Shutter Shock: Diving Deep into 'Snapshot' 1979

This week on "A Dingo Ate My Movie," we're diving into the sultry and suspenseful world of "Snapshot," a 1979 Australian cult classic. Directed by Simon Wincer, this film, also known as "The Day After Halloween," is a hidden gem of Aussie cinema that blends thriller and drama in a unique narrative.

Join us as we explore the story of Angela, a hairdresser turned model who finds herself in the crosshairs of an intense and eerie stalker. "Snapshot" is a snapshot of the '70s itself, with its distinct style, music, and a vibe that can only be described as quintessentially Australian. We'll dissect the compelling performances, the atmospheric cinematography, and how this movie reflects the societal and cultural nuances of its time.

We've got some juicy behind-the-scenes stories and insights into the film's reception then and now. Whether you're a long-time fan or new to Australian cult cinema, this episode will ignite a love for the unique flair of Aussie filmmaking. So, grab your popcorn and settle in for a thrilling ride through the streets of 1970s Melbourne!

Remember, you can stream the episode on all major podcast platforms. Don't forget to subscribe for more deep dives into the quirky, the underrated, and the outright bizarre in Australian film history.

Follow Annette:
Two Crones and a Book
The Stiletto Banshees

Like what you're hearing? Let us know!

Support the show

A Dingo Ate My Movie Socials:
Website
Bluesky
Facebook
Instagram
Letterboxd
Email

Music from the movies featured on the podcast:
Spotify
Apple Music

Support Me At BuyMeACoffee

Please note that this podcast often explores topics and uses language from past eras. This means that some of the discussions may include attitudes, expressions, and viewpoints that were common in those times but may not align with the standards and expectations of our society today. We'd like to ask for your understanding as we navigate these historical contexts, which are important to appreciate the era we're discussing fully.

Episode Transcript

Annette (00:01):
You're listening to Monster Kid Podcast.

Pete (00:31):
Hi and welcome to A Dingo Ate My Movie, a podcast that
features classic osploitationand other weird, wonderful,
overlooked and underappreciatedAustralian films from the 70's,
80's and beyond.
My name is Pete and I'm yourhost.
Welcome to a Dingo Echmovie, apodcast about weird, wonderful

(01:17):
Australian films from the 70's,80's, 90's and whenever.
So today I am joined by Annette.
She is a podcaster and a hostof Two Crones and a book and
also the Stiletto Banshees, andtoday we're going to be
discussing Snapshot from 1979.
Good morning, afternoon,evening, annette.

Annette (01:39):
Hello to you, Pete, all the way on the other side of
the world.
My goodness Can't believeyou're drinking whiskey at seven
o'clock in the morning and I'mhaving a Just kidding, I'm
kidding, and I'm havingobviously just a hot milk and
biscuits.

Pete (01:54):
We weren't going to talk about that, but yeah, when we
got on here and it had a nicelooks like a glass of nice white
wine, which is her time zonefriendly drink and my time zone
friendly drink this morning isblack coffee.

Annette (02:11):
Yes, so anyway.

Pete (02:13):
So we're going to talk about this interesting movie
Snapshot from 1979.
So the description I got fromIMDB.
I used to write my own, but Ijust get it from IMDB now
because it's quicker and easierand I'm lazy and Naive.
Headresser is spurred by hervivacious friend into becoming a
nude model, but soon discoversthat everyone she knows wants a

(02:36):
piece of her.
And don't they ever?

Annette (02:38):
That's just a bit.

Pete (02:40):
I don't know what's going on with this film.
She gets stalked by I don'tknow how many people We'll get
on to it, but there's the guy inthe bar, and then there's the
movie producer guy who's thereal villain, I guess, and then
her ex-boyfriend, who's a realvillain as well.

Annette (03:02):
And then we find out at the end another person who we
didn't.
They came with a skin of me.

Pete (03:09):
We're going to spoil the shit out of this.
So if you haven't watched it,watch it first, or just listen
and then watch it, it doesn'treally matter.
So the cast for this movie isChantel Contoury, and I can't
remember the character's name.
What was her character's name?

Annette (03:27):
It was Mads Madison.

Pete (03:29):
That's right, it was Mads Madison and Sigrid Thornton was
Angela Hughes Keyes-Burn, who'sin half of the movies I do he
plays a photographer guy andDenise Drysdale and Vince Gill.
So it's an interesting cast.
There's some real people, likeI said, hughes Keyes-Burn we've

(03:50):
had in, like we've done Mad Max,stone man from Hong Kong, mad
Max, fury Road Lots of movieshe's done.
Vince Gill we've had him forStone, mad Max and he was in
Body Milk, widley Enough.
Chantel Contoury was in Thirst.
So I haven't done Thirst yet,but I think it's coming up.
Have you seen Thirst?
It's really good.

Annette (04:10):
No, I haven't seen that one.

Pete (04:12):
It's like a modern day If a modern day was in 1979, 1989,
1980, vampire movies Veryinteresting.
And Sigrid Thornton who, when Ilisten to the Conventory,
everyone just calls her C, whichis weird because in Australia C
is slang for C.

Annette (04:27):
Yeah, it is.

Pete (04:29):
But obviously they do it with an S.
She's well known for thegetting of wisdom the FJ Holden.
She was in prisoner.
I didn't know she was inprisoner.

Annette (04:36):
Yeah, that's actually the only place I know her from
was from Prisoner Cell, block H.

Pete (04:40):
Okay, so I think it's called that there Because I
always knew it is prisoner.
I don't know if it's still.
It's not still on, is it?

Annette (04:50):
It was reinvented as Wentworth, wasn't it?
Oh, they tried.
I remember that yeah.

Pete (04:55):
Yeah, now the crew is really interesting because the
crew is like a who's who ofOsploitation in Australia mostly
.
So we've got Simon Wincer whois the director of Harlequin,
which we haven't done yet, but Iwant to do that as well.
I actually also directed FreeWilly and Crocodile Dundee in LA
.

Annette (05:16):
Not the Forbidden Franchise.

Pete (05:18):
Yes, I know the Forbidden Franchise which I'm getting very
close to thinking I'm going todo, I know right.
So film was written by EverettDeRoch, who wrote, oh my God,
nearly every Osploitation movie.
He wrote Patrick, long Weekend,harlequin Road, gaines,
razorback, frog Dreaming, etc.
Etc.
Cinematography was VincentMontan, who shot Long Weekend

(05:43):
Road, gaines and Thirst, andthey're great movies and Long
Weekend's amazing looking movies.
That's a great one.
Music by Brian May not thatBrian May, as we also have.
I've got these friends of minethat also do an Osploitation
podcast and occasionally be inMarseille on my show and
whenever I've always said notthat Brian May, and I think

(06:06):
they're the same.
It's always interesting when wedo it.
I listen to one of the episodesof Brian May's the Composer.
They always say not that BrianMay, and I've always said
nothing.

Annette (06:17):
That is definitely some merch in the future.
I think you've got that Pete, Ithink so, jesus, that's a great
idea actually.

Pete (06:23):
Yeah, brian May is quite prolific as well, like Patrick
Mad Max Road Gaines, turkey.
Shoot Freddie's Dead the FinalNightmare.

Annette (06:32):
That's so crap.

Pete (06:34):
And the other one that I didn't jot down on my notes but
I remember was Dr Giggles.

Annette (06:40):
Oh no, I hate that book .
Yes, what's up Mary?

Pete (06:47):
I've never seen it, but anyway.

Annette (06:49):
It's so stupid, I love it.

Pete (06:51):
I love stupid movies, so I really need to see it?

Annette (06:53):
Yeah, definitely.

Pete (06:55):
It's produced by Anthony Ghanane, who is Osploitation
royalty.
I think he's produced nearlyevery Osploitation movie he's
done.
He's produced Phantasm, patrick, thirst, harlequin, strange
Behavior, turkey Shoot, goes on.
So this is like on theproduction side, this is a
really who's who of Osploitation.

