WEBVTT 1 00:00:05.120 --> 00:00:07.960 Oh is bot it's showtime. 2 00:00:08.679 --> 00:00:11.279 People pay good money to see this movie. When they 3 00:00:11.320 --> 00:00:12.160 go out to a theater. 4 00:00:12.439 --> 00:00:15.960 They want cold sodas, pop popcorn and no monsters. 5 00:00:16.120 --> 00:00:22.160 In the protection booth, everyone pretend podcasting isn't boring. 6 00:00:20.679 --> 00:00:50.920 Off kiss z Chesting also shares a day provision sprb man. 7 00:00:51.039 --> 00:00:53.119 Everybody's sharing me hiding month from. 8 00:00:52.960 --> 00:01:04.920 Alsas that you escape as it. 9 00:01:06.879 --> 00:01:09.879 Would you read what you are? Yeah, what's act you 10 00:01:10.040 --> 00:01:10.640 recomping up? 11 00:01:17.040 --> 00:01:35.040 Chosen hell, it's. 12 00:01:34.840 --> 00:01:35.920 Distens perform. 13 00:01:41.239 --> 00:01:46.359 Chesuo some so move. 14 00:01:44.599 --> 00:01:49.959 A cemetery sties out to the book and it's easy. 15 00:01:54.439 --> 00:01:56.599 Welcome to the projection booth. I'm your houst. Mike White, 16 00:01:56.640 --> 00:01:58.719 join me once again. It's mister Jonathan Allen. 17 00:01:59.239 --> 00:02:00.519 Hello, happy Yeptember. 18 00:02:01.079 --> 00:02:03.519 Also back in the booth is miss Maurice Howard. 19 00:02:03.920 --> 00:02:06.040 Hi Mike, thanks for having me back, and Hi Jonastan, 20 00:02:06.719 --> 00:02:09.960 very happy to be here. It's also Sparks Timber, the 21 00:02:10.000 --> 00:02:13.599 Sparks fans out there like myself. September is a significant mountain. 22 00:02:13.639 --> 00:02:16.080 Oh nice, I had no idea. I hope we don't 23 00:02:16.120 --> 00:02:19.000 conflict with those Sparks fans. Does overlap. 24 00:02:19.039 --> 00:02:20.680 I think it'll be fine. 25 00:02:20.719 --> 00:02:24.159 We conclude Checktember twenty twenty four with the film from 26 00:02:24.319 --> 00:02:28.800 Fred to czeck Lassal Adelhyde released in nineteen seventy. The 27 00:02:28.800 --> 00:02:32.719 film stars Peter Chipback as Victor, a former Czech soldier 28 00:02:33.039 --> 00:02:37.439 turned caretaker of a confiscated German estate where he encounters 29 00:02:37.479 --> 00:02:41.199 the titular adel Hyde played by Emma Cherna, who is 30 00:02:41.240 --> 00:02:44.919 being held as a prisoner. Their evolving relationship forms the 31 00:02:44.960 --> 00:02:47.240 core of the film, set against the backdrop of a 32 00:02:47.360 --> 00:02:52.039 post war displacement and political tension. We will be splitting 33 00:02:52.120 --> 00:02:53.599 this film as we go along, so if you don't 34 00:02:53.599 --> 00:02:56.199 want anything ruin, turn off the podcast and come back 35 00:02:56.240 --> 00:02:59.560 after you've seen the beautiful new restoration of the film 36 00:02:59.599 --> 00:03:02.520 that is now available on Blu Ray. So, Jonathan, when 37 00:03:02.560 --> 00:03:04.360 was the first time we saw adel Hyde and what 38 00:03:04.560 --> 00:03:05.120 did you think? 39 00:03:05.759 --> 00:03:09.280 I probably saw it about maybe twenty years ago, so 40 00:03:09.680 --> 00:03:13.080 I think it came quite early in my discovery of 41 00:03:13.199 --> 00:03:16.800 the Czechoslovak New Wave, and I probably didn't see it 42 00:03:16.800 --> 00:03:20.560 in a really great copy to start with. And I 43 00:03:20.639 --> 00:03:22.840 must admit that I think when I first saw it, 44 00:03:22.840 --> 00:03:25.599 it passed me by a little bit. And I think 45 00:03:25.639 --> 00:03:28.199 I was aware of flat Seel and I was aware 46 00:03:28.240 --> 00:03:31.520 of Marketa Lazarova I don't know if I had seen 47 00:03:31.639 --> 00:03:35.360 Marketa Lasarova by back by that point, but I feel 48 00:03:35.360 --> 00:03:37.479 that sadly, at the time this film was a little 49 00:03:37.520 --> 00:03:41.080 bit under the shadow of Marketa Lazarova, or under the 50 00:03:41.080 --> 00:03:44.080 shadow of my expectation of that film, because I just 51 00:03:44.120 --> 00:03:47.240 really wanted to see that, and I think because this 52 00:03:47.400 --> 00:03:51.520 is rather more restrained and low key film, it probably 53 00:03:51.560 --> 00:03:54.159 didn't make as big an impact as it should have done. 54 00:03:54.280 --> 00:03:57.759 But I think with having seen it again, rewatched it 55 00:03:57.919 --> 00:04:01.439 and understood more of the content act of the history 56 00:04:01.479 --> 00:04:03.800 that it's dealing with, I think I've come to appreciate 57 00:04:03.840 --> 00:04:06.520 it much more and in its own way. I think 58 00:04:06.639 --> 00:04:09.280 if as bold of a film in terms of what 59 00:04:09.360 --> 00:04:13.719 it's kind of themes it's addressing as market Lazarova. So yeah, 60 00:04:13.800 --> 00:04:16.360 it's one that's really grown on me. I think the 61 00:04:16.360 --> 00:04:17.439 more I've watched. 