker 1: He encourages her to leave this place if it makes

1609
01:28:26,479 --> 01:28:30,200
Speaker 1: her unhappy, and while so like, he gives a speech

1610
01:28:30,200 --> 01:28:33,439
Speaker 1: about trying to dispel her worries about how sunlight touches

1611
01:28:33,479 --> 01:28:36,080
Speaker 1: even the darkest corners of this garden and the ruins,

1612
01:28:36,520 --> 01:28:39,000
Speaker 1: and she begs for his help and they embrace. Clearly

1613
01:28:39,160 --> 01:28:41,840
Speaker 1: he loves her and she loves him too, but she's

1614
01:28:42,200 --> 01:28:45,200
Speaker 1: she's like too busy being cursed to date anyone right now?

1615
01:28:45,479 --> 01:28:49,800
Speaker 2: Yeah, this is this. This came up in the House

1616
01:28:49,840 --> 01:28:52,559
Speaker 2: of Usher last year. Oh yeah, a similar plot where

1617
01:28:52,720 --> 01:28:57,599
Speaker 2: your your dark, depressed gothic girlfriend clearly needs to leave

1618
01:28:58,160 --> 01:29:02,120
Speaker 2: her doomed house. But it takes a bit of convincing.

1619
01:29:02,439 --> 01:29:05,880
Speaker 1: Yeah, in this case, it is a very like, it's

1620
01:29:05,960 --> 01:29:07,880
Speaker 1: not you, it's me, Like, I really do like you,

1621
01:29:08,000 --> 01:29:22,120
Speaker 1: but I'm cursed anyway. Meanwhile, the human inhabitants of the

1622
01:29:22,160 --> 01:29:25,720
Speaker 1: castle are starting to put some things together. Yvonne accidentally

1623
01:29:25,840 --> 01:29:29,559
Speaker 1: uncovers some machinery and the secret passageways in the castle

1624
01:29:29,600 --> 01:29:31,760
Speaker 1: while trying to put out a curtain that catches fire,

1625
01:29:32,960 --> 01:29:36,560
Speaker 1: and so the good characters started investigating the secret passageways.

1626
01:29:36,960 --> 01:29:40,320
Speaker 1: Constantine and Gorbeck find paintings of the witch, like the

1627
01:29:40,400 --> 01:29:42,920
Speaker 1: paintings of the like the naked witch as she looks

1628
01:29:43,080 --> 01:29:46,320
Speaker 1: just like Katchya, except she's like standing there naked and evil,

1629
01:29:46,600 --> 01:29:51,000
Speaker 1: you know, eyes blazing at the painter, and they start

1630
01:29:51,040 --> 01:29:54,000
Speaker 1: to kind of put the pieces together. They find the

1631
01:29:54,160 --> 01:29:57,120
Speaker 1: body of the witch in the chapel once again, and

1632
01:29:57,280 --> 01:30:00,799
Speaker 1: they're like, wow, remarkable, how fresh she looks. Oh, she's breathing,

1633
01:30:01,960 --> 01:30:03,680
Speaker 1: and she is breathing, and they say, we're in the

1634
01:30:03,720 --> 01:30:07,439
Speaker 1: presence of an unnatural mystery. So Gorbek runs out of

1635
01:30:07,479 --> 01:30:09,960
Speaker 1: the castle to go get the priest to figure out

1636
01:30:09,960 --> 01:30:13,439
Speaker 1: how to fight this evil, while Constantine goes to protect Katcha.

1637
01:30:13,479 --> 01:30:17,280
Speaker 1: In the meantime, Gorbek and the priest they finally figure

1638
01:30:17,320 --> 01:30:20,040
Speaker 1: out a method. They go to the haunted cemetery to

1639
01:30:20,160 --> 01:30:24,200
Speaker 1: hunt for the grave of Yavootich to quench his demonic spirit.

