00:00.631 --> 00:00.872

[SPEAKER_01]: No?

00:01.712 --> 00:03.254

[SPEAKER_01]: I think people like like that in pictures.

00:04.294 --> 00:06.136

[SPEAKER_01]: What do they call zombies or something?

00:06.336 --> 00:07.257

[SPEAKER_01]: Zombies.

00:07.697 --> 00:08.578

[SPEAKER_01]: What does zombie?

00:08.678 --> 00:09.779

[SPEAKER_01]: Just what is a zombie?

00:09.939 --> 00:10.700

[SPEAKER_01]: Will a zombie?

00:10.860 --> 00:14.062

[SPEAKER_01]: There's no... The bill is... The living dead.

00:14.283 --> 00:16.244

[SPEAKER_03]: There's a living dead.

00:16.384 --> 00:17.225

[SPEAKER_03]: There's the zombies.

00:17.585 --> 00:18.226

[SPEAKER_03]: Is a zombie?

00:18.566 --> 00:20.688

[SPEAKER_03]: Because a zombie has no will on his own.

00:20.908 --> 00:22.169

[SPEAKER_03]: The zombie is zombies.

00:22.849 --> 00:23.830

[SPEAKER_03]: No zombies would stand.

00:23.850 --> 00:25.832

[SPEAKER_03]: For the strong, or the strong.

00:30.851 --> 00:34.692

[SPEAKER_02]: Welcome to zombies, trains the podcast where we watch all the zombie movies.

00:35.152 --> 00:39.213

[SPEAKER_02]: And this week, this takes us to a different country and a different language.

00:39.253 --> 00:42.694

[SPEAKER_02]: We are watching our first Mexican horror movie.

00:43.115 --> 00:50.637

[SPEAKER_02]: It is from nineteen fifty three and it's called El Monstrual Resesidado, which is translated as in English as the Revived Monster.

00:51.785 --> 00:52.987

[SPEAKER_02]: I'm John, and I'm Andy.

00:53.107 --> 00:53.527

[SPEAKER_02]: I'm Brad.

00:53.928 --> 01:01.558

[SPEAKER_02]: Does anybody want us to keep saying, uh, L, months through recessed auto for the next hour and a half or should we switch to the revived monster?

01:02.139 --> 01:03.421

[SPEAKER_00]: But what does your heart tell you, John?

01:04.202 --> 01:08.828

[SPEAKER_02]: My heart tells me I would insult somebody if I haven't already with my pronunciation of this film title.

01:09.120 --> 01:09.921

[SPEAKER_00]: Well, it's one of those things.

01:09.981 --> 01:18.166

[SPEAKER_00]: I think we need to go with Revived Monster just for the sake of the Spanish language we would be, but it is one of those things German major.

01:18.226 --> 01:20.387

[SPEAKER_01]: So I'll stick with English.

01:20.727 --> 01:24.510

[SPEAKER_00]: The English translation is it just feels so, so flat compared.

01:24.610 --> 01:25.030

[SPEAKER_00]: I know.

01:25.270 --> 01:25.610

[SPEAKER_00]: I know.

01:26.071 --> 01:27.532

[SPEAKER_02]: It's for the Revived Monster.

01:27.592 --> 01:27.972

[SPEAKER_02]: Woohoo.

01:28.132 --> 01:29.393

[SPEAKER_02]: Like it's a little on the boring side.

01:29.973 --> 01:32.115

[SPEAKER_02]: Yeah, uh, here's another funny thing about this movie.

01:32.796 --> 01:33.617

[SPEAKER_02]: It's good.

01:33.978 --> 01:34.678

[SPEAKER_02]: It was really good.

01:34.718 --> 01:36.420

[SPEAKER_02]: Yes, I was shocked it.

01:36.961 --> 01:37.782

[SPEAKER_02]: Well, we'll get into it.

01:37.822 --> 01:44.629

[SPEAKER_02]: But I felt it looked sort of old fashioned and old time and I was like, Oh, this is this is going to be a clunker and it was not.

01:44.870 --> 01:46.952

[SPEAKER_02]: So, uh, and do you have any content warnings for this one?

01:48.131 --> 01:49.432

[SPEAKER_00]: No, I don't think so.

01:50.052 --> 02:01.778

[SPEAKER_00]: The big, the big difficult theme, I guess, of this movie is, you know, a physical deformity and questions about, you know, beauty and deformity.

02:01.918 --> 02:11.023

[SPEAKER_00]: And so, you know, that's, I will say that is a kind of awkward topic, but I felt that this movie actually wrangled with that issue quite interestingly.

02:11.183 --> 02:12.224

[SPEAKER_00]: So, you know, be warned.

02:13.640 --> 02:16.263

[SPEAKER_00]: If that's going to bother you, but I thought that this was an interesting film.

02:16.523 --> 02:17.725

[SPEAKER_02]: Yeah, it is a horror movie.

02:17.805 --> 02:19.627

[SPEAKER_02]: So we sort of take that as a baseline.

02:19.667 --> 02:20.688

[SPEAKER_02]: Somebody gets strangled.

02:21.429 --> 02:23.572

[SPEAKER_02]: There's a, there's a deformed med scientist.

02:24.613 --> 02:27.877

[SPEAKER_02]: None of that is beyond the pale if you like horror movies in my opinion.

02:28.767 --> 02:32.469

[SPEAKER_00]: All right, so hey, Brad, do you want to give us the rundown on the background of the film?

02:33.009 --> 02:37.091

[SPEAKER_01]: Sure, but I'll tell you my research is limited by my lack of Spanish.

02:37.131 --> 02:40.873

[SPEAKER_01]: So I wish I could provide more, but here's what I could find.

02:41.714 --> 02:52.539

[SPEAKER_01]: The Revive Monster was released in nineteen fifty three, and according to the British Film Institute, nineteen fifty six to nineteen sixty six is considered the classic period of Mexican fantasy films.

02:53.119 --> 02:57.362

[SPEAKER_01]: And the BFI describes the genre that includes horror as fantasy or macabre.

02:58.162 --> 03:04.646

[SPEAKER_01]: This area was spurred by the success of a few earlier Mexican films that seem like horror to me, including the Revived Monster.

03:05.426 --> 03:12.570

[SPEAKER_01]: Chano, or way to a director of the Revived Monster, he directed over one hundred movies between nineteen twenty eight and nineteen seventy four.

03:12.610 --> 03:13.311

[SPEAKER_01]: It's amazing.

03:13.371 --> 03:16.233

[SPEAKER_01]: And then looking at his credits, he made all kinds of movies.

03:16.253 --> 03:23.297

[SPEAKER_01]: He made crime, dramas, musicals, horror, and of course, Lucha Libre films, or way to acted a lot in the late sixties.

03:23.857 --> 03:34.723

[SPEAKER_01]: He did one role in nineteen thirty nine, but returned to acting in nineteen sixty nine in the film Chanak Chanak was a series of adventure films featuring the hero Chanak and Chanok played the sidekick.

03:35.264 --> 03:40.227

[SPEAKER_01]: He appeared in self-American films, including the wild bunch and bring me the head of Alfredo Garcia.

03:40.627 --> 03:41.207

[SPEAKER_02]: Oh, interesting.

03:41.227 --> 03:45.149

[SPEAKER_01]: Do you know my Yuri co-wrote the script with Orweta?

03:45.630 --> 03:49.172

[SPEAKER_01]: He was an Italian, but looking at his credits, he wrote a lot of Mexican movies.

03:49.942 --> 03:55.605

[SPEAKER_01]: I've actually seen one of his other films and it's called Kiss the Girls and Make Them Die from nineteen sixty six.

03:55.925 --> 03:58.606

[SPEAKER_02]: It's interesting to read.

03:59.066 --> 04:08.170

[SPEAKER_01]: It's a crazy James Bond Spoof produced by Dino de Laurentis and Columbia Studio and it's about a madman hired by China to sterilize just the U.S.

04:08.190 --> 04:13.493

[SPEAKER_01]: but he decides to be better if he sterilizes the entire world except for himself and his handpicked Bavvy of beauties.

04:14.396 --> 04:14.916

[SPEAKER_00]: Uh-huh.

04:15.177 --> 04:18.719

[SPEAKER_00]: You know, that is a, that is a really on the nose bond movie title.

04:18.759 --> 04:21.540

[SPEAKER_00]: If you want to just have a literal bond movie title, right?

04:21.880 --> 04:22.861

[SPEAKER_00]: That one's that right there for you.

04:23.001 --> 04:23.161

[SPEAKER_01]: Yeah.

04:23.181 --> 04:26.503

[SPEAKER_01]: So it's an American Italian co-production that I think set in Brazil.

04:27.283 --> 04:28.324

[SPEAKER_01]: So it's kind of bonkers.

04:29.164 --> 04:29.705

[SPEAKER_02]: Well, that's okay.

04:29.725 --> 04:33.187

[SPEAKER_02]: This is a Mexican film and it's actually set in Czechoslovakia.

04:33.247 --> 04:34.768

[SPEAKER_02]: What was the Czechoslovakia at the time?

04:34.828 --> 04:34.988

[SPEAKER_02]: So.

04:35.568 --> 04:39.250

[SPEAKER_01]: And the last item I researched is the actress, the lead actress is Mira Slava.

04:39.490 --> 04:40.291

[SPEAKER_01]: She plays Nora.

04:40.851 --> 04:41.892

[SPEAKER_01]: She was born in Prague.

04:43.007 --> 04:53.638

[SPEAKER_01]: Her father died when she was young, her mother remarried a Jewish doctor, and then as World War II approached, they fled to Scandinavia and then they immigrated to Mexico in nineteen forty-one.

04:54.358 --> 04:57.882

[SPEAKER_01]: And she then appeared in twenty-nine Mexican films in three Hollywood ones.

04:58.702 --> 05:01.025

[SPEAKER_01]: And unfortunately, she died a few years after this film.

05:01.489 --> 05:07.693

[SPEAKER_00]: There have been more countries mentioned in the last thirty seconds than we've seen in like the whole rest of the podcast, I think.

05:07.753 --> 05:08.733

[SPEAKER_02]: Yeah, absolutely.

05:09.193 --> 05:20.640

[SPEAKER_02]: You know, doing that little research, you know, I heard it referred to as the Golden Age of Mexican cinema, but I think we've got our next podcast for after this podcast, which is to explore the roots of the Golden Age of Mexican cinema.

05:21.620 --> 05:39.468

[SPEAKER_02]: in all seriousness though, in that same vein they say that like the nineteen sixties like sixty to sixty six is the is the sort of premium time for Mexican horror in the twentieth century and I think we've got a couple of movies uh... will be watching from that period so I'm more even more excited than I was

05:40.528 --> 05:41.749

[SPEAKER_02]: before we watch this movie.

05:42.029 --> 05:44.710

[SPEAKER_02]: John, that's what I have in the historical context for us.

05:44.990 --> 05:46.210

[SPEAKER_02]: Yeah, I'll give you just a little bit.

05:47.471 --> 05:54.974

[SPEAKER_02]: The history of Mexico is incredibly complicated and I am even less of an expert than I am on anything else we'd talk about in this podcast.

05:54.994 --> 05:59.416

[SPEAKER_02]: But I will say it was sort of like a lot of places in the nineteen fifties post World War II.

06:00.216 --> 06:01.397

[SPEAKER_02]: It was a time of transition.

06:01.417 --> 06:05.819

[SPEAKER_02]: You know, they had had a communist revolution in the first part of the twentieth century.

06:05.999 --> 06:08.140

[SPEAKER_02]: This is around the time.

06:09.560 --> 06:13.063

[SPEAKER_02]: that they were transitioning away from that sort of military dictatorship.

06:13.183 --> 06:16.185

[SPEAKER_02]: Again, I am not an expert on the details, so we won't go there.

06:16.345 --> 06:33.055

[SPEAKER_02]: But what I will say is that during the Second World War and after, the world was hungry for popular cinema and Western Europe for sure, and America had different priorities at the time, or sort of didn't jump back into cinema right away.

06:33.136 --> 06:36.578

[SPEAKER_02]: So it created this, it was one of the factors that created an opportunity for

06:37.118 --> 06:40.420

[SPEAKER_02]: Mexican cinema to become popular and sort of thrive throughout the world.

06:40.840 --> 06:48.085

[SPEAKER_02]: It's this period of time where Mexican cinema becomes sort of the default cinema for Latin America.

06:48.665 --> 06:49.226

[SPEAKER_00]: Yeah, thanks John.

06:49.566 --> 06:56.210

[SPEAKER_00]: So John, do you want to move right into the movie here and maybe give us a sixty second overview and before we dive in?

06:56.310 --> 06:57.210

[SPEAKER_02]: Yeah, let's do that.

06:57.250 --> 07:03.692

[SPEAKER_02]: The one other thing I'll say is we don't have a lot of clips for you today because they're in Spanish, though we might throw a couple of things out there.

07:04.432 --> 07:09.573

[SPEAKER_02]: What I try to do is we were putting this together, it's just fine quotes from the movies and write them down so we could share them.

07:10.293 --> 07:10.773

[SPEAKER_02]: Yeah, me too.

07:10.993 --> 07:11.473

[SPEAKER_02]: Yeah.

07:11.893 --> 07:13.454

[SPEAKER_02]: But here's the sixty-second version.

07:13.934 --> 07:19.915

[SPEAKER_02]: So the film is set in the Czech Republic and it features a young reporter named Nora.

07:20.995 --> 07:29.962

[SPEAKER_02]: Nora is meeting early on with her editor telling him how bored she is with her current assignments and he says you should look at this ad that's in our paper.

07:30.683 --> 07:35.987

[SPEAKER_02]: It's an ad from a man who is apparently lonely and is seeking a woman for companionship.

07:36.407 --> 07:39.828

[SPEAKER_02]: So if you want to do something excited, maybe you should answer this add.

07:40.168 --> 07:49.452

[SPEAKER_02]: She does that and meets a doctor, Criman, who is a deformed man who's living on his own in a castle by the sea.

07:50.072 --> 07:51.032

[SPEAKER_02]: She melts his heart.

07:52.413 --> 07:54.614

[SPEAKER_02]: It appears that they're going to have a relationship.

07:55.094 --> 08:00.616

[SPEAKER_02]: He then overhears her, saying to her editor, she's more interested in the excitement than the person.

08:01.096 --> 08:02.637

[SPEAKER_02]: He becomes angry and vengeful.

08:03.397 --> 08:09.744

[SPEAKER_02]: tries to chase her and kill her eventually, reviving a zombie to hunt her down.

08:09.764 --> 08:15.491

[SPEAKER_02]: And the film ends with both Dr. Crimin and the zombie dying.

08:16.348 --> 08:19.110

[SPEAKER_02]: and Nora being saved by the editor.

08:19.831 --> 08:23.773

[SPEAKER_02]: There's a lot in the middle there, but I think that's the super high level of what goes on here.

08:24.534 --> 08:25.374

[SPEAKER_02]: Yeah, that sounds great.

08:26.135 --> 08:27.356

[SPEAKER_02]: So let's get into it, Andy.

08:27.856 --> 08:31.739

[SPEAKER_02]: I want to start with, first of all, the opening music is awesome.

08:31.899 --> 08:38.383

[SPEAKER_02]: I don't know how you felt about the soundtrack to this thing, but it is, I would use the term muscular, like it's there and really strong.

08:38.663 --> 08:39.224

[SPEAKER_02]: Yep, I'd agree.

08:39.964 --> 08:46.175

[SPEAKER_02]: And we start, and the other thing I'd like to say is we start, this film has a ton of style.

08:46.776 --> 08:48.780

[SPEAKER_02]: When we first started watching it, it's in black and white.

