ANTHOLOGIES ATTACK! - Allegro Non Troppo

All right, listen up, Calves, I got your assignments riga six four three wheeler one four eight not eight oh four and only you. You need to join host HP and Father Alone as they examine one of the greatest sitcoms in television history, Taxi in Night Mister Walters, a taxi podcast banda zero like your boxing.

Record, Frank mister Walters.

Weird in Wade were welcome back midnight viewers to Anthologies Attack. I'm Father Alone and with me back from his exclusive three year tour of Europe, Scandinavia and the Subcontinent. My co host mister Antonio Lapour. How are you, Antonio?

Yeah?

You see I was in the Beds and Clay Drive big Hey, how are you? Wasn't that cartoon back in the from it was like the Hunters Club or whatever, and it was like the old British guy and he had the mustache.

Yeah. Was that part of like Fractured Fairy Tales, the Bullwinkle and the Rocky and Bullwinkle Show. It was a segment from that, right.

Yeah, that's it. And he would always started, I was Abel Clongo. We're just kind of go.

From that quite okay, tonight we are taking a look

Where are they all going into another world? Fantastic triple I will be filled with color. Laughter comes in all shapes and size too. With sociated music, expect the unexpected Legro non great Peachi.

A Legro non Tropo released in March twelfth and nineteen seventy six. Not the first time I saw it? Was this the first time you saw it?

Yeah?

This was the very first time I've seen this picture, and I just watched it this afternoon.

It was something else.

Did you have HBO when you were a kid?

I did?

Was it on it a lot?

No? However, if you remember, HBO was always sent by the hour, sometimes the half hour, but if they were starting a movie, it generally was on the hour.

That's right. It would give you like twenty minutes of if like Star Wars entered at two twenty, you'd have ten minutes of like previews, commercials and like ePK really exactly.

So if you had your movie ended at nine to thirty five, you had twenty five minutes to phill to get to ten o'clock to start the next feature. They would throw on little shorts and little videos, and they one of their animated shorts was the Balero sequence from this movie. So I had seen that sequence dozens upon dozens of times before I had seen this movie. In fact, I thought it was simply just another short film, like all of those Canadian board that the Board of Canada.

Films, Oh, like the Snowman.

The Big Snit, or the Back, the Cordell, Barker or Baker, all of those amazing shorts coming down from here.

Snowman is the one I remember the most.

Well, Yeah, it's that that haunting female over that equally haunting melancholic animation. Speaking of animation, when I first got to Los Angeles, I became a projectionist. My mentor named Chris Avanni, Projectionist Extraordinaire, who showed me this film on video tape, knowing how much I loved animation and the fact that I hadn't seen it, and he said, you're gonna love this. If you've seen Fantasica, it's a direct

Yeah, which is it? Was that? What did you say about that guy? Is you gotta love that jacket?

It is a fantastic jacket. It would make a fantastic jacket. Hell of a wallpaper.

Yeah, it's just like it was funny, like a Hollywood calling. He apologizes, Hey, sorry, guys, it's it's Disney. I are Pisney or Wisney or whatever it is. But the way he's in, you know, Disney made me do this. And they go outside and the farmer like unpacks the old ladies from the chicken coop.

Or whatever the hell that's the thing. So that sequence happens, The lawsuit threatened sequence happens, right, and my friend turns to me as if I'm going to be delighted at how they're taking the piss out of Disney here, and I'm like, okay. And then they go to get the orchestra, which, as you're saying, is a pen of like old Italian grannies.

It was so weird.

They're at the pound basically, and then they round up these old women, pack them up and bring them to the theater and they're the orchestra.

And then they've got the artists chained up, like in the Dungeon artist.

The animator, because it's that animated films are made on the fly by one human.

With a magnimicent mustache.

It's it's just so out there, and I'm like, is

Like?

Oh?

Yeah?

Like everything. That's the thing about Italian cinema, like Italian cinema, that there's one unifying theme in Italian cinema.

It's weird, is wacky. I don't know how I was to put it.

Everything is very dream like basically, I think everything is a dream.

