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227: The Black Cat...Suggested by Satan · Movie Meltdown

• 0:10
  Speaker 1: This is Roger Corman and you're listening to Movie Meltdown.
• 0:19
  Speaker 2: The following feature has been rated R by the Motion
• 0:22
  Speaker 2: Picture Association of America. It is intended for mature audiences
• 0:26
  Speaker 2: and parental discretion is advised.
• 0:38
  Speaker 3: It's showtime, folks.
• 0:40
  Speaker 4: Enjoy the show.
• 0:43
  Speaker 5: Our nuclear reactor pumping out.
• 0:46
  Speaker 4: One million kilowatts of power.
• 1:13
  Speaker 1: To provide more cooling in the containment chambers.
• 1:16
  Speaker 3: To your stations, we have a movie meltdown.
• 1:18
  Speaker 6: A black cat went past us, and then another that
• 1:21
  Speaker 6: looked just like him.
• 1:31
  Speaker 1: What's up, and welcome to Movie Meltdown.
• 1:33
  Speaker 7: I'm Brian.
• 1:34
  Speaker 3: I'm Dave.
• 1:35
  Speaker 1: I'm Christian. I'm Fred.
• 1:36
  Speaker 7: I'm Lucy.
• 1:37
  Speaker 5: I'm Greg.
• 1:38
  Speaker 1: And I'm Sterling.
• 1:39
  Speaker 7: And we are coming to you live via digital recording
• 1:41
  Speaker 7: from the Dreamland Film Center. And Sterling, you were commenting
• 1:45
  Speaker 7: how much you were taken with the space?
• 1:48
  Speaker 1: Yeah, apparently it was originally a church.
• 1:51
  Speaker 8: Yep.
• 1:51
  Speaker 9: Very hip for the 1970s kind of church. But it's
• 1:57
  Speaker 9: been converted into a movie theater, and it's got this nice,
• 2:00
  Speaker 9: quiet ambiance that we're in right now. I'm really kind
• 2:04
  Speaker 9: of digging it. Of course, I always love it when
• 2:06
  Speaker 9: people make movie theaters out of unusual spaces, or churches
• 2:10
  Speaker 9: for that matter. I one time saw a church down
• 2:11
  Speaker 9: in Tennessee... that was made out of a McDonald's complete
• 2:15
  Speaker 9: with drive-thru. I was wondering if you could actually use
• 2:17
  Speaker 9: the drive-thru in the service.
• 2:18
  Speaker 3: That would be awesome. It would be.
• 2:21
  Speaker 9: Cut down on your church time like that, you know.
• 2:24
  Speaker 9: But no, so we're in a very nice church space.
• 2:27
  Speaker 9: All the pews are comfortably positioned so that you can
• 2:31
  Speaker 9: watch the screen.
• 2:32
  Speaker 3: And we have some.
• 2:33
  Speaker 1: Lights above us that look like they were on the ceiling.
• 2:36
  Speaker 3: Do they turn on? Sweet.
• 2:40
  Speaker 1: Fluorescent lights on the ceiling. Yeah, that's what I mean
• 2:43
  Speaker 1: by hip for the 1970s.
• 2:45
  Speaker 9: On the sloping ceiling looking a bit like they should
• 2:47
  Speaker 9: have been stained glass windows in another church.
• 2:50
  Speaker 7: In a less broke church. I'm sure it was having problems.
• 2:55
  Speaker 7: Otherwise it wouldn't have been converted into something else.
• 2:57
  Speaker 1: So that's how it goes. So yeah, but anyways, it's
• 3:02
  Speaker 1: a very nice space. This is at the Dreamland Theater,
• 3:04
  Speaker 1: is that right?
• 3:05
  Speaker 7: Dreamland Theater or any Dreamland Film Center, however they want
• 3:09
  Speaker 7: to work it. But we're, I mean, we've also got
• 3:12
  Speaker 7: you back this week because we're working on future projects
• 3:15
  Speaker 7: with The Alley. If you remember our flashback to a
• 3:18
  Speaker 7: while back when we were at The Alley. So we're
• 3:22
  Speaker 7: working on devious plans with Sterling to do more crossover
• 3:26
  Speaker 7: stuff with you guys, so.
• 3:28
  Speaker 10: Yes.
• 3:28
  Speaker 9: With any luck, hopefully more movie meltdown shows can be
• 3:32
  Speaker 9: filmed at, what am I saying, taped at the Alley.
• 3:35
  Speaker 7: If someone will put the money up to do a
• 3:37
  Speaker 7: full video version of it, I'm fine with that.
• 3:39
  Speaker 1: It's not going to be us.
• 3:39
  Speaker 3: I'm sorry.
• 3:40
  Speaker 1: Our partnership will only go so far.
• 3:42
  Speaker 3: Damn. Yeah. One day, though.
• 3:44
  Speaker 1: Never mind, then. Get the hell out.
• 3:45
  Speaker 3: Okay.
• 3:46
  Speaker 9: They'll film us talking, and we'll render it in 3D
• 3:48
  Speaker 9: so they can see us talking in 3D right in
• 3:50
  Speaker 9: front of you.
• 3:52
  Speaker 1: That will be wonderful.
• 3:55
  Speaker 7: So to throw a quick geek activity in, Lucy, do
• 3:59
  Speaker 7: you want to go ahead and address wrong?
• 4:01
  Speaker 8: Oh, you're throwing it to me immediately?
• 4:04
  Speaker 7: Most people have it.
• 4:04
  Speaker 1: You were there.
• 4:06
  Speaker 7: I'm kind of staying out of it. So I think
• 4:08
  Speaker 7: you have a take on it.
• 4:09
  Speaker 1: I loved it.
• 4:10
  Speaker 8: That's a good thing.
• 4:13
  Speaker 1: Now I'm confused. Did you not love it? It was
• 4:15
  Speaker 1: a midnight movie. I was in a bad mood.
• 4:17
  Speaker 11: Okay.
• 4:17
  Speaker 7: They need to stop having those at midnight.
• 4:19
  Speaker 8: I saw you slope down in your seat. We were
• 4:20
  Speaker 8: about two rows behind you. Yeah. And you kept getting
• 4:24
  Speaker 8: lower and lower and lower.
• 4:26
  Speaker 6: And then you felt something around your feet.
• 4:28
  Speaker 1: The return of crawling.
• 4:32
  Speaker 12: Yeah.
• 4:32
  Speaker 3: I know that story. Getting into scary territory.
• 4:36
  Speaker 7: I thought it was fantastic.
• 4:37
  Speaker 8: I haven't seen Rubber, so that's the next thing I'm
• 4:40
  Speaker 8: going to do before I do.
• 4:41
  Speaker 6: Anything else, before I eat or sleep.
• 4:42
  Speaker 13: The kids were watching.
• 4:43
  Speaker 10: That the other night.
• 4:44
  Speaker 1: Did you watch it?
• 4:45
  Speaker 11: No.
• 4:47
  Speaker 1: That's a kid's movie, duh.
• 4:49
  Speaker 3: Rubber?
• 4:49
  Speaker 5: I loved a lot of rubber, but there's a lot
• 4:52
  Speaker 5: of it that just went too far for me.
• 4:57
  Speaker 8: I thought Wrong was brilliant. I mean, it was just delightful.
• 5:00
  Speaker 8: And so, I mean, just... For whatever reason, our colleague, Alan,
• 5:07
  Speaker 8: thought that I was going to dislike it.
• 5:08
  Speaker 7: You dislike most things, I think we've come to realize.
• 5:11
  Speaker 1: But the things that I do love, I love passionately.
• 5:13
  Speaker 7: That's true.
• 5:13
  Speaker 1: I reserve all of that. You make up for your
• 5:15
  Speaker 1: apathy for everything else.
• 5:17
  Speaker 6: Exactly.
• 5:17
  Speaker 8: And I thought it was amazing. He thought that I
• 5:19
  Speaker 8: was going to think it was weird for weird's sake,
• 5:20
  Speaker 8: but it wasn't. It was absurdist, which is a completely
• 5:23
  Speaker 8: different thing.
• 5:23
  Speaker 7: Yeah. That's what I took from it. I was like,
• 5:26
  Speaker 7: it is to some extent, but it also is very...
• 5:30
  Speaker 7: artistically chosen to be that way. It's not just, hey,
• 5:34
  Speaker 7: this will mess with people, let's do this. Like it's,
• 5:36
  Speaker 7: they planned everything out exactly how they want it to be.
• 5:39
  Speaker 7: And whether you like it or not, I don't think
• 5:41
  Speaker 7: they give a rat's ass.
• 5:42
  Speaker 8: And so many of the absurd elements where you're like,
• 5:44
  Speaker 8: that was random, come back around and are actually really
• 5:46
  Speaker 8: important and integral to the plot. I mean, I thought
• 5:48
  Speaker 8: it was just so beautifully constructed. I thought the acting
• 5:51
  Speaker 8: was incredible. I thought it was beautifully shot. I mean,
• 5:53
  Speaker 8: I'm like literally worshiping this guy who I guess was cinematographer, director, Editor,
• 6:00
  Speaker 8: what am I leaving out?
• 6:02
  Speaker 3: Writer.
• 6:02
  Speaker 7: Writer, yeah. Yeah.
• 6:05
  Speaker 8: He kind of puts Robert Rodriguez in shame, yeah.
• 6:08
  Speaker 1: So, I'm sorry, back me up a little bit. What
• 6:11
  Speaker 1: is this movie, Wrong?
• 6:12
  Speaker 14: Yeah.
• 6:13
  Speaker 8: Brian, I had no idea it was happening. I didn't
• 6:16
  Speaker 8: know anything about it. I just was like, oh, that
• 6:18
  Speaker 8: sounds amazing, and sort of jumped in. So you know
• 6:22
  Speaker 8: more than I.
• 6:22
  Speaker 7: I just knew it was from the director of Rubber,
• 6:24
  Speaker 7: and it wasn't getting a wide release, and Bo had
• 6:27
  Speaker 7: somehow roped it into the midnight showings, which is cool.
• 6:30
  Speaker 7: They just need to make those at like 9 o'clock
• 6:32
  Speaker 7: or something. But, yeah, it was cool that we got
• 6:37
  Speaker 7: it here at all, and I'm not sure how many
• 6:39
  Speaker 7: cities it's hitting now. So I guess if you don't
• 6:42
  Speaker 7: see it show up in your theater, give it like
• 6:43
  Speaker 7: three weeks, and it'll be like on demand or at
• 6:46
  Speaker 7: your DVD store. So it's definitely worth seeing if you're
• 6:49
  Speaker 7: okay with weird.
• 6:50
  Speaker 9: Yeah, I was going to say, is there any way
• 6:52
  Speaker 9: to explain any of the things that happen in it,
• 6:54
  Speaker 9: or is it that absurd?
• 6:56
  Speaker 1: A guy loses his dog.
• 6:58
  Speaker 3: Yeah, I saw the preview for this. I know which
• 7:00
  Speaker 3: one you're talking about.
• 7:01
  Speaker 11: Yeah.
• 7:01
  Speaker 8: And you kind of don't want to know anything beyond that.
• 7:04
  Speaker 8: I mean, the way that it unfolds is just so
• 7:06
  Speaker 8: much fun.
• 7:07
  Speaker 1: But it's not like that David Spade movie, Lost and Found.
• 7:11
  Speaker 7: Exactly. Ultimately, it's not entirely similar.
• 7:15
  Speaker 5: You're re-releasing it under the new name.
• 7:17
  Speaker 1: Except now it's considered an absurdist.
• 7:19
  Speaker 6: Remember when Gus Van Sant did Psycho?
• 7:22
  Speaker 10: It's basically.
• 7:23
  Speaker 7: It's exactly.
• 7:25
  Speaker 1: No, I don't want to remember Wings. Suddenly, I'm so enthusiastic.
• 7:30
  Speaker 9: Okay, yeah, Rubber is one of those movies that perpetually
• 7:33
  Speaker 9: pops up on my Netflix queue. Like, you really have
• 7:35
  Speaker 9: to watch this movie right now, except Netflix isn't saying
• 7:38
  Speaker 9: that to me, except I feel that they're kind of
• 7:40
  Speaker 9: hinting it constantly.
• 7:41
  Speaker 3: You're going to watch this, whether you like it or not.
• 7:44
  Speaker 1: Love Netflix. Yeah, sometimes I do feel a little bit
• 7:46
  Speaker 1: like I'm being bullied by Netflix.
• 7:48
  Speaker 6: You should have a house full of kids and see
• 7:50
  Speaker 6: what happens to your recommendations.
• 7:53
  Speaker 7: I think anytime you have to share with someone else,
• 7:56
  Speaker 7: it throws it up. Because I've realized mine's just me,
• 7:59
  Speaker 7: and it's pretty frighteningly accurate. I will look at that
• 8:02
  Speaker 7: and go, oh, damn, I do want to see that.
• 8:04
  Speaker 7: Quit reading my mind, Netflix. It's scary when it is
• 8:07
  Speaker 7: sort of honed to one person.
• 8:08
  Speaker 9: The scariest experience for me at the computer was when
• 8:11
  Speaker 9: Hulu added in that feature where they say your name
• 8:15
  Speaker 9: to you. Like, hey, Sterling, in large letters, you probably
• 8:21
  Speaker 9: want to check this out next.
• 8:23
  Speaker 1: I was just sitting at this computer and going, oh, God.
• 8:27
  Speaker 7: It knows me. Evil spirits are in my computer.
• 8:32
  Speaker 9: And yeah, so one of the other things we can
• 8:35
  Speaker 9: be grateful for with the Google prevalence.
• 8:37
  Speaker 1: Everywhere and all the information being present all over the place.
• 8:42
  Speaker 3: Not me. I.
• 8:44
  Speaker 6: For all the loss of privacy, I never see a
• 8:48
  Speaker 6: recommendation for anything I have any interest in.
• 8:52
  Speaker 1: I like to believe there's some other reason for that, though.
• 8:54
  Speaker 6: I don't know why that is. You'd think they'd get it.
• 8:57
  Speaker 1: I buy stuff I like, I watch.
• 8:59
  Speaker 6: Stuff I like, and they recommend things, and I'm like,
• 9:02
  Speaker 6: you're just not getting me, man.
• 9:04
  Speaker 1: You just don't get me. Damn you, Google.
• 9:09
  Speaker 7: Well, I guess definitely... Go see Rung. At some point,
• 9:13
  Speaker 7: maybe we need to return to it for a full episode.
• 9:16
  Speaker 8: I would love that.
• 9:17
  Speaker 7: We'll keep that in mind somewhere down the line. Our
• 9:20
  Speaker 7: other business at hand, as you heard, we have Dave
• 9:23
  Speaker 7: here with us. We're also coming up on the next
• 9:27
  Speaker 7: big Wonderfest. We thought we'd let you tell people what
• 9:30
  Speaker 7: you've got going on this year.
• 9:32
  Speaker 3: We're about three weeks out from this year's show. Got
• 9:35
  Speaker 3: a pretty mixed bag this year. While the country seems
• 9:39
  Speaker 3: to be becoming overrun With genre-oriented conventions.
• 9:44
  Speaker 1: There's a lot of them.
• 9:45
  Speaker 3: I go to many. And, you know, they're all great,
• 9:47
  Speaker 3: and there's room for everybody.
• 9:48
  Speaker 10: I think.
• 9:49
  Speaker 1: Yours is different, though.
• 9:50
  Speaker 3: Yours is different. We're kind of going the other way,
• 9:54
  Speaker 3: whereas most shows are very celeb-oriented and very autograph-oriented. We
• 9:59
  Speaker 3: really can't compete... in that arena. I can't pay these
• 10:01
  Speaker 3: kind of upfront expenses and fees anymore. So if anything,
• 10:05
  Speaker 3: we're folding back on what we always have been, which
• 10:07
  Speaker 3: we are a hobby show, primarily guys who build model kits.
• 10:12
  Speaker 3: or guys who work in special effects, which is a
• 10:14
  Speaker 3: shrinking business as well, as you saw from what went
• 10:17
  Speaker 3: on at the Oscars this year and all the protests
• 10:19
  Speaker 3: that are going on with VFX. But we've kind of
• 10:23
  Speaker 3: occupied our niche even more, and it takes us back
• 10:26
  Speaker 3: to our roots, and we're happy with that. So we've
• 10:28
  Speaker 3: got a lot of different things going on this year.
• 10:31
  Speaker 3: Jerry Anderson, who was a producer and a showrunner back
• 10:34
  Speaker 3: in the 60s and 70s, passed away. He produced a
• 10:36
  Speaker 3: lot of fun shows that people grew up with, like
• 10:39
  Speaker 3: Space 1999 and UFO back in the 70s, and before
• 10:43
  Speaker 3: they did all the weird Supermarionation puppet shows like Thunderbirds,
• 10:48
  Speaker 3: Captain Scarlet, and Stingray, and all these amazing shows that
• 10:51
  Speaker 3: went on back then. So we've got one of the
• 10:53
  Speaker 3: authorities coming, Anthony Taylor, who's a regular visitor. He's coming,
• 10:57
  Speaker 3: and we're going to do some presentations about Jerry. We're
• 10:59
  Speaker 3: going to have a lot of displays of some of
• 11:01
  Speaker 3: the props and costumes and things from those shows over
• 11:03
  Speaker 3: the years. I've got... Sarah Karloff coming in, Boris Karloff's daughter.
• 11:09
  Speaker 3: She hasn't been with us for about 10 years. So
• 11:12
  Speaker 3: it's going to be kind of neat to have Sarah back.
• 11:13
  Speaker 3: And we're going to be concentrating on Boris's later career
• 11:18
  Speaker 3: in the 60s, which is the era she was mostly
• 11:21
  Speaker 3: around for and the era when I first was aware
• 11:24
  Speaker 3: of him from The Grinch and Thriller and all those
• 11:26
  Speaker 3: shows he did back then. And she's thrilled because she's
• 11:29
  Speaker 3: about Frankensteined out. She's tired. She's tired. Of talking about
• 11:33
  Speaker 3: the classic era, because it's all anybody ever wants to
• 11:35
  Speaker 3: talk about. And there's a lot of great stories from
• 11:38
  Speaker 3: the 60s, because that's when Boris kind of came into
• 11:40
  Speaker 3: his own. He was such a superstar at the time.
• 11:42
  Speaker 9: Are you talking about stuff like Black Sabbath and the
• 11:45
  Speaker 9: Crimson Death? Or, sorry, Crimson Cult?
• 11:48
  Speaker 3: Yeah, those. Also, the Corman pictures. He did The Terror.
• 11:51
  Speaker 3: He did The Raven. Right. And Comedy of Terrors. And
• 11:54
  Speaker 3: I'm going to be showing The Raven on Saturday night,
• 11:56
  Speaker 3: which is really one of my favorite movies. It's like
• 11:58
  Speaker 3: a comfort movie. From my childhood, because you've got Peter
• 12:00
  Speaker 3: Lorre and Vincent Price in that as well, and Jack Nicholson,
• 12:03
  Speaker 3: one of his first roles. Nice. And all the episodes
• 12:06
  Speaker 3: of Thriller and things like that that he did. And Targets,
• 12:08
  Speaker 3: which was one of Peter Bogdanovich's first films. It was
• 12:11
  Speaker 3: actually very good.
• 12:12
  Speaker 1: That's a cool movie. I've seen it.
• 12:13
  Speaker 3: It's a great movie, because Boris owed something like two
• 12:16
  Speaker 3: weeks' worth of work to Carmen, and he told Bogdanovich,
• 12:20
  Speaker 3: go off and write a script. So he wrote this
• 12:22
  Speaker 3: terrific script about a sniper at a drive-in theater. who
• 12:26
  Speaker 3: was meticulously planning to kill people at this horror movie premiere.
