WEBVTT 1 00:00:00.120 --> 00:00:03.720 Hey, this is Emily sowderback of Scarecrow Videos Viva Physical Media. 2 00:00:03.759 --> 00:00:05.599 All right, this is Matt Lynch, co host of Viva. 3 00:00:05.960 --> 00:00:08.359 The Projection Booth. Podcast is sponsored by Scarecrow. 4 00:00:08.640 --> 00:00:11.480 Try out Scarecrow Videos rant by mail service. Choose from 5 00:00:11.480 --> 00:00:14.519 over one hundred and fifty five thousand films and get 6 00:00:14.560 --> 00:00:17.960 Blu rays, four k's and DVDs all delivered directly to 7 00:00:18.000 --> 00:00:18.399 your door. 8 00:00:18.800 --> 00:00:27.239 Visit Scarecrow Video dot Org. Today Old You is bot. 9 00:00:27.600 --> 00:00:28.800 It show die. 10 00:00:29.280 --> 00:00:31.199 People pay good money to see this movie. 11 00:00:31.559 --> 00:00:32.759 When they go out to a theater. 12 00:00:33.039 --> 00:00:36.799 They want cold sodas, hot popcorn, and no monsters in 13 00:00:36.840 --> 00:00:37.799 the projection Booth. 14 00:00:37.960 --> 00:00:40.079 Everyone pretend podcasting isn't boring. 15 00:00:40.880 --> 00:01:20.280 Cut it off, no sh jod. 16 00:01:22.920 --> 00:02:35.240 I, Oh God, A thousand miles your own alone. 17 00:02:42.560 --> 00:02:46.680 Anyway, you'll count back home some day. 18 00:02:47.919 --> 00:02:55.759 You'll count back home some day. This Christmas will steal 19 00:02:56.000 --> 00:02:56.680 the up. 20 00:03:00.400 --> 00:03:02.360 In Insta. 21 00:03:04.680 --> 00:03:09.120 Thankstations, Star Shot. 22 00:03:14.800 --> 00:03:20.680 Back Sunday, You're come Back consuns. 23 00:03:28.240 --> 00:03:30.800 Etations its. 24 00:03:36.199 --> 00:03:48.520 Us It's West Story Coming Back covers as cost to. 25 00:03:51.960 --> 00:03:54.560 Us who. 26 00:03:59.159 --> 00:04:01.319 Welcome to the project Both. I'm your host. Mike White 27 00:04:01.360 --> 00:04:03.520 joining once again as mister of Spencer Parsons. 28 00:04:03.960 --> 00:04:04.199 Hello. 29 00:04:05.360 --> 00:04:08.400 Also back in the booth is mister Joe odbur Hello, 30 00:04:08.520 --> 00:04:11.759 how's it going? We are kicking off a month discussing 31 00:04:11.840 --> 00:04:15.439 Westerns with a look at Luccio Fulci's Massacre Time, also 32 00:04:15.599 --> 00:04:20.120 known as Le Culte cantarano, Les morte ifeu tiempo de 33 00:04:20.279 --> 00:04:25.680 massacre as in the Colt Singh's Death Massacre Time, also 34 00:04:25.879 --> 00:04:28.439 known as The Brute and the Beast. The film stars 35 00:04:28.519 --> 00:04:32.160 Franco Neiro hot Off of Django as Tom Corbett. He's 36 00:04:32.199 --> 00:04:34.879 a prospector who gets summoned to come home. The mystery 37 00:04:35.000 --> 00:04:37.800 is who summoned him. Was it his drunk brother Jeff 38 00:04:37.839 --> 00:04:41.319 played by George Hilton, Was it his surgate mother Mercedes, 39 00:04:41.720 --> 00:04:44.319 Was it the patriarch of the Carrodine family, or how 40 00:04:44.319 --> 00:04:46.600 about the man whose name is on every building in 41 00:04:46.759 --> 00:04:50.759 town in Laramie, mister Scott. Laramie is besieged by mister 42 00:04:50.800 --> 00:04:53.800 Scott and his men, including Scott's son Junior, played by 43 00:04:53.920 --> 00:04:57.000 Nino Questel Nuelvo, a dandy in a white suit who 44 00:04:57.120 --> 00:04:59.800 loves to use a whip, and oh boy, is he fun. 45 00:05:00.279 --> 00:05:03.639 We will be spoiling Mastacre Times, mystery, and everything else 46 00:05:03.639 --> 00:05:05.680 about the film as we discuss it. So if you 47 00:05:05.720 --> 00:05:07.759 don't want anything ruin, turn off the podcast and come 48 00:05:07.839 --> 00:05:10.319 back after you've seen it. You will not be sorry. 49 00:05:10.639 --> 00:05:13.000 So Joe, when it was the first time you saw Massacre? 50 00:05:13.120 --> 00:05:13.279 Time? 51 00:05:13.399 --> 00:05:14.279 And what did you think? 