Goodbye Gemini

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
In the age of Aquarius, the twins share everything.

(00:04):
I am you. And you are me.
Just us.
And what one knows, the other knows.
In the age of insanity,
what is there to share?
I'm Julian.
I'm Jackie.
You're putting me on.
No, I'm not.
Yes, sir.
We'd rather stay exclusive.
This!
Could have asked your sister to join us in this little game now.

(00:27):
In the age of dissolution,
who is there to trust?
What are we going to do?
You can't stay children forever.
You don't know what it's like to have one friend you can depend on.
You can trust. You can play games with.
In the age of Aquarius,
the twins share their own unique lives
and tell the threatening world around them.

(00:48):
We're not in.
We're not talking about actors.
We mean a real monster.
I brought her back.
She'll live and I'll get her another body.
I know they're gonna catch me but don't let anyone see me like that.
Please, Doctor, help me!
Biologically speaking,
it's a primary importance that man should want to mate.
Hey, that’s right!

(01:09):
You don't get all your kicks from surfing, do you?
We want to be free to ride our machines without being hassled by the man.
And we want to get loaded.
You think you're gonna make a slave of the world?
I'll see you in Hell first!
The American International Podcast.
Are you ready?

(01:30):
Thanks for choosing American International Podcast.
My name is Jeff Markin.
And I'm Cheryl Lightfoot.
And today we're doing something a little bit different.
We're gonna be looking at the film "Goodbye Gemini" from 1970.
"Goodbye Gemini" was directed by Alan Gibson from a screenplay by Edmund Ward.
Based on the novel, "Ask Agamemnon" by Jenni Hall.
And produced by Peter Snell for Joseph Shaftel Productions
and distributed by Cinerama Releasing Corp.

(01:53):
What's that?
You tell me, Jeff.
Well, “Cinerama" started as a process, and it was using three cameras strapped together
to just have a very wide-screen image, kind of a novelty thing.
"How the West was Won" was a very popular film that was filmed with this process.
And they went on to just do more traditional films.
And eventually, sometime in the early 70s, American International started doing their distribution.

(02:17):
This particular film "Goodbye Gemini" was before that agreement started.
But as a result of that agreement, they also received a lot of the catalog titles available to them
for their television package.
And in 1974, they created a television package called “Cinerama Features."
And "Goodbye Gemini" was featured in that.
"Goodbye Gemini" stars Judy Geeson as Jackie Dewar, Martin Potter as Julian Dewar,

(02:42):
Michael Redgrave as James Harrington-Smith, Alexis Kanner as Clive Landseer,
Mike Pratt as Rod Barstow, Marion Diamond as Denise Price-Flitcher,
Freddie Jones as David Curry, Peter Jeffrey as Detective Inspector Kingsley.
Also appearing are Terry Scully as Nigel Garfield.
Daphne Heard as Mrs. McLaren, Laurence Hardy as Minister, Joseph Fürst as Georgiu,

(03:03):
Brian Wilde as Taxi Driver, Ricky Renée as Myra and Barry Scott as Audrey.
"Goodbye Gemini" opens with two wide-eyed blonde twins, Jackie and Julian,
on a bus headed for London S.W.3.
They're not identical twins.
Mail and female twins are never identical.
And we hear "Tell the World We're Not In" by the Peddlers.
It's kind of a Blood, Sweat and Tears sound.

(03:25):
And it was released as a single.
The two twins are passengers in the back of this bus, and they're enjoying the scenery,
as they share it with the stuffed bear that Jackie, the more feminine of the two twins,
is holding on our lap.
It's in this bearable feature in the film in several ways.
After getting off the bus, they walked to their new or old home,
sharing the weight of a giant carpet bag between them.

(03:47):
When they get to the house, number nine, Julian thinks it looks better than
Father's House in Mexico.
So this is a family place.
The door is answered by Mrs. McLaren.
She says that the twins were expected as she had received a telegram from their father,
and she also says they'll need one more clothes.
This is London.
They're just wearing these light yellow sweaters.
Matching, of course.
Well, the twins they have to dress like.

(04:09):
The twins go upstairs and start wearing around the master bedroom.
Mrs. McLaren comes in and scolds them.
She tells them that this room is for grownups, and they'll have to go to their old rooms.
Those rooms and the kitchen will be available to them.
So naturally, they stage the scene for her to fall down the stairs.
Julian steals her glasses, steps on them, and places the teddy bear egg amendment
at the top of the stairs.

(04:30):
Then Julian goes outside, rings the doorbell, and then we hear the sound of Mrs. McLaren
thumping down the stairs.
From outside, Julian laughs.
This appears to have taken care of Mrs. McLaren because she won't be around for the rest of the film.
So for their first night in London, the twins go out.
There was a drag show going on in a pub in Chelsea, and there they immediately beat Clive.
He's zeroes in on them as soon as he sees them.

(04:51):
Jackie tells Clive that she can Julian, her brother and sister.
He says she must be putting him on, and she goes on to tell him that they're twins.
Only she's a little older, so she has to look out for her younger brother.
Seniority must count for something, says Clive, and he calls over to his friend Denise to introduce them.
Clive offers to buy the bear a drink.
But Jackie says he's had too many, and besides he's performing next.

(05:12):
Denise jackeys she wants to drink, and Julian tells him that they don't accept drinks from strangers.
Clive says he was really asking Jackie, not him.
Jackie says maybe.
Jackie turns to Julian and says that maybe this man's an heir who needs to spend his money.
So yes, Clive orders four large whiskies and a coke for the bear, and then the drag dancer starts stripping.
The dancer is nearly tapeless, but Clive suggests they move on to another place with better music and stronger drinks.