• 12:29
  Speaker 3: And Boris essentially plays himself. I think his name is
• 12:33
  Speaker 3: Byron Orlok. It's a weird setup for a movie. It's
• 12:36
  Speaker 3: about classic horror versus the new horror. And how he
• 12:38
  Speaker 3: literally confronts this gunman. It's a really cool picture. I've
• 12:42
  Speaker 3: got that going on. I've got a lot of special
• 12:45
  Speaker 3: effects guests. John Eves, who's a regular of ours, who's
• 12:49
  Speaker 3: a designer. He worked on Iron Man 3 this year.
• 12:51
  Speaker 3: He worked on the new Trek movie, which is opening
• 12:54
  Speaker 3: that weekend. He's going to be working on the Star
• 12:57
  Speaker 3: Wars films, but of course he's been sworn to silence
• 12:59
  Speaker 3: on all that stuff. We may actually torture him in
• 13:03
  Speaker 3: a public venue.
• 13:04
  Speaker 1: Could I be there for that? People will sign up
• 13:07
  Speaker 1: for that.
• 13:08
  Speaker 3: He owes me, so we'll see.
• 13:10
  Speaker 1: He owes me for some other stuff.
• 13:11
  Speaker 3: Also, the prop builder from the new Trek film is
• 13:14
  Speaker 3: coming in. He just joined us and he did all
• 13:17
  Speaker 3: the new phasers. He's working on the new Godzilla movie.
• 13:20
  Speaker 3: He's doing all kinds of cool stuff, so he's going
• 13:21
  Speaker 3: to be there. Lee Stringer, who's a A VFX producer
• 13:25
  Speaker 3: did Firefly, the new Battlestar Galactica, all kinds of stuff.
• 13:30
  Speaker 3: He's coming in from Thailand because the industry is moving
• 13:35
  Speaker 3: out of the country. It's all going east. And he's
• 13:38
  Speaker 3: been there for a while. And I think Eric Chu
• 13:40
  Speaker 3: is going to be back.
• 13:40
  Speaker 4: Yeah.
• 13:41
  Speaker 3: Brian knows.
• 13:42
  Speaker 7: We're going to try to rope him into doing another
• 13:44
  Speaker 7: episode with us.
• 13:45
  Speaker 5: He may fight it.
• 13:46
  Speaker 1: It's a lot of fun.
• 13:47
  Speaker 3: We like Eric. And he's busy getting married and having kids.
• 13:51
  Speaker 11: Lame.
• 13:51
  Speaker 10: Yeah.
• 13:53
  Speaker 1: That's not a geek way of life.
• 13:54
  Speaker 3: Come on. It's weird. It's weird. He has nothing to
• 13:56
  Speaker 3: talk about. He's doing familial stuff. John Goodwin, who was
• 14:01
  Speaker 3: the makeup supervisor on CSI, will be coming back and
• 14:06
  Speaker 3: doing some live makeup demonstrations. I got Lee Merriweather from
• 14:10
  Speaker 3: the 60s. She was on all genre television back in
• 14:13
  Speaker 3: the 60s. She was in the Time Tunnel. She was
• 14:16
  Speaker 3: the first cinematic Catwoman in the 67 Batman movie, which
• 14:21
  Speaker 3: is the first movie I ever saw In an outside venue,
• 14:25
  Speaker 3: I saw it at a drive-in.
• 14:26
  Speaker 6: The first Batman or the first movie?
• 14:28
  Speaker 3: It was the first Batman and the first movie I
• 14:31
  Speaker 3: saw outside of home. It was at the Dixie Drive-In
• 14:35
  Speaker 3: on Dixie Highway in 1967. I was like three. I
• 14:40
  Speaker 3: remember being alarmed because the title sequence was so different.
• 14:43
  Speaker 3: It just wasn't the same as the show. Do you
• 14:45
  Speaker 3: own it? Oh, yeah. I don't own the first movie.
• 14:48
  Speaker 3: It's a fun movie. I still think it's probably the
• 14:50
  Speaker 3: second best Batman movie. I can't stand any of the
• 14:53
  Speaker 3: Tim Burton stuff. Or any of the stuff that came after.
• 14:57
  Speaker 3: I do like Nolan's first movie. But I think that
• 15:00
  Speaker 3: the first Batman movie, since it's tongue-in-cheek, is actually still
• 15:03
  Speaker 3: one of my favorite movies. It's a lot of fun.
• 15:04
  Speaker 1: Lee Merriweather would be a really interesting person to talk to.
• 15:07
  Speaker 3: Yeah, she's cool. Her daughter is a professional stuntwoman. She's
• 15:11
  Speaker 3: done a lot of work in the industry. So she's
• 15:12
  Speaker 3: going to come. We're going to do a Q &
• 15:13
  Speaker 3: A with her as well. So a lot of cool stuff.
• 15:17
  Speaker 3: Looking forward to it. Also the Alley Theater. We have
• 15:20
  Speaker 3: a Sunday night. It's a post-show party we do every year.
• 15:25
  Speaker 3: And starting last year, Alley Theater did a terrific Star Wars.
• 15:29
  Speaker 3: It was Star Wars in 30 minutes, I think.
• 15:30
  Speaker 1: 60 minutes, yeah.
• 15:31
  Speaker 3: 60 minutes. Yeah, we cut it into two sections and
• 15:33
  Speaker 3: did that last year. It was great. So they're going
• 15:35
  Speaker 3: to be coming back this year for Sunday night and
• 15:37
  Speaker 3: doing Flash Gordon and Commando Cody. So we're looking forward
• 15:40
  Speaker 3: to that.
• 15:41
  Speaker 11: Yeah.
• 15:42
  Speaker 1: It will be fun. I'm in that troupe, so you'll
• 15:45
  Speaker 1: see me pretend to improv.
• 15:47
  Speaker 3: Yeah, you've got an appreciative audience there. Everybody's so geeked out.
• 15:49
  Speaker 3: They're very familiar with the source material, so I think
• 15:52
  Speaker 3: you'll really enjoy the response. We had a great time
• 15:54
  Speaker 3: last year.
• 15:55
  Speaker 1: Yeah, we're really looking forward to it this time.
• 15:57
  Speaker 3: Very cool. So I think you're planning on talking to
• 16:00
  Speaker 3: Sarah at the show, right?
• 16:01
  Speaker 7: Hopefully, if she's up for it.
• 16:03
  Speaker 3: Oh, she is.
• 16:03
  Speaker 5: She's great.
• 16:04
  Speaker 7: We'll definitely try to tie in some of the 60s
• 16:07
  Speaker 7: movies and then come back around and we can sit
• 16:10
  Speaker 7: down and watch.
• 16:10
  Speaker 13: Some of those.
• 16:11
  Speaker 3: Yeah, it'll be a lot of fun. So I'm really
• 16:12
  Speaker 3: looking forward to watching The Raven with her because she
• 16:15
  Speaker 3: has great memories of being on the set during that
• 16:17
  Speaker 3: and comedy of terrors at that time. So Boris is
• 16:21
  Speaker 3: wonderful in that movie because he just moves from the
• 16:22
  Speaker 3: sinister to the comical sort of effortlessly. It's great to
• 16:26
  Speaker 3: watch him in that. Everybody in it is having such
• 16:28
  Speaker 3: a great time. And there are all different kinds of performers.
• 16:30
  Speaker 3: You've got Peter Lorre who's completely off the cuff. He
• 16:32
  Speaker 3: doesn't stick to the script. You've got Karloff, who is
• 16:35
  Speaker 3: visibly frustrated at times because of that, but he holds
• 16:39
  Speaker 3: his own pretty well. So it's a lot of fun.
• 16:41
  Speaker 3: I really, really like that picture. Very cool.
• 16:43
  Speaker 7: Well, that's our tie-in for this week anyway. We were
• 16:47
  Speaker 7: deciding what to do movie-wise, and then we're like, well,
• 16:50
  Speaker 7: since we'll possibly talk to her about some of the
• 16:53
  Speaker 7: 60s stuff, we'll go back to the early stuff that
• 16:56
  Speaker 7: she probably wasn't around for, and we'll watch one of
• 16:58
  Speaker 7: the earlier ones, so... That's why we came to this
• 17:01
  Speaker 7: week's movie. So I say we take a break, and
• 17:04
  Speaker 7: when we come back, we will get into this week's movie.
• 17:08
  Speaker 3: You never give us a real break.
• 17:10
  Speaker 7: I give you an option right now, and you just went, no.
• 17:13
  Speaker 5: Yeah, well, I think we're going to go union. Demand
• 17:17
  Speaker 5: higher pay.
• 17:18
  Speaker 7: As long as you start paying your union dues, you
• 17:21
  Speaker 7: have to pay it to me.
• 17:22
  Speaker 15: Well, there's a bad cat Crows in my path Won't
• 17:29
  Speaker 15: change my direction. I ain't never turning back.
• 17:33
  Speaker 5: Listen to me.
• 17:36
  Speaker 15: On the side of the street, was jumping on his
• 17:41
  Speaker 15: guitar and.
• 17:42
  Speaker 10: Was stomping his feet.
• 17:44
  Speaker 15: I said, now, what's going down on this side of town?
• 17:50
  Speaker 8: A whole lot.
• 17:51
  Speaker 15: Of something you know nothing about. He said, well, take
• 17:57
  Speaker 15: your time, feel fine for a sip of this wine.
• 18:01
  Speaker 15: I'll show you around the city if you buy me
• 18:05
  Speaker 15: a dime.
• 18:06
  Speaker 10: And I'm feeling kind of sleepy, baby. Death is gonna beat.
• 18:11
  Speaker 14: Me like a black cat crossing my path.
• 18:17
  Speaker 15: My bones and thighs are aching.
• 18:20
  Speaker 1: I've been shivering, I've been shaking.
• 18:22
  Speaker 16: Got to get that monkey off of my back.
• 18:27
  Speaker 7: Well, there's a rain dog.
• 18:32
  Speaker 16: Popcorn freshly popped and buttered.
• 18:38
  Speaker 1: Look good? Sure it looks good and it tastes even better.
• 18:41
  Speaker 12: Get some now.
• 18:43
  Speaker 3: They live by night.
• 18:45
  Speaker 2: They hide in the dark and.
• 18:47
  Speaker 3: Rise from the shadows.
• 18:49
  Speaker 2: They can never feel the warmth of living human blood
• 18:53
  Speaker 2: in their veins.
• 18:54
  Speaker 3: Their bodies are cold and dead.
• 18:59
  Speaker 2: Dracula versus Frankenstein. A doctor who serves the dead. A
• 19:07
  Speaker 2: dead man who controls the doctor and the living creature
• 19:12
  Speaker 2: horribly created from the mangled corpses of their victims. Dracula
• 19:18
  Speaker 2: versus Frankenstein.
• 19:21
  Speaker 1: His blood is cold, but his mind is keen.
• 19:25
  Speaker 4: He cannot die, for he is already dead.
• 19:29
  Speaker 2: His name is Dracula. Another lives, but his body belongs
• 19:35
  Speaker 2: to the dead. The two will join forces, but only
• 19:39
  Speaker 2: one will survive. Dracula versus Frankenstein. Dracula vs.
• 19:43
  Speaker 12: Frankenstein Together in one film they meet in a fight
• 19:55
  Speaker 12: of fright The kings of horror battle to the death
• 19:59
  Speaker 12: Dracula vs.
• 20:01
  Speaker 3: Frankenstein Hey guys.
• 20:08
  Speaker 7: Look what I've got check out these awesome earbuds I'm
• 20:11
  Speaker 7: using right now.
• 20:13
  Speaker 3: Look at that.
• 20:14
  Speaker 7: That's, that's wood right there.
• 20:15
  Speaker 3: That's actual wood.
• 20:17
  Speaker 1: Why would you use wood to make technology?
• 20:19
  Speaker 7: Because they're, it's, it's like, um, they're steampunk.
• 20:23
  Speaker 6: These are, is steampunk really wood?
• 20:25
  Speaker 1: I thought it was more of a brass thing.
• 20:27
  Speaker 7: Well, you got to work the wood in to hold
• 20:28
  Speaker 7: the brass together. So it's, these are the fancy high
• 20:31
  Speaker 7: end steampunk versions.
• 20:33
  Speaker 1: With a mic built in mind you.
• 20:35
  Speaker 7: But, um, yeah, where, where, where would I, Get these
• 20:38
  Speaker 7: you under tweaked audio.
• 20:42
  Speaker 3: Way to pitch.
• 20:44
  Speaker 1: You want to hear more?
• 20:44
  Speaker 7: You say.
• 20:47
  Speaker 5: Tweaked audio.com.
• 20:48
  Speaker 7: Hey, they are available in three styles and seven colors
• 20:52
  Speaker 7: and they sound pretty damn good. I kind of forgot
• 20:54
  Speaker 7: cause I hadn't had my old pair in a while
• 20:57
  Speaker 7: and I was using the knockoff crappy ones I bought
• 20:59
  Speaker 7: at the store and I, I got these and put
• 21:02
  Speaker 7: them in.
• 21:02
  Speaker 1: I was like, Oh shit, that's right. These are actually
• 21:04
  Speaker 1: really good.
• 21:05
  Speaker 3: So they are professional.
• 21:06
  Speaker 1: Quality earbuds, mind you.
• 21:08
  Speaker 7: And, you know, noise reducing, compatible with your iPods and most.
• 21:14
  Speaker 1: Phones, unless you have a dumb phone. You should really
• 21:16
  Speaker 1: get a smart phone, not a dumb phone.
• 21:19
  Speaker 7: So anyway, the basic rundown here, if you need yourself
• 21:22
  Speaker 7: some earbuds, tweakedaudio.com. And if you go there, there's a deal.
• 21:27
  Speaker 7: There's a Meltdown deal. If you go, there's a discount
• 21:30
  Speaker 7: code and you put in Meltdown, you get 33% off
• 21:32
  Speaker 7: and free shipping. You guys are excited, right?
• 21:36
  Speaker 3: Yeah.
• 21:37
  Speaker 12: Oh, yeah.
• 21:38
  Speaker 7: As well you should be. Tweakedaudio.com.
• 21:41
  Speaker 1: Use the Meltdown code.
• 21:41
  Speaker 13: That's all I'm saying.
• 21:44
  Speaker 7: We're a show that is ostensibly about horror. Boobie bouncing.
• 21:49
  Speaker 1: Is that what it was?
• 21:50
  Speaker 10: From the running.
• 21:50
  Speaker 3: That monkey was Benson.
• 21:52
  Speaker 5: He had sex with Kim Cattrall.
• 21:55
  Speaker 1: Opiate mouth so I can fill the void. Rats are gross.
• 21:59
  Speaker 1: Far eastern yeti have smaller feet than. So like what
• 22:03
  Speaker 1: are we supposed.
• 22:03
  Speaker 2: To learn from that?
• 22:04
  Speaker 1: You're like, shit, this is the one with the really
• 22:06
  Speaker 1: fat guy.
• 22:07
  Speaker 9: Yeah.
• 22:07
  Speaker 1: Damn it. Okay.
• 22:08
  Speaker 7: They gave each other a Dutch rudder.
• 22:10
  Speaker 10: It was fine.
• 22:10
  Speaker 7: Apparently you've never been to makeitandy.com.
• 22:13
  Speaker 5: Those are flaps, not doors.
• 22:15
  Speaker 10: Woody. Anyway.
• 22:16
  Speaker 5: Who's Woody?
• 22:17
  Speaker 3: It's a wiker with a booty.
• 22:18
  Speaker 1: It looks like Mike's jerking it over there. I'm going
• 22:21
  Speaker 1: to class it up now. After that slut.
• 22:24
  Speaker 5: Shows are most popular by the way they smell. You're
• 22:26
  Speaker 5: a real black hole right now.
• 22:29
  Speaker 7: He sure is.
• 22:29
  Speaker 10: I'd bang him.
• 22:30
  Speaker 1: The horror of unreleased Beach Boys songs.
• 22:31
  Speaker 17: There you go.
• 22:32
  Speaker 7: Are you referring to my lady right now?
• 22:34
  Speaker 17: Nope.
• 22:35
  Speaker 10: Night of the Living. Podcast. N-O-T-L-P dot com.
• 22:47
  Speaker 13: Want some music for your ears? Doo-Wop Shop makes it
• 22:50
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• 22:53
  Speaker 13: From PA systems to karaoke machines to just about anything
• 22:56
  Speaker 13: that makes noise, you can rent it from the Doo-Wop Shop.
• 22:59
  Speaker 13: In Louisville, find them either at their Highland store at
• 23:01
  Speaker 13: 1587 Bardstown Road, or in the East End at 2915
• 23:06
  Speaker 13: South Hurstburn Parkway. And look for them online at doo-wop-shop.com.
• 23:10
  Speaker 13: Doo-Wop Shop. We're serious about music.
• 23:23
  Speaker 3: This is Julie Adams, and you are listening to Movie Meltdown.
• 23:45
  Speaker 3: It's time for Sofa Theater.
• 23:52
  Speaker 18: Sofa Theater.
• 24:06
  Speaker 16: You must be indulgent of Dr. Verdigast's weakness.
• 24:18
  Speaker 11: He is the unfortunate victim of one of the commoner phobias,
• 24:22
  Speaker 11: but in an extreme form. He has an intense and
• 24:27
  Speaker 11: all-consuming horror of cats.
• 24:31
  Speaker 4: Ancient books say that the black cat is the living
• 24:35
  Speaker 4: embodiment of evil. And that evil enters into the nearest
• 24:40
  Speaker 4: living thing. It is the black cat does not die.
• 24:44
  Speaker 4: Those same books, if I'm not mistaken, teach that the
• 24:48
  Speaker 4: black cat is deathless. Deathless is evil. It is the
• 24:56
  Speaker 4: origin of the common superstition.
• 25:16
  Speaker 1: Step right up and don't be shy.
• 25:21
  Speaker 18: Because you will not believe your eyes. She's right here
• 25:26
  Speaker 18: behind the glass. You're gonna like her cause she's got class.
• 25:33
  Speaker 18: You can look inside another world. You get to talk
• 25:40
  Speaker 18: to a pretty girl.
• 25:43
  Speaker 10: She's a rapper.
• 25:52
  Speaker 18: She's a beauty She's a beauty Why would I lie?
• 26:07
  Speaker 10: Why would I lie?
• 26:16
  Speaker 1: You can say anything you like It all comes back around.
• 26:27
  Speaker 5: So we unionized during a break.
• 26:30
  Speaker 3: And we're back.
• 26:32
  Speaker 1: All right. We already had a strike and we got
• 26:36
  Speaker 1: back together. Everything's been smoothed over.
• 26:39
  Speaker 3: Crisis averted.
• 26:42
  Speaker 5: The negotiations were tough.
• 26:44
  Speaker 3: Yeah.
• 26:45
  Speaker 7: When you have no money on all sides, it makes
• 26:47
  Speaker 7: it really easy to figure this stuff out.
• 26:50
  Speaker 5: It's hard to decide who has the power, though.
• 26:53
  Speaker 7: There is no power. So with that, yeah, we are
• 26:58
  Speaker 7: coming back. Actually, this one, I guess we'll just leave
• 27:01
  Speaker 7: it as our usual sofa theater. We actually have a
• 27:05
  Speaker 7: subsection running theme of Edgar Allan Poe movies.
• 27:09
  Speaker 1: This doesn't really count.
• 27:11
  Speaker 7: No.
• 27:12
  Speaker 1: It mentions him in the credits, and that's about it.
• 27:14
  Speaker 9: Yeah, in fact, it says in the title, The Black
• 27:17
  Speaker 9: Cat Suggested by a Tale by.
• 27:19
  Speaker 1: Edgar Allen Poe.
• 27:20
  Speaker 7: We one time read a story by.
• 27:22
  Speaker 9: Edgar Allen Poe. Like, not even inspired or based on,
• 27:25
  Speaker 9: just suggested by.
• 27:26
  Speaker 1: Somebody overheard the words.
• 27:28
  Speaker 10: Right.