1640
01:30:25,000 --> 01:30:28,040
Speaker 1: And they find the grave and inside the coffin they

1641
01:30:28,120 --> 01:30:33,400
Speaker 1: find not Yavootich but Krubaion. But how and the priest

1642
01:30:33,880 --> 01:30:36,040
Speaker 1: proves it. He says, this is no longer your friend,

1643
01:30:36,160 --> 01:30:38,800
Speaker 1: but a servant of the devil. And he demonstrates this

1644
01:30:38,920 --> 01:30:41,360
Speaker 1: by touching the doctor's face with a cross and its

1645
01:30:41,439 --> 01:30:45,800
Speaker 1: sizzles and burns. So the priest has determined from the

1646
01:30:45,960 --> 01:30:49,439
Speaker 1: inscription in that icon, the triptych, how to stop these

1647
01:30:49,479 --> 01:30:53,120
Speaker 1: evil spirits. You have to pierce the left eye of

1648
01:30:53,240 --> 01:30:55,880
Speaker 1: the vampire. So they like get a needle like thing

1649
01:30:56,000 --> 01:30:59,320
Speaker 1: or a stylus kind of and they pierce the eye

1650
01:30:59,400 --> 01:31:01,960
Speaker 1: and it kind of words everywhere, and then the being

1651
01:31:02,120 --> 01:31:04,559
Speaker 1: is defeated. That was a new one to me. I mean, yeah,

1652
01:31:04,680 --> 01:31:06,519
Speaker 1: I'm familiar with stake through the heart.

1653
01:31:07,360 --> 01:31:09,760
Speaker 2: Yeah, now I have I have a question here. So

1654
01:31:10,040 --> 01:31:13,599
Speaker 2: are we to understand that the Crubillon who we saw

1655
01:31:13,680 --> 01:31:17,200
Speaker 2: earlier pleading with his friend to leave, that was not

1656
01:31:17,400 --> 01:31:19,120
Speaker 2: Cruebaillon at all.

1657
01:31:19,600 --> 01:31:22,519
Speaker 1: No, I think that was Crubion. He's just come back

1658
01:31:22,560 --> 01:31:24,600
Speaker 1: to I maybe that was in. I don't know it

1659
01:31:24,720 --> 01:31:26,479
Speaker 1: was that in the night time, and now he's come

1660
01:31:26,560 --> 01:31:28,880
Speaker 1: back to be under to lie in the coffin during

1661
01:31:28,920 --> 01:31:31,160
Speaker 1: the day. I'm not fair enough fair that would make sense,

1662
01:31:32,080 --> 01:31:35,640
Speaker 1: But yeah, I think that was him. But now he's defeated. No,

1663
01:31:35,880 --> 01:31:38,479
Speaker 1: no more demon cru bion, no more vampire mode. He's

1664
01:31:38,479 --> 01:31:41,120
Speaker 1: had his eye pierced. And so the priest explains to

1665
01:31:41,160 --> 01:31:44,120
Speaker 1: Gorbec what the witch's plan has to be. She's gonna

1666
01:31:44,160 --> 01:31:47,679
Speaker 1: possess the body of Kacia to have new life for herself,

1667
01:31:48,120 --> 01:31:49,960
Speaker 1: and the only way to stop it is to pierce

1668
01:31:50,080 --> 01:31:53,360
Speaker 1: the left eye of the witch. So, armed with this knowledge,

1669
01:31:53,439 --> 01:31:56,080
Speaker 1: Gorbec heads back to the castle. I think the priest

1670
01:31:56,200 --> 01:31:57,840
Speaker 1: is going to assemble an angry mob.

1671
01:31:59,479 --> 01:32:01,280
Speaker 2: Gotta have yes now.

