And welcome to the 451st consecutive week of Cinema Psy Ops. I'm your host, Cort, the guy that's just as disappointed that we had to use a canned episode and couldn't get an Al Adamson episode out and do it in time as you are. And joining me in really not being that disappointed in getting a fucking break from this bullshit is my co-host, Matt.
Yeah, they weren't all that disappointed. I'm going to tell you that right now.
Yeah, they enjoyed it.
I mean, the canned episode was probably a nice reprieve for everyone.
Yeah, well, it was they get to enjoy the dulcid tones of one Brad Hogue joining me to talk about a hammer film of our choice at that point.
Yeah, right.
All kinds of sexy. It's a lot better than us just fucking exposing on and on about how lame it is.
That's me. That's what I sound like.
Actually, you sound more like, why can't pick bad movies?
Why can't do this? Why can't you speak good English?
These films lower my IQ, make me mad.
No, it's not the films that lower my IQ.
It's a rampant drug and alcohol abuse.
Hey, hey, hey, hey, hey, I don't abuse it. I just shake it around lightly. All right.
I don't do marijuana. I ingest it on orders from my neurophysiologist.
Yes. So don't say I do it.
It doesn't matter if the neurophysiologist is me.
It doesn't matter if the neurophysiologist is some guy I met in an alleyway, all right?
Or my dealer who deals me this stuff.
Yeah, which is, you know, because I do just the Delta stuff, it's just the guy who works the counter at a shop. He tells me I need this. I think he seems qualified.
I think that's just you looking in the mirrored wall of the shop when you walk in.
The 80 million tattoos all over his body tells me he's qualified.
Yeah, anybody that can sit still that long enough should be able to attend board meetings and everything like that. They're used to sitting under duress and pain for extended periods and not moving.
Agreed. Agreed. That or they're just straight up psychotic. But either way, man, I don't care. I'm just trying to get through this life, all right?
Well, if they've got that many tattoos, maybe they're just going to therapy like me.
That's not therapy, all right? Listen, you and me got to have a real conversation sometime about what's going on with you. I'm concerned.
You're concerned. My wife is concerned.
You're concerned. I'm concerned. Everyone's concerned.
Man, I really don't want to talk about this movie, but once we get talking about it, I'm just going to tell everybody this is another clip show. And since we have already covered the things that were in the clip show, I just basically make reference to this is what we've seen before. And I move on to my notes because we all already know. So this should be.
Yeah, it was. This is the first clip show one we got, wasn't it? Kinda?
Well, the one that we recognized all the clips from because we realized what movies we had already seen.
Yeah, that's what I'm saying is that this is the first time where maybe other movies we had seen were also clip shows, but we hadn't seen the previous movies. So, but now because we've seen the previous movies, this one is kind of our first. That's why I was like, this is that first clip thing that court was talking about.
Well, the original version of the film that we're talking about isn't even Psycho a Go Go. There was a film that Adamson made that was just going to be a rough crime syndicate film that had nothing to do with even the lounge singer lady that we liked so much or the creepy doll that is doing all the singing and stuff. There wasn't as much of that stuff that was involved with it.
It was just the criminal syndicate and then like a cross, a double cross, and then the people trying to figure out what happened and they lost the loot because of the double cross. They added in the piece with it being thrown into the truck to do Psycho-O-Go-Go. And then the completed version of Psycho-O-Go-Go became the movie with which another film got made where John Carradine was put into inserted shots with another character.
And that was The Man with the Atomic Brain, I believe is what it was called, or Synthetic Brain. I can't remember which title it was released under with that.
Is anything going to be coming from my blood, brain of blood that I'm going to be doing next week?
Possibly. I don't know yet.
I think so. I mean, it sounds like it.
But the pieces that we're talking about with The Man with the Synthetic Brain or Man with the Atomic Brain, that is included in this version. And what that was, was basically Psycho-Ago-Go in its entirety, but with additional scenes added in with John Carradine. And that padded it out to an hour and 37 minutes. I skimmed through that. And essentially what they did was make it down to a trim 85 minutes to do the Blood of Ghastly Horror that we were covering this week, which was released in 1971.
So essentially, we're doing a highlight reel of Psycho-Ago-Go, and that was just enough to tie the story together from the highlight reel of Man with the Atomic slash Synthetic Brain, whichever one that is. And then they added in some additional violence and some pieces where they used the guy that was the psycho from Psycho-Ago-Go in the Man with the Atomic slash Synthetic Brain, whichever brain version his was.
And then they cut some stuff out of that, like the Lounge Singing Axe and some of the other things, and shot at even more police procedural weird stuff with another mad doctor who was raising zombies to get revenge on things that happened in Man with the Atomic slash Synthetic Brain. And then there was a TV version of that, the Blood of Ghastly Horror that we're covering this week, that I believe that was the version that was released with Synthetic Brain.
So the other one, I think, is Atomic Brain. But anyway, the Man with the Synthetic Brain is the TV edit of this film, Blood of Ghastly Horror, which is a composite version of the Man with the Synthetic Brain made out of Psycho-Ago-Go. Psycho-Ago-Go with additional stuff added on top of it. And then if you cut it down even more, then you get the Man with the Synthetic Brain that was the TV version of this.
All right. That's not confusing at all. When will then be now?
Now is then, and then just happened to be now.
What happened to then?
It's gone. It's over with. It's then.
Where did it go?
We're past that now.
Oh.
If it's then, we're past it.
We missed it. Just now.
Yeah. We just missed it now. We're going to be back around again to the beginning. But the pirate radio edit for this week for Blood of Gasly Horror, all 1971 films, both our movies were supposedly released in 1971, or the versions of them that we're talking about. So I did a mix and match. You and I both get one song from the band The Who. We get one song from the band The Kinks each. And then I went aloud a little bit and did some other things that were a little bit different.
And so we have like two other various bands that just sort of fill out 1971 music for our pirate radio edits. So I didn't keep Sabbath all to myself like I did last time.
Thank you. You know, it's just, don't ask for much, you know.
I may or may not have taken the better songs from The Who and The Kinks this week from 1974.
It's fine. At least I'm still getting The Who. All right.
Absolutely. Up first on my pirate radio edit is The Who with Baba O'Reilly right after this.
