Speaker 1: Oh you is folks, it's show tied.
Speaker 2: People say good money to see this movie.
Speaker 3: When they go out to a theater, they want clod sodas,
Speaker 3: hot popcorn, and no monsters in the protection.
Speaker 4: Booth, everyone for tend podcasting isn't boring, cut it off.
Speaker 5: We are letting you out of what kind of probation?
Speaker 6: Her aunt and I hope that you can conduct yourself normally.
Speaker 7: What do they do in the clinic those three years?
Speaker 8: Did it cheer you?
Speaker 7: Yes? Now I'm completely.
Speaker 8: Mad and I'm reallything like and not to have you
Speaker 8: squalled on my sister's money. Please leave it alone.
Speaker 1: That still leaves to ray sein Esther for you.
Speaker 8: Leave your cousins alone, all three of them.
Speaker 7: Please, this is a new game. I don't trust him.
Speaker 7: You get you no.
Speaker 5: Welcome to the projection booth. I'm your host. Mike White
Speaker 5: joined me once again is Professor Nick Hello. Also back
Speaker 5: in the booth is Miz Heather Drain Hello.
Speaker 7: Hello.
Speaker 5: We continue October twenty twenty four with a request from
Speaker 5: our Patreon donor Kyler Faith. We are discussing Claudio Guerin's
Speaker 5: Bell from Hell, written by Santiago Mancata. The film tells
Speaker 5: the story of John played by Renault Verly, a man
Speaker 5: recently released from a mental asylum where he was put
Speaker 5: by his aunt Marta played by Vivica Linfirst and her
Speaker 5: three comely daughters. He's back, and we're not quite sure
Speaker 5: what he's up to. Is he just a fan of
Speaker 5: incredibly elaborate pranks or is he bent on revenge? We
Speaker 5: will be discussing that and a whole lot more as
Speaker 5: we spoil Belle from Hell. Nick, When was the first
Speaker 5: time Bell from Hell gave you black sensations up and
Speaker 5: down your spine?
Speaker 3: Probably around two thousand and six or seven, somewhere around there.
Speaker 3: I watched it with Don our friend Don May Junior
Speaker 3: of Synapse, filmed in preparation for the book, that book
Speaker 3: on Spanish horror, and you know that. And I was
Speaker 3: just thinking before the podcast that God I started that
Speaker 3: was a I haven't done any really serious work on
Speaker 3: any like Iberian horror since it's been twenty years since
Speaker 3: I started working on that. So yeah, so it was
Speaker 3: a real treasure to entreat to sort of revisit it
Speaker 3: all these years later.
Speaker 2: So I'm guessing going on twenty.
Speaker 3: Years ago whenever that DVD print, You know that came
Speaker 3: out whatever year that was.
Speaker 2: Two thousand and six, seven somewhere around there, you.
Speaker 3: Know, And then I watched it multiple times in preparation
Speaker 3: to sort of discuss it and analyze it, and was
Speaker 3: pretty blown away, you know. Even among that period of
Speaker 3: a filmmaking in Spain with a lot of unique and
Speaker 3: interesting things happening, this one really kind of popped and
Speaker 3: stood out in so many different ways.
Speaker 2: It was very cool. And Heather, how about yourself.
Speaker 7: My first time watching Go from Hell was this year.
Speaker 7: It was again like many a projection booth, But on
Speaker 7: this you gave me the impetus to, you know, actually
Speaker 7: sit down and watch something that's been on my watch
Speaker 7: list for quite a while. And I even though I'd
Speaker 7: read about it, I similiar with it. I'd even heard
Speaker 7: other podcasts talk about it. Nothing prepared me. Nothing. This
Speaker 7: is one of those films, even if you know every
Speaker 7: single spoiler, the way that it unfurls is so brilliant
Speaker 7: and just really i'mlike, kind of to me, like quite
Speaker 7: unlike anything I've seen in recent times or maybe ever.
Speaker 7: This is such a special film and I'm looking forward
Speaker 7: to to get into the nitty gritty with you guys.
Speaker 7: On this.
Speaker 5: This was also a first time watch for me. I
Speaker 5: think I somehow ended up with the DVD years and
Speaker 5: years ago and then Kyler requested this, so I kind
Speaker 5: of had that at the ready and was just like,
Speaker 5: all right, yeah, let's do it. I need the excuse
Speaker 5: to finally sit down and watch this. And I was
Speaker 5: so not disappointed. Yeah, what an amazing film, and just
Speaker 5: kept me guessing the entire time. I mean, the whole
Speaker 5: idea of our main character John constantly playing jokes. I
Speaker 5: mean we see him at the very beginning of the
Speaker 5: film making a mask for himself, making basically as he's
Speaker 5: putting this stuff on, I'm like, oh, he's going to
Speaker 5: make either a death mask or like a fake head.
Speaker 5: And I think it's like an hour and ten minutes
Speaker 5: before that finally pays off, maybe even longer than that.
Speaker 5: So if you're not paying attention, good luck, because you
Speaker 5: really actually need to be invested in this movie in
Speaker 5: order to get everything out of it. But I think
Speaker 5: it actually takes a few viewings to kind of parse
Speaker 5: your way through this whole thing because there are so
Speaker 5: many levels to it. And I it's so funny because
Speaker 5: you know, we do a podcast about horror anthologies around
Speaker 5: here called Midnight Viewing, and the next one that we're
Speaker 5: doing about a Tales from the Dark Side episode. Frerazaka
Speaker 5: plays a huge part of that, and for Zaka is
Speaker 5: a huge part of this one. It's kind of a
Speaker 5: neat thing because this is a French Spanish co production.
Speaker 5: You really get the French coming in from that. The
Speaker 5: rest of this feels very Spanish to me. But yeah,
Speaker 5: I'm so curious Nick as far as what was going
Speaker 5: on because this is still generally Simo Franco is still around,
Speaker 5: So how is filmmaking in the early seventies in Spain,
Speaker 5: especially genre filmmaking like this.
Speaker 3: First of all, with co productions, things were a little
Speaker 3: bit looser in terms of you know, because there would
Speaker 3: be they'd be making an international cut and a domestic cut,
Speaker 3: so things were a little a little bit looser, and
Speaker 3: Franco's tether on society was pretty pretty much eroded by then,
Speaker 3: so you know, anything that was still enforced was kind
Speaker 3: of out of out of like habit or shadow at
Speaker 3: that point. It's not it's not very long after that
Speaker 3: where you start seeing more and more of this type
Speaker 3: of filmmaking. But that said, even in by seventy three standards.
Speaker 3: It's doing a lot of things that the other films
Speaker 3: are not doing. The other films are still in many
Speaker 3: ways kind of mimetic of other euro horror tropes and
Speaker 3: and still kind of finding their way. You know, I
Speaker 3: think we're about a good five years into it now,
Speaker 3: and so you know, with the Blind Dead films and
Speaker 3: with what Nash's doing, you're starting to see more of
Speaker 3: a Spanish flavor.
Speaker 2: And then of course we have some of the sort of.
Speaker 3: Like anti tourism films that start to come out of
Speaker 3: Spain by the mid seventies.
Speaker 2: So I mean, it's interesting. I think I remember arguing
Speaker 2: in the.
Speaker 3: Book it was a long time ago that whereas you know,
Speaker 3: like if we're going to use like a Shatzian sort
Speaker 3: of diagram of like genre evolution, for example, Spain does
Speaker 3: horror in le the truncated, It does horror in ten years,
Speaker 3: where other horror producing movie cultures had decades of refinement
Speaker 3: and experimentation and stuff.
Speaker 2: So Spain seems.
Speaker 3: To go through that like very quickly, like to postgraduate studies,
Speaker 3: very quickly. And yeah, so I mean to try and
Speaker 3: get back and circle back to your question, it really
Speaker 3: does stand apart, and that's that's only made all the
Speaker 3: more testament by the fact that both of you, Heather
Speaker 3: and Mike, just watched this recently and are sitting here
Speaker 3: telling me it's kind of you know, it's hard to
Speaker 3: find films that are unlike other films, and when you
Speaker 3: find one that's like, WHOA didn't see all this happening here,
Speaker 3: it's it's pretty memorable.
Speaker 7: Yeah, I mean, memorable is definitely the word, especially because
Speaker 7: even you know Mikey's timate, like the mask and that payoff,
Speaker 7: but also the fact that we see John or you know,
Speaker 7: the character I think actual name is Wan, but in
Speaker 7: the main cut, I saw its John. He's being released
Speaker 7: from an insane asylum. And that is such a trophy
Speaker 7: kind of thing that you see a lot of movies,
Speaker 7: and but yet none of it feels like that. John
Speaker 7: doesn't necessarily, certainly as a character, come across like that.
Speaker 7: I mean, you doind of wonder about how reliable he
Speaker 7: is as far as like as a narrator, certainly, but
Speaker 7: from the very get go, everything that you think is
Speaker 7: going to be is not to be. And I love that,
Speaker 7: and especially because it's done. None of the twists are
Speaker 7: revealed in a hokey way or like an why m
Speaker 7: Night Chavalan kind of way, but it all feels really organic.
Speaker 7: And that's the thing is that everything is so beautifully
Speaker 7: stitched together in this film, like everything is layered, even
Speaker 7: the audio, because like the way that you make for
Speaker 7: a zhaka and the way that it comes into play
Speaker 7: is so eerie and ghostly, and it's almost like it's
Speaker 7: like like dual triple layers at times of the girls
Speaker 7: of hearing these little girl children like singing for a shaka,
Speaker 7: and then at times you don't even hear any music,
Speaker 7: you just hear like birds and sounds of nature. The
Speaker 7: way nature's integrated in this film too, I found really
Speaker 7: really striking.