(07:15):
All we needed was BrianTrenchard Smith in there
somewhere and it would have beenperfect.
Yeah, the budget was like$300,000 and there's no I can't
see anything that says how itwent but it didn't do well in
Australia, but apparently it didquite well in the US and it did
quite well in a few othercountries.

(07:36):
So interesting, yeah, and Ithink at that time, when I was
listening to one of thecommentaries or reading
something, I think it might havebeen Anthony Ghanane saying
that at the time a lot ofAustralian movies, especially
like these genre movies andOsploitation films, were not
really popular in Australia withcritics and audiences, but they

(07:59):
actually found a home overseas.
So it's quite interesting, yeah,where to watch this?
Well, it's available on Primeand Broly in Australia.
So Broly, if you haven't heard,is pretty new.
It's a streaming service that'srun or owned by Umbrella
Entertainment.
So Umbrella to all the Blu-ray,all these great Osploitation

(08:21):
Blu-rays and all these other.
They're a great distributor andit's a brand new streaming
service.
This is an unpaid plug, thankyou, but it is really good.
It's free, so it's ad supported, so it's a bit like 2B, but we
watched the whole movie theother night, umbrella, and
didn't get one ad, so it wasreally interesting and it's

(08:43):
actually really good.
I'm not sure if you can get itfrom other countries it might
just be Australian, but VPN isyour friend.
And also, of course, umbrellahave a Blu-ray of this, which I
have.
It's part of their Osploitationseries that they have
unfortunately stopped producing.
They stopped at number 20, Ithink it was, but they were
really nice packaged and hadlittle extras, but still when

(09:05):
they released Osploitation films.
Now they still have nice extrasand stuff, but they had a nice
slip case and they're very good.
So, yeah, when did you?

Annette (09:13):
watch this.
I had to look around.
You suggested it, but Icouldn't access it.
I don't have a decent VPN.
Luckily, in the UK you canactually get it on Shudder, but
it's not regular Shudder, it'sthe Amazon Prime only.

Pete (09:29):
Shudder.
Oh, that's weird.

Annette (09:32):
I know it's very odd.
So I had to do a seven day freetrial so make sure I got to
watch it.
But what's really funny, pete,is that after we discussed doing
it, I found out that there'sgoing to be I think it's a
Blu-ray or 4K release in the UKat the end of February.
So that's out of us, so inabout a month's time from when

(09:55):
we were recording.
But it looks it's got like somedocumentaries and things with
it as well.
Okay, sounds like it might bethe.

Pete (10:01):
I wonder who's releasing it?
Who is releasing?

Annette (10:03):
it.
I don't have it off the top ofmy head, I'm sorry.

Pete (10:08):
I think, is it Broly?
Have a no, probably Umbrella,have some sort of relationship
with one of the largerdistributors as well.
Is it not vinegar syndrome?
Maybe I don't remember, but Iknow that they have some sort of
relationship, partnership, withone of those companies as well.
Oh right, yeah, interesting.
But yeah, it's available prettymuch everywhere.

Annette (10:30):
If you're hunting around, you'll find it.
Somewhere You'll find it, yeahfor sure.

Pete (10:34):
Yeah, it's good.
The extras are great.
It's got lots of interestingstuff.
It's got a VHS cut I don't knowwhy they do that, but I
actually think it's fun to watchlike a really crappy pan and
skin version of the movie, butit's nice because it's got.
The one that I have on theBlu-rays has been nicely
restored and it looks reallynice.

(10:54):
The other thing to know is thismovie is also known by a few
other names.

Annette (11:00):
The names.

Pete (11:02):
It's known as One More Minute, which is a strange name,
but I figured it out becausethere's a line right near the
end where one of the villainsone of the villains talks about
One More Minute and it's aboutyeah, and the other one is
Weirdly Enough the Day AfterHalloween, which makes no sense.

Annette (11:24):
Did you read anything about that?
Why they?

Pete (11:26):
gave it that title.
I did Tell me.

Annette (11:29):
No, I read it was a Guardian article and they said
that they named it that becauseit was a cash grab after
Halloween being released in theUS.

Pete (11:39):
Yeah, the distributor apparently.

Annette (11:42):
Yeah, and everyone was like oh, oh yeah.

Pete (11:47):
Yeah, it's quite funny because I think it was one of
the extras on the Blu-ray.
Anthony Gidey was talking aboutit and was saying that when he
sold it to a US distributor,they basically said do you mind
if we call it something else?
And they wanted to call it theday after Halloween.
And I think his response wassomething along the lines as
long as you in E checks good,but cash is in, I don't care.

Annette (12:11):
I love it yeah.

Pete (12:13):
He's an interesting guy.
I'm thinking of actually doinga whole episode on Anthony
because he's done so many filmsand he's got some really
interesting stuff.
He's done Like he had thiswhole thing, like this movie was
the middle of a three movie set.
After this they went on and didthirst and they did it almost
immediately after this movie andthey actually did some reshoots

(12:37):
for this movie while they werestarting to get thirst together.
It was really quite interestingand so, yeah, so it's, he's an
interesting guy and, like I said, he's done lots of these films.
He's produced lots of baby.
He passed away a few years ago,unfortunately, but I hope not.
I hope he's dead, but I hopeI'm not saying he's not here and
he's still here.
I'm sorry I'm not coming out ornot.

(13:00):
Save it, if you're, anyway,anthony Goddine and your family.
If you're not here, I'm sorry,but anyway he was fantastic and
I don't think the whole genre ofOzploitation around without him
or without him doing anything.
Let's get on with the movie.
It's a very strange movie.
It's not strange, but it's just.

(13:21):
I don't know.
I've never been chased by a MrWhippy van before.

Annette (13:28):
That's.
It's like.
I mean, they've always beensinister.
To be fair, yeah, ice cream van.

Pete (13:38):
Oh yeah, Especially when you hear them coming down the
road with green sleeves playing.

Annette (13:42):
Yeah, and just slightly peeking around corners at you,
yeah.

Pete (13:46):
Do you have?
You get, mr Whippy, kind ofvans in the UK.

Annette (13:49):
Yeah, yeah, of course yeah.

Pete (13:51):
Have they called Mr Whippy or they call something else?

Annette (13:54):
No, we have Mr Whippy, and then there's varieties of
others.
Yeah, yeah.

Pete (13:58):
Now, it's all some trendy sort of ice cream stuff these
days, but we still have a MrWhippy van coming, oh yeah.
It's funny.
Ok, he used to know this guywho was real tight-ass and he
used to tell.
He used to tell his kids, ifyou could hear the music, they
were out of ice cream.

Annette (14:18):
Yes, that's so true, eric, I see.
No, that's the, that's the.
There's none left, none.

Pete (14:24):
Yeah, none left, they're going back, yeah, yeah.
In this case, if you hear theMr Whippy van, you're getting
stalked.
Basically I don't know why hewould be so obviously stalking
you playing music though.

Annette (14:40):
It's a touch, but I don't know.
I was almost disappointed whenit turned out like it wasn't
just the van on its own stalkingher Alec Christine.

Pete (14:48):
Oh yeah, that would have been good actually.

Annette (14:51):
Oh do it.
Fantastic, I was never drivingthe whole time, it was the van.

Pete (14:57):
Oh boy, so the driver of the van is her ex-boyfriend.
Is it Darrell?
Is that his name, Darrell?

Annette (15:04):
Yeah, Darrell.

Pete (15:07):
And he just can't accept that.
She's broken up with him andapparently, from what I
understand, they had sex twiceand it's a bit, and a date used
to be her coming to her place,him coming to her place and
spending all the time talking toher mother.

Annette (15:23):
Yeah, I mean, I clocked the age difference.
They got together when she was16 and he was 27, even though he
looked about 45.
Yeah, he did.

