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Frankenstein (2025) & Frankenhooker · Citizen Frame

0:45
I feel I have this soul petition.
0:50
Make one like me.
0:55
And then what? Procreation.
1:01
Reproduction.
1:04
A home. A grave.
1:11
Death. Begetting death. Begetting death. A race of devils propagated upon the
1:17
earth, obscenity perpetuating itself.
1:19
I am seen to you, but to myself I simply am. Begone!
1:24
What began as a birthday barbecue ended in a bizarre tragedy in Hohokas, New Jersey today.
1:30
It was this power mower that brought a quick end to the life of 21-year-old
1:34
bride-to-be Elizabeth Shelley.
1:36
Like wood through a mulcher, the girthful fiancée disappeared beneath the blades
1:40
of the berserk mower that sent her personality raining down upon the horrified birthday revelers.
1:45
In a blaze of blood, bones, and body parts, the vivacious young girl was instantly
1:50
reduced to a tossed human salad, a salad that police are still trying to gather
1:54
up, a salad that was once named Elizabeth. Hey, everybody. Welcome back to another
1:57
exciting episode of Citizen Frame.
2:00
We're back after a Halloween month and a half.
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Now, we did promise you that we were going to do Frankenstein because it's a
2:06
big new release, and we wanted to chat about it.
2:10
So, that's right. We're here to talk the new 2025 Frankenstein by beloved director Guillermo del Toro.
2:21
But guess what, people? It won't stop there. Jesus.
2:25
I first got to apologize, really, because we're going to give you a double bill
2:29
today. We don't do a lot of double bills.
2:33
But Trevor loves this film. He goes, we need to do it because it's a better film.
2:39
And I said, what film is better than this Frankenstein we're about to talk about?
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He says, well, I've got it. So unfortunately, folks, we're doing a double bill.
2:49
We're going to talk Frankenstein, probably going to be nominated for a bunch
2:54
of awards, and definitely reintroduced us to a new talent.
3:00
Well, he's been around for a couple movies. That's Jacob Lorty, plays the monster.
3:06
Beautiful visuals, Krebel set design, wonderful acting, great veteran actors, great landscapes.
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And then we're going to piggyback on this wonderful film to Trevor's favorite film.
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Based on the same material, and I apologize that's coming out of my mouth because it's not even close.
3:30
We're going to be talking Frankenhooker. The definitive version of Mary Shelley's
3:35
classic novel, and I don't care what anyone says.
3:39
And actually, the fact that, well, you're saying that Del Toro,
3:43
Frankenstein will probably be nominated for a load of awards.
3:46
It's the fact that Frankenhooker wasn't just shows the snobbery behind these
3:50
awards bodies for obvious classics. Okay?
3:56
You're an idiot. You're a fucking idiot.
3:59
I don't swear a lot of people. What? You've got Tourette's?
4:04
Basically, no offense, you know what I mean? But basically, every word that
4:08
comes out of your mouth is basically, Fuck off, fuck off, you clueless twat. Fuck off. Fuck you.
4:15
No but listen it's because you cause it right right you guys know you guys ever
4:22
have an individual that every time you get around you just want to fucking swear,
4:28
reverber has i actually believe you can get to rats temporarily by talking to
4:34
somebody so basically it's absolutely nothing to do with you being an aggressive
4:38
asshole then no No, I actually, I'm a kind heart.
4:43
Right. You could have fooled me. You know what? This is a perfect conversation
4:47
to have. I'm like the monster.
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And you're Victor Frankenstein.
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What a genius because like the guy is a genius you know i guess he yes yes he has his flaws.
5:04
We'll talk about we talk about character arcs a lot in this and this film definitely
5:08
has it but you know what i saw this one three times and i'll tell you what he
5:12
does it i hate the character,
5:14
and we'll certainly dive into it so let's talk
5:17
about boy boy glaring glaringo deltaro you know
5:19
what i i i like the guy i think he's he's
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such a fan such a fan of cinema
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especially the stuff
5:28
like that i like however i'm a big fan of
5:31
a lot of his stuff believe it or not he's so creative and
5:34
it's kind of like like george lucas kind of thing where
5:37
really good visionary but i just think the stories
5:40
get lost and not people are gonna hate me for this but
5:43
i'm not a big fan of the hellboys I think he
5:46
did Blade 2 which I really enjoyed I love Mimic I like that one a lot and his
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best work is always going to be The Devil's Backbone yeah I was just going to
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say I actually prefer his earlier work like The Devil's Backbone and even Blade
6:01
2 and that's what I'm saying I like him more grounded.
6:06
Limited to budget but when you get these don't get me wrong I love Pad's Labyrinth
6:10
and I really enjoy Shape of the Water but there's not much replayability value
6:16
unlike the other ones I just mentioned.
6:19
So I hope he doesn't become a Cameron where he focuses more on the visuals and
6:24
pulls away from the actual execution of the film, the acting, the story, and so forth.
6:30
He doesn't want this one. Cards on the table, this is a wonderful film.
6:33
There's actually a better version. I will mention that at the end of the podcast.
6:37
But that's kind of where I am at with him. I'm not like, oh my God,
6:42
the U.J. Torrey film is coming.
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I like to see him go back to his roots. I guess. Did you watch his recent anthology
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series? Yeah. On Netflix? The Curious.
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Cabinet of Curiosities, I believe it was called. Yeah. It was okay. Yeah.
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It's okay. Yeah, well, I think like all anthology series, you know,
7:01
you're going to have your favorites. Yeah.
7:03
Yeah. So let's jump into our boy here.
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This is based on a famous novel by Mary Shelley. No one knew that. Yeah, yeah, no.
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It has been adapted almost a thousand times for TV and film.
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A thousand and one, if you include Frankenhaker. Well, it's like the number one, you know.
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So, Andrew Garfield was originally cast, but he had to drop out due to,
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you know, scheduled conflicts, which does happen.
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It's weird because Andrew Garfield is 5'10", and Jacob Lorty,
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whose perfect casting, is 6'5".
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Well, Jacob Lorty, I hope I'm pronouncing his surname correctly,
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he certainly has the height and the physique for it.
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Actually, I was on Facebook recently, and there was a, believe it or not,
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Hallmark version of Frankenstein, which I haven't actually seen,
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but that starred Luke Goss,
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He of Bross, the British boy band from the 1980s, who also appeared in Blade II.
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But the look of the creature in that version, played by Luke Goss,
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is very similar to this one.
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Peshy. Very pashes. Yes. Yeah. All right, let's jump into it.
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But we've got, what a wonderful cast here.
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Oscar Isaac is Victor Frankenstein. Jacob Elordi is the monster.
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Christopher Walsh is Harlander. Mia Goff, believe it or not,
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I didn't know this, plays two parts.
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She plays Elizabeth and she plays the mother, Claire Frankenstein.
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You have to blink. You won't catch it. She must have altered her mouth in some
8:42
way because she's got those lips. Prosthetics.
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Yeah, they got those lips. She got those lips that you know as Mia Goff.
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But I think they put something in her mouth. She doesn't really speak in the
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role to kind of take away the focus of him.
8:54
But if you blink, you miss it. But Mia Goff, again, just like X, plays two roles.
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Yeah. You've got, nice to see, David Bradley. He plays the blind man.
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You've got Lars Milkelson, our boy Mad's brother, plays Captain Anderson.
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I really like that character a lot in this.
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And, of course, we have Felix Kammerer, who plays the younger brother, William.
9:16
Charge Downs as well. as baron frankenstein victor's
9:20
father yeah yeah why do i have that many notes to hell
9:23
i should have that yeah i always like to see charles dance oh yeah yeah well
9:28
of course you might have actual doctor who which you've just mentioned david
9:32
bradley who played the first doctor in the 2005 series onwards a couple of times
9:38
so there you go nobody cares like doctor who reference nobody cares.
9:45
Nobody cares. Nobody cares. Now the address is off. They're right.
9:51
People say, oh, we're done.
9:53
All right. So the film's told pretty much in three parts. The prelude,
9:57
and then we got Victor's story, and then we got the monster story.
10:01
The prelude, it's got so many great parts in this film.
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It's got some downfalls, and the length is going to be one of them.
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And I think the downfall is really Victor's story.
10:13
And I think it's a little elongated. I think the monster's got like 45 minutes
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and he's got like an hour and something, which I can understand maybe he should
10:21
have the longer part of the story, but it could have been chopped up a little
10:24
bit. But the prelude's wonderful.
