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

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Speaker 2: Hey you welcome to Weird House Cinema.

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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 talking about the nineteen

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Speaker 3: sixty one horror thriller The Mask, coming straight from Canada

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Speaker 3: and our third film in our three Weeks of three

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Speaker 3: D series. So this is a three D horror movie,

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Speaker 3: smelling like poutine, bringing some pretty good cinematography overall, and

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Speaker 3: also I think quite strong three D effect sequences.

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Speaker 2: Yeah, this one is a film. I mean, given some

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Speaker 2: of the details about it, you know that it's the

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Speaker 2: first full length Canadian three D picture and apparently the

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Speaker 2: first feature length Canadian horror film, and that this is

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Speaker 2: nineteen sixty one we're talking about here. I think you

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Speaker 2: would be reasonable to expect something a lot more dash

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Speaker 2: than what we get with The Mask. I feel like

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Speaker 2: there's a lot of effort that went into this one,

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Speaker 2: and you can you can see the results of that effort.

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Speaker 2: It's gonna be fun to to discuss this one because

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Speaker 2: it's still at the heart a gimmick picture. It is

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Speaker 2: very much a three D picture that embraces the gimmick

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Speaker 2: that even gets a little silly with it at times,

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Speaker 2: and has that baked into the overall structure of the film,

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Speaker 2: and yet it's it's not dependent on the gimmick for

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Speaker 2: your cinematic enjoyment.

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Speaker 3: I'm gonna say this goes. This fits somewhere in between

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Speaker 3: Treasure of the Four Crowns and House of Wax. So

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Speaker 3: Treasure of the Four Crowns was the most three D

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Speaker 3: movie we have ever seen. At least half of the

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Speaker 3: runtime is three D gags, and the three D gags

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Speaker 3: don't make any sense at all. In two D. It's

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Speaker 3: just pointless, just kind of stuff flying at the camera,

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Speaker 3: like people poking a broom handle or extending an antenna

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Speaker 3: towards your face. You know, it's three D for three

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Speaker 3: d's sake, and it doesn't really work very well without it,

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Speaker 3: though it is a very fun, campy ride. House of Wax,

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Speaker 3: on the other hand, was a movie that I thought

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Speaker 3: worked entirely without the three D effects at all. In fact,

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Speaker 3: you could watch it and not even know it was

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Speaker 3: a three D film, though we weren't able to watch

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Speaker 3: it in three D. I'm sure if you saw it

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Speaker 3: in three D that would add another layer of sort

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Speaker 3: of gimmicky enjoyment. This one fits somewhere in the middle.

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Speaker 3: I don't think it's quite on the standalone level of

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Speaker 3: House of Wax, but it mostly works as a two

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Speaker 3: D movie, and this is one where we actually did

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Speaker 3: get to watch it with the three D effects via

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Speaker 3: some glasses. Maybe Rob, you can explain the circumstances here

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Speaker 3: with some glasses, and you know what, once you have

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Speaker 3: the glasses on, the dream freak out sequences are even

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Speaker 3: more interesting and impressive.

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Speaker 2: Yeah. Yeah, So the situation with the mask is that

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Speaker 2: it's not like our other two picks for our three

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Speaker 2: D tree. Here, it's not a situation where the entire

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Speaker 2: picture is in three D. Only certain sequences are in

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Speaker 2: three D, and this is of course just I think

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Speaker 2: gimmick excellence. Here. There's a magic mask in the movie.

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Speaker 2: When people put on the magic mask, they have these

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Speaker 2: intense vision quest sequences, these dream sequences, these psychedelic sequences,

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Speaker 2: and when the character puts on the mask, you the audience,

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Speaker 2: put on your three D mask and then you get

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Speaker 2: to experience this sequence in three dimensions, which I think

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Speaker 2: is pretty clever, but it also means that, especially on me,

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Speaker 2: this was a Chinoclassics Blu Ray that came out of

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Speaker 2: the movie. I believe that the Blu ray has a

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Speaker 2: three D version of it if you have all the

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Speaker 2: three D equipment to run modern three D on your

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Speaker 2: three D Blu ray and your three D TV and

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Speaker 2: with your three D glasses. But if you're two D

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Speaker 2: people like us, you can watch the movie in two D.

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Speaker 2: And then one of the extras on the disc is

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Speaker 2: you can watch those sequences. It's like something like twenty

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Speaker 2: something minutes total. You can watch all those sequences in

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Speaker 2: three D with the traditional red and blue three D glasses.

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Speaker 2: So we rented this one from Videodrome here in Atlanta.

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Speaker 2: Atlanta's only a video store. Go there if you have

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Speaker 2: a chance. It's a great place. It's like a temple

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Speaker 2: to cinema. But when we rented it, they rooted around

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Speaker 2: in this kind of tub of like paper cardboard three

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Speaker 2: D glasses and gave us several. They weren't sure exactly

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Speaker 2: which ones will work, so they're like, here, take four

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Speaker 2: of them, see what works for you. And it was

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Speaker 2: an interesting selection of glasses.

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Speaker 3: I used the three D glasses from Saw four. What

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Speaker 3: did you use?

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Speaker 2: I think I used them as well. Those maybe the

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Speaker 2: ones I had to turn inside out to get them

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Speaker 2: to work, because you have to have the right color

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Speaker 2: over the correct eye in order for things to sink right.

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Speaker 2: But it was cool. It was cool getting to watch

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Speaker 2: these altered state sequences in three dimensions. I think my

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Speaker 2: wife did laugh at me when she walked been and

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Speaker 2: saw me setting in the middle of our living room

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Speaker 2: floor in the middle of the day with these contraptions

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Speaker 2: on watching this sequence, and for me personally, I quickly

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Speaker 2: felt it was weird. It was intense, and it started

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Speaker 2: giving me a headache, which seems appropriate when you're engaging

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Speaker 2: in this experience of a character trying on a cursed

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Speaker 2: ancient mask.

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Speaker 3: So before we got started, you were saying, Rob that

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Speaker 3: really it's the same concept as the Jim Carrey movie

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Speaker 3: The Mask. It's not quite, but it's pretty close. One

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Speaker 3: thing you'd have to invert is that the hero of

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Speaker 3: the movie is the Ben Stein character, the psychiatrist.

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Speaker 2: Yeah, what if in Jim Carrey's The Mask, what if

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Speaker 2: it didn't turn him into a fun, loving, over the

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Speaker 2: top zoot suit wearing a cartoon character. What if it

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Speaker 2: just made him kill people? Then that's what you have

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Speaker 2: in the mask.

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Speaker 3: Now that's not quite fair. It doesn't just make him

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Speaker 3: want to kill people. It also makes him want to

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Speaker 3: understand science. He wants to keep putting the mask on

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Speaker 3: because he's like, think of the scientific value that will

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Speaker 3: come from me putting the mask on. I don't know,

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Speaker 3: Like it's never quite clear what exactly discovery is waiting

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Speaker 3: for him on the other side of the mask experience,

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Speaker 3: but clearly he thinks that this will reveal something about

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Speaker 3: nature and human nature.

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Speaker 2: And I love that. I think this a great element.

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Speaker 2: I think the one thing that's missing from this cocktail

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Speaker 2: is sort of that to think to David Cronenberg's The

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Speaker 2: Fly is a great example of this. That's a movie

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Speaker 2: where you have somebody toying with some sort of technology

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Speaker 2: or discovery or revelation, thinking they can control it, thinking

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Speaker 2: that they can stay on top of it, thinking that

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Speaker 2: they can retrieve something from that experience, but then things

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Speaker 2: go too far and they're consumed by it. And it's

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Speaker 2: that middle ground that maybe in retrospect could have been

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Speaker 2: a little more defined in this picture, that period where

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Speaker 2: he thinks he's in control of it, where he thinks

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Speaker 2: he's making a breakthrough, but in reality, he's just being

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Speaker 2: pulled closer to the void.

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Speaker 3: I made a comment in our notes exactly to that effect.

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Speaker 3: I was expecting a more gradual ramp up to mask

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Speaker 3: madness in this film, but instead it's just like there

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Speaker 3: is one taste of the mask and that is all

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Speaker 3: it takes before you are a full blown mask maniac

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Speaker 3: and there's no returning.

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Speaker 4: Yeah.

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Speaker 2: I mean, there's kind of a Beatnick drug movie. Beatnick

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Speaker 2: Junkie Vibe did this where they get one taste of

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Speaker 2: the honey and then there's no stopping them. They're just

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Speaker 2: completely mad.

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Speaker 3: Yeah, it's a reefer madness. One puff and now you're

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Speaker 3: playing the piano at ten time speed. Yeah, okay, we

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Speaker 3: ready for the elevator pitch.

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Speaker 2: Let's have it.

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Speaker 3: Doctor Alan Barnes has a very troubled patient, a young

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Speaker 3: man who says his mind is filled with nightmares created

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Speaker 3: by an ancient mask. When the mask comes into the

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Speaker 3: possession of doctor Barnes himself, he has to decide whether

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Speaker 3: he will shrink away in Cowardice or whether he will.

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Speaker 2: Ha ha. All right, I think that sums it up.

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Speaker 2: But let's go ahead and hear the wonderful audio to

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Speaker 2: the trailer in full. This is a good one. This one. Oh,

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Speaker 2: you'll get some taste in this trailer of things we're

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Speaker 2: going to talk about here in a minute. Quote Bomb

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Speaker 2: mass On now, Quote Bomb mass On now.

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Speaker 5: No, ladies and gentlemen, there's nothing wrong with the projection.

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Speaker 5: But you can't share the shock until you have the

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Speaker 5: miracle movie mask. At showings of this motion picture, each

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Speaker 5: patron will receive his own miracle movie mask. Then, but

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Speaker 5: let's watch.

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Speaker 3: The scene again.

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Speaker 5: Then you will lift your mask as he lifts his,

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Speaker 5: and you will look through it with him, into the

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Speaker 5: weirdest nightmare world that man has ever dreamed, or the

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Speaker 5: screen has ever dared show the new realm of horror

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Speaker 5: that can only be seen through the mask. You to

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Speaker 5: tell you more is the supreme authority and all things weird.

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Speaker 5: Initiative is strange and mysterious. The world's greatest colosser and

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Speaker 5: collector of masks, mister Jim Moran.

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Speaker 4: I have seen wonders. I've traveled to the remotest corners

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Speaker 4: of the globe, to dead cities, through savage jungles, to

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Speaker 4: the inner sanctums of esoteric cults, the temples of exotic rituals,

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Speaker 4: to tombs and caverns and palaces. The result the most

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Speaker 4: comprehensive collection of masks in the world summer works of art.

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Speaker 4: Some are astounding and horrifying. But nowhere in all my

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Speaker 4: travels have I found a mask so absolutely remarkable as

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Speaker 4: this mask, the Miracle Movie Fright Mask, the mask that

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Speaker 4: you will be invited to put on when you see

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Speaker 4: the motion picture called the Mask. This is the mask

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Speaker 4: that will open your eyes to such things as man

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Speaker 4: has never dared imagine, the mask that will make you

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Speaker 4: part of the sensations of the most staggering experience of

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Speaker 4: your life.

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Speaker 3: But be warned, the.

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Speaker 4: Things that you will see when you put on this

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Speaker 4: mask will surely take you to the very limits of

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Speaker 4: your nerves and to the very boundary line of sanity.

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Speaker 2: All right again, Keinoclassics put out an excellent blu ray

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Speaker 2: of the film several years ago. It features both three

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Speaker 2: D for three D players and a two D cut

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Speaker 2: which is also just beautifully restored. This is a great

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Speaker 2: looking black and white picture. The disc again also features

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Speaker 2: red blue, three D and a glyph cuts of the

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Speaker 2: three D sequences that you can check out with glasses

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Speaker 2: classes sold separately, so you'll have to, you know, find

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Speaker 2: your own bucket of old cardboard three D glasses to

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Speaker 2: root around in. Maybe that's a bucket or tub you

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Speaker 2: have in your house. And I could be mistaken on this,

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Speaker 2: but it looks like, according to the letterbox, looks like

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Speaker 2: you can stream this movie at metrograph dot com. I'm

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Speaker 2: not sure what metrograph dot com is, some sort of

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Speaker 2: a theater company or something, but those seem to be

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Speaker 2: the main two ways to watch the film these days.

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Speaker 2: Though I was reading I was reading in one of

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Speaker 2: the Psychotronic Guides from Michael Weldon, and he'd pointed out that,

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Speaker 2: you know, it came out, maybe it wasn't that big

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Speaker 2: of a hit at the time, but he said that

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Speaker 2: they kept bringing it back to theaters. So it sounds

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Speaker 2: like for a while at least, it was regularly brought

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Speaker 2: back just because it was so gimmicky, you know, with

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Speaker 2: the three D it was kind of you know, maybe

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Speaker 2: a certain level of income was guaranteed from this film

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Speaker 2: when you showed it. So anyway, it'd be interesting to

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Speaker 2: hear from anyone out there, especially some of our more

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Speaker 2: experienced theater going crowd, if you've ever seen a three

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Speaker 2: D viewing of The Mask in the theater. All right, well,

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Speaker 2: let's jump into the connections here the people who brought

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Speaker 2: The Mask to life. We're going to start at the

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Speaker 2: top with the director and producer Julian Roffman, who lived

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Speaker 2: nineteen fifteen through the year two thousand. Roffman was a

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Speaker 2: Canadian film producer and director who came up through the

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Speaker 2: National Film Board of Canada. If you look him up

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Speaker 2: on NFB dot ca A, you can see a couple

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Speaker 2: of his earlier short films that he did, and apparently

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Speaker 2: he's somewhat of an underappreciated figure in the birth of

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Speaker 2: the Canadian film industry. Again. This film was Canada's first

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Speaker 2: three D full length feature and its first full length

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Speaker 2: horror film and one that was released internationally through Warner Brothers.

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Speaker 2: It was his second attempt at creating a film that

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Speaker 2: could enjoy this kind of breakout success potentially internationally, the

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Speaker 2: first being The Bloody Brood from nineteen fifty nine. No

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Speaker 2: connection to Cronenberg's The Brew. This was a bet Nick

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Speaker 2: crime movie with Peter Falk in it. You can really

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Speaker 2: see how much effort went into the mass though some

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Speaker 2: of the names and talents that were about to discuss

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Speaker 2: that he brought in to help realize this vision. You know,

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Speaker 2: I don't think it was really I don't get the

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Speaker 2: impression that it was as much of a treasure of

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Speaker 2: the four Crown situation where they're like, let's three D up,

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Speaker 2: we got, we gotta get in there, we got we

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Speaker 2: gotta give them all the three D before they know

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Speaker 2: it hit them, you know, just keep keep it coming

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Speaker 2: at the audience, before they realized that the rest of

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Speaker 2: the picture is not really all that wealth. I think

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Speaker 2: a lot of thought went into the mask. According to

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Speaker 2: Rothman's son, he even his father even contacted Timothy Leary

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Speaker 2: for a little inside into sort of like psychedelic experience,

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Speaker 2: though it is notable that this would have been pretty

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Speaker 2: early in Leary's days as a psychedelic researcher. This would

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Speaker 2: have been before the Concord prison experiment if I'm not mistaken,

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Speaker 2: But still, I mean, no reason to doubt this. Rothman

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Speaker 2: didn't direct again after this, but he went on to

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Speaker 2: produce a handful of films, including a nineteen sixty five

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Speaker 2: techno spy movie called Spy in Your Eye that I

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Speaker 2: believe involves like somebody's eye being replaced with a camera

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Speaker 2: and without them realizing it, or or some sort of implant,

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Speaker 2: So sounds kind of interesting. Also in nineteen seventy three,

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Speaker 2: a cult movie titled The Pie, The Peaks, I'm not

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Speaker 2: Sure the Pyx starring Karen Black and Christopher Plummer, and

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Speaker 2: an exciting, at least to me sounding techno thriller called

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Speaker 2: The Glow starring John Saxon, Rosie Greer, and Joanna Cassidy. Basically,

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Speaker 2: there's some sort of like power glove that lets you

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Speaker 2: like super punch people, and John Saxon has one, Rosy

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Speaker 2: Greer gets one, and they're on a collision course with

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Speaker 2: their power gloves.

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Speaker 3: Look at this poster. It's like it's got spikes on

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Speaker 3: the knuckles. It's kind of a rollerball glove situation. And

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Speaker 3: the person wearing it is dressed like the Black Knight

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Speaker 3: from Monty Python.

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Speaker 2: Yes. Yeah, there's a really long trailer for this, one

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Speaker 2: of those trailers that I think shows you pretty much everything,

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Speaker 2: Like they get you right up there to the final fight.

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Speaker 2: But that's ultimately what you're selling here, glove versus glove.

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Speaker 2: So I may have left to look into that one

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Speaker 2: in the future. Next time I need a John Saxon Head.

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Speaker 2: When it comes to the script here, I mean, I'm

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Speaker 2: to understand the Roffman had a at a hand in

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Speaker 2: almost every aspect of the film. But when it comes

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Speaker 2: to credited writers on this, it's basically a trio of

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Speaker 2: individuals who only worked on this film. Two of them

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Speaker 2: were associate producers Frank Tobbs who lived nineteen twenty four

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Speaker 2: through two thousand and three, Sandy Haver who lived nineteen

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Speaker 2: twenty five through nineteen eighty four, and Franklin Dellasert, who

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Speaker 2: live well, we don't know. I don't have dates for him.

