Latest / Houselights: A Film Director Podcast / Clue (1985) - Jonathan Lynn | Houselights #276

Transcript

Clue (1985) - Jonathan Lynn | Houselights #276 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the ned Palty.
0:20
Speaker 2: Welcome back to House Lights, our director discussion show here
0:24
Speaker 2: on the Nerd Party Network. This week, we're entering the
0:27
Speaker 2: House of Jonathan Lynn, a house of mystery, murder, and trials.
0:32
Speaker 2: We'll begin with the nineteen eighty five's board game classic Clue.
0:37
Speaker 2: Is it the first suspect Missus White in the conservatory
0:41
Speaker 2: or perhaps Colonel Mustard and mister Green in the sitting room.
0:45
Speaker 2: I'm your host this evening, Professor Darren Plumb Moser. I'm
0:48
Speaker 2: joined by butler Tristan Riddell and the owner of the estate,
0:53
Speaker 2: mister John Mills. Let's see, that's one plus suplus suplus one.
1:00
Speaker 2: It's left in this gun that I've just found. So
1:03
Speaker 2: let's discuss Clue. Man. I think we've all just saying
1:09
Speaker 2: none of us, I think rewatched this movie and preparation.
1:13
Speaker 3: For this, Are you kidding? Any opportunity I get.
1:17
Speaker 2: To watch more needed to I will say that needed to.
1:20
Speaker 3: Get That's a great way to put it.
1:22
Speaker 2: Yes, yeah, no, No, I still rewatched it, but I
1:24
Speaker 2: know we had chatted that it wasn't necessary because it's
1:28
Speaker 2: a Bridell Mills Moser classic family favorite, as it were. Yes,
1:36
Speaker 2: as you know, after the length of Curisart was enjoyable,
1:41
Speaker 2: but I was ready for a family favorite movie, something
1:46
Speaker 2: without subtitles.
1:48
Speaker 4: Some more importantly, we needed some levity. It's not so
1:52
Speaker 4: much the subtitles. Yes, we needed some stupid humor, and
1:57
Speaker 4: we needed a French made costume and Madeline Kahn talking
2:02
Speaker 4: about flames coming out of the side of But.
2:05
Speaker 3: We also very much need Martin mull playing the world's
2:09
Speaker 3: best idiot ever on screen, Like I mean that his
2:13
Speaker 3: Colonel Mustard is. It's amazing because every time I rewatched this,
2:18
Speaker 3: I realize how formative this was in my sense of
2:23
Speaker 3: humor coming together. It was like this and Muppet Show
2:27
Speaker 3: and planes, trains and automobiles, all of these things right
2:30
Speaker 3: in the mid to late eighties is where everything really coalesced,
2:34
Speaker 3: and Clue is absolutely a part of it. And this
2:37
Speaker 3: is a movie that myself and my friends in high
2:40
Speaker 3: school quoted back and forth to each other endlessly, non
2:45
Speaker 3: stop between each other, like this was in regular rotation,
2:48
Speaker 3: along with Star Wars and Batman. Like that is how
2:50
Speaker 3: revered this movie was in my circle of friends.
2:54
Speaker 2: Well, and I mean, I've said it several times when
2:57
Speaker 2: we're talking comedies, yeah, quotability is is a hallmark. If
3:01
Speaker 2: it's a quotable movie, it or if it's a comedy,
3:05
Speaker 2: it needs to have quotability. I think that's definitely an aspect.
3:09
Speaker 2: And yeah, from flames on the side of our heads
3:12
Speaker 2: to like I just said one plus two plus tuplus well,
3:15
Speaker 2: I don't know how it rolls it off his tongue
3:18
Speaker 2: so quickly that I have to do the math at
3:20
Speaker 2: the same time to make sure it adds up. But yeah,
3:25
Speaker 2: for me, the first time watching this, I want to say,
3:30
Speaker 2: this was a camp movie. This was another one that
3:32
Speaker 2: we watched like in the box car at camp and
3:35
Speaker 2: someone said, oh, hey, you know I brought a DVD
3:37
Speaker 2: or a VHS and popped it in because it's a
3:40
Speaker 2: bizarre I.
3:41
Speaker 4: Have a quick question, did you do anything else at
3:44
Speaker 4: camp or did.
3:45
Speaker 3: You have did you hold on? Hold on, hold on,
3:49
Speaker 3: hold on. We don't listen. We don't want this to
3:50
Speaker 3: become house Lights after Dark, Tristan. Okay, so let's carefully here, Okay,
3:56
Speaker 3: for the purpose, for the purposes or else is.
3:59
Speaker 2: It this show?
4:01
Speaker 5: Uh?
4:02
Speaker 2: The only other Camp stories are all just about watching movies. Now, well,
4:07
Speaker 2: it was you know, it was a far distance into town.
4:10
Speaker 2: We had no cell service, we had no inner, we
4:12
Speaker 2: had nothing. So all we had were the movies that
4:14
Speaker 2: friends had brought and a projector so. But yeah, this
4:19
Speaker 2: is one of those cult movies where it did not
4:22
Speaker 2: necessarily do well no in the box office at all.
4:27
Speaker 4: Uhrizingly flop. I mean you look at the cast. This
4:31
Speaker 4: is a stacked cast with just absolutely like some of
4:35
Speaker 4: the best comedic talent of the era in one movie.
4:39
Speaker 4: I mean, it's it's it's just insane, just like, listen
4:42
Speaker 4: to these names. You got Eileen Brennan, Tim Curry, Madeline Kahn,
4:46
Speaker 4: Christopher Lloyd, Michael McKean, Martin mull Leslie and Warren Geez.
4:52
Speaker 3: Yes, yeah, and it's uh and like the simple fact
4:57
Speaker 3: that it's an ensemble cast with that caliber. I think
5:01
Speaker 3: it's such a tribute to Lynn as a director because
5:05
Speaker 3: everybody gets the right amount of screen time. There's no
5:08
Speaker 3: favoritism shown, but there's also no neglect and everybody is
5:13
Speaker 3: there and playing along.
5:14
Speaker 2: Yeah.
5:15
Speaker 4: I think that really Len's I think because he started
5:18
Speaker 4: in television, I think that became a big factor into
5:22
Speaker 4: why he was a perfect director for Clue. I mean, like,
5:26
Speaker 4: not only did he co write it, you know he
5:29
Speaker 4: directed it. It was his film directorial debut. He started
5:33
Speaker 4: in television on the BBC with Yes Minister and Yes
5:36
Speaker 4: Prime Minister, which people still love today. It's considered a
5:40
Speaker 4: gold standard and political satire and it's I think Lynn
5:46
Speaker 4: and Curry have said that this is one of their
5:49
Speaker 4: favorite movies of their career individually.
