WEBVTT 1 00:00:00.120 --> 00:00:03.720 Hey, this is Emily sowderback of Scarecrow Videos Viva Physical Media. 2 00:00:03.759 --> 00:00:05.599 All right, this is Matt Lynch, co host of Viva 3 00:00:05.960 --> 00:00:08.359 the Projection Booth. Podcast is sponsored by Scarecrow. 4 00:00:08.640 --> 00:00:11.480 Try out Scarecrow Videos rant by mail service. Choose from 5 00:00:11.480 --> 00:00:14.519 over one hundred and fifty five thousand films and get 6 00:00:14.560 --> 00:00:17.960 blu rays, four k's and DVDs all delivered directly to 7 00:00:18.000 --> 00:00:18.399 your door. 8 00:00:18.800 --> 00:00:20.519 Visit Scarecrow video dot Org today. 9 00:00:25.719 --> 00:00:28.559 Oh ye is boot It's showtime. 10 00:00:29.280 --> 00:00:31.920 People say good money to see this movie When they 11 00:00:31.920 --> 00:00:35.359 go out to a theater. They want cold sodas, hot popcorn, 12 00:00:35.600 --> 00:00:39.200 and no monsters in the projection booths. Everyone pretend podcasting 13 00:00:39.240 --> 00:00:39.759 isn't boring. 14 00:00:40.840 --> 00:00:41.560 Put it off. 15 00:01:03.679 --> 00:01:08.239 Cutthroats nine, nineteen seventy two. A cavalry escort hauls a 16 00:01:08.280 --> 00:01:11.799 wagonload of convicts chained together from a gold mine towards 17 00:01:11.799 --> 00:01:16.040 a distant fort. They're ambushed by bandits looking for gold. 18 00:01:16.280 --> 00:01:17.920 We haven't gotten to go, buddy, but. 19 00:01:17.920 --> 00:01:22.799 There is no gold. The wagon's destroyed, no horses are gone. 20 00:01:23.359 --> 00:01:27.159 Now the sergeant, his daughter, and the convicts are stranded 21 00:01:27.200 --> 00:01:31.079 in a deadly winter wilderness. But things are never that simple. 22 00:01:31.519 --> 00:01:35.400 The sergeant has other plans the murderers. 23 00:01:35.079 --> 00:01:35.959 And the convicts. 24 00:01:36.200 --> 00:01:38.760 They'll discover the chains may not be what they think 25 00:01:38.799 --> 00:01:41.760 they are. This film is bleak with a capital B 26 00:01:42.560 --> 00:01:46.840 and nihilistic with a capital holy. They even handed out 27 00:01:46.959 --> 00:01:50.159 terror masks at the screening to hide your eyes if 28 00:01:50.200 --> 00:01:54.959 you dare no rating nine terror masks out of nine 29 00:01:55.439 --> 00:01:57.239 The Saintra Grandpa's Western. 30 00:02:00.760 --> 00:02:03.319 Welcome to the projection booth. I'm your host, Mike White Jimney. 31 00:02:03.359 --> 00:02:05.120 Once again is Professor Nick Schlegel. 32 00:02:05.840 --> 00:02:06.719 Good to be with you, Mike. 33 00:02:07.359 --> 00:02:09.360 Also back in the booth is Miss Heather Drain. 34 00:02:09.639 --> 00:02:10.360 Hello. Hello. 35 00:02:11.280 --> 00:02:13.919 We are wrapping up a month talking about Westerns with 36 00:02:14.000 --> 00:02:18.000 one from nineteen seventy two, Cutthroats nine. Directed by Joaching 37 00:02:18.159 --> 00:02:22.840 Romero Marshent and written by him and Santiago Moncata. The 38 00:02:22.879 --> 00:02:26.360 film tells the tale of Sergeant Brown, who escorted seven 39 00:02:26.400 --> 00:02:29.240 conflicts through the mountains on their way to be executed. 40 00:02:29.680 --> 00:02:32.719 That's only eight people, you say, Don't worry. Brown's daughter 41 00:02:32.800 --> 00:02:35.759 Kathy is also there for the trip. Through the actions 42 00:02:35.759 --> 00:02:37.840 of the men and their flashbacks, we learn that this 43 00:02:37.960 --> 00:02:41.319 is not a simple death march. We will be spoiling 44 00:02:41.319 --> 00:02:42.879 this film as we go along, so if you don't 45 00:02:42.919 --> 00:02:45.759 want anything ruined. Turn off the podcast and come back 46 00:02:45.800 --> 00:02:49.360 after you've seen this movie. We will still be here. So, Heather, 47 00:02:49.960 --> 00:02:52.479 when was the first time you saw Cutthroats nine? And 48 00:02:52.520 --> 00:02:53.280 what did you think? 49 00:02:53.319 --> 00:02:53.599 Ma'am? 50 00:02:54.080 --> 00:02:57.919 The first time I saw it was preparing for this podcast. 51 00:02:58.000 --> 00:03:00.439 This was a film I had heard of for years. 