Episode 79 - Halloween Horror Month (2025) Phantom of the Opera (Carradine himself) - Middle Age Movie Reviews Podcast

Episode Transcript
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Speaker 1 (00:00):
You're listening to the Electronic Media Collective podcast network. Yeah,
it's a mouthful. For more great shows like the one
you're about to enjoy, visit Electronicmedia Collective dot com And
now our feature presentation.

Speaker 2 (00:26):
Hello, welcome to the Middle Aged Movies podcast for guys
saying pleased your eyes, clutch your soul on our cursed ugliness.
My name is Tim and my podcasting.

Speaker 3 (00:36):
Partners are Monster, Matt, Joey and Dugamaster. Rick.

Speaker 2 (00:40):
All right, Joey, why don't you tell us what we're watching?
It the Nickelodeon Tonight.

Speaker 4 (00:44):
Tonight, we are watching the nineteen twenty five movie The
Phantom of the Opera, number twenty six, from the book
of one thousand and one Movies You Should Watch Before
You Die, written by Guston LaRue, Walter Anthony and Elliott
Jay Claws, directed by Rupert Julienne, lawn Cheney and Ernest Lamel,

(01:07):
and starring lawn Cheney, Mary Fieldman and Norman carry Well.

Speaker 5 (01:12):
Thanks, Joey. All right, Now that we are reviewing a
one hundred year old film, I'd like to know from Rick,
our dungeon master, when was the first time you saw
Phantom of the Opera?

Speaker 6 (01:24):
First time that I saw this was last week, and
so yeah, I'm like popping through my streaming you know stuff,
and I'm like, okay, here is the show that I'm
supposed to.

Speaker 3 (01:41):
Watch, you know.

Speaker 6 (01:42):
And I started off and stuff and I'm like watching
it for a few minutes and I'm like, man, this
for like a really old movie. I'm like, holy smokes man,
this is like this is looking really like Crisp with
the visuals and stuff, you know, and I'm like, hey,
no way, this's got to be the wrong one.

Speaker 3 (02:00):
So I like, I like, look at.

Speaker 6 (02:02):
What I'm watching, like on the screen and stuff. I
moved my mouse and stuff, and I'm like, all right,
this says that it is. I was like, all right, cool.
So I'm like watching it. It's like black and white
and stuff, and there's the like there's this like auction
happening and they're like auctioning these like you know, antiques
and stuff. And then they go to this prize piece

(02:24):
and it's this massive chandelier that they are auctioning off,
and all of a sudden, I can't remember exactly what happened,
but all of a sudden, a bunch of colors starts
showing up and screening.

Speaker 3 (02:34):
I'm like, oh, no, I know this is not the
right film.

Speaker 6 (02:37):
No, no, it just so happened that it was an
error in the streaming that I had and I was
actually watching. I think it was like a two thousand
bore or something version of a Phantom of the Opera,
which seems super killer.

Speaker 3 (02:53):
By the way. It made me.

Speaker 6 (02:54):
Honestly, it made me want to like watch this thing
because I was like, holy smokes, this looks kind of cool.
But so I end up finding the you know, the
original verb, well, I take it back, not the original version.
I watched the nineteen twenty nine version that has the
sound of the score added in, and I think it's

(03:14):
a I think it says that it's like not just score,
it's there's a specific word that they use for this version.
It is the uh uh. It is a part talkie version,
So there's basically in this version mostly it's silent, but

(03:37):
there there is some like bits of voice in there.
It's kind of strange the way that it is, because
you'll hear people talk and it's like that's like really distorted,
but you you can kind of make out what they're saying.
But then they still put this the dialogue up on
the screen in text version two in text form too.

(04:00):
So last week first time gotcha?

Speaker 5 (04:03):
Well, how about our older gentlemen and our crew? Since
this is an old film, when was the first time
you saw this movie? Tim, I don't even like.

Speaker 2 (04:10):
The way you phrased that, sir, I'm not that old.

Speaker 4 (04:14):
Welcome to more than middle aged reviews.

Speaker 5 (04:18):
Well, Sonny, here we are one hundred centennial movie review.

Speaker 2 (04:23):
I'm back in my day when we were able to
watch movies at the nickelodeon front Nichol and we used
to say, hey, let me trap a beleave so we
can watch this, because back then that's what we call
the Nickel. No, it's not like that. You guys suck.
But this is actually my first viewing of this. There's
as everybody knows, I do not like to have to
read my movies. I will listen to audiobooks and read books,

(04:46):
but I don't want to have to read my movie.
So I'm not too big on four films, let alone
silent films. Again, we picked it for the podcast, so
I decided, well, I'm gonna have to do it, and
then when I looked down, I thought, yeah, it should
be kind of short right now two hours I'm like, oh,
you guys are killing me. But I made it all
the way through, and you know, it was my first time,

(05:08):
so I have I have a bit of commentary on
it going forward. Nice.

Speaker 5 (05:12):
Nice, Yeah, I'm right there with you. This is actually
my first time viewing the movie in its entirety. I've
obviously seen like the classic scenes with the reveal of
the Phantom, but for the most part, this too is
my first time watching it.

Speaker 2 (05:24):
I do have.

Speaker 5 (05:25):
Thoughts and comments and some serious critiques, and of course
the version I watched well, I started off watching the
plain black and white version when it did not have
a score to it, found it very hard to watch,
and then I wound up moving into the one that
was released in nineteen twenty nine. It looked more like
Safia color and it actually had the score to it.
I'll get more into that as of my thoughts. But yes,

(05:47):
this is also my first time. How about you, Joey,
was this your first time as well?

Speaker 4 (05:51):
I was not a Phantom virgin, although I think the
Phantom probably is that character. The first exposure to Phantom
of the Opera. I can't tell you exactly when it was,
I know it wasn't clips everybody seeing the famous unmasking clip.
I probably saw the Ninja Turtles episode Phantom of the

(06:12):
Sewers many years before I saw the bulk of this film.
The first time I knew the story in and out.
It may not have been you know, me seeing the
movie per se or one of the many parodies or versions.
It was probably the step up classic Chillers book for
kids called The Phantom of the Opera. We spoke about

(06:32):
it on earlier podcasts where they did a lot of adaptations,
like they were all over the place, King Kong, Frankenstein,
I know, we talked about it there. They also did
a Phantom of the Opera, and I want to say
that's the first time I was exposed to the full story,
even though it was, you know, a children's version. Yeah.
There's a lot of versions of this that have come
and gone since in the last hundred years, and I'm

(06:54):
certain that that's probably what I saw first, was some
other version.

Speaker 5 (06:59):
Gotcha great? Yes, I remember you mentioning about the Chiller
novels and during the Frankenstein episode, Tim, since you're our
resident horror host, what are you going to request for
the synopsis tonight?

Speaker 2 (07:10):
Tonight, Matthew, you have found a mysterious note addressed to
you the manager of the Paris Opera House, a message
from the Phantom himself, which you will now read aloud,
revealing to us is dastardly planned.

Speaker 5 (07:23):
My dear managers, take not this message lightly, for I
command you from the shadows to do my bidding. For
this night, a new star will be born at.

Speaker 4 (07:34):
The Paris Opera House.

Speaker 5 (07:35):
No longer will the undeserving diva Carlotta star in your
production of Faust. Instead, the understudy Christine Day will sing
the role of Marguerite. Through my tutelage, Christine has mastered
the gift song, for going all other distractions her former

(07:56):
love vice Count Raoul de Chane. It is this devotion
to I, her master, that will bring your production.

Speaker 2 (08:05):
To new heights.

Speaker 5 (08:06):
Ps vects me not upon this evening, for if you refuse,
you will bring a curse on this house. At least
you forget. I lurk in every shadow, and the secrets
of this house belong to me. Great misfortunes await you
should you cross me the Phantom vehicle Tell Phantom of

(08:31):
the Opera. I have to say, watching this movie, you
know it is one hundred years old. Going into this,
I'm like, Okay, I'm gonna be expecting a few things.
Nothing's not gonna look right. It's gonna be hard to watch.
And I have to say going into this it did
not disappoint that it was a little hard for me
to watch. Gentlemen, what were your first impressions going into
this movie? And I'll go to you first, tim what'd
you first think about watching this film?

Speaker 2 (08:51):
Dread? It was dread going into it. I'm gonna I'm
not gonna lie again. Not a big fan of having
to read my you know, my visuals Gosha and the
top of it being a two hour film really just
skirked me because I'm like, oh, this is just gonna
go on forever. But you know, it starts off slow,
for sure, I think, but I will say it started

(09:12):
to pick up around the middle and it started to How.

Speaker 5 (09:16):
About you, Rick, what was your first impressions of starting
to watch this movie?

Speaker 6 (09:20):
You know, I was I was open to seeing how
this thing was gonna go. I was like, all right,
I've never really dived too much into lengthy silent film,
you know, so I was like, you know, vis Ago alright,
you know what I'm saying, maybe be cool, you know,
So I was. I was kind of like, you know,
I kind of liked actually how long they had the

(09:45):
text up on the screen. I'm kind of a slow reader,
so I was a little bit worried that. Oftentimes, whenever
text is on the screen, it's typically like not there
for long enough for me. I'm just too slow with that.
But so I appreciate it how it was up there
for a little bit longer. However, as the story went on,

(10:05):
it wasn't the text that was the problem.

Speaker 3 (10:08):
It was everything else was so slow, Like it took them.

Speaker 6 (10:13):
There's a scene where they're underneath the opera house literally
took I. It was super close to five minutes to
go from pointing to point B. Literally nothing happened. So
there was moments like that, dude, like I'm gonna just
put this out there.

Speaker 3 (10:30):
I actually had.

Speaker 6 (10:30):
To watch this, not the whole thing, thankfully, twice, but
I had to watch it twice because because I passed out. Man,
Like I straight up passed out.

Speaker 3 (10:41):
I did too.

Speaker 2 (10:43):
And now that, but did you notice I felt like
the text cards got fewer and fewer the further along
we went. You could see people's lips fla. But they
were putting any kind of dialogue up.

Speaker 3 (10:54):
Yeah, no, they they they It wasn't super good.

Speaker 6 (10:58):
And you know, because the one that I had was
like the part talkie version. It was interesting that sometimes
I would hear people say stuff, but then sometimes you
would see just that tim It was just like people
move in their mouth, and like, I mean, it makes
sense that they had to like be more over the

(11:18):
top with their acting so that you can kind of
get what they're trying to convey on on stage.

Speaker 3 (11:24):
Or whatever, you know, without all of the text.

Speaker 6 (11:27):
But it's like, Ali, man, this is not what I'm
really looking for, you know.