08:48.880 --> 08:50.122

[SPEAKER_02]: Obviously, it's in nineteen fifty three.

08:51.423 --> 08:59.711

[SPEAKER_02]: There are some color movies, but not that many, but when we started it, it sort of appears to be like a foggy street in London or something.

08:59.772 --> 09:01.353

[SPEAKER_02]: It looks like some older European city.

09:02.154 --> 09:02.935

[SPEAKER_02]: She's walking.

09:02.955 --> 09:03.876

[SPEAKER_02]: There's a street light.

09:03.936 --> 09:10.342

[SPEAKER_02]: She walks into this restaurant and the whole thing just sort of drips of atmosphere.

09:11.143 --> 09:14.226

[SPEAKER_02]: Even though it looks older, like it looks a little cheaper

09:15.207 --> 09:28.727

[SPEAKER_02]: than the movies we've been watching, it takes advantage of that to create these sort of stark cityscapes and dramatic lighting to make it, you know, I know I can't think of word other than atmospheric.

09:28.747 --> 09:29.528

[SPEAKER_02]: Do you know what I'm talking about?

09:29.548 --> 09:29.628

[SPEAKER_00]: Yeah.

09:30.581 --> 09:31.362

[SPEAKER_00]: No, I totally agree.

09:31.382 --> 09:32.383

[SPEAKER_00]: I know that too.

09:32.723 --> 09:37.268

[SPEAKER_00]: It felt the use of shadows and camera angles.

09:37.288 --> 09:42.193

[SPEAKER_00]: There's some, there are a couple of incredible, yes, camera shots in this one.

09:42.293 --> 09:46.918

[SPEAKER_00]: It seemed pretty nourished to me or at least it evoked that to me.

09:47.058 --> 09:49.841

[SPEAKER_00]: And yeah, I mean, every scene, I mean, it's in black and white.

09:49.901 --> 09:50.722

[SPEAKER_00]: So obviously,

09:51.624 --> 09:55.406

[SPEAKER_00]: But within that, this film really knows what to do with shadows, I think.

09:55.826 --> 09:57.847

[SPEAKER_01]: And it's similar to I walked with a zombie.

09:58.067 --> 09:59.727

[SPEAKER_01]: If I were to compare it to when we've already seen.

10:00.028 --> 10:01.048

[SPEAKER_02]: Yes, I would do.

10:02.409 --> 10:04.049

[SPEAKER_02]: There's some great scenes, and I want to get into them.

10:04.089 --> 10:10.032

[SPEAKER_02]: But like I said, this restaurant plays a big part in this whole movie.

10:10.372 --> 10:15.434

[SPEAKER_02]: I mean, one of the things they do well, but which is kind of funny is it's obviously the cheap movie because they

10:15.694 --> 10:17.215

[SPEAKER_02]: Don't have that many sets.

10:17.595 --> 10:18.495

[SPEAKER_02]: There's the restaurant.

10:19.096 --> 10:21.277

[SPEAKER_02]: There's the there's the warf number four.

10:21.297 --> 10:24.298

[SPEAKER_02]: There's the castle, which seems to be just one big room.

10:24.698 --> 10:26.599

[SPEAKER_02]: And then there's the graveyard outside of the castle.

10:26.659 --> 10:28.640

[SPEAKER_02]: That's sort of where most of the action is set.

10:29.120 --> 10:32.542

[SPEAKER_00]: The restaurant is like the kitchen from I think King of the zombies.

10:32.562 --> 10:33.842

[SPEAKER_00]: Yeah, I'm back to the place.

10:34.002 --> 10:34.223

[SPEAKER_00]: Yes.

10:34.463 --> 10:35.743

[SPEAKER_02]: Yeah, absolutely.

10:35.843 --> 10:38.725

[SPEAKER_00]: After after every action scene, there's like regrouping at the restaurant.

10:39.525 --> 10:40.786

[SPEAKER_02]: Yeah, but let's let's start there.

10:40.866 --> 10:45.870

[SPEAKER_02]: So Maris lava, who plays Nora, goes into the restaurant and meets her editor.

10:46.011 --> 10:49.453

[SPEAKER_02]: So let's talk about these two people to start with.

10:49.513 --> 10:55.558

[SPEAKER_02]: So you mentioned at the beginning, what Maris lava, the actress is absolutely devastatingly gorgeous.

10:55.619 --> 10:56.719

[SPEAKER_02]: She is not

10:57.480 --> 10:57.920

[SPEAKER_02]: Mexican.

10:57.980 --> 11:02.541

[SPEAKER_02]: She is from the Czech Republic and she just has these stunning features and they say she's a redhead.

11:02.581 --> 11:04.302

[SPEAKER_02]: It looks like blonde hair from the black and white.

11:05.062 --> 11:07.122

[SPEAKER_02]: And she looks tough.

11:07.262 --> 11:07.923

[SPEAKER_02]: No nonsense.

11:07.963 --> 11:08.643

[SPEAKER_02]: She smokes.

11:09.263 --> 11:11.823

[SPEAKER_02]: You know, like she seems to be a force to be reckoned with.

11:12.144 --> 11:15.964

[SPEAKER_00]: And this movie really knows how to just frame her.

11:16.125 --> 11:16.445

[SPEAKER_00]: I think.

11:16.485 --> 11:16.725

[SPEAKER_00]: Yes.

11:17.365 --> 11:19.785

[SPEAKER_00]: It really like evokes her charisma.

11:19.865 --> 11:21.266

[SPEAKER_00]: I mean, she just dominates every scene.

11:21.286 --> 11:21.606

[SPEAKER_00]: She's in.

11:22.266 --> 11:26.749

[SPEAKER_02]: Now, the editor, he's a bit of a blob, but she comes in and says, this reporting is boring.

11:26.849 --> 11:29.971

[SPEAKER_02]: At one point, she says, I am living a stupid life.

11:30.932 --> 11:31.212

[UNKNOWN]: Yes.

11:31.632 --> 11:32.633

[SPEAKER_00]: Can we pause for a minute?

11:32.653 --> 11:32.833

[SPEAKER_00]: Yeah.

11:32.873 --> 11:34.134

[SPEAKER_00]: Talk about the translation.

11:34.534 --> 11:37.556

[SPEAKER_00]: So I was watching with English subtitles turned on.

11:37.636 --> 11:37.836

[SPEAKER_00]: Yeah.

11:38.037 --> 11:46.923

[SPEAKER_00]: And I don't know if these were done by AI or by like a well-intentioned fan or something, but they just, I had to laugh it.

11:47.903 --> 11:51.965

[SPEAKER_00]: They were overly literal and and just really art lists.

11:52.125 --> 11:52.586

[SPEAKER_00]: Yeah.

11:52.666 --> 11:52.846

[SPEAKER_00]: Yeah.

11:52.946 --> 12:01.670

[SPEAKER_00]: I know enough Spanish that I could hear what they were saying and then seeing that like the flatest comic most commonly flat possible English rendition of what they were saying.

12:01.710 --> 12:02.010

[SPEAKER_02]: Yes.

12:02.231 --> 12:03.831

[SPEAKER_02]: In fact, the the personal ad.

12:03.891 --> 12:08.494

[SPEAKER_02]: So so in this scene, the editor reads to her tells her to look at this ad in the paper.

12:09.354 --> 12:19.221

[SPEAKER_02]: And here's how the ad reads in subtitles, a man of ripe age, owner of a great fortune, would like to meet a young, beautiful woman with great feelings.

12:19.582 --> 12:20.843

[SPEAKER_02]: That was my translation of that.

12:21.903 --> 12:23.304

[SPEAKER_02]: It seemed a little odd to me.

12:24.425 --> 12:28.167

[SPEAKER_00]: And so he mentioned that this ad had been running in the paper for like a year.

12:28.267 --> 12:28.547

[SPEAKER_03]: Yes.

12:28.787 --> 12:40.872

[SPEAKER_00]: So I want to throw this out to our readers ladies with that of enticed you to with that of enticed you to respond because he's not he's not getting anybody so far until we until this film.

12:41.092 --> 12:56.184

[SPEAKER_02]: this is so bizarre to me because as much as I enjoyed this film the whole premise I'm just sort of screaming from my modern viewpoint like lady what are you doing you've agreed to me so the editor convinces her that she should meet this guy so she places an ad in the paper back

12:57.005 --> 12:58.126

[SPEAKER_02]: saying I would like to meet you.

12:58.166 --> 12:59.748

[SPEAKER_02]: Let's meet at nine p.m.

12:59.908 --> 13:00.609

[SPEAKER_02]: at the worth.

13:01.169 --> 13:04.672

[SPEAKER_02]: Like by the sea, I'll come alone and you come alone.

13:04.712 --> 13:10.998

[SPEAKER_02]: Like I don't know any person much less a young woman who would make this plan.

13:11.399 --> 13:12.660

[SPEAKER_00]: But it's not just a worth.

13:12.740 --> 13:17.505

[SPEAKER_00]: It's like the scariest crimeiest looking wolf you've ever seen in your life.

13:17.525 --> 13:21.609

[SPEAKER_00]: You know, what what happened to meeting in a public place like a library or something.

13:21.629 --> 13:21.809

[SPEAKER_02]: Right.

13:22.229 --> 13:25.815

[SPEAKER_02]: I don't even, I sold a car recently, and I'm like, yeah, I'll meet you in the croaker parking lot.

13:25.855 --> 13:26.897

[SPEAKER_02]: I'm not gonna meet you in the house.

13:27.458 --> 13:27.698

[SPEAKER_02]: Yeah.

13:27.899 --> 13:30.383

[SPEAKER_01]: We should have had that this entire movie takes place at night.

13:30.723 --> 13:31.024

[SPEAKER_02]: Yes.

13:31.565 --> 13:31.805

[SPEAKER_01]: Yeah.

13:31.825 --> 13:33.147

[SPEAKER_01]: I know that one's their thing daylight.

13:34.003 --> 13:34.163

[SPEAKER_00]: Yep.

13:34.363 --> 13:36.944

[SPEAKER_00]: And we should also note like so Nora's motivation here.

13:36.964 --> 13:49.149

[SPEAKER_00]: And she's not answering this ad because she's romantically intrigued by this guy, but she her editor convinces her that there's got to be a story behind this weird ad that has been running forever in the paper, right?

13:49.189 --> 13:49.389

[SPEAKER_00]: Yes.

13:49.849 --> 13:51.270

[SPEAKER_02]: Yeah, I put in my notes and big letters.

13:51.430 --> 13:52.430

[SPEAKER_02]: Is this a good idea?

13:53.150 --> 13:58.212

[SPEAKER_02]: But this is what we call suspending disbelief and this movie asks us to do this.

13:58.332 --> 14:01.634

[SPEAKER_02]: So that aside, I want to talk about this

14:02.494 --> 14:06.436

[SPEAKER_02]: first scene and just how it looks because I think there's so much

14:07.688 --> 14:08.448

[SPEAKER_02]: to the look here.

14:08.508 --> 14:09.909

[SPEAKER_02]: So she heads towards the worth.

14:10.729 --> 14:14.031

[SPEAKER_02]: It's shot like you said at night in this stark black and white.

14:14.071 --> 14:17.573

[SPEAKER_02]: She is wearing all black with a white flower on her lapel.

14:17.673 --> 14:18.753

[SPEAKER_02]: He is wearing all black.

14:18.793 --> 14:23.935

[SPEAKER_02]: He's got sunglasses, a black fedora, a black mask, and a black trench coat.

14:24.456 --> 14:29.878

[SPEAKER_02]: And there's sort of shot against this stark light having this sort of tense conversation.

14:29.978 --> 14:33.300

[SPEAKER_02]: And I, and the tension music combined with

14:34.652 --> 14:41.235

[SPEAKER_02]: the whole look of this whole scene and the fact that I don't speak Spanish, so I have to read the subtitles really intensely.

14:41.675 --> 14:45.737

[SPEAKER_02]: Like this sent the tone and the tension of the movie for me like immediately.

14:45.957 --> 14:54.561

[SPEAKER_00]: This was one of several conversation scenes that are among the tensist things we've seen in this podcast so far.

14:54.681 --> 14:55.341

[SPEAKER_02]: Absolutely.

14:55.581 --> 14:57.522

[SPEAKER_02]: Like, yeah, you were gonna say something pretty surprising.

14:57.622 --> 15:00.343

[SPEAKER_01]: Well, I was gonna say, I think it's even more tense than a trench coat.

15:00.403 --> 15:01.464

[SPEAKER_01]: He's got a black cape.

15:02.164 --> 15:18.115

[SPEAKER_02]: that's right that's right yeah he's got like a giant cloak that he goes around in and and how would you describe so so she is obviously frightened of him and scared when she first meets him and he is very excited to meet her saying that seeing her like his

15:19.096 --> 15:26.962

[SPEAKER_02]: his dream of meeting somebody that he could relate to is overcome by the reality of how amazing she seems to be.

15:27.022 --> 15:33.887

[SPEAKER_02]: So what is he proposed to her that also seems like a horrible idea, Andy, but let's again, let's just spend her disbelief.

15:34.727 --> 15:42.793

[SPEAKER_00]: Yeah, well, he proposes he asks her basically if she's willing and to be tested, right?

15:43.053 --> 15:43.794

[SPEAKER_00]: Is that what you're getting at?

15:43.834 --> 15:44.034

[SPEAKER_00]: Yes.

15:45.542 --> 15:50.726

[SPEAKER_00]: And he doesn't say what the test will be except that it won't involve hurting her in any way.

15:53.828 --> 15:55.189

[SPEAKER_00]: And she agrees.

15:55.549 --> 16:00.613

[SPEAKER_00]: And this is obviously an insane thing for a regular person to agree to do, especially.

16:01.333 --> 16:03.975

[SPEAKER_00]: But she still, I just got to say she sells it.

16:04.075 --> 16:04.595

[SPEAKER_00]: She sells

16:05.594 --> 16:13.758

[SPEAKER_00]: She sells me on this character who is scared, but is making a decision that she's going to do this.

16:14.198 --> 16:17.440

[SPEAKER_00]: And I thought it was just a great scene.

16:17.520 --> 16:18.861

[SPEAKER_00]: Like I just wrote that down on my notes.

16:18.881 --> 16:19.941

[SPEAKER_00]: Like this is a great scene.

16:20.101 --> 16:22.603

[SPEAKER_02]: Yeah, she's really interesting because she has to do all the work.

16:23.443 --> 16:26.945

[SPEAKER_02]: He has sunglasses, a mask, a hat, and a cloak on.

16:28.086 --> 16:32.568

[SPEAKER_02]: He does a decent job with his blocking and his performance.

16:32.789 --> 16:33.609

[SPEAKER_02]: And he's very physical.

16:33.649 --> 16:38.512

[SPEAKER_02]: So when he's disappointed that he doesn't trust him initially, his shoulders kind of slump.

16:38.532 --> 16:42.674

[SPEAKER_02]: But as far as the face and the tension in her body, she has to do all the work in the scene.

16:43.735 --> 16:44.956

[SPEAKER_02]: And she pulls it off.

16:44.996 --> 16:45.817

[SPEAKER_02]: I think it's amazing.

16:46.297 --> 16:47.798

[SPEAKER_02]: But she decides she's going to trust him.

16:47.838 --> 16:49.219

[SPEAKER_02]: She's going to go take his test.

16:49.739 --> 16:53.182

[SPEAKER_02]: And then I, so they drive to his house in his convertible.

16:53.722 --> 16:56.844

[SPEAKER_02]: And then I think she, she immediately regrets.

16:57.945 --> 16:59.426

[SPEAKER_02]: So before we get there, I have a question.

16:59.466 --> 17:06.631

[SPEAKER_02]: So he's named Dr. Herman Lang here, but in the, in the name of the movie, he's referred to as Dr. Crimin.

