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

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Speaker 2: Hey you welcome to Weird House Cinema. My name is

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Speaker 2: Rob Lamb.

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Speaker 3: And I am Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we are going to be talking about the nineteen sixty

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Speaker 3: four US Italian co production, I Believe for American International Pictures,

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Speaker 3: our old favorite, The Last Man on Earth starring Vincent Price,

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Speaker 3: the first of the three official film adaptations of Richard

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Speaker 3: Matheson's highly influential novel I Am Legend, the other two

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Speaker 3: adaptations being, of course, The Omega Man starring Charlton Heston

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Speaker 3: from nineteen seventy one, and then I Am Legend same

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Speaker 3: title as the book, starring Will Smith from two thousand

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Speaker 3: and seven.

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Speaker 2: Yeah, and they're still talking about doing a sequel to

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Speaker 2: that two thousand and seven film, but will quite come together. Yeah,

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Speaker 2: or I guess maybe it's going to be a prequel,

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Speaker 2: you know how they do these days.

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Speaker 3: Yeah. So The Last Man on Earth was the earliest

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Speaker 3: film adaptation of this book, and the only one that

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Speaker 3: Matheson himself had any direct involvement in. He wrote the

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Speaker 3: adapted screenplay from his own novel, though Apparently he was

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Speaker 3: so unhappy with how the film turned out that he

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Speaker 3: tried to distance himself from it and was credited under

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Speaker 3: a pseudonym. I think in the credits he's called something

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Speaker 3: Logan Logan Swanson or something.

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Speaker 2: Yeah, yeah, yeah, something like that. We'll come back to it.

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Speaker 2: We have it in the notes later on, which is.

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Speaker 3: Funny that he so desperately wanted distance from the film,

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Speaker 3: because I don't think this is a bad movie at all.

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Speaker 3: There are some clunky elements, and we can talk about

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Speaker 3: those as we go on, but overall, I think this

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Speaker 3: is a pretty strong film. In I think in critical

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Speaker 3: valuation it has the disadvantage of being based on a

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Speaker 3: really beloved and important novel, and so of course you

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Speaker 3: know you're going to hear from many fans of the

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Speaker 3: book that this movie, and in fact, none of the

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Speaker 3: film adaptations has really ever captured the feeling of the

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Speaker 3: story or fully done it justice. And on top of that,

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Speaker 3: when you're talking about Matheson's own reaction, I think we

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Speaker 3: can all be sympathetic about an author being sensitive about

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Speaker 3: adaptations of their own work. But among the weaker, clunkier

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Speaker 3: elements of the movie, I think there's a lot of good,

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Speaker 3: strong stuff going on here, and overall, I think it

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Speaker 3: really does work quite well. So Rob, maybe it would

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Speaker 3: be good to start off talking about the novel that

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Speaker 3: this is based on, because I actually haven't read it.

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Speaker 3: I'm somewhat ashamed to say, but you have right.

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Speaker 2: Yes, yeah, Now I have to caution everyone, it has

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Speaker 2: been a number of years since my last full reread

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Speaker 2: of I Am Legends, so I'm going to be a

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Speaker 2: little shaky on some of the details. But I did

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Speaker 2: pull it off the shelf here. I've got my copy

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Speaker 2: right here for those of you with video access on Netflix.

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Speaker 2: And you know, it's one of these that I could

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Speaker 2: never quite the number of other hard copy books that

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Speaker 2: I have. I had to make those decisions like do

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Speaker 2: I need to keep on keep this on my shelf

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Speaker 2: or can this find a new home? I Am Legends

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Speaker 2: one I couldn't quite get rid off, even though I

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Speaker 2: haven't read it in maybe fifteen years. But yeah, it

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Speaker 2: is a great, great little book. It's one of those

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Speaker 2: stories you could probably make a case for being more

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Speaker 2: of a novella than a novel without getting too detail

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Speaker 2: oriented about what defines either. But it's a short book.

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Speaker 2: The copy I have actually has a number of short

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Speaker 2: stories sandwiched at the end of it, which I did

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Speaker 2: not know going into my initial reading of it. And

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Speaker 2: I was like, oh, my goodness, that's over. That's it.

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Speaker 2: There's like the fourth of the book remaining.

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Speaker 3: It's almost kind of a nice surprise. And the thing

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Speaker 3: about a physical book is there's never any mystery about

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Speaker 3: when you're coming to the end.

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Speaker 2: Yeah, yeah, it's just oh, well that was it, and wow,

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Speaker 2: what an ending it is. Yeah, it's a terrific book.

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Speaker 2: It was one that I think was recommended to me,

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Speaker 2: like early on Internet days, when I was looking for

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Speaker 2: a really good vampire story and I had not at

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Speaker 2: that point been exposed to Matheson's writing. I had been

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Speaker 2: exposed to his screenwriting for television via The Twilight Zone,

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Speaker 2: but I didn't really realize it at that point. But yeah,

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Speaker 2: his his writing is special. It's highly influential. I think

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Speaker 2: we've referenced before how Stephen King is one of the

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Speaker 2: many writers who grew up idolizing Matheson and admiring his work.

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Speaker 2: He wrote in a sort of minimalist, straightforward style that

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Speaker 2: was also highly visual in a way that perhaps speaks

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Speaker 2: to the TV era he was writing in and sometimes four.

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Speaker 3: But yeah, my under standing of his style is that

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Speaker 3: it's very clear and very plain. It's not given to

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Speaker 3: like flowery language and all the right right.

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Speaker 2: It's like, for instance, I was talking a little bit

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Speaker 2: about the about the text before we started recording, and

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Speaker 2: I read you and JJ just a snippet. But it

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Speaker 2: can be a little underwhelming to read Matheson in snippets

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Speaker 2: like that, because so much of what works about his

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Speaker 2: prose is that he builds up a certain momentum and

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Speaker 2: it's just he's just pulling you along, and it's very

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Speaker 2: hard to put down a good Mathison story. It's like

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Speaker 2: this is, for instance, I Am Legend is a work

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Speaker 2: that I think a lot of people read in essentially

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Speaker 2: one sitting or in a weekend or something like that.

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Speaker 3: Yeah, okay, so somebody who's a fiction writer more in

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Speaker 3: the sense of being a storyteller than a prose stylist. Yeah, now,

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Speaker 3: you know, I think not to denigrate his pro style, right, right,

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Speaker 3: And I'm sure there are.

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Speaker 2: Some gems in there. I think it's Borges who said

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Speaker 2: that every every writer in the world, old, successful or unsuccessful,

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Speaker 2: good or bad, has at some point written the most

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Speaker 2: beautiful line in the English language, like, you know, there's

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Speaker 2: some gems in there. I'm sure they're just He's not

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Speaker 2: necessarily the sort of author that that, at least I

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Speaker 2: think of in terms of like, oh, look at this

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Speaker 2: little quote, look at this sentence, But they're in there somewhere.

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Speaker 3: I'm sure.

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Speaker 2: Now I am legend as in full as I remember.

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Speaker 2: It is admirable for its emotionally resonant vision of a

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Speaker 2: post apocalyptic existence, one where you get, you know, the

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Speaker 2: various bells and whistles we've come to associate with post

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Speaker 2: apocalyptic fiction, but the weight of loss and the rise

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Speaker 2: of hopelessness are absolutely not taken for granted in this work.

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Speaker 2: This combined with a very seriously minded or at least

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Speaker 2: grounded take on the vampire, and again an excellent writing

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Speaker 2: style that just pulls the reader right along.

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Speaker 3: Yeah. So, I guess. As a brief synopsis and warning

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Speaker 3: ahead of time, if you've never read this novel or

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Speaker 3: seen any of the movies we are going to, this

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Speaker 3: will be a spoiler laden discussion. So if you would

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Speaker 3: like to read the book or see one of the

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Speaker 3: movies not knowing the ending, not knowing anything in advance,

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Speaker 3: you should probably pause here and go do that now.

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Speaker 3: So warning out of the way. Now we should give

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Speaker 3: a brief encapsulation of the story. Wait are we going

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Speaker 3: to use the Are we going to describe the movie

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Speaker 3: first or the novel first? I guess the broad strokes

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Speaker 3: of the novel are that it is about the story

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Speaker 3: of a man who finds that he is alone on

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Speaker 3: Earth after an apocalyptic plague. There has been a disease

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Speaker 3: that swept over the earth and has killed everyone but him.

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Speaker 3: He's the only one left, and then discovers that he's

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Speaker 3: not quite alone. He is alone as he believes as

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Speaker 3: a human being, but there are now other creatures. The

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Speaker 3: dead and the infected by this disease have come back

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Speaker 3: as various forms of vampires, and they conform in many

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Speaker 3: ways to the vampire legends of old. So they drink blood,

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Speaker 3: they have to hide from the sunlight, they fear mirrors

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Speaker 3: and garlic and crosses, so they're like the vampires out

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Speaker 3: of Dracula or any of these Gothic stories. But an

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Speaker 3: interesting thing about this story is that it tries to

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Speaker 3: ground the vampire the existence of the vampire purely in

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Speaker 3: naturalistic scientific explanations and from what I understand, I Am

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Speaker 3: Legend was incredibly influential in this regard. Now we now

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Speaker 3: this is a normal way to do vampire. There are

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Speaker 3: a lot of vampire movies and stories and everything that

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Speaker 3: do wear wolves and vampires and all kinds of supernatural

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Speaker 3: creatures as naturalistic phenomena with scientific explanations.

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Speaker 2: To the point of tedium at times.

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Speaker 3: Actually, yes, I'm kind of tired of it now. But

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Speaker 3: from what I understand, this was once a new approach.

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Speaker 3: People hadn't really blended the elements in this way, and

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Speaker 3: to be fair, I think Matheson was not actually the

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Speaker 3: first person ever to do it, Like there were some

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Speaker 3: earlier stories that said, oh, you know, Dracula actually has

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Speaker 3: a disease that causes all these things. But the way

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Speaker 3: I understand it is that I Am Legend was by

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Speaker 3: far the biggest and most influential story early story like this,

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Speaker 3: and so his scientific naturalistic take on vampires was kind

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Speaker 3: of a revelation to other writers and they took that

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Speaker 3: sort of principle and lots of other directions.

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Speaker 2: Since that's right, and I'll throw out the exact dates

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Speaker 2: here in a minute, but essentially we're talking about a

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Speaker 2: mid sixties adaptation, and the book is from the mid fifties.

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Speaker 3: Yeah, I think the book. The movie is nineteen sixty

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Speaker 3: four and the book was nineteen fifty fours, I believe,

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Speaker 3: so yeah, yeah, Okay, so Rob, you'll have to confirm this,

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Speaker 3: because again I haven't read the book, But what I

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Speaker 3: understand is that the book goes into a lot more

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Speaker 3: depth than the movie does about these scientific explanations for

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Speaker 3: the like the vampire principles. You know, why certain things

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Speaker 3: happen to a vampire. So the vampire's aversion to crosses

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Speaker 3: and mirrors is explained as a form of psychological hysterical blindness,

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Speaker 3: And the aversion to garlic is explained in some way

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Speaker 3: that like the garlic actually, like the bacterium that causes

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Speaker 3: the disease is deathly allergic to garlic, and so on

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Speaker 3: and so on, so they actually keep all of the elements.

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Speaker 2: Yeah, yeah, and in at least some of these are

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Speaker 2: alluded to in the adaptation we're going to be talking about,

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Speaker 2: including the idea that the stake to the heart and

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Speaker 2: it has to be a wooden stake. It has to

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Speaker 2: be porous because it has to allow airflow into the body.

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Speaker 2: Cavity of the stake vampire.

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Speaker 3: Right, because I think this in the book, it's that

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Speaker 3: it's like an anaerobic bacterium, and so at like air

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Speaker 3: gets in and that kills it or prevents it from growing.

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Speaker 3: But I thought it might be good to talk about

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Speaker 3: a few of the other key themes of the book

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Speaker 3: and see how they also play out in this film adaptation.

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Speaker 3: Rob Again, you'll have to confirm from what I've read,

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Speaker 3: the book is a is very respected for its serious

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Speaker 3: take on loneliness and depression.

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Speaker 2: Yes, absolutely crushing loneliness of both the emission emotional and

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Speaker 2: the physical kind. The depression tied in with that as well,

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Speaker 2: and also alcoholism. There's you know, some pretty rough stuff

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Speaker 2: in there, as our protagonist turns to drink and like

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Speaker 2: basically like it's like a day and night situation, right,

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Speaker 2: It's like at night that's when the dead come and

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Speaker 2: they don't just come, they speak to him. And you know,

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Speaker 2: he's turning to alcohol to try and like make it

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Speaker 2: through the night at times, but then that's eating into

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Speaker 2: his day as well, and there's this this like growing

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Speaker 2: fear and I forget how much of this is in

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Speaker 2: his mind or how much of it is in the reader,

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Speaker 2: but it's like you're losing track of your time here

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Speaker 2: and you're losing track of the shaky grasp you have

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Speaker 2: on the remaining order of the world. So yeah, it's

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Speaker 2: some really heavy stuff.

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Speaker 3: Yeah, it's interesting how the vampires and the story can

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Speaker 3: serve I think as a physical metaphor for things that

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Speaker 3: people do deal with and like depression and alcoholism, with

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Speaker 3: anxieties that come especially in the night. You know, they

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Speaker 3: come and whisper to you in the nighttime, and then

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Speaker 3: you know, dealing with alcoholism there might be like it's

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Speaker 3: a crutch, a way of you know, numbing the anxieties

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Speaker 3: and so forth, but then ultimately multiplying them over time.

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Speaker 3: Another one of the themes that is very important in

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Speaker 3: the novel is the theme that is driven home by

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Speaker 3: the twist ending. It has a kind of twist which

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Speaker 3: is the moral inversion principle. There is an inversion where

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Speaker 3: you thought the story was one thing, that it was

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Speaker 3: about a victim or a hero versus you know, these

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Speaker 3: perpetrators or villains, and the ending causes a shift, a

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Speaker 3: shift in perspective that makes you actually see it the

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Speaker 3: opposite way. Rob could you describe that a little bit

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Speaker 3: in the book.

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Speaker 2: Yeah, yeah, And this comes down to the title I

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Speaker 2: am legend. This is these are the last words of

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Speaker 2: the book, and it Yeah, it involves the realization on

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Speaker 2: the part of Neville that the world he was fighting for,

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Speaker 2: that he was trying to preserve in his own way,

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Speaker 2: like it's just gone. And the enemy he's been fighting

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Speaker 2: they are the inheritors, they are the believe they're called

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Speaker 2: the new People, and to them he is the great adversary.

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Speaker 2: He is he is the monster that is going to

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Speaker 2: become a figure of legend that is going to become

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Speaker 2: like what Dracula was to to us, like he is

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Speaker 2: going to be to them. Uh. And he realizes that,

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Speaker 2: and there's and I guess in a sense there's kind

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Speaker 2: of a letting go at that as well, like the

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Speaker 2: world is going on without him. And yeah, and you can,

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Speaker 2: of course he's that a part in various ways concerning

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Speaker 2: just mortality in general.

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Speaker 3: Yeah, yeah, yeah, So in a literal sense in the story,

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Speaker 3: he spends his time fighting for fighting against this vampire menace.

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Speaker 3: You know, he's going around the city driving stakes into

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Speaker 3: the hearts of these infected people who have become vampires

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Speaker 3: and he sees himself. He's like defending the last remnant

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Speaker 3: of humanity, which as far as he knows, is just himself.

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Speaker 3: He thinks. I think he holds out hope, maybe that

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Speaker 3: there are some other humans left out there, and he's

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Speaker 3: fighting the encroachment of the vampires. And at the end

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Speaker 3: he realizes like that he is the monster, that the

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Speaker 3: vampires are just what people are now, and he has

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Speaker 3: been killing them.

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Speaker 2: Yeah. Yeah, I'd say another obvious big theme here is

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Speaker 2: this is another one that certainly Matheson did not invent.

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Speaker 2: He was not the first to do this, but it's

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Speaker 2: done very well here, and that is that the story

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Speaker 2: in any ways boils down to one human vers the world.

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Speaker 2: You know, and you know, obviously this is the way

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Speaker 2: it feels sometimes maybe you know, listener, you feel this

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Speaker 2: way at this very moment, like the world and everyone

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Speaker 2: in it, if they're not against you in a directed way,

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Speaker 2: they're at least against you in a manner of sort

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Speaker 2: of like environmental pressures. And it's not just you versus

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Speaker 2: the other world, it's also you versus the inner world

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Speaker 2: you know, that rolls in response to all the stimuli.

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Speaker 2: And so in I am legend and in the adaptations

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Speaker 2: this story, it is of course simplified through sci fi

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Speaker 2: and horror. The entire world has become the undead, and

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Speaker 2: when they're not actively moving against you, you have to

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Speaker 2: contend with the loneliness and depression and the desperation of

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Speaker 2: this world. You have to put in all of this

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Speaker 2: work just to survive against the onslaught that just won't stop.

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Speaker 2: So I think the story and its various film adaptations

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Speaker 2: have resonated with folks because it taps into that familiar feeling.

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Speaker 2: It kind of feeds it with fantasy. And there's probably

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Speaker 2: much to be said about how all right. You know, again,

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Speaker 2: we're talking of mid fifties book that's probably tying into

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Speaker 2: a certain amount of post war individualism. But then the

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Speaker 2: various adaptations are you know, I haven't analyzed the other

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Speaker 2: two recently, but you know, and there's probably something to

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Speaker 2: be said about the Omega Man tying into late sixties

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Speaker 2: early seventies individualism, and I suppose the two thousand and

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Speaker 2: seven Will Smith version is tying into something unique to

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Speaker 2: that time as well. I will add that I'm more

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Speaker 2: shaky about the will Smith version. I saw it only

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Speaker 2: once and I have not revisited it, though. I remember

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Speaker 2: will Smith being good in it, and I remember the

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Speaker 2: day'n Dead looking not so great.

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Speaker 3: I've never seen that one. I hope I'm not being unfair,

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Speaker 3: but I recall some descriptions I heard about it years

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Speaker 3: ago that claimed that it sort of backs away from

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Speaker 3: the more introspective themes of the book and is more

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Speaker 3: kind of trying to be like a horror action movie.

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Speaker 2: Yeah. Yeah, I know there's been some re analysis of it,

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Speaker 2: and I know there's another one of these pictures where

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Speaker 2: they're deleted scenes and there's like maybe a different ending

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Speaker 2: and so forth. But again, I just have not explored

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Speaker 2: it since it came out. I just remember shaky vampires,

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Speaker 2: solid Willsmith performance. Yeah. All right, Well, if you would

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Speaker 2: like to watch The Last Man on Earth at this point, again,

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Speaker 2: the first adaptation of I Am Legend and the one

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Speaker 2: we're going to be talking about here today. It is

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Speaker 2: readily available wherever you get your movies. If you're looking

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Speaker 2: for a physical copy, Kale Studio Classics has a nice

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Speaker 2: blu ray edition that includes extras and including an alternate ending,

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Speaker 2: which we'll get into in a bit. I noticed that

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Speaker 2: some of the streaming versions out there are colorized or

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Speaker 2: seem to be colorized, And I'll just advise everyone that

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Speaker 2: this film was shot in black and white. But I

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Speaker 2: don't know at the end of the day, if it

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Speaker 2: being colorized makes a difference to you, if you're more

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Speaker 2: likely to watch it in color than black and white,

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Speaker 2: I don't go for it.

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Speaker 3: Why not, Well, I mean, obviously you do whatever you want.

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Speaker 3: I would recommend the black and white. I think the

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Speaker 3: black and white looks good.

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Speaker 2: Yeah, But if it's like if you can only find

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Speaker 2: the color, I mean, I've done that before, where it's like, oh,

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Speaker 2: it looks like I'm watching this in color. In the

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Speaker 2: old days, you could at least turn down the knob

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Speaker 2: on the television and make something black and white again.

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Speaker 2: But I don't know. I don't know how to do

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Speaker 2: that with the smart TV. You know.

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Speaker 3: This movie, especially for like an AIP production, I thought

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Speaker 3: the cinematography was pretty good. It has some nice camera

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Speaker 3: work in it, especially some a lot of eerie landscape

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Speaker 3: shots and settings. We'll talk about that when we get

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Speaker 3: into the plot section, but it does well. Something we

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Speaker 3: talked about in our episode on Night of the Comet,

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Speaker 3: which is effectively using the creepiness of emptied locations that

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Speaker 3: are normally full of people.

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Speaker 2: Yeah, yeah, and these are all going to be Italian location,

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Speaker 2: so I think we are install already. This is a

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Speaker 2: US Italian co production filmed in Italy, though it's perhaps

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Speaker 2: supposed to be La. I think other adaptations take place

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Speaker 2: in La. But that's what I thought.

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Speaker 3: Yeah, the novel is set in La or around LA.

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Speaker 2: I think that sounds right, but I did not reread

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Speaker 2: the initial setting part of the book. All right, Well,

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Speaker 2: let's get into the people behind the film here. Starting

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Speaker 2: at the top, we have the credited director for the

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Speaker 2: Italian prints, and also he has a screenplay credit. We

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Speaker 2: have Obaldo Ragona, who lived nineteen sixteen through nineteen eighty seven,

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Speaker 2: Italian director, best known at least internationally for this film,

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Speaker 2: and this is only one of a handful of films

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Speaker 2: to his credit. Then we also have a director credited

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Speaker 2: for the US Prince, and that's Sidney SalCo, who lived

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Speaker 2: nineteen oh nine through the year two thousand, American director

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Speaker 2: of TV and film actor from thirty five through sixty five,

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Speaker 2: at least in film credits, and this is probably his

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Speaker 2: best known project as well. But he also directed sixty

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Speaker 2: threes Twice Told Tales, which had bencent Price in it,

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Speaker 2: and nineteen thirty eight She Married a Cop, tying back

363
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Speaker 2: to previous discussions on marriage titles and on the TV,

364
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Speaker 2: he directed numerous episodes of numerous shows, including This Is

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Speaker 2: Alice and The Adams Family.

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Speaker 3: I married a cop from outer space?

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Speaker 2: I mean I married a cop. I don't know. It's

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Speaker 2: like I know people who married a cop. Like, I mean,

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Speaker 2: there's a movie there, right, what's it implying?

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Speaker 3: I don't know something about handcuffs?

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Speaker 2: I don't know. I don't know the film all right.

