Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Short Night of Glass Dolls (1971)

Transcript

Short Night of Glass Dolls (1971) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:00
  Speaker 1: Hey, this is Jason Kleeberg from the Force five podcast,
• 0:03
  Speaker 1: a show that forces a guest to come up with
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  Speaker 1: be asking yourself what would be on my list? Guests
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  Speaker 1: include directors, screenwriters, actors, podcasters, musicians, authors, and even a
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  Speaker 1: professional wrestler. Subscribe to the Force five podcast and you
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  Speaker 1: The Force five podcast available wherever you are listening now, you.
• 0:33
  Speaker 2: Are now listening to the Someone's Favorite Productions podcast network.
• 1:47
  Speaker 3: It's on the permit we issued by Vodachekova Street.
• 1:51
  Speaker 4: It was a.
• 1:51
  Speaker 5: Journalist and what do I put as cross.
• 1:53
  Speaker 4: Of death causia? Couldst do? Set dead on the arrival?
• 2:00
  Speaker 4: And you ought to print to make it more legible too?
• 2:03
  Speaker 5: What's this and your regulation specific precaution so the American
• 2:06
  Speaker 5: fass can't accuse us?
• 2:10
  Speaker 4: I shaid call him.
• 2:11
  Speaker 3: Are welcome back to Beyond the Blood Tonight we're heading
• 2:34
  Speaker 3: into the shadowy, dream like world of Eldolado's short ended
• 2:37
  Speaker 3: glass Stels we're taking a deep dive into the stunning
• 2:40
  Speaker 3: new four K release from our friends over at Cellular Dreams,
• 2:43
  Speaker 3: exploring the film itself and two fascinating commentaries. One features
• 2:48
  Speaker 3: Cellular Dreams co founder Guido Hankle, while the other brings
• 2:51
  Speaker 3: together director Aldolado and Federico Cadillo for an incredible conversation
• 2:57
  Speaker 3: about the making and legacy of the film. So set
• 2:59
  Speaker 3: up in turn down the lights and join us as
• 3:02
  Speaker 3: we unravel the mystery behind Short Night of West Ols.
• 3:06
  Speaker 5: Dude, I fucking love this movie. I just want to
• 3:10
  Speaker 5: say that off.
• 3:11
  Speaker 3: The rip, this is a movie that I just have
• 3:17
  Speaker 3: such a soft spot for. I mean, I'm you know me,
• 3:20
  Speaker 3: I'm a sucker for just giallow films in general, but
• 3:25
  Speaker 3: there's something a little bit more special about the films.
• 3:28
  Speaker 3: I feel like, go outside the box when it comes to, uh,
• 3:34
  Speaker 3: you know, your typical tropes that you get in these films.
• 3:37
  Speaker 3: And I feel like that this is definitely leaning more
• 3:40
  Speaker 3: into the psychological aspect of the giallo subgenre, and like
• 3:48
  Speaker 3: we were talking about earlier, I feel like that this
• 3:50
  Speaker 3: is a film that I don't think is identical too,
• 3:56
  Speaker 3: but I see a little bit of the psychological similarities
• 3:59
  Speaker 3: that you get with the house with laughing windows and
• 4:04
  Speaker 3: talk about an incredible directorial debut from Aldbado. This is
• 4:11
  Speaker 3: a masterclass when it comes to ghiallow films.
• 4:14
  Speaker 5: I completely agree. And before we get into it, my
• 4:18
  Speaker 5: name is Chris. I'm the Bearded film Guy, one of
• 4:20
  Speaker 5: your co hosts, and as always joined by Steve. What's up, dude?
• 4:25
  Speaker 3: I am beyond excited to talk about this with you.
• 4:29
  Speaker 3: This is a movie that I know has been in
• 4:33
  Speaker 3: the works for some time, and you know, we already
• 4:36
  Speaker 3: did the Case of the Bloody Iris.
• 4:38
  Speaker 4: Gave us a chance to do a deep.
• 4:39
  Speaker 3: Dive into that film, and this just seemed like the
• 4:42
  Speaker 3: next logical step in the films that we're covering together.
• 4:46
  Speaker 5: Yeah. Well, you know, to anybody listening, I would encourage
• 4:50
  Speaker 5: you to go back, go on the journey with us
• 4:53
  Speaker 5: with our friends at Cellulai Dreams, and go back to
• 4:56
  Speaker 5: our coverage of Case at a Bloody Iris. We covered
• 5:00
  Speaker 5: was commentary track for that. We had a lot of
• 5:02
  Speaker 5: fun talking about that movie. That was their first release
• 5:06
  Speaker 5: as a label. Their second release was a film called
• 5:10
  Speaker 5: Hyena in the Safe, which we haven't covered yet, but
• 5:13
  Speaker 5: it's on the list for us. To cover, and we
• 5:17
  Speaker 5: sort of jumped forward to their third release, which was
• 5:20
  Speaker 5: a short Night of Glass Dolls. This was really the
• 5:24
  Speaker 5: first time they went deluxe with the hardcover box and
• 5:27
  Speaker 5: the booklet and stuff. And I would also encourage you
• 5:32
  Speaker 5: guys to go back and listen to the interview that
• 5:35
  Speaker 5: we did. It was so much fun with Guido and
• 5:37
  Speaker 5: his son. Yeah, the owners and founders of Celluloid Dreams,
• 5:41
  Speaker 5: and they've been an incredible partner. They've supported us so
• 5:44
  Speaker 5: much with everything that we've done with them, and we
• 5:46
  Speaker 5: couldn't be, you know, more thankful to them or more
• 5:50
  Speaker 5: appreciative of what they're doing, not just for the physical
• 5:53
  Speaker 5: media space, before the genre space as well. And I
• 5:56
  Speaker 5: say all this because you and I are only a
• 5:58
  Speaker 5: couple of days away from our copy of Black Belly
• 6:01
  Speaker 5: at the Trantela, their next release.
• 6:04
  Speaker 3: This might be my most anticipated release for the year
• 6:08
  Speaker 3: for sure.
• 6:09
  Speaker 5: Yeah, and that's that's on. There will be an episode
• 6:12
  Speaker 5: covering those commentary tracks. I'm sure sooner than people think.
• 6:16
  Speaker 5: I think we're pretty much going to go right into
• 6:18
  Speaker 5: that release as quick as we can. Yeah, So we
• 6:21
  Speaker 5: want to continue, you know, showing cellularly Dreams all the
• 6:23
  Speaker 5: love in the world, and we felt like this was
• 6:25
  Speaker 5: a perfect fit. And this is a movie just kind
• 6:28
  Speaker 5: of some history I knew of for a long time.
• 6:34
  Speaker 5: It's a movie that I saw a really rough copy
• 6:37
  Speaker 5: of for the first time, probably six years ago or so,
• 6:41
  Speaker 5: and I believe it was a YouTube channel that I
• 6:47
  Speaker 5: saw the show on. I follow a couple YouTube channels
• 6:49
  Speaker 5: that will kind of upload like pretty decent copies of films.
• 6:54
  Speaker 5: They upload a lot of stuff from like forty second Street,
• 6:57
  Speaker 5: New York, you know, a lot of like rough ex
• 7:00
  Speaker 5: ploitation stuff, and every now and then they upload some
• 7:03
  Speaker 5: some shallow material and this was one and I liked
• 7:06
  Speaker 5: it a lot, but I feel like the way that
• 7:09
  Speaker 5: I saw it definitely hindered my experience with it. This
• 7:13
  Speaker 5: four K gets announced you and I. There's probably content
• 7:17
  Speaker 5: on the Internet of you, me and Jordan losing our
• 7:20
  Speaker 5: mind and talking about this release in depth multiple times
• 7:24
  Speaker 5: on live streams or whatever may be.
• 7:27
  Speaker 3: I get like that with every Cellular Dreams release that
• 7:30
  Speaker 3: they've been announcing, just because it's uh, there's a lot
• 7:34
  Speaker 3: of love that goes into each one of these releases,
• 7:36
  Speaker 3: and I feel like that this one's no exception.
• 7:39
  Speaker 5: And Black Belly was announced pretty much in the short
• 7:44
  Speaker 5: night of Glass all set sort of like arrow with
• 7:46
  Speaker 5: the inner like little advertisement card. And you know, we
• 7:51
  Speaker 5: talked about this in our interview with Guido and his
• 7:53
  Speaker 5: son that you know, there are delays on manufacturing and stuff,
• 7:59
  Speaker 5: but then they just also kept discovering and adding new
• 8:02
  Speaker 5: material to the release. So over the last year, the
• 8:06
  Speaker 5: release for Black Belly has only grown and grown and
• 8:08
  Speaker 5: grown because they found more, or they able to get
• 8:11
  Speaker 5: access to more, or they were able to create more.
• 8:13
  Speaker 5: And it's a release that just kept growing, so the
• 8:16
  Speaker 5: time that you're waiting to receive it, it's only improving
• 8:20
  Speaker 5: behind the scenes. By the time you get the final product,
• 8:23
  Speaker 5: you know, it's pretty much as jam packed as it
• 8:26
  Speaker 5: could be, with multiple cuts or commentaries or interviews or
• 8:29
  Speaker 5: whatever the case may be. I think Black Belly is
• 8:31
  Speaker 5: what like a five disc set. I'm pretty sure it's
• 8:37
  Speaker 5: either four or five, because this is a four disc
• 8:43
  Speaker 5: four disc okay, yeah, which is insane, man, The like
• 8:49
  Speaker 5: to look at exactly how much is jam packed on
• 8:53
  Speaker 5: these discs. It's incredible. And if you're a fan of
• 8:56
  Speaker 5: these films or you're you know, just discovering them, you're
• 8:59
  Speaker 5: getting treated like this is the greatest candy in the
• 9:03
  Speaker 5: world for you.
• 9:04
  Speaker 3: You know, I feel like for any of these, I mean,
• 9:07
  Speaker 3: they're they're always worth the weight, you know. It's I
• 9:12
  Speaker 3: feel like, for any time I'm going through my collection,
• 9:15
  Speaker 3: like there's a part of me that just gets so
• 9:17
  Speaker 3: excited to revisit these films and knowing that I own them,
• 9:20
  Speaker 3: and I feel like the best possible format. You know,
• 9:24
  Speaker 3: there's I don't think that there's a lot of lab
• 9:26
  Speaker 3: I mean there are labels that put out shallow films
• 9:28
  Speaker 3: that we obviously know and love, but they definitely go
• 9:31
  Speaker 3: to extra mile.
• 9:32
  Speaker 5: Yeah, and I mean not just in packaging and all
• 9:37
  Speaker 5: of that's like not just all of the actual physical presentation,
• 9:43
  Speaker 5: but also in the bonus features. The restoration is sane,
• 9:51
  Speaker 5: insane and what people don't realize. And again I'm going
• 9:54
  Speaker 5: to tell you to go back and listen to our
• 9:55
  Speaker 5: interview with Geto and his son, because this is a
• 10:00
  Speaker 5: two man team. This is this is two people putting
• 10:04
  Speaker 5: all of this together, and it's absolutely remarkable. I Mean,
• 10:08
  Speaker 5: talking to them was such an eye opening experience, but
• 10:12
  Speaker 5: it gave me so much respect for the work that
• 10:15
  Speaker 5: goes in behind the scenes and clearly like We're no
• 10:17
  Speaker 5: stranger to it. We have friends who produce physical media releases,
• 10:20
  Speaker 5: and you know, we hear plenty about you know, what
• 10:24
  Speaker 5: goes on behind the scenes. But it was really it
• 10:27
  Speaker 5: was really stunning to kind of hear about some of
• 10:30
  Speaker 5: the struggles, but also like the the feeling of going
• 10:36
  Speaker 5: from Okay, we have a title to look here it
• 10:39
  Speaker 5: is finished, into packaging, shipping. It's phenomenal the work that
• 10:43
  Speaker 5: these two do.
• 10:44
  Speaker 4: Man.
• 10:45
  Speaker 3: Yeah, I would say, I mean, you know, just having
• 10:48
  Speaker 3: that conversation with them and we definitely see, you know,
• 10:50
  Speaker 3: between Gato and Lucas, just how much effort goes into
• 10:54
  Speaker 3: not only securing some of these titles or just you know,
• 10:57
  Speaker 3: the complicated rights that you have up with each one
• 11:00
  Speaker 3: of these just to be able to secure them and
• 11:03
  Speaker 3: kind of untangle like the web of how you how
• 11:09
  Speaker 3: you're able to actually get these rights, to be able
• 11:12
  Speaker 3: to get these these films, to be able to restore.
• 11:14
  Speaker 3: So I thought that that part about it was just remarkable.
• 11:17
  Speaker 3: But this is definitely you know, this is a film
• 11:23
  Speaker 3: that they definitely put a lot of love into and
• 11:27
  Speaker 3: I think my.
• 11:28
  Speaker 4: First exposure to this was like years ago.
• 11:30
  Speaker 3: I think it was with the DVD if I remember
• 11:33
  Speaker 3: correctly from code read, if I remember okay, and you know,
• 11:39
  Speaker 3: obviously everyone has their starting point. I feel like how
• 11:42
  Speaker 3: you get into Shiallow And I would say, you know,
• 11:46
  Speaker 3: whether it's through our gento or fault Chy or you know,
• 11:53
  Speaker 3: any I mean, there's a there's a plethora of other
• 11:55
  Speaker 3: directors that have obviously left their mark on the subgenre.
• 11:58
  Speaker 3: But I feel like, more importantly, you know, you discover
• 12:01
  Speaker 3: these movies that leave a lasting impact on you, and
• 12:04
  Speaker 3: this is definitely one of them, just because it doesn't
• 12:07
  Speaker 3: really work in the more traditional sense with like the
• 12:10
  Speaker 3: Blacklobe Killer that we get, it's more like you and
• 12:14
  Speaker 3: I were talking about psychological almost feels very Hitchcock influence
• 12:20
  Speaker 3: in the way that this film came together. I mean,
• 12:24
  Speaker 3: I absolutely adore it.
• 12:26
  Speaker 5: Yeah, it's it's really funny to recommend somebody at Shallo
• 12:30
  Speaker 5: that has pretty much no bloodshed. No, like, there isn't
• 12:35
  Speaker 5: none of the hallmarks are are here of a typical Shallo.
• 12:39
  Speaker 5: And some would argue that this isn't even a Shallow
• 12:42
  Speaker 5: but it for sure it's in the spirit of and
• 12:46
  Speaker 5: it does get put into that label in in lists
• 12:51
  Speaker 5: or in conversations from experts. It gets brought up in
• 12:55
  Speaker 5: in you know, the commentary track that I specifically watched
• 12:58
  Speaker 5: for this coverage. It gets brought up up and it's
• 13:00
  Speaker 5: not disputed or denied. And what's really funny is you
• 13:06
  Speaker 5: mentioned earlier this is a debut about Alato. This was
• 13:11
  Speaker 5: his first film, and nothing about this movie feels amateur
• 13:15
  Speaker 5: in the latest. Incredibly directed, very very well shot. It's
• 13:24
  Speaker 5: a movie that has great performances, it has a great mystery.
• 13:30
  Speaker 5: If there's really nothing about this that screams first time filmmaker.
• 13:36
  Speaker 4: At all, No, not at all.
• 13:38
  Speaker 3: And you know, I was obviously familiar with some of
• 13:42
  Speaker 3: his other works, I'm sure as you are as well.
• 13:45
  Speaker 3: But you know who Saw Her Die came out the
• 13:48
  Speaker 3: following year, another really great, shallow film, and then you
• 13:52
  Speaker 3: got the the the revenge film with night Train murders.
• 13:59
  Speaker 3: That's definitely and it's own right a pretty uh It's
• 14:05
  Speaker 3: it's a tough movie to watch, you know, given the
• 14:08
  Speaker 3: subject matter. But Altholato definitely goes all out for these films,
• 14:13
  Speaker 3: and you can definitely tell that he hones in on
• 14:16
  Speaker 3: his vision, especially with this movie. And I mean from
• 14:21
  Speaker 3: start to finish, you can you can tell that he
• 14:23
  Speaker 3: had a vision that he sought out to put out there,
• 14:26
  Speaker 3: and it's incredibly impressive.
• 14:30
  Speaker 5: It feels complete, which a lot of Yellow films don't.
• 14:34
  Speaker 5: A lot of these films feel pieced together, because a
• 14:36
  Speaker 5: lot of times they are, they're not really Jello is
• 14:40
  Speaker 5: notorious for not really focusing on plot and more so
• 14:43
  Speaker 5: just focusing on visual or aesthetic, and you know, a
• 14:47
  Speaker 5: lot of these are just kind of pieced together, and
• 14:49
  Speaker 5: nobody ever really complains about that because nobody ever really
• 14:53
  Speaker 5: goes into these four plot you know, they're they're pretty ridiculous.