(05:38):
And that's fine by Jackie.
Denise grabs Julian to come along, but he's confused.
I thought you were with him, Julian, says, mushing to Clive.
Oh no, it says Clive, from the heavy breathing. I'd say she was with you.
The next day in the master bedroom, Julian brings Jackie a tray of breakfast in bed, or lunch.
We have no idea what time it is.
The two of them have a silly conversation with the bear and strange voices.

(05:59):
Julian pretends to be a server and says he took the liberty of bringing tea.
Jackie hides under the blankets and puts out her bear.
Why is the two so late?
Then they break character and Julian says he brought strawberries.
It's getting to the point where it's a little weird here.
And then the phone rings.
It's Clive and he's calling for Jackie.
He's inviting Jackie to a party now in its second day.
And she can bring Julian if she must.

(06:21):
He thinks there's a box of toys around there somewhere to keep Julian busy.
Julian, petulently asked to stay home, but Jackie wants to go out.
Julian does a silly dance and Jackie's delighted, but she says they must get ready.
So Jackie gets out of bed, nude to get ready for the party.
She goes behind a privacy screen to get dressed.
As Julian watches her go, his eyes grow heavy with lust.
Then he follows her behind the screen.

(06:43):
He comes behind her and gently grabs her by the shoulders from behind.
She breaks away and tells him he's being silly.
And he gives her a shirt and she leaves to get dressed in a more private location.
The party is taking place in a houseboat belonging to Nigel Garfield.
As the music plays, Julian scowls at Jackie who's dancing with Clive.
And Denise is watching Julian and she looks distressed.
Then Julian goes to cut in between Clive and Jackie and it works.

(07:07):
And then the music changes to a slower song and Julian and Jackie continue their dance.
As everyone else looks on uncomfortably.
It's weird.
Nigel asks Clive, which of the twins he's interested in.
And Clive tells him not to be sorted.
And then Nigel goes to greet James, who's just arrived.
He's an MP and he wants to see himself on Telly.
But the set sound is broken, which Nigel blames on the hammock bound David.

(07:30):
And then James and David have a candy conversation.
They look at Julian and Jackie.
James said that you'd never know they were brother and sister.
And David says it's no hold sparred in SW3.
James continues to work the room and stops to admire some of Nigel's acquired art.
The piece in particular that has gotten his attention is an orgy scene done in ink.
Jackie comes by and James asks her opinion of it.

(07:53):
It's a bit sticky, she says.
Everyone will need a shower afterwards.
Julian who doesn't like seeing a sister with other men calls her away and says that he wants to leave.
And again, it works.
He says they should go, but instead he gets a drink.
Jackie scolds him for boozing.
Everyone will look at us.
Girl, they already are.
Julie suggests then they should go somewhere where people can't stare at them.

(08:14):
And he starts to dance grinding towards her.
Clive is staring at them with his mouth a cape.
The on the no-song jealous is playing in the background.
Clive doesn't even acknowledge the cigarette someone offers him.
Finally, Clive comes out of it and makes his way to the back of the houseboat where David is still lying on the hammock.
David says, "Katalie, that you thought Clive would have gotten with one of the twins by now."

(08:35):
Clive jumps up offended.
David then says that Rod was there looking for him.
That's unusual because Rod would usually send a bunch of thugs.
So it must be special circumstances that he'd be looking for Clive in person.
Anyway, he said he'd be coming to the party later to look for him.
And I do hope he hurts you, David, tells Clive.
And suddenly Clive is ready to go.
He grabs Jackie and Julian and a bottle of booze, his usual fee for the pleasure of his company and leaves.

(08:58):
He does tap a toe Nigel that it was a lovely party with lovely people and Nigel tells him to help himself to that bottle on his hand.
He usually would anyway.
Jackie follows Clive out and Denise grabs Julian and they go out as well.
Back above sea level, Julian is staring at the edge of the dock.
As she pushes past him, Jackie scolds Julian for his attitude.
When he has three drinks, he's awful, but with four, he's unbearable.

(09:21):
Denise warns Julian to be careful.
It's greasy.
The whole world is greasy, says Julian.
She asks him if he doesn't like parties.
He loves parties.
He just doesn't like people.
Denise turns her head to look at Clive and Jackie, snuggle up together.
Except her beloved sister, of course.
Of course, says Julian.
If she's there, I must be there and where I am, she must be.
And then the party moves to Jackie and Julian's pad.

(09:43):
Denise wraps her arms around Julian and tries to dance with them all the while criticizing his meanness.
She says she doesn't have to accept him as he is, but she does.
But she wants to know why he's so vicious with her.
Julian wonders why he always has to explain.
Why is he always having to answer to her?
They met 24 hours ago.
What do you mean always?

(10:04):
Is what I wonder?
Julian tells Denise that she asks for explanations like a dog begs for bones.
Clive tells Julian to go easy on her because she's not telepathic like Jackie.
And this sets Julian off.
He tells Clive to just take Denise then.
He starts a sales campaign describing her as a horse with only one previous owner.
Sound of leg and body.
Denise slaps Julian and he falls to the floor.

(10:27):
Then Denise herself collapses in tears.
Denise, this man just compared you to a horse after comparing you to a dog earlier.
So why do you not leave?
She doesn't have to stay.
Go outside and catch a bus or a taxi and go home.
I don't understand her at all.
Jackie looks at her fallen brother.
Then she runs over to Denise.

(10:48):
I'm going to buy a poster of the demon drink and the demon drugs and the demon sex and hang it on the wall.
I'm not sure what that's supposed to accomplish.
Denise says she didn't mean to hit him and Jackie tells him it's fine.
He's a bastard and he has a coming from time to time.
She used to do it all the time when they were little.
Then Clive invites Julian to go out looking for trouble with him.
Julian says he has to ask Agamemnon the teddy bear.