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Speaker 2: The author of the original novel, as we've been discussing,

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Speaker 2: and also one of the early screenwriters on this production, is,

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Speaker 2: of course Richard Matheson, who lived nineteen twenty six through

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Speaker 2: twenty thirteen, American writer who is I don't know, It's

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Speaker 2: hard to say. Maybe best remembered as the author of

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Speaker 2: fifty fours I Am Legend upon again, which three films

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Speaker 2: have been based. He also wrote the excellent Haunted House

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Speaker 2: novel which and I have read this one Hell House

380
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Speaker 2: that was also adapted for film, though I haven't. I

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Speaker 2: don't think i've seen in the adaptation. But Hell House

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Speaker 2: was a really good read, and in that he kind

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Speaker 2: of does a similar thing that he does with I

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Speaker 2: Am Legend. He applies the sort of scientific reading to

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Speaker 2: a haunted house and it works pretty well. Let's see,

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Speaker 2: there's the thriller Duel, and then, of course there is

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Speaker 2: The Shrinking Man. He of course we previously discussed The

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Speaker 2: incredible Shrinking Man, the screenplay of which he adapted from

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Speaker 2: his own novel.

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Speaker 3: And that is an excellent movie, very interesting nineteen fifty

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Speaker 3: sci fi film. Yeah.

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Speaker 2: Yeah, So if you've been scared away from that one

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Speaker 2: just because the title sounds gimmicky and stupid, you know, Oh,

394
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Speaker 2: there's a tiny man. He's attacked by a giant house cat. Yes,

395
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Speaker 2: that definitely happens. But it's a really good picture.

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Speaker 3: Yeah, Strange, emotional, thoughtful, unexpected. It's great.

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Speaker 2: Yeah. So a number of his works have been adapted

398
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Speaker 2: for the screen duel. What Dreams May Come someone wrote

399
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Speaker 2: in about that one recently, and a Stir of Echoes.

400
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Speaker 2: He also wrote a lot of TV, including sixteen episodes

401
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Speaker 2: of the original Twilight Zone, including Nightmare at twenty thousand Feet.

402
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Speaker 2: He wrote for such shows as Night Gallery, The Original

403
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Speaker 2: Star Trek, the Alfred Hitchcock Hour and Thriller. So at

404
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Speaker 2: this point, when The Last Man on Earth comes out,

405
00:22:32,520 --> 00:22:35,720
Speaker 2: Matheson had already seen definitely one of his novels rather

406
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Speaker 2: excellently adapted to the big screen, and he'd been writing

407
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Speaker 2: for film and TV for a while. He'd worked with

408
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Speaker 2: Roger Corman on several of his po films, including a

409
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Speaker 2: nineteen sixties House of Usher, which we previously discussed on

410
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Speaker 2: the show. I saw a quote from Corman. I mean,

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Speaker 2: this also says a lot about Corman, but I think

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Speaker 2: it also says a lot about Matheson. He said, we

413
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Speaker 2: always shot his first draft, or something to that respect.

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Speaker 2: It's like Matho is and was good, Like the first

415
00:23:01,000 --> 00:23:03,160
Speaker 2: script he got to you, it was good to film,

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Speaker 2: just script a screen right.

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Speaker 3: Then you can just imagine when Corman's talking about the screenwriters,

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Speaker 3: he really admires. He's talking about speed. Yeah, how fast

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Speaker 3: could they write? Yeah?

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Speaker 2: How fast? And was it ready to shoot?

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Speaker 3: Yeah? And by the way, I can't remember what I

422
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Speaker 3: said earlier, but I did make a note here he

423
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Speaker 3: was credited as Logan Swanson again because he was he

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Speaker 3: had some discomfort with how the film turned out and

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Speaker 3: wanted his name taken off, and maybe we can talk

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Speaker 3: about some more reasons for that in a bit.

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Speaker 2: Yeah, let's see other screenplay credits. William F. Leicester nineteen

428
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Speaker 2: fifteen through nineteen sixty nine, American actor and screenwriter who

429
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Speaker 2: mostly worked on TV westerns, Which is not a knock.

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Speaker 2: I mean, you and I are both writers. If we

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Speaker 2: were living back then, we'd be lucky to be writing

432
00:23:56,040 --> 00:23:59,520
Speaker 2: TV westerns. There were a lot of westerns. And then

433
00:24:00,520 --> 00:24:05,119
Speaker 2: im Monetti also has a screenplay credit for the Italian version,

434
00:24:05,600 --> 00:24:07,720
Speaker 2: dates unknown. This was their only credit.

435
00:24:07,800 --> 00:24:11,920
Speaker 3: Okay, Furio, all right, is it time to talk about

436
00:24:11,960 --> 00:24:12,600
Speaker 3: Vincent Price?

437
00:24:12,840 --> 00:24:16,600
Speaker 2: Yes? Yes, we have of course talked about Vincent Price

438
00:24:16,640 --> 00:24:19,760
Speaker 2: before on the show. This is our seventh Weird House

439
00:24:19,760 --> 00:24:22,879
Speaker 2: Cinema selection. I believe to feature the legendary Vincent Price,

440
00:24:23,280 --> 00:24:26,360
Speaker 2: who lived nineteen eleven through nineteen ninety three, and here

441
00:24:26,440 --> 00:24:30,600
Speaker 2: plays doctor Robert Morgan, and in this adaptation it is

442
00:24:30,760 --> 00:24:34,960
Speaker 2: doctor Robert Morgan instead of doctor Neville or Robert Neville. Rather,

443
00:24:36,080 --> 00:24:38,440
Speaker 2: v Neville gets restored in subsequent adaptations.

444
00:24:39,040 --> 00:24:43,000
Speaker 3: Now, one thing that again, Robi, You'll have to correct

445
00:24:43,040 --> 00:24:47,280
Speaker 3: me if I'm off base here. A major difference from

446
00:24:47,359 --> 00:24:51,000
Speaker 3: the book to this movie is that in the book,

447
00:24:51,240 --> 00:24:55,359
Speaker 3: Neville is not a scientist, correct, like he is, I

448
00:24:55,359 --> 00:24:57,800
Speaker 3: don't remember what his profession is supposed to be, but

449
00:24:57,920 --> 00:25:01,320
Speaker 3: he's more of a regular guy. He's not an expert

450
00:25:01,400 --> 00:25:07,679
Speaker 3: in anything, and that when he learns about the you know,

451
00:25:07,760 --> 00:25:12,359
Speaker 3: the the bacterial causes of the vampire condition, this is

452
00:25:12,440 --> 00:25:15,600
Speaker 3: through like library research that he has to go and

453
00:25:15,640 --> 00:25:21,040
Speaker 3: do after the pandemic has taken over. And so they

454
00:25:21,160 --> 00:25:23,920
Speaker 3: kind of, I think, get around some of those requirements

455
00:25:23,920 --> 00:25:27,760
Speaker 3: in the movie by just making him have inherent expertise

456
00:25:27,960 --> 00:25:29,440
Speaker 3: in germs and disease.

457
00:25:30,200 --> 00:25:32,879
Speaker 2: Yeah, this is my memory of the book as well,

458
00:25:33,000 --> 00:25:34,639
Speaker 2: that it had kind of and and I think you

459
00:25:34,760 --> 00:25:37,600
Speaker 2: probably see this echoed a bit in Stephen King's The

460
00:25:37,640 --> 00:25:42,679
Speaker 2: Stand the idea that in a post apocalyptic scenario, so

461
00:25:42,800 --> 00:25:46,200
Speaker 2: much working knowledge has been lost and to put anything

462
00:25:46,240 --> 00:25:48,840
Speaker 2: back together you have characters having to just like find

463
00:25:49,000 --> 00:25:53,480
Speaker 2: textbooks about like the electric grid and just learn from

464
00:25:53,720 --> 00:25:55,560
Speaker 2: from scratch how to fix it.

465
00:25:55,840 --> 00:25:58,879
Speaker 3: And this, funny enough, this is something I often think about,

466
00:25:59,080 --> 00:26:02,560
Speaker 3: is if you did have to do something like that,

467
00:26:02,680 --> 00:26:08,400
Speaker 3: like recreate you know, electrical power infrastructure just from instruction

468
00:26:08,560 --> 00:26:12,320
Speaker 3: manuals and textbooks. What's not in the texts you just

469
00:26:12,520 --> 00:26:15,399
Speaker 3: know there are some things that people who work in

470
00:26:15,480 --> 00:26:19,320
Speaker 3: these domains know that it's never written down anywhere, and

471
00:26:19,400 --> 00:26:22,639
Speaker 3: nobody thought to write it down, but little things that

472
00:26:22,840 --> 00:26:26,679
Speaker 3: escape the formalization of knowledge that are actually quite important.

473
00:26:27,160 --> 00:26:29,640
Speaker 2: Yea, yeah, well it's all in the cloud. So we're

474
00:26:29,640 --> 00:26:35,040
Speaker 2: good to go. If something happens. Yeah, that's a topic

475
00:26:35,080 --> 00:26:37,000
Speaker 2: for another episode. We might actually get back to that

476
00:26:37,040 --> 00:26:41,040
Speaker 2: in future episode of Stuff to Blow your Mind. But yeah, yeah,

477
00:26:41,040 --> 00:26:43,640
Speaker 2: I believe that that was indeed part of the original

478
00:26:43,680 --> 00:26:46,800
Speaker 2: flavor of the book. Yeah, and we cheat a little

479
00:26:46,840 --> 00:26:49,600
Speaker 2: bit on that by having our character just be an

480
00:26:49,600 --> 00:26:52,520
Speaker 2: expert in a doctor from the get go. Here. So again,

481
00:26:52,560 --> 00:26:56,440
Speaker 2: this was sixty four and this is prime Vincent Price territory.

482
00:26:56,600 --> 00:26:58,480
Speaker 2: This is the year that Mask of the Red Death

483
00:26:58,560 --> 00:27:02,280
Speaker 2: came out. Previously covered on Weirdhouse Cinema, a favorite of mine,

484
00:27:02,720 --> 00:27:07,560
Speaker 2: as well as another Corman Poe movie, The Tomb of Lugia,

485
00:27:07,720 --> 00:27:11,600
Speaker 2: And certainly with Mask, you know, we're talking about Corman

486
00:27:11,680 --> 00:27:15,520
Speaker 2: at his best and his most cinematically ambitious. But while

487
00:27:15,600 --> 00:27:18,880
Speaker 2: Mask is a violently, you know, colorful affair that takes

488
00:27:18,960 --> 00:27:21,040
Speaker 2: us to a different time and place, the Last Man

489
00:27:21,119 --> 00:27:24,879
Speaker 2: on Earth is you know, obviously a lot more dour, grimier,

490
00:27:25,119 --> 00:27:28,359
Speaker 2: lower budget. It's black and white, and it's set in

491
00:27:28,400 --> 00:27:33,119
Speaker 2: the depopulated, post apocalyptic shadows of our own world. It

492
00:27:33,200 --> 00:27:35,520
Speaker 2: was not a hit at the time, but has developed

493
00:27:35,520 --> 00:27:39,040
Speaker 2: a cult following, in part due to Price's stardom. You know,

494
00:27:39,080 --> 00:27:41,480
Speaker 2: we look back on anything Vincent Price was in, even

495
00:27:41,520 --> 00:27:43,880
Speaker 2: if it's a bit roll, even if it's not even hard,

496
00:27:43,960 --> 00:27:46,440
Speaker 2: and we're going to be interested just because he cast

497
00:27:46,520 --> 00:27:50,119
Speaker 2: a long shadow. But you know, also there's the prestige

498
00:27:50,119 --> 00:27:53,960
Speaker 2: of the source material. And I think as subsequent adaptations

499
00:27:53,960 --> 00:27:56,480
Speaker 2: of I Am Legend came out and all of them

500
00:27:57,119 --> 00:28:00,919
Speaker 2: maybe missed out in one way or another, we end

501
00:28:01,000 --> 00:28:03,400
Speaker 2: up looking back at this one and figuring out, well,

502
00:28:03,440 --> 00:28:05,959
Speaker 2: you know, what actually worked here, and what worked here

503
00:28:06,000 --> 00:28:07,960
Speaker 2: that maybe hasn't worked in some of the other adaptations.

504
00:28:08,440 --> 00:28:12,320
Speaker 3: M Yeah, I got it. So one thing that I'm

505
00:28:12,480 --> 00:28:16,240
Speaker 3: sure we'll talk a bit more about is that Matheson.

506
00:28:17,359 --> 00:28:20,160
Speaker 3: From what I understand, he had a lot of respect

507
00:28:20,240 --> 00:28:24,359
Speaker 3: for Vincent Price, but he was not happy with Price

508
00:28:24,440 --> 00:28:28,480
Speaker 3: being cast as the main character. Robert Morgan here and

509
00:28:29,000 --> 00:28:31,840
Speaker 3: I love Vincent Price, but I can kind of see

510
00:28:31,880 --> 00:28:34,720
Speaker 3: what he's saying. I don't think Price is bad in

511
00:28:34,760 --> 00:28:37,159
Speaker 3: this I mean, I think he gives a good performance,

512
00:28:37,520 --> 00:28:40,959
Speaker 3: but it's a strange fit sort of. I mean Price,

513
00:28:41,120 --> 00:28:46,440
Speaker 3: really he just blooms in like a flamboyant villain role,

514
00:28:46,600 --> 00:28:49,480
Speaker 3: like the role of Prince Prospero in Mask of the

515
00:28:49,520 --> 00:28:53,480
Speaker 3: Red Death. Here he is you. His talents are made

516
00:28:53,600 --> 00:28:56,640
Speaker 3: use of somewhat strangely because he does so well having that,

517
00:28:57,200 --> 00:29:01,560
Speaker 3: you know, that flamboyant evil personality where he can kind

518
00:29:01,560 --> 00:29:07,360
Speaker 3: of have some Shakespearean flair to di menacing lines. Here

519
00:29:07,480 --> 00:29:11,480
Speaker 3: he is playing the exact opposite of that in every way.

520
00:29:11,640 --> 00:29:16,719
Speaker 3: He's playing a beaten down, broken down man who is

521
00:29:17,320 --> 00:29:21,880
Speaker 3: grimly going through the drudgery and violence of day to

522
00:29:21,960 --> 00:29:25,680
Speaker 3: day survival in a post apocalyptic world. It's just a

523
00:29:25,800 --> 00:29:29,680
Speaker 3: it's a weird role to think of and think Vincent Price.

524
00:29:30,640 --> 00:29:33,479
Speaker 2: Yeah, Yeah, I mean it's if you're being picky too.

525
00:29:33,520 --> 00:29:36,160
Speaker 2: You can also point out like Vincent Price's hair generally

526
00:29:36,160 --> 00:29:38,960
Speaker 2: looks pretty good, pretty dapper throughout the picture, even though

527
00:29:38,960 --> 00:29:42,920
Speaker 2: there's nobody to apply the palm made for yeah, and

528
00:29:43,760 --> 00:29:47,360
Speaker 2: not wearing a necktie seems to amount to post apocalypse

529
00:29:47,440 --> 00:29:50,280
Speaker 2: casual in this film. Like Yeah, in the the the

530
00:29:51,080 --> 00:29:53,800
Speaker 2: the bits that take place before the apocalypse necktie, but

531
00:29:53,800 --> 00:29:55,680
Speaker 2: then afterwards it's like, why am we gonna even bother?

532
00:29:55,880 --> 00:29:58,280
Speaker 2: The world's ended. I'm not wearing a necktie today.

533
00:29:58,720 --> 00:30:01,800
Speaker 3: Yeah. In the very he first scene where you meet

534
00:30:01,880 --> 00:30:04,560
Speaker 3: Vincent Price, he wakes up in his bed, uh, and

535
00:30:04,640 --> 00:30:07,840
Speaker 3: his shirt's unbuttoned. He's clearly supposed to be hungover, and

536
00:30:07,880 --> 00:30:10,560
Speaker 3: he's like his undershirt is out, like, well, this is

537
00:30:10,560 --> 00:30:12,920
Speaker 3: a different look for Vincent Price. But as he's going

538
00:30:12,920 --> 00:30:15,360
Speaker 3: about his morning chores, you know, checking on the generator

539
00:30:15,360 --> 00:30:17,160
Speaker 3: and stuff, he's tucking the shirt in and we're like

540
00:30:17,200 --> 00:30:19,840
Speaker 3: that there you go, Okay, Yeah, he's got to get

541
00:30:19,880 --> 00:30:21,920
Speaker 3: he's got to get you know, a little bit, a

542
00:30:21,960 --> 00:30:22,760
Speaker 3: little bit tucked in.

543
00:30:23,040 --> 00:30:25,920
Speaker 2: Yeah, and you got to tuck otherwise the vampires have

544
00:30:25,960 --> 00:30:29,520
Speaker 2: already won, right right, Yeah.

545
00:30:28,440 --> 00:30:30,000
Speaker 3: You don't want to be easy to grab hold of.

546
00:30:30,240 --> 00:30:35,120
Speaker 2: Yeah. So yeah. The I think part of Matheson's criticism

547
00:30:35,320 --> 00:30:37,880
Speaker 2: was that he thought that this character needed to be

548
00:30:38,360 --> 00:30:42,240
Speaker 2: a real everyman. And of course, you know, all of

549
00:30:42,240 --> 00:30:46,320
Speaker 2: this is obviously subjective, like what is an everyman? But

550
00:30:46,960 --> 00:30:49,239
Speaker 2: one way of teasing this apart is like, all right,

551
00:30:49,280 --> 00:30:53,560
Speaker 2: we're thinking about again mid sixties we're thinking about movies.

552
00:30:54,440 --> 00:30:56,600
Speaker 2: You know, what are you know, what sort of of

553
00:30:56,720 --> 00:30:59,640
Speaker 2: actor was he perhaps pulling for? Was he maybe pulling

554
00:30:59,680 --> 00:31:02,720
Speaker 2: for a a leading man type, you know, square job

555
00:31:02,800 --> 00:31:06,040
Speaker 2: leading man. I mean, that's that's not quite a mold

556
00:31:06,080 --> 00:31:10,640
Speaker 2: that Price fits with. In fact, you hear you read

557
00:31:10,680 --> 00:31:13,240
Speaker 2: about Price's career, like part of it, part of his

558
00:31:13,360 --> 00:31:15,720
Speaker 2: early goings was like sort of going out for those

559
00:31:15,800 --> 00:31:18,680
Speaker 2: leading man roles, and you know he had some of them,

560
00:31:18,720 --> 00:31:19,960
Speaker 2: He had some of them, but he was you know,

561
00:31:20,000 --> 00:31:23,200
Speaker 2: sometimes passed over for other actors because like, you know,

562
00:31:23,320 --> 00:31:25,560
Speaker 2: that wasn't what he was meant to be. You know,

563
00:31:26,800 --> 00:31:29,280
Speaker 2: Benson Price excelled in things like a little bit to

564
00:31:29,320 --> 00:31:30,880
Speaker 2: the left or a little bit to the right of that.

565
00:31:31,520 --> 00:31:33,800
Speaker 2: And if you're looking for more of a sort of

566
00:31:34,680 --> 00:31:38,400
Speaker 2: anti leading man sort of character actor role, sort of

567
00:31:38,400 --> 00:31:41,680
Speaker 2: a you know, a rugged character actor role, well you know,

568
00:31:41,680 --> 00:31:44,040
Speaker 2: they're they're very various directions. You could have gone in

569
00:31:44,160 --> 00:31:46,200
Speaker 2: for that, but you're you know, you're you're also you're

570
00:31:46,200 --> 00:31:49,240
Speaker 2: perhaps talking about a character actor who might play heavy

571
00:31:49,560 --> 00:31:52,480
Speaker 2: or might play a mechanic, you know, that kind of

572
00:31:52,560 --> 00:31:57,120
Speaker 2: like blue collar professional role, and you know Price would

573
00:31:57,120 --> 00:31:59,360
Speaker 2: be out of place in that casting as well.

574
00:31:59,720 --> 00:32:01,360
Speaker 3: I mean, and there could be a problem here that

575
00:32:01,440 --> 00:32:04,680
Speaker 3: actually traces back more to the writing in the adapted

576
00:32:04,720 --> 00:32:08,400
Speaker 3: screenplay and not just to the casting. Because if the

577
00:32:08,480 --> 00:32:12,920
Speaker 3: problem is he wants the main character to be more

578
00:32:13,000 --> 00:32:17,120
Speaker 3: blue collar, kind of working class, but is written as

579
00:32:17,160 --> 00:32:20,440
Speaker 3: an esteemed scientist who's doing research on the you know,

580
00:32:20,480 --> 00:32:22,880
Speaker 3: trying to create the vaccine to save the world from

581
00:32:22,880 --> 00:32:26,880
Speaker 3: this bacterium, there's already a bit of a mismatch there,

582
00:32:27,680 --> 00:32:30,720
Speaker 3: And so then saying that, well, it kind of feels

583
00:32:30,760 --> 00:32:34,959
Speaker 3: more natural casting Vincent Price as this esteemed scientist than

584
00:32:35,000 --> 00:32:38,840
Speaker 3: it does as the blue collar every man. But that's

585
00:32:38,880 --> 00:32:40,120
Speaker 3: already there in the script.

586
00:32:40,720 --> 00:32:45,840
Speaker 2: Yeah, yeah, I think I saw an interview where he

587
00:32:45,920 --> 00:32:48,360
Speaker 2: hit some point said that Harrison Ford would have been

588
00:32:48,360 --> 00:32:51,480
Speaker 2: perfect casting for this character, you know, in some adaptation

589
00:32:51,640 --> 00:32:54,680
Speaker 2: or another. And you know, I can see that. But also,

590
00:32:54,720 --> 00:32:56,560
Speaker 2: I mean, yeah, Harrison Ford has that kind of every

591
00:32:56,560 --> 00:32:59,280
Speaker 2: man quality, but also he's Harrison Ford, like yeah, you.

592
00:32:59,240 --> 00:33:05,120
Speaker 3: Know, he's super naturally handsome. Yeah, yeah, yeah.

593
00:33:04,520 --> 00:33:07,360
Speaker 2: So but yeah, I agree that, like, since the character

594
00:33:07,400 --> 00:33:10,000
Speaker 2: is written as a scientist, like Price can definitely play

595
00:33:10,040 --> 00:33:12,680
Speaker 2: a scientist, brings kind of an intellectual air to the role.

596
00:33:13,160 --> 00:33:14,800
Speaker 2: And then another way to look at it here is

597
00:33:14,800 --> 00:33:17,240
Speaker 2: that Price is already established as a horror as a

598
00:33:17,240 --> 00:33:20,240
Speaker 2: horror player and to a certain extent like a horror

599
00:33:20,320 --> 00:33:24,680
Speaker 2: horror villain. And therefore it makes sense given the ending,

600
00:33:24,840 --> 00:33:27,360
Speaker 2: Like at the end, there is this revelation that he

601
00:33:27,480 --> 00:33:30,520
Speaker 2: is the monster, he is the center of fear, and

602
00:33:30,560 --> 00:33:32,720
Speaker 2: maybe it's a little setting, a little fitting that we

603
00:33:32,760 --> 00:33:35,080
Speaker 2: have somebody like Vincent Price playing that role.