There tends to be an absurdist quality to nearly every piece of entertainment I've seen coming out of it.

Yeah, And I mean I took Italian cinema in school the way back when, and I got all my best you know. I like Fellini. I love eight and a Half, But eight and a half. I love eight and a half because it's a fever dream about a horning middle aged director. I kind of know what that's like, you know, but it doesn't making any sense, but it's really cool to watch, and every time you watch it, you're gonna get something new out of it, you know. But still

Man.

It was an Italian picture and it was about oh and it was a great movie. And you watch it and by the end of it, it's just got this batshit crazy ending where he's sucking in a snow globe and the mentally challenged caretakers that it's like, what, I just Italian movies, man, Like, the most straightforward thing you can get is a horror.

Dela more to de la mare is the actual title of the of the film and Italian.

Yeah, but his name was like Oper de la morte or something like that too.

In the movie, Yeah, de la Morte de la Moore.

It's a great movie.

Man, it is a fantastic movie. Wild we overlooked from nineteen ninety four. Yeah, because you know, in ninety four no one gives it shit about zombies a but.

Like Italian cinema always has this, like you said, that absurdist the one I remember, the one I remember who was the one with Anthony Anthony Quinn and he's he's the circus strong man.

Is that Lestrata?

No?

Right, yeah, I think it Istrata?

Yeah, I liked that a lot.

Name some more Italian directors.

Well the other the other guys say, uh, and what's his name?

Antonio Michelangelo Antonioni.

Yeah, micg'langel Antonioni did.

Blow up fucking a. Yeah, just in a class by itself, that film, and hard to quantify what's so good about it? You know? Di Palma basically remade that film.

Yeah, that was where they go there. DiPalma remade that film. But de Palma remade that film. Obama took that original film and then made a movie. Yet it right, you know, that is logical, right, you know, and it's and it's a thriller and it's just blow up isn't that at.

All, man, It's all mood.

It's all mood, it's all style, it's all cool. It doesn't resolve itself. The end is like two minds playing invisible tennis like it's it doesn't make a lick of fucking sense, and it doesn't matter, because it's just twenty minutes of mid sixties cool with awesome suits and guys smoking cigarettes and girls of mini skirts and you're just like, you know what with the.

How the kids put him in the vibe that movie.

Pasolini, Pierre Paulo Posli did one of the coolest Jesus movies ever, The Gospel of Saint Matthew, and he shoots it like a documentary and it's also like a dream sequence.

Everything is really floaty and this and that, and then he cuts those.

Kind of handheld generate things and I like almost like interview shots and stuff like that, and you know it, Scorsese like, that's what made him want to do Last Temptation was that style. And I'm pretty sure his new one coming out with with Spider Man, with Spider Man.

Andrew Garfield playing like a modern Jesus whatever.

Of course he's been talking about that movie for one hundred years, and he wants to do Jesus with guys in business suits and stuff.

But he's gonna shoot it.

Just like that Passolini movie.

I guarantee it.

No mean all of your Italian choices are so high minded.

That's what I saw in College Man, and then the other at the other end.

You know you've got you, You've got the king of of all movies.

You've got Dino de Larentis produce their extraordinaire, that is true.

Who gave me just a bunch of schlock that I love to death When I was a kid. You know how many times I watched the The Hercules movies with Lufereigno. But of course the greatest Italian filmmaker of them all, he is one of the greatest film makers whoever walked the face of the earth. Then called Sergia Leoti, creator the greatest Western of all time, the Good, the bet and the Ugly, and the other two greatest Westerns of

Once upon a time in the West.

Once upon a time in the West.

Fucking Harmonica, Hello, Yeah, and how do.

You take and how do you take the quintessential bug guy, mister mister morality Hollywood, young Abraham Lincoln, Henry Fahnda, and then just make him the worst villain you ever fucking saw in your life. And it's magnificent. And somewhere Harrison Ford is smoking a big fat joint watching that movie on Turner classic movie going, Man, why did I ever

The West, since since I said the title, all I can all I can picture are Henry Fonda's steely blue eyes, his his his once comforting, cloud like eyes now steely and psychotic.

