WEBVTT 1 00:00:05.120 --> 00:00:06.400 Oh he is Bote. 2 00:00:06.960 --> 00:00:07.960 It's showtime. 3 00:00:08.640 --> 00:00:10.560 People pay good money to see this movie. 4 00:00:10.919 --> 00:00:12.160 When they go out to a theater. 5 00:00:12.400 --> 00:00:16.160 They want cold sodas, hot popcorn, and no monsters in 6 00:00:16.239 --> 00:00:17.199 the protection booth. 7 00:00:17.359 --> 00:00:19.199 Everyone pretend podcasting isn't boring. 8 00:00:20.239 --> 00:00:26.399 Cut it off, turn it. 9 00:00:26.359 --> 00:01:21.439 Off, Nina m Max no right. 10 00:01:50.400 --> 00:01:54.000 Or let to l le Massy medi now legy Lemassi 11 00:01:55.879 --> 00:02:01.239 the la prima I can't be laid there. Miche gene 12 00:02:01.400 --> 00:02:03.079 gin No. 13 00:02:04.079 --> 00:02:12.000 Miami Americano, Michael stop lultimasters depas mon Moviemento mondiale almost. 14 00:02:11.680 --> 00:02:27.240 As well, Ky Michael Stophon philosopher. Yeah, you know, you 15 00:02:27.240 --> 00:02:35.960 know I can understand. Mas Jack. 16 00:02:38.199 --> 00:02:40.280 The Ves. 17 00:02:48.080 --> 00:02:49.919 Welcome to the Projection Booth. I'm your host. 18 00:02:50.000 --> 00:02:53.879 Mike White joined me once again as mister Spencer persons Hello, 19 00:02:54.479 --> 00:02:56.159 also joining us as mister David A. 20 00:02:56.280 --> 00:02:56.520 Heath. 21 00:02:56.719 --> 00:02:57.599 Glad to be here. 22 00:02:58.439 --> 00:03:01.639 We are continuing a month of Patreon requests with one 23 00:03:01.759 --> 00:03:05.280 from Andre du We recently had him on for our 24 00:03:05.319 --> 00:03:09.240 weekend episode with our nineteen sixty nine film from writer 25 00:03:09.360 --> 00:03:13.560 director Giuseppe Petroni Griffi, who also wrote the play and 26 00:03:13.759 --> 00:03:16.719 was joined by Daria Argento to write the screenplay for 27 00:03:16.960 --> 00:03:20.919 Love Circle, also known as Metti Juna sera accena or 28 00:03:21.039 --> 00:03:24.319 suppose one Night at Dinner. The film stars Jean Luis 29 00:03:24.360 --> 00:03:28.719 Trentigne as Michelle, every known writer who spins elaborate fantasies 30 00:03:28.759 --> 00:03:32.039 about an affair between his wife Nina played by Florinda 31 00:03:32.520 --> 00:03:36.840 Volcan and his best friend, a charismatic bisexual actor Max 32 00:03:36.879 --> 00:03:40.719 played by Tony Mussante. What he doesn't realize is that 33 00:03:40.759 --> 00:03:44.599 their relationship isn't just a figment of his imagination. It's 34 00:03:44.599 --> 00:03:47.800 been a reality for years. But the deception runs even deeper. 35 00:03:48.000 --> 00:03:51.719 The couple also are entangled with a fourth player, actually 36 00:03:51.759 --> 00:03:53.560 a fifth player too, but we'll talk about the fourth 37 00:03:53.599 --> 00:03:58.879 one for now, an enigmatic anarchist poet Jigglow named Rick 38 00:04:00.159 --> 00:04:05.439 Seeleno Capolicio, who resides in a decayed basement and shares 39 00:04:05.759 --> 00:04:10.439 feverish encounters with Bulkan beneath the shadow of a Nazi schwastika. 40 00:04:10.879 --> 00:04:11.479 We will be. 41 00:04:11.520 --> 00:04:13.400 Spoiling the movie as we go along, so I we 42 00:04:13.479 --> 00:04:15.599 do want anything ruined, please go ahead and turn off 43 00:04:15.599 --> 00:04:18.439 the podcast and come back after you've tracked down the film. 44 00:04:18.839 --> 00:04:20.000 It is out there. 45 00:04:20.319 --> 00:04:22.800 Spencer, When was the first time you saw Love Circle 46 00:04:22.879 --> 00:04:24.879 and what did you think The. 47 00:04:24.879 --> 00:04:27.040 First time I saw A Love Circle was last night, 48 00:04:27.639 --> 00:04:30.000 and I really love this movie. 49 00:04:30.720 --> 00:04:32.680 It's a crazy one. I guess I'm an easy win. 50 00:04:33.439 --> 00:04:37.920 Once you get this cinematographer to Nino della Colli going 51 00:04:38.000 --> 00:04:42.839 with Annio Morricone, those images and those sounds come together 52 00:04:42.959 --> 00:04:46.120 and pretty much anything is going to keep me pretty happy. 