Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.
Speaker 2: Hey, welcome to Weird House Cinema.
Speaker 3: This is Rob Lamb and this is Joe McCormick. And
Speaker 3: today we are going to be discussing a cult classic,
Speaker 3: the nineteen sixty five let's see, what would you call it?
Speaker 3: The Go Go murder exploitation film Faster Pussycat Kill Kill.
Speaker 3: I think I'm to understand a favorite of many filmmakers.
Speaker 2: Yeah, especially a filmmaker John Waters. He is the ultimate
Speaker 2: champion of this film. And I'm going to be touching
Speaker 2: in on his thoughts regarding this film several times, especially
Speaker 2: in the run up to the plot here. But yeah,
Speaker 2: this is a very well known cult classic film. And
Speaker 2: as we are approaching the Halloween season here, Joe, when
Speaker 2: I had this discussion, like, well, maybe we should we
Speaker 2: should have avoid doing horror movies until we get either
Speaker 2: to October itself or right to the edge of October,
Speaker 2: so as to enhance the punch of all that horror.
Speaker 2: So last week we did The Man Who Fell to
Speaker 2: Earth science fiction drama, and this week, yeah, it is
Speaker 2: basically a crime yarn, a sixties go go dancer desert
Speaker 2: crime movie.
Speaker 3: What brought you to this pic, rub, you know, I
Speaker 3: don't remember specifically.
Speaker 2: It's one of those that I've always been aware of,
Speaker 2: just because it does have a its B cinema cult
Speaker 2: following footprint firmly. It was more of a bootprint firmly implanet,
Speaker 2: you know, in the face of the American public. So
Speaker 2: I've always been vaguely aware of it, and I've heard
Speaker 2: samples from it, seen some stills from it, but I've
Speaker 2: never watched it in its entirety. And yeah, I think
Speaker 2: I was just I did a quick brainstorm. It's like,
Speaker 2: what's something that doesn't have horror, What's something even further
Speaker 2: doesn't have a speculative element at all that would still
Speaker 2: fit the profile for weird house cinema. And I was like, oh, well,
Speaker 2: it's got to be faster. Pussycat Kill Kill.
Speaker 3: I had never seen this movie before a couple of
Speaker 3: days ago, and I was very impressed by it in
Speaker 3: multiple respects. But one of the ways it impressed me
Speaker 3: was how entertaining it is for a B movie. Now,
Speaker 3: we love B movies, but a common problem with a
Speaker 3: lot of B movies is that they they often have
Speaker 3: dull stretches. Not all but a lot. You often get
Speaker 3: the sense that, like, you know, a B movie director
Speaker 3: is trying to like work up to the monster scene
Speaker 3: and that's really what they're excited about, and they're like, Okay,
Speaker 3: before we do that, we got to have like a
Speaker 3: love scene here. We gotta have like a character explaining
Speaker 3: how the monster was made to kind of dry, you know,
Speaker 3: a scientist explaining the origin of the monster whatever. And
Speaker 3: these scenes feel kind of perfunctory. It's just like they're
Speaker 3: even the director is not very excited about them. They're
Speaker 3: just trying to get through them to show you the
Speaker 3: stuff that's that you're really here for. This film was
Speaker 3: made with the idea, yeah, clearly that every moment should
Speaker 3: be thrilling and entertaining in some way, even when it's
Speaker 3: just kind of routine plot execution or just exposition that's
Speaker 3: setting up later scenes. The script is written in such
Speaker 3: a way that, like every line a character says is
Speaker 3: weird in a way that makes the scene entertaining. Like
Speaker 3: I think the sensibility that russ Meyer and from what
Speaker 3: I've read, russ Meyer to a great extent credits one
Speaker 3: of the main cast members Tasatana as also being a
Speaker 3: sort of a truth not just a member of the cast,
Speaker 3: but a true like creative influence behind like the movie
Speaker 3: and its style. Whoever's responsible for the dialogue in each
Speaker 3: scene knew that it is more important to be entertaining
Speaker 3: than to be realistic. And I appreciate that.
Speaker 2: Yeah, yeah, I think this is a strong point. I mean,
Speaker 2: you even see it in the title, Like the title
Speaker 2: is faster pussy Cat Kill Kill, And I've read that,
Speaker 2: like the whole take on this is that like you have,
Speaker 2: you know, a hint of sex in the title, you
Speaker 2: have speed, you know, racing in the title, and you
Speaker 2: have murder and death in the title. And it doesn't
Speaker 2: actually make all that much sense as a statement or
Speaker 2: a title. Like John Waters, when we're in writing about
Speaker 2: the film, often refers to the gang of three here
Speaker 2: as the Pussycats. I don't think they ever refer to
Speaker 2: themselves as such, but you know, fair enough, I guess,
Speaker 2: but you do have to sort of twist the title
Speaker 2: to make it work in a literal sense. Now, as
Speaker 2: we'll discuss, this is certainly a film produced through the
Speaker 2: male gaze. It's about go go dancers starring go go dancers,
Speaker 2: or at least two of them, and while it's not
Speaker 2: as provocative as you might expect by modern standards. I mean,
Speaker 2: this is a mid nineteen sixties movie that was shown
Speaker 2: at the drive in. You know, it's still clearly intended
Speaker 2: to titillate, but it's also action packed. And it's especially
Speaker 2: interesting to read various reviews that talk about it's kind
Speaker 2: of dual nature because at the time of its release, Yeah,
Speaker 2: a lot of people saw it as just a sexist
Speaker 2: B movie, and a lot of people didn't like it
Speaker 2: to understand, it didn't actually perform all that well, but
Speaker 2: it was later embraced as this kind of iconic counterculture
Speaker 2: film with a grandiose vision of female power to match
Speaker 2: the grandiose visions of masculine power found just everywhere else
Speaker 2: in cinema. So this is this film that has been
Speaker 2: very influential. It was a major inspiration for Quentin Tarantino's
Speaker 2: Death Proof from two thousand and seven, and both Tarantino
Speaker 2: and more recently actor Norman Retis have expressed an interest
Speaker 2: in remaking it in one form or another. I think
Speaker 2: you can ask a lot of questions about what form
Speaker 2: a remake of Faster Pussycat Kill Kill would take. In
Speaker 2: the twenty first century, but you know, maybe they have
Speaker 2: a particular vision or visions in mind.
Speaker 3: I was actually thinking, without knowing that, I was thinking
Speaker 3: about Quentin Tarantino when I thought about modern filmmakers who
Speaker 3: had clearly been inspired by this movie. I can see
Speaker 3: direct lines of influence going from this movie to Yes
Speaker 3: to Death proove his half of the release that was
Speaker 3: originally called Grind Grindhouse.
Speaker 2: Is that what it was called, Yes Grindhouse.
Speaker 3: But then also to the kill Bill series that there
Speaker 3: is some strong shared material there. Of course, I knew
Speaker 3: about the John Waters connection, and we can talk some
Speaker 3: more about some things that come through in John Waters
Speaker 3: films as well that that seemed to be inspired by
Speaker 3: this movie. But coming back to your comment about Norman
Speaker 3: read Us, I have to lodge a complaint that is
Speaker 3: not about this movie, but about how Google search results are.
Speaker 4: Now.
Speaker 3: We were just recently talking about how, for some reason
Speaker 3: it seems like Google search results are just getting worse
Speaker 3: and worse. I think I don't know exactly the reason
Speaker 3: for this, but I would suspect it has to do
Speaker 3: with just like the Web is getting worse and worse,
Speaker 3: more packed with junk, and you know, search engine gaming
Speaker 3: AI generated content and garbage. So the other day, when
Speaker 3: I just googled this movie, Faster Pussycat Kill Kill the
Speaker 3: top result, What do you think it should be? An
Speaker 3: image of the poster of the movie, an image of
Speaker 3: the cast of the movie, or a promo still from it. No,
Speaker 3: it's a picture of Norman riatas oh Man.
Speaker 2: I mean, I love Norman Reada's a very fun actor,
Speaker 2: have been in a lot of things I love. But
Speaker 2: come on, now, coming back to John Waters, I did
Speaker 2: pick up his book Shock Value where he talked He
Speaker 2: talked about a lot of things in that book, but
Speaker 2: he does specifically talk a little bit about Faster pussy
Speaker 2: Cat Kill Kill. He writes that this film, russ Meyer's
Speaker 2: tenth film quote is beyond a doubt, the best movie
Speaker 2: ever made. It is possibly better than any film that
Speaker 2: will be made in the future.
Speaker 3: Don't try to argue with him. You don't want to
Speaker 3: get pulled into this. He's had more practice having this
Speaker 3: conversation than you have.
Speaker 2: Exactly. I mean, yeah, Like I said, he's the ultimate
Speaker 2: champion of this film, and I think the ultimate expert
Speaker 2: on it. He has meditated on this movie more than
Speaker 2: any other person. In this book, he goes on to
Speaker 2: talk about how initially he was drawn in by the
Speaker 2: radio ads during the film's initial release. They promised that
Speaker 2: the movie would leave a taste of evil in your mouth,
Speaker 2: and then he went and saw it, and he fell
Speaker 2: in love the picture and ended up seeing it every
Speaker 2: night at the local drive in, often alone, for the
Speaker 2: remainder of its run there. So he cites this movie
Speaker 2: as the primary influence on all of his characters in
Speaker 2: all of his films.