This will keep you quiet. Oh, hi there. I didn't see you. You caught me cutting a new show. I'm Bo Ransdell, and I'm one of the many creators you can find on Legion Podcasts. I said quiet. My fellow podcasters and I work hard to bring you the best in horror podcasting, but that comes at a cost. Not that, but also yes. No, what I'm getting at is that there are server costs, costs for good microphones, and software for editing, all the things that make our shows, you know, fun to listen to.
And you can help. If you're enjoying the shows on legionpodcasts.com or in the Legion Network available on iTunes and Stitcher, just about anywhere you can download a podcast, really, you can help us out and get a little something for your trouble at patreon.com forward slash Legion Podcasts. For just two bucks a month, you get a pair of movie commentaries exclusive to Patreon. And for five dollars, you can also join us for a monthly screening of a movie.
All of that available on patreon.com/LegionPodcasts We appreciate it and thank you for listening. Now, back to the Cutting Room.
Thanks Anyone who's ever watched Joe Para Talks To You will automatically know what my absolute favorite episode of that show is. It features this song very prominently.
I don't know.
Ah, man, I think you would like Joe Para Talks To You. It's very relaxing, it's very calming. And it's a guy from Wisconsin who's just kind of waxing philosophical about many different subjects on life, and you follow him through his life as he talks to you about various subjects.
Oh, all right, maybe I do need to check that out.
I highly recommend it, especially while imbibing on the Delta 8, my friend.
All right, no, it's good to know, good to know.
Well, now that I've done that commercial for Joe Para Talks To You, let's talk about Blood of Ghastly Horror, everyone.
I'm sorry, everyone, I tried to put it off as low as I could with Pablum.
Blood of Ghastly Horror, 1971. The film opens with cross-dissolving creepy images with the credits that had the runtime. They use a semi-creepy score that sounds like they stole it from the rejects of Dark Shadows episodes. And after two minutes of this filler, we get a shot of a woman standing in an alley lighting a cigarette, and it sure looks familiar, as I suspect this is yet another clip show. And boy, did Court back then not even know what Court now knows.
So a dude in a Canadian tuxedo walks up to the lady, and they do this weird sort of interpretive dance that sure looks like she is a prostitute, and that he is bartering for her services. Am I wrong? Is that what you're trying to get at?
No, I think you're right. It's the dance of bartering, I guess is the best way to put it.
Right, but it totally looks more like an interpretive dance, right? It was like this sort of weird picnic thing.
No, totally.
It does. So weird. Anyway, it is set to annoying organ music, and is interrupted by a guy painted green with paper mache spattered to his face, looking like a backyard zombie who headlocks both of them and kills them. That's what just happened.
Yeah, that's, I don't know, man.
Then it cuts.
I don't get it.
Then it cuts inexplicably to a dude in a car whom I presume is waiting on the Canadian tuxedo guy because he is immediately then killed by the exact same zombie who just killed those two with a double headlock. He steps out of the car and boom, Jolly Green Giant Zombie just kills him.
Yeah. Well, I mean, listen, sometimes the Jolly Green Giant gets angry if he's not getting his veggies.
Jolly Green runs into a lady in green and strangles her after menacing her and then moves on to a pig that showed up and was useless to do anything worthwhile to stop him.
It's because they were wearing the same outfit. You know, she was wearing green. He's Jolly Green. He can't have that.
The pig that showed up was completely useless like all pigs before.
Like all the time.
He has also strangled that pig that showed up and was completely useless. The disjointed guitar feedback score continues and covers over all for top of all of this. The entire movie looks like a fucking kid shot it in the 70s with his family super 8 film, by the way, everybody.
Of course it does.
Then after five minutes of this, they cut to a pig pen, I think. There is finally some fucking dialogue and our first clip.
It's ringing right in the back of my mind, like a bell, it's a telephone. There's a link, there's a connection, all these horrible murders. Lieutenant, Lieutenant, Commissioner, you. Yes, sir. You're no more upset than we are, sir. They were more than just co-workers, they were close friends. I expect we'll be on overtime for quite a while. Yes, sir. Any new developments you'll hear. Package for you, Lieutenant. Keep that over the more. Have examination go over it with a fine tooth comb.
Come on, Duke, move. That's it, the Corry kid. Wait a minute, Lieutenant. You don't mean the time that half-dead guy was brought back to life and slaughtered all those people? And then strange Dr. Bernard was responsible for the whole thing. Get the file on here. Let's see what we've got. Come on, Molly. You're right, sir. Here it is. Dr. Howard Bernard. That's it. That's it. Yeah, but, Lieutenant, he's deceased. I know that. I know that. What's it say about Perkins?
Corey. Joe Corey was the young soldier. And Officer Perkins was the patrol officer who went after him when he broke away. Yeah, yeah, yeah. There was something in the papers. Something about a guy who... Right. You were on special detail for the governor. That's right, Lieutenant. It's right here. Not only Perkins, but four of my men. Four murdered at the hand of some God knows what. I want to know why. Why don't you fill me in, Lieutenant? A young soldier, fresh from Vietnam. He was a soldier.
He was a soldier. A shell fragment lodged in his brain, Dr. Vernard Operas, something goes wrong. Oh, boy.
Here we go, everybody.
Here it is.
And just so everybody knows, while that clip was playing, I just sat and took hits over and over again for a minute solid, and I may be too stoned to read my own fucking notes I typed up. Just FYI.
Well, that happens sometimes. I mean, I'm not here to judge you.
I need to state that at the end of the clip, there was a head in the fucking box.
What's in the box?
Yeah, I think it was of one of the other swine that was the guy that we saw get killed. It's really hard to tell. It's really quick and it just doesn't fucking matter. It sets off the bad actors as you heard there, and they go into digging into the past. And then immediately after the clip when they were talking about the jewel robbery, they cut to the jewel robbery that we mentioned that's from Psycho GoGo.
It is complete with the doctor outfits, the lady wiggling her way over to the alarm like she does and tripping it, the double cross shooting that happens, the jewelry bag getting tossed into the truck, all of that stuff happens on screen. Then it goes from that to the daughter finding the jewels in a cutaway scene immediately. And then it cuts away from anything having to do with the family or any of the racist doll stuff. Thank fucking Christ.
