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

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Speaker 2: Hey, welcome to Weird House Cinema.

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

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Speaker 3: today we are going to be discussing a cult classic,

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Speaker 3: the nineteen sixty five let's see, what would you call it?

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Speaker 3: The Go Go murder exploitation film Faster Pussycat Kill Kill.

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Speaker 3: I think I'm to understand a favorite of many filmmakers.

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Speaker 2: Yeah, especially a filmmaker John Waters. He is the ultimate

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Speaker 2: champion of this film. And I'm going to be touching

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Speaker 2: in on his thoughts regarding this film several times, especially

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Speaker 2: in the run up to the plot here. But yeah,

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Speaker 2: this is a very well known cult classic film. And

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Speaker 2: as we are approaching the Halloween season here, Joe, when

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Speaker 2: I had this discussion, like, well, maybe we should we

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Speaker 2: should have avoid doing horror movies until we get either

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Speaker 2: to October itself or right to the edge of October,

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Speaker 2: so as to enhance the punch of all that horror.

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Speaker 2: So last week we did The Man Who Fell to

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Speaker 2: Earth science fiction drama, and this week, yeah, it is

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Speaker 2: basically a crime yarn, a sixties go go dancer desert

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Speaker 2: crime movie.

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Speaker 3: What brought you to this pic, rub, you know, I

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Speaker 3: don't remember specifically.

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Speaker 2: It's one of those that I've always been aware of,

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Speaker 2: just because it does have a its B cinema cult

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Speaker 2: following footprint firmly. It was more of a bootprint firmly implanet,

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Speaker 2: you know, in the face of the American public. So

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Speaker 2: I've always been vaguely aware of it, and I've heard

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Speaker 2: samples from it, seen some stills from it, but I've

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Speaker 2: never watched it in its entirety. And yeah, I think

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Speaker 2: I was just I did a quick brainstorm. It's like,

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Speaker 2: what's something that doesn't have horror, What's something even further

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Speaker 2: doesn't have a speculative element at all that would still

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Speaker 2: fit the profile for weird house cinema. And I was like, oh, well,

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Speaker 2: it's got to be faster. Pussycat Kill Kill.

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Speaker 3: I had never seen this movie before a couple of

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Speaker 3: days ago, and I was very impressed by it in

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Speaker 3: multiple respects. But one of the ways it impressed me

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Speaker 3: was how entertaining it is for a B movie. Now,

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Speaker 3: we love B movies, but a common problem with a

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Speaker 3: lot of B movies is that they they often have

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Speaker 3: dull stretches. Not all but a lot. You often get

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Speaker 3: the sense that, like, you know, a B movie director

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Speaker 3: is trying to like work up to the monster scene

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Speaker 3: and that's really what they're excited about, and they're like, Okay,

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Speaker 3: before we do that, we got to have like a

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Speaker 3: love scene here. We gotta have like a character explaining

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Speaker 3: how the monster was made to kind of dry, you know,

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Speaker 3: a scientist explaining the origin of the monster whatever. And

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Speaker 3: these scenes feel kind of perfunctory. It's just like they're

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Speaker 3: even the director is not very excited about them. They're

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Speaker 3: just trying to get through them to show you the

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Speaker 3: stuff that's that you're really here for. This film was

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Speaker 3: made with the idea, yeah, clearly that every moment should

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Speaker 3: be thrilling and entertaining in some way, even when it's

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Speaker 3: just kind of routine plot execution or just exposition that's

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Speaker 3: setting up later scenes. The script is written in such

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Speaker 3: a way that, like every line a character says is

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Speaker 3: weird in a way that makes the scene entertaining. Like

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Speaker 3: I think the sensibility that russ Meyer and from what

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Speaker 3: I've read, russ Meyer to a great extent credits one

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Speaker 3: of the main cast members Tasatana as also being a

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Speaker 3: sort of a truth not just a member of the cast,

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Speaker 3: but a true like creative influence behind like the movie

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Speaker 3: and its style. Whoever's responsible for the dialogue in each

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Speaker 3: scene knew that it is more important to be entertaining

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Speaker 3: than to be realistic. And I appreciate that.

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Speaker 2: Yeah, yeah, I think this is a strong point. I mean,

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Speaker 2: you even see it in the title, Like the title

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Speaker 2: is faster pussy Cat Kill Kill, And I've read that,

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Speaker 2: like the whole take on this is that like you have,

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Speaker 2: you know, a hint of sex in the title, you

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Speaker 2: have speed, you know, racing in the title, and you

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Speaker 2: have murder and death in the title. And it doesn't

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Speaker 2: actually make all that much sense as a statement or

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Speaker 2: a title. Like John Waters, when we're in writing about

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Speaker 2: the film, often refers to the gang of three here

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Speaker 2: as the Pussycats. I don't think they ever refer to

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Speaker 2: themselves as such, but you know, fair enough, I guess,

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Speaker 2: but you do have to sort of twist the title

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Speaker 2: to make it work in a literal sense. Now, as

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Speaker 2: we'll discuss, this is certainly a film produced through the

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Speaker 2: male gaze. It's about go go dancers starring go go dancers,

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Speaker 2: or at least two of them, and while it's not

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Speaker 2: as provocative as you might expect by modern standards. I mean,

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Speaker 2: this is a mid nineteen sixties movie that was shown

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Speaker 2: at the drive in. You know, it's still clearly intended

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Speaker 2: to titillate, but it's also action packed. And it's especially

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Speaker 2: interesting to read various reviews that talk about it's kind

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Speaker 2: of dual nature because at the time of its release, Yeah,

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Speaker 2: a lot of people saw it as just a sexist

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Speaker 2: B movie, and a lot of people didn't like it

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Speaker 2: to understand, it didn't actually perform all that well, but

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Speaker 2: it was later embraced as this kind of iconic counterculture

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Speaker 2: film with a grandiose vision of female power to match

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Speaker 2: the grandiose visions of masculine power found just everywhere else

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Speaker 2: in cinema. So this is this film that has been

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Speaker 2: very influential. It was a major inspiration for Quentin Tarantino's

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Speaker 2: Death Proof from two thousand and seven, and both Tarantino

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Speaker 2: and more recently actor Norman Retis have expressed an interest

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Speaker 2: in remaking it in one form or another. I think

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Speaker 2: you can ask a lot of questions about what form

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Speaker 2: a remake of Faster Pussycat Kill Kill would take. In

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Speaker 2: the twenty first century, but you know, maybe they have

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Speaker 2: a particular vision or visions in mind.

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Speaker 3: I was actually thinking, without knowing that, I was thinking

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Speaker 3: about Quentin Tarantino when I thought about modern filmmakers who

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Speaker 3: had clearly been inspired by this movie. I can see

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Speaker 3: direct lines of influence going from this movie to Yes

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Speaker 3: to Death proove his half of the release that was

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Speaker 3: originally called Grind Grindhouse.

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Speaker 2: Is that what it was called, Yes Grindhouse.

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Speaker 3: But then also to the kill Bill series that there

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Speaker 3: is some strong shared material there. Of course, I knew

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Speaker 3: about the John Waters connection, and we can talk some

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Speaker 3: more about some things that come through in John Waters

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Speaker 3: films as well that that seemed to be inspired by

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Speaker 3: this movie. But coming back to your comment about Norman

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Speaker 3: read Us, I have to lodge a complaint that is

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Speaker 3: not about this movie, but about how Google search results are.

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Speaker 4: Now.

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Speaker 3: We were just recently talking about how, for some reason

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Speaker 3: it seems like Google search results are just getting worse

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Speaker 3: and worse. I think I don't know exactly the reason

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Speaker 3: for this, but I would suspect it has to do

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Speaker 3: with just like the Web is getting worse and worse,

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Speaker 3: more packed with junk, and you know, search engine gaming

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Speaker 3: AI generated content and garbage. So the other day, when

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Speaker 3: I just googled this movie, Faster Pussycat Kill Kill the

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Speaker 3: top result, What do you think it should be? An

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Speaker 3: image of the poster of the movie, an image of

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Speaker 3: the cast of the movie, or a promo still from it. No,

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Speaker 3: it's a picture of Norman riatas oh Man.

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Speaker 2: I mean, I love Norman Reada's a very fun actor,

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Speaker 2: have been in a lot of things I love. But

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Speaker 2: come on, now, coming back to John Waters, I did

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Speaker 2: pick up his book Shock Value where he talked He

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Speaker 2: talked about a lot of things in that book, but

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Speaker 2: he does specifically talk a little bit about Faster pussy

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Speaker 2: Cat Kill Kill. He writes that this film, russ Meyer's

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Speaker 2: tenth film quote is beyond a doubt, the best movie

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Speaker 2: ever made. It is possibly better than any film that

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Speaker 2: will be made in the future.

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Speaker 3: Don't try to argue with him. You don't want to

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Speaker 3: get pulled into this. He's had more practice having this

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Speaker 3: conversation than you have.

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Speaker 2: Exactly. I mean, yeah, Like I said, he's the ultimate

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Speaker 2: champion of this film, and I think the ultimate expert

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Speaker 2: on it. He has meditated on this movie more than

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Speaker 2: any other person. In this book, he goes on to

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Speaker 2: talk about how initially he was drawn in by the

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Speaker 2: radio ads during the film's initial release. They promised that

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Speaker 2: the movie would leave a taste of evil in your mouth,

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Speaker 2: and then he went and saw it, and he fell

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Speaker 2: in love the picture and ended up seeing it every

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Speaker 2: night at the local drive in, often alone, for the

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Speaker 2: remainder of its run there. So he cites this movie

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Speaker 2: as the primary influence on all of his characters in

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Speaker 2: all of his films.

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Speaker 3: I can absolutely see that in many ways, and I

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Speaker 3: think he so. In one sense. You can see the

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Speaker 3: similarity in the way that John Waters movies, I think

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Speaker 3: often go for that feeling of trying to make every

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Speaker 3: single moment interesting and entertaining rather than going for realism obviously,

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Speaker 3: and so it's like more important that a character say

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Speaker 3: something that is shocking or funny or entertaining in some

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Speaker 3: way than that they like strictly stay in character or

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Speaker 3: I don't know, do something that would be realistic. But

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Speaker 3: another big similarity I see is this may be a

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Speaker 3: weird thing to single out, but I think you'll have

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Speaker 3: to agree with me, is in a very strange and

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Speaker 3: idiosyncratic style of line delivery that is characteristic of this movie,

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Speaker 3: like especially Taurusitana, but also the character Billy. They have

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Speaker 3: this way of saying lines where they're almost not really

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Speaker 3: acting them. They are just like shouting their lines, like

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Speaker 3: just spitting them out with this forceful, venomous, high octane

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Speaker 3: delivery for every line, just the same every time. And

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Speaker 3: that comes through in a lot of performances in John

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Speaker 3: Waters movies.

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Speaker 2: Yeah. Yeah, this this feeling, especially in this movie, that

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Speaker 2: it often feel any given scene will often feel like

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Speaker 2: a pro wrestling promo, you know, it has that kind

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Speaker 2: of energy. It maybe one note, but that note is

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Speaker 2: played super loud and there's no missing it and it delivers.

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Speaker 2: There's something about that character very loudly.

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Speaker 3: Like I'm specifically thinking of a lot of divines. Line

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Speaker 3: delivery and pink flamingos feels like Varla's line delivery in

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Speaker 3: this movie. Yeah, yeah, I think there's a direct connection there.

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Speaker 3: So we'll keep coming back to some Waters quotes because

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Speaker 3: again I think he's the authority on all these all

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Speaker 3: things faster, pussy, get, kill, Kill. But as we normally

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Speaker 3: we'd touch in the elevator pitch, I'm just going to

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Speaker 3: read you how John Waters describes this movie as a

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Speaker 3: quote violent gothic melodrama built around three bisexual, psychotic go

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Speaker 3: go girls, Varla, Billy, and Rosie. There's an interesting angle

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Speaker 3: that the movie approaches you with, and I wonder what

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Speaker 3: you think about this, rob It almost feels like it's

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Speaker 3: trying to imply that this movie is connected to current events,

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Speaker 3: and those current events, which you must have seen in

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Speaker 3: the news, are that now everyday women are are like

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Speaker 3: breaking men's necks in the desert. It's just something that's

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Speaker 3: happening in this crazy world we live in today, and

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Speaker 3: this is a movie about that phenomenon. But I don't

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Speaker 3: think that there really was a phenomenon to base this on.

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Speaker 4: No.

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Speaker 2: I mean, maybe it's exploiting a little bit this idea

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Speaker 2: that they actually you call out in some dialogue in

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Speaker 2: the film, or it's like women or they're doing all

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Speaker 2: these things now that they didn't used to do. In

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Speaker 2: one of those things is perpetrating violent crimes in the desert.

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Speaker 2: You've come a long way, baby.

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Speaker 3: I mean, I'm sure it happens sometimes, but I don't

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Speaker 3: get the feeling that this was like there was a

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Speaker 3: sudden spike in the sixties of women just doing assassinations

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Speaker 3: related to auto racing.

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Speaker 2: Now, I mean obviously, Yeah, women have always engaged in

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Speaker 2: murder and violence just as men have. I mean, we

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Speaker 2: have tales in the Old Testament and various myths and

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Speaker 2: legends and so forth. There are plenty of there have

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Speaker 2: been plenty of varlas throughout history. All right, let's go

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Speaker 2: ahead and listen to the trailer audio for a faster

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Speaker 2: pussycat kill kill.

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Speaker 4: If you want, ladies and gentlemen, gold gold for a

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Speaker 4: wild wild ride with the watusie cats. But beware, the

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Speaker 4: sweetest kittens have the sharpest claw or your own safety.

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Speaker 4: See Faster pussy Cats Kill kill, wild women, wild wheels,

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Speaker 4: Race the fastest pussy cats and they'll be Jill, not dead,

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Speaker 4: sober woman, faulted, wild and FOTD.

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Speaker 3: You're plating yourself on this kid, then hanging itself for nothing.

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Speaker 1: For nothing, got nothing to do with the money jeers.

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Speaker 4: The money Jack and Jill. They make them Moffia look

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Speaker 4: like Brownie must have all. Yeah, ten percent of your

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Speaker 4: action be enough for anyone, too much for one man

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Speaker 4: to handle. And again you never can town. You girls

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Speaker 4: a bunch of newdists. You just uh short of clothes

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Speaker 4: right now, You're first on my list, and I always

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Speaker 4: got top. You'll only go one chill and your channel's

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Speaker 4: busy tune in and outside. You really shippy, am benefm?

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Speaker 2: So who do I get to take care of the

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Speaker 2: muscle man?

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Speaker 4: You got two of everything and some left over?

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Speaker 2: You did one?

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Speaker 1: You want a big crust or side darling?

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Speaker 4: Why did you take one of each? Son? A? Uh,

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Speaker 4: both look tender. He's got a big motor to feed.

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Speaker 3: But did you you did?

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Speaker 2: My mother never wrote shot baby rock would.

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Speaker 4: Be rough the last time.

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Speaker 2: All right, here's how it works.

