September 10, 2025 • 51 mins
This week we discuss Eloy de la Iglesia's venture into House of Psychotic Women territory in this Spanish murder mystery. Put down those binoculars, L.B., and listen to our discussion of The Glass Ceiling.
Available to stream (at the time of recording) on Tubi, or in Severin's HOPW Vol 2 box set.
Join our discord! https://discord.gg/F8WsTzE9qt
Follow this podcast on Instagram @unsunghorrors
Follow Lance on Instagram and Letterboxd @lschibi
Lance’s shop: https://lanceschibi.bigcartel.com/
Follow Erica on Letterboxd or Instagram @hexmassacre
Logo by Cody Schibi
Part of Someone’s Favorite Productions Podcast Network: https://linktr.ee/someonesfavoriteproductions
Available to stream (at the time of recording) on Tubi, or in Severin's HOPW Vol 2 box set.
Join our discord! https://discord.gg/F8WsTzE9qt
Follow this podcast on Instagram @unsunghorrors
Follow Lance on Instagram and Letterboxd @lschibi
Lance’s shop: https://lanceschibi.bigcartel.com/
Follow Erica on Letterboxd or Instagram @hexmassacre
Logo by Cody Schibi
Part of Someone’s Favorite Productions Podcast Network: https://linktr.ee/someonesfavoriteproductions
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Prepare yourself for the terror, the prison of madness.
Speaker 2 (00:09):
We have a few inter and Nonritter. Welcome to Unsung Horrors.
Speaker 1 (00:21):
With LUNs and Denica.
Speaker 2 (00:31):
Leave all your sanity behind. It can't help you now.
Speaker 3 (00:35):
Welcome to another episode of Unsung Horrors, the podcast where
we discuss underseen horror films, specifically those which have fewer
than one thousand views on Letterboxed.
Speaker 2 (00:45):
I'm Erica, I'm Lance.
Speaker 3 (00:47):
Lance. You don't sound so great.
Speaker 2 (00:48):
I don't do. I sound congested a little bit. I
feel it. Yeah, so I do want to apologize to
everybody beforehand. I'm a little jet lagged, having just landed
from a trip to the EU. Happy to be back.
But yeah, my brain and my concentrations kind of all
over the place. So I think I'm going to be
a little out of it this episode. That's okay, this
(01:09):
is the Erica show.
Speaker 3 (01:12):
Piper is going to pipe in every now and then.
Speaker 2 (01:14):
Maybe good. She might need to fill in for me
from time to time. Yeah, I'm just a little askew,
so my concentration might be a little off. You'll be fine, Okay,
We'll make it work.
Speaker 3 (01:25):
I believe in you. Thank you all right, So we
are out of August. Again, thank you everyone for participating
in that, for sharing your own picks. Thanks again to
Ian for joining us last episode. Yes, thankfully y'all didn't
have to deal with the behind the scenes because we
were having some serious technology issues and Ian is trooper.
Speaker 2 (01:47):
Yeah, there were so many great stories being told that
we had to press pause on a lot of times
and that was.
Speaker 3 (01:52):
Yeah, lost a lot of momentum, but we are chugging
forward with Alloyd de la Iglesias The Glass Ceiling from
nineteen seventy one. As of this recording, it has eight
hundred and twenty three views on Letterboxed. It is available
to watch on TB Hoopla for certain libraries, and it
(02:13):
is also included in the House of Psychotic Women Volume
two box set from Severin quick film summary, while recuperating
from a broken leg, photographer LB jeffries, yes, my favorite. Okay, okay,
never mind. Left alone by her husband who is traveling
for work, Spanish housewife Marta convinces herself that her upstairs
(02:38):
neighbor Julia, has murdered her husband Victor, whom we never meet.
After catching her in multiple lies about him coming and going,
she discusses all of this with her cat Phedra, who
unfortunately meets a horrific albeit thankfully offscreen end. I think. Meanwhile,
MARTA's sculptor slash landlord Ricardo is acting suspicious as well,
(03:02):
but that doesn't stop the cowjuice girl from trying to
sleep with him.
Speaker 2 (03:07):
There's a lot of cowjuice in this movie, Cowjason this unfortunately,
it has to be symbolic for something, all right.
Speaker 3 (03:16):
On top of all that, someone's taking pictures of Marta
through her window.
Speaker 2 (03:20):
It's LB Jeffries, the photographer.
Speaker 3 (03:24):
Okay, So, as I mentioned, this is directed and co
written by Eloyd dela Iglesia. The letterbox slash TMDb summary
of him is actually not terrible, so I am pulling
directly from that here. Delaglacia was an outspoken gay socialist
filmmaker who is relatively unknown outside of Spain, despite a
(03:47):
prolific and successful career in his native country. I will say,
I think that's changing because of the work that Severin
has done. They put out a lot of his films,
which I'll get into in just a little bit. He's
best remembered for having portrayed urban marginality and the world
of drugs and juvenile delinquency in the early nineteen eighties.
Part of his work is closely related to the phenomenon
(04:10):
publicly known in Spain as Kinki films. Not Kinki, I
mean it is pronounced kinky, but it's q u i
n qui. So those films to which he contributed with
several works. His films are an example of commitment to
the immediate reality. They were made with honesty and great risk,
(04:30):
against the conformist outlook of most movies of its time,
and served as a document of the Spanish marginality of
the late seventies and early eighties. So thank you to
whoever wrote that.
Speaker 2 (04:42):
Yes, I love you.
Speaker 3 (04:45):
Okay, So I think most folks I would say that
they were probably introduced to Dela Gleacia through The Cannibal Man,
which I finally just watched for the first time.
Speaker 2 (04:55):
Really loved it. Okay. Yeah, it's my favorite of his,
which I think hand is for most people. Yeah, that
was my double feature pick for pure Blood, Yes.
Speaker 3 (05:05):
Yes it was. I will say though that whenever I
watch movies like that, I convince myself I could definitely
get away with murder. Yeah, I'm like my guy, like,
it's so easy. You work at a meat packing you
work meat packing, planting, you could easily.
Speaker 2 (05:21):
But it's so fun just watching it. Just snowball and it
just kids, so it's like, what has happened? It come on?
Speaker 3 (05:27):
But of course I was like thinking about, like who
do I want to kill? And then I remember it.
I live in twenty twenty five where there's cameras everywhere,
and I could never get away with it, and nor
would I ever think about actually murdering anyone, because I
know this is going out into the real world.
Speaker 2 (05:40):
So she has a dry erase board behind me of
all these of a list people, it's.
Speaker 3 (05:46):
Lots of people want yes. I will also say that
after watching that and this movie, that men would rather
spray bottles of air freshener than to actually lift a
finger to clean. So Ricardo in this movie with a
dead rat in the fire pile, and then this guy
in the Cannibal Man, My guy like just fucking clean,
(06:08):
get rid of the dead bodies. Yeahs in here, let
me just fucking go and buy six cans and fucking
spray any bad decision. I also years ago watched Murder
in a Blue World, which is a sort of different
take on clockwork. Orange. It has a lot of the
(06:30):
same sensibilities of it, so I really enjoyed that one.
Rented that one from Vulcan Video, I know makes me sad.
And then I also finally watched No One Heard the Scream,
which I also enjoyed very much as well. But getting
back to the films that he is probably most well
known for outside of The Cannibal Man, at least in
(06:51):
our circles, are the kinky films. Severn has put out
a release with three of them on there, which includes
Navaharos fromnineteen eighty, El Pico from nineteen eighty three, and
Lpico two from nineteen eighty four. I watched the first
two of those, Navajos and El Pico. I was done
a little bit like you know, King Key overloads, so
(07:13):
I didn't watch Lpico two yet because it was also
two hours long, and I was like, Okay, it's a
busy month right now, so I'm like, I'm getting in
as much as I can. But it seemed to be
very similar to the next one also had the same
star in it, So I've enjoyed them immensely so far,
and I definitely would recommend picking that up. It's you know,
(07:36):
three movies. Pick it up at the sever and Black
Friday sale. If you don't have it, it'll probably be like,
you know, twenty bucks or something like that for three movies.
So really enjoyed all of those.
Speaker 2 (07:46):
Yeah, and there's another movie he did, Dela and Glacia
Hidden Pleasures that I watched when we we we did
the Sexy Cat episode and Herman Kobos was the star
of that, and he's in this. I think I talked
briefly on it in that episode. But that's another bang.
I put that up right there with like Cannibal Man,
(08:07):
completely different. It's kind of a heartbreaking love story of
a man falling in love with a younger man and
you know the hiding that goes on in that type relationship.
But very much like Glass Ceiling has a very ambiguous ending,
which I really like. And I don't know if it's
something common. I need to watch more of his movies,
but I really like what he does with the endings
(08:27):
of these type of movies.
Speaker 3 (08:28):
Yeah, I'm going to skip around as far as crew
goes a little bit. I'm gonna start with the score,
which is by on hell Artiaga. He worked a lot
with Paul Nashy, and Leon Kolomowsky, who we've talked about,
both of whom we've talked about on many occasions on
this podcast. Artiaga has done the score for a few
(08:49):
films that I've seen, including Frankenstein's Bloody Terra from nineteen
sixty eight, The Fury of the Wolfman nineteen seventy two,
Trauma nineteen seventy eight. The last one that I have
not seen. This isn't the last film that he scored,
but I want to mention is directed by Paul Nashy
called The Traveler from nineteen seventy nine, and I only
(09:10):
want to mention it because it is probably a top
five all time film poster.
Speaker 2 (09:15):
Yeah, the same roles.
Speaker 3 (09:16):
I mean, it's got a woman bent over easer tushy
and she's having someone's carve and something into it.
Speaker 2 (09:23):
So it's I think it's an upside down crucifix, and
so it looks like maybe it's a different mark.
Speaker 3 (09:29):
Yeah, Okay, I was just seeing like a little X,
but yeah, I just I had to zoom in on
the tushy to see it.
Speaker 2 (09:34):
So yeah, I definitely need to watch that.
Speaker 3 (09:36):
Yeah, that's gonna maybe I'll add that to my either
horror goes back, which we'll talk about later, or maybe
transportation next year.
Speaker 2 (09:46):
There shelsee.
Speaker 3 (09:47):
So The Glass Ceiling was co written by Daylight I Glacia.
The other screenwriter was Antonio Foss. He co wrote one
of the films that we've covered in the past, a
Henio martinz An a Candle for the Devil Jakes cinematography.
The film was shot by Francisco Fraile. He shot a
(10:11):
number of films that I don't really care for. The
Killer is one of thirteen from nineteen seventy three. I
think I gave that one. Yeah, I gave that one.
Two stars is fine. I guess Ricardo Fredo's Tragic Ceremony
starring Camille Keaton from nineteen seventy two. That's another one.
I really wanted to like it, but I gave it
(10:32):
two and a half stars. But for funzies, let's try,
or let's listen to me, try to pronounce the Italian
title for Tragic Ceremony. Okay, estrato dagley r kivi sigretti
de la polizia di una capitale europeiaecto. I hope someone
(10:57):
Italian is listening to that, and it is just like
not approved. No, he did shoot Leon Kolomowsky's Doctor Jekyll
Versus the Werewolf in nineteen seventy two, which I did, Like,
I gave that one three stars.
Speaker 2 (11:11):
I mean, it's Paul Nashy. Yeah, it's earliest.
Speaker 3 (11:15):
Every time it's a there's a werewolf and Paul nashi involved.
I feel like it's automatically probably three stars. It has
to do something like offensively boring for me to drop
it down.
Speaker 2 (11:25):
Yeah, all right, So.
Speaker 3 (11:26):
Let's get into the cast. First, we have Carmen Sevilla.