53 00:04:46.199 --> 00:04:48.519 But I really it's not one that I knew about 54 00:04:48.600 --> 00:04:50.680 at all, and it seems like it's actually pretty hard 55 00:04:50.720 --> 00:04:53.399 to get a hold of. I've seen one other film 56 00:04:53.439 --> 00:04:57.759 by this director, Griefy Identicit, which is also a big 57 00:04:57.800 --> 00:04:58.560 favorite of mine. 58 00:04:58.600 --> 00:05:01.199 I really that's probably my. 59 00:05:01.240 --> 00:05:05.240 Favorite Elizabeth Taylor movie ever when I first saw Identicate. 60 00:05:06.040 --> 00:05:08.120 The cinematography in that one is also. 61 00:05:08.240 --> 00:05:12.480 Really beautiful, and it's by Vittorio Serrao and is admittedly 62 00:05:12.519 --> 00:05:15.519 a step up from the cinematography in this movie, but 63 00:05:15.920 --> 00:05:18.399 very similar kinds of strategies where I really think that 64 00:05:18.959 --> 00:05:22.560 Griefi is a visual stylist who works really well with 65 00:05:23.000 --> 00:05:28.720 the best cinematographers in Italy. Deli Coley worked on a 66 00:05:28.720 --> 00:05:32.519 lot of my favorite films, a bunch of Pasolini, Rossollini, 67 00:05:32.639 --> 00:05:36.959 Lin old Vert, Mueller, Boloccio. The list goes on Sergia Leoni, 68 00:05:37.360 --> 00:05:42.480 Fellini really like a legendary kind of figure. The story, 69 00:05:42.600 --> 00:05:44.639 as is the case with a lot of Italian movies 70 00:05:44.639 --> 00:05:48.319 from this period, is sketchier. But I was really surprised 71 00:05:48.560 --> 00:05:50.680 and delighted by it, and I knew nothing. 72 00:05:51.360 --> 00:05:53.759 I really knew nothing going in, which I think is 73 00:05:53.800 --> 00:05:54.839 a good way to see this film. 74 00:05:55.160 --> 00:05:58.480 And David, how about yourself, I don't have the same feelings. 75 00:05:58.560 --> 00:06:04.160 I feel like this was perverted Barney episode I love her, 76 00:06:04.360 --> 00:06:07.839 she loves him, He loves her, he loves the other hymn. 77 00:06:07.879 --> 00:06:11.279 I will agree, though, that the trimmings were good on 78 00:06:11.319 --> 00:06:16.879 this film. As far as the Maricone music is almost 79 00:06:16.959 --> 00:06:20.360 as good as anything I think I've heard that wasn't 80 00:06:20.759 --> 00:06:23.959 in a Surgery of Leone film. I was very impressed 81 00:06:24.000 --> 00:06:26.199 with the soundtrack, which of course you expected to be 82 00:06:26.560 --> 00:06:30.480 from Marcone, but he was just on fire with this. 83 00:06:30.879 --> 00:06:35.439 The music fit the film perfectly. Unfortunately, I just had 84 00:06:35.560 --> 00:06:38.720 problems with the meat of the film, and I just 85 00:06:38.879 --> 00:06:45.319 felt like the premise of how exciting that this could 86 00:06:45.560 --> 00:06:49.480 possibly be. I felt like it was toned down a lot, 87 00:06:49.560 --> 00:06:54.560 and I don't know, I just wasn't totally followed by 88 00:06:55.360 --> 00:07:00.000 anything except the music and the cinematography is very fantastic. 89 00:07:00.439 --> 00:07:04.279 It's very claustrophobic. I felt like the first fifteen minutes 90 00:07:04.759 --> 00:07:08.920 was actually quite good and setting up for something great. Ultimately, 91 00:07:09.199 --> 00:07:12.959 my favorite part, I'm not gonna lie was Florinda a 92 00:07:12.959 --> 00:07:18.519 Bulkan when she winded herself off of the plural toy 93 00:07:18.600 --> 00:07:22.040 or what are those mets? What do they call those mattresses? Yeah, 94 00:07:22.040 --> 00:07:24.480 when she prailed off of the raft. That was actually 95 00:07:24.560 --> 00:07:29.240 the most exciting moment besides just listening to the Marcone soundtrack. 96 00:07:29.360 --> 00:07:34.279 I do find that the title love Circle definitely fits 97 00:07:34.360 --> 00:07:36.680 because it wasn't a love triangle at all. It was 98 00:07:36.759 --> 00:07:40.120 a circle. And I think that one other highlight would 99 00:07:40.160 --> 00:07:42.399 be the or two other right, it would be the 100 00:07:42.439 --> 00:07:47.600 conversations at dinner. Those were fun, but ultimately I just 101 00:07:47.639 --> 00:07:52.079 felt he was trying to go for something and he 102 00:07:52.240 --> 00:07:55.839 just didn't go near all the way, if any of 103 00:07:55.839 --> 00:07:59.079 that makes sense. I didn't hate it, but I definitely 104 00:07:59.160 --> 00:08:01.720 didn't love it. Those are my initiate takes. 