WEBVTT

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<v Speaker 1>Weird.

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<v Speaker 2>We welcome back Midnight Fears to Father Malone's weekly round up.

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<v Speaker 2>I'm Father Malone and joining me for a bit of

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<v Speaker 2>the crack for a bang on the air. She's my

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<v Speaker 2>wild Irish rose, Miss Ripley. G Ripley is an English name.

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<v Speaker 2>It means an overgrown patch of land. But you are

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<v Speaker 2>not English. Your name for a badass alien stomper, and

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<v Speaker 2>your last name is Malone. You're Irish by default, even

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<v Speaker 2>though we both know you're Chinese. And it is Saint

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<v Speaker 2>Patrick's Day. If you're listening to this on the day

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<v Speaker 2>of release. This is recorded basically live. It's been a

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<v Speaker 2>tumultuous weekend of indecision and distraction, so this is coming

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<v Speaker 2>together at the last possible moment. Let's TCB Mama, get

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<v Speaker 2>in the jet taking care of business. That's in the

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<v Speaker 2>Elvis Way, not the Bachmann Turner overdriveway. It was a

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<v Speaker 2>Grand Funk railroad music confusion. We'll have more of that

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<v Speaker 2>in a moment. Thank you to all who subscribe to

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<v Speaker 2>this show. You can do that on any platform you're

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<v Speaker 2>listening to. Hit the like or the subscribe or the

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<v Speaker 2>follow button, and if you're feeling generous in both time

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<v Speaker 2>and efforts a five star review, or if you've got

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<v Speaker 2>some of those republic credits, I'll take those over at

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<v Speaker 2>patreon dot com slash follow alone. Subscribers there get episodes

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<v Speaker 2>early and commercial free, and access to shows you can

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<v Speaker 2>only find they're done out of the way. Now let's

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<v Speaker 2>get back to that musical confusion. I promise that this

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<v Speaker 2>will be an Irish themed episode. Shut up. On average,

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<v Speaker 2>I only go on about the Irish like half the time,

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<v Speaker 2>maybe more. The point is shut up, y'all. Remember Meatloaf,

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<v Speaker 2>Not that the delicious mom or Dad has reached the

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<v Speaker 2>end of their recipe tether, but the famed singer, actor

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<v Speaker 2>and in general badass human being. Of course you do

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<v Speaker 2>the rocky horror picture show Whatever Happened is Saturday Night

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<v Speaker 2>bat out of Hell with that cover that seemed like

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<v Speaker 2>an escape from the pages of Heavy Metal Magazine, most

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<v Speaker 2>likely because it was created by Richard Corbin, who we

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<v Speaker 2>talked about over on Anthology's Attack when we discussed Heavy

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<v Speaker 2>Metal movie self plugging. Okay, his most famous song from

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<v Speaker 2>that period is Paradise by the Dashboard Light. That song

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<v Speaker 2>was written of Meatloaf. Songs really were written by Jim Steinman,

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<v Speaker 2>He's always been described as the king of theatrical rock.

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<v Speaker 2>All of Meatloaf's catalog feel like their songs and performances

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<v Speaker 2>in search of a cohesive whole, a stage musical perhaps,

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<v Speaker 2>and of course that's exactly what they were meant to be.

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<v Speaker 2>Steinman had been writing versions of his magnum Opus Broadway

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<v Speaker 2>musical since he was at Amherst. Back then, it was

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<v Speaker 2>called The Dream Engine, and then it was called Neverland

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<v Speaker 2>for a while, and it was about Peter Pan before

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<v Speaker 2>ending up as a quasi concept album and eventually eventually

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<v Speaker 2>its own musical called Bat Out of Hell.

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<v Speaker 1>Now.

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<v Speaker 2>I don't know why everything comes back to National Lampoon

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<v Speaker 2>and Saturday Night Live, but National Lampoon had a successful

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<v Speaker 2>improv show on Broadway. When it went to tour, several

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<v Speaker 2>cast members dropped out because they had been hired to

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<v Speaker 2>be on SNL. So Gilda Radner was replaced with a

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<v Speaker 2>singer comedian actress named Ellen Foley. Belushi was replaced by Meatloaf,

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<v Speaker 2>and of course Steinman was doing musical duties on the tour.

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<v Speaker 2>While they were on that tour together, Steinmann and Meatloaf

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<v Speaker 2>and Foley all worked out what would eventually be Bad

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<v Speaker 2>out of Hell. When it came time to record Paradise

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<v Speaker 2>by the Dashboard Light. It's Ellen Foley's voice in the duet,

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<v Speaker 2>though everyone thinks it's Carla DeVito because she was in

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<v Speaker 2>the promotional film that they showed on MTV seven thousand

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<v Speaker 2>times because it was seven minutes long and it ate

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<v Speaker 2>up a lot of airtime. Ellen Foley incidentally is the

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<v Speaker 2>inspiration for the Clash's song Should I Stay or Should

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<v Speaker 2>I Go? She sounds like trouble. I love her okay.

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<v Speaker 2>That song, Paradise by the Dashboard Light, it's an ode

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<v Speaker 2>to teen lust and rock and roll and sexual politics

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<v Speaker 2>and regret so much regret. The Phil Rizudo play by

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<v Speaker 2>play is ridiculous, by the way, obvious and dumb. I've

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<v Speaker 2>made that point elsewhere, but it bears repeating. So that

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<v Speaker 2>song is about a guy who wants to fuck a

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<v Speaker 2>girl and she says yes, but only if they get married.

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<v Speaker 2>So he says yes, and the song ends with both

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<v Speaker 2>of them praying for the end of time so they

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<v Speaker 2>can end their time with you. That was how the

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<v Speaker 2>song ended. That was back in like nineteen seventy seven.

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<v Speaker 2>Then in nineteen ninety three, Lo and Behold Meet Love

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<v Speaker 2>comes roaring back onto the charts. Remember that trilogy of

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<v Speaker 2>pre Bad Boys Michael Bay directed videos. The first single

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<v Speaker 2>is I'd do anything for Love, but I won't do

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<v Speaker 2>that parenthesis. It's a sequel to Paradise by the Dashboard Light,

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<v Speaker 2>but the girl only pops up at the very end. Okay,

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<v Speaker 2>the first song ended with them hating each other. They're

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<v Speaker 2>remembering a teenage fling, so that song ends with them

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<v Speaker 2>already at their wits end, and that's in nineteen seventy seven.