She plays Marta. She has over seventy film credits. Unfortunately,
I have seen very few of the films that she
has been in. But this week, like I mentioned earlier,
I did watch her in No One Heard the Scream,
in which she is fantastic. I love that movie. And
(11:49):
I did also finally watch Beatriz from nineteen seventy six,
which is the it's in the Vinegar Syndrome box set
Villages of the Damned. That's one of the three films
in there. It was okay, uh, I don't know. I
wanted to like it more. My favorite film in there
is still elbos Lobo, And I'm not just saying that because,
(12:11):
like I wrote an essay about that movie, but I
like it genuinely is my favorite movie in this set,
So I'd still recommend watching Beatrice. It's got, you know,
women being driven crazy by witchcraft slash mysterious monk and
weird pervy villagers kind of thing going. I mean, there's
definitely some stuff to like about it, but I definitely
found myself checking my phone more than I should have
(12:32):
been while I was watching it.
Speaker 2 (12:34):
So yeah, sometimes while I was watching this, because I
haven't seen i mean, other than the two de La
and Glacia movie I've seen with her in its Sevilla Sevilla,
she kind of gaves me. She kind of gave me
Florinda Bulcan vibe sometimes, especially in this, so I kept
thinking like Footprints on the Moon and all those type
(12:54):
of psychotic women movies. But yeah, yeah, I thought she
was a great actress. Yeah, kind of boring. Well, I
guess I'll talk about her character a little later.
Speaker 3 (13:03):
But well, I think she's meant to be that way though.
We'll talk about all right. Then we have Dean Selmer.
He plays Ricardo not very many films, only around fifteen
of them. Most notably he was the doctor in The
Blood Spattered Bride, which we covered years ago.
Speaker 2 (13:22):
Oh yeah, yeah, he was also in Take a Hard Ride.
Looks like he has a small part in there. Oh,
Antonio Margaretti which I saw, which has a stacked cast,
Fred Williamson, Lee van cleef Right, Jim Brown, Jim Kelly. Yeah.
I remember being kind of let down by it because
it felt like it was Margaretti be doing like an
American americanized western instead of like a spaghetti western. Even
(13:45):
had like Jerry Goldsmith do the score, which was very weird.
Speaker 3 (13:49):
Yeah, no one wants to see you americanize a spaghetti western. No,
we're not here for that.
Speaker 2 (13:55):
Yeah. I remember Lee van Cleeve's hair though, it was
something that you have to watch, that you have to
see to believe. It never looked better. I don't know.
Speaker 3 (14:04):
That's that's hard to beat because I feel like he
always looks good.
Speaker 2 (14:07):
He does, but you know, his hair always looks a
little rough.
Speaker 3 (14:10):
And this is like, yeah, it's kind of the appeal.
Speaker 2 (14:13):
Yeah exactly, and this is like well put together, it's
just an odd lookingly.
Speaker 3 (14:17):
Bankle all right, well I'll give it a chance for
that reason alone, then do it all right? Then, we
have Fernando Seabrien. He plays Carlos that is the white
I'm sorry, the husband of Marta. He's in around twenty
five films, only one of which I've seen is Monty
Hellman's Iguana from nineteen eighty eight. I don't know have
(14:37):
you seen any of his any of the films he's
been in beside that one.
Speaker 2 (14:41):
Tristana it's a well movie from nineteen seventy. Yeah, this one,
this one's very good. Yeah, all right.
Speaker 3 (14:50):
Then we have Patti Shephard as Julia. She's probably the
most recognizable here, at least she was for sure to me.
She's in around fifty different films. My favorite probably going
to be Slugs from nineteen eighty eight, the JP Simone classic.
I know it's not pieces, but I fucking love Slugs.
She's also in Watch Out We're Mad with Bud Spencer
(15:11):
and Terence Hill. She's got a small role in the
Stranger and the Gunfighter with low Lay and speaking of
Lee van.
Speaker 2 (15:19):
Cleef, Yeah, that's a good one.
Speaker 3 (15:22):
She's in the Witch's Mountain, which has a fantastic child
death in it, the Werewolf versus the Vampire woman, Edge
of the Axe, My dear Killer rest in pieces. So
gorgeous woman. She's got like very much like a Barber
Steele look going on for her. She's very recognizable.
Speaker 2 (15:41):
She is. Yeah, there's a couple of really good close
up scenes that I'll probably talk about in this movie,
the glass ceiling of her speaking with Marta, and she
reminds me. Well, those particular scenes reminded me of or
I guess I'd be more inspiration for like David Lynch's
Inland Empire with Grace Zabriski, And to me, she looks
like a young Grace Sabriski from like Twin Peaks and
(16:04):
all the all the David Lynch movies. But yeah, she's
she's stunning. She's very very beautiful.
Speaker 3 (16:09):
I can see why Marta was jealous of her.
Speaker 2 (16:12):
Yeah, but then there's Rosa too, Well.
Speaker 3 (16:14):
There is Rosa and she is played by Emma Cohen.
Emma Cohen's interesting because I mean, I think a lot
of people just recognize her, at least you know, in
our circle, is being an actress. But she was also
an author, a screenwriter, and she even directed a few
films herself. But as far as acting roles goes, she
(16:35):
was in the Cannibal Man, which we mentioned earlier, Cutthroats nine,
a few Jess Franco movies, including Count Dracula and the
Other Side of the Mirror.
Speaker 2 (16:44):
Such a good movie.
Speaker 3 (16:45):
I still it's on my list. I'm going to get
to it. And she's also in Klomofsky's The Night of
the Walking Dead. It's gonna be a short episode today, sorry.
So the first thing I want to bring up, this
movie I think I mentioned it in last episode has
(17:06):
been on my watchless slash Potential to Cover on the
podcast list for a while, and that was thanks to
Kayla Janisee's book House of Psychotic Women. Now I have
the first volume, I don't have the updated one, so
I do want to quickly read what she wrote about
this film from that book. All right, So she introduces
(17:29):
a film and then says which starred Carmen Sevilla as Martha,
a loyal housewife whose husband goes away on business far
too often, leaving her isolated and alone with her imagination.
Her attempts to ease her boredom by being sociable are
commonly misinterpreted. A delivery boy invited up for some milk,
makes a move on her, and when spurned retorts. Don't
(17:52):
think you're the only woman in this predicament. There are
millions of women who are bored, almost as bored as you.
Her boredom is what leads her to eavesdrop on her
neighbors and speculate on what their lives are like and
on what it means when she hears a loud thump
in the middle of the night followed by scoreen footsteps.
When she notices the extended absence of Victor the man upstairs,
(18:16):
she comes to the conclusion that his wife, Julie stunning
euro Starlett and she said to Barber Steele look alike
Patti Shephard, and an alleged lover murdered him. She becomes
obsessed with the idea, and her days are filled with
trying to solve the quote mystery of Victor's disappearance. Her
only friend is the landlord slash sculptor Richard, and the
(18:40):
fact that newbile teenager Emma Cohen keeps exposing herself to
him is supposed to indicate that he's hunky. Who proposes
that she's a voyeur quote have you ever heard of voyeurism?
He asks? Voyeurs are people who get a kick out
of spine on the most intimate, the most personal secrets
of other people. And like you said, Nuping, for instance,
(19:01):
is this instinct we all have. Prompted by the suggestive
tone of his analysis, they share an illicit kiss, which
leaves Martha feeling guilty and suffering from nightmares involving grotesque
images of infidelity and murder. Even when she's absolutely convinced
a murder has taken place and her life is in
grave danger, she takes no steps to make herself safe. Instead,
(19:23):
she sits in her apartment in silence, ruminating on every
accentuated sound, and she starts coming apart. But she's not crazy.
A murder has taken place, and the murderers, including her
absent husband Michael Shit, sorry spoiler, you should mention that,
make every assurance that she be completely unhinged by the
(19:46):
time it is her inevitable turn to die. So while
she's neurotic, her neurosis is fueled exclusively by external factors.
Before a murder was carried out with an earshot of her,
she was bored and unspe fired, but hardly crazy.
Speaker 2 (20:02):
Are you a voyear Erica?
Speaker 3 (20:04):
For the most part, no, I feel like when I
moved to the suburbs. That kind of made me a
little bit of one, just because you know, they're like,
what's my neighbor doing the kind of thing. It's mostly
like I will spy on my across the street neighbor
because I have a beef with him, and so I'm
like waiting for the perfect moment to exact my revenge.
(20:26):
And so that's more like studying habits and like trying
to figure out, like, Okay, he's home on this night's
between this time and this time.
Speaker 2 (20:33):
This is your cannibal man murderers?
Speaker 3 (20:38):
Are you?
Speaker 2 (20:39):
Yeah? No, I'm the same way. I think. You know,
once I bought known home and you know some homes
are rented in my neighborhood. Or yeah, I peek out
through my blinds. I've known to h I guess, as
Martha says, I want to call it snoopying, I just
call it interested and be in the neighborhood. Watch. Yeah,
(21:00):
I'm a protector of the neighborhood. These people I'm watching
are up to bad business. I just haven't figured it
out yet. No, but yeah, I do like the whole
voyeurs and thing. Obviously that's the rear window aspect of everything.
Jimmy Stewart had Doris Day. But I love how Martha
has phedro of the cat that she just like spouts
her theories too throughout Doris Day. Uh No, who Grace Kelly? Yeah,
(21:25):
James sis Grace Kelly. Is this Wait?
Speaker 3 (21:28):
You're not feeling at all? I don't even.
Speaker 2 (21:31):
Okay, I'm thinking of other.
Speaker 3 (21:33):
I'm like, this is in your top four Lance, it is.
Speaker 2 (21:37):
Thank you for correcting me, but my brain is all
over the place.
Speaker 3 (21:40):
No, that's okay. I see. This is how I know
Lance really is not feeling well. But he is a
trooper because he is here to record because I said
I can only edit tomorrow night because I got planned,
So we gotta do this tonight. You got to suck
it up. You gotta get over here.
Speaker 2 (21:52):
I'm here, I'm here, and it's happening, and we're talking
about Doris Day.
Speaker 3 (21:59):
So you had mentioned that Karmen Sevilla as Marta wasn't
that compelling or was kind of boring?
Speaker 2 (22:07):
Yes? Yeah, so I figured out well, first, the first
boring character right off the bat was Ricardo or Richard.
He I did not care anything about him. I think
the English Debbie might have had it.
Speaker 3 (22:21):
That does not help.
Speaker 2 (22:22):
It does. It's very monotoned. He purposely sounds extremely lazy,
like he does not want to be there and he
wants to take a nap. But as he continuously bored me,
I realized, you know what, this Martha character, I do
not care for her either, like along together, then I
guess I do, because yeah, the whole setup. I did
enjoy the very first scene of this, which is I
(22:44):
love the melodrama. And you know, right off the bat,
where Martha's talking to her husband who's getting ready to
leave and they're joking about being unfaithful to each other,
it's obviously foreshadowing, and it to me and immediately sets
up that, Okay, well the husband obviously is not faithful.
It's clear his day at this point. And I just
(23:05):
I was just I didn't care what happened to any
of the characters. I was very interested in the Emma
Cohen character Rosa. But yeah, yeah, I did not. Yeah,
and physically it didn't help for me either. But Richard
kind of reminded me of a young Michael J. Pollard.
Oh yeah, it just like there was something about him.
I don't know, I didn't I think that was my
(23:28):
least favorite aspect of the characters or of the film
was I wasn't drawn any of these characters at all.