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Speaker 4: Everybody's gotta go your name it. We've got faster pussy hats, kills,

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Speaker 4: delivers tone board on the opposition on ladylike karate chops,

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Speaker 4: ungentlemanly haymaker, spirited gymnastics, corrective table attic sandbox jousting, or

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Speaker 4: a muscle bound chat wrestling with a roaring sports car

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Speaker 4: that's intent upon squashing him like a grape bazaar kidney

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Speaker 4: and chessie rattling chases and for the first time on

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Speaker 4: the screen, a hay making, belly busting, karate chopping, judo

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Speaker 4: flipping fight. Go in them all, sober woman against man,

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Speaker 4: the prize life itself slashing, tackling, gouging, hacking, clipping, felting, smashing,

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Speaker 4: and muscle to muscle, bone to bowl or an incredible

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Speaker 4: evenings entertainment. A film so totally satisfying see Russ Meyer Faster,

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Speaker 4: pussy Cat Kill.

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Speaker 2: Chill See really sells it. You can you can imagine

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Speaker 2: being the young John Waters hearing that or some version

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Speaker 2: of that trailer for the first time. All right, as

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Speaker 2: for availability on this one, I do wish it was

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Speaker 2: easier to get a copy of it or to have

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Speaker 2: an official stream of the movie. It doesn't seem to

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Speaker 2: be widely available on disc right now, and I couldn't

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Speaker 2: find an official stream video Drum has a copy of

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Speaker 2: it here in Atlanta. But yeah, I've given this film's

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Speaker 2: cult status. Would I would want it to be more

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Speaker 2: available than it is. But if you look hard enough,

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Speaker 2: I think you can probably find it somewhere. So if

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Speaker 2: you need a break and go see this movie, you know,

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Speaker 2: come back. We're going to talk about the cast and

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Speaker 2: some of the filmmakers, and then from there we're going

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Speaker 2: to get into a more spoilery discussion of the plot.

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Speaker 2: All right, Well, let's start, yeah at the top, with

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Speaker 2: the director, the producer of the editor. He also is

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Speaker 2: a story credit. It's Russ Meyer, who lived nineteen twenty

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Speaker 2: two through two thousand and four, American exploitation director known

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Speaker 2: for camp, be sex ploit tis films from the nineteen

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Speaker 2: fifties through the nineteen eighties, with a couple of brief

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Speaker 2: returns after that. He directed the nineteen seventy film Beyond

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Speaker 2: the Valley of the Dolls, the only film that film

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Speaker 2: critic Roger Ebert ever wrote.

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Speaker 3: I think that movie was also not super well received

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Speaker 3: when it came out, but I've heard people kind of

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Speaker 3: appreciate it now. It's also allegedly just wild. The moment

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Speaker 3: to moment weirdness quotient is apparently quite high.

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Speaker 2: So Meyer's film immediately prior to Faster Pussycat was nineteen

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Speaker 2: sixty five's Motor Psycho same year, same release year, about

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Speaker 2: a violent gang of male bikers, so he essentially flipped

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Speaker 2: the script on that for this movie, focusing on female

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Speaker 2: characters instead. His films are often categorized as being very

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Speaker 2: technically proficient, ludicrous in their dialogue, campy, and often using leering,

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Speaker 2: low angle shots, but those low angle shots often do

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Speaker 2: create this sense of weird kind of almost like mythic tension,

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Speaker 2: like it makes it makes the characters in the film

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Speaker 2: feel larger than life. I mean not just their physical bodies,

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Speaker 2: but like their their sort of hero or villain status.

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Speaker 3: I would say that russ Meyer's style is very much

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Speaker 3: in that category of schlock, but not hack. Somebody who

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Speaker 3: is creating what is supposed to be you know, yeah,

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Speaker 3: lowbrow exploitation cinema, but who actually is bringing quite a

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Speaker 3: bit of style and in a weird way you could

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Speaker 3: almost say say taste to the experience.

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Speaker 2: Yeah, Like I say, never a dull moment. If nothing else,

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Speaker 2: you're just wondering what are these characters going to say next,

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Speaker 2: And at any moment someone might get like slapped in

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Speaker 2: the face as well. Again, John Waters idolized russ Meyer,

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Speaker 2: called him quote the good old boy of exploitation films,

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Speaker 2: and in Waters' view on things, quote exploitation films are

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Speaker 2: the only ones that come close to that dreaded word art.

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Speaker 3: That's an interesting idea. I almost feel like I've heard

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Speaker 3: John Waters talk about this in some other context, that

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Speaker 3: there's almost kind of a like a horseshoe theory of taste,

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Speaker 3: where for some reason, a lot of people who seem

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Speaker 3: to have some of the highest tolerance for I don't know,

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Speaker 3: avant garde art and you know, the like the I

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Speaker 3: don't know what you call it, the kind of fine

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Speaker 3: art that really asks you to be open minded and

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Speaker 3: go outside of your comfort zone. For some reason, are

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Speaker 3: also often people who are into very low brow B

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Speaker 3: movie type stuff.

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Speaker 2: Yeah, yeah, that's sort of you know, putting yourself in

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Speaker 2: a place of open minded vulnerability where art can potentially

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Speaker 2: hurt you. But like it's it's what does it make

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Speaker 2: me feel? It's creating feelings and then I'm supposed to

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Speaker 2: make sense of those feelings. Yeah, it's not unlike the

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Speaker 2: place you have to put yourself in with various exploitation films,

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Speaker 2: though to be sure, not all exploitation films are created

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Speaker 2: equal and in many different ways. All right, Moving on

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Speaker 2: to the screenplay itself, written by Jackie Moran, who lived

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Speaker 2: nineteen twenty three through nineteen ninety. As a writer, he

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Speaker 2: only worked on a handful of produced screenplays, all russ

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Speaker 2: Meyer pictures, but as an actor, his credits go back

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Speaker 2: to Believe the mid nineteen thirties. As a child and

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Speaker 2: youth actor appeared in various old serials such as Buck Rogers,

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Speaker 2: as well as a nineteen thirty eight adaptation of the

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Speaker 2: Adventures of Tom Sawyer. Oh and he was also in

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Speaker 2: a nineteen thirty nine film called Gone with the Wind.

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Speaker 3: So I mentioned that a lot of what makes this

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Speaker 3: movie unique is the high grit of the script, you know,

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Speaker 3: like the way that each line just kind of like

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Speaker 3: grips you and rubs your brain. And I don't know

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Speaker 3: exactly where to put the credit for this. It should

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Speaker 3: should we be thinking about this as like a feature

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Speaker 3: of Jackie Moran's screenplay, or since this seems to be,

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Speaker 3: from what I've read, a characteristic of Russ Meyer films,

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Speaker 3: is this something that's coming more from Meyer's influence? But

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Speaker 3: then again, as I said, also, I've read that that

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Speaker 3: tourist Satana is usually given credit for shaping a lot

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Speaker 3: of the tone and style of the movie.

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Speaker 2: Yeah, I mean, you probably want to side with Varlain

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Speaker 2: this one, because otherwise she's gonna chop you and Kidney.

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Speaker 2: So I mean, it does seem like a lot of

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Speaker 2: those lines are coming from the heart. So yeah, I

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Speaker 2: don't have a lot of clarity on this, but I

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Speaker 2: kind of have the suspicion that the screenplay was one place,

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Speaker 2: and then maybe the actors and or the director on

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Speaker 2: the set kind of like punch things in a different direction.

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Speaker 3: Hmm.

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Speaker 2: Okay, well, let's talk about Toura Satana, not Santana, as

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Speaker 2: I sometimes keep mispronouncing it. This is this is her

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Speaker 2: show name. Lean into the sort of evil nature of

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Speaker 2: her persona. So Satana lived nineteen thirty eight through twenty eleven,

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Speaker 2: and yeah, this she plays the leader of our gang

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Speaker 2: of three of violence loving fem fatale, criminal, mastermind, and

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Speaker 2: goth queen of the Desert. Satana was born Tura Yamaguchi.

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Speaker 2: She was a Japanese American exotic dancer and burlesque performer

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Speaker 2: turned actor. She started out in the early sixties with

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Speaker 2: bit parts for TV and film, including the TV series

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Speaker 2: hawaiian I and The Man from Uncle. Then came this film,

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Speaker 2: followed by an uncredited role as a dancer on sixty

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Speaker 2: six is Our Man Flint, and then the role of Satana,

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Speaker 2: essentially playing herself to some degree in the nineteen sixty

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Speaker 2: eight low budget sci fi horror film The Astro Zombies

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Speaker 2: starring Wendell Corey and John Keradine.

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Speaker 3: That's a movie I have seen and remember almost nothing about,

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Speaker 3: which is a feature of most films I've seen starring

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Speaker 3: John Keradine.

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Speaker 2: Oh well, you know, Peep busted. He's in a lot

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Speaker 2: of films, but he's in a lot of forgivable films,

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Speaker 2: It's true. Astro Zombies is definitely one of those. It's

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Speaker 2: a classic B movie in many ways. It has this

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Speaker 2: super cool mask, very cool poster, but as I remember it,

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Speaker 2: a very plotting pace. I believe Satana plays the Mad

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Speaker 2: Doctor's evil hinch woman, but I cannot remember a thing

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Speaker 2: that anyone does in this aside from you do get

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Speaker 2: some creeping astro zombies from time to time.

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Speaker 3: That was a Ted V. Michels movie, wasn't it.

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Speaker 2: I think so? So After this, she was in seventy

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Speaker 2: three Is the Doll Squad, a kind of Charlie's Angels

395
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Speaker 2: inspired romp. She left acting after that, but emerged again

396
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Speaker 2: in the two thousands, appearing in two thousand and fours,

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Speaker 2: Mark of the Astro Zombies, two thousand and nine, Sugar

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Speaker 2: Box Rob Zombies, The Haunted World of l Superbisto, and

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Speaker 2: Astro Zombies M three cloned in twenty ten. I mean,

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Speaker 2: what can you say though, she's a force of nature

401
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Speaker 2: in this movie, alluring intended, but also just believably mean

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Speaker 2: and above all cool, Like she's she's so cool that

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Speaker 2: even though she is and a lot of people have

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Speaker 2: pointed this out, like she is arguably the villain or

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Speaker 2: one of the two main villains in the picture, but

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Speaker 2: at the same time, you're rooting for the whole time,

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Speaker 2: or I was. It's like, even if she's engaging and

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Speaker 2: kidnapping and mass murder, I'm kind of on team Varla

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Speaker 2: the whole way. And Yeah, it's just an amazing performance

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Speaker 2: and you can't look away, you can't stop listening. What

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Speaker 2: is she going to say next? Who is she going

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Speaker 2: to hit next?

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Speaker 3: I love how she's just automatically immediately rude to everyone.

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Speaker 2: Yes she is. She's rude and cutting to everyone. No

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Speaker 2: one is safe, and it's just one step away from

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Speaker 2: murder at all times.

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Speaker 3: Also, I'm pretty sure in all her fight and action scenes,

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Speaker 3: we're not looking at a stunt double, are we.

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Speaker 2: No. No, I believe she did all her own stunts,

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Speaker 2: And to understand, she also did her own fight choreography.

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Speaker 2: So when we see her beaten up various folks and

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Speaker 2: throwing them to the ground and chopping them like she

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Speaker 2: she brought the technique.

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Speaker 3: I'm trying to think of another movie. I know there

425
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Speaker 3: are movies like this. I can't call examples to mind

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Speaker 3: right now of a movie where really, essentially the main

427
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Speaker 3: character is also the main villain and you're just you're

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Speaker 3: basically on their side and seeing the world through their eyes,

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Speaker 3: even though they are in a technical sense, the bad

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Speaker 3: guy that must be defeated at the end.

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Speaker 2: Yeah, like what we discussed talking about Riddick, there's there's

432
00:24:29,920 --> 00:24:33,640
Speaker 2: always this temptation to to have this sort of redemption

433
00:24:33,880 --> 00:24:37,560
Speaker 2: arc to your your antihero, and that is not what

434
00:24:37,680 --> 00:24:39,680
Speaker 2: goes on here. Yeah. You know, you might be fooled

435
00:24:39,720 --> 00:24:42,159
Speaker 2: into thinking that's where it's going at some point, but

436
00:24:42,280 --> 00:24:42,560
Speaker 2: it's not.

437
00:24:43,080 --> 00:24:46,040
Speaker 3: She does not get a heart. She is not a

438
00:24:46,480 --> 00:24:48,879
Speaker 3: go go dancer assassin with a heart of gold. She

439
00:24:49,359 --> 00:24:52,480
Speaker 3: has a heart of a drain cleaner. I would say,

440
00:24:53,400 --> 00:24:57,960
Speaker 3: a heart of the most caustic, toxic substance. Maybe you

441
00:24:58,000 --> 00:24:59,639
Speaker 3: could say she has a heart of raid on.

442
00:25:00,400 --> 00:25:04,800
Speaker 2: Yeah, all right, So she's the leader of our trio

443
00:25:05,040 --> 00:25:08,520
Speaker 2: of go go witches here, our gang of three. Up

444
00:25:08,560 --> 00:25:13,800
Speaker 2: next is the character Rosie played by the actor Hodgi.

445
00:25:14,560 --> 00:25:18,199
Speaker 2: Hodgi is her screen name and based on her New

446
00:25:18,280 --> 00:25:21,960
Speaker 2: York Times oh bit from twenty thirteen. This was a

447
00:25:22,040 --> 00:25:25,399
Speaker 2: nickname that her uncle gave to her. So she was

448
00:25:25,400 --> 00:25:31,640
Speaker 2: born Barbarella Katon in nineteen forty six. So Canadian American

449
00:25:31,720 --> 00:25:35,400
Speaker 2: dancer turned actor. She also appeared in Motorcyco. She also

450
00:25:35,440 --> 00:25:37,760
Speaker 2: pops up and Beyond the Valley of the Dolls. She

451
00:25:37,840 --> 00:25:42,120
Speaker 2: was in nineteen seventies Bigfoot starring John Carradine once more

452
00:25:42,840 --> 00:25:46,879
Speaker 2: Christopher Mitcham as well. She was also She also pops up.

453
00:25:46,920 --> 00:25:48,959
Speaker 2: It's kind of in the background in some bigger films,

454
00:25:49,000 --> 00:25:53,000
Speaker 2: like she's in John Cassavetti's The Killing of a Chinese

455
00:25:53,000 --> 00:25:55,760
Speaker 2: Bookie from seventy six starring Ben Gazzara. It's like a

456
00:25:55,800 --> 00:25:58,639
Speaker 2: bit roll as a dancer. She also pops up in

457
00:25:58,640 --> 00:26:02,520
Speaker 2: the nineteen eighty one horror film Demonoid starring Samantha Agger.

458
00:26:02,960 --> 00:26:04,800
Speaker 2: I've seen part of this. This is like set in

459
00:26:04,880 --> 00:26:08,320
Speaker 2: Mexico and has some sort of a demonic disembodied hand.

460
00:26:08,880 --> 00:26:12,399
Speaker 3: Oh demonic hand movie, you know what. We've mentioned so

461
00:26:12,600 --> 00:26:15,959
Speaker 3: many of those in passing in episodes since we did

462
00:26:16,000 --> 00:26:19,480
Speaker 3: The Beast with Five Fingers and Mad Love. I wonder

463
00:26:19,520 --> 00:26:22,600
Speaker 3: if we should just do a whole like Hand Monster series.

