Oh you is folks, it's show tied.
People say good money to see this movie.
When they go out to a theater, they want clod sodas, hot popcorn, and no monsters in the protection.
Booth, everyone for tend podcasting isn't boring, cut it off.
We are letting you out of what kind of probation?
Her aunt and I hope that you can conduct yourself normally.
What do they do in the clinic those three years?
Did it cheer you?
Yes? Now I'm completely.
Mad and I'm reallything like and not to have you squalled on my sister's money. Please leave it alone.
That still leaves to ray sein Esther for you.
Leave your cousins alone, all three of them.
Please, this is a new game. I don't trust him. You get you no.
Welcome to the projection booth. I'm your host. Mike White joined me once again is Professor Nick Hello. Also back in the booth is Miz Heather Drain Hello.
Hello.
We continue October twenty twenty four with a request from our Patreon donor Kyler Faith. We are discussing Claudio Guerin's Bell from Hell, written by Santiago Mancata. The film tells the story of John played by Renault Verly, a man recently released from a mental asylum where he was put by his aunt Marta played by Vivica Linfirst and her three comely daughters. He's back, and we're not quite sure what he's up to. Is he just a fan of
incredibly elaborate pranks or is he bent on revenge? We will be discussing that and a whole lot more as we spoil Belle from Hell. Nick, When was the first time Bell from Hell gave you black sensations up and down your spine?
Probably around two thousand and six or seven, somewhere around there. I watched it with Don our friend Don May Junior of Synapse, filmed in preparation for the book, that book on Spanish horror, and you know that. And I was just thinking before the podcast that God I started that was a I haven't done any really serious work on any like Iberian horror since it's been twenty years since
I started working on that. So yeah, so it was a real treasure to entreat to sort of revisit it all these years later.
So I'm guessing going on twenty.
Years ago whenever that DVD print, You know that came out whatever year that was.
Two thousand and six, seven somewhere around there, you.
Know, And then I watched it multiple times in preparation to sort of discuss it and analyze it, and was pretty blown away, you know. Even among that period of a filmmaking in Spain with a lot of unique and interesting things happening, this one really kind of popped and stood out in so many different ways.
It was very cool. And Heather, how about yourself.
My first time watching Go from Hell was this year. It was again like many a projection booth, But on this you gave me the impetus to, you know, actually sit down and watch something that's been on my watch list for quite a while. And I even though I'd read about it, I similiar with it. I'd even heard
other podcasts talk about it. Nothing prepared me. Nothing. This is one of those films, even if you know every single spoiler, the way that it unfurls is so brilliant and just really i'mlike, kind of to me, like quite unlike anything I've seen in recent times or maybe ever. This is such a special film and I'm looking forward to to get into the nitty gritty with you guys. On this.
This was also a first time watch for me. I think I somehow ended up with the DVD years and years ago and then Kyler requested this, so I kind of had that at the ready and was just like, all right, yeah, let's do it. I need the excuse to finally sit down and watch this. And I was so not disappointed. Yeah, what an amazing film, and just kept me guessing the entire time. I mean, the whole
idea of our main character John constantly playing jokes. I mean we see him at the very beginning of the film making a mask for himself, making basically as he's putting this stuff on, I'm like, oh, he's going to make either a death mask or like a fake head. And I think it's like an hour and ten minutes before that finally pays off, maybe even longer than that. So if you're not paying attention, good luck, because you really actually need to be invested in this movie in
order to get everything out of it. But I think it actually takes a few viewings to kind of parse your way through this whole thing because there are so many levels to it. And I it's so funny because you know, we do a podcast about horror anthologies around here called Midnight Viewing, and the next one that we're doing about a Tales from the Dark Side episode. Frerazaka plays a huge part of that, and for Zaka is
a huge part of this one. It's kind of a neat thing because this is a French Spanish co production. You really get the French coming in from that. The rest of this feels very Spanish to me. But yeah, I'm so curious Nick as far as what was going on because this is still generally Simo Franco is still around, So how is filmmaking in the early seventies in Spain, especially genre filmmaking like this.
First of all, with co productions, things were a little bit looser in terms of you know, because there would be they'd be making an international cut and a domestic cut, so things were a little a little bit looser, and Franco's tether on society was pretty pretty much eroded by then, so you know, anything that was still enforced was kind of out of out of like habit or shadow at that point. It's not it's not very long after that where you start seeing more and more of this type
of filmmaking. But that said, even in by seventy three standards. It's doing a lot of things that the other films are not doing. The other films are still in many ways kind of mimetic of other euro horror tropes and and still kind of finding their way. You know, I think we're about a good five years into it now, and so you know, with the Blind Dead films and with what Nash's doing, you're starting to see more of a Spanish flavor.
And then of course we have some of the sort of.
Like anti tourism films that start to come out of Spain by the mid seventies.
So I mean, it's interesting. I think I remember arguing in the.
Book it was a long time ago that whereas you know, like if we're going to use like a Shatzian sort of diagram of like genre evolution, for example, Spain does horror in le the truncated, It does horror in ten years, where other horror producing movie cultures had decades of refinement and experimentation and stuff.
So Spain seems.
To go through that like very quickly, like to postgraduate studies,
very quickly. And yeah, so I mean to try and get back and circle back to your question, it really does stand apart, and that's that's only made all the more testament by the fact that both of you, Heather and Mike, just watched this recently and are sitting here telling me it's kind of you know, it's hard to find films that are unlike other films, and when you find one that's like, WHOA didn't see all this happening here, it's it's pretty memorable.
Yeah, I mean, memorable is definitely the word, especially because even you know Mikey's timate, like the mask and that payoff, but also the fact that we see John or you know, the character I think actual name is Wan, but in the main cut, I saw its John. He's being released from an insane asylum. And that is such a trophy kind of thing that you see a lot of movies, and but yet none of it feels like that. John doesn't necessarily, certainly as a character, come across like that.
I mean, you doind of wonder about how reliable he is as far as like as a narrator, certainly, but from the very get go, everything that you think is going to be is not to be. And I love that, and especially because it's done. None of the twists are revealed in a hokey way or like an why m Night Chavalan kind of way, but it all feels really organic.