Speaker 3 (23:34):
Yeah, I think, I mean the main the best character
in this is Phedra. Of course, I don't think anyone
would argue yeah, but I think this is I wouldn't
disagree with that, but I do think it suffers from
the dub, like it loses a lot. But even if
I was watching this in Spanish with subtitles, you know,
(23:58):
Richard or Ricardo, whatever we want to do, whatever version
we're watching, even if his voice just sounds bored, he
still looks bored no matter what he's doing. Like, the
only amount of passion he shows in this at all
is when he's like breaking his sculptures, and even.
Speaker 2 (24:12):
Then, yeah, even then, it's like, like I.
Speaker 3 (24:15):
Could show some anger, like better than that, I think.
Speaker 2 (24:18):
I an it's a very oddcasting choice due to the
fact of how his characters written of being like this Adonis,
like every woman wants to be with him, and he
seems to be like the perfect man, is a landlord
and an artist and just the most beautiful, gorgeous man,
where I'm just like, I don't see it at all.
Speaker 3 (24:38):
I do think that this is an ideal setup though
as far as like, okay, maybe not so much having
your landlord like right there on the property, but he
seems really laid back about everything. You know, he's a sculptor,
he's tending to his pigs, he's got some cute dogs,
and you've only got your apartment and then one neighbor upstate. Yeah,
(25:01):
it's ideal situation there. But getting back to you know,
the boredom aspect of it, I think maybe, I mean
I took it as especially on a rewatch, that she
was intentionally being characterized that way, and that part of
(25:22):
this was like, Okay, well we're not going to glamorize
being a housewife, Like it's not like isn't it so great?
Like my husband works and I don't have to do
anything where it's you know, obviously there are women out
there who that's what they want and good for you,
but it doesn't you know, it just shows sort of
like the lack of identity that she has outside of
(25:46):
being a housewife, Like she doesn't have anything to do.
When she tries to socialize, it turns awkward. And I
do think that you could make an argument that it
is a feminist film for depicting it that way and
saying like this is not you know, this is an ideal,
and like when the delivery boy does say like, oh
there's a you know, there's thousands or millions of women
(26:09):
just like you, just as bored as you. It's a
comment on like this whole I don't want to get
it's the patriarchy. Like I'm not trying to get into
all that, but it really does seem to be like
this comment of and getting we'll get into you know,
the title and breaking the glass ceiling, all that sort
of thing. I think it's all about that. And also
(26:30):
I think that the limited characters contribute to the lack
of identity or life outside of her husband. It's like,
look how small her world is, and that like the
most excitement she gets is like, oh, the bus driver
is dropping off a package.
Speaker 2 (26:45):
Right, or I mean she's most excited like when her
husband calls or when she says or he tells her
like he's coming home, and that, Yeah, that is very
sad to watch. Yeah, so yeah, the title itself, I mean,
because there's Richard actually says something where he calls it
the he else of lonely Wives, and I thought, oh,
that's like a very apt like title as well. I mean,
(27:05):
the only other thing I could think of is like
ratt in the Shoe, which would be a good title.
But yeah no, because I again I was trying to
there's so much cow juice in this, and I was
trying to figure out, like is there symbolism in it,
like what does milk represent? And there's all you know
you can interpret it is mother's milk, and yeah, nurturing
(27:26):
or whatever like in a sense. Or but also it's
something that also came up more than once throughout the
movie is being called childish, like qudacting so childish, or
you're being a child and like that. One of my
favorite scenes is when Emma as Rosa said, like I
think Richard said, like you're being a child, and like
you should be spanked or something in that weird fantasy
(27:48):
pops up. But there seems to be like they keep
bringing up being childish, and I don't know if it's
playing into Martha having this imagination like kind of being
a child, but I don't know. It kind of defeats
kind of what I don't know.
Speaker 3 (28:03):
Well, no, I think you're onto something because I do
think that in getting back to the cowjuice, I think
that the proliferation of that in this movie is not
just there to upset me, but it's a comment on
mother's milk and the fact that there are no children
in this movie. And if she had a child, then
(28:26):
maybe that would be her identity too, you know. And
Julie doesn't have a child either, So it's like, you know,
the House of Lonely Wives or whatever, it's not the
House of Lonely mothers. Like their identity is tied up
and being a wife. If they had a child, then
their identity would just transfer to that and it would
be tied up in being a mother to a child.
(28:47):
And so because there's a lack of children in this movie,
aside from that one girl that shows up with her.
Speaker 2 (28:53):
Friend Alice, Yeah, she's great.
Speaker 3 (28:54):
I had that haircut?
Speaker 2 (28:56):
Did you not my choice?
Speaker 3 (28:59):
My mom did that to me?
Speaker 2 (29:00):
Did you call your friend's mom a murderer? I love
that I.
Speaker 3 (29:04):
Didn't do that now, But I think just the lack
of children in this it's I think there. I think
there is something going on with that in here. So
I think it's just the sort of encompassing comment about
domesticity in general and what's expected of women in that
role where it's like, this is your life. You're just
(29:27):
a board housewife, and like doesn't that fucking suck? Like,
look how bad this is it. It's so bad, it's
going to drive you crazy. Your husband's probably gonna cheat
on you with upstairs neighbor anyway, So why even bother
like settling down and getting married and having kids, Like,
don't conform. That's what I got out of it.
Speaker 2 (29:45):
Yeah, that makes sense, life choices. I just want to
talk about that scene with where roses milk in the
cow and start squirting the milk in her mouth.
Speaker 3 (29:54):
Well, yeah, so what's her name is? Marta is drinking
milk on the cow in her in her house and
then it cuts to that scene.
Speaker 2 (30:03):
So it's like very cool transition. I think the editing
and this is really choppy and strange, but there are
some really artsy transitions. Yeah, I drinking the milk, the
cameras looking in the glass, and that it cuts to
the to Emma Cohen milking the cow back to back milk.
Speaker 3 (30:21):
It's just it's too much, too chea.
Speaker 2 (30:23):
And that's not it. I mean, there's milk delivered. There's
just a lot of cowjuice going on in this and
it's it's a bit overwhelming. I feel like it it
means something.
Speaker 3 (30:32):
It's a bit much, I will say too, Like what
what bothers me the most about that is I don't
consider milk to be a refreshing drink, especially in the
summer heat.
Speaker 2 (30:46):
When like this is an anchor. Man, it's gross. I mean,
I've never I grew up on whole milk, which is
just gross thinking about it. And that's what we'd have,
like at the table, you know, I'd have a glass
of whole milk with my supper.
Speaker 3 (31:00):
Yeah, but you were inside your air conditioned home.
Speaker 2 (31:03):
Yeah, absolutely, I'm here.
Speaker 3 (31:05):
We're in open windows, you know, villa, and like we're
drinking milk which is probably room temperature, and.
Speaker 2 (31:15):
And it smells like apparently rotting flesh out there. Yeah.
Speaker 3 (31:19):
But that's another thing I think it kind of has
in common with Rear Window, is that sort of oppressive
summer heat, you know, where like there's a lot of
commenting about the heat in this movie. You get that
in Rare Window as well. I don't think LB. Jeffries
drinks milk and Rare Window thankfully.
Speaker 2 (31:40):
Yeah, you go. Another thing that's very rare window is
Julia with that rope access bucket on the pulley where
she's you know, march of things. It's bits of her
husband that are being fed to the hogs and the
pigs down there. That's like the little dog that gets
its neck broken and rare window. As I saw that,
I was like, we're window. Leo DiCaprio fucking get.
Speaker 3 (32:06):
There is a lot about this that I know. I
also mentioned and then Kayla's right up. It also mentioned
we throw around the word Jallo in this, but it's
very clear early on that Carlos is a cheater. So yeah,
he's going out of town. We know a lot of
rules of Jallo where it's like, okay, we meet one character.
(32:28):
There's a lot of like small Red Herring type characters
like the bus driver and the grocery delivery guy and
that clay delivery guy.
Speaker 2 (32:36):
Yeah that was weird.
Speaker 3 (32:37):
And so we have those who are like, you know,
they could potentially be red Herrings.
Speaker 2 (32:44):
And all throughout we're getting that camera shutter too. We're
getting all these pictures being taken. So it's like somebody
is following Marta and watching everybody.
Speaker 3 (32:54):
Yeah, so we know, like something is, you know, wrong here.
We know that Carlos is not who he says he
is early on. But there's also a clue that you
know early on that Julia is lying, and it's not
just in Martha's head, because after she calls a grocery
store to place in order, she walks by her refrigerator,
(33:16):
which you know she said was broken. And I only
saw this because my subtitles were on, even though it
was in English, and it said refrigerator humming. So I
was like, I couldn't even hear it, Like I rewound
it and turned up the volume, and I didn't hear
the refrigerator humming. So like the subtitles gave that away
to me. Interesting, did you have subtitles on?
Speaker 4 (33:38):
No?
Speaker 2 (33:39):
Well I think I did. Okay, I don't remember, guys.
Speaker 3 (33:43):
That's all right, all good. But that's another clue where
it's like, okay, well, we know Julia's lying, we know
the husband is lying. So when you have two people lying,
they're working.
Speaker 2 (33:54):
Together, right, Yeah, you kind of put yeah two or
two together pretty quick.
Speaker 3 (33:58):
Yeah.
Speaker 2 (33:59):
But yeah, the whole the theories that are popping into
Martha's heads, I mean that led you already brought up
that dream sequence, or rather the nightmare that she had
that gives us a lot of foreshadowing. But I'd loved that.
That's my favorite scene in the movie when she starts
envisioning what's his name? Victor is her husband? Like in
the refrigerator, Victor's Julia's husband, right, Yeah, Like in the refrigerator,
(34:21):
you see the severed finger, the severed heads, like all
that kind of thrown at you at once. It's like
the first kind of real element of horror that you see.
It's really jarring. Yeah, it's just it's MARTA's crazy imagination.
Speaker 3 (34:36):
Yeah, I will say I did have one question. Was
the meat that Marta cut up to feed the dogs?
You know, when she went down to go like investigate,
she had to give some meat to the dogs to
keep them distracted. Was that her own meat or like
that she had in the fridge or was that meat
(34:57):
that Julia brought down to put in her fridge. Because
if not, then because you have the dogs.
Speaker 2 (35:03):
Ate it, that's true. So yeah, so she could be
the one feeding the dogs. She's a co conspiracy, she's
part of all.
Speaker 3 (35:11):
She's part of its Getting back to the whole theme
of like, you know, boredom and domesticity, and you know,
what is the glass ceiling? What is the title? What
does it, you know, really stand for? You know, I
talked earlier about domesticity, and I think it's important to
(35:32):
keep the filmmaker in mind here as well, because this
is a film in nineteen seventy one. I think this
is his way of being critical of heteronormative relationships and patriarchy,
you know, taking away a woman's identity because at this time,
divorce in Spain was still not legal. Franco didn't die
(35:54):
until nineteen seventy five, nineteen seventy five, Yeah, and divorce
didn't become legal until ten years after this was made,
in nineteen eighty one. So you know, at this point,
what better way to get out of, you know, your
boring marriage and get with your neighbor than murder?
Speaker 2 (36:12):
Obviously it makes sense. I mean that's the only way
at that time.
Speaker 3 (36:15):
Yeah, But I mean she makes a few comments Marta
does at least kind of related to the title itself.
You know, when Richard invites her to go horseback riding
in the country, she says, I'll substitute the ceiling for
the clear sky. So it's like clearly these four walls,
(36:36):
well technically it's six. We talk about, you know, floor
and ceiling anyway, Yeah, you get what I'm saying. Ceiling
isn't glass either, but like the ceiling in between her
and Julia, Yeah, I can see through what's happening like that.
I don't know.
Speaker 2 (36:52):
I'm getting too.
Speaker 3 (36:54):
I think I'm getting too.