464
00:26:24,119 --> 00:26:26,439
Speaker 2: We easily could. Yeah, there are a number of of

465
00:26:26,680 --> 00:26:27,960
Speaker 2: I mean a number of them are based on the

466
00:26:27,960 --> 00:26:32,080
Speaker 2: Hands of Warlock and part of that direct tradition. But then, yeah,

467
00:26:32,080 --> 00:26:35,199
Speaker 2: you have other films like the Michael Kane filmed The

468
00:26:35,280 --> 00:26:36,359
Speaker 2: Hand and so forth.

469
00:26:36,720 --> 00:26:38,800
Speaker 3: Was that the one directed by Oliver Stone?

470
00:26:38,960 --> 00:26:41,040
Speaker 2: It is? Yeah, Oliver Stone directed that one.

471
00:26:41,080 --> 00:26:43,919
Speaker 3: Where you find out that the CIA was actually behind

472
00:26:43,920 --> 00:26:44,800
Speaker 3: the Hand all along.

473
00:26:45,200 --> 00:26:46,640
Speaker 2: Yeah, I think it's a rare you know, it's from

474
00:26:46,680 --> 00:26:49,320
Speaker 2: that period of time when he almost directed a Cone

475
00:26:49,320 --> 00:26:52,320
Speaker 2: in the Barbarian movie. All Right, So the character Rosy

476
00:26:52,400 --> 00:26:58,520
Speaker 2: in this different, different style, different presentation, she is she

477
00:26:58,560 --> 00:27:00,400
Speaker 2: doesn't really have time for any of the app that's

478
00:27:00,400 --> 00:27:03,679
Speaker 2: going on in this movie. She isn't necessarily down with

479
00:27:03,800 --> 00:27:07,639
Speaker 2: all of Varla's violence, but she is devoted to Varla. Nonetheless.

480
00:27:08,240 --> 00:27:12,639
Speaker 2: Hodgy's performance is I would say, richly entertaining. At times,

481
00:27:12,640 --> 00:27:16,080
Speaker 2: it seems like maybe the greenest she has this. I

482
00:27:16,160 --> 00:27:19,199
Speaker 2: think she's doing an Italian accent in this. I'm not

483
00:27:19,520 --> 00:27:20,320
Speaker 2: entirely sure.

484
00:27:20,760 --> 00:27:24,600
Speaker 3: I interpreted it as an Italian accent, Yes.

485
00:27:24,960 --> 00:27:28,399
Speaker 2: Yeah, waters and shot in the in the book, I

486
00:27:28,440 --> 00:27:32,159
Speaker 2: referenced earlier, says quote, She's a mean Mexican with a

487
00:27:32,200 --> 00:27:36,240
Speaker 2: weakness for switchblades who emphasizes her many moments of disgust

488
00:27:36,359 --> 00:27:39,600
Speaker 2: by spitting or picking her teeth with whatever is handy.

489
00:27:40,000 --> 00:27:43,280
Speaker 3: Yes, she she is the most disgusted of our three

490
00:27:44,000 --> 00:27:44,880
Speaker 3: anti heroes.

491
00:27:45,320 --> 00:27:47,720
Speaker 2: Yes, that is her. That is her one note played

492
00:27:47,760 --> 00:27:51,720
Speaker 2: loudly discussed, but also occasionally a little bit like. She's

493
00:27:51,800 --> 00:27:54,639
Speaker 2: the only one of the three that also shows like

494
00:27:54,680 --> 00:27:57,960
Speaker 2: a little bit of empathy or even remorse at times.

495
00:27:58,000 --> 00:28:01,000
Speaker 2: So in a weird way, she has more her role

496
00:28:01,040 --> 00:28:01,920
Speaker 2: has more range.

497
00:28:02,680 --> 00:28:04,840
Speaker 3: I agree, she's the only one of the three that

498
00:28:04,880 --> 00:28:08,240
Speaker 3: seems to have any hint of a soul or kindness

499
00:28:08,280 --> 00:28:10,159
Speaker 3: at all. And it's not much of a hint, but

500
00:28:10,320 --> 00:28:13,520
Speaker 3: there's a little spark in there somewhere. She is often

501
00:28:13,560 --> 00:28:17,240
Speaker 3: set against the third of the gang, Billy. They're kind

502
00:28:17,280 --> 00:28:19,440
Speaker 3: of butting heads a lot of the movie.

503
00:28:19,960 --> 00:28:23,280
Speaker 2: Yeah. Billy is played by Laurie Williams born nineteen forty six.

504
00:28:23,400 --> 00:28:28,520
Speaker 2: He's our blonde, sassy, provocative, wise cracking, sensation junkie. He's

505
00:28:28,560 --> 00:28:33,480
Speaker 2: just always down for a swim or some just extracurricular dancing, fighting,

506
00:28:33,880 --> 00:28:38,080
Speaker 2: a little racing, you know whatever, whatever, She's up for anything.

507
00:28:38,960 --> 00:28:43,040
Speaker 2: She's also ridiculously laugh out loud seductive in a manner

508
00:28:43,080 --> 00:28:47,920
Speaker 2: that reminds me of Gina Moroney from thirty Rock. So

509
00:28:48,080 --> 00:28:51,680
Speaker 2: many moments where she's being sexy and it's just hysterical.

510
00:28:51,960 --> 00:28:55,400
Speaker 3: She just like sees a man with muscles fifty feet

511
00:28:55,400 --> 00:28:56,320
Speaker 3: away and it's like.

512
00:28:56,280 --> 00:29:01,440
Speaker 2: Hey, hot stuff, yeah, exactly now. Williams was not a

513
00:29:01,480 --> 00:29:04,760
Speaker 2: go go dancer, but was a beach party film actor

514
00:29:05,400 --> 00:29:08,640
Speaker 2: for the most part. Her other credits include mostly dancer roles,

515
00:29:08,960 --> 00:29:11,600
Speaker 2: but in some notable films, including nineteen sixty three's The

516
00:29:11,680 --> 00:29:16,080
Speaker 2: Prize starring Paul Newman, the Elvis movies Viva Las Vegas

517
00:29:16,080 --> 00:29:18,760
Speaker 2: and Kissing Cousins in sixty four, as well as the

518
00:29:18,760 --> 00:29:22,160
Speaker 2: Elvis movies Girl Happy and Tickle Me, both in sixty five,

519
00:29:22,800 --> 00:29:27,200
Speaker 2: So multiple Elvis movies here. She's an arman Flint in

520
00:29:27,280 --> 00:29:30,240
Speaker 2: sixty six. She has a passenger role as an extra

521
00:29:30,320 --> 00:29:33,000
Speaker 2: in nineteen seventy two is The Poseidon Adventure, and an

522
00:29:33,120 --> 00:29:37,560
Speaker 2: uncredited victim role in nineteen seventy fours, ninety nine and

523
00:29:37,600 --> 00:29:39,680
Speaker 2: forty four Out of One hundred Percent Dead, directed by

524
00:29:39,720 --> 00:29:45,880
Speaker 2: John Frankenheimer and starring Richard Harris Waters in Shock Value says, quote,

525
00:29:45,880 --> 00:29:48,520
Speaker 2: Billy is the film of the group, the main things

526
00:29:48,560 --> 00:29:51,560
Speaker 2: on her mind being sex and alcohol. In her white

527
00:29:51,640 --> 00:29:55,240
Speaker 2: short shorts, haltertop, and knee high patent leather go go boots,

528
00:29:55,280 --> 00:29:58,880
Speaker 2: Billy is forever breaking into torrid go go steps whenever

529
00:29:59,040 --> 00:30:00,200
Speaker 2: trouble arises.

530
00:30:00,560 --> 00:30:05,840
Speaker 3: Yes, so they're professional go go dancers, but Billy likes

531
00:30:05,880 --> 00:30:08,680
Speaker 3: to go go dance when they're off the clock, and

532
00:30:08,760 --> 00:30:13,400
Speaker 3: her gang, her fellow gang members will say, you know, hey,

533
00:30:13,440 --> 00:30:16,640
Speaker 3: why are you doing that? You know that's we left

534
00:30:16,640 --> 00:30:18,600
Speaker 3: that behind at work, and she's like, I do what

535
00:30:18,680 --> 00:30:19,080
Speaker 3: I want.

536
00:30:19,640 --> 00:30:23,400
Speaker 2: Yeah, yeah, yeah, she does. In a way like she's

537
00:30:23,400 --> 00:30:26,840
Speaker 2: the perfect opposite but equal of Varla because they both

538
00:30:26,920 --> 00:30:30,120
Speaker 2: do whatever they want. They have their own compass, but

539
00:30:30,280 --> 00:30:32,960
Speaker 2: the things they want to do are drastically different.

540
00:30:41,800 --> 00:30:45,360
Speaker 3: Okay, so we've got our vicious, murdering gang of go

541
00:30:45,360 --> 00:30:48,000
Speaker 3: go dancers. We got to have some innocent people in

542
00:30:48,040 --> 00:30:51,320
Speaker 3: here to be victimized by them, right.

543
00:30:51,840 --> 00:30:54,680
Speaker 2: That's right, and so that the main victim being Linda,

544
00:30:55,520 --> 00:30:59,040
Speaker 2: played by Subernard who lived nineteen forty eight through twenty nineteen.

545
00:31:00,440 --> 00:31:04,120
Speaker 2: She plays likable American every girl and the gang of

546
00:31:04,160 --> 00:31:07,400
Speaker 2: three are of course not impressed with her here, but

547
00:31:07,480 --> 00:31:09,520
Speaker 2: Bernard has the interesting history. She was the daughter of

548
00:31:09,640 --> 00:31:13,280
Speaker 2: legendary glamour and pin up photographer Bruno Bernard. She was

549
00:31:13,320 --> 00:31:16,680
Speaker 2: an author, actress, model, and businesswoman. She was a playboy

550
00:31:16,720 --> 00:31:19,800
Speaker 2: model in nineteen sixty six. This was her first film role,

551
00:31:19,920 --> 00:31:23,000
Speaker 2: followed by a couple of notable films. I guess nineteen

552
00:31:23,000 --> 00:31:25,760
Speaker 2: sixty nine is the witch Maker in nineteen seventy two's Necromancy.

553
00:31:26,520 --> 00:31:30,120
Speaker 2: A noteworthy family connection is that at one point she

554
00:31:30,280 --> 00:31:33,560
Speaker 2: was married to actor and playwright Jason Miller, who, of

555
00:31:33,600 --> 00:31:38,600
Speaker 2: course is famous for having played Father Damien in The Exorcist. Ah, yes,

556
00:31:38,720 --> 00:31:45,120
Speaker 2: father kais Yeah, and their son is was actor Joshua

557
00:31:45,240 --> 00:31:48,600
Speaker 2: John Miller born nineteen seventy two. He has a number

558
00:31:48,600 --> 00:31:51,120
Speaker 2: of interesting credits, but his first film role as a

559
00:31:51,200 --> 00:31:55,400
Speaker 2: child actor was playing the hero's son Willie in Halloween

560
00:31:55,480 --> 00:31:57,000
Speaker 2: three Season of the Witch.

561
00:31:57,760 --> 00:32:00,920
Speaker 3: Okay, wait, how many degrees of separation is that from

562
00:32:01,040 --> 00:32:05,240
Speaker 3: Halloween three to Faster pussy Cat? I guess it involves

563
00:32:05,280 --> 00:32:06,160
Speaker 3: a family connection.

564
00:32:06,320 --> 00:32:09,920
Speaker 2: Yeah, it's a family connection. So it's harder, but it's

565
00:32:09,960 --> 00:32:12,000
Speaker 2: it's close enough. It's in close orbit.

566
00:32:12,360 --> 00:32:15,720
Speaker 3: I'm just imagining a film that could have been like

567
00:32:16,320 --> 00:32:21,200
Speaker 3: the Go Go Murder Gang here versus Tom Atkins from

568
00:32:21,280 --> 00:32:24,960
Speaker 3: Halloween three. Doesn't doesn't he seem like the perfect victim

569
00:32:25,000 --> 00:32:25,880
Speaker 3: of their treachery.

570
00:32:26,320 --> 00:32:29,840
Speaker 2: Yeah, I could see him taking a beating from this bunch. Now,

571
00:32:29,880 --> 00:32:33,360
Speaker 2: speaking of taking a beating, the character Linda has a

572
00:32:33,360 --> 00:32:38,160
Speaker 2: boyfriend named Tommy, and Tommy is one of, if not

573
00:32:38,200 --> 00:32:40,520
Speaker 2: the only likable male characters in the whole picture. Withst

574
00:32:40,640 --> 00:32:42,840
Speaker 2: caveats will come back to that. He's a kind of

575
00:32:42,840 --> 00:32:44,800
Speaker 2: square and nice guy who just wants to work on

576
00:32:44,840 --> 00:32:47,440
Speaker 2: his car, improve his race time, and spend spend a

577
00:32:47,480 --> 00:32:51,120
Speaker 2: little quality time with his girlfriend Linda. He doesn't, you know,

578
00:32:51,400 --> 00:32:54,480
Speaker 2: leer at any of the women or speak to them

579
00:32:54,120 --> 00:32:58,200
Speaker 2: in a sexist manner, and you might think this means, well,

580
00:32:58,240 --> 00:33:00,480
Speaker 2: this might be the hero of our picture, but he's

581
00:33:00,480 --> 00:33:01,760
Speaker 2: certainly not. No.

582
00:33:01,760 --> 00:33:04,400
Speaker 3: No, he's a nice guy, which means he's marked for death.

583
00:33:04,880 --> 00:33:07,080
Speaker 2: Mark for death. We'll get to that death in a

584
00:33:07,080 --> 00:33:11,080
Speaker 2: bit because it's pretty spectacular. Played by Ray Barlow. I

585
00:33:11,080 --> 00:33:13,520
Speaker 2: don't think any dates are known for this actor. This

586
00:33:13,640 --> 00:33:17,000
Speaker 2: was one of only four credits for him, alongside nineteen

587
00:33:17,040 --> 00:33:20,200
Speaker 2: sixty seven's a Countess from Hong Kong and the nineteen

588
00:33:20,280 --> 00:33:23,040
Speaker 2: seventy one TV series The Goodies. Oh and also a

589
00:33:23,080 --> 00:33:25,960
Speaker 2: single episode of Highway to Heaven from the late eighties.

590
00:33:27,080 --> 00:33:30,120
Speaker 2: All right, now we do have another sort of villainous

591
00:33:30,160 --> 00:33:34,320
Speaker 2: trio to cancel out our main villainous trio. But these

592
00:33:34,360 --> 00:33:38,120
Speaker 2: are This is a male villainous trio of a family

593
00:33:38,200 --> 00:33:41,560
Speaker 2: they encounter in the desert, the leader of which is

594
00:33:41,680 --> 00:33:44,920
Speaker 2: the Old Man played by Stuart Lancaster, who lived nineteen

595
00:33:45,000 --> 00:33:48,120
Speaker 2: twenty through the year two thousand, American actor with credits

596
00:33:48,120 --> 00:33:50,160
Speaker 2: going back to the early sixties. He appears in the

597
00:33:50,200 --> 00:33:53,960
Speaker 2: original Outer Limits episode Tourist Attraction, but he's mostly known

598
00:33:53,960 --> 00:33:58,840
Speaker 2: for appearing in Russ Meyer films and various other exploitation titles. However,

599
00:33:58,920 --> 00:34:01,120
Speaker 2: you can also find him in such films as nineteen

600
00:34:01,120 --> 00:34:05,280
Speaker 2: seventy three's God Monster of Indian Flats and Tim Burton

601
00:34:05,360 --> 00:34:08,359
Speaker 2: cast him in two films. He plays a retired man

602
00:34:08,440 --> 00:34:11,840
Speaker 2: in Edward Scissorhands, and he plays the Penguin's doctor and

603
00:34:11,920 --> 00:34:16,080
Speaker 2: Batman returns what oh not a role I remember, but

604
00:34:17,000 --> 00:34:19,560
Speaker 2: you know I can. You can see the kind of

605
00:34:19,560 --> 00:34:23,360
Speaker 2: thing Tim Burton was going for. And that weird, weird

606
00:34:23,360 --> 00:34:25,560
Speaker 2: Batman sequel Batman returns.

