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Speaker 1: To the oh geez, folks.
Speaker 2: It's showtime.
Speaker 3: People say good money to see this movie.
Speaker 1: When they go out to a theater. They want clothed, sodas,
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Speaker 2: Everyone pretend podcasting isn't boring.
Speaker 3: Got it off?
Speaker 1: Said guy Ye saw school.
Speaker 3: Naha Smiths.
Speaker 2: So he's a mulis nawstrata las.
Speaker 1: What did ski fi? The romance.
Speaker 3: Fudo not sirs formal.
Speaker 1: Welcome to the Projection Booth. I'm your host. Mike White
Speaker 1: joined me once again is Ms Emily Barney Hey. Also
Speaker 1: back in the booth is mister Spencer Parsons.
Speaker 2: Hello.
Speaker 1: We continue Cheptember twenty twenty five with a look at
Speaker 1: Adakar Vavra's Romance for Bugle, also known as Romance for
Speaker 1: lugol Horn. It's a lyrical movie based on a poem
Speaker 1: of the same name written by franticek Kruben and adapted
Speaker 1: and directed by Adakar Vavra. The film is a classic
Speaker 1: love triangle about two men, Voita and Victor, and their
Speaker 1: shared fascination with the same woman. Tarina will be spoiling
Speaker 1: this film as much as we can, so if you
Speaker 1: don't want anything ruined, please turn off the podcast and
Speaker 1: come back after you've seen it. We will still be here.
Speaker 1: So Emily, when was the first time you saw Romance
Speaker 1: for Bugle and what did you think?
Speaker 3: So this was a new one for me. I know
Speaker 3: it was on my watch list. Odacar Babra is such
Speaker 3: a major figure in check film, so I'm always interested
Speaker 3: in seeing his movies. Of course, I've seen witch Hammer
Speaker 3: and Krakate his first kind of avant garde film, so
Speaker 3: I was very interested seeing it, and I really loved
Speaker 3: the movie. I'm kind of a sucker for sad social dramas,
Speaker 3: and it's a very sad movie. It's a really beautiful
Speaker 3: sense of nostalgia and sweetness before it kind of crushes
Speaker 3: your soul. So I really enjoyed the movie.
Speaker 2: And Spencer, how about yourself, Yeah, this is my first
Speaker 2: time seeing it and really loved it. This is a
Speaker 2: new filmmaker to me, Yeah, really terrific work, and I
Speaker 2: want to see more of his stuff.
Speaker 1: This was also a new one for me. I remember
Speaker 1: seeing the DVD or poster image for this a lot
Speaker 1: for whatever reason, maybe it was in like the Facets
Speaker 1: catalog or something, But as soon as I saw Yerimer Hanzlik,
Speaker 1: I was like, Yeah, I love that guy. I love
Speaker 1: watching that guy. I really like to see more things
Speaker 1: with him in it. So I said, yeah, let's do it,
Speaker 1: and had no idea really walking in what it was
Speaker 1: about that it was based on this poem, what the
Speaker 1: poem was, how significant it was for Czech culture, that
Speaker 1: they've made this movie several times or made the poem
Speaker 1: adapted it several times for usually the stage, but yeah,
Speaker 1: checking out this movie, and also that it was nineteen
Speaker 1: sixty seven, which is an interesting year in Czech history,
Speaker 1: just right before the whole progue spring, and seeing where
Speaker 1: we were with the world at that point, and how
Speaker 1: this film kind of flex things back. It feels like
Speaker 1: there's not a care in the world sometimes but other
Speaker 1: times it feels like, you know, we have some looming danger.
Speaker 1: And then also noting a little bit of Vava's past
Speaker 1: and just how he was such a huge influence on
Speaker 1: Czech filmmaking and especially being a teacher at FAMU and
Speaker 1: teaching so many of the filmmakers that I know and
Speaker 1: love so much. So I'm always up for seeing whatever
Speaker 1: he does. And then, yeah, like you said, Emily Witchhammer
Speaker 1: really blew me away, so again I wanted to see
Speaker 1: more of his work. This morning, I was on a
Speaker 1: podcast about Memoirs of an Invisible Man, and I was
Speaker 1: saying that one of my least favorite things in all
Speaker 1: movies is to start with a framing story and never
Speaker 1: come back to the framing story. I'm so glad that
Speaker 1: we start with a framing story and actually come back
Speaker 1: to it. And it's such a fitting end for this film.
Speaker 1: And I like that we set up this relationship between
Speaker 1: these two men that just kind of meet in a
Speaker 1: bar and we know some thing has gone on between them,
Speaker 1: and that they start talking about this woman, Tarina, and
Speaker 1: the one guy, Victor, is like, oh, you want to
Speaker 1: see her? You want to go see Tarina and immediately
Speaker 1: heads to the graveyard on his tractor, and I'm like, oh, okay,
Speaker 1: what's going on between these two guys?
Speaker 2: All right? Can we just also give due respect to
Speaker 2: this tractor ride as probably the most like alarming ride
Speaker 2: on a tracker in cinema. I've never seen anything quite
Speaker 2: like it. They're on their way and it is clearly
Speaker 2: a little frightening and heavy just on the ride there.
Speaker 2: It's filmed as if it's Alex and the drugs driving
Speaker 2: their little crazy car through London. What a way to
Speaker 2: open the film. As soon as the movie ended, I
Speaker 2: started it over again to go back to the frame
Speaker 2: story because it is evocative. It's such a great way
Speaker 2: to start the movie. But I also had this desire
Speaker 2: to revisit because the rest of the store went into
Speaker 2: zones that had made me almost forget it. As evocative
Speaker 2: and intense as it had been, and as much as
Speaker 2: it was about her death right out of the gate,
Speaker 2: when we got to the mention of her death at
Speaker 2: the very end, I was like, Oh, but I just
Speaker 2: didn't want to believe it. I'm told upfront, and I
Speaker 2: don't want to believe this major event of the story. Yeah.
Speaker 3: I revisited that sequence a lot as well. It's just
Speaker 3: such a nightmare kind of scenario, and it also it
Speaker 3: makes it kind of the tractor kind of makes it
Speaker 3: hard to place, like when in time is this happening
Speaker 3: and you're trying to orient yourself, you know, is this
Speaker 3: the present, is it just because they're in a rural
Speaker 3: area that this is a thing people do, or you know,
Speaker 3: is this the past. So it's a little insuttling in
Speaker 3: that respect. I wanted to point out kind of a
Speaker 3: cultural thing with cemeteries. You know, here in the US
Speaker 3: we have lots of you know, one person. You know,
Speaker 3: you buy your plots and you're there forever or until
Speaker 3: they move it. But in the Checklands, you rent and
Speaker 3: usually like a whole family will be in like a
Speaker 3: plot together and then like every ten years you pay
Speaker 3: your cemetery bill. So that moment where you know, they
Speaker 3: go wake up the caretaker, we want to see her,
Speaker 3: and he's like, well, someone else took the space. I
Speaker 3: don't know where she is now, She's she's not there
Speaker 3: any longer. You know, you don't know who these people are,
Speaker 3: but you know that they knew each other, they had
Speaker 3: this connection. And then here you know, this man Voita
Speaker 3: is just finding out oh not only is she dead,
Speaker 3: but like she wasn't cared for, you know, her body's
Speaker 3: just gone. And now this strunk Man is going to
Speaker 3: take him on a tractor ride through the fields, and
Speaker 3: it's like.