(11:09):
When he gets on the bed with a bear and whispers in his ear, then he makes Agamemnon nod.
Julian tells Clive that Agamemnon said, "Okay."
Back at the Houseboat party, David is still sitting in the hammock when Rod Barstow comes in.
David goes over to speak with him.

(11:31):
David asks Rod how the gambling business is going.
Rod says too little cash in too many checks with other people's names on them.
And Rod asks him where he might find Clive, only he calls him "poxy chops."
David says that he left with the twins.
He doesn't know where they've gone, but he could find out for him.
Back at the twins flat, Jackie tells Julian that even the water tastes like whiskey now.
She's had too much to drink.

(11:53):
She wants to brush her teeth, but the toothpaste is all gone.
Julian says that Clive and Denise used it all.
In one night, these people just met a day ago.
And then he reiterates his hatred of people.
Jackie asks where he's going.
And Julian says, "Let's just get rid of them.
It's better when it's just us.
I am you and you are me."
Jackie says if they cuddle in front of the mirror.
Julian says he doesn't want to go with Clive.

(12:16):
Julian begins to kiss Jackie.
She doesn't seem into it, and Julian is getting a little carried away.
Jackie pushes Julian away, and Julian says that she'll be sorry for that one day.
Jackie's shirt is pulled open, and she looks upset.
This is not what she wanted.
Then Julian leaves with Clive.
For the window, Denise watches them drive off.
"We should have stopped them," she says.
Jackie pours coffee for the two of them.

(12:37):
Jackie tries to convince Denise of the impossibility of getting Julian to do anything he doesn't want to do.
Denise can't believe that Jackie doesn't want to look after Julian.
Then he accuses the twins of being like children.
They're silly talk and games and looking in the mirrors all the time.
Then he says that Jackie and Julian should grow up.
She doesn't say this maliciously, just very matter of factly.
They should learn to not depend upon one another so much.

(12:58):
Jackie says that Denise just doesn't understand what it's like to have one friend that she can trust to pen down and play games with.
In fact, Jackie thinks that Denise is stupid, and she should leave.
Denise warns Jackie that she should worry about where Clive is taking Julian.
But Jackie tells her that Julian can look after himself.
They were back with Clive and Julian.
Julian asks where the action is that Clive promised him.

(13:19):
Clive pulls over to light up a joint for Julian.
Then the car speeds off again.
At the Jackie and Julian's, Rod lets himself into Jackie's bedroom.
The front door was open. He says.
Then he complains about the mess and the smell and demands to know where Clive is.
And if he lives there, lives there literally one day since they met.
But Jackie says he does sometimes.

(13:40):
Really?
Denise tells Rod that Clive just left.
And Rod decides to believe her.
He says he just wanted a word with Clive and his groovy accent and his flash motor.
Jackie offers Rod a cup of coffee and he accepts.
And Denise asks him why he's looking for Clive.
Rod says he has 400 quid worth of reasons.
Clive wrote him a bad check and Rod plans to collect this debt himself.
He wants to know if Jackie owns her own home and she won't answer.

(14:04):
But Jackie tells Rod that he doesn't have to worry about Clive because he has lots of money.
Rod says Clive has nice teeth and a flash car he hasn't paid for.
And any money that Clive has been flashing around came off someone else's mattress,
implying that he's a jiggle-o.
Jackie doesn't believe him, but Rod doesn't care what she believes.
And then he leaves, saying to tell Clive that he's going to find him and that Clive better have that 400 quid.

(14:25):
Or he should start looking for a wheelchair.
Meanwhile, Clive pulls up at a hotel and tells Julian it's party time.
They go inside and Clive rings the bell on the desk.
The desk clerk is very happy to see him.
Clive asks the desk clerk if everything's ready and the clerk says yes.
Then Clive hands the clerk a couple of bills and he and Julian run upstairs.
Julian starts running down the hall but Clive holds him back.

(14:47):
Then together they walk to room 104.
They open the door to find two women waiting for them.
Women.
I'll reserve commentary for later.
Julian is excited at this prospective party with two women.
He grabs the red ed whose name is Myra and starts backing on her.
But she tells him to slow down.
Then she takes him to the bed to undress him.
So far so good.
And then the other one, Audrey takes over.

(15:09):
And Myra goes to join Clive and she starts undressing for him.
Audrey goes for Julian's belt and Julian reaches for her breasts but she pushes his hands away.
As for Clive, he pulls a camera out from a drawer.
As Myra continues to undress, Julian sees that she's a man, baby, and he starts to freak out.
Julian is horrified.

(15:30):
He notices the five o'clock shadow on the woman that has him pinned down as she looks her lips.
Myra takes off her wig.
Then Audrey rolls Julian over onto his belly and continues to undress him.
And we can only assume rapes him.
Very disturbing scene to watch.
Not great for Julian either.
Next morning, Jackie is asleep in her bed and Julian wakes her.
He's brought breakfast.

(15:51):
He's made toast and everything.
Jackie tells Julian he looks awful.
And he does.
And Julian says he feels awful.
She reaches for him and he lays down on her lap.
After she pats his head a bit, he leaps up to say he did it.
He made her feel sorry for him.
And he's made breakfast.
Jackie asks where he went last night.
And Julian reminds her that they have an agreement.
Never ask questions.

(16:13):
Then he starts babbling.
He was concerned that Denise would still be here when he got back.
He's worried she'd put a sack over his head and carry him out of there
and he'd find himself and chelten the hem with her father pouring brandy down his throat.
Jackie thinks that Julian is very bright and eloquent today.
Did he spend the night in a Turkish bath?
What?
Something like that says Julian.
Anyway, he's very proud of the breakfast he's made and she's not eating.