Speaker 3: I can absolutely see that in many ways, and I
Speaker 3: think he so. In one sense. You can see the
Speaker 3: similarity in the way that John Waters movies, I think
Speaker 3: often go for that feeling of trying to make every
Speaker 3: single moment interesting and entertaining rather than going for realism obviously,
Speaker 3: and so it's like more important that a character say
Speaker 3: something that is shocking or funny or entertaining in some
Speaker 3: way than that they like strictly stay in character or
Speaker 3: I don't know, do something that would be realistic. But
Speaker 3: another big similarity I see is this may be a
Speaker 3: weird thing to single out, but I think you'll have
Speaker 3: to agree with me, is in a very strange and
Speaker 3: idiosyncratic style of line delivery that is characteristic of this movie,
Speaker 3: like especially Taurusitana, but also the character Billy. They have
Speaker 3: this way of saying lines where they're almost not really
Speaker 3: acting them. They are just like shouting their lines, like
Speaker 3: just spitting them out with this forceful, venomous, high octane
Speaker 3: delivery for every line, just the same every time. And
Speaker 3: that comes through in a lot of performances in John
Speaker 3: Waters movies.
Speaker 2: Yeah. Yeah, this this feeling, especially in this movie, that
Speaker 2: it often feel any given scene will often feel like
Speaker 2: a pro wrestling promo, you know, it has that kind
Speaker 2: of energy. It maybe one note, but that note is
Speaker 2: played super loud and there's no missing it and it delivers.
Speaker 2: There's something about that character very loudly.
Speaker 3: Like I'm specifically thinking of a lot of divines. Line
Speaker 3: delivery and pink flamingos feels like Varla's line delivery in
Speaker 3: this movie. Yeah, yeah, I think there's a direct connection there.
Speaker 3: So we'll keep coming back to some Waters quotes because
Speaker 3: again I think he's the authority on all these all
Speaker 3: things faster, pussy, get, kill, Kill. But as we normally
Speaker 3: we'd touch in the elevator pitch, I'm just going to
Speaker 3: read you how John Waters describes this movie as a
Speaker 3: quote violent gothic melodrama built around three bisexual, psychotic go
Speaker 3: go girls, Varla, Billy, and Rosie. There's an interesting angle
Speaker 3: that the movie approaches you with, and I wonder what
Speaker 3: you think about this, rob It almost feels like it's
Speaker 3: trying to imply that this movie is connected to current events,
Speaker 3: and those current events, which you must have seen in
Speaker 3: the news, are that now everyday women are are like
Speaker 3: breaking men's necks in the desert. It's just something that's
Speaker 3: happening in this crazy world we live in today, and
Speaker 3: this is a movie about that phenomenon. But I don't
Speaker 3: think that there really was a phenomenon to base this on.
Speaker 4: No.
Speaker 2: I mean, maybe it's exploiting a little bit this idea
Speaker 2: that they actually you call out in some dialogue in
Speaker 2: the film, or it's like women or they're doing all
Speaker 2: these things now that they didn't used to do. In
Speaker 2: one of those things is perpetrating violent crimes in the desert.
Speaker 2: You've come a long way, baby.
Speaker 3: I mean, I'm sure it happens sometimes, but I don't
Speaker 3: get the feeling that this was like there was a
Speaker 3: sudden spike in the sixties of women just doing assassinations
Speaker 3: related to auto racing.
Speaker 2: Now, I mean obviously, Yeah, women have always engaged in
Speaker 2: murder and violence just as men have. I mean, we
Speaker 2: have tales in the Old Testament and various myths and
Speaker 2: legends and so forth. There are plenty of there have
Speaker 2: been plenty of varlas throughout history. All right, let's go
Speaker 2: ahead and listen to the trailer audio for a faster
Speaker 2: pussycat kill kill.
Speaker 4: If you want, ladies and gentlemen, gold gold for a
Speaker 4: wild wild ride with the watusie cats. But beware, the
Speaker 4: sweetest kittens have the sharpest claw or your own safety.
Speaker 4: See Faster pussy Cats Kill kill, wild women, wild wheels,
Speaker 4: Race the fastest pussy cats and they'll be Jill, not dead,
Speaker 4: sober woman, faulted, wild and FOTD.
Speaker 3: You're plating yourself on this kid, then hanging itself for nothing.
Speaker 1: For nothing, got nothing to do with the money jeers.
Speaker 4: The money Jack and Jill. They make them Moffia look
Speaker 4: like Brownie must have all. Yeah, ten percent of your
Speaker 4: action be enough for anyone, too much for one man
Speaker 4: to handle. And again you never can town. You girls
Speaker 4: a bunch of newdists. You just uh short of clothes
Speaker 4: right now, You're first on my list, and I always
Speaker 4: got top. You'll only go one chill and your channel's
Speaker 4: busy tune in and outside. You really shippy, am benefm?
Speaker 2: So who do I get to take care of the
Speaker 2: muscle man?
Speaker 4: You got two of everything and some left over?
Speaker 2: You did one?
Speaker 1: You want a big crust or side darling?
Speaker 4: Why did you take one of each? Son? A? Uh,
Speaker 4: both look tender. He's got a big motor to feed.
Speaker 3: But did you you did?
Speaker 2: My mother never wrote shot baby rock would.
Speaker 4: Be rough the last time.
Speaker 2: All right, here's how it works.
Speaker 4: Everybody's gotta go your name it. We've got faster pussy hats, kills,
Speaker 4: delivers tone board on the opposition on ladylike karate chops,
Speaker 4: ungentlemanly haymaker, spirited gymnastics, corrective table attic sandbox jousting, or
Speaker 4: a muscle bound chat wrestling with a roaring sports car
Speaker 4: that's intent upon squashing him like a grape bazaar kidney
Speaker 4: and chessie rattling chases and for the first time on
Speaker 4: the screen, a hay making, belly busting, karate chopping, judo
Speaker 4: flipping fight. Go in them all, sober woman against man,
Speaker 4: the prize life itself slashing, tackling, gouging, hacking, clipping, felting, smashing,
Speaker 4: and muscle to muscle, bone to bowl or an incredible
Speaker 4: evenings entertainment. A film so totally satisfying see Russ Meyer Faster,
Speaker 4: pussy Cat Kill.
Speaker 2: Chill See really sells it. You can you can imagine
Speaker 2: being the young John Waters hearing that or some version
Speaker 2: of that trailer for the first time. All right, as
Speaker 2: for availability on this one, I do wish it was
Speaker 2: easier to get a copy of it or to have
Speaker 2: an official stream of the movie. It doesn't seem to
Speaker 2: be widely available on disc right now, and I couldn't
Speaker 2: find an official stream video Drum has a copy of
Speaker 2: it here in Atlanta. But yeah, I've given this film's
Speaker 2: cult status. Would I would want it to be more
Speaker 2: available than it is. But if you look hard enough,
Speaker 2: I think you can probably find it somewhere. So if
Speaker 2: you need a break and go see this movie, you know,
Speaker 2: come back. We're going to talk about the cast and
Speaker 2: some of the filmmakers, and then from there we're going
Speaker 2: to get into a more spoilery discussion of the plot.
Speaker 2: All right, Well, let's start, yeah at the top, with
Speaker 2: the director, the producer of the editor. He also is
Speaker 2: a story credit. It's Russ Meyer, who lived nineteen twenty
Speaker 2: two through two thousand and four, American exploitation director known
Speaker 2: for camp, be sex ploit tis films from the nineteen
Speaker 2: fifties through the nineteen eighties, with a couple of brief
Speaker 2: returns after that. He directed the nineteen seventy film Beyond
Speaker 2: the Valley of the Dolls, the only film that film
Speaker 2: critic Roger Ebert ever wrote.
Speaker 3: I think that movie was also not super well received
Speaker 3: when it came out, but I've heard people kind of
Speaker 3: appreciate it now. It's also allegedly just wild. The moment
Speaker 3: to moment weirdness quotient is apparently quite high.
Speaker 2: So Meyer's film immediately prior to Faster Pussycat was nineteen
Speaker 2: sixty five's Motor Psycho same year, same release year, about
Speaker 2: a violent gang of male bikers, so he essentially flipped
Speaker 2: the script on that for this movie, focusing on female
Speaker 2: characters instead. His films are often categorized as being very
Speaker 2: technically proficient, ludicrous in their dialogue, campy, and often using leering,
Speaker 2: low angle shots, but those low angle shots often do
Speaker 2: create this sense of weird kind of almost like mythic tension,
Speaker 2: like it makes it makes the characters in the film
Speaker 2: feel larger than life. I mean not just their physical bodies,
Speaker 2: but like their their sort of hero or villain status.
Speaker 3: I would say that russ Meyer's style is very much
Speaker 3: in that category of schlock, but not hack. Somebody who
Speaker 3: is creating what is supposed to be you know, yeah,
Speaker 3: lowbrow exploitation cinema, but who actually is bringing quite a
Speaker 3: bit of style and in a weird way you could
Speaker 3: almost say say taste to the experience.
Speaker 2: Yeah, Like I say, never a dull moment. If nothing else,
Speaker 2: you're just wondering what are these characters going to say next,
Speaker 2: And at any moment someone might get like slapped in
Speaker 2: the face as well. Again, John Waters idolized russ Meyer,
Speaker 2: called him quote the good old boy of exploitation films,
Speaker 2: and in Waters' view on things, quote exploitation films are
Speaker 2: the only ones that come close to that dreaded word art.
Speaker 3: That's an interesting idea. I almost feel like I've heard
Speaker 3: John Waters talk about this in some other context, that
Speaker 3: there's almost kind of a like a horseshoe theory of taste,
Speaker 3: where for some reason, a lot of people who seem
Speaker 3: to have some of the highest tolerance for I don't know,
Speaker 3: avant garde art and you know, the like the I
Speaker 3: don't know what you call it, the kind of fine
Speaker 3: art that really asks you to be open minded and
Speaker 3: go outside of your comfort zone. For some reason, are
Speaker 3: also often people who are into very low brow B
Speaker 3: movie type stuff.