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Speaker 2: This was his only film. But there's also a credit

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Speaker 2: for Dream Sequences to Slavko Vorkopitch, who lived eighteen ninety

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Speaker 2: four through nineteen seventy six. Now there are a couple

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Speaker 2: of caveats in his credit here, but essentially though he's

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Speaker 2: a very interesting guy. Basically, he was a Serbian born montagist.

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Speaker 2: His specialty was montages, at times kind of surreal montages

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Speaker 2: in films, particularly in the nineteen thirties, in the nineteen forties,

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Speaker 2: and I think certainly a time when there was a

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Speaker 2: lot more skill required and maybe a little a lot

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Speaker 2: more vision to create something outside of cinematic norms. He

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Speaker 2: worked in some pretty big pictures like Mister Smith Goes

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Speaker 2: to Washington has one of his sequences, and he was

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Speaker 2: brought in on the Mask to help bring these surreal

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Speaker 2: sequences to life and to also bring ideas for what

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Speaker 2: they might be. But apparently his ideas were both too involved.

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Speaker 2: I think one of them reportedly called for hundreds of frogs,

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Speaker 2: and also Roffman didn't think they felt visionary enough at

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Speaker 2: the end of the day. So his credit remains on

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Speaker 2: the picture though, But the Dream Sequences are said to

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Speaker 2: be primarily the work of Roffman, apparently according to his son. Anyway,

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Speaker 2: you know, put a lot of effort into to storyboarding

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Speaker 2: these out, trying to figure out how to then do

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Speaker 2: the things that they storyboarded, Like there are some snake

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Speaker 2: sequences in this that they really had. He really had

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Speaker 2: to sort of rack his brain to figure out how

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Speaker 2: they were going to make them work on screen. So,

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Speaker 2: at any rate, an interesting story.

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Speaker 3: These would be the snakes jabbing in and out of

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Speaker 3: the eye sockets of the skull. Yeah, yeah, that's funny,

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Speaker 3: because I would say those are definitely not the highlight

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Speaker 3: of the Dream sequences.

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Speaker 2: No, those are the points where you can tell, you

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Speaker 2: can see the struggle that was taking place. You know,

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Speaker 2: they're not the worst fake snakes I've seen in a movie,

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Speaker 2: but you know, in retrospect, they might have been better

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Speaker 2: without those snakes, especially since there are a lot of

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Speaker 2: things that work really well in these sequences, as we'll discuss. Yeah,

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Speaker 2: all right, the cast doctor Alan Barnes, who already mentioned

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Speaker 2: this is our main character. This is our mask researcher,

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Speaker 2: played by Paul Stevens, who lived nineteen twenty one through

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Speaker 2: nineteen eighty six, American actor, perhaps more recognizable for supporting

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Speaker 2: roles in nineteen seventies patent in nineteen seventy three's Battle

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Speaker 2: for the Planet of the Apes, in which he plays

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Speaker 2: one of the sort of humanoid mutant characters. I believe.

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Speaker 2: He did a lot of TV, appearing on such shows

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Speaker 2: as Gun Smoke and Mission Impossible. He also had second

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Speaker 2: billing is Diogenes in the nineteen sixty five film Hercules

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Speaker 2: and the Princess of Troy, starring Gordon Scott as Hirk

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Speaker 2: and directed by the Band family patriarch Albert Band. Mmmm.

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Speaker 3: Okay, maybe we got to check that out. In the future.

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Speaker 2: Yeah, I mean, I'm always up for a Hercules movie.

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Speaker 2: But anyway, Paul Stevens I really dug him in this,

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Speaker 2: so I that he does a fine job, and just

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Speaker 2: visually he reminded me a lot of Martin Landau. He

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Speaker 2: has that kind of like that kind of bill, that

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Speaker 2: kind of expressive face and that kind of energy.

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Speaker 3: I agree. I thought he was very good and he

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Speaker 3: to me is sort of a cross between Martin Landau

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Speaker 3: and Scott Bacula.

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Speaker 2: All Right, we also have Claudette Nevins playing Pam Albright.

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Speaker 2: She lived nineteen thirty seven through twenty twenty. Redheaded American actor.

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Speaker 2: Now that you can tell that she has red hair

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Speaker 2: in this, because it's black and white, it comes off

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Speaker 2: more as brunette, I guess, just by virtue of the

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Speaker 2: lack of color. But anyway, she had a long career

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Speaker 2: on t screen, appearing in supporting roles in such big

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Speaker 2: films as nineteen ninety one Sleeping with the Enemy, nineteen

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Speaker 2: ninety eight star Trek Insurrection, and she also appeared in

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Speaker 2: such genre films as the female wrestling movie starring Peter

357
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Speaker 2: Falk All The Marbles from nineteen eighty one, and a

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Speaker 2: nineteen seventy seven occult movie. This may have been a

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Speaker 2: TV film, I'm not sure, titled The Possessed, which had

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Speaker 2: a young Harrison Ford in it. On TV, she was

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Speaker 2: also a Croft Super Show regular player and appeared on

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Speaker 2: such shows as jag Melrose Plays Police Squad and Returned

363
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Speaker 2: to the Planet of the Apes. This, however, was her

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Speaker 2: first screen role. I thought she's pretty good though. I

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Speaker 2: thought it was a pretty good performance.

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Speaker 3: Agree again, you know, I thought Paul Stevens and Claudette

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Speaker 3: Nevins both did rather well with a script that asks

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Speaker 3: them to have stronger feelings in lines about a mask

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Speaker 3: than would seem to make sense given their level of

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Speaker 3: experience with the masks so far in the story. Does

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Speaker 3: that make sense?

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Speaker 2: Yeah? Yeah, yeah, But ultimately, you know, this is kind

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Speaker 2: of this is to go back to Cronenberg's The Fly.

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Speaker 2: This is essentially the Geena Davis role. The person who

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Speaker 2: has feelings for the main character who's being pulled into

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Speaker 2: the madness of this obsession, and then ultimately is having

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Speaker 2: to try and resist being pulled in as well into

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Speaker 2: that obsession.

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Speaker 3: Right. The voice of reason, the person who tells the

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Speaker 3: mad scientist, like, you've got to stop this is taking

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Speaker 3: control of you, except it takes control of him immediately

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Speaker 3: in this movie.

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Speaker 2: Yeah, all right. We also have Ann Collings playing Miss

384
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Speaker 2: Goodrich slash woman in Nightmare. This would be one of

385
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Speaker 2: the dream Vision sequence characters. She was born in nineteen

386
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Speaker 2: thirty nine. British born actor of TV and screen. She

387
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Speaker 2: had a small part in The Bloody Brood, but also

388
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Speaker 2: appeared in the nineteen seventy Rod Serling pen TV movie

389
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Speaker 2: A Storm in Summer, starring Peter Eustonoff. Now this is

390
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Speaker 2: nineteen sixty one. It's a Canadian film, but we've still

391
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Speaker 2: got to have a strong police presence and that. But

392
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Speaker 2: we have in Lieutenant Dan Martin played by Bill Walker

393
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Speaker 2: who lived nineteen twenty two through nineteen ninety five, a

394
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Speaker 2: Canadian actor who did various CBC TV variety shows in

395
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Speaker 2: the fifties and sixties, along with some other credits.

396
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Speaker 3: And your John Agar of today's film will be.

397
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Speaker 2: Yeah, this guy is the square jaw of justice. Ooh,

398
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Speaker 2: Now we have a very interesting, short lived character in

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Speaker 2: the film. The character's name is Michael Rayden R A

400
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Speaker 2: D I N. Which I realize is an actual last name,

401
00:22:31,119 --> 00:22:34,280
Speaker 2: but I also like it because in this film especially

402
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Speaker 2: it has a certain cronenburgery of energy to it, Michael Raid.

403
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Speaker 3: And yes, like many Cronenberg character names, it has a

404
00:22:43,840 --> 00:22:47,280
Speaker 3: quality of it is a human's name, but it sounds

405
00:22:47,400 --> 00:22:50,480
Speaker 3: sort of like a dangerous chemical product. You know, It's

406
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Speaker 3: like Darryl Reviick or something.

407
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Speaker 2: Yeah, and there is a certain danger to this character,

408
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Speaker 2: for sure. Michael Rayden is played by Martin Levoute, who

409
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Speaker 2: lived nineteen thirty four through twenty sixteen, a Canadian actor, writer,

410
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Speaker 2: and director. Outside of this, his more noticeable acting roles

411
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Speaker 2: are actually voiceover roles for such films as nineteen eighty

412
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Speaker 2: one's Heavy Metal and nineteen eighty three's Rock and Rule,

413
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Speaker 2: both notable, especially heavy Metal, both notable eighties animated films

414
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Speaker 2: aimed at a at a grown up audience for the

415
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Speaker 2: most part, or like I guess, like teen and above should.

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Speaker 3: We say over eighteen as opposed to grown up maturity

417
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Speaker 3: level pending?

418
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Speaker 2: Yeah, maturity level in question when we're talking about heavy metal.

419
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Speaker 2: I mean, I love heavy metal, but you know.

420
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Speaker 3: It applies to us also, Yes.

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Speaker 2: So. Lavoot also appeared on the Canadian psychic TV show

422
00:23:43,760 --> 00:23:46,800
Speaker 2: Seeing Things with Louis del Grand. We've talked about on

423
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Speaker 2: the show before. He's the guy who's head blows up

424
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Speaker 2: in Scanners, and as a director, his credits are pretty interesting.

425
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Speaker 2: He directed episodes of Fraggle Rock, the Eighties, Twilight Zone Revival,

426
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Speaker 2: and Friday the Thirteenth, the series, which of course Cronenberg

427
00:24:01,800 --> 00:24:04,200
Speaker 2: was also involved in. He wrote and directed the two

428
00:24:04,240 --> 00:24:09,240
Speaker 2: thousand and six documentary Remembering Arthur, a biography of Canadian

429
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Speaker 2: filmmaker Arthur lips It.

430
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Speaker 3: You know, actually, I thought that Martin Levout was probably

431
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Speaker 3: my favorite performance in the movie. And it's a smaller

432
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Speaker 3: one because he dies early in the film, but he's

433
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Speaker 3: got a few scenes and in them his presence is remarkable,

434
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Speaker 3: very striking and unsettling.

435
00:24:29,480 --> 00:24:34,280
Speaker 2: Yeah. Yeah, it's strong and creepy, and it hits you

436
00:24:34,440 --> 00:24:37,320
Speaker 2: rather early in the film. Like a lesser three D

437
00:24:37,400 --> 00:24:40,159
Speaker 2: picture would be very quick to just bombard you with

438
00:24:40,240 --> 00:24:44,240
Speaker 2: three D imagery. This film instead, like throws you into

439
00:24:45,520 --> 00:24:48,479
Speaker 2: a terrifying scene that will relate in a bit with

440
00:24:48,680 --> 00:24:51,399
Speaker 2: a very unsettling performance from this actor.

441
00:24:51,880 --> 00:24:55,240
Speaker 3: He has a kind of Anthony Perkins quality. He's able

442
00:24:55,240 --> 00:24:58,600
Speaker 3: to combine a look of innocence and helplessness and even

443
00:24:58,680 --> 00:25:04,360
Speaker 3: placidity with nevertheless a strong but ambiguous aura of menace.

444
00:25:05,359 --> 00:25:08,560
Speaker 2: Yeah, yeah, it's easy to imagine that Psycho may have

445
00:25:09,320 --> 00:25:12,879
Speaker 2: had some influence on the ultimate form of this picture.

446
00:25:12,960 --> 00:25:16,520
Speaker 2: But yeah, I think the Anthony Perkins comparison is apt.

447
00:25:17,119 --> 00:25:20,320
Speaker 2: All right. One more actor, sort of an actor of

448
00:25:20,359 --> 00:25:24,160
Speaker 2: note in this picture, because he's not really a character

449
00:25:24,200 --> 00:25:26,200
Speaker 2: in the film. He is there. You heard him in

450
00:25:26,240 --> 00:25:30,040
Speaker 2: the trailer. He is the mask expert playing himself. Apparently

451
00:25:30,400 --> 00:25:35,119
Speaker 2: Jim Moran, who lived nineteen oh seven through nineteen ninety nine.

452
00:25:35,280 --> 00:25:37,240
Speaker 2: I didn't know anything about this guy, but apparently he

453
00:25:37,320 --> 00:25:40,240
Speaker 2: was considered for a time the master of the publicity stunt.

454
00:25:40,640 --> 00:25:42,960
Speaker 2: He apparently made a career out of doing things like

455
00:25:43,320 --> 00:25:46,800
Speaker 2: finding a needle in a haystack and other things, you know,

456
00:25:46,920 --> 00:25:49,520
Speaker 2: making a big deal about some sort of a performance

457
00:25:49,560 --> 00:25:54,360
Speaker 2: based stunt, especially in the thirties, forties, and fifties, and

458
00:25:54,400 --> 00:25:56,399
Speaker 2: on more than one occasion he did one of these

459
00:25:56,440 --> 00:26:00,280
Speaker 2: stunts as part of a movie promotion. Apparently this sort

460
00:26:00,280 --> 00:26:03,720
Speaker 2: of thing was out of fashion by sixty one, but

461
00:26:04,240 --> 00:26:06,280
Speaker 2: they brought him in for whatever reason. I don't know

462
00:26:06,440 --> 00:26:08,800
Speaker 2: if this was through the filmmakers or if this is

463
00:26:08,840 --> 00:26:11,440
Speaker 2: something where Warner Brothers was like, we want to we

464
00:26:11,480 --> 00:26:13,840
Speaker 2: want to really push this. So we've got this guy.

465
00:26:14,160 --> 00:26:15,840
Speaker 2: He's great, he was great back in the day. He

466
00:26:15,880 --> 00:26:18,719
Speaker 2: can you know, he's a great promoter. Let's get him.

467
00:26:18,800 --> 00:26:22,560
Speaker 2: Let's film him with the mask, introducing audiences to the mask,

468
00:26:22,640 --> 00:26:25,359
Speaker 2: and then we can also shoot an additional sequence for

469
00:26:25,520 --> 00:26:26,080
Speaker 2: the trailer.

470
00:26:26,400 --> 00:26:29,280
Speaker 3: I thought this was the funniest and hammiest part of

471
00:26:29,320 --> 00:26:31,479
Speaker 3: the movie, and it's right at the beginning. It's the

472
00:26:31,480 --> 00:26:32,680
Speaker 3: first thing you see.

473
00:26:33,200 --> 00:26:37,000
Speaker 2: Yeah, so it is weird watching this film because it's like,

474
00:26:37,040 --> 00:26:39,359
Speaker 2: you're here for the three D. You come in, here's

475
00:26:39,400 --> 00:26:42,800
Speaker 2: this gimmicky introduction, and then you're gonna be thrown into

476
00:26:42,840 --> 00:26:46,960
Speaker 2: a horrifying chase sequence. So yeah, it's it's a It

477
00:26:47,080 --> 00:26:51,320
Speaker 2: really twists you around, all right. Finally, the music is

478
00:26:51,560 --> 00:26:55,640
Speaker 2: very interesting in this film. At times it's it's more

479
00:26:55,680 --> 00:26:59,359
Speaker 2: traditional late fifties early sixties thriller, but when it really

480
00:26:59,359 --> 00:27:02,359
Speaker 2: wants to lay on the menace of the titular Mask

481
00:27:02,760 --> 00:27:07,280
Speaker 2: or certainly immerse Us into these lengthy vision sequences, the

482
00:27:07,320 --> 00:27:12,320
Speaker 2: score goes into experimental electronic territory in a major way.

483
00:27:12,760 --> 00:27:15,800
Speaker 2: Highly effective and I think ahead of its time in

484
00:27:15,840 --> 00:27:20,520
Speaker 2: some regards. Really worth checking out, and you'll know when

485
00:27:20,560 --> 00:27:23,920
Speaker 2: it starts going into that electronic territory because it feels

486
00:27:25,119 --> 00:27:28,560
Speaker 2: more thoroughly modern. So there are two individuals credited here,

487
00:27:28,600 --> 00:27:30,920
Speaker 2: which again is not surprising when you sort of hear

488
00:27:31,040 --> 00:27:33,439
Speaker 2: this difference between the music. I wouldn't say that it

489
00:27:33,480 --> 00:27:37,320
Speaker 2: feels jarring, though I don't know it feels it feels

490
00:27:37,359 --> 00:27:40,399
Speaker 2: appropriate given the shifts in reality that are taking place

491
00:27:40,440 --> 00:27:45,639
Speaker 2: in the film. But apparently we have the electronic music

492
00:27:45,680 --> 00:27:48,640
Speaker 2: is brought to us by doctor Myra and Schaeffer, who

493
00:27:48,640 --> 00:27:52,240
Speaker 2: lived nineteen oh eight through nineteen sixty five, an electronic

494
00:27:52,320 --> 00:27:55,119
Speaker 2: music pioneer and one time head of the University of

495
00:27:55,119 --> 00:27:59,800
Speaker 2: Toronto Electronic Music Studio. He apparently worked with a lot

496
00:27:59,840 --> 00:28:03,120
Speaker 2: of some sort of like tape real based musical creation,

497
00:28:03,440 --> 00:28:07,760
Speaker 2: and he also studied folk music pretty extensively, so you

498
00:28:07,800 --> 00:28:10,479
Speaker 2: can certainly hear some of that. It seems like that

499
00:28:11,520 --> 00:28:14,439
Speaker 2: seems like this all went into choosing this guy to

500
00:28:14,520 --> 00:28:17,560
Speaker 2: create the audio for these sequences.

