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

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Speaker 2: Hey, welcome to Weird House Cinema.

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

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Speaker 2: In today's episode of Weird House Cinema. We're getting in

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Speaker 2: on the Noir November festivities. If you're not familiar with this,

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Speaker 2: this is a yearly, month long celebration of noir cinema,

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Speaker 2: a concept introduced in twenty ten by film critic Maria E.

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Speaker 3: Gates.

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Speaker 2: Film noir is, of course, a turn that covers a

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Speaker 2: lot of ground and bleeds into a number of different

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Speaker 2: subgenres and adjacent genres. I mean it ultimately becomes just

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Speaker 2: sort of a shade, you know, and a stylistic flourish

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Speaker 2: that may be employed even just in key scenes in

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Speaker 2: a particular picture. But in its arguably truest form, we're

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Speaker 2: talking about black and white old Hollywood. I'm dramas full

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Speaker 2: of cynicism, amoral characters and style, heavy dash of German expressionism,

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Speaker 2: plenty of cigarette smoke. Throw all that in and you're

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Speaker 2: good to go. There's also much to be said about

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Speaker 2: this genre emerging out of the Great Depression. Lots of

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Speaker 2: moving parts, so you can identify noir in everything from

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Speaker 2: such films as The Maltese Falcon from nineteen forty one

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Speaker 2: nineteen forty two's Casablanca to stuff like nineteen eighty two's

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Speaker 2: Blade Runner and multiple neo noir films from the likes

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Speaker 2: of the Cohen Brothers and David Lynch. And we haven't

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Speaker 2: really gotten in on this Noirvember thing before. You know,

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Speaker 2: I've seen it. I've seen it celebrated at Videodrome, the

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Speaker 2: rental store here in Atlanta, I've seen it celebrated online

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Speaker 2: in various places, and you know, it feels right. November

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Speaker 2: is a really choice month for all of this, because

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Speaker 2: wordplay aside, it's a month of continued descent through fall

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Speaker 2: and into winter. It's a month often deified by things

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Speaker 2: like elections or corporate layoffs. It's a bleak time for

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Speaker 2: bleak hearts. So what better time than now to dive

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Speaker 2: into the black and white world of private detectives and

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Speaker 2: professional criminals. So what is today's movie? It is nineteen

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Speaker 2: forty one's The Face Behind the Mask, And yeah, it

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Speaker 2: actually comes out nine months before The Maltese Falcon, which

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Speaker 2: is sometimes considered the first big film noir picture. But

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Speaker 2: it also ultimately depends on how you slice it. You

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Speaker 2: can also reach back into the thirties for possible examples

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Speaker 2: of forerunners in the genre. And also, this is a

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Speaker 2: picture that I'm to understand wasn't actually viewed a lot

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Speaker 2: after its initial release. It's kind of built up a

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Speaker 2: following over time.

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Speaker 4: Yeah, so your selection this week got me really thinking

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Speaker 4: about what is it that makes a movie film noir.

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Speaker 4: I don't really know exactly what the primary criteria are.

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Speaker 4: It's one of those things where it's defined by a

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Speaker 4: number of different sort of plot conventions and stylistic conventions.

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Speaker 4: And if a movie has a critical mass, if it

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Speaker 4: has enough of these different things in it, then it

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Speaker 4: starts to feel like noir. But I don't know what

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Speaker 4: the core things are though you mentioned a minute ago

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Speaker 4: the Maltese Falcon, the Humphrey Bogart movie, and I feel

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Speaker 4: like that's kind of the prototype film noir, right, Like

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Speaker 4: that's or the archetype. I don't know which is the

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Speaker 4: right term there. It's like it's the type example that

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Speaker 4: you think of, or at least that I think of

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Speaker 4: for film noir. So it has a tough, cynical detective,

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Speaker 4: it has a lot of people running around chasing after money.

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Speaker 4: It has cynical crime themes. It has a maybe somewhat

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Speaker 4: gloomy outlook on human nature, but also has a sense

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Speaker 4: of humor, a kind of dark sense of humor. And

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Speaker 4: in fact, it has an actor in common with the

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Speaker 4: movie we're going to be talking about today, because a

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Speaker 4: major character actor in The Maltese Falcon is Peter Laura

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Speaker 4: in the role of Joel Cairo, who is the main

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Speaker 4: character in the face behind the mask. So I would say,

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Speaker 4: almost to the same extent that I associate Humphrey Bogart

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Speaker 4: with noir, I also associate Peter Laurie with it.

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Speaker 3: That's right.

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Speaker 2: If you're cooking film noir, either during this time period

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Speaker 2: or in later decades, Peter Lourie, or at least the

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Speaker 2: ghost of Peter Laurie, is very much on the spice rack,

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Speaker 2: as is Humphrey Bogart, as are various other elements. Like

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Speaker 2: you can also throw in things that are not president

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Speaker 2: in this picture, such as the fem fatale is very

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Speaker 2: often employed to some degree in a noir picture. So

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Speaker 2: there are yea all these different things that may or

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Speaker 2: may not be added to the finished product. But when

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Speaker 2: you taste the soup, you know, Ah, this is film noir.

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Speaker 4: Yeah, cigarettes, fried eggs, black coffee, revolvers, Fedoras, trench coats.

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Speaker 4: That's what's going on here, and Peter Laurie is part

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Speaker 4: of the mix.

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Speaker 3: Yeah.

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Speaker 2: So as far as weird house cinema selections go, it's

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Speaker 2: notable that this is our This is only our fourth

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Speaker 2: selection from the nineteen forties, following Doctor Cyclops, The Beast

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Speaker 2: with Five Fingers, and The Devil Bat. It's our second

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Speaker 2: picture directed by Robert Florey and our third Peter Lorii picture.

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Speaker 2: It's also one of our infrequent picks to not feature

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Speaker 2: a speculative element, though I would say it's weird enough

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Speaker 2: in its own way for our purposes. I also want

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Speaker 2: to stress that this film is also very strongly a melodrama,

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Speaker 2: so it's not subtle in its manipulation of the heart strings.

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Speaker 3: You know.

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Speaker 2: It's a bit of a morality play as well. So

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Speaker 2: it's Yeah, it's a good picture. I was really pleased with.

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Speaker 2: It's one that's kind of been on my short list

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Speaker 2: for a long time. Often held up as one of

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Speaker 2: Laurie's best performances, a picture where he is the lead

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Speaker 2: and gets to bust out a number of his tools,

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Speaker 2: and you know, not just be the villain or a

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Speaker 2: side villain or a side quirky character. He is the

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Speaker 2: main event here.

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Speaker 4: This really is a look at my range movie for

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Speaker 4: Peter Lourie. There are some scenes where he is so

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Speaker 4: wholesome and so precious, He's just cute, adorable, wonderful, other

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Speaker 4: scenes where he is the creepiest creep and he gets

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Speaker 4: to do both in the same film.

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Speaker 2: Yeah, so for like an absolute Peter LORII picture, it's

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Speaker 2: like this and Mad Love or I think Neck and Neck.

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Speaker 2: They don't, but each film hit slightly different notes. You know,

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Speaker 2: you don't get the same array of Peter Lourie in

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Speaker 2: both films, but added together, I mean, you get to

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Speaker 2: see so many different colors from him.

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Speaker 4: But you're also right in saying that this is not

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Speaker 4: a subtle film. I mean, this is not a film

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Speaker 4: where the drama takes place reading between the lines. It's

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Speaker 4: all on the lines here. So there are extremely overt

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Speaker 4: monologues in which the themes of the film are pretty

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Speaker 4: explicitly stated, and we get like swelling music while they're delivered,

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Speaker 4: and they're delivered in almost kind of a stage performance way,

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Speaker 4: characters kind of borderline shout their lines and they're full

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Speaker 4: of overt passion. But if you know, if you know

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Speaker 4: that's what you're in for, it's not really a bad thing.

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Speaker 4: It's just a different way to tell a story.

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Speaker 3: Yeah.

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Speaker 2: Another point about this picture we'll keep coming back to

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Speaker 2: is that it's a pretty fast ride. This film's only

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Speaker 2: sixty nine minutes long, and I think it's the rare

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Speaker 2: weird house cinema selection where I have to say I

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Speaker 2: don't think it is long enough. I feel like I

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Speaker 2: needed a little bit more from it. I mean, what

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Speaker 2: we have is tremendous, but you know, I wanted to

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Speaker 2: see scenes that are alluded to but not shown to us.

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Speaker 2: And yeah, it doesn't have a lot of time to

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Speaker 2: even necessarily further explore some of the ideas that it

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Speaker 2: brings up, which you know isn't necessarily a bad thing.

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Speaker 4: Many of the most pivotal scenes in the plot happen

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Speaker 4: off screen. They're like the big turning points are like

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Speaker 4: you see what's leading up to it, and then you

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Speaker 4: see the characters talking about it afterwards, but you don't

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Speaker 4: see the thing itself.

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Speaker 2: Yeah, but you know, so it's like Frank Herbert would

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Speaker 2: dig that. But it's like, it's not battle scenes that

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Speaker 2: are left out, you know, it's not like big budget

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Speaker 2: things that I don't know, you know, maybe it was

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Speaker 2: a budgetary decision to not show someone like the key

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Speaker 2: heists that become important later on, but you know, they

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Speaker 2: make a lot out of the time they have here.

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Speaker 4: Do you think they left out the safe cracking scene? Like,

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Speaker 4: was it cut for content that was just like too

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Speaker 4: spicy for audiences at the time.

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Speaker 2: I don't know, I really yeah, we'll talk about when

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Speaker 2: we get to that point in the plot, but yeah,

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Speaker 2: I really wanted to see this first big heist that

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Speaker 2: that Janosh is involved in. But more on that in

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Speaker 2: a bit.

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Speaker 3: Now.

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Speaker 4: I am, by no means an expert in film noir,

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Speaker 4: but I associate several different plot types with this genre.

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Speaker 4: The most common, I would say is the private detective story.

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Speaker 4: You know, somebody shows up with a strange case for

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Speaker 4: a private detective and the detective goes down the rabbit hole,

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Speaker 4: you know, figuring out all the twists and turns and

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Speaker 4: all that. Multice falcon is of that sort. But if

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Speaker 4: there is a second type of plot structure I most

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Speaker 4: associate with film noir. It is the plot that we

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Speaker 4: get in the face behind the mask, which is an

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Speaker 4: originally good hearted person is lured or forced into a

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Speaker 4: life of crime.

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Speaker 2: Yeah, fallen angel, breaking bad, Yes, you know.

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Speaker 3: Yeah.

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Speaker 2: And one of the interesting things about it is that

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Speaker 2: this is of course also an immigrant story. And so

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Speaker 2: the good person at the heart of this is someone

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Speaker 2: who is entering America for the first time and has

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Speaker 2: all these big ideas and all these dreams, dreams that

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Speaker 2: he has absorbed, you know, from afar, the American dream,

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Speaker 2: and so his fall is also about realizing the flaws

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Speaker 2: in the American dream and the things that you know,

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Speaker 2: that he had built up in his head that just

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Speaker 2: aren't part of the reality.

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Speaker 4: Yeah, that his hopes are sort of crash against the

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Speaker 4: rocks of reality and of circumstances beyond his control. And

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Speaker 4: that just happens over and over until he is forced

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Speaker 4: into becoming the gang story that he once feared.

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Speaker 3: Yeah.

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Speaker 2: All right, Now I don't have any trailer audio for

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Speaker 2: this one, but if you want a little dash of

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Speaker 2: the trailer audio, look up Joe Dante's Trailers from Hell

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Speaker 2: feature on it. It's pretty fun. It's just you know,

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Speaker 2: Joe Dante talking a little bit about this picture and

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Speaker 2: then sharing some audio and video from the trailer. But

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Speaker 2: I couldn't find that trailer anywhere else for us to sample,

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Speaker 2: so I'll just say go ahead and check out what

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Speaker 2: Joe Dante has to share about that trailer. Now you

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Speaker 2: might be wondering at this point, Hey, I haven't seen

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Speaker 2: Face Behind the Mask. I'd like to before continuing on

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Speaker 2: with the episode. Well, fair enough. I support that. This one, however,

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Speaker 2: is not, to my knowledge, currently available in the US

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Speaker 2: on disc, but it is currently part of the streaming

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Speaker 2: options over at the Criterion Channel. That's the streaming platform

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Speaker 2: and app brought to you by the Criterion Collection. The

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Speaker 2: Face behind the Mask is currently featured as part of

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Speaker 2: their Noir November Essentials collection. We don't champion a lot

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Speaker 2: of streaming options on stuff to blow your mind, but

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Speaker 2: the Criterion Channel is, in my unpaid four opinion, here

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Speaker 2: a great streaming option for film fans. So you can

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Speaker 2: try it for free for a week, you know that

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Speaker 2: sort of thing. But you can watch everything from Brida

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Speaker 2: Frankenstein and Scanners to the story of Ricky and Raising Arizona,

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Speaker 2: and they have some really tantalizing playlists of films, including

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Speaker 2: I was just looking at it this morning. There's one

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Speaker 2: that's just synth scores, so all sorts of cool electronic

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Speaker 2: scores for the pictures selected. And then they have one

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Speaker 2: that's just hopping vampires. So it's like, I think it's

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Speaker 2: all just mister Vampire pictures. And of course we talked

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Speaker 2: about the first Mister Vampire film on the show a

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Speaker 2: while back.

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Speaker 4: Yes, also, in my unpaid for opinion, I greatly enjoyed

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Speaker 4: the Criterion Channel, though I should issue a warning to

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Speaker 4: people because I was confused by this at first. You

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Speaker 4: can't assume just because a movie has a Criterion collection

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Speaker 4: release that it will be featured streaming on the Criterion Channel.

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Speaker 4: Some movies have a disc from Criterion, but they're not

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Speaker 4: on there. But it's still a good channel.

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Speaker 2: Right, And likewise, there are plenty of pictures on there

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Speaker 2: that I don't think have discs on Criterion. But it's

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Speaker 2: just it's a great selection, and a number of weird

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Speaker 2: house cinema pictures are in there as of this recording.

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Speaker 2: All right, let's run through some of the people involved here.

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Speaker 2: The director is, of course Robert Florey, who have nineteen

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Speaker 2: hundred through nineteen seventy nine. Industrial strength French American director

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Speaker 2: who worked from the twenties through the sixties, amassing one

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Speaker 2: hundred and eighteen credits and just really cranking out pictures

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Speaker 2: during the nineteen thirties. His early career was apparently more

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Speaker 2: avant garde expressionism, but he became one of these kind

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Speaker 2: of like cinematic workhorse types of guys. From a purely

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Speaker 2: horror standpoint. He's perhaps best known for directing Murders in

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Speaker 2: the Room Morgue nineteen thirty two, based on the Edgar

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Speaker 2: Allen post story and starring Hungarian American film legend Lagosi,

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Speaker 2: as well as ape suit legend Charles Gomora. Also of

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Speaker 2: note was the noir film Daughter of Shanghai from thirty seven.

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Speaker 2: That one featured a female Chinese American elite in the

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Speaker 2: form of Anime Wong, another legendary name from a lot

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Speaker 2: of noir pictures, as well as Korean American actor Philip

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Speaker 2: an Flori is also noted for having been the initial

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Speaker 2: director on nineteen thirty one's Frankenstein, with Lugosi attached to

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Speaker 2: play the monster during those early stages, before Legosi like

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Speaker 2: leaving the picture because he didn't want to play like this.

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Speaker 2: You know, what we might think of is just like

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Speaker 2: a killing machine Frankenstein monster, and you know, of course

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Speaker 2: Flores ends up being replaced by James Whale, and we'd

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Speaker 2: get the nineteen thirty one Frankenstein that we all know

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Speaker 2: and love. Flori later directed a lot of TV, and

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Speaker 2: his last film credit as an episode. Our TV credit

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Speaker 2: is an episode of the original Outer Limits series titled Moonstone.

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Speaker 2: He also did three Twilight Zone episodes. All right, now,

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Speaker 2: as far as the story and screenplay here goes, there

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Speaker 2: are four different names, some of which I don't have

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Speaker 2: a lot of information on. Apparently the story is based

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Speaker 2: on a radio play called Interim by Thomas Edward O'Connell,

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Speaker 2: who live nineteen fifteen through nineteen sixty one. I couldn't

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Speaker 2: find out much about this. The screenplay for the film, however,

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Speaker 2: was apparently very much put together with Peter Lourie in

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Speaker 2: mind for the lead. Let's see, author Levinson has a

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Speaker 2: story credit note relation obviously to I think there's a

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Speaker 2: contemporary author Levinson who's involved with like Apple computers or

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Speaker 2: something different.

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Speaker 3: Guy.

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Speaker 2: There's Alan Vincent who has a screenplay credit, who lived

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Speaker 2: nineteen oh three through nineteen seventy nine actor and screenwriter

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Speaker 2: who appeared in such films as nineteen thirty three's Mystery

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Speaker 2: of the Wax Museum. This is his first screenplay credit,

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Speaker 2: and then we also have a screen play credit for

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Speaker 2: Paul Jericho, who lived nineteen fifteen through nineteen ninety seven.

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Speaker 2: Oscar nominated American screenwriter here for nineteen forty two's Tom

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Speaker 2: Dick and Harry, who was later blacklisted during the McCarthy

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Speaker 2: era for his ties to the Communist Party and alleged

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Speaker 2: subversive content. During this time, though, he produced the nineteen

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Speaker 2: fifty four film Salt of the Earth, which was a

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Speaker 2: project that entailed a handful of other blacklisted filmmakers and

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Speaker 2: was well received, and I think it continues to be

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Speaker 2: well received. Often worked uncredited or under a pseudonym. His

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Speaker 2: other credits also include nineteen sixty twos All Night Long,

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Speaker 2: All Right, but of course our star playing Janosh Johnny Zabo.

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Speaker 2: We have Peter Lourie Yeah, nineteen oh four through nineteen

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Speaker 2: sixty four, Austro Hungarian actor of Jewish descent who made

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Speaker 2: it big in Fritz Lung's im Back in thirty one,

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Speaker 2: sometimes singled out as an early noir picture are certainly

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Speaker 2: very influential on noir films to follow, before he ended

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Speaker 2: up fleeing the rise of anti Semitism under the Nazi regime.

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Speaker 2: A legendary character actor who of course appeared in one

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Speaker 2: of our first Weird House Cinema episodes, covering nineteen thirty

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Speaker 2: five's Mad Love, he is best remembered for his various

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Speaker 2: roles in such noir mainstays as Casablanca, Maltese falcon thrillers

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Speaker 2: like nineteen thirty four's The Man Who Knew Too Much,

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Speaker 2: as well as such horror films as nineteen sixty three's

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Speaker 2: The Raven and even such big budget productions as nineteen

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Speaker 2: fifty four to twenty thousand Leagues under the Sea. He

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Speaker 2: wrote and directed a single film, nineteen fifty one's The

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Speaker 2: Lost One, and he was technically the first actor to

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Speaker 2: play a Bond villain, appearing in the nineteen fifty four

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Speaker 2: TV adaptation of Casino Royale.