Speaker 2 (11:31):
Yeah, But I mean sometimes you'd see him talking paragraphs
and they put up like one sentence or two cents,
even like even Kung Fu movies aren't that bad to
make fun of those, you know, where the mouse a
little longer than the words are.

Speaker 3 (11:46):
But I mean, this, yeah, is ridiculous.

Speaker 5 (11:49):
Yeah, I agree with you. The title cards definitely, they
were brief, but I do like the fact that they
were up there for a long time. How about you, Joy,
what was your first impressions of starting to watch this movie?

Speaker 4 (11:58):
Well, I gotta say I cheated. I watched it a
two times to speed, and I had none of the
pacing issues you guys did. A few of the lengthier letters,
I sped read through them. Maybe that's the sped red
Is that that could work?

Speaker 5 (12:16):
Speed reading?

Speaker 4 (12:16):
Yeah? Speed reading? Yeah, let's let's get that word out
of the well. Anyhow, I just done speed reading earlier.
Today I had to do my annual sexual harassment convention
training for work, and I was just blazing through that stuff.
So I just blazed through these and I gotta say
I really was disappointed that the version that I was

(12:39):
watching it had no soundtrack whatsoever. There's no score, but
that would have been sped up and sounded a little
weird if I would have watched it with sound. And
so I was watching it two times of speed. The
movie had really nice pacing, you know, basically dividing its
run hour and forty five minute runtime in half. So
I definitely got a different experience than you guys. I

(12:59):
didn't miss too much. I had to go back and
read some of the inner titles, like again, but a
lot some of them are really short, and like you
guys said, they left them up on the screen for
a long time and sometimes like you know, they were
flapping their gums, but it only you know, it's summarized
to give you the cliff notes of what they said.

Speaker 2 (13:15):
I feel like this needs to be a middle aged
movie remake. I think we should take the Phantom. Now
that it's one hundred years we know it's a public
domain and we should We should just dub our own
dialogue on top of it.

Speaker 3 (13:27):
Just dub it.

Speaker 2 (13:28):
Next year, we'll make the fanom of the Opera the
middle aged movie reviews fan of the Opera.

Speaker 4 (13:33):
Add in some curveballs. You know, it's ever so splash
of color every once in a while. Maybe maybe make
that lake look a little bit more like a sewer
with some browns and greens, and really have fun with it.
At the end of when he's clinching his fist as
he had if he has something there, we could turn
that into him him rolling that into a middle finger
before he gets a bobbed. That's how she should have

(13:56):
played that. That would have been That would have been great.

Speaker 5 (13:58):
Let's go ahead and dive into the play then. So
it's the nineteen eighties at the Paris Opera House, and.

Speaker 2 (14:04):
It's the nineteen eighties eighteen nineties.

Speaker 5 (14:06):
Sorry two centuries.

Speaker 4 (14:08):
Ago, dude, this deserves a synth nineteen eighties era, a
Phantom of the Disco because Disco's dying at that point. No,
what would it be?

Speaker 2 (14:21):
What would what would the phantom be haunted?

Speaker 3 (14:23):
Yeah?

Speaker 2 (14:23):
Disco? I don't know, sir, why not?

Speaker 4 (14:26):
What's the Phantom of the tech Noir? From Terminator?

Speaker 2 (14:30):
There you go, There you go?

Speaker 5 (14:31):
So so yeah, it's it's the eighteen nineties. At the
Paris Opera House and Conti, Philippe de Shawnee and his brother,
the Vice Count Raoul de Shawnee, attended production of Faust,
where the Raoul's sweetheart Christine day may Singh. Raoul wishes
for Christine to resign and marry him, but she prioritizes

(14:53):
her career over their relationship. Meanwhile, the former management has
sold the opera house. While leaving, they tell the you
managers about the opera ghost, a phantom who is the
occupant of box number five. Basically sets up the premise
of our main characters. And I just thought it was
interesting that, like right off the bat, after the old
managers sell the opera house, they immediately oh, by the way,

(15:13):
don't mind the Phantom that's in box number five, and
you know it's supposed to give a sense of I
don't know, foreboding. I guess it was hard to catch
my attention as I'm watching this, and I don't know
about your guys' print, but I was watching the one
on tob There was like a sapia color to it,
and then it was like a black and white color,
and then it was this weird purple hue on it,

(15:34):
and then it changed to like an orange hue. The
film stock was was really weird, but oddly enough, the
picture was kind of clear.

Speaker 4 (15:43):
They tinted it on purpose. You were watching the Skills edition,
but you but in all seriousness, there were versions where
it's like, you know, before color, let's add a color, okay,
so what was just black and white? So that's what
you're saying.

Speaker 2 (15:58):
When I think some of these versions too, as they
keep reissuing them, you know, different companies. Sometimes they would
grab film from different sources. They'd grab it from a
foreign one and they grab it from the you know,
the main US release and things like that. So there's
a lot of version of those out there. And I
imagine when you start mixing and matching film, and some
of the film stocks not even the same. You know,

(16:20):
it's not all sixteen millimeters or whatever. So I'm wondering
if that's why you're seeing differences in the quality and
the coloration as you go along.

Speaker 4 (16:30):
That's one possibility. Not I don't think it's the color thing,
because he was talking like you said that there was
literal colors, not just CPO tone. It was yeah, like
hue or intent to everything that was intentional.

Speaker 6 (16:40):
Yeah, yeah, you like sometimes it'd be a little bit
like it was black and white with a little bit
of like red, like almost looked like the quality of
film was bad kind of red.

Speaker 4 (16:52):
Did you actually get like Taco Bell nineteen ninety turquoise?
Because there was that was intentional?

Speaker 2 (16:57):
See, I didn't get any of that. The version I
watched was black why all the way through?

Speaker 4 (17:00):
Okay mine as well.

Speaker 5 (17:02):
Okay, So like there's the scene where the new owners
go to check out box number five and they first
walk up and it's regular black and white. I mean,
the quality is crisp, and then as soon as they
turn it go into the box, it suddenly I have
like this like this tent over everything where it just
the color looks looks looks a little orange or almost

(17:22):
like safe yea. And the quality of the of the
film itself like is now grainy. It's hard to see
these guys walk into the box where you used to
see the Phantom's shadow. I bet it was because it
was a mix and match cut, gotcha.

Speaker 4 (17:37):
And there's also the fact that it's it's public domain now,
so there might be a version with the different tints
that looks good and it's more consistent, but you're gonna
have to pay for that. This was something that somebody
probably literally took from a VHS copy or something that
was already compressed to ship from a VHS copy that

(17:59):
got put out on DVD, and then they ripped that
off and they suck it on two B you're watching
because if you have a copy, you don't have to
pay any money for it anymore.

Speaker 2 (18:08):
Well, and the thing is is they forgot to copyright
this correctly, so it fell into public domain pretty quickly.
So everybody was cutting their own versions and putting them
out there for years.

Speaker 5 (18:18):
Know that, gotcha? Well what about you, Rick?

Speaker 3 (18:21):
What do you?

Speaker 5 (18:21):
What do you think of this? This opening sequence where
we were introduced to Christine and uh, the quote hero
of the story.

Speaker 3 (18:28):
God, man, it's so funny.

Speaker 6 (18:31):
It's not funny, man, it's just kind of messed up, dude,
because I mean this dude, he was a it was
a viscount, and he was like straight up one of
the first scenes like proposing, like let's get married, let's
do this thing, and blah blah.

Speaker 3 (18:44):
And she's all like, no, I want.

Speaker 6 (18:46):
To be an independent woman, all right, Like I don't
need no man, I'm gonna focus on me. And I
was like, what the absolute fuck am I watching? This
is one hundred years ago, man, But I don't know
that's that's how it was.

Speaker 3 (19:00):
I guess, you know.

Speaker 6 (19:00):
She thought that she could make it happen as a
movie star, or I should say, as a opera star.
And it's like, man, is so annoying because it comes
full it comes full circle, and I'm just like, god, man,
you should have just left this lady, say it nicely.

Speaker 3 (19:19):
Should have left her, should have left her.

Speaker 4 (19:22):
She was eager for what the this this crazy fan
on this psychotic you know, murderous phantom was doing for
her career. Oh yeah, yeah, until it came full circle
and he wanted something to return. She found out he
was a he was ugly.

Speaker 6 (19:38):
Well that was based it was before that, as soon
as she found out that he wasn't some handsome, mysterious
you know, ghost or something like, when she found out
he wasn't handsome, but he was, and he wasn't mysterious anymore,
because she found out exactly what's going on, all of
a sudden, it was like, nah, man, I want I

(19:59):
want to go back. I want to go back to
what's his name. I won't go back to shady. I
don't want this no more. You know, like, I'll get
out of here. Man, you made your choice.

Speaker 3 (20:09):
I don't know. That's me. I don't know.

Speaker 6 (20:10):
That was the thing that stuck out to me was
the whole love drama in this entire film.

Speaker 3 (20:17):
I'm just like, oh god, I don't know.

Speaker 4 (20:19):
So you're saying her male protagonists should have been like,
you know what, you can have her absolutely, and then
when she comes running back, he's like, you're not my
problem anymore. Good luck with that.

Speaker 6 (20:29):
I mean this, this dude seemed like he had some
some wealth. You know, they they bought they bought the
opera house or something like that.

Speaker 3 (20:37):
Right, No, that was like, yeah, that was the other people.

Speaker 6 (20:40):
Yeah, So so, but he seemed like he was well
off enough. Man, he could have probably found someone else.
I don't even know. Man, maybe it's like small town,
I guess, but they're in Paris. I don't know how
that's possible.

Speaker 2 (20:52):
But yeah, it's kind of weird the way they even
induced this relationship, because if they hadn't put the card
that said he's there to see his love, you wouldn't
even know he's some random dude amongst ten thousand people
wanted around this opera house watching this play. There's a
lot of it was like they really went out of
their way to try to do some very grand Gio shots. Yeah,

(21:13):
really take advantage of this opera house that they built,
because this whole thing is a stage. This is not
an opera house that they filmed in. Like, they built
this whole thing on a sound stage and it sat
for years and years and years, I mean up until
I think twenty fourteen when it finally was demolished. But
so they really wanted to get their money's worth out
of this thing and just have people run around and show,

(21:33):
you know, all this grand Gio stage work that they did. Yeah,
I was like, okay, well there's a love story here.
I get it. But the thing that even struck me
more than what got you going with it, Rick, was
the selling of the opera house man. You see those
four guys sitting in that room, those two guys, those
two guys that are buying it, We're just looked up
and took a look at the other two guys. Dude,

(21:55):
they look like they you could tell they are just
dumping a turky. They are so excited, like they're just
they're frothing at the mouth. To get them to sign
the paper, We're gonna just keep looking at each other.
They're just so excited, you know. Yeah, and then they
finally sign it off hand them the cash like suck a.
Now the phantom is your problem because this place is
haunted and he's a pain in the ass and he's
all yours. I thought that was kind of funny, you know,

(22:18):
that did kind of strike me.

