Speaker 1: Hey, this is Emily sowderback of Scarecrow Videos Viva Physical Media.
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Speaker 3: Oh ye is boot It's showtime.
Speaker 4: People say good money to see this movie When they
Speaker 4: go out to a theater. They want cold sodas, hot popcorn,
Speaker 4: and no monsters in the projection booths. Everyone pretend podcasting
Speaker 4: isn't boring.
Speaker 5: Put it off.
Speaker 6: Cutthroats nine, nineteen seventy two. A cavalry escort hauls a
Speaker 6: wagonload of convicts chained together from a gold mine towards
Speaker 6: a distant fort. They're ambushed by bandits looking for gold.
Speaker 4: We haven't gotten to go, buddy, but.
Speaker 6: There is no gold. The wagon's destroyed, no horses are gone.
Speaker 6: Now the sergeant, his daughter, and the convicts are stranded
Speaker 6: in a deadly winter wilderness. But things are never that simple.
Speaker 3: The sergeant has other plans the murderers.
Speaker 4: And the convicts.
Speaker 6: They'll discover the chains may not be what they think
Speaker 6: they are. This film is bleak with a capital B
Speaker 6: and nihilistic with a capital holy. They even handed out
Speaker 6: terror masks at the screening to hide your eyes if
Speaker 6: you dare no rating nine terror masks out of nine
Speaker 6: The Saintra Grandpa's Western.
Speaker 7: Welcome to the projection booth. I'm your host, Mike White Jimney.
Speaker 7: Once again is Professor Nick Schlegel.
Speaker 4: Good to be with you, Mike.
Speaker 7: Also back in the booth is Miss Heather Drain.
Speaker 3: Hello. Hello.
Speaker 7: We are wrapping up a month talking about Westerns with
Speaker 7: one from nineteen seventy two, Cutthroats nine. Directed by Joaching
Speaker 7: Romero Marshent and written by him and Santiago Moncata. The
Speaker 7: film tells the tale of Sergeant Brown, who escorted seven
Speaker 7: conflicts through the mountains on their way to be executed.
Speaker 7: That's only eight people, you say, Don't worry. Brown's daughter
Speaker 7: Kathy is also there for the trip. Through the actions
Speaker 7: of the men and their flashbacks, we learn that this
Speaker 7: is not a simple death march. We will be spoiling
Speaker 7: this film as we go along, so if you don't
Speaker 7: want anything ruined. Turn off the podcast and come back
Speaker 7: after you've seen this movie. We will still be here. So, Heather,
Speaker 7: when was the first time you saw Cutthroats nine? And
Speaker 7: what did you think?
Speaker 4: Ma'am?
Speaker 3: The first time I saw it was preparing for this podcast.
Speaker 3: This was a film I had heard of for years.
Speaker 3: It's an infamous one, especially with its roots and playing
Speaker 3: a lot of American grindhouses. Effective You can go on
Speaker 3: YouTube right now and find a really great grindhouse era
Speaker 3: trailer for it that promotes it having some kind of
Speaker 3: what was it, like the terror bag or something like that,
Speaker 3: like some kind of carny type of marketing, which I
Speaker 3: of course love. So when it came up to do
Speaker 3: this episode, I was like, yes, this gives me excuse
Speaker 3: and to watch it. And boy, howdy, this was such
Speaker 3: a great film. It did not disappoint, which given the
Speaker 3: kind of amountain of sort of infamy attached to it,
Speaker 3: is impressive because sometimes you can go into these things
Speaker 3: blind and be disappointed or like, oh, that's it okay,
Speaker 3: and Nick, how about yourself?
Speaker 4: I distinctly remember reading the title sometime in the late
Speaker 4: nineties or maybe early two thousands and a Barnes and Noble.
Speaker 4: I think I was just picked up a spaghetti western
Speaker 4: book encyclopedia type thing, and was just it was in
Speaker 4: the C section, and so I was like, I just
Speaker 4: page landed on it, and the title struck me, and
Speaker 4: I read a brief entry about it and kind of
Speaker 4: just filed it away and never I don't recall it
Speaker 4: being available at all back then, or perhaps if it was,
Speaker 4: I didn't seek it out. But then doing a lot
Speaker 4: of research on Spain and writing that that that book
Speaker 4: on Spanish horror films, it was just a title that
Speaker 4: kept coming up when I was researching the Destape and
Speaker 4: the spaghetti and piea Westerns, and of course the Spanish
Speaker 4: horror films. It just was a name that kept coming up.
Speaker 4: And of course there's a there's like a pedigree of
Speaker 4: actors in here that are have done not only a
Speaker 4: lot of Westerns, but there's a lot of stalwart character
Speaker 4: actors that populated the horror films too, particularly Alberto Dalles,
Speaker 4: who's really pretty slick in this, I think, and he
Speaker 4: has that wonderful role in Hunchback of the Morgue as
Speaker 4: the scientist doctor doctor Acula. It's not doctor Orlov, but
Speaker 4: it's doctor of something similar to that. He's really good
Speaker 4: in that. Once I kind of came across the name
Speaker 4: over and over, then Yeah, it just seemed like a
Speaker 4: natural selection for us to tackle. A year later here,
Speaker 4: I'm really glad we made that sort of pinky square.
Speaker 7: I don't remember how I came across this film the
Speaker 7: first time. I want to say I saw it in
Speaker 7: a video store. I don't know if they would have
Speaker 7: carried this at Blockbuster, but they carried some weird shit
Speaker 7: that they probably would have eventually found out that there
Speaker 7: are bad things in it and taken it off the shelf.
Speaker 7: Blood Feast or City of the Living Dead. They were
Speaker 7: so weird when it came to what they took off
Speaker 7: the shelves. I mostly just remember that VHS box cover
Speaker 7: with the guy being strangled, and I almost thought it
Speaker 7: was Joe Spinell who's on the video box cover.
Speaker 3: Same, Oh my god, it's one hundred percent. So I
Speaker 3: took the point where I had a Mandela effect memory
Speaker 3: going into this movie because my husband was like, are
Speaker 3: you guys gonna be doing us a cut throa? It's fine?
Speaker 3: And I'm like, I think Joe Spinelson.
Speaker 7: I'm glad I'm not the only one, and especially you
Speaker 7: saying that really validates me because I know what a
Speaker 7: big Joe Spinel fan you are.
Speaker 3: I love him so much. That makes the film's still good.
Speaker 3: It's still good even though Joe's not in it.
Speaker 7: But there are some great faces in here. I have
Speaker 7: to say that the guy who plays the arsonist, Antonio Auronzo,
Speaker 7: He's fantastic. I love his face. He's just such a
Speaker 7: character with that. And yeah, I had heard about this,
Speaker 7: especially after things like The Hateful Eight. Obviously this is
Speaker 7: a play on that was a play on this title.
Speaker 7: I had heard for years that Tarantino wanted to remake
Speaker 7: this film. This was one of those films that you
Speaker 7: would read about, Oh yeah, he wants to do Faster
Speaker 7: pussy Cat, Kill Kill, he wants to do Cutthroats nine.
Speaker 7: And I knew that he had tipped the hat to
Speaker 7: The Great Silence swhich is another snowbound Western, but this
Speaker 7: one is it's so guaranty you now. You can just
Speaker 7: see so much how he took from this. This is
Speaker 7: an unusual one, though I don't recall too many westerns
Speaker 7: or spaghetti westerns that have voiceover narration, and I am
Speaker 7: curious if that was all in the original Spanish version.
Speaker 7: It seems like it had to be, just because of
Speaker 7: the way that it's being filmed at the beginning, with
Speaker 7: one of the criminals going around the entire group in
Speaker 7: the back of the wagon that is transporting them and
Speaker 7: telling you little bits about each one of these convicts.