Speaker 2 (36:55):
I think it's a play on, Like she thinks she
can't like it's her imagination. It's like last ceiling. She
thinks what she's all these theories that she has, that's
what she's actually seen. Yeah, that's what it seems to
be a play on.
Speaker 3 (37:07):
Yeah, I think so. But yeah, she says, you know,
I'll substitute the ceiling for the clear sky. It's like, yeah,
good for you get, you know, get out of your marriage. Ironically,
Julia is the woman responsible for ruining her marriage is
also her liberator in a way, she gets her out.
Speaker 2 (37:23):
Yeah. I did like that horseback riding scene because like
they start playing this grand waltz music that sounds reminded
very much of like a Qubric scene. It's just so
like grand and it's kind of two thousand and one
Space Odyssey or like Clockwork Orange kind of a powerful
scene and beautiful exterior. I guess was shot in Madrid probably,
(37:44):
I think I saw that that's where it was shot. Yeah.
Those are also some of my favorite scenes, whenever they
were out of her kind of confined place or so.
Speaker 3 (37:56):
One other question I have before we get to double
feature picks and stuff. She doesn't Martha doesn't seem like
that put off by the photos that Ricardo took, Like
when she discovers his photography or his development developing room.
(38:17):
I guess red room. Do you love those?
Speaker 2 (38:20):
Yeah? Duh? What are they called dark room?
Speaker 3 (38:27):
Dark room? Jesus, Well, you're supposed to be the one who's.
Speaker 2 (38:31):
Like, well he said red room. I just thought of
David Lyn Yeah.
Speaker 3 (38:36):
Yeah, so yeah, Like when she goes in the dark room,
she sees all these photos of her, she doesn't seem like,
I don't know, like she she's kind of at that
breaking point, but she's also like doesn't get confrontational about it.
I mean, maybe she's just like so broken up about
(38:57):
what's happening, and like.
Speaker 2 (38:59):
She must be jeedly she must be. Yeah, I don't
she has no reaction to anything like me right now. Yeah,
but no, Yeah, that was strange because it has all
the clips and it's you know, she's realizing everything that's happening.
Speaker 3 (39:11):
Yeah.
Speaker 2 (39:12):
Again, it's just she's a strange character.
Speaker 3 (39:15):
Yeah, because like at the very end when they get
to Julia's quote unquote new house, when when her and
when Carlos finally comes back and they go to the
house and then Richard is there and he technically saves
her life. She she's just like, I mean, I know,
she's like in a fucking daze and is like, can't
(39:35):
even comprehend what's going on at the moment. Yeah, but
I would also be like, cool, thanks for saving me. Hey,
can we talk about the fact that you've been taking
fucking photographs of me for however long?
Speaker 2 (39:47):
Yeah. I guess in her defense, like her, like we
had already discussed her whole life is almost like kind
of being a wife, and that was immediately taken from her.
Like there's literally brain matter on her. So maybe she's
because he got shot and had blood. She had blood
all over her.
Speaker 3 (40:04):
Oh yeah, I'm like I'm just cheering it on. Yeah.
So do you think because the movie ends with like
her head in Richard's lap, and then Richard puts the
gun to her head, and then he gives a look
to Julia as if like there's like a triangle between
the three of them going on now.
Speaker 2 (40:24):
So right, like yeah, I mean my first instinct was, Okay,
Richard and Julia are actually together because we find out
that Julia's husband has a shitload of money, because that's
what Carlos says, and but Ricardo's well off, like.
Speaker 3 (40:41):
Yeah, he owns that whole thing there, like, you know,
he's not doing that.
Speaker 2 (40:45):
I always appreciate films that kind of put the viewer
in like a choose your own adventure situation.
Speaker 3 (40:50):
Yeah, I don't mind that it doesn't have like here's
exactly what happened, folks, you know, but I was just curious,
like what you think?
Speaker 2 (40:57):
Yeah, that's and that's where I'm like, don't I don't. No.
I'd like to think he just blows her head off, Yeah,
because I think the worst of people, so I'm like, oh, yeah,
he definitely blew her her brains out. I would like
to think he's just like fuck this these I need
some new tenants and he blew them both away.
Speaker 3 (41:12):
Oh yeah, I like that one even better. Let's hope
for that.
Speaker 2 (41:15):
Because Julie's got to go. Sorry, yeah, Julie.
Speaker 3 (41:18):
She's beautiful, but you got to go. They're both beautiful.
Speaker 2 (41:20):
But you know, and where's Rosa?
Speaker 3 (41:23):
She's milking the cows. Yeah, back, she's back at the farm.
She's finding someone who appreciates her milking.
Speaker 2 (41:31):
I appreciate it, kills, well, you go join her on
the farm. I don't drink milk, but I watch her milk.
All right.
Speaker 3 (41:41):
That double feature pick.
Speaker 2 (41:43):
Okay, obviously there's like the repulsion aspect and the rear window.
This is not my pick, but I do want to
highlight a rear window inspired South African film that I
watched in twenty eighteen called Number thirty seven. I watched
it at south By Southwest and the director was there.
Her name is I'll butcher. Her name but Nocifo Dumisa,
(42:04):
and she was there in attendance. I was like kind
of blown away by her interpretation of rear window. Her
adaptation of it lifted straight up. I mean everything is
pretty much rear window. And I was like, this is
a filmmaker I want to watch and track and she
hasn't made anything else, which is mayam, but it's on
too be, so I do recommend people checking that out.
(42:25):
Kayla Jennie brought up nineteen forty four's Gaslight is like
inspiration for the New Man Drive's Wife, insane type of
thriller with movies like Rosemary's Baby. Obviously, the Glass Ceiling,
I said, the Florinda Bulkan vibes really popped up. So
Footprints on the Moon I think would be kind of
(42:45):
probably the best double feature idea that I have here.
But no, no, I read a lot of reviews and
I understandably griped about this too, which is kind of
the pacing and the weird, kind of the boring characters
of the Glass Ceiling. So I thought, why not throwing
some fast paced, goofy comedy live and up the evening.
(43:05):
I'm gonna go with my favorite Joe Dante film, The Burbs. Okay,
because Tom Hanks is the Marth in this. He believes
that his neighbors are killers, keeping secrets behind their doors,
bearing bodies in their backyard. Okay, obviously way much less
serious than Glass Ceiling, but it plays into the same
whole type of setup. So yeah, I'd put it on
(43:26):
immediately after this to kind of bring anybody who was
bored back to life, Okay, the Burbs.
Speaker 3 (43:33):
I definitely went with something much more upbeat as well.
I didn't go full comedy, though, I will say some
other thoughts, you know, Like you mentioned repulsion. I think
just any sort of like House of Psychotic Women double
feature would work really well in that sense. Like others
let's go Jessica to Death, all the colors of the dark,
(43:54):
forbidden photos of a Lady above suspicion, I think those
would all work really well, especially in the whole gas
lite aspect of it. But I'm going to go with
another sort of murder mystery with splashes of perversion in it,
but one that's a definite crowd pleaser and we'll get
(44:15):
some laughs out of the crowd, and just much more
like upbeat to kind of bring it up after this,
I know it's a little boring, so I'm gonna go
with Michael Winners nineteen eighty four film Scream for Help.
This is about teenager Christy Cromwell discovering that her stepfather,
Paul Fox, is trying to murder her and her mother Karen.
(44:38):
It's less House of Psychotic Women more Nancy Drew loses
her virginity in between trying to solve a murder mystery.
So I think it balances out that way and it's
a lot of fun. Definitely great with the crowd, So
good way to end it. So this would definitely be
second to wake folks up like the Urbs.
Speaker 2 (44:57):
Nice. Yeah, I miss that when it played it Tuesday research.
Speaker 3 (45:00):
Yeah it was either Terri Tuesday, Weird Wednesday. I don't
remember which one. It could have worked in either one.
Speaker 2 (45:06):
Yeah, I've had this on my watch US forever. I
need to watch it.
Speaker 3 (45:09):
It's fantastic.
Speaker 2 (45:11):
Gives backs coming up, Yes, so maybe I'll sneak it
on a category there.
Speaker 3 (45:15):
There you go. I think it would be great for that.
Speaking of which, next episode, we will have our categories
which we'll talk through. We'll have our calendar up and
we'll post that in our discord first before that episode
comes out, So there's an incentive for folks to join
(45:36):
our discord to get to be in the know first
of what the categories are going to be. A lot
of same categories of years past, but you know, we
always mix in some new ones as we do for
anyone new to Horror Gives Back. It's our annual charity
Challenge where we have a different category for each day
of the month and we ask folks if you can
(45:57):
We know times are tough right now, they're tough for
both of us. But if you can donate a dollar
or more to charity per movie that you watch now,
you can do that to Best Friends Animal Society, which
we always set up a fundraiser. We'll have links to that,
or you can donate to a charity of your choice.
(46:18):
We just would love to know what that charity was
so we can give it a shout out and get
some more exposure for other charitable causes. Absolutely, so, Lance,
I know you don't have a pick for next.
Speaker 2 (46:30):
Sadly I do not have a pick yet. No, So
I will come up with something, post it in Discord,
another reason to join our discord, or maybe it's just
a surprise pick. But yeah, the jet lag and the
trip and everything's kind of really kind of reset my brain,
so I need to I'll find something.
Speaker 3 (46:48):
Yeah, we'll post it in We'll give folks plenty of
time to watch it before the episode, so we'll post
it in Discord and on Instagram for folks who aren't
in there, so you know ahead of time. What it's
going to be. If you're not already, you should follow
us on Instagram so you can find out what that's
going to be. We're at Unsung Horrors and you can
follow me on letterbox at Instagram. Nope, you can follow
(47:12):
me on Instagram and letterbox at X Massacre.
Speaker 2 (47:15):
You can follow me there too at l Shibby.
Speaker 3 (47:18):
All right, we'll see you back next episode for TBD.
Speaker 5 (47:24):
Thanks mil By bye.
Speaker 4 (47:42):
I'm just an average man from nine to five.
Speaker 1 (47:48):
Hey, hell, I pay the price. I want us to
be left alone in my average room?
Speaker 2 (47:54):
Why do I always feel.
Speaker 1 (47:57):
Zone in? I can be some god is pine to me?
And I have no bass? My gods beer me? Soby
is pine to me?
Speaker 2 (48:11):
Is it just a trick?
Speaker 1 (48:13):
We're not comers?
Speaker 3 (48:14):
Go at a real time?
Speaker 1 (48:21):
People call me on the phone. I'm trying to.
Speaker 4 (48:23):
Avoiding the people don't previe me.
Speaker 1 (48:26):
Oh, I'm just parana.
Speaker 3 (48:29):
When I'm in the show.
Speaker 4 (48:30):
I'm afraid to wash my help because I'm over my
eyes and find someone standing there. People say I'm crazy,
just a little touch, but this sow is remind me.
Speaker 3 (48:42):
Of psych Fuck.
Speaker 1 (48:43):
That's why I go always beer by. Somebody is pine
and I have no glassy. I always beer back some
fidest pot who's playing tricks on me? I don't know
(49:32):
anymore how a man is watching me? What is the
male man watching me? And I know middle safe anymore?
But what a mess? I wonder what's watching me now?
The irsya is still somebody's spine and I have no privacy.
(49:55):
I got a still somebody spot tell me it's some
I got something some godest.
Speaker 6 (50:34):
I Have you ever wanted to dive deeper into the
horror movies you love? Beyond the Blood is a horror
podcast for fans who want more than just service level screams.
We do deep dives into the movies that shaped us,
digging into director commentaries, behind the scenes stories, deleted scenes,
(50:55):
and the special features that most people skip. Each episode
is a love letter to the We break down how
these films were made, the creative risks that paid off
or didn't, and the lasting impact they've had on the
genre as a whole. From seventy Slashers to modern nightmares.