Speaker 6 (22:20):
I thought it was funny when they were laughing about it.
They were like, yeah, you jess or something like that.
You're joking. It's like, now, bro, we are joking. Bro
see yah, you know.

Speaker 2 (22:30):
And then they kind of got that look like shit,
what did we just do? Put in for penny in
for a pound.

Speaker 6 (22:34):
I guess, yeah, yeah, yeah. That's when they go to
room five. They're like, a, well, let's check this out
for really, I guess.

Speaker 5 (22:42):
You know. Another thought, another thing I thought was funny
was the notary that was there. He's just like sitting
there waiting, waiting as so as they pass over the paperwork,
he pulls out this huge notary stamp.

Speaker 4 (22:52):
Like all happy everything.

Speaker 5 (22:52):
He stamps it and seals it.

Speaker 2 (22:54):
And I think that's every notary in the world, if
you've ever been the one, they can't wait to get
their little stamp out. It's just that's what they live for.

Speaker 3 (23:02):
Their purpose in life has been fulfilled.

Speaker 2 (23:04):
Yeah, your documents cannot be legitimate unless I stamped them.

Speaker 4 (23:09):
That's the that's their money shot. In the porno of
That Is Life, it writes it's like they're smiling because
they just got paid and they're out of here.

Speaker 2 (23:18):
I took like a one day training course and bought
this stamp, and now I make millions of dollars.

Speaker 5 (23:24):
Not really, now that we've we actually have seen quote
the phantom. We then cut to a letter that Carlotta
brings to the new management. Now in some cuts it's
Carlotta and other cuts it's Carlotta's mother. So she presents
this letter from the Phantom demanding that Christine replaced her
for the following night, threatening dire consequences if this does

(23:45):
not happen. In Christine's dressing room, a voice tells her
she must take Carlotta's place and think only of her
career and her master. Now I didn't quite get the
feeling that she'd been hearing this voice before. To me
watching this, it felt like it was the very first time.
But yet as we moved through the movie, you get
the sense that she's heard this before. Like the start

(24:06):
of the film, did anyone else get that feeling?

Speaker 2 (24:09):
I never heard the voice.

Speaker 3 (24:11):
I didn't.

Speaker 6 (24:12):
I didn't get that, although what I did get was
like the mother, it seemed to me like she was
totally full of it, like it was some fabricated note
that she was trying to play off, like, Hey, the
Phantom's gonna come and get you, guys, if you don't
do something about this, otherwise it's gonna be bad news
for you, because the Phantom. Because I commune with the Phantom,

(24:32):
like you know, commune with the Phantom. You don't even
know who the Phantom is, Like you're totally full of it,
you know.

Speaker 3 (24:37):
That's what I felt.

Speaker 6 (24:37):
Like the scene where she's hearing these voices and stuff
like that, it's.

Speaker 3 (24:42):
Like, oh God, man, Jesus in La la lad you know.

Speaker 6 (24:45):
And the funny thing the subtext, Yeah, Well, the funny
thing is is that I think for a very long
time it was commonplace for a man to propose and
to be locked into that proposal, whereas the wor woman
would have the opportunity to change her mind all the
way up to the wedding, and it was seemed as

(25:06):
normal for a female to change their mind like that.

Speaker 4 (25:09):
I don't think weddings cost as much back then either,
so you're just you just have the public embarrassment and
none of the financial disaster.

Speaker 3 (25:16):
Maybe I mean the bottle off.

Speaker 6 (25:18):
That's necessarily true, man, because I mean money different. Money's
money is like the inflations and all that stuff. I
think it definitely was was costly.

Speaker 5 (25:27):
Well, don't forget, he's a vice count, so's he's got
he's well to do, he's got some money, so obviously
they're gonna have something. I mean, we're not talking like,
you know, a royal wedding that we would have seen
back in like nineteen eighty too. You know, Prince Charles
married Diana, but this is you know it's gonna be
up there.

Speaker 6 (25:43):
Yeah, no, And he was he was a well, ugh guy.
He seemed like handsome enough guy. And I'm like, dude,
you can to pass him, like I don't even know man.

Speaker 2 (25:52):
Well. And the thing that that throws me off because
the version that I watched Carlotta that you guys seen,
the mother, she's actually Carlotta.

Speaker 5 (26:01):
In the nineteen twenty five version, okay.

Speaker 2 (26:03):
And then when they add sound, they reduce some re editing,
and they changed her to be car Lotta's mother, and
there's a new car Lota in the nineteen twenty nine version.
So it's Virginia Pearson in the nineteen twenty nine, but
it's Mary Fabian in the I'm sorry, it's Mary Fabian
is Carlotta. In the nineteen twenty nine version, Virginia Pearson
is car Lotta, and then in the nineteen twenty five

(26:24):
version and then changed to Carlota's mother, and they change
it so in mind it was her, and she's in
there just giving them the what's what, because she's like, look,
I'm you know, I'm the star there's no way that
you're going to let this understudy go on. You know,
you need to get this figured out. So that's the
way it rolled online, gotcha. Yeah, it's our principle though,

(26:46):
you know, at least the threat to.

Speaker 5 (26:48):
Carlotta is there, and yeah, I mean definitely we get
a new title car that tells us that because Carlotta
was quote sick, she didn't appear and so the understudy
was able to perform, which I thought, Okay, is she
quote sick because she's afraid of being attacked by the
phantom or did the phantom do something malicious to the
point where she couldn't show up. I'm leaning more towards

(27:10):
the fact of, you know, she was scared. Anyone else
got any other thoughts as to why why she wouldn't
appear that evening?

Speaker 2 (27:17):
I think because nobody else is willing to stand up
to the phantom. All these people seem paralyzed of this guy.
It's an opera house. It seems like if they really
tried hard, they might be able to find this guy.
Although apparently there's ten thousand levels of dungeon underneath, so
that's how he's able to evade them all the time.
And there's you know, as with every great Scooby Doo
episode we've ever seen, there's secret passages and all kinds

(27:38):
of stuff all over this place. So apparently that's why
they can't hunt him down and they seem to live
in mortal fear of him. So I think she's kind
of like, well, if all these men are just going
to kind of you know, what's out on me, I
guess I'm gonna need to be sick because nobody's gonna
protect me. That would be my take.

Speaker 4 (27:53):
At this point. Have have they found the guy hanging yet?

Speaker 5 (27:57):
No, not yet.

Speaker 4 (27:58):
I'm guessing some other awful shit was implied has happened
in the past though, And to be fair with what
Tim said, I think the terminology they said was the
third sellar, So like, there's definitely more than one. There's
a basement, there's a sub basement, and then there's the
fucking lake. I don't know, yeah, the sub sub sub basement.

Speaker 2 (28:15):
Yeah. At what point I think that he says something like, oh,
we're like seven levels down or something, because for whatever reason,
you know, this opera house, unlike in America were be
built over an Indian barrel ground, is somehow built over
the top of some kind of ancient torture chambers. Yeah,
there was a counsel or something there, so you know,
it's got its kind of owen hev gb history to it.

Speaker 5 (28:36):
Yeah, they kind of play off the fact that it's
supposed to the torture chamber from the Great Tear that
took over France. And if you're familiar with with any
kind of French history, the Reign of Terror was after
they executed all the royalty in France, you know, they
started executing a lot of other people, and they would
torture people and everything, all in the name of you know,

(28:56):
some new republic that they were forming that eventually led
to the rise of Napoleon. But this isn't about French history.
This is about a French opera house which evidently was
built on top of a torture chamber.

Speaker 2 (29:07):
Well yeah, but it's kind of relevant because that's kind
of his origin story because it's the French Revolution is
what these were used for. It was my understanding from
what I read. And he was born and imprisoned during
that time. I don't know why they imprisoned some small child,
but you know, that's kind of some of the story
is that he was in prison during this time down

(29:27):
there and held for a very long time, and then
I think transferred to an insane asylum and then escapes
or something like that. It's a little sketchy, but that's
more or less the history of it all.

Speaker 4 (29:39):
I think one of the versions they said ants ate
his face and that the Arab guy rescued him, because.

Speaker 2 (29:47):
They never really state why he looks the way he does.

Speaker 4 (29:50):
No, not in the version we watched, Yeah.

Speaker 2 (29:53):
But ants in his face? So is that where they get,
you know, ants in my eyes from Rick.

Speaker 4 (29:58):
And Morty, Answer my pants.

Speaker 2 (30:00):
Answer my eyes, Johnson. I'll sell anything anywhere, any time.

Speaker 5 (30:03):
I can't see it well anyway. So during the performance,
Christine is now a substitutent for Carlotta and the reveal
of Marguerite and the managers are startled to see seated
in box five a figure who later disappears. Simon Baquette
then finds the body of his brother's stage hand, Joseph Buquette,
hanging by a noose and vows vengeance. The following evening,

(30:25):
a defiant Carlotta sings. During the performance, the phantom drops
the chandelier hanging from the ceiling onto the audience, killing people.
Christine enters a secret door behind the mirror in her
dressing room and descends the lower depths of the opera house,
where she meets the phantom, who introduces himself as Eric
and declares his love for her. Now, I thought it
was interesting that the way that they showed that chandelier

(30:47):
falling onto the audience, it looks.

Speaker 2 (30:49):
Like people really got hurt.

Speaker 4 (30:50):
Yeah, unless they magically somehow shot that in reverse and
like people are under it and then they pulled it up.
I'm not sure. And then they you know, they played
it and reversed really fast, so it looks like elson
it came down on them.

Speaker 6 (31:01):
That would be That would be how I would do it.
Maybe maybe it wasn't supposed to come down at all.
It just like happened.

Speaker 4 (31:07):
Boops, it's in the movie.

Speaker 3 (31:09):
It was a great shot. We're gonna we're gonna leave
it in.

Speaker 6 (31:12):
So that five minute clip of what I saw from
the two thousand and four version, which are our butler
and Emmy Rossum, that first scene, I'm pretty sure it's
that chandelier is part of the movie. Oh okay, So
I actually really want to watch this movie. The two
thousand and four version. Like I said, it look really

(31:33):
cool and I was supposed to watch it before coming on,
and then I wanted to watch it with my son,
but it didn't really work and time wise and stuff unfortunately,
But but that I thought was kind of cool actually,
And did you guys notice that, like when the phantom
shows up, like everyone's in masks and stuff, but everyone
realized immediately that this was the phantom, Like everyone's like,

(31:57):
oh man, this is the Phantom, Like, how do you
even know that's the phantom?