62 00:04:17.160 --> 00:04:18.240 It in therees. 63 00:04:18.279 --> 00:04:21.759 How about yourself, I think I would have first seen 64 00:04:21.800 --> 00:04:27.399 it much more recently than that, only sometimes just pre COVID, 65 00:04:27.800 --> 00:04:30.680 I think in a cinema though I was in Prague 66 00:04:30.800 --> 00:04:36.000 and it was playing at Kinoskaizort in the center, and 67 00:04:36.399 --> 00:04:37.959 it was one of his that I hadn't seen. I 68 00:04:38.000 --> 00:04:41.199 was familiar with his earlier films, so I was very curious, 69 00:04:41.360 --> 00:04:43.639 and I have to admit too that I didn't quite 70 00:04:43.879 --> 00:04:47.680 latch onto it on first site the way I had 71 00:04:47.839 --> 00:04:51.000 with marke Let and Lanza or Value of the Bees 72 00:04:51.160 --> 00:04:56.079 and the White Dove as gorgeous earlier films. I'm obsessed 73 00:04:56.120 --> 00:04:59.639 with market Lanzrova. That's one of the most sublime in 74 00:04:59.720 --> 00:05:03.439 cinem experience as I've ever had. And so I did 75 00:05:03.480 --> 00:05:06.519 go to the cinema, to Kinoskitters all that day with 76 00:05:06.560 --> 00:05:10.439 great expectations, and I did come back a little not confounded, 77 00:05:10.519 --> 00:05:14.120 but just somehow a little underwhelm. But just reviewing it again, 78 00:05:14.279 --> 00:05:17.759 just very recently, let's say, in the last twenty four hours, 79 00:05:17.879 --> 00:05:21.040 it was a different film. And I've seen the main actor, 80 00:05:21.079 --> 00:05:24.439 Pettitchepink in quite a number of films over the years, 81 00:05:24.800 --> 00:05:27.160 and I'm used to putting on quite different sorts of 82 00:05:27.160 --> 00:05:29.959 style of performance. So I came to this not expecting 83 00:05:30.199 --> 00:05:33.040 quite what I got out of it just now actually, 84 00:05:33.360 --> 00:05:36.000 because he's so restrained in it to everything about this 85 00:05:36.079 --> 00:05:40.879 is quite quite austere. Some little moments aside, but yeah, 86 00:05:40.920 --> 00:05:45.319 it's striking. It's a striking film. So I'm a convert. 87 00:05:45.399 --> 00:05:47.920 As check timber has been progressing throughout the years. I've 88 00:05:47.959 --> 00:05:52.920 been going through Vassel's filmography, so starting with market E Lazarova, 89 00:05:53.680 --> 00:05:56.879 we did the commentary track for Valley the Bees and 90 00:05:57.000 --> 00:06:02.639 now Adele Hide, and it's just every single time it's gorgeous. 91 00:06:02.959 --> 00:06:06.199 It's very different. I think you can see Devil's Trap 92 00:06:06.240 --> 00:06:09.240 and Marketta and Valley the Bees. Some people consider that 93 00:06:09.279 --> 00:06:14.120 a trilogy. I can definitely appreciate that Marketta is so epic, 94 00:06:14.519 --> 00:06:16.920 and then you come to Adelhyde and it's just such 95 00:06:16.920 --> 00:06:20.240 a small story set against a big backdrop, but a 96 00:06:20.279 --> 00:06:26.680 small story, but yeah, very restrained and of course beautifully told. 97 00:06:26.759 --> 00:06:30.959 Because Fletchel's camera work and what he does, how he 98 00:06:31.040 --> 00:06:33.399 tells stories, I just absolutely love it. 99 00:06:34.040 --> 00:06:36.800 Well, there's a real lived in quality to the world 100 00:06:36.879 --> 00:06:40.600 he puts on film, and I well, I've been in 101 00:06:40.639 --> 00:06:44.199 the Czech Republic quite a number of times. I've spent 102 00:06:44.279 --> 00:06:48.160 very little time in Moravia where this film is set. 103 00:06:48.040 --> 00:06:51.399 In the story and it's looking at that mana Helse. 