105 00:08:02.240 --> 00:08:04.720 Yeah, I think I'm somewhere in the middle there. I 106 00:08:04.759 --> 00:08:08.759 definitely found it a little perplexing, but I think part 107 00:08:08.800 --> 00:08:12.759 of that is because I've talked about Franco Arcolli before 108 00:08:13.199 --> 00:08:16.680 the editor of this film, and he does a great 109 00:08:16.759 --> 00:08:21.319 job when it comes to circular storytelling and just the 110 00:08:21.319 --> 00:08:24.399 way that he will play things off of each other. 111 00:08:24.560 --> 00:08:27.519 We've talked about him on the Djengo Kill If You 112 00:08:27.600 --> 00:08:30.639 Live Shoot episode. We talked a little bit about him 113 00:08:30.839 --> 00:08:34.240 and his work on Death Laid an Egg, things like 114 00:08:34.720 --> 00:08:38.399 The Conformists. I think he really helps make The Conformist 115 00:08:38.799 --> 00:08:41.759 the movie that it is because of the nonlinear storytelling. 116 00:08:42.200 --> 00:08:42.759 He worked a. 117 00:08:42.679 --> 00:08:45.759 Few times with Griffy. A few times he did this 118 00:08:45.799 --> 00:08:48.279 one 'tis a pity, She's a whore. I'm not sure 119 00:08:48.320 --> 00:08:51.279 what else he did with them, but yet it's an 120 00:08:51.440 --> 00:08:57.519 interesting way of cutting it because it's definitely it moves 121 00:08:57.600 --> 00:09:01.399 back and forth, I think in time, but definitely in location. 122 00:09:02.039 --> 00:09:04.240 There's a lot of times where Trenton Ye will be 123 00:09:04.279 --> 00:09:09.039 telling a story and we'll basically transport the audience to 124 00:09:09.240 --> 00:09:12.480 that story, and we're not exactly sure if they're real 125 00:09:12.559 --> 00:09:14.919 stories or if they're lies, if they're just things that 126 00:09:15.000 --> 00:09:17.960 he's making up on the spot. Because it comes out 127 00:09:18.039 --> 00:09:20.519 pretty early in the movie he says, talking to his 128 00:09:20.600 --> 00:09:21.399 best friend. 129 00:09:21.320 --> 00:09:23.840 So I'm writing this news story. 130 00:09:23.919 --> 00:09:25.879 You wouldn't like it as a comedy and as a 131 00:09:25.919 --> 00:09:30.080 comedy about man whose wife is cheating on him with 132 00:09:30.159 --> 00:09:33.440 his best friend. And then from there he starts to 133 00:09:33.559 --> 00:09:37.120 spin out these stories like say, the man was away 134 00:09:37.480 --> 00:09:40.879 and the wife got very lonely and went to see 135 00:09:40.879 --> 00:09:43.080 the friend at the theater and then boom cut to 136 00:09:43.279 --> 00:09:46.720 the friend Max at the theater and I don't know 137 00:09:46.759 --> 00:09:48.720 if that's Nina that's supposed to be with him, but 138 00:09:49.600 --> 00:09:52.639 I think they meet up later and there's some kind 139 00:09:52.679 --> 00:09:55.320 of horse in around and stuff, and they're just like, Okay, 140 00:09:55.360 --> 00:09:57.519 is this really the way that it happened or is 141 00:09:57.600 --> 00:10:02.559 this just a figment of Michelle Jean Louis Twintinier's imagination. 142 00:10:03.320 --> 00:10:06.480 And I love the way that we'll just slide into 143 00:10:06.919 --> 00:10:10.519 like a character will walk into a fantasy sequence almost 144 00:10:10.519 --> 00:10:12.559 and it's just like, okay, this is interesting. I like 145 00:10:12.639 --> 00:10:15.279 that kind of stuff. I just don't know if I 146 00:10:15.360 --> 00:10:17.639 needed two hours and two minutes of it, because it 147 00:10:17.720 --> 00:10:21.720 just seems to go on for quite a while, and 148 00:10:21.759 --> 00:10:24.639 after after about an hour or so, I was just like, 149 00:10:25.240 --> 00:10:28.480 wait a second, who is this person again? I just 150 00:10:28.519 --> 00:10:33.120 felt like it felt like like Giuseppa gets introduced at 151 00:10:33.120 --> 00:10:36.080 one point, who is another friend of theirs, but then 152 00:10:36.559 --> 00:10:39.559 they I think they were talking about her beforehand. It's just, oh, 153 00:10:39.600 --> 00:10:42.279 you should get you Zeppa pregnant and then leave