604
00:33:35,880 --> 00:33:39,800
Speaker 3: I mean, there are places where I think Price really

605
00:33:39,840 --> 00:33:44,280
Speaker 3: excels in this movie, like in selling the more emotional

606
00:33:44,480 --> 00:33:49,680
Speaker 3: parts of the character, when he is when he's thinking

607
00:33:49,760 --> 00:33:53,560
Speaker 3: back on his family and feeling the pain and anguish there.

608
00:33:54,600 --> 00:33:57,200
Speaker 3: And then I think in the later parts of the

609
00:33:57,240 --> 00:34:01,480
Speaker 3: movie also he when he starts to seem a little

610
00:34:01,480 --> 00:34:04,760
Speaker 3: more monstrous to us, I think Price does well in

611
00:34:04,800 --> 00:34:07,160
Speaker 3: those moments, like in the moments where he's threatening to

612
00:34:07,200 --> 00:34:09,120
Speaker 3: the character Ruth who shows up later.

613
00:34:09,800 --> 00:34:12,520
Speaker 2: Yeah, I agree, I yeah, Vincent Price is great in

614
00:34:12,600 --> 00:34:15,080
Speaker 2: this and it's this film is a treat for for

615
00:34:15,200 --> 00:34:18,600
Speaker 2: folks looking for a different sort of Vincent Price performance.

616
00:34:18,640 --> 00:34:22,759
Speaker 2: It's more melancholy, it is more emotionally grounded in a

617
00:34:22,840 --> 00:34:26,040
Speaker 2: you know, in a realistic manner. And then Also, I've

618
00:34:26,040 --> 00:34:28,600
Speaker 2: read that Price was really proud of his voice over

619
00:34:28,640 --> 00:34:31,400
Speaker 2: work in this film. So one thing to note about

620
00:34:31,560 --> 00:34:33,960
Speaker 2: the book is that much of it is just about

621
00:34:34,000 --> 00:34:37,200
Speaker 2: a single person, the last man on Earth, and so

622
00:34:37,280 --> 00:34:41,200
Speaker 2: there's a lot of internal internal monologue. There's there's scenes

623
00:34:41,200 --> 00:34:44,640
Speaker 2: where he's talking to himself, having conversations with himself about something.

624
00:34:45,000 --> 00:34:47,080
Speaker 2: And in this film, you know, they obviously if you're

625
00:34:47,080 --> 00:34:49,360
Speaker 2: going to adapt something like that, you're gonna have to

626
00:34:49,560 --> 00:34:53,319
Speaker 2: maybe depend on one tool or another, and narration is

627
00:34:53,320 --> 00:34:55,239
Speaker 2: one of the tools you can draw on. And so

628
00:34:55,520 --> 00:34:57,799
Speaker 2: you know, Price has a great voice. He excelled at

629
00:34:57,880 --> 00:35:00,879
Speaker 2: voiceover work, and so I think that works pretty well

630
00:35:00,880 --> 00:35:01,439
Speaker 2: here as well.

631
00:35:01,640 --> 00:35:05,520
Speaker 3: If I have a major criticism of his performance in it,

632
00:35:06,040 --> 00:35:10,160
Speaker 3: I honestly I have to say his action choreography feels

633
00:35:10,160 --> 00:35:13,560
Speaker 3: pretty half hearted, Like when he's chucking the grenades, he

634
00:35:13,719 --> 00:35:15,880
Speaker 3: just kind of well, he just kind of tosses him

635
00:35:15,920 --> 00:35:20,040
Speaker 3: at the ground, Like, Yeah, I feel like you could

636
00:35:20,080 --> 00:35:22,279
Speaker 3: have put a little a little bit more heft into

637
00:35:22,280 --> 00:35:25,319
Speaker 3: the action scenes. I don't know, maybe that was a

638
00:35:25,360 --> 00:35:30,200
Speaker 3: deliberate choice for Presenta. It brings, you know, it conveys

639
00:35:30,000 --> 00:35:33,000
Speaker 3: his depression and loss of purpose the way he just

640
00:35:33,120 --> 00:35:36,560
Speaker 3: kind of, you know, chucks the gas grenades like he's

641
00:35:37,000 --> 00:35:40,040
Speaker 3: you know, throwing like bread at geese or something.

642
00:35:41,040 --> 00:35:42,920
Speaker 2: All right, let's move on to the rest of the actress.

643
00:35:42,920 --> 00:35:46,960
Speaker 2: Here we have the character Ruth, who already mentioned, played

644
00:35:47,000 --> 00:35:53,080
Speaker 2: by Franca Batoya. She lived let's say, nineteen thirty six

645
00:35:53,160 --> 00:35:57,400
Speaker 2: through twenty twenty four, Italian actress, mostly active in adventure

646
00:35:57,520 --> 00:36:00,520
Speaker 2: and Sword and Sandal sort of films to have told,

647
00:36:00,520 --> 00:36:01,799
Speaker 2: I believe about ninety three.

648
00:36:02,320 --> 00:36:04,840
Speaker 3: Yeah, she did some comedies as well, and I was

649
00:36:05,200 --> 00:36:08,600
Speaker 3: looking at her biography at least on her wiki said

650
00:36:08,600 --> 00:36:14,200
Speaker 3: that she and her mother together founded an all women

651
00:36:14,480 --> 00:36:16,120
Speaker 3: Masonic lodge in Italy.

652
00:36:16,400 --> 00:36:20,440
Speaker 2: Oh wow, good, Okay, all right, then we all don't.

653
00:36:20,239 --> 00:36:21,600
Speaker 3: Know what that means. What do you do at a

654
00:36:21,600 --> 00:36:22,600
Speaker 3: Masonic lodge?

655
00:36:22,880 --> 00:36:24,440
Speaker 2: I mean, I'm not a member. I don't know. I

656
00:36:24,440 --> 00:36:25,400
Speaker 2: don't know the secrets.

657
00:36:25,800 --> 00:36:26,560
Speaker 3: It's a secret.

658
00:36:26,640 --> 00:36:29,080
Speaker 2: I know that what. They're generally on the second floor

659
00:36:29,200 --> 00:36:33,920
Speaker 2: of a big old building. That's all. Oh okay, Yeah,

660
00:36:34,000 --> 00:36:36,360
Speaker 2: let's see. We also have the character of Virginia Morgan.

661
00:36:36,600 --> 00:36:41,960
Speaker 2: This would be the former wife of our main character, right,

662
00:36:42,800 --> 00:36:47,080
Speaker 2: played by Imma Danelli. Lived nineteen thirty six through nineteen

663
00:36:47,160 --> 00:36:50,360
Speaker 2: ninety eight Italian actress whose other credits include Umberta Lindsay's

664
00:36:50,360 --> 00:36:53,480
Speaker 2: spy movie The Spy Who Love Flowers, among some other

665
00:36:53,560 --> 00:36:55,000
Speaker 2: spy and adventure movies.

666
00:36:55,880 --> 00:37:00,800
Speaker 3: Okay, there's an Umberto Lindsay movie that is a pretty

667
00:37:00,880 --> 00:37:03,279
Speaker 3: cheap ripoff of the Shining that I might want us

668
00:37:03,320 --> 00:37:04,000
Speaker 3: to come back and do.

669
00:37:04,239 --> 00:37:08,560
Speaker 2: It's yeah, yeah, I've enjoyed some Lindsay before. Let's see

670
00:37:08,560 --> 00:37:09,200
Speaker 2: we also.

671
00:37:09,000 --> 00:37:10,800
Speaker 3: It's got a good sawing off of a head.

672
00:37:13,000 --> 00:37:15,880
Speaker 2: Let's see. We also have the character Ben Cortman played

673
00:37:15,880 --> 00:37:19,160
Speaker 2: by Jacomo Rossi Stewart who lived nineteen twenty five through

674
00:37:19,239 --> 00:37:25,000
Speaker 2: nineteen ninety four, Italian actor here, oh, and then have

675
00:37:25,080 --> 00:37:27,520
Speaker 2: less to say about Stuart. But then the next actor

676
00:37:27,560 --> 00:37:31,400
Speaker 2: we have as a number of connections to various genre pictures.

677
00:37:31,600 --> 00:37:35,080
Speaker 2: I don't want to you know, mention again. Like for

678
00:37:35,239 --> 00:37:37,200
Speaker 2: us and for a lot of film fans, it is

679
00:37:37,440 --> 00:37:43,800
Speaker 2: often Italian horror of this era that resonates the most internationally.

680
00:37:43,880 --> 00:37:47,239
Speaker 2: So you know, no disrespect to the other actors. But

681
00:37:47,280 --> 00:37:50,400
Speaker 2: this next guy, m Berto Rejo who lived nineteen twenty

682
00:37:50,400 --> 00:37:53,640
Speaker 2: two through twenty sixteen. This guy is a he plays

683
00:37:53,680 --> 00:37:56,680
Speaker 2: doctor Mercer, has a very distinctive face in a face

684
00:37:56,719 --> 00:37:58,200
Speaker 2: that I think a lot of horror fans are going

685
00:37:58,280 --> 00:38:02,360
Speaker 2: to recognize from a number of popular pictures.

686
00:38:02,680 --> 00:38:03,239
Speaker 3: Yeah.

687
00:38:03,520 --> 00:38:06,839
Speaker 2: So, for instance, he shows up in at least two

688
00:38:07,000 --> 00:38:10,840
Speaker 2: Argento films, nineteen seventies The Bird with the Crystal Plumage

689
00:38:10,880 --> 00:38:13,360
Speaker 2: and seventy one's The Cat of Nine Tales.

690
00:38:14,000 --> 00:38:17,759
Speaker 3: Both Jallo films that Argento did before he did Deep

691
00:38:17,840 --> 00:38:21,879
Speaker 3: Red the Jello we talked about this past January.

692
00:38:22,000 --> 00:38:26,920
Speaker 2: He also pops up in Antonio Margareti's Castle of Blood

693
00:38:26,960 --> 00:38:29,200
Speaker 2: in sixty four. You've seen that one, right, Joe.

694
00:38:29,480 --> 00:38:32,840
Speaker 3: Yes, I just watched this one this past October. It

695
00:38:32,920 --> 00:38:37,560
Speaker 3: was part of my Spooky Season selection, and I thought

696
00:38:36,880 --> 00:38:41,279
Speaker 3: it was very good, but very slow. So what I

697
00:38:41,320 --> 00:38:46,800
Speaker 3: loved about it was the gothic atmosphere, very classic Gothic

698
00:38:46,880 --> 00:38:51,400
Speaker 3: setting with candelabras and cobwebs and an old mansion and

699
00:38:51,440 --> 00:38:54,400
Speaker 3: suits of armor and all that stuff. And the plot

700
00:38:54,480 --> 00:38:58,960
Speaker 3: was actually kind of interesting because it continually raised questions.

701
00:38:59,160 --> 00:39:01,240
Speaker 3: It's a story about a who goes into a haunted

702
00:39:01,239 --> 00:39:03,440
Speaker 3: house that's supposed to be empty except for him. He goes.

703
00:39:03,440 --> 00:39:05,799
Speaker 3: They're sort of on a dare. I think he's a

704
00:39:05,840 --> 00:39:09,560
Speaker 3: skeptical journalist who his promise that he will be you know, paid,

705
00:39:09,760 --> 00:39:11,640
Speaker 3: paid a reward if he can spend a night in

706
00:39:11,680 --> 00:39:15,680
Speaker 3: the haunted House, like in the Simpsons episode. So he's

707
00:39:15,680 --> 00:39:17,040
Speaker 3: got to spend the night in the haunted House, and

708
00:39:17,080 --> 00:39:18,680
Speaker 3: he thinks he's supposed to be alone there, but he

709
00:39:18,760 --> 00:39:22,000
Speaker 3: keeps encountering people, and so the question is are these

710
00:39:22,000 --> 00:39:25,319
Speaker 3: people are they ghosts? Are they really there? What's going on?

711
00:39:26,000 --> 00:39:29,840
Speaker 3: And there's some interesting twists and turns. The downside is

712
00:39:31,400 --> 00:39:34,120
Speaker 3: I have more tolerance for slow moving movies than a

713
00:39:34,160 --> 00:39:36,160
Speaker 3: lot of people do, but even this one it felt

714
00:39:36,200 --> 00:39:39,480
Speaker 3: slow to me. So it has scenes of people approaching

715
00:39:39,520 --> 00:39:42,640
Speaker 3: a coffin very slowly to lift the lid, and they

716
00:39:42,680 --> 00:39:47,279
Speaker 3: approach incredibly slowly. So if you've got some time and

717
00:39:47,280 --> 00:39:49,560
Speaker 3: you're feeling patient and you just want to bathe in

718
00:39:49,680 --> 00:39:53,000
Speaker 3: the in the gothic atmosphere, I do recommend A Castle

719
00:39:53,040 --> 00:39:53,440
Speaker 3: of Blood.

720
00:39:53,480 --> 00:39:56,759
Speaker 2: That one's fun, all right, and a few other titles that

721
00:39:57,080 --> 00:39:59,760
Speaker 2: Umberto was in that folks might recognize. The Knight Evelyn

722
00:39:59,760 --> 00:40:02,479
Speaker 2: came out out with the Grave from seventy one, Berta

723
00:40:02,560 --> 00:40:06,319
Speaker 2: Lindsay's Oasis of Fear and Mario Bava's Baron Blood in

724
00:40:06,400 --> 00:40:08,840
Speaker 2: seventy two, And these are just a few of the

725
00:40:08,880 --> 00:40:11,279
Speaker 2: Italian horror films he pops up in. But I'll mention

726
00:40:11,840 --> 00:40:14,600
Speaker 2: at least one non horror title that I found amusing,

727
00:40:14,880 --> 00:40:18,279
Speaker 2: the seventy three crime film No, the Case is Happily Resolved.

728
00:40:19,320 --> 00:40:23,080
Speaker 2: That one my maybe that hits differently in the original Italian.

729
00:40:23,400 --> 00:40:26,800
Speaker 2: But one of his final films was nineteen ninety seven's

730
00:40:26,920 --> 00:40:31,120
Speaker 2: Double Team, starring Jean Claude Van Dam, Dennis Rodman, Mickey Rourke,

731
00:40:31,400 --> 00:40:34,480
Speaker 2: and Paul Freeman, and directed by the great Sue Hark,

732
00:40:34,520 --> 00:40:35,880
Speaker 2: who've talked about on the show before.

733
00:40:36,560 --> 00:40:38,640
Speaker 3: Well we got to get a trophy for this episode.

734
00:40:38,640 --> 00:40:44,560
Speaker 3: Having finally mentioned Double Team on the podcast, Yeah, I

735
00:40:44,600 --> 00:40:47,319
Speaker 3: think I've seen Double Team, but I don't really remember it.

736
00:40:48,920 --> 00:40:53,360
Speaker 3: But anyway, no offense to this actor. He is like

737
00:40:54,320 --> 00:40:57,800
Speaker 3: utterly forgettable in this movie. Yea, like nothing nothing happens

738
00:40:57,800 --> 00:41:01,080
Speaker 3: with this character. He's the ball at the at this

739
00:41:01,200 --> 00:41:04,640
Speaker 3: science lab who's like, we will find a cure and

740
00:41:05,200 --> 00:41:05,600
Speaker 3: they don't.

741
00:41:07,040 --> 00:41:10,560
Speaker 2: All right. Then finally, the music here, the score, I

742
00:41:10,600 --> 00:41:14,279
Speaker 2: would say, is very set in its time and from

743
00:41:14,520 --> 00:41:17,359
Speaker 2: you know, this is subjective, but I'd say, certainly one

744
00:41:17,360 --> 00:41:20,200
Speaker 2: of the stumbling blocks to me was was the score.

745
00:41:20,440 --> 00:41:24,120
Speaker 2: It's just it's not not bad, but it's not pulling

746
00:41:24,120 --> 00:41:28,240
Speaker 2: me along here. It's it's you know, very traditional. It's fine.

747
00:41:28,560 --> 00:41:32,600
Speaker 3: My favorite musical moment in the film is actually some

748
00:41:32,800 --> 00:41:38,240
Speaker 3: diegetic music when it's in the first scene when Morgan

749
00:41:38,320 --> 00:41:41,600
Speaker 3: comes home for the night for you know, to to

750
00:41:41,640 --> 00:41:44,880
Speaker 3: close himself inside his house and let the vampire siege begin.

751
00:41:46,080 --> 00:41:49,239
Speaker 3: He puts on a jazz record to listen to that

752
00:41:49,360 --> 00:41:52,160
Speaker 3: has some I don't know, it's very cool jazz record

753
00:41:52,200 --> 00:41:56,600
Speaker 3: and has some kind of horns which keeps playing in

754
00:41:56,640 --> 00:41:59,560
Speaker 3: the background while the vampires are banging on the windows

755
00:41:59,600 --> 00:42:03,320
Speaker 3: and saying let me in. And it's a cool juxtaposition

756
00:42:03,840 --> 00:42:08,040
Speaker 3: that will actually have some I think thematic significance later

757
00:42:08,120 --> 00:42:10,160
Speaker 3: in the movie. I liked that part.

758
00:42:10,920 --> 00:42:13,200
Speaker 2: Yeah, yeah, it just didn't do it for me. And

759
00:42:13,239 --> 00:42:17,000
Speaker 2: I think the ending too, doesn't hit as well as

760
00:42:17,000 --> 00:42:21,040
Speaker 2: it should in part because of the music. So I'm

761
00:42:21,040 --> 00:42:24,040
Speaker 2: gonna blame it a little bit here. But it is

762
00:42:24,080 --> 00:42:26,640
Speaker 2: the work of two individuals that we've referenced on the

763
00:42:26,680 --> 00:42:29,640
Speaker 2: show before because they were both involved in it, The

764
00:42:29,760 --> 00:42:33,359
Speaker 2: Terror from Beyond Space, and that's Paul Sawtel, who lived

765
00:42:33,400 --> 00:42:37,160
Speaker 2: nineteen oh six through nineteen seventy one, and Bert Schefter,

766
00:42:37,320 --> 00:42:40,959
Speaker 2: who lived nineteen o four through nineteen ninety nine. I think,

767
00:42:41,400 --> 00:42:44,439
Speaker 2: to varying degrees, both of these individuals work sometimes shows

768
00:42:44,520 --> 00:42:48,279
Speaker 2: up in films that feature stock music of the day.

769
00:42:49,040 --> 00:42:59,959
Speaker 3: Okay, well, are you ready to talk about the plot?

770
00:43:00,160 --> 00:43:00,680
Speaker 2: Let's do it.

771
00:43:01,120 --> 00:43:05,680
Speaker 3: Okay. So the film opens on extremely eerie shots of

772
00:43:05,760 --> 00:43:09,200
Speaker 3: an empty city. Again, I think this is supposed to

773
00:43:09,280 --> 00:43:11,239
Speaker 3: be Los Angeles, but now that you say it was

774
00:43:11,280 --> 00:43:14,320
Speaker 3: shot in Italy, that makes sense. I see some Italian

775
00:43:14,320 --> 00:43:15,120
Speaker 3: looking buildings.

776
00:43:15,160 --> 00:43:18,200
Speaker 2: Yeah, the buildings do look very Italian at times.

777
00:43:17,920 --> 00:43:22,640
Speaker 3: For sure. Yeah. So we see city streets and sidewalks

778
00:43:22,640 --> 00:43:26,920
Speaker 3: and apartment buildings, parks and playgrounds, shops and churches, all

779
00:43:27,160 --> 00:43:30,600
Speaker 3: devoid of human activity. And as we've talked about before,

780
00:43:30,880 --> 00:43:34,000
Speaker 3: this is always an interesting site that a movie can

781
00:43:34,040 --> 00:43:36,960
Speaker 3: show you to make you uneasy. Give you a place

782
00:43:37,000 --> 00:43:39,680
Speaker 3: that you usually only see when it's full of people,

783
00:43:40,200 --> 00:43:44,360
Speaker 3: now completely empty, barren of human life. And then in

784
00:43:44,440 --> 00:43:48,040
Speaker 3: this opening montage, we start to see bodies, human figures

785
00:43:48,080 --> 00:43:52,360
Speaker 3: sprawled on the ground, in doorways, on staircases, just everywhere.

786
00:43:53,320 --> 00:43:56,759
Speaker 3: And finally we arrive at a house. So outside the

787
00:43:56,800 --> 00:44:01,440
Speaker 3: house we see overturned patio furniture. There's trash laying all around,

788
00:44:02,000 --> 00:44:05,640
Speaker 3: and a couple of bodies collapsed face down in the driveway.

789
00:44:06,880 --> 00:44:10,759
Speaker 3: The windows of the house are battered and boarded up,

790
00:44:11,520 --> 00:44:15,520
Speaker 3: as if they've sort of been bashed in refortified many times,

791
00:44:16,239 --> 00:44:18,719
Speaker 3: and the camera approaches one of the windows, and then

792
00:44:18,760 --> 00:44:22,120
Speaker 3: we see through a gap in the splintered boards Vincent

793
00:44:22,120 --> 00:44:26,400
Speaker 3: Price as our protagonist, Robert Morgan, asleep in bed. It

794
00:44:26,440 --> 00:44:29,040
Speaker 3: does not look like he has had a peaceful night's rest.

795
00:44:29,120 --> 00:44:32,040
Speaker 3: He fell asleep in his clothes with his belt on,

796
00:44:32,760 --> 00:44:35,720
Speaker 3: and behind him there's an alarm clock that starts ringing

797
00:44:35,760 --> 00:44:39,279
Speaker 3: and he startles awake. The house is a mess. We

798
00:44:39,360 --> 00:44:42,239
Speaker 3: see pictures hanging crooked, so he's not taking care of

799
00:44:42,320 --> 00:44:46,920
Speaker 3: the place. There's furniture turned upside down for whatever reason,

800
00:44:47,120 --> 00:44:51,919
Speaker 3: almost like he's staged it as fortifications or something. There

801
00:44:52,000 --> 00:44:56,200
Speaker 3: are clothes and dishes and boxes scattered everywhere. He does

802
00:44:56,239 --> 00:45:00,400
Speaker 3: have power, though we see a glowing, bare light bulb

803
00:45:00,440 --> 00:45:03,520
Speaker 3: with no shade hanging from its power cord over a

804
00:45:03,640 --> 00:45:08,920
Speaker 3: nail in the wall. So again, a lot of spartan

805
00:45:09,000 --> 00:45:13,560
Speaker 3: and utilitarian arrangements of things in this house, and the

806
00:45:13,600 --> 00:45:17,319
Speaker 3: first line is a voiceover, Morgan says, another day to

807
00:45:17,400 --> 00:45:22,279
Speaker 3: live through, better get started. So even though he is

808
00:45:22,320 --> 00:45:24,920
Speaker 3: surrounded by death and he has been spared himself, he

809
00:45:25,000 --> 00:45:29,320
Speaker 3: does not sound thrilled to be living. And the credits

810
00:45:29,320 --> 00:45:32,000
Speaker 3: play while we watch Morgan begin his chores for the day.