Speaker 2: Yeah, yeah, that's sort of you know, putting yourself in
Speaker 2: a place of open minded vulnerability where art can potentially
Speaker 2: hurt you. But like it's it's what does it make
Speaker 2: me feel? It's creating feelings and then I'm supposed to
Speaker 2: make sense of those feelings. Yeah, it's not unlike the
Speaker 2: place you have to put yourself in with various exploitation films,
Speaker 2: though to be sure, not all exploitation films are created
Speaker 2: equal and in many different ways. All right, Moving on
Speaker 2: to the screenplay itself, written by Jackie Moran, who lived
Speaker 2: nineteen twenty three through nineteen ninety. As a writer, he
Speaker 2: only worked on a handful of produced screenplays, all russ
Speaker 2: Meyer pictures, but as an actor, his credits go back
Speaker 2: to Believe the mid nineteen thirties. As a child and
Speaker 2: youth actor appeared in various old serials such as Buck Rogers,
Speaker 2: as well as a nineteen thirty eight adaptation of the
Speaker 2: Adventures of Tom Sawyer. Oh and he was also in
Speaker 2: a nineteen thirty nine film called Gone with the Wind.
Speaker 3: So I mentioned that a lot of what makes this
Speaker 3: movie unique is the high grit of the script, you know,
Speaker 3: like the way that each line just kind of like
Speaker 3: grips you and rubs your brain. And I don't know
Speaker 3: exactly where to put the credit for this. It should
Speaker 3: should we be thinking about this as like a feature
Speaker 3: of Jackie Moran's screenplay, or since this seems to be,
Speaker 3: from what I've read, a characteristic of Russ Meyer films,
Speaker 3: is this something that's coming more from Meyer's influence? But
Speaker 3: then again, as I said, also, I've read that that
Speaker 3: tourist Satana is usually given credit for shaping a lot
Speaker 3: of the tone and style of the movie.
Speaker 2: Yeah, I mean, you probably want to side with Varlain
Speaker 2: this one, because otherwise she's gonna chop you and Kidney.
Speaker 2: So I mean, it does seem like a lot of
Speaker 2: those lines are coming from the heart. So yeah, I
Speaker 2: don't have a lot of clarity on this, but I
Speaker 2: kind of have the suspicion that the screenplay was one place,
Speaker 2: and then maybe the actors and or the director on
Speaker 2: the set kind of like punch things in a different direction.
Speaker 3: Hmm.
Speaker 2: Okay, well, let's talk about Toura Satana, not Santana, as
Speaker 2: I sometimes keep mispronouncing it. This is this is her
Speaker 2: show name. Lean into the sort of evil nature of
Speaker 2: her persona. So Satana lived nineteen thirty eight through twenty eleven,
Speaker 2: and yeah, this she plays the leader of our gang
Speaker 2: of three of violence loving fem fatale, criminal, mastermind, and
Speaker 2: goth queen of the Desert. Satana was born Tura Yamaguchi.
Speaker 2: She was a Japanese American exotic dancer and burlesque performer
Speaker 2: turned actor. She started out in the early sixties with
Speaker 2: bit parts for TV and film, including the TV series
Speaker 2: hawaiian I and The Man from Uncle. Then came this film,
Speaker 2: followed by an uncredited role as a dancer on sixty
Speaker 2: six is Our Man Flint, and then the role of Satana,
Speaker 2: essentially playing herself to some degree in the nineteen sixty
Speaker 2: eight low budget sci fi horror film The Astro Zombies
Speaker 2: starring Wendell Corey and John Keradine.
Speaker 3: That's a movie I have seen and remember almost nothing about,
Speaker 3: which is a feature of most films I've seen starring
Speaker 3: John Keradine.
Speaker 2: Oh well, you know, Peep busted. He's in a lot
Speaker 2: of films, but he's in a lot of forgivable films,
Speaker 2: It's true. Astro Zombies is definitely one of those. It's
Speaker 2: a classic B movie in many ways. It has this
Speaker 2: super cool mask, very cool poster, but as I remember it,
Speaker 2: a very plotting pace. I believe Satana plays the Mad
Speaker 2: Doctor's evil hinch woman, but I cannot remember a thing
Speaker 2: that anyone does in this aside from you do get
Speaker 2: some creeping astro zombies from time to time.
Speaker 3: That was a Ted V. Michels movie, wasn't it.
Speaker 2: I think so? So After this, she was in seventy
Speaker 2: three Is the Doll Squad, a kind of Charlie's Angels
Speaker 2: inspired romp. She left acting after that, but emerged again
Speaker 2: in the two thousands, appearing in two thousand and fours,
Speaker 2: Mark of the Astro Zombies, two thousand and nine, Sugar
Speaker 2: Box Rob Zombies, The Haunted World of l Superbisto, and
Speaker 2: Astro Zombies M three cloned in twenty ten. I mean,
Speaker 2: what can you say though, she's a force of nature
Speaker 2: in this movie, alluring intended, but also just believably mean
Speaker 2: and above all cool, Like she's she's so cool that
Speaker 2: even though she is and a lot of people have
Speaker 2: pointed this out, like she is arguably the villain or
Speaker 2: one of the two main villains in the picture, but
Speaker 2: at the same time, you're rooting for the whole time,
Speaker 2: or I was. It's like, even if she's engaging and
Speaker 2: kidnapping and mass murder, I'm kind of on team Varla
Speaker 2: the whole way. And Yeah, it's just an amazing performance
Speaker 2: and you can't look away, you can't stop listening. What
Speaker 2: is she going to say next? Who is she going
Speaker 2: to hit next?
Speaker 3: I love how she's just automatically immediately rude to everyone.
Speaker 2: Yes she is. She's rude and cutting to everyone. No
Speaker 2: one is safe, and it's just one step away from
Speaker 2: murder at all times.
Speaker 3: Also, I'm pretty sure in all her fight and action scenes,
Speaker 3: we're not looking at a stunt double, are we.
Speaker 2: No. No, I believe she did all her own stunts,
Speaker 2: And to understand, she also did her own fight choreography.
Speaker 2: So when we see her beaten up various folks and
Speaker 2: throwing them to the ground and chopping them like she
Speaker 2: she brought the technique.
Speaker 3: I'm trying to think of another movie. I know there
Speaker 3: are movies like this. I can't call examples to mind
Speaker 3: right now of a movie where really, essentially the main
Speaker 3: character is also the main villain and you're just you're
Speaker 3: basically on their side and seeing the world through their eyes,
Speaker 3: even though they are in a technical sense, the bad
Speaker 3: guy that must be defeated at the end.
Speaker 2: Yeah, like what we discussed talking about Riddick, there's there's
Speaker 2: always this temptation to to have this sort of redemption
Speaker 2: arc to your your antihero, and that is not what
Speaker 2: goes on here. Yeah. You know, you might be fooled
Speaker 2: into thinking that's where it's going at some point, but
Speaker 2: it's not.
Speaker 3: She does not get a heart. She is not a
Speaker 3: go go dancer assassin with a heart of gold. She
Speaker 3: has a heart of a drain cleaner. I would say,
Speaker 3: a heart of the most caustic, toxic substance. Maybe you
Speaker 3: could say she has a heart of raid on.
Speaker 2: Yeah, all right, So she's the leader of our trio
Speaker 2: of go go witches here, our gang of three. Up
Speaker 2: next is the character Rosie played by the actor Hodgi.
Speaker 2: Hodgi is her screen name and based on her New
Speaker 2: York Times oh bit from twenty thirteen. This was a
Speaker 2: nickname that her uncle gave to her. So she was
Speaker 2: born Barbarella Katon in nineteen forty six. So Canadian American
Speaker 2: dancer turned actor. She also appeared in Motorcyco. She also
Speaker 2: pops up and Beyond the Valley of the Dolls. She
Speaker 2: was in nineteen seventies Bigfoot starring John Carradine once more
Speaker 2: Christopher Mitcham as well. She was also She also pops up.
Speaker 2: It's kind of in the background in some bigger films,
Speaker 2: like she's in John Cassavetti's The Killing of a Chinese
Speaker 2: Bookie from seventy six starring Ben Gazzara. It's like a
Speaker 2: bit roll as a dancer. She also pops up in
Speaker 2: the nineteen eighty one horror film Demonoid starring Samantha Agger.
Speaker 2: I've seen part of this. This is like set in
Speaker 2: Mexico and has some sort of a demonic disembodied hand.
Speaker 3: Oh demonic hand movie, you know what. We've mentioned so
Speaker 3: many of those in passing in episodes since we did
Speaker 3: The Beast with Five Fingers and Mad Love. I wonder
Speaker 3: if we should just do a whole like Hand Monster series.
Speaker 2: We easily could. Yeah, there are a number of of
Speaker 2: I mean a number of them are based on the
Speaker 2: Hands of Warlock and part of that direct tradition. But then, yeah,
Speaker 2: you have other films like the Michael Kane filmed The
Speaker 2: Hand and so forth.
Speaker 3: Was that the one directed by Oliver Stone?
Speaker 2: It is? Yeah, Oliver Stone directed that one.
Speaker 3: Where you find out that the CIA was actually behind
Speaker 3: the Hand all along.
Speaker 2: Yeah, I think it's a rare you know, it's from
Speaker 2: that period of time when he almost directed a Cone
Speaker 2: in the Barbarian movie. All Right, So the character Rosy
Speaker 2: in this different, different style, different presentation, she is she
Speaker 2: doesn't really have time for any of the app that's
Speaker 2: going on in this movie. She isn't necessarily down with
Speaker 2: all of Varla's violence, but she is devoted to Varla. Nonetheless.