1672
01:32:01,479 --> 01:32:03,920
Speaker 1: Meanwhile, back at the castle, it's just a slaughterhouse. You

1673
01:32:04,000 --> 01:32:08,080
Speaker 1: get a lot of like creeping going on. Constantine gets

1674
01:32:08,160 --> 01:32:11,120
Speaker 1: frightened into a pit trap by Yavudich in one of

1675
01:32:11,120 --> 01:32:15,120
Speaker 1: the secret passageways. Yvonne gets hanged by the neck. And

1676
01:32:15,200 --> 01:32:18,880
Speaker 1: then while Katya is crying over her father's coffin the

1677
01:32:19,080 --> 01:32:23,080
Speaker 1: body of Prince Vida, her father rises again and he says,

1678
01:32:23,160 --> 01:32:25,840
Speaker 1: I am no longer your father. My blood is no

1679
01:32:25,960 --> 01:32:28,880
Speaker 1: longer your blood. The spirits of evil have rent that

1680
01:32:29,120 --> 01:32:32,599
Speaker 1: tie between us forever. And then a cursed poison flows

1681
01:32:32,640 --> 01:32:36,439
Speaker 1: in your veins, and then Katya faints, but before Prince

1682
01:32:36,520 --> 01:32:40,080
Speaker 1: Vida the vampire can drink her blood, we get vampire

1683
01:32:40,160 --> 01:32:44,760
Speaker 1: on vampire conflict. Yavuodich appears and he says, no, she

1684
01:32:44,960 --> 01:32:47,919
Speaker 1: is not for you, you know, she's for our demonic mistress,

1685
01:32:48,320 --> 01:32:51,720
Speaker 1: and then he sort of strangles the Prince Vida vampire

1686
01:32:52,080 --> 01:32:55,320
Speaker 1: and throws his body into the fireplace, and we get

1687
01:32:55,360 --> 01:32:58,880
Speaker 1: to see the vampire's face melting in the fire. Oh yeah,

1688
01:32:59,120 --> 01:33:01,840
Speaker 1: gross gore. It's like a wax face that they actually

1689
01:33:01,920 --> 01:33:06,599
Speaker 1: show melting, nasty effect. So anyway, so now Katya, we're

1690
01:33:06,600 --> 01:33:10,240
Speaker 1: getting to the climax. Kaya's body is left unconscious next

1691
01:33:10,320 --> 01:33:13,240
Speaker 1: to the witch's coffin, and then we see the witch stirring.

1692
01:33:13,760 --> 01:33:17,120
Speaker 1: She reaches out and she touches Kachia's arm and through

1693
01:33:17,280 --> 01:33:21,439
Speaker 1: evil magic, she SAPs Kochia's life force. So on Kotya,

1694
01:33:21,840 --> 01:33:24,840
Speaker 1: we see the sort of vitality draining from her face,

1695
01:33:25,240 --> 01:33:29,040
Speaker 1: wrinkles and lines forming on her flesh. Meanwhile, the witch

1696
01:33:29,160 --> 01:33:33,160
Speaker 1: grows increasingly young and beautiful, like a drooping plant that

1697
01:33:33,240 --> 01:33:34,040
Speaker 1: has been watered.

1698
01:33:34,560 --> 01:33:37,040
Speaker 2: This was an interesting effect. It seemed to me that

1699
01:33:37,200 --> 01:33:40,880
Speaker 2: much of this was created just via the lighting, or

1700
01:33:40,920 --> 01:33:43,519
Speaker 2: at least if it was created another way. It was

1701
01:33:43,600 --> 01:33:45,760
Speaker 2: subtle enough that it didn't feel janky at all.

1702
01:33:46,040 --> 01:33:48,160
Speaker 1: Yeah, I think it was a combination of lighting and

1703
01:33:48,240 --> 01:33:52,120
Speaker 1: makeup and editing transitions. But you're right, it's incredibly smooth.

1704
01:33:53,680 --> 01:33:58,240
Speaker 1: And the witch Asa says to her, She says, you

1705
01:33:58,400 --> 01:34:00,639
Speaker 1: did not know that you were born for this moment.

1706
01:34:01,040 --> 01:34:03,640
Speaker 1: You did not know that your life had been consecrated

1707
01:34:03,720 --> 01:34:06,840
Speaker 1: to me by Satan. But you sensed it, didn't you.