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Speaker 4: This is the Thing That was an adaptation of Casino

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Speaker 4: Royale that had Barry Nelson as James Bond. Barry Nelson

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Speaker 4: is the guy who plays the hotel manager at the

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Speaker 4: beginning of the Shining. He's like the guy hiring Jack Nicholson.

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Speaker 2: This is back when James Bond was played by an

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Speaker 2: America and present it as an American character.

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Speaker 3: Oh that's so good.

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Speaker 4: But man, I would watch Peter Laurie as La Chief

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Speaker 4: that that'd be good.

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Speaker 3: Yeah, yeah, I'm whatever else is.

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Speaker 2: Going on, Yeah yeah, I mean Peter Laurie is such

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Speaker 2: an intriguing icon, you know, like iconic in ways that

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Speaker 2: are hard to overstress, you know, like he becomes this

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Speaker 2: like you go ack and you watch old Bugs Bunny

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Speaker 2: cartoons and they'll have a Peter Lourie character. I think

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Speaker 2: plenty of people still like doing, Like if you have

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Speaker 2: I have a Dungeons and Dragon's character that uses a

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Speaker 2: Peter Loriie voice. I feel like a lot of other

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Speaker 2: people haven't leave. Even dungeon masters have probably done some

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Speaker 2: version of a Peter Lourie voice at some point. You know,

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Speaker 2: he's just he's that iconic.

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Speaker 4: Yeah, he's so iconic that my Christoph Lambert voice is

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Speaker 4: actually a Peter Lorrie voice.

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Speaker 2: Yeah yeah, I mean, he's just tremendous, you know, And

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Speaker 2: he was. He was frequently typecast the Sinister Foreigners, and

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Speaker 2: his career has some real ups and downs absolutely, but

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Speaker 2: especially during his prime here, he's always there's always something

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Speaker 2: about his performance.

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Speaker 3: It's a treat.

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Speaker 2: And this is a film much like Madlove, where we

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Speaker 2: get to enjoy him as the star of the picture.

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Speaker 2: He gets to play a lot of different notes in

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Speaker 2: his performance that we don't otherwise get to experience. I

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Speaker 2: want to point out too, that he was thirty six

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Speaker 2: when they filmed this, and he looks thirty six. But

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Speaker 2: there are different points where they would call him like kid.

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Speaker 2: Are they talking about him as if he's like this

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Speaker 2: young boy who just arrived in America. It's like he's

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Speaker 2: clearly a grown man, but fair enough.

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Speaker 4: Oh yeah, I don't know. Early in the film, he's

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Speaker 4: so full of hope. He almost has a kind of

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Speaker 4: newborn quality.

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Speaker 3: Yeah.

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Speaker 2: I mean he is totally bought into the American mythology

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Speaker 2: that he's been presented with. And yeah, it's just overflowing

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Speaker 2: with optimism and it is a bit naive, as we'll discuss,

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Speaker 2: all right. So that's Peter Laurie more his performance as

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Speaker 2: we proceed. The love interest here, the eventual blind love

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Speaker 2: interest for our protagonist is the character Helen Williams played

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Speaker 2: by Evelyn Keys, who lived nineteen sixteen through two thousand

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Speaker 2: and eight. She was an American actress who played supporting

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Speaker 2: roles in some pretty big films, including nineteen thirty nine's

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Speaker 2: Gone with the Wind and nineteen fifty five's The Seven

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Speaker 2: Year Itch. Other credits include nineteen fifty one's The Prowler

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Speaker 2: and then much later in her career, Larry Cohen's A

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Speaker 2: Return to Salem's Lot in nineteen eighty seven.

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Speaker 4: So we were just mentioning there's a part of the

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Speaker 4: movie where where Peter Lourie is full of hope and optimism,

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Speaker 4: but the character of Helen appears later in the film

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Speaker 4: after all of Peter Laurie's hope and optimism is gone,

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Speaker 4: and she's sort of like the energy beat. She's like

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Speaker 4: an energy weapon of happiness just blasting into the film

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Speaker 4: from orbit, and you know what it's like. She really

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Speaker 4: does completely change the tone of the movie when she appears.

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Speaker 4: But of course, you know, this is film noir, so

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Speaker 4: they're going to have to play this romance for tragedy ultimately.

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Speaker 3: Yeah.

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Speaker 2: Yeah, I mean, she's she's great in this. She's delightful,

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Speaker 2: you know, totally buy into this this light of optimism.

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Speaker 2: You know that she brings, but also like obviously she's

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Speaker 2: a doomed angel, you know, like, yeah, you know where.

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Speaker 3: This is going? Too good for this world? All right.

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Speaker 2: We also have Don Bedo playing Lieutenant James Jim O'Hara.

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Speaker 2: He lived nineteen oh three through nineteen ninety one. Yeah,

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Speaker 2: he's a sympathetic New York police officer who helps jan

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Speaker 2: o'sher early on. Played by an American character actor whose

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Speaker 2: credits include nineteen fifty five is the Night of the

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Speaker 2: Hunter and nineteen forty six is the Best Years of

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Speaker 2: Our Lives. He performed on Broadway prior to this movie

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Speaker 2: and prior to his going into film and television. According

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Speaker 2: to Joe Dante, he's an actor known for a lot

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Speaker 2: of milk toast roles, but he thinks this is one

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Speaker 2: of his best performances. And then we have the character

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Speaker 2: of Dinky.

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Speaker 3: Dinky.

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Speaker 2: This is the character that really surprised me because I

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Speaker 2: came into this expecting a great Peter Lorrie performance, but

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Speaker 2: I really think George E. Stone is terrific here as Dinky,

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Speaker 2: the criminal with a heart of gold.

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Speaker 4: He's the guy who he just can't he can't stop

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Speaker 4: doing crime, but he's actually a really nice guy.

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Speaker 2: Yeah, he doesn't want to do crimes, but like, things

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Speaker 2: keep happening and he keeps falling back down the ladder,

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Speaker 2: and then he has no choice, you know.

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Speaker 3: Yeah.

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Speaker 2: Stone lived nineteen oh three through nineteen sixty seven. Polish

403
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Speaker 2: born American actor of Vaudeville, Broadway, film, and TV. Played

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Speaker 2: a lot of scrappy Prohibition era New York characters often

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Speaker 2: described as runyon esque. This is not really terminology I

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Speaker 2: was familiar with, but this is a reference to the

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Speaker 2: writings of author Damon Runyon, who invoked a lot of

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Speaker 2: colorful New York City slang in his writings.

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Speaker 4: Oh yeah, So like when we very first meet Dinky,

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Speaker 4: he comes out of the shadows to pick up the

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Speaker 4: wallet that was dropped by like a wealthy you know,

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Speaker 4: Wall Street trader who gets scared by Peter Lorii's face

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Speaker 4: in the middle of the movie scene, and Dinky he

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Speaker 4: picks up the wallet and he goes like, hey, let's

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Speaker 4: see what Sandy Claus left for us.

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Speaker 2: Yeah, Like, I didn't know what runyon Esque was beforehand,

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Speaker 2: but now that I've seen this performance and I have

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Speaker 2: heard the word, now, I can recognize runyon esque elsewhere

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Speaker 2: in pictures, like there are definitely characters in Santa Claus

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Speaker 2: Conquers the Martians that are run your esque. Yeah, even

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Speaker 2: though they're Martians. I don't know why they're run your Esque,

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Speaker 2: but anyway, but yes, Stone is terrific in this his

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Speaker 2: film roles. Other film roles include nineteen thirty one's Little Caesar,

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Speaker 2: nineteen fifty fives Guys and Dolls, and nineteen fifty nine

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Speaker 2: Some Like It Hot. Yeah, he's it's a great performance. Like,

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Speaker 2: he's very likable and he has a lot of heart,

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Speaker 2: and he is a characters will discuss that very much

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Speaker 2: saves Janosh at a very dark point in his life.

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Speaker 3: Yeah.

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Speaker 2: Now, to the extent that this movie has a villain,

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Speaker 2: like a centralized individual villain, it is Jeff Jeffries. I

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Speaker 2: guess his full name would be Jeffrey Jeff Jeffries, a

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Speaker 2: man so Jeff they named him twice, played by James

434
00:23:21,359 --> 00:23:23,880
Speaker 2: c who lived nineteen fourteen through nineteen ninety two.

435
00:23:24,320 --> 00:23:26,920
Speaker 4: I was banging my head trying to figure out where

436
00:23:27,000 --> 00:23:29,440
Speaker 4: I recognized this guy from because he was very familiar,

437
00:23:29,480 --> 00:23:32,760
Speaker 4: and I finally realized it was from a Miracle on

438
00:23:32,840 --> 00:23:33,879
Speaker 4: thirty fourth Street.

439
00:23:34,520 --> 00:23:36,120
Speaker 2: Oh yeah, who does he play in that.

440
00:23:36,960 --> 00:23:41,600
Speaker 4: He's like I think there are two psychiatrists in it,

441
00:23:41,680 --> 00:23:43,879
Speaker 4: and there's like the one mean one who's sort of

442
00:23:43,880 --> 00:23:46,199
Speaker 4: the antagonist, and then there's the one nice one, And

443
00:23:46,240 --> 00:23:48,160
Speaker 4: I think he's the nice one. I could be remembering

444
00:23:48,200 --> 00:23:50,760
Speaker 4: that wrong, but I know he's in the film.

445
00:23:50,800 --> 00:23:54,840
Speaker 2: He has a very memorable chin, and in this picture anyway,

446
00:23:54,920 --> 00:23:59,080
Speaker 2: has very memorable shoulders. Like Jeff's suit has shoulders so

447
00:23:59,240 --> 00:24:01,760
Speaker 2: broad that they made me think of the Dick Tracy

448
00:24:01,840 --> 00:24:05,280
Speaker 2: villain shoulders, Like it's basically the same dimensions.

449
00:24:05,560 --> 00:24:07,880
Speaker 3: Yeah, and he's absolutely.

450
00:24:07,440 --> 00:24:10,080
Speaker 2: Towering over all the shorter character actors in the picture, Like,

451
00:24:10,160 --> 00:24:14,199
Speaker 2: his shoulders are as broad as Peter Laurie is like

452
00:24:14,280 --> 00:24:16,600
Speaker 2: long if you laid him out, you know, Like that's

453
00:24:16,600 --> 00:24:19,960
Speaker 2: how broad these shoulders are. It's ridiculous. It's laugh inducing,

454
00:24:20,320 --> 00:24:22,520
Speaker 2: at least from our modern perspective.

455
00:24:23,640 --> 00:24:28,240
Speaker 4: The effect created by his outfit, and it's a standard forties,

456
00:24:28,920 --> 00:24:31,960
Speaker 4: you know, gang member outfit. So it's a suit with

457
00:24:32,000 --> 00:24:35,480
Speaker 4: a with a black fedora, you know, big shoulder pads,

458
00:24:35,760 --> 00:24:38,760
Speaker 4: the vest of the tie. And if this makes any sense,

459
00:24:38,840 --> 00:24:41,720
Speaker 4: it has the effect of like he's in football pads.

460
00:24:41,840 --> 00:24:45,399
Speaker 4: He's fully suited up. He's suited up for game time.

461
00:24:46,119 --> 00:24:48,520
Speaker 2: And yeah, I end up having this like real reaction

462
00:24:48,640 --> 00:24:51,600
Speaker 2: to him too, because like Laurie is obviously like you know,

463
00:24:51,640 --> 00:24:55,359
Speaker 2: he was a much shorter guy. You know, he's he's

464
00:24:55,480 --> 00:24:59,040
Speaker 2: not leading your typical leading man material, you know, like

465
00:24:59,080 --> 00:25:01,760
Speaker 2: he really I attached to Peter Lourie more as like

466
00:25:02,240 --> 00:25:04,520
Speaker 2: he is like a nerd, you know, he's one of us.

467
00:25:05,080 --> 00:25:08,719
Speaker 2: And Jeff Jefferies is total jock here. James c is

468
00:25:08,840 --> 00:25:12,120
Speaker 2: like total jock mode, and like its instantly I identify

469
00:25:12,240 --> 00:25:15,880
Speaker 2: him as a danger to our hero and our icon here.

470
00:25:16,200 --> 00:25:18,760
Speaker 4: But there's there's a scene where Peter Lourie like beats him.

471
00:25:18,720 --> 00:25:23,320
Speaker 2: Up, yeah and makes us believe it. Like I like,

472
00:25:23,359 --> 00:25:25,359
Speaker 2: we build up to that encounter and I'm like, okay,

473
00:25:25,400 --> 00:25:26,959
Speaker 2: how are you going to make me believe this? Like

474
00:25:27,040 --> 00:25:29,680
Speaker 2: this dude is enormous, But you know Laurie does it.

475
00:25:31,000 --> 00:25:33,520
Speaker 2: But uh yeah, See, see pops up in a number

476
00:25:33,520 --> 00:25:35,639
Speaker 2: of different things, So you might have seen him in

477
00:25:35,680 --> 00:25:38,399
Speaker 2: things like fifty ones, The Day the Earth Stood Still,

478
00:25:38,440 --> 00:25:41,919
Speaker 2: fifty four'st Killers from Outer Space, and I think I

479
00:25:42,000 --> 00:25:44,040
Speaker 2: probably recognize I don't know who he was in this

480
00:25:44,200 --> 00:25:46,280
Speaker 2: because I haven't seen it forever. Because nobody will put

481
00:25:46,280 --> 00:25:48,359
Speaker 2: it out on disk, but nineteen fifty seven is the

482
00:25:48,359 --> 00:25:51,600
Speaker 2: Amazing Colossal Man also features a James.

483
00:25:51,240 --> 00:25:54,000
Speaker 4: C row Oh and Rob you had this note. He

484
00:25:54,119 --> 00:25:56,000
Speaker 4: was also in the Beginning of the End, which is

485
00:25:56,040 --> 00:25:58,679
Speaker 4: a Burt Eye Gordon film. This is the one with

486
00:25:58,760 --> 00:25:59,960
Speaker 4: the giant grasshopper.

487
00:26:00,800 --> 00:26:03,080
Speaker 2: Yeah, yeah, yeah, that's another one. I don't think I've

488
00:26:03,080 --> 00:26:05,439
Speaker 2: ever seen that one in full. And he's not the

489
00:26:05,480 --> 00:26:08,800
Speaker 2: star in that one. He's like, you know, mid cast.

490
00:26:09,160 --> 00:26:10,520
Speaker 2: That one stars Peter Graves.

491
00:26:10,960 --> 00:26:14,479
Speaker 4: I think see here was known for often playing like

492
00:26:14,640 --> 00:26:19,160
Speaker 4: a military commander or some government bureaucrat. He's like somebody

493
00:26:19,200 --> 00:26:22,879
Speaker 4: you would cut away to and they're just giving orders. Yeah,

494
00:26:22,920 --> 00:26:25,600
Speaker 4: and so he's got a more substantial role in this movie.

495
00:26:25,600 --> 00:26:27,440
Speaker 4: But it does turn out because I've seen Beginning of

496
00:26:27,480 --> 00:26:30,000
Speaker 4: the End and I've seen some of these other sci

497
00:26:30,000 --> 00:26:32,280
Speaker 4: fi movies, so it's not just Miracle on thirty fourth Street.

498
00:26:32,320 --> 00:26:34,240
Speaker 4: I know him from him, but that is what was

499
00:26:34,240 --> 00:26:35,920
Speaker 4: in my mind when I was seeing him here in

500
00:26:36,680 --> 00:26:38,400
Speaker 4: his crime uniform.

501
00:26:38,840 --> 00:26:43,080
Speaker 2: Yeah, all right. Two more behind the scenes credits to mention.

502
00:26:43,400 --> 00:26:46,600
Speaker 2: Franz Planner, who had eighteen ninety fourth through nineteen sixty three,

503
00:26:46,640 --> 00:26:51,000
Speaker 2: is the cinematographer Austria, Hungarian cinematographer and five time Oscar nominee.

504
00:26:51,359 --> 00:26:54,879
Speaker 2: His other credits include nineteen fifty threes The five Thousand

505
00:26:54,960 --> 00:26:57,840
Speaker 2: Fingers of Doctor t that is one that has been

506
00:26:58,080 --> 00:27:02,160
Speaker 2: recommended for Weird House numerous times, also Roman Holiday, as

507
00:27:02,200 --> 00:27:04,640
Speaker 2: well as nineteen fifty fourth twenty thousand Leagues under the Sea,

508
00:27:05,280 --> 00:27:07,960
Speaker 2: which of course has Peter Lourie and it's a pretty

509
00:27:08,000 --> 00:27:13,800
Speaker 2: vast ensemble cast. And then finally Sydney Kuttner is credited

510
00:27:13,840 --> 00:27:16,520
Speaker 2: with music on this nineteen oh three through nineteen seventy one.

511
00:27:16,600 --> 00:27:19,240
Speaker 2: But this is all pretty much stock music, I'm to understand,

512
00:27:19,280 --> 00:27:21,399
Speaker 2: and there are some other music credits in there that

513
00:27:21,440 --> 00:27:26,480
Speaker 2: are clearly labeled as stock. So you know, there's nothing

514
00:27:27,040 --> 00:27:29,320
Speaker 2: out of the ordinary as far as the music for

515
00:27:29,600 --> 00:27:32,560
Speaker 2: Face Behind the Mask. But it's effective, it does the job.

516
00:27:32,760 --> 00:27:42,400
Speaker 2: It's nice and melodramatic, all right.

517
00:27:42,440 --> 00:27:44,399
Speaker 4: So I guess we're doing the plot now. So the

518
00:27:44,440 --> 00:27:48,919
Speaker 4: movie opens with some text gives us the setting, and

519
00:27:48,960 --> 00:27:51,720
Speaker 4: it says it's set just a few years ago, when

520
00:27:51,760 --> 00:27:55,399
Speaker 4: a voyage to America an adventure, not flight, when a

521
00:27:55,480 --> 00:27:58,080
Speaker 4: quota was a number, not a lottery prize to be

522
00:27:58,160 --> 00:28:02,240
Speaker 4: captured by a lucky few. I guess the contrast between

523
00:28:02,280 --> 00:28:04,800
Speaker 4: adventure and flight there being that this movie was released

524
00:28:04,880 --> 00:28:05,560
Speaker 4: during World.

525
00:28:05,359 --> 00:28:08,720
Speaker 2: War Two, so yeah, it's already kind of like calling

526
00:28:08,760 --> 00:28:12,240
Speaker 2: back to the interwar period here.