Speaker 2: Hodgy's performance is I would say, richly entertaining. At times,
Speaker 2: it seems like maybe the greenest she has this. I
Speaker 2: think she's doing an Italian accent in this. I'm not
Speaker 2: entirely sure.
Speaker 3: I interpreted it as an Italian accent, Yes.
Speaker 2: Yeah, waters and shot in the in the book, I
Speaker 2: referenced earlier, says quote, She's a mean Mexican with a
Speaker 2: weakness for switchblades who emphasizes her many moments of disgust
Speaker 2: by spitting or picking her teeth with whatever is handy.
Speaker 3: Yes, she she is the most disgusted of our three
Speaker 3: anti heroes.
Speaker 2: Yes, that is her. That is her one note played
Speaker 2: loudly discussed, but also occasionally a little bit like. She's
Speaker 2: the only one of the three that also shows like
Speaker 2: a little bit of empathy or even remorse at times.
Speaker 2: So in a weird way, she has more her role
Speaker 2: has more range.
Speaker 3: I agree, she's the only one of the three that
Speaker 3: seems to have any hint of a soul or kindness
Speaker 3: at all. And it's not much of a hint, but
Speaker 3: there's a little spark in there somewhere. She is often
Speaker 3: set against the third of the gang, Billy. They're kind
Speaker 3: of butting heads a lot of the movie.
Speaker 2: Yeah. Billy is played by Laurie Williams born nineteen forty six.
Speaker 2: He's our blonde, sassy, provocative, wise cracking, sensation junkie. He's
Speaker 2: just always down for a swim or some just extracurricular dancing, fighting,
Speaker 2: a little racing, you know whatever, whatever, She's up for anything.
Speaker 2: She's also ridiculously laugh out loud seductive in a manner
Speaker 2: that reminds me of Gina Moroney from thirty Rock. So
Speaker 2: many moments where she's being sexy and it's just hysterical.
Speaker 3: She just like sees a man with muscles fifty feet
Speaker 3: away and it's like.
Speaker 2: Hey, hot stuff, yeah, exactly now. Williams was not a
Speaker 2: go go dancer, but was a beach party film actor
Speaker 2: for the most part. Her other credits include mostly dancer roles,
Speaker 2: but in some notable films, including nineteen sixty three's The
Speaker 2: Prize starring Paul Newman, the Elvis movies Viva Las Vegas
Speaker 2: and Kissing Cousins in sixty four, as well as the
Speaker 2: Elvis movies Girl Happy and Tickle Me, both in sixty five,
Speaker 2: So multiple Elvis movies here. She's an arman Flint in
Speaker 2: sixty six. She has a passenger role as an extra
Speaker 2: in nineteen seventy two is The Poseidon Adventure, and an
Speaker 2: uncredited victim role in nineteen seventy fours, ninety nine and
Speaker 2: forty four Out of One hundred Percent Dead, directed by
Speaker 2: John Frankenheimer and starring Richard Harris Waters in Shock Value says, quote,
Speaker 2: Billy is the film of the group, the main things
Speaker 2: on her mind being sex and alcohol. In her white
Speaker 2: short shorts, haltertop, and knee high patent leather go go boots,
Speaker 2: Billy is forever breaking into torrid go go steps whenever
Speaker 2: trouble arises.
Speaker 3: Yes, so they're professional go go dancers, but Billy likes
Speaker 3: to go go dance when they're off the clock, and
Speaker 3: her gang, her fellow gang members will say, you know, hey,
Speaker 3: why are you doing that? You know that's we left
Speaker 3: that behind at work, and she's like, I do what
Speaker 3: I want.
Speaker 2: Yeah, yeah, yeah, she does. In a way like she's
Speaker 2: the perfect opposite but equal of Varla because they both
Speaker 2: do whatever they want. They have their own compass, but
Speaker 2: the things they want to do are drastically different.
Speaker 3: Okay, so we've got our vicious, murdering gang of go
Speaker 3: go dancers. We got to have some innocent people in
Speaker 3: here to be victimized by them, right.
Speaker 2: That's right, and so that the main victim being Linda,
Speaker 2: played by Subernard who lived nineteen forty eight through twenty nineteen.
Speaker 2: She plays likable American every girl and the gang of
Speaker 2: three are of course not impressed with her here, but
Speaker 2: Bernard has the interesting history. She was the daughter of
Speaker 2: legendary glamour and pin up photographer Bruno Bernard. She was
Speaker 2: an author, actress, model, and businesswoman. She was a playboy
Speaker 2: model in nineteen sixty six. This was her first film role,
Speaker 2: followed by a couple of notable films. I guess nineteen
Speaker 2: sixty nine is the witch Maker in nineteen seventy two's Necromancy.
Speaker 2: A noteworthy family connection is that at one point she
Speaker 2: was married to actor and playwright Jason Miller, who, of
Speaker 2: course is famous for having played Father Damien in The Exorcist. Ah, yes,
Speaker 2: father kais Yeah, and their son is was actor Joshua
Speaker 2: John Miller born nineteen seventy two. He has a number
Speaker 2: of interesting credits, but his first film role as a
Speaker 2: child actor was playing the hero's son Willie in Halloween
Speaker 2: three Season of the Witch.
Speaker 3: Okay, wait, how many degrees of separation is that from
Speaker 3: Halloween three to Faster pussy Cat? I guess it involves
Speaker 3: a family connection.
Speaker 2: Yeah, it's a family connection. So it's harder, but it's
Speaker 2: it's close enough. It's in close orbit.
Speaker 3: I'm just imagining a film that could have been like
Speaker 3: the Go Go Murder Gang here versus Tom Atkins from
Speaker 3: Halloween three. Doesn't doesn't he seem like the perfect victim
Speaker 3: of their treachery.
Speaker 2: Yeah, I could see him taking a beating from this bunch. Now,
Speaker 2: speaking of taking a beating, the character Linda has a
Speaker 2: boyfriend named Tommy, and Tommy is one of, if not
Speaker 2: the only likable male characters in the whole picture. Withst
Speaker 2: caveats will come back to that. He's a kind of
Speaker 2: square and nice guy who just wants to work on
Speaker 2: his car, improve his race time, and spend spend a
Speaker 2: little quality time with his girlfriend Linda. He doesn't, you know,
Speaker 2: leer at any of the women or speak to them
Speaker 2: in a sexist manner, and you might think this means, well,
Speaker 2: this might be the hero of our picture, but he's
Speaker 2: certainly not. No.
Speaker 3: No, he's a nice guy, which means he's marked for death.
Speaker 2: Mark for death. We'll get to that death in a
Speaker 2: bit because it's pretty spectacular. Played by Ray Barlow. I
Speaker 2: don't think any dates are known for this actor. This
Speaker 2: was one of only four credits for him, alongside nineteen
Speaker 2: sixty seven's a Countess from Hong Kong and the nineteen
Speaker 2: seventy one TV series The Goodies. Oh and also a
Speaker 2: single episode of Highway to Heaven from the late eighties.
Speaker 2: All right, now we do have another sort of villainous
Speaker 2: trio to cancel out our main villainous trio. But these
Speaker 2: are This is a male villainous trio of a family
Speaker 2: they encounter in the desert, the leader of which is
Speaker 2: the Old Man played by Stuart Lancaster, who lived nineteen
Speaker 2: twenty through the year two thousand, American actor with credits
Speaker 2: going back to the early sixties. He appears in the
Speaker 2: original Outer Limits episode Tourist Attraction, but he's mostly known
Speaker 2: for appearing in Russ Meyer films and various other exploitation titles. However,
Speaker 2: you can also find him in such films as nineteen
Speaker 2: seventy three's God Monster of Indian Flats and Tim Burton
Speaker 2: cast him in two films. He plays a retired man
Speaker 2: in Edward Scissorhands, and he plays the Penguin's doctor and
Speaker 2: Batman returns what oh not a role I remember, but
Speaker 2: you know I can. You can see the kind of
Speaker 2: thing Tim Burton was going for. And that weird, weird
Speaker 2: Batman sequel Batman returns.
Speaker 3: Does we could do Batman returns on Weird House Cinema?
Speaker 3: I think does Penguin go for a check op in there?
Speaker 3: I really don't.
Speaker 2: I don't remember when this would be, if this would
Speaker 2: be like a flashback to when he's a baby, like
Speaker 2: maybe that's the penguin's doctor, or maybe it's some time later,
Speaker 2: because there's that whole yet intro to the character that
Speaker 2: involves who isn't that who plays his father? Pee wee
Speaker 2: Herman plays his father? Yeah?
Speaker 3: Oh, I'd forgotten that too. Well. So anyway, this character
Speaker 3: of the Old Man, it's playing on the principle that
Speaker 3: we talked about just recently with like a danger diabolic
Speaker 3: in a movie where you have an anti hero, though
Speaker 3: I don't know if you call Varla an anti hero,
Speaker 3: just where you're like, main character is bad, it always
Speaker 3: helps to up the ante by having to meet a
Speaker 3: character who is much worse.
Speaker 2: Yes, so, yeah, our.
Speaker 3: Main characters character or characters are bad and they do murder.
Speaker 3: But what if there's a somebody who also wants to
Speaker 3: do murder but is even grosser.
Speaker 2: Yeah, and that's that's the Old Man. As we'll discuss,
Speaker 2: he's pretty villainous. He lives in the desert with two
Speaker 2: of his sons, one of which but I forget if
Speaker 2: he even has a name aside from the vegetable he's
Speaker 2: They call him this because he's a doesn't say much,
Speaker 2: but he's a big muscle guy. And then the other son,
Speaker 2: the elder of the two sons, is Kirk, played by
Speaker 2: Paul Trinka, who lived nineteen thirty two through nineteen seventy three.