1708
01:34:07,320 --> 01:34:10,439
Speaker 1: You sensed it didn't you. That's why my portrait was

1709
01:34:10,479 --> 01:34:13,240
Speaker 1: such a temptation to you. You felt like your life

1710
01:34:13,320 --> 01:34:16,280
Speaker 1: and your body were mine. You felt like me because

1711
01:34:16,280 --> 01:34:20,080
Speaker 1: you were destined to become me, a useless body without life.

1712
01:34:20,560 --> 01:34:23,080
Speaker 1: The love that young man had for you might have

1713
01:34:23,280 --> 01:34:25,680
Speaker 1: saved you. Do you know that you could have been

1714
01:34:25,760 --> 01:34:29,360
Speaker 1: happy together? But I was stronger, and now you shall

1715
01:34:29,479 --> 01:34:35,679
Speaker 1: enjoy a beautiful life of evil and hate in me. Meanwhile,

1716
01:34:35,840 --> 01:34:38,519
Speaker 1: a gorbec comes back to the castle to save the day,

1717
01:34:38,640 --> 01:34:41,320
Speaker 1: and there's a great there's a fight scene between Yavoodich

1718
01:34:41,360 --> 01:34:45,160
Speaker 1: and Gorbyek. It's a real punch out. There's different kinds

1719
01:34:45,200 --> 01:34:48,439
Speaker 1: of fighting. There's striking and grappling to use. That is

1720
01:34:48,479 --> 01:34:49,840
Speaker 1: that the MMA terminology?

1721
01:34:49,960 --> 01:34:51,719
Speaker 2: Yeah, I think, okay, they're both.

1722
01:34:52,720 --> 01:34:56,280
Speaker 1: And it ends up near the pit trap that Constantine

1723
01:34:56,360 --> 01:35:00,320
Speaker 1: fell into earlier, and so Gorbek he like gets pushed

1724
01:35:00,360 --> 01:35:02,120
Speaker 1: over the edge and he's hanging on the edge there.

1725
01:35:02,160 --> 01:35:04,760
Speaker 1: You know, it's your classic like the hero's dangling over

1726
01:35:04,880 --> 01:35:08,200
Speaker 1: a pit or a precipice and the villain is standing

1727
01:35:08,240 --> 01:35:11,640
Speaker 1: above him. But actually Constantine comes to the rescue. We

1728
01:35:11,720 --> 01:35:14,000
Speaker 1: thought he fell to his death earlier, but he did not.

1729
01:35:14,600 --> 01:35:17,200
Speaker 1: It seems he was wounded but must have stayed hanging

1730
01:35:17,280 --> 01:35:20,519
Speaker 1: there somehow. And now he's here. Just he's here, and

1731
01:35:20,560 --> 01:35:22,919
Speaker 1: he's alive, just long enough to grab you a vootitch

1732
01:35:23,040 --> 01:35:26,840
Speaker 1: and throw him down into the spikes below. But then

1733
01:35:26,840 --> 01:35:29,120
Speaker 1: it seems like right after he helps Gorbek, he's like,

1734
01:35:29,240 --> 01:35:30,080
Speaker 1: I've got to die now.

1735
01:35:31,880 --> 01:35:33,280
Speaker 2: The spikes would seem to do it though.

1736
01:35:33,560 --> 01:35:36,760
Speaker 1: Yes, yeah, so I think yavootage is done. I mean,

1737
01:35:36,840 --> 01:35:38,720
Speaker 1: that's got to at least one of those must get

1738
01:35:38,760 --> 01:35:39,559
Speaker 1: in on his eye.

1739
01:35:39,720 --> 01:35:41,360
Speaker 2: Yeah, you stand a really good chance of it.