52 00:05:14.879 --> 00:05:16.560 I saw for the first time in the last couple 53 00:05:16.600 --> 00:05:19.319 of weeks just for this show. The only Filchi Western 54 00:05:19.360 --> 00:05:22.639 I've seen before is for The Apocalypse, and that's when 55 00:05:22.680 --> 00:05:26.439 I really like that's Scott Thomas Millian as well is 56 00:05:26.800 --> 00:05:30.000 a really particularly good baddie in that one, and a 57 00:05:30.079 --> 00:05:32.120 fabio testy I think in that as well, isn't he 58 00:05:32.759 --> 00:05:35.160 So Yeah, first time watch for me. I'm a big 59 00:05:35.240 --> 00:05:38.199 filch fan, and the more films of his watch the 60 00:05:38.279 --> 00:05:42.439 more I enjoy, the more you get to appreciate his 61 00:05:42.519 --> 00:05:45.279 shortcoms as well as what is excellent at and I 62 00:05:45.360 --> 00:05:49.439 think both are really in evidence here, So great one 63 00:05:49.480 --> 00:05:52.639 to watch, very interesting and Spencer, how about yourself? 64 00:05:53.399 --> 00:05:56.759 This is my first time watching and first full Chi western. 65 00:05:56.879 --> 00:06:00.639 I'm a big fan of the horror but had not 66 00:06:00.759 --> 00:06:04.120 seen any of the Westerns before and I really love 67 00:06:04.240 --> 00:06:06.480 this movie. I'm really excited to talk about it. 68 00:06:07.240 --> 00:06:09.199 Yeah, this was the first time watch for me as well. 69 00:06:09.279 --> 00:06:11.319 It was one of those where I don't even know 70 00:06:11.439 --> 00:06:13.439 how it came on my radar. I might have been 71 00:06:13.480 --> 00:06:16.360 doing a search as far as the best spaghetti westerns. 72 00:06:16.519 --> 00:06:19.639 Just wanted to get back and do some more Western talk. 73 00:06:19.839 --> 00:06:24.439 And I was not disappointed by this movie whatsoever. I 74 00:06:24.560 --> 00:06:27.480 can't say that I've seen a ton of Fulcy films. 75 00:06:27.560 --> 00:06:30.600 I'm pretty sure I have seen Zombie, and I don't 76 00:06:30.680 --> 00:06:34.639 know what others of his I've seen. Just for some reason, 77 00:06:35.720 --> 00:06:38.480 I just always associate him with being very trashy, even 78 00:06:38.519 --> 00:06:40.720 though I don't know if he is. Necessarily. 79 00:06:40.839 --> 00:06:42.720 I think that's not entirely unfair. 80 00:06:43.519 --> 00:06:45.959 This is part of what we love about mister Fultchi. 81 00:06:47.279 --> 00:06:50.959 The trashiness is that it's a feature, not a bug. 82 00:06:51.680 --> 00:06:53.759 I don't find this film to be very trashy at all. 83 00:06:53.839 --> 00:06:54.319 I love it. 84 00:06:54.560 --> 00:06:56.920 This one's not very trashy, no no, And I love 85 00:06:57.000 --> 00:07:00.439 the violence. Apparently it was controversial at the time because Lens, 86 00:07:00.480 --> 00:07:03.279 But man, I'm here for it from the very beginning 87 00:07:03.639 --> 00:07:06.759 where you have this kind of most dangerous game type 88 00:07:06.759 --> 00:07:09.279 of thing where they release a peasant and have him 89 00:07:09.319 --> 00:07:13.720 torn apart by dogs. Okay, yeah, I'm here for it. 90 00:07:13.839 --> 00:07:17.399 So immediately we're getting some class struggle here and I'm yeah, 91 00:07:17.839 --> 00:07:20.480 I love it. And we also get introduced to Nino 92 00:07:20.560 --> 00:07:26.199 Castel Nuolvo as Junior, and I love his performance and 93 00:07:26.639 --> 00:07:29.040 this kind of creepy grin he's got the way he 94 00:07:29.240 --> 00:07:31.360 cocks his head throughout most of it. He kind of 95 00:07:32.279 --> 00:07:36.639 has his eyes hooded, and he just has this creep 96 00:07:36.879 --> 00:07:39.639 factor to him. A thousand times you. 97 00:07:39.680 --> 00:07:42.800 Can tell why he started first seen with this guy 98 00:07:43.160 --> 00:07:46.319 rather than any of the other protagonists of this film. 99 00:07:47.120 --> 00:07:51.079 He really overshadows the person who I guess is supposed 100 00:07:51.079 --> 00:07:53.360 to also be the villain, which is his father, but 101 00:07:53.560 --> 00:07:56.199 he is so much more in charge of everything than 102 00:07:56.240 --> 00:07:56.839 his own dad. 103 00:07:57.839 --> 00:07:59.600 Well, so one of the things about this as a 104 00:07:59.680 --> 00:08:05.439 shift to horror is that he's at minimum extremely monstrous, 105 00:08:05.680 --> 00:08:09.879 if not totally a monster. I'm not the biggest fan 106 00:08:10.000 --> 00:08:13.040 of Westerns, to be honest. It takes a little bit 107 00:08:13.079 --> 00:08:15.959 of work or hearing that it's a foulcy to get 108 00:08:16.000 --> 00:08:19.959 me to watch