17:06.671 --> 17:07.412

[SPEAKER_02]: So it's just like a,

17:08.052 --> 17:10.994

[SPEAKER_02]: Dr. Jekyll, Mr. Hyde thing, or am I just confused?

17:11.355 --> 17:12.916

[SPEAKER_00]: So I couldn't figure that either.

17:12.936 --> 17:13.196

[SPEAKER_00]: Yeah.

17:13.456 --> 17:14.277

[SPEAKER_01]: Well, here's what I think.

17:14.777 --> 17:20.282

[SPEAKER_01]: He calls himself Dr. Crimin later when he turns into the mad scientist.

17:20.322 --> 17:27.087

[SPEAKER_01]: And he, and he, so I think it is a Dr. Jekyll, Mr. Hyde in the sense that he has become someone new at that point, Dr. Jekyll.

17:27.107 --> 17:27.327

[SPEAKER_01]: OK.

17:27.888 --> 17:28.188

[SPEAKER_02]: All right.

17:28.488 --> 17:29.029

[SPEAKER_02]: I'll go with that.

17:29.549 --> 17:31.471

[SPEAKER_02]: I think we'll call him Herman for now.

17:31.751 --> 17:35.774

[SPEAKER_02]: And then we'll talk about him becoming Dr. Dr. Crimin later.

17:35.794 --> 17:36.575

[SPEAKER_02]: Is that's honorate?

17:37.255 --> 17:37.935

[SPEAKER_00]: That sounds great.

17:38.416 --> 17:45.118

[SPEAKER_00]: John, what is what is the location through which you must pass to get to his creepy mansion on a cliff?

17:45.138 --> 17:45.879

[SPEAKER_02]: This is amazing.

17:45.919 --> 17:46.879

[SPEAKER_02]: They pull up to the house.

17:46.979 --> 17:50.381

[SPEAKER_02]: This is huge gate lit by dark moonlight.

17:50.721 --> 17:53.522

[SPEAKER_02]: There are dogs howling and it's a graveyard.

17:53.922 --> 18:06.319

[SPEAKER_02]: Like, like, whoa, I was a little nervous about going to this strange man's house, but as he doesn't live in a house, he lives in a giant gothic castle that the only way he says the only way to get to the house is by walking through the grave.

18:08.862 --> 18:27.307

[SPEAKER_00]: really like there's truly no other way you know it just makes you wonder he does offer these reassuring words and I want you and I'll just ask you if you would have if your fears would have been put to rest by this he says don't worry nowhere on earth can you be as safe as in this house where dead people yeah

18:28.768 --> 18:30.109

[SPEAKER_02]: I was nervous for a minute there.

18:31.532 --> 18:36.258

[SPEAKER_02]: Having said that, this scene looks amazing as they walk through the graveyard to his house.

18:36.939 --> 18:41.165

[SPEAKER_02]: And we'll come back to this again, cheap sets, so we'll come back here a couple of times.

18:41.927 --> 18:44.228

[SPEAKER_02]: Now, I also want to move, let's move to his house.

18:44.949 --> 18:45.909

[SPEAKER_02]: They go into his house.

18:46.029 --> 18:51.852

[SPEAKER_02]: It all you really, you do see his lab later, but it's really this sort of great drawing entry way, drawing room entry way.

18:52.712 --> 18:57.835

[SPEAKER_02]: And there's a fire burning in the fireplace, but what he's not alone, but there's nobody else.

18:57.975 --> 19:00.616

[SPEAKER_02]: What is populating this room?

19:00.656 --> 19:02.037

[SPEAKER_02]: Because it's by Anazini.

19:02.828 --> 19:17.911

[SPEAKER_00]: I know I don't want to just keep saying this was amazing this is amazing but like this was great because the first thing she sees when she steps into like the entry room of his house is a bunch of

19:18.792 --> 19:27.140

[SPEAKER_00]: catatonic looking women standing around and posed in different poses like some are sitting, some are standing.

19:27.660 --> 19:32.885

[SPEAKER_00]: Many of them have their like arms out and as if they're sort of caught in mid-just circulation.

19:32.905 --> 19:35.207

[SPEAKER_00]: They're all staring.

19:36.328 --> 19:44.796

[SPEAKER_00]: Later, it's, well, I didn't know what to do with this, but it, like, truly one of the earliest things we've seen in this podcast.

19:44.836 --> 19:47.718

[SPEAKER_02]: Yeah, and actually one of my favorites is he goes to play the piano here.

19:48.199 --> 19:50.341

[SPEAKER_02]: There's a skull on the piano, first of all.

19:50.761 --> 19:58.348

[SPEAKER_02]: Then second of all, there's two intertwined hands, like holding hands, just protruding out from the piano, like from where the strings are in the piano.

19:58.992 --> 20:03.934

[SPEAKER_00]: Those hands are in so on, they're on the screen so long, it's so good.

20:04.214 --> 20:05.114

[SPEAKER_00]: It's so good.

20:05.535 --> 20:07.876

[SPEAKER_02]: Now, we do find out a couple things in this scene.

20:08.656 --> 20:11.057

[SPEAKER_02]: Let me talk about it generally, and then we can do a couple specific things.

20:11.097 --> 20:15.319

[SPEAKER_02]: So we meet his assistant, Misha, remember this is in Czechoslovakia.

20:15.379 --> 20:17.179

[SPEAKER_02]: So that's his assistant's name.

20:17.239 --> 20:22.361

[SPEAKER_02]: He sort of cruel to his assistant, but his assistant does talk to Nora and give her sort of low down.

20:22.381 --> 20:24.422

[SPEAKER_02]: Like, these are sculptures he's created.

20:24.482 --> 20:25.503

[SPEAKER_02]: And we found out later,

20:26.572 --> 20:29.835

[SPEAKER_02]: during the course of the scene and after that he was a plastic surgeon.

20:29.875 --> 20:35.140

[SPEAKER_02]: So he's creating these sculptures to be as realistic as possible because he has the ability to do that.

20:36.341 --> 20:37.903

[SPEAKER_00]: So I don't want to jump ahead too much.

20:38.864 --> 20:48.873

[SPEAKER_00]: And at one point, there's a very, very tense, very modern feeling sequence where Nora gingerly touches the face of one of these women.

20:49.173 --> 20:50.434

[SPEAKER_00]: I was sure she was going to wake.

20:50.494 --> 20:51.275

[SPEAKER_00]: Yeah, I was scared.

20:52.626 --> 21:16.214

[SPEAKER_00]: and just generally this movie the way it did and it framed like kind of suspense scenes felt more modern than a lot of the other films we've been doing absolutely in that same way that like some movies like I walked it with a zombie or sometimes individual actors in a movie seem to be a couple of decades beyond everybody else in the movie I don't know

21:17.434 --> 21:19.897

[SPEAKER_00]: Are these wax like mannequins?

21:20.878 --> 21:23.141

[SPEAKER_00]: Are they real women that he's killed?

21:26.024 --> 21:28.908

[SPEAKER_00]: I thought these were real women that he killed.

21:29.308 --> 21:30.489

[SPEAKER_02]: I think they are.

21:31.818 --> 21:33.360

[SPEAKER_02]: I think at this point he hasn't killed anybody.

21:33.400 --> 21:40.088

[SPEAKER_02]: I think there are sculptures that he created to a switch is loneliness.

21:40.168 --> 21:40.809

[SPEAKER_02]: That's what I think.

21:40.849 --> 21:41.150

[SPEAKER_00]: Okay.

21:41.750 --> 21:44.854

[SPEAKER_00]: So, but they are real human actors.

21:44.974 --> 21:45.555

[SPEAKER_00]: They're not.

21:45.595 --> 21:46.056

[SPEAKER_00]: Yeah.

21:46.416 --> 21:47.698

[SPEAKER_00]: They're not like mannequins.

21:47.718 --> 21:49.860

[SPEAKER_00]: So, I mean, they look really realistic.

21:49.920 --> 21:50.141

[SPEAKER_00]: Yes.

21:50.461 --> 21:56.768

[SPEAKER_00]: And I suppose if she had touched one and it was real flesh, she wouldn't have like stayed in the house as long.

21:56.868 --> 21:57.208

[SPEAKER_00]: Yeah.

21:57.228 --> 21:57.729

[SPEAKER_02]: Yeah.

21:57.829 --> 21:57.969

[SPEAKER_02]: Yeah.

21:58.029 --> 21:58.470

[SPEAKER_02]: I don't think so.

21:58.530 --> 21:58.690

[SPEAKER_02]: Okay.

21:58.830 --> 22:01.753

[SPEAKER_00]: So there's a scene later that can fuse me about this, but we'll get to it.

22:02.113 --> 22:02.934

[SPEAKER_00]: We'll get to it later.

22:02.954 --> 22:04.856

[SPEAKER_02]: Well, let's talk about a couple of interesting things in this scene.

22:04.876 --> 22:10.202

[SPEAKER_02]: So he he sits down and he plays the piano still with his face, you know, covered in his hat on.

22:10.722 --> 22:21.130

[SPEAKER_02]: This is when she has the conversation with Misha but like here at this point we are in some combination of Frankenstein beauty and the beast in Phantom of the Opera like it's all happening together.

22:22.011 --> 22:39.285

[SPEAKER_02]: He placed the piano beautifully and then and then the Nora has this like intuition in this sort of magic tinkling sound occurs and It's just absolutely bizarre, but we're filled with tension and then we come to another long-conversation where

22:40.098 --> 22:43.259

[SPEAKER_02]: Herman is trying to convince Nora that he's safe.

22:43.539 --> 22:44.500

[SPEAKER_02]: She should trust him.

22:45.120 --> 22:51.422

[SPEAKER_02]: He says at one point the nerves are bad advisors, Nora, meaning if you're scared that doesn't mean you should flee.

22:51.502 --> 22:58.425

[SPEAKER_02]: So this whole time and this whole sequence is about her thinking I should get out of here and him saying, no, I'm safe.

22:58.645 --> 22:59.305

[SPEAKER_02]: It's okay.

23:00.606 --> 23:03.947

[SPEAKER_02]: And the way they shoot this is they shoot the whole thing low.

23:03.987 --> 23:06.748

[SPEAKER_02]: So we're like looking up at them as they're having this conversation.

23:07.588 --> 23:13.933

[SPEAKER_02]: I don't know the whole thing just the way they put the whole thing together just had me absolutely enraptured by this scene.

23:14.353 --> 23:27.602

[SPEAKER_00]: Yeah, you mentioned earlier that Misha chats with Dora and then is be rated by her man for doing so and he says that these are you like you say these these are my masters like projects, but but that's not what he really does.

23:27.642 --> 23:28.943

[SPEAKER_00]: He really does something else.

23:28.983 --> 23:36.508

[SPEAKER_00]: Did you mention that and like so there's this I don't know if the translation made total sense, but he seemed to be hinting that

23:37.588 --> 23:45.035

[SPEAKER_00]: that Herman has an obsession that, and it's something, it's something maybe a little bit like worse than the creepy mannequin.

23:45.455 --> 23:46.276

[SPEAKER_02]: Yes, yeah.

23:46.876 --> 23:52.481

[SPEAKER_02]: But despite all of this, he invites her to his laboratory.

23:52.641 --> 23:57.846

[SPEAKER_02]: And at this time, he says something to Misha, that sort of a throwaway line that comes back later where he's like,

23:58.286 --> 24:02.347

[SPEAKER_02]: make sure you drug the creature with the maximum dose or something.

24:02.948 --> 24:03.208

[SPEAKER_00]: Yeah.

24:03.388 --> 24:10.850

[SPEAKER_00]: And that's because a hideous whale could be like, that's right, broke out and nor kind of freaked out.

24:10.970 --> 24:13.251

[SPEAKER_00]: Herman makes an obvious dumb excuse.

24:13.291 --> 24:16.712

[SPEAKER_00]: Like, oh, it's like the fisherman coming in at night or whatever.

24:16.772 --> 24:18.533

[SPEAKER_00]: Like, you know, the worst possible story.

24:18.693 --> 24:24.735

[SPEAKER_00]: And then, uh, and that is an society says to me, you know, like, uh, basically don't let that happen again.

24:24.955 --> 24:30.657

[SPEAKER_01]: And when you say a whale breaks out, this would be the sound again, not a large blue whale breaking into the castle.

24:30.777 --> 24:33.499

[SPEAKER_00]: We have a problem on this podcast because we're a whale don't we?

24:34.239 --> 24:35.019

[SPEAKER_02]: Yeah.

24:35.339 --> 24:41.342

[SPEAKER_02]: So let's go to the next scene because I want to we don't have to go through it beat by beat, but I think this is this is fascinating.

24:41.402 --> 24:45.924

[SPEAKER_02]: So they go down to this laboratory and he tells her about what a great plastic surgeon he is.

24:47.092 --> 24:52.080

[SPEAKER_02]: But the tragedy is, despite all his gifts, his ability to work miracles.

24:53.081 --> 24:56.666

[SPEAKER_02]: He cannot fix his own deformed face.

24:57.327 --> 25:00.993

[SPEAKER_02]: And he tells a story of his tragedy about how his parents

25:02.033 --> 25:17.884

[SPEAKER_02]: cast him out because he was so deformed and his village cast him out and nobody would talk to him and and he is angry and vengeful and he says I want justice and I'm going to take my justice and I'm going to take it out starting with the women of the world first.

25:18.044 --> 25:20.206

[SPEAKER_02]: So again, nor is like, oh my god, I got to get out of here.

25:21.086 --> 25:22.968

[SPEAKER_02]: And he's like, no, I don't mean you.

25:26.371 --> 25:29.013

[SPEAKER_02]: But then something interesting happens.

25:29.433 --> 25:30.274

[SPEAKER_02]: This is the point.

25:30.674 --> 25:31.755

[SPEAKER_02]: They talk about the test.

25:32.636 --> 25:33.737

[SPEAKER_02]: And what is the test?

25:33.877 --> 25:40.682

[SPEAKER_02]: And the test that she agreed to was to see his face and how she would react.

25:41.643 --> 25:42.984

[SPEAKER_02]: And so this is what happens.

25:43.044 --> 25:47.228

[SPEAKER_02]: He takes off his hat, his sunglasses, his mask, and what is nor a sea?

25:49.012 --> 25:54.778

[SPEAKER_00]: She sees a, well, a hideously, deformed face.

25:55.159 --> 25:58.202

[SPEAKER_00]: Yes, it's obviously a lot of prosthetics.

25:59.323 --> 26:06.290

[SPEAKER_00]: It reminded me of that famous pilot zone episode where the plastic surgeons are, do you see that one?

26:06.310 --> 26:07.051

[SPEAKER_00]: Yes, yes.

26:07.411 --> 26:08.272

[SPEAKER_00]: So they're wearing the mask.

26:08.312 --> 26:10.434

[SPEAKER_02]: They take them off to their face, look like the masks.

26:11.375 --> 26:22.907

[SPEAKER_00]: It's evocative of like the elephant man, kind of what you might consider kind of an old school idea of what kind of a hideously-deformed face would look like.

26:23.147 --> 26:24.469

[SPEAKER_02]: Yeah, it's funny.

26:24.909 --> 26:27.932

[SPEAKER_02]: They say she says, yeah, I also have a stiff face.

26:28.653 --> 26:46.640

[SPEAKER_02]: which means it doesn't move much and I think they had to say that because the mask is so immobile it's just sort of it's on his face like they had to excuse the fact that one he talks why his mouth doesn't move that much but but yes it's I don't know did you find the face laughable I did not but I could see somebody laughing at

26:48.052 --> 26:50.574

[SPEAKER_00]: I did not find it laughable.