• 14:56
  Speaker 5: And this is a movie that feels thought out from
• 15:00
  Speaker 5: beginning to end, and there are moments in this movie
• 15:03
  Speaker 5: that are genuinely incredibly disturbing, very unnerving. It is also
• 15:10
  Speaker 5: an incredibly incredibly political film that oh yeah, I think
• 15:16
  Speaker 5: now fifty some years later, fifty five years later, is
• 15:22
  Speaker 5: just as relevant as it was then.
• 15:26
  Speaker 3: Yeah, I mean this, this is a film that you
• 15:29
  Speaker 3: and I were talking about beforehand, just that I think
• 15:33
  Speaker 3: the themes that this covers, you know, especially especially like
• 15:36
  Speaker 3: with the UH, I think the the dynamic between you know, classes,
• 15:44
  Speaker 3: and just the underlying subtexts that you get in this film.
• 15:48
  Speaker 3: I feel like now even all these years later, it's
• 15:52
  Speaker 3: just as like prominent. I would say, it's relatable to
• 15:58
  Speaker 3: you know, kind of the social climate that we're that
• 16:00
  Speaker 3: we're currently in. And yeah, there's something about this obviously
• 16:06
  Speaker 3: without going to spoilers, but there's something that I love
• 16:11
  Speaker 3: about the cult like aspect of it.
• 16:14
  Speaker 4: It's a very creepy.
• 16:16
  Speaker 3: Angle and you don't get it in a lot of
• 16:18
  Speaker 3: shallow films, but when you do, and especially with this one,
• 16:22
  Speaker 3: it's done in such a way that it's just you know,
• 16:26
  Speaker 3: I don't know, it just feels like so sinister.
• 16:29
  Speaker 5: It does, Yeah, it does. And you know what I
• 16:33
  Speaker 5: think is is so incredible, And as we go through
• 16:36
  Speaker 5: this commentary track we'll talk about even more is how
• 16:40
  Speaker 5: well it kind of tucks away the political aspect. It
• 16:46
  Speaker 5: doesn't become a holy political film. No, It at its
• 16:50
  Speaker 5: heart and for majority of the runtime is a mystery
• 16:54
  Speaker 5: thriller of the highest caliber. There is two plot line
• 17:00
  Speaker 5: not too yeah, two plot lines kind of running here.
• 17:03
  Speaker 5: We have a character who's in a situation and then
• 17:05
  Speaker 5: the rest of the story is told in memories of
• 17:08
  Speaker 5: that character too for him to help figure out why
• 17:13
  Speaker 5: he's in that situation, how he's gotten there, and how
• 17:15
  Speaker 5: he can get out of the situation, and the ending
• 17:19
  Speaker 5: kind of drops the true weight of the political discussion
• 17:24
  Speaker 5: on you in a way that's very in your face,
• 17:26
  Speaker 5: but not done in a way that makes you go, oh,
• 17:30
  Speaker 5: I just spent all this time to be you know,
• 17:34
  Speaker 5: taught a political lesson. It's done in a way that's
• 17:39
  Speaker 5: is tasteful, yeah, and but it's also very smart and
• 17:43
  Speaker 5: doesn't hold your hand as a viewer, but also doesn't
• 17:47
  Speaker 5: try to force you to, you know, leave this movie
• 17:51
  Speaker 5: with some sort of like newly appointed political agenda or
• 17:53
  Speaker 5: anything like that. It's very well done.
• 17:56
  Speaker 3: No, No, it's I think the the one thing you know,
• 18:01
  Speaker 3: going through And obviously, you know, just getting a little
• 18:04
  Speaker 3: bit more background information on the film I thought was
• 18:09
  Speaker 3: fascinating because just taking a look into it, we have,
• 18:14
  Speaker 3: you know, some of the key players obviously for the film,
• 18:16
  Speaker 3: outside the director and Mario Mora, the film's editor actually
• 18:22
  Speaker 3: ironically did Black Belly of the Tarantula, which I thought
• 18:24
  Speaker 3: was a really interesting you know.
• 18:29
  Speaker 4: Background note.
• 18:30
  Speaker 3: Yeah, and then we also get Giuseppe Roussolini, who was
• 18:36
  Speaker 3: a cinematographer for the film, actually did work on fire
• 18:41
  Speaker 3: Starter that came out in eighty four. Which I thought
• 18:45
  Speaker 3: was pretty cool. And then we get none other than
• 18:48
  Speaker 3: Annie Morricone, who is an iconic film composer. I mean
• 18:54
  Speaker 3: he's done everything ranging from I mean the thing Is
• 18:59
  Speaker 3: is always the main one that I site off the
• 19:03
  Speaker 3: top of my head. But do you have any other
• 19:05
  Speaker 3: favorites of the scores that he's done.
• 19:09
  Speaker 5: I mean, his work with Argento, Bourbon's crystal plumage, cat
• 19:13
  Speaker 5: of nine Tails, my favorite four Flies on Gray Velvet
• 19:16
  Speaker 5: he did, I think for most you know, average filmgoers,
• 19:22
  Speaker 5: anything from the Fistful of Dollars trilogy. Yeah, that was
• 19:26
  Speaker 5: all his work. You know, he pretty much established the
• 19:30
  Speaker 5: sounds of the Western, you know, sounds that are still
• 19:34
  Speaker 5: used today and not even in westerns. You know, he
• 19:36
  Speaker 5: he developed the whole soundscape. This is a guy who's
• 19:39
  Speaker 5: responsible for four hundred and forty seven compositions, like incredible.
• 19:44
  Speaker 3: Well yeah, yeah, so, I know, I know, we mentioned
• 19:48
  Speaker 3: you know, Argento obviously a number of films that he directed,
• 19:51
  Speaker 3: and then we also get his association with the score
• 19:56
  Speaker 3: for Night Train Murders. And then on top of that,
• 19:58
  Speaker 3: we go a little bit further out. A Lizard in
• 20:01
  Speaker 3: a Woman's Skin, the fifth chord, Black Belly of the Tarantula.
• 20:06
  Speaker 3: What have you done to Solange? Who saw her die?
• 20:09
  Speaker 3: Spasmo autopsy. It's remarkable just the track record that he had,
• 20:16
  Speaker 3: and I just kind of noted that I feel like
• 20:19
  Speaker 3: that this is a score that I don't often feel
• 20:22
  Speaker 3: like it's talked about enough as far as out you know,
• 20:26
  Speaker 3: out of any of his work. But it's there's something
• 20:29
  Speaker 3: about it that's just like, very eerie but beautiful at
• 20:32
  Speaker 3: the same time. Yeah, and definitely enhances what al Dolado
• 20:38
  Speaker 3: was trying to accomplish with this film.
• 20:41
  Speaker 4: Yeah.
• 20:41
  Speaker 5: Yeah, well, let's get into it. Let's start with I
• 20:44
  Speaker 5: have a a good little I was trying to find
• 20:47
  Speaker 5: a Hey, I was trying to find like a pretty
• 20:50
  Speaker 5: good plot synopsis that somebody else had written, and I
• 20:53
  Speaker 5: think I found one. Okay, So before we get in,
• 20:56
  Speaker 5: before we get into these commentary tracks, Short of Glass
• 21:00
  Speaker 5: follows Gregory Moore, an American journalist who is visiting Prague
• 21:04
  Speaker 5: with his girlfriend. He's found dead. However, he's actually only
• 21:08
  Speaker 5: temporarily paralyzed, but the coroner fails to realize this and
• 21:11
  Speaker 5: proceeds are preparing for an autopsy. While Gregory Moore awaits
• 21:15
  Speaker 5: his doom, he tries to recollect what has happened to him,
• 21:17
  Speaker 5: and it all starts with the disappearance of his girlfriend.
• 21:20
  Speaker 5: He asked his friend of local journalist for help, and
• 21:22
  Speaker 5: they discovered that this is just the latest in a
• 21:24
  Speaker 5: series of disappearances of pretty young girls in their areas.
• 21:27
  Speaker 5: Their investigation leads them to a strange, high profile club
• 21:30
  Speaker 5: who's affluent member's practice odd ritualistic orgies and bizarre dark rights. Actually,
• 21:37
  Speaker 5: now that I read that, that wasn't as good as
• 21:39
  Speaker 5: I thought I was gonna.
• 21:39
  Speaker 3: Be Chris, The real question is if Club ninety nine
• 21:45
  Speaker 3: invited you to come and pay him a visit, would
• 21:48
  Speaker 3: you go to one of their parties beyond us, Yeah,
• 21:51
  Speaker 3: I'd be.
• 21:51
  Speaker 5: There'd be there. No, No, No, I wouldn't. I wouldn't.
• 21:56
  Speaker 3: What about I No, I'm okay, okay, I think I'm okay.
• 22:02
  Speaker 3: I don't know if I'm I'm down with everything that
• 22:05
  Speaker 3: they're offering.
• 22:06
  Speaker 5: Well, let's get into this, so we actually both covered.
• 22:08
  Speaker 5: This release from Celluloid Dreams features two audio commentary tracks,
• 22:14
  Speaker 5: one of them that Steve watched is a brand new
• 22:16
  Speaker 5: commentary track done by Guito Henkel, one of the co
• 22:19
  Speaker 5: owners of Celluloid Dreams. He also did the commentary track
• 22:23
  Speaker 5: for Case of the Bloody Iris, and I checked out
• 22:26
  Speaker 5: the second audio commentary track, which was recorded in two
• 22:29
  Speaker 5: thousand and seven for a French DVD release of this film.
• 22:34
  Speaker 5: And this features Auto Latto with moderation by I can't
• 22:39
  Speaker 5: say his name? Can you have? Is it? Federico cade
• 22:44
  Speaker 5: Ish Federico Cadeo Cadeo. Okay, just a heads up, there
• 22:50
  Speaker 5: might be a lot of mispronunciations as we go through this.
• 22:53
  Speaker 5: Very sorry, We're gonna try our best. Just a heads up.
• 22:59
  Speaker 5: So we covered these two different commentary tracks briefly. That way,
• 23:03
  Speaker 5: this isn't going for too long. I thought this track
• 23:07
  Speaker 5: that I specifically watched was fantastic. It is in so
• 23:12
  Speaker 5: Auto is speaks Italian for his primary language. This commentary
• 23:17
  Speaker 5: track was done in French, so he also speaks French.
• 23:20
  Speaker 5: The moderator is French. It is done in French. It
• 23:24
  Speaker 5: was very good. There was some kind of like long running,
• 23:27
  Speaker 5: like long wind discussions on kind of like local European
• 23:33
  Speaker 5: politics that I didn't exactly understand that did take up
• 23:35
  Speaker 5: a good bit of the runtime. But outside of those moments,
• 23:39
  Speaker 5: there was a lot to learn here that we're going
• 23:41
  Speaker 5: to go over. How is your commentary wi Ghito?
• 23:45
  Speaker 4: Oh it's what I okay.
• 23:48
  Speaker 3: So first exposure to his commentary tracks was through the
• 23:53
  Speaker 3: Case of Bloody Iris, and I just love that he's
• 23:57
  Speaker 3: a plothora of information, observation details. So if you're trying
• 24:02
  Speaker 3: to get the ins and outs of the film a
• 24:05
  Speaker 3: better understanding of it, I thought this commentary was incredible,
• 24:11
  Speaker 3: very resourceful, and.
• 24:14
  Speaker 4: Above all it's very thorough. Yeah.
• 24:17
  Speaker 5: Yeah, well, let's dive right into Short Night of Glass Dolls.
• 24:20
  Speaker 5: I always want to add at the in the title.
• 24:22
  Speaker 5: My brain wants to add a the two glass dolls
• 24:26
  Speaker 5: every time, So if I do it at some point,
• 24:29
  Speaker 5: I'm sorry.
• 24:30
  Speaker 3: A lot of the other films do start with the
• 24:33
  Speaker 3: you know, the Case of the Bloody Iris.
• 24:37
  Speaker 4: Is it the Black Belly of the Transla.
• 24:39
  Speaker 5: I think it's just Black Belly of the Transo.
• 24:41
  Speaker 4: Okay.
• 24:42
  Speaker 5: Yeah. So Short Night of Glass Doalls starts in Prague
• 24:48
  Speaker 5: and we come across a gardener who the film begins
• 24:52
  Speaker 5: with gardner who comes across a body. And what's most
• 24:56
  Speaker 5: interesting about the opening of this film is that Auto
• 24:59
  Speaker 5: actually begins to commentary track talking about from the get
• 25:03
  Speaker 5: go he wanted to shoot this entire film in Prague
• 25:05
  Speaker 5: he wanted to, but powers it be deemed this film
• 25:10
  Speaker 5: too political, so he shot the film elsewhere, over a
• 25:16
  Speaker 5: variety of locations. And I actually think one of the
• 25:19
  Speaker 5: most interesting stories of the entire commentary is right here
• 25:22
  Speaker 5: and this is this is funny. He managed to get
• 25:27
  Speaker 5: a couple bits from the film, including this beginning bit
• 25:30
  Speaker 5: and a little bit and a few minutes later in
• 25:32
  Speaker 5: the film actually in Prague, in front of the presidential
• 25:35
  Speaker 5: Palace and in some various high key locations because he
• 25:41
  Speaker 5: him and his crew came to Prague pretending to shoot
• 25:44
  Speaker 5: a short documentary film. So they, you know, all had
• 25:48
  Speaker 5: their passports and had all their papers and brought cameras
• 25:50
  Speaker 5: and lenses and a small crew flew in, met with
• 25:54
  Speaker 5: an advisor who basically said where do you want to shoot?
• 25:58
  Speaker 5: They told him where, and he said, okay, I will go.
• 26:01
  Speaker 5: I will attempt to get you some permits. Audo had asked,
• 26:07
  Speaker 5: how can I get Like how long is it going
• 26:09
  Speaker 5: to take to get these permits for us? And he said, oh,
• 26:13
  Speaker 5: about three or four days, and Auto basically in two days,
• 26:18
  Speaker 5: went out on his own accord with the crew and
• 26:20
  Speaker 5: shot a whole bunch of this footage, and what was
• 26:24
  Speaker 5: best about it was nobody ever stopped them because everybody,
• 26:30
  Speaker 5: meaning powers it be like police or guards at the
• 26:34
  Speaker 5: presidential Palace, thought that nobody was crazy enough to do
• 26:38
  Speaker 5: this without a permit, without permission, so nobody stopped them.
• 26:43
  Speaker 5: So he got in and out with all this footage,
• 26:45
  Speaker 5: these actors, this crew, cameras, lenses, all of that, and
• 26:50
  Speaker 5: then never heard from the advisor again about the permissions
• 26:53
  Speaker 5: to shoot where he wanted to under the guise of
• 26:57
  Speaker 5: this this you know, short film kind of had hoax.
• 27:01
  Speaker 3: Well, I think it's it's so interesting though, because like
• 27:05
  Speaker 3: we get through the opening credits right, and a lot
• 27:10
  Speaker 3: of like what he was filming throughout the city. It
• 27:13
  Speaker 3: was basically all I mean, we're really getting like a
• 27:15
  Speaker 3: passenger review as as he's navigating through the city. But
• 27:19
  Speaker 3: it's just funny the circumstances behind how he was able
• 27:23
  Speaker 3: to achieve something like that, given that technically speaking, I mean,
• 27:27
  Speaker 3: he really wasn't supposed to be he wasn't supposed to
• 27:29
  Speaker 3: be recording any of that.
• 27:30
  Speaker 5: Really, well, we find this a lot in Italian filmmaking.
• 27:34
  Speaker 5: I mean, we just did a couple months ago, we
• 27:36
  Speaker 5: did fo Ti zombie who shot the whole opening sequence
• 27:40
  Speaker 5: of the boat in New York without permission, and they
• 27:43
  Speaker 5: had a helicopter and everything, like there's a lot of
• 27:47
  Speaker 5: just getting it. Don't care, no, man, they don't, they don't.
• 27:51
  Speaker 5: But what was funny was he specifically mentions here that
• 27:55
  Speaker 5: the really like the kind of pushback against this movie
• 27:58
  Speaker 5: for being too political came from an incident that had
• 28:03
  Speaker 5: happened a few years before filming began on short night,
• 28:08
  Speaker 5: something called the Palette incident. And this is when a
• 28:11
  Speaker 5: twenty year old history and political economy student from Charles
• 28:14
  Speaker 5: University had set himself on fire in Prague out of
• 28:18
  Speaker 5: protest in January of nineteen sixty nine. And this was
• 28:22
  Speaker 5: one of just a few incidents that ignited in Prague
• 28:26
  Speaker 5: that really built for a temporary, strict political climate that
• 28:31
  Speaker 5: kind of led to you know, them saying, hey, this
• 28:34
  Speaker 5: movie's too political to shoot here, like we don't want it.
• 28:39
  Speaker 5: So it's incredible that he was able to get it done.
• 28:41
  Speaker 5: And Prague is such a photogenic city. I think that
• 28:43
  Speaker 5: what he did get is pretty miraculous. And the rest
• 28:46
  Speaker 5: of the film, if you know, I think, if you're
• 28:49
  Speaker 5: unfamiliar with with Europe, like like we are unfamiliar. You
• 28:56
  Speaker 5: would think you're in Prague the whole entire time. I
• 28:58
  Speaker 5: mean I never thought we were out of it, so.
