Latest / Beyond The Blood: A Horror Movie Commentary Podcast / The Case of the Bloody Iris (1972)

Transcript

The Case of the Bloody Iris (1972) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 1:15
  Speaker 2: On August fourth, nineteen seventy two, Juliana Carnameo's The Case
• 1:19
  Speaker 2: of the Bloody Iris was released in Italian theaters. While
• 1:22
  Speaker 2: some sources list the film actually releasing the tenth of
• 1:25
  Speaker 2: August nineteen seventy two, all the way up to April
• 1:28
  Speaker 2: of nineteen seventy four, The Case of the Bloody Iris
• 1:31
  Speaker 2: went on to become a classic example of the Italian
• 1:34
  Speaker 2: Giallo genre, and in June of twenty twenty four, was
• 1:38
  Speaker 2: released in the US market by the then up and
• 1:41
  Speaker 2: coming Celluloid Dreams, marking their first physical media label release
• 1:46
  Speaker 2: and the film's four K premiere. Alongside an incredible restoration
• 1:50
  Speaker 2: and a host of interviews and other bonus features, was
• 1:53
  Speaker 2: an audio commentary track by Celluloid Dreams co founder Guido Henkel,
• 1:58
  Speaker 2: which we discuss in depth on this very podcast episode.
• 2:02
  Speaker 2: A remarkably insightful commentary track.
• 2:05
  Speaker 3: That checks all of the boxes you could possibly ask
• 2:07
  Speaker 3: for from an analytical audio track that we would.
• 2:09
  Speaker 2: Encourage all of you listening to this intro to give
• 2:13
  Speaker 2: a full listen to. Outside of our additional input, Guito's
• 2:17
  Speaker 2: expertise guides a fun and insightful track that we barely
• 2:21
  Speaker 2: scratch the surface of. And with a film as visually
• 2:24
  Speaker 2: stylish as Bloody Iris is, the best experience is taking
• 2:28
  Speaker 2: full advantage of the visual and audio sides of this
• 2:32
  Speaker 2: very commentary track. And now Beyond the Blood is proud
• 2:35
  Speaker 2: to bring you.
• 2:36
  Speaker 3: The Case of the Bloody Arms.
• 3:02
  Speaker 2: Welcome back, everyone to a brand new episode of Beyond
• 3:05
  Speaker 2: the Blood. We're back with our main episode for the month.
• 3:09
  Speaker 2: This is a movie that Steve, you and I have
• 3:11
  Speaker 2: been kind of back and forth on wanting to get
• 3:14
  Speaker 2: this into the show. We wanted to talk about this
• 3:17
  Speaker 2: movie for a long time. I know that you love
• 3:20
  Speaker 2: this movie. I love this movie.
• 3:21
  Speaker 4: How excited This is a personal favorite. I absolutely adored
• 3:25
  Speaker 4: this movie, and I'm sure, to no one's surprise, I
• 3:30
  Speaker 4: am very, very entrenched in the Giallo sub genre. I
• 3:34
  Speaker 4: absolutely love these movies and I couldn't be more excited
• 3:37
  Speaker 4: to talk about the Case of the Bloody Iris.
• 3:40
  Speaker 2: Yeah, nineteen seventy two's The Case of the Bloody Iris.
• 3:44
  Speaker 2: This was directed by juliano'carnameo, and one of the reasons
• 3:47
  Speaker 2: of recovering this is because in twenty twenty four, almost
• 3:51
  Speaker 2: two years ago now to the date, June of twenty
• 3:53
  Speaker 2: twenty four, we finally got a four.
• 3:57
  Speaker 3: K home media release of Case of a Bloody Iris.
• 4:01
  Speaker 2: And it was released by a brand new label at
• 4:04
  Speaker 2: the time, a label that we've all come to know
• 4:06
  Speaker 2: and love now, Celluloid Dreams.
• 4:08
  Speaker 3: So since then, we're also released Hyenend The Safe recently
• 4:12
  Speaker 3: on Blu Ray. They also released Short Night the Glass
• 4:14
  Speaker 3: Dolls on four K here in the US territory, I
• 4:17
  Speaker 3: believe eighty eight films released that overseas, right, yes, yep, okay,
• 4:23
  Speaker 3: eighty eight films overseas. And then we're gearing up for
• 4:26
  Speaker 3: the release of Black Belly the Tarantula coming later this
• 4:28
  Speaker 3: year from Celluloid Dreams. And incredible work coming out from
• 4:33
  Speaker 3: that duo over there.
• 4:34
  Speaker 2: Man, they've become just one of my favorite labels to
• 4:38
  Speaker 2: watch and keep an eye on, and even more so
• 4:40
  Speaker 2: now after going through one of their commentary tracks, I
• 4:42
  Speaker 2: think it's elevated them even more for.
• 4:44
  Speaker 4: Us, I have to say, and I know I already
• 4:48
  Speaker 4: told you this, but I want to go on record
• 4:50
  Speaker 4: and say this is easily one of the most thorough
• 4:54
  Speaker 4: commentaries that I've heard where I was engaged from start
• 4:58
  Speaker 4: to finish. Guito Henkle did a phenomenal job breaking everything
• 5:04
  Speaker 4: down about this movie, and it just added a whole
• 5:08
  Speaker 4: new appreciation for why I love this this Shallow so
• 5:12
  Speaker 4: much and I'm beyond excited to dive into this one.
• 5:16
  Speaker 3: Yeah.
• 5:16
  Speaker 2: A lot of these movies, man, there's just not a
• 5:18
  Speaker 2: lot of like written history on them, you know. I
• 5:22
  Speaker 2: mean we go back and we kind of reanalyze and
• 5:25
  Speaker 2: rediscover things, and it's continually a process of adding to
• 5:29
  Speaker 2: the record. I think before you joined Beyond the Blood,
• 5:33
  Speaker 2: we kind of ran into this when we covered Spider
• 5:36
  Speaker 2: Labyrinth on our first episode with Chuck originally part of
• 5:39
  Speaker 2: the show, and we had Ryan and we had Ryan
• 5:43
  Speaker 2: on who was on the commentary track with Will Dodson,
• 5:46
  Speaker 2: and one of the things that we discussed was just
• 5:48
  Speaker 2: how hard it is sometimes to find as much information
• 5:51
  Speaker 2: as you can on these movies. You know, sometimes there's
• 5:54
  Speaker 2: not allowed out there. This commentary track with Gudo is
• 5:59
  Speaker 2: incredibly educational, incredibly insightful, and.
• 6:04
  Speaker 3: Really takes.
• 6:07
  Speaker 2: An educational approach to it by kind of comparing the
• 6:13
  Speaker 2: impact this movie has had on the genre ahead of
• 6:17
  Speaker 2: it and mostly in a Brian de Palma film that
• 6:19
  Speaker 2: we'll talk about, but also just a lot of insight
• 6:22
  Speaker 2: on location, on some.
• 6:24
  Speaker 3: Of the themes, every bit.
• 6:27
  Speaker 2: We could have taken everything he talked about and turned
• 6:30
  Speaker 2: it into a discussion on the show. We only had
• 6:32
  Speaker 2: to kind of pick and pull certain parts. But this
• 6:35
  Speaker 2: is the definition of a perfect commentary track in my opinion.
• 6:42
  Speaker 4: I just go back to when this film came out
• 6:44
  Speaker 4: on four K and was already hearing some high praise
• 6:50
  Speaker 4: for this release, and here we are, I would say,
• 6:54
  Speaker 4: close to two years later since this has come out
• 6:57
  Speaker 4: and it's still be in the top tier releases for me,
• 7:02
  Speaker 4: just with how impactful this was as a debut for
• 7:07
  Speaker 4: this label, let alone how meticulously well done this this
• 7:14
  Speaker 4: release was, you know, top to bottom, whether it was
• 7:16
  Speaker 4: the restoration, the special features, or the audio commentary you
• 7:20
  Speaker 4: know included in on this but especially going back and
• 7:23
  Speaker 4: listening to the commentary, it just gave me a whole
• 7:26
  Speaker 4: new level of appreciation for just how much this film
• 7:29
  Speaker 4: has to offer. And I really do hope a movie
• 7:32
  Speaker 4: like this finds a new audience because of what Celluloid
• 7:35
  Speaker 4: Dreams has you know, achieved here.
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  Speaker 2: Yeah, and I think in terms of you know, Jallo
• 7:43
  Speaker 2: in general, there's there's many different types of Shallos, and
• 7:48
  Speaker 2: to be honest, it's sort of an acquired taste for
• 7:51
  Speaker 2: the most part, and it was kind of something that
• 7:54
  Speaker 2: depending on the movies that you start with, can kind
• 7:57
  Speaker 2: of it can either deter you or pull you in further.
• 8:00
  Speaker 2: You know, there's some of these some of these jellows
• 8:03
  Speaker 2: are not the most exciting. They're kind of like it's
• 8:08
  Speaker 2: kind of like a certain wine. You know, you kind
• 8:10
  Speaker 2: of have to have the palette.
• 8:11
  Speaker 3: For some of them. So I can get why people.
• 8:13
  Speaker 4: Got an acquire taste.
• 8:14
  Speaker 2: Yeah, Yeah, it's an acquired taste, So I can when
• 8:17
  Speaker 2: we talk to people who aren't into them, sometimes they're
• 8:20
  Speaker 2: just not into them. But I think sometimes they just
• 8:22
  Speaker 2: haven't found the right films that hit the right beats.
• 8:27
  Speaker 4: For them, don't have the pace.
• 8:29
  Speaker 2: When we're talking about Jallo's, I think the Case of
• 8:32
  Speaker 2: the Bloody Iris is sort of a perfect example of
• 8:34
  Speaker 2: a very accessible Jalli piece and one that has great pacing,
• 8:41
  Speaker 2: great performances, cinematography, beautiful cinematography, an incredibly artistic approach to
• 8:48
  Speaker 2: shooting the movie, but it also is very easy entryway
• 8:55
  Speaker 2: for people to get into and kind of experience the
• 8:58
  Speaker 2: genre firsthand, and then from here you can kind.
• 9:00
  Speaker 3: Of dig a little bit deeper.
• 9:01
  Speaker 2: But so far, I think, with the exception of Hyena
• 9:05
  Speaker 2: and The Safe, selularly Dreams has done a great job
• 9:09
  Speaker 2: finding these movies that are very similar in theme and
• 9:14
  Speaker 2: very similar in style, but have a different.
• 9:16
  Speaker 3: Approach to the material.
• 9:18
  Speaker 2: But these are access points for people because Short Night
• 9:21
  Speaker 2: of the Glass Dolls is not the movie that anybody
• 9:24
  Speaker 2: expected it to be. If you were like us and
• 9:26
  Speaker 2: we had seen it before that release came out, you
• 9:29
  Speaker 2: know what you're in for. And it's a very different
• 9:32
  Speaker 2: tone than Case of the Bloody Iris. And then they
• 9:35
  Speaker 2: do Hyena in the Safe, which is very different tone
• 9:39
  Speaker 2: from Short Night from Bloody Iris, but feels essential when
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  Speaker 2: kind of approaching seventies, kind of Giali influence.
• 9:52
  Speaker 3: Whether it is direct or indirect.
• 9:55
  Speaker 2: So so far, and I think Black Body of the
• 9:57
  Speaker 2: Trangula is kind of like the cherry on top the
• 10:00
  Speaker 2: ensemble they release so far, and all these releases have
• 10:02
  Speaker 2: been phenomenal casablity. Iris looks fucking incredible, dude.
• 10:09
  Speaker 4: I mean, I just can't emphasize how blown away I
• 10:15
  Speaker 4: was when I initially had saw this because the earlier
• 10:19
  Speaker 4: transfer that I had initially watched this. I mean, this
• 10:24
  Speaker 4: was a complete one to eighty, like a night and
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  Speaker 4: day difference. Yeah, so to see it meticulously restored in
• 10:29
  Speaker 4: four K and there's just some of the sequences and
• 10:35
  Speaker 4: the set pieces and the cinematography, it just makes your
• 10:38
  Speaker 4: jaw drop, you know. It was again, it was one
• 10:41
  Speaker 4: of my favorite releases. I believe it was for twenty
• 10:44
  Speaker 4: twenty four and set the bar for such a high
• 10:48
  Speaker 4: standard for what this label can do. I mean, so
• 10:53
  Speaker 4: far out of the three releases, there are three for
• 10:55
  Speaker 4: three in my eyes, and I can't wait to see,
• 10:57
  Speaker 4: you know, how the Black Belly of the Tarantula turns.
• 11:00
  Speaker 3: Yeah, yeah, it's incredible work.
• 11:02
  Speaker 2: And this commentary track that we're going to be discussing
• 11:05
  Speaker 2: the film.
• 11:06
  Speaker 3: Through was recorded for this release.
• 11:09
  Speaker 2: It is a brand new commentary track by Guidohnkle and
• 11:13
  Speaker 2: it's just as we've talked about, just a fascinating companion
• 11:16
  Speaker 2: piece in the movie that we always say, despite what
• 11:20
  Speaker 2: you learn through this show, please go back and listen
• 11:23
  Speaker 2: to the commentary track on your own if you're interested.
• 11:25
  Speaker 2: There's so much information here, and you know, we're not
• 11:29
  Speaker 2: intending to just take what he said and kind of
• 11:31
  Speaker 2: restate it. We're trying to create a discussion point around
• 11:35
  Speaker 2: what he talked about and use it to really kind
• 11:38
  Speaker 2: of fuel this conversation that we're about to have on
• 11:41
  Speaker 2: the movie.
