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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick. And today we're

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Speaker 1: gonna be looking at a nineteen seventies euro horror movie. Uh.

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Speaker 1: This one is called The Laurelized Grasp, Rob, How did

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Speaker 1: you come across this movie? Well, in a previous episode

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Speaker 1: of Weird House Cinema, we watched Spanish hard director Amando

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Speaker 1: Dio Sarios film The Return of the Blind Dead, the

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Speaker 1: second in his Blind Dead trilogy, in which undead templars

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Speaker 1: return from the grave and torment the living, but also

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Speaker 1: you know, stumble around and can't see what they're doing

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Speaker 1: exactly right. This is the one where like skeletons come

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Speaker 1: out of the ground with swords and they go around

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Speaker 1: stabbing towns people. And then there is a sexy American

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Speaker 1: fireworks salesman who like charms the local women and somehow

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Speaker 1: defeats them in the end. Yeah. Yeah, and that that

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Speaker 1: of course that character is played by Tony Kendall. Uh So, I,

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Speaker 1: you know, I really loved Return of the Blind Dad,

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Speaker 1: and I was like, I want to watch something with

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Speaker 1: that kind of vibe to it. So I was poking around,

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Speaker 1: uh uh Diasaurios filmography, and here's this film, the Laurelized

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Speaker 1: grasp Um. I had earmarked it to come back to later,

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Speaker 1: and yeah, it totally delivers. It came out the same year,

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Speaker 1: seventy three. And while Return of the Blind Dad again

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Speaker 1: is about undead templars and local corruption in Portugal, corrupt mayor, yeah,

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Speaker 1: this one is about mythic monsters on the German Rhine.

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Speaker 1: So we have a Germanic tale here. This movie also

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Speaker 1: has an ineffectual mayor, but not uh as far as

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Speaker 1: I recall, not evil like the other one. Like in

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Speaker 1: Return of the Blind Dad doesn't the mayor. You're at

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Speaker 1: some point he's like, I know how I will escape.

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Speaker 1: I will send the blind dead after a little child. Yeah,

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Speaker 1: he's basically Mayor Quimby. In fact, he attempts to flee

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Speaker 1: with the money. At one point he's like he's going

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Speaker 1: to go to another town, become mayor and send for

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Speaker 1: the rector, stuffing suitcases of cash into a golf cart

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Speaker 1: while he's sending the skeletons after the kid. Yeah. So yeah,

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Speaker 1: this is a This is tremendously fun movie. Because it's

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Speaker 1: got it's got the German mythology, it's got some really

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Speaker 1: bad science in it. I mean, you can't even it's

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Speaker 1: almost it's just ridiculous science. Um. And then you also

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Speaker 1: have room for a little romance. You have essentially kind

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Speaker 1: of a werewolf movie going on here, except it's a lizard. Uh. Yeah,

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Speaker 1: there's a lot to love. This movie has science on

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Speaker 1: the level of the Exorcist to where there's that line

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Speaker 1: he's like, this machine has scientifically proven that there is

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Speaker 1: an ancient demon locked inside her in this one, it's

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Speaker 1: my experiment, have scientifically proven that the that the Ryan

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Speaker 1: Maidens are real, and that the Laurel I does transform

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Speaker 1: every full moon and devour hearts. Oh yeah, I can't.

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Speaker 1: I can't wait to discuss that sequence now. So this

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Speaker 1: movie is not only a monster movie. It's an example

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Speaker 1: of a particular sub genre that we might call the

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Speaker 1: doomed monster romance, where these are movies where a human

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Speaker 1: of some sort falls in love with a monster or

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Speaker 1: cursed entity and we watch their relationship just plow toward

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Speaker 1: its inevitable destruction because in the end it cannot be

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Speaker 1: And there are plenty of examples of this that come

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Speaker 1: to mind. I was just noting a few that that

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Speaker 1: popped into my head. The Francis Ford Coppola version of

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Speaker 1: Dracula bram Stoker's Dracula a great example here In this movie,

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Speaker 1: Mina Harker played by um oh what's her name? Win

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Speaker 1: Owner Writer? Right, yeah, Mina is not just like hypnotized

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Speaker 1: and transformed by Dracula. You get the sense that they

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Speaker 1: are genuinely in love. But of course it cannot continue

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Speaker 1: because the beast must be destroyed, and he is evil.

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Speaker 1: And it's been a long time since I read Dracula.

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Speaker 1: But if I recall, there's really not any hint of

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Speaker 1: this whatsoever in the original novel. Right, Like in the novel,

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Speaker 1: Dracula is just a nasty demon and and nobody would

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Speaker 1: have a reason to be in love with him. But

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Speaker 1: in this movie they decided, well, yeah, Gary oldman is

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Speaker 1: rather charming guy. Let's make it so that Dracula and

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Speaker 1: Mina are actually faded lovers across centuries. Oceans of time

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Speaker 1: have been traversed so that they could be reunited. See.

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Speaker 1: I really need to watch rewatch Coppola's Dracula um as

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Speaker 1: a grown up, because I I think I only saw

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Speaker 1: it as a kid, and at that time I was

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Speaker 1: just like, I don't really like this romance Dracula bad.

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Speaker 1: Can we go back to the creepy old man and

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Speaker 1: the wolf monster and the bat monster and all that

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Speaker 1: other stuff? You like, the butt hair Dracula and not

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Speaker 1: the not the suave londoner. Yeah, the Yeah, the big

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Speaker 1: hair Dracula with a weird shadow. There's always licking razor blades.

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Speaker 1: That was my Dracula. But I imagine the film would

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Speaker 1: speak to me differently as as an adult. I mean,

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Speaker 1: both are great, but yeah, when Gary Oldman transforms into

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Speaker 1: the young, suave Dracula, especially because he's got hippie sunglasses on,

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Speaker 1: it's wonderful. But but other examples that popped into my

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Speaker 1: head American werewolf in London here, you know, in the

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Speaker 1: middle of the movie, they introduce a sweet love story

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Speaker 1: between this this American backpacker and a British nurse. But

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Speaker 1: of course they're They're romance is doomed because the boy

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Speaker 1: is a werewolf. And uh, it's there in The Fly

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Speaker 1: as well. Cronenberg's The Fly. You know, Gina Davis must

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Speaker 1: choose between her love for a hunky young Jeff Goldblum

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Speaker 1: and the fact that he is now vomiting digestive enzymes

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Speaker 1: on donuts and will probably at some point dissolve her

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Speaker 1: as well. Right, So, I would say common features of

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Speaker 1: the doomed monster romance movie are there's an element of

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Speaker 1: tragedy to them that is not always present in a

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Speaker 1: horror movie. Often, though not always, the human who falls

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Speaker 1: in love with the monster also has another mundane human

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Speaker 1: to human romance on the back burner. So in Bram

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Speaker 1: Stoker's Dracula Mina, while she's having this sort of ethereal

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Speaker 1: love affair with Dracula, is also technically still engaged to

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Speaker 1: Keanu Reeves, and so she's got that to fall back on.

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Speaker 1: I guess when when Dracula is destroyed uh. In the Fly,

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Speaker 1: they flip it around with a with a really horrible

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Speaker 1: twist by making Gina Davis's human back burner dude and

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Speaker 1: absolutely loathsome creep, which really heightens the desperation and horror

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Speaker 1: in the movie when she has nobody to turn to

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Speaker 1: but him. And in the movie we talked about today,

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Speaker 1: it definitely has this angle. Tony Kendall is pursuing two

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Speaker 1: romances at the same time. One a monster one just

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Speaker 1: a sort of disapproving lady. Yeah, and I guess this

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Speaker 1: sort of plot line you often get into the situation

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Speaker 1: where it's essentially like you must choose between the good

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Speaker 1: guy and the bad guy, the good girl and the

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Speaker 1: bad girl, and you know, and there's a fair amount

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Speaker 1: of moralizing that goes on there, especially when you're dealing

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Speaker 1: with with like, oh, well, it has to choose between

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Speaker 1: the monster is feminine and uh and this idealized version

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Speaker 1: of femininity. You know, it's it gets complicated. But also

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Speaker 1: there's a kind of irony in a lot of these

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Speaker 1: movies where it's like the monster is evil. So on

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Speaker 1: one level, you know, you technically should go with your

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Speaker 1: backburn or human romance, but on the other hand, it's

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Speaker 1: clear that the monster romance is the one that's more

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Speaker 1: meant to be. Yeah. Yeah, there's a sense that it's

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Speaker 1: a it's a part of fate. And by teaming up

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Speaker 1: with the like, by by entering into relationship with the monster,

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Speaker 1: you're you're either becoming immortal or you're becoming part of

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Speaker 1: a of a timeline that goes beyond just mortal existence.

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Speaker 1: You're achieving your true potential. Yeah. Uh, And In fact,

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Speaker 1: along with those fatalism themes, I would say a lot

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Speaker 1: of these movies also have something like a reincarnation plot,

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Speaker 1: So sometimes the movie presents the human in the relationship

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Speaker 1: as the reincarnation of a lover that the monster had

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Speaker 1: deep in the past, some kind of recurrence of fate.

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Speaker 1: So Coppolis Dracula does this. Mina Harker in the movie

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Speaker 1: appears to be the reincarnation of Prince of Lads Beloved,

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Speaker 1: and many versions of The Mummy movies do this, like

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Speaker 1: the Mummy will be some figure from ancient Egypt who

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Speaker 1: was cursed or suffered some terrible fate, but once he's

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Speaker 1: revived in the modern world, he encounters a beautiful woman

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Speaker 1: who seems to be the reincarnation of his one true love,

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Speaker 1: and often uh the original reason he was cursed in

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Speaker 1: ancient Egypt has something to do with this woman, like

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Speaker 1: they had an illicit affair, or he tried to revive

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Speaker 1: her from the dead using forbidden magic or something like that. Now,

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Speaker 1: the Luralized Grasp does follow some of these conventions as

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Speaker 1: a doomed monster romance movie, but it also, i would argue,

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Speaker 1: fails to capture one of the primary themes, which is

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Speaker 1: that sense of tragedy. Uh. And it fails to capture

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Speaker 1: that sense of tragedy, I think because the parties in

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Speaker 1: this monster love affair have really hilarious, out of place vibes,

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Speaker 1: both individually and in combination. Yeah, yeah, I think that's

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Speaker 1: a good point, um now on the romance here in

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Speaker 1: a way, it's kind of fitting. But then also it's

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Speaker 1: it's even more pronounced that that deal. Sorry, it doesn't

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Speaker 1: really follow up on this themes of the tragic themes

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Speaker 1: here because, as I discussed in Wednesday's Monster Fact episode,

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Speaker 1: the lorelie monster emerges not really out of old German

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Speaker 1: myths and legends per se, but out of German romanticism

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Speaker 1: of the nineteenth century, popping up in a pair of

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Speaker 1: famous poems from from that time period. Uh, generally concerned

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Speaker 1: not so much about a monster woman that's going to

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Speaker 1: come out and rip your heart out, but more about

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Speaker 1: like a tragic woman who has thrown herself off the

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Speaker 1: cliffs above the Rhine uh haunts the cliffs above the Rhine. Uh. Though,

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Speaker 1: on the other hand, the other thing that I discussed

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Speaker 1: in that is that there is a Lorelei Rock overlooking

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Speaker 1: the Rhine and I think we see this in the movie.

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Speaker 1: This is the physical location that inspired the poets in question,

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Speaker 1: and it has a long tradition of strange echoes that

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Speaker 1: were tied not to mysterious siren type beings but to

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Speaker 1: tales of dwarves and gnomes and the cavern depths. Is

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Speaker 1: this the rock they blow up with dynamite later in

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Speaker 1: the movie, Um, I don't think they quite well, they

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Speaker 1: blow up something. They blow up something underneath the rhine, right,

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Speaker 1: some sort of subterranean realm. But but yeah, there are

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Speaker 1: scenes where there's some wonderful scenes in the film where

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Speaker 1: where we see these kind of depressing rhine vista's with

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Speaker 1: you know, big container ships moving this sluggishly down the rhine,

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Speaker 1: some very dismal um rhine uh riverside locations that could

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Speaker 1: look like very lonesome places to die the thing. But

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Speaker 1: then also occasion only a shot of a neat castle

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Speaker 1: or these looming cliffs. This movie does have a lot

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Speaker 1: of wide shots and landscape shots, and most of them

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Speaker 1: are not very beautiful or picturesque. Most of them are depressing, right,

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Speaker 1: but it creates a vibe which I think mostly works

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Speaker 1: with this film. Yeah, alright, so here's the elevator pitch.

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Speaker 1: It is a lizard werewolf movie full of Germanic mythology,

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Speaker 1: made up science, and early seventies euro horror sex appeal.

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Speaker 1: That sounds about right. All right, let's hear the English

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Speaker 1: language trailer. A girls boarding school is living a nightmare?