10:26
We see the ship stuck in the ice and obviously they run in, these poor guys
10:31
who are stuck in the ice, run into the big chase of Victor running,
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well, now he's kind of chasing the monster.
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But he's hurt and they take him on board and the monster wants him for himself, obviously.
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This whole opening sequence is just wonderful.
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There's a gorgeous shot when they find Victor's body and you see the shadow
10:55
of the monster on top of this ice, snow hill, whatever, and you got this sunset coming up behind him.
11:02
It's just creepy and you hear this roar, like a polar bear roar.
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And this is what the film is really about, the cosmetics and the way the visuals is just stunning.
11:16
If you guys have ever seen Crimson Peak, it's probably his worst film to be honest with you.
11:20
But this Frankenstein's castle is
11:24
And it looks like Crimson Peaks. As a matter of fact, I wouldn't be surprised if it's the same set.
11:30
Yeah, I mean, just generally, I mean, it is so lavishing, including the costumes
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and, you know, it's fantastic to look at.
11:39
There are a couple of visuals. Well, actually, it's one visual that pops up
11:41
a couple of times, you know, the like red angel vision that Dan Victor Frankenstein
11:47
is having, you know, whatever he dreams about every so often.
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That's just stunning looking.
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But overall, you cannot fault this film.
11:54
In terms of its look, it just looks absolutely gorgeous, but it's a Del Toro film.
12:01
It's going to look beautiful. That's to be expected. So it is.
12:05
Well, when we, what I do like about it, you pretty much get right away the power of the monster.
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He takes out six of the captain's men, and he just.
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Again, just by a punch, and how they hit the ground hard,
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or whatever again that goes down to sound editing and
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choreography and so forth but just just the
12:29
first five minutes alone you already know how powerful
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this this monster is this is one of the things i would actually nitpick it's
12:38
not a massive thing but i i think that the monster is in this version too much
12:44
of a superhero and we'll certainly get to more about that later on but it's almost bordering,
12:50
on the sort of Marvel superhero type thing, almost even Superman,
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obviously a very different version, but it was one of the things that did slightly niggle me.
13:03
Not a big massive thing but it's definitely there We'll dig a little deeper
13:07
into that I could agree with it to a certain extent but I can see that by the
13:11
very last shot why they kept that kind of, why they added that,
13:17
But there's one scene that doesn't make any sense to me, and it's with the dynamite,
13:20
and we'll certainly talk about that.
13:22
All right, so, and then, obviously, he falls through the ice,
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and then you've got, this is where Victor is bedridden now, pretty much dying
13:30
at this point, but he's telling the captain his story.
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And this is Victor's tale, they call it.
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What you'll notice here is there's a lot of parallels.
13:40
And what I mean by that, you meet the father, who's a complete douche,
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the way he treats Claire and his wife, making her eat that food.
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It's a horrible sequence, the way he treats her and the blood coming out of her mouth and shit.
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If you haven't seen it, I'm not going to explain it. You've got to see it to do the scene justice.
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Very tough to Victor as well, obviously. Well, yeah, I like the scene where
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he goes, I'm not going to hit your hands because your hands are not your tools
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because you're going to be a great doctor.
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But your face, that's for vanity, so he smacks him in the face.
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And it is. But the reason they show this sequence, Victor's going to do the
14:14
exact same thing to the monster.
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This is a film about fatherhood and essentially Victor Frankenstein's journey
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from being one type of father to,
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spoiler alert at the end, redeeming himself and accepting his son.
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So it's basically about fatherhood.
14:34
Yeah, because he doesn't want to, well, the man that his father went out.
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That he was becoming, that he was actually, and the way he treated the creature.
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And then Williams is born. She dies at birth. And the one thing Victor always
14:48
questioned was, he questioned the father, if he's such a man of science,
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my father's the best way he does.
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How did my mother die during birth? Yeah, how could he not save her? Yeah.
15:01
Yes. Yeah, exactly. And this is why. There's also that resentment against the
15:06
brother as well, because he believes that the Charles Donne's father favors
15:09
the brother, which he does.
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Well, also, you're also going to keep in mind, it was his birth that killed the mother.
15:14
Yes. So there's also going to be there. That resentment.
15:18
And the Williams character, his brother and Elizabeth, they're probably the
15:26
two real decent characters in this, next to clearly the monster.
15:30
But I also know it's the parallel between the reason Mia Gott played both parts
15:36
was because Victor is entranced by Elizabeth, not necessarily sexually,
15:40
but mainly because it looks like she looks like her mother.
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But at the same time he's got William who's going to marry Elizabeth who you
15:54
know it's kind of weird because he feels William took away his mother at birth
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when he was born and she died now he's taken away another,
16:04
the harm of his mother by marrying Elizabeth. Yeah, I was just about to say
16:08
that there's definitely touching on the sort of Oedipus complex,
16:13
you know, the whole sort of falling in love with the mother thing.
16:16
That's definitely touched upon and certainly referenced with the Elizabeth character
16:20
after he has lost his mother.
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And it's no coincidence that, you know, both are played by Mia Goth.
16:26
Mia Goth, I've said it before and I'll say it again, has such an amazing presence.
16:31
I know a lot of other people have said that, but there's just something so hypnotising
16:35
about her and especially in this with the whole.
16:41
Overly lavish costumes and stuff you can't take your eyes off her,
16:46
I don't have that with her. I do, definitely.
16:49
No, I'm not. I mean, she's around for a reason. She's very good at what she does.
16:52
I'm not here to insult her. I mean, the one thing I was worried about was she's
16:55
going to go off screaming like she does most of her films.
16:58
It's not Pearl. This is Frankenstein. Yeah, so this is, like we use the word
17:04
a lot, but this is more grounded Mia Gough.
17:07
Yes. Well, it's a different role, obviously. No, yeah, but the role she was
17:11
taking was just her screaming.
17:13
Every role. Infinity Pooh, she plays a very similar role to the whole screaming and shooting. Yeah.
17:17
And X and Maxine, and we can keep going. The roles you know her for, she just screams.
17:23
Yeah, but she's a lot more than just the screaming and shooting.
17:26
No, she's just screaming. And this gives me hope for her.
17:31
Well, her character's probably the most interesting and likable,
17:35
actually, probably out of them all, because the whole Victor Frankenstein,
17:38
you know. No, I think Williams.
17:40
I got Williams as the probably.
17:43
I think Paul Bland No he's got the best line in the film Well yes I know there's
17:49
the whole stuff With Victor but it's been done many times before About you know
17:52
who is the real monster But Elizabeth here she's like an old soul,
17:56
She's like sort of She's a kind soul on top of that And she's sort of It's almost
18:02
like she's born out of time Very like sort of Mary Shelley Herself probably
18:06
was So yeah I found her the most interesting character And she basically plays
18:11
the Bride of Frankenstein,
18:12
but to take a slightly different turn with it later on.
18:15
But, yeah, no, I thought she was a good character, and also superbly played by Mia.
18:23
You mentioned the angel, so our boy, when the father dies, Victor has this image
18:29
of an angel, and it's this red angel, it's pretty creepy and very goth. And.
18:35
I was wondering what this is. I feel like the dark angel he keeps saying,
18:39
because he talks to it a bit, I think it's his alter ego or something,
18:41
or maybe his kind of deal with the devil.
18:44
Well, it's almost like, you know, is it an angel or is it a devil?
18:50
You know what I mean? What way is he going to go? Well, it's almost like his
18:52
deal with Faust. You know, the whole Faust and.
18:55
Yeah. You know, but yeah, because he says, I'm going to become the best surgeon ever. Yes.
19:01
Yeah, but what path is it going to take him?
19:04
You know, is it going to take him to heaven or take him to hell you know
19:07
he can either be a great doctor and save lives or in
19:10
this case he creates a life a creature but then
19:13
you know his son but then the creature
19:16
here is not sort of monster essentially yes it physically by sort of you know
19:23
normal standards so to speak doesn't look too great but at the same time it
19:28
has it you know it has a great soul type thing i think i think the The problem
19:33
I have with, it's not the performance, his performances,
19:36
although there's nothing wrong with any of these performances,
19:37
actually, but it's the way it's written.
19:40
I think at some point, we're supposed to feel sorry for Victor Frankenstein.
