Latest / Citizen Frame / Halloween Month and a 1/2 episode 8: Suspiria (1977)

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Halloween Month and a 1/2 episode 8: Suspiria (1977) · Citizen Frame

0:17
All right people sad day today it we are at the end of halloween month and a
0:23
half until next halloween or at least until our next film frankenstein so next week,
0:29
yeah well listen frankenstein doesn't frankenstein doesn't count as a genre so that's not because,
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it's a new release right yeah well we're sort of that's my band in the rules
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yeah that's my train of thought i just got to i just saw frankenstein obviously
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on netflix i wonder if it's playing in if it's playing in the theater here i
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would like to do justice to go see it in the theater but not it's on Netflix
0:54
so we'll be doing that podcast later this week,
0:57
so go give it a watch before you come listen to us I won't give you my verdict on it yet but anyways,
1:04
we're here to end we started with Black Friday no no Black Sunday no no no no
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it was house by the cemetery yeah,
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Oh, yes. We had two Italian films. Yes. Yes. House by the Cemetery, which was god-awful.
1:22
And so- And your opinion. And that's the only one that counts. Oh. Yeah.
1:28
How arrogant is that? Yeah. Fucking right. Name dropping. Recognized, motherfucker.
1:34
Happy Sunday, everybody. Yeah. We're on good farm this morning.
1:40
I cleaned my flat today. I've been up since like six. Right?
1:46
Shit the bed again, did you? Right? I changed my sheets, the nurse came.
1:53
Fuck off. I shaved the beard. Right? I got rid of the beard. Okay.
1:59
Way, oh yeah. Just too high maintenance. Right? Like yourself then? Ironically?
2:06
Fuck off. Anytime you take a sip of something, you got to wipe your fucking
2:09
beard. I have only ever, I've never grown a beard.
2:13
But for charity, it's like a Movember, I think it's called, thing in work I
2:18
grew a moustache for the first time a couple of years ago
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And I looked like a 1970s Belfast terrorist So, it was bad looking Wow,
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just going for the IRA look Yeah, well, something like that anyway Yeah,
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it wasn't a good look, but yeah But it was for charity, you know, so there you go,
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Yeah, so I got rid of it. I was like, miss a child every time I eat something. Right?
2:48
So, where are we here? Oh, yes. So, we're right back here.
2:53
We are talking the king of giallo, I think.
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I know there's a little argument there, but I think Dario Zentro is the one
3:01
people go to when it comes to giallo films.
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Gialo, however you want to pronounce it. This is probably his most beloved.
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We had that argument with Deep Red. I still think Deep Red's his best work.
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I think that's one that definitely put him on the map.
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And I think Deep Red's still his most respected, but Suspiria is definitely up there.
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I read up on it a little bit, a little bit. He actually got the title from an
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1845 book by a man named Thomas De Quincey called Suspiria de Profondis.
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This included an essay called Levana and Our Ladies of Sorrow,
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where the ladies are the basis of what Argento would take as his Three Mothers trilogy. Yes.
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And this is the start of it, Suspiria, Inferno, and Mother of Tears.
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He just got it from the titles from this book.
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Now, when you see in the credits, he'll thank him or he'll but it's not based on any of his material,
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he just took from the titles, I believe that's how it worked yeah I think that's
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right and the witch at the end of this one her full name is Matar Suspirium
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I believe basically from the Latin and that's where we'll get the title Suspiria from,
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Which is elaborated more on in the sort of remake from a few years ago.
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Basically, I would have to watch it again. It's been a few years,
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but I remember it being quite well made, but pretentious and very different
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from this original version.
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But yeah, let's stick with the original version, at least for this podcast.
4:50
I don't know why they remade it. Does it make any sense? No, no.
4:54
This is the type of film that you can't remake like A Clockwork Orange and The
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Exorcist I would say as well it's a one off, it's completely unique and it shouldn't
5:06
really have been remade.
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We talked about that with 70s
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cinema because you can't really remake 70s cinema because it's up to time.
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Exactly. And you can't remake The Warriors now, it's impossible. No chance.
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And this would be up there with it it's definitely a film, when you mention
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horror in the 70s this is on their list.
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And yeah so they try
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to do with the omen valiant effort I'll give
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them that but otherwise it was like it had no eeriness to
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it because the eeriness is gone because it doesn't
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have that 70s vibe and plus we've seen it all before yeah the omen sort of recent
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one I think it was called the first omen or something it was kind of pointless
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again I like the remake from 2006 of the omen as well it's just pointless they're
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just cautions essentially well I liked the, we talked about this,
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we should maybe get to the Omens, but the first,
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the Omens remake 2006, like I said, was, was a decent effort,
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but just didn't have the.
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It was pointless. Yeah. Pointless.
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But the first Omen I actually enjoy.
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It was more, the first one was more in a sort of Rosemary's baby ilk.