1740
01:35:42,080 --> 01:35:45,120
Speaker 1: So finally Gorbec makes it to Katya in the chapel

1741
01:35:45,160 --> 01:35:48,960
Speaker 1: where the witch's tomb was, and he gets there and

1742
01:35:49,520 --> 01:35:53,920
Speaker 1: it seems that Katya is there and conscious, and he says,

1743
01:35:54,000 --> 01:35:56,320
Speaker 1: thank god, I made it in time, and she says, yes,

1744
01:35:56,520 --> 01:35:58,720
Speaker 1: she wanted to kill me, and he's pointing to the

1745
01:35:58,760 --> 01:36:02,320
Speaker 1: body lying there on the witch's grave. But uh oh

1746
01:36:03,280 --> 01:36:07,840
Speaker 1: Gorbec doesn't realize that Asa already made the switch, and

1747
01:36:08,000 --> 01:36:10,320
Speaker 1: so he says, we must destroy her forever, and I

1748
01:36:10,439 --> 01:36:13,120
Speaker 1: know how it can be done. He says, don't look, Kotya.

1749
01:36:13,360 --> 01:36:16,320
Speaker 1: It's horrible, but I must do it, and he doesn't

1750
01:36:16,360 --> 01:36:20,599
Speaker 1: see that Asa is behind him, grinning with insanity, like yes.

1751
01:36:21,439 --> 01:36:23,240
Speaker 2: She's like, I can't believe it. I'm about to pull

1752
01:36:23,280 --> 01:36:23,680
Speaker 2: this off.

1753
01:36:23,960 --> 01:36:27,439
Speaker 1: He's gonna do it. It's great. But then, just before

1754
01:36:27,479 --> 01:36:29,880
Speaker 1: he stabs the eye, he sees on the corpse of

1755
01:36:29,920 --> 01:36:33,720
Speaker 1: the woman he believes to be the witch, the crucifix necklace.

1756
01:36:34,080 --> 01:36:35,920
Speaker 2: Which shouldn't be possible.

1757
01:36:35,880 --> 01:36:39,200
Speaker 1: Right, And then he picks it up and presses it

1758
01:36:39,280 --> 01:36:42,080
Speaker 1: to her flesh to make sure, and nothing happens, and

1759
01:36:42,160 --> 01:36:45,120
Speaker 1: then he understands. And here's where we get a great

1760
01:36:45,240 --> 01:36:48,760
Speaker 1: moment where he's like, wait, come Katya, but he knows

1761
01:36:48,840 --> 01:36:51,519
Speaker 1: who she really is now, and he pulls aside her

1762
01:36:51,600 --> 01:36:56,679
Speaker 1: cloak for the bone, reveal her body underneath, Like below

1763
01:36:56,800 --> 01:36:58,840
Speaker 1: the neck, she looks normal from the neck up, but

1764
01:36:58,960 --> 01:37:02,559
Speaker 1: below the neck she is some kind of bone monster.

1765
01:37:02,960 --> 01:37:05,360
Speaker 1: Like she's a skeletal sort of creature.

1766
01:37:06,040 --> 01:37:06,240
Speaker 4: Yeah.

1767
01:37:06,360 --> 01:37:10,000
Speaker 2: Yeah, she's like mostly rotted flesh and bone underneath. So

1768
01:37:10,120 --> 01:37:13,240
Speaker 2: we get a glimpse of her rib cage and it's

1769
01:37:13,280 --> 01:37:16,519
Speaker 2: like rib cage first. So we're like, we're like, oh, oh,

1770
01:37:16,720 --> 01:37:18,679
Speaker 2: this is definitely the Dark Queen.

1771
01:37:19,280 --> 01:37:19,479
Speaker 3: Yeah.

1772
01:37:19,640 --> 01:37:22,479
Speaker 1: So she says, no, I am not your love. She's caught.

1773
01:37:22,560 --> 01:37:24,320
Speaker 1: She admits that. She says, I am not your love.

1774
01:37:24,720 --> 01:37:29,639
Speaker 1: There she lies dead forever, forever, and she just again

1775
01:37:29,720 --> 01:37:32,400
Speaker 1: she's a real just a hater to the bone. She loves,

1776
01:37:32,960 --> 01:37:36,839
Speaker 1: loves pointing out your suffering. All her family is destroyed

1777
01:37:37,040 --> 01:37:41,360
Speaker 1: all and then Asa she's like, now I'm going to

1778
01:37:41,400 --> 01:37:44,040
Speaker 1: take care of Gorbek. So she tries to hypnotize Gorbek

1779
01:37:44,200 --> 01:37:46,360
Speaker 1: like she did with krubae On. She said, look into

1780
01:37:46,439 --> 01:37:49,519
Speaker 1: my eyes, and she gives this speech where she says,

1781
01:37:49,640 --> 01:37:52,960
Speaker 1: don't you feel the joy and the beauty of hating?

