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

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Speaker 1: Lamb and today we're going to rerun our episode on

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Speaker 1: the Weird Wild nineteen sixty seven Brazilian horror film. This night,

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Speaker 1: I'll Possess your corpse. Yes, this is a Coffin Joe film.

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Speaker 1: This one is a lot of fun. This is a

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Speaker 1: very fun episode to put together. And I don't remember

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Speaker 1: if this release was out yet when we recorded this episode,

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Speaker 1: but I do want to drive home that if you

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Speaker 1: want to see Coffin Joe films, including this one, you

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Speaker 1: need to go and check out Eero Videos Inside the

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Speaker 1: Mind of Coffin Joe Limited Edition Blu Ray. It is

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Speaker 1: a fabulous box set that's loaded with like all the

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Speaker 1: Coffin Joe films and posters and all sorts of fun stuff.

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Speaker 1: And they also have these video drome here in Atlanta.

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Speaker 1: If you're local or visiting Atlanta and you know, want

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Speaker 1: to go rent some Blue Red g this is the

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Speaker 1: release to focus on for sure. All right, without further ado,

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Speaker 1: let's jump right into the episode.

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

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

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Speaker 3: And this is Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we're going to be talking about This Night I'll Possess

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Speaker 3: Your Corpse, a movie that the title might lead you

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Speaker 3: to believe is a Shallo film, but no, this is

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Speaker 3: a not an Italian film. This is a Brazilian horror

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Speaker 3: movie from nineteen sixty seven and one that has been

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Speaker 3: tenaciously requested by listeners, at least one listener in particular.

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Speaker 1: Yeah, this one should make Susan happy, but we have

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Speaker 1: some other listeners reach out as well. So today mark's

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Speaker 1: our first entry into the world of Brazilian cinema. Is

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Speaker 1: also going to be another one of these situations where

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Speaker 1: we skip the first film in a series and go

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Speaker 1: straight to the sequel, you know, because you know, sometimes

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Speaker 1: a sequel is a soul as cash grab, but other

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Speaker 1: times it gives filmmakers the chance to run with the

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Speaker 1: concepts from the first film in a different and grander direction.

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Speaker 1: And I think that's what you see in This Night

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Speaker 1: I'll Possess Your Corpse, which you can also think of.

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Speaker 1: I guess its coffin Joe.

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Speaker 3: Too, the Revenge. Now I haven't seen the first Coffin

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Speaker 3: Joe movie. But I think the beginning of this movie

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Speaker 3: sort of sets up. It's like, hey, what happened at

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Speaker 3: the previous At the end of the previous film was

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Speaker 3: this our wicked protagonist got his face chopped to pieces

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Speaker 3: by ghosts. But it turns out he was not dead.

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Speaker 3: You may have been led to believe he died in

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Speaker 3: the last movie, do Over, do Over. He's not dead.

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Speaker 3: He's fine.

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Speaker 1: Yes, the comeuppance has been canceled at the beginning of

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Speaker 1: this film and kind of get a do over on

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Speaker 1: the whole thing. So, yeah, this is a sixty seven film,

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Speaker 1: a sequel to nineteen sixty threes at Midnight. I'll take

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Speaker 1: your Soul. I've seen it. Alleged to this was the

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Speaker 1: first Brazilian produced horror film and the movie that introduced

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Speaker 1: the world to the murderous, preachy weirdo z Ducai Show,

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Speaker 1: better known among English speaking filmgoers as Coffin Joe.

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Speaker 3: Now, as I said, I was totally unfamiliar with Coffin Joe.

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Speaker 3: This is my first Coffin Joe movie. We're doing it

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Speaker 3: because of persistent listener requests. But apparently this is not

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Speaker 3: an obscurer character Coffin Joe is like an icon of

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Speaker 3: Brazilian horror cinema. He's like a well recognized character that

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Speaker 3: I have seen, compared to characters like Freddy Krueger.

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Speaker 1: Yeah, yeah, he's a big deal I'm to understand in

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Speaker 1: Brazilian horror cinema, and also achieved kind of a status

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Speaker 1: as a Brazilian pop culture figure for a long time

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Speaker 1: as well. Now we'll get into his characteristics more in

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Speaker 1: a bit, but just the key visual attributes of Coffin Joe.

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Speaker 1: This might ring a bell with people out there. Maybe

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Speaker 1: you haven't seen these movies, but you've seen poster Argors stills.

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Speaker 1: But you have a top hat, a Dracula cape. You

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Speaker 1: have long, twisty fingernails, now, not like you know Freddy

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Speaker 1: Krueger nails, but like Guinness Book of World Record nails, Blackbeard,

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Speaker 1: and a monobrow.

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Speaker 3: I suppose this is coincidence. But apart from the monobrow,

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Speaker 3: I found a picture of the young James Randy where

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Speaker 3: he looks almost exactly like Coffin Joe.

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Speaker 1: Now, to be clear, the fingernails are not present in

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Speaker 1: this photograph.

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Speaker 3: That's true, and the fingernails are a key part of

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Speaker 3: his look. In fact, in many of his I think

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Speaker 3: there are moments in the film that are trying to

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Speaker 3: frame him for a kind of iconic close up that

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Speaker 3: are you know, his face is right in the middle

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Speaker 3: of the picture, but you can see he's just like

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Speaker 3: working his fingers in on the side of the frame

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Speaker 3: just so you can see that he does still have

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Speaker 3: the long nails.

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Speaker 1: Yes, So who is Coffin Joe. Well, we're gonna spend

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Speaker 1: a lot of time talking about this, because he certainly

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Speaker 1: spends a lot of time talking about this in the

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Speaker 1: big Sure, but you could say what he's a rebellious

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Speaker 1: atheist and sadistic narcissist presented as a gleefully horrific caricature

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Speaker 1: that's part TV horror host, part old timey villain. But

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Speaker 1: there are also some shades of some of some latter

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Speaker 1: day horror villains in there as well. Like you could

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Speaker 1: compare him to what would come much later and say

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Speaker 1: the Saw franchise or in the Hannibal Lecter movies.

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Speaker 3: I would say Coffin Joe is a combination of Ivan Karmazov, Dracula,

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Speaker 3: Hannibal Lecter, and The Joker, but also with a little

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Speaker 3: bit of like Facebook atheist from the year two thousand

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Speaker 3: and nine, except with less liberal politics and more kind

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Speaker 3: of like a real fondness for superiority. So you gotta

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Speaker 3: get an inn Ran dangle in there too.

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Speaker 1: I think, yeah, yeah, I think that's a good comparison.

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Speaker 1: But of course a lot of these are sort of

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Speaker 1: outside in these are like international influences on a Brazilian character,

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Speaker 1: but apparently also there some like uniquely Brazilian elements to

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Speaker 1: the character as well. I was reading a chapter in

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Speaker 1: the book Stars and Stardom in Brazilian Cinema. This particular

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Speaker 1: chapter dealing with Coffin Joe, was by Laura Lo Garcio Canepa,

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Speaker 1: and this author points out that the character also incorporates

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Speaker 1: aspects of Brazilian folklore into the role, and we'll touch

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Speaker 1: on a specific example of that in a minute. So

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Speaker 1: you end up with something that, yes, is drawing from

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Speaker 1: films that are coming from international markets into Brazil, but

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Speaker 1: also there is something distinctly Brazilian about the character, and

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Speaker 1: I think that that's something that added to its popularity.

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Speaker 3: Hmm. Okay.

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Speaker 1: So Kanepa points out that in addition to strong vibes

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Speaker 1: of Dracula, Satyrs and the Great God Pan. That also

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Speaker 1: becomes obvious because he does have kind of a goatish

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Speaker 1: look to him, to him, to himself, you know, he

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Speaker 1: kind of a delicious trickster.

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Speaker 3: Yes. In fact, there is one scene that seems intentionally

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Speaker 3: to highlight his sort of goat like appearance. And the

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Speaker 3: actor who created and plays this character does naturally have

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Speaker 3: a little bit of a little bit of a goaty face,

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Speaker 3: but they really play into it in a scene where

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Speaker 3: he has later given visions of Hell and sees himself

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Speaker 3: as the devil, and the devil version of him is

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Speaker 3: way goadier than he is normally.

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Speaker 1: Yeah, and this is where Kneppa points out something that

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Speaker 1: that seems key that the character also channels a recurrent

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Speaker 1: halfro Brazilian religious figure known as ex Su, a kind

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Speaker 1: of narcissistic, hedonistic Bacchus type figure.

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Speaker 3: Okay, well, I can see that element, but that might

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Speaker 3: lead you to believe that Coffin Joe is more about

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Speaker 3: fun than he is, that he's like, you know, just

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Speaker 3: into the pleasures of the flesh and pure, you know,

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Speaker 3: hedonistic amoral desires and all that. That's not really Coffin

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Speaker 3: Joe's vibe In fact, Coffin Joe is in some cases

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Speaker 3: extremely tedious and preaching. He is almost the mirror opposite

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Speaker 3: of like the preacher whose sermon goes on way too

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Speaker 3: long in the church, except he's outside the church talking

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Speaker 3: about how everybody inside is stupid.

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Speaker 1: Yeah, he clearly sees himself not only as an intellectual,

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Speaker 1: but the intellectual, certainly at least in this town that

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Speaker 1: we see. All the action take place in, Okay. But

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Speaker 1: before we go any further here, previously on a Coffin Joe.

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Speaker 1: In the first film, local Undertaker. Coffin Joe spends his

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Speaker 1: time lambasting people for how stupid they are for existing

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Speaker 1: and believing in God and stuff, so he maims and

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Speaker 1: kills people. He expounds a kind of eugenics flavored philosophy

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Speaker 1: in which he can achieve immortality by having a perfect son,

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Speaker 1: and therefore well he needs the perfect woman. He runs

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Speaker 1: a foul of the local villager, supernatural powers end up

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Speaker 1: getting involved, and he winds up dead and possibly blind.

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Speaker 1: It's a black and white film, and, as Michael Weldon

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Speaker 1: pointed out in the Psychotronic Video Guide to Film, outside

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Speaker 1: of seeing like an automobile in the background, at some point,

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Speaker 1: the whole picture could have been set in a prior century,

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Speaker 1: and you still get a strong sense of that in

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Speaker 1: this film as well.

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Speaker 3: That's a good point. Yeah, there are a couple of things,

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Speaker 3: like you see motorized vehicles, but for the most part

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Speaker 3: the movie could be set entirely in like the nineteenth century.

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Speaker 1: Yeah. So this movie picks up right where the last

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Speaker 1: one left off and even includes scenes from that finale

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Speaker 1: and throws you right back into coffin Joe's quest to

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Speaker 1: find the perfect woman so he can have a perfect

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Speaker 1: son and live forever through that sun or something. The

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Speaker 1: great thing about it is, if you have any questions,

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Speaker 1: don't worry. Z is going to tell you all about

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Speaker 1: it during the movie's one hundred and nine minute runtime.

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Speaker 3: Now, what I'm about to say might sound counterintuitive, but

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Speaker 3: one of my favorite things about this movie was how

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Speaker 3: tedious it was. That Like, there are parts where I

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Speaker 3: was unable to contain laughter at his just sermonizing going

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Speaker 3: on and on. So another way I'll put it is

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Speaker 3: that This Night I'll Possess Your Corpse displays a filmmaking

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Speaker 3: sensibility of thoroughness and abundance. So, first of all, it's

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Speaker 3: like why express an idea once when you could say

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Speaker 3: the same thing about twelve different ways and all in

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Speaker 3: a row. And then the other thing is why show

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Speaker 3: something just once when you could show it twenty seven times?

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Speaker 1: Yeah, I mean, they clearly shot a lot of footage

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Speaker 1: of Tarantula's crawling around on ladies and laningerie, so why

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Speaker 1: not just use absolutely all of the footage?

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Speaker 3: You know, Coffin Joe clearly sees himself as a Nietzchean superman,

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Speaker 3: and there are lots of different ways of interpreting the

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Speaker 3: idea of the Nietzschean superman. One is that it is

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Speaker 3: the ultimate personal embodiment of affirmation and excess. You know,

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Speaker 3: it's just like the never ending everything and ye always,

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Speaker 3: and that's kind of what the filmmaking sensibility is here.

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Speaker 1: Yeah, that's a good point, all right. My elevator pitch

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Speaker 1: for the movie is simple. Coffin Joe is back and

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Speaker 1: he's ready to become a dad, nay world's best dad.

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Speaker 3: Now, I haven't watched the trailer here, I'm to understand

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Speaker 3: that there's not much good audio content. It's just like

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Speaker 3: really excessive screaming.

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Speaker 1: Yeah, so we're only going to play just a very

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Speaker 1: brief clip of it, because it is mostly screaming, and

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Speaker 1: i'd also i'd also suggest not watching the trailer if

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Speaker 1: you think you're gonna watch the film, just because this

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Speaker 1: film does have some surprises in it, and I feel

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Speaker 1: like you're better off going into it a little cold,

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Speaker 1: all right. That again, I'm sure that gives you no

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Speaker 1: real indication of what's in store, except that there will

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Speaker 1: be things to be screamed about. Now, if you want

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Speaker 1: to watch this film, Unfortunately, at the moment, I don't

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Speaker 1: think it's currently streaming anywhere as so far as I

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Speaker 1: can tell, we rented it from Atlanta's own video drome Phantoma,

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Speaker 1: and more recently, Synapse Films has put the first three

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Speaker 1: Coffin Joe films out on DVD. I think the third one,

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Speaker 1: which occurs much later, is also available in Blu Ray,

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Speaker 1: and you can get them all, or at least you

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Speaker 1: could get them all in a DVD set that was

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Speaker 1: shaped like a coffin, but this seems to be your

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Speaker 1: only way to watch them. This is the sort of film,

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Speaker 1: though you can definitely watch it on DVD. I don't

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Speaker 1: think you're missing out on much in terms of quality here.

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Speaker 1: Oh but wait, I have a post production note to

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Speaker 1: add here. We recorded this episode earlier in the week,

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Speaker 1: but today, this morning, the morning of our publication date Friday,

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Speaker 1: August twenty fifth, Aero Video has announced that they're putting

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Speaker 1: out a gigantic box set Inside the Mind of Coffin Joe.

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Speaker 1: This is like a limited edition Blu ray box set,

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Speaker 1: and it is going to contain let's see, at midnight,

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Speaker 1: I'll take your soul. This night, I'll possess your corpse.

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Speaker 1: The movie we're talking about here today, The Awakening of

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Speaker 1: the Beast, the end of Man, the strange world of

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Speaker 1: Coffin Joe when the Gods fall asleep, the strange hostel

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Speaker 1: of naked pleasures, hellish flesh, and hallucinations of a deranged mind.

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Speaker 1: So oh wait, and Embodiment of Evil. Six discs, all

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Speaker 1: the Coffin Joe, all the z you could possibly ask for.

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Speaker 1: So go look that up. I think you can. A

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Speaker 1: little availability will be different for pre orders depending on

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Speaker 1: where you're listening to the show.

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Speaker 3: Rob I think he went much deeper into the context

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Speaker 3: here than I did. But from what I understand, there

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Speaker 3: are like there are three main chronology Coffin Joe films,

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Speaker 3: and this is the second one of those. But also

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Speaker 3: Coffin Joe just appears as a free floating recurring character

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Speaker 3: in lots of other movies, Am I right?

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Speaker 1: Yes, mostly films by the same director, writer, and actor here,

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Speaker 1: and that's Jose Mojica Marens, who again here play plays

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Speaker 1: Coffin Joe plays this character that is known in the

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Speaker 1: original Portuguese Ze Ducai show. But he also was the director,

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Speaker 1: the writer, and the producer who lived nineteen thirty six

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Speaker 1: through twenty twenty. He was the son of a cinema

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Speaker 1: manager on the outskirts of Salpaulu, and he grew up

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Speaker 1: with a passion for film and began making his own

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Speaker 1: short films at a young age with a nine point

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Speaker 1: five milimeter camera that his parents had given him. You know,

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Speaker 1: we see this similar story with a lot of film

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Speaker 1: fans turned filmmakers. He created his own film studio at

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Speaker 1: age eighteen, and his first film was a violent western

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Speaker 1: called Adventurer's Fate, which did pretty well apparently in the

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Speaker 1: big city, but it really it garnered some criticism because

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Speaker 1: it was pretty violent, But then it did quite well

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Speaker 1: as a traveling special screening in the outlying districts, with

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Speaker 1: its female star Tonya Elektra performing a strip tease as

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Speaker 1: part of the show and Maren serving as master of ceremonies.

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Speaker 3: Oh, I can totally see him as a master of ceremonies,

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Speaker 3: with the top had on the microphone being like, then

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Speaker 3: our next act will be yes. Yes.

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Speaker 1: They followed this up with a melodrama in I Believe

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Speaker 1: sixty three, and it didn't perform well. So, inspired by

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Speaker 1: a nightmare, the story goes, he scraped together what money

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Speaker 1: he could manage to make the film that would become

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Speaker 1: nineteen sixty four's at Midnight I'll Take Your Soul. I

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Speaker 1: might have said earlier that it was sixty three, but

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Speaker 1: sixty four is generally the accepted date for this film,

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Speaker 1: so they had a shoestring budget. But it was a

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Speaker 1: huge hit and ignited a horror boom in Brazil, and

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Speaker 1: it had elements of horror exploitation but also a popular

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Speaker 1: genre of Brazilian religious melodrama of the day, which I

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Speaker 1: think is important to keep in mind in understanding some

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Speaker 1: twists and turns in the plot. And all of this

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Speaker 1: also laid the groundwork to cement Coffin Joe as a

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Speaker 1: Brazilian media icon, so he soon began to appear in

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Speaker 1: the media on TV, etc. In character as Coffin Joe.

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Speaker 3: So I don't know, but I would guess based on

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Speaker 3: other genres I am familiar with that the Brazilian religious

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Speaker 3: melodrama would have some kind of common redemption arc, Like

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Speaker 3: you'd have a sinful character who does a bunch of

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Speaker 3: bad stuff and then at the end of the story

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Speaker 3: they come round and repent and accept Christ.

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Speaker 1: Yeah. Yeah, that's my understanding, and I think it basically

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Speaker 1: matches up with all sorts of things you see, all

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Speaker 1: sorts of artists, presentations and creations created beneath the Catholic

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Speaker 1: Church throughout Western history, you know, where it's like I'm

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Speaker 1: a painter, I really want to paint all these naked bodies. Well,

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Speaker 1: make it be a Bible story and you can get

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Speaker 1: away with it, you know that sort of thing. As

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Speaker 1: long as it's ultimately serving the message, then will allow it.