26:51.455 --> 26:56.199

[SPEAKER_00]: And as the movie goes on, it becomes pretty effectively menacing, I would say.

26:56.219 --> 26:58.300

[SPEAKER_00]: Yeah, I think so.

26:58.901 --> 27:05.686

[SPEAKER_00]: But what this scene is doing feels weird to a modern viewer, I think.

27:05.846 --> 27:07.247

[SPEAKER_00]: And I don't think we're really

27:08.028 --> 27:19.411

[SPEAKER_00]: primed today to recoil from, I guess, physical aggliness in the way that this movie just assumes that you could hardly even look at this person.

27:19.751 --> 27:28.033

[SPEAKER_00]: And Nora, although this scene does get quite interesting here, but Nora's initial reaction is to, like, flinch away and gasped, right?

27:28.073 --> 27:29.333

[SPEAKER_00]: And she faint, actually, brief.

27:29.453 --> 27:35.975

[SPEAKER_00]: And that, that feels like a very old, very old school thing in a movie that in other respects,

27:36.355 --> 27:37.757

[SPEAKER_00]: feels more modern.

27:37.997 --> 27:38.477

[SPEAKER_00]: So I don't know.

27:38.678 --> 27:39.439

[SPEAKER_00]: What do you think about all that?

27:39.779 --> 27:41.301

[SPEAKER_02]: No, I think you nailed it.

27:41.501 --> 27:44.324

[SPEAKER_02]: And I think it's fascinating.

27:44.364 --> 27:46.767

[SPEAKER_02]: And I think it really works despite its sort of cheesiness.

27:47.327 --> 27:47.888

[SPEAKER_02]: This whole thing.

27:47.928 --> 27:50.471

[SPEAKER_02]: So first of all, we're pretty far into the movie.

27:51.012 --> 27:54.215

[SPEAKER_02]: And all we really had is a couple of conversations between these two characters.

27:54.796 --> 27:56.418

[SPEAKER_02]: It is an absolute melodrama.

27:56.918 --> 27:57.899

[SPEAKER_02]: It's a soap opera.

27:58.139 --> 28:02.861

[SPEAKER_02]: There's very little action, but I'm completely engaged with these people in their program.

28:02.881 --> 28:09.805

[SPEAKER_02]: And I think by the fact that they don't rush through it, they drag out the fact that he don't reveal his face, makes it work.

28:09.925 --> 28:13.107

[SPEAKER_02]: And then obviously again, the performance by Nora makes it work.

28:14.003 --> 28:17.666

[SPEAKER_00]: The next couple minutes, I once he reveals his face and nor initially faints.

28:18.327 --> 28:21.590

[SPEAKER_00]: We get what I think is like the centerpiece of this film.

28:22.411 --> 28:23.592

[SPEAKER_00]: Do you want to talk us through it here?

28:23.792 --> 28:24.273

[SPEAKER_02]: Absolutely.

28:24.533 --> 28:28.757

[SPEAKER_02]: So after she recovers, she says, no, no, don't be so angry at the world.

28:29.718 --> 28:31.479

[SPEAKER_02]: And she kisses him on the forehead.

28:32.460 --> 28:35.023

[SPEAKER_02]: And he has overcome with joy.

28:35.183 --> 28:35.643

[SPEAKER_02]: And he starts.

28:35.823 --> 28:39.427

[SPEAKER_02]: So they set up earlier in the movie that he had covered all the mirrors in the house.

28:40.698 --> 28:42.400

[SPEAKER_02]: So he's overcome with joy.

28:42.440 --> 28:45.262

[SPEAKER_02]: He goes running around the house about how she has kissed him.

28:45.742 --> 28:47.904

[SPEAKER_02]: He tears the coverings off all the mirrors.

28:47.964 --> 28:51.246

[SPEAKER_02]: He looks at himself and proclaim himself handsome.

28:52.207 --> 28:57.251

[SPEAKER_02]: And then he says, and now I will use my miracle hands to fix my own face.

28:57.491 --> 28:59.553

[SPEAKER_02]: Nora, you've made me the happiest man alive.

28:59.673 --> 29:06.858

[SPEAKER_02]: Like I get the impression he's been placing this ad, just trying to find somebody with any drop of tenderness in their hearts.

29:07.459 --> 29:08.680

[SPEAKER_02]: And Nora is that person.

29:09.705 --> 29:17.570

[SPEAKER_00]: Yeah, and Nora is also, you know, really encouraging him to set aside his hate.

29:17.910 --> 29:19.691

[SPEAKER_00]: And this is a moving scene.

29:20.131 --> 29:24.354

[SPEAKER_00]: As silly as it almost is, it doesn't feel silly when you're watching it.

29:24.434 --> 29:24.674

[SPEAKER_00]: Right.

29:24.814 --> 29:28.797

[SPEAKER_00]: But her thing is, put aside your hatred, you deserve to be happy.

29:29.357 --> 29:32.939

[SPEAKER_00]: You are so skilled, use your skills to help humanity.

29:33.660 --> 29:37.582

[SPEAKER_00]: And he seems to undergo a complete transformation at this.

29:37.882 --> 29:39.843

[SPEAKER_02]: And I think we cut to the next night.

29:39.983 --> 29:41.364

[SPEAKER_02]: I think there's a cut here.

29:41.885 --> 29:50.310

[SPEAKER_02]: The one thing you see in the morning is all of those sculptures are gone and they're in the sea sort of at the bottom of the cliff of this house.

29:50.370 --> 29:53.812

[SPEAKER_02]: He's thrown them all away because he doesn't need them anymore because he's met Nora.

29:54.292 --> 29:57.635

[SPEAKER_00]: And around this, I will say, you know, this sequence

29:58.415 --> 30:05.863

[SPEAKER_00]: You want to be happy that he has kind of turned his attitude around and he has found hope and he has found love and acceptance.

30:06.303 --> 30:10.388

[SPEAKER_00]: But there is definitely still an underlying tone of menace.

30:10.568 --> 30:16.734

[SPEAKER_00]: Because he says a couple things along the lines of like, well, in Nora, you will be staying with me forever.

30:16.894 --> 30:19.157

[SPEAKER_00]: Now that, you know, we've made this connection.

30:19.177 --> 30:20.478

[SPEAKER_00]: And so it's like, oh, okay.

30:20.498 --> 30:20.718

[SPEAKER_00]: Yeah.

30:21.419 --> 30:22.660

[SPEAKER_02]: So, so he's excited.

30:22.720 --> 30:26.062

[SPEAKER_02]: He says, I'm going to go and I'm going to meet and Misha is trying.

30:26.142 --> 30:29.624

[SPEAKER_02]: Misha, his assistant is trying to tell him like, don't be a fool.

30:29.864 --> 30:31.025

[SPEAKER_02]: Like, don't go to see her.

30:31.165 --> 30:33.086

[SPEAKER_02]: This is not going to work out the way you wanted to.

30:33.126 --> 30:34.307

[SPEAKER_02]: And he says, don't you worry.

30:34.347 --> 30:34.888

[SPEAKER_02]: I'm going to go.

30:35.268 --> 30:36.549

[SPEAKER_02]: I'm going to point me to see her tonight.

30:37.409 --> 30:40.011

[SPEAKER_02]: And apparently they're going to meet at the one restaurant in town.

30:40.231 --> 30:41.772

[SPEAKER_00]: Did you make a note of what Misha

30:42.658 --> 30:44.080

[SPEAKER_00]: Tell memorably tells him.

30:44.120 --> 30:45.041

[SPEAKER_02]: No, what does he say?

30:45.382 --> 30:55.095

[SPEAKER_00]: So Misha is saying it's trying to brace him for disappointment because he's so enthusiastic he's going to go out into the world because he's found acceptance again and Misha is trying to say

30:56.317 --> 30:57.277

[SPEAKER_00]: don't get your hopes up.

30:58.258 --> 31:03.559

[SPEAKER_00]: And he says, remember that the woman and the snake got along well.

31:03.859 --> 31:08.100

[SPEAKER_00]: And he's just such an interesting, an interesting line.

31:08.220 --> 31:18.522

[SPEAKER_00]: And I mean, he's easy trying to suggest that Nora is the woman and he is like the Satan figure in this.

31:18.702 --> 31:19.863

[SPEAKER_00]: I think so.

31:20.723 --> 31:22.223

[SPEAKER_00]: That's an interesting line.

31:22.243 --> 31:25.584

[SPEAKER_00]: I don't, and the translation might not be doing that justice, but

31:26.546 --> 31:30.701

[SPEAKER_00]: Yeah, but yeah, then it's back to our favorite day out right to restaurant

31:31.073 --> 31:35.234

[SPEAKER_02]: Yep, we've got Nora and her editor, and Nora is smoking again, which is amazing.

31:35.774 --> 31:39.255

[SPEAKER_00]: And in this scene, did you notice the shadows of her hand in this scene?

31:39.315 --> 31:40.095

[SPEAKER_00]: No, tell me.

31:40.635 --> 31:42.256

[SPEAKER_00]: They have it lit in such a way.

31:42.616 --> 31:46.237

[SPEAKER_00]: She's got her hands out in front of her, like manipulating the cigarette and stuff.

31:46.857 --> 31:50.978

[SPEAKER_00]: And you can see just the shadows of all her fingers across her chest.

31:51.018 --> 31:51.838

[SPEAKER_00]: I can't describe it.

31:51.938 --> 31:56.399

[SPEAKER_00]: It looks like it's just like you're really interesting look.

31:56.679 --> 31:59.280

[SPEAKER_02]: Well, I think that also jumps out because she's all in white now.

32:00.040 --> 32:04.141

[SPEAKER_02]: He was wearing a hundred percent white talked about him outfit in this sequence.

32:04.561 --> 32:05.881

[SPEAKER_02]: And for a while here, yeah.

32:06.421 --> 32:14.303

[SPEAKER_00]: She doesn't realize, so she's talking to her editor, but she doesn't realize that Herman is lurking and hiding nearby and eavesdropping.

32:14.343 --> 32:15.043

[SPEAKER_00]: Yes, conversation.

32:15.423 --> 32:21.264

[SPEAKER_00]: I think the idea was Herman was going to meet her there, but he showed up early and is eavesdropping on her, right?

32:21.284 --> 32:26.345

[SPEAKER_02]: Yeah, when he, I think when he saw her with the editor, he sort of ducked back into the shadows, but she

32:27.557 --> 32:30.358

[SPEAKER_02]: She is not cruel in this thing.

32:30.799 --> 32:32.479

[SPEAKER_02]: Like, like, tell me what you think of this scene.

32:32.560 --> 32:47.607

[SPEAKER_02]: I feel like what she's saying is he looks like a monster and I'm not, I think she even says, I'm not sure if he's human or something summoned from the grave, but I am interested in him and I think I have a mission here into sort of getting him to do good.

32:48.367 --> 32:52.890

[SPEAKER_02]: But yes, but when, when Herman over here is this, he flees

32:53.855 --> 32:57.577

[SPEAKER_02]: because he thinks that Nora has betrayed him and she kind of has.

32:57.657 --> 32:59.959

[SPEAKER_02]: So how did you take this conversation away?

33:00.619 --> 33:02.400

[SPEAKER_00]: So this is how I understood it.

33:04.822 --> 33:10.605

[SPEAKER_00]: So Nora is talking to her editor is kind of giving this big speech about what she thinks.

33:11.746 --> 33:13.086

[SPEAKER_00]: He's asking her like, what are you gonna do?

33:13.146 --> 33:14.007

[SPEAKER_00]: Is this a good story?

33:14.587 --> 33:21.772

[SPEAKER_00]: But this conversation happens in two halves and Herman leaves after hearing the first half

33:22.532 --> 33:26.234

[SPEAKER_00]: But the first half of the conversation is where she sounds mean.

33:26.254 --> 33:29.675

[SPEAKER_00]: And the second half is where she sounds nice.

33:29.715 --> 33:35.238

[SPEAKER_00]: So what she does in the first half of the conversation, she's saying, yes, this is an incredible story.

33:35.578 --> 33:40.861

[SPEAKER_00]: You won't believe what a weird guy I found and what a cool story I could write about this.

33:42.298 --> 33:54.043

[SPEAKER_00]: And then Herman overhearing it assumes, I think, naturally, that, you know, she has been stringing him along because she just sees him as a source of a lurid story.

33:54.123 --> 33:55.864

[SPEAKER_00]: She could write for the newspaper.

33:56.024 --> 33:56.224

[SPEAKER_00]: Yes.

33:56.344 --> 33:57.245

[SPEAKER_00]: And so he huffs out.

33:57.645 --> 34:05.008

[SPEAKER_00]: But just as he huffs out in kind of classic like tragedy style, it's a misunderstanding to some extent.

34:05.048 --> 34:05.288

[SPEAKER_00]: Yes.

34:05.448 --> 34:08.870

[SPEAKER_00]: Because as he's huffing out without her knowledge, she says,

34:09.630 --> 34:29.836

[SPEAKER_00]: But even though I have this great story, what I actually care about here, I actually think that he's actually care about this person and want him to be able to experience like a happy life and to give something to back to humanity and that sort of thing.

34:29.876 --> 34:36.038

[SPEAKER_00]: So he missed the part where he left before she said, but yeah, and then qualified everything she said before.

34:36.078 --> 34:37.679

[SPEAKER_00]: So I didn't read it so much as a

34:38.379 --> 34:44.722

[SPEAKER_00]: be trail as like a classic like misunderstanding scene.

34:44.762 --> 34:45.723

[SPEAKER_00]: What do you think about that?

34:45.803 --> 34:48.784

[SPEAKER_00]: Or did you read it as she is more of a jerk than I did?

34:48.844 --> 34:49.585

[SPEAKER_02]: No, I don't think so.

34:49.605 --> 34:53.146

[SPEAKER_02]: I think I think she wants something different than what Herman wants, right?

34:53.206 --> 34:54.667

[SPEAKER_02]: Herman wants her to love him.

34:55.207 --> 34:58.909

[SPEAKER_02]: And I don't think she does, but I think she cares for him and wants to help him.

35:00.270 --> 35:02.551

[SPEAKER_02]: But I think your interpretation is correct.

35:03.438 --> 35:08.345

[SPEAKER_02]: But she sees that he hasn't shown up because she doesn't realize he'd been, he's dropping.

35:08.365 --> 35:13.873

[SPEAKER_02]: So she goes to his house dressed all in white, glowing in the, in the moonlight.

35:14.975 --> 35:16.978

[SPEAKER_02]: And he is waiting for her in the graveyard.

35:17.579 --> 35:17.819

[SPEAKER_02]: Yeah.

35:17.839 --> 35:19.221

[SPEAKER_02]: And he is not happy.

35:20.694 --> 35:27.599

[SPEAKER_02]: and he mocks her and her writing and she tell, and he tells her that she is bad and cruel just like all the others.

35:27.780 --> 35:31.802

[SPEAKER_02]: And now with your betrayal, a monster has been awakened inside of me.

35:31.822 --> 35:36.066

[SPEAKER_00]: He has sarcastic lines, they're so good.

35:36.126 --> 35:36.326

[SPEAKER_00]: Yes.

35:36.346 --> 35:40.289

[SPEAKER_00]: One point he says, I'm eager to read every word of your sensational cover.

35:40.369 --> 35:41.469

[SPEAKER_00]: Yes, exactly.

35:41.489 --> 35:42.470

[SPEAKER_02]: So good.

35:42.910 --> 35:45.853

[SPEAKER_02]: And so she flees in he chases her.

35:46.673 --> 35:50.037

[SPEAKER_02]: And they go on something of an extended chase.

35:50.998 --> 35:55.724

[SPEAKER_02]: She flees into the city and I believe they're at the war, or at least in a sort of dodgy part of the city.