52 00:03:00.520 --> 00:03:04.360 It's an infamous one, especially with its roots and playing 53 00:03:04.520 --> 00:03:07.319 a lot of American grindhouses. Effective You can go on 54 00:03:07.400 --> 00:03:10.240 YouTube right now and find a really great grindhouse era 55 00:03:10.439 --> 00:03:13.520 trailer for it that promotes it having some kind of 56 00:03:13.520 --> 00:03:16.479 what was it, like the terror bag or something like that, 57 00:03:16.719 --> 00:03:19.080 like some kind of carny type of marketing, which I 58 00:03:19.120 --> 00:03:21.719 of course love. So when it came up to do 59 00:03:21.759 --> 00:03:24.039 this episode, I was like, yes, this gives me excuse 60 00:03:25.120 --> 00:03:30.759 and to watch it. And boy, howdy, this was such 61 00:03:30.800 --> 00:03:33.759 a great film. It did not disappoint, which given the 62 00:03:34.039 --> 00:03:37.560 kind of amountain of sort of infamy attached to it, 63 00:03:37.599 --> 00:03:39.719 is impressive because sometimes you can go into these things 64 00:03:39.759 --> 00:03:43.560 blind and be disappointed or like, oh, that's it okay, 65 00:03:44.319 --> 00:03:45.439 and Nick, how about yourself? 66 00:03:45.919 --> 00:03:50.199 I distinctly remember reading the title sometime in the late 67 00:03:50.280 --> 00:03:52.840 nineties or maybe early two thousands and a Barnes and Noble. 68 00:03:53.439 --> 00:03:56.159 I think I was just picked up a spaghetti western 69 00:03:56.759 --> 00:04:00.879 book encyclopedia type thing, and was just it was in 70 00:04:00.960 --> 00:04:03.599 the C section, and so I was like, I just 71 00:04:04.400 --> 00:04:07.639 page landed on it, and the title struck me, and 72 00:04:07.719 --> 00:04:09.800 I read a brief entry about it and kind of 73 00:04:09.840 --> 00:04:12.439 just filed it away and never I don't recall it 74 00:04:12.479 --> 00:04:15.479 being available at all back then, or perhaps if it was, 75 00:04:15.479 --> 00:04:18.560 I didn't seek it out. But then doing a lot 76 00:04:18.600 --> 00:04:22.480 of research on Spain and writing that that that book 77 00:04:22.519 --> 00:04:25.480 on Spanish horror films, it was just a title that 78 00:04:25.600 --> 00:04:29.639 kept coming up when I was researching the Destape and 79 00:04:29.759 --> 00:04:32.839 the spaghetti and piea Westerns, and of course the Spanish 80 00:04:32.879 --> 00:04:35.519 horror films. It just was a name that kept coming up. 81 00:04:35.560 --> 00:04:37.199 And of course there's a there's like a pedigree of 82 00:04:37.199 --> 00:04:40.199 actors in here that are have done not only a 83 00:04:40.240 --> 00:04:44.639 lot of Westerns, but there's a lot of stalwart character 84 00:04:44.680 --> 00:04:49.600 actors that populated the horror films too, particularly Alberto Dalles, 85 00:04:49.639 --> 00:04:52.959 who's really pretty slick in this, I think, and he 86 00:04:53.000 --> 00:04:57.240 has that wonderful role in Hunchback of the Morgue as 87 00:04:57.279 --> 00:05:02.439 the scientist doctor doctor Acula. It's not doctor Orlov, but 88 00:05:02.439 --> 00:05:05.040 it's doctor of something similar to that. He's really good 89 00:05:05.040 --> 00:05:09.120 in that. Once I kind of came across the name 90 00:05:09.680 --> 00:05:11.959 over and over, then Yeah, it just seemed like a 91 00:05:12.040 --> 00:05:16.759 natural selection for us to tackle. A year later here, 92 00:05:16.800 --> 00:05:19.040 I'm really glad we made that sort of pinky square. 93 00:05:20.160 --> 00:05:23.480 I don't remember how I came across this film the 94 00:05:23.519 --> 00:05:25.480 first time. I want to say I saw it in 95 00:05:25.519 --> 00:05:27.879 a video store. I don't know if they would have 96 00:05:27.920 --> 00:05:31.519 carried this at Blockbuster, but they carried some weird shit 97 00:05:31.560 --> 00:05:35.279 that they probably would have eventually found out that there 98 00:05:35.279 --> 00:05:37.800 are bad things in it and taken it off the shelf. 99 00:05:38.720 --> 00:05:41.839 Blood Feast or City of the Living Dead. They were 100 00:05:41.920 --> 00:05:43.839 so weird when it came to what they took off 101 00:05:43.879 --> 00:05:47.360 the shelves. I mostly just remember that VHS box cover 102 00:05:47.560 --> 00:05:50.560 with the guy being strangled, and I almost thought it 103 00:05:50.600 --> 00:05:53.600 was Joe Spinell who's on the video box cover. 