19:44
We might turn to the end when we get there. We'll talk about it.
19:47
But this whole thing where, you know, a bad upbringing,
19:51
lost his mother, felt betrayed by his father by going to, as a matter of fact,
19:57
there's a line where he talks about William.
20:02
Where the father, he said the father.
20:08
I can see he loves William more than me. He feels he is the breeze and I'm the storm cloud.
20:15
I think that's the terminology he used.
20:18
And we're supposed to feel kind of sympathetic toward the Victor character,
20:24
but we're never really given that moment to do that. We cut to he's older now.
20:29
He's kind of technically made a deal with the devil, I guess you can say.
20:32
And he's already going to people being executed and looking for bodies.
20:37
And there's a scene where it's a wonderfully beautiful, just eerie scene where
20:43
he's doing this autopsy.
20:45
He's giving them an idea of what he can do. And he has this half body.
20:49
And everyone, yes, Finchie from The Office is in it. Yes, let's get that out
20:53
of the way now. Finchie's from the fucking office.
20:57
Took the words right out of my mouth Fetchy from the office is just He's everywhere
21:01
in the sort of Gothic horrors you know He had nothing else to do He's probably
21:07
in the same costume He's going to be doing werewolf He wasn't even acting That's just what he does,
21:13
So yeah so he got that half body It's a great effect And
21:17
he comes alive Just the way he kills him again Brings
21:20
him alive and he's in pain And the way it's Almost
21:24
carnival-esque oh yeah and it's not so right
21:28
there you hate the man and so you
21:31
never got that chance to feel pity for him before
21:34
he's turned into something you know monstrous pardon
21:38
the pun yeah and yes and his
21:41
father's actually right about the vanity thing because he is
21:44
completely vain and egotistical you know
21:47
as he goes in outer space and that's
21:50
why he does you know he's a genius and he knows it
21:53
type thing but he thinks he can get everything including elizabeth but
21:56
elizabeth knocks him back that's that's his brother that's
21:59
the better writing right there the dinner scene where he's finally introduced
22:02
to her he's like oh i'm doing this and i'm blah blah kind of like you just showing
22:07
off and stuff what you do you like that all the time no no i'm more like i'm
22:13
more like the long-suffering fucking creature having to listen to your shit you know.
22:19
No, but don't get me, don't make me go charge dance on you and slap you.
22:25
Oh, fuck, I'd kick your ass.
22:26
Would you fuck? I'd fucking, I'd just take a gun. There you go.
22:30
Oh, right, right, right. Well, I would be more gentlemanly and slap you about.
22:34
Oh, yeah. I'm going to remove my glove and slap you in the face.
22:38
I'm like, go fuck yourself. Boom. Like Finchie from The Office?
22:41
Oh, Jesus. Or a dress like him?
22:43
Yeah, but the dinner scene is nice because he's bragging, he's doing this and this.
22:47
And Williams is kind of rolling his eyes but Lisbeth goes just fucking calls him out.
22:54
And she's funny thing is she is really the only one to challenge him,
22:59
she doesn't match because she has mother's looks,
23:04
she has that she's battled the witch with him all the time I think that's what
23:11
lures him even in the confessional booth where he's pretending to be a priest
23:16
when she's doing her confession but she actually knows what he's up to.
23:20
She's his equal in terms of the whole sort of, you know, the banter and the
23:24
sort of battle of wits between them. I think she's always one step ahead.
23:28
In many ways, yes. Yeah, yeah. Like he thought he had. She knows what he's like.
23:33
Yeah, he thought he had or pretended to be the priest, but the whole time she
23:37
was playing him. She's a good judge of character.
23:40
And it actually becomes her downfall. It kills her.
23:43
Yeah. You know, of Through Earth Defense. That's a good song by Delamitri.
23:50
Well, the Delamitri version's good. I don't know what that was. That was just a noise.
23:54
No, I'm talking about Delamitri. You're going to be my downfall tonight.
23:59
Huh? Yeah. Nothing Ever Happens is my favorite Delamitri song, actually.
24:03
Driving with the brakes. Driving with the brakes on. Nah.
24:07
Nothing Ever Happens, just that whole sort of take on the whole tedium of day-to-day life. Superb.
24:14
Anyway, we're talking about Frankenstein I think Telly Metry should have been
24:19
this good Doing the soundtrack for this.
24:23
Though they'd have been better for Frankenhoeker, maybe Fuck that No, they're not,
24:30
They're mid-90s No, no, no, they're about from like the 80s No,
24:35
no, their first album was 90s They're a Scottish band I know who they are,
24:39
I've seen them They are, they They founded in the 1990s,
24:44
Right. Why do you always challenge me on this?
24:47
I, maybe it's a false memory, but I could have swore that they were around the late 80s.
24:53
Oh my God. Just, I don't have time for this.
24:56
Well, you started it. I was just having a good banter about a classic song could
25:01
have been used in this wonderful film. What, you butchered?
25:04
I did not. Actually, I think the band's going to call. We need a new lead singer.
25:09
Right. You're wonderful.
25:13
Yeah. Yeah, because tune into this podcast as well, obviously.
25:18
Looking for new singers.
25:23
I do like the whole making of the monster. I think that's kind of cool. Yeah.
25:26
I do like how it goes to the men being hung. He's got a good back. We'll take this one.
25:32
And he goes to a war scene. It's kind of ugly, actually.
25:37
The Crimean War. Yeah. Sort of battlefields. And he's grabbing body parts from there.
25:43
Yeah. Did you notice who was playing the hangman?
25:47
No. Byrne Gorman, a Welsh actor who also starred in Torchwood and Doctor Who.
25:54
Fuck. Okay, let's just move on. Just move on.
25:58
So Harland's character was kind of creepy too. He was kind of a perv.
26:02
But I like Christopher Walsh. But Christopher Walsh plays Christopher Walsh.
26:06
Yeah. He's kind of like Willem Dafoe. You like him on the screen,
26:09
but he's just going to play the same thing.
26:11
He is sort of, as much as I love Christopher Walsh, he is sort of phoning it
26:15
in here. and doing Christoph Walsh in another film.
26:19
Don't get me wrong, he's always great to watch.
26:22
But yeah, I think the best parts are whenever he reveals he's actually dying of syphilis. Yeah, so.
26:27
Yeah, it goes on a dark turn. Yeah, so he tells, that's what I want to get to.
26:32
He asks him right when the storm's coming and he's about to make our man, Monster, come alive.
26:39
He goes, you owe me. I give you the money. I've always had your back.
26:43
There's one thing I want from you. and he finds out he has syphilis and stuff like that.
26:48
And so he asks, he wants, that's what I don't get. What does he want?
26:53
He wants his brain and his body.
26:55
I don't get, what does he ask exactly? Yes, that's ultimately what he wants
26:58
Victor Frankenstein for, to basically save his life, prolong his life,
27:03
because he knows he's dying.
27:04
At first he doesn't tell Victor this, but basically he wants Victor to save
27:10
his life, but he doesn't tell Victor this until later on when Victor notices
27:13
him, you know, without his wig on, essentially.
27:17
What's he going to do? I don't understand...
27:20
He wants to cut his head off and put it on this monster at the last minute.
27:23
Yes, yes. At the last minute. Oh, yeah, hold on. That's what he always wanted.
27:27
Don't you think you should have told him this prior?
27:30
It's a plot twist, you know, but... And it's a gothic horror film, and back, it must be...
27:36
I don't want to get too sort of, you know, in-depth and stuff about the historical
27:40
context, but back in those days, the early 1800s, whenever Frankenstein was written,
27:47
Galvanism was a big thing and a big talking point which is basically trying
27:52
to bring people back to life with electricity and in the original novel it's
27:55
only hinted at about the electricity and there are differences here,
27:59
of course there are there always will be in any version apart from Frankenhooker.
28:05
But no basically the cut
28:08
long story short we just ruined that whole conversation Frankenhooker
28:12
I was actually sounding as if half
28:15
sensible there this guy reads yeah yeah
28:18
but no no but basically the
28:22
cut along story short he wants to
28:25
he wants Victor Frankenstein the reason he hires Victor Frankenstein and gives
28:30
him all this money and the big tar and stuff is because he's looking for Victor
28:34
Frankenstein not to create a creature or a monster or whatever but actually
28:40
for him to be saved you know through this yeah but you can't do it the night of a storm,
28:46
I mean, he's like, what? We're getting ready to prep this guy,
28:49
and now you want me to cut your head off and put it on this guy?