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Speaker 1: Who will be the next pict to me? The clause

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Speaker 1: of Laura La the heart was gone. It sounds like

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Speaker 1: a very old story I once heard that was told

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Speaker 1: me when I was a child. I still can't get

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Speaker 1: it out of my mind. What story the loyal I

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Speaker 1: the monster stocks terror dominates their lives. The legend has

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Speaker 1: turned into reality. Laura I will be transformed into an

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Speaker 1: obscene beast. She must devour human hearts in order to

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Speaker 1: return to her centuries old dream. He will stay with

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Speaker 1: throughout eternity. The clause of Laura La next on this screen.

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Speaker 1: All right, let's discuss the people involved here, so once again,

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Speaker 1: the director and writer on this one is Amando Diosareo,

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Speaker 1: who lived through two thousand and one. If you want

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Speaker 1: to hear more about him, you can go back and

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Speaker 1: listen to that episode we did about the Return of

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Speaker 1: the Blind Dead, also known as Return of the Evil Dead. Uh.

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Speaker 1: He was Disorio here was one of the key names

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Speaker 1: in the nineteen seventies Spanish horror resurgence. He did the

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Speaker 1: Blind Dead trilogy, directed a number of action and horror films,

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Speaker 1: and as we discussed in that last episode about him,

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Speaker 1: he he seems like a guy who always had these

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Speaker 1: big ideas and inevitably ran up against severe budget constraints. Uh.

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Speaker 1: And I don't think was ever completely happy with with

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Speaker 1: how he was able to realize these dreams on the screen,

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Speaker 1: particularly when it came to effects and so forth. Um. Still,

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Speaker 1: I think this is another example of a film where

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Speaker 1: he's he's able to deliver some some quality action thrills

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Speaker 1: in dark fantasy, despite the at times very obvious limitations

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Speaker 1: of what they were trying to achieve. Here, I think

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Speaker 1: I'm gonna have to go on record and say the

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Speaker 1: monster in this movie is not super impressive. No, but

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Speaker 1: at least at least I think they realized it didn't

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Speaker 1: look good and so they rarely show it, uh for

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Speaker 1: for too long. It's often obscured, or it's in the shadows.

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Speaker 1: Except for the glove, the monster glove it it gets

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Speaker 1: a lot of screen time, and and even that could

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Speaker 1: at least from from our perspective. From modern perspective, it

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Speaker 1: could have been battery. It would have been nice to

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Speaker 1: have had to have a more convincing reptilian human hand there.

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Speaker 1: But despite it not looking good, I didn't enjoy every

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Speaker 1: time it showed up because you would always see the hand,

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Speaker 1: and I think it was always the same hand. It

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Speaker 1: was always the right hand. So I wondered if they

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Speaker 1: only made one lizard glove. Maybe so all right, So

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Speaker 1: that's the director and writer. But let's get to the cast.

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Speaker 1: The lead here is Tony Kendall born died two thousand

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Speaker 1: and nine, playing Sigurd the Hunter. Yes, Sigurd as in

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Speaker 1: the Germanic hero Sigurd or Sigfried from from the Song

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Speaker 1: of the Nibelung, from the Volsunga saga and from the

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Speaker 1: poetic Edda. Uh. This is our our hero of mythic proportions.

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Speaker 1: The main thing this movie wants you to understand about

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Speaker 1: secret is that he is attractive. Yes, yes, women, avert

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Speaker 1: your eyes because Tony Kendall has ventured onto the premises. See.

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Speaker 1: I mean, he was charismatic and Return of the Blind Dad,

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Speaker 1: but in this yeah, it's like it's overt, like When

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Speaker 1: we first see him, he rides in on a motorcycle

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Speaker 1: and and he is just you know, decked out and

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Speaker 1: stylish garb. Yeah. Well, so the movie casts him as

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Speaker 1: a hunter. The whole point is that he's supposed to

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Speaker 1: be a sort of loner outdoors type. He's he's the

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Speaker 1: most experienced hunter in the whole town. But it's just hilarious.

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Speaker 1: He does not read as a hunter at all. He

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Speaker 1: reads as a guy who would be hanging out of

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Speaker 1: the disco trying to buy you a drink, right right.

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Speaker 1: So yeah, and and to be clear, like I said,

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Speaker 1: with a motorcycle and so forth. This does not take

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Speaker 1: place during mythic times. This is very much a film

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Speaker 1: set in like early nineteen and D's um. So, yes,

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Speaker 1: he has the name of the mythic Hunter, but does

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Speaker 1: not look like a mythic hunter, does not carry himself

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Speaker 1: like a mythic hunter. And I don't think we ever

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Speaker 1: see him actually shoot anything. I mean, he shoots at

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Speaker 1: a few things, but we never see him hit. No.

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Speaker 1: He he looks dresses and acts like Elvis, not like

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Speaker 1: a hunter. So just imagine like seventies Vegas Elvis, but

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Speaker 1: carrying around a gun all the time, and I want

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Speaker 1: to talk about how he behaves with that gun later

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Speaker 1: on and we get into the plot. This is incredibly inappropriate. Yeah,

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Speaker 1: like a like a prop for handsomeness. Yeah. So, so

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Speaker 1: Kendall was a former model turned actor and did quite

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Speaker 1: a few Spanish action movies. He was in Italian films

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Speaker 1: as well. He was in seven movies in nineteen seventy

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Speaker 1: three and this is yet again one of them. Um.

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Speaker 1: He was in a string of commissar x action movies

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Speaker 1: in the sixties. He went on to do a lot

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Speaker 1: of spaghetti westerns, including Oh I love some of the

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Speaker 1: titles on these nineteen sixty nine, Hate is My God. Uh.

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Speaker 1: He did some yellow work. He was in Mario Baba's

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Speaker 1: The Whip in the Body opposite Christopher Lee in nineteen

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Speaker 1: sixty three. So again clearly very charismatic screen presence that

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Speaker 1: that worked well with films like this. You know, he

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Speaker 1: gets to be a man of both action and romance.

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Speaker 1: He has a lot of swagger, he gets to bring

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Speaker 1: that to the screen. So yeah, Tony kindles a lot

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Speaker 1: of fun in this. He is groovy. Oh but so

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Speaker 1: that's the human side of our doomed romance. We got

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Speaker 1: to hear about the monster side. Yes, Laura Lae herself

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Speaker 1: is played by Helga Lenney born one and and as

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Speaker 1: of this recording, I think is is still still alive.

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Speaker 1: Um and I don't think this can possibly be a

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Speaker 1: spoiler because this film is not subtle about this. But

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Speaker 1: yes she is. This beautiful redheaded actor. Helga Lenney plays

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Speaker 1: the seductive human form of our monstrous murderer here. So

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Speaker 1: she was born in Berlin, but her family fled during

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Speaker 1: I fled Germany during World War Two and she grew

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Speaker 1: up in Portugal, where she worked as a dancer a

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Speaker 1: circus for former and not the not the last former

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Speaker 1: circus performer reference in this movie. Uh eventually been a

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Speaker 1: model and an actress. She worked from roughly one through

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Speaker 1: two thousand six, played a lot of film fatales characters

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Speaker 1: and horror movies, various genre films. I think she's pretty

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Speaker 1: big in Spanish cinema during this time period, and she

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Speaker 1: was all She also has a role in the weird

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Speaker 1: nineteen seventy two train flick Horror Express, which of course

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Speaker 1: stars Christopher Lee, Peter Cushing, Kelly Savalis, and Sylvia Tortosa

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Speaker 1: Oh who's also in this movie. As Tony Kendall's other girlfriend.

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Speaker 1: But but Linnay is great in this, Like she's you know,

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Speaker 1: vamping it up most of the time. Um. I think

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Speaker 1: I read somewhere that she did not particularly enjoy this

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Speaker 1: this shoot and did not like the director. Um. But

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Speaker 1: if that is the case, I feel like she was

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Speaker 1: able to channel that energy into this role because you know,

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Speaker 1: she's not she doesn't really like the mortal world. She's

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Speaker 1: just here too, you know, you know, collect a number

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Speaker 1: of blood sacrifices and then go back to sleep, right,

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Speaker 1: she just needs some human hearts and eventually she can

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Speaker 1: take Elvis back to Valhalla with her exactly alright. So

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Speaker 1: Sylvia Tortasa again plays the the good girl love interest. Uh.

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Speaker 1: This is a character named Elki Ackerman, the teacher. She's

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Speaker 1: essentially the headmaster of a private girls school in this

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Speaker 1: though we never see any classes going going on here,

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Speaker 1: I believe the prime subject of this school is just

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Speaker 1: bikini studies. Yeah, Rachel and I were really confused about

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Speaker 1: what the school was supposed to be. So it's like

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Speaker 1: a mansion on top of a mountain full of like

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Speaker 1: women who just hang out of the pool all day.

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Speaker 1: But they call it a school. Yeah, it's the school.

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Speaker 1: We never see the classroom. We've just see them hanging

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Speaker 1: out at the swimming pool. So. Uh Tortosa Spanish actor

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Speaker 1: who worked I think roughly nine four through at least

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Speaker 1: uh born Uh still alive as of this recording. U. Yeah,

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Speaker 1: and she's she's our our our heroes main mortal romantic interest.

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Speaker 1: But they do the classic romance movie thing where when

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Speaker 1: when they first meet, she disapproves of everything about him. Right,

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Speaker 1: we'll get into that. That is hilarious. Okay, you can't

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Speaker 1: have a villain without a hinchman and uh. And in

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Speaker 1: this the lorelized servant is a character named Alberi, played

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Speaker 1: by Louis Barbou. Uh. Barbou live through two thousand one.

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Speaker 1: Barbou was also a circus performer at one point and

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Speaker 1: had a long career playing mostly heavies. He played the

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Speaker 1: executed templar in the Return of the Blind Dead, and

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Speaker 1: he also pops up in Conan the Barbarian. He was

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Speaker 1: a gang member and a fist full of dollars and

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Speaker 1: he appears and I think ten difference movies from Spanish

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Speaker 1: exploitation King Jess Franco. I don't want to spoil all

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Speaker 1: the details about this character in the film, but he's

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Speaker 1: a really fun Hinchman and there's some there's some neat

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Speaker 1: stuff surrounding his character. I don't know why, but he

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Speaker 1: always kind of reminds me of the pirate the Glenn

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Speaker 1: Close plays in Hook. I haven't seen Hook in in

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Speaker 1: a very long time. I didn't realize she played a

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Speaker 1: pirate with a beard. Is this is it supposed to

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Speaker 1: be a costume or is it just a character she plays.

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Speaker 1: I think it's it's just a it's a cameo, like

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Speaker 1: she was on set for some reason, and she's she

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Speaker 1: plays the pirate who they put into the box with

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Speaker 1: all the scorpions. That really scary scene. You remember that, No,

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Speaker 1: I don't. The only thing I remember about Hook is

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Speaker 1: Phil Collins showing up as a police officer. Weirdly enough,

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Speaker 1: I don't know why that stands out the most to me.

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Speaker 1: Remember Bob Hoskins, come on, yeah, no, no, just Phil Collins.

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Speaker 1: That's the only thing I remember. I remember Bob Hoskins,

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Speaker 1: uh and and the Glenn Close pirate and a lot

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Speaker 1: of food that doesn't look like food, like they're in

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Speaker 1: they're eating a big feast, but it mostly looks like

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Speaker 1: play dough Alright. Another actor in this film worth noting,

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Speaker 1: a guy by the name of Anjel Menendez, plays Professor

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Speaker 1: von Lander. Uh eights unknown on this guy birth or death,

376
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Speaker 1: but he plays I think my favorite character in the

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Speaker 1: whole film, a scientist and Laura la expert who kind

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Speaker 1: of reminds me of Colonel Sanders. He has the armed

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Speaker 1: awkward in a way that ultimately makes the character absolutely work.

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Speaker 1: Uh And I think some of it was perhaps intended.

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Speaker 1: Um and Indez was in a ton of Spanish and

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Speaker 1: Spanish language films in the sixties and seventies, including nineteen

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Speaker 1: sixty nine Santo Faces Death. Uh so a lot of

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Speaker 1: Westerns and horror in his filmography. Wait, Santo faces death

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Speaker 1: like the Grim Reaper? Do Santo wrestle the Grim Reaper?

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Speaker 1: I don't know. I haven't seen this one. I think

387
00:22:38,200 --> 00:22:41,600
Speaker 1: this one was It was either a Mexican Spanish co

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Speaker 1: production or just a Spanish film because they noted some

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Speaker 1: other familiar faces from Spanish genre films of the day.

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Speaker 1: But I'm not sure you have he's actually facing a

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Speaker 1: supernatural death figure or if he's just getting in a

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Speaker 1: deathly situation. You never know. With Santo, he might be

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Speaker 1: fighting him crime, he might be fighting the forces of evil,

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Speaker 1: might be doing a little bit of both. Who I

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Speaker 1: would be so ready to do another Santo versus the

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Speaker 1: supernatural movie. That's yeah, we should do it. We need

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Speaker 1: to go back to the Mexican cinema. Always a fun

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Speaker 1: time alright. Finally, the music for this film is once

399
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Speaker 1: more the music of Antone Garcia Abril, who lived through

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Speaker 1: an acclaimed Spanish composer and longtime head of the Department

401
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Speaker 1: of Compositions and Musical Forms of the Madrid Royal Conservatory. Uh.