And that's the thing is that everything is so beautifully stitched together in this film, like everything is layered, even the audio, because like the way that you make for a zhaka and the way that it comes into play is so eerie and ghostly, and it's almost like it's like like dual triple layers at times of the girls of hearing these little girl children like singing for a shaka, and then at times you don't even hear any music,
you just hear like birds and sounds of nature. The way nature's integrated in this film too, I found really really striking.
And you've got the whole idea too of the church and these good church going folks. They're about to get this brand new bell, the titular bell from Hell, and I just love that we get this bell going through so much of the beginning of this movie. And it really doesn't even make sense as far as how long it takes for this bell to get to the church. I mean, he passes it the first day, he passes it the next day too. It's like how long is
it taking for this bell to get into town? And then yeah, that's another thing that pays off very much. Right at the end, I'm like, oh, okay, this is great. I really like this. And then for me, the whole for a jaka refrain if my French is okay, So it's you know, brother John. So we've got the John character, Brother John, Are you sleeping morning? Bells are ringing? And then ding ding dong. Of course, it feels like it's
a direct address to him. You know, this whole idea of the surrealism of it, and I think that, you know, there are surreal moments in here, and I think there's a whole lot that plays into classic surrealism, you know, Louis Bounoel type of surrealism here when it comes to you know, the Insane Asylum. I mean, we just talked a few weeks ago about Malpa Twee and that ends at the Insane Asylum. That's the book end of that movie, spoilers from Malpertwee. But here we've got him at the beginning.
And I love this too. When he comes out and he sets fire to the notice to say that he has to report back to the asylum. It's almost like he's on parole and he burns this thing and I'm like, oh, this is so draft card esque. And then he's on a frickin motorcycle. All right, we got like easy Rider in Spain here, this is pretty awesome. And yeah, he's just such a Devil may care guy. I don't know
if I like this person. I don't know if I dislike him because some of his jokes get pretty sadistic, but at the same time, he has a good reason for being angry at his aunt, especially, and then the rest of the family talking.
About the draft draft card moment, you know, the burning of and that reminds me to what Heather was saying a little while ago about the setting up the unreliable narrator right coming out of it insane asylum. But I just have to say that I remember, but I remember writing on my notes something along the lines of the easy writer thing, like you know, you know hit bike, Yeah, you know, well this is cool, And then I remember like hip bike, and then I wrote Middle.
Earth question mark.
Because I'm like, suddenly Gandolph and the little girl are there and we're in you know, deep deep Rivendell or something and I was like, what is it. I just remember as clear as.
Yesterday writing down like Middle Earth question mark. It's not quite an opening.
I can totally see that. Yeah, it feels like the little girl and the old man that they pass are completely out of time. I mean there's like the the ox cart type of thing. And I'm like, all right, I mean is that just hey, look at how out of touch Spain is at this point. And just the people that are in this little town that he visits, they just seem so, I don't know, insular and just like the word that Chris d kept using in the
commentary was provincial. You know, they just they seem like they don't care about anything else in the world other than making money and having a good time.
Do you think it's also like a class thing though, because yeah, because it's that's the thing is slate John, and especially like his aunts, like they live I mean the aunt and her her daughters live in like it looks like a castle, Like it almost looks like a mini castle, Like it's beautiful. And even John's little house this is really amazing, like the interior design and everything.
But he has access to a motorcycle, he's access to some high seemingly kind of high tech for the time period, like taping devices and microphones and you know, and then you're comparing that. Of course, it's fine with the ox Car. When I first saw that, my first thought was those poor Oxen until we get to the slaughterhouse scene and then I'm like, you know what, the Oxen are fine, right.
And there's your Boon and Well connection right there.
Yeah, you know, among other films, and so yeah, it really the whole film is a mix of like art house sensibilities and you know, eurohor tropes kind of coming together.
It's works so well too.
Yeah, I don't think it's any coincidence that Franjou was made that, you know, Blood of the Beasts movie as well, and you know, you've got animal desecration in all the way all the way back to Lunchen and Dalou and then you've got even the fighting scorpions and Lage or where it's just like, okay, this is making me feel uncomfortable watching these guys just go at it.
And then we get that nice echo later in the film when he's about to you know, with his.
Co Yeah, this has been a rough few weeks for me. Seeing animals slaughtered in films, because we talked about the Slovakian film three twenty two in Cheptember and that had a big slaughterhouse scene in there. This, though, is far worse. This was really tough to watch, and especially the screaming of the lambs. Just hearing them going at it was just like, ah, my skin is crawling.
And I thought Cockfighter was rough for me, and I mean it was Cockfighter was nothing. Cockfighter was Late Lady in the Tray app compared to compared to this, it was. And I mean, I have to get the third parts where I'm kind of like having to do what how I'd watch horror movies when I was little actually, which was like a lot of like me covering my face and then kind of peeking and being like oh Jesus Christ, like covering. Yeah, it's rough. It's really rough. I will
say this. You know, the callback, the editing and the purpose of it. It's not done in an exploitative manner.
You know.
That was always kind of as much as I love parts of of a Holocaust, none of the animal cruelty in that film was was justified realistically at all. But here, you know, I'm not gonna say it's justified, but it's it's used well and to be honest, like those animals, those cows are gonna get slaughtered anyways. You know, that's just an ugly reality of life. Also, and because the whole thing is like for me, it's like, is that do you kind of feel like having it be so gruesome?
Is also kind of a showing of like taking something natural because we see John surrounded by animals, like and he clearly loves him, like he has like a cute little black monkey. He's got a little turtle, which also surrealist. Does also feel very surrealisty to have just a random little turtle on the on this nice dining table.
Which is which she picks up.
Yeah, as if I didn't have enough reason not to like Marta, but it's just like the way she I didn't like. I didn't like the way she handled it turtle. But all the birds and nature is clearly like this beautiful sort of thing, Like it's like this magical kind of good right down to gandal. Do we have a name for the character.
The hermit?
Maybe because that tree is not completely alone though, is he? I would have called him a hermit too, But he's got a companion, he's.
Got that little that little girl, and no, it's it's it's a funny because like you're your whole middle Earth. They crack me up because when I first saw him, I assumed he was a hallucination.
Yeah, there was always that too. I did too, by the way. I'm like, is this is this just allegorical or something?
You know?
Right, But then later on they're like, no, this dude's real and this little girl is real. So but I love that. But again, they two, both of them are like seem to be of nature. They're like of the woods, and they seem to have kind of this beauty and purity about them that nobody else really does in this film, including John. And then like but like with the Slaughterhouse, it's so ugly and it's like this is what humans do.