Yeah, and leathery, O, leathery.

You know who co wrote that movie, mister Dario Argento.

And that's the other big name in Italian cinema, The Suspiria Daria.

Argento, The Seven Flies On on Gray Velvet, the Bird with the Crystal plumage. If there's a wacky title, Dario's he's gunning for it.

And Sire of what's her name?

Was Asia Argento.

Rgento, big giant crush from two thousand and one of mine.

Oh yeah, oh crush to this day since since late e on her she is something else entirely and yeah.

So fine. She drove for him anymore, dame to death.

Ah, I'm you cannot blame her for his troubled brain.

God bless I know. I'm sorry, God bless him.

But man, she's fine. Fuddy too though, absolutely nutty, but like has is really rich. It's fun to take a deep dive in because they have a really unique perspective on cinema. Everything, like you said, it's absurd, it's dreamlike, it's wacky, it's sexy, and and when the violence works, it's really fun.

I often wonder with comedies from other countries. Now clearly visual gangs and slapstick just translate universally.

Sure, heart is funny in any language, but.

I wonder sometimes the tone of the comedy, particularly when it comes to slapstick, which we get a heap and help in here in a legoran On trip, I'm wondering if I were sitting in a cinema in Milan watching a leg on On on Tropo with with a contemporary audience. Are they guffine? Are they Are they laughing out loud at this humor?

Yeah? I don't know. In nineteen seventy six, maybe I don't like. I don't know. There's one thing I know about italiabovies, and ever think any of them are funny intentionally anyways.

I mean, this might be the same question I have about most American sitcoms. Are people laughing at this, you know? Or is it just like they're doing it because they think it's funny or they know that that's what the people think is funny. I don't know, because there are some jokes that work here. Obviously we're giggling about the premise more than the execution, which sure I wrote.

Down one gag that works really well as the guy opening the bottle of champagne in the one of the live action sequence he pops of champagne, or and a not's a lady over in jenzl Bla hospitals.

But the editing is good, and the gag works, and

You know, now, when we watched Fantasia, we kind of bemoaned the deems tailorness of it all.

Oh my god, I was missing deams tailor watching.

This, you you wanted deems to come out and hit you to to the to the next piece and not just want to watch a ridiculous piece of comedy meant for nothing and nobody and not really linking anything at all. Do you know? Do you know there's a version of this film without the live action. There's there's a cut where they just have sort of clay lettering telling you the name of the next piece of music, and then it just goes right into it. It's ten minutes shorter.

Oh? Yeah, I think so. You know a little bit of it is a little bit of it I think would would give it some flavor, But they just went overboard with it.

It's just like these gags would just go alone and on and on and on. It was just like, you know, you can do one gag and then just move on and you're fine.

You didn't need to go this whole thing. I like, there was like subplots with the waitress girl and the conductor, and I don't even think it was.

I know it's meant to be stream of conscience, but like it was making Magical Mystery Tour look like, you know, thirty rocks, because that's how vegans.

It's very unfocused and all over the place. But you know, those those tend to be strengths in Italian films, so I can't really fault them for that, and I don't fault them at all for even trying all of the sort of physical comedy that's going on. I just wish it was all edited by half. At least if each of the segments were half their current length, I think it would make the point and move on. Maybe that's a twenty twenty four sensibility that I just want to

A lot of because my reaction to this was up and down and like that. The live action stuff takes away from it. It just kind of takes away from me. And it's just, man, this just reminds me of some college kid and you know his production three class. He's the weird one, you know, or never in the Doors movie where like you know Jim Morrison's film class. Yeah, and you know he just makes his wacky thing and just random stuff edited together and him reading poetry and Hitler and YadA, YadA, YadA.

That's what I get from it. Here's some random stuff will be weird.

And I didn't quite I agree with you about that. I don't think we I think we need it just a little bit, just just a smidge a scoche, as they say, because it.

Wasn't even like verbal gag, like it wasn't even dialogue guys when they were all visual guys.