Speaker 5: And you've got the whole idea too of the church
Speaker 5: and these good church going folks. They're about to get
Speaker 5: this brand new bell, the titular bell from Hell, and
Speaker 5: I just love that we get this bell going through
Speaker 5: so much of the beginning of this movie. And it
Speaker 5: really doesn't even make sense as far as how long
Speaker 5: it takes for this bell to get to the church.
Speaker 5: I mean, he passes it the first day, he passes
Speaker 5: it the next day too. It's like how long is
Speaker 5: it taking for this bell to get into town? And
Speaker 5: then yeah, that's another thing that pays off very much.
Speaker 5: Right at the end, I'm like, oh, okay, this is great.
Speaker 5: I really like this. And then for me, the whole
Speaker 5: for a jaka refrain if my French is okay, So
Speaker 5: it's you know, brother John. So we've got the John character,
Speaker 5: Brother John, Are you sleeping morning? Bells are ringing? And
Speaker 5: then ding ding dong. Of course, it feels like it's
Speaker 5: a direct address to him. You know, this whole idea
Speaker 5: of the surrealism of it, and I think that, you know,
Speaker 5: there are surreal moments in here, and I think there's
Speaker 5: a whole lot that plays into classic surrealism, you know,
Speaker 5: Louis Bounoel type of surrealism here when it comes to
Speaker 5: you know, the Insane Asylum. I mean, we just talked
Speaker 5: a few weeks ago about Malpa Twee and that ends
Speaker 5: at the Insane Asylum. That's the book end of that movie,
Speaker 5: spoilers from Malpertwee. But here we've got him at the beginning.
Speaker 5: And I love this too. When he comes out and
Speaker 5: he sets fire to the notice to say that he
Speaker 5: has to report back to the asylum. It's almost like
Speaker 5: he's on parole and he burns this thing and I'm like, oh,
Speaker 5: this is so draft card esque. And then he's on
Speaker 5: a frickin motorcycle. All right, we got like easy Rider
Speaker 5: in Spain here, this is pretty awesome. And yeah, he's
Speaker 5: just such a Devil may care guy. I don't know
Speaker 5: if I like this person. I don't know if I
Speaker 5: dislike him because some of his jokes get pretty sadistic,
Speaker 5: but at the same time, he has a good reason
Speaker 5: for being angry at his aunt, especially, and then the
Speaker 5: rest of the family talking.
Speaker 3: About the draft draft card moment, you know, the burning
Speaker 3: of and that reminds me to what Heather was saying
Speaker 3: a little while ago about the setting up the unreliable
Speaker 3: narrator right coming out of it insane asylum. But I
Speaker 3: just have to say that I remember, but I remember
Speaker 3: writing on my notes something along the lines of the
Speaker 3: easy writer thing, like you know, you know hit bike, Yeah,
Speaker 3: you know, well this is cool, And then I remember
Speaker 3: like hip bike, and then I wrote Middle.
Speaker 2: Earth question mark.
Speaker 3: Because I'm like, suddenly Gandolph and the little girl are
Speaker 3: there and we're in you know, deep deep Rivendell or
Speaker 3: something and I was like, what is it. I just
Speaker 3: remember as clear as.
Speaker 2: Yesterday writing down like Middle Earth question mark. It's not
Speaker 2: quite an opening.
Speaker 5: I can totally see that. Yeah, it feels like the
Speaker 5: little girl and the old man that they pass are
Speaker 5: completely out of time. I mean there's like the the
Speaker 5: ox cart type of thing. And I'm like, all right,
Speaker 5: I mean is that just hey, look at how out
Speaker 5: of touch Spain is at this point. And just the
Speaker 5: people that are in this little town that he visits,
Speaker 5: they just seem so, I don't know, insular and just
Speaker 5: like the word that Chris d kept using in the
Speaker 5: commentary was provincial. You know, they just they seem like
Speaker 5: they don't care about anything else in the world other
Speaker 5: than making money and having a good time.
Speaker 7: Do you think it's also like a class thing though,
Speaker 7: because yeah, because it's that's the thing is slate John,
Speaker 7: and especially like his aunts, like they live I mean
Speaker 7: the aunt and her her daughters live in like it
Speaker 7: looks like a castle, Like it almost looks like a
Speaker 7: mini castle, Like it's beautiful. And even John's little house
Speaker 7: this is really amazing, like the interior design and everything.
Speaker 7: But he has access to a motorcycle, he's access to
Speaker 7: some high seemingly kind of high tech for the time period,
Speaker 7: like taping devices and microphones and you know, and then
Speaker 7: you're comparing that. Of course, it's fine with the ox Car.
Speaker 7: When I first saw that, my first thought was those
Speaker 7: poor Oxen until we get to the slaughterhouse scene and
Speaker 7: then I'm like, you know what, the Oxen are fine, right.
Speaker 2: And there's your Boon and Well connection right there.
Speaker 3: Yeah, you know, among other films, and so yeah, it
Speaker 3: really the whole film is a mix of like art
Speaker 3: house sensibilities and you know, eurohor tropes kind of coming together.
Speaker 2: It's works so well too.
Speaker 5: Yeah, I don't think it's any coincidence that Franjou was
Speaker 5: made that, you know, Blood of the Beasts movie as well,
Speaker 5: and you know, you've got animal desecration in all the
Speaker 5: way all the way back to Lunchen and Dalou and
Speaker 5: then you've got even the fighting scorpions and Lage or
Speaker 5: where it's just like, okay, this is making me feel
Speaker 5: uncomfortable watching these guys just go at it.
Speaker 2: And then we get that nice echo later in the
Speaker 2: film when he's about to you know, with his.
Speaker 5: Co Yeah, this has been a rough few weeks for me.
Speaker 5: Seeing animals slaughtered in films, because we talked about the
Speaker 5: Slovakian film three twenty two in Cheptember and that had
Speaker 5: a big slaughterhouse scene in there. This, though, is far worse.
Speaker 5: This was really tough to watch, and especially the screaming
Speaker 5: of the lambs. Just hearing them going at it was
Speaker 5: just like, ah, my skin is crawling.
Speaker 7: And I thought Cockfighter was rough for me, and I
Speaker 7: mean it was Cockfighter was nothing. Cockfighter was Late Lady
Speaker 7: in the Tray app compared to compared to this, it was.
Speaker 7: And I mean, I have to get the third parts
Speaker 7: where I'm kind of like having to do what how
Speaker 7: I'd watch horror movies when I was little actually, which
Speaker 7: was like a lot of like me covering my face
Speaker 7: and then kind of peeking and being like oh Jesus Christ,
Speaker 7: like covering. Yeah, it's rough. It's really rough. I will
Speaker 7: say this. You know, the callback, the editing and the
Speaker 7: purpose of it. It's not done in an exploitative manner.
Speaker 4: You know.
Speaker 7: That was always kind of as much as I love
Speaker 7: parts of of a Holocaust, none of the animal cruelty
Speaker 7: in that film was was justified realistically at all. But here,
Speaker 7: you know, I'm not gonna say it's justified, but it's
Speaker 7: it's used well and to be honest, like those animals,
Speaker 7: those cows are gonna get slaughtered anyways. You know, that's
Speaker 7: just an ugly reality of life. Also, and because the
Speaker 7: whole thing is like for me, it's like, is that
Speaker 7: do you kind of feel like having it be so gruesome?
Speaker 7: Is also kind of a showing of like taking something
Speaker 7: natural because we see John surrounded by animals, like and
Speaker 7: he clearly loves him, like he has like a cute
Speaker 7: little black monkey. He's got a little turtle, which also surrealist.
Speaker 7: Does also feel very surrealisty to have just a random
Speaker 7: little turtle on the on this nice dining table.
Speaker 2: Which is which she picks up.
Speaker 7: Yeah, as if I didn't have enough reason not to
Speaker 7: like Marta, but it's just like the way she I
Speaker 7: didn't like. I didn't like the way she handled it turtle.
Speaker 7: But all the birds and nature is clearly like this
Speaker 7: beautiful sort of thing, Like it's like this magical kind
Speaker 7: of good right down to gandal. Do we have a
Speaker 7: name for the character.
Speaker 5: The hermit?
Speaker 3: Maybe because that tree is not completely alone though, is he?
Speaker 3: I would have called him a hermit too, But he's
Speaker 3: got a companion, he's.
Speaker 7: Got that little that little girl, and no, it's it's
Speaker 7: it's a funny because like you're your whole middle Earth.
Speaker 7: They crack me up because when I first saw him,
Speaker 7: I assumed he was a hallucination.
Speaker 3: Yeah, there was always that too. I did too, by
Speaker 3: the way. I'm like, is this is this just allegorical
Speaker 3: or something?
Speaker 2: You know?
Speaker 7: Right, But then later on they're like, no, this dude's
Speaker 7: real and this little girl is real. So but I
Speaker 7: love that. But again, they two, both of them are
Speaker 7: like seem to be of nature. They're like of the woods,
Speaker 7: and they seem to have kind of this beauty and
Speaker 7: purity about them that nobody else really does in this film,
Speaker 7: including John. And then like but like with the Slaughterhouse,
Speaker 7: it's so ugly and it's like this is what humans do.