811
00:45:32,080 --> 00:45:35,840
Speaker 3: So he's at first, he's hunched over. He hobbles slowly

812
00:45:35,880 --> 00:45:39,440
Speaker 3: into the kitchen and makes coffee. Again. They don't say this,

813
00:45:39,600 --> 00:45:44,360
Speaker 3: but there's implication of a hangover. Heat notes the date

814
00:45:44,560 --> 00:45:48,440
Speaker 3: on a massive improvised calendar carved into the wall on

815
00:45:48,480 --> 00:45:53,920
Speaker 3: the kitchen. In voiceover, he says, quote December nineteen sixty five.

816
00:45:54,280 --> 00:45:56,920
Speaker 3: Is that all it has been since I inherited the world?

817
00:45:57,160 --> 00:46:02,759
Speaker 3: Only three years? Seems like one hundred million? So, and

818
00:46:03,719 --> 00:46:06,960
Speaker 3: they emphasize the time just by like the bigness of

819
00:46:07,040 --> 00:46:09,400
Speaker 3: the calendar that he's carved into the wall, Like we

820
00:46:09,440 --> 00:46:12,560
Speaker 3: see he writes all the dates and it's like a big,

821
00:46:13,000 --> 00:46:18,120
Speaker 3: huge So his mourning includes a bunch of chores. So

822
00:46:18,160 --> 00:46:20,279
Speaker 3: he's got to check on the gas generator that he

823
00:46:20,360 --> 00:46:23,200
Speaker 3: uses to power his home. He checks on the freshness

824
00:46:23,280 --> 00:46:26,760
Speaker 3: of his door garlic. It's a big wreath of garlic

825
00:46:26,840 --> 00:46:31,080
Speaker 3: hanging from all the doors in his house or around

826
00:46:31,120 --> 00:46:34,600
Speaker 3: the outside of his house. We learn that garlic repels

827
00:46:34,640 --> 00:46:38,600
Speaker 3: his nightly attackers, and when it loses its pungency, he

828
00:46:38,640 --> 00:46:40,480
Speaker 3: has to go to the grocery store to get some

829
00:46:40,560 --> 00:46:42,959
Speaker 3: new garlic out of a deep freezer that he also

830
00:46:43,040 --> 00:46:47,440
Speaker 3: keeps running on generator power. He also checks on the

831
00:46:47,440 --> 00:46:50,680
Speaker 3: status of his door mirrors, so he hangs mirrors on

832
00:46:50,719 --> 00:46:53,319
Speaker 3: the doors of his home because it seems to drive

833
00:46:53,360 --> 00:46:56,000
Speaker 3: the vampires away. He says that they can't stand to

834
00:46:56,000 --> 00:46:58,960
Speaker 3: see their own image, and when they smash all the

835
00:46:59,000 --> 00:47:00,680
Speaker 3: mirrors that he has, he has to go out and

836
00:47:00,719 --> 00:47:03,799
Speaker 3: get more at the mirror store, which fortunately is very

837
00:47:03,800 --> 00:47:04,520
Speaker 3: well stocked.

838
00:47:05,520 --> 00:47:08,439
Speaker 2: Yeah, yeah, I even and this is this is good,

839
00:47:08,480 --> 00:47:10,320
Speaker 2: But like at this point in the film, I'm already

840
00:47:10,360 --> 00:47:13,279
Speaker 2: worrying about his supplies, you know, like, are these the

841
00:47:13,320 --> 00:47:15,560
Speaker 2: mirrors gonna hold up? And then the garlic. You go

842
00:47:15,600 --> 00:47:17,160
Speaker 2: through a lot of garlic here and I know you

843
00:47:17,200 --> 00:47:20,320
Speaker 2: have some frozen, but are you still growing some somewhere?

844
00:47:20,360 --> 00:47:22,160
Speaker 2: And then I'm like, and then I'm feeling a little

845
00:47:22,160 --> 00:47:24,600
Speaker 2: panicky myself. It's like, how difficult is garlic to grow?

846
00:47:24,640 --> 00:47:27,280
Speaker 2: I've never grown garlic. Is it easy? Is it hard.

847
00:47:27,800 --> 00:47:28,319
Speaker 2: I don't know.

848
00:47:28,680 --> 00:47:31,000
Speaker 3: I was thinking the exact same thoughts that this movie

849
00:47:31,040 --> 00:47:33,160
Speaker 3: had me thinking. I don't know how you grow garlic?

850
00:47:33,239 --> 00:47:35,320
Speaker 3: What do you do? Can you just plant a bulb

851
00:47:35,320 --> 00:47:35,880
Speaker 3: in the ground?

852
00:47:36,200 --> 00:47:38,560
Speaker 2: Yeah? Should I be growing it? I don't know. Is

853
00:47:38,560 --> 00:47:41,240
Speaker 2: this what Christopher Walken does? Does he grows on garlic?

854
00:47:41,280 --> 00:47:44,359
Speaker 2: Does he keep it frozen? Does he hanging on the door?

855
00:47:44,400 --> 00:47:44,799
Speaker 2: I don't know?

856
00:47:45,040 --> 00:47:49,080
Speaker 3: Surely. Yeah. So another thing that Vincent Price has to

857
00:47:49,120 --> 00:47:51,919
Speaker 3: do every day is transmit on the radio. So every

858
00:47:52,000 --> 00:47:54,279
Speaker 3: day he gets on his radio and he sends out

859
00:47:54,320 --> 00:47:58,680
Speaker 3: signals on multiple frequencies, announcing his presence and hoping to

860
00:47:58,719 --> 00:48:02,359
Speaker 3: hear back from others fivers somewhere, but he never does.

861
00:48:02,560 --> 00:48:06,640
Speaker 3: No one talks back. And a nice detail in the

862
00:48:06,680 --> 00:48:10,440
Speaker 3: sound design is that the silence or the static that

863
00:48:11,160 --> 00:48:14,000
Speaker 3: is sent back on the receiver is not just nothing

864
00:48:14,080 --> 00:48:17,760
Speaker 3: or normal static. It is a painful ear splitting sound.

865
00:48:17,920 --> 00:48:23,000
Speaker 3: So it's like the silence itself. Is it inflicts harm? Yeah.

866
00:48:23,120 --> 00:48:27,000
Speaker 3: He also has to every day find and dispose of

867
00:48:27,120 --> 00:48:29,640
Speaker 3: dead bodies, so he picks them up from around the

868
00:48:29,680 --> 00:48:32,160
Speaker 3: grounds of his house, loads them into the back of

869
00:48:32,160 --> 00:48:34,719
Speaker 3: his car. Did we mention he drives a hearse, or

870
00:48:34,719 --> 00:48:36,759
Speaker 3: maybe it's just a station wagon, but he calls it

871
00:48:36,800 --> 00:48:40,040
Speaker 3: a hearse, and it looks like a hearse. Yeah. So

872
00:48:40,840 --> 00:48:43,319
Speaker 3: we get a close up of the dead bodies and

873
00:48:43,360 --> 00:48:47,520
Speaker 3: they don't look normal. They have a strange rat like

874
00:48:47,680 --> 00:48:51,400
Speaker 3: predatory look about them, but not with like elaborate creature

875
00:48:51,400 --> 00:48:53,880
Speaker 3: makeup or anything. I mean, they're basically human. They've just

876
00:48:54,760 --> 00:48:57,439
Speaker 3: usually they've got dark circles under the eyes, and they've

877
00:48:57,480 --> 00:49:00,680
Speaker 3: got something with the teeth, sort of looking kind of

878
00:49:00,800 --> 00:49:05,399
Speaker 3: rat like. And Morgan says, every day there are more

879
00:49:05,440 --> 00:49:08,640
Speaker 3: of them. They live off the weak ones and leave

880
00:49:08,719 --> 00:49:12,560
Speaker 3: them for the pit. So it seems every morning he

881
00:49:12,600 --> 00:49:15,200
Speaker 3: has to load these bodies into his car drive them

882
00:49:15,239 --> 00:49:19,680
Speaker 3: out to the pit, which is a giant, horrible hole

883
00:49:19,960 --> 00:49:22,879
Speaker 3: in the earth on the outskirts of town, in which

884
00:49:22,920 --> 00:49:27,440
Speaker 3: a perpetual fire burns, consuming the bodies of those he

885
00:49:27,480 --> 00:49:31,840
Speaker 3: tosses down. And in this sequence where he's doing the

886
00:49:31,920 --> 00:49:34,920
Speaker 3: chores around his house, he says, I own the world,

887
00:49:35,200 --> 00:49:41,400
Speaker 3: an empty, dead, silent world. So it is not just

888
00:49:41,760 --> 00:49:45,760
Speaker 3: the misery of loneliness here. Morgan seems to suffer from

889
00:49:45,960 --> 00:49:51,520
Speaker 3: other common symptoms of depression, such as anhedonia, so he

890
00:49:51,560 --> 00:49:55,000
Speaker 3: says that he can remember when he took pleasure in food.

891
00:49:55,520 --> 00:49:58,279
Speaker 3: Now he takes no pleasure. It is merely fuel to

892
00:49:58,400 --> 00:50:02,120
Speaker 3: sustain him for another day. We see him grimly cracking

893
00:50:02,160 --> 00:50:05,800
Speaker 3: open a can from this massive stash of shelf stable foods.

894
00:50:06,640 --> 00:50:09,600
Speaker 3: So he is he does not enjoy eating. He does

895
00:50:09,640 --> 00:50:14,040
Speaker 3: not enjoy anything. It seems there's nothing in life he likes.

896
00:50:14,360 --> 00:50:17,680
Speaker 3: He's just going through the motions. Oh and in the

897
00:50:17,680 --> 00:50:21,000
Speaker 3: middle of all this, he momentarily gets distracted when he

898
00:50:21,080 --> 00:50:23,640
Speaker 3: catches sight of a child's toy. There's a baby doll

899
00:50:23,719 --> 00:50:27,160
Speaker 3: kind of piled on the rubbish in his house, and

900
00:50:27,239 --> 00:50:29,120
Speaker 3: he looks at the doll for a moment and then

901
00:50:29,280 --> 00:50:32,360
Speaker 3: throws his can of beans to the floor in disgust.

902
00:50:33,080 --> 00:50:35,799
Speaker 3: So there's there's other pain we haven't learned about yet.

903
00:50:36,880 --> 00:50:41,560
Speaker 3: But beyond the household chores and vampire defense necessities like

904
00:50:41,600 --> 00:50:44,880
Speaker 3: the garlic and everything, he has to he has to

905
00:50:44,920 --> 00:50:48,600
Speaker 3: do another job, which is that. We see him come

906
00:50:48,640 --> 00:50:50,760
Speaker 3: to a big map of the city on his wall,

907
00:50:51,200 --> 00:50:54,480
Speaker 3: and he has divided the map into a massive grid,

908
00:50:54,960 --> 00:50:57,040
Speaker 3: and we can see lots of grid squares have been

909
00:50:57,080 --> 00:51:01,880
Speaker 3: systematically xed out. Many others remain. Blood and Morgan says

910
00:51:01,960 --> 00:51:04,759
Speaker 3: in voiceover, I've got to find where they hide during

911
00:51:04,800 --> 00:51:08,759
Speaker 3: the day, uncover every one of them. So later we're

912
00:51:08,800 --> 00:51:11,800
Speaker 3: going to see him at his work, in which Morgan

913
00:51:12,200 --> 00:51:16,560
Speaker 3: goes building by building, block by block looking for vampires.

914
00:51:16,600 --> 00:51:19,560
Speaker 3: So he goes into buildings and when he finds the

915
00:51:19,640 --> 00:51:23,480
Speaker 3: vampires hiding inside, sleeping through the day, he drives a

916
00:51:23,520 --> 00:51:28,160
Speaker 3: stake into their hearts. And it's interesting the way this portrayed,

917
00:51:28,560 --> 00:51:32,000
Speaker 3: no fuss, no ceremony. He just whax in a wooden

918
00:51:32,000 --> 00:51:35,239
Speaker 3: stake into the heart and moves on. And this is

919
00:51:35,320 --> 00:51:37,279
Speaker 3: what we learn he's been doing for the better part

920
00:51:37,320 --> 00:51:39,840
Speaker 3: of three years. He's only covered less than half of

921
00:51:39,880 --> 00:51:43,120
Speaker 3: the city, so it seems like it's just a huge,

922
00:51:43,440 --> 00:51:50,160
Speaker 3: miserable task, almost despite the violence of it, almost disgustingly boring.

923
00:51:51,480 --> 00:51:54,839
Speaker 3: There's also a line in here where he says that

924
00:51:54,920 --> 00:51:59,520
Speaker 3: he can't let anger or frustration overcome him because emotions

925
00:51:59,640 --> 00:52:03,640
Speaker 3: rob of reason, and reason is the only advantage he

926
00:52:03,760 --> 00:52:08,560
Speaker 3: has over them. Now. Right around this time, there's an

927
00:52:08,600 --> 00:52:13,359
Speaker 3: interesting cinematic detail, which is that we see Morgan manufacturing

928
00:52:13,480 --> 00:52:16,839
Speaker 3: his wooden stakes on an electric lathe. In a lot

929
00:52:16,840 --> 00:52:19,680
Speaker 3: of vampire movies, you just have stakes. People just show

930
00:52:19,760 --> 00:52:22,160
Speaker 3: up with a bag of them. Where did they come from?

931
00:52:22,680 --> 00:52:24,759
Speaker 3: We don't see them being made, But here we see

932
00:52:24,800 --> 00:52:27,480
Speaker 3: the stakes being made in massive quantities. He's got a

933
00:52:27,520 --> 00:52:30,799
Speaker 3: huge pile of them that he sharpens it, puts it

934
00:52:30,840 --> 00:52:33,600
Speaker 3: in the pile, and keeps going. So this movie has

935
00:52:33,640 --> 00:52:37,320
Speaker 3: a real emphasis not just on the action and violence

936
00:52:37,360 --> 00:52:41,680
Speaker 3: of vampire hunting, but the chores, the drudgery in the work.

937
00:52:42,320 --> 00:52:47,120
Speaker 2: Yeah. Yeah, so many vampire films and shows steaks just yeah,

938
00:52:47,160 --> 00:52:50,400
Speaker 2: they just occur. They appear. Anything that any piece of

939
00:52:50,440 --> 00:52:52,959
Speaker 2: wood it gets broken off, is instantly a lethal weapon

940
00:52:52,960 --> 00:52:56,319
Speaker 2: against the vampire. And vampires that have just people in

941
00:52:56,360 --> 00:53:01,640
Speaker 2: general have a way of easily impaling themselves on things

942
00:53:01,920 --> 00:53:04,960
Speaker 2: in the environment. That's not the case here. If you

943
00:53:04,960 --> 00:53:06,400
Speaker 2: want a stake a vampire, you have to put in

944
00:53:06,440 --> 00:53:06,799
Speaker 2: the work.

945
00:53:07,680 --> 00:53:11,120
Speaker 3: Yeah, and again here he gives some explanation and voice

946
00:53:11,160 --> 00:53:14,360
Speaker 3: over about why the steak works. He says, you know,

947
00:53:14,960 --> 00:53:18,040
Speaker 3: it's not magic that makes the steak kill a vampire.

948
00:53:18,440 --> 00:53:20,640
Speaker 3: A steak to the heart works because it wedges the

949
00:53:20,719 --> 00:53:23,319
Speaker 3: flesh open and the body can't close itself back up.

950
00:53:23,360 --> 00:53:26,960
Speaker 3: So it's something about letting the air in that kills them.

951
00:53:27,560 --> 00:53:30,080
Speaker 3: And he comments that he wonders how many steaks he'll

952
00:53:30,080 --> 00:53:33,000
Speaker 3: have to make before he's through, But we see him

953
00:53:33,040 --> 00:53:35,600
Speaker 3: going about his day. So he loads up bodies into

954
00:53:35,600 --> 00:53:37,680
Speaker 3: the hearse and then takes them to the flaming pit

955
00:53:37,719 --> 00:53:40,399
Speaker 3: where he dumps them. And then there's part that kind

956
00:53:40,400 --> 00:53:42,319
Speaker 3: of made me laugh where he like he throws a

957
00:53:42,360 --> 00:53:45,600
Speaker 3: gas can and a torch in and then the pit explodes.

958
00:53:46,960 --> 00:53:47,800
Speaker 3: Is that what you want?

959
00:53:49,480 --> 00:53:51,920
Speaker 2: Maybe he was a little more nuanced with it earlier on,

960
00:53:52,000 --> 00:53:54,319
Speaker 2: but at this point, yeah, he doesn't carries It's like

961
00:53:54,480 --> 00:53:57,399
Speaker 2: throwing a torch, throwing a can of gas that I'm done.

962
00:53:57,400 --> 00:53:58,400
Speaker 2: I got things to move on to.

963
00:53:59,200 --> 00:54:02,920
Speaker 3: He also off for supply, so it gets garlic, gets mirrors.

964
00:54:02,920 --> 00:54:06,759
Speaker 3: He gets guzzoline from a tanger truck that's abandoned in

965
00:54:06,800 --> 00:54:09,840
Speaker 3: the middle of the road, and he finds vampires sleeping

966
00:54:09,880 --> 00:54:12,840
Speaker 3: through the day in local buildings and stakes them. And

967
00:54:12,880 --> 00:54:16,239
Speaker 3: again I want to emphasize how low key the staking is.

968
00:54:16,280 --> 00:54:20,319
Speaker 3: We see Price first approaching a building. He just kind

969
00:54:20,320 --> 00:54:23,200
Speaker 3: of casually knocks in the glass on the door, reaches

970
00:54:23,239 --> 00:54:26,320
Speaker 3: inside and unlocks it, and wanders in. He finds a

971
00:54:26,400 --> 00:54:29,000
Speaker 3: vampire sleeping in a bed in a back room, and

972
00:54:29,040 --> 00:54:31,560
Speaker 3: then doesn't say anything. He just steps to her and

973
00:54:31,640 --> 00:54:34,759
Speaker 3: hammers the steak into her chest. He makes a kind

974
00:54:34,800 --> 00:54:36,960
Speaker 3: of grimace when he does it, but it seems it's

975
00:54:37,000 --> 00:54:39,800
Speaker 3: just a grimace of physical exertion, not like he's feeling

976
00:54:39,920 --> 00:54:40,640
Speaker 3: much about this.

977
00:54:41,600 --> 00:54:44,440
Speaker 2: Yeah, and you know, I think this is an important

978
00:54:44,440 --> 00:54:46,520
Speaker 2: texture of the film, But I can also see where

979
00:54:46,560 --> 00:54:52,360
Speaker 2: this could be a stumbling block because yeah, it's maybe

980
00:54:52,400 --> 00:54:57,200
Speaker 2: not as riveting as you might expect vampire staking sequences

981
00:54:57,239 --> 00:55:00,640
Speaker 2: to be. But like, again, that's part of the texture story, Like,

982
00:55:00,680 --> 00:55:03,520
Speaker 2: this is his day to day and it is seemingly

983
00:55:03,600 --> 00:55:06,239
Speaker 2: it is kind of boring to him. Some of that

984
00:55:06,320 --> 00:55:09,440
Speaker 2: boredom might wear off, certainly on a modern viewer expecting

985
00:55:09,440 --> 00:55:11,400
Speaker 2: something a little more action packed.

986
00:55:11,880 --> 00:55:15,760
Speaker 3: Yeah, I can see how if you're not really following

987
00:55:16,520 --> 00:55:19,960
Speaker 3: what the story is getting at, that this might seem

988
00:55:20,000 --> 00:55:22,520
Speaker 3: a little dull. But I agree with you, it's an

989
00:55:22,560 --> 00:55:26,560
Speaker 3: important theme like that the boredom of it and the

990
00:55:28,000 --> 00:55:31,359
Speaker 3: lack of emotional excitability about the violence that he goes

991
00:55:31,400 --> 00:55:34,520
Speaker 3: through every day is sort of what the story is

992
00:55:34,560 --> 00:55:40,000
Speaker 3: at its core. That this is not thrilling or even

993
00:55:40,280 --> 00:55:43,360
Speaker 3: it's not even really triggering a great fear response. Again,

994
00:55:43,480 --> 00:55:45,160
Speaker 3: like at one point in the story he says, I'm

995
00:55:45,200 --> 00:55:50,040
Speaker 3: not really afraid of them anymore. It's just grinding. He's

996
00:55:50,080 --> 00:55:52,120
Speaker 3: just grinding through this task.

997
00:55:52,719 --> 00:55:54,960
Speaker 2: I should also mention, now this is, if it hasn't

998
00:55:55,000 --> 00:55:57,880
Speaker 2: become clear already, this isn't really the sort of picture

999
00:55:57,920 --> 00:56:00,160
Speaker 2: that I would recommend putting on in the background and

1000
00:56:00,200 --> 00:56:02,719
Speaker 2: doing other things too. Like it's a film that is

1001
00:56:03,000 --> 00:56:05,799
Speaker 2: it's rewarding to have a more dedicated viewing of. But

1002
00:56:05,880 --> 00:56:09,160
Speaker 2: it's not a monster movie in the sense of yah,

1003
00:56:09,440 --> 00:56:12,360
Speaker 2: or it's not a big colorful at Greland Poe adaptation.

1004
00:56:13,800 --> 00:56:15,480
Speaker 2: It's one if you're gonna watch it, like sit down

1005
00:56:15,520 --> 00:56:16,160
Speaker 2: and actually watch it.

1006
00:56:16,239 --> 00:56:21,080
Speaker 3: Yeah, it's not a fantastic spectacle. It's a thoughtful story. Yeah.

1007
00:56:21,200 --> 00:56:23,960
Speaker 3: But at some point he goes through the day hammering

1008
00:56:24,000 --> 00:56:26,560
Speaker 3: the stakes in and he at some point becomes aware

1009
00:56:26,600 --> 00:56:29,080
Speaker 3: that night is falling and he has to get home quickly.

1010
00:56:29,520 --> 00:56:32,320
Speaker 3: So once he does, we get our first night siege scene.

1011
00:56:33,160 --> 00:56:37,040
Speaker 3: We have been told several times in the voiceover that

1012
00:56:37,080 --> 00:56:39,520
Speaker 3: they attack every night, and now we get to see it.