• 11:42
  Speaker 4: Can I point out I love the fact that he
• 11:45
  Speaker 4: distinguished the difference between Italian horror and Giallo because I
• 11:49
  Speaker 4: feel like, all too often it just gets lumped into
• 11:51
  Speaker 4: one category and it's like it's one of those things.
• 11:56
  Speaker 4: It's like one of my pet peeves. It's like, Okay,
• 11:57
  Speaker 4: there's there's a clear difference where you know, this is
• 12:01
  Speaker 4: like more of like a mystery like who done it?
• 12:03
  Speaker 4: You know, thriller compared to you know, something vastly different
• 12:08
  Speaker 4: like The Beyond or City of the Living Dead. Those
• 12:11
  Speaker 4: types of films are awesome in their own right, but
• 12:14
  Speaker 4: you know, it's it's being able to distinguish the difference
• 12:17
  Speaker 4: between the two subgenres.
• 12:19
  Speaker 2: And I in the past admittedly have lumped Yello as
• 12:24
  Speaker 2: Italian horror. But the only reason I've done that is
• 12:27
  Speaker 2: because there was a stretch of time where Italian horror
• 12:30
  Speaker 2: was just Jello. Jello ran the Italian horror market until
• 12:36
  Speaker 2: the early eighties, when you kind of get this boom
• 12:39
  Speaker 2: of not Jello horror, but Italian horror. So I kind
• 12:45
  Speaker 2: of will sometimes say, like, it's kind of like if
• 12:50
  Speaker 2: here in the US for a span of twelve years
• 12:53
  Speaker 2: all we got was Slashers, you could say that Slasher
• 12:56
  Speaker 2: is American horror, you know what I mean. So I've
• 12:58
  Speaker 2: done that in the past and kind of argued that point,
• 13:02
  Speaker 2: but since then I've sort of changed up on it.
• 13:04
  Speaker 2: I still think that stands to an extent, but that's
• 13:07
  Speaker 2: just my brain trying to justify my reasoning.
• 13:10
  Speaker 4: As long as we can both agree that I don't
• 13:12
  Speaker 4: consider Suspiria a Shiallo film his ghiallow elements, but I
• 13:16
  Speaker 4: don't consider that a full on.
• 13:17
  Speaker 3: Siallo, we both agree.
• 13:22
  Speaker 2: So to jump into this the case of the Bloody Iris.
• 13:25
  Speaker 2: Having recently escaped the clutches of her ex husband's sex cult,
• 13:28
  Speaker 2: a beautiful model is stalked by a mass killer whose
• 13:31
  Speaker 2: previous victims include the former occupants of her new apartment.
• 13:36
  Speaker 2: This was directed by Juliana Carromeo, written by Ronesto Gustaldi,
• 13:40
  Speaker 2: and this stars Eduig Fennik, George Hilton, Bayola Quatrini, as
• 13:45
  Speaker 2: well as a bunch of other names. Please excuse at
• 13:48
  Speaker 2: any point in the show. If we mispronounce anybody's names,
• 13:53
  Speaker 2: it's not out of ignorance, it's just out of pure
• 13:55
  Speaker 2: unability to enunciate the proper you know, So apologies in
• 14:01
  Speaker 2: advance for that.
• 14:04
  Speaker 3: What do you think? What do you well? I got
• 14:05
  Speaker 3: a list for there? Do you hear that?
• 14:06
  Speaker 4: What do you say? It's her inner Italian coming out?
• 14:13
  Speaker 3: That was crazy? How that happened? That's never happened before.
• 14:15
  Speaker 4: It's okay.
• 14:16
  Speaker 3: I became Chris Bumstead.
• 14:19
  Speaker 2: Real quick there with my lift alter ego. This is
• 14:25
  Speaker 2: a bearded film guy. Here, back for another discussion on
• 14:28
  Speaker 2: my favorite movies.
• 14:30
  Speaker 4: What do you say?
• 14:31
  Speaker 3: We get to this?
• 14:32
  Speaker 4: Uh?
• 14:33
  Speaker 3: This commentary track?
• 14:34
  Speaker 2: Man, I want to kick off with something that he
• 14:38
  Speaker 2: talks about here that I thought was very important. It
• 14:40
  Speaker 2: was very fun, and that being the beginning of this
• 14:45
  Speaker 2: movie starting off with this beautiful shot of a woman
• 14:52
  Speaker 2: strolling through the city streets and Guido mentions something here,
• 14:58
  Speaker 2: open set versus clothes.
• 15:01
  Speaker 3: Have you ever heard of this before?
• 15:03
  Speaker 4: He definitely gave it a little bit more context. I
• 15:06
  Speaker 4: was somewhat familiar with it. My understanding is is when
• 15:10
  Speaker 4: it's an open set, that's typically when it's being filmed
• 15:15
  Speaker 4: in public. You basically have more genuine reactions to those
• 15:21
  Speaker 4: around that you know are actual civilians that are watching
• 15:25
  Speaker 4: this being filmed, so that the reactions that you see
• 15:29
  Speaker 4: in this opening sequence is legit. Yeah, they're trying to
• 15:35
  Speaker 4: figure out exactly what's going on, or you know, who's
• 15:39
  Speaker 4: this woman that they're filming?
• 15:41
  Speaker 2: Yeah, yeah, and it's it's pretty like it's a very,
• 15:44
  Speaker 2: very very like when you watch some of these movies
• 15:47
  Speaker 2: and you see these open sets, you can always tell
• 15:51
  Speaker 2: because they seem to kind of captivate everybody around. And
• 15:54
  Speaker 2: the people that you're seeing on the streets are were real,
• 15:57
  Speaker 2: they were just there that day. These are not hired
• 16:00
  Speaker 2: extras acting like they don't know what's going on. These
• 16:04
  Speaker 2: are real people in the street watching this movie shoot
• 16:08
  Speaker 2: in public, and the reactions are one hundred percent real,
• 16:11
  Speaker 2: And you see people staring at the camera, you see
• 16:13
  Speaker 2: people staring at our actress. You see a lot of
• 16:16
  Speaker 2: that happening, and it's when you if you're not used
• 16:19
  Speaker 2: to seeing that, it's a little bit jarring because you're like,
• 16:23
  Speaker 2: what's everyone doing?
• 16:25
  Speaker 3: Like, But I thought it was just.
• 16:28
  Speaker 2: An interesting little point because it's something that happens a
• 16:30
  Speaker 2: lot on in Jolla Film just because of budget, you know,
• 16:35
  Speaker 2: not being able to shut down an entire street or
• 16:37
  Speaker 2: a block, hire a bunch of extras to kind of
• 16:40
  Speaker 2: capture the moment, and.
• 16:43
  Speaker 4: You know, I think it almost gives it more of
• 16:45
  Speaker 4: an authentic feel in a way. You know. I don't
• 16:49
  Speaker 4: feel that when they're they're shooting certain sequences that it
• 16:53
  Speaker 4: feels everything has to fall in place at the right time.
• 16:57
  Speaker 4: I mean, and there's another scene that we'll talk about
• 17:00
  Speaker 4: a little bit later on which I thought was interesting
• 17:03
  Speaker 4: to hear that this was the same situation. But it's
• 17:10
  Speaker 4: I definitely feel like it lends a little bit of
• 17:12
  Speaker 4: like credibility and authenticity to these certain sequences that we're
• 17:17
  Speaker 4: watching unfold.
• 17:18
  Speaker 3: It's it's it's a little it's a little charm, you
• 17:21
  Speaker 3: know that.
• 17:21
  Speaker 2: I think when you were discussing more shallow films in
• 17:23
  Speaker 2: the future, I think, like, keep an eye.
• 17:24
  Speaker 3: Out for that. It's always fun to see, you know
• 17:27
  Speaker 3: what I mean.
• 17:28
  Speaker 2: I just love all the people kind of like what
• 17:30
  Speaker 2: would I do if I was on the street and
• 17:31
  Speaker 2: a beautiful actress comes walking by and I turn in
• 17:34
  Speaker 2: there's a camera. You're gonna, You're gonna, You're gonna catch me,
• 17:37
  Speaker 2: you know, and that's okay.
• 17:38
  Speaker 4: I'm a right, Chris is out here serving looks.
• 17:41
  Speaker 3: Listen, man.
• 17:41
  Speaker 2: Honestly, like I, I would probably get hired for a
• 17:44
  Speaker 2: role just from.
• 17:45
  Speaker 3: I'll strike a pose.
• 17:48
  Speaker 4: Right place, right time.
• 17:49
  Speaker 2: Can you imagine, like back then, and you know there
• 17:51
  Speaker 2: was no preview footage, you know, everything that you shot
• 17:53
  Speaker 2: in film was kind of shoot and prey. And keep
• 17:58
  Speaker 2: going back and watching the footage, and there's me and
• 17:59
  Speaker 2: the background striking a pose.
• 18:04
  Speaker 4: You know what, I wouldn't roll it out. We'll leave
• 18:06
  Speaker 4: it at that.
• 18:07
  Speaker 2: In my Suspiria shirt. So this movie opens in very
• 18:15
  Speaker 2: fast paced with a kill in an elevator. So a
• 18:17
  Speaker 2: character that we just saw walking through the street gets
• 18:20
  Speaker 2: killed in an elevator. And I want to talk about
• 18:22
  Speaker 2: this because this happens within the first five minutes of
• 18:25
  Speaker 2: the movie.
• 18:27
  Speaker 3: Pacing of this movie is unbelievable. This happens masterclass so fast,
• 18:33
  Speaker 3: and anybody who is familiar with kind of some of
• 18:40
  Speaker 3: the Yallow influence into American film will instantly pick up
• 18:44
  Speaker 3: on a similarity here between this whole sequence with Brian
• 18:48
  Speaker 3: de Palma's Dressed to Kill, which has an incredibly infamous
• 18:52
  Speaker 3: elevator kill scene with a scalpel, and uh, this is
• 18:59
  Speaker 3: clearly heavily inspiring that Dressed to Kill sequence, and it's
• 19:06
  Speaker 3: not as stylized as the Pama's scene. This is a
• 19:11
  Speaker 3: little bit more like tension filled.
• 19:15
  Speaker 2: There is kind of like this idea of the elevator
• 19:16
  Speaker 2: filling up our characters pretty much like smothered almost by
• 19:20
  Speaker 2: the characters in here, and as the elevator empties with
• 19:23
  Speaker 2: each floor, the tension kind of keeps racketing up things
• 19:27
  Speaker 2: to the music and stuff, and we know something's gonna happen,
• 19:29
  Speaker 2: and then it kind of explodes into the violence. But
• 19:36
  Speaker 2: Guito talks about not just the influence on the Pama
• 19:39
  Speaker 2: from this scene alone, but also influence from our gento.
• 19:45
  Speaker 2: And there's a couple moments that sort of are directly
• 19:48
  Speaker 2: taken over. There's a moment where after our character gets
• 19:50
  Speaker 2: stabbed a couple times, the scalpel is kind of raised
• 19:54
  Speaker 2: into frame and her eyes turn and see it before
• 19:57
  Speaker 2: he takes the final slash at her throat, leaving her
• 20:01
  Speaker 2: to die. And it's so funny now seeing it and
• 20:06
  Speaker 2: directly comparing it.
• 20:08
  Speaker 3: To the Dress to Kill. Oh yeahath sequence, which do
• 20:11
  Speaker 3: you think is better?
• 20:12
  Speaker 4: Here?
• 20:12
  Speaker 3: Do you like this or do you like the Dress
• 20:13
  Speaker 3: to Kill one?
• 20:17
  Speaker 4: I mean it's hard, you know, I have to say
• 20:21
  Speaker 4: with this, I think with the pacing, it's very I mean,
• 20:25
  Speaker 4: there's obviously some similarities stylistically between the two, but I
• 20:29
  Speaker 4: feel like with this, I don't know what it is.
• 20:32
  Speaker 4: This whole the whole way, the whole sequence, the way
• 20:36
  Speaker 4: that plays out. It made me feel so uneasy because
• 20:40
  Speaker 4: here we are. You should be in in a safe
• 20:43
  Speaker 4: space because you're out in public and you're on an elevator.
• 20:47
  Speaker 4: But while we're watching this unfold, we know that there's
• 20:49
  Speaker 4: an ominous figure that's, you know, following her. It ramps
• 20:54
  Speaker 4: up this tension and the climax happened so quickly when
• 20:59
  Speaker 4: we have the kill scene. It's so I sound weird
• 21:05
  Speaker 4: saying this, but it's such a beautiful sequence the way
• 21:08
  Speaker 4: that it takes place, and I feel like there's certain
• 21:11
  Speaker 4: aspects of how this was filmed stylistically that reminds me
• 21:15
  Speaker 4: in a lot of ways of the Bird with the
• 21:17
  Speaker 4: crystal plumage, and clearly some influence that later came from
• 21:23
  Speaker 4: this with Dressed to Kill. So I just appreciate it
• 21:28
  Speaker 4: on a lot of levels. But if I had to
• 21:30
  Speaker 4: really choose one over the other, I'd have to say
• 21:32
  Speaker 4: the case of the Bloody.