Speaker 4: It reminded me of another film from nineteen seventy one
Speaker 4: seventy two, but much larger budget, bigger stars, which is
Speaker 4: Big Jake. I don't know if you guys ever saw
Speaker 4: a Big Jake, but John Wayne film. And in the beginning,
Speaker 4: it's an assault on a ranch being led by Richard Boone,
Speaker 4: and it's got this Elmer Bernstein's score going, and they
Speaker 4: have these lingering close ups on all these people on
Speaker 4: horseback and rape, murder, kidnapping, like it's going through the list.
Speaker 4: He said, yeah, exactly. It's a lot of raven When
Speaker 4: I was watching it, I immediately thought of that, and
Speaker 4: I thought interesting, they came out same year ish and
Speaker 4: they have this sort of similar intro, which then you
Speaker 4: link also to Tarantino, that sort of like classic sort
Speaker 4: of like intro segment. It's really stylish doing it and
Speaker 4: a carriage. Though that's too cool.
Speaker 3: It doesn't keep up with the voiceover. The voiceover is
Speaker 3: almost literally just and it feels like an intro thing
Speaker 3: and we get a little bit of it, but then
Speaker 3: it just it gets dropped for a few reasons the introduction.
Speaker 3: I love all the names. Some of these criminals have
Speaker 3: some really fantastic names, like Dandy Jim, I believe Ray,
Speaker 3: who's the actor. Yeah, boy, there are some great mugs
Speaker 3: in this film. I think isn't his signame like the
Speaker 3: torch because he as arson on that. One of them's
Speaker 3: the weasel, who's really despicable. Real life weasels are adorable.
Speaker 3: The animals are so cute, so this guy's not so much.
Speaker 3: So you get that kind of colorful, but that's really
Speaker 3: the only colorful we're going to really get. This film
Speaker 3: is so gritty and so brutal, and also huge paths
Speaker 3: of quiet. It's almost like the film itself's pacing matches
Speaker 3: the landscape because we have these so many of these
Speaker 3: really great shots of these of the great which I
Speaker 3: think isn't in the Juesca. Oh god, my Spanish is
Speaker 3: like a hate crime. And I don't mean it to pay,
Speaker 3: But these great snowy mountains, and it's just huge, the vastness,
Speaker 3: the beauty, but also just the just nature is beautiful,
Speaker 3: but it is brutal. And we have these very very
Speaker 3: brutal human beings along with Sergeant Brown, who's in charge
Speaker 3: of this chain gangs, and his poor daughter Kathy. My god,
Speaker 3: why when the world, when anybody bring she has an
Speaker 3: adult at least it's not like she's just eight or something.
Speaker 3: But in this era especially, but any era, why would
Speaker 3: you bring your lovely late teens daughter to be alone
Speaker 3: in the snowy European mountains technico or US wink?
Speaker 7: Yeah, obviously these are the Rockies, right, yeah, probably not.
Speaker 3: The period the chain gang that has rapists, but why
Speaker 3: would you? But then the more I thought about it's
Speaker 3: like Brown. The film Like an Onion reveals little bits
Speaker 3: more and more about the each character, and with Brown,
Speaker 3: we realize one of these guys he suspects, murdered his
Speaker 3: wife Kathy's bomb, and there's a purpose. And then we
Speaker 3: have a double purpose. I don't know if we want
Speaker 3: to go into that quite yet, but we might as well. Right,
Speaker 3: the chain is gold. You don't find it, said almost
Speaker 3: midway through the but then it's oh, and even Kathy's
Speaker 3: looking at her dad like is this true? What of you?
Speaker 3: What are you doing? And because he's using these men
Speaker 3: to basically ferret this gold to Fort Green so he
Speaker 3: can have it and also kill two birds of one stone,
Speaker 3: one of them is the murderer, but he doesn't even
Speaker 3: know which one's the killer. Nobody knows which one is
Speaker 3: the killer. There are two men that definitely know, because
Speaker 3: one of them is the killer and the other one
Speaker 3: was with them, but we don't find that out till
Speaker 3: the very end.
Speaker 4: Yeah.
Speaker 7: I just love the way that this story is told.
Speaker 7: The whole idea of the voiceover is one thing, and
Speaker 7: then the flashbacks and again like flashbacks totally normal during
Speaker 7: the Spaghetti Western. I think about all the great flashbacks
Speaker 7: and for a few dollars more and how they really
Speaker 7: help tell the story. We were just talking a few
Speaker 7: weeks ago about the Wild Bunch and some of the
Speaker 7: use of the flashbacks, and they're that absolutely bizarre one
Speaker 7: with Bo Hopkins where it's like, oh, yeah, my nephew,
Speaker 7: and then they have to show Bo Hopkins. But here
Speaker 7: I was just taken aback because it happens really early on.
Speaker 7: At one point, one of the convicts is talking about
Speaker 7: going life after death and he's like, oh, yeah, your
Speaker 7: whole life passes in front of your eyes, and like,
Speaker 7: how do you know that? He's like, oh, I had
Speaker 7: the hangmans of rope around my neck at one point,
Speaker 7: and they like do this really quick freeze frame and
Speaker 7: then cut to him with the rope around his neck,
Speaker 7: and then really right around, like twelve minutes into this thing,
Speaker 7: you get another freeze frame and then you start to
Speaker 7: see Sergeant Brown and I guess it's his wife and
Speaker 7: just this kind of idyllic past that they had, and
Speaker 7: you get slow motion and all this kind of stuff,
Speaker 7: and that idea of the flashbacks just continues on through
Speaker 7: the film and you never know when they're going to happen,
Speaker 7: and it always takes me back a little bit where
Speaker 7: it's just, oh, why did the film just stop? And
Speaker 7: that's oh, okay, here comes a flashback, because there's almost
Speaker 7: like a beat too long between the freeze frame and
Speaker 7: then the flashback starting. And I like that, and I
Speaker 7: like that this narrative is not told in any sort
Speaker 7: of conventional way and really becomes nick You mentioned horror
Speaker 7: and how this would come up during horror discussions because
Speaker 7: there's horror elements to it, there's a mystery to it,
Speaker 7: there's a Western element of it, but just all of
Speaker 7: these things coming together, it's like this mish master genre.
Speaker 4: We were all talking about the brilliant casting of the film,
Speaker 4: and the genre, particularly the spaghetti version of the genre,
Speaker 4: loves to linger in these close ups on these unique faces,
Speaker 4: where every scar, every wrinkled has a great story behind it.
Speaker 4: But what I noticed during the film, and this is
Speaker 4: no small measure, but it comes from someone who's well
Speaker 4: beyond a journeyman as a director of westerns, is and
Speaker 4: his cinematographer is the idea that the forest and the
Speaker 4: branches and the foliage and the mountains and the snow
Speaker 4: are all extremely busy in the composition. So they're constantly
Speaker 4: using very shallow focus, real shallow depth of field to
Speaker 4: keep us right on there, because if we had a
Speaker 4: bigger depth of field, it would the composition would be
Speaker 4: so messy, we wouldn't know where it would just because
Speaker 4: every single shot has got harsh angles of trees and
Speaker 4: bare branches and things like that. So as I watched it,
Speaker 4: I just made a notation that the editing of the
Speaker 4: close ups. The shooting of the close ups and the
Speaker 4: editing of the closeups were experts just really handled beautifully
Speaker 4: as well camera movement. And then Mike, what you were
Speaker 4: saying is, yeah, the film is it is a hodgepodge
Speaker 4: of a lot of different elements that come together, and
Speaker 4: I don't know, it seemed really cohesive in a weird way.
Speaker 4: To me. You wouldn't necessarily expect them to all gel,
Speaker 4: but they really do. And the device of the flashback
Speaker 4: isn't really a cheat at all. It's not this is
Speaker 4: lazy storytelling. They're all fragmented backstories that you try to
Speaker 4: piece together, and I'm not sure I ever really successfully
Speaker 4: did them all, and I'm sure that you can't. Right,
Speaker 4: there's not an actual some of them. Yeah, some of
Speaker 4: them know. It's weird, right, It's hard to keep track
Speaker 4: of exactly how they relate to one and other flashbacks
Speaker 4: because they don't in many instances.