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It was a very sort of different from the whole Damien stuff.
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But, yeah, our boy Dario. I'm not into goth horror, as most of you guys know.
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Black Sunday was a pleasant surprise for me.
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And I didn't like Rosemary's Baby because the tongue-in-cheek element of it kind of took me out of it.
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And there's really no timetable. It was kind of a muddled mess in my eyes.
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I can respect why people like it.
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But what I really like about this film and others like it, And people know I like my two genre films.
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And this one has that goth feel, especially the setting and the whole,
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the Covenant Witches and so forth.
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But then you also got the slasher element to it.
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And one of the best films to ever come out, and I think it's one of the best
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horror films to ever come out, is Exorcist Legion.
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And Exorcist Legion does that well. Yeah.
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You have a slasher element story to it. is the slasher what's going on and then
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you've got obviously the demonic possessions and the,
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whole out of body stuff like that possessed
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old people bumping people off with giant scissors and stuff
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yeah fucking classic still a creepiest oh
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yeah yeah uh but i'm
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not a fan of that works and but this but but i
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remember enjoying susperia and i do like susperia i mean
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i'm not gonna i'm gonna have some good pokes at it
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but and of course any film
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that features the goblins is gonna is gonna
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get a pass because the goblins music's especially crazy and i fucking love it
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i saw a screening of suspiria in 2013 here in belfast waterfront hall and goblin
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were there in the theater providing a live score for it it was a great experience.
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Yeah, I was going to go to that, but I don't know why I ended up not going.
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That would have been cool.
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It was. It was very cool. And strangely, in the Waterfront Hall,
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at the very same time, there was a Daniel O'Donnell concert going on,
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the Irish country singer.
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So it was this really weird mix of sort of a crowd in the foyer beforehand of Daniel O'Donnell,
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old women fans, looking for their cups of tea,
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And weak Daniel And all of the goth kids The sort of horror weirdos like myself
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So it was just a really strange mix But it was It was like the cast from Cocoon
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Meets the Wicker Man cast Pretty much,
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yeah, exactly And it was just very sort of surreal But yeah,
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I mean it was great Experience with Goblin providing The live score to this With it on the big screen,
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All right, let's jump into this. Spira, 1977.
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We've got Jessica Harper who plays Susie. Stefaniana.
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Stefaniana. God, why am I so bad at Italian names? Cassini is Sarah.
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Flavio Bucci is Daniel. He's the blind pianist. Poor bastard.
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Well, the dog. Yeah, the dog. Miguel Bosé is Mark. We got Barbara Magnolfi as Olga.
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I got to give her a shout. She's Eva Saxon. This poor woman gets slaughtered
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in the beginning. She plays Pat. Yep.
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We got Lydia Valle, who plays Mrs. Tanner. And, of course, the lead,
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Joan Bennett, as Madame Blank.
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So there you go. I didn't like the beginning here, what happened.
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I didn't get what he was thinking. Dario Argento could have easily done this
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with a one-line fix, and so it takes you out. Just lucky it's in the very beginning.
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For some reason, we got the Goblin score going, and then all of a sudden,
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it's his voice, by the way, narrates why Susie's going to this dance academy.
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It was a data dump for absolutely no reason. We could put the pieces together
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once he gets there and talks to Madame Black while she's there.
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We didn't need this narration in the beginning of the credits.
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It kind of took me out a bit.
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Well, the strange thing about it as well is this film is very much visual storytelling.
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Exactly. So it does seem to be quite random compared to the rest of the film.
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It didn't bother me, really, but it does seem a bit sort of out of place compared
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to the rest of the film and the way the story's told throughout the rest of it.
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He'd done that a couple of times. He does that once in a while.
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He does that in most of his films. He'll do something that's kind of uncharacteristic
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for the rest of the film. He did that with Deep Red.
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I believe he did the exact same thing in Deep Red during the credits.
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I'd have to watch it again.
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Yeah, I can't remember. It was either a strange cutaway, I think it was,
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or a narration of some sort.
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But it's like it doesn't again it's in the beginning of the film just move on
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from it now I do like the introduction to our girl here Susie she's,
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primarily because she can't get a cab. She's getting soaking wet.
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The rain's pouring down.
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So you already know she's fucked. Yeah.
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No, there's a McDonald's, right? Did you see the McDonald's across the street?
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No, there's McDonald's. I thought that was kind of funny.
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Hey, McDonald's. Do you know what they call, and don't get all Pulp Fiction
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on me, do you know what they call a quarter pounder of cheese?
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Because this is based in Germany, by the way.
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So do you know what they call a quarter pounder of cheese in Germany?
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The Royale with cheese, yeah. I don't know.
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It's Hamburger Royale TS. Right. There you go. And the TS means tomato and salad.
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Thanks for that, Samuel L. Jackson.
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No, that's a Royale with cheese. Yeah. That's a Royale with cheese.