607
00:34:25,400 --> 00:34:28,760
Speaker 3: Does we could do Batman returns on Weird House Cinema?

608
00:34:28,840 --> 00:34:31,839
Speaker 3: I think does Penguin go for a check op in there?

609
00:34:31,880 --> 00:34:32,920
Speaker 3: I really don't.

610
00:34:33,160 --> 00:34:35,399
Speaker 2: I don't remember when this would be, if this would

611
00:34:35,400 --> 00:34:38,319
Speaker 2: be like a flashback to when he's a baby, like

612
00:34:38,360 --> 00:34:41,560
Speaker 2: maybe that's the penguin's doctor, or maybe it's some time later,

613
00:34:41,960 --> 00:34:44,480
Speaker 2: because there's that whole yet intro to the character that

614
00:34:44,520 --> 00:34:47,279
Speaker 2: involves who isn't that who plays his father? Pee wee

615
00:34:47,360 --> 00:34:48,640
Speaker 2: Herman plays his father? Yeah?

616
00:34:48,760 --> 00:34:52,680
Speaker 3: Oh, I'd forgotten that too. Well. So anyway, this character

617
00:34:52,719 --> 00:34:54,880
Speaker 3: of the Old Man, it's playing on the principle that

618
00:34:54,920 --> 00:34:57,520
Speaker 3: we talked about just recently with like a danger diabolic

619
00:34:57,760 --> 00:35:01,239
Speaker 3: in a movie where you have an anti hero, though

620
00:35:01,239 --> 00:35:03,600
Speaker 3: I don't know if you call Varla an anti hero,

621
00:35:03,880 --> 00:35:07,800
Speaker 3: just where you're like, main character is bad, it always

622
00:35:07,880 --> 00:35:10,120
Speaker 3: helps to up the ante by having to meet a

623
00:35:10,200 --> 00:35:11,640
Speaker 3: character who is much worse.

624
00:35:12,280 --> 00:35:13,760
Speaker 2: Yes, so, yeah, our.

625
00:35:13,680 --> 00:35:17,840
Speaker 3: Main characters character or characters are bad and they do murder.

626
00:35:18,080 --> 00:35:21,080
Speaker 3: But what if there's a somebody who also wants to

627
00:35:21,120 --> 00:35:22,840
Speaker 3: do murder but is even grosser.

628
00:35:23,600 --> 00:35:26,640
Speaker 2: Yeah, and that's that's the Old Man. As we'll discuss,

629
00:35:25,960 --> 00:35:30,000
Speaker 2: he's pretty villainous. He lives in the desert with two

630
00:35:30,040 --> 00:35:33,000
Speaker 2: of his sons, one of which but I forget if

631
00:35:33,000 --> 00:35:36,239
Speaker 2: he even has a name aside from the vegetable he's

632
00:35:36,760 --> 00:35:39,719
Speaker 2: They call him this because he's a doesn't say much,

633
00:35:39,760 --> 00:35:42,399
Speaker 2: but he's a big muscle guy. And then the other son,

634
00:35:42,680 --> 00:35:45,560
Speaker 2: the elder of the two sons, is Kirk, played by

635
00:35:45,600 --> 00:35:48,400
Speaker 2: Paul Trinka, who lived nineteen thirty two through nineteen seventy three.

636
00:35:48,440 --> 00:35:51,080
Speaker 2: Mostly a bit player on TV, this is his most

637
00:35:51,120 --> 00:35:53,640
Speaker 2: well known role. He also appeared on Hawaii and I

638
00:35:53,760 --> 00:35:57,480
Speaker 2: My Three Sons, Gomer Pyle USMC, Voyage to the Bottom

639
00:35:57,520 --> 00:35:59,840
Speaker 2: of the Sea, Land of the Giants, and an episode

640
00:35:59,840 --> 00:36:02,399
Speaker 2: of Night Gallery. Now we also hear a little bit

641
00:36:02,400 --> 00:36:05,360
Speaker 2: from the narrator. We'll touch on that in a second.

642
00:36:05,600 --> 00:36:08,399
Speaker 2: The narrator for this film is John Furlong, who lived

643
00:36:08,440 --> 00:36:11,440
Speaker 2: nineteen thirty three through two thousand and eight American actor

644
00:36:11,840 --> 00:36:13,880
Speaker 2: who I believe got his start in Russ Meyer films

645
00:36:13,920 --> 00:36:16,879
Speaker 2: and worked for him several times, you know, often being

646
00:36:17,440 --> 00:36:20,799
Speaker 2: dubbing the director's voice or being this narration voice. He

647
00:36:20,880 --> 00:36:23,239
Speaker 2: ultimately accumulated a lot of TV and film credits over

648
00:36:23,239 --> 00:36:25,839
Speaker 2: the course of his career, having appeared in the likes

649
00:36:25,840 --> 00:36:29,480
Speaker 2: of nineteen seventy four's Blazing Saddles, ninety four's Wiatter, and

650
00:36:29,800 --> 00:36:33,600
Speaker 2: nineteen ninety eight Vampires, the John Carpenter film, along with

651
00:36:33,640 --> 00:36:36,399
Speaker 2: many others. And as for the music on this one,

652
00:36:36,600 --> 00:36:38,359
Speaker 2: I'm not going to go into a lot of depth here,

653
00:36:38,400 --> 00:36:41,560
Speaker 2: but Ego Kantor was the music director who lived nineteen

654
00:36:41,600 --> 00:36:45,920
Speaker 2: thirty through twenty nineteen. Interesting fella in a name that

655
00:36:46,040 --> 00:36:48,680
Speaker 2: weird cinema fans may have noticed in the credits before,

656
00:36:48,840 --> 00:36:52,319
Speaker 2: you know, sometimes kind of stands out. It worked a

657
00:36:52,320 --> 00:36:55,719
Speaker 2: lot doing the music for various films, but also was

658
00:36:55,760 --> 00:36:59,200
Speaker 2: a producer as far back as nineteen seventy one and

659
00:36:59,280 --> 00:37:02,160
Speaker 2: such films as Kingdom of the Spiders, nineteen seventy nine

660
00:37:02,200 --> 00:37:05,960
Speaker 2: Is the Dark and nineteen eighty fours Mutant starring Wingshauser

661
00:37:06,200 --> 00:37:07,319
Speaker 2: and Bo Hopkins.

662
00:37:07,640 --> 00:37:10,400
Speaker 3: We could come back and do Kingdom of the Spiders

663
00:37:10,440 --> 00:37:14,719
Speaker 3: as well, because that is a killer tarantula movie starring

664
00:37:15,520 --> 00:37:16,200
Speaker 3: Captain Kirk.

665
00:37:18,280 --> 00:37:21,359
Speaker 2: Yeah, it's also a reference to a Warren Zyvon Warren

666
00:37:21,480 --> 00:37:26,600
Speaker 2: Yvon song. Rather so, I always like a nice musical

667
00:37:26,640 --> 00:37:29,719
Speaker 2: nod to be cinema. All right, shall we get into

668
00:37:29,760 --> 00:37:30,720
Speaker 2: the plot.

669
00:37:30,680 --> 00:37:32,879
Speaker 3: Yes, now, I think this is another movie where we're

670
00:37:32,920 --> 00:37:36,400
Speaker 3: not going to recount every scene in order. I think instead,

671
00:37:36,440 --> 00:37:39,239
Speaker 3: maybe we'll talk about the intro in some detail, maybe

672
00:37:39,480 --> 00:37:41,680
Speaker 3: you know, the first chunk of the movie, and then

673
00:37:41,760 --> 00:37:45,000
Speaker 3: do a basic recap on everything else and then focus

674
00:37:45,040 --> 00:37:49,160
Speaker 3: on some things that stand out. But first thing, this

675
00:37:49,239 --> 00:37:52,920
Speaker 3: movie begins with a narration and has one of the

676
00:37:53,120 --> 00:37:57,359
Speaker 3: all time great opening lines I've heard in any film.

677
00:37:57,719 --> 00:38:01,440
Speaker 2: Yes we hear that, rich Veld. The narrator's voice say,

678
00:38:01,800 --> 00:38:05,080
Speaker 2: ladies and gentlemen, welcome to violence.

679
00:38:05,920 --> 00:38:10,239
Speaker 3: To violence. It goes on to say the word and

680
00:38:10,320 --> 00:38:15,360
Speaker 3: the act. While Violence cloaks itself in a plethora of disguises,

681
00:38:15,840 --> 00:38:23,920
Speaker 3: its favorite mentals still remains sex. Huh. Okay, So the

682
00:38:23,960 --> 00:38:26,239
Speaker 3: opening narration here, It goes on for a while, and

683
00:38:26,440 --> 00:38:28,880
Speaker 3: there's while this guy's talking is just sort of a

684
00:38:28,880 --> 00:38:32,520
Speaker 3: black screen with these lines that are undulating as if

685
00:38:32,560 --> 00:38:35,160
Speaker 3: showing like a like an audiogram or something. You know,

686
00:38:35,160 --> 00:38:38,040
Speaker 3: they're they're vibrating with the sound of the narrator's voice.

687
00:38:38,880 --> 00:38:41,600
Speaker 3: And the narrator goes on to explain in a rather

688
00:38:41,760 --> 00:38:47,160
Speaker 3: wordy and roundabout manner that America's most trusted brand, violence

689
00:38:47,320 --> 00:38:50,880
Speaker 3: is still in business, but it is under new management. Women.

690
00:38:51,840 --> 00:38:55,239
Speaker 3: The narrator says, you know, you guys out there, you

691
00:38:55,320 --> 00:38:58,240
Speaker 3: might think women are beautiful, you might think women are nice,

692
00:38:58,280 --> 00:39:00,520
Speaker 3: but also they will cut your head off with a

693
00:39:00,640 --> 00:39:04,640
Speaker 3: power saw. The women of today they murder all the time.

694
00:39:05,360 --> 00:39:08,399
Speaker 2: That's right. Women are more dangerous than they've ever been

695
00:39:08,440 --> 00:39:11,120
Speaker 2: in human history. This is a new breed of violence out.

696
00:39:11,000 --> 00:39:15,320
Speaker 3: There, alrighty. And so the narration ends with him saying

697
00:39:15,400 --> 00:39:20,200
Speaker 3: who are they? One might be your secretary, your doctor's receptionist,

698
00:39:20,640 --> 00:39:24,040
Speaker 3: or a dancer in a go go club. Smash cut

699
00:39:24,080 --> 00:39:25,320
Speaker 3: to a go go club.

700
00:39:25,719 --> 00:39:27,399
Speaker 2: Yeah, and this is where we get our first look

701
00:39:27,400 --> 00:39:32,240
Speaker 2: at our trio of evil go go dancers here all

702
00:39:32,360 --> 00:39:35,120
Speaker 2: black and white sequins and tassels. Yeah, we had to

703
00:39:35,200 --> 00:39:36,960
Speaker 2: mention it already. This is a black and white film

704
00:39:37,000 --> 00:39:40,480
Speaker 2: and looks pretty gorgeous, and we have the theme song

705
00:39:40,520 --> 00:39:43,520
Speaker 2: playing in the background, but also we have do we

706
00:39:43,640 --> 00:39:47,440
Speaker 2: keep cutting to these brutish men who were chanting at them?

707
00:39:47,480 --> 00:39:51,839
Speaker 2: They're chanting go go And I was wondering, like, I

708
00:39:51,920 --> 00:39:54,400
Speaker 2: didn't even look this up though. Is this the origin

709
00:39:54,440 --> 00:39:56,640
Speaker 2: of the term go go dancer? It's just you're supposed

710
00:39:56,640 --> 00:39:59,560
Speaker 2: to yell go and shout go at them.

711
00:40:00,040 --> 00:40:03,319
Speaker 3: I have no idea. But also this scene is so

712
00:40:03,600 --> 00:40:11,720
Speaker 3: funny because of the lack of humor or enjoyment evident

713
00:40:11,880 --> 00:40:14,720
Speaker 3: in the men who are shouting at the go go dancers.

714
00:40:14,800 --> 00:40:18,919
Speaker 3: Just I have to applaud the deadly seriousness with which

715
00:40:19,040 --> 00:40:22,399
Speaker 3: the dudes are shouting, go, let's go, come on go.

716
00:40:23,719 --> 00:40:27,200
Speaker 3: They sound like Hollywood cowboys yelling at their horses. And

717
00:40:27,239 --> 00:40:28,879
Speaker 3: they're puffing on cigars by the way.

718
00:40:29,440 --> 00:40:32,280
Speaker 2: Yeah, I mean, watching this, especially from a modern perspective,

719
00:40:32,520 --> 00:40:34,719
Speaker 2: you can't help but assume that the message here is

720
00:40:34,719 --> 00:40:37,600
Speaker 2: that men are gross and terrible, and that you're supposed

721
00:40:37,640 --> 00:40:40,000
Speaker 2: to take that with you into the film proper. And

722
00:40:40,040 --> 00:40:43,239
Speaker 2: I don't think the film really presents us with any

723
00:40:43,760 --> 00:40:48,239
Speaker 2: any information to counter that thesis. But I just don't

724
00:40:48,280 --> 00:40:50,520
Speaker 2: know what was really intended by this.

725
00:40:50,840 --> 00:40:52,960
Speaker 3: Oh do you mean, like maybe there's there's an unspoken

726
00:40:53,040 --> 00:40:58,120
Speaker 3: understanding that because in their day job, these women are

727
00:40:58,160 --> 00:41:01,239
Speaker 3: like dancing for these horrible creep all the time, and

728
00:41:01,320 --> 00:41:04,520
Speaker 3: so they take that with them to the other scenarios

729
00:41:04,520 --> 00:41:06,439
Speaker 3: in their life, so like when they murder a man

730
00:41:06,520 --> 00:41:08,680
Speaker 3: in the desert, that they're sort of like seeing in

731
00:41:08,800 --> 00:41:11,480
Speaker 3: that man all of the like the go go guys.

732
00:41:12,360 --> 00:41:14,960
Speaker 2: I mean, I don't know. I think one looks for

733
00:41:15,080 --> 00:41:18,560
Speaker 2: nuance in this film at their peril. You know, Varla

734
00:41:18,600 --> 00:41:20,799
Speaker 2: would not stand for that. You know, if I were

735
00:41:20,800 --> 00:41:25,279
Speaker 2: to broke that hypothesis, she would she would shot me

736
00:41:25,320 --> 00:41:27,200
Speaker 2: in the neck, so she would just kill you.

737
00:41:27,320 --> 00:41:27,480
Speaker 4: Yeah.