Speaker 7: It almost to me, like we foul it up. So
Speaker 7: much of this film is kind of about the ugliness
Speaker 7: of human nature.
Speaker 5: I especially love when he's leaving the Slaughterhouse and he's
Speaker 5: just like, yeah, no I'm not coming back. Oh what's
Speaker 5: going on here? Yeah I learned enough. I'm like, oh, okay,
Speaker 5: that's a pretty telling line, as there's.
Speaker 2: A delicate flower in the foreground, right.
Speaker 5: I love that flower. That's what I was just about
Speaker 5: to mention, Like, you see all that blood and the
Speaker 5: blood on the floor, and I'd cut to that beautiful
Speaker 5: white carnation, and then when he's there quitting his job,
Speaker 5: the guy has the carnation like almost right next to
Speaker 5: his head. I'm like, ah, I really like the way
Speaker 5: that you're shooting this.
Speaker 2: Yeah, so much, so much loving attention to detail.
Speaker 3: You know, as I was watching it, I was looking
Speaker 3: at the sort of filmic technique and how he was
Speaker 3: shooting just something as simple as you know, the cart
Speaker 3: going by on a bridge, and the way he cut
Speaker 3: that up in the different points of view, and I
Speaker 3: was like, this is this is what a pity you
Speaker 3: know that this would end in tragedy, which I'm sure
Speaker 3: we'll talk about later because it's a real There's a
Speaker 3: really impressive style to the film visually, and that crazy
Speaker 3: sort of pal obsessed of a you know setting where
Speaker 3: we have slightly medieval and Gothic and contemporary and provincial
Speaker 3: and townies in their greed in there.
Speaker 2: So it is it is a crazy little mix, isn't it.
Speaker 7: I was thinking the same thing too, Like, especially by
Speaker 7: the end of the film, I'm like, I were so
Speaker 7: robbed of Claudio's dying so young. I mean after like
Speaker 7: literally off this film because like what else would this
Speaker 7: man have made after this film? Because of the visual language,
Speaker 7: and this film is like it's and I mean and
Speaker 7: it's just like it's the simple shots too. It's not
Speaker 7: like you know, I think people when people think of
Speaker 7: like visually last seventy four, they think like Argento, as
Speaker 7: they should, but but this is like it's a little
Speaker 7: it's a different style, and it's just it's framing. Everything
Speaker 7: is just so thoughtful, even like like what you later
Speaker 7: on when you have like the Cousins kind of on
Speaker 7: the you're hanging from this like you meat hook type thing.
Speaker 2: Oh he brings art to it. You're like, damn you
Speaker 2: you know it's.
Speaker 7: So beautiful because that I mean, we've all I mean,
Speaker 7: there's a number of some of these horror films with
Speaker 7: meat hooks, and they I wouldn't say the meat hook
Speaker 7: shocks being beautiful, and that's I mean, it's some of
Speaker 7: those are films I love. But yeah, this is it's
Speaker 7: our house.
Speaker 2: Is that what it is?
Speaker 3: Yeah, it is elevated you know, I totally agree, yeah,
Speaker 3: that that particular scene is really kind of you know,
Speaker 3: as breathtaking as it is off putting.
Speaker 5: Yeah, just so visually striking throughout so much of this.
Speaker 5: I love the scene and I'm kind of jumping around.
Speaker 5: But when he's I think he's again screwing with Pedro
Speaker 5: and talking about you know, the ghosts and all this,
Speaker 5: and like how you can still hear them on the moors,
Speaker 5: and then you start to hear the frey zhaka and
Speaker 5: you get the whole Oh that's the thing he's talking about,
Speaker 5: how he can't close the door. He has to leave
Speaker 5: the door open for these ghosts to come in, and
Speaker 5: then when you see them enter from the fog, it's
Speaker 5: just gorgeous to sing.
Speaker 2: Ah that is Oh, it's so pretty.
Speaker 7: Yeah, it's so pretty and so creepy because I honestly,
Speaker 7: and I'm not somebody who's scared of ghosts, Like I'm
Speaker 7: not the biggest fan of ghosts and movies typically because
Speaker 7: you know, it's it's just to me, it's a harder
Speaker 7: kind of subgenre to do well in a way that
Speaker 7: I like. But like as music and the way you
Speaker 7: see the figures, I was like, oh, that tension. I
Speaker 7: love it, and I did feel bad initially for for Pedro,
Speaker 7: but then we we quickly realized in the film that
Speaker 7: he is him and Marta.
Speaker 5: Yeah, there's an alliance there, for sure, there's an alliance.
Speaker 7: I just like attracting like, which means terrible, attracting terrible.
Speaker 7: It's like complete shit magnet factor.
Speaker 5: There's also that scene I think it's that same little girl,
Speaker 5: possibly from the Hermit that the hunters, and they're really just, yeah,
Speaker 5: just being very icky with her, and you think, oh,
Speaker 5: this is the time of for Pedro to show his metal,
Speaker 5: but no, he just kind of goes along with it.
Speaker 5: You can tell he's not as into it as the
Speaker 5: other people, but it's like, yeah, no, you're not doing
Speaker 5: anything to stop this.
Speaker 7: Yeah, Well then he gets kind of into it later.
Speaker 3: Yeah, later he's the one who throws her the rope,
Speaker 3: you know, like, oh, we're not going to hurt you.
Speaker 2: Yeah.
Speaker 3: That's the type of film where you know, and I
Speaker 3: don't mean this in a negative way, but like as
Speaker 3: soon as we cut to that shot of the four
Speaker 3: of them walking, you know that anybody that comes along,
Speaker 3: particularly you know, a young.
Speaker 2: Girl, are just they're doomed. You know, it's just it's
Speaker 2: it's gonna It's like in the dubbing really comes through
Speaker 2: there too, you can, cause it's like one of those
Speaker 2: scenes where you're like, you know, everybody's aggressively, Hey, come here,
Speaker 2: all right. It's like like, oh, you know, you know
Speaker 2: where this is going really fast? You know where are
Speaker 2: you going?
Speaker 7: You know when we say young girl, if everybody listening
Speaker 7: that hasn't watched the movie, I mean, she looks like
Speaker 7: she's like what ten, Yeah, like she's young, and it's
Speaker 7: just like it's very uncomfortable and but a great way
Speaker 7: to kind of show that these you know, because you
Speaker 7: get the feeling too. These are the guys. Obviously, they're hunters.
Speaker 7: They have nice hunting clothing. They're able to do this
Speaker 7: as a sport and not just as a like survival,
Speaker 7: which I imagine some of the townspeople probably are having to do.
Speaker 7: So these are the money quote unquote respectable men and
Speaker 7: this is who they really are.
Speaker 2: Yep, and completely out of their element.
Speaker 5: Yeah, yeah, we should talk about Aunt Marta and her
Speaker 5: I guess it's her three daughters. It feels very much
Speaker 5: like a evil step mother and her you know, corrupt
Speaker 5: children type of thing, like I expected Cinderella to be
Speaker 5: hanging out around here, you know, And so Aunt Marta
Speaker 5: is there in her wheelchair, which kind of already makes
Speaker 5: her a little sinister. You know. We've got a lot
Speaker 5: of bad people. And then it's so ironic that I
Speaker 5: know her best, know Vivicalin for his best from the
Speaker 5: segment of Creep Show where it's her and her father
Speaker 5: and her father's in that wheelchair and just smacking that
Speaker 5: cane on the arms of the wheelchair. I want my cake,
Speaker 5: you know, And it's funny. I really don't know Vivica
Speaker 5: li inf Is that much other than when she was
Speaker 5: an old woman. So when she was in that when
Speaker 5: she was in Stargate, and I didn't recognize her physically,
Speaker 5: I didn't recognize her face, but that voice, that very
Speaker 5: very distinct voice, and I didn't realize that because I
Speaker 5: imagine they shot this film very similarly to and I
Speaker 5: should say they probably shot Spanish films and please correct
Speaker 5: me if I'm wrong, Nick Mos, and then did all
Speaker 5: post dubbing stuff, kind of like they did with the
Speaker 5: Italian films.
Speaker 3: Yeah, for sure, if it was a co production, if
Speaker 3: it was a national production, it would depend if it
Speaker 3: was a multinational cast, but yeah, they certainly would do
Speaker 3: that and dub it for regional releases in different languages.
Speaker 5: Because I kept looking for the Spanish version of this,
Speaker 5: thinking like oh, I'm yeah yeah, But then I was
Speaker 5: watching the English dub and I was like, oh no,
Speaker 5: this is actually her dubbing herself. So I always feel
Speaker 5: okay with that. It's like when you watch the Clint
Speaker 5: Eastwood films and it's like, Okay, he's doing his voice,
Speaker 5: and Cleave's doing his voice. Eli Wallack's doing his voice
Speaker 5: everybody else. That's yeah exactly. But yeah, I always love
Speaker 5: It's so funny because I used to hate dubbing so much,
Speaker 5: but I love dubbing in these types of genre films
Speaker 5: because it adds that extra layer of erreality and just
Speaker 5: makes it. I always say, it makes it feel like
Speaker 5: the voices are floating in front of the lips rather
Speaker 5: than actually coming out of the body.
Speaker 3: When you say that, I just think back to that
Speaker 3: scene when they're hunting with the girl, and I'm like, yeah,
Speaker 3: as soon as that dubbing that language comes out, I'm like,
Speaker 3: this is this is going to go really bad?