501
00:28:18,040 --> 00:28:21,160
Speaker 3: Yeah, it sounds like that kind of tape based early

502
00:28:21,240 --> 00:28:23,760
Speaker 3: electronic music that you would hear in like the original

503
00:28:23,800 --> 00:28:27,520
Speaker 3: Doctor Who theme, Delia Derbyshire and things like that. So

504
00:28:27,640 --> 00:28:31,639
Speaker 3: it's very good for the scenes it's used in the movie.

505
00:28:31,920 --> 00:28:36,160
Speaker 3: He creates this kind of deep pulsing rhythmic theme for

506
00:28:36,240 --> 00:28:38,680
Speaker 3: the mask. It's in any scene where the mask is

507
00:28:38,720 --> 00:28:41,440
Speaker 3: calling out to someone to put it on, we hear

508
00:28:41,480 --> 00:28:44,600
Speaker 3: this kind of like throbbing, almost kind of like a

509
00:28:44,760 --> 00:28:48,400
Speaker 3: metal tape playback loop from below. It's very creepy and

510
00:28:48,480 --> 00:28:49,200
Speaker 3: it works.

511
00:28:49,480 --> 00:28:53,080
Speaker 2: Yeah. Now, the other music in the picture is brought

512
00:28:53,080 --> 00:28:56,280
Speaker 2: to us by Lewis Applebaum, who lived nineteen eighteen through

513
00:28:56,320 --> 00:28:59,920
Speaker 2: two thousand, Canadian composer who worked a lot in radio, film,

514
00:29:00,040 --> 00:29:02,719
Speaker 2: and TV in addition to concert work. He was at

515
00:29:02,720 --> 00:29:05,040
Speaker 2: one point the music director for the National Film Board

516
00:29:05,040 --> 00:29:08,560
Speaker 2: of Canada. He apparently worked in Hollywood in the nineteen forties,

517
00:29:08,600 --> 00:29:10,840
Speaker 2: but then returned to Canada and worked there for the

518
00:29:10,840 --> 00:29:13,000
Speaker 2: rest of his career, where he was a pretty big

519
00:29:13,080 --> 00:29:16,239
Speaker 2: name in the Canadian composing scene, and ultimately was a

520
00:29:16,320 --> 00:29:20,000
Speaker 2: recipient of the Order of Canada, which, if I'm not mistaken,

521
00:29:20,120 --> 00:29:23,800
Speaker 2: is like the second highest civilian honor. All right, before

522
00:29:23,840 --> 00:29:25,640
Speaker 2: we get into the plot here, let's just have a

523
00:29:25,720 --> 00:29:30,360
Speaker 2: quick sample though, of that Myron Schaeffer audio from the film.

524
00:29:30,400 --> 00:30:05,400
Speaker 2: This is really good. All right, Shall we get into

525
00:30:05,400 --> 00:30:05,800
Speaker 2: the plot?

526
00:30:06,200 --> 00:30:08,600
Speaker 3: Oh, I think it's time. So one thing I was

527
00:30:08,600 --> 00:30:11,880
Speaker 3: wondering about the opening credits. I watched the whole film

528
00:30:11,960 --> 00:30:13,600
Speaker 3: in two D, and then I went back and I

529
00:30:13,680 --> 00:30:18,160
Speaker 3: watched the dream sequences as the extras in three D

530
00:30:18,280 --> 00:30:22,440
Speaker 3: with the glasses, But I wonder were there other was

531
00:30:23,480 --> 00:30:25,880
Speaker 3: I guess I don't really know. Was the whole film

532
00:30:26,000 --> 00:30:28,600
Speaker 3: shown in three D and they just pulled those out

533
00:30:28,640 --> 00:30:32,200
Speaker 3: as extras on the disc? Or were those the only

534
00:30:32,360 --> 00:30:37,160
Speaker 3: scenes in three D? Because I'm wondering, like the opening credits,

535
00:30:37,920 --> 00:30:40,040
Speaker 3: you know, they don't have anybody saying put the mask

536
00:30:40,160 --> 00:30:43,360
Speaker 3: on now, but they have like those oscillating plasma effects

537
00:30:43,440 --> 00:30:45,880
Speaker 3: and things flying toward the screen. So I kind of

538
00:30:45,920 --> 00:30:47,760
Speaker 3: wonder if those were meant to be in three D

539
00:30:47,840 --> 00:30:49,080
Speaker 3: as well.

540
00:30:49,440 --> 00:30:51,760
Speaker 2: I'm not for certain, but I would venture to guess

541
00:30:51,760 --> 00:30:55,120
Speaker 2: if the credits are in three D. But I don't

542
00:30:55,120 --> 00:30:59,240
Speaker 2: think anything outside of possibly the credits and definitely the

543
00:30:59,320 --> 00:31:02,200
Speaker 2: vision sequence as we're shot in three D, and I

544
00:31:02,200 --> 00:31:03,920
Speaker 2: think part of that, I mean, we know from our

545
00:31:03,960 --> 00:31:07,800
Speaker 2: discussions regarding House Wax, just how much effort had to

546
00:31:07,840 --> 00:31:11,600
Speaker 2: go into shooting three D. And if people aren't gonna

547
00:31:11,600 --> 00:31:13,720
Speaker 2: have their mask on for those sequences, why would you bother?

548
00:31:14,040 --> 00:31:17,240
Speaker 3: Maybe they figured people would be trying out the masks anyway,

549
00:31:17,320 --> 00:31:20,360
Speaker 3: and during the credits, because it's the first thing that happens.

550
00:31:20,800 --> 00:31:24,360
Speaker 2: Yeah, and is someone who's whose head feels weird watching

551
00:31:24,440 --> 00:31:27,720
Speaker 2: three D? I applaud a film that says, let's let's

552
00:31:27,760 --> 00:31:31,040
Speaker 2: keep the three D limited to certain sequences. Agree, Yeah,

553
00:31:31,560 --> 00:31:32,880
Speaker 2: let's let's let's limit that.

554
00:31:33,280 --> 00:31:35,360
Speaker 3: And actually it works very well with the conceit of

555
00:31:35,400 --> 00:31:39,880
Speaker 3: the movie because those are dream sequences, so it almost

556
00:31:40,000 --> 00:31:42,200
Speaker 3: it feels more acceptable that you would have to put

557
00:31:42,200 --> 00:31:44,920
Speaker 3: on a piece of equipment and see them differently because

558
00:31:44,960 --> 00:31:48,040
Speaker 3: they are showing you a different reality as opposed to

559
00:31:48,200 --> 00:31:52,760
Speaker 3: just scenes of the same contiguous, real three D space

560
00:31:52,960 --> 00:31:55,400
Speaker 3: in the narrative of the film suddenly coming out of

561
00:31:55,440 --> 00:31:56,920
Speaker 3: the screen when they didn't before.

562
00:31:57,600 --> 00:32:01,720
Speaker 2: Yeah. It also I was thinking about this when you

563
00:32:01,760 --> 00:32:04,320
Speaker 2: put the mask on in the theater. I wonder if

564
00:32:04,320 --> 00:32:07,160
Speaker 2: it sort of also heightens the feeling of cutting yourself

565
00:32:07,160 --> 00:32:10,320
Speaker 2: off from other people, the idea that these vision sequences

566
00:32:10,360 --> 00:32:13,760
Speaker 2: are supposed to be inner journeys. You know, by engaging

567
00:32:13,800 --> 00:32:16,520
Speaker 2: in three D, by strapping something else to your face,

568
00:32:16,880 --> 00:32:19,760
Speaker 2: you're kind of perhaps cutting yourself off a little more

569
00:32:20,040 --> 00:32:22,640
Speaker 2: from the actual world surrounding him.

570
00:32:30,440 --> 00:32:32,840
Speaker 3: Okay, Well. The movie begins with a statement by a

571
00:32:32,920 --> 00:32:36,800
Speaker 3: distinguished mascologist. This is Jim Moran. He is a man

572
00:32:36,920 --> 00:32:39,240
Speaker 3: in a suit and a tie, leaning against a wall

573
00:32:39,360 --> 00:32:42,200
Speaker 3: in a study that is covered in masks. He has

574
00:32:42,240 --> 00:32:45,560
Speaker 3: a wide, thick goatee, and he's holding a tobacco pipe

575
00:32:45,560 --> 00:32:48,719
Speaker 3: in his hands. And he says, my name is Jim Moran.

576
00:32:49,240 --> 00:32:49,760
Speaker 2: I have just.

577
00:32:49,880 --> 00:32:53,480
Speaker 3: Returned from a journey around the world collecting strange and

578
00:32:53,640 --> 00:32:57,200
Speaker 3: unusual masks. Is this true? I don't know about this.

579
00:32:58,320 --> 00:33:01,880
Speaker 2: I have my doubts. Given what we know about Jim Moran.

580
00:33:02,440 --> 00:33:04,720
Speaker 3: Well, he says, I think it's safe to say I'm

581
00:33:04,760 --> 00:33:09,280
Speaker 3: something of an authority on rare masks, festival masks, drama

582
00:33:09,360 --> 00:33:14,560
Speaker 3: and religious masks, dance masks, and death masks from ancient tombs.

583
00:33:15,040 --> 00:33:18,440
Speaker 3: Man's desire to change his face, to assume a strange

584
00:33:18,520 --> 00:33:22,440
Speaker 3: or frightening disguise, to impersonate his gods or to frighten

585
00:33:22,640 --> 00:33:26,200
Speaker 3: devils is a desire older than the history of language.

586
00:33:26,520 --> 00:33:30,000
Speaker 3: I've seen masks unearthed from the ruins of crumbling tombs,

587
00:33:30,040 --> 00:33:33,880
Speaker 3: and masks hanging in exotic temples to ward off evil spirits.

588
00:33:34,280 --> 00:33:37,760
Speaker 3: But nowhere in all my travels have I seen anything

589
00:33:37,840 --> 00:33:41,720
Speaker 3: to compare to the power of this mask, and he

590
00:33:41,840 --> 00:33:45,160
Speaker 3: reaches out. He lays his hand upon the central prop

591
00:33:45,200 --> 00:33:48,160
Speaker 3: of the movie, the mask, the one in the title.

592
00:33:48,520 --> 00:33:52,640
Speaker 3: It's kind it's like a human skull with a freak

593
00:33:52,680 --> 00:33:56,120
Speaker 3: out expression. It has sort of chameleon eyes that are

594
00:33:57,280 --> 00:34:00,840
Speaker 3: convex eyes with little tiny holes in the middle of them,

595
00:34:00,920 --> 00:34:04,080
Speaker 3: bulging out of the sockets, and then there is a

596
00:34:04,320 --> 00:34:07,280
Speaker 3: sort of mosaic tile skin all over it.

597
00:34:08,200 --> 00:34:11,080
Speaker 2: Yeah, it looks really good in black and white. It

598
00:34:11,160 --> 00:34:15,840
Speaker 2: has definite meso American influences, I think on the design, though,

599
00:34:16,000 --> 00:34:18,200
Speaker 2: I'm kind of all over the place about where this

600
00:34:18,280 --> 00:34:20,920
Speaker 2: mask is supposed to actually be from. In the picture,

601
00:34:21,320 --> 00:34:23,840
Speaker 2: I feel like it's described as being both from India

602
00:34:23,880 --> 00:34:25,440
Speaker 2: and South America, but I could be wrong.

603
00:34:25,800 --> 00:34:27,919
Speaker 3: I think they do clarify in the end they say

604
00:34:27,960 --> 00:34:31,360
Speaker 3: that it supposedly came from a place near the ancient

605
00:34:31,440 --> 00:34:34,000
Speaker 3: city of Tikal, which would be in Guatemala.

606
00:34:34,320 --> 00:34:37,200
Speaker 2: Oh okay, Yeah, but yeah, there are other times where

607
00:34:37,840 --> 00:34:39,800
Speaker 2: they're describing it in terms where I'm a little confused.

608
00:34:39,840 --> 00:34:43,359
Speaker 2: But at any rate, it looks pretty cool. It does

609
00:34:43,440 --> 00:34:48,000
Speaker 2: look it has those crazy looking eyes, and it's hard

610
00:34:48,000 --> 00:34:50,200
Speaker 2: to really judge the mask on its own merits in

611
00:34:50,280 --> 00:34:53,719
Speaker 2: this scene where we have this kind of dry introduction

612
00:34:53,960 --> 00:34:56,879
Speaker 2: by this guy who's definitely not Rod Serling, but also

613
00:34:57,040 --> 00:35:00,319
Speaker 2: whose description does kind of like at first, like this

614
00:35:00,320 --> 00:35:02,960
Speaker 2: guy's kind of dry, but the more he talks, the

615
00:35:03,000 --> 00:35:05,480
Speaker 2: more he kind of draws me in. But later on

616
00:35:05,520 --> 00:35:10,000
Speaker 2: in the movie, it's definitely creepy in the actual scenes

617
00:35:10,000 --> 00:35:12,640
Speaker 2: where people were tempted by it, scenes where people were

618
00:35:12,800 --> 00:35:15,640
Speaker 2: putting it on their face and like clutching it, all

619
00:35:15,760 --> 00:35:19,000
Speaker 2: while that intense electronic music is playing.

620
00:35:19,040 --> 00:35:22,520
Speaker 3: And the lower jaw is only it's not rigidly attached

621
00:35:22,560 --> 00:35:25,240
Speaker 3: it like the lower jaw can jiggle when the person

622
00:35:25,320 --> 00:35:28,120
Speaker 3: wearing it moves. I don't know if that makes it

623
00:35:28,120 --> 00:35:29,840
Speaker 3: scarier or funnier. Maybe both.

624
00:35:30,320 --> 00:35:32,000
Speaker 2: Well, we're not ready to put this on yet. There's

625
00:35:32,040 --> 00:35:36,200
Speaker 2: still more introduction, so Jim Moran keeps talking. I'm not

626
00:35:36,239 --> 00:35:39,520
Speaker 2: going to transcribe his whole speech, not least because the

627
00:35:39,640 --> 00:35:42,360
Speaker 2: sound in this movie is not fully normalized, And no

628
00:35:42,400 --> 00:35:44,600
Speaker 2: matter how much I turned it up, there were little

629
00:35:44,640 --> 00:35:47,200
Speaker 2: parts where his voice became quiet and I couldn't tell

630
00:35:47,239 --> 00:35:50,040
Speaker 2: what he was saying. This was also especially true of

631
00:35:50,040 --> 00:35:53,080
Speaker 2: a character we meet later named Professor Solmes. There were

632
00:35:53,080 --> 00:35:55,240
Speaker 2: parts where I could not hear what he was saying,

633
00:35:55,719 --> 00:35:57,480
Speaker 2: but I got the gist. Here are the bullet points.

634
00:35:57,880 --> 00:36:01,880
Speaker 2: So this mask in particular is the most diabolical of artifacts.

635
00:36:01,920 --> 00:36:05,560
Speaker 2: It's used in rituals so unspeakable that they have been

636
00:36:05,600 --> 00:36:08,759
Speaker 2: wiped out of the memory of humankind. Jim Moran says,

637
00:36:08,760 --> 00:36:11,200
Speaker 2: he is not a superstitious man, but no matter what,

638
00:36:11,360 --> 00:36:14,279
Speaker 2: he will not put on this mask, not for all

639
00:36:14,320 --> 00:36:16,440
Speaker 2: the gold and the indies. Isn't that what he says?

640
00:36:16,920 --> 00:36:21,600
Speaker 3: Okay, you and the theater have been given a special privilege.

641
00:36:21,640 --> 00:36:24,759
Speaker 3: You've been given a mask too, referring to your three

642
00:36:24,840 --> 00:36:27,680
Speaker 3: D glasses. When somebody in the movie puts on the mask,

643
00:36:27,960 --> 00:36:30,520
Speaker 3: you put yours on too, and you will get to

644
00:36:30,520 --> 00:36:34,160
Speaker 3: see what they see, he promises, quote you will see

645
00:36:34,200 --> 00:36:38,439
Speaker 3: things never before seen on any screen. And then he again,

646
00:36:38,520 --> 00:36:41,839
Speaker 3: in very brod serling fashion, he introduces the character he's

647
00:36:41,920 --> 00:36:45,480
Speaker 3: like doctor Alan Barnes, you know, caught in the wheels

648
00:36:45,480 --> 00:36:48,480
Speaker 3: of progress. He says, you will meet doctor Alan Barnes.

649
00:36:48,719 --> 00:36:51,400
Speaker 3: He will put on the mask. Okay, thank you for

650
00:36:51,440 --> 00:36:54,320
Speaker 3: telling us. And again, when he puts on the mask,

651
00:36:54,560 --> 00:36:56,000
Speaker 3: you put on yours too.

652
00:36:56,360 --> 00:36:58,719
Speaker 2: Now I want to describe the mask real quick. We

653
00:36:58,760 --> 00:37:01,320
Speaker 2: did not have to have access to an original, of course,

654
00:37:01,360 --> 00:37:05,440
Speaker 2: but it doesn't really look like the skull mask. The

655
00:37:05,520 --> 00:37:09,200
Speaker 2: version I've seen is green. It has like a red

656
00:37:09,239 --> 00:37:11,520
Speaker 2: and green panel on each eye.

657
00:37:11,800 --> 00:37:13,640
Speaker 3: You're talking about the glasses people were given them.

658
00:37:13,600 --> 00:37:15,400
Speaker 2: Yeah, the glasses people were wearing in the theater.