Pete (15:33):
He's got that friar's patch in the back of his head.
Yeah, I shouldn't talk, I'mlosing my hair, but he's an
interesting character.
He's a really Obviously it'sVince Gill who plays him and
it's interesting looking atVince Gill.
I don't know if you've everseen have you seen?

(15:55):
Body Melt.

Annette (15:57):
No, I haven't.

Pete (15:59):
So first you really need to see that movie.
It's just nuts and in that he'scompletely different because
he's probably this was in 1979.
I think Body Melt is1990-something.
It's very close to the 2000s,so he's a lot older and he's a
completely different kind ofcharacter.
He looks better in that, but inthis one he plays I don't know

(16:20):
the guy.
It's obviously the way he'sbeen directed.
He's quite a pathetic kind ofcharacter.

Annette (16:26):
Yeah, but quite intense as well, isn't he, at moments
Super?

Pete (16:29):
intense.
There's that whole conversationwhere he grabs, when he talks
about something, about If youput your hand on the side of a
goldfish bowl or a guppy bowl,the mother will eat the babies.

Annette (16:41):
I.
But then he has this verybizarre relationship with her
family, where you think the wayhe's manipulated the family to
his side of everything but atthe same time they're very
willing to take his side ineverything.

Pete (16:57):
Yeah, they're a strange family.

Annette (16:59):
Oh, they're odd.

Pete (17:01):
They're really odd.
We'll get to that, but yeah.
So the basic plot of the storyis she's like this young
hairdresser she wants to leavethe country and live overseas
and then she's totally, I guess,under the thumb of her terrible
mother, who's right up therewith Piper, laurie and Carrie,

(17:23):
almost who'll take the deepbreaths and it's okay, sure.

Annette (17:27):
Yeah, take a sip.
Take a sip, calm down.

Pete (17:31):
And then she meets Madeline, who comes into the
hairdressing cell on that sheworks at.
And Madeline comes in and she'sa bit of a diva right.
She's described as a glamorousmodel, so she's quite nice.
Chantel Conturi is quite niceto look at.

Annette (17:48):
Oh, she's gorgeous yeah .

Pete (17:50):
And she tries to pursue, you know, a modeling career and
whatnot, and Angela agrees andthey end up doing this shoot on
the beach, which is aninteresting scene, and she ends
up going topless.
It's really weird.
It's really weird.
But and the guy what's the name?

(18:11):
Lindsay, who's played by?
Yes, yes, he's an interestingcharacter in this movie too,
actually, yeah, this obsessionwith photographing dead mice.
Yeah, yeah, it's a question.
He thinks he's got the marketcorner.
There's a whole conversationwhere she asks him why he
photographs dead things, becauseapparently he does other

(18:32):
animals as well.
He's not just specializes inmice, but other animals as well
and he responds along the linesof saying he's got the market
cornered in photographing deadthings.
But he plays the part reallywell.
He's keeps burning.
He plays the part of thisreally eccentric photographer

(18:52):
artist guy really well, even tothe point where at one stage
he's looking through photos orsomething and for some reason
he's got his one leg right up onthe table Because he's like
it's like really weird, but Ithink it's just he's playing.

(19:12):
He's been told like this is allin the direction.
I'm sure he's told to play veryeccentric, but he's a likable
character in this.
I like him.

Annette (19:21):
He is.
I did, I really liked him.
And when?
What was it?
When she was seeing the finalphoto in the layout and she
didn't seem to like it.
I really felt for him becausehe looked so wounded.

Pete (19:35):
Yeah, he did.
He's a great actor, though he'sa very good actor.
Oh, he's fantastic, he was.
I miss him.
Yeah, he's really eccentric butreally good character.
Yeah, photographing dead birds,stuff like that Interesting, so
yeah.
So she goes and does this photoshoot and we get this great
song by Sherbet, which we'lltalk about later, about this

(19:57):
Angela song that you can go on.

Annette (20:03):
I was just going to say it was just so perky and light.
It's like you know this girl'sbeen convinced, you know, to
take a top off.
You know it's meant to be.
Normally, if you watch a movieit's like, oh no, this is.
It's quite dark and seedy, butyou got this really catchy pop
song.
And then old guy with a pipe,it's just there watching.

Pete (20:22):
The old per.
It's just I don't know if he'sa per.
He's just walking along thebeach right and he sees this and
I think anyone would stop andhave a look what's going on.
Most people, I think, when theyrealize they're doing a photo
shoot and she was top was likeprobably just walk away and give
them a bit of space and letthem do their thing right.
But this guy doesn't.

Annette (20:43):
No, they shoo him away, and then, five minutes later,
they turn around and he's backagain.

Pete (20:47):
He's second on his pipe, second on his pipe and watching
what's going on.
But it's a good.
It's actually a good scene,though it's quite it's like a
montage, of course, but, and thesong's quite cool, but yeah,
it's really good anyway.
So she poses on the beach andit's a perfume ad.
Right, you know women's bed.
Yeah, it ends up in Cleo, whichis a.

(21:10):
It's really interesting.
This movie is quite a few trueto life things.
I think it's Cleo magazine,because Cleo was a women's
magazine in the 70s and 80s.
I don't know if it's stillaround now, let me know, but so
yeah.
So then I think there's a scenewhere they go to a party, and
it's the one with that weird guydoing the singing and stuff the

(21:31):
cabaret.

Annette (21:31):
Yeah, it's the.
It's like the weirdest discoever.

Pete (21:35):
Yeah, with a floor show.

Annette (21:37):
Yeah.

Pete (21:41):
It is strange and that guy who pops up a couple of times
and apparently Sigrid Thorntonknew him and he was some sort of
performance artist in Melbourneand that's how they got him.
They roped him into the moviethat way.
But yeah, it's really quitestrange.
The first time I ever watchedit, I think I saw this movie

(22:02):
like back on VHS days right backin the mid 80s, early 90s or
something like that, and Itotally forgot about the scenes
with him, with the cabaret guy,yeah, and it's weird, it's so
strange, and he does that thingwith the weird side lip and yeah
, cause he portrays thesedifferent characters different

(22:22):
characters, doesn't it?

Annette (22:23):
Yeah, throughout it's.
Yeah, it's interesting, it is.

Pete (22:28):
Yeah, it makes an interesting movie.
So, yeah, she goes to thenightclub and once you get home
from the nightclub she's beenlocked out of the house by her
mother, who obviously doesn'tlike that she's turned up late.

Annette (22:37):
Yeah for turning up late.
For turning up late one nightand you get booted out at four
in the morning.

Pete (22:44):
And she'd even changed the locks.

Annette (22:46):
Yeah, she could.

Pete (22:49):
How did she do that?
She just called up a 24 hourlocksmith and just got here.

Annette (22:53):
It's a minute past quick and you're down.

Pete (22:57):
So she ends up crashing at the studio, right At the
photography studio, which is abit of a it's almost like a bit
of a commune because there's afew of them living there and it
sounds like people just come andgo and I think Denise
Drozdowel's character talksabout you just pay whatever you
can afford and the people thatare doing okay go to support the
ones.
It's a bit of a commune kind ofthing.
Yeah, and it's.

(23:18):
It's an interesting place.
Apparently, it was shot.
Those scenes in the studio wasshot in the main office of
mushroom records in Melbourne,mushroom records is a pretty
well known Australian recordlabel and it was one of the
first record labels in thecountry that major record labels

(23:38):
in the country in the seventiesand lots of great artists go
through.
They're still going to this day, I think.
And yeah, so they shot thosescenes and they didn't know that
until they watched thecommentary.
But they shot those scenes inthe offices of mushroom records
in Melbourne and then some of it, like her bedroom, I think
Sigrid thought, was saying itwas in her father-in-laws some

(24:01):
house or something that he ownedor something like that.
And it's really.
It's really.
I always find it interestingwhere they shoot things like
this.
Yeah, it's quite interesting aswell.
Yeah, so she ends up crashingthe night at the place and gets
a room, gets a mattress on thefloor and the mattress looks
really dodgy and some guy beensleeping on it before.