104 00:06:51.439 --> 00:06:53.879 We spend so much time, and it's the architecture is 105 00:06:53.920 --> 00:06:56.519 so different to how it is much of Bohemia. There's 106 00:06:56.639 --> 00:06:59.920 sort of a focus quality to that quite gorgeous manner 107 00:07:00.079 --> 00:07:05.560 house that Chippick's character is there to administer. There's a 108 00:07:05.560 --> 00:07:10.040 different feel. It feels, not like in as medieval films, 109 00:07:10.120 --> 00:07:12.800 or perhaps they're even said in an earlier period than 110 00:07:13.160 --> 00:07:17.040 just the medieval. You get a sense of a Czech land, 111 00:07:17.120 --> 00:07:20.079 a Czech culture that's not at all familiar. And here 112 00:07:20.160 --> 00:07:23.160 as well, there's Maravi isn't very known to me, and 113 00:07:23.800 --> 00:07:28.240 there's something just about that environment, that the architecture, that 114 00:07:28.240 --> 00:07:30.680 that that waste we spend so much time and it's 115 00:07:30.759 --> 00:07:36.240 it's quite unfamiliar, but I still felt very immersed in it, 116 00:07:36.439 --> 00:07:37.759 very transported to it. 117 00:07:38.600 --> 00:07:41.959 I really love that description of it has lived in 118 00:07:42.199 --> 00:07:45.600 and as immersive, because yeah, I feel exactly the same thing. Really. 119 00:07:46.480 --> 00:07:49.000 I don't think anybody would describe it as like a 120 00:07:49.040 --> 00:07:52.319 reassuring film or as a cozy film, but there is 121 00:07:53.120 --> 00:07:58.120 somehow feeling of being, yeah, just like immersed in an 122 00:07:58.240 --> 00:08:02.000 environment and have just there's a sort of sensoryquality to that. 123 00:08:02.079 --> 00:08:05.160 I think in the way that he establishes the time 124 00:08:05.240 --> 00:08:08.480 period and the place and the sense of the seasons 125 00:08:08.480 --> 00:08:11.800 as well. And yes, I think that is a connection 126 00:08:11.959 --> 00:08:15.519 with his medieval films, where you do feel just you 127 00:08:15.560 --> 00:08:19.720 are totally absorbed into this time and place really, so yes, 128 00:08:19.800 --> 00:08:23.079 I think it. Yeah, lived in is a really beautiful 129 00:08:23.079 --> 00:08:24.199 way to describe it. 130 00:08:24.279 --> 00:08:24.680 I think. 131 00:08:25.279 --> 00:08:28.199 I guess one of the things that's a big change 132 00:08:28.240 --> 00:08:32.720 from his previous feature films is that he's working in color, really, 133 00:08:32.759 --> 00:08:35.679 and I don't think he'd use color for any of 134 00:08:35.720 --> 00:08:38.000 his feature films. I think it was only I think 135 00:08:38.080 --> 00:08:40.120 the one of the short films that he made back 136 00:08:40.159 --> 00:08:42.799 in the fifties that was like the last time that 137 00:08:42.840 --> 00:08:47.200 he'd used color. And one of the interesting things about 138 00:08:47.200 --> 00:08:49.159 this is the way it begins, because I guess you 139 00:08:49.200 --> 00:08:51.480 start off black and white and then you shift to color, 140 00:08:51.519 --> 00:08:54.440 and I don't know, I mean, how connected that is 141 00:08:54.480 --> 00:08:57.799 to the fact that this was his first feature film 142 00:08:57.840 --> 00:09:01.919 in color really, And yeah, I think a significant change 143 00:09:01.919 --> 00:09:04.759 after that beautiful sort of high contrast black and white, 144 00:09:04.799 --> 00:09:09.080 as you say, of the medieval films. But I think 145 00:09:09.080 --> 00:09:12.120 the way that the color is used is really careful 146 00:09:12.200 --> 00:09:15.320 and really significant. And from what I've read, apparently he 147 00:09:15.440 --> 00:09:19.360 was very fastidious about the colors, and I believe that 148 00:09:19.600 --> 00:09:22.720 this has been reported that apparently he was very insistent 149 00:09:22.799 --> 00:09:26.519 to the cinematographer that they not used the color red, 150 00:09:27.159 --> 00:09:30.799 So I think he was very careful about crafting the 151 00:09:30.840 --> 00:09:35.440 precise kind of color palette that he wanted. Having said that, though, 152 00:09:35.440 --> 00:09:38.320 I just recall that the title itself is in red 153 00:09:38.519 --> 00:09:41.559 at the beginning, so that's an interesting choice given that 154 00:09:41.679 --> 00:09:44.600 he apparently didn't want to use much red in the film. 155 00:09:44.679 --> 00:09:47.600 But yeah, I think the way that the color is 156 00:09:47.840 --> 00:09:51.559 handled is very careful. But of course it's also very 157 00:09:51.639 --> 00:09:53.320 restrained color too, isn't it really? 