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Speaker 1: He did a lot of work outside of cinema, but

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Speaker 1: also did a whole bunch of scores, including the scores

404
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Speaker 1: for all of the Blind Dead films of Amandoo Sario.

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Speaker 1: So I thought it was a quite good score. It

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Speaker 1: has this wonderful little recurring dream like coral number. Anytime

407
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Speaker 1: Laura Lai is say, riding on a horse and slow

408
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Speaker 1: motion by the rhyme that sort of thing. Okay, can

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Speaker 1: you settle a question for me? Is it Laurel I

410
00:23:50,000 --> 00:23:52,320
Speaker 1: just like a name or is it the Laurel I

411
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Speaker 1: like the werewolf? I guess either works. Yeah, because like

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Speaker 1: you you pointed out earlier the title is the laure Law,

413
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Speaker 1: but then also she is Laura La. I think they

414
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Speaker 1: use both in the movie. It gets confusing to when

415
00:24:07,600 --> 00:24:10,080
Speaker 1: you look at the origins of the character's name, because

416
00:24:10,119 --> 00:24:14,160
Speaker 1: it's often spelled different ways in these German poems. Sometimes

417
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Speaker 1: it's more it's spelled like Laura Ley or Laura Lay.

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Speaker 1: But but then the rock I believe is traditionally known

419
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Speaker 1: as Laura Lie. And I also believe the etymology is

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Speaker 1: unknown concerned, there's no there's no firm answer, like some

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00:24:31,160 --> 00:24:34,080
Speaker 1: some people think it's referring to like it's the lie

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00:24:34,160 --> 00:24:38,119
Speaker 1: seems to mean rocks, so it's like the murmuring rocks,

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Speaker 1: or it's the like rocks of some sort of supernatural creatures,

424
00:24:42,119 --> 00:24:46,280
Speaker 1: or their loud rocks. I think it's uh, it's it's

425
00:24:46,320 --> 00:24:59,919
Speaker 1: uncertain exactly what it means. Man, I hate loud rocks. Okay,

426
00:25:00,440 --> 00:25:03,359
Speaker 1: we're ready to talk about the plot. Let's jump into it. Okay.

427
00:25:03,400 --> 00:25:05,480
Speaker 1: The first thing we see in the movie is the rhine.

428
00:25:05,640 --> 00:25:09,280
Speaker 1: Seems very appropriate, right, Yeah, there it is sluggish, filled

429
00:25:09,320 --> 00:25:14,639
Speaker 1: with container ships. Yeah, barge is dingy, kind of low color.

430
00:25:16,000 --> 00:25:18,360
Speaker 1: But then right after that we go straight into the

431
00:25:18,359 --> 00:25:21,800
Speaker 1: bride attack scene. So what's the structure of a movie

432
00:25:21,840 --> 00:25:24,600
Speaker 1: like this. Obviously, before you meet any of your main characters,

433
00:25:24,640 --> 00:25:27,000
Speaker 1: you need to have a random monster attack on a

434
00:25:27,040 --> 00:25:31,040
Speaker 1: previously unknown person. Uh. So here, the victim in the

435
00:25:31,080 --> 00:25:34,119
Speaker 1: first attack is a woman who's preparing to get married

436
00:25:34,160 --> 00:25:36,639
Speaker 1: in the morning, and she's she's trying on her veil

437
00:25:36,760 --> 00:25:39,919
Speaker 1: and stuff, and then her fiance starts throwing pebbles at

438
00:25:39,960 --> 00:25:42,760
Speaker 1: her window. So she goes out to talk to him

439
00:25:42,840 --> 00:25:46,680
Speaker 1: and he's like, hey, I'm drunk, you're pretty, and uh.

440
00:25:47,040 --> 00:25:49,919
Speaker 1: She She's like, well, you've been celebrating with your friends

441
00:25:49,920 --> 00:25:52,479
Speaker 1: too much. And then she reminds him to show up

442
00:25:52,480 --> 00:25:54,760
Speaker 1: at the church the next morning so they can get married,

443
00:25:55,359 --> 00:25:58,520
Speaker 1: and he's like, yeah, I'll be there, and he shuffles off. Uh.

444
00:25:58,560 --> 00:26:02,200
Speaker 1: And then the spooky sounds kicking spooky music comes in,

445
00:26:02,680 --> 00:26:05,600
Speaker 1: and then outside the window we see the first of

446
00:26:05,640 --> 00:26:09,840
Speaker 1: many shots of the hand, the reptile hand. So it's

447
00:26:10,000 --> 00:26:13,280
Speaker 1: five fingered like a human hand, but green, covered in

448
00:26:13,400 --> 00:26:18,840
Speaker 1: spiky scales like a crocodile, and bugles for claws. Do

449
00:26:18,920 --> 00:26:21,880
Speaker 1: you deny it? Ah? Yeah, there they are bugle ask

450
00:26:21,960 --> 00:26:24,919
Speaker 1: I would say again, the gloves not it's not bad,

451
00:26:25,119 --> 00:26:28,800
Speaker 1: but it's it's not great either. But then we get

452
00:26:28,840 --> 00:26:30,160
Speaker 1: to see the hand go to work, and I guess

453
00:26:30,160 --> 00:26:32,399
Speaker 1: that's where it really begins to shine. And then the

454
00:26:32,480 --> 00:26:35,639
Speaker 1: creature sort of roars leaps through the window in an

455
00:26:35,640 --> 00:26:38,600
Speaker 1: attack that will repeat many times throughout the movie. We

456
00:26:38,680 --> 00:26:41,919
Speaker 1: see like the reptar hand on something, and then the

457
00:26:41,920 --> 00:26:44,760
Speaker 1: reptar jumps out, but we don't get a good look

458
00:26:44,800 --> 00:26:46,840
Speaker 1: at it is just like a blur and it appears

459
00:26:46,880 --> 00:26:49,280
Speaker 1: to be wearing a black cloak with a hood, and

460
00:26:49,320 --> 00:26:52,320
Speaker 1: then it tears open the victim's chest with its bugles

461
00:26:52,320 --> 00:26:54,879
Speaker 1: and pulls out their heart. Right. Yeah, one thing that

462
00:26:54,920 --> 00:26:56,879
Speaker 1: they established right off the bat is that this monster

463
00:26:56,920 --> 00:27:00,840
Speaker 1: attacks fast and just viciously, like like a wild animal.

464
00:27:01,280 --> 00:27:03,600
Speaker 1: Just u there's a lot of us swiping at the

465
00:27:03,640 --> 00:27:06,359
Speaker 1: face and tearing at the face and leaving bloody trails

466
00:27:06,359 --> 00:27:09,040
Speaker 1: on the face. And then eventually it's going to rip

467
00:27:09,080 --> 00:27:12,919
Speaker 1: through the chest meat, pry open those those ribs and

468
00:27:13,000 --> 00:27:15,920
Speaker 1: draw out that human heart. Yeah, that's something I think

469
00:27:15,960 --> 00:27:19,240
Speaker 1: some of these movies from the seventies, especially, do they

470
00:27:19,280 --> 00:27:23,000
Speaker 1: figured out that, Okay, maybe if you've got effects that

471
00:27:23,080 --> 00:27:26,280
Speaker 1: don't look super great, maybe you're not the best in

472
00:27:26,320 --> 00:27:29,600
Speaker 1: the world at building up suspense through your editing in

473
00:27:30,000 --> 00:27:32,800
Speaker 1: just the right ways. But you can still get get

474
00:27:32,800 --> 00:27:36,040
Speaker 1: the emotions really high in a in a monster scene

475
00:27:36,200 --> 00:27:39,640
Speaker 1: just by having somebody scream at great pitch and volume.

476
00:27:40,200 --> 00:27:42,960
Speaker 1: So a scene that has really high pitched screaming for

477
00:27:43,119 --> 00:27:46,160
Speaker 1: like thirty seconds to a minute straight, that will get

478
00:27:46,160 --> 00:27:50,640
Speaker 1: you on edge, even if it's otherwise not cinematically very effective. Though,

479
00:27:50,680 --> 00:27:52,919
Speaker 1: I gotta say personally, I'm not a big fan of

480
00:27:52,960 --> 00:27:56,159
Speaker 1: that technique. Like, I recognize why they do it. I said, Okay,

481
00:27:56,240 --> 00:27:59,200
Speaker 1: that is probably a sort of hack that's a workaround,

482
00:27:59,800 --> 00:28:02,840
Speaker 1: but but but but yeah, the screaming, it just gets

483
00:28:02,880 --> 00:28:05,080
Speaker 1: to me. I don't know, do you do you know

484
00:28:05,119 --> 00:28:07,919
Speaker 1: what I'm talking about? Ah, yeah, yeah, yeah, there's a lot.

485
00:28:08,400 --> 00:28:10,840
Speaker 1: It's certainly one of those movies where if I'm watching

486
00:28:10,840 --> 00:28:13,080
Speaker 1: it with the volume up, I have to keep turning

487
00:28:13,080 --> 00:28:15,640
Speaker 1: the volume down anytime there's a there's an attack, because

488
00:28:15,680 --> 00:28:18,480
Speaker 1: I know there's gonna be loud screaming, which if there's

489
00:28:18,480 --> 00:28:20,240
Speaker 1: anybody else in the house they could they could be

490
00:28:20,280 --> 00:28:22,880
Speaker 1: annoyed by that, or or or curious and like, why

491
00:28:22,920 --> 00:28:24,280
Speaker 1: is there screaming? What are you watching? Why? Are there?

492
00:28:24,600 --> 00:28:27,960
Speaker 1: Why are there? There's NonStop screaming coming from the living room. Yeah,

493
00:28:28,359 --> 00:28:32,199
Speaker 1: so it works in TCM. Well, there's a fine art

494
00:28:32,240 --> 00:28:34,520
Speaker 1: to the scream Queen that that's something we have to

495
00:28:34,560 --> 00:28:36,520
Speaker 1: come back to that in the future. What makes a

496
00:28:36,600 --> 00:28:39,960
Speaker 1: great scream and a horror movie? Right? Uh So, anyway,

497
00:28:40,040 --> 00:28:43,280
Speaker 1: we we cut from this opening scene immediately to the

498
00:28:43,320 --> 00:28:47,240
Speaker 1: funeral where the fiance Carlos, who we met just moments before,

499
00:28:47,280 --> 00:28:49,680
Speaker 1: now he's he's there at the funeral and he's so

500
00:28:49,760 --> 00:28:53,280
Speaker 1: distraught that he starts shoveling dirt onto the coffin lid

501
00:28:53,320 --> 00:28:55,720
Speaker 1: while the priest is still talking. And it does look

502
00:28:55,760 --> 00:29:00,080
Speaker 1: like they buried her in a plastic deli tray. Um. I.

503
00:29:00,280 --> 00:29:03,239
Speaker 1: I watched this first with the English dub, and then

504
00:29:03,280 --> 00:29:06,720
Speaker 1: I watched it again in the in the original Spanish.

505
00:29:06,800 --> 00:29:09,360
Speaker 1: But the dub of this is weird, weird because with

506
00:29:09,400 --> 00:29:13,160
Speaker 1: the with the subtitles, we don't get a translation on

507
00:29:13,280 --> 00:29:16,640
Speaker 1: everything that the priest is saying. But but in the dub,

508
00:29:16,840 --> 00:29:20,360
Speaker 1: the voice that they try and translate everything the priest

509
00:29:20,400 --> 00:29:21,960
Speaker 1: is saying, and he's saying all sorts of weird things,

510
00:29:22,000 --> 00:29:25,360
Speaker 1: like something to the effect of God so wanted her

511
00:29:25,400 --> 00:29:27,880
Speaker 1: by his side, that he made her a holy victim

512
00:29:27,960 --> 00:29:31,560
Speaker 1: or something to that effect, and and that I was like, well,

513
00:29:31,600 --> 00:29:34,400
Speaker 1: I don't blame the the husband here for just like

514
00:29:34,480 --> 00:29:36,480
Speaker 1: wanted to shovel the dirt and get on out of here,

515
00:29:36,480 --> 00:29:38,440
Speaker 1: because this is all this weird stuff. The priest is

516
00:29:38,480 --> 00:29:41,000
Speaker 1: saying something about a holy victim and so forth. Yeah,

517
00:29:41,040 --> 00:29:44,160
Speaker 1: if there's gonna be a sermon or a what's the

518
00:29:44,160 --> 00:29:47,280
Speaker 1: word homily or a speech given by the priest at

519
00:29:47,320 --> 00:29:49,560
Speaker 1: a funeral, how do you guarantee the priest doesn't go

520
00:29:49,600 --> 00:29:52,960
Speaker 1: off on some tangent that you really don't want. Yeah,

521
00:29:53,080 --> 00:29:55,200
Speaker 1: so it appears that's like the entire town I guess

522
00:29:55,200 --> 00:29:59,240
Speaker 1: showed up for this funeral. And then there's also uh,

523
00:29:59,320 --> 00:30:03,600
Speaker 1: somebody on the outskirts of the funeral watching on. Oh right, Yeah,

524
00:30:03,600 --> 00:30:06,160
Speaker 1: so the funeral is going on, and then it immediately

525
00:30:06,280 --> 00:30:11,520
Speaker 1: cuts to just a satanic red carriage with red velvet curtains,

526
00:30:12,040 --> 00:30:16,080
Speaker 1: with a woman who looks like Evil incarnate peeking out

527
00:30:16,080 --> 00:30:20,120
Speaker 1: of the window with a kind of sinister gaze. And

528
00:30:20,160 --> 00:30:22,479
Speaker 1: I thought it was so funny. When this scene came on.