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Speaker 3: And this takes that a lot farther, because I don't

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Speaker 3: know if all of these melodramas are like this, I

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Speaker 3: assume not, but at least in the case of Coffin Joe,

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Speaker 3: it does have that arc. But you can tell it

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Speaker 3: is really relishing showing all of the sin and bad

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Speaker 3: stuff along the way. So I think in a way

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Speaker 3: that that is a format that is common to what's

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Speaker 3: known as exploitation cinema. More broadly, the idea that you

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Speaker 3: would take a film that's like, oh, it's about an

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Speaker 3: important issue, like it is about the dangers of marijuana.

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Speaker 3: But because it's about that, you can show these danger

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Speaker 3: marijuana parties where people are taking their clothes off and

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Speaker 3: engaging in sinful behavior, and so like that's the appeal

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Speaker 3: to the audience, So they want to go see the

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Speaker 3: racy content. But you can always say, like, no, no, no,

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Speaker 3: I had to show that because it's a message film

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Speaker 3: about the dangers of this drug.

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Speaker 1: Yeah, exactly. So Maren's follows this up with the Western,

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Speaker 1: but then he returns to the world of Coffin Joe

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Speaker 1: with this film that we're dougging by here today this night,

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Speaker 1: I'll Possess your Corpse, a more ambitious swing at the

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Speaker 1: same concepts. Joe wants a perfect son and he'll do

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Speaker 1: all sorts of evil to carry this out, and mocks

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Speaker 1: the people of the town for their supernatural beliefs, while

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Speaker 1: eventually encountering the supernatural himself. And on this point Kneppa

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Speaker 1: has the following to say in that chapter quote. It

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Speaker 1: is worth stressing here that in Brazil, in which the

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Speaker 1: supernatural has been habitually seen by large parts of the

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Speaker 1: population not as a deviant element, but rather is one

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Speaker 1: of the fundamental elements of excis distance, it would be

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Speaker 1: difficult to create a story of great impact in which

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Speaker 1: the supernatural simply represented evil. The great achievement of Mochico's creation, therefore,

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Speaker 1: was the invention of a character who does not believe

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Speaker 1: in the supernatural and who, as a result of this,

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Speaker 1: can be terrified by its intervention.

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Speaker 3: Ah okay, so he in a context where there is

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Speaker 3: widespread belief in magic, you introduce this like weird dangerous element,

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Speaker 3: which is a guy who is aggressively an atheist materialist,

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Speaker 3: who's constantly talking about how there is no God, and

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Speaker 3: then he can, after introducing all of that kind of

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Speaker 3: weirdness and unpleasantness, can be terrified by images of hell

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Speaker 3: that might be more commonplace to anybody else in this town.

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Speaker 1: Yeah. And I think also another aspect of it too

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Speaker 1: is something you see in wider horror in general, to

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Speaker 1: have like that competent non believer. Yeah, eventually encounter the supernatural.

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Speaker 1: Like Coffin Joe. Say what you will about him, he's

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Speaker 1: very confident, he can hold up his end of a

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Speaker 1: fight and so forth. So it's like when the supernatural

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Speaker 1: starts kicking in and we see Coffin Joe frightened, it

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Speaker 1: does have impact.

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Speaker 3: It's the arc of all three of the original Indiana

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Speaker 3: Jones movies at the beginning, and he doesn't believe in

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Speaker 3: any of that superstitious nonsense. And then at the end

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Speaker 3: of the movie he always has to do a demonstration

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Speaker 3: of faith in order to defeat the evil at the end.

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Speaker 1: Yeah, so we see some similar elements there. So after

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Speaker 1: this film, Coffin Joe would go on to appear in

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Speaker 1: multiple other films, though not a true sequel until two

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Speaker 1: thousand and eights Embodiment of Evil. He appeared as a

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Speaker 1: presenter in the anthology film The Strange World of Coffin

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Speaker 1: Joe from sixty eight. A handful of other Maren's films

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Speaker 1: involve the character in unique metafictional ways. These include nineteen

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Speaker 1: seventies Awakening of the Beast. This is an LSD film

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Speaker 1: where I haven't seen it, but I believe that the

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Speaker 1: idea is like, there's an experiment, the test subjects are

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Speaker 1: given LSD, and then they watch Coffin Joe films, you know,

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Speaker 1: something like that. There's The Bloody Exorcism of Coffin Joe,

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Speaker 1: in which Maren's plays himself, and then there's another film,

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Speaker 1: The Strange Hostel of Naked Pleasures, which features an implied

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Speaker 1: Coffin Joe in the lead role. But I don't think

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Speaker 1: it's like officially Coffin Joe.

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Speaker 3: Mm okay.

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Speaker 1: So Coffin Joe remained a staple horror host on Brazilian

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Speaker 1: TV at least into the nineties. The eighties and nineties

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Speaker 1: I think were hard on him in Brazilian film in general,

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Speaker 1: and he had to take on a lot of less

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Speaker 1: glamorous work to get by. But he experienced more of

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Speaker 1: a resurgence in the two thousands, including getting to return

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Speaker 1: to the character of Coffin Joe on his own terms

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Speaker 1: in two thousand and eights Embodiment of Evil.

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Speaker 3: I mean, it's a weird character to end up having

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Speaker 3: this more broad cultural footprint, kind of in the way

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Speaker 3: that a character like Freddy Krueger would you know that

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Speaker 3: Freddy Krueger wasn't He started off as this like gross,

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Speaker 3: sadisticler in this first movie. But then the movies got

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Speaker 3: sequels and became so popular that he's doing commercials for

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Speaker 3: breakfast cereals.

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Speaker 1: Right right, And eventually, like nowadays, like children may dress

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Speaker 1: as Freddy Grill. Even back in the day, kids were

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Speaker 1: dressing up as Freddy Krueger for Halloween. Now you have

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Speaker 1: like sexy Freddy Krueger outfits. I wonder if you have

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Speaker 1: sexy Coffin Joe outfits. Maybe I got it one done.

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Speaker 3: But even so, like given that broader cultural footprint and

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Speaker 3: the fact that Freddy Krueger is now just a totally defanged,

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Speaker 3: like funny figure. Oh he's just you recognize what he

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Speaker 3: looks like. You know, you remember him from commercials on

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Speaker 3: TV when you were a kid. If you go back

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Speaker 3: and watch the first movie, it's like, oh my god,

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Speaker 3: it's like shocking, how how like gross and evil and

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Speaker 3: nasty he is?

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Speaker 1: Yeah, yeah, I think you have to go back to

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Speaker 1: that original one, the original Nightmare and Elm Street to

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Speaker 1: get that sense of it. Also, the remake, I think

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Speaker 1: takes a good swing at trying to recapture that.

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Speaker 3: And so Anyway, I wonder if there's the same thing

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Speaker 3: there's a similar thing with coffin Joe, because I mean,

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Speaker 3: he is really like gross and evil in these films,

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Speaker 3: or at least in the one we just watched.

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Speaker 1: Yeah.

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Speaker 3: Another thing that I think is interesting is so he's

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Speaker 3: presented as a character who sees himself as the Nietzschean superman,

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Speaker 3: Like he transcends petty morality, he transcends the illusions of

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Speaker 3: other worldly rewards and punishments in order to forge an

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Speaker 3: affirmative humanity on the strength of his unstoppable will you know,

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Speaker 3: He's just like, I am the new thing, I Am

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Speaker 3: the new Man. But I think he kind of fails

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Speaker 3: at the Nietzschean ideal because ultimately he is a really

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Speaker 3: resentful whiner. He is complaining all the time about stuff

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Speaker 3: he doesn't like, religion, superstition, weakness, morality, dramas. He doesn't

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Speaker 3: like dramas.

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Speaker 1: And it creates drama everywhere he goes. He walks into

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Speaker 1: a room, it's like instant drama. But he hates drama.

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Speaker 3: He is the pope of dramas. But also when other

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Speaker 3: people are having dramas dramas, but it really gets him down.

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Speaker 3: And I think if he were truly the uberminch that

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Speaker 3: he imagines himself to be, he would not be complaining

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Speaker 3: so much. He would just achieve the immortality of blood,

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Speaker 3: kill God already, get it done, and reshape the world

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Speaker 3: in the image of his genius.

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Speaker 1: He does not do it, and the plan really stays

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Speaker 1: in like phase one for I think most of both

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Speaker 1: of the first films. I presume it probably stays in

429
00:24:25,640 --> 00:24:28,000
Speaker 1: phase one in the third film as well well.

430
00:24:28,080 --> 00:24:30,640
Speaker 3: Also, Yeah, so his plan is what he calls the

431
00:24:30,680 --> 00:24:34,040
Speaker 3: immortality of blood. So he has a specialized name for

432
00:24:34,080 --> 00:24:37,440
Speaker 3: it that I guess sounds kind of cool. But ultimately

433
00:24:37,480 --> 00:24:41,440
Speaker 3: his goal is not that outside the box a revolutionary.

434
00:24:41,520 --> 00:24:43,960
Speaker 3: What he wants is to have a son with the

435
00:24:44,000 --> 00:24:47,080
Speaker 3: perfect woman. How outside the box is that? That seems

436
00:24:47,119 --> 00:24:50,399
Speaker 3: like something other characters have tried before, except that he

437
00:24:50,520 --> 00:24:53,480
Speaker 3: is more of a nasty, violent, immoral creep in trying

438
00:24:53,480 --> 00:24:54,520
Speaker 3: to achieve this goal.

439
00:24:55,680 --> 00:24:58,040
Speaker 1: Yeah, so, a lot of what, especially in the latter

440
00:24:58,080 --> 00:24:59,480
Speaker 1: portions of the film, there's a lot of stuff that

441
00:24:59,520 --> 00:25:03,040
Speaker 1: feels like just a horror twist on what a lot

442
00:25:03,080 --> 00:25:05,280
Speaker 1: of fathers feel like. At one point, he's like, I

443
00:25:05,320 --> 00:25:08,760
Speaker 1: cannot die because my son will need me, and it's like, well, yeah,

444
00:25:08,880 --> 00:25:11,159
Speaker 1: I mean, I think a lot of people feel that

445
00:25:11,200 --> 00:25:13,879
Speaker 1: way about their responsibilities in life, just without all the

446
00:25:13,920 --> 00:25:15,920
Speaker 1: implied mustache twirling. Though.

447
00:25:16,119 --> 00:25:18,320
Speaker 3: Well, we can explore this dynamic later, but I think

448
00:25:18,359 --> 00:25:21,680
Speaker 3: when he feels that, that's supposed to reveal his hypocrisy,

449
00:25:21,840 --> 00:25:25,600
Speaker 3: because you know, that's that's love, which we know from

450
00:25:25,680 --> 00:25:28,440
Speaker 3: earlier scenes he believes to be a form of weakness.

451
00:25:28,640 --> 00:25:30,560
Speaker 1: You know. It also strikes me that z is kind

452
00:25:30,560 --> 00:25:33,960
Speaker 1: of the anti necromunger here. You know, while while both

453
00:25:34,080 --> 00:25:37,560
Speaker 1: Coffin Joe and the Necromongers dig skulls and stuff, the

454
00:25:37,640 --> 00:25:41,399
Speaker 1: necromongers are deep into sci fi occultism and they consider

455
00:25:41,480 --> 00:25:46,119
Speaker 1: procreation the absolute worst, while Coffin Joe despises belief in

456
00:25:46,160 --> 00:25:49,720
Speaker 1: the occult and believes that babies are literally all that matters.

457
00:25:58,280 --> 00:26:01,639
Speaker 3: I actually ended up making a list of Coffin Joe's

458
00:26:01,800 --> 00:26:04,680
Speaker 3: likes and dislikes that we discover throughout the movie. Do

459
00:26:04,720 --> 00:26:05,600
Speaker 3: you want to do that here?

460
00:26:06,000 --> 00:26:08,800
Speaker 1: Oh? Yeah, let's have it. Let's get the full dating

461
00:26:08,840 --> 00:26:11,600
Speaker 1: profile for coffin Joe for any any ladies out there

462
00:26:11,600 --> 00:26:12,360
Speaker 1: that are interested.

463
00:26:12,560 --> 00:26:15,800
Speaker 3: Okay, what coffin Joe does like a superior people, though

464
00:26:15,800 --> 00:26:24,400
Speaker 3: that's primarily just himself. Superior people, strength, courage, liberation, sex, atheism,

465
00:26:24,920 --> 00:26:31,920
Speaker 3: the innocence of children, procreation, venomous animals, owning people with logic, grapes,

466
00:26:32,480 --> 00:26:36,080
Speaker 3: quote science. I think his understanding of what that means

467
00:26:36,160 --> 00:26:39,800
Speaker 3: is a little off the mark. And he really likes instinct.

468
00:26:40,000 --> 00:26:44,679
Speaker 3: He talks repeatedly about how instinct is pure compared to

469
00:26:45,280 --> 00:26:50,040
Speaker 3: I think religion. Okay, so that's his likes. His dislikes

470
00:26:50,040 --> 00:26:55,360
Speaker 3: are superstition, god, religion. He's really not into war, hatred,

471
00:26:55,400 --> 00:26:59,840
Speaker 3: and the triumph of lies. He doesn't like the idiots, Catholicism,

472
00:27:00,200 --> 00:27:03,560
Speaker 3: inferior people. Oh boy, multiple times in the movie. You

473
00:27:03,600 --> 00:27:05,760
Speaker 3: can hear it because it's a cognate in the languages.

474
00:27:05,840 --> 00:27:08,000
Speaker 3: He's just going inferior.

475
00:27:09,640 --> 00:27:09,840
Speaker 1: Oh.

476
00:27:09,960 --> 00:27:14,600
Speaker 3: Morality, oh disgusting, hates morality, belief in the immortality of

477
00:27:14,640 --> 00:27:18,080
Speaker 3: the soul, really does not like dying without having a

478
00:27:18,080 --> 00:27:20,960
Speaker 3: son with the perfect woman to achieve the immortality of blood.

479
00:27:21,359 --> 00:27:25,040
Speaker 3: He hates dramas, and he really does not like trimming

480
00:27:25,080 --> 00:27:28,160
Speaker 3: his nails or people who love because they are weak.

481
00:27:28,600 --> 00:27:30,720
Speaker 1: I would also add trunk Ador to the list. He's

482
00:27:30,760 --> 00:27:33,640
Speaker 1: really hard on trunk of Door, doesn't like trunk of door.

483
00:27:34,160 --> 00:27:36,000
Speaker 1: Trunka door is a character we'll get to in a minute,

484
00:27:36,000 --> 00:27:39,240
Speaker 1: but basically a beefy muscle man who is just like it.

485
00:27:40,160 --> 00:27:43,680
Speaker 1: Clearly is he's here in part so that Coffin Joe

486
00:27:43,760 --> 00:27:45,280
Speaker 1: can just dunk on him.

487
00:27:45,520 --> 00:27:48,600
Speaker 3: Okay, I've got a question I thought was interesting. Wonder

488
00:27:48,600 --> 00:27:51,479
Speaker 3: what you think about this? What do you think is

489
00:27:51,520 --> 00:27:57,320
Speaker 3: the relationship of this film to the philosophy of Coffin Joe, Like,

490
00:27:57,359 --> 00:28:01,640
Speaker 3: what do you think the filmmaker's attitude to that philosophy is?

491
00:28:01,800 --> 00:28:06,040
Speaker 3: Because on one hand, Coffin Joe is obviously full evil,

492
00:28:06,280 --> 00:28:09,919
Speaker 3: hard evil does all kinds of unforgivable crimes. He is

493
00:28:10,600 --> 00:28:15,320
Speaker 3: a murderer, rapist, kidnapper, does every awful crime. And yet

494
00:28:15,640 --> 00:28:18,199
Speaker 3: there are other ways that the movie seems to go

495
00:28:18,359 --> 00:28:20,919
Speaker 3: out of its way to make him sympathetic, such as

496
00:28:21,280 --> 00:28:26,360
Speaker 3: these kind of treacily scenes of showing his protectiveness of children,

497
00:28:27,000 --> 00:28:30,280
Speaker 3: and when he's giving sermons about how like God and

498
00:28:30,359 --> 00:28:32,840
Speaker 3: the church are trash. I don't know, it seems like

499
00:28:32,840 --> 00:28:37,200
Speaker 3: they're giving him a lot of room to talk, and well,

500
00:28:37,560 --> 00:28:39,560
Speaker 3: a lot of what he says was funny to us.

501
00:28:39,680 --> 00:28:43,200
Speaker 3: I've sense a real desire to make his case sound

502
00:28:43,200 --> 00:28:46,320
Speaker 3: as eloquent as possible. So is there a part of

503
00:28:46,360 --> 00:28:50,560
Speaker 3: the filmmaker that sort of likes or agrees with Coffin Joe.

504
00:28:51,760 --> 00:28:55,000
Speaker 3: There's that on you know, so he does the crimes,

505
00:28:55,040 --> 00:28:56,680
Speaker 3: then there's that on the other hand, But then coming

506
00:28:56,720 --> 00:28:58,720
Speaker 3: back on the other side, that would be kind of

507
00:28:58,760 --> 00:29:03,880
Speaker 3: weird give and that in the end we see coffin Joe,

508
00:29:03,920 --> 00:29:08,200
Speaker 3: we see his ideology humiliated by supernatural intervention, and we

509
00:29:08,280 --> 00:29:12,520
Speaker 3: see him repudiate his previous existence and beg for repentance.

510
00:29:13,560 --> 00:29:16,840
Speaker 1: Yeah. Yeah, it is weird to try and make sense of,

511
00:29:17,000 --> 00:29:20,240
Speaker 1: like the full narrative of the thing. I do think

512
00:29:20,280 --> 00:29:23,080
Speaker 1: there is a sense of Coffin Joe's an expression of

513
00:29:23,120 --> 00:29:25,840
Speaker 1: the soul, and that that Maren's considered him very much

514
00:29:25,880 --> 00:29:30,800
Speaker 1: his alter ego. So I guess some of the ideas

515
00:29:30,400 --> 00:29:34,000
Speaker 1: he's he's preaching about, or perhaps ideas that that Maren's

516
00:29:34,200 --> 00:29:36,560
Speaker 1: you know, sympathize with it at least. And I think

517
00:29:36,560 --> 00:29:38,800
Speaker 1: also you could throw in that like this is clearly

518
00:29:38,800 --> 00:29:42,280
Speaker 1: a figure that is supposed to feel counterculture and counter norms.