(16:36):
Then the doorbell rings.
Julian sure is Denise.
He knew she'd have asked for his key back.
They gave them keys.
So he hides under the covers.
Tell her to the flush markets closed.
Tell her I'm impotent, he says.
The door to the bedroom opens and Clive comes in holding a dozen roses followed by Denise.
Julian peaks out from under the covers.
Well, well, well says Clive.
Who should I give these to?

(16:58):
Julian looks confused and Clive said he was kidding.
They're for Jackie.
Julian hops out of bed and Denise notes his obvious distress.
She offers to take him out for a meal and he accepts with a laquerity.
They leave.
Clive starts to undress and sits on the bed.
Jackie says, if you touch me, I'll be sick all over you.
Then she asks where he took Julian and he tells her the hotel name and room number.

(17:19):
He slides close to her and she pulls away.
Oh, come on, Clive says you can't be mad.
I had him out all night.
The two of you can't hold hands forever.
At that moment, Rod Barstow returns.
Clive tells him that he'll get the money and he shouldn't worry about it.
Rod tells Clive that that's what he told him last month and the month before.
As promised, Rod punches Clive twice.
Then he apologizes to Jackie.

(17:41):
But she's okay with it.
Rod tells Clive that this is a lucky day, ladies, president and all.
He grabs Clive's choker and pulls it tight as he continues.
Rod will be back tomorrow to collect the 400 quid Clive owes him or the damage he'll do to him
won't be able to be repaired for four million.
Then Rod leaves.
Is he gone?
Ask Clive?
Until tomorrow says Jackie.
You're not very brave.

(18:02):
Are you?
Clive tells her that he'll get the money and then she'll see who's pushing who around.
Jackie says that she should like to see that and if they sell tickets, she'll buy some.
She starts to leave the room and Clive tells Agamemnon that he'll get the money and then Jackie returns for her bear.
Clive dresses and smiles a creepy smile.
Then we see Jackie joining Julian in a pub.
Julian wants a literal blow by blow over Rod beating up Clive.

(18:26):
Jackie wants to know where Denise is.
Julian says that Denise went to her home to help with her ailing father and Jackie calls him a pig.
He was happy to see her this afternoon.
That was this afternoon says Julian.
And we see that James and David are at the same pub.
David tells James that he should stop eyeing the terrible twins, but James can't help it.
They're very unique.
They carry their own universe with them.

(18:47):
That's one way to put it.
And then we are back with the twins where the bartender hands them two drinks, saying that they're from the gentleman down at the other end of the bar.
And they look down and see James smiling oddly at them.
Back at the twins flat, Clive is talking with Denise trying to borrow some money.
She says she can give him ten pounds today and maybe another twenty tomorrow.
But Clive knows that the time has passed for a payment plan.

(19:09):
Clive says he'll have to talk to Julian.
Don't do it commands Denise.
No choice says Clive.
Then the twins return home to find Clive and Denise waiting for them.
Neither of them are happy to see Clive or Denise.
Jackie calls Clive tedious and tells him that he should go.
Clive is shocked to hear this from his little love.
There wasn't like that between them before.
Jackie used to miss him.

(19:30):
And Jackie tells him to pace this in his scrapbook and go.
Instead of leaving, Clive has Jackie and Denise leave so he and Julian can play a game.
He says that this game isn't played with cars, but rather with photographs.
He starts placing photos of the previous night's exploits onto the table.
Julian grabs Clive.
But Clive says they should play the game his way, or else they couldn't invite his sister to play along.
Clive holds Julian in a half-melt son and flashes a picture at him.

(19:53):
What if Jackie saw this one?
Then he shows him another one or this one.
He demands four hundred pounds for the lot.
In the bathroom, you see that Denise has told Jackie about the photos.
Because if Jackie knows what's a picture, Clive loses all his leverage.
If he had that leverage, Clive could make Julian sell all his things.
And possibly even perform in his queer boy circus.
But now since Denise has told Jackie all about the photos,

(20:16):
there's no reason for Julian to succumb to blackmail.
Then Julian barges in, Denise tells him that everything will be all right now.
You told her he says you stupid cow.
He snaps her multiple times.
Jackie goes to comfort Julian.
We see the reflection in the mirrored bathroom wall as Denise shrieks that she was trying to help.
They can't live in their fantasy world forever.
She sees them intent on each other and she really says, "You're not even hearing me."

(20:39):
She storms out and Jackie and Julian embrace.
None of this would have happened if she hadn't pushed him away the other night, says Julian.
When she didn't believe him when he said it should be just the two of them.
Everything he did after that, he did just to spite her.
Jackie nods at his misplace blame. She agrees it's just them, but what are they going to do?
Julian pulls her closer and reminds her of how she protected them from the bangs during thunderstorms when they were little.

(21:03):
He wants to run off to the south of France.
Jackie's like, "Yeah, but what are we going to do now?"
Julian says they could pretend that Jackie doesn't know about the photographs.
And then Julian could pretend to help Clive.
Then the twins go back into the bedroom where Clive is waiting.
He compares them to the three bears.
Bored, Jackie corrects him, holding up Agamemnon.
Clive slides in next to them and bows that Julian will get used to it.

(21:25):
The two of them can be jealous of someone else lays hands on Jackie.
And Clive will be there to comfort Julian.
Jackie says they need to get more whiskey.
Clive tells her to go ahead and go get some.
But she wants Clive to go get it. He's got the car.
But Clive says his car has been repossessed and he's not going out tonight.
He says Jackie can be a good little housewife and go out and get her whiskey.
Jackie tells Clive he's stupid and best that he couldn't even tell the two twins apart.