529
00:30:22,640 --> 00:30:26,760
Speaker 1: We were like, gee, I wonder if she's the monster. Yeah,

530
00:30:26,880 --> 00:30:29,120
Speaker 1: I forget where I saw this. But there was some

531
00:30:29,360 --> 00:30:32,200
Speaker 1: user review for this film where someone dared to call

532
00:30:32,280 --> 00:30:35,040
Speaker 1: this a monster who Done it? Like really, really, I

533
00:30:35,040 --> 00:30:38,240
Speaker 1: mean this movie is not this movie was trying to

534
00:30:38,280 --> 00:30:40,560
Speaker 1: be a monster who Done it? Yet it's terrible at

535
00:30:40,560 --> 00:30:43,280
Speaker 1: it because it's it's super clear, like, yeah, she she's

536
00:30:43,320 --> 00:30:46,480
Speaker 1: clearly the monster. She came here to creep on the

537
00:30:46,520 --> 00:30:49,440
Speaker 1: funeral from her carriage. And it's not like a red

538
00:30:49,480 --> 00:30:52,520
Speaker 1: Herring or a switchero like she look, she's obviously the

539
00:30:52,560 --> 00:30:55,920
Speaker 1: monster and she is. Yeah, yeah, there's there's no switchery

540
00:30:56,080 --> 00:30:58,440
Speaker 1: going on here. Oh, but she also so she's sitting

541
00:30:58,480 --> 00:31:01,240
Speaker 1: in the carriage watching the funeral. All um, come back

542
00:31:01,280 --> 00:31:04,000
Speaker 1: to the question of why she's watching the funeral, but uh,

543
00:31:04,120 --> 00:31:06,080
Speaker 1: you see it in the carriage. She has a driver,

544
00:31:06,320 --> 00:31:10,200
Speaker 1: and this is Luis Barbou. Yes, yes, uh, we'll reveal

545
00:31:10,240 --> 00:31:14,960
Speaker 1: more about him, his character h Berry or Albert. Uh yeah.

546
00:31:14,960 --> 00:31:17,960
Speaker 1: He becomes more important as we reveal more about the

547
00:31:18,280 --> 00:31:21,520
Speaker 1: monster and where she comes from. But what's she doing there?

548
00:31:22,040 --> 00:31:24,120
Speaker 1: I don't know. I can never figure that out because

549
00:31:24,560 --> 00:31:26,760
Speaker 1: it's established later in the film that she has no

550
00:31:26,840 --> 00:31:29,200
Speaker 1: regrets about any of this. She's like, would you judge

551
00:31:29,240 --> 00:31:32,080
Speaker 1: a hurricane or a or a jaguar or a panther

552
00:31:32,280 --> 00:31:33,880
Speaker 1: for doing what they do. This is just what I do.

553
00:31:33,880 --> 00:31:36,280
Speaker 1: I don't feel bad about it. So, if so, why

554
00:31:36,320 --> 00:31:38,160
Speaker 1: did she take time out of her day to to

555
00:31:38,880 --> 00:31:41,880
Speaker 1: creep on the funeral? Is she's scouting new victims? Is

556
00:31:41,880 --> 00:31:44,240
Speaker 1: she just curious? Does she just is this? This is

557
00:31:44,280 --> 00:31:47,000
Speaker 1: the only thing going on in town? She's just bored?

558
00:31:47,200 --> 00:31:50,240
Speaker 1: This is like more entertaining than I don't know what

559
00:31:50,280 --> 00:31:52,080
Speaker 1: else she'd be doing just hanging out in the grotto.

560
00:31:52,160 --> 00:31:54,200
Speaker 1: I guess, I guess so. But had to come up here.

561
00:31:54,240 --> 00:31:57,880
Speaker 1: She has to emerge from the rhine with her henchmen.

562
00:31:58,200 --> 00:32:02,719
Speaker 1: They have to rent or acquire a carriage and a horse,

563
00:32:03,240 --> 00:32:05,560
Speaker 1: get all cleaned up. It's it's it's a lot to do.

564
00:32:05,840 --> 00:32:08,160
Speaker 1: It seems like there's gotta be a reason here. Oh man.

565
00:32:08,240 --> 00:32:10,440
Speaker 1: When they try to gallop off the poor horses, they

566
00:32:10,440 --> 00:32:13,040
Speaker 1: are really skittering in this scene. Did you notice that

567
00:32:13,040 --> 00:32:15,840
Speaker 1: they like can't get a grip on the ground and

568
00:32:15,880 --> 00:32:18,440
Speaker 1: they're slipping around in the mud. If they know there's

569
00:32:18,440 --> 00:32:22,160
Speaker 1: a lie in the carriage, that's it. Well, after the funeral,

570
00:32:22,240 --> 00:32:26,040
Speaker 1: we go to uh something that it seems to me

571
00:32:26,200 --> 00:32:29,120
Speaker 1: that there's almost a rule in euro horror movies from

572
00:32:29,160 --> 00:32:32,320
Speaker 1: the seventies that they must have a scene in a bar,

573
00:32:32,680 --> 00:32:34,720
Speaker 1: or a pub or a beer hall, I guess whatever

574
00:32:34,800 --> 00:32:37,480
Speaker 1: you call it in the local culture that is just

575
00:32:37,960 --> 00:32:44,080
Speaker 1: visually ghastly inside, like lighting and wall color combinations that

576
00:32:44,200 --> 00:32:49,200
Speaker 1: induce vomiting. I'm thinking eggshell walls with direct overhead lighting.

577
00:32:49,800 --> 00:32:52,880
Speaker 1: It's just hideous. And and then in this case, in

578
00:32:52,920 --> 00:32:54,720
Speaker 1: the beer hall we cut two. We've got these red

579
00:32:54,760 --> 00:32:57,920
Speaker 1: and white checked table cloths, which I guess might be

580
00:32:58,000 --> 00:33:01,120
Speaker 1: charming in a like dimly lit Italian in restaurant or something,

581
00:33:01,160 --> 00:33:03,520
Speaker 1: but here in the bright lighting with the white walls

582
00:33:03,560 --> 00:33:07,160
Speaker 1: that just assault the eyes. It looks very stuffy in there,

583
00:33:07,200 --> 00:33:10,479
Speaker 1: like it's probably about eighty seven degrees fahrenheit, and the

584
00:33:10,520 --> 00:33:13,800
Speaker 1: patrons are just exuding a stiff formality. I think everybody's

585
00:33:13,840 --> 00:33:17,680
Speaker 1: probably wearing wool underwear. It just looks itchy to be

586
00:33:17,760 --> 00:33:20,000
Speaker 1: alive in this place. I don't know if you had

587
00:33:20,040 --> 00:33:22,680
Speaker 1: the same reaction. Yeah, yeah, this this feels like a

588
00:33:22,760 --> 00:33:29,600
Speaker 1: hot box where town people are gather to drink room

589
00:33:29,640 --> 00:33:34,400
Speaker 1: temperature beer and discuss local politics. Yeah, but I I

590
00:33:34,480 --> 00:33:36,000
Speaker 1: haven't tried to make a list. But I feel like

591
00:33:36,040 --> 00:33:38,720
Speaker 1: this is so common in like euro horror movies of

592
00:33:38,760 --> 00:33:42,240
Speaker 1: the early seventies, they all have a pub or something

593
00:33:42,360 --> 00:33:46,240
Speaker 1: that is just the interior decor is the most uninviting

594
00:33:46,280 --> 00:33:49,640
Speaker 1: thing I've ever seen. Surely, real pubs and bars at

595
00:33:49,680 --> 00:33:53,160
Speaker 1: the time we're not like that, were they, one would

596
00:33:53,200 --> 00:33:55,440
Speaker 1: hope not, but but yeah, this very much matches the

597
00:33:55,520 --> 00:33:58,520
Speaker 1: vibe of the pub that is established in Return of

598
00:33:58,560 --> 00:34:01,040
Speaker 1: the Blind Dad as well. Do you remember that hideous

599
00:34:01,080 --> 00:34:05,640
Speaker 1: pub in Psychomania? Oh yeah, yeah, yeah, just like who

600
00:34:05,680 --> 00:34:09,560
Speaker 1: would hang out in here anyway? Okay, so in this scene,

601
00:34:10,480 --> 00:34:13,040
Speaker 1: all the townspeople are hanging out, and the mayor and

602
00:34:13,080 --> 00:34:16,160
Speaker 1: the coroner are sitting at a table together, and they're

603
00:34:16,239 --> 00:34:18,840
Speaker 1: essentially like, gather around everyone and we will discuss the

604
00:34:18,880 --> 00:34:22,879
Speaker 1: gory private details of the recent murder. Uh So they're

605
00:34:22,920 --> 00:34:26,120
Speaker 1: asking questions to the coroner, and the coroner finally admits

606
00:34:26,160 --> 00:34:30,080
Speaker 1: the girl's heart was gone, and then somebody else, oh,

607
00:34:30,160 --> 00:34:32,360
Speaker 1: but it was a bear that attacked her, and another

608
00:34:32,400 --> 00:34:36,399
Speaker 1: guy goes, it might have been a man. But there

609
00:34:36,480 --> 00:34:38,560
Speaker 1: is one person in this bar who knows what's up.

610
00:34:38,920 --> 00:34:43,680
Speaker 1: It is the blind Musician, a Hungarian fiddle player who

611
00:34:43,840 --> 00:34:45,840
Speaker 1: is like, I know what it was. It was the

612
00:34:45,920 --> 00:34:48,879
Speaker 1: Laura lie. And she will need more victims and more

613
00:34:48,920 --> 00:34:52,040
Speaker 1: and more and more and more and more victims. I

614
00:34:52,040 --> 00:34:55,480
Speaker 1: think he says, there will come new evils. I'm warning you,

615
00:34:56,280 --> 00:35:00,239
Speaker 1: and immediately everybody is just telling him to show about.

616
00:35:00,360 --> 00:35:02,360
Speaker 1: You know, we don't we don't care that those legends

617
00:35:02,360 --> 00:35:05,160
Speaker 1: are not true. Nobody believes in that. You compared him

618
00:35:05,200 --> 00:35:07,960
Speaker 1: to crazy Ralph and the notes here, Um, oh yeah,

619
00:35:07,960 --> 00:35:12,799
Speaker 1: he's crazy Ralph from Friday, Your whole doomed Ralph, get

620
00:35:12,840 --> 00:35:16,960
Speaker 1: out of here. The thing about the Blind Musician here, though,

621
00:35:17,000 --> 00:35:20,040
Speaker 1: is he's a very likable doomsayer. He's not like that.

622
00:35:20,320 --> 00:35:22,759
Speaker 1: He's not the town weirdo. He's the He seems to

623
00:35:22,760 --> 00:35:26,040
Speaker 1: be a musician that everyone likes and respects, and when

624
00:35:26,080 --> 00:35:30,040
Speaker 1: he inevitably bites it later on, people are disturbed by it.

625
00:35:30,600 --> 00:35:33,720
Speaker 1: So it is a slightly different move than than other films. Certainly,

626
00:35:33,760 --> 00:35:36,680
Speaker 1: the doomsayer in Return of the Blind Dead was not

627
00:35:36,800 --> 00:35:40,440
Speaker 1: a likable character. Who was was that the guy who

628
00:35:40,440 --> 00:35:45,759
Speaker 1: looked like Stephen King? Oh? Yes, that was Murdo. Murdo, Yeah, Murdo, Yes, Oh,

629
00:35:46,080 --> 00:35:48,640
Speaker 1: such a such a wonderful creep and This guy not

630
00:35:48,800 --> 00:35:51,680
Speaker 1: creep at all. This guy is just a beloved musician. Yeah,

631
00:35:51,719 --> 00:35:54,640
Speaker 1: he's great, except he believes in the loralae, and everybody

632
00:35:54,840 --> 00:35:57,320
Speaker 1: it does not like that he believes in the Loralae.

633
00:35:57,400 --> 00:35:59,680
Speaker 1: I guess this. This is a rationalist town. We believe

634
00:35:59,719 --> 00:36:02,920
Speaker 1: only in science here. But he says, according to the

635
00:36:02,920 --> 00:36:05,520
Speaker 1: tradition of the seven full moons, Laurel I will be

636
00:36:05,560 --> 00:36:08,800
Speaker 1: transformed into an obscene beast. She will need to devour

637
00:36:08,920 --> 00:36:13,720
Speaker 1: human hearts in order to return to her centuries old dream.