738
00:41:27,719 --> 00:41:32,720
Speaker 3: Yeah, it is interesting, Like why do they seem so mad?

739
00:41:33,280 --> 00:41:35,839
Speaker 2: Yeah, I mean, well they are also they're criminals. They're

740
00:41:35,880 --> 00:41:39,759
Speaker 2: out for that. They want a quick score. Oh you're

741
00:41:39,760 --> 00:41:40,720
Speaker 2: talking about the audience.

742
00:41:40,880 --> 00:41:43,120
Speaker 3: I mean the guys they're yelling out. Why do they

743
00:41:43,160 --> 00:41:43,880
Speaker 3: sound angry?

744
00:41:44,760 --> 00:41:47,440
Speaker 2: Yeah, I don't know, unless again, we're supposed to take

745
00:41:47,480 --> 00:41:50,000
Speaker 2: something home about this that that that men in general

746
00:41:50,080 --> 00:41:53,440
Speaker 2: are awful. So I don't know, worth something something we're

747
00:41:53,480 --> 00:41:55,799
Speaker 2: thinking about. But then again, this is a film that

748
00:41:55,880 --> 00:41:59,759
Speaker 2: I don't think necessarily well, you know, it goes two ways.

749
00:41:59,760 --> 00:42:01,880
Speaker 2: I think it's a film that is also about like

750
00:42:01,960 --> 00:42:04,799
Speaker 2: surface level interpretation. But this is a film that a

751
00:42:04,800 --> 00:42:08,239
Speaker 2: lot has been written about there. I glanced at a

752
00:42:08,320 --> 00:42:13,759
Speaker 2: number of serious film critic papers out there that in

753
00:42:14,520 --> 00:42:17,560
Speaker 2: papers that we're looking at this film and talking about

754
00:42:17,600 --> 00:42:23,160
Speaker 2: like gender dynamics and various forms of representation that are

755
00:42:23,160 --> 00:42:24,719
Speaker 2: going on in the film. So there is a lot

756
00:42:24,760 --> 00:42:27,320
Speaker 2: to chew on. You can certainly have it both ways.

757
00:42:27,800 --> 00:42:30,359
Speaker 3: Well, yeah, there's a very interesting duality and that in

758
00:42:30,400 --> 00:42:34,160
Speaker 3: one sense this movie is straightforwardly very sexist, but on

759
00:42:34,200 --> 00:42:38,279
Speaker 3: the other hand, it is presenting a more kind of

760
00:42:38,360 --> 00:42:42,319
Speaker 3: empowered and larger than life vision of female characters than

761
00:42:42,360 --> 00:42:45,120
Speaker 3: you would get in pretty much anywhere else in movies

762
00:42:45,160 --> 00:42:45,720
Speaker 3: of this time.

763
00:42:46,360 --> 00:42:50,600
Speaker 2: Yeah, and I think a lot of the interesting commentary

764
00:42:50,640 --> 00:42:54,040
Speaker 2: comes from like trying to piece it apart and figure out, well,

765
00:42:54,080 --> 00:42:55,759
Speaker 2: how much of this was intentional, how much of it

766
00:42:55,800 --> 00:42:57,960
Speaker 2: is you know, sort of happy accident, etc. I mean,

767
00:42:57,960 --> 00:43:00,759
Speaker 2: that's often the case with films that really stand out

768
00:43:02,120 --> 00:43:05,239
Speaker 2: during you know, that really stand out to the future interpretation.

769
00:43:05,719 --> 00:43:08,560
Speaker 3: But okay, there's another great smash cut here, because so

770
00:43:08,680 --> 00:43:12,080
Speaker 3: like the goga, the ladies are dancing, the guys are screaming, go,

771
00:43:12,400 --> 00:43:15,720
Speaker 3: and then it just like suddenly we're somewhere else.

772
00:43:16,719 --> 00:43:21,160
Speaker 2: Suddenly we're in the desert. Here's our lead character, Varla,

773
00:43:21,719 --> 00:43:25,360
Speaker 2: laughing maniacally as she races her sports car through the desert.

774
00:43:25,400 --> 00:43:26,960
Speaker 2: And then we quickly see that they are to the

775
00:43:27,000 --> 00:43:29,520
Speaker 2: two other dancers, Rosy and Billy, are racing behind her

776
00:43:29,520 --> 00:43:31,960
Speaker 2: in their own sports cars laughing as well.

777
00:43:32,320 --> 00:43:34,839
Speaker 3: It's like they're already fleeing the scene of a crime

778
00:43:34,960 --> 00:43:37,359
Speaker 3: when we first meet them here, and who knows, maybe

779
00:43:37,360 --> 00:43:39,680
Speaker 3: they are. We don't They never mentioned that.

780
00:43:40,239 --> 00:43:42,040
Speaker 2: Right, right, I mean it would make sense. Yeah, they're

781
00:43:42,080 --> 00:43:45,319
Speaker 2: going because there is a there's a desperation, uh to

782
00:43:45,560 --> 00:43:47,719
Speaker 2: a lot of what they do, and there's a you know,

783
00:43:47,760 --> 00:43:49,840
Speaker 2: they clearly don't care about the future.

784
00:43:50,120 --> 00:43:52,200
Speaker 3: Well, I see what you're saying about the desperation, though,

785
00:43:52,200 --> 00:43:54,680
Speaker 3: I don't want to convey the wrong feeling in the

786
00:43:54,719 --> 00:43:57,359
Speaker 3: scene because instead they feel it's like they're having fun.

787
00:43:57,560 --> 00:43:59,280
Speaker 2: They are, Yeah, they are completely free.

788
00:43:59,360 --> 00:44:03,000
Speaker 3: Yeah, yeah, yeah. Another thing I will say is that

789
00:44:04,080 --> 00:44:07,760
Speaker 3: the soundtrack really adds a lot of pep to this movie.

790
00:44:07,760 --> 00:44:11,880
Speaker 3: It's like good hot music selections, and they change so fast.

791
00:44:11,960 --> 00:44:13,759
Speaker 3: I think I noted. By the time we're like four

792
00:44:13,840 --> 00:44:17,720
Speaker 3: minutes into the movie, we've already heard like five different songs.

793
00:44:18,040 --> 00:44:21,120
Speaker 2: Yeah, yeah, yeah, a lot of saxophone too, a lot

794
00:44:21,120 --> 00:44:24,240
Speaker 2: of jazz saxophone. And yeah. So they're racing through the desert,

795
00:44:24,320 --> 00:44:28,240
Speaker 2: but you know, Billy has needs. Billy needs a swim break,

796
00:44:28,520 --> 00:44:31,560
Speaker 2: So everybody stops so that Billy can have a swim.

797
00:44:31,880 --> 00:44:34,800
Speaker 3: This scene so yeah, Billy's like, I want to swim.

798
00:44:34,880 --> 00:44:36,759
Speaker 3: I'm going to swim even if it's you know, this

799
00:44:36,840 --> 00:44:39,040
Speaker 3: is a muddy drainage canal. I'm going to swim in that.

800
00:44:39,560 --> 00:44:42,560
Speaker 3: And then I think Varla sends Rosie to go make

801
00:44:42,600 --> 00:44:44,839
Speaker 3: her stop. She's like, get her out of there, and

802
00:44:44,880 --> 00:44:47,839
Speaker 3: so yeah, Rosie goes to do it, and this leads

803
00:44:47,880 --> 00:44:50,080
Speaker 3: to a fight scene where they're just like beating each

804
00:44:50,080 --> 00:44:53,200
Speaker 3: other up on the beach. Billy and Rosie are and

805
00:44:53,360 --> 00:44:56,600
Speaker 3: I think this establishes the dynamic between the characters that

806
00:44:56,680 --> 00:44:59,120
Speaker 3: will continue for the rest of the film. First of all,

807
00:44:59,200 --> 00:45:04,520
Speaker 3: Varla is the boss, mean, tough, dominant violence. She gives orders.

808
00:45:04,719 --> 00:45:08,080
Speaker 3: If you cross her, you know, well you don't want

809
00:45:08,080 --> 00:45:10,960
Speaker 3: to cross her, you don't want to find out. Meanwhile,

810
00:45:11,080 --> 00:45:14,440
Speaker 3: Billy is the free spirit. She does whatever she wants

811
00:45:14,560 --> 00:45:17,479
Speaker 3: whenever she feels like it. To hell with anybody who's

812
00:45:17,520 --> 00:45:19,480
Speaker 3: trying to tell her it is not time to go

813
00:45:19,560 --> 00:45:24,359
Speaker 3: swimming in the muddy canal. Meanwhile, Rosie, you know, we

814
00:45:24,360 --> 00:45:26,279
Speaker 3: were sort of talking about this earlier. Like Rosie is

815
00:45:26,280 --> 00:45:30,279
Speaker 3: the most complicated of the three. She's more resentful and

816
00:45:30,440 --> 00:45:36,400
Speaker 3: reserved and sometimes seems kind of unsure, but somehow. Okay,

817
00:45:36,440 --> 00:45:39,200
Speaker 3: So they end up Rosie and Billy end up fighting.

818
00:45:39,719 --> 00:45:42,640
Speaker 3: I guess about the fact that Billy was swimming, and

819
00:45:42,680 --> 00:45:48,080
Speaker 3: then they start they all start arguing, and Setana eventually says,

820
00:45:48,160 --> 00:45:50,839
Speaker 3: you want to prove something, chicky, Let's see who the

821
00:45:50,880 --> 00:45:54,960
Speaker 3: real chicken is. Another smash cut to they're playing a

822
00:45:55,000 --> 00:45:57,680
Speaker 3: game of chicken in their cars on the salt flats.

823
00:46:00,040 --> 00:46:03,840
Speaker 2: That's right, let's settle this honorably with with with with

824
00:46:04,239 --> 00:46:06,000
Speaker 2: the dangerous vehicular action.

825
00:46:06,520 --> 00:46:10,279
Speaker 3: If you're not familiar with vehicular chicken. Yeah, it's where

826
00:46:10,680 --> 00:46:13,239
Speaker 3: these cars, like they drive head on toward each other

827
00:46:13,280 --> 00:46:15,400
Speaker 3: and I guess the first person to swar of loses.

828
00:46:16,000 --> 00:46:17,480
Speaker 2: Yeah, but don't try this.

829
00:46:17,920 --> 00:46:20,000
Speaker 3: Yeah, who wins Varlow of course?

830
00:46:20,320 --> 00:46:23,440
Speaker 2: Oh yeah, because yes, she is the meanest and the

831
00:46:23,480 --> 00:46:25,840
Speaker 2: toughest and she will not stop.

832
00:46:26,480 --> 00:46:28,520
Speaker 3: But after their game of chicken, I guess they're just

833
00:46:28,560 --> 00:46:30,680
Speaker 3: hanging out in the middle of the salt flats and

834
00:46:31,400 --> 00:46:33,799
Speaker 3: what do you know, Uh, oh, here here comes some

835
00:46:33,840 --> 00:46:36,360
Speaker 3: people and things are not going to go well for them.

836
00:46:36,600 --> 00:46:39,720
Speaker 2: Yeah. Here come Tommy and lynd, a couple of well

837
00:46:39,760 --> 00:46:43,360
Speaker 2: meaning squares who are just so pleasant, just so pleasant.

838
00:46:43,360 --> 00:46:46,440
Speaker 2: They're like, oh, strangers, in the desert. This is great,

839
00:46:46,920 --> 00:46:49,520
Speaker 2: more people to hang out with. Little do they know

840
00:46:49,640 --> 00:46:52,319
Speaker 2: that this band of go go witches is gonna They're

841
00:46:52,360 --> 00:46:53,919
Speaker 2: gonna be their their death and doom.

842
00:46:54,280 --> 00:46:57,799
Speaker 3: It's a couple of teenagers who are just like meat loaf,

843
00:46:57,960 --> 00:46:59,840
Speaker 3: mashed potatoes, and canned peas.

844
00:47:00,080 --> 00:47:00,279
Speaker 4: You know.

845
00:47:01,040 --> 00:47:06,600
Speaker 3: They love cars, soft drinks, good clean fun. And Tommy

846
00:47:06,680 --> 00:47:09,399
Speaker 3: is here to do some timed trials because he loves,

847
00:47:09,440 --> 00:47:11,839
Speaker 3: you know, tuning up his car, which to me did

848
00:47:11,880 --> 00:47:14,240
Speaker 3: not look like a hot rod. I was like, really, Tommy,

849
00:47:14,280 --> 00:47:16,400
Speaker 3: he's the car guy and that's his car. But I

850
00:47:16,440 --> 00:47:18,239
Speaker 3: just don't know my sixties cars.

851
00:47:18,280 --> 00:47:22,680
Speaker 2: I guess, yeah, yeah, the sixties car expert can shine

852
00:47:22,680 --> 00:47:24,040
Speaker 2: in here and tell us what we're looking at.

853
00:47:24,480 --> 00:47:27,760
Speaker 3: But so they're here to do timed trials, which Varlap

854
00:47:27,920 --> 00:47:30,120
Speaker 3: makes fun of, by the way, time trials. You know,

855
00:47:30,600 --> 00:47:34,759
Speaker 3: I only race against the living. But I think Linda's

856
00:47:34,760 --> 00:47:38,080
Speaker 3: idea is she's gonna sit there and like, enjoy some

857
00:47:38,160 --> 00:47:40,919
Speaker 3: soft drinks and do the stop Watch for Tommy while

858
00:47:40,920 --> 00:47:41,800
Speaker 3: he drives around.

859
00:47:42,320 --> 00:47:42,839
Speaker 2: That does it?

860
00:47:42,840 --> 00:47:47,320
Speaker 3: It sounds like a great time. And at some point

861
00:47:47,480 --> 00:47:52,040
Speaker 3: Linda offers the the Go Go murderers soft drinks. She's like,

862
00:47:52,040 --> 00:47:54,160
Speaker 3: would you like a soft drink from our cooler here?

863
00:47:54,840 --> 00:47:57,360
Speaker 2: Yeah, And Rosie says, honey, we don't like nothing soft.

864
00:47:57,480 --> 00:47:59,719
Speaker 2: Everything we touch is hard. So let's get some more

865
00:47:59,760 --> 00:48:02,239
Speaker 2: that rate russ Meyer dialogue here.

866
00:48:02,719 --> 00:48:05,600
Speaker 3: But we should add like nearly every exchange in the

867
00:48:05,640 --> 00:48:10,160
Speaker 3: movie is like that. It's just like nobody says anything normal.

868
00:48:10,280 --> 00:48:13,719
Speaker 3: They're they're always like spitting one liners at each other.

869
00:48:14,400 --> 00:48:17,360
Speaker 2: Yeah, And basically this whole interaction with Tommy and Linda

870
00:48:18,160 --> 00:48:20,680
Speaker 2: is they're just picking a fight with them the whole time.

871
00:48:20,800 --> 00:48:25,120
Speaker 2: They're trying to tempt them into some sort of a confrontation.

872
00:48:26,840 --> 00:48:29,200
Speaker 2: You know, it's a I thought that it ultimately has

873
00:48:29,280 --> 00:48:31,960
Speaker 2: kind of Varlas especially has kind of like an Old

874
00:48:32,040 --> 00:48:36,560
Speaker 2: Testament Satanic aspect to our character, because in Tommy we

875
00:48:36,640 --> 00:48:39,480
Speaker 2: see a good man. You know, he's not leering, he's

876
00:48:39,520 --> 00:48:42,680
Speaker 2: not saying inappropriate things like the gas station attendant from

877
00:48:42,960 --> 00:48:44,080
Speaker 2: from earlier.

