A Candle for the Devil (1973)

We're closing out this year's No Rules November by taking a trip back to one of our favorite countries, Spain. Eugenio Martin's A Candle for the Devil (not the censored It Happened at Nightmare Inn version) packs a punch and is a worthy entry for the 100th film that we have covered.
Watch it here: https://www.youtube.com/watch?v=PdPoqpC0tPA&list=WL&index=10

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Episode Transcript

Speaker 1 (00:02):
Prepare yourself for the terror, the prison of madness. We
have a few inter and none retern. Welcome to Unsung
Horrors with Lance and Denica. Leave all your sanity behind.

(00:34):
It can't help you now. Hello, and welcome to another
episode of Unsung Horrors, the podcast where we discuss underseen
horror films, specifically those are fewer than one thousand views
on letterboxed.

Speaker 2 (00:45):
I'm Lance and I'm Erica.

Speaker 1 (00:47):
And this episode is a milestone. Yes, it is a milestone.
Pop the Champagne. It is film number one hundred that
we're covering on this episode.

Speaker 3 (00:58):
That's exciting.

Speaker 1 (00:59):
Yeah, and it's all our last film of the year, Yes,
before we take a month off break.

Speaker 2 (01:03):
It's month and a half, month and a half more
than Yeah, I need I need the long one.

Speaker 1 (01:07):
Yeah, I mean, I don't want to speak for you,
but it's been a pretty rough.

Speaker 3 (01:09):
Year, yeah, for both of us.

Speaker 1 (01:11):
And yeah, I mean a hundred movies. Thank you to
all our listeners. Yeah, I stuck with us for the
past year and beyond. I don't know, I personally disappreciate it.
It's the podcast and you know, the listeners and the
Discord channel that kind of makes me. I don't know
happy during rough rough times.

Speaker 2 (01:32):
Yeah, this is this is my bright spot.

Speaker 1 (01:34):
And keeps me preoccupied.

Speaker 2 (01:36):
Yeah, I don't want to take a break from my
bright spot, but you know sometimes real life forces that,
and you know you do need a breather and you
need the chance to watch some non homework movies for
a little while.

Speaker 3 (01:50):
And you know a lot.

Speaker 2 (01:52):
Of people are traveling in December and all that anyway,
so we'll be back in like mid January though.

Speaker 1 (01:58):
Yeah, I'm excited watch dramas and romantic comedies and Christmas movie.

Speaker 2 (02:06):
You're just going to watch Adam Sandler movies all month.

Speaker 1 (02:08):
Oh yes, watch Hubie Halloween and Billy Madison on Remanks.

Speaker 2 (02:14):
We'll still have our end of the year episode. That'll
just be a quick one. It's just going to be
Lance and I sharing, you know, five new to me
movies that we enjoyed, maybe a few honorable mentions. But
that'll drop some time in December. But that's going to
get recorded in November, early late November, so we might

(02:35):
miss something that we.

Speaker 1 (02:35):
Wait after this, we're going to record it. You know
the saying, if you love something, let it go. And
I just seed a break from from Erica. Yeah, I
love her, Yes, but I have to let her go
for a little bit.

Speaker 4 (02:46):
M h.

Speaker 1 (02:47):
So that's what's that's what's going to happen.

Speaker 2 (02:48):
Our January reunion is always the highlight of my year.

Speaker 1 (02:53):
And then after we record, you're like, fuck man a
whole other year. But no, it's no rules November our
last movie again, hundredth film. This is a big deal.
I had to pick a good one, and I feel
like I did.

Speaker 2 (03:06):
I think you did.

Speaker 1 (03:06):
Okay A Candle for the Devil from nineteen seventy two,
also known as the American release title It Happened at Nightmare,
in which I've already mentioned when I announcing this pick,
and when I first watched it during Horror Gives Back,
Stay Away from It Happened at Nightmare in cuts out
there on YouTube, the one on two B. Don't watch

(03:28):
these because it's not the proper version. You're missing out.
I think a lot of the lower ratings that might
be on letterbox. I could be completely wrong, but I
think it's because of the flood of the edited cut
that's available out there.

Speaker 2 (03:42):
I would I agree with that, yeah, because it's.

Speaker 1 (03:44):
A completely different movie. I started watching it on two
be during Horror Gives Back and I was like, this
seems real choppy in a mess. And also the runtime
when I looked at the one on Letterbox, the runtime
on Letterbox, I was like, something's off. Yeah. So Visual
Ventures is the YouTube version you want to watch.

Speaker 2 (04:00):
Much, or you can pick up the Blu ray.

Speaker 1 (04:02):
The eighty eight films Blu ray which I picked up,
which is awesome, has great audio commentaries, extra ones, a
lot of special features, an interview with I still say
au HEINEO Martine, but Troy Howarth and Nathaniel Thompson, which
has a great They have a great audio commentary. I
want to give them credit now because I'm going to
bring up a lot of their discussions throughout this episode.

(04:25):
They say Eugenio, I don't know if that's anglicized, it's Gene,
and he goes by Eugene and Gene Martin on his
You know.

Speaker 2 (04:33):
It is because I think when we had Troy on
for our full two episode Beatrice Chenchi.

Speaker 1 (04:40):
And the Paul Nashi, we had him on for Paul
Nashi as well.

Speaker 2 (04:43):
When he was pronouncing it, he was saying Beatrice Sheenchi.
But when you listen to Stephen Thrower, he every year.
He's like Beatrice Achenchi. I'm like Jesus Christ thrower. So
I don't feel like there's a wrong way because, like
given our language origins.

Speaker 1 (05:05):
Yeah, yeah, for sure, it's fine.

Speaker 2 (05:06):
But I just like saying a you, Henny, it's more fun.

Speaker 1 (05:10):
I do too, Henny. I'm going to be saying it
probably too many times for no good reason this episode.
But yeah, no, yeah, you want to watch A Candle
for the Devil the eighty eight Films release. I think
Scorpion release had a release scene, how limited, but that
isn't really count. There's no special feature. Yeah no, what
is A Candle for the Devil about. It's about two
sisters who run an inn in Spain, and this is

(05:33):
kind of during a changing time in Spain when no
one really wants to support, like a fascist country during
the Franco era, So tourism is kind of just kicking
off and that's like what was happening in real life
at the time too, And these sisters are seeing these
young women check into their inn, and the film opens
up with one of these tourists sunbathing on the roof,

(05:53):
which these violently religious sisters are against, particularly Marta. The
more fanatical of the two. She's very religious and she
holds a grudge because in the pastor fiance left her
for a younger woman. And then there's the other sister
of Veronica, who's also religious but more sympathetic. We'll get
into the differences in the characters, but she has like

(06:14):
this secret young lover that she sneaks around with. So anyway,
they end up accidentally killing the sun bathing woman by
pushing her down the stairs, and Marta calls it the
will of God and that they're called to do the
Lord's work. Shortly after the murdered son, bathing woman's sister,
Laura checks into the inn, who she's obviously there looking

(06:37):
for a mystery sister, and she's kind of taking in
Spain in the sights and sounds of Spain. While also
investigating her sister's disappearance. She finds that other young women
at the end start disappearing, including a young tourist with
quote loose morals and a very young mother who Marta

(06:58):
and Veronica believe has no husband. And you know, we
find out it's obvious it happens on screen. The two
sisters are murdering these young women because you know, these
victims don't share their belief system or meet their strict
religious standards, and then there's kind of an interesting ending
that we'll get to. So yeah, I jumped into Euhenio

(07:20):
Martin's films as much as I could for this episode.
So after watching Candle for the Devil last month for
my hor gez back Spain pick I, you know, I
was excited to dive in and I watched including Candle,
I watched five of his films, So obviously we watched
Horror Express, which Euhennio Martin, right, I'll stop that. Martinez

(07:41):
is best known for from nineteen seventy two Peter Cushing,
Christopher Lee star power there. That movie is so good.
I watched it this time and it just kind of
felt like a supernatural Jaws on a train, Like that's
what I kept feeling, like, people want this into tea
that's jumping, you know, into people's bodies. Yeah dead, But

(08:04):
at the same time they're like, no, no, don't tell
the passengers. It'll cause havoc, you know. Yeah, yeah, I
kept thinking like, this is a supernatural job.