158 00:09:53.360 --> 00:09:53.799 So it does. 159 00:09:53.840 --> 00:09:56.600 I guess that's another reason why it doesn't really leap 160 00:09:56.639 --> 00:09:58.559 out at you the way that the black and white 161 00:09:58.559 --> 00:10:01.320 say does in the earlier films. 162 00:10:01.600 --> 00:10:05.919 Yeah, it feels very drained sometimes, and especially once you 163 00:10:05.960 --> 00:10:09.440 get to the manor house and just everything feels old 164 00:10:09.519 --> 00:10:13.639 and decrepit and dirty and just yeah, the drain of 165 00:10:13.840 --> 00:10:17.440 color helps make it feel that way. But then you 166 00:10:17.480 --> 00:10:20.960 do have occasional black and white shots in the film. 167 00:10:21.159 --> 00:10:25.320 When our main character is having a ulcer attack, there's 168 00:10:25.320 --> 00:10:29.320 that beautiful shot of the water coming out of the spigot, 169 00:10:29.360 --> 00:10:32.200 but then there's color that's been added to it, almost 170 00:10:32.279 --> 00:10:35.159 like a psychedelic effect, which is nice. And I swear 171 00:10:35.159 --> 00:10:37.159 there's at least one moment where he looks down at 172 00:10:37.200 --> 00:10:40.519 the courtyard and it feels like that's in black and white. 173 00:10:40.559 --> 00:10:42.600 I don't know if it is or just everything is 174 00:10:42.840 --> 00:10:45.440 so colorless, but I was like, is that a black 175 00:10:45.480 --> 00:10:48.039 and white shot? Because I thought it was nice that 176 00:10:48.120 --> 00:10:51.440 he's throwing in these little black and white moments even 177 00:10:51.480 --> 00:10:53.080 in this muted color film. 178 00:10:53.840 --> 00:10:56.000 It definitely were a couple of moments like that, and 179 00:10:56.039 --> 00:10:59.960 there was one that was very high contrast, really high 180 00:11:00.000 --> 00:11:03.440 coming back to most met last or in particular, where 181 00:11:03.440 --> 00:11:07.639 that's really so ramped up that this weird, odd little 182 00:11:07.639 --> 00:11:11.960 moment where it feels like just a moment of just 183 00:11:11.960 --> 00:11:15.440 pure expressionism. I don't think it's as I don't think 184 00:11:15.440 --> 00:11:19.919 it's a moment with any narrative of significance per se, 185 00:11:20.080 --> 00:11:24.080 just this a little I felt like the man Victor 186 00:11:24.120 --> 00:11:27.120 there's just a bit outside of himself, disassociating or something 187 00:11:27.159 --> 00:11:31.039 perhaps happening there. Just yeah, a really weird little moment 188 00:11:31.080 --> 00:11:33.720 that's so different to the rest of the film, so 189 00:11:33.759 --> 00:11:37.600 as if he's looking out of the place, but the 190 00:11:37.679 --> 00:11:39.919 image seems to have him in it, but his face 191 00:11:40.080 --> 00:11:45.919 is very obfuscated through the true this contrast, something's abstracted 192 00:11:45.960 --> 00:11:49.919 the image somewhat anyway, it's a little bit hallucinatry. 193 00:11:50.080 --> 00:11:51.960 You really get the feel in this one that it 194 00:11:52.080 --> 00:11:54.600 is based on a book, which it is, as is 195 00:11:55.039 --> 00:11:58.679 a lot of his other works. So I feel while 196 00:11:58.679 --> 00:12:00.799 I'm watching this, I'm like, Okay, I feel like there's 197 00:12:00.840 --> 00:12:04.440 more to this story that maybe I should have read 198 00:12:04.440 --> 00:12:07.039 the book, but I could not find an English translate 199 00:12:07.080 --> 00:12:10.799 it topy of it. But it also feels play like 200 00:12:10.960 --> 00:12:14.279 at times, because really there's like your three main characters 201 00:12:14.320 --> 00:12:17.399 that you have throughout this, and the way that the 202 00:12:17.480 --> 00:12:21.039 one character, the corrupt official, will drop in and out, 203 