Yeah, right?
To a hospital with what might be new footage after a dude lusts after a nurse changing a light bulb. There is finally some more fucking dialogue and our second clip.
Hello, hello. Is there anything I can do for you? You've done a whole lot for me already. I'm sorry, the doctor's working hours are over. Besides, you must have an appointment. Oh, well, let's arrange one, shall we? All right. Now, how about tomorrow night? I could pick you up for dinner around seven. Sorry, I don't go out with married men. You mean it shows? Married men are always the pushy. Oh, you really know how to hurt a guy, don't you?
Oh, well, you want to tell the good doctor that I'm here, Sergeant Frank Ward, urgent police matter? Dr. Bernard. Dr. Bernard, there's a Sergeant Frank Ward out here to see you. Oh, all right, send him in. It's right through that door. Thank you, sweetheart. Good evening, Sergeant. Dr. Bernard. Well, what's this all about? Have I overlooked some parking tickets? Oh, no, nothing like that, doctor. Well, briefly, a man was killed in a robbery today.
And when we searched his apartment, we discovered some rather strange fingerprints. The FBI checked them and discovered they belonged to a man who's been dead for two years. Hard, isn't it? How does this concern me? Well, his name was Joseph Corey. Ring a bell, doctor? Not offhand. Shoot it. You signed the death certificate. It was a patient of yours. Yes, I think. Just a moment. Corey. Now, remember, Joseph Corey, he died during an operation.
He was one of the first casualties of the war in Vietnam. Are you sure that's all you can tell me, doctor? Now, see here, Sergeant. Just what is it that you expect me to say? I told you he was dead. Isn't that enough? Of course. Of course, doctor. But, well, you can see the implications, can't you? We seem to have a walking dead man on our hands. You must admit that's a bit puzzling. Well, if you happen to think of anything else that might be useful, you will call me, won't you?
Good night, doctor.
This conversation ends, and I am pretty sure we are back into Psycho-Go-Go footage as a flat-top dude shows up to Menacek Construction Company office. He breaks in and smokes as the lady leaves it. She realizes she forgot something and heads back in. The flat-top dude knows he is fucked, so he gets some scissors and stabs her to death. He then starts rifling through files, and then jumps into that That Costs Me 20 Bucks stuff that we've seen before.
And then it cuts to the crew menacing the guy whose truck got the jewels dropped into by mistake, which we know what this is from, but it's dialogue, so fuck it. That's our third clip.
Guy's name is Clark, Dave Clark, found that the truck's checked out to him. Address? I got it. Is this the guy? David Jordan Clark? Yeah. So what? Nick, check the car. Bring him here. I want to talk to you, Mr. Clark. Is that all right with you? So talk. It seems as though a half a million dollars in jewels that belongs to me accidentally fell into the back of your truck. Return the jewels. We'll be on our way, and nobody will get hurt. The robbery? Yeah, the robbery. Jewels? Back of my truck?
Oh, you're out of your mind. As a matter of fact, Mr. Clark, I'm a very sane man. We searched your house and the truck. Impatient might be a better word. Let me have them, Vito. I'll ask him one more time. The jewels, Clark. Look, I told you I don't have any jewels. Joe? Choose your weapons, Clark. What's the matter, Clark? Does that hurt, huh? That hurt, huh? Did it really? Come on, Clark, you can take it. Yeah. Yeah, it's the marina over across town. Why? You got a wife named Lyndon?
Yeah, so what? The club's not closed yet. All right, check the missus out, Joe. Look, she doesn't know anything about... Hello again, doctor. Sergeant, I want to apologize to you for getting you out of bed. That's quite all right, doctor. I'm sure it's important. You thought of something else in connection with Joe Corey? You knew, of course, that I was hiding something from you. Yes, yes, I did. I have a strange story to tell you, doctor. I don't know how to begin.
I can't bear to keep it to myself any longer. Perhaps I should tell you something of myself and my work. As you know, I'm head of the neurosurgeon department of this hospital. The functions of the human brain have always fascinated me. 25 years ago, I became interested in rehabilitation of damaged brain areas. It's common scientific knowledge that when an area of the brain is damaged, another area can be retrained to take over the functions of the injured area.
In cases of very severe brain damage, this is impossible. The affected person is doomed to live out his days in a virtual catatonic state, unable to move or think of his own volition. Not alive, really, existing. To this problem, I dedicated myself, the salvage of apparently destroyed lives. I worked for many years. Finally, I designed and built an electronic artificial brain component, if you like.
Its purpose was to take over the functions of the damaged area, get its working power from the brain's own electrical impulses. I was desperate to try it. Perhaps too desperate. Two and a half years ago, Joe Coy was sent to me. He'd been hit by shrapnel while serving in Vietnam. He suffered severe brain damage. He was obviously made once. He was little more than a custodial case. He could be kept alive with intravenous feeding, but he'd be a little more than a human vegetable.
He had no family ties, no one to ask permission of. There's no point in asking the medical authorities. I knew what their reaction would be. But I had to test it, Sergeant. I had to test it. I had to. I operated on Joe Coy, planted the device, and then his skull. Only one sip remained. The activating of the artificial component within Coy's brain.
They cut to another flashback, but that's going to carry us well over the 20-minute mark, so we're now past the first 20 minutes.
God, it's like we saw this film before.
Yeah. Now, can you imagine being whatever unlucky patron that may have seen the original Crime Syndicate cut, right? And then, like, I don't know if that ever got released. I think whatever version of that, the crime film that they made, I don't think it ever got released until it was Psycho-A-Go-Go. So let's just say you see Psycho-A-Go-Go, right?
And then you come back to the drive-in later on, and then you see the man with the atomic brain or whatever it is that got made into this film eventually, where it's the kerating stuff that's added in, and that's like an hour and 40 minutes, and you're like, God damn it, I already watched most of this movie. This fucking blows.
Yeah, right?
You come back in 1971 to the drive-in after being hurt so many times by Adamson and all of his fucking sneaky tactics and tricks, and you're gonna watch Blood of Gasly Horror because you really like the title, and you think, well, I like this cover, this, you know, can't possibly go bad, right?
You think that, but you would be wrong.