Speaker 3: And also the editing, like you bring up how they
Speaker 3: edited the flashbacks, and to me it almost felt like
Speaker 3: a really cool, if this makes any sense, like a
Speaker 3: counter cultural edit, because that type of editing, to me,
Speaker 3: feels very indicative. The way it's done here, of some
Speaker 3: of the more almost experimental narrative films that you would
Speaker 3: see from the late sixties and early seventies, where filmmakers
Speaker 3: were really trying more out of the box tactics and
Speaker 3: techniques and taking kind of that influence from just the
Speaker 3: spirit of the age of let's do something different, let's
Speaker 3: do something in a visual way that's not like our
Speaker 3: father's kind of element. But that technique gives this film
Speaker 3: like a fragmented poet poetry kind of vibe. This film
Speaker 3: has such a strange heart to it because it does
Speaker 3: have such a somberness about it and a care about
Speaker 3: it well, being completely raw honest about this era. These
Speaker 3: are yeah, these are convicts and one man who is
Speaker 3: basically doing kind of convict behavior. But this is also
Speaker 3: a heart scrabble time where people good people are perfectly
Speaker 3: morally good or having to do a lot of time
Speaker 3: things they don't want to do because it's survival, and
Speaker 3: where everybody trips up as the greed, which I mean, god,
Speaker 3: that's something like that's a trope. At this point with
Speaker 3: Western's Treasures, the r Madre were crying out loud. But
Speaker 3: the way it's done here, I just thought it was
Speaker 3: so compelling, and there is just so many great God
Speaker 3: Nick to your point, there is just so many like
Speaker 3: big wide shots and then just tight like almost not
Speaker 3: quite clusterphobic, but we're getting their close ups, and it
Speaker 3: just gives you this great sort of disjointed feeling in
Speaker 3: a way that works because it's it makes you feel
Speaker 3: like how these people had to have felt. I can't
Speaker 3: even imagine.
Speaker 4: One of the very first things I wrote down was
Speaker 4: must have been a ruling shoot.
Speaker 3: Yeah, oh God, good night?
Speaker 7: Well yeah, yeah, to shoot this in these mountains, and
Speaker 7: the stunt at the beginning, maybe it was a stunt,
Speaker 7: maybe it wasn't. But the horses and the carriage going
Speaker 7: down the side of the hill. Oh, I don't want
Speaker 7: to think about what happened to those horses.
Speaker 4: Those actors earned every penny.
Speaker 7: Yeah, And just to set this in the mountains, and
Speaker 7: to use these mountains so much in the framing, especially
Speaker 7: near the beginning when they don't have a carriage anymore
Speaker 7: and now they have to go on foot across these mountains.
Speaker 7: The mountains are so big, so majestic, and just look
Speaker 7: like they are gods looking down on these people, just
Speaker 7: laughing at them and their futility and just to see
Speaker 7: their struggle. The one guy has to carry because somebody
Speaker 7: was injured in the carriage falling down. So there's one
Speaker 7: guy who's injured. So they're like, Okay, I don't want
Speaker 7: to carry him, you have to carry him, and just
Speaker 7: carrying this poor guy across here, and they're just like, man,
Speaker 7: if this guy was dead, it'd be so much easier.
Speaker 7: And they really aren't the kind of people who are
Speaker 7: filled with empathy because these are seven convicts carrying this
Speaker 7: poor guy, and yeah, he doesn't come to a very
Speaker 7: good end. And that's when we have the other part,
Speaker 7: which I don't know if you would necessarily call it
Speaker 7: a genre, but definitely has elements of grindhouse like you
Speaker 7: said before, where that you start to get some of
Speaker 7: these great skulls with eyeballs popping out and just this
Speaker 7: kind of like real gritty kind of stuff where you're.
Speaker 4: Like looking for you, like with Daria or Agento second
Speaker 4: Ac on this or something.
Speaker 3: I legit. It was like I know this is Spanish,
Speaker 3: so I know, fol she's not technically involved in this.
Speaker 3: It was very it was like, goddamn, okay movie it
Speaker 3: It's like I'm like it is not. They are not
Speaker 3: pulling any punches here, and it's but it's interesting the
Speaker 3: way it's mixed, because most of the gore I think
Speaker 3: is integrated really well. I know it seems I know
Speaker 3: some of it was shot after the fact, but it
Speaker 3: doesn't look it looks seamless. I have seen there's a
Speaker 3: version of the Creature from the Blue with the Blue Hand,
Speaker 3: like the German Creamy that was re released as The
Speaker 3: Bloody did with some nineteen eighties shot on video gore effects.
Speaker 3: It edited in this nineteen sixties movie, and it is.
Speaker 3: It makes you feel like you're on trucks. I mean honest,
Speaker 3: it makes you feel insane, You're like white what either.
Speaker 7: It reminds me of sexy genes, that version of Massacre
Speaker 7: at Central High where it's like oh and then suddenly
Speaker 7: they're having sex and it's like whoa, whoa, this doesn't
Speaker 7: make sense.
Speaker 3: How unhinged. Massacre at Central High is what the most
Speaker 3: I love that movie is brilliant. It is not sexy.
Speaker 3: There is no sexy geens our jeans, they are not sexy.
Speaker 3: Burger were retitled it sexy and put in badly shot
Speaker 3: hardcore porno with actors they didn't even try to mash them,
Speaker 3: and they just found some randoms. They were like, hey,
Speaker 3: you guys are making out over there can be film you.
Speaker 3: It just found that viobent. So yes, cuth Throat Tonight
Speaker 3: is not that's oh my god, it's sexy.
Speaker 7: And I think the other thing that adds to this
Speaker 7: grindhouse feel is just how beat up this print looks.
Speaker 7: Nick messaged me earlier this week, He's like, is there
Speaker 7: a better printed this? I'm like, this is the best
Speaker 7: one I can find, And yeah, it looks okay. I
Speaker 7: think it was the code read version that they put out,
Speaker 7: which was an improvement on earlier versions, but it still
Speaker 7: just looks beat the shit a lot of times.
Speaker 4: And yet that that just seemed to add to the choice. Yeah,
Speaker 4: like you said, the it lent it that grindhouse aesthetic,
Speaker 4: and yeah, the color palette in it, and the way
Speaker 4: that the whole thing is blocked a camera and shot
Speaker 4: in sort of conjunction with the landscape is just pretty
Speaker 4: mind blowing cinematography. Earlier, Heather mentioned you used the word poetic,
Speaker 4: and I thought to myself, yes, this is very bleak
Speaker 4: poetry is with what we're nearing. It kind of starts off.
Speaker 4: You're not really sure exactly what to make of what's
Speaker 4: going on, and who do we trust. We have these
Speaker 4: these flashbacks, we have these this opening narration and voiceover
Speaker 4: golds at the heart of it. It's at the heart
Speaker 4: of so many these narratives, and then it just takes
Speaker 4: all these these really twists and turns that I wasn't anticipating,
Speaker 4: despite or in or because of its reputation. I had
Speaker 4: read a lot about it, and so the threshold for
Speaker 4: me to be disturbed in this was pretty and I
Speaker 4: still was disturbed, but in really filling way that is.
Speaker 3: Highly accurate of this film as an experience. And it's
Speaker 3: one of those two where there's so many films that
Speaker 3: were called grindhouse that if you really watch the isolated
Speaker 3: without any context, it's like, this is art this is
Speaker 3: art house. It just wasn't promoted like at art house.
Speaker 3: It didn't have maybe art house critical acclaim, it didn't
Speaker 3: have art house sort of prestige, cachet, sometimes money, and
Speaker 3: so these films sometimes get overlooked a little bit as
Speaker 3: solid films, as great films. This one's a great example
Speaker 3: of that. There's the moral just decay of it all
Speaker 3: is so fascinating, and especially because they're smart enough to
Speaker 3: put some gradient in there. It's not just God, if
Speaker 3: you watch the trailer again, that Grindhouse trailer, it looks
Speaker 3: even rapier than the movie. It's like it is on
Speaker 3: h It's like that what you're talking about?