• 29:01
  Speaker 3: I felt very seamless. And I know you and I
• 29:04
  Speaker 3: were talking about it, you know, for a film as
• 29:09
  Speaker 3: now at this point iconic is short Night Glass Styles.
• 29:13
  Speaker 3: It's pretty like we're feeling that we didn't get this
• 29:17
  Speaker 3: in the States till I believe it was two thousand
• 29:20
  Speaker 3: and two, like an actual like widescreen version of the film.
• 29:24
  Speaker 3: And I thought it was interesting because I feel like
• 29:27
  Speaker 3: the title is is you know, it's so catchy. But
• 29:31
  Speaker 3: it was also known as Parawise too, which I think
• 29:34
  Speaker 3: is pretty then.
• 29:35
  Speaker 5: Yes for the well also too. Originally the film was
• 29:39
  Speaker 5: titled Short Night of the Butterfly, and due to another
• 29:44
  Speaker 5: film coming out with Butterfly in its title, they quickly
• 29:47
  Speaker 5: changed a name, even though the Butterfly title was much
• 29:50
  Speaker 5: more fitting. I think Short Night of Glass Dolls is
• 29:52
  Speaker 5: a pretty damn striking title.
• 29:55
  Speaker 3: I think it was was it the Blood same Butterfly.
• 29:57
  Speaker 5: Or blood Stain butter Yeah, sure, I think there was like,
• 30:00
  Speaker 5: yeah blood right.
• 30:01
  Speaker 4: Around the same time it was in I believe seventy one.
• 30:04
  Speaker 5: Yeah, yeah, but a couple other notes that I had
• 30:07
  Speaker 5: on this opening scene. First of all, this opening sequence,
• 30:11
  Speaker 5: we are introduced to our lead, Greg Greenmore, played by
• 30:14
  Speaker 5: Jean Sorel. He's a French actor with a pretty long
• 30:17
  Speaker 5: history in Spanish and Italian films. He started Louis Binwell's Belldajour.
• 30:22
  Speaker 5: He was in Luciofoulci's Lizard in Woman's Skin. He was
• 30:26
  Speaker 5: also in Dae the Jackal by Fred Zinneman as well.
• 30:30
  Speaker 5: Really a good looking guy. I think I think he's
• 30:32
  Speaker 5: fantastic in this movie. He's got a great image, and
• 30:35
  Speaker 5: I think his performance is pretty stellar.
• 30:37
  Speaker 3: Yeah, I would say he's as far as like one
• 30:40
  Speaker 3: of the leads in a yellow film. Definitely in that
• 30:45
  Speaker 3: top tier performance. Definitely, he's one of the standouts in
• 30:49
  Speaker 3: this film.
• 30:50
  Speaker 5: Specifically, he's got really really striking eyes. His eyes are
• 30:54
  Speaker 5: a green, like a dark green, kind of like an
• 30:57
  Speaker 5: emerald color al most Yeah, and a lot of moments
• 31:00
  Speaker 5: of cinematography really takes advantage of that. And his whole
• 31:04
  Speaker 5: look is very very screen friendly, you know what I mean, Like,
• 31:09
  Speaker 5: not in a way that's like, oh, this guy's super attractive.
• 31:12
  Speaker 5: He just has a really unique like I keep saying,
• 31:17
  Speaker 5: look a really unique presentation about himself that that that
• 31:20
  Speaker 5: lends really nicely.
• 31:22
  Speaker 4: Oh for sure.
• 31:23
  Speaker 3: Yeah, it's uh and and you know, as we obviously
• 31:27
  Speaker 3: get further into it, I feel like it's just, you know,
• 31:31
  Speaker 3: it's such a unique take on a Giallo film, you know,
• 31:35
  Speaker 3: as we dive a little bit further into it, because
• 31:39
  Speaker 3: like I said, it's not all too often that you
• 31:41
  Speaker 3: get the psychological aspect of it, but more so, uh,
• 31:45
  Speaker 3: you know, the cults, the cult like aspect that you get,
• 31:50
  Speaker 3: you know, tied into this.
• 31:51
  Speaker 5: Yeah. Well, also in this opening scene, our moderator brings
• 31:55
  Speaker 5: up the man with no legs. That makes it apearance
• 32:00
  Speaker 5: in this scene. So basically our gardener finds, discovers the body,
• 32:05
  Speaker 5: and out of pretty much nowhere comes a man with
• 32:09
  Speaker 5: no legs who's pushing himself on like a little wagon
• 32:12
  Speaker 5: type device. It's kind of dark, it's really interesting. And
• 32:18
  Speaker 5: the moderator brings us up and asks if this was purposeful,
• 32:21
  Speaker 5: like did he purposely want this? And Auto says that
• 32:24
  Speaker 5: it actually was. He specifically, or at least in two
• 32:28
  Speaker 5: thousand and seven looking back, says that he wanted a
• 32:31
  Speaker 5: war cripple with no legs to be in the scene
• 32:35
  Speaker 5: and you know this is this? Is that the true,
• 32:39
  Speaker 5: the true deep knowledge you learn when you dive into
• 32:41
  Speaker 5: a commentary.
• 32:42
  Speaker 4: True? Why is it that?
• 32:45
  Speaker 3: When I was watching it, the first thing I thought
• 32:48
  Speaker 3: of is that scene in uh in Kids from ninety
• 32:55
  Speaker 3: five where you got the guy isn't he on the subway?
• 32:59
  Speaker 3: Where he's talk about how he's got no legs? Yeah,
• 33:03
  Speaker 3: it doesn't matter.
• 33:05
  Speaker 5: No, it's just it's a it's an odd it's an
• 33:09
  Speaker 5: odd creative choice. I mean, I can kind of see
• 33:11
  Speaker 5: if maybe auDA was like trying to embody that you
• 33:17
  Speaker 5: know this is I don't know, there had to be
• 33:21
  Speaker 5: some deeper meaning to it. You don't just wake up
• 33:24
  Speaker 5: and go like, yeah, this random character who's going to
• 33:25
  Speaker 5: be in fifteen seconds of screen time needs to be
• 33:28
  Speaker 5: a man with no legs who is specifically a war
• 33:31
  Speaker 5: hero who's been crippled and now definitely a choice. Yeah, yeah,
• 33:38
  Speaker 5: it's it's it's a fun one. How about from Gheito,
• 33:41
  Speaker 5: was there any notes on this kind of opening spread
• 33:45
  Speaker 5: of the film?
• 33:47
  Speaker 3: I mean one thing that he did mention, you know,
• 33:49
  Speaker 3: specifically about the production. So director Aldlato was very steadfast
• 33:54
  Speaker 3: in his specific vision and actually turned down opportunities to
• 33:57
  Speaker 3: film the movie elsewhere, and I feel like that that's
• 34:03
  Speaker 3: just to me, It's it's really interesting because you know,
• 34:06
  Speaker 3: I'm sure, I mean, I'm sure the opportunities did arise,
• 34:11
  Speaker 3: but you know, if he's like very dedicated to his craft,
• 34:15
  Speaker 3: he has a specific idea of how he wanted this
• 34:17
  Speaker 3: film to turn out. I mean, I think what we're
• 34:20
  Speaker 3: ultimately getting is what he intended. And I feel like,
• 34:24
  Speaker 3: you know, especially in the film industry, it's very hard
• 34:27
  Speaker 3: to come by, you know, without having studio and interference.
• 34:31
  Speaker 5: Yeah, I agree, And there's a lot of this is
• 34:34
  Speaker 5: I think film is obviously a collaborative effort, and you're
• 34:38
  Speaker 5: you know, your film is only as good as the
• 34:39
  Speaker 5: crew that you surround yourself with. And this is something
• 34:43
  Speaker 5: that they bring up when they kind of introduce Anio
• 34:47
  Speaker 5: Morriconi doing the score, and they brought up that there
• 34:52
  Speaker 5: really wasn't a lot of ideas that Alto had as
• 34:55
  Speaker 5: far as like he didn't come to any of with
• 34:57
  Speaker 5: any sort of specific style that he wanted to music
• 35:00
  Speaker 5: to be. But when he was reading the script and
• 35:05
  Speaker 5: he decided to weave this underlying rhythm of a heartbeat
• 35:09
  Speaker 5: throughout the score, which is very subtle. I watched this
• 35:13
  Speaker 5: in the two point zero Dolby mix on just TV
• 35:17
  Speaker 5: speakers and could barely pick up on it. It was
• 35:19
  Speaker 5: definitely there, but it wasn't as you know, it wasn't
• 35:23
  Speaker 5: as you know, as a problem as I feel like
• 35:25
  Speaker 5: it would have been. But it is certainly there, and
• 35:27
  Speaker 5: it's not even it's not that there's a layer of
• 35:31
  Speaker 5: heartbeat and built into the mix. It's almost like in
• 35:34
  Speaker 5: the melody of the music, there's like a there's a
• 35:37
  Speaker 5: rhythm that's meant to be portraying that because at this
• 35:44
  Speaker 5: point in the movie, Gregor Moore is brought into the morgue,
• 35:48
  Speaker 5: but he is. We learned that he's alive, and we
• 35:51
  Speaker 5: begin to hear his thoughts as he realizes that the
• 35:57
  Speaker 5: outside world thinks he's dead and he's alive. He can't move,
• 36:02
  Speaker 5: he can't speak, but we're hearing his thoughts and it's
• 36:07
  Speaker 5: really really scary, man like.
• 36:09
  Speaker 3: Well, and he's running out of time at this point, so,
• 36:13
  Speaker 3: I mean, he's recounting a lot of these memories that
• 36:16
  Speaker 3: he has and it's kind of as us as a viewer,
• 36:20
  Speaker 3: we're getting the puzzle pieces slowly coming together, connecting the
• 36:23
  Speaker 3: dots for exactly what led up to this and you
• 36:27
  Speaker 3: know what exactly is going on behind the scene.
• 36:30
  Speaker 5: Yeah, yeah, So dive to take a dive into some
• 36:33
  Speaker 5: plot stuff. Obviously, we realize that that Gregory is alive
• 36:39
  Speaker 5: and that he's in a canatotic state and he needs
• 36:42
  Speaker 5: to begin remembering the events that led up to this incident.
• 36:49
  Speaker 5: And then I call them flashbacks. You can call them memories.
• 36:54
  Speaker 5: Either one we're going to use as to describe. But
• 36:56
  Speaker 5: in the first memory, we show that Gregory works for
• 37:00
  Speaker 5: a newspaper agency. He's a journalist and he is at work.
• 37:05
  Speaker 5: We're introduced to a couple of characters here who will
• 37:07
  Speaker 5: go over as as as we make our way through,
• 37:11
  Speaker 5: and we well, the film starts with the discovery of
• 37:15
  Speaker 5: a dead body, and we're then introduced to Mira, who's
• 37:23
  Speaker 5: played by Barbara Bach and this is greg Gregory's girlfriend
• 37:26
  Speaker 5: who's coming back to Prague to visit him. Do you
• 37:30
  Speaker 5: know do you know whose wife Barbara back currently is.
• 37:37
  Speaker 3: I didn't until I was doing research into this, but
• 37:41
  Speaker 3: I ringo star.
• 37:43
  Speaker 4: From The Beatles.
• 37:45
  Speaker 5: The Beatles, which is.
• 37:46
  Speaker 4: Kind of crazy.
• 37:48
  Speaker 5: Yeah, yep. She is an American actress from Queens. She
• 37:53
  Speaker 5: met her then husband there while modeling in the city.
• 37:58
  Speaker 5: She moved to Italy shortly before the marriage, and this
• 38:01
  Speaker 5: is where she began her acting career. Some most notable
• 38:05
  Speaker 5: are notable roles from her. She was the bond girl
• 38:08
  Speaker 5: in The Spy who Loved Me m hm. And she
• 38:12
  Speaker 5: was also in Black Belly, The Trancela.
• 38:14
  Speaker 4: There's a lot of overlap.
• 38:16
  Speaker 5: There's a lot, dude, yep, when it realized there's a
• 38:21
  Speaker 5: lot of it. And then the nineteen eighties, Yeah, on
• 38:24
  Speaker 5: a film set she met Ringo Star. So very good,
• 38:31
  Speaker 5: very interesting. It was kind of one of those things
• 38:32
  Speaker 5: where I read I was doing research on her, and
• 38:36
  Speaker 5: it was somewhere in the commentary they mentioned Ringo Star
• 38:39
  Speaker 5: and I was like, wait, did I not read deep
• 38:41
  Speaker 5: enough into her biography? And then I went back to
• 38:44
  Speaker 5: the biography I found and it was the last sentence.
• 38:46
  Speaker 5: It was like, oh, she's currently married to Ringo Star.
• 38:49
  Speaker 4: I was like, You're not the only one.
• 38:52
  Speaker 3: I felt like, this is one of the many benefits
• 38:54
  Speaker 3: of being able to, you know, do the research on
• 38:57
  Speaker 3: a film like this. As you know, you learn well
• 38:59
  Speaker 3: tit bits that you never expected to be aware of.
• 39:02
  Speaker 3: But that's what makes uh makes us so much fun.
• 39:05
  Speaker 5: That's what makes research so much fun, and especially in
• 39:09
  Speaker 5: movies like these, where you begin to kind of like
• 39:12
  Speaker 5: you think these movies are made in like a like
• 39:14
  Speaker 5: a vacuum where there's not a lot of like pop
• 39:16
  Speaker 5: culture crossover. And then you realize that she's married to
• 39:19
  Speaker 5: you know, no big deal, married to Ringo star.
• 39:22
  Speaker 3: Yeah, yeah, yeah, this, and then we have uh some
• 39:30
  Speaker 3: other key players as well.
• 39:31
  Speaker 4: Did you want to discuss some of those? Yeah?
• 39:34
  Speaker 5: Yeah, So we're also introduced to Gregory's friend, close friend,
• 39:38
  Speaker 5: as well as a fellow journalist, Jacques for Seeing. He's
• 39:42
  Speaker 5: played by Mario I believe is it adorf.
• 39:45
  Speaker 4: Or a dwarf?
• 39:48
  Speaker 5: Yeah? Adorf. Most listeners would recognize Mario from Bourbeck Crystal Plumage,
• 39:54
  Speaker 5: What Have They Done to Your Daughters? The Tin Drum?
• 39:56
  Speaker 5: Those were the most recognizable titles for me. I this
• 40:00
  Speaker 5: is another guy who I just really enjoy his presence.
• 40:03
  Speaker 5: He's an alcoholic, and he's a lot of fun and
• 40:08
  Speaker 5: he's a good time. He is a good time. And
• 40:11
  Speaker 5: what I like is that he's very self referential to
• 40:15
  Speaker 5: the fact that he is an alcoholic, and that gets
• 40:17
  Speaker 5: brought up numerous times throughout the film. I think it's
• 40:21
  Speaker 5: a lot of fun, and he's another character who, as
• 40:27
  Speaker 5: we go on and go deeper into the film, we'll
• 40:29
  Speaker 5: kind of begin to question kind of what role he's
• 40:31
  Speaker 5: playing in this entire thing. And I do think that
• 40:36
  Speaker 5: while while the outcome of his character sides with more
• 40:40
  Speaker 5: of the innocent, I do think there was a little
• 40:42
  Speaker 5: bit of playing from some of his motivations, but in
• 40:46
  Speaker 5: a typical Italian Jallo way, you can't really trust anybody
• 40:49
  Speaker 5: on screen.
• 40:51
  Speaker 3: He was actually in another really good Jallow film called
• 40:55
  Speaker 3: What Have They Done to Your Daughters? I highly recommend
• 40:58
  Speaker 3: checking that out if you guys have had a chance
• 41:00
  Speaker 3: to watch it.
• 41:01
  Speaker 5: Yeah, What Have They Done to Your Daughters is probably
• 41:04
  Speaker 5: one of the more vicious, not in the level of violence,
• 41:10
  Speaker 5: but in the nature of the violence for sure. You know,
• 41:15
  Speaker 5: with an underage girl who gets caught with her lover
• 41:19
  Speaker 5: and the pictures are taken and she's found that it's
• 41:22
  Speaker 5: a really pretty that's another really political Jello.
• 41:27
  Speaker 3: There's and I'm sure you can attest to this, there's
• 41:30
  Speaker 3: definitely certain shallow films that definitely push the envelope when
• 41:35
  Speaker 3: it comes to the subject matter. I always feel like
• 41:38
  Speaker 3: that they are at least worth worth a watch, just
• 41:41
  Speaker 3: because underneath, you know, once you get past you know,
• 41:45
  Speaker 3: you get movies that definitely are I don't know, I
• 41:51
  Speaker 3: feel like it would be tough to be able to
• 41:53
  Speaker 3: do these type of films in these current times, but
• 41:57
  Speaker 3: it's I don't know, there They definitely kind of round
• 42:01
  Speaker 3: out the experience you get when you're diving into the
• 42:04
  Speaker 3: shallow subgenre.