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The Royale with cheese, yeah.
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No, that's in France. He said that's what they call it.
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The French version is called the Royale of cheese.
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I don't think we should really get bogged down on the different types of Big
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Macs throughout Europe.
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I mean, because personally, I don't give a shit.
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I don't eat McDonald's anyway. I'm going to Germany in May, so I'm getting ready.
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I'm getting ready how to speak McDonald's in Germany.
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I hope you end up at a creepy dance academy for some bizarre reason.
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And you get bumped off by some witches there.
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Matt had a Suspirium. you,
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I walk in there and go, nope, and leave. Yep, our Miss Tanner,
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who's a tough old bird, she had beat the shit out of you.
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So she's going to the academy. It's Marco's Dance Academy. And this is where we meet Pat.
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She's trying to get in. She runs out. Yeah. And all she can think is she can
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hear two words, which is iris and secret.
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Yes. And that's all she could hear what Pat was saying when she was trying to
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get into this academy. And then we follow Pat.
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Yeah, when Pat gets it, it's pretty brutal.
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And what he does with the Goblins music, I like. In this one,
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he implements these moans, like this witchy moans, this covenant of witches kind of moaning.
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And he puts that in the background, which actually makes it quite creepily. Surreal? Bizarre?
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Yeah, bizarre, exactly. And then you've got the Goblins music,
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who almost has that tubular bells kind of sound to it.
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And so the score does really work on this one, especially with the,
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because you almost got that, you know how you always have the children in the omen. Oh, yeah.
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It's almost like a sort of trope with creepy kids films.
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Yeah. Like a lullaby almost type, you know, la, la, la, la, la.
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Yeah, exactly. And this is kind of what he does with this one,
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which certainly does work.
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Whenever she's running through the forest, you can hear it as part of the Goblin
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score. or you can even hear them going, which, which, you know, all this sort of thing.
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Yeah, seeing the four scenes he's running with reminded me of where maybe Sam
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Raimi got some of his style because it kind of reflected a little bit on the
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Evil Dead sequence in the beginning.
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This was also a big influence on Carpenter as well.
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Carpenter is a huge fan of this.
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I didn't know that. Yeah. I'll talk to John later. Cause we're good friends.
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Yeah. I know that. Yeah. Yeah.
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Whenever you like, I'm stalking him again. Yeah.
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Once every street is order up, John. Let's talk to spirit. John.
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Fuck off, Karen. Phone down.
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Pad locks on the door.
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So when his Pat gets it, I do like the sequence where she's drawn to the window.
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And she goes to her friend's place, and she's drawn to this window.
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And through the curtains, you see this shadow.
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We don't see much. It's almost like an outline of a person's face.
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At the eyes. And then that's him telling us she's being drawn to the window, like hypnotized.
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And then once she gets closer, we see the eyes come through.
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Those eyes are going to come back. The best shot in the film is near the end.
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Yeah. I'll shortly get to it.
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But yeah, those eyes appear, which is quite creepily. I got a little confused.
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Again, this is her Zento style, and she's getting her head pushed through the
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glass, which is quite creepy looking.
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And then it cut to she's on a balcony somewhere.
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So did the killer pull her through the glass window?
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No, I think he pulled her through parts of the rest of the apartment sort of complex.
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I believe she gets away from the window. It is quite creepy when her face is
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pushed up against it. Yeah. It's like suffocating.
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Yeah, but she's smashing the window with her face. She's okay at this point.
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Then it cuts to, she's running.
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Yeah, she gets away briefly, but then obviously the killer catches up with her.
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Okay, just a different kind of cut. He does this sometimes, and it does get
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a little confusing. It adds to the surrealism.
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He definitely, but he brutalizes her, stabs her quite a few times.
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And Jetta likes to go that extra
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mile. Not only am I going to show you me stabbing her like 400 times,
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I'm going to see an interior shot of me
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stabbing her heart yeah but it's hard
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it's hard to take because of
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the colour sort of palette used here
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throughout but even with the blood where it's like saturated it's hard to take
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it it's hard to be defined it like super gory and brutal because of the colour
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of the blood Sam Raimi did the same although that was really too because of
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the censors with Evil Dead 2 where we give the demons like green blood so once you sort of
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change even subtly like here the color
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of the blood it it sort of takes you out of
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it a bit and you realize yeah it's just a film it's not really a
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brutal brutal stabbing it is a bit but at
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the same time it does there is a distance sir where you're saying i i understand
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but it is brutal i mean no it's still brutal it is brutal but i mean you know
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it's over the top after you stab her in the heart because just to make sure
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she's dead you you chuck her over the balcony and then you hang her.
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And then I think it's funny when all the glass from the ceiling comes down and
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then a part roommate just let her in for 10 seconds, you cut to,
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she's dead because all the glasses fell on her. The shards of glass fell on her. Yeah.