Annette (24:24):
And anyway.

Pete (24:26):
So she seems, she seems to be quite happy there, though
she does all that sort of thing,and then she's yeah, that's
when things really weird thingsstart happening.
We start getting, she startsgetting stalked by all different
people, and then there's ascene in the club where the one
guy who turns out now he's theguy that eventually offers a job
right At the end of the moviehe's got is it a?

(24:46):
What company?
Is he got a company?

Annette (24:49):
Is this something like some sort of like lawyer or
something he wanted to hire as aPA?

Pete (24:54):
That's right In Fiji.
I think it was a Fiji orsomething, yeah, yeah.
Which would be a nice place togo live, and so yeah, but he's
really weird with her.
First she's he's like touchingher up, and then Madeline gives
him a knee to the nuts.

Annette (25:08):
Yeah, she grabs all of them.

Pete (25:10):
Oh, she grabs them no sorry, it's not a knee, she
actually grabs them with it.

Annette (25:14):
No, she's going to rip it up, yeah.

Pete (25:17):
But we turn out where it eventually works out that the
Madeline has, she has ulteriormotives.
She's got a crush on her, Ithink, cause it turns out later
we find out that Madeline is alesbian and and she obviously is
quite keen for Angela, and Ithink that's where a lot of that
comes from.
But also, I think she's tryingto protect her.
I'm not sure, though, becausesometimes I think she's almost

(25:40):
complicit in a lot that goes onin this movie.

Annette (25:43):
Yeah, it's like dragging her into that world.
Was it all for a reason to getto that position at the end?
Yeah, yeah.

Pete (25:50):
Yeah, it's quite strong, yeah, but she looks after her a
bit and she ends up being a bitof a sounding board for her and
things like that.
But yeah, she gets there, shegrabs the guy in the nuts.
She's not in a good way andthat's good.
And the look he gets on hisface when he grabs her.
It's a bit of overacting, butit's funny.
So then she ends up.

(26:13):
Tell me if I'm missing anything, right, because then there's
there's a few extra scenes withher, and Can't forget Darrell, I
think his name is yet.
Darrell where he's comes aroundand he wants to know what she's
doing there and he comes lookingfor.
And then we get that, the scenewith the mother, your favorite
scene, oh my god, finding whereshe lives and finding out that

(26:37):
she's a cause.
Angela earned A thousanddollars for this half day movie
film photo shoot.
She's got it in so seven years.
Right, it's in a nice envelopein the drug keeper.
To get a thousand dollars in anenvelope, but anyway, cash is
king, as they say.
And yeah, alright, then we getthe scene with the mother.

(26:58):
I think I'll let you run withthe scene with the mother and
yet.

Annette (27:02):
So it's so.
She's come home and someone'sjust this is when they're doing
the pitch downstairs For theadvertising campaign.
They inform it, like there'ssomeone to see you upstairs and
she's okay, fine.
She goes up and her mom'ssitting on her bed and, oh my
god, it just it's the mostinfuriating Gaslight nightmare

(27:29):
situation, where I was literallyoff the chair shouting at the
screen of this moment.
The dog ran out of the.
Oh wow, yeah, it's sure I'm notstaying for this.
Yeah, it's in this conversation.
She says she heard from Darrelland her little sister Becky why

(27:49):
their relationship ended and shedidn't even ask Angela anything
about it.
So I'll just take it from themand not believe you.
And oh well, I'm getting riledthinking about it.
I can't be keep on.
So yeah, so she's obviously not.
We said she's kicked her out ofthe house, but she's the only
reason she's come there.
She knows that she's.

(28:10):
She's heard that she's earnedsome money, figured out, she's
earned some money apparently,and saying that her sister Becky
needs it.
She's in the hospital, she'shad an accident, yes, and all
this, and then I did.
But then, at the same time,she's saying and then so you
must be.
She's assuming she's the money.
Prostitute in herself, I think,is what she's alluding to.

(28:34):
But then she's it's all very it.
Everything's Angela's fault.
She's the problem.
But oh, woe is us.
Can't you help us?
But it was like it was changingFrom sentence to sentence and
you like on this roller coasterof oh my god.

Pete (28:50):
Yeah, she's so.
It's like I said.
It's really like pipe a lorryin carry almost.

Annette (28:56):
Yeah, and then like when did she and she let slip
that she's noticed that she hasnine hundred dollars?
Like how do you know I havenine hundred dollars?
You've been going through mythings, is it?

Pete (29:08):
I quickly changes she was looking for something or
something like that.
Yeah, she was looking for apiece of paper to write a note
on.

Annette (29:16):
Yeah, no, on to say that she's been there, yeah, and
then she even looks through themagazine where the pictures,
and she doesn't even notice thatAngela's there is in that
picture for the advertising yeah, yeah.
And it wasn't until Angelaholds it up to it.
This is how I got it, and thatwas the most accuses her of

(29:37):
being a whore and to neverdarken her doorstep again and
takes off.
Yeah and then Angela has myrealize it goes to look through
the draw and the money's goneyeah.
That woman.
I mean, I probably missedmassive chunks of that
conversation because, as I said,I was.

Pete (29:55):
But it's such a dysfunctional family right,
obviously, and her sister's apiece of work even oh my god,
they just.
And then, of course, it turnsout that we find out later that
nothing happened to a sister.
She didn't ever, she didn't endup in the hospital, she was
taking her job in thehairdressers.
Yeah, she pinched the job.

Annette (30:16):
Yeah, I was.
No, that was one of those.
No, I have to take a walk for aminute.
No, I have to pause.
I have to go.
No, something else distract me.
I'm livid, my god.
I didn't think I was gonna havethat kind of reaction in this
movie, but oh my god.

Pete (30:34):
Yeah, she's quite a piece of it, but I think we see her
again after this scene.
That's pretty much it, so butwhat a scene to have that was a
masterclass in manipulation.
She's great actor, though shewas in.
Have you seen Patrick, theoriginal 70.

Annette (30:49):
No, that's okay, I'm telling you I'm gonna start.
I'm going through my movie listand I'm going to up my
exploitation knowledge so she'sin Patrick, she plays the.

Pete (31:00):
she's like the main Matron of the medical play medical
center, where Patrick is thehospital thing and she's really
good in that as well.
She plays a really Nurse,ratchet, nurse sort of thing,
and so she perfected the megavery good yeah, she's very stuff
.
Yes, so she definitely has animpact in this film.

Annette (31:25):
Just a bit.
I'm never gonna forget her.

Pete (31:31):
Elmer guy.
Right, he's the guy from themodeling agency at this man.

Annette (31:36):
Madeline's husband that's right.

Pete (31:38):
it's really weird.
This is where I think MadelineIs almost complicit, because I
don't know if Madeline set thisup like they have some weird
relationship, something Likebetween her husband or is he
strange movie?

Annette (31:54):
It knows a movie producer and obviously she said
she says early on in the moviehe does his thing, I do my thing
yeah, yeah.
And so he obviously goes forthese younger models and things
like that.
So it's, I don't know, maybe Imean I was probably given away a
bit much for them and bit, butmaybe it was that was a whole

(32:16):
idea that she could have a cakeand eat it.
No, he could she.

Pete (32:20):
Have this relationship she wants, but she also gets all of
his money she gets told thatit's going to be a barbecue with
a whole lot of other people andshe turns up to the house and
it's just him and he even fakesa phone call from Madeline.
So creepy, right he does I mean?
Yeah, I can't really.
The number is not the type.

Annette (32:41):
Sorry, I was gonna say be another title for this movie
with the, with the hundredothers could be the red flag
movie, because it is not seen.

Pete (32:48):
But Very much.
I don't know why she doesn'tsee him.
She sees him a bit late most ofthe time.
That's otherwise you'd have nomovie, I guess.
But but she turns up and hefakes a phone call and when I
was watching this is my she wassaying.
I remember doing that, but Ican't remember.
She couldn't remember thenumber you used to have to punch

(33:09):
in.
There was like a certain numberyou could punch into your phone
and then a couple minutes or afew seconds later ring.