• 21:33
  Speaker 2: Iris, Yeah, yeah, Well, there was kind of an interesting
• 21:37
  Speaker 2: extension of this conversation in the commentary where Gido goes
• 21:42
  Speaker 2: on to kind of compare the execution of the scene
• 21:46
  Speaker 2: between DePalma and Carnemeo. One thing that he brings up
• 21:50
  Speaker 2: that I thought was interesting for us to kind of
• 21:51
  Speaker 2: talk about is how Thepama's kill scenes are longer and
• 21:56
  Speaker 2: kind of more milked, and it creates this more sedistant
• 22:01
  Speaker 2: sense to the violence because it's so long, Like that
• 22:05
  Speaker 2: elevator scene in Dressed to Kill is longer than this
• 22:09
  Speaker 2: sequence as far as the actual death, or there's more
• 22:12
  Speaker 2: to it. There's more slashes, it's not as like quick
• 22:16
  Speaker 2: you know here, there's a couple stabs in this wipe.
• 22:18
  Speaker 2: The elevator sequence to Dressed to Kill feels much more
• 22:22
  Speaker 2: I'm gonna say, like personal, like it feels like somebody's
• 22:25
  Speaker 2: very very mad, and taking it out into Palma visually
• 22:28
  Speaker 2: shows that. But in Case of the Bloody Iris, this
• 22:33
  Speaker 2: scene happens four minutes into the movie and it's twenty
• 22:37
  Speaker 2: seconds of the film, the elevator death. It's very very,
• 22:42
  Speaker 2: very quick and he uses that little time to really
• 22:49
  Speaker 2: sell the impact of it, because we don't need an
• 22:53
  Speaker 2: incredible amount of violence to sell the death, you know,
• 22:58
  Speaker 2: through the suspense, the emptying of the elevator and the
• 23:02
  Speaker 2: killer turning around her shock before the first stab. It's
• 23:07
  Speaker 2: so quick and it happens so fluidly.
• 23:11
  Speaker 3: It really just sells the whole entire sequence from it.
• 23:15
  Speaker 4: Well. And once you see Luna the first victim, where
• 23:21
  Speaker 4: she's you know, obviously you know she's already been killed
• 23:25
  Speaker 4: and she's laying there in the elevator, I mean, it's
• 23:27
  Speaker 4: almost like a work of art in a lot of ways,
• 23:30
  Speaker 4: you know, the way that it's portrayed. And this is
• 23:33
  Speaker 4: a reoccurring theme throughout the whole film, but you know,
• 23:37
  Speaker 4: it's further emphasized with Bruno Nicolai's score, who just does
• 23:44
  Speaker 4: a number on this entire film. I think it just
• 23:47
  Speaker 4: brings out the best of, you know, what this film
• 23:50
  Speaker 4: is trying to accomplish. But yeah, just I don't know,
• 23:55
  Speaker 4: that's probably one of my favorite scenes throughout the movie. Yeah,
• 23:59
  Speaker 4: and just especially hearing what what Hankle was was discussing
• 24:04
  Speaker 4: on this sequence and maybe appreciate it a lot more.
• 24:07
  Speaker 2: Yeah, Yeah, well, the body is left on the elevator
• 24:09
  Speaker 2: which travels up to the floor of her apartment where
• 24:13
  Speaker 2: some of our characters are waiting to find the body.
• 24:16
  Speaker 2: One of those characters that is waiting at the elevator
• 24:19
  Speaker 2: that stop when the body is discovered is Miszarre Harrington
• 24:23
  Speaker 2: played by Carla Braid, who people would know from Sergio
• 24:27
  Speaker 2: martinoz Torso. She was in and the discovery of this
• 24:30
  Speaker 2: body is always funny because it feels so like, uh,
• 24:35
  Speaker 2: there's like, oh, oh, got a body, and Mazarre just
• 24:39
  Speaker 2: needs to get the work because she's like, let the
• 24:42
  Speaker 2: police know that I'm in this gotta go, which I
• 24:48
  Speaker 2: love so much. But this is this is going into
• 24:51
  Speaker 2: this sequence here. If you if you were at a
• 24:54
  Speaker 2: club hanging out and you know, somebody said, hey, you
• 24:57
  Speaker 2: want to try to wrestle this strong female character, would.
• 25:00
  Speaker 3: You would you take her up on that offer?
• 25:06
  Speaker 4: No? No, I can't say that. Thoughts ever crossed my mind,
• 25:10
  Speaker 4: But you know, I I think for the sake of
• 25:14
  Speaker 4: a movie, it works in some quirky fashion, I think.
• 25:18
  Speaker 4: And the reality is I don't see that going over
• 25:20
  Speaker 4: too well.
• 25:21
  Speaker 3: No, no, no, you don't think you would win.
• 25:24
  Speaker 4: We'll talk about this later. Okay, all right, I got
• 25:28
  Speaker 4: I got. You know, I've got a reputation to maintain here.
• 25:31
  Speaker 3: You got a reputation to maintain.
• 25:33
  Speaker 4: Yeah.
• 25:35
  Speaker 2: Well, this, uh, this wrestling sequence is funny. It's this
• 25:44
  Speaker 2: funny little club and I love a lot of Guido's
• 25:46
  Speaker 2: notes here because we we see this club active in
• 25:50
  Speaker 2: this sequence, like this is the club is at night,
• 25:53
  Speaker 2: It's full of patrons. We have Mizarre who has this
• 25:57
  Speaker 2: very strong female character looking for somebody to wrestle with her,
• 26:03
  Speaker 2: and uh wrestle her and she whoops his.
• 26:07
  Speaker 3: Ass for being fair. She absolutely whoops his ass, which
• 26:11
  Speaker 3: I love.
• 26:12
  Speaker 4: That's why I want to say face, because I don't
• 26:14
  Speaker 4: want to be put in that position.
• 26:17
  Speaker 3: Yeah. Yeah, Well, our introduction to.
• 26:22
  Speaker 2: Andre Andre I'm gonna say Andrea played by George Hilton,
• 26:26
  Speaker 2: is both in.
• 26:27
  Speaker 3: The sequence and the sequence right before.
• 26:28
  Speaker 2: We were also introduced to our photographer, whose name is Arthur.
• 26:33
  Speaker 3: And we're also introduced to probably.
• 26:35
  Speaker 2: The the beauty, the most beautiful thing about this movie,
• 26:41
  Speaker 2: Edwige Finneck, played by our playing Jennifer Lansbury in this role.
• 26:46
  Speaker 4: Chris, I was. I was falling in love watching this
• 26:49
  Speaker 4: movie last night. I don't know how old she is now,
• 26:53
  Speaker 4: but just just stunner man, Yetta, I was feeling something.
• 27:00
  Speaker 2: I love that obviously a legend, absolute legend into space.
• 27:06
  Speaker 2: I instantly go to your Vice as a locker room
• 27:08
  Speaker 2: and only I have. But also I think of.
• 27:11
  Speaker 3: Her as the art class professor and Hustle too. You know,
• 27:13
  Speaker 3: Eli Roth loves to.
• 27:15
  Speaker 2: It pays tribute to bring you know, I mean, yeah,
• 27:17
  Speaker 2: to bring back these uh these characters.
• 27:20
  Speaker 1: I was.
• 27:20
  Speaker 4: I always think of her in the Strange Vice and
• 27:22
  Speaker 4: missus Ward.
• 27:23
  Speaker 3: Oh yes, yes, to Strange.
• 27:26
  Speaker 4: All the colors of the dark, yep.
• 27:28
  Speaker 2: Yep, yeah, absolute legend of space. And I mean she
• 27:31
  Speaker 2: is just an absolute magnet on the screen. She looks
• 27:36
  Speaker 2: phenomenal and we're introduced to her in the middle of
• 27:39
  Speaker 2: a bunch of photo shoots and she's just just stunning.
• 27:42
  Speaker 4: Man.
• 27:42
  Speaker 3: I don't know how much longer I can just go
• 27:43
  Speaker 3: on about it.
• 27:45
  Speaker 4: While you're doing that and you're you're getting yourself together,
• 27:47
  Speaker 4: I will well, I will point out that Hankle did
• 27:52
  Speaker 4: mention just how talented she is. It's not just obviously
• 27:55
  Speaker 4: like the looks, because she's obviously very stunning, but her
• 28:00
  Speaker 4: her filmography. I mean, if you you know, we we
• 28:02
  Speaker 4: were just barely scratching the surface. I mean, she she's
• 28:06
  Speaker 4: been countless shallow films, which is just you know, probably
• 28:12
  Speaker 4: what would you consider her probably upper echeline of the
• 28:16
  Speaker 4: actors and actresses you typically see in these films.
• 28:18
  Speaker 2: Oh my god, Yeah, I say she's prestige. Mm hmm, yeah,
• 28:22
  Speaker 2: absolute prestige.
• 28:23
  Speaker 3: And here's the thing.
• 28:25
  Speaker 2: She didn't just get all these roles from being Yeah,
• 28:27
  Speaker 2: she's beautiful, but she she really carries herself. And what's
• 28:30
  Speaker 2: crazy is that, you know, when it comes to a
• 28:32
  Speaker 2: lot of these Italian films, you know, you're rarely ever
• 28:36
  Speaker 2: hearing her real voice, you know, because of the dub
• 28:40
  Speaker 2: and it's something I remember hearing. I forget when the
• 28:44
  Speaker 2: first time I heard her voice was her actual voice,
• 28:47
  Speaker 2: not a dubbed voice, and it just elevated her even
• 28:52
  Speaker 2: more for wa. So she is incredible, and this kind
• 28:57
  Speaker 2: of opening sequence with her the interest extra for her
• 29:00
  Speaker 2: character in the photo shoot obviously he's beautiful, but it.
• 29:03
  Speaker 3: Leads into I think one of one.
• 29:08
  Speaker 2: Of the best directed sequences in the film, which is
• 29:14
  Speaker 2: her leaving the photo shoot and kind of going outside
• 29:18
  Speaker 2: into this.
• 29:20
  Speaker 3: The exit of the studio.
• 29:22
  Speaker 2: This complex that she's in, which is it's nighttime and
• 29:27
  Speaker 2: it's this very interesting setting with a lot of walls
• 29:31
  Speaker 2: and kind of like these just interesting setting. And one
• 29:36
  Speaker 2: thing I want to get into here is how Gettohnkle
• 29:41
  Speaker 2: brings up discussing kind of the middle class feel that
• 29:45
  Speaker 2: this film really has. And when I say that, I'm
• 29:50
  Speaker 2: contrasting it to typically in a lot of yellows, where
• 29:53
  Speaker 2: there's this very kind of prestige production design. Everything feels
• 30:01
  Speaker 2: like even the setting and the houses that we're seeing,
• 30:06
  Speaker 2: it all always feels like very high end, right, I'm thinking,
• 30:11
  Speaker 2: like go back to emotionality film. They feel like you're
• 30:14
  Speaker 2: in these rooms and in these houses that are just gorgeous, right,
• 30:18
  Speaker 2: They're they're.
• 30:18
  Speaker 4: Incredible and upper class feeling.
• 30:21
  Speaker 2: Yeah, Well, the the Italian sensibility is they're very splashes
• 30:25
  Speaker 2: of color, very unique kind of you know, furniture designs
• 30:31
  Speaker 2: and color palettes and all those really interesting things.
• 30:34
  Speaker 3: But it feels uppity, you know. That's seems to be
• 30:37
  Speaker 3: a trend.
• 30:37
  Speaker 4: In these I think luxury elite. A lot of these characters,
• 30:42
  Speaker 4: since some varying ways have some sort of money or
• 30:45
  Speaker 4: they come from money, very stylistic in the way that
• 30:50
  Speaker 4: most of these movies are filmed.
• 30:52
  Speaker 2: Yeah, Yeah, and getto talked about how Bloody Iris stays
• 30:57
  Speaker 2: very middle class with its settings and characters. In the
• 31:02
  Speaker 2: visual direction of the film really leans into being incredibly
• 31:08
  Speaker 2: interesting all the time with the camera to make these
• 31:11
  Speaker 2: kind of average locations feel more interesting because you can
• 31:15
  Speaker 2: shoot somewhere that's not that interesting, but the way that
• 31:18
  Speaker 2: you shoot the setting, it's really what elevates the space.
• 31:22
  Speaker 2: And this discussion leads into this stalking scene where I
• 31:26
  Speaker 2: think it's kind of a perfect use of that location,
• 31:29
  Speaker 2: particularly shadow and wall, like this kind of contrast here
• 31:33
  Speaker 2: because she walks outside and she instantly kind of gets
• 31:36
  Speaker 2: a feeling that somebody is following her. And we have
• 31:39
  Speaker 2: this great sequence that's only a few seconds long where
• 31:43
  Speaker 2: the paranoia kicks in and we can see that somebody's
• 31:46
  Speaker 2: following her, and the walls are casting these long shadows
• 31:50
  Speaker 2: and we don't know like which direction leads in what.
• 31:53
  Speaker 2: It's kind of a disorienting sequence. But I love just
• 31:58
  Speaker 2: that discussion because the rest of the movie, it's true,
• 32:02
  Speaker 2: every location here feels almost like within our budget, like
• 32:07
  Speaker 2: within our reach. This feels like somewhere we would live.
• 32:10
  Speaker 2: This is the kind of house that we would have
• 32:12
  Speaker 2: as middle.
• 32:12
  Speaker 4: Class people feels more grounded.
• 32:15
  Speaker 2: Yeah, it does, and it lends that that sense, and
• 32:17
  Speaker 2: it makes everything feel a little bit more relatable, maybe.
• 32:19
  Speaker 3: A little bit more real.