00:12:21.120 --> 00:12:24.399 and then for the most part it is our main 204 00:12:24.480 --> 00:12:29.159 character and ar titular characters between Victor and at Adelhyde, 205 00:12:29.679 --> 00:12:34.720 and they're growing changing relationship throughout so much of this, 206 00:12:34.919 --> 00:12:38.240 and that it's I would say, what ninety percent of 207 00:12:38.279 --> 00:12:41.039 this movie takes place in one location, takes place at 208 00:12:41.039 --> 00:12:43.840 the manor House. The rest of it we start off 209 00:12:44.320 --> 00:12:48.039 on the train, we go to the official's office, and 210 00:12:48.039 --> 00:12:51.679 then after that it's pretty much just at the manor House. 211 00:12:52.440 --> 00:12:54.600 Yes, it would have been very easy to I don't 212 00:12:54.600 --> 00:12:57.240 know if it ever was adapted into a theatrical version, 213 00:12:57.240 --> 00:13:00.240 but yes, it would be very easy to do that. Yeah, 214 00:13:00.240 --> 00:13:03.039 I'm a little bit confused about the genesis of it. 215 00:13:03.440 --> 00:13:07.440 There was a book by Vladimir Kerner, who also wrote 216 00:13:08.120 --> 00:13:11.759 Valley of the Bees with Latchil, and from what I've read, 217 00:13:11.799 --> 00:13:15.000 I believe there was an initial version of the script, 218 00:13:15.039 --> 00:13:18.039 which I think was submitted a little bit earlier, kind 219 00:13:18.039 --> 00:13:22.240 of I think about nineteen sixty six, and I'm not 220 00:13:22.360 --> 00:13:25.679 quite sure about whether Kerner had written the novel before that. 221 00:13:25.960 --> 00:13:28.279 I think maybe he had, but I think the novel 222 00:13:28.720 --> 00:13:30.639 was published a little bit later. I think the novel 223 00:13:30.720 --> 00:13:33.440 was published in sixty seven, so that was after the 224 00:13:33.480 --> 00:13:37.679 initial attempt to get the script produced, and that had 225 00:13:37.679 --> 00:13:41.559 failed because nineteen sixty six was still the Novotny era 226 00:13:41.840 --> 00:13:45.320 and there was still difficulty in making this kind of 227 00:13:45.360 --> 00:13:47.480 film on this kind of theme, dealing as it does 228 00:13:47.519 --> 00:13:52.639 with the post war treatment of Germans in Czechoslovakia. And 229 00:13:52.720 --> 00:13:55.840 apparently the earlier version of the script at least was 230 00:13:56.200 --> 00:13:58.159 on a kind of bigger scale, and I think there 231 00:13:58.159 --> 00:14:01.200 were more like subplots, and there were more characters and 232 00:14:01.240 --> 00:14:04.240 more of a sense of the kind of community around 233 00:14:04.799 --> 00:14:09.759 the main characters. And apparently, at some point from the 234 00:14:09.799 --> 00:14:14.399 first version to the to the novel, because the novel itself, 235 00:14:14.600 --> 00:14:17.159 at least the version that was published is also very 236 00:14:17.159 --> 00:14:21.000 similar to the existing film, And I think there had 237 00:14:21.000 --> 00:14:23.320 already been a kind of stripping down of the story 238 00:14:23.360 --> 00:14:27.600 at that point. And then yeah, so I think I 239 00:14:27.600 --> 00:14:31.519 guess Kerner had decided to do that at some point, 240 00:14:31.720 --> 00:14:35.559 perhaps because maybe it was going to be less controversial 241 00:14:35.679 --> 00:14:38.600 if you didn't have that kind of wider context in there. 242 00:14:38.639 --> 00:14:41.080 But originally it was meant to be I think a 243 00:14:41.080 --> 00:14:44.120 little bit more not as much of a chamber work 244 00:14:44.759 --> 00:14:45.960 in the original idea. 245 00:14:46.559 --> 00:14:49.240 Yeah, I can absolutely imagine this on stage too. It 246 00:14:49.279 --> 00:14:53.240 would be very straightforward production to mount. It is very 247 00:14:53.279 --> 00:14:55.679 much a chamber drama. I mean, you could say that 248 00:14:55.720 --> 00:14:58.919 there's an extent to which that Manner houses at of 249 00:14:58.919 --> 00:15:05.360 psychological space as much as a narratively meaningful physical space. 250 00:15:05.639 --> 00:15:08.240 And I lived in space, as we were talking about. 