God damn it, I just watched the film that I just watched before where I'm actually now inceptioned three films deep with additional footage added into it to pad it out, but then it's trimmed back down to 85 minutes. I'm really pissed off at this point, and I'm feeling really ripped off as a patron if I actually had seen all three of these at a drive-in.
Yeah, I'd be like, I just paid for this?
It's no wonder some people really don't hold Adamson in very much high regard. I mean, this is a business to this man, so if people would go to it, he doesn't care how he gets the film slapped together. He's just trying to get butts into seats or cars into speaker slots of the drive-in. That's all. That's all he cares about is getting the money out of these rubes.
That's definitely, yeah, you know, when you really think about it, that really is all he wants.
I mean, you do not make movies of this poor of a grade. The acting is absolutely terrible. There's three levels of bad acting. There's bad acting of people that didn't give a fuck in the scenes that John Carradine was in. And then there's another level of even worse acting of the over-the-top stuff that they added on top of it with the zombie doctor vengeance thing that's going on with the cops that were involved in the original case, right?
Their acting is so much worse and so much more over-the-top, and they give so much little shit, and the scents are even worse. Let's talk about this. John Carradine's laboratory set is a fucking hotel room. His laboratory is in the bathroom area where they have the sink and the toiletries cabinet behind him that they repurposed to try to make it look like a laboratory. His fucking desk is in the fucking shower. You can see the fucking tile.
And I'm pretty sure that's what I was thinking the whole time. I'm like, is his office in a shower?
And I'm pretty sure that the curtain that is there that's supposed to separate his desk from his lab is the fucking shower curtain that they're using.
Yeah, yeah, I think you're right. Oh, shit.
This is fucking awful, dude. This is really bad.
This is bad filming. This is trying to make a quick buck and grift people.
This is inception levels of filmmaking because you have three layers of just giving less and less of a shit of just trying to get some content out there to bilk the rubes from their cash. That's it. That's all this is. And you can either go along for the ride and just be like, holy fuck, is this cheap? Or you can just be miserable. This is your choice at the first 20 minutes.
Yeah, you can steer into it or whatever, but yeah, it's going to be bad. Right, right.
This is the point in the Carnival when you paid to see the five foot man eating chicken and what you get is a five foot child who has a bucket of chicken he's eating.
Yeah, right, exactly. This is where we're at.
Let's move on to the next 20. All right, so the next whatever the fuck time segment it ends up being, because fuck this movie, picks up at the end of the clip that we were talking about with the flashback that I mentioned before I went on a rant about how bad this film was to what made flat top the insane killer that he is.
Carradine fiddles with knobs on machines as the killer guy is strapped to a standing tilted table, in quotes, with a spray painted construction helmet on his head with wires glued to it. Carradine does some more expository dialogue, and well, fuck it, that's our fourth clip.
The experiment was at once a success and a failure. Joe Corey was returned to a certain level of normalcy, but his psyche, his personality was destroyed. He was a different person. More importantly, his apparently rational behavior would suddenly give way to bursts of maniacal and homicidal fury. In these periods, he was capable of unspeakable subhuman acts of violence. Social Ward, you can't know the torment I've suffered carrying this awful secret with me. I know it'll ruin you.
I just had to tell you. I had to. I hope you're not making a pitch for sympathy, doctor. Seems to me you're the monster here, not Joe Corey. You created and turned loose a homicidal maniac with an artificial brain whose every action is completely unpredictable. You're right about one thing, doctor. You're through. Fact is, I'd like to lock you up right now, except I'm not quite sure on exactly what grounds to arrest you.
But when the district attorney gets my report, I'm sure he'll think of something. Good night, doctor.
Good night, doctor.
This then cuts to the scene where Flat Top goes to the club looking for the singer's wife, for some jewels, as we have already seen in Psycho GoGo. I'm not 100% sure, but I think they at least took some time to overdub some dialogue to make it somewhat make sense.
To make it a little different. I think you're right. I don't think it's the same dialogue.
Between him and the bartender. But anyway, he goes to talk to the redhead and ends up what looks like he's supposed to be taking her out for another drink, but it's really back to her apartment like they talked about the first time. He's trying to find out about where the singer is, and then it cuts to him talking to her to find out about the singer, as we've already seen in the previous film again.
As soon as he gets the info again, as we have already seen in the previous film, he gets creepy and then kills the redhead lady, just like Psycho Gogo, for fuck sakes.
Yeah, that's also, yeah, just like Psycho Gogo. So, I mean, way to go.
He strangles her just like before, and then it cuts to Carradine in his in quotes lab that is definitely just a hotel room.
Yeah, again, just a hotel room, not a real lab.
Yeah, and it's done up cheaply to look like a lab. And anyway, he is menaced by some dialogue and that's our fifth clip.
Long time no see. What do you want? Why did you come here? I don't know, Doc. I ain't thought about you for two years. In fact, I forgot all about you until the other night. I had a dream the other night, Doc. A funny kind of dream. I dreamed I was in a room. A lot like this room. And I dreamed I was strapped to a table, Doc. A lot like that table. And then all of a sudden, all of a sudden, I felt like a million volts of electricity was shooting through my body. I couldn't stand it.
I couldn't stand it. I thought the top of my head was going to blow off. And I screamed, stop! Please stop! Then I opened my eyes. I saw your face, your face staring at me. And then I remembered, Doc. Then I remembered everything. I did help you, Corey. I saved you from rotting away in the hospital for the rest of your life. Who asked you? Who asked you to put this thing in my brain to give me all that pain? No one. I decided it was best to give you back your life. Oh, you decided?
And who are you to play God with my life? How would you like it if someone strapped you to a table and burned you like a...
With this, Flat Top knocks out Carradine and straps him to the, let's call it a table. It's definitely not just a piece of plywood with foam glued to it.
Hey, hey, hey, hey, hey, you're ruining the effects.
Well, anyway, it's a table, in quotes, in a lab.
It is a medical instrument.
He fiddles with the brain machine thing to get revenge on Carradine, and he fiddles with dials and Carradine's convulses. He fiddles with some more dials. Carradine convulses even more. And then there's some more noises and then more shots of equipment and more noises, and then some bad sound effects, and then they pop up some purple smoke and dialogue and our sixth clip.