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<v Speaker 2>This song forgets all about that. It's just him totally

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<v Speaker 2>into the relationship. It's a Jim Steinman version of a

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<v Speaker 2>hip hop tune, just endless bragging about the lengths he'd

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<v Speaker 2>go for love, the tasks he'd accomplish for love, all

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<v Speaker 2>these things he'd do, but not that he won't do that.

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<v Speaker 2>What is that I'm asking you, listeners? This is hardly

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<v Speaker 2>a burning question with the state of the world currently,

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<v Speaker 2>but you know, if things do go sideways, I want

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<v Speaker 2>the answer before we all turn into dust. This is

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<v Speaker 2>how the song posits the question, like he's been asked

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<v Speaker 2>to do some horrible thing that goes against the fundamental

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<v Speaker 2>principally holds with regard to his partner. Not only has

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<v Speaker 2>he seemingly been asked to do it, but the implication

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<v Speaker 2>is she's doing the asking. If she didn't pop up

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<v Speaker 2>at the end of the song, then it would just

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<v Speaker 2>be a pulp fiction briefcase or a kiss me Deadly briefcase,

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<v Speaker 2>just some sort of briefcase, some intellectual puzzle buried in

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<v Speaker 2>a comeback anthem, or at least what passes for a

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<v Speaker 2>meatloaf anthem. Instead, she pops up at the end of

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<v Speaker 2>the song and tells him that it's inevitable that he's

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<v Speaker 2>gonna cheat on her, and he says, no, I won't

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<v Speaker 2>do that, So that's it. He would do anything for love,

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<v Speaker 2>but he won't cheat for love. Has that ever been

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<v Speaker 2>a scenario you have to fuck her or him to

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<v Speaker 2>prove you love me? I mean, yeah, of course it's happened,

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<v Speaker 2>But I just don't think bittersweet merchant Jim Steinman had

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<v Speaker 2>that in mind thirty years. This question has been lurking

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<v Speaker 2>in the recesses of my brain Steman even answered the

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<v Speaker 2>question at one point, and I was even more confused.

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<v Speaker 2>What do you think I'd like to know? Reach me

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<v Speaker 2>at Father Malone seventy one at gmail dot com, or

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<v Speaker 2>if you want to socialize at father Malone on the

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<v Speaker 2>Insta and the Blue Sky and the threads. Hit me

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<v Speaker 2>up on any of those avenues and you might show

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<v Speaker 2>up on our newest segments.

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<v Speaker 3>From around.

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<v Speaker 2>Last week, I solicited some Xbox game opinions. You did

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<v Speaker 2>not disappoint. I did receive one message warning me off

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<v Speaker 2>these Star Wars Fallen Order games with Cameron Monahan as Calkestis.

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<v Speaker 2>I was assured that it was too much mindless puzzle

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<v Speaker 2>solving and frustrating physical bits like jumping and force bulling

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<v Speaker 2>and shit, I'm a first person shooter kind of fella

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<v Speaker 2>at heart. Remember Battlezone in the Arcade, that vector tank game.

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<v Speaker 2>That one was my favorite first person shooter, so I

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<v Speaker 2>could see in theory that those drawbacks might not exactly

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<v Speaker 2>enhance a format I'm already not used to. But then

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<v Speaker 2>I happened upon a cheap copy of that game, And

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<v Speaker 2>let me tell you something, I have been playing this

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<v Speaker 2>goddamn game non stop. I won't embarrass the listener who

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<v Speaker 2>wrote in, so I'll just say his initials are HP.

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<v Speaker 2>How wrong you were, sir. Shame on you. Don't you

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<v Speaker 2>know that falling off a cliff face one hundred and

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<v Speaker 2>fifty times is worth my time if I'm also able

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<v Speaker 2>to force push a stormtrooper into a massive hydraulic ram.

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<v Speaker 2>The game does need a fast travel so you can

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<v Speaker 2>get back to your ship quicker. I don't know why

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<v Speaker 2>we have to retrace our steps through a massive fucking board.

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<v Speaker 2>Just they have a ship, what's the point of having

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<v Speaker 2>it if they can't come to you and pick you up.

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<v Speaker 2>Even if you were inside they could blast through the walls. Anyway,

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<v Speaker 2>I am really enjoying this game, and I mentioned the

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<v Speaker 2>star of that game, Cameron Monahan. Now I've seen the

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<v Speaker 2>entire run of Shameless, which he was spectacular on, and

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<v Speaker 2>I've seen him on a few other things here and there.

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<v Speaker 2>But my introduction to him was near the end of

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<v Speaker 2>the first season of Gotham. He played a circus performer

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<v Speaker 2>named Jerome Velaska who murdered his mother, was found guilty

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<v Speaker 2>by reason of insanity, and then carted off to Arkham.

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<v Speaker 2>He's the joker. By the end of the episode, you

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<v Speaker 2>know he's the joke thanks to Monahan's super fucking creepy performance.

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<v Speaker 2>I don't know if there was a rights issue on

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<v Speaker 2>that show, but it seemed like they couldn't use certain characters,

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<v Speaker 2>or at least call them by their proper names, so

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<v Speaker 2>instead we get Jerome popping up over the next few

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<v Speaker 2>seasons in the various guises of the Joker that we

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<v Speaker 2>had already gotten over the years up to and including

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<v Speaker 2>the new fifty two stitched on face version. So we

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<v Speaker 2>got a goofy Joker, a scary Joker, an unhinged, lunatic Joker,

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<v Speaker 2>and Cameron Monahan pulls each of them off, and then

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<v Speaker 2>we met Jeremiah, Jerome's brother, the quiet calculated Genius. He's

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<v Speaker 2>dosed by Jerome with a skin whitening, madness inducing serum

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<v Speaker 2>that gave us an incarnation of the Joker I had

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<v Speaker 2>never seen and now it's my favorite portrayal ever. It's

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<v Speaker 2>a fashion plate Joker, but one who never seems to

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<v Speaker 2>speak above a whisper, so all of his insanity is

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<v Speaker 2>delivered in a very measured and thoughtful way. Is fucking horrifying,

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<v Speaker 2>which is a long winded way of saying it's super

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<v Speaker 2>weird to have a photorealistic character in video games or

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<v Speaker 2>not characters, but the actors having an avatar of Cameron

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<v Speaker 2>Monaghan and puppeteering him around the Star Wars universe is surreal,

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<v Speaker 2>and yes there is too much running and jumping at

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<v Speaker 2>just the right angle for my liking. Video game developers,

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<v Speaker 2>could you put in a gen X button in each

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<v Speaker 2>of the games, you know, for when you've explored enough

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<v Speaker 2>of the level. I don't need all the metals and

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<v Speaker 2>the secrets and the unlocked skins and whatever the fuck.