Like okay, I will say because I said when when the movie began, and my friend said, it's this vicious takedown of Disney, and I was like, what the hell are you even talking about. Once they rounded the grannies up, the lead character does effectively turn to the camera and say, would Disney do this? And that made me, yeah, so fucking hard.

Yeah, well they kid have a bunch of grannies.

Yeah, but this is all just prelude. It as Fantasia as it is. It really is. I'm shocked at how how much it is. It's not necessarily in the same sequence. It isn't an analogue. Not all of them are one. For one sort of question.

There are moments definitely, the the Bolero with.

All that ballero, and the first segment definitely oh yeah, yeah, because the first segment is sent to Claude Debussa's prelude. Oh I'm not it's it's basically the Fawn. I'm not going to mangle the French here. But the story we're given is this one. It's it's not the right of Spring, that's the dinosaur sequence from Fantasia. It's the we know what it is. It's all the satyrs and the we

Yeah, it's bad because I'm just like, you know, I'm single. You know I'm not I'm not pretty chicken anymore. I'm like, maybe here's getting lighter, I can say with the eyes with this morning, little fucker. But I think he's his own worst enemy because maybe if he just be himself one of those hot nude Italian cartoons, ldies would would pay him mine. But instead he's constantly trying to change his appearance and do everything to like, you know, make

Yeah he has some helpful Woodland friends who jump in and fucking make him up and yeah, make him make him look attractive to the ladies and it's working. And then the dummy jumps into the fucking lake. Yeah you're doing SADR. I'm on you.

I feel bad, but I was just like, I look boobs.

Oh yes, let's let's talk about that. The Italians are not shy Italian He yeah, there's no there's no strategically placed hair cascading down a female satyr's breasts in this one. These are just nude human women running around and they're free, and they're hippies, and they're seen in some cases.

And and he just get and by the end of a boob tree.

And like yeah, is he completely wigging out?

Uh? And all of a sudden it's like, oh, look, I've been walking around on a giant boom all along. Well.

What's funny is with each dejection he gets smaller and smaller until he effectively is is is doomed to walk the geography of a woman's body. We've all been there, though, we've all been there. I think I think I might be there now. This was great. I loved this one. I mean it's cute, it's cute and bite and and and has that slight melancholic flavor that tends to come out of Europe, even what for especially for entertainment that was at least once considered just for children.

I'd like to see a mastered, remastered version of it because like what you know, what you can? It's available just on YouTube and it looks awful, So like, I really like to see those colors pop and stuff, because I know that's gotta be brilliant because it because it's so drab in the black and white sequences, so.

I'm imagining the color must be gorgeous and stuff.

But man, it's not. You know, it doesn't. It doesn't their their transfer isn't great. So I love to see it new.

I have myself have not seen a newer transfer of it, but but I didn't watch the YouTube version of it. I have a version of it that I digitally I got a long time ago. But I have seen this on the big screen with a thirty five millimeter print that was dubbed, so you it was unusual to hear the voice actor for the for the English language dubbed version is doing an Italian accent. It's very disconcerted.

Hey, hello, welcome.

It's like that about like that, like what why why don't do that. So that's the version I saw initially. Whatever, when we're talking about let's move on to divortion and

Because it ends up being being all fascists.

By the end of it, which they know a thing or two about. In Italy, Yes, they know a thing or two about that.

He even had an Italian red skull. At one point, Duce No one run around calling him old duche.

They did quietly.

What did you say, Duce, Yes, it looked like a sesame street cartoon.

A little bit. What was the guy of the cup that was like animal on the glass and like the glass when we're on you can see the little guy run around the glass.

I don't know the character's name, but I do know the character you're talking about.

Yeah, that's what it kind of reminded me of a little bit.

Yeah, we should point out, like Fantasia, the styles of animation change wildly from Peace to Pece, and that's very welcome, but in no way copying any of the Disney style. Like I say that Disney style changes from piece to piece, but did it really It just got either more realistic or more impressionistic or more sort of cartoony, but it was still that beautiful painted style. This feels like different animators.

Yeah, and it's real and it's real, like it's not super complicated or anything like that.

And you can definitely see they don't have Disney money animated.