• 27:31
  Speaker 5: There barely is a cat whatsoever.
• 27:35
  Speaker 1: It's not clear what the cat is doing in the
• 27:37
  Speaker 1: film either.
• 27:37
  Speaker 5: It's clearly they've used it as marketing.
• 27:40
  Speaker 1: Oh, yeah.
• 27:41
  Speaker 7: It's not by accident, I'm sure. So, yeah, I think
• 27:46
  Speaker 7: we'll just sort of graze past that and stick with
• 27:49
  Speaker 7: our usual setting. So this week's Sofa Theater feature is
• 27:52
  Speaker 7: The Black Cat.
• 27:54
  Speaker 1: The year is 1934. Director Edgar G.
• 27:55
  Speaker 3: Ulmer.
• 27:57
  Speaker 7: The plot? American honeymooners in Hungary are trapped in the
• 28:01
  Speaker 7: home of a Satan-worshipping priest when the bride is taken
• 28:05
  Speaker 7: there is.
• 28:05
  Speaker 1: How is this word? Thank you, IMDb.
• 28:08
  Speaker 7: When the bride is taken there for medical help following
• 28:11
  Speaker 7: a road accident?
• 28:14
  Speaker 3: IMDb.
• 28:14
  Speaker 1: At work.
• 28:16
  Speaker 7: Spoiler alert!
• 28:17
  Speaker 1: They already kind of threw a little in there. You
• 28:18
  Speaker 1: don't need to know anyway.
• 28:19
  Speaker 7: But from here on out, we will continue to ruin
• 28:21
  Speaker 7: the movie.
• 28:21
  Speaker 1: So go watch it now.
• 28:22
  Speaker 7: Actually, it's on YouTube, so there's no excuse for you
• 28:24
  Speaker 7: not to watch it, so. Where would you like to
• 28:27
  Speaker 7: begin with the black cat?
• 28:29
  Speaker 5: At the very begin, who takes a honeymoon in Hungary?
• 28:35
  Speaker 6: Well, we were planning to.
• 28:39
  Speaker 5: I mean, I would go.
• 28:40
  Speaker 1: Other than Fred.
• 28:41
  Speaker 3: I mean, yeah.
• 28:41
  Speaker 8: They did reference that, though, and made a little joke
• 28:43
  Speaker 8: out of it.
• 28:44
  Speaker 5: We should have gone to Niagara Falls.
• 28:45
  Speaker 1: Funny enough, I was actually thinking about moving to Hungary
• 28:48
  Speaker 1: this year. Until you saw the movie? I kid you not, yeah.
• 28:51
  Speaker 9: Until I saw the movie, I was like, no, bad
• 28:53
  Speaker 9: idea then.
• 28:55
  Speaker 1: No, but, yeah, no, Hungary, especially, like.
• 28:57
  Speaker 9: Hungary in the 1930s, you know, which is, that whole
• 29:01
  Speaker 9: area was, what, this is post-World War I.
• 29:04
  Speaker 1: It's still, like, in major economic. Ruing on World War II.
• 29:07
  Speaker 5: Yeah, looming on.
• 29:08
  Speaker 1: So you have, like, major economic downturn.
• 29:10
  Speaker 9: The country was briefly taken over by communists and then
• 29:13
  Speaker 9: taken back very bloodily. And then now you got Hitler
• 29:17
  Speaker 9: massing in the north.
• 29:18
  Speaker 3: It's like.
• 29:18
  Speaker 1: That equals honeymoon. Seems like a fun place.
• 29:22
  Speaker 3: It's cheap, I'm sure. Yeah, yeah. Yeah.
• 29:24
  Speaker 1: These guys are not as.
• 29:26
  Speaker 9: These American tourists are not as wealthy as they might
• 29:28
  Speaker 9: appear in the film, perhaps.
• 29:31
  Speaker 6: On the other hand, Niagara Falls is where people go
• 29:34
  Speaker 6: to honeymoon.
• 29:36
  Speaker 3: Or kill themselves.
• 29:39
  Speaker 1: That's a fine line.
• 29:40
  Speaker 13: Anyway, really.
• 29:41
  Speaker 5: Yeah, or both. See, all I ever knew from a
• 29:46
  Speaker 5: kid was from Looney Tunes going over it in a barrel.
• 29:51
  Speaker 5: I think it was the Looney Tunes.
• 29:52
  Speaker 7: Which in the real world doesn't turn out so well,
• 29:55
  Speaker 7: by the way.
• 29:55
  Speaker 5: No, but it was like the only reason you go
• 29:58
  Speaker 5: to Niagara Falls is to go over in a barrel.
• 30:01
  Speaker 3: That sounds about right, sure.
• 30:03
  Speaker 1: I'm sure many American tourists would concur with that statement.
• 30:08
  Speaker 7: Only because our side has a big rock in the
• 30:10
  Speaker 7: middle of it.
• 30:10
  Speaker 1: We got ripped off. We need to renegotiate that with Canada.
• 30:14
  Speaker 1: See if we can't just have the other side instead.
• 30:18
  Speaker 5: Well, there is a great.
• 30:20
  Speaker 6: Podcast about niagara falls this american life and they examine
• 30:24
  Speaker 6: how it's the opposite of the american dream because the
• 30:28
  Speaker 6: american dream is where you start with nothing and you
• 30:30
  Speaker 6: build something awesome and niagara falls is where they started
• 30:34
  Speaker 6: with something awesome and they can't do anything with it
• 30:37
  Speaker 6: it's just a desolate failure.
• 30:40
  Speaker 9: That's uh that there's a really great tv show actually
• 30:44
  Speaker 9: based around that Yeah, it was called Wonderfalls.
• 30:47
  Speaker 1: It aired for like one season. I remember that. It
• 30:50
  Speaker 1: came and went really quickly. It's actually really good.
• 30:54
  Speaker 9: It was one of the shows of Brian Fuller, who
• 30:57
  Speaker 9: I think got his start along with many other great
• 31:01
  Speaker 9: genre writers of the last decade in Deep Space Nine,
• 31:05
  Speaker 9: started working on that show.
• 31:07
  Speaker 1: Then he did Wonderfalls.
• 31:09
  Speaker 9: His big break was Dead Like Me, which of course
• 31:11
  Speaker 9: was quickly ripped out of his hands and turned into
• 31:13
  Speaker 9: something else. And then he went on to do Pushing Daisies,
• 31:18
  Speaker 9: which is such a show I love so much. But yeah,
• 31:22
  Speaker 9: Wonder Falls is about a young girl with a, it
• 31:24
  Speaker 9: was great for me because I started watching the show
• 31:26
  Speaker 9: shortly after I graduated with.
• 31:27
  Speaker 1: My own philosophy degree.
• 31:29
  Speaker 9: She has a philosophy degree from Brown, she's 24, and
• 31:32
  Speaker 9: she's working like a convenience store basically at Niagara Falls
• 31:36
  Speaker 9: selling crapped tourists. And at one point some tourist comes
• 31:41
  Speaker 9: in to complain because the little wax animal figurine that
• 31:44
  Speaker 9: they bought at her terrible like souvenir shop, like it
• 31:47
  Speaker 9: was dented and it starts talking to her, telling her
• 31:51
  Speaker 9: to do things. And that is the premise of the
• 31:53
  Speaker 9: show is this girl wanders around and is told to
• 31:56
  Speaker 9: do things by anthropomorphic animal toys. So you can see
• 32:00
  Speaker 9: immediately why it's a great show and why no one
• 32:03
  Speaker 9: watched it.
• 32:06
  Speaker 3: Two things.
• 32:07
  Speaker 7: No, So I don't know, where do we want to
• 32:09
  Speaker 7: get into the movie itself and I guess the main
• 32:14
  Speaker 7: two stars?
• 32:15
  Speaker 3: Well, it was the first team-up with Morris and Bella,
• 32:19
  Speaker 3: which Universal had been pushing for for a long time.
• 32:25
  Speaker 3: It's the single most perverse film ever. Of the universal
• 32:29
  Speaker 3: cycle from the 30s.
• 32:30
  Speaker 6: I was really struck by how sick it was.
• 32:34
  Speaker 10: It is.
• 32:34
  Speaker 6: And so casually, when he's laying there in bed reading
• 32:38
  Speaker 6: his satanic book, it's just so.
• 32:42
  Speaker 5: He's like sleepily reading it. It's like, oh, this is
• 32:45
  Speaker 5: light reading before bed.
• 32:47
  Speaker 1: It's just so casually.
• 32:50
  Speaker 6: Really, really messed up.
• 32:51
  Speaker 3: I think they were counting on the fact that they
• 32:53
  Speaker 3: were just going to soar right over the heads of
• 32:55
  Speaker 3: the Hays office.
• 32:56
  Speaker 7: Probably did.
• 32:57
  Speaker 3: And it did largely. They did come back with some
• 32:59
  Speaker 3: major complaints. But you've got Satanism. You've got necrophilia. You've
• 33:04
  Speaker 3: got incest. You've got any number of just combinations of
• 33:08
  Speaker 3: those going on in that movie. And you've got Karloff
• 33:12
  Speaker 3: as the villain, which is kind of interesting in that.
• 33:14
  Speaker 3: And Lugosi more or less playing the hero, but at
• 33:17
  Speaker 3: times you kind of wonder about him as well.
• 33:19
  Speaker 1: Kind of a dark anti-hero type character.
• 33:21
  Speaker 3: Yeah, and initially in the original scripts he got even
• 33:25
  Speaker 3: darker to the point where by the end of the
• 33:27
  Speaker 3: film you couldn't tell either character apart.
• 33:31
  Speaker 1: It's questionable in the middle. I was kind of wondering
• 33:34
  Speaker 1: what the motives were on both ends.
• 33:35
  Speaker 3: I think it was the same with the director. I
• 33:37
  Speaker 3: think they got so muddled up at times.
• 33:39
  Speaker 9: I think the real question in this film is not even.
• 33:43
  Speaker 1: One of the interesting things about it, especially for a
• 33:45
  Speaker 1: Universal picture, and also remarkable, by the way, just has
• 33:48
  Speaker 1: to point this out.
• 33:48
  Speaker 9: I have to point this out, that it was apparently
• 33:50
  Speaker 9: Universal's biggest box office success that year.
• 33:52
  Speaker 3: It was big.
• 33:53
  Speaker 9: It was a huge box office, which is very strange
• 33:56
  Speaker 9: because it's such a very atmospheric, gothic movie. It's not
• 34:00
  Speaker 9: at all like some of the other, like the Thin
• 34:02
  Speaker 9: Man series or the other stuff that was really popular
• 34:05
  Speaker 9: in the 30s.
• 34:05
  Speaker 3: This is... bleak.
• 34:08
  Speaker 9: But the question for me when I was watching it
• 34:11
  Speaker 9: is really, the only reason Lugosi, you can see him
• 34:13
  Speaker 9: as a good guy is because ostensibly he wants the
• 34:15
  Speaker 9: Americans to live. He doesn't want anything to hurt them,
• 34:18
  Speaker 9: but you really, the film is swallowed up by that
• 34:21
  Speaker 9: conflict between him and Karloff. It's a question, we have
• 34:24
  Speaker 9: these two powerful men, both of them are bent on
• 34:27
  Speaker 9: very dark desires, and The question is which one of
• 34:30
  Speaker 9: them is going to win, which one of them is
• 34:32
  Speaker 9: going to be successful. And of course the ditzy Americans
• 34:35
  Speaker 9: who really are just like in the middle of that film,
• 34:38
  Speaker 9: you're like, oh my God, why haven't you realized what
• 34:40
  Speaker 9: is going on? You are the dumbest people on earth.
• 34:43
  Speaker 9: They are almost at times there just to be pawns.
• 34:47
  Speaker 3: Literally.
• 34:47
  Speaker 1: Yeah, literally, because there's a giant chess metaphor in the
• 34:50
  Speaker 1: middle of the.
• 34:53
  Speaker 8: Film.
• 34:53
  Speaker 3: That being said, it's like David Manners was Universal's go-to
• 34:57
  Speaker 3: leading man for that whole period, because he's in Dracula
• 35:00
  Speaker 3: and he's in The Mummy. And as big a milksop
• 35:05
  Speaker 3: as he is, he's more effective in this than either
• 35:07
  Speaker 3: of those other two. He's at least got a little
• 35:09
  Speaker 3: bit of comic flair going on in this picture. And
• 35:12
  Speaker 3: in the others, he's reduced to just kind of running
• 35:13
  Speaker 3: around and screaming for Mina. So he's having more fun, obviously.
• 35:19
  Speaker 3: But yeah, it's just those two guys, kind of at
• 35:23
  Speaker 3: the peak of their abilities.
• 35:24
  Speaker 1: Of course, the girl spends most of her time passed
• 35:27
  Speaker 1: down on.
• 35:27
  Speaker 9: The bed, not really doing much except trying to be
• 35:31
  Speaker 9: saved or not be killed.
• 35:32
  Speaker 6: Yeah, the sickness of it isn't really like the bizarre strain.
• 35:38
  Speaker 3: It's just.
• 35:40
  Speaker 6: The sickness in our culture. I mean, it really is
• 35:46
  Speaker 6: reflective of something in our culture that I don't know
• 35:51
  Speaker 6: if it's surviving. It's just this obsessiveness. about like possessing
• 35:57
  Speaker 6: a particular woman like he has this woman under glass
• 36:02
  Speaker 6: to preserve her beauty and i mean even a live
• 36:05
  Speaker 6: woman has to well what is it rita rudner said
• 36:08
  Speaker 6: it's like being a female impersonator every day i mean
• 36:13
  Speaker 6: but he's preserving this dead woman under glass and then
• 36:17
  Speaker 6: there's the daughter but that is something that you see
• 36:20
  Speaker 6: in poe too it's uh that same kind of obsessive possessiveness,
• 36:26
  Speaker 6: this masculine weirdness.
• 36:30
  Speaker 1: An attachment to one woman.
• 36:32
  Speaker 7: Even when it doesn't make sense, when death has separated you.
• 36:35
  Speaker 6: So much so that just anybody that resembles them falls
• 36:41
  Speaker 6: into this sphere of obsession.
• 36:44
  Speaker 9: Yeah, but that's part of the bleakness of the film
• 36:46
  Speaker 9: in another way, too, because we're presented two... well, maybe
• 36:49
  Speaker 9: three relationships effectively in this movie. I still can't figure
• 36:53
  Speaker 9: out the, the live girl that turns up towards the end.
• 36:56
  Speaker 9: It's a lot of mystery there, but, um, we're presented
• 36:59
  Speaker 9: two relationships, neither of which seem at all to be
• 37:02
  Speaker 9: a meaningful image of love. And granted, you know, this
• 37:05
  Speaker 9: is a genre movie of a period. So it's, I mean,
• 37:08
  Speaker 9: I'm not saying that we can't look to it for
• 37:10
  Speaker 9: deeper human motivation, but you know, there's a certain roundedness
• 37:13
  Speaker 9: that we expect these days that those movies weren't necessarily
• 37:16
  Speaker 9: there to provide. Um, But no, so we have the obsessive,
• 37:20
  Speaker 9: dark relationship, and that informs Lugosi and Karloff's conflict, which
• 37:25
  Speaker 9: is all about male honor. It's like, well, you took
• 37:27
  Speaker 9: her from me. Well, she was my daughter, and rah,
• 37:30
  Speaker 9: there's all that going on. But then the American relationship,
• 37:33
  Speaker 9: the two Americans are just, they're goofy.
• 37:36
  Speaker 3: They're silly. They're like the.
• 37:37
  Speaker 1: First scene with them.
• 37:39
  Speaker 9: I'm just like, I'm just like, please, dear God, tell
• 37:41
  Speaker 9: me they're going to stop talking to each other like that.
• 37:45
  Speaker 3: Yeah.
• 37:45
  Speaker 6: There were the people that are sitting behind you on
• 37:47
  Speaker 6: the bus.
• 37:48
  Speaker 7: Yeah.
• 37:49
  Speaker 9: And when you just got your girlfriend and you're like,
• 37:52
  Speaker 9: stop it.
• 37:53
  Speaker 3: Yeah.
• 37:54
  Speaker 5: Well, you know, there was a lot of commentary, I
• 37:56
  Speaker 5: think about Americans in it. The, when the, the police
• 38:03
  Speaker 5: officers or the, come in and he introduces them as Americans. Oh,
• 38:07
  Speaker 5: you're American. You know, like it plays to that feeling
• 38:11
  Speaker 5: that everybody thinks that, or we think that everyone's impressed
• 38:15
  Speaker 5: by us because we're Americans or something like that. And
• 38:19
  Speaker 5: I think they were playing, almost playing to the audience
• 38:21
  Speaker 5: with that. Like, you know, obviously everyone loves you. You're
• 38:25
  Speaker 5: an American. And I don't know, it reveals a naive
• 38:29
  Speaker 5: side side that they're naive. They almost like we're represented
• 38:33
  Speaker 5: representative of America. We have no idea really what's going
• 38:38
  Speaker 5: on in Hungary. Why would they have gone there in
• 38:39
  Speaker 5: the first place? They had no idea what they were
• 38:42
  Speaker 5: getting into.
• 38:43
  Speaker 1: This all still kind of holds true actually.
• 38:46
  Speaker 5: And they, and they are oblivious to what's going on
• 38:51
  Speaker 5: around them until it's, you know, check, check, obviously. So, Yeah.
• 38:56
  Speaker 5: And I think the other, you know, when you talk
• 38:58
  Speaker 5: about relationships is Lugosi and Karloff, I mean, you don't,
• 39:02
  Speaker 5: obviously they don't tell you their whole story about each
• 39:05
  Speaker 5: other in the past, but they, but it's also, it's
• 39:08
  Speaker 5: a friendship and a hatred. And I think it almost
• 39:13
  Speaker 5: is perfect for the two of them in real life
• 39:16
  Speaker 5: as roles as well. You know, you could tell that
• 39:19
  Speaker 5: They're almost the characters that they're playing. I'm doing this
• 39:23
  Speaker 5: because I have to.
• 39:24
  Speaker 3: I respect you.
• 39:25
  Speaker 5: Karloff was a pretty sedate, easygoing guy.
• 39:30
  Speaker 3: Guy. He admits he was lucky in taking the role
• 39:33
  Speaker 3: of Frankenstein back when he did, because Lugosi turned it down.
• 39:36
  Speaker 3: Lugosi didn't want his features covered up. He was a
• 39:39
  Speaker 3: matinee idol. They apparently were friendly enough on the set,
• 39:43
  Speaker 3: but Lugosi always had that stuck in his craw that
• 39:46
  Speaker 3: Karloff was the bigger star and basically the better actor.
• 39:50
  Speaker 3: And Universal kind of encouraged that belief, I think. They
• 39:55
  Speaker 3: promoted it as the clash of the two great titans.
• 39:59
  Speaker 3: Because they went on to do The Raven the next year,
• 40:01
  Speaker 3: which has about as much to do with The Raven
• 40:03
  Speaker 3: as it has to do with Black Cat. It's still
• 40:05
  Speaker 3: a lot of fun, but not nearly as perverse a movie.
• 40:08
  Speaker 3: But Lugosi kind of was always poor Bella. He was
• 40:11
  Speaker 3: always dear Boris and poor Bella. That's kind of how
• 40:13
  Speaker 3: it worked out with their lives.
• 40:15
  Speaker 9: Yeah, that's another reference to what Lugosi says in Ed Wood,
• 40:22
  Speaker 9: you know, in Tim Burton's Ed Wood, you know, he's
• 40:26
  Speaker 9: constantly cussing out, you know, Karloff whenever his name is
• 40:29
  Speaker 9: mentioned or horror movies are mentioned. Yeah, no, this thing
• 40:34
  Speaker 9: about the Americans being innocents in a much deeper situation,
• 40:37
  Speaker 9: like that's played out in a number of other things.
• 40:39
  Speaker 9: We've got the third man.