Speaker 7: You know, Oh God, especially the way the guy one
Speaker 7: of the guys. Oh it's a little dugs. It's like,
Speaker 7: oh god, Oh, it does take it somehow even more gross,
Speaker 7: Like how's it's amazing.
Speaker 3: Yeah, And there's a lot of creepy, gross, uncomfortable scenes
Speaker 3: in this movie and that one, and that one's so
Speaker 3: long we have to protract it out. We had to
Speaker 3: cut away for a while.
Speaker 2: Come back.
Speaker 3: Now it's night and she's still in the middle of
Speaker 3: the little pond. It's like it's cruol. It's just a
Speaker 3: big sort of cruel interlude. So that these guys are
Speaker 3: really pieces of shit.
Speaker 5: You were talking about how John's got all the gadgets
Speaker 5: and gizmos, and he's got all the photographs around his
Speaker 5: room with all the different kind of pieces of women,
Speaker 5: you know, the eyes, the just the silhouettes of them,
Speaker 5: this kind of fracturing of them, kind of like what
Speaker 5: I think you would like to do to them, especially
Speaker 5: like with the slaughterhouse equipment. But I appreciate that. I
Speaker 5: like that he's got the microphones and the tape recorders
Speaker 5: and he's just very high tech as opposed to you know,
Speaker 5: a friggin' ox car. You know, it feels like he's
Speaker 5: very much in nineteen seventy three, and the rest of
Speaker 5: this world is you know, back in like the fifteen
Speaker 5: hundreds or something. Especially the whole idea of the church
Speaker 5: and the church just looming over everything. I mean, even
Speaker 5: when he's driving his motorcycle away from the asylum, they
Speaker 5: specifically stop on a big crucifix that's up on the
Speaker 5: side of the road, and then of course the bell
Speaker 5: is headed towards the church, and it's just this bell
Speaker 5: constantly going through here. So it's this whole idea of
Speaker 5: you know, the Church being there and looming over everything.
Speaker 5: And I mean it feels like John, you know, it
Speaker 5: feels like John is very much like Marlon Brando from
Speaker 5: you know, The Wild One. It's like, what are you
Speaker 5: rebelling against? What do you got? You know, I'm doing everything,
Speaker 5: but especially in rebelling against this family that put me
Speaker 5: away when they shouldn't have well, and you know.
Speaker 7: Something that's like another thing actually that's just hitting me.
Speaker 7: John is the only male member, don't We don't even
Speaker 7: know what happened to his father or his cousin's father either.
Speaker 7: We don't know what happened to Mark and his husband. I
Speaker 7: bet she killed him. I bet she killed him.
Speaker 2: I think she has it dinner.
Speaker 7: Yeah, oh completely, because I mean we know his mother
Speaker 7: committed suicide, but even knowing the shadiness and wanting the money,
Speaker 7: you know, there's that little, that little wave of like
Speaker 7: did she really? You know, it doesn't really give us
Speaker 7: a whole lot, but I like that. It's like the
Speaker 7: film doesn't. It doesn't have to tell you every single
Speaker 7: nook and cranny.
Speaker 3: No, it's and you know, watching it this time. So
Speaker 3: my opinion of it actually was just even strengthened watching
Speaker 3: it all these years later. I had hadn't looked at it,
Speaker 3: like I said, in between fifteen twenty years, and it
Speaker 3: was not diminished at all.
Speaker 2: It was it was actually just reinforced that. It was
Speaker 2: just it's a really impressive piece of work.
Speaker 5: And I love the whole thing of how he goes
Speaker 5: to visit the cliff where his mother jumped off, and
Speaker 5: then the thing of him planting the trees up there,
Speaker 5: and when he talks to his cousins like, oh the
Speaker 5: sad your blood will run up into the sap and
Speaker 5: you'll be there and you'll be hit by the wind
Speaker 5: and all this, and I'm just like, oh, wow, he's
Speaker 5: really laying it on thick and just that idea of
Speaker 5: them becoming part of the trees, becoming part of that
Speaker 5: nature that we were talking about.
Speaker 2: That's just amazing.
Speaker 7: Oh I love that. That just it almost made me
Speaker 7: think of some of like Edgar Allan Poe's oh for
Speaker 7: sure writing. And then of course late we get later
Speaker 7: on you know, John being walled.
Speaker 2: Up oh literal, yeah, yeah, and.
Speaker 3: It's like, oh, yeah, I'm speaking of Poe. My God, Like,
Speaker 3: I have to say that this time around, I just
Speaker 3: saw I guess maybe because you got a lot of
Speaker 3: tunnel vision going when you're writing about a certain thing.
Speaker 3: Sure your mind does go to other genres, other countries,
Speaker 3: other eras and make connections. But when I was watching
Speaker 3: it this time, I felt Poe so much more clearly
Speaker 3: than I did when I watched it the time. You know,
Speaker 3: the like we talked about earlier, the unreliable narrator, the
Speaker 3: you know, there's like there's sort of like a raven
Speaker 3: constantly sort of like hovering about.
Speaker 2: There's the incestuous natures going on here.
Speaker 3: There's the uh, the being sort of like not buried alive,
Speaker 3: but sort of entombed within a.
Speaker 2: Bell, within a church.
Speaker 3: You know, like it's still sort of like an entumbment,
Speaker 3: and and and of course the point that Heather just made,
Speaker 3: it's like, it feels like Poe is is very sort
Speaker 3: of along with other influences. You know, I saw a
Speaker 3: little more Baba and and Franco as you know, as
Speaker 3: you as you pointed out in your notes, and and
Speaker 3: I guess I wasn't willfully making those connections when I
Speaker 3: was looking at it, but there now there seemed to
Speaker 3: be much more clear to me.
Speaker 2: And yet it's still it's very much it's it's its
Speaker 2: own film.
Speaker 9: You know.
Speaker 3: I love the idea of of John being so morally
Speaker 3: ambiguous that that at times where you know he's the protagon,
Speaker 3: He's like Carrie White, the monster and the heroine was
Speaker 3: slash protagon instant. And while we watch him do terrible
Speaker 3: things in the film, we are not without sympathy for
Speaker 3: him at the same time.
Speaker 2: And he also does, you know.
Speaker 3: Strangely do nice things throughout Strewn's little decent acts here
Speaker 3: and there throughout the film, and You're like, how should
Speaker 3: I feel about this person? And I'm like, that's why
Speaker 3: this film resonates, you know.
Speaker 5: I love this whole elaborate thing where he's talking with
Speaker 5: Pedro's wife and he's just like, oh, have I offended
Speaker 5: you do? I need to rip my eyes out, And
Speaker 5: then he proceeds to rip his eyes out and hold
Speaker 5: them in his hands like the the man from the
Speaker 5: Gearmo del Toro film, you know. Then she starts screaming
Speaker 5: and he's like no, no, no, and he just like
Speaker 5: peels off the prosthetics and just like see, yeah, I'm okay.
Speaker 5: She faints. He carries her into the house, takes off
Speaker 5: her underwear, and then leaves a note for that. It's like, sorry,
Speaker 5: I couldn't control myself when I saw how helpless he were.
Speaker 5: And then he uses that later to couck cold. He
Speaker 5: doesn't even cuckold Pedro, but he uses it to cuckold
Speaker 5: Pedro in that whole thing where he pretends that his
Speaker 5: arms are in casts and makes Pedro hold his dick
Speaker 5: while he's going peete. I just love that.
Speaker 7: That was brilliant.
Speaker 5: I was.
Speaker 7: I was because some of the pranks were a little
Speaker 7: little more light. I mean, like the eyes thing, which
Speaker 7: was beautifully done. It almost feels like, to me, like
Speaker 7: a precursor to light magicians, like the amazing Jonathan you know, and.
Speaker 5: Pitt and Teller years later, or Harry Anderson with the
Speaker 5: whole needle.
Speaker 7: I miss him, but yeah, but I'm like, god, she
Speaker 7: seems nice. But then, like you already know Pedro's a
Speaker 7: pedophile little piece of crap. So it's like he's like, yeah, yeah,
Speaker 7: I have him, old you're weaning. I like that. Good you, John,
Speaker 7: That's a and I's something John's always thinking, like, this
Speaker 7: is such a smart character. He doesn't seem supernaturally smart,
Speaker 7: but he just seems like you could tell that he
Speaker 7: used all of his time in the asylum to meticulously
Speaker 7: plot his revenge and it's so beautifully done. It's so
Speaker 7: he's such a cool character. And I love I love
Speaker 7: the fact that you pointed out, Nick, that he does
Speaker 7: have that gray area, like he is a very like
Speaker 7: he's not one hundred percent hero joking about like oh,
Speaker 7: I'm sorry, I lost control, Like, don't do that. The
Speaker 7: eyeball things already pushing it. But and there's a few
Speaker 7: other things. But then you know, he saves that little
Speaker 7: girl from the hunters and gets her back, you know,
Speaker 7: to the Woodsman and the organtal. I'm sorry, I can't
Speaker 7: help laughing over that. You know, and even even when
Speaker 7: it comes down to doing, you know, ultimately committing murder
Speaker 7: on the cousins, he can't do it. And you know,
Speaker 7: and that's a his back in the lutterhouse when he's like,
Speaker 7: I've learned enough, and when he quits. I took that
Speaker 7: kind of two ways, like, I mean, he's there to learn.