Annette (33:17):
Yeah, I like to test the line.

Pete (33:18):
Yeah and so he goes through and he does that.
He has this.
Her acting is actually reallygood in this part, because when
he's on the phone and he saysit's Madeline, she turns around
as anyone would like.
When she hears somebody is onthe phone, that she likes to
turn around, his big smile, butshe's very no, angel is pretty

(33:38):
naive, right, and obviously heplays it up really well with the
phone call and all this sort ofstuff.
And then, of course, madeline'snot coming home and then he
starts wanting to take photos ofher.
This is where we find out howcreepy he is.
And he first starts by sayingto her hey, he's a phone number
of producer guy or something andHe'll be able to get you into

(34:01):
movies and all this sort ofthing.
And then he gets his littlecodec in stomach camera, which I
got with the flashes that showsup a few times of these movies
movie.
It's really great.
It's such a for old for an oldfart like me it's.
It's like a nice flashback.
All that sort of vintage stuff.

Annette (34:24):
No, it's true, I remember them going through the
house.
Obviously I'm sorry people.
I was born in 79.
Sorry, I apologize, but Iremember like we, my parents,
have loads of all camera gearand finding flashes like that
what the hell is this.

Pete (34:45):
Isn't it amazing how far we've come?
Right, we've come from thesecameras where you actually plonk
a flash on the top that onlyworks once.
Once you take the photo, youthrow it away.
Yeah, having a thing in yourpocket that you can shoot
amazing photos with, it'sunbelievable and we thought we

(35:05):
were so fancy in the eightieswith those long ones, with the
one little.
Oh yeah, the long skinny ones,yeah yeah.
And the flash you used to workall the time.
But yeah, I miss that noise.

Annette (35:19):
I miss that sound of a flash, you know, yeah, yeah,
it's gone off.

Pete (35:24):
Chainsaw massacre.
So yeah, yeah, yeah and yeah,he takes these photos with the
codec film and the camera andthey all look a bit dodgy and
then he gets it a strip off alittle bit more.
A little bit more.
At first it's interesting, sofirst she goes along with it and
then it dawns on her what'shappening and cause he's done a

(35:46):
good job to try and get a drunkand he's such a creepy looking
guy too.
Right, he's got the mo, he'sgot the mo, but every man in
this movie's got a mo, justabout.
It's been the season for theyear for it and I'm also really
big in the seventies.
My dad you separate will pushymo, and it's been, it was my dad
did to there was a thing was athing, and yes, so she gets out

(36:10):
of it by just leaving, basically, and he let to leave.
I'll give him that he does lether leave.
So good for him yeah, good forhim what a what a hero.
He's a bit different next time.
Yeah, but yeah, so she getsaway.
And then this is when she did.
She get caught up, she gets,she gets home.

(36:34):
Oh, there's a scene in thiswhich I never picked up on, so
we're coming into the scenewhere she gets home from Getting
this being Orfully abused bythis guy with the photos yeah to
coming home and find the pigshead in the big right and when I
first watch this I was like whoput that there?

(36:56):
I was so stupid I didn't eventhink, and it was when I watched
it again the other night.
There's this little cut awayscene while she's at Elmer's
house getting the photos doneand having dinner with him.
There's a little scene whereDarrell turns up to the place
and asked where Angela is andhe's got a slung over his
shoulder.

(37:16):
He's got a big duffel bag andthat's all in that scene.
He just asked where she is andthen it cuts back to.
It was.
It took me till.
I probably watch the moviethree times to go.
It's him.
He's the one with the pigs headbecause he had it in the duffel
bag and he was he lied thenlater.

Annette (37:36):
how could he love?

Pete (37:39):
I just like everyone else in this movie, he just gas
lights are right.

Annette (37:44):
Oh my god, just a bit that they're good.

Pete (37:46):
Note.
That'd be good name for thismovie is all just gaslight, but.

Annette (37:50):
We spoke to her with a list as we go, yeah.

Pete (37:53):
Yeah, so I didn't realize because I used to think first.
I didn't know who tore up herdress.
That's the other one.
I don't know who did that.
Could have been anyone.
It's like everyone's after herfor some reason.

Annette (38:05):
And I thought it was gonna be possibly Madison to
make her think that this guy wasworse, rather than just being
the creepy gaslighter that hewas a dangerously stalky.
I'm gonna kill you guys like.

Pete (38:20):
Yeah, I mean I still could be wrong, but I don't see
somebody turning up to the frontdoor of a house asking where
someone is and having a big bagslung over his shoulder, and a
couple of scenes later we'refinding a big pigs head in her
bed.

Annette (38:36):
But then again, if it was Madison, she has free reign
of that place because they allknow her.

Pete (38:41):
Yeah, that's true too.
Yeah, they don't know him, butthen we don't see.
If we don't see if they said tohim she's not here and he just
says something like I've gotsomething here I want to drop
off to her.
Because it was such an openkind of place, they probably
would have been just, oh yeah,just go up to her room and leave
it.

Annette (38:59):
They would have to go over this for hours here where
you could try to trick her back.
One pigs head is causing somuch conversation.

Pete (39:07):
Well, and the other thing he could have kept that pigs
head cool in his ice cream truck.

Annette (39:14):
I just don't smell like ice cream.

Pete (39:15):
That's true.
Anyway, that's my theory.
But yeah, for a while I waslike who left the pigs head?
I don't know.

Annette (39:25):
I still don't know.

Pete (39:26):
I know the title, yeah, the other one, I don't know.
I don't know who tore up herdress.

Annette (39:33):
That one no.

Pete (39:34):
I have no idea Was it a mother?
No, couldn't have been.
See, it's a really strange,which actually is not surprising
because apparently the wholescript was written in four days.
I think it was like I waswritten in four days by Everett

(39:54):
DeRochie.
Apparently he got his wife tohelp out she's co-writer and
apparently he got his wife tohelp out, to help him a little
bit with the female scenes, tohelp him get an understanding of
how they would act.
I'm not sure if she gave himthe right information or he just
wrote it wrong.

Annette (40:17):
But I like it.
It provokes conversation.
I know it's plot holes andthey're not really that bothered
, but I think that's greatbecause it does make you look
into other scenes and createnarratives that could be there.
I think it's part of the fun ofwatching a movie like this
Absolutely.

Pete (40:34):
You don't know what's happening, where it's come from,
who's doing what.
I don't know, unfortunately.
I'd love to find out If anyoneknows where the pig's head come
from, let me know.
If you're out there and I don'tknow.
Sigrid Thornton, if you hearthis, can you tell me please?

Annette (40:53):
And we love you.

Pete (40:58):
Tell me where the pig's head came from, because I don't
know.
I'm sure it was your boyfriendand it thinks it could be
someone else.

Annette (41:06):
I think it's Madison.

Pete (41:07):
I think it's Madison.
Yeah, it could be so.
Yeah, so she finds the pig'shead, and what does she do after
that?
Is that, when she runs off andshe goes to the club again
Because she finds?
She goes to find Madeline again, and is it in the club?
Is she in the club?
Yeah, it's a bit fuzzy afterthat, but then she gets offered

(41:29):
the job in Fiji by the other guywho was touching her up earlier
in the movie.

Annette (41:35):
Yeah.

Pete (41:37):
And this is where everything starts to, I guess,
accelerate towards the end.
She gets the job offer in Fijiand then she's packing.
She rushes home to pack noone's home.
She thinks someone's there, soshe packs really quickly and
then she hears the sound of theice cream truck.

Annette (41:58):
The most sinister truck in the world.
I loved it.

Pete (42:02):
She's in there packing, near here, the ding, ding ever,
and she looks at the window andshe can't see it.
So she hears the truck and thenshe rushes off, she packs
everything else in and she goesrunning and then she goes the
front steps, the front of thehouse.
Darrell's right there,obviously.
Yeah, because we heard thetruck.
Of course I don't know why hebothers us so much, like I know

(42:24):
he's obsessed, right.