Speaker 1: The wind in the willows. Suddenly.
Speaker 3: I love the string music that kind of comes in
Speaker 3: and just really like reinforcing, like, yeah, this is terrifying.
Speaker 3: It's not just you. This is kind ofa's nightmare that
Speaker 3: we're witnessing, and just seeing him looking like he's about
Speaker 3: to throw up on the tractor there.
Speaker 1: Yeah, the soundtrack of this, and I don't mean just
Speaker 1: the music, which is obviously majorly important. We start off
Speaker 1: with an accordion playing and then we go into Victor
Speaker 1: playing his bugle, and the bugle comes back when they
Speaker 1: end up right before the credits start. They end up
Speaker 1: in this kind of open area and he starts playing
Speaker 1: the bugle again. But I'm talking about the sound mix
Speaker 1: of all the dogs barking. There are some sirens. Whenever
Speaker 1: he Voita goes to see his grandfather, there are these
Speaker 1: flies that are buzzing like crazy. I think they do
Speaker 1: a great job of just setting so much of the
Speaker 1: tone with the music bed or the soundtrack that's going
Speaker 1: on with the sound effects, and it's not always just
Speaker 1: the music, it's just the sounds of what this world
Speaker 1: is that they live in.
Speaker 2: Yeah, the sounds of bugs in this movie are really intense,
Speaker 2: and I love the dogs. The dogs make that seem
Speaker 2: so unsettling. It's like all the dogs in town are
Speaker 2: all barking at once at night. How can anybody manage it?
Speaker 2: But it's yeah, wonderful and nightmarish.
Speaker 3: The clock in their cottage just always ticking, just this
Speaker 3: sense of time is coming.
Speaker 1: And it wasn't until the second time I watched it
Speaker 1: that I realized what the opening credits were going over.
Speaker 1: That it's this kind of carousel that they have, and
Speaker 1: it's all of these beautiful paintings that they have on
Speaker 1: the carousel. And it's such a lovely way of having
Speaker 1: the credits and showing these beautiful images and also getting
Speaker 1: to see that one of my favorite people, Esther Kombakova,
Speaker 1: did the costumes for this. Interestingly, it's listed as a
Speaker 1: sixty seven film every place I look, but the copyright
Speaker 1: on the actual film is sixty six.
Speaker 3: That's when they shot it, Okay.
Speaker 1: I wasn't sure if there was the and release or whatnot.
Speaker 1: And then having that little I wish he had subtitles
Speaker 1: for this. The OVID quote that opens up the.
Speaker 3: Film, I translated it, oh please, So yeah, it's it's
Speaker 3: Ovid's version of the myth of Phaetone, and it says,
Speaker 3: you ask for great things, Faeetone, but this gift is
Speaker 3: beyond your power. Your boyish age cannot achieve it. You
Speaker 3: are mortal, but what you desire is not mortal. And
Speaker 3: I guess the myth is Fayetone is the mortal son
Speaker 3: of the god Apollo. There's different versions of it with
Speaker 3: different gods, but in his it's Apollo. And to prove
Speaker 3: that he is Apollo's son, he wants to drive Paula's chariot.
Speaker 3: So the quote is Apollo saying, like you're too young,
Speaker 3: you can't control it. And then the myth, he does
Speaker 3: end up taking the chariot and it goes terribly and
Speaker 3: causes a lot of destruction and death, and so then
Speaker 3: Jupiter throws a lightning bolt at him and kills him.
Speaker 3: So another little tid that we're not in for a fun.
Speaker 1: Time here, no, And I have to say every version
Speaker 1: of this that I've been able to track down horrible subtitles,
Speaker 1: really bad subtitles like broken English, bad spelling coming up
Speaker 1: sometimes at the wrong time, and I hope that the
Speaker 1: DVD of this has better subtitles, and I hope that
Speaker 1: there's a blu ray of this on the horizon, because
Speaker 1: it looks gorgeous. Even with these bad subtitles, the movie
Speaker 1: looks fantastic.
Speaker 3: The Check DVB. I looked into ordering it and having
Speaker 3: it shipped, but it didn't have English subtitles, so this
Speaker 3: is definitely due for a restoration and proper subtitles.
Speaker 2: I really hope one of our boutique disc companies can
Speaker 2: see clear to put this out. I think this movie
Speaker 2: is really remarkable. It's definitely my favorite new to me
Speaker 2: movie of this year. As a filmmaker, Vabra feels incredibly important,
Speaker 2: spanning the history a lot of complicated stuff about his life,
Speaker 2: but this particular film, and when I was watching it,
Speaker 2: I really just went in cold. I did not read
Speaker 2: any of the materials in advance. I didn't look up
Speaker 2: anything about him. Part of my approach was like, Okay, yes,
Speaker 2: it was a very check new wave filmmaking. It definitely
Speaker 2: fit into my notion of that. And now I'm really
Speaker 2: interested in what really were the styles of check filmmaking
Speaker 2: before the New wave, because that's where my clock on
Speaker 2: Chech filmmaking begins, and then finding out that Vava's an
Speaker 2: older filmmaker. Yes, he has a big influence on Check
Speaker 2: new wave filmmakers. It really did have me asking questions
Speaker 2: about check style in general, and that, for instance, some
Speaker 2: of the writing on him says that his style is
Speaker 2: not that unusual. And I didn't pig this movie for
Speaker 2: being a big innovative film. But the shooting, cutting and
Speaker 2: blocking is impeccable throughout and also very it feels very particular,
Speaker 2: very handmade for this particular story, really careful and beautiful work,
Speaker 2: even some small things. The sudden cut early on in
Speaker 2: the movie from the carousel. It's a carousel, but it's
Speaker 2: on these long chains that are I will admit a
Speaker 2: little bit frightening to me, which just wonderful, but it's
Speaker 2: a very sudden and jarring cut to the razor blade
Speaker 2: as he's shaving, and then not long after that, it's
Speaker 2: very disorienting that little scythe pricking at his back. Beautiful
Speaker 2: shot of his shoulder blades, and then the scythe comes
Speaker 2: in and we start revealing the scene moving out. Yeah,
Speaker 2: this initial cut from beautiful, romantic but also slightly dangerous
Speaker 2: feeling moment to these like sharp objects is really beautiful
Speaker 2: visual storytelling, and the movie is full of that all throughout.