527
00:28:12,440 --> 00:28:16,000
Speaker 4: Yeah, so we see a boat streaming into harbor in

528
00:28:16,119 --> 00:28:18,640
Speaker 4: New York City, passing in front of the Statue of Liberty,

529
00:28:19,280 --> 00:28:22,160
Speaker 4: and on the musical track, the orchestra plays a couple

530
00:28:22,160 --> 00:28:24,240
Speaker 4: of bars of my country tis of thee when we

531
00:28:24,280 --> 00:28:28,440
Speaker 4: see the statue. So again, this movie is not subtle.

532
00:28:28,280 --> 00:28:30,080
Speaker 3: No, it lays it on pretty thick.

533
00:28:30,880 --> 00:28:34,480
Speaker 4: And then on the boat, two passengers gaze out over

534
00:28:34,520 --> 00:28:36,760
Speaker 4: the water. So there's one man who's sort of taller

535
00:28:36,800 --> 00:28:39,239
Speaker 4: with a mustache, looking a little bit hopeful, but his

536
00:28:39,320 --> 00:28:43,120
Speaker 4: expression is more tempered and he walks away, leaving only

537
00:28:43,160 --> 00:28:45,880
Speaker 4: the other guy there. The other guy in the background

538
00:28:46,000 --> 00:28:49,520
Speaker 4: is Peter Lori, looking out at the scene with wide eyed,

539
00:28:49,600 --> 00:28:54,440
Speaker 4: almost childlike giddiness. And this is our protagonist Janosh, a

540
00:28:54,560 --> 00:28:58,200
Speaker 4: watchmaker by trade who is a new arrival to America

541
00:28:58,240 --> 00:29:02,080
Speaker 4: from Hungary. Yanosh approaches a crew member on the deck

542
00:29:02,120 --> 00:29:04,360
Speaker 4: of the ship with excitement and he asks him for

543
00:29:04,400 --> 00:29:07,440
Speaker 4: a match, and the kindly man offers him a match,

544
00:29:07,480 --> 00:29:09,880
Speaker 4: and then Janosh says, no, thank you, I don't smoke,

545
00:29:10,400 --> 00:29:12,480
Speaker 4: and then he asks for the time. The man tells

546
00:29:12,520 --> 00:29:15,200
Speaker 4: him it's a quarter past ten. Yanosh checks his own

547
00:29:15,240 --> 00:29:18,520
Speaker 4: watch and agrees that is indeed the time. Janosh then

548
00:29:18,560 --> 00:29:22,840
Speaker 4: reveals with an infectious giggle that he is simply practicing

549
00:29:23,000 --> 00:29:26,720
Speaker 4: his English and again, I can't drive home enough. How

550
00:29:26,880 --> 00:29:29,240
Speaker 4: sweet Peter Laurie is at the beginning here.

551
00:29:29,720 --> 00:29:31,120
Speaker 3: Yes, yeah, he really is.

552
00:29:31,400 --> 00:29:32,880
Speaker 2: There's a childlike innocence here.

553
00:29:33,600 --> 00:29:35,880
Speaker 4: So he points out over the water at the Statue

554
00:29:35,880 --> 00:29:39,560
Speaker 4: of Liberty and he says, look, she's beautiful, and the

555
00:29:39,600 --> 00:29:42,000
Speaker 4: boat worker agrees, says, yeah, I'd love to see it

556
00:29:42,040 --> 00:29:45,480
Speaker 4: every every time we come into port here, and Yanosh

557
00:29:45,520 --> 00:29:48,680
Speaker 4: then shows him a picture of a woman folded in

558
00:29:48,720 --> 00:29:51,800
Speaker 4: his wallet in his wallet and says, she is very

559
00:29:51,880 --> 00:29:56,640
Speaker 4: beautiful too. This is his beloved Maria. Yanosh explains that

560
00:29:56,840 --> 00:29:59,959
Speaker 4: after he establishes himself in America, she's going to make

561
00:30:00,000 --> 00:30:02,040
Speaker 4: the journey to join him, and then they will be

562
00:30:02,120 --> 00:30:06,160
Speaker 4: married when she arrives. So Janosh arrives on the streets

563
00:30:06,160 --> 00:30:08,440
Speaker 4: of New York and we see him walking around. He

564
00:30:08,520 --> 00:30:11,040
Speaker 4: stops a stranger to ask him where he can find

565
00:30:11,080 --> 00:30:13,920
Speaker 4: a good hot and Cold Water Hotel, and the stranger

566
00:30:13,960 --> 00:30:16,600
Speaker 4: gives him directions to the Carlton Plaza.

567
00:30:17,440 --> 00:30:18,120
Speaker 3: He's like, go.

568
00:30:18,200 --> 00:30:21,160
Speaker 4: Six blocks up, one block over, two blocks to the left,

569
00:30:21,520 --> 00:30:23,960
Speaker 4: and then he says, they're waiting for you. I think

570
00:30:24,000 --> 00:30:26,520
Speaker 4: this went over my head a bit, but I assume

571
00:30:26,600 --> 00:30:29,760
Speaker 4: the joke is that this is a ridiculously fancy hotel

572
00:30:29,880 --> 00:30:33,160
Speaker 4: and they're waiting for you, as like their advertising slogan

573
00:30:33,280 --> 00:30:33,680
Speaker 4: or something.

574
00:30:33,920 --> 00:30:36,000
Speaker 3: Yeah, I think that's the dig here.

575
00:30:36,640 --> 00:30:39,600
Speaker 4: But then up the street, Janos stops to buy a

576
00:30:39,720 --> 00:30:42,320
Speaker 4: juice from a street vendor and discovers that all of

577
00:30:42,320 --> 00:30:45,240
Speaker 4: his money is gone. The fifty nine dollars he arrived with.

578
00:30:45,480 --> 00:30:48,320
Speaker 4: It's all missing from his wallet. So he runs to

579
00:30:48,440 --> 00:30:50,040
Speaker 4: a nearby policeman for help.

580
00:30:50,640 --> 00:30:53,240
Speaker 2: And yeah, and at this point he's like he's begging

581
00:30:53,240 --> 00:30:55,720
Speaker 2: the policeman to help him. And again we have more

582
00:30:55,760 --> 00:30:59,680
Speaker 2: of this over the top, a naivety and an optimism

583
00:31:00,400 --> 00:31:03,560
Speaker 2: from Janosh. But he has this line though that is

584
00:31:03,600 --> 00:31:08,160
Speaker 2: so dumb that it does actually succeed in being really funny.

585
00:31:08,200 --> 00:31:14,520
Speaker 2: He's like, I've been gangstered. So but then he like

586
00:31:14,600 --> 00:31:16,360
Speaker 2: calms down a bit, like the this is where we

587
00:31:16,400 --> 00:31:18,440
Speaker 2: meet O'Hara for the first time, and O'Hara is here

588
00:31:18,480 --> 00:31:20,480
Speaker 2: to sort of talk him down, and it's like, all right, well, buddy,

589
00:31:20,480 --> 00:31:22,880
Speaker 2: when when did you last see your money? And then

590
00:31:22,920 --> 00:31:26,080
Speaker 2: he's able to get Janos to calm down enough to realize, oh,

591
00:31:26,160 --> 00:31:27,440
Speaker 2: I still have the money on me.

592
00:31:27,520 --> 00:31:29,640
Speaker 4: I have it under my shirt, that's right. So I

593
00:31:29,720 --> 00:31:31,880
Speaker 4: was afraid in this scene. Oh no, he's going to

594
00:31:31,960 --> 00:31:34,600
Speaker 4: run into a crooked cop who's going to double scam him.

595
00:31:35,040 --> 00:31:38,480
Speaker 4: But fortunately the detective he meets is friendly and helpful,

596
00:31:38,520 --> 00:31:41,800
Speaker 4: so O'Hara talks him through it, and then he remembers

597
00:31:42,000 --> 00:31:45,120
Speaker 4: he was listening to a man on the boat talk

598
00:31:45,200 --> 00:31:49,280
Speaker 4: about gangsters in America and he became afraid. And you know,

599
00:31:49,520 --> 00:31:52,440
Speaker 4: I don't know if the like Tommy Gunn gangster was

600
00:31:52,480 --> 00:31:55,400
Speaker 4: as big a media sensation at this point in American

601
00:31:55,440 --> 00:31:57,959
Speaker 4: history as it had been like a decade earlier. I

602
00:31:58,080 --> 00:32:01,400
Speaker 4: think of like the early thirties as the heyday of

603
00:32:01,480 --> 00:32:04,080
Speaker 4: the you know, the big gangster stories about John Dillinger

604
00:32:04,120 --> 00:32:08,360
Speaker 4: and so forth. Maybe I'm wrong about that, but yeah,

605
00:32:08,520 --> 00:32:10,400
Speaker 4: I wonder if that's sort of what they're playing on.

606
00:32:10,840 --> 00:32:13,000
Speaker 2: Yeah, I mean, at any rate, we're all familiar with

607
00:32:13,000 --> 00:32:15,720
Speaker 2: the sort of chewed up by the Big City trope,

608
00:32:16,040 --> 00:32:19,280
Speaker 2: which of course is reflected in that wonderful Simpsons episode

609
00:32:19,320 --> 00:32:22,600
Speaker 2: where Homer has to come back to New York City

610
00:32:22,680 --> 00:32:26,160
Speaker 2: to pay for to get a boot off of his car. Right, yes,

611
00:32:26,240 --> 00:32:29,040
Speaker 2: And it's just you know, absolute I d in his

612
00:32:29,080 --> 00:32:31,000
Speaker 2: mind that this is a hell city that will you know,

613
00:32:31,120 --> 00:32:34,959
Speaker 2: that will come at you. So yeah, I was afraid

614
00:32:35,000 --> 00:32:38,920
Speaker 2: too that Janosh was about to run into another scam

615
00:32:39,080 --> 00:32:40,959
Speaker 2: and just be all the worse off for it.

616
00:32:41,320 --> 00:32:44,240
Speaker 4: Oh yeah, because in that Simpsons episode there's a scene

617
00:32:44,240 --> 00:32:46,720
Speaker 4: where he gets his camera stolen. Then he goes to

618
00:32:46,840 --> 00:32:49,360
Speaker 4: complain to a police officer, and then the police officer

619
00:32:49,400 --> 00:32:53,840
Speaker 4: steals his suitcase. But anyway, like you said, he remembers

620
00:32:53,880 --> 00:32:55,480
Speaker 4: that he just hid his money in the shirt. He

621
00:32:55,520 --> 00:32:59,360
Speaker 4: finds it again, so everything's okay. Then the policeman takes

622
00:32:59,440 --> 00:33:01,840
Speaker 4: Yanosh for cold drink of some kind. It looks like

623
00:33:01,840 --> 00:33:04,960
Speaker 4: they're having like an ice cream float. They're at a

624
00:33:05,000 --> 00:33:08,480
Speaker 4: soda shop and Yanosh tells O'Hara about all of his

625
00:33:08,520 --> 00:33:10,440
Speaker 4: hopes and dreams. He wants to get a job and

626
00:33:10,480 --> 00:33:13,240
Speaker 4: make money, then bring Marie over the ocean with him

627
00:33:13,360 --> 00:33:16,120
Speaker 4: to get married and then have children. He wants to

628
00:33:16,120 --> 00:33:18,680
Speaker 4: have his sons follow him into his trade, which is

629
00:33:18,720 --> 00:33:25,200
Speaker 4: watchmaking and watch repair, and Ohara tries to help Yanosh

630
00:33:25,280 --> 00:33:27,680
Speaker 4: by telling him, Hey, I know of a hotel that's clean,

631
00:33:27,760 --> 00:33:30,560
Speaker 4: comfortable and cheap. You go to the Excelsior. It's run

632
00:33:30,600 --> 00:33:33,280
Speaker 4: by a guy named Finnegan. So he gives him directions

633
00:33:33,360 --> 00:33:36,480
Speaker 4: sends him on his way. Now at the hotel, Yanosh

634
00:33:36,600 --> 00:33:38,720
Speaker 4: not only rents a room, but he gets a job

635
00:33:38,920 --> 00:33:41,560
Speaker 4: washing dishes at the cafe on the ground floor, where

636
00:33:41,600 --> 00:33:44,400
Speaker 4: it seems like he does extremely good work. We see

637
00:33:44,440 --> 00:33:47,320
Speaker 4: a scene of him efficiently drying off plates and teacups

638
00:33:47,360 --> 00:33:50,400
Speaker 4: while singing to himself. The gist is that Yanosh is

639
00:33:50,440 --> 00:33:53,560
Speaker 4: a machine. He's a real good worker, and he's friendly

640
00:33:53,600 --> 00:33:53,960
Speaker 4: to boot.

641
00:33:54,440 --> 00:33:54,640
Speaker 3: Yeah.

642
00:33:55,040 --> 00:33:57,640
Speaker 4: Now, at this hotel, we learned from the manager there

643
00:33:57,640 --> 00:34:00,400
Speaker 4: are a couple of rules if you're a guest. Of all,

644
00:34:00,440 --> 00:34:03,200
Speaker 4: no ironing for some reason. I think he says it

645
00:34:03,240 --> 00:34:06,800
Speaker 4: overloads the circuits or something. But then the other thing

646
00:34:06,880 --> 00:34:10,120
Speaker 4: is no cooking your own food. And the reason given

647
00:34:10,320 --> 00:34:13,560
Speaker 4: is explicitly that the cafe is not making enough money

648
00:34:13,640 --> 00:34:16,640
Speaker 4: and the hotel needs the business from the guests, so

649
00:34:16,680 --> 00:34:19,239
Speaker 4: you can't make your own food. Well, one night, we

650
00:34:19,280 --> 00:34:22,040
Speaker 4: see Yanosh relaxing in his hotel bed after a long

651
00:34:22,040 --> 00:34:25,239
Speaker 4: shift at work. He's sort of chattering away lovingly to

652
00:34:25,400 --> 00:34:29,400
Speaker 4: his photo of Maria. And then meanwhile, in another room,

653
00:34:29,680 --> 00:34:33,359
Speaker 4: a guest is doing such wickedness. He is breaking one

654
00:34:33,400 --> 00:34:36,479
Speaker 4: of the two commandments. He is cooking in his room,

655
00:34:37,080 --> 00:34:39,320
Speaker 4: and we get a close up of his little hot plate,

656
00:34:39,800 --> 00:34:43,080
Speaker 4: and unfortunately, the black and white photography is not kind

657
00:34:43,200 --> 00:34:46,239
Speaker 4: to whatever he's cooking in this spot. It's some gleaming,

658
00:34:46,360 --> 00:34:50,680
Speaker 4: wretched slop. It looks like he's boiling glass beads in

659
00:34:50,719 --> 00:34:53,640
Speaker 4: a broth of nail polish. It does not look good.

660
00:34:53,880 --> 00:34:56,000
Speaker 2: Yeah, I can figure out what this was. It was like,

661
00:34:56,080 --> 00:34:58,520
Speaker 2: is he doing like some sort of reduction of marachino

662
00:34:58,640 --> 00:34:59,680
Speaker 2: cherries or something.

663
00:35:00,560 --> 00:35:03,719
Speaker 4: Yeah, he's like tasting it. He's stirring it with a

664
00:35:03,760 --> 00:35:07,960
Speaker 4: fork and tating yum yum yum. Well, old man Finn again,

665
00:35:08,000 --> 00:35:11,320
Speaker 4: the guy who runs this place. He's roaming the halls,

666
00:35:11,480 --> 00:35:14,640
Speaker 4: sniffing around at the doors for illegal cookery, and he

667
00:35:15,280 --> 00:35:17,960
Speaker 4: detects He detects the cooking, so he zeros in on

668
00:35:18,000 --> 00:35:20,680
Speaker 4: the culprit, pulls up a ladder and tries to snoop

669
00:35:20,800 --> 00:35:23,759
Speaker 4: through the transom over the door to the room, but

670
00:35:23,800 --> 00:35:27,000
Speaker 4: the guest wises up real quick. He realized he hears

671
00:35:27,040 --> 00:35:30,480
Speaker 4: something outside, and then he hides his hot plate and

672
00:35:30,520 --> 00:35:33,760
Speaker 4: the pot of stew in the drawer of his wooden dresser.

673
00:35:34,560 --> 00:35:38,440
Speaker 4: Seems like a predictable outcome from this, so the guest

674
00:35:38,600 --> 00:35:40,360
Speaker 4: like he hides it in the dresser, and then he

675
00:35:40,400 --> 00:35:42,799
Speaker 4: puts on a hat and coat leaves the room. He

676
00:35:42,800 --> 00:35:45,920
Speaker 4: gives a wink to the old man that the manager.

677
00:35:45,920 --> 00:35:48,839
Speaker 4: He's like, ah, I thought you could catch me. Huh. Now,

678
00:35:48,880 --> 00:35:51,400
Speaker 4: as you might guess, putting the hot plate and the

679
00:35:51,440 --> 00:35:55,040
Speaker 4: pot inside the wooden furniture starts a fire, and the

680
00:35:55,080 --> 00:35:57,960
Speaker 4: fire grows out of control and then rages through the hotel.

681
00:35:58,960 --> 00:36:02,520
Speaker 4: So this scene turns horrifying. Yano Sho had been having

682
00:36:02,560 --> 00:36:05,439
Speaker 4: such a sweet time earlier. He was doing well at work. He's,

683
00:36:05,560 --> 00:36:09,520
Speaker 4: you know, dreaming about his beloved. Suddenly he's awoken to

684
00:36:09,560 --> 00:36:12,919
Speaker 4: find himself in a crumbling inferno. He tries to escape

685
00:36:12,960 --> 00:36:15,680
Speaker 4: the hotel, but he is hit by falling debris and

686
00:36:15,760 --> 00:36:19,960
Speaker 4: he ends up badly injured, very badly burned. By the way,

687
00:36:20,000 --> 00:36:21,759
Speaker 4: I just wanted to point out, rob there's one part

688
00:36:21,800 --> 00:36:23,600
Speaker 4: where he's like coming down the stairs and he's hit

689
00:36:23,680 --> 00:36:26,720
Speaker 4: by burning debris that falls from above and then tumbles

690
00:36:26,760 --> 00:36:29,839
Speaker 4: over the staircase railing. I just thought this was a

691
00:36:29,880 --> 00:36:32,719
Speaker 4: pretty impressive and dangerous looking stunt. I don't know how

692
00:36:32,760 --> 00:36:33,600
Speaker 4: they pulled this off.

693
00:36:34,040 --> 00:36:36,839
Speaker 2: Yeah, I'm not sure. Like the stunt double of they

694
00:36:36,880 --> 00:36:38,920
Speaker 2: have for Lori here, I assume it's a stunt double

695
00:36:39,600 --> 00:36:43,440
Speaker 2: and looks just like him, And yeah, very terrifying. I

696
00:36:43,440 --> 00:36:48,440
Speaker 2: tend to find most fire effects terrifying in films these days,

697
00:36:48,440 --> 00:36:52,000
Speaker 2: but yeah, it absolutely feels like a raging inferno here.