It almost to me, like we foul it up. So much of this film is kind of about the ugliness of human nature.
I especially love when he's leaving the Slaughterhouse and he's just like, yeah, no I'm not coming back. Oh what's going on here? Yeah I learned enough. I'm like, oh, okay, that's a pretty telling line, as there's.
A delicate flower in the foreground, right.
I love that flower. That's what I was just about to mention, Like, you see all that blood and the blood on the floor, and I'd cut to that beautiful white carnation, and then when he's there quitting his job, the guy has the carnation like almost right next to his head. I'm like, ah, I really like the way that you're shooting this.
Yeah, so much, so much loving attention to detail.
You know, as I was watching it, I was looking at the sort of filmic technique and how he was shooting just something as simple as you know, the cart going by on a bridge, and the way he cut that up in the different points of view, and I was like, this is this is what a pity you know that this would end in tragedy, which I'm sure we'll talk about later because it's a real There's a really impressive style to the film visually, and that crazy sort of pal obsessed of a you know setting where
we have slightly medieval and Gothic and contemporary and provincial and townies in their greed in there.
So it is it is a crazy little mix, isn't it.
I was thinking the same thing too, Like, especially by the end of the film, I'm like, I were so robbed of Claudio's dying so young. I mean after like literally off this film because like what else would this man have made after this film? Because of the visual language, and this film is like it's and I mean and
it's just like it's the simple shots too. It's not like you know, I think people when people think of like visually last seventy four, they think like Argento, as they should, but but this is like it's a little it's a different style, and it's just it's framing. Everything is just so thoughtful, even like like what you later on when you have like the Cousins kind of on the you're hanging from this like you meat hook type thing.
Oh he brings art to it. You're like, damn you you know it's.
So beautiful because that I mean, we've all I mean, there's a number of some of these horror films with meat hooks, and they I wouldn't say the meat hook shocks being beautiful, and that's I mean, it's some of those are films I love. But yeah, this is it's our house.
Is that what it is?
Yeah, it is elevated you know, I totally agree, yeah, that that particular scene is really kind of you know, as breathtaking as it is off putting.
Yeah, just so visually striking throughout so much of this. I love the scene and I'm kind of jumping around. But when he's I think he's again screwing with Pedro and talking about you know, the ghosts and all this, and like how you can still hear them on the moors, and then you start to hear the frey zhaka and you get the whole Oh that's the thing he's talking about,
how he can't close the door. He has to leave the door open for these ghosts to come in, and then when you see them enter from the fog, it's just gorgeous to sing.
Ah that is Oh, it's so pretty.
Yeah, it's so pretty and so creepy because I honestly, and I'm not somebody who's scared of ghosts, Like I'm not the biggest fan of ghosts and movies typically because you know, it's it's just to me, it's a harder kind of subgenre to do well in a way that I like. But like as music and the way you see the figures, I was like, oh, that tension. I love it, and I did feel bad initially for for Pedro, but then we we quickly realized in the film that he is him and Marta.
Yeah, there's an alliance there, for sure, there's an alliance.
I just like attracting like, which means terrible, attracting terrible. It's like complete shit magnet factor.
There's also that scene I think it's that same little girl, possibly from the Hermit that the hunters, and they're really just, yeah, just being very icky with her, and you think, oh, this is the time of for Pedro to show his metal, but no, he just kind of goes along with it. You can tell he's not as into it as the other people, but it's like, yeah, no, you're not doing anything to stop this.
Yeah, Well then he gets kind of into it later.
Yeah, later he's the one who throws her the rope, you know, like, oh, we're not going to hurt you.
Yeah.
That's the type of film where you know, and I don't mean this in a negative way, but like as soon as we cut to that shot of the four of them walking, you know that anybody that comes along, particularly you know, a young.
Girl, are just they're doomed. You know, it's just it's it's gonna It's like in the dubbing really comes through there too, you can, cause it's like one of those scenes where you're like, you know, everybody's aggressively, Hey, come here, all right. It's like like, oh, you know, you know where this is going really fast? You know where are you going?
You know when we say young girl, if everybody listening that hasn't watched the movie, I mean, she looks like she's like what ten, Yeah, like she's young, and it's just like it's very uncomfortable and but a great way to kind of show that these you know, because you get the feeling too. These are the guys. Obviously, they're hunters.
They have nice hunting clothing. They're able to do this as a sport and not just as a like survival, which I imagine some of the townspeople probably are having to do. So these are the money quote unquote respectable men and this is who they really are.
Yep, and completely out of their element.
Yeah, yeah, we should talk about Aunt Marta and her I guess it's her three daughters. It feels very much like a evil step mother and her you know, corrupt children type of thing, like I expected Cinderella to be hanging out around here, you know, And so Aunt Marta is there in her wheelchair, which kind of already makes her a little sinister. You know. We've got a lot
of bad people. And then it's so ironic that I know her best, know Vivicalin for his best from the segment of Creep Show where it's her and her father and her father's in that wheelchair and just smacking that cane on the arms of the wheelchair. I want my cake, you know, And it's funny. I really don't know Vivica li inf Is that much other than when she was
an old woman. So when she was in that when she was in Stargate, and I didn't recognize her physically, I didn't recognize her face, but that voice, that very very distinct voice, and I didn't realize that because I imagine they shot this film very similarly to and I should say they probably shot Spanish films and please correct me if I'm wrong, Nick Mos, and then did all post dubbing stuff, kind of like they did with the Italian films.
Yeah, for sure, if it was a co production, if it was a national production, it would depend if it was a multinational cast, but yeah, they certainly would do that and dub it for regional releases in different languages.
Because I kept looking for the Spanish version of this, thinking like oh, I'm yeah yeah, But then I was watching the English dub and I was like, oh no, this is actually her dubbing herself. So I always feel okay with that. It's like when you watch the Clint Eastwood films and it's like, Okay, he's doing his voice, and Cleave's doing his voice. Eli Wallack's doing his voice
everybody else. That's yeah exactly. But yeah, I always love It's so funny because I used to hate dubbing so much, but I love dubbing in these types of genre films because it adds that extra layer of erreality and just makes it. I always say, it makes it feel like the voices are floating in front of the lips rather than actually coming out of the body.
When you say that, I just think back to that scene when they're hunting with the girl, and I'm like, yeah, as soon as that dubbing that language comes out, I'm like, this is this is going to go really bad?