Speaker 3: Lava. He started making movies in the thirties and was
Speaker 3: kind of an avant garde filmmaker, active in kind of
Speaker 3: The Left Bank. His kind of second film he worked
Speaker 3: on with Alexander Hackenschmied The Future Mister Maya Darin. So
Speaker 3: he kind of has these avant garde bona fides that
Speaker 3: you know, as time went on, as he worked under
Speaker 3: different authoritarian regimes, you can still kind of see little
Speaker 3: bits of that in his movies. And then I think,
Speaker 3: just yeah, working with the New Way filmmakers, you know,
Speaker 3: he learned from them as much as they learned from him,
Speaker 3: and he really was able to kind of embrace that
Speaker 3: side of himself again, which is really, you know, lovely
Speaker 3: and it's too bad it didn't last, but you know
Speaker 3: that's the best films of his career, and you know
Speaker 3: that he felt himself as well. They were the films
Speaker 3: he loved the most that he made.
Speaker 1: Yeah, there were I think a few filmmakers him and
Speaker 1: I can't remember the gentleman's name that did The Devil's
Speaker 1: Trap and the Fifth Horseman is Fear. They really got
Speaker 1: a shot in the arm when it came to the
Speaker 1: New Wave and being able to have a new lease
Speaker 1: on life, which was very nice to see. And then
Speaker 1: even yeah, posts Prague Spring, I mean witches Hammer or
Speaker 1: witch Hammer, whatever you want to call it. It is
Speaker 1: such a great film and you know, such a condemnation
Speaker 1: of all the show trials and things that had happened
Speaker 1: in Czechoslovakia. So even though some people had real problems
Speaker 1: with him, he didn't necessarily you know, in the US,
Speaker 1: like he didn't name names kind of thing. But he
Speaker 1: wasn't as loved by the younger filmmakers after he aligned
Speaker 1: himself with more of the Communist government after the Progue Spring.
Speaker 1: But I feel that Witch's Hammer really redeems him, at
Speaker 1: least in my mind.
Speaker 3: I guess the first kind of instance of it is
Speaker 3: with Alfred Roddock in nineteen forty nine he made Distant.
Speaker 1: Journey, and god, that's such a great film.
Speaker 3: Yeah, so Bavra was very outspoken, this is bourgeois and
Speaker 3: this is a terrible movie, and you know, so they
Speaker 3: didn't like ban it, but then you know, they didn't
Speaker 3: didn't have a wide release, and it destroyed his film career.
Speaker 3: You know, he never could quite get back to film.
Speaker 3: So I think a lot of people, especially you know,
Speaker 3: because that was before the check nude wave and everything, like,
Speaker 3: he was a party man and it did some damage there.
Speaker 3: So I think there's kind of a long history of
Speaker 3: you know, he is the establishment spencer.
Speaker 1: You mentioned the cut to the razor blade and then
Speaker 1: the little scythe that goes into his back as he's shaving.
Speaker 1: The sudden cut to the grandfather character was pretty startling
Speaker 1: as well. The way he is there saying home, we
Speaker 1: have to go home and things, and I'm like, okay,
Speaker 1: I'm not sure exactly what's going on. I mean, I'm
Speaker 1: pretty sure that he's got dementia of some sort. He
Speaker 1: just seems pretty out of it. And it really feels
Speaker 1: like Vadka as spending most of his life taking care
Speaker 1: of his grandfather and putting a lot of other things
Speaker 1: on hold. Though he is going to be a teacher,
Speaker 1: even though it sounds like that's not necessarily what he
Speaker 1: wants to do. It sounds like what his father wants
Speaker 1: him to do. And it's nice that we realize from
Speaker 1: that opening framing device that that's what he ended up
Speaker 1: doing so, he ended up not following his dreams.
Speaker 2: Part of the beautiful structure of that scene is that
Speaker 2: because there's been a framing device, I initially took the
Speaker 2: pictorial elements as being possibly out of time, cross cutting
Speaker 2: two different timelines, and we're not. But it gives us
Speaker 2: that feeling, which is then very important to understanding the
Speaker 2: character of the grandfather, who, in his own weird way,
Speaker 2: because of his stroke, is unstuck in time. There are
Speaker 2: really wonderful kinds of poetic devices that Devabra is finding
Speaker 2: within setting up a very simple scene to get us
Speaker 2: a little bit wrong footed in one way that then
Speaker 2: gets us very right footed for the rest of the story.
Speaker 3: This is actually the third film that Barbara made with
Speaker 3: the writer Frantisha Khrubin, and the movie before this one
Speaker 3: the Golden Rennet. It's based on a book, but it's
Speaker 3: very much like the timelines are kind of interweaving together.
Speaker 3: And it didn't do very like it won you know, awards.
Speaker 3: It did great critically, but audiences didn't understand it. So
Speaker 3: they really kind of use that experience to refine kind
Speaker 3: of the timeline because the poem is very mixed up,
Speaker 3: so they kind of made it a little more audio
Speaker 3: and is friendly.
Speaker 1: I wasn't able to see that movie. Did you manage
Speaker 1: to track it down?
Speaker 3: Yeah? There's no English subtitles though, And I could understand
Speaker 3: the check, you know, if I'm like Kyd of rewinding
Speaker 3: and relistening, So it would have taken me like six
Speaker 3: hours to do that, so I kind of just let
Speaker 3: it ride, you know. And so I did understand a
Speaker 3: fair amount of it. And it's very, yeah, surreal and dreamy,
Speaker 3: so maybe it's not totally necessary, you know, it's very beautiful,
Speaker 3: and I mean that would be like a great double feature,
Speaker 3: I guess, or double package Golden Rennet and Romance Rebeugal.
Speaker 3: And it's a very similar story as well. A man
Speaker 3: in his fifties who's kind of disappointed with the choices
Speaker 3: he's made and goes to visit his home village and
Speaker 3: you know, there's a girl he loved where he didn't
Speaker 3: show up to their meeting, and you know, so it's
Speaker 3: there's very similar themes happening. They're kind of cosmic twins. Yeah.
Speaker 1: I saw there were clips of that in that Golden
Speaker 1: sixties episode about Vavra, and they had subtitles on there,
Speaker 1: so I was very excited and got to see a
Speaker 1: few clips and I said, oh, I want to see this,
Speaker 1: but I couldn't find a version of it. So I'm
Speaker 1: glad that you were able to see it even without subtitles.
Speaker 2: You know.
Speaker 3: I searched everywhere for subtitles, but so I'm sure somewhere
Speaker 3: they exist.