Speaker 2: Mostly a bit player on TV, this is his most
Speaker 2: well known role. He also appeared on Hawaii and I
Speaker 2: My Three Sons, Gomer Pyle USMC, Voyage to the Bottom
Speaker 2: of the Sea, Land of the Giants, and an episode
Speaker 2: of Night Gallery. Now we also hear a little bit
Speaker 2: from the narrator. We'll touch on that in a second.
Speaker 2: The narrator for this film is John Furlong, who lived
Speaker 2: nineteen thirty three through two thousand and eight American actor
Speaker 2: who I believe got his start in Russ Meyer films
Speaker 2: and worked for him several times, you know, often being
Speaker 2: dubbing the director's voice or being this narration voice. He
Speaker 2: ultimately accumulated a lot of TV and film credits over
Speaker 2: the course of his career, having appeared in the likes
Speaker 2: of nineteen seventy four's Blazing Saddles, ninety four's Wiatter, and
Speaker 2: nineteen ninety eight Vampires, the John Carpenter film, along with
Speaker 2: many others. And as for the music on this one,
Speaker 2: I'm not going to go into a lot of depth here,
Speaker 2: but Ego Kantor was the music director who lived nineteen
Speaker 2: thirty through twenty nineteen. Interesting fella in a name that
Speaker 2: weird cinema fans may have noticed in the credits before,
Speaker 2: you know, sometimes kind of stands out. It worked a
Speaker 2: lot doing the music for various films, but also was
Speaker 2: a producer as far back as nineteen seventy one and
Speaker 2: such films as Kingdom of the Spiders, nineteen seventy nine
Speaker 2: Is the Dark and nineteen eighty fours Mutant starring Wingshauser
Speaker 2: and Bo Hopkins.
Speaker 3: We could come back and do Kingdom of the Spiders
Speaker 3: as well, because that is a killer tarantula movie starring
Speaker 3: Captain Kirk.
Speaker 2: Yeah, it's also a reference to a Warren Zyvon Warren
Speaker 2: Yvon song. Rather so, I always like a nice musical
Speaker 2: nod to be cinema. All right, shall we get into
Speaker 2: the plot.
Speaker 3: Yes, now, I think this is another movie where we're
Speaker 3: not going to recount every scene in order. I think instead,
Speaker 3: maybe we'll talk about the intro in some detail, maybe
Speaker 3: you know, the first chunk of the movie, and then
Speaker 3: do a basic recap on everything else and then focus
Speaker 3: on some things that stand out. But first thing, this
Speaker 3: movie begins with a narration and has one of the
Speaker 3: all time great opening lines I've heard in any film.
Speaker 2: Yes we hear that, rich Veld. The narrator's voice say,
Speaker 2: ladies and gentlemen, welcome to violence.
Speaker 3: To violence. It goes on to say the word and
Speaker 3: the act. While Violence cloaks itself in a plethora of disguises,
Speaker 3: its favorite mentals still remains sex. Huh. Okay, So the
Speaker 3: opening narration here, It goes on for a while, and
Speaker 3: there's while this guy's talking is just sort of a
Speaker 3: black screen with these lines that are undulating as if
Speaker 3: showing like a like an audiogram or something. You know,
Speaker 3: they're they're vibrating with the sound of the narrator's voice.
Speaker 3: And the narrator goes on to explain in a rather
Speaker 3: wordy and roundabout manner that America's most trusted brand, violence
Speaker 3: is still in business, but it is under new management. Women.
Speaker 3: The narrator says, you know, you guys out there, you
Speaker 3: might think women are beautiful, you might think women are nice,
Speaker 3: but also they will cut your head off with a
Speaker 3: power saw. The women of today they murder all the time.
Speaker 2: That's right. Women are more dangerous than they've ever been
Speaker 2: in human history. This is a new breed of violence out.
Speaker 3: There, alrighty. And so the narration ends with him saying
Speaker 3: who are they? One might be your secretary, your doctor's receptionist,
Speaker 3: or a dancer in a go go club. Smash cut
Speaker 3: to a go go club.
Speaker 2: Yeah, and this is where we get our first look
Speaker 2: at our trio of evil go go dancers here all
Speaker 2: black and white sequins and tassels. Yeah, we had to
Speaker 2: mention it already. This is a black and white film
Speaker 2: and looks pretty gorgeous, and we have the theme song
Speaker 2: playing in the background, but also we have do we
Speaker 2: keep cutting to these brutish men who were chanting at them?
Speaker 2: They're chanting go go And I was wondering, like, I
Speaker 2: didn't even look this up though. Is this the origin
Speaker 2: of the term go go dancer? It's just you're supposed
Speaker 2: to yell go and shout go at them.
Speaker 3: I have no idea. But also this scene is so
Speaker 3: funny because of the lack of humor or enjoyment evident
Speaker 3: in the men who are shouting at the go go dancers.
Speaker 3: Just I have to applaud the deadly seriousness with which
Speaker 3: the dudes are shouting, go, let's go, come on go.
Speaker 3: They sound like Hollywood cowboys yelling at their horses. And
Speaker 3: they're puffing on cigars by the way.
Speaker 2: Yeah, I mean, watching this, especially from a modern perspective,
Speaker 2: you can't help but assume that the message here is
Speaker 2: that men are gross and terrible, and that you're supposed
Speaker 2: to take that with you into the film proper. And
Speaker 2: I don't think the film really presents us with any
Speaker 2: any information to counter that thesis. But I just don't
Speaker 2: know what was really intended by this.
Speaker 3: Oh do you mean, like maybe there's there's an unspoken
Speaker 3: understanding that because in their day job, these women are
Speaker 3: like dancing for these horrible creep all the time, and
Speaker 3: so they take that with them to the other scenarios
Speaker 3: in their life, so like when they murder a man
Speaker 3: in the desert, that they're sort of like seeing in
Speaker 3: that man all of the like the go go guys.
Speaker 2: I mean, I don't know. I think one looks for
Speaker 2: nuance in this film at their peril. You know, Varla
Speaker 2: would not stand for that. You know, if I were
Speaker 2: to broke that hypothesis, she would she would shot me
Speaker 2: in the neck, so she would just kill you.
Speaker 4: Yeah.
Speaker 3: Yeah, it is interesting, Like why do they seem so mad?
Speaker 2: Yeah, I mean, well they are also they're criminals. They're
Speaker 2: out for that. They want a quick score. Oh you're
Speaker 2: talking about the audience.
Speaker 3: I mean the guys they're yelling out. Why do they
Speaker 3: sound angry?
Speaker 2: Yeah, I don't know, unless again, we're supposed to take
Speaker 2: something home about this that that that men in general
Speaker 2: are awful. So I don't know, worth something something we're
Speaker 2: thinking about. But then again, this is a film that
Speaker 2: I don't think necessarily well, you know, it goes two ways.
Speaker 2: I think it's a film that is also about like
Speaker 2: surface level interpretation. But this is a film that a
Speaker 2: lot has been written about there. I glanced at a
Speaker 2: number of serious film critic papers out there that in
Speaker 2: papers that we're looking at this film and talking about
Speaker 2: like gender dynamics and various forms of representation that are
Speaker 2: going on in the film. So there is a lot
Speaker 2: to chew on. You can certainly have it both ways.
Speaker 3: Well, yeah, there's a very interesting duality and that in
Speaker 3: one sense this movie is straightforwardly very sexist, but on
Speaker 3: the other hand, it is presenting a more kind of
Speaker 3: empowered and larger than life vision of female characters than
Speaker 3: you would get in pretty much anywhere else in movies
Speaker 3: of this time.
Speaker 2: Yeah, and I think a lot of the interesting commentary
Speaker 2: comes from like trying to piece it apart and figure out, well,
Speaker 2: how much of this was intentional, how much of it
Speaker 2: is you know, sort of happy accident, etc. I mean,
Speaker 2: that's often the case with films that really stand out
Speaker 2: during you know, that really stand out to the future interpretation.
Speaker 3: But okay, there's another great smash cut here, because so
Speaker 3: like the goga, the ladies are dancing, the guys are screaming, go,
Speaker 3: and then it just like suddenly we're somewhere else.
Speaker 2: Suddenly we're in the desert. Here's our lead character, Varla,
Speaker 2: laughing maniacally as she races her sports car through the desert.
Speaker 2: And then we quickly see that they are to the
Speaker 2: two other dancers, Rosy and Billy, are racing behind her
Speaker 2: in their own sports cars laughing as well.
Speaker 3: It's like they're already fleeing the scene of a crime
Speaker 3: when we first meet them here, and who knows, maybe
Speaker 3: they are. We don't They never mentioned that.
Speaker 2: Right, right, I mean it would make sense. Yeah, they're
Speaker 2: going because there is a there's a desperation, uh to
Speaker 2: a lot of what they do, and there's a you know,
Speaker 2: they clearly don't care about the future.
Speaker 3: Well, I see what you're saying about the desperation, though,
Speaker 3: I don't want to convey the wrong feeling in the
Speaker 3: scene because instead they feel it's like they're having fun.
Speaker 2: They are, Yeah, they are completely free.
Speaker 3: Yeah, yeah, yeah. Another thing I will say is that
Speaker 3: the soundtrack really adds a lot of pep to this movie.
Speaker 3: It's like good hot music selections, and they change so fast.
Speaker 3: I think I noted. By the time we're like four
Speaker 3: minutes into the movie, we've already heard like five different songs.
Speaker 2: Yeah, yeah, yeah, a lot of saxophone too, a lot
Speaker 2: of jazz saxophone. And yeah. So they're racing through the desert,
Speaker 2: but you know, Billy has needs. Billy needs a swim break,
Speaker 2: So everybody stops so that Billy can have a swim.
Speaker 3: This scene so yeah, Billy's like, I want to swim.