• 42:06
  Speaker 5: Yeah. Yeah, And this is really the the this point
• 42:10
  Speaker 5: in the film, once uh, once Mira comes back into
• 42:14
  Speaker 5: town and we spend time with with with Mira and Greg,
• 42:19
  Speaker 5: there's a really interesting bit that happens back at her
• 42:22
  Speaker 5: apartment with a gift that she has given Greg. And
• 42:26
  Speaker 5: the gift is a what would you call it? It's
• 42:30
  Speaker 5: it's a framed board with butterflies pinned to it, obviously
• 42:35
  Speaker 5: like the wings of our butterflies that have died and
• 42:37
  Speaker 5: are you know, pinned up. And it's a beautiful little photo.
• 42:40
  Speaker 3: But she goes to almost like taxidermy kind of in
• 42:45
  Speaker 3: a way like but as like an it's almost like
• 42:47
  Speaker 3: more of like an I felt like it was like
• 42:48
  Speaker 3: more as a like an art piece.
• 42:50
  Speaker 5: Yeah yeah, And she goes on to explain that the
• 42:54
  Speaker 5: type of butterflies that are in this art piece don't
• 42:59
  Speaker 5: have the ability to fly, So while they're grace with
• 43:01
  Speaker 5: such beautiful wings, they're pretty much stuck to land because
• 43:04
  Speaker 5: they can't fly. And this is really kind of most
• 43:10
  Speaker 5: of the inspiration behind the original title. But this is very,
• 43:15
  Speaker 5: very impactful to the remainder of the film. This specific
• 43:21
  Speaker 5: type of butterfly becomes kind of a continuing theme throughout
• 43:28
  Speaker 5: the rest of the movie. And I thought it was
• 43:31
  Speaker 5: really I've never seen anything like this before. I've never
• 43:35
  Speaker 5: heard anything like this before. I thought this was incredibly interesting.
• 43:39
  Speaker 3: Yeah, I mean, you can definitely tell that Aldolado put
• 43:45
  Speaker 3: a lot of thought into the finer details, right. So,
• 43:48
  Speaker 3: I mean there's multiple times throughout the film that there's
• 43:50
  Speaker 3: like a focus place on the butterflies. You get it
• 43:54
  Speaker 3: with clocks as we get a little bit further along
• 43:59
  Speaker 3: and we're introduced to, you know, in the party, we
• 44:04
  Speaker 3: get basically Prague's high society almost like I feel like
• 44:08
  Speaker 3: they're almost like a power elite group. So we get
• 44:13
  Speaker 3: a focus of clocks starting, you know, throughout that point forward.
• 44:17
  Speaker 3: Also with Shoes, which I thought was really I don't
• 44:21
  Speaker 3: know if I would have picked up on that, but
• 44:23
  Speaker 3: I thought it was pretty cool.
• 44:25
  Speaker 5: Yeah, yeah, the shoes are The shoes are an interesting
• 44:28
  Speaker 5: one because I think it was because Greg and Moore's
• 44:32
  Speaker 5: character as American, and I think they the coroner specifically
• 44:35
  Speaker 5: points out that the shoes. Oh no, it was later
• 44:37
  Speaker 5: on in the movie. It was like the assistant at
• 44:40
  Speaker 5: the club mentions that he was wearing American shoes, American
• 44:44
  Speaker 5: leather or something like that.
• 44:46
  Speaker 3: Yeah, And Guido mentions that this is kind of a
• 44:50
  Speaker 3: symbolic of in these in these like specific situations, like
• 44:56
  Speaker 3: an outsider as present.
• 44:58
  Speaker 4: Yeah.
• 44:59
  Speaker 5: Yeah, it's a interesting that's that's a very specific thing
• 45:06
  Speaker 5: that I think kind of plays into when I was
• 45:09
  Speaker 5: when I was kind of beginning to do my research
• 45:12
  Speaker 5: on a movie, I came across a lot of YouTube
• 45:13
  Speaker 5: videos and a lot of reviews that were very confused
• 45:16
  Speaker 5: by some of the themes. And I think it's very
• 45:21
  Speaker 5: easy to understand that there are you know, obviously watching
• 45:24
  Speaker 5: it from from a different culture, from a different perspective,
• 45:27
  Speaker 5: there's things that we're not going to understand. I don't
• 45:29
  Speaker 5: think these details, though, take away from the the overall
• 45:34
  Speaker 5: experience of the movie, No, not at all, because they're
• 45:36
  Speaker 5: well explained. It's not like they're there and we have
• 45:40
  Speaker 5: to pick up on it. They are explained to us
• 45:43
  Speaker 5: to enough extent that we can come to a conclusion.
• 45:46
  Speaker 3: Well, and it's a film that I don't know about
• 45:49
  Speaker 3: for yourself, but I felt this way from the time
• 45:51
  Speaker 3: that I initially saw it onwards. But it's a film
• 45:54
  Speaker 3: that requires multiple viewings and there's a lot of details
• 45:58
  Speaker 3: I feel like on that first viewing you might miss.
• 46:01
  Speaker 3: This is one of those ones that it pays off
• 46:04
  Speaker 3: to go back and rewatch it or even obviously we're
• 46:07
  Speaker 3: discussing the audio commentaries with this release that only further
• 46:12
  Speaker 3: enhances the experience.
• 46:13
  Speaker 4: It work that you know, you as a viewer are
• 46:16
  Speaker 4: getting out of this.
• 46:17
  Speaker 5: Yeah, yeah, well there. Let's let's really get into kind
• 46:20
  Speaker 5: of where the plot starts to open up, and this
• 46:23
  Speaker 5: is at a at a party sequence that Gregoryamira go to.
• 46:28
  Speaker 5: And it's in this sequence at this party where we
• 46:32
  Speaker 5: kind of get the feeling that something's off. There's piano
• 46:34
  Speaker 5: being played and a bunch of people of kind of
• 46:37
  Speaker 5: moderately you know, plus middle aged are watching and there's
• 46:43
  Speaker 5: something off about the scene that that is so strange
• 46:47
  Speaker 5: and actually gets brought up in dialogue about how these
• 46:50
  Speaker 5: people seem like statues. There's there's something, but it's not
• 46:54
  Speaker 5: enough that you notice it on first viewing, because it
• 46:57
  Speaker 5: took me a couple of times to really see it.
• 46:59
  Speaker 4: If you pay tension to the clock in the background,
• 47:01
  Speaker 4: the clock, the the clock hand, is it moving? Is that?
• 47:07
  Speaker 4: What is that?
• 47:08
  Speaker 5: Believe? So, yeah, I believe.
• 47:11
  Speaker 4: I'm not an expert on clocks, but it's not moving.
• 47:15
  Speaker 5: And in this scene, we're introduced to another important character
• 47:21
  Speaker 5: for the film, and this is a partner reporter, Jessica,
• 47:25
  Speaker 5: who we briefly see. She's in the beginning of the
• 47:27
  Speaker 5: movie real quick, and she's Gregory's ex girlfriend. And Jessica
• 47:33
  Speaker 5: is played by Ingrid Tholan. She's most known for her
• 47:37
  Speaker 5: work with none other than Ingrid Ingrid Berman Bergman.
• 47:43
  Speaker 3: Yeah, and I did note that bringing her on as
• 47:49
  Speaker 3: a cast member gave Short night Glass Styles a certain
• 47:54
  Speaker 3: type of credibility to it. I elevated the film, you know,
• 48:00
  Speaker 3: with the status of the cast they had, you know,
• 48:04
  Speaker 3: with her addition, which I I you know, I thought
• 48:07
  Speaker 3: that that was like, yeah, interesting, you know.
• 48:12
  Speaker 5: Yeah, well, I mean this is this is an actor
• 48:14
  Speaker 5: who who has led kind of some of the most
• 48:17
  Speaker 5: well known Bergmann films. Uh, a couple of examples, wild strawberries,
• 48:22
  Speaker 5: the Magician, the Silence, and then yep, hour of the Wolf. Yeah,
• 48:28
  Speaker 5: and then for sake of just character tracking, I want
• 48:32
  Speaker 5: to introduce one last character, and that is Professor Karting
• 48:35
  Speaker 5: played by Uh. Let's see if I can say this right, uh,
• 48:38
  Speaker 5: Fabian's Savav sav Savajevic Fabian Savajovich. I think that's right.
• 48:47
  Speaker 5: I think so too, And I want to bring up
• 48:51
  Speaker 5: a scene where Jessica and Gregory go to meet with
• 48:58
  Speaker 5: him at his house and the scene is introduced by
• 49:04
  Speaker 5: them coming across an experiment that he's conducting, and there's
• 49:10
  Speaker 5: a few people watching, and this experiment that he's conducting
• 49:14
  Speaker 5: is about how tomatoes feel pain. So he uses some
• 49:22
  Speaker 5: sort of like almost like a barometer or some sort
• 49:25
  Speaker 5: of trackable device to track something that symbolizes that the
• 49:31
  Speaker 5: tomatoes under stress. And as silly as that sounds, this
• 49:37
  Speaker 5: is really interesting because he goes on to explain that essentially,
• 49:41
  Speaker 5: class divisions are man made, but all living things on earth,
• 49:49
  Speaker 5: from humans to plants, to everything that's alive around us, fruit, vegetables,
• 49:53
  Speaker 5: anything that goes from the ground, are living essentially, is
• 49:59
  Speaker 5: what he's trying to get to. And the best description
• 50:02
  Speaker 5: of this theory is stated by one of the men watching,
• 50:05
  Speaker 5: who says, I'll never tear a leaf off of a
• 50:08
  Speaker 5: tree again because now he understands that when you do that,
• 50:11
  Speaker 5: that leaf or that tree does feel the pain of
• 50:13
  Speaker 5: that action. And I thought this was really interesting because
• 50:17
  Speaker 5: it Lado talks about how we as humans we classify
• 50:23
  Speaker 5: ourselves higher or of more importance of something as minuscule
• 50:26
  Speaker 5: as a leaf that we just see as something that
• 50:29
  Speaker 5: grows off of a tree. We don't think any deeper
• 50:31
  Speaker 5: than that. But it doesn't mean that the leaf doesn't
• 50:36
  Speaker 5: feel the pain that we inflict upon it, and we
• 50:37
  Speaker 5: never think about it. We just think of what, We're
• 50:39
  Speaker 5: just gonna cut up this tomato because we're gonna eat it.
• 50:41
  Speaker 5: We're just gonna tear this leaf off of a tree.
• 50:45
  Speaker 5: And it's a really interesting part of the commentary track
• 50:47
  Speaker 5: because Auto uses this to discuss some of the political
• 50:50
  Speaker 5: inspiration here as well as this kind of consistent balancing
• 50:55
  Speaker 5: of the theme of good and evil and how one
• 50:57
  Speaker 5: cannot exist without the other. Yeah, so even though we've
• 51:02
  Speaker 5: created we've created class divisions, and we've kind of marked
• 51:07
  Speaker 5: ourselves as this higher, higher, you know, being than anything
• 51:11
  Speaker 5: else that's also living in this planet, maybe just in
• 51:14
  Speaker 5: different ecosystems, in different styles. You know, for for every
• 51:19
  Speaker 5: bit of us that wants to be good, there has
• 51:21
  Speaker 5: to be something else that is bad. And that's how
• 51:23
  Speaker 5: we continue to live on this earth. And I thought
• 51:26
  Speaker 5: that was an incredibly deep theme that's really kind of
• 51:30
  Speaker 5: in the structure and the bones of this film.
• 51:33
  Speaker 4: Well.
• 51:34
  Speaker 3: And I would have to say, I mean, we you know,
• 51:37
  Speaker 3: we're getting not messages that are you know, kind of
• 51:43
  Speaker 3: feeding it to you, but the underlying subtext, you're getting
• 51:47
  Speaker 3: a lot of socioeconomic messages regarding you know, you know,
• 51:54
  Speaker 3: classism and exploitation of of you know, certain classes, and
• 52:01
  Speaker 3: you know, it's just not something that I feel like
• 52:04
  Speaker 3: you really see that often in a lot of Yellow films.
• 52:07
  Speaker 4: I mean there might be like very minor, you know,
• 52:12
  Speaker 4: like minor.
• 52:13
  Speaker 3: Notes of it, but this definitely is on the forefront.
• 52:17
  Speaker 5: Yeah. I mean, it's just listening to to Auto go
• 52:21
  Speaker 5: on about kind of some of the political themes in
• 52:25
  Speaker 5: the commentary track, you can tell he's very passionate about it,
• 52:28
  Speaker 5: and he put it out there for this film, you know,
• 52:31
  Speaker 5: he really put it out there. But it's at this
• 52:35
  Speaker 5: point in the movie, when Gregory's girlfriend Mirror has suddenly
• 52:40
  Speaker 5: gone missing. He arrives home.
• 52:43
  Speaker 4: Not good.
• 52:44
  Speaker 5: She's gone, which is pretty bad, but she's left everything behind.
• 52:48
  Speaker 5: She didn't bring any underwear. They point out, she left
• 52:51
  Speaker 5: all her clothes, she left her passport, she left everything
• 52:55
  Speaker 5: and just is gone. No sign of a struggle, Just
• 52:59
  Speaker 5: go on. And this is kind of where things begin
• 53:04
  Speaker 5: to evolve because Jacques shows up, Jessica shows up, and
• 53:08
  Speaker 5: Jessica is kind of she she's such a complicated character
• 53:14
  Speaker 5: because she obviously harbor's resentment to Gregory for how he left. Uh.
• 53:21
  Speaker 5: There's a moment in a in an argument that they're
• 53:24
  Speaker 5: having a discussion they're having over what's happened to Mira,
• 53:27
  Speaker 5: where she says, you know, I understand what it's like
• 53:30
  Speaker 5: for somebody to just pack up and disappear one day.
• 53:33
  Speaker 5: And it's a stab. Yeah, it's it's a stab, you know,
• 53:37
  Speaker 5: So clearly there there is a tough history between you know,
• 53:42
  Speaker 5: these ex lovers that is still very present. But again
• 53:47
  Speaker 5: in typical Italian Jallo fair, it does kind of make
• 53:50
  Speaker 5: Jessica suspicious. I mean, you're the you're the ex girlfriend
• 53:54
  Speaker 5: you want to get back you could be playing a
• 53:56
  Speaker 5: role in this which we still don't know what's really
• 53:59
  Speaker 5: gone going on in the film at this point, and
• 54:01
  Speaker 5: it's done in a way, yeah, but it's done in
• 54:05
  Speaker 5: such a subtle way that, like, if you don't pick
• 54:06
  Speaker 5: up on that line of dialogue, or you don't pick
• 54:08
  Speaker 5: up on the little kind of stabs that she sends
• 54:12
  Speaker 5: his way, you know, you're not even ever gonna think
• 54:15
  Speaker 5: of her as red Herring. So you gotta pay attention. Yeah,
• 54:19
  Speaker 5: gotta pay attention. I think this scene when he at
• 54:27
  Speaker 5: the apartment, uh, they get a phone call that Jacques
• 54:30
  Speaker 5: answers the phone saying that a naked body has been
• 54:33
  Speaker 5: found under a bridge, And I love the scene because
• 54:38
  Speaker 5: instantly it becomes is it Mirah? And what I also
• 54:46
  Speaker 5: find most interesting about the scene is that the journalists
• 54:48
  Speaker 5: get a closer look at the body than the police
• 54:50
  Speaker 5: ever do I feel they get first steps and looking
• 54:53
  Speaker 5: at this body isn't how it works, I think typically, Yeah,
• 54:58
  Speaker 5: I think I think.
• 54:59
  Speaker 4: That first yeah, exactly from.
• 55:02
  Speaker 5: There and obviously it's not Mira. And this is really
• 55:07
  Speaker 5: kind of one of the few scenes of violence we
• 55:10
  Speaker 5: ever see in the movie. But I think why I
• 55:15
  Speaker 5: like this moment so much is because it's it's violence
• 55:19
  Speaker 5: that's not important to the plot of the film. It
• 55:24
  Speaker 5: doesn't do anything for the movie except give you a
• 55:29
  Speaker 5: brief moment of maybe of Mirror's fate. Aside from that,
• 55:34
  Speaker 5: we just kind of move on from it and on
• 55:36
  Speaker 5: this on. Like the third time I watched the movie,
• 55:40
  Speaker 5: it just kind of felt like it felt so what's
• 55:48
  Speaker 5: the word how am I looking to describe this? It
• 55:51
  Speaker 5: felt like we're just gonna move on from this.
• 55:57
  Speaker 4: It is really strange.
• 55:59
  Speaker 5: The body of a woman is found and we're just
• 56:01
  Speaker 5: gonna breeze by this real quick.
• 56:02
  Speaker 3: I mean, hopefully this doesn't happen on like a regular
• 56:05
  Speaker 3: basis in the area. But they treated it like that
• 56:08
  Speaker 3: was the case, like, oh.
• 56:09
  Speaker 5: Just another day.