her. 154 00:10:42.320 --> 00:10:42.840 And it's like, it. 155 00:10:42.879 --> 00:10:45.960 Strikes you about Max that he should get this woman 156 00:10:46.080 --> 00:10:48.679 pregnant and then abandon her, and it's I don't know 157 00:10:48.720 --> 00:10:51.279 exactly what's going on, but that's one of those dinner 158 00:10:51.320 --> 00:10:55.799 conversations that you're talking about. And the beautiful cinematography, especially 159 00:10:55.840 --> 00:10:58.279 the colors in front of their faces, the way the 160 00:10:58.320 --> 00:11:01.000 camera's kind of zipping around and flipping back and forth 161 00:11:01.039 --> 00:11:04.960 between these people is really elegantly shot and very well 162 00:11:04.960 --> 00:11:07.159 put together. I just don't know if I was as 163 00:11:07.200 --> 00:11:09.720 compelled by the material as I should have been. 164 00:11:10.440 --> 00:11:13.080 I agree that it's too long, but I am actually 165 00:11:13.080 --> 00:11:15.679 compelled by a lot of what's going on and the 166 00:11:15.720 --> 00:11:19.240 story of the sort of meta levels and the slipperiness 167 00:11:19.679 --> 00:11:24.919 of what might be the writer's imagination versus reality, and 168 00:11:24.919 --> 00:11:28.399 that the movie, especially because it's got this cinematography that's 169 00:11:28.480 --> 00:11:32.840 like constantly moving and circling in an editorial style that 170 00:11:32.919 --> 00:11:36.799 blends together locations, and even some great camera tricks and 171 00:11:36.840 --> 00:11:40.919 staging tricks where a scene will start out with three 172 00:11:41.000 --> 00:11:44.919 characters talking and in the midst of it, two of 173 00:11:44.960 --> 00:11:48.799 them have completely disappeared, and you realize over the course 174 00:11:48.799 --> 00:11:52.320 of a long take that we've gone from a fantasy 175 00:11:52.440 --> 00:11:53.480 into reality. 176 00:11:54.000 --> 00:11:55.759 But it doesn't always give cues for that. 177 00:11:55.879 --> 00:11:58.080 And I guess I'm an easier win for that kind 178 00:11:58.080 --> 00:12:01.919 of a thing than you guys are. And I think 179 00:12:02.000 --> 00:12:06.279 it also speaks to a lot of very indebted to Pirandello, 180 00:12:06.440 --> 00:12:10.600 and even put some Pirandello right in the movie at 181 00:12:10.639 --> 00:12:14.559 one point. And so this play of reality versus fiction, 182 00:12:14.679 --> 00:12:18.000 the reality of fiction. And then I will say that 183 00:12:18.159 --> 00:12:21.200 just as a character, I felt so bad for Rick 184 00:12:21.320 --> 00:12:28.200 throughout this literally poor but obviously also artistically engaged boy 185 00:12:28.279 --> 00:12:29.879 toy for these rich people. 186 00:12:30.519 --> 00:12:32.320 And he's a compelling sort of character. 187 00:12:32.360 --> 00:12:34.840 And at one point one of the characters I forget 188 00:12:34.879 --> 00:12:37.399 who says he's the only one of us who is 189 00:12:37.440 --> 00:12:40.799 who he is. And there's something very interesting about that, 190 00:12:40.960 --> 00:12:45.240 given his particular position, because there's also that sort of 191 00:12:45.279 --> 00:12:48.960 sense that the jiggolow the sex worker has to put 192 00:12:49.000 --> 00:12:53.120 on love and is acting and there's fiction going on 193 00:12:53.720 --> 00:12:58.480 while other facts are also happening. The sense that he 194 00:12:58.519 --> 00:13:02.039 could be the most authentic of all of them is interesting. 195 00:13:02.080 --> 00:13:05.120 I'll also say where it ends up. And the philosophical 196 00:13:05.159 --> 00:13:07.679 stuff that they chew on throughout for me is like 197 00:13:07.759 --> 00:13:13.720 anti winter Light. It's as confronted by imminent nuclear holocaust. 198 00:13:14.279 --> 00:13:17.399 Their notion is let's just get together and we're all 199 00:13:17.399 --> 00:13:21.279 gonna fuck. There is something about that time and place 200 00:13:21.559 --> 00:13:24.759 and that kind of response. As much as it's like 201 00:13:25.200 --> 00:13:28.480 a bunch of boogie people, I find to be a 202 00:13:28.480 --> 00:13:32.159 compelling and less expected sort of reaction to things. The 203 00:13:32.200 --> 00:13:36.279 libertinism under the circumstances, I think is a kind of 204 00:13:37.039 --> 00:13:41.200 an interesting social position to examine. 