519
00:29:42,840 --> 00:29:46,320
Speaker 1: You know, he's the the ultimate outsider who inspires fear

520
00:29:46,480 --> 00:29:50,520
Speaker 1: just by walking down the main street in town. So

521
00:29:50,600 --> 00:29:53,000
Speaker 1: he's the enemy, but we're also attracted to him. You know,

522
00:29:53,080 --> 00:29:56,360
Speaker 1: there's this there's this weird kind of push and pull like, yeah,

523
00:29:56,400 --> 00:29:59,320
Speaker 1: how are we ultimately even as the viewer supposed to

524
00:29:59,320 --> 00:30:02,080
Speaker 1: feel about Coffin Joe, and certainly like, how is the

525
00:30:02,440 --> 00:30:05,880
Speaker 1: intended audience, the initial intended audience of the time supposed

526
00:30:05,880 --> 00:30:09,240
Speaker 1: to to think about him like you're kind of enjoying

527
00:30:09,280 --> 00:30:12,040
Speaker 1: his rebellious nature, while also at the end of the day,

528
00:30:12,080 --> 00:30:14,440
Speaker 1: it's like, Okay, the universe is put back in its

529
00:30:14,520 --> 00:30:16,680
Speaker 1: right place at the end of the film, but we

530
00:30:16,760 --> 00:30:18,840
Speaker 1: still got to have the catharsis of seeing it.

531
00:30:19,360 --> 00:30:21,120
Speaker 3: I mean, in a way, I almost wonder if it's

532
00:30:21,160 --> 00:30:24,680
Speaker 3: another form of the exploitation cinema principle that's like, we

533
00:30:24,760 --> 00:30:27,640
Speaker 3: want to show you some things that we think you

534
00:30:27,680 --> 00:30:30,760
Speaker 3: will be interested and titillated by, but framed within a

535
00:30:30,800 --> 00:30:34,080
Speaker 3: context where there's deniability that this is like no, no,

536
00:30:34,120 --> 00:30:36,520
Speaker 3: but we're saying he's bad. He is fully bad.

537
00:30:37,320 --> 00:30:41,160
Speaker 1: Yeah, yeah, you absolutely can't take the exploitation out of

538
00:30:41,160 --> 00:30:42,000
Speaker 1: the equation here.

539
00:30:42,600 --> 00:30:44,280
Speaker 3: But I don't know the thing in the end about

540
00:30:44,280 --> 00:30:46,800
Speaker 3: how Coffin Joe is a friend to all children. It

541
00:30:46,920 --> 00:30:48,800
Speaker 3: just remains deeply hilarious.

542
00:30:49,480 --> 00:30:52,720
Speaker 1: Yes, all right, rolling through just some of the other

543
00:30:53,000 --> 00:30:56,440
Speaker 1: members of the cast and crew here. Most of the

544
00:30:56,480 --> 00:30:59,240
Speaker 1: people involved here didn't do a lot else outside of

545
00:30:59,240 --> 00:31:02,680
Speaker 1: this film. I've seen interviews with Maren says that you know,

546
00:31:02,720 --> 00:31:05,280
Speaker 1: he worked a lot with with amateur actors and preferred

547
00:31:05,280 --> 00:31:08,959
Speaker 1: to work with amateur actors because more professional actors were

548
00:31:09,000 --> 00:31:12,320
Speaker 1: difficult to could be difficult to control. Let's see, we

549
00:31:12,360 --> 00:31:16,600
Speaker 1: have a writer on this, al Donora di Sapporto. This

550
00:31:16,720 --> 00:31:19,840
Speaker 1: was their only writing credit. We also have an actor

551
00:31:19,880 --> 00:31:25,080
Speaker 1: by the name of Larciolarelli who does the voice of

552
00:31:25,160 --> 00:31:28,600
Speaker 1: coffin Joe. So Maren's did not speak perfect Portuguese apparently.

553
00:31:29,160 --> 00:31:30,400
Speaker 1: I don't know how much has this had to do

554
00:31:30,440 --> 00:31:32,560
Speaker 1: with his family being of Spanish descent or not, But

555
00:31:32,680 --> 00:31:34,240
Speaker 1: at any rate, at the end of the day, the

556
00:31:34,320 --> 00:31:37,600
Speaker 1: voice of coffin Joe, even in Portuguese, is dubbed by

557
00:31:37,640 --> 00:31:38,440
Speaker 1: a different actor.

558
00:31:39,800 --> 00:31:43,160
Speaker 3: So that's somebody else's voice we're hearing say inferior.

559
00:31:44,040 --> 00:31:47,560
Speaker 1: Yes, yes, And you know this isn't out of the norm.

560
00:31:47,600 --> 00:31:51,280
Speaker 1: I mean Paul Nashi films, for example, in Spain, like

561
00:31:51,840 --> 00:31:55,680
Speaker 1: most of the time, we're not hearing Paul Nashi's actual voice.

562
00:31:55,720 --> 00:31:57,280
Speaker 1: I think there are a few films where he does

563
00:31:57,280 --> 00:32:00,920
Speaker 1: his own his own vocals as well. For the most part,

564
00:32:00,960 --> 00:32:04,520
Speaker 1: he's dubbed, even in Spanish. All right. Other cast members here,

565
00:32:04,600 --> 00:32:07,600
Speaker 1: Tina Worls plays Laura. This is her only acting credit.

566
00:32:08,000 --> 00:32:12,880
Speaker 1: Nadia Fritz plays Marcia. This is her only acting credit.

567
00:32:13,360 --> 00:32:17,560
Speaker 1: And then oh, we have Trunkador played by Antonio Fracari.

568
00:32:17,920 --> 00:32:21,520
Speaker 1: This is a beefy actor and makeup artist who also

569
00:32:21,720 --> 00:32:24,960
Speaker 1: was an associate producer on this film. He only has

570
00:32:25,000 --> 00:32:28,360
Speaker 1: three acting and three makeup credits, all in Brazilian cinema

571
00:32:28,360 --> 00:32:32,360
Speaker 1: from nineteen fifty eight through nineteen sixty seven. Great look, though,

572
00:32:32,400 --> 00:32:37,040
Speaker 1: he is this bald headed muscle man with I don't

573
00:32:37,080 --> 00:32:39,040
Speaker 1: know if this is natural or in ef fact I'm

574
00:32:39,040 --> 00:32:41,280
Speaker 1: assuming an effect. But one of his eyes is black,

575
00:32:41,640 --> 00:32:45,280
Speaker 1: like it's a black false eye or it's some sort

576
00:32:45,280 --> 00:32:46,560
Speaker 1: of contact lens in there.

577
00:32:47,000 --> 00:32:51,120
Speaker 3: But it's a very impressive look. And he's dressed like Sinbad.

578
00:32:51,840 --> 00:32:54,760
Speaker 1: Yeah. I couldn't figure out the outfit either. He does

579
00:32:54,800 --> 00:32:57,760
Speaker 1: look like he walked out of a sword and sandals picture.

580
00:32:58,040 --> 00:33:00,520
Speaker 3: Yeah, I don't know why he's dressed like that. It

581
00:33:00,600 --> 00:33:04,360
Speaker 3: looks looks like some kind of wrestling costume or something.

582
00:33:04,840 --> 00:33:09,040
Speaker 1: Yeah, he's very physically intimidating, which again, this makes it

583
00:33:09,040 --> 00:33:12,360
Speaker 1: all the more hilarious when Coffin Joe just like beats

584
00:33:12,360 --> 00:33:15,160
Speaker 1: the crap out of him in one scene, you know,

585
00:33:15,440 --> 00:33:20,200
Speaker 1: run circles around him intellectually. In another scene, it's it's

586
00:33:20,280 --> 00:33:24,520
Speaker 1: hilarious like he's basically Coffin Joe's punching back. All right,

587
00:33:24,560 --> 00:33:27,040
Speaker 1: we have Bruno. We'll talk about Bruno in a bit

588
00:33:27,120 --> 00:33:30,520
Speaker 1: played by Jose Lobo. This is their only acting credit.

589
00:33:31,000 --> 00:33:36,120
Speaker 1: And then we have the score here is by Hermineo Gaminez,

590
00:33:36,320 --> 00:33:39,600
Speaker 1: who lived nineteen oh five through nineteen ninety one, responsible

591
00:33:39,600 --> 00:33:41,880
Speaker 1: for a number of scores including At Midnight, I'll Take

592
00:33:41,880 --> 00:33:44,920
Speaker 1: Your Soul, The Strange World of Coffin Joe, and End

593
00:33:44,960 --> 00:33:48,800
Speaker 1: of Man from nineteen seventy one. That's another Maren's film.

594
00:33:49,000 --> 00:33:50,560
Speaker 3: All right, are we talking about the plot now?

595
00:33:51,240 --> 00:33:52,800
Speaker 1: Yes, let's get into the plot.

596
00:33:53,200 --> 00:33:56,120
Speaker 3: So the movie starts with Coffin Joe just talking straight

597
00:33:56,120 --> 00:33:58,920
Speaker 3: into the camera. There's a plume of smoke twisting in

598
00:33:58,960 --> 00:34:01,000
Speaker 3: front of his face, and he looks at you and

599
00:34:01,040 --> 00:34:05,440
Speaker 3: he says, is life everything and death nothing? Or is

600
00:34:05,640 --> 00:34:10,399
Speaker 3: death everything and life? Nothing makes you think I think.

601
00:34:10,320 --> 00:34:12,880
Speaker 1: It's the former. I'm gonna go with the former, but

602
00:34:13,160 --> 00:34:15,160
Speaker 1: I'm getting the impression he thinks maybe the latter.

603
00:34:15,760 --> 00:34:18,680
Speaker 3: Maybe he does seem to be into death, though not

604
00:34:18,760 --> 00:34:19,480
Speaker 3: for himself.

605
00:34:19,520 --> 00:34:19,719
Speaker 1: You know.

606
00:34:19,800 --> 00:34:22,520
Speaker 3: It's like he loves death, but he doesn't love He

607
00:34:22,520 --> 00:34:25,920
Speaker 3: doesn't want to die. He wants to be immortal, but

608
00:34:26,080 --> 00:34:28,359
Speaker 3: not to believe in the immortality of the soul, which

609
00:34:28,400 --> 00:34:31,560
Speaker 3: is foolish. He wants to have the immortality of blood.

610
00:34:31,560 --> 00:34:35,480
Speaker 3: He'll explain more later. We'll get to that. So we

611
00:34:35,560 --> 00:34:37,680
Speaker 3: get a narration at the beginning. I think there's some

612
00:34:37,800 --> 00:34:40,440
Speaker 3: text displayed on the screen that says Coffin Joe, obsessed

613
00:34:40,480 --> 00:34:43,520
Speaker 3: with having a son, killed many people, but he was

614
00:34:43,600 --> 00:34:47,880
Speaker 3: haunted by hallucinations. And so it shows Coffin Joe ripping

615
00:34:47,880 --> 00:34:50,040
Speaker 3: open a couple of caskets. I think this is the

616
00:34:50,200 --> 00:34:54,160
Speaker 3: end of At Midnight, I'll take your Soul or your soul,

617
00:34:54,360 --> 00:34:56,719
Speaker 3: but whatever the previous movie.

618
00:34:56,560 --> 00:34:59,280
Speaker 1: Was at Midnight, I'll take your Soul as a previous

619
00:34:59,320 --> 00:35:03,160
Speaker 1: And then this one is this night, I'll possess your corpse.

620
00:35:03,320 --> 00:35:06,280
Speaker 3: Okay, it doesn't specify a time tonight. It could be anytime.

621
00:35:06,320 --> 00:35:08,600
Speaker 3: It could be nine pm. To four am.

622
00:35:08,719 --> 00:35:11,279
Speaker 1: Yeah, it's like the cable guy come into to fix

623
00:35:11,320 --> 00:35:13,759
Speaker 1: your cable. It's just you have a window for arrival.

624
00:35:13,800 --> 00:35:16,640
Speaker 3: Right sometime between nine pm and four am. I'll possess

625
00:35:16,680 --> 00:35:19,000
Speaker 3: your corpse. And then they don't get there to possess

626
00:35:19,000 --> 00:35:22,400
Speaker 3: it till four thirty. But anyway, Yeah, so Coffin Joe's

627
00:35:22,480 --> 00:35:24,919
Speaker 3: he's pulling the lids off caskets. He reveals a couple

628
00:35:24,960 --> 00:35:28,319
Speaker 3: of mutilated corpses with spiders crawling on him, and then

629
00:35:28,360 --> 00:35:32,359
Speaker 3: Coffin Joe apparently something happens to him. I think he

630
00:35:32,360 --> 00:35:35,080
Speaker 3: gets his face sort of chopped up by ghosts, and

631
00:35:35,520 --> 00:35:38,120
Speaker 3: the townspeople come and they find him lying at the

632
00:35:38,560 --> 00:35:41,160
Speaker 3: entrance to the crypt with his head all bloody and

633
00:35:41,200 --> 00:35:43,919
Speaker 3: one of his eyeballs popped out. So it doesn't really

634
00:35:43,960 --> 00:35:46,480
Speaker 3: look like he could come back from this, but you

635
00:35:46,480 --> 00:35:50,080
Speaker 3: know what, turns out he's totally all right. And then

636
00:35:50,080 --> 00:35:51,640
Speaker 3: we get the credits, and I don't know what you

637
00:35:51,680 --> 00:35:54,200
Speaker 3: call the effect here, but the lettering of the credits

638
00:35:54,280 --> 00:35:58,160
Speaker 3: is wildly animated. The letters are jumping and wiggling all

639
00:35:58,160 --> 00:36:00,879
Speaker 3: over the place, and I actually paused it and went

640
00:36:00,920 --> 00:36:03,279
Speaker 3: frame by frame to see what's happening. Here, what it

641
00:36:03,320 --> 00:36:07,800
Speaker 3: looks like is that every frame of the credit sequence

642
00:36:08,239 --> 00:36:11,880
Speaker 3: had the words that are being displayed sort of painted

643
00:36:12,000 --> 00:36:15,520
Speaker 3: or handwritten on the frame anew and there was no

644
00:36:15,640 --> 00:36:18,720
Speaker 3: stencil to keep them like lined up in between shots.

645
00:36:18,760 --> 00:36:22,719
Speaker 3: So imagine just writing the same words dozens of times

646
00:36:22,440 --> 00:36:25,439
Speaker 3: on many frames in a row, and every time you're

647
00:36:25,480 --> 00:36:28,040
Speaker 3: just roughly eyeballing it to keep them in the same place,

648
00:36:28,080 --> 00:36:30,480
Speaker 3: so they're wiggling crazily all over the screen.

649
00:36:31,239 --> 00:36:34,879
Speaker 1: It's a very startling effect, especially given the fact that

650
00:36:34,960 --> 00:36:38,680
Speaker 1: even in you know, weirder films, the credits are usually

651
00:36:38,840 --> 00:36:42,319
Speaker 1: not that weird, and sometimes they're mandated that they can't

652
00:36:42,360 --> 00:36:44,399
Speaker 1: be that weird, right, I mean, like they're just there's

653
00:36:44,440 --> 00:36:48,360
Speaker 1: certain norms that are followed with opening credits and closing

654
00:36:48,400 --> 00:36:51,680
Speaker 1: credits within a given time frame and cinematic tradition, and

655
00:36:51,719 --> 00:36:54,320
Speaker 1: here it's just right off the bat, everything's unhinged.

656
00:36:54,560 --> 00:36:58,000
Speaker 3: It seems they're they prioritize making the credit sequence look

657
00:36:58,160 --> 00:37:02,160
Speaker 3: interesting over making it readable, and I respect that.

658
00:37:02,760 --> 00:37:03,560
Speaker 1: Yeah. Yeah.

659
00:37:03,680 --> 00:37:08,279
Speaker 3: Also, the credits include shots of hands frantically reaching up

660
00:37:08,280 --> 00:37:10,920
Speaker 3: from the soil, so they're clawing their way out of graves,

661
00:37:11,440 --> 00:37:13,719
Speaker 3: but so coffin Joe head old, bloody, I popped out.

662
00:37:13,719 --> 00:37:15,919
Speaker 3: He's taking to the hospital. Not only is he not dead,

663
00:37:15,920 --> 00:37:19,600
Speaker 3: he heals up perfectly, not a scar to be seen. Also,

664
00:37:19,760 --> 00:37:22,720
Speaker 3: whatever murders and crimes he did in the last movie,

665
00:37:22,760 --> 00:37:26,080
Speaker 3: it's like, no, biggie. There's a really fast scene in

666
00:37:26,120 --> 00:37:28,920
Speaker 3: front of a judge in a courtroom where the judge

667
00:37:28,960 --> 00:37:32,040
Speaker 3: is just like, not enough evidence to convict Coffin Joe

668
00:37:32,120 --> 00:37:34,680
Speaker 3: is now free to kill again. So he's lying there

669
00:37:34,680 --> 00:37:37,480
Speaker 3: in a hospital bed and the doctors come and he's

670
00:37:37,480 --> 00:37:40,120
Speaker 3: got bandages wrapped around his head, covering his eyes. They

671
00:37:40,120 --> 00:37:43,640
Speaker 3: remove the bandages, they take him off, his sight is restored.

672
00:37:43,680 --> 00:37:47,080
Speaker 3: It's perfect now. And then he just starts cackling like

673
00:37:47,120 --> 00:37:50,240
Speaker 3: a maniac at the concept of light while the doctors

674
00:37:50,239 --> 00:37:51,879
Speaker 3: are just standing there looking at him.

675
00:37:52,280 --> 00:37:55,120
Speaker 1: This should be a red flag already, that like, I'm

676
00:37:55,160 --> 00:37:58,200
Speaker 1: not sure that this guy was necessarily innocent.

677
00:37:58,640 --> 00:38:03,440
Speaker 3: So he's back. He's back, Baby's he's in town. We

678
00:38:03,520 --> 00:38:06,040
Speaker 3: see shots of people going about their business, you know,

679
00:38:06,120 --> 00:38:08,680
Speaker 3: children playing in the streets, people are singing and dancing.

680
00:38:08,760 --> 00:38:11,120
Speaker 3: Everybody's having a good time. But then they all see

681
00:38:11,120 --> 00:38:14,360
Speaker 3: Coffin Joe's coming down the road and everyone flees in terror,

682
00:38:14,520 --> 00:38:17,680
Speaker 3: parents grab their children and take them inside. Old women

683
00:38:17,800 --> 00:38:20,239
Speaker 3: duck behind windows and slam the shutters.

684
00:38:20,320 --> 00:38:23,440
Speaker 1: It's it's good, Yeah, it's it's a little bit hilarious

685
00:38:23,480 --> 00:38:28,040
Speaker 1: because it's it's really hard to nail down the initial

686
00:38:28,239 --> 00:38:33,440
Speaker 1: impact of Coffin Joe, because yes, he's creepy. He doesn't

687
00:38:33,440 --> 00:38:36,319
Speaker 1: look completely ridiculous or anything like that, Like I don't

688
00:38:36,320 --> 00:38:39,000
Speaker 1: want to imply that. Like he does look legitimately creepy,

689
00:38:39,320 --> 00:38:42,479
Speaker 1: and he brings this wonderful, weird energy to every scene

690
00:38:42,520 --> 00:38:45,680
Speaker 1: he's in, and yet there is something ridiculous about here,

691
00:38:45,719 --> 00:38:48,120
Speaker 1: Like here he comes, he's strolling into town and everybody's

692
00:38:48,200 --> 00:38:52,600
Speaker 1: running like a twenty foot monster just strolled into the village.