Dr. Bernard died a much more horrible death than he really deserved. You know, in many ways, the man was a genius, years ahead of his time. God, you son of a bitch. What is it, Lieutenant? Everyone involved in the Corey case, with one exception, is dead. What? Do we know who it is? Yeah. Me. What? Homicide! Did you forget the other one, sir? Who? It's Susan Bernard outside, wants to see you. Well, if she's a monster or an ape or some kind of fiend, maybe we've got our killer. Send her in.
Right this way, Liz Bernard. Lieutenant Cross? My name is Susan Bernard. My father is Dr. Bernard. I believe he was involved in the case that you investigated just before he died. How do you know that? I just came from the office of my late father's lawyer and he has nothing. No estate, no will, no effects, not even any satisfactory information. Pretending to what? Lieutenant Cross, I feel very foolish telling you about this. You see, my father and I were never really that close.
In fact, I've been in Europe for the last four years, and I plan on going back tomorrow or the next day. As I said before, I feel so foolish telling you about this. Yes, but you haven't told me why. Well, I know you're going to laugh. The other night, I was asleep in my suite at the Carlisle, and all of a sudden, in the middle of the night, I was awakened by a very strange, eerie voice coming from God knows where.
And this voice told me in deep, sepulchral tones, come here, come here to where your father died, and it will be the turning point of your life. What did it say whether it was going to do you a good turn or a bad turn? Told you, you liar. I'm not laughing. Can you believe these disembodied voices? Lieutenant Cross, it was as though I were in some deep voodoo trance, under some deep magic, being contacted telepathically from miles and miles away. This voice again, it... I heard it.
There were deep drums, deep in a jungle, and water, rolling water, roaring waves. And this deep, insistent, compelling voice... was telling me... was telling me this strange... Mrs. Van Aard, you say you're going back to France? Yes, as soon as I can get away. Do me a favor, there's some loose ends connected with your late father's situation. If you meet or hear from anyone connected with your father's work, please let me know. Yes, of course. Thank you, Lieutenant.
Everybody sound a spooky, Lieutenant. Private Joe Corey, speaking at his military induction. My father, Elta Corey, has been missing in the wilds of Jamaica and Haiti for years. He was an anthropologist and interested in communication by telepathy, experiments in savage practices, pertaining to centuries-old religious rites, and ancient ceremonial acts related to voodoo. Very literate boy. I wonder where his father is now. No! No! What's wrong? I must have forgot something. Where are my notes?
I forgot the enter of Tanger's Fruit. Now we're on the right track. Patience, Achro. The replenishment of your potion is forthcoming. Soon, my son, you will be avenged, and they will know the pain and torture that you went through at their fiendish hand. I have some information and effects that you'd be very pleased to receive. Oh, I assure you, Ms. Bernard, I worked with your late father, God rest his soul, on many interesting experiments. Before he died, he pleaded with me to find you.
I sent him many letters, but they were all returned. It was just by chance that I... Well, I appreciate that, sir, but perhaps you could send the information here where I'm staying. Oh, no, no, I couldn't do that. You see, I can't trust this valuable information to the postal system. It's not that I don't want to meet you, but... Well, all right, but just to pick up my father's things. Yes, of course, I understand. My place is a little difficult to find.
Could you meet me at Garden Street in Chester? Do you know where that is? Yes, I do. Fine, I'll meet you at night.
This film really did just do everything through dialogue. It didn't bother even putting in stock footage of the guy in the jungle or anything like that. They show him, like, in his lab, indicating that he's the one that did that call while she's talking. This is so fucking cheaply made.
Oh, I mean, this is... Do you think he had gambling debts or something? Or maybe a fucking guy was looking for him or mafia shit? So it's like, hey, I gotta turn on another movie. I gotta pay this off.
It's literally the profit.
That's all.
Just the profit. That's all that matters. Oh, and by the way, this takes us over the 40-minute mark into the halfway point. We are halfway through this fucking movie now.
You know, this is one thing you can say about these movies. They go quick.
Oh, fuck, yeah. It does at least move fast, but not while you're trying to do notes on it and not when you've already seen the movie before.
Yeah, then it's a little slower.
Yeah, I will confess, I fast-forwarded it at two times speed during the part of the movie that I had already seen. Yeah, but I don't blame you. And I did have to back it up a few points where they would cut into a segment that was just more of a way to stitch together, but not really. So when I say that I skipped the stuff, I just talked about all the things that I recognized and we already seen this. We all know we covered Psycho Agogo just a few weeks ago.
Yeah, exactly.
It's so fucking cheap. Anyway, let's just go.
Come on, let's get in and talk more about this. I mean, we can keep going about how cheaply this is, and we probably will, but let's at least try to give them something of an opportunity here.
I just want everybody to know that the increase in the amount of footage used from Psycho Ogogo is so egregious that we are doing the run to the end from the second half on. Like, that's it.
All right, let's run. Let's run this back.
All right, so the second half picks up with a shot of the zombie guy from earlier in a glass coffin inside of a prison cell that is chained shut cartoonishly. The prison cell door just has a chain wrapped around it loosely. It's wide enough that if the zombie really needed to, he could slip right through that door.
Of course.
The camera pans around this, and it's an even more lame machine-ridden lab than John Carradine's hotel room that was supposed to be a lab. After this, the guy walks over to the cell and feeds the zombie a vial of water that brings him to life. And the guy declares that it is time for their revenge as the Canadian tuxedoed zombie rises to be the Jolly Green from the beginning. It cuts from this to the blonde from earlier, making yet another call. And that is our seventh clip.
Hello, could you please get me Central Police Station? Lieutenant Cross. This is Susan Bernard. Oh, yes, Miss Bernard. A friend of my father's just called me, and Lieutenant Cross told me to call him if any of my father's friends did contact me. It's probably not important, but I'm going to meet him at the corner of Garden and Chester at 9 o'clock. I'm sure that Lieutenant Cross will be interested in what you have to say. Okay, thank you.
This is the third level up of the really bad acting in case anybody was wondering.
Yeah, that was, I'm sure, very interested in what you have to say.