104 00:05:53.839 --> 00:05:58.160 Same, Oh my god, it's one hundred percent. So I 105 00:05:58.199 --> 00:06:00.480 took the point where I had a Mandela effect memory 106 00:06:00.480 --> 00:06:03.199 going into this movie because my husband was like, are 107 00:06:03.199 --> 00:06:04.680 you guys gonna be doing us a cut throa? It's fine? 108 00:06:04.720 --> 00:06:06.600 And I'm like, I think Joe Spinelson. 109 00:06:07.040 --> 00:06:09.600 I'm glad I'm not the only one, and especially you 110 00:06:09.759 --> 00:06:11.879 saying that really validates me because I know what a 111 00:06:11.879 --> 00:06:13.199 big Joe Spinel fan you are. 112 00:06:13.360 --> 00:06:16.759 I love him so much. That makes the film's still good. 113 00:06:16.839 --> 00:06:18.639 It's still good even though Joe's not in it. 114 00:06:19.199 --> 00:06:21.600 But there are some great faces in here. I have 115 00:06:21.639 --> 00:06:27.040 to say that the guy who plays the arsonist, Antonio Auronzo, 116 00:06:27.519 --> 00:06:31.160 He's fantastic. I love his face. He's just such a 117 00:06:31.279 --> 00:06:35.079 character with that. And yeah, I had heard about this, 118 00:06:35.199 --> 00:06:38.920 especially after things like The Hateful Eight. Obviously this is 119 00:06:38.959 --> 00:06:41.560 a play on that was a play on this title. 120 00:06:41.959 --> 00:06:44.720 I had heard for years that Tarantino wanted to remake 121 00:06:44.759 --> 00:06:47.720 this film. This was one of those films that you 122 00:06:47.720 --> 00:06:50.399 would read about, Oh yeah, he wants to do Faster 123 00:06:50.519 --> 00:06:53.560 pussy Cat, Kill Kill, he wants to do Cutthroats nine. 124 00:06:54.240 --> 00:06:58.040 And I knew that he had tipped the hat to 125 00:06:59.079 --> 00:07:03.639 The Great Silence swhich is another snowbound Western, but this 126 00:07:03.720 --> 00:07:07.279 one is it's so guaranty you now. You can just 127 00:07:07.439 --> 00:07:10.480 see so much how he took from this. This is 128 00:07:10.519 --> 00:07:14.480 an unusual one, though I don't recall too many westerns 129 00:07:14.560 --> 00:07:20.040 or spaghetti westerns that have voiceover narration, and I am 130 00:07:20.279 --> 00:07:24.000 curious if that was all in the original Spanish version. 131 00:07:24.040 --> 00:07:26.680 It seems like it had to be, just because of 132 00:07:26.720 --> 00:07:29.680 the way that it's being filmed at the beginning, with 133 00:07:29.759 --> 00:07:33.279 one of the criminals going around the entire group in 134 00:07:33.360 --> 00:07:36.399 the back of the wagon that is transporting them and 135 00:07:36.519 --> 00:07:40.120 telling you little bits about each one of these convicts. 136 00:07:41.759 --> 00:07:45.800 It reminded me of another film from nineteen seventy one 137 00:07:45.920 --> 00:07:49.360 seventy two, but much larger budget, bigger stars, which is 138 00:07:49.399 --> 00:07:50.879 Big Jake. I don't know if you guys ever saw 139 00:07:50.879 --> 00:07:54.240 a Big Jake, but John Wayne film. And in the beginning, 140 00:07:54.399 --> 00:07:57.839 it's an assault on a ranch being led by Richard Boone, 141 00:07:58.399 --> 00:08:02.160 and it's got this Elmer Bernstein's score going, and they 142 00:08:02.199 --> 00:08:04.639 have these lingering close ups on all these people on 143 00:08:04.720 --> 00:08:09.480 horseback and rape, murder, kidnapping, like it's going through the list. 144 00:08:09.759 --> 00:08:14.279 He said, yeah, exactly. It's a lot of raven When 145 00:08:14.279 --> 00:08:16.040 I was watching it, I immediately thought of that, and 146 00:08:16.040 --> 00:08:18.959 I thought interesting, they came out same year ish and 147 00:08:19.000 --> 00:08:22.399 they have this sort of similar intro, which then you 148 00:08:22.519 --> 00:08:25.560 link also to Tarantino, that sort of like classic sort 149 00:08:25.600 --> 00:08:30.319 of like intro segment. It's really stylish doing it and 150 00:08:30.399 --> 00:08:32.879 a carriage. Though that's too cool. 151 00:08:33.440 --> 00:08:36.440 It doesn't keep up with the voiceover. The voiceover is 152 00:08:36.480 --> 00:08:39.279 almost literally just and it feels like an intro thing 153 00:08:39.320 --> 00:08:40.600 and we get a little bit of it, but then 154 00:08:40.639 --> 00:08:44.480 it just it gets dropped for a few reasons the introduction. 