Speaker 1: All right, listen up, Calves, I got your assignments riga
Speaker 1: six four three wheeler one four eight not eight oh
Speaker 1: four and only you. You need to join host HP
Speaker 1: and Father Alone as they examine one of the greatest
Speaker 1: sitcoms in television history, Taxi in Night Mister Walters, a
Speaker 1: taxi podcast banda zero like your boxing.
Speaker 2: Record, Frank mister Walters.
Speaker 1: Weird in Wade were welcome back midnight viewers to Anthologies Attack.
Speaker 1: I'm Father Alone and with me back from his exclusive
Speaker 1: three year tour of Europe, Scandinavia and the Subcontinent. My
Speaker 1: co host mister Antonio Lapour. How are you, Antonio?
Speaker 3: Yeah?
Speaker 2: You see I was in the Beds and Clay Drive
Speaker 2: big Hey, how are you? Wasn't that cartoon back in
Speaker 2: the from it was like the Hunters Club or whatever,
Speaker 2: and it was like the old British guy and he
Speaker 2: had the mustache.
Speaker 1: Yeah. Was that part of like Fractured Fairy Tales, the
Speaker 1: Bullwinkle and the Rocky and Bullwinkle Show. It was a
Speaker 1: segment from that, right.
Speaker 4: Yeah, that's it. And he would always started, I was
Speaker 4: Abel Clongo. We're just kind of go.
Speaker 1: From that quite okay, tonight we are taking a look
Speaker 1: at another animated anthology. Our last one was Fantasia, and
Speaker 1: this one from director Bruno Bozetto could be seen as
Speaker 1: a direct response, a spoof the satire to that film
Speaker 1: from nineteen seventy six. We are discussing the cult classic
Speaker 1: Allegro non Tropo.
Speaker 3: Where are they all going into another world? Fantastic triple
Speaker 3: I will be filled with color. Laughter comes in all
Speaker 3: shapes and size too. With sociated music, expect the unexpected
Speaker 3: Legro non great Peachi.
Speaker 1: A Legro non Tropo released in March twelfth and nineteen
Speaker 1: seventy six. Not the first time I saw it? Was
Speaker 1: this the first time you saw it?
Speaker 3: Yeah?
Speaker 4: This was the very first time I've seen this picture,
Speaker 4: and I just watched it this afternoon.
Speaker 2: It was something else.
Speaker 1: Did you have HBO when you were a kid?
Speaker 2: I did?
Speaker 4: Was it on it a lot?
Speaker 1: No? However, if you remember, HBO was always sent by
Speaker 1: the hour, sometimes the half hour, but if they were
Speaker 1: starting a movie, it generally was on the hour.
Speaker 2: That's right. It would give you like twenty minutes of
Speaker 2: if like Star Wars entered at two twenty, you'd have
Speaker 2: ten minutes of like previews, commercials and like ePK really exactly.
Speaker 1: So if you had your movie ended at nine to
Speaker 1: thirty five, you had twenty five minutes to phill to
Speaker 1: get to ten o'clock to start the next feature. They
Speaker 1: would throw on little shorts and little videos, and they
Speaker 1: one of their animated shorts was the Balero sequence from
Speaker 1: this movie. So I had seen that sequence dozens upon
Speaker 1: dozens of times before I had seen this movie. In fact,
Speaker 1: I thought it was simply just another short film, like
Speaker 1: all of those Canadian board that the Board of Canada.
Speaker 1: I remember all of those short.
Speaker 2: Films, Oh, like the Snowman.
Speaker 1: The Big Snit, or the Back, the Cordell, Barker or Baker,
Speaker 1: all of those amazing shorts coming down from here.
Speaker 4: Snowman is the one I remember the most.
Speaker 1: Well, Yeah, it's that that haunting female over that equally
Speaker 1: haunting melancholic animation. Speaking of animation, when I first got
Speaker 1: to Los Angeles, I became a projectionist. My mentor named
Speaker 1: Chris Avanni, Projectionist Extraordinaire, who showed me this film on
Speaker 1: video tape, knowing how much I loved animation and the
Speaker 1: fact that I hadn't seen it, and he said, you're
Speaker 1: gonna love this. If you've seen Fantasica, it's a direct
Speaker 1: response to Fantasia. And the thing that the thing that
Speaker 1: I loved about the movie was that I was expecting
Speaker 1: a movie that just sort of gently pokes fun at Fantasia.
Speaker 1: This really is the lead character when he's introducing our
Speaker 1: film here basically calls it a Fantasia before he gets
Speaker 1: a call from the lawyers telling him he needs to
Speaker 1: knock that shit off because there's a Prisney or a
Speaker 1: Grisney on the phone.
Speaker 2: Yeah, which is it? Was that? What did you say
Speaker 2: about that guy? Is you gotta love that jacket?
Speaker 1: It is a fantastic jacket. It would make a fantastic jacket.
Speaker 1: Hell of a wallpaper.
Speaker 2: Yeah, it's just like it was funny, like a Hollywood calling.
Speaker 2: He apologizes, Hey, sorry, guys, it's it's Disney. I are
Speaker 2: Pisney or Wisney or whatever it is. But the way
Speaker 2: he's in, you know, Disney made me do this. And
Speaker 2: they go outside and the farmer like unpacks the old
Speaker 2: ladies from the chicken coop.
Speaker 1: Or whatever the hell that's the thing. So that sequence happens,
Speaker 1: The lawsuit threatened sequence happens, right, and my friend turns
Speaker 1: to me as if I'm going to be delighted at
Speaker 1: how they're taking the piss out of Disney here, and
Speaker 1: I'm like, okay. And then they go to get the orchestra, which,
Speaker 1: as you're saying, is a pen of like old Italian grannies.
Speaker 2: It was so weird.
Speaker 1: They're at the pound basically, and then they round up
Speaker 1: these old women, pack them up and bring them to
Speaker 1: the theater and they're the orchestra.
Speaker 4: And then they've got the artists chained up, like in
Speaker 4: the Dungeon artist.
Speaker 1: The animator, because it's that animated films are made on
Speaker 1: the fly by one human.
Speaker 4: With a magnimicent mustache.
Speaker 2: It's it's just so out there, and I'm like, is
Speaker 2: this Italian comedy? Is this what? Like? What what it is?
Speaker 3: Like?
Speaker 2: Oh?
Speaker 1: Yeah?
Speaker 2: Like everything. That's the thing about Italian cinema, like Italian cinema,
Speaker 2: that there's one unifying theme in Italian cinema.
Speaker 4: It's weird, is wacky. I don't know how I was
Speaker 4: to put it.
Speaker 2: Everything is very dream like basically, I think everything is
Speaker 2: a dream.
Speaker 1: There tends to be an absurdist quality to nearly every
Speaker 1: piece of entertainment I've seen coming out of it.