• 40:40
  Speaker 1: Which is the same kind of scenario, etc. which is
• 40:44
  Speaker 1: interesting too because it's also a dark story in which
• 40:46
  Speaker 1: a naive.
• 40:46
  Speaker 9: American kind of stumbles his way through. Heck, Mark Twain,
• 40:50
  Speaker 9: The Innocence Abroad, Henry James wrote his stories with the
• 40:56
  Speaker 9: same vibe of Americans uncovering these deeper, simmering European hatreds
• 41:01
  Speaker 9: that they can't really comprehend but somehow provide catalysts for just,
• 41:06
  Speaker 9: I guess, by blundering blindly into things. knocking over pedestals
• 41:12
  Speaker 9: and whatnot.
• 41:14
  Speaker 1: The thing that.
• 41:16
  Speaker 9: Strikes me about their relationship in the film, Karloff and Lugosi,
• 41:19
  Speaker 9: is that despite them nominally being good guy and bad guy, that's,
• 41:26
  Speaker 9: like you said, the sedateness of that relationship. Nevertheless, they're
• 41:30
  Speaker 9: both in a way kind of restrained and everyone is
• 41:34
  Speaker 9: a little.
• 41:34
  Speaker 1: Flat in the picture. They don't really engage one another
• 41:37
  Speaker 1: in the way that we're.
• 41:38
  Speaker 5: Used to expecting.
• 41:40
  Speaker 9: So when we're watching the action unfold, it's kind of,
• 41:42
  Speaker 9: I think that's one of the things that makes it
• 41:44
  Speaker 9: a really good movie actually. It's kind of when, when
• 41:46
  Speaker 9: we reached the sudden fever pitches of emotion, we're like, wow,
• 41:49
  Speaker 9: I didn't know I was headed there. I didn't know
• 41:50
  Speaker 9: that these guys could actually pull out my emotions to
• 41:53
  Speaker 9: this degree and yet be so calm about everything. quietly
• 41:58
  Speaker 9: discuss while viewing the body under glass, the rightness and
• 42:02
  Speaker 9: wrongness of their past.
• 42:04
  Speaker 6: Yeah, that's what's so funny when Greg was saying, well,
• 42:08
  Speaker 6: about relationships. It reminds me of, oh, on SNL when
• 42:14
  Speaker 6: John Lovitz did Satan. And he was, he was showing
• 42:18
  Speaker 6: the courtroom his new album and he said, it's about relationships. Yeah,
• 42:25
  Speaker 6: these are some fucked up relationships.
• 42:29
  Speaker 3: Yeah. Yeah.
• 42:30
  Speaker 7: I think that whole tone makes you like uneasy too
• 42:33
  Speaker 7: because it's, it's like you feel like they should be,
• 42:36
  Speaker 7: you know, especially like the ghost, you're like, he's at
• 42:38
  Speaker 7: the point he wants to kill him, but he's still
• 42:40
  Speaker 7: so calm that you're like, he's still like, what the hell?
• 42:43
  Speaker 10: Yeah.
• 42:44
  Speaker 7: It's like you put on.
• 42:45
  Speaker 6: My pajamas and that's, that's the, that's the strange thing.
• 42:48
  Speaker 1: Cause he pulls a gun on him.
• 42:51
  Speaker 9: Like Legosi pulls a gun on Karloff and then Carla,
• 42:53
  Speaker 9: and then he sees the cat drops the gun, you know, everything.
• 42:56
  Speaker 9: And then we have that weird monologue by Karloff where
• 42:59
  Speaker 9: we're led through the house. And then, Next thing we know,
• 43:01
  Speaker 9: Lugosi's like, ah, well, you know, getting into bed. We
• 43:04
  Speaker 9: imagine Karloff picked up his gun and handed it back
• 43:07
  Speaker 9: to him, you know, or something.
• 43:08
  Speaker 1: And they're like, well, we'll deal with this again in
• 43:09
  Speaker 1: the morning. It's kind of a Wes Anderson quality.
• 43:16
  Speaker 8: Well, it seems like a sort of disagreement between gentlemen,
• 43:18
  Speaker 8: sort of rules of engagement, sort of like, at the
• 43:20
  Speaker 8: appropriate time, I will kill you. And then the cat
• 43:24
  Speaker 8: comes into play. It's like, well, the moment has passed.
• 43:27
  Speaker 8: I will bide my time.
• 43:28
  Speaker 9: We're over this bit of unpleasantness, and you know what?
• 43:31
  Speaker 9: We'll have tea in the morning, and we'll begin our rivalry.
• 43:34
  Speaker 5: I can't kill you because I'm breakfasting.
• 43:36
  Speaker 7: Okay, now it just became the Warner Brothers where they
• 43:41
  Speaker 7: clock in and clock out.
• 43:42
  Speaker 3: See you tomorrow.
• 43:43
  Speaker 5: See you tomorrow.
• 43:45
  Speaker 1: I'll finish beating the hell out of you tomorrow.
• 43:48
  Speaker 5: Yeah.
• 43:49
  Speaker 3: Yeah.
• 43:49
  Speaker 1: But that's, but that's one of those things that we don't,
• 43:51
  Speaker 1: I don't know. We don't see it so often in
• 43:53
  Speaker 1: movies anymore. I don't think we experience it.
• 43:55
  Speaker 9: Or I hope, I hope we don't so much in
• 43:57
  Speaker 9: our lives is, is that sense of living with that
• 44:01
  Speaker 9: multifaceted relationship with another person where you really love where, like,
• 44:05
  Speaker 9: cause like you said, you could tell that they're great
• 44:07
  Speaker 9: friends at some point.
• 44:08
  Speaker 1: Like at some point you, you can sense that they
• 44:10
  Speaker 1: were very close to one another.
• 44:12
  Speaker 9: And, they have these deep simmering hatreds, but somehow that
• 44:15
  Speaker 9: never really shatters their relationship.
• 44:17
  Speaker 1: It only seems to intensify it.
• 44:20
  Speaker 9: So watching those two like hang out together, you're like,
• 44:22
  Speaker 9: you know, like you can imagine like this is just
• 44:24
  Speaker 9: what they argue about whenever they're alone together, even though
• 44:27
  Speaker 9: they haven't been in the same room. It looks like
• 44:28
  Speaker 9: they've been doing this for decades.
• 44:30
  Speaker 6: You stole my wife when I was in prison. Oh,
• 44:33
  Speaker 6: that again.
• 44:34
  Speaker 3: Yeah.
• 44:34
  Speaker 4: You know, are we men or are we children? Of
• 44:40
  Speaker 4: what use are all these melodramatic gestures? You say your
• 44:46
  Speaker 4: soul was killed and that you have been dead all
• 44:50
  Speaker 4: these years. And what of me? Did we not both
• 44:57
  Speaker 4: die here in Marmaris 15 years ago? Are we any
• 45:00
  Speaker 4: the less victims of the war than those whose bodies
• 45:03
  Speaker 4: were torn asunder?
• 45:04
  Speaker 12: Are we not both the living dead?
• 45:08
  Speaker 11: And now you come to me playing at being an.
• 45:10
  Speaker 4: Avenging angel, childishly thirsting for my blood.
• 45:16
  Speaker 3: We understand each other too well.
• 45:18
  Speaker 11: We know too much of life.
• 45:21
  Speaker 3: We shall play a little game, Venus. A game of death,
• 45:24
  Speaker 3: if you like.
• 45:25
  Speaker 4: But under any circumstances, we shall have to wait until
• 45:28
  Speaker 4: these people are gone, until we are alone.
• 45:30
  Speaker 1: Well, that's what I wanted to go into.
• 45:33
  Speaker 8: I mean.
• 45:34
  Speaker 1: How much do we know on the backstory?
• 45:36
  Speaker 7: Are we to believe that both of them were prisoners
• 45:39
  Speaker 7: of war at some point.
• 45:40
  Speaker 1: And then one gets out?
• 45:42
  Speaker 7: Seemingly.
• 45:44
  Speaker 3: He sold out his friends. It's very hard to say.
• 45:47
  Speaker 3: You mentioned the tour of the house and that weird sequence.
• 45:50
  Speaker 3: It's almost like a dreamlike sequence. That initially, there was
• 45:53
  Speaker 3: no dialogue over that sequence. Yeah, I noticed it all
• 45:56
  Speaker 3: seemed very voiceover. It's all post-up. It's this odd sort
• 45:59
  Speaker 3: of walk. kind of explaining the function of that house
• 46:03
  Speaker 3: and what it was. And a great deal of the
• 46:08
  Speaker 3: movie was post-dubbed. There's that weird sequence where, you know,
• 46:13
  Speaker 3: Lugosi tells his servant to obey Karloff.
• 46:17
  Speaker 8: Why?
• 46:17
  Speaker 3: Why does this go on? It's like they're literally kind
• 46:19
  Speaker 3: of exchanging identities. And it was actually one of the
• 46:23
  Speaker 3: very first, I've loved this movie for so long, it's
• 46:26
  Speaker 3: one of the first VHS tapes I ever bought. back
• 46:29
  Speaker 3: in the 80s, was a double feature of this and
• 46:31
  Speaker 3: The Raven. And that print is different than the one
• 46:34
  Speaker 3: that's on DVD or currently circulating in that they did post-dubbing,
• 46:39
  Speaker 3: and sometimes it's the director's voice. It's actually Ulmer trying
• 46:42
  Speaker 3: to approximate their lisps and their accents.
• 46:46
  Speaker 1: He was just on hand.
• 46:46
  Speaker 3: But at some point, Lugosi's voice was coming out of
• 46:49
  Speaker 3: Karloff's mouth.
• 46:52
  Speaker 1: That happens.
• 46:52
  Speaker 3: And vice versa. It was very weird. These were long shots.
• 46:55
  Speaker 3: I remember winding this back and going, okay, who said
• 46:57
  Speaker 3: that and why? They almost exchange roles.
• 47:01
  Speaker 1: But it does have that weird.
• 47:03
  Speaker 9: The beginning is kind of clear-cut, and then the ending
• 47:07
  Speaker 9: is fairly clear, at least as far as what the
• 47:10
  Speaker 9: stakes are, what the conflict is. But there's that two-thirds
• 47:14
  Speaker 9: of the way in, yeah, I was lost. I didn't
• 47:18
  Speaker 9: know why suddenly the satanic mass was being brought into
• 47:22
  Speaker 9: things or why that was an issue as Karloff wanders
• 47:26
  Speaker 9: around in that really awesome... robe that he's got. It
• 47:30
  Speaker 9: looks like he should be working for Hugh Hefner's Gothic
• 47:33
  Speaker 9: division or something. By the way, do you know anything
• 47:37
  Speaker 9: about the soundtrack? Because I understand that this is one
• 47:40
  Speaker 9: of the first films that was actually soundtracked.
• 47:43
  Speaker 1: All the way through. There are bits that I noticed
• 47:45
  Speaker 1: from classical music.
• 47:47
  Speaker 3: Universal was of a habit of beating Swan Lake to death.
• 47:50
  Speaker 3: You got that a lot. You got that with Dracula
• 47:52
  Speaker 3: and the Mummy. And most of the time they would
• 47:54
  Speaker 3: literally only have music at the beginning of the picture
• 47:58
  Speaker 3: or at the end especially if you watch Dracula it's
• 48:00
  Speaker 3: very stage bound you've got Swan Lake at the beginning
• 48:02
  Speaker 3: and Swan Lake at the end and that's it there's
• 48:04
  Speaker 3: a little interval in the middle King Kong kind of
• 48:08
  Speaker 3: revolutionized that you know a couple years later by having
• 48:11
  Speaker 3: Steiner basically score the whole picture and you do have
• 48:13
  Speaker 3: a lot more music in Black Cat and it was
• 48:15
  Speaker 3: them kind of learning we need to do this especially
• 48:17
  Speaker 3: in a film like that you've got to add something
• 48:19
  Speaker 3: to the atmosphere but they were still using a lot
• 48:21
  Speaker 3: of stock music at that point but they learned how
• 48:24
  Speaker 3: to manipulate it better I think with Black Cat And
• 48:27
  Speaker 3: then the next year they did Bride of Frankenstein, and
• 48:29
  Speaker 3: that was another big, big score where they basically scored
• 48:31
  Speaker 3: the whole picture. They used it to cue moments, like
• 48:34
  Speaker 3: we're used to with film movies now, but back then
• 48:36
  Speaker 3: it was kind of a new art form.
• 48:39
  Speaker 9: Yeah, I could tell there were moments in Black Cat,
• 48:41
  Speaker 9: and I sense this a lot in films of that period, too,
• 48:43
  Speaker 9: in the sense of someone left the stereo on in
• 48:46
  Speaker 9: the background, and it's like reaching some crescendo in some
• 48:49
  Speaker 9: odd moment, and you're just like, And sometimes it overplays
• 48:52
  Speaker 9: sequences like when Karloff.
• 48:54
  Speaker 1: Comes into the room expecting to wake up Lugosi. Another
• 48:59
  Speaker 1: bland sequence. He expects to wake up Lugosi and then
• 49:02
  Speaker 1: Manners turns over.
• 49:03
  Speaker 4: What?
• 49:04
  Speaker 1: He's like, I've got you now.
• 49:05
  Speaker 3: Oh, it's you. I'm sorry.
• 49:08
  Speaker 1: Lugosi shows up at the door. He's like, oh, no,
• 49:10
  Speaker 1: I'm in this room. He's like, oh, okay. And he's like,
• 49:12
  Speaker 1: we'll be in here. He shuts the door.
• 49:15
  Speaker 5: See, they almost could have been a laugh track there.
• 49:17
  Speaker 5: It was awesome.
• 49:21
  Speaker 10: It was.
• 49:21
  Speaker 9: And then Manders is just like, oh, man, I can't
• 49:23
  Speaker 9: wait to get some sleep, you know.
• 49:26
  Speaker 3: Dismisses it, yeah.
• 49:30
  Speaker 5: I thought if I'm in a strange country. in a
• 49:33
  Speaker 5: strange home and two strange men are my hosts, I
• 49:37
  Speaker 5: am not going to sleep down the hallway from my wife.
• 49:39
  Speaker 3: Oh, no.
• 49:40
  Speaker 5: Yeah, I didn't understand that at all.
• 49:42
  Speaker 6: What was that about?
• 49:44
  Speaker 5: And her bedroom was adjoining on the opposite side.
• 49:47
  Speaker 1: His, which is even worse.
• 49:49
  Speaker 5: You're letting her sleep between these two men?
• 49:52
  Speaker 7: I thought it would have been weird had they not
• 49:54
  Speaker 7: been married. It would have made sense if they weren't married. Okay,
• 49:58
  Speaker 7: obviously she's got to have a separate room from them,
• 50:00
  Speaker 7: but the fact that they were married, I was like,
• 50:02
  Speaker 7: that really, like, well, that's weird.
• 50:05
  Speaker 6: Honey.
• 50:06
  Speaker 7: Yeah.
• 50:06
  Speaker 10: I think, I think it.
• 50:07
  Speaker 5: Was more that they were trying to let her recover
• 50:10
  Speaker 5: and not, you know, excited.
• 50:11
  Speaker 3: That was the cover story.
• 50:13
  Speaker 1: Not have him elbowing her in the head.
• 50:15
  Speaker 7: I'm sorry.
• 50:16
  Speaker 5: I was trying to go more for that.
• 50:18
  Speaker 3: But it's David manners. He does what he's told. He's
• 50:21
  Speaker 3: a milk. He's mannered.
• 50:23
  Speaker 7: Um, But what was funny in that same scene was then, okay,
• 50:26
  Speaker 7: so she's recovering, the door's closed, but he's like, hey,
• 50:28
  Speaker 7: mind if I leave this door open? Like, wait, who's
• 50:31
  Speaker 7: this weird old Hungarian guy that's leaving the door open
• 50:34
  Speaker 7: between our bedrooms?
• 50:35
  Speaker 9: No, no, better yet, better yet, that's what Manners says,
• 50:38
  Speaker 9: is like, man, you know, I'm in a strange house,
• 50:40
  Speaker 9: it'd be much better for me if I'm not just
• 50:42
  Speaker 9: sleeping alone here, you know, to leave the door open.
• 50:44
  Speaker 7: And it's kind of chilly. Bella, would you come cuddle me?
• 50:46
  Speaker 3: Come on. Yeah. But.
• 50:50
  Speaker 9: but it's, it's one of those things that doesn't really
• 50:52
  Speaker 9: make a whole lot of narrative sense, but at the
• 50:53
  Speaker 9: same time it kind of fits, you know, it's like,
• 50:55
  Speaker 9: he's in this.
• 50:56
  Speaker 1: House with this strange guy.
• 50:57
  Speaker 9: And of course he starts like, like he allows, he
• 51:01
  Speaker 9: allows him to separate them. And, you know, like they
• 51:04
  Speaker 9: kind of fall into his, he falls into the, they
• 51:07
  Speaker 9: fall into the places that he's prepared for them.
• 51:09
  Speaker 13: Almost, you know?
• 51:11
  Speaker 9: Um, so it's, it doesn't make a whole lot of
• 51:14
  Speaker 9: narrative sense, but it still kind of fits that when
• 51:16
  Speaker 9: they're in this guy's place, they do what he says,
• 51:19
  Speaker 9: you know, or he has some kind of weird power
• 51:20
  Speaker 9: over them. And because everyone has that politeness, you know,
• 51:24
  Speaker 9: they just kind of accept it.
• 51:25
  Speaker 1: Well, it's your house.
• 51:26
  Speaker 9: Like I'll sleep down the hallway or whatever. No questions
• 51:29
  Speaker 9: asked later on when you can't produce a car or
• 51:33
  Speaker 9: telephone or anything like that.
• 51:34
  Speaker 1: Then suddenly I get alarmed and want to leave, but
• 51:37
  Speaker 1: I'll send for my stuff later.
• 51:40
  Speaker 5: The house, um, And, you know, he's supposed to be
• 51:44
  Speaker 5: an architect. But at the same time, the house almost
• 51:47
  Speaker 5: seems like it was still 20 or 30 years ahead
• 51:51
  Speaker 5: of its time for the modern, you know, that 60s
• 51:56
  Speaker 5: modern look.
• 51:57
  Speaker 3: It looks very mid-century.
• 51:58
  Speaker 10: Yeah.
• 51:59
  Speaker 5: And so somebody had a good eye on having an avant-garde,
• 52:05
  Speaker 5: I think, architect for the time because I was like, wait,
• 52:08
  Speaker 5: when was this recorded? I mean, I was.
• 52:11
  Speaker 6: See, it's the house porn, too, is making me think
• 52:14
  Speaker 6: Wes Anderson.
• 52:15
  Speaker 5: House porn.
• 52:16
  Speaker 1: Yeah.
• 52:17
  Speaker 5: All these adjoining rooms.
• 52:19
  Speaker 3: Yeah. It was odd.
• 52:21
  Speaker 5: And it was built on top of a fort. I
• 52:24
  Speaker 5: don't know. I wanted to see it in the daylight
• 52:28
  Speaker 5: and take a tour of it. That was probably the
• 52:31
  Speaker 5: most interesting part of the.
• 52:32
  Speaker 3: Movie to me. Yeah, in L.A., there's a house... Up
• 52:37
  Speaker 3: in the hills on Glendower, I think it's the Ennis
• 52:39
  Speaker 3: Brown House. They always called it the Black Cat House.
• 52:42
  Speaker 3: It is not where they shot this film, but apparently
• 52:45
  Speaker 3: it's where they took their inspiration. That film did turn
• 52:47
  Speaker 3: up in a lot of movies. It's in Blade Runner.
• 52:49
  Speaker 3: It's Deckard's apartment. It's in a house on Onnit Hill.
• 52:51
  Speaker 3: The exteriors are shot. It's a very cubist, Frank Lloyd
• 52:55
  Speaker 3: Wright kind of design. Everyone always said that's where they
• 52:58
  Speaker 3: took their inspiration. They always called it the Black Cat House.