Speaker 3 (32:01):
Everyone else got masked?

Speaker 4 (32:02):
He said it was the same voice as fuck.

Speaker 3 (32:09):
Yeah, I don't know, man, everyone was party, They're.

Speaker 6 (32:12):
Probably all drunk, and all of a sudden, everyone just
stops as soon as he shows up.

Speaker 3 (32:16):
I don't even know.

Speaker 5 (32:17):
Man, are you talking about when he was dressed up
like the red dust?

Speaker 3 (32:20):
Yeah?

Speaker 2 (32:21):
My question is why does he hang that guy to
begin with? Guys, which when goes on, he drops the
chandelier in punishment. So was hanging that guy just like
a preemptive like, look, I ain't missing around. You're gonna
keep putting on Christine or else, you know, even worse
things gonna happen. I don't really understand what to do

(32:42):
with anything it was.

Speaker 6 (32:44):
It was it was either a counterweight or it was
an accident, like the chandelier was held up by some
rope and in order to release the chandelier, he had
to cut some rope.

Speaker 3 (32:54):
So either he was the.

Speaker 6 (32:55):
Counterweight so that not everyone down in the bottom would
die body had to be raised up, or he just
happened to be in the wrong place at the wrong
time and he got tripped up by the rope as
it was flying into the air and he just got
caught into a noose and then he's dead.

Speaker 3 (33:11):
Because it doesn't explain it. I was. I watched it
several times. I'm like, why did this guy die?

Speaker 2 (33:16):
That can't be right though, either because later on we're
gonna learn there's a whole section where they have to
wander around with their arm up because apparently that's that
guy's them always hanging.

Speaker 3 (33:25):
That's true.

Speaker 4 (33:25):
It kind of goes with the theater because you have
all the ropes and everything. That's like being you know,
with the curtains and whatnot. If you've ever been backstage
at like a theater, like there's there's all the ropes,
it's a little swashbuckling oh, yeah, I know that. But
still so that's that's our first train of thought. And
the other train of thought is like, well, when he's
on the other side of that, that a false mirror

(33:47):
and she's heard his voice before. So he's back there
choking himself. She hears maybe not talking, but maybe you
know David chardin himself.

Speaker 2 (33:55):
David Carridine in it. Why did he hang that guys?

Speaker 4 (33:59):
He knew too much about him?

Speaker 2 (34:01):
Question Matthew, why did he hang the guy?

Speaker 5 (34:03):
Yeah, I say he knows he's he's seen him several
times because he was the.

Speaker 4 (34:06):
Guy that Yeah, he was dishing on the Phantom, the.

Speaker 5 (34:09):
One stage hand coming down with all the ballet answers,
and he sees his brother and he tells something about
the Phantom, how he's seen the Phantom. He's seen this,
you know, he was he was giving some given the
old skinny on uh on Eric there. And I think
that's why the eighty six to them.

Speaker 2 (34:24):
Okay, okay, I'm gonna make that might have been the
part where I was little.

Speaker 5 (34:27):
Yeah, that's the only motivation I can think of is
because he the phantom had seen him, and he saw
the Phantom, and so it's like, well, moment of opportunity.
I'm gonna get rid of this guy because he's he's
seen me back here before.

Speaker 3 (34:38):
Well.

Speaker 2 (34:39):
And then to add to that, they know this dude
sits in Box five all the time. I don't know
half some guys waiting ready to go. It seems like
a no brainer.

Speaker 5 (34:47):
Show up, Yeah, I mean, just hire a couple of
police officers to just you know, check out the booth
every once in a while when the guy just show up,
just you know, take him out.

Speaker 6 (34:55):
Yeah, go up to Brooklyn real quick. Just about a
being about a being.

Speaker 3 (34:59):
This is it, that's it, it's over.

Speaker 2 (35:01):
You got some problem with the fan, and we take
care of that for you.

Speaker 5 (35:04):
So, yes, now Christine is kidnapped, abducted by the Phantom,
and we get this long drawn out escort down to
his sanctuary. And did anyone else get the feeling that
like this thing was just gonna keep going.

Speaker 3 (35:17):
On and on. Yes, it took forever, it forever.

Speaker 2 (35:22):
It goes on so long that you had to have
a horse to transport it down there. What the hell
is a horse to it down there? I mean, good God,
like there's a horse, there's a boat. She passes out
completely right at the horse so he can carry her
on it. I just, oh my god.

Speaker 4 (35:37):
And where there's horse, there's shit, yeah, and lots of it,
so it's it's bad.

Speaker 3 (35:43):
It's too much man.

Speaker 2 (35:45):
Yeah.

Speaker 6 (35:45):
And and you notice like she was down for going
into that mirror, Like, look, I am not if I
hear some strange voice telling me to go into the mirror,
I ain't doing it.

Speaker 3 (35:57):
I'm not.

Speaker 6 (35:58):
I'm not going into no motherfucking mirror. Okay, No, I
am not doing it. And I and I get how
it's old. So they didn't have like, you know, cgi
for them to like, you know, maybe go through the mirror.
They kind of open a door of the mirror from
like a secret door or something.

Speaker 3 (36:16):
I ain't going through a mirror. I'm not doing it. Okay.
Fuck that.

Speaker 6 (36:20):
I'm not going through a fucking mirror. Don't care who
you are, but I'm out.

Speaker 3 (36:23):
Bro. Some phantom talking to me to I'm gone. Okay.

Speaker 4 (36:28):
She makes all her money on only mirrors.

Speaker 3 (36:30):
No, fuck that.

Speaker 6 (36:31):
I don't care what you tell. You tell me, Hey,
you're gonna be a singing star. No, I'm not gonna
be a singing star. I'm gonna be alive, bro, Okay, going.

Speaker 2 (36:40):
Through no mirror. I'm not walking to some fantasy land
through closet. I'm out doing none of this. None of
this shit's happened.

Speaker 3 (36:45):
But here's the kicker. Bro.

Speaker 6 (36:47):
So once she goes through the mirror, she's like, well,
that's a letdown.

Speaker 3 (36:52):
Who the fuck are you?

Speaker 6 (36:53):
She sees this dude, she's thinking she gonna see Gerard Butler. Nah, dude,
this dude looked like straight up nosferatu, bro, especially when
she's able to like figure out what he really looks, like, Hey, hey,
where's Shaney at? I don't go fight Shaney real quick.
I'll be I'm sure i'll be back. Don't worry about me.
I promise you I'll be back. No, no, god, dang man,

(37:18):
it's just crazy. It's absolutely crazy.

Speaker 3 (37:20):
Man.

Speaker 2 (37:20):
She's expecting Fabio. Yes, he's damn it. It should be Fabio.
Why aren't you Fabio?

Speaker 5 (37:26):
Well, I do have to give the phantom props because
he is wearing a very big hat, a very you know,
musketeer like hat, and and we find out why.

Speaker 4 (37:35):
Yeah, he's also a baldy.

Speaker 6 (37:37):
No, yeah, I mean like the Matt props for his game. Dude,
he's got some serious game, all right. He's he's really
like all until the very end, when he like really
is like, hey, this is who I am and stuff.
He had some serious game. He's all like, hey, I
can do this for you. I'm mysterious and stuff. What's
what's he meets her? That's that's what.

Speaker 3 (37:57):
He ain't got no game.

Speaker 2 (37:58):
But where's did you getting all the money for this?
I mean, you know, he's living in this like laborate
apartment that's really decked out. It's all you know, it's
all eighteen nineties, you know, awesome and stuff. He's got
these fine clothes. He stole that shit, Yeah, maybe I guess,
But still he's got to drag that down. He's gotta
drag the horse down. He's gotta drag He's gotta drag
this gondola, his big organ down there. He's got his

(38:19):
giant you know boat bed and his boat. That's a
lot of stuff be dragging down by yourself.

Speaker 4 (38:25):
He has no friends. He has to have a lot
of hobbies.

Speaker 2 (38:28):
Oh yes, I'm like boat saying.

Speaker 4 (38:30):
He likes jerking it behind mirrors, and he takes care
of his horse.

Speaker 2 (38:33):
And he's got like killer costumes. Although those I'll give him.
You know, he probably stole him from the production, so I'll.

Speaker 4 (38:39):
Right go with that one all the time in the
world to practice great acoustics.

Speaker 2 (38:44):
They're super nice rugs down there. It's it's like the
cleanest dungeon I've ever seen. It's the most emmaculate place ever.

Speaker 6 (38:51):
It's like the dungeons from History of the World when
the one dude is is asking asking all these questions
like here's where's our plan and all this, like, oh god, dude.

Speaker 5 (39:01):
Yeah, it's it's an interesting set.

Speaker 3 (39:03):
I had to say the least.

Speaker 5 (39:04):
And yeah, it was. I was starting to fall asleep
about this part because I fell asleep probably about forty
five minutes into the movie. And of course that's when
we get the really cool big reveal that it's been
on every clip show for every Phantom of the Opera
that I know of, and it is kind of neat
that we get to we finally to see that reveal.

Speaker 4 (39:23):
It's terrific makeup.

Speaker 5 (39:25):
I gotta yeah, say, I gotta lind it to Lanchini.
I guess he was the one that came up with
the idea for the makeup for for the Phantom of
the Opera. And it is very iconic, very cool and
I didn't realize this, but he did have like a
hat on a hat because he's balled. Did he had
like a fez attached to his mask, so theoretically didn't
he have like a hat on top of a hat.

Speaker 2 (39:47):
It was weird like that. It was so distracting watching
that stuff kind of float when you talk. It almost
reminded me like Zoieberg from Futurama a move in the
whole time.

Speaker 4 (39:58):
Yeah, he had like a rugta ustles on at the
bottom of the mask. I didn't remember that, but there
it was.

Speaker 2 (40:03):
Yeah, it was really weird. It was really weird. But
I agree with you, probably to.

Speaker 4 (40:07):
Cover up his fact that he has no fucking lips.

Speaker 2 (40:09):
Yeah, yeah, but I will admit, you know, I'm right
there with you guys. As far as the makeup, Oh
my god, dude, it looks so good. I mean, that
is some creepy stuff. And Lon Cheney developed that whole
look himself, which is really pretty awesome for an actor
to take that kind of time, and he was so
proud of it. He told the studio like, look, nobody

(40:31):
can take pictures of this. There'll be no promotional I
don't want anybody see it. He wouldn't even he wouldn't
even put it on at the studio. He would put
it on at home. And then he wore a fake
mask while he was driven to the studios so nobody
could see it. And the first time that Mary Philbin
sees him with the mask off, that is her actual

(40:53):
reaction because she had not seen it either, so she
was just like, what the hell like it just freaked
her out. So that is a true reaction to his makeup.
It's amazing.