Speaker 2: Yeah, And I mean I took Italian cinema in school
Speaker 2: the way back when, and I got all my best
Speaker 2: you know. I like Fellini. I love eight and a Half,
Speaker 2: But eight and a half. I love eight and a
Speaker 2: half because it's a fever dream about a horning middle
Speaker 2: aged director. I kind of know what that's like, you know,
Speaker 2: but it doesn't making any sense, but it's really cool
Speaker 2: to watch, and every time you watch it, you're gonna
Speaker 2: get something new out of it, you know. But still
Speaker 2: they're weird. I remember there was way back in the
Speaker 2: nineties and I loved Cemetery.
Speaker 3: Man.
Speaker 2: It was an Italian picture and it was about oh
Speaker 2: and it was a great movie. And you watch it
Speaker 2: and by the end of it, it's just got this
Speaker 2: batshit crazy ending where he's sucking in a snow globe
Speaker 2: and the mentally challenged caretakers that it's like, what, I
Speaker 2: just Italian movies, man, Like, the most straightforward thing you
Speaker 2: can get is a horror.
Speaker 1: Dela more to de la mare is the actual title
Speaker 1: of the of the film and Italian.
Speaker 2: Yeah, but his name was like Oper de la morte
Speaker 2: or something like that too.
Speaker 4: In the movie, Yeah, de la Morte de la Moore.
Speaker 2: It's a great movie.
Speaker 1: Man, it is a fantastic movie. Wild we overlooked from
Speaker 1: nineteen ninety four. Yeah, because you know, in ninety four
Speaker 1: no one gives it shit about zombies a but.
Speaker 2: Like Italian cinema always has this, like you said, that
Speaker 2: absurdist the one I remember, the one I remember who
Speaker 2: was the one with Anthony Anthony Quinn and he's he's
Speaker 2: the circus strong man.
Speaker 4: Is that Lestrata?
Speaker 2: No?
Speaker 1: Right, yeah, I think it Istrata?
Speaker 2: Yeah, I liked that a lot.
Speaker 1: Name some more Italian directors.
Speaker 4: Well the other the other guys say, uh, and what's
Speaker 4: his name?
Speaker 1: Antonio Michelangelo Antonioni.
Speaker 4: Yeah, micg'langel Antonioni did.
Speaker 1: Blow up fucking a. Yeah, just in a class by itself,
Speaker 1: that film, and hard to quantify what's so good about it?
Speaker 1: You know? Di Palma basically remade that film.
Speaker 2: Yeah, that was where they go there. DiPalma remade that film.
Speaker 2: But de Palma remade that film. Obama took that original
Speaker 2: film and then made a movie. Yet it right, you know,
Speaker 2: that is logical, right, you know, and it's and it's
Speaker 2: a thriller and it's just blow up isn't that at.
Speaker 1: All, man, It's all mood.
Speaker 2: It's all mood, it's all style, it's all cool. It
Speaker 2: doesn't resolve itself. The end is like two minds playing
Speaker 2: invisible tennis like it's it doesn't make a lick of
Speaker 2: fucking sense, and it doesn't matter, because it's just twenty
Speaker 2: minutes of mid sixties cool with awesome suits and guys
Speaker 2: smoking cigarettes and girls of mini skirts and you're just like,
Speaker 2: you know what with the.
Speaker 4: How the kids put him in the vibe that movie.
Speaker 2: Pasolini, Pierre Paulo Posli did one of the coolest Jesus
Speaker 2: movies ever, The Gospel of Saint Matthew, and he shoots
Speaker 2: it like a documentary and it's also like a dream sequence.
Speaker 4: Everything is really floaty and this and that, and then
Speaker 4: he cuts those.
Speaker 2: Kind of handheld generate things and I like almost like
Speaker 2: interview shots and stuff like that, and you know it,
Speaker 2: Scorsese like, that's what made him want to do Last
Speaker 2: Temptation was that style. And I'm pretty sure his new
Speaker 2: one coming out with with Spider Man, with Spider Man.
Speaker 4: Andrew Garfield playing like a modern Jesus whatever.
Speaker 2: Of course he's been talking about that movie for one
Speaker 2: hundred years, and he wants to do Jesus with guys
Speaker 2: in business suits and stuff.
Speaker 4: But he's gonna shoot it.
Speaker 2: Just like that Passolini movie.
Speaker 4: I guarantee it.
Speaker 1: No mean all of your Italian choices are so high minded.
Speaker 4: That's what I saw in College Man, and then the
Speaker 4: other at the other end.
Speaker 2: You know you've got you, You've got the king of
Speaker 2: of all movies.
Speaker 4: You've got Dino de Larentis produce their extraordinaire, that is true.
Speaker 2: Who gave me just a bunch of schlock that I
Speaker 2: love to death When I was a kid. You know
Speaker 2: how many times I watched the The Hercules movies with Lufereigno.
Speaker 2: But of course the greatest Italian filmmaker of them all,
Speaker 2: he is one of the greatest film makers whoever walked
Speaker 2: the face of the earth. Then called Sergia Leoti, creator
Speaker 2: the greatest Western of all time, the Good, the bet
Speaker 2: and the Ugly, and the other two greatest Westerns of
Speaker 2: the of all time. Fist full of dollars and for
Speaker 2: a few dollars more, Sir Leoni is God.
Speaker 1: Once upon a time in the West.
Speaker 2: Once upon a time in the West.
Speaker 1: Fucking Harmonica, Hello, Yeah, and how do.
Speaker 2: You take and how do you take the quintessential bug guy,
Speaker 2: mister mister morality Hollywood, young Abraham Lincoln, Henry Fahnda, and
Speaker 2: then just make him the worst villain you ever fucking
Speaker 2: saw in your life. And it's magnificent. And somewhere Harrison
Speaker 2: Ford is smoking a big fat joint watching that movie
Speaker 2: on Turner classic movie going, Man, why did I ever
Speaker 2: get to do one of these things? Because the the equivalent,
Speaker 2: you know, that's every Fondo was that and just oh,
Speaker 2: I gotta go watch that against a few years since
Speaker 2: I was, since I since I've seen Once upon a
Speaker 2: Time in.
Speaker 1: The West, since since I said the title, all I
Speaker 1: can all I can picture are Henry Fonda's steely blue eyes,
Speaker 1: his his his once comforting, cloud like eyes now steely
Speaker 1: and psychotic.
Speaker 2: Yeah, and leathery, O, leathery.
Speaker 1: You know who co wrote that movie, mister Dario Argento.
Speaker 4: And that's the other big name in Italian cinema, The
Speaker 4: Suspiria Daria.
Speaker 1: Argento, The Seven Flies On on Gray Velvet, the Bird
Speaker 1: with the Crystal plumage. If there's a wacky title, Dario's
Speaker 1: he's gunning for it.
Speaker 4: And Sire of what's her name?
Speaker 1: Was Asia Argento.
Speaker 4: Rgento, big giant crush from two thousand and one of mine.
Speaker 1: Oh yeah, oh crush to this day since since late
Speaker 1: e on her she is something else entirely and yeah.
Speaker 2: So fine. She drove for him anymore, dame to death.
Speaker 1: Ah, I'm you cannot blame her for his troubled brain.
Speaker 4: God bless I know. I'm sorry, God bless him.