• 53:00
  Speaker 3: It's a cool place. Yeah, they were kind of going
• 53:03
  Speaker 3: for that Bauhaus 30s sleek look, and they accomplished it
• 53:07
  Speaker 3: really well with the set and with the way Karloff looks.
• 53:09
  Speaker 5: He looks very deco.
• 53:10
  Speaker 3: He's got that great haircut and the great clothes. That's fantastic.
• 53:14
  Speaker 3: Really strange for a film of that time.
• 53:16
  Speaker 6: I just want to be sure I'm the first one
• 53:18
  Speaker 6: to say this line. Supernatural perhaps. No, what is it? Bologna,
• 53:28
  Speaker 6: perhaps not.
• 53:29
  Speaker 8: Just making him say bologna was my favorite part of
• 53:32
  Speaker 8: the whole movie.
• 53:32
  Speaker 3: I'm waiting for it.
• 53:32
  Speaker 6: There was a long pause, and I'm like, he's going
• 53:35
  Speaker 6: to say bologna, perhaps not. He gives you time to
• 53:40
  Speaker 6: know where he's going.
• 53:41
  Speaker 3: I always wanted to do a wacky packages type of advertising.
• 53:44
  Speaker 3: It's Bela Lugosi's Supernatural Bologna. Supernatural Bologna.
• 53:47
  Speaker 7: Get some now.
• 53:49
  Speaker 6: Sounds like a lot of supernatural bologna.
• 53:52
  Speaker 1: He works that line.
• 53:53
  Speaker 5: He chews up more than the scenery, doesn't he?
• 53:55
  Speaker 7: Perhaps.
• 53:57
  Speaker 3: Baloney.
• 53:58
  Speaker 6: Perhaps not.
• 53:59
  Speaker 3: God, what a line.
• 54:01
  Speaker 7: Um, I'm going to go to the paranormal convention and
• 54:03
  Speaker 7: set up a table.
• 54:04
  Speaker 5: That just points the finger at everyone else around me.
• 54:09
  Speaker 1: You're a supernatural baloney and you're just, yeah, I will
• 54:13
  Speaker 1: be hated at all.
• 54:14
  Speaker 5: No, we need to sell supernatural baloney.
• 54:17
  Speaker 1: That's the Oscars tie in. There we go.
• 54:21
  Speaker 3: Definitely.
• 54:21
  Speaker 1: Bring it back.
• 54:23
  Speaker 9: Speaking of lines from the movie, uh, Manners, I think,
• 54:26
  Speaker 9: has one great line from this film. It's actually when
• 54:29
  Speaker 9: he's describing the house. He says something about it being like, well,
• 54:32
  Speaker 9: if I ever need a reserved insane asylum building or
• 54:38
  Speaker 9: something to live in, then I'll call this guy. It's
• 54:42
  Speaker 9: like his one witty moment in the film.
• 54:45
  Speaker 5: What is the drug that he supposedly gives to her?
• 54:49
  Speaker 1: A very strong narcotic. She'll be out with it.
• 54:54
  Speaker 5: She was wacky. She wasn't quite right. I wondered if
• 54:57
  Speaker 5: he hadn't been slipped something in his drink as well
• 55:01
  Speaker 5: because he wasn't acting.
• 55:03
  Speaker 3: He was kind of grumpy.
• 55:04
  Speaker 6: Actually, I was acting pretty strangely.
• 55:08
  Speaker 1: The film is the drug.
• 55:10
  Speaker 3: It's the whole scene where the cat enters the picture
• 55:14
  Speaker 3: and then when the cat's killed, They insinuate the spirit
• 55:17
  Speaker 3: of the cat has entered her. She's picked up on this.
• 55:20
  Speaker 3: You see that look in her eyes. She looks very sultry.
• 55:22
  Speaker 3: She changes. It's that moment where you see Carlos gripping
• 55:26
  Speaker 3: that statue. Some neat stuff going on. You're not sure
• 55:28
  Speaker 3: what it is. It's a lot more than what's going
• 55:31
  Speaker 3: on in the other movies from the 30s and Universal.
• 55:35
  Speaker 9: More of that more of that great gothic filmmaking that
• 55:37
  Speaker 9: they that they kind of brought back with hammer pictures
• 55:40
  Speaker 9: and stuff that you know i love that scene where
• 55:42
  Speaker 9: he grips the statue it's like the what is it
• 55:44
  Speaker 9: a woman arching her back or something and he and
• 55:47
  Speaker 9: and you see like uh deep focus like his hand
• 55:50
  Speaker 9: gripping it with her like in the background writhing and
• 55:53
  Speaker 9: it's like man.
• 55:54
  Speaker 1: That's awesome why don't we make shots like that anymore
• 55:56
  Speaker 1: it's just.
• 55:57
  Speaker 7: Fantastic i was doing the math Because they kept talking
• 56:02
  Speaker 7: about being in the war, and I'm like, wait, how
• 56:04
  Speaker 7: old were you.
• 56:04
  Speaker 3: Guys in the war?
• 56:06
  Speaker 1: Yeah, they were 12.
• 56:07
  Speaker 7: Then I, well, no, it depends. If we're just going back, like,
• 56:11
  Speaker 7: did he just get out? Like, if we're just going
• 56:13
  Speaker 7: back 15 years, they were, like, in their late 30s.
• 56:17
  Speaker 3: Like, how long?
• 56:19
  Speaker 1: Yeah, they were actually.
• 56:21
  Speaker 3: Probably both in their 40s by that time, the actors.
• 56:24
  Speaker 3: I think, yeah, I can't remember how old.
• 56:26
  Speaker 5: I think he said it was 18 years, because he
• 56:28
  Speaker 5: was traveling the world for three years.
• 56:30
  Speaker 10: Trying to find them.
• 56:31
  Speaker 7: Either way, they were, but again, I was like, well,
• 56:33
  Speaker 7: that's actually not that far from the truth because like
• 56:36
  Speaker 7: wars back then you were, you did have 40 year
• 56:39
  Speaker 7: old guys fighting them. It wasn't till like Vietnam that
• 56:41
  Speaker 7: we started drafting children to go fight the wars, but
• 56:44
  Speaker 7: you used to actually have like, you know.
• 56:46
  Speaker 1: Grown men in the war.
• 56:48
  Speaker 10: Yeah.
• 56:48
  Speaker 3: Career soldiers. Yeah.
• 56:50
  Speaker 7: So it's probably not too far off, but it was,
• 56:53
  Speaker 7: I think both of them just look a little older
• 56:55
  Speaker 7: than they even were at that point.
• 56:56
  Speaker 1: So it was just like, how long ago was this war?
• 56:58
  Speaker 1: Especially since I think Lugosi, didn't Lugosi serve in the military?
• 57:02
  Speaker 3: Wasn't he?
• 57:02
  Speaker 10: Yeah.
• 57:03
  Speaker 9: Yeah, he was in the Austro-Hungarian military, so that's actually
• 57:08
  Speaker 9: kind of perfect for him.
• 57:10
  Speaker 3: Yeah, he got entangled with politics, and then that's one
• 57:13
  Speaker 3: of the reasons he left Hungary at the time, was
• 57:16
  Speaker 3: to get out from under.
• 57:17
  Speaker 5: He was probably the only soldier to never get his
• 57:20
  Speaker 5: uniform dirty, because he doesn't seem like the kind that
• 57:23
  Speaker 5: ever got dirty with anything. Everything's always well-pressed, and he
• 57:30
  Speaker 5: knew how to look.
• 57:31
  Speaker 3: He was really masterful at the physical things. aspects of acting,
• 57:35
  Speaker 3: his hands and everything.
• 57:36
  Speaker 1: I can see him using that. You don't want to
• 57:38
  Speaker 1: shoot me.
• 57:39
  Speaker 5: All right, you got a point there.
• 57:43
  Speaker 9: But that's mirrored, though, by Karloff's impeccable taste. Again, just
• 57:48
  Speaker 9: that outfit that he wears, just fantastic. It looks like
• 57:52
  Speaker 9: he's wearing a fully black jumpsuit.
• 57:54
  Speaker 6: Is it just me, or are they both really odd-looking
• 57:58
  Speaker 6: guys to be like matinee actors?
• 58:01
  Speaker 3: They are.
• 58:02
  Speaker 1: Karloff's face is, like, amazing, though.
• 58:04
  Speaker 6: Like, I kept watching it going, like, it's so, like,
• 58:06
  Speaker 6: they're both so, like, specific and identifiable.
• 58:10
  Speaker 7: But, yeah, Karloff, like, the more I watch it, like,
• 58:12
  Speaker 7: seeing him outside of the Frankenstein makeup is just, it's
• 58:15
  Speaker 7: funny how much it's.
• 58:16
  Speaker 1: Still, like, he's just.
• 58:16
  Speaker 3: Well, it really was the first chance he had to
• 58:18
  Speaker 3: do a role outside of his makeup. I think in 32,
• 58:23
  Speaker 3: he did Old Dark House, where he was just a
• 58:25
  Speaker 3: scary butler.
• 58:26
  Speaker 10: Mm-hmm.
• 58:27
  Speaker 3: And grunted, never spoke. And then he did The Mummy.
• 58:33
  Speaker 3: In heavy makeup, both of those roles. So by 34,
• 58:35
  Speaker 3: it was a chance for him to actually do a
• 58:37
  Speaker 3: lot of line readings and being a star. And that's
• 58:40
  Speaker 3: when they were billing him only by his last name.
• 58:41
  Speaker 3: He was such a big star. He was just Karloff.
• 58:44
  Speaker 3: And it was kind of a breakout for him. It's
• 58:47
  Speaker 3: what Lugosi always wanted. So it was kind of like
• 58:49
  Speaker 3: they were throwing a bone to Lugosi because he agreed
• 58:51
  Speaker 3: to be in the picture. So they They beefed up
• 58:53
  Speaker 3: his role as Vertigast as well when they realized he
• 58:56
  Speaker 3: was going to agree to this. But he was very
• 58:58
  Speaker 3: standoffish after Dracula. I mean, they didn't want to hire
• 59:01
  Speaker 3: him for Dracula, even though he made that role famous
• 59:04
  Speaker 3: on Broadway. He was not on their list for the
• 59:06
  Speaker 3: longest of times because he really did not speak English.
• 59:10
  Speaker 3: He learned to speak the language watching like cowboy movies.
• 59:13
  Speaker 3: He'd go to the movies and phonetically learn how to
• 59:16
  Speaker 3: do roles. And they considered a lot of other guys
• 59:19
  Speaker 3: like Conrad Veidt and other people to do Dracula, but
• 59:23
  Speaker 3: then eventually hired him and they had a huge hit.
• 59:25
  Speaker 3: So they had a star, but they had a temperamental star.
• 59:30
  Speaker 3: There's a lot of talk. This is a pretty fun
• 59:31
  Speaker 3: book about their collaborative career.
• 59:34
  Speaker 1: What is that book you have?
• 59:35
  Speaker 3: It's called Karloff and Legosi, The Story of a Haunting
• 59:37
  Speaker 3: Collaborations by Greg Mank. It's a really good book about
• 59:40
  Speaker 3: all the films they did with each other. He's got
• 59:43
  Speaker 3: a nice chapter on Black Cat, and they're constantly talking
• 59:46
  Speaker 3: about how Bella mangled English on the set. He'd be
• 59:49
  Speaker 3: trying to do lines, and they'd just keep blowing them,
• 59:53
  Speaker 3: and eventually they'd just settle for what they got. Most
• 59:56
  Speaker 3: of the time it worked.
• 59:57
  Speaker 5: Yeah, I tried to turn on the closed captioning at
• 1:00:00
  Speaker 5: one point because I was having trouble figuring out what.
• 1:00:03
  Speaker 3: Was going on.
• 1:00:03
  Speaker 1: You know what to speak Hungarian?
• 1:00:04
  Speaker 3: Yeah, he gets in a hurry there at one point. What?
• 1:00:08
  Speaker 9: Yeah, but baloney, he takes his time. He knew that
• 1:00:13
  Speaker 9: was a key line right there.
• 1:00:16
  Speaker 1: I always take your time with baloney.
• 1:00:18
  Speaker 9: But, I don't know, it's... It works to his advantage
• 1:00:20
  Speaker 9: a little bit in some of his roles. I remember
• 1:00:22
  Speaker 9: Ebert said, I think, about Dracula that when he's speaking
• 1:00:26
  Speaker 9: in English, it's almost like he's kind of amused by
• 1:00:30
  Speaker 9: the way these people talk to each other.
• 1:00:31
  Speaker 1: Like, oh, good evening. Like, that's what you say now.
• 1:00:35
  Speaker 1: That's cute.
• 1:00:38
  Speaker 9: Like he really is just so kind of amused by
• 1:00:42
  Speaker 9: these human fashions of the way they talk to each
• 1:00:47
  Speaker 9: other now.
• 1:00:47
  Speaker 3: Like people.
• 1:00:49
  Speaker 9: Um, and, but no, uh, Bela Lugosi is a, he's
• 1:00:53
  Speaker 9: an interesting character. I wish I, I wish I knew
• 1:00:55
  Speaker 9: more about him a little bit, but haunting collaboration.
• 1:00:58
  Speaker 3: Good book. Yeah. Yeah. It was at one point talk
• 1:01:01
  Speaker 3: about doing an actual movie based on this was about
• 1:01:04
  Speaker 3: their rivalry, but never quite got off the ground because
• 1:01:06
  Speaker 3: you've got all the families involved.
• 1:01:09
  Speaker 12: Right.
• 1:01:09
  Speaker 3: And the legacies of the actors. I know most of
• 1:01:12
  Speaker 3: those people.
• 1:01:12
  Speaker 1: I was going to say, Lugosi's kid is a lawyer.
• 1:01:14
  Speaker 3: He's a lawyer.
• 1:01:15
  Speaker 1: He's like the lawyer in Hollywood.
• 1:01:17
  Speaker 3: He actually worked. He sued Aurora Models back in the
• 1:01:21
  Speaker 3: 60s when they first did the Dracula model because they
• 1:01:23
  Speaker 3: didn't ask for permission.
• 1:01:24
  Speaker 11: Right. Nice.
• 1:01:25
  Speaker 3: And it took him like 25 years, but he finally won.
• 1:01:29
  Speaker 3: He's worked with the Three Stooges families and all those
• 1:01:31
  Speaker 3: folks just to try to get proper licensing done. He's
• 1:01:34
  Speaker 3: a pretty nice guy. He looks just like his dad.
• 1:01:37
  Speaker 1: Yeah, I've seen a picture of him.
• 1:01:37
  Speaker 3: It's eerie.
• 1:01:38
  Speaker 1: It's eerie to.
• 1:01:39
  Speaker 3: Be in the room with him. If anything, he's like
• 1:01:41
  Speaker 3: taller and better looking. And it's just like weird to
• 1:01:44
  Speaker 3: walk into a room with Bella Jr. Wow. In a
• 1:01:47
  Speaker 3: dimly lit room especially. It's like, whoa. And he's overall
• 1:01:51
  Speaker 3: a nice guy. Sarah's a wonderful woman, Karloff's daughter. And
• 1:01:55
  Speaker 3: Ron Chaney is a nice guy. Lon Chaney. Lon Chaney's grandson.
• 1:02:02
  Speaker 3: Lon Chaney Sr. 's great-grandson. He looks a lot like
• 1:02:05
  Speaker 3: his great-grandfather. But they're all actually pretty nice people. But Universal,
• 1:02:08
  Speaker 3: being a studio, doesn't want to share with anybody. So
• 1:02:11
  Speaker 3: it's the way things work.
• 1:02:13
  Speaker 6: What about the ending? What about that hokey, corny wrap-up
• 1:02:18
  Speaker 6: at the end? Because he was a mystery writer.
• 1:02:20
  Speaker 1: And he's reading a review.
• 1:02:23
  Speaker 5: I kind of liked it.
• 1:02:24
  Speaker 1: I did.
• 1:02:29
  Speaker 5: It didn't matter because it needed something. I don't know.
• 1:02:32
  Speaker 3: It needed something. Prior to that, so strangely, with Karloff
• 1:02:36
  Speaker 3: being skinned alive.
• 1:02:37
  Speaker 5: Yeah.
• 1:02:40
  Speaker 3: The shooting.
• 1:02:41
  Speaker 9: Weirdly enough, that seems like a more appropriate ending, though,
• 1:02:44
  Speaker 9: is where does this all end? Well, it ends with
• 1:02:45
  Speaker 9: Karloff being skinned alive by Bela Lugosi and then getting
• 1:02:50
  Speaker 9: shot Spoiler. And then the two of them look horrified
• 1:02:56
  Speaker 9: for a moment and then run out.
• 1:02:58
  Speaker 3: That's how most of those movies ended back then. They
• 1:03:00
  Speaker 3: ran off. In The Bride of Frankenstein, they run off
• 1:03:03
  Speaker 3: and watch the castle collapse. Movies kind of end suddenly
• 1:03:05
  Speaker 3: in the 30s. The tag at the end is a
• 1:03:08
  Speaker 3: little more modern.
• 1:03:09
  Speaker 7: It feels like a studio going, come on, we need
• 1:03:12
  Speaker 7: something to make people happy.
• 1:03:15
  Speaker 1: We won't get moved whiplash out of this at all.
• 1:03:17
  Speaker 6: It has that quality like old Reader's Digest jokes.
• 1:03:23
  Speaker 8: It always felt like the couple was in a different
• 1:03:25
  Speaker 8: movie anyway. I mean, it started, it sort of booked
• 1:03:27
  Speaker 8: into the movie, and then in the middle of the
• 1:03:30
  Speaker 8: musical cues, whenever there was the two of them in
• 1:03:32
  Speaker 8: a scene together, it was this very sort of romantic,
• 1:03:36
  Speaker 8: sort of lighter. Even if the situation didn't call for
• 1:03:38
  Speaker 8: it at all, it was like, this is their soundtrack.
• 1:03:41
  Speaker 7: They were kind of odd together anyway. I know you're
• 1:03:45
  Speaker 7: newlyweds and all, but calm down.
• 1:03:47
  Speaker 6: Why did they both deny being hungry and then suddenly
• 1:03:50
  Speaker 6: laugh and admit they were both starving?
• 1:03:52
  Speaker 5: Because they were hungry.
• 1:03:54
  Speaker 1: There's so many strange.
• 1:03:57
  Speaker 1: My favorite weird series.
• 1:03:59
  Speaker 6: Speaking of Reader's Digest jokes.
• 1:04:02
  Speaker 1: That's what I'm good for.
• 1:04:04
  Speaker 3: I'm sorry.
• 1:04:05
  Speaker 1: No, no, it's fine.
• 1:04:07
  Speaker 9: There were a lot of strange lines, like that moment
• 1:04:11
  Speaker 9: when the bag nearly falls and Bella and Manners jump
• 1:04:16
  Speaker 9: up to prevent it from falling. And they're like, oh,
• 1:04:20
  Speaker 9: I'm so sorry that you got frightened. And then Lugosi says,
• 1:04:23
  Speaker 9: charmingly enough, it's better to be frightened than crushed. And
• 1:04:28
  Speaker 9: everyone's like, ah, it's like, what was funny about that?
• 1:04:31
  Speaker 9: Like it was a very odd and heavy line.
• 1:04:34
  Speaker 1: And then, and you're right.
• 1:04:36
  Speaker 9: Like they did feel like they were in a different
• 1:04:38
  Speaker 9: film almost. And towards the middle of the film, it
• 1:04:40
  Speaker 9: felt kind of pathological almost like, like Karloff and Bella
• 1:04:43
  Speaker 9: were playing their chess game and they were like, okay,
• 1:04:45
  Speaker 9: we're going to leave now.
• 1:04:46
  Speaker 1: And he's like, great.
• 1:04:47
  Speaker 9: I'm going back to my game. All right, okay, we'll
• 1:04:49
  Speaker 9: send you a car. I'm going back to my game now.