638
00:36:13,760 --> 00:36:15,920
Speaker 1: And the mayor says, nobody believes in that legend. And

639
00:36:15,960 --> 00:36:19,240
Speaker 1: then they're interrupted when the beautiful professor from the local

640
00:36:19,280 --> 00:36:23,400
Speaker 1: girls school walks in and she she she walks up

641
00:36:23,400 --> 00:36:26,480
Speaker 1: to the mayor and gives a speech that's like, basically,

642
00:36:26,680 --> 00:36:29,400
Speaker 1: we need you to send somebody to protect us because

643
00:36:29,440 --> 00:36:31,640
Speaker 1: I somehow already know about all the killings that are

644
00:36:31,640 --> 00:36:34,839
Speaker 1: going to take place for the rest of this movie. Well,

645
00:36:34,880 --> 00:36:37,520
Speaker 1: it's a small town, and and she's a sharp lady,

646
00:36:37,520 --> 00:36:40,000
Speaker 1: she's a professor. She knows she can tell what's coming.

647
00:36:40,200 --> 00:36:44,120
Speaker 1: The character's name is Elki or Elki or elka Ackerman.

648
00:36:45,800 --> 00:36:48,320
Speaker 1: And of course, the the fiddle player once again chimes

649
00:36:48,360 --> 00:36:50,600
Speaker 1: in He's like, you're right, young lady. These killings are

650
00:36:50,640 --> 00:36:53,799
Speaker 1: caused by Laurel. I she will need new victims. And

651
00:36:53,840 --> 00:36:55,840
Speaker 1: the mayor once again tells him to shut up. And

652
00:36:55,880 --> 00:36:58,920
Speaker 1: there was a very funny piece of staging here. So

653
00:36:59,000 --> 00:37:01,479
Speaker 1: he says, Laura rely will need new victims. The mayor

654
00:37:01,560 --> 00:37:04,799
Speaker 1: is like, shut up, and then he just pivots, like

655
00:37:04,880 --> 00:37:09,359
Speaker 1: he just turns ninety degrees and stops talking. I don't

656
00:37:09,400 --> 00:37:11,960
Speaker 1: know why that was very funny what it was like,

657
00:37:12,000 --> 00:37:14,719
Speaker 1: why the pivot? But anyway, so all the dudes in

658
00:37:14,760 --> 00:37:18,280
Speaker 1: the beer hall are immediately they hear um the beautiful

659
00:37:18,280 --> 00:37:20,719
Speaker 1: professor's pitch and they're all like, oh, yeah, I'll come

660
00:37:20,760 --> 00:37:23,799
Speaker 1: protect you miss. Does this mean I'm your boyfriend now?

661
00:37:24,320 --> 00:37:26,880
Speaker 1: And the mayor says, no, no, no, no, We're gonna

662
00:37:26,880 --> 00:37:29,520
Speaker 1: send you see Gurd. And he's better than all of

663
00:37:29,560 --> 00:37:32,720
Speaker 1: these dopes. He he is the most experienced hunter in town.

664
00:37:33,160 --> 00:37:37,239
Speaker 1: And oh boy, now we're gonna meet Segurd. Oh goodness, yeah,

665
00:37:37,239 --> 00:37:39,560
Speaker 1: this whole secret because okay, so we go to the

666
00:37:39,560 --> 00:37:43,600
Speaker 1: school and and and and instantly the soundtrack shifts to

667
00:37:43,640 --> 00:37:46,360
Speaker 1: this kind of funky jam, which I really like. That

668
00:37:46,480 --> 00:37:49,040
Speaker 1: lets you know that it's Uh, it's swinging. Good times

669
00:37:49,040 --> 00:37:51,919
Speaker 1: are coming. Yeah, it's a funky baseline boom. But do

670
00:37:51,920 --> 00:37:56,640
Speaker 1: Do Do Do? And the girls school, it's just where

671
00:37:56,680 --> 00:37:59,160
Speaker 1: like a lot of women hang out like by the pool,

672
00:37:59,280 --> 00:38:02,279
Speaker 1: playing volley ball and stuff. And there's the thing I

673
00:38:02,360 --> 00:38:06,000
Speaker 1: wanted to flag here about something that uh that Elkie

674
00:38:06,040 --> 00:38:09,359
Speaker 1: the character here is doing by the pool. I would say,

675
00:38:09,400 --> 00:38:12,000
Speaker 1: basically at least half of the scenes in this movie

676
00:38:12,040 --> 00:38:14,520
Speaker 1: in which there is a woman on screen, she's brushing

677
00:38:14,520 --> 00:38:17,880
Speaker 1: her hair. And at first this seemed like a bizarre

678
00:38:18,000 --> 00:38:21,160
Speaker 1: filmmaking tick, like I don't know, maybe the director is

679
00:38:21,200 --> 00:38:23,960
Speaker 1: just like, uh, oh, she should be brushing her hair.

680
00:38:24,360 --> 00:38:27,040
Speaker 1: But I think maybe it's actually not that. Maybe it

681
00:38:27,160 --> 00:38:31,440
Speaker 1: connects thematically to the Laureli myth, because isn't there something

682
00:38:31,520 --> 00:38:34,440
Speaker 1: in the legend about like a golden a golden hair

683
00:38:34,600 --> 00:38:37,880
Speaker 1: brush or something. There is, yea golden hair and a

684
00:38:37,960 --> 00:38:41,279
Speaker 1: golden comb. Yeah, looking at the a bit from the

685
00:38:41,320 --> 00:38:44,959
Speaker 1: poem here from Heinrich Kina, Um, there's a bit that's

686
00:38:45,239 --> 00:38:48,480
Speaker 1: that go. This is obviously translation, Um, the fairest of

687
00:38:48,560 --> 00:38:51,920
Speaker 1: maidens is sitting up there a beautiful delight. Her golden

688
00:38:52,000 --> 00:38:55,760
Speaker 1: jewels are shining. She's combing her golden hair. She holds

689
00:38:55,760 --> 00:39:00,120
Speaker 1: a golden comb, singing along as well and enthralling and

690
00:39:00,160 --> 00:39:03,480
Speaker 1: spell binding melody. Okay, so maybe that justifies it, but

691
00:39:03,520 --> 00:39:06,800
Speaker 1: I gotta still especially if you don't know that it's funny.

692
00:39:06,880 --> 00:39:09,800
Speaker 1: It's funny in the movie that Elkie here the professor

693
00:39:10,320 --> 00:39:14,040
Speaker 1: is just sitting by the pool and just brushing her hair. Yeah.

694
00:39:15,040 --> 00:39:17,279
Speaker 1: So they're having a great time, lots of giggling and

695
00:39:17,320 --> 00:39:20,160
Speaker 1: so forth. And then uh, we here and see the

696
00:39:20,200 --> 00:39:23,920
Speaker 1: motorcycle or arriving. Oh I also forgot. They're told the

697
00:39:23,960 --> 00:39:25,719
Speaker 1: hunters coming, and they're like, oh, yes, I'm sure it

698
00:39:25,760 --> 00:39:27,799
Speaker 1: will be a disgusting old man if he's such an

699
00:39:27,800 --> 00:39:31,919
Speaker 1: experienced hunter. And then room room, here comes Tony Kendall. Yeah,

700
00:39:31,920 --> 00:39:34,799
Speaker 1: he arrives, and it's instead, it's it's not an old man,

701
00:39:34,880 --> 00:39:38,879
Speaker 1: it's Elvis. And he's carrying a rifle. Uh. And he

702
00:39:39,080 --> 00:39:41,920
Speaker 1: rides his motorcycle up and he's wearing this outfit with

703
00:39:41,960 --> 00:39:44,799
Speaker 1: like the this cool white code and I think bell

704
00:39:44,920 --> 00:39:48,920
Speaker 1: bottoms and big wide collar shirt as as was the

705
00:39:49,080 --> 00:39:52,759
Speaker 1: style at the time. And uh and and everybody's like,

706
00:39:52,840 --> 00:39:57,320
Speaker 1: oh a man and he and so when when Elvis

707
00:39:57,360 --> 00:39:59,879
Speaker 1: comes up, the stairs. Here you can tell he has

708
00:40:00,040 --> 00:40:03,720
Speaker 1: many years of experience as a hunter because he's carrying

709
00:40:03,760 --> 00:40:06,600
Speaker 1: a rifle and he carries it with the barrel pointed

710
00:40:06,680 --> 00:40:10,120
Speaker 1: straight up at his own chin, and sometimes he he

711
00:40:10,200 --> 00:40:14,440
Speaker 1: will just like pointed at people during conversation. He basically

712
00:40:14,560 --> 00:40:17,359
Speaker 1: always has it pointed at a human. He might as

713
00:40:17,360 --> 00:40:20,359
Speaker 1: well be picking his teeth with the gun barrel. I

714
00:40:20,360 --> 00:40:22,839
Speaker 1: think in literally every scene where he has the gun,

715
00:40:23,200 --> 00:40:25,840
Speaker 1: he's holding it so it's either pointed at the person

716
00:40:25,880 --> 00:40:29,439
Speaker 1: he's talking to or at his own face. Now be fair, Joe,

717
00:40:29,480 --> 00:40:31,880
Speaker 1: And this one screenshot the included here in our notes,

718
00:40:32,280 --> 00:40:34,960
Speaker 1: he has his thumb over the end of the barrel everything.

719
00:40:35,440 --> 00:40:37,600
Speaker 1: That's like having the safety on. But also you can

720
00:40:37,680 --> 00:40:40,920
Speaker 1: look at him apart from the lack of gun safety knowledge,

721
00:40:40,960 --> 00:40:42,960
Speaker 1: you could just tell in your heart of hearts, this

722
00:40:43,000 --> 00:40:47,799
Speaker 1: man has never ever been hunting. But he informs us, Yes,

723
00:40:48,000 --> 00:40:50,840
Speaker 1: I am the master hunter. I've been hunting since I

724
00:40:50,920 --> 00:40:54,200
Speaker 1: was eleven, I think, is what he says. So we

725
00:40:54,320 --> 00:40:57,240
Speaker 1: just he started early. So he's great, even though again

726
00:40:57,480 --> 00:41:00,440
Speaker 1: we will never see him actually shoot anything with this rifle.

727
00:41:01,400 --> 00:41:04,680
Speaker 1: We just see him stalk around mostly since he was

728
00:41:04,960 --> 00:41:07,439
Speaker 1: eleven years old. He has been hunting for the best

729
00:41:07,480 --> 00:41:11,480
Speaker 1: disco in town. Yeah. He does have a real disco

730
00:41:11,600 --> 00:41:14,920
Speaker 1: Steve vibe going on here. It's pretty great. Yeah, So

731
00:41:15,120 --> 00:41:18,280
Speaker 1: they hire him. He promises to find and kill the

732
00:41:18,320 --> 00:41:22,040
Speaker 1: bear that has been removing people's hearts. Uh, though I

733
00:41:22,080 --> 00:41:24,440
Speaker 1: think this has only happened one time so far in

734
00:41:24,480 --> 00:41:28,120
Speaker 1: the movie, I don't know. Uh. And and from this

735
00:41:28,160 --> 00:41:30,239
Speaker 1: moment on, every scene at the school, like all the

736
00:41:30,239 --> 00:41:33,160
Speaker 1: women at the school are just like, Oh, Tony, Wow,

737
00:41:33,239 --> 00:41:35,360
Speaker 1: can I hold your bullets for you? They're they're just

738
00:41:35,440 --> 00:41:38,359
Speaker 1: gaga for him. Yeah. There's a wonderful scene later on

739
00:41:38,440 --> 00:41:42,280
Speaker 1: where it's nighttime, it's bedtime at the school and Tony

740
00:41:42,360 --> 00:41:47,560
Speaker 1: Kendall's out there walking around I think drinking, possibly smoking. Yeah,

741
00:41:47,600 --> 00:41:50,799
Speaker 1: And and we see like three different windows where the

742
00:41:50,840 --> 00:41:53,280
Speaker 1: students are preparing for bed and they're like making eyes

743
00:41:53,320 --> 00:41:55,719
Speaker 1: and winking at Tony Kendall out there, and he kind

744
00:41:55,719 --> 00:42:08,560
Speaker 1: of winks back at them. Come on, dude. So a

745
00:42:08,600 --> 00:42:10,920
Speaker 1: lot of the rest of the movie is Tony Kendall

746
00:42:11,040 --> 00:42:15,200
Speaker 1: wandering around looking for the quote bear, and then intercutting

747
00:42:15,280 --> 00:42:19,120
Speaker 1: this with scenes of of reptile attacks on random people.

748
00:42:19,239 --> 00:42:22,640
Speaker 1: So the reptile hand goes up on the wall, and

749
00:42:22,680 --> 00:42:25,719
Speaker 1: then and then it's in somebody's house. It's oh it's Carlos,

750
00:42:25,760 --> 00:42:29,359
Speaker 1: the fiance from the beginning, or oh it's the fiddle player. Uh,

751
00:42:29,400 --> 00:42:33,160
Speaker 1: and he's just killing all the random people. But I

752
00:42:33,200 --> 00:42:35,920
Speaker 1: would say there are several plot lines that continue throughout

753
00:42:35,920 --> 00:42:38,600
Speaker 1: the movie that we need to isolate and discuss individually.