5:52
Speaker 2: I can buy that.
5:53
Speaker 4: Yeah, and also like Lynn, who was born in Somerset,
5:58
Speaker 4: England in nineteen forty three, studied law at Cambridge but
6:01
Speaker 4: then went on to do this.
6:02
Speaker 2: Like you do you know, it's just down the street.
6:07
Speaker 3: Yeah, I mean, but the thing is, like you can
6:11
Speaker 3: you can see an organized mind. There's you know, we
6:15
Speaker 3: all know enough about filmmaking that managing all the parts
6:21
Speaker 3: of this requires a really ordered mind, somebody that can
6:25
Speaker 3: really focus because you're not shooting in sequence. You're not,
6:29
Speaker 3: you know, filming in order and it like, so you
6:32
Speaker 3: have to keep all of that straight in your head
6:34
Speaker 3: and direct things in such a way that the scene
6:37
Speaker 3: itself works while everything else works. And comedy is one
6:40
Speaker 3: of the toughest things to make all of those pieces
6:42
Speaker 3: come together. Like you can do a lot of cheats
6:44
Speaker 3: in drama, you can do a lot of cheats in
6:46
Speaker 3: action comedy. You can't cheat. If you cheat in comedy,
6:49
Speaker 3: the audience sniffs you out and they just tune out
6:52
Speaker 3: and they're done, and they're ever going to laugh at
6:53
Speaker 3: anything that you do. And to put everything together in
6:57
Speaker 3: the way that he does. And I think that the
7:00
Speaker 3: real glue is that he has the wisdom to have
7:05
Speaker 3: Tim Curry at the core of the cast, because that
7:08
Speaker 3: is a magnetic enough personality without being a distraction that
7:11
Speaker 3: I like, I mean, that would be my question, like
7:14
Speaker 3: all the way back to my first viewing, like you
7:16
Speaker 3: slip so easily into understanding how everybody relates to each other.
7:19
Speaker 3: This is a potentially very confusing film for a kid.
7:23
Speaker 3: And I was a kid when I saw it, and
7:25
Speaker 3: we were all kids when we saw it, right, yep.
7:28
Speaker 3: But you were never lost, no, yeah, no, not once.
7:30
Speaker 3: What a testament that that's a very organized filmmaker, I think.
7:34
Speaker 2: Yeah, the way I viewed Wadsworth the Butler, you know,
7:38
Speaker 2: I think he's kind of almost a narrator where he's
7:44
Speaker 2: he has the most lines, especially at the end where
7:47
Speaker 2: he is literally telling you, oh and then this happened,
7:51
Speaker 2: like he is spelling it out. Now. That makes sense
7:53
Speaker 2: for the ending when they're revealing you know who did
7:56
Speaker 2: what and why? And I prefer that to oh, that's flashback,
8:00
Speaker 2: because I think that would have been more confusing. It's
8:02
Speaker 2: faster and syessler for Tim Curry just to run around
8:06
Speaker 2: the room and act it out. And if you have
8:08
Speaker 2: that talent, why not just do that.
8:12
Speaker 4: I want to talk about that, about how much of
8:15
Speaker 4: a big swing that was as a big swing, because
8:18
Speaker 4: that could have gone horribly wrong because if the audience
8:22
Speaker 4: is not in on the gag, if it's not landing,
8:25
Speaker 4: that's a big portion of your film that just falls flat. Yeah.
8:30
Speaker 2: Well, and we've stated several times we can kind of
8:33
Speaker 2: forgive a rough middle if it sticks the landing, and
8:38
Speaker 2: and versely if it's okay and it flops the landing,
8:43
Speaker 2: it's really bad.
8:44
Speaker 3: Yeah, it's the last thing that you're gonna walk the
8:47
Speaker 3: last impression you're going to walk away with. And like
8:50
Speaker 3: my one thing with it also is while we're here
8:54
Speaker 3: analyzing the director obviously and we'll have nothing but praise
8:58
Speaker 3: for Lynn, I think as go through this, I do
9:01
Speaker 3: want to take a minute just to throw some praise
9:03
Speaker 3: on the producer, Deborah Hill, who's like a personal hero
9:06
Speaker 3: of mine. Legendary film producer. Go look her up, kids,
9:10
Speaker 3: if you don't know who she is, but you know,
9:13
Speaker 3: rises to fame working with John Carpenter, like side by
9:16
Speaker 3: side through the rise of his career. Right, there's Halloween,
9:20
Speaker 3: There's The Fog, There's Halloween two. She worked on The
9:24
Speaker 3: Fisher King Clue. Obviously the Dead Zone, which is a
9:29
Speaker 3: great horror movie based off of a Stephen King thing.
9:32
Speaker 3: It's like one of the great Christopher Walken movies of
9:34
Speaker 3: all time sort of thing. And known for being a
9:38
Speaker 3: really empathetic but also very practical producer, and I think
9:44
Speaker 3: that a producer like that, I think Deborah Hill's natural
9:50
Speaker 3: inclinations as a producer allow Lynn to lean into it.
9:54
Speaker 3: You never get the sense of a director being forced
9:57
Speaker 3: to do one thing or another, but guide it gently
10:00
Speaker 3: as hey, you know, this might work better. So she's
10:04
Speaker 3: she's participating without stifling. And I love Debora Hill as
10:08
Speaker 3: a producer. I think she has an incredible career. She
10:11
Speaker 3: died way too young. She was I think fifty four
10:14
Speaker 3: when she died, and that's that's hideously young, and it's
10:18
Speaker 3: from cancer too, So I just I just want to
10:21
Speaker 3: make sure that that Deborah Hill got a moment on
10:23
Speaker 3: the show here because I'm still here in mine.
10:26
Speaker 2: I love her.
10:26
Speaker 4: I'm glad you brought her up, and I'm glad you
10:28
Speaker 4: talked about her filmography. And also she's the reason why
10:31
Speaker 4: it's called Hillhouse. Really yeah really.
10:35
Speaker 3: Oh that's awesome. I did not know that part.
10:37
Speaker 4: Yeah, they loved her so much. They're just like, yep, Hillhouse.
10:40
Speaker 3: Oh that's how wonderful is that? Right? So there you go,
10:43
Speaker 3: there's in right there evidence of how much people loved
10:47
Speaker 3: working with her. So wow, that's cool. That's cool.