• 1:04:52
  Speaker 9: I'm playing my chess game.
• 1:04:54
  Speaker 1: Go away. I'm in my movie right now. You guys
• 1:04:58
  Speaker 1: need to go back to your set.
• 1:05:00
  Speaker 3: And he asks him, did you get the hotel on
• 1:05:02
  Speaker 3: the phone? He's like, the phone is dead. Did you
• 1:05:05
  Speaker 3: hear that? Even the phone is dead. It's just like,
• 1:05:08
  Speaker 3: he's just there. He's being pushed around by everyone else. Yeah, yeah.
• 1:05:13
  Speaker 3: You've got that, and then you've got the weird comic
• 1:05:16
  Speaker 3: interlude with the locals and the cops, which is the
• 1:05:18
  Speaker 3: only thing that kind of drags them into a screeching
• 1:05:20
  Speaker 3: halt as you have to deal with the cops.
• 1:05:22
  Speaker 5: They're the gravediggers of the movie, aren't they? Like, okay,
• 1:05:25
  Speaker 5: all this heavy stuff's going on. Let's talk to these
• 1:05:28
  Speaker 5: guys for a minute. Let's have a fight about hometown. Yeah,
• 1:05:30
  Speaker 5: the two guys who come in with their.
• 1:05:32
  Speaker 1: Guards waiting at the door. I wonder in these films,
• 1:05:36
  Speaker 1: what were police like back in those days in Europe
• 1:05:39
  Speaker 1: when two police officers show up, And they come in
• 1:05:42
  Speaker 1: with a couple of soldiers bearing rifles over their shoulder
• 1:05:46
  Speaker 1: and what sounds like a Jeep or something like that outside.
• 1:05:50
  Speaker 1: But as it turns out, they rode bicycles?
• 1:05:52
  Speaker 3: Yeah.
• 1:05:53
  Speaker 5: And women can't ride bicycles.
• 1:05:55
  Speaker 1: She was injured if nothing else.
• 1:05:57
  Speaker 3: Awkward. It would be awkward.
• 1:05:58
  Speaker 5: Yeah, it wasn't that she couldn't make it. It was
• 1:06:00
  Speaker 5: that it would be awkward.
• 1:06:01
  Speaker 1: And we don't want to make things awkward for the
• 1:06:02
  Speaker 1: lady folk.
• 1:06:03
  Speaker 10: Right.
• 1:06:06
  Speaker 1: So we'll just leave her here with all you creepy-looking dudes.
• 1:06:09
  Speaker 7: And adjoining doors.
• 1:06:10
  Speaker 5: About the ending, though, if he were that sort of writer,
• 1:06:13
  Speaker 5: he should have been expecting some of that that was
• 1:06:17
  Speaker 5: going on, or at least more aware of what was
• 1:06:19
  Speaker 5: going on.
• 1:06:21
  Speaker 1: He's not real aware of anything, it seems.
• 1:06:24
  Speaker 5: He doesn't have the ability to be that sort of writer.
• 1:06:27
  Speaker 6: They're a curiously oblivious Brad and Janet family.
• 1:06:32
  Speaker 7: It's funny the way you were talking about earlier when
• 1:06:35
  Speaker 7: he like takes them to their separate rooms I was
• 1:06:38
  Speaker 7: like it's almost like O'Brien was sitting there taking notes
• 1:06:41
  Speaker 7: and then they go to it does kind of feel
• 1:06:43
  Speaker 7: like later like this is what he was watching what
• 1:06:46
  Speaker 7: he was doing parts of the yeah which is true
• 1:06:48
  Speaker 7: of just about every old horror and sci-fi movie he
• 1:06:51
  Speaker 7: was just piecing them all together but yeah it definitely
• 1:06:53
  Speaker 7: has that vibe going on.
• 1:06:55
  Speaker 4: Too please child listen to me we are all in
• 1:06:59
  Speaker 4: danger Percy is a mad beast, I know.
• 1:07:02
  Speaker 12: I know.
• 1:07:05
  Speaker 4: I've seen the proof. He took Karen, my wife, murdered her,
• 1:07:11
  Speaker 4: and murdered my child.
• 1:07:13
  Speaker 10: And you let him live?
• 1:07:16
  Speaker 4: I wait my time.
• 1:07:18
  Speaker 3: It shall be soon. Very soon.
• 1:07:22
  Speaker 4: Until then, I must do his bidding. That is why
• 1:07:27
  Speaker 4: my servant obeys him.
• 1:07:29
  Speaker 7: Okay, we've gotten most of the main guys.
• 1:07:32
  Speaker 1: Can we talk about the two creepy servants?
• 1:07:34
  Speaker 7: Were they not? Like, could you get two more creepy
• 1:07:37
  Speaker 7: and opposite ends of the spectrum guys?
• 1:07:40
  Speaker 5: They're so weird.
• 1:07:41
  Speaker 1: Physically really weird.
• 1:07:42
  Speaker 9: Okay, I need someone to explain something to me. Okay,
• 1:07:45
  Speaker 9: there's the scene. I think the servant pulls the knife
• 1:07:50
  Speaker 9: on Bela Lugosi. And then Bela Lugosi walks up to
• 1:07:53
  Speaker 9: him and takes the knife away or something?
• 1:07:57
  Speaker 3: He's Bela Lugosi.
• 1:07:58
  Speaker 9: And is that also the scene where Bela Lugosi is like,
• 1:08:00
  Speaker 9: you obey Karloff now. Or sorry, you obey whatever that
• 1:08:04
  Speaker 9: guy's name was.
• 1:08:06
  Speaker 1: It is the strangest scene in the world.
• 1:08:11
  Speaker 9: He walks up to the servant, takes the knife away,
• 1:08:13
  Speaker 9: and then tells him, you're not doing what I say anymore.
• 1:08:16
  Speaker 9: You're doing what this other guy says, even though you
• 1:08:18
  Speaker 9: just pulled a knife on me and.
• 1:08:21
  Speaker 5: I think he was pulling the knife because he was
• 1:08:23
  Speaker 5: going to go take care of Karloff for him right then.
• 1:08:26
  Speaker 10: Okay.
• 1:08:27
  Speaker 5: And he said, no, not yet.
• 1:08:28
  Speaker 9: Even though it was pointed at Fela Lugosi's face and
• 1:08:31
  Speaker 9: like the dramatic music was swelling in that moment.
• 1:08:34
  Speaker 5: Because the two roles are ambiguous at that point. Like
• 1:08:36
  Speaker 5: Dave was saying, it's like, I don't even know who
• 1:08:38
  Speaker 5: I'm supposed to kill anymore.
• 1:08:40
  Speaker 3: I'll kill whoever you tell me to. You, him, you know, whatever.
• 1:08:43
  Speaker 3: But I think the intention was he was going to
• 1:08:44
  Speaker 3: go kill Karloff at that moment. That went over my head.
• 1:08:47
  Speaker 3: But it's like, you know, bide our time. It's like,
• 1:08:52
  Speaker 3: It's got 20 more minutes.
• 1:08:53
  Speaker 5: Yeah, no, because we've got a little more movement. It
• 1:08:55
  Speaker 5: did have that quality to it. Like, let's wait a
• 1:08:58
  Speaker 5: while before we wrap this up.
• 1:09:00
  Speaker 19: This up we gotta get the feature length we've got
• 1:09:02
  Speaker 19: these we've got these americans to talk to let's let's
• 1:09:05
  Speaker 19: compliment each other to them for a while uh oh
• 1:09:07
  Speaker 19: who's he oh he's one of the greatest architects in
• 1:09:09
  Speaker 19: in austria who is he well he's one.
• 1:09:11
  Speaker 9: Of the greatest psychologists you know and it's like it's
• 1:09:14
  Speaker 9: like wow, for mortal enemies, you sure do talk each
• 1:09:17
  Speaker 9: other up a lot.
• 1:09:18
  Speaker 7: That's what I was thinking. They really are pleased with
• 1:09:20
  Speaker 7: each other for people that want to kill each other.
• 1:09:22
  Speaker 5: Was this the Aleister Crowley era also?
• 1:09:26
  Speaker 3: Just post-Crowley, so there are a lot of people who
• 1:09:29
  Speaker 3: claim that's who Hallmark Posick was supposed to be.
• 1:09:32
  Speaker 5: Yeah, it just kind of had that feel.
• 1:09:35
  Speaker 3: That had been maybe 10 years previous.
• 1:09:38
  Speaker 9: It's got a lot in common, though, with a lot
• 1:09:40
  Speaker 9: of occult stories that are being written in that era.
• 1:09:42
  Speaker 1: Like, I'm a big reader of Robert E.
• 1:09:44
  Speaker 9: Howard, and his horror stories have a lot of the
• 1:09:47
  Speaker 9: same vibe, like two academics who really like each other
• 1:09:50
  Speaker 9: and have a lot of buried, you know, buried vitriol
• 1:09:53
  Speaker 9: against each other, sort of like. dealing with their stuff
• 1:09:57
  Speaker 9: via all these occult and supernatural agents.
• 1:10:00
  Speaker 3: That was a heavy theme in all the pulp magazines
• 1:10:02
  Speaker 3: back then with Lovecraft and Howard and all those guys.
• 1:10:05
  Speaker 3: So it was very much a part of pop culture
• 1:10:07
  Speaker 3: that isn't there now.
• 1:10:09
  Speaker 9: Which is amazing because it's so bleak and heavy-handed for
• 1:10:13
  Speaker 9: such a prevalent pop cultural phenomenon at the time to
• 1:10:16
  Speaker 9: have a blockbuster movie. And even other movies like The Ghoul,
• 1:10:22
  Speaker 9: I think, with Karloff.
• 1:10:23
  Speaker 1: Which had a similar... tone to it.
• 1:10:26
  Speaker 3: It's a neat movie.
• 1:10:27
  Speaker 1: I was trying to.
• 1:10:29
  Speaker 3: Remember what else he was doing. I think he did
• 1:10:30
  Speaker 3: that in 32 or 33. He went to Europe to
• 1:10:33
  Speaker 3: make the ghoul. That was an English picture. Yes, it was.
• 1:10:36
  Speaker 1: And he had that weird eyebrow makeup on. Seriously, his
• 1:10:40
  Speaker 1: eyebrows were on fire throughout that film.
• 1:10:43
  Speaker 9: But yeah, all this stuff about academics and really intelligent
• 1:10:46
  Speaker 9: cultured people taking out their buried subconscious urges and aggressions
• 1:10:51
  Speaker 9: via Satanism on each other. which is, you know, the
• 1:10:56
  Speaker 9: only way to go, I guess, if you're a really
• 1:10:58
  Speaker 9: cultured European.
• 1:11:01
  Speaker 7: When you're talking about the inspiration, did they also, the
• 1:11:03
  Speaker 7: director also modeled Karloff after Fritz Lang?
• 1:11:07
  Speaker 1: Is that what I heard?
• 1:11:08
  Speaker 3: Maybe so, yeah.
• 1:11:09
  Speaker 1: Because I think he'd worked with him.
• 1:11:11
  Speaker 7: Well, supposedly, I think they couldn't prove that, but they
• 1:11:14
  Speaker 7: said that he had worked.
• 1:11:15
  Speaker 1: With him on Metropolis and maybe M.
• 1:11:19
  Speaker 3: That very, that stark, you know. Yeah. metropolis look. It
• 1:11:25
  Speaker 3: really does. Once again, completely out of nowhere for a
• 1:11:28
  Speaker 3: universal film at that point. You realize that that studio,
• 1:11:32
  Speaker 3: like a lot of other studios, but mostly that studio
• 1:11:34
  Speaker 3: in particular was run by a bunch of expatriate Europeans.
• 1:11:37
  Speaker 3: You're talking about the Lemleys. You're talking about people who
• 1:11:41
  Speaker 3: really had just come from Europe.
• 1:11:43
  Speaker 1: Murdao and Long were amongst them.
• 1:11:45
  Speaker 3: These themes were familiar to those filmmakers, but not to
• 1:11:48
  Speaker 3: American audiences, which is, I think, why the audience gets
• 1:11:51
  Speaker 3: placed in that position a lot of the time with
• 1:11:53
  Speaker 3: the Americans. It's like you're discovering things that have been
• 1:11:55
  Speaker 3: going on in Europe for a long time. And the
• 1:11:58
  Speaker 3: Lemleys seem to thrive on that. All their movies always
• 1:12:00
  Speaker 3: have those weird... You're not quite sure where these films
• 1:12:04
  Speaker 3: are taking place. You watch movies like Frankenstein, and you're like, okay,
• 1:12:07
  Speaker 3: what country is this? Is this Germany? Where is this?
• 1:12:10
  Speaker 3: They've got these stock Eastern European locations that they're trying
• 1:12:14
  Speaker 3: to weave into the plot.
• 1:12:15
  Speaker 9: That makes sense, too, because you think that that's coming
• 1:12:19
  Speaker 9: out of a period. I mean, Germany only got unified 50...
• 1:12:24
  Speaker 9: you know, 60 years earlier, like this is prior to
• 1:12:27
  Speaker 9: the breakup of what we call Eastern Europe. So it's
• 1:12:30
  Speaker 9: back in those days when, well, sure, it's full of
• 1:12:32
  Speaker 9: Polish people, but it's Germany. You know, sure, it's filled
• 1:12:36
  Speaker 9: with all these people who call themselves Czechs or Bohemians
• 1:12:38
  Speaker 9: or something like that, but it's Austria. You know, it
• 1:12:43
  Speaker 9: was sort of vague national identity.
• 1:12:46
  Speaker 3: Which is probably the understanding that the average American audience had.
• 1:12:50
  Speaker 6: Yeah, well, and Poe used to begin some of his
• 1:12:54
  Speaker 6: stories with, like, it doesn't really.
• 1:12:56
  Speaker 1: Matter where it was or when it was, because these
• 1:13:00
  Speaker 1: things happened.
• 1:13:02
  Speaker 5: That's almost how we see the Middle East now, too.
• 1:13:05
  Speaker 5: It's so, you could just kind of show images, and
• 1:13:07
  Speaker 5: you're like, sure, that's, it could be anywhere from Egypt to,
• 1:13:13
  Speaker 5: and most of America is going to think Iraq, Egypt, Syria, Egypt. Hell, Turkey,
• 1:13:17
  Speaker 5: and we're not going to even know the difference.
• 1:13:20
  Speaker 6: And by most of America, we mean the Midwest.
• 1:13:23
  Speaker 11: Right.
• 1:13:23
  Speaker 6: Which could be anywhere as long as it's not on
• 1:13:26
  Speaker 6: the coast or the other coast.
• 1:13:28
  Speaker 3: Fly over. It's all Midwest.
• 1:13:30
  Speaker 5: It's like Florida, East Coast, California.
• 1:13:33
  Speaker 7: There is no Mideast.
• 1:13:34
  Speaker 1: Texas has its own world.
• 1:13:36
  Speaker 3: Oh, yeah.
• 1:13:36
  Speaker 5: Well, Texas, yeah.
• 1:13:38
  Speaker 1: But, yeah, everywhere in the middle is just kind of
• 1:13:40
  Speaker 1: in the middle.
• 1:13:41
  Speaker 9: But that's also part of the way just our minds function.
• 1:13:45
  Speaker 9: You show me a picture of a desert in, say,
• 1:13:48
  Speaker 9: the Middle East. It's like, okay, sure, somewhere either Libya
• 1:13:51
  Speaker 9: or Syria. Those places are anywhere near each other. But
• 1:13:55
  Speaker 9: when I think of a big flat expanse and you
• 1:13:59
  Speaker 9: call it Texas, I'm like, yes, probably.
• 1:14:02
  Speaker 1: That makes perfect sense.
• 1:14:04
  Speaker 9: I've driven through North Texas enough to know, yes, giant
• 1:14:06
  Speaker 9: flat expanse, even though it doesn't really cover Texas.
• 1:14:09
  Speaker 1: I mean, Texas is a very huge and varied state.
• 1:14:13
  Speaker 1: I'm told.
• 1:14:17
  Speaker 5: Speaking of geographical, has anyone seen in Bernie where they
• 1:14:23
  Speaker 5: do a breakdown of all the different Texas regions?
• 1:14:25
  Speaker 3: Oh, yeah, it's great. I don't.
• 1:14:28
  Speaker 5: Bernie could be an entire show, but I just love
• 1:14:30
  Speaker 5: that little moment.
• 1:14:32
  Speaker 3: It applies to Texas, but it still applies to almost
• 1:14:34
  Speaker 3: everybody with a rural, small town background. But particularly Texas,
• 1:14:39
  Speaker 3: it's great.
• 1:14:41
  Speaker 4: Did you ever hear of Satanism, the worship of the devil,
• 1:14:44
  Speaker 4: of evil? Appear to be the great modern priest of
• 1:14:48
  Speaker 4: the ancient cult. At night, dark of the moon, the
• 1:14:52
  Speaker 4: rites of Lucifer are celebrated. And if I'm not mistaken,
• 1:14:56
  Speaker 4: he intends you to play a part in that ritual.
• 1:14:59
  Speaker 4: A very important part.
• 1:15:01
  Speaker 6: It's funny how there's this period where horror is like
• 1:15:04
  Speaker 6: a particularly strong genre. I guess like in contemporary.
• 1:15:13
  Speaker 3: Movies like the.
• 1:15:17
  Speaker 3: What's his name?
• 1:15:19
  Speaker 6: Like the Ripley's Game and Silence of the Lambs. has
• 1:15:23
  Speaker 6: that kind of intellectual... He's almost like a connoisseur villain.
• 1:15:30
  Speaker 6: It's almost like somehow his connoisseurship is tied to his evil.
• 1:15:36
  Speaker 6: And he's always playing these kinds of intellectual games like
• 1:15:40
  Speaker 6: his self-storage. I don't know that that's something.
• 1:15:45
  Speaker 3: Well, and then I.
• 1:15:47
  Speaker 6: Guess there's kind of a similar thing. The interesting thing
• 1:15:52
  Speaker 6: was some people tie the rise of satanic ritual abuse
• 1:15:57
  Speaker 6: as a phenomenon to the end of the Cold War.
• 1:16:00
  Speaker 6: Like there's just something we have to have an evil villain.
• 1:16:04
  Speaker 6: And so after the end of the Cold War, people
• 1:16:07
  Speaker 6: started reporting all this recovered memories of satanic ritual abuse.
• 1:16:15
  Speaker 6: And people confessed to it. Although later investigations showed that
• 1:16:20
  Speaker 6: there's no possible way in 24 hours in a day
• 1:16:24
  Speaker 6: they could have done the things they confessed to. It's
• 1:16:27
  Speaker 6: just like a.
• 1:16:29
  Speaker 3: It fulfilled a need.
• 1:16:31
  Speaker 6: Yeah, there's never been any independent evidence that any of
• 1:16:37
  Speaker 6: it ever actually happened. But then people who believe.
• 1:16:41
  Speaker 3: In the conspiracy... feel that.
• 1:16:43
  Speaker 6: That proves it just how fast the conspiracy is oh you're.
• 1:16:48
  Speaker 3: Just not very good at a species of hiding conspiracies.
• 1:16:52
  Speaker 9: Clearly um that's what they rely on you know that
• 1:16:55
  Speaker 9: is strange to me like i you know you research
• 1:16:58
  Speaker 9: you know weird out there crimes from like the 60s
• 1:17:01
  Speaker 9: the 70s the 80s i I remember that movie, Henry,
• 1:17:05
  Speaker 9: Portrait of a Serial Killer. It was based around two
• 1:17:08
  Speaker 9: real people. I forget who the actual killer was, but
• 1:17:11
  Speaker 9: I actually know his sidekick or whatever was this guy, Otis.
• 1:17:17
  Speaker 1: Otis Toole.