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Although I think they may have survived this. Nobody joking.
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I mean, it's like, he's really nailing home the point. Yeah.
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I mean, this is, it's brutal, but I do think that the sort of,
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the sort of, it's more like a warm red color of the blood those take out of
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it a bit in terms of you know it's like saying it's just a film it's it's not
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actually real and but it is it is pretty hardcore nonetheless.
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So we meet. Olga's not really in it that much. Yeah. Olga's kind of a weird
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character. She's kind of the bitch of the group, right?
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And some of the lines are so cheesy. There's Sarah and Susie.
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They're going to be our two main leads, really.
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And she makes a comment. Oh, they say women's names. Start with S's.
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Sound like snakes or something.
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Do you know? And she starts going, what the fuck?
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Do you know why this is? again it's only
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because I sort of looked it up
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and I found it the original script had
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the girls in this were 12 year olds essentially but
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then the guy at the studio actually Argento's father said nah I mean that's
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too much sort of bumping off 12 year old girls so Dario Argento changed him
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to 20 year olds but he didn't change the dialogue so that's why they're behaving childishly,
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where they're like sticking their tongues out at each other and stuff.
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Yeah, and they're very childish. That's why. And she's like the bully.
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Yeah. Also Olga is also, although it's not explicitly stated,
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Olga is also a witch in training. She's part of the coven.
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Let me ask you this. They obviously want her to stay there, right?
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Yes. But she's going to rent with Olga outside of the academy.
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Why couldn't they just give her a room there? Why? Because you know they always
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want her back. They deliberately get her back.
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But why did they give her?
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Why was her? Why her susperium must have wanted her?
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I've said you have to get her back because they're basically... Oh, okay.
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Matter Suspiria is like the big boss, essentially, in the background,
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you know, and whatever she says goes, essentially.
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I'm assuming she just wanted her as a victim, although there is a bit of confusion because, I mean,
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there's a lot of stuff you could pick holes in this in terms of,
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you know, plot holes and stuff, but at the same time, it's just,
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like, visually gorgeous and just so, you know, horrifically beautiful.
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But, you know, it's stated later on about the witches, you know,
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when Udo Kier and stuff, professor dudes up here, that basically Matar Suspirium,
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she's basically an old Greek witch.
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She is basically doing all this to acquire great wealth.
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But why would she even need Susie there? You know? Yeah, when she's...
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Still at August at this time, but she's back at the academy doing her thing or whatever.
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You got that little freaky bastard child and you've got the big woman and she's
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polishing silver, right?
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Yeah. And she's staring at Susie. So when she's walking down this hallway,
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the silver shines in her eyes and this causes her to, she has this fainting spell. Yes.
20:48
That was obviously deliberate. Oh no, that's like some sort of spell thing.
20:53
That's right. Because when she gets- Yeah. So once he fell ill,
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they said, well, we got a room for you now. You can stay here.
21:00
It was good to see you in it as the sort of manservant, the guy with the false teeth.
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I'll be like, no, fuck you. Well, you know, it's funny you say that because
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my dream when I was younger, it was to always be a ballet dancer.
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Oh yeah. You'd be perfect at that. You've such grace.
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I have always won. I mean, it was a dream of mine, but it was,
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it was hard, you know. Yeah. The training.
21:24
Well, the problem is, are the ladies. Well. Now, I did a beautiful rendition of Swan Lake.
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Yeah. And the ladies. I think it's funny to see that. The ladies just swooned all over me.
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So, I was like, I can't. This is an affair. This is an affair to this wonderful ballet classic.
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It's being overshadowed by my charm and good looks. Well. That the ladies. And dancing?
21:47
Yeah, exactly. I didn't say that. You must have saw some of my tapes. They're really good.
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So, that's why I had to give it up. Some of your tapes, that sounds creepy as
21:55
hell. That sounds like barbarian.
21:59
This hits home. Who really hits home with me? I don't want to see any of your tapes, trust me.
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You know who's a trained ballet dancer? A fully trained ballet dancer?
22:08
Seriously? Mads Mikkelsen? Well, I know that. Yeah.
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But anyway thank you.
22:17
Yes but I like creepy kid and creepy
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sort of servant woman yeah big
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woman it's basically it's basically a
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spell they put on her to make her yeah when she faints she wakes up and the
22:32
fucking Tanner is just shoving a fucking jug of water down her throat it's like
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bitch get off me I like Tanner you know what I mean I do like the villains Tanner
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and Black Oh, just so overselling it. Oh, yeah.
22:45
Yeah. Especially whenever Tanner shouts at the blind man for his dog attacking creepy kid.
22:51
Um, you know, it's like, get out, get out. You know, it's like, whoa.
22:58
And then, and then the killer, who's the, you know, the freaky man,
23:02
um, Paslov, Paslov. He's one, he's kind of the houseman.