Speaker 4: What was it?
Speaker 3: Big Ja, big Jake, Big Jake, Yes, big Jake, and
Speaker 3: yeah it's rape Burner right yeah, and it's like whoa, Okay,
Speaker 3: compounds there. But this film, like it's like it has
Speaker 3: enough brutality where it knows not to be like, you
Speaker 3: know what, if we take it too far, you're just
Speaker 3: gonna be overwhelmed. It's almost like mixing in the subtle
Speaker 3: with the extreme. It's like a great contrast. Some of
Speaker 3: the most disturbing films I've ever seen are really smarted
Speaker 3: doing that. And we think about how Texas Chainsaw impacts people.
Speaker 3: And that film has lots of quiet moments and it
Speaker 3: messes with your mind. You think you've seen more than
Speaker 3: you have. Same with Henry Catharine. To Night will have
Speaker 3: those big, brief, gory kind of bits, but then it's
Speaker 3: like just tension. The snow snow, Yeah, tons of tension.
Speaker 4: Cutting into the next cutting the next, cutting into the next,
Speaker 4: moving it forward, even through some long sequences that are
Speaker 4: basically silent, just carried by the sound design, and that
Speaker 4: that fantastic score.
Speaker 7: No very repetitive score though too.
Speaker 4: Yeah you can trigger, but so yeah. Some of the
Speaker 4: other light like when they take the the Mike Darling
Speaker 4: Clementine which they're singing, and then after that scene it
Speaker 4: goes from diegetic taunting of Sergeant Brown by changing the lyrics,
Speaker 4: and then in the next scene it's orchestral but it's
Speaker 4: in a minor key, which is really cool and so
Speaker 4: much just like that I think are pretty pretty dark
Speaker 4: one impressive in this film. It really elevates it way
Speaker 4: above what average run of the mill spaghetti western or
Speaker 4: your sort of like bottom grade spaghetti western. This one,
Speaker 4: I'm sure is in a lot of top twenty or
Speaker 4: thirty lists. It has to be.
Speaker 7: They're very smart too. I don't want to keep bringing
Speaker 7: up Tarantino, but this whole idea of these men who
Speaker 7: are together with this woman in the snow and nobody
Speaker 7: trusts anybody. There's a reason why there was so much
Speaker 7: more cone and the unused score, the unuxed cues for
Speaker 7: the thing when it came to The Hateful Eight. That
Speaker 7: movie is basically a remake or an updating of the thing,
Speaker 7: and this one felt like it too. Just these guys
Speaker 7: in the snow can't trust each other, and who knows
Speaker 7: who's the murderer? Who knows who's going to do what.
Speaker 7: That's the only thing I really liked about The Hateful Eight.
Speaker 7: I still never understood why they were doing a seventy
Speaker 7: millimeter presentation of a movie that ninety percent of it
Speaker 7: takes place indoors. Seems a little wasteful, whereas this one,
Speaker 7: it feels like every penny that they spent is on
Speaker 7: the screen, even though, like I said, it's beat to shit.
Speaker 7: The colors are so muted. There's probably we'll never see
Speaker 7: a better version of this than we are now, but
Speaker 7: it looks fucking fantastic.
Speaker 3: I feel like sometimes with major, big Hollywood movies where
Speaker 3: people put pumping in that much money, it almost to
Speaker 3: me just feels like a really obscene size measuring contest.
Speaker 3: But if you have vision, if you have enough technique
Speaker 3: and ideas and excitement, you don't need that much money.
Speaker 3: I've seen shot on video movies that were made for
Speaker 3: five hundred bucks that had some shots that blew me away,
Speaker 3: and I've seen films that cost twenty million dollars that
Speaker 3: bored me to absolute tears. So you just need vision
Speaker 3: and some people that know what they're doing and are
Speaker 3: having fun doing it and are excited about trying new things. Yeah,
Speaker 3: I've never seen The Hateful Eight, and it's it doesn't
Speaker 3: need me. I'm not trying to be a hater. It
Speaker 3: just I'm good. I'd rather watch Code an cut nine.
Speaker 3: And the thing too, is like how authentic these criminals
Speaker 3: felt too. Nobody really felt like a stereotype, which was nice.
Speaker 3: It's another kind of beauty I think where you you
Speaker 3: find that more in European film westerns than some of
Speaker 3: it's Americans at all. There's exceptions to everything, but where
Speaker 3: they all just legit, like and you're talking about the
Speaker 3: actor that plays Ray in particular, having a great face
Speaker 3: mic and yeah, like there are times where it's like
Speaker 3: his eyes are just burning. You're like, this, what is
Speaker 3: this guy? I do not like what's going on in
Speaker 3: his head? But a lot of the guys just have
Speaker 3: these way of just looking around and it's exciting and
Speaker 3: terrifying because you know it's not who when are they
Speaker 3: gonna or if it's no, these guys are going to
Speaker 3: turning on each other real quick. And you're instantly worried
Speaker 3: for Kathy. You're worried for Brown a little bit, but Joe.
Speaker 3: Most are more upset with him because it's like, why
Speaker 3: did you, dude, why did you bring your daughter?
Speaker 7: Like?
Speaker 3: Why? And again, I don't think that's at a fault
Speaker 3: of the film. That's a flaw of the man. That's
Speaker 3: a flaw of the character because he cannot see the
Speaker 3: tree from the skies at this point in his life.
Speaker 3: He's grieving, he's greedy. You've got two very, very painful
Speaker 3: and emotions that can grow cancer. It's really quick dealing
Speaker 3: with that, so you get it. But you're still this
Speaker 3: poor girl, this poor lamb, and she's such a that's
Speaker 3: such a great performance. Emma Cohen, I realie. She does
Speaker 3: so much with her eyes. She's mute throughout most of
Speaker 3: the movie. She's not a mute, she just keeps to
Speaker 3: herself because that's honestly, she's smart. If I was her,
Speaker 3: I think if a lot of us were heard, you
Speaker 3: know what, the less we say around these many asks,
Speaker 3: the less of a target you put on yourself.
Speaker 4: The better.
Speaker 3: I love that she had that kind of innate intelligence.
Speaker 3: It would have been really too easy to make her
Speaker 3: a complete I don't know, just oh like this doe
Speaker 3: ide it.
Speaker 4: Seems messing or somebody to rate. She's so integral to
Speaker 4: everything in the film.
Speaker 3: Right to the end. It felt like an honest and
Speaker 3: an honest strength that wasn't just like everybody's a badass,
Speaker 3: which we have in some and a lot of Western
Speaker 3: films where it's like they all eight of these guys
Speaker 3: would be like fighting people left and right and have
Speaker 3: the strength of a thousand men, and instead in this film,
Speaker 3: it's more realistic. For now, these guys are probably malnourished
Speaker 3: at this point, you.
Speaker 7: Know, that becomes like a major thing where they're like,
Speaker 7: we can't find food. I think that's one of the
Speaker 7: most disturbing shots for me in the movie is when
Speaker 7: somebody offscreen hucks a deer kirkiss into the frame and
Speaker 7: it just slides across the snow and it's like, what
Speaker 7: the hell was that. I'm like, Oh, they're hunting, okay,
Speaker 7: And then you get the scene of them eating, and
Speaker 7: that's when the one guy's like beating the chain with
Speaker 7: the rock and they discover that it's gold. That's the
Speaker 7: end of the first act kind of break. I think
Speaker 7: it's thirty minutes in. And then later on in the
Speaker 7: movie they're just like, we got to find another deer
Speaker 7: because yeah, here we are on the mountain in winter.
Speaker 7: There's not a lot of animals up here for us
Speaker 7: to eat. They have lust in their hearts and hunger
Speaker 7: in their bellies.
Speaker 3: That's the byeline.
Speaker 4: Oh my god, except Ray who just immediately goes for
Speaker 4: all the booze and then gets the DTAs ly.