693
00:38:52,880 --> 00:38:57,040
Speaker 3: Yeah, so Coffin Joe struts across the churchyard. He scowls

694
00:38:57,040 --> 00:38:59,759
Speaker 3: at the town center, and he just says, people are

695
00:38:59,760 --> 00:39:06,040
Speaker 3: allays the same, ignorant, superstitious, inferior, but they will learn

696
00:39:06,120 --> 00:39:09,279
Speaker 3: the truth, even if I must make their eyes run

697
00:39:09,320 --> 00:39:13,520
Speaker 3: with tears of blood. So he's not like easing into it.

698
00:39:13,840 --> 00:39:16,239
Speaker 3: The moment he sees the town again, he's like, I'm

699
00:39:16,239 --> 00:39:22,520
Speaker 3: going to destroy these people. He checks in at the

700
00:39:22,560 --> 00:39:25,600
Speaker 3: funeral home that he operates, he looks to be very

701
00:39:25,600 --> 00:39:28,040
Speaker 3: proud to be a small business owner. He's just looking

702
00:39:28,080 --> 00:39:31,000
Speaker 3: around at his employees and beaming. And here we also

703
00:39:31,040 --> 00:39:33,760
Speaker 3: meet one of his employees who is basically his egor.

704
00:39:33,960 --> 00:39:37,319
Speaker 3: This is a man named Bruno, who they have a

705
00:39:37,800 --> 00:39:42,359
Speaker 3: not super convincing looking hunchback prosthetic and some stuff on

706
00:39:42,400 --> 00:39:42,880
Speaker 3: his face.

707
00:39:43,560 --> 00:39:45,720
Speaker 1: Yeah, kind of like a hunchback lurch character.

708
00:39:46,200 --> 00:39:48,319
Speaker 3: But coffin Joe looks out the window at a bunch

709
00:39:48,360 --> 00:39:51,359
Speaker 3: of kids playing games in the street, and then he said,

710
00:39:51,360 --> 00:39:53,879
Speaker 3: and this is where it gets weird. He's like, look

711
00:39:53,920 --> 00:39:58,120
Speaker 3: at nature's perfect creation children. Pity they all grow up

712
00:39:58,120 --> 00:40:03,239
Speaker 3: to become idiots. He says that they get lost in

713
00:40:03,280 --> 00:40:07,240
Speaker 3: a labyrinth of egoism and dominated by an imaginary power,

714
00:40:07,640 --> 00:40:10,840
Speaker 3: the faith in the immortality of the spirit. That's what

715
00:40:10,960 --> 00:40:13,479
Speaker 3: he really doesn't like. But I guess maybe they don't

716
00:40:13,480 --> 00:40:16,200
Speaker 3: have that faith yet, so they're still good, They're still

717
00:40:16,200 --> 00:40:19,359
Speaker 3: awesome in his view. And he says there's only one

718
00:40:19,400 --> 00:40:23,080
Speaker 3: truth in this life that is the immortality of blood.

719
00:40:23,160 --> 00:40:26,479
Speaker 3: He'll explain more about that later, but Bruno is just nodding, like, yep,

720
00:40:26,760 --> 00:40:31,240
Speaker 3: the labyrinth of egoism. And then there's a scene where

721
00:40:31,320 --> 00:40:33,719
Speaker 3: suddenly Coffin Joe he's like looking down the road and

722
00:40:33,760 --> 00:40:35,719
Speaker 3: he sees a man on a motorcycle or it might

723
00:40:35,760 --> 00:40:39,040
Speaker 3: be a motor scooter, just driving straight toward a group

724
00:40:39,080 --> 00:40:41,640
Speaker 3: of children who are playing in the street, and Coffin

725
00:40:41,719 --> 00:40:44,359
Speaker 3: Joe yells, he's crazy, and most of the children get

726
00:40:44,400 --> 00:40:46,520
Speaker 3: out of the way, but one boy just stands right

727
00:40:46,560 --> 00:40:49,960
Speaker 3: there in the vehicle's path, and Coffin Joe swoops in

728
00:40:50,080 --> 00:40:53,000
Speaker 3: like batman and saves the child, just like lifts him

729
00:40:53,000 --> 00:40:53,720
Speaker 3: out of the street.

730
00:40:54,360 --> 00:40:55,319
Speaker 1: And then the.

731
00:40:55,400 --> 00:40:58,359
Speaker 3: Kid's crying there. He's like, oh no, and Coffin just says,

732
00:40:58,400 --> 00:41:01,359
Speaker 3: don't cry my boy. Do you like music? And then

733
00:41:01,360 --> 00:41:03,480
Speaker 3: what is with this weird he gets like this little

734
00:41:03,640 --> 00:41:08,240
Speaker 3: Zippo lighter music box out. It's like a tiny metal

735
00:41:08,640 --> 00:41:12,080
Speaker 3: rectangle that plays music out of some weird little window.

736
00:41:12,840 --> 00:41:15,200
Speaker 1: Yeah, I guess this is like the iPod of the day, right,

737
00:41:15,280 --> 00:41:17,880
Speaker 1: you just have this little, you know, wind up musical

738
00:41:17,920 --> 00:41:20,720
Speaker 1: contraption that, yeah, generally you would see in the bottom

739
00:41:20,719 --> 00:41:21,560
Speaker 1: of the music box.

740
00:41:22,120 --> 00:41:24,520
Speaker 3: So once again, I think it is so odd and

741
00:41:24,560 --> 00:41:29,240
Speaker 3: interesting that they're giving him these superficially heroic or sympathetic traits.

742
00:41:29,280 --> 00:41:32,920
Speaker 3: It's like, what if Freddy Krueger still murdered you in

743
00:41:32,960 --> 00:41:35,319
Speaker 3: your dreams, but he was also a friend to all

744
00:41:35,400 --> 00:41:36,520
Speaker 3: children like Gamera.

745
00:41:37,120 --> 00:41:39,040
Speaker 1: Yeah, yeah, I mean he has a code, right, That's

746
00:41:39,080 --> 00:41:40,359
Speaker 1: that's what we're laying down here.

747
00:41:48,920 --> 00:41:52,239
Speaker 3: Anyway, the driver of the scooter comes over to him

748
00:41:52,320 --> 00:41:55,439
Speaker 3: and says, thank God, it's a miracle that I didn't

749
00:41:55,480 --> 00:41:57,960
Speaker 3: hit that boy. You must have been sent by God

750
00:41:58,000 --> 00:42:00,600
Speaker 3: to save him. And you can just see Offen Joe's

751
00:42:00,600 --> 00:42:05,680
Speaker 3: eyes start twitching and he's like, stupid fanaticism, and he

752
00:42:05,760 --> 00:42:08,400
Speaker 3: tells the guy a child is the most important creature

753
00:42:08,440 --> 00:42:11,040
Speaker 3: in the universe, and he says, protect them, or even

754
00:42:11,080 --> 00:42:13,520
Speaker 3: your God will not be able to save you from hell.

755
00:42:14,120 --> 00:42:14,279
Speaker 1: Oh.

756
00:42:14,320 --> 00:42:16,640
Speaker 3: And then he goes back to his funeral parlor and

757
00:42:16,719 --> 00:42:21,759
Speaker 3: there's a rich heiress named Marcia who comes over. She

758
00:42:21,800 --> 00:42:24,360
Speaker 3: comes over to flirt with Coffin Joe. She's like, wow,

759
00:42:24,640 --> 00:42:27,080
Speaker 3: I saw what you did. You're a hero. There is

760
00:42:27,120 --> 00:42:31,040
Speaker 3: no God. Talk to you later. But here the movie

761
00:42:31,120 --> 00:42:34,440
Speaker 3: makes an abrupt transition. It's like, okay, it is time

762
00:42:34,719 --> 00:42:38,240
Speaker 3: to do heinous crimes. So Coffin Joe says, I must

763
00:42:38,280 --> 00:42:43,319
Speaker 3: now immortalize my blood, which means for him, because the

764
00:42:43,560 --> 00:42:47,840
Speaker 3: spiritual afterlife does not exist, he must find the perfect

765
00:42:47,920 --> 00:42:50,239
Speaker 3: heathen superwoman to bear him a son.

766
00:42:50,760 --> 00:42:52,960
Speaker 1: All right, right, so not a situation of trying to

767
00:42:53,040 --> 00:42:56,520
Speaker 1: create the occult power couple, but the heathen power couple.

768
00:42:56,920 --> 00:42:59,759
Speaker 1: That's the quest, and then of course the heathen superbaby.

769
00:43:00,400 --> 00:43:03,480
Speaker 3: So it seems like his plan is roughly shaped like this.

770
00:43:03,560 --> 00:43:06,479
Speaker 3: He's going to kidnap six beautiful women who are all

771
00:43:06,600 --> 00:43:10,760
Speaker 3: free thinking materialists. Oh but there's one who he sends

772
00:43:10,760 --> 00:43:13,200
Speaker 3: Bruno to kidnap, and then when Bruno gets there, she's like,

773
00:43:13,280 --> 00:43:15,960
Speaker 3: no need, no need for violence, no need to kidnap me.

774
00:43:16,360 --> 00:43:19,600
Speaker 3: I'm all in on coffin Joe. And that one that

775
00:43:19,719 --> 00:43:22,520
Speaker 3: is Marcia, who flirted with him at the funeral parlor.

776
00:43:24,400 --> 00:43:26,839
Speaker 3: But once all of the victims are assembled, he's going

777
00:43:26,880 --> 00:43:30,000
Speaker 3: to terrorize them by putting a bunch of tarantulas in

778
00:43:30,040 --> 00:43:33,240
Speaker 3: their beds, and then if any of them get scared

779
00:43:33,280 --> 00:43:36,680
Speaker 3: of the tarantulas, they're not worthy. So he's going to

780
00:43:37,239 --> 00:43:39,879
Speaker 3: give them to Bruno or kill them by making them

781
00:43:39,880 --> 00:43:43,319
Speaker 3: get into a pit of venomous snakes. And then if

782
00:43:43,360 --> 00:43:46,279
Speaker 3: any of them don't get freaked out by the tarantulas,

783
00:43:46,320 --> 00:43:50,360
Speaker 3: that means they are superior and will be appropriate to

784
00:43:50,520 --> 00:43:52,840
Speaker 3: help him achieve the immortality of blood.

785
00:43:53,239 --> 00:43:57,520
Speaker 1: Highly suspect logic here. Everything is hinging on whether or

786
00:43:57,600 --> 00:44:01,600
Speaker 1: not these individuals are wigged out by spiders and snakes.

787
00:44:01,960 --> 00:44:05,719
Speaker 3: Yes, well, it's obvious that this plan has moral defects.

788
00:44:06,120 --> 00:44:09,120
Speaker 3: I think it also has logical defects, despite the fact

789
00:44:09,200 --> 00:44:12,200
Speaker 3: that Coffin Joe is constantly delivering sermons about how he

790
00:44:12,280 --> 00:44:15,880
Speaker 3: is superior and logical and God is bad. There's a

791
00:44:15,920 --> 00:44:19,479
Speaker 3: scene at the police station of Trunkador, the wrestler guy,

792
00:44:19,840 --> 00:44:23,880
Speaker 3: being falsely accused of kidnapping the women, and then the

793
00:44:23,920 --> 00:44:26,440
Speaker 3: colonel comes out and he vouches for him. He's like,

794
00:44:26,480 --> 00:44:29,120
Speaker 3: if Trunkador is guilty, you might as well arrest me too,

795
00:44:29,280 --> 00:44:31,600
Speaker 3: and then the detective is like, well that settles it.

796
00:44:31,719 --> 00:44:32,360
Speaker 3: He's innocent.

797
00:44:32,760 --> 00:44:35,200
Speaker 1: Trunk of Door is off the hook. I get the

798
00:44:35,200 --> 00:44:39,880
Speaker 1: impression Trunkador's job is just like professional heavy slash bodyguard.

799
00:44:39,960 --> 00:44:42,880
Speaker 3: That seems to be his role here, I think so.

800
00:44:43,000 --> 00:44:47,319
Speaker 3: I think he is maybe the colonel's bodyguard. There is

801
00:44:47,360 --> 00:44:50,239
Speaker 3: another scene where a mob gathers in front of a

802
00:44:50,280 --> 00:44:53,440
Speaker 3: guy outside the church who's saying that Coffin Joe did

803
00:44:53,480 --> 00:44:56,240
Speaker 3: all the kidnappings and then the mob they get whipped

804
00:44:56,320 --> 00:44:58,200
Speaker 3: up into a frenzy and they say they're going to

805
00:44:58,239 --> 00:45:00,279
Speaker 3: go after him, They're going to go get him. But

806
00:45:00,400 --> 00:45:04,120
Speaker 3: then coffin Joe appears and he disproves the premise of

807
00:45:04,160 --> 00:45:08,319
Speaker 3: their posse with logic, And you can't help but notice that, like,

808
00:45:08,480 --> 00:45:11,080
Speaker 3: there's a similarity of this scene to scenes in the

809
00:45:11,120 --> 00:45:14,600
Speaker 3: Gospels where the Pharisees are getting a mob together to

810
00:45:14,680 --> 00:45:18,440
Speaker 3: accuse Jesus of breaking the Sabbath or blaspheming or something,

811
00:45:18,880 --> 00:45:21,720
Speaker 3: and then Jesus uses some kind of clever word play

812
00:45:21,880 --> 00:45:24,680
Speaker 3: or argument or like turns their logic around on them

813
00:45:24,719 --> 00:45:28,040
Speaker 3: to shut them up. And so here coffin Joe is like,

814
00:45:28,120 --> 00:45:31,520
Speaker 3: you say, I'm guilty, Well what about you? Who can

815
00:45:31,600 --> 00:45:35,320
Speaker 3: prove that you're not guilty? You know, maybe your wife

816
00:45:35,440 --> 00:45:38,960
Speaker 3: left you because she hates you. And also this speech

817
00:45:38,960 --> 00:45:43,080
Speaker 3: includes a really irrefutable argument. He says, how can any

818
00:45:43,120 --> 00:45:46,520
Speaker 3: of you be innocent of these kidnappings when in fact

819
00:45:46,560 --> 00:45:50,600
Speaker 3: we know that only children are innocent. Boom can't argue

820
00:45:50,600 --> 00:45:53,440
Speaker 3: with that. Yeah, I don't know. Do you think the

821
00:45:53,760 --> 00:45:57,120
Speaker 3: parallel to like the controversy stories of Jesus and the Bible,

822
00:45:57,400 --> 00:45:59,080
Speaker 3: where is intentional here.

823
00:45:59,080 --> 00:46:01,160
Speaker 1: You know, I bet so. You know, we talked about

824
00:46:01,160 --> 00:46:06,200
Speaker 1: like the audience being an audience that is either you know, Christian,

825
00:46:06,520 --> 00:46:10,680
Speaker 1: or has come up in a Christian dominated kind of culture,

826
00:46:11,239 --> 00:46:15,240
Speaker 1: and you could see the appeal of an Antichrist character,

827
00:46:15,320 --> 00:46:17,360
Speaker 1: not in the sense that the character is supposed to

828
00:46:17,400 --> 00:46:20,600
Speaker 1: be like the actual Antichrist from you know, biblical tradition

829
00:46:20,880 --> 00:46:24,319
Speaker 1: or from cinematic portrayals the Antichrist, but being like a

830
00:46:24,360 --> 00:46:27,600
Speaker 1: figure that is kind of this reverse altered image of

831
00:46:27,680 --> 00:46:30,560
Speaker 1: Christ where they're like, there's something about this guy. He

832
00:46:30,640 --> 00:46:33,200
Speaker 1: reminds me of somebody else that I hear about every week,

833
00:46:33,920 --> 00:46:36,279
Speaker 1: except you know, through a mirror darkly. Yeah.

834
00:46:36,400 --> 00:46:39,880
Speaker 3: Interesting, Okay, but wait, coffin Joe. It's almost like he

835
00:46:40,280 --> 00:46:43,080
Speaker 3: forgot that he had lady prisoners. So he goes back

836
00:46:43,120 --> 00:46:45,560
Speaker 3: to the prisoners and he lectures them about how there's

837
00:46:45,600 --> 00:46:48,920
Speaker 3: no immortality of the soul, only immortality of the blood.

838
00:46:49,360 --> 00:46:51,359
Speaker 3: And then he's talking to all of them about how

839
00:46:51,400 --> 00:46:55,440
Speaker 3: he selected them because they were without faith. Like he

840
00:46:55,480 --> 00:46:57,280
Speaker 3: goes up to one of the ladies and he says,

841
00:46:57,640 --> 00:47:02,280
Speaker 3: you you were married outside the church. No faith? Good,

842
00:47:02,440 --> 00:47:06,239
Speaker 3: very good, And then he does the Tarantula test. I

843
00:47:06,280 --> 00:47:08,960
Speaker 3: recall this scene goes on a long time where the

844
00:47:09,000 --> 00:47:11,120
Speaker 3: ladies are all just like sleeping and we get to

845
00:47:11,400 --> 00:47:13,840
Speaker 3: see tarantulas crawling on their legs and stuff.

846
00:47:14,160 --> 00:47:16,640
Speaker 1: Yeah, yeah, this is definitely a case where you could

847
00:47:16,680 --> 00:47:18,400
Speaker 1: have used a little less footage and you could have

848
00:47:18,400 --> 00:47:21,480
Speaker 1: gotten the point across. But they clearly just liked this

849
00:47:21,560 --> 00:47:25,080
Speaker 1: footage of tarantula is crawling across ladies in there at lingerie,

850
00:47:25,680 --> 00:47:26,680
Speaker 1: so we see a lot of it.

851
00:47:26,800 --> 00:47:30,600
Speaker 3: Only Marcia passes the test, the one who was all

852
00:47:30,640 --> 00:47:34,640
Speaker 3: in on Coffin Joe. Anyway, all the other ladies they

853
00:47:34,680 --> 00:47:38,080
Speaker 3: start screaming about the tarantulas, so Coffin Joe he takes

854
00:47:38,120 --> 00:47:41,320
Speaker 3: them downstairs to get murdered in the pit of venomous snakes.

855
00:47:41,800 --> 00:47:45,080
Speaker 1: The snake pit looks good, by the way, like all

856
00:47:45,120 --> 00:47:48,480
Speaker 1: these SATs this is. This film is black and white,

857
00:47:48,800 --> 00:47:52,240
Speaker 1: so we have these very grim, gritty, black and white

858
00:47:52,360 --> 00:47:56,400
Speaker 1: sets in addition to those street scenes. And yeah, this

859
00:47:56,760 --> 00:48:01,640
Speaker 1: it feels claustrophobic. The snakes are definitely real, at times

860
00:48:01,680 --> 00:48:04,239
Speaker 1: alarmingly real, as are the spiders.