You know, Oh God, especially the way the guy one of the guys. Oh it's a little dugs. It's like, oh god, Oh, it does take it somehow even more gross, Like how's it's amazing.
Yeah, And there's a lot of creepy, gross, uncomfortable scenes in this movie and that one, and that one's so long we have to protract it out. We had to cut away for a while.
Come back.
Now it's night and she's still in the middle of the little pond. It's like it's cruol. It's just a big sort of cruel interlude. So that these guys are really pieces of shit.
You were talking about how John's got all the gadgets and gizmos, and he's got all the photographs around his room with all the different kind of pieces of women, you know, the eyes, the just the silhouettes of them, this kind of fracturing of them, kind of like what I think you would like to do to them, especially like with the slaughterhouse equipment. But I appreciate that. I like that he's got the microphones and the tape recorders and he's just very high tech as opposed to you know,
a friggin' ox car. You know, it feels like he's very much in nineteen seventy three, and the rest of this world is you know, back in like the fifteen hundreds or something. Especially the whole idea of the church and the church just looming over everything. I mean, even when he's driving his motorcycle away from the asylum, they specifically stop on a big crucifix that's up on the side of the road, and then of course the bell is headed towards the church, and it's just this bell
constantly going through here. So it's this whole idea of you know, the Church being there and looming over everything. And I mean it feels like John, you know, it feels like John is very much like Marlon Brando from you know, The Wild One. It's like, what are you rebelling against? What do you got? You know, I'm doing everything, but especially in rebelling against this family that put me away when they shouldn't have well, and you know.
Something that's like another thing actually that's just hitting me. John is the only male member, don't We don't even know what happened to his father or his cousin's father either. We don't know what happened to Mark and his husband. I bet she killed him. I bet she killed him.
I think she has it dinner.
Yeah, oh completely, because I mean we know his mother committed suicide, but even knowing the shadiness and wanting the money, you know, there's that little, that little wave of like did she really? You know, it doesn't really give us a whole lot, but I like that. It's like the film doesn't. It doesn't have to tell you every single nook and cranny.
No, it's and you know, watching it this time. So my opinion of it actually was just even strengthened watching it all these years later. I had hadn't looked at it, like I said, in between fifteen twenty years, and it was not diminished at all.
It was it was actually just reinforced that. It was just it's a really impressive piece of work.
And I love the whole thing of how he goes to visit the cliff where his mother jumped off, and then the thing of him planting the trees up there, and when he talks to his cousins like, oh the sad your blood will run up into the sap and you'll be there and you'll be hit by the wind and all this, and I'm just like, oh, wow, he's really laying it on thick and just that idea of them becoming part of the trees, becoming part of that nature that we were talking about.
That's just amazing.
Oh I love that. That just it almost made me think of some of like Edgar Allan Poe's oh for sure writing. And then of course late we get later on you know, John being walled.
Up oh literal, yeah, yeah, and.
It's like, oh, yeah, I'm speaking of Poe. My God, Like, I have to say that this time around, I just saw I guess maybe because you got a lot of tunnel vision going when you're writing about a certain thing. Sure your mind does go to other genres, other countries, other eras and make connections. But when I was watching it this time, I felt Poe so much more clearly
than I did when I watched it the time. You know, the like we talked about earlier, the unreliable narrator, the you know, there's like there's sort of like a raven constantly sort of like hovering about.
There's the incestuous natures going on here.
There's the uh, the being sort of like not buried alive, but sort of entombed within a.
Bell, within a church.
You know, like it's still sort of like an entumbment, and and and of course the point that Heather just made, it's like, it feels like Poe is is very sort of along with other influences. You know, I saw a little more Baba and and Franco as you know, as you as you pointed out in your notes, and and I guess I wasn't willfully making those connections when I was looking at it, but there now there seemed to be much more clear to me.
And yet it's still it's very much it's it's its own film.
You know.
I love the idea of of John being so morally ambiguous that that at times where you know he's the protagon, He's like Carrie White, the monster and the heroine was slash protagon instant. And while we watch him do terrible things in the film, we are not without sympathy for him at the same time.
And he also does, you know.
Strangely do nice things throughout Strewn's little decent acts here and there throughout the film, and You're like, how should I feel about this person? And I'm like, that's why this film resonates, you know.
I love this whole elaborate thing where he's talking with Pedro's wife and he's just like, oh, have I offended you do? I need to rip my eyes out, And then he proceeds to rip his eyes out and hold them in his hands like the the man from the Gearmo del Toro film, you know. Then she starts screaming and he's like no, no, no, and he just like peels off the prosthetics and just like see, yeah, I'm okay. She faints. He carries her into the house, takes off
her underwear, and then leaves a note for that. It's like, sorry, I couldn't control myself when I saw how helpless he were. And then he uses that later to couck cold. He doesn't even cuckold Pedro, but he uses it to cuckold Pedro in that whole thing where he pretends that his arms are in casts and makes Pedro hold his dick while he's going peete. I just love that.
That was brilliant.
I was.
I was because some of the pranks were a little little more light. I mean, like the eyes thing, which was beautifully done. It almost feels like, to me, like a precursor to light magicians, like the amazing Jonathan you know, and.
Pitt and Teller years later, or Harry Anderson with the whole needle.
I miss him, but yeah, but I'm like, god, she seems nice. But then, like you already know Pedro's a pedophile little piece of crap. So it's like he's like, yeah, yeah, I have him, old you're weaning. I like that. Good you, John, That's a and I's something John's always thinking, like, this is such a smart character. He doesn't seem supernaturally smart, but he just seems like you could tell that he used all of his time in the asylum to meticulously
plot his revenge and it's so beautifully done. It's so he's such a cool character. And I love I love the fact that you pointed out, Nick, that he does have that gray area, like he is a very like he's not one hundred percent hero joking about like oh, I'm sorry, I lost control, Like, don't do that. The eyeball things already pushing it. But and there's a few other things. But then you know, he saves that little girl from the hunters and gets her back, you know,
to the Woodsman and the organtal. I'm sorry, I can't help laughing over that. You know, and even even when it comes down to doing, you know, ultimately committing murder on the cousins, he can't do it. And you know, and that's a his back in the lutterhouse when he's like, I've learned enough, and when he quits. I took that kind of two ways, like, I mean, he's there to learn.