Speaker 7: I mean, that isn't a joke, But the way that
Speaker 7: he says it and the look on his face, I
Speaker 7: got the filling like he just also just kind of
Speaker 7: got like a gutful because it's nasty. That is some
Speaker 7: nasty work, and so he does have like some good
Speaker 7: in him. And I just kept getting this feeling that
Speaker 7: the whole callback to them as children. It's like this
Speaker 7: was the last time of purity for him, like as
Speaker 7: a little boy, not just because he's a kid, but
Speaker 7: it's like his mom's there and she looks happy, and
Speaker 7: all the girls are playing and everything just seems really nice.
Speaker 7: And I think sometimes it's like there's that point as
Speaker 7: a kid where you maybe something happens where you suddenly
Speaker 7: become aware that the world is a lot scarier and
Speaker 7: a lot uglier, and that humans and adults can be
Speaker 7: a lot uglier and that's where you lose your innocence,
Speaker 7: and you know, with losing his mom, lost that and
Speaker 7: then he's in this snake's nest of a family.
Speaker 5: He's really obsessed with the past, because when we see
Speaker 5: him at the asylum, when he's still in there, he's
Speaker 5: looking at these photos. He keeps the one where it
Speaker 5: looks like it almost looks like they're doing ringing around
Speaker 5: the Rosie or Farajaka, depending on what song of choice.
Speaker 5: But then when he gets home he looks through an
Speaker 5: old photo album as well. And then when he finally
Speaker 5: gets with all of the cousins in the ant, what
Speaker 5: are we gonna do. We're gonna watch some old home movies.
Speaker 5: So yeah, just revisiting that pass and kind of dredging
Speaker 5: that up. I really appreciate that he's stuck there, but
Speaker 5: also at the same time, he's just like, hey, look
Speaker 5: at look at what you took away from me. It
Speaker 5: is very much what it feels like he's saying to
Speaker 5: Aunt Marda and the other girls. I mean, there's one girl,
Speaker 5: one of his cousins, I think it's Esther seems to
Speaker 5: be the kind of decent one. It feels like she's
Speaker 5: young and maybe that same age when he got his
Speaker 5: innocence taken away from him. And then yeah, there's definitely
Speaker 5: a lot of ancestual stuff going on here too, because
Speaker 5: for sure he slept with one of his other cousins
Speaker 5: and it's like, okay, yeah, probably a little too close here, guys.
Speaker 7: The pictures in his room of the different I assumed
Speaker 7: that was all the oldest cousin, the dot or the
Speaker 7: I think she's the blonde whose names escapomate and I
Speaker 7: believe isn't it her picture? We see him rip up
Speaker 7: when he's getting released, so which initially you're like, oh,
Speaker 7: that's his girlfriend. It must must have not gone a
Speaker 7: com well with Chris's movie. Part of the beauty is
Speaker 7: you realize, oh, yeah, that that ex lover, that's his cousin.
Speaker 3: Who's underage, you know, which they make a big point
Speaker 3: of saying at the end, you know you're under age,
Speaker 3: I can force you to stay.
Speaker 5: Yeah, well that's the young one. I think it's the
Speaker 5: older one that he slept with. The old Yeah, because
Speaker 5: there's that there's a scene that I think was cut
Speaker 5: in one of the versions where it's John and Esther
Speaker 5: they're talking and Maria's on the swing and it's John
Speaker 5: and Essa going back and forth, and she says, one
Speaker 5: night you tried to rape Oh sorry, She says, so
Speaker 5: you and Maria were lovers, weren't you, I mean real
Speaker 5: lovers And he goes yes, and she says, and one
Speaker 5: night you tried to rape Teresa And he goes hmmm,
Speaker 5: and she goes, so I'm the only one left. Is
Speaker 5: that normal? Or are you really? And she just kind
Speaker 5: of leaves that hanging and goes, so, what do you think.
Speaker 5: I was like, oh, okay, so one of the I
Speaker 5: think there's like three cut scenes that were out there,
Speaker 5: but now they're back in the US DVD.
Speaker 3: You know, you mentioned a few minutes ago probably my
Speaker 3: favorite sequence in the film, and when I reread what
Speaker 3: I had originally written about it, I was like, yeah,
Speaker 3: that's probably my favorite sequence in the film, which is
Speaker 3: when I think he very earnestly says to his aunt,
Speaker 3: just give me my passport.
Speaker 2: And you'll never see me again. Everything's cool, everything's forgiven.
Speaker 3: And of course she can't do it, and I said,
Speaker 3: you know, I mean, it's just the linn pin just
Speaker 3: pops right then, and then I'm like, literally he starts
Speaker 3: screening the past, and and I think I wrote something
Speaker 3: like in picking up the Scabs of History, while he
Speaker 3: while his revenge, this look, he's clearly like a brilliant
Speaker 3: mechanical engineer. You know, this guy could make could have
Speaker 3: made a great living as an engineer. But then he, yeah,
Speaker 3: his his sort of his plan for revenge unfolds and
Speaker 3: we get to be a part of the whole thing.
Speaker 3: It's it's, it's it's a crazy third act.
Speaker 2: Yeah.
Speaker 5: Years later he would make that little puppet that comes
Speaker 5: in and try to stabbing people in Deep Red, you know.
Speaker 2: With another sort of fraira jaka sort of nursery rhyme.
Speaker 5: And oh my god, lost innocence. Yeah, and Heather, how
Speaker 5: strange is it that this is the second Spanish film
Speaker 5: we've watched this year, and the second one with so
Speaker 5: many bees.
Speaker 7: Yeah, yeah, yes, I saw.
Speaker 2: The unifl bits and pieces of Spirit of the Beehive
Speaker 2: in here, you know, just in terms of the way,
Speaker 2: not the color palette or anything or the story, but
Speaker 2: just that influence.
Speaker 3: You know, the film feels at home in the spirit
Speaker 3: of the beehyd category as.
Speaker 2: Well as it does the peeping Tom category.
Speaker 7: You know, oh completely, Now there was a lot of bees. Yeah, no,
Speaker 7: in the timing, because you even have like the sort
Speaker 7: of the rustic village and the distrust learning to distrust,
Speaker 7: like what you're told as a kid. And of course
Speaker 7: obviously woof for.
Speaker 5: John, they were just missing that town crier.
Speaker 7: Oh my god. And then we don't we'd spoiler for
Speaker 7: anybody listening to Frankenstein Monster and Alas.
Speaker 5: But at least we get to see the bees out
Speaker 5: doing their thing, which I really ate.
Speaker 2: What a great way to get.
Speaker 5: Revenge on someone. Just what he's like, spraying that stuff
Speaker 5: that attracts them to on her face. Oh my god, I.
Speaker 2: Do Suddenly you're like Eric stoltz Is in the movie, Yes,
Speaker 2: exactly going on here.
Speaker 5: You know, that really took my breath away when you
Speaker 5: see the results of that, and I'm just amazed she's.
Speaker 2: Not dead, no kidding. Behind the veil later we see
Speaker 2: all everything's shrinking and she's you know.
Speaker 7: Darn it, you know, so how handycapped is she? Because
Speaker 7: like when he when he gets back to the site
Speaker 7: in the night, he finds the wheelchair, but there's no
Speaker 7: Marta initially, so I'm most like, is she doing an
Speaker 7: excuse this reference? But This is what pops into my mind.
Speaker 7: Is she doing a Guy cabierro Forritny SV fans Setv's like,
Speaker 7: what is hea they're talking about? Please watch SETV. It
Speaker 7: still holds up.
Speaker 2: I still prefer it to Saturday Night Live, same same.
Speaker 7: I think it's actually even the cultural stuff that's dated.
Speaker 7: The humor is not dated, Like you don't have to
Speaker 7: get every single reference to still find it really funny
Speaker 7: because comedy's comedy. But the Great Light Joe Flaherty, who
Speaker 7: is my favorite member for the record, his character Guy Cabiro,
Speaker 7: the manager of SCTV, puts in a wheelchair and something
Speaker 7: he wasn't a handicapped, but he used it quote unquote
Speaker 7: for respect. It's still a line and stay.
Speaker 2: Like CTV frequently. In fact, I don't know.
Speaker 3: The last thing I posted to Facebook a few weeks
Speaker 3: ago was was when I don't know if you guys
Speaker 3: know the John Candy Finian's rainbow meat ciracing that one
Speaker 3: where he's this leprechaun.
Speaker 7: Oh my god, no, oh my god.
Speaker 2: All right, I'll send it to you in the group
Speaker 2: chat here and uh.
Speaker 1: What I'm dish a rainbow on my meat?
Speaker 7: Oh no, not again. I guess we'll have to throw
Speaker 7: it out.
Speaker 2: No, don't throw out that meat.
Speaker 1: Who are you?
Speaker 2: I'm Finnian and I put that rainbow there.
Speaker 6: I put a rainbow in every slice of Finians brand
Speaker 6: rainbow meat.
Speaker 2: It's yucky.
Speaker 1: It looks like a floating not a pals.
Speaker 7: He's got a point. It doesn't seem right.
Speaker 2: Right, what's right got to do with it?
Speaker 1: It's a rainbow, isn't it?
Speaker 4: And rainbows are beautiful and my meat is beautiful.
Speaker 5: And I'll tell you why, because it's.
Speaker 6: Jam packed with chemicals, good healthy chemicals, chemicals that'll make
Speaker 6: you grow.
Speaker 5: Up to be big and strong.