205 00:13:41.279 --> 00:13:43.360 I get all what you're saying, and I think that 206 00:13:43.480 --> 00:13:46.720 you're bringing some solid points to it. I think I'm 207 00:13:46.840 --> 00:13:49.559 like Mike though, or to just like feel like overall 208 00:13:50.120 --> 00:13:53.799 the meat wasn't wasn't enough. And I can also say 209 00:13:54.399 --> 00:13:59.679 that he watched another production by him called The Divine Nymph. 210 00:14:00.240 --> 00:14:03.960 It was almost a replica of this one with Terrence Stamp, 211 00:14:04.519 --> 00:14:07.879 and it is so annoying because it's Terence Stamp. What's 212 00:14:07.879 --> 00:14:11.600 not Arren Stampswice. That drove me crazy. But anyway, The 213 00:14:11.639 --> 00:14:16.279 Divine Nymph was actually probably less meaty this one, and 214 00:14:16.360 --> 00:14:18.840 I do think one of the interesting things about it 215 00:14:18.879 --> 00:14:25.480 is there's an underlying concept here of be careful when 216 00:14:26.120 --> 00:14:29.440 your feelings get involved. I feel like the film is 217 00:14:29.480 --> 00:14:32.480 a bit of a cautionary tale, Like Bob and Carrold 218 00:14:32.519 --> 00:14:35.200 Ted and Alice spoiler alert. At the end, they're like, 219 00:14:35.519 --> 00:14:36.960 is this really what we should be doing? 220 00:14:37.039 --> 00:14:37.399 I don't know. 221 00:14:37.399 --> 00:14:40.960 I don't feel right about this. There's something about when 222 00:14:40.960 --> 00:14:44.960 you have all this circling like that's going on, somebody's 223 00:14:45.000 --> 00:14:47.080 bound to have some hurt feeling. And I think there 224 00:14:47.159 --> 00:14:50.679 is an underlying concept there. And if you watch The 225 00:14:50.759 --> 00:14:53.679 Divine Nymph, which I would suggest for you, Spencer, because 226 00:14:53.720 --> 00:14:56.440 if you love this, you'll at least like the Divine nim. Yeah, 227 00:14:56.480 --> 00:14:59.600 I think that there's a somewhat of a cautionary tale 228 00:14:59.639 --> 00:15:03.279 in there, a little bit of morality. What looks on 229 00:15:03.320 --> 00:15:05.360 the service to be a completely depraved film. 230 00:15:06.120 --> 00:15:08.879 Well, there's a really nice line in the last scene 231 00:15:09.519 --> 00:15:12.440 that works in two ways that they talk about the 232 00:15:12.759 --> 00:15:15.720 table and the round table, and even before this scene 233 00:15:15.759 --> 00:15:18.840 there's a reference to King Arthur, and of course, given 234 00:15:18.919 --> 00:15:23.519 the intertwined natures, you can't help but think of Arthur 235 00:15:23.559 --> 00:15:29.360 and Lancelot and Gwenevere. But Michelle Jean Jean Tritagnan. He 236 00:15:30.039 --> 00:15:32.720 man my French teacher's mad at me right now. He 237 00:15:32.799 --> 00:15:35.320 at one point says, it's not a table, it's a raft. 238 00:15:36.000 --> 00:15:37.879 And I think this plays in a couple of ways. 239 00:15:37.960 --> 00:15:40.320 One this idea that really develops of the course of 240 00:15:40.360 --> 00:15:43.600 that particular scene, that this is a life raft in 241 00:15:43.600 --> 00:15:46.440 a world where they are perceiving, whether they're correct or not, 242 00:15:47.240 --> 00:15:51.120 apocalyptic forebodings, that they're taking this as a life raft. 243 00:15:51.159 --> 00:15:54.600 But it also visually takes me back to that incredible 244 00:15:55.399 --> 00:15:59.759 scene of Florinda Bocan on the raft, which is so 245 00:16:00.000 --> 00:16:02.879 beautifully shot. I do think it's also worth talking about 246 00:16:02.919 --> 00:16:06.120 the eroticism in the film, because it isn't just a 247 00:16:06.159 --> 00:16:07.679 matter that these folks are hooking up. 248 00:16:08.120 --> 00:16:09.039 And I think there's. 249 00:16:08.840 --> 00:16:13.639 Some interesting careful qualities about this because there's the eroticism. 