a Western, but I will say that 109 00:08:20.079 --> 00:08:24.240 my tastes run toward the Westerns that start to include horror, 110 00:08:24.360 --> 00:08:26.279 because one of the things that bothers me about a 111 00:08:26.319 --> 00:08:29.680 lot of Westerns is the sort of narrative of righteous violence, 112 00:08:29.720 --> 00:08:34.000 which I just don't believe in period. I think it's 113 00:08:34.080 --> 00:08:39.000 a pernicious kind of mythology, and that is very has 114 00:08:39.080 --> 00:08:42.279 been very culturally harmful in the United States. So it's 115 00:08:42.320 --> 00:08:45.639 really might seem strange for me to say, oh, I'm 116 00:08:45.679 --> 00:08:49.120 on board with this movie where it's not so much 117 00:08:49.960 --> 00:08:55.200 about good and evil, it's more about bad and the badder. Obviously, 118 00:08:55.320 --> 00:08:59.320 there are conditions that have brought Franco Niro and George 119 00:08:59.360 --> 00:09:01.759 Hilton to commit the violence that they do, but they 120 00:09:01.799 --> 00:09:06.440 are They're really sadistic, especially George Hilton, and very quick 121 00:09:06.960 --> 00:09:10.559 to just knock people off in a way that is 122 00:09:11.440 --> 00:09:14.000 that is not righteous violence. It is the violence of 123 00:09:14.120 --> 00:09:18.399 the world that they inhabit. And the villain of this 124 00:09:18.600 --> 00:09:24.960 piece being so extreme and yet also quite conventionally good looking. 125 00:09:25.279 --> 00:09:28.399 I was not surprised to find out that his previous 126 00:09:28.519 --> 00:09:34.279 roles are nice guys. But he makes this incredible set 127 00:09:34.360 --> 00:09:39.320 of choices about his physicality, being introduced almost with his 128 00:09:39.480 --> 00:09:43.159 eyes closed, like he's passing out or something, as he's 129 00:09:43.639 --> 00:09:47.679 inflicting this violence on another person. And so it becomes 130 00:09:48.279 --> 00:09:51.240 right out of the gate, we are introduced to a 131 00:09:51.360 --> 00:09:56.919 monster and are heroes or at least protagonists. They're here 132 00:09:57.000 --> 00:09:59.639 to get the monster by the end, and even though 133 00:09:59.679 --> 00:10:04.080 the plot hasn't totally kicked in visually, this is totally 134 00:10:04.200 --> 00:10:09.679 clear the moment that Franco Niro as Tom arrives, he's 135 00:10:09.759 --> 00:10:12.360 here to get the monster and this is where the 136 00:10:12.480 --> 00:10:15.080 whole death drive of the movie is going. 137 00:10:15.919 --> 00:10:17.720 You don't really need a plot in this movie once 138 00:10:17.799 --> 00:10:20.879 my introduction comes in. The plot is this guy has 139 00:10:20.960 --> 00:10:23.320 to die. One of the problems I have with the film, 140 00:10:23.360 --> 00:10:26.279 and I did love the film, is the plot sometimes 141 00:10:26.399 --> 00:10:29.519 is hard to follow. Those bits I still don't understand, 142 00:10:29.799 --> 00:10:31.960 and it needn't be a complicated plot, but that's part 143 00:10:32.000 --> 00:10:34.159 of ful chain. As you'll know Spencer, he does not 144 00:10:34.279 --> 00:10:36.159 mind having a little hiccups in the plot here and 145 00:10:36.240 --> 00:10:37.960 then that is not what he's concentrating on. 146 00:10:38.799 --> 00:10:41.559 I think its approach to plot is actually quite similar 147 00:10:41.639 --> 00:10:45.039 to his approach to space, which is, like you know, 148 00:10:45.200 --> 00:10:48.080 in a lot of these sequences, the attention to space 149 00:10:48.240 --> 00:10:54.679 is just beautiful and totally clear and precise, and especially 150 00:10:54.720 --> 00:10:56.519 in this one because this is a more expensive movie 151 00:10:56.600 --> 00:10:58.960 than a lot of the Horrors that I really love, 152 00:10:59.440 --> 00:11:01.519 and it's interest to see him working with a larger 153 00:11:01.559 --> 00:11:06.039 budget because he's really able to get things exactly right. 154 00:11:06.519 --> 00:11:09.200 But one of the things about Fulgi is like the 155 00:11:09.360 --> 00:11:13.279 moment that he does not care about continuity of space anymore. 