10:50
Speaker 4: Now with Lynn, I do want to talk about his
10:54
Speaker 4: shot selection. You know, you're in a finite space. The
10:58
Speaker 4: entire movie. It's all sound stage, I think, except for
11:02
Speaker 4: the ballroom. Yeah, is what they said. Now, which one
11:05
Speaker 4: was the ballroom? Again, I know it sounds like an
11:06
Speaker 4: idiotic thing.
11:07
Speaker 3: I know, I'm trying to know it doesn't It does
11:09
Speaker 3: not sound like an idiotic thing. So you had the
11:12
Speaker 3: billiard room, which was okay, if you're going in through
11:16
Speaker 3: the front door. You had the big entry study is
11:18
Speaker 3: immediately to the right. Then you had the billiard room
11:22
Speaker 3: one door down. Then you went straight through to the kitchen.
11:25
Speaker 3: Then you had the conservatory where mister body could not
11:28
Speaker 3: escape because the big Doberman was there. You had the
11:31
Speaker 3: secret passage, which you know what a way to go on.
11:34
Speaker 3: I think the ballroom.
11:36
Speaker 4: It's the one with the piano and where she thought
11:39
Speaker 4: somebody was behind the curtains.
11:40
Speaker 3: Yes, yeah, so, which I think is like second second
11:43
Speaker 3: room in on the left. It's not the one that
11:45
Speaker 3: he vet shoots, is it.
11:47
Speaker 4: I'm it's I'm looking at it right now, and it's
11:50
Speaker 4: the one all the way in the back. Yes, it's
11:52
Speaker 4: like if you if you walk through the doors and
11:54
Speaker 4: just keep walking straights, you'll get past the bathroom and
11:57
Speaker 4: into the ballroom.
11:58
Speaker 3: Yes, there you go.
12:00
Speaker 4: I'm looking. I'm literally looking at a map right now.
12:03
Speaker 4: A floor.
12:04
Speaker 3: I want a floor of the also, but also think
12:06
Speaker 3: about that right the you know, you talk about the
12:09
Speaker 3: shot selection, use of space, setting everything up. I can
12:12
Speaker 3: sit here, you can sit here, We all can sit
12:14
Speaker 3: here and map it out in our brains. We know
12:17
Speaker 3: this house like it's a believable space for us.
12:20
Speaker 4: Yeah, it's that's amazing. That is amazing, and it's it's
12:23
Speaker 4: it's such a delight and it's such a treat to
12:25
Speaker 4: think about it. Because I was not straining my imagination.
12:30
Speaker 4: When you were describing it, I was like, yeah, m hmmm,
12:32
Speaker 4: mm hmmm, and yeah with the shot selection, it's it
12:37
Speaker 4: would have been so easy to just kind of be
12:39
Speaker 4: a one two heck, like in television where you're like,
12:42
Speaker 4: you're into this room one two one two one two.
12:45
Speaker 4: But I think having so many characters forces you to
12:49
Speaker 4: get inventive with your angles, to get the coverage, to
12:53
Speaker 4: get multiple people at different levels, sitting down, standing, leaning,
12:56
Speaker 4: all your theater tricks and things like that. And I
12:59
Speaker 4: think the only time it felt a little constrained was
13:02
Speaker 4: when they were in the kitchen. It's like, Okay, you
13:04
Speaker 4: get two angles in the kitchen and that's it.
13:07
Speaker 3: Yes, yes, but that that that even.
13:10
Speaker 4: Lends because of you know, the space, you know.
13:14
Speaker 3: But the thing is, I think that even having a
13:16
Speaker 3: space like that lends to the reality of it. Like
13:19
Speaker 3: I think every choice made it feel like a real environment.
13:22
Speaker 3: I never doubt that I'm in a house, even though
13:24
Speaker 3: I know full well that I'm not right Like it's
13:28
Speaker 3: it's one of those things where I'm sure I could
13:31
Speaker 3: probably sit there and absolutely pick apart you know, this
13:34
Speaker 3: or that thing, but you're also so along for the
13:37
Speaker 3: ride that you don't want to start being like, well
13:39
Speaker 3: the lighting here or oh those dogs are on a
13:42
Speaker 3: sound stage and you don't care because you're just along
13:46
Speaker 3: for it and you're you're willing to go with it.
13:47
Speaker 3: I mean, my one question though, because the one the
13:50
Speaker 3: one character that I have some problem plugging into is
13:55
Speaker 3: mister Body, because everyone, I'm sorry, every time I watch it, though,
14:01
Speaker 3: is he dubbed like this is the one time I'm
14:04
Speaker 3: watching it maybe TV?
14:06
Speaker 4: Yeah, like.
14:08
Speaker 3: That bothers me. I'm like, man, that's that kind of sucks,
14:12
Speaker 3: but like, okay, you know, like it doesn't it doesn't
14:15
Speaker 3: take me out of it obviously because the rest of
14:17
Speaker 3: the movie is so fantastic.
14:19
Speaker 4: But that's and he's only in it for such a
14:21
Speaker 4: short amount of time.
14:22
Speaker 3: Yeah, and he gets killed, so it's like, okay, you know,
14:24
Speaker 3: if he's the weakest link and he's the one that
14:26
Speaker 3: buys it, like at least he's not through it, like
14:28
Speaker 3: you said, he's a short time, he's not through the
14:30
Speaker 3: whole thing.
14:31
Speaker 4: I think somebody said this online. I don't think it's true,
14:34
Speaker 4: but I think it's funny where part of the reason
14:36
Speaker 4: why he was picked is because his name is lee Ving.
14:39
Speaker 4: Mister Body is leaving.
14:42
Speaker 3: Oh man, I oh, you know, I didn't mean think
14:47
Speaker 3: about that money. Still didn't even think about.
14:51
Speaker 2: Well, speaking of money, I did read that all of
14:56
Speaker 2: the main cast actually received not only equal billing, but
15:00
Speaker 2: equal pay, so regardless of whether they were bigger or
15:04
Speaker 2: smaller stars at the time, it was just a more
15:08
Speaker 2: even cut across the board.
15:10
Speaker 4: How do you get equal billing?
15:12
Speaker 2: Uh? Sorry not maybe not equal billing as far as
15:15
Speaker 2: no one was like, I guess you would have to
15:17
Speaker 2: have some sort of billing.
15:20
Speaker 4: I guess. I guess. Okay, okay, I guess what you're
15:22
Speaker 4: what you could be saying. And I think your meaning
15:24
Speaker 4: is it wasn't Clue starring Tim Curry and everybody else.
15:28
Speaker 4: It was right, this is the cast, and so everyone's
15:31
Speaker 4: equal in the right.