754
00:42:38,760 --> 00:42:43,040
Speaker 1: So one is um, Tony Kendall's romance with Elkie the teacher.

755
00:42:43,880 --> 00:42:47,360
Speaker 1: One is Tony Kendall's romance with the Lorelai, and the

756
00:42:47,400 --> 00:42:52,359
Speaker 1: third is Tony Kendall's romance with a weird crank professor. Well,

757
00:42:52,400 --> 00:42:55,040
Speaker 1: I'm not sure that one's quite a romance, but it's

758
00:42:55,080 --> 00:42:58,200
Speaker 1: one of the great relationships of this motion picture. Yeah,

759
00:42:58,239 --> 00:43:00,759
Speaker 1: so let's let's maybe start at the end. Let's go

760
00:43:00,760 --> 00:43:04,840
Speaker 1: with the professor. So one day, Tony Kendall's out wandering

761
00:43:04,880 --> 00:43:09,160
Speaker 1: around in his in his white elvis costume. Uh, and

762
00:43:09,160 --> 00:43:12,040
Speaker 1: and he's in the forest and he ends up bumping

763
00:43:12,080 --> 00:43:15,640
Speaker 1: into this dude who's spying on him. As this guy

764
00:43:15,760 --> 00:43:18,200
Speaker 1: with like glasses and a goatee, he looks kind of

765
00:43:18,239 --> 00:43:23,960
Speaker 1: like a cross between like Colonel Sanders and Leon Trotsky. Yes, yeah,

766
00:43:24,040 --> 00:43:28,200
Speaker 1: he's poorly hiding in the bushes and like Kindall's character

767
00:43:28,280 --> 00:43:30,400
Speaker 1: cigarette like pulls him out. I was like, what are

768
00:43:30,400 --> 00:43:31,759
Speaker 1: you doing? What are you doing spying on me? And

769
00:43:31,800 --> 00:43:33,680
Speaker 1: he's like, oh no, no, I'll talk to you, just

770
00:43:33,719 --> 00:43:37,680
Speaker 1: ask me politely. Oh yeah. But so then he explains, basically,

771
00:43:37,880 --> 00:43:41,000
Speaker 1: I know what you're looking for. It's a monster, and

772
00:43:41,400 --> 00:43:43,160
Speaker 1: I'll take you back to my lab and show you

773
00:43:44,840 --> 00:43:47,200
Speaker 1: is so good. Oh it's a lab just full of

774
00:43:47,440 --> 00:43:51,919
Speaker 1: beakers and bubblings, and there's cages of all different kinds

775
00:43:51,920 --> 00:43:54,719
Speaker 1: of animals, and there's a sheep and a dog just

776
00:43:54,800 --> 00:43:57,600
Speaker 1: wandering around and there on their own. Yeah, and he

777
00:43:57,640 --> 00:44:00,760
Speaker 1: has scientists. So when he gets back, he's like, Okay,

778
00:44:00,840 --> 00:44:04,359
Speaker 1: I have scientifically proven the legend of the Lorelei by

779
00:44:04,400 --> 00:44:08,520
Speaker 1: doing experiments that would be condemned by the narrow minded academicians.

780
00:44:09,320 --> 00:44:12,400
Speaker 1: But but I know the truth. And so he demonstrates

781
00:44:12,480 --> 00:44:15,759
Speaker 1: the truth of the laurel I legend by he's just

782
00:44:15,840 --> 00:44:18,279
Speaker 1: got a jar that's got a hand in it. But

783
00:44:18,360 --> 00:44:21,560
Speaker 1: it's not like a it's a human hand. It's not

784
00:44:21,600 --> 00:44:24,560
Speaker 1: like preserved in formaldehyde or something. It's just a jar

785
00:44:24,719 --> 00:44:27,040
Speaker 1: on its side with a hand in it. So we

786
00:44:27,040 --> 00:44:28,640
Speaker 1: were like, did he get that at the like the

787
00:44:28,680 --> 00:44:32,200
Speaker 1: hands loose bulk section at the you know, like you

788
00:44:32,200 --> 00:44:36,040
Speaker 1: get the nuts at Whole Foods or something. Well, yeah,

789
00:44:36,040 --> 00:44:38,680
Speaker 1: I guess like that, Well we buried somebody else, but

790
00:44:38,719 --> 00:44:41,040
Speaker 1: we forgot to bury the hand. Could you use it

791
00:44:41,080 --> 00:44:43,160
Speaker 1: for science? And he's like, yes, yes, of course I could.

792
00:44:43,640 --> 00:44:47,800
Speaker 1: So he demonstrates the truth of the Lorelie legend by

793
00:44:47,920 --> 00:44:51,960
Speaker 1: getting a needle and injecting the hand, and then what

794
00:44:52,000 --> 00:44:53,799
Speaker 1: does he do? He does something to it and then

795
00:44:53,800 --> 00:44:57,440
Speaker 1: the hand transforms into a lizard hand from a human hand,

796
00:44:57,800 --> 00:45:01,080
Speaker 1: and he's like, uh, what did I miss something? Well,

797
00:45:01,760 --> 00:45:03,880
Speaker 1: you missed one thing in the movie, missed another thing.

798
00:45:03,920 --> 00:45:06,719
Speaker 1: So first he injects this hand with something and it's

799
00:45:06,719 --> 00:45:08,880
Speaker 1: not we don't know what this is like it this

800
00:45:08,920 --> 00:45:12,000
Speaker 1: seems like this would be vital to the whole the

801
00:45:12,040 --> 00:45:14,479
Speaker 1: whole situation, Like what did you inject into the hand?

802
00:45:14,920 --> 00:45:17,880
Speaker 1: We have no clue. But then he shines his special

803
00:45:18,320 --> 00:45:21,960
Speaker 1: moon lantern on the hand to that this is a

804
00:45:22,040 --> 00:45:26,880
Speaker 1: lantern that reproduces the exact energy and illumination of a

805
00:45:26,920 --> 00:45:30,880
Speaker 1: full moon. Right, so this is the where lizard moon concept.

806
00:45:32,000 --> 00:45:34,200
Speaker 1: And this said, we get to see this kind of

807
00:45:34,239 --> 00:45:38,560
Speaker 1: awful transformation sequence where this um, this dead human hand

808
00:45:38,840 --> 00:45:44,680
Speaker 1: becomes a dead lizard monster hand. Beautiful. And so he explains,

809
00:45:44,719 --> 00:45:48,439
Speaker 1: I think that this serum he injected, which I guess

810
00:45:48,520 --> 00:45:50,400
Speaker 1: is just natural to the lower lae. And then the

811
00:45:50,440 --> 00:45:55,640
Speaker 1: moonlight causes like an evolutionary reversion where the human reverts

812
00:45:55,680 --> 00:46:00,799
Speaker 1: back to their lizard ancestor okay, doki and then oh,

813
00:46:00,880 --> 00:46:03,759
Speaker 1: and then he's like, here's a radioactive knife and it's

814
00:46:03,800 --> 00:46:06,359
Speaker 1: the only thing that can kill the lord. Lie. Yeah,

815
00:46:06,360 --> 00:46:09,160
Speaker 1: he stabbed. Then he proceeds to stab the hand with

816
00:46:09,239 --> 00:46:13,440
Speaker 1: the radioactive knife, which makes it first revert to normal

817
00:46:13,560 --> 00:46:17,480
Speaker 1: human hand status, and then it melts to a mummy hand,

818
00:46:17,560 --> 00:46:19,239
Speaker 1: or we're told it will melt to a mummy hand,

819
00:46:19,239 --> 00:46:21,440
Speaker 1: and we see a mummy hand like nailed to the

820
00:46:21,480 --> 00:46:24,799
Speaker 1: wall overhead. So you know, he's already got all the

821
00:46:24,800 --> 00:46:27,600
Speaker 1: material together. He's getting ready to publish. This will get

822
00:46:27,680 --> 00:46:31,960
Speaker 1: him tenure, yes, But Tony Kendall's character is just like like, oh,

823
00:46:32,000 --> 00:46:34,279
Speaker 1: that's great, yeah, this one, Like he's not buying into it.

824
00:46:34,560 --> 00:46:37,359
Speaker 1: He's just kind of putting up with this explanation. Yeah,

825
00:46:37,440 --> 00:46:41,080
Speaker 1: don't don't you hate this nerd. By the way, later

826
00:46:41,239 --> 00:46:44,799
Speaker 1: this this crank professor will be whipped to death by

827
00:46:44,800 --> 00:46:48,800
Speaker 1: the Laurel and her henchman. Yes, because and I believe

828
00:46:48,840 --> 00:46:51,080
Speaker 1: he rats her out to the Lord Lie. He's like, oh, yeah,

829
00:46:51,080 --> 00:46:53,080
Speaker 1: there's a scientist in town. He thinks he's figuring out

830
00:46:53,080 --> 00:46:55,279
Speaker 1: your secret and he's gonna kill you or something. And

831
00:46:55,320 --> 00:46:59,160
Speaker 1: she's like, oh really, oh that's right, Yes, Tony Kendall,

832
00:46:59,280 --> 00:47:05,080
Speaker 1: He totally he basically sends her after the scientist. Yeah, okay,

833
00:47:05,120 --> 00:47:08,480
Speaker 1: so there's that. The second one is Tony Kendall's romance

834
00:47:08,520 --> 00:47:12,800
Speaker 1: with Elkie. So again, she's she's the teacher at the school.

835
00:47:12,960 --> 00:47:16,680
Speaker 1: She's she's basically the disapproving schoolmarm who does not like

836
00:47:16,800 --> 00:47:20,640
Speaker 1: Segurd one bit, except that, of course she is uncontrollably

837
00:47:20,680 --> 00:47:23,840
Speaker 1: attracted to him. And there's the scenes where she you know,

838
00:47:24,040 --> 00:47:26,560
Speaker 1: she they they say he has to sleep in the

839
00:47:26,600 --> 00:47:31,160
Speaker 1: moldy garage while he's guarding the school, and she comes

840
00:47:31,160 --> 00:47:33,160
Speaker 1: in like bangs on the door of the garage and

841
00:47:33,200 --> 00:47:35,480
Speaker 1: he gets out of bed and he's all like shirtless,

842
00:47:35,520 --> 00:47:39,680
Speaker 1: and she's like wow, and they have some kind of

843
00:47:39,760 --> 00:47:42,160
Speaker 1: argument about something, but they end up romancing. Of course,

844
00:47:42,440 --> 00:47:44,600
Speaker 1: there's also the scene where he showed like he had

845
00:47:44,600 --> 00:47:46,840
Speaker 1: the funky music starts playing and he's showing up with

846
00:47:46,880 --> 00:47:48,800
Speaker 1: a towel and she's like, what do you think you're doing.

847
00:47:48,840 --> 00:47:51,000
Speaker 1: And he's like, I'm gonna go swim with the students

848
00:47:51,400 --> 00:47:54,680
Speaker 1: and she's like no, no, you absolutely cannot do that.

849
00:47:55,040 --> 00:47:57,600
Speaker 1: And he's like, okay, I'll go bathe in the marsh.

850
00:47:57,800 --> 00:47:59,880
Speaker 1: That's right. So they send him to bathe in the marsh.

851
00:48:00,160 --> 00:48:02,560
Speaker 1: That gets us into the final plot line, which is

852
00:48:02,600 --> 00:48:05,880
Speaker 1: the romance with Laurela. So yeah, so he's got to

853
00:48:05,920 --> 00:48:08,480
Speaker 1: go bathe in the marsh. And the marsh, by the way,

854
00:48:09,160 --> 00:48:12,439
Speaker 1: you're not getting cleaner by getting in this water. Now,

855
00:48:12,480 --> 00:48:16,160
Speaker 1: this is this is a little very loathsome environment, but

856
00:48:16,440 --> 00:48:18,240
Speaker 1: it works well. If it's going to be a place

857
00:48:18,280 --> 00:48:21,680
Speaker 1: haunted by some sort of weird grind maiden, this this

858
00:48:21,760 --> 00:48:24,800
Speaker 1: is it. Yeah, So he goes down to the marsh

859
00:48:24,960 --> 00:48:28,200
Speaker 1: and there he sees the creepy lady who has been

860
00:48:28,200 --> 00:48:30,480
Speaker 1: showing up at the funerals and who I think he

861
00:48:30,680 --> 00:48:33,560
Speaker 1: chased off of the school premises at night one time.

862
00:48:34,960 --> 00:48:37,000
Speaker 1: So she's just hanging out there in like a green

863
00:48:37,120 --> 00:48:41,040
Speaker 1: bikini and then uh, she runs off to a shack

864
00:48:41,239 --> 00:48:43,760
Speaker 1: and he goes into the shack and they start talking,

865
00:48:44,560 --> 00:48:47,520
Speaker 1: and I don't even remember what they talk about. Is.