• 56:12
  Speaker 3: It's it's not Mira. I guess we're gonna move on.
• 56:14
  Speaker 3: Nobody's gonna ask questions what happened?
• 56:16
  Speaker 4: Who is she?
• 56:18
  Speaker 5: Yeah? I don't know. It's really it's it's really strange.
• 56:21
  Speaker 5: And but they get Gregor gets the idea to begin
• 56:24
  Speaker 5: to want to question attendees of the party that we
• 56:28
  Speaker 5: were at earlier, because they showed a lot of interest
• 56:30
  Speaker 5: in Mira, and maybe one of them knows something, which
• 56:33
  Speaker 5: is really going to push the plot of this film forward,
• 56:36
  Speaker 5: but I do want to talk about a moment when
• 56:40
  Speaker 5: the moderator asked Aldo if he was friends with Luccio Fulci,
• 56:45
  Speaker 5: and Aldo goes on to talk about basically him and
• 56:47
  Speaker 5: and Fulgi had this mutual love for these local restaurants
• 56:50
  Speaker 5: that would serve like a Spanish pasta. And according to Aldo,
• 56:55
  Speaker 5: they never talked about their movies. They just talked about
• 56:59
  Speaker 5: other stuff.
• 57:01
  Speaker 3: I mean, can you really hate on that though? Like
• 57:05
  Speaker 3: bringing people together over pastas? I mean, what more could
• 57:07
  Speaker 3: you want?
• 57:09
  Speaker 5: Then there's then there's may I'd be like, all right, man,
• 57:11
  Speaker 5: So when the psychic, when the mothers had bashed off
• 57:14
  Speaker 5: the rocks in the beginning, how did you do that?
• 57:18
  Speaker 5: He's like, you're trying to tell you, I'm trying to
• 57:19
  Speaker 5: eat my Spanish pasta, Please lead.
• 57:24
  Speaker 4: Gotta eat first. Then asked the questions, So.
• 57:29
  Speaker 5: The whole beginning of this movie leading up to, you know,
• 57:34
  Speaker 5: the beginning of really the investigation, was there anything else
• 57:38
  Speaker 5: that you know, brings up or or kind of talks
• 57:40
  Speaker 5: about through all of this.
• 57:45
  Speaker 3: I don't really think too much more outside of that.
• 57:49
  Speaker 3: I mean, eventually, you know, there's a lot of focus
• 57:53
  Speaker 3: that's brought up on a key scene involving a train.
• 57:58
  Speaker 3: Oh yeah, yeah, well there, yeah, So I don't want
• 58:01
  Speaker 3: to get too far ahead, but that was definitely one
• 58:04
  Speaker 3: of the stand up moments, even for myself.
• 58:07
  Speaker 5: So yeah, yeah, well this is this was a pretty
• 58:11
  Speaker 5: interesting moment because Gregory begins to investigate other missing girls.
• 58:20
  Speaker 5: So he goes and gets you know, a file of
• 58:23
  Speaker 5: missing girls over the last couple of years, and one
• 58:27
  Speaker 5: of them, he goes to the house of one of them.
• 58:31
  Speaker 5: And it's in this that the moderator brings up the
• 58:33
  Speaker 5: interior of a location that was right around this bit
• 58:36
  Speaker 5: of the film that has many clocks on the wall.
• 58:38
  Speaker 5: I think you know the scene that I'm talking about.
• 58:41
  Speaker 4: Oh yeah.
• 58:42
  Speaker 5: And he asked out of if there was a purpose
• 58:46
  Speaker 5: to this, and out of replies quote unquote, I don't
• 58:51
  Speaker 5: remember shooting that sequence. I haven't seen this film since
• 58:55
  Speaker 5: the final print in nineteen seventy one. The reason I
• 59:00
  Speaker 5: bring this up is because we've come across this and
• 59:05
  Speaker 5: our research. We've come across this multiple times, many a
• 59:08
  Speaker 5: times during this podcast. As people who ingrain ourselves in
• 59:12
  Speaker 5: film discussion, I bring this up to people who aren't
• 59:17
  Speaker 5: as ingrained into it that age becomes a factor in
• 59:23
  Speaker 5: oh ya, the discussion of creators or people involved in
• 59:27
  Speaker 5: a film. And here you have the director who does
• 59:31
  Speaker 5: not remember a lot about his movie and straight up
• 59:34
  Speaker 5: says that. And this is why commentary tracks and bonus
• 59:40
  Speaker 5: features featuring film historians or critical analysis experts are so important,
• 59:48
  Speaker 5: because there is a point where you're not going to
• 59:51
  Speaker 5: get anything new from cast or crew, whether it's inability
• 59:55
  Speaker 5: to or no interest to speak on it, or maybe
• 59:57
  Speaker 5: they're just isn't anything new to talk about. But these
• 1:00:01
  Speaker 5: conversations keep the film alive. And as long as we
• 1:00:05
  Speaker 5: continue to analyze these films for thematic elements and we
• 1:00:10
  Speaker 5: discuss them on this platform or on Instagram or wherever else,
• 1:00:15
  Speaker 5: it keeps a movie alive because film is interpretation and
• 1:00:18
  Speaker 5: art lives on through interpretation. And I think that when
• 1:00:22
  Speaker 5: people come to us and ask why things like commentary
• 1:00:26
  Speaker 5: tracks and bonus materials are so important, especially for films
• 1:00:31
  Speaker 5: of this age, this is why.
• 1:00:36
  Speaker 3: Yeah, I mean, at this point, you know, obviously with anyone,
• 1:00:42
  Speaker 3: even when your commentary track was recorded, I mean really,
• 1:00:45
  Speaker 3: at that point, it's like just trying to preserve as
• 1:00:49
  Speaker 3: much as you possibly can because you're seeing even when
• 1:00:53
  Speaker 3: this was recorded, it's just the details of the production
• 1:00:56
  Speaker 3: or the overall experience of filming this movie. You know,
• 1:01:03
  Speaker 3: it's almost like you're getting to the point where it's
• 1:01:05
  Speaker 3: almost lost to time.
• 1:01:06
  Speaker 4: Unfortunately.
• 1:01:08
  Speaker 5: Yeah, yeah, but also too At this time, it was
• 1:01:13
  Speaker 5: standard practice to shoot a film in eight weeks, so
• 1:01:17
  Speaker 5: pretty much all your films across the board in the
• 1:01:20
  Speaker 5: late sixties early seventies ten an eight week shooting time,
• 1:01:23
  Speaker 5: but first time directors out a laudo being in this
• 1:01:26
  Speaker 5: was given only six weeks. So, all of a sudden,
• 1:01:31
  Speaker 5: he finally gets the opportunity to direct this, this film
• 1:01:34
  Speaker 5: that he's written. This was a script that many of
• 1:01:37
  Speaker 5: many directors and producers wanted, and he held on to
• 1:01:41
  Speaker 5: it until somebody finally gave him the opportunity to direct,
• 1:01:45
  Speaker 5: and to do it in six weeks. I mean, I'm
• 1:01:47
  Speaker 5: sure you're moving through this at lightning speed and just
• 1:01:51
  Speaker 5: trying to get it done right, and it's really tough
• 1:01:54
  Speaker 5: to try to remember all these little intricate details that
• 1:01:57
  Speaker 5: nerds like us are going to point out to him
• 1:01:59
  Speaker 5: and be like, hey, why'd you do that?
• 1:02:01
  Speaker 3: Well, especially you know, this movie came out in nineteen
• 1:02:04
  Speaker 3: seventy one obviously the production before then. But I mean
• 1:02:09
  Speaker 3: that's pretty far gap in time to be removed to
• 1:02:13
  Speaker 3: try to recall some of this, And obviously he had
• 1:02:15
  Speaker 3: done a number of other films past that point, so
• 1:02:19
  Speaker 3: I could certainly understand why it'd be, you know, tough
• 1:02:22
  Speaker 3: to kind of recollect some of those moments.
• 1:02:25
  Speaker 4: Yeah.
• 1:02:26
  Speaker 5: Yeah, Well he arrived, Gregory rives to this house which
• 1:02:30
  Speaker 5: has a lot of dogs. I feel like I would
• 1:02:32
  Speaker 5: get along.
• 1:02:33
  Speaker 4: With who is the same.
• 1:02:35
  Speaker 5: We would have a good time with all the dogs.
• 1:02:37
  Speaker 4: Oh yeah, I think.
• 1:02:39
  Speaker 5: And he lets himself in this is he just lets
• 1:02:43
  Speaker 5: himself into the house and he is greeted eventually by
• 1:02:47
  Speaker 5: a blind character named Provski, who is the father of
• 1:02:54
  Speaker 5: the missing girl that he has gone to begin to investigate.
• 1:03:01
  Speaker 5: And there's a little bit here in the commentary when
• 1:03:03
  Speaker 5: Auto was asked about the purpose of multiple blind characters
• 1:03:07
  Speaker 5: throughout the film, and which interesting is that he said
• 1:03:11
  Speaker 5: that it was all purposeful because it was simply a
• 1:03:14
  Speaker 5: metaphor for being blind in life. Like a lot of
• 1:03:18
  Speaker 5: these a lot of these characters are a lot of
• 1:03:21
  Speaker 5: people are just choosing to not pay attention to what's
• 1:03:24
  Speaker 5: happening around them and turn a blind eye to what's happening,
• 1:03:27
  Speaker 5: and the fact that characters like Provsky are blind because
• 1:03:31
  Speaker 5: he knows what's going on. We see later that he
• 1:03:34
  Speaker 5: knows what Club ninety nine is. He obviously knows what
• 1:03:38
  Speaker 5: happened to his daughter, but he just chooses not to
• 1:03:41
  Speaker 5: pay attention to it and just except that his daughter
• 1:03:44
  Speaker 5: is gone, without actually trying to do anything or raise
• 1:03:48
  Speaker 5: any awareness or try to do anything at all. He
• 1:03:51
  Speaker 5: just turns a blind eye.
• 1:03:53
  Speaker 4: And that's what's almost symbolical.
• 1:03:55
  Speaker 5: It is, you know, Yeah, yeah, it is. And it's
• 1:03:59
  Speaker 5: again and another theme that's pretty well thought out for
• 1:04:04
  Speaker 5: you know, essentially what kind of gets tossed around is
• 1:04:06
  Speaker 5: just another seventies yellow.
• 1:04:09
  Speaker 3: Yeah, And what I can appreciate about this film, it
• 1:04:12
  Speaker 3: definitely has something to say. Yeah, I just I can
• 1:04:18
  Speaker 3: appreciate that, you know, especially given how different it is
• 1:04:23
  Speaker 3: compared to some of the films that we get, you
• 1:04:25
  Speaker 3: know now, And I feel like, more often than not,
• 1:04:28
  Speaker 3: a lot of those films, no.
• 1:04:29
  Speaker 4: Matter how.
• 1:04:32
  Speaker 3: Like the level of quality to the film, I feel
• 1:04:34
  Speaker 3: like it's like they almost hit us over the head
• 1:04:36
  Speaker 3: with the message they're trying to convey, whereas like with
• 1:04:38
  Speaker 3: this it's it's noticeable, but enough so where we can
• 1:04:44
  Speaker 3: pick up, you know, kind of pick it apart on
• 1:04:47
  Speaker 3: our own.
• 1:04:48
  Speaker 4: Yeah.
• 1:04:49
  Speaker 5: Yeah, and my, you know, my what do you call it? Brain? My,
• 1:04:55
  Speaker 5: you know, the little part of my brain that I say, like, oh,
• 1:04:58
  Speaker 5: you know, I do film analysis. I thought of something
• 1:05:01
  Speaker 5: pretty interesting, which is that he has all these dogs outside,
• 1:05:07
  Speaker 5: and I was thinking about it, and I was like, man, dogs,
• 1:05:09
  Speaker 5: you know, are typically used as seeing eye dogs as
• 1:05:11
  Speaker 5: guidance to the blind, and this blind character having all
• 1:05:15
  Speaker 5: of these dogs, all of who are very loud and
• 1:05:19
  Speaker 5: barking and it's a very chaotic state outside. I actually
• 1:05:24
  Speaker 5: found I thought a little bit of symbolism in kind
• 1:05:27
  Speaker 5: of the irony that his dogs that he could just
• 1:05:30
  Speaker 5: have just simply for joy, but his dogs, who usually
• 1:05:35
  Speaker 5: represent assistance and guidance for the blind, are actually just
• 1:05:42
  Speaker 5: chaotic and have zero, like, are of zero assistance to him.
• 1:05:49
  Speaker 5: And I thought there was kind of like a weird
• 1:05:50
  Speaker 5: irony in it, which I don't know if it was
• 1:05:52
  Speaker 5: on purpose, but I thought I thought there was a
• 1:05:54
  Speaker 5: little bit of symbolism there.
• 1:05:56
  Speaker 3: No, the thought crossed my mind during the scene, I'm like,
• 1:05:58
  Speaker 3: you have all these dogs that one can get you
• 1:06:01
  Speaker 3: around a little bit.
• 1:06:02
  Speaker 5: Quicker or help you like. They don't. None of them
• 1:06:05
  Speaker 5: seem like they would be helpful. They're just kind of
• 1:06:07
  Speaker 5: behind fences and jumping on top of each other and
• 1:06:10
  Speaker 5: barking for food, and you know, it's an interesting moment.
• 1:06:14
  Speaker 5: But yeah, I did want to bring up I thought
• 1:06:18
  Speaker 5: this was perfect time to mention who you mentioned earlier,
• 1:06:20
  Speaker 5: and that is the director of photography, Gisette Russolini. Oh yeah, ye,
• 1:06:25
  Speaker 5: our moderator points out that during well, he points them out,
• 1:06:29
  Speaker 5: especially during just an appraisal of the film's photography. Giseeppe
• 1:06:34
  Speaker 5: in his career, worked heavily with with with Pasolini, but
• 1:06:38
  Speaker 5: most listeners, I think would recognize his work on Firestarter,
• 1:06:42
  Speaker 5: which was supposed to be originally supposed to be directed
• 1:06:44
  Speaker 5: by Carpenter, but due to the critical or the box
• 1:06:46
  Speaker 5: office failure of the thing didn't happen, which is crazy
• 1:06:50
  Speaker 5: to say now. But another film in recent memory, and
• 1:06:54
  Speaker 5: I don't know if you picked this up, but he
• 1:06:56
  Speaker 5: also shot piscal Campanil's Hitchhike, which released by Indicator. Did
• 1:07:01
  Speaker 5: you get a chance to pick that title up? Uh?
• 1:07:03
  Speaker 4: No, I didn't. That's that's definitely one that I've been
• 1:07:06
  Speaker 4: mean to pick.
• 1:07:06
  Speaker 5: Up though, yeah he shot that movie and good call. Yeah.
• 1:07:12
  Speaker 5: I think the photography in this movie is absolutely stunning, man,
• 1:07:16
  Speaker 5: and it really it really amplifies, like it makes Auto
• 1:07:22
  Speaker 5: look great. This is his first movie and he has
• 1:07:24
  Speaker 5: a photographer who is phenomenal and really brings elevates this
• 1:07:29
  Speaker 5: movie to a new level visually, and it's pretty incredible.
• 1:07:34
  Speaker 3: I feel like collectively, just everyone behind the scenes, you know,
• 1:07:39
  Speaker 3: including Eldlado, everyone inspiring on all cylinders, especially for a
• 1:07:44
  Speaker 3: debut feature. I mean, it's I think it's really impressive.
• 1:07:49
  Speaker 5: I completely agree. And I think this is also a
• 1:07:52
  Speaker 5: great time to kind of mention the absolutely stellar restoration
• 1:07:58
  Speaker 5: done by Cellular Dreams. Mm hmm, this movie looks fucking remarkable, dude,
• 1:08:05
  Speaker 5: Like this four K is a stunner.
• 1:08:08
  Speaker 3: Well and again, nothing like you know, nothing against any
• 1:08:13
  Speaker 3: other releases or anything along those lines, but I thought
• 1:08:19
  Speaker 3: we had this release as well as the eighty eight
• 1:08:22
  Speaker 3: Films release that got announced roughly about the same time,
• 1:08:27
  Speaker 3: and I know that there, I believe their restorations were
• 1:08:30
  Speaker 3: done differently. From my understanding, I feel like that this
• 1:08:34
  Speaker 3: is more along the lines of like what the restoration like.
• 1:08:40
  Speaker 3: It's a very faithful restoration to you know, what came
• 1:08:44
  Speaker 3: before it. So it's interesting.
• 1:08:47
  Speaker 4: I mean.
• 1:08:48
  Speaker 3: I definitely, you know, as a purist when it comes
• 1:08:51
  Speaker 3: to film and and you know, from my own collection
• 1:08:54
  Speaker 3: and viewing pleasure, I like to you know, try to.
• 1:08:57
  Speaker 4: Keep it as.
• 1:08:59
  Speaker 3: Organic is it possibly can for what the films intended
• 1:09:03
  Speaker 3: to look like.