Speaker 5 (41:04):
Yeah, yeah, and you know it, it truly does look
very deformed. You know, it definitely makes you think, Okay,
what happened to him in the torture chamber to look
this way. Then we get the the enraged phantom as
he declares he is now she is now his prisoner,
and she begs him to let her sing, and he relents,
allowing her to visit the surface one last time if
she promises not to see Raoul again. But of course,

(41:27):
as uh as Rick has pointed out several times, she's
not a woman of her of her word, and she
does wind up seeing Raoul again. Dur ain't a masked ball,
which I thought this is kind of very tangential to
the story. I'm like, why do we suddenly have this
ball that everyone's at, you know, what does this really
have to do with the movie? And I guess it's

(41:48):
just to kind of give you more of a scope
and to give this really excellent reveal. Like Rick had
said earlier about you know, the phantom being dressed up
as a red the Red Death. I thought that was
a really cool costume as well. What'd you guys think
of the red dot? And I'm a pretty issue in
what you thought, tem since you saw it purely in
black and white, because I know watching the cut on TV,
they actually colorized this bit, so he really stood out

(42:10):
in his like robes and everything as the red dot.

Speaker 3 (42:13):
Yeah, he totally was red.

Speaker 5 (42:14):
What did you think of it?

Speaker 2 (42:15):
Tim? I think it was really cool. I mean that
costume was off the hook. I'm just looking at that
thing going I can't even make anything that looks that nice,
especially that skull, and it was not real fitting for
the festive party that was going on. And I think
to answer your question, man, is that I think that's
a big to do yearly in Paris, France. I think
they kind of alluded to that that that's a yearly

(42:37):
festival or gathering that everybody goes to this big dance
or whatever, maall, whatever you want to call it. Why
they all decide that they should host it at the
Opera House and I don't know, not a ballroom of
some sort, which would make far more sense. Again, I
think they have. They blew all their budget on one
set in twenty seven levels of underground, so there was
no more room for a ballroom, right, But outside of that, yeah,

(42:59):
I mean it was. It was really cool. It looks sharp.
I like the costume. But I'm with you know Rick's
observation earlier too, It's like, how did everybody know that
that's who he was? I guess there are times when
he somehow is able to talk to the whole opera house.
I don't know how he is able to project throughout
the whole place, and they can hear here's a booming voice.

Speaker 4 (43:16):
Yeah, but you don't see that in this version. You
have to read title cards and you don't understand that
A bunch of people heard it right sounding off.

Speaker 2 (43:23):
I guess when he speaks they know what his voice is.
But then again, it begs the question, Okay, we're all
at this ball here's this guy addressed as a red death.
He talks and we know that he's the phantom. I
don't know, there's like several hundred of us in him.
I'm thinking mob rules here, and why don't they go
after this guy does because there's been no you know,

(43:43):
no gun player or anything like that. So you know,
unless he's got a bunch of booby trap buttons that
he's carrying around with him all the time, I think
this is a good time to dab him and just
you know, I don't know, beat the living shit out
of him for dropping the chandelier. Plus, why would you
go back to the opera house when this dude's dropping
chandeliers on people? Like a bunch of people just got
maimed and killed the other day's city in there and
now they're backed. I'm like, ah, you know, what doesn't

(44:04):
matter because we're all going to drink and you know,
frolic and be merry.

Speaker 3 (44:08):
Yeah.

Speaker 6 (44:08):
Man, there's a party, man, Fuck, there's a party. There's
we got nothing to do. And what about the thing
that happened yesterday? Nah, man, there's a party. Bro.

Speaker 5 (44:19):
They're doing keg stands off off the old chandeliers, three drag.

Speaker 4 (44:23):
A lot of stuff's word of mouth too, so maybe not.
The whole city heard about that the other day, so
they're just like, fuck it, we're gonna go to the ball.
And that's why he dressed up.

Speaker 2 (44:32):
It looked like the whole city was there.

Speaker 6 (44:33):
Yeah, by the say, gossip like that probably spreads like wildfire.

Speaker 3 (44:36):
Man, I don't know.

Speaker 4 (44:37):
Yeah, it was probably four chandeliers by the time it
got around town. But yeah, for sure chandeliers fell killed
three hundred people. But yeah, The Mask of the Red
Death was first published at eighteen forty two, and so
because that has a big masquerade ball and it that's
why he dressed up like the Red Dust because he
was trying to be clever and he probably stole that
shit from a production of The Mask of the Red Death.

Speaker 2 (44:58):
There we go, there's down to the core of the question. Matthew.

Speaker 5 (45:02):
All right, Well, the phantom addressed The Red Death does
see Christine talking to Raoul, and Raoul has plans to
take her away from all this, but not until the
next night when they can make their escape. The next night,
during the performance, Christine is kidnapped and Raoul rushes to
her dressing room, and that's when he meets the man
in the Fees again the Inspector Ladeaux, a secret policeman

(45:23):
who has been tracking Eric since he escaped as a
prisoner from Devil's Island. All Right, So I don't know
if I fell asleep through part to this, but this
was the first time I seen the Inspector and I'm like,
where did this guy come from? Was there like a
big reveal from him? Like earlier in the film, Tim,
can you help me out here?

Speaker 3 (45:40):
Now?

Speaker 2 (45:40):
Man? I he kind of showed up and I'm like,
who is this guy?

Speaker 3 (45:44):
Now?

Speaker 2 (45:44):
It was kind of just like you were, and he
was kind of creepy, creepy rid. I'm like, is this
the rent Field for the Phantom? That's all I think of.
Like he was like the Phantom's familiar or something. He
just kind of had a total creeper vibe, like he
was working for him or something and he was gonna
lead he'd her love astray or something. But he's like, oh,
I work for the secret Police, but I have no gun.

Speaker 3 (46:05):
Yeah.

Speaker 2 (46:06):
It was just like this dude's not adding up. I
don't know. It's all kinds of weird.

Speaker 4 (46:10):
At one point, they wanted to accentuate the way he
was appearing in shadows, so like he literally had like
half of his face painted white and the other kind
of black. Am I wrong on that? Like there's this
scene where they made him look super creepy, and I
think like they just literally painted his face because they
couldn't get the lighting quite contrasty enough.

Speaker 2 (46:29):
I think they did it was already creepy. Yeah he was.

Speaker 5 (46:31):
He was pretty creepy.

Speaker 4 (46:33):
Yeah, he was a red herring, like they wanted you
to think he had something to do with it. Yeah,
or at least the other characters, like all the audience
might say, well, that's not the fucking phantom. We've seen
him in two different places, so you might think he's
in cahoots with him, and the people around him become suspicious,
so they're they're therefore not aiding in his noble quest
because he's fucking he's a creeper.

Speaker 6 (46:52):
I found it difficult to keep track of characters, particularly
because number one, we couldn't have any voice recoged. If
a character talked, whether they were on screen at the
time or not, we could never hear their voice to
identify this is this person who speaks like this, and
that person speaks like that. So when I hear them,
that's who they are, whether I see them on screen

(47:14):
at the time or not. So you didn't have that,
and you also didn't have in the text slides it
didn't actually say who it was was talking. You're just
kind of supposed to know the person who's on screen
moving their mouth was the person talking. But because of
the limited number of text cards without any name recognition

(47:36):
attached to them, it made it really difficult to follow
who's who in the movie, at least for me. That's
how I felt. While it's very possible that maybe we
did see this person earlier in the film at some point,
like as a small little introduction to come back to later,
I don't know.

Speaker 3 (47:56):
I don't even know, man.

Speaker 6 (47:57):
Honestly, I thought it was really really hard to keep
trying of that kind of stuff because of these reasons.

Speaker 2 (48:03):
I think just because there's so many people wandering around
in this opera house all the time, they convoluences it too,
because a lot of times you see the scenes with
these characters and they're standing amongst you know, one hundred
and fifty people, so and they're they're and the costume
changes are treated dramatic too, because sometimes he's dressed, you know,
almost in a military uniform, and another time he's kind

(48:24):
of formal, and then he's dressed for this mass parade. Ball.
How the two of them find each other during their
mask array ball is beyond me. I have no idea,
because they all they all kind of are dressed the
same too to some degree. I mean, I's only so
many costumes. I mean, apparently there's the red deaf Ballerina,
a bunch of just masks, and then the phantom if
you want to go is Yeah, those are the costume

(48:45):
choices like that.

Speaker 6 (48:45):
And even the video wasn't like you know, ark or
anything for like visual acuity or anything like that. You know,
so there were shots that were a little bit blurrier,
dark and far away and hard to really see, especially
characters that weren't very prominent in the film, Like when
you had the parts where the guys the mob was
forming and the guy's brother dies or something, and it's like,

(49:08):
who is this guy man?

Speaker 2 (49:10):
Yeah, even his brother, you don't really understand that that's
his brother. And he's some kind of detective or policeman
of some sort too, but he's sitting in a different
box from his younger brother. Yeah, it's just it's really
hard to keep track of these people, and they just
don't have a lot of screen, right. Yeah, that's the
other thing, you know, when they do again, and most

(49:30):
of it's very convoluted because there's so many people, it's
just hard to follow it.

Speaker 5 (49:34):
Yeah, it does get hard to follow us. We get
the secret police guy, and I just thought it was
weird that suddenly he knows all these different back rooms
and everything for the opera house, and I'm just.

Speaker 6 (49:43):
Like, yeah, man, he was a dude who was like,
oh yeah, the mirror. I'm like, what how did you
know about that?

Speaker 5 (49:49):
Bro?

Speaker 3 (49:49):
Why did you go there before? Yeah?

Speaker 5 (49:52):
But again, I think we're kind of constrained by the
production of the film too, because I mean, they probably
couldn't go too far into any kind of background stuff
because of how limited they were in shooting movies. It
would be my guess, how about enjoy any thoughts as
to why they wouldn't have elaborated more onto this this
particular secret police guy.

Speaker 4 (50:10):
I think it's just one of those things where it's
lost in translation. Maybe on stage they were saying a
lot more and they're like, that doesn't fit on the
title card. People get people understand enough, move on, gotcha,
we're losing.

Speaker 2 (50:21):
The audience to fall asleep. Move along, move along.

Speaker 5 (50:24):
And move along they do because they go through the they
go through the magic mirror and into the sub section
of the opera house.

Speaker 3 (50:31):
Let's tell you what. They didn't move along fast enough.

Speaker 6 (50:34):
Man, it took them like twenty minutes to get down
this seven layers of hell or whatever the fun go
mind me.