Speaker 3: I'm going to swim even if it's you know, this
Speaker 3: is a muddy drainage canal. I'm going to swim in that.
Speaker 3: And then I think Varla sends Rosie to go make
Speaker 3: her stop. She's like, get her out of there, and
Speaker 3: so yeah, Rosie goes to do it, and this leads
Speaker 3: to a fight scene where they're just like beating each
Speaker 3: other up on the beach. Billy and Rosie are and
Speaker 3: I think this establishes the dynamic between the characters that
Speaker 3: will continue for the rest of the film. First of all,
Speaker 3: Varla is the boss, mean, tough, dominant violence. She gives orders.
Speaker 3: If you cross her, you know, well you don't want
Speaker 3: to cross her, you don't want to find out. Meanwhile,
Speaker 3: Billy is the free spirit. She does whatever she wants
Speaker 3: whenever she feels like it. To hell with anybody who's
Speaker 3: trying to tell her it is not time to go
Speaker 3: swimming in the muddy canal. Meanwhile, Rosie, you know, we
Speaker 3: were sort of talking about this earlier. Like Rosie is
Speaker 3: the most complicated of the three. She's more resentful and
Speaker 3: reserved and sometimes seems kind of unsure, but somehow. Okay,
Speaker 3: So they end up Rosie and Billy end up fighting.
Speaker 3: I guess about the fact that Billy was swimming, and
Speaker 3: then they start they all start arguing, and Setana eventually says,
Speaker 3: you want to prove something, chicky, Let's see who the
Speaker 3: real chicken is. Another smash cut to they're playing a
Speaker 3: game of chicken in their cars on the salt flats.
Speaker 2: That's right, let's settle this honorably with with with with
Speaker 2: the dangerous vehicular action.
Speaker 3: If you're not familiar with vehicular chicken. Yeah, it's where
Speaker 3: these cars, like they drive head on toward each other
Speaker 3: and I guess the first person to swar of loses.
Speaker 2: Yeah, but don't try this.
Speaker 3: Yeah, who wins Varlow of course?
Speaker 2: Oh yeah, because yes, she is the meanest and the
Speaker 2: toughest and she will not stop.
Speaker 3: But after their game of chicken, I guess they're just
Speaker 3: hanging out in the middle of the salt flats and
Speaker 3: what do you know, Uh, oh, here here comes some
Speaker 3: people and things are not going to go well for them.
Speaker 2: Yeah. Here come Tommy and lynd, a couple of well
Speaker 2: meaning squares who are just so pleasant, just so pleasant.
Speaker 2: They're like, oh, strangers, in the desert. This is great,
Speaker 2: more people to hang out with. Little do they know
Speaker 2: that this band of go go witches is gonna They're
Speaker 2: gonna be their their death and doom.
Speaker 3: It's a couple of teenagers who are just like meat loaf,
Speaker 3: mashed potatoes, and canned peas.
Speaker 4: You know.
Speaker 3: They love cars, soft drinks, good clean fun. And Tommy
Speaker 3: is here to do some timed trials because he loves,
Speaker 3: you know, tuning up his car, which to me did
Speaker 3: not look like a hot rod. I was like, really, Tommy,
Speaker 3: he's the car guy and that's his car. But I
Speaker 3: just don't know my sixties cars.
Speaker 2: I guess, yeah, yeah, the sixties car expert can shine
Speaker 2: in here and tell us what we're looking at.
Speaker 3: But so they're here to do timed trials, which Varlap
Speaker 3: makes fun of, by the way, time trials. You know,
Speaker 3: I only race against the living. But I think Linda's
Speaker 3: idea is she's gonna sit there and like, enjoy some
Speaker 3: soft drinks and do the stop Watch for Tommy while
Speaker 3: he drives around.
Speaker 2: That does it?
Speaker 3: It sounds like a great time. And at some point
Speaker 3: Linda offers the the Go Go murderers soft drinks. She's like,
Speaker 3: would you like a soft drink from our cooler here?
Speaker 2: Yeah, And Rosie says, honey, we don't like nothing soft.
Speaker 2: Everything we touch is hard. So let's get some more
Speaker 2: that rate russ Meyer dialogue here.
Speaker 3: But we should add like nearly every exchange in the
Speaker 3: movie is like that. It's just like nobody says anything normal.
Speaker 3: They're they're always like spitting one liners at each other.
Speaker 2: Yeah, And basically this whole interaction with Tommy and Linda
Speaker 2: is they're just picking a fight with them the whole time.
Speaker 2: They're trying to tempt them into some sort of a confrontation.
Speaker 2: You know, it's a I thought that it ultimately has
Speaker 2: kind of Varlas especially has kind of like an Old
Speaker 2: Testament Satanic aspect to our character, because in Tommy we
Speaker 2: see a good man. You know, he's not leering, he's
Speaker 2: not saying inappropriate things like the gas station attendant from
Speaker 2: from earlier.
Speaker 3: That's later the.
Speaker 2: Yeah, okay, yeah, that's right, because Linda's are even kidnapped
Speaker 2: by that point. But you know, most of them the
Speaker 2: males in the film are like that. You know, they're
Speaker 2: saying some some stuff here, or they're they're leering at
Speaker 2: our at our trio. But you know, Tommy seems good.
Speaker 2: You know, he couldn't possibly be provoked to violence. But
Speaker 2: you know, our Satanic character might say, well, you know
Speaker 2: he's been protected from those temptations, but what if someone
Speaker 2: were to criticize his racing, What if someone were to
Speaker 2: beat him in a desert race and also take his girlfriend?
Speaker 2: Stop watch, So.
Speaker 3: You're you're talking about like the Satan from the Book
Speaker 3: of Job, Satan as the prosecutor of the court of Heaven.
Speaker 2: Yeah, so I think Varla has that kind of energy here.
Speaker 2: So yeah, so just constantly picking a fight. There's a
Speaker 2: great bit where he's starting to get a little annoyed
Speaker 2: by all this. He's like, are you are you trying
Speaker 2: to say something and she's like, I never try anything,
Speaker 2: I just do it, which awesome Varla line just sums
Speaker 2: it up, prefigures Yoda as well. Mm hmm, yoda Varla
Speaker 2: see that?
Speaker 3: Yeah?
Speaker 2: Yeah.
Speaker 3: She also at some point she's trying to get him
Speaker 3: to do a dangerous drag race with her, and he's
Speaker 3: at first using and she at one point says, you're
Speaker 3: the all American boy, a safety first Clyde.
Speaker 2: Yeah.
Speaker 3: So eventually the go go murder gang tricks. They like
Speaker 3: goed Tommy into racing, and so they're you know, driving
Speaker 3: around the track, and then it looks maybe like Tommy
Speaker 3: is gonna win the race, but then Varla pulls some
Speaker 3: kind of I didn't understand exactly what happened, but she
Speaker 3: pulls some kind of dangerous stunt to like run him
Speaker 3: off the course.
Speaker 2: Yeah yeah, And so from here things escalate pretty quickly,
Speaker 2: and Varla finally provokes nice guy Tommy into a fight,
Speaker 2: into an actual physical altercation, and it is amazing because
Speaker 2: she proceeds to just karate chop the crap out of them.
Speaker 2: And I've said before, I love karate chops in these
Speaker 2: old timey fights. I don't think we see enough karate
Speaker 2: chops anymore. Today it's all like Mma moves, and I'm
Speaker 2: so bored with characters throwing out you know, either or
Speaker 2: a wrestling souplex or certainly some sort of an arm
Speaker 2: bar scenario. I want karate chops to come back in
Speaker 2: a big way, and all man, Varla throws out some
Speaker 2: wonderful ones. Finally Tommy starts punching back, and she takes
Speaker 2: him down with this cool arm based takedown thing. And
Speaker 2: then proceeds to apply a standing surfboard lock, so he's
Speaker 2: laying on his belly. She grabs both arms, puts her
Speaker 2: boot to the back of his neck, and snaps his
Speaker 2: neck with her boot. Just a complete, solid kill. This
Speaker 2: whole scene John Waters described as just mind boggling.
Speaker 3: It is shocking, and you know, if you didn't understand
Speaker 3: up until this point, you're like, oh, okay, this is
Speaker 3: why this movie is so infamous.
Speaker 2: Yeah, because he just killed him in cold blood. Like
Speaker 2: it escalates from just and she just met him. They
Speaker 2: just met these people and they've already provoked him to
Speaker 2: violence and then killed him.
Speaker 3: She does multiple times claim to be giving him a
Speaker 3: chance to walk away, but it's like he didn't start it.
Speaker 3: It's just like you can walk away if you just
Speaker 3: allow me to like humiliate and insult your girlfriend some more.
Speaker 3: Because they steal Linda's stop watch and they won't give
Speaker 3: it back to her, and Linda's like, help me, Tommy,
Speaker 3: and Tommy's like, oh, come on, be nice, and no,
Speaker 3: they're not going to be nice.
Speaker 2: Yeah, So they kill Tommy in cold blood, and there's
Speaker 2: nothing left to do at that point but to kidnap Linda.
Speaker 3: More crimes right, Tommy's dead. And in a way, I
Speaker 3: think this is no big deal for them because killing
Speaker 3: men in the desert, this is just a regular part
Speaker 3: of a day off for Varla and company. Yeah, but yeah,
Speaker 3: Linda's a witness. So what are they going to do
Speaker 3: with this goody two shoes teenager who knows their fondness
Speaker 3: for go go assassination. They've got a kidnap her, take
Speaker 3: her with them to somewhere. I think they're planning to
Speaker 3: kill her also later. I don't know why they don't
Speaker 3: just do it there.