Speaker 3: Maybe feel bad for him because I'm like, and I say,
Speaker 3: this is somebody who's been sober almost four years now.
Speaker 3: If I was somebody out in that sobriety would be
Speaker 3: very hard thing to stick to in that situation. Like
Speaker 3: I just saw some dude's eyes, Oh god, yeah, pop
Speaker 3: out of his face. You know what, I don't think
Speaker 3: this is the lifetime for me to be suffer.
Speaker 7: No, and to go back what you're saying before. As
Speaker 7: far as the integration of the gore, the first time
Speaker 7: you see a real gory body, when they dispatch of
Speaker 7: the guy who was injured and first they strangle him,
Speaker 7: you get that straw pulling flashback of I guess who's
Speaker 7: going to kill this guy? Maybe yeah, I'm not exactly
Speaker 7: clear on that. But then you get him being choked
Speaker 7: to death, and then you get the whole thing of
Speaker 7: them carrying this dead body in them as we need
Speaker 7: to dispose of this guy, and they set him on
Speaker 7: fire and he's just this burnt corpse, and her reaction
Speaker 7: to it, it's this doesn't look like it was shot.
Speaker 7: Later it looks like if she wasn't reacting to that,
Speaker 7: she was reacting to something pretty horrific. And then with
Speaker 7: every single person, you can't just leave the body because
Speaker 7: they are all chained together, so you always have to
Speaker 7: have the cutting off of the feet.
Speaker 4: Which is so gross. And Sergeant Brown boy, he's pretty
Speaker 4: stern task, just an.
Speaker 7: Yeah, trying to break out the mache.
Speaker 4: Finally the machete comes out.
Speaker 3: Yeah, but that's the thing you think about how nasty
Speaker 3: the wild West it had to have been. Bathing is
Speaker 3: not very common. It's a lot of soap is a luxury,
Speaker 3: definitely in this universe and the Cutthroat nine universe, because
Speaker 3: we don't see any people are just trying to live,
Speaker 3: they're trying to eat, they're trying to survive. We see
Speaker 3: Ray literally go to the bathroom and his pants and
Speaker 3: the wagon in the intro, like this is in that
Speaker 3: little smug look. He's like a oh god, is he
Speaker 3: a shitter kid? I know he's like an adult, but
Speaker 3: he's act it like a Stephen King little shitter kid
Speaker 3: with that little smug, like all right, and everybody's laughing.
Speaker 3: I'm like, why are you guys laughing? This guy just
Speaker 3: did I hope what was number one?
Speaker 7: And that plays into the whole firebug thing, right, don't
Speaker 7: they say that most arts in this what their beds
Speaker 7: for way too long.
Speaker 3: I didn't even think about that. Oh my god.
Speaker 7: Oh I don't know if that was intentional or not,
Speaker 7: but that's what I was getting out of there. And
Speaker 7: then yeah, his little command.
Speaker 3: Followed all of those guys, say, for maybe Dean, who
Speaker 3: we haven't really mentioned yet, but Dean is of the
Speaker 3: convexts of our criminals. Dean is the morally nicest seeming
Speaker 3: He's not. He seemed quiet, I think even in the
Speaker 3: narration in the intro, Sergeant Brown says, nobody really knows
Speaker 3: what this guy did, but he's convicted for life, which
Speaker 3: is interesting and it makes you think Dean's an innocent man,
Speaker 3: which God knows I should sadly have still happens now,
Speaker 3: so it's possible. Of course, we find out more later.
Speaker 3: We'll get to that just yet. But Dean did it?
Speaker 3: Was it just me? Dean looks so much like David
Speaker 3: Keith to me? Oh yeah, sure, So I kept being like,
Speaker 3: nine's really handsome, and then I'm like, he looks like
Speaker 3: David Keith. That's what I love, David Keith. But yeah, yeah,
Speaker 3: and the active place seems great. And you because you
Speaker 3: do Dean, but you're also really curious because he at
Speaker 3: times keeps to himself too. He and again it's like smart,
Speaker 3: especially with Ray and the Weasel and Dandy Devom was
Speaker 3: a Jim Dandy good lord. Yeah, there's an alternate kind
Speaker 3: of this starring Jim Dandy from Black Oak, ar Kansas
Speaker 3: Bandoned thirty Countries Dandy Jim, and he's kind of the leader.
Speaker 3: It feels like he ends up asserting himself as the
Speaker 3: leader of the group. And he, to me is interesting
Speaker 3: because he tends to play play it half smart and
Speaker 3: half like. He makes some steps because of the greed.
Speaker 4: That's fair. Yeah, he definitely comes across as the most
Speaker 4: cultured or intelligent. Certainly his backstory suggests some of that
Speaker 4: as well via the flashbacks, and he seems to keep
Speaker 4: some sort of emotional distance from everybody. And again it's
Speaker 4: El Alberto Dalbis who plays that role, and I think
Speaker 4: he's he really, he's one of the shining aspects of
Speaker 4: the film for me. He's just especially those flashbacks.
Speaker 7: Is he the guy who's there with the woman at
Speaker 7: the piano and the cavin candelabra. Yes, exactly, Okay, yeah, yeah,
Speaker 7: I can totally see what you means.
Speaker 4: Yeah.
Speaker 7: I was having a hard time keeping all the names
Speaker 7: straight other than el Common Chero and stuff. But yeah, yeah, no,
Speaker 7: I really like that. And it's interesting too when you
Speaker 7: think about this whole murder mystery thing, because eventually Sergeant
Speaker 7: Brown passes away and it's okay.
Speaker 4: Yeah, I like to have waypoint huh.
Speaker 7: What forty five minutes into it, I think, and yeah,
Speaker 7: becomes another burnt up corpseite you get and then you
Speaker 7: get that you're talking about the DT scene. I absolutely
Speaker 7: loved when Ray comes back to that cabin that they
Speaker 7: burned down and the cabin all comes back together. That
Speaker 7: scene was freaking amazing.
Speaker 4: I love that that was so cool. Yeah, I love
Speaker 4: that Ray takes all their rations heads out and then
Speaker 4: is so best in the head. It winds up circling
Speaker 4: back to where they just were when they burned down
Speaker 4: that cabin and left it, and then in his stupor,
Speaker 4: it starts to reimagine it coming together, which is an
Speaker 4: interesting foreshadowing of the leader. And then of course the Bandits.
Speaker 4: The Bandits who keep reoccurring throughout the film anyways, kind
Speaker 4: of like they steal certain scenes. Every time they're in
Speaker 4: a scene, they steal it. I don't remember the name
Speaker 4: of the actor who played is sort of like the father,
Speaker 4: but he's a scenes toeal with.
Speaker 3: That guy quite the stylish and then sort of like
Speaker 3: cock eyed hat. The whole thing with Sergeant Brown. It
Speaker 3: made me think of Psycho. I was like, oh my god,
Speaker 3: this movie pull to Marian Crane in a way with
Speaker 3: this character. We even hits his voiceover. We hear at
Speaker 3: the beginning. It's literally putting us in his head a
Speaker 3: little bit. And he's the main guy. He's the closest
Speaker 3: thing we have to a hero. And then the film
Speaker 3: midway is just his daughter's gonna get raped in front
Speaker 3: of him. And then he's gonna be set on fire.
Speaker 7: Well then yeah, we switch protagonists over to the other,
Speaker 7: to the convict.
Speaker 4: And the funny thing Heather is that, Oh, I don't know.
Speaker 4: Fifteen minutes in, because of the film's reputation, I said
Speaker 4: to myself, he's gonna die and he's gonna watch his
Speaker 4: daughter get raped. I just didn't think it was gonna
Speaker 4: happen at the forty minute mark. Thought I was gonna
Speaker 4: be like climax something I did not know.