861
00:48:04,520 --> 00:48:06,439
Speaker 3: Oh yeah, that's weird. I guess we haven't talked about

862
00:48:06,480 --> 00:48:08,880
Speaker 3: the visual style of this movie much yet. I guess

863
00:48:08,920 --> 00:48:13,640
Speaker 3: just because the subject matter is so ripe for conversation.

864
00:48:13,800 --> 00:48:16,640
Speaker 3: But this is a great looking movie, I think. I

865
00:48:16,680 --> 00:48:19,600
Speaker 3: think most of the sets and the effects and everything

866
00:48:19,680 --> 00:48:24,000
Speaker 3: look really good. It is surprisingly visually striking for a

867
00:48:24,040 --> 00:48:25,359
Speaker 3: black and white film.

868
00:48:25,719 --> 00:48:28,799
Speaker 1: Yeah, absolutely, especially knowing that you know, they didn't have

869
00:48:28,880 --> 00:48:32,160
Speaker 1: an inexhaustible budget here that you know, I think they

870
00:48:32,200 --> 00:48:33,800
Speaker 1: had more money than they did on the first film,

871
00:48:33,800 --> 00:48:35,560
Speaker 1: but still they didn't have a lot to play with.

872
00:48:35,640 --> 00:48:38,279
Speaker 1: A lot of times the elements they're using you can

873
00:48:38,360 --> 00:48:42,160
Speaker 1: see the limitations, but you also see that well they

874
00:48:42,200 --> 00:48:44,839
Speaker 1: put a lot of effort into into lighting it appropriately

875
00:48:44,880 --> 00:48:46,920
Speaker 1: and making sure that, you know, they could lean on

876
00:48:46,960 --> 00:48:49,759
Speaker 1: the shadows as much as possible to give it this

877
00:48:49,760 --> 00:48:51,640
Speaker 1: this air of Gothic intrigue.

878
00:48:51,760 --> 00:48:53,759
Speaker 3: There's a lot of good use of high contrast in

879
00:48:53,800 --> 00:48:57,879
Speaker 3: the set dressings. There are some excellent indoor swamp and

880
00:48:58,040 --> 00:49:03,319
Speaker 3: pond sets later and yeah, just well thought out and

881
00:49:04,320 --> 00:49:08,239
Speaker 3: often high energy imagery. It is designed not to let

882
00:49:08,239 --> 00:49:09,280
Speaker 3: your eyes get bored.

883
00:49:09,520 --> 00:49:11,320
Speaker 1: Yeah, And it's my understanding that they built all the

884
00:49:11,360 --> 00:49:14,120
Speaker 1: sets in that synagogue, and I think they built the

885
00:49:14,160 --> 00:49:17,919
Speaker 1: swamp in the backyard of the synagogue.

886
00:49:18,120 --> 00:49:20,719
Speaker 3: Oh yeah, But anyway, so back to the depraved crimes

887
00:49:20,800 --> 00:49:24,200
Speaker 3: of Coffin Joe. So he's murdering all these ladies in

888
00:49:24,239 --> 00:49:29,640
Speaker 3: the snake pit. And then uh oh, Marcia, the lady

889
00:49:29,640 --> 00:49:31,920
Speaker 3: who was going to be worthy because she's not afraid

890
00:49:31,920 --> 00:49:35,400
Speaker 3: of spiders, she proves herself unworthy as well because she

891
00:49:35,480 --> 00:49:39,239
Speaker 3: has compassion. So Coffin Joe is like, he's like, hey,

892
00:49:39,320 --> 00:49:41,839
Speaker 3: let's get in the mood by watching these ladies get

893
00:49:41,840 --> 00:49:45,200
Speaker 3: bitten by snakes, and Marcia doesn't like it. She has

894
00:49:45,239 --> 00:49:48,040
Speaker 3: pity on them. She's like, please stop. And then Coffin

895
00:49:48,120 --> 00:49:50,600
Speaker 3: Joe just stands there eating grapes while one of the

896
00:49:50,719 --> 00:49:53,360
Speaker 3: ladies in the snakepit curses him in the name of God.

897
00:49:54,160 --> 00:49:57,000
Speaker 1: This is a pretty creepy scene, the curse sequence, as

898
00:49:57,000 --> 00:50:00,000
Speaker 1: it should be. And I think this sense is high

899
00:50:00,400 --> 00:50:05,040
Speaker 1: because the snake around her neck is actually like visibly

900
00:50:05,239 --> 00:50:10,120
Speaker 1: tightening around her neck. And according to an interview with

901
00:50:10,200 --> 00:50:13,239
Speaker 1: Maren's The Yeah, this is a situation where they had

902
00:50:13,239 --> 00:50:17,319
Speaker 1: to jump in right after the film cuts and like

903
00:50:17,440 --> 00:50:19,839
Speaker 1: pull the snake off of her neck to keep it

904
00:50:19,840 --> 00:50:23,640
Speaker 1: from strangling her. So, you know, to her credit, she

905
00:50:23,800 --> 00:50:25,239
Speaker 1: you know, she used it in the performance.

906
00:50:25,480 --> 00:50:29,359
Speaker 3: Oh yeah, she I mean she really portrays wrath at

907
00:50:29,360 --> 00:50:32,440
Speaker 3: Coffin Joe, and he's not impressed at first, but maybe

908
00:50:32,440 --> 00:50:36,520
Speaker 3: he will be later in the film. So anyway, Marcia

909
00:50:36,640 --> 00:50:39,960
Speaker 3: is like coffin Joe, you are sadistic. I can't stand

910
00:50:40,000 --> 00:50:43,200
Speaker 3: the sadism. And coffin Joe says, it's not sadism, it

911
00:50:43,360 --> 00:50:49,800
Speaker 3: is science. Is sciensia. These women, he says, these women

912
00:50:50,040 --> 00:50:53,040
Speaker 3: were not a human sacrifice. Their deaths will be for

913
00:50:53,160 --> 00:50:56,440
Speaker 3: the creation of the superior race, a race that will

914
00:50:56,480 --> 00:50:59,480
Speaker 3: become immortal through the control of instinct. So I think

915
00:50:59,480 --> 00:51:02,719
Speaker 3: he wants to create a new man. And Marcia is

916
00:51:02,760 --> 00:51:08,120
Speaker 3: standing there looking like that doesn't sound right. Marcia, your

917
00:51:08,160 --> 00:51:11,520
Speaker 3: instincts are correct. I don't think coffin Joe understands what

918
00:51:11,640 --> 00:51:14,560
Speaker 3: science means. He also seems to imply that it is

919
00:51:14,680 --> 00:51:20,799
Speaker 3: science because killing the women with the snakes revealed their hypocrisy.

920
00:51:22,320 --> 00:51:23,360
Speaker 3: I don't know what that means.

921
00:51:24,120 --> 00:51:26,400
Speaker 1: This does remind me that sometimes you will hear people

922
00:51:26,400 --> 00:51:28,760
Speaker 1: say I don't believe in God, I believe in science.

923
00:51:29,120 --> 00:51:31,120
Speaker 1: And yes, that can be an actual stance, but it

924
00:51:31,160 --> 00:51:33,040
Speaker 1: can also be you know, it can also be just

925
00:51:33,120 --> 00:51:36,200
Speaker 1: kind of like a shallow statement, which I think is

926
00:51:36,200 --> 00:51:38,120
Speaker 1: more in line with a Coffin Joe is saying, here,

927
00:51:38,280 --> 00:51:38,720
Speaker 1: I mean.

928
00:51:38,640 --> 00:51:41,280
Speaker 3: I don't know. I have a lot of trust in science,

929
00:51:41,320 --> 00:51:43,520
Speaker 3: but that seems like a weird way to phrase things

930
00:51:43,520 --> 00:51:45,240
Speaker 3: to me. That's kind of like saying I don't believe

931
00:51:45,239 --> 00:51:54,520
Speaker 3: in ghosts, I believe in the law. It's like, huh. Anyway,

932
00:51:54,560 --> 00:51:58,640
Speaker 3: Coffin Joe, he releases Marcia without killing her, but he says,

933
00:51:58,680 --> 00:52:01,719
Speaker 3: you know, she's not worthy to bear him, to bear

934
00:52:01,800 --> 00:52:05,320
Speaker 3: him a son because she loves him and love is weak,

935
00:52:05,520 --> 00:52:07,879
Speaker 3: and it saddened him to see the weakness of love

936
00:52:07,920 --> 00:52:08,640
Speaker 3: in her eyes.

937
00:52:09,000 --> 00:52:11,200
Speaker 1: All told, though, this is a pretty good breakup for

938
00:52:11,239 --> 00:52:11,799
Speaker 1: Coffin Joe.

939
00:52:11,880 --> 00:52:14,600
Speaker 3: I have to say, yeah, oh yeah, because she's like,

940
00:52:14,640 --> 00:52:16,400
Speaker 3: are you gonna kill me? And he's like, nope, you

941
00:52:16,480 --> 00:52:18,400
Speaker 3: can go because I know you're not going to report

942
00:52:18,480 --> 00:52:21,480
Speaker 3: me because you love me, which again is weak and bad.

943
00:52:22,080 --> 00:52:25,200
Speaker 1: Yeah. This would be toxic in any other relationship, no doubt,

944
00:52:25,200 --> 00:52:27,320
Speaker 1: But for Coffin Joe, this is I mean, this feels

945
00:52:27,640 --> 00:52:29,600
Speaker 1: like perhaps a step up from just murdering a bunch

946
00:52:29,600 --> 00:52:30,000
Speaker 1: of people.

947
00:52:30,520 --> 00:52:32,759
Speaker 3: And she does not tell on him at first. She

948
00:52:32,880 --> 00:52:36,239
Speaker 3: vouches for Coffin Joe to the police. She says I

949
00:52:36,320 --> 00:52:38,960
Speaker 3: was on a trip, which is where I was, and

950
00:52:39,000 --> 00:52:41,280
Speaker 3: no idea what happened to the other five non religious

951
00:52:41,320 --> 00:52:44,359
Speaker 3: women in town? And he did nothing wrong.

952
00:52:45,120 --> 00:52:47,400
Speaker 1: Yeah, and a law of enforcements, Like it's rock solid,

953
00:52:47,440 --> 00:52:48,560
Speaker 1: what can we do?

954
00:52:48,760 --> 00:52:52,040
Speaker 3: Yeah? So, next thing is the movie takes a shift.

955
00:52:52,320 --> 00:52:56,240
Speaker 3: Coffin Joe sees Laura arriving in town in a carriage,

956
00:52:56,719 --> 00:53:00,120
Speaker 3: and Laura is the beautiful daughter of the colonel. He

957
00:53:00,200 --> 00:53:03,040
Speaker 3: is protected by Trunkador. And here's where we get that

958
00:53:03,080 --> 00:53:06,680
Speaker 3: trunk Adoor Coffin Joe fight scene where Coffin Joe looks

959
00:53:06,719 --> 00:53:08,960
Speaker 3: at him, He's like, oh, yeah, okay, he's pretty muscly,

960
00:53:09,000 --> 00:53:12,480
Speaker 3: but I have an idea. He grabs a cane that

961
00:53:12,560 --> 00:53:15,120
Speaker 3: somebody in the crowd is holding that's got one of

962
00:53:15,120 --> 00:53:17,479
Speaker 3: those what do you call it, like the crook on top,

963
00:53:17,600 --> 00:53:20,040
Speaker 3: the like you know, the U shaped top of the cane,

964
00:53:20,360 --> 00:53:22,880
Speaker 3: and he hooks it around Trunkador's neck and then he

965
00:53:22,960 --> 00:53:27,360
Speaker 3: spins Trunkendor around in circles and throws him in the mud.

966
00:53:27,440 --> 00:53:29,399
Speaker 3: And so I guess he's beating up trunk a door

967
00:53:29,680 --> 00:53:32,360
Speaker 3: in front of Laura, maybe to impress Laura.

968
00:53:32,520 --> 00:53:35,200
Speaker 1: I think, yeah, yeah, I think so, Like I gotta

969
00:53:35,200 --> 00:53:38,160
Speaker 1: make I gotta make an example out of this meathead. Again,

970
00:53:38,200 --> 00:53:40,840
Speaker 1: trunk Ador is largely there to be made an example

971
00:53:41,880 --> 00:53:45,000
Speaker 1: of by by Coffin Joe. I also want to point out,

972
00:53:45,000 --> 00:53:48,520
Speaker 1: like I was not prepared well for multiple aspects of

973
00:53:48,520 --> 00:53:52,239
Speaker 1: this film, multiple choices, but I wasn't prepared for how

974
00:53:52,239 --> 00:53:54,920
Speaker 1: many action sequences we get. You know, they're not you know,

975
00:53:54,960 --> 00:53:57,080
Speaker 1: they're not. We're not in a Shaw Brothers film or

976
00:53:57,120 --> 00:54:01,600
Speaker 1: anything like that. Here, they're there. They're brief moments of action,

977
00:54:02,400 --> 00:54:05,000
Speaker 1: but they're they're more elaborate than I anticipated.

978
00:54:05,280 --> 00:54:07,160
Speaker 3: I agree, And it does seem like the point of

979
00:54:07,200 --> 00:54:10,239
Speaker 3: these action scenes is very much that, oh, coffin Joe

980
00:54:10,239 --> 00:54:14,040
Speaker 3: could beat up anybody he wanted to. Yeah, So are

981
00:54:14,080 --> 00:54:16,440
Speaker 3: you supposed to think he's cool? I don't know.

982
00:54:17,200 --> 00:54:19,319
Speaker 1: I guess on some level he's supposed to be cool,

983
00:54:19,440 --> 00:54:23,000
Speaker 1: Like he's he's a smart fighter. I think that's the thing. Like, yes,

984
00:54:23,080 --> 00:54:26,239
Speaker 1: trunk Adoor is stronger, but I mean he's got he's

985
00:54:26,280 --> 00:54:29,840
Speaker 1: got that like seventeen strength. But you know, coffin Joe's

986
00:54:29,880 --> 00:54:34,120
Speaker 1: got that that nineteen decks and that high intelligence. He's

987
00:54:34,120 --> 00:54:36,759
Speaker 1: gonna get in there and he's gonna he's gonna make

988
00:54:36,840 --> 00:54:38,960
Speaker 1: short work of the muscleman.

989
00:54:39,440 --> 00:54:43,040
Speaker 3: Trunkador is Ajax, but Coffin Joe is Odysseus.

990
00:54:43,640 --> 00:54:44,960
Speaker 1: Yeah.

991
00:54:45,080 --> 00:54:47,160
Speaker 3: So there's a party at the Colonel's house, I guess

992
00:54:47,200 --> 00:54:50,680
Speaker 3: to I don't know, celebrate the arrival of Laura in town.

993
00:54:51,440 --> 00:54:53,920
Speaker 3: And Coffin Joe shows up at the party, and of

994
00:54:53,920 --> 00:54:57,560
Speaker 3: course it's a real buzzkill. When Coffin Joe shows up, everybody, like,

995
00:54:57,920 --> 00:55:00,600
Speaker 3: everybody stops talking and laughing and have a good time,

996
00:55:00,640 --> 00:55:03,279
Speaker 3: and they just stare at him. Coffin Joe walks up

997
00:55:03,320 --> 00:55:06,480
Speaker 3: to Laura, who again she's playing the piano, and he's like,

998
00:55:06,600 --> 00:55:09,200
Speaker 3: meet me at midnight in the Alley of red Flowers,

999
00:55:09,880 --> 00:55:12,279
Speaker 3: and she does, and an owl is there to make

1000
00:55:12,280 --> 00:55:14,440
Speaker 3: the scene cool. So she shows up in the alley

1001
00:55:14,840 --> 00:55:16,719
Speaker 3: and he goes, are you afraid of me? And she

1002
00:55:16,880 --> 00:55:19,480
Speaker 3: says no, and he says, they say that I am

1003
00:55:19,560 --> 00:55:22,520
Speaker 3: cruel and I am a sadist. Don't you fear me now?

1004
00:55:23,200 --> 00:55:25,440
Speaker 3: And she says, if you were to kill me, that

1005
00:55:25,480 --> 00:55:28,960
Speaker 3: would only bring the one true thing in life death,

1006
00:55:30,120 --> 00:55:32,720
Speaker 3: And Coffin Joe he just goes weak in the knees.

1007
00:55:32,760 --> 00:55:35,680
Speaker 3: He has found the perfect woman for him, and it

1008
00:55:35,719 --> 00:55:39,319
Speaker 3: gets even better. So she tells him after this, she's like,

1009
00:55:39,800 --> 00:55:42,400
Speaker 3: you know, the only true thing between life and death

1010
00:55:42,640 --> 00:55:46,200
Speaker 3: is you. So she's all about him, and then she says,

1011
00:55:46,239 --> 00:55:49,640
Speaker 3: the only thing that matters is having a superior child

1012
00:55:49,800 --> 00:55:53,600
Speaker 3: born of two superior beings. What are the odds? So

1013
00:55:54,200 --> 00:55:56,719
Speaker 3: it is a match made in heaven, which is stupid

1014
00:55:56,800 --> 00:56:01,120
Speaker 3: and doesn't exist, by the way, And she's like, Coffin Joe,

1015
00:56:01,239 --> 00:56:04,000
Speaker 3: all I want is to be your godless devil wife

1016
00:56:04,040 --> 00:56:07,200
Speaker 3: and the mother of unholy science. And Coffin Joe is

1017
00:56:07,320 --> 00:56:09,960
Speaker 3: just thrilled. He's like, okay, we will make that happen.

1018
00:56:10,600 --> 00:56:12,680
Speaker 1: All right, We're off of the races now, Like this

1019
00:56:12,760 --> 00:56:14,759
Speaker 1: is this is a perfect match, Like you say, so,

1020
00:56:15,160 --> 00:56:16,799
Speaker 1: there's just a few things I got to check off

1021
00:56:16,800 --> 00:56:22,359
Speaker 1: the list here, you know, her dad hating him and

1022
00:56:22,440 --> 00:56:26,000
Speaker 1: so forth, the various murders around town. Once we smooth

1023
00:56:26,080 --> 00:56:28,200
Speaker 1: all of this out, Yeah, it's just all about that

1024
00:56:28,239 --> 00:56:29,320
Speaker 1: immortal baby blood.