• 1:17:18
  Speaker 9: And he was reportedly raised in Florida by Satanists. That's
• 1:17:22
  Speaker 9: what he supposedly did. I remember reading that and thinking...
• 1:17:25
  Speaker 9: where do these people come from? Where are the Florida Satanists?
• 1:17:29
  Speaker 1: Is there a commune? At what point did Satanism ever
• 1:17:36
  Speaker 1: become that kind of phenomena? Where you go to Florida.
• 1:17:39
  Speaker 9: Yeah, where you go to Florida and they're there. And
• 1:17:42
  Speaker 9: not only that, raising children. Instead of just living in
• 1:17:46
  Speaker 9: an apartment complex, collecting Aleister Crowley.
• 1:17:49
  Speaker 6: Books or something like that. Is there a Satan's guide
• 1:17:52
  Speaker 6: to raising children?
• 1:17:53
  Speaker 11: No.
• 1:17:55
  Speaker 5: There's a map.
• 1:17:55
  Speaker 7: It's like Disney World's here, Satan Land here.
• 1:17:59
  Speaker 3: How is Satan on spanking?
• 1:18:02
  Speaker 9: Is he pro-spanking, or is he actually spare the rod
• 1:18:04
  Speaker 9: and spoil the child, except as a positive?
• 1:18:07
  Speaker 1: Whenever I hear.
• 1:18:10
  Speaker 3: These stories about Satanists on the news, I'm like, oh,
• 1:18:12
  Speaker 3: you mean teenagers. You mean angst-riddled teenagers, because every Satanist
• 1:18:17
  Speaker 3: I ever met was just some... Do you like to
• 1:18:20
  Speaker 3: burn things? There's a couple of kids playing.
• 1:18:23
  Speaker 1: D & D.
• 1:18:24
  Speaker 3: Yeah, they read Anne Hunlevey's book, and they're Satanists. The
• 1:18:28
  Speaker 3: Church of Satan, such as it is, is far from
• 1:18:31
  Speaker 3: that kind of an organization. It's basically just like any
• 1:18:34
  Speaker 3: other church. It's about making money. Sure. Two friends of
• 1:18:37
  Speaker 3: mine run it right now, as it turns out. They
• 1:18:40
  Speaker 3: used to edit a horror magazine, and now they're the
• 1:18:42
  Speaker 3: priest and priestess of the Church of Satan.
• 1:18:44
  Speaker 2: Sweet.
• 1:18:44
  Speaker 1: They must know Marilyn Manson then pretty well.
• 1:18:46
  Speaker 3: Probably, yeah. It's Peggy Nadramian and Peter Gilmore.
• 1:18:49
  Speaker 11: Okay.
• 1:18:50
  Speaker 3: Gru Magazine back in the 80s.
• 1:18:52
  Speaker 7: Yeah, it's very different than the way people read the book.
• 1:18:55
  Speaker 3: It's not based on Christianity and not based on anti-Christianity.
• 1:18:58
  Speaker 3: It's just Anton LaVey's sort of free love belief.
• 1:19:01
  Speaker 1: Yeah, but that's not the Anton LaVey stuff. All that's
• 1:19:03
  Speaker 1: kind of a.
• 1:19:07
  Speaker 1: 60s phenomena you know and.
• 1:19:11
  Speaker 9: But you know what I'm talking about is that like
• 1:19:13
  Speaker 9: you know whenever you read any of those accounts of
• 1:19:15
  Speaker 9: you know occult texts or occult groups in Europe you
• 1:19:20
  Speaker 9: know or in the Americas it's always like a very
• 1:19:22
  Speaker 9: fringe phenomenon amongst like a handful of intellectuals or something
• 1:19:26
  Speaker 9: you know guys who basically spend a little bit too
• 1:19:28
  Speaker 9: much time reading the Egyptian books of the dead think
• 1:19:31
  Speaker 9: suddenly oh that connects to book of revelation and start
• 1:19:34
  Speaker 9: you know drawing a picture but I guess I wonder
• 1:19:37
  Speaker 9: with those guys who say that they're Satanist clans out
• 1:19:43
  Speaker 9: there somewhere.
• 1:19:44
  Speaker 1: Or that there were when they were growing up in
• 1:19:46
  Speaker 1: the 50s or something. I'm like, how did that come about?
• 1:19:50
  Speaker 1: How could that not be some kind of hallucination or fantasy?
• 1:19:53
  Speaker 3: It's just a very fringy, almost fundamentalist Satanism going on.
• 1:19:59
  Speaker 3: Who are these people? You never are sure if you
• 1:20:02
  Speaker 3: can buy any of that. You hear about real sort
• 1:20:06
  Speaker 3: of revolutionary killers of the 50s, people like Ed Gein,
• 1:20:09
  Speaker 3: people like that. They had a very different set of beliefs.
• 1:20:12
  Speaker 1: In Ed Gein's case, he lived alone, was kind of
• 1:20:16
  Speaker 1: just an oddball character.
• 1:20:18
  Speaker 3: He babysat the neighbors, kids, and could overall be trusted.
• 1:20:22
  Speaker 1: Yeah, everyone called him Eddie, really liked him.
• 1:20:25
  Speaker 6: But then at night he would lie down next to
• 1:20:27
  Speaker 6: some blonde lady and read this little Satanism book.
• 1:20:31
  Speaker 1: Satan's Digest.
• 1:20:33
  Speaker 7: That's what makes this so weird, though.
• 1:20:35
  Speaker 5: He was just getting his refresher before the dark moon.
• 1:20:38
  Speaker 3: I mean, you know.
• 1:20:39
  Speaker 7: This is before all that stuff.
• 1:20:41
  Speaker 1: Right. Obviously, that stuff did exist.
• 1:20:43
  Speaker 3: This would be a good idea.
• 1:20:45
  Speaker 10: Yeah.
• 1:20:45
  Speaker 5: You know, if you were the priest of a Satanist cult,
• 1:20:49
  Speaker 5: you know, and you were that smart, do you really
• 1:20:51
  Speaker 5: need to kind of brush up before everybody comes over?
• 1:20:54
  Speaker 10: Okay, guys. He was probably brushing up on his Latin.
• 1:20:57
  Speaker 1: To go over the whole recitation.
• 1:20:59
  Speaker 8: Yeah.
• 1:21:00
  Speaker 10: I just.
• 1:21:02
  Speaker 9: Speaking of which, by the way, I just realized, of course,
• 1:21:04
  Speaker 9: we're in a church painted black.
• 1:21:08
  Speaker 1: Very quiet in here. No evidence that there's light outside.
• 1:21:13
  Speaker 7: I forgot to tell you, after we finish this, the
• 1:21:15
  Speaker 7: mass starts.
• 1:21:16
  Speaker 3: We can throw the crucifix in here somewhere behind that screen.
• 1:21:19
  Speaker 7: Trying to lure in some new people to get some sacrifices.
• 1:21:22
  Speaker 1: Welcome to the show.
• 1:21:23
  Speaker 5: It is the most teenager goth-looking church. If you didn't know,
• 1:21:27
  Speaker 5: this is a theater. This is like the teenager goth room.
• 1:21:30
  Speaker 3: It is.
• 1:21:31
  Speaker 1: If I was going to make a B movie and
• 1:21:33
  Speaker 1: they were going to bring them to some room to
• 1:21:35
  Speaker 1: be sacrificed underground, this would totally be it.
• 1:21:40
  Speaker 9: By the way, speaking of Latin and Ed Gein brushing
• 1:21:43
  Speaker 9: up on his Latin, there is that weird moment in
• 1:21:45
  Speaker 9: the film, to try to bring it back there, where
• 1:21:49
  Speaker 9: Karloff is reading some sort of ritual or something like that.
• 1:21:53
  Speaker 3: Yes.
• 1:21:54
  Speaker 1: If I didn't have something against the Romans and I
• 1:21:57
  Speaker 1: had studied Latin, I'm sure I would know what it was.
• 1:21:59
  Speaker 3: Well, actually, it's nonsense.
• 1:22:02
  Speaker 1: I hoped it was nonsense.
• 1:22:03
  Speaker 3: It's actually transcribed in this book that got both the
• 1:22:06
  Speaker 3: Latin and the English translation.
• 1:22:08
  Speaker 1: Excellent.
• 1:22:09
  Speaker 3: And the English translation goes, With a grain of salt,
• 1:22:12
  Speaker 3: the brave may fall but cannot yield. The wolf changes
• 1:22:15
  Speaker 3: its skin but not its mind. Great is truth and
• 1:22:18
  Speaker 3: it shall prevail. That which I admit I do not know,
• 1:22:21
  Speaker 3: I cannot lose. The loss that is lost is not
• 1:22:24
  Speaker 3: lost at all. Bright lightning. Judge a tree by fruit,
• 1:22:27
  Speaker 3: not leaves. Every madman thinks everyone is crazy. He who
• 1:22:31
  Speaker 3: repents is almost innocent.
• 1:22:33
  Speaker 13: I kind of like this.
• 1:22:34
  Speaker 3: It sounds good, rolling off the tongue, but it really
• 1:22:37
  Speaker 3: makes no sense.
• 1:22:38
  Speaker 1: It kind of sounds like a beatnik poem or something.
• 1:22:41
  Speaker 3: I feel like I should be snapping.
• 1:22:43
  Speaker 1: I'm digging this. I'm deeply moved, and my subconscious is
• 1:22:47
  Speaker 1: now awakened.
• 1:22:47
  Speaker 3: Yeah.
• 1:22:49
  Speaker 7: Well, then you're ready for the sacrifice. Please step up.
• 1:22:52
  Speaker 1: I think I understand it. It's about relationship. Oh, Satan,
• 1:22:58
  Speaker 1: you're always saying that.
• 1:23:00
  Speaker 3: It's my new album.
• 1:23:09
  Speaker 7: That's a weird little tie-in, though, the fact that because
• 1:23:12
  Speaker 7: of his relationship, the director really didn't work much as
• 1:23:15
  Speaker 7: his career went on.
• 1:23:16
  Speaker 12: No.
• 1:23:17
  Speaker 3: He was.
• 1:23:18
  Speaker 1: sitting around with.
• 1:23:19
  Speaker 7: What, the wife of one of the other big moguls
• 1:23:22
  Speaker 7: in Hollywood? And because of that, everybody found out about it,
• 1:23:27
  Speaker 7: and I guess some sort of solidarity in Hollywood, which
• 1:23:29
  Speaker 7: I didn't know they did, yeah, they sort of blackballed
• 1:23:32
  Speaker 7: him for, he ended up making a lot of B-movies
• 1:23:34
  Speaker 7: because that's all they were going to give him at
• 1:23:36
  Speaker 7: that point.
• 1:23:36
  Speaker 11: Yeah, yeah.
• 1:23:37
  Speaker 3: It's a strange situation with him.
• 1:23:39
  Speaker 1: Yeah, who was this director again?
• 1:23:41
  Speaker 3: Edgar Ulmer. Edgar Ulmer, okay. Who did later do, I
• 1:23:45
  Speaker 3: think it was, was it DOA? I don't know. Or
• 1:23:48
  Speaker 3: maybe it's Detour. I know there's sort of a.
• 1:23:50
  Speaker 1: Yeah, I think it's that one.
• 1:23:52
  Speaker 3: It's Detour. Detour, yeah. Kind of a cult noir film.
• 1:23:55
  Speaker 3: He kind of had to bounce back with that, but
• 1:23:57
  Speaker 3: no other big film.
• 1:23:57
  Speaker 1: That's about it, yeah. I was going to say, this film,
• 1:23:59
  Speaker 1: I mean, he's a talented filmmaker, I think.
• 1:24:02
  Speaker 9: I mean, whatever the thing we've made fun of, this
• 1:24:06
  Speaker 9: film is definitely like, it's got a power to it.
• 1:24:10
  Speaker 9: I really did feel like towards the middle, even while
• 1:24:12
  Speaker 9: things were getting crazier and weirder and I was having
• 1:24:14
  Speaker 9: a harder time understanding... I was really feeling that sense.
• 1:24:18
  Speaker 9: I guess it was because the Americans sort of pulled
• 1:24:20
  Speaker 9: me in by proxy of just feeling the tension and
• 1:24:23
  Speaker 9: the willpower of these two guys playing out in this
• 1:24:25
  Speaker 9: really abstract setting. That was one of the things that
• 1:24:28
  Speaker 9: struck me. It was just how abstract a lot of
• 1:24:30
  Speaker 9: what was going on was. I didn't understand what the
• 1:24:33
  Speaker 9: girl under the glass was, but that striking image made
• 1:24:36
  Speaker 9: a lot of sense as they're both just sitting there
• 1:24:38
  Speaker 9: calmly discussing her and beauty and possession and all these things.
• 1:24:44
  Speaker 1: Yeah, did we ever.
• 1:24:45
  Speaker 7: figure out what their status was exactly. Like, as they
• 1:24:49
  Speaker 7: were under glass, do we know?
• 1:24:51
  Speaker 3: I think she's dead.
• 1:24:53
  Speaker 7: But is it like.
• 1:24:54
  Speaker 1: Does.
• 1:24:54
  Speaker 3: He have one or two women under glass?
• 1:24:55
  Speaker 1: There's at least two.
• 1:24:57
  Speaker 3: Yeah. I think they're both literally dead and sort of...
• 1:24:59
  Speaker 3: A lot of women under glass.
• 1:25:00
  Speaker 1: That's what I was like, is it like a stuffed version?
• 1:25:02
  Speaker 3: Is it like.
• 1:25:03
  Speaker 1: She's sort of hovering.
• 1:25:04
  Speaker 7: Yeah, she's sort of there.
• 1:25:05
  Speaker 8: It looks like with the hair, it was like in formaldehyde.
• 1:25:08
  Speaker 3: Or something like that.
• 1:25:08
  Speaker 12: Yeah.
• 1:25:08
  Speaker 3: I think they're trying to imply she's in a liquid environment,
• 1:25:12
  Speaker 3: but she's not. Yeah.
• 1:25:13
  Speaker 10: And.
• 1:25:14
  Speaker 1: Which was really cool, though. It was very cool.
• 1:25:18
  Speaker 7: It's a striking visual. That's crazy.
• 1:25:20
  Speaker 1: And again, I guess.
• 1:25:21
  Speaker 3: It's a good look.
• 1:25:22
  Speaker 5: Brian knows how to redecorate now.
• 1:25:25
  Speaker 1: I need to hang a woman on my wall.
• 1:25:26
  Speaker 7: Usually I have them laying down, but now I'm going
• 1:25:30
  Speaker 7: to try this floating thing.
• 1:25:32
  Speaker 1: It's pretty cool. The new theory for the waterbed.
• 1:25:37
  Speaker 3: Yeah so and then you've got the daughter showing up
• 1:25:40
  Speaker 3: you know that that's for me the most shocking moment
• 1:25:43
  Speaker 3: it's just like you know and then the the heroine
• 1:25:46
  Speaker 3: finds out you're you're his daughter you see there's some
• 1:25:49
  Speaker 3: shock registering at last with her something strange going on
• 1:25:52
  Speaker 3: she's a.
• 1:25:52
  Speaker 8: Little human he has to kill her i wasn't super
• 1:25:55
  Speaker 8: clear on that point either because hadn't we just like
• 1:26:00
  Speaker 8: I don't know, pledged our undying love and talked about
• 1:26:02
  Speaker 8: her importance in our life. And then he was like, oh,
• 1:26:05
  Speaker 8: cat's out of the bag.
• 1:26:06
  Speaker 2: All right, sorry, honey.
• 1:26:07
  Speaker 5: But he had told her not to leave the room.
• 1:26:10
  Speaker 13: She disobeyed.
• 1:26:10
  Speaker 5: She didn't listen.
• 1:26:11
  Speaker 7: But then later they referenced her like maybe he was
• 1:26:16
  Speaker 7: just punishing her.
• 1:26:17
  Speaker 1: So I don't know. I never did pin down that
• 1:26:19
  Speaker 1: either because then they.
• 1:26:20
  Speaker 7: They do make reference to her almost like she's still
• 1:26:22
  Speaker 7: alive at that point.
• 1:26:24
  Speaker 1: Maybe they just didn't know.
• 1:26:25
  Speaker 9: That's part of the weird split in the movie. The
• 1:26:26
  Speaker 9: first half of it, I felt like it was about
• 1:26:28
  Speaker 9: these two guys and their long simmering conflict over someone
• 1:26:32
  Speaker 9: who may or may not be alive and the vengeance
• 1:26:36
  Speaker 9: they want to take on each other and how the
• 1:26:38
  Speaker 9: Americans are going to play in it. And then the
• 1:26:39
  Speaker 9: second part, Karloff has kind of just turned into a
• 1:26:42
  Speaker 9: villain now. And now he's going to do this Black
• 1:26:45
  Speaker 9: Mass thing. And he's got these sacrifices. He's lined up, apparently,
• 1:26:48
  Speaker 9: just to do one right after the other. It's unclear
• 1:26:51
  Speaker 9: who all he plans to kill. And now we've got
• 1:26:56
  Speaker 9: to stop them somehow.
• 1:26:59
  Speaker 5: Why does the woman scream and faint at the Mass?
• 1:27:02
  Speaker 5: I mean, she obviously was there. I mean, really, it
• 1:27:05
  Speaker 5: was a plot point. If she never screams and passes out...
• 1:27:09
  Speaker 5: Everything else doesn't happen. And, you know, she's obviously been
• 1:27:15
  Speaker 5: there before and came there under free will. She looked
• 1:27:18
  Speaker 5: like she was, you know, a participant that she was
• 1:27:21
  Speaker 5: willingly going there. I just didn't understand that. And why
• 1:27:25
  Speaker 5: did everybody rush to her? And then, hey, we're going
• 1:27:27
  Speaker 5: to forget about these guys trying to get to.
• 1:27:29
  Speaker 4: I don't know.
• 1:27:30
  Speaker 5: It just seemed like how are we going to get
• 1:27:33
  Speaker 5: this to happen? Okay, we'll have somebody faint.
• 1:27:35
  Speaker 3: Yeah, that's what it felt like to me. Like directing
• 1:27:37
  Speaker 3: on the set.
• 1:27:38
  Speaker 6: Thinking through the scenes as they go.
• 1:27:41
  Speaker 8: I don't know if you noticed, though, but women faint
• 1:27:43
  Speaker 8: a lot.
• 1:27:44
  Speaker 3: In movies?
• 1:27:45
  Speaker 1: In this movie.
• 1:27:47
  Speaker 9: I was going to say, could either of you verify this?
• 1:27:51
  Speaker 1: Do they faint constantly? Upon command?
• 1:27:54
  Speaker 3: It was a nutritional problem back then.
• 1:27:57
  Speaker 1: We're getting a B vitamin.
• 1:27:58
  Speaker 7: Well, it's also because they feel like they're not hungry,
• 1:28:02
  Speaker 7: but really they're very hungry. And then she's so hungry, bam,
• 1:28:06
  Speaker 7: hits the ground.
• 1:28:06
  Speaker 15: She hasn't eaten in the past.
• 1:28:08
  Speaker 1: At least 48 hours.
• 1:28:09
  Speaker 9: Well, she was on her honeymoon, so her eating disorders
• 1:28:11
  Speaker 9: were just through the roof.
• 1:28:12
  Speaker 1: She was avoiding all food. I've got to fit in
• 1:28:15
  Speaker 1: this dress.
• 1:28:20
  Speaker 11: Oh, man.
• 1:28:20
  Speaker 4: Okay.
• 1:28:21
  Speaker 3: I don't know.
• 1:28:21
  Speaker 7: I still think, like, yeah, the whole Satanist angle gets
• 1:28:24
  Speaker 7: thrown in, like, pretty late in the game.
• 1:28:27
  Speaker 3: Yeah.
• 1:28:27
  Speaker 1: And you don't ever really have it totally explained.
• 1:28:30
  Speaker 7: And it's still really interesting, but it's, I think, more
• 1:28:34
  Speaker 7: fascinating that it appears in 1934.