Annette (42:26):
Yeah.

Pete (42:28):
And he tells her he can't let her go and all this sort of
stuff, and she just dropseverything like suitcases and
all and runs which she nevergoes back for them?
I don't think.
But yeah, and that's when she'sgot the little thing in the
seat.
She runs into the main street,which is looks like Ligon Street
or something in Melbourne, andpass all the old fashion shops

(42:49):
there and into the phone boothwith the old Telstra phone and
makes the phone call rings up.
She actually calls Elmette,didn't she?
Yeah, even that.

Annette (42:59):
And then, below my mind , I'm going to escape the creepy
stalker guy by being rescued bythe creepy stalker guy.

Pete (43:06):
I know right and she could have just dialed triple O got
the police, but anyway.

Annette (43:11):
Yeah.

Pete (43:12):
But yeah, so she calls him and he says he's going to send
a taxi for her and the firsttaxi she sees she gets into.
I mean, was that the taxi hesent?
I don't know Must have beenwhat, the hell of a dial for $79
.
And of course you can see theMr Whippy truck going up and
down the street and he's turningaround and oh, there was the

(43:36):
peeking round the corner, likeit's looking for itself.
I said to May, every time hepulled up in the truck I said
wouldn't be people coming up tothe window of the truck going,
hello, can I get an ice cream?
We're going to get an ice cream.
And he's like, oh fuck, I'mtrying to track all these people
with ice cream.
How am I supposed to stalkwhile you want an ice cream?

(44:01):
Anyway, yes, she gets away fromhim and gets inverted commas
rescued by Elmer by going to hisoffice and I don't know.
He must have just organisedthis whole thing like she calls
him up.
I don't know how he did it,because he didn't know she was
going to call.
Really, no.

(44:22):
Unless he was in cahoots withDarrell, but I doubt it.

Annette (44:26):
Couch scene.

Pete (44:27):
And in the time between when she called him and she gets
to the office, which I assumeis probably less than an hour,
he sent everyone home from theoffice.

Annette (44:38):
The entire office is Darrellic.

Pete (44:40):
There is nobody that is no one there and he sent them all
home.
And she arrives in the officeand can't find anyone and goes
downstairs and walks into thatroom, which is actually one of
the better scenes in the movie,where she walks into the room
and he's got the whole roomplastered with the photo from
the ad.

Annette (44:59):
Yeah, when Pia says plastered, he means like the
floor and ceiling and walls isnothing but her photo.

Pete (45:06):
This movie is creepy in some places.
It actually gets a bit creepyhere and then when he comes in
and he looks really serious andI'm like, okay, he's.
What's he going to do?
I don't know whether he justwanted to again take photos of
her, or if he wanted to rape her, or whatever he was going to do
.
I got a feeling that he'sprobably the latter.

Annette (45:24):
There was definitely lead into that.
It was a different kind ofintensity he had.

Pete (45:29):
Yeah.
And so he goes to take morephotos of her and she looks
terrible, Like she's terrified,and then he starts dousing her
with I don't know if it's I'massuming it's petrol, or it's
some sort of film stuff or Idon't know what is but he just
happens to have a can of it on ashelf.

Annette (45:52):
Whatever it is, it's a flammable material.

Pete (45:54):
It's a flammable material, exactly.

Annette (45:56):
We'll go with that.

Pete (45:58):
He locks the door and he puts his little bit on the.
He's very careful how much hepours on the floor.
He's on some movies they tossit.
He's well, just get this littlebit, that's enough.
Just enough to scare you, justenough to scare you.
I think that's what it is.
And then he lines it up, yeah,and then he puts it.
He, then she tries to get itfrom him in the struggle.

Annette (46:18):
She tries to yeah, she tries to bolt out the door.

Pete (46:21):
Yeah, and she's got the whatever the accelerant is,
she's got it on her and he's gotit on him and all of a sudden
he steps into the fire and oneflash in your ash Right and it
does his great burn.
And that's Grant Page, which isone to get another Osploitation

(46:42):
alumni who's been in everything.
He's a stunt man and he's doneeverything in Australian film in
that era as far as stunts go,and he did this amazing burn.
Apparently he was very carefulwhen he spoke to us.
He had thought about where shewas going to stand and he went
through everything about whereto stand.
And the reason she's so wet isthey this was one of the first

(47:02):
times they use this like a gelthey put on them to so they
could burn.
And apparently what wouldhappen is you could burn but you
only had a certain amount oftime and then you had to get put
out because obviously you startgoing through that layer and
burn your skin.
And so the reason she was wet,besides looking like she had
this stuff on her, but sheapparently had the gel on her as

(47:23):
well, just in case.
So then Elma gets burned to theground, basically yeah, and
she's rescued, of course, byDarrell.

Annette (47:35):
What are you here?

Pete (47:38):
I don't know how he found her there.

Annette (47:41):
Yeah, they must have followed the taxi.
I guess, Maybe I guess, butit's such a gap, though, between
him getting there and what wasgoing on.

Pete (47:52):
Yeah, another plot hole, but then you wouldn't get the
movie without it.

Annette (47:55):
There we go.

Pete (47:56):
And then, yeah, so she tells him that she's moving and
all this sort of stuff on theplaces on fire.
Oh, we forgot to mention.
This is one of those moviesthat begins at the end.

Annette (48:08):
Yes.

Pete (48:09):
And has the whole the fiber gate and everything going
on, and that's the beginning.
And then obviously we see howwe get to that point.
I don't know how new that sortof concept was in those days.
I don't know if it was usedthat often, but it was
interesting concept.
I'm sure it was used before,but it was interesting.
It was always the planapparently.
I was listening again thecommentary they're talking about

(48:30):
it and someone asked thequestion.
The commentary is really good.
It's got.
There's one.
There's about threecommentaries on the Blu-ray and
the one I listened to is SigridThornton and the director and a
few of the other people.
It's really interesting to whatthey talk about.
And one of them just asks ifthat was the case that it was
tagged on, Did they do it inediting or was it always the

(48:50):
plan?
It was always the plan to havethe end at the beginning, sort
of thing.
So yeah, so Darryl turns up andwants to take her away from
everything, of course, anddoesn't want to let her go, and
they have a nice little strugglein a lane way and all of a
sudden he gets run over by a weebee bear.
What a way to go, what a way togo and it gets basically driven

(49:14):
into a wall.

Annette (49:15):
I think it's not very it's not very gory, but no, but
it was a shock though, because Idid not see that coming.

Pete (49:23):
It came out of nowhere right.

Annette (49:26):
Yeah, it was like maybe my dream is coming true, Maybe
it was the van the whole time.

Pete (49:31):
And guess who was driving?
The Mr Whippy van.

Annette (49:35):
It was the little.
What the?

Pete (49:38):
whole time.
It was her the whole time.
She gets out of the Mr Whippyvan and of course, Angela's
pretty happy about this.
I don't have a weird stalkeranymore.
I don't have an ex-boyfriendanymore.
He's gone.
What?

Annette (49:55):
No, what was skipped there?
It was in the midst of the fireand Angela didn't want to be
seen by everybody, that's right.
And she went off with Daryl,that's right.
Mads did turn up and I don'tknow if you noticed she was
screaming for Angela, not herhusband.

Pete (50:10):
She was yeah, that's right .
Yes, exactly, so it's like yeah, yeah.

Annette (50:16):
And then there's more.
But yeah, when she popped outof that van it was like no.

Pete (50:21):
Yeah, I wonder.
There you got me thinking.
I wonder if it was her plan allalong to be in cahoots with her
husband to a point and then useit to her.
But then how would she knowthat Angela was going to get out
of a burning place on her ownas well?
Do you know what I mean?

Annette (50:39):
Yeah, Again the plot holes, I mean.