Speaker 2 (08:11):
I've seen that movie. So we actually have the one
sheet hanging out. John changed star back Wall for Halloween,
And I've seen that movie so many times, and every
time I watch it it's a new upgrade or.

Speaker 3 (08:27):
Something like that.

Speaker 2 (08:27):
Not every time like when I was younger, Like I
just watched some very garbage, muddled version of it, but
like getting to see it in like full color and
like just as it should be, you know, perfection. I
love that movie.

Speaker 1 (08:42):
It's very good. I had seen it. I think I
only gave it like three stars last time I logged it,
and I was like, there's something wrong with it.

Speaker 2 (08:49):
Well, we all evolve, we all.

Speaker 1 (08:51):
Yeah. I feel like when I started on Letterbox, I
was like very particular. I was like, this is a
great movie. I love it, but technically it's only three stars,
you know, I have low Yeah, they're very subjective at
the moment.

Speaker 2 (09:02):
I think. I think a lot of people did that
when they first got on there, and I'm the same
where everything has now changed into you know, an experience
rating really and what it comes down to. But also
like if there's a movie that is extremely well made
but I just did not get down with it or

(09:24):
didn't like it at all, I'll still like rate it
based on how well I think it's made, right, but Yeah,
there's just some like like Peter Weir movies like Picniced
Hanging Rock. I fucking hate that movie, like so much.
But I understand it's a very good movie and it's
very well made, but I fucking hate it.

Speaker 1 (09:44):
So yeah, yeah, I get. I just watched Gladiator too
last night, and I love Ridley Scott. I've always been
a fan of all his movies, and I hate to
say that this is probably my least favorite of Scott's movies,
but I appreciate it. There's a lot of interesting decisions made.

Speaker 3 (10:03):
There's sharks in it, right, there are sharks.

Speaker 2 (10:05):
We're going to see it. I can't.

Speaker 1 (10:07):
I can't help arena. Yeah, and it's it's.

Speaker 2 (10:10):
Like this I place an ancient role, right and there's shark.

Speaker 1 (10:14):
It's like seven hundred two hundred a D. Maybe I forgot,
but you know, and I actually this is how much.
Last night I was a late night show and I
got home. I was like one am, and I was googling,
like did they have sharks like great white sharks and
there in arena and like during Gladiator times they did not,

(10:36):
you know, they're you know Ridley, And I read an
interview because it like linked directly to Ridley Scott's Gladiator
to my Surge Sterns and like Ridley's like, hey, people
look at the you know, coliseum, and they're like, how
the fuck do they build that during this time period?
You know, why not put sharks? And question how the
fuck do they get a shark in there? So, I,
you know, I appreciate it more and more I'm learning
about it. But yeah, yeah again, Yeah, all my ratings

(10:59):
are subject on letterbox.

Speaker 2 (11:01):
I have so many questions, like how did they get
the shark there? Because Rome is not right by the ocean.

Speaker 1 (11:08):
No, yeah, I mean there's I think there are maybe
some great floods.

Speaker 2 (11:17):
Okay, all right, let's get back to business.

Speaker 1 (11:21):
Okay, yeah, let's get back to ano. Martine. I watched
The Fourth Victim from nineteen seventy one, starring Carol Baker
and Michael Craig. Have you seen this?

Speaker 2 (11:31):
I watched it last night?

Speaker 1 (11:33):
Did you I enjoyed it very much. I did too.
It's about a man who, in the time span of
about three years, had three wives and they all end
up dead. I loved the opening of this movie where
it's the third wife drowns and then the husband comes
down drags her upstairs, changes her clothing, calls the family doctor,

(11:53):
who says on her death certificate that she died of
an overdose. So something is obviously up. And then like
the next fifth you or so minutes becomes like this
courtroom drama where he's you know, he's trying to prove
his innocence and he's found innocent. But I just I
loved how the mysteries like immediately established. You know, is

(12:14):
he killing his wives for his for their life insurance?
So it's it's I don't know, I really enjoyed this.
And then it turns to Carol Baker, who's his new neighbor,
and she kind of inserts herself into this inheritance and
forces almost forces this marriage. Yeah, for as you know,

(12:35):
the fourth victim, like whoever that might be.

Speaker 2 (12:37):
Yeah, you know who could have gotten a conviction for
that husband, Michael Moriarty. Yes, he could have done it, one.

Speaker 1 (12:50):
Hundred percent, he would have. He would have pulled that off. Yeah.
I thought it got a little ambitious, a little too
ambitious towards the end as it kind of tries to
unravel all it's not.

Speaker 3 (13:00):
Yeah, there's a lot going on there.

Speaker 1 (13:02):
And the lead detective. I found him a little bit
of a comedic annoyance. Overall, I really liked it. It
was kind of, you know, cool, little giallo esque thriller,
has a wild original score, and Carol Baker is just
gorgeous yea and everything she said. But that was one
of my favorite watches from Martin's filmography. I also watched

(13:26):
The Bounty Killer from nineteen sixty six.

Speaker 2 (13:28):
I wanted to watch it with Toma's Million. Ya.

Speaker 1 (13:30):
This is from what I read. This is his first
I've seen this, you might have, I think I have.
It's also known as The Ugly Ones.

Speaker 2 (13:37):
Yes, I have seen it, thank you.

Speaker 1 (13:40):
This was his first millions, first Western, his first euro Western.
So and obviously we know that he worked with Corbucci
a lot, and you know, kind of ruled the spaghetti
Western scene. So in that regard, I really liked it.
But it's like a basic Western plot. Million's character escapes
from prison and a bounty hunter is after him. He

(14:02):
goes back to his lover and the town that he's from,
and they all like him because he was poor like
them at one point, but as the bounty hunter shows
up and warns them, like this guy is a killer.
Through and through. He doesn't care about anybody. You guys
need to stop being his friend, which they all start
to find out because he starts being completely corrupt as

(14:24):
he captures the bounty hunter who's played by Richard Weiler,
and he begins torturing him and just showing to people
how cruel he actually is. And it's good. It's really uh,
I don't know. It kind of portrays like how far
like loyalty will gets you towards you know, somebody you

(14:44):
like or something. I feel like some supporters of certain
political figures could kind of watch this and read into it,
but I will not get political. The cinematography is amazing
by Enzo Barboni who did Django the Hell Bender's Nightmare
Asshole and Stelvio Cipriani did the original score. Baya Blood Pieces,

(15:06):
great stuff. I really enjoyed this one. It's on two
B right now. And then Pancho Villa. I watched Pancho
Villo from nineteen seventy two, which Martine directed, wrote and directed.
It stars Telly Savalis as Pancho.

Speaker 2 (15:19):
Oh That's a Decision.

Speaker 1 (15:22):
Also as Clint Walker and Francis Chuck Conners. Savalas is
obviously bald, very bald man. So I loved in the
first two minutes they have he's in a cage on
a train being transported to like a prison, and the
generals are, hey, ha's this. The general has a soldier

(15:42):
who's shaving Pancho's head in his cage to kind of
humiliate him and show them like, this is the convict
you truly are. So that's like how it sets up
why he's bald, which I thought was really funny. Okay,
it looks great, the cast is awesome, but the script
is just a mess and it's just boring, Like it
tries to be really funny, but it never really lands
at all for me personally, feels like a cartoon that

(16:05):
just keeps repeating the same joke. Yeah, it does have
great stuntwork, and the ending is great because there is
a in song that Telly savalas himself. Oh so, and
he's actually under the letterbox credits as songs tell us.
I'm like, Okay, I have to watch this. It's hard

(16:25):
to recommend though, that one. Okay, another one, I watched
Bad Man's River from nineteen seventy one, another Western starring
Lee Van Cleef, who can do no wrong. He's a
bank robber. Starts starts off with him stealing a ton
of money from a bank with his posse, and they
split up. He marries a woman who basically marries him.

Speaker 2 (16:46):
Is this one that also has James Mason in it?