1025
00:56:29,719 --> 00:56:31,440
Speaker 3: I think that they were like, oh, we need to

1026
00:56:31,440 --> 00:56:34,960
Speaker 3: get Coffin Joe to do some more murders before before

1027
00:56:35,040 --> 00:56:39,960
Speaker 3: the immortality of the Blood. So first Laura's brother tries

1028
00:56:40,000 --> 00:56:43,680
Speaker 3: to bribe Coffin Joe to leave town. So he comes,

1029
00:56:43,719 --> 00:56:45,400
Speaker 3: and he says, you know, I'll pay you twice what

1030
00:56:45,440 --> 00:56:47,359
Speaker 3: your properties are worth to buy them from you if

1031
00:56:47,360 --> 00:56:49,960
Speaker 3: you'll just leave town and leave Laura alone. But I

1032
00:56:50,000 --> 00:56:52,239
Speaker 3: don't know. It seems like Laura would just like find

1033
00:56:52,280 --> 00:56:55,040
Speaker 3: another Coffin Joe type to end up with, wouldn't she

1034
00:56:55,200 --> 00:56:57,680
Speaker 3: like she's she's got her own priorities.

1035
00:56:58,320 --> 00:57:00,439
Speaker 1: Yeah. Plus, you can't you can't stand in the way

1036
00:57:00,480 --> 00:57:04,719
Speaker 1: of love or something that closely resembles love. Yeah, this

1037
00:57:04,880 --> 00:57:08,960
Speaker 1: is clearly meant to be. But Coffin Joe sees some

1038
00:57:09,040 --> 00:57:12,120
Speaker 1: possibilities here. The wheels are turning. He doesn't actually want

1039
00:57:12,160 --> 00:57:14,600
Speaker 1: that money, but you know, I'm guessing. On one level,

1040
00:57:14,880 --> 00:57:17,919
Speaker 1: he realizes this brother is a problem. This brother needs

1041
00:57:17,960 --> 00:57:21,160
Speaker 1: to be taken care of. But also perhaps here is

1042
00:57:21,200 --> 00:57:23,479
Speaker 1: one more test for my future wife to make sure

1043
00:57:23,480 --> 00:57:27,439
Speaker 1: she's truly one devoted to what we've got going on here.

1044
00:57:27,880 --> 00:57:29,880
Speaker 3: Right, So, there are a couple of prongs to his plan.

1045
00:57:30,080 --> 00:57:33,200
Speaker 3: One of them is dealing with a Trunkador. They're going

1046
00:57:33,280 --> 00:57:35,480
Speaker 3: to try to well, they're going to kill the brother

1047
00:57:36,040 --> 00:57:41,200
Speaker 3: and frame Trunkador for the murder. So so Coffin Joe

1048
00:57:41,360 --> 00:57:45,640
Speaker 3: recruits Marcia to seduce Trunkador and then tell him that

1049
00:57:45,720 --> 00:57:50,160
Speaker 3: she needs money. And then Coffin Joe challenges Trunkador to

1050
00:57:50,200 --> 00:57:53,160
Speaker 3: a game of poker, and I guess the idea is

1051
00:57:53,200 --> 00:57:56,000
Speaker 3: trunk Ador agrees to this because he's like, I need

1052
00:57:56,040 --> 00:57:58,480
Speaker 3: to win money for my new girlfriend Marcia.

1053
00:57:59,280 --> 00:58:02,080
Speaker 1: Yeah goodor claims that he's been playing poker since like

1054
00:58:02,160 --> 00:58:04,680
Speaker 1: he was in the Womb. But it's clear from the

1055
00:58:04,720 --> 00:58:07,240
Speaker 1: get go that he's just gonna get owned at cards

1056
00:58:07,520 --> 00:58:10,200
Speaker 1: by the one true strategic genius coffin Joe. I mean,

1057
00:58:10,200 --> 00:58:13,560
Speaker 1: it's there's no question here. It's just this is doomed

1058
00:58:13,640 --> 00:58:14,240
Speaker 1: from the start.

1059
00:58:14,640 --> 00:58:16,640
Speaker 3: And there is a poker game. It's like a it's

1060
00:58:16,680 --> 00:58:19,480
Speaker 3: like a James Bond movie. There's a high stakes gambling scene.

1061
00:58:19,640 --> 00:58:22,640
Speaker 1: Yeah, we cut into it already. Trunkador's losing, like he's

1062
00:58:22,760 --> 00:58:26,520
Speaker 1: he's down. However, many games, this whole vision that he's

1063
00:58:26,560 --> 00:58:29,800
Speaker 1: going to somehow make a fortune off of coffin Joe.

1064
00:58:29,800 --> 00:58:32,040
Speaker 1: Who I think it is. I think it's maybe more

1065
00:58:32,120 --> 00:58:34,120
Speaker 1: presented in the first film, but Coffin Joe is also

1066
00:58:34,160 --> 00:58:37,120
Speaker 1: supposed to be like a wealthier member of this town,

1067
00:58:37,960 --> 00:58:41,000
Speaker 1: like he's he's the undertaker, Like there's there's always business

1068
00:58:41,160 --> 00:58:44,480
Speaker 1: for the undertaker. He makes plenty of business for himself,

1069
00:58:44,920 --> 00:58:48,200
Speaker 1: That's right, except sometimes, I mean except with like these uh,

1070
00:58:48,240 --> 00:58:50,480
Speaker 1: these murders, these most recent murders. We had the scene

1071
00:58:50,520 --> 00:58:52,800
Speaker 1: where he's hiding the bodies in the swamp so that

1072
00:58:52,840 --> 00:58:54,560
Speaker 1: they'll you know, get you know, the rod, or be

1073
00:58:54,600 --> 00:58:58,000
Speaker 1: eaten by the scavengers. So in cases like that, he

1074
00:58:58,080 --> 00:59:01,320
Speaker 1: is kind of depriving himself off business. I guess he's

1075
00:59:01,320 --> 00:59:03,760
Speaker 1: still doing the close casket thing. So that's the That's

1076
00:59:03,760 --> 00:59:06,280
Speaker 1: what really sucks about having a family member killed by

1077
00:59:06,360 --> 00:59:09,000
Speaker 1: coffin Joe is he's still going to handle the funeral.

1078
00:59:17,960 --> 00:59:21,600
Speaker 3: So coffin Joe he kills Laura's brother by crushing him

1079
00:59:21,640 --> 00:59:24,920
Speaker 3: with the giant rock. And before that, he before he

1080
00:59:24,960 --> 00:59:29,160
Speaker 3: does that, he gives a long speech like he I

1081
00:59:29,160 --> 00:59:32,280
Speaker 3: don't even The themes are like will and instinct and

1082
00:59:32,440 --> 00:59:37,640
Speaker 3: inferiority and superiority. Guess what the brother he's inferior, coffin Joe,

1083
00:59:37,720 --> 00:59:40,960
Speaker 3: he's superior. He says, how long would these nails grow

1084
00:59:41,000 --> 00:59:43,600
Speaker 3: if I didn't cut them? I don't recall what that

1085
00:59:43,640 --> 00:59:48,200
Speaker 3: refers to. He's just like the fingernails are illustrative of

1086
00:59:48,240 --> 00:59:49,480
Speaker 3: some kind of point he's making.

1087
00:59:50,320 --> 00:59:53,480
Speaker 1: Yeah, there's a whole thing with the stone, they crush

1088
00:59:53,520 --> 00:59:57,600
Speaker 1: a rat, I mean, not for real, and then he

1089
00:59:57,680 --> 01:00:00,240
Speaker 1: like catches the rope on fire. There's it's all old

1090
01:00:00,360 --> 01:00:04,320
Speaker 1: like Saw esque situation here where he's like, okay, go ahead,

1091
01:00:04,360 --> 01:00:07,280
Speaker 1: call out to God, maybe he'll save you, or you know,

1092
01:00:07,320 --> 01:00:08,840
Speaker 1: this will crush your head, And of course it ends

1093
01:00:08,880 --> 01:00:09,920
Speaker 1: up crushing his head anyway.

1094
01:00:10,480 --> 01:00:14,800
Speaker 3: It's a pit in the pendulum kind of trap. But yes,

1095
01:00:14,840 --> 01:00:18,200
Speaker 3: he also does the thing from the the Atheist Professor

1096
01:00:18,280 --> 01:00:21,120
Speaker 3: chain email where he's like, if God is real, he

1097
01:00:21,160 --> 01:00:23,840
Speaker 3: will come and save you. If he's not real, haha,

1098
01:00:23,840 --> 01:00:28,400
Speaker 3: improve and correct again. Yes, oh but anyway, then they

1099
01:00:28,480 --> 01:00:30,600
Speaker 3: so they crush him with the rock and then they

1100
01:00:30,840 --> 01:00:34,360
Speaker 3: frame Trunkador for the murder because they're playing poker in

1101
01:00:34,440 --> 01:00:38,160
Speaker 3: this crowded bar. Trunkador leaves the crowded bar. A scream

1102
01:00:38,240 --> 01:00:40,080
Speaker 3: is heard from outside, and they go out and they

1103
01:00:40,080 --> 01:00:42,840
Speaker 3: find Trunkador lying on the ground next to Laura's brother

1104
01:00:42,920 --> 01:00:45,600
Speaker 3: who is squished, and it's like, oh, trunk of Door

1105
01:00:45,720 --> 01:00:48,280
Speaker 3: must have done it because Coffin Joe was inside where

1106
01:00:48,280 --> 01:00:50,560
Speaker 3: everybody could see him, he couldn't possibly be to blame.

1107
01:00:50,640 --> 01:00:52,480
Speaker 3: It's not like he could have had accomplices.

1108
01:00:53,880 --> 01:00:57,440
Speaker 1: It's not like he's known to have multiple accomplices across

1109
01:00:57,480 --> 01:00:58,280
Speaker 1: town at this point.

1110
01:00:58,560 --> 01:01:01,280
Speaker 3: Yeah, but I think they have the funeral in coffin

1111
01:01:01,320 --> 01:01:02,000
Speaker 3: Joe's parlor.

1112
01:01:03,040 --> 01:01:04,480
Speaker 1: It's the only game in town. You gotta go to

1113
01:01:04,520 --> 01:01:05,040
Speaker 1: coffin Joe.

1114
01:01:05,840 --> 01:01:08,880
Speaker 3: So here Laura and coffin Joe start getting really serious.

1115
01:01:08,920 --> 01:01:13,240
Speaker 3: They have another midnight rendezvous, and there's a thing any

1116
01:01:13,280 --> 01:01:15,960
Speaker 3: scene where coffin Joe is like kissing a woman. We

1117
01:01:16,080 --> 01:01:19,240
Speaker 3: get these hilarious close ups of his face where he's

1118
01:01:19,520 --> 01:01:23,720
Speaker 3: frowning and scowling. He's making like a yucky face as

1119
01:01:23,760 --> 01:01:26,880
Speaker 3: he forms the kissy lips, and it is so funny.

1120
01:01:26,920 --> 01:01:29,160
Speaker 3: I don't think it's supposed to be funny. I don't

1121
01:01:29,160 --> 01:01:31,400
Speaker 3: know what they're going for there. It's just like he's

1122
01:01:31,440 --> 01:01:37,920
Speaker 3: not gonna smile, so he's just like mmm. And then

1123
01:01:37,960 --> 01:01:41,160
Speaker 3: I think Laura comes to live at coffin Joe's house

1124
01:01:41,200 --> 01:01:43,320
Speaker 3: after this, and coffin Joe's got a cool house.

1125
01:01:43,960 --> 01:01:46,959
Speaker 1: Yeah, we get to see his bedroom at one point.

1126
01:01:47,000 --> 01:01:48,800
Speaker 1: I think it's only really one shot where we get

1127
01:01:48,800 --> 01:01:51,680
Speaker 1: to see the full the full stat but yeah, he

1128
01:01:51,720 --> 01:01:54,320
Speaker 1: has this nice dark curtained bed and I think there's

1129
01:01:54,440 --> 01:01:57,600
Speaker 1: like a like a painting of the Devil over the bed.

1130
01:01:58,000 --> 01:01:58,760
Speaker 1: It's splendid.

1131
01:01:59,160 --> 01:02:02,320
Speaker 3: But uh oh, we're going to start getting some of

1132
01:02:02,400 --> 01:02:06,440
Speaker 3: the moral melodrama coming in because Coffin Joe's about to

1133
01:02:06,480 --> 01:02:09,400
Speaker 3: develop a guilty conscience. He's in a bar and he

1134
01:02:10,040 --> 01:02:13,400
Speaker 3: overhears some people talking and he finds out that one

1135
01:02:13,440 --> 01:02:15,440
Speaker 3: of the women that he killed in his snake pit

1136
01:02:15,640 --> 01:02:18,960
Speaker 3: was pregnant, and this causes him to have a crisis

1137
01:02:18,960 --> 01:02:22,320
Speaker 3: of conscience. But how could he have a crisis of conscience?

1138
01:02:22,400 --> 01:02:26,840
Speaker 3: Isn't conscience weak? Isn't that a display of inferiority? How

1139
01:02:26,920 --> 01:02:30,480
Speaker 3: could a superior being like Coffin Joe feel guilty? Well,

1140
01:02:30,520 --> 01:02:33,480
Speaker 3: remember his one real moral impulse. He thinks it is

1141
01:02:33,480 --> 01:02:36,480
Speaker 3: wrong to harm children, and he thinks that this counts,

1142
01:02:36,600 --> 01:02:38,760
Speaker 3: So he has a guilt freak out.

1143
01:02:39,200 --> 01:02:42,880
Speaker 1: Yeah, and Laura, the future Miss Coffin here is hilarious

1144
01:02:42,920 --> 01:02:46,000
Speaker 1: in her attempts to make him feel better. She's like, come, Onzie,

1145
01:02:46,080 --> 01:02:47,760
Speaker 1: that child was just going to grow up to be

1146
01:02:47,800 --> 01:02:50,280
Speaker 1: an inferior adult. He was just going to be an idiot.

1147
01:02:50,480 --> 01:02:52,520
Speaker 1: So it's actually a good thing that you did this.

1148
01:02:53,160 --> 01:02:56,760
Speaker 1: But Coffin Joe's not buying it. He's like He's like, nope, nope,

1149
01:02:56,760 --> 01:02:59,440
Speaker 1: this is against my code. This is wrong. I feel awful.

1150
01:02:59,680 --> 01:03:02,439
Speaker 3: It is time to have a nightmare of going to hell.

1151
01:03:02,560 --> 01:03:04,600
Speaker 3: And he goes to sleep. He has a nightmare of hell,

1152
01:03:05,200 --> 01:03:08,960
Speaker 3: and suddenly the film transitions to technic color. It's like

1153
01:03:09,040 --> 01:03:12,160
Speaker 3: The Wizard of Oz. But whereas in The Wizard of Oz,

1154
01:03:12,280 --> 01:03:15,160
Speaker 3: Kansas is black and white and Oz is in color,

1155
01:03:15,520 --> 01:03:18,800
Speaker 3: here most of the movie in I guess Earth is

1156
01:03:18,840 --> 01:03:21,240
Speaker 3: black and white, but Hell is in color.

1157
01:03:22,240 --> 01:03:25,400
Speaker 1: This was tremendous in part for me because I was

1158
01:03:25,440 --> 01:03:27,040
Speaker 1: not expecting it. I thought we were going to be

1159
01:03:27,080 --> 01:03:30,040
Speaker 1: in the same dreary but effective black and white for

1160
01:03:30,080 --> 01:03:32,680
Speaker 1: the full film. I had not seen the trailer, so

1161
01:03:32,720 --> 01:03:34,840
Speaker 1: I didn't know that there were going to be color elements,

1162
01:03:35,040 --> 01:03:38,840
Speaker 1: and so suddenly we're in this weird technicolor world and

1163
01:03:38,840 --> 01:03:42,000
Speaker 1: I'm like, wow, this is this blew my socks off.

1164
01:03:42,040 --> 01:03:44,240
Speaker 1: It reminds me of when I watched The Tingler for

1165
01:03:44,280 --> 01:03:46,280
Speaker 1: the first time, and I didn't know that there were

1166
01:03:46,280 --> 01:03:48,960
Speaker 1: going to be color elements in that otherwise black and

1167
01:03:48,960 --> 01:03:49,560
Speaker 1: white film.

1168
01:03:49,880 --> 01:03:51,440
Speaker 3: Oh I forgot about that.

1169
01:03:52,320 --> 01:03:54,360
Speaker 1: Yeah, I found it. I found it highly effective. I

1170
01:03:54,360 --> 01:03:55,320
Speaker 1: got a big kick out of it.

1171
01:03:55,640 --> 01:03:58,240
Speaker 3: So yeah. In this sequence, he gets dragged out of

1172
01:03:58,280 --> 01:04:02,200
Speaker 3: bed and taken to a graveyard full of shaky hands.

1173
01:04:02,240 --> 01:04:04,120
Speaker 3: There's like a demon neo grabs him, pulls them out

1174
01:04:04,160 --> 01:04:07,680
Speaker 3: of bed. This like tall, lean figure. He taken to

1175
01:04:07,720 --> 01:04:11,360
Speaker 3: the graveyard. Everybody's reaching out of the graves with hands,

1176
01:04:11,400 --> 01:04:15,800
Speaker 3: going nuts all over the place. And then once he

1177
01:04:16,120 --> 01:04:18,600
Speaker 3: is in Hell, he sees the tortures of the damned,

1178
01:04:18,880 --> 01:04:23,040
Speaker 3: which include muscly oiled up hercules, guys just running around

1179
01:04:23,040 --> 01:04:24,400
Speaker 3: poking people with pitchforks.

1180
01:04:25,040 --> 01:04:28,880
Speaker 1: Mm hmm, yeah, naked people crawling around on the floor,

1181
01:04:29,960 --> 01:04:34,919
Speaker 1: topless women strapped to columns in this kind of cave set.

1182
01:04:35,040 --> 01:04:38,200
Speaker 1: And then here come the musclemen with tridents to occasionally

1183
01:04:38,240 --> 01:04:41,480
Speaker 1: stab them, and it's worth driving home. This goes on

1184
01:04:41,600 --> 01:04:44,400
Speaker 1: for what feels like half an hour. This is another

1185
01:04:44,720 --> 01:04:46,920
Speaker 1: situation where they're like, well, we shot a lot of

1186
01:04:47,000 --> 01:04:50,480
Speaker 1: Hell footage, and we did it in color. Let's give

1187
01:04:50,520 --> 01:04:52,560
Speaker 1: the people what they want. Let's give them all of

1188
01:04:52,600 --> 01:04:56,480
Speaker 1: this footage. This actually reminded me a lot of the

1189
01:04:56,520 --> 01:05:00,840
Speaker 1: Hell scenes in the nineteen seventy musical Scrooge starring Albert

1190
01:05:00,840 --> 01:05:04,280
Speaker 1: Finney and Alec Guinness, except more naked and pokey here,

1191
01:05:04,560 --> 01:05:09,000
Speaker 1: but that level of obvious fake hell cavern set. This

1192
01:05:09,720 --> 01:05:13,280
Speaker 1: set here in the Coffin Joe film was apparently built

1193
01:05:13,280 --> 01:05:17,440
Speaker 1: in the synagogue, and according to Maren's they had rigged

1194
01:05:17,840 --> 01:05:19,960
Speaker 1: wiring in the floor of this set so they could

1195
01:05:19,960 --> 01:05:24,320
Speaker 1: have little pyrotechnic explosions, which I don't think I really

1196
01:05:24,360 --> 01:05:26,320
Speaker 1: noticed the explosion so much. There's a lot going on

1197
01:05:26,400 --> 01:05:30,120
Speaker 1: in these sequences, but the wiring wasn't great, and so

1198
01:05:30,720 --> 01:05:34,640
Speaker 1: as all the actors, including Coffin Joe, were moving around,

1199
01:05:34,880 --> 01:05:38,120
Speaker 1: they would get periodically shocked by the wiring and the floor.