23:06
Yeah. She goes, you can, you can make fun of him. He doesn't understand English. I'm like, damn.
23:11
Yeah. though it's a tough school
23:12
and tanner's a tough old bird you know she's very booch and you know,
23:18
dario argento himself has said you know
23:21
if there's any sort of subtext in this film it's basically generally lesbianism
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essentially you know that's what dario argento said although it's more of a
23:31
sort of visual sort of film overall you know but that's what he's basically
23:38
stated about if there is any subtext in it?
23:41
I didn't see that. Maybe I didn't really see it like that.
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But I do see that all the males in this are pretty much servants within the academy itself.
23:55
But no, I didn't really see much stage of that. But yeah, to each their own.
24:00
Well, I think maybe with the Tanner character, but also maybe with the girls
24:05
as well, the way they're all sort of, you know, In the same dormitory and sort
24:10
of stuff I don't know, I'm just going by what Argento himself said,
24:14
This whole scene with the maggots seemed kind of pointless. With the what? The maggots.
24:19
Oh, I think, yeah, I think it was just to give us, it was probably too long without a scar.
24:26
So it was sort of, yeah, we need to get some more horror in there.
24:29
So, but it sort of worked for me. I found it quite sort of like gross in a sort
24:35
of cool horror way. I quite liked it.
24:39
Now, I do like when they put them in the gym and they're all just going to sleep
24:43
there for the night, the dormitory, whatever it is.
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And teachers are sleeping on the other side and the students are on the other
24:50
side and they have this red glow behind.
24:54
Yeah. And then you see this person sleeping, obviously one of the teachers behind
25:00
Sophie and Susie and that's Susie, Sarah's dating dumping on Susie.
25:06
It's Susie, right? Yeah. Yeah, yeah.
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And Sarah, yes. you hear that someone breathing really heavily,
25:15
sleeping and their chest going really high up and down low.
25:20
It's definitely not one of the teachers that we've been introduced to.
25:23
This is obviously the introduction to the mystery witch who will find out who
25:28
that is down the road but it's actually a nice sequence. He uses, he's always done this.
25:34
Where he'll, he'll have a glow of some sort.
25:38
It could be a blue, it could be a red, something that changes the atmosphere
25:44
a bit. And that's the way he does it.
25:45
You'll have people who use composers' music to change the atmosphere for a setting.
25:50
Yeah. He likes to use different kinds of colors.
25:53
Like this one is the red glow behind the sheet. Then he'll use a blue glow behind
25:58
someone else during another sequence.
26:00
It's, it's. No, no. It's kind of hypnotic. It doesn't take you out.
26:04
Usually i'm not into this shit i'm usually not into this kind
26:07
of this kind of filmmaking but argento gets
26:10
away with it no no he sort of i
26:13
mean obviously in logical terms and in
26:16
real world terms i mean the colors generally
26:20
around us don't change on a whim if you know what i mean things
26:23
don't all of a sudden go blue or red or whatever but it
26:26
is very much an artistic you know fleur and
26:30
fleurs from Argento and they work
26:33
for him especially here you know this is
26:36
very much a visual film Romero did
26:40
the same thing with Creepshow Creepshow had these different toned rooms a room
26:48
would go all of a sudden all black with the massive glow of red behind it usually
26:54
during an impactful moment and he did especially with,
27:00
fluffy one in the crate. Oh, yeah, the monster.
27:04
Where you'll see a man get his
27:06
throat ripped open, but it'll go in this different color of green. Yeah.
27:11
It's like comic book style. Yes. For the old AC comics. Yeah.
27:16
But there's definitely a nod to Argento's style in Creepshow when I saw this
27:22
again. Very possibly. Yeah. Yeah.
27:24
Despite them being too different, different aside from the spectrum when it comes to horror. Yeah.
27:31
So they fired Daniel because the dog attacked a freaky bastard kid.
27:35
Essentially, a freaky little shit kid. You see him at one point,
27:40
you know, going towards the dog with creepy servant woman.
27:44
But we don't actually see what to do. But essentially, then Tanner then goes
27:50
ballistic, completely about ballistic.
27:52
Yeah, I know that. But the dog, the reason I got off, what I got off of it was
27:57
a little freaky bastard kid was walking toward the dog.
28:00
Yes. And the dog sense evil, blah, blah, blah.
28:04
Yes. So that's why the dog probably did pounce. And then they go off on Daniel, like you just said.
28:09
And then Daniel's fired. I just think they're getting rid of a lot of people for no reason.
28:13
I was thinking that as well, especially. They only seem to knock off people
28:19
who know something that's going on.
28:21
I think yeah I
28:25
think it was a case of again along with
28:28
the maggots I think it was a case of we need
28:31
some scars in here we need some more horror moments because
28:34
it's too long without a horror moment so the
28:37
killing of the blind man does seem a bit pointless and
28:41
thrown in but it does work in
28:45
its own terms but in terms of the overall story it does seem a bit sort of shoehorned
28:51
in along with the maggots but I get that it's a horror film so there has to
28:56
be horror moments every so often so yeah I mean.