Speaker 1 (16:49):
Yeah? And yeah it has and it also has Gianni
Garko Sartana himself. Okay, yeah, it's we'll talk about her
because she's in a Candle for the Devil Loane Fleming,
who I watched an interview with Autheneo and he called
her Lonnie, So I will probably call her Lonnie Fleming, okay,

(17:09):
because he himself said it. And they were married, they
were together, they were they were there were a couple.
She's in it. She plays this tough woman named Conchita.
Another movie that has really catchy theme songs. Yeah, the
songs were by a British prog rock band called Jade Warrior,
which I found very interesting. But Paca Villa was It's boring.

(17:31):
I couldn't. It's hard for me to recommend this one.
But yeah, overall, I really liked all of Martine's films.
They're all entertaining, you know. Fourth Victim. I loved Account
for the Devil I loved, Bounty Killer I loved, and
then like the other ones were just okay for the
most part.

Speaker 2 (17:48):
So you didn't You didn't ruin your run by watching
Return of the Poltergeist aka Supernatural.

Speaker 1 (17:54):
I haven't.

Speaker 2 (17:55):
No, it has the greatest poster.

Speaker 1 (17:57):
Ever it does. Did you watch it?

Speaker 2 (17:58):
No?

Speaker 1 (17:59):
I couldn't because every.

Speaker 2 (18:00):
Ever one has really bad reviews of it, and they
all say, great poster, but this movie honks. So I
was going to download it, and then I saw all
the reviews from and especially from a few of our listeners,
and I was like, yeah, I'm not in a rust
to see that. I'll just I want to keep the
positive memory in my mind of the werewolf doing whatever

(18:20):
he's doing on the post.

Speaker 1 (18:23):
Yeah. I need to pull this poster up here real
quick because I feel like it reminded you the first
time I looked at it. Yeah, it reminds me like
the outfit, Like just from the fart, it looked like
is his name Bosque from Star Wars The Bounty Hunter? Yeah,
it looked like Bosque, Like I was like us, Yeah,
it just looks like something that would be in the
Bleeding Skull catalog too. Yeah, which I see that they

(18:45):
do have a review on but no, I will watch
this when i'm sure it'll get a release. I hope it.

Speaker 2 (18:51):
Sometimes, Yeah, it's coming, I'm sure.

Speaker 1 (18:53):
There was another movie that he did called Hypnosis from
nineteen sixty two that I found a copy, but it
was the ratio is like the screen was cut in
half and you could tell that right away from the
opening credit, so I didn't give it a chance. Yeah.

Speaker 2 (19:07):
I had that on the short list for the podcast
and it's same. I found that version, I was like, Nope,
not watching that.

Speaker 1 (19:14):
So yeah, because that one looks really interesting. But yeah, Martin,
I think you mentioned aving Nesher and the Doppelganger that
he's like a king of you know, genres, and I
could see that from just the filmography with Aheneo. Yeah.
He passed away at the ripe old age of ninety
seven last year in January twenty twenty three. There is

(19:37):
a short one hundred and forty eight page biography out
there on him called Ahneo Martin, An Author for All
Genres by Carlos Aguilar and Anita Haas, which seems like
an interesting book. I've read through some of their available
interviews that I have that I'll take note on later on, Okay,
and then another cast member or a crew member, the composer.

(20:00):
The credited composer here is Antonio perez Ole. He's composed
some nice original scores, including the blood Spattered Bride, which
was no rules November it was Yeah. He also did
the Violent blood Bath. But in the commentary with Thompson
and Howorth, I found that the majority of the music

(20:22):
and A Candle for the Devil is mostly library music
pulled from the sound library, including the opening number over
the credits, which is called Spanish Autumn by Hans Hater,
which I'll close this episode out, Okay, I mean, well
I'm gonna sing it, oh no. But yeah, a lot
of the music you hear and you find in A

(20:42):
Candle for the Devil, A lot of music you'd find
like in Paul Nashy films, just sound library stuff. A
lot of stuff you might hear in pornos too.

Speaker 3 (20:50):
Hey, there you go, There you go.

Speaker 1 (20:52):
Any other crew members you wanted to talk about, So
the cast, I'm just going to hit on the key
players here because there are a lot of castle, even
the small and there are a lot of faces you recognize,
especially I guess if you're familiar with Spanish horror films.

Speaker 2 (21:06):
Yeah, I mean, because you mentioned like the score. You know,
he did Blood Spattered Bride. There's Montserrat Julio who played Beatrice.
She was in Blood Spattered Bride. She was a servant
in that.

Speaker 1 (21:18):
So yeah, I mean a lot of these faces you
see in Paul Nashy movies, and like almost everybody seems
to have a tie into like the Blind Dead collection.
There are so many people are popping up in those movies. Yeah,
Mondo Dia Soio. But that's kind of what's films. It
reminded me of watching Hammer horror films from the sixties
and seventies. You sees so many recognizable faces. Yeah, and

(21:39):
that kind of happens with Spanish Horse during the seventies.
But first we have Spanish actress Aurora Bautista, who plays Marta.
She's the evil or more religious fanatic of the two sisters.
Batista was. She was a very well known actress in Spain,
mostly playing dramatic roles, so the Candle for the Devil.

(22:03):
When she decided to do this part where she gets
snaked a lot and she's covered in blood, it's kind
of It was a shocking change for not only her career,
but like for the audience that knew her well from
all her dramatic roles. I did watch one of her
movies from nineteen fifty three. I think I read she
started acting like in the late forties, so at this

(22:23):
point she's an established actress. But I watched something in
nineteen fifty three called Condinadus or the Condemned Ones, and
this is a beautiful black and white Spanish drama about
a young woman who's working on a large farm all
on her own because her husband is in prison for

(22:43):
a murder that he committed out of a jealous rage
over her. And she hires this young man to help
him to help her on the farm, and he starts
falling for her. The crops begin to flourish, they hire
a bunch of men, it becomes a successful farm, and
then the husband is released from prison five years later
and shit really hits the fan really loved this one.

(23:03):
I think it was on YouTube. Just a great nineteen
fifties melodrama and Arroy Bautista is amazing in it. It
gets really dark at the end. Highly recommended. And then
I watched another one of her films called The Doll
of Satan from nineteen sixty nine. Oh have you seen this?
That's a cool post.

Speaker 2 (23:19):
Is it Satan's baby Doll? Is that the same?

Speaker 1 (23:21):
I think so yeah. I think that's the also known
as but Yeah, this is an Italian horror. It's another
example of what of a movie that gives away so
much during the opening credits, which I always find funny.
Basic plot head of a family dies, and there's a
young niece that goes to the castle for the will reading,
and then the governess and caretaker want in on the

(23:41):
money and a lot of people will end up dead
during the will reading dying around the house. Bautista plays
an artist around town who seemingly kind of inserts herself
into this inheritance for unknown reason until the very end
when it's revealed, which is very silly and kind of
worth sticking around for. It's It's okay, it's interesting, But

(24:04):
I think Aurora Bautista is amazing in this movie as Marta.
Both the sisters are so good, and the other sister
is played by Esperanza Roy Fuentes, who went by Esperanza
Roy for her acting credits. She plays Veronica the more
sympathetic of the sisters. I just watched a random film.

(24:26):
I picked one from her filmography. I couldn't find a
lot that were streaming, but I watched a Jess Franco
film called X three twelve Flight to Hell from nineteen
seventy one. Okay, the premise was interesting about a diamond
smuggler who's on a plane that everybody knows about. So
the plane is hijacked due to a man wanting to

(24:48):
steal the diamonds, and it crashes in the Amazon, and
everybody is there is trying to survive on their own
but at the same time also trying to steal the diamonds. Okay,
very silly. And Esperanza Roy plays a wealthy passenger on
the airplane. There's this funny scene of her splashing around
in the Amazon and forest where they're kind of stuck

(25:11):
and there's a waterfall and she's completely naked and just
splashing around in the most unrealistic, happy way. Great scene,
by the way, probably the best scene of the movie.
It does have Howard Vernon, who's one of our of course. Yeah,
he plays a revolutionary named Pedro. Okay, Paul Moehler's in it.