Speaker 3: You had some better foresight that me. I did figure
Speaker 3: just because sad, Yeah, it is what it is. I'm like,
Speaker 3: she's probably she is going to get sexually assaulted at
Speaker 3: some point, like because it's just too and I know,
Speaker 3: I know people might be like, oh, that's offensive, but
Speaker 3: this what would happen in the era for real, that's history,
Speaker 3: that's reality. That's just what the things that men way
Speaker 3: women do. They're female abusers out there too. This is
Speaker 3: the things humans do. And it's not pretty. But it's
Speaker 3: not supposed to be pretty, and it shouldn't be pretty
Speaker 3: if you're putting it in a film. It should be ugly.
Speaker 3: Rape is ugly, murder is ugly. It should hit Oh,
Speaker 3: it should feel like that if it's presented in a
Speaker 3: way where it's like, hey, this is rad, then something
Speaker 3: has slipped, you know, something has clearly gone awry. Just
Speaker 3: the absolute pumption of this film, just so many choices
Speaker 3: like that where I was like, that is bold, and
Speaker 3: I love it because that is at least with because
Speaker 3: the film, the film that it probably is the closest
Speaker 3: to in some ways, is The Great Silence, or as
Speaker 3: I love seeing the Italian title A Grande Salincio because
Speaker 3: that just sounds amazing in Italian. But even that is God,
Speaker 3: that movie's no fun either. But Lord, cut through it.
Speaker 3: It's like cuther Snyde was like, hold our beer.
Speaker 7: Absolutely.
Speaker 4: Yeah.
Speaker 7: They talk about how dire Great Silence was and I
Speaker 7: was like, yeah, that was pretty bleak, but this one
Speaker 7: is way more bleak than that.
Speaker 4: I think that's why we love it. It's like this
Speaker 4: felting not danger I'm sure, why not, like dangerous filmmaking
Speaker 4: in a sense that like nothing, nothing was safe and
Speaker 4: you didn't know where it was gonna go, and you
Speaker 4: buckled up. I can't imagine how audiences felt when they
Speaker 4: saw it when it came out, because today, I, like
Speaker 4: I said, I went into it with a high threshold
Speaker 4: because it had a reputation, and it definitely met that
Speaker 4: and exceeded it in some ways too. But what I
Speaker 4: really it's one of those films where you just feel
Speaker 4: like you've been through hell. You need a shower, need
Speaker 4: something like to cleanse you or to warm you up
Speaker 4: in this case, because yeah, you're just watching Sergeant Brown
Speaker 4: carry his daughter for because of the multiple dissolves, feels
Speaker 4: like it's an hours and hours. I would have made
Speaker 4: it like twenty yards with her and that that would
Speaker 4: have been it. I would have been done. That's when
Speaker 4: I realize that, Okay, they're gonna they're like the lions
Speaker 4: on the gazelle. Now that's gonna happen soon. But I
Speaker 4: didn't think it'd be that soon.
Speaker 3: That was very soon. But that was another great tense
Speaker 3: moment when they're all just and there were other moments
Speaker 3: even before that where we see enough of a distance
Speaker 3: between the group and Brown and they are openly even
Speaker 3: like with the Darling Clementine, they're these look at these guys,
Speaker 3: they were like the weird al of their times, doing
Speaker 3: the parodies over but literally calling him I think a
Speaker 3: pig in the lyrics he's right. He's like, guys, he's
Speaker 3: only like seven feet he can hear you, and you're like, oh,
Speaker 3: we can't wait to kill him. But that's it's almost
Speaker 3: it's less like stupidity and more just like a warning regardless,
Speaker 3: letting him know it's coming.
Speaker 7: I touched about how the protagonists switch once Brown is dead,
Speaker 7: and then basically the Bandits that we keep seeing they
Speaker 7: all get massacred by Ray, who is dying and as
Speaker 7: one of those great feudal moments where he's holding the
Speaker 7: chain of gold in his hands as he's dying, and
Speaker 7: you're just like, yeah, this guy's pretty fucked. And then
Speaker 7: we go to the rest of the group who is
Speaker 7: still doing their thing, and they go from out of
Speaker 7: the frying pan into the fire. When they walk into
Speaker 7: that bar and here's all these Union soldiers, they're like,
Speaker 7: oh Jesus, now, what's gonna happen with these guys. It's
Speaker 7: so great that it's Okay, you thought the Bandits were bad,
Speaker 7: Now here's these Union soldiers, so let's see how this
Speaker 7: plays out.
Speaker 3: Those actors too, there was one particular soldier that had
Speaker 3: such a great face. He looked almost like if Jess
Speaker 3: Franco made a version of gen Kelly. If that makes it?
Speaker 3: He said, he was like just Franco gen Kelly. I
Speaker 3: don't know. He just said as such a face. That
Speaker 3: guy makes a hand signal to Kathy. Did you guys
Speaker 3: catch that? Like we first see him, he looks over
Speaker 3: and holds up two fingers, and I keep thinking, what
Speaker 3: did that mean?
Speaker 7: Do they know each other? Or was that like a
Speaker 7: little salute or I don't know exactly what that was?
Speaker 4: Right?
Speaker 3: Was he propositioning? I don't know, But I kind of
Speaker 3: love the fact that I don't know, because I feel
Speaker 3: like this film to be captured something that I think
Speaker 3: is really hard to do, especially if anything historical is
Speaker 3: a sense of truth. I almost feel like the way
Speaker 3: for me, like, especially when we get to the films
Speaker 3: then he which I think we're about to it. Almost
Speaker 3: the film feels like a statement on just a futility
Speaker 3: of truth and the futility of actually knowing why anything
Speaker 3: happens because the audience do you find out the twist?
Speaker 3: And after this whole build up of Dean really trying
Speaker 3: to protect and he tried to protect her from getting
Speaker 3: raves and he just got his at they just beat
Speaker 3: him up till he couldn't, but he clearly is smitten
Speaker 3: with her. He's trying to protect her, he cares about her,
Speaker 3: and it makes you care about him, and you're like,
Speaker 3: this is a good.
Speaker 4: Man, Heather. Where they're on the ledge through the mountain leeds,
Speaker 4: and I think that was the scene that did it
Speaker 4: for me. You see your contemplate or at least constantly
Speaker 4: looking over and he thinks she's going to jump, and
Speaker 4: that becomes a thing between the two of them, And yeah,
Speaker 4: that was like genuine concern, beautifully shot stuff too.
Speaker 3: Yes, no, that is such a great scene. And yet
Speaker 3: we find out which, honestly, I will say, by the end,
Speaker 3: I figured we were going to find out that it
Speaker 3: was either Dandy Jim or Dean that was the kill,
Speaker 3: because Dandy Jim we had enough flashbacks with him to
Speaker 3: where I'm like, is that going to intersect Is his
Speaker 3: flashback going to end up intersecting with the flashbacks of
Speaker 3: the wife getting killed, or it's going to be Dean
Speaker 3: because we love him too much, which, of course, this
Speaker 3: universe is that the universe does not care about our feelings.
Speaker 7: Man mentioned the whole thing with the drawing straws thing
Speaker 7: that was not to kill the first guy, that was
Speaker 7: to kill the wife, correct.
Speaker 4: Exactly, and then they take you out in the beginning,
Speaker 4: but Dean.
Speaker 3: Goes to the grave because he ends up getting killed
Speaker 3: because again he's trying to protect Kathy. And that just
Speaker 3: hit me so heavy, because I'm like God that I
Speaker 3: think one of the hardest things to nail about our
Speaker 3: existence in humanity is the fact that sometimes two things
Speaker 3: can be true at once. And because people, I think
Speaker 3: he made it with this tendency to try and we
Speaker 3: want things to be black and white, we want things
Speaker 3: to be simple, and some things in life are and white.
Speaker 3: A lot of what these guys do in this film
Speaker 3: that's not morally great. It's terrible, it's evil. Don't do that.