35:55.964 --> 36:00.550

[SPEAKER_00]: I think they might be at the like the the fishermen were mentioned earlier.

36:00.610 --> 36:00.870

[SPEAKER_00]: Yes.

36:01.070 --> 36:01.911

[SPEAKER_00]: I think that's yeah.

36:01.931 --> 36:04.134

[SPEAKER_00]: So I think she's down at like the the fishermen.

36:04.454 --> 36:05.575

[SPEAKER_02]: So, so warfare.

36:05.615 --> 36:13.698

[SPEAKER_02]: Yeah, he's chasing her around the docks, but you know, at the sort of the foot of the castle, it's a kind of tense scene because she's all in white.

36:14.258 --> 36:16.759

[SPEAKER_02]: He has his head on, but not his mask.

36:17.299 --> 36:19.320

[SPEAKER_02]: He's chasing her around and she keeps trying to hide.

36:19.620 --> 36:22.842

[SPEAKER_02]: And then as soon as he's about to walk by, she like knock something over.

36:22.862 --> 36:24.943

[SPEAKER_02]: And the chase begins again.

36:25.683 --> 36:32.327

[SPEAKER_00]: That part of this chase was goofy, though, like, she's kicks over a gas can, you know, in a very improbable way.

36:32.547 --> 36:34.708

[SPEAKER_00]: But I love, I thought this was a great chase scene.

36:35.189 --> 36:38.891

[SPEAKER_00]: And this is another scene that felt very modern horror movie to me.

36:39.031 --> 36:44.474

[SPEAKER_00]: There's like a great sequence where she is hiding underneath, um, what is it?

36:44.514 --> 36:46.375

[SPEAKER_00]: Like a pier or a walkway?

36:46.415 --> 36:46.575

[SPEAKER_02]: Yeah.

36:46.935 --> 36:47.656

[SPEAKER_00]: Yeah, a walkway.

36:48.376 --> 36:54.840

[SPEAKER_00]: and he is walking right above her, and she's like, got her hand clenched over her mouth.

36:54.860 --> 36:55.600

[SPEAKER_00]: Yeah, over her mouth.

36:56.961 --> 37:01.823

[SPEAKER_00]: Like we saw this scene was in like Alien Romulus, which you and I saw last year.

37:02.343 --> 37:05.965

[SPEAKER_00]: Like the tense like it's walking right near you, hold your breath.

37:06.265 --> 37:07.786

[SPEAKER_00]: Like it is very effective.

37:07.806 --> 37:16.971

[SPEAKER_02]: Yeah, and actually we don't have a lot of clips, but I did, as producer Brad did, just clip a bit of attention music from this scene because I think it was really effective.

37:28.245 --> 37:29.627

[SPEAKER_02]: And there is walking above her.

37:30.548 --> 37:31.509

[SPEAKER_02]: Yeah, I don't know.

37:31.529 --> 37:34.251

[SPEAKER_02]: I hope they give some of the spirit and atmosphere of the scene.

37:34.291 --> 37:34.952

[SPEAKER_02]: It was really good.

37:35.413 --> 37:37.334

[SPEAKER_02]: And actually this scene has an amazing ending.

37:38.061 --> 37:43.527

[SPEAKER_02]: which is she flees, Herman jumps out and strangles somebody all in white.

37:44.628 --> 37:46.711

[SPEAKER_02]: And I'm like, oh my god, he just strangled Nora.

37:46.731 --> 37:48.012

[SPEAKER_02]: I thought so.

37:48.072 --> 37:49.874

[SPEAKER_02]: I was like, what has happened?

37:50.435 --> 37:51.216

[SPEAKER_02]: I didn't expect that.

37:51.296 --> 37:56.242

[SPEAKER_02]: And then we cut back and he has killed a woman who looks much like Nora, but it is not Nora.

37:57.208 --> 38:03.671

[SPEAKER_01]: Um, and the police come Nora escape war force where all the women who dress and white and walk at night go.

38:04.011 --> 38:05.191

[SPEAKER_00]: I guess that must be.

38:05.211 --> 38:09.713

[SPEAKER_00]: So I, this is, I, this is where I got confused.

38:10.273 --> 38:13.175

[SPEAKER_00]: I thought they were still close to his house.

38:13.915 --> 38:17.016

[SPEAKER_00]: I thought, I thought you might have a doctor something near his mansion.

38:17.156 --> 38:20.618

[SPEAKER_00]: And I thought that he, this was one of his mannequins.

38:21.918 --> 38:23.819

[SPEAKER_02]: Um, no, I think he was just another woman.

38:24.578 --> 38:28.281

[SPEAKER_00]: Yeah, so I thought this was a big reveal of like, Oh, the mannequins are real.

38:28.942 --> 38:31.804

[SPEAKER_00]: Oh, I got you that that doesn't that doesn't make sense.

38:31.864 --> 38:35.568

[SPEAKER_00]: And I was just not really understanding it in my defense that it's very dark.

38:35.648 --> 38:37.069

[SPEAKER_00]: Yeah, it was very dark.

38:37.109 --> 38:37.509

[SPEAKER_00]: This scene.

38:38.370 --> 38:38.710

[SPEAKER_02]: All right.

38:38.810 --> 38:41.433

[SPEAKER_02]: So then we have some parallel scenes here.

38:41.553 --> 38:45.376

[SPEAKER_02]: He goes back to his house feeling betrayed.

38:45.896 --> 38:46.877

[SPEAKER_02]: He's going to

38:48.212 --> 38:49.573

[SPEAKER_02]: Uh, he wants to kill her.

38:49.613 --> 38:53.095

[SPEAKER_02]: In fact, he wants to kill everybody, but he's going to start with her.

38:53.115 --> 38:55.816

[SPEAKER_02]: And, and but he says, I'm not a common killer.

38:55.856 --> 38:56.717

[SPEAKER_02]: I've experienced that.

38:56.757 --> 38:57.777

[SPEAKER_02]: I don't want to do it again.

38:57.817 --> 38:59.478

[SPEAKER_02]: And, and Misha volunteers to do it.

38:59.978 --> 39:01.099

[SPEAKER_02]: And then he hatches a plan.

39:01.139 --> 39:02.780

[SPEAKER_02]: So this was a little confusing to me.

39:03.220 --> 39:04.801

[SPEAKER_02]: But let me see if I'm going to talk through this.

39:05.481 --> 39:08.323

[SPEAKER_02]: Yeah, and you tell me so we cut back to dinner with the editor.

39:09.670 --> 39:11.993

[SPEAKER_02]: He doesn't believe Nora about this whole thing.

39:12.313 --> 39:14.115

[SPEAKER_02]: He thinks she's having a nervous breakdown.

39:14.856 --> 39:20.221

[SPEAKER_02]: And then she throws a newspaper with the picture of a handsome man on the table.

39:21.022 --> 39:27.068

[SPEAKER_02]: And I wasn't quite sure what was going on here, but I think it's just a news report about somebody who has recently died.

39:27.348 --> 39:32.173

[SPEAKER_02]: I don't know that there's anything more to it than that because they didn't give me a subtitle on what the newspaper headline says.

39:32.834 --> 39:35.755

[SPEAKER_00]: So I didn't understand this either.

39:36.095 --> 39:39.956

[SPEAKER_00]: Here is the best I could piece together, and I don't think it's correct.

39:40.136 --> 39:40.376

[SPEAKER_00]: Yes.

39:40.676 --> 39:46.997

[SPEAKER_00]: But I think that a Herman was believed to have died twenty years ago, right?

39:47.677 --> 39:49.978

[SPEAKER_00]: But mysterious deaths have been happening.

39:50.338 --> 39:50.418

[SPEAKER_00]: Oh.

39:50.778 --> 39:57.780

[SPEAKER_00]: And Nora is suggesting that Herman has been, is a live in has been killing these.

39:58.200 --> 39:58.660

[SPEAKER_02]: Oh, okay.

39:58.900 --> 39:59.260

[SPEAKER_00]: All right.

39:59.880 --> 40:01.303

[SPEAKER_00]: So I think that is.

40:01.323 --> 40:07.516

[SPEAKER_00]: I don't know why the mysterious death of one person would be like the full front page of the newspaper.

40:08.750 --> 40:14.471

[SPEAKER_01]: I thought the newspaper was to show that someone died and that's who Herman then went to dig up to reanimate.

40:14.511 --> 40:14.751

[SPEAKER_02]: Yes.

40:15.772 --> 40:15.972

[SPEAKER_02]: Okay.

40:15.992 --> 40:16.832

[SPEAKER_01]: But it could be both.

40:17.012 --> 40:18.192

[SPEAKER_02]: That's what I'm about to clear about.

40:18.352 --> 40:18.572

[SPEAKER_02]: Yeah.

40:18.872 --> 40:19.153

[SPEAKER_00]: Okay.

40:19.193 --> 40:20.333

[SPEAKER_00]: Well, yes.

40:21.093 --> 40:21.473

[SPEAKER_00]: Serious.

40:21.513 --> 40:29.295

[SPEAKER_02]: So, but now we have Herman and Misha stealing the body of this handsome young man and they're conducting an experiment.

40:29.315 --> 40:32.176

[SPEAKER_00]: This is the most well preserved corpse you've ever seen.

40:32.196 --> 40:32.476

[SPEAKER_00]: Yes.

40:32.776 --> 40:34.716

[SPEAKER_02]: Yeah, a perfect handsome looking man.

40:35.496 --> 40:37.697

[SPEAKER_02]: But now they're going to conduct an experiment and what?

40:38.508 --> 41:02.903

[SPEAKER_02]: that Herman wants to do is he wants to create a zombie essentially though he does not use the word zombie and he wants to create it so that it obeys his every women's basically that he's telepathically connected to this reanimated body and control it's every move and to do this he's got to run he's got to do this crazy experiment in his lab so we we now get to the Frankenstein part of the movie where

41:04.144 --> 41:07.648

[SPEAKER_02]: This new person who will be named Ariel, so that's just what we'll call them.

41:08.429 --> 41:08.950

[SPEAKER_00]: The zombie.

41:08.990 --> 41:15.538

[SPEAKER_02]: The zombie Ariel is strapped to a table and they bring in the creature that was wailing before.

41:15.558 --> 41:19.883

[SPEAKER_02]: And he tells me, so the creature's name is Cronink.

41:21.054 --> 41:24.815

[SPEAKER_02]: Uh, what, uh, tell me about this creature and it's bizarre.

41:25.535 --> 41:28.216

[SPEAKER_00]: Well, he's an ape-like person.

41:28.376 --> 41:28.536

[SPEAKER_00]: Yeah.

41:28.556 --> 41:29.196

[SPEAKER_00]: He's totally hairy.

41:29.596 --> 41:31.356

[SPEAKER_00]: He's totally covered with hair.

41:31.456 --> 41:34.637

[SPEAKER_00]: He appears to be like naked, but covered with hair.

41:35.177 --> 41:39.998

[SPEAKER_00]: He looks like he has a kind of like, I don't know, like a caveman.

41:40.218 --> 41:40.538

[SPEAKER_00]: Yeah.

41:40.818 --> 41:41.118

[SPEAKER_00]: Almost.

41:41.138 --> 41:41.578

[SPEAKER_00]: Yes.

41:41.698 --> 41:42.779

[SPEAKER_00]: He's, I don't know.

41:42.819 --> 41:45.919

[SPEAKER_02]: He's shaved bald, but he's hair all hair from the neck down.

41:46.219 --> 41:46.399

[SPEAKER_01]: Yeah.

41:46.599 --> 41:48.860

[SPEAKER_01]: I would describe him as bald with a hipster beard.

41:51.808 --> 42:02.074

[SPEAKER_00]: Absolutely, so yeah, he's been I mean, I guess the implication is this person is can only communicate in like grunts and shouts is the idea here.

42:02.134 --> 42:06.736

[SPEAKER_00]: He's like just had this person chained up down here for like years and years.

42:06.896 --> 42:16.382

[SPEAKER_00]: I'm not sure that I'm really explaining it, but yeah, it's like they don't Yeah, I would say it is like just kind of an odd thing because I don't

42:17.122 --> 42:22.527

[SPEAKER_00]: I don't think they need this for I think it's just supposed to be horrific and scary.

42:23.008 --> 42:23.548

[SPEAKER_00]: I think so.

42:23.568 --> 42:26.812

[SPEAKER_00]: Yeah, it's not it no other movie would do this.

42:26.852 --> 42:30.195

[SPEAKER_00]: So I think they had a idea in mind that is maybe lost.

42:30.255 --> 42:40.385

[SPEAKER_02]: Yeah, so I think what they're trying to do is they're going to transfer cronings life force into aerial and then yeah, but since cronning has no sort of mind of his own that will allow

42:41.025 --> 43:05.408

[SPEAKER_02]: Herman to control aerial once he's revised and this is in fact what happens is this amazing experiment layer the lab blows up and lightning flashes and switches are thrown and and all of this happens but but aerial cost all of the all of the like the scary looking mad science computer panels are they're like sparking like the enterprise yes does when it gets hit by a torpedoa

43:05.728 --> 43:14.775

[SPEAKER_02]: Yeah, it's it's bonkers and then I don't think we need to go through this scene in detail, but but this after aerial comes back to life Herman

43:15.500 --> 43:17.341

[SPEAKER_02]: Tells him that you belong to me completely.

43:17.361 --> 43:18.742

[SPEAKER_02]: You only do what I say.

43:18.782 --> 43:21.463

[SPEAKER_02]: You only act as I tell you to act.

43:21.944 --> 43:26.026

[SPEAKER_02]: And then he sends Ariel into town and to wait for instructions.

43:26.106 --> 43:35.752

[SPEAKER_02]: But the one thing I wanted to highlight here is that Ariel, now this zombie, I think the super important thing here is he's reanimated.

43:36.752 --> 43:39.854

[SPEAKER_02]: And B, he has no free will, right?

43:40.194 --> 43:43.656

[SPEAKER_02]: He is technically the resuscitated monster, but he doesn't look like one.

43:43.696 --> 43:44.797

[SPEAKER_02]: He looks like a normal person.

43:45.655 --> 43:48.197

[SPEAKER_00]: And it looks totally alive, he's in like a dapper suit.

43:49.659 --> 43:52.762

[SPEAKER_00]: And there's, yeah, there's nothing zombie looking about him.

43:53.102 --> 43:53.382

[SPEAKER_00]: Yes.

43:53.622 --> 44:00.789

[SPEAKER_00]: And Herman communicates telepathically, which you hear his voice with sort of an echo effect applied to it.

44:01.730 --> 44:02.230

[SPEAKER_00]: Any text?

44:02.390 --> 44:02.791

[SPEAKER_02]: I real.

44:03.131 --> 44:04.072

[SPEAKER_02]: And how does he test him?

44:04.440 --> 44:11.962

[SPEAKER_00]: Yeah, so he does kind of a trial run with his new zombie killer by basically having him kill a random woman.

44:12.063 --> 44:15.044

[SPEAKER_00]: Yes, so which it's a pretty creepy scene.

44:15.544 --> 44:18.485

[SPEAKER_00]: He stabs her to death with like a chart of glass like this.

44:18.985 --> 44:19.705

[SPEAKER_00]: It's a little gris.

44:19.825 --> 44:24.267

[SPEAKER_00]: I mean, it's not graphic at all, but like it's kind of a chilling scene.

44:24.387 --> 44:28.008

[SPEAKER_02]: This movie is definitely like more gnarly than the American movies, right?

44:28.988 --> 44:37.312

[SPEAKER_02]: Like killing people, strangling a woman which you do actually see and then you know jagged glass being used to kill another person.

44:37.352 --> 44:37.672

[SPEAKER_02]: So yeah.