156 00:11:13.879 --> 00:11:19.200 You get an absurdity of spaces just jammed together, and 157 00:11:19.360 --> 00:11:23.240 that often will create a momentary confusion. It's a confusion 158 00:11:23.320 --> 00:11:26.000 actually that I really like, you know, like somebody is 159 00:11:26.080 --> 00:11:28.360 looking in a direction and then we cut to another 160 00:11:28.399 --> 00:11:31.320 shot as if they're seeing that, and then it becomes 161 00:11:31.399 --> 00:11:34.279 clear that they couldn't possibly be seeing what we're seeing 162 00:11:34.320 --> 00:11:37.480 in the shot in reverse. But the way that Fulchi 163 00:11:37.679 --> 00:11:42.360 orchestrates this, it's at once problematic on a basic cinematic 164 00:11:42.480 --> 00:11:46.279 narration level, and then also at the same time it's 165 00:11:46.440 --> 00:11:51.399 creating a kind of zone for disjuncture and surprise. And 166 00:11:51.559 --> 00:11:54.840 I don't even know. It's simply his style. I don't 167 00:11:54.840 --> 00:11:56.919 want to spend a lot of time talking about is 168 00:11:57.000 --> 00:12:02.120 this intentional or is this a method that he was 169 00:12:02.200 --> 00:12:04.360 really devoted to. I don't know about that, and I 170 00:12:04.440 --> 00:12:08.279 don't care. I really care about the effect. So there 171 00:12:08.320 --> 00:12:12.240 are parts of this that you can tell are beautifully intentional, 172 00:12:12.399 --> 00:12:14.840 if you want to go that kind of o tourist 173 00:12:15.559 --> 00:12:19.159 orchestration route. And then there are other parts where as 174 00:12:19.200 --> 00:12:23.480 you say, his faults come in, but those faults are 175 00:12:23.679 --> 00:12:29.799 really interesting and are genuinely part of the excitement of 176 00:12:29.919 --> 00:12:30.679 a full two movie. 177 00:12:31.480 --> 00:12:35.240 It's interesting you're talking about looking in the discontinuity of it, 178 00:12:35.320 --> 00:12:38.679 because so much of this film is about looking. The 179 00:12:39.000 --> 00:12:43.600 first time we see Nero's character being introduced, and I 180 00:12:43.720 --> 00:12:46.200 love how they follow the blood and the water going 181 00:12:46.480 --> 00:12:49.440 down all that while we've got that amazing theme song going. 182 00:12:49.879 --> 00:12:52.039 And then we follow the water down to the river 183 00:12:52.240 --> 00:12:56.960 where Nero's character is panning for gold. Tom Corport. As 184 00:12:57.039 --> 00:13:00.639 he's there looking at this piece of gold, the moves 185 00:13:00.679 --> 00:13:03.279 in and you see this guy standing behind him and 186 00:13:03.399 --> 00:13:06.480 looking out between two boulders, and you're just like, okay, 187 00:13:06.960 --> 00:13:09.080 is he about to get robbed? Is he about to 188 00:13:09.120 --> 00:13:12.600 get murdered? We don't know what this is. And then 189 00:13:12.720 --> 00:13:16.200 finally this guy shows up and Franco throws some blows. 190 00:13:16.279 --> 00:13:18.440 But then oh, it's this guy who used to work 191 00:13:18.519 --> 00:13:20.960 at the house where I lived when I was growing up, 192 00:13:21.519 --> 00:13:24.919 gives him this note like, hey, Carrodene wants to see you, 193 00:13:25.720 --> 00:13:28.080 and that becomes like a whole it's a mystery plot. 194 00:13:28.200 --> 00:13:30.320 I mentioned that at the beginning near it was a 195 00:13:30.399 --> 00:13:32.720 private eye through a lot of this. It's the whole 196 00:13:32.759 --> 00:13:36.320 thing of coming back home, seeing the house that he 197 00:13:36.440 --> 00:13:40.840 grew up in this manner of state thing just overrun 198 00:13:41.320 --> 00:13:43.480 Higgs coming out of the front door and there's guy 199 00:13:43.639 --> 00:13:46.559 chasing them out, and it just it's all decrepit. He 200 00:13:46.679 --> 00:13:49.960 gets accosted while he's on that front property, and it's just, 201 00:13:50.759 --> 00:13:53.639 don't you know the rules? This is mister Scott's I 202 00:13:53.679 --> 00:13:55.480 don't even know who mister Scott is. So you have 203 00:13:55.600 --> 00:13:58.480 to go through and you are finding out with Nero 204 00:13:58.960 --> 00:14:03.200 what's happening. And this big reveal later on in the movie, 205 00:14:03.519 --> 00:14:05.480 which is very much like a mystery plot. So I 206 00:14:05.519 --> 00:14:07.600 love this whole idea of the looking the other thing. 