• 32:22
  Speaker 2: This doesn't just happen to high upper class people. This
• 32:27
  Speaker 2: happens also to people just trying to make a living.
• 32:31
  Speaker 4: What I loved about this film, and I don't know
• 32:33
  Speaker 4: if it was like this for you on first watch,
• 32:36
  Speaker 4: is that I feel like Carnemio did an excellent job
• 32:42
  Speaker 4: set in the stage with our suspects.
• 32:45
  Speaker 3: Oh yeah, it.
• 32:46
  Speaker 4: Doesn't feel very obvious, because there are some shallow films
• 32:52
  Speaker 4: where I would say the killer could be completely out
• 32:55
  Speaker 4: of left field and you may have you might not
• 32:57
  Speaker 4: even have any connection to this character what's soever. But
• 33:01
  Speaker 4: there's also some where it feels a little bit on
• 33:04
  Speaker 4: the nose with who you know the killer ends up being.
• 33:08
  Speaker 4: I think with this, you know, you take it back
• 33:10
  Speaker 4: to the elevator sequence, and that already sets us up
• 33:13
  Speaker 4: with we got bizarre, and then you know, missus Moss
• 33:18
  Speaker 4: and Professor Isaacs, and you know, you bring into the mix, uh,
• 33:22
  Speaker 4: We've got and Andrea and Adam. You know, with especially
• 33:27
  Speaker 4: with Adam.
• 33:28
  Speaker 3: Is the introduction of Adam her yeah.
• 33:31
  Speaker 4: Yeah, So it's it's all these we're as the audience
• 33:36
  Speaker 4: really trying to deduct who this killer is. I loved
• 33:42
  Speaker 4: how this film handled that. I just kind of wanted
• 33:45
  Speaker 4: to point that aspect out.
• 33:47
  Speaker 2: Yeah yeah, well, this is where the plot really begins
• 33:49
  Speaker 2: to kind of like reveal itself for us, because we
• 33:53
  Speaker 2: we meet Adam, who is Jennifer's x husband, and we
• 33:56
  Speaker 2: learned that their marriage was basically involvement in this sex cult.
• 34:05
  Speaker 2: And this is where, in my opinion, the restoration for
• 34:09
  Speaker 2: this movie like really standing, because we go from this
• 34:13
  Speaker 2: dark exterior setting the stalker scene into this incredibly like colorful, vibrant,
• 34:21
  Speaker 2: kind of euphoric, euphoric flashback sequence that kind of establishes
• 34:27
  Speaker 2: this very kind of standard cult fair You know, this
• 34:30
  Speaker 2: is kind of like all you gotta see is a
• 34:32
  Speaker 2: screenshot of this moment. You're like, oh, this is a
• 34:34
  Speaker 2: cult sequence, and it's the restoration looks like stunning, dude,
• 34:40
  Speaker 2: It just blew me away.
• 34:41
  Speaker 3: The colors, the vibrancy.
• 34:44
  Speaker 2: I think this, this, this moment is so beautiful because
• 34:46
  Speaker 2: there's really no other moment like this in the rest
• 34:48
  Speaker 2: of the movie. This is really the most bold visually
• 34:51
  Speaker 2: the movie becomes unless you can think of something I'm missing.
• 34:55
  Speaker 4: No, this is definitely a highlight. I mean, I have
• 34:58
  Speaker 4: to say you were going and bringing up the cult aspect.
• 35:02
  Speaker 4: I had a note here that was talking about how
• 35:05
  Speaker 4: a screenwriter or Neesto Gstaldi, he utilized the cult aspect
• 35:10
  Speaker 4: in both this film to some extent. But also it's
• 35:13
  Speaker 4: a little bit more prevalent in all the colors of
• 35:15
  Speaker 4: the Dark, which I think it's an interesting angle. It
• 35:19
  Speaker 4: adds a different layer to the film. It makes it
• 35:23
  Speaker 4: feel more ominous. And you know, we obviously know that
• 35:27
  Speaker 4: our main heroine has kind of a checkered past, but
• 35:31
  Speaker 4: is you know, trying to do everything she can to
• 35:33
  Speaker 4: get past it.
• 35:35
  Speaker 2: Yeah, and it's it's interesting. It really adds a new
• 35:38
  Speaker 2: layer to the movie. And you know, spoiler alert, this
• 35:42
  Speaker 2: doesn't really amount to anything with our killer reveal, you
• 35:47
  Speaker 2: know what I mean, This doesn't do too much for it.
• 35:50
  Speaker 2: This is just sort of a side like a misdirect Yeah,
• 35:53
  Speaker 2: a history piece. And Adam is crazed, and he gets
• 35:57
  Speaker 2: more crazed as the film goes on, in his kind
• 36:00
  Speaker 2: of paranoia and his feeling that hey, you were inniclet
• 36:03
  Speaker 2: and you can't leave you have to come back, even
• 36:06
  Speaker 2: though this cult consisted of her being shared amongst the
• 36:11
  Speaker 2: rest of the cult members, not just Adam, who she
• 36:13
  Speaker 2: was in love with at some point. But this scene
• 36:18
  Speaker 2: is stunning, and Adam is a great misdirect ex husband,
• 36:25
  Speaker 2: batshit crazy cult background, kind.
• 36:28
  Speaker 4: Of an instant unhinged.
• 36:29
  Speaker 3: He's definitely fucking unhinged. These guy's out of control.
• 36:32
  Speaker 4: Well that's that's where we get the reference to Iris, right,
• 36:35
  Speaker 4: isn't that the name of the cult?
• 36:36
  Speaker 3: Yep?
• 36:37
  Speaker 4: Yep.
• 36:38
  Speaker 2: So there's a lot here to admire and pull apart,
• 36:44
  Speaker 2: and you're already kind of starting to piece together some
• 36:47
  Speaker 2: of the mystery. But things really take a turn in
• 36:52
  Speaker 2: the upcoming apartment scene with Mazarre so mizarre wrestles Andrea
• 36:58
  Speaker 2: at the like up he's the only one who participates
• 37:02
  Speaker 2: the fighter. She whoops his ass, thank god, and she
• 37:09
  Speaker 2: goes home to her apartment, which is in the apartment
• 37:11
  Speaker 2: complex where the first kill took place.
• 37:15
  Speaker 3: If you remember, she was at the elevator when the
• 37:17
  Speaker 3: elevator opened.
• 37:19
  Speaker 2: And this apartment scene, I think is really where we
• 37:21
  Speaker 2: see the master work between Carnameo and Stelvio Massei, who
• 37:26
  Speaker 2: is the cinematographer here, because this apartment is.
• 37:32
  Speaker 3: Lit incredibly well.
• 37:34
  Speaker 2: She goes into there's no power in her apartment, and
• 37:37
  Speaker 2: the lighting that we do have is incredibly intentional, and
• 37:43
  Speaker 2: it's it's dark, but there's these highlights that seem to
• 37:46
  Speaker 2: be coming in through windows. Whether it's like moonlight, Yeah,
• 37:50
  Speaker 2: it's these beautiful accent lights, and we still have this
• 37:53
  Speaker 2: incredible sense of darkness. Clearly it's darker for the character
• 37:56
  Speaker 2: because she has to put out her hands to you know,
• 37:59
  Speaker 2: kind of feel around, but it's beautiful, like it's these
• 38:03
  Speaker 2: beautiful kind of blue accent lights that feel.
• 38:09
  Speaker 3: Purposeful. It doesn't feel like there's a light just for
• 38:11
  Speaker 3: the sake of being light there.
• 38:12
  Speaker 2: It feels like it's, like I said, reflecting in through
• 38:14
  Speaker 2: a window or bouncing in somewhere. And the once the
• 38:20
  Speaker 2: door is shut, that blue light really takes over and
• 38:23
  Speaker 2: we have these great kind of moments where she's looking
• 38:26
  Speaker 2: around and the light is just hitting her face or
• 38:28
  Speaker 2: like the top half of her face, and it's stunning
• 38:32
  Speaker 2: to look like, it's stunning to look at. And Gido
• 38:34
  Speaker 2: does an incredible job kind of assessing and breaking down
• 38:37
  Speaker 2: this lighting to kind of.
• 38:37
  Speaker 3: Show why it works.
• 38:38
  Speaker 2: So well, but this sequence is leading to Mizar's death,
• 38:45
  Speaker 2: and things do brighten up when she goes to the
• 38:47
  Speaker 2: oven and turns on the oven. And I love these
• 38:50
  Speaker 2: I love these moments in movies where it's like a
• 38:52
  Speaker 2: character lights a zippo and all of a sudden, it
• 38:54
  Speaker 2: like lights up the room.
• 38:56
  Speaker 4: You know, is that how it works?
• 38:59
  Speaker 2: This little time lights like just like the whole section
• 39:02
  Speaker 2: of the room. But this, this kill sequence with Mazarre,
• 39:09
  Speaker 2: I think it's worth discussing because the contrast between the
• 39:14
  Speaker 2: elevator death scene and this our first kill and our
• 39:17
  Speaker 2: second kill is remarkable because there's no typical play here,
• 39:25
  Speaker 2: meaning there's no music to lead up to Mizarre getting
• 39:29
  Speaker 2: knocked out. There's no cues except the fact that it's dark.
• 39:34
  Speaker 2: For some reason, the power doesn't work. But that's all
• 39:37
  Speaker 2: we have to indicate us that something could happen. And
• 39:41
  Speaker 2: if I'm going to quote Gito and his insight, there's
• 39:46
  Speaker 2: no lurking, there's no povs. The knockout that leads to
• 39:51
  Speaker 2: her death is so definitive and fast and intentional.
• 39:57
  Speaker 4: She's gonna have time to react.
• 39:59
  Speaker 3: She has no time to react.
• 40:00
  Speaker 2: And this is a character who's strong She's an incredibly
• 40:02
  Speaker 2: strong female character. We just saw her Russell Andrea at
• 40:06
  Speaker 2: the wrestling and she whooped his ass. So assuming our
• 40:10
  Speaker 2: killer is, you know, an average guy, she should have
• 40:16
  Speaker 2: the upper hand on him if he didn't sneakily knock
• 40:19
  Speaker 2: her out, you.
• 40:21
  Speaker 3: Know what I mean.
• 40:21
  Speaker 2: So he had to do that in order to disarm her,
• 40:25
  Speaker 2: disarm her to kind of bring her to drown her
• 40:28
  Speaker 2: in the tub. And even when he does drown her,
• 40:29
  Speaker 2: he has to like hog tie her to do it.
• 40:34
  Speaker 2: And this whole sequence is remarkable.
• 40:41
  Speaker 4: I believe it's during this scene where uh, like I
• 40:47
  Speaker 4: noted that, you know, in our typical shallow films, the
• 40:52
  Speaker 4: killer is one of the trademarks as always having the
• 40:55
  Speaker 4: black gloves. What I thought was fascinating is that in
• 40:58
  Speaker 4: this film, Killer has yellow gloves, which is kind of
• 41:02
  Speaker 4: a callback to what Giallo means, which are the Italian
• 41:05
  Speaker 4: pulp novels that were very popular back then in Italy.
• 41:10
  Speaker 4: And I think that that is enough to distinguish this
• 41:15
  Speaker 4: film a little bit more, you know, from the other
• 41:18
  Speaker 4: films that were coming out around this time. It's a
• 41:20
  Speaker 4: unique touch that I just couldn't help but notice.
• 41:24
  Speaker 3: Yeah, yeah it is, and you know it was stuff that.
• 41:27
  Speaker 2: I noticed, but never really what sort of like I
• 41:34
  Speaker 2: noticed it, but it never stood out to me until
• 41:37
  Speaker 2: listening to this commentary and having gid To kind of
• 41:38
  Speaker 2: pointed out. And this death scene is incredibly bothersome man,
• 41:45
  Speaker 2: because it's it's not it's not a blade, it's not
• 41:51
  Speaker 2: somebody getting cut up or stabbed or throat sal it.
• 41:55
  Speaker 2: This is a very cruel drowning, you know, And.
• 42:00
  Speaker 4: I don't know, it feels very personal.
• 42:03
  Speaker 2: It does, Yeah, it feels very personal. But this scene
• 42:07
  Speaker 2: leads us into now the investigation portion of the movie
• 42:12
  Speaker 2: where we're introduced to our commissioner as well as our
• 42:14
  Speaker 2: assistant comisioner. We have mister Enzi are Enchi and assistant
• 42:18
  Speaker 2: Comissioner Renzi. Which I have to say, Franco Agassini as
• 42:21
  Speaker 2: the assistant commissioner is the best character in his.
• 42:24
  Speaker 3: Whole entire movie. He so.
• 42:29
  Speaker 2: He is fantastic in this movie. And the kind of
• 42:33
  Speaker 2: the investigation scene going through the apartment talking to the neighbors,
• 42:37
  Speaker 2: we're introduced to a couple more of the neighbors through
• 42:40
  Speaker 2: the sequence, and this is kind of where things kind
• 42:47
  Speaker 2: of start really progressing forward because Jennifer Atwich Fenex character
• 42:53
  Speaker 2: moves into this apartment that is now vacant, and I
• 43:00
  Speaker 2: want to talk about one of my favorite commentary notes,
• 43:06
  Speaker 2: which was killing me. There's a scene where Jennifer is
• 43:12
  Speaker 2: talking to Andrea in the apartment and she's putting away groceries.