Pete (50:41):
Yeah, like I said, we're written in four days.
Yeah, so they go off together.
I think Did I see it right thatshe was going to go with her.

Annette (50:53):
Yeah, they were going to go off to Fiji together.

Pete (50:55):
That's it, yeah, yeah so.

Annette (50:57):
So then was the job a whole set up, because she knew
that guy with the mustache inthe office wasn't for her all
along.
But you could just yeah, Idon't know.

Pete (51:07):
Or she could have stayed put and just had a model inquiry
.
You know I don't.
Who knows, who knows I want asequel now.
I do Snapshot 2.
Get ready to get the guest litagain.
She could have, I mean, shecould have Got together with

(51:32):
what's the photographers knowagain, lindsay.
Yeah she could have.
I don't think he had a thingfor anyone, but no, he was very
much his own person.
He's only his own little worldin his head.
But yeah, so they go off andlive happily ever after, I guess
.
But, yeah, even the end titlesare unsettling.

(51:54):
In the end titles you've gotlike the really heavy music and
then these shots of Angela thatthe guy has just taken before he
burnt to death and she looksreally vulnerable, and all this
and it even it doesn't even endon a nice note, because the last
note is To the end.

Annette (52:14):
I know.
I mean because there was ascene we didn't talk about where
obviously it was when Mads cameout to Angela that she was gay
and that she was attracted toher and obviously Angela wasn't
into it, but she.
It was the only time whensomeone respectfully out of
everyone that was just afterthis girl.

Pete (52:32):
Yeah, yeah.

Annette (52:35):
Respectfully stood back and it was like it was really
nice, it's like we can carry onbeing friends and it doesn't
have to be weird and it was all.
But then you have this.
It's like you're a little bitDangerous, but you're a bit
Cookies or cookbooks, what youdo.
She's killed a guy happily everafter a feature.

Pete (52:52):
Yeah, I don't think.
When they make these movies inthese days, I don't even know, I
don't think they think muchabout.
Especially these movies likecost three hundred thousand
dollars and they're just thereto make a few dollars for them
and yeah, of course, they don'tthink it's a Friday, saturday
night movie fodder, isn't it?

(53:13):
It is.
It's the day after Halloween.
Oh, it's a strange one, butit's actually so.
For me, I think it's a.
It's an enjoyable movie, though.
I enjoyed it.

Annette (53:29):
I'm not going to lie, I enjoyed it as well.

Pete (53:31):
It's quite enjoyable.
The acting is OK.
There's no really bad acting inthe whole thing.
It's all pretty well done, it'snicely shot, locations are
interesting, it's all shot inMelbourne and yeah, it's just
those questions.
I'll just never get over thepigs head and work.

Annette (53:49):
We will solve it one day, Pete.
We will do it.

Pete (53:52):
Janata reminded me of when she came home and that she
looked like someone else was inher bed.
I once, I once was travelingfor work and was booked into a
hotel and was checked in, giventhe room key and everything,
opened the door in the room andthere was someone in the bed and

(54:12):
they checked me into the wrongroom.
And it's so strange.
This is back in like the early90s, I think it happened.

Annette (54:22):
It's so weird, oh my God.

Pete (54:24):
So strange.
Yeah, it's weird.
They just shut the door quietly.

Annette (54:28):
We're back as a.

Pete (54:30):
I think you've given me the wrong room.

Annette (54:33):
Oh my God, you could have been anybody.
I know they could have beenanyone, If that was my security
right?

Pete (54:40):
Yeah, we are.
I am surprised the person inthe bed didn't even stir.
They could have been dead for along year.
There was no smell, so she andthey were right.

Annette (54:48):
But yeah, it was crazy anyway.

Pete (54:53):
The other thing I want to mention about this movie is A
lot of the people in theproduction side and the film
side of this came from TV.
They all work for what's knownas Crawford Productions in
Melbourne.
So at the time they wereshooting Matlock and Homicide
and they're all like cop showsright, and a lot of the, a lot

(55:14):
of the team came from that andthere was a lot of talk about
that on the commentary and justa lot of in general.
There's a lot of these peoplethat all made their mark in TV.
I think Sigrid Thornton was inwas on TV very early as well,
working for Crawford Productions.

Annette (55:31):
She did stuff like the Sullivan as well.
Exactly, it was Crawford.

Pete (55:35):
Yeah, yeah.
Did you ever see the Sullivan'sin there, over here, over there
?

Annette (55:40):
It did.
I very vaguely remember it'salways the Sylvins and Sons and
Daughters.
The theme tunes are very muchfrom my childhood.

Pete (55:48):
Oh, really Sons and.
Daughters.
Wow, that's a callback.
What's the other one Countrypractice was the other one.

Annette (55:56):
Oh yeah, Flying doctors .

Pete (55:58):
God, you got all the Australian shows, didn't you?
And of course you gotNeighbours right.
You guys went nuts forNeighbours.

Annette (56:03):
Neighbours and Home and Away.
But yeah, I mean like I watchedall like the kids shows as well
.
I don't know if you're theHenderson kid Pugwall, pugwall,
sumer around, the twist aroundthe twist.
Yeah, oh yeah.

Pete (56:16):
It's crazy.
It's interesting, interestingTV that goes between Australia
and the UK.

Annette (56:23):
I tell you one of my all time favourites.
I'm going off track here, but Idon't know if you remember it
was a comedy from the early 90sand it was Let the Blood Run
Free.
Oh, yeah, yeah, I was obsessed.
It used to be on like one inthe morning, so I'd be like I'm
supposed to be getting up forschool.

Pete (56:38):
But no, I'm going to stay awake yeah.
So any final thoughts on thisfilm.

Annette (56:47):
I'm going to say as much I don't know from our
description whether somebodywould willingly going to watch
this if they've listened to usfirst.
But what I will say is,honestly, it's so bizarre and
wonderful and obviouslyproblematic to a modern audience

(57:10):
, but also nostalgic, and youhave to let stuff go to a
certain extent and just enjoythe ride of what this crazy ice
cream truck of a movie is.

Pete (57:21):
It is, I definitely would.
I'd actually recommend watchingit if you can get hold of it?

Annette (57:26):
I definitely, or just check it out on Prime.

Pete (57:28):
if you're in Australia or Broly or something like that,
it's definitely worth a watch.

Annette (57:33):
I have to admit I'm funny with, because there's such
a certain intensity with a lotof Australian cinema that I get
nervous watching them.
Sometimes it's going to be toomuch.
And this is just from that kindof era where there is a lot of,
like, sexual references andthings like that I can't watch,

(57:55):
like rape, revenge and thingslike that.
It's not my thing.

Pete (57:58):
Right.

Annette (57:59):
And I have an interpretation when it goes into
stepping into that kind of,because a lot of that was very
obviously prevalent in the 70sand 80s.
Yeah, but this actually becausewhen you read the substance, oh
God, the nudity is happening.
Then there'll be other things.
But no, it's involved but it'snot explicit.
There's nothing really explicitabout this movie which I

(58:22):
appreciated on that point formyself personally yeah, it's not
one hairy bum shot and anaperibus.
That's it.

Pete (58:30):
You get the boobs.
I think what was the hairy bumshot?

Annette (58:34):
There was a bit where Mads and Angela go back to the
house and there's two peoplehaving sex on the floor and you
just get one shot of the guy'shairy bum.

Pete (58:44):
Forget that.

Annette (58:46):
You're probably mentally blocked out.
You don't say to be.

Pete (58:52):
Interesting, interesting, but anyway, yeah, it's, it's
interesting, it's not tooproblematic.
I know a lot of the films wecover here are quite problematic
just because of the era, morethan anything, and I think
there's a certain language thatyou have to excuse.

Annette (59:10):
There's one or two phrases like that, but you just
move on, yeah it's, yeah, it's.