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<v Speaker 2>Sometimes I just want to get back on the ship

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<v Speaker 2>and go to another planet. And yes, we are moving on.

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<v Speaker 2>That was going to be the segue. We're moving into

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<v Speaker 2>the future or into the present. It's St Patrick's Day,

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<v Speaker 2>Happy Saint Patrick's Day, all or as I grew up

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<v Speaker 2>knowing it amateur hour. I once saw the Pogues on

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<v Speaker 2>the East Coast at a random date and here in

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<v Speaker 2>Las Vegas on Saint Patrick's Day. The difference was quite noticeable.

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<v Speaker 2>In the Boston gig, if you had a Celtics or

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<v Speaker 2>a Bruins jersey on, chances are that was your standard uniform.

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<v Speaker 2>Same for scaley Cap. I know kids who grew it

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<v Speaker 2>in the womb along with their central nervous system, and

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<v Speaker 2>the fucking Pogues were playing. It was like a three

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<v Speaker 2>hour Saint Patrick's Day in the middle of I don't

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<v Speaker 2>even remember what month it was. It had all the

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<v Speaker 2>highs and terrible vomiting lows that the holiday entails. The

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<v Speaker 2>Las Vegas show was hilarious, just a bunch of sunburned

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<v Speaker 2>desert rats wearing their Guinness sweatshirts and Ireland soccer jerseys,

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<v Speaker 2>making their annual appearance. Fresh from the closet. They stood

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<v Speaker 2>around to nurishing their two dark beers and only coming

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<v Speaker 2>alive when Shane McGowan started singing about Christmas and this

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<v Speaker 2>was Saint Patrick's Day. I was expecting the crowd to

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<v Speaker 2>tear the theater down, and they would have in Chicago

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<v Speaker 2>or New York or Boston. It's no secret I'm Irish.

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<v Speaker 2>I've covered a bunch of Irish movies here on the show.

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<v Speaker 2>I'm Irish American. In point of fact, I'm probably more

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<v Speaker 2>Scottish than anything, but those relatives are mainly back in Scotland,

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<v Speaker 2>and the Irish ones were the ones I grew up around.

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<v Speaker 2>So I'm totally at ease with the thought of a

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<v Speaker 2>brick being called Irish confetti, or that we all eventually

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<v Speaker 2>succumb to Irish amnesia. You forget everything but the grudge,

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<v Speaker 2>and it has definitely given me an appreciation of the

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<v Speaker 2>portrayal of the Irish on screen. Throughout the decades. There

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<v Speaker 2>seem to be three categories really mystical, musical, and car bombs.

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<v Speaker 2>That's what's on tap for the residents and descendants of

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<v Speaker 2>the Emerald Isle. It's rare to find a film without

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<v Speaker 2>any of those, rare to have them feel in any

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<v Speaker 2>way authentic. The two choices tonight have the flavor fuck.

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<v Speaker 2>One of them is a masterpiece. The other is state

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<v Speaker 2>of grace.

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<v Speaker 4>A time of innocence, a state of grace. Terry Noonan

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<v Speaker 4>never thought he'd come back to the old neighborhood.

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<v Speaker 3>To the best friend he ever had, to the first

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<v Speaker 3>girl he ever loved, To a shadowy world of violence,

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<v Speaker 3>intimidation and fear.

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<v Speaker 5>Where brother threatens brother, where love is darkened by betrayal,

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<v Speaker 5>where now he's forced to make a choice between betraying

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<v Speaker 5>his friends.

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<v Speaker 4>And betraying himself.

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<v Speaker 3>You believe in angels or the saintshood.

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<v Speaker 2>This is such a thing as a state of grace,

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<v Speaker 2>but it's got nothing to new with reality. In nineteen

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<v Speaker 2>ninety I was seventeen and in the full flush of

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<v Speaker 2>my Irish Mania. I mentioned the Pogues. If they weren't

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<v Speaker 2>on my tape neck, then it was the water Boys,

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<v Speaker 2>or the chieftains or Van Morrison. I was reading Brendan

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<v Speaker 2>Bayen and W. B. Yates and suffering through Ulysses, and

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<v Speaker 2>then a new flick was coming out about the Irish

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<v Speaker 2>mob in Hell's Kitchen. I'm not saying I was truant

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<v Speaker 2>on the day that State of Grace was released, but

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<v Speaker 2>I did manage to see it a couple of times

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<v Speaker 2>before the final bell rang at my high school that

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<v Speaker 2>fine Friday. Let me give you the cast list. Sean Penn,

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<v Speaker 2>Gary Oldman, Robin Wright, Ed Harris, John c Riley, John

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<v Speaker 2>Tturo Burgess, Meredith and Thomas g Waits. That's Thomas g

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<v Speaker 2>Waits from The Thing and the Warriors, and he's just

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<v Speaker 2>an extra basically of that killer list of actors. When

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<v Speaker 2>this movie came out, Sean Penn was the only real name.

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<v Speaker 2>It was a new Way the first film of any

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<v Speaker 2>of the other actors, But who the fuck new Gary

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<v Speaker 2>Oldman outside of Sidon Nancy fanatics like me. But knowing

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<v Speaker 2>Oldman was going to be in it just made it

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<v Speaker 2>all the more spectacular. And tantalizing, and it was directed

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<v Speaker 2>by Phil Juano, who had already made one of my

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<v Speaker 2>favorite high school movies, Three o'clock High. Juanu had caught

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<v Speaker 2>the eye of Steven Spielberg with his usc short film

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<v Speaker 2>Last Chance Dance. He hired Juana to do two episodes

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<v Speaker 2>of Amazing Stories and then hired him to do Three

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<v Speaker 2>o'clock High. While he can do action a plenty, Juana

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<v Speaker 2>is definitely in the Spielberg camp of movie making. He

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<v Speaker 2>wouldn't be my go to when making a gritty crime drama.

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<v Speaker 2>I suspect his hiring had way more to do with

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<v Speaker 2>the film he'd completed previous to State of Grace. That

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<v Speaker 2>was U two's concert film Rattle and Hum. It's kind

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<v Speaker 2>of easy to bag on YouTube now, Hell it was

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<v Speaker 2>easy back then. Fucking relax, Bono, you are bugging us,

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<v Speaker 2>and I think you meant to. But that movie was

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<v Speaker 2>a pretty big deal at the time. Concert films weren't

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<v Speaker 2>unheard by the late eighties, but they were rare. So

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<v Speaker 2>he's got Spielberg cred and an Irish connection what the

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<v Speaker 2>hell right? Which makes it sound like I'm blaming Juannu

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<v Speaker 2>for the film's shortcomings. Which is not true. I think

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<v Speaker 2>the movie is as good as it is in large part,

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<v Speaker 2>in massive part thanks to his prowess behind the camera.