• 43:19
  Speaker 2: And if you notice what she's putting away the groceries,
• 43:23
  Speaker 2: she never actually puts anything away. She just sort of
• 43:26
  Speaker 2: carries them around the room. And it's something that when
• 43:29
  Speaker 2: you're watching the movie, you don't pick up on because
• 43:31
  Speaker 2: you're engrossed in this conversation that's happening in the characters.
• 43:36
  Speaker 2: But Geto points it out and he just talks about
• 43:38
  Speaker 2: how funny it is to see her simply just carry
• 43:41
  Speaker 2: these from one piece of the set to another, or
• 43:44
  Speaker 2: with the plates or yeah, like with the plates, like
• 43:47
  Speaker 2: the cups. Yeah, it's so just like everything she's doing
• 43:51
  Speaker 2: is so meaningless and it's just like her moving around
• 43:54
  Speaker 2: and it's the blocking. And I've seen this movie four
• 43:58
  Speaker 2: or five times leading up to watching this commentary, and
• 44:00
  Speaker 2: I never picked up that that's what that's what was happening.
• 44:03
  Speaker 2: So I just thought it was a funny little a
• 44:05
  Speaker 2: funny little detail.
• 44:06
  Speaker 4: Well even you know, he mentions that you know, in
• 44:09
  Speaker 4: a lot of like films and TV series, you know,
• 44:12
  Speaker 4: when they're they have some sort of scene that involves
• 44:17
  Speaker 4: some sort of food, most of the time, you know,
• 44:19
  Speaker 4: whoever's the actor or actress is usually just kind of
• 44:22
  Speaker 4: playing with the food, like you know, just they're not
• 44:24
  Speaker 4: actually eating it, but it's it's enough of the motions
• 44:30
  Speaker 4: that they're going through where it basically sells that for
• 44:33
  Speaker 4: what it is.
• 44:34
  Speaker 2: Yeah, Yeah, I want to ask you a question about
• 44:38
  Speaker 2: a character here.
• 44:39
  Speaker 3: What's your thoughts on What is your thoughts.
• 44:43
  Speaker 2: On on Marilyn, the roommate that Jennifer moves in with,
• 44:46
  Speaker 2: played by Byola Quatrini.
• 44:50
  Speaker 4: Well, first watch, she definitely seemed to show up at
• 44:55
  Speaker 4: you know, right place, right time. Yeah, in you know,
• 44:58
  Speaker 4: certain moments, I feel like she mirrors Jennifer in a
• 45:06
  Speaker 4: lot of ways. You know. One of the notes that
• 45:09
  Speaker 4: Hankle had mentioned during the commentary was that we kind
• 45:14
  Speaker 4: of see as from the very beginning our introduction to
• 45:18
  Speaker 4: Jennifer where that specific scene she's basically in like what
• 45:22
  Speaker 4: body paint for that very exposed nothing on, and then
• 45:27
  Speaker 4: as the film goes on, you see a little bit
• 45:30
  Speaker 4: more layers that are you know, added to her a
• 45:33
  Speaker 4: different accent, pieces, clothing, things like that. It's helping her
• 45:38
  Speaker 4: establish her identity, you know, kind of creating that that
• 45:43
  Speaker 4: independence as a character. And I would say also to
• 45:45
  Speaker 4: some extent, we kind of see that with Marilyn as well.
• 45:48
  Speaker 4: But again it's you know, you're you don't want to
• 45:53
  Speaker 4: roll anyone out on first watch of who potentially the
• 45:56
  Speaker 4: killer could be, you know.
• 45:57
  Speaker 2: Yeah, yeah, well he talks about kind of some of
• 45:59
  Speaker 2: the iss shoes with the dub. Depending on which one
• 46:02
  Speaker 2: you watch, and how this dub of the film, which
• 46:06
  Speaker 2: was the English dub, kind of makes Marilyn a little
• 46:10
  Speaker 2: bit more i don't know, like energetic and maybe possibly
• 46:15
  Speaker 2: annoying it's played that way, whereas her performance is actually
• 46:19
  Speaker 2: a little bit more subdued and a little more serious.
• 46:21
  Speaker 2: So depending on which cut you are, which dub you watch,
• 46:24
  Speaker 2: is kind of how you can.
• 46:25
  Speaker 3: Interpret the character. The character.
• 46:28
  Speaker 2: There's this like cruel little joke she plays about drowning
• 46:31
  Speaker 2: in the tub. She's covered in the bubbles, or she
• 46:35
  Speaker 2: she screams right coming, she's in the bubbles. Yeah that's yeah,
• 46:42
  Speaker 2: that's like some shit I did as a kid. Bubbles
• 46:46
  Speaker 2: were fun, man, back then.
• 46:48
  Speaker 4: Was that the I'm trying to recall.
• 46:50
  Speaker 3: That's why they're putting away groceries and she gets into tub.
• 46:54
  Speaker 4: Is that the sequence that they u uh not they?
• 46:58
  Speaker 4: He had mentioned that she was really uncomfortable filming because
• 47:02
  Speaker 4: of being completely submerged.
• 47:03
  Speaker 3: Yeah, she was scared of being Yeah, she didn't want
• 47:05
  Speaker 3: to be submerged under the water.
• 47:06
  Speaker 4: So if you notice her, her one hand is basically
• 47:10
  Speaker 4: left out of the tub, just to have like some
• 47:13
  Speaker 4: anchor to safety.
• 47:16
  Speaker 2: I guess, yeah, yep, yep, I guess she felt safer
• 47:20
  Speaker 2: having the arm out, like she could.
• 47:21
  Speaker 3: Pull herself out of the water.
• 47:23
  Speaker 4: Yeah.
• 47:24
  Speaker 3: Hey, man, look that shou's scary.
• 47:26
  Speaker 2: Man, right, Uh, we all got our phobias, man, don't
• 47:32
  Speaker 2: judge her, dude. We were just talking about this though,
• 47:36
  Speaker 2: because when at the end of the scene, when Andrea
• 47:38
  Speaker 2: leaves this apartment, there's one of the craziest camera moves
• 47:42
  Speaker 2: in this whole entire movie.
• 47:43
  Speaker 4: This is another one of my favorites.
• 47:45
  Speaker 2: I don't even know how to explain this without probably
• 47:48
  Speaker 2: without not having a video to kind of the quentin.
• 47:51
  Speaker 4: It's like, but that mean, well, you're seeing you're you're
• 47:56
  Speaker 4: seeing an extreme camera tilt, and I feel like that
• 47:58
  Speaker 4: that's putting it mild paired with extreme shadows in this moment.
• 48:05
  Speaker 4: I think it indicates to us that something's not quite
• 48:08
  Speaker 4: right with what's going on in that moment.
• 48:12
  Speaker 2: Yeah, well, we have Andrea leaving the apartment and walking
• 48:14
  Speaker 2: to his car, and the camera does this really crazy
• 48:19
  Speaker 2: one hundred and eighty degree flip or like a ninety
• 48:22
  Speaker 2: degree flip, because he is actually kind of semi attacked
• 48:29
  Speaker 2: by Adam the ex husband, and the camera does this
• 48:33
  Speaker 2: crazy flip. And I remember the first time seeing that,
• 48:35
  Speaker 2: I was like, holy shit, like, what the hell just happened?
• 48:38
  Speaker 2: And it's jarring, but it's so cool.
• 48:41
  Speaker 3: It's just I don't even know how to like, I
• 48:43
  Speaker 3: don't there's no word besides cool. It's just how you
• 48:45
  Speaker 3: move a camera like that.
• 48:46
  Speaker 4: Well, I would also say, just because of the jarring
• 48:49
  Speaker 4: nature of it also helps establish Adam, you know, he
• 48:52
  Speaker 4: might be the killer due to him essentially going through
• 48:55
  Speaker 4: some sort of an emotional collapse by that point, you know.
• 48:59
  Speaker 2: Yeah, yeah, Well he's getting more and more deranged as
• 49:03
  Speaker 2: things go along, and now finally he you know, we
• 49:05
  Speaker 2: saw him approach Jennifer. Now we've seen him approach Andrea.
• 49:10
  Speaker 2: Things are ramping up with him heavily, and speaking of
• 49:16
  Speaker 2: the difference between the original like Italian dub of the
• 49:19
  Speaker 2: film and the this dub, there's a sequence with Arthur
• 49:25
  Speaker 2: when he's getting sort of interrogated or asked questions by
• 49:27
  Speaker 2: the commissioner in his studio. And one thing that Guito
• 49:31
  Speaker 2: brings up is how typically in a shallow the killer
• 49:35
  Speaker 2: ends up being someone in the periphery and never really
• 49:39
  Speaker 2: a main character. So it's always somebody kind of on
• 49:42
  Speaker 2: the outside, maybe someone you see a couple of times
• 49:46
  Speaker 2: they're kind of loosely involved. That's typically who ends up
• 49:49
  Speaker 2: being the killer.
• 49:51
  Speaker 3: And he talks about how.
• 49:54
  Speaker 2: Arthur is sort of a perfect subject for suspicion in
• 50:01
  Speaker 2: one of the dubs because of his involvement. You know,
• 50:05
  Speaker 2: he's a photographer, he's right on the outside of things,
• 50:08
  Speaker 2: but not directly involved. But he mentions how in this version,
• 50:15
  Speaker 2: the overt kind of homosexualized dubbing actually removes him as
• 50:22
  Speaker 2: a suspect, and I thought that was interesting because I
• 50:27
  Speaker 2: never really picked up on why that would remove him,
• 50:31
  Speaker 2: because this is in comparison to the original dub, where
• 50:33
  Speaker 2: he's much subtler. I don't even know if Sutlers a word,
• 50:38
  Speaker 2: more subtle, I know what you're saying. Yeah, yeah, more subtle, Yeah,
• 50:44
  Speaker 2: more subdued, yet more subdued.
• 50:46
  Speaker 3: I don't know. Do you think, do you.
• 50:49
  Speaker 2: In all of your you know, shallow knowledge, think that
• 50:53
  Speaker 2: the betrayal of him in one dub kind of removes
• 50:56
  Speaker 2: him as possibly being a suspect compared to another.
• 51:00
  Speaker 4: I would, for me personally, in any of these movies,
• 51:03
  Speaker 4: I don't trust anybody, yes, fight how they're coming off,
• 51:07
  Speaker 4: or you know, how believable they might be. I mean,
• 51:11
  Speaker 4: that's the fun of these these films, And I think
• 51:17
  Speaker 4: why I just have such like an affinity for you know,
• 51:20
  Speaker 4: the influence that it had on American cinemas because you
• 51:24
  Speaker 4: see this in various movies, I mean anything ranging from
• 51:28
  Speaker 4: Dressed to Kill to all the way down to Cruising Right. Yeah,
• 51:32
  Speaker 4: But for this one, I don't. I don't really know
• 51:37
  Speaker 4: how much that would have shifted my perspective on it.
• 51:40
  Speaker 4: I still would have been kind of, you know, weary
• 51:43
  Speaker 4: on trusting him as a character.
• 51:45
  Speaker 3: Yeah.
• 51:46
  Speaker 2: Yeah, you can't trust anybody when you're watching these goddamn jallos.
• 51:52
  Speaker 4: It's a slippery slope.
• 51:53
  Speaker 2: I want to get into what is one of my
• 51:55
  Speaker 2: favorite scenes of this movie, which is the killer coming
• 52:00
  Speaker 2: into Jennifer Marilyn's room.
• 52:03
  Speaker 4: At night, so creepy.
• 52:05
  Speaker 3: It's very creepy because it's the middle of the night
• 52:07
  Speaker 3: and he comes in.
• 52:12
  Speaker 2: It's very almost like I remember watching I think I
• 52:16
  Speaker 2: watched this the first or second time, and I thought,
• 52:17
  Speaker 2: like did this even happen? Because it's so quick and
• 52:21
  Speaker 2: it's like he comes in through the window and then
• 52:23
  Speaker 2: out of the window so fast.
• 52:25
  Speaker 4: They're so vulnerable. Yeah, there during that moment.
• 52:28
  Speaker 2: And you know, it's such an odd sequence because we
• 52:30
  Speaker 2: don't know where the window, Like obviously the window is
• 52:32
  Speaker 2: out of up, so how did he get all the
• 52:34
  Speaker 2: way up.
• 52:35
  Speaker 3: To get to it?
• 52:35
  Speaker 2: Like, there's a lot of questions that you could ask,
• 52:38
  Speaker 2: but this has one of my favorite shots in the
• 52:40
  Speaker 2: entire movie, which this is the genius of Carnameo and
• 52:45
  Speaker 2: Stelvia Massi in.
• 52:46
  Speaker 4: There can I can I guess what it might be?
• 52:48
  Speaker 3: Please do?
• 52:49
  Speaker 4: Is it the mirror image?
• 52:50
  Speaker 3: Fuck? Yeah, it's the mirror.
• 52:52
  Speaker 4: It's incredible.
• 52:54
  Speaker 2: How there is no better way to capture two people
• 52:59
  Speaker 2: in one frame that are on opposite corners of her
• 53:02
  Speaker 2: room then utilizing a small vanity mirror.
• 53:06
  Speaker 4: It's I don't know if it was intentional. Maybe it was.
• 53:12
  Speaker 4: To me, it comes off as like genius directing on
• 53:19
  Speaker 4: how you can make that scene so effective you're able
• 53:22
  Speaker 4: to get you know, the react, the quick reactions in
• 53:26
  Speaker 4: such an effective way.