1782
01:37:54,120 --> 01:37:56,280
Speaker 2: I love this line. We were chatting a little bit

1783
01:37:56,280 --> 01:37:59,560
Speaker 2: about this off Mike because the reading about it, like

1784
01:37:59,640 --> 01:38:02,920
Speaker 2: apparently in some versions of it, perhaps the original version,

1785
01:38:03,240 --> 01:38:07,080
Speaker 2: she says haites instead of hating. But I actually love

1786
01:38:07,120 --> 01:38:10,040
Speaker 2: it more as hating because I feel like it gets

1787
01:38:10,080 --> 01:38:13,479
Speaker 2: down to the emotional core of Satanism in this picture.

1788
01:38:13,560 --> 01:38:16,639
Speaker 2: You know, Yeah, it is about It is about hating

1789
01:38:16,880 --> 01:38:19,560
Speaker 2: the world and hating those around you, and that's what

1790
01:38:19,680 --> 01:38:21,759
Speaker 2: they's what that's what makes them thrive.

1791
01:38:22,160 --> 01:38:26,240
Speaker 1: This witch is hate incarnate. She's just malice. She wants,

1792
01:38:26,320 --> 01:38:28,200
Speaker 1: she hates, and she wants to hurt.

1793
01:38:28,600 --> 01:38:30,880
Speaker 2: Yeah, and she wants to share that hate and hurchard

1794
01:38:30,960 --> 01:38:31,439
Speaker 2: with everyone.

1795
01:38:32,840 --> 01:38:35,599
Speaker 1: But just when you think she's about to hypnotize, Gore

1796
01:38:35,680 --> 01:38:39,320
Speaker 1: bec the priest arrives with the mob of angry townsfolk,

1797
01:38:39,439 --> 01:38:41,519
Speaker 1: and you know that that will just really solve your

1798
01:38:41,560 --> 01:38:42,120
Speaker 1: witch problem.

1799
01:38:42,200 --> 01:38:42,320
Speaker 3: Right.

1800
01:38:42,479 --> 01:38:45,120
Speaker 1: It's kind of a weird feeling to think we're gonna

1801
01:38:45,200 --> 01:38:47,240
Speaker 1: end with a witch burning and that's the happy ending.

1802
01:38:47,960 --> 01:38:51,120
Speaker 2: Yeah. It is interesting to reflect on this film that

1803
01:38:51,240 --> 01:38:53,760
Speaker 2: in the early goings, we have the Inquisition at work

1804
01:38:54,160 --> 01:38:57,920
Speaker 2: and they're seemingly like doing a good job. They don't

1805
01:38:57,960 --> 01:39:01,719
Speaker 2: finish the job, but they're they're in the right because

1806
01:39:01,760 --> 01:39:06,639
Speaker 2: the supernatural threat in this film is real, and likewise,

1807
01:39:06,760 --> 01:39:10,360
Speaker 2: the angry mob is up against an actual supernatural natural

1808
01:39:10,439 --> 01:39:14,639
Speaker 2: fot they their suspicions are correct, so they are also

1809
01:39:14,720 --> 01:39:15,160
Speaker 2: in the right.