15:32
Speaker 2: More ensemble on the billing and then equal pay instead
15:37
Speaker 2: of like, oh well Tim Curry gets this much and
15:39
Speaker 2: then everybody else gets this much.
15:40
Speaker 4: You know, the opposite of of inside Out? Do you
15:44
Speaker 4: hear about that story?
15:46
Speaker 3: No, I don't know that story, and I don't think
15:48
Speaker 3: I want to because I love Inside Out, so I
15:49
Speaker 3: don't even want to.
15:50
Speaker 4: Oh no, no, no, it's it's it's great, like Amy Poehler
15:53
Speaker 4: got something like two million for the sequel and everybody
15:57
Speaker 4: else got one hundred thousand.
15:59
Speaker 3: I don't like knowing that. I don't like knowing that
16:01
Speaker 3: at all, not at all. I'm gonna I'm gonna remove
16:04
Speaker 3: that from my brain, uh and just go on and
16:06
Speaker 3: say that. Actually, I think that I struggle with the
16:10
Speaker 3: fact that this movie wasn't a hit. Yeah, Like the
16:14
Speaker 3: direction's fantastic, that he gets fantastic performances from everybody. I
16:19
Speaker 3: think the music's delightful, it plays into it.
16:22
Speaker 4: Music is so fun, it's perfect, like literally perfect for
16:26
Speaker 4: this movie.
16:27
Speaker 3: I think the photography is great. Like there's I sit
16:30
Speaker 3: there and I look at this and I'm like, who
16:32
Speaker 3: could hate this? Or who could even not rave about this?
16:36
Speaker 3: And there are people that like is Janet Maslin in
16:39
Speaker 3: New York Times critic like ripped it apart? I'm like, well,
16:43
Speaker 3: what kind of mood do you have to be in
16:44
Speaker 3: to watch this movie and be like, ah, this sucks.
16:47
Speaker 3: I'm like, I, you know, I always.
16:49
Speaker 2: Try was expecting more from a movie called Clue.
16:52
Speaker 3: Yeah, But the thing is I was actually explaining to somebody, uh,
16:56
Speaker 3: you know, because it comes up you know, oh, what'd
16:57
Speaker 3: you do over the weekend, and you know, I was
16:59
Speaker 3: at work and I was like, oh, watch Clue and
17:01
Speaker 3: you know, describe the movie and everything like that, and
17:04
Speaker 3: it's just it's one of those things where they were
17:07
Speaker 3: asking more detail about it. I said, well, whenever you
17:10
Speaker 3: hear about a movie based on a game, whether it's
17:13
Speaker 3: a board game, of video game or anything. And I
17:15
Speaker 3: pointed at the poster for Clue and I went, that's
17:18
Speaker 3: the dragon they're chasing right there. That's what they all
17:21
Speaker 3: think they can do. I'm like, this is the gold
17:23
Speaker 3: standard for this. This is if this movie has a sin,
17:27
Speaker 3: it's the fact that it convinced. It's like the Rick
17:29
Speaker 3: Okacic thing, rick O Okasik, Mary's Paulina Poroskova. So every
17:33
Speaker 3: guy's like I have a chance at a supermodel. It's like, no,
17:36
Speaker 3: you don't, champ like and Clue is the same way
17:39
Speaker 3: where it's like I could make Clue. I don't know,
17:41
Speaker 3: let's let's tamper our expectations here, Mortal Kombat. Let's not
17:44
Speaker 3: get ahead of ourselves, all right, You're kind of going
17:47
Speaker 3: for a league beyond you here. So I don't know.
17:49
Speaker 3: That's just my take on it.
17:51
Speaker 2: Well, one of the things that always strikes me when
17:55
Speaker 2: I'm watching Clue is because this came out in December
17:58
Speaker 2: of eighty five, so this was the same year as
18:01
Speaker 2: Back to the Future, So this is what he actually
18:04
Speaker 2: looks like. And I'm just blown away because I'm so
18:08
Speaker 2: used to Doc Brown makeup for Christopher Lloyd that I forget, like, oh, no,
18:14
Speaker 2: he was not an old man in eighty.
18:16
Speaker 4: Five, although he spent the year of eighty five in
18:20
Speaker 4: the fifties.
18:21
Speaker 3: Yeah, that's true.
18:22
Speaker 4: Clue in Back to the Future.
18:23
Speaker 2: That's true.
18:24
Speaker 3: And you know what I love is this is a
18:26
Speaker 3: lot like Looney Tunes, where as a kid, there were
18:28
Speaker 3: jokes I didn't get, But now that I'm older, lines
18:32
Speaker 3: like what was you know, what was jegor whover doing
18:34
Speaker 3: on your phone? I don't know. He's on everybody else's
18:36
Speaker 3: why shouldn't he be on mine? Like that joke is
18:38
Speaker 3: so much funnier to me now than it was in
18:40
Speaker 3: nineteen eighty five, because I'm just a wee little kid
18:43
Speaker 3: back then, and now I'm like, ah, like, that's one
18:45
Speaker 3: of the best jokes in the entire movie to me,
18:48
Speaker 3: And it's just I just it's so clever. It's such
18:51
Speaker 3: a clever movie.
18:52
Speaker 4: Uh. One thing that I always think about when I
18:56
Speaker 4: rewatched this is when I see Leslie and Warren as
19:00
Speaker 4: Missus Scarlett and Martin mull as Colonel Muster together whenever
19:03
Speaker 4: they're like because they're pared off. They played husband and
19:07
Speaker 4: wife in the TV show Community, they were British parents,
19:12
Speaker 4: and it was just so much I know it's stunt casting,
19:16
Speaker 4: and I don't care. It was so much fun seeing
19:18
Speaker 4: them together yeating husband and wife in Suburbia.
19:22
Speaker 3: Now, the thing is, you mentioned Leslie and Warren Princess
19:25
Speaker 3: Leiah herself. Carrie Fisher was originally supposed to be in
19:27
Speaker 3: this film.
19:28
Speaker 4: I was going to ask you, guys, what do you
19:29
Speaker 4: think this movie would look like if Carrie Fisher was
19:32
Speaker 4: clean before?
19:35
Speaker 2: Well, it would have been a bigger shift because I
19:39
Speaker 2: read that too. But it also kind of like dominoed
19:42
Speaker 2: the other roles because if she had been in that role,
19:45
Speaker 2: I think.
19:47
Speaker 3: Leslie and Warren was going to be Missus White. And
19:49
Speaker 3: then that's right, Madeline Kahn comes in to play Missus
19:52
Speaker 3: White because Leslie and Warren then becomes miss Scarlett.