But then you know, neither the Yellow Submarine and they made that in six months and for like for three books in England, and that thing is a masterpiece.

So I don't know, I think, well, I'm in no way comparing the quality of the animation between them and Disney. I think this is just as good as Disney. It's a whole other thing, the whole other thing charming.

But it doesn't have that production value.

That Disney has right it. All of this animation feels like Disney would have done one more pass on everything. They have one more layer to make it beautiful. But part of its charm is it's sort of rough hun quality, I think, although.

The animation really takes a good nicely turned the bolo sequence.

Though, Oh it's it's unparalleled there, you.

Know, it's really nice in the bolo sequence.

And in a lot of the effects. We'll get to that. Yeah, okay, so the Slavonic dance, Yes, they do become fascist basically. So he starts abusing himself and they start abusing themselves, which is pretty funny because everyone loves somebody smacking themselves in the head. But everyone he gets. He's getting angry and angrier that they're becoming more and more like him.

Commentary I think is that like, yeah, people will follow the lunatic to a point. You know, they're gonna always come to the point where where the guys like, all right, we've had this guy.

Yeah, I can see that. So is that a turning point for society? Hopefully they'll stop their fascistic ways, even though they're all mooning in Unison.

And then and the Italy elected like was Loudi's granddaughter, so.

This one was.

All fairness. When I was in high school or something, they had a porn star on their in their.

Parliament, so I remember her. She was, she was magnificent. Yes, proud of Italy at that time. I'm also proud of Italy. For our next segment, as you mentioned, Maurice Ravel's or

Yeah, Like they're not dinosaurs until they are, and eventually like their wonder and then there's a building.

It's pretty pretty, it's pretty magnificent.

It's really nice. It was the best part of the movie.

The the you mentioned the animation, like it's so free, it's so fluid and a morphous and still to the beat. This must have been a fucking nightmare to have animated.

Well, the stuff has a use of it's kind of liquidy too, you know, it's very Disney stuff is very precise. This is more impressionistic. This is more a little flowy.

Even splashes in a Disney movie or geometric. This feels like a formless, massive.

Liquid I feel like again when I, when I, when I, when I, when I recall the animated sequences, I'm like, oh, these are pretty good, but that live.

Action just yeah right, it deadens your your enjoyment of the film, right because.

The minute you're really laking and I'm like, oh, it's over. More animation here, I am. I'm gonna's been some blakes now for you.

I'm like, yeah, it doesn't. It never pays to cut to vaudeville. This isn't Hell's the Poppin.

But that those live action sequences, you know what the cliches of foreign films, he always you know, the American cliches of what form films are like.

That's it right there, kind of laid out. Yeah yeah, just wackiness and obtuseness. And at the.

Least they and they don't.

They can't even give me some feel a red look alike to at least soften the blow.

No. Well, the villain here in the piece, it should be said, shows uping about halfway through the through the movement, a furry little gorilla who shows up separate from all the other evolution going on. Notice he's not all of the creatures, like it or not have come from that central Co Cola bottle. This other, this other hairy mammal just shows up on his own and it's a fucking troublemaker.

He sure is, was it? By the end of it, he like there's a man and he's like driving a man suit.

It's super impressionistic. So the little ape as evolution is progressing, we see him. Basically, this is so much better than the Right of Spring Fantasia as far as first yeah, as a picture of actual evolution right and and the progression of time, because not only are we watching as life in its varied forms sort of evolves, but we get to watch what is effectively human civilization as it's occurring. Because the little ape starts killing others for warmth. This

Yep.

Now is the monkey is to say, monkey running around the live action?

Why bring up the live action?

Yeah?

It looksten First of all, it's a terrible monkey suit.

It is an awful monkey suit.

Is it supposed to be a gorilla or is it supposed to be a guy in a right?

Yeah, it's so poor that that's what we have to like. Is this a bit they're doing or is that supposed to be the monkey has escaped from the previous segment.

Well, somebody, if you notice some of the other animated characters escape from the from the cartoon, but.

They remain animated, and remain animated and in color.

If there's that one little guy on the paper that gets burned to.