Speaker 2: But man, she's fine. Fuddy too though, absolutely nutty, but
Speaker 2: like has is really rich. It's fun to take a
Speaker 2: deep dive in because they have a really unique perspective
Speaker 2: on cinema. Everything, like you said, it's absurd, it's dreamlike,
Speaker 2: it's wacky, it's sexy, and and when the violence works,
Speaker 2: it's really fun.
Speaker 1: I often wonder with comedies from other countries. Now clearly
Speaker 1: visual gangs and slapstick just translate universally.
Speaker 2: Sure, heart is funny in any language, but.
Speaker 1: I wonder sometimes the tone of the comedy, particularly when
Speaker 1: it comes to slapstick, which we get a heap and
Speaker 1: help in here in a legoran On trip, I'm wondering
Speaker 1: if I were sitting in a cinema in Milan watching
Speaker 1: a leg on On on Tropo with with a contemporary audience.
Speaker 1: Are they guffine? Are they Are they laughing out loud
Speaker 1: at this humor?
Speaker 2: Yeah? I don't know. In nineteen seventy six, maybe I
Speaker 2: don't like. I don't know. There's one thing I know
Speaker 2: about italiabovies, and ever think any of them are funny
Speaker 2: intentionally anyways.
Speaker 1: I mean, this might be the same question I have
Speaker 1: about most American sitcoms. Are people laughing at this, you know?
Speaker 1: Or is it just like they're doing it because they
Speaker 1: think it's funny or they know that that's what the
Speaker 1: people think is funny. I don't know, because there are
Speaker 1: some jokes that work here. Obviously we're giggling about the
Speaker 1: premise more than the execution, which sure I wrote.
Speaker 2: Down one gag that works really well as the guy
Speaker 2: opening the bottle of champagne in the one of the
Speaker 2: live action sequence he pops of champagne, or and a
Speaker 2: not's a lady over in jenzl Bla hospitals.
Speaker 4: But the editing is good, and the gag works, and
Speaker 4: the gag plays.
Speaker 1: You know, now, when we watched Fantasia, we kind of
Speaker 1: bemoaned the deems tailorness of it all.
Speaker 2: Oh my god, I was missing deams tailor watching.
Speaker 1: This, you you wanted deems to come out and hit
Speaker 1: you to to the to the next piece and not
Speaker 1: just want to watch a ridiculous piece of comedy meant
Speaker 1: for nothing and nobody and not really linking anything at all.
Speaker 1: Do you know? Do you know there's a version of
Speaker 1: this film without the live action. There's there's a cut
Speaker 1: where they just have sort of clay lettering telling you
Speaker 1: the name of the next piece of music, and then
Speaker 1: it just goes right into it. It's ten minutes shorter.
Speaker 1: There's only ten Yeah, can you believe that? No, because
Speaker 1: I believe there's there's still some of it, like the
Speaker 1: setup in the end, because there kind of has to
Speaker 1: be the ending with because that there's so much live
Speaker 1: action animation sort of interaction there at the end. Okay,
Speaker 1: you know, but I guess my point is, or what
Speaker 1: I'm wondering is, would do you think it would have
Speaker 1: played better without?
Speaker 2: Oh? Yeah, I think so. You know a little bit
Speaker 2: of it is a little bit of it I think
Speaker 2: would would give it some flavor, But they just went
Speaker 2: overboard with it.
Speaker 4: It's just like these gags would just go alone and
Speaker 4: on and on and on. It was just like, you know,
Speaker 4: you can do one gag and then just move on
Speaker 4: and you're fine.
Speaker 2: You didn't need to go this whole thing. I like,
Speaker 2: there was like subplots with the waitress girl and the conductor,
Speaker 2: and I don't even think it was.
Speaker 4: I know it's meant to be stream of conscience, but
Speaker 4: like it was making Magical Mystery Tour look like, you know,
Speaker 4: thirty rocks, because that's how vegans.
Speaker 1: It's very unfocused and all over the place. But you know,
Speaker 1: those those tend to be strengths in Italian films, so
Speaker 1: I can't really fault them for that, and I don't
Speaker 1: fault them at all for even trying all of the
Speaker 1: sort of physical comedy that's going on. I just wish
Speaker 1: it was all edited by half. At least if each
Speaker 1: of the segments were half their current length, I think
Speaker 1: it would make the point and move on. Maybe that's
Speaker 1: a twenty twenty four sensibility that I just want to
Speaker 1: get to shit already. That attitude doesn't carry over to
Speaker 1: the shorts. By the way, I'm perfectly at ease letting
Speaker 1: them play out as long or as short as they
Speaker 1: want to be. They're they're each little pieces of wonder,
Speaker 1: but this linking device we The joke to me ended
Speaker 1: with We've rounded up these grannies and there are arts
Speaker 1: and I think.
Speaker 2: A lot of because my reaction to this was up
Speaker 2: and down and like that. The live action stuff takes
Speaker 2: away from it. It just kind of takes away from me.
Speaker 2: And it's just, man, this just reminds me of some
Speaker 2: college kid and you know his production three class. He's
Speaker 2: the weird one, you know, or never in the Doors
Speaker 2: movie where like you know Jim Morrison's film class. Yeah,
Speaker 2: and you know he just makes his wacky thing and
Speaker 2: just random stuff edited together and him reading poetry and
Speaker 2: Hitler and YadA, YadA, YadA.
Speaker 4: That's what I get from it. Here's some random stuff
Speaker 4: will be weird.
Speaker 1: And I didn't quite I agree with you about that.
Speaker 1: I don't think we I think we need it just
Speaker 1: a little bit, just just a smidge a scoche, as
Speaker 1: they say, because it.
Speaker 2: Wasn't even like verbal gag, like it wasn't even dialogue
Speaker 2: guys when they were all visual guys.
Speaker 1: Like okay, I will say because I said when when
Speaker 1: the movie began, and my friend said, it's this vicious
Speaker 1: takedown of Disney, and I was like, what the hell
Speaker 1: are you even talking about. Once they rounded the grannies up,
Speaker 1: the lead character does effectively turn to the camera and say,
Speaker 1: would Disney do this? And that made me, yeah, so
Speaker 1: fucking hard.
Speaker 4: Yeah, well they kid have a bunch of grannies.
Speaker 1: Yeah, but this is all just prelude. It as Fantasia
Speaker 1: as it is. It really is. I'm shocked at how
Speaker 1: how much it is. It's not necessarily in the same sequence.
Speaker 1: It isn't an analogue. Not all of them are one.
Speaker 1: For one sort of question.
Speaker 4: There are moments definitely, the the Bolero with.
Speaker 1: All that ballero, and the first segment definitely oh yeah, yeah,
Speaker 1: because the first segment is sent to Claude Debussa's prelude.