659
00:37:15,680 --> 00:37:16,080
Speaker 3: It looked.

660
00:37:16,480 --> 00:37:19,800
Speaker 2: It brings to mind more the Creature from the Black Lagoon. Actually,

661
00:37:20,560 --> 00:37:23,720
Speaker 2: and it has the label on it Magic Mystic Mask.

662
00:37:25,120 --> 00:37:28,600
Speaker 3: I wonder if this mask had to be, like if

663
00:37:28,600 --> 00:37:31,440
Speaker 3: the specifications for printing it had to be sent out

664
00:37:31,560 --> 00:37:34,600
Speaker 3: before the film was actually made, and so they didn't

665
00:37:34,680 --> 00:37:36,920
Speaker 3: know what the final mask prop in the movie was

666
00:37:36,960 --> 00:37:37,600
Speaker 3: going to look like.

667
00:37:38,360 --> 00:37:41,160
Speaker 2: Yeah, yeah, or I mean thinking back to the creature.

668
00:37:41,320 --> 00:37:43,920
Speaker 2: Creature was a three D picture, so maybe this was

669
00:37:43,920 --> 00:37:46,880
Speaker 2: a mask originally designed for some showing of Creature from

670
00:37:46,880 --> 00:37:49,719
Speaker 2: the Black Lagoon and then they just like repurposed it.

671
00:37:49,760 --> 00:37:52,960
Speaker 2: I'm not sure, but the printing on this as Magic

672
00:37:53,000 --> 00:37:56,120
Speaker 2: Mystic Mask for the Miracle Movie the mask, so there's

673
00:37:56,160 --> 00:37:56,960
Speaker 2: no doubting.

674
00:37:56,680 --> 00:38:01,160
Speaker 3: That the Miracle Movie it's a miracle anyway, we've got

675
00:38:01,239 --> 00:38:06,160
Speaker 3: this Hammi gimmick. Introduction by Jim Moran, the world's foremost

676
00:38:06,239 --> 00:38:10,960
Speaker 3: expert on masks, and then we smash cut to something horrifying.

677
00:38:11,000 --> 00:38:15,560
Speaker 3: It's a woman in a dark forest, desperate, drenched with rain,

678
00:38:16,000 --> 00:38:19,239
Speaker 3: screaming in terror, and then we see across from her

679
00:38:19,360 --> 00:38:22,120
Speaker 3: a reverse shot the thing she is afraid of. It's

680
00:38:22,120 --> 00:38:25,759
Speaker 3: a man. It's a young man who doesn't look inherently

681
00:38:25,880 --> 00:38:29,800
Speaker 3: very frightening. He's not large or monstrous or wielding a weapon.

682
00:38:30,160 --> 00:38:34,520
Speaker 3: He looks kind of calm, expressionless, almost docile. But like

683
00:38:34,560 --> 00:38:38,839
Speaker 3: I said earlier about this actor, he brings a kind

684
00:38:38,880 --> 00:38:43,560
Speaker 3: of an unsettling Anthony Perkins quality with his expressionless face.

685
00:38:44,520 --> 00:38:47,680
Speaker 3: So the woman turns and runs. She's terrified. She's dashing

686
00:38:47,719 --> 00:38:50,719
Speaker 3: through the trees and the undergrowth in the rain, and

687
00:38:50,760 --> 00:38:54,680
Speaker 3: the man meanwhile is walking very slowly and calmly in

688
00:38:54,760 --> 00:38:58,480
Speaker 3: pursuit while she runs and flails around. And I wonder

689
00:38:58,560 --> 00:39:02,960
Speaker 3: if this scene inspired later slasher movie killers who do

690
00:39:03,080 --> 00:39:06,520
Speaker 3: the same thing. You know, the killer walks slowly and calmly,

691
00:39:06,640 --> 00:39:09,839
Speaker 3: refuses to pick up the pace, but somehow later they

692
00:39:09,880 --> 00:39:12,799
Speaker 3: appear in front of their victim to intercept them. So

693
00:39:13,200 --> 00:39:15,719
Speaker 3: some carnations of Jason Vorheez are like this.

694
00:39:16,840 --> 00:39:18,640
Speaker 2: Hmm. Yeah. Yeah.

695
00:39:19,320 --> 00:39:23,000
Speaker 3: Another comparison to this guy's performance, he reminds me a

696
00:39:23,080 --> 00:39:26,640
Speaker 3: bit of the later performance by Robert Patrick is the

697
00:39:26,680 --> 00:39:29,440
Speaker 3: T one thousand and Terminator too. There's a way that

698
00:39:29,560 --> 00:39:32,960
Speaker 3: he in this chase scene, like he moves his body

699
00:39:33,200 --> 00:39:36,760
Speaker 3: at a steady pace toward the woman, but his head

700
00:39:36,960 --> 00:39:39,799
Speaker 3: is moving very little and his gaze is sort of

701
00:39:39,920 --> 00:39:44,040
Speaker 3: locked right on target the whole time, no blinking or

702
00:39:44,120 --> 00:39:45,880
Speaker 3: turning the head or looking away.

703
00:39:47,080 --> 00:39:53,879
Speaker 2: Yeah. Yeah, this sort of great, relentless, inexorable approach. And yeah,

704
00:39:53,920 --> 00:39:55,800
Speaker 2: I was thinking about it. I was looking around a

705
00:39:55,840 --> 00:39:58,520
Speaker 2: little bit. I wonder how far this goes back, Like

706
00:39:58,800 --> 00:40:01,279
Speaker 2: what are some earlier examples this, And I don't know,

707
00:40:01,320 --> 00:40:03,000
Speaker 2: maybe it goes all the way back to Frankenstein, But

708
00:40:03,040 --> 00:40:06,759
Speaker 2: I don't remember specifically any scenes in Frankenstein that are

709
00:40:07,040 --> 00:40:09,719
Speaker 2: like technically composed in the same way, But I could

710
00:40:09,760 --> 00:40:10,120
Speaker 2: be wrong.

711
00:40:10,480 --> 00:40:13,080
Speaker 3: Well, anyway, I thought this chase scene was very frightening.

712
00:40:13,120 --> 00:40:16,440
Speaker 3: It's stark, it's raw. I was immediately sort of at

713
00:40:16,480 --> 00:40:19,719
Speaker 3: full voltage from the cinematography. So it takes place in

714
00:40:19,760 --> 00:40:24,280
Speaker 3: a forest at night, but there are lights, bright ones,

715
00:40:24,440 --> 00:40:27,400
Speaker 3: with the sources obscured by brush, and the lighting is

716
00:40:27,440 --> 00:40:30,160
Speaker 3: not even throughout the forest set, there were sort of

717
00:40:30,920 --> 00:40:34,520
Speaker 3: beams that cut in particular passages through the trees with

718
00:40:34,640 --> 00:40:37,919
Speaker 3: black shadow in the spaces beyond, and I really liked

719
00:40:37,960 --> 00:40:42,040
Speaker 3: this effect. The film already has a distinctive and original

720
00:40:42,120 --> 00:40:43,680
Speaker 3: look and I'm a fan.

721
00:40:44,040 --> 00:40:47,080
Speaker 2: Yeah, and again looks especially good in this beautifully restored

722
00:40:47,880 --> 00:40:48,960
Speaker 2: print that we were watching.

723
00:40:49,280 --> 00:40:53,640
Speaker 3: Another thing that would be similarly done in later slasher movies,

724
00:40:53,680 --> 00:40:56,600
Speaker 3: where Jason Vorhees is running through the woods after some

725
00:40:56,680 --> 00:40:59,799
Speaker 3: camp counselor, is the cutting back and forth between the

726
00:41:00,040 --> 00:41:04,080
Speaker 3: feet or legs of the two people, so you see

727
00:41:04,080 --> 00:41:07,880
Speaker 3: her feet running in his feet walking. But eventually he

728
00:41:07,960 --> 00:41:11,239
Speaker 3: catches her and she is murdered in some way, obscured

729
00:41:11,239 --> 00:41:14,600
Speaker 3: by a tree. But while he kills her, she scratches

730
00:41:14,640 --> 00:41:18,719
Speaker 3: his face, leaving bloody claw marks in his cheek. And

731
00:41:18,760 --> 00:41:21,520
Speaker 3: then suddenly we cut to the next day in a

732
00:41:21,600 --> 00:41:24,719
Speaker 3: therapist's office and the receptionist is telling a man named

733
00:41:24,800 --> 00:41:28,399
Speaker 3: mister Raydon that he can't see the doctor yet, only

734
00:41:28,440 --> 00:41:30,600
Speaker 3: to pull back and revealed that it is the killer

735
00:41:30,640 --> 00:41:33,080
Speaker 3: from the woods who is here for his therapy session.

736
00:41:33,480 --> 00:41:34,800
Speaker 2: Yeah, this is mister Raydon.

737
00:41:35,160 --> 00:41:38,480
Speaker 3: So finally the therapist emerges and this is Paul Stevens as

738
00:41:38,560 --> 00:41:42,640
Speaker 3: doctor Alan Barnes. He invites Raydon in for his session,

739
00:41:43,360 --> 00:41:46,120
Speaker 3: and wow, I did not expect this movie to be

740
00:41:46,200 --> 00:41:50,720
Speaker 3: hitting such peaks of like weird sensation with mere dialog scenes.

741
00:41:50,760 --> 00:41:55,160
Speaker 3: I thought this therapy scene where nothing psychedelic happens, it's

742
00:41:55,239 --> 00:41:58,480
Speaker 3: just Raydon giving a disturbed performance. I thought it was

743
00:41:58,600 --> 00:41:59,959
Speaker 3: very unsettling and very good.

744
00:42:00,560 --> 00:42:03,239
Speaker 2: Yeah. Yeah, no three D effects right in your face here,

745
00:42:03,280 --> 00:42:08,920
Speaker 2: It's just a solid sequence with some creepy dialogue and

746
00:42:08,960 --> 00:42:09,759
Speaker 2: great performance.

747
00:42:10,239 --> 00:42:14,440
Speaker 3: So Michael Raydon says that he has had horrible, unshakable

748
00:42:14,520 --> 00:42:17,880
Speaker 3: visions of his hand on a woman's throat. He thinks

749
00:42:17,880 --> 00:42:20,680
Speaker 3: he may have killed her, and doctor Barnes suggests this

750
00:42:20,880 --> 00:42:23,880
Speaker 3: was just a dream. Then Raydon points to the scratches

751
00:42:23,920 --> 00:42:25,719
Speaker 3: on his face and he says, did I get this

752
00:42:25,840 --> 00:42:28,880
Speaker 3: in a dream? Doctor Barnes says, well, that could have

753
00:42:28,880 --> 00:42:32,799
Speaker 3: been self inflicted, and Raydon resists. He says, it's not

754
00:42:32,920 --> 00:42:36,360
Speaker 3: a dream, it's a living nightmare. Then there's this really

755
00:42:36,640 --> 00:42:41,320
Speaker 3: striking moment where he says I'm cursed. I am cursed.

756
00:42:42,239 --> 00:42:46,080
Speaker 3: Now Barnes scoffs at this. He says, Michael, you're a scientist,

757
00:42:46,320 --> 00:42:49,279
Speaker 3: is it very scientific to believe your nightmares or the

758
00:42:49,320 --> 00:42:52,400
Speaker 3: result of a curse. Isn't it more logical to believe

759
00:42:52,440 --> 00:42:57,280
Speaker 3: they're the result of unresolved emotional turmoil? And Raydon sits

760
00:42:57,320 --> 00:43:00,920
Speaker 3: down and he looks directly in Barnes's eyes. He has

761
00:43:00,960 --> 00:43:04,560
Speaker 3: this posture with his hand sort of outstretched, hovering above

762
00:43:04,600 --> 00:43:08,319
Speaker 3: the couch, quivering, and he says, doctor, I need help.

763
00:43:08,520 --> 00:43:12,720
Speaker 3: I'm like an addict. It's like I've been hypnotized. Barnes says,

764
00:43:12,920 --> 00:43:17,280
Speaker 3: who would be hypnotizing you? And Raydon says the mask.

765
00:43:18,040 --> 00:43:21,200
Speaker 3: Barnes says, what mask? How could a mask hypnotize you?

766
00:43:21,880 --> 00:43:25,960
Speaker 3: Raydon says the mask is to blame. So they negotiate

767
00:43:26,040 --> 00:43:29,279
Speaker 3: on this idea. Barnes expresses doubt that the mask could

768
00:43:29,280 --> 00:43:31,840
Speaker 3: really be the cause of Rayden's problems, but he's willing

769
00:43:31,880 --> 00:43:35,000
Speaker 3: to explore the issue further, so he asks Rayden to

770
00:43:35,120 --> 00:43:38,440
Speaker 3: show the mask to him. Raydon says, why do you

771
00:43:38,480 --> 00:43:40,959
Speaker 3: want me to show it to you. Barnes says, why

772
00:43:41,000 --> 00:43:44,320
Speaker 3: not if it's causing you all this anguish? Raydon says,

773
00:43:44,440 --> 00:43:47,440
Speaker 3: you want me to give it to you. Barnes says,

774
00:43:47,600 --> 00:43:51,279
Speaker 3: if you like. Raydon says, you want it for yourself,

775
00:43:52,040 --> 00:43:55,040
Speaker 3: and all the while there is this mounting sound, this

776
00:43:55,160 --> 00:43:59,680
Speaker 3: kind of low pounding, echoing rhythm in the soundtrack. Very

777
00:44:00,920 --> 00:44:03,239
Speaker 3: and then finally Barnes says, what would I do with

778
00:44:03,320 --> 00:44:07,400
Speaker 3: the mask? And Raydon says, you'd put it on, you'd

779
00:44:07,440 --> 00:44:11,720
Speaker 3: find out again, I think actually a very very good scene.

780
00:44:12,160 --> 00:44:13,680
Speaker 2: Yeah, absolutely sucked me in.

781
00:44:14,400 --> 00:44:17,040
Speaker 3: But Barnes again, he tries to sort of talk Raydon down.

782
00:44:17,080 --> 00:44:18,880
Speaker 3: He says that if he showed him the mask, they

783
00:44:18,880 --> 00:44:21,879
Speaker 3: could discover that the nightmares don't come from the mask

784
00:44:21,960 --> 00:44:25,200
Speaker 3: at all, but from him, and Raydon won't accept this.

785
00:44:25,280 --> 00:44:27,360
Speaker 3: He says, you're a fool, and he runs out of

786
00:44:27,400 --> 00:44:30,280
Speaker 3: the office. So after this, there's a scene with Barnes

787
00:44:30,320 --> 00:44:34,960
Speaker 3: and his office assistant. This is Jill Goodrich, and she asks,

788
00:44:35,080 --> 00:44:38,280
Speaker 3: you know, should we notify somebody, maybe mister Raydon's parents,

789
00:44:38,320 --> 00:44:41,200
Speaker 3: that he is so disturbed, And Barnes says, no, I

790
00:44:41,200 --> 00:44:44,239
Speaker 3: think he'll be all right. He just needs to cool down, Yeah,

791
00:44:44,400 --> 00:44:47,959
Speaker 3: walk it off. Yeah, So Barnes sends miss Goodrich home

792
00:44:48,360 --> 00:44:50,520
Speaker 3: and I guess they have kind of a flirty interaction here,

793
00:44:50,600 --> 00:44:52,880
Speaker 3: something that'll pay off later in the movie.

794
00:44:53,280 --> 00:44:56,439
Speaker 2: Yeah, Yeah, I didn't didn't really register with me. Upon

795
00:44:56,560 --> 00:45:00,680
Speaker 2: first viewing, But there we come back this later on.

796
00:45:00,960 --> 00:45:03,520
Speaker 3: Now, Unfortunately, the next thing that happens with Raydon is

797
00:45:03,560 --> 00:45:06,560
Speaker 3: he goes back to his apartment and he ties up

798
00:45:06,560 --> 00:45:09,320
Speaker 3: a package. He gives it to his landlady and asks

799
00:45:09,320 --> 00:45:13,680
Speaker 3: her to mail it mail it off to someone. Probably

800
00:45:13,680 --> 00:45:15,920
Speaker 3: not a big surprise that he's mailing the mask to

801
00:45:16,200 --> 00:45:19,759
Speaker 3: doctor Barnes. And then Raydon kills himself in his apartment.

802
00:45:20,120 --> 00:45:23,400
Speaker 2: Yeah, it's a dark scene. I can only imagine it

803
00:45:23,480 --> 00:45:26,360
Speaker 2: had even more punch than sixty one I'm assuming anyway.

804
00:45:26,400 --> 00:45:30,080
Speaker 2: But at any rate, Yeah, it's a disserving sequence, especially

805
00:45:30,120 --> 00:45:34,080
Speaker 2: if you're sensitive two sequences like this already though in

806
00:45:34,560 --> 00:45:38,720
Speaker 2: this picture though, it's like I could imagine some viewers wondering,

807
00:45:38,719 --> 00:45:40,520
Speaker 2: It's like, well, we promised three D, wasn't there going

808
00:45:40,560 --> 00:45:43,439
Speaker 2: to be three D? This film's gotten really real at

809
00:45:43,440 --> 00:45:47,680
Speaker 2: this point. But at any rate, Raydon did not walk

810
00:45:47,680 --> 00:45:50,960
Speaker 2: it off. Raydon is now dead and the mask is

811
00:45:51,000 --> 00:45:51,399
Speaker 2: in the mail.