(25:32):
Eduardo Sanchez. He's kind of like the star of this film.
He plays a slimy kind of he's really after the diamonds,
but he's a flight attendant who all the ladies love.
For some reason, he's able to sleep with everybody. This
one's hard for me to recommend, by the way.

Speaker 2 (25:48):
Yeah, I just stick within of the Blind Dead movies
because like the Attack of the Blind Dead.

Speaker 1 (25:54):
Yes she was in it.

Speaker 2 (25:55):
I think that I'd have to rewatch him. It's been
a while, but I like that one was my favorite
of the series, which is like a hot take apparently
because everyone always just says the first one, but the
second one. It was made in nineteen seventy three, so
it's before Jaws, but it is technically a proto Jaws
movie because it's all about like, oh, there's a town celebration,

(26:17):
we can't tell them about the fuck blind Dead and
you know, trying to take care of that. So yeah,
I like it for that reason. Anything that's like Jaws adjacent,
even if it was before Jaws, I love it.

Speaker 1 (26:27):
Yeah, it's funny. In the Howarth and Thompson commentary for
a Candle for the Devil, they bring up the Blind
Dead collection quite a bit obviously, because there's so many
ties into Yeah, and they both agreed that the fourth
one is their favorite really because and Troy's main reason
was because when the fourth one was made, the Spanish

(26:48):
censorship had kind of lacked, you know, they eased off
some of the censoring. Yeah, and they didn't allow well
in the first three. He said. The first three are
very rape is what he said. Because what was odd
is like the Spanish sitstership allowed like sex but only
in cases of rape. Like if that worked out, He's

(27:09):
all the fourth one the kind of allow natural relationships
like in sex to happen, it's all. And I do
like that. I do like it for that reason.

Speaker 2 (27:16):
Okay, So I don't know what that says about me,
then shit, yeah, no.

Speaker 1 (27:23):
I mean I given the times the seven, you're gonna
expect a rape scene. Like that's That's what I hate
to say, but that's what I've come It's.

Speaker 3 (27:32):
The reality of cinema at that time. I know.

Speaker 1 (27:34):
Okay. Next, we have British actor Judy Geeson, who is
she's top billion in this playing Laura, the sister of
the sun bathing woman who was immediately killed. She is
the big name here for the foreign market, obviously. In
an interview, she indicated that Candle was not the happiest

(27:55):
of shooting experiences for her. She was told that it
would be shot in English when she was hired, but
when shooting began, apparently Esperanza Roy was like, uh uh,
we're shooting this, I'm doing it in Spanish, and the
whole cast kind of took like yeah with Esperanza. So
it made it for a tough atmosphere for Geson, and
she claimed that she was forced to use rudimentary Spanish

(28:19):
to follow along, or she was forced to learn it.
But I don't you know, I don't know how true
that is. I feel like somebody could just told her,
like when her lying.

Speaker 2 (28:27):
Yeah, just say you're lying, Like why do you need
to know what they're saying? Like if you have a
script that's in English, right then sorry, I'm not trying
to like, you know.

Speaker 1 (28:37):
Well, when I was watching it now, when I was
watching it too, there's scenes you can tell obviously it's dubbed,
but you can see where Esperanza and Bautista are speaking English.
So maybe they attempted it at first and they're like
this isn't working.

Speaker 2 (28:51):
Yeah, maybe, yeah, that's true. I could tell, like when
it was being dubbed, like, okay, they're clearly speaking Spanish,
but then in other scenes I was like, no, there's
in English now, So yeah, I.

Speaker 1 (29:01):
Saw too okay, And Martine said he really liked Gieson,
but in an interview he said that she thought that
she might have been too childlike and polite in the role,
which I thought was kind of perfect. Yeah, I think
it works for the Yeah, because the sisters immediately like
her because she is so kind of proper, and apparently
that's how she is. Obviously in real life. All the
roles the movies that I've seen are in she's always

(29:24):
extremely polite, like most British people are. Well, she's not
in Seminoid Ah.

Speaker 2 (29:30):
That and To Sir with Love because those are all
like the Ruffian Kids and they're all just movies. Great,
but that's She was also in the sequel, which I
didn't even know existed, There's to Sir with Love.

Speaker 1 (29:42):
Really, Yeah, I had no idea.

Speaker 2 (29:44):
Yeah I was, and it was years later and I
love you, Sydney, but I'm not watching that.

Speaker 1 (29:49):
Yeah, no, yeah she did. She became a pretty big
star from that role. In nineteen sixty seven, she was
in ten Rillington Place, that awesome true crime thriller. She
mostly worked in tea. She well, she still acting right now,
but she worked a lot in television, which is what
she's kind of doing nowadays. More recently, she was in
a couple of rob zombie films, poor Thing, Lords of
Salem in thirty one.

Speaker 2 (30:10):
So, you know what, everyone needs a paycheck. It's all right,
it's all right.

Speaker 1 (30:14):
I mean that brought her out. Maybe it was for
pay reasons, but she had like a nine year absence
of acting, and then she came back for like Lords
of Salem. I'm like, okay, work your magic.

Speaker 2 (30:24):
Good for her. I mean he you know, he gave
jobs to lots of people like Sid Haig and Karen
Black and whatever. I don't fault him for like who
he casts. I just fucking hate his writing.

Speaker 1 (30:34):
Yeah, Lord's of Salem I didn't like too much. I
never watched thirty one. I did like how some of
a thousand corpses. Yeah, that's always get out, get out. Anyways.
I did watch some of Judy Geson's films, and I say, Geeson.
I don't know if it's Json or I think it's
Geesen but if I'm mispronouncing that, sorry, I'll just call her.

(30:59):
I watched it, had on my watch list for years.
Fear in the Night from nineteen seventy two. This was
directed by Hammer pro Jimmy Sankster, who directed Less for
a Vampire, The Horror of Frankenstein. But he wrote dozens
of Hammer films, like a Lot of the Draculas and Frankenstein's,
so I was really excited to watch this. It also
stars Peter Cushing, who obviously he's amazing in it because

(31:23):
he has a mustache and he has a nervous tick. Oh,
it's like a twitchy night. Very good. Joan Collins is
in it. Ralph Bates, Oh, from Doctor Jekylins.

Speaker 2 (31:32):
He's building it up quite a bit. I feel like
there's gonna be a letdown come now.

Speaker 1 (31:35):
I liked it right, I mean right away. It had
these great fall winter vibes. I was into it. It leans.
I don't know if this would turn your off, turn
you off, but again, this is early seventy No, it
leans into a woman's trauma real hard.

Speaker 2 (31:47):
No, that's fine.

Speaker 1 (31:48):
Yeah, okay, So she's like she's unable to get like
get on with her life after this physical assault. Then
she she experienced. She's married to Ralph Bates, who has
he's He takes on a job at a university where
Peter Cushing place head master, and they move into this
little cottage on the university grounds and it seems that
the you know, the assaulter followed them. You just don't

(32:13):
know who it is and what's happening. But yeah, really
you keep getting like, why are there so why are
these characters acting so stupid? Like you're watching it and
you know right away you're like, this isn't realistic at all.
But it actually all kind of makes sense at the end.
It's really well done. Of course, Peter Cushion scenes are
so engrossing. He plays like this humorless headmaster. He's getting

(32:34):
lost in every passionate thing that he's saying out loud,
and you're like so captivated, captivated by everything. Joan Collins
is his wife in it. She kind of steals the show.
Oh it's really good.

Speaker 2 (32:45):
Okay.

Speaker 1 (32:46):
Fear in the Night I think it was on I
think it was like on YouTube, okay, and I had
never seen it in seminoid that I watched from nineteen
eighty one, which is a total you know, starring Judy Geson.
It's a British Hong Kong production financed by run Rod
and Shaw. Yeah, which is interesting but total British alien ripoff.