Speaker 2 (50:40):
Con they gotta find a torch. They got to carry
their arm up all the time so they don't get
hung somehow. I mean a lot of things they gotta
do while they're wandering around down there. They you know,
they gotta avoid tours droppings.

Speaker 5 (50:50):
It's it's a mess, and they fall down two holes. Yeah.

Speaker 4 (50:54):
How many trap doors are there? Just the one? Or
was there?

Speaker 2 (50:56):
Like no, there's there's the trap door on the stage,
and then there's a trap door in the phantom's bedroom,
and then there's another trap door that those guys Fine,
well we'll get to that one. But yeah, there's at
least three of them. Yeah.

Speaker 5 (51:09):
Yeah, you know, they're they're walking around and like Tim
had said, they have to walk around with one arm
up because they're convinced that they'll suddenly get strangled from
behind and then having one arm up. I guess it's
to prevent the rope from going all the way around
your neck so you can prevent it from grabbing you.
Like you're seeing all those TikTok videos and people like
getting out of some invisible person attacking you with your

(51:30):
seat belt in the backs of your car.

Speaker 4 (51:33):
Yeah, you just gonna get that one finger, you know what.

Speaker 3 (51:35):
I thought that was kind of cool.

Speaker 6 (51:36):
But it's almost like walking around with your hand like
a sword, you know, like all tight and then putting
it right next to your nose just so that nobody
can like, I goug.

Speaker 3 (51:48):
You someone's good eye dout you put your head right there.
You got a blocket, you know.

Speaker 2 (51:53):
It's like mo right, Yeah, But here's my fot. If
I'm wandering around this this this dungeon with any of
you du and I'm like, hey, this guy might drop
a noose and try to hang one of us, but
there's two of us, so please pull the news off
my neck. There's two of you. One's getting choked, one
can take the news off that dude. It just seems

(52:15):
like there's you know, it could be some some strategy
there if you work it right well.

Speaker 4 (52:19):
In the original script, they used to know each other
back in the day, so he knows the phantom is
like carrodying himself. It's really good with not so like
he knows what's up. He's like, we've got to put
one arm in the air. They were just gonna carroty
in us like he doesn't.

Speaker 2 (52:32):
So yeah, but again, he's only one man. I don't
think he's strong enough to choke two grown ass men
at the scene.

Speaker 4 (52:38):
He's been working out his left and his right arm
for decades. Mirror action.

Speaker 5 (52:45):
Oh you're you're really trying to get this carroding thing
to take.

Speaker 2 (52:48):
Off the verb? Now, man, he's working that hard. How
often can you use that? This movie just cries for it.

Speaker 4 (52:55):
I'm gonna use it for until I die. That'll probably
be like last dying words.

Speaker 5 (52:59):
I got feeling that the ulternate title of this one
is Carrodene is.

Speaker 4 (53:02):
A verb Phantom of the Kardine.

Speaker 2 (53:05):
There you go.

Speaker 5 (53:05):
Yeah, So our two heroes were walking through this enormous labyrinth.
As I said, they fall through one trap door, and
then of course they fall through another trap door into
what was once a torture chamber and it's basically a
room of mirrors. I thought it was kind of neat scene,
but really what threw me off was later on when
the Phantom and Christine are in his layer and we

(53:26):
discovered that she can hear them in the other room,
and the Phantom turns it on a special switch, and
now the entire room is getting extreme heat. Where'd the
heat come from?

Speaker 2 (53:37):
For sure? That's why I was going to say, just
submitting ago. Not only that, but the mirrors. Where's it getting?
Like ten thousand mirrors? Like you know what, I've built
my posh pad down here and stuff. What else can
I do? I know, I'm gonna make a hall of
mirrors just in case somebody finds me down here so
I can put him in there.

Speaker 4 (53:51):
I accept the mirrors because he's been stealing all this shit.
I don't accept the oven.

Speaker 5 (53:57):
Yeah yeah, and instantly.

Speaker 2 (53:59):
You know how much people would kill to have their
house heat up that fast whatever that guy was using.
If you just sold it, it would have matter how ugly.
Was like, I can heat your old in like twenty seconds.
Flip the switch, ban pool houses like seventy degrees. You're done.

Speaker 3 (54:13):
You know you're the wrong business man. You get out.
You gotta get out of theater. Okay, you gotta get
an h bac Okay, yeah, sure nah Man.

Speaker 6 (54:22):
For me, this this scene reminds me of that scene
in Indiana Jones where I can't remember what it was,
but I think his foot is burning or something. Indiana
Jones's foot is burning and he's like, He's like water, water, water,
And then he looks and sees all the flooding water
coming towards this is in temple to do him, and

(54:43):
he's like water.

Speaker 2 (54:48):
Well, not only have these guys bacon, but they just
dropped the ground. Like he flips that switch, Like, oh
what that sits around the grounds? It's like, what the hell?
Dude's like, you're not even going to try to find
your way out of here? Does this drop the the
ground and let themselves baked.

Speaker 5 (55:01):
The one thing I have to say about a visual
que that I thought was neat in the cut that
I watched is anytime they would cut back to the
guys in that room, the entire film stock was then
Red got the feeling that, oh, hey, there's supposed to
be in this. It's so hot in temperature wise that
they made the film stock look Red.

Speaker 2 (55:19):
Man I'm gonna say it for you. This was like
a bad Star Trek episode, like Original Star Trek where
they're like, oh my god, that they're on the ground.
I got a baked to death.

Speaker 5 (55:30):
So well, all the shirts were red, the film stock
was red. And you know how they how did they
get out of that? Because at one point, you see
the ground is like sand and there's like a hole
or avoid that pops up all of a sudden that
I didn't get.

Speaker 2 (55:45):
Well, no, there he's down there and apparently he can't
get up or look for anything, but he's digging his
hands through the sand. He's like, hey, I know we're
baking to death in this easy bake oven room. But uh,
I think I feel another trap door. The guy's like
open it. So they how they get out and they
open that they find that trap door and then they
fall down in there, and then you know, Rick's water

(56:05):
Rescue is on its way here from Ala Temple of Doom.

Speaker 5 (56:09):
Yeah, but before you know, before they we see the
flooding of Temple of Doom, we do get to see
another death by the hands of the Phantom in a
very clever way. I thought it was kind of neat
that you see this giant doorbell, I guess on the wall,
and you see these hands like coming up bringing the doorbell.

Speaker 2 (56:24):
Ye, what was that thing? I just called it the knocker.

Speaker 5 (56:26):
It kind of reminded me of those Chinese cats at
the restaurants that had the one arm that goes up
and down, but only this was like two arms. But yeah,
it was like a warning detection system. And that's where
we get to see the Phantom take out a caller
who happens to be uh Raoul's brother, and Robel's brother
gets all the way down to the freaking gondola. The
Phantom has this clever idea like he's a scuba diver

(56:49):
all of a sudden or snorkeler, and he comes he
grabs this like hollow reed and he goes under the
in the pond or in the river to go knock
over the boat. And I just thought, well, that's kind of.

Speaker 3 (56:59):
Clear, dude.

Speaker 6 (57:00):
This is this is this is the oldest reference I've
ever seen that trick. You know, it's it's a very
over the top trick. It like every cartoon I've ever
seen has used it, you know what I mean. And
I'm I'm always like, oh, well, yeah, I mean, obviously
that works because because yeah, I mean, you could totally

(57:21):
breathe are through a you know, a read or straw
or something like that, so sure that would work. Yeah,
this is the oldest reference that I've ever seen to
that little trick. Now, I don't know if this is
where it comes from. Maybe it's way even older than that,
But yeah, I thought that was kind of that's interesting
that he's supposed to be a ghost.

Speaker 3 (57:41):
I don't know.

Speaker 2 (57:41):
Man, Well, it's so stupid too, because like I'm going
to go some weight in the water and when he
gets close, I'm gonna dump him out of the boat.
It's like falls over. It's like a dumb ass.

Speaker 6 (57:50):
How about this one? Why is the boat even over there?
They took the boat over to where.

Speaker 3 (57:56):
His hideout is. Why is the boat back over there?
How did it get there? Who fucking pulling it over there?

Speaker 2 (58:02):
The current horse horse or train horse man train horse? Yeah,
it's just like I was, I can't swim, I got
it made.

Speaker 5 (58:11):
But well that it's the only thing moving towards the
boat now because it's maybe dark down there and you
couldn't see it. But if you've seen a hollow reed
coming your direction, when'd you think that there's something tied
to it.

Speaker 2 (58:22):
Yeah, yeah, since it's the only thing in the water. Yeah, yeah,
not to mention it is, Joey pointed out, we're pretty
sure this is this is not water. I think they
even mentioned it's like stagnant water or whatever. You know,
it's probably sewage and all kinds.

Speaker 4 (58:34):
Of stuff underground lake. But it's if it ain't flowing,
it's yeah.

Speaker 3 (58:39):
Even so if it ain't flowing, it's growing.

Speaker 4 (58:45):
Yeah, there you go.

Speaker 2 (58:47):
Yeah, Now the phantom's under there breathing through two. But
he's got to open his eyes to see the boat come.
So now he's just like, dude, just like none of
this can be good. At the end of the y
you're dying. You're just you're gonna die.

Speaker 5 (58:59):
But I I do have to say it was kind
of neat that, you know, after he kills the brother
and he decides that he's going to kill the vice
count and our detective's detective inspector, that he gives a
choice to Christine. You have two choices. You could either
turn the grasshopper or you can turn the scorpion. And
it was neat how it was all just tied to something,

(59:20):
so I'm assuming that she turned the grasshopper. The powder
kegs of gunpowder that we find in this hidden room
underneath his chamber would blow up, thus not only elimitating
the opera house, but killing everybody else, killing the fan
as well. Poor idea, in my opinion.

Speaker 6 (59:33):
Seems so elaborate for no fucking reason. Bro, I've got
these two gigantic insects, right, you turn this one and
this happens, and you turn this one and this happens.
And she's over there thinking and faking and thinking, and it's.

Speaker 3 (59:51):
Like, what the fuck is happening? Man?

Speaker 6 (59:55):
I feel like I'm Austin Powers over here, Okay, Like
what the fuck is going on?

Speaker 2 (01:00:00):
Up a couple of times over each one of the.

Speaker 3 (01:00:04):
Audience is like, she's gonna pick. Oh, She's pick.

Speaker 2 (01:00:12):
And all I can sit here think is ship any
moment Adam West is coming through this fucking door. Yeah,
this is a nineteen sixty six Batman year man. Totally,
It's the craziest freaking thing I've ever seen.