155 00:08:44.679 --> 00:08:47.799 I love all the names. Some of these criminals have 156 00:08:47.879 --> 00:08:52.679 some really fantastic names, like Dandy Jim, I believe Ray, 157 00:08:53.639 --> 00:08:55.879 who's the actor. Yeah, boy, there are some great mugs 158 00:08:55.879 --> 00:08:58.840 in this film. I think isn't his signame like the 159 00:08:58.840 --> 00:09:02.480 torch because he as arson on that. One of them's 160 00:09:02.519 --> 00:09:07.840 the weasel, who's really despicable. Real life weasels are adorable. 161 00:09:07.919 --> 00:09:11.480 The animals are so cute, so this guy's not so much. 162 00:09:12.039 --> 00:09:14.720 So you get that kind of colorful, but that's really 163 00:09:14.759 --> 00:09:16.960 the only colorful we're going to really get. This film 164 00:09:17.000 --> 00:09:23.279 is so gritty and so brutal, and also huge paths 165 00:09:23.320 --> 00:09:26.799 of quiet. It's almost like the film itself's pacing matches 166 00:09:26.840 --> 00:09:29.919 the landscape because we have these so many of these 167 00:09:29.960 --> 00:09:32.720 really great shots of these of the great which I 168 00:09:32.720 --> 00:09:37.000 think isn't in the Juesca. Oh god, my Spanish is 169 00:09:37.039 --> 00:09:39.159 like a hate crime. And I don't mean it to pay, 170 00:09:40.279 --> 00:09:44.879 But these great snowy mountains, and it's just huge, the vastness, 171 00:09:44.879 --> 00:09:49.080 the beauty, but also just the just nature is beautiful, 172 00:09:49.120 --> 00:09:51.519 but it is brutal. And we have these very very 173 00:09:51.559 --> 00:09:55.919 brutal human beings along with Sergeant Brown, who's in charge 174 00:09:55.960 --> 00:10:02.480 of this chain gangs, and his poor daughter Kathy. My god, 175 00:10:03.200 --> 00:10:06.440 why when the world, when anybody bring she has an 176 00:10:06.480 --> 00:10:09.159 adult at least it's not like she's just eight or something. 177 00:10:09.519 --> 00:10:13.360 But in this era especially, but any era, why would 178 00:10:13.360 --> 00:10:18.240 you bring your lovely late teens daughter to be alone 179 00:10:18.440 --> 00:10:23.639 in the snowy European mountains technico or US wink? 180 00:10:24.559 --> 00:10:28.639 Yeah, obviously these are the Rockies, right, yeah, probably not. 181 00:10:28.639 --> 00:10:33.039 The period the chain gang that has rapists, but why 182 00:10:33.039 --> 00:10:34.720 would you? But then the more I thought about it's 183 00:10:34.720 --> 00:10:39.320 like Brown. The film Like an Onion reveals little bits 184 00:10:39.320 --> 00:10:41.399 more and more about the each character, and with Brown, 185 00:10:41.440 --> 00:10:44.600 we realize one of these guys he suspects, murdered his 186 00:10:44.639 --> 00:10:50.639 wife Kathy's bomb, and there's a purpose. And then we 187 00:10:50.720 --> 00:10:52.320 have a double purpose. I don't know if we want 188 00:10:52.320 --> 00:10:55.360 to go into that quite yet, but we might as well. Right, 189 00:10:56.200 --> 00:10:59.399 the chain is gold. You don't find it, said almost 190 00:10:59.399 --> 00:11:01.879 midway through the but then it's oh, and even Kathy's 191 00:11:01.879 --> 00:11:04.120 looking at her dad like is this true? What of you? 192 00:11:05.200 --> 00:11:08.399 What are you doing? And because he's using these men 193 00:11:08.679 --> 00:11:13.799 to basically ferret this gold to Fort Green so he 194 00:11:13.840 --> 00:11:17.679 can have it and also kill two birds of one stone, 195 00:11:17.799 --> 00:11:19.440 one of them is the murderer, but he doesn't even 196 00:11:19.480 --> 00:11:22.639 know which one's the killer. Nobody knows which one is 197 00:11:22.679 --> 00:11:24.799 the killer. There are two men that definitely know, because 198 00:11:24.840 --> 00:11:26.120 one of them is the killer and the other one 199 00:11:26.159 --> 00:11:28.120 was with them, but we don't find that out till 200 00:11:28.120 --> 00:11:28.600 the very end. 201 00:11:29.639 --> 00:11:29.840 Yeah. 202 00:11:29.840 --> 00:11:32.080 I just love the way that this story is told. 203 00:11:32.960 --> 00:11:35.519 The whole idea of the voiceover is one thing, and 204 