Speaker 1: I am surprised that Tonka doesn't play more of a
Speaker 1: role in this film. She's very present in the opening
Speaker 1: of this and that's also where we get a lot
Speaker 1: of the more avant garde kind of things, the way
Speaker 1: that were cutting to her in the river and cutting
Speaker 1: back to him on shore as he's reading this book
Speaker 1: with this big spider crawling up the book. I thought
Speaker 1: it was a really nice image, and just the images
Speaker 1: of the insects. And he was talking again in that
Speaker 1: Golden Sixties episode about how his cinematographer on this was
Speaker 1: very patient and really understood what he was going for
Speaker 1: and wanted to capture some of these images of these
Speaker 1: insects because they weren't cgi, you know, and they weren't
Speaker 1: a little puppets on strings being pulled by a fishing
Speaker 1: wire or anything. These are real bugs that they were
Speaker 1: capturing and this lyrical you know, I used that word before,
Speaker 1: but just the use of nature and these insects and things.
Speaker 1: And again going back to the insects, sound of the
Speaker 1: grandfather being tied into that almost like he's rotting before
Speaker 1: he's dead. I think it's gorgeous. And some of these
Speaker 1: images of those two Tanka and Vatchya in the river
Speaker 1: floating around very erotic stuff.
Speaker 2: This is a wonderful lesson in eroticism with like minimal
Speaker 2: minimal nudity or specific action. And it isn't just this,
Speaker 2: it's this scene is the big one and the most obvious.
Speaker 2: This is a very horny movie, and in a really
Speaker 2: wonderful way, from right out of the gate introducing the
Speaker 2: younger versions of our triangle characters. One the very first
Speaker 2: shot of this young woman is not necessarily so erotic,
Speaker 2: but she is riving. She's absolutely riveting. And then it
Speaker 2: does the cuts to the male gaze kind of things,
Speaker 2: and then she returns the gaze towards them, and that
Speaker 2: little sequence is like a really beautiful kind of reciprocal
Speaker 2: kind of experience of at least two people within the
Speaker 2: situation seeing noticing each other and wanting to be together
Speaker 2: in a way that is done without any words, done
Speaker 2: without a whole lot of action, an invitation to ride
Speaker 2: the ride as it were, and really beautifully done, and
Speaker 2: the introduction of Tanka with the side of touching his back.
Speaker 2: The movie is really full of this, and yeah, placing
Speaker 2: it within and nature that is not precisely eroticized, but
Speaker 2: these images of nature definitely placed them into the natural
Speaker 2: flow of things. The whole movie until the end really
Speaker 2: takes on a kind of beautiful eroticism. The shapes created
Speaker 2: by their faces in relationship to each other in a
Speaker 2: number of tight two shots are just beautiful, really lovely,
Speaker 2: and the kind of thing that we're in a little
Speaker 2: bit more censorious moment commercially within American cinema and whatnot.
Speaker 2: These are the kinds of tricks that I wish people
Speaker 2: would learn if they're uncomfortable with nudity, if they're uncomfortable
Speaker 2: with depicting a sexual behavior, than a movie like this
Speaker 2: is a perfect example of how to visualize this kind
Speaker 2: of attraction. And yes, the one scene in the river
Speaker 2: that one's more traditionally much more traditionally erotic, but the
Speaker 2: whole film really has a kind of really beautiful observed
Speaker 2: eroticism to it that is extremely important to the story's
Speaker 2: ultimate turns. This is a life and death and sense
Speaker 2: of disappointment. Again one of the things going back to
Speaker 2: the very beginning, looking at the first shot of our
Speaker 2: main guy as he's sitting in this the teacher's suit
Speaker 2: on the corner of the bar, the sense of a
Speaker 2: disappointment is a great tension with all this eroticism and romance.
Speaker 3: It's such a great look that the man that they
Speaker 3: cast as a fifty year old voit. He looks like
Speaker 3: he's seen things and just you know, just looks haunted.
Speaker 3: I'm sure he's, you know, a lovely man, that just
Speaker 3: just the structure of his face, he just looks very drawn.
Speaker 2: And he looks very much like the young actor. He's
Speaker 2: passed well for believability. But then he's also he has
Speaker 2: an incredible presence in what I guess is the present tense,
Speaker 2: not the flashback of the film. And all the actors
Speaker 2: in this movie are incredible. I really love all the performances,
Speaker 2: and Voyce's patience with all of them is terrific.
Speaker 1: I'm so glad that there's no doubt in my mind
Speaker 1: when we go from the frame into the flashback. Who
Speaker 1: is who? You know? I immediately know, Oh, that's the
Speaker 1: teacher and that's the bugle player. And I don't have
Speaker 1: to wait until, you know, minute twenty five or whatever
Speaker 1: for him to pull up the bugle and start playing
Speaker 1: for me to go, oh, that's who that is. No,
Speaker 1: I immediately I think he's probably wearing the same hat,
Speaker 1: he's got the darker features and everything. Yeah. I like
Speaker 1: that we are told this without having to have like
Speaker 1: a slow dissolve on their face. No saving Private Ryan
Speaker 1: and shot right, we go from Matt Damon to old
Speaker 1: man kind of thing. No, No, we're smart enough to
Speaker 1: realize who these guys are.
Speaker 2: This is also an argument in favor of not doing
Speaker 2: aging or de aging kind of stuff. Just cast the
Speaker 2: different actors and get the right people and put them
Speaker 2: together in a way that makes sense. Because one of
Speaker 2: the things that's really important here that obviously actors are
Speaker 2: capable point to like Maximon Saido and The Exorcist as
Speaker 2: very capable of physically embodying somebody much older than he was.
Speaker 2: But again, one of the things that's really important in
Speaker 2: the setup and payoff is that these are people with
Speaker 2: older bodies it's not just makeup or obviously we do
Speaker 2: cgi Martin Scorsese, he has pol tricks among others. But
Speaker 2: it is really important to say that we see the
Speaker 2: bodies at the ages that they're inhabiting at the different times,
Speaker 2: and that yeah, and that the filmmakers make absolutely clear
Speaker 2: who everybody is in a way that really is. Other
Speaker 2: films have done this, but this is one of the
Speaker 2: strongest examples of perfect casting and then framing and presentation
Speaker 2: to make clear who is who.
Speaker 3: Well, Victor was played by the same actor, both young
Speaker 3: and old, and you know he would have been like, yeah,
Speaker 3: so he would have been.
Speaker 2: I looked it up even because I was like, I
Speaker 2: was going, oh, is that makeup? If that's makeup, that's
Speaker 2: really good. Wow, I'm wrong, I've gone well right on
Speaker 2: one point. That's really interesting because I had a little
Speaker 2: bit of a suspicion at first, but I kept watching him.
Speaker 2: What a great actor to get on that tractor the
Speaker 2: right way. But I really did think I looked it
Speaker 2: up on IMDb trying to figure out who is who,
Speaker 2: and I guess somehow I mistook that there were I
Speaker 2: thought there were two actors for him.
Speaker 1: And he just passed away in twenty twenty five, which
Speaker 1: is remarkable that he was one of the few surviving actors.