Speaker 5 (01:00:28):
Yes, maybe the phantom was a Bond villain or not
Bond villain Batman villain. Yeah so, And of course you
know she she overly dramatically turns the scorpion, thus draining
the pool of cesspool water into the cavern that her
boyfriend and the detective are in, and we get this
really cool scene where they like it's submerging the water
and they come back up and it's then revealed because

(01:00:50):
she says to the phantom, you know, save him, and
I'll do anything you want. So he like pulls the
rug out and like hits a special thing and this
this other trap door opens up, and you know, I'm thinking,
this is very much like I don't know, like the
movie Saw where you have all these different traps within traps.
What'd you guys think of that?

Speaker 2 (01:01:05):
Well? And now that, but where does he get the gunpowder?
He's still we've explained, we've explained all the other cool
stuff that he's getting, like he's finding, but not this
dude has evidently enough time to I don't know, ground
out and create his own barrels of gunpowder that he's selling.
So was he I mean, was he selling these people?

Speaker 4 (01:01:21):
Oh he stole those too, But let's let's let's focus
on the engineering. Like he didn't steal that. Well, maybe
the the grasshopper and the scorpion itself, but he he
somebody he had an engineer those into being levers. Yeah,
that wasn't like something he stole. So this guy's uh,
he's got a lot of talents that uh really just

(01:01:44):
didn't like. He could have made a whole career out
of and been very, very wealthy. So I and that
he could have paid for sex.

Speaker 6 (01:01:50):
I thought that those gunpowder came from I remember somewhere
in there, and they made a reference to the Second
Revolution or something like that, So I I thought that
maybe it was just like, I don't know, stockpiling for
the Second revel.

Speaker 3 (01:02:04):
I don't know, man, that's the only fact thing.

Speaker 2 (01:02:06):
So he's on like yo yo yo, John Valjehan, you
watch the Gunpowder Got gun Powder?

Speaker 6 (01:02:10):
Right? Yes, yes, yes that by the way, By the way,
the was I think it was like a nineteen nineties
version of that was my favorite, man, the one.

Speaker 3 (01:02:25):
I think who was it? Who was John Vel John
in that one?

Speaker 5 (01:02:28):
It was the guy Hugh Jackman.

Speaker 3 (01:02:30):
No, no, no, no, no, no no no, Liam Neeson, Liam Neeson.

Speaker 6 (01:02:35):
Yes, man, that one was really good, man, that was
really good.

Speaker 5 (01:02:39):
Yeah, I've only seen the one with Hugh Jackman in it. Well, honestly, Tim,
I want to just point out the fact that if
Kirk can create gunpowder while he's battling the Gorn in
that classic Star Trek episode, I'm pretty sure a phantom
who's not doing anything else in his in his sub
basement sub sub basement can work on making some gunpowder.

Speaker 2 (01:02:56):
He's creating trap doors. Evidently water traps again they got.
I was like, oh, we're so hot water and then like,
you know, there you go, rick water. These guys. He's
gonna drown him after he told After he told the look,
I will save his life if you choose correctly, She's like,
I got choose life. Turns he's like drowning his ass
with the water. I baked him the death.

Speaker 3 (01:03:15):
I will make sure he doesn't burn to death. But
now he's gonna dry.

Speaker 5 (01:03:25):
But no, he flips the switch and you know, the
trapdoor opens up underneath and it looks like stone and everything.
I'm like, wow, this guy really he's got some engineering talent.
You know, maybe if he wasn't horribly disfigured, maybe he
could have been like the next you know, gustafl the engineering.
So yeah, so he saves he says, Raoul at the

(01:03:46):
behest of Christine and you know, Christine's sitting there googling
over her boyfriend, and that's when the fans like, all right,
I've got enough, this way out of here, and so
he grabs her and they high tail it out of there.
That's when the mob starts coming down because for some
odd reason, now the mo the mob's being led by
the brother of the stage hand that apparently knows where
the Fantom has been hiding, and they managed to go
down seven stories of sub basement, past the horse, through

(01:04:12):
a now emptied out river to his little hideaway. And
of course the first thing they see is they see
the poor detective Lane there, you know, sprawled out. I
don't know about you guys, but all of a sudden,
everything like sped up real quick. To see them like
fleeing and chasing down the guy, and I'm like, finally
some action. But it's all shot at like a high
rate speed, like maybe like twenty frames per second. Yeah,

(01:04:33):
I don't know, it was just it just felt very fast,
very clippy.

Speaker 3 (01:04:38):
Very big change of pace for sure.

Speaker 5 (01:04:40):
Yeah, poor Christine is getting you know, pulled along and
thrown in in a what the English would call a
Johnny Cabs as the Phantom takes off with this with
this cab and proved to the point that monsters can't drive. Okay,
I mean somehow the woman manages to jump out and
he crashes the coach. Yeah, it was drive distracted, Matthew,

(01:05:01):
don't drive distracted.

Speaker 2 (01:05:02):
Okay.

Speaker 3 (01:05:03):
Yeah.

Speaker 5 (01:05:04):
We get the final you know showdown at the edge
of the river of the sign and we watch as
the massive Horde attack Eric the Phantom and beat them
and then chuck them into the river because you know,
what else are you gonna do with the dead body?
Just chuck it in the river thereby ending the film,
And I'm like, wow, that was kind of a harsh ending,

(01:05:25):
fast and quick, and yeah, it was. It was hard
for me to watch.

Speaker 2 (01:05:28):
I don't though I enjoyed his like his last moment,
you know, favor He's like, I have something in my
hand and they're all like no, not really, like you
sort of a bitch that he just started beating him.

Speaker 5 (01:05:42):
So but yeah, So, Julie, what's your final thoughts on
the end of this film?

Speaker 4 (01:05:46):
It needed a little bit more, But there's a lot
of like these older films just kind of are over
and I do think like having the having credits at
the end like we're used to like you can kind
of process an abrupt ending, but for when it's you know,
just Finney and it's over, it's just like, hey, you know,
you feel kind of like it's it's strange. I mean,

(01:06:07):
they have a little bit of a prologue, but I
mean not much. It's just kind of it's abrupt. I
do I do love that he fucked with them. That
was That was actually one of the better parts of
the movie. So yeah, like at the end of the day, like,
you guys are right. It's like the angry mob would
have prevailed much earlier in the film, but then you
it would have just been over.

Speaker 2 (01:06:28):
They're like, oh god, we are right. This is the phantom.

Speaker 4 (01:06:31):
Look how fucked up his face is, Like this guy's
this is a creepy I don't even know if he
killed anybody, just let's throw him behind bars. Jesus Christ.
He's scary, and he would have probably blabbed it all
and then they would have found all the elaborate, you know,
bond villain traps that he has. So it's it's an ending,
and there's been worse one. Dracula was way worse. That

(01:06:52):
was just fucking over and it was just like, you know.

Speaker 5 (01:06:56):
Yeah, well, at least here we actually see the demise
of the villain, whereas I acculate he's just done off
camera with an audio cue. What about you, Tim, what'd
you think of the end of the end of this time?

Speaker 2 (01:07:07):
Yeah, I found it interesting. Like you said, the pace
picks up pretty quickly. It's it's interesting that, you know,
she jumps out, he gets all, you know, flabbergasted, doesn't
really pay attention, rolls the carriage, and then he's on
foot and it's just, you know, it's like they're all
chasing him through the town. He's looking back, he's like,
you know, it's uh, pretty entertaining in that. But yeah,
they eventually catch up with him. He gets his final

(01:07:29):
you know, one second thing where I don't know what
he thought he was going to do. I think if
he was smart to be like I got something, I
am they all step back. He should have jumped in
the water try to swim away, but apparently he didn't
have his little bamboo tube, so he screwed and then
they just pummel them. Mob justice apparently works in France
and in these and I guess when there's that many
people in the city that beat one guy to death.
The cops are kind of like, you know what, nothing

(01:07:50):
to see here, move along, move on, no investigation or anything.
It's just it's all over.

Speaker 3 (01:07:55):
Gotcha.

Speaker 5 (01:07:56):
Well how about you, Rick, What are your final thoughts
on the end of this film? You know, it's been
our first silent film that we did.

Speaker 6 (01:08:02):
Yeah, I just I've found it is really strange, like
in sometimes when I'm playing video games, your character can't
cross water, like swimming is a foreign technique or whatever.
So it's like these these NPC mob they didn't unlock
water swimming yet, you know, so they had to wait
until the water drained before they can cross the area.

(01:08:25):
And actually they know where to go, they just can't
go into the water for whatever reason. But the phantom
too smart. Man, he's got that read. He can breathe
underwater and see you underwater and all this stuff like
I don't know, man. And then then when he the
kicker for me at the very end was he's like, yeah, man,

(01:08:45):
we can we can open this trapdoor and let your
you know, guy friend out and stuff like what do
you talking about, bro?

Speaker 3 (01:08:53):
Like you either want the girl or you don't.

Speaker 6 (01:08:55):
You can't let this dude out and get the girl still,
Like that's just how it is, man, say, I don't know,
not that I'm trying, not that I'm petitioning for him
to be that much of a villain to like kill
the dude underneath the thing when he's drowning with his
secret police buddy. Yeah, I don't know, man, what was
he really thinking? Was he really thinking that he's gonna

(01:09:17):
let this dude out and she's still gonna stay with him,
like come.

Speaker 2 (01:09:20):
On, yeah, but it's not like he's gonna kill him.
And then she's like, well he's dead, I'll stay with
you now. I mean, either way, he's.

Speaker 3 (01:09:25):
Not getting the girl, right, Yeah, true, True, this.

Speaker 4 (01:09:28):
Guy was a deluded basement dweller, simp and in an
inl And those guys sometimes have talents and they might
be able to create their own, you know, improvised explosives
for instance, like like or the oven or anything like that.
And so they have all this this this knowledge that
they could have applied to a life and and made

(01:09:50):
the world may be a better place, but instead they
got obsessed with some chick that they were staring at. Yeah,
and they threw their lives away.

Speaker 6 (01:09:59):
So that's the more the story work on yourself. Don't
chase women.

Speaker 4 (01:10:03):
Don't become the phantom of the basement.

Speaker 6 (01:10:05):
Chase success, not women. Okay, she did have I mean.

Speaker 4 (01:10:09):
She had a kind of like a shallow character arc.
There were moments where she's like, no, no, forget about me.
Don't She might have been using reverse psychology on her,
you know, proposed fiance or what have you. I think,
because like you know, it's like oh no, no, no,
I don't want you to get hurt, right, you know,
don't come. You know, I'm writing you this letter and
all this. But at the end, like you know, maybe
she did that so like you would rescue her for

(01:10:30):
them from the phantom. I don't know.

Speaker 5 (01:10:32):
She was trying to play it hard to get but
the same time not I don't know.