Pete (59:15):
I've had some of the movies I've done before.
There's stuff in it that youcall quite racist and that sort
of stuff, but it's hard, it'sthis whole conversation to be
had.
I think, about separating whatis acceptable today from what
was made 40 or 50 years ago infilm, because I really hate this

(59:38):
.
I think the recent one I heardis like they were sitting on
Disney Plus.
They had the French connection,the movie the French connection
, and they cut pieces out of itrecently Because they didn't
think it was fit today.
And I'm like, why do that?
Why do that?
Why not just have a littlepiece at the start of the movie

(59:59):
just saying, hey, thingsdepicted in this movie we
understand aren't acceptablethese days, but it was made of
this time, blah, blah, blah.
I think I have a disclaimerlike that on the bottom of my
notes for my podcast everyepisode.
That basically just says, likesome of the subjects we cover
and not something it would beacceptable today, but it's just

(01:00:19):
because of the time they weremade, right.

Annette (01:00:21):
Exactly.
You've got to think of it inits own time capsule and you
can't put your modernsensibilities on something that,
like you said, was created thatlong ago.
So if you are okay to do that,to compartmentalize it for
yourself, go ahead and enjoy it.
If you can't do that, just doit much.
That maybe.
Then yeah, it's not for you anddon't put yourself in that

(01:00:43):
position.

Pete (01:00:44):
Yeah, exactly, and don't tell everyone else they can't
watch it.

Annette (01:00:47):
I'm sorry, but I have to say Exactly.

Pete (01:00:50):
It's like just don't watch it right.

Annette (01:00:52):
Yeah, exactly, there are certain, like I said, when
it comes to, like, rapeprevention movies, they are not
for me.
I know that.
I'm just not going to watchthose, and that's fine.
People want to watch them,that's their business and I'm
not going to judge anyone oranything because, the stuff I
watch, that they will, I mean,crack it.
I've watched Real Housewivesbefore and I don't expect people

(01:01:13):
to judge me and I'll talk to me, I guess I hope.

Pete (01:01:19):
Yeah, it's because you watch Real Housewives.

Annette (01:01:27):
I just do it because I like to laugh.

Pete (01:01:30):
That's right.
I mean, look, every year I sayI'm not going to watch it, but
my wife always for some reasonwatches, married at first sight.
I don't know if you have thatshow over there, but anyway.

Annette (01:01:41):
Yeah, I know that one.

Pete (01:01:43):
I always say this is a load of shit, and she knows it
is too and she watches it, Ithink for the same reason.
Yeah, exactly, and eventually,what will happen a bit further
down the track in the season?
We'll sit together and we'll bewatching it, or something like
that, and I'll go, oh, this isshit.
But then I end up starting tomake comments about different
people and I can't believe theydid that and I'm like, oh shit,

(01:02:03):
I'm into it.
What's going on?

Annette (01:02:07):
It's only about the drama.
I don't care about the rest.

Pete (01:02:10):
It's crazy, just a drama.
I think it may plant actors inthose shows.

Annette (01:02:15):
Oh yeah, they have to 100% Anyway.

Pete (01:02:18):
so yeah, so that was Snapshot and it was a fun watch
for all, I think.

Annette (01:02:24):
Yeah, definitely.
I appreciate you letting mewatch this with you, Pete.
I really did enjoy it.

Pete (01:02:28):
It was fun it was fun as we close up, so give us a bit of
an idea of what's happeningwith you, where people can find
you.

Annette (01:02:37):
Oh gosh, yes, I'm on two podcasts.
Thank you very much.
Two different podcasts.

Pete (01:02:41):
I don't know how you find time.

Annette (01:02:43):
I can squeeze it in.
I'm on Stiletto Banshees withTab and Micah that you've had on
the show before and I thinkwe've got some more recording to
do and I think there's going tobe a couple more releases
coming very shortly, I hope.
Obviously, there is anInstagram page for Stiletto

(01:03:03):
Banshees as well, if you want tohave a look there at bits and
bobs.
We've done what we'll be doing,and my main podcast is Two
Crohn's in a Book which I hostwith my friend from childhood,
michelle.
We've known each other sincethe first day of primary school.

Pete (01:03:19):
You can tell yeah.

Annette (01:03:23):
Yeah, and we just we mainly started to discuss books
in the horror genre and we also,as well as review books.
We have Ramble episodes wherewe'll be posed a question.
It started off book related butit stretched out to just
different things where we justgo off and have such an absolute
giggle.
They're really fun to make andit's a really good laugh and

(01:03:46):
we're broadening our bookspectrum as we're going into.
We've just finished come out ofour second year now, so we're
really enjoying ourselves.
So, yeah, it's a lot of fun andyou can find us on TikTok.
We'd Tab makes us thesebrilliant little audiograms.

Pete (01:04:03):
Yeah, they're awesome.
I love seeing them.
I see them in TikTok all thetime.

Annette (01:04:07):
Yeah Well, tab puts those together for us, and so
she just takes clips of episodesto give you an idea of what
we're about.
And that's just so funny.
She actually puts in littleimages to go along with it.
They're so funny, they're great.
Yeah, we're on TikTok TwoCrohn's in a Book.
We're also on Instagram at TwoCrohn's in a Book and there is a

(01:04:29):
Facebook page, but that's notas lively as it used to be, but
I still throw in the audiogramsand if we see an occasional
thing we find funny, we'll popit on there as well.
So yeah, just check us out.
We're on all platforms Ifanyone wants to interact.
We absolutely love interactionwith listeners.
It just makes our daycompletely.

Pete (01:04:49):
Yeah, that's great.
It's really good.
I've listened to a couple ofepisodes.
I must say I haven't listenedto all of them, but the TikToks
are amazing.
They're really funny.
I could say actually I'll hearone of those.
I go oh, I need to listen tothat episode of Sins.
Like a Lot of Fun.
So they're doing their job.

Annette (01:05:03):
I'm Tastic, oh Pete, oh , you made my day.

Pete (01:05:08):
Anyway, thank you so much for coming on.
It was a ball, it had a greattime, it was really good and
definitely have your back forsure.
We'll have to do something.
Have to do something.
I've got a heap to do this year.
I only did nine episodes, Ithink last year I really need to
catch up this year.
I want to get to my 50thepisode this year, if I can.

Annette (01:05:27):
Oh wow, how hard is it to get to 50?

Pete (01:05:29):
Just to get to 20 of us.
It's crazy, it's nuts anyway.

Annette (01:05:32):
Yeah.

Pete (01:05:33):
It's all good, all right, thank you so much, and when we
come back I'll talk about what'scoming up next.
And now preview time.

Annette (01:05:49):
When it comes to entertainment, you can't beat a
good film.

Pete (01:05:54):
So let's take a look at what's coming your way.
Next, on A Dingo Aid my Movie,I'm joined by Matt Fulton to

(01:06:16):
talk about the Alvin PurpleDouble Alvin Purple and Alvin
Rides.
Again, thanks for taking thetime to listen to this episode.

(01:06:43):
Thank you to all my guests whogive their time to make this
podcast possible, and a specialthanks to you for listening.
Don't forget, you can follow ADingo Aid my Movie on social
media.
We're at Dingo Movie on Twitter, dingo Movie Pod on Facebook
and Instagram and on the web atDingoMoviePodcom.
Once again, thanks forlistening, stay safe and I'll

(01:07:06):
see you on the next episode of ADingo Aid my Movie.

(01:08:06):
Hey, mr Whitby, can I have anice cream too?
I want one for Mr Whitby, so Ican be like you.
Hey, mr Whitby, can I have anice cream too, mr Whitby?
Hey, mr Whitby, can I have anice cream too?
I want one for Mr Whitby, so Ican be like you.

(01:08:48):
Hey, mr Whitby, can I have anice cream too?
Hey, mr Whitby, can I have anice cream too?
I want one for Mr Whitby, so Ican be like you.
Hey, mr Whitby, can I have anice cream too?

(01:09:08):
All right, mr Whitby.
Hey, mr Whitby, can I have onefor me?
I've been waiting here forhours.
I haven't had one yet.
Hey, mr Whitby.