251 00:15:08.840 --> 00:15:12.360 But it's Yeah, there's a degree of decrepitude and yet 252 00:15:12.360 --> 00:15:15.399 a degree of a faded glamour to this place. It 253 00:15:15.480 --> 00:15:19.720 is a bit grand, and some rooms notably grander than others, 254 00:15:19.720 --> 00:15:23.320 and a bit more decoration, and some of that decorations 255 00:15:23.600 --> 00:15:24.360 quite beautiful. 256 00:15:25.039 --> 00:15:27.679 But yeah, for me, it's still. 257 00:15:27.559 --> 00:15:31.639 A curious a curious house It's don't know how common 258 00:15:31.639 --> 00:15:34.240 that architecture is throughout Moravia, but I'm still going to 259 00:15:34.279 --> 00:15:36.840 say it has a grandeur that wouldn't be just super 260 00:15:36.840 --> 00:15:42.240 commonplace back then, circle close of World War two or 261 00:15:42.279 --> 00:15:45.639 to the current day. Have you been to Moravia, either 262 00:15:45.639 --> 00:15:47.600 of you much? Have you know the neighborhood? 263 00:15:47.919 --> 00:15:49.200 No, I can't say idea. 264 00:15:49.519 --> 00:15:54.240 Only wants to burn Oe. Yeah, not to the countryside unfortunately. 265 00:15:54.320 --> 00:15:58.000 But in chat reviews that I've read of the film, 266 00:15:58.039 --> 00:16:00.480 it does tend to describe it as a bizarre house, 267 00:16:00.559 --> 00:16:03.840 so I think probably even by like Moravian standards, I 268 00:16:03.879 --> 00:16:07.960 guess it's pretty striking. Yeah, I agree with that idea 269 00:16:08.000 --> 00:16:10.240 that I think it is a kind of psychological space. 270 00:16:10.639 --> 00:16:12.120 I don't know whether i'd go so far as to 271 00:16:12.159 --> 00:16:15.000 describe it as Gothic, but there is a kind of 272 00:16:15.039 --> 00:16:21.440 fairy tale quality. And interestingly, at that point, before Victor 273 00:16:21.480 --> 00:16:24.399 actually enters the house, I think it's during his journey, 274 00:16:24.639 --> 00:16:27.519 you hear a voiceover I believe I'm not quite sure 275 00:16:27.519 --> 00:16:30.440 whether it's the voiceover over of Adelhyde herself, but there's 276 00:16:30.480 --> 00:16:33.720 a somebody like reciting a kind of fairy tale story. 277 00:16:34.600 --> 00:16:36.720 And I guess when you first see the house. When 278 00:16:36.720 --> 00:16:38.720 you see the exterior, it does have that kind of 279 00:16:38.720 --> 00:16:42.720 fairy tale qualities. Yeah, I think there is some kind 280 00:16:42.759 --> 00:16:47.000 of maybe Gothic a psychological dimension to it, and it's 281 00:16:47.000 --> 00:16:49.759 a Yeah, it's a very strange space as well, I 282 00:16:49.759 --> 00:16:51.480 think in terms of the way it's presented, because I 283 00:16:51.519 --> 00:16:54.360 don't think you ever fully get a handle on what 284 00:16:54.480 --> 00:16:57.159 it really looks like inside of how the spaces relate 285 00:16:57.200 --> 00:17:00.879 to each other. And there's a sense of rooms like 286 00:17:01.000 --> 00:17:05.880 adjoining one another in a way that's unpredictable. For instance, 287 00:17:06.119 --> 00:17:09.440 there's that point where he's like rummaging around in I 288 00:17:09.440 --> 00:17:12.240 guess the room that used to be adel Hide's bedroom, 289 00:17:12.279 --> 00:17:15.160 and then he discovers there's a door, and then she's there, 290 00:17:15.759 --> 00:17:17.799 and she seems to be doing something in the room 291 00:17:17.839 --> 00:17:20.119 next to it, And there is this sense that you 292 00:17:20.200 --> 00:17:23.480 can't quite grasp like where each room is in relation 293 00:17:23.599 --> 00:17:26.000 to the other. And as you say, there is a 294 00:17:26.119 --> 00:17:28.720 kind of range of different kind of like moods and 295 00:17:28.839 --> 00:17:32.519 qualities to the rooms. And the first room, it's interesting 296 00:17:32.559 --> 00:17:34.480 that he decides to sleep in the room that looks 297 00:17:34.519 --> 00:17:37.920 like the most comfortless and it's like like an attic 298 00:17:38.000 --> 00:17:40.759 looking little room, isn't it really and then I guess 299 00:17:40.759 --> 00:17:44.880 as the narrative progresses and as their relationship develops to 300 00:17:44.880 --> 00:17:48.559 some extent, he's changing room. And then I think in 301 00:17:48.599 --> 00:17:51.039 the one of the latest things, he's actually in her room, 302 00:17:51.079 --> 00:17:54.319 isn't he sleeping there? At which point the color schemes 303 00:17:54.359 --> 00:17:56.440 start to change as well. And so yeah, there is 304 00:17:56.480 --> 00:17:59.160 this use of the spaces, I think, to reflect the 305 00:17:59.640 --> 00:18:01.519 psycho and the relationship. 