1810
01:39:15,520 --> 01:39:17,479
Speaker 1: Yeah, it is a kind of I mean, I guess

1811
01:39:17,520 --> 01:39:20,720
Speaker 1: we're used to more often the modern perspective of like

1812
01:39:21,640 --> 01:39:24,680
Speaker 1: recognizing that this mob violence is bad or that there

1813
01:39:24,760 --> 01:39:28,080
Speaker 1: was something, you know, something perverse and wrong going on

1814
01:39:28,280 --> 01:39:30,960
Speaker 1: in the Witch Trials. But no, in this case, just

1815
01:39:31,040 --> 01:39:33,479
Speaker 1: within the world of the movie, this witch is really

1816
01:39:33,520 --> 01:39:35,760
Speaker 1: about as bad as it gets. So's they're doing a

1817
01:39:35,840 --> 01:39:38,559
Speaker 1: good job to good day's work burning this witch. Yeah,

1818
01:39:39,400 --> 01:39:41,400
Speaker 1: so they take away the witch. They burn her at

1819
01:39:41,439 --> 01:39:44,280
Speaker 1: the stake, and what they get it done really quick.

1820
01:39:44,360 --> 01:39:46,920
Speaker 1: They like the fire blazes and she's on this tied

1821
01:39:46,960 --> 01:39:50,439
Speaker 1: to this pillar and she burns up. And on one hand,

1822
01:39:50,479 --> 01:39:52,519
Speaker 1: it's like, well, so the evil is defeated, But it

1823
01:39:52,600 --> 01:39:55,560
Speaker 1: seems like a real downer ending because Gorebeck and the

1824
01:39:55,640 --> 01:39:59,280
Speaker 1: priest watched the witch burn while Kachia lies dead behind them,

1825
01:39:59,320 --> 01:40:01,719
Speaker 1: and you know, we're almost hearing ringing in our ears

1826
01:40:01,840 --> 01:40:06,160
Speaker 1: that just bitter malicious speech that the witch gave says

1827
01:40:06,280 --> 01:40:09,879
Speaker 1: I'm not your love. There she lies dead forever forever,

1828
01:40:10,760 --> 01:40:13,680
Speaker 1: But there's a happy twist, so Gorbec goes back to

1829
01:40:13,760 --> 01:40:16,519
Speaker 1: her and she comes to life. It seems almost did

1830
01:40:16,560 --> 01:40:19,600
Speaker 1: you understand it that when the witch is destroyed, that

1831
01:40:19,720 --> 01:40:23,960
Speaker 1: sort of rebalances the life force in some way and

1832
01:40:24,240 --> 01:40:26,280
Speaker 1: that allows Katchya to come back to life.

1833
01:40:26,760 --> 01:40:29,040
Speaker 2: I guess so, yeah, I guess that would be my

1834
01:40:29,120 --> 01:40:32,200
Speaker 2: interpretation of it, or that she was lying about her

1835
01:40:32,240 --> 01:40:35,400
Speaker 2: being dead anyway, because she seemed really excited about tricking

1836
01:40:35,479 --> 01:40:39,800
Speaker 2: him into stabbing his girlfriend through the eyeball. Yeah, you know,

1837
01:40:39,920 --> 01:40:42,920
Speaker 2: as if that was going to perhaps kill her. I

1838
01:40:42,960 --> 01:40:46,400
Speaker 2: don't know. Again, we kind of get into the dreamlike

1839
01:40:46,520 --> 01:40:49,240
Speaker 2: qualities of things here, and you know, maybe we don't

1840
01:40:49,240 --> 01:40:51,640
Speaker 2: have to lean too hard and logical interpretation of it.

1841
01:40:51,920 --> 01:40:52,120
Speaker 3: Yeah.

1842
01:40:52,200 --> 01:40:54,640
Speaker 1: So it is a very very dark film and a

1843
01:40:54,800 --> 01:40:56,840
Speaker 1: very dark story, but it does have a happy ending,

1844
01:40:57,120 --> 01:40:58,479
Speaker 1: sort of happy end. I mean there's a lot of

1845
01:40:58,520 --> 01:41:02,920
Speaker 1: carnage along the way, and Katya is saved, and Katchya

1846
01:41:02,960 --> 01:41:06,120
Speaker 1: and Gorebeck they can live on and they can be together.