Speaker 1: Oh I'm not it's it's basically the Fawn. I'm not
Speaker 1: going to mangle the French here. But the story we're
Speaker 1: given is this one. It's it's not the right of Spring,
Speaker 1: that's the dinosaur sequence from Fantasia. It's the we know
Speaker 1: what it is. It's all the satyrs and the we
Speaker 1: talked about it. They're they're sort of very gentle back andal,
Speaker 1: but here we we get a satyr who is still
Speaker 1: lusty and full of virility in his mind, but he
Speaker 1: is an elderly one who can't find mate. And and
Speaker 1: that's basically it. It's him trying to trying to snare
Speaker 1: a woman, and every time he almost does so, he
Speaker 1: gets a look of such menace and and and fright,
Speaker 1: it's frightening. It's a frightening look.
Speaker 2: Yeah, it's bad because I'm just like, you know, I'm single.
Speaker 2: You know I'm not I'm not pretty chicken anymore. I'm like,
Speaker 2: maybe here's getting lighter, I can say with the eyes
Speaker 2: with this morning, little fucker. But I think he's his
Speaker 2: own worst enemy because maybe if he just be himself
Speaker 2: one of those hot nude Italian cartoons, ldies would would
Speaker 2: pay him mine. But instead he's constantly trying to change
Speaker 2: his appearance and do everything to like, you know, make
Speaker 2: himself look phony and younger. There's a point where he
Speaker 2: looked like like Rudy Giuliani, sweating down with like his
Speaker 2: hair dye sweating down his face, where he's you know,
Speaker 2: give him one of those stupid press conferences the last election.
Speaker 1: Yeah he has some helpful Woodland friends who jump in
Speaker 1: and fucking make him up and yeah, make him make
Speaker 1: him look attractive to the ladies and it's working. And
Speaker 1: then the dummy jumps into the fucking lake. Yeah you're
Speaker 1: doing SADR. I'm on you.
Speaker 2: I feel bad, but I was just like, I look boobs.
Speaker 1: Oh yes, let's let's talk about that. The Italians are
Speaker 1: not shy Italian He yeah, there's no there's no strategically
Speaker 1: placed hair cascading down a female satyr's breasts in this one.
Speaker 1: These are just nude human women running around and they're free,
Speaker 1: and they're hippies, and they're seen in some cases.
Speaker 2: And and he just get and by the end of
Speaker 2: a boob tree.
Speaker 1: And like yeah, is he completely wigging out?
Speaker 2: Uh? And all of a sudden it's like, oh, look,
Speaker 2: I've been walking around on a giant boom all along. Well.
Speaker 1: What's funny is with each dejection he gets smaller and
Speaker 1: smaller until he effectively is is is doomed to walk
Speaker 1: the geography of a woman's body. We've all been there, though,
Speaker 1: we've all been there. I think I think I might
Speaker 1: be there now. This was great. I loved this one.
Speaker 1: I mean it's cute, it's cute and bite and and
Speaker 1: and has that slight melancholic flavor that tends to come
Speaker 1: out of Europe, even what for especially for entertainment that
Speaker 1: was at least once considered just for children.
Speaker 2: I'd like to see a mastered, remastered version of it
Speaker 2: because like what you know, what you can? It's available
Speaker 2: just on YouTube and it looks awful, So like, I
Speaker 2: really like to see those colors pop and stuff, because
Speaker 2: I know that's gotta be brilliant because it because it's
Speaker 2: so drab in the black and white sequences, so.
Speaker 4: I'm imagining the color must be gorgeous and stuff.
Speaker 2: But man, it's not. You know, it doesn't. It doesn't
Speaker 2: their their transfer isn't great. So I love to see
Speaker 2: it new.
Speaker 1: I have myself have not seen a newer transfer of it,
Speaker 1: but but I didn't watch the YouTube version of it.
Speaker 1: I have a version of it that I digitally I
Speaker 1: got a long time ago. But I have seen this
Speaker 1: on the big screen with a thirty five millimeter print
Speaker 1: that was dubbed, so you it was unusual to hear
Speaker 1: the voice actor for the for the English language dubbed
Speaker 1: version is doing an Italian accent. It's very disconcerted.
Speaker 4: Hey, hello, welcome.
Speaker 1: It's like that about like that, like what why why
Speaker 1: don't do that. So that's the version I saw initially. Whatever,
Speaker 1: when we're talking about let's move on to divortion and
Speaker 1: to then divorce acts Slavonic dance number seven, Opus forty six.
Speaker 1: This one is very brief and I okay, it's look,
Speaker 1: it's very impressionistic. It's like a caveman who or a
Speaker 1: cave dweller rather, because it's not really a man. It's
Speaker 1: more of this weirdo creature who everyone in his community
Speaker 1: just copies everything he does, right, Yeah, and so he
Speaker 1: starts doing more and more Atlandish things than they do
Speaker 1: more and more Atlantish things. I'm sure there's some socio
Speaker 1: political commentary going on here, because sure.
Speaker 2: Because it ends up being being all fascists.
Speaker 1: By the end of it, which they know a thing
Speaker 1: or two about. In Italy, Yes, they know a thing
Speaker 1: or two about that.
Speaker 4: He even had an Italian red skull. At one point,
Speaker 4: Duce No one run around calling him old duche.
Speaker 1: They did quietly.
Speaker 4: What did you say, Duce, Yes, it looked like a
Speaker 4: sesame street cartoon.
Speaker 2: A little bit. What was the guy of the cup
Speaker 2: that was like animal on the glass and like the
Speaker 2: glass when we're on you can see the little guy
Speaker 2: run around the glass.
Speaker 1: I don't know the character's name, but I do know
Speaker 1: the character you're talking about.
Speaker 2: Yeah, that's what it kind of reminded me of a
Speaker 2: little bit.
Speaker 1: Yeah, we should point out, like Fantasia, the styles of
Speaker 1: animation change wildly from Peace to Pece, and that's very welcome,
Speaker 1: but in no way copying any of the Disney style.
Speaker 1: Like I say that Disney style changes from piece to piece,
Speaker 1: but did it really It just got either more realistic
Speaker 1: or more impressionistic or more sort of cartoony, but it
Speaker 1: was still that beautiful painted style. This feels like different animators.
Speaker 2: Yeah, and it's real and it's real, like it's not
Speaker 2: super complicated or anything like that.
Speaker 4: And you can definitely see they don't have Disney money animated.
Speaker 2: But then you know, neither the Yellow Submarine and they
Speaker 2: made that in six months and for like for three
Speaker 2: books in England, and that thing is a masterpiece.
Speaker 1: So I don't know, I think, well, I'm in no
Speaker 1: way comparing the quality of the animation between them and Disney.
Speaker 1: I think this is just as good as Disney. It's
Speaker 1: a whole other thing, the whole other thing charming.
Speaker 4: But it doesn't have that production value.
Speaker 1: That Disney has right it. All of this animation feels
Speaker 1: like Disney would have done one more pass on everything.
Speaker 1: They have one more layer to make it beautiful. But
Speaker 1: part of its charm is it's sort of rough hun quality,
Speaker 1: I think, although.
Speaker 4: The animation really takes a good nicely turned the bolo sequence.
Speaker 1: Though, Oh it's it's unparalleled there, you.
Speaker 2: Know, it's really nice in the bolo sequence.