• 53:30
  Speaker 2: It also separates them framing wise, because Marilyn takes up
• 53:35
  Speaker 2: the majority of the shot, so she's on the right
• 53:36
  Speaker 2: side of the frame and in sort of center left
• 53:39
  Speaker 2: of the frame. We have this small vanity mirror which
• 53:41
  Speaker 2: is sort of making Jennifer's character seem small in the
• 53:46
  Speaker 2: framing of this of the sequence. But they also have
• 53:49
  Speaker 2: this conversation, so we're able to track the location because
• 53:53
  Speaker 2: the mirror helps our brain understand we're talking two corners.
• 53:57
  Speaker 3: Obviously, Jennifer's corners right at the window.
• 54:01
  Speaker 2: It's just one of those little like ideas that it's
• 54:06
  Speaker 2: incredibly simple. It's a very effective way to do it
• 54:10
  Speaker 2: with less shots than cutting back and forth and possibly
• 54:14
  Speaker 2: running the risk of losing the attention of the audience
• 54:18
  Speaker 2: because they're not understanding the space properly. And I get
• 54:23
  Speaker 2: it in that in the utilitarian sense, but for me,
• 54:25
  Speaker 2: it just looks phenomenal.
• 54:28
  Speaker 4: It's beautiful.
• 54:29
  Speaker 3: But I also want to talk about another use of
• 54:32
  Speaker 3: a mirror, which happens because Jennifer's X husband, Adam, his
• 54:38
  Speaker 3: body is found after the sequence, so Adam is now
• 54:43
  Speaker 3: off the table, right, Adam's dead, his body's been found,
• 54:48
  Speaker 3: And there is a mirror shot, another mirror shot that
• 54:54
  Speaker 3: fucking floored me, right, absolutely floored me.
• 54:58
  Speaker 2: And it's you have Jennifer in the mirror and she
• 55:04
  Speaker 2: is I think she's like brushing her hair doing something
• 55:07
  Speaker 2: in the mirror, and the camera, Oh no, she's she's
• 55:11
  Speaker 2: painting her No, no, no, Marilyn is in the room. But
• 55:14
  Speaker 2: there is a zoom out that establishes that we were
• 55:18
  Speaker 2: looking into a mirror like that we were focused on
• 55:21
  Speaker 2: the mirror, we zoom out of the mirror and have
• 55:26
  Speaker 2: now we're out of the mirror, looking at the mirror
• 55:29
  Speaker 2: and the reflection of Jennifer in the mirror, and then
• 55:33
  Speaker 2: the camera zooms out again to show Marilyn in the
• 55:37
  Speaker 2: reflection of the mirror which we originally zoomed in on.
• 55:40
  Speaker 2: And this is all in one gradual, like three different
• 55:46
  Speaker 2: sudden zooms. So I know, it's it's kind of hard
• 55:50
  Speaker 2: to understand when I'm explaining it, but it's such an
• 55:56
  Speaker 2: interesting just.
• 55:59
  Speaker 4: Visual visually, it's very creative.
• 56:02
  Speaker 2: It's it's very creative because the first shot becomes the
• 56:07
  Speaker 2: background reflection of the plate because we zoomed out of
• 56:11
  Speaker 2: the mirror. If that makes am I making this makes sense?
• 56:14
  Speaker 3: Kind of? This is oh yeah, how do you explain this?
• 56:17
  Speaker 3: On set?
• 56:17
  Speaker 4: You're like, okay, I I strongly suggest anyone that's listening,
• 56:22
  Speaker 4: you know, use the film as a reference, because I
• 56:25
  Speaker 4: know what you're saying, But it is very hard to
• 56:28
  Speaker 4: put that into words to convey that.
• 56:31
  Speaker 3: I'm gonna put this. I'm gonna put this shot.
• 56:32
  Speaker 2: I'm going to find the sequence and I'm gonna put
• 56:35
  Speaker 2: it on Instagram because I need people to understand the
• 56:39
  Speaker 2: visual genius that is the revealing of of sequences, of
• 56:47
  Speaker 2: the revealing of kind of the characters in the room here.
• 56:50
  Speaker 2: And it doesn't do anything to the story. This isn't
• 56:53
  Speaker 2: enhancing or progressing the story.
• 56:55
  Speaker 3: In any way. It's just a really cool way to
• 56:56
  Speaker 3: shoot a sequence and very simple.
• 57:00
  Speaker 4: Well, prior to finding Adam, we obviously know that he's
• 57:05
  Speaker 4: not the killer, but we see a blood soaked iris
• 57:09
  Speaker 4: on the floor. Correct, yes, yep. And now I think
• 57:15
  Speaker 4: that that's a very intriguing touch, you know, to be
• 57:21
  Speaker 4: kind of on the nose about it. But what I
• 57:24
  Speaker 4: thought was interesting they had a previous working title for
• 57:28
  Speaker 4: this movie and it was I think right around the
• 57:30
  Speaker 4: same time that Seven blood Stained, blood Stained Orchids from
• 57:35
  Speaker 4: umberto Lindsay was being released, so they ultimately ended up
• 57:41
  Speaker 4: having to change the name of this film to the
• 57:43
  Speaker 4: Case of the Bloody Iris. Do you recall what that
• 57:47
  Speaker 4: was off hand, that they're working taste something about like.
• 57:50
  Speaker 3: He got these Italian titles are.
• 57:53
  Speaker 4: The five blood Stained Fingers or you know, prints or something,
• 57:56
  Speaker 4: and it's like, nothing, nothing of any of these films
• 58:01
  Speaker 4: makes it easy to remember their titles. Yeah, that's part
• 58:05
  Speaker 4: of the charm, I guess, but.
• 58:06
  Speaker 2: Yeah, it's and he actually jokes at one point in
• 58:09
  Speaker 2: that discussion, He's like, yeah, the Italians really knew how
• 58:12
  Speaker 2: to do these, uh, these long titles, you know. Like
• 58:18
  Speaker 2: so I thought that was just incredibly interesting. And the
• 58:21
  Speaker 2: reflections play around again because as we're kind of going
• 58:24
  Speaker 2: through which I just want to point out one more time,
• 58:28
  Speaker 2: when could the assistic commissioner Renzi is kind of looking
• 58:33
  Speaker 2: at Andrea.
• 58:34
  Speaker 3: As a suspect.
• 58:36
  Speaker 2: There's multiple times when he's following around Andrea and just
• 58:43
  Speaker 2: doing the goofiest. There's a moment where he puts a
• 58:45
  Speaker 2: cigarette in backwards and then tries to light it. There's
• 58:49
  Speaker 2: a moment when Andrea and uh and Jennifer are like
• 58:56
  Speaker 2: walking outside and he's following them and he goes to
• 58:59
  Speaker 2: a and loses them because he's so lost in the
• 59:03
  Speaker 2: conversation and.
• 59:06
  Speaker 3: It's incredibly silly. In his career, that is.
• 59:11
  Speaker 2: Always for gonna get Franko Augostini, he went into Unsurprising
• 59:14
  Speaker 2: from here into comedies and kind of have had a
• 59:16
  Speaker 2: big comedy career over and in Italy. But it's such
• 59:19
  Speaker 2: a it's such a such a silly character and such
• 59:23
  Speaker 2: a in a serious movie that never feels like it
• 59:27
  Speaker 2: never takes you out of it, which just kind of
• 59:30
  Speaker 2: matches the tone and gives you that brief moment of
• 59:32
  Speaker 2: you know, little a little you can get a little
• 59:34
  Speaker 2: giggle out of it here and there, and you know,
• 59:36
  Speaker 2: it's nice to have somebody like that as opposed to
• 59:38
  Speaker 2: everybody else in this movie who's so serious, you know.
• 59:42
  Speaker 2: But I do want to talk about again, I do
• 59:44
  Speaker 2: have another note and hear about a use of reflection
• 59:47
  Speaker 2: because Gito talks about in multiple sequences, how because of
• 59:51
  Speaker 2: the kind of middle class field to a lot of
• 59:55
  Speaker 2: the scenes. In the production design, there's a lot of
• 59:58
  Speaker 2: interesting little just camera bits, Like there's a moment in
• 1:00:03
  Speaker 2: the commissioner's office where the camera is on a phone
• 1:00:06
  Speaker 2: and it's sort of focus shifts, and it's just kind
• 1:00:10
  Speaker 2: of an interesting little like why is the camera here
• 1:00:13
  Speaker 2: and not with the character. It's just a unique way
• 1:00:16
  Speaker 2: to shoot the scene. But there's another little reflection moment
• 1:00:20
  Speaker 2: where the inspectors on a phone call and we see
• 1:00:22
  Speaker 2: somebody enter the room seemingly on the left of the
• 1:00:26
  Speaker 2: frame because the camera doesn't cut, and then when they
• 1:00:29
  Speaker 2: approached the desk, we find out that we were looking
• 1:00:31
  Speaker 2: at them through a reflection.
• 1:00:34
  Speaker 4: Yeah, there's there's some really really just unique ways to film, yeah,
• 1:00:43
  Speaker 4: that are utilized in this movie. I think that that's
• 1:00:46
  Speaker 4: why I just have such a deep appreciation for it.
• 1:00:50
  Speaker 4: But again, one of the standout moments that we get,
• 1:00:53
  Speaker 4: you know, from Carnemio, where it just you know, goes
• 1:00:57
  Speaker 4: to show he definitely knew what he was doing.
• 1:01:00
  Speaker 2: Yeah, he approached everything from a style perspective and made
• 1:01:05
  Speaker 2: everything interesting visually. This is one of those movies that,
• 1:01:08
  Speaker 2: like watch don't don't have your phone put your phone
• 1:01:11
  Speaker 2: down and just pay attention to It's not even I
• 1:01:15
  Speaker 2: don't even want to say like, you can't even say
• 1:01:18
  Speaker 2: like the movie is shot so well, it's just shot
• 1:01:21
  Speaker 2: very interesting. It's kind of like when you go into
• 1:01:23
  Speaker 2: a set, you go into a room to shoot, it's
• 1:01:25
  Speaker 2: taking the time to kind of look around and figure
• 1:01:27
  Speaker 2: out your perspectives and you know, it's not really an
• 1:01:31
  Speaker 2: interesting set that that that's going to intrigue your audience. Yes,
• 1:01:35
  Speaker 2: that is interesting, but there are some beautiful we see.
• 1:01:38
  Speaker 2: We can go through all types of genres where there's
• 1:01:40
  Speaker 2: beautiful sets or beautiful locations they're filming, and it's just
• 1:01:43
  Speaker 2: not shot in an interesting way. So it doesn't enhance anything.
• 1:01:46
  Speaker 2: It's just it's just now you're just looking at this
• 1:01:48
  Speaker 2: beautiful room and you're not thinking of it in any way.
• 1:01:50
  Speaker 2: Whereas if you can find those angles and find a
• 1:01:54
  Speaker 2: way to kind of capture that environment even more, you
• 1:01:58
  Speaker 2: enhance the sequel. And so there needs to be kind
• 1:02:01
  Speaker 2: of a cooperation of both, you know, hm, absolutely, And
• 1:02:06
  Speaker 2: what do you think at this point in the movie
• 1:02:09
  Speaker 2: where our main kind of suspect has now been eliminated,
• 1:02:15
  Speaker 2: right ex husband is dead. Now we still have Andrea,
• 1:02:20
  Speaker 2: who is our main male character at least, and it through.
• 1:02:27
  Speaker 2: As the movie goes along, we are introduced to Sheila
• 1:02:31
  Speaker 2: and Sheila's father, and there's, you know, been some introduction
• 1:02:36
  Speaker 2: of some characters who could possibly play in but none
• 1:02:39
  Speaker 2: have been more involved than Andrea. And clearly the commissioner
• 1:02:43
  Speaker 2: thinks he could be a suspect, so it's being followed.
• 1:02:47
  Speaker 2: And I love kind of the the shock on the
• 1:02:51
  Speaker 2: assist commissioner's face when he realizes that he's about to
• 1:02:53
  Speaker 2: watch them him and Jennifer have sex and.
• 1:03:00
  Speaker 3: And he's like, ooh, I love that.
• 1:03:04
  Speaker 4: The the touches of comedy are very subtle, but they work. Yeah,
• 1:03:11
  Speaker 4: none of it ever feels too forced.
• 1:03:13
  Speaker 3: Yeah, yeah, they're very very good.
• 1:03:16
  Speaker 2: During this love making scene that kind of goes on
• 1:03:22
  Speaker 2: between Andrea and Jennifer. I love the insights that you
• 1:03:27
  Speaker 2: know brings up basically about like the production and the
• 1:03:30
  Speaker 2: cast and the crew here. And one thing he brings
• 1:03:32
  Speaker 2: up I thought was interesting is that this movie had
• 1:03:34
  Speaker 2: an eight month turnaround before it's released in theaters. So
• 1:03:38
  Speaker 2: we were talking about Event Horizon on our last main episode,
• 1:03:41
  Speaker 2: which was ten months from green light to.
• 1:03:45
  Speaker 3: Theatrical release, very quick.
• 1:03:47
  Speaker 2: This was eight months, and this movie is not as
• 1:03:49
  Speaker 2: involved as Event Horizon. You know, we're not dealing with
• 1:03:53
  Speaker 2: science fiction sets and all kinds of visual effects and
• 1:03:57
  Speaker 2: stuff like that, but it's still really fast. But one
• 1:04:01
  Speaker 2: thing he talks about is how the cast and crew
• 1:04:03
  Speaker 2: on this film combined have over a thousand credits to
• 1:04:08
  Speaker 2: their name. And we're saying we're talking about production, technical crew,
• 1:04:13
  Speaker 2: and cast. So this was heavily experienced cast and crew.