I mean, that isn't a joke, But the way that he says it and the look on his face, I got the filling like he just also just kind of got like a gutful because it's nasty. That is some nasty work, and so he does have like some good in him. And I just kept getting this feeling that
the whole callback to them as children. It's like this was the last time of purity for him, like as a little boy, not just because he's a kid, but it's like his mom's there and she looks happy, and all the girls are playing and everything just seems really nice.
And I think sometimes it's like there's that point as a kid where you maybe something happens where you suddenly become aware that the world is a lot scarier and a lot uglier, and that humans and adults can be a lot uglier and that's where you lose your innocence, and you know, with losing his mom, lost that and then he's in this snake's nest of a family.
He's really obsessed with the past, because when we see him at the asylum, when he's still in there, he's looking at these photos. He keeps the one where it looks like it almost looks like they're doing ringing around the Rosie or Farajaka, depending on what song of choice. But then when he gets home he looks through an old photo album as well. And then when he finally gets with all of the cousins in the ant, what are we gonna do. We're gonna watch some old home movies.
So yeah, just revisiting that pass and kind of dredging that up. I really appreciate that he's stuck there, but also at the same time, he's just like, hey, look at look at what you took away from me. It is very much what it feels like he's saying to Aunt Marda and the other girls. I mean, there's one girl, one of his cousins, I think it's Esther seems to be the kind of decent one. It feels like she's young and maybe that same age when he got his
innocence taken away from him. And then yeah, there's definitely a lot of ancestual stuff going on here too, because for sure he slept with one of his other cousins and it's like, okay, yeah, probably a little too close here, guys.
The pictures in his room of the different I assumed that was all the oldest cousin, the dot or the I think she's the blonde whose names escapomate and I believe isn't it her picture? We see him rip up when he's getting released, so which initially you're like, oh, that's his girlfriend. It must must have not gone a com well with Chris's movie. Part of the beauty is you realize, oh, yeah, that that ex lover, that's his cousin.
Who's underage, you know, which they make a big point of saying at the end, you know you're under age, I can force you to stay.
Yeah, well that's the young one. I think it's the older one that he slept with. The old Yeah, because there's that there's a scene that I think was cut in one of the versions where it's John and Esther they're talking and Maria's on the swing and it's John and Essa going back and forth, and she says, one night you tried to rape Oh sorry, She says, so you and Maria were lovers, weren't you, I mean real lovers And he goes yes, and she says, and one night you tried to rape Teresa And he goes hmmm,
and she goes, so I'm the only one left. Is that normal? Or are you really? And she just kind of leaves that hanging and goes, so, what do you think. I was like, oh, okay, so one of the I think there's like three cut scenes that were out there, but now they're back in the US DVD.
You know, you mentioned a few minutes ago probably my favorite sequence in the film, and when I reread what I had originally written about it, I was like, yeah, that's probably my favorite sequence in the film, which is when I think he very earnestly says to his aunt, just give me my passport.
And you'll never see me again. Everything's cool, everything's forgiven.
And of course she can't do it, and I said, you know, I mean, it's just the linn pin just pops right then, and then I'm like, literally he starts screening the past, and and I think I wrote something like in picking up the Scabs of History, while he while his revenge, this look, he's clearly like a brilliant mechanical engineer. You know, this guy could make could have
made a great living as an engineer. But then he, yeah, his his sort of his plan for revenge unfolds and we get to be a part of the whole thing. It's it's, it's it's a crazy third act.
Yeah.
Years later he would make that little puppet that comes in and try to stabbing people in Deep Red, you know.
With another sort of fraira jaka sort of nursery rhyme.
And oh my god, lost innocence. Yeah, and Heather, how strange is it that this is the second Spanish film we've watched this year, and the second one with so many bees.
Yeah, yeah, yes, I saw.
The unifl bits and pieces of Spirit of the Beehive in here, you know, just in terms of the way, not the color palette or anything or the story, but just that influence.
You know, the film feels at home in the spirit of the beehyd category as.
Well as it does the peeping Tom category.
You know, oh completely, Now there was a lot of bees. Yeah, no, in the timing, because you even have like the sort of the rustic village and the distrust learning to distrust, like what you're told as a kid. And of course obviously woof for.
John, they were just missing that town crier.
Oh my god. And then we don't we'd spoiler for anybody listening to Frankenstein Monster and Alas.
But at least we get to see the bees out doing their thing, which I really ate.
What a great way to get.
Revenge on someone. Just what he's like, spraying that stuff that attracts them to on her face. Oh my god, I.
Do Suddenly you're like Eric stoltz Is in the movie, Yes, exactly going on here.
You know, that really took my breath away when you see the results of that, and I'm just amazed she's.
Not dead, no kidding. Behind the veil later we see all everything's shrinking and she's you know.
Darn it, you know, so how handycapped is she? Because like when he when he gets back to the site in the night, he finds the wheelchair, but there's no Marta initially, so I'm most like, is she doing an excuse this reference? But This is what pops into my mind. Is she doing a Guy cabierro Forritny SV fans Setv's like, what is hea they're talking about? Please watch SETV. It still holds up.
I still prefer it to Saturday Night Live, same same.
I think it's actually even the cultural stuff that's dated. The humor is not dated, Like you don't have to get every single reference to still find it really funny because comedy's comedy. But the Great Light Joe Flaherty, who is my favorite member for the record, his character Guy Cabiro, the manager of SCTV, puts in a wheelchair and something he wasn't a handicapped, but he used it quote unquote for respect. It's still a line and stay.
Like CTV frequently. In fact, I don't know.
The last thing I posted to Facebook a few weeks ago was was when I don't know if you guys know the John Candy Finian's rainbow meat ciracing that one where he's this leprechaun.
Oh my god, no, oh my god.
All right, I'll send it to you in the group chat here and uh.
What I'm dish a rainbow on my meat?
Oh no, not again. I guess we'll have to throw it out.
No, don't throw out that meat.
Who are you?
I'm Finnian and I put that rainbow there.
I put a rainbow in every slice of Finians brand rainbow meat.
It's yucky.
It looks like a floating not a pals.
He's got a point. It doesn't seem right.
Right, what's right got to do with it?
It's a rainbow, isn't it?
And rainbows are beautiful and my meat is beautiful.
And I'll tell you why, because it's.