Speaker 1: And in a lot of the effects. We'll get to that. Yeah, okay,
Speaker 1: so the Slavonic dance, Yes, they do become fascist basically.
Speaker 1: So he starts abusing himself and they start abusing themselves,
Speaker 1: which is pretty funny because everyone loves somebody smacking themselves
Speaker 1: in the head. But everyone he gets. He's getting angry
Speaker 1: and angrier that they're becoming more and more like him.
Speaker 1: But then here's the thing. So then they effectively turn
Speaker 1: into the army, some fascist army, and he tries to
Speaker 1: lead them by jumping off a cliff, hoping they'll they will,
Speaker 1: like lemmings, follow him over, but then they don't. He
Speaker 1: comes back up and then they moon him. That's the end.
Speaker 1: What's the.
Speaker 2: Commentary I think is that like, yeah, people will follow
Speaker 2: the lunatic to a point. You know, they're gonna always
Speaker 2: come to the point where where the guys like, all right,
Speaker 2: we've had this guy.
Speaker 1: Yeah, I can see that. So is that a turning
Speaker 1: point for society? Hopefully they'll stop their fascistic ways, even
Speaker 1: though they're all mooning in Unison.
Speaker 2: And then and the Italy elected like was Loudi's granddaughter, so.
Speaker 1: This one was.
Speaker 2: All fairness. When I was in high school or something,
Speaker 2: they had a porn star on their in their.
Speaker 1: Parliament, so I remember her. She was, she was magnificent. Yes,
Speaker 1: proud of Italy at that time. I'm also proud of Italy.
Speaker 1: For our next segment, as you mentioned, Maurice Ravel's or
Speaker 1: is it Morris, we used the English name English version Morris,
Speaker 1: It's Revel's Balro. This is the literal centerpiece of the movie.
Speaker 1: I remembered it for some reason being the closing segment
Speaker 1: of the movie, but that just maybe because of my
Speaker 1: familiarity with this. This is the tale of a astronaut
Speaker 1: and a bottle of Coca Cola. It begins with an
Speaker 1: astronaut throwing a bottle of coke that still has a
Speaker 1: bit at the bottom, and then they blast off, leaving
Speaker 1: it there, and then we watch as the little speck
Speaker 1: of coca cola becomes animate and then sentient and then
Speaker 1: crawls out, and then we watch as life evolves in
Speaker 1: many varied forms from this initial bottle of coke. And
Speaker 1: because Balero is a march, you can imagine this is
Speaker 1: a progression forward of evolution. Just this is just like
Speaker 1: the right of spring from Fantasia. It just they keep
Speaker 1: going though, yes exactly, and they go in wackier ways.
Speaker 1: None of these creatures, these are not dinosaurs. This isn't
Speaker 1: Earth until it is.
Speaker 2: Yeah, Like they're not dinosaurs until they are, and eventually
Speaker 2: like their wonder and then there's a building.
Speaker 1: It's pretty pretty, it's pretty magnificent.
Speaker 4: It's really nice. It was the best part of the movie.
Speaker 1: The the you mentioned the animation, like it's so free,
Speaker 1: it's so fluid and a morphous and still to the beat.
Speaker 1: This must have been a fucking nightmare to have animated.
Speaker 2: Well, the stuff has a use of it's kind of
Speaker 2: liquidy too, you know, it's very Disney stuff is very precise.
Speaker 2: This is more impressionistic. This is more a little flowy.
Speaker 1: Even splashes in a Disney movie or geometric. This feels
Speaker 1: like a formless, massive.
Speaker 2: Liquid I feel like again when I, when I, when I,
Speaker 2: when I, when I recall the animated sequences, I'm like, oh,
Speaker 2: these are pretty good, but that live.
Speaker 1: Action just yeah right, it deadens your your enjoyment of
Speaker 1: the film, right because.
Speaker 4: The minute you're really laking and I'm like, oh, it's over.
Speaker 4: More animation here, I am. I'm gonna's been some blakes
Speaker 4: now for you.
Speaker 1: I'm like, yeah, it doesn't. It never pays to cut
Speaker 1: to vaudeville. This isn't Hell's the Poppin.
Speaker 2: But that those live action sequences, you know what the
Speaker 2: cliches of foreign films, he always you know, the American
Speaker 2: cliches of what form films are like.
Speaker 1: That's it right there, kind of laid out. Yeah yeah,
Speaker 1: just wackiness and obtuseness. And at the.
Speaker 4: Least they and they don't.
Speaker 2: They can't even give me some feel a red look
Speaker 2: alike to at least soften the blow.
Speaker 1: No. Well, the villain here in the piece, it should
Speaker 1: be said, shows uping about halfway through the through the movement,
Speaker 1: a furry little gorilla who shows up separate from all
Speaker 1: the other evolution going on. Notice he's not all of
Speaker 1: the creatures, like it or not have come from that
Speaker 1: central Co Cola bottle. This other, this other hairy mammal
Speaker 1: just shows up on his own and it's a fucking troublemaker.
Speaker 2: He sure is, was it? By the end of it,
Speaker 2: he like there's a man and he's like driving a
Speaker 2: man suit.
Speaker 1: It's super impressionistic. So the little ape as evolution is progressing,
Speaker 1: we see him. Basically, this is so much better than
Speaker 1: the Right of Spring Fantasia as far as first yeah,
Speaker 1: as a picture of actual evolution right and and the
Speaker 1: progression of time, because not only are we watching as
Speaker 1: life in its varied forms sort of evolves, but we
Speaker 1: get to watch what is effectively human civilization as it's occurring.
Speaker 1: Because the little ape starts killing others for warmth. This
Speaker 1: one's furry, I'll take that fur. This one has a shell.
Speaker 1: I can use that as a boat. Hey, lightning lit
Speaker 1: this on fire? What can I do with this fire?
Speaker 1: And that part is my favorite part of the of
Speaker 1: the entire piece. When he's he's mesmerized by his flaming torch,
Speaker 1: realizes its power that it can burn and just decimate
Speaker 1: anything around him. And then you'll notice he leaves again.
Speaker 1: He all on his own. So while the rest of
Speaker 1: the rest of these creatures are continuing to evolve past
Speaker 1: the pyramids, past the crucifixion cross as we get closer
Speaker 1: and closer time. Then they run into a freeway in
Speaker 1: a city and there's a giant man overseeing all of it.
Speaker 1: But still in this evolves human being who has created
Speaker 1: all this beautiful civilization. If you crack open that skull,
Speaker 1: the fucking monkeys still in there.
Speaker 2: Yep.
Speaker 4: Now is the monkey is to say, monkey running around
Speaker 4: the live action?
Speaker 1: Why bring up the live action?
Speaker 2: Yeah?
Speaker 1: It looksten First of all, it's a terrible monkey suit.
Speaker 2: It is an awful monkey suit.
Speaker 4: Is it supposed to be a gorilla or is it
Speaker 4: supposed to be a guy in a right?
Speaker 1: Yeah, it's so poor that that's what we have to like.
Speaker 1: Is this a bit they're doing or is that supposed
Speaker 1: to be the monkey has escaped from the previous segment.