29:03
It is quite a sort of brutal death with the dog and the dog's chewing away at
29:09
his throat and licking his blood and eating his intestines even after he's dead,
29:15
because obviously the dog's being bewitched,
29:18
Yeah, I just didn't, again, I just don't, why him? The other ones make sense. I just didn't get him.
29:25
Yeah, they needed another kill at this point in the film. Yeah,
29:29
absolutely, yeah. They're probably like, we need to kill the blind guy.
29:33
Exactly, yeah, yeah. I think it was a case of that. So it was,
29:36
which is far enough, you know, yeah, whatever.
29:40
So Sarah Day dumps Susie about, she confided into a friend, and we'll meet that friend in a moment.
29:47
And she's taking notes and so forth.
29:49
And then she realizes there are no true missing. And this, we know she's dead.
29:54
Oh, yeah. It's a little drawn out, some of these sequences. I'll say that. A little drawn out.
30:00
But, again, best shot of the film, Sarah's coming through a door,
30:04
and she's got her back to the wall, and the wall becomes more of a black closet space behind her.
30:11
And she's walking past it, and you see just these faint-shaded,
30:15
the faint glow of these eyes staring at her. Yep.
30:18
Very creepy. it's the same eyes that we were introduced to when Pat got it in
30:22
the beginning I thought that was very,
30:24
he did the same kind of shot in Deep Red he's very good at that and it's a nice,
30:30
subtle jump scare and creepy as hell, yeah yeah, nice Sir's Death though is
30:36
it's like something that I saw a film,
30:39
you know with the razor wire whenever she falls into the room you know,
30:43
she's getting away and it's just,
30:46
oh I squirm every time like so do You know, just have thought of it.
30:50
Yeah. She gets it pretty horribly. Yeah. I will say it, for the killer, it's pretty bad.
30:56
I mean, he couldn't, no, I mean, he couldn't get in that door.
31:01
He's got his blade and all you have to do is flick the lock. Come on, you can do it.
31:05
Flick the lock. And he can't do it. You see the razor blade trying to flick the lock.
31:10
And it's like, come on, man. But it's really good for the tension and building
31:13
the tension. Yeah, I guess it does for a minute or two, but it took like five
31:17
minutes. It's like, yeah, well, it's, you're almost like, hurry the fuck up
31:20
and just get it. Just get the lock. You know what I mean? Hurry up. Yeah.
31:24
But it is, it's a very good sequence and her death will always make me squirm.
31:29
You know, once you falls into all that razor wire, like I say,
31:32
it's like something from a saw film.
31:33
It's quite brutal. Yeah. And then of course she comes back later on and I'm
31:38
an extremely effective scene.
31:41
Yeah. Another good shot. So she, so.
31:45
Am I confused? It's Susie, right? It's not. Susie is the main girl.
31:51
Susie's the American student. Got it. Susie goes to meet Frank Mandel.
31:57
That's the guy that Sarah confided in. Yes. Sarah's now at this point missing. Witchy expert.
32:04
Yeah. No, not yet. This guy's played by. He's mental illness expert.
32:10
Witchy expert comes along soon after. Yes. I'm getting there.
32:15
So, Udo Kier, we all know him. He's been around for years.
32:20
Yep. Everyone loves seeing him. God, he's so young in this. He has to see his hair. Unrecognizable.
32:26
But he's the data dump guy. 1895, the Academy was founded by a witch.
32:32
Her name was Madame Marcus.
32:33
Yes. In 1905, she's been traveling all this time, getting away from people calling
32:41
her a witch and so forth. Villagers dying on a farm. 1905.
32:44
In 1905, a man of Marcus died in a fire.
32:48
And this was the academy where the academy was. And since then,
32:52
it's been rebuilt as this dance academy.
32:55
So that's the data dump. And this is where the witchy man comes in.
32:59
Carl, no, this guy is Rudolph. Fun fact, fun fact time. Fun fact from Karen. Go for it.
33:07
Okay fun fact go for it yeah we're waiting you know you're building attention
33:11
here there better be a good one I recognize this guy and he's an actor his name is Rudolph Schundler,
33:20
and he was the one who was originally accused of killing Burke Dennings in The
33:25
Exorcist he was the McNeil's housekeeper is that him in The Exorcist yeah are
33:32
you sure that's him yep right he played Carl I know who you're talking about,
33:37
Carl is the servant in the house. Yeah, that's him.
33:41
Carl is the Jewish World War II survivor in The Exorcist. Yes, this is him.
33:47
The reason I bring this out, I bring up Udo Kier and I bring up Rudolf Schundler,
33:52
is that they're uncredited in this film. And yet they have pretty good parts.