878
00:48:44,400 --> 00:48:45,040
Speaker 3: That's later the.

879
00:48:46,600 --> 00:48:49,200
Speaker 2: Yeah, okay, yeah, that's right, because Linda's are even kidnapped

880
00:48:49,200 --> 00:48:51,080
Speaker 2: by that point. But you know, most of them the

881
00:48:51,080 --> 00:48:52,759
Speaker 2: males in the film are like that. You know, they're

882
00:48:52,760 --> 00:48:56,200
Speaker 2: saying some some stuff here, or they're they're leering at

883
00:48:56,239 --> 00:49:00,000
Speaker 2: our at our trio. But you know, Tommy seems good.

884
00:49:00,200 --> 00:49:04,480
Speaker 2: You know, he couldn't possibly be provoked to violence. But

885
00:49:04,760 --> 00:49:07,319
Speaker 2: you know, our Satanic character might say, well, you know

886
00:49:07,800 --> 00:49:10,960
Speaker 2: he's been protected from those temptations, but what if someone

887
00:49:11,000 --> 00:49:14,080
Speaker 2: were to criticize his racing, What if someone were to

888
00:49:14,160 --> 00:49:19,080
Speaker 2: beat him in a desert race and also take his girlfriend?

889
00:49:19,120 --> 00:49:20,319
Speaker 2: Stop watch, So.

890
00:49:20,239 --> 00:49:23,200
Speaker 3: You're you're talking about like the Satan from the Book

891
00:49:23,239 --> 00:49:27,120
Speaker 3: of Job, Satan as the prosecutor of the court of Heaven.

892
00:49:27,920 --> 00:49:30,759
Speaker 2: Yeah, so I think Varla has that kind of energy here.

893
00:49:31,160 --> 00:49:33,520
Speaker 2: So yeah, so just constantly picking a fight. There's a

894
00:49:33,560 --> 00:49:36,680
Speaker 2: great bit where he's starting to get a little annoyed

895
00:49:36,680 --> 00:49:38,120
Speaker 2: by all this. He's like, are you are you trying

896
00:49:38,160 --> 00:49:40,360
Speaker 2: to say something and she's like, I never try anything,

897
00:49:40,400 --> 00:49:44,560
Speaker 2: I just do it, which awesome Varla line just sums

898
00:49:44,560 --> 00:49:49,720
Speaker 2: it up, prefigures Yoda as well. Mm hmm, yoda Varla

899
00:49:49,880 --> 00:49:50,200
Speaker 2: see that?

900
00:49:50,320 --> 00:49:51,840
Speaker 3: Yeah?

901
00:49:51,040 --> 00:49:51,239
Speaker 2: Yeah.

902
00:49:51,840 --> 00:49:55,080
Speaker 3: She also at some point she's trying to get him

903
00:49:55,120 --> 00:49:59,279
Speaker 3: to do a dangerous drag race with her, and he's

904
00:49:59,320 --> 00:50:02,200
Speaker 3: at first using and she at one point says, you're

905
00:50:02,200 --> 00:50:06,239
Speaker 3: the all American boy, a safety first Clyde.

906
00:50:07,520 --> 00:50:08,200
Speaker 2: Yeah.

907
00:50:08,280 --> 00:50:12,120
Speaker 3: So eventually the go go murder gang tricks. They like

908
00:50:12,239 --> 00:50:16,320
Speaker 3: goed Tommy into racing, and so they're you know, driving

909
00:50:16,360 --> 00:50:18,680
Speaker 3: around the track, and then it looks maybe like Tommy

910
00:50:18,719 --> 00:50:21,160
Speaker 3: is gonna win the race, but then Varla pulls some

911
00:50:21,239 --> 00:50:23,480
Speaker 3: kind of I didn't understand exactly what happened, but she

912
00:50:23,560 --> 00:50:26,040
Speaker 3: pulls some kind of dangerous stunt to like run him

913
00:50:26,080 --> 00:50:26,760
Speaker 3: off the course.

914
00:50:27,680 --> 00:50:32,560
Speaker 2: Yeah yeah, And so from here things escalate pretty quickly,

915
00:50:32,680 --> 00:50:37,040
Speaker 2: and Varla finally provokes nice guy Tommy into a fight,

916
00:50:37,640 --> 00:50:41,720
Speaker 2: into an actual physical altercation, and it is amazing because

917
00:50:41,760 --> 00:50:45,200
Speaker 2: she proceeds to just karate chop the crap out of them.

918
00:50:45,960 --> 00:50:49,759
Speaker 2: And I've said before, I love karate chops in these

919
00:50:49,760 --> 00:50:52,640
Speaker 2: old timey fights. I don't think we see enough karate

920
00:50:52,719 --> 00:50:55,359
Speaker 2: chops anymore. Today it's all like Mma moves, and I'm

921
00:50:55,400 --> 00:51:00,120
Speaker 2: so bored with characters throwing out you know, either or

922
00:51:00,560 --> 00:51:03,719
Speaker 2: a wrestling souplex or certainly some sort of an arm

923
00:51:03,800 --> 00:51:06,920
Speaker 2: bar scenario. I want karate chops to come back in

924
00:51:06,960 --> 00:51:10,480
Speaker 2: a big way, and all man, Varla throws out some

925
00:51:10,600 --> 00:51:15,319
Speaker 2: wonderful ones. Finally Tommy starts punching back, and she takes

926
00:51:15,360 --> 00:51:18,440
Speaker 2: him down with this cool arm based takedown thing. And

927
00:51:18,480 --> 00:51:23,120
Speaker 2: then proceeds to apply a standing surfboard lock, so he's

928
00:51:23,239 --> 00:51:26,200
Speaker 2: laying on his belly. She grabs both arms, puts her

929
00:51:26,239 --> 00:51:28,879
Speaker 2: boot to the back of his neck, and snaps his

930
00:51:28,880 --> 00:51:32,040
Speaker 2: neck with her boot. Just a complete, solid kill. This

931
00:51:32,080 --> 00:51:35,560
Speaker 2: whole scene John Waters described as just mind boggling.

932
00:51:35,880 --> 00:51:38,880
Speaker 3: It is shocking, and you know, if you didn't understand

933
00:51:38,960 --> 00:51:41,080
Speaker 3: up until this point, you're like, oh, okay, this is

934
00:51:41,120 --> 00:51:42,839
Speaker 3: why this movie is so infamous.

935
00:51:43,239 --> 00:51:45,279
Speaker 2: Yeah, because he just killed him in cold blood. Like

936
00:51:45,320 --> 00:51:48,399
Speaker 2: it escalates from just and she just met him. They

937
00:51:48,640 --> 00:51:51,480
Speaker 2: just met these people and they've already provoked him to

938
00:51:51,560 --> 00:51:53,600
Speaker 2: violence and then killed him.

939
00:51:54,200 --> 00:51:57,840
Speaker 3: She does multiple times claim to be giving him a

940
00:51:57,920 --> 00:52:01,160
Speaker 3: chance to walk away, but it's like he didn't start it.

941
00:52:01,200 --> 00:52:03,200
Speaker 3: It's just like you can walk away if you just

942
00:52:03,360 --> 00:52:07,040
Speaker 3: allow me to like humiliate and insult your girlfriend some more.

943
00:52:08,160 --> 00:52:12,799
Speaker 3: Because they steal Linda's stop watch and they won't give

944
00:52:12,840 --> 00:52:16,040
Speaker 3: it back to her, and Linda's like, help me, Tommy,

945
00:52:16,160 --> 00:52:20,160
Speaker 3: and Tommy's like, oh, come on, be nice, and no,

946
00:52:20,320 --> 00:52:21,640
Speaker 3: they're not going to be nice.

947
00:52:22,200 --> 00:52:25,080
Speaker 2: Yeah, So they kill Tommy in cold blood, and there's

948
00:52:25,080 --> 00:52:27,400
Speaker 2: nothing left to do at that point but to kidnap Linda.

949
00:52:27,719 --> 00:52:30,920
Speaker 3: More crimes right, Tommy's dead. And in a way, I

950
00:52:30,960 --> 00:52:32,960
Speaker 3: think this is no big deal for them because killing

951
00:52:32,960 --> 00:52:35,160
Speaker 3: men in the desert, this is just a regular part

952
00:52:35,160 --> 00:52:39,160
Speaker 3: of a day off for Varla and company. Yeah, but yeah,

953
00:52:39,200 --> 00:52:41,200
Speaker 3: Linda's a witness. So what are they going to do

954
00:52:41,239 --> 00:52:44,759
Speaker 3: with this goody two shoes teenager who knows their fondness

955
00:52:44,800 --> 00:52:47,719
Speaker 3: for go go assassination. They've got a kidnap her, take

956
00:52:47,760 --> 00:52:50,120
Speaker 3: her with them to somewhere. I think they're planning to

957
00:52:50,239 --> 00:52:52,600
Speaker 3: kill her also later. I don't know why they don't

958
00:52:52,640 --> 00:52:53,280
Speaker 3: just do it there.

959
00:52:53,880 --> 00:52:57,480
Speaker 2: Yeah, it's they kind of skip over that, but at

960
00:52:57,480 --> 00:53:01,000
Speaker 2: any rate, Yeah, they throw her in the car, they

961
00:53:01,040 --> 00:53:02,480
Speaker 2: get some pills in her. They have a lot of

962
00:53:02,480 --> 00:53:04,839
Speaker 2: pills on hand for this sort of thing, and then

963
00:53:04,880 --> 00:53:07,960
Speaker 2: it's off to wherever. I guess they got to get gas.

964
00:53:07,640 --> 00:53:10,600
Speaker 3: First, right, So next they go to the gas station,

965
00:53:11,200 --> 00:53:14,239
Speaker 3: and you mentioned the interaction with the gas station attendant.

966
00:53:14,280 --> 00:53:17,200
Speaker 3: This is where, like, you know, the guy's like cleaning

967
00:53:17,200 --> 00:53:20,640
Speaker 3: the window and he is he is ogling Varla and

968
00:53:21,080 --> 00:53:24,400
Speaker 3: at some point he says like, Wow, I'd really like

969
00:53:24,480 --> 00:53:27,160
Speaker 3: to see America one day, and she goes, you won't

970
00:53:27,160 --> 00:53:31,600
Speaker 3: see it down there. Columbus another great line.

971
00:53:31,680 --> 00:53:34,400
Speaker 2: Yeah, all of our those lines are just gold, and

972
00:53:34,560 --> 00:53:36,520
Speaker 2: all three of them, I think, say you get to

973
00:53:36,680 --> 00:53:39,920
Speaker 2: get to jab at this this sort of happy go

974
00:53:40,040 --> 00:53:43,279
Speaker 2: lucky gas station attendant. They say such mean things to him,

975
00:53:43,280 --> 00:53:44,560
Speaker 2: and they're all wonderful.

976
00:53:44,880 --> 00:53:48,759
Speaker 3: He stays relatively pleasant despite the fact that they're just

977
00:53:48,880 --> 00:53:51,359
Speaker 3: all viciously insulting him over and over.

978
00:53:51,400 --> 00:53:51,480
Speaker 1: It.

979
00:53:51,600 --> 00:53:55,520
Speaker 2: Yeah, yeah, in a way, he's the most pleasant male character,

980
00:53:55,640 --> 00:54:06,640
Speaker 2: if not the most pleasant character in the whole film.

981
00:54:06,680 --> 00:54:09,160
Speaker 3: Also, while they're at the gas station, it sets up

982
00:54:09,280 --> 00:54:13,120
Speaker 3: the dynamic that will take over for the rest of

983
00:54:13,160 --> 00:54:16,480
Speaker 3: the movie, which is Billy. She's wandering around and she

984
00:54:16,560 --> 00:54:19,880
Speaker 3: sees a hunk with muscles. She's like, wow, look at

985
00:54:19,880 --> 00:54:23,799
Speaker 3: that hunk a man, and the gas station attendant I

986
00:54:23,840 --> 00:54:26,719
Speaker 3: guess he just happens to know everything. He explains that

987
00:54:26,719 --> 00:54:29,680
Speaker 3: that guy is the son of a local rancher who

988
00:54:29,719 --> 00:54:32,880
Speaker 3: lives way out in the desert, and the rancher is

989
00:54:33,560 --> 00:54:36,200
Speaker 3: he some time ago was injured and now has to

990
00:54:36,320 --> 00:54:39,320
Speaker 3: use a wheelchair. Because Rob correct me if I'm getting

991
00:54:39,320 --> 00:54:42,319
Speaker 3: any of this wrong. I think he says that the

992
00:54:42,360 --> 00:54:46,439
Speaker 3: old man was injured while rescuing a girl from an

993
00:54:46,480 --> 00:54:51,319
Speaker 3: oncoming train, and as a result of his injuries, he

994
00:54:51,480 --> 00:54:54,000
Speaker 3: was paid a huge sum of money. I don't know

995
00:54:54,000 --> 00:54:57,240
Speaker 3: if that was insurance or from the train company or something.

996
00:54:57,800 --> 00:55:00,759
Speaker 3: And then somehow the gas pump guy knows about this

997
00:55:00,920 --> 00:55:03,600
Speaker 3: and knows that he is hiding the money in cash

998
00:55:03,719 --> 00:55:05,400
Speaker 3: form somewhere on his land.

999
00:55:06,160 --> 00:55:10,440
Speaker 2: That's right, So now he has like a lot of

1000
00:55:10,440 --> 00:55:14,240
Speaker 2: paranoid delusions about the evils of trains. He hates women,

1001
00:55:14,560 --> 00:55:16,759
Speaker 2: and he doesn't want to put his money in the bank,

1002
00:55:16,840 --> 00:55:19,080
Speaker 2: so he has it hidden somewhere in the desert. It's

1003
00:55:19,160 --> 00:55:20,120
Speaker 2: the local lore.

1004
00:55:20,280 --> 00:55:22,080
Speaker 3: Right, So the old man, he first of all, he

1005
00:55:22,160 --> 00:55:25,600
Speaker 3: is a nasty, lecherous old creep who is the most

1006
00:55:25,680 --> 00:55:28,279
Speaker 3: leering of all the leering men in the film. But

1007
00:55:28,520 --> 00:55:32,520
Speaker 3: he also you mentioned he hates women. So the way

1008
00:55:32,600 --> 00:55:35,560
Speaker 3: I think this was explained is that he wants to

1009
00:55:35,760 --> 00:55:41,480
Speaker 3: kill women for revenge because he was injured and disabled

1010
00:55:41,520 --> 00:55:44,120
Speaker 3: while trying to rescue a woman. Is that the case.

1011
00:55:44,560 --> 00:55:46,440
Speaker 2: I believe that's what they're laying out.

1012
00:55:46,520 --> 00:55:47,600
Speaker 3: Yes, okay, I don't know.

1013
00:55:47,719 --> 00:55:50,480
Speaker 2: All right, Now, he can't do much on his own,

1014
00:55:51,080 --> 00:55:55,560
Speaker 2: but luckily he has this muscular sign who they lovingly

1015
00:55:55,600 --> 00:55:56,560
Speaker 2: call the vegetable.