00:11:35.559 --> 00:11:40.519 then the flashbacks and again like flashbacks totally normal during 205 00:11:40.519 --> 00:11:43.639 the Spaghetti Western. I think about all the great flashbacks 206 00:11:43.679 --> 00:11:46.200 and for a few dollars more and how they really 207 00:11:46.240 --> 00:11:48.600 help tell the story. We were just talking a few 208 00:11:48.600 --> 00:11:51.360 weeks ago about the Wild Bunch and some of the 209 00:11:51.480 --> 00:11:54.279 use of the flashbacks, and they're that absolutely bizarre one 210 00:11:54.320 --> 00:11:56.679 with Bo Hopkins where it's like, oh, yeah, my nephew, 211 00:11:56.720 --> 00:11:59.360 and then they have to show Bo Hopkins. But here 212 00:11:59.879 --> 00:12:03.320 I was just taken aback because it happens really early on. 213 00:12:03.919 --> 00:12:07.080 At one point, one of the convicts is talking about 214 00:12:07.279 --> 00:12:10.399 going life after death and he's like, oh, yeah, your 215 00:12:10.399 --> 00:12:12.480 whole life passes in front of your eyes, and like, 216 00:12:12.480 --> 00:12:13.799 how do you know that? He's like, oh, I had 217 00:12:13.799 --> 00:12:15.879 the hangmans of rope around my neck at one point, 218 00:12:15.919 --> 00:12:19.320 and they like do this really quick freeze frame and 219 00:12:19.399 --> 00:12:21.759 then cut to him with the rope around his neck, 220 00:12:22.120 --> 00:12:24.960 and then really right around, like twelve minutes into this thing, 221 00:12:25.279 --> 00:12:27.639 you get another freeze frame and then you start to 222 00:12:27.679 --> 00:12:31.759 see Sergeant Brown and I guess it's his wife and 223 00:12:31.840 --> 00:12:35.960 just this kind of idyllic past that they had, and 224 00:12:37.039 --> 00:12:39.440 you get slow motion and all this kind of stuff, 225 00:12:39.480 --> 00:12:45.080 and that idea of the flashbacks just continues on through 226 00:12:45.120 --> 00:12:47.519 the film and you never know when they're going to happen, 227 00:12:48.000 --> 00:12:52.080 and it always takes me back a little bit where 228 00:12:52.080 --> 00:12:55.039 it's just, oh, why did the film just stop? And 229 00:12:55.080 --> 00:12:58.360 that's oh, okay, here comes a flashback, because there's almost 230 00:12:58.399 --> 00:13:01.799 like a beat too long between the freeze frame and 231 00:13:01.840 --> 00:13:05.279 then the flashback starting. And I like that, and I 232 00:13:05.440 --> 00:13:09.320 like that this narrative is not told in any sort 233 00:13:09.360 --> 00:13:14.080 of conventional way and really becomes nick You mentioned horror 234 00:13:14.120 --> 00:13:16.480 and how this would come up during horror discussions because 235 00:13:16.480 --> 00:13:19.440 there's horror elements to it, there's a mystery to it, 236 00:13:19.480 --> 00:13:22.159 there's a Western element of it, but just all of 237 00:13:22.159 --> 00:13:24.879 these things coming together, it's like this mish master genre. 238 00:13:25.440 --> 00:13:28.039 We were all talking about the brilliant casting of the film, 239 00:13:28.759 --> 00:13:32.799 and the genre, particularly the spaghetti version of the genre, 240 00:13:33.039 --> 00:13:36.919 loves to linger in these close ups on these unique faces, 241 00:13:36.960 --> 00:13:42.879 where every scar, every wrinkled has a great story behind it. 242 00:13:43.879 --> 00:13:45.879 But what I noticed during the film, and this is 243 00:13:45.960 --> 00:13:48.960 no small measure, but it comes from someone who's well 244 00:13:49.000 --> 00:13:53.159 beyond a journeyman as a director of westerns, is and 245 00:13:53.279 --> 00:13:58.840 his cinematographer is the idea that the forest and the 246 00:13:58.879 --> 00:14:02.480 branches and the foliage and the mountains and the snow 247 00:14:02.960 --> 00:14:06.600 are all extremely busy in the composition. So they're constantly 248 00:14:06.679 --> 00:14:10.159 using very shallow focus, real shallow depth of field to 249 00:14:10.240 --> 00:14:12.480 keep us right on there, because if we had a 250 00:14:12.519 --> 00:14:15.080 bigger depth of field, it would the composition would be 251 00:14:15.120 --> 00:14:18.120 so messy, we wouldn't know where it would just because 252 00:14:18.360 --> 00:14:23.240 every