Speaker 1: I don't know if if Tarina was still around or
Speaker 1: if she succumbed to disease two months after this movie
Speaker 1: was released, but I hope not.
Speaker 3: She's still around.
Speaker 2: Okay, good, She's a really remarkable actor. I want to
Speaker 2: see her in other films. One of those instant things
Speaker 2: of just seeing her with the Merry Go Round and
Speaker 2: her reaction and trying to sell it and everything just
Speaker 2: instantly she's riveting and then really incredible performance throughout the film.
Speaker 3: Yeah, I looked her up because she looked familiar and
Speaker 3: she did a lot of like Slovak TV, so that
Speaker 3: was the majority of her career. The one movie I
Speaker 3: had seen was Celebration in the Botanical Garden. She has
Speaker 3: kind of a small part in that, but yeah, it
Speaker 3: was kind of surprising that she hasn't really done more
Speaker 3: that that we would be familiar with, and that Miriam
Speaker 3: kin Torko played Tonka. You know, she's been in quite
Speaker 3: a few things that I recognized her from. She's wonderful
Speaker 3: with such a I mean, she's not in the movie
Speaker 3: a lot, but like we know, who she is.
Speaker 1: Oh yeah, she's so striking. Those features are just amazing,
Speaker 1: and I love how we keep flashing back to her.
Speaker 1: We really enter into people's heads in this movie and
Speaker 1: will be part of their flashbacks to other things. Just
Speaker 1: a little brief, entire scenes kind of things, but just
Speaker 1: little images that will flash through their heads. I really
Speaker 1: like that too.
Speaker 2: There's an image of her standing by the water that
Speaker 2: had me very worried for her, but said night and
Speaker 2: she's gone out there and there's a sense that she's
Speaker 2: looking for him and expecting maybe to meet and it's
Speaker 2: very brief, but she grabbed my heart. And that's a
Speaker 2: tribute to the performance and then to the filmmaking, the
Speaker 2: very careful work with each performer. There's a beautiful shot
Speaker 2: where the camera moves with her as she's in the
Speaker 2: foreground and kind of a little bit dark and out
Speaker 2: of focus, and he and the grandfather are in the background,
Speaker 2: and as they move, she moves and the camera moves
Speaker 2: with her, framing this foreground background. That again, for character
Speaker 2: who's not in the movie that much, is really given
Speaker 2: a kind of care to make sure that she is
Speaker 2: a full part of the story, even if she's not
Speaker 2: on that much. Even if her kind of final moment
Speaker 2: is just recognizing she's trying to do a seduction and
Speaker 2: then recognizes that the grandfather has died and suddenly breaks away.
Speaker 2: There's not a huge melodrama that she goes off and
Speaker 2: kills herself or something. But she has a really important
Speaker 2: place in the overall structure of this story and in
Speaker 2: the gentle sense of again that tension between the eroticism
Speaker 2: and disappointment then where things go, because yeah, again the
Speaker 2: scene with the two of them in the water is
Speaker 2: just it's so fun, and then getting called back to
Speaker 2: the grandfather. But that's it for them. This is not
Speaker 2: a romance that's going to develop. But yeah, all four
Speaker 2: points on the because it's not really quite a triangle.
Speaker 2: There's a more laid out triangle, but we've got a
Speaker 2: we have a rectangle or something on here.
Speaker 3: The scene you were talking about with her in the foreground,
Speaker 3: you know, right before that she's you know, says, oh,
Speaker 3: you know, Grandma, you don't have to worry about me.
Speaker 3: I'm gonna have lunch at the farmers. And it's like
Speaker 3: that kind of says everything, like because at the beginning
Speaker 3: I kind of wondered, like you know, she's she's clearly
Speaker 3: older than Foeita, and it's like, why is she going
Speaker 3: after this kid? You know, she cuts grass and nettles.
Speaker 3: She's living with her grandma in this little village, working
Speaker 3: on a farm, like there's probably not a lot of options.
Speaker 3: And then you know, here's a strapping young man comes
Speaker 3: home from on vacation and it's like, hey, here's here's
Speaker 3: like my shot to have a man here. So it does.
Speaker 3: It does really kind of make you feel for her,
Speaker 3: especially those scenes where she's waiting by the river, like
Speaker 3: you know, she's very very flirty, very you know, thirsty,
Speaker 3: but she has this heart to her and like she's
Speaker 3: really sad that he's not, like she really does care
Speaker 3: for him. So I think at those moments are really beautiful.
Speaker 1: And this does feel so much. I mean, before we
Speaker 1: were recording, I was talking with Spencer about August and
Speaker 1: just how August feels like it's I said, a month
Speaker 1: of Sundays and so far as that dread of going
Speaker 1: back to school. And even though I haven't had a
Speaker 1: summer vacation in ooh thirty some years, thirty one years,
Speaker 1: I miss that feeling of being on summer break but
Speaker 1: then that dread of going back to school or back
Speaker 1: to work or any of those things. It feels like
Speaker 1: this is in that spot where everything's about to change.
Speaker 1: You know, he's home from school, He's there for a
Speaker 1: brief amount of time, and then Eventerarina she's there for
Speaker 1: briefmount of time because she is a circus folk. They
Speaker 1: are saying, oh, well, we're going to be moving off
Speaker 1: pretty soon because this area is dead. And also we
Speaker 1: find out later in the film, Oh yes, and I've
Speaker 1: been promised to Victor as well. Major bombshell that goes
Speaker 1: off for him. But what was going to happen? She
Speaker 1: was going to have to go on with the circus anyway.
Speaker 1: It's not like she was going to be sticking around.
Speaker 1: She's not even seventeen in this she says she's going
Speaker 1: to be seventeen in a few weeks. I don't know
Speaker 1: if she would even be allowed to get married off.
Speaker 3: Yeah, she or she was seventeen in a few sundays
Speaker 3: and then he was almost twenty. It's cute the conversation
Speaker 3: they have where like, oh, we could get married and
Speaker 3: you know, my dad will buy us our own you know,
Speaker 3: kind of circus caravan and you know, we'll stay at
Speaker 3: our cabin in the winter. But it's it's not you know,
Speaker 3: we know that that's not going to happen. Even even
Speaker 3: if this tragic event doesn't take place, you know, it's
Speaker 3: not going to well for them.
Speaker 2: The relationship has to go through a lot in this
Speaker 2: short time, and one of the things that goes through
Speaker 2: is when she puts on Victor's hat and then Voita
Speaker 2: becomes very angry in that moment, like out of proportion,
Speaker 2: and that maybe is the weird moment of tragedy between
Speaker 2: them in a way, because what happens with the grandfather
Speaker 2: is the natural passing of time and Voida has to
Speaker 2: make some choices about attending to his dead grandfather and whatnot.