(21:48):
Clive says he's the one person who can tell them apart.
But Julian bets him that he can't and says that if Clive loses the bet,
that he'll have to go for the whiskey and Clive agrees.
They ask him to leave the room for five minutes and he does.
Jackie positions Agamemnon on the bed so he can see everything.
And Julian puts out the lights.
They light candles, they set up a chair and take off their jackets.
They're both wearing matching white shirts.

(22:10):
Julian takes off his shoes and Jackie stands on a footstool and now they're about the same height.
They get sheets and start cutting holes into them.
They run into the sword room, apparently, to get them.
They're covering cases.
It's the only time we ever see another room in this house.
So I guess it can stood out to me and they use whatever sword they're fine to cut eye holes in the sheets.
From the other room, Clive calls out that they've got one minute.

(22:33):
Clive is blindfolded and brought into the other room and is seated on the chair.
Agamemnon is sitting nearby watching.
I like the way they made his eyes kind of glitter with the light flare.
Clive removes the blindfold.
You see it in front of a mirror and the twins are standing behind him, one on either side,
covered by a sheet with a hole slit through it for them to see through.
It's fairly obvious which is which, but it's not about that anymore.

(22:55):
They both raise their arms reveal a long knife.
They bring it down once, up again, and one of them plunges a knife into the startled Clive's throat.
Oh yeah, no more of that weird accent.
And Agamemnon continues watching.
It's night and Jackie is running down the street, still wrapped in a sheet.

(23:18):
A couple of bikers are harassing her and she keeps running, a taxi drives by with James Henry
to Smith as the passenger.
And noticing Jackie, he has the car stop and he gets out and follows her.
Jackie runs down to the river and throws the bloody sheet into the water.
James catches up to her and asks what she's doing out here.
The party is on the other side of the river, he says.

(23:39):
He tries to talk to her, but she's nearly catatonic.
She's pale and shivering.
He says that, yeah, it's cold and that he needs a drink and maybe she does too.
He takes off his overcoat and puts it around her shoulders, picking her up and walking her out of there.
Back in his place, he makes up the couch for her and he also offers her cash for a taxi if she wants to take him on home.
She's wearing a white bathrobe, but she's still unresponsive.

(24:01):
He tells her not to worry about the money and she can pay him back later.
And then he pushes her to the couch and tucks her in.
He tells her to come by and see him later to talk and maybe say thank you.
Then he turns off the light and leaves the room.
Soon after that, Jackie has a vision of clive being murdered.
Something is casting a red light onto the wall and Jackie sees it, covering a painting out of a picture.
And then she flashes back to the murder.

(24:23):
Panic, she grabs the cash from the mantle and runs out of the room.
She doesn't even get dressed first.
She hails a taxi and returns to her house.
She goes inside while the cab driver lights up a pipe.
I guess he's going to wait for her.
She runs upstairs.
It's dark, but the candles are still burning.
She chips over clives the body and notices she has blood on her hands.
Then she sees Agamemnon torn inside out and she screams.

(24:44):
He's been stabbed.
The screams alert the taxi driver who's still onside her place.
He jumps out of his car to investigate.
He goes to the door just as Jackie comes tearing out.
The taxi driver goes inside anyway and finds blood on the handrail of the stairs.
Now we see that Jackie has run back or cabbed back to James' flat.
She's got blood all over her white robe.
James comes out to see her and demands to know what's going on, but she can't remember.

(25:07):
She said she found the house.
She remembered the address.
But once inside she couldn't remember where the light switch was.
And there was blood everywhere and then she screams and James comforts her.
Then back to the twin's flat.
We see that an ambulance has been called and the police are on the scene.
And clives body is being removed from the twin's house.
It's the next day and James is walking down the street that it towards Parliament.
I guess he's an MP.
A car pulls up.

(25:28):
James looks inside and it's a minister who needs to take him with him to some meeting.
It's really important that James be there.
James tries to beg off, but the minister won't hear of it.
Looking inside the car, James sees the newspaper headline reads, "Twin saw it in bloody murder."
It doesn't have time to read it though because he must get in the car and go with the minister.
Back at James's house.
We see that Jackie is now wearing a black bathrobe and is making herself at home.

(25:49):
Black is much more sensible for someone who tends to get covered in blood all the time.
That night as James returns home, he passes by the twins house
and sees that two policemen are guarding the entrance.
He's holding the newspaper and he finally gets to read what's happened at the house.
When he goes home, Jackie is dressed and James tells her the gist of the story.
Someone stabbed her boyfriend last night and she and her brother are being sought for questioning.

(26:11):
Along with some mystery girl in a white robe covered in blood, James lays it on the line for Jackie.
She can tell him first, but then she needs to go to the cops and tell them what happened.
He helped her last night because he didn't know she was involved in a murder,
but now if his name gets pulled into the scandal, he's finished.
Jackie tells James he remembers him from the party and asks that he not call the police.
She needs to find Julian.

(26:32):
She can go look for him in the places where they used to go and she won't tell anyone she was ever here with James.
James asks if she was the one who committed the murder, but Jackie can't answer that.
She can't remember.
James gives her till tomorrow morning to find her brother.
Now we're back on the houseboat where David has come to visit.
Nigel's there talking to Denise and they're dishing on Clive's death.
David isn't troubled by it at all, but Nigel is pleased because this is really going to increase the attendance at his next party.

(26:58):
Now Detective Inspector Trout, I mean Kingsley is ring James's bell.
We've seen this actor before in both Dr. Fives movies as Inspector Trout.
James isn't bad with Jackie and gets up to answer the door.
Jackie's day is safely tucked away in bed out of sight.
Kingsley understands that James was at a party three nights ago at which the twins were also in attendance.
And since James has a reputation of not necessarily approving of police methods and helping people,

(27:22):
I'd like to ask him a few questions.
James asks if this is retaliation for his progressive views.
But Inspector Kingsley just wants the truth out of James.
James denies everything, but the inspector knows that Jackie got picked up by a taxi near this building.
James shrugs it off as coincidence, and the inspector has no more cards to play and leaves.
James returns to the bedroom where he tells Jackie that everything's all right now.