Speaker 2: Have you ever seen leprec on the biggest me before?
Speaker 6: No one?
Speaker 2: I'll tell you why. Those are the little people. They
Speaker 2: wouldn't touch my meat. They should.
Speaker 4: Finnian rainbows belong in the sky, not on a cold cut.
Speaker 2: Well, I show them. I show them all.
Speaker 7: So gret bit to Tomarta before I started just quoting
Speaker 7: all of my favorite scats here from STV. So, I mean,
Speaker 7: do you think, because she's certainly not the most moral,
Speaker 7: morally right person in the world, it's almost like is
Speaker 7: she handicapped, just as like a way to manipulate her family.
Speaker 7: Is she really like hand physically handicap.
Speaker 5: Feels like it feels like she's that type of person
Speaker 5: because you just will do anything to get what she wants.
Speaker 5: She wants that money, she wants to keep that money,
Speaker 5: and she wants power, you know, like you said, hey, listen,
Speaker 5: I'll leave, you know, like I will give you everything,
Speaker 5: all the money, Just give me my passport, let me leave.
Speaker 5: But no, she wants him under her thumb.
Speaker 7: Which is gross. It's very gross, very creepy, and I
Speaker 7: think I think most I mean most people in real
Speaker 7: life have at least known of somebody who's had a
Speaker 7: relative like that who's very toxic, very controlling. And seeing that,
Speaker 7: I love it. To me, Horror can hit the best
Speaker 7: spots when it's taking something that's very realistically in real
Speaker 7: life rooted and explore it in a way that's still
Speaker 7: visually really striking. There's so much beauty in this film,
Speaker 7: even even while you're getting into some really gnarly gnarly
Speaker 7: I mean, the fact that the incest is so casual.
Speaker 7: They're like, oh, they were lovers. That doesn't like, I mean,
Speaker 7: come on, I'm from Arkansas, even I'm a horrified sold
Speaker 7: Southern and shack for everybody. But I mean, and it's
Speaker 7: just that's how dysfunctional is family. And again, like I
Speaker 7: also another sweet spot. I love it when you're taking
Speaker 7: a like sort of upper middle class, respectable facade and
Speaker 7: you're just being like, we're gonna rip this bad boy
Speaker 7: open and reveal just how dirty and gnarled up it
Speaker 7: really is.
Speaker 3: Now it makes me wonder whether or not it would
Speaker 3: have been beneficial to the film or detract from the
Speaker 3: film if there's a scene where she sort of wheeled
Speaker 3: into her bedroom at night and then we see her
Speaker 3: get up and like she's totally fine. You know.
Speaker 2: I'm like, it would add to the gothic atmosphere of it.
Speaker 7: I think our completely that should have been a deleted scene.
Speaker 5: I will tell you the movie is a little strangely
Speaker 5: paced for me because when the hanging up of the
Speaker 5: girls happens, that's only an hour and seven minutes into
Speaker 5: an hour and a half movie. Because it felt when
Speaker 5: I was watching this, I was like, oh, it's the
Speaker 5: climax already. It was such a fake out for me
Speaker 5: because this seemed like everything that the movie was leading
Speaker 5: up to, and Martina's been stung by bees. Hopefully to death,
Speaker 5: we think. And then you've got the three girls on
Speaker 5: these meat hooks and they're cross cutting with you know,
Speaker 5: the cow. Oh this horrible scenes of the cows and
Speaker 5: the sheep and all this, and you're just like, Okay,
Speaker 5: well that's it. You know, he's going to kill these
Speaker 5: girls and the movie's gonna be over. No, there's so
Speaker 5: much more to this. I mean, it's amazing that he
Speaker 5: changes his mind. In any other movie he would go
Speaker 5: for it or something really to I mean, it's terrible
Speaker 5: what he's doing to them, but really terrible would happen
Speaker 5: like them limb cut off or something. But no, no,
Speaker 5: we've got twenty more minutes, ladies and gentlemen.
Speaker 2: Where's this movie gonna go from here?
Speaker 5: If this is at the hour seven minute mark.
Speaker 2: It goes to some unexpected places.
Speaker 7: And another fake out yep, because I noticed that when
Speaker 7: we get to oh god, page, I just hated that character.
Speaker 7: So I hated him even more than than the Marta,
Speaker 7: Like Marta is bad and maybe my other birth pretty bad.
Speaker 7: I don't know if one can really say which one's worse.
Speaker 7: But it's like, oh God, and you know, but then
Speaker 7: it's like John's like, oh no, I'm going to get
Speaker 7: the last lap, and then I'm like, oh, all right, okay,
Speaker 7: like what's going to happen? And there's enough sort of
Speaker 7: like magic tinge around this film to where I was
Speaker 7: kind of halfway like is he going to come back?
Speaker 7: Is there going to be you know, something like slightly
Speaker 7: supernatural that happens.
Speaker 3: The same here that I remember the first time I
Speaker 3: watched it, I was wondering it planted the seed, especially
Speaker 3: with like Gandal from the beginning, that there might be
Speaker 3: something you know, supernatural coming, but just the world.
Speaker 5: That they live in, there's so much fog, and then
Speaker 5: when he finds aunt Mertis wheelchair, it's all in the
Speaker 5: rain that's pouring down before it gets hit in the
Speaker 5: head by Pedro. Yeah, it's absolutely gorgeous stuff. It's like
Speaker 5: the world is rebelling and he's out there in the
Speaker 5: middle of it, and next thing you know, he's getting
Speaker 5: tied up and bricked into this place. And Yeah, when
Speaker 5: he says I'll get the last laugh, I was thinking
Speaker 5: very much along the same lines of anything can happen
Speaker 5: in this movie, including the supernatural, because it feels like
Speaker 5: we're right on that edge the entire time, and I
Speaker 5: love that.
Speaker 7: Like, especially because I think sometimes not with all modern
Speaker 7: like more modern horror, because there's always great films, there's
Speaker 7: always bad films. That's a tale as old as time.
Speaker 7: But I feel like sometimes, like especially with the horror community,
Speaker 7: people sometimes want things it's overly explained, like to the
Speaker 7: point where people will literally have debates over like the
Speaker 7: science of zombies encryptids, and it's like they're not real.
Speaker 7: I okay, just calm down, let's have a little imagination.
Speaker 7: It's a good thing. But so I love that. I
Speaker 7: love that this film was so bold with having enough shadows.
Speaker 3: Did anybody else get a touch of evil vibe from
Speaker 3: the last shots in the fish tank, you know, with.
Speaker 2: The ooh yeah, that's that.
Speaker 3: Always kind of like I always thought, Well, I don't
Speaker 3: always thought. I mean I think I watched the film
Speaker 3: two or three times when I when I wrote about it,
Speaker 3: but again, this is the first time, and when I
Speaker 3: looked at it, I was like, oh, I wonder if
Speaker 3: that was intentional. It just reminded me a lot of
Speaker 3: of that particular you know, the shot I'm referring to
Speaker 3: in Touch of Evil, Yeah, strangling and with his eyes
Speaker 3: bulging out.
Speaker 5: Kim tamar off. Yeah, that's a wonderful shock cut when
Speaker 5: they cut to him with those yeah, big bulging eyes
Speaker 5: coming out, and then he should have stood up and
Speaker 5: peeled off the bulging eyes. And how gruesome is it
Speaker 5: just the way that they kill John? And I know
Speaker 5: that in my mind, I think what they're trying to
Speaker 5: do is have me picture him, you know, like his
Speaker 5: whole corpse being pulled right and just like but I
Speaker 5: really just kept thinking that his whole head's going to
Speaker 5: come popping right off of his me.
Speaker 2: Too, like a dandelion head popping off of it.
Speaker 5: And just the tension around there and the little kids
Speaker 5: singing the choral songs and those two little boys that
Speaker 5: are working for the church and they're trying to get
Speaker 5: that rope, and all the men come over, Oh here,
Speaker 5: we'll help you in there, And meanwhile the cousins are
Speaker 5: just like, oh fuck, well.
Speaker 7: Especially because isn't one of the grown ups that rushes
Speaker 7: over pedro.
Speaker 5: Oh yeah, he's ready to help.
Speaker 7: I also kind of wondered if part of it was
Speaker 7: like a fear of like what if this goes a by,
Speaker 7: because initially like it's it's not clanging it, you know,
Speaker 7: and especially your first time going into this universe, you're like,
Speaker 7: did John get out? Like, you know, like because anything again,
Speaker 7: you feel like anything is really possible. And but then
Speaker 7: when it finally does ring, it's like, oh, and I
Speaker 7: love the youngest cousin, even despite going through some trauma,
Speaker 7: like she does seem to have the most like moral
Speaker 7: like sanity of being like this isn't right, especially because
Speaker 7: she saw him have that turn, you know, that turn
Speaker 7: where he was like I can't you know, basically I
Speaker 7: can't do this. I can't kill somebody.
Speaker 3: It's like the one ray of hope at the end
Speaker 3: is that she suffers away.
Speaker 5: I can't believe we've talked about this movie for this
Speaker 5: long and haven't used the G word. We haven't called
Speaker 5: a Gothic because there are so many Gothic elements to
Speaker 5: this the setting that it's in, I mean, especially when
Speaker 5: he's there playing that harpsichord or whatever and with the
Speaker 5: raven and it's he just looks like he's a mad
Speaker 5: scientist or something like I kept waiting for him to
Speaker 5: turn around in half of his face be missing, like
Speaker 5: Phantom of the Opera or something. It's like and then
Speaker 5: that that plays such a big part of Pedro's demise.