Death, ah, I'm glad you brought him up. That is a that is a senior Rossi. Bruno Bozzetto, when he was twenty years old, created his short first film, which was about it was the history of weapons. But soon after created this character Senor Rossi, and he appeared in a bunch of shorts and then start in three features. The reason he was able to do a leground on Tropos because he had so much success with that little character. So that's actually a cameo.

Oh wow, and then he's burning him.

He burns him up. It's really weird.

Yeah, fucking blessed those Italians.

Man, bless the Italians.

He got something going on with that spaghetti.

And they want to make you cry, and they fucking succeed. In our next segment, the is Jean Sibelius's Vals Trieste. The play that the piece of music is from. Is

Oh yeah, it's that's what I notic is. I'm like, wow, the the animationist is really nice. You can see the rooms doing and all that stuff, and I'm just like, this poor cat.

The cat is antioning and it's live action, Like.

Yeah, live action people walking through this cat's memory, and it's just it's really heartbreaking. It's very sad. And at the end of the demolished the whole fucking house, and it's just like.

It's it's it's it's really heartbreaking because the cat is living in these memories, these happy memories, and then we keep coming back to the fucking hard meathook reality of what's actually going on. And then before before the wrecking Ball, beautifully animated wrecking Ball should be before that falls, the

Oh yeah, it's just an it's a psychic echo. That cat is living in a farm in dustany Okay, Yeah, he's having white pasta.

With having a good time. He's playing every day.

Yeah, Diane Lane moved there. She adopted the cat.

Right, That's what I have to believe now, because this one tears my heart out. And here is the only time where cutting back afterwards to the live action to me was worth it, where he cuts to all the old Italian grannies weeping and weeping and weeping, and suddenly the first time I saw this, I was bawling like an idiot. In fact, I was crying again here and it feels like such a fuck you from Brazil, from Bruno brosetto cutting back to these old women, like look

It's a very sweet sequence and it sucks it, so said.

Okay, I'm gonna move on to okay here, okay, this is like, this is a New Yorker cartoon kind of we go to Vivaldi's Concerto and see in C major this one is. Here's the animation is the is the Star. It's just a female bee trying to have a picnic, trying to have the perfect meal, and these fucking cut shows up in her field and they're all in love. So they're rolling around and making shit fucking tense.

Yeah that was funny, but you know, like the animation I liked.

I liked the animation of the bee lady though. That was a nice design. That was probably the most disney Esque looking piece in the whole thing.

And in contrast to it, what I took away from it the couple. They're drawn. It's not watercolor, but they are painted. But the remarkable feature there is there's no outline on them. Yeah, there's not even a hint of a black line there.

No, it's really just the But maybe that's the way the B season.

It's startling that all the real world stuff doesn't have outlines. And and then as you said, she's really cartoony with a hard black line on her.

Yeah.

I like how the b escapes into the into the into the.

Live action, right, but but she remains animated. So we're gonna close a book that that's just a fucking lunatic in a really bad monkey costume chasing the Okay, this is our final sequence, although it's not the final sequence because we're gonna get a schmorgasboard of finales immediately afterwards. Set to Igor Stravinsky's The Firebird. Interestingly that they used

I'm just like, well, he's a carnivore. He shouldn't be eating fruits and vegetables. He's gonna have a tony ache and have nightmares about demons.

Maybe that's just what it was.

About having pants.

Yeah, because he grows arms and legs that eating from the Tree of Knowledge. I love this segment. Honestly.

I thought it was really it was like trying to figure out what was going on, and you're like Evil Eye, live Action hands Clan Nation and.

I don't know what.

A twist and the guy's dog, Yeah it.

Did.

I'm just saying, I just say that's what it looked like.

I think that's just the that's the non offensive animator way of drawing a dong. Just just just a little squiggle, just a little squiggle upside hand.

So the the the snake gets all the temptations of man.

I guess like he goes through the whole human cycle.

Yet tempted by money and drugs and sex and violence and you know, just material objects. Oh give me that washing machine and by the anima.