This starts a sequence of following the girl and the pig that took the call from her. Our main pig and his partner find the swine's love note telling them what he is doing. Then we follow the zombie and the doctor finding Carradine's daughter, and they kidnap her while the zombie goes after the pig in slow motion and lays him out all bloody.
The pig takes his time to eye the license plate and write it in his own blood so that when his fellow swine arrive to find him, they will know how they can avenge him or maybe keep following him to rescue the girl or some bullshit. Anyway, that leads to our eighth clip.
Yeah, looks like some kind of message, Lieutenant. No, those are numbers. What do they mean? Looks like the start of a license number.
You're right.
Look, get a hold of headquarters. Tell them to get a computer on this. Ah, you're awake at last. Here, I have something that will make you feel better. Miss Finard, you're about to become one of my priceless creatures, like Acro there. You see that blue potion? That's the one that transforms you into my strong, mechanical, completely subservient slave. It's a delightful metamorphosis to watch. It's like changing a beautiful butterfly back into a caterpillar.
Now, that's something I learned in the jungles of Jamaica. Then I command you to kill someone, and after you kill, you get the red liquid, and then, then you become my beautiful butterfly again. You're insane. Well, if so, all the worse for you. My dear Miss Bernard, the loneliness I feel now is all the fault of your father. My son Joe could have been cured of his injuries by my natural medicines, but your father had to make an electronic freak out of him before I could get to him.
I don't know what you're talking about. My father only tried to help people. That's a touching sentiment for the dead, but far from true. Once your father put an electronic brain in my son's head, Joe Corey died, and a psychotic killer was born. I can't believe it. It's true. Joe's last days were spent as a hunted mad animal when he went to Lake Tahoe. Joe didn't know this, but the whole network of police from California to Nevada were out looking for him.
This then cuts to the footage of Psycho Agogo, where he intercepts the singer and her child getting off the bus, and they are duped into going with him. It cuts around to the rape scene and resulting fight at the cabin, where Joe kills his partner with a gun, and then goes after the singer and her daughter when they escape in the car by carjacking another person to chase them down. This chase scene is all the end of Psycho Agogo that ends up in the snow-covered mountains and around a waterfall.
There with the chase of the singer and daughter, with the pigs from that movie in pursuit. It is the whole enchilada complete with the pig shooting the guy in the back, the little girl dropping the doll, and the padding of the pursuit shoot out when the pig gets the drop on him and shoots him in the gut. Flat Top finds the necklace again and is shot dead by the pig as he falls dead from the cliff.
This cuts to new footage and new expository dialogue about the squaring of the debt and our pent ultimate clip.
So you see, Ms. Bernard, my son was shot down as a mad killer. And as he died, so much those who killed him. Now you can help me square my debt. Sergeant Grimaldi here, sir. Maybe over in the warehouse section. Yeah, 1217 Verbena Drive. Right, sir. Move in, but use your own discretion. I'm on my way. I'll be right behind you, sir. Now for a very necessary injection. You're interfering with my experiments on acro. I said put that needle down. I said get against the wall.
Everything's gonna be all right now. Just sit down. Now look, can't we talk about it? I said sit down. Just sit down. Well, shall we proceed before there are any more interruptions? No, don't. There. Now this plus the fluid you swallowed earlier will make you my slave. Brother.
After the injection, there is a slow motion time padding cross dissolve of the woman becoming increasingly grayed up and having layers of paper mache glued to her face with badly blending makeup put over top of all of it. They add dialogue, which is awful, and our final clip.
As your father experimented on my son, so you shall serve me. His day is a number. You see, the formula doesn't work on him as it once did. His body is fighting it. I can't waste any more time, so he shall die. And I want you to remember, this red potion is the only thing that can return you, shall we say, to my beautiful butterfly. Get back in your cage! What are you doing? You want this. But this is all that's left. When this is gone, you die. Acro!
He tosses the-
It's the last clip, we're almost out of here.
Yeah, I have one paragraph, we're done. He tosses the vial, the zombie strangles him, and falls down to crawl towards the serum to keep him going. The horror hag lady sees her reflection and screams no overly dramatically over and over and over again. Before chugging the red fluid, the doctor so nicely explained would fix her, like, repeatedly to us and her before he died. And just as the serum works, the pig arrives to check on the overacting blonde to make sure she is okay.
Oh my god, she's turned back to normal. They call for backup as grape juice drips on top of the photo of the flat top guy from earlier. That's it, roll those fucking credits. You know what, I don't even know if I'm going to go back and fix the shit that I missed, and I'm just going to leave it here, and then I'll put some of the dialogue of what was going on, maybe, as to what needs to be fixed in the outtakes.
I don't even fucking know, like, it's just, there's no, there's no point to any of this, like, the actual story is-
I mean, it really is, like, this movie had no rhyme or reason to it.
It was three layers of flashback. We have the zombie killing that took place because of the thing that happened previously with John Carradine's character, and it was all the people that were involved in the investigation with the son and that could possibly have killed the son from this voodoo doctor guy and who is doing this to get revenge for what happened to his kid.
Even though his kid already killed John Carradine, who did this to him, he decides he's going to Dr. Fibes this and just pick, like, the nine most recently local people to the death that occurred that he wants vengeance for. I mean, at least with Dr. Fibes, it was, like, a medical crew that was tasked to save the life of his wife and failed, so he considers that they should die. Like, at least he has, like, some kind of insane rationality, where this guy is literally, like, you hurt me boy.
He's just like, uh, vengeance for, nah.
You hurt me boy. But I didn't hurt your boy, but someone that you vaguely, like, your brother's cousin's sister's roommate hurt me boy.
Absolutely nothing.
But I'm still going to sick this, like, half-eyed zombie paper machete up, looking badly mixed makeup.
It's kind of like one of those, what I'm searching for vegits for what, you know, you have to tell us now, stuff, things, stuff and things, things and stuff.
And as we mentioned, the acting gets worse, the more layers up you go, and not that I ever started all that great.
No, but I mean, holy shit.
The only bonus to this is they cut out pretty much all of the racist singing from the doll. And it's just a little girl carrying around that black baby doll. That's pretty racist in and of itself.
Yeah, right. That's the only saving grace on that.
Yeah, I kind of missed the lounge singing routine. Like I could have probably sat through that.