866
00:48:47,800 --> 00:48:50,120
Speaker 1: I think she's basically like, well, I'm the Laurel, and

867
00:48:50,160 --> 00:48:52,640
Speaker 1: then he's like, I love you, and then you're in love.

868
00:48:53,440 --> 00:48:56,640
Speaker 1: But then we then she just she kind of peters out,

869
00:48:56,760 --> 00:48:58,560
Speaker 1: you know, she she just kind of goes to sleep

870
00:48:58,600 --> 00:49:01,879
Speaker 1: there in the shed. And who shows up to take

871
00:49:01,920 --> 00:49:06,400
Speaker 1: her away? Well, it's her Hinchman Alberi um or or

872
00:49:06,520 --> 00:49:09,160
Speaker 1: might think of him to his Albrecht. And I'm not

873
00:49:09,160 --> 00:49:11,680
Speaker 1: not sure if it's really revealed here, Like first of all,

874
00:49:12,040 --> 00:49:15,040
Speaker 1: when he collects her, he takes her back to the water,

875
00:49:15,080 --> 00:49:17,520
Speaker 1: back to the Rhine and just walks into the water

876
00:49:17,640 --> 00:49:22,080
Speaker 1: with her, take her down into the depths. And then

877
00:49:22,280 --> 00:49:25,920
Speaker 1: later on it is revealed that not only is is

878
00:49:25,960 --> 00:49:30,080
Speaker 1: he her you know, potentially supernatural Hinchman, he is one

879
00:49:30,080 --> 00:49:32,960
Speaker 1: of the Niba lung He is a dwarf, and in fact,

880
00:49:33,040 --> 00:49:36,000
Speaker 1: in the work The Song of the Nible Lungs, there

881
00:49:36,120 --> 00:49:38,319
Speaker 1: is a dwarf character by the name of Albarek who

882
00:49:38,360 --> 00:49:41,480
Speaker 1: is the guardian of the Nibu Lungs treasure, and he

883
00:49:41,560 --> 00:49:45,080
Speaker 1: has both superhuman strength and a cloak of invisibility, uh,

884
00:49:45,280 --> 00:49:48,560
Speaker 1: neither of which are really featured into this picture. Um,

885
00:49:48,640 --> 00:49:52,600
Speaker 1: but you do see various artistic renderings of this character.

886
00:49:52,760 --> 00:49:54,719
Speaker 1: He has a bull whip, so it's a dwarf with

887
00:49:54,760 --> 00:49:58,400
Speaker 1: a bull whip. Um. And Ian Wagner's the Ring of

888
00:49:58,400 --> 00:50:00,400
Speaker 1: the nibble Lung. He is the lord part of the

889
00:50:00,440 --> 00:50:05,520
Speaker 1: Nibelung and the opera's primary antagonist. Now in Wagner, does

890
00:50:05,560 --> 00:50:08,719
Speaker 1: he use the whip to kill a meddling crank scientist.

891
00:50:09,560 --> 00:50:11,839
Speaker 1: I think so, yeah, I think that's that's straight out

892
00:50:11,840 --> 00:50:15,960
Speaker 1: of so he Yeah. So Louise here, Luis Barbou carries

893
00:50:16,040 --> 00:50:18,200
Speaker 1: her down into the water, and so it became it

894
00:50:18,239 --> 00:50:21,080
Speaker 1: becomes clear she has an underwater layer. There's like a

895
00:50:21,120 --> 00:50:25,120
Speaker 1: grotto underneath the marsh where she lives, and so Tony

896
00:50:25,239 --> 00:50:28,440
Speaker 1: Kendall ultimately has to go face her in the grotto,

897
00:50:28,440 --> 00:50:30,480
Speaker 1: which he does by putting on a speedo with a

898
00:50:30,560 --> 00:50:34,880
Speaker 1: belt and uh and going scuba diving down lake. Gotta

899
00:50:34,880 --> 00:50:37,640
Speaker 1: have gotta You can't just tuck that radioactive knife into

900
00:50:37,680 --> 00:50:40,560
Speaker 1: the front of your speedo. Oh, that's right. So he

901
00:50:40,640 --> 00:50:44,520
Speaker 1: scuba's down to the grotto and you know what, this

902
00:50:44,560 --> 00:50:47,200
Speaker 1: movie had a lot of I would say budget and

903
00:50:47,239 --> 00:50:51,719
Speaker 1: aesthetic limitations, but the grotto set is wonderful shot. This

904
00:50:51,719 --> 00:50:54,640
Speaker 1: place looks great. It looks like a kind of like

905
00:50:54,680 --> 00:50:58,640
Speaker 1: a Romanesque church underneath the water, and there's like moss

906
00:50:58,680 --> 00:51:01,600
Speaker 1: on everything, and it is very old. So this must

907
00:51:01,600 --> 00:51:04,160
Speaker 1: have been well, actually, I don't know. I can't tell

908
00:51:04,200 --> 00:51:05,960
Speaker 1: that this is a good set or if this is

909
00:51:06,000 --> 00:51:08,680
Speaker 1: an actual location. Yeah. I wasn't sure if this was

910
00:51:08,719 --> 00:51:12,319
Speaker 1: even perhaps the same location that was used in some

911
00:51:12,400 --> 00:51:14,719
Speaker 1: of the Tomb of the Blind Dead movies, because they

912
00:51:14,760 --> 00:51:17,360
Speaker 1: often had locations that looked like the sets or locations

913
00:51:17,360 --> 00:51:19,440
Speaker 1: that looked like this. So so I wouldn't be surprised

914
00:51:19,440 --> 00:51:21,839
Speaker 1: if it was at least double or triple dipping here

915
00:51:21,920 --> 00:51:25,560
Speaker 1: when it came to locations. Yeah. So Tony Kendall scuba's

916
00:51:25,600 --> 00:51:28,359
Speaker 1: down to the grotto in in his speedo. But then

917
00:51:28,440 --> 00:51:32,640
Speaker 1: it's funny that when he shows up, Luis Barbou is like, here,

918
00:51:32,719 --> 00:51:34,920
Speaker 1: I I've got some clothes for you to wear, but

919
00:51:35,120 --> 00:51:38,399
Speaker 1: this on a cape and stuff. You can't come into

920
00:51:38,400 --> 00:51:42,279
Speaker 1: the presence of the Treasures of the Nibelung dressed in that.

921
00:51:42,960 --> 00:51:45,279
Speaker 1: And so the I think, given this red cape and all,

922
00:51:45,280 --> 00:51:48,120
Speaker 1: it's wonderful, let's see and she she basically explains the

923
00:51:48,120 --> 00:51:50,000
Speaker 1: whole deal to him, right, what does she what does

924
00:51:50,040 --> 00:51:53,200
Speaker 1: she say? Well, she's she is the daughter of voting,

925
00:51:53,560 --> 00:51:58,600
Speaker 1: the you know, the Germanic of wagner esque version of Odin.

926
00:51:59,080 --> 00:52:02,440
Speaker 1: So she is the honor of a god. She hangs

927
00:52:02,520 --> 00:52:05,080
Speaker 1: that she's not really the guardian of the treasure, that

928
00:52:05,080 --> 00:52:08,600
Speaker 1: that's Albret's job. But but she lives here with the treasure.

929
00:52:08,800 --> 00:52:12,080
Speaker 1: Most of the time she is just asleep. But during

930
00:52:12,120 --> 00:52:15,640
Speaker 1: the the seven nights of both in every you know,

931
00:52:15,960 --> 00:52:18,759
Speaker 1: however many centuries, she has to come up, transform into

932
00:52:18,800 --> 00:52:22,040
Speaker 1: a monster, take on this second nature, kill people, rip

933
00:52:22,080 --> 00:52:24,600
Speaker 1: out their hearts, consume their hearts so that she can

934
00:52:24,640 --> 00:52:28,200
Speaker 1: go back to sleep. Okay, yeah, so every few hundred

935
00:52:28,239 --> 00:52:31,680
Speaker 1: years she wakes up with the full moon, turns into

936
00:52:31,719 --> 00:52:35,040
Speaker 1: a lizard, kills people, takes their hearts, then goes back

937
00:52:35,080 --> 00:52:38,320
Speaker 1: to sleep, and eventually she'll get to take a hunk

938
00:52:38,400 --> 00:52:42,120
Speaker 1: with her to Valhalla. Yes, yeah, because ultimately hurt. The

939
00:52:42,160 --> 00:52:44,279
Speaker 1: whole thing is like, look, I don't feel bad about

940
00:52:44,320 --> 00:52:46,560
Speaker 1: what I did. That's just my second nature. You can't

941
00:52:46,600 --> 00:52:49,120
Speaker 1: blame me for that. Uh, and you can't stop me.

942
00:52:49,280 --> 00:52:51,200
Speaker 1: But here's the fun part. You don't have to stop me.

943
00:52:51,400 --> 00:52:54,440
Speaker 1: You can just stay here with me forever and yeah,

944
00:52:54,480 --> 00:52:57,240
Speaker 1: and we'll look you know, rule in Valhalla and so forth.

945
00:52:57,520 --> 00:52:59,880
Speaker 1: So she makes a strong case. Yeah, she says, I

946
00:53:00,000 --> 00:53:02,719
Speaker 1: will make you. I will make you eternal and powerful.

947
00:53:02,880 --> 00:53:06,239
Speaker 1: Right yeah, so yes, So cigarette has a has a

948
00:53:06,320 --> 00:53:08,640
Speaker 1: choice to make here, uh, and we'll just have to

949
00:53:08,640 --> 00:53:11,640
Speaker 1: see which side he h he goes with. Well, I

950
00:53:11,640 --> 00:53:15,279
Speaker 1: think he gets like hypnotized by a crystal or something, right, Oh, well, yeah,

951
00:53:15,280 --> 00:53:17,520
Speaker 1: she does whip out a crystal, one of the gems

952
00:53:17,520 --> 00:53:19,440
Speaker 1: of the Niba lung there, and she's using that to

953
00:53:19,880 --> 00:53:23,000
Speaker 1: sort of hypnotize him. But he was already at least

954
00:53:23,040 --> 00:53:26,680
Speaker 1: interested in this proposal anyway. Tony Kendall doesn't take a

955
00:53:26,680 --> 00:53:30,239
Speaker 1: lot of hypnotizing before he will before he's ready to

956
00:53:30,600 --> 00:53:34,040
Speaker 1: follow a lady to Valhalla. But they put him under basically,

957
00:53:34,200 --> 00:53:37,719
Speaker 1: and then um Albert comes back out and he's like,

958
00:53:37,880 --> 00:53:39,880
Speaker 1: you know, this isn't gonna work. He's in love with

959
00:53:39,920 --> 00:53:43,560
Speaker 1: somebody back there. I saw them making out. And she's like, well,

960
00:53:43,600 --> 00:53:45,759
Speaker 1: what I have to do is while he's out here,

961
00:53:45,960 --> 00:53:47,920
Speaker 1: chain him up or something. I'm gonna go up. I'll

962
00:53:48,000 --> 00:53:51,000
Speaker 1: kill the other woman and then I'll be the only choice.

963
00:53:51,239 --> 00:53:54,520
Speaker 1: Problem solved. Laura la that is cold, that is that

964
00:53:54,680 --> 00:53:57,520
Speaker 1: is cold and nasty. Yeah, so they leave him chained up,

965
00:53:57,520 --> 00:54:00,640
Speaker 1: but then he escapes because he's such a hunk that

966
00:54:00,800 --> 00:54:03,360
Speaker 1: all of the Rhyan maidens are like, he'll be mine,

967
00:54:03,480 --> 00:54:06,480
Speaker 1: and they unchain him, and then they started fighting over him.

968
00:54:06,960 --> 00:54:08,760
Speaker 1: That's the other thing she had down in the grotto.

969
00:54:08,880 --> 00:54:13,080
Speaker 1: She has these three assistants, female assistants, and these are

970
00:54:13,200 --> 00:54:16,560
Speaker 1: the Rhine Maidens. While they're not in the Old Norse

971
00:54:16,960 --> 00:54:20,399
Speaker 1: it does, they do appear in Wagner's Um the ring Dust,

972
00:54:21,600 --> 00:54:25,240
Speaker 1: and so they're a common feature in the opera of Wagner,

973
00:54:25,520 --> 00:54:27,880
Speaker 1: but also in some of the illustrations. So, for instance,

974
00:54:27,920 --> 00:54:33,120
Speaker 1: author Rockham did you know, wonderful illustrations of various fairy

975
00:54:33,200 --> 00:54:36,480
Speaker 1: type creatures, and so he did illustrations of both Albrich

976
00:54:36,520 --> 00:54:39,200
Speaker 1: the dwarf with his bull whip, and also he did

977
00:54:39,239 --> 00:54:41,480
Speaker 1: illustrations of the three Rhine Maidens. So if you're a

978
00:54:41,480 --> 00:54:45,560
Speaker 1: Wagner fan, you're you're very familiar with these characters. But yeah,

979
00:54:45,600 --> 00:54:47,400
Speaker 1: they end up squabbling over him, which I guess is

980
00:54:48,000 --> 00:54:51,240
Speaker 1: is a common trope. Whenever you have a trio of

981
00:54:51,239 --> 00:54:54,239
Speaker 1: of monsters that are guarding over somebody, you know, be

982
00:54:54,320 --> 00:54:57,880
Speaker 1: they trolls or witches. Uh, they're gonna end up squabbling

983
00:54:57,920 --> 00:55:00,320
Speaker 1: and that's gonna allow your hero to escape or am

984
00:55:00,600 --> 00:55:03,560
Speaker 1: I don't think he slays that well he I guess

985
00:55:03,560 --> 00:55:07,120
Speaker 1: he does indirectly, Yeah, he so he they they're fighting

986
00:55:07,120 --> 00:55:10,440
Speaker 1: over him, and he escapes and then he chucks a

987
00:55:10,480 --> 00:55:13,760
Speaker 1: bomb down to blow up the grotto. Yep, so blows

988
00:55:13,840 --> 00:55:18,120
Speaker 1: up the rhine maidens, the dwarf as well as the treasure.