698
00:36:52,680 --> 00:36:55,840
Speaker 4: So Yano survives and he's taken to the hospital, but

699
00:36:56,000 --> 00:36:59,440
Speaker 4: he has suffered extensive third degree burns over his face

700
00:36:59,520 --> 00:37:02,160
Speaker 4: and head, and we see him in his hospital bed

701
00:37:02,200 --> 00:37:05,400
Speaker 4: with his head wrapped up completely in bandages like a mummy,

702
00:37:06,160 --> 00:37:10,240
Speaker 4: and his policeman friend O'Hara comes to the hospital showing concern.

703
00:37:10,640 --> 00:37:14,399
Speaker 4: He says he feels responsible for Yanosh's injuries because he's

704
00:37:14,440 --> 00:37:16,840
Speaker 4: the one who sent him to that hotel, and he

705
00:37:16,960 --> 00:37:18,799
Speaker 4: pays for some of his care. I think he gives

706
00:37:18,840 --> 00:37:22,560
Speaker 4: five dollars to pay for his hospital care, and then

707
00:37:22,640 --> 00:37:25,880
Speaker 4: he leaves a business card for Yanosh writing a note

708
00:37:25,920 --> 00:37:28,680
Speaker 4: on the back that he should call him when he's recovered.

709
00:37:29,200 --> 00:37:31,480
Speaker 2: Yeah, or I think the wording is something like when

710
00:37:31,520 --> 00:37:34,719
Speaker 2: things are okay. It's a little bit more vague, and

711
00:37:34,719 --> 00:37:36,080
Speaker 2: that's going to be important later on.

712
00:37:36,320 --> 00:37:36,719
Speaker 3: That's right.

713
00:37:36,760 --> 00:37:39,760
Speaker 4: I think it says call me when okay. So Janosh

714
00:37:39,920 --> 00:37:42,200
Speaker 4: retains the use of his hands, but as the healing

715
00:37:42,239 --> 00:37:44,680
Speaker 4: process goes on, it becomes clear that he's going to

716
00:37:44,680 --> 00:37:47,520
Speaker 4: have extensive scarring on his face and he will never

717
00:37:47,600 --> 00:37:50,960
Speaker 4: look the same. The scene where the doctor removes his

718
00:37:51,040 --> 00:37:55,120
Speaker 4: bandages is extremely dark and it's played like a horror film.

719
00:37:55,239 --> 00:37:58,120
Speaker 4: The doctor draws the shades on the window and then

720
00:37:58,200 --> 00:38:00,680
Speaker 4: covers the mirror in the corner of the room before

721
00:38:00,719 --> 00:38:04,040
Speaker 4: he takes the wrappings off. And while the doctor is

722
00:38:04,080 --> 00:38:08,479
Speaker 4: removing everything, Janosh is still his friendly, optimistic self. He's

723
00:38:08,560 --> 00:38:10,680
Speaker 4: going on and on about how he's excited to go

724
00:38:10,760 --> 00:38:13,960
Speaker 4: back out and look for work. He's talking about how

725
00:38:14,120 --> 00:38:16,120
Speaker 4: he's saying, I'm very skilled with my hands. I have

726
00:38:16,200 --> 00:38:19,320
Speaker 4: experience as a watchmaker, but also in other mechanical jobs.

727
00:38:19,360 --> 00:38:22,319
Speaker 4: I once worked in an airplane factory. I even flew

728
00:38:22,360 --> 00:38:25,560
Speaker 4: airplanes when I was in the Armed Forces. And so

729
00:38:25,840 --> 00:38:28,759
Speaker 4: he's going on about the future. He's very hopeful, but

730
00:38:29,080 --> 00:38:32,040
Speaker 4: once his face is revealed, the nurses in the room

731
00:38:32,160 --> 00:38:35,000
Speaker 4: shut their eyes and wins, and then one nurse even

732
00:38:35,080 --> 00:38:37,320
Speaker 4: walks into the room and screams in horror.

733
00:38:38,000 --> 00:38:42,200
Speaker 2: Yeah, this scene instantly made me think of a nineteen

734
00:38:42,239 --> 00:38:45,560
Speaker 2: eighty nine Batman, the Tim Burton picture. We have that

735
00:38:45,640 --> 00:38:49,319
Speaker 2: great scene with the removal of the bandages on Jack

736
00:38:49,400 --> 00:38:53,040
Speaker 2: Nicholson's joker in that and you know, it's not you know,

737
00:38:53,120 --> 00:38:57,200
Speaker 2: one to one here, But I can't help but ponder

738
00:38:57,560 --> 00:39:00,600
Speaker 2: to what extent like this picture and what other pictures

739
00:39:00,640 --> 00:39:02,120
Speaker 2: may have influenced that scene.

740
00:39:02,160 --> 00:39:05,400
Speaker 4: You know, yeah, I see strong similarity. I would agree

741
00:39:05,400 --> 00:39:10,040
Speaker 4: it's a likely influence. But of course, you know these reactions,

742
00:39:10,160 --> 00:39:12,560
Speaker 4: they start to alarm you a ocean. He becomes upset,

743
00:39:12,640 --> 00:39:15,240
Speaker 4: so he runs to the mirror, pulls away the towel

744
00:39:15,280 --> 00:39:18,880
Speaker 4: that's hiding the glass, and is confronted with his new face.

745
00:39:19,880 --> 00:39:22,319
Speaker 4: Every inch of it is scarred and it has sort

746
00:39:22,360 --> 00:39:25,960
Speaker 4: of a melted texture. And it's interesting that this is

747
00:39:26,000 --> 00:39:29,640
Speaker 4: basically the only time the movie actually gives you a

748
00:39:29,640 --> 00:39:32,960
Speaker 4: good look at his injuries after this scene. For a

749
00:39:33,000 --> 00:39:37,480
Speaker 4: long time, until there's another plot development, his face will

750
00:39:37,480 --> 00:39:40,760
Speaker 4: be always turned away from the camera or otherwise hidden.

751
00:39:41,800 --> 00:39:44,200
Speaker 4: At a certain point, he's going to acquire a customized

752
00:39:44,320 --> 00:39:47,000
Speaker 4: mask that makes him look like Peter Loriie again, but

753
00:39:47,080 --> 00:39:50,759
Speaker 4: a sort of altered lory like Uncanny Laurie. And I

754
00:39:50,800 --> 00:39:53,399
Speaker 4: don't unless I'm forgetting it. There's really not any other

755
00:39:53,440 --> 00:39:55,440
Speaker 4: time they show him with his injuries.

756
00:39:56,200 --> 00:39:59,840
Speaker 2: Yeah, we get some pretty solid glances of it, like

757
00:40:00,080 --> 00:40:02,600
Speaker 2: the mirror and so forth. But yeah, for the most part,

758
00:40:02,640 --> 00:40:06,719
Speaker 2: they they don't show it to us directly. It's focused

759
00:40:06,719 --> 00:40:10,360
Speaker 2: more on him becoming a creature of the shadows and people,

760
00:40:11,000 --> 00:40:14,520
Speaker 2: you know, having this terrible reaction to seeing him.

761
00:40:14,880 --> 00:40:15,640
Speaker 3: And then once the.

762
00:40:15,640 --> 00:40:19,280
Speaker 2: Mask is acquired, it is quite interesting because it gives

763
00:40:19,440 --> 00:40:22,480
Speaker 2: it ends up giving Janosh this kind of weird, almost

764
00:40:22,680 --> 00:40:23,880
Speaker 2: otherworldly beauty.

765
00:40:23,920 --> 00:40:24,080
Speaker 3: You know.

766
00:40:24,160 --> 00:40:28,000
Speaker 2: He's like like like an angel, like a fallen angel certainly,

767
00:40:28,120 --> 00:40:32,040
Speaker 2: you know, but this clearly this being that's caught between realities,

768
00:40:32,480 --> 00:40:36,400
Speaker 2: Like it smooths out Peter Lourie's face. So, yeah, he

769
00:40:36,680 --> 00:40:40,840
Speaker 2: takes on this strange but not like you know, monstrous appearance.

770
00:40:41,160 --> 00:40:41,719
Speaker 3: Yeah.

771
00:40:42,000 --> 00:40:45,880
Speaker 4: So after seeing his face, Janosh temporarily loses his mind.

772
00:40:45,920 --> 00:40:49,400
Speaker 4: He starts screaming, where is my face, and he thrashes about,

773
00:40:49,480 --> 00:40:53,799
Speaker 4: shouting and attacking the doctor until finally he is forcefully sedated.

774
00:40:55,200 --> 00:40:58,440
Speaker 4: So after this, some time passes and we see things

775
00:40:58,480 --> 00:41:01,760
Speaker 4: continuing to go back. For Yanosh, he goes out looking

776
00:41:01,800 --> 00:41:04,800
Speaker 4: for work, dressed in a black fedora and a dark

777
00:41:04,840 --> 00:41:07,279
Speaker 4: coat with the collar pulled up around his face to

778
00:41:07,719 --> 00:41:11,080
Speaker 4: hide himself. So he's dressed kind of like a cross

779
00:41:11,120 --> 00:41:14,680
Speaker 4: between your standard hard boiled PI but also a bit

780
00:41:14,719 --> 00:41:18,279
Speaker 4: of Dracula in there, somewhere in between the two. And

781
00:41:18,440 --> 00:41:22,600
Speaker 4: everywhere he goes, including a watchmaker shop and an airplane factory,

782
00:41:23,120 --> 00:41:25,840
Speaker 4: he asks for work, but he is turned away once

783
00:41:25,920 --> 00:41:29,680
Speaker 4: the boss sees his face, And there's some very gloomy

784
00:41:29,719 --> 00:41:32,000
Speaker 4: atmosphere in this part of the film, like I'm thinking

785
00:41:32,000 --> 00:41:35,440
Speaker 4: particularly of the scene where he goes to the watchmaker's shop,

786
00:41:35,560 --> 00:41:38,760
Speaker 4: or it seems to be nighttime outside and the windows

787
00:41:38,800 --> 00:41:42,520
Speaker 4: are illuminated from inside, so he goes in to talk,

788
00:41:42,600 --> 00:41:44,800
Speaker 4: but once the watchmaker sees him, he's like, sorry, I

789
00:41:45,320 --> 00:41:47,200
Speaker 4: forgot to take the sign out of the window. We

790
00:41:47,239 --> 00:41:49,880
Speaker 4: don't have any positions and sends him away, and we

791
00:41:49,920 --> 00:41:53,279
Speaker 4: see Peter Lorie walking off down the sidewalk where he's

792
00:41:53,960 --> 00:41:58,000
Speaker 4: illuminated by like he should be illuminated by this lamp

793
00:41:58,040 --> 00:41:59,839
Speaker 4: that we see in the foreground, but it's like none

794
00:41:59,880 --> 00:42:02,719
Speaker 4: of the light touches him somehow, like he's just a

795
00:42:02,760 --> 00:42:07,200
Speaker 4: pure shadow from head to toe. Yeah, we see him

796
00:42:07,200 --> 00:42:10,520
Speaker 4: becoming increasingly desperate when he goes to talk to the

797
00:42:10,560 --> 00:42:13,719
Speaker 4: manager of the airplane factory, like he's turned away from

798
00:42:13,760 --> 00:42:16,680
Speaker 4: the camera, but he says, please, my face makes no

799
00:42:16,760 --> 00:42:18,880
Speaker 4: difference to how I can work with my hands, and

800
00:42:18,960 --> 00:42:23,800
Speaker 4: he's showing the manager his hands, but the manager just says, sorry,

801
00:42:23,800 --> 00:42:27,360
Speaker 4: there's nothing doing here. And then we get maybe the

802
00:42:27,400 --> 00:42:31,200
Speaker 4: most heartbreaking scene in the entire film, a scene where

803
00:42:31,280 --> 00:42:35,280
Speaker 4: Yanosh writes a letter to his love back home to Maria,

804
00:42:35,880 --> 00:42:39,600
Speaker 4: which we see part of it translated into English, and

805
00:42:39,640 --> 00:42:42,320
Speaker 4: the part we see says, I must hurt you, dear Maria,

806
00:42:42,520 --> 00:42:45,279
Speaker 4: just once, then you can forget me forever. I have

807
00:42:45,400 --> 00:42:47,839
Speaker 4: met a girl, a very pretty girl. We are going

808
00:42:47,880 --> 00:42:53,120
Speaker 4: to be married. Goodbye, Maria, forgive and forget Janosh. Obviously

809
00:42:53,200 --> 00:42:56,120
Speaker 4: this is not true, but he can't face her now,

810
00:42:56,160 --> 00:42:58,520
Speaker 4: so he lies to make her move on with her life.

811
00:42:58,560 --> 00:42:59,560
Speaker 4: And this part is so.

812
00:42:59,680 --> 00:43:03,120
Speaker 2: Sad, absolutely heartbreaking. This one legitally made me tear up

813
00:43:03,480 --> 00:43:04,640
Speaker 2: when I was watching the picture.

814
00:43:05,040 --> 00:43:07,920
Speaker 4: But then we're going to get another slight reversal of fortune.

815
00:43:07,960 --> 00:43:10,240
Speaker 4: So here we come up on the scene where Yanosh

816
00:43:10,280 --> 00:43:14,319
Speaker 4: meets Dinky. Now, the setup to this scene visually is

817
00:43:14,640 --> 00:43:19,680
Speaker 4: very moody and beautiful. Yanosh is standing in his dark costume,

818
00:43:19,960 --> 00:43:23,720
Speaker 4: covered by the coat and the hat at the railing

819
00:43:23,800 --> 00:43:27,640
Speaker 4: of a concrete walkway overlooking the ocean, and the moonlight

820
00:43:27,920 --> 00:43:31,080
Speaker 4: reflects off of the water and casts these white ripples

821
00:43:31,120 --> 00:43:34,640
Speaker 4: across the whole scene. It seems to imply Yanosh is

822
00:43:34,680 --> 00:43:37,720
Speaker 4: thinking about jumping from the railing and ending his life,

823
00:43:37,760 --> 00:43:42,560
Speaker 4: but hope comes through a series of unusual events. So

824
00:43:42,600 --> 00:43:45,680
Speaker 4: a well dressed man approaches Yanosh to ask for a

825
00:43:45,719 --> 00:43:47,960
Speaker 4: match to light his cigar, and this is kind of

826
00:43:47,960 --> 00:43:50,080
Speaker 4: interesting in how it plays on the very first thing

827
00:43:50,120 --> 00:43:52,640
Speaker 4: we ever heard from Yanosh, when he walks up to

828
00:43:52,080 --> 00:43:54,400
Speaker 4: the guy working on the boat at the beginning and

829
00:43:54,440 --> 00:43:57,480
Speaker 4: asks for a match to practice his English. This guy

830
00:43:57,480 --> 00:43:59,520
Speaker 4: comes up to ask for a match, and then Yanosh

831
00:43:59,520 --> 00:44:01,439
Speaker 4: tries to get give him one, but when the man

832
00:44:01,520 --> 00:44:05,040
Speaker 4: sees Janosh's face up close, the cigar falls out of

833
00:44:05,040 --> 00:44:08,520
Speaker 4: his mouth and he runs away screaming. Suddenly, from out

834
00:44:08,520 --> 00:44:11,080
Speaker 4: of the shadows behind a bunch of crates and barrels

835
00:44:11,280 --> 00:44:14,279
Speaker 4: comes a third man, and this is Dinky, who's going

836
00:44:14,360 --> 00:44:17,879
Speaker 4: to become a major character. Dinky notices that the well

837
00:44:17,960 --> 00:44:20,640
Speaker 4: dressed man dropped his wallet as he was running away,

838
00:44:21,120 --> 00:44:24,040
Speaker 4: so he approaches Yanosh without fear. He picks up the

839
00:44:24,080 --> 00:44:27,239
Speaker 4: wallet and he's like, you know, oh, hey thought I

840
00:44:27,280 --> 00:44:29,360
Speaker 4: was a cop, didn't you. Well, let's see what Sandy

841
00:44:29,400 --> 00:44:32,080
Speaker 4: Claus left for us, And he starts going through the wallet.

842
00:44:32,719 --> 00:44:36,680
Speaker 4: And Dinky is a crook, but he's also instantly likable,

843
00:44:37,520 --> 00:44:40,080
Speaker 4: Like he gets the cash out of the wallet and

844
00:44:40,080 --> 00:44:42,680
Speaker 4: he's like, ah, what a cheap skate, only twelve bucks,

845
00:44:43,080 --> 00:44:45,920
Speaker 4: but he splits the cash with Yano. She gives him half.

846
00:44:46,719 --> 00:44:49,719
Speaker 4: So they introduce themselves to each other, and Dinky is

847
00:44:49,760 --> 00:44:53,560
Speaker 4: a little squirrely, but unlike everyone else, he doesn't react

848
00:44:53,560 --> 00:44:57,480
Speaker 4: with horror at Yanosh's face. Instead, he treats him like

849
00:44:57,520 --> 00:45:00,400
Speaker 4: a friend, like when Yanosh is like, aren't you afraid

850
00:45:00,400 --> 00:45:03,600
Speaker 4: of me? And Dicky says, what your face? Ah, that's nothing,

851
00:45:04,400 --> 00:45:09,360
Speaker 4: And they start talking about Janosh's apparent thoughts of jumping

852
00:45:09,400 --> 00:45:11,560
Speaker 4: from the wall, and Dinky has has a kind of

853
00:45:11,680 --> 00:45:15,400
Speaker 4: casual way of bringing some cheer to the situation. He says,

854
00:45:15,719 --> 00:45:17,840
Speaker 4: what do you get out of being dead lying around

855
00:45:17,880 --> 00:45:19,840
Speaker 4: in a grave? Ain't my idea of a good time?

856
00:45:20,520 --> 00:45:23,480
Speaker 4: And he's a sympathetic ear. Yano starts to tell him

857
00:45:23,520 --> 00:45:25,640
Speaker 4: about his troubles. No one will give him work and

858
00:45:25,680 --> 00:45:27,359
Speaker 4: no one will look him in the face or talk

859
00:45:27,440 --> 00:45:31,279
Speaker 4: to him, And Dinky says like, hey, I'm looking, I'm

860
00:45:31,320 --> 00:45:33,399
Speaker 4: looking at you, I'm talking to you. Let me take

861
00:45:33,400 --> 00:45:35,560
Speaker 4: you out for a hot meal. So he takes him

862
00:45:35,600 --> 00:45:38,359
Speaker 4: to eat and takes him back to the hotel where

863
00:45:38,360 --> 00:45:41,120
Speaker 4: he's crashing, and they start to become fast friends.