19:56
Speaker 2: If you have a lot of shifts, and if you ask.
19:58
Speaker 3: Me honestly, I don't think this movie is what it is.
20:03
Speaker 3: I'm not saying it would be bad. I don't think
20:05
Speaker 3: it is what it is if Carrie Fisher's in it.
20:07
Speaker 3: And one of the reasons is, yes, Princess Leah is
20:09
Speaker 3: in here. This is two years after Return of the Jedi.
20:12
Speaker 3: There's no way that he stuck all of the oxygen
20:15
Speaker 3: out of the room and they wind up giving her
20:17
Speaker 3: more screen time. It's impossible to avoid.
20:19
Speaker 4: Yeah, I think you're right. Yeah, I think you're right too.
20:23
Speaker 4: And also it's just Miss Scarlett is so much fun
20:28
Speaker 4: with Leslie and Warren. Yes, like, she plays it so well.
20:31
Speaker 4: I do believe that Carrie could have played it perfectly,
20:33
Speaker 4: I think, but it would have been her version. It
20:35
Speaker 4: would have been Carrie Fisher, her version of the role.
20:38
Speaker 4: And so it's hard to divorce these characters from their
20:44
Speaker 4: actors because it's just been so ingrained for the past
20:47
Speaker 4: forty one years in our brains.
20:49
Speaker 2: No, I agree. I think Leslie and she's chewing the
20:52
Speaker 2: scenery like so much, and you I don't think. I
20:56
Speaker 2: can almost guarantee that Carrie Fisher's performance would have been
20:59
Speaker 2: different and not oh yeah that's bad. It's just we
21:02
Speaker 2: wouldn't have gotten this.
21:03
Speaker 3: Uh.
21:04
Speaker 2: The The other potential I had read was that they
21:07
Speaker 2: were considering Rowan Atkinson.
21:09
Speaker 3: For Wadsworth yep.
21:10
Speaker 2: And while he wasn't I guess big enough a name
21:14
Speaker 2: in the time.
21:15
Speaker 5: I kind of would want to see that. I'm not
21:17
Speaker 5: saying I want to flop, but I don't know. I
21:20
Speaker 5: think I love Rowan Atkinson. I think he's a terrific
21:25
Speaker 5: comedic actor. But if I see him, I'm just gonna
21:29
Speaker 5: be like, it's mister Bean, Tim Curry. I can still
21:32
Speaker 5: dissociate from Tim Curry and see him as his character,
21:36
Speaker 5: whether it's this, whether it's Home Alone two, whether it's
21:39
Speaker 5: penny Wise.
21:40
Speaker 4: To be fair, this was before mister Bean.
21:42
Speaker 3: I understand that point.
21:46
Speaker 4: Still, they're not saying he had to pull out the
21:49
Speaker 4: slow syllables there.
21:50
Speaker 3: Oh, would you stop it? My shorthand is Rowan Atkinson
21:56
Speaker 3: is a specific type of character. Yes, I've seen him
21:59
Speaker 3: play different characters, and mister Bean is the shorthand for
22:02
Speaker 3: he's that type of comic character. Tim Curry, I think
22:05
Speaker 3: it is way more well suited to this film. And
22:09
Speaker 3: a name I don't know terribly well. Leonard Rossiter was
22:13
Speaker 3: apparently originally cast but he died before production, and at
22:18
Speaker 3: least according to Wikipedia, And who am I to question Wikipedia?
22:21
Speaker 3: But it's you know, it's or maybe it was like
22:23
Speaker 3: the first choice. Who knows. Anyway, Tim Curry isn't like
22:28
Speaker 3: I think I said it earlier. Like Tim Curry, this
22:30
Speaker 3: movie isn't what it is. Even though it's an ensemble cast.
22:33
Speaker 3: I think everybody needs to be who they are for
22:36
Speaker 3: that ensemble to work as well as it does.
22:39
Speaker 2: Curry is leading the charge like he is the Robin
22:44
Speaker 2: Williams cast in Night at the Museum that just kind
22:48
Speaker 2: of like is a lightning rod for the other characters
22:51
Speaker 2: to react off of, because often he is instigating the plot.
22:56
Speaker 2: He is pushing this story along even though he's part
23:00
Speaker 2: of it. And yeah, I just think he brings this
23:04
Speaker 2: kind of manic energy to the role that there's very
23:09
Speaker 2: few other actors who could do it in such a way.
23:13
Speaker 3: So I don't think there's another actor that could make
23:15
Speaker 3: me laugh. Where he goes good shot and then he
23:18
Speaker 3: just goes out at the wall, he pulls out his
23:20
Speaker 3: hand with blood. He goes very good shot and dies
23:23
Speaker 3: like it's just it's great delivery.
23:27
Speaker 4: But the way the way he moves his body and
23:31
Speaker 4: his eyes and everything like that. It's kind of harrowing
23:36
Speaker 4: the way that he dies, Like yes, because if because
23:40
Speaker 4: that was another line that they looped for some reason,
23:43
Speaker 4: like you could tell it's dubbed. It's his performance, but
23:45
Speaker 4: just dubbed with his own voice. And if it wasn't
23:48
Speaker 4: for that, I feel like it would be a little
23:50
Speaker 4: bit more chilling than comedic.
23:53
Speaker 3: You know. I think that the while we're singing praises
23:57
Speaker 3: of everybody as well we should, I think that the
23:59
Speaker 3: one the people that gets overlooked a bit overall is
24:03
Speaker 3: Michael McKeon, and I think he is absolutely clutched to
24:06
Speaker 3: this film, especially for two line deliveries. The one at
24:13
Speaker 3: the end where it's being dragged around and Wadsworth keeps
24:15
Speaker 3: hitting him and he pushes it away. At one point
24:18
Speaker 3: he goes, well you stop that. And then the other
24:21
Speaker 3: one is I think one of the greatest send away
24:25
Speaker 3: lines at the end is you know when they have
24:28
Speaker 3: the version where he winds up being a fed and
24:31
Speaker 3: he goes, now you excuse me, I'm going to go
24:32
Speaker 3: home and sleep with my wife, and it's just it's
24:35
Speaker 3: the perfect way to end it. It doesn't fade out,
24:38
Speaker 3: It freezes and it's such a perfect way to end
24:41
Speaker 3: the thing. And for some reason, just the way he
24:44
Speaker 3: delivers that line is so perfect. It's so spot on
24:48
Speaker 3: the way he needs to say it, and I just
24:50
Speaker 3: think McKeon is so clutch, and he's one of those
24:53
Speaker 3: comic actors I think that just gets overlooked over time,
24:56
Speaker 3: and he's so great in everything that he does.