Speaker 3: That's a really enchanted part of Spain. That's the very northeast.
Speaker 3: You know, Galicia is the region and it is sort
Speaker 3: of a very green, verdant, lush forest, you know, Celtic,
Speaker 3: lot of Celtic ruins up there. This is you know,
Speaker 3: this was a place where the Irish and Spanish ultimately
Speaker 3: you know, laid claims to that, to that land over
Speaker 3: the millennia, and so you have all sorts of interesting mixtures.
Speaker 3: Just like in southern Spain with the Moorish influence, you
Speaker 3: have that Irish or i should say, more.
Speaker 2: Accurately, the Celtic influence up there.
Speaker 3: The Blood Spattered Bride is a good example of another
Speaker 3: Spanish horror film that was shot in that in that area,
Speaker 3: and of course there's been a lot of film shot there,
Speaker 3: but it it can look.
Speaker 2: Like riven Dell, you know. And and so yeah, I
Speaker 2: think you're right. The setting.
Speaker 3: It's weird when when you stop and think about the
Speaker 3: very beginning, which we talked about that we have like
Speaker 3: this motorcycle heading into a very sort of like slightly
Speaker 3: medieval or gothic atmosphere.
Speaker 2: It's these things kind of are incongruous.
Speaker 5: So who do you think kills paper at the end
Speaker 5: of the film, I say.
Speaker 3: Just because I felt like it was always Handolf, Handsolf,
Speaker 3: it is.
Speaker 7: No And again another reveal that may maybe like, oh,
Speaker 7: because you see you see the hands first, but again
Speaker 7: you say, you still magical thinking You're like, it could
Speaker 7: be it could be John.
Speaker 2: We're all thinking it's John. It's John.
Speaker 5: Yeah, it's another nice way to pull the rug out
Speaker 5: from under us. And it's so nice because it's really
Speaker 5: revenge for the daughter thing, you know, the which, like
Speaker 5: you said, Nick, it goes on for so long that
Speaker 5: they have to cut away and come back and it's
Speaker 5: nighttime and she's stuck out on that boat and he
Speaker 5: pulls her in and it's just like Pedro attacks her.
Speaker 5: And so it's so nice that the father's gotten his
Speaker 5: revenge too. I mean, talk about a great tale of
Speaker 5: revenge for so many people. So ultimately John dies and
Speaker 5: the ant and at least two of the cousins flowed away,
Speaker 5: and I was I kept waiting for like a big
Speaker 5: wave to come and knock their boat over or something,
Speaker 5: just like, no, they can't get away.
Speaker 7: Big swave of bees just randomly right.
Speaker 2: Truck member the.
Speaker 5: Man Here's for thee.
Speaker 7: Yeah no, I especially because the callback I loved with
Speaker 7: it being the Woodsman is earlier in the film, John
Speaker 7: says something to him to the effect of like, you know,
Speaker 7: wait until I'm gone before you do anything. And he
Speaker 7: is gone, so it's almost like it's like the sink.
Speaker 7: The way everything sinks up is so so cool. And
Speaker 7: the fact that even if I mean it's it's so
Speaker 7: sad that John's gone as morally weird, I mean, and
Speaker 7: he does, I mean we didn't mention, I mean he does.
Speaker 7: Even though he didn't initially rape the one cousin, he
Speaker 7: ends up raping her the way it's framed, I mean,
Speaker 7: there's definitely some it's she's changed. The blonde is probably
Speaker 7: already damaged because she had an affair with John, and
Speaker 7: we hear some really disturbing dialogue early in the film
Speaker 7: and Marta, you know, MARTA's I don't know. Hopefully she
Speaker 7: gets like bee poisoning. I don't know, but good for
Speaker 7: the youngest. Good that's the hope. That's always what you wanted.
Speaker 7: Dysfunctional families is at least to have one member, see
Speaker 7: like wait, this is this is a tree that has
Speaker 7: been damaged too long. We're going to break it, break
Speaker 7: it off and start a new good for her.
Speaker 5: Watching this really makes me want to watch because I
Speaker 5: don't think Claudioguerin did that many feature films. I want
Speaker 5: to say it was just the one like he is
Speaker 5: part of like a multidirector work unless there's FiOS, I believe.
Speaker 5: And then he did some TV work. He did some
Speaker 5: you know, shorts and things, a lot of TV work actually,
Speaker 5: and then he just did Was at the House of
Speaker 5: the Doves and then that was his I believe, first
Speaker 5: feature the year before. And then Bell from Hell and
Speaker 5: then yeah, he either falls I don't imagine anybody he
Speaker 5: said he got pushed or he committed suicide the last
Speaker 5: day of shooting and was he fell from the Bell Tower.
Speaker 5: What a way to go, And yeah, what a end
Speaker 5: to this career. That just I really wish I would
Speaker 5: have seen more. Like you said, Heather, I wish he
Speaker 5: would have had more opportunities to make films. I'm glad
Speaker 5: that he had another director come in while Antonio Bardem
Speaker 5: came in and helped out finish it up. And I'm
Speaker 5: imagining he kept to the vision of the former director
Speaker 5: That's what I'm hoping for anyway. But yeah, it's just
Speaker 5: it's a tragic, tragic story.
Speaker 3: Yeah, whatever Bardem shot seems to be pretty nicely integrated
Speaker 3: into it. And so yeah, I think I think hopefully
Speaker 3: Garren's vision, you know was ultimately what was what was
Speaker 3: you know presented? And yeah, this guy, I feel like,
Speaker 3: you know, would have gone the route of ful Gie
Speaker 3: or or Argento at least if he wanted to continue
Speaker 3: to work in that genre. But it felt to me
Speaker 3: like he might have loved to work in horror and
Speaker 3: may revisit it, but also like he could have done literally,
Speaker 3: I think, any anything he wanted to.
Speaker 5: And the same guy who wrote this also did well,
Speaker 5: he did a ton of stuff. But he also did
Speaker 5: a Sartana film which I now need to track down
Speaker 5: called Sartana Kills Them All. And then he also did
Speaker 5: Cutthroats nine, which I've had on my watch list forever
Speaker 5: but still haven't seen.
Speaker 2: I own it and I still haven't watched it yet.
Speaker 5: Oh see, well from hell for years so.
Speaker 3: And I've I've been lately dying to watch some Westerns
Speaker 3: and Cutthroats nine way up there?
Speaker 2: Do you know it? Heather, I still haven't watched it.
Speaker 7: That's been on my like watch list forever too, because
Speaker 7: that's like I have to be in like specific mood
Speaker 7: for westerns, and even though like I love, I love
Speaker 7: European westerns so much, and in fact, I've been very
Speaker 7: lucky to get to talk about a few with Mike
Speaker 7: on previous shows.
Speaker 2: We should do a good cut throat, you know, my
Speaker 2: I think.
Speaker 7: That's a wonderful idea that would give us all the
Speaker 7: excuse to I have to watch it.
Speaker 5: Like sounds good to me, I'll put on the list
Speaker 5: for twenty twenty six.
Speaker 7: I got a little scared, Mike when you were saying
Speaker 7: that we haven't mentioned the G word, because you know
Speaker 7: what I thought you were about to do. No, because
Speaker 7: that came off. But I know, I thought you're gonna
Speaker 7: be like Gillo, because you know, there's a.
Speaker 2: Whole running gay yeah.
Speaker 7: Where people are like the minute somebody uses a primary
Speaker 7: color and a horror film at this point, they're like
Speaker 7: the Fellow and it's like, no, it's literally not Yeah.
Speaker 3: This is just sort of ever so slightly a few
Speaker 3: elements of the geollogy.
Speaker 2: Nothing to tie it to it, don't you think?
Speaker 5: No, No, the old man the wizard. He has gloves,
Speaker 5: but their fingerless gloves.
Speaker 3: Maybe just the nursery mind motif is the only thing really,
Speaker 3: you know.
Speaker 5: And then the fake John that gets cracked open. I
Speaker 5: love that he's got a doppleganger that there you go
Speaker 5: from the beginning when he's making the face, you know,
Speaker 5: and you get to see that whole thing standing up
Speaker 5: in a crate and it's like, okay, that's pretty creepy.
Speaker 6: You know.
Speaker 3: That reinforced the po aspect to me because I kept
Speaker 3: thinking about the House of Usher, the crack that went up,
Speaker 3: a sort of splitting its you know, psyche into too,
Speaker 3: and when it fell and cracked in that way, I
Speaker 3: thought that was sort of like symbolically perhaps the same
Speaker 3: thing this. I could never we can't reconcile these two impulses.
Speaker 3: He has to one to sort of not be cruel
Speaker 3: and the other to get revent, you know.
Speaker 5: On the commentary track, Christy brought up another film called
Speaker 5: The Corruption of Chris Miller, which, yeah, same year, also
Speaker 5: was directed by Juan Antonio Bardem written by Santiago Moncata,
Speaker 5: so same writer. Yeah, I need to check that one out.
Speaker 5: This is one of those where it's just like, okay,
Speaker 5: and now I want to go down this rabbit hole
Speaker 5: of all these different directors and all these writers and
Speaker 5: just even our main character. Because I thought John was great.
Speaker 5: I don't think I've seen Renault Verley and anything. He's wonderful.