812
00:45:51,640 --> 00:45:55,759
Speaker 3: Here we begin. I think the least interesting subplot of

813
00:45:55,800 --> 00:45:57,880
Speaker 3: the film, which will eat up a lot of the runtime,

814
00:45:58,000 --> 00:45:59,279
Speaker 3: is the police investigation.

815
00:46:00,120 --> 00:46:03,080
Speaker 2: Yeah. I would have liked more scientific inquiry of the

816
00:46:03,120 --> 00:46:09,000
Speaker 2: mask and less police randomly questioning anyone who knew Rayden

817
00:46:09,920 --> 00:46:12,399
Speaker 2: or involved in his treatment and care.

818
00:46:12,880 --> 00:46:15,960
Speaker 3: Yeah, so the police detectives they arrive on scene, they

819
00:46:16,040 --> 00:46:18,440
Speaker 3: figure out that he works for a local museum of

820
00:46:18,560 --> 00:46:22,800
Speaker 3: ancient history. They go to the museum to interview Rayden's colleague,

821
00:46:22,800 --> 00:46:26,320
Speaker 3: Professor Solmes. This is the other guy whose audio was

822
00:46:26,360 --> 00:46:30,560
Speaker 3: really tough to hear sometimes. Solmes confirms that Raydon was

823
00:46:30,600 --> 00:46:33,680
Speaker 3: a brilliant archaeologist and that he had possession of several

824
00:46:33,800 --> 00:46:36,960
Speaker 3: artifacts from the museum in his belongings at home. This

825
00:46:37,080 --> 00:46:39,319
Speaker 3: was so that he could work on them during his

826
00:46:39,400 --> 00:46:42,480
Speaker 3: hours away from the office. But one of those artifacts

827
00:46:42,600 --> 00:46:47,319
Speaker 3: is now missing, a rare and beautiful ceremonial mask. And

828
00:46:47,360 --> 00:46:50,680
Speaker 3: then Solmes says, there's a legend connected with this mask.

829
00:46:51,200 --> 00:46:55,480
Speaker 3: The detective says, yes, I can imagine, but surely, doctor Solmes,

830
00:46:55,480 --> 00:46:58,200
Speaker 3: you don't believe in these legends, not in this day

831
00:46:58,200 --> 00:47:02,000
Speaker 3: and age, okay, And Someme's protests, He's like, I'm not

832
00:47:02,080 --> 00:47:04,560
Speaker 3: saying I believe in the legend. I'm merely giving you

833
00:47:04,680 --> 00:47:08,400
Speaker 3: information about the legend of the mask. And it's funny

834
00:47:08,440 --> 00:47:12,120
Speaker 3: that the detective reacts this way, because pretty soon he's like, oh, wow,

835
00:47:12,160 --> 00:47:14,759
Speaker 3: we need to warn people about the magical power of

836
00:47:14,800 --> 00:47:19,160
Speaker 3: this mask. Yeah, but anyway, so what Somelme says is

837
00:47:19,320 --> 00:47:22,840
Speaker 3: that it's not much of a legend, but he explains

838
00:47:22,840 --> 00:47:26,280
Speaker 3: it like this. The legend states that in the wrong hands,

839
00:47:26,440 --> 00:47:29,600
Speaker 3: the mask can do a great deal of harm. It

840
00:47:29,640 --> 00:47:32,799
Speaker 3: can put the wearer in a hypnotic trance, make him

841
00:47:32,840 --> 00:47:36,920
Speaker 3: do cruel and unnatural things. Then the cop says, that's

842
00:47:36,960 --> 00:47:40,960
Speaker 3: quite a legend, doctor, is it. There's not really a story,

843
00:47:41,000 --> 00:47:41,800
Speaker 3: there is there.

844
00:47:41,920 --> 00:47:45,520
Speaker 2: No no, And you know, I guess in retrospect, I'm

845
00:47:45,600 --> 00:47:48,320
Speaker 2: kind of glad there's not a like culture specific story

846
00:47:48,360 --> 00:47:52,120
Speaker 2: that they bust out for the mask. And there are

847
00:47:52,120 --> 00:47:55,680
Speaker 2: plenty of examples of movies where you get into some

848
00:47:56,280 --> 00:47:59,399
Speaker 2: get into some trouble doing that. You know, it doesn't

849
00:47:59,440 --> 00:48:03,600
Speaker 2: necessarily up to certainly modern viewing. But the obscurity of

850
00:48:03,640 --> 00:48:06,160
Speaker 2: the mass, the idea that the mass real history is

851
00:48:06,200 --> 00:48:10,960
Speaker 2: so terrible that like our collective memories have erased it.

852
00:48:11,600 --> 00:48:13,320
Speaker 2: I like that, you know, it adds this element of

853
00:48:13,360 --> 00:48:17,360
Speaker 2: the weird and you know, a cosmic horror to the

854
00:48:17,400 --> 00:48:20,200
Speaker 2: whole surrounding lore.

855
00:48:20,880 --> 00:48:25,000
Speaker 3: Sure. So yeah, so the detective says, that's quite a legend.

856
00:48:25,040 --> 00:48:27,040
Speaker 3: He says, if I believed it, it would solve a

857
00:48:27,080 --> 00:48:32,600
Speaker 3: lot of things. However, I'm a policeman, not an archaeologist. Okay.

858
00:48:34,160 --> 00:48:37,360
Speaker 3: Some's goes on to say the legend tells of rights

859
00:48:37,440 --> 00:48:40,279
Speaker 3: connected with the mask, which are filled with human sacrifice,

860
00:48:40,719 --> 00:48:44,120
Speaker 3: and then he says, now, suppose someone knew about this

861
00:48:44,239 --> 00:48:49,279
Speaker 3: legend and believed it. So next the cops go to

862
00:48:49,360 --> 00:48:54,520
Speaker 3: interview doctor Barnes. Of course, Barnes feels guilty now because

863
00:48:54,560 --> 00:48:58,560
Speaker 3: he failed to alert anyone about Raydon's agitated state. He

864
00:48:58,800 --> 00:49:02,759
Speaker 3: underestimated how us Raiden's condition was, and he wishes he

865
00:49:02,840 --> 00:49:05,400
Speaker 3: had brought it to someone's attention that could have intervened.

866
00:49:05,880 --> 00:49:09,600
Speaker 3: They discuss Rayden's obsession with the mask, but unfortunately Barnes

867
00:49:09,680 --> 00:49:12,080
Speaker 3: does not know where it is. And then there's a twist,

868
00:49:12,120 --> 00:49:14,640
Speaker 3: which is that this whole time they're having the conversation,

869
00:49:15,080 --> 00:49:18,120
Speaker 3: the mask is in camera. It's sitting in an unopened

870
00:49:18,160 --> 00:49:22,040
Speaker 3: parcel on the desk. So after the detective leaves, Barnes

871
00:49:22,160 --> 00:49:25,320
Speaker 3: opens up the package and he finds the horrifying mask

872
00:49:25,600 --> 00:49:29,520
Speaker 3: staring up at him. Oh and then we briefly here

873
00:49:29,640 --> 00:49:33,960
Speaker 3: get an introduction to Claudette Nevins as Pam Pam is

874
00:49:34,560 --> 00:49:37,759
Speaker 3: Pam Albright is Barnes's fiance. They're engaged.

875
00:49:38,120 --> 00:49:42,600
Speaker 2: That's right, yes, different hair color. This is the individual

876
00:49:42,640 --> 00:49:45,560
Speaker 2: he's actually engaged to, not the individual works in the

877
00:49:45,600 --> 00:49:47,920
Speaker 2: office that he has a flirty relationship with.

878
00:49:48,280 --> 00:49:49,960
Speaker 3: I think she says she's going to go out and

879
00:49:50,640 --> 00:49:53,640
Speaker 3: get something and come back. I don't remember what She's

880
00:49:53,680 --> 00:49:57,360
Speaker 3: going to run an errand and Barnes opens up the

881
00:49:57,480 --> 00:50:01,520
Speaker 3: letter enclosed in the package with the mask. So I'm

882
00:50:01,560 --> 00:50:04,879
Speaker 3: not going to read the whole letter, but it says,

883
00:50:04,920 --> 00:50:08,040
Speaker 3: among other things, once I was a scholar. Now I

884
00:50:08,080 --> 00:50:11,960
Speaker 3: am like an animal fleeing from my own nightmares, sleeping

885
00:50:12,040 --> 00:50:17,160
Speaker 3: by day, prowling by night. And how about you, doctor Barnes,

886
00:50:17,680 --> 00:50:20,759
Speaker 3: are you certain that just underneath the surface of your

887
00:50:20,760 --> 00:50:23,880
Speaker 3: own mind there does not lurk a storm and fury

888
00:50:23,920 --> 00:50:28,040
Speaker 3: waiting waiting to be released. So he sort of invites

889
00:50:28,120 --> 00:50:32,480
Speaker 3: Barnes to quote make the experiment. He says, you hold

890
00:50:32,520 --> 00:50:35,280
Speaker 3: the key in your own hand. If you are not afraid,

891
00:50:35,640 --> 00:50:40,280
Speaker 3: put the mask on now. Put the mask on now.

892
00:50:40,719 --> 00:50:45,120
Speaker 3: Put the mask on now. And so I think, if

893
00:50:45,160 --> 00:50:47,800
Speaker 3: you can't tell this is the queue to the audience

894
00:50:47,840 --> 00:50:50,000
Speaker 3: sitting in the theater like Oh, I need to get

895
00:50:50,040 --> 00:50:51,080
Speaker 3: the mask out of my purse.

896
00:50:51,480 --> 00:50:54,239
Speaker 2: Yeah, yeah, we're up with that mask. Dig it up

897
00:50:54,280 --> 00:50:55,799
Speaker 2: and find it on the floor, dig it out from

898
00:50:55,840 --> 00:50:59,359
Speaker 2: underneath your seat, put it on your face. It's now

899
00:50:59,480 --> 00:51:00,000
Speaker 2: three D time.

900
00:51:00,520 --> 00:51:04,120
Speaker 3: So doctor Barnes is overwhelmed with temptation. His hands quiver

901
00:51:04,760 --> 00:51:07,280
Speaker 3: as he slips the mask over his face. He starts

902
00:51:07,320 --> 00:51:10,440
Speaker 3: to tremble all over that. There's that pulsing rhythmic score

903
00:51:10,600 --> 00:51:14,319
Speaker 3: growing louder, and then begin the visions. So I'm going

904
00:51:14,400 --> 00:51:19,560
Speaker 3: to try to describe this first vision scene in as

905
00:51:19,600 --> 00:51:21,959
Speaker 3: much detail as I can, and maybe I'll do less

906
00:51:22,000 --> 00:51:23,960
Speaker 3: detail in the later scenes, but just to try to

907
00:51:24,000 --> 00:51:26,840
Speaker 3: give you a flavor, because a big part of the

908
00:51:26,880 --> 00:51:31,640
Speaker 3: appeal of this movie is the surreal imagery in these scenes.

909
00:51:32,080 --> 00:51:34,360
Speaker 2: Yeah, they're wonderful. The main place my mind went was,

910
00:51:34,400 --> 00:51:38,160
Speaker 2: of course, the ring video like that it's not one

911
00:51:38,200 --> 00:51:40,279
Speaker 2: to one, but like that level of sort of like

912
00:51:40,400 --> 00:51:48,000
Speaker 2: cryptic surrealistic content that doesn't necessarily tell a story but

913
00:51:49,040 --> 00:51:51,080
Speaker 2: takes you to some sort of other realm.

914
00:51:51,560 --> 00:51:54,520
Speaker 3: Yes, So in his office, first, doctor Barnes, he's in

915
00:51:54,560 --> 00:51:56,319
Speaker 3: his office with the mask on, and he sees a

916
00:51:56,360 --> 00:51:59,840
Speaker 3: kind of negative inversion of all color and light, and

917
00:52:00,160 --> 00:52:03,120
Speaker 3: we see ripples of plasma fluttering through the air like

918
00:52:03,160 --> 00:52:08,000
Speaker 3: in the gift store. Plasma ball smoke billows out from

919
00:52:08,080 --> 00:52:13,520
Speaker 3: underneath his patient couch, and then the mask, now enormous,

920
00:52:13,760 --> 00:52:17,560
Speaker 3: flies out of the wall to confront him, mask to mask,

921
00:52:18,400 --> 00:52:21,560
Speaker 3: and then the setting of the doctor's office fades away.

922
00:52:21,719 --> 00:52:25,480
Speaker 3: Now it is only emptiness and the mask. But the

923
00:52:25,520 --> 00:52:29,160
Speaker 3: mask does not remain a mask. It becomes a human skull,

924
00:52:29,320 --> 00:52:32,960
Speaker 3: real bone and crooked teeth, and then it is gradually

925
00:52:33,160 --> 00:52:38,640
Speaker 3: incarnated with eyeballs, but eyeballs without lids, so they stare

926
00:52:39,040 --> 00:52:42,320
Speaker 3: with the ultimate shock in surprise, there is a lidless

927
00:52:42,440 --> 00:52:47,680
Speaker 3: infinite gaze. Then the skull disappears, leaving only the eyes,

928
00:52:47,920 --> 00:52:51,080
Speaker 3: and the eyes rush toward us. Then more eyes emerge

929
00:52:51,120 --> 00:52:53,360
Speaker 3: from the darkness and they fly out of the screen

930
00:52:53,440 --> 00:52:56,720
Speaker 3: in your face. Then here we see a character someone.

931
00:52:56,800 --> 00:52:59,279
Speaker 3: Originally I did not know who this was, but I

932
00:52:59,320 --> 00:53:02,080
Speaker 3: think this is I think this is the same actor

933
00:53:02,320 --> 00:53:06,520
Speaker 3: as doctor Barnes. He looks much younger in this version

934
00:53:06,600 --> 00:53:07,680
Speaker 3: of himself.

935
00:53:07,960 --> 00:53:12,320
Speaker 2: I thought that it first, but I think according to

936
00:53:12,400 --> 00:53:15,040
Speaker 2: the credits, this is actually a different actor. But he

937
00:53:15,200 --> 00:53:20,600
Speaker 2: is wearing the face of doctor Barnes. Huh. So all

938
00:53:20,640 --> 00:53:23,880
Speaker 2: the humans that we seem to encounter in these dream visions,

939
00:53:24,320 --> 00:53:27,879
Speaker 2: their faces have kind of like a waxen face over

940
00:53:27,920 --> 00:53:31,680
Speaker 2: their face that it's very reminiscent of, of course, the

941
00:53:33,280 --> 00:53:37,120
Speaker 2: highly influential French horror film Eyes without a Face. It

942
00:53:37,160 --> 00:53:43,800
Speaker 2: has that kind of strange impression and wide staring eyes there.

943
00:53:43,840 --> 00:53:47,719
Speaker 2: So you're supposed to think that this is like the

944
00:53:47,840 --> 00:53:51,000
Speaker 2: vision world version of Barnes. But he's like, he's what,

945
00:53:51,040 --> 00:53:54,440
Speaker 2: he's dressed in rags, kind of like tattered garments, and

946
00:53:54,480 --> 00:53:57,600
Speaker 2: he has almost kind of a Frankensteiny quality to the

947
00:53:57,640 --> 00:53:59,960
Speaker 2: way he's interacting with the world.

948
00:54:00,680 --> 00:54:02,960
Speaker 3: Yeah, okay, so I did take this in the end

949
00:54:03,000 --> 00:54:05,320
Speaker 3: to be Paul Stevens, but I guess that could be wrong.

950
00:54:05,640 --> 00:54:07,520
Speaker 3: I did not pick that up at first, so I

951
00:54:07,520 --> 00:54:09,799
Speaker 3: don't know. It's a young man. I was calling him

952
00:54:09,800 --> 00:54:13,279
Speaker 3: the wax man or the waxy boy. He's a young

953
00:54:13,320 --> 00:54:16,440
Speaker 3: man in a tattered shirt and jacket with the waxy

954
00:54:16,480 --> 00:54:21,239
Speaker 3: looking flash dark, sunken eyes, and he stands there in

955
00:54:21,280 --> 00:54:24,920
Speaker 3: an empty place filled with cyclones of fog. And then

956
00:54:24,960 --> 00:54:28,240
Speaker 3: we see doctor Barnes still in his office, still wearing

957
00:54:28,280 --> 00:54:31,120
Speaker 3: the mask, and he sort of walks out to meet

958
00:54:31,239 --> 00:54:34,560
Speaker 3: the young man in the empty place, and then once

959
00:54:34,600 --> 00:54:37,319
Speaker 3: again color and lighter inverted. We see a sort of

960
00:54:37,400 --> 00:54:40,440
Speaker 3: negative image of everything, and then the young man in

961
00:54:40,520 --> 00:54:44,080
Speaker 3: tattered clothes, the waxy man, is somewhere else. He is

962
00:54:44,160 --> 00:54:48,400
Speaker 3: in a cave with stalactites hanging and leafless branches of

963
00:54:48,480 --> 00:54:51,200
Speaker 3: dead trees. These really pop out of the screen in

964
00:54:51,239 --> 00:54:55,320
Speaker 3: the three D cobwebs woven all around. There is something

965
00:54:55,440 --> 00:55:00,400
Speaker 3: wrapped in cloth, a giant sort of grub sh shaped

966
00:55:00,520 --> 00:55:03,960
Speaker 3: mass that seems to breathe as it hangs from a branch.