Jam packed with chemicals, good healthy chemicals, chemicals that'll make you grow.
Up to be big and strong.
Have you ever seen leprec on the biggest me before?
No one?
I'll tell you why. Those are the little people. They wouldn't touch my meat. They should.
Finnian rainbows belong in the sky, not on a cold cut.
Well, I show them. I show them all.
So gret bit to Tomarta before I started just quoting all of my favorite scats here from STV. So, I mean, do you think, because she's certainly not the most moral, morally right person in the world, it's almost like is she handicapped, just as like a way to manipulate her family. Is she really like hand physically handicap.
Feels like it feels like she's that type of person because you just will do anything to get what she wants. She wants that money, she wants to keep that money, and she wants power, you know, like you said, hey, listen, I'll leave, you know, like I will give you everything, all the money, Just give me my passport, let me leave. But no, she wants him under her thumb.
Which is gross. It's very gross, very creepy, and I think I think most I mean most people in real life have at least known of somebody who's had a relative like that who's very toxic, very controlling. And seeing that, I love it. To me, Horror can hit the best spots when it's taking something that's very realistically in real life rooted and explore it in a way that's still
visually really striking. There's so much beauty in this film, even even while you're getting into some really gnarly gnarly I mean, the fact that the incest is so casual. They're like, oh, they were lovers. That doesn't like, I mean, come on, I'm from Arkansas, even I'm a horrified sold Southern and shack for everybody. But I mean, and it's just that's how dysfunctional is family. And again, like I
also another sweet spot. I love it when you're taking a like sort of upper middle class, respectable facade and you're just being like, we're gonna rip this bad boy open and reveal just how dirty and gnarled up it really is.
Now it makes me wonder whether or not it would have been beneficial to the film or detract from the film if there's a scene where she sort of wheeled into her bedroom at night and then we see her get up and like she's totally fine. You know.
I'm like, it would add to the gothic atmosphere of it.
I think our completely that should have been a deleted scene.
I will tell you the movie is a little strangely paced for me because when the hanging up of the girls happens, that's only an hour and seven minutes into an hour and a half movie. Because it felt when I was watching this, I was like, oh, it's the climax already. It was such a fake out for me because this seemed like everything that the movie was leading up to, and Martina's been stung by bees. Hopefully to death,
we think. And then you've got the three girls on these meat hooks and they're cross cutting with you know, the cow. Oh this horrible scenes of the cows and the sheep and all this, and you're just like, Okay, well that's it. You know, he's going to kill these girls and the movie's gonna be over. No, there's so much more to this. I mean, it's amazing that he
changes his mind. In any other movie he would go for it or something really to I mean, it's terrible what he's doing to them, but really terrible would happen like them limb cut off or something. But no, no, we've got twenty more minutes, ladies and gentlemen.
Where's this movie gonna go from here?
If this is at the hour seven minute mark.
It goes to some unexpected places.
And another fake out yep, because I noticed that when we get to oh god, page, I just hated that character. So I hated him even more than than the Marta, Like Marta is bad and maybe my other birth pretty bad. I don't know if one can really say which one's worse. But it's like, oh God, and you know, but then it's like John's like, oh no, I'm going to get the last lap, and then I'm like, oh, all right, okay,
like what's going to happen? And there's enough sort of like magic tinge around this film to where I was kind of halfway like is he going to come back? Is there going to be you know, something like slightly supernatural that happens.
The same here that I remember the first time I watched it, I was wondering it planted the seed, especially with like Gandal from the beginning, that there might be something you know, supernatural coming, but just the world.
That they live in, there's so much fog, and then when he finds aunt Mertis wheelchair, it's all in the rain that's pouring down before it gets hit in the head by Pedro. Yeah, it's absolutely gorgeous stuff. It's like the world is rebelling and he's out there in the middle of it, and next thing you know, he's getting
tied up and bricked into this place. And Yeah, when he says I'll get the last laugh, I was thinking very much along the same lines of anything can happen in this movie, including the supernatural, because it feels like we're right on that edge the entire time, and I love that.
Like, especially because I think sometimes not with all modern like more modern horror, because there's always great films, there's always bad films. That's a tale as old as time. But I feel like sometimes, like especially with the horror community, people sometimes want things it's overly explained, like to the point where people will literally have debates over like the science of zombies encryptids, and it's like they're not real. I okay, just calm down, let's have a little imagination.
It's a good thing. But so I love that. I love that this film was so bold with having enough shadows.
Did anybody else get a touch of evil vibe from the last shots in the fish tank, you know, with.
The ooh yeah, that's that.
Always kind of like I always thought, Well, I don't always thought. I mean I think I watched the film two or three times when I when I wrote about it, but again, this is the first time, and when I looked at it, I was like, oh, I wonder if that was intentional. It just reminded me a lot of of that particular you know, the shot I'm referring to in Touch of Evil, Yeah, strangling and with his eyes bulging out.
Kim tamar off. Yeah, that's a wonderful shock cut when they cut to him with those yeah, big bulging eyes coming out, and then he should have stood up and peeled off the bulging eyes. And how gruesome is it just the way that they kill John? And I know that in my mind, I think what they're trying to do is have me picture him, you know, like his whole corpse being pulled right and just like but I really just kept thinking that his whole head's going to come popping right off of his me.
Too, like a dandelion head popping off of it.
And just the tension around there and the little kids singing the choral songs and those two little boys that are working for the church and they're trying to get that rope, and all the men come over, Oh here, we'll help you in there, And meanwhile the cousins are just like, oh fuck, well.
Especially because isn't one of the grown ups that rushes over pedro.
Oh yeah, he's ready to help.
I also kind of wondered if part of it was like a fear of like what if this goes a by, because initially like it's it's not clanging it, you know, and especially your first time going into this universe, you're like, did John get out? Like, you know, like because anything again,
you feel like anything is really possible. And but then when it finally does ring, it's like, oh, and I love the youngest cousin, even despite going through some trauma, like she does seem to have the most like moral like sanity of being like this isn't right, especially because she saw him have that turn, you know, that turn where he was like I can't you know, basically I can't do this. I can't kill somebody.
It's like the one ray of hope at the end is that she suffers away.
I can't believe we've talked about this movie for this long and haven't used the G word. We haven't called a Gothic because there are so many Gothic elements to this the setting that it's in, I mean, especially when he's there playing that harpsichord or whatever and with the raven and it's he just looks like he's a mad scientist or something like I kept waiting for him to turn around in half of his face be missing, like
Phantom of the Opera or something. It's like and then that that plays such a big part of Pedro's demise.