Speaker 2: Yeah, it's they kind of skip over that, but at
Speaker 2: any rate, Yeah, they throw her in the car, they
Speaker 2: get some pills in her. They have a lot of
Speaker 2: pills on hand for this sort of thing, and then
Speaker 2: it's off to wherever. I guess they got to get gas.
Speaker 3: First, right, So next they go to the gas station,
Speaker 3: and you mentioned the interaction with the gas station attendant.
Speaker 3: This is where, like, you know, the guy's like cleaning
Speaker 3: the window and he is he is ogling Varla and
Speaker 3: at some point he says like, Wow, I'd really like
Speaker 3: to see America one day, and she goes, you won't
Speaker 3: see it down there. Columbus another great line.
Speaker 2: Yeah, all of our those lines are just gold, and
Speaker 2: all three of them, I think, say you get to
Speaker 2: get to jab at this this sort of happy go
Speaker 2: lucky gas station attendant. They say such mean things to him,
Speaker 2: and they're all wonderful.
Speaker 3: He stays relatively pleasant despite the fact that they're just
Speaker 3: all viciously insulting him over and over.
Speaker 1: It.
Speaker 2: Yeah, yeah, in a way, he's the most pleasant male character,
Speaker 2: if not the most pleasant character in the whole film.
Speaker 3: Also, while they're at the gas station, it sets up
Speaker 3: the dynamic that will take over for the rest of
Speaker 3: the movie, which is Billy. She's wandering around and she
Speaker 3: sees a hunk with muscles. She's like, wow, look at
Speaker 3: that hunk a man, and the gas station attendant I
Speaker 3: guess he just happens to know everything. He explains that
Speaker 3: that guy is the son of a local rancher who
Speaker 3: lives way out in the desert, and the rancher is
Speaker 3: he some time ago was injured and now has to
Speaker 3: use a wheelchair. Because Rob correct me if I'm getting
Speaker 3: any of this wrong. I think he says that the
Speaker 3: old man was injured while rescuing a girl from an
Speaker 3: oncoming train, and as a result of his injuries, he
Speaker 3: was paid a huge sum of money. I don't know
Speaker 3: if that was insurance or from the train company or something.
Speaker 3: And then somehow the gas pump guy knows about this
Speaker 3: and knows that he is hiding the money in cash
Speaker 3: form somewhere on his land.
Speaker 2: That's right, So now he has like a lot of
Speaker 2: paranoid delusions about the evils of trains. He hates women,
Speaker 2: and he doesn't want to put his money in the bank,
Speaker 2: so he has it hidden somewhere in the desert. It's
Speaker 2: the local lore.
Speaker 3: Right, So the old man, he first of all, he
Speaker 3: is a nasty, lecherous old creep who is the most
Speaker 3: leering of all the leering men in the film. But
Speaker 3: he also you mentioned he hates women. So the way
Speaker 3: I think this was explained is that he wants to
Speaker 3: kill women for revenge because he was injured and disabled
Speaker 3: while trying to rescue a woman. Is that the case.
Speaker 2: I believe that's what they're laying out.
Speaker 3: Yes, okay, I don't know.
Speaker 2: All right, Now, he can't do much on his own,
Speaker 2: but luckily he has this muscular sign who they lovingly
Speaker 2: call the vegetable.
Speaker 3: Yes, so the muscle sun is portrayed as having some
Speaker 3: kind of unspecified mental disability. Obviously this is not portrayed
Speaker 3: in the movie with great sensitivity.
Speaker 2: No, and of course neither is the disability of the
Speaker 2: old man. Yeah, but you know, you are in the
Speaker 2: mid sixties exploitation film at this point, so right, that's
Speaker 2: what you're watching.
Speaker 3: And then you've got Kirk, the other son. Who he's
Speaker 3: the other son, that's his deal.
Speaker 2: Yeah, I mean he has an interesting place as well,
Speaker 2: because he's I saw some papers pointing out, you know,
Speaker 2: he's kind of the domestic and the domestic role of
Speaker 2: the group. He looks after the old man, he looks
Speaker 2: after his brother. He also seems to aspire and is
Speaker 2: ultimately positioned in a place of moral superiority, but also
Speaker 2: seems like he has turned a blind eye to a
Speaker 2: lot of bad stuff in the desert. So I was
Speaker 2: never really sure what to make of Kirk. And it
Speaker 2: also this has helped tip the scales for me and
Speaker 2: just rooting for Varla the whole time.
Speaker 3: You wanted Varla to succeed in murdering him and Linda.
Speaker 2: Yes, yeah, I'm sorry, but Varla's just compelling. I'm just
Speaker 2: not going to argue with her.
Speaker 3: So the Go Go Killers set their sights on this ranch.
Speaker 3: Varla wants the money that the old man apparently has
Speaker 3: stashed somewhere there. I don't know why they believe the
Speaker 3: gas station attended though, like why would he know this?
Speaker 3: But so they just take his word for it. Varla
Speaker 3: wants the money and Billy wants the muscle sun. So
Speaker 3: they're going to go to the ranch and rob You
Speaker 3: and I off Mike earlier were discussing this comparison. They
Speaker 3: head for the ranch where the rest of the movie
Speaker 3: is going to take place, and I could not help
Speaker 3: but notice the similarity between the family on this ranch
Speaker 3: and the family in the Texas Chainsaw Masacre, which of
Speaker 3: course came later.
Speaker 2: That's right, Yeah, I also thought that there was kind
Speaker 2: of a solar esque vibe going on here. You know,
Speaker 2: they're perverse, they're up to bad stuff out in the
Speaker 2: middle of nowhere, but they're all but they don't go
Speaker 2: all in on the hoar and same way that the
Speaker 2: Texas Chainsaw Masker does, obviously.
Speaker 3: Right, But I mean the comparisons are almost kind of eerie, Like,
Speaker 3: so the old man, there's like a nasty, mean spirited,
Speaker 3: lecherous old man there is the muscle son you know
Speaker 3: who in I think you could compare to leather Face,
Speaker 3: And I guess the difference is that in the Sawyer
Speaker 3: family there is no Kirk. There's not like the nice,
Speaker 3: normal sun.
Speaker 2: Yeah right, instead of Kirk, you either get the hitchhiker
Speaker 2: or you or you get chopped up. Yes, yeah, totally
Speaker 2: different vibe in that regard. But yeah, I feel like
Speaker 2: there's there are a lot of similarities. I wonder if
Speaker 2: this influenced the shape of Texas Chainsaw Masker to any degree.
Speaker 3: Well, it also makes you wonder like how Texas Chainsaw
Speaker 3: Masker would be different if the people who show up
Speaker 3: at the Sawyer residence are not just like hapless teenagers
Speaker 3: who are trying to go to a concert or trying
Speaker 3: to you know, find visit their old family home or something,
Speaker 3: but are instead just tough as nail dancer murderers.
Speaker 2: Oh, the Sawyers wouldn't have stood a chance. Varla would
Speaker 2: have made short work of all of them, leather Face,
Speaker 2: the hitch Hike, or any of them. No chainsaw would
Speaker 2: be even revved up.
Speaker 3: She would snatch, She would snatch the chainsaw out of
Speaker 3: leather Face's hands, grab it by the blade and pull
Speaker 3: it out of his hands and then bend him over
Speaker 3: and break his neck.
Speaker 2: Yeah, karate chop that neck, you know. Also like TCM,
Speaker 2: a different vibe here, but we also get a big
Speaker 2: sit down meal.
Speaker 3: That's right. Yeah, So it takes a while. They've got
Speaker 3: a sort of elaborate plan that I'm not going to
Speaker 3: get into in great detail. But so like Varla and
Speaker 3: the gang arrive on the property and they make a
Speaker 3: plan to sort of trick the family while they search
Speaker 3: for the money, and so they claim to have been
Speaker 3: stranded there and need some water for maybe the radiators
Speaker 3: in their car or something. But they end up getting
Speaker 3: invited to lunch, I think, especially because the old man
Speaker 3: is again nasty and lecherous and wants to ogle them
Speaker 3: and do much worse. So they're all having like fried
Speaker 3: chicken and whiskey at lunch. We're not all having whiskey.
Speaker 3: They're all having chicken that Kirk cooked for everyone. And
Speaker 3: at some point Billy is like, oh, and Linda's there
Speaker 3: at the table with them, just the hostage is there,
Speaker 3: and I think at some point she's begging for help,
Speaker 3: and they're all like, I don't know what to make
Speaker 3: of this, but Billy at some point is like, hey,
Speaker 3: give me some of that whiskey, old man, and he's
Speaker 3: like okay, And then she just proceeds to immediately get
Speaker 3: blackout drunk and pass out and let Linda escape.
Speaker 2: Yes, yeah, it is interesting that the whole vibe of
Speaker 2: this dinner is like the dinner table is this place
Speaker 2: of decorum, but everyone there is either a villain or
Speaker 2: a hostage, and yet there is this like weird like
Speaker 2: truth in place here as they engage in this strange meal.
Speaker 2: Of course, eventually Varla goads the old man by mentioning
Speaker 2: I think she's the one who mentions trains and gets
Speaker 2: him all upset and he ends up storming off. Oh
Speaker 2: and there are also a lot of a lot of
Speaker 2: comments about how much chicken the beefy son can eat.
Speaker 3: Oh yes, I think at one point he is advised
Speaker 3: to help himself to both a breast and a thigh.
Speaker 2: Yes, a lot of winkie dialogue.
Speaker 3: Oh oh, but we forgot a part earlier on which
Speaker 3: I think is that the old man is like I
Speaker 3: think it happens off screen, but he tries to assault
Speaker 3: Linda the hostage, and she flees away into the desert
Speaker 3: and is like, okay, I'm going to escape now, and
Speaker 3: is picked up in a truck by a nice young
Speaker 3: man who seems very helpful. But it turns out this
Speaker 3: is Kirk, the other son, and he just like drives
Speaker 3: her back to the house and she's like no, no, no,
Speaker 3: not back here, and he's like, oh no, it's fine.