28:52
I mean, there's a lot of prep. But there's a great line. In real life terms, there's a good line.
28:57
It's not that necessarily he didn't want to do it, Victor.
29:00
It's he says you can't because your body is completely polluted.
29:05
Your blood is polluted. Your organs are polluted. Everywhere.
29:08
There's nothing we can do.
29:10
And I do love his death when he falls and his head just crashes onto the bottle.
29:16
His own back skull is all came in.
29:20
Yeah, again, I'll never be a fan of CGI and horror, but whenever it is used,
29:28
mixed with real sets and real practical effects here, it does very much work.
29:33
And I do like the fact that, you know, I thought at this point it was going
29:37
to go for a twist where actually he does put the brain into the creature of,
29:43
you know, Christoph Waltz.
29:45
But it doesn't you know he pulls back from that and it gives you a different
29:49
twist says nah don't think so then he falls off the ledge I almost thought he
29:54
and he does die when he does die because you know when he falls and he dies
29:57
he runs down the check on the body,
30:00
I almost a little part of me after seeing a couple times that if that brain
30:03
was still intact maybe he was thinking about it but when he saw the brain all over the,
30:08
when he looked up the head yeah that was it that was it game over that was it
30:11
game over so I do think he was kind of thinking about it at that point,
30:15
because there's a little guilt there. I didn't think he would.
30:18
Yeah, because he funded him, and he became like his sort of friend and sort of mentor.
30:23
Yeah. Oh, no, I mean, Victor Frankenstein was mad enough to certainly consider
30:27
it, yeah, but I think he also had, Victor has a logical side to him where,
30:32
you know, a proper medical side where he knows this isn't going to work,
30:36
sorry, or else it would, type thing.
30:39
There's a great line where when he creates the monster,
30:43
And we see little things that he can heal when he cuss himself and he can heal,
30:48
which I'm okay with the healing part.
30:49
I'm not okay with blowing yourself up. But he's chaining them up,
30:54
and they get a visit from Liz and William.
30:58
And this all seems wonderful, especially with William. William's got the best line in the whole thing.
31:03
And then so does Elizabeth because he's all chained up.
31:08
And she goes, why is he chained up? And that's a fair question, actually.
31:11
I didn't get it. He goes, it's to protect himself and me. It doesn't know any better.
31:17
And then she says, well, shouldn't you? It's great. Yeah, because he's a real
31:22
monster. Yeah. You know, yeah.
31:26
It's writing like that. And then William says, when you are making up this man,
31:32
what part holds the soul?
31:34
Yeah. Just one question, and he can't answer it. And if you notice,
31:39
when Elizabeth and William address the monster, they don't call it it. They call it the man.
31:48
Yes. And also, I love how whenever, first of all, the monster can only say Victor.
31:56
You know, that's the only word that basically knows as far as we're concerned.
31:59
And so Victor obviously thinks it's not intelligent type thing.
32:02
But then whenever it says its second word, which is Elizabeth,
32:06
Victor becomes really jealous, actually.
32:10
Yeah, because she actually teaches him how to say more words by, you know, your throat.
32:16
Yes, and the reason it doesn't respond as well to Victor is because Victor treats
32:24
it like a complete animal.
32:26
Victor treats it like his father treated him.
32:29
Well, that's what I'm saying in the beginning. Yeah, yeah, totally.
32:33
He even beats it like he did, like the father did.
32:38
It's it's basically for want of
32:40
a better phrase animal cruelty like these assholes who
32:43
would you know get you know be cruel to their dogs or whatever
32:46
their pets but elizabeth is a kind soul
32:49
and she sees the beauty within the soul and she sees that he is a kind soul
32:54
you know and that's why it responds to elizabeth obviously it becomes more educated
32:59
later on when we get you know to the blind man and his family and stuff that's
33:03
how it learns you know to read and you know proper dialogue,
33:07
but they're, it's Elizabeth at first recognizes it within the creature.
33:12
By the way, I call it a creature, not a monster because it's not really a monster.
33:16
Well, that's the whole point. Who's the real monster?
33:19
Yep. But yeah, but little things like he, we have a scene where he follows this
33:25
leaf where the water goes and the water goes, obviously empties into the ocean from the castle.
33:31
And that learning that where that leaf goes ends up saving his life when the place goes on fire.
33:37
Who else did the look of the creature remind you of?
33:42
Prometheus, Ridley Scott's Prometheus. Oh, yeah, I have that.
33:44
And that is no coincidence. He looks like one of the engineers.
33:47
Yes, and that is no coincidence, I believe, because Mary Shelley,
33:52
the subtitle of Mary Shelley's Frankenstein is the modern Prometheus.
33:56
Well, there's a shot coming up. It's mirror image, the beginning of Prometheus.
34:00
We'll get to it in a second here.
34:02
But when he starts, now he's getting jealous of the monster.
34:07
So he tells William that Harlander is dead because of the monster.
34:12
Glimpse a monster. Actually, nobody believes that. But there's a great moment
34:17
where he's sitting in the whole place.
34:18
I like to know where you got all the fucking oil, all this gasoline, I mean.
34:21
Well, it's well kitted out. That tar, I'll say, especially for like early 1800s,
34:27
but, you know, good on them.
34:29
But as he's sitting the whole place on fire, you hear him screaming,
34:33
you know, Victor, Victor.
34:35
Yes. And that one moment, that one moment of the entire film,
34:42
That Victor has a little bit of humanity, a little bit of guilt.
34:48
He decides to go back in. I know. And the minute he does it,
34:52
the whole place explodes and he loses his leg.
34:55
Yes, that's right. Yeah. He basically has a change of heart and goes back to save the creature.
35:00
But it's too late because obviously there's the explosion and stuff.
35:04
So now we're in part two, which is the creature's tale, which is my favorite part.
35:07
And there's a scene where he gets out he escapes obviously from the fire but
35:15
he comes out of the water and he's lying on this beach some stones on the beach
35:19
and he's getting up and he's a pale white grey,
35:23
it was literally it must be like you just mentioned it almost is a shot to shot
35:29
from the opening sequence for Prometheus definitely big references there in
35:34
more ways than one yeah very much so I feel sorry for the deer.
35:40
Yes. I hated that shot. Didn't see it coming. He's playing with the deer.
35:44
He's learning to adapt, and the fuckers blow its head off.
35:48
Yeah. Well, yeah. The wolves, they were bastards. I didn't like them.
35:53
But he rips it. I love when he scalps one of the wolves. Yes.
35:57
Fucking awesome. Yeah. Little fuckers.
35:59
And they killed the sheep, too. Per sheep. Yeah.
36:03
And what is it? The spirit of the wolves, they call them, or the spirit of the
36:08
forest, the family call them? I love this.
36:10
I love that he's hiding in this back area of the farm.
36:14
And he decides, even though they're not helping him, he's helping them.
36:19
He feels like he's staying there. He's using their turf.
36:22
So when they're sleeping at night, he's like building fences for them and getting
36:26
them hay or wood and so forth.
36:30
I think that's a really nice scene to show how much of a decent human being
36:35
this man really is over what we just got from Victor's story.
36:39
Yeah, the humanity of basically the creature, essentially.
36:45
And then, obviously, you know, he then learns to read and stuff and becomes
36:50
more educated through the blind man, Doctor Who. It's funny.
36:55
It's the people who are, I don't want to say the monster's disabled,
36:58
but technically, I mean, come on. And then you've got the blind man.
37:02
You've got these two, not lost souls, but, well, maybe they are,
37:07
and they embrace each other and they teach each other stuff.
37:10
And the blind man of course can't see him. Can't see the fact that he's basically
37:15
a patchwork quilt of human parts.
37:18
So I think the blind man is a kind soul anyway.
37:22
But you have to remember he can't see him so he can just hear him and hears
37:26
the humanity within him. Yeah, but he does hug him and embrace him.
37:30
I'm sure he had some he's a smart man so I know he sees more than what we'd see, what he'd think.
37:38
In a different way, yes. He would have some sort of angle and he knows that
37:40
he's an outsider. And he knows he's an outsider and he knows he's not.
37:44
You know, Mr. Normal. So to speak, yeah.
37:47
But, yeah, he teaches him all these different readings and stuff,
37:51
and he also says, he talks to him about, you got to forget about the past.