Speaker 2: But if they had left off at a better moment,
Speaker 2: then there might even be like some kind of a
Speaker 2: more pleasant goodbye that would be possible. And so yeah,
Speaker 2: there's something really interesting and that kind of moment. Yes,
Speaker 2: he's twenty, but he has the teenagers kind of sharp
Speaker 2: anger over such a small kind of thing when she's
Speaker 2: actually just trying to be amusing to him. She's trying
Speaker 2: to be funny, but because she's wearing the other guy's
Speaker 2: hat he can't have it, and that poisons is what
Speaker 2: we know is not necessarily going to be such a
Speaker 2: wonderful outcome, but doesn't quite have to be as as
Speaker 2: bad as it is.
Speaker 3: Yeah, I mean, she's clearly, like Pross, you know, she
Speaker 3: just found out that morning. She's clearly she's trying to
Speaker 3: make light of it, like you know, you can see
Speaker 3: she is terrified, and so she's just kind of joking,
Speaker 3: but he's taking it personally and being jealous. There was
Speaker 3: an interview with Rubin and Fabra and Hrubin felt like
Speaker 3: Vota's tragedy was that he didn't try hard enough to
Speaker 3: get the girl he loved, whereas Barbara felt like, well,
Speaker 3: you know, like you were saying that, no, he had
Speaker 3: to attend to his grandfather, and he did the honorable thing.
Speaker 3: He was still faithful to her. But I agree like
Speaker 3: the moment when he hits her with the hat, like
Speaker 3: that's the lynch, Like that's the moment that destroys everything.
Speaker 1: Well, and also that that hat is kind of a
Speaker 1: sign of rebellion as well, because it was Victor that
Speaker 1: told her go get some sour cherries and gives her
Speaker 1: the hat to put the sour cherries in and then
Speaker 1: rather than taking those back to him, she takes them
Speaker 1: to Vatya instead, and it's like, oh, hey, look at me,
Speaker 1: and let's have these cherries as kind of literal forbidden fruit.
Speaker 1: And then you know when she puts that hat on,
Speaker 1: that's when it gets really super angry at her. So
Speaker 1: I'm like, oh, well, we went from this light moment
Speaker 1: or even this rebellious moment of you know, I'm getting
Speaker 1: away with things with Victor, but now it's something completely different.
Speaker 1: And yeah, he kind of ruins the whole moment and
Speaker 1: ruins any chances that he's had.
Speaker 3: And you know, if he hadn't done that, it's like
Speaker 3: if they had parted on good terms, things might have
Speaker 3: turned out better, because you know, it looks like they
Speaker 3: just missed each other where Like, you know, he shows up,
Speaker 3: even though he has to tend to his grandfather, he
Speaker 3: still shows up, and he kind of goes to the
Speaker 3: caravan and sees their asleep, So you know, I'm sure
Speaker 3: his mind he's, oh, I ruined it, she's not coming.
Speaker 3: I better go. But then she does show up, and
Speaker 3: then I'm sure in her head it's like, well, he
Speaker 3: doesn't want me any more I'm going to go back
Speaker 3: home instead of it might have fought harder to connect
Speaker 3: if that hadn't happened, which.
Speaker 1: Is kind of the same thing that he had done
Speaker 1: with Tanka, where she's out there waiting for him, thinking
Speaker 1: that he's going to show up, and he never does either,
Speaker 1: so he stands her up and he probably feels stood
Speaker 1: up by Terarina. Yeah, it's just it's tragic, and it's
Speaker 1: so bittersweet in the best way that that term can
Speaker 1: be used, because you're sitting here, you know, on the
Speaker 1: verge of tears, or at least I was watching this
Speaker 1: horrible thing happen, but at the same time like, oh,
Speaker 1: you know, this is just the way that I had
Speaker 1: to happen and play out. And then when you find
Speaker 1: what actually happened with Trena afterwards, that she basically dies
Speaker 1: of a broken heart, that really just is the real
Speaker 1: kick in the teeth.
Speaker 2: The end of this film, the last shot of her
Speaker 2: riding with Victor in the whatever that carriage is that
Speaker 2: they're on at the end of the circus carriages, they're
Speaker 2: headed to the next place. Again to her performance, very
Speaker 2: simple in putting on a face and an affect a
Speaker 2: wild riding. But it's really heartbreaking that last image of her,
Speaker 2: because again, we could still be an unhappy moment, but
Speaker 2: if she cried in blue Kisses, that's a very different
Speaker 2: kind of an ending. But this sense of a real heartbreak,
Speaker 2: as you say, is something that comes into her character,
Speaker 2: her performance and that last Yeah, that this last image,
Speaker 2: especially going against the first image. I do think that's
Speaker 2: its own. We have a frame narrative, but then there's
Speaker 2: also a kind of frame of how she's presented as
Speaker 2: a character incredibly rant, vibrant and full of life and
Speaker 2: then really hurt and deadened in that in the final
Speaker 2: shot of her, really beautiful and sad.
Speaker 1: I don't know if it's the circus setting or not,
Speaker 1: but there were times where I was reminded of Lestrata
Speaker 1: with Victor doing that Anthony Quinn role.
Speaker 2: The hat moment is actually like a little bit of
Speaker 2: a Julietta Messina thing. Yeah, really interesting. You're reminding me
Speaker 2: how much I love Lestrata. It's a really beautiful and
Speaker 2: again I keep saying careful, but it is. It's a
Speaker 2: careful movie, and it's not a big grand plan movie,
Speaker 2: but it's observant and there are particular choices that are
Speaker 2: made that have they carry the weight of more of
Speaker 2: a grand plan, But then the way that the action
Speaker 2: unfolds is so much more lively and casual and unpre predictable.
Speaker 2: And my feelings at times of that I could predict
Speaker 2: where the story was headed, I wasn't right. I'm picking
Speaker 2: up on little melodramatic cues that remind me how American
Speaker 2: my view of things is. Maybe it might be more
Speaker 2: predictable to a check audience used to a certain kind
Speaker 2: of storytelling, but really human and paying attention to all
Speaker 2: these little moments and little changes that are that have
Speaker 2: the intensity of melodrama without having the structure and the
Speaker 2: kind of wild repercussions of melodrama. Very small drama here
Speaker 2: can be very tragic as well.
Speaker 3: You know, remind me a lot of Thomas Hardy, his
Speaker 3: books and the films based on them. With him, there's
Speaker 3: this sense of like injustice and you know, this is
Speaker 3: not how things should be. We should treat women better,
Speaker 3: but you don't get that with this film. It's kind
Speaker 3: of like this is how it is and this is
Speaker 3: how it will be. So that part does feel very
Speaker 3: check about it, you know, like where if it was
Speaker 3: American you know, of course it would have some great
Speaker 3: romantic moment or you know, one last beautiful kiss or something,
Speaker 3: but it's just like, no, she is assaulted and then
Speaker 3: they just go off and she dies and Voita lives
Speaker 3: in regret his.