1847
01:41:06,040 --> 01:41:09,439
Speaker 2: They can move to the city away from the cursed

1848
01:41:09,520 --> 01:41:10,679
Speaker 2: castles in great yards.

1849
01:41:11,000 --> 01:41:16,240
Speaker 1: Yes, I'll take it. And that's Black Sunday.

1850
01:41:16,720 --> 01:41:20,120
Speaker 2: Yeah, absolutely, just a real treat of a film. As

1851
01:41:20,280 --> 01:41:23,000
Speaker 2: great as anyone has ever told you who it is.

1852
01:41:23,520 --> 01:41:26,760
Speaker 2: And we're going to join the chorus by saying yeah,

1853
01:41:26,840 --> 01:41:30,160
Speaker 2: Black Sundays tremendous. It has more than stood the test

1854
01:41:30,240 --> 01:41:32,280
Speaker 2: of time. Definitely check it out. It's a great film.

1855
01:41:32,280 --> 01:41:36,559
Speaker 2: If you want some dedicated, focused Halloween viewing, tremendous. If

1856
01:41:36,600 --> 01:41:38,360
Speaker 2: you just want something on in the background while you

1857
01:41:38,439 --> 01:41:42,080
Speaker 2: do other Halloween things, this is a fine choice as well.

1858
01:41:42,400 --> 01:41:42,759
Speaker 1: Agreed.

1859
01:41:43,320 --> 01:41:44,920
Speaker 2: All right, well, we're going to go ahead and close

1860
01:41:44,960 --> 01:41:47,880
Speaker 2: out this episode of Weird House Cinema. We will remind

1861
01:41:47,920 --> 01:41:49,479
Speaker 2: you that se to Blow Your Mind is primarily a

1862
01:41:49,560 --> 01:41:53,839
Speaker 2: science and culture podcast with core episodes on Tuesdays and Thursdays,

1863
01:41:53,880 --> 01:41:55,720
Speaker 2: but we do a short form episode on Wednesdays and

1864
01:41:55,840 --> 01:41:58,040
Speaker 2: on Fridays. We set aside most serious concerns to just

1865
01:41:58,040 --> 01:42:00,800
Speaker 2: talk about a weird film on Weird House Cinema. We

1866
01:42:00,920 --> 01:42:04,800
Speaker 2: have I believe one last Weird House Cinema episode to

1867
01:42:05,000 --> 01:42:08,240
Speaker 2: put out in October this year, so stay tuned to

1868
01:42:08,240 --> 01:42:10,680
Speaker 2: see what that's going to be. Sometimes you'll get a

1869
01:42:10,720 --> 01:42:12,960
Speaker 2: peek ahead at what's coming up if you go over

1870
01:42:13,040 --> 01:42:16,559
Speaker 2: to our letterboxed page our username there is weird House,

1871
01:42:16,760 --> 01:42:19,000
Speaker 2: and we have a tremendous list of all the pictures

1872
01:42:19,040 --> 01:42:20,120
Speaker 2: we've covered over the years.

1873
01:42:20,760 --> 01:42:24,559
Speaker 1: Huge thanks as always to our excellent audio producer JJ Posway.

1874
01:42:24,840 --> 01:42:26,240
Speaker 1: If you would like to get in touch with us

1875
01:42:26,320 --> 01:42:28,799
Speaker 1: with feedback on this episode or any other, to suggest

1876
01:42:28,840 --> 01:42:30,840
Speaker 1: a topic for the future, or just to say hello,

1877
01:42:31,000 --> 01:42:33,639
Speaker 1: you can email us at contact at stuff to Blow

1878
01:42:33,680 --> 01:42:42,640
Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

1879
01:42:42,680 --> 01:42:44,000
Speaker 1: production of iHeartRadio.

1880
01:42:44,400 --> 01:42:46,320
Speaker 2: For more podcasts from my heart Radio, visit

1881
01:42:46,360 --> 01:42:49,360
Speaker 1: The iHeartRadio app, Apple Podcasts, or wherever you listen to

1882
01:42:49,400 --> 01:42:50,200
Speaker 1: your favorite shows.