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<v Speaker 2>He is incapable of true grime, but he made an

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<v Speaker 2>amazingly evocative film in terms of locations and how he

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<v Speaker 2>lit them. This was a fourteen million dollar budget and

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<v Speaker 2>every dime is on screen. There is no subbing in

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<v Speaker 2>Vancouver for New York. Here, this is fucking New York,

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<v Speaker 2>and Juanu shoots everywhere, coming up with fresh locations while

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<v Speaker 2>always reminding you where you are with some distant landmark.

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<v Speaker 2>These actors didn't need any help from him, but he

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<v Speaker 2>could have been a hindrance. Instead, he lets all of

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<v Speaker 2>the characters breathe sometimes allowing entire scenes to play out

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<v Speaker 2>nearly wordlessly. Everyone on screen has amazing chemistry, as you

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<v Speaker 2>would expect from actors of their caliber, but some of

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<v Speaker 2>that chemistry leaked off the celluloid and into the real world.

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<v Speaker 2>It was during this film that Sean Penn and Robin

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<v Speaker 2>Wright met. They would eventually marry and have kids and

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<v Speaker 2>such and such. Also, at the start of production, Phil

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<v Speaker 2>Juanna's girlfriend was Uma Thurman, and just after production, Uma

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<v Speaker 2>Thurman married Gary oldman, Phil Juanna visual stylist, and Cupid.

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<v Speaker 2>This is overall a pretty good movie. It's a low

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<v Speaker 2>level pot boiler about a former neighborhood kid who went

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00:17:26.759 --> 00:17:29.079
<v Speaker 2>off and became a cop and has now returned to

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00:17:29.160 --> 00:17:32.480
<v Speaker 2>infiltrate the gang that's run by his childhood friends. The

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<v Speaker 2>dialogue is all sharp and well delivered, but the script

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00:17:35.680 --> 00:17:38.680
<v Speaker 2>can't figure out what it wants to be Mean Streets

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<v Speaker 2>or the Godfather, so we get a weird mashup of

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00:17:41.400 --> 00:17:45.599
<v Speaker 2>both low level figures engaging in mostly petty crimes, but

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00:17:45.839 --> 00:17:49.559
<v Speaker 2>framed as some kind of grand opera. It's very unusual

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<v Speaker 2>and it doesn't work, but I don't care. It doesn't

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<v Speaker 2>have a wise old irishman ah faith in Bagora, nor

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00:17:56.400 --> 00:17:59.279
<v Speaker 2>does it have some musical subplot, nor is anything on

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<v Speaker 2>screen related to the Irish Republican Army or gun running.

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<v Speaker 2>The problem with the movie really is that it's based

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<v Speaker 2>on a real group of criminals in Hell's Kitchen that

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<v Speaker 2>operated from the sixties till right around the time the

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<v Speaker 2>movie came out. Everyone calls them the Irish Mob, but

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<v Speaker 2>if you were on the East Coast, more likely than

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<v Speaker 2>not you knew them as the Westies. That's Mickey Spillane's gang.

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<v Speaker 2>I'm not kidding. During the seventies, the Javit Center was

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<v Speaker 2>being built basically in Hell's Kitchen, so the Westies were

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<v Speaker 2>fighting off the Genovese crime family who were trying to

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<v Speaker 2>move in and get those sweet construction jobs, and they

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<v Speaker 2>managed to basically keep them out. But then there was

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<v Speaker 2>a power battle within the Westies and some of them

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00:18:37.200 --> 00:18:40.640
<v Speaker 2>threw in with the Gambino crime family. Others were hiring

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<v Speaker 2>Genevese hitman against to kill their own people. It was

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<v Speaker 2>a big fucking mess, and it's the stuff of great

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<v Speaker 2>fucking cinema. Instead. State of Grace, which is longer than

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<v Speaker 2>two hours, I'd like to note, tells the story of

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<v Speaker 2>one Irish family, two brothers and a sister, Ed Harris,

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<v Speaker 2>head of the crime family, his younger brother Gary Oldman,

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<v Speaker 2>the hot head lieutenant, and his sister Robin Wright, who

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<v Speaker 2>has been out of the family business for some time,

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<v Speaker 2>and she's the former flame of Sean Penn, who has

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<v Speaker 2>recently returned and is an undercover cop. So it's taking

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<v Speaker 2>the real life, batshit crazy version of the Westies, which

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00:19:16.400 --> 00:19:19.319
<v Speaker 2>really resembles The Godfather and instead tries to give us

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<v Speaker 2>mean streets. I mentioned the movie doesn't have a musical subplot.

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<v Speaker 2>That doesn't mean the soundtrack isn't fucking awesome. Though it's

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00:19:25.960 --> 00:19:29.279
<v Speaker 2>got the Pogues and Janet O'Connor, Van Morrison, You Two,

338
00:19:29.680 --> 00:19:33.160
<v Speaker 2>Lyle Lovett and Guns n' Roses and Rolling Stones. Those

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00:19:33.200 --> 00:19:35.799
<v Speaker 2>all appear on the radio or jukebox and just nice

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<v Speaker 2>to hear them peppered throughout this world. The score, on

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00:19:38.799 --> 00:19:42.119
<v Speaker 2>the other hand, might be the actual culprit weighing the

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<v Speaker 2>movie down. It's rare to say that the work of

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<v Speaker 2>Ennio Morricone might be a film's downfall, but on my

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<v Speaker 2>most recent rewatch it became all too clear they should

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<v Speaker 2>have dumped the score immediately. I think this might have

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<v Speaker 2>been a youth problem. State of Grace is Juannu's second

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<v Speaker 2>narrative film. You get a list of possible composers and

348
00:20:02.119 --> 00:20:04.680
<v Speaker 2>there's any O Morricone's name. Are you not going to

349
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<v Speaker 2>hire the man who wrote The Good, the Bad and

350
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<v Speaker 2>the Ugly? Well, if you're doing an Irish crime film

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<v Speaker 2>set in the heart of the Hell's kitchen, No, you

352
00:20:11.920 --> 00:20:16.400
<v Speaker 2>fucking well don't. And Marconi's score is at odds with everything,

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<v Speaker 2>or rather just hitting the fucking nail on the head,

354
00:20:19.319 --> 00:20:23.680
<v Speaker 2>underscoring how serious and depressing the scenario is. Plus it's

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<v Speaker 2>mostly just recycled score from the mission. Marconi was notorious

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<v Speaker 2>for recycling his own music. That's a problem. But at

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<v Speaker 2>the top of the list of things to appreciate here

358
00:20:34.599 --> 00:20:38.440
<v Speaker 2>is Burgess Meredith. He plays an old pensioner eating stewed

359
00:20:38.440 --> 00:20:41.119
<v Speaker 2>tomatoes out of a can that Sean Penn is sent

360
00:20:41.160 --> 00:20:45.119
<v Speaker 2>to shake down. He's all the vitality and heartbreak you

361
00:20:45.119 --> 00:20:47.440
<v Speaker 2>could imagine from the man in a role that is

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<v Speaker 2>ending his career. It is fucking stellar. But is this

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<v Speaker 2>the most stellar Irish American crime film I can recommend?