Speaker 2: Well, somebody, if you notice some of the other animated
Speaker 2: characters escape from the from the cartoon, but.
Speaker 1: They remain animated, and remain animated and in color.
Speaker 4: If there's that one little guy on the paper that
Speaker 4: gets burned to.
Speaker 1: Death, ah, I'm glad you brought him up. That is
Speaker 1: a that is a senior Rossi. Bruno Bozzetto, when he
Speaker 1: was twenty years old, created his short first film, which
Speaker 1: was about it was the history of weapons. But soon
Speaker 1: after created this character Senor Rossi, and he appeared in
Speaker 1: a bunch of shorts and then start in three features.
Speaker 1: The reason he was able to do a leground on
Speaker 1: Tropos because he had so much success with that little character.
Speaker 1: So that's actually a cameo.
Speaker 2: Oh wow, and then he's burning him.
Speaker 1: He burns him up. It's really weird.
Speaker 2: Yeah, fucking blessed those Italians.
Speaker 1: Man, bless the Italians.
Speaker 2: He got something going on with that spaghetti.
Speaker 1: And they want to make you cry, and they fucking succeed.
Speaker 1: In our next segment, the is Jean Sibelius's Vals Trieste.
Speaker 1: The play that the piece of music is from. Is
Speaker 1: an elderly woman who rouses from late one night because
Speaker 1: she hears music and dancing and it's this piece of music.
Speaker 1: And the more she dances, the more these other figures
Speaker 1: appear and dance with her, and we realize at the
Speaker 1: end when she dances her way to the door and
Speaker 1: opens the door, and death is waiting for her, that
Speaker 1: those are ghosts all along and now it's her time
Speaker 1: to go. So Brindo Bazano has taken that piece of
Speaker 1: music with that history and said it in a demolished
Speaker 1: house and the I'm gonna cry fucking talking about it
Speaker 1: and the cat that is still haunting it even though
Speaker 1: the family has gone. Could you just take it? I'm
Speaker 1: gonna cry.
Speaker 2: Oh yeah, it's that's what I notic is. I'm like, wow,
Speaker 2: the the animationist is really nice. You can see the
Speaker 2: rooms doing and all that stuff, and I'm just like,
Speaker 2: this poor cat.
Speaker 1: The cat is antioning and it's live action, Like.
Speaker 2: Yeah, live action people walking through this cat's memory, and
Speaker 2: it's just it's really heartbreaking. It's very sad. And at
Speaker 2: the end of the demolished the whole fucking house, and
Speaker 2: it's just like.
Speaker 1: It's it's it's it's really heartbreaking because the cat is
Speaker 1: living in these memories, these happy memories, and then we
Speaker 1: keep coming back to the fucking hard meathook reality of
Speaker 1: what's actually going on. And then before before the wrecking Ball,
Speaker 1: beautifully animated wrecking Ball should be before that falls, the
Speaker 1: cat itself fades and disappears. Now my question to you, Antonio,
Speaker 1: given the previous thing that this is based on, was
Speaker 1: the cat alive the whole time and we just saw
Speaker 1: it die or was it a ghost the whole time?
Speaker 1: And say it was a ghost, because I'm gonna feel
Speaker 1: really really awful.
Speaker 2: Oh yeah, it's just an it's a psychic echo. That
Speaker 2: cat is living in a farm in dustany Okay, Yeah,
Speaker 2: he's having white pasta.
Speaker 1: With having a good time. He's playing every day.
Speaker 4: Yeah, Diane Lane moved there. She adopted the cat.
Speaker 1: Right, That's what I have to believe now, because this
Speaker 1: one tears my heart out. And here is the only
Speaker 1: time where cutting back afterwards to the live action to
Speaker 1: me was worth it, where he cuts to all the
Speaker 1: old Italian grannies weeping and weeping and weeping, and suddenly
Speaker 1: the first time I saw this, I was bawling like
Speaker 1: an idiot. In fact, I was crying again here and
Speaker 1: it feels like such a fuck you from Brazil, from
Speaker 1: Bruno brosetto cutting back to these old women, like look
Speaker 1: at you, you emotional fools. Look what we've done and
Speaker 1: how we've manipulated you. I admire him and am mad
Speaker 1: at him.
Speaker 2: It's a very sweet sequence and it sucks it, so said.
Speaker 1: Okay, I'm gonna move on to okay here, okay, this
Speaker 1: is like, this is a New Yorker cartoon kind of
Speaker 1: we go to Vivaldi's Concerto and see in C major
Speaker 1: this one is. Here's the animation is the is the Star.
Speaker 1: It's just a female bee trying to have a picnic,
Speaker 1: trying to have the perfect meal, and these fucking cut
Speaker 1: shows up in her field and they're all in love.
Speaker 1: So they're rolling around and making shit fucking tense.
Speaker 4: Yeah that was funny, but you know, like the animation
Speaker 4: I liked.
Speaker 2: I liked the animation of the bee lady though. That
Speaker 2: was a nice design. That was probably the most disney
Speaker 2: Esque looking piece in the whole thing.
Speaker 1: And in contrast to it, what I took away from
Speaker 1: it the couple. They're drawn. It's not watercolor, but they
Speaker 1: are painted. But the remarkable feature there is there's no
Speaker 1: outline on them. Yeah, there's not even a hint of
Speaker 1: a black line there.
Speaker 4: No, it's really just the But maybe that's the way
Speaker 4: the B season.
Speaker 1: It's startling that all the real world stuff doesn't have outlines.
Speaker 1: And and then as you said, she's really cartoony with
Speaker 1: a hard black line on her.
Speaker 2: Yeah.
Speaker 4: I like how the b escapes into the into the
Speaker 4: into the.
Speaker 1: Live action, right, but but she remains animated. So we're
Speaker 1: gonna close a book that that's just a fucking lunatic
Speaker 1: in a really bad monkey costume chasing the Okay, this
Speaker 1: is our final sequence, although it's not the final sequence
Speaker 1: because we're gonna get a schmorgasboard of finales immediately afterwards.
Speaker 1: Set to Igor Stravinsky's The Firebird. Interestingly that they used
Speaker 1: it infantation in two thousand as well, not saying that
Speaker 1: they've seen this movie, not that. Ward Kimball, one of
Speaker 1: the original Walt Disney animators, after seeing this movie immediately
Speaker 1: started showing it to his students in his animation class
Speaker 1: as the Balero sequence, in particular, as an example of
Speaker 1: how you should be animating these days. Okay, so what
Speaker 1: we're given here is this one's really impressionistic. Kind of
Speaker 1: it's it's the Book of Genesis, but kind of it's
Speaker 1: very impressionistic. It's the serpent, but the serpent is there
Speaker 1: to tempt Adam and Eve, but then the serpent himself
Speaker 1: becomes tempted. It's like the last temptation of Lucifer, because
Speaker 1: all of the demons show up to offer him all
Speaker 1: these other things. Even though like he's doing his best
Speaker 1: to get that fucking fruit with the tree from the
Speaker 1: Tree of Knowledge into Adam and Eves's hands, they're just
Speaker 1: not going for it. Then he eats it, and oh boy, and.