207 00:14:07.639 --> 00:14:10.080 Real quick I want to say, is I love when 208 00:14:10.200 --> 00:14:16.519 this guy that's delivering the message, when neros i'll go 209 00:14:16.639 --> 00:14:18.720 with you or come with me kind of thing, gus 210 00:14:18.879 --> 00:14:22.759 no way, and he runs away. It looks like Napoleon Dynamite, 211 00:14:22.799 --> 00:14:24.879 looks like the way that John Heater runs in that role. 212 00:14:25.159 --> 00:14:27.720 And he just runs behind a little hill and just 213 00:14:27.960 --> 00:14:30.559 he disappears, and I know he's just still sitting there, 214 00:14:30.720 --> 00:14:33.639 but it's okay, he's out of sight now, out of 215 00:14:33.720 --> 00:14:36.399 mind of this picture. And I just that made me 216 00:14:36.559 --> 00:14:39.320 laugh so hard, and rewind it three times to watch it. 217 00:14:40.320 --> 00:14:42.120 One of the things that I was reminded of, and 218 00:14:42.200 --> 00:14:46.000 this is a real sublime to the ridiculous kind of association, 219 00:14:47.080 --> 00:14:52.480 was Hal Need Him's The Villain, which is an extremely 220 00:14:52.639 --> 00:14:58.440 strange attempt to join together looney Tunes with the Western 221 00:14:58.679 --> 00:15:02.360 in live action. And I like how Nita movies, but 222 00:15:02.559 --> 00:15:06.120 he's an extremely lazy director, and in order to bring 223 00:15:06.279 --> 00:15:10.440 together looney Tunes with Westerns, you need more rigor to 224 00:15:10.720 --> 00:15:12.960 pull it off. So it's a very strange movie. But 225 00:15:13.679 --> 00:15:16.279 the reason why I made that association is so much 226 00:15:16.320 --> 00:15:20.159 of the violence here. It's really interesting. It's at once 227 00:15:21.080 --> 00:15:27.720 very extreme and cruel and also cartoonish. Frequently we have 228 00:15:27.840 --> 00:15:31.679 people thrown through the air in ridiculous ways. We have 229 00:15:32.440 --> 00:15:36.000 shots that will, you know, cause people to fly across 230 00:15:36.840 --> 00:15:40.440 the screen, and we have moments like this of running away. 231 00:15:40.519 --> 00:15:43.039 Like you mentioned, it's kind of like Napoleon dynamite or something. 232 00:15:43.639 --> 00:15:49.799 The cruelty plus the cartoonish quality create a really intense 233 00:15:49.840 --> 00:15:55.399 absurdity to the violence that can be funny in one 234 00:15:55.519 --> 00:15:59.720 moment and then really nasty in another. And the big 235 00:15:59.799 --> 00:16:03.840 set piece of the movie, which frankly should be an 236 00:16:03.919 --> 00:16:06.639 absolute classic. I'm going to start teaching this sequence in 237 00:16:06.759 --> 00:16:09.600 my classes. To me, it's up there with with like 238 00:16:09.799 --> 00:16:14.559 the Psycho shower scene or the Odessa step sequence as 239 00:16:14.720 --> 00:16:18.320 like just intense pure cinema. The big sequence in the 240 00:16:18.360 --> 00:16:22.320 middle where we get into the bullwhip violence that is 241 00:16:22.519 --> 00:16:27.799 just so beautifully staged shot to shot and reaction to reaction, 242 00:16:28.519 --> 00:16:30.679 and the way that all the crowd is gathered around 243 00:16:30.799 --> 00:16:33.720 and everything, you know, this afternoon for a bunch of 244 00:16:33.879 --> 00:16:37.639 rich people who end up watching somebody get almost whipped 245 00:16:37.720 --> 00:16:41.399 to death, and it includes both Looney Tunes moments and 246 00:16:41.679 --> 00:16:45.600 the most sadistic violence in the entire movie. And the 247 00:16:45.679 --> 00:16:49.399 way that it comes together, the way that it's choreographed, framed, 248 00:16:50.039 --> 00:16:55.000 and edited, is so masterful. Really like probably my favorite 249 00:16:55.440 --> 00:16:57.720 sequence in any full two movie that I've seen before, 250 00:16:58.559 --> 00:17:01.519 and I do. I love the whole films so much. 251 00:17:02.320 --> 00:17:05.079 House by the Cemetery, like, let me watch it again, 252 00:17:05.440 --> 00:17:08.279 but this is really at this whole other level where 253 00:17:08.319 --> 00:17:12.400 I start to go, oh right, yeah, Fullchi for whatever 254 