37:56
It's not worth, you know, vengeance is not the answer.
38:00
Yes. And he talks to him about what happened, and he remembers fire and water,
38:05
because he's having, obviously, memory loss, and he just remembers the single
38:10
word, which you mentioned, victor.
38:12
So this is what brings him back to the castle.
38:15
And then there's a great shot where that photographer, when Harlander was taking
38:20
pictures of the transformation as they're building the monster.
38:27
It was almost put on it like a piece of glass.
38:30
And so when the monster picks up one of the pictures that he finds from the
38:35
refuge of the fire, you can see through the glass, but you can see his image
38:40
that was on it, but you can see his image behind that glass.
38:43
Yes, it's the way they did the sort of, basically the developing of sort of
38:48
camera shots back in those days.
38:50
Yes, I know what you mean. Yeah, but it's a nice little, you know, it's a nice little shot.
38:56
It sees itself. Yeah. Yes. Exactly what it was.
39:01
And then he finds the letter and he learns that's where the address is.
39:05
So this is because of all the book smarts smarts that our boy,
39:09
the blind man, has taught him.
39:12
Now, it is sad when he goes back there and the blind man has pretty much been
39:17
eaten by the fucking wolves.
39:19
And when he goes back,
39:22
to get the blind man. Well, then I go back. He doesn't go back.
39:25
Sorry. He heals after they shoot him, but he's holding him.
39:30
And he talks about, you're my friend. And he's his only friend.
39:34
He goes, I know what you are. Yeah.
39:37
He goes, I'm a monster. And he goes, no, no, I know what you are.
39:40
You're a good man. And you're my friend.
39:42
Oh my God. Even I choked up. Come on. You probably laughed.
39:47
I'm going to say something soon, actually, that I'll probably get flack over.
39:52
But it's so funny He dies, he's like, you're my friend He dies right away, right?
39:58
And then he just turns around He rips that man's jaw.
40:02
But, you know, well It's a whole sort of You know, he's a badass Old man,
40:10
you know, the creature But at the same time He has a heart,
40:15
Which he has learned from You know, not just the blind man You know,
40:19
the blind man actually wasn't his only friend Elizabeth so he's learned,
40:23
he has it within him anyway but it was certainly nurtured by the blind man and
40:28
Elizabeth there's a moment where,
40:32
Victor you think there's a brief couple of minutes here where they're going
40:37
to get married and Victor's kind of at peace with everything he's kind of more
40:42
reserved, laid back and he goes into,
40:46
Elizabeth's quarters and he apologizes and she pretty much says tell him no,
40:50
I just want one thing from you, no more lies. And she slaps him.
40:55
Pretty much has done the damage because she knows in her heart of heart what
40:58
she did to the, to the monster.
41:01
And pretty much is unforgivable. So you have the showdown where Elizabeth gets
41:08
shot and poor William, the two innocent ones, poor William gets pretty much
41:13
a brain hemorrhage, internal hemorrhage.
41:16
To be honest, William sort of annoyed me and he was a bit of a dipshit.
41:20
So I didn't give a shit about him. What?
41:24
The brother. Yeah. He just got on my nerves a bit.
41:27
I preferred Victor actually. as a character I think it was a much better character
41:33
and stronger character, same for Elizabeth but this is what I'm maybe going
41:37
to get a bit of flack about.
41:39
The sort of classic monster horror fan in me, whenever Elizabeth gets it and
41:46
yes she sort of has that final scene with the creature I have to admit I did want zombie Elizabeth,
41:53
zombie me a goth bright a Frankenstein but yes it's more poetic and more emotional
41:58
no hair, and I get that it works.
42:00
But there was a big part of me, the horror sort of, the horror kid in me wanted zombie me a goth.
42:06
I don't think he wanted to go there. I think he wanted to keep this.
42:10
No, I get, you know, I get why he didn't. Yeah.
42:12
No, I'm the coolest way he did that. But going back to William's death,
42:16
even William's last words are, you're a monster.
42:19
You're the monster, is what he tells him. William, William, William has, you're a sick fuck.
42:25
William, has the best lines in this film, him and Elizabeth.
42:31
They're the ones who are seeing this
42:34
from the outside and they can see it completely that he's the problem.
42:39
And there's a great line where I just said a second ago where Victor,
42:44
it seems like he was a little bit at peace before all this came back to him.
42:48
He actually says a line in The Monster.
42:51
He even said, I was leaving insanity. Now I have to face it again.
42:55
Yes, pretty much what he's saying is,
42:58
he's doomed by his past actions yeah my insanity is coming back to bite you in the ass yes.
43:07
Don't get me wrong the brother character is well played and stuff but I definitely think it's very much,
43:14
a film more or less obviously about
43:17
Victor and the creature but also Elizabeth I just feel
43:20
that the brother character is the weakest of the
43:22
main characters including the Christoph Waltz
43:25
character I completely disagree completely and they're
43:29
all they're all not actually they all there to do their job and
43:32
they all have points to make and they do we we
43:35
all know why harland is really there we know why uh the
43:38
kind of person elizabeth is and william is the more sensible one i mean just
43:44
because you're not bastard crazy like victor and doesn't go around blah blah
43:48
and acting like an ass clown he's just more reserved but victor's more interesting
43:53
as a character yeah but he's also more complex i know But that doesn't mean,
43:58
you've got to be able to understand why the William character is there.
44:02
Of course I do. I do, but I'm just saying, for my personal preferences,
44:06
I prefer the Victor character and the Elizabeth character and the creature.
44:12
You only like Elizabeth's character not for the reason I gave you which are,
44:18
what I used to be like you just want it because you want to get in your pants,
44:22
I like the Elizabeth character because like myself she is an old soul a kind and gentle soul,
44:30
there's a thought about her like myself so that's why.
44:36
Elizabeth and I are kindred spirits so that's why I like her And,
44:42
yes, Vector's an asshole and a dick.
44:45
You fucking Muppet. Anyways. Oh, my God. Motherfucker, are we?
44:50
Yeah, so you got the whole Jay scene. Now, I'm for him having super strength
44:56
and being pretty much almost unkillable.
44:59
But, come on. He goes, I'm going to prove to you I can't die.
45:04
And he pretty much swells a stick of dynamite.
45:07
And fucking, his body parts would be everywhere. it goes completely against
45:12
any laws of physics it doesn't make any and this is one of the big problems
45:17
I have with the film overall,
45:19
the creature being immortal I don't think it makes any real sense in terms of even the.
45:26
Plot well in terms of the plot, yeah, fair enough but more in terms of the sort
45:33
of logic and the drama if the character can't die then there's no real drama
45:38
there for the character There's...
45:40
Well, there's not really, because you know he's not going to die,
45:42
because he's immortal. No, of course there's drama there. Because he's going
45:46
to live the rest of his life alone.
45:48
Like, literally. The curse of immortality, I get that. But in terms of,
45:52
there's no real threat against a creature from, like, say, the wolves.
45:57
Oh, but who cares about that?
45:59
But we don't need that. That had nothing to do with his story.
46:03
It didn't work for me. It doesn't make... No, no, I don't like the whole thing he didn't explode.
46:08
Don't get me wrong. But the healing and stuff, I was more than fine with.
46:12
The ending alone, when Victor finally tells him, forgive me,
46:17
my son, and Victor says, I forgive you.
46:19
And then he dies. And then his humanity comes back to him that he kind of once
46:24
lost there of that rage not too long ago where Frankenstein moves.
46:29
He becomes a father? He moves the ship.
46:31
He moves the ship to get the sailors out of there. Get them out of the,
46:36
when they were trapped. In the opening sequence, he was killing six of them
46:39
and he wanted to kill Victor.
46:41
But at the end, he's rescuing all of them.
46:44
It's a beautiful show, which by the way, kudos to our boy.
46:47
Tatar says, I'm building a fucking ship because I want the ship to look real
46:51
when he's pushing it. And that's the actor really pushing whatever he's doing.
46:55
But he said, I want to CGI it because it'll take you out.
46:58
Well, they both essentially regain their humanity right at the end,
47:03
which I think is a nice touch. Yes, I do like the whole curse of immortality
47:07
in general terms, but...
47:10
I don't really think it, that didn't really work for me here.
47:12
But at the end though, at the end though, didn't you feel, because at the end,
47:15
he leaves, he walks, he's going to, you know, wherever, he's walking.