(27:44):
He removes his robe as a new Jackie says that she won't ever tell the police anything.
Yes, until they've asked you the same question for eight straight hours.
Even then, source Jackie.
James tells her to go back to sleep as he climbs in bed with her, but she can't stop fretting about Julian.
Let the police find him, James says.
Then Jackie says she just wishes she could remember what happened.

(28:05):
She keeps seeing flashes and it's all absorbed in blood.
It's now morning and we see James hailing a taxi, getting in the cab and riding off.
Once James has gone, the shoelace Jackie runs away.
She walks around getting funny looks from people on the street, mostly looking at her bare feet.

(28:28):
It's December after all.
Then she finds a street vendor and buys a pair of shoes and something that she's going to use as a hood to cover her hair.
It matches the black turtleneck and pants that she's wearing now.
She apparently borrowed a sweater from James.
James returns home to find his flat empty, but he does find a note that Jackie left.
I've got to find Julian. I took your sweater. I'll call you. Don't worry.
Meanwhile, Jackie wonders around the river side, retracing the steps that she and Julian took during their three or four days in London.

(28:55):
Memories of conversations echo through her head, but then these memories tell her where she can find Julian.
She stops for a lunch in a store cafe while she says they're eating.
She notices that there's a giant display of aga memnons there.
Her vision swirls and goes kaleidoscopic and then she runs for it.
She boards a bus and climbs up to the top deck.
She remembers asking Julian where he went that night with Clive.
Then she remembers asking Clive the same question.

(29:18):
And she remembers when he told her it was the Woodlands Hotel Room 104.
Jackie gets off the bus and runs to a pay phone to call James.
She tells him she's going to the Woodlands Hotel Room 104.
And if he doesn't hear from her by 9 o'clock, to call the police.
She finds herself at the hotel and goes inside.
She has the same desk we saw before for the room key to 104.
Thinking that she's a boy, the owner asks for her phone number.

(29:39):
Jackie can give it to him when she leaves.
Jackie knocks on the door to room 104.
From behind the door, Julian asks who is it.
Jackie says it's me and Julian opens the door and pulls her into the room.
He's upset that she didn't come right away and he wants to know who she was with.
Nobody she says. She's been sleeping out.
Julian doesn't believe her.
Then where did she get that sweater? He asks.
And she tells him as she pinched it.

(30:00):
Again, Julian asks why she didn't come right away.
And Jackie says she couldn't remember and she didn't know where to go.
He doesn't believe that she forgot where to find him.
She always remembers.
Not this time she says.
Julian thinks that Jackie is making up the samsia thing just to annoy him.
He points to the carpet bag. They're all packed and ready to go now.
But Jackie wants to know what happened that night.
Then Julian says that he's so cold.

(30:21):
He didn't have any money to feed the furnace.
It's a coin-operated heater.
She pulls on some change and hands it to her brother.
And Julian starts up the heater and hunches next to it.
Jackie asks Julian who killed Clive.
Julian says they both did.
They were playing a game and Clive wanted to join in.
Clive said there were three of them and he can't do that.
It's not fair. Julian had more right to Jackie than Clive did.
Jackie asks again who killed Clive and Julian again says they both did it.

(30:45):
And then Jackie ran away.
She shouldn't have run away.
What are we going to do now, ask Jackie?
Julian has it all worked out.
They'll go to France because there's no passports required for that trip.
Then they'll hitchhike to the south and lay on the beaches.
Jackie says the police are looking for them,
but Julian thinks they'll never find them.
Julian says if anyone did find them and try to separate them,

(31:06):
they'll just due to them what they did to Clive.
Jackie asks the time and finds out that it's perilously close to 9pm.
She tells Julian that she's going to go get some food for him,
but he won't let her go.
And then we see James in his apartment.
Fredding over the time, it's just her 9pm.
Back in Room 104,
Jackie asks why Julian is asking her all these questions.
They never ask questions because Jackie ran away

(31:29):
and it wasn't us anymore says Julian.
Julian says Jackie didn't want to kill Clive, did she?
Jackie says that she thought they were just going to frighten him.
Julian says that she just couldn't see what he was doing to her,
but he could and Clive deserved killing.
And he and the right to do it.
Back in James's flat, he picks up the phone.
He starts to dial, but after an operator answers,

(31:50):
he chickens out and hangs up without saying anything.
Apparently his career means more to him than Jackie,
which kind of understandable.
Back in the hotel room, Jackie tells Julian that they could tell the police about the bribery,
but this sends Julian spiraling off in a new direction.
He's still raging at Clive.
This hotel room was Clive's place,
where he used to bring people so he could blackmail them and get money out of them.

(32:11):
He realized that he's wearing Clive's clothes.
He stinks of him, doesn't he?
Jackie says that he really needs to come with her now.
He can get some clean clothes, some food,
but Julian is not hearing that.
He tells Jackie to promise that it's just them now.
No Clive, no Denise, no anybody else,
but Jackie can't make that promise.
Julian grabs Jackie and tries to kiss her again.

(32:32):
But Jackie pushes him away.
So Julian grabs Jackie by the throat and brings her to the ground.
When he realizes she has fallen unconscious,
he looks into the mirror, tears at his own hair,
and then closes the window.
Then he drags Jackie near the heater,
feeds it some more coins,
and sits down with his sister's head in his lap, waiting to die.
All this time, James has done nothing,

(32:54):
but his career is no longer in jeopardy.
Julian expires as the credits roll.
And that's the end.
You're listening to the American International Podcast,
where we're discussing Goodbye Gemini from 1970.
The budget for Goodbye Gemini was somewhere between 416,000 and 900,000 pounds.