Speaker 2: I'm just like, well, he's a carnivore. He shouldn't be
Speaker 2: eating fruits and vegetables. He's gonna have a tony ache
Speaker 2: and have nightmares about demons.
Speaker 1: Maybe that's just what it was.
Speaker 2: About having pants.
Speaker 1: Yeah, because he grows arms and legs that eating from
Speaker 1: the Tree of Knowledge. I love this segment. Honestly.
Speaker 2: I thought it was really it was like trying to
Speaker 2: figure out what was going on, and you're like Evil Eye,
Speaker 2: live Action hands Clan Nation and.
Speaker 1: I don't know what.
Speaker 2: A twist and the guy's dog, Yeah it.
Speaker 1: Did.
Speaker 2: I'm just saying, I just say that's what it looked like.
Speaker 1: I think that's just the that's the non offensive animator
Speaker 1: way of drawing a dong. Just just just a little squiggle,
Speaker 1: just a little squiggle upside hand.
Speaker 2: So the the the snake gets all the temptations of man.
Speaker 4: I guess like he goes through the whole human cycle.
Speaker 1: Yet tempted by money and drugs and sex and violence
Speaker 1: and you know, just material objects. Oh give me that
Speaker 1: washing machine and by the anima.
Speaker 2: He's like, oh, this isn't worth it. Fuck it, and
Speaker 2: he like just leaves the movie, Like he gets up, slithers,
Speaker 2: takes off the man's suit, slithers off into the live action.
Speaker 1: Then on screen ntil he's like, fuck it, this movie,
Speaker 1: this movie ends with meta. The devil ends the hero. Yeah,
Speaker 1: figures out God's game sucks. He's one, don't want to
Speaker 1: be part of it.
Speaker 2: But I like the beta. Yeah, I like it. They're
Speaker 2: not talking about it. I like it more the the
Speaker 2: meta nature of the fuck this.
Speaker 4: I'm leaving the movie. And he gets a really very
Speaker 4: very Warner Brothers.
Speaker 2: It's very texting.
Speaker 4: So it's really like leaning into the tradition of cartoon
Speaker 4: absurdity when it really plays here, Yeah, there's one of
Speaker 4: the more interesting sequences.
Speaker 1: But then they double down because they have to we
Speaker 1: go back to our live action. They don't have enough
Speaker 1: finale now because the fucking snake took off, and so
Speaker 1: they call down to this igor like character, what's his name? Franciscini.
Speaker 1: It's basically like a Frankenstein igor tech who is who's
Speaker 1: tasked with going and finding a finale, which I love
Speaker 1: because he has to go down into the pavement where
Speaker 1: there's like a tiny stack stack of tiny prosceniums, and
Speaker 1: then he.
Speaker 2: Starts watching them and he's like and I'm just like, okay,
Speaker 2: he's making fun of the audience now, yeah.
Speaker 1: So you know, okay, which he dispenses with a few
Speaker 1: of them, and then he ends up on one where
Speaker 1: it's this like series of escalating fucking tragedies ending with
Speaker 1: the nineteen seventies go to for animated shorts Nuclear War,
Speaker 1: there was a lot of you know, what's so funny
Speaker 1: like watching it now, the casual nature and it's just
Speaker 1: the sort of inevitability of nuclear war as a viable
Speaker 1: ending to your piece. This isn't the first short film
Speaker 1: I've seen that ends with missiles flying.
Speaker 2: Yeah, well, I mean it's like, they're not the first
Speaker 2: seventies movie with that just dystopian downer ending. That's like,
Speaker 2: that's what made a lot of those movies, seventies movies,
Speaker 2: that parallax view ending, you know, or was there's that Simpsons?
Speaker 2: What are you doing No. I'm watching the science fiction
Speaker 2: movie from the seventies and it ends with the guy
Speaker 2: like ripping his He's like, oh baby, I love you,
Speaker 2: and he takes his face off, and it's a robot.
Speaker 2: It's like down pulls away. It's dystopia and it's awful.
Speaker 1: Like seventies movies.
Speaker 2: Well, it ends with the guy being trapped in a
Speaker 2: little model presidium, the live action guy.
Speaker 1: That's true because then we pull back even further to
Speaker 1: find that that's the case.
Speaker 4: What yeah, and and frand Justini the OAF is.
Speaker 1: Watching it were And the ending is effectively given to Satan,
Speaker 1: who pomps back up to just say goodbye. He returns
Speaker 1: to the movie at the end, literally the end. It
Speaker 1: says happy end. It doesn't say.
Speaker 4: Yeah, that was a happy end.
Speaker 2: That was just like, huh, this is what the Americans say, Yes, okay,
Speaker 2: happy end.
Speaker 1: It's this is such an Italian movie.
Speaker 4: It is so Italian. It is so Italian.
Speaker 2: This is as Italian, as as fantastic plant as French.
Speaker 1: Yes, yes, and this one this is from I don't
Speaker 1: know if this reminds me of that at all. I
Speaker 1: don't think it does. Other than that kind of.
Speaker 2: This is distinctly a movie that only we could have
Speaker 2: made in this country, right, England is the only country
Speaker 2: that could have made The Plague.
Speaker 1: Dogs or what was that when the wind blows that
Speaker 1: fucking that animated couple living in a in the aftermath
Speaker 1: of a nuclear war?
Speaker 4: Oh yeah, have you ever seen The Plague Dogs?
Speaker 1: No? I haven't, and now I kind of don't want.
Speaker 2: To play dogs is no, you shouldn't watch the Plane Dogs,
Speaker 2: not after your reaction to the cat part.
Speaker 1: Okay, yeah, man.
Speaker 2: It's it's a it's an animated film about dogs and
Speaker 2: escape a testing facility.
Speaker 1: Jesus, no, no, thank.
Speaker 2: You, And and it is the saddest movie in the
Speaker 2: history of mankind. Makes Water Shipped Down look like you know,
Speaker 2: Disney Romp, you know, makes a Secret and Nim look
Speaker 2: like American Tale, like it's I don't know, like it's
Speaker 2: it's the president to watch it. It's like, what's the
Speaker 2: one that it was a Grave of the butter but
Speaker 2: Grave of the Fireflies or Barefoot gen.
Speaker 4: The Aftermath of Her Broach?
Speaker 2: Yeah?
Speaker 1: Oh yeah, I remember both of both of them.
Speaker 2: They're both of them about that.
Speaker 4: Yeah, man, but that's good though.
Speaker 2: Eric the weekend, do we we don't go that sad
Speaker 2: on on on on animation over here.
Speaker 1: But yeah, we don't go really on adult animation at all.
Speaker 2: No, we don't, although we also make Coco, so you
Speaker 2: know what I mean. Like for all the false American
Speaker 2: animation has, like and Disney has, they still make Cocoa.
Speaker 1: But yeah, no, not complaining about the what we're what
Speaker 1: we're good at, but maybe we can be good at
Speaker 1: other things too.