Speaker 7: It's brilliant. He's brilliant. And it looks like because I
Speaker 7: was the same when I finished, I was like, what
Speaker 7: else is this guy in? And it looks like he's
Speaker 7: done a lot, like it looks like he's been very active,
Speaker 7: but it's it's mostly obviously a lot of Spanish productions,
Speaker 7: and so I'm like, I'm like you, I'm like, oh,
Speaker 7: there's so much I need to see. And these are
Speaker 7: the happiest problems though that film people have for me,
Speaker 7: Oh my gosh, especially because it's such a young format.
Speaker 7: But despite it being a relatively young format, it feels
Speaker 7: like what needs to make some kind of blood packed
Speaker 7: with the Devil or something to have some extended time,
Speaker 7: you know, some send and free time to kind of
Speaker 7: go through everything you want to go through.
Speaker 2: Kidding, that's what it feels like to you know.
Speaker 5: I need that time turner from that Hermione had.
Speaker 3: Back to really quickly because I just it popped into
Speaker 3: my head. Vivical Enforce always one of my favorite, you know,
Speaker 3: European actresses.
Speaker 2: I know her from a lot of those, you know,
Speaker 2: a fair amount of European cinema.
Speaker 3: But but you know, she was Oh and I forget
Speaker 3: which studio I need ted ted on my shoulder. He'd
Speaker 3: be like, you know, Columbia, I forget she was making.
Speaker 3: But you know she was doing some really good crime
Speaker 3: in noir films in the fifties. And she's stunning, you know,
Speaker 3: just studying. I have an autograph of her. You know,
Speaker 3: she's just so unbelievably photogenic. And then you know, like
Speaker 3: like Joan Collins, she started making thrillers and horror movies
Speaker 3: because it wasn't beneath her. She was like, I'm a
Speaker 3: working actor and I want to work. And you know,
Speaker 3: she's also in that art Chetwyn Hayes anthology where she's
Speaker 3: on the train with the cat.
Speaker 2: The cat.
Speaker 3: It came out right around this time. I'll look it up.
Speaker 3: You guys talked for a second.
Speaker 10: Now.
Speaker 7: She is phenomenal and just even the way she carries herself,
Speaker 7: she has such a grand, dumb kind of carriage about her,
Speaker 7: and especially seeing her and this maybe maybe this is
Speaker 7: just me playing fantasy booking or something with gothic horror,
Speaker 7: but she's almost like an antonym of John Bennet because
Speaker 7: of course Elizabeth's a positive character and a good character.
Speaker 7: She's not evil like Marta. But you know, you have
Speaker 7: that sort of like so something so cool. But seeing
Speaker 7: these old Hollywood actors and especially the women get to
Speaker 7: be in these horror the you know, these gothic horror
Speaker 7: situations and films and shows, because it lends, it lends
Speaker 7: an extra layer to it, it ends it just you know,
Speaker 7: it's like it's glamorous there, but they're skilled enough to
Speaker 7: where it's like this feels like a real human character too.
Speaker 7: It's a great mix.
Speaker 5: I have a feeling that genre people would probably be
Speaker 5: very angry at us if we don't say that she
Speaker 5: was Nurse X in the Exorcist three as well. That
Speaker 5: was quite a turn. I mean, I just love when
Speaker 5: she would show up in things and just she always
Speaker 5: brought so much to every single role she was in,
Speaker 5: even if it was just a small thing. And like
Speaker 5: I said, I mostly know her from her later American things,
Speaker 5: so like you know, Exorcists three and those other films
Speaker 5: that I've already mentioned, and yeah, she was just always
Speaker 5: a delight, you know. I think we might have talked
Speaker 5: about her. Gosh, there was one that she did well
Speaker 5: before Creep Show, while she was in a wedding. I
Speaker 5: remember that. Oh, And I was just going to say
Speaker 5: she was also in Puzzle of a Downfall Child, which
Speaker 5: we did an episode on that forever ago.
Speaker 3: I did find the name of the anthology I was from,
Speaker 3: Beyond the Grave, which is really quite good too anthology.
Speaker 2: If you haven't seen it, I highly recommend it. Great cast.
Speaker 3: You know, all of the things that I was thinking about,
Speaker 3: plus a lot of stuff that you guys brought up that.
Speaker 2: I hadn't thought of.
Speaker 3: And you know, my main takeaway from it was when
Speaker 3: I watched it, I just saw a lot more Poe
Speaker 3: than I did. I mean, when I looked at my
Speaker 3: right up of it, I didn't even mention Poe and
Speaker 3: that for some reason this time, I'm like, Wow, there's
Speaker 3: a lot more Poe here than I thought.
Speaker 2: And so I think we covered everything really well.
Speaker 5: Well, let's go ahead and take a break in play
Speaker 5: a preview for next week's show. Right after these brief messages.
Speaker 4: Get ready to dive deep into the life, career, and
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Speaker 5: As We're back next week with a look at the
Speaker 5: incredible two headed transplant, keeping it classy. Until then, I
Speaker 5: want to thank my co host Nick and Heather. So, Heather,
Speaker 5: what is the latest with you?
Speaker 7: This is perfect timing because at the beginning of the show, Nick,
Speaker 7: you mentioned working with the great Don Mate Junior and
Speaker 7: I am on an upcoming release from SYDNAPS and I
Speaker 7: actually have Mike to thank for planning the scene. To
Speaker 7: thank you, Mike, because I'm on the release of Mike
Speaker 7: Mendez's debut feature film Killers, So my essays in that
Speaker 7: it's Yeah, it's an excellent film. I think a lot
Speaker 7: of people haven't still aren't really that familiar with it,
Speaker 7: and it's a brilliant, brilliant film. I cannot recommend it enough,
Speaker 7: not just because my essays in it. Even if my
Speaker 7: essay wasn't in it, I would say still get it.
Speaker 7: But my essay is a bonus, so please check that out.
Speaker 7: That is coming out very very soon. And of course,
Speaker 7: if you're into things like prison and heavy and hot babes,
Speaker 7: I there's a piece on my website Mondoheather dot com
Speaker 7: about key rock music videos from the eighties featuring metal
Speaker 7: bands and the babes that love them, Incarceration Edition. For
Speaker 7: all other Sundery activities, you can of course go to
Speaker 7: mylinktree dot com board slash Mondoheather and Nick.
Speaker 5: How about you, what's new in your world, sir?
Speaker 6: Oh?
Speaker 2: Nothing, nothing compared to that.
Speaker 3: I this past summer, I was gonna write a new start,
Speaker 3: work on a new book, but just got too busy
Speaker 3: with house hunting and other things.
Speaker 2: But you know, I wrote wrote a book on Spanish.
Speaker 3: Horror and then one of the German Crimmeys, and I thought,
Speaker 3: you know, you got to do a trilogy. So the
Speaker 3: next step would be I really wanted to cover, you know,
Speaker 3: I do an in depth book like those two, which
Speaker 3: are really kind of like cultural histories on Mexican horror films,
Speaker 3: you know.
Speaker 2: And it was friends of.
Speaker 3: Mine, who other authors that you guys I'm sure pretty
Speaker 3: sure are aware of. They were they were kind of
Speaker 3: coaxing me into doing that, and I'm like, no, no, no,
Speaker 3: there's there's plenty on there.
Speaker 2: And they're like, oh, yeah, like what.
Speaker 3: And I started naming off the pieces that I knew
Speaker 3: in the in the books that I was aware of.
Speaker 3: But every time I did that, they were like, yeah,
Speaker 3: but that just focuses on this, and those just focused
Speaker 3: on that. That was a very and I'm like and
Speaker 3: they said, no, one's done a you know, sort of
Speaker 3: like a chronological survey studio by studio, you know. And
Speaker 3: I was like, all right, yeah, so I really started
Speaker 3: doing the I kind of laid the predicate for that
Speaker 3: and started doing the research and looking about going to
Speaker 3: Mexico City and do you know, talk with journalists.
Speaker 2: And archivists and do some but then it just kind
Speaker 2: of didn't happen.
Speaker 3: But I got as far as laying out the methodology
Speaker 3: for the book, as well as sort of the general
Speaker 3: table of contents and how I would how I would
Speaker 3: organize it. So if I'm that far along, it probably
Speaker 3: means it's gonna happen. I'm just too busy right now,
Speaker 3: So maybe look look for another book from me, a
Speaker 3: cultural history on a particular era in a particular country,
Speaker 3: in a particular genre.
Speaker 5: I would be so down for that. I mean, next
Speaker 5: year I'm going to be talking about al Ju Karda,
Speaker 5: so I'm as well as Angels and Cherubs, the Raphael
Speaker 5: Corkiiti film, So.
Speaker 3: Alakarta is still like you know, like CC for CC
Speaker 3: maybe the bloodiest film ever made.
Speaker 5: Yeah, wait to dive in because I am very unfamiliar
Speaker 5: with Maktazuma's work.
Speaker 2: So oh yeah, that's that's quite a film.
Speaker 5: Yeah, thank you so much folks for being on the show.
Speaker 5: Thanks to everybody for listening. If you want to hear
Speaker 5: more of me shooting off my mouth, check out some
Speaker 5: of the other shows that I work on. They are
Speaker 5: all available at weirdingmedia dot com. Thanks especially to our
Speaker 5: Patreon community. If you want to join the community, visit
Speaker 5: patreon dot com slash Projection Booth. Every donation we get
Speaker 5: helps the Projection Booth take over the world.
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