864
00:45:41,760 --> 00:45:44,080
Speaker 2: Yeah, Dinky almost has kind of a what a run

865
00:45:44,160 --> 00:45:46,799
Speaker 2: and ask Zen quality to him. You know, he lives

866
00:45:46,920 --> 00:45:47,520
Speaker 2: very much.

867
00:45:47,360 --> 00:45:49,000
Speaker 3: In the moment, that's right.

868
00:45:49,120 --> 00:45:52,120
Speaker 4: So back at Dinky's place, Dinky's like having a bath

869
00:45:52,320 --> 00:45:55,360
Speaker 4: and sermonizing to Yanosh about his life philosophy.

870
00:45:55,480 --> 00:45:58,600
Speaker 2: Oh and by Dinky's place, we mean a hotel room

871
00:45:58,600 --> 00:46:00,640
Speaker 2: that they were able to pay for for just one night,

872
00:46:00,960 --> 00:46:03,440
Speaker 2: you know, because again, Dinky lives in the moment, is

873
00:46:03,480 --> 00:46:04,640
Speaker 2: one night at a time, you know.

874
00:46:04,840 --> 00:46:09,200
Speaker 4: Yeah, that's right. Yeah, So Dinky says, I've been on

875
00:46:09,239 --> 00:46:11,840
Speaker 4: my own since I was fifteen. I learned my lesson early.

876
00:46:11,920 --> 00:46:14,320
Speaker 4: You got to go for the free rides in this world.

877
00:46:14,360 --> 00:46:17,160
Speaker 4: You got to grab everything you can for yourself before

878
00:46:17,200 --> 00:46:20,360
Speaker 4: somebody else grabs it first. Only don't get too greedy.

879
00:46:20,480 --> 00:46:22,879
Speaker 4: I grabbed one thing too many once and got free

880
00:46:22,920 --> 00:46:26,440
Speaker 4: room and board in a reform school. And Yano says,

881
00:46:26,440 --> 00:46:29,680
Speaker 4: what you stole, And Dinky says, well, that's what they

882
00:46:29,760 --> 00:46:33,080
Speaker 4: called it, And Yano's just like, but Dinky, it is

883
00:46:33,120 --> 00:46:36,400
Speaker 4: wrong to steal. You can't do wrong and find happiness

884
00:46:36,440 --> 00:46:39,560
Speaker 4: in life. And here there was big like Loupita from

885
00:46:39,680 --> 00:46:40,800
Speaker 4: Santa Claus energy.

886
00:46:41,320 --> 00:46:47,520
Speaker 2: Yes, absolutely, yeah, yeah. The morality play aspects of this

887
00:46:47,560 --> 00:46:50,680
Speaker 2: picture very interesting because it's like the police in this

888
00:46:50,760 --> 00:46:56,040
Speaker 2: picture are absolutely good. Criminals can go either way. And

889
00:46:56,880 --> 00:46:59,200
Speaker 2: then of course Janosh, at least at this portion, in

890
00:46:59,200 --> 00:47:01,120
Speaker 2: this portion of the picture is very much of the

891
00:47:01,200 --> 00:47:03,320
Speaker 2: idea that like there is an absolute right and wrong,

892
00:47:03,440 --> 00:47:05,520
Speaker 2: there is a firm line between the two, there is

893
00:47:05,560 --> 00:47:08,719
Speaker 2: no gray area, and you cannot cross over that line.

894
00:47:09,120 --> 00:47:12,280
Speaker 4: Really, it's funny. Yeah, the cops in the movie are good,

895
00:47:12,320 --> 00:47:15,040
Speaker 4: even though I expected them to be crooked. The criminals

896
00:47:15,040 --> 00:47:18,960
Speaker 4: are a mix. The really like bad lot are hiring managers.

897
00:47:19,239 --> 00:47:22,160
Speaker 2: Yeah, yeah, yeah, yeah. And they cast a bit of

898
00:47:22,200 --> 00:47:24,880
Speaker 2: shade too on the guy who dropped the wallet. I

899
00:47:24,920 --> 00:47:27,560
Speaker 2: think they were they prefer to him being like a

900
00:47:27,560 --> 00:47:28,680
Speaker 2: Wall Street guy or something.

901
00:47:28,800 --> 00:47:28,960
Speaker 3: Right.

902
00:47:29,320 --> 00:47:31,680
Speaker 4: Yeah, Dinky's attitude is like, what is he going to

903
00:47:31,719 --> 00:47:33,960
Speaker 4: come back for this money? He's not gonna miss it. Yeah,

904
00:47:34,520 --> 00:47:37,280
Speaker 4: But Dinky also explains it's not like he really wants

905
00:47:37,360 --> 00:47:40,759
Speaker 4: to be in a life of crime the way he

906
00:47:40,800 --> 00:47:42,560
Speaker 4: thinks about it. He says, what do you get out

907
00:47:42,560 --> 00:47:44,640
Speaker 4: of going straight? I tried to go straight six or

908
00:47:44,680 --> 00:47:48,240
Speaker 4: seven times, but something always went wrong, something always happened.

909
00:47:48,840 --> 00:47:51,880
Speaker 4: So we sort of get the picture forming that Dinky

910
00:47:51,960 --> 00:47:55,520
Speaker 4: is a small time crook, but he's not really malicious.

911
00:47:55,719 --> 00:47:58,480
Speaker 4: He's kind of a sweetheart, and he keeps trying to

912
00:47:58,880 --> 00:48:02,279
Speaker 4: set things right. You find out that he's got a

913
00:48:02,320 --> 00:48:05,320
Speaker 4: mother living out on a farm in the Midwest, hoping

914
00:48:05,360 --> 00:48:08,319
Speaker 4: he'll come home sometime, and he keeps meaning to save

915
00:48:08,440 --> 00:48:10,239
Speaker 4: up some money so he can take some money and

916
00:48:10,280 --> 00:48:12,280
Speaker 4: go back to her and help her buy a chicken

917
00:48:12,360 --> 00:48:15,200
Speaker 4: ranch she's always dreamed of and work on the ranch

918
00:48:15,239 --> 00:48:19,000
Speaker 4: with his mom. And it seems it's a really sweet intention,

919
00:48:19,160 --> 00:48:21,600
Speaker 4: but he just never manages to get it together, often

920
00:48:21,640 --> 00:48:24,839
Speaker 4: because of stuff outside of his control, like he They

921
00:48:24,840 --> 00:48:27,000
Speaker 4: never say exactly what it is, but it's implied that

922
00:48:27,080 --> 00:48:30,759
Speaker 4: Dinky has some kind of chronic disease that occasionally flares up,

923
00:48:31,160 --> 00:48:32,759
Speaker 4: and then he gets sick and asks to go to

924
00:48:32,760 --> 00:48:35,520
Speaker 4: the hospital, which in the past has caused him to

925
00:48:35,680 --> 00:48:38,480
Speaker 4: lose whatever legitimate job he had at the time. So

926
00:48:38,520 --> 00:48:40,279
Speaker 4: then when he gets out of the hospital, he has

927
00:48:40,320 --> 00:48:43,880
Speaker 4: to do crime again. Yeah, So they compare their attitudes.

928
00:48:43,960 --> 00:48:47,840
Speaker 4: Janosh is now very hopeless and fatalistic about his situation

929
00:48:47,960 --> 00:48:53,080
Speaker 4: in life. Dinky is relatively carefree. He says, Yanosh's like,

930
00:48:53,120 --> 00:48:54,880
Speaker 4: what's going to happen when we run out of the

931
00:48:54,920 --> 00:48:58,360
Speaker 4: money that we got tonight? Dinky's like, eh, you know,

932
00:48:58,440 --> 00:49:01,400
Speaker 4: something else always comes along. He mentions that he has

933
00:49:01,440 --> 00:49:05,080
Speaker 4: an associate named Jeff. This will be Jeffrey Jeff Jeffries

934
00:49:06,000 --> 00:49:08,719
Speaker 4: who is doing a stretch up the river, like doing

935
00:49:08,760 --> 00:49:11,319
Speaker 4: time in prison, and when he when he gets out,

936
00:49:11,360 --> 00:49:14,640
Speaker 4: he will have plenty of jobs for the both of them. Yanosh,

937
00:49:14,880 --> 00:49:19,040
Speaker 4: not fully understanding the criminal implications here, is like, oh, boy, jobs,

938
00:49:20,360 --> 00:49:23,719
Speaker 4: and he goes to sleep dreaming that things will turn up.

939
00:49:32,680 --> 00:49:38,080
Speaker 4: So Dinky and Janosh who Dinky calls Janosh Johnny. They

940
00:49:38,080 --> 00:49:40,640
Speaker 4: go on living in cheaper and cheaper motels. You see

941
00:49:40,640 --> 00:49:43,760
Speaker 4: a kind of montage of the four rent signs getting

942
00:49:43,880 --> 00:49:47,560
Speaker 4: lower and lower prices, until finally they get thrown out

943
00:49:47,600 --> 00:49:50,799
Speaker 4: of a real flea bag and they're living in a junkyard.

944
00:49:50,920 --> 00:49:53,520
Speaker 4: And Dinky at this point he's had some kind of

945
00:49:53,560 --> 00:49:56,360
Speaker 4: health flare up. He's sick and in need of a doctor.

946
00:49:57,239 --> 00:49:59,800
Speaker 4: And here is where the plot takes a turn. Dinky

947
00:49:59,920 --> 00:50:02,480
Speaker 4: is supposed to go out on a job tonight, but

948
00:50:02,600 --> 00:50:05,520
Speaker 4: he's too sick, and he sends janoshoff to tell his

949
00:50:05,560 --> 00:50:07,680
Speaker 4: associates that he's not going to be able to be

950
00:50:07,760 --> 00:50:12,239
Speaker 4: there to do the job. Instead of that, Yanosh goes

951
00:50:12,280 --> 00:50:16,000
Speaker 4: to his associates and pulls the job off in Dinky stead,

952
00:50:16,600 --> 00:50:19,080
Speaker 4: and we learned that the job was straight up crime.

953
00:50:19,239 --> 00:50:21,680
Speaker 4: It was cracking into a safe and pulling off a

954
00:50:21,760 --> 00:50:25,080
Speaker 4: jewel heist. I think we're to assume, you know, they

955
00:50:25,160 --> 00:50:28,560
Speaker 4: talked multiple times before about how Yanosh has skilled hands.

956
00:50:28,600 --> 00:50:31,200
Speaker 4: He has mechanical skill with his hands, so I think

957
00:50:31,200 --> 00:50:34,120
Speaker 4: we're to assume that these skills transferred, you know, his

958
00:50:34,280 --> 00:50:37,960
Speaker 4: watchmaker skills were transferable to opening a locked safe.

959
00:50:38,239 --> 00:50:41,440
Speaker 2: Yeah, he's got that eighteen dexterity, so he's able to

960
00:50:41,480 --> 00:50:44,760
Speaker 2: get in there and break into some space. But yeah,

961
00:50:44,880 --> 00:50:49,280
Speaker 2: we don't see this heist, this, this this safe cracking

962
00:50:49,360 --> 00:50:53,480
Speaker 2: scene at all. It's missing, Yeah, scene, absolutely missing it.

963
00:50:54,040 --> 00:50:55,600
Speaker 2: I would have loved to have seen it, like I

964
00:50:55,640 --> 00:50:59,400
Speaker 2: wanted to. I wanted to see like the gears turning

965
00:50:59,440 --> 00:51:02,120
Speaker 2: and Yanosh his head as he realizes like what this

966
00:51:02,280 --> 00:51:05,560
Speaker 2: job is, as he you know, actually you know, gets

967
00:51:05,560 --> 00:51:08,360
Speaker 2: the determination together to go ahead and pull it off,

968
00:51:08,520 --> 00:51:12,759
Speaker 2: like this seems like a great dramatic sequence that I

969
00:51:12,960 --> 00:51:15,319
Speaker 2: guess it was just never filmed, And I don't know

970
00:51:15,320 --> 00:51:17,560
Speaker 2: what the full story is here. If they never intended to,

971
00:51:17,680 --> 00:51:19,759
Speaker 2: it's just that's not the sort of picture it is,

972
00:51:19,880 --> 00:51:21,680
Speaker 2: or if it's something they were going to film and

973
00:51:21,680 --> 00:51:23,480
Speaker 2: didn't have the funds for, I don't know.

974
00:51:24,360 --> 00:51:26,239
Speaker 4: Yeah, I don't know. I would have liked to see

975
00:51:26,239 --> 00:51:28,680
Speaker 4: it too. But anyway, Yanosh makes so much money from

976
00:51:28,719 --> 00:51:31,880
Speaker 4: the job he is able to take Dinky to the

977
00:51:31,960 --> 00:51:34,840
Speaker 4: doctor and get medicine to make him better. So Dinky's

978
00:51:34,880 --> 00:51:38,520
Speaker 4: recovering now. But while he's he's in bed and Iyanosh

979
00:51:38,640 --> 00:51:40,640
Speaker 4: is there by his side. Some tough guys show up

980
00:51:40,680 --> 00:51:44,640
Speaker 4: to demand money that Dinky owes them, and they're like, Hey,

981
00:51:44,680 --> 00:51:46,959
Speaker 4: this new guy's real good. Let's put him to work.

982
00:51:48,680 --> 00:51:51,480
Speaker 4: Just another note, This doesn't feel like a comment on

983
00:51:51,560 --> 00:51:54,160
Speaker 4: their character, or at least on an intentional one. But

984
00:51:54,320 --> 00:51:57,120
Speaker 4: I should note that the other criminals also do not

985
00:51:57,200 --> 00:51:59,920
Speaker 4: seem phased by Janosh's scars the way that like any

986
00:52:00,040 --> 00:52:02,239
Speaker 4: buddy who's offering a legitimate job does.

987
00:52:02,920 --> 00:52:05,239
Speaker 2: Yeah, this is interesting, isn't it. I hadn't really thought

988
00:52:05,239 --> 00:52:07,520
Speaker 2: about this as much. But they they just see the

989
00:52:07,800 --> 00:52:10,279
Speaker 2: dollar signs. They're like, Oh, this guy can crack a

990
00:52:10,320 --> 00:52:13,440
Speaker 2: safe and in no time. Well, yeah, of course we

991
00:52:13,480 --> 00:52:16,080
Speaker 2: want to keep doing business with him. Yeah, but in

992
00:52:16,160 --> 00:52:21,359
Speaker 2: ways that other like legitimate businesses, refuse to consider on

993
00:52:21,400 --> 00:52:24,040
Speaker 2: all these job interviews he was going for and so forth.

994
00:52:24,920 --> 00:52:28,000
Speaker 4: Anyway, so the path is now on offer. They can

995
00:52:28,080 --> 00:52:30,719
Speaker 4: keep lining up more jobs for yanoshan he can make

996
00:52:30,760 --> 00:52:34,399
Speaker 4: them all filthy rich. Now Janosh initially does not want this.

997
00:52:34,440 --> 00:52:37,320
Speaker 4: He still thinks it is wrong to steal, but Dinky

998
00:52:37,560 --> 00:52:40,440
Speaker 4: knows how to make the appeal to him. He's like, Janosh,

999
00:52:40,520 --> 00:52:42,520
Speaker 4: I know what you want more than anything else in

1000
00:52:42,560 --> 00:52:45,600
Speaker 4: the world. You want your face back. And there are

1001
00:52:45,640 --> 00:52:48,000
Speaker 4: these people out there called I think he calls them

1002
00:52:48,040 --> 00:52:52,239
Speaker 4: plastic doctors. He's talking about plastic surgeons. He says, if

1003
00:52:52,280 --> 00:52:54,960
Speaker 4: you have enough money, they can they can give you

1004
00:52:54,960 --> 00:52:58,960
Speaker 4: your old face back. And Yanosh is entranced.

1005
00:52:58,520 --> 00:52:59,200
Speaker 3: By this idea.

1006
00:52:59,280 --> 00:53:01,480
Speaker 4: He's like, really, I didn't even know that was possible.

1007
00:53:02,360 --> 00:53:04,319
Speaker 4: So he says, could they fix my face so that

1008
00:53:04,360 --> 00:53:06,920
Speaker 4: people can look at me? And Dinky says, all you

1009
00:53:07,040 --> 00:53:11,439
Speaker 4: need is money, So it's impossible for Janosh to resist. Now,

1010
00:53:11,480 --> 00:53:14,200
Speaker 4: a new face would be a new life. So he's like, okay,

1011
00:53:14,440 --> 00:53:15,960
Speaker 4: crime me up, I will do crime.

1012
00:53:16,480 --> 00:53:19,719
Speaker 2: This bit of dialogue between Dinky and Janosh, it really

1013
00:53:19,719 --> 00:53:21,799
Speaker 2: feels like the heart of the picture, And it's the

1014
00:53:21,800 --> 00:53:24,839
Speaker 2: part of the picture that I feel like gives us

1015
00:53:24,840 --> 00:53:27,640
Speaker 2: the most to chew on and figuring out what its

1016
00:53:27,680 --> 00:53:30,920
Speaker 2: message is. You know, this bit where he's saying it's

1017
00:53:30,960 --> 00:53:33,200
Speaker 2: being done every day. Yeah, all you have to have

1018
00:53:33,280 --> 00:53:36,279
Speaker 2: is money, you know, buying yourself a new face and

1019
00:53:36,320 --> 00:53:39,360
Speaker 2: so forth. Yeah, it's a lot to chew on. It's

1020
00:53:39,400 --> 00:53:44,520
Speaker 2: really it's as if Dinky is really opening Janosh's eyes

1021
00:53:44,920 --> 00:53:47,960
Speaker 2: to the real American dream, Like, here is the real America,

1022
00:53:48,280 --> 00:53:49,879
Speaker 2: and this is how you climb here.

1023
00:53:50,320 --> 00:53:53,640
Speaker 4: Yeah. So there's a scene where Yanosh goes to visit

1024
00:53:53,680 --> 00:53:56,520
Speaker 4: the plastic surgeon, but unfortunate once he gets there, the

1025
00:53:56,560 --> 00:53:59,680
Speaker 4: answer isn't as straightforward as Dinky led him to believe.

1026
00:54:02,160 --> 00:54:07,160
Speaker 4: It's interesting the surgeon isn't presented as giving him giving

1027
00:54:07,280 --> 00:54:11,360
Speaker 4: him impossible promises. Instead, the surgeon seems to be fairly

1028
00:54:11,400 --> 00:54:16,040
Speaker 4: measured in his initial analysis. He's like, well, I'll need

1029
00:54:16,080 --> 00:54:19,240
Speaker 4: to consult another doctor from the practice and compare notes,

1030
00:54:19,280 --> 00:54:22,239
Speaker 4: but we think full reconstructive surgery would be expensive and

1031
00:54:22,320 --> 00:54:25,880
Speaker 4: protracted might not be possible at all. In the meantime,

1032
00:54:25,960 --> 00:54:28,000
Speaker 4: I can make you a rubber mask of your old

1033
00:54:28,080 --> 00:54:31,480
Speaker 4: face based on your passport photo, and the mask will

1034
00:54:31,520 --> 00:54:34,080
Speaker 4: serve until we can, you know, do a full rundown

1035
00:54:34,320 --> 00:54:36,239
Speaker 4: and see what the prospects for surgery are.