Speaker 2: We can be good at other things though, I'd like
Speaker 2: I'd really like to see hand drawn two D animation again.
Speaker 2: You know it's sad that, like when now, even when
Speaker 2: it's done, you can tell how cheap it is. You
Speaker 2: can't afford it.
Speaker 1: Jesson, this movie was precient. Now it really is just
Speaker 1: one guy chained to a desk.
Speaker 2: Yeah. Really, what did I just watch which was pretty good?
Speaker 2: Was that Zack Snyder's Norse. Yeah, God, it's very Zack snydery.
Speaker 2: His craziness works better than animation. But the animation, while
Speaker 2: stylistic and pretty and all that stuff, you can tell that,
Speaker 2: oh this is done now and after effects, they're not
Speaker 2: doing this.
Speaker 1: Oh yeah, you.
Speaker 2: Know, they're rigging an attuny model and animating that rather
Speaker 2: than drawing twenty four frames a second and stuff. So,
Speaker 2: and like some of the recent DC animated films are
Speaker 2: done in that same kind of rigged animated, you know,
Speaker 2: rigged after Finn style.
Speaker 4: So it's not quite three D, but it's not to
Speaker 4: those off.
Speaker 2: Yeah, but it worked the the rigged the they used
Speaker 2: three D models and cell shaded on that blue eyed
Speaker 2: Samurai and that looks beautiful cartoon.
Speaker 1: I have to watch that. People to watch that, but
Speaker 1: it's in the it's in my queue, dude, there's so much.
Speaker 2: To watch it, and we're gonna go, you know. But
Speaker 2: this movie I'm you know, get through, and I think
Speaker 2: most of it had to do with that live action
Speaker 2: just takes you out of it.
Speaker 1: Man, literally takes you out of it. It's yeah, it's
Speaker 1: really distracting. So I mean, I do want them to
Speaker 1: restore this film and put it out in the best
Speaker 1: possible way, but I also want both versions.
Speaker 2: Yeah, there's one thing can be said about about Fantasia
Speaker 2: is that, Yeah, the dems, Taylor and guy this stuff
Speaker 2: in there. But their cutter he cut that movie. They
Speaker 2: or she cut that movie. They cut that movie and
Speaker 2: they kept the pace going. Yeah, the guys came out
Speaker 2: and talked, but that thing was never you know, Demes
Speaker 2: was never on screen for more than thirty seconds.
Speaker 1: I was never bored by Dames. I was annoyed that
Speaker 1: we weren't just flowing into the next animation.
Speaker 4: Yeah, but I wasn't bored by him.
Speaker 2: No, this true god wackiness was just like I should
Speaker 2: have left it, should have left it on the should
Speaker 2: have left it at home. Man. But it's neat to
Speaker 2: see animation from other countries and see how they interpret stuff.
Speaker 2: You know, Italian comics are really nice, really pretty too,
Speaker 2: like Italian comic books.
Speaker 4: Yeah, and what's the other that draws all the sexy women?
Speaker 2: Oh manara Ah, you draw those really sexy books. And
Speaker 2: there was all Dylan Dogg there's another comic. And there's
Speaker 2: a lot of cool comics from Italy that I just
Speaker 2: think the art is just well Man's spectacular.
Speaker 1: A couple of years ago I read all of the
Speaker 1: Diabolic comp for me. Yeah, man, so good. Those those
Speaker 1: were those comics. He's really amoral in those those early yeah. Yeah,
Speaker 1: before he becomes mister Robinhood, he's he's just wasting people
Speaker 1: for no reason.
Speaker 4: Hollywood hasn't jumped on that.
Speaker 1: I hope they don't, because there's no way you can
Speaker 1: recreate the gorgeous cinematic triumph that is danger Diabolic, directed
Speaker 1: by Mario Baba, my favorite Italian filmmaker by the way.
Speaker 4: Oh yeah, I've never seen it.
Speaker 2: Ah no, I've never seen it.
Speaker 1: Oh my god, you're in for a fucking treaty.
Speaker 2: I liked.
Speaker 1: Oh my god, that's a good one too.
Speaker 2: Yeah, recommended me to watch me that. Yeah, I'll watch it.
Speaker 2: I'll find it.
Speaker 1: Yeah, if you can't, I will, I will provide it.
Speaker 1: I know. I am that movie. I mean, that's it's
Speaker 1: one of my really cool Oh my god, he's so
Speaker 1: good in it, fucking John Phillip law Now I'm gonna
Speaker 1: watch I gotta go watch that now.
Speaker 2: Okay, Well this was a good one. This was a
Speaker 2: unique a unique picture, man, definitely was and it's a
Speaker 2: nice counterpoint to the Fantasia.
Speaker 1: It was. And yeah, I'm glad we did it. I
Speaker 1: was gonna skip it. And then you were like insistent.
Speaker 1: I'm glad you were because you mentioned it.
Speaker 4: I'm like, well, there's an Italian vantation.
Speaker 2: I watch it.
Speaker 1: Hell yeah, this was had a nice you know blapasta
Speaker 1: with me. Yeah, this one, this one flows along, you
Speaker 1: know what I mean. I highly recommend this movie. You're
Speaker 1: going to be annoyed by the by the comedy bits, but.
Speaker 2: Yeah, and you can find it on YouTube.
Speaker 1: You can just skip through those guys exactly. Even if
Speaker 1: you had a physical disc, the fast forward button is there.
Speaker 1: So we want to thank you all for joining us
Speaker 1: here on midnight viewing anthologiess attack. Until next time. Where
Speaker 1: can people find you if they're looking for you, mister Lapoor.
Speaker 2: Well, you can find us at Space detectivemovie dot com
Speaker 2: and Swamp dot com and keep an eye out for
Speaker 2: a local film festival or a new movie at Living
Speaker 2: Ben has just entered. The film festival runs and we'll
Speaker 2: be having a preson.
Speaker 1: Yeah, we'll be keeping you updated on all of that.
Speaker 1: If you want to find me, well, you're listening to
Speaker 1: the show that I mainly do. I'm all I sometimes
Speaker 1: guest over on culture Cast. Did that a lot this
Speaker 1: past month. Go check out those I programmed the month. Actually,
Speaker 1: Also you can hear me over on night mister Walter
Speaker 1: is the Taxi podcast I do with co host HP
Speaker 1: who does the music for this show. If you want
Speaker 1: to support us, head on over to Patreon dot com
Speaker 1: slash follom alone subscribers get episodes early and commercial free,
Speaker 1: and we are cooking up a whole bunch of Patreon
Speaker 1: only bonus episodes that are gonna be really super fucking cool.
Speaker 1: So check that out. And if money's tight, and god
Speaker 1: knows it is for all of us, you can do
Speaker 1: us a massive favor by just giving us a five
Speaker 1: star review on Apple Podcasts, or at the very least,
Speaker 1: just tell your friends until next time. I still haven't
Speaker 1: figured out a line here.
Speaker 4: Yeah, until next time. You know, keep your anthologies attacking,
Speaker 4: you know what, no.
Speaker 2: Exist sis sis sis s