He's like, oh, this isn't worth it. Fuck it, and he like just leaves the movie, Like he gets up, slithers, takes off the man's suit, slithers off into the live action.

Then on screen ntil he's like, fuck it, this movie, this movie ends with meta. The devil ends the hero. Yeah, figures out God's game sucks. He's one, don't want to be part of it.

But I like the beta. Yeah, I like it. They're not talking about it. I like it more the the meta nature of the fuck this.

I'm leaving the movie. And he gets a really very very Warner Brothers.

It's very texting.

So it's really like leaning into the tradition of cartoon absurdity when it really plays here, Yeah, there's one of the more interesting sequences.

But then they double down because they have to we go back to our live action. They don't have enough finale now because the fucking snake took off, and so they call down to this igor like character, what's his name? Franciscini. It's basically like a Frankenstein igor tech who is who's tasked with going and finding a finale, which I love because he has to go down into the pavement where there's like a tiny stack stack of tiny prosceniums, and then he.

Starts watching them and he's like and I'm just like, okay, he's making fun of the audience now, yeah.

So you know, okay, which he dispenses with a few of them, and then he ends up on one where it's this like series of escalating fucking tragedies ending with the nineteen seventies go to for animated shorts Nuclear War, there was a lot of you know, what's so funny like watching it now, the casual nature and it's just the sort of inevitability of nuclear war as a viable ending to your piece. This isn't the first short film I've seen that ends with missiles flying.

Yeah, well, I mean it's like, they're not the first seventies movie with that just dystopian downer ending. That's like, that's what made a lot of those movies, seventies movies, that parallax view ending, you know, or was there's that Simpsons? What are you doing No. I'm watching the science fiction movie from the seventies and it ends with the guy like ripping his He's like, oh baby, I love you, and he takes his face off, and it's a robot.

Like seventies movies.

Well, it ends with the guy being trapped in a little model presidium, the live action guy.

That's true because then we pull back even further to find that that's the case.

What yeah, and and frand Justini the OAF is.

Watching it were And the ending is effectively given to Satan, who pomps back up to just say goodbye. He returns to the movie at the end, literally the end. It says happy end. It doesn't say.

Yeah, that was a happy end.

That was just like, huh, this is what the Americans say, Yes, okay, happy end.

It's this is such an Italian movie.

It is so Italian. It is so Italian.

This is as Italian, as as fantastic plant as French.

Yes, yes, and this one this is from I don't know if this reminds me of that at all. I don't think it does. Other than that kind of.

This is distinctly a movie that only we could have made in this country, right, England is the only country that could have made The Plague.

Dogs or what was that when the wind blows that fucking that animated couple living in a in the aftermath of a nuclear war?

Oh yeah, have you ever seen The Plague Dogs?

No? I haven't, and now I kind of don't want.

To play dogs is no, you shouldn't watch the Plane Dogs, not after your reaction to the cat part.

Okay, yeah, man.

It's it's a it's an animated film about dogs and escape a testing facility.

Jesus, no, no, thank.

You, And and it is the saddest movie in the history of mankind. Makes Water Shipped Down look like you know, Disney Romp, you know, makes a Secret and Nim look like American Tale, like it's I don't know, like it's it's the president to watch it. It's like, what's the one that it was a Grave of the butter but Grave of the Fireflies or Barefoot gen.

The Aftermath of Her Broach?

Yeah?

Oh yeah, I remember both of both of them.

They're both of them about that.

Yeah, man, but that's good though.

Eric the weekend, do we we don't go that sad on on on on animation over here.

But yeah, we don't go really on adult animation at all.

No, we don't, although we also make Coco, so you know what I mean. Like for all the false American animation has, like and Disney has, they still make Cocoa.

But yeah, no, not complaining about the what we're what we're good at, but maybe we can be good at other things too.

We can be good at other things though, I'd like I'd really like to see hand drawn two D animation again. You know it's sad that, like when now, even when it's done, you can tell how cheap it is. You can't afford it.

Jesson, this movie was precient. Now it really is just one guy chained to a desk.