47:20
And then he looks up and he's crying. It's heartbreaking.
47:25
I actually. Let me, let me finish please. And then when the sun comes up and
47:29
it rays in his face, he smiles.
47:33
Yeah. I actually, you know, if you really want to sort of break it down,
47:36
I actually didn't mind too much the whole immortality thing per se and the healing.
47:42
However, it was more what bugged me was the whole him being a superhero and the dynamite thing.
47:48
Well, that's what I'm saying. The dynamite thing I didn't get.
47:51
I mean, he would have blown up. I don't care who the fuck you are.
47:54
But the healing and all, no, that was the whole point.
47:58
No, I thought the healing was okay. I get that. but the whole stuff with him
48:02
being a superhero especially in the opening sequence where he's basically like
48:06
Superman oh no he's badass that was awesome yeah,
48:10
But it was a bit too much for this particular character for me,
48:14
and a bit too Marvel for me, for the character.
48:18
I completely disagree, because he went to that rage.
48:21
He went, here's a character who was humbled and quiet and reserved,
48:26
only fought back when he was being shot at with the hunters and so forth.
48:32
And then the rage that Victor Frankenstein has caused him, He was becoming his,
48:38
he was becoming like his father, father, father.
48:41
He was becoming the abusive one. He was the one. And then when Mio Goff gets
48:46
Elizabeth, that just fueled his rage.
48:48
No, I get that. So that's, that's where, and that's got to read is that's what
48:52
that beginning is. The beginning is actually the end.
48:55
So it's the prelude. So that rage, he becomes Victor at that end.
49:00
That's, that, that's why he's so violent. But then he, as the story's being
49:04
told, he gets more calm and relaxed.
49:06
And that's when the apology happens and he becomes.
49:11
He's back to his kind, general self at the end of the film Yeah,
49:16
but I think with me it was more the realisation of it,
49:20
I mean I get that, the rage thing and the whole sort of duality there of the
49:24
kind soul and also the anger and the rage but for me it was more the realisation
49:29
of it where he's basically throwing people like miles into the distance and stuff,
49:35
it just felt a bit two modern-day superhero.
49:38
Now you're exaggerating. It wasn't Miles. It was a few feet. It was a few feet.
49:43
Yeah, but it sort of feels like the sort of rubbish you would get from modern-day
49:47
superhero films. Okay, whatever.
49:50
Okay, well, completely disagree, but to each throne,
49:53
To his throne. Okay. Frick. So, Frankenhoeker.
49:59
No, listen, I like this one a lot. Not Frankenhoeker.
50:03
Frankenstein. Guys, if you listen to the podcast, you've seen it.
50:08
But listen, there is a slightly better version. I'm going to have to be honest with you.
50:13
And I just think I've always enjoyed it. And it got a bum rap when it first came out.
50:17
You have these three films that were coming out by Columbia and Sony Pictures.
50:21
It was all Bram Stoker's Dracula, and then you had a wolf with Jack Nicholson,
50:28
directed by Mike Nichols, and then you had Mary Shelley's Frankenstein,
50:33
which is directed by Ken LeBrona.
50:35
As much as I really like this version, and I think the actor who played the
50:40
monster should be nominated. He's brilliant in it.
50:43
Unfortunately, I think because he's got some prosthetics on his face,
50:47
they won't nominate him, but I think that's bullshit. He should be nominated.
50:51
But the De Niro performance in the 94 version, I think, is brilliant.
50:58
And you guys should check that one out.
51:00
My two favorite, while I think this is a cracking version by Del Toro,
51:05
my two favorite versions would be the 1931 James Whale Universal Classic, Andy Hammer,
51:13
Christopher Lee and Peter Cushing, The Curse of Frankenstein.
51:16
But, I mean, there's been that many sort of versions over the years.
51:20
There's lots to pick from I would definitely state yeah definitely the Kenneth
51:25
Branagh version as well would be up there and I think this version,
51:28
the Del Toro version owes a certain debt to it so yeah there's a lot to choose from out there,
51:35
Yes, like this next piece of shit.
51:39
Oh my God. Why am I doing this? Yeah, Frank and Hooker.
51:46
1990, directed by a man called, I believe it's Frank Henenlotter.
51:50
Yes. He is known from the Basket Case films, very popular films in the 80s.
51:55
Brain damage. He likes low budget exploitation.
51:59
Bill Murray. I remember the Basket Case films more back then,
52:04
back in the video days. They went fucking crazy. Yeah.
52:08
Dario Rosenthal and Bill Murray both fully endorsed this film. Yes. Jesus. What the?
52:15
Yeah. Like myself, they get it. No, they don't. They don't.
52:19
Rosenthal. Well, I will trust Dario. Rosenthal, at that point,
52:22
wasn't doing anything, and Murray was doing, well, Murray kind of lost the plot.
52:28
Well, we got it right here. Let's just jump into this. We've got James Lorenz playing Jeffrey.
52:36
Was it Frankskin? Frankskin? No, no, it's Frank Jeffrey or something.
52:41
No, it's Jeffrey Frankson. Frankson something. Frankson something like that.
52:45
Yeah, it's some sort of pun.
52:47
Patty Mullen plays Elizabeth. Wonderful actress.
52:51
She just, in 1988, she got the Penthouse Pet of the Year Award.
52:58
So good for her. You've got C.K. Stiefel, who plays Dolores.
53:03
And good honor from 2017 and 2020, she played a volunteer baby cuddler.
53:09
I am not kidding. Because of COVID restrictions, she could no longer do it.
53:14
Right. What's a baby cuddler? What the fuck is that?
53:18
Fuck. I don't know why I haven't had the pleasure of seeing this epic.
53:22
You've got, I really don't care. You've got characters like Spike and how clever
53:26
this is, Mr. and Mrs. Shelley.
53:29
This is a trauma release, so I can expect that. So there's going to be a lot
53:32
of tits and ass in this one. It's not a trauma film. This isn't a trauma film.
53:35
Yeah, it is. It's produced by them.
53:37
Right. I think maybe, yeah, but it's not. It's not trauma pictures.
53:42
It's the beginning logo.
53:43
Right. Okay. Yeah. Fair enough. Yeah, I wasn't 100% in that.
53:47
Class of Newcomb High. Oh, yeah.
53:50
Sheriff Nazis Must Die. Yeah, Sheriff Nazis Must Die, Toxic Avenger,
53:54
and so forth. Rabbit grannies.
53:56
Yeah. Yeah. Yeah, let's just get this one done.
54:00
I don't know where to go with this one. Yeah, pretty much opening scene,
54:04
he's got a brain with an eyeball on the kitchen table while his soon-to-be in-laws
54:10
are throwing a big barbecue right outside.
54:14
Well, as you do. Oh, my God. And my family's having a barbecue.
54:20
I'm going to be experimenting on a brain indoors.
54:22
Why would you not? The mother goes out in the back as she's experimenting on
54:27
the brain and they're in the kitchen.
54:28
Can you please go in there and tell your boyfriend, you know,
54:31
we can't be experimenting in the kitchen. I got to make coleslaw.
54:35
And it's just so... And then the lady was in a fast suit.
54:39
The character was supposed to be a little chubbier, so they put her in a fast
54:41
suit, which you probably wouldn't get away with today.
54:46
And she buys the dad a lawnmower, a big fancy pants lawnmower. And he's like, oh, wow.
54:52
And it even comes with a remote because her boyfriend's an electrical technician.
55:00
And she goes, oh, wait, don't stand in front of the remote. Don't stand in front of the lawnmower.
55:05
And of course, she gets run over by it. So stupid.
55:09
There's a newscaster that has some pretty funny lines. yes
55:14
they called the door the newscaster is reporting live from the backyard from
55:19
the barbecue and he goes this poor full girl was sucked under the blades that
55:26
tossed her personality all over the party guests she was tossed into a,
55:31
human salad, a salad once named Elizabeth,
55:36
stupid and then they're investigating basically why there are Some of her body
55:42
parts haven't been recovered, but we'll soon find out.
55:44
Yeah, they go up to the boyfriend, hey, do you know where her head is?
55:48
He goes, oh, I don't know.
55:49
I saw it fly in the air somewhere.
55:52
Yeah, nothing to do with me. I just want to know. Why does he drill holes in his own head?
55:59
Because he's trying to access a part of his brain that gives him knowledge.