We celebrate the craft, chaos, and characters that keep us
coming back. If you're the kind of fan who rewatches
(51:17):
movies with the commentary on, or you simply grew up
in the video store horror Isle. The Beyond the Blood
Podcast was made for you. New episodes every single week.
Subscribe Let's Dig Deep. Welcome to the Beyond the Blood Podcast.
Speaker 3 (51:38):
Thank you for listening.
Speaker 1 (51:39):
To hear more shows from the Someone's Favorite Productions podcast network.
Please select the link in the description
Prepare yourself for the terror, the prison of madness.
Speaker 2 (00:09):
We have a few inter and Nonritter. Welcome to Unsung Horrors.
Speaker 1 (00:21):
With LUNs and Denica.
Speaker 2 (00:31):
Leave all your sanity behind. It can't help you now.
Speaker 3 (00:35):
Welcome to another episode of Unsung Horrors, the podcast where
we discuss underseen horror films, specifically those which have fewer
than one thousand views on Letterboxed.
Speaker 2 (00:45):
I'm Erica, I'm Lance.
Speaker 3 (00:47):
Lance. You don't sound so great.
Speaker 2 (00:48):
I don't do. I sound congested a little bit. I
feel it. Yeah, so I do want to apologize to
everybody beforehand. I'm a little jet lagged, having just landed
from a trip to the EU. Happy to be back.
But yeah, my brain and my concentrations kind of all
over the place. So I think I'm going to be
a little out of it this episode. That's okay, this
(01:09):
is the Erica show.
Speaker 3 (01:12):
Piper is going to pipe in every now and then.
Speaker 2 (01:14):
Maybe good. She might need to fill in for me
from time to time. Yeah, I'm just a little askew,
so my concentration might be a little off. You'll be fine, Okay,
We'll make it work.
Speaker 3 (01:25):
I believe in you. Thank you all right, So we
are out of August. Again, thank you everyone for participating
in that, for sharing your own picks. Thanks again to
Ian for joining us last episode. Yes, thankfully y'all didn't
have to deal with the behind the scenes because we
were having some serious technology issues and Ian is trooper.
Speaker 2 (01:47):
Yeah, there were so many great stories being told that
we had to press pause on a lot of times
and that was.
Speaker 3 (01:52):
Yeah, lost a lot of momentum, but we are chugging
forward with Alloyd de la Iglesias The Glass Ceiling from
nineteen seventy one. As of this recording, it has eight
hundred and twenty three views on Letterboxed. It is available
to watch on TB Hoopla for certain libraries, and it
(02:13):
is also included in the House of Psychotic Women Volume
two box set from Severin quick film summary, while recuperating
from a broken leg, photographer LB jeffries, yes, my favorite. Okay, okay,
never mind. Left alone by her husband who is traveling
for work, Spanish housewife Marta convinces herself that her upstairs
(02:38):
neighbor Julia, has murdered her husband Victor, whom we never meet.
After catching her in multiple lies about him coming and going,
she discusses all of this with her cat Phedra, who
unfortunately meets a horrific albeit thankfully offscreen end. I think. Meanwhile,
MARTA's sculptor slash landlord Ricardo is acting suspicious as well,
(03:02):
but that doesn't stop the cowjuice girl from trying to
sleep with him.
Speaker 2 (03:07):
There's a lot of cowjuice in this movie, Cowjason this unfortunately,
it has to be symbolic for something, all right.
Speaker 3 (03:16):
On top of all that, someone's taking pictures of Marta
through her window.
Speaker 2 (03:20):
It's LB Jeffries, the photographer.
Speaker 3 (03:24):
Okay, So, as I mentioned, this is directed and co
written by Eloyd dela Iglesia. The letterbox slash TMDb summary
of him is actually not terrible, so I am pulling
directly from that here. Delaglacia was an outspoken gay socialist
filmmaker who is relatively unknown outside of Spain, despite a
(03:47):
prolific and successful career in his native country. I will say,
I think that's changing because of the work that Severin
has done. They put out a lot of his films,
which I'll get into in just a little bit. He's
best remembered for having portrayed urban marginality and the world
of drugs and juvenile delinquency in the early nineteen eighties.
Part of his work is closely related to the phenomenon
(04:10):
publicly known in Spain as Kinki films. Not Kinki, I
mean it is pronounced kinky, but it's q u i
n qui. So those films to which he contributed with
several works. His films are an example of commitment to
the immediate reality. They were made with honesty and great risk,
(04:30):
against the conformist outlook of most movies of its time,
and served as a document of the Spanish marginality of
the late seventies and early eighties. So thank you to
whoever wrote that.
Speaker 2 (04:42):
Yes, I love you.
Speaker 3 (04:45):
Okay, So I think most folks I would say that
they were probably introduced to Dela Gleacia through The Cannibal Man,
which I finally just watched for the first time.
Speaker 2 (04:55):
Really loved it. Okay. Yeah, it's my favorite of his,
which I think hand is for most people. Yeah, that
was my double feature pick for pure Blood, Yes.
Speaker 3 (05:05):
Yes it was. I will say though that whenever I
watch movies like that, I convince myself I could definitely
get away with murder. Yeah, I'm like my guy, like,
it's so easy. You work at a meat packing you
work meat packing, planting, you could easily.
Speaker 2 (05:21):
But it's so fun just watching it. Just snowball and it
just kids, so it's like, what has happened? It come on?
Speaker 3 (05:27):
But of course I was like thinking about, like who
do I want to kill? And then I remember it.
I live in twenty twenty five where there's cameras everywhere,
and I could never get away with it, and nor
would I ever think about actually murdering anyone, because I
know this is going out into the real world.
Speaker 2 (05:40):
So she has a dry erase board behind me of
all these of a list people, it's.
Speaker 3 (05:46):
Lots of people want yes. I will also say that
after watching that and this movie, that men would rather
spray bottles of air freshener than to actually lift a
finger to clean. So Ricardo in this movie with a
dead rat in the fire pile, and then this guy
in the Cannibal Man, My guy like just fucking clean,
(06:08):
get rid of the dead bodies. Yeahs in here, let
me just fucking go and buy six cans and fucking
spray any bad decision. I also years ago watched Murder
in a Blue World, which is a sort of different
take on clockwork. Orange. It has a lot of the
(06:30):
same sensibilities of it, so I really enjoyed that one.
Rented that one from Vulcan Video, I know makes me sad.
And then I also finally watched No One Heard the Scream,
which I also enjoyed very much as well. But getting
back to the films that he is probably most well
known for outside of The Cannibal Man, at least in
(06:51):
our circles, are the kinky films. Severn has put out
a release with three of them on there, which includes
Navaharos fromnineteen eighty, El Pico from nineteen eighty three, and
Lpico two from nineteen eighty four. I watched the first
two of those, Navajos and El Pico. I was done
a little bit like you know, King Key overloads, so
(07:13):
I didn't watch Lpico two yet because it was also
two hours long, and I was like, Okay, it's a
busy month right now, so I'm like, I'm getting in
as much as I can. But it seemed to be
very similar to the next one also had the same
star in it, So I've enjoyed them immensely so far,
and I definitely would recommend picking that up. It's you know,
(07:36):
three movies. Pick it up at the sever and Black
Friday sale. If you don't have it, it'll probably be like,
you know, twenty bucks or something like that for three movies.
So really enjoyed all of those.
Speaker 2 (07:46):
Yeah, and there's another movie he did, Dela and Glacia
Hidden Pleasures that I watched when we we we did
the Sexy Cat episode and Herman Kobos was the star
of that, and he's in this. I think I talked
briefly on it in that episode. But that's another bang.
I put that up right there with like Cannibal Man,
(08:07):
completely different. It's kind of a heartbreaking love story of
a man falling in love with a younger man and
you know the hiding that goes on in that type relationship.
But very much like Glass Ceiling has a very ambiguous ending,
which I really like. And I don't know if it's
something common. I need to watch more of his movies,
but I really like what he does with the endings
(08:27):
of these type of movies.
Speaker 3 (08:28):
Yeah, I'm going to skip around as far as crew
goes a little bit. I'm gonna start with the score,
which is by on hell Artiaga. He worked a lot
with Paul Nashy, and Leon Kolomowsky, who we've talked about,
both of whom we've talked about on many occasions on
this podcast. Artiaga has done the score for a few
(08:49):
films that I've seen, including Frankenstein's Bloody Terra from nineteen
sixty eight, The Fury of the Wolfman nineteen seventy two,
Trauma nineteen seventy eight. The last one that I have
not seen. This isn't the last film that he scored,
but I want to mention is directed by Paul Nashy
called The Traveler from nineteen seventy nine, and I only
(09:10):
want to mention it because it is probably a top
five all time film poster.
Speaker 2 (09:15):
Yeah, the same roles.
Speaker 3 (09:16):
I mean, it's got a woman bent over easer tushy
and she's having someone's carve and something into it.
Speaker 2 (09:23):
So it's I think it's an upside down crucifix, and
so it looks like maybe it's a different mark.
Speaker 3 (09:29):
Yeah, Okay, I was just seeing like a little X,
but yeah, I just I had to zoom in on
the tushy to see it.
Speaker 2 (09:34):
So yeah, I definitely need to watch that.
Speaker 3 (09:36):
Yeah, that's gonna maybe I'll add that to my either
horror goes back, which we'll talk about later, or maybe
transportation next year.
Speaker 2 (09:46):
There shelsee.
Speaker 3 (09:47):
So The Glass Ceiling was co written by Daylight I Glacia.
The other screenwriter was Antonio Foss. He co wrote one
of the films that we've covered in the past, a
Henio martinz An a Candle for the Devil Jakes cinematography.
The film was shot by Francisco Fraile. He shot a
(10:11):
number of films that I don't really care for. The
Killer is one of thirteen from nineteen seventy three. I
think I gave that one. Yeah, I gave that one.
Two stars is fine. I guess Ricardo Fredo's Tragic Ceremony
starring Camille Keaton from nineteen seventy two. That's another one.
I really wanted to like it, but I gave it
(10:32):
two and a half stars. But for funzies, let's try,
or let's listen to me, try to pronounce the Italian
title for Tragic Ceremony. Okay, estrato dagley r kivi sigretti
de la polizia di una capitale europeiaecto. I hope someone
(10:57):
Italian is listening to that, and it is just like
not approved. No, he did shoot Leon Kolomowsky's Doctor Jekyll
Versus the Werewolf in nineteen seventy two, which I did, Like,
I gave that one three stars.
Speaker 2 (11:11):
I mean, it's Paul Nashy. Yeah, it's earliest.
Speaker 3 (11:15):
Every time it's a there's a werewolf and Paul nashi involved.
I feel like it's automatically probably three stars. It has
to do something like offensively boring for me to drop
it down.
Speaker 2 (11:25):
Yeah, all right, So.
Speaker 3 (11:26):
Let's get into the cast. First, we have Carmen Sevilla.
She plays Marta. She has over seventy film credits. Unfortunately,
I have seen very few of the films that she
has been in. But this week, like I mentioned earlier,
I did watch her in No One Heard the Scream,
in which she is fantastic. I love that movie. And
(11:49):
I did also finally watch Beatriz from nineteen seventy six,
which is the it's in the Vinegar Syndrome box set
Villages of the Damned. That's one of the three films
in there. It was okay, uh, I don't know. I
wanted to like it more. My favorite film in there
is still elbos Lobo, And I'm not just saying that because,
(12:11):
like I wrote an essay about that movie, but I
like it genuinely is my favorite movie in this set,
So I'd still recommend watching Beatrice. It's got, you know,
women being driven crazy by witchcraft slash mysterious monk and
weird pervy villagers kind of thing going. I mean, there's
definitely some stuff to like about it, but I definitely
found myself checking my phone more than I should have
(12:32):
been while I was watching it.