00:17:12.519 --> 00:17:16.279 the weird faults, whatever the strange preoccupations that he has 255 00:17:16.799 --> 00:17:21.359 that can make the movies odd and messed up and 256 00:17:21.599 --> 00:17:25.359 plotless at the same time. There's a total mastery of 257 00:17:25.480 --> 00:17:29.640 cinema that comes out in the films where who cares 258 00:17:30.000 --> 00:17:33.559 about if it all adds up? When this is something 259 00:17:33.640 --> 00:17:35.759 that's delivered to us And I'll throw it out that 260 00:17:36.400 --> 00:17:38.400 I am obsessed with Psycho and one of the things 261 00:17:38.440 --> 00:17:40.400 that it obsesses me about. That's a movie that does 262 00:17:40.480 --> 00:17:42.960 not add up, and we treat it as if it does. 263 00:17:43.720 --> 00:17:47.480 And Hitchcock is one of the all time gread o tours, 264 00:17:47.480 --> 00:17:50.079 et cetera, et cetera. But there's so much that's absurd 265 00:17:50.240 --> 00:17:54.000 and weird and strange disjunctures in that movie. But we've 266 00:17:54.119 --> 00:17:57.559 normalized Hitchcock into being the big o' tour and ful 267 00:17:57.640 --> 00:17:59.720 gie I think is actually with a sequence like this 268 00:18:00.160 --> 00:18:01.480 right up there, what. 269 00:18:01.640 --> 00:18:04.680 Struck me is this is the earliest folk shay film 270 00:18:05.039 --> 00:18:07.960 I've seen, and I think it's probably the earliest most people, 271 00:18:08.240 --> 00:18:10.920 the vast majority of people have seen Before this. It's 272 00:18:10.960 --> 00:18:16.759 all comedies and musicals, like weird jukebox musicals. This is 273 00:18:16.839 --> 00:18:19.640 his first I don't want to say adult film as 274 00:18:19.799 --> 00:18:21.319 a bit pushing it a bit, but it's really the 275 00:18:21.359 --> 00:18:24.480 first film that it's called violence in it and he 276 00:18:24.559 --> 00:18:27.119 hits the ground running with that. He's had comedy before, 277 00:18:27.240 --> 00:18:31.680 but this is the first one that has his later preoccupations. 278 00:18:31.880 --> 00:18:34.240 And you mentioned the comedy that the kind of liney 279 00:18:34.279 --> 00:18:36.920 tunes comedy that there's a barroom fight in the middle, 280 00:18:37.400 --> 00:18:41.559 which really reminded me of Terence Hill but Spencer movies almost. 281 00:18:41.880 --> 00:18:45.799 But it's quite jarring, just that juxtaposition with the comedy 282 00:18:46.519 --> 00:18:50.079 and just the nastiness of some of the film. 283 00:18:50.799 --> 00:18:53.720 And I think a lot of the good things about 284 00:18:53.759 --> 00:18:56.359 this movie that are coming through are from the screenplay, 285 00:18:56.480 --> 00:18:59.680 from Fernando de Leo's screenplay. And it's funny how many 286 00:18:59.720 --> 00:19:01.720 times we've talked about to Leo and this show. We 287 00:19:01.799 --> 00:19:06.119 did the Italian Connection forever ago. We just did Blood 288 00:19:06.160 --> 00:19:08.279 and Diamonds, I think last year of the year before 289 00:19:08.400 --> 00:19:12.559 and then of course gave name to a particular show 290 00:19:12.640 --> 00:19:14.960 that I love called Caliber nine from Outer Space. 291 00:19:15.960 --> 00:19:16.160 Yeah. 292 00:19:16.279 --> 00:19:20.119 Absolutely, Yeah, it was the first film we reviewed on 293 00:19:20.200 --> 00:19:23.160 the podcast Caliber nin and Planned nine from out of Space. 294 00:19:23.279 --> 00:19:26.279 It's a director I love and a screenwriter I love 295 00:19:26.279 --> 00:19:30.160 as well, because he started doing a few dollars more 296 00:19:30.599 --> 00:19:32.799 and fist fill of dollars as well. He co wrote 297 00:19:33.839 --> 00:19:36.519 ended up doing quite a few Spahetti westerns, Nabajo Joe 298 00:19:36.559 --> 00:19:39.599 as well, I think he did. But yeah, he really 299 00:19:39.640 --> 00:19:41.799 made his name in the Politzi attention in the seventies, 300 00:19:42.480 --> 00:19:47.240 both as a writer and as a director, some amazing 301 00:19:47.319 --> 00:19:49.119 films right up to the eighties. Actually, I don't if 302 00:19:49.160 --> 00:19:52.519 you've seen Killer Contra Killers with Henry Silver, which is 303 00:19:53.000 --> 00:19:55.559 crazy but really worth watching. That was the lead for 304 00:19:55.599 --> 00:19:59.039 Ages coming out. But he also did the screenplay for 305 00:19:59.480 --> 00:20:03.519 Live Like a Thing Like com On Weget Diodato. That's 306 00:20:03.519 --> 00:20:05.440 a great one too in the seventies as well, which 307 00:20:05.559 --> 00:20:10.720 another cracker, but very good, very clever screenwriter as well. 308 00:20:11.440 --> 00:20:14.480 And you're right, the class stuff in this does separate 309 00:20:14.559 --> 00:20:18.200 it from a maybe a traditional Hollywood western. 