Speaker 1: Life for his entire freaking life, and Victor's not too
Speaker 1: much better off either. No, the episode, that Golden Sixties episode,
Speaker 1: Don Vava, he ends with him talking about how much
Speaker 1: he dislikes Hollywood films, and he's just talking about how
Speaker 1: they're great grafts people, but you know, they're just not filmmakers,
Speaker 1: and he drops Felini's name. He talks about Gosh Karne
Speaker 1: and Felini and Bergmann and a few other filmmakers, and
Speaker 1: he's just like, these are the guys that make the films. Okay,
Speaker 1: I can kind of see where you're coming from. Of course,
Speaker 1: growing up with American films, a diet of purely American
Speaker 1: films for so long, I find a lot to love
Speaker 1: about them. But yeah, he was not a big fan
Speaker 1: of what was coming over. And I think the whole
Speaker 1: idea of this being based on a poem and not
Speaker 1: having a traditional structure, because in between those frames, it's
Speaker 1: not like we have those things where we're like, okay,
Speaker 1: well here's this love triangle and oh, here's the dark
Speaker 1: woman Tonka who comes in and upsets the apple cart,
Speaker 1: possibly literally, and just you know, like we're not sitting
Speaker 1: there following these beats, you know, the whole thing of
Speaker 1: him hitting Terina.
Speaker 2: With the hat.
Speaker 1: You'd be like, oh, well, this is that moment in
Speaker 1: the romantic comedy where they have a misunderstanding, and we're
Speaker 1: going to go for maybe ten fifteen minutes, and then
Speaker 1: we're going to find out that, you know, oh, she
Speaker 1: actually really wants him back and he wants her back
Speaker 1: and all these things, and everybody's going to hug and
Speaker 1: we're going to have a great time by the end
Speaker 1: of this. No, it is just one tragedy after another.
Speaker 1: I mean, think about how many times we see people
Speaker 1: caring for their ailing grandfather in movies. Not very often,
Speaker 1: and the grandfather is a major character. Every once in
Speaker 1: a while, the dad will stop by. That's always interesting
Speaker 1: when he comes in. But yeah, this does not follow
Speaker 1: typical beats of narrative whatsoever.
Speaker 2: Yeah, to go to the Hollywood point, I'm gonna pick
Speaker 2: on Hitchcock and not necessarily just Hitchcock, But I had
Speaker 2: this thought while I was watching it. Hitchcock had that's
Speaker 2: saying that a movie is like life, but with the
Speaker 2: boring parts removed, and it's you got to ask a
Speaker 2: big question about what's boring, And for instance, the answer
Speaker 2: to that would be taking care of your grandfather's of
Speaker 2: course after and making sure that his body is well
Speaker 2: cared for and that you do the right thing. An
Speaker 2: American film often will would for instance, follow through with
Speaker 2: something like that, but it would reduce it to a montage.
Speaker 2: And this is a movie where we spend time on
Speaker 2: every pure and assume that every gesture that is in
Speaker 2: the movie is not boring. That's one of the things
Speaker 2: about the whole idea of the boring parts removed. There
Speaker 2: are a lot of parts of life that we might
Speaker 2: think of as boring because they could take time, or
Speaker 2: they're unpleasant or difficult, but in fact, this is a
Speaker 2: movie about how anything, any particular moment could be full
Speaker 2: and definitely not boring. And it's a matter of not
Speaker 2: eliminating the boring parts, but of choosing what you are
Speaker 2: going to present and for how long and how you
Speaker 2: pay attention. And one of the I think one of
Speaker 2: the directorial tactics for this over the course of the film,
Speaker 2: and I've not seen other films by Vava, but the
Speaker 2: intimate movement with each character. We do get our share
Speaker 2: of close ups, and we get our share of wide shots,
Speaker 2: but the meat and potatoes level of visually telling the
Speaker 2: story is a kind of roving camera that moves among
Speaker 2: the people and from one to another in different moments
Speaker 2: and really pays. The distance of the camera is decided
Speaker 2: by what is necessary to see of the person in
Speaker 2: an intimate way. That's again granted to every character except
Speaker 2: maybe the father. The father is the figure in big,
Speaker 2: wide shots for the most part, but he also has
Speaker 2: a smaller part of the movie, and maybe also there's
Speaker 2: a way of that that represents a psychology. But every
Speaker 2: single other major character is given a kind of beautiful
Speaker 2: intimacy of deciding where the camera is going to go,
Speaker 2: deciding how the camera is going to frame them.
Speaker 1: Well, and speaking of intimate, this kind of reminds me
Speaker 1: of the film we talked about three years ago, intimate lighting.
Speaker 1: There was something maybe it was the what was it?
Speaker 1: Didn't he play Cello and that one the main character,
Speaker 1: and there's the rival band members kind of thing. So
Speaker 1: as soon as I saw Victor with the flugel horn
Speaker 1: of the bugle, I was like, oh, we just watched
Speaker 1: something recently three years ago with musical instruments and kind
Speaker 1: of a return to the village kind of thing. So
Speaker 1: it's like, oh, okay, that would probably make a nice
Speaker 1: double feature as well.
Speaker 3: There's a saying every check is a musician. I think
Speaker 3: it's just something that that's just common for them that
Speaker 3: to have, you know, play some kind of instrument. You know,
Speaker 3: they're not concerned about, oh you have to go to
Speaker 3: school or conservatory. Just no, just play it, sit in
Speaker 3: the pub with your friends and you know, with your
Speaker 3: accordion and your bugle. And I wanted to mention like
Speaker 3: Vavra and hru Being they were about the same age.
Speaker 3: Who Being was born in nineteen ten and Barbara was
Speaker 3: nineteen eleven, so they were fifty five and fifty six
Speaker 3: when they made this, and it was really important to
Speaker 3: them to make a movie about people of their generation
Speaker 3: who went through both world wars and went through all
Speaker 3: this upheaval. And I mean, you see, they don't really
Speaker 3: explicitly say when the movie takes place that the poem
Speaker 3: is like nineteen thirty, thirty three, and thirty four. The
Speaker 3: poem is written in nineteen sixtyes, so you figure it's
Speaker 3: probably like early thirties and then the present day's early sixties.
Speaker 3: But I think just the way they handle things, the
Speaker 3: fact that Voita does, he does go and be a teacher,
Speaker 3: he does take care of his grant. You know, he
Speaker 3: does what his father wants him to do. The check
Speaker 3: new wave films, it's the children are rebelling against their parents,
Speaker 3: and you know Voita kind of wants to. He has
Speaker 3: those inclinations, but he does follow the path. And so
Speaker 3: I think, even though the movie doesn't state explicitly when
Speaker 3: it is like, it really does only it really only
Speaker 3: could take place during that time period. I can't imagine
Speaker 3: a story present day being like that or being responsible.