44:37.712 --> 44:38.933

[SPEAKER_02]: Yeah.

44:39.173 --> 44:40.354

[SPEAKER_00]: So kind of ask your question about air.

44:40.394 --> 44:40.594

[SPEAKER_00]: Yeah.

44:41.334 --> 44:48.138

[SPEAKER_00]: Is aerial an empty vessel through which Herman is just speaking and controlling?

44:49.078 --> 44:52.460

[SPEAKER_00]: Does he have his own personality at all?

44:52.580 --> 44:56.383

[SPEAKER_00]: That's just like overwritten by Herman's instructions.

44:56.703 --> 45:03.127

[SPEAKER_00]: Like, could you talk about what your impression was of what type, I guess what I'm asking what type of zombie is this?

45:03.307 --> 45:04.608

[SPEAKER_00]: Is there a person in Ariel?

45:05.228 --> 45:08.971

[SPEAKER_00]: Is it just like a completely empty shell that's being remote controlled?

45:09.131 --> 45:09.451

[SPEAKER_00]: Like, what?

45:10.231 --> 45:18.054

[SPEAKER_00]: And I ask because in the scene we're about to get to, Ariel, like basically has this flirty long conversation with Nora, right?

45:19.014 --> 45:30.277

[SPEAKER_00]: In which she's like super-swav and articulate and everything you would not expect, you know, from a zombie, any of the zombies we've seen in AMD movies you watch so far.

45:30.317 --> 45:30.878

[SPEAKER_00]: What do you think?

45:31.118 --> 45:34.899

[SPEAKER_02]: So, you know, just to jump ahead a little bit at the end when he sort of

45:35.880 --> 45:40.417

[SPEAKER_02]: You know, breaks free of control or sort of no long when he decides to rebel against Herman.

45:41.890 --> 45:48.552

[SPEAKER_02]: He is just sort of this in our particular snarling monster like chronic, you know, so when he separated.

45:48.752 --> 45:54.953

[SPEAKER_02]: So I feel like the underlying architecture is this sort of savage chronic figure.

45:55.033 --> 45:55.693

[SPEAKER_02]: Okay.

45:55.913 --> 45:59.894

[SPEAKER_02]: He must have some vestige of his previous life because he is able to uphold a conversation.

45:59.974 --> 46:05.636

[SPEAKER_02]: And I think you hear Herman saying, hey, now say this sort of thing to her or compliment her.

46:06.096 --> 46:11.277

[SPEAKER_02]: So he's not literally telling him exactly what to say, but he's telling him what to do and say in a

46:12.197 --> 46:33.402

[SPEAKER_02]: abstract manner and yeah and Ariel is able to do that okay so I think there's some of his residual personality but mostly it's chronic and the and the instructions from the doctor okay now that you say that that makes sense to me so it's this is it's fun to see something just a little new and different isn't it yes it is

46:34.282 --> 46:41.024

[SPEAKER_02]: Um, so then Ariel meets her at the restaurant again and strikes up a conversation with her and tries to get to know her.

46:41.684 --> 46:48.787

[SPEAKER_02]: Um, I wasn't going to do this whole scene in detail, but what he does is convince her to let him interview her.

46:49.687 --> 46:50.807

[SPEAKER_02]: What did you think of this scene?

46:50.868 --> 46:56.069

[SPEAKER_02]: Like, you know, formerly once Nora, uh, formerly twice though, not really running into strange guys.

46:56.729 --> 46:57.630

[SPEAKER_00]: I like the scene.

46:58.090 --> 46:58.210

[SPEAKER_00]: Um,

47:00.091 --> 47:17.942

[SPEAKER_00]: Nora takes like she is hesitant to believe Ariel so he's really laying it on thick like his his story is like you know I I want to interview you because you're such a famous journalist where I come from and what a privilege it would be for me while I'm visiting down

47:18.422 --> 47:19.604

[SPEAKER_00]: to interview you.

47:21.726 --> 47:24.690

[SPEAKER_00]: The conversation has like some kind of flirty feel to it.

47:24.810 --> 47:31.818

[SPEAKER_00]: I would say at points, but Nora is, I mean, I think it's just good acting on Nora's part.

47:31.898 --> 47:33.921

[SPEAKER_00]: Like I think she, you can see her.

47:35.803 --> 47:40.787

[SPEAKER_00]: kind of delighting a little bit, letting herself be flattered, but she's also cautious.

47:40.907 --> 47:41.188

[SPEAKER_02]: Yes.

47:42.088 --> 47:49.535

[SPEAKER_00]: And eventually, Ariel, let's slip one or two words that immediately sour nor on it.

47:49.806 --> 47:52.307

[SPEAKER_00]: He describes her as a woman with a soul.

47:52.527 --> 47:52.947

[SPEAKER_00]: That's right.

47:52.987 --> 48:02.109

[SPEAKER_00]: And that's, let's language that specifically that Herman had used early when he was telling Nora why she was, why she was special.

48:02.329 --> 48:02.589

[SPEAKER_00]: Yes.

48:02.769 --> 48:09.730

[SPEAKER_00]: And so Nora doesn't maybe clock exactly what's going on, but that sets off alarm bells in her.

48:09.750 --> 48:11.991

[SPEAKER_00]: And you can see that in the performance.

48:13.291 --> 48:14.331

[SPEAKER_02]: Yeah, so, you know what?

48:14.411 --> 48:15.771

[SPEAKER_02]: And I'm looking at my notes here.

48:15.891 --> 48:17.872

[SPEAKER_02]: I can't figure out how they get to the war again.

48:18.986 --> 48:22.848

[SPEAKER_00]: He basically talks her into it, despite her misgivings.

48:23.528 --> 48:27.969

[SPEAKER_00]: And she even says that what you just said reminded me of something that happened to me.

48:28.029 --> 48:28.510

[SPEAKER_00]: That's right.

48:28.630 --> 48:31.851

[SPEAKER_02]: And so they do drive off to the warf to have this conversation.

48:32.171 --> 48:33.472

[SPEAKER_02]: Again, not a clock at night.

48:34.232 --> 48:38.734

[SPEAKER_02]: And Herman jumps in his car and follows them in the editor.

48:38.814 --> 48:39.414

[SPEAKER_02]: She's this.

48:40.214 --> 48:40.394

[SPEAKER_02]: Yes.

48:40.434 --> 48:42.575

[SPEAKER_02]: But he's unable to follow immediately.

48:42.595 --> 48:44.356

[SPEAKER_02]: And when they get to the warf,

48:45.337 --> 49:05.690

[SPEAKER_02]: Nora is obviously suspicious and it doesn't take long before Herman starts talking to her through Ariel to say you couldn't you don't recognize me through this young man you fool your back in my clutches and I think she tries to flee again, which point he orders Ariel to strike her and knock her out and take her back to the castle.

49:06.767 --> 49:07.007

[SPEAKER_00]: Yes.

49:07.428 --> 49:09.610

[SPEAKER_00]: This was a fun scene.

49:09.870 --> 49:12.272

[SPEAKER_00]: She confronts him like right away when she gets to the work.

49:12.312 --> 49:14.855

[SPEAKER_00]: She should have done the confronting before they got to this.

49:14.875 --> 49:15.856

[SPEAKER_00]: Yes.

49:16.797 --> 49:17.558

[SPEAKER_00]: But yes.

49:18.278 --> 49:21.181

[SPEAKER_00]: And so then that leads us to kind of the climactic scene of this movie, right?

49:21.241 --> 49:21.461

[SPEAKER_02]: Yes.

49:21.501 --> 49:22.142

[SPEAKER_02]: So we're back.

49:22.222 --> 49:24.604

[SPEAKER_02]: We're back in the in the great room of this castle.

49:25.365 --> 49:28.867

[SPEAKER_02]: Nor is there, Ariel's there, Herman is there, Misha's kicking around.

49:29.668 --> 49:40.094

[SPEAKER_02]: And we see, this is a behavior that Herman's exhibited throughout the movie that we didn't really focus on, but he is cruel to Ariel.

49:40.934 --> 49:41.134

[SPEAKER_02]: Right.

49:41.735 --> 49:42.936

[SPEAKER_02]: He's been cruel to Misha.

49:43.057 --> 49:44.558

[SPEAKER_02]: He's cruel to chronic with a whip.

49:44.658 --> 49:47.542

[SPEAKER_02]: He grabs that same whip and threatens aerial.

49:48.323 --> 49:58.735

[SPEAKER_02]: So then Herman wants to take north to the lab so he can experiment on beauty with his scalpel, suggesting that he's going to make her deformed as a form of vengeance in justice.

50:00.021 --> 50:04.722

[SPEAKER_02]: And Ariel starts to sort of show some independence here.

50:05.243 --> 50:08.603

[SPEAKER_02]: So Herman pushes back and threatens him.

50:09.324 --> 50:16.205

[SPEAKER_02]: And as Herman goes to sort of take Nora, Ariel bursts out in a tax him in the sort of animal ferocity.

50:16.245 --> 50:17.606

[SPEAKER_02]: And they have his humongous fight.

50:18.406 --> 50:37.855

[SPEAKER_02]: uh... right by the fire place and it's it's quite a fight yet it's uh... it is again it's not as bad as the fight in like the devil's daughter but it's clearly not like one of those smoothly staged uh... the heroes look actual but they're like you know grabbing a gouging each other's eyes and rolling on the floor and punching and all this kind of stuff

50:38.855 --> 50:50.142

[SPEAKER_00]: I feel like, like, in movies today, you know, every swing of a fist is carefully choreographed, but I feel like in these movies they're just like, okay, you two, just get it fight for a few minutes.

50:51.023 --> 50:52.684

[SPEAKER_00]: They're just kind of improvising, you know, fight.

50:52.704 --> 50:55.686

[SPEAKER_02]: Yeah, it looks like an absolute street fight, like, yeah.

50:55.846 --> 50:59.949

[SPEAKER_02]: And it sort of rages all over the building, eventually, aerial wins.

51:00.649 --> 51:04.652

[SPEAKER_02]: But with the doctor, dead, doesn't he throw the doctor off the balcony?

51:05.312 --> 51:20.891

[SPEAKER_02]: the doctor falls off of the balcony and is like stunned he's not killed by the fall right but is enough to sort of free aerial who sort of reverts to his sort of this sort of savage nature he's like in our particular beast and at the last moment

51:21.747 --> 51:29.711

[SPEAKER_01]: When after he throws the doctor off, he picks him up, he goes to the window and he throws the doctor out the window, which is over a cliff.

51:30.032 --> 51:32.473

[SPEAKER_01]: And the doctor here, I'm screaming fall and hit the ground.

51:33.433 --> 51:33.694

[SPEAKER_02]: Yes.

51:33.834 --> 51:34.094

[SPEAKER_02]: Yes.

51:34.394 --> 51:39.197

[SPEAKER_02]: And then, and then, arrow reversed to the sort of animalistic state and starts stalking Nora.

51:39.657 --> 51:42.739

[SPEAKER_02]: And at the last second, the editor bursts in, shoot him.

51:44.319 --> 51:48.522

[SPEAKER_02]: And there's a final sort of lingering shot of the sea.

51:49.717 --> 51:56.279

[SPEAKER_00]: Yeah, as the rocks crash at the foot of this castle and then the movies and Misha standing awkwardly in the background as this is happening.

51:56.339 --> 51:58.540

[SPEAKER_00]: I kept thinking like this would be a good time to run.

51:58.780 --> 51:59.640

[SPEAKER_02]: Yeah.

51:59.680 --> 52:08.483

[SPEAKER_02]: He sneaks out like I feel like he's like like the villain who the villain's henchmen who just sort of everyone's forgotten about him when he sneaks out the back door to who probably become like a

52:08.783 --> 52:27.303

[SPEAKER_02]: you know a fishmonger in the village to you know two steps down hoping everybody's forgotten about the med site just in the castle but yeah so so the movies over and what do we think like what are your impressions of this film what an interesting movie like this I just really enjoyed this one

52:27.883 --> 52:28.223

[SPEAKER_02]: Yeah.

52:28.743 --> 52:30.204

[SPEAKER_02]: Like it's definitely like a melodrama.

52:30.244 --> 52:39.887

[SPEAKER_02]: It feels like a soap opera because though it does have an action sequence where they fight, it's really about this sort of psychological tension between Nora and Herman and the conversations they have.

52:40.667 --> 52:43.068

[SPEAKER_02]: And I kind of loved it.

52:43.708 --> 52:47.450

[SPEAKER_02]: I found that really interesting because it's all about the conversations largely.

52:48.310 --> 52:49.850

[SPEAKER_00]: Let's, um, yes.

52:49.970 --> 52:50.491

[SPEAKER_00]: I agree.

52:50.991 --> 52:58.813

[SPEAKER_00]: Let's unpack our feelings for the show by asking our usual set of questions because I think I have a lot more to say about this.

52:58.833 --> 52:59.553

[SPEAKER_00]: And I think you do too.

52:59.593 --> 53:01.874

[SPEAKER_00]: So do you mind if we jump into our wrap up question?

53:01.894 --> 53:02.374

[SPEAKER_00]: Let's do it.

53:03.114 --> 53:03.334

[SPEAKER_00]: Okay.

53:03.554 --> 53:06.495

[SPEAKER_00]: So John, is there a hero party in this movie?

53:07.154 --> 53:07.654

[SPEAKER_02]: Not really.

53:07.674 --> 53:16.077

[SPEAKER_02]: I think Nora, I think one of the things we're kind of hoping to see or expected to see in the nineteen fifties was sort of stronger female characters.

53:16.177 --> 53:22.538

[SPEAKER_02]: If she reminds me of any of our previous heroes, it's Mary, the Mary from the original Ghostbreakers.

53:22.598 --> 53:25.079

[SPEAKER_02]: She's like, yeah, she's an independent person.

53:25.159 --> 53:26.300

[SPEAKER_02]: She knows what she wants to do.

53:26.820 --> 53:27.780

[SPEAKER_02]: She has a career.

53:28.560 --> 53:29.440

[SPEAKER_02]: There's no boyfriend.

53:29.460 --> 53:30.321

[SPEAKER_02]: There's no husband.

53:30.481 --> 53:31.421

[SPEAKER_02]: It's just really about her.

53:31.461 --> 53:34.222

[SPEAKER_02]: So there's not a hero party, but we have a hero when it's, it's yours.

53:35.322 --> 53:36.463

[SPEAKER_02]: And how does the party do?

53:36.884 --> 53:37.684

[SPEAKER_02]: How many survived?

53:38.405 --> 53:41.208

[SPEAKER_02]: She survives, but is subjected to great trauma?

53:41.628 --> 53:41.848

[SPEAKER_00]: Yes.

53:42.809 --> 53:44.511

[SPEAKER_00]: Is there a zombie hoard in this movie?

53:45.272 --> 53:46.232

[SPEAKER_02]: No, but there is.

53:46.313 --> 53:48.074

[SPEAKER_02]: I would think very clearly a zombie.

53:48.374 --> 53:52.578

[SPEAKER_00]: So how are zombies destroyed or killed in this movie?

53:53.039 --> 53:53.900

[SPEAKER_00]: So you got a shoot him.

53:54.755 --> 54:09.802

[SPEAKER_00]: Now, at the end, so obviously the main cause of death of the zombie was getting shot, but there was a quote that the zombie would would only live as long as Herman lived or something to that effect.

54:09.902 --> 54:10.242

[SPEAKER_00]: Yes.

54:10.962 --> 54:15.885

[SPEAKER_00]: So when Herman died like the zombie state

54:17.505 --> 54:24.949

[SPEAKER_00]: I guess, well, the mind, the mind control ended, although I guess he's still a revived corpse, so he still is zombies.