250 00:16:13.679 --> 00:16:18.799 There's maybe less skin in this than other Italian movies 251 00:16:18.840 --> 00:16:22.279 and especially like Italian exploitation movies of the period, But 252 00:16:22.559 --> 00:16:26.840 the way that the sex is photographed and dramatized by 253 00:16:26.879 --> 00:16:28.960 following hands, for instance. 254 00:16:29.200 --> 00:16:30.440 Is incredibly hot. 255 00:16:30.960 --> 00:16:34.000 It's a much hotter movie than it should be, considering 256 00:16:34.120 --> 00:16:37.240 even like mores of the time. And I do wonder 257 00:16:37.279 --> 00:16:40.320 if one of the reasons for that is because it 258 00:16:40.480 --> 00:16:43.559 was perceived at the time as scandalous enough. It says 259 00:16:43.600 --> 00:16:46.440 that these dudes do have sex at pivot point in 260 00:16:46.480 --> 00:16:50.360 the film, the menage atois, but it really dances around 261 00:16:50.360 --> 00:16:54.159 it very carefully, and I think actually remains pretty hot 262 00:16:54.240 --> 00:16:57.639 while doing that. I'm actually impressed how much it works 263 00:16:57.759 --> 00:17:00.639 at that point in the film. Also in that I 264 00:17:00.679 --> 00:17:04.880 really think Tony Mussante's performance I don't quite buy him 265 00:17:04.920 --> 00:17:06.400 as fully bisexual. 266 00:17:06.880 --> 00:17:09.519 His performance and the way that things have staged for him, 267 00:17:09.720 --> 00:17:12.079 and this I think actually works within the film. 268 00:17:12.319 --> 00:17:15.160 But I find this anapsis of the film really funny 269 00:17:15.200 --> 00:17:18.200 when it describes him as bisexual, because I think, I 270 00:17:18.200 --> 00:17:21.680 don't know, his sexuality seems a lot more like he's 271 00:17:21.720 --> 00:17:25.000 maybe there to watch or something. He does not feel 272 00:17:25.039 --> 00:17:28.119 fully comfortable, And I don't think that's necessarily bad. I 273 00:17:28.160 --> 00:17:31.720 think that's actually like interesting in the mix, but maybe 274 00:17:31.759 --> 00:17:34.359 not totally intentional. But I do think that the movie 275 00:17:34.400 --> 00:17:36.519 holds back just a little bit in order to get 276 00:17:36.519 --> 00:17:39.559 away with its big you know, the big guns of 277 00:17:39.599 --> 00:17:43.240 its provocation, which at the time were difficult and even 278 00:17:43.279 --> 00:17:46.400 now like in the Year of Challengers, which I found 279 00:17:46.400 --> 00:17:50.559 to be pretty chaste. Actually, I was very surprised at that, 280 00:17:50.839 --> 00:17:53.720 and it is so I think even now there's a 281 00:17:53.759 --> 00:17:56.759 bit of a third rail that certainly back at the 282 00:17:56.799 --> 00:17:58.599 time that this was made, is in play. 283 00:17:59.279 --> 00:18:03.359 What's funny because Griffy's previous film that he wrote from 284 00:18:03.720 --> 00:18:06.960 sixty two wrote and directed, because he wrote quite a bit. 285 00:18:07.119 --> 00:18:09.960 I mentioned before, he's a playwright as well, so he 286 00:18:10.480 --> 00:18:13.319 had a bunch of stuff that was changed from plays 287 00:18:13.359 --> 00:18:16.839 to movies. The one that he directed before this was 288 00:18:16.880 --> 00:18:19.920 from sixty two. It is called El Mar and there's 289 00:18:20.000 --> 00:18:23.720 a bisexual relationship in that one as well. And I 290 00:18:23.839 --> 00:18:27.799 agree with you that really I don't feel that Max 291 00:18:27.920 --> 00:18:30.440 is that bisexual, but yeah, he definitely seems to be 292 00:18:30.519 --> 00:18:33.480 down to watch what's going on. It reminded me a 293 00:18:33.519 --> 00:18:36.960 little bit of Radley Metzger and Radley Metzger's score with 294 00:18:37.039 --> 00:18:40.880 the whole bisexuality and these multiple couples and stuff, because really, 295 00:18:40.920 --> 00:18:42.720 at the end of the day, you've got like the 296 00:18:42.799 --> 00:18:45.839 five people, and you talked about there's really the one 297 00:18:45.880 --> 00:18:49.319 outsider with Rick who doesn't match that when it comes 298 00:18:49.359 --> 00:18:52.359 to their social standing or any of that stuff. I 299 00:18:52.440 --> 00:18:54.279 kept thinking that Rick was going to go on some 300 00:18:54.319 --> 00:18:57.279 sort of rampage at the end of this and chill everyone, 301 00:18:57.440 --> 00:19:01.359 just because he seems so unhinged. I's got Oh I'm 302 00:19:01.400 --> 00:19:05.000 so cold in this apartment. Oh here, take this Nazi 303 00:19:05.000 --> 00:19:06.920 flag and wrap yourself. 