310 00:20:19.079 --> 00:20:22.200 We've seen cattle barons, we've seen the rich and the 311 00:20:22.240 --> 00:20:24.960 way that they run the whole town type of thing. 312 00:20:25.960 --> 00:20:30.400 I guess maybe the all the Johnson's of Blazing Saddles 313 00:20:30.480 --> 00:20:32.480 might have something to do with Like the Scotts, there's 314 00:20:32.559 --> 00:20:36.240 Johnson on every business, but here it's just one person 315 00:20:36.359 --> 00:20:38.759 rather than all of the people having the same last name. 316 00:20:39.519 --> 00:20:41.519 But yeah, we've seen this type of thing before, but 317 00:20:42.480 --> 00:20:46.400 not this way necessarily, And I really appreciate just how 318 00:20:47.480 --> 00:20:49.720 run down everything is. The whole idea of him coming 319 00:20:49.839 --> 00:20:53.400 home and finding his brother just is now a complete drunk. 320 00:20:54.000 --> 00:20:58.039 And I have to say, I don't know if I 321 00:20:58.480 --> 00:21:03.000 have seen George Hilton in movies before. This might be 322 00:21:03.119 --> 00:21:05.319 my first time really seeing him, or he might have 323 00:21:05.440 --> 00:21:08.039 just played smaller bits and things that I don't remember. 324 00:21:08.519 --> 00:21:10.400 But my god, I think I am now a George 325 00:21:10.480 --> 00:21:12.640 Hilton fan. He is ung in this movie. 326 00:21:13.079 --> 00:21:17.440 Wow, No Dean Martin and Rio bravo, except that he 327 00:21:17.519 --> 00:21:19.119 shoots even better when he's drunk. 328 00:21:19.279 --> 00:21:20.839 Oh boy, Yeah, that's for sure. 329 00:21:22.079 --> 00:21:24.279 He's the star of one of my favorite spaghetti western 330 00:21:24.480 --> 00:21:27.160 which is one of the Sartana films. He came into 331 00:21:27.200 --> 00:21:29.079 the role late, just for one film. I think it's 332 00:21:29.920 --> 00:21:33.759 Santana is here, Trade your gun for a coffin. They've 333 00:21:33.759 --> 00:21:38.759 all got great names, but that really takes comedy quite far. 334 00:21:38.839 --> 00:21:40.759 There's a lot of gunplay. It's very like for a 335 00:21:40.799 --> 00:21:43.519 few dollars More, with a lot of the tricks and 336 00:21:43.559 --> 00:21:45.880 the gunplay, etc. Very fun western that one. 337 00:21:46.799 --> 00:21:50.119 So this fits into the sadistic world of the film, 338 00:21:50.200 --> 00:21:53.480 but the versus a lot of other westerns where you'll 339 00:21:53.559 --> 00:21:57.960 have a rich bad guy or you'll have later in 340 00:21:58.039 --> 00:22:03.000 the case of mckayby and Missus Miller a corporation. This 341 00:22:03.200 --> 00:22:06.799 is really interesting in the way that it stages this 342 00:22:07.119 --> 00:22:13.680 major violence set piece at this afternoon party for the 343 00:22:13.799 --> 00:22:18.960 rich at Scott's mansion, because it really ends up playing 344 00:22:19.200 --> 00:22:23.599 all of these rich people as completely depraved. The way 345 00:22:23.720 --> 00:22:28.279 that women with parasols gather around to watch this whipping 346 00:22:28.480 --> 00:22:32.759 and no one seems to have any concern about what 347 00:22:33.400 --> 00:22:38.160 they're watching. This is setting aside wealthy people as a 348 00:22:38.359 --> 00:22:42.880 depraved class and makes a lot of sense of Yes, 349 00:22:42.960 --> 00:22:46.039 Scott's name is all over everything in town, but it's 350 00:22:46.079 --> 00:22:48.240 all run down and it's all kind of shitty. And 351 00:22:48.960 --> 00:22:51.559 I don't know about you, but I see certain kinds 352 00:22:51.599 --> 00:22:55.680 of associations with current events in the way that this 353 00:22:55.799 --> 00:23:00.680 works out, And yeah, that scene in particular. While I 354 00:23:00.759 --> 00:23:04.240 don't know that it's like a full Marxist class analysis, 355 00:23:04.559 --> 00:23:10.839 I do think that there is something really psychologically and 356 00:23:11.119 --> 00:23:14.039 mythically interesting about going to the place of the wealthy 357 00:23:14.119 --> 00:23:17.880 and they are totally depreved. We've seen it in some 358 00:23:18.000 --> 00:23:21.759 other films, but it's actually a surprising move in this movie. 