single shot has got harsh angles of trees and 253 00:14:23.720 --> 00:14:26.919 bare branches and things like that. So as I watched it, 254 00:14:26.960 --> 00:14:30.159 I just made a notation that the editing of the 255 00:14:30.200 --> 00:14:32.679 close ups. The shooting of the close ups and the 256 00:14:32.759 --> 00:14:36.919 editing of the closeups were experts just really handled beautifully 257 00:14:36.960 --> 00:14:40.000 as well camera movement. And then Mike, what you were 258 00:14:40.039 --> 00:14:43.879 saying is, yeah, the film is it is a hodgepodge 259 00:14:43.919 --> 00:14:46.799 of a lot of different elements that come together, and 260 00:14:47.039 --> 00:14:49.519 I don't know, it seemed really cohesive in a weird way. 261 00:14:49.600 --> 00:14:53.360 To me. You wouldn't necessarily expect them to all gel, 262 00:14:53.960 --> 00:14:56.960 but they really do. And the device of the flashback 263 00:14:57.480 --> 00:15:00.440 isn't really a cheat at all. It's not this is 264 00:15:00.480 --> 00:15:04.600 lazy storytelling. They're all fragmented backstories that you try to 265 00:15:04.600 --> 00:15:08.080 piece together, and I'm not sure I ever really successfully 266 00:15:08.080 --> 00:15:11.440 did them all, and I'm sure that you can't. Right, 267 00:15:11.519 --> 00:15:14.279 there's not an actual some of them. Yeah, some of 268 00:15:14.320 --> 00:15:16.639 them know. It's weird, right, It's hard to keep track 269 00:15:17.519 --> 00:15:21.360 of exactly how they relate to one and other flashbacks 270 00:15:21.399 --> 00:15:23.600 because they don't in many instances. 271 00:15:23.879 --> 00:15:26.639 And also the editing, like you bring up how they 272 00:15:26.759 --> 00:15:30.200 edited the flashbacks, and to me it almost felt like 273 00:15:30.240 --> 00:15:32.559 a really cool, if this makes any sense, like a 274 00:15:32.639 --> 00:15:35.440 counter cultural edit, because that type of editing, to me, 275 00:15:35.519 --> 00:15:39.240 feels very indicative. The way it's done here, of some 276 00:15:39.320 --> 00:15:42.720 of the more almost experimental narrative films that you would 277 00:15:42.720 --> 00:15:45.440 see from the late sixties and early seventies, where filmmakers 278 00:15:45.440 --> 00:15:50.200 were really trying more out of the box tactics and 279 00:15:50.240 --> 00:15:53.480 techniques and taking kind of that influence from just the 280 00:15:53.519 --> 00:15:56.639 spirit of the age of let's do something different, let's 281 00:15:56.679 --> 00:16:00.159 do something in a visual way that's not like our 282 00:15:59.840 --> 00:16:03.919 father's kind of element. But that technique gives this film 283 00:16:04.639 --> 00:16:08.480 like a fragmented poet poetry kind of vibe. This film 284 00:16:08.519 --> 00:16:11.360 has such a strange heart to it because it does 285 00:16:11.440 --> 00:16:13.960 have such a somberness about it and a care about 286 00:16:13.960 --> 00:16:20.200 it well, being completely raw honest about this era. These 287 00:16:20.200 --> 00:16:24.039 are yeah, these are convicts and one man who is 288 00:16:24.320 --> 00:16:27.759 basically doing kind of convict behavior. But this is also 289 00:16:27.879 --> 00:16:31.879 a heart scrabble time where people good people are perfectly 290 00:16:31.879 --> 00:16:34.360 morally good or having to do a lot of time 291 00:16:34.440 --> 00:16:37.960 things they don't want to do because it's survival, and 292 00:16:38.519 --> 00:16:40.840 where everybody trips up as the greed, which I mean, god, 293 00:16:40.840 --> 00:16:42.960 that's something like that's a trope. At this point with 294 00:16:43.039 --> 00:16:45.759 Western's Treasures, the r Madre were crying out loud. But 295 00:16:45.799 --> 00:16:47.759 the way it's done here, I just thought it was 296 00:16:47.799 --> 00:16:51.120 so compelling, and there is just so many great God 297 00:16:51.200 --> 00:16:53.679 Nick to your point, there is just so many like 298 00:16:54.000 --> 00:16:58.720 big wide shots and then just tight like almost not 299 00:16:58.799 --> 00:17:03.000 quite clusterphobic, but we're getting their close ups, and it 300 00:17:03.080 --> 00:17:05.640 just gives you this great sort of disjointed feeling in 301 00:17:05.680 --> 00:17:08.640 a way that works because it's it makes you feel 302 00:17:08.680 --> 00:17:11.599 like how these people had to have felt. I can't 303 00:17:11.599 --> 00:17:12.440 even imagine. 