56:04
Like, oh, how do I get out of this? And he drills the back of his head and it figures it out for him.
56:09
Well, I'm more concerned about how, whenever he does actually literally drill
56:16
into his own head, there's not a single bit of blood.
56:20
I don't think it works like that. I mean, I'm no scientist. That's the fucking
56:24
thing you're questioning about this film?
56:27
It did bug me. Yeah, I have to say. You know, why wasn't there like a load of
56:32
blood splattering everywhere? There's nothing.
56:34
I love when the mom tries to console him. She'll say, you know what?
56:37
Apart from that, it's great. When the mom comes in the room to console him,
56:40
you know, life goes on. Just find another girl.
56:44
Yeah, she's very sympathetic. So she is. And then he's having that Italian dinner
56:49
with the girlfriend. With dead body parts. Yeah.
56:54
That was actually quite emotional in my friend. It's a tragedy of the character.
57:01
It's portraying his grief, and Hardy is coping with the grief.
57:07
Having dinner with a decapitated head. We fucking just talked about this. It's a disgrace.
57:11
I almost don't want to do this because it's wrong in so many levels. Right.
57:17
So his plan is he needs to get six or seven hookers, and he needs all different parts.
57:22
Yep. and so he goes, he needs to get Zorro's approval, Zorro's obviously the pimp,
57:27
Zorro's an absolute dipshit of epic proportions he gives his women super crack to keep them,
57:36
you know no, no, no, Zorro gives them normal crack but what dipshit Frankenstein,
57:43
modern day guy does is he makes a super crack because he wants to control them
57:48
basically for whenever he needs their body parts But it backfires Because what
57:53
he doesn't realise The super crack is so super It actually makes him explode,
57:59
Like, let her explode, even though it's clearly mine. Yeah, he tested it on the hamster.
58:06
And the hamster explodes. And he goes, oh, boy, this can get ugly.
58:10
And then he's like, well. But he still uses it. Yeah, well, he doesn't want
58:13
to. He goes, I'm not killing anybody.
58:16
It's the super crack doing it. If this doesn't do it, some other crack's going to do it.
58:21
Yes. You know, I'm just, you know, getting ahead of the game.
58:27
Zorro would do it if he didn't do it Zorro probably would and Zorro was like
58:31
you know so he has all these naked women and this scene is prolonged and just,
58:38
I mean when you're when you're a 16 year old kid okay you go with it because
58:43
you're 16 Trevor is in his 50s what 50s oh excuse me I'm in my 40s all like yourself,
58:51
close enough and you're sitting there probably you're probably just like a 16
58:55
year old boy going oh yeah this is the best you think this is I understand when
59:00
we were younger I remember seeing it and laughing but now you look at it as an adult,
59:06
I'm like this is terrible it's artistically dumb it is exploitation,
59:13
well that's exactly the point it is a sexploitation film it's not sexploitation
59:18
it's not like listen to that that's what it's known as but,
59:22
It's just too much. And then he's measuring their breasts, and they've got nipple
59:26
shots, and measuring their legs.
59:28
And then as he's doing this, he's starting to bond with the hookers,
59:31
and he decides he doesn't want to do it until they get to his crack.
59:35
And they all start smoking it. Stupid as fuck. I can't believe what I'm saying.
59:38
These words are coming out of my mouth.
59:41
The best about it, or perhaps the worst about it, all of these women were played
59:46
by real-life prostitutes.
59:48
It is sleazy, obviously,
59:51
but that's sort of the point you know they
59:54
have to pay them by the hour i very possibly
59:58
i would imagine not that i not that i'm you know
1:00:01
an expert on these matters but yeah i mean i'm not going to deny that that this
1:00:06
is super sleazy and exploitative but that's the point yeah i know but and but
1:00:13
i think of my points made when we're younger and we're mid-teens or whatever we are we get it,
1:00:19
we'll go with it now as an adult, you really think this holds up?
1:00:25
I mean seriously Trevor I just laugh at how crazy it is you know as Russell
1:00:32
Crowe as Gladiator famously said are you entertained?
1:00:36
Yeah probably for maybe I would say all the right reasons it's just how batshit
1:00:42
and like crazy and it really doesn't give a shit it is you gotta respect that
1:00:49
you know that's not respect,
1:00:52
don't say something that stupid at a certain level no you don't respect it just
1:00:56
because anybody can do this anybody can do this there's no town here let's get
1:01:00
that out of the way but not as well okay but not as well,
1:01:04
Bill Murray Bill Murray agrees with me and so does Dario Argento.
1:01:10
But yes it is thricey and sleazy and ponkers So,
1:01:19
Before they explode, the camera quickly cuts to the woman screaming,
1:01:23
and then we cut to, it's all of a sudden a mannequin, and then the mannequin explodes.
1:01:29
Well, I mean, give him a break here. You know, it's not like he was going to,
1:01:33
like, you know, you couldn't.
1:01:34
I know the prostitutes were up for being paid for most things,
1:01:37
but actually exploding was probably a step too far.
1:01:41
Jesus. And then one of the heads flies off, and Zorro is going to go into the
1:01:45
room, and it bangs him in the head and knocks him out.
1:01:48
Zorro is Zorro's meant to be a badass and like a tough guy he is the campest,
1:01:54
bad guy ever in these types of films you know I don't think Zorro's into women
1:01:59
and then he's going he's going through all the body parts in his garage and
1:02:03
he's picking up the breasts,
1:02:06
and then he sees a foot he's like oh my god bunions so fucking stupid.
1:02:13
Now the movie's on for like an hour and 25 minutes and It's 25,
1:02:18
it's about 23 minutes when you finally get the frankenhooker.
1:02:24
23 minutes to go, you mean? Yeah. The burden of ours went by.
1:02:27
Yeah, about 23 minutes left.
1:02:29
So Liz is not Liz that we knew in the beginning, fun, cutie little Liz.
1:02:35
She's now got the mentality of a hooker. She has the personality.
1:02:39
So she's just walking around. Yes.
1:02:42
So she is going around fucking these men. Basically. And he,
1:02:46
and when, no, yeah. Why are they dying?
1:02:49
Is she, when she's orgasming, is she steaming the crack?
1:02:54
Pretty much. Is he sweating? You try to tell me, so when she's sleeping in that
1:02:58
fat bastard and he's like, yeah, baby, I like you, make me hot.
1:03:02
And she's riding him and then the steam's coming out of her.
1:03:07
Is that? Yes. And that steam is the crack?
1:03:09
Yeah, but it's also all the, whatever chemical shit that he was using as well
1:03:14
to basically create her.
1:03:15
But basically she, although she is partly Elizabeth and obviously has her head,
1:03:20
but the rest of her body is basically made
1:03:23
up of the hookers so for some reason for
1:03:27
some reason this gives her the hookers personality
1:03:31
traits as well because all the lines she says like want a date and you know
1:03:35
all she's saying about you know the stuff the doctor and stuff that they're
1:03:40
all lines that were said earlier on in the film by the prostitute which is actually
1:03:43
very clever actually because that's that was foreshadowing I'm earlier on,
1:03:48
stop there's no foreshadowing here
1:03:51
there's no clever little ooh didn't see
1:03:54
that coming but basically what
1:03:58
bugged me was more the fact is you don't get personality traits
1:04:01
from the likes of your legs or your tits or your hands or whatever parts he's
1:04:05
sewn together you get them from your brain and your head so it doesn't quite
1:04:09
make scientific sense I mean it's almost there but not quite she finds that
1:04:15
John this character reminded me so much of you.
1:04:21
The guy she rides in the hotel room and explodes he's got the glasses,
1:04:26
yes right there's absolutely nothing like me that is so you you'd be like oh
1:04:32
my god I like it like that oh yeah this is so Trevor not at all,
1:04:40
there's no way in the world I would be much more classier but I'm saying that
1:04:43
Elizabeth Frankenhoeker is a good looking,
1:04:47
Frankenhoeker and the funny thing is she's walking I don't know how she got
1:04:52
on the subway but anyways she's in the subway and she's walking around looking
1:04:55
for a John and she's all stitches and this actress is terrible I use the word
1:05:01
actress by the way very fucking loosely she's not bad at the comedic stuff oh my god,
1:05:08
at the comedic stuff she's not bad at the sort of you know the whole sort of,
1:05:14
you know she does an okay comedic performance I'm not saying she's a great actress,
1:05:21
not bad at the comedic stuff. I've seen worse. No.