That's a really enchanted part of Spain. That's the very northeast. You know, Galicia is the region and it is sort of a very green, verdant, lush forest, you know, Celtic, lot of Celtic ruins up there. This is you know, this was a place where the Irish and Spanish ultimately you know, laid claims to that, to that land over the millennia, and so you have all sorts of interesting mixtures. Just like in southern Spain with the Moorish influence, you have that Irish or i should say, more.
Accurately, the Celtic influence up there.
The Blood Spattered Bride is a good example of another Spanish horror film that was shot in that in that area, and of course there's been a lot of film shot there, but it it can look.
Like riven Dell, you know. And and so yeah, I think you're right. The setting.
It's weird when when you stop and think about the very beginning, which we talked about that we have like this motorcycle heading into a very sort of like slightly medieval or gothic atmosphere.
It's these things kind of are incongruous.
So who do you think kills paper at the end of the film, I say.
Just because I felt like it was always Handolf, Handsolf, it is.
No And again another reveal that may maybe like, oh, because you see you see the hands first, but again you say, you still magical thinking You're like, it could be it could be John.
We're all thinking it's John. It's John.
Yeah, it's another nice way to pull the rug out from under us. And it's so nice because it's really revenge for the daughter thing, you know, the which, like you said, Nick, it goes on for so long that they have to cut away and come back and it's nighttime and she's stuck out on that boat and he pulls her in and it's just like Pedro attacks her. And so it's so nice that the father's gotten his revenge too. I mean, talk about a great tale of
revenge for so many people. So ultimately John dies and the ant and at least two of the cousins flowed away, and I was I kept waiting for like a big wave to come and knock their boat over or something, just like, no, they can't get away.
Big swave of bees just randomly right.
Truck member the.
Man Here's for thee.
Yeah no, I especially because the callback I loved with it being the Woodsman is earlier in the film, John says something to him to the effect of like, you know, wait until I'm gone before you do anything. And he is gone, so it's almost like it's like the sink. The way everything sinks up is so so cool. And the fact that even if I mean it's it's so sad that John's gone as morally weird, I mean, and he does, I mean we didn't mention, I mean he does.
Even though he didn't initially rape the one cousin, he ends up raping her the way it's framed, I mean, there's definitely some it's she's changed. The blonde is probably already damaged because she had an affair with John, and we hear some really disturbing dialogue early in the film and Marta, you know, MARTA's I don't know. Hopefully she gets like bee poisoning. I don't know, but good for the youngest. Good that's the hope. That's always what you wanted.
Dysfunctional families is at least to have one member, see like wait, this is this is a tree that has been damaged too long. We're going to break it, break it off and start a new good for her.
Watching this really makes me want to watch because I don't think Claudioguerin did that many feature films. I want to say it was just the one like he is part of like a multidirector work unless there's FiOS, I believe. And then he did some TV work. He did some you know, shorts and things, a lot of TV work actually, and then he just did Was at the House of the Doves and then that was his I believe, first
feature the year before. And then Bell from Hell and then yeah, he either falls I don't imagine anybody he said he got pushed or he committed suicide the last day of shooting and was he fell from the Bell Tower. What a way to go, And yeah, what a end to this career. That just I really wish I would have seen more. Like you said, Heather, I wish he would have had more opportunities to make films. I'm glad that he had another director come in while Antonio Bardem
came in and helped out finish it up. And I'm imagining he kept to the vision of the former director That's what I'm hoping for anyway. But yeah, it's just it's a tragic, tragic story.
Yeah, whatever Bardem shot seems to be pretty nicely integrated into it. And so yeah, I think I think hopefully Garren's vision, you know was ultimately what was what was you know presented? And yeah, this guy, I feel like, you know, would have gone the route of ful Gie or or Argento at least if he wanted to continue
to work in that genre. But it felt to me like he might have loved to work in horror and may revisit it, but also like he could have done literally, I think, any anything he wanted to.
And the same guy who wrote this also did well, he did a ton of stuff. But he also did a Sartana film which I now need to track down called Sartana Kills Them All. And then he also did Cutthroats nine, which I've had on my watch list forever but still haven't seen.
I own it and I still haven't watched it yet.
Oh see, well from hell for years so.
And I've I've been lately dying to watch some Westerns and Cutthroats nine way up there?
Do you know it? Heather, I still haven't watched it.
That's been on my like watch list forever too, because that's like I have to be in like specific mood for westerns, and even though like I love, I love European westerns so much, and in fact, I've been very lucky to get to talk about a few with Mike on previous shows.
We should do a good cut throat, you know, my I think.
That's a wonderful idea that would give us all the excuse to I have to watch it.
Like sounds good to me, I'll put on the list for twenty twenty six.
I got a little scared, Mike when you were saying that we haven't mentioned the G word, because you know what I thought you were about to do. No, because that came off. But I know, I thought you're gonna be like Gillo, because you know, there's a.
Whole running gay yeah.
Where people are like the minute somebody uses a primary color and a horror film at this point, they're like the Fellow and it's like, no, it's literally not Yeah.
This is just sort of ever so slightly a few elements of the geollogy.
Nothing to tie it to it, don't you think?
No, No, the old man the wizard. He has gloves, but their fingerless gloves.
Maybe just the nursery mind motif is the only thing really, you know.
And then the fake John that gets cracked open. I love that he's got a doppleganger that there you go from the beginning when he's making the face, you know, and you get to see that whole thing standing up in a crate and it's like, okay, that's pretty creepy.
You know.
That reinforced the po aspect to me because I kept thinking about the House of Usher, the crack that went up, a sort of splitting its you know, psyche into too, and when it fell and cracked in that way, I thought that was sort of like symbolically perhaps the same thing this. I could never we can't reconcile these two impulses. He has to one to sort of not be cruel and the other to get revent, you know.
On the commentary track, Christy brought up another film called The Corruption of Chris Miller, which, yeah, same year, also was directed by Juan Antonio Bardem written by Santiago Moncata, so same writer. Yeah, I need to check that one out. This is one of those where it's just like, okay, and now I want to go down this rabbit hole of all these different directors and all these writers and just even our main character. Because I thought John was great.
I don't think I've seen Renault Verley and anything. He's wonderful.