1016
00:55:56,840 --> 00:56:00,359
Speaker 3: Yes, so the muscle sun is portrayed as having some

1017
00:56:00,480 --> 00:56:06,080
Speaker 3: kind of unspecified mental disability. Obviously this is not portrayed

1018
00:56:06,080 --> 00:56:07,640
Speaker 3: in the movie with great sensitivity.

1019
00:56:08,360 --> 00:56:10,440
Speaker 2: No, and of course neither is the disability of the

1020
00:56:10,480 --> 00:56:13,640
Speaker 2: old man. Yeah, but you know, you are in the

1021
00:56:13,719 --> 00:56:17,359
Speaker 2: mid sixties exploitation film at this point, so right, that's

1022
00:56:17,520 --> 00:56:18,240
Speaker 2: what you're watching.

1023
00:56:18,680 --> 00:56:22,279
Speaker 3: And then you've got Kirk, the other son. Who he's

1024
00:56:22,320 --> 00:56:23,680
Speaker 3: the other son, that's his deal.

1025
00:56:24,400 --> 00:56:26,839
Speaker 2: Yeah, I mean he has an interesting place as well,

1026
00:56:26,880 --> 00:56:29,319
Speaker 2: because he's I saw some papers pointing out, you know,

1027
00:56:29,440 --> 00:56:32,440
Speaker 2: he's kind of the domestic and the domestic role of

1028
00:56:32,440 --> 00:56:34,560
Speaker 2: the group. He looks after the old man, he looks

1029
00:56:34,600 --> 00:56:39,400
Speaker 2: after his brother. He also seems to aspire and is

1030
00:56:39,480 --> 00:56:43,760
Speaker 2: ultimately positioned in a place of moral superiority, but also

1031
00:56:43,960 --> 00:56:46,359
Speaker 2: seems like he has turned a blind eye to a

1032
00:56:46,400 --> 00:56:50,520
Speaker 2: lot of bad stuff in the desert. So I was

1033
00:56:50,600 --> 00:56:52,680
Speaker 2: never really sure what to make of Kirk. And it

1034
00:56:52,840 --> 00:56:55,600
Speaker 2: also this has helped tip the scales for me and

1035
00:56:55,719 --> 00:56:57,400
Speaker 2: just rooting for Varla the whole time.

1036
00:56:57,680 --> 00:57:00,720
Speaker 3: You wanted Varla to succeed in murdering him and Linda.

1037
00:57:01,600 --> 00:57:04,719
Speaker 2: Yes, yeah, I'm sorry, but Varla's just compelling. I'm just

1038
00:57:04,760 --> 00:57:05,759
Speaker 2: not going to argue with her.

1039
00:57:06,120 --> 00:57:09,240
Speaker 3: So the Go Go Killers set their sights on this ranch.

1040
00:57:09,440 --> 00:57:12,839
Speaker 3: Varla wants the money that the old man apparently has

1041
00:57:12,880 --> 00:57:15,359
Speaker 3: stashed somewhere there. I don't know why they believe the

1042
00:57:15,360 --> 00:57:17,800
Speaker 3: gas station attended though, like why would he know this?

1043
00:57:17,880 --> 00:57:19,960
Speaker 3: But so they just take his word for it. Varla

1044
00:57:20,000 --> 00:57:22,960
Speaker 3: wants the money and Billy wants the muscle sun. So

1045
00:57:23,080 --> 00:57:26,480
Speaker 3: they're going to go to the ranch and rob You

1046
00:57:26,520 --> 00:57:31,040
Speaker 3: and I off Mike earlier were discussing this comparison. They

1047
00:57:31,120 --> 00:57:33,240
Speaker 3: head for the ranch where the rest of the movie

1048
00:57:33,280 --> 00:57:35,760
Speaker 3: is going to take place, and I could not help

1049
00:57:35,880 --> 00:57:41,960
Speaker 3: but notice the similarity between the family on this ranch

1050
00:57:42,080 --> 00:57:45,080
Speaker 3: and the family in the Texas Chainsaw Masacre, which of

1051
00:57:45,120 --> 00:57:45,920
Speaker 3: course came later.

1052
00:57:46,320 --> 00:57:49,360
Speaker 2: That's right, Yeah, I also thought that there was kind

1053
00:57:49,360 --> 00:57:53,080
Speaker 2: of a solar esque vibe going on here. You know,

1054
00:57:53,080 --> 00:57:56,240
Speaker 2: they're perverse, they're up to bad stuff out in the

1055
00:57:56,280 --> 00:57:58,880
Speaker 2: middle of nowhere, but they're all but they don't go

1056
00:57:58,920 --> 00:58:00,600
Speaker 2: all in on the hoar and same way that the

1057
00:58:00,600 --> 00:58:02,960
Speaker 2: Texas Chainsaw Masker does, obviously.

1058
00:58:02,920 --> 00:58:06,640
Speaker 3: Right, But I mean the comparisons are almost kind of eerie, Like,

1059
00:58:06,840 --> 00:58:10,880
Speaker 3: so the old man, there's like a nasty, mean spirited,

1060
00:58:11,000 --> 00:58:15,000
Speaker 3: lecherous old man there is the muscle son you know

1061
00:58:15,320 --> 00:58:17,920
Speaker 3: who in I think you could compare to leather Face,

1062
00:58:18,560 --> 00:58:21,600
Speaker 3: And I guess the difference is that in the Sawyer

1063
00:58:21,640 --> 00:58:24,360
Speaker 3: family there is no Kirk. There's not like the nice,

1064
00:58:24,440 --> 00:58:25,080
Speaker 3: normal sun.

1065
00:58:25,520 --> 00:58:29,880
Speaker 2: Yeah right, instead of Kirk, you either get the hitchhiker

1066
00:58:30,320 --> 00:58:33,360
Speaker 2: or you or you get chopped up. Yes, yeah, totally

1067
00:58:33,400 --> 00:58:35,160
Speaker 2: different vibe in that regard. But yeah, I feel like

1068
00:58:35,160 --> 00:58:37,760
Speaker 2: there's there are a lot of similarities. I wonder if

1069
00:58:37,800 --> 00:58:41,160
Speaker 2: this influenced the shape of Texas Chainsaw Masker to any degree.

1070
00:58:41,520 --> 00:58:44,160
Speaker 3: Well, it also makes you wonder like how Texas Chainsaw

1071
00:58:44,160 --> 00:58:47,120
Speaker 3: Masker would be different if the people who show up

1072
00:58:47,120 --> 00:58:50,520
Speaker 3: at the Sawyer residence are not just like hapless teenagers

1073
00:58:50,520 --> 00:58:52,480
Speaker 3: who are trying to go to a concert or trying

1074
00:58:52,480 --> 00:58:56,000
Speaker 3: to you know, find visit their old family home or something,

1075
00:58:56,360 --> 00:59:01,920
Speaker 3: but are instead just tough as nail dancer murderers.

1076
00:59:02,280 --> 00:59:04,919
Speaker 2: Oh, the Sawyers wouldn't have stood a chance. Varla would

1077
00:59:04,960 --> 00:59:07,600
Speaker 2: have made short work of all of them, leather Face,

1078
00:59:08,760 --> 00:59:12,760
Speaker 2: the hitch Hike, or any of them. No chainsaw would

1079
00:59:12,800 --> 00:59:14,280
Speaker 2: be even revved up.

1080
00:59:14,760 --> 00:59:17,200
Speaker 3: She would snatch, She would snatch the chainsaw out of

1081
00:59:17,280 --> 00:59:19,880
Speaker 3: leather Face's hands, grab it by the blade and pull

1082
00:59:19,880 --> 00:59:22,240
Speaker 3: it out of his hands and then bend him over

1083
00:59:22,360 --> 00:59:23,240
Speaker 3: and break his neck.

1084
00:59:23,640 --> 00:59:27,800
Speaker 2: Yeah, karate chop that neck, you know. Also like TCM,

1085
00:59:27,840 --> 00:59:29,680
Speaker 2: a different vibe here, but we also get a big

1086
00:59:29,720 --> 00:59:30,720
Speaker 2: sit down meal.

1087
00:59:31,560 --> 00:59:34,760
Speaker 3: That's right. Yeah, So it takes a while. They've got

1088
00:59:34,760 --> 00:59:37,040
Speaker 3: a sort of elaborate plan that I'm not going to

1089
00:59:37,200 --> 00:59:41,400
Speaker 3: get into in great detail. But so like Varla and

1090
00:59:41,440 --> 00:59:43,920
Speaker 3: the gang arrive on the property and they make a

1091
00:59:43,920 --> 00:59:47,760
Speaker 3: plan to sort of trick the family while they search

1092
00:59:47,800 --> 00:59:50,200
Speaker 3: for the money, and so they claim to have been

1093
00:59:50,240 --> 00:59:53,640
Speaker 3: stranded there and need some water for maybe the radiators

1094
00:59:53,640 --> 00:59:55,560
Speaker 3: in their car or something. But they end up getting

1095
00:59:55,600 --> 00:59:58,880
Speaker 3: invited to lunch, I think, especially because the old man

1096
00:59:59,200 --> 01:00:02,560
Speaker 3: is again nasty and lecherous and wants to ogle them

1097
01:00:02,920 --> 01:00:07,480
Speaker 3: and do much worse. So they're all having like fried

1098
01:00:07,560 --> 01:00:10,240
Speaker 3: chicken and whiskey at lunch. We're not all having whiskey.

1099
01:00:10,160 --> 01:00:14,760
Speaker 3: They're all having chicken that Kirk cooked for everyone. And

1100
01:00:14,880 --> 01:00:18,200
Speaker 3: at some point Billy is like, oh, and Linda's there

1101
01:00:18,240 --> 01:00:20,520
Speaker 3: at the table with them, just the hostage is there,

1102
01:00:20,560 --> 01:00:22,520
Speaker 3: and I think at some point she's begging for help,

1103
01:00:22,560 --> 01:00:24,200
Speaker 3: and they're all like, I don't know what to make

1104
01:00:24,240 --> 01:00:29,360
Speaker 3: of this, but Billy at some point is like, hey,

1105
01:00:29,480 --> 01:00:31,400
Speaker 3: give me some of that whiskey, old man, and he's

1106
01:00:31,440 --> 01:00:34,280
Speaker 3: like okay, And then she just proceeds to immediately get

1107
01:00:34,440 --> 01:00:37,400
Speaker 3: blackout drunk and pass out and let Linda escape.

1108
01:00:37,880 --> 01:00:40,480
Speaker 2: Yes, yeah, it is interesting that the whole vibe of

1109
01:00:40,520 --> 01:00:42,479
Speaker 2: this dinner is like the dinner table is this place

1110
01:00:42,520 --> 01:00:46,480
Speaker 2: of decorum, but everyone there is either a villain or

1111
01:00:46,480 --> 01:00:49,440
Speaker 2: a hostage, and yet there is this like weird like

1112
01:00:49,600 --> 01:00:53,800
Speaker 2: truth in place here as they engage in this strange meal.

1113
01:00:54,120 --> 01:00:59,920
Speaker 2: Of course, eventually Varla goads the old man by mentioning

1114
01:01:00,480 --> 01:01:02,919
Speaker 2: I think she's the one who mentions trains and gets

1115
01:01:03,000 --> 01:01:05,440
Speaker 2: him all upset and he ends up storming off. Oh

1116
01:01:05,480 --> 01:01:07,680
Speaker 2: and there are also a lot of a lot of

1117
01:01:07,720 --> 01:01:10,960
Speaker 2: comments about how much chicken the beefy son can eat.

1118
01:01:11,280 --> 01:01:14,720
Speaker 3: Oh yes, I think at one point he is advised

1119
01:01:14,720 --> 01:01:17,600
Speaker 3: to help himself to both a breast and a thigh.

1120
01:01:18,160 --> 01:01:20,280
Speaker 2: Yes, a lot of winkie dialogue.

1121
01:01:22,320 --> 01:01:24,800
Speaker 3: Oh oh, but we forgot a part earlier on which

1122
01:01:24,800 --> 01:01:29,560
Speaker 3: I think is that the old man is like I

1123
01:01:29,600 --> 01:01:32,440
Speaker 3: think it happens off screen, but he tries to assault

1124
01:01:32,480 --> 01:01:36,520
Speaker 3: Linda the hostage, and she flees away into the desert

1125
01:01:36,760 --> 01:01:39,760
Speaker 3: and is like, okay, I'm going to escape now, and

1126
01:01:39,880 --> 01:01:42,600
Speaker 3: is picked up in a truck by a nice young

1127
01:01:42,600 --> 01:01:45,640
Speaker 3: man who seems very helpful. But it turns out this

1128
01:01:45,720 --> 01:01:49,000
Speaker 3: is Kirk, the other son, and he just like drives

1129
01:01:49,000 --> 01:01:51,160
Speaker 3: her back to the house and she's like no, no, no,

1130
01:01:51,240 --> 01:01:54,000
Speaker 3: not back here, and he's like, oh no, it's fine.

1131
01:01:54,040 --> 01:01:55,400
Speaker 3: This is my family's house.

1132
01:01:56,400 --> 01:01:59,840
Speaker 2: We've probably been more impactful if we the audience did

1133
01:01:59,880 --> 01:02:03,280
Speaker 2: not already know that Kirk was a member of that family. Yes,

1134
01:02:03,440 --> 01:02:06,360
Speaker 2: but it's still pretty great. She escapes a couple of

1135
01:02:06,400 --> 01:02:09,680
Speaker 2: different times. They're not very good at keeping her in place,

1136
01:02:10,000 --> 01:02:11,720
Speaker 2: but then she's not particularly good at getting away.

1137
01:02:12,280 --> 01:02:15,480
Speaker 3: Oh. At some point, I think also Varla seduces Kirk.

1138
01:02:15,720 --> 01:02:18,919
Speaker 3: I do not recall why. I think somehow, I guess

1139
01:02:18,920 --> 01:02:20,600
Speaker 3: she thinks this is going to help her get the money.

1140
01:02:21,040 --> 01:02:24,320
Speaker 2: It's just is a multi stage plan to get that

1141
01:02:24,440 --> 01:02:28,880
Speaker 2: money that involves violence and seduction and dinner. I mean,

1142
01:02:29,520 --> 01:02:31,640
Speaker 2: don't try and create a flow chart of all of this.

1143
01:02:32,280 --> 01:02:33,080
Speaker 2: Just trust the plan.

1144
01:02:33,480 --> 01:02:37,200
Speaker 3: But at some point Kirk Finally, it takes a lot,

1145
01:02:37,240 --> 01:02:41,400
Speaker 3: but finally Kirk wises up to the fact that not

1146
01:02:41,480 --> 01:02:44,960
Speaker 3: only is his own family evil, but Varla and the

1147
01:02:45,000 --> 01:02:48,320
Speaker 3: gang are evil as well, and so then he's like, oh, okay,

1148
01:02:48,360 --> 01:02:51,240
Speaker 3: I need to help Linda. So at some point, Kirk

1149
01:02:51,280 --> 01:02:54,440
Speaker 3: and Linda try to escape into the desert. Meanwhile, back

1150
01:02:54,440 --> 01:02:59,200
Speaker 3: at the house, Varla, they've started murdering everybody and that

1151
01:02:59,360 --> 01:03:04,560
Speaker 3: let's see that murder. Varla and Rosie murder Billy I

1152
01:03:04,600 --> 01:03:07,440
Speaker 3: don't quite remember why. She's leaving at some point and

1153
01:03:07,480 --> 01:03:09,040
Speaker 3: they like throw a knife in her back.