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<v Speaker 2>On the day when everyone's wearing green and getting kissed

365
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<v Speaker 2>and let's face it, vomiting. No oh for that, we've

366
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<v Speaker 2>got to go to missus. Ripley gen hit at HP

367
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<v Speaker 2>cod ship kill be go, thank you HP. That is

368
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<v Speaker 2>not a float, that's tip O'Neill, tip O'Neil.

369
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<v Speaker 3>Oh.

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<v Speaker 2>Wait, before we get to your pick, young Ripley, we

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<v Speaker 2>have to break. We got to take a break for

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<v Speaker 2>a sponsor. That's right, Midnight Viewing has our first on

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<v Speaker 2>air sponsor. He heard our Constantine episode and wanted to

374
00:21:29.359 --> 00:21:32.000
<v Speaker 2>buy a little airtime. He's a good man. If you're

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<v Speaker 2>in the Los Angeles area and have other worldly issues,

376
00:21:35.000 --> 00:21:36.200
<v Speaker 2>go check out Bemons.

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<v Speaker 6>We've all been there. Phantasms frustrating our felicitations, Demons disrupting

378
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<v Speaker 6>our domestic delight.

379
00:21:41.480 --> 00:21:42.240
<v Speaker 2>But what can you do?

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00:21:42.440 --> 00:21:44.759
<v Speaker 6>The power of Christ might compel them, But an enchanted

381
00:21:44.799 --> 00:21:46.680
<v Speaker 6>object We'll have a long way to showing them whose

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<v Speaker 6>boss of this plane of existence, and we can help.

383
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<v Speaker 6>Come on down to beamons of cult objects in reliquary

384
00:21:51.680 --> 00:21:54.119
<v Speaker 6>for all your magical necessities. Need to brush up on

385
00:21:54.119 --> 00:21:56.960
<v Speaker 6>your incantations. We've got the Book of top the Grand Grimois,

386
00:21:57.000 --> 00:22:00.200
<v Speaker 6>and the Necronomicon, available in paperback and kindle. How are

387
00:22:00.240 --> 00:22:02.960
<v Speaker 6>you fixed for blood? We keep hydroblood, gorgan blood, and

388
00:22:03.200 --> 00:22:06.400
<v Speaker 6>charon tap. Ladies fight the forces of frightened style with

389
00:22:06.400 --> 00:22:09.400
<v Speaker 6>our plethora of pendons, pins and precious gems. We've got

390
00:22:09.440 --> 00:22:12.799
<v Speaker 6>dragon teeth, tiaras, harmonia necklaces, and rings made of pure

391
00:22:12.880 --> 00:22:16.519
<v Speaker 6>mermaid tears bellas. Those diabolical devils will think twice about

392
00:22:16.519 --> 00:22:19.000
<v Speaker 6>battling you once they spy an other worldly weapon in

393
00:22:19.000 --> 00:22:23.279
<v Speaker 6>your mits. We've got condas, brobrigetes, Arandites and Cobarasu Marus

394
00:22:23.480 --> 00:22:26.000
<v Speaker 6>Act now in all purchases more than five hundred dollars

395
00:22:26.000 --> 00:22:28.920
<v Speaker 6>come with a six demon bag. Free Bemon's are cult

396
00:22:28.960 --> 00:22:32.200
<v Speaker 6>objects in reliquary, conveniently located in the new hip downtown

397
00:22:32.319 --> 00:22:35.720
<v Speaker 6>Los Angeles. It's not just for hobos anymore, Bemons, because

398
00:22:35.759 --> 00:22:38.000
<v Speaker 6>life is for the living and arrest Sho of Goka Hell.

399
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<v Speaker 2>There are very few perfect films. The Coen Brothers have

400
00:22:42.960 --> 00:22:45.599
<v Speaker 2>made a few of those few. I have and will

401
00:22:45.599 --> 00:22:49.440
<v Speaker 2>always consider Racing Arizona as fine a cinematic achievement as

402
00:22:49.559 --> 00:22:54.880
<v Speaker 2>anything by Jean Luca Edard easily diddo Barton Fink, how

403
00:22:54.880 --> 00:22:58.720
<v Speaker 2>about Fargo, Oh Brother, where art thou Jesus Christ? One

404
00:22:58.799 --> 00:23:02.240
<v Speaker 2>is enough you greedy bands? And there are others plural,

405
00:23:02.680 --> 00:23:05.200
<v Speaker 2>not least of which is my favorite film by Joel

406
00:23:05.200 --> 00:23:07.920
<v Speaker 2>and Ethan Cohen. Stop me if you've heard this one before.

407
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<v Speaker 2>Two Jews from Minnesota write interact to the greatest Irish

408
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<v Speaker 2>American gangster film of all time. This is Miller's crossing.

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<v Speaker 4>From the makers of Blood Simple and Raising Arizona. A

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<v Speaker 4>world where nothing is what it seems to be.

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<v Speaker 3>Leo is he.

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00:23:27.039 --> 00:23:29.799
<v Speaker 4>Still the boss? The day I backed down from a fight.

413
00:23:29.920 --> 00:23:32.480
<v Speaker 4>Casp is welcome to the rackets this town, of my

414
00:23:32.559 --> 00:23:35.480
<v Speaker 4>place at the Tabor Casper? Can he muscle in?

415
00:23:35.799 --> 00:23:36.279
<v Speaker 7>I'm sick.

416
00:23:36.440 --> 00:23:38.319
<v Speaker 8>I'm taking a scrap from you, Leo and.

417
00:23:40.200 --> 00:23:42.200
<v Speaker 4>Tom. Would he sell out a friend?