24:59
Speaker 4: Thankfully with the better call Saul, it's spin off, like
25:04
Speaker 4: he definitely had that resurgence and that you felt like
25:07
Speaker 4: his the respect for him kind of when he gives yeah, yeah,
25:13
Speaker 4: I knew, John, I knew that was gonna be your
25:15
Speaker 4: favorite line. I absolutely knew it in my bones that
25:19
Speaker 4: that was going to be your favorite line because it
25:21
Speaker 4: felt like, uh oh, it felt like a Seinfeld quote
25:26
Speaker 4: when he's like he's like.
25:27
Speaker 3: Oh yeah, yes it does. I mean there there are
25:31
Speaker 3: other lines, like Miss Scarlett in her exchange with him
25:34
Speaker 3: when he reveals his identity. I love that moment between
25:37
Speaker 3: the two of them. I love so many things like
25:39
Speaker 3: Martin maull playing the letch and even Christopher Lloyd, like
25:44
Speaker 3: them lingering on their their eyes on Yvette through the
25:48
Speaker 3: whole thing, and the thing is you look at it
25:50
Speaker 3: and it's like, yes, it's a laugh, but at the
25:52
Speaker 3: same time, it's actually consistent with their characters. Like nothing
25:57
Speaker 3: in this is uh, there's no fat to cut from
26:01
Speaker 3: the characterizations. There's nothing where somebody is doing something to
26:04
Speaker 3: steal a moment. It's all in keeping with everything. And
26:08
Speaker 3: I think that's again the sign of a great director
26:11
Speaker 3: keeping things focused and not letting his cast go crazy.
26:15
Speaker 3: You look at modern comedy movies where the big name,
26:18
Speaker 3: whether it's Jim Carrey, Kevin Hart, somebody like that, you know,
26:22
Speaker 3: the director showed up on set and was like, just you, okay,
26:25
Speaker 3: do what you do and we'll just we'll cut it together.
26:28
Speaker 3: That's fine. This is instead a cast responding to somebody
26:32
Speaker 3: giving them direction and.
26:35
Speaker 2: To a good script. Like it doesn't feel like I'm
26:38
Speaker 2: sure there was influence in slight improv, but this feels like, oh,
26:42
Speaker 2: the work is solid enough, the story and script are
26:45
Speaker 2: solid enough that it's not a like you said, John,
26:49
Speaker 2: oh you're all comedians, you know, just go with it.
26:52
Speaker 2: It's like, no, you can't do that. This movie like that.
26:56
Speaker 4: Yeah. I think the only thing that I know for
26:58
Speaker 4: a fact that is in prov is Madeline and Kahn's
27:01
Speaker 4: flames on the face thing, yes, which is so I
27:04
Speaker 4: think that's probably the only thing that's a little out
27:07
Speaker 4: of character because it's so Madeline Kahn, like that kind
27:10
Speaker 4: of delivery and the idea of that coming to her brain,
27:14
Speaker 4: Like you could just she stepped out of Missus White
27:17
Speaker 4: and became Madeline Kahn in that moment. And also you
27:20
Speaker 4: were talking about leering at Yavette. So the director Lynn
27:27
Speaker 4: was praising Colleen Camp's comedic timing and delivery and prowess.
27:32
Speaker 4: But then he said, He's like, but that's not why
27:34
Speaker 4: she got the job.
27:37
Speaker 3: Honestly counts for something, right, I mean, you know, there
27:40
Speaker 3: you go.
27:42
Speaker 2: And story wise, I like the fact, you know, because
27:46
Speaker 2: we can talk about story as well, just because he
27:49
Speaker 2: was also you know, part part writer, you know, in
27:52
Speaker 2: the in the story development. I love the fact that
27:55
Speaker 2: they're all given the aliases at the beginning, Like there's
27:58
Speaker 2: just such a clever way instead of we happen to
28:01
Speaker 2: have six random people that names match the board game
28:06
Speaker 2: like that honestly would have been a little harder to swallow,
28:09
Speaker 2: but like, oh, they're given aliases, and I mean even
28:12
Speaker 2: mister Body is kind of a bit of a thing
28:15
Speaker 2: to swallow.
28:16
Speaker 4: But uh uh yeah, it's body with two d's though,
28:19
Speaker 4: so yes, yeah it is different, just different grammatical variant.
28:24
Speaker 3: Well you know, I mean the thing is though, it's
28:26
Speaker 3: like it's one of those things where do you think
28:29
Speaker 3: that as great as this film is because the stunt
28:32
Speaker 3: that was pulled and I remember at the time people
28:35
Speaker 3: talking about it where they said, it's going to be
28:37
Speaker 3: a different ending depending on which theater you go to.
28:40
Speaker 3: That has to have depressed audiences, not made them sad,
28:43
Speaker 3: but like depressed turnout. Like would you go to a
28:46
Speaker 3: movie if you went to that movie and they were like,
28:50
Speaker 3: there are three different endings and you have to go
28:53
Speaker 3: see it three different times to maybe see the three
28:56
Speaker 3: different endings. Like it seems like a stunt that backfired.
29:00
Speaker 2: I think it was just too early. Nowadays, with an
29:05
Speaker 2: internet and online forums and s touch, you now have
29:09
Speaker 2: a group of Clue fanatics who are like, oh, what
29:14
Speaker 2: version did you? They just like within a couple of
29:16
Speaker 2: days they dissect the three. They try to figure out
29:20
Speaker 2: which theater chains have which ones, and then it becomes
29:23
Speaker 2: a thing of oh, I want to now reach all
29:27
Speaker 2: and see all three, so I go see it three
29:29
Speaker 2: times and it does better because you have people going more.
29:33
Speaker 2: But in eighty five you just don't have that. Yeah,
29:37
Speaker 2: it's a bridge too far.
29:38
Speaker 3: You're absolutely right, Like modern times, you could probably do it,
29:41
Speaker 3: but I would say that you would probably have to
29:43
Speaker 3: sprinkle in that, like there would be slight variances in
29:45
Speaker 3: earlier parts of the movie pointing toward the different ending
29:48
Speaker 3: in some way. You'd have to do something like that.