306 00:18:02.000 --> 00:18:04.960 Yeah, and then there's definitely a labyrinth scene quality to that, 307 00:18:05.680 --> 00:18:09.759 and that lay the layout that house. And I think 308 00:18:09.920 --> 00:18:14.000 that's amplified too by the the way the film is carts. 309 00:18:14.440 --> 00:18:16.839 But from one scene to the next, sometimes suddenly there's 310 00:18:16.880 --> 00:18:19.519 someone in the house who really it wouldn't have a 311 00:18:19.559 --> 00:18:21.559 sense of a passage of time. It's a new day 312 00:18:21.640 --> 00:18:24.079 and now the inspectors dropped around against just in the 313 00:18:24.119 --> 00:18:27.440 next scene bad of an eel, he's in a room. 314 00:18:27.640 --> 00:18:32.440 It has this peculiar, a rhythmic quality to the editing 315 00:18:32.519 --> 00:18:35.559 that just makes that that house seems a little more 316 00:18:35.720 --> 00:18:37.680 peculiar as well, in that sense, a bit more of 317 00:18:37.720 --> 00:18:41.240 a psychological space, because there's just something that doesn't give it. 318 00:18:42.000 --> 00:18:45.079 I never feel that a scene has resolved. There's a pause, 319 00:18:45.160 --> 00:18:48.440 a little hiatus, we catch our breath and then it's 320 00:18:48.480 --> 00:18:51.720 a new day, and it doesn't get those sort of beats, 321 00:18:51.880 --> 00:18:55.440 And I feel that makes that house a peculiar place 322 00:18:55.480 --> 00:18:58.200 to spend time in because just how time seems to work, 323 00:18:58.200 --> 00:19:01.000 and it seems a little abstracted as well. 324 00:19:01.559 --> 00:19:04.359 Yeah, it's funny we're doing an episode in October on 325 00:19:04.559 --> 00:19:09.680 Melpertweet the Harry Kummel film, and that it's all about 326 00:19:09.720 --> 00:19:12.599 a labyrinthine house. But I was also reminded a lot 327 00:19:12.680 --> 00:19:17.000 of the house from Black Noon and right, yeah, the 328 00:19:17.079 --> 00:19:21.440 Louis Maul film, and just again it yeah, like that 329 00:19:21.680 --> 00:19:24.720 fairy tale quality, especially going to somebody's house and you 330 00:19:24.799 --> 00:19:28.000 don't know who they are, what they are. And that's 331 00:19:28.160 --> 00:19:32.119 part of this too, is the revelation that adel Hyde 332 00:19:32.200 --> 00:19:35.799 is actually the daughter of the man who owns the house. 333 00:19:35.839 --> 00:19:38.759 It's not she is not a servant. She should have 334 00:19:38.839 --> 00:19:44.440 been the fairy tale princess here, but unfortunately the mean 335 00:19:44.480 --> 00:19:47.720 old dad is a Nazi officer, one of the worst. 336 00:19:48.039 --> 00:19:51.640 So he's being held in a Russian prison, I believe 337 00:19:51.680 --> 00:19:54.400 at this time due to be hanged, and he is 338 00:19:54.599 --> 00:19:58.000 eventually hanged, though off screen in this and then yeah, 339 00:19:58.039 --> 00:20:00.839 you find out, oh, she's his daughter. And by the way, 340 00:20:01.279 --> 00:20:04.440 there's this beautiful cage outside where he used to keep 341 00:20:04.680 --> 00:20:06.359 Polish prisoners just for fun. 342 00:20:07.039 --> 00:20:09.720 Yeah, he does seemn feel the unsaved re character, doesn't 343 00:20:09.720 --> 00:20:12.440 He not one of those fun, jolly Nazis. 