1036
00:54:36,920 --> 00:54:37,120
Speaker 3: Yep.

1037
00:54:37,239 --> 00:54:39,360
Speaker 2: So Janosh is like, mask me up. Let's go with

1038
00:54:39,400 --> 00:54:41,520
Speaker 2: the mask and then I'll come back for that next apployment.

1039
00:54:41,760 --> 00:54:44,839
Speaker 4: Yeah, the mask will also be expensive. So Yanosh does

1040
00:54:44,880 --> 00:54:49,000
Speaker 4: have to do more crimes. So he goes from reluctant

1041
00:54:49,040 --> 00:54:52,799
Speaker 4: safe cracker to just NonStop crime boss. He not only

1042
00:54:52,920 --> 00:54:56,800
Speaker 4: it becomes a safe cracker, he takes over the gang

1043
00:54:57,000 --> 00:54:59,000
Speaker 4: like he all the you know, the tough guys who

1044
00:54:59,000 --> 00:55:01,400
Speaker 4: were showing up at Dinky's, now they're all working for

1045
00:55:02,480 --> 00:55:05,319
Speaker 4: Janosh and he pulls off highest after heist, we get

1046
00:55:05,320 --> 00:55:08,960
Speaker 4: the newspaper headlines, scenes of the police getting chewed out

1047
00:55:08,960 --> 00:55:12,160
Speaker 4: by their superiors because they can't catch this criminal mastermind.

1048
00:55:12,880 --> 00:55:14,840
Speaker 4: In fact, it seems like the main detective on the

1049
00:55:14,840 --> 00:55:17,520
Speaker 4: case is Yanosh's old friend, Lieutenant O'Hara.

1050
00:55:18,480 --> 00:55:19,239
Speaker 3: Of course, it is.

1051
00:55:21,000 --> 00:55:23,799
Speaker 4: Also somewhere along this process Yanosh ends up not only

1052
00:55:23,840 --> 00:55:26,560
Speaker 4: with a lot of money, but ends up with an airplane,

1053
00:55:26,600 --> 00:55:29,240
Speaker 4: or at least flying an airplane, like he They mentioned

1054
00:55:29,320 --> 00:55:31,600
Speaker 4: multiple times that he goes out flying an airplane.

1055
00:55:32,000 --> 00:55:34,800
Speaker 2: Yeah, yeah, so's he has become the boss. He's running

1056
00:55:34,840 --> 00:55:39,080
Speaker 2: this entire operation. And we'll get some more of crime

1057
00:55:39,120 --> 00:55:41,799
Speaker 2: Boss Janosh. But this is another part of the picture

1058
00:55:41,800 --> 00:55:44,319
Speaker 2: where it's like I really wanted more. I needed like

1059
00:55:44,360 --> 00:55:48,560
Speaker 2: another solid twenty minutes of Yanos just being the boss,

1060
00:55:49,320 --> 00:55:52,800
Speaker 2: you know, enforcing his will, being a little scary with people,

1061
00:55:52,840 --> 00:55:55,560
Speaker 2: and so forth. We get all that, but you know,

1062
00:55:55,600 --> 00:55:56,759
Speaker 2: it just leaves you wanting more.

1063
00:55:57,239 --> 00:55:59,560
Speaker 4: Now next to I'm sure we're all dying to see

1064
00:55:59,560 --> 00:56:02,160
Speaker 4: the mass. Well, we do get to see it, and

1065
00:56:02,360 --> 00:56:04,600
Speaker 4: of course when we finally see it, it is a

1066
00:56:04,600 --> 00:56:07,120
Speaker 4: bit creepy, because I guess a realistic mask sort of

1067
00:56:07,160 --> 00:56:10,400
Speaker 4: always is. But I'll also say it's not bad for

1068
00:56:10,440 --> 00:56:12,759
Speaker 4: a nineteen forties mask, Like I can tell that it

1069
00:56:12,840 --> 00:56:14,160
Speaker 4: is supposed to be Peter Lourie.

1070
00:56:15,320 --> 00:56:19,600
Speaker 2: It looks better than some decapitated head effects I've seen

1071
00:56:19,640 --> 00:56:19,960
Speaker 2: for sure.

1072
00:56:20,040 --> 00:56:22,759
Speaker 4: Yes, And then when he puts it on. You were

1073
00:56:22,760 --> 00:56:26,080
Speaker 4: talking about this earlier rob so when he puts the

1074
00:56:26,160 --> 00:56:30,439
Speaker 4: mask on, we go back to the cameras showing Peter

1075
00:56:30,600 --> 00:56:34,319
Speaker 4: Laurie's face again, but now his skin looks tight and

1076
00:56:34,360 --> 00:56:38,560
Speaker 4: sort of pinched up and unnatural. I don't know exactly

1077
00:56:38,560 --> 00:56:40,960
Speaker 4: how they accomplished this effect. I guess it's some kind

1078
00:56:41,000 --> 00:56:44,240
Speaker 4: of makeup effect, because ironically, the mask we're now seeing

1079
00:56:44,280 --> 00:56:46,920
Speaker 4: I believe is just Peter Laurie's real face, but with

1080
00:56:47,040 --> 00:56:48,880
Speaker 4: some makeup and manipulations.

1081
00:56:49,160 --> 00:56:49,480
Speaker 3: Yeah.

1082
00:56:49,560 --> 00:56:51,319
Speaker 2: Yeah, Like I say, it kind of like smooths him

1083
00:56:51,320 --> 00:56:55,960
Speaker 2: out a bit more and gives him this slightly uncanny appearance.

1084
00:56:56,480 --> 00:56:58,840
Speaker 4: It's like Peter Laurie with an intense face lift.

1085
00:56:59,200 --> 00:56:59,719
Speaker 3: Yeah.

1086
00:57:00,360 --> 00:57:03,040
Speaker 4: After this, there's this one sequence where they pull off

1087
00:57:03,080 --> 00:57:06,399
Speaker 4: some kind of opera robbery I'm not sure I didn't

1088
00:57:06,480 --> 00:57:09,520
Speaker 4: fully get the details here, but it involves an opera

1089
00:57:09,840 --> 00:57:12,440
Speaker 4: and then like going to the opera and like looking

1090
00:57:12,480 --> 00:57:14,760
Speaker 4: at each other during a certain time in the show,

1091
00:57:14,880 --> 00:57:17,200
Speaker 4: and then we just see like I think an orchestra

1092
00:57:17,280 --> 00:57:19,480
Speaker 4: conductor tied up and they've got a bunch of money.

1093
00:57:19,880 --> 00:57:21,680
Speaker 2: Yeah, I mean, I guess so they didn't have access

1094
00:57:21,720 --> 00:57:22,960
Speaker 2: to montage technology.

1095
00:57:25,160 --> 00:57:25,920
Speaker 3: Yeah, okay.

1096
00:57:26,360 --> 00:57:28,360
Speaker 4: But anyway, while the gang is counting up all their

1097
00:57:28,360 --> 00:57:31,040
Speaker 4: money from the opera heist, they are interrupted by a

1098
00:57:31,080 --> 00:57:34,920
Speaker 4: real nasty customer. Remember old Jeff we heard about earlier,

1099
00:57:35,280 --> 00:57:39,520
Speaker 4: Jeff Jeffrey. Jeffrey's well, anyway, he's out of prison now,

1100
00:57:39,560 --> 00:57:42,960
Speaker 4: and he wanders into the gang's counting room with a

1101
00:57:43,000 --> 00:57:46,760
Speaker 4: gun and insists he's in charge now. Jeff says, we're

1102
00:57:46,760 --> 00:57:49,480
Speaker 4: gonna live just as swell. Only one thing will change.

1103
00:57:49,520 --> 00:57:53,840
Speaker 4: We don't need him appointing at yanosh Ooh but then twist,

1104
00:57:53,880 --> 00:57:56,520
Speaker 4: I didn't see this coming. Peter Lorie like muscles this

1105
00:57:56,640 --> 00:57:59,400
Speaker 4: much bigger guy. He slaps him around. He's like, I'm

1106
00:57:59,440 --> 00:58:00,160
Speaker 4: in charge now.

1107
00:58:00,880 --> 00:58:03,560
Speaker 2: Yeah, this is great. It's very much like little dog

1108
00:58:05,240 --> 00:58:07,600
Speaker 2: putting a bigger dog in its place. Sort of energy

1109
00:58:07,640 --> 00:58:10,280
Speaker 2: here and you know, Laurie brings it like he makes

1110
00:58:10,280 --> 00:58:12,800
Speaker 2: you believe it, like seconds before it OCCURR. You feel

1111
00:58:12,840 --> 00:58:14,520
Speaker 2: like something like that is going to have to happen

1112
00:58:15,720 --> 00:58:19,440
Speaker 2: in order to put Jeff in his place. But if

1113
00:58:19,520 --> 00:58:21,280
Speaker 2: you're like, I don't know if LORI can do it. No,

1114
00:58:21,440 --> 00:58:22,720
Speaker 2: he totally did it. He pulled it off.

1115
00:58:22,720 --> 00:58:23,280
Speaker 3: I believe it.

1116
00:58:23,640 --> 00:58:27,120
Speaker 4: Yeah, And so I think the line he says is

1117
00:58:27,160 --> 00:58:30,480
Speaker 4: these were your boys, their mine. Now we can all

1118
00:58:30,480 --> 00:58:32,640
Speaker 4: be friends. If you want to play friendly, it's up

1119
00:58:32,720 --> 00:58:35,880
Speaker 4: to you. So Jeff cools his attitude and he gets

1120
00:58:35,880 --> 00:58:38,520
Speaker 4: absorbed into the gang. But you can see in this

1121
00:58:38,640 --> 00:58:41,240
Speaker 4: scene that he's he's swallowing his pride for the moment,

1122
00:58:41,320 --> 00:58:43,800
Speaker 4: but it might not be going away. He's he's still

1123
00:58:43,800 --> 00:58:45,080
Speaker 4: hanging on to a grudge.

1124
00:58:45,520 --> 00:58:47,240
Speaker 2: Yeah, so this is this is a great scene. So

1125
00:58:47,280 --> 00:58:50,480
Speaker 2: this Janosh in his villain era here, it's tremendous.

1126
00:58:51,360 --> 00:58:54,320
Speaker 4: So some more plot developments. Janosh goes back to a

1127
00:58:54,400 --> 00:58:58,000
Speaker 4: follow up appointment with his plastic surgeons, and during this

1128
00:58:58,080 --> 00:59:01,000
Speaker 4: appointment they explain, you know, after really looking at things,

1129
00:59:01,240 --> 00:59:04,800
Speaker 4: we cannot, in good conscience recommend an operation to you

1130
00:59:05,440 --> 00:59:08,520
Speaker 4: because your burns are too extensive, too severe to be repaired.

1131
00:59:08,880 --> 00:59:09,880
Speaker 3: They say, you.

1132
00:59:09,760 --> 00:59:11,720
Speaker 4: Know, if it's possible at all, it would take like

1133
00:59:11,800 --> 00:59:14,960
Speaker 4: thirty operations over fifteen years to even really give you

1134
00:59:15,000 --> 00:59:17,160
Speaker 4: a chance of looking like your old self.

1135
00:59:17,640 --> 00:59:20,240
Speaker 2: Yeah, we get that great bit of that great line

1136
00:59:20,320 --> 00:59:24,240
Speaker 2: from Jano. Schrez just repeats that. He just says, fifteen years.

1137
00:59:24,560 --> 00:59:27,160
Speaker 2: You know, is it really sinks in that this path

1138
00:59:27,160 --> 00:59:29,200
Speaker 2: that he's chosen for himself, that he's picked up is

1139
00:59:29,560 --> 00:59:34,280
Speaker 2: a temporary change to get back on track is a

1140
00:59:34,360 --> 00:59:38,360
Speaker 2: long term track apparently, and potentially the rest of his life.

1141
00:59:38,680 --> 00:59:41,960
Speaker 4: Yeah, to him, it means fifteen years of crime.

1142
00:59:42,280 --> 00:59:43,080
Speaker 3: Yeah.

1143
00:59:43,320 --> 00:59:45,840
Speaker 4: So Janosh is furious, but on his way out of

1144
00:59:45,840 --> 00:59:48,400
Speaker 4: the building, he has a chance encounter that will change

1145
00:59:48,400 --> 00:59:51,440
Speaker 4: his life. Yet again, we keep having these reversals of

1146
00:59:52,440 --> 00:59:55,320
Speaker 4: fortune here. So he bumps into a woman on the

1147
00:59:55,400 --> 00:59:59,760
Speaker 4: sidewalk and makes her drop all her things. And this

1148
00:59:59,840 --> 01:00:02,240
Speaker 4: is the romantic meat cute in the middle of the

1149
01:00:02,240 --> 01:00:05,560
Speaker 4: film noir about a good man's desperate and hellish descent

1150
01:00:05,640 --> 01:00:09,120
Speaker 4: into crime. It's a strange change of tone, but this

1151
01:00:09,240 --> 01:00:12,600
Speaker 4: character is the one we mentioned earlier. Helen, played by

1152
01:00:12,680 --> 01:00:17,440
Speaker 4: Evelyn Keys. Helen is blind and works as a jewelry maker,

1153
01:00:17,560 --> 01:00:20,160
Speaker 4: stringing necklaces I think she does. She string them for

1154
01:00:20,200 --> 01:00:21,240
Speaker 4: a department.

1155
01:00:20,800 --> 01:00:22,200
Speaker 3: Store, I believe so.

1156
01:00:22,400 --> 01:00:25,720
Speaker 4: Yeah yeah, and she was transporting project boxes when they

1157
01:00:25,800 --> 01:00:30,040
Speaker 4: ran into each other on the sidewalk. Helen is friendly

1158
01:00:30,200 --> 01:00:34,240
Speaker 4: and she's funny and optimistic, and her positivity just cuts

1159
01:00:34,280 --> 01:00:38,200
Speaker 4: through the gloom of the story like a laser. Janosh

1160
01:00:38,320 --> 01:00:41,200
Speaker 4: is instinctively rude to her at first because he's feeling

1161
01:00:41,240 --> 01:00:43,920
Speaker 4: so bad, but he quickly softens and he helps her

1162
01:00:44,400 --> 01:00:47,320
Speaker 4: pick up her things. And in this scene, I don't

1163
01:00:47,360 --> 01:00:49,880
Speaker 4: know if you noticed the same thing, Rob, but you

1164
01:00:49,960 --> 01:00:54,240
Speaker 4: can hear in Peter Lourie's vocal performance his voice changes

1165
01:00:54,480 --> 01:00:59,880
Speaker 4: as as he became the crime boss. His voice changed

1166
01:01:00,280 --> 01:01:04,160
Speaker 4: to become very tight and gruff. That uses this tight,

1167
01:01:04,240 --> 01:01:07,760
Speaker 4: gruff voice with his gangster accomplices, but when he talks

1168
01:01:07,760 --> 01:01:10,400
Speaker 4: to Helen, he quickly starts to sound more like he

1169
01:01:10,440 --> 01:01:12,280
Speaker 4: did at the beginning of the movie when he first

1170
01:01:12,400 --> 01:01:15,520
Speaker 4: arrived in America, with a softer, higher pitched voice.

1171
01:01:16,560 --> 01:01:19,919
Speaker 2: Yeah yeah, yeah. It reawakens the old Janos share.

1172
01:01:20,240 --> 01:01:22,960
Speaker 4: So Yanosh offers to walk with her and carry her things,

1173
01:01:23,040 --> 01:01:26,480
Speaker 4: and she accepts, and so they go back to her

1174
01:01:26,520 --> 01:01:29,840
Speaker 4: apartment and they get to know one another. Helen talks

1175
01:01:29,840 --> 01:01:33,120
Speaker 4: about how she enjoys living independently. She likes keeping up

1176
01:01:33,160 --> 01:01:35,880
Speaker 4: her apartment and listening to music on the radio from

1177
01:01:35,920 --> 01:01:39,200
Speaker 4: the neighbor's next door, and she's so charming it is

1178
01:01:39,240 --> 01:01:42,600
Speaker 4: easy to see why Janosh's crime boss heart is melting.

1179
01:01:43,120 --> 01:01:44,920
Speaker 4: Will probably come as no shock that this is the

1180
01:01:44,960 --> 01:01:48,600
Speaker 4: beginning of a romance story. He asks if he can

1181
01:01:48,640 --> 01:01:51,000
Speaker 4: come back and visit her sometime, and she says she'd

1182
01:01:51,160 --> 01:01:53,320
Speaker 4: like that. So the two of them get to know

1183
01:01:53,360 --> 01:01:56,640
Speaker 4: each other, they become friends. The love story blossoms. They

1184
01:01:56,640 --> 01:01:58,760
Speaker 4: spend lots of time together and one day they go

1185
01:01:58,840 --> 01:02:02,240
Speaker 4: out walking in the country among the oak trees. Here,

1186
01:02:02,400 --> 01:02:07,360
Speaker 4: Helen gives this monologue sort of sharing her perspective on life.

1187
01:02:07,360 --> 01:02:11,600
Speaker 4: Why she's so optimistic and has such a sense of

1188
01:02:11,600 --> 01:02:15,439
Speaker 4: good humor about everything, And she explains from her point

1189
01:02:15,480 --> 01:02:19,240
Speaker 4: of view, being blind, she's able to find beauty in

1190
01:02:19,320 --> 01:02:22,320
Speaker 4: things more easily, So she says, like, you know, when

1191
01:02:22,360 --> 01:02:24,800
Speaker 4: I feel the fur, even of a scrawny alley cat,

1192
01:02:24,840 --> 01:02:27,800
Speaker 4: I can imagine it's the most regal beast. Or just

1193
01:02:27,800 --> 01:02:30,840
Speaker 4: by putting one fresh flower in a jar in my apartment,

1194
01:02:30,880 --> 01:02:33,720
Speaker 4: I feel like I'm living in a spring meadow. And

1195
01:02:33,760 --> 01:02:36,440
Speaker 4: this already kind of interfaces with stuff she said earlier

1196
01:02:36,480 --> 01:02:39,280
Speaker 4: about how much pleasure she gets in listening to the radio.

1197
01:02:39,600 --> 01:02:39,880
Speaker 3: Yano.