Speaker 2 (12:34):
So yeah, sometimes while I was watching this, because I
haven't seen i mean, other than the two de La
and Glacia movie I've seen with her in its Sevilla Sevilla,
she kind of gaves me. She kind of gave me
Florinda Bulcan vibe sometimes, especially in this, so I kept
thinking like Footprints on the Moon and all those type
(12:54):
of psychotic women movies. But yeah, yeah, I thought she
was a great actress. Yeah, kind of boring. Well, I
guess I'll talk about her character a little later.
Speaker 3 (13:03):
But well, I think she's meant to be that way though.
We'll talk about all right. Then we have Dean Selmer.
He plays Ricardo not very many films, only around fifteen
of them. Most notably he was the doctor in The
Blood Spattered Bride, which we covered years ago.
Speaker 2 (13:22):
Oh yeah, yeah, he was also in Take a Hard Ride.
Looks like he has a small part in there. Oh,
Antonio Margaretti which I saw, which has a stacked cast,
Fred Williamson, Lee van cleef Right, Jim Brown, Jim Kelly. Yeah.
I remember being kind of let down by it because
it felt like it was Margaretti be doing like an
American americanized western instead of like a spaghetti western. Even
(13:45):
had like Jerry Goldsmith do the score, which was very weird.
Speaker 3 (13:49):
Yeah, no one wants to see you americanize a spaghetti western. No,
we're not here for that.
Speaker 2 (13:55):
Yeah. I remember Lee van Cleeve's hair though, it was
something that you have to watch, that you have to
see to believe. It never looked better. I don't know.
Speaker 3 (14:04):
That's that's hard to beat because I feel like he
always looks good.
Speaker 2 (14:07):
He does, but you know, his hair always looks a
little rough.
Speaker 3 (14:10):
And this is like, yeah, it's kind of the appeal.
Speaker 2 (14:13):
Yeah exactly, and this is like well put together, it's
just an odd lookingly.
Speaker 3 (14:17):
Bankle all right, well I'll give it a chance for
that reason alone, then do it all right? Then, we
have Fernando Seabrien. He plays Carlos that is the white
I'm sorry, the husband of Marta. He's in around twenty
five films, only one of which I've seen is Monty
Hellman's Iguana from nineteen eighty eight. I don't know have
(14:37):
you seen any of his any of the films he's
been in beside that one.
Speaker 2 (14:41):
Tristana it's a well movie from nineteen seventy. Yeah, this one,
this one's very good. Yeah, all right.
Speaker 3 (14:50):
Then we have Patti Shephard as Julia. She's probably the
most recognizable here, at least she was for sure to me.
She's in around fifty different films. My favorite probably going
to be Slugs from nineteen eighty eight, the JP Simone classic.
I know it's not pieces, but I fucking love Slugs.
She's also in Watch Out We're Mad with Bud Spencer
(15:11):
and Terence Hill. She's got a small role in the
Stranger and the Gunfighter with low Lay and speaking of
Lee van.
Speaker 2 (15:19):
Cleef, Yeah, that's a good one.
Speaker 3 (15:22):
She's in the Witch's Mountain, which has a fantastic child
death in it, the Werewolf versus the Vampire woman, Edge
of the Axe, My dear Killer rest in pieces. So
gorgeous woman. She's got like very much like a Barber
Steele look going on for her. She's very recognizable.
Speaker 2 (15:41):
She is. Yeah, there's a couple of really good close
up scenes that I'll probably talk about in this movie,
the glass ceiling of her speaking with Marta, and she
reminds me. Well, those particular scenes reminded me of or
I guess I'd be more inspiration for like David Lynch's
Inland Empire with Grace Zabriski, And to me, she looks
like a young Grace Sabriski from like Twin Peaks and
(16:04):
all the all the David Lynch movies. But yeah, she's
she's stunning. She's very very beautiful.
Speaker 3 (16:09):
I can see why Marta was jealous of her.
Speaker 2 (16:12):
Yeah, but then there's Rosa too, Well.
Speaker 3 (16:14):
There is Rosa and she is played by Emma Cohen.
Emma Cohen's interesting because I mean, I think a lot
of people just recognize her, at least you know, in
our circle, is being an actress. But she was also
an author, a screenwriter, and she even directed a few
films herself. But as far as acting roles goes, she
(16:35):
was in the Cannibal Man, which we mentioned earlier, Cutthroats nine,
a few Jess Franco movies, including Count Dracula and the
Other Side of the Mirror.
Speaker 2 (16:44):
Such a good movie.
Speaker 3 (16:45):
I still it's on my list. I'm going to get
to it. And she's also in Klomofsky's The Night of
the Walking Dead. It's gonna be a short episode today, sorry.
So the first thing I want to bring up, this
movie I think I mentioned it in last episode has
(17:06):
been on my watchless slash Potential to Cover on the
podcast list for a while, and that was thanks to
Kayla Janisee's book House of Psychotic Women. Now I have
the first volume, I don't have the updated one, so
I do want to quickly read what she wrote about
this film from that book. All right, So she introduces
(17:29):
a film and then says which starred Carmen Sevilla as Martha,
a loyal housewife whose husband goes away on business far
too often, leaving her isolated and alone with her imagination.
Her attempts to ease her boredom by being sociable are
commonly misinterpreted. A delivery boy invited up for some milk,
makes a move on her, and when spurned retorts. Don't
(17:52):
think you're the only woman in this predicament. There are
millions of women who are bored, almost as bored as you.
Her boredom is what leads her to eavesdrop on her
neighbors and speculate on what their lives are like and
on what it means when she hears a loud thump
in the middle of the night followed by scoreen footsteps.
When she notices the extended absence of Victor the man upstairs,
(18:16):
she comes to the conclusion that his wife, Julie stunning
euro Starlett and she said to Barber Steele look alike
Patti Shephard, and an alleged lover murdered him. She becomes
obsessed with the idea, and her days are filled with
trying to solve the quote mystery of Victor's disappearance. Her
only friend is the landlord slash sculptor Richard, and the
(18:40):
fact that newbile teenager Emma Cohen keeps exposing herself to
him is supposed to indicate that he's hunky. Who proposes
that she's a voyeur quote have you ever heard of voyeurism?
He asks? Voyeurs are people who get a kick out
of spine on the most intimate, the most personal secrets
of other people. And like you said, Nuping, for instance,
(19:01):
is this instinct we all have. Prompted by the suggestive
tone of his analysis, they share an illicit kiss, which
leaves Martha feeling guilty and suffering from nightmares involving grotesque
images of infidelity and murder. Even when she's absolutely convinced
a murder has taken place and her life is in
grave danger, she takes no steps to make herself safe. Instead,
(19:23):
she sits in her apartment in silence, ruminating on every
accentuated sound, and she starts coming apart. But she's not crazy.
A murder has taken place, and the murderers, including her
absent husband Michael Shit, sorry spoiler, you should mention that,
make every assurance that she be completely unhinged by the
(19:46):
time it is her inevitable turn to die. So while
she's neurotic, her neurosis is fueled exclusively by external factors.
Before a murder was carried out with an earshot of her,
she was bored and unspe fired, but hardly crazy.
Speaker 2 (20:02):
Are you a voyear Erica?
Speaker 3 (20:04):
For the most part, no, I feel like when I
moved to the suburbs. That kind of made me a
little bit of one, just because you know, they're like,
what's my neighbor doing the kind of thing. It's mostly
like I will spy on my across the street neighbor
because I have a beef with him, and so I'm
like waiting for the perfect moment to exact my revenge.
(20:26):
And so that's more like studying habits and like trying
to figure out, like, Okay, he's home on this night's
between this time and this time.
Speaker 2 (20:33):
This is your cannibal man murderers?
Speaker 3 (20:38):
Are you?
Speaker 2 (20:39):
Yeah? No, I'm the same way. I think. You know,
once I bought known home and you know some homes
are rented in my neighborhood. Or yeah, I peek out
through my blinds. I've known to h I guess, as
Martha says, I want to call it snoopying, I just
call it interested and be in the neighborhood. Watch. Yeah,
(21:00):
I'm a protector of the neighborhood. These people I'm watching
are up to bad business. I just haven't figured it
out yet. No, but yeah, I do like the whole
voyeurs and thing. Obviously that's the rear window aspect of everything.
Jimmy Stewart had Doris Day. But I love how Martha
has phedro of the cat that she just like spouts
her theories too throughout Doris Day. Uh No, who Grace Kelly? Yeah,
(21:25):
James sis Grace Kelly. Is this Wait?
Speaker 3 (21:28):
You're not feeling at all? I don't even.
Speaker 2 (21:31):
Okay, I'm thinking of other.
Speaker 3 (21:33):
I'm like, this is in your top four Lance, it is.
Speaker 2 (21:37):
Thank you for correcting me, but my brain is all
over the place.
Speaker 3 (21:40):
No, that's okay. I see. This is how I know
Lance really is not feeling well. But he is a
trooper because he is here to record because I said
I can only edit tomorrow night because I got planned,
So we gotta do this tonight. You got to suck
it up. You gotta get over here.
Speaker 2 (21:52):
I'm here, I'm here, and it's happening, and we're talking
about Doris Day.
Speaker 3 (21:59):
So you had mentioned that Karmen Sevilla as Marta wasn't
that compelling or was kind of boring?
Speaker 2 (22:07):
Yes? Yeah, so I figured out well, first, the first
boring character right off the bat was Ricardo or Richard.
He I did not care anything about him. I think
the English Debbie might have had it.
Speaker 3 (22:21):
That does not help.
Speaker 2 (22:22):
It does. It's very monotoned. He purposely sounds extremely lazy,
like he does not want to be there and he
wants to take a nap. But as he continuously bored me,
I realized, you know what, this Martha character, I do
not care for her either, like along together, then I
guess I do, because yeah, the whole setup. I did
enjoy the very first scene of this, which is I
(22:44):
love the melodrama. And you know, right off the bat,
where Martha's talking to her husband who's getting ready to
leave and they're joking about being unfaithful to each other,
it's obviously foreshadowing, and it to me and immediately sets
up that, Okay, well the husband obviously is not faithful.
It's clear his day at this point. And I just
(23:05):
I was just I didn't care what happened to any
of the characters. I was very interested in the Emma
Cohen character Rosa. But yeah, yeah, I did not. Yeah,
and physically it didn't help for me either. But Richard
kind of reminded me of a young Michael J. Pollard.
Oh yeah, it just like there was something about him.
I don't know, I didn't I think that was my
(23:28):
least favorite aspect of the characters or of the film
was I wasn't drawn any of these characters at all.
Speaker 3 (23:34):
Yeah, I think, I mean the main the best character
in this is Phedra. Of course, I don't think anyone
would argue yeah, but I think this is I wouldn't
disagree with that, but I do think it suffers from
the dub, like it loses a lot. But even if
I was watching this in Spanish with subtitles, you know,
(23:58):
Richard or Ricardo, whatever we want to do, whatever version
we're watching, even if his voice just sounds bored, he
still looks bored no matter what he's doing. Like, the
only amount of passion he shows in this at all
is when he's like breaking his sculptures, and even.
Speaker 2 (24:12):
Then, yeah, even then, it's like, like I.
Speaker 3 (24:15):
Could show some anger, like better than that, I think.