It's brilliant. He's brilliant. And it looks like because I was the same when I finished, I was like, what else is this guy in? And it looks like he's done a lot, like it looks like he's been very active, but it's it's mostly obviously a lot of Spanish productions, and so I'm like, I'm like you, I'm like, oh, there's so much I need to see. And these are the happiest problems though that film people have for me, Oh my gosh, especially because it's such a young format.
But despite it being a relatively young format, it feels like what needs to make some kind of blood packed with the Devil or something to have some extended time, you know, some send and free time to kind of go through everything you want to go through.
Kidding, that's what it feels like to you know.
I need that time turner from that Hermione had.
Back to really quickly because I just it popped into my head. Vivical Enforce always one of my favorite, you know, European actresses.
I know her from a lot of those, you know, a fair amount of European cinema.
But but you know, she was Oh and I forget which studio I need ted ted on my shoulder. He'd be like, you know, Columbia, I forget she was making. But you know she was doing some really good crime in noir films in the fifties. And she's stunning, you know, just studying. I have an autograph of her. You know, she's just so unbelievably photogenic. And then you know, like like Joan Collins, she started making thrillers and horror movies because it wasn't beneath her. She was like, I'm a
working actor and I want to work. And you know, she's also in that art Chetwyn Hayes anthology where she's on the train with the cat.
The cat.
It came out right around this time. I'll look it up. You guys talked for a second.
Now.
She is phenomenal and just even the way she carries herself, she has such a grand, dumb kind of carriage about her, and especially seeing her and this maybe maybe this is just me playing fantasy booking or something with gothic horror, but she's almost like an antonym of John Bennet because of course Elizabeth's a positive character and a good character. She's not evil like Marta. But you know, you have
that sort of like so something so cool. But seeing these old Hollywood actors and especially the women get to be in these horror the you know, these gothic horror situations and films and shows, because it lends, it lends an extra layer to it, it ends it just you know, it's like it's glamorous there, but they're skilled enough to where it's like this feels like a real human character too. It's a great mix.
I have a feeling that genre people would probably be very angry at us if we don't say that she was Nurse X in the Exorcist three as well. That was quite a turn. I mean, I just love when she would show up in things and just she always brought so much to every single role she was in, even if it was just a small thing. And like I said, I mostly know her from her later American things, so like you know, Exorcists three and those other films that I've already mentioned, and yeah, she was just always
a delight, you know. I think we might have talked about her. Gosh, there was one that she did well before Creep Show, while she was in a wedding. I remember that. Oh, And I was just going to say she was also in Puzzle of a Downfall Child, which we did an episode on that forever ago.
I did find the name of the anthology I was from, Beyond the Grave, which is really quite good too anthology.
If you haven't seen it, I highly recommend it. Great cast.
You know, all of the things that I was thinking about, plus a lot of stuff that you guys brought up that.
I hadn't thought of.
And you know, my main takeaway from it was when I watched it, I just saw a lot more Poe than I did. I mean, when I looked at my right up of it, I didn't even mention Poe and that for some reason this time, I'm like, Wow, there's a lot more Poe here than I thought.
And so I think we covered everything really well.
Well, let's go ahead and take a break in play a preview for next week's show. Right after these brief messages.
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As We're back next week with a look at the incredible two headed transplant, keeping it classy. Until then, I want to thank my co host Nick and Heather. So, Heather, what is the latest with you?
This is perfect timing because at the beginning of the show, Nick, you mentioned working with the great Don Mate Junior and I am on an upcoming release from SYDNAPS and I actually have Mike to thank for planning the scene. To thank you, Mike, because I'm on the release of Mike Mendez's debut feature film Killers, So my essays in that it's Yeah, it's an excellent film. I think a lot of people haven't still aren't really that familiar with it,
and it's a brilliant, brilliant film. I cannot recommend it enough, not just because my essays in it. Even if my essay wasn't in it, I would say still get it. But my essay is a bonus, so please check that out. That is coming out very very soon. And of course, if you're into things like prison and heavy and hot babes, I there's a piece on my website Mondoheather dot com about key rock music videos from the eighties featuring metal
bands and the babes that love them, Incarceration Edition. For all other Sundery activities, you can of course go to mylinktree dot com board slash Mondoheather and Nick.
How about you, what's new in your world, sir?
Oh?
Nothing, nothing compared to that.
I this past summer, I was gonna write a new start, work on a new book, but just got too busy with house hunting and other things.
But you know, I wrote wrote a book on Spanish.
Horror and then one of the German Crimmeys, and I thought, you know, you got to do a trilogy. So the next step would be I really wanted to cover, you know, I do an in depth book like those two, which are really kind of like cultural histories on Mexican horror films, you know.
And it was friends of.
Mine, who other authors that you guys I'm sure pretty sure are aware of. They were they were kind of coaxing me into doing that, and I'm like, no, no, no, there's there's plenty on there.
And they're like, oh, yeah, like what.
And I started naming off the pieces that I knew in the in the books that I was aware of. But every time I did that, they were like, yeah, but that just focuses on this, and those just focused on that. That was a very and I'm like and they said, no, one's done a you know, sort of
like a chronological survey studio by studio, you know. And I was like, all right, yeah, so I really started doing the I kind of laid the predicate for that and started doing the research and looking about going to Mexico City and do you know, talk with journalists.
And archivists and do some but then it just kind of didn't happen.
But I got as far as laying out the methodology for the book, as well as sort of the general table of contents and how I would how I would organize it. So if I'm that far along, it probably means it's gonna happen. I'm just too busy right now, So maybe look look for another book from me, a cultural history on a particular era in a particular country, in a particular genre.
I would be so down for that. I mean, next year I'm going to be talking about al Ju Karda, so I'm as well as Angels and Cherubs, the Raphael Corkiiti film, So.
Alakarta is still like you know, like CC for CC maybe the bloodiest film ever made.
Yeah, wait to dive in because I am very unfamiliar with Maktazuma's work.
So oh yeah, that's that's quite a film.
Yeah, thank you so much folks for being on the show. Thanks to everybody for listening. If you want to hear more of me shooting off my mouth, check out some of the other shows that I work on. They are all available at weirdingmedia dot com. Thanks especially to our Patreon community. If you want to join the community, visit patreon dot com slash Projection Booth. Every donation we get helps the Projection Booth take over the world.
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