1013
00:56:39,880 --> 00:56:41,759
Speaker 3: So this is the part where Morgan comes home and

1014
00:56:41,760 --> 00:56:44,319
Speaker 3: he puts on this jazz record and he collapses on

1015
00:56:44,360 --> 00:56:48,160
Speaker 3: the couch and while the record plays, we see outside

1016
00:56:48,160 --> 00:56:54,240
Speaker 3: his house a disheveled, pale, zombie like man in a filthy, loose,

1017
00:56:54,400 --> 00:56:58,120
Speaker 3: double breasted suit sort of waves on a crowd of

1018
00:56:58,200 --> 00:57:02,360
Speaker 3: vampires to approach Morgan's front door. We're later going to

1019
00:57:02,400 --> 00:57:06,040
Speaker 3: learn that this lead vampire has a name. This is Ben.

1020
00:57:06,320 --> 00:57:09,400
Speaker 3: What's his last name, Courton, something like that. Yeah, this

1021
00:57:09,560 --> 00:57:13,240
Speaker 3: is Ben. He's someone who in life knew Morgan very well.

1022
00:57:13,320 --> 00:57:16,320
Speaker 3: They were family. I think Ben is his brother in

1023
00:57:16,440 --> 00:57:20,280
Speaker 3: law and they work together in the scientific lab. So

1024
00:57:20,320 --> 00:57:22,480
Speaker 3: there'll be more on that later. But now he is

1025
00:57:22,520 --> 00:57:26,480
Speaker 3: a vampire. He leads the other vampires to Morgan's house

1026
00:57:26,600 --> 00:57:29,280
Speaker 3: and they start bashing at the windows with clubs and

1027
00:57:29,320 --> 00:57:33,840
Speaker 3: two by fours, and the Ben vampire calls in this lifeless,

1028
00:57:33,880 --> 00:57:39,720
Speaker 3: hollow voice, Morgan, come out, Come out. So Robie, I

1029
00:57:39,720 --> 00:57:43,680
Speaker 3: don't know, maybe here we should do a brief description

1030
00:57:43,960 --> 00:57:48,720
Speaker 3: on the vampires and maybe if there are different categories

1031
00:57:48,840 --> 00:57:51,520
Speaker 3: of vampires in the movie. So the ones we see

1032
00:57:51,720 --> 00:57:56,680
Speaker 3: outside the house here are slow moving with dark circles

1033
00:57:56,760 --> 00:58:01,640
Speaker 3: under their eyes. They're wearing ragged clothes. They seem only

1034
00:58:01,760 --> 00:58:04,880
Speaker 3: barely to possess the power of thought, like they can

1035
00:58:05,120 --> 00:58:09,680
Speaker 3: speak but what they say is rudimentary and repetitive, and

1036
00:58:09,720 --> 00:58:14,160
Speaker 3: their actions are very clumsy and don't seem strategic. To

1037
00:58:14,520 --> 00:58:17,400
Speaker 3: quote Night of the Living Dead, they are all messed up.

1038
00:58:17,760 --> 00:58:20,840
Speaker 3: And in fact, I've read that this movie and I

1039
00:58:20,880 --> 00:58:26,440
Speaker 3: think probably these vampires here were a major influence on

1040
00:58:26,600 --> 00:58:29,080
Speaker 3: George Romero in creating Night of the Living Dead.

1041
00:58:29,600 --> 00:58:34,439
Speaker 2: Yeah, it is interesting how watching this film, being more

1042
00:58:34,600 --> 00:58:38,640
Speaker 2: far more familiar with zombie cinema, these vampires, or at

1043
00:58:38,720 --> 00:58:43,040
Speaker 2: least this variety of vampire feels very zombie coded. But

1044
00:58:43,120 --> 00:58:45,280
Speaker 2: I guess maybe it would be more accurate to see

1045
00:58:45,320 --> 00:58:49,080
Speaker 2: it as one of the various pictures that did some

1046
00:58:49,240 --> 00:58:50,919
Speaker 2: zombie codifying.

1047
00:58:51,040 --> 00:58:55,480
Speaker 3: Though we can kind of already see. Morgan doesn't really

1048
00:58:55,520 --> 00:58:58,280
Speaker 3: comment much on this, but we can kind of already

1049
00:58:58,280 --> 00:59:01,000
Speaker 3: see that there seem to be some kind of different

1050
00:59:01,280 --> 00:59:05,160
Speaker 3: categories of vampires, Like there are these shambling, zombie like

1051
00:59:05,280 --> 00:59:08,240
Speaker 3: vampires who come to his house in the middle of

1052
00:59:08,280 --> 00:59:11,080
Speaker 3: the night, and then they are the ones he goes

1053
00:59:11,200 --> 00:59:14,160
Speaker 3: into the buildings and steaks, some of which, when they

1054
00:59:14,200 --> 00:59:17,000
Speaker 3: wake up, seem a little more animated than these. Did

1055
00:59:17,040 --> 00:59:22,240
Speaker 3: you notice that? Yeah, they might flag you think about

1056
00:59:22,240 --> 00:59:22,920
Speaker 3: that for later.

1057
00:59:23,360 --> 00:59:25,800
Speaker 2: Yea, And of course, some of them are speaking to

1058
00:59:25,960 --> 00:59:28,680
Speaker 2: him and calling out to him and telling him to

1059
00:59:28,680 --> 00:59:29,120
Speaker 2: come out.

1060
00:59:29,240 --> 00:59:33,160
Speaker 3: Yeah. Yeah, But so inside the house, Morgan does not

1061
00:59:33,240 --> 00:59:36,720
Speaker 3: seem very concerned. He smashes a piece of glass against

1062
00:59:36,760 --> 00:59:38,440
Speaker 3: a window at one of them, and then he just

1063
00:59:38,480 --> 00:59:41,880
Speaker 3: starts opening a new bottle of liquor, and eventually he

1064
00:59:41,920 --> 00:59:45,240
Speaker 3: falls asleep on the couch, and while sleeping, he is

1065
00:59:45,320 --> 00:59:49,520
Speaker 3: haunted by a dream. Out of the dream, a woman's

1066
00:59:49,600 --> 00:59:54,360
Speaker 3: voice calls Robert, I can't see, I can't see. And

1067
00:59:54,600 --> 00:59:57,439
Speaker 3: the next day Morgan wakes up. He drives his car

1068
00:59:57,480 --> 01:00:00,720
Speaker 3: out to a massive cemetery and then he and lets

1069
01:00:00,760 --> 01:00:04,720
Speaker 3: himself into a locked chapel at the cemetery. Inside there

1070
01:00:04,800 --> 01:00:07,439
Speaker 3: is a coffin in the middle of the room and

1071
01:00:07,520 --> 01:00:11,240
Speaker 3: this inside this coffin is his wife, Virginia. He calls

1072
01:00:11,280 --> 01:00:14,600
Speaker 3: her Verge, and speaking to the coffin, he says, Verge,

1073
01:00:14,600 --> 01:00:18,240
Speaker 3: how I miss you. But while he's in here, thinking

1074
01:00:18,280 --> 01:00:21,280
Speaker 3: of his wife, he falls asleep with his head on

1075
01:00:21,320 --> 01:00:25,480
Speaker 3: the coffin lid. Uh oh. By the time he wakes up,

1076
01:00:25,840 --> 01:00:29,760
Speaker 3: the sun has already gone down and outside vampires are

1077
01:00:29,800 --> 01:00:33,600
Speaker 3: swarming around his car. So this leads to an action

1078
01:00:33,760 --> 01:00:36,280
Speaker 3: scene where Morgan has to fight them off to make

1079
01:00:36,320 --> 01:00:38,800
Speaker 3: it inside his car. Then once he gets in he

1080
01:00:38,880 --> 01:00:41,160
Speaker 3: drives home. He again has to fight a big horde

1081
01:00:41,160 --> 01:00:44,760
Speaker 3: of vampires outside his house to make it inside in peace.

1082
01:00:45,920 --> 01:00:48,200
Speaker 3: But he does this with the aid of a small mirror.

1083
01:00:48,240 --> 01:00:50,959
Speaker 3: So he's holding up a mirror to drive them away,

1084
01:00:51,040 --> 01:00:54,840
Speaker 3: kind of like holding up across usually in these vampire movies,

1085
01:00:55,840 --> 01:00:58,280
Speaker 3: I feel like he should build a suit of mirrrored armor.

1086
01:00:58,280 --> 01:00:59,360
Speaker 3: Wouldn't that be useful?

1087
01:01:00,960 --> 01:01:05,720
Speaker 2: That sounds like a very Dungeons and Dragons approach to

1088
01:01:05,800 --> 01:01:07,880
Speaker 2: this where something something that the players would do.

1089
01:01:08,080 --> 01:01:20,920
Speaker 3: Yeah, But so he manages to get inside and barricade

1090
01:01:20,920 --> 01:01:24,360
Speaker 3: the door, and he has a cigarette while the pounding

1091
01:01:24,400 --> 01:01:29,640
Speaker 3: from outside continues. And this during this night siege, Morgan

1092
01:01:29,760 --> 01:01:33,400
Speaker 3: is somewhat different that other ones. He's been more dead

1093
01:01:33,640 --> 01:01:36,800
Speaker 3: kind of through the world, just drinking and listening to music.

1094
01:01:37,960 --> 01:01:41,520
Speaker 3: Now he is filled with grief, and he fires up

1095
01:01:41,560 --> 01:01:45,240
Speaker 3: the film projector and watches old home movies of his

1096
01:01:45,280 --> 01:01:50,360
Speaker 3: wife and daughter, both of whom died in the pandemic. Now,

1097
01:01:50,840 --> 01:01:53,800
Speaker 3: this part has some has a funny thing where if

1098
01:01:53,840 --> 01:01:55,600
Speaker 3: you stop and think about what you're looking at with

1099
01:01:55,640 --> 01:01:58,320
Speaker 3: these home movies, the footage does not make any sense

1100
01:01:58,400 --> 01:02:03,040
Speaker 3: because he's watched scenes that are filmed from multiple camera

1101
01:02:03,120 --> 01:02:07,760
Speaker 3: angles and they're using editing to alternate between shots. Like

1102
01:02:07,800 --> 01:02:11,040
Speaker 3: there's a scene where Virginia and their daughter Kathy are

1103
01:02:11,080 --> 01:02:14,240
Speaker 3: at the circus and they're watching you know, chimpanzee smoking

1104
01:02:14,320 --> 01:02:17,680
Speaker 3: cigars and donkeys kicking clowns and stuff, and it has

1105
01:02:17,800 --> 01:02:22,000
Speaker 3: reaction shots, so it's cutting you know, reverse shots. But

1106
01:02:22,080 --> 01:02:26,320
Speaker 3: that aside. Bryce, he in this scene he shows that

1107
01:02:26,360 --> 01:02:30,160
Speaker 3: he has unhealed wounds, he has lost his family, and

1108
01:02:30,200 --> 01:02:33,600
Speaker 3: there's no resolution about this. He doesn't he hasn't moved on.

1109
01:02:33,800 --> 01:02:36,840
Speaker 3: He doesn't have the ability to find happiness in anything else.

1110
01:02:37,360 --> 01:02:41,600
Speaker 3: He is just living on in this empty world that

1111
01:02:41,720 --> 01:02:45,720
Speaker 3: is that has been created by the circumstances of their destruction,

1112
01:02:46,240 --> 01:02:48,400
Speaker 3: and he's still in it. You know. It's like the

1113
01:02:48,560 --> 01:02:53,440
Speaker 3: grief is always fresh, and so he at one point

1114
01:02:53,480 --> 01:02:57,760
Speaker 3: he catches himself laughing at the circus x the circus

1115
01:02:57,800 --> 01:02:59,760
Speaker 3: acts on the film, like what the clowns are doing,

1116
01:03:00,160 --> 01:03:03,240
Speaker 3: and then the laughter turns into weeping.

1117
01:03:04,000 --> 01:03:06,640
Speaker 2: Yeah, yeah, that was a great moment because again, this

1118
01:03:07,160 --> 01:03:11,560
Speaker 2: is how grief feels sometimes where grief it can be

1119
01:03:11,640 --> 01:03:15,160
Speaker 2: so overwhelming and then you catch yourself moving on for

1120
01:03:15,200 --> 01:03:17,640
Speaker 2: it for a second, moving on from it for a second,

1121
01:03:18,200 --> 01:03:21,000
Speaker 2: and then that can be crushing because you realize for

1122
01:03:21,040 --> 01:03:23,520
Speaker 2: a moment there it wasn't at the forefront of your mind.

1123
01:03:23,960 --> 01:03:27,680
Speaker 3: Yeah, that's right. And then there's another, I think, really interesting,

1124
01:03:28,040 --> 01:03:31,440
Speaker 3: thoughtful thing about the scene. It is the choice that

1125
01:03:32,680 --> 01:03:34,760
Speaker 3: you know the vampire siege is going on while he's

1126
01:03:34,800 --> 01:03:38,400
Speaker 3: watching these whole movies and thinking about his family, and

1127
01:03:38,800 --> 01:03:41,320
Speaker 3: this will be one of multiple scenes in the movie

1128
01:03:41,360 --> 01:03:44,680
Speaker 3: where there's some drama or a character moment taking place

1129
01:03:44,720 --> 01:03:49,200
Speaker 3: inside the house, but they don't fade out the background noise.

1130
01:03:49,240 --> 01:03:53,880
Speaker 3: It stays in, so we continually hear the vampires beating

1131
01:03:53,920 --> 01:03:58,520
Speaker 3: against the fortifications in the background and moaning outside. So

1132
01:03:58,640 --> 01:04:03,600
Speaker 3: this deadly threat that it just becomes irritating background noise.

1133
01:04:05,400 --> 01:04:07,920
Speaker 3: I feel like there's something potent in that. Actually like it.

1134
01:04:09,240 --> 01:04:13,080
Speaker 3: It becomes no longer the point of focus, and it's

1135
01:04:13,160 --> 01:04:16,920
Speaker 3: not actively terrifying. It's the thing that wants to kill you.

1136
01:04:17,040 --> 01:04:21,000
Speaker 3: Is just an unceasing annoyance. So from here we move

1137
01:04:21,040 --> 01:04:23,480
Speaker 3: on to the middle section of the movie, which is

1138
01:04:23,640 --> 01:04:27,920
Speaker 3: all it's flashback. It's backstory about what happened before I'm

1139
01:04:27,960 --> 01:04:30,280
Speaker 3: not going to do as much full detail on the section,

1140
01:04:30,920 --> 01:04:32,840
Speaker 3: but we'll talk about some of the main threads here.

1141
01:04:33,800 --> 01:04:36,880
Speaker 3: One of them is telling the story of Robert Morgan

1142
01:04:37,000 --> 01:04:40,280
Speaker 3: and his family. So he had a very good, loving

1143
01:04:40,360 --> 01:04:44,440
Speaker 3: relationship with his wife Virginia and their daughter Kathy, and

1144
01:04:44,480 --> 01:04:47,320
Speaker 3: he also got along well with his brother in law Ben.

1145
01:04:47,480 --> 01:04:50,000
Speaker 3: And there's a scene at a birthday party where the

1146
01:04:50,120 --> 01:04:53,600
Speaker 3: children are playing happily, but then Ben arrives and he

1147
01:04:53,640 --> 01:04:57,800
Speaker 3: pulls Robert aside and privately shows him a newspaper clipping

1148
01:04:57,880 --> 01:05:02,320
Speaker 3: with the headline plague claims Hunt is Europe's disease carried

1149
01:05:02,400 --> 01:05:06,600
Speaker 3: on the wind. So we learned that Morgan and Ben

1150
01:05:06,680 --> 01:05:10,000
Speaker 3: work together as scientists in a medical research lab, so

1151
01:05:10,080 --> 01:05:15,760
Speaker 3: this is their area of expertise. Robert Morgan has doubts

1152
01:05:15,800 --> 01:05:18,360
Speaker 3: that the disease will cross the ocean and threaten them.

1153
01:05:18,720 --> 01:05:22,560
Speaker 3: Ben is taking it a lot more seriously. And this

1154
01:05:22,640 --> 01:05:24,840
Speaker 3: part is kind of interesting for a number of reasons.

1155
01:05:24,840 --> 01:05:27,960
Speaker 3: One is that the reality that, like in the twentieth century,

1156
01:05:28,000 --> 01:05:31,520
Speaker 3: a contagious disease will easily jump over borders and across

1157
01:05:31,640 --> 01:05:34,840
Speaker 3: physical barriers like oceans, you know, because there's going to

1158
01:05:34,880 --> 01:05:35,840
Speaker 3: be travels.

1159
01:05:35,560 --> 01:05:38,120
Speaker 2: Yeah, and we'll do so with alarming speed. Yeah.

1160
01:05:38,280 --> 01:05:40,240
Speaker 3: Yeah, so it's not like the ocean is going to

1161
01:05:40,560 --> 01:05:45,880
Speaker 3: become become actually a barrier there. But also the movie's

1162
01:05:46,160 --> 01:05:51,120
Speaker 3: mechanism of transmission is unusual and interesting, the idea that

1163
01:05:51,160 --> 01:05:54,760
Speaker 3: the pathogen is not really transmitted person to person, or

1164
01:05:54,800 --> 01:05:57,240
Speaker 3: it might be, but that's not what the movie emphasizes.

1165
01:05:57,680 --> 01:06:01,160
Speaker 3: The movie emphasizes that it is brought on the wind.

1166
01:06:01,520 --> 01:06:05,440
Speaker 3: So it's playing with pre germ theory ideas about the

1167
01:06:05,760 --> 01:06:10,480
Speaker 3: transmission of disease through air, like bad air and winds.

1168
01:06:10,760 --> 01:06:13,320
Speaker 2: Yeah, getting back to like a concept that we see

1169
01:06:13,600 --> 01:06:16,320
Speaker 2: and we've discussed on stuff to blew your mind the

1170
01:06:16,320 --> 01:06:21,000
Speaker 2: way that it's echoed in like ancient Mediterranean beliefs about disease,

1171
01:06:21,120 --> 01:06:24,200
Speaker 2: that a disease are brought from a particular foul wind

1172
01:06:24,360 --> 01:06:26,960
Speaker 2: that comes from certain mountains and so forth.

1173
01:06:27,160 --> 01:06:32,560
Speaker 3: Yeah, exactly. And this I think is an interesting choice

1174
01:06:32,560 --> 01:06:34,680
Speaker 3: in the movie because it plays well with the setting

1175
01:06:34,840 --> 01:06:38,560
Speaker 3: and some like environmental texture they create. There are a

1176
01:06:38,560 --> 01:06:41,760
Speaker 3: lot of scenes in the movie with empty landscapes with

1177
01:06:41,920 --> 01:06:46,280
Speaker 3: wind blowing through them, or scenes of characters inside houses

1178
01:06:46,360 --> 01:06:50,240
Speaker 3: with the wind whipping at the windows from outside. And

1179
01:06:50,320 --> 01:06:53,040
Speaker 3: so we can often just hear the whispering of the

1180
01:06:53,080 --> 01:06:56,360
Speaker 3: breeze while Morgan looks out the window at something, and

1181
01:06:56,840 --> 01:06:59,640
Speaker 3: so it fits there. And it also I think the

1182
01:06:59,720 --> 01:07:02,360
Speaker 3: idea of the pathogen being brought on the wind fits

1183
01:07:02,400 --> 01:07:07,280
Speaker 3: thematically because in a story about loneliness, the idea is

1184
01:07:07,320 --> 01:07:11,360
Speaker 3: that the disease is spread not by human contact, but

1185
01:07:11,480 --> 01:07:15,600
Speaker 3: by the physical force that defines an empty, desolate world.

1186
01:07:15,640 --> 01:07:19,800
Speaker 3: It's the rushing wind. We often use wind almost as

1187
01:07:19,840 --> 01:07:23,360
Speaker 3: a metaphor for emptiness or a signal of it. So

1188
01:07:23,400 --> 01:07:26,160
Speaker 3: the adults at the party argue about what's going on here.

1189
01:07:26,160 --> 01:07:29,440
Speaker 3: Ben thinks that the basillis is carried on the wind

1190
01:07:29,560 --> 01:07:33,000
Speaker 3: and they are in danger. Morgan doesn't believe it, and

1191
01:07:33,040 --> 01:07:35,280
Speaker 3: then the children are like, hey, it's time to have cake,

1192
01:07:35,400 --> 01:07:38,439
Speaker 3: so they go to have cake. But then we cut

1193
01:07:38,440 --> 01:07:40,640
Speaker 3: to later after the party and we see the wind

1194
01:07:40,720 --> 01:07:44,160
Speaker 3: blowing dead leaves through the yard where the kids were playing.

1195
01:07:46,000 --> 01:07:48,560
Speaker 3: So in this middle section of the movie we see

1196
01:07:48,560 --> 01:07:53,160
Speaker 3: the tragic backstory of the Morgan family. First, their daughter

1197
01:07:53,240 --> 01:07:57,360
Speaker 3: falls ill and she goes blind and then she dies suddenly.

1198
01:07:57,440 --> 01:07:59,880
Speaker 3: At one point Will Robert is out of the house

1199
01:08:00,120 --> 01:08:03,040
Speaker 3: and this part was very painful to watch, like it's

1200
01:08:03,480 --> 01:08:07,960
Speaker 3: very emotionally rough. He at one point she dies while

1201
01:08:07,960 --> 01:08:11,080
Speaker 3: he's gone, and then when he comes home, his daughter's

1202
01:08:11,120 --> 01:08:14,440
Speaker 3: body has already been taken away by the military patrols

1203
01:08:14,480 --> 01:08:17,200
Speaker 3: that are roaming the street. So their job is to

1204
01:08:17,280 --> 01:08:20,880
Speaker 3: immediately remove bodies and take them to the burning pit

1205
01:08:21,040 --> 01:08:24,280
Speaker 3: to contain the infection. And when Robert finds out this,

1206
01:08:24,400 --> 01:08:27,160
Speaker 3: he is furious. He goes to the pit to try

1207
01:08:27,200 --> 01:08:29,439
Speaker 3: to find his daughter's body before they throw it in,

1208
01:08:29,520 --> 01:08:33,519
Speaker 3: but he can't. And then shortly after this, Virginia becomes

1209
01:08:33,520 --> 01:08:35,960
Speaker 3: sick and dies as well. I think actually she was

1210
01:08:36,000 --> 01:08:39,360
Speaker 3: sick before, but she's been hiding it from him. And

1211
01:08:39,400 --> 01:08:43,800
Speaker 3: then when Virginia dies, Morgan secretly takes her body and

1212
01:08:43,840 --> 01:08:47,280
Speaker 3: buries it in the earth. Now you might notice something,

1213
01:08:47,280 --> 01:08:49,439
Speaker 3: It's like, wait a minute, didn't we go didn't we

1214
01:08:49,479 --> 01:08:51,840
Speaker 3: see her body at a chapel earlier? How does that

1215
01:08:51,880 --> 01:08:53,920
Speaker 3: square with him burying her in the earth. But that

1216
01:08:54,000 --> 01:08:58,840
Speaker 3: will make sense. Also in the middle section of the movie,

1217
01:08:59,439 --> 01:09:03,799
Speaker 3: there are are some scenes of Robert and Ben working

1218
01:09:03,840 --> 01:09:07,400
Speaker 3: desperately together in the lab to understand the bacterium that

1219
01:09:07,439 --> 01:09:10,280
Speaker 3: causes the disease and come up with a vaccine. But

1220
01:09:10,400 --> 01:09:14,400
Speaker 3: the cure keeps eluding them, and Ben has been hearing rumors.