304 00:17:13.160 --> 00:17:15.240 One of the very first things I wrote down was 305 00:17:15.640 --> 00:17:19.640 must have been a ruling shoot. 306 00:17:19.519 --> 00:17:21.920 Yeah, oh God, good night? 307 00:17:22.240 --> 00:17:25.440 Well yeah, yeah, to shoot this in these mountains, and 308 00:17:25.880 --> 00:17:28.400 the stunt at the beginning, maybe it was a stunt, 309 00:17:28.440 --> 00:17:31.119 maybe it wasn't. But the horses and the carriage going 310 00:17:31.160 --> 00:17:34.400 down the side of the hill. Oh, I don't want 311 00:17:34.400 --> 00:17:36.079 to think about what happened to those horses. 312 00:17:37.240 --> 00:17:39.319 Those actors earned every penny. 313 00:17:39.599 --> 00:17:42.480 Yeah, And just to set this in the mountains, and 314 00:17:42.519 --> 00:17:45.480 to use these mountains so much in the framing, especially 315 00:17:46.119 --> 00:17:48.960 near the beginning when they don't have a carriage anymore 316 00:17:48.960 --> 00:17:51.400 and now they have to go on foot across these mountains. 317 00:17:52.079 --> 00:17:54.720 The mountains are so big, so majestic, and just look 318 00:17:54.839 --> 00:17:56.960 like they are gods looking down on these people, just 319 00:17:57.039 --> 00:17:59.759 laughing at them and their futility and just to see 320 00:17:59.799 --> 00:18:03.000 their struggle. The one guy has to carry because somebody 321 00:18:03.119 --> 00:18:07.319 was injured in the carriage falling down. So there's one 322 00:18:07.319 --> 00:18:09.680 guy who's injured. So they're like, Okay, I don't want 323 00:18:09.720 --> 00:18:11.440 to carry him, you have to carry him, and just 324 00:18:11.680 --> 00:18:14.440 carrying this poor guy across here, and they're just like, man, 325 00:18:14.480 --> 00:18:16.720 if this guy was dead, it'd be so much easier. 326 00:18:17.160 --> 00:18:20.880 And they really aren't the kind of people who are 327 00:18:20.960 --> 00:18:25.119 filled with empathy because these are seven convicts carrying this 328 00:18:25.200 --> 00:18:29.000 poor guy, and yeah, he doesn't come to a very 329 00:18:29.039 --> 00:18:31.440 good end. And that's when we have the other part, 330 00:18:31.559 --> 00:18:33.519 which I don't know if you would necessarily call it 331 00:18:33.559 --> 00:18:37.000 a genre, but definitely has elements of grindhouse like you 332 00:18:37.000 --> 00:18:40.160 said before, where that you start to get some of 333 00:18:40.200 --> 00:18:44.960 these great skulls with eyeballs popping out and just this 334 00:18:45.119 --> 00:18:49.079 kind of like real gritty kind of stuff where you're. 335 00:18:48.960 --> 00:18:51.680 Like looking for you, like with Daria or Agento second 336 00:18:51.720 --> 00:18:53.519 Ac on this or something. 337 00:18:53.920 --> 00:18:56.200 I legit. It was like I know this is Spanish, 338 00:18:56.200 --> 00:18:59.119 so I know, fol she's not technically involved in this. 339 00:18:59.279 --> 00:19:04.119 It was very it was like, goddamn, okay movie it 340 00:19:04.279 --> 00:19:06.799 It's like I'm like it is not. They are not 341 00:19:06.839 --> 00:19:09.920 pulling any punches here, and it's but it's interesting the 342 00:19:09.920 --> 00:19:12.599 way it's mixed, because most of the gore I think 343 00:19:12.720 --> 00:19:17.119 is integrated really well. I know it seems I know 344 00:19:17.160 --> 00:19:20.359 some of it was shot after the fact, but it 345 00:19:20.400 --> 00:19:24.720 doesn't look it looks seamless. I have seen there's a 346 00:19:24.920 --> 00:19:27.880 version of the Creature from the Blue with the Blue Hand, 347 00:19:28.039 --> 00:19:30.200 like the German Creamy that was re released as The 348 00:19:30.200 --> 00:19:35.359 Bloody did with some nineteen eighties shot on video gore effects. 349 00:19:35.759 --> 00:19:41.319 It edited in this nineteen sixties movie, and it is. 350 00:19:41.519 --> 00:19:43.759 It makes you feel like you're on trucks. I mean honest, 351 00:19:43.960 --> 00:19:46.759 it makes you feel insane, You're like white what either. 