Yeah. Really, what did I just watch which was pretty good? Was that Zack Snyder's Norse. Yeah, God, it's very Zack snydery. His craziness works better than animation. But the animation, while stylistic and pretty and all that stuff, you can tell that, oh this is done now and after effects, they're not doing this.

Oh yeah, you.

Know, they're rigging an attuny model and animating that rather than drawing twenty four frames a second and stuff. So, and like some of the recent DC animated films are done in that same kind of rigged animated, you know, rigged after Finn style.

So it's not quite three D, but it's not to those off.

Yeah, but it worked the the rigged the they used three D models and cell shaded on that blue eyed Samurai and that looks beautiful cartoon.

I have to watch that. People to watch that, but it's in the it's in my queue, dude, there's so much.

To watch it, and we're gonna go, you know. But this movie I'm you know, get through, and I think most of it had to do with that live action just takes you out of it.

Man, literally takes you out of it. It's yeah, it's really distracting. So I mean, I do want them to restore this film and put it out in the best possible way, but I also want both versions.

Yeah, there's one thing can be said about about Fantasia is that, Yeah, the dems, Taylor and guy this stuff in there. But their cutter he cut that movie. They or she cut that movie. They cut that movie and they kept the pace going. Yeah, the guys came out and talked, but that thing was never you know, Demes was never on screen for more than thirty seconds.

I was never bored by Dames. I was annoyed that we weren't just flowing into the next animation.

Yeah, but I wasn't bored by him.

No, this true god wackiness was just like I should have left it, should have left it on the should have left it at home. Man. But it's neat to see animation from other countries and see how they interpret stuff. You know, Italian comics are really nice, really pretty too, like Italian comic books.

Yeah, and what's the other that draws all the sexy women?

Oh manara Ah, you draw those really sexy books. And there was all Dylan Dogg there's another comic. And there's a lot of cool comics from Italy that I just think the art is just well Man's spectacular.

A couple of years ago I read all of the Diabolic comp for me. Yeah, man, so good. Those those were those comics. He's really amoral in those those early yeah. Yeah, before he becomes mister Robinhood, he's he's just wasting people for no reason.

Hollywood hasn't jumped on that.

I hope they don't, because there's no way you can recreate the gorgeous cinematic triumph that is danger Diabolic, directed by Mario Baba, my favorite Italian filmmaker by the way.

Oh yeah, I've never seen it.

Ah no, I've never seen it.

Oh my god, you're in for a fucking treaty.

I liked.

Oh my god, that's a good one too.

Yeah, recommended me to watch me that. Yeah, I'll watch it. I'll find it.

Yeah, if you can't, I will, I will provide it. I know. I am that movie. I mean, that's it's one of my really cool Oh my god, he's so good in it, fucking John Phillip law Now I'm gonna watch I gotta go watch that now.

Okay, Well this was a good one. This was a unique a unique picture, man, definitely was and it's a nice counterpoint to the Fantasia.

It was. And yeah, I'm glad we did it. I was gonna skip it. And then you were like insistent. I'm glad you were because you mentioned it.

I'm like, well, there's an Italian vantation.

I watch it.

Hell yeah, this was had a nice you know blapasta with me. Yeah, this one, this one flows along, you know what I mean. I highly recommend this movie. You're going to be annoyed by the by the comedy bits, but.

Yeah, and you can find it on YouTube.

You can just skip through those guys exactly. Even if you had a physical disc, the fast forward button is there. So we want to thank you all for joining us here on midnight viewing anthologiess attack. Until next time. Where can people find you if they're looking for you, mister Lapoor.

Well, you can find us at Space detectivemovie dot com and Swamp dot com and keep an eye out for a local film festival or a new movie at Living Ben has just entered. The film festival runs and we'll be having a preson.

Yeah, we'll be keeping you updated on all of that. If you want to find me, well, you're listening to the show that I mainly do. I'm all I sometimes guest over on culture Cast. Did that a lot this past month. Go check out those I programmed the month. Actually, Also you can hear me over on night mister Walter is the Taxi podcast I do with co host HP

Yeah, until next time. You know, keep your anthologies attacking, you know what, no.

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