418
00:23:42.559 --> 00:23:44.759
<v Speaker 9>You should be confront the Jenny Casper. That's what I've

419
00:23:44.799 --> 00:23:45.480
<v Speaker 9>been trying to tell you.

420
00:23:45.559 --> 00:23:48.240
<v Speaker 8>I can still trade body blows with any man in

421
00:23:48.279 --> 00:23:48.799
<v Speaker 8>this town.

422
00:23:49.680 --> 00:23:54.119
<v Speaker 4>Exceputa Verna. Is she Leo's girl?

423
00:23:54.440 --> 00:23:55.359
<v Speaker 10>What is Celiah?

424
00:23:56.599 --> 00:23:58.359
<v Speaker 4>I told him you were a Trump and he should

425
00:23:58.440 --> 00:23:58.920
<v Speaker 4>dump him.

426
00:24:00.759 --> 00:24:02.160
<v Speaker 3>I want everybody to be friends.

427
00:24:02.400 --> 00:24:04.240
<v Speaker 4>You me, Leo, the name?

428
00:24:05.640 --> 00:24:06.960
<v Speaker 3>Oh I am the day?

429
00:24:07.519 --> 00:24:08.640
<v Speaker 4>Has he got it figured?

430
00:24:08.880 --> 00:24:11.119
<v Speaker 3>You dumping Leo for the guy who put a bullet

431
00:24:11.119 --> 00:24:12.559
<v Speaker 3>in your brother? Bernie?

432
00:24:12.880 --> 00:24:14.559
<v Speaker 4>Will he turned the tables?

433
00:24:14.759 --> 00:24:17.759
<v Speaker 3>Don't smart me. I want to watch you squirm.

434
00:24:18.079 --> 00:24:19.599
<v Speaker 7>I want to see you sweat a little.

435
00:24:19.920 --> 00:24:21.680
<v Speaker 3>Oh you gotta do to show you a friend? This

436
00:24:21.960 --> 00:24:23.000
<v Speaker 3>give me Bernie burns.

437
00:24:23.440 --> 00:24:24.680
<v Speaker 7>Tommy, you can't do this.

438
00:24:24.920 --> 00:24:29.440
<v Speaker 3>You don't dump guys. It's not right, Tom, I get.

439
00:24:31.200 --> 00:24:36.000
<v Speaker 1>Two was a face worse odds, never without reason.

440
00:24:37.640 --> 00:24:39.799
<v Speaker 10>That's what you said. You didn't care about Leo.

441
00:24:40.119 --> 00:24:42.039
<v Speaker 9>I said with throw It's not the same thing.

442
00:24:42.880 --> 00:24:53.400
<v Speaker 8>I'm talking about friendship, I'm talking about character. I'm talking about.

443
00:25:06.440 --> 00:25:12.880
<v Speaker 5>Albert Finney, Gabriel Byrne, Marcia Gayhearten, John Torturo.

444
00:25:13.400 --> 00:25:20.480
<v Speaker 3>I get die that about. I get.

445
00:25:22.000 --> 00:25:24.839
<v Speaker 9>It's still alive, extreme.

446
00:25:30.039 --> 00:25:32.640
<v Speaker 10>All over time at.

447
00:25:34.359 --> 00:25:38.240
<v Speaker 4>No one is what they seem to be, opus down,

448
00:25:39.160 --> 00:25:41.920
<v Speaker 4>black is white at Miller's Crossing.

449
00:25:46.400 --> 00:25:49.160
<v Speaker 2>That score is by the mighty Carter Burwell. He's done

450
00:25:49.200 --> 00:25:52.359
<v Speaker 2>all of their films, each won its own oddball and

451
00:25:52.559 --> 00:25:56.240
<v Speaker 2>inimitable style. But like this film, this is my favorite

452
00:25:56.279 --> 00:25:59.559
<v Speaker 2>of his work. I will note that the score incorporates

453
00:25:59.599 --> 00:26:02.240
<v Speaker 2>the melody from an eighteenth century piece of music called

454
00:26:02.319 --> 00:26:05.240
<v Speaker 2>the Lament for Limerick, a fact that broke my heart

455
00:26:05.240 --> 00:26:07.839
<v Speaker 2>when I learned it years after listening to the soundtrack

456
00:26:07.920 --> 00:26:11.799
<v Speaker 2>on repeat. That an American composer had so effortlessly captured

457
00:26:11.799 --> 00:26:15.240
<v Speaker 2>the spirit of traditional Irish music within a big, grand

458
00:26:15.400 --> 00:26:19.400
<v Speaker 2>orchestral score just warmed my lapsed Catholic heart. So I'm

459
00:26:19.440 --> 00:26:21.319
<v Speaker 2>not sure why it bothered me to find out that

460
00:26:21.359 --> 00:26:24.599
<v Speaker 2>he incorporated a bit of another piece. Maybe it was

461
00:26:24.640 --> 00:26:26.880
<v Speaker 2>because I had to dig to find out that information.

462
00:26:27.359 --> 00:26:29.359
<v Speaker 2>I mean, I didn't have any problem with the fact

463
00:26:29.400 --> 00:26:33.200
<v Speaker 2>that the entire movie is basically influenced by Dashal Hammett's

464
00:26:33.200 --> 00:26:36.359
<v Speaker 2>The Glass Key. That novel had a labyrinthine plot of

465
00:26:36.400 --> 00:26:39.599
<v Speaker 2>double crosses and murders, and features a recurrent plot device

466
00:26:39.720 --> 00:26:42.799
<v Speaker 2>of a hat. Hats would become a central image in

467
00:26:42.839 --> 00:26:46.440
<v Speaker 2>Miller's Crossing, Starting with a credit sequence of a forest clearing,

468
00:26:46.880 --> 00:26:48.920
<v Speaker 2>A hat lands in the frame long enough for the

469
00:26:48.960 --> 00:26:52.839
<v Speaker 2>title to appear, before being buffeted away and disappearing into

470
00:26:52.880 --> 00:26:56.279
<v Speaker 2>the wooded distance. The hat belongs to Tom Reagan played

471
00:26:56.279 --> 00:26:59.519
<v Speaker 2>by Gabriel Byrne. He'll spend the entire movie losing and

472
00:26:59.559 --> 00:27:02.680
<v Speaker 2>finding the hat. Tom sums up the hat business when

473
00:27:02.720 --> 00:27:05.559
<v Speaker 2>describing a dream he had to fe fetal Verna. The

474
00:27:05.640 --> 00:27:07.839
<v Speaker 2>dream is the credit sequence. By the way, what are

475
00:27:07.839 --> 00:27:08.519
<v Speaker 2>you chewing over?