Speaker 3: But there are people in real life too that are
Speaker 3: somebody can do something horrible but then do something and
Speaker 3: be capable of love or be capable of making something
Speaker 3: really beautiful. And that's a hard thing sometimes, I think,
Speaker 3: to swallow for us as a species, as a culture,
Speaker 3: but it is what it is. That's why you can
Speaker 3: There are certain artists that are terrible people that you
Speaker 3: wouldn't even want near your houseplant, but yet they're still
Speaker 3: capable of making something that moves you, and I just
Speaker 3: I always find that, I guess that dichotomy really fascinating
Speaker 3: and we see that, but also the fact that, like
Speaker 3: what is truth in this universe? The truth is like
Speaker 3: nobody's gonna know who killed her, and in fact, the
Speaker 3: whole thing's about to explode. SCTV Farm Report.
Speaker 4: Style, real good good.
Speaker 3: The farmers would give us one a ten out of
Speaker 3: ten with that blowing up, in my opinion, not quite
Speaker 3: a brisky point level, but it's pretty close. And then
Speaker 3: it's like all of this truth just dies with them,
Speaker 3: and it just makes you think, like, can you even
Speaker 3: trust what people tell you in this? I don't know.
Speaker 3: It just got me very existential, Like.
Speaker 4: It does hit hard in the sort of truth category,
Speaker 4: because I think it's a really interesting example of a
Speaker 4: lot of the spaghetti westerns, those sort of fair to
Speaker 4: Midland what they often lack as originality in the scripts.
Speaker 4: We've all seen enough spaghetti westerns to know that the
Speaker 4: scripts tend to be run of the mill. It's usually
Speaker 4: the esthetic, the action, the editing, the casting that carry
Speaker 4: most of them. But in this it seems like, Wow,
Speaker 4: the script is in many ways the star and then
Speaker 4: it's weed to this director who's incredibly confident and stylish
Speaker 4: and a great cinematographer who's shot eighty over eighty films
Speaker 4: with them in lots of different genres. In putting westerns,
Speaker 4: this incredible cast. The sort of climate of late sixties
Speaker 4: early seventies down endings that that we're transgressing all genres
Speaker 4: at that time, including blockbusters and stuff in that regard.
Speaker 4: When Heather says, there's something really honest and truthful about this, Yeah,
Speaker 4: I think that's maybe why it resonates all these decades later,
Speaker 4: and that's probably why Tarantino loves it so much, is that, Yes,
Speaker 4: the brutality, it's got to be the most violent quastion
Speaker 4: of the seventies I would imagine, or certainly in the
Speaker 4: top five, like the all time, but because it really
Speaker 4: goes into these really almost grand guignal lengths. So I
Speaker 4: just wanted to chime in on that that as Heather
Speaker 4: was talking, it kind of, you know, it kind of
Speaker 4: gelled in my head what it was that attracts me
Speaker 4: to the film so much now that I've seen it.
Speaker 7: Have that so bleak ending. I mentioned the thing before
Speaker 7: where it's like that's a downer ending, but you always wonder. Okay,
Speaker 7: we don't actually see childs of McMurphy die. We just
Speaker 7: know that they're probably going to there's nothing that's really
Speaker 7: going to save them. Maybe one of them's the thing,
Speaker 7: maybe one of them's not. And if they get rescued
Speaker 7: or their dead bodies get taken back someplace, one of
Speaker 7: them may faw out and start taking over the rest
Speaker 7: of the world. But we don't know. And this one
Speaker 7: just have that bleakness of the dynamite blowing up that
Speaker 7: house and everyone is dead. There's no one makes it
Speaker 7: out of this movie alive. There's no happy ending for
Speaker 7: any of the characters, including those poor soldiers, the innocent
Speaker 7: bystandard in this But again, yeah, I love it.
Speaker 3: And I do love it when a film has because again,
Speaker 3: it takes real khones. It takes gum shit to be like,
Speaker 3: not only are we not going to give you a
Speaker 3: happy ending, We're going to give you an ending where
Speaker 3: there's nothing you can tether it to. You're just left
Speaker 3: kind of unsettled.
Speaker 4: I figured something was going to happen along those lines.
Speaker 4: I didn't dectitely expect it to go that way with
Speaker 4: the dynamite and the whole bloody thing. Oh yeah.
Speaker 7: As soon as you see the box of dynamite, you're like, Okay,
Speaker 7: she's going to get out of there by using this dynamite.
Speaker 4: No, well nope. And it reminded me a little bit
Speaker 4: of Butch Cassidy hold up in what the Bolivian Army
Speaker 4: Outside and that, but more bleak obviously, because there's a
Speaker 4: lot of humor in but Cassity. But this was just
Speaker 4: it reminds me a little bit of that in a
Speaker 4: really no good way.
Speaker 7: With that one again freeze frame, where it's like, maybe
Speaker 7: Butch and Sundance made it out, you never know. Obviously
Speaker 7: there was a sequel that nobody talks about because it
Speaker 7: was shit, but or was that the prequels Butch and
Speaker 7: Sundance The Early Year or whatever?
Speaker 3: But it's oh my god, oh okay, that's it. Say, if
Speaker 3: you see the Early Years, it's usually a TV. Yeah. No,
Speaker 3: that's a great comparison, though, I cannot imagine a bj
Speaker 3: Thomas song.
Speaker 7: And can you imagine they had an opportunity. They're just
Speaker 7: trapesing across that mountain. They could have just put on
Speaker 7: a real happy song, you know, and started whistling. Yeah,
Speaker 7: Little Bridge over the River QUI homage.
Speaker 4: Not in this movie, not no way. Yeah that it
Speaker 4: is just too bleak and just and yeah, it's bleak
Speaker 4: in its content. It's and it's bleaking its vision and
Speaker 4: it's bleaking its presentation. They he saturated another film that
Speaker 4: reminds me of it. God, I'm like in remind me
Speaker 4: of mode here. But is McKay and Missus Miller which
Speaker 4: was a few years later, but where the almost Zigmund
Speaker 4: flashed that film. These guys just got it by using
Speaker 4: shitty stock or it's got that look all by itself
Speaker 4: without any tinkering in the lab.
Speaker 7: It's interesting. The director would go by a different name
Speaker 7: as a writer, just a different combination of Joaquin Lewis
Speaker 7: Romero Marshent was like his depending on how he put
Speaker 7: those names together. It was the writer version, or was
Speaker 7: the director version because he wrote and directed this or
Speaker 7: co wrote and directed this, But it's two different names
Speaker 7: on the credits from what I understand. And then he
Speaker 7: would work with the guy who wrote this one, Santielgo Mancata.
Speaker 7: He would work with him a few other times, but
Speaker 7: definitely worked on as a writer. They wrote one of
Speaker 7: the Sartana films, and so now I'm very curious to
Speaker 7: see that Sartana. So it was Sartana Kills them All?
Speaker 7: Another great title, right, And then I know that at
Speaker 7: least one of them worked on Atcha for the Honeymoon,
Speaker 7: which I've heard of that title forever and I have
Speaker 7: never seen it. So now I'm like, maybe I should
Speaker 7: start tracking that one down.
Speaker 3: Oh yeah, you should totally see they have blood rules.
Speaker 3: Oh my god, it's it's may Obama.
Speaker 4: It's so good.
Speaker 3: Like I did a double take because especially with Bob,
Speaker 3: like some of Baba's films, there's twenty titles. It's like,
Speaker 3: I think, is it Twitch of the Death Nerve?
Speaker 7: Also, this one's il Rosso Senno della folio.
Speaker 3: The Italians have the best titles mentioned to Western that
Speaker 3: you're covering, called Cemetery Without Crosses. That's a phenomenal title.
Speaker 3: Oh my god. As a writer, that was.
Speaker 7: The American retitling of I think it was just called
Speaker 7: a rope palma a cult. So you had the rope
Speaker 7: and the gun.
Speaker 4: Amazing because normally the American red titles are lame. And
Speaker 4: that's in fact I told you when I was reading
Speaker 4: that Spaghetti Western book or whatever in Borders or Barnes
Speaker 4: and Noble. The other thing I thought of after I
Speaker 4: saw the title was, man, what a great name for
Speaker 4: a bit, which it is. Yeah.