• 1:04:19
  Speaker 2: And that shows just in how much was done in
• 1:04:22
  Speaker 2: that eight month window they flew through this production.
• 1:04:27
  Speaker 4: And you would never think that I wouldn't at least
• 1:04:30
  Speaker 4: just based on the finished product and how polished the
• 1:04:34
  Speaker 4: film feels. I mean, I have to say now knowing
• 1:04:39
  Speaker 4: that it definitely it's quite an impressive feat for them
• 1:04:45
  Speaker 4: to be or you know, for them to be able
• 1:04:47
  Speaker 4: to do it in such a short amount of time.
• 1:04:49
  Speaker 3: Yeah, it is. It is.
• 1:04:52
  Speaker 2: One thing that I really love about this movie is.
• 1:05:01
  Speaker 3: The use of kind of the daylight.
• 1:05:04
  Speaker 2: There's a lot of daylight sequences, so a lot of
• 1:05:06
  Speaker 2: nighttimes here, so with the daylight sequences, and in particular,
• 1:05:10
  Speaker 2: I want to talk about Marylyn's death scene mm hmm,
• 1:05:13
  Speaker 2: because she is killed in broad daylight outside of the
• 1:05:18
  Speaker 2: apartment complex in public.
• 1:05:21
  Speaker 3: I don't think there's a way to be more public.
• 1:05:24
  Speaker 4: No, I mean again, it's it's a moment where it
• 1:05:31
  Speaker 4: kind of breaks. It's definitely. It's it's breaking what like
• 1:05:39
  Speaker 4: the main tropes that we typically see in a Giallow film,
• 1:05:43
  Speaker 4: where I feel like most of the kills are pretty
• 1:05:45
  Speaker 4: intimate behind closed doors. There's not a lot of people
• 1:05:50
  Speaker 4: around for this to happen. It's breaking the cycle of
• 1:05:54
  Speaker 4: how the other murders have taken place. And again it's
• 1:06:00
  Speaker 4: it's one of the characters that we're really coming to
• 1:06:02
  Speaker 4: know and you know, become invested in, and just like that,
• 1:06:06
  Speaker 4: you know, she gets you know killed.
• 1:06:09
  Speaker 3: Yeah.
• 1:06:10
  Speaker 2: Yeah, it's a really shocking scene. She's outside the apartment complex.
• 1:06:14
  Speaker 2: She gets stabbed seemingly by a passer, by somebody who
• 1:06:18
  Speaker 2: very quickly walks by and stabs her. And the timing
• 1:06:21
  Speaker 2: here is impeccable because Andrea is waiting outside for Jennifer,
• 1:06:28
  Speaker 2: and Marilyn walks up to him and smear's blood all
• 1:06:33
  Speaker 2: over his coat. And now all of a sudden we
• 1:06:36
  Speaker 2: realize that we've now elimited him.
• 1:06:40
  Speaker 3: As a killer. Right, he didn't just do this so
• 1:06:42
  Speaker 3: we think that he didn't just do this.
• 1:06:46
  Speaker 4: You're kind of unsure, you don't really know. I mean
• 1:06:50
  Speaker 4: again still at this point, like for me at least,
• 1:06:53
  Speaker 4: I don't trust anybody, you know, just there's a lot
• 1:06:57
  Speaker 4: of mystrecs that typically happen in these films.
• 1:07:00
  Speaker 3: Yeah.
• 1:07:00
  Speaker 2: Yeah, But my favorite part of this is Gutto talking
• 1:07:03
  Speaker 2: about how the director really took advantage of the open set.
• 1:07:09
  Speaker 2: This is where this comes back loops back around open
• 1:07:12
  Speaker 2: set versus closed set, because this was an open set
• 1:07:16
  Speaker 2: where a crowd of non paid locals actually surrounded started
• 1:07:22
  Speaker 2: accusing Andrea the murder in real life which plays out
• 1:07:28
  Speaker 2: in the movie, but.
• 1:07:30
  Speaker 4: That people was real. Yeah, that was the other sequence
• 1:07:34
  Speaker 4: when we were talking about this, you know, open versus
• 1:07:36
  Speaker 4: closed set. So this is one that I just when
• 1:07:40
  Speaker 4: I heard that, I'm thinking to myself, I can't even
• 1:07:43
  Speaker 4: imagine you're over here trying to film, you know, this
• 1:07:47
  Speaker 4: high tension sequence and they legitimately think that there was
• 1:07:52
  Speaker 4: a possible murder that just took place. Yeah, yeah, that
• 1:07:55
  Speaker 4: really starts running filmed, you know.
• 1:07:57
  Speaker 2: Yeah, because he runs away and you can see like
• 1:08:00
  Speaker 2: he's running down the street with a blood soak jacket,
• 1:08:04
  Speaker 2: and you could see just a look on people's faces
• 1:08:06
  Speaker 2: as he's running by, so concerned. Doesn't any moments somebody started,
• 1:08:11
  Speaker 2: could have somebody could have chased them down, and I think,
• 1:08:14
  Speaker 2: you know, mentions, how didn't somebody call the cops or
• 1:08:17
  Speaker 2: something here?
• 1:08:17
  Speaker 4: I think somebody please arrive to investigate what exactly was
• 1:08:22
  Speaker 4: going on?
• 1:08:25
  Speaker 3: Genius man? That is that is absolutely.
• 1:08:29
  Speaker 4: It's part of the charm about shallow films.
• 1:08:32
  Speaker 2: The uh distrust in the public.
• 1:08:37
  Speaker 4: I guess that too.
• 1:08:42
  Speaker 2: So skipping ahead just a little bit, uh to the
• 1:08:44
  Speaker 2: junk yard sequence where Jennifer goes to the goes to
• 1:08:47
  Speaker 2: the junk yard. I love getto referencing Night Right otree three.
• 1:08:53
  Speaker 3: Oh yeah, the best call out.
• 1:08:55
  Speaker 4: Yeah, just I could, I could see it. I mean,
• 1:09:00
  Speaker 4: some definite similarities there.
• 1:09:01
  Speaker 2: Yeah yeah, at the beginning of Night Right now three four. Well,
• 1:09:06
  Speaker 2: you know with the dog Pey that brings back Freddy
• 1:09:08
  Speaker 2: Krueger in the junk yard.
• 1:09:12
  Speaker 3: Excellent, exactly Freddy Krueger.
• 1:09:15
  Speaker 2: No. I love this sequence in the junk yard going
• 1:09:17
  Speaker 2: into the building.
• 1:09:20
  Speaker 3: There is no music. The sound design.
• 1:09:23
  Speaker 2: Is incredible and it all works so well in this restoration.
• 1:09:27
  Speaker 2: And this all kind of leads to kind of some
• 1:09:30
  Speaker 2: more suspicion around Andrea, as.
• 1:09:34
  Speaker 3: I believe in Shila that's killed here right, yes.
• 1:09:38
  Speaker 2: By the the the steam.
• 1:09:45
  Speaker 4: Yes, yeah, she basically gets killed by a jet of
• 1:09:51
  Speaker 4: hot steam from a boiler. What a way to go man,
• 1:09:54
  Speaker 4: terrible way to go out.
• 1:09:56
  Speaker 3: You ever seen you ever seen the movie Latter forty nine?
• 1:10:00
  Speaker 3: I don't know if I have lack in Phoenix.
• 1:10:03
  Speaker 2: There's incredibly unnerving steam sequence in that that I thought
• 1:10:06
  Speaker 2: of right away.
• 1:10:08
  Speaker 4: Do you think that film was paying homage to the
• 1:10:10
  Speaker 4: Case of the Blade?
• 1:10:10
  Speaker 3: I think, yeah, yeah, I think it was.
• 1:10:12
  Speaker 2: I think the I think the director was like, ah, yes,
• 1:10:15
  Speaker 2: I remember that nineteen seventy two shallow case of what
• 1:10:18
  Speaker 2: the ares we need to I think I think we
• 1:10:21
  Speaker 2: need to bring.
• 1:10:21
  Speaker 3: In a steam sequence.
• 1:10:24
  Speaker 4: Brutal.
• 1:10:27
  Speaker 2: I love the ending of this movie. I love it
• 1:10:31
  Speaker 2: a lot because it's unhinged. It's that shit crazy, and
• 1:10:37
  Speaker 2: the reveal of our killer being the Professor.
• 1:10:42
  Speaker 3: Was not in my radar whatsoever.
• 1:10:47
  Speaker 2: No suspicion, no, no.
• 1:10:52
  Speaker 4: I think That's what I appreciate about this one is
• 1:10:56
  Speaker 4: we obviously had some level of connection hearkening back to
• 1:10:59
  Speaker 4: the beginning in the elevator sequence. You know, when we
• 1:11:04
  Speaker 4: have the opening opening kill. But you know, outside of that,
• 1:11:08
  Speaker 4: it's not it's not like it was to me at least,
• 1:11:13
  Speaker 4: it wasn't on the nose about who it was going
• 1:11:15
  Speaker 4: to be, So my eyes was a welcome surprise. The
• 1:11:21
  Speaker 4: fight sequence here is definitely, you know, very tense given
• 1:11:30
  Speaker 4: the location. They're basically high up on the stairwell, which
• 1:11:37
  Speaker 4: my understanding was is that that is like during that
• 1:11:41
  Speaker 4: sequence that was actually there, that wasn't on a set,
• 1:11:44
  Speaker 4: that was actually on location, correct, Yeah.
• 1:11:46
  Speaker 2: And what they did was there they sort of used
• 1:11:50
  Speaker 2: like I think they were shooting on the first floor
• 1:11:53
  Speaker 2: for most of the action, or the first or second
• 1:11:55
  Speaker 2: floor for I think it was the second floor for
• 1:11:57
  Speaker 2: most of these sequences. But then they obviously have this
• 1:12:00
  Speaker 2: to establish how many floors up they actually were, So
• 1:12:03
  Speaker 2: there's sort of a little bit of trickery here with
• 1:12:05
  Speaker 2: how they shot it, because there's moments where they're full
• 1:12:08
  Speaker 2: on leaning over the banister like about the fall, and uh,
• 1:12:13
  Speaker 2: it's pretty it's it's a pretty nerve wracking sequence and
• 1:12:20
  Speaker 2: I love I think of another Brian Topama film which
• 1:12:24
  Speaker 2: is kind of I don't think it's one of his
• 1:12:27
  Speaker 2: most beloved, but The Black Dahlia has been fantastic staircase
• 1:12:31
  Speaker 2: sequence very similar to thisy steric fight on a staircase
• 1:12:34
  Speaker 2: where somebody gets tossed over and falls to her death.
• 1:12:38
  Speaker 2: So Thepama comes back ripping off case of the bloody
• 1:12:41
  Speaker 2: ivers again that he doesn't talk about that.
• 1:12:43
  Speaker 3: That's simply my.
• 1:12:43
  Speaker 4: Own here at Palma.
• 1:12:48
  Speaker 3: Yeah, yeah, no, I love Obama, I'll respect for Obama.
• 1:12:53
  Speaker 3: I don't know. Was this reveal satisfying to you?
• 1:12:55
  Speaker 4: Oh?
• 1:12:55
  Speaker 3: Yeah?
• 1:12:58
  Speaker 4: Again, this is a movie that I hold than the
• 1:13:01
  Speaker 4: highest regard, just because it's not you know, Deep Red,
• 1:13:07
  Speaker 4: It's not Tenebray, you know, it's it's I feel like
• 1:13:11
  Speaker 4: a lesser known Shiallow film. But I feel like it
• 1:13:14
  Speaker 4: deserves to have a wider audience, and hopefully, you know,
• 1:13:18
  Speaker 4: whether it's through us doing a deep dive on it
• 1:13:22
  Speaker 4: or through the four K release from Southerly Dreams, I
• 1:13:25
  Speaker 4: hope that this is enough of incentive for listeners out
• 1:13:29
  Speaker 4: there to want to check this movie out, because I
• 1:13:32
  Speaker 4: really do feel like that this deserves more praise and attention.
• 1:13:36
  Speaker 2: Yeah yeah, what do you think about? Essentially like the
• 1:13:41
  Speaker 2: killer targeting woman who had corrupted his daughter. Kind of
• 1:13:44
  Speaker 2: that as a justification, but then the film kind of
• 1:13:47
  Speaker 2: wrapping up with the realization that Sheila is indeed alive.
• 1:13:53
  Speaker 3: And things are just moving on.
• 1:13:58
  Speaker 4: With nothing goes back to the way it was.
• 1:14:00
  Speaker 2: Yeah, Like, it's an interesting one, and I think I
• 1:14:04
  Speaker 2: was kind of reading some like some viewpoints of this
• 1:14:10
  Speaker 2: via like reddit and things like that, and one of
• 1:14:13
  Speaker 2: the theories is that basically that one man's death doesn't undo
• 1:14:18
  Speaker 2: any of what the film was establishing. Basically kind of
• 1:14:22
  Speaker 2: coming down there that women's autonomy is constantly being police
• 1:14:24
  Speaker 2: watched and punished, and the killer's death does not undo that.
• 1:14:29
  Speaker 2: It just changes into somebody else that's doing the same thing.
• 1:14:34
  Speaker 3: You know.