29:51
Speaker 3: But I just I think that, you know, no matter what,
29:55
Speaker 3: it was ahead of its time in those in those terms,
29:58
Speaker 3: and I think that definitely kept audiences home home because
30:00
Speaker 3: I remember discussions from family at the time where people
30:04
Speaker 3: talked about the three different endings and they were like, well,
30:07
Speaker 3: I don't want to go. Like we grew up in
30:10
Speaker 3: basically the exurbs. We didn't even have a movie theater
30:13
Speaker 3: in my hometown, so it's like I'm not driving thirty
30:16
Speaker 3: five minutes of theater A and then forty five minutes
30:19
Speaker 3: of theater B for the same movie. Essentially, Like nobody's
30:23
Speaker 3: going to do that, right.
30:25
Speaker 4: Why couldn't you just be content with the ending that
30:27
Speaker 4: you got?
30:28
Speaker 3: Because once you let people know that there are the
30:31
Speaker 3: different endings, I think there's a sizeable I can assure
30:34
Speaker 3: you that were family members who would be dissatisfied because hey,
30:38
Speaker 3: I paid my money, I want all three endings, Okay,
30:41
Speaker 3: Like it would have been a value proposition at that point.
30:45
Speaker 2: And I mean that is maybe if they had theatrically
30:49
Speaker 2: released the way they did the home home release, which
30:53
Speaker 2: was they had all three and they kind of said, well,
30:55
Speaker 2: what about maybe it happened this way, and which I
31:00
Speaker 2: guess works. It's still not quite as satisfying as one ending.
31:06
Speaker 4: Oh, I completely disagree. I completely disagree.
31:08
Speaker 2: You like the triple ending.
31:10
Speaker 4: I love the triple ending. I think it's perfect. I
31:12
Speaker 4: think it's the way it should have been released.
31:14
Speaker 3: Yep, I agree.
31:15
Speaker 4: I don't think I even did. When I had the
31:18
Speaker 4: DVD and you could hit a random ending, you like,
31:22
Speaker 4: every time you played it, you could get a different
31:24
Speaker 4: ending if you wanted to. I don't think I ever
31:26
Speaker 4: did that because I liked having all three at once.
31:28
Speaker 4: Do you guys have a favorite ending of the three?
31:32
Speaker 2: So for our listeners, the three endings are how it
31:36
Speaker 2: could have happened, where Yavette is murdered by the cook
31:40
Speaker 2: and it basically ends up being that Miss Scarlett was
31:44
Speaker 2: the one with the gun and is captured at the end.
31:48
Speaker 2: Then we have the second ending. How about this where
31:51
Speaker 2: Miss Peacock was the one with the gun at the end,
31:55
Speaker 2: and then Here's what really happened where everybody was an
32:00
Speaker 2: involved in killing somebody except for mister Green.
32:04
Speaker 4: Very murderer on the orient express, Yes very much.
32:06
Speaker 2: So, uh you know, I think my favorite I like
32:11
Speaker 2: miss I like the Miss Scarlet one. I know it's
32:14
Speaker 2: not as quite as big as the I know it's
32:16
Speaker 2: really meant to be the one where everybody kind of
32:18
Speaker 2: killed everybody, that's the the nod in a wink, But
32:22
Speaker 2: I like that one because of the confrontation between Wadsworth
32:28
Speaker 2: and Miss Scarlet, Like it's that's I think a great part.
32:33
Speaker 2: I don't like the Miss Peacock one. It kind of
32:36
Speaker 2: try to do the same thing, but it just doesn't
32:38
Speaker 2: quite click. So personal favorite is Miss Scarlet is the murderer.
32:44
Speaker 2: What about you, John?
32:46
Speaker 3: It is actually kind of tough because I do love
32:49
Speaker 3: the how it could have happened. I don't like that
32:52
Speaker 3: Here's what really happened is the title of the third one, Yeah,
32:56
Speaker 3: because that feels like a cheat, like how it could
32:58
Speaker 3: have happened? How about this? Try this one on for size.
33:01
Speaker 3: That feels more like, because titling it, here's what really happened.
33:05
Speaker 3: I'm like, well, this is.
33:06
Speaker 2: The together two completely.
33:09
Speaker 3: Yeah, but because of Michael McKeon, I gotta give it
33:13
Speaker 3: to the third one, especially because of just I love
33:18
Speaker 3: the way that it plays out, and I love the
33:20
Speaker 3: idea that through the entire thing he was, you know,
33:25
Speaker 3: sort of like the game within a game setup. I
33:28
Speaker 3: enjoy that, and I think it's just a very satisfying ending. Tristan,
33:32
Speaker 3: I'm with you.
33:32
Speaker 4: Darren Peacock is I'm sorry, is my Peacock is my
33:36
Speaker 4: least favorite, but Scarlett is my absolute favorite. For everything
33:40
Speaker 4: that you said, like it's it's just so great, mainly
33:43
Speaker 4: because of the interaction between Wadsworth and Scarlett, and I
33:46
Speaker 4: just I just love that Leslie and Warren, like you said,
33:49
Speaker 4: you know, is chewing the scenery in the best possible way.
33:52
Speaker 4: I mean, the first time we see her, she's got
33:54
Speaker 4: that amazing cobra coat, you know, behind her head, and
34:00
Speaker 4: and she's like she sees a car coming and does
34:02
Speaker 4: like a Clottt Colbert and like lifts her lifts her
34:05
Speaker 4: leg up just to get attention. And it's just She's
34:08
Speaker 4: perfect from the first scene all the way to the end,
34:10
Speaker 4: and so I like that she was the one who
34:13
Speaker 4: was the mastermind behind it.
34:15
Speaker 2: Yeah. Again, it's it's flip a coin. I could watch
34:19
Speaker 2: any of them and still enjoy the movie, but that's
34:22
Speaker 2: my personal favorite. Again. I even put the one plus
34:25
Speaker 2: Dupless Stupius one in my intro because I love that
34:28
Speaker 2: sequence and it's just it's so the wit is so
34:32
Speaker 2: quick that you're barely keeping up as it comes at you.
34:37
Speaker 2: All right, Well, I mean we could talk a little
34:40
Speaker 2: more about the music, but we already kind of touched
34:43
Speaker 2: on that. I mean, we enjoy it.
34:44
Speaker 4: It's playful, campy, it's perfect bubbly.
34:49
Speaker 2: And we are also talked about our location within the location,
34:54
Speaker 2: like John has the map memorized as far as where
35:00
Speaker 2: every secret room is located, and I think that is
35:03
Speaker 2: a real testament to even with trapdoors and secret passages,
35:07
Speaker 2: you're not lost. There's enough identifiable landmarks in each room
35:14
Speaker 2: that you know where you are there. Oh, there's the piano,
35:16
Speaker 2: so I must be here where the kitchen obviously is
35:19
Speaker 2: very different, so you know where you are even though
35:24
Speaker 2: there's a lot of running around, especially as the movie
35:27
Speaker 2: progresses where you're just from room to room to room.