1221
01:09:14,400 --> 01:09:17,880
Speaker 3: He repeats them it is the disease is not only

1222
01:09:17,920 --> 01:09:21,640
Speaker 3: causing blindness and killing people. He says that after the

1223
01:09:21,680 --> 01:09:24,639
Speaker 3: people die, some of the dead appear to come back

1224
01:09:25,160 --> 01:09:27,920
Speaker 3: once again. Robert does not believe this. He chalks the

1225
01:09:27,920 --> 01:09:31,880
Speaker 3: stories up to panic and superstition. But Ben says, quote,

1226
01:09:31,960 --> 01:09:35,000
Speaker 3: why are the infected people always so tired in the daytime?

1227
01:09:35,479 --> 01:09:38,439
Speaker 3: Why can't they stand the sunlight? Why are they only

1228
01:09:38,520 --> 01:09:39,679
Speaker 3: seen at night?

1229
01:09:40,560 --> 01:09:40,720
Speaker 2: Now?

1230
01:09:40,760 --> 01:09:43,080
Speaker 3: The delivery there, I think is kind of a good

1231
01:09:43,120 --> 01:09:45,439
Speaker 3: little moment, though I will say in general, I think

1232
01:09:45,520 --> 01:09:48,200
Speaker 3: the science lab stuff is one of the weaker parts

1233
01:09:48,200 --> 01:09:48,759
Speaker 3: of the movie.

1234
01:09:49,720 --> 01:09:52,200
Speaker 2: Yeah, And I think in general all the adaptations of

1235
01:09:52,240 --> 01:09:55,080
Speaker 2: I Am Legend kind of falls short in the science

1236
01:09:55,160 --> 01:09:58,840
Speaker 2: lab area. Like there's always a fair amount of criticism because,

1237
01:09:58,880 --> 01:10:01,719
Speaker 2: and I think part of it is via the source material,

1238
01:10:01,760 --> 01:10:08,160
Speaker 2: there's this impulse to try and couch things rather snugly

1239
01:10:07,240 --> 01:10:12,240
Speaker 2: with science, and it ends up just getting things wrong

1240
01:10:12,320 --> 01:10:16,160
Speaker 2: and things just feel rather off. But you know, I

1241
01:10:16,160 --> 01:10:18,200
Speaker 2: don't know again, Ben, a while since I read the

1242
01:10:18,200 --> 01:10:20,720
Speaker 2: original book in full, but my memory was that it

1243
01:10:21,000 --> 01:10:24,240
Speaker 2: made a pretty convincing case at least in the context

1244
01:10:24,280 --> 01:10:24,719
Speaker 2: of the book.

1245
01:10:25,120 --> 01:10:30,559
Speaker 3: Yeah, So later Ben stops coming to work and there's

1246
01:10:30,560 --> 01:10:33,040
Speaker 3: a scene where Morgan goes to his house and finds

1247
01:10:33,080 --> 01:10:35,880
Speaker 3: a wreath of garlic on Ben's front door, like the

1248
01:10:35,880 --> 01:10:38,880
Speaker 3: ones we will later see at Morgan's own house. Ben

1249
01:10:38,920 --> 01:10:42,720
Speaker 3: answers the door in a bathrobe and he's angry and paranoid,

1250
01:10:42,800 --> 01:10:45,360
Speaker 3: and he yells at Morgan for not believing him and

1251
01:10:45,520 --> 01:10:49,080
Speaker 3: orders him to get away from his house. And then, finally,

1252
01:10:49,160 --> 01:10:52,360
Speaker 3: the end of the flashback segment is that after Morgan

1253
01:10:52,479 --> 01:10:56,600
Speaker 3: buries Virginia, he goes home alone. He's alone in the

1254
01:10:56,640 --> 01:10:59,000
Speaker 3: house now. He pours himself a drink and then he

1255
01:10:59,000 --> 01:11:01,679
Speaker 3: hears a voice through the wall. It is a woman's

1256
01:11:01,760 --> 01:11:05,000
Speaker 3: voice in a soft whisper, saying, let me in, Let

1257
01:11:05,040 --> 01:11:07,880
Speaker 3: me in. And he goes to the door and oh no,

1258
01:11:08,160 --> 01:11:11,080
Speaker 3: it is Verge. She's back from the dead. She's covered

1259
01:11:11,080 --> 01:11:14,760
Speaker 3: in soil, with her mouth hanging open, glassy eyes, and

1260
01:11:14,800 --> 01:11:17,920
Speaker 3: she's clutching for his neck. So she is now no

1261
01:11:18,000 --> 01:11:21,200
Speaker 3: longer who she was. She is this other type of

1262
01:11:21,240 --> 01:11:23,880
Speaker 3: being and she wants blood. I thought this part was

1263
01:11:24,000 --> 01:11:28,880
Speaker 3: very disturbing. Yeah, yeah, but I think that now explains

1264
01:11:28,880 --> 01:11:31,439
Speaker 3: why she's in a coffin on the surface instead of

1265
01:11:31,479 --> 01:11:34,600
Speaker 3: buried in the earth. I'm wondering. I don't think the

1266
01:11:34,600 --> 01:11:38,879
Speaker 3: movie ever says this explicitly, but my understanding is maybe

1267
01:11:38,920 --> 01:11:41,439
Speaker 3: if they get buried in the earth, that closes up

1268
01:11:41,520 --> 01:11:45,320
Speaker 3: the wound, so like the bacterium can grow again, and

1269
01:11:45,360 --> 01:11:47,640
Speaker 3: then you know, I don't know, maybe that allows them

1270
01:11:47,680 --> 01:11:49,720
Speaker 3: to reanimate. So they've got to be either burned or

1271
01:11:49,800 --> 01:11:52,719
Speaker 3: kept on the surface with a steak in them. Yeah.

1272
01:11:52,800 --> 01:11:56,360
Speaker 2: Yeah, And again, just the continuing motif that is present

1273
01:11:56,400 --> 01:11:59,120
Speaker 2: in the original present in the original book as well,

1274
01:11:59,280 --> 01:12:05,320
Speaker 2: is that there's this this urge and this temptation, and

1275
01:12:05,360 --> 01:12:08,320
Speaker 2: it is voiced by the vampires that he just needs

1276
01:12:08,360 --> 01:12:11,280
Speaker 2: to give in, He just needs to let them in,

1277
01:12:11,479 --> 01:12:16,599
Speaker 2: just open the door. So it's it fits so nicely

1278
01:12:16,680 --> 01:12:22,160
Speaker 2: with these themes of depression and hopelessness, like the temptation

1279
01:12:22,320 --> 01:12:24,720
Speaker 2: is so strong in him to just do exactly what

1280
01:12:24,800 --> 01:12:27,759
Speaker 2: they say, to just open the door and let whatever

1281
01:12:27,840 --> 01:12:30,439
Speaker 2: happens happen, and to just give up the fight, like

1282
01:12:30,760 --> 01:12:34,680
Speaker 2: it's taking so much effort to keep going. What if

1283
01:12:34,680 --> 01:12:36,760
Speaker 2: he could just let go, What if there was another way?

1284
01:12:37,200 --> 01:12:39,680
Speaker 3: And it's clearly shown that he feels like he has

1285
01:12:39,720 --> 01:12:43,840
Speaker 3: nothing to live for. There's nothing he enjoys, there's nothing.

1286
01:12:44,640 --> 01:12:48,240
Speaker 3: I think there's maybe just a hope that there is

1287
01:12:48,320 --> 01:12:50,920
Speaker 3: something else that he'll discover. Maybe one day he'll hear

1288
01:12:50,960 --> 01:12:53,720
Speaker 3: back from other people on the radio and that will

1289
01:12:53,760 --> 01:12:58,200
Speaker 3: change things. But as he is now, there's almost no

1290
01:12:58,320 --> 01:12:59,360
Speaker 3: reason not to give in.

1291
01:12:59,720 --> 01:13:02,559
Speaker 2: Yeah, and there's a I don't think it's really explored

1292
01:13:02,600 --> 01:13:04,559
Speaker 2: in this adaptation, but in the original book too, there

1293
01:13:04,600 --> 01:13:08,920
Speaker 2: was also a dimension of the physical loneliness, and like

1294
01:13:09,040 --> 01:13:12,000
Speaker 2: the female vampires that are calling to him, there's like

1295
01:13:12,040 --> 01:13:15,679
Speaker 2: there's a sense that like his physical loneliness could be

1296
01:13:16,280 --> 01:13:20,000
Speaker 2: momentarily relieved if he let them in as well, like

1297
01:13:20,000 --> 01:13:23,960
Speaker 2: like that's just how all encompassing his loneliness and desperation is.

1298
01:13:24,479 --> 01:13:27,720
Speaker 3: Yeah, yeah, I think there's from what I understand, the

1299
01:13:27,800 --> 01:13:30,639
Speaker 3: element of romantic desire is somewhat there in the book.

1300
01:13:30,640 --> 01:13:33,280
Speaker 3: And then we'll come up later when he meets another character,

1301
01:13:34,000 --> 01:13:37,680
Speaker 3: but that's not really a part of the movie. Yeah.

1302
01:13:37,720 --> 01:13:43,280
Speaker 3: So there's another scene here where during this night' seage,

1303
01:13:43,360 --> 01:13:46,280
Speaker 3: the vampires led by Ben, destroy Morgan's car, and this

1304
01:13:46,320 --> 01:13:48,400
Speaker 3: part was actually kind of funny when it cuts to them,

1305
01:13:48,400 --> 01:13:49,679
Speaker 3: like pulling the seats out.

1306
01:13:51,240 --> 01:13:52,040
Speaker 2: Yeah.

1307
01:13:52,160 --> 01:13:54,760
Speaker 3: But so the next day Morgan goes shopping for a

1308
01:13:54,760 --> 01:13:57,720
Speaker 3: new car. We see him pass over a cool convertible

1309
01:13:57,800 --> 01:14:02,200
Speaker 3: because he says he says he needs a hearse. There's

1310
01:14:02,240 --> 01:14:06,240
Speaker 3: also another middle sequence of the movie here where Morgan

1311
01:14:06,320 --> 01:14:09,720
Speaker 3: comes across a dog and he's shocked to find that

1312
01:14:09,800 --> 01:14:13,519
Speaker 3: the dog is alive. So apparently this disease affects dogs

1313
01:14:13,520 --> 01:14:16,600
Speaker 3: as well as not just humans. But he sees a

1314
01:14:16,640 --> 01:14:19,559
Speaker 3: dog alive and he's so excited. You can see him

1315
01:14:19,600 --> 01:14:24,000
Speaker 3: desperate to make friends with this dog, you know, for companionship.

1316
01:14:24,520 --> 01:14:27,080
Speaker 3: So he chases after the dog, but while doing so,

1317
01:14:27,280 --> 01:14:32,439
Speaker 3: he comes across something astounding. He finds dead vampire bodies

1318
01:14:32,640 --> 01:14:37,080
Speaker 3: that have been staked, but not by him, So they're

1319
01:14:37,120 --> 01:14:42,360
Speaker 3: staked not with his characteristic wooden cones, but with iron spears.

1320
01:14:42,880 --> 01:14:45,599
Speaker 3: And he's wondering, who did this? Who are they? Where

1321
01:14:45,600 --> 01:14:49,160
Speaker 3: did they come from? Why haven't I seen them? So

1322
01:14:49,439 --> 01:14:54,320
Speaker 3: that's a mystery that arises. Later, the dog appears at

1323
01:14:54,400 --> 01:14:57,840
Speaker 3: Morgan's home and he's very excited to take care of

1324
01:14:57,880 --> 01:14:59,720
Speaker 3: this dog. He brings the dog in, gives it a

1325
01:14:59,720 --> 01:15:04,000
Speaker 3: bad tends to its wounds, but there seems to be

1326
01:15:04,080 --> 01:15:07,240
Speaker 3: something wrong. Morgan takes a sample from the dog and

1327
01:15:07,280 --> 01:15:09,880
Speaker 3: goes and looks at it under his microscope, and we

1328
01:15:09,920 --> 01:15:13,080
Speaker 3: see the same telltale signs of infection that were shown

1329
01:15:13,120 --> 01:15:17,040
Speaker 3: in the earlier laboratory scenes. So the dog is infected,

1330
01:15:17,280 --> 01:15:20,439
Speaker 3: and Morgan begins to laugh at the terrible irony of it.

1331
01:15:21,479 --> 01:15:23,880
Speaker 3: So then we cut to later when Morgan is out

1332
01:15:23,880 --> 01:15:26,640
Speaker 3: on a hillside overlooking the city and he's burying the

1333
01:15:26,720 --> 01:15:30,800
Speaker 3: dog in a plot in the earth, and while he

1334
01:15:31,040 --> 01:15:34,559
Speaker 3: is looking out over the landscape, he happens to catch

1335
01:15:34,640 --> 01:15:38,960
Speaker 3: sight of a woman walking alone, apparently not a vampire

1336
01:15:39,040 --> 01:15:41,120
Speaker 3: but a living woman because she's out here walking during

1337
01:15:41,200 --> 01:15:45,360
Speaker 3: the day. He gets her attention, and at first she

1338
01:15:45,520 --> 01:15:48,160
Speaker 3: runs away from him, but he chases after her and

1339
01:15:48,320 --> 01:15:50,840
Speaker 3: manages to convince her that it's safe to come with him,

1340
01:15:51,400 --> 01:15:55,320
Speaker 3: so soon they are together back at Morgan's house. The

1341
01:15:55,360 --> 01:15:58,080
Speaker 3: woman who we will come to learn is named Ruth.

1342
01:15:58,680 --> 01:16:02,719
Speaker 3: She changes clothes from her ragged and mud splattered outfit

1343
01:16:02,880 --> 01:16:06,640
Speaker 3: into a clean black sweater, presumably one that belonged to

1344
01:16:06,840 --> 01:16:12,719
Speaker 3: Morgan's wife, Virginia. Tentatively, Ruth joins Morgan in the living

1345
01:16:12,800 --> 01:16:16,599
Speaker 3: room for coffee, and they have a brief conversation, Morgan

1346
01:16:16,640 --> 01:16:20,680
Speaker 3: seems a little jittery and Ruth in this scene, did

1347
01:16:20,720 --> 01:16:25,880
Speaker 3: you notice she speaks with a weird soft confidence. She

1348
01:16:26,120 --> 01:16:29,040
Speaker 3: tells him that she was married and she lost her husband,

1349
01:16:29,400 --> 01:16:33,559
Speaker 3: and she asks him about the family he lost, And suddenly,

1350
01:16:33,600 --> 01:16:37,480
Speaker 3: in the middle of this conversation, Morgan gets very disturbed,

1351
01:16:37,520 --> 01:16:39,920
Speaker 3: and he runs to the kitchen and grabs this wreath

1352
01:16:39,960 --> 01:16:42,640
Speaker 3: of garlic, and when he brings it back into the

1353
01:16:42,640 --> 01:16:45,759
Speaker 3: living room, Ruth winces she's kind of hiding from it,

1354
01:16:45,840 --> 01:16:48,400
Speaker 3: so it seems like he's onto something. He shoves the

1355
01:16:48,439 --> 01:16:51,400
Speaker 3: garlic in her face and she recoils, begging him to

1356
01:16:51,439 --> 01:16:56,400
Speaker 3: take it away. So I was wondering, Rob, what do

1357
01:16:56,439 --> 01:17:00,479
Speaker 3: you think it was in their conversation that made him afraid?

1358
01:17:00,479 --> 01:17:03,680
Speaker 3: What tipped him off? If it was anything in particular.

1359
01:17:03,680 --> 01:17:05,840
Speaker 2: I don't know. One thing I kept thinking of here

1360
01:17:05,960 --> 01:17:08,479
Speaker 2: is that maybe part of it is just like it

1361
01:17:08,560 --> 01:17:11,080
Speaker 2: seemed like things were going too well, Like this is

1362
01:17:11,120 --> 01:17:15,080
Speaker 2: a guy who's become accustomed to crushing defeat, and like

1363
01:17:15,120 --> 01:17:17,240
Speaker 2: he just went through this experience with the dog. You know,

1364
01:17:17,320 --> 01:17:20,080
Speaker 2: he opened up his heart just a little bit with

1365
01:17:20,160 --> 01:17:22,679
Speaker 2: the dog, and then he's having to bury the dog

1366
01:17:22,920 --> 01:17:25,640
Speaker 2: and basically the next day because of its infection. So

1367
01:17:25,720 --> 01:17:28,639
Speaker 2: like maybe he kind of caught himself just in general,

1368
01:17:29,040 --> 01:17:31,680
Speaker 2: or indeed there's something in what she said that that

1369
01:17:32,160 --> 01:17:34,800
Speaker 2: tipped him off. But yeah, I think one read is

1370
01:17:34,880 --> 01:17:38,160
Speaker 2: just like he kind of snapped out of it. He's like, no,

1371
01:17:38,560 --> 01:17:39,960
Speaker 2: nothing good can be happening here.

1372
01:17:40,439 --> 01:17:42,720
Speaker 3: Yeah, I can absolutely see the angle of you know,

1373
01:17:42,800 --> 01:17:45,760
Speaker 3: at this point, he's he's had so much disappointment and

1374
01:17:47,479 --> 01:17:50,439
Speaker 3: misery that he could have a kind of self destructive impulse,

1375
01:17:50,479 --> 01:17:54,000
Speaker 3: Like he can't believe that it could be that it

1376
01:17:54,040 --> 01:17:57,560
Speaker 3: could be alleviated, so he sabotages it. But maybe I

1377
01:17:57,600 --> 01:18:00,000
Speaker 3: don't know, maybe there's something else. So obviously she's reacting

1378
01:18:00,240 --> 01:18:03,040
Speaker 3: negatively to this garlic, but she tries to argue, no,

1379
01:18:03,160 --> 01:18:06,040
Speaker 3: it's not because she's not a vampire, she's not infected.

1380
01:18:06,920 --> 01:18:10,639
Speaker 3: He and she starts giving explanations about how she's had

1381
01:18:10,640 --> 01:18:13,920
Speaker 3: a sensitive stomach all her life. At one point, he says,

1382
01:18:14,000 --> 01:18:17,680
Speaker 3: you can't change the facts by talking true enough, But

1383
01:18:17,880 --> 01:18:21,320
Speaker 3: she does start to get through to him. She kind

1384
01:18:21,320 --> 01:18:24,000
Speaker 3: of appeals to him emotionally. She says that she saw

1385
01:18:24,000 --> 01:18:27,200
Speaker 3: her husband torn to pieces right outside her house. She's

1386
01:18:27,240 --> 01:18:31,320
Speaker 3: been wandering for years, eating scraps, hiding at night, sick

1387
01:18:31,360 --> 01:18:34,720
Speaker 3: with morning, sick with fear, unable to sleep. Then you

1388
01:18:34,800 --> 01:18:37,360
Speaker 3: shout at me, chase me across this field, hit me,

1389
01:18:37,479 --> 01:18:39,840
Speaker 3: drag me to this house. And to top it all,

1390
01:18:39,960 --> 01:18:41,800
Speaker 3: when I get sick because you shove a piece of

1391
01:18:41,880 --> 01:18:45,120
Speaker 3: wreaking garlic in my face, you tell me I'm infected.

1392
01:18:46,240 --> 01:18:49,120
Speaker 3: And here's the first moment, I think where you really

1393
01:18:49,200 --> 01:18:53,680
Speaker 3: get a sense of inversion. Like the audience had previously

1394
01:18:53,720 --> 01:18:57,400
Speaker 3: been invited to see this situation from Morgan's point of view,

1395
01:18:57,760 --> 01:19:00,920
Speaker 3: where we know he's safe and she is potentially a

1396
01:19:01,000 --> 01:19:04,559
Speaker 3: hidden danger, there's maybe something wrong with her. But then

1397
01:19:04,640 --> 01:19:07,519
Speaker 3: she shares her point of view where she is a

1398
01:19:07,600 --> 01:19:12,200
Speaker 3: bewildered victim and he is the ambiguous and threatening aggressor.

1399
01:19:12,520 --> 01:19:14,720
Speaker 2: And he kind of thinks about this, you know, it's like,

1400
01:19:14,760 --> 01:19:17,160
Speaker 2: maybe this is too much garlic to be shotting in

1401
01:19:17,160 --> 01:19:18,000
Speaker 2: people's faces.

1402
01:19:18,560 --> 01:19:21,680
Speaker 3: Yeah, she kind of gets through to him, so eventually

1403
01:19:21,800 --> 01:19:24,160
Speaker 3: she she kind of pulls away and gets some space

1404
01:19:24,240 --> 01:19:27,280
Speaker 3: and goes to another room. He offers to fix her dinner,

1405
01:19:27,400 --> 01:19:31,880
Speaker 3: so apparently his suspicion is somewhat put on hold, and

1406
01:19:32,000 --> 01:19:34,479
Speaker 3: later at the dinner, table, we hear again the hammering

1407
01:19:34,479 --> 01:19:39,200
Speaker 3: and pounding of the vampires outside, and this is the

1408
01:19:39,200 --> 01:19:41,599
Speaker 3: part where you Know Ruth says you seem used to them,

1409
01:19:41,640 --> 01:19:45,040
Speaker 3: and Morgan admits that he is not afraid of them anymore.

1410
01:19:45,439 --> 01:19:48,040
Speaker 3: He's fought them so long they are no longer terrifying.

1411
01:19:48,080 --> 01:19:51,680
Speaker 3: They're more of an irritation. But he goes on to

1412
01:19:51,720 --> 01:19:55,439
Speaker 3: tell her the story of Ben Cortman, and you know,

1413
01:19:55,560 --> 01:19:57,880
Speaker 3: tells her about how they used to be friends, they

1414
01:19:57,880 --> 01:20:00,639
Speaker 3: were family. But he says, when I've find him, I'll

1415
01:20:00,680 --> 01:20:03,200
Speaker 3: drive a stake through him, just like all the others.