344 00:20:12.480 --> 00:20:15.880 But yeah, they call him the greatest of the biggest 345 00:20:15.880 --> 00:20:18.839 fascist in the area. So yeah, even by naturally standard, 346 00:20:19.279 --> 00:20:20.160 he's pretty bad. 347 00:20:20.960 --> 00:20:23.079 So then you're like, what is she like? Then? If 348 00:20:23.119 --> 00:20:26.400 this is who her father is she like this then 349 00:20:27.279 --> 00:20:31.240 sets up that mystery too, and this whole she's the 350 00:20:31.359 --> 00:20:33.759 daughter of a Nazi? Is she just as bad as 351 00:20:33.799 --> 00:20:36.759 he is or is she a different person? And what 352 00:20:36.799 --> 00:20:39.759 type of person is she? And I think she does 353 00:20:39.799 --> 00:20:42.799 a great job of not letting us in and not 354 00:20:42.960 --> 00:20:45.920 showing us who she is. She's very enigmatic throughout this 355 00:20:45.960 --> 00:20:49.200 whole film, even as he starts to I think, fall 356 00:20:49.240 --> 00:20:52.319 in love with her. Some of that is reciprocated, some 357 00:20:52.359 --> 00:20:52.920 of it isn't. 358 00:20:53.640 --> 00:20:56.759 Well, it remains very clear, I'm clear as you're out 359 00:20:57.119 --> 00:21:02.079 how much or how little she understands his Oh. 360 00:21:01.160 --> 00:21:02.839 Yeah there is that too. 361 00:21:02.960 --> 00:21:08.640 Yeah, that's never clarified, whether she's understanding what's being said 362 00:21:08.640 --> 00:21:12.759 and not letting on or not understanding and that ambiguity 363 00:21:12.839 --> 00:21:15.839 is in no way resolved by the end of the film, 364 00:21:16.440 --> 00:21:18.880 not that it seems to have hindered them having some 365 00:21:18.920 --> 00:21:21.920 sort of thing for one another, with perhaps some genuine 366 00:21:22.000 --> 00:21:27.480 emotional racist, some sort of connection, though the film's austerity 367 00:21:27.519 --> 00:21:29.400 makes it hard to get a full read on that 368 00:21:29.480 --> 00:21:32.839 as well, because isn't a film of grand gestures and 369 00:21:32.839 --> 00:21:37.400 big emotions. It's all so bottled up, and these are 370 00:21:37.400 --> 00:21:41.319 some traumatized people. Really hard to know how much she 371 00:21:41.440 --> 00:21:44.680 might be naive, or how much she might be calculating, 372 00:21:44.839 --> 00:21:48.200 or how much she might be just pragmatic, how much 373 00:21:48.240 --> 00:21:50.559 she might think about her own goose is cooked, and 374 00:21:50.599 --> 00:21:52.279 it's just a matter of time as well. 375 00:21:53.079 --> 00:21:55.559 How much can she play this guy in order to 376 00:21:55.599 --> 00:21:57.960 get away clean if she can possibly. 377 00:21:58.240 --> 00:22:00.240 It must have been a very difficult part to play, 378 00:22:00.519 --> 00:22:03.640 and from what I remember from the book it really 379 00:22:03.720 --> 00:22:07.079 doesn't give anything. I think, it doesn't really get into 380 00:22:07.119 --> 00:22:10.400 the sort of psychology and in terms of how to 381 00:22:10.759 --> 00:22:14.559 play that, how to physically manifest the part. I think 382 00:22:14.599 --> 00:22:17.720 really that's all done through the direction and through the 383 00:22:17.759 --> 00:22:21.920 performance of Emma Churner. Really, and as you say, it's 384 00:22:22.079 --> 00:22:27.039 very inscrutable, isn't it. And the fact that she's lumped 385 00:22:27.039 --> 00:22:29.240 in with all the other Nazis and with the father 386 00:22:29.440 --> 00:22:32.720 by the officials. I guess it's meant to show that 387 00:22:33.359 --> 00:22:35.519 it's I think there's partly there's meant to be a 388 00:22:35.880 --> 00:22:38.160 there's meant to be a critical tone towards them, that 389 00:22:38.200 --> 00:22:42.160 they're just associating any German with Nazism. So I think 390 00:22:42.200 --> 00:22:44.079 they're clearly is a stent in which she is being 391 00:22:44.079 --> 00:22:45.960 wronged a little bit by the way she is just 392 00:22:46.599 --> 00:22:49.519 considered as a Nazi too. But then, as you say, 393 00:22:49.559 --> 00:22:53.640 there are there's ambiguities, aren't there? And I'm thinking of 394 00:22:53.720 --> 00:22:56.839 specifically the scene with the record and you hear that 395 00:22:57.519 --> 00:22:59.799 sort of military style march come on, and then she's 396 00:23:00.039 --> 00:23:02.839 had up and she's looking very proud, and then they 397 00:23:02.839 --> 00:23:06.119 get genuinely unnerved. Don't they buy the expression that she has? 398 00:23:06.160 --> 00:23:08.640 And at that point you're thinking, yeah, maybe there is 399 00:23:08.720 --> 00:23:10.960 some kind of pride or some kind of commitment to 400 00:23:11.319 --> 00:23:15.200 this idea. But yes, it's never really resolved either way. 401 00:23:15.240 --> 00:23:18.759