33:56
They kind of give you the whole thing, what's happening.
33:59
And yeah, they're uncredited. And there you go. They got pretty good street cred.
34:05
Also, the Whenever the witch is revealed at the very end, which is pretty OTT,
34:11
but in a very good way, apparently that is played by...
34:15
What do you call it, a 90-year-old former prostitute,
34:20
uncredited as well, that Dario Argento just happened to meet or stumble across
34:25
on the streets of Rome one time, and he said, yeah, there's my witch, and he cast her in it.
34:32
So, yeah. There you go.
34:35
Yeah, but Rua plays the Professor Milios, and he's the one who pretty much tells,
34:40
you kill, cut the head off a snake.
34:42
Yes. You kill the lead witch, you kill the coven.
34:45
Yeah pretty much what he tells her and then obviously he plants that seed.
34:52
And then she starts putting the piece together which this is where I kind of
34:55
like this is where the film kind of I do enjoy everything that she's been told by Sarah,
35:02
what she saw with Pat to the food she's been eating she started putting the
35:06
piece together why she's been very sleepy she decides to dump the wine and the food.
35:12
She also realizes what Sarah sorry, what Pat was saying and then what Sarah
35:18
was saying about the steps. I didn't get this either.
35:21
She was saying that if you count the footsteps, they're going in a direction
35:25
that there shouldn't be footsteps.
35:27
There's no wall there. There's just a wall there. They're continuing to have part of the wall.
35:33
So she puts the pieces together so she's going to count their steps.
35:37
She's going to follow their steps and it leads to the big room.
35:40
And that big room, she sees irises on the wall.
35:44
And now she starts realizing there's a secret what pat was saying that there's
35:49
a secret door with three irises turn the blue one yeah it's basically um that
35:55
what's what let me i i just like,
35:58
that every little thing that was peppered in that kind of didn't make any sense
36:02
to me finally comes full circle at the end which i think is clever yeah it's
36:06
basically bruce wayne's mansion leading to the bat cave only in this case it's evil witch cave,
36:12
Basically, it's terrible. No, but... But there is a bat in it. I know. Yeah.
36:20
The bat actually gets quite a gruesome death as well. And then,
36:24
but when she starts going into the witch's den, the coven, whatever,
36:29
you can hear Madame Black on, kill that American bitch, make her disappear.
36:33
Yes. Well, why'd you want her in the first place? I still want to know that.
36:37
I don't... Again... You're surrounded by all these other beautiful women.
36:41
Why you see the one you want it's not
36:45
explained and it is a plot hole but in terms
36:48
of this film overall i wouldn't dwell too much on things like plot holes because
36:54
there are there's more than one but it's more of the visual terrors and the
36:59
general tension and this sort of descent into insanity essentially so but yes
37:04
there are certainly things that you could question in
37:07
Why did they even bring her over in the first place if they just wanted to kill her?
37:11
What were they actually planning to use her for? Were they planning to make her a witch?
37:16
Maybe we could rumble that, that they were planning to turn her into a witch.
37:20
Like Olga, apparently, she's like a treating witch.
37:24
Oh, they wanted a groomer, but now since he's fighting back,
37:28
they can't kill her. They have to kill her.
37:29
Yeah, so I could rumble with that. That sort of makes sense in my head and overall.
37:35
Another really nice shot is when she goes into this room to
37:37
hide from them as she's being chased by pavlis yeah
37:41
and then we see the head
37:44
witch but just behind the the veil i guess you could say over the curtain yes
37:48
and all of a sudden here comes sarah's dead body who's now been taken over and
37:53
she's coming out with a pair of scissors very creepy brilliant yeah probably
37:58
the creepiest sort of visual in the whole thing and also the way Sarah,
38:02
her body is like basically you know,
38:05
like she's hammered down by her wrists and stuff it's quite sort of,
38:10
yeah I mean, Argento doesn't sort of shy with the gore, but whenever she reappears,
38:17
very creepy scene, brilliant.
38:19
And is it the glare from the knife that Sarah's coming with her,
38:24
at her that she's able to see the witch is actually in the bed You know what I mean?
38:30
Because you can see her outline, I guess. Yeah, it's basically,
38:34
I don't know why, possibly, the reflection from the knife sort of thing,
38:40
but she can basically see the outline of the witch there during all this confusion.
38:45
And then she stabs her through the throat. Yes, and then the witch appears in
38:49
her full form after she's been stabbed and she's like ancient.
38:53
Well, I don't think she's ancient. I think she's like that because she was burned alive originally.
38:57
Yeah there's a bit of that as well yes but also she's anxious about 200 years
39:01
old or something anyway you know I'll do it yeah and a hooker yeah exactly well you know,
39:11
it hasn't aged her well let's just say all of this witchy hooker stuff you know.
39:17
And then the place burns down and explodes. I love the movie.
39:21
They do this in all films.