• 1:09:04
  Speaker 5: I will say I did watch the Grindhouse version of
• 1:09:07
  Speaker 5: this film, which was available on i think the fourth
• 1:09:11
  Speaker 5: Blu ray disk and the release, and it also it
• 1:09:15
  Speaker 5: looked very fitting to see this movie in a not
• 1:09:18
  Speaker 5: so great you know, restored visual sense. So the movie
• 1:09:22
  Speaker 5: works in both ways, I think, depending on how you
• 1:09:24
  Speaker 5: find it. But it also really kind of accented how
• 1:09:27
  Speaker 5: great the four K restoration is.
• 1:09:29
  Speaker 3: Oh yeah, it gives you gives you a deeper appreciation.
• 1:09:33
  Speaker 3: I mean, and I always say this, you know, especially
• 1:09:36
  Speaker 3: as somebody who has a lot of love for all formats,
• 1:09:43
  Speaker 3: you know, VHS is is definitely you know, like, you know,
• 1:09:49
  Speaker 3: part of my collection that I think is really important,
• 1:09:51
  Speaker 3: you know, to go back to. But I think it's
• 1:09:53
  Speaker 3: just fascinating to just see, you know, we're in a
• 1:09:56
  Speaker 3: very no, we're very fortunate with the restorations that we
• 1:10:01
  Speaker 3: get now in four k or Blu Ray or whatever
• 1:10:03
  Speaker 3: the cases. And I always like to see and appreciate
• 1:10:06
  Speaker 3: where those films initially came from.
• 1:10:09
  Speaker 5: Yeah, yeah, I couldn't agree more. Before we get to
• 1:10:14
  Speaker 5: this next sequence, I do want to mention real quick
• 1:10:17
  Speaker 5: that throughout all of this, we do see that Gregory's
• 1:10:22
  Speaker 5: friend Ivan is one of the doctors that is suspicious
• 1:10:27
  Speaker 5: of Gregory's situation because he's in a morgue and he
• 1:10:31
  Speaker 5: has not achieved rigor wortis yet, so they begin to
• 1:10:35
  Speaker 5: run a series of tests on him that really don't
• 1:10:39
  Speaker 5: answer many questions, but they're trying to figure out why
• 1:10:43
  Speaker 5: this body hasn't done anything that a body should do.
• 1:10:46
  Speaker 5: And this is all giving us time to get tossed
• 1:10:49
  Speaker 5: back into these memories or these flashbacks, one of them
• 1:10:54
  Speaker 5: being a scene I think you and I love. Do
• 1:10:56
  Speaker 5: you want to talk about this train sequence?
• 1:11:01
  Speaker 4: Yeah?
• 1:11:02
  Speaker 3: I mean, basically we get greg receives basically some sort
• 1:11:08
  Speaker 3: of like a notice of somebody wishing to meet up
• 1:11:12
  Speaker 3: with him, and this individual claims that he has information
• 1:11:17
  Speaker 3: leaning to the wear about a Mira. And what I
• 1:11:22
  Speaker 3: love about this scene is just the contrast. Obviously it's
• 1:11:26
  Speaker 3: a little bit darker. You're trying to figure out exactly
• 1:11:29
  Speaker 3: what's going on, the use of the smoke coming from
• 1:11:34
  Speaker 3: the train itself, and it definitely didn't play at least
• 1:11:41
  Speaker 3: on first watch, did not play out the way that
• 1:11:44
  Speaker 3: I was expecting. But greg meets up with this individual
• 1:11:49
  Speaker 3: and we get some sort of like shadowy figure that
• 1:11:55
  Speaker 3: pushes the old guy that he's meeting with in front
• 1:11:59
  Speaker 3: of an oncome train to his death and then he
• 1:12:03
  Speaker 3: takes off. Yeah, it's just a very visually striking scene, impactful.
• 1:12:12
  Speaker 3: I feel like it elevates obviously just how horrific what
• 1:12:16
  Speaker 3: just happened was. And yes, it's this and there's another
• 1:12:23
  Speaker 3: scene coming up. I just find so creepy and we're
• 1:12:28
  Speaker 3: just still trying to piece everything together. It plays out
• 1:12:31
  Speaker 3: literally like a puzzle, I feel like throughout this whole film.
• 1:12:35
  Speaker 5: Yeah, and this is this is such an interesting sequence
• 1:12:38
  Speaker 5: because they're on he meets him at what looks to
• 1:12:41
  Speaker 5: be like a like a train yard crossing. Most so
• 1:12:46
  Speaker 5: when when.
• 1:12:47
  Speaker 4: Gregor overpass above it.
• 1:12:49
  Speaker 5: Yeah, when Gregory parks, he's along the train tracks and
• 1:12:52
  Speaker 5: up the stairs and then there's a crossing and there's
• 1:12:55
  Speaker 5: a lot of good style here because the train actually
• 1:12:58
  Speaker 5: passes under the bridge and the smoke from the stack
• 1:13:03
  Speaker 5: of the train creates the fog that where the character,
• 1:13:07
  Speaker 5: the mystery character kind of runs out of and he
• 1:13:09
  Speaker 5: grabs this character by the ankles and flips him over
• 1:13:12
  Speaker 5: the ledge and he falls onto the tracks, which does
• 1:13:17
  Speaker 5: kill him. And it's it's one of those sequences where
• 1:13:22
  Speaker 5: in the interview that's on the disc separate disc without
• 1:13:25
  Speaker 5: a Latto for this release, he talks about how originally
• 1:13:29
  Speaker 5: this scene was supposed to be done differently in like
• 1:13:32
  Speaker 5: he wanted a train and the producer said, you can't
• 1:13:35
  Speaker 5: have him. So Aldo was like, okay, So he picked
• 1:13:39
  Speaker 5: this sequence to sort of go down this way but
• 1:13:42
  Speaker 5: in a very very busy square in Europe somewhere, and
• 1:13:50
  Speaker 5: he went to the producer and said, okay, I found
• 1:13:52
  Speaker 5: my location. He said, but just so you know, it's
• 1:13:55
  Speaker 5: going to be very expensive to light. We have we
• 1:13:57
  Speaker 5: need like five hundred fog machines to get the amount
• 1:14:00
  Speaker 5: of fog I need to achieve the scene. You know,
• 1:14:02
  Speaker 5: I think it's gonna be uh. I think it's gonna
• 1:14:04
  Speaker 5: be way worse than my original idea, which pretty much
• 1:14:07
  Speaker 5: forced the producer to get him a train to make
• 1:14:10
  Speaker 5: the sequence happen, and it's it's it's an incredible moment. Man.
• 1:14:15
  Speaker 5: He runs at the bottom of it. He runs the
• 1:14:17
  Speaker 5: the tracks to find this this character dying. He gets
• 1:14:21
  Speaker 5: he's given a Club ninety nine membership card, and then
• 1:14:25
  Speaker 5: good old Jack arrives just in time to find Gregory
• 1:14:29
  Speaker 5: with a body on train tracks. It's it's a it's
• 1:14:31
  Speaker 5: one of my favorite scenes in the movie.
• 1:14:34
  Speaker 3: Yeah, it's uh, it happens. Everything happens very quickly. I
• 1:14:42
  Speaker 3: think us as a viewer, it definitely gets an idea
• 1:14:45
  Speaker 3: of just the gravity of the situation and just he's
• 1:14:48
  Speaker 3: finding himself further and further going down this rabbit hole
• 1:14:52
  Speaker 3: of trying to figure out what's going on with Mira,
• 1:14:54
  Speaker 3: and uh, you know, now at this point people are
• 1:14:56
  Speaker 3: obviously getting killed, so stakes are a little bit higher.
• 1:15:00
  Speaker 5: Yeah. Yeah, well this is where we finally start really
• 1:15:04
  Speaker 5: opening the the mystery up because he finally gets into
• 1:15:08
  Speaker 5: Club ninety nine. He goes to you know where this
• 1:15:13
  Speaker 5: club is held. He uses his membership card to get in.
• 1:15:17
  Speaker 5: And what's interesting here is that earlier in the commentary
• 1:15:25
  Speaker 5: they out on, a commentator mentioned the physical appearance of
• 1:15:27
  Speaker 5: the patrons at the party. In the beginning of the
• 1:15:29
  Speaker 5: movie that you and I briefly discussed, well, when he
• 1:15:34
  Speaker 5: gets into Club ninety nine and he walks into a
• 1:15:38
  Speaker 5: like a musical performance being held, which the music in
• 1:15:41
  Speaker 5: this scene with all of the patrons of the club
• 1:15:44
  Speaker 5: just watching this musical performance is phenomenal. Dude, like this,
• 1:15:51
  Speaker 5: I'm a huge fan of film score, and that's in
• 1:15:56
  Speaker 5: that I've kind of become a fan of like classical music,
• 1:16:00
  Speaker 5: especially like orchestral. This the this like third or fourth
• 1:16:06
  Speaker 5: time i'd watched this. Preparing for this, I was actually
• 1:16:08
  Speaker 5: kind of like I didn't even watch the scene. I
• 1:16:10
  Speaker 5: was just listening to the music that they were playing.
• 1:16:13
  Speaker 3: I'm telling you, like this score. You know, obviously with
• 1:16:17
  Speaker 3: anything that Anie Morricone puts out is I mean, he's
• 1:16:21
  Speaker 3: just in a class all on his own. But for
• 1:16:24
  Speaker 3: this film specifically, I I don't know why this one
• 1:16:28
  Speaker 3: doesn't get talked about enough.
• 1:16:30
  Speaker 5: It's I wonder if it's just not released, Like I
• 1:16:33
  Speaker 5: have to try to find it, and if I can
• 1:16:35
  Speaker 5: find it, I'll put a clip here in the in
• 1:16:37
  Speaker 5: the audio version of the show. But it's really like
• 1:16:42
  Speaker 5: a wonderful track. And there's actually a moment where Jacques mentions, Uh,
• 1:16:47
  Speaker 5: you know this news fest that is their musical, like
• 1:16:52
  Speaker 5: the musical kind of shows that they put on, and
• 1:16:56
  Speaker 5: I kind of golfed at it. I was like, maybe
• 1:16:57
  Speaker 5: I would enjoy that. Man, it sounded pretty good. But yeah,
• 1:17:05
  Speaker 5: in this scene, the patrons look very odd.
• 1:17:09
  Speaker 3: Oh yeah, this is I I have a note about
• 1:17:12
  Speaker 3: this because I mean it's just so creepy the way
• 1:17:20
  Speaker 3: they look. It's like this just lifeless, uh pale. I
• 1:17:27
  Speaker 3: feel like we're seeing the club members at their worst.
• 1:17:31
  Speaker 5: Yeah, it's like they need they need some some water,
• 1:17:34
  Speaker 5: they need some life because they look they're looking rough.
• 1:17:39
  Speaker 3: Well just I think it only uh just kind of further,
• 1:17:45
  Speaker 3: you know, just kind of amplifies just I don't know,
• 1:17:49
  Speaker 3: it's it's kind of like coming back to uh with
• 1:17:52
  Speaker 3: like the whole concept of them kind of bringing on
• 1:17:54
  Speaker 3: on you know, the I mean they're obviously and the
• 1:17:58
  Speaker 3: power lead they're on everyone beneath them essentially.
• 1:18:02
  Speaker 5: Yeah. Yeah, well, well don't worry. We're gonna learn about
• 1:18:05
  Speaker 5: that soon, about the the true intentions of the club.
• 1:18:09
  Speaker 5: But it's also in this sequence that we we learn
• 1:18:12
  Speaker 5: Gregory doesn't but we, as the audience, learned that Mira
• 1:18:15
  Speaker 5: is in fact dead.
• 1:18:18
  Speaker 4: Yeah, she is.
• 1:18:19
  Speaker 5: She's dead in a closet with flowers on her I think,
• 1:18:21
  Speaker 5: I don't know if it was a closet. Where is
• 1:18:23
  Speaker 5: it that he.
• 1:18:24
  Speaker 4: Don't don't forget. The janitor tries to attack.
• 1:18:28
  Speaker 5: The janitor is great. Yeah, this is this is where
• 1:18:30
  Speaker 5: we learn about the shoes, because the the Morgue attendant
• 1:18:34
  Speaker 5: earlier in the film mentions like, oh you think, look, look,
• 1:18:37
  Speaker 5: these shoes aren't too far off from my size. He's
• 1:18:38
  Speaker 5: are really nice, and he does mention a specific shoe,
• 1:18:42
  Speaker 5: and then the the other the other attendee working into
• 1:18:45
  Speaker 5: moorg says, oh, you want me to keep them off
• 1:18:47
  Speaker 5: the list, And he's like, oh, it's not worth losing
• 1:18:49
  Speaker 5: my job over, but he it's it's the it's the
• 1:18:54
  Speaker 5: janitor who says to Volinsky like, oh, I knew it
• 1:19:01
  Speaker 5: was a Westerner because of the shoes. So it's interesting.
• 1:19:05
  Speaker 5: I never thought. I never I never would have thought
• 1:19:07
  Speaker 5: that the shoes could give me away in a case.
• 1:19:11
  Speaker 4: You never know, man, you go out, everyone's looking like, yeah.
• 1:19:16
  Speaker 5: Like I was wearing on clouds, suspicious as hell.
• 1:19:19
  Speaker 4: Yeah, be careful, man, watch your back club ninety nine,
• 1:19:22
  Speaker 4: could we get you know? Yeah?
• 1:19:23
  Speaker 5: Yeah, yeah, I do want to point out, though, the
• 1:19:27
  Speaker 5: incredible direction in this sequence that we lead to where
• 1:19:31
  Speaker 5: Jacques calls Gregory from a phone booth, and now, mind you,
• 1:19:34
  Speaker 5: there are some key things that have happened uh here
• 1:19:37
  Speaker 5: where you know, I guess in his grief. Gregory goes
• 1:19:40
  Speaker 5: and sleeps with Jessica. Just spends the night with Jessica.
• 1:19:45
  Speaker 4: You know, sound bad? I mean, what else is he
• 1:19:49
  Speaker 4: supposed to do?
• 1:19:50
  Speaker 5: His girlfriend's missing, He's just out here banging his X.
• 1:19:54
  Speaker 4: This guy's a regular player.
• 1:19:56
  Speaker 5: I mean, he's an attractive guy. I mean, I don't
• 1:19:58
  Speaker 5: doubt that he has the ability to to do this,
• 1:20:00
  Speaker 5: you know what I mean? But yeah, the direction of
• 1:20:04
  Speaker 5: the sequence is great because Jacques makes a call to
• 1:20:08
  Speaker 5: Gregory from a phone booth, he comes down to meet
• 1:20:11
  Speaker 5: up with him. We see somebody draw a knife on
• 1:20:13
  Speaker 5: Jacques and cuts to Gregory arriving at that phone booth
• 1:20:16
  Speaker 5: and finding blood on the phone. The phone is hanging
• 1:20:20
  Speaker 5: and he finds blood on it. And this setting that
• 1:20:23
  Speaker 5: the phone booth is in is chilling. It's almost like
• 1:20:26
  Speaker 5: a little square that it's in that kind of looks
• 1:20:30
  Speaker 5: like a like an in between point of a couple
• 1:20:32
  Speaker 5: different alleyways and it's foggy and dark. It's really it's
• 1:20:36
  Speaker 5: a great little setting.
• 1:20:39
  Speaker 3: Well and not only that, but greg Gregory then at
• 1:20:43
  Speaker 3: that point, is learning that obviously Club ninety nine has
• 1:20:49
  Speaker 3: a pretty wide reach and that they practice black magic.
• 1:20:57
  Speaker 5: They do. Yeah, he finds out from Jacques that they
• 1:20:59
  Speaker 5: practice black and that they're they're pretty much global, almost
• 1:21:04
  Speaker 5: like they're everything. So he's really getting to some Yeah,
• 1:21:11
  Speaker 5: I don't play around with black magic. I'll walk around
• 1:21:15
  Speaker 5: with hell my uh, with my great art NEWKI piece
• 1:21:19
  Speaker 5: from from Scooby Doo can walk around one of those
• 1:21:24
  Speaker 5: man give me, give me out of here.
• 1:21:26
  Speaker 1: Uh.
• 1:21:28
  Speaker 5: But in this scene, I I do love I do
• 1:21:31
  Speaker 5: love the layout of the scene because the alleyway itself
• 1:21:35
  Speaker 5: is pretty like monotone. It's pretty much gray, but there's
• 1:21:38
  Speaker 5: this bright blue light that's alluding from the phone booth
• 1:21:40
  Speaker 5: that I really like. It's kind of like one of
• 1:21:42
  Speaker 5: those kind of coloring lineups that I really enjoy. He
• 1:21:48
  Speaker 5: Gregory then hears somebody running and he takes off down
• 1:21:50
  Speaker 5: an alleyway and this is really smart direction. He brushes
• 1:21:55
  Speaker 5: up against some trash cans and when of the trash
• 1:21:59
  Speaker 5: can lids fall off to reveal that Jacques's body is
• 1:22:01
  Speaker 5: stuffed in a trash can.