352 00:19:46.799 --> 00:19:50.759 It reminds me of sexy genes, that version of Massacre 353 00:19:50.759 --> 00:19:53.319 at Central High where it's like oh and then suddenly 354 00:19:53.359 --> 00:19:56.200 they're having sex and it's like whoa, whoa, this doesn't 355 00:19:56.240 --> 00:19:57.160 make sense. 356 00:19:57.519 --> 00:20:00.480 How unhinged. Massacre at Central High is what the most 357 00:20:00.839 --> 00:20:03.279 I love that movie is brilliant. It is not sexy. 358 00:20:03.319 --> 00:20:06.039 There is no sexy geens our jeans, they are not sexy. 359 00:20:06.519 --> 00:20:10.640 Burger were retitled it sexy and put in badly shot 360 00:20:10.680 --> 00:20:14.440 hardcore porno with actors they didn't even try to mash them, 361 00:20:15.000 --> 00:20:18.519 and they just found some randoms. They were like, hey, 362 00:20:18.839 --> 00:20:21.279 you guys are making out over there can be film you. 363 00:20:21.720 --> 00:20:25.400 It just found that viobent. So yes, cuth Throat Tonight 364 00:20:25.480 --> 00:20:28.240 is not that's oh my god, it's sexy. 365 00:20:28.880 --> 00:20:30.519 And I think the other thing that adds to this 366 00:20:30.559 --> 00:20:34.039 grindhouse feel is just how beat up this print looks. 367 00:20:34.359 --> 00:20:36.720 Nick messaged me earlier this week, He's like, is there 368 00:20:36.759 --> 00:20:39.119 a better printed this? I'm like, this is the best 369 00:20:39.160 --> 00:20:42.000 one I can find, And yeah, it looks okay. I 370 00:20:42.039 --> 00:20:44.440 think it was the code read version that they put out, 371 00:20:44.480 --> 00:20:48.400 which was an improvement on earlier versions, but it still 372 00:20:48.680 --> 00:20:51.039 just looks beat the shit a lot of times. 373 00:20:51.559 --> 00:20:56.440 And yet that that just seemed to add to the choice. Yeah, 374 00:20:57.519 --> 00:21:00.519 like you said, the it lent it that grindhouse aesthetic, 375 00:21:01.119 --> 00:21:05.279 and yeah, the color palette in it, and the way 376 00:21:06.319 --> 00:21:10.200 that the whole thing is blocked a camera and shot 377 00:21:11.480 --> 00:21:16.400 in sort of conjunction with the landscape is just pretty 378 00:21:16.440 --> 00:21:21.839 mind blowing cinematography. Earlier, Heather mentioned you used the word poetic, 379 00:21:22.200 --> 00:21:24.759 and I thought to myself, yes, this is very bleak 380 00:21:24.960 --> 00:21:28.440 poetry is with what we're nearing. It kind of starts off. 381 00:21:29.039 --> 00:21:31.599 You're not really sure exactly what to make of what's 382 00:21:31.640 --> 00:21:33.279 going on, and who do we trust. We have these 383 00:21:33.440 --> 00:21:37.039 these flashbacks, we have these this opening narration and voiceover 384 00:21:37.960 --> 00:21:39.640 golds at the heart of it. It's at the heart 385 00:21:39.680 --> 00:21:44.079 of so many these narratives, and then it just takes 386 00:21:44.160 --> 00:21:48.160 all these these really twists and turns that I wasn't anticipating, 387 00:21:48.200 --> 00:21:54.119 despite or in or because of its reputation. I had 388 00:21:54.160 --> 00:21:56.440 read a lot about it, and so the threshold for 389 00:21:56.519 --> 00:22:01.759 me to be disturbed in this was pretty and I 390 00:22:01.799 --> 00:22:06.319 still was disturbed, but in really filling way that is. 391 00:22:06.319 --> 00:22:09.680 Highly accurate of this film as an experience. And it's 392 00:22:09.720 --> 00:22:12.880 one of those two where there's so many films that 393 00:22:13.079 --> 00:22:16.960 were called grindhouse that if you really watch the isolated 394 00:22:17.000 --> 00:22:20.599 without any context, it's like, this is art this is 395 00:22:20.720 --> 00:22:23.480 art house. It just wasn't promoted like at art house. 396 00:22:23.519 --> 00:22:26.599 It didn't have maybe art house critical acclaim, it didn't 397 00:22:26.599 --> 00:22:31.079 have art house sort of prestige, cachet, sometimes money, and 398 00:22:31.160 --> 00:22:34.640 so these films sometimes get overlooked a little bit as 399 00:22:35.039 --> 00:22:38.720 solid films, as great films. This one's a great example 400 00:22:38.759 --> 00:22:43.680 of that. There's the moral just decay of it all 401 00:22:45.039 --> 00:22:48.559