989
00:55:18,640 --> 00:55:22,160
Speaker 1: So everything gets destroyed. Now then now there's no layer

990
00:55:22,400 --> 00:55:25,520
Speaker 1: for our our monster. So Laurel is running up to

991
00:55:25,560 --> 00:55:28,320
Speaker 1: attack Elkie and and Tony Kendall's got to go safer,

992
00:55:28,360 --> 00:55:31,640
Speaker 1: and he brings along the radioactive knife. And I don't

993
00:55:31,640 --> 00:55:33,759
Speaker 1: think there's too much surprising about here. He basically just

994
00:55:33,800 --> 00:55:36,959
Speaker 1: like stabs the monster with the radioactive knife. She's like no,

995
00:55:37,239 --> 00:55:40,399
Speaker 1: and then she turns back into the human version, and

996
00:55:40,440 --> 00:55:43,640
Speaker 1: then she transforms into a skeleton and then into a

997
00:55:43,680 --> 00:55:48,040
Speaker 1: photo negative, like a photo negative ghost of herself, hauntingly

998
00:55:48,480 --> 00:55:51,440
Speaker 1: telling him that I'll be waiting for you in Valhalla.

999
00:55:51,600 --> 00:55:54,279
Speaker 1: And it's actually kind of ends on a haunting note

1000
00:55:54,320 --> 00:55:57,800
Speaker 1: here where he's he's sort of gazing into the distance

1001
00:55:57,840 --> 00:56:01,680
Speaker 1: hearing this hearing her promise, but also the other love interest,

1002
00:56:01,760 --> 00:56:05,480
Speaker 1: the survivor um from the school, like she's showing up

1003
00:56:05,480 --> 00:56:08,399
Speaker 1: as well, And so he's still torn between worlds here

1004
00:56:09,040 --> 00:56:11,160
Speaker 1: which is the love of true love of his life?

1005
00:56:11,239 --> 00:56:13,480
Speaker 1: Is it the life here on earth with this woman

1006
00:56:13,840 --> 00:56:17,480
Speaker 1: or is it the life the afterlife in Valhalla with

1007
00:56:17,680 --> 00:56:21,080
Speaker 1: his his monstrous bride from another realm? Would it be

1008
00:56:21,080 --> 00:56:25,040
Speaker 1: better to love a lizard of another plane? And then

1009
00:56:25,080 --> 00:56:27,520
Speaker 1: we get that wonderful choral piece at the end playing

1010
00:56:27,520 --> 00:56:30,479
Speaker 1: over everything. So I have to say, solid monster. Maybe

1011
00:56:30,520 --> 00:56:33,960
Speaker 1: I really enjoyed this point. Okay, you know it's got

1012
00:56:33,960 --> 00:56:36,440
Speaker 1: it's got everything. You got the the wonky science, You've

1013
00:56:36,480 --> 00:56:40,799
Speaker 1: got all these uh these allusions to to to mythology

1014
00:56:40,880 --> 00:56:46,040
Speaker 1: and Wagner, You've you've got the the the wonky monster

1015
00:56:46,120 --> 00:56:49,160
Speaker 1: cost costume. You have some fun performances. Uh. And I

1016
00:56:49,239 --> 00:56:51,319
Speaker 1: don't like the music. I don't think i'd say it's

1017
00:56:51,320 --> 00:56:54,240
Speaker 1: a good movie, but it's I love the ridiculous romance,

1018
00:56:54,320 --> 00:56:57,279
Speaker 1: I love the crank. It's it's got all that going

1019
00:56:57,320 --> 00:56:59,879
Speaker 1: for it. And uh and you know, the monster is bad,

1020
00:57:00,120 --> 00:57:03,439
Speaker 1: but it's pretty fun when the scientist is bullwhipped to death,

1021
00:57:03,520 --> 00:57:06,120
Speaker 1: and of course causes acid to fall off of the

1022
00:57:06,160 --> 00:57:09,600
Speaker 1: desk of the scientists onto his face, and so he

1023
00:57:09,680 --> 00:57:12,400
Speaker 1: gets he gets properly melted like that. I wanted to

1024
00:57:12,400 --> 00:57:15,120
Speaker 1: mention that as well. Oh yeah, I just remember that.

1025
00:57:16,320 --> 00:57:18,400
Speaker 1: There's also a great scene where when when he when

1026
00:57:18,480 --> 00:57:22,120
Speaker 1: Kendall's character first arrives in the grotto, Um, she looks

1027
00:57:22,160 --> 00:57:25,000
Speaker 1: she's on her throne waiting for him, and uh and

1028
00:57:25,000 --> 00:57:28,200
Speaker 1: and Albrett looks over at the Laura lie and she

1029
00:57:28,240 --> 00:57:30,560
Speaker 1: gives him a look like he's like, should I whip

1030
00:57:30,640 --> 00:57:32,680
Speaker 1: him to death? And Laura lies like no, no, no no,

1031
00:57:32,880 --> 00:57:36,800
Speaker 1: let him talk first. He's like all right, all right.

1032
00:57:36,920 --> 00:57:40,560
Speaker 1: So that is the laurelized grasp. UM. If you want

1033
00:57:40,560 --> 00:57:42,920
Speaker 1: to watch this movie as well as of this recording,

1034
00:57:43,000 --> 00:57:45,800
Speaker 1: there is a version available for digital renteror purchase in

1035
00:57:45,840 --> 00:57:49,760
Speaker 1: the United States on on Prime UH. This version is

1036
00:57:49,800 --> 00:57:52,160
Speaker 1: English dub only, and I think the video quality is

1037
00:57:52,200 --> 00:57:54,439
Speaker 1: also a cup below what you get on the Blu Ray,

1038
00:57:54,880 --> 00:57:57,960
Speaker 1: but it's also still very watchable. And I and the

1039
00:57:58,040 --> 00:58:00,320
Speaker 1: dubs in this case that the dub is not a

1040
00:58:00,400 --> 00:58:04,240
Speaker 1: drastically different experience compared to the subtitles. So I watched

1041
00:58:04,240 --> 00:58:08,080
Speaker 1: it the first time through UH with the with the

1042
00:58:08,160 --> 00:58:10,880
Speaker 1: dubbed prime version, but then I rented it on Blu

1043
00:58:10,960 --> 00:58:14,960
Speaker 1: ray from Video Drome and this is from a Shout factory.

1044
00:58:15,000 --> 00:58:18,360
Speaker 1: Their screen factory imprint a double feature Blu ray that

1045
00:58:18,440 --> 00:58:23,280
Speaker 1: also features is The Night of the Sorcerers, also by Diasaio.

1046
00:58:23,720 --> 00:58:26,040
Speaker 1: But I believe there are also some international standalone blue

1047
00:58:26,080 --> 00:58:27,640
Speaker 1: rays of this film as well. But anyway that the

1048
00:58:27,680 --> 00:58:31,160
Speaker 1: blue that we watch certainly has better picture quality, has

1049
00:58:31,200 --> 00:58:33,800
Speaker 1: the option for the original Spanish language track, and also

1050
00:58:33,840 --> 00:58:36,919
Speaker 1: a few extra features. I just made a connection which

1051
00:58:36,960 --> 00:58:39,360
Speaker 1: is one of my least favorite things about the movie,

1052
00:58:39,440 --> 00:58:42,760
Speaker 1: the going on way too long and too loud screaming scenes.

1053
00:58:43,360 --> 00:58:45,800
Speaker 1: One of the alternate titles of this film when it

1054
00:58:45,880 --> 00:58:48,080
Speaker 1: was released in the United States was I think it

1055
00:58:48,160 --> 00:58:53,200
Speaker 1: was called Till the Screaming Stops. Yeah, not as good

1056
00:58:53,200 --> 00:58:57,960
Speaker 1: of a title, but I can understand maybe some folks

1057
00:58:58,000 --> 00:59:01,440
Speaker 1: having trouble with the lower a Lie title. You know,

1058
00:59:01,480 --> 00:59:03,560
Speaker 1: the Laura Lie, despite what the musician tells us. The

1059
00:59:03,640 --> 00:59:06,240
Speaker 1: musician tells us at one point like people already all

1060
00:59:06,240 --> 00:59:08,600
Speaker 1: around the world know the story of the Laura Lie. Yeah,

1061
00:59:08,640 --> 00:59:11,000
Speaker 1: I don't think they necessarily do. You can imagine where

1062
00:59:11,000 --> 00:59:14,000
Speaker 1: people are like our people on street going to know

1063
00:59:14,080 --> 00:59:17,840
Speaker 1: what a laurel Ie is when they're looking at what's playing. Um,

1064
00:59:17,880 --> 00:59:20,880
Speaker 1: maybe not until the screaming stops, though everybody knows what

1065
00:59:20,960 --> 00:59:24,680
Speaker 1: screaming is, and it does, it does deliver. It says, hey,

1066
00:59:24,680 --> 00:59:26,640
Speaker 1: this movie will have a lot of screaming, and it

1067
00:59:26,680 --> 00:59:29,560
Speaker 1: will it will test your patients right right, and it

1068
00:59:29,760 --> 00:59:31,760
Speaker 1: makes it seem like it's just gonna be a murder film.

1069
00:59:31,800 --> 00:59:33,640
Speaker 1: But of course it's more than that. It is a romance.

1070
00:59:33,640 --> 00:59:36,440
Speaker 1: It is a monster movie. It is the tale of

1071
00:59:37,360 --> 00:59:41,800
Speaker 1: dwarves whipping scientists to death. It has it all all right,

1072
00:59:41,840 --> 00:59:43,480
Speaker 1: We're gonna go ahead and close this one out. But

1073
00:59:43,480 --> 00:59:45,640
Speaker 1: we'd love to hear from everyone out there, certainly anybody

1074
00:59:45,640 --> 00:59:49,040
Speaker 1: else who's seen the Laureaized Grasp, but also if you

1075
00:59:49,120 --> 00:59:53,880
Speaker 1: have experience in Germanic mythology, the works of Wagner German

1076
00:59:54,240 --> 00:59:57,240
Speaker 1: romanticism from the nineteenth century, and want to chime in

1077
00:59:57,280 --> 00:59:59,280
Speaker 1: on any of this, Uh do so, we'd love to

1078
00:59:59,320 --> 01:00:01,600
Speaker 1: hear from you. If you just have experience with the Ryan,

1079
01:00:01,680 --> 01:00:05,680
Speaker 1: if you've seen the laurela rock and question, uh, let

1080
01:00:05,760 --> 01:00:08,040
Speaker 1: us know as well. We we love that kind of

1081
01:00:08,040 --> 01:00:11,680
Speaker 1: firsthand information and feedback, and if you want to catch

1082
01:00:11,680 --> 01:00:14,520
Speaker 1: other episodes of Weird House Cinema, you know where to

1083
01:00:14,560 --> 01:00:17,000
Speaker 1: find them. Every Friday and the Stuff to Blow Your

1084
01:00:17,000 --> 01:00:20,400
Speaker 1: Mind podcast feed were primarily a science podcast, but on

1085
01:00:20,440 --> 01:00:23,800
Speaker 1: Friday's we've put aside most serious concerns and just talk

1086
01:00:23,840 --> 01:00:26,720
Speaker 1: about a strange film. Huge thanks, as always to our

1087
01:00:26,720 --> 01:00:30,080
Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like

1088
01:00:30,120 --> 01:00:32,480
Speaker 1: to get in touch with us with feedback on this

1089
01:00:32,520 --> 01:00:35,040
Speaker 1: episode or any other, to suggest a topic for the future,

1090
01:00:35,080 --> 01:00:37,080
Speaker 1: or just to say hello, you can email us at

1091
01:00:37,160 --> 01:00:47,320
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

1092
01:00:47,320 --> 01:00:49,520
Speaker 1: to Blow Your Mind is production of I Heart Radio.

1093
01:00:49,880 --> 01:00:52,200
Speaker 1: For more podcasts my Heart Radio, visit the i heart

1094
01:00:52,280 --> 01:00:55,000
Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

1095
01:00:55,000 --> 01:00:55,720
Speaker 1: favorite shows.