967
00:55:04,520 --> 00:55:07,560
Speaker 2: Well, that moment is so good and and it also

968
00:55:07,640 --> 00:55:11,240
Speaker 2: really pops in the three day, because that pulsating mass

969
00:55:11,320 --> 00:55:14,600
Speaker 2: is in your living or work in the theater with you.

970
00:55:15,239 --> 00:55:17,680
Speaker 3: So the young man feels his way through the cave

971
00:55:17,760 --> 00:55:20,319
Speaker 3: with his hands as if he couldn't see, as if

972
00:55:20,320 --> 00:55:23,240
Speaker 3: he were blind, or as if the cave were pitch black.

973
00:55:23,320 --> 00:55:26,719
Speaker 3: Except for us, the cave is full of light. Then

974
00:55:26,760 --> 00:55:29,120
Speaker 3: the young man comes out into an open space which

975
00:55:29,120 --> 00:55:33,279
Speaker 3: seems to be beneath large twisting masses which I interpreted

976
00:55:33,320 --> 00:55:37,680
Speaker 3: to be giant like tree roots. Then a figure warps

977
00:55:37,719 --> 00:55:40,239
Speaker 3: into view from the mist. It's a woman with long hair,

978
00:55:40,320 --> 00:55:43,480
Speaker 3: her head hanging down, draped in a black veil. She

979
00:55:43,640 --> 00:55:46,640
Speaker 3: removes the veil, and her skin is also crusted with

980
00:55:46,719 --> 00:55:49,600
Speaker 3: the waxy substance, just like the young man's. Her eyes

981
00:55:49,600 --> 00:55:52,920
Speaker 3: are kind of sunken deep within. The young man comes

982
00:55:52,960 --> 00:55:56,200
Speaker 3: toward her in a space which is now surrounded by torches,

983
00:55:56,640 --> 00:55:59,920
Speaker 3: and there are pillars that are covered in skulls and glyphs.

984
00:56:00,560 --> 00:56:03,120
Speaker 3: Behind the row of pillars and torches, there is an altar,

985
00:56:03,239 --> 00:56:06,600
Speaker 3: and over the altar all seeing is a giant version

986
00:56:06,920 --> 00:56:09,520
Speaker 3: of the mask, so this is kind of the mask

987
00:56:09,600 --> 00:56:12,839
Speaker 3: as a god. And then the woman beckons the young man,

988
00:56:12,920 --> 00:56:15,640
Speaker 3: but before he can reach her, she is captured by

989
00:56:15,680 --> 00:56:18,680
Speaker 3: a man in a hooded cloak wearing another mask, a

990
00:56:18,760 --> 00:56:23,160
Speaker 3: kind of different one, like a smooth, handsome, devious mask,

991
00:56:23,880 --> 00:56:26,839
Speaker 3: and the woman reaches back toward the young man as

992
00:56:26,840 --> 00:56:31,000
Speaker 3: if for help. There is high pitched screeching that's on

993
00:56:31,040 --> 00:56:33,600
Speaker 3: the soundtrack, though she doesn't open her mouth. It's like,

994
00:56:33,719 --> 00:56:36,560
Speaker 3: I don't know, rats are screaming somewhere. The young man

995
00:56:36,600 --> 00:56:39,440
Speaker 3: tries to follow, but he is intercepted by a different

996
00:56:39,480 --> 00:56:42,880
Speaker 3: cloaked figure, a man with his face hidden in shadow,

997
00:56:43,000 --> 00:56:46,880
Speaker 3: but a spot of light falling on one piercing eye,

998
00:56:47,560 --> 00:56:50,000
Speaker 3: and then, as if by some magic power, he makes

999
00:56:50,080 --> 00:56:53,680
Speaker 3: the young man relent and fall to the ground. Evil

1000
00:56:53,760 --> 00:56:58,400
Speaker 3: men in cloaks stand abreast the altar. A disembodied reptilian

1001
00:56:58,560 --> 00:57:01,440
Speaker 3: hand with massive claws strikes out at something I think

1002
00:57:01,480 --> 00:57:04,640
Speaker 3: It slashes the arm of the woman and draws back,

1003
00:57:04,719 --> 00:57:08,799
Speaker 3: dripping blood. The waxy faced young man again tries to

1004
00:57:08,880 --> 00:57:11,239
Speaker 3: go for the woman, but he is repelled by some

1005
00:57:11,320 --> 00:57:15,120
Speaker 3: kind of magic that transforms I think the one eyed

1006
00:57:15,160 --> 00:57:19,640
Speaker 3: Wizard's arms into fire and then into slime beast arms.

1007
00:57:20,360 --> 00:57:22,720
Speaker 2: Yep, you can see the beads in the Three Day especially,

1008
00:57:22,800 --> 00:57:25,439
Speaker 2: you see those beads of slime dripping. It's so good.

1009
00:57:26,440 --> 00:57:29,240
Speaker 3: Then the cultists here place the woman on the altar.

1010
00:57:29,400 --> 00:57:31,919
Speaker 3: They slash her with some kind of metal claws, while

1011
00:57:31,960 --> 00:57:36,280
Speaker 3: the evil wizard spits fire at the waxy young man. Eventually,

1012
00:57:36,280 --> 00:57:39,680
Speaker 3: the woman dies, and her face on the altar transforms

1013
00:57:39,720 --> 00:57:43,480
Speaker 3: into the skull from earlier with the lidless eyes. Then

1014
00:57:43,520 --> 00:57:47,240
Speaker 3: the eyes become pools of boiling, bubbling liquid. Then the

1015
00:57:47,320 --> 00:57:51,120
Speaker 3: skull shoots toward the screen, and then twin serpents dart

1016
00:57:51,160 --> 00:57:53,200
Speaker 3: out of the eye sockets, and then they just kind

1017
00:57:53,200 --> 00:57:55,480
Speaker 3: of jab in and out a few times and go blah.

1018
00:57:55,600 --> 00:57:59,360
Speaker 3: It's not the most tremendous way to end the dream sequence.

1019
00:58:00,240 --> 00:58:04,920
Speaker 2: Yeah, the snakes again are the weak point of these visions,

1020
00:58:04,960 --> 00:58:08,160
Speaker 2: but oh man, what a sequence though. It has this

1021
00:58:08,360 --> 00:58:12,920
Speaker 2: feeling of surrealistic drama like on the stage. You know,

1022
00:58:12,960 --> 00:58:15,640
Speaker 2: there's that kind of element to it, but very well

1023
00:58:15,640 --> 00:58:20,480
Speaker 2: presented for the most part, strong tool music video vibes.

1024
00:58:20,520 --> 00:58:23,520
Speaker 2: I would say, yeah, like we have we get the

1025
00:58:23,560 --> 00:58:27,720
Speaker 2: feeling of having dived deep into the collective unconscious or

1026
00:58:27,760 --> 00:58:34,760
Speaker 2: something here, you know, archetypes upon archetypes and strange prime

1027
00:58:34,840 --> 00:58:37,640
Speaker 2: evil rituals. Yeah, it's wonderful.

1028
00:58:45,720 --> 00:58:49,040
Speaker 3: So that Yeah, that's the end of the dream. And

1029
00:58:49,400 --> 00:58:51,600
Speaker 3: doctor Barnes wakes up on the floor of his office

1030
00:58:51,640 --> 00:58:54,240
Speaker 3: clutching the mask and Pam comes back. She comes in

1031
00:58:54,280 --> 00:58:56,640
Speaker 3: to find him like this, and she springs to his aid,

1032
00:58:57,640 --> 00:59:00,400
Speaker 3: and I thought this was funny. She's asking him what's wrong,

1033
00:59:00,960 --> 00:59:03,880
Speaker 3: but he's saying, like the mask revealed something hidden deep

1034
00:59:03,920 --> 00:59:07,800
Speaker 3: inside my mind. And he's like, if what happened to

1035
00:59:07,840 --> 00:59:11,840
Speaker 3: me is true, it is of unbelievable importance to the

1036
00:59:11,840 --> 00:59:16,000
Speaker 3: world of psychiatry, something known three thousand years ago and

1037
00:59:16,120 --> 00:59:20,760
Speaker 3: lost to modern science. But Pam is saying, isn't this

1038
00:59:20,960 --> 00:59:23,640
Speaker 3: the thing your patient was saying that drove him mad?

1039
00:59:24,400 --> 00:59:27,960
Speaker 3: And Barnes is like, well, he had no medical training.

1040
00:59:28,040 --> 00:59:30,400
Speaker 3: He was a fool. I on the other hand, I

1041
00:59:30,440 --> 00:59:34,919
Speaker 3: can handle the mask. It's mine now. So Pam, again

1042
00:59:35,000 --> 00:59:37,240
Speaker 3: being the voice of reason, She's trying to convince him

1043
00:59:37,240 --> 00:59:40,320
Speaker 3: to return the mask to the museum, but Barnes is like, no,

1044
00:59:40,800 --> 00:59:43,440
Speaker 3: too important. I can learn so much from it about

1045
00:59:43,480 --> 00:59:46,240
Speaker 3: a world deeper than the subconscious. I must hide it

1046
00:59:46,280 --> 00:59:50,760
Speaker 3: from the police. And Pam wants him to go get

1047
00:59:50,760 --> 00:59:52,360
Speaker 3: some help, to go see an old friend of his,

1048
00:59:52,520 --> 00:59:54,200
Speaker 3: and not an old friend, an old teacher of his,

1049
00:59:54,400 --> 00:59:57,840
Speaker 3: professor Quincy, who was his mentor. She's like, going to

1050
00:59:57,920 --> 01:00:00,600
Speaker 3: He'll be able to steer you right. But at this

1051
01:00:00,720 --> 01:00:04,720
Speaker 3: point Barnes he's too deep. He refuses. He gets angry

1052
01:00:04,760 --> 01:00:07,280
Speaker 3: and rough with Pam. He says, I don't need anyone

1053
01:00:07,360 --> 01:00:10,040
Speaker 3: look at it. Don't you feel it's power? And this

1054
01:00:10,120 --> 01:00:12,240
Speaker 3: is the part where as we were saying earlier, I

1055
01:00:12,320 --> 01:00:17,240
Speaker 3: was really expecting a more gradual descent into mask madness,

1056
01:00:17,280 --> 01:00:21,360
Speaker 3: but this is just instant. He is now a committed

1057
01:00:21,560 --> 01:00:23,880
Speaker 3: mask maniac. And will not be coming back.

1058
01:00:24,160 --> 01:00:25,920
Speaker 2: Yeah, it's like I'm wearing it for the kicks.

1059
01:00:26,520 --> 01:00:29,720
Speaker 3: So he looks at it, he gets this crazed look

1060
01:00:29,720 --> 01:00:31,800
Speaker 3: in his eye. He says, it's ordering me to pick

1061
01:00:31,840 --> 01:00:37,040
Speaker 3: it up. It's demanding I use it now, now, now.

1062
01:00:37,680 --> 01:00:39,920
Speaker 3: But Pam screams no, I won't let you, and she

1063
01:00:40,040 --> 01:00:45,040
Speaker 3: grabs the mask, runs outside and hails a taxi. Barnes chases,

1064
01:00:45,520 --> 01:00:48,479
Speaker 3: and he gets in his own car and pursues them.

1065
01:00:48,760 --> 01:00:51,520
Speaker 3: So the taxi they both end up going to the

1066
01:00:51,640 --> 01:00:54,720
Speaker 3: Museum of Ancient History, and then I don't know why

1067
01:00:54,760 --> 01:00:56,640
Speaker 3: I thought this was so funny, but instead of going

1068
01:00:56,680 --> 01:01:00,000
Speaker 3: in herself, she hands the mask off to her taxi

1069
01:01:00,600 --> 01:01:03,280
Speaker 3: and sends him into the museum with it, and then

1070
01:01:03,280 --> 01:01:05,960
Speaker 3: the taxi driver comes back out and they drive off.

1071
01:01:06,320 --> 01:01:08,040
Speaker 2: I would have thought they'd have like a drop off

1072
01:01:08,120 --> 01:01:10,560
Speaker 2: bin for ancient cursed artifacts, you know.

1073
01:01:11,000 --> 01:01:12,680
Speaker 3: Ye had deposit after six pm?

1074
01:01:13,120 --> 01:01:14,640
Speaker 2: Yeah, yeah, or like you know when you're at the

1075
01:01:14,680 --> 01:01:18,120
Speaker 2: airport and they have like the amnesty bin for marijuana products.

1076
01:01:18,120 --> 01:01:20,440
Speaker 2: It's like, hey, you got a curse mask, you know,

1077
01:01:20,640 --> 01:01:22,400
Speaker 2: no questions asked, just drop it off in here.

1078
01:01:22,680 --> 01:01:25,520
Speaker 3: The illicit product that I was once forced to dump

1079
01:01:25,560 --> 01:01:28,440
Speaker 3: at an airport security checkpoint was a bottle of hot

1080
01:01:28,480 --> 01:01:31,720
Speaker 3: sauce because I was trying to bring it home and

1081
01:01:31,760 --> 01:01:34,280
Speaker 3: they were like, sorry, it is above the volume limit

1082
01:01:34,360 --> 01:01:38,640
Speaker 3: for liquid products. And I felt like a real like

1083
01:01:38,680 --> 01:01:40,880
Speaker 3: a real criminal, but one who had been caught.

1084
01:01:41,280 --> 01:01:42,680
Speaker 2: Did they let you drink it all right there?

1085
01:01:42,920 --> 01:01:45,680
Speaker 3: Just to well? They might have, but yeah, I didn't

1086
01:01:45,680 --> 01:01:48,080
Speaker 3: try That was a bummer, though it was good hot sauce.

1087
01:01:48,120 --> 01:01:48,680
Speaker 3: I tried it.

1088
01:01:48,920 --> 01:01:50,880
Speaker 2: Okay, but the mask has been returned at this point,

1089
01:01:51,040 --> 01:01:53,000
Speaker 2: so the mask is safe. Problem solved.

1090
01:01:53,160 --> 01:01:56,400
Speaker 3: Yeah, it seems fine except Barnes. So she leaves after

1091
01:01:56,560 --> 01:01:59,160
Speaker 3: dropping off the mask because the taxi takes her on

1092
01:01:59,240 --> 01:02:02,640
Speaker 3: to somewhere else. And then Barnes arrives and he's like, okay,

1093
01:02:02,640 --> 01:02:04,080
Speaker 3: I'm done with her. I got to go in the

1094
01:02:04,160 --> 01:02:06,040
Speaker 3: museum and get the mask. I put the mask on.

1095
01:02:06,080 --> 01:02:09,560
Speaker 3: Now now, now, now now. And he's walking around in

1096
01:02:09,640 --> 01:02:12,160
Speaker 3: the museum looking at fossils, and I was like, wait

1097
01:02:12,160 --> 01:02:14,120
Speaker 3: a minute. Didn't they say this was a museum of

1098
01:02:14,200 --> 01:02:18,280
Speaker 3: ancient history. This looks like a museum of natural history.

1099
01:02:18,400 --> 01:02:19,840
Speaker 2: He's like looking at mammoth bones.

1100
01:02:20,120 --> 01:02:23,560
Speaker 3: They've got a whole wing of fossils that anyway. Whatever,

1101
01:02:24,000 --> 01:02:28,560
Speaker 3: So we're in Solms's office eventually, and Barnes starts ransacking.

1102
01:02:28,920 --> 01:02:32,800
Speaker 3: There's something calling to him from another room. The pulsing

1103
01:02:32,880 --> 01:02:35,960
Speaker 3: mask music grows louder, so we think, you know it's

1104
01:02:36,120 --> 01:02:39,560
Speaker 3: the One Ring. It wants to be found. Wait when

1105
01:02:39,680 --> 01:02:42,640
Speaker 3: did Tolkien publish Lord of the Rings? Was it after

1106
01:02:42,800 --> 01:02:45,080
Speaker 3: this movie came out? Do you think he was inspired?

1107
01:02:45,680 --> 01:02:49,160
Speaker 2: I mean it was out, so yeah, could be there

1108
01:02:49,200 --> 01:02:51,000
Speaker 2: are strong one ring elements to it.

1109
01:02:51,440 --> 01:02:54,800
Speaker 3: He published nineteen fifty four. Okay, for some reason, I

1110
01:02:54,800 --> 01:02:57,240
Speaker 3: thought it came out in the early sixties.

1111
01:02:57,640 --> 01:02:58,280
Speaker 2: Yeah.

1112
01:02:58,440 --> 01:03:01,240
Speaker 3: Anyway, we cut to pamback at home. She seems to

1113
01:03:01,240 --> 01:03:04,400
Speaker 3: be now she's just back home after having this harrowing

1114
01:03:04,480 --> 01:03:08,960
Speaker 3: experience with her fiance, who became violent when she tried

1115
01:03:08,960 --> 01:03:11,040
Speaker 3: to convince him not to put the mask on. But

1116
01:03:11,080 --> 01:03:13,280
Speaker 3: now she's just calmly sitting on the couch drawing in

1117
01:03:13,320 --> 01:03:17,080
Speaker 3: a sketchbook. Who is she sketching a portrait of? Is

1118
01:03:17,120 --> 01:03:17,760
Speaker 3: that Barnes?

1119
01:03:18,480 --> 01:03:20,240
Speaker 2: Maybe? So that's their way of working through it.