1198
01:02:39,960 --> 01:02:43,320
Speaker 4: She gave her her own radio as a gift sometime earlier,

1199
01:02:43,800 --> 01:02:46,000
Speaker 4: and she loves the music, of course, but she even

1200
01:02:46,080 --> 01:02:49,240
Speaker 4: finds pleasure in the advertisements, like even if she's not

1201
01:02:49,440 --> 01:02:52,880
Speaker 4: interested in the product they're selling, she just likes listening

1202
01:02:52,960 --> 01:02:55,680
Speaker 4: to the enthusiastic appeals of friendly strangers.

1203
01:02:56,120 --> 01:02:59,000
Speaker 2: Yeah, and she likes her work. It's mentioned in one

1204
01:02:59,000 --> 01:03:01,160
Speaker 2: of these bits from her talks about like she enjoys

1205
01:03:01,200 --> 01:03:02,800
Speaker 2: listening to the radio and beating you.

1206
01:03:02,720 --> 01:03:06,440
Speaker 4: Know, yeah, Yano. She's so taken with her way of

1207
01:03:06,520 --> 01:03:10,320
Speaker 4: seeing the good and everything. And he says he wishes

1208
01:03:10,360 --> 01:03:12,240
Speaker 4: he could see the world the way she does, he

1209
01:03:12,240 --> 01:03:15,880
Speaker 4: would imagine himself as a noble king. But she's like, dude,

1210
01:03:15,920 --> 01:03:18,520
Speaker 4: you are a king. You are unselfish and thoughtful, and

1211
01:03:18,560 --> 01:03:22,240
Speaker 4: that's the most noble thing of all. And during the scene,

1212
01:03:22,320 --> 01:03:26,360
Speaker 4: Yanosh breaks down, he starts to cry, and he says

1213
01:03:26,400 --> 01:03:28,920
Speaker 4: that if she were able to see his burned face,

1214
01:03:29,080 --> 01:03:31,800
Speaker 4: the face behind the mask, the title of the film,

1215
01:03:32,200 --> 01:03:34,440
Speaker 4: she would run away and terror like everybody else.

1216
01:03:34,560 --> 01:03:35,600
Speaker 3: But she rejects this.

1217
01:03:36,120 --> 01:03:39,800
Speaker 4: She wants to know what he's been hiding, what's troubling him,

1218
01:03:40,080 --> 01:03:41,600
Speaker 4: and invites him to tell his story.

1219
01:03:41,680 --> 01:03:42,280
Speaker 3: So he does.

1220
01:03:42,360 --> 01:03:45,560
Speaker 4: He relents, and he tells her his whole history, everything

1221
01:03:45,600 --> 01:03:49,000
Speaker 4: that happened, though he tells her off screen, as many

1222
01:03:49,240 --> 01:03:52,360
Speaker 4: pivotal scenes they do take place off screen. Though I

1223
01:03:52,360 --> 01:03:54,360
Speaker 4: guess this is a common This is a fair thing.

1224
01:03:54,360 --> 01:03:56,560
Speaker 4: We don't want to see a character recap the entire

1225
01:03:56,600 --> 01:03:58,760
Speaker 4: film so far, that makes sense.

1226
01:03:58,760 --> 01:04:01,280
Speaker 2: But there would have been some really emotional moments in

1227
01:04:01,320 --> 01:04:04,240
Speaker 2: that we miss out on. But we know what's going

1228
01:04:04,320 --> 01:04:07,480
Speaker 2: to happen. She is going to accept him for who

1229
01:04:07,480 --> 01:04:11,200
Speaker 2: he is, and she sees the true face behind the mask.

1230
01:04:11,320 --> 01:04:12,280
Speaker 2: She sees his heart.

1231
01:04:12,680 --> 01:04:14,640
Speaker 4: That's right, and I guess that's the play on the title.

1232
01:04:14,680 --> 01:04:16,880
Speaker 4: There are two different kinds of face behind the mask.

1233
01:04:16,960 --> 01:04:19,360
Speaker 4: When Yanosh thinks of the face behind the mask, he

1234
01:04:19,440 --> 01:04:22,720
Speaker 4: thinks of his scars, his physical face, and when she

1235
01:04:22,840 --> 01:04:24,800
Speaker 4: thinks of it, she thinks of the real hymn, his

1236
01:04:24,880 --> 01:04:25,360
Speaker 4: good heart.

1237
01:04:26,080 --> 01:04:33,360
Speaker 3: Yeah.

1238
01:04:34,360 --> 01:04:38,000
Speaker 4: So Yanosh's conscience is now awakened again by his love

1239
01:04:38,040 --> 01:04:40,360
Speaker 4: for Helen, and he goes back to his gang and

1240
01:04:40,560 --> 01:04:42,920
Speaker 4: is like, boys, I'm out, I'm going to clean my

1241
01:04:42,960 --> 01:04:45,840
Speaker 4: whole act up and he is out of the life

1242
01:04:45,840 --> 01:04:46,720
Speaker 4: of crime for good.

1243
01:04:47,320 --> 01:04:49,960
Speaker 2: This always works. You can always walk away from a

1244
01:04:50,000 --> 01:04:52,520
Speaker 2: life of crime. We know that from so many pictures.

1245
01:04:52,840 --> 01:04:55,760
Speaker 4: Well it's funny because he tries to tell Jeff, like, hey,

1246
01:04:55,800 --> 01:04:57,560
Speaker 4: you're going to get what you always wanted. Now the

1247
01:04:57,640 --> 01:05:01,480
Speaker 4: boys are yours again. You're in charge now. But you

1248
01:05:01,560 --> 01:05:04,880
Speaker 4: get the sense that Jeff maybe has enjoyed coasting on

1249
01:05:05,000 --> 01:05:09,120
Speaker 4: Yanosh's crime skills and just sniping from the sidelines. Now

1250
01:05:09,160 --> 01:05:10,720
Speaker 4: that he's in charge, he's mad.

1251
01:05:11,400 --> 01:05:11,640
Speaker 3: Yeah.

1252
01:05:11,680 --> 01:05:15,640
Speaker 2: I mean, now Jeff will have to deliver as the

1253
01:05:15,680 --> 01:05:18,800
Speaker 2: boss of this crew that has become accustomed to a

1254
01:05:18,920 --> 01:05:22,520
Speaker 2: higher level of success. So, yeah, good luck, Jeff. Let's

1255
01:05:22,520 --> 01:05:24,360
Speaker 2: see how this works out for you.

1256
01:05:24,760 --> 01:05:25,720
Speaker 3: It's what he wanted.

1257
01:05:25,760 --> 01:05:28,280
Speaker 4: But now that he has it, he's not happy. He's

1258
01:05:28,360 --> 01:05:32,720
Speaker 4: just doing but he can't stop Yanosh from leaving. Yanosh

1259
01:05:32,760 --> 01:05:34,560
Speaker 4: has a house out in the country and he plans

1260
01:05:34,600 --> 01:05:38,000
Speaker 4: to move there with Helen. Yanosh gives his new address

1261
01:05:38,000 --> 01:05:40,840
Speaker 4: to Dinky in secret and says, if you ever you know,

1262
01:05:40,880 --> 01:05:42,480
Speaker 4: you ever need me, you ever want to get out

1263
01:05:42,520 --> 01:05:45,160
Speaker 4: of the life, look me up here. So Yanosh and

1264
01:05:45,200 --> 01:05:47,880
Speaker 4: Helen make their plans. They pack things up. They make

1265
01:05:47,920 --> 01:05:50,280
Speaker 4: plans to move out to a house with green shutters.

1266
01:05:51,080 --> 01:05:54,720
Speaker 4: They talk about this detail and Yanosh oh, he buys

1267
01:05:54,760 --> 01:05:57,880
Speaker 4: a secondhand car, one with a radio because he knows

1268
01:05:57,920 --> 01:06:01,400
Speaker 4: Helen likes to listen to the radio so much much. Meanwhile,

1269
01:06:01,400 --> 01:06:05,080
Speaker 4: at crime headquarters, Jeff is stewing again. He got what

1270
01:06:05,120 --> 01:06:08,320
Speaker 4: he wanted, but he's still angry. He starts digging around

1271
01:06:08,360 --> 01:06:11,960
Speaker 4: through Yanosh's old things and he finds something curious. He

1272
01:06:12,080 --> 01:06:16,600
Speaker 4: finds the business card of a police detective. This is

1273
01:06:16,640 --> 01:06:19,840
Speaker 4: the card that O'Hara left for Yanosh in the hospital

1274
01:06:19,920 --> 01:06:23,360
Speaker 4: way back when. But not understanding what it is, Jeff

1275
01:06:23,440 --> 01:06:26,720
Speaker 4: jumps to a conclusion, and that conclusion is Yanosh wanted

1276
01:06:26,800 --> 01:06:29,200
Speaker 4: out of the business because he is ratting the gang

1277
01:06:29,280 --> 01:06:33,160
Speaker 4: out to the cops. And Jeff says, I figured it out.

1278
01:06:33,240 --> 01:06:35,200
Speaker 4: We got to get revenge against Janosh.

1279
01:06:35,840 --> 01:06:36,080
Speaker 3: Yeah.

1280
01:06:36,120 --> 01:06:40,600
Speaker 2: Again, the cryptic nature of that original scrawl message, now

1281
01:06:40,680 --> 01:06:44,800
Speaker 2: out of context, is interpreted to me, oh, Yanosh is

1282
01:06:44,800 --> 01:06:45,840
Speaker 2: in a league with the police.

1283
01:06:46,160 --> 01:06:49,640
Speaker 4: That's right. And here's where the potential happy ending turns

1284
01:06:49,680 --> 01:06:52,240
Speaker 4: to tragedy, as it must in a movie like this.

1285
01:06:53,000 --> 01:06:56,440
Speaker 4: Jeff and the gang find Dinky and they torture him

1286
01:06:56,480 --> 01:07:00,360
Speaker 4: for information about where to find Yanosh. Finally they retned

1287
01:07:00,360 --> 01:07:03,480
Speaker 4: to burn his feet in the fireplace, and he tells

1288
01:07:03,480 --> 01:07:06,760
Speaker 4: where yan oshan Helen are hiding. So the next day

1289
01:07:06,840 --> 01:07:10,080
Speaker 4: yan Oshan Helen and an adorable scruffy dog by the way,

1290
01:07:10,480 --> 01:07:14,240
Speaker 4: really old dog, big cute dog. They move out to

1291
01:07:14,280 --> 01:07:17,840
Speaker 4: their house in the country you never you know, and

1292
01:07:17,880 --> 01:07:20,320
Speaker 4: they like settle in and everything's so happy. You never

1293
01:07:20,440 --> 01:07:22,800
Speaker 4: want to be a movie character saying it's all so

1294
01:07:23,000 --> 01:07:25,600
Speaker 4: perfect unless you're in the last like two minutes of

1295
01:07:25,640 --> 01:07:28,040
Speaker 4: the film and I say, we have another fifteen twenty

1296
01:07:28,080 --> 01:07:28,600
Speaker 4: to go here.

1297
01:07:28,880 --> 01:07:31,360
Speaker 3: Uh oh, not good.

1298
01:07:32,760 --> 01:07:35,680
Speaker 2: But yeah, they seem like this seems to be the dream, right,

1299
01:07:35,760 --> 01:07:39,120
Speaker 2: the dog, the house. There's a scene though, where Janosh

1300
01:07:39,200 --> 01:07:41,120
Speaker 2: tells Helen that she doesn't have to do her bead

1301
01:07:41,160 --> 01:07:43,920
Speaker 2: work anymore because she'll have this house to run, And

1302
01:07:44,240 --> 01:07:45,440
Speaker 2: part of me was kind of like, yeah, I know.

1303
01:07:45,640 --> 01:07:47,439
Speaker 2: She she had this whole bit where she talked about

1304
01:07:47,440 --> 01:07:49,000
Speaker 2: how much joy she derived.

1305
01:07:48,720 --> 01:07:51,000
Speaker 3: From her work, but I likes it.

1306
01:07:51,000 --> 01:07:53,160
Speaker 2: It's a nineteen forty one film, it's supposed to be

1307
01:07:53,200 --> 01:07:56,040
Speaker 2: well intended by it. But yeah, I think she can

1308
01:07:56,080 --> 01:07:57,520
Speaker 2: still do her beadwork.

1309
01:07:58,040 --> 01:08:01,560
Speaker 4: So everything is beautiful and till knock on the door

1310
01:08:01,920 --> 01:08:05,680
Speaker 4: and it's Jeff. Jeff arrives and he makes menacing comments

1311
01:08:05,720 --> 01:08:09,280
Speaker 4: to Yanosh. They have a confrontation, but it does not

1312
01:08:09,520 --> 01:08:10,560
Speaker 4: escalate to violence.

1313
01:08:11,000 --> 01:08:11,760
Speaker 3: He leaves.

1314
01:08:11,800 --> 01:08:14,000
Speaker 4: He says like, I won't even waste a bullet on you.

1315
01:08:14,560 --> 01:08:16,160
Speaker 4: But when he gets back to the car, when Jeff

1316
01:08:16,200 --> 01:08:18,120
Speaker 4: gets back to the car with his boys, they revealed

1317
01:08:18,120 --> 01:08:21,160
Speaker 4: that they had planted a bomb in Yanosh's car. It's

1318
01:08:21,200 --> 01:08:25,360
Speaker 4: wired to the radio. And then the gangsters are driving

1319
01:08:25,360 --> 01:08:28,160
Speaker 4: away and they conclude that they're done with Dinky, so

1320
01:08:28,200 --> 01:08:30,559
Speaker 4: they throw him out of the moving car onto the highway.

1321
01:08:30,640 --> 01:08:33,360
Speaker 4: It's unclear if they thought they had killed him or

1322
01:08:33,400 --> 01:08:35,920
Speaker 4: if they meant to leave him alive. I wasn't sure

1323
01:08:35,960 --> 01:08:36,599
Speaker 4: there did.

1324
01:08:36,600 --> 01:08:38,320
Speaker 3: They shoot him first in the back.

1325
01:08:38,200 --> 01:08:40,840
Speaker 4: Think so to hear like a you don't see a gun,

1326
01:08:40,880 --> 01:08:43,000
Speaker 4: but you hear a gun sound effect. And then they

1327
01:08:43,000 --> 01:08:45,479
Speaker 4: throw him out of the side of the car. But

1328
01:08:45,560 --> 01:08:48,439
Speaker 4: Dinky manages, despite his injuries, to get to a nearby

1329
01:08:48,520 --> 01:08:51,120
Speaker 4: service station and place a phone call. And then the

1330
01:08:51,200 --> 01:08:56,120
Speaker 4: logistics of this climax scene get really complicated. Dinky calls

1331
01:08:56,240 --> 01:09:00,639
Speaker 4: a neighbor of Janosh's. I guess Janosh and Helen don't

1332
01:09:00,640 --> 01:09:03,599
Speaker 4: have a phone yet. He calls the neighbor. The neighbor

1333
01:09:03,960 --> 01:09:07,200
Speaker 4: cranks his car up, drives to Yanosh's house, picks up

1334
01:09:07,280 --> 01:09:10,840
Speaker 4: Yanosh drives him back to his house to take Dinky's call,

1335
01:09:11,240 --> 01:09:14,160
Speaker 4: only for the call to be like, don't start your car, Yano,

1336
01:09:14,280 --> 01:09:19,639
Speaker 4: she don't use your radio, And unfortunately it's a Godfather scenario,

1337
01:09:19,720 --> 01:09:23,519
Speaker 4: you know, it's Apollonia in Sicily. Yanosh rushes back home

1338
01:09:23,600 --> 01:09:26,519
Speaker 4: to stop Helen from using the car. But Helen, she's

1339
01:09:26,520 --> 01:09:28,599
Speaker 4: been loading things into the car. She wants to listen

1340
01:09:28,680 --> 01:09:31,240
Speaker 4: to the radio. She turns it on and there's a

1341
01:09:31,360 --> 01:09:36,520
Speaker 4: terrible explosion and she dies. So it's incredibly sad.

1342
01:09:36,600 --> 01:09:39,439
Speaker 2: And the dog dies too, Like that makes it even

1343
01:09:39,479 --> 01:09:42,160
Speaker 2: more heartbreaking, obviously, because she's in the car with the

1344
01:09:42,200 --> 01:09:44,160
Speaker 2: dog and she's like, all right, scruffy, let's turn on

1345
01:09:44,200 --> 01:09:47,640
Speaker 2: the radio. I love listening to the radio. And yeah, explosion.

1346
01:09:48,400 --> 01:09:52,280
Speaker 4: So now Yanosh's only hope of love and happiness is gone,

1347
01:09:52,680 --> 01:09:55,120
Speaker 4: and he decides there is only one thing left for him,

1348
01:09:55,200 --> 01:09:59,120
Speaker 4: and it is revenge. This leads to the final sequence

1349
01:09:59,120 --> 01:10:02,640
Speaker 4: of the movie, which is the airplane revenge plot. So

1350
01:10:03,479 --> 01:10:06,960
Speaker 4: Jeff and the gang have plans to fly an airplane

1351
01:10:07,680 --> 01:10:10,280
Speaker 4: somewhere for some are they doing Are they trying to

1352
01:10:10,320 --> 01:10:12,120
Speaker 4: get to a job or are they trying to do

1353
01:10:12,160 --> 01:10:12,799
Speaker 4: it get away.

1354
01:10:13,280 --> 01:10:14,760
Speaker 2: I thought it was more of a getaway, like we

1355
01:10:14,800 --> 01:10:17,760
Speaker 2: got to flee to Mexico. Boys, that's the desert. But

1356
01:10:18,840 --> 01:10:20,800
Speaker 2: I mean they probably have some jobs lined up there.

1357
01:10:20,800 --> 01:10:22,280
Speaker 2: They got to keep working, gotta stay busy.

1358
01:10:22,880 --> 01:10:24,600
Speaker 4: Yeah, I didn't remember. But they're in a plane for

1359
01:10:24,640 --> 01:10:27,439
Speaker 4: some reason. And Yanosh, remember he's a pilot, he can

1360
01:10:27,479 --> 01:10:31,240
Speaker 4: fly a plane. He impersonates the pilot and he takes

1361
01:10:31,240 --> 01:10:33,439
Speaker 4: the role flying the plane that all the gang is

1362
01:10:33,439 --> 01:10:36,599
Speaker 4: in except Dinky. Dinky's left behind, but all the bad

1363
01:10:36,640 --> 01:10:39,640
Speaker 4: guys in the gang they're in the plane and he

1364
01:10:39,720 --> 01:10:42,599
Speaker 4: flies them out to the middle of nowhere in the desert,

1365
01:10:42,760 --> 01:10:45,800
Speaker 4: landing the plane when it has no fuel left, and

1366
01:10:45,880 --> 01:10:48,800
Speaker 4: then he explains to them their predicament. He's like, there's

1367
01:10:48,840 --> 01:10:51,600
Speaker 4: no fuel, there's nowhere to go. I just want you

1368
01:10:51,680 --> 01:10:54,080
Speaker 4: to know I have my revenge.