• 1:22:04
  Speaker 4: Poor guy.
• 1:22:05
  Speaker 5: Not that it's messed up, man, and he goes out
• 1:22:07
  Speaker 5: this way, deserve more of my man.
• 1:22:10
  Speaker 4: I was just about to say that.
• 1:22:12
  Speaker 5: Yeah, he deserves more, man, he deserves better. And this
• 1:22:16
  Speaker 5: is Is this the other scene that you were talking
• 1:22:17
  Speaker 5: about as far as a creepy scene, the scene on the.
• 1:22:20
  Speaker 3: Bridge, No, but that I guess that could be another one.
• 1:22:28
  Speaker 3: I was referring to the sequence with Club ninety nine
• 1:22:33
  Speaker 3: when we're getting a glimpse at all the club members
• 1:22:37
  Speaker 3: themselves and just how they have that like pale, zombie
• 1:22:41
  Speaker 3: like appearance.
• 1:22:42
  Speaker 5: Oh yeah, yeah, Well this scene is also very strange
• 1:22:46
  Speaker 5: because he Gregory is pursuing somebody and winds up on
• 1:22:50
  Speaker 5: a bridge where some onlookers are watching a singer with
• 1:22:54
  Speaker 5: a guitar who is singing about butterflies and how coincidence
• 1:23:00
  Speaker 5: people should let them fly and it's a it's actually
• 1:23:02
  Speaker 5: a great it's a great song for a little bit
• 1:23:04
  Speaker 5: that you hear, and Gregory's tired from all of his
• 1:23:07
  Speaker 5: running through the alleyways, decides to take a break and
• 1:23:09
  Speaker 5: listen to music before he's grabbed by the ankles and
• 1:23:12
  Speaker 5: tossed over the bridge into the water below st break.
• 1:23:19
  Speaker 5: It's it's it's really crazy. So he he gets picked
• 1:23:27
  Speaker 5: up by by the police and during this interrogation, the
• 1:23:32
  Speaker 5: detective mentions shock therapy and it's pretty convinced that that
• 1:23:38
  Speaker 5: Gregory has you know, murdered his girlfriend and then murdered Jack,
• 1:23:44
  Speaker 5: and that the only thing that's going to help him
• 1:23:45
  Speaker 5: with shock therapy, and uh, you know, much like.
• 1:23:51
  Speaker 2: It.
• 1:23:52
  Speaker 5: It goes pretty quickly. And and then much like Batman lurking
• 1:23:55
  Speaker 5: from the coming out of the shadows to confront Joker
• 1:23:58
  Speaker 5: in the interrogation room and Christopher's a dark night. The
• 1:24:02
  Speaker 5: moment shock therapy has announced, Violinsky appears out of the
• 1:24:05
  Speaker 5: shadows to take him under his guidance and says, I
• 1:24:08
  Speaker 5: could take care of him, but we learned wonder why
• 1:24:12
  Speaker 5: did we learn? He's no doctor? He's also the director
• 1:24:14
  Speaker 5: of Club ninety nine. Spooky, very spooky.
• 1:24:22
  Speaker 3: Okay, hear me out, because I know that the premise
• 1:24:26
  Speaker 3: of this is obviously you know, on film, but I
• 1:24:31
  Speaker 3: feel like something like this could happen.
• 1:24:35
  Speaker 5: Yeah, I feel like this is happening somewhere right now.
• 1:24:38
  Speaker 4: Okay, let's not go that far.
• 1:24:40
  Speaker 3: Yeah, it's almost eleven thirty our time. It's like I
• 1:24:44
  Speaker 3: still got to sleep tonight.
• 1:24:49
  Speaker 5: Well, who knows, man, I mean, we could be we
• 1:24:53
  Speaker 5: could be slowly getting tangled in this web as we speak. Yeah,
• 1:24:58
  Speaker 5: you could be Ira. I'm Gregory.
• 1:25:02
  Speaker 4: What dude, I don't know about all that.
• 1:25:06
  Speaker 5: Oh my god. Well, this is before I get into
• 1:25:11
  Speaker 5: the end of the movie. I do have one last
• 1:25:15
  Speaker 5: actual commentary note from this commentary track. This is the
• 1:25:19
  Speaker 5: last one from my commentary track specifically, alto or Aldo
• 1:25:25
  Speaker 5: specifically cites this upcoming sequence where Gregory wakes up in
• 1:25:30
  Speaker 5: a daze in his apartment to find Mira dead in
• 1:25:34
  Speaker 5: the fridge as one of his best directed sequences ever,
• 1:25:41
  Speaker 5: and as somebody who hasn't seen more than three of
• 1:25:46
  Speaker 5: the fifteen films that Aldo has directed, I'm convinced he's
• 1:25:51
  Speaker 5: probably right, because this little sequence is one of the
• 1:25:57
  Speaker 5: scariest moments of the film, and it is shot so well.
• 1:26:04
  Speaker 3: This might be my favorite scene in the film.
• 1:26:09
  Speaker 5: It probably Yeah, I would probably say singularly, this is
• 1:26:11
  Speaker 5: probably my favorite scene of the movie. This is Gregory
• 1:26:17
  Speaker 5: essentially wakes up in his apartment after getting a ride
• 1:26:20
  Speaker 5: home from Volinsky, and he's he's all fucked up. He
• 1:26:25
  Speaker 5: he is, you know, mumbling about Club ninety nine, how
• 1:26:29
  Speaker 5: he has to get in, has to get in. Clearly
• 1:26:31
  Speaker 5: he's in a bad state. And Volinsky gives him a
• 1:26:35
  Speaker 5: ride home and Gregory wakes up and we're not sure
• 1:26:39
  Speaker 5: what happened in between him being in the car and
• 1:26:41
  Speaker 5: waking up in his apartment, but he wakes up and
• 1:26:46
  Speaker 5: the fridge slowly begins to open, revealing that Mira is inside.
• 1:26:52
  Speaker 5: But it's it's not quickly, it's done very slow. And
• 1:26:58
  Speaker 5: the angle of the camera when the door opens, the
• 1:27:02
  Speaker 5: light emitting from it, the way that her body is
• 1:27:06
  Speaker 5: in the fridge staring out at Gregory, it's incredibly haunting. Man,
• 1:27:11
  Speaker 5: it's a really dude, and he's crawling towards the kitchen
• 1:27:17
  Speaker 5: as it's happening. It's really scary, and I mean, I
• 1:27:21
  Speaker 5: can't describing this scene does nothing for what visually it
• 1:27:27
  Speaker 5: looks like, and it's it doesn't. It's the only moment
• 1:27:33
  Speaker 5: in the movie that feels like this, that feels genuinely
• 1:27:36
  Speaker 5: kind of terrifying and scary. And as he as he
• 1:27:42
  Speaker 5: sees Mira in the fridge, there's also a gun on
• 1:27:48
  Speaker 5: the floor of the kitchen in front of him, Gregory
• 1:27:52
  Speaker 5: picks up the gun. He raises it to his chin,
• 1:27:56
  Speaker 5: but before he can pull the trigger, there's banging at
• 1:27:59
  Speaker 5: his door and it's the police. So he bolts out
• 1:28:03
  Speaker 5: of an open window, gets out of there. Man, You
• 1:28:06
  Speaker 5: don't hang around when the police are at the door.
• 1:28:07
  Speaker 5: You got to go. Hell no, Gregory goes. The body
• 1:28:11
  Speaker 5: of his extu girlfriend is in his fridge.
• 1:28:13
  Speaker 4: It's not looking good.
• 1:28:15
  Speaker 5: It's not looking good at all. And what I think
• 1:28:19
  Speaker 5: is so funny here is that we cut to back
• 1:28:23
  Speaker 5: to his catatonic state at the Morgue and he is
• 1:28:29
  Speaker 5: being prepared for an autopsy in front of some medical
• 1:28:33
  Speaker 5: professionals and I assume some medical students as well. But
• 1:28:37
  Speaker 5: here to witness this are a couple of journalists, led
• 1:28:41
  Speaker 5: by Jessica who's there, one as a photographer, it looks
• 1:28:45
  Speaker 5: like one is an actual journalist, but she is there.
• 1:28:47
  Speaker 5: She's kind of bundled up like it looks like in hiding,
• 1:28:49
  Speaker 5: just in case anybody was to recognize her, because I
• 1:28:53
  Speaker 5: think she's still kind of in doubt of what's happened.
• 1:28:59
  Speaker 5: And the the detective is explaining to them that essentially
• 1:29:06
  Speaker 5: Gregory's going to be held responsible for the death of
• 1:29:10
  Speaker 5: Jacques and Mira, and he says that he's dealing with
• 1:29:14
  Speaker 5: a deep psychic derangement and in one of his quote
• 1:29:18
  Speaker 5: unquote seizures killed Mira and eventually killed Jaques because apparently
• 1:29:23
  Speaker 5: he had a proof of everything.
• 1:29:26
  Speaker 4: So, yeah, it goes from bad to worse.
• 1:29:29
  Speaker 5: Basically, it's getting worse. Yeah, it's getting worse. And we
• 1:29:32
  Speaker 5: see Jessica, who is doubting all of this, but you know,
• 1:29:36
  Speaker 5: she's here to try to get some answers, and we
• 1:29:41
  Speaker 5: cut back to a memory which reveals probably one of
• 1:29:44
  Speaker 5: the most shocking moments of the movie, when he finds
• 1:29:47
  Speaker 5: himself back in Club ninety nine. And what I really
• 1:29:50
  Speaker 5: love about the scene is how we know we're back
• 1:29:54
  Speaker 5: in the club because we've seen the architecture before, we've
• 1:29:57
  Speaker 5: been in this building before. But he passes through the
• 1:30:01
  Speaker 5: music room that we saw earlier, and the room is
• 1:30:04
  Speaker 5: now filled with like like the musical, like the book
• 1:30:08
  Speaker 5: notebook stands. You know, we recognize the room, so we
• 1:30:12
  Speaker 5: recognize the setting. But he comes across a door and
• 1:30:15
  Speaker 5: opens it to find uh, you know, good old fashioned orgy,
• 1:30:22
  Speaker 5: an olde.
• 1:30:24
  Speaker 4: This film has everything, Yeah, it does that.
• 1:30:28
  Speaker 5: Has old people, orgy. That's for sure, and he sees
• 1:30:33
  Speaker 5: Mira in the center of it on a table, and really, yeah,
• 1:30:39
  Speaker 5: it's really unsure of what is actually. I mean, I
• 1:30:42
  Speaker 5: think the orgy is real, but him seeing Mirah and stuff,
• 1:30:45
  Speaker 5: we don't. We're not really too nothing is is definitive
• 1:30:49
  Speaker 5: as far as what he's witnessing really at this point.
• 1:30:55
  Speaker 5: But we we come to learn through a very cool
• 1:31:00
  Speaker 5: sequence where characters kind of fade into the frame from
• 1:31:04
  Speaker 5: a dark background, that the members of Club ninety nine,
• 1:31:09
  Speaker 5: who all of these people hold power in many political forms,
• 1:31:13
  Speaker 5: kill those who revel against their beliefs to stay alive
• 1:31:16
  Speaker 5: and in power and claim them as sacrifices. Anybody who
• 1:31:21
  Speaker 5: rebels against their beliefs or shows any pushback are killed
• 1:31:26
  Speaker 5: in order to literally give power back into the leadership.
• 1:31:32
  Speaker 3: There's a little bit of that aspect of the film
• 1:31:37
  Speaker 3: that does remind me of Eyes Wide Shut.
• 1:31:40
  Speaker 5: Oh yeah, the Koprick masterpiece.
• 1:31:42
  Speaker 4: Yeah yeah, just with.
• 1:31:43
  Speaker 3: Like the the foot print I guess that they have
• 1:31:51
  Speaker 3: in just how wide they're reaches. But not only that,
• 1:31:55
  Speaker 3: it's just like the you know, kind of like the
• 1:31:59
  Speaker 3: fearfulness of getting too close to like an organization like this.
• 1:32:04
  Speaker 4: Definitely really creepy.
• 1:32:06
  Speaker 5: Yeah, and I think too. We spoke in the beginning
• 1:32:09
  Speaker 5: of this podcast about relevance and this is I don't
• 1:32:15
  Speaker 5: want to turn this into a political discussion whatsoever, but
• 1:32:18
  Speaker 5: this idea that the powers at bay are these that
• 1:32:25
  Speaker 5: are these elderly people who for some reason are still
• 1:32:30
  Speaker 5: given a certain amount of power and are making decisions
• 1:32:34
  Speaker 5: based on outdated beliefs or outdated uh you know, like
• 1:32:41
  Speaker 5: understanding of life lead to them kind of giving kickback
• 1:32:46
  Speaker 5: against progression. And we see this in many forms in
• 1:32:51
  Speaker 5: modern politics here in the US, you know, where we
• 1:32:54
  Speaker 5: see politicians, you know, fighting back against what what what
• 1:33:00
  Speaker 5: normal people would see is like normal rights to life.
• 1:33:06
  Speaker 5: We see being pushed back against by these politicians who
• 1:33:11
  Speaker 5: are so out of touch with reality. And I'm convinced
• 1:33:16
  Speaker 5: that most of the time are dealing with severe mental
• 1:33:19
  Speaker 5: you know, aging and and and you know, like degradation
• 1:33:25
  Speaker 5: of mental state and understanding it, they're still put into
• 1:33:28
  Speaker 5: these positions of power and essentially like it almost feels
• 1:33:33
  Speaker 5: like in real life, like they're feeding off of the
• 1:33:35
  Speaker 5: suffering that they're causing people. It's it's it's kind of
• 1:33:40
  Speaker 5: incredible to think that like political powers that be can
• 1:33:45
  Speaker 5: can you know, have have money and have the power
• 1:33:48
  Speaker 5: to make your life living hell, and that's almost feeding them.
• 1:33:52
  Speaker 5: It's giving them more strength and more power.
• 1:33:55
  Speaker 3: Yeah, and I think it's like the message that this
• 1:33:58
  Speaker 3: is getting across. I know it's you know, from back
• 1:34:01
  Speaker 3: in seventy one, but it's it's definitely very poignant, you know,
• 1:34:07
  Speaker 3: and can resonate even.
• 1:34:10
  Speaker 4: Today.
• 1:34:11
  Speaker 3: But yeah, it's pretty interesting. I mean, like I said,
• 1:34:15
  Speaker 3: I feel like that this is something that, especially within
• 1:34:20
  Speaker 3: the sub genre of shallow films, I feel like it's
• 1:34:22
  Speaker 3: not something that gets they talked about all that much,
• 1:34:25
  Speaker 3: so you know, definitely got to give credit where credit's due.
• 1:34:29
  Speaker 5: Yeah, yeah, absolutely. The black magic part of this whole
• 1:34:34
  Speaker 5: sequence is pushed further when members of the club begin
• 1:34:38
  Speaker 5: saying to Gregory the word catalepsy, and he is told
• 1:34:43
  Speaker 5: that essentially his mind will stay alive long after he's buried,
• 1:34:47
  Speaker 5: but he won't even really realize it because he will
• 1:34:50
  Speaker 5: already have fallen into a state of madness from you know,
• 1:34:54
  Speaker 5: the inability to really understand or comprehend or stay sane
• 1:34:57
  Speaker 5: during the realization that he's still alive. People think his
• 1:35:01
  Speaker 5: body is dead, and therefore he's being treated as if
• 1:35:03
  Speaker 5: he's dead and he's gonna be in a coffin six
• 1:35:07
  Speaker 5: feet underground with a fully active mental consciousness and understanding
• 1:35:13
  Speaker 5: of what's happening. That would drive me fucking mad, Dude,
• 1:35:16
  Speaker 5: I would lose my mind.
• 1:35:19
  Speaker 3: Wouldn't it technically already be like that by that point?
• 1:35:22
  Speaker 3: I mean, it's it. The idea of this is like
• 1:35:27
  Speaker 3: nightmare inducing. So yeah, I don't I don't know. I
• 1:35:30
  Speaker 3: don't know how much you could really, you know, push
• 1:35:32
  Speaker 3: it past that point, but it's it's really creepy.
• 1:35:36
  Speaker 5: Well, we talked. We talked. On our episode, we did
• 1:35:38
  Speaker 5: an interview with with artist uh Gary Gulish Foolish Gary,
• 1:35:45
  Speaker 5: and we talked with him about Gary, it's getting mad.
• 1:35:48
  Speaker 4: It's like I was like, Chris, are so close.
• 1:35:51
  Speaker 5: Sorry, it's almost midnight here. Uh. We talked about how
• 1:35:58
  Speaker 5: we talked about nightmare and dreamscapes and how that show,
• 1:36:01
  Speaker 5: which adapted a bunch of Stephen king Novella's Eight of Them.