(33:17):
According to two contradictory articles
that quoted producer Joseph Shaftah,
which were both published in London's Daily Telegraph on January 8, 1970.
One article quoted Shaftah is saying that the banks put up 900,000 pounds for Goodbye Gemini,
then known by the working title Ask Agamemnon.
In the other article, he said that the cost was only 416,000 pounds.
He said the film would have cost 20 to 30% more if made in a major studio,

(33:41):
as opposed to his more streamlined approach,
which reduced the cost of production and distribution.
An alternative title for Goodbye Gemini for home video release was Twinsanity.
The film was shot on location in London around Chelsea in Battersea,
and included a scene at the Royal Vox Hall Tevern,
and exterior shots in Shepherd's Bush on Chain Walk and Parts of Paddington.

(34:02):
According to producer Peter Snell and Judy Geeson,
who played Jackie in their Blu-ray audio commentary recorded in 2009.
The movie locations are a snapshot of the Chelsea Club scene
as it existed at the time.
The interiors were shot at Tukinam Studios, London.
The Goodbye Gemini screenplay is adapted from Jenny Hull's 1964 novel Ask Agamemnon.

(34:22):
The book opened up with Jackie hiding out at James' place,
suffering from amnesia, struggling to piece together the events that led to Clive's death.
The screenplay has a plot play out in a linear fashion with no flashbacks.
Martin Potter, who had just starred in Felini's satiricon, told Neville Nessin
as the star's column, that he once again had to die his brown hair blonde for Goodbye Gemini.
It's kind of obvious, too.

(34:44):
Judy Geeson had been acting since 1962,
and her first film role was in "To Serve With Love" in 1967.
Sir Michael Redgrave recently diagnosed with Parkinson's disease
would only appear in four films after Goodbye Gemini.
The Ruggly Times reported that one of the main characters in Goodbye Gemini
is not an actor at all.
He is not even alive for he is Agamemnon, a black teddy bear.

(35:06):
It was so funny finding that article because that's the only thing that article was about.
It wasn't about the movie, just one of the stars of this movie was a black teddy bear.
Just a weird little blurb.
Goodbye Gemini's soundtrack includes the theme song "Tell the World We're Not In" by the Peddlers.
A British band who were taking a brief break in the middle of a world tour
around the time the film was released.
The song, written by Don Black and Dennis King, was released as a single

(35:29):
and was one of the band's few songs not written by the band's frontman Roy Phillips.
Christopher Gunning wrote the movie's other instrumentals, party music and songs,
which Eki Lee and Peter Lee Sterling singing on a few tracks.
Goodbye Gemini was released theatrically in London on August 6, 1970,
as a double feature with Mumsie, Nanny, Sonny and Gurley in some areas.
The first US release date was September 23 in New York City.

(35:51):
It premiered on December 2 in LA, paired with the bird with the crystal plumage.
In a column published on October 1, 1970, Earl Wilson reported that
Nirama was trying to get Inward Bergman's twins Isabella and Izata Rassolini to help promote the film.
I checked though and that never happened.
Fox Office Magazine recommended theatre owners created display
featuring signs of the zodiac or a replica of Agamemnon the Teddy Bear to help promote the film.

(36:15):
I don't know how that would work but okay.
That lines for Goodbye Gemini include, "I am you. When I love you love, you are me. When I kill, you kill."
In the age of Aquarius, the twins Julian and Jackie share everything.
Love, men and murder.
You'll feel four hands reaching for you when the Gemini twins arrive.
Enter the weird terrifying world of the Gemini twins.

(36:38):
Jackie and Julian have evil twins. Each other.
Well, we don't have box office returns for Goodbye Gemini.
An article in the London Daily News published a month after the film's debut called it a London hit.
The British press sabotaged Goodbye Gemini in their reviews.
Earl Betts and London Sunday people tabloid said,
"What induced anyone to make Goodbye Gemini? I can't imagine. You can't say Goodbye to it fast enough."

(37:01):
The reviewer for the Lincolnshire Echo said, "Goodbye Gemini. I left me with a rather nasty taste.
It made me wonder why someone is distinguished as Sir Michael Redgrave got involved.
It's an unpleasant piece with its homosexuality, incestuous relationships, sadism and violence."
Stephen Wright in the Daily Post wrote,
"Goodbye Gemini is a horror little example of another recent fashion,
which I hope would strivel away as uncritical American money was withdrawn from British studios.

(37:25):
It's the swing London bit with too much art and not enough craft.
Sir Michael Redgrave, cydles through with a hunted heir of a man,
who wishes he'd never taken part in the first place."
Stanley Price in the London Observer described Goodbye Gemini's story and said,
"If you can't believe this is really the plot,
I certainly don't recommend you go along to check out my word.
The only audience I can conceive of for Goodbye Gemini is one of science fiction addicts deceived into thinking it's a film about an unsuccessful space shot."

(37:50):
It marks the nadir point in current film production.
Michael Billington in the Birmingham Post called Goodbye Gemini a piece of unbelievably seedy nonsense
and complained that British censors allowed the film to run while flagging Andy Warhol's movie flesh.
The creepy voyeurism of Goodbye Gemini is ten times more corrupting than the innocent candor when finds in the Warhol of Eurot.

(38:12):
The Marleybone in Patenton Mercury review recalled Goodbye Gemini,
a glib and taudry film that laid on the Gothic melodrama with a trowel.
The reviewer continued, "The script is a parody of countless other films,
and the motivation of the characters is skimpy and totally unconvincing."
What makes this all such a pity is that Gibson has squandered a lot of talent that could have been jailed together to make a very good film indeed.