Speaker 2 (01:10:37):
Forty she was saying one thing, but she meant another.

Speaker 4 (01:10:43):
Yes, yeah, this is reverse psychology. Yes, I'm worried about you.

Speaker 2 (01:10:47):
I don't want to come get me. I want you
to want to come and get it.

Speaker 3 (01:10:54):
There you go, that's it right there, man, you got
it well.

Speaker 5 (01:10:58):
On that note, It then brings us to the question
is this worth taking an hour and thirty one minutes
off of your death clock.

Speaker 6 (01:11:06):
Rick, hard pass, hard pass, This is this is I.

Speaker 3 (01:11:10):
This is a hard no.

Speaker 6 (01:11:12):
Like We've done a bunch of movies and stuff, and
most of the time I'm like, yeah, man, it's probably
worth it, you know, depending on who you are. I
don't care who you are, man, don't watch this. I
guess if you're really into the silent movie thing, you've
probably already seen it. So I don't really have to
say anything to you if you if you have it,
because you're probably not in the silent movies. It's it's

(01:11:34):
a totally it's a no, man, it's a it's a
definite no.

Speaker 5 (01:11:38):
All right, Well, Tim Rick has a hard no.

Speaker 2 (01:11:40):
Where are you at, listener, Do you find that you
have a hard time sleeping at night? Do you toss
and turn and keep your partner awake? If you do,
then the fan of the Opera is for you. Yes,
you don't need melatonin or unisym or ambient anymore. Just
slip this into your DVD player and you'll snore, snore,
snore backs back.

Speaker 5 (01:12:00):
All right, So that's that's too, that's too hard nose,
Sleepy Joe, what do you say?

Speaker 4 (01:12:05):
I did doze off a little bit but but I
did also watch it at two times speed. I did
watch it with no sounds whatsoever, and I saw so
many things that this influenced that come to mind. I
am gonna have to endorse it as as a watch
it at two times the speed and don't lay down

(01:12:25):
because you're gonna fall asleep. You need to be sitting
up right. There's there's fun to be had watching it.
You just think we we we talked about saw, We
talked about James Bond, We talked about all the many
parodies of this and different versions. One thing we didn't
talk about that that face revealed the white mask and
then we're revealing the disfigured face. What does that make

(01:12:47):
you think of?

Speaker 6 (01:12:48):
It makes me think Ofstu bro That dude looked like
a Noasratu.

Speaker 5 (01:12:52):
Kind of reminded me of that share film with Eric Stoltz.

Speaker 4 (01:12:56):
Oh, okay, yeah, I was gonna go there too. I'm
like a mask, But I was thinking Friday the thirteenth,
Part three, okay, with the white mask and then you
you take it off and then you're you're horrified. And
he kind of has a pig though snout in part
three as well. So I think there was some inspiration
from Lon Cheney in there, so this is definitely influenced

(01:13:18):
like more movies than we can even think of right now.
So I would say I've been to say it's worth
worth your time watching at a faster speed.

Speaker 5 (01:13:27):
Gotcha? Gotcha? All right, Well, I'm gonna piggyback off of
one reference that you had made, so you know, you
see that there's a lot of proto pop culture stuff
in here, and I forgot to mention it, but there
are certain scenes in here that kind of remind me
of V from V for Vendetta, especially when he's got
her held up in his layer. It kind of reminded
me a little bit of when V held Evy in
his in his underground former rail station. Yeah, I thought

(01:13:50):
that was kind of neat. I had at a lot
of feelings of that. But other than yeah, the pop
culture references, I'm gonna go with our other gentleman here
and I'm gonna say, no, no, it's not worth watching.
It's not taking time off your douk clock. Just you know,
watch a clip of the reveal of Lon Cheney as
the Phantom, and that's really all you need to know.
Everything else is just a seriously long exposition. Go find

(01:14:11):
the book by guest Don Lemue on Phantom of the
Opera and read that instead. All right, well, that that
now ends our review of Phantom of the Opera. Feedback,
Ladies and gentlemen. We appreciate your feedback. We love the
fact that you leave us comments on Spotify, app and YouTube.
Keep leaving it, Keep letting us know what you think
of these episodes. Let us know what you think. We

(01:14:33):
want to hear more of it. Send us some feedback
through email as well. You can email our show at
Man Review Podcast at gmail dot com and we'll even
read your email right here on the show. Hey, Tim,
have you noticed how long our episodes seem to go
when we record?

Speaker 2 (01:14:49):
Like, yeah, Matt, of course I have. I'm you know,
I'm one of the freaking editors. So yeah, yeah, I know.

Speaker 5 (01:15:02):
I mean, we both have to deal with all the
UM's and the nose and the audio leveling. Don't get
me started on Joey's long diatribes about bad horror movies.

Speaker 2 (01:15:11):
Hey, those are well thought out opinions. Okay, okay, this
is a thirty second ad. All right, ma'am, what is
your point?

Speaker 5 (01:15:19):
Well, there's this really cool service out there called pot
edit dot com where they will edit the podcast for you.
Imagine you not having to spend hours listening to your
own voice only determine that it just doesn't flow right.
The team at pot edit will spend their time and
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Where can we get more info on this service, Matthew, Well,

(01:15:43):
it's right there in the name pot at it dot com.
If you love the podcast but you don't always have
time to edit, then check them out at pot at
it dot com and hey tell them ma'am sends you
for a special twenty five percent discount on your first
six episodes.

Speaker 4 (01:15:56):
Guys, really, Lloyd Kaufman is a freaking genius.

Speaker 5 (01:16:02):
With that being said, gentlemen, what is your favorite version
of Phantom of the Opera? Which one would you promote
the heck out of? I'll go to you first jokes.
I have a feeling I know which one you're gonna mention.

Speaker 4 (01:16:13):
I was I was gonna say this one. What did
you think I was going to mention?

Speaker 5 (01:16:17):
I thought you might mention the one with Robert England
from nineteen eighty nine.

Speaker 4 (01:16:21):
No, that's trash. Robert England says it's trash too. They
really tried to piggyback on Nightmare on Elm Street. And
then I remember very vividly the home video cover was
showing him like partially revealing his the makeup underneath of
the mask, and of course it looks like a burned
Freddy Krueger. Yes, so I don't think, if I remember

(01:16:41):
correctly from interviews, Robert England didn't even know they were
going to go that route with it, and then he
was kind of just disappointed by it all. But it
was a paycheck. So absolutely not that version. That's horseshit.
There's probably like videotaped versions of the nineteen or maybe
even the nineties. Andrew Lloyd Webber, I'd like to watch that.
I would probably go you performance to that, but I

(01:17:02):
can't speak to it being good or not because I
haven't seen it. So definitely don't watch Phantom of the Paradiso.
That's got some really cool visuals in it, but it
was too far out there for me. I've seen parts
of that. I'm gonna have to go with this version, gotcha.

Speaker 5 (01:17:16):
How about you, Rick? Do you got any any versions
of Fan of the Opera that you would.

Speaker 6 (01:17:19):
Prefer I've only seen this one aside from the five
minutes of the two thousand and four version, which I
haven't seen, so I can't really endorse it, but I
can say that I do plan on watching that in
the next coming weeks. Yeah, it's definitely gonna be something
I'm going to watch. I just gotta coordinate with my son.
I want to watch my son. But it looks good,

(01:17:42):
I mean from what I've seen, and I'm looking at
the reviews and stuff on IMDb, and it's a seven
point two out of ten, which is probably pretty all right,
you know, So that's what I would say. I not
obviously can't indorse it though, but yeah, gotcha.

Speaker 5 (01:17:56):
Well, Tim, how about you any any Phantom of the
Opera out there that you would would promote or suggest
over this one?

Speaker 2 (01:18:02):
You know, I have a real problem fan of the
opera basically because anytime somebody brings it up, I instantly
associate it with the nineteen eighties Broadway Fan of the
Opera play that ran for like ten thousand years that
I had no desire in my teenage years to want
to see, and so I don't associate it with being
a horror film or being cool in any way, shape

(01:18:24):
or form. So I have no desire in my life
to seek out and watch other Fan of the operas.
But I will take the road less travel, much like
Joey did last week when he brought up the Castlevania
video game during Your Favorite Dracula. But I'm going to
take a little twist on that. I am going to
bring up one of my favorite Iron Maiden songs, The

(01:18:45):
Phantom of the Opera, and it's really awesome cover art
with Eddie as the Phantom. So if I'm going to
revisit the Fan of the Opera, it will be as
I listen to my Iron Maiden disc whether it be
you know, a concert such as Live Aster, Death after Death,
or the original early eighties recordings of the Fan of
the Opera, all.

Speaker 5 (01:19:03):
The nice, nice, Well, the only Phantom of the Opera
reference that I would be willing to mention is actually
something from a two thousand and three film starring everyone's
favorite Scottish actor Sean Connery, and that is a brief
fictional character called the Phantom in League of Extraordinary Gentlemen.
That's the only fom that I can think that I like.

Speaker 6 (01:19:25):
Wait a second, Wait a second, what about that movie phantoms.

Speaker 3 (01:19:29):
Oh Ben Flag Ben flag.

Speaker 2 (01:19:31):
Yo, Ben Effleck was a bob and fantasy yo.

Speaker 5 (01:19:36):
All right, well, Tim, you want to take us home.

Speaker 2 (01:19:38):
Thanks for us in the Middle Aged reviews and our
review of The Phantom of the Opera. I know we
had a hard time stand awake during it, but hopefully
you stayed awake for our review. And if you did
stay awake, please like, subscribe, leave a comment, and share
with your friends, because you know, if you share with
your friends, even just one, we could double our viewership
and our subscriptions and that would make Matthew so very happy.

(01:20:01):
And not only that, but once you share it with them,
at least a built in conversation over the weekend during
drinks when your friends tell you how stupid you are
for recommending our podcasts.

Speaker 5 (01:20:11):
Follow us on Facebook, ex Blue Sky, and Instagram. Have
a commoner suggestion than email the show at mam review podcast.

Speaker 4 (01:20:18):
Yeah, don't get hung up on any chick on OnlyFans
do just like I don't know, Just save up, don't
do whatever awful shit you have planned, and please just
drive to a state where prostitution is legal and be
kind to others. I don't care how ugly you are,
You're just gonna have to pay more, but you can
pay for sex. Just remember they don't like you. It's

(01:20:40):
a transaction, makes stay cool.

Speaker 3 (01:20:42):
Buy it for what

Speaker 4 (01:21:00):
The begat sa

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Episode 79 - Halloween Horror Month (2025) Phantom of the Opera (Carradine himself)

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 79 - Halloween Horror Month (2025) Phantom of the Opera (Carradine himself)