1120
01:03:20,280 --> 01:03:23,040
Speaker 3: I guess, I guess so, But let's see. Oh, anyway,

1121
01:03:23,080 --> 01:03:26,480
Speaker 3: the police arrive. It's our detective, detective Martin I think

1122
01:03:26,600 --> 01:03:30,800
Speaker 3: is his name. And he interrogates her about Barnes regarding Rayden,

1123
01:03:31,400 --> 01:03:33,880
Speaker 3: and she's trying to cover for Barnes. She's like, mask,

1124
01:03:33,960 --> 01:03:37,400
Speaker 3: what's a mask? I've never heard that, And the detective

1125
01:03:37,440 --> 01:03:40,400
Speaker 3: is suspicious. I don't know why. The detective is picked

1126
01:03:40,480 --> 01:03:42,640
Speaker 3: up on the legends so much. Now he's like, we

1127
01:03:42,760 --> 01:03:45,080
Speaker 3: think that maybe this guy has the mask and he's

1128
01:03:45,200 --> 01:03:45,800
Speaker 3: killing people.

1129
01:03:46,800 --> 01:03:48,920
Speaker 2: Yeah, I mean, I guess if we're being generous. He

1130
01:03:49,000 --> 01:03:51,960
Speaker 2: sees the legend as like a legend obsession, as motive,

1131
01:03:52,200 --> 01:03:52,520
Speaker 2: I don't know.

1132
01:03:52,560 --> 01:03:56,760
Speaker 3: Yeah, but he explains the legend of the mask to her.

1133
01:03:56,880 --> 01:03:59,600
Speaker 3: He's like, supposedly it brings out the evil in people.

1134
01:03:59,720 --> 01:04:02,880
Speaker 3: Mag defies it, but again she pretends not to know anything,

1135
01:04:02,920 --> 01:04:04,880
Speaker 3: and he's very disappointed and he leaves.

1136
01:04:05,400 --> 01:04:09,280
Speaker 2: Meanwhile, he does ask if she asks. She says, well,

1137
01:04:09,280 --> 01:04:11,760
Speaker 2: what if you don't have evil in you? And he's like,

1138
01:04:11,880 --> 01:04:13,440
Speaker 2: I don't know if you ever met anybody like that.

1139
01:04:13,960 --> 01:04:16,280
Speaker 2: So he's a hard and detective, right.

1140
01:04:16,760 --> 01:04:19,080
Speaker 3: Yeah. So meanwhile we go back to Barnes and he's

1141
01:04:19,080 --> 01:04:21,040
Speaker 3: found the mask. So I don't remember where he finds it.

1142
01:04:21,040 --> 01:04:23,440
Speaker 3: Maybe he's in a drawer or something, but he finds

1143
01:04:23,480 --> 01:04:26,200
Speaker 3: the mask and it starts talking to him. I think

1144
01:04:26,240 --> 01:04:28,120
Speaker 3: maybe he takes it back to his office and it's like,

1145
01:04:28,160 --> 01:04:31,040
Speaker 3: you know, saying the lines put the mask on now,

1146
01:04:31,160 --> 01:04:36,040
Speaker 3: repeating many times. And then there is another psychedelic dream sequence.

1147
01:04:36,080 --> 01:04:39,360
Speaker 3: I'm gonna explain this one in less detail, but there's

1148
01:04:39,360 --> 01:04:41,560
Speaker 3: a one eyed wizard again. There's the boy with the

1149
01:04:42,040 --> 01:04:45,040
Speaker 3: wax face. We're back in the temple. The altar is

1150
01:04:45,160 --> 01:04:48,640
Speaker 3: kind of has become the same as the psychiatrist's couch.

1151
01:04:49,120 --> 01:04:52,240
Speaker 3: Barnes in a suit and tie, appears on the couch

1152
01:04:52,280 --> 01:04:57,760
Speaker 3: slash altar as himself. Then he becomes only his hands disembodied,

1153
01:04:57,800 --> 01:05:00,280
Speaker 3: floating in the air, and they're kind of like rolling

1154
01:05:00,320 --> 01:05:04,040
Speaker 3: around in spellcasting motions. The wax boy is threatened by

1155
01:05:04,080 --> 01:05:07,760
Speaker 3: the cult. There's a fireball from heaven. The undead sorcerer

1156
01:05:07,800 --> 01:05:10,160
Speaker 3: with a mask for a face comes out, and he's

1157
01:05:10,200 --> 01:05:14,040
Speaker 3: like the big bad guy. He's throwing fireballs everywhere. The

1158
01:05:14,520 --> 01:05:18,720
Speaker 3: mask face sorcerer embraces the wax Boy and then he disappears.

1159
01:05:19,200 --> 01:05:22,720
Speaker 3: He reappears to find the wax faced woman standing under

1160
01:05:22,720 --> 01:05:25,960
Speaker 3: a giant statue of a hand. She beckons him there

1161
01:05:25,800 --> 01:05:29,920
Speaker 3: are snakes. The wax face comes off. The woman is

1162
01:05:30,920 --> 01:05:34,160
Speaker 3: I apologize here. It was somebody familiar, but I couldn't tell.

1163
01:05:34,240 --> 01:05:36,120
Speaker 3: Is this Pam or is this supposed to be miss

1164
01:05:36,120 --> 01:05:37,480
Speaker 3: Goodrich from the office.

1165
01:05:38,000 --> 01:05:40,400
Speaker 2: Ooh, I'd have to go back and look. It could

1166
01:05:40,440 --> 01:05:42,280
Speaker 2: be either of them. A case could be made for

1167
01:05:42,360 --> 01:05:42,919
Speaker 2: either of them.

1168
01:05:43,360 --> 01:05:46,280
Speaker 3: Then a skull flies at the screen, and then Barnes

1169
01:05:46,360 --> 01:05:46,919
Speaker 3: wakes up.

1170
01:05:47,920 --> 01:05:51,440
Speaker 2: Now the undead sorcerer with like the oh, not the

1171
01:05:51,520 --> 01:05:54,720
Speaker 2: undead Sorcerer, the individual with like half the face, the

1172
01:05:54,760 --> 01:05:58,600
Speaker 2: one eyed Sorcerer, the one eyed Sorcerer. This is Raydon right, Yes,

1173
01:05:58,680 --> 01:06:01,959
Speaker 2: I think so, it's the same act. Yeah, another great

1174
01:06:02,520 --> 01:06:05,920
Speaker 2: psychedelic vision sequence. Though, like all of this stuff is

1175
01:06:06,000 --> 01:06:09,080
Speaker 2: just it overwhelms you. But it also doesn't feel it

1176
01:06:09,120 --> 01:06:11,840
Speaker 2: doesn't have that like kind of ring video quality of

1177
01:06:11,880 --> 01:06:15,240
Speaker 2: also feeling completely random. It does feel like there's some

1178
01:06:15,320 --> 01:06:18,080
Speaker 2: sort of you know, connective tissue. There's there's some sort

1179
01:06:18,120 --> 01:06:21,360
Speaker 2: of cryptic message or story here that we just can't

1180
01:06:21,440 --> 01:06:25,320
Speaker 2: understand with our modern minds. So I like it a lot.

1181
01:06:25,640 --> 01:06:28,800
Speaker 3: So Barnes wakes up, he takes the mask off. He's

1182
01:06:28,920 --> 01:06:33,040
Speaker 3: drenched in sweat, exhausted from the hallucinatory journey, and he

1183
01:06:33,160 --> 01:06:36,000
Speaker 3: finds his assistant coming into the office to work late.

1184
01:06:36,040 --> 01:06:39,320
Speaker 3: This is Jill Goodrich and at this point I was like, oh,

1185
01:06:39,400 --> 01:06:42,920
Speaker 3: I smell a murder coming on. So he insists on

1186
01:06:43,040 --> 01:06:45,240
Speaker 3: driving her home and then he just goes straight to

1187
01:06:45,400 --> 01:06:48,760
Speaker 3: like you're beautiful, I'm in love with you and there

1188
01:06:48,800 --> 01:06:51,240
Speaker 3: and so then there's a fade till later. At first,

1189
01:06:51,320 --> 01:06:53,520
Speaker 3: I was thinking, like, wait, are we going into a

1190
01:06:53,680 --> 01:06:57,200
Speaker 3: dream where they're in the car later, But I think

1191
01:06:57,240 --> 01:07:00,280
Speaker 3: it's just a cut till later that evening. But they

1192
01:07:00,320 --> 01:07:03,640
Speaker 3: use the blurry dissolve like it doolu doolu kind of

1193
01:07:03,680 --> 01:07:06,520
Speaker 3: fades out, and I don't know why they did that

1194
01:07:06,640 --> 01:07:09,400
Speaker 3: if this is just later that night in reality.

1195
01:07:09,840 --> 01:07:11,600
Speaker 2: Yeah, I mean nobody told me to put on a mask,

1196
01:07:11,680 --> 01:07:13,080
Speaker 2: so I assume it's just reality.

1197
01:07:13,280 --> 01:07:15,720
Speaker 3: Yeah, okay, But they're in a car. They're like kissing

1198
01:07:15,800 --> 01:07:21,160
Speaker 3: and whispering sweet nothings, and then he starts strangling her.

1199
01:07:21,240 --> 01:07:25,040
Speaker 3: Obviously he's obsessed with mask murder now. But her life

1200
01:07:25,080 --> 01:07:28,160
Speaker 3: is saved when he accidentally honks the car horn with

1201
01:07:28,200 --> 01:07:30,280
Speaker 3: his elbow and this snaps him out of it, and

1202
01:07:30,320 --> 01:07:33,720
Speaker 3: she gets up and runs away and escapes. So next scene,

1203
01:07:33,760 --> 01:07:36,320
Speaker 3: he's visiting a friend. It's like a nerdy looking guy

1204
01:07:36,360 --> 01:07:38,960
Speaker 3: with a model ship under construction on the desk in

1205
01:07:39,000 --> 01:07:44,160
Speaker 3: front of him and this friend. Oh, Barnes is essentially saying,

1206
01:07:44,440 --> 01:07:47,520
Speaker 3: it's gone too far. I must understand the mask. You

1207
01:07:47,600 --> 01:07:50,600
Speaker 3: must help me and his friend here we figure is

1208
01:07:50,680 --> 01:07:53,320
Speaker 3: Professor Quincy, the guy who Pam tried to send him

1209
01:07:53,320 --> 01:07:54,400
Speaker 3: to earlier.

1210
01:07:54,560 --> 01:07:56,160
Speaker 2: Old man Quincy.

1211
01:07:56,560 --> 01:08:00,360
Speaker 3: You know, does Quincy seem any older than Barnes to you?

1212
01:08:00,520 --> 01:08:02,680
Speaker 3: It looks to me like they could be the same age,

1213
01:08:02,760 --> 01:08:04,840
Speaker 3: or he could be even younger. They do give him

1214
01:08:04,880 --> 01:08:09,360
Speaker 3: kind of frosty looking hair, looks maybe like sprayed on gray,

1215
01:08:09,960 --> 01:08:11,919
Speaker 3: but he does not seem old enough to have been

1216
01:08:12,000 --> 01:08:14,280
Speaker 3: Barnes's mentor no.

1217
01:08:14,000 --> 01:08:15,920
Speaker 2: No, maybe he just has tenure or something. I don't know.

1218
01:08:16,640 --> 01:08:19,920
Speaker 3: But Quincy says, you were my most brilliant student. Now

1219
01:08:19,960 --> 01:08:23,200
Speaker 3: you're in the same position Raygen was. But anyway, so

1220
01:08:23,400 --> 01:08:26,719
Speaker 3: they're talking in Quincy is a real wet blanket. He's like, look,

1221
01:08:27,000 --> 01:08:29,639
Speaker 3: you shouldn't put the mask on again, you shouldn't give

1222
01:08:29,680 --> 01:08:32,280
Speaker 3: into its malevolent power, and you should return it to

1223
01:08:32,320 --> 01:08:36,320
Speaker 3: the police since it's stolen anyway. Blah blah blah. Barnes

1224
01:08:36,400 --> 01:08:38,640
Speaker 3: hates this. He bucks against all of it. He's like

1225
01:08:38,680 --> 01:08:40,960
Speaker 3: actually I will put the mask on again and you

1226
01:08:41,000 --> 01:08:43,639
Speaker 3: can't stop me. I must understand how it works.

1227
01:08:44,320 --> 01:08:46,320
Speaker 2: And again, it would have been nice to have more

1228
01:08:46,600 --> 01:08:49,040
Speaker 2: of this, like what is the plan? What are you

1229
01:08:49,080 --> 01:08:51,280
Speaker 2: hoping to get out of this? But it's just straight

1230
01:08:51,439 --> 01:08:57,000
Speaker 2: beatnick junkie madness. At this point, Quincy finally agrees. He says, Okay,

1231
01:08:57,040 --> 01:09:00,000
Speaker 2: you can put the mask on, but only under control

1232
01:09:00,160 --> 01:09:03,479
Speaker 2: old conditions here at my house. And when I say stop,

1233
01:09:03,560 --> 01:09:06,320
Speaker 2: it has to stop now. In my notes on the plot,

1234
01:09:06,360 --> 01:09:08,360
Speaker 2: I did say we cut back to the police, and

1235
01:09:08,400 --> 01:09:10,400
Speaker 2: then I was just like, nothing to report in this

1236
01:09:10,479 --> 01:09:13,679
Speaker 2: scene is more doodling about at the police.

1237
01:09:14,479 --> 01:09:16,880
Speaker 3: I think they do some forensics or something. They're like,

1238
01:09:16,960 --> 01:09:21,360
Speaker 3: look at our machine that can analyze fingerprints. But later

1239
01:09:21,520 --> 01:09:25,600
Speaker 3: Barnes is alone with the mask in his darkened office,

1240
01:09:25,640 --> 01:09:28,519
Speaker 3: like stroking the mask and gazing at it lovingly, and

1241
01:09:28,560 --> 01:09:32,040
Speaker 3: Pam comes in and interrupts him, and she asks him

1242
01:09:32,080 --> 01:09:34,840
Speaker 3: what's going on. He says, it's not just a mask,

1243
01:09:34,960 --> 01:09:37,559
Speaker 3: it's a dream. It's a hope, the hope of man

1244
01:09:37,880 --> 01:09:41,759
Speaker 3: to understand his own mind, to know what he really thinks.

1245
01:09:42,120 --> 01:09:44,400
Speaker 3: It can show us places in the human brain that

1246
01:09:44,439 --> 01:09:48,440
Speaker 3: man has never reached before, and Pam doesn't quite understand.

1247
01:09:48,520 --> 01:09:51,439
Speaker 3: He sort of patronizes her and then commands her to leave.

1248
01:09:52,160 --> 01:09:54,719
Speaker 3: He basically gives an I can quit the mask anytime

1249
01:09:54,720 --> 01:09:58,840
Speaker 3: I want speech, but she rebukes him, and she has

1250
01:09:58,880 --> 01:10:01,200
Speaker 3: a good scene where she she like again, this is

1251
01:10:01,200 --> 01:10:04,160
Speaker 3: a very voice of reason scene. She rebukes him for

1252
01:10:04,200 --> 01:10:06,320
Speaker 3: how he has let the mask take over his soul,

1253
01:10:06,680 --> 01:10:09,960
Speaker 3: and eventually she talks him into going straight to Quincy's house.

1254
01:10:10,000 --> 01:10:13,200
Speaker 3: From there and Quincy gives him a strong sedative. I

1255
01:10:13,200 --> 01:10:16,919
Speaker 3: guess he just has these lying around. But then Barnes

1256
01:10:17,120 --> 01:10:19,320
Speaker 3: wakes up in the bedroom at Quincy's house and we

1257
01:10:19,360 --> 01:10:22,120
Speaker 3: hear the rhythmic mask music again and the chant put

1258
01:10:22,160 --> 01:10:25,840
Speaker 3: the mask on now, and we get a final dream

1259
01:10:25,920 --> 01:10:29,600
Speaker 3: sequence he puts the mask on, and I'm not going

1260
01:10:29,680 --> 01:10:31,679
Speaker 3: to go into as much detail about this one either,

1261
01:10:31,720 --> 01:10:34,559
Speaker 3: but there's sort of a coffin gondola ride on the

1262
01:10:34,600 --> 01:10:39,280
Speaker 3: river sticks solid choice, Yep, yep. There's a giant version

1263
01:10:39,320 --> 01:10:42,479
Speaker 3: of the mask again, this time it vomits snow at him.

1264
01:10:43,000 --> 01:10:45,880
Speaker 3: And then there's the woman in the dream lying on

1265
01:10:45,920 --> 01:10:48,479
Speaker 3: the altar and we see like X rays of her

1266
01:10:48,600 --> 01:10:51,360
Speaker 3: legs and see the bones and then.

1267
01:10:51,240 --> 01:10:54,280
Speaker 2: There's that, by the way, looks better than you might imagine.

1268
01:10:54,320 --> 01:10:57,040
Speaker 2: Like I actually thought this looked pretty good, even though

1269
01:10:57,520 --> 01:10:59,240
Speaker 2: just describing it it might sound hokey.

1270
01:10:59,560 --> 01:11:02,360
Speaker 3: Agree. Agree, there's a skeleton, hug.

1271
01:11:03,680 --> 01:11:04,559
Speaker 2: Let's sell on that one.

1272
01:11:04,800 --> 01:11:08,040
Speaker 3: Yes, the altar crumbles, they sort of fall through the floor.