(33:06):
You know, expedition where an alien life form of sorts
comes on to board the ship. Yeah, there's this one scene.
I mean, the cast are like stiff as aboard. They're terrible,
terrible actors, except for Geeson, who just kind of she's
freaking the fuck out all like the whole fucking show
until because she gets infested by this alien life form.
She has this birth scene where she gives birth. That's

(33:30):
just the best worth price of admission. It's hard to
say like she saved the movie because this is a
tough one to recommend as well, but she's she is
excellent in it. If there's any reason to watch it,
it's because of her. But yeah, she's a very polite
collect character and everything I've watched I'm kind of surprised
she didn't get into the Giallo craze, Like she kind

(33:50):
of has a face and persona that she could have
been in some sort of Italian.

Speaker 2 (33:54):
Yeah, I think she looks too much. She reminded me
a lot of mimsy Farmer, and I think because you know,
the Jalloh genre already had Mimsy Farmer, They're like, now
we're full up on.

Speaker 1 (34:07):
Were good?

Speaker 2 (34:08):
Thanks?

Speaker 1 (34:09):
That makes sense. Actually I did learn she had a
younger sister. He's also an actress, Sally Geson. She mostly
does British television, but she did work with Vincent Price
in two horror films, The Oblong Box and Cry of
the Band Sheet. I kind of want to watch those
again to see if she looked. They look the same, Okay.
The last cast member I want to bring up is

(34:29):
who I've already brought up, Loan or is Ao, says
Lonnie Fleming. She plays Helen Miller, the young kind of
brash tourist who shows up causing all the men to
fall off their bikes. Like I said, she was married
to au Henea Martin, the director and writer. They were
engaged by the time filming began here in Candle for
the Devil. They met on his film The Fourth Victim

(34:51):
in nineteen seventy one, where she had a small part,
and in an interview with her from that book that
I had mentioned earlier, she was actually planning to quit
act Dean when they met on the fourth Victim, but
a Henny was like, no, no, you're great, you know,
stick around. She's a Danish actress, so she was going
to move back home and figure something else out, but

(35:12):
he convinced her to stick around and keep acting, and
she was in most of his films. She was in
Tombs of the Blind Dead and then All the Pops
Up as a different character in the sequel. She was
also in The Possessed or Demon witch Child. Yeah, another
film we covered. But yeah, she has a great like
if you look at her filmography, she's in a lot

(35:34):
of kind of bangers, a lot of good horrors from
all countries, even a lot of US films. Yeah, okay, yeah,
so that anybody else on the cast she wanted to
talk about.

Speaker 2 (35:44):
No, just some like soft recommendations from a few other people,
like Victor Barrera or Eduardo, the guy who she kind
of teams up with and pretends their husband. I think
he's credited as vic Winner at the beginning, but he's
in the Folds of the Flesh, Hunchback of the Morgue,
Horra Rises from the Tomb, Count Dracula's Great Love recommend

(36:05):
all of those. Blanca Estrada, who played Norma. She's in
a John Saxon movie called Fight to the Death.

Speaker 3 (36:12):
Now.

Speaker 2 (36:12):
I don't remember this movie at all, but I have
a small poster for it with a shirtless John Saxon
hanging above the doorway to my bedroom.

Speaker 1 (36:22):
Hell yeah.

Speaker 2 (36:23):
And then Fernando Hillbeck. I think he's like the mayor
or something maybe in this I can't remember, but he's
in Verhoven's Flesh and Blood. Have you ever seen that?
Oh my god, so good. Ruckerhuerd, Jennifer, Jason Lee. They're
flinging plague riddled flesh over the walls of castles and shit.

(36:43):
It's great. Hotly yeah on Prime everyone. Check out Verhoven's
Flesh and Blood if you're missing that in his filmography.

Speaker 1 (36:49):
And Hillbeck was also in The Living Dead at Manchester
morg Yes, so a lot of good stuff. Yeah. And
Blanca Strada was obviously has another tie in for the
Blind Dead collection. Yeah.

Speaker 4 (37:01):
I know.

Speaker 1 (37:01):
This cast is just kind of stacked. It's great. I
think everybody does a really good job.

Speaker 2 (37:05):
Yeah, but I do so. I initially thought that Laura
or Judy Geson's character was going to be the main one,
like she's going to show up and we're going to
follow her, But I was not that like there was
anything wrong with that. She I think she's great at
this role, but I was more interested in following the sisters.
So I'm glad that it stayed focused on them for

(37:28):
the most part.

Speaker 1 (37:29):
One hundred percent. Yeah, this is their movie. Geeson might
have top billing because of like Foreign March and like Pool,
but her character is very boring. Yeah, incredibly boring. I
mean even like the other tourists, like the Young Mother
and you know, Lonnie Fleming, their characters stand out much

(37:49):
more and they're short, you know, they don't have as
much as a focus on is as Geeson. But yeah,
that's actually one thing I respect about this movie is
that it so like female character driven because all the
men are just completely like secondary. Like I think the
most important male character is the newborn baby in this Yeah,

(38:12):
like the boyfriend Winter or the actor. He's he's completely
like worthless at this point. Like I'm kind of glad
that he was kind of knocked off late at the
end he pops up. Yeah, now that's something I did. Like.
I love I love the relationship between the sisters. Do
you have a favorite sister of the two.

Speaker 2 (38:33):
I mean Marta goes hard. Yeah, but they both What
I love about them is like they both have this
repressed energy about them, so that makes them that much
more compelling. You mentioned they're both very pious, but you

(38:54):
know they are way too warny to be running a hotel.
They need get thee to a nunnery Marta and Veronica, because.

Speaker 1 (39:06):
I mean Veronica is getting her fixed.

Speaker 2 (39:07):
She is, but like, yeah, like they they need like
they Marda definitely needs an outlet because my favorite scene,
I think one of my favorite scenes in this movie
is the after she sees all the boys playing in
the lake. Sorry trigger not trigger warning, but content warning.
There's a naked young little boy and the plane in

(39:30):
the lake. After she's there, she's running through these thick
reads like she's whipping herself, yes, and she's enjoying it,
and I'm like, oh, Marta, you you you got some
stuff you got to work out here, and and then
like we see her like after that, she's you know,

(39:50):
dressing up and like becoming sort of like hyper sexualized.
But she also is punishing others for her own feelings,
and so I think she she's a little bit more complicated.
I think Veronica realizes that, like she's horny, I'm going
to go take get this taken care of. But she's
still very very shy about it, like she won't let

(40:10):
her boyfriend see her naked. Right in the middle of
the day when she goes over there to have sex.
I like, you know what you're here for, right.

Speaker 1 (40:18):
And what's interesting is that whole dynamic, Like I love
the scene of her walking to her young lover's house
and she's kind of side eyeing. She has a smile,
you know, kind of a smile, like looking at all
the villagers, like, you know, making sure that they're not
really following her. Yeah, and then when she gets there,
she's obviously kind of very vulnerable. You know, she does

(40:39):
become she's she's a sympathetic character, but she's not blameless,
Like she drives Marta. She helps Marta become who she is.

Speaker 2 (40:47):
She does. Yeah, they're both equally guilty here, especially when
you know, when it comes to murdering all these young women.
We think she's you know, more sympathetic in the beginning
because Marta is the one pushed her down. And then
MARTA's saying, oh, this is divine intervention or divine punishment.
We are the hand of justice or whatever she said,

(41:10):
and Veronica doesn't seem to be on board with that.
She's like, no, this is just an accident. But by
the end, when Marta is being attacked by someone, she
comes up from behind and she fucking clubs her right
over the head and she's right there with her.

Speaker 1 (41:24):
Yeah, and that's I like how they kind of bond
and what's kind of sad in veronica situation too, and
she's having this kind of secret that's not an affair,
but just secret love relationship with this young boy. And
if Marta found out, she would probably murder her sister
because of that's kind of like what all the fluozies
and the inner doing. You know, they're kind of like

(41:45):
they shouldn't be having sex out of wedlock.

Speaker 2 (41:48):
Yeah, they shouldn't be your sunbathing topless. You're having a
child out of marriage. You don't know who the son
or who the father is. My favorite though, is when
the sister who is sonbathing on top I don't I
don't know if I heard it right, I rewound it
on the rewatch. I think she called her a hussy. Okay,
that is my favorite, like insult I love, like when

(42:10):
you call it like, you know, I use that word
all the time, like not in public.