• 1:36:05
  Speaker 5: One of them was a short story called Autopsy Room four,
• 1:36:08
  Speaker 5: where a character he is bitten by a snake on
• 1:36:11
  Speaker 5: a golf course and the venom from the snake causes
• 1:36:14
  Speaker 5: his heart rate to go so low that they think
• 1:36:17
  Speaker 5: he's dead and very much like this film week, hear
• 1:36:21
  Speaker 5: his inner thoughts as he's realizing that he is only
• 1:36:24
  Speaker 5: minutes away from being cut open for an autopsy, but
• 1:36:27
  Speaker 5: things keep happening to delay the autopsy and obviously build
• 1:36:30
  Speaker 5: the suspense of the story. And I definitely think there's
• 1:36:34
  Speaker 5: some very clear inspiration for that taken from here.
• 1:36:39
  Speaker 3: Yeah, I mean I feel like Short Night just in general,
• 1:36:42
  Speaker 3: it's incredibly effective storytelling. It is, Yeah, building the tension
• 1:36:48
  Speaker 3: over the entire runtime.
• 1:36:50
  Speaker 5: Well, this ending, though, is really where I think really
• 1:36:56
  Speaker 5: fell in love with this movie on a whole other level,
• 1:36:58
  Speaker 5: because we come back to modern when he's still in
• 1:37:03
  Speaker 5: his state of catalepsy. Now we know everything leading up
• 1:37:08
  Speaker 5: to this. He is now in front of what looks
• 1:37:11
  Speaker 5: like med students' medical professionals, in front of the journalists.
• 1:37:15
  Speaker 5: Jessica is watching. We look over, Velinsky is watching, and
• 1:37:18
  Speaker 5: his band of other people in power who have sucked
• 1:37:23
  Speaker 5: the life force out of young people who believe in freedom.
• 1:37:26
  Speaker 5: We're also watching over and we hear Gregory saying like
• 1:37:31
  Speaker 5: I need to this is my last chance. I need
• 1:37:33
  Speaker 5: to get something moving, and he begins to move his hand,
• 1:37:37
  Speaker 5: but he moves the hand that is furthest away out
• 1:37:42
  Speaker 5: of view of the rest of the attendees and only
• 1:37:46
  Speaker 5: Professor Carding sees it and pins his hand down, takes
• 1:37:50
  Speaker 5: his hand and literally puts it over it to stop
• 1:37:53
  Speaker 5: it from moving while he begins the autopsy on Gregory.
• 1:38:00
  Speaker 5: And what a fucking ending, man Like.
• 1:38:05
  Speaker 3: It's it's it's bleak. It's a gut punch. Yeah, masterful
• 1:38:15
  Speaker 3: in the level of storytelling that we're getting. Because I
• 1:38:19
  Speaker 3: think I don't know about you, but on first watch
• 1:38:21
  Speaker 3: you're thinking that you know there will be some way
• 1:38:23
  Speaker 3: out of this.
• 1:38:25
  Speaker 4: It's pretty dark.
• 1:38:27
  Speaker 5: Yeah, there's no way out of this. There nothing about
• 1:38:29
  Speaker 5: the ending of this movie is positive or heartwarming. It's
• 1:38:35
  Speaker 5: bleak all the way through.
• 1:38:40
  Speaker 3: So I know you had a very high praise for
• 1:38:44
  Speaker 3: this film after going back and obviously we're watching it a.
• 1:38:47
  Speaker 4: Couple of times.
• 1:38:49
  Speaker 3: Where does this fall as far as like out of
• 1:38:51
  Speaker 3: yellow films for you? Would you say this is like
• 1:38:53
  Speaker 3: top tier? Are the ones you've seen?
• 1:38:56
  Speaker 5: Yeah? I love this movie. I mean it's really it's
• 1:39:01
  Speaker 5: hard to rank in that way because it depends on
• 1:39:04
  Speaker 5: what you want most out of your shallo. Like, there's
• 1:39:10
  Speaker 5: times when this is what I'm going to be in
• 1:39:11
  Speaker 5: a mood for There's other times where I'm just gonna
• 1:39:13
  Speaker 5: throw on Sergio Martinez Torso and just really go to
• 1:39:18
  Speaker 5: the deep end of depravity. You know, this is again,
• 1:39:24
  Speaker 5: and I think I've said this almost on every single
• 1:39:27
  Speaker 5: episode of this podcast. I mean, we're rearing on sixty episodes.
• 1:39:30
  Speaker 5: If not, if this one isn't sixty, we're somewhere around
• 1:39:33
  Speaker 5: that ballpark. The researched a couple of weeks that we've
• 1:39:37
  Speaker 5: spent with this film, watching and getting into the commentary
• 1:39:39
  Speaker 5: tracks and the bonus features and stuff. I've really come
• 1:39:42
  Speaker 5: to love this movie. The four times that I've watched it,
• 1:39:47
  Speaker 5: including today's watch, I've only loved this movie even more.
• 1:39:52
  Speaker 3: I have to say, out of the films that they've
• 1:39:54
  Speaker 3: selected to give the boutique treatment for the label, you know,
• 1:40:02
  Speaker 3: these are films that definitely deserve this level of love.
• 1:40:06
  Speaker 3: But the fact that they were able to get some
• 1:40:09
  Speaker 3: of these, in my mind at least when I go
• 1:40:12
  Speaker 3: back and it's like, I look at all the shallow
• 1:40:14
  Speaker 3: films outside of like, you know, the more notable ones.
• 1:40:18
  Speaker 3: But when you go back and you look at all
• 1:40:20
  Speaker 3: those shallow films are available, I mean, it's pretty remarkable
• 1:40:23
  Speaker 3: that they were able to get the Case of a Iris,
• 1:40:26
  Speaker 3: This and Black Belly of the Tarantula. Yeah, you know,
• 1:40:31
  Speaker 3: I know, Hyena the Safe. I feel like it's more
• 1:40:33
  Speaker 3: like a crime thriller.
• 1:40:35
  Speaker 4: I don't, I don't. I don't know about you.
• 1:40:38
  Speaker 3: I don't know if I would consider that like a
• 1:40:39
  Speaker 3: true shallow film. But the other ones are definitely like
• 1:40:45
  Speaker 3: you're picking up some pretty awesome shallow films to add
• 1:40:49
  Speaker 3: to your roster.
• 1:40:51
  Speaker 5: Yeah. We talked about this in the interview with Lucas
• 1:40:54
  Speaker 5: and Guido about you know, how how tough it is
• 1:40:57
  Speaker 5: for a label to really get high profile titles because
• 1:41:02
  Speaker 5: there's so many labels out here getting these movies and
• 1:41:06
  Speaker 5: putting them out, and you know, they've they've done such
• 1:41:10
  Speaker 5: a great job at picking titles that I feel like
• 1:41:12
  Speaker 5: other studios kind of or other labels kind of passed
• 1:41:15
  Speaker 5: on for whatever reason, and they've spent you know, the
• 1:41:19
  Speaker 5: the years restoring them and and putting together these presentations.
• 1:41:26
  Speaker 5: I think for a label that that literally is just
• 1:41:30
  Speaker 5: about to release it their fourth title, I think Celilarly
• 1:41:34
  Speaker 5: Dreams is one of the best out there at at
• 1:41:36
  Speaker 5: at creation and really excelling at the restoration process, like
• 1:41:43
  Speaker 5: there are no they they don't, they don't pull any
• 1:41:47
  Speaker 5: stops when it comes to what they're putting together, and
• 1:41:51
  Speaker 5: they're they're they're they're giving you absolutely everything above and
• 1:41:56
  Speaker 5: beyond that that could possibly be given to you for
• 1:41:58
  Speaker 5: the films. And some people like to look at, you know,
• 1:42:02
  Speaker 5: the price tag and say, like, you know, yeah, they're
• 1:42:04
  Speaker 5: not the cheapest or fifty bucks, sixty bucks, sixty five
• 1:42:06
  Speaker 5: dollars depending on the title.
• 1:42:08
  Speaker 4: I promise it's worth it.
• 1:42:09
  Speaker 5: Dude, It's worth every bit. And then even even the
• 1:42:13
  Speaker 5: giant lobby card recreations that they give you are are phenomenals.
• 1:42:18
  Speaker 5: All of their releases so far, I think all three
• 1:42:19
  Speaker 5: have come with the mousepads, which are a fun little
• 1:42:21
  Speaker 5: add on, Like they really do amazing work. And I
• 1:42:27
  Speaker 5: feel like they sort of have these ups and downs
• 1:42:32
  Speaker 5: as far as relevance because they have like a release
• 1:42:35
  Speaker 5: comes out, it gets a lot of attention, and then
• 1:42:37
  Speaker 5: there's a lull until the next kind of release. But
• 1:42:42
  Speaker 5: as far as labels that I love, I would prefer
• 1:42:46
  Speaker 5: you to have give me that banger of a release
• 1:42:51
  Speaker 5: that's perfect that I have nothing to complain about. I'm
• 1:42:53
  Speaker 5: gonna learn, I'm going to enjoy and then go go
• 1:42:59
  Speaker 5: do your thing, grab another title, restore it, put the
• 1:43:03
  Speaker 5: time in. I don't need ten releases a year from you. No,
• 1:43:07
  Speaker 5: I don't need take your time, continue what you do
• 1:43:11
  Speaker 5: and keep putting out this level of quality time and
• 1:43:14
  Speaker 5: time again.
• 1:43:16
  Speaker 3: I feel like I'd rather take the quality over quantity,
• 1:43:19
  Speaker 3: especially when it comes to a genre that I'm as
• 1:43:24
  Speaker 3: well as yourself are really passionate about. So if it
• 1:43:27
  Speaker 3: requires the extra time to get high quality releases like this,
• 1:43:32
  Speaker 3: and I'm totally fine with it. And you know, obviously
• 1:43:34
  Speaker 3: we get other stuff in between. But I will say,
• 1:43:37
  Speaker 3: I mean this is a like bar none, my favorite
• 1:43:42
  Speaker 3: label currently, just with everything that they're offering. And like
• 1:43:48
  Speaker 3: I said, I mean, I'm always looking forward to, you know,
• 1:43:50
  Speaker 3: whatever they have in the pipeline and you know what
• 1:43:52
  Speaker 3: they're ready to announce in the near future.
• 1:43:55
  Speaker 5: Yeah, yeah, absolutely man, And a couple of great comments
• 1:44:00
  Speaker 5: Terry tracks here. There's a pretty stunning hour and a
• 1:44:03
  Speaker 5: half long interview in this set with with Gen sorel
• 1:44:09
  Speaker 5: and and and Auto Lato and a bunch of other
• 1:44:12
  Speaker 5: cast and crew members. You get the grindhouse cut of
• 1:44:14
  Speaker 5: the film. I mean, there's a lot to really love
• 1:44:17
  Speaker 5: about this released some beautiful artwork as well a booklet,
• 1:44:23
  Speaker 5: and as as we always say here, don't use this
• 1:44:27
  Speaker 5: episode as like the end all be all or the
• 1:44:30
  Speaker 5: commentary track. Go give them a listen. There's more information
• 1:44:34
  Speaker 5: in here that we didn't go over. So go give
• 1:44:38
  Speaker 5: them a listen, dive into them. Throw them on when
• 1:44:41
  Speaker 5: you know you're doing maybe you were familiar with the movie.
• 1:44:43
  Speaker 5: Throw them one while you're folding laundry or whatever. Use
• 1:44:46
  Speaker 5: them as an audio track. I mean the one I
• 1:44:48
  Speaker 5: watched does have subtitles because of the language, but you
• 1:44:52
  Speaker 5: know Ghetto's are that's always in English? Oh yeah, so
• 1:44:56
  Speaker 5: throw those on. Man. I think there's a ton of
• 1:44:58
  Speaker 5: great information here, and I think most importantly like support
• 1:45:03
  Speaker 5: Celluloid Dreams. You know they're they're a label that I
• 1:45:07
  Speaker 5: think are with Black Belly. The transu is going to
• 1:45:11
  Speaker 5: be four for four mm hmm, and not just like Yeah,
• 1:45:16
  Speaker 5: they put out releases that are worth it, absolutely above
• 1:45:18
  Speaker 5: and beyond remarkable work coming from them. Love them.
• 1:45:25
  Speaker 4: Oh man, I'm excited.
• 1:45:27
  Speaker 5: Guido Lucas, if you're listening, I love.
• 1:45:30
  Speaker 4: Yeah, thank you for everything.
• 1:45:34
  Speaker 5: Yeah yeah, Well, any last notes on h on Short
• 1:45:40
  Speaker 5: Night of Glass Dolls.
• 1:45:43
  Speaker 3: No, I'm just really happy that we finally got to
• 1:45:45
  Speaker 3: cover this film. For those of you guys who are
• 1:45:48
  Speaker 3: maybe on the fence about picking this one up, I
• 1:45:50
  Speaker 3: can't recommend it enough. Any of their titles, I mean,
• 1:45:54
  Speaker 3: I don't think you can go wrong with any of them,
• 1:45:55
  Speaker 3: but if you're looking.
• 1:45:57
  Speaker 4: Into getting into.
• 1:46:01
  Speaker 3: Some of the more iconic Ghallow films that are out there,
• 1:46:05
  Speaker 3: this is definitely a good starting point.
• 1:46:08
  Speaker 5: I couldn't agree more. We will have a link down
• 1:46:10
  Speaker 5: below to the Cellularly Dream site if you feel like
• 1:46:13
  Speaker 5: picking us up. I'll also have a link to the
• 1:46:15
  Speaker 5: Amazon description as well. We do not get any sort
• 1:46:19
  Speaker 5: of incentive or kickback through going through these links. I
• 1:46:22
  Speaker 5: just encourage you to support this label, pick up these releases.
• 1:46:28
  Speaker 5: You know, it's really incredible work coming out from them,
• 1:46:31
  Speaker 5: and I'm excited. I can't wait. You know. I have
• 1:46:35
  Speaker 5: a feeling it's gonna be way sooner than we think.
• 1:46:36
  Speaker 5: We're gonna be talking about Black Valley of the Tchanceler.
• 1:46:39
  Speaker 4: Oh, I'm sure.
• 1:46:40
  Speaker 3: So that's all you guys are gonna hear me talking about.
• 1:46:43
  Speaker 5: Yep, yep. Thank you everybody for the support on the show.
• 1:46:47
  Speaker 5: Make sure you go check out go to the website
• 1:46:50
  Speaker 5: down below to check out the partner shows on Someone's
• 1:46:53
  Speaker 5: Favorite Productions podcast network. Recently, I've been diving into a
• 1:46:56
  Speaker 5: brand new show called The Director's I where their hosts
• 1:47:01
  Speaker 5: they're part of the Someone's Favorit Productions podcast network. They
• 1:47:04
  Speaker 5: essentially discuss and break down, you know how a filmmaker's
• 1:47:10
  Speaker 5: progression into being an all tour through diving in their
• 1:47:14
  Speaker 5: filmography one piece at a time. And they just kicked
• 1:47:16
  Speaker 5: off their first season with James Cameron, So very interesting
• 1:47:21
  Speaker 5: discussion on that first episode around you know Genesis, which
• 1:47:24
  Speaker 5: was Cameron's dentist funded first short film and his work
• 1:47:29
  Speaker 5: with Roger Corman including Pirana to the spawning his directorial debut.
• 1:47:34
  Speaker 5: Absolutely love that show, Love what they're doing, you know,
• 1:47:38
  Speaker 5: I hope everyone takes a chance to go check that out.
• 1:47:41
  Speaker 5: And before we say goodbyes, Steve, tell the listener where
• 1:47:45
  Speaker 5: they can find you at.
• 1:47:47
  Speaker 3: You guys can find me after ours video on on YouTube, TikTok, Instagram,
• 1:47:52
  Speaker 3: you name it, and as always a co host with
• 1:47:56
  Speaker 3: my good friend Chris beyond the Blood.
• 1:47:59
  Speaker 5: Yeah yeah, and you guys always find me over on
• 1:48:00
  Speaker 5: Instagram at Bearded film Guy. Always hear it Beyond the
• 1:48:04
  Speaker 5: Blood as well as the Fireside Collection podcast with our
• 1:48:08
  Speaker 5: good friend Geordian. Yeah, so we're always over there as well. Listen,
• 1:48:14
  Speaker 5: keep supporting bonus features, collect the movies that you love,
• 1:48:17
  Speaker 5: keep learning physical media's education. We preach out around these parts.
• 1:48:21
  Speaker 5: Watch movies, Just keep watching movies. Thank you to everybody listening.
• 1:48:25
  Speaker 5: Thank you Steve for being the absolute greatest host.
• 1:48:28
  Speaker 3: Imagine likewise Man appreciates you more than you know.
• 1:48:32
  Speaker 5: And we'll be back. We'll be back next week with
• 1:48:35
  Speaker 5: a staff Picks episode, So until then, we'll catch you
• 1:48:38
  Speaker 5: into movies.
• 1:48:45
  Speaker 2: Thank you for listening. To hear more shows from the
• 1:48:48
  Speaker 2: Someone's Favorite Productions Podcast Network, please select the link in
• 1:48:52
  Speaker 2: the description