Speaker 7: Oh, they go by the number nine instead of the
Speaker 7: written world nine because when you go out and you google,
Speaker 7: it's yeah, Cutthroats nine just comes up a lot for
Speaker 7: the band. And then this one was Condenados a vedre,
Speaker 7: which is condemned to live.
Speaker 3: Oh, that's good too, that's yeah. Also Mike Spanish is
Speaker 3: on points.
Speaker 7: I don't know about that. I'm so glad that we
Speaker 7: watched this because this was something that had been on
Speaker 7: my radar for so many years, and it's just okay,
Speaker 7: is it going to live up to the reputation? I
Speaker 7: think surpassed the reputation. I think that's very easy to
Speaker 7: just be like, oh, it's this grand house spaghetti western
Speaker 7: and all these guys kill each other or whatever. But
Speaker 7: it's like, no, there's a lot of good stuff. Just
Speaker 7: like I said, the way that the story is told
Speaker 7: is pretty complicated, which I thought was a great.
Speaker 4: Addition to this. I'm so glad we watched it too.
Speaker 4: Like I was saying in the beginning, within the first
Speaker 4: fifteen minutes, I was noticing, like I said, just camera blocking,
Speaker 4: the shot selection, the editing, the camera movement was like, ooh,
Speaker 4: I'm in super capable hands. I'd like to see where
Speaker 4: this goes. And then it just went in all these
Speaker 4: different directions, and like I said earlier, a lot of
Speaker 4: them very disturbing, but at fulfilling least. I felt like,
Speaker 4: if anybody's going to be a spaghetti Western enthusiast, this
Speaker 4: is required viewing. And sadly I came to it all
Speaker 4: these years later. But I don't feel too bad about it,
Speaker 4: just because there's never been obviously a really good there's
Speaker 4: not There haven't been a lot of good elements to
Speaker 4: draw from. This does look like maybe sixteen millimeter blown
Speaker 4: up when it's hard to say. I'm not an expert
Speaker 4: on any of that, but I'm so glad we watched
Speaker 4: it because it was truly did something that was really
Speaker 4: uncommon unusual these days. It was a unique film.
Speaker 7: Well, it kind of tells Chekhov to go fuck himself too,
Speaker 7: because there are guns in this movie, but there's no
Speaker 7: gun fights. It's like you expect a duel or anything
Speaker 7: like that. It's mostly shed A's knives. There's a hook
Speaker 7: let's used the one point dynamite obviously choking by chain.
Speaker 7: I love when the one guy is choking the guy
Speaker 7: in front of him and just walking with him.
Speaker 4: Oh yeah, that's a horror movie moment.
Speaker 3: If ever, I kept thinking too, how well not choreographed,
Speaker 3: but how in sync had those actors had to have
Speaker 3: been to be chained up like that and still be
Speaker 3: able to move in a way that wasn't just everybody
Speaker 3: didn't have broken femurs or whatever. The film's a total
Speaker 3: gem and it's anyway listening.
Speaker 7: It's on to b really nice version out on YouTube
Speaker 7: as well. Yeah, do yourself a favor.
Speaker 3: WA's a movie. It's no fun because sometimes we need that.
Speaker 3: Art is the thing that helps us have Catharsis sometimes
Speaker 3: with our own history and with our own existence.
Speaker 4: So super bleak, there's no question, but also really just
Speaker 4: really well made and very poetic in places, Like I said,
Speaker 4: I felt almost like a silent movie at times, because
Speaker 4: we would get traveling shots of people going through the elements,
Speaker 4: and the elements play a big part in the film.
Speaker 4: That are huge parts.
Speaker 7: I assume to remember a lot of lockdown camera or
Speaker 7: just like some hands rather than like the not a
Speaker 7: lot of room to lay down track up there.
Speaker 4: No gosh, which made that sort of ledge sequence. I
Speaker 4: watched that a couple times because I was like, Wow,
Speaker 4: this is really well done.
Speaker 7: Yeah, I felt the danger for the actors.
Speaker 3: My mad respect. I could not do that. I couldn't
Speaker 3: do probably any the stuff. I don't even like camping.
Speaker 3: I'm very fragile and delicate.
Speaker 7: All right, let's go ahead and take a break and
Speaker 7: play a preview for next week's show. Right after these
Speaker 7: brief messages.
Speaker 5: Matt from Viva again and Emily looking for something superior
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Speaker 4: Can I help you?
Speaker 6: Well, there's a man.
Speaker 8: Involved in a relationship ship.
Speaker 2: I made a real mess o things.
Speaker 6: He's trying to kill me.
Speaker 4: You have to help me. What do you want me
Speaker 4: to do?
Speaker 2: I want you to kill Me.
Speaker 3: I always wondered what it would.
Speaker 2: Be like today, really violent death.
Speaker 4: Well now you know that's right.
Speaker 7: We'll be back next week to kick off a month
Speaker 7: that we're calling Valhalla, where we're covering four films starring
Speaker 7: the late Val Kilmer and starting with kill Me Again.
Speaker 7: Until then, I want to thank my co host Heather
Speaker 7: and Nick. So, doctor Nick, what is the latest with you, sir?
Speaker 4: I'm still teaching over at Alfred University. In fact, just
Speaker 4: finished a Global Horror Movie class, which it was the
Speaker 4: second time I taught that, and it was so much fun.
Speaker 4: The students were amazing. I really had eclectic mix of films,
Speaker 4: things like we started off with Uncle Silas and Brides
Speaker 4: of Dracula and then went into then we did Lake
Speaker 4: of Dracula and then I think The Devils and then
Speaker 4: The Devil turned out. That was like the third time
Speaker 4: I've shown that. I showed it to cult movies twice
Speaker 4: and then in Global Horror at the timing was amazing
Speaker 4: because of the release that it's getting and the con
Speaker 4: release and the fall release. But let me back that.
Speaker 4: Uh So that was a really fun successful We ended
Speaker 4: with things like Mystics and Bali and trained to boot
Speaker 4: on in one cut of the Dead. So it was
Speaker 4: a lot of fun in terms of writing. Only right now,
Speaker 4: I've just started. I've begun writing a monograph about Cinema Paradiso.
Speaker 7: Oh nice, I'm actually gonna cover that movie next year.
Speaker 7: I should have you on.
Speaker 4: Absolutely, yeah, because what I'm planning on doing is writing
Speaker 4: the monograph size and then submitting it to the BFI series.
Speaker 4: And I've started writing that a week ago. Actually, I've
Speaker 4: been researching it for a while because nostalgia is really
Speaker 4: the engine of that film, and so I wanted to
Speaker 4: get a good solid base for it. And now I'm
Speaker 4: writing it, which is great because I've loved that film
Speaker 4: ever since I first saw it.
Speaker 7: You got a few months here to get the rest
Speaker 7: of that done. Nick, I'm giving you a deadline right now.
Speaker 4: Okay, I'll do my best. And Heather, how about yourself.
Speaker 3: Well, the latest installment of my new YouTube series, Films
Speaker 3: You Should Know, is live. This time around, I'm taking
Speaker 3: a little trip to Tarker's Mill for the nineteen eighty
Speaker 3: five Werewolf Jim Silver Bullet. I also recently got to
Speaker 3: guest co hosts Speaking the Devils on the Great Movies
Speaker 3: from Hell podcast where we talk about the devils and
Speaker 3: basically for any other sundry items, visit my linktree, slinktree
Speaker 3: dot com, Forward, slash moto, Heather, my YouTube, my Patreon,
Speaker 3: my substack. All kinds of fun little benign goodies are
Speaker 3: over there.
Speaker 7: Thank you so much for joining me all. Thanks so
Speaker 7: much for listening everybody. I want to hear more of
Speaker 7: me shooting off my mouth. Check out some of the
Speaker 7: other shows that I work on. They are all available
Speaker 7: at Weirdingwaymedia dot com. Thanks especially to our Patreon community.
Speaker 7: If you want to join the community, visit Patreon dot
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Speaker 8: In common.
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