1369
01:10:54,120 --> 01:10:56,560
Speaker 2: And I believe they actually filmed the sequence out in

1370
01:10:56,600 --> 01:10:59,320
Speaker 2: the Arizona desert, so this is like real desert. I

1371
01:10:59,320 --> 01:11:01,320
Speaker 2: think we get some stuff. Footage is some desert from

1372
01:11:01,400 --> 01:11:03,639
Speaker 2: when they're flying around. But then yeah, we're out here

1373
01:11:03,640 --> 01:11:04,280
Speaker 2: on the sands.

1374
01:11:04,840 --> 01:11:07,120
Speaker 4: So the gang is furious, but they have nothing to do,

1375
01:11:07,400 --> 01:11:09,760
Speaker 4: you know, they can't get out of the situation. So

1376
01:11:09,800 --> 01:11:12,800
Speaker 4: they tie Yanosh to the plane. They start exploring in

1377
01:11:12,840 --> 01:11:15,880
Speaker 4: different directions, but they just get you know, beaten down

1378
01:11:15,920 --> 01:11:18,479
Speaker 4: by the sun. They find no not a hint of

1379
01:11:18,520 --> 01:11:23,679
Speaker 4: civilization anywhere nearby. They start fighting over water rations, turning

1380
01:11:23,720 --> 01:11:26,479
Speaker 4: on each other, shooting at each other, and it's a

1381
01:11:26,479 --> 01:11:32,639
Speaker 4: real desperate scene. Now, finally, there's a thing we established earlier,

1382
01:11:32,680 --> 01:11:36,000
Speaker 4: which is that Yanosh sent a note to O'Hara, to

1383
01:11:36,040 --> 01:11:38,560
Speaker 4: the police, to his old friend saying, hey, if you

1384
01:11:38,600 --> 01:11:41,800
Speaker 4: want to find the gang who's been doing these robberies,

1385
01:11:41,840 --> 01:11:43,719
Speaker 4: come to this place in the middle of the desert.

1386
01:11:43,760 --> 01:11:46,280
Speaker 4: Here are the coordinates at this time on this day.

1387
01:11:47,040 --> 01:11:49,760
Speaker 4: And so the police take them up on that. I

1388
01:11:49,760 --> 01:11:52,960
Speaker 4: guess they're like, surely, yeah, let's believe this anonymous tip.

1389
01:11:54,120 --> 01:11:57,360
Speaker 4: So they arrived by plane several days later, finding all

1390
01:11:57,439 --> 01:12:00,880
Speaker 4: of the gang and Yanosh dead. And when they find

1391
01:12:00,880 --> 01:12:03,720
Speaker 4: to Jeff in the desert, collapsed in the sand, they

1392
01:12:03,760 --> 01:12:06,360
Speaker 4: observed that he was trying to escape, but they say

1393
01:12:06,360 --> 01:12:09,599
Speaker 4: he just kept walking in one big circle. It seems

1394
01:12:09,600 --> 01:12:10,679
Speaker 4: thematically loaded.

1395
01:12:11,320 --> 01:12:11,960
Speaker 3: Yeah yeah.

1396
01:12:12,080 --> 01:12:14,400
Speaker 2: And leading up to this moment we get some great

1397
01:12:15,200 --> 01:12:19,280
Speaker 2: desert sand and hour glass imagery which I also really

1398
01:12:19,360 --> 01:12:20,800
Speaker 2: like tickets a little artsy here.

1399
01:12:21,479 --> 01:12:25,280
Speaker 4: Yeah. So when O'Hara finds Janosh's body, there's a note

1400
01:12:25,280 --> 01:12:28,840
Speaker 4: waiting for him, explaining, explaining who he is, and saying like, hey,

1401
01:12:28,920 --> 01:12:31,640
Speaker 4: remember me when we first met, you were kind to me.

1402
01:12:31,840 --> 01:12:34,080
Speaker 4: Wanted to thank you that for that, and also to

1403
01:12:34,240 --> 01:12:38,160
Speaker 4: repay you the five dollars that I owe you. And

1404
01:12:38,840 --> 01:12:40,680
Speaker 4: you know, however long ago that was. I don't know

1405
01:12:40,720 --> 01:12:43,519
Speaker 4: if they make explicit how long how much time has

1406
01:12:43,560 --> 01:12:48,120
Speaker 4: passed in between. But O'Hara is reminded and he it says, you.

1407
01:12:48,120 --> 01:12:48,840
Speaker 3: Were kind to me.

1408
01:12:49,080 --> 01:12:51,960
Speaker 4: These men here they were not, And he says, I

1409
01:12:51,960 --> 01:12:55,600
Speaker 4: have forgotten either, And so the music swells on a

1410
01:12:55,640 --> 01:12:57,560
Speaker 4: scene of the men standing in the shadow of the

1411
01:12:57,600 --> 01:13:00,479
Speaker 4: airplane in the middle of the desert, and it's a

1412
01:13:00,560 --> 01:13:03,160
Speaker 4: it's a very bleak ending, though there is one happy

1413
01:13:03,160 --> 01:13:06,120
Speaker 4: element to it, which is that I don't remember if

1414
01:13:07,000 --> 01:13:10,120
Speaker 4: if we get an indication whether Dinky survives in the

1415
01:13:10,240 --> 01:13:12,960
Speaker 4: end or not, but he does. Janosh does have a

1416
01:13:13,000 --> 01:13:16,519
Speaker 4: big pot of money and he oh no, wait, no,

1417
01:13:16,800 --> 01:13:19,160
Speaker 4: there's reward money for the capture of the gang.

1418
01:13:19,240 --> 01:13:21,280
Speaker 2: He arranged it to go to Dinky's mother.

1419
01:13:21,600 --> 01:13:25,160
Speaker 4: That's right, Yes, so he has the reward money sent

1420
01:13:25,320 --> 01:13:26,160
Speaker 4: to Dinky's mother.

1421
01:13:26,800 --> 01:13:28,800
Speaker 2: Yeah, so there is this sense and I'm gonna take it.

1422
01:13:28,800 --> 01:13:31,680
Speaker 2: I'm gonna assume it works out that Dinky's mom is

1423
01:13:31,680 --> 01:13:34,360
Speaker 2: going to get to fix up the chicken farm. Dinky

1424
01:13:34,400 --> 01:13:37,519
Speaker 2: gets to go out there and settle down, support his mother,

1425
01:13:37,760 --> 01:13:41,040
Speaker 2: live there, and in his own way, live happily.

1426
01:13:41,080 --> 01:13:41,559
Speaker 3: Ever after.

1427
01:13:42,040 --> 01:13:43,800
Speaker 2: You got to take your victories where you can find him.

1428
01:13:43,880 --> 01:13:46,880
Speaker 4: Yes, no, that's that's there is a glimmer of happiness

1429
01:13:46,920 --> 01:13:48,240
Speaker 4: in this mostly bleak ending.

1430
01:13:48,720 --> 01:13:51,840
Speaker 2: Yeah so yeah, that's the face behind the mask. You know,

1431
01:13:51,920 --> 01:13:57,639
Speaker 2: it's a in a Columbia Pictures B movie, but it

1432
01:13:57,680 --> 01:14:00,960
Speaker 2: has a has a great look, has some very nice

1433
01:14:00,960 --> 01:14:03,880
Speaker 2: performances in it, great Peter Loriie performance at the center

1434
01:14:03,920 --> 01:14:08,200
Speaker 2: of everything obviously, and you know it it's it's very

1435
01:14:08,320 --> 01:14:10,320
Speaker 2: much you know, it's very much on the rails, and

1436
01:14:10,360 --> 01:14:13,120
Speaker 2: like I say, it's a short run time, but it

1437
01:14:13,160 --> 01:14:15,439
Speaker 2: does give you some stuff to chew on it. It does,

1438
01:14:15,680 --> 01:14:20,280
Speaker 2: in its own way, examine some fairly complex issues and

1439
01:14:20,800 --> 01:14:25,400
Speaker 2: you know, morality and and and ambition and and even

1440
01:14:25,439 --> 01:14:29,120
Speaker 2: the American dreams. So it's it's a much better film

1441
01:14:29,120 --> 01:14:31,760
Speaker 2: than I was anticipating. Like I was, I was expecting

1442
01:14:31,760 --> 01:14:34,920
Speaker 2: something that was just going to mostly be centered in

1443
01:14:35,120 --> 01:14:37,360
Speaker 2: the Lori performance, you know, where I might just be

1444
01:14:37,640 --> 01:14:40,200
Speaker 2: appreciating it for its own sake. Is this is sometimes

1445
01:14:40,200 --> 01:14:42,439
Speaker 2: the case with great character actors. You know, like sometimes

1446
01:14:42,479 --> 01:14:45,559
Speaker 2: it's just a gym in the rough, and you appreciate

1447
01:14:45,640 --> 01:14:47,760
Speaker 2: that gym for what it is. But I think as

1448
01:14:47,760 --> 01:14:49,160
Speaker 2: a whole, the picture's quite good.

1449
01:14:49,720 --> 01:14:50,519
Speaker 3: Yeah, I agree.

1450
01:14:50,960 --> 01:14:54,080
Speaker 4: Can I actually revise my judgment about something we said earlier?

1451
01:14:54,080 --> 01:14:57,759
Speaker 4: We said we said that the movie is not subtle,

1452
01:14:58,000 --> 01:15:00,280
Speaker 4: and I think that that's true about a lot of

1453
01:15:00,280 --> 01:15:03,080
Speaker 4: things about it, but there are elements that are subtle.

1454
01:15:03,160 --> 01:15:05,920
Speaker 4: I think actually what I would say is that some

1455
01:15:06,080 --> 01:15:10,240
Speaker 4: things about it are incredibly unsubtle, Like it has very

1456
01:15:10,479 --> 01:15:15,240
Speaker 4: overt themes and very overt use of the tools of

1457
01:15:15,280 --> 01:15:19,000
Speaker 4: cinema music and you know, and you know, heavy like

1458
01:15:19,120 --> 01:15:22,799
Speaker 4: visual foreshadowing and things like that. Some of that stuff

1459
01:15:22,840 --> 01:15:25,960
Speaker 4: is not subtle. But there is also some subtle stuff

1460
01:15:26,000 --> 01:15:30,000
Speaker 4: that you know, you get by implication. The death of

1461
01:15:30,080 --> 01:15:32,240
Speaker 4: Jeff at the end, you know, walking around in circles.

1462
01:15:32,280 --> 01:15:35,120
Speaker 4: They don't state that connection to the themes too overtly.

1463
01:15:35,880 --> 01:15:38,640
Speaker 4: And also some things about Peter Lourie's performance, Like in

1464
01:15:38,680 --> 01:15:41,960
Speaker 4: some scenes he is just very overtly like stating his

1465
01:15:42,000 --> 01:15:46,000
Speaker 4: emotions and motivations and performing them very forcefully. But in

1466
01:15:46,040 --> 01:15:48,920
Speaker 4: other scenes, I think there is some subtlety. There's some

1467
01:15:48,960 --> 01:15:55,160
Speaker 4: subtlety about like exactly what is so beautiful to him

1468
01:15:54,280 --> 01:15:59,040
Speaker 4: about about Helen's attitude. You know, that's not all stated explicitly,

1469
01:15:59,120 --> 01:16:01,960
Speaker 4: like he mentions her optimism, but the the stuff about

1470
01:16:01,960 --> 01:16:04,960
Speaker 4: like the way that she finds the best in everything

1471
01:16:05,840 --> 01:16:08,080
Speaker 4: that seems to kind of like remind him of his

1472
01:16:08,200 --> 01:16:11,640
Speaker 4: earlier self, but like he never says that explicitly, So

1473
01:16:11,840 --> 01:16:13,759
Speaker 4: I don't know, I think there's some good subtle stuff.

1474
01:16:13,800 --> 01:16:16,160
Speaker 2: Actually, this is interesting because we might in a way

1475
01:16:16,360 --> 01:16:18,719
Speaker 2: be getting back into the idea of what is noir,

1476
01:16:19,120 --> 01:16:21,120
Speaker 2: you know, And you know, you think about these black

1477
01:16:21,160 --> 01:16:25,360
Speaker 2: and white pictures with you know, deep midnight blacks and

1478
01:16:25,439 --> 01:16:28,720
Speaker 2: you know, contrasted by the white, and you know, we

1479
01:16:28,800 --> 01:16:31,160
Speaker 2: think about like you know, good and evil, but then

1480
01:16:31,200 --> 01:16:34,760
Speaker 2: all of these like areas of ambiguity in between, even

1481
01:16:34,800 --> 01:16:38,000
Speaker 2: though you know, obviously noir pictures often also play with

1482
01:16:38,439 --> 01:16:40,120
Speaker 2: severe absolutes as well.

1483
01:16:40,760 --> 01:16:44,240
Speaker 4: Yeah, some stuff is very heavy handed and some stuff

1484
01:16:44,280 --> 01:16:47,880
Speaker 4: is more subtle. In fact, I wonder to over extend

1485
01:16:47,920 --> 01:16:50,559
Speaker 4: the metaphor perhaps I wonder if you could almost think

1486
01:16:50,600 --> 01:16:52,600
Speaker 4: of this as kind of like a stage magician, that

1487
01:16:52,680 --> 01:16:56,280
Speaker 4: a stage magician is going to be through misdirection, being

1488
01:16:56,520 --> 01:16:59,200
Speaker 4: very flamboyant with what they do with one hand in

1489
01:16:59,320 --> 01:17:02,000
Speaker 4: order to you know, sort of keep your attention off

1490
01:17:02,000 --> 01:17:04,840
Speaker 4: of what they're doing with the other hand. Could that

1491
01:17:05,000 --> 01:17:07,400
Speaker 4: could that be the case with some noir storytelling like

1492
01:17:07,439 --> 01:17:10,639
Speaker 4: we see here, that it makes the subtle elements all

1493
01:17:10,720 --> 01:17:15,479
Speaker 4: the more the more emotionally resonant, that they're kind of

1494
01:17:15,560 --> 01:17:19,880
Speaker 4: hidden by this heavy handed, overt storytelling style in some

1495
01:17:19,920 --> 01:17:20,799
Speaker 4: of the other choices.

1496
01:17:21,320 --> 01:17:23,080
Speaker 2: Yeah, I think that's a pretty solid way to look

1497
01:17:23,120 --> 01:17:25,679
Speaker 2: at it, And obviously we'd love to hear what listeners

1498
01:17:25,720 --> 01:17:27,639
Speaker 2: have to say about all of this. You know, think

1499
01:17:27,680 --> 01:17:31,080
Speaker 2: about it in terms of your favorite noir pictures, be

1500
01:17:31,160 --> 01:17:34,920
Speaker 2: it you know, old timey noir or neo noir, you know,

1501
01:17:34,960 --> 01:17:37,599
Speaker 2: the various noir elements that you'll find in various works

1502
01:17:37,600 --> 01:17:39,960
Speaker 2: of science fiction, anime, and so forth.

1503
01:17:40,680 --> 01:17:41,000
Speaker 3: Right, in.

1504
01:17:41,200 --> 01:17:43,559
Speaker 2: We'd love to have that discussion with you and think

1505
01:17:43,560 --> 01:17:46,360
Speaker 2: about it as we proceed through the month of November.

1506
01:17:47,240 --> 01:17:50,400
Speaker 2: Is there another noir or neo noir picture you would

1507
01:17:50,479 --> 01:17:53,840
Speaker 2: like for us to consider on Weird House Cinema, you know,

1508
01:17:53,880 --> 01:17:57,240
Speaker 2: in the future, right in and let us know. For instance,

1509
01:17:57,280 --> 01:17:59,680
Speaker 2: I was my backup for this one was going to

1510
01:17:59,760 --> 01:18:02,400
Speaker 2: be a Cohen Brother's picture, And at some point I

1511
01:18:02,439 --> 01:18:04,040
Speaker 2: think I would like to come back and do a

1512
01:18:04,040 --> 01:18:08,400
Speaker 2: Cohen Brothers picture on some of my favorite filmmakers, and

1513
01:18:08,439 --> 01:18:10,599
Speaker 2: a number of those films are very close to my heart.

1514
01:18:11,200 --> 01:18:12,960
Speaker 4: Oh, I think I know exactly what movie you have

1515
01:18:13,000 --> 01:18:15,280
Speaker 4: in mind. Yeah, or we could come back to the

1516
01:18:15,320 --> 01:18:18,240
Speaker 4: Cohen Brothers in a number of ways. Actually, oh yeah, yeah.

1517
01:18:18,439 --> 01:18:20,320
Speaker 2: Just a reminder to everybody that Stuff to Blow your

1518
01:18:20,320 --> 01:18:22,760
Speaker 2: Mind is primarily a science and culture podcast with core

1519
01:18:22,760 --> 01:18:25,160
Speaker 2: episodes on Tuesdays and Thursdays, but on Fridays we set

1520
01:18:25,200 --> 01:18:27,439
Speaker 2: aside most serious concerns to just talk about a weird

1521
01:18:27,439 --> 01:18:30,040
Speaker 2: film here on Weird House Cinema. And if you want

1522
01:18:30,080 --> 01:18:31,719
Speaker 2: to see a full list of the films we've covered

1523
01:18:31,720 --> 01:18:34,240
Speaker 2: over the years, and sometimes a peek ahead what's coming

1524
01:18:34,360 --> 01:18:37,559
Speaker 2: up next, go to Letterbox Dot com look for our

1525
01:18:37,640 --> 01:18:42,759
Speaker 2: username there it is weird House and you'll find that list. Likewise,

1526
01:18:42,800 --> 01:18:46,400
Speaker 2: if you're on Instagram, follow us at STBYM podcast. That's

1527
01:18:46,400 --> 01:18:48,400
Speaker 2: another way to keep up with what we're doing in

1528
01:18:48,439 --> 01:18:50,200
Speaker 2: the Stuff to Blow Your Mind feed in general, be

1529
01:18:50,240 --> 01:18:52,280
Speaker 2: it Core episodes or Weird House Cinema.

1530
01:18:52,439 --> 01:18:56,440
Speaker 4: Huge thanks as always to our excellent audio producer, JJ Posway.

1531
01:18:56,800 --> 01:18:58,479
Speaker 4: If you would like to get in touch with us

1532
01:18:58,479 --> 01:19:00,960
Speaker 4: with feedback on this episode or any other, to suggest

1533
01:19:00,960 --> 01:19:03,040
Speaker 4: a topic for the future, or just to say hello,

1534
01:19:03,160 --> 01:19:05,800
Speaker 4: you can email us at contact at stuff to Blow

1535
01:19:05,840 --> 01:19:13,400
Speaker 4: your Mind dot com.

1536
01:19:13,520 --> 01:19:16,479
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1537
01:19:16,560 --> 01:19:19,360
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1538
01:19:19,520 --> 01:19:22,280
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.