1416
01:20:03,800 --> 01:20:07,320
Speaker 3: And Ruth seems a little disturbed by Morgan's coldness here

1417
01:20:07,360 --> 01:20:10,760
Speaker 3: toward a man who was once his friend. But Morgan's

1418
01:20:10,760 --> 01:20:14,240
Speaker 3: attitude is that it's no longer really been. He's just

1419
01:20:14,280 --> 01:20:26,360
Speaker 3: another lumbering menace to be destroyed. So next comes the

1420
01:20:26,439 --> 01:20:30,719
Speaker 3: question why did Morgan live through this plague when everybody

1421
01:20:30,720 --> 01:20:34,679
Speaker 3: else was infected. It's curious that she postes this question

1422
01:20:34,920 --> 01:20:38,720
Speaker 3: at first, as if it doesn't apply to herself, but

1423
01:20:38,800 --> 01:20:41,720
Speaker 3: Morgan he first makes the ironic comment that perhaps he

1424
01:20:41,840 --> 01:20:45,519
Speaker 3: was chosen, and then he gives a real explanation. I

1425
01:20:45,560 --> 01:20:48,320
Speaker 3: wonder I don't know if this is if there's anything

1426
01:20:48,360 --> 01:20:51,400
Speaker 3: like this in the book. But he says, perhaps, quote

1427
01:20:51,400 --> 01:20:53,439
Speaker 3: perhaps it was a long time ago when I worked

1428
01:20:53,479 --> 01:20:56,960
Speaker 3: in Panama. I was bitten by a bat in my sleep.

1429
01:20:57,160 --> 01:20:59,880
Speaker 3: My theory is that the bat had previously acquired the

1430
01:21:00,080 --> 01:21:03,080
Speaker 3: vampire germ. By the time it entered my blood, it

1431
01:21:03,160 --> 01:21:06,240
Speaker 3: had been strained and weakened by the bat system. As

1432
01:21:06,240 --> 01:21:09,320
Speaker 3: a result, I have immunity. But it's only a guess.

1433
01:21:09,760 --> 01:21:11,200
Speaker 2: Yeah. I don't remember if this was in the book

1434
01:21:11,280 --> 01:21:14,000
Speaker 2: or not, but it feels very on brand with the book.

1435
01:21:14,080 --> 01:21:14,400
Speaker 3: Like it.

1436
01:21:14,400 --> 01:21:16,599
Speaker 2: It feels like something he could very well said in it.

1437
01:21:16,720 --> 01:21:20,160
Speaker 3: Yeah, So the question is is Ruth immune as well?

1438
01:21:20,200 --> 01:21:23,880
Speaker 3: Since she's still here and hasn't turned. Morgan explains that

1439
01:21:23,960 --> 01:21:25,960
Speaker 3: it is a simple matter to find out. All he

1440
01:21:26,040 --> 01:21:28,559
Speaker 3: needs is a blood sample and he can find out

1441
01:21:28,560 --> 01:21:32,559
Speaker 3: if she's infected. But there's tension here because there still

1442
01:21:32,600 --> 01:21:35,439
Speaker 3: is no cure, and if he were to discover that

1443
01:21:35,720 --> 01:21:39,160
Speaker 3: she were infected, what would he do? The implication just

1444
01:21:39,240 --> 01:21:42,879
Speaker 3: hangs in the air. So she retreats to a bedroom

1445
01:21:42,920 --> 01:21:46,080
Speaker 3: by herself, where we see her recoil in fear from

1446
01:21:46,160 --> 01:21:50,160
Speaker 3: a mirror. Uh oh, that's not a good sign, and

1447
01:21:50,240 --> 01:21:54,240
Speaker 3: She then produces from a hidden pocket a hypodermic needle.

1448
01:21:54,880 --> 01:21:57,559
Speaker 3: She's got a syringe here, so it's a vile of something.

1449
01:21:57,600 --> 01:22:02,320
Speaker 3: She plans to inject herself with, but Morgan interrupts before

1450
01:22:02,400 --> 01:22:06,360
Speaker 3: she can take the shot, and this leads to a revelation.

1451
01:22:06,600 --> 01:22:10,280
Speaker 3: She explains that she was one of those things. She

1452
01:22:10,600 --> 01:22:14,599
Speaker 3: had been a vampire, and without the injection she soon

1453
01:22:14,760 --> 01:22:19,920
Speaker 3: would be again. So Morgan is dumbstruck here. He's always like, wait,

1454
01:22:20,000 --> 01:22:22,720
Speaker 3: you have a treatment and the answer is yes. She

1455
01:22:22,800 --> 01:22:25,880
Speaker 3: explains it's some kind of cocktail with blood sea rum

1456
01:22:26,000 --> 01:22:30,240
Speaker 3: plus a vaccine dose. It doesn't offer a permanent cure,

1457
01:22:30,320 --> 01:22:33,599
Speaker 3: but it staves off the infection for some period of time.

1458
01:22:34,040 --> 01:22:36,320
Speaker 3: It has to be taken again and again or the

1459
01:22:36,400 --> 01:22:39,880
Speaker 3: vampire disease will progress. And she says, we've had it

1460
01:22:39,960 --> 01:22:44,800
Speaker 3: for some time now, and he is shocked. We So

1461
01:22:44,920 --> 01:22:47,599
Speaker 3: it turns out she's part of a community. There are

1462
01:22:47,800 --> 01:22:53,280
Speaker 3: others out there, and Morgan is floored by this. And

1463
01:22:53,800 --> 01:22:57,200
Speaker 3: I thought this was an interesting choice in prices portrayal.

1464
01:22:58,040 --> 01:23:01,960
Speaker 3: It's not just surprised at the information. There is also

1465
01:23:02,080 --> 01:23:08,839
Speaker 3: a sense of effacement or embarrassment on display. Interesting reaction.

1466
01:23:09,040 --> 01:23:13,759
Speaker 3: So despite spending every day looking for others, calling out

1467
01:23:13,920 --> 01:23:17,520
Speaker 3: to others on the radio, looking for signs of survivors

1468
01:23:17,560 --> 01:23:20,719
Speaker 3: everywhere he goes. He's feeling desperately lonely all the time.

1469
01:23:21,479 --> 01:23:24,840
Speaker 3: When he discovers there is a whole community of other

1470
01:23:25,080 --> 01:23:29,280
Speaker 3: living humans out there, his immediate reaction is not really

1471
01:23:29,479 --> 01:23:34,360
Speaker 3: relief or joy. He instead seems taken aback, embarrassed, and

1472
01:23:34,479 --> 01:23:35,640
Speaker 3: sort of insulted.

1473
01:23:36,200 --> 01:23:37,880
Speaker 2: Yeah, yeah, what.

1474
01:23:37,840 --> 01:23:39,639
Speaker 3: Does that mean? Where does that come from?

1475
01:23:40,760 --> 01:23:43,479
Speaker 2: Yeah? I mean he he has thought so long of

1476
01:23:43,560 --> 01:23:47,840
Speaker 2: himself as the last you know, and in a way

1477
01:23:48,000 --> 01:23:52,640
Speaker 2: taken like a strange solace or pride in that, you know,

1478
01:23:53,360 --> 01:23:55,960
Speaker 2: you know, at the same time obviously dealing with crushing

1479
01:23:56,120 --> 01:23:59,880
Speaker 2: depression over his situation and loneliness. But it's like it

1480
01:24:00,000 --> 01:24:01,840
Speaker 2: at least he had this one thing to fall back on.

1481
01:24:02,200 --> 01:24:05,559
Speaker 2: And Yeah, and in a way that almost lends itself

1482
01:24:05,600 --> 01:24:07,479
Speaker 2: to humor. There's like this sense that, oh, there's been

1483
01:24:07,520 --> 01:24:10,040
Speaker 2: a party going on the whole time, and you didn't

1484
01:24:10,080 --> 01:24:13,280
Speaker 2: invite me, Like, like a lot of what I've been

1485
01:24:13,320 --> 01:24:17,360
Speaker 2: feeling and going through could have been alleviated if you

1486
01:24:17,439 --> 01:24:18,640
Speaker 2: had just reached out to me.

1487
01:24:19,000 --> 01:24:24,400
Speaker 3: Yeah, it makes his lonely struggle not like hopeless and inevitable,

1488
01:24:24,400 --> 01:24:29,679
Speaker 3: but kind of farcical. Yeah yeah. So in this scene

1489
01:24:29,680 --> 01:24:33,040
Speaker 3: we learned that Ruth actually did not come across Morgan

1490
01:24:33,080 --> 01:24:36,439
Speaker 3: by accident. She was sent by her people to spy

1491
01:24:36,560 --> 01:24:39,200
Speaker 3: on him to find out if he knew any more

1492
01:24:39,240 --> 01:24:42,160
Speaker 3: about the disease than they did, and it turns out

1493
01:24:42,240 --> 01:24:46,479
Speaker 3: he knows less than them, not more, so again kind

1494
01:24:46,520 --> 01:24:53,559
Speaker 3: of embarrassing to him. So she resists Morgan's way of thinking,

1495
01:24:54,080 --> 01:24:59,120
Speaker 3: thinking that the infected are already dead or are indistinguishable

1496
01:24:59,160 --> 01:25:03,479
Speaker 3: from the undead. She says, we're alive infected, yes, but

1497
01:25:03,640 --> 01:25:07,320
Speaker 3: alive again, making this distinction that he doesn't really make.

1498
01:25:07,360 --> 01:25:10,800
Speaker 3: That there are like different kinds of vampires out there.

1499
01:25:10,800 --> 01:25:14,320
Speaker 3: There are the infected who are progressing but can now

1500
01:25:14,840 --> 01:25:19,000
Speaker 3: their progression can be staved off, versus the ones who

1501
01:25:19,000 --> 01:25:22,680
Speaker 3: are already dead and have turned, and those are the

1502
01:25:22,720 --> 01:25:25,720
Speaker 3: ones that are kind of unsavable at this point. And

1503
01:25:25,800 --> 01:25:28,240
Speaker 3: it seems that the ones that have already fully turned,

1504
01:25:28,240 --> 01:25:31,839
Speaker 3: that have died and come back, those are the common

1505
01:25:31,960 --> 01:25:35,080
Speaker 3: enemy of her people and of Morgan. So she says

1506
01:25:35,120 --> 01:25:38,920
Speaker 3: that her people are trying to reorganize society, start over

1507
01:25:38,960 --> 01:25:42,320
Speaker 3: anew and quote do away with those wretched creatures who

1508
01:25:42,360 --> 01:25:46,080
Speaker 3: are neither alive nor dead. So she's of the people

1509
01:25:46,160 --> 01:25:49,920
Speaker 3: who have been infected but have not yet died. Yeah,

1510
01:25:50,120 --> 01:25:55,479
Speaker 3: And so, with some hesitation, Morgan asks, well, do you

1511
01:25:55,560 --> 01:25:58,040
Speaker 3: want me to join your people? So there's kind of

1512
01:25:58,040 --> 01:26:01,840
Speaker 3: a moment of hope here, it is dashed. Ruth says,

1513
01:26:02,040 --> 01:26:06,559
Speaker 3: you can't join. You are a monster to them. Why

1514
01:26:06,600 --> 01:26:09,240
Speaker 3: do you think I ran when I saw you? She

1515
01:26:09,400 --> 01:26:12,880
Speaker 3: explains that even though she was sent to spy on him,

1516
01:26:13,120 --> 01:26:16,360
Speaker 3: when she saw him, she had heard so many terrifying

1517
01:26:16,400 --> 01:26:22,640
Speaker 3: stories about this monster, this killer, that she was overwhelmed

1518
01:26:22,640 --> 01:26:25,559
Speaker 3: with fear and she ran away. She says, you're a

1519
01:26:25,640 --> 01:26:28,720
Speaker 3: legend in the city, moving by day instead of night,

1520
01:26:28,920 --> 01:26:32,760
Speaker 3: leaving as evidence of your existence bloodless corpses. Many of

1521
01:26:32,800 --> 01:26:36,280
Speaker 3: the people you destroyed were still alive. Many of them

1522
01:26:36,280 --> 01:26:38,519
Speaker 3: were loved ones of the people in my group.

1523
01:26:39,120 --> 01:26:42,040
Speaker 2: Wow. Yeah, this is where it really begins to hit Yeah.

1524
01:26:42,080 --> 01:26:47,599
Speaker 2: Like he is essentially the Dracula figure to these new people,

1525
01:26:47,680 --> 01:26:50,200
Speaker 2: Like he is the thing that comes while you're asleep

1526
01:26:50,720 --> 01:26:54,360
Speaker 2: and kills silently and leaves drained corpses in his wake.

1527
01:26:54,640 --> 01:26:55,679
Speaker 2: Like he is the monster.

1528
01:26:56,000 --> 01:26:59,320
Speaker 3: He is the monster of this movie, and it gets worse.

1529
01:26:59,520 --> 01:27:03,599
Speaker 3: Ruth her people want justice. They are coming for him tonight,

1530
01:27:04,400 --> 01:27:06,120
Speaker 3: and he has to find a way to get out

1531
01:27:06,120 --> 01:27:10,320
Speaker 3: of here before they arrive. She pulls a gun on him.

1532
01:27:10,320 --> 01:27:12,439
Speaker 3: There seems to be some ambivalence of like, is she

1533
01:27:12,560 --> 01:27:17,920
Speaker 3: still carrying out her mission to incapacitate him so that

1534
01:27:17,960 --> 01:27:20,360
Speaker 3: her people can get him, or is she kind of

1535
01:27:20,360 --> 01:27:23,680
Speaker 3: on his side now? She explains that it was part

1536
01:27:23,680 --> 01:27:25,599
Speaker 3: of her mission to get in his house and prevent

1537
01:27:25,720 --> 01:27:30,040
Speaker 3: him from resisting. When her friends arrive, Morgan says, your

1538
01:27:30,040 --> 01:27:33,360
Speaker 3: new society sounds charming, and Ruth says the beginning of

1539
01:27:33,400 --> 01:27:37,679
Speaker 3: any new society is never charming or gentle, and Morgan

1540
01:27:37,800 --> 01:27:40,559
Speaker 3: dares her to go ahead and shoot him, but she won't.

1541
01:27:40,680 --> 01:27:45,360
Speaker 3: She throws the gun away and then collapses unconscious. So

1542
01:27:45,400 --> 01:27:49,000
Speaker 3: I think a legitimate question here is why is Ruth

1543
01:27:49,080 --> 01:27:52,840
Speaker 3: helping him or at least ambivalent in her moves against him.

1544
01:27:53,479 --> 01:27:55,800
Speaker 3: I thought this part of the movie felt a little

1545
01:27:55,840 --> 01:27:59,559
Speaker 3: bit weak. I've read that this is much stronger in

1546
01:27:59,640 --> 01:28:02,519
Speaker 3: the naw when they have more time to get to

1547
01:28:02,600 --> 01:28:07,439
Speaker 3: know each other and develop genuine affection for one another,

1548
01:28:07,560 --> 01:28:09,720
Speaker 3: Like I think they sort of fall in love in

1549
01:28:09,760 --> 01:28:10,760
Speaker 3: the book don't they or.

1550
01:28:10,840 --> 01:28:13,519
Speaker 2: I believe so yeah, yeah, a little bit. Yeah, and

1551
01:28:13,560 --> 01:28:17,280
Speaker 2: that's of course reflected more strongly. And I believe in

1552
01:28:17,280 --> 01:28:20,799
Speaker 2: The Omega Man. I'm a little foggy on the exact

1553
01:28:20,920 --> 01:28:27,200
Speaker 2: relationship between Chuck Heston's Neville and the romantic interest. If

1554
01:28:27,240 --> 01:28:29,040
Speaker 2: she is in fact one of the new people in

1555
01:28:29,040 --> 01:28:31,160
Speaker 2: that I assume she is. But again, long times since

1556
01:28:31,160 --> 01:28:34,000
Speaker 2: I've seen The Omega Man as well. But obviously there's

1557
01:28:34,040 --> 01:28:37,280
Speaker 2: a romantic entanglement in that film, and we don't really

1558
01:28:37,320 --> 01:28:37,960
Speaker 2: get that here.

1559
01:28:38,200 --> 01:28:40,439
Speaker 3: Yeah, so here think I think this is one of

1560
01:28:40,479 --> 01:28:43,679
Speaker 3: the weaker parts of the movie. It's not. I think

1561
01:28:43,680 --> 01:28:45,599
Speaker 3: it would have been stronger if you had let this

1562
01:28:45,680 --> 01:28:47,240
Speaker 3: relationship develop some more.

1563
01:28:47,439 --> 01:28:51,400
Speaker 2: Yeah, maybe had a little less backstory, but I don't know.

1564
01:28:51,400 --> 01:28:53,200
Speaker 2: I mean, the backstory is important too, but yeah, it

1565
01:28:53,280 --> 01:28:55,360
Speaker 2: just needs a little more time with this relationship.

1566
01:28:55,840 --> 01:29:00,360
Speaker 3: So now that Ruth is unconscious, Morgan wanders around wondering

1567
01:29:00,360 --> 01:29:03,000
Speaker 3: what to do next. We see him raise a steak

1568
01:29:03,040 --> 01:29:06,519
Speaker 3: and examine it, but he doesn't stake her. He lets

1569
01:29:06,520 --> 01:29:10,599
Speaker 3: her live, and instead, while she is asleep, he gets

1570
01:29:10,640 --> 01:29:13,839
Speaker 3: out his medical bag and he gives her a massive

1571
01:29:13,920 --> 01:29:19,639
Speaker 3: blood transfusion. So by putting his blood into Ruth's body.

1572
01:29:20,200 --> 01:29:23,280
Speaker 3: Ruth seems to be cured, and they test this. She

1573
01:29:23,320 --> 01:29:25,400
Speaker 3: wakes up and she can now look at her reflection

1574
01:29:25,520 --> 01:29:28,719
Speaker 3: in a mirror without recoiling. She can snuggle a wreath

1575
01:29:28,760 --> 01:29:31,000
Speaker 3: of garlic. She rubs it all over her face and

1576
01:29:31,040 --> 01:29:34,160
Speaker 3: there's no sickness. And he says it worked. He says,

1577
01:29:34,200 --> 01:29:38,040
Speaker 3: the antibodies in my blood have saved you. So after

1578
01:29:38,600 --> 01:29:42,519
Speaker 3: so long going through the brutal drudgery of this life,

1579
01:29:42,640 --> 01:29:46,639
Speaker 3: Morgan seems to finally feel happy. He now knows that

1580
01:29:47,200 --> 01:29:51,280
Speaker 3: it works. He can save others. In fact, his physical

1581
01:29:51,320 --> 01:29:55,280
Speaker 3: person can save others. It's like by giving transfusions of

1582
01:29:55,360 --> 01:29:58,400
Speaker 3: his own blood, he can save her friends too.

1583
01:29:58,960 --> 01:30:00,920
Speaker 2: Yeah, not a monster, but perhaps a savior.

1584
01:30:01,800 --> 01:30:07,720
Speaker 3: But it's too late. So he's excited about this, and

1585
01:30:07,800 --> 01:30:11,640
Speaker 3: he's like distracted examining her blood under the Microsoft microscope

1586
01:30:11,640 --> 01:30:15,080
Speaker 3: to prove that it's cured, and everything starts going down.

1587
01:30:15,880 --> 01:30:19,760
Speaker 3: The ben vampire who comes every night and hammers on

1588
01:30:19,840 --> 01:30:23,639
Speaker 3: the outside of the house. He's outside now and he

1589
01:30:24,320 --> 01:30:27,599
Speaker 3: manages to finally break through the door and he attacks Ruth.

1590
01:30:28,200 --> 01:30:31,360
Speaker 3: Morgan runs outside to defend her, but while they're outside,

1591
01:30:31,640 --> 01:30:37,160
Speaker 3: incomes the cavalry income Ruth's people, and so these are

1592
01:30:37,400 --> 01:30:40,519
Speaker 3: jeeps full of soldiers dressed all in black, armed with

1593
01:30:40,640 --> 01:30:43,720
Speaker 3: guns and iron steaks, and the jeeps come to a

1594
01:30:43,760 --> 01:30:46,519
Speaker 3: halt in front of Morgan's house. Morgan watches kind of

1595
01:30:46,600 --> 01:30:50,240
Speaker 3: in awe as the men jump out and efficiently stake

1596
01:30:50,320 --> 01:30:53,200
Speaker 3: all of the vampires wandering in his yard. So this

1597
01:30:53,280 --> 01:30:57,519
Speaker 3: is an elite anti vampire force of people who are

1598
01:30:57,560 --> 01:31:02,400
Speaker 3: half vampires themselves, and we watch them destroy the bin

1599
01:31:02,600 --> 01:31:06,559
Speaker 3: vampire who's up on the roof now, and then they

1600
01:31:06,600 --> 01:31:09,840
Speaker 3: turn to Morgan. They're trying to catch him. He runs away,

1601
01:31:10,439 --> 01:31:14,519
Speaker 3: with Ruth screaming after her people to say stop. They

1602
01:31:14,520 --> 01:31:17,479
Speaker 3: don't understand. I think she's trying to convince them that

1603
01:31:17,520 --> 01:31:20,320
Speaker 3: he could save them all now, but they're not listening

1604
01:31:20,360 --> 01:31:23,400
Speaker 3: at this point. They want revenge and the hunt is on.