Speaker 2: And that's sadder than the story in this movie. In
Speaker 2: a way. Viously, American storytelling and artwork is very wedded
Speaker 2: to notions of rebellion, a kind of elemental sense that
Speaker 2: you have to rebel and not simply against momentary politics,
Speaker 2: but rebelling against larger structures where you could end up
Speaker 2: in life how things go. And there's especially given what
Speaker 2: they have lived through in the time span of this movie,
Speaker 2: and without mentioning any of it, obviously the audience in
Speaker 2: Czech Republic is going to be very aware Czechoslovakia at
Speaker 2: the time. Yeah, there's the sense of the time, and
Speaker 2: there's the sense of what you do, and maybe a
Speaker 2: bit of an autobiographical way. There's a disappointment in doing
Speaker 2: the thing that was expected and socially necessary and everything.
Speaker 2: But that disappointment isn't necessarily the same thing as a
Speaker 2: huge injustice. The real disappointment is about the interpersonal choices
Speaker 2: that are made, rather than Ah, God, I ended up
Speaker 2: a teacher and I didn't want to be a teacher.
Speaker 2: He could have run away with the circus, which maybe
Speaker 2: that's an interesting story, but not having run away with
Speaker 2: the circus is not the main source of the disappointment.
Speaker 2: And even if he's disappointed by quote unquote only being
Speaker 2: a teacher later in life, that that's not the worst
Speaker 2: that's not the worst thing. The worst thing is that
Speaker 2: slap with the hat.
Speaker 3: I really enjoyed just learning more about well about Barbara,
Speaker 3: but also frontishek Rubin. He's someone where I guess his
Speaker 3: name isn't brought up so much for us Americans, but
Speaker 3: he starred as a poet, and then when his daughter
Speaker 3: was born, he got really interested in children's literature, so
Speaker 3: he started writing fairy tales, which that led him to
Speaker 3: working with the animator Yhnka, and so he started going
Speaker 3: into short film and he did plays and books. So
Speaker 3: he's very present in Czech culture and in film. He
Speaker 3: ended up writing the screenplay for Correl Zemon's Invention for Destruction,
Speaker 3: just an incredible movie. And then besides these three films
Speaker 3: he made with Barbra, there was a fourth called Us
Speaker 3: that they wanted to do after Witch Hammer, but the
Speaker 3: political circumstances had changed and so they weren't allowed. He
Speaker 3: died in seventy one, so Fabra did end up making
Speaker 3: that film in the eighties, when I guess things had
Speaker 3: settled down a bit. He also has a bit of
Speaker 3: a role in film. He wrote a play of the
Speaker 3: Check version of Beauty and the Beast, which through various
Speaker 3: iterations became your eye Hers's Beauty and the Beast. So
Speaker 3: I really loved learning more about him and his work.
Speaker 3: It's a shame, you know. Check Definitely check out Invention
Speaker 3: for Destruction if you haven't seen it. Yeah, if this
Speaker 3: film and Golden Rennett could get released. You know, he's
Speaker 3: really someone that should be studied in the lest more so,
Speaker 3: I really enjoyed learning about him. It was a nice opportunity.
Speaker 1: Well, and I appreciate all of the stunning materials that
Speaker 1: you brought to the table as well. I really can't
Speaker 1: thank you enough for doing that.
Speaker 3: I love having this excuse to go look at books
Speaker 3: and by books I don't need, but they're really fun to.
Speaker 2: Read and.
Speaker 1: Translate OVID from check.
Speaker 2: They're really great reading. I have to thank you. Yeah,
Speaker 2: they're terrific stuff to read, really fascinating. And this I
Speaker 2: have to say, this has been a great introduction to
Speaker 2: Babra And then I'm sorry, Emily, can you say that
Speaker 2: say for me the name of the poet.
Speaker 3: I'm sotry Oven, so like Kruben hr u.
Speaker 2: B I n. Yeah. Really an incredible introduction to Babara
Speaker 2: and Ruben. Definitely both artists that I want to pay
Speaker 2: more attention to in the future.
Speaker 3: Well, I just thought today, def Crocodile is going to
Speaker 3: be putting out Krakatite Fabras Select nineteen forty eight I
Speaker 3: believe movie, which is excellent. So that's an opportunity to
Speaker 3: get more into BABRAA.
Speaker 1: All right, we're going to take a break and play
Speaker 1: preview for next week's show right after these brief messages.
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Speaker 2: Ever m f f f.
Speaker 3: H m hm hm h m hmm.
Speaker 1: That's right. We'll be back next week with a look
Speaker 1: at Jan Smackmyers Conspirators of Pleasure. Until then, I want
Speaker 1: to thank my co Emily and Spencer. So Emily, what's
Speaker 1: the latest with you, ma'am?
Speaker 3: Will have happened by the time this episode comes out,
Speaker 3: But I am going to be introducing ri I hers Is,
Speaker 3: Beauty and the Beast and the Ninth Heart for Super
Speaker 3: Horirama's midnight movie screenings at Music Box Theater on August
Speaker 3: fifteenth and sixteenth. Then we might be doing some more
Speaker 3: Check films in the future, so I watch out for
Speaker 3: super Horima. I am going to be on two episodes
Speaker 3: of Hour Juan on One with Doctor Ac on YouTube
Speaker 3: in November and December. And I started a blog kind
Speaker 3: of about just studying Check and learning about Check culture
Speaker 3: and movies. So that's at Emily Dashbarney dot com. And
Speaker 3: I wrote a bit about odacar Vava's film as well
Speaker 3: as watching this, and I'm going to try to keep
Speaker 3: watching his movies and just you know, it's kind of
Speaker 3: a nice survey through the history of Check film getting
Speaker 3: to watch his movies and.
Speaker 1: Spencer, how about yourself, sir.
Speaker 2: I have a short film that I made several years
Speaker 2: ago is now airing on Means TV. It's just shown up.
Speaker 2: It's the film itself is I shouldn't have given it
Speaker 2: such a long title. It's a partial theory of commodity
Speaker 2: fetishism and three scenes plus epilogue. Pretty much the synopsis
Speaker 2: is in the title. So the downside of a long
Speaker 2: title like that is obvious, but the upside is that
Speaker 2: I just told you what it's about and how it works.
Speaker 2: See title for synopsis. So that's coming up and crawling
Speaker 2: towards the finish line with a feature and hoping I
Speaker 2: can finish that sooner than later, because I have another
Speaker 2: short that I want to ruin my life making in
Speaker 2: the coming year. That's what we learned from this movie, right,
Speaker 2: find a new little way to ruin my life with
Speaker 2: the choices I've made. Yeah, but this has been great.
Speaker 2: Thank you so much.
Speaker 1: Well, thank you and thanks again guys for being on
Speaker 1: the show, and thanks to everybody for listening. Do you
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Speaker 2: S