Speaker 2 (24:18):
I an it's a very oddcasting choice due to the
fact of how his characters written of being like this Adonis,
like every woman wants to be with him, and he
seems to be like the perfect man, is a landlord
and an artist and just the most beautiful, gorgeous man,
where I'm just like, I don't see it at all.
Speaker 3 (24:38):
I do think that this is an ideal setup though
as far as like, okay, maybe not so much having
your landlord like right there on the property, but he
seems really laid back about everything. You know, he's a sculptor,
he's tending to his pigs, he's got some cute dogs,
and you've only got your apartment and then one neighbor upstate. Yeah,
(25:01):
it's ideal situation there. But getting back to you know,
the boredom aspect of it, I think maybe, I mean
I took it as especially on a rewatch, that she
was intentionally being characterized that way, and that part of
(25:22):
this was like, Okay, well we're not going to glamorize
being a housewife, Like it's not like isn't it so great?
Like my husband works and I don't have to do
anything where it's you know, obviously there are women out
there who that's what they want and good for you,
but it doesn't you know, it just shows sort of
like the lack of identity that she has outside of
(25:46):
being a housewife, Like she doesn't have anything to do.
When she tries to socialize, it turns awkward. And I
do think that you could make an argument that it
is a feminist film for depicting it that way and
saying like this is not you know, this is an ideal,
and like when the delivery boy does say like, oh
there's a you know, there's thousands or millions of women
(26:09):
just like you, just as bored as you. It's a
comment on like this whole I don't want to get
it's the patriarchy. Like I'm not trying to get into
all that, but it really does seem to be like
this comment of and getting we'll get into you know,
the title and breaking the glass ceiling, all that sort
of thing. I think it's all about that. And also
(26:30):
I think that the limited characters contribute to the lack
of identity or life outside of her husband. It's like,
look how small her world is, and that like the
most excitement she gets is like, oh, the bus driver
is dropping off a package.
Speaker 2 (26:45):
Right, or I mean she's most excited like when her
husband calls or when she says or he tells her
like he's coming home, and that, Yeah, that is very
sad to watch. Yeah, so yeah, the title itself, I mean,
because there's Richard actually says something where he calls it
the he else of lonely Wives, and I thought, oh,
that's like a very apt like title as well. I mean,
(27:05):
the only other thing I could think of is like
ratt in the Shoe, which would be a good title.
But yeah no, because I again I was trying to
there's so much cow juice in this, and I was
trying to figure out, like is there symbolism in it,
like what does milk represent? And there's all you know
you can interpret it is mother's milk, and yeah, nurturing
(27:26):
or whatever like in a sense. Or but also it's
something that also came up more than once throughout the
movie is being called childish, like qudacting so childish, or
you're being a child and like that. One of my
favorite scenes is when Emma as Rosa said, like I
think Richard said, like you're being a child, and like
you should be spanked or something in that weird fantasy
(27:48):
pops up. But there seems to be like they keep
bringing up being childish, and I don't know if it's
playing into Martha having this imagination like kind of being
a child, but I don't know. It kind of defeats
kind of what I don't know.
Speaker 3 (28:03):
Well, no, I think you're onto something because I do
think that in getting back to the cowjuice, I think
that the proliferation of that in this movie is not
just there to upset me, but it's a comment on
mother's milk and the fact that there are no children
in this movie. And if she had a child, then
(28:26):
maybe that would be her identity too, you know. And
Julie doesn't have a child either, So it's like, you know,
the House of Lonely Wives or whatever, it's not the
House of Lonely mothers. Like their identity is tied up
and being a wife. If they had a child, then
their identity would just transfer to that and it would
be tied up in being a mother to a child.
(28:47):
And so because there's a lack of children in this movie,
aside from that one girl that shows up with her.
Speaker 2 (28:53):
Friend Alice, Yeah, she's great.
Speaker 3 (28:54):
I had that haircut?
Speaker 2 (28:56):
Did you not my choice?
Speaker 3 (28:59):
My mom did that to me?
Speaker 2 (29:00):
Did you call your friend's mom a murderer? I love
that I.
Speaker 3 (29:04):
Didn't do that now, But I think just the lack
of children in this it's I think there. I think
there is something going on with that in here. So
I think it's just the sort of encompassing comment about
domesticity in general and what's expected of women in that
role where it's like, this is your life. You're just
(29:27):
a board housewife, and like doesn't that fucking suck? Like,
look how bad this is it. It's so bad, it's
going to drive you crazy. Your husband's probably gonna cheat
on you with upstairs neighbor anyway, So why even bother
like settling down and getting married and having kids, Like,
don't conform. That's what I got out of it.
Speaker 2 (29:45):
Yeah, that makes sense, life choices. I just want to
talk about that scene with where roses milk in the
cow and start squirting the milk in her mouth.
Speaker 3 (29:54):
Well, yeah, so what's her name is? Marta is drinking
milk on the cow in her in her house and
then it cuts to that scene.
Speaker 2 (30:03):
So it's like very cool transition. I think the editing
and this is really choppy and strange, but there are
some really artsy transitions. Yeah, I drinking the milk, the
cameras looking in the glass, and that it cuts to
the to Emma Cohen milking the cow back to back milk.
Speaker 3 (30:21):
It's just it's too much, too chea.
Speaker 2 (30:23):
And that's not it. I mean, there's milk delivered. There's
just a lot of cowjuice going on in this and
it's it's a bit overwhelming. I feel like it it
means something.
Speaker 3 (30:32):
It's a bit much, I will say too, Like what
what bothers me the most about that is I don't
consider milk to be a refreshing drink, especially in the
summer heat.
Speaker 2 (30:46):
When like this is an anchor. Man, it's gross. I mean,
I've never I grew up on whole milk, which is
just gross thinking about it. And that's what we'd have,
like at the table, you know, I'd have a glass
of whole milk with my supper.
Speaker 3 (31:00):
Yeah, but you were inside your air conditioned home.
Speaker 2 (31:03):
Yeah, absolutely, I'm here.
Speaker 3 (31:05):
We're in open windows, you know, villa, and like we're
drinking milk which is probably room temperature, and.
Speaker 2 (31:15):
And it smells like apparently rotting flesh out there. Yeah.
Speaker 3 (31:19):
But that's another thing I think it kind of has
in common with Rear Window, is that sort of oppressive
summer heat, you know, where like there's a lot of
commenting about the heat in this movie. You get that
in Rare Window as well. I don't think LB. Jeffries
drinks milk and Rare Window thankfully.
Speaker 2 (31:40):
Yeah, you go. Another thing that's very rare window is
Julia with that rope access bucket on the pulley where
she's you know, march of things. It's bits of her
husband that are being fed to the hogs and the
pigs down there. That's like the little dog that gets
its neck broken and rare window. As I saw that,
I was like, we're window. Leo DiCaprio fucking get.
Speaker 3 (32:06):
There is a lot about this that I know. I
also mentioned and then Kayla's right up. It also mentioned
we throw around the word Jallo in this, but it's
very clear early on that Carlos is a cheater. So yeah,
he's going out of town. We know a lot of
rules of Jallo where it's like, okay, we meet one character.
(32:28):
There's a lot of like small Red Herring type characters
like the bus driver and the grocery delivery guy and
that clay delivery guy.
Speaker 2 (32:36):
Yeah that was weird.
Speaker 3 (32:37):
And so we have those who are like, you know,
they could potentially be red Herrings.
Speaker 2 (32:44):
And all throughout we're getting that camera shutter too. We're
getting all these pictures being taken. So it's like somebody
is following Marta and watching everybody.
Speaker 3 (32:54):
Yeah, so we know, like something is, you know, wrong here.
We know that Carlos is not who he says he
is early on. But there's also a clue that you
know early on that Julia is lying, and it's not
just in Martha's head, because after she calls a grocery
store to place in order, she walks by her refrigerator,
(33:16):
which you know she said was broken. And I only
saw this because my subtitles were on, even though it
was in English, and it said refrigerator humming. So I
was like, I couldn't even hear it, Like I rewound
it and turned up the volume, and I didn't hear
the refrigerator humming. So like the subtitles gave that away
to me. Interesting, did you have subtitles on?
Speaker 4 (33:38):
No?
Speaker 2 (33:39):
Well I think I did. Okay, I don't remember, guys.
Speaker 3 (33:43):
That's all right, all good. But that's another clue where
it's like, okay, well, we know Julia's lying, we know
the husband is lying. So when you have two people lying,
they're working.
Speaker 2 (33:54):
Together, right, Yeah, you kind of put yeah two or
two together pretty quick.
Speaker 3 (33:58):
Yeah.
Speaker 2 (33:59):
But yeah, the whole the theories that are popping into
Martha's heads, I mean that led you already brought up
that dream sequence, or rather the nightmare that she had
that gives us a lot of foreshadowing. But I'd loved that.
That's my favorite scene in the movie when she starts
envisioning what's his name? Victor is her husband? Like in
the refrigerator, Victor's Julia's husband, right, Yeah, Like in the refrigerator,
(34:21):
you see the severed finger, the severed heads, like all
that kind of thrown at you at once. It's like
the first kind of real element of horror that you see.
It's really jarring. Yeah, it's just it's MARTA's crazy imagination.
Speaker 3 (34:36):
Yeah, I will say I did have one question. Was
the meat that Marta cut up to feed the dogs?
You know, when she went down to go like investigate,
she had to give some meat to the dogs to
keep them distracted. Was that her own meat or like
that she had in the fridge or was that meat
(34:57):
that Julia brought down to put in her fridge. Because
if not, then because you have the dogs.
Speaker 2 (35:03):
Ate it, that's true. So yeah, so she could be
the one feeding the dogs. She's a co conspiracy, she's
part of all.
Speaker 3 (35:11):
She's part of its Getting back to the whole theme
of like, you know, boredom and domesticity, and you know,
what is the glass ceiling? What is the title? What
does it, you know, really stand for? You know, I
talked earlier about domesticity, and I think it's important to
(35:32):
keep the filmmaker in mind here as well, because this
is a film in nineteen seventy one. I think this
is his way of being critical of heteronormative relationships and patriarchy,
you know, taking away a woman's identity because at this time,
divorce in Spain was still not legal. Franco didn't die
(35:54):
until nineteen seventy five, nineteen seventy five, Yeah, and divorce
didn't become legal until ten years after this was made,
in nineteen eighty one. So you know, at this point,
what better way to get out of, you know, your
boring marriage and get with your neighbor than murder?
Speaker 2 (36:12):
Obviously it makes sense. I mean that's the only way
at that time.
Speaker 3 (36:15):
Yeah, But I mean she makes a few comments Marta
does at least kind of related to the title itself.
You know, when Richard invites her to go horseback riding
in the country, she says, I'll substitute the ceiling for
the clear sky. So it's like clearly these four walls,
(36:36):
well technically it's six. We talk about, you know, floor
and ceiling anyway, Yeah, you get what I'm saying. Ceiling
isn't glass either, but like the ceiling in between her
and Julia, Yeah, I can see through what's happening like that.
I don't know.
Speaker 2 (36:52):
I'm getting too.
Speaker 3 (36:54):
I think I'm getting too.
Speaker 2 (36:55):
I think it's a play on, Like she thinks she
can't like it's her imagination. It's like last ceiling. She
thinks what she's all these theories that she has, that's
what she's actually seen. Yeah, that's what it seems to
be a play on.
Speaker 3 (37:07):
Yeah, I think so. But yeah, she says, you know,
I'll substitute the ceiling for the clear sky. It's like, yeah,
good for you get, you know, get out of your marriage. Ironically,
Julia is the woman responsible for ruining her marriage is
also her liberator in a way, she gets her out.