476
00:27:10.920 --> 00:27:16.200
<v Speaker 9>Dream? I had once I was walking in the woods.

477
00:27:16.559 --> 00:27:21.640
<v Speaker 9>I don't know why. Wincome omen blew me.

478
00:27:21.680 --> 00:27:28.720
<v Speaker 10>Hat off, and you chased it right, You ran and around,

479
00:27:30.119 --> 00:27:34.160
<v Speaker 10>finally caught up to it, and you picked it up.

480
00:27:35.039 --> 00:27:38.359
<v Speaker 10>But it wasn't a hat anymore, and it changed into

481
00:27:38.400 --> 00:27:41.039
<v Speaker 10>something else, something wonderful.

482
00:27:41.640 --> 00:27:48.079
<v Speaker 9>Nah, it stayed ahead, and no, I didn't chase it.

483
00:27:48.200 --> 00:27:51.160
<v Speaker 3>Nothing more foolish than a man chasing his hat.

484
00:27:51.160 --> 00:27:54.359
<v Speaker 2>So that hat might be control or agency. Hell, it

485
00:27:54.440 --> 00:27:57.799
<v Speaker 2>might represent luck in any event. Some things you just

486
00:27:57.839 --> 00:28:01.160
<v Speaker 2>can't force, and Tom is the bo of that as

487
00:28:01.200 --> 00:28:05.440
<v Speaker 2>his boss Leo, played absolutely magnificently by Albert Finney. I

488
00:28:05.480 --> 00:28:07.359
<v Speaker 2>know he's had a long and storied career, but this

489
00:28:07.480 --> 00:28:10.480
<v Speaker 2>is my favorite performance of his just all power and

490
00:28:10.640 --> 00:28:15.839
<v Speaker 2>all vulnerability simultaneously. His boss Leo starts his crime syndicate

491
00:28:15.920 --> 00:28:18.400
<v Speaker 2>down a path that will only lead to war and

492
00:28:18.480 --> 00:28:22.240
<v Speaker 2>eventual destruction. That path begins in the opening scene with

493
00:28:22.319 --> 00:28:25.960
<v Speaker 2>a speech by Johnny Casper played by the late fucking

494
00:28:26.119 --> 00:28:29.920
<v Speaker 2>great John Polito. He hit on me once at a party.

495
00:28:30.319 --> 00:28:33.119
<v Speaker 2>I was very flattered. Now this is how you emulate

496
00:28:33.160 --> 00:28:36.599
<v Speaker 2>the godfather, old school gangsters sitting in leather chairs in

497
00:28:36.680 --> 00:28:39.960
<v Speaker 2>back rooms with their goons hovering close by. Casper is

498
00:28:39.960 --> 00:28:42.559
<v Speaker 2>the head of the up and coming Italian crime family,

499
00:28:42.759 --> 00:28:45.200
<v Speaker 2>and he's looking to kill the bookie who's been losing

500
00:28:45.240 --> 00:28:48.920
<v Speaker 2>him money by telling everyone about the upcoming boxing matches

501
00:28:48.920 --> 00:28:52.559
<v Speaker 2>that he's had. Fixed problem is that that bookie, Bernie,

502
00:28:52.960 --> 00:28:56.519
<v Speaker 2>is the brother of Verna, played with somehow simultaneous iciness

503
00:28:56.559 --> 00:28:59.559
<v Speaker 2>and fire by Marsa gay Harden, and she is seeing

504
00:28:59.599 --> 00:29:02.400
<v Speaker 2>Albert Finney's Leo. I love a film that tells you

505
00:29:02.480 --> 00:29:05.160
<v Speaker 2>everything you need to know in it's opening scene, and

506
00:29:05.200 --> 00:29:08.079
<v Speaker 2>I think the Coens do that better than anyone. Casper

507
00:29:08.160 --> 00:29:12.000
<v Speaker 2>knows it's Bernie that's been betraying him because Bernie lacks ethics.

508
00:29:12.960 --> 00:29:16.480
<v Speaker 8>It's getting's old businessman. Can't expect no return from a

509
00:29:16.519 --> 00:29:19.960
<v Speaker 8>fixed fight. Now, if you can't trust a fix, what

510
00:29:20.119 --> 00:29:22.599
<v Speaker 8>can you trust for a good return?

511
00:29:23.000 --> 00:29:24.599
<v Speaker 7>You gotta go betting on cheeses.

512
00:29:24.960 --> 00:29:28.680
<v Speaker 8>And then you're back with anarchy, right back in a jungle.

513
00:29:29.640 --> 00:29:31.000
<v Speaker 4>That's why ethics is important.

514
00:29:31.440 --> 00:29:36.079
<v Speaker 8>What separates us from the animals. Beiece a burden, BEI

515
00:29:36.240 --> 00:29:42.000
<v Speaker 8>of prey ethics, whereas Bernie Burnbaum is a horse of

516
00:29:42.039 --> 00:29:46.640
<v Speaker 8>a different color, ethics wise as in he ain't got anything.

517
00:29:46.720 --> 00:29:48.960
<v Speaker 2>We'll spend the next less than two hours. I'd like

518
00:29:49.000 --> 00:29:51.319
<v Speaker 2>to point out that this motherfucking masterpiece is a half

519
00:29:51.359 --> 00:29:54.400
<v Speaker 2>hour shorter than State of Grace and costs two million less,

520
00:29:54.680 --> 00:29:57.200
<v Speaker 2>and it's a period piece set in nineteen twenty nine

521
00:29:57.279 --> 00:30:00.759
<v Speaker 2>New York or Chicago. They never really specify anyway. We'll

522
00:30:00.799 --> 00:30:03.400
<v Speaker 2>spend the next two hours watching which if any of

523
00:30:03.400 --> 00:30:06.720
<v Speaker 2>those characters have ethics, and just how important ethics are

524
00:30:06.920 --> 00:30:10.240
<v Speaker 2>in this world. The script here is so incredibly tight

525
00:30:10.279 --> 00:30:14.640
<v Speaker 2>and economical and rewards repeat viewings. These boys trust you'll

526
00:30:14.640 --> 00:30:17.279
<v Speaker 2>get the gist on your first viewing, which is sometimes true.