1200
01:05:38,520 --> 01:05:41,680
Speaker 1: So if you rewatch the sequences, you'll see Coffin Joe

1201
01:05:41,720 --> 01:05:43,560
Speaker 1: and other people kind of going to that, and you know,

1202
01:05:44,240 --> 01:05:46,640
Speaker 1: it adds to the craziness of the sequence.

1203
01:05:47,280 --> 01:05:49,720
Speaker 3: So a bunch of things happen in Hell. Coffin Joe

1204
01:05:49,960 --> 01:05:53,280
Speaker 3: is he says it can't be. He's at one point

1205
01:05:53,320 --> 01:05:56,440
Speaker 3: he yells literally, he says, I don't believe in laws.

1206
01:05:57,520 --> 01:06:01,040
Speaker 3: I think what he means there is like there aren't

1207
01:06:01,080 --> 01:06:04,000
Speaker 3: actually things people could go to Hell for. There's no

1208
01:06:04,120 --> 01:06:05,280
Speaker 3: such things right or wrong.

1209
01:06:05,760 --> 01:06:09,640
Speaker 1: It's like, I absolutely reject this notion in its entirety.

1210
01:06:09,880 --> 01:06:11,640
Speaker 1: There is no way that I am actually in Hell,

1211
01:06:11,720 --> 01:06:14,200
Speaker 1: but clearly like we are in Hell at this point,

1212
01:06:14,240 --> 01:06:18,080
Speaker 1: and it's full color. It's like, which is very interesting

1213
01:06:18,160 --> 01:06:20,120
Speaker 1: to think about, you know, outside of just sort of

1214
01:06:20,160 --> 01:06:23,600
Speaker 1: the obvious gimmickiness of it, Like Hell is another realm

1215
01:06:24,000 --> 01:06:26,320
Speaker 1: and it's in color. So it's like, in a sense,

1216
01:06:26,640 --> 01:06:29,640
Speaker 1: suddenly Hell is more real than the rest of the film.

1217
01:06:30,040 --> 01:06:33,120
Speaker 1: Hell feels more modern than the rest of the film.

1218
01:06:33,520 --> 01:06:35,800
Speaker 1: It's it's a very weird vibe. It's hard to like

1219
01:06:35,880 --> 01:06:39,040
Speaker 1: really figure out like what aspects of it are intentional

1220
01:06:39,120 --> 01:06:39,960
Speaker 1: and which or not.

1221
01:06:40,680 --> 01:06:44,640
Speaker 3: But he's obviously frightened. And then he sees the devil,

1222
01:06:44,880 --> 01:06:48,720
Speaker 3: which is Joe himself. It's the same actor again. He's

1223
01:06:48,720 --> 01:06:50,880
Speaker 3: a very goat like devil. I think he's got laurel

1224
01:06:50,960 --> 01:06:53,400
Speaker 3: leaves around his head and a little, you know, kind

1225
01:06:53,440 --> 01:06:57,600
Speaker 3: of kind of king of the Forest crown. So there

1226
01:06:57,600 --> 01:07:00,200
Speaker 3: are elements of pan in there. And he's dressed in

1227
01:07:00,320 --> 01:07:04,280
Speaker 3: like orange and pink and purple robes. So he's this

1228
01:07:04,480 --> 01:07:06,560
Speaker 3: devil looks like he's having a great time. But coffin

1229
01:07:06,640 --> 01:07:10,160
Speaker 3: Joe is not having a great time. He is things

1230
01:07:10,160 --> 01:07:12,600
Speaker 3: are rough, and he's like, uh, oh, did I throw

1231
01:07:12,640 --> 01:07:17,040
Speaker 3: in everything? On an incorrect ideology. Uh oh.

1232
01:07:17,080 --> 01:07:19,280
Speaker 1: There's also a big carnival feel to all of this

1233
01:07:19,440 --> 01:07:22,760
Speaker 1: as well. Yes, especially with the devil on his throne.

1234
01:07:22,760 --> 01:07:24,840
Speaker 1: He seems like he's the grand marshal of a parade.

1235
01:07:25,640 --> 01:07:29,000
Speaker 3: And then Coffin Joe sees his murder victims. There is

1236
01:07:29,080 --> 01:07:31,320
Speaker 3: the woman who cursed him in the snake pit, and

1237
01:07:31,360 --> 01:07:35,080
Speaker 3: she's coming at him saying, this night, I'll possess your corpse.

1238
01:07:35,680 --> 01:07:37,760
Speaker 1: Ooh, that's the title. Now we're in it.

1239
01:07:39,040 --> 01:07:41,320
Speaker 3: So Coffin Joe wakes up from his nightmare and then

1240
01:07:41,360 --> 01:07:45,080
Speaker 3: he has to talk himself back into atheism and wickedness,

1241
01:07:45,080 --> 01:07:47,439
Speaker 3: and Laura is trying to help. She's like, no, don't

1242
01:07:47,440 --> 01:07:49,840
Speaker 3: worry about it. There is no God, there is no Hell.

1243
01:07:49,920 --> 01:07:52,640
Speaker 3: Everything's fine. Do more murders.

1244
01:07:53,200 --> 01:07:54,919
Speaker 1: Yeah, but he's clearly shaken at this point.

1245
01:07:55,240 --> 01:07:58,920
Speaker 3: Oh and then like in the next scene, Laura and

1246
01:07:58,960 --> 01:08:00,920
Speaker 3: Coffin Joe find out there going to have a baby,

1247
01:08:01,000 --> 01:08:03,280
Speaker 3: and then basically in the next scene after that, she's

1248
01:08:03,320 --> 01:08:05,760
Speaker 3: having the baby. So some time passes, I guess.

1249
01:08:06,000 --> 01:08:07,880
Speaker 1: Yeah. I was very confused at this point, as like,

1250
01:08:07,920 --> 01:08:10,320
Speaker 1: what has it been months and months? I thought it

1251
01:08:10,360 --> 01:08:11,400
Speaker 1: was like the next day.

1252
01:08:11,880 --> 01:08:16,040
Speaker 3: Yeah, but before that there's there's another subplot, which is

1253
01:08:16,360 --> 01:08:19,439
Speaker 3: the Colonel busts Trunkador out of prison, and then the

1254
01:08:19,479 --> 01:08:22,679
Speaker 3: Colonel and Trunkador hire a bunch of I don't know, Hinchman,

1255
01:08:22,760 --> 01:08:24,519
Speaker 3: I was gonna say assassins, but I think they're not

1256
01:08:24,520 --> 01:08:27,280
Speaker 3: trying to kill him. They hire some tough guys to

1257
01:08:27,400 --> 01:08:30,519
Speaker 3: go capture a Coffin Joe and bring him back to

1258
01:08:30,560 --> 01:08:31,040
Speaker 3: the colonel.

1259
01:08:31,479 --> 01:08:33,479
Speaker 1: Oh my goodness. This is this is where things get

1260
01:08:33,479 --> 01:08:36,040
Speaker 1: really interesting, because we definitely get a lot of action

1261
01:08:36,160 --> 01:08:39,040
Speaker 1: at this point, and some of it is very convincing

1262
01:08:39,080 --> 01:08:41,639
Speaker 1: and cool. There's also the sequence where they initially come

1263
01:08:41,680 --> 01:08:44,680
Speaker 1: for Joe, and you know, Coffin Joe can hold his

1264
01:08:44,720 --> 01:08:47,960
Speaker 1: own in a fight against one, two, three, maybe like

1265
01:08:48,080 --> 01:08:51,559
Speaker 1: four guys tops, but five or six is clearly too many.

1266
01:08:51,880 --> 01:08:54,160
Speaker 1: And he tries to like Spider Man, up a wall

1267
01:08:54,200 --> 01:08:57,680
Speaker 1: to escape, but like falls back down, and I'm not

1268
01:08:57,720 --> 01:09:01,519
Speaker 1: sure if that was intended at the door not, but

1269
01:09:01,880 --> 01:09:03,800
Speaker 1: I got to chuckle out of it because yeah, oh

1270
01:09:03,880 --> 01:09:06,040
Speaker 1: there's no escape, Joe. You've got to You've got to

1271
01:09:06,080 --> 01:09:10,559
Speaker 1: fight or flee. Flee's not working, and again he's no

1272
01:09:10,680 --> 01:09:13,439
Speaker 1: match for this many hired dunes.

1273
01:09:13,960 --> 01:09:16,360
Speaker 3: He says to himself, I can't die. I must protect

1274
01:09:16,400 --> 01:09:20,400
Speaker 3: my son from inferior people. Yeah, so the henchman beat

1275
01:09:20,439 --> 01:09:22,599
Speaker 3: him up. I like, how there's one guy they hired

1276
01:09:22,640 --> 01:09:24,720
Speaker 3: that's just the head butt guy. All he does is

1277
01:09:24,760 --> 01:09:25,280
Speaker 3: head butt.

1278
01:09:25,840 --> 01:09:27,559
Speaker 1: Yeah. He like, they get Joe down and then he's

1279
01:09:27,600 --> 01:09:29,439
Speaker 1: like bam, head butt knocks him out.

1280
01:09:30,840 --> 01:09:33,200
Speaker 3: So they put coffin Joe in a wagon to take

1281
01:09:33,280 --> 01:09:35,960
Speaker 3: him to the colonel. But then he pops up and

1282
01:09:36,040 --> 01:09:39,360
Speaker 3: he attacks, and he's got blades on his shoes. He's

1283
01:09:39,400 --> 01:09:42,280
Speaker 3: got secret weapons all over the place.

1284
01:09:42,680 --> 01:09:45,320
Speaker 1: Oh, this is so good. This this reminded me a

1285
01:09:45,360 --> 01:09:47,439
Speaker 1: little bit of Riddick. There's a little bit of Ridtick

1286
01:09:47,479 --> 01:09:49,320
Speaker 1: in all this, because there's a scene where Riddic is

1287
01:09:49,360 --> 01:09:51,240
Speaker 1: in the back of a cart and chronicles of Riddic

1288
01:09:51,280 --> 01:09:55,000
Speaker 1: and manages to kill some folks. But it also reminds

1289
01:09:55,000 --> 01:09:57,720
Speaker 1: me a little bit of Hannibal Lecter, where, especially in

1290
01:09:58,800 --> 01:10:01,400
Speaker 1: the book and film adaptation of Hannibal, where you know, oh,

1291
01:10:01,680 --> 01:10:07,080
Speaker 1: this guy's super dangerous, but uh are a more resourceful

1292
01:10:07,120 --> 01:10:09,519
Speaker 1: and powerful entity. Has hired a bunch of guys to

1293
01:10:09,600 --> 01:10:13,519
Speaker 1: capture him, but it's very difficult to keep a handle

1294
01:10:13,560 --> 01:10:16,800
Speaker 1: on Hannibal Lecter it's very difficult to keep Coffin Joe

1295
01:10:16,880 --> 01:10:19,080
Speaker 1: contained and you know. Yeah, so we get that scene

1296
01:10:19,080 --> 01:10:23,439
Speaker 1: where he has secret secreted razor blades like straight razors

1297
01:10:23,439 --> 01:10:26,439
Speaker 1: and his I don't know, his back straps or something,

1298
01:10:26,680 --> 01:10:29,080
Speaker 1: and he slides him into his boot and then does

1299
01:10:29,120 --> 01:10:33,360
Speaker 1: this neat like scissor leg clamp kill on one of

1300
01:10:33,120 --> 01:10:36,040
Speaker 1: the goons. It's it's pretty great. I love this sequence.

1301
01:10:36,280 --> 01:10:38,479
Speaker 3: He kills another one of the goons with an axe

1302
01:10:38,479 --> 01:10:41,040
Speaker 3: that he finds in a boat and then just like

1303
01:10:41,160 --> 01:10:43,439
Speaker 3: chops him in the head. And then he is the

1304
01:10:43,479 --> 01:10:44,599
Speaker 3: world's fakest axe.

1305
01:10:45,160 --> 01:10:47,400
Speaker 1: Yes, it looks like he's made out of paper mache,

1306
01:10:47,479 --> 01:10:49,320
Speaker 1: so it's not as convincing as the straight razors.

1307
01:10:50,160 --> 01:10:52,280
Speaker 3: Then he gets the other guys. He lures them into

1308
01:10:52,320 --> 01:10:54,439
Speaker 3: a trap in the swamp where they like sink in

1309
01:10:54,520 --> 01:10:58,120
Speaker 3: quicksand and they're begging for mercy and he's like, ah,

1310
01:10:58,320 --> 01:11:03,120
Speaker 3: I have defeated you. You are in and again the

1311
01:11:03,400 --> 01:11:04,639
Speaker 3: swamp set is great.

1312
01:11:05,080 --> 01:11:07,479
Speaker 1: Yeah, yeah, the hired goons are swallowed up by the swamp.

1313
01:11:07,479 --> 01:11:07,960
Speaker 1: It's great.

1314
01:11:08,280 --> 01:11:10,240
Speaker 3: And yeah, the more I think about it, the more

1315
01:11:10,360 --> 01:11:13,320
Speaker 3: your your comparison to Hannibal Lecter. I think I said

1316
01:11:13,320 --> 01:11:16,559
Speaker 3: it earlier. But you off, Mike, you had said Hannibal

1317
01:11:16,600 --> 01:11:19,120
Speaker 3: Lecter to me before I made that connection. I think

1318
01:11:19,200 --> 01:11:23,000
Speaker 3: that is really apt in many ways, except that coffin

1319
01:11:23,160 --> 01:11:29,960
Speaker 3: Joe does not have Hannibal Lecter's poetic brevity of comment.

1320
01:11:30,200 --> 01:11:32,840
Speaker 3: You know, it's like Hannibal Lecter. But if Hannibal Lecter

1321
01:11:33,120 --> 01:11:35,520
Speaker 3: talked like an iin Rand protagonist.

1322
01:11:36,320 --> 01:11:38,920
Speaker 1: I think this is one of the shortcomings of Hannibal Lecters.

1323
01:11:38,960 --> 01:11:43,080
Speaker 1: Hannibal Lecter did not preach enough, and he also never

1324
01:11:43,320 --> 01:11:46,519
Speaker 1: traveled to Hell, Like, how did that never happen? I mean,

1325
01:11:46,600 --> 01:11:50,400
Speaker 1: plenty of other pop culture fictional characters have had their

1326
01:11:50,439 --> 01:11:53,639
Speaker 1: own Inferno moments, but not Hannibal Lecter. Come on, make

1327
01:11:53,680 --> 01:11:54,080
Speaker 1: it happen.

1328
01:11:54,400 --> 01:11:57,000
Speaker 3: All right. Well, we're in the final final stretch of

1329
01:11:57,000 --> 01:11:59,639
Speaker 3: the film, so the guilty consciences really just start popping

1330
01:11:59,720 --> 01:12:02,120
Speaker 3: up all over the place. Marcie, I remember her. She

1331
01:12:02,280 --> 01:12:06,920
Speaker 3: has a guilty conscience now, and she because of her

1332
01:12:06,920 --> 01:12:10,799
Speaker 3: feelings of guilt, she drinks poison and then she dies.

1333
01:12:10,880 --> 01:12:13,760
Speaker 3: But as she's dying, she confesses to everyone that she

1334
01:12:13,840 --> 01:12:17,280
Speaker 3: witnessed Coffin Joe do all the murders. He did it.

1335
01:12:17,320 --> 01:12:20,160
Speaker 3: He's guilty. So this leads the colonel to form an

1336
01:12:20,200 --> 01:12:23,200
Speaker 3: angry mob to go kill Coffin Joe in revenge.

1337
01:12:23,840 --> 01:12:26,160
Speaker 1: I mean the whole time they know Coffin Joe did this.

1338
01:12:26,280 --> 01:12:28,639
Speaker 1: Deep down, I don't understand why this is such a revelation.

1339
01:12:28,840 --> 01:12:35,080
Speaker 1: Coffin Joe is a murder our. Coffin Joe, not Zee.

1340
01:12:37,680 --> 01:12:40,679
Speaker 3: And then there is a very sad scene where Laura

1341
01:12:40,880 --> 01:12:43,599
Speaker 3: is about to give birth and the doctor is there,

1342
01:12:43,680 --> 01:12:48,160
Speaker 3: but Laura and their child die in childbirth, and Coffin

1343
01:12:48,280 --> 01:12:52,759
Speaker 3: Joe is moved, despite the fact that he shouldn't feel

1344
01:12:52,840 --> 01:12:56,280
Speaker 3: love or feel sympathy or pity for anyone. In fact,

1345
01:12:56,360 --> 01:13:00,000
Speaker 3: it turns out that he can't accept Laura's death, and

1346
01:13:00,320 --> 01:13:03,080
Speaker 3: he is He is driven into a kind of a

1347
01:13:03,479 --> 01:13:07,800
Speaker 3: fit of despondency, and he first shows denial. He's like,

1348
01:13:07,880 --> 01:13:11,719
Speaker 3: Laura can't be dead. She's you know, she's my perfect match.

1349
01:13:11,800 --> 01:13:15,000
Speaker 3: We will, we will create the superior Man. And then

1350
01:13:15,040 --> 01:13:18,519
Speaker 3: he clearly is feeling sadness and he takes Laura's body

1351
01:13:18,560 --> 01:13:21,360
Speaker 3: and carries her to the graveyard, and then the real

1352
01:13:21,479 --> 01:13:25,519
Speaker 3: guilt visions begin. One of the women that he murdered

1353
01:13:25,720 --> 01:13:28,000
Speaker 3: shows up wrapped in a snake, telling him that she

1354
01:13:28,080 --> 01:13:30,040
Speaker 3: will possess his corpse, as she was the same one

1355
01:13:30,080 --> 01:13:32,800
Speaker 3: saying this in hell and the one who cursed him.

1356
01:13:33,000 --> 01:13:35,000
Speaker 1: Oh yeah, Remember part of the curse was that he

1357
01:13:35,000 --> 01:13:37,959
Speaker 1: would never have a sign, and so this whole situation

1358
01:13:38,120 --> 01:13:39,639
Speaker 1: is the culmination of the curse too.