35:31
Speaker 2: All right, well let's start with you, Colonel flustered John Mills. Yes,
35:37
Speaker 2: give us your final thoughts if you would.
35:39
Speaker 3: On clue, Well, we would be remiss not to mention
35:42
Speaker 3: that there was a fourth ending thrown away wherein Wadsworth
35:45
Speaker 3: did everything, poisoned everybody, and then got away until three
35:49
Speaker 3: police dogs killed him and Lynn, a very wise man,
35:54
Speaker 3: looked at that ending and said, nah, this sucks and
35:57
Speaker 3: threw it out. And I'm so glad that we didn't
35:59
Speaker 3: have a fourth end. But I will go ahead and
36:03
Speaker 3: just give this a five. And the thing is, it's
36:06
Speaker 3: am I biased by a lifetime of watching and loving
36:08
Speaker 3: this film? Probably I don't care like this is a
36:11
Speaker 3: five star movie to me because it's something I just
36:14
Speaker 3: watched it a couple of days ago, and if it's
36:16
Speaker 3: on TV, I'm gonna stop and watch it again. I
36:19
Speaker 3: don't care. You get the term used to be you
36:22
Speaker 3: could get shawshanked by this movie where you're walking through
36:25
Speaker 3: the room somebody's watching you like, oh I love this,
36:27
Speaker 3: And that actually happened while I was watching it. I'm lay,
36:30
Speaker 3: I'm laying there watching it, and my kid walks into
36:33
Speaker 3: the room and she goes, oh, I love this, and
36:35
Speaker 3: she stayed till the end of the movie. And it's like,
36:37
Speaker 3: that's just that's a five star movie to me, so easy. Five.
36:41
Speaker 3: Absolutely adore it. I think it's a fantastic comedy and
36:45
Speaker 3: I thank it for introducing me to so many gags
36:49
Speaker 3: that I still quote to this day.
36:52
Speaker 2: All right, what about you, Tristan, which object in which
36:56
Speaker 2: room do you rate this film?
36:59
Speaker 4: I love that, like you have all these things like
37:02
Speaker 4: a rope, a wrench, a lead pipe, and then all
37:05
Speaker 4: of a sudden, Professor Plumb just pulls out a gun.
37:10
Speaker 2: Yes, what about a gun? Maybe that's how murders happened?
37:16
Speaker 2: Well yeah, okay, yeah, yeah, yeah, no.
37:19
Speaker 4: This is I can't. I echo every single word, every
37:23
Speaker 4: single syllable that John just said. This is a five
37:25
Speaker 4: star film. It's it's it's it's a near perfect film.
37:29
Speaker 4: And I leaving. If you're listening, I'm really sorry, but
37:34
Speaker 4: here the way you got if you got replaced, it
37:37
Speaker 4: would be a perfect film. Also, it the the Singing
37:41
Speaker 4: Telegram Murder is one of my favorite smash cut shot
37:45
Speaker 4: to death moments next to Raiders. Honestly, like it's just
37:51
Speaker 4: it's so great. It's just like like you just open
37:54
Speaker 4: up the door. She starts singing, just down to the floor.
37:59
Speaker 3: That's true. And that is actually something that my friends
38:02
Speaker 3: and I would quote all the time, where somebody would
38:05
Speaker 3: open a door and somebody go, I am you're saying telegram.
38:08
Speaker 4: Yes, So five hard stars like this is this is
38:14
Speaker 4: one of the best.
38:16
Speaker 2: Well, you know, two parts I really enjoy about this
38:19
Speaker 2: movie is I love the poster, you know, where they're
38:23
Speaker 2: all kind of in the windows of the clue manner,
38:26
Speaker 2: and it's like was it the in the with the
38:30
Speaker 2: And it's just it's a very clever done and a
38:33
Speaker 2: way of doing all of your leads without the giant
38:37
Speaker 2: conglomeration of heads that we have nowadays. But to the inverse.
38:42
Speaker 2: I also like the closing credits where they're on the
38:44
Speaker 2: cards as they flip over. Just there's a lot of
38:48
Speaker 2: so much intention and thought into this. Although I do
38:51
Speaker 2: kind of feel the cards were kind of don't forget
38:54
Speaker 2: this was based on the game. It's like, oh, that's right,
38:56
Speaker 2: Like for some reason you had forgotten through while enjoying
38:59
Speaker 2: this story. It's like, oh, that's right, it was a game.
39:04
Speaker 2: But yes, I am with you two gentlemen. Five stars.
39:08
Speaker 2: It's I've been shoshanked by this movie many a time.
39:12
Speaker 2: It is really enjoyable. It's fun. I also enjoy what
39:17
Speaker 2: I consider it's cousin murder by Death, which is you know.
39:21
Speaker 3: Oh, don't even get me started about murdered by Death.
39:23
Speaker 3: If we can find an excuse to watch that movie,
39:25
Speaker 3: I am all on board for that.
39:27
Speaker 2: Oh my god, yes, where so much so? I like,
39:29
Speaker 2: I say cousin because I have to mentally split them
39:33
Speaker 2: in my mind of like, no, wait, that scene happened
39:35
Speaker 2: in that way.
39:36
Speaker 4: I haven't seen it. I don't even know what you
39:39
Speaker 4: guys are.
39:40
Speaker 3: The thing is, Darren, we're setting ourselves up. I guarantee you.
39:44
Speaker 3: Murdered by Death is another plane, strains and automobiles where
39:46
Speaker 3: we're gonna come over like we're so happy to watch it.
39:50
Speaker 3: Too modern to a movie like this and that that
39:53
Speaker 3: that's what's gonna happen. We can't do it now, we
39:54
Speaker 3: can't do it.
39:55
Speaker 4: That is my accent. You nailed us.
39:57
Speaker 3: You know what is that Midwestern accent? I do it
39:59
Speaker 3: very well. Yeah, since go to my Michael Caine impersonation.
40:05
Speaker 2: All right, well, five stars across the board for this
40:08
Speaker 2: great film. If you have a copy, definitely share it
40:11
Speaker 2: with a friend, enjoy it. We're really excited to be
40:14
Speaker 2: continuing in the Mysterious House of Jonathan Lynn. Next week.
40:19
Speaker 2: We'll be jumping to nineteen ninety two's My Cousin Vinnie
40:23
Speaker 2: next on House Lights.
40:25
Speaker 1: Join the Revolution, Join the Nerd Party.