1154
01:03:09,360 --> 01:03:12,560
Speaker 2: Yeah, great, great kill scene. Yeah. She's like I'm done,

1155
01:03:12,600 --> 01:03:14,880
Speaker 2: I'll see you gals at church, and she's gone off

1156
01:03:14,920 --> 01:03:18,560
Speaker 2: and was like pass me the switchblade and then throws

1157
01:03:18,600 --> 01:03:19,360
Speaker 2: it into her back.

1158
01:03:19,720 --> 01:03:22,720
Speaker 3: So they end up murdering the muscle Son and the

1159
01:03:22,760 --> 01:03:26,680
Speaker 3: old man, and they discover where the muscle Sun kills Rosie.

1160
01:03:26,760 --> 01:03:31,160
Speaker 3: The muscle Son kills Rosie, and then they they Varla

1161
01:03:31,600 --> 01:03:34,760
Speaker 3: kills well let's see, Yeah, they kill him and the

1162
01:03:34,800 --> 01:03:37,880
Speaker 3: old man. The old man it turns out had all

1163
01:03:37,920 --> 01:03:41,080
Speaker 3: of the money that he was hiding stash somehow inside

1164
01:03:41,080 --> 01:03:44,120
Speaker 3: his wheelchair, and when they hit him with their car,

1165
01:03:44,240 --> 01:03:47,200
Speaker 3: it is all it like busts out all over the place.

1166
01:03:48,080 --> 01:03:51,520
Speaker 2: Yeah. Yeah. Varla goes into revenge mode at this point though,

1167
01:03:51,560 --> 01:03:53,720
Speaker 2: and she gets. She's this great scene where she's trying

1168
01:03:53,720 --> 01:03:57,160
Speaker 2: to run over the mussel and and he's pushing back

1169
01:03:57,760 --> 01:04:01,080
Speaker 2: like he's hercules, you know, against the horsepower of the car,

1170
01:04:01,120 --> 01:04:03,680
Speaker 2: and there's just kind of a stalemate that of course

1171
01:04:03,680 --> 01:04:06,600
Speaker 2: eventually wears him out completely and he toppless. Oh he's

1172
01:04:06,600 --> 01:04:09,160
Speaker 2: like Samson, you've cut his hair at this point, he's powerless.

1173
01:04:10,480 --> 01:04:13,240
Speaker 2: But I don't think he dies. What I don't think

1174
01:04:13,240 --> 01:04:14,040
Speaker 2: he dies? Does he?

1175
01:04:14,440 --> 01:04:16,680
Speaker 3: Oh? Well, I don't recall actually.

1176
01:04:17,000 --> 01:04:17,840
Speaker 2: That he has defeated.

1177
01:04:19,040 --> 01:04:22,680
Speaker 3: But finally there is a showdown where okay, so Linda

1178
01:04:22,840 --> 01:04:25,720
Speaker 3: are our good character and Kirk are I guess kind

1179
01:04:25,760 --> 01:04:29,320
Speaker 3: of good character. They're escaping into the desert. They're trying

1180
01:04:29,360 --> 01:04:32,280
Speaker 3: to run away from the farm and and and get

1181
01:04:32,320 --> 01:04:35,640
Speaker 3: out of all this madness, and Varla must get revenge.

1182
01:04:35,720 --> 01:04:39,240
Speaker 3: So she's like hunting them down in this truck. And

1183
01:04:40,400 --> 01:04:42,880
Speaker 3: I think you compared her to the terminator at this point,

1184
01:04:42,880 --> 01:04:44,960
Speaker 3: and I think that that is a good comparison. She

1185
01:04:45,080 --> 01:04:47,520
Speaker 3: is just a machine out for destruction.

1186
01:04:48,280 --> 01:04:52,960
Speaker 2: Yeah, completely relentless. There's no way you can possibly get

1187
01:04:53,360 --> 01:04:55,520
Speaker 2: You can't stop her, you can't get away from her

1188
01:04:55,560 --> 01:04:58,920
Speaker 2: because she has no quit in her at one point,

1189
01:04:59,040 --> 01:05:01,160
Speaker 2: she's driving after them and they like cross over the

1190
01:05:01,200 --> 01:05:03,640
Speaker 2: railroad tracks and I was I was afraid they were

1191
01:05:03,640 --> 01:05:05,160
Speaker 2: gonna I was like, oh, man, is this how they're

1192
01:05:05,160 --> 01:05:07,080
Speaker 2: going to defeat Varla, because they're going to bring the

1193
01:05:07,120 --> 01:05:11,080
Speaker 2: train back into it somehow. But that's not what happens. Instead,

1194
01:05:11,120 --> 01:05:14,920
Speaker 2: they end up reaching this point where the like the truck.

1195
01:05:15,120 --> 01:05:18,360
Speaker 2: She gets out of the truck. Varla does and and

1196
01:05:18,400 --> 01:05:21,640
Speaker 2: now they're going to have this this final fight Varla

1197
01:05:22,040 --> 01:05:26,320
Speaker 2: versus Kirk and Linda in the desert, just fisticuffs and

1198
01:05:26,400 --> 01:05:27,240
Speaker 2: chops and boots.

1199
01:05:27,640 --> 01:05:31,080
Speaker 3: Well, at this point, Varla is again beating Kirk up

1200
01:05:31,120 --> 01:05:34,200
Speaker 3: totally because Kirk doesn't stand a chance against Varla. Of

1201
01:05:34,200 --> 01:05:37,800
Speaker 3: course he would, she would kill him. But I think

1202
01:05:37,920 --> 01:05:40,680
Speaker 3: Linda comes to the to the rescue with the truck.

1203
01:05:41,200 --> 01:05:43,560
Speaker 2: Yeah, she jumps back into the truck, starts it up,

1204
01:05:43,840 --> 01:05:47,880
Speaker 2: and hits Varla with the truck, and so we end

1205
01:05:47,960 --> 01:05:51,240
Speaker 2: up with with again. Varla's already totally kicked Kirk's butt

1206
01:05:51,280 --> 01:05:54,040
Speaker 2: at this point, like she she she hits first, she

1207
01:05:54,240 --> 01:05:56,640
Speaker 2: like kicks him in the kidney or something. She's chopped

1208
01:05:56,680 --> 01:05:59,760
Speaker 2: him multiple times, and she's now she's been hit by

1209
01:05:59,760 --> 01:06:01,800
Speaker 2: the v She's laying there next to him, and she

1210
01:06:01,920 --> 01:06:04,800
Speaker 2: raises one last karate chop into the air to bring

1211
01:06:04,880 --> 01:06:06,440
Speaker 2: down on him. You just know it's going to be

1212
01:06:06,440 --> 01:06:09,600
Speaker 2: a death blow. But then uh, she succumbs to her

1213
01:06:09,640 --> 01:06:10,960
Speaker 2: injuries and dies.

1214
01:06:11,520 --> 01:06:14,760
Speaker 3: The ending is great, though I did have one note.

1215
01:06:14,760 --> 01:06:17,280
Speaker 3: I was like, one way you could make this movie

1216
01:06:17,320 --> 01:06:20,000
Speaker 3: better is if at the end of Varla, instead of

1217
01:06:20,040 --> 01:06:24,400
Speaker 3: just succumbing to her injuries, is it somehow explodes like

1218
01:06:24,480 --> 01:06:27,400
Speaker 3: the Shark and Jaws, you know, like they put like

1219
01:06:27,480 --> 01:06:29,840
Speaker 3: a pressure air tank in her mouth and shoot that

1220
01:06:30,200 --> 01:06:32,440
Speaker 3: and then she explodes into ten billion pieces.

1221
01:06:32,880 --> 01:06:35,320
Speaker 2: That would have been good, you know, I could just see.

1222
01:06:35,360 --> 01:06:40,000
Speaker 2: I could see the train ending having worked. I wonder

1223
01:06:40,040 --> 01:06:42,760
Speaker 2: if that was ever on the menu as a potential

1224
01:06:42,840 --> 01:06:46,120
Speaker 2: ending for this film. But I also like the idea

1225
01:06:46,160 --> 01:06:48,160
Speaker 2: of I think Varla should have just won. I think

1226
01:06:48,240 --> 01:06:51,400
Speaker 2: Varleass should have murdered Kirk. But then again we back

1227
01:06:51,400 --> 01:06:53,440
Speaker 2: come back to the question of well, what is the

1228
01:06:53,880 --> 01:06:55,560
Speaker 2: where is she gonna go with Linda? Like, what's the

1229
01:06:55,640 --> 01:06:58,320
Speaker 2: plan here? Does she just kill Linda as well and

1230
01:06:58,360 --> 01:07:01,440
Speaker 2: then go off into the desert or is there some

1231
01:07:01,880 --> 01:07:03,920
Speaker 2: next step there? I'm not sure, so I guess it

1232
01:07:04,040 --> 01:07:07,000
Speaker 2: ultimately is just as well that she that this character dies.

1233
01:07:07,600 --> 01:07:09,840
Speaker 3: I think, let's see what would Varla have done if

1234
01:07:09,840 --> 01:07:12,480
Speaker 3: she'd want Yeah, she'd get the money. She would stand

1235
01:07:12,480 --> 01:07:15,120
Speaker 3: there and declare that she is not sad that her

1236
01:07:15,160 --> 01:07:17,840
Speaker 3: friends are dead. She's like, I don't miss them one bit,

1237
01:07:18,320 --> 01:07:20,280
Speaker 3: and then she would get in her car and drive

1238
01:07:20,320 --> 01:07:22,320
Speaker 3: away to her to the next adventure.

1239
01:07:23,000 --> 01:07:25,440
Speaker 2: Yeah, yeah, I think maybe just leave Linda alive in

1240
01:07:25,480 --> 01:07:28,600
Speaker 2: the desert to you know, to surely die. That would

1241
01:07:28,600 --> 01:07:30,640
Speaker 2: have probably worked. I feel like that's the ending this

1242
01:07:30,680 --> 01:07:33,720
Speaker 2: film would have had in the seventies. But already, you know,

1243
01:07:33,760 --> 01:07:36,120
Speaker 2: even mid sixties, it was ahead of its time, and

1244
01:07:36,160 --> 01:07:38,560
Speaker 2: there's only so much meanness that it could muster.

1245
01:07:39,320 --> 01:07:42,760
Speaker 3: I just remembered something about the final dialogue exchange after

1246
01:07:42,920 --> 01:07:45,680
Speaker 3: Varla is defeated, and I had to look it up.

1247
01:07:45,760 --> 01:07:50,840
Speaker 3: So what exactly they say? It's so, you know, Varla dies,

1248
01:07:50,880 --> 01:07:53,000
Speaker 3: and then Linda gets out of the truck and she

1249
01:07:53,120 --> 01:07:56,040
Speaker 3: says I killed her like she was an animal, like

1250
01:07:56,120 --> 01:08:00,000
Speaker 3: she was nothing, and then Kirk says she was nothing

1251
01:08:00,120 --> 01:08:03,560
Speaker 3: thing human. And so I wonder if the ending maybe

1252
01:08:03,600 --> 01:08:07,360
Speaker 3: means that Linda now has acquired a taste for violence,

1253
01:08:07,640 --> 01:08:09,760
Speaker 3: and she has been set on a path to become

1254
01:08:10,040 --> 01:08:10,960
Speaker 3: like them.

1255
01:08:11,240 --> 01:08:14,520
Speaker 2: Hmmm, well that would be interesting. Again, I'm not sure

1256
01:08:14,560 --> 01:08:18,519
Speaker 2: how how deep we can dig into the into the

1257
01:08:18,520 --> 01:08:21,440
Speaker 2: paint on this film, but I like that interpretation.

1258
01:08:22,240 --> 01:08:26,000
Speaker 3: Like immediately after the camera stops rolling, I imagine Linda

1259
01:08:26,040 --> 01:08:27,920
Speaker 3: next is like, Hey, Kirk, would you like to go

1260
01:08:28,040 --> 01:08:30,799
Speaker 3: racing on the salt flats? We'll see who wins.

1261
01:08:33,479 --> 01:08:37,880
Speaker 2: All right, Well, there you have it, faster Pussycat Kill Kill. Yeah,

1262
01:08:37,880 --> 01:08:39,439
Speaker 2: this one was a lot of fun, and I think

1263
01:08:39,479 --> 01:08:42,160
Speaker 2: now just in general, in all movies that we watch,

1264
01:08:42,280 --> 01:08:44,960
Speaker 2: I'm at least going to have that voice in the

1265
01:08:44,960 --> 01:08:50,120
Speaker 2: back of my head what would Varla do in this scenario? Yeah,

1266
01:08:50,160 --> 01:08:51,719
Speaker 2: she's an unforgettable character.

1267
01:08:52,080 --> 01:08:54,439
Speaker 3: At the very least, she would welcome us to violence.

1268
01:08:54,920 --> 01:08:58,559
Speaker 2: That's right. All right, Well, just a reminder that we're

1269
01:08:58,560 --> 01:09:01,080
Speaker 2: primarily a science podcast year and the stuff to blow

1270
01:09:01,120 --> 01:09:03,720
Speaker 2: your mind feed but on Fridays we set aside most

1271
01:09:03,720 --> 01:09:06,120
Speaker 2: serious concerns to just talk about a weird film here

1272
01:09:06,160 --> 01:09:08,880
Speaker 2: on Weird House Cinema. And if you want to see

1273
01:09:08,880 --> 01:09:10,559
Speaker 2: a list of all the films we've done over the years,

1274
01:09:10,600 --> 01:09:12,479
Speaker 2: where you can go to a couple of places I

1275
01:09:12,479 --> 01:09:15,000
Speaker 2: blog about these films at some meuto music dot com,

1276
01:09:15,040 --> 01:09:17,439
Speaker 2: but also over at letterbox dot com. It's L E

1277
01:09:17,520 --> 01:09:20,960
Speaker 2: T E R B O x D dot com. You'll

1278
01:09:20,960 --> 01:09:24,400
Speaker 2: find we'll find us. We have a user name there,

1279
01:09:24,479 --> 01:09:26,240
Speaker 2: weird House, and we have a nice list of all

1280
01:09:26,280 --> 01:09:28,920
Speaker 2: the movies we've covered. You can, you know, slice them

1281
01:09:29,000 --> 01:09:33,120
Speaker 2: up and rearrange them by decade, by genre and so forth.

1282
01:09:33,160 --> 01:09:34,519
Speaker 2: So it's a it's a pretty good way to see

1283
01:09:34,560 --> 01:09:37,360
Speaker 2: what else we've talked about, and maybe if you haven't

1284
01:09:37,400 --> 01:09:40,320
Speaker 2: listened to many of them, find some older episodes that

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Speaker 2: interest you.

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Speaker 3: In particular huge thanks to our excellent audio producer Jjposway.

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Speaker 3: If you would like to get in touch with us

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Speaker 3: with feedback on this episode or any other, to suggest

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Speaker 3: a topic for the future, or just to say hello,

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Speaker 3: you can email us at contact at stuff to Blow

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Speaker 3: your Mind dot com.

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Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

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Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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Speaker 1: or wherever you listen to your favorite shows.