39:23
So she kills a witch woman, and she's walking through the hall. I mean walking.
39:28
Things are falling on her. Things are falling off the walls.
39:31
Fucking run, will you? Just fucking run.
39:34
Don't stither and look. Just run.
39:37
Jump out a window or something, or do something that anyone else would do.
39:41
But yes, it's all for a fact. We'll get it.
39:43
But yeah, she runs away. The end. Yep.
39:48
A classic and a hugely influential classic I mean this is just so unique and
39:55
so batshit but in the best possible way and genuinely creepy and visually sort of out there,
40:04
yeah that's his style I do like Deep Red a little better just because I just
40:08
like the more the grounded murder mystery kind of twists and turns and stuff
40:11
but this still has it too and they don't throw the witchy stuff at you there's
40:15
not a lot of witchiness in this, really.
40:18
No, it's more just about this sort of, it's more of a descent into surrealism you know, type thing.
40:27
It's great. It's good stuff. You can't fault with his use of colors,
40:33
the way he uses his music.
40:34
He always peppers in three or four really, really good shots that stick out.
40:40
He always puts nice little twists and turns of something that was planted earlier
40:43
that you might've forgot of, that you might've forgot about.
40:46
And then they realize that they do have points to the conversations they're
40:49
having, even though they seem batshit crazy.
40:51
It all makes sense. And it is a mystery as well. You know, a lot of Argento's
40:55
sort of more earlier stuff, they were more actual giallos, you know, where it's basically,
41:02
you know, like the, is it the bird in the crystal plumage or something like
41:06
that? Yeah, the can of nine tails.
41:08
Yeah, they were more serial killers on the loose, where this is more supernatural.
41:12
Yeah, that's what I'm saying. Deep Red and his earlier works were more almost
41:16
like giallos, were almost like film noirs.
41:19
Yes, yes. You know, with no supernatural elements. Yeah, there's no supernatural
41:23
element, but it's the gratuitous violence, but done in colorful ways,
41:28
so you can't take it too- Too seriously, yeah.
41:32
Yeah, yeah. Yeah. The use of brights. But there you go. Yep.
41:38
I'll wrap up in a nice little bow.
41:40
Next up, we're going to be talking Frankenstein, getting rave reviews so far.
41:45
So we'll be diving into that one this week. And then we got,
41:50
obviously, Christmas month coming up.
41:52
Oh, yeah. Those titles have been picked. Trevor's excited for his hallmark when
41:56
he's picked. I'm going to apologize in advance for some of the titles that we're doing.
42:00
You know, Home Alone, never seen it. Never had any intentions of seeing it,
42:04
so who knows? I might think it's a masterpiece.
42:08
You're going to lose every one of our audience, my friend, if you do not.
42:12
I mean, how does anybody hate Home Alone?
42:15
I've never seen it. I don't hate it. You've said that so many times.
42:19
It's a kid's movie. It's not 18. There's no naked women.
42:24
Sicko. No. No. You know what? I'll turn you on. I don't want children's father.
42:29
I'll turn you on, Trevor.
42:30
Go ahead. Home Alone has a tree in it, and they use it. Oh, right, right. Count me in.
42:37
There you go. No, I mean, my point is that in general terms,
42:42
I don't watch kids films, so I've never seen it.
42:43
Who knows? I might think it's a masterpiece, but I would doubt that.
42:48
We'll see. No, you won't like it because it's heart. It's kind.
42:52
It's not mean-spirited.
42:54
It makes you feel good inside. It makes you leave Theodore with a smile on your
42:59
face, not wanting to hang yourself.
43:00
I'm going to make another controversial statement.
43:05
I think The Goonies is a terrible film.
43:09
That much-beloved classic, The Goonies, I think it is an over-the-top,
43:14
overly-loud, obnoxious film.
43:16
But I did enjoy it as a kid. But anyway.
43:20
You're just... No, I mean, there's places for you in hell. Good.
43:27
Even Devil, you go down there and the Devil will be like, you don't like home
43:30
alone the goonies yeah fuck off you're going to like beyond hell yeah yeah well
43:34
that's i prefer to accept that you know as long as long that day's 10th circle
43:40
of hell features um the goonies and home alone on constant reruns for me so yeah there you go,
43:47
and then in heaven the complete opposite we get to watch the goonies and home
43:52
alone and embrace them and understand what their true meaning was no no no their
43:56
true meaning don't give me fucking a break,
43:59
no no for me that would be like that Twilight Zone episode where the guy thinks
44:02
he's in heaven but it's actually in hell but yeah anyway,
44:07
alright we're going to wrap this one up before I just want to anyways,
44:13
guys thanks for listening give us a shout it's to this afraid want to score
44:16
a podcast on Instagram and of course on Facebook,
44:21
that's all we really have we're going to wrap this one up take care of ourselves
44:25
we'll chat soon Thank you.