304 00:19:06.519 --> 00:19:08.000 In it and I'll keep you war. 305 00:19:08.119 --> 00:19:11.279 Could we get more provocative than a Nazi flag for 306 00:19:11.359 --> 00:19:12.599 you to wrap yourself in. 307 00:19:12.839 --> 00:19:14.319 It's very strong imagery. 308 00:19:14.359 --> 00:19:17.640 His whole apartment set is very interesting, especially we've got 309 00:19:17.880 --> 00:19:21.400 him firing that gun that I guess it's a picture of. 310 00:19:21.359 --> 00:19:23.599 Her in the opening scene. 311 00:19:23.720 --> 00:19:25.759 Yes, oh yeah, and yeah, the. 312 00:19:25.720 --> 00:19:28.240 Whole thing of her try and find the apartment or 313 00:19:28.319 --> 00:19:30.599 going to the apartment. You've got the more conic score 314 00:19:30.680 --> 00:19:34.000 going during the credits and everything. It was really striking, 315 00:19:34.039 --> 00:19:36.240 and there are many moments in this film that are 316 00:19:36.359 --> 00:19:40.279 equally striking to this. And yeah, it's interesting too because 317 00:19:40.319 --> 00:19:43.720 when you're seeing them together, you're like, is this the future? 318 00:19:43.799 --> 00:19:46.240 Is this the past? Because they're cutting away from that 319 00:19:46.359 --> 00:19:49.000 and cutting to her, and then they'll cut back to it, 320 00:19:49.480 --> 00:19:53.720 and we're getting more information about the relationships than they're 321 00:19:53.799 --> 00:19:57.599 even talking about. We obviously start to see the whole 322 00:19:57.640 --> 00:20:01.680 setup of the lover's triangle, but then we start seeing 323 00:20:01.799 --> 00:20:03.920 oh no, there's a fourth point. Oh no, there's actually 324 00:20:03.920 --> 00:20:06.000 a fifth point to this, and like you said, it's 325 00:20:06.119 --> 00:20:07.640 much more of a rounded thing. And I think the 326 00:20:07.680 --> 00:20:10.160 whole idea of them going to a boxing match where 327 00:20:10.160 --> 00:20:13.480 you've got the squared circle is pretty telling as well. 328 00:20:13.480 --> 00:20:16.240 And I'd like these metaphors that are going on. I'm 329 00:20:16.240 --> 00:20:18.559 always curious when it comes to plays that have been 330 00:20:18.599 --> 00:20:22.880 turned into movies, do they lose the play feel to it. 331 00:20:22.960 --> 00:20:25.680 There are certain movies where you're just like, oh my god, 332 00:20:25.720 --> 00:20:28.519 this was such a play, like Six Degrees of Separation. 333 00:20:28.640 --> 00:20:31.359 You're just like, all the actors are talking to the 334 00:20:31.400 --> 00:20:33.680 back row, and you're just like, this is a movie. 335 00:20:33.799 --> 00:20:36.480 You can do a little bit smaller than this. And 336 00:20:36.519 --> 00:20:39.079 then there are other movies, even with big performances like 337 00:20:39.160 --> 00:20:42.160 Jack Nicholson, like A Few Good Men, where you're like. 338 00:20:42.160 --> 00:20:43.319 Oh no, this was a movie. 339 00:20:43.440 --> 00:20:46.119 Yes, it was based on a play, obviously a courtroom drama, 340 00:20:46.240 --> 00:20:49.160 but I really feel like they did a good job 341 00:20:49.240 --> 00:20:51.839 taking it out of the theater and putting it into 342 00:20:52.079 --> 00:20:52.880 the movie theater. 343 00:20:53.720 --> 00:20:57.160 Yeah, And that's where the style of cinematography I think 344 00:20:57.279 --> 00:21:00.640 is really key, because the performances are off kind of 345 00:21:00.720 --> 00:21:04.880 screechy in the film, but they fit together with this 346 00:21:05.039 --> 00:21:08.640 kind of florid camera work that keeps moving around them 347 00:21:08.680 --> 00:21:12.720 and dancing with them, so that in particular, Bolkhan is 348 00:21:13.039 --> 00:21:17.279 she's beautiful, just like throwing her hair around all over 349 00:21:17.440 --> 00:21:20.240 this movie as the camera follows her through a room 350 00:21:20.279 --> 00:21:20.960 and she's got to. 351 00:21:20.960 --> 00:21:21.680 Yell at people. 