Speaker 4 (42:14):
This isn't a whorehouse, it's like it's a city. Then
I know, yeah, no, But the thing is, I think again,
like this is the you know, the oppressed Franco era like,
and they walk out on the roof and they see
a bunch of young children watching this young So it's
all a perception thing with these two women, and I
think that's why when I think about the ending, which

(42:35):
we'll get to. But at first I didn't like the ending,
But the more I think about it is their whole
life is built on perception of the community and what
people think of them. So the ending, I think is
very clever and it works really well the whole Here
we go, the curtains down, here's.

Speaker 1 (42:49):
How they really are. Yeah. I think this is a
ballsy movie for the time for a Uhindeo Martine to make,
because he had he had made Horror Express, which was
none of his movies were very successful, but Horror Express
had the star power of you know, Cushing and Christopher
Lee and it was a success in Spanish cinema sort
of shift Gears and obviously piss off audiences with something

(43:12):
like this that's so kind of controversial. Yeah, I have
much respect for this decision because it it seems like
whenever you attack like the influence of the church, even nowadays,
I mean, you're going to get protesters or some sort
of controversy, which I think a lot of filmmakers do purposefully.
But I think he does a really good job. I mean,
early Spain nineteen seventy one, you kind of attack the church,

(43:36):
you kind of attack the oppression of like religious stuff,
and it's I don't know, some fanatics watching this, I
wonder at the time if they would like cheer on
the sisters and be like, yes, I mean, these people
absolutely deserve what's coming to them. Yeah, And that's a
terrifying of Like I haven't seen it yet, but there's
that new movie The Heretic, which I heard's actually getting
pretty or it's called Heretic. With you grant that it's

(43:58):
getting it makes you a lot of like like apparently
the religious, the very religious would probably hate it, but
at the same time they could probably champion what's happening.
I don't know, I'll see.

Speaker 2 (44:09):
It if there's a dead kid. I've had my fill
at new horror movies this year.

Speaker 3 (44:13):
I'm good.

Speaker 1 (44:15):
Yeah. And also at the same time, during this this era,
you know, I had said that a lot of like
a lot of tourists didn't want to support like a
fascist country and they didn't want to go to Spain
during this time, and a lot of the people living
in Spain they didn't want to see these sexually kind
of driven, free living tourists coming to their small towns.
And I guess everybody kind of has like this feeling

(44:36):
when they've taken they've like taken root in their city, like,
you know, don't California, my Texas. You know, it's people
become very passionate about this.

Speaker 2 (44:43):
That is an actual bumper sticker here.

Speaker 1 (44:46):
I don't California my texts. Yeah it's stupid, but yeah,
I love the scene where it's also another funky like
you know, library tune where there's a bus that pulls
up and all these tourists start kind of filing out.
So it seems to be a focus on just the
change in the time of Spain during that moment, like
religious oppression, as well as tourism and free living and

(45:08):
allowing you know, women to to just like travel on
their own and go where they want.

Speaker 2 (45:14):
Sure, I think there's definitely some exaggeration though with the
women that show up. So Hotpants is clearly like she
shows up, she's just being rude and just dropping her
stuff off and like, you know, oh, I called ahead,
here's my bag, I'm going to the swimming pool by

(45:35):
like being completely you know, discourteous, and you know, the
woman with the baby, like telling you know she is
actually married even though they're separated, and saying something to
a random stranger about like, oh I wish I knew,
Like why do you even need to say that? So
I think there's like an element of exaggeration so that

(45:59):
we are on the side of the sisters murdering them.

Speaker 1 (46:04):
Yeah, I mean from time to time, especially when hot
Pants Lonnie Fleming goes back to the end and starts
taunting Marta ripping her shirt off. Yeah, like it's and
you're almost like, yeah, like killers, she deserves that, yep,
But obviously nobody deserves to be murdered for these type
of actions. But yeah, that's what I think Martine plays

(46:25):
so well, is you do kind of I don't know,
you're into you could see both sides of the story,
both sides of each character.

Speaker 2 (46:33):
I mean, you do deserve it if your sunbathing topless
like a hussy.

Speaker 1 (46:36):
I'm just saying, yeah, this ain't no whorehouse. I did
read in an interview that was pretty interesting. Like I
already mentioned all the different cut versions out there. It
happened at Nightmare and stay away from it. So au
Heineo said that the film went to can Film Festival
before it passed through Spanish censorship. It was approved to,

(47:00):
you know, go to Can and obviously it played very well.
People loved it. And when he got back to Spain,
that's when the sensors took a look at it and
they're like, holy shit, you need to cut all this stuff.
And it became this It happened at Nightmare in and
all the buyers and interested production companies just totally bowed out.
So it was a complete flop. The censorship was obviously

(47:23):
hardcore on this film. Like when you look at the
cut version, there's nothing. It's not even entertaining like to watch.

Speaker 2 (47:30):
So you said it's like fifteen minutes shorter too or something. Yeah, yeah,
that's insane.

Speaker 1 (47:35):
It's crazy. And it wasn't. It wasn't fairly real. It
wasn't until fairly recent that this version that we're seeing
that's on Visual Ventures and the eighty eight films was released.
So that's again, that's why I think everybody should see
the proper version if they feel like they haven't seen
the version we're talking about, because to me, you haven't
seen the film. So, yeah, this isn't like a basic slasher.

(47:57):
So I was thinking how the formula of big time
American slashers, like you know, Jason and stuff, they all
go after these horny kids kind of like campers or
young teenagers. But this one is more like the killers
are here killing because of these these loose morals of
their victims. They're insane, but they're normal in terms of

(48:19):
the times it's happening. I don't know, it feels like
it's a slasher film in regard.

Speaker 2 (48:23):
I remember thinking that in the middle of it too.
I'm like, oh, we're killing girls with loose morals, all right,
we're you know, we're in Sla' proto slasher terror story.

Speaker 1 (48:32):
And it's the location specific whoreror too, like a lot
of like you know, cam Crystal Lake and stuff like that. Yeah,
and the kills on this are pretty damn brutal. That's
why I think watching this version is obviously the only
way to do it. Yeah, the woman that's pushed down
the stairs in the beginning, the sunbathing woman and slashing
her throat on the stained glass window, that's really great.

(48:54):
Helling getting stabbed to death by both sisters, That one's
really scared because I think that's when Veronica first partakes
and steps her in the back. But then Norma, the
young mother is that's an unsettling one because she's getting
murdered while they're holding her newborn baby like up to
her face, which is very and the kills, like the

(49:18):
blood and the dead bodies, it reminded me of that.
I might have said this during the Horror Gives Back episode,
but it was very like Texas Chainsaw massacre. It looked
real like there was something very grizzly and gross about
the whole thing, like when I think of movies like
Henry Too, Like the bodies just look legit, like they look.

Speaker 2 (49:37):
Dead after they're killed, though we're led to believe because
they keep showing the fire in the kitchen, so we're
led to believe that, and then they keep showing them
serving food and all you know, Oh this, you know,
did you do something different? This tastes great? So there's
there's a hint of cannibalism in this also, you know,

(50:02):
a indication that they're being burned in the fire, but
at one point they only show the mother.

Speaker 3 (50:11):
Her clothes being thrown in there.

Speaker 2 (50:13):
Later, I know, we're sort of jumping to the ending though,
we get to the giant wine jugs.

Speaker 3 (50:19):
I don't know what they're calling. Sure, there's a technical
term for them. You know, some wine person can school
me on that.

Speaker 2 (50:25):
But these giant wine jugs in the basement where the
bodies are, or at least parts of them. So were
they serving the meat?

Speaker 1 (50:36):
I don't know.

Speaker 2 (50:37):
We not let or we just love to guess.

Speaker 1 (50:40):
Yeah, that is one thing I do respect about this
is that's the lingering mystery, right because they these these
women are killed and you never see what happens with
the body. You kind of assume because of like those
what you just pointed out, but you know, and you
don't really get a chance to kind of sit back
and say where are they? Where are the bodies? Like
what are they doing? And then the big kind of
swingy Todd graph of the eyeball but to me, I

(51:02):
think they do throw them in those big wine vats,
those wine jugs the bodies And I love that scene
too because you see like decomposing flesh like on the
top of the water. Yeah, but are they just deteriorating
in the wine. But the lady eats an eyeball or
did that come from her glass.