359 00:23:22.440 --> 00:23:24.359 It's supposed to be setting out of New Mexico, but 360 00:23:24.519 --> 00:23:28.640 it definitely feels more like the old anti Bellum South. Well, 361 00:23:28.720 --> 00:23:32.720 you've mentioned the obvious legacy at scott with Django and 362 00:23:32.839 --> 00:23:35.720 Chained as well, which we'll talk about later I think, 363 00:23:35.799 --> 00:23:39.079 But yeah, it felt quite European to me. This is 364 00:23:39.119 --> 00:23:41.599 a time and a lot of Italians and it's bid 365 00:23:41.640 --> 00:23:44.440 for an Italian as well as an American and international audience. 366 00:23:45.200 --> 00:23:47.400 Lots of Italians were moving from the South as well 367 00:23:47.480 --> 00:23:49.880 because of things like the mafia. This was a big thing. 368 00:23:49.920 --> 00:23:52.440 There was no money down there. The mafia run everything 369 00:23:52.920 --> 00:23:55.480 that they had to go to north to Milan, Rome, Turin, 370 00:23:56.359 --> 00:23:58.880 and if people went back to defend their towns were 371 00:23:59.000 --> 00:24:02.440 dead and local thugs were just running the show. It 372 00:24:02.559 --> 00:24:04.799 felt very Italian to me that aspect of it. 373 00:24:05.640 --> 00:24:08.839 I can pick up a one you're throwing down there, Spencer, 374 00:24:08.880 --> 00:24:12.119 as far as putting your name on everything this, whether 375 00:24:12.240 --> 00:24:16.079 it's a shithole city or not. Yeah, like what you're 376 00:24:16.079 --> 00:24:19.680 saying about the mafia stuff because of the especially the 377 00:24:19.799 --> 00:24:24.240 family that is trying to leave town and this is 378 00:24:24.319 --> 00:24:28.519 great and everything, but we just cannot make any money. Basically, 379 00:24:29.240 --> 00:24:30.960 I don't think they say it this way, but basically 380 00:24:31.039 --> 00:24:33.160 you're taxing us to death because you know that this 381 00:24:33.279 --> 00:24:36.559 whole town runs on some sort of extortion scheme, right, 382 00:24:36.960 --> 00:24:39.720 And it's yeah, yeah, because you don't really see like 383 00:24:39.799 --> 00:24:42.599 I mentioned, oh yeah, we've seen cattle barons. There's no cattle. 384 00:24:42.720 --> 00:24:45.599 I don't know why he is able to have that. 385 00:24:46.119 --> 00:24:50.720 Plus the whole trip to his compound, it's like going 386 00:24:50.839 --> 00:24:53.759 through like Stages of Hell kind of thing where it's like, Okay, well, 387 00:24:53.799 --> 00:24:55.599 there's these bad guys, you're going to have to take 388 00:24:55.640 --> 00:24:57.599 care of. These other bad guys we're gonna have to 389 00:24:57.839 --> 00:24:59.759 have you take care of. And then the whole thing 390 00:24:59.839 --> 00:25:04.759 of the brother of Jeff, the George Hilton character. You know, 391 00:25:05.039 --> 00:25:08.000 he does not want to join his brother whatsoever. He 392 00:25:08.119 --> 00:25:09.960 does not want to take part in this whole thing, 393 00:25:10.079 --> 00:25:12.400 Like he's already done with the Scotts. He doesn't want 394 00:25:12.400 --> 00:25:16.079 anything to do with this whole mess. But Tom is investigating, 395 00:25:16.160 --> 00:25:19.680 trying to find answers and all this. Ironically enough, a 396 00:25:19.759 --> 00:25:21.880 lot of these answers have to do with the past, 397 00:25:21.960 --> 00:25:25.640 with the family and what happened with that. But he's 398 00:25:25.799 --> 00:25:30.519 almost like this guardian angel of Tom trying to go 399 00:25:30.799 --> 00:25:34.160 to the Scott place, and he's there helping pick off 400 00:25:34.240 --> 00:25:36.799 all of these guys. And then once Nero gets close enough, 401 00:25:36.880 --> 00:25:39.359