1:05:28
No. She's not bad. You know what? You've never ever watched this podcast because,
1:05:32
no, she's not a very good actress. You won't do it.
1:05:35
You've never said that. This is terrible.
1:05:42
This is terrible. I've seen worse. I want to know what you've seen. Actual porn?
1:05:46
No, no. I saw the comedic... Some of the comedic stuff she does is possible.
1:05:53
I'm not saying she's a good actress she's not, she's clearly not,
1:05:56
she's not even an actress per se, she's basically a model, or she was back then
1:06:01
when she was doing this but she's not bad at the comedic stuff,
1:06:05
it was, it's kind of fun in a B-movie sort of way It's not a B-movie Well it's
1:06:10
not an A-movie It's not even a Fuck me.
1:06:17
Oh my god Was there even the best for the last?
1:06:21
And then you see the pimp and the pimps, that hauling of the pimps, Zorro and the other guy.
1:06:27
And he only hears the conversations, and he recognizes the conversation because
1:06:32
she's reliving the conversations that they had with Zorro before this all went down.
1:06:36
So he knows that she's going to lead him to Jeffrey to get his women back.
1:06:48
Yes, because he says, they're my women. Yes, I own them type thing.
1:06:52
And then the one pimp goes down on her.
1:06:54
Yes. And his leg, you want to see his legs and he starts shaking and the smoke's
1:06:59
coming. This is fucking terrible.
1:07:01
I can't believe it. The purple smoke, it's purple smoke. Yeah.
1:07:05
It's not purple smoke. It is. I'm pretty certain it is. No, it's not. No, it's not smoke.
1:07:10
No. You need to watch these films again. If you're not getting them.
1:07:14
It is a trauma release. And yes, it's regular smoke. Okay.
1:07:21
You're the expert. Quite clearly. Don't you turn this around to me,
1:07:25
you fucker. I'll go down on Frankenhoek.
1:07:29
So stupid. I'm sorry. I'm sorry that I'm not quite as knowledgeable as you about
1:07:36
going down on frankenhookers but you know, you're the man so,
1:07:42
you're a child no wonder you like this shit, you're a fucking child.
1:07:49
I'm the one who's going to host this and read this shit off,
1:07:52
while you just sit back and go, ha ha ha she's okay I was just making a valid
1:07:59
point that Bill Murray and Dario you have to agree with.
1:08:03
So Zorro punches her head off. So fucking stupid. Yes?
1:08:09
And Jeffrey shows up, and he rejuvenates her. Yep. And then all of a sudden,
1:08:15
she's back as Liz. Well, how does that happen?
1:08:17
I don't know.
1:08:21
I think there may be some bullshitty type excuse about the way he does it the
1:08:28
second time, but, you know, we're really sort of concerned about that.
1:08:32
You know, I was concerned about a lot of stuff.
1:08:35
I mean, everything that's come before, you know, I think this is the least of
1:08:39
the worries. Oh, no, no, no, no, it's coming.
1:08:42
So Zorro shows up again. Yeah. Yes. And he chops off our boy's head.
1:08:49
And then he gets absorbed and eaten by the spare parts in the freezer.
1:08:54
Yes. That were hit by- Buddy body motor, actually. No, it's terrible.
1:09:00
And society does this a lot better. And reaminator. But, no,
1:09:04
so they, the parts got hit with electric bolts when Frank and Hooker.
1:09:10
So all the parts in the freezer now are alive because they're in the goo as
1:09:13
well. and have like formed together and stuff and they take Zorro away into
1:09:18
the freezer and they take
1:09:20
Yes. Zardo gets his comeuppance. And then Liz puts Jeffrey's back together but
1:09:27
it's a woman's body because it only uses women's to test. What is it?
1:09:33
Is it estrogen? Basically, it has to be women's estrogen or something.
1:09:37
It only works with women. You can only rejuvenate women, essentially.
1:09:42
It's very clever, this, actually. So the only way she can bring him back is
1:09:48
by giving him tits and a folly.
1:09:53
Just terrible.
1:09:56
Just so bad. I actually cried. I actually cried at this bit at the end.
1:10:01
I mean, we just talked just a wonderful viewing experience with Guillermo del
1:10:07
Toro. I think we've done the wrong thing here.
1:10:10
I really think we should not have done this double feature. Well,
1:10:13
it's a good juxtapose. And you know what?
1:10:16
If you're in any way going to review films
1:10:19
or critique sort of films in any way you have to watch them all so maybe we
1:10:26
will introduce people to Frank and Hooker people who have maybe never heard
1:10:30
of it and then they'll come after us they'll come look at us because they'll
1:10:34
be so pissed off they'll be coming after us with fire and,
1:10:39
pitchforks yeah exactly galvanism will have to be brought back with electrical currents,
1:10:46
oh my god You gotta watch them all You gotta watch all genres And all sub-genres
1:10:53
and the whole shebang And you know what,
1:10:56
Frankenhooker It is what it is and it has a right to exist,
1:11:01
And for sheer batshit craziness I enjoyed it,
1:11:06
Anyways, well, yeah, tweet's there on there, Trevor. No problem. No.
1:11:15
I will start with Bill Murray and Dario. Right. So Christmas month's coming up.
1:11:22
I'm just quickly saying I'm changing the subject. So we got our titles picked,
1:11:27
as you know, and we got to pepper in.
1:11:32
And we're just going to do a couple classics until we get to Christmas month.
1:11:37
Get away from horror for a while.
1:11:39
Yes, we're doing Saturday Night, Deadly Night, but it's part of the Christmas month, so shut up.
1:11:46
But, yeah, kind of contemplate what we're going to do there.
1:11:49
But definitely what we're going to do is get more into some of the creepy crime
1:11:52
drama we've been talking about in the past.
1:11:54
So i think we should maybe tackle michael
1:11:57
mann and maybe do you know i don't know we'll look into it maybe revisit well
1:12:04
maybe see they just released sorcerer on 4k that is an underrated classic if
1:12:12
you guys know what i'm talking about william freaking sorcerer it is not a it's not a fantasy film.
1:12:17
It's about a truck moving drugs in bad weather, bad conditions down in Columbia
1:12:26
or something like that. It is awesome.
1:12:30
Roy Scheider. Well, I'm sorry. Go ahead there. Yeah, I'll say something after.
1:12:35
Well, I don't know. I don't know.
1:12:37
We want to get away from the horror aspects of it. We did find out that Carlito's
1:12:42
Way and Scarface did well.
1:12:44
So we might maybe even hit Goodfellas something.
1:12:47
We'll have it figured out here in the next week or so.
1:12:50
I was going to suggest, just before Christmas month, how about because it's
1:12:55
in its 30th anniversary, Michael Mann's Heat?
1:12:58
I thought about that, but the prequel's coming.
1:13:03
It's actually a remake, technically. No, it's a prequel. Of his own film. It's a prequel sequel.
1:13:08
Yeah, no, but there was actually a TV movie, which I've seen,
1:13:11
called L.A. Takeover. Oh, yeah.
1:13:13
One of Michael Mann's earlier films. Yeah. Basically, Heat is a remake of it.
1:13:17
Yeah, I'm not a big fan of it.
1:13:18
Well, Heat's better, but certainly the prototype for it. Heat is a classic.
1:13:22
But yeah, you're on the same plane that I'm on. So we'll get something out there to you guys.
1:13:29
But listen, thanks for giving us a shout, and I apologize for Frankenhooker.
1:13:33
I feel really dirty now as I was talking about it, as Trevor was just, you know, drooling.
1:13:39
I was actually feeling mortified that we're talking about this after talking
1:13:43
about such a beautiful story of Frankenstein.
1:13:45
It's a good juxtapose. It's not a good story. It's an insult to Mary Shelley.
1:13:50
But you're okay with it. You like Return of Salem's Lot, so you spit on Stephen
1:13:54
King. So it's the same thing. I know it's not real.
1:13:57
I can tell the difference between real life. You pissed on the author's work
1:14:02
That's cool, I respect that then.
1:14:05
I'm up against Return to Salem Slut Yeah You would if you were Stephen King
1:14:10
Stephen King Well he would have got paid for it in royalties But you know,
1:14:15
Okay I gotta end this, I'm gonna yell at him Alright guys, take care of yourselves We'll talk soon.