• 1:28:35
  Speaker 1: Well, that's good.
• 1:28:37
  Speaker 7: More than anything, really.
• 1:28:38
  Speaker 3: That's why. It's like, well, we're going to try to
• 1:28:40
  Speaker 3: get this in. We're going to try to get in
• 1:28:42
  Speaker 3: the satanic element, but we can't really explain it too carefully.
• 1:28:45
  Speaker 3: But they'll take it out. That's the case with a
• 1:28:47
  Speaker 3: lot of things in the movie.
• 1:28:48
  Speaker 5: When you're talking about Hayes, he's in bed, both of
• 1:28:54
  Speaker 5: them lying down in bed together. They're not really married.
• 1:28:57
  Speaker 3: Mm-hmm.
• 1:28:58
  Speaker 8: Wait, they're not married?
• 1:28:59
  Speaker 3: They are married.
• 1:28:59
  Speaker 5: I'm not talking about the Americans. I'm talking about Karloff
• 1:29:02
  Speaker 5: and the girl.
• 1:29:03
  Speaker 3: Or he does rise up. It's hard to say if
• 1:29:06
  Speaker 3: that's one bed or not. I think it is.
• 1:29:08
  Speaker 5: When she's reading, they're in bed together as well. She's
• 1:29:11
  Speaker 5: lying there. She's the That's an odd relationship anyway.
• 1:29:17
  Speaker 1: Wait, are they not married? I thought that they were
• 1:29:20
  Speaker 1: also married.
• 1:29:20
  Speaker 5: I don't think they're married.
• 1:29:21
  Speaker 4: I think he just takes her.
• 1:29:22
  Speaker 5: I think he just takes her as his.
• 1:29:24
  Speaker 1: I thought he referenced that she was his wife.
• 1:29:27
  Speaker 5: Oh, okay, okay.
• 1:29:28
  Speaker 3: Probably so they could get away with that.
• 1:29:30
  Speaker 5: But still, even.
• 1:29:30
  Speaker 6: Well, that sounds okay, then.
• 1:29:32
  Speaker 5: Even for 20 years later, though, they don't show two
• 1:29:35
  Speaker 5: people in bed together lying down without at least one
• 1:29:39
  Speaker 5: foot on the floor. One foot on the floor, yeah. Right, right.
• 1:29:41
  Speaker 3: Not until Lucy.
• 1:29:43
  Speaker 5: comes through and starts changing things. And so that just seemed,
• 1:29:47
  Speaker 5: you know, I was like, wow, they're getting not just
• 1:29:50
  Speaker 5: the Satan stuff, they're getting a lot through.
• 1:29:52
  Speaker 3: Well, this is right at that period where, you know,
• 1:29:53
  Speaker 3: the haze was starting, the office was starting to take
• 1:29:55
  Speaker 3: itself pretty seriously.
• 1:29:56
  Speaker 1: Because before that, they got away with murder.
• 1:29:58
  Speaker 5: Like, they did whatever they wanted before.
• 1:29:59
  Speaker 3: That, literally. If you look at the early 30s pictures, like,
• 1:30:02
  Speaker 3: you know, Tarzan and his mate and things like that,
• 1:30:04
  Speaker 3: where you've got nudity and all kinds of great stuff
• 1:30:06
  Speaker 3: going on.
• 1:30:06
  Speaker 8: Yeah.
• 1:30:08
  Speaker 3: No, starting around 33, 34. Okay. It started to kick in.
• 1:30:12
  Speaker 5: So it really wasn't, okay. Because I thought by then.
• 1:30:15
  Speaker 3: They were paying close attention to this movie, apparently. They'd heard.
• 1:30:18
  Speaker 5: Well, there's a lot to.
• 1:30:19
  Speaker 3: Be, you know. Yeah. Apparently, they did shoot an ending
• 1:30:23
  Speaker 3: where Karloff was skinned.
• 1:30:26
  Speaker 7: That's what I was going to ask, because it seemed
• 1:30:28
  Speaker 7: like they set it up to be more graphic.
• 1:30:30
  Speaker 3: In the script, at least, there's a sequence where he's skinned. Basically,
• 1:30:33
  Speaker 3: he's just covered in gore. They're crawling across the floor
• 1:30:36
  Speaker 3: to get the car off.
• 1:30:38
  Speaker 1: Did they shoot that?
• 1:30:40
  Speaker 3: I think they may have shot it.
• 1:30:42
  Speaker 9: Although I've got to say, as it was, even without
• 1:30:45
  Speaker 9: showing anything, it's so great how you see Bela Lugosi
• 1:30:51
  Speaker 9: walks over to the table and his hand passes until
• 1:30:53
  Speaker 9: he finds the smallest implement he can and then walks
• 1:30:57
  Speaker 9: over there.
• 1:30:58
  Speaker 13: It's such a great moment.
• 1:31:01
  Speaker 9: Even with the shadows, like just seeing like Karloff's hand
• 1:31:04
  Speaker 9: writhing in the manacle, you know, and the blood dripping
• 1:31:07
  Speaker 9: or whatever it is.
• 1:31:08
  Speaker 1: It's a cool scene. Yeah.
• 1:31:11
  Speaker 5: So much happens in that last few minutes.
• 1:31:13
  Speaker 10: Yeah.
• 1:31:14
  Speaker 5: It's like, where was this for the last hour?
• 1:31:17
  Speaker 1: Yeah.
• 1:31:17
  Speaker 6: Yeah, it's like that yogurt with all the fruit on
• 1:31:21
  Speaker 6: the bottom.
• 1:31:23
  Speaker 3: Someone needs to stir it up.
• 1:31:24
  Speaker 1: It kind of bummed me out when they brought in
• 1:31:27
  Speaker 1: the satanic ritual and everything because then suddenly we have
• 1:31:29
  Speaker 1: all these more people in the scene They just show
• 1:31:32
  Speaker 1: up out of nowhere. They're the Satanists, I guess. When
• 1:31:35
  Speaker 1: their cue is up, they leave.
• 1:31:36
  Speaker 5: That's what I was wondering.
• 1:31:38
  Speaker 1: Were they in the house somewhere? Were they in town?
• 1:31:41
  Speaker 3: They were arriving.
• 1:31:42
  Speaker 1: They said, we've got to prepare.
• 1:31:44
  Speaker 6: The Satanists came by, but you were asleep. They didn't
• 1:31:48
  Speaker 6: want to wake you.
• 1:31:49
  Speaker 1: They just kissed you on the forehead.
• 1:31:51
  Speaker 3: The local satanic aristocracy. The well-dressed Satanists are here instead.
• 1:31:55
  Speaker 3: I don't know who they are.
• 1:31:56
  Speaker 5: Well, I love how nobody can get to the place
• 1:31:58
  Speaker 5: to pick up the Americans, but the Satanists.
• 1:32:00
  Speaker 3: It's just short. Yeah, I know. Right there.
• 1:32:02
  Speaker 1: They've got a Satanist four by four.
• 1:32:04
  Speaker 5: They've got it.
• 1:32:04
  Speaker 3: They've got it.
• 1:32:05
  Speaker 1: Satan's Bigfoot.
• 1:32:06
  Speaker 5: I mean, it's... Light rail system for Satanists. Go right
• 1:32:09
  Speaker 5: up to the front door.
• 1:32:10
  Speaker 1: You know, it bums me out, though.
• 1:32:11
  Speaker 9: In every film where Satanists are involved that I've ever seen,
• 1:32:14
  Speaker 9: I've always been really unimpressed when the Satanists actually get together.
• 1:32:17
  Speaker 1: Think about that movie, The Ninth Gate. You remember that
• 1:32:20
  Speaker 1: one with Johnny Depp?
• 1:32:22
  Speaker 3: Yeah.
• 1:32:23
  Speaker 9: It's a film that I weirdly have an affection for.
• 1:32:26
  Speaker 9: I think because it's about a rare book dealer.
• 1:32:29
  Speaker 3: The book it's based on is pretty cool.
• 1:32:31
  Speaker 1: I will believe that.
• 1:32:32
  Speaker 9: I believe that it's based on a cool book, even
• 1:32:34
  Speaker 9: though it became a terrible film. But yeah, every time Satanists...
• 1:32:39
  Speaker 9: Satanists are always a better threat. Like, ooh, there's a
• 1:32:42
  Speaker 9: satanic church meeting somewhere. But then whenever the Satanists get together,
• 1:32:45
  Speaker 9: they're always like, either run off at the earliest opportunity
• 1:32:48
  Speaker 9: or they stand around and do extremely little.
• 1:32:50
  Speaker 13: Yeah, they're not a fun crowd.
• 1:32:52
  Speaker 6: You'd think they would be more lively and engaging. They're
• 1:32:56
  Speaker 6: kind of like that group when you finish a play
• 1:32:59
  Speaker 6: and you walk out and you have to meet and
• 1:33:01
  Speaker 6: greet everybody. They're like the Satanists are out there, awkwardly
• 1:33:07
  Speaker 6: just saying hi.
• 1:33:07
  Speaker 1: Oh, like, hi, yeah, I'm here to threaten you. You know,
• 1:33:11
  Speaker 1: I actually do have another appointment I need to.
• 1:33:14
  Speaker 9: Run to after this, though.
• 1:33:16
  Speaker 1: This is kind of a big day for me, so
• 1:33:17
  Speaker 1: I'll just grab my coffee and go.
• 1:33:20
  Speaker 5: My favorite Satanists in film were from, well, they were
• 1:33:24
  Speaker 5: more paganists, I think, but it was from Dragnet. The
• 1:33:28
  Speaker 5: People Against Goodness and Normalcy. They were a lot of fun.
• 1:33:34
  Speaker 5: I watched Dragnet far too much as a kid.
• 1:33:37
  Speaker 7: I started to say, you may be the only one
• 1:33:38
  Speaker 7: that favorably referenced Dragnet.
• 1:33:41
  Speaker 3: Right.
• 1:33:41
  Speaker 5: Come on, it was fantastic.
• 1:33:44
  Speaker 1: No, I don't remember that show barely at all, but
• 1:33:46
  Speaker 1: I mean, People Against Goodness and Normalcy.
• 1:33:49
  Speaker 5: This was the Dan Aykroyd, Tom Hanks movie.
• 1:33:54
  Speaker 3: Oh, okay. That movie. Oh, not the.
• 1:33:57
  Speaker 1: I was like, really?
• 1:33:59
  Speaker 9: Did the TV show veer that much in the direction
• 1:34:01
  Speaker 9: of humor?
• 1:34:02
  Speaker 5: They got pretty weird in the later days.
• 1:34:03
  Speaker 1: It's just the facts, man. Yeah, draggy kids.
• 1:34:09
  Speaker 5: We own a.
• 1:34:10
  Speaker 3: Copy of it. It's like The Devil's Reign, you know,
• 1:34:12
  Speaker 3: where it's John Travolta and Ernest Borgnine. Satanists just burst
• 1:34:16
  Speaker 3: into flame at the end. Yeah. Satanists are always way
• 1:34:19
  Speaker 3: more threatening when they're on their way.
• 1:34:25
  Speaker 9: On their way here, you know, Oh, be, be wary.
• 1:34:28
  Speaker 9: Like the Satanists will gather here any minute now. And
• 1:34:30
  Speaker 9: then when they show up, it's just like a church congregation.
• 1:34:33
  Speaker 3: Yeah.
• 1:34:34
  Speaker 5: Somebody brought the potato salad.
• 1:34:36
  Speaker 7: And Satan's potato salad.
• 1:34:38
  Speaker 1: There are churches, you.
• 1:34:40
  Speaker 9: Know, that, that, that might make, make you more afraid than,
• 1:34:43
  Speaker 9: than your average Satanist group, like the Westboro people or.
• 1:34:45
  Speaker 3: Something like that.
• 1:34:46
  Speaker 12: Yeah.
• 1:34:47
  Speaker 1: Quite a few actually.
• 1:34:48
  Speaker 3: Yeah.
• 1:34:48
  Speaker 1: Quite a few perhaps. Um, do you think that there's
• 1:34:51
  Speaker 1: an overabundance of deviled eggs that, satanic potlucks that just
• 1:34:55
  Speaker 1: seems a little too on the.
• 1:34:57
  Speaker 6: Air better cookies because i always remember sunday schools and
• 1:35:01
  Speaker 6: churches always had those cookies that were not really good.
• 1:35:04
  Speaker 1: Yeah they were like cardboard yeah yeah.
• 1:35:08
  Speaker 9: Um yeah those lemon flavored things that are that's that's
• 1:35:11
  Speaker 9: another that's another range of questions that could be explored
• 1:35:14
  Speaker 9: in a in a comedy or something it's like well
• 1:35:16
  Speaker 9: what are satanists like when they're just hanging out you
• 1:35:18
  Speaker 9: know are they like Do they keep lamb's blood in
• 1:35:22
  Speaker 9: their refrigerator, or do they keep high sea and Mountain Dew?
• 1:35:25
  Speaker 9: They keep the purple stuff.
• 1:35:29
  Speaker 6: Well, say what you will about the worship of the
• 1:35:32
  Speaker 6: evil one, but it is ethos compared to nihilists.
• 1:35:38
  Speaker 1: At least they believe in something. It's better than those
• 1:35:43
  Speaker 1: darn nihilists.
• 1:35:44
  Speaker 5: A nihilist pigeon would be Pretty bleak.
• 1:35:51
  Speaker 1: Annihilist gathering. They stand there and.
• 1:35:54
  Speaker 3: They're like, eh.
• 1:35:55
  Speaker 6: They usually get together at Denny's, I think.
• 1:35:58
  Speaker 9: I've been to Denny's on occasion late at night, and
• 1:36:00
  Speaker 9: I've got to say, those are some bleak people.
• 1:36:04
  Speaker 1: I might be one of them.
• 1:36:05
  Speaker 7: Does that cover the black cat?
• 1:36:11
  Speaker 5: I was so disappointed. I thought, you know, Universal.
• 1:36:14
  Speaker 1: You were disappointed.
• 1:36:15
  Speaker 3: In the movie?
• 1:36:15
  Speaker 1: No, no, no, no.
• 1:36:17
  Speaker 5: I thought it was going to be, because I started
• 1:36:18
  Speaker 5: watching the first 15, 20 minutes. I thought, this is
• 1:36:21
  Speaker 5: going to be a perfect one for the kids, you know, universally.
• 1:36:25
  Speaker 7: It's not the right universal.
• 1:36:27
  Speaker 3: We're going to ask some questions about that one.
• 1:36:29
  Speaker 5: What's that?
• 1:36:30
  Speaker 3: They'll ask some questions about this.
• 1:36:31
  Speaker 1: The one that we're not ready for.
• 1:36:33
  Speaker 5: Yeah, I think Creature might be a little bit more long.
• 1:36:37
  Speaker 1: That's pretty fun.
• 1:36:38
  Speaker 3: Creature, Bride of Frankenstein.
• 1:36:40
  Speaker 1: The mummy ones were, they weren't too bad, really.
• 1:36:42
  Speaker 3: But yeah, Black Cat kind of stands out. There's really
• 1:36:44
  Speaker 3: no other film from that period that's like it at all.
• 1:36:46
  Speaker 6: Yeah, Abbott and Costello never meet the Black Cat.
• 1:36:52
  Speaker 9: At least not with that incredible overacting by Bela Lugosi
• 1:36:55
  Speaker 9: when he sees it.
• 1:36:56
  Speaker 1: Like, oh no!
• 1:36:58
  Speaker 5: Crashes into whatever is nearby to crash into.
• 1:37:03
  Speaker 7: All right. I guess if that rounds out the black cat,
• 1:37:07
  Speaker 7: we do have our crossover, so I guess one more time,
• 1:37:10
  Speaker 7: tell them where to find out more about Wonderfest, Dave.
• 1:37:14
  Speaker 3: Wonderfest.com, or we have a Facebook page as well, so
• 1:37:18
  Speaker 3: you can check us out under Wonderfest. I think it's
• 1:37:20
  Speaker 3: Wonderfest USA. Or just go to my Facebook page, and
• 1:37:24
  Speaker 3: you'll see lots of cross-references to it. That's on May
• 1:37:30
  Speaker 3: 17th through the 19th, coming up in about three weeks.
• 1:37:33
  Speaker 7: And thanks again to our friends at Dreamland Film Center
• 1:37:36
  Speaker 7: here for letting us loiter around. So they are at LouisvilleFilmSociety.org.
• 1:37:40
  Speaker 7: They do have Flyover Film Fest coming up pretty soon,
• 1:37:42
  Speaker 7: which is their sort of flagship, and.
• 1:37:45
  Speaker 1: They should have a lot of stuff coming up this year. So, yep,
• 1:37:47
  Speaker 1: check that out as well. Otherwise, that about does it.
• 1:37:51
  Speaker 1: We will return next week.
• 1:37:52
  Speaker 13: Same geek time, same geek feed.
• 1:37:53
  Speaker 7: Thanks for listening.
• 1:38:04
  Speaker 10: On a lonely night All the lonely nights, I stand alone.
• 1:38:27
  Speaker 10: Never out to love me, you're always gone.
• 1:38:31
  Speaker 17: Cause you're hanging out, working the rules.
• 1:38:36
  Speaker 10: All the men have come, looking for you.
• 1:38:40
  Speaker 17: You're a rebel now, don't give a damn. Always get up,
• 1:38:50
  Speaker 17: win the game.
• 1:38:52
  Speaker 10: I'm trying.
• 1:38:57
  Speaker 17: You won't realize until it's too late.
• 1:39:00
  Speaker 14: Don't understand why you insist on ways of living that's.
• 1:39:09
  Speaker 10: A dangerous lie.
• 1:39:10
  Speaker 14: Die at the time you think of waiting. Living on
• 1:39:23
  Speaker 14: the edge, not afraid to die.
• 1:39:26
  Speaker 10: Your heartbeat will slow, but not at all.
• 1:39:28
  Speaker 14: No matter what you step on, you'll know you'll die.
• 1:39:31
  Speaker 10: You're so together, boy, but just at a glance.
• 1:39:33
  Speaker 17: You're doing it right, you're giving it a chance. It's
• 1:39:41
  Speaker 17: a game of planning lies to get what you need.
• 1:39:47
  Speaker 10: So full of promises that you never keep. Don't you
• 1:39:52
  Speaker 10: try it.
• 1:40:03
  Speaker 17: We'll be right back.
• 1:40:36
  Speaker 10: Thank you.
• 1:41:03
  Speaker 14: Black Cat Black Cat Man, I don't understand the ways
• 1:41:11
  Speaker 14: in which you're lying.
• 1:41:17
  Speaker 10: I don't understand why you insist on being a man.
• 1:41:22
  Speaker 14: Such a dangerous lie.
• 1:41:55
  Speaker 10: And I want to stay or you're going to die.
• 1:42:13
  Speaker 9: I meant to them that their black church needs more
• 1:42:16
  Speaker 9: emblems of the evil one.
• 1:42:17
  Speaker 3: We need some blood red emblems on the walls. There's
• 1:42:20
  Speaker 3: a red filter on the walls.
• 1:42:23
  Speaker 1: Hanging bodies? Floating woman, perhaps?
• 1:42:27
  Speaker 3: God, I don't know.
• 1:42:30
  Speaker 7: Sidekick?
• 1:42:33
  Speaker 5: Fuck you!
• 1:42:35
  Speaker 3: Karloff does not deserve to smell my shit.
• 1:42:38
  Speaker 4: That limey cocksucker can rot in hell for all I care.
• 1:42:41
  Speaker 13: This episode is a production of Movie Meltdown, produced and
• 1:42:44
  Speaker 13: edited by The Oddity Studios, with opening music performed by
• 1:42:47
  Speaker 13: The Empires. For more on how to sponsor or support
• 1:42:50
  Speaker 13: the show, email producer at moviemeltdown.com.
• 1:42:53
  Speaker 10: Talk hard!