352 00:21:22.039 --> 00:21:24.319 But yeah, so there is there's like a there's a 353 00:21:24.319 --> 00:21:29.160 certain theatricality that stays, but the cinematic form and all 354 00:21:29.200 --> 00:21:33.680 the beautiful locations and the intense arc direction and everything 355 00:21:34.160 --> 00:21:38.680 also really contribute to a feeling of it's the heightened 356 00:21:38.759 --> 00:21:41.480 quality is more cinematic than theatrical. 357 00:21:42.279 --> 00:21:45.279 I definitely was seen that during that boxing match scene 358 00:21:45.319 --> 00:21:49.400 where they do a really good job of making the 359 00:21:49.480 --> 00:21:53.079 crowd around them seem much bigger than it needed to be, 360 00:21:53.079 --> 00:21:55.839 because generally when you do, oh, here's the people at 361 00:21:55.839 --> 00:21:59.079 the boxing match, and obviously they weren't at the boxing match. 362 00:21:59.119 --> 00:22:01.640 But with that, it's like you see her stand up 363 00:22:01.640 --> 00:22:03.880 and leave and you're like, oh, that actually looks like 364 00:22:03.920 --> 00:22:06.240 the actress is leaving. You can see that they were 365 00:22:06.240 --> 00:22:09.079 actually in the location at some point, and then when 366 00:22:09.079 --> 00:22:11.720 they come back to them, they're having their conversation. During 367 00:22:11.759 --> 00:22:14.599 this fight, they have a lot of people behind them. 368 00:22:14.640 --> 00:22:17.839 It's not just like two three people or just the knees. 369 00:22:18.039 --> 00:22:20.319 You get the stands and everything, so you can barely 370 00:22:20.359 --> 00:22:22.240 see the people that are behind them. 371 00:22:22.319 --> 00:22:23.240 But it's oh no, this. 372 00:22:23.200 --> 00:22:25.480 Is actually like a pretty good crowd around them, and 373 00:22:25.519 --> 00:22:27.680 the crowd is doing some really good acting as far 374 00:22:27.759 --> 00:22:30.240 as reacting to that fight, and I'm like, oh, okay, 375 00:22:30.480 --> 00:22:32.119 this actually seems very legit. 376 00:22:32.480 --> 00:22:35.880 I forget whether it was Max or Mikkel. I feel 377 00:22:35.880 --> 00:22:37.920 like I'm gonna be wrong whichever one I commit to. 378 00:22:38.559 --> 00:22:40.960 Walks out of the scene, and the camera follows them 379 00:22:41.000 --> 00:22:44.680 through a lot of space out of the arena and 380 00:22:44.720 --> 00:22:47.000 then also down the hall and everything. 381 00:22:47.200 --> 00:22:47.759 The way that. 382 00:22:47.720 --> 00:22:51.960 It's conceiving of the space constantly keeps giving us a 383 00:22:52.000 --> 00:22:57.039 lot of atmosphere and psychological quality. As I'm seeing this 384 00:22:57.079 --> 00:23:01.240 guy walk out and around and when I can't remember 385 00:23:01.359 --> 00:23:04.319 which of the characters it was, it's partly because of 386 00:23:04.359 --> 00:23:07.759 the I think, a semi deliberate confusion. Maybe it's not 387 00:23:07.839 --> 00:23:11.680 all deliberate confusion, but as semi deliberate confusion that's being 388 00:23:11.720 --> 00:23:15.240 created that sort of conflates these people into each other. 389 00:23:15.839 --> 00:23:18.880 But the yeah, the act of following opens up a 390 00:23:18.960 --> 00:23:23.440 kind of psychological space for the character and the relationships, 391 00:23:23.599 --> 00:23:25.519 and that comes at a cost when you're doing a 392 00:23:25.519 --> 00:23:29.160 big crowd scene. That's, I got to say, pretty expensive 393 00:23:29.200 --> 00:23:32.279 shot for a movie that's based on a play that 394 00:23:32.359 --> 00:23:36.000 basically has five main characters who end up all around 395 00:23:36.039 --> 00:23:37.279 a dinner table at the end. 396 00:23:37.640 --> 00:23:39.640 But yeah, I gotta say hooray for cinema. 397 00:23:40.200 --> 00:23:43.160 This is one of those movies that reminds you not 398 00:23:43.200 --> 00:23:46.119 everything has to be Hollywood. Will you watch it? Then? 399 00:23:46.160 --> 00:23:49.759 I my own podcast, I talk about movies of all kinds, 400 00:23:49.799 --> 00:23:53.839 and sometimes when I go out and left field that 401 00:23:53.920 --> 00:23:56.519