54:24.989 --> 54:27.651

[SPEAKER_00]: So he guess he reverted into like a ferole zombie at that point.

54:27.731 --> 54:29.492

[SPEAKER_02]: And I will say, so a couple of things about this.

54:29.672 --> 54:33.714

[SPEAKER_02]: What we have here, so I want to, I want to, actually, let's get into this right here.

54:33.774 --> 54:42.799

[SPEAKER_02]: So yeah, so there's the doctor who sort of Dr Frankenstein, but is a sort of monster in his own right, and he revives this corpse who is a zombie.

54:44.003 --> 54:48.507

[SPEAKER_02]: It's not, I'm not saying it's a gallum like I've been saying all this time that Frankenstein is.

54:49.087 --> 54:59.596

[SPEAKER_02]: So multiple thoughts about this is so first of all, I think I had made a nerdy distinction and dismissal of the importance of the Frankenstein monster on zombie movies.

54:59.636 --> 55:01.897

[SPEAKER_02]: I think there is a strong connection.

55:01.917 --> 55:07.782

[SPEAKER_02]: I think we've seen it all throughout our first season and these ones where there's a sort of mad scientist vibe to zombies.

55:07.842 --> 55:08.163

[SPEAKER_02]: So I think

55:08.921 --> 55:19.225

[SPEAKER_02]: My sort of decision or choice to ignore that and immediately categorize it as something else was a mistake because we're observing how that influence is zombie.

55:19.265 --> 55:23.467

[SPEAKER_02]: This almost feels like the missing link of Golum to zombie, right?

55:23.487 --> 55:36.231

[SPEAKER_02]: Like he reanimates this creature, but it becomes this mindless, first controlled, but then mindless, aggressive creature like a modern zombie and is not like the Frankenstein monster at all.

55:36.272 --> 55:37.332

[SPEAKER_02]: Am I making any sense here?

55:38.472 --> 55:39.112

[SPEAKER_00]: you are.

55:39.312 --> 55:43.513

[SPEAKER_00]: And yeah, so I mean, the next question I was going to ask are like, what type of zombie strain are we dealing with?

55:43.973 --> 55:44.974

[SPEAKER_00]: Is this something new?

55:45.214 --> 55:58.317

[SPEAKER_00]: And this feels like in some ways a throwback to the earliest, some of the early zombie movies and in other ways, like something just a slightly different category of being.

55:59.337 --> 56:07.099

[SPEAKER_02]: And I'm, I don't want to, I feel like I've been making a lot of assumptions and part of this podcast about seeing all of those sort of smashed as we go along.

56:07.159 --> 56:08.179

[SPEAKER_02]: But there's something about

56:09.239 --> 56:13.080

[SPEAKER_02]: this reanimated creature that feels more like a modern zombie.

56:13.661 --> 56:20.203

[SPEAKER_02]: Once he loses his swav exterior and becomes sort of this feral creature, he seems like a fast moving zombie.

56:20.743 --> 56:21.183

[SPEAKER_00]: He does.

56:21.343 --> 56:26.605

[SPEAKER_00]: Yeah, in the times when that feral nature overtakes him briefly.

56:26.645 --> 56:29.545

[SPEAKER_00]: I mean, yeah, he charges and he runs.

56:29.565 --> 56:31.826

[SPEAKER_00]: I mean, we would call this like a fast zombie, I think.

56:31.846 --> 56:32.786

[SPEAKER_00]: Yeah.

56:32.847 --> 56:36.928

[SPEAKER_00]: You know, and devoid of reason or anything like that, just grunting.

56:38.468 --> 56:39.349

[SPEAKER_00]: So would you add that?

56:39.409 --> 56:45.071

[SPEAKER_01]: Yeah, consider that the grunting is the same sound as as pronic made earlier.

56:45.571 --> 56:48.032

[SPEAKER_01]: So is this like a brain transference?

56:48.832 --> 56:53.234

[SPEAKER_02]: I feel like it was a personality transference from chronic to to this man.

56:53.474 --> 56:54.154

[SPEAKER_00]: Yeah.

56:54.174 --> 57:03.878

[SPEAKER_00]: So the so the Wikipedia article for this movie says that Herman transplants cronings brain into aerial.

57:04.498 --> 57:19.272

[SPEAKER_00]: and I was going to be all like that's not what happened but I do because there's nothing in this movie about like transplanting a brain but I do wonder if that's what the movie kind of meant yeah I feel like they're transferring the personality but chronic is so primitive

57:19.908 --> 57:24.389

[SPEAKER_02]: that the doctor could then control him and when he died, he reverted.

57:24.469 --> 57:31.771

[SPEAKER_02]: So it's not, it's mindless because because Cronink was like a Neanderthal or something, but it creates that Cronink.

57:32.411 --> 57:32.891

[SPEAKER_00]: Cronink.

57:33.291 --> 57:34.372

[SPEAKER_00]: Well, I wondered about that.

57:34.452 --> 57:37.693

[SPEAKER_00]: Yeah, is that supposed to evoke like Cromaggan.

57:37.713 --> 57:38.453

[SPEAKER_00]: I think so.

57:38.493 --> 57:38.713

[SPEAKER_00]: Yeah.

57:39.253 --> 57:53.202

[SPEAKER_02]: Okay, but what I think the end result is and why we're curious about it is despite sort of being a primitive Neanderthal and reanimated like Franken's time that the mix that we get out of all these ingredients is something that looks remarkably like a modern zombie.

57:53.985 --> 57:54.365

[SPEAKER_00]: It does.

57:54.505 --> 58:02.948

[SPEAKER_00]: It's got your modern style, Fierle Zombie, but it also has that zombie master controlled.

58:03.048 --> 58:06.129

[SPEAKER_00]: Yes, like more deliberate zombie.

58:06.929 --> 58:14.692

[SPEAKER_00]: And this is the first time a zombie master has been able to control a zombie such that it can

58:15.892 --> 58:21.374

[SPEAKER_00]: that it appears to anyone looking or talking to it, like it's a full living person.

58:21.414 --> 58:25.256

[SPEAKER_02]: Yeah, so, so again, I think there's a bunch of new stuff here.

58:25.276 --> 58:30.938

[SPEAKER_02]: I said it was a missing link earlier, that's an assumption, but I'd like to see how this plays out over the next few movies.

58:31.418 --> 58:37.861

[SPEAKER_02]: And I'd be curious to see if, like for example, there's two actors, both Maris lava and the lead of this movie did appear in American films.

58:38.181 --> 58:43.343

[SPEAKER_02]: And I'm curious, you know, Mexico is not that far from Los Angeles, I'm curious to see

58:44.463 --> 58:49.206

[SPEAKER_02]: If some of the influence here, unspoken starts to impact our other nineteen fifties movies.

58:49.486 --> 59:00.513

[SPEAKER_01]: So I just want to add a reminder that the idea that when the zombie master dies, the connection is broken, that goes all the way back to White Zombie to the very first zombie film we watched, which is absolutely.

59:00.653 --> 59:03.735

[SPEAKER_02]: And the sort of flip and rocks is right from that movie, right?

59:03.755 --> 59:07.497

[SPEAKER_02]: The Bellagosi tumbles over the cliff at the end of White Zombie.

59:07.517 --> 59:08.998

[SPEAKER_02]: And that's what frees our hair when

59:09.618 --> 59:09.858

[SPEAKER_02]: there.

59:10.098 --> 59:11.359

[SPEAKER_02]: So yeah, absolutely.

59:11.499 --> 59:18.661

[SPEAKER_00]: I am glad that at this point in time in early fifties, this is definitely this feels like a zombie movie.

59:18.681 --> 59:22.723

[SPEAKER_00]: It feels like a zombie, not like not another type of undead.

59:22.863 --> 59:30.006

[SPEAKER_00]: It's clearly modeled after the other zombies we've seen, but it's just new and different and it just pleases me that

59:30.746 --> 59:36.267

[SPEAKER_00]: the creators felt there was space in the zombie concept to just do something a little different.

59:36.387 --> 59:36.867

[SPEAKER_00]: Yeah.

59:37.748 --> 59:43.509

[SPEAKER_00]: So John, let's move on, though, to talk about your pillars, which we establish these are your four original pillars.

59:44.109 --> 59:48.750

[SPEAKER_00]: Yes, so we setting sort of your, uh, your, the standard of what makes a zombie movie.

59:48.770 --> 59:50.751

[SPEAKER_00]: So was there and apocalypse in this movie?

59:51.071 --> 59:51.271

[SPEAKER_02]: No.

59:51.591 --> 59:53.331

[SPEAKER_00]: Was there contagion in this movie?

59:53.811 --> 59:54.531

[SPEAKER_02]: No contagion.

59:54.851 --> 59:57.032

[SPEAKER_00]: Were there tough moral choices in this movie?

59:57.723 --> 01:00:01.124

[SPEAKER_02]: I think so, but not in the way we usually mean, but there is a

01:00:02.812 --> 01:00:13.498

[SPEAKER_02]: Nora has feelings for the doctor that are complicated, and he has complicated feelings back, and invokes a zombie to do his bidding.

01:00:13.538 --> 01:00:21.842

[SPEAKER_02]: So there is this relationship that is central to the movie that turns shower and that is part of it, but it's not exactly in the way I meant it, but I'd say yes.

01:00:22.163 --> 01:00:29.927

[SPEAKER_02]: It's about difficult choices that rather than just being a cackling mad scientist, you feel like Herman may have some motivation for his behavior.

01:00:30.487 --> 01:00:32.589

[SPEAKER_02]: you know, different than just craziness.

01:00:32.869 --> 01:00:46.258

[SPEAKER_00]: You know, I wouldn't say he is real sympathetic in this movie, but you can, but you can sort of imagine appreciate his wild overreaction to what he sees as a betrayal, I think.

01:00:46.298 --> 01:00:46.498

[SPEAKER_00]: Yes.

01:00:46.778 --> 01:00:50.741

[SPEAKER_01]: And John, you mentioned cackling Mad Scientist May I demonstrate.

01:00:51.342 --> 01:00:51.602

[SPEAKER_01]: Please.

01:00:56.138 --> 01:00:57.458

[SPEAKER_02]: Yeah, he's got a cactus.

01:00:57.498 --> 01:01:00.919

[SPEAKER_02]: Yeah, it's not maniacal, but it's pretty good.

01:01:00.999 --> 01:01:01.240

[SPEAKER_02]: No.

01:01:02.640 --> 01:01:06.181

[SPEAKER_00]: All right, lastly, John does this movie have loved ones turning against you?

01:01:06.941 --> 01:01:07.801

[SPEAKER_02]: I mean, I think so.

01:01:07.882 --> 01:01:11.803

[SPEAKER_02]: I think both of the main characters feel somebody they love has turned against them.

01:01:12.703 --> 01:01:13.223

[SPEAKER_00]: I think so too.

01:01:13.543 --> 01:01:13.683

[SPEAKER_00]: Yep.

01:01:13.763 --> 01:01:13.923

[SPEAKER_00]: Yep.

01:01:14.463 --> 01:01:14.704

[SPEAKER_00]: Okay.

01:01:14.744 --> 01:01:18.685

[SPEAKER_00]: So we have a new set of questions that were actually

01:01:20.065 --> 01:01:41.694

[SPEAKER_02]: are actually nineteen fifty specific so I don't John do you want to walk us through those yeah we're going to turn this on on yeah on it's had a little bit and I'm going to prompt and if you these questions partially because on we did that nineteen fifties episode and these are derived from that episode sort of you know are the themes we're expecting from nineteen fifties horror movies showing up in our movie here so

01:01:42.774 --> 01:02:06.942

[SPEAKER_00]: is paranoia a major theme of this film I want to say not really but put an asterisk next to it I mean one of the the scary elements of the story is that that normal looking handsome guy chatting with you is not who he appears to be he is in this case he's being fine controlled by a zombie but you know it evokes you know

01:02:07.582 --> 01:02:12.487

[SPEAKER_00]: It's the same sort of feel, you know, from like an invasion of the body snatchers type of thing.

01:02:12.547 --> 01:02:24.778

[SPEAKER_00]: So I don't think that paranoia was really the main theme of this movie, but I think it's certainly present in that particular part of the film.

01:02:25.078 --> 01:02:43.865

[SPEAKER_02]: Yeah, but now here's another one that I think is more relevant, but we also call out this theme of sort of, you know, literally wearing masks and hiding your true dark nature and this feeling that you have to conform and the hypocrisy of those who conform like that was a theme we were looking for.

01:02:43.905 --> 01:02:45.085

[SPEAKER_02]: What do you think about this movie?

01:02:46.852 --> 01:02:48.414

[SPEAKER_00]: Yes, I can see that.

01:02:48.494 --> 01:03:00.647

[SPEAKER_00]: I mean, it is, you feel, you feel the injustice of Herman being and the hypocrisy of Herman being, you know, rejected for his physical appearance.

01:03:05.204 --> 01:03:13.886

[SPEAKER_00]: I mean, this movie is all about, you know, what happens when you don't look like society expects you to look, right?

01:03:14.026 --> 01:03:15.426

[SPEAKER_02]: It's all about conformity.

01:03:15.486 --> 01:03:20.568

[SPEAKER_02]: He's he may be a brilliant plastic surgeon, but he can't show his face because he looks like such a monster.

01:03:21.448 --> 01:03:21.888

[SPEAKER_00]: Yeah.

01:03:22.008 --> 01:03:22.748

[SPEAKER_00]: So okay.

01:03:22.928 --> 01:03:23.228

[SPEAKER_00]: Okay.

01:03:23.248 --> 01:03:24.348

[SPEAKER_00]: That's that's good.

01:03:24.428 --> 01:03:26.849

[SPEAKER_00]: I think we can say that this movie does have those things.

01:03:27.907 --> 01:03:35.090

[SPEAKER_02]: Have our movie heroes changed in what way like is do we feel Nora is really different than movie heroes we've seen in the past?

01:03:35.870 --> 01:03:37.331

[SPEAKER_00]: I don't think so.

01:03:37.351 --> 01:03:41.512

[SPEAKER_00]: I mean she is young but she's a young professional.

01:03:41.633 --> 01:03:44.714

[SPEAKER_00]: She's kind of already on the track of her life.

01:03:45.034 --> 01:03:49.295

[SPEAKER_00]: She's got a career and this doesn't feel like this

01:03:50.776 --> 01:03:55.581

[SPEAKER_00]: Protagonist getting younger is going to lead us to teenagers being the protagonist at some point, right?

01:03:55.601 --> 01:03:58.063

[SPEAKER_00]: This does not feel like a move in the teenager direction.

01:03:58.927 --> 01:04:13.632

[SPEAKER_02]: No, and I think she reminds us both of the woman from I walked with a zombie and from Mary in the Ghost Breakers like she's she's confident and single and has a plan, but that's not brand new here.

01:04:13.852 --> 01:04:15.552

[SPEAKER_02]: I guess is what yeah.

01:04:15.692 --> 01:04:15.793

[SPEAKER_02]: Yep.

01:04:16.113 --> 01:04:22.415

[SPEAKER_02]: We were predicting that science and science fiction would take on a huge new role in this movie in these movies.

01:04:22.655 --> 01:04:23.315

[SPEAKER_02]: Did we get that here?

01:04:25.695 --> 01:04:31.099

[SPEAKER_00]: Um, so obviously mad science is the mechanism by which the zombies created.

01:04:31.299 --> 01:04:31.559

[SPEAKER_02]: Yeah.

01:04:31.999 --> 01:04:41.205

[SPEAKER_00]: And I think there's some kind of dark science in the question of like, why is Cronink down in the basement?

01:04:41.266 --> 01:04:50.852

[SPEAKER_00]: Like has, has Herman been doing some sort of, you know, extended horrible social experiment with this like with this mindless human.