• 1:14:34
  Speaker 2: In the ending of the film, it's sort of interpreted
• 1:14:37
  Speaker 2: that it refuses to guarantee safety for women and that
• 1:14:42
  Speaker 2: it's kind of left that women's freedom remains fragile and
• 1:14:45
  Speaker 2: it's you know, can easily be pulled away and revoked
• 1:14:47
  Speaker 2: and no matter who tries to fight against it.
• 1:14:50
  Speaker 4: I think you hit the nail on the head was
• 1:14:53
  Speaker 4: saying that it's fragile.
• 1:14:54
  Speaker 3: Well I didn't.
• 1:14:55
  Speaker 2: That is trapped in purgatory on Reddit had that, so
• 1:14:58
  Speaker 2: oh wow.
• 1:14:59
  Speaker 4: Okay, wow, Yeah, I just I think it leaves anyone
• 1:15:06
  Speaker 4: watching this kind of with something to think about afterwards,
• 1:15:12
  Speaker 4: because I think it is as a Giallow has a
• 1:15:14
  Speaker 4: little bit more to say other than you know, the
• 1:15:19
  Speaker 4: plot that we get throughout the film. There's clearly, I
• 1:15:22
  Speaker 4: feel like a message that we can all take away
• 1:15:24
  Speaker 4: from this movie, you know, when it's all said and done.
• 1:15:27
  Speaker 2: Yeah, yeah, I don't know. Yeah, I think I think
• 1:15:33
  Speaker 2: it's satisfying. I think I'm good with this. I don't
• 1:15:37
  Speaker 2: think we need things to be incredibly clear to the
• 1:15:42
  Speaker 2: movie and feel satisfied.
• 1:15:45
  Speaker 4: Sometimes less is more.
• 1:15:47
  Speaker 3: Yeah, yeah, but.
• 1:15:50
  Speaker 2: Yeah, this commentary track, man, I mean what we went
• 1:15:53
  Speaker 2: over for the past hour that we've been discussing this
• 1:15:55
  Speaker 2: commentary is just kind of surface level what's broken down.
• 1:16:00
  Speaker 3: Onto this track.
• 1:16:02
  Speaker 2: It's probably like I remember texting you and telling you like, dude,
• 1:16:07
  Speaker 2: wait till you listen to this commentary. It's fantastic, and
• 1:16:09
  Speaker 2: you got right back to me and you were like,
• 1:16:11
  Speaker 2: oh my god, dude.
• 1:16:12
  Speaker 4: It gets my highest recommendation. I want everyone to listen
• 1:16:15
  Speaker 4: to this one.
• 1:16:16
  Speaker 2: I think you actually said I'm trying to say, I'm
• 1:16:19
  Speaker 2: trying to find your actual texture that you said to me.
• 1:16:25
  Speaker 2: You said, sorry, I'm trying to find the other night
• 1:16:36
  Speaker 2: when you texted me Oh yeah, you just said the
• 1:16:38
  Speaker 2: commentary for the Case of a Bloody Irist is incredible.
• 1:16:42
  Speaker 2: Oh yeah, best commentary track besides text chains, I'm asker.
• 1:16:47
  Speaker 4: I think it's among pretty good company.
• 1:16:50
  Speaker 2: Even your dog loves it. Be careful, man, there might
• 1:16:55
  Speaker 2: be somebody in your house.
• 1:16:57
  Speaker 4: Okay, don't say that the Yellow Glove Killer.
• 1:17:00
  Speaker 3: Yellow Glove Killer is there for you see them.
• 1:17:02
  Speaker 4: Let's not joke about that.
• 1:17:05
  Speaker 3: So let's wrap this up.
• 1:17:06
  Speaker 4: Man.
• 1:17:06
  Speaker 2: What's your final thoughts on Case It of Bloody Iris
• 1:17:08
  Speaker 2: Bill all the beings.
• 1:17:11
  Speaker 4: It's an underappreciated yellow film that I absolutely adore. I
• 1:17:16
  Speaker 4: feel like this is probably the best the film's ever
• 1:17:19
  Speaker 4: going to look. And again I have to give all
• 1:17:22
  Speaker 4: the praise in the world to Cellular Dreams. They are
• 1:17:24
  Speaker 4: doing the best work when it comes to being a
• 1:17:31
  Speaker 4: smaller boutique label but delivering, in my mind, some of
• 1:17:36
  Speaker 4: the best transfers, the best releases that we've gotten in
• 1:17:42
  Speaker 4: recent years. And I will be following, you know, whatever
• 1:17:47
  Speaker 4: they have coming up, you know, from this point forward.
• 1:17:50
  Speaker 4: So I highly recommend everyone going and picking up a
• 1:17:54
  Speaker 4: copy of this. I promise it's worth worth every penny.
• 1:17:57
  Speaker 2: Yeah, this release has my highest record commendations, and I
• 1:18:01
  Speaker 2: think mostly because I think the movie is incredible, but
• 1:18:04
  Speaker 2: I think when it comes to commentary tracks, especially in
• 1:18:07
  Speaker 2: these older films or like older ghallos, where they're like
• 1:18:11
  Speaker 2: I said, are previous in the beginning of the show,
• 1:18:12
  Speaker 2: where there's not a lot of information available, we really
• 1:18:15
  Speaker 2: need people who are able to, you know, give us
• 1:18:21
  Speaker 2: as much context as possible from an education standpoint too,
• 1:18:26
  Speaker 2: on the production and kind of give those insights and
• 1:18:30
  Speaker 2: those analytics on the visuals, and really somebody who appreciates
• 1:18:36
  Speaker 2: the movie and is able to discuss it like a
• 1:18:39
  Speaker 2: movie they love themselves. And Gito does a fantastic job
• 1:18:47
  Speaker 2: both elevating the material, so elevating the movie through his
• 1:18:51
  Speaker 2: knowledge and and and and his h Analoza analyzations what
• 1:18:58
  Speaker 2: is the word I'm looking for there? His analyzation, his analyzations,
• 1:19:04
  Speaker 2: but also giving excellent insight on the actors, on edwige On,
• 1:19:10
  Speaker 2: on the directroduction, on the production, you know, things that
• 1:19:14
  Speaker 2: aren't just a simple Google search away. We're clearly tons
• 1:19:16
  Speaker 2: of researchers done here. And there's also moments in here
• 1:19:19
  Speaker 2: where he gives such astounding insight on the restoration, like
• 1:19:22
  Speaker 2: from a very technical point of view, which was way
• 1:19:24
  Speaker 2: above my head as far as understanding, you know. So
• 1:19:28
  Speaker 2: the transparency was incredible.
• 1:19:32
  Speaker 4: Guido. You can tell through and through that he has
• 1:19:35
  Speaker 4: a genuine love of these films. I think even if
• 1:19:38
  Speaker 4: you take having the label out of it, you can
• 1:19:42
  Speaker 4: at his core just in the way that he's describing
• 1:19:45
  Speaker 4: these movies, you could definitely tell that these are movies
• 1:19:48
  Speaker 4: that he just loves to the utmost degree. Yeah.
• 1:19:53
  Speaker 2: One, so we recommend fullest recommendations that we can to
• 1:19:58
  Speaker 2: go back pick up this for these check out this
• 1:20:00
  Speaker 2: commentary track. You're gonna learn so much more than even
• 1:20:02
  Speaker 2: we kind of broke down and discussed here. So I
• 1:20:07
  Speaker 2: will make sure that there is a link down below
• 1:20:09
  Speaker 2: in the bio to Celluloid Dreams for you to pick
• 1:20:12
  Speaker 2: up this release. We're very, very very excited for Black
• 1:20:14
  Speaker 2: Belly of the Tarantula. I had a lot of fun
• 1:20:17
  Speaker 2: talking about this movie.
• 1:20:18
  Speaker 1: Man.
• 1:20:18
  Speaker 4: I think that this is just once spent a long
• 1:20:20
  Speaker 4: time coming.
• 1:20:21
  Speaker 3: It has.
• 1:20:22
  Speaker 2: Yeah, we've discussed these The genre is is tough to
• 1:20:27
  Speaker 2: discuss because without having a visual component that we can
• 1:20:30
  Speaker 2: kind of go back and you know, the lack of
• 1:20:32
  Speaker 2: information out there.
• 1:20:33
  Speaker 3: But also like.
• 1:20:36
  Speaker 2: From the standpoint of like these movies already sometimes are
• 1:20:39
  Speaker 2: tough enough to follow on their own, and then having
• 1:20:43
  Speaker 2: to now open it up and try to discuss it
• 1:20:46
  Speaker 2: in a way that's interesting and intriguing and allows people
• 1:20:50
  Speaker 2: to learn. I think it's that that's that's kind of
• 1:20:53
  Speaker 2: a tough ask and on on on our end, on
• 1:20:56
  Speaker 2: just a simple like audio discussion form.
• 1:20:58
  Speaker 3: You know.
• 1:21:00
  Speaker 4: Well, I think this is definitely one that is a
• 1:21:03
  Speaker 4: great entry point if you're trying to get into the
• 1:21:05
  Speaker 4: sub genre. So again, I encourage everyone to give this
• 1:21:11
  Speaker 4: a watch, pick up the four K. It promise you
• 1:21:14
  Speaker 4: won't regret it.
• 1:21:15
  Speaker 2: Yeah, it's fantastic, So make sure you go to that
• 1:21:17
  Speaker 2: link in the bio. We're not associated with that. We
• 1:21:20
  Speaker 2: do not work with Celluloid Dreams, so we get no
• 1:21:23
  Speaker 2: kickback or anything. I just want you to pick up
• 1:21:25
  Speaker 2: this release, fall in love with this movie like we did.
• 1:21:27
  Speaker 4: We just love that label a lot.
• 1:21:28
  Speaker 1: We do.
• 1:21:28
  Speaker 3: We do, and we have.
• 1:21:29
  Speaker 2: Friends who we actually we forced them to pick this
• 1:21:32
  Speaker 2: up who typically would not buy this, and they.
• 1:21:35
  Speaker 3: They loved them.
• 1:21:36
  Speaker 2: So this the love for this film has has certainly
• 1:21:41
  Speaker 2: spread outside of the typical kind of shallow fan base
• 1:21:45
  Speaker 2: because of this four k and because of the positive
• 1:21:46
  Speaker 2: word that's bread around so quickly around the quality of
• 1:21:49
  Speaker 2: this release, you know, absolutely so that kind of wraps
• 1:21:53
  Speaker 2: up Case of the Bloody Iris for us man And.
• 1:21:59
  Speaker 3: What a busy h what a busy month it's been.
• 1:22:03
  Speaker 4: This has been incredible. We've covered some We've covered some
• 1:22:06
  Speaker 4: very diverse movies recently, and then I know we have
• 1:22:11
  Speaker 4: our after Hours episode coming up here in the near future,
• 1:22:14
  Speaker 4: so that'll it's like a nice in between doing some
• 1:22:18
  Speaker 4: of these episodes.
• 1:22:19
  Speaker 3: We've been busy this year and it's only March.
• 1:22:22
  Speaker 4: I'm here for it.
• 1:22:22
  Speaker 2: Yeah, we need more. So thank you everyone for hanging
• 1:22:25
  Speaker 2: out and listening.
• 1:22:26
  Speaker 4: Yes, thank you.
• 1:22:28
  Speaker 2: My name Tan, this is Chris again. I am the
• 1:22:30
  Speaker 2: Bearded film guys Steve.
• 1:22:31
  Speaker 3: Let people know where they can find you.
• 1:22:33
  Speaker 4: You guys can find me at after Hours video, all
• 1:22:36
  Speaker 4: over social media and yeah, just be sure to go
• 1:22:42
  Speaker 4: check out Sightly Dreams.
• 1:22:43
  Speaker 2: Yes, check it out. Hit that link below, pick yourself
• 1:22:46
  Speaker 2: up a copy. Let us know if you pick it
• 1:22:48
  Speaker 2: up and you check it out. We love to talk
• 1:22:50
  Speaker 2: about the movie with you. And thanks again for tuning
• 1:22:53
  Speaker 2: in to Beyond the Blood. We'll see you guys again soon.
• 1:22:55
  Speaker 4: Seeah the next one.
• 1:23:00
  Speaker 5: Oh okay, okay, okay, okay, I'm ready. Welcome to Split
• 1:23:04
  Speaker 5: Your Head, a biweekly podcast hosted by me Bob that
• 1:23:08
  Speaker 5: covers the gamut of all things horror, exploitation, cult, underground, experimental, transgressive, bizarre,
• 1:23:15
  Speaker 5: and indie. Have been fortunate enough to connect with some
• 1:23:17
  Speaker 5: of the most groundbreaking and upcoming filmmakers, writers.
• 1:23:20
  Speaker 4: And artists.
• 1:23:21
  Speaker 5: Don't expect a typical interview. I love shooting the shit
• 1:23:24
  Speaker 5: with my guests and stumbling on surprising topics that will
• 1:23:26
  Speaker 5: literally split our heads. From spider comedies to nihilistic sleeves
• 1:23:30
  Speaker 5: on comfortable art house to genre classics that gets my
• 1:23:33
  Speaker 5: brain buzzing and cracking wide open like a watermelon full
• 1:23:36
  Speaker 5: of blood that I would like to share with your emails.
• 1:23:42
  Speaker 5: Now part of the Someone's Favorite Productions Podcast Network, Hi mom.
• 1:23:51
  Speaker 1: Thank you for listening to hear more shows from the
• 1:23:54
  Speaker 1: Someone's Favorite Productions Podcast Network. Please select the link in
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  Speaker 1: the description.