1359
01:13:40,080 --> 01:13:42,759
Speaker 3: So he starts yelling at the sky, which is storming.

1360
01:13:42,880 --> 01:13:47,080
Speaker 3: He says, come all spirits, come untrue things, come spirits.

1361
01:13:47,120 --> 01:13:49,360
Speaker 3: If you exist and change my mind.

1362
01:13:49,680 --> 01:13:51,960
Speaker 1: Yes does God, if you exist, you will fight me

1363
01:13:52,080 --> 01:13:54,559
Speaker 1: now fisticuffs right here in the storm.

1364
01:13:55,040 --> 01:13:57,920
Speaker 3: So then God strikes a tree with lightning, and a

1365
01:13:58,040 --> 01:14:01,000
Speaker 3: burning branch of the tree falls off on top of

1366
01:14:01,240 --> 01:14:03,680
Speaker 3: Coffin Joe and like pins himTo the ground. And he

1367
01:14:03,720 --> 01:14:05,800
Speaker 3: literally says it was just a coincidence.

1368
01:14:08,280 --> 01:14:09,120
Speaker 1: Oh it's so good.

1369
01:14:09,960 --> 01:14:14,040
Speaker 3: He says, I am still superior. And a priest shows

1370
01:14:14,080 --> 01:14:16,880
Speaker 3: up with a Bible and a crucifix to convert Coffin Joe.

1371
01:14:16,920 --> 01:14:19,040
Speaker 3: He's like, you know what you can you can come

1372
01:14:19,240 --> 01:14:22,439
Speaker 3: accept Jesus. It's gonna be okay. Coffin Joe says, I

1373
01:14:22,479 --> 01:14:25,920
Speaker 3: am not weak. God does not exist, and he's, you know,

1374
01:14:25,960 --> 01:14:28,519
Speaker 3: gnashing his teeth and foaming at the mouth, screaming at

1375
01:14:28,560 --> 01:14:32,479
Speaker 3: the sky. The mob arrives at the graveyard slash swamp.

1376
01:14:32,840 --> 01:14:34,920
Speaker 3: I don't know why you'd put the graveyard in the swamp,

1377
01:14:35,000 --> 01:14:35,880
Speaker 3: but apparently they did.

1378
01:14:36,840 --> 01:14:37,040
Speaker 1: Yeah.

1379
01:14:37,479 --> 01:14:40,639
Speaker 3: The mob shoots Coffin Joe and at the last he's

1380
01:14:40,680 --> 01:14:43,960
Speaker 3: mortally wounded. He's sinking into the slime, into the quicksand

1381
01:14:43,960 --> 01:14:47,799
Speaker 3: of the swamp. The skeletons of his victims start rising

1382
01:14:47,840 --> 01:14:51,960
Speaker 3: to the surface and he literally yelps. He goes oh.

1383
01:14:52,000 --> 01:14:55,519
Speaker 3: And then and at the last he does come around.

1384
01:14:55,560 --> 01:14:58,800
Speaker 3: He repents. He says God, God is the Truth across

1385
01:14:58,840 --> 01:15:02,240
Speaker 3: a symbol of the sun, and church music starts playing.

1386
01:15:02,280 --> 01:15:05,280
Speaker 3: There's like church organ music. This totally sounds like none

1387
01:15:05,320 --> 01:15:07,920
Speaker 3: of the other music in the movie. And the priest

1388
01:15:08,000 --> 01:15:11,840
Speaker 3: crosses himself and Bruno looks on, seeming kind of sad.

1389
01:15:12,400 --> 01:15:15,320
Speaker 3: And then we get a read out on the screen

1390
01:15:15,360 --> 01:15:18,200
Speaker 3: that says, man, we'll only find truth when he searches

1391
01:15:18,240 --> 01:15:20,519
Speaker 3: for truth. And that's the end.

1392
01:15:20,920 --> 01:15:22,920
Speaker 1: So it all paid off, I guess sort of.

1393
01:15:23,680 --> 01:15:25,599
Speaker 3: So, But does Coffin Joe get to go to heaven?

1394
01:15:26,200 --> 01:15:27,320
Speaker 1: I mean, I hope he would get to go to

1395
01:15:27,320 --> 01:15:29,639
Speaker 1: purgatory first. I would hope he would get the full

1396
01:15:29,920 --> 01:15:30,920
Speaker 1: divine comedy here.

1397
01:15:31,360 --> 01:15:34,439
Speaker 3: Ah, yes, yes, we'd get a lot of descriptions of

1398
01:15:34,720 --> 01:15:37,040
Speaker 3: which direction the sun was setting as he goes around

1399
01:15:37,080 --> 01:15:37,479
Speaker 3: the mountain.

1400
01:15:37,600 --> 01:15:39,160
Speaker 1: Yeah.

1401
01:15:39,200 --> 01:15:41,120
Speaker 3: But okay, so we get the whole thing. We get

1402
01:15:41,160 --> 01:15:46,479
Speaker 3: all of the depraved, evil, sinful, murderous behavior, but then

1403
01:15:46,520 --> 01:15:49,400
Speaker 3: we also get the redemption arc at the end, though

1404
01:15:49,479 --> 01:15:54,479
Speaker 3: it's very it's very abrupt, like he it's literally just

1405
01:15:54,560 --> 01:15:57,040
Speaker 3: the last thing he says, right as he's sinking into

1406
01:15:57,040 --> 01:16:00,360
Speaker 3: the water. We don't get to see him like pivot

1407
01:16:00,400 --> 01:16:03,880
Speaker 3: and do anything kind or you know, like act out

1408
01:16:03,960 --> 01:16:06,720
Speaker 3: his new redemption at all. It's just like the it

1409
01:16:06,800 --> 01:16:12,480
Speaker 3: is the razor's edge deathbed confession. Sorry, death swamp confession.

1410
01:16:12,680 --> 01:16:15,680
Speaker 1: Yeah, death swamp confession. I've seen some criticism of this

1411
01:16:16,000 --> 01:16:19,000
Speaker 1: as as maybe it felt you know, too rushed or forced.

1412
01:16:19,960 --> 01:16:23,080
Speaker 1: I've read also that Brazilian sensors at the time only permitted,

1413
01:16:23,120 --> 01:16:25,080
Speaker 1: you know, all of this film's excess if it had

1414
01:16:25,080 --> 01:16:28,240
Speaker 1: an ending like this. And I'm not a completist by

1415
01:16:28,280 --> 01:16:30,479
Speaker 1: any stretch on his various interviews in comments, but I've

1416
01:16:30,479 --> 01:16:33,200
Speaker 1: read that Maren's later said that he didn't like the

1417
01:16:33,320 --> 01:16:36,280
Speaker 1: ending and maybe felt forced to do it. But you know,

1418
01:16:36,520 --> 01:16:38,120
Speaker 1: at the same time, I think we have to you know,

1419
01:16:38,160 --> 01:16:40,400
Speaker 1: think about the various influences and the idea of like

1420
01:16:40,439 --> 01:16:44,800
Speaker 1: Brazilian religious morality plays essentially being an influence on the

1421
01:16:44,800 --> 01:16:49,400
Speaker 1: film as well. And I don't know, for for my taste,

1422
01:16:49,720 --> 01:16:53,080
Speaker 1: I didn't feel like the ending was felt completely rushed

1423
01:16:53,160 --> 01:16:57,440
Speaker 1: or completely tacked on. I mean it it it arrives,

1424
01:16:58,160 --> 01:17:01,839
Speaker 1: you know, swifter than a lot of the major movements

1425
01:17:01,880 --> 01:17:04,760
Speaker 1: in the plot do. But I mean it's I'm not

1426
01:17:04,800 --> 01:17:07,559
Speaker 1: sure how else this could have gone. Likes, what else

1427
01:17:07,560 --> 01:17:09,800
Speaker 1: could happen? Either you get the happy ending where the

1428
01:17:09,800 --> 01:17:11,760
Speaker 1: perfect baby is born. That can't happen. This is a

1429
01:17:11,800 --> 01:17:16,920
Speaker 1: hard exploitation movie. Also, it's not very climactic if Coffin

1430
01:17:17,040 --> 01:17:19,519
Speaker 1: Joe challenges God to a fight and just God doesn't

1431
01:17:19,520 --> 01:17:21,960
Speaker 1: show up, and then Coffin Joe declares himself the winner

1432
01:17:22,280 --> 01:17:24,120
Speaker 1: and goes off to find another bride, like you need

1433
01:17:24,280 --> 01:17:27,439
Speaker 1: something to go down, and this seems like a fitting

1434
01:17:27,479 --> 01:17:28,240
Speaker 1: way to end it.

1435
01:17:28,720 --> 01:17:31,720
Speaker 3: I agree, I really can't think of another way this

1436
01:17:31,760 --> 01:17:35,360
Speaker 3: could have gone. But yeah, I don't know, Maybe my

1437
01:17:35,439 --> 01:17:38,040
Speaker 3: imagination is limited. Maybe I should be more of an

1438
01:17:38,040 --> 01:17:41,120
Speaker 3: outside the box thinker like Coffin Joe, and then I

1439
01:17:41,120 --> 01:17:44,880
Speaker 3: could imagine the Curt no, I can see the other ending.

1440
01:17:45,080 --> 01:17:48,120
Speaker 3: So the mob shows up to get Coffin Joe for

1441
01:17:48,160 --> 01:17:50,519
Speaker 3: his crimes, and then he just turns it around on

1442
01:17:50,560 --> 01:17:53,320
Speaker 3: them again like he did earlier. He convinces them that

1443
01:17:53,360 --> 01:17:55,200
Speaker 3: it was good for him to do the crimes, and

1444
01:17:55,240 --> 01:17:58,040
Speaker 3: they are all stupid for criticizing him, and they all

1445
01:17:58,080 --> 01:18:00,960
Speaker 3: go home. They hang their heads in shame, and they're like, Wow,

1446
01:18:01,320 --> 01:18:03,760
Speaker 3: coffin Joe really is superior to all of us.

1447
01:18:06,280 --> 01:18:08,000
Speaker 1: Or I think you alluded to this earlier. The idea

1448
01:18:08,040 --> 01:18:10,280
Speaker 1: that Coffin Joe becomes God or I don't know, becomes

1449
01:18:10,320 --> 01:18:12,479
Speaker 1: the Pope or something like that would be that would

1450
01:18:12,479 --> 01:18:16,040
Speaker 1: be fitting as well. Actually kind of kind of reminiscent

1451
01:18:16,080 --> 01:18:18,280
Speaker 1: of a Chronicles a ritic, you know, it's like, oh,

1452
01:18:18,320 --> 01:18:20,920
Speaker 1: I became the thing I oppose, Like that would be

1453
01:18:20,920 --> 01:18:23,400
Speaker 1: a fitting downer ending for coffin Joe.

1454
01:18:23,439 --> 01:18:26,200
Speaker 3: I think Coffin Joe becomes the Lord Marshall of the

1455
01:18:26,240 --> 01:18:27,400
Speaker 3: Necromonga Empire.

1456
01:18:28,920 --> 01:18:31,920
Speaker 1: Yeah, he's like, darn it, I love this room in

1457
01:18:31,920 --> 01:18:35,640
Speaker 1: this throne, but this whole ideology is completely repellent to me.

1458
01:18:36,000 --> 01:18:38,519
Speaker 3: Okay, this does though want to make me. I have

1459
01:18:38,760 --> 01:18:42,000
Speaker 3: listical desire here to make a list of the best,

1460
01:18:43,120 --> 01:18:48,599
Speaker 3: the best preachy hectoring villains from movies who give long

1461
01:18:48,800 --> 01:18:52,080
Speaker 3: lectures and sermons explaining why they're right and everyone else

1462
01:18:52,160 --> 01:18:52,559
Speaker 3: is wrong.

1463
01:18:53,400 --> 01:18:57,439
Speaker 1: Hmmm, Oh, that would be an interesting exercise because on

1464
01:18:57,600 --> 01:19:00,200
Speaker 1: one level, some of the memorable preachy villains, you know,

1465
01:19:00,240 --> 01:19:02,200
Speaker 1: they might not have actually preached that much. It's kind

1466
01:19:02,240 --> 01:19:06,800
Speaker 1: of like our memory of effective storytelling is sometimes you

1467
01:19:06,880 --> 01:19:09,719
Speaker 1: actually show a little bit and we imagine the rest.

1468
01:19:10,280 --> 01:19:11,639
Speaker 1: That's not the case with this film.

1469
01:19:13,720 --> 01:19:16,280
Speaker 3: But that is a good point storytelling tip out there.

1470
01:19:16,320 --> 01:19:19,800
Speaker 3: I think often you have to show fewer examples of

1471
01:19:19,800 --> 01:19:22,400
Speaker 3: something in the story to establish the impression of a

1472
01:19:22,439 --> 01:19:23,719
Speaker 3: pattern than you would think.

1473
01:19:24,240 --> 01:19:29,519
Speaker 1: Yeah, but yeah, this is this is a really fun one.

1474
01:19:29,560 --> 01:19:33,040
Speaker 1: I really enjoyed this night. I'll Possess your Corpse. It's

1475
01:19:33,080 --> 01:19:35,519
Speaker 1: so many, so many additional details we didn't even get into,

1476
01:19:35,560 --> 01:19:38,519
Speaker 1: Like I love how when coffin Joe is dragged a hell,

1477
01:19:38,840 --> 01:19:42,120
Speaker 1: he's like dragged face first through the ground. Like there

1478
01:19:42,120 --> 01:19:44,479
Speaker 1: are moments like that where it seems like they could

1479
01:19:44,520 --> 01:19:46,639
Speaker 1: have done the easier thing and gone with just sort

1480
01:19:46,640 --> 01:19:50,360
Speaker 1: of the feet first drag. But but no, Maren's i'

1481
01:19:50,360 --> 01:19:51,600
Speaker 1: meant just a guess And it was like it was

1482
01:19:51,600 --> 01:19:54,040
Speaker 1: all in. It's like, nope, drag me face first. I'm

1483
01:19:54,040 --> 01:19:57,000
Speaker 1: the director, gosh darn it, and we want it to

1484
01:19:57,000 --> 01:19:59,960
Speaker 1: look physical. This needs to it needs to be believable,

1485
01:20:00,120 --> 01:20:02,320
Speaker 1: face first, into the dirt. Let's do it.

1486
01:20:02,800 --> 01:20:06,519
Speaker 3: Okay, this moment, I possess no more insights about this night,

1487
01:20:06,560 --> 01:20:07,559
Speaker 3: I'll possess your corpse.

1488
01:20:08,320 --> 01:20:11,120
Speaker 1: All right. Well that's very uncoffin of you, Joe, but

1489
01:20:12,600 --> 01:20:15,960
Speaker 1: I'll accept it. But hey, that doesn't mean we can't

1490
01:20:15,960 --> 01:20:19,640
Speaker 1: continue to talk about Coffin Joe on listener mail in

1491
01:20:19,680 --> 01:20:22,360
Speaker 1: the future. So hey, if you have thoughts about this night,

1492
01:20:22,400 --> 01:20:24,639
Speaker 1: I'll possess your corpse, or at midnight, I'll take your soul,

1493
01:20:24,760 --> 01:20:26,320
Speaker 1: or any other I'd love to hear more about some

1494
01:20:26,360 --> 01:20:29,360
Speaker 1: of these other Coffin Joe films because it took. One

1495
01:20:29,400 --> 01:20:31,439
Speaker 1: of the reasons it took so long to get around

1496
01:20:31,600 --> 01:20:33,559
Speaker 1: to doing one of these is I was like, well,

1497
01:20:33,560 --> 01:20:36,559
Speaker 1: there are a lot of Coffin Joe related films, which

1498
01:20:36,600 --> 01:20:40,519
Speaker 1: ones are even acceptable for us to talk about, And

1499
01:20:41,160 --> 01:20:42,680
Speaker 1: you know, there are some of these that I just

1500
01:20:42,720 --> 01:20:45,280
Speaker 1: I'm not sure you can really access right now. So

1501
01:20:45,360 --> 01:20:47,120
Speaker 1: I'd love to hear more about them if we have

1502
01:20:47,120 --> 01:20:50,120
Speaker 1: any Coffin Joe experts out there write in. We would

1503
01:20:50,160 --> 01:20:51,960
Speaker 1: love to hear from you. If you want to check

1504
01:20:51,960 --> 01:20:55,759
Speaker 1: out the other movies we've selected for Weird House Cinema

1505
01:20:55,760 --> 01:20:57,559
Speaker 1: in the past, you can go to a couple of places.

1506
01:20:57,560 --> 01:21:00,240
Speaker 1: I blog about these episodes at im mutimusic dot com.

1507
01:21:00,479 --> 01:21:02,800
Speaker 1: But also if you go to a letterbox dot com

1508
01:21:02,800 --> 01:21:04,360
Speaker 1: that's L E T T E R B O x

1509
01:21:04,439 --> 01:21:06,879
Speaker 1: D dot com, you can find us there. Our username

1510
01:21:06,920 --> 01:21:08,880
Speaker 1: is weird House. We have a list of all the

1511
01:21:08,880 --> 01:21:11,080
Speaker 1: movies we've covered over the years, and sometimes you get

1512
01:21:11,360 --> 01:21:15,360
Speaker 1: a peek ahead at what's next. A reminder that we're

1513
01:21:15,400 --> 01:21:18,360
Speaker 1: primarily a science podcast, the real science, not the Coffin

1514
01:21:18,400 --> 01:21:22,320
Speaker 1: Joe science, with core episodes on Tuesdays and Thursdays, listener

1515
01:21:22,320 --> 01:21:25,320
Speaker 1: mail on Monday's short form Artifactor, Monster Fact on Wednesdays,

1516
01:21:25,320 --> 01:21:28,080
Speaker 1: and then on Fridays. We set aside most serious concerns

1517
01:21:28,080 --> 01:21:31,200
Speaker 1: to just talk about a weird film on Weird House Cinema.

1518
01:21:31,439 --> 01:21:34,880
Speaker 3: Huge thanks to our excellent audio producer Jjposway. If you

1519
01:21:34,880 --> 01:21:36,839
Speaker 3: would like to get in touch with us with feedback

1520
01:21:36,880 --> 01:21:39,080
Speaker 3: on this episode or any other, to suggest a topic

1521
01:21:39,080 --> 01:21:41,280
Speaker 3: for the future, or just to say hello, you can

1522
01:21:41,360 --> 01:21:44,160
Speaker 3: email us at contact at Stuff to Blow Your Mind

1523
01:21:44,240 --> 01:21:51,440
Speaker 3: dot com.

1524
01:21:51,560 --> 01:21:54,519
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1525
01:21:54,600 --> 01:21:57,400
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1526
01:21:57,560 --> 01:22:00,160
Speaker 2: Apple Podcasts, or wherever you listen to your favorite show.