1605
01:31:23,720 --> 01:31:27,360
Speaker 3: There's a whole chase sequence where Morgan he flees through

1606
01:31:27,400 --> 01:31:31,160
Speaker 3: the neighborhood. He hides in bushes and sneaks past the scouts,

1607
01:31:31,760 --> 01:31:34,320
Speaker 3: but eventually they pursue him into a big building which

1608
01:31:34,360 --> 01:31:37,200
Speaker 3: has an armory. This is where Morgan gathers guns and

1609
01:31:37,280 --> 01:31:41,720
Speaker 3: ammunition and smoke grenades. And this was the funny part

1610
01:31:41,720 --> 01:31:44,760
Speaker 3: where he kind of like throws the smoke grenades in

1611
01:31:44,800 --> 01:31:48,200
Speaker 3: a very not very convincing manner. It just throws them

1612
01:31:48,240 --> 01:31:51,840
Speaker 3: at his own feet basically, and then runs away. But

1613
01:31:52,200 --> 01:31:57,040
Speaker 3: finally the chase leads to a massive cathedral. Morgan is

1614
01:31:57,240 --> 01:32:00,400
Speaker 3: shot by the New people as he goes inside, but

1615
01:32:00,439 --> 01:32:03,360
Speaker 3: he keeps going, and now it's not just soldiers, it

1616
01:32:03,400 --> 01:32:07,080
Speaker 3: seems the whole new society is coming along. There are men, women,

1617
01:32:07,120 --> 01:32:10,120
Speaker 3: and children all gathering inside the church where Morgan is

1618
01:32:10,200 --> 01:32:14,240
Speaker 3: hiding and clutching his wounded stomach. He staggers up to

1619
01:32:14,280 --> 01:32:18,120
Speaker 3: the altar as the men armed with steaks gather around him,

1620
01:32:18,680 --> 01:32:21,240
Speaker 3: and he cries out to them in anger. He says,

1621
01:32:21,280 --> 01:32:24,600
Speaker 3: you're freaks, all of you, all of you freaks and mutations,

1622
01:32:25,080 --> 01:32:28,120
Speaker 3: and then he is impaled by an iron spear. They

1623
01:32:28,120 --> 01:32:30,800
Speaker 3: stake him as if he were a vampire, even though

1624
01:32:30,840 --> 01:32:34,479
Speaker 3: he's not, and as he collapses, he says, I'm the

1625
01:32:34,600 --> 01:32:39,360
Speaker 3: last man. I'm a man, the last man. And finally

1626
01:32:39,600 --> 01:32:42,040
Speaker 3: Ruth arrives at the church and she runs to the

1627
01:32:42,120 --> 01:32:45,360
Speaker 3: dying Morgan as he's clutching this iron steak in his stomach,

1628
01:32:45,960 --> 01:32:48,800
Speaker 3: and he says his last lines. He says they were

1629
01:32:48,840 --> 01:32:51,680
Speaker 3: afraid of me. They were afraid of me. And he

1630
01:32:51,720 --> 01:32:55,759
Speaker 3: goes limp, and then Ruth stumbles back down the aisle

1631
01:32:55,920 --> 01:32:58,120
Speaker 3: and further back in the church there is a woman

1632
01:32:58,280 --> 01:33:01,640
Speaker 3: in black holding a crying babe. Ruth goes to the

1633
01:33:01,680 --> 01:33:04,160
Speaker 3: baby and takes the baby's hand and says, don't cry.

1634
01:33:04,240 --> 01:33:07,240
Speaker 3: There's nothing to cry about now. We're all safe. Now

1635
01:33:07,600 --> 01:33:11,320
Speaker 3: all safe. So in the end, even though she knows better,

1636
01:33:11,560 --> 01:33:13,920
Speaker 3: she knows what he could have done for them, she

1637
01:33:14,080 --> 01:33:18,559
Speaker 3: has to affirm the legend, right, she kind of she

1638
01:33:18,600 --> 01:33:21,320
Speaker 3: has to affirm the legend that the dragon has been slain.

1639
01:33:22,920 --> 01:33:25,040
Speaker 2: Yeah. Yeah, and it's I have to say it's a

1640
01:33:25,040 --> 01:33:28,920
Speaker 2: pretty strong close here for the picture. You know, it's

1641
01:33:28,960 --> 01:33:32,880
Speaker 2: this a bleak ending in many in many ways, and

1642
01:33:32,920 --> 01:33:36,080
Speaker 2: maybe it doesn't feel as bleak as the book, but

1643
01:33:36,120 --> 01:33:38,439
Speaker 2: it's I think it's still pretty solid. The music I

1644
01:33:38,439 --> 01:33:41,519
Speaker 2: think could have been stronger here. I feel like this

1645
01:33:41,560 --> 01:33:45,639
Speaker 2: is a very emotional scene and the music is maybe

1646
01:33:45,680 --> 01:33:48,880
Speaker 2: not doing its part to keep up with what we're

1647
01:33:48,920 --> 01:33:53,000
Speaker 2: actually seeing and feeling on the screen. Yeah, apparently there's

1648
01:33:53,040 --> 01:33:55,240
Speaker 2: an alternate ending. I think it's like a TV ending,

1649
01:33:55,680 --> 01:33:57,519
Speaker 2: and I don't know how much of it is just

1650
01:33:57,560 --> 01:34:00,519
Speaker 2: merely cut for time. But it's a pcluted on the

1651
01:34:01,520 --> 01:34:04,479
Speaker 2: on the keynot disc that I mentioned earlier apparently cuts

1652
01:34:04,520 --> 01:34:06,680
Speaker 2: out this bit with the crying infant at the end

1653
01:34:06,720 --> 01:34:09,400
Speaker 2: and essentially just closes after Morgan's death.

1654
01:34:10,120 --> 01:34:11,360
Speaker 3: It seems not as good.

1655
01:34:11,880 --> 01:34:15,200
Speaker 2: Yeah, because I'm one. It's a careful balancing act, because

1656
01:34:15,240 --> 01:34:19,120
Speaker 2: it's like it should feel dark from the human perspective,

1657
01:34:19,600 --> 01:34:23,000
Speaker 2: because this is the end of humanity as Morgan knew it.

1658
01:34:23,800 --> 01:34:26,160
Speaker 2: But there is this new thing dawning. But it's a

1659
01:34:26,200 --> 01:34:28,320
Speaker 2: new thing. It's a new world in which he has

1660
01:34:28,360 --> 01:34:32,479
Speaker 2: no place. It's completely beyond him. And again, this kind

1661
01:34:32,479 --> 01:34:36,799
Speaker 2: of resonates well beyond any kind of you know, fantasy

1662
01:34:36,880 --> 01:34:39,880
Speaker 2: horror scenario, because this is this is a matter of

1663
01:34:39,920 --> 01:34:43,040
Speaker 2: fact for our own mortality. You know, for all of us,

1664
01:34:43,040 --> 01:34:45,040
Speaker 2: there comes a point where we are the thing that

1665
01:34:45,120 --> 01:34:48,800
Speaker 2: is leaving, and there the rest is carrying on, and

1666
01:34:48,800 --> 01:34:52,040
Speaker 2: in fact, new things are beginning and we are not

1667
01:34:52,120 --> 01:34:57,080
Speaker 2: a part of that, except to whatever degree our legend

1668
01:34:57,200 --> 01:35:00,400
Speaker 2: carries on. And you know, generally, I think for most

1669
01:35:00,439 --> 01:35:03,240
Speaker 2: of us we're dealing with legend with a very lower

1670
01:35:03,320 --> 01:35:08,400
Speaker 2: case L. And hopefully we're not living on as a

1671
01:35:08,439 --> 01:35:11,519
Speaker 2: monster in the minds of the people that come after,

1672
01:35:11,960 --> 01:35:14,320
Speaker 2: as is the case with our protagonist here.

1673
01:35:14,600 --> 01:35:18,639
Speaker 3: But yes, I think another interesting thing about this ending, though,

1674
01:35:18,760 --> 01:35:22,719
Speaker 3: is that you really can easily, at least in my opinion,

1675
01:35:22,760 --> 01:35:25,640
Speaker 3: I don't know if you disagree, you can quite easily

1676
01:35:25,680 --> 01:35:29,120
Speaker 3: switch the lenses for which way you see the ending,

1677
01:35:29,720 --> 01:35:33,639
Speaker 3: Like you can see it from the original human point

1678
01:35:33,640 --> 01:35:37,120
Speaker 3: of view, where the ending is tragic and Morgan, the

1679
01:35:37,200 --> 01:35:39,599
Speaker 3: last man on earth, has died and you know, he's

1680
01:35:39,640 --> 01:35:43,080
Speaker 3: had this tragic, miserable existence and finally it has been

1681
01:35:43,160 --> 01:35:46,880
Speaker 3: extinguished and all of the people that came before, every

1682
01:35:46,920 --> 01:35:49,679
Speaker 3: bit of that is now gone. Or you can put

1683
01:35:49,720 --> 01:35:51,960
Speaker 3: on the new lens that we get from the twist,

1684
01:35:52,520 --> 01:35:55,439
Speaker 3: that the monster has been destroyed and finally the new

1685
01:35:55,479 --> 01:35:59,400
Speaker 3: people can live in peace. And though I think that

1686
01:35:59,479 --> 01:36:02,360
Speaker 3: part's a little bit harder, because we get this, we

1687
01:36:02,439 --> 01:36:05,759
Speaker 3: get the detailed that at least Morgan was willing to change,

1688
01:36:05,760 --> 01:36:07,760
Speaker 3: like he wasn't insisting that he was going to go

1689
01:36:07,800 --> 01:36:10,960
Speaker 3: on killing them now that he had had the revelation

1690
01:36:11,320 --> 01:36:14,800
Speaker 3: that he you know, now that he understood he could

1691
01:36:14,800 --> 01:36:18,479
Speaker 3: cure them with his blood. And so I think, I

1692
01:36:18,520 --> 01:36:20,679
Speaker 3: don't know, I guess it is a little bit harder

1693
01:36:21,160 --> 01:36:25,439
Speaker 3: to see it as a victorious ending. But I wonder

1694
01:36:25,840 --> 01:36:28,320
Speaker 3: if the story would have been different if he had

1695
01:36:28,360 --> 01:36:31,000
Speaker 3: been a little bit more recalcitrant, you know, if he

1696
01:36:31,040 --> 01:36:35,240
Speaker 3: had been a little bit harsher against them and less

1697
01:36:36,280 --> 01:36:40,479
Speaker 3: less willing to see things their way. Yeah, yeah, how

1698
01:36:40,560 --> 01:36:42,800
Speaker 3: is it in the book? By the way, do you remember.

1699
01:36:43,080 --> 01:36:46,040
Speaker 2: I was rereading part of the ending, and yeah, I

1700
01:36:46,080 --> 01:36:49,240
Speaker 2: didn't reread enough to really get in on the nuance

1701
01:36:49,360 --> 01:36:53,160
Speaker 2: of all of it. I believe he dies by poison

1702
01:36:53,240 --> 01:36:56,280
Speaker 2: pill while in the custody of them, of the new

1703
01:36:56,280 --> 01:36:59,240
Speaker 2: people at the end, and you know, realizing that I

1704
01:36:59,320 --> 01:37:01,519
Speaker 2: get the last lines in the book or I am

1705
01:37:01,600 --> 01:37:03,599
Speaker 2: legend like that is when he realizes that is what

1706
01:37:03,640 --> 01:37:05,519
Speaker 2: he has become, that is what he will live on.

1707
01:37:05,640 --> 01:37:08,800
Speaker 3: As I guess, is he remorseful?

1708
01:37:10,840 --> 01:37:13,439
Speaker 2: I don't know that. I don't remember there being a

1709
01:37:13,479 --> 01:37:17,200
Speaker 2: strong sense of remorse. Yeah, but I bet I could

1710
01:37:17,200 --> 01:37:19,760
Speaker 2: be wrong. Again, It's been a number of years. But

1711
01:37:20,439 --> 01:37:23,479
Speaker 2: I like the focus focusing and focusing again on the

1712
01:37:23,520 --> 01:37:26,280
Speaker 2: film here. I do like the sort of ambiguity we

1713
01:37:26,360 --> 01:37:29,360
Speaker 2: end up occupying here where we can take either side

1714
01:37:29,920 --> 01:37:33,120
Speaker 2: and we have these you know, we can look at

1715
01:37:33,120 --> 01:37:36,080
Speaker 2: it as kind of a positive ending from the standpoint

1716
01:37:36,120 --> 01:37:38,960
Speaker 2: of the new people, but it also doesn't land like

1717
01:37:39,040 --> 01:37:42,400
Speaker 2: a happy ending in that respect either, and maybe not

1718
01:37:42,479 --> 01:37:46,080
Speaker 2: a crowd pleaser either, more of a thought provoking ending.

1719
01:37:46,680 --> 01:37:48,840
Speaker 3: It's more like revenge. Yeah.

1720
01:37:48,920 --> 01:37:51,760
Speaker 2: I think if memory serves, other adaptations of I Am

1721
01:37:51,880 --> 01:37:54,479
Speaker 2: Legend have really latched onto this idea that his blood

1722
01:37:54,560 --> 01:37:57,120
Speaker 2: is the cure and turns him into more of a

1723
01:37:57,200 --> 01:38:00,800
Speaker 2: savior figure. But that's not what we get in this adaptation,

1724
01:38:02,040 --> 01:38:03,960
Speaker 2: and I like the way it lands.

1725
01:38:04,400 --> 01:38:06,960
Speaker 3: Yeah, I guess to back off on something I said

1726
01:38:07,000 --> 01:38:10,560
Speaker 3: a second ago. We kind of do see them, do

1727
01:38:11,160 --> 01:38:14,600
Speaker 3: see Morgan being a bit resistant to you know, the

1728
01:38:14,920 --> 01:38:18,719
Speaker 3: friendly reconciliation at least after they shoot him, yea, because

1729
01:38:19,200 --> 01:38:23,080
Speaker 3: he's calling them freaks. Yeah. Yeah, So he's speaking at them,

1730
01:38:23,120 --> 01:38:24,880
Speaker 3: you know, he's not trying to say, no weight, I

1731
01:38:24,920 --> 01:38:27,840
Speaker 3: can save you. He's instead just spitting venom at them.

1732
01:38:28,160 --> 01:38:30,639
Speaker 3: He's going back to his old ways of viewing them

1733
01:38:30,640 --> 01:38:32,160
Speaker 3: as monsters and nothing more.

1734
01:38:32,280 --> 01:38:34,400
Speaker 2: Yeah, and his last words are you were afraid of me?

1735
01:38:34,960 --> 01:38:37,680
Speaker 2: And on one level, like that was kind of all

1736
01:38:37,720 --> 01:38:40,400
Speaker 2: he had left is that they feared him, and that

1737
01:38:41,520 --> 01:38:44,360
Speaker 2: which is it's you know, it is tragic as well,

1738
01:38:44,400 --> 01:38:47,439
Speaker 2: because like he becomes the monster in more than one way,

1739
01:38:47,520 --> 01:38:49,920
Speaker 2: not just in memory, but like maybe that's all he

1740
01:38:49,960 --> 01:38:52,160
Speaker 2: really was towards the end, you know, he was just

1741
01:38:52,760 --> 01:38:56,559
Speaker 2: this this man had been torn apart by grief, and

1742
01:38:56,720 --> 01:38:59,720
Speaker 2: his only purpose in life was to be the nemesis

1743
01:39:00,200 --> 01:39:03,880
Speaker 2: of an enemy that he comes to realize he'd never

1744
01:39:03,920 --> 01:39:04,800
Speaker 2: fully understood.

1745
01:39:05,160 --> 01:39:09,960
Speaker 3: Yeah. Yeah, Well, the tendency to take pride in being feared,

1746
01:39:10,760 --> 01:39:13,519
Speaker 3: I think comes when you have given up hope on

1747
01:39:13,720 --> 01:39:16,200
Speaker 3: taking pride and being loved. Yeah.

1748
01:39:16,280 --> 01:39:19,280
Speaker 2: So, yeah, I think a thought provoking adaptation, and I

1749
01:39:19,280 --> 01:39:21,479
Speaker 2: think that is one of the reasons people keep coming

1750
01:39:21,520 --> 01:39:25,479
Speaker 2: back to it, because it does we can all disagree

1751
01:39:25,479 --> 01:39:28,679
Speaker 2: on to what extent. It does a decent job adapting

1752
01:39:28,760 --> 01:39:32,320
Speaker 2: various aspects of the source material, but it's trying things

1753
01:39:32,479 --> 01:39:36,439
Speaker 2: and perhaps trying things again with a little more nuanced

1754
01:39:36,439 --> 01:39:38,439
Speaker 2: than some of the subsequent adaptations did.

1755
01:39:38,920 --> 01:39:41,400
Speaker 3: Yeah. So, are we going to come back and do

1756
01:39:41,880 --> 01:39:46,680
Speaker 3: the Omega Man almost sid the Omega Code, Maybe.

1757
01:39:46,439 --> 01:39:49,200
Speaker 2: Not the Omega Code, but possibly the Omega Man. Yeah. So,

1758
01:39:49,560 --> 01:39:51,800
Speaker 2: when you're listening to this, you may note that the

1759
01:39:51,840 --> 01:39:55,759
Speaker 2: next scheduled episode of Weird House Cinema will be good Friday.

1760
01:39:56,720 --> 01:39:59,360
Speaker 2: So we're looking at a few different possibilities, some of

1761
01:39:59,400 --> 01:40:03,919
Speaker 2: them more over Jesus y in nature, but the Omega

1762
01:40:03,960 --> 01:40:07,920
Speaker 2: Man really leans into the savior aspect of the blood

1763
01:40:08,000 --> 01:40:11,320
Speaker 2: and the idea that Neville is a kind of Jesus figure.

1764
01:40:11,400 --> 01:40:14,240
Speaker 2: So it would be a fitting pick if we are

1765
01:40:14,439 --> 01:40:16,960
Speaker 2: indeed up for two straight weeks of I Am.

1766
01:40:16,920 --> 01:40:19,320
Speaker 3: Legend, Well, we'll think about it.

1767
01:40:19,360 --> 01:40:21,920
Speaker 2: Maybe maybe not, maybe maybe not. It won't be three.

1768
01:40:21,960 --> 01:40:25,479
Speaker 2: I'll tell you that I'm gonna the time is not

1769
01:40:25,640 --> 01:40:30,640
Speaker 2: right to revisit the two thousand and seven adaptation, but

1770
01:40:30,920 --> 01:40:33,280
Speaker 2: I would love to hear from everyone out there. You know,

1771
01:40:33,400 --> 01:40:35,639
Speaker 2: if if you're a fan of the original book, maybe

1772
01:40:35,640 --> 01:40:38,040
Speaker 2: you've reread it or read it more recently than I have,

1773
01:40:38,520 --> 01:40:41,200
Speaker 2: maybe you have some notes to give us. You also

1774
01:40:41,360 --> 01:40:44,720
Speaker 2: might have different thoughts about the different adaptations. Do you

1775
01:40:44,800 --> 01:40:47,519
Speaker 2: love the Omega Man? It's hard not to if you

1776
01:40:47,600 --> 01:40:50,720
Speaker 2: were listening to Rob Zombie albums at just the right time,

1777
01:40:50,840 --> 01:40:55,240
Speaker 2: because that movie is heavily sampled in OK. I guess

1778
01:40:55,280 --> 01:40:56,880
Speaker 2: it was. I guess it was a White the White

1779
01:40:56,960 --> 01:40:59,559
Speaker 2: Zombie album. One of the one of the tracks that's

1780
01:40:59,600 --> 01:41:01,920
Speaker 2: a lot of a lot of bits of like Creature

1781
01:41:01,960 --> 01:41:05,400
Speaker 2: of the Wheel and so forth. Okay, and you know,

1782
01:41:05,560 --> 01:41:07,720
Speaker 2: it's a pretty groovy film many respects. And then I

1783
01:41:07,720 --> 01:41:09,759
Speaker 2: don't know, it's like the two thousand and seven film.

1784
01:41:10,000 --> 01:41:11,960
Speaker 2: I wasn't crazy about it when it came out, But

1785
01:41:12,960 --> 01:41:15,240
Speaker 2: we've had lots of people, lots of people have had

1786
01:41:15,240 --> 01:41:18,840
Speaker 2: the chance to discover and rediscover that film, so maybe

1787
01:41:19,200 --> 01:41:22,479
Speaker 2: maybe there's a different reception to it now. Love to

1788
01:41:22,479 --> 01:41:23,880
Speaker 2: hear from anyone who has thoughts on that.

1789
01:41:24,280 --> 01:41:26,880
Speaker 3: Yeah, like I said, never seen it, so I'm curious

1790
01:41:26,920 --> 01:41:27,479
Speaker 3: about it now.

1791
01:41:27,600 --> 01:41:29,760
Speaker 2: Yeah, yeah, I mean, like I said, I remember Will

1792
01:41:29,760 --> 01:41:32,200
Speaker 2: Smith being good in it. All right, Well we're gonna

1793
01:41:32,200 --> 01:41:33,880
Speaker 2: gohead and close it out here, but just a reminder

1794
01:41:33,880 --> 01:41:35,559
Speaker 2: that Stuff to Blow your Mind is primarily a science

1795
01:41:35,600 --> 01:41:38,000
Speaker 2: and culture podcast with core episodes on Tuesdays and Thursdays,

1796
01:41:38,000 --> 01:41:40,200
Speaker 2: but on Fridays we set aside most serious concerns and

1797
01:41:40,240 --> 01:41:43,160
Speaker 2: just talk about a weird film here on Weird House Cinema.

1798
01:41:43,680 --> 01:41:45,600
Speaker 2: If you like Weird House Cinema and you want to

1799
01:41:45,640 --> 01:41:48,240
Speaker 2: follow us online, you can follow Stuff to Blow your

1800
01:41:48,240 --> 01:41:52,519
Speaker 2: Mind wherever you do your social media stuff. You can

1801
01:41:52,560 --> 01:41:55,200
Speaker 2: subscribe wherever you get your audio podcasts, and you can

1802
01:41:55,240 --> 01:41:58,839
Speaker 2: also make sure that you were asking for more on Netflix.

1803
01:41:58,880 --> 01:42:01,840
Speaker 2: If that's where you're getting this. Click They'll remind me,

1804
01:42:01,960 --> 01:42:04,719
Speaker 2: but they'll remind me. Remind me. And then go ahead

1805
01:42:04,720 --> 01:42:07,639
Speaker 2: and give us both thumbs. You can give one thumb

1806
01:42:07,720 --> 01:42:09,719
Speaker 2: or two thumbs. Go ahead and give us both of them.

1807
01:42:10,080 --> 01:42:13,360
Speaker 2: And then, finally, if you're on a letterbox dot com,

1808
01:42:13,880 --> 01:42:15,760
Speaker 2: you can follow us there. We are a weird house.

1809
01:42:15,800 --> 01:42:17,320
Speaker 2: We have a nice list of all the movies we've

1810
01:42:17,320 --> 01:42:19,320
Speaker 2: covered over the years, and sometimes a peek ahead at

1811
01:42:19,360 --> 01:42:20,240
Speaker 2: what comes up next.

1812
01:42:20,479 --> 01:42:24,160
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1813
01:42:24,360 --> 01:42:25,960
Speaker 3: If you would like to get in touch with us

1814
01:42:26,000 --> 01:42:28,479
Speaker 3: with feedback on this episode or any other, to suggest

1815
01:42:28,520 --> 01:42:30,439
Speaker 3: a topic for the future, or just to say hello,

1816
01:42:30,600 --> 01:42:32,960
Speaker 3: you can email us at contact at stuff to Blow

1817
01:42:33,000 --> 01:42:40,840
Speaker 3: your Mind dot com.

1818
01:42:40,960 --> 01:42:43,880
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1819
01:42:43,960 --> 01:42:46,760
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1820
01:42:46,920 --> 01:42:50,200
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