Totally. That was the only good part about that fucking heist movie with the loud singing. That was good shit.
Yeah, yeah. Zero stars do not recommend.
Yeah, yeah, yeah. Yeah, exactly. No thumbs up.
Yeah, I'll have to come up with some kind of bullshit for a story time. I don't know. I guess I'll figure it out.
Yeah, we got this. It's going to be all right. We're going to do this. We're getting through it, court.
I'm going to play the kinks with the song 20th Century Man for the Pirate Radio Edit. Yeah, that's, hopefully, that's what everybody needed to bring them up and give us something for our storytime. Brother, so, I've been trying to think about some various things that fit in with the whole Al Adamson thing and, you know, watching movies that are made on the cheap and, like, the clip show thing and all of that kind of stuff.
And I'm trying to remember the very first time that I realized that I was watching a clip show that wasn't like a TV version of one. You know what I'm talking about where I was like, hey, you remember that time and then they just basically do a bottleneck episode where somebody's trapped in a freezer and they just reminisce about all the other times they were trapped in freezers.
Well, it's kind of like, isn't it almost like the end of Seinfeld that was just a clip show while they were in jail?
I think so, yeah. Something along those lines. So I can't really recall 100 percent which would be the very first clip show piece of watching a film that I know that I could see. But I do know of essentially the story is going to be this. I recall when I became very aware of filmmakers essentially being cheap and stealing time from other movies and reusing footage, right?
Yeah.
And that definitely has to be the Slumber Party Massacre series, right?
Oh, yeah, that would. That's a good one.
Right. So I watched Slumber Party Massacre 2 before I watched one, the original one.
Yeah.
And when I had rented Slumber Party Massacre 2, I knew that there was going to be some things that they were going to be using for, you know, what was going to take place in the past, and they were going to make reference to it and all of that. Because you usually use, you got that in a sequel, you know what I'm saying? But if you recall, they replay significant portions of that film, because we covered all three of them at once. I think that was our first full franchise fest, wasn't it?
Was it Slumber Party Massacre films?
I believe so, yes.
Yeah. And so you should recall, like the very second one is basically, it has a lot of replay of the very first one. And I remember that specifically as me becoming aware of it. But then, right, I got on a kick of watching. Now that we move on to the next one, I don't really see the third one, which is completely rehashing other pieces of the other films.
And was snagging pieces out of other, I think Sorority House Massacre it stole from, or no, it was Sorority House Massacre 2, was taking things from Slumber Party Massacre and Sorority House Massacre and some other movies. And that was a Jim Wynarski film. And I became aware of that for, I was like, wow, that's really cheap. You're just stealing stuff. Then I went on a whole Jim Wynarski field of looking at all of his films. And there's a lot of rehashed stuff in his things.
And so you kind of start noticing that and you're paying attention to it. And you watch that sort of thing and you start looking for it in other movies. The absolute most egregious that I can think of off the top of my head right now is Silent Night, Deadly Night 2, which almost is entirely just reused footage of Silent Night, Deadly Night.
Oh, see, I don't know if I've ever seen part two.
Oh, well, I don't know if it's necessarily for you. You would probably like it more if you hadn't watched Silent Night, Deadly Night. Like, don't watch them in a row. Like, if you just go right to Silent Night, Deadly Night 2, you'll get like a highlight reel of some of the best stuff in Silent Night, Deadly Night, and then you will get basically like a Troll 2 level of bad movie that wraps around that.
Yeah.
I can't believe you would recognize the meme where the guy's like, garbage day. It's from that.
Oh, yes. Yes. Garbage day.
Yes.
Yeah, murdering. I remember that.
Almost the entirety of Silent Night, Deadly Night 2 is basically like footage from Silent Night, Deadly Night, because you get both of them in one movie. And then there's Charles Band, who did that in the subspecies series. We got a bunch of things cut in and retold and like repackaged for part 2 to make sense as to why all of a sudden the lady is way more attractive and looks like Denise Duff and not like the lady that was in subspecies.
Evil Dead had to completely re-shoot footage because they couldn't get footage from the previous film or re-use it in Evil Dead 2, and then everybody thinks that it goes back to the cabin.
I do remember that.
Because of that. But that's not the same thing. That's the opposite problem of not having your footage, right?
Yeah. Yeah, you having to shoot, re-shoot shit because you didn't get access to it. Right. That's a little bit different.
Yeah, I think pretty much Slumber Party Massacre 2 is the one where I was the most aware. And I mean, you have Friday the 13th, part 4, which uses a bunch of footage to bring you into the world of Jason again. Yeah. Where they have that campfire thing where the guy talks about the tour.
And he's telling a story about Jason from part 2. Right.
Yeah, they took that right out of part 2, and then they reused it. And that kind of stuff, little things to world-build in a saga sale intro in a slasher film, that's vastly different than what Slumber Party Massacre 1, and then 2, like taking what Slumber Party Massacre 2 and 3 did and bringing in footage, or even the subspecies series as we talked about.
And even in the Puppet Master series, there's like a Puppet Master retro movie, which is 100% a clip show of all of the other movies that's in a bottleneck. It's like a bottleneck episode of TV, like as a movie, like in that series. I think it's a retro Puppet Master. I can't remember which one it is, but like it gets really egregious that some filmmakers just brazenly make clip shows.
Yeah.
Jim Wynorski is like one of the kings of it. Like he'll do, I think it was like Hard to Die. He made a movie where these ladies are telling stories about their previous life, which are just like clip shows of things that happened in other films with these same actresses. And they're trapped in a tower like Die Hard, essentially.
Oh, yeah.
And they're working for a lingerie company, and they have to do some kind of stock things. So they all change into lingerie, so they don't get their clothes sweaty while they're doing it. And then they take showers.
That makes sense. That's just good storytelling.
Right. They take showers. But in between all of that, they're talking about some other things that happened, or like it cuts back to footage of other movies, or like the story of like how this guy had done some killing. And I think that was Sorority House Massacre 1 or something like that.
Okay.
Took the footage from. The only reason that I remember Hard to Die is because there's a lot of fucking nudity and a lot of clip show nudity on top of that. And I remember thinking this is really cheap and egregious, but who cares? Whatever.
Yeah. Listen, what are you going to do? Stare a gift horse in the mouth there? Right.