527
00:30:17.319 --> 00:30:19.000
<v Speaker 2>I know a few of their films I've walked away

528
00:30:19.079 --> 00:30:22.880
<v Speaker 2>underwhelmed and only appreciated later. But this is a crackling

529
00:30:22.960 --> 00:30:26.720
<v Speaker 2>good gangster film. And then you realize just how intricately

530
00:30:26.759 --> 00:30:30.640
<v Speaker 2>plotted it is only after the fact, with characters basically

531
00:30:30.680 --> 00:30:33.599
<v Speaker 2>telling you outright what they're secretly up to, and through

532
00:30:33.640 --> 00:30:37.799
<v Speaker 2>some of the most stylized dialogue imaginable blending plenty of

533
00:30:37.880 --> 00:30:41.640
<v Speaker 2>pulled from the pages of pulp periodicals to some invented

534
00:30:41.680 --> 00:30:45.079
<v Speaker 2>slang that just hangs seamlessly beside each other. One of

535
00:30:45.119 --> 00:30:49.039
<v Speaker 2>those invented phrases is no surprise, the high hat. I'm

536
00:30:49.079 --> 00:30:51.480
<v Speaker 2>sick of you guys giving me the high hat. Next

537
00:30:51.480 --> 00:30:54.599
<v Speaker 2>time you hear Tarantino is the king of dialogue, try

538
00:30:54.599 --> 00:30:58.160
<v Speaker 2>a sampler of Miller's Crossing and Fargo, then tell me

539
00:30:58.160 --> 00:31:01.799
<v Speaker 2>who the fucking masters are. As filmmakers, the Cohens sometimes

540
00:31:01.839 --> 00:31:06.440
<v Speaker 2>get lumped into the Kubrick zone of cold technicians, irreverent

541
00:31:06.480 --> 00:31:08.960
<v Speaker 2>to the point of absurdity when it comes to their characters,

542
00:31:09.359 --> 00:31:12.519
<v Speaker 2>which is total bullshit. Every one of their films has

543
00:31:12.559 --> 00:31:15.119
<v Speaker 2>a beating heart at its center. It's just that their

544
00:31:15.160 --> 00:31:18.480
<v Speaker 2>emotions aren't freighted with any hint of sentimentality, nor do

545
00:31:18.519 --> 00:31:21.039
<v Speaker 2>they shy away from showing the more unseemly parts of

546
00:31:21.079 --> 00:31:24.279
<v Speaker 2>their character. Tom Reagan is kind of a dick. Everyone

547
00:31:24.319 --> 00:31:26.759
<v Speaker 2>in this film is. But if that's all you see

548
00:31:26.799 --> 00:31:29.880
<v Speaker 2>of them, I don't know how you function in this world.

549
00:31:30.160 --> 00:31:34.319
<v Speaker 2>Like all of their films, Miller's Crossing has zero perfunctory characters.

550
00:31:34.400 --> 00:31:36.559
<v Speaker 2>You get a sense that everyone has a rich life,

551
00:31:37.039 --> 00:31:41.480
<v Speaker 2>even the grinning psychopath that Sam Raimi plays for one scene.

552
00:31:41.519 --> 00:31:43.559
<v Speaker 2>Maybe you saw this back in the day, maybe you've

553
00:31:43.559 --> 00:31:46.000
<v Speaker 2>never seen it. It's the one movie of theirs I

554
00:31:46.079 --> 00:31:49.119
<v Speaker 2>never hear mentioned, and I can't figure out why. I

555
00:31:49.160 --> 00:31:51.519
<v Speaker 2>guess if you make half a dozen perfect films, people

556
00:31:51.559 --> 00:31:56.000
<v Speaker 2>start to get blaise. That's gonna do it, You fucking changelings,

557
00:31:56.440 --> 00:32:00.480
<v Speaker 2>you fucking Banshees. Enjoy your Saint Patrick's Day. I hope

558
00:32:00.519 --> 00:32:02.839
<v Speaker 2>it's so good you can remember none of it tomorrow.

559
00:32:03.359 --> 00:32:07.359
<v Speaker 2>So then listen to this again. Give me those downloads

560
00:32:07.559 --> 00:32:10.400
<v Speaker 2>you can't remember it remember anyway. For Rippley Gene, I'm

561
00:32:10.400 --> 00:32:12.440
<v Speaker 2>found them alone. We're gonna leave you with the audio

562
00:32:12.480 --> 00:32:15.119
<v Speaker 2>equivalent of a shot in the lagger, a quote and

563
00:32:15.160 --> 00:32:21.440
<v Speaker 2>a song, very irish, See you all next week. Stay strong, everybody.

564
00:32:20.839 --> 00:32:35.759
<v Speaker 1>Sorry, check us out? What the fuck is that?

565
00:32:37.079 --> 00:32:37.480
<v Speaker 3>It's so.

566
00:32:39.240 --> 00:32:40.359
<v Speaker 2>It's Frankie's idea.

567
00:32:41.680 --> 00:32:44.359
<v Speaker 9>You got your favorite gun, right, you got so sick

568
00:32:44.400 --> 00:32:46.759
<v Speaker 9>and tired of tossing away a perfectly good piece after

569
00:32:46.839 --> 00:32:47.480
<v Speaker 9>every job.

570
00:32:48.519 --> 00:32:50.200
<v Speaker 6>And you take your hands.

571
00:32:51.960 --> 00:32:56.200
<v Speaker 5>And you take your gun, but you put the prints

572
00:32:56.240 --> 00:32:58.559
<v Speaker 5>on the gun, you stash it.

573
00:33:00.039 --> 00:33:00.799
<v Speaker 6>I just find a gun.

574
00:33:02.519 --> 00:33:05.000
<v Speaker 3>They're looking for that, man, this.

575
00:33:05.039 --> 00:33:09.599
<v Speaker 7>Is somebody's hands. What are you touching for? Made slim,

576
00:33:11.519 --> 00:33:27.240
<v Speaker 7>no funny, scared all right, hands out of.

577
00:33:27.319 --> 00:33:36.319
<v Speaker 9>That, said a way to pinks of creating away sleeps.

578
00:33:36.920 --> 00:33:39.599
<v Speaker 3>That that isn't the wind in.

579
00:33:39.559 --> 00:33:41.920
<v Speaker 7>The world every night, the gender in the on.

580
00:33:42.480 --> 00:33:44.000
<v Speaker 9>The way downs.

581
00:33:44.400 --> 00:33:45.640
<v Speaker 7>Many were sering the tone.

582
00:33:45.680 --> 00:33:49.480
<v Speaker 2>It's a funny atma, the slimmering and strange and love of.

583
00:33:49.480 --> 00:33:52.359
<v Speaker 3>The fest a wind.

584
00:33:53.519 --> 00:33:59.799
<v Speaker 7>And I said the very sam jets tasy like classic,

585
00:34:00.119 --> 00:34:01.880
<v Speaker 7>just like you me yes,