Speaker 3: This is my family's house.
Speaker 2: We've probably been more impactful if we the audience did
Speaker 2: not already know that Kirk was a member of that family. Yes,
Speaker 2: but it's still pretty great. She escapes a couple of
Speaker 2: different times. They're not very good at keeping her in place,
Speaker 2: but then she's not particularly good at getting away.
Speaker 3: Oh. At some point, I think also Varla seduces Kirk.
Speaker 3: I do not recall why. I think somehow, I guess
Speaker 3: she thinks this is going to help her get the money.
Speaker 2: It's just is a multi stage plan to get that
Speaker 2: money that involves violence and seduction and dinner. I mean,
Speaker 2: don't try and create a flow chart of all of this.
Speaker 2: Just trust the plan.
Speaker 3: But at some point Kirk Finally, it takes a lot,
Speaker 3: but finally Kirk wises up to the fact that not
Speaker 3: only is his own family evil, but Varla and the
Speaker 3: gang are evil as well, and so then he's like, oh, okay,
Speaker 3: I need to help Linda. So at some point, Kirk
Speaker 3: and Linda try to escape into the desert. Meanwhile, back
Speaker 3: at the house, Varla, they've started murdering everybody and that
Speaker 3: let's see that murder. Varla and Rosie murder Billy I
Speaker 3: don't quite remember why. She's leaving at some point and
Speaker 3: they like throw a knife in her back.
Speaker 2: Yeah, great, great kill scene. Yeah. She's like I'm done,
Speaker 2: I'll see you gals at church, and she's gone off
Speaker 2: and was like pass me the switchblade and then throws
Speaker 2: it into her back.
Speaker 3: So they end up murdering the muscle Son and the
Speaker 3: old man, and they discover where the muscle Sun kills Rosie.
Speaker 3: The muscle Son kills Rosie, and then they they Varla
Speaker 3: kills well let's see, Yeah, they kill him and the
Speaker 3: old man. The old man it turns out had all
Speaker 3: of the money that he was hiding stash somehow inside
Speaker 3: his wheelchair, and when they hit him with their car,
Speaker 3: it is all it like busts out all over the place.
Speaker 2: Yeah. Yeah. Varla goes into revenge mode at this point though,
Speaker 2: and she gets. She's this great scene where she's trying
Speaker 2: to run over the mussel and and he's pushing back
Speaker 2: like he's hercules, you know, against the horsepower of the car,
Speaker 2: and there's just kind of a stalemate that of course
Speaker 2: eventually wears him out completely and he toppless. Oh he's
Speaker 2: like Samson, you've cut his hair at this point, he's powerless.
Speaker 2: But I don't think he dies. What I don't think
Speaker 2: he dies? Does he?
Speaker 3: Oh? Well, I don't recall actually.
Speaker 2: That he has defeated.
Speaker 3: But finally there is a showdown where okay, so Linda
Speaker 3: are our good character and Kirk are I guess kind
Speaker 3: of good character. They're escaping into the desert. They're trying
Speaker 3: to run away from the farm and and and get
Speaker 3: out of all this madness, and Varla must get revenge.
Speaker 3: So she's like hunting them down in this truck. And
Speaker 3: I think you compared her to the terminator at this point,
Speaker 3: and I think that that is a good comparison. She
Speaker 3: is just a machine out for destruction.
Speaker 2: Yeah, completely relentless. There's no way you can possibly get
Speaker 2: You can't stop her, you can't get away from her
Speaker 2: because she has no quit in her at one point,
Speaker 2: she's driving after them and they like cross over the
Speaker 2: railroad tracks and I was I was afraid they were
Speaker 2: gonna I was like, oh, man, is this how they're
Speaker 2: going to defeat Varla, because they're going to bring the
Speaker 2: train back into it somehow. But that's not what happens. Instead,
Speaker 2: they end up reaching this point where the like the truck.
Speaker 2: She gets out of the truck. Varla does and and
Speaker 2: now they're going to have this this final fight Varla
Speaker 2: versus Kirk and Linda in the desert, just fisticuffs and
Speaker 2: chops and boots.
Speaker 3: Well, at this point, Varla is again beating Kirk up
Speaker 3: totally because Kirk doesn't stand a chance against Varla. Of
Speaker 3: course he would, she would kill him. But I think
Speaker 3: Linda comes to the to the rescue with the truck.
Speaker 2: Yeah, she jumps back into the truck, starts it up,
Speaker 2: and hits Varla with the truck, and so we end
Speaker 2: up with with again. Varla's already totally kicked Kirk's butt
Speaker 2: at this point, like she she she hits first, she
Speaker 2: like kicks him in the kidney or something. She's chopped
Speaker 2: him multiple times, and she's now she's been hit by
Speaker 2: the v She's laying there next to him, and she
Speaker 2: raises one last karate chop into the air to bring
Speaker 2: down on him. You just know it's going to be
Speaker 2: a death blow. But then uh, she succumbs to her
Speaker 2: injuries and dies.
Speaker 3: The ending is great, though I did have one note.
Speaker 3: I was like, one way you could make this movie
Speaker 3: better is if at the end of Varla, instead of
Speaker 3: just succumbing to her injuries, is it somehow explodes like
Speaker 3: the Shark and Jaws, you know, like they put like
Speaker 3: a pressure air tank in her mouth and shoot that
Speaker 3: and then she explodes into ten billion pieces.
Speaker 2: That would have been good, you know, I could just see.
Speaker 2: I could see the train ending having worked. I wonder
Speaker 2: if that was ever on the menu as a potential
Speaker 2: ending for this film. But I also like the idea
Speaker 2: of I think Varla should have just won. I think
Speaker 2: Varleass should have murdered Kirk. But then again we back
Speaker 2: come back to the question of well, what is the
Speaker 2: where is she gonna go with Linda? Like, what's the
Speaker 2: plan here? Does she just kill Linda as well and
Speaker 2: then go off into the desert or is there some
Speaker 2: next step there? I'm not sure, so I guess it
Speaker 2: ultimately is just as well that she that this character dies.
Speaker 3: I think, let's see what would Varla have done if
Speaker 3: she'd want Yeah, she'd get the money. She would stand
Speaker 3: there and declare that she is not sad that her
Speaker 3: friends are dead. She's like, I don't miss them one bit,
Speaker 3: and then she would get in her car and drive
Speaker 3: away to her to the next adventure.
Speaker 2: Yeah, yeah, I think maybe just leave Linda alive in
Speaker 2: the desert to you know, to surely die. That would
Speaker 2: have probably worked. I feel like that's the ending this
Speaker 2: film would have had in the seventies. But already, you know,
Speaker 2: even mid sixties, it was ahead of its time, and
Speaker 2: there's only so much meanness that it could muster.
Speaker 3: I just remembered something about the final dialogue exchange after
Speaker 3: Varla is defeated, and I had to look it up.
Speaker 3: So what exactly they say? It's so, you know, Varla dies,
Speaker 3: and then Linda gets out of the truck and she
Speaker 3: says I killed her like she was an animal, like
Speaker 3: she was nothing, and then Kirk says she was nothing
Speaker 3: thing human. And so I wonder if the ending maybe
Speaker 3: means that Linda now has acquired a taste for violence,
Speaker 3: and she has been set on a path to become
Speaker 3: like them.
Speaker 2: Hmmm, well that would be interesting. Again, I'm not sure
Speaker 2: how how deep we can dig into the into the
Speaker 2: paint on this film, but I like that interpretation.
Speaker 3: Like immediately after the camera stops rolling, I imagine Linda
Speaker 3: next is like, Hey, Kirk, would you like to go
Speaker 3: racing on the salt flats? We'll see who wins.
Speaker 2: All right, Well, there you have it, faster Pussycat Kill Kill. Yeah,
Speaker 2: this one was a lot of fun, and I think
Speaker 2: now just in general, in all movies that we watch,
Speaker 2: I'm at least going to have that voice in the
Speaker 2: back of my head what would Varla do in this scenario? Yeah,
Speaker 2: she's an unforgettable character.
Speaker 3: At the very least, she would welcome us to violence.
Speaker 2: That's right. All right, Well, just a reminder that we're
Speaker 2: primarily a science podcast year and the stuff to blow
Speaker 2: your mind feed but on Fridays we set aside most
Speaker 2: serious concerns to just talk about a weird film here
Speaker 2: on Weird House Cinema. And if you want to see
Speaker 2: a list of all the films we've done over the years,
Speaker 2: where you can go to a couple of places I
Speaker 2: blog about these films at some meuto music dot com,
Speaker 2: but also over at letterbox dot com. It's L E
Speaker 2: T E R B O x D dot com. You'll
Speaker 2: find we'll find us. We have a user name there,
Speaker 2: weird House, and we have a nice list of all
Speaker 2: the movies we've covered. You can, you know, slice them
Speaker 2: up and rearrange them by decade, by genre and so forth.
Speaker 2: So it's a it's a pretty good way to see
Speaker 2: what else we've talked about, and maybe if you haven't
Speaker 2: listened to many of them, find some older episodes that
Speaker 2: interest you.
Speaker 3: In particular huge thanks to our excellent audio producer Jjposway.
Speaker 3: If you would like to get in touch with us
Speaker 3: with feedback on this episode or any other, to suggest
Speaker 3: a topic for the future, or just to say hello,
Speaker 3: you can email us at contact at stuff to Blow
Speaker 3: your Mind dot com.
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
Speaker 1: or wherever you listen to your favorite shows.