Speaker 2 (51:20):
Because there was a mix up with maybe she was saying, like,
we use this one for marinating something or something like that,
and she mixed up the jugs and so maybe Veronica
had taken some wine from the body jug whatever we're
gonna call it, and then the eyeball got in there

(51:41):
and then it was part of the marinate or something
like that. So maybe they were just hiding them in
there and just like saying, Okay, don't you ever use
this one. We're only using these two other big wine
jugs over here. But Veronica did it by accident and
that's how the eyeball ended up in there. So maybe
there wasn't cannibalism.

Speaker 1 (51:59):
Yeah, I don't. Yeah, I'm not knowing.

Speaker 4 (52:02):
Yeah.

Speaker 1 (52:02):
In most Spanish films too, like how areth To pointed
out on the commentary that there's a lot of animal
mutilation and a lot of movies like what is it
called The Bell from Hell, the Cannibal Week of the
Cannibal or is that what's called Cannibal Man.

Speaker 2 (52:19):
Cannibal Man.

Speaker 1 (52:20):
There's a lot of slaughtering of animals and this doesn't
really have it, but you do have like severed lambs
heads and stuff, and there's a lot of blood and
the way they're chopping meat on it, so you yeah, again,
it just kind of makes you think the whole time
if you, you know, if you take a minute to
think about where these bodies are, you just assume that
they're being fed to the people at the end. Yeah,
but yeah, I like how the mystery is still.

Speaker 2 (52:41):
Yeah, No, I like, I don't Yeah, I don't necessarily
need have an answer. I'm just bringing it up because
I'm sure like there might be other people who watched
it that were asking the same questions.

Speaker 1 (52:51):
Yeah, and I love too where they the eye the
eyeballs taken too, like the forensic office and then like
they peel off the fake eyelash and you're like, oh,
it's the poor Helen.

Speaker 2 (52:59):
Yeah, I do. I like how they they don't show
what it is.

Speaker 1 (53:03):
Until Yeah, the kind of pockets it yeah, and your constant.

Speaker 2 (53:07):
You're so for like a while, you're like, wait, what
did they find? You know, was it a finger?

Speaker 3 (53:14):
Was it?

Speaker 4 (53:14):
You know?

Speaker 2 (53:14):
What was it? And uh, yeah, I love that. Yeah,
I love that it was an eyeball with the fake
eyelash on there, because then it comes back to that
scene where Marta is going through her things and finds
a fake eyelashes and you know, this whole all these
you know, things that Hussies do to you know, glam
themselves up.

Speaker 1 (53:34):
And yeah, so yeah, as I was watching this too,
I kept thinking, is this in House of Psychotic Women
Kayla's Genesis book, and she does discuss about you know
where she she discusses female madness and horor cinema, and
she does cover a Candle for the Double a little bit.
She writes that there is no shortage of split personality

(53:58):
or double life in horror film, and she cites a
Candle for the Devil as an example, along with Sisters
and Footprints, saying that between these two opposing forces, the
ideal self versus the actual self, is violence. Often the
violence is perceived as nonsensical or arbitrary, when in fact,
like any battle, it's strategic, but the strategy is unconscious,

(54:22):
and there is a goal, some type of fulfillment we seek.
And because on a surface level we may not be
comfortable with what our goal, our brains use different tactics
to navigate our emotional obstacles to reach that goal in
one way or another. The inability to recognize this is
what creates the perception of craziness. So Marta is like
fixated on losing her fiance to a younger woman. Well,

(54:45):
at the same time, she's deeply religious, which we've already
pented on pointed out, and perhaps when I started thinking
about like she turned a religion. Maybe she turned to
religion after he left, or you know, for the younger
woman her fiance, and she left for me reguidance and
acceptance like in this religious community. And this turned her

(55:05):
to evil like hating young women. And when she accidentally
kills one of those women who they essentially represent the
woman who took her husband, she gives reason to it,
calling it the will of God, and this kind of
becomes her goal in life. Like once she kind of
unleashes this first murder, she realizes, I'm the hand of God,

(55:26):
you know, and you know, but in the back of
her mind, she has like this, the goal's kind of
always subconsciously been there of just kind of getting revenge
of how she feels and how broke, not heartbroken she is,
but you know how terrible I guess men can be
and women could be stealing men.

Speaker 2 (55:44):
I don't know, Yeah, I think I mean, given that
this is Spain, I think it's safe to say that
she probably had religion in her life prior to her
husband leaving her for a younger woman, but when she
lost that, she turned to it that much more I
don't know, severely, if you will, and embraced it that

(56:06):
much more and its tenants and really was like viewed
anyone who did not follow those as a sinner that
needed to be punished, that needed her hand of justice.
So I think it definitely had that event had an
impact on her.

Speaker 3 (56:26):
In that way.

Speaker 2 (56:27):
But I don't think she was completely Like I don't
think she was atheist or anything prior to that. Right,
she definitely had it in her life, and she just
turned to it that much more.

Speaker 3 (56:36):
After the fact.

Speaker 1 (56:38):
Yeah, and then her sister Veronica, she's willing to participate
because she's also kind of locked in this frustrating life
of like this fear of judgment and oppression of having
this young lover, so she kind of I mean, she
partakes in all these murders that that mart to kind
of instigate. Yeah, so yeah, again, I love their relationship,
how they stick it out. They stick together to the end.

(57:00):
In most cases where there's this dysfunctional relationship that kind
of deteriorates, it's like a movie moves along, but by
the end they're like one hundred percent together. Yeah. There's
this awesome scene where Judy Geson is running, she's tied up.
It's at the very end, and she's trying to unlock
the doors but she can't. She looks up at the
stairway and they're both standing just side by side, like

(57:21):
one movie together. Yeah, like kind of floating down like
is this one killer? But yeah, I think that's again
that's why I like the end so much. They're in
it together, and like I said, they kind of reveal
to the community their true self and the whole movie
is about, I don't know, their own perception of themselves

(57:42):
and how they think they're doing the will of God
and what the community thinks of them. So the ending
I like more and more when I keep thinking about it.

Speaker 2 (57:51):
Speaking of the community. Now, I do love a good
angry mob in a movie, in a movie, not in
real life, because question, why do angry mobs and movies
always move so slowly? Because like, okay, yeah, like tension
and all, but it's like, you know someone's a killer,
you know where this person is, Like you like, every

(58:12):
time there's an angry mob, they know, oh shit, this person,
you know, whether it's like Frankenstein's Monster, the Sisters here,
like whoever, they're just like slowly moving. I'm like moving along.

Speaker 1 (58:27):
It's scary. I mean, if I'm in the if I'm
in the front of the line of the mob, I'm
gonna be taking my time because I'm like, I don't
want to see this monster first, So I'm slow in
everybody down. I feel like everybody's like should I be
doing this? Like am I going to get killed? Maybe
that's like in the back of their minds and that's
why they're moving so slow.

Speaker 2 (58:44):
All right, Yeah, I mean I get it, like if
the front's moving slow, you got to keep in line
with that.

Speaker 1 (58:48):
But obviously it's retention, I know.

Speaker 2 (58:50):
But I'm also like people you get to the thing,
like there's no sense of urgency with there's never any
sense of urgency with angry jobs.

Speaker 1 (59:01):
Get the Yeah, no that and this is a very
slow moving mob. It looks like it's like a straight
shot to their house. They're just taking their time.

Speaker 2 (59:11):
Yeah, they're like, let's take the stroll, let's let's stop
and get some tapas, and uh yeah, I love it.

Speaker 1 (59:21):
But yeah, no, I do like the pull down the curtain.
Judy Geeson is just looking straight into the camera with
tears in her eyes. Credits roll and the sisters are
behind them looking all hot with blood all over torn blouses.
I could watch that all day. I'm sorry. Like those
Aurora Bautista and Esperanza Roy, They're I was a little

(59:44):
I was a little upset that I couldn't find more
of their movies streaming because they are so captivating in
this movie. And I love it.