Speaker 2 (37:23):
Yeah. I did like that horseback riding scene because like
they start playing this grand waltz music that sounds reminded
very much of like a Qubric scene. It's just so
like grand and it's kind of two thousand and one
Space Odyssey or like Clockwork Orange kind of a powerful
scene and beautiful exterior. I guess was shot in Madrid probably,
(37:44):
I think I saw that that's where it was shot. Yeah.
Those are also some of my favorite scenes, whenever they
were out of her kind of confined place or so.
Speaker 3 (37:56):
One other question I have before we get to double
feature picks and stuff. She doesn't Martha doesn't seem like
that put off by the photos that Ricardo took, Like
when she discovers his photography or his development developing room.
(38:17):
I guess red room. Do you love those?
Speaker 2 (38:20):
Yeah? Duh? What are they called dark room?
Speaker 3 (38:27):
Dark room? Jesus, Well, you're supposed to be the one who's.
Speaker 2 (38:31):
Like, well he said red room. I just thought of
David Lyn Yeah.
Speaker 3 (38:36):
Yeah, so yeah, Like when she goes in the dark room,
she sees all these photos of her, she doesn't seem like,
I don't know, like she she's kind of at that
breaking point, but she's also like doesn't get confrontational about it.
I mean, maybe she's just like so broken up about
(38:57):
what's happening, and like.
Speaker 2 (38:59):
She must be jeedly she must be. Yeah, I don't
she has no reaction to anything like me right now. Yeah,
but no, Yeah, that was strange because it has all
the clips and it's you know, she's realizing everything that's happening.
Speaker 3 (39:11):
Yeah.
Speaker 2 (39:12):
Again, it's just she's a strange character.
Speaker 3 (39:15):
Yeah, because like at the very end when they get
to Julia's quote unquote new house, when when her and
when Carlos finally comes back and they go to the
house and then Richard is there and he technically saves
her life. She she's just like, I mean, I know,
she's like in a fucking daze and is like, can't
(39:35):
even comprehend what's going on at the moment. Yeah, but
I would also be like, cool, thanks for saving me. Hey,
can we talk about the fact that you've been taking
fucking photographs of me for however long?
Speaker 2 (39:47):
Yeah. I guess in her defense, like her, like we
had already discussed her whole life is almost like kind
of being a wife, and that was immediately taken from her.
Like there's literally brain matter on her. So maybe she's
because he got shot and had blood. She had blood
all over her.
Speaker 3 (40:04):
Oh yeah, I'm like I'm just cheering it on. Yeah.
So do you think because the movie ends with like
her head in Richard's lap, and then Richard puts the
gun to her head, and then he gives a look
to Julia as if like there's like a triangle between
the three of them going on now.
Speaker 2 (40:24):
So right, like yeah, I mean my first instinct was, Okay,
Richard and Julia are actually together because we find out
that Julia's husband has a shitload of money, because that's
what Carlos says, and but Ricardo's well off, like.
Speaker 3 (40:41):
Yeah, he owns that whole thing there, like, you know,
he's not doing that.
Speaker 2 (40:45):
I always appreciate films that kind of put the viewer
in like a choose your own adventure situation.
Speaker 3 (40:50):
Yeah, I don't mind that it doesn't have like here's
exactly what happened, folks, you know, but I was just curious,
like what you think?
Speaker 2 (40:57):
Yeah, that's and that's where I'm like, don't I don't. No.
I'd like to think he just blows her head off, Yeah,
because I think the worst of people, so I'm like, oh, yeah,
he definitely blew her her brains out. I would like
to think he's just like fuck this these I need
some new tenants and he blew them both away.
Speaker 3 (41:12):
Oh yeah, I like that one even better. Let's hope
for that.
Speaker 2 (41:15):
Because Julie's got to go. Sorry, yeah, Julie.
Speaker 3 (41:18):
She's beautiful, but you got to go. They're both beautiful.
Speaker 2 (41:20):
But you know, and where's Rosa?
Speaker 3 (41:23):
She's milking the cows. Yeah, back, she's back at the farm.
She's finding someone who appreciates her milking.
Speaker 2 (41:31):
I appreciate it, kills, well, you go join her on
the farm. I don't drink milk, but I watch her milk.
All right.
Speaker 3 (41:41):
That double feature pick.
Speaker 2 (41:43):
Okay, obviously there's like the repulsion aspect and the rear window.
This is not my pick, but I do want to
highlight a rear window inspired South African film that I
watched in twenty eighteen called Number thirty seven. I watched
it at south By Southwest and the director was there.
Her name is I'll butcher. Her name but Nocifo Dumisa,
(42:04):
and she was there in attendance. I was like kind
of blown away by her interpretation of rear window. Her
adaptation of it lifted straight up. I mean everything is
pretty much rear window. And I was like, this is
a filmmaker I want to watch and track and she
hasn't made anything else, which is mayam, but it's on
too be, so I do recommend people checking that out.
(42:25):
Kayla Jennie brought up nineteen forty four's Gaslight is like
inspiration for the New Man Drive's Wife, insane type of
thriller with movies like Rosemary's Baby. Obviously, the Glass Ceiling,
I said, the Florinda Bulkan vibes really popped up. So
Footprints on the Moon I think would be kind of
(42:45):
probably the best double feature idea that I have here.
But no, no, I read a lot of reviews and
I understandably griped about this too, which is kind of
the pacing and the weird, kind of the boring characters
of the Glass Ceiling. So I thought, why not throwing
some fast paced, goofy comedy live and up the evening.
(43:05):
I'm gonna go with my favorite Joe Dante film, The Burbs. Okay,
because Tom Hanks is the Marth in this. He believes
that his neighbors are killers, keeping secrets behind their doors,
bearing bodies in their backyard. Okay, obviously way much less
serious than Glass Ceiling, but it plays into the same
whole type of setup. So yeah, I'd put it on
(43:26):
immediately after this to kind of bring anybody who was
bored back to life, Okay, the Burbs.
Speaker 3 (43:33):
I definitely went with something much more upbeat as well.
I didn't go full comedy, though, I will say some
other thoughts, you know, Like you mentioned repulsion. I think
just any sort of like House of Psychotic Women double
feature would work really well in that sense. Like others
let's go Jessica to Death, all the colors of the dark,
(43:54):
forbidden photos of a Lady above suspicion, I think those
would all work really well, especially in the whole gas
lite aspect of it. But I'm going to go with
another sort of murder mystery with splashes of perversion in it,
but one that's a definite crowd pleaser and we'll get
(44:15):
some laughs out of the crowd, and just much more
like upbeat to kind of bring it up after this,
I know it's a little boring, so I'm gonna go
with Michael Winners nineteen eighty four film Scream for Help.
This is about teenager Christy Cromwell discovering that her stepfather,
Paul Fox, is trying to murder her and her mother Karen.
(44:38):
It's less House of Psychotic Women more Nancy Drew loses
her virginity in between trying to solve a murder mystery.
So I think it balances out that way and it's
a lot of fun. Definitely great with the crowd, So
good way to end it. So this would definitely be
second to wake folks up like the Urbs.
Speaker 2 (44:57):
Nice. Yeah, I miss that when it played it Tuesday research.
Speaker 3 (45:00):
Yeah it was either Terri Tuesday, Weird Wednesday. I don't
remember which one. It could have worked in either one.
Speaker 2 (45:06):
Yeah, I've had this on my watch US forever. I
need to watch it.
Speaker 3 (45:09):
It's fantastic.
Speaker 2 (45:11):
Gives backs coming up, Yes, so maybe I'll sneak it
on a category there.
Speaker 3 (45:15):
There you go. I think it would be great for that.
Speaking of which, next episode, we will have our categories
which we'll talk through. We'll have our calendar up and
we'll post that in our discord first before that episode
comes out, So there's an incentive for folks to join
(45:36):
our discord to get to be in the know first
of what the categories are going to be. A lot
of same categories of years past, but you know, we
always mix in some new ones as we do for
anyone new to Horror Gives Back. It's our annual charity
Challenge where we have a different category for each day
of the month and we ask folks if you can
(45:57):
We know times are tough right now, they're tough for
both of us. But if you can donate a dollar
or more to charity per movie that you watch now,
you can do that to Best Friends Animal Society, which
we always set up a fundraiser. We'll have links to that,
or you can donate to a charity of your choice.
(46:18):
We just would love to know what that charity was
so we can give it a shout out and get
some more exposure for other charitable causes. Absolutely, so, Lance,
I know you don't have a pick for next.
Speaker 2 (46:30):
Sadly I do not have a pick yet. No, So
I will come up with something, post it in Discord,
another reason to join our discord, or maybe it's just
a surprise pick. But yeah, the jet lag and the
trip and everything's kind of really kind of reset my brain,
so I need to I'll find something.
Speaker 3 (46:48):
Yeah, we'll post it in We'll give folks plenty of
time to watch it before the episode, so we'll post
it in Discord and on Instagram for folks who aren't
in there, so you know ahead of time. What it's
going to be. If you're not already, you should follow
us on Instagram so you can find out what that's
going to be. We're at Unsung Horrors and you can
follow me on letterbox at Instagram. Nope, you can follow
(47:12):
me on Instagram and letterbox at X Massacre.
Speaker 2 (47:15):
You can follow me there too at l Shibby.
Speaker 3 (47:18):
All right, we'll see you back next episode for TBD.
Speaker 5 (47:24):
Thanks mil By bye.
Speaker 4 (47:42):
I'm just an average man from nine to five.
Speaker 1 (47:48):
Hey, hell, I pay the price. I want us to
be left alone in my average room?
Speaker 2 (47:54):
Why do I always feel.
Speaker 1 (47:57):
Zone in? I can be some god is pine to me?
And I have no bass? My gods beer me? Soby
is pine to me?
Speaker 2 (48:11):
Is it just a trick?
Speaker 1 (48:13):
We're not comers?
Speaker 3 (48:14):
Go at a real time?
Speaker 1 (48:21):
People call me on the phone. I'm trying to.
Speaker 4 (48:23):
Avoiding the people don't previe me.
Speaker 1 (48:26):
Oh, I'm just parana.
Speaker 3 (48:29):
When I'm in the show.
Speaker 4 (48:30):
I'm afraid to wash my help because I'm over my
eyes and find someone standing there. People say I'm crazy,
just a little touch, but this sow is remind me.
Speaker 3 (48:42):
Of psych Fuck.
Speaker 1 (48:43):
That's why I go always beer by. Somebody is pine
and I have no glassy. I always beer back some
fidest pot who's playing tricks on me? I don't know
(49:32):
anymore how a man is watching me? What is the
male man watching me? And I know middle safe anymore?
But what a mess? I wonder what's watching me now?
The irsya is still somebody's spine and I have no privacy.
(49:55):
I got a still somebody spot tell me it's some
I got something some godest.
Speaker 6 (50:34):
I Have you ever wanted to dive deeper into the
horror movies you love? Beyond the Blood is a horror
podcast for fans who want more than just service level screams.
We do deep dives into the movies that shaped us,
digging into director commentaries, behind the scenes stories, deleted scenes,
(50:55):
and the special features that most people skip. Each episode
is a love letter to the We break down how
these films were made, the creative risks that paid off
or didn't, and the lasting impact they've had on the
genre as a whole. From seventy Slashers to modern nightmares.
We celebrate the craft, chaos, and characters that keep us
coming back. If you're the kind of fan who rewatches
(51:17):
movies with the commentary on, or you simply grew up
in the video store horror Isle. The Beyond the Blood
Podcast was made for you. New episodes every single week.
Subscribe Let's Dig Deep. Welcome to the Beyond the Blood Podcast.
Speaker 3 (51:38):
Thank you for listening.
Speaker 1 (51:39):
To hear more shows from the Someone's Favorite Productions podcast network.
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