My point of my story time here is not just to pad out the episode, try and get us closer to over an hour. It's also to point out that if you are going to give me a clip show movie, like what Al Adamson has done here of rehashing and reusing another film, A, make it a good film that's entertaining, or B, put a lot of tits in it like Wynarski does. Yeah.
I mean, it's not that hard, everyone. You can figure this shit out by yourselves. Yeah.
If you ever want to know what not to do to make a movie just to rip people off, I submit to you our film this week.
Yeah, right. That's how you want to rip people off by giving them titties at least.
Right. Like give them like titties that they've already seen because, you know, it's not that much of a ripoff to get them to see them twice or three times or four times.
Exactly.
Well, that's my story time for this week. So we're going to take a break here. We're going to play the show Housekeeping and immediately following that, we will have the band Focus with the song Hocus Pocus on the pirate radio edit right after that.
If you've decided you can't get enough of the show and would like to check out more of it, we're available at legionpodcasts.com Just do a quick search for CinemaPsyOps or just enter this entire URL into your browser, www.LegionPodcasts.com/Cinema-Psyops-Podcast Also available along with all of the fellow Legioneers on the Legion Discord chat. And now let's give you a rundown of the memes and how you're going to get them through CinemaPsyOps.
The easiest place to go is to subscribe to our Instagram feed, which is our main meme repository at cinema_PsyOps Or you could also follow the Facebook page of CinemaSciOps because they are immediately posted there. After they get posted to the Instagram repository. And you can also check out the Facebook group of CinemaPsyOps and the memes are shared there. I am available on Facebook as CortPsyOps because the memes are also shared there as well. Thanks for listening to the show.
I still can't believe that you're subscribed to us or here every week, just like us. I will always let Focus play that song out for Hocus Pocus a little longer than probably what is needed just to pad out an episode. I can't help it.
Of course.
Well, the show Housekeeping took care of everything else for everybody. So buckle down and try and make it through the Al Adams and stuff with us, because I promise folks, your 10 is going to be a blast.
We just got to get through this stuff. Sometimes you got to put in the work if you want to get to the fun stuff.
Yeah. We have to suffer the sorrow before we can know how sweet the joy is going to be to indulge in your 10.
Yeah, the joy.
While you're out there really pissed off that I keep edging you about what we're doing in your 10 and not telling you what it is, kick the fuck out of this week and make it your bitch.
I saw everything. Recording in progress.
Hey, I can barely hear you. No, okay. You still there? No? That's a little bit better.
Yeah, that should be it. Sorry about that. You were coming through my phone.
Yeah, it seems like maybe the US...
It's not my phone. You're coming through my watch that's connected to my phone.
Weird.
No, it's not. Sometimes that happens. I just had to turn off my Bluetooth.
Yeah. So you have a smart watch that hooks up to your phone?
Yeah, so I get like messages and stuff on it.
Oh, yeah, that happens. So like my voice and your voice goes through the mic, huh?
Yeah, it's going through my phone. It's weird. It's the first time it ever happened. I think it's because I usually have my phone on, like, do not disturb, so it doesn't connect. Break that shit. Either way.
Hey, you got to fix.
That's all that matters, yeah.
I'm pulling up my notes and I'll be ready to rock here as soon as those come up. And I'm heading first with Blood of Ghastly Horror, which let's just save our water on any comments on what's going on with that, because.
Yeah, no shit.
We're going to need it. All right, so yeah, let's let's rock and roll.
Dirt it up, and I'm going to shut my door.
I cut in just to get to the big part here. Blood of West, blood of the film opens with cross dissolving creepy app. They use a semi creepy score that sounds like they stole it from the rejects of Dark Shadows episodes.
And I recently just got back into Dark Shadows, by the way, and I forget how much I missed it. I always thank you for turning me on to that.
You watching the black and white one or the 90s one with Ben Cross? Either way, I'm happy with you.
It's usually the black and white one is one I'm getting on YouTube a lot.
All right. Yes, I love to fall asleep to that. And I love the Ben Cross one from being a kid and when the revival came in and watching it and thinking I was being all cool.
Cool.
Just so everybody knows, while that clip was playing, I just sat and took hits over and over again for a minute. Solid. And I may be too stoned to read my own fucking notes. I typed up just FYI.
Well, that happens sometimes. I mean, I'm not here to judge you.
It's the only way I can really get through this.
Yeah, I'm doing this stone cold sober. What do you think my life's like right now?
It's not comfortable for you.
That's for sure. That's goddamn right. I should have brought my vape, but I have to cook steaks later.
I'm not trying to cut out the episode. I'm really not. I swear.
No, yeah, of course not.
That's not what's happening here.
No, I believe you. I believe you. I don't know why you think I don't believe you.
I think the audience doesn't believe me. They're listening to me right now, and they think we're full of shit.
Well, I mean, we are, so. I mean, they're not wrong, but still. Yeah, no, they could believe you. Give us a fucking grace period there, audience.
Can you just willingly suspend some disbelief for these fuckers, please?
I mean, holy shit, give us a hand here.
I mean, I like dick.
That was an accident.
I mean, all right.
All right, something's not right here. I only have 10 clips, and it says that I have 11, but I only recorded 10. All right, I'm missing a clip, so I'm going to have to go back and find it. It is some dialogue that has to do with the zombie guy shit, if I even feel like fixing it. So then clip number 7 is actually the one with the lady making the call. And then, okay, so clip number 7 goes into clip number 8's place court, and you fix that with this. Oh, shit, I just completely erased that.
Oopsie. Hang on. Now it's going to reload the whole thing. Boy. So my story time is going to be about the time the sound plant failed me miserably. Here we go, just because I had to make this wait for it to load, and this makes a great outtake. While you're out there, really pissed off that I keep edging you about what we're doing in year 10 and not telling you what it is, kick the fuck out of this week and make it your bitch. While you enjoy the Rolling Stones with Can't You Hear Me Knock It.
Meanwhile, Matt's sitting there trying to hit red, blue, red, green, red, blue, red, green, thinking that he's playing Guitar Hero while that song's on.
Man, don't fucking be telling everybody what I do.
I'm just gonna tell everybody we're stopping now.
Everything stopped.