Speaker 2 (59:51):
Yeah, they're great.

Speaker 1 (59:52):
So yeah that is. You got any other thoughts, any
favorite moments?

Speaker 3 (59:58):
No, I think we got all the ones I wanted to. Nope,
I'm good.

Speaker 1 (01:00:02):
I didn't mention this, but I love it when Lonnie
Fleming is Helene jumps on the donkey and like rides
to a bar. I just love this. Oh, she's just
taking control of the whole town. Yeah, okay, let's do
about double features.

Speaker 2 (01:00:17):
Oh this was okay, So I went. I thought of
a lot of different directions that you could go. The
first one that popped into my head was The Sister
of Ursula from nineteen seventy eight, directed by Enzo Milioni.
While searching for their strange estrange mother, there's these two sisters,
Dagmar and Ursula, and they end up at this seaside hotel,

(01:00:39):
and at the same time, there's a killer who's murdering
promiscuous women in the area. So but I think it's
even though we're not necessary, we are focused on the sisters.
I think it's still a little bit too similar. But
if you're looking for something like this, then the Sisters
or the Sister of Ursula would be good.

Speaker 1 (01:00:59):
I think.

Speaker 2 (01:01:00):
I think it was on to B and Shameless. I
think has a DVD out of it. I also thought
that Toby Hooper's Eaten Alive from nineteen seventy six could work.

Speaker 1 (01:01:10):
That's good.

Speaker 2 (01:01:12):
Frailty would be another one, you know, hand of justice,
but ultimately, you know, I just I had this craving
for Farmer Vincent's fritters. So I went with Motel Hell
from nineteen eighty nice farmer Vincent Smith and his sister Ida.

(01:01:33):
They run a motel attached to a farm and they
capture unsuspecting travelers, not necessarily you know, hussies and promiscuous folks,
but they bury them alive and fatten them up and
then harvest them and make their own make their own
little little snacks for folks. So I just I thought,
like a you know, hotel focused one would be Yeah,

(01:01:55):
this would balance it out a little bit more because
this is more of a fun one. I like it
very different.

Speaker 1 (01:01:59):
When about you, So, I did want to mention Troy
Howurse and Nathaniel Thompson's they had mentioned like if you're
thinking of a Don't go on Holiday to Europe film,
they mentioned and Soon the Darkness okay, yeah, which was
your double feature pick for Who Can Kill a Child?
Which they also mentioned, Oh okay, so that those could
be fun I think, you know, or a character fixating

(01:02:22):
on a like solvent a mystery to you know, a tourist.
I want to pick a bell from Hell, but I've
already done that twice.

Speaker 2 (01:02:30):
I mean, come on, Lance's our one hundredth episode. I
kind of feel like you have to.

Speaker 1 (01:02:34):
Maybe I will. I haven't seen it, but I read
a lot of references to a House of Whipcord the
British War from nineteen seventy four.

Speaker 2 (01:02:41):
Yeah, Pete Walker, I think.

Speaker 1 (01:02:44):
Yeah, yeah, I think you're right. Yeah, like judging and
torturing women just for having fun, yeah, you know, living
their life. You mentioned my pick, Oh Frailty. Oh okay,
so I you know this this again. It's a film
that displays the horror of people just getting completely lost
in religion and thinking that they're holier than thou. And

(01:03:05):
you know, Bill Paxton directed. It starred about the relationship
between these two young brothers and their father, Bill back Paxton,
who believes that he's been commanded by God to kill
demons disguised as people. So it leans into that whole
idea that inside every religious person, fanatic or otherwise really

(01:03:26):
lives a serial killer just waiting to be unleashed and
burst out in the name of God. So I'm going
to stick with Frailty. This is my Praise the Lord
double feature pick with the Candle for the Devil. Sorry,
a bell from hell will probably see you pop up
in twenty twenty years.

Speaker 2 (01:03:43):
I'm sure you're going to pick it again. Here you
averaging about once a year or so.

Speaker 1 (01:03:48):
That's true. That movie's so fucking good. Basically any Spanish
horror film we pick. I'm going to a Bell from
Hell right away, all right? That ends it our hundredth film,
A Candle for the Devil. Yeah, that's thanks for doing
hundred films with me.

Speaker 2 (01:04:05):
Oh, thanks for doing films with me, Lands and more.
I mean, if we're this is we're only counting like
devoted episodes to a single film. You know, if you
guys haven't gone back and listened to any of our
other Blu Ray wish List episodes, Horror gives back june'sploitation

(01:04:25):
end of Year episodes, there's plenty of content to keep
you busy until we come back in January for Jolla.

Speaker 3 (01:04:33):
January.

Speaker 2 (01:04:33):
Yes, and I do have my pick.

Speaker 1 (01:04:35):
You're ready for it.

Speaker 2 (01:04:36):
I am ready for it only because it is very
close to a thousand, and I need to get it
on record that I'm picking it before it crosses over
the mark. And you know what we're going to do
is we're going to continue to ride the Horror Express train,
and we are going to be talking once again about
au Henny O, Martin and the Fourth Victim.

Speaker 1 (01:04:58):
Yes excites me.

Speaker 2 (01:05:00):
Yes, two in a row for Martine. But honestly, I
had this one on my list since the beginning of
Jallo January, and it finally crept up to a close
to one thousand, I was like, I got to pick it.

Speaker 1 (01:05:14):
Yeah, you're like twenty away. You're good. It's eligible.

Speaker 2 (01:05:16):
Yep, So that's everyone's got plenty of time to watch it.

Speaker 3 (01:05:20):
It's on to B.

Speaker 2 (01:05:22):
It's got a severin release, but it doesn't really have
any special features except for an interview with Martin, which
is probably the same one that's on the eighty eight
films were.

Speaker 1 (01:05:32):
Probably not because this one was very specific to a
candle for the Oh okay.

Speaker 2 (01:05:35):
Well, I might pick it up at the Black Friday
sale this weekend.

Speaker 3 (01:05:40):
Then oh yes, a.

Speaker 1 (01:05:41):
Lot of good sales coming up like happening. Yeah, and
the one I did watch The Fourth Victim on to
B and it was a great quality and I don't
think anything was cut.

Speaker 2 (01:05:49):
No, it was. It was the severeign one too, because
it even had the logo before it. So okay, yeah,
so yeah, you guys can watch it.

Speaker 1 (01:05:55):
There. I'm excited to watch more Carol Baker.

Speaker 2 (01:05:58):
Yes, okay, so fun. Like last night, after I watched
The Fourth Victim, I was like, I love Carol Baker,
and you know what I had picked up, but it
had not watched yet because I have not seen it
in years. I watched Kindergarten Cop last night. And I'm
saying that now because when we talk about The Fourth
Victim and we talk about Carol Baker, we're gonna talk
about Kindergarten Cop. And I'm gonna need you to come

(01:06:19):
prepared with your Arnie impression. Oh okay, so just giving
you time to practice that.

Speaker 1 (01:06:25):
Yeah, I still have. I still love my review on
Kindergarten Cop. I'm like, I mean, is John Kimball really undercover?
If his teacher name is mister Kimball, that's true. But
I'll work on my Arnold. I already did a very
poor Get to the Choppa earlier.

Speaker 2 (01:06:42):
We've got some work to do it failed. Yeah, plenty
of time for that though. Thanks again everyone for listening
to us for this long. If you're new, plenty of
stuff for you to go back and listen, to join
our discord, and if you're not already, you can follow
us on Instagram, No More and Facebook at Unsung Horrors,

(01:07:03):
and you can follow me on Instagram and Letterbox that
Hacks Massacre.

Speaker 1 (01:07:07):
I'm also on Instagram a letterbox at l Shipe.

Speaker 2 (01:07:10):
Thanks everyone for listening. We'll see you back for our
end of year episode and then in January for Jallow
January Bye Bye, and Manly Game. Thank you for listening.

(01:10:00):
To hear more shows from the Someone's Favorite Productions podcast network,
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Speaker 1 (01:10:10):
Hello.

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My name is Kevin Tudor, and I'm one of the
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(01:10:32):
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