01:04:50.872 --> 01:04:51.692

[SPEAKER_00]: He's got down there.

01:04:52.733 --> 01:04:56.834

[SPEAKER_00]: That said, I don't think that technology is really the theme of this film.

01:04:57.275 --> 01:04:59.395

[SPEAKER_02]: No, it's more like a throwback to Frankenstein.

01:04:59.455 --> 01:05:02.156

[SPEAKER_02]: It is like a look forward to rockets and ray guns.

01:05:02.216 --> 01:05:02.716

[SPEAKER_02]: Yeah, like that.

01:05:03.617 --> 01:05:05.277

[SPEAKER_02]: And finally, you know, are we?

01:05:06.257 --> 01:05:13.980

[SPEAKER_02]: Is the genre of zombie sort of abandoning its local roots and moving sort of into a broader world context in this movie?

01:05:14.835 --> 01:05:16.577

[SPEAKER_00]: That is an interesting question.

01:05:16.637 --> 01:05:26.085

[SPEAKER_00]: So obviously this movie on the surface has nothing to do with those original local roots of the zombie myth and Haitian and Caribbean Voodoo.

01:05:26.365 --> 01:05:27.907

[SPEAKER_02]: In fact, there's nothing to do with it.

01:05:27.947 --> 01:05:29.168

[SPEAKER_02]: This movie is said in Prague.

01:05:30.038 --> 01:05:39.301

[SPEAKER_00]: It doesn't, but the, but the type of zombie and its relationship to its controller feels very old school white zombie.

01:05:39.321 --> 01:05:49.064

[SPEAKER_02]: Yes, but I wonder if that's what we are getting at like that relationship will exist, but we, but it exists without any reference to Voodoo or Haiti or that sort of Caribbean's life.

01:05:49.544 --> 01:06:06.278

[SPEAKER_00]: Exactly so that so I do think that's pretty interesting and I'm I suspect this will this is the direction things are going right yeah people will be mentioning those ethnic roots of the zombie mythos a lot less and less and they'll just be using the tropes without

01:06:07.525 --> 01:06:07.665

[SPEAKER_00]: Yeah.

01:06:07.945 --> 01:06:22.410

[SPEAKER_00]: And so I think that, yes, this movie does feel like it represents a move away from the local roots of the zombie myth and into, I guess, some more international cosmopolitan genericized mythos.

01:06:22.870 --> 01:06:23.230

[SPEAKER_02]: I agree.

01:06:23.270 --> 01:06:25.451

[SPEAKER_02]: And I, so we'll be asking these questions.

01:06:26.171 --> 01:06:33.253

[SPEAKER_02]: At the end of every movie in some form to see if our prediction sort of about the way these movies are going to go is going to be true.

01:06:33.453 --> 01:06:34.133

[SPEAKER_02]: So awesome.

01:06:34.273 --> 01:06:34.513

[SPEAKER_02]: All right.

01:06:34.693 --> 01:06:35.554

[SPEAKER_02]: How do we wrap up here?

01:06:35.594 --> 01:06:36.294

[SPEAKER_02]: And what else we got?

01:06:36.962 --> 01:06:38.503

[SPEAKER_00]: We just got a couple more questions, John.

01:06:38.924 --> 01:06:42.426

[SPEAKER_00]: First, would John and Andy survive in the zombie world?

01:06:44.428 --> 01:06:48.291

[SPEAKER_02]: I feel like I could be gotten by either Dr. Crimin or the zombie.

01:06:48.571 --> 01:06:50.853

[SPEAKER_02]: They're pretty good at what they do.

01:06:50.873 --> 01:06:52.154

[SPEAKER_02]: The first sort of scary

01:06:53.478 --> 01:06:56.021

[SPEAKER_02]: master and zombie that I'm actually maybe afraid of.

01:06:56.661 --> 01:06:57.662

[SPEAKER_00]: You know, I think so too.

01:06:58.223 --> 01:07:02.087

[SPEAKER_00]: Yeah, if if if Herman got mad at me, I think he could kill me.

01:07:02.207 --> 01:07:06.251

[SPEAKER_00]: I he would get me with the zombie that looks in acts like a regular person.

01:07:07.432 --> 01:07:07.633

[SPEAKER_00]: Right.

01:07:07.793 --> 01:07:07.953

[SPEAKER_03]: Yep.

01:07:08.173 --> 01:07:08.393

[SPEAKER_00]: All right.

01:07:08.453 --> 01:07:16.682

[SPEAKER_00]: And then lastly, is this a zombie movie, but I'd not lastly second to lastly, is this a zombie movie or is this a movie with a zombie in it?

01:07:17.163 --> 01:07:23.611

[SPEAKER_02]: I'm going to say it's a movie with a zombie in it because it's not centrally about the creation of that zombie.

01:07:23.651 --> 01:07:31.721

[SPEAKER_02]: He is a tool for the doctors revenge, but it feels like a move towards a zombie movie a little bit more, but I don't think we're quite there yet.

01:07:32.816 --> 01:07:34.497

[SPEAKER_00]: I think I mostly agree with you.

01:07:34.517 --> 01:07:38.540

[SPEAKER_00]: I think this is like halfway between those two types of film.

01:07:39.760 --> 01:07:48.005

[SPEAKER_00]: Yeah, the zombie is not the central element, but it's more, it's a fairly involved element once it arrives in the movie.

01:07:48.246 --> 01:07:51.568

[SPEAKER_00]: So it's like a kind of zombie movie I would say.

01:07:51.888 --> 01:07:54.770

[SPEAKER_02]: Again, this movie feels a lot like a missing link in a lot of ways.

01:07:55.050 --> 01:07:55.210

[SPEAKER_02]: Yeah.

01:07:55.450 --> 01:07:55.790

[SPEAKER_00]: It does.

01:07:56.291 --> 01:07:57.832

[SPEAKER_00]: And so this is our final question.

01:07:58.293 --> 01:07:59.834

[SPEAKER_00]: John, do you recommend this movie?

01:08:00.635 --> 01:08:09.983

[SPEAKER_00]: First, just in general, and secondly, to specifically to listeners of this podcast, who are I assume sickos on the nerds.

01:08:10.343 --> 01:08:11.964

[SPEAKER_02]: So I'm going to say yes to both.

01:08:13.045 --> 01:08:14.567

[SPEAKER_02]: It's a very sort of

01:08:15.772 --> 01:08:19.356

[SPEAKER_02]: cheesy melodrama, but I found myself really drawn into the story.

01:08:19.436 --> 01:08:22.019

[SPEAKER_02]: So it's kind of a hard get to find with English subtitles.

01:08:23.260 --> 01:08:25.542

[SPEAKER_02]: I was easily able to find a Spanish language version.

01:08:26.503 --> 01:08:34.872

[SPEAKER_02]: And I also think zombie fans should watch it because I think there are new, interesting different things here if you want to follow this course of zombie history.

01:08:35.911 --> 01:08:37.512

[SPEAKER_00]: Yeah, I think I had agree with both of those.

01:08:37.632 --> 01:08:49.636

[SPEAKER_00]: I don't think this is like a iconic zombie film by any means, but it is definitely a worthwhile little corner of this genre and I think it's worth watching.

01:08:50.156 --> 01:08:59.480

[SPEAKER_02]: Yeah, let me, my closing thought is like, like, you know, I made those pillars and I think they're accurate for a very long period of the genre, but what we're discovering is

01:09:00.659 --> 01:09:17.367

[SPEAKER_02]: Or what I'm discovering is that how we got here is in a bunch of little random places that we don't expect, like the Bowery at Midnight or this movie which have bits that are very recognizable, but aren't quite there and how they're all sort of coming together.

01:09:17.487 --> 01:09:22.790

[SPEAKER_02]: So I think if you're a sleuth in that way the way we are, I think you should watch it.

01:09:23.232 --> 01:09:24.372

[SPEAKER_00]: Yeah, absolutely great.

01:09:25.073 --> 01:09:25.353

[SPEAKER_00]: Okay.

01:09:25.393 --> 01:09:34.176

[SPEAKER_00]: Well, that means it's time for the scariest part of the episode, and that is when producer Brad unveils for us what we are going to watch for the next week's episode.

01:09:34.636 --> 01:09:35.277

[SPEAKER_02]: Okay.

01:09:35.857 --> 01:09:47.861

[SPEAKER_02]: So first of all, for those, you know, just listening, which is everybody, Brad has put the pink bug-eyed ghost from the Ghostbreakers in, and it says, John, no peeking to prevent me from looking at their poster early.

01:09:48.222 --> 01:09:49.182

[SPEAKER_02]: So I appreciate you, Brad.

01:09:49.682 --> 01:09:50.223

[SPEAKER_01]: You're welcome.

01:09:50.263 --> 01:09:52.264

[SPEAKER_01]: Not that we need to make this funny, but it's fun.

01:09:53.264 --> 01:09:54.705

[SPEAKER_01]: We are going back to the US.

01:09:55.006 --> 01:09:57.947

[SPEAKER_01]: We are leaving Mexico in nineteen fifty three.

01:09:57.968 --> 01:10:00.449

[SPEAKER_01]: We're going to nineteen fifty five four.

01:10:00.469 --> 01:10:03.951

[SPEAKER_01]: The creature with the Adam brain.

01:10:05.753 --> 01:10:07.394

[SPEAKER_02]: He comes from beyond the gray.

01:10:07.414 --> 01:10:09.375

[SPEAKER_02]: Would you like to describe this poster Andy?

01:10:10.152 --> 01:10:11.213

[SPEAKER_00]: Oh boy, okay.

01:10:12.173 --> 01:10:12.474

[SPEAKER_00]: Yes.

01:10:12.754 --> 01:10:14.655

[SPEAKER_00]: So there's a lot going on in this poster.

01:10:15.756 --> 01:10:19.738

[SPEAKER_00]: Someone is a believer in more is more when it comes through this poster.

01:10:19.758 --> 01:10:19.978

[SPEAKER_00]: All right.

01:10:20.518 --> 01:10:27.623

[SPEAKER_00]: There is a green tinted menacing guy in a trench coat wearing a tie wearing a tie

01:10:28.234 --> 01:10:30.496

[SPEAKER_00]: With a tie, he looks very menacing.

01:10:30.536 --> 01:10:32.658

[SPEAKER_00]: He's like charging right at you.

01:10:33.139 --> 01:10:38.324

[SPEAKER_00]: He's got like an atom, like a little drawing of atoms on his forehead.

01:10:38.364 --> 01:10:42.448

[SPEAKER_00]: But it's like like a nuclear simple thing on his head.

01:10:44.349 --> 01:10:49.474

[SPEAKER_00]: And the phrase shockful of thrills is over top of that character.

01:10:50.407 --> 01:10:54.950

[SPEAKER_02]: I like the subtlety of the nut chock full of thrills, but chock full of thrills.

01:10:54.970 --> 01:10:57.191

[SPEAKER_00]: It's new ones.

01:10:57.271 --> 01:10:58.632

[SPEAKER_00]: I think that's where they want.

01:10:58.712 --> 01:10:59.752

[SPEAKER_00]: New ones is what this post is.

01:10:59.812 --> 01:11:02.334

[SPEAKER_01]: It also says based on scientific facts.

01:11:03.294 --> 01:11:03.554

[SPEAKER_02]: Yes.

01:11:05.195 --> 01:11:07.597

[SPEAKER_02]: I can't decide if my favorite bit is the

01:11:08.417 --> 01:11:23.952

[SPEAKER_02]: The woman for no reason who's sort of lounging at the bottom in a bathroom that's going to come off, or that if we weren't getting enough from this incredibly subtle poster, the text, and the bottom left in little letters that said, a dead man walks the streets to stock his prey.

01:11:24.412 --> 01:11:27.335

[SPEAKER_02]: So terrifying, only screams can describe it.

01:11:27.775 --> 01:11:30.058

[SPEAKER_02]: So subtle is where we're headed with this film.

01:11:30.538 --> 01:11:35.680

[SPEAKER_00]: So what that means is our next episode is just going to be you and me screaming into the mic.

01:11:36.120 --> 01:11:38.261

[SPEAKER_00]: Yeah, so there's a lot of other stuff in the background.

01:11:38.721 --> 01:11:46.825

[SPEAKER_00]: There's a guy who looks like his head has been maybe cut open place with a little dough and put a dome put on it and then there's yeah.

01:11:47.625 --> 01:11:49.847

[SPEAKER_00]: various women and men recoiling in horror.

01:11:51.488 --> 01:11:57.113

[SPEAKER_00]: Some suited guys watching two people wrestle over a gun.

01:11:57.133 --> 01:11:57.613

[SPEAKER_00]: I don't know.

01:11:57.633 --> 01:11:58.253

[SPEAKER_00]: Yeah, there's a lot.

01:11:58.574 --> 01:11:59.775

[SPEAKER_00]: Look this one up listeners.

01:12:00.916 --> 01:12:02.297

[SPEAKER_00]: Creature with the Adam brain.

01:12:02.337 --> 01:12:03.878

[SPEAKER_02]: I got a good feeling about this one, guys.

01:12:04.778 --> 01:12:06.360

[SPEAKER_00]: I do too.

01:12:07.020 --> 01:12:11.484

[SPEAKER_00]: Man, I just can't tell you how much I love it when these posters promise you something specific.

01:12:11.524 --> 01:12:11.764

[SPEAKER_00]: Yes.

01:12:11.824 --> 01:12:12.304

[SPEAKER_00]: We've had

01:12:13.537 --> 01:12:18.221

[SPEAKER_00]: We've had what did maniac promise us dynamic sex lectures dynamic sex lectures.

01:12:18.261 --> 01:12:19.742

[SPEAKER_00]: We have still wait devil's daughter.

01:12:20.903 --> 01:12:27.249

[SPEAKER_00]: Yes, devil's daughter promised us the secrets of the blood dance and so this one promises us a lot of scientific facts.

01:12:27.369 --> 01:12:31.232

[SPEAKER_01]: I cannot wait if you are in Los Angeles the picture we're looking at I actually took it.

01:12:31.652 --> 01:12:33.414

[SPEAKER_01]: It's in the lobby of the almo draft house.

01:12:33.474 --> 01:12:35.376

[SPEAKER_01]: They have a lot of old posters in the wild.

01:12:35.396 --> 01:12:36.076

[SPEAKER_00]: Amazing.

01:12:36.917 --> 01:12:37.678

[SPEAKER_00]: Oh, that's delightful.

01:12:37.838 --> 01:12:39.399

[SPEAKER_01]: I grabbed it when I walked by and I saw that.

01:12:39.479 --> 01:12:40.060

[SPEAKER_01]: That's amazing.

01:12:41.039 --> 01:12:45.923

[SPEAKER_02]: All right, we'll join us next episode for actually I'd like to caviation.

01:12:45.983 --> 01:12:47.204

[SPEAKER_02]: It's not the creature.

01:12:47.284 --> 01:12:50.106

[SPEAKER_02]: It's just creature with the atom brain.

01:12:51.486 --> 01:12:53.188

[SPEAKER_02]: You've been listening to zombie strains.

01:12:53.689 --> 01:12:56.973

[SPEAKER_02]: We'll be back next episode to talk about another zombie movie.

01:12:57.433 --> 01:13:02.199

[SPEAKER_02]: If you enjoyed our podcast, please take a moment to rate us in your podcast Apple Choice.

01:13:02.739 --> 01:13:06.544

[SPEAKER_02]: Tell a friend, follow us on Instagram at zombie strains.

01:13:07.365 --> 01:13:09.948

[SPEAKER_02]: All of this helps like-minded people find this show.

01:13:10.629 --> 01:13:11.270

[SPEAKER_02]: See you next time.