1273
01:11:08,439 --> 01:11:12,639
Speaker 3: There's fire everywhere, and then the mask comes off, and

1274
01:11:12,680 --> 01:11:15,880
Speaker 3: then we get sort of a final confrontation. Barnes confronts

1275
01:11:15,920 --> 01:11:19,679
Speaker 3: Pam and Quincy. He wants to he wants to escape

1276
01:11:19,720 --> 01:11:22,200
Speaker 3: the house. They tell him he can't, and he says

1277
01:11:22,200 --> 01:11:25,240
Speaker 3: they're both rotten. He says, I open up the knowledge

1278
01:11:25,240 --> 01:11:27,519
Speaker 3: of the universe to you, and you spit at it.

1279
01:11:28,000 --> 01:11:31,160
Speaker 3: And they sort of fight. He overpowers Quincy. I think,

1280
01:11:31,400 --> 01:11:33,360
Speaker 3: does he kill Quincy or does he just sort of

1281
01:11:34,160 --> 01:11:35,720
Speaker 3: knock him out? I don't think he just kind of

1282
01:11:35,800 --> 01:11:38,639
Speaker 3: knocks him out. Yeah, But he goes out the door.

1283
01:11:39,479 --> 01:11:42,679
Speaker 3: He gets into his car. The Pam calls the police

1284
01:11:43,160 --> 01:11:47,200
Speaker 3: to bring them, and then Barnes goes to Jill Goodrich's house.

1285
01:11:47,240 --> 01:11:51,479
Speaker 3: The office assistant, Uh, oh, this seems like trouble, I

1286
01:11:51,880 --> 01:11:55,679
Speaker 3: guess she Oh wait, did I misremember earlier her escaping?

1287
01:11:55,800 --> 01:11:58,639
Speaker 3: Maybe he just honks the horn and stops choking her,

1288
01:11:59,200 --> 01:12:02,280
Speaker 3: and then she stays in the car because she gets

1289
01:12:02,280 --> 01:12:05,400
Speaker 3: in the car with him again and they drive out

1290
01:12:05,479 --> 01:12:09,240
Speaker 3: to I don't know, to Lover's Point, and they're like

1291
01:12:09,479 --> 01:12:12,280
Speaker 3: lying there in the car and Barnes is looking up

1292
01:12:12,280 --> 01:12:15,000
Speaker 3: at the night sky, beholding the horror of the cosmos,

1293
01:12:15,520 --> 01:12:17,960
Speaker 3: and he tells her to look at the stars. He says,

1294
01:12:18,080 --> 01:12:20,800
Speaker 3: for you will never see them again because I am

1295
01:12:20,880 --> 01:12:25,400
Speaker 3: going to kill you. And she's like, ah, stop telling jokes.

1296
01:12:25,600 --> 01:12:28,200
Speaker 3: And then he said this, I wrote this quote down.

1297
01:12:28,200 --> 01:12:31,960
Speaker 3: He says, I must, I must experience the greatest act

1298
01:12:32,040 --> 01:12:36,479
Speaker 3: of a human mind to take another life. But she

1299
01:12:36,600 --> 01:12:40,160
Speaker 3: runs away. So he fortunately does not kill Jill.

1300
01:12:40,320 --> 01:12:42,679
Speaker 2: But clearly and he is fully whacked out on mask

1301
01:12:42,720 --> 01:12:43,280
Speaker 2: at this point.

1302
01:12:43,560 --> 01:12:46,519
Speaker 3: Yes, And then he goes back to Quincy's house. I

1303
01:12:46,560 --> 01:12:48,600
Speaker 3: guess they had to have the showdown here. So he

1304
01:12:48,680 --> 01:12:52,200
Speaker 3: goes back there and he argues with Pam about the mask.

1305
01:12:52,520 --> 01:12:55,600
Speaker 3: He tries to force Pam to put the mask on,

1306
01:12:55,960 --> 01:12:57,559
Speaker 3: but then I thought this was a good twist. He

1307
01:12:57,600 --> 01:13:01,240
Speaker 3: finally does force the mask onto her head, but she

1308
01:13:01,320 --> 01:13:04,439
Speaker 3: doesn't see anything. She doesn't see like she doesn't have

1309
01:13:04,479 --> 01:13:06,600
Speaker 3: a vision. She just sees him through the holes in

1310
01:13:06,640 --> 01:13:07,080
Speaker 3: the eyes.

1311
01:13:07,880 --> 01:13:10,879
Speaker 2: Yeah. I like this choice as well. I'm not exactly

1312
01:13:10,880 --> 01:13:12,559
Speaker 2: sure what to make of it, and I'm still sort

1313
01:13:12,560 --> 01:13:16,280
Speaker 2: of pondering over what it means, what it could mean,

1314
01:13:16,720 --> 01:13:18,080
Speaker 2: but the effect is nice.

1315
01:13:18,320 --> 01:13:20,920
Speaker 3: Well. I think one interpretation of it is that what

1316
01:13:21,000 --> 01:13:24,120
Speaker 3: Barnes said to Raydin way back in the therapy scene

1317
01:13:24,120 --> 01:13:27,599
Speaker 3: at the beginning was true. Maybe the mask actually has

1318
01:13:27,680 --> 01:13:31,080
Speaker 3: no magic power. It is just bringing out something latent

1319
01:13:31,240 --> 01:13:34,400
Speaker 3: in yourself, And so what was really going on with

1320
01:13:34,479 --> 01:13:39,000
Speaker 3: Raydin was his unresolved emotional turmoil, and what's really going

1321
01:13:39,000 --> 01:13:41,960
Speaker 3: on with Barnes is the same. That it's just sort

1322
01:13:42,000 --> 01:13:45,559
Speaker 3: of like giving you permission to have these experiences and

1323
01:13:45,680 --> 01:13:49,040
Speaker 3: unleash the evil in yourself, but it's not actually magic.

1324
01:13:49,640 --> 01:13:53,840
Speaker 3: I guess Another interpretation is what Pam said, which is

1325
01:13:53,840 --> 01:13:56,759
Speaker 3: she's like, so it magnifies the evil in you. Remember

1326
01:13:56,800 --> 01:13:58,840
Speaker 3: she says, what if you don't have any evil in you?

1327
01:13:59,280 --> 01:14:01,680
Speaker 3: And the detective is like, I've never met anybody like that.

1328
01:14:01,760 --> 01:14:03,880
Speaker 3: Maybe the deal is Pam has no evil in her.

1329
01:14:04,320 --> 01:14:04,559
Speaker 4: Yeah.

1330
01:14:04,760 --> 01:14:06,640
Speaker 2: I do like the idea of it being, you know,

1331
01:14:07,080 --> 01:14:09,080
Speaker 2: you're treating it like a telescope or a microscope, you know,

1332
01:14:09,160 --> 01:14:11,720
Speaker 2: very much in line with the psychedelic experience, and very

1333
01:14:11,800 --> 01:14:14,280
Speaker 2: much in mind with the sort of conversations that were

1334
01:14:14,320 --> 01:14:18,479
Speaker 2: already taking place at this point regarding psychedelic substances like

1335
01:14:18,479 --> 01:14:23,400
Speaker 2: psilocybin and LSD. You know that it would provide some

1336
01:14:23,400 --> 01:14:26,519
Speaker 2: sort of insight, but who knows what you might see,

1337
01:14:26,520 --> 01:14:28,040
Speaker 2: who knows what it might reveal.

1338
01:14:28,320 --> 01:14:31,040
Speaker 3: Well, in the contrary to what a lot of people

1339
01:14:31,160 --> 01:14:33,640
Speaker 3: sort of end up believing after they take these substances,

1340
01:14:33,640 --> 01:14:37,040
Speaker 3: that like, it has put me in contact with external

1341
01:14:37,120 --> 01:14:41,400
Speaker 3: sources of information that have revealed things to me. I

1342
01:14:41,439 --> 01:14:44,240
Speaker 3: don't see any reason to actually believe that's true. Probably

1343
01:14:44,240 --> 01:14:46,600
Speaker 3: what it does is it causes you to have experience

1344
01:14:46,680 --> 01:14:49,799
Speaker 3: based on things that you already think and already believe

1345
01:14:49,840 --> 01:14:50,280
Speaker 3: and feel.

1346
01:14:51,120 --> 01:14:54,599
Speaker 2: Or it opens up recesses of the human mind that

1347
01:14:54,680 --> 01:14:57,479
Speaker 2: have not been explored in three thousand years. Where there

1348
01:14:57,479 --> 01:14:58,560
Speaker 2: are snakes.

1349
01:14:59,120 --> 01:15:02,679
Speaker 3: That's true, there's snake. They jab in and out they come. Yeah.

1350
01:15:05,200 --> 01:15:10,479
Speaker 3: So anyway, uh oh yeah, yeah. So Barnes does not

1351
01:15:10,720 --> 01:15:13,000
Speaker 3: like the fact that Pam doesn't see anything in the mask.

1352
01:15:13,080 --> 01:15:16,320
Speaker 3: He is clearly flustered and and this is not what

1353
01:15:16,360 --> 01:15:19,040
Speaker 3: he expected, and he's upset by it. So he's like, well,

1354
01:15:19,080 --> 01:15:21,400
Speaker 3: I guess I have to kill Pam now. But before

1355
01:15:21,439 --> 01:15:24,760
Speaker 3: he can kill Pam, Detective Martin arrives and he does

1356
01:15:24,800 --> 01:15:27,840
Speaker 3: a he does a chop on Barnes's neck to subdue him.

1357
01:15:28,320 --> 01:15:31,280
Speaker 2: Yep, yep, a nice, nice tight karate chop right to

1358
01:15:31,360 --> 01:15:33,120
Speaker 2: the back of the neck. You know, we never see

1359
01:15:33,160 --> 01:15:35,320
Speaker 2: good karate chops like this in films anymore.

1360
01:15:35,720 --> 01:15:37,920
Speaker 3: James Bond used to do it in the early James

1361
01:15:37,960 --> 01:15:38,559
Speaker 3: Bond movies.

1362
01:15:39,400 --> 01:15:45,280
Speaker 2: Yeah, there's a be interesting to see a breakdown of

1363
01:15:45,520 --> 01:15:48,800
Speaker 2: karate chops in films, you know, because yeah, there was.

1364
01:15:48,880 --> 01:15:51,720
Speaker 2: There was certainly a heyday of the karate chop. Nowadays

1365
01:15:51,720 --> 01:15:54,600
Speaker 2: it's all like arm bars and in and a takedowns.

1366
01:15:54,960 --> 01:15:58,559
Speaker 3: Yeah, so that's the that's the final confrontation. And then

1367
01:15:58,960 --> 01:16:01,640
Speaker 3: the mask is returned to the museum. Wait, so I

1368
01:16:01,680 --> 01:16:05,320
Speaker 3: don't know did Barnes survive or was he killed by

1369
01:16:05,360 --> 01:16:06,160
Speaker 3: the karate chop?

1370
01:16:06,320 --> 01:16:08,599
Speaker 2: No, he couldn't have been killed by the karate chop.

1371
01:16:08,680 --> 01:16:09,840
Speaker 3: Do they show him again?

1372
01:16:11,000 --> 01:16:14,280
Speaker 2: They don't show him again, but I guess, which seems

1373
01:16:14,320 --> 01:16:16,640
Speaker 2: like a mistake. You know, we should have gotten that

1374
01:16:16,720 --> 01:16:20,599
Speaker 2: sort of psycho esque scene of Barnes put away somewhere

1375
01:16:20,680 --> 01:16:23,040
Speaker 2: right that would have been nice and creepy, but for

1376
01:16:23,080 --> 01:16:27,160
Speaker 2: whatever reason, we don't have that. But this feels too much,

1377
01:16:27,360 --> 01:16:31,599
Speaker 2: like this feels like a tight Spock esque strike here

1378
01:16:31,640 --> 01:16:34,519
Speaker 2: from our detective, like this is this incapacitates, it does

1379
01:16:34,560 --> 01:16:35,320
Speaker 2: not kill.

1380
01:16:35,200 --> 01:16:37,519
Speaker 3: That's right. So the epilogue, we don't really see what

1381
01:16:37,560 --> 01:16:39,720
Speaker 3: happens to Barnes. Instead, we go to the museum. The

1382
01:16:39,760 --> 01:16:42,640
Speaker 3: mask has been returned. It's on display. We see a

1383
01:16:42,680 --> 01:16:45,879
Speaker 3: tour being led through the mask wing of the museum,

1384
01:16:46,320 --> 01:16:48,120
Speaker 3: and then there's kind of a loan dude from the

1385
01:16:48,200 --> 01:16:51,280
Speaker 3: tour who's drawn to the mask. He hears the pulsing

1386
01:16:51,320 --> 01:16:54,120
Speaker 3: and he walks up to it entranced, and there is

1387
01:16:54,240 --> 01:16:58,479
Speaker 3: fire that fills the screen. So I think it is suggesting, oh,

1388
01:16:58,520 --> 01:17:00,120
Speaker 3: the Mask has a new someone.

1389
01:17:00,840 --> 01:17:03,679
Speaker 2: Yeah, I think solid creepy ending, even if this dude

1390
01:17:03,720 --> 01:17:07,840
Speaker 2: is a complete stranger, new character introduced. But yeah, this

1391
01:17:07,920 --> 01:17:11,280
Speaker 2: feeling that the cycle will continue. The will of the

1392
01:17:11,320 --> 01:17:12,760
Speaker 2: Mask cannot be undone.

1393
01:17:13,000 --> 01:17:15,599
Speaker 3: And that's the end of The Mask nineteen sixty one.

1394
01:17:15,760 --> 01:17:18,000
Speaker 3: And I guess of our three weeks of three D

1395
01:17:18,240 --> 01:17:19,400
Speaker 3: this has been a fun journey.

1396
01:17:19,880 --> 01:17:21,880
Speaker 2: It has. Yeah, we got to look at three different

1397
01:17:21,880 --> 01:17:24,240
Speaker 2: decades worth the films we went to the sixties, the fifties,

1398
01:17:24,280 --> 01:17:29,000
Speaker 2: and the eighties. You know, we discussed possibly hitting other decades,

1399
01:17:29,080 --> 01:17:31,120
Speaker 2: but some of the other decades are harder to early

1400
01:17:31,120 --> 01:17:33,000
Speaker 2: pin down for what you would cover from say like

1401
01:17:33,040 --> 01:17:37,439
Speaker 2: the seventies or certainly you know, recent decades. But I

1402
01:17:37,479 --> 01:17:40,280
Speaker 2: feel like each one had its own vibe, its own

1403
01:17:40,320 --> 01:17:45,360
Speaker 2: take on three D. It represented different things about about

1404
01:17:45,360 --> 01:17:48,839
Speaker 2: the various three D booms and the sort of things

1405
01:17:48,840 --> 01:17:52,800
Speaker 2: that filmmakers would do to embrace three D to different

1406
01:17:52,920 --> 01:17:56,080
Speaker 2: levels and use it to tell a story. All Right,

1407
01:17:56,080 --> 01:17:57,519
Speaker 2: we're gonna go ahead and close it up there. We're

1408
01:17:57,520 --> 01:17:59,439
Speaker 2: gonna throw the three D glasses back into the bin.

1409
01:18:00,080 --> 01:18:01,760
Speaker 2: But we'd love to hear from everyone out there. We're

1410
01:18:01,760 --> 01:18:03,760
Speaker 2: already hearing from some folks regarding some of the three

1411
01:18:03,800 --> 01:18:06,800
Speaker 2: D films that we discussed here, some folks talking about

1412
01:18:06,960 --> 01:18:09,360
Speaker 2: their experiences seeing them m three D in the theater.

1413
01:18:09,720 --> 01:18:12,760
Speaker 2: So keep it coming. We'll be back next week with

1414
01:18:12,800 --> 01:18:16,160
Speaker 2: a new edition of Weird House Cinema. Weird House Cinema

1415
01:18:16,160 --> 01:18:18,720
Speaker 2: publishes on Fridays and the Stuff to Blow Your Mind

1416
01:18:18,720 --> 01:18:21,360
Speaker 2: podcast feed. We're primarily a science podcast, with core episodes

1417
01:18:21,400 --> 01:18:24,240
Speaker 2: on Tuesdays and Thursdays. But on Fridays we set aside

1418
01:18:24,280 --> 01:18:27,320
Speaker 2: most serious concerns to just talk about a weird film

1419
01:18:27,439 --> 01:18:29,320
Speaker 2: on Weird House Cinema. If you want to see other

1420
01:18:29,840 --> 01:18:31,320
Speaker 2: films that we've covered, if you want to see a

1421
01:18:31,400 --> 01:18:33,240
Speaker 2: nice list of them, go to letterbox dot com. It's

1422
01:18:33,320 --> 01:18:34,720
Speaker 2: L E T T E R B O x D

1423
01:18:34,840 --> 01:18:38,240
Speaker 2: dot com. Our user profile there is weird House. You'll

1424
01:18:38,280 --> 01:18:40,439
Speaker 2: find a list and you'll see all those movies.

1425
01:18:40,800 --> 01:18:44,040
Speaker 3: Huge thanks to our audio producer Jjposway. If you would

1426
01:18:44,080 --> 01:18:46,160
Speaker 3: like to get in touch with us with feedback on

1427
01:18:46,200 --> 01:18:48,400
Speaker 3: this episode or any other, to suggest a topic for

1428
01:18:48,439 --> 01:18:51,000
Speaker 3: the future, or just to say hello, you can email

1429
01:18:51,080 --> 01:19:00,400
Speaker 3: us at contact at stuff to Blow your Mind dot com.

1430
01:19:00,720 --> 01:19:03,640
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1431
01:19:03,760 --> 01:19:07,560
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1432
01:19:07,640 --> 01:19:09,439
Speaker 1: or wherever you listen to your favorite shows.