(38:33):
David Waterston and the Cambridge Evening News said Goodbye Gemini has assembled some rather distasteful characters and put them in some equally nasty situations,
thereby aiming to whip up interest through the never-ending curiosity for sensationalism.
American critics do not have a much more favorable reaction than their British counterparts.
Emerson Batstorf and the Cleveland Plane dealer wrote, "After one endure is good by Gemini,

(38:54):
one can figure out why the British lost their empire. They've gone flabby in the head."
And he continued, "All of the leading roles are so sloppy that you can't get attracted to anyone.
Miss Geeson used to have a girlish charm about her that she doesn't show here.
Martin Potter instead, has a girlish charm about him, and it's not becoming.
I didn't know that actor's jobs was to be appealing to critics, but I guess that's the case."

(39:16):
Joan Pickula in the Asperer Park Press wrote, "Goodbye Gemini is one of those films that has an aura of unpleasantness about it long before anything unpleasant happens on screen.
It is a heavy, oppressive film for no apparent reason, and all the morbid feelings and curious sensitivities aroused by the story are left unsatisfied."
Box office called, "Goodbye Gemini, mostly uneven. Saying the director had the makings of an absorbing thriller, however the potential hasn't been realized,

(39:42):
blaming Edmund Ward's screenplay while praising the acting of Geeson and Redgrave.
Martin Potter, though, was interesting, but has a tough role to really make believable."
On the other hand, Anne Gourino of The New York Daily News said, "Goodbye Gemini's sixth story was distinguished by fine acting and single out Potter and Geeson for their work."
She wrote, "It will hold your interest from beginning to end, as well as shock and chill you. If you favor weird psychological dramas, this will be your cup of tea."

(40:07):
"Goodbye Gemini was released on DVD in January 2010 by Scorpion releasing, and as a Blue Ray with commentary by Peter Snell and Judy Geeson in March of 2016."
[Music]
Will Cheryl, it seems that the critics were not very fond of "Goodbye Gemini." I'm sure you thought very differently, though, right?

(40:29):
I do agree with one of them about one thing. Anne Gourino, who said that the sixth story was balanced by fine acting.
I think that you can make a case for that. I think that, even though I'd loathe the characters, Martin Potter and Judy Geeson did a great job as Jackie and Julian.
I can't argue with that. We also have Michael Redgrave here. It seems a little out of place, actually.

(40:52):
He seems like he's too good for this movie. I haven't seen a lot of Michael Redgrave movies, but...
He was in "Lady Vanishes." I guess I have seen him.
Instead of "Night" from 1945, was he the "Ventral Equest" in that classic sequence?
Oh, wow. He is too good for this movie. But it was the end of his career, and that happens a lot of times. He didn't go to Boris Karloff route, appearing in silly AIP movies.

(41:16):
But he is here, and he just doesn't seem like he fits in with the Houseboat crowd at all, even though he supposedly does.
No, I think casting him was kind of a coup for this film.
But I also think it kind of highlighted the way that this film stands out as being so weird and creepy.
By having this normal person in the center of it. I don't know. I don't know that his character did a whole lot, either.

(41:39):
His place was where Jackie ran when she had nowhere else to go, but he didn't really do anything for her other than Heiter.
He's loved weather a couple days. I'm sure that was more for him than her. She said she'd pay him back.
I think he's an interesting character, though, because he's supposed to be this pillar of society.
But a progressive pillar.
And he's obviously got a selfish streak in him, too, we see.

(42:03):
He's not necessarily helping Jackie to help her.
Well, he's fascinated by her, but he's not really a good Samaritan in this case.
He obviously wants something else out of her than just her gratitude.
And he's willing to play the part of the good Samaritan to get that.
But not to the point where he hurts his career. He will stop there, and he did.
And speaking of the weirdness, the never-ending party on the Houseboat is kind of an interesting thing.

(42:26):
It ended. It was just several days later.
It ended when David came down after being questioned.
It was over then, and Denise was visiting, and they were just gossiping about the twins.
Right, but he was planning as an extra one by then.
I don't know that Nigel has a job other than posting parties.
And most of the rest of the film takes place in the master bedroom of the twins flat.

(42:47):
It's very claustrophobic that way.
It's claustrophobic, but this room is a big room. And it's gotty as hell.
There's a zebra skin tacked up on the wall. The walls are red.
Bright red.
Bright red.
The tapestries are red. It's all red.
Except there's a fur bed spread on the bed.
The ceiling is a pristine white.

(43:08):
And in between, it's all red and death, which obviously means something.
Not very subtly.
It looks kind of regal, but very, very tacky at the same time.
Do you buy this film as a Greek tragedy?
As it's obviously meant to be.
As in the characters had no say in this. This was just fate playing its hand.
What happened to Jackie and Julian?

(43:31):
Was it so much they're doing as it was just destined to be?
I think that if they had been portrayed more as right in the head, it might have.
But these kids are crazy.
Oh, yeah.
The twin sanity title.
I think it's much more appropriate.
I really like that title.
It might have made me more excited about seeing this movie.
I think that had been the title.

(43:52):
I did find out till later.
The good by Gemini, it's more of a slow burn to the title that way.
Right. And they don't really play on the Zodiac at all in this movie.
That's not in anywhere but the title.
It's just that the Gemini is a twins.
That's all it refers to.
It's not referring to the Zodiac per se.
No. And the Zodiac sign, though, represents duality in a single person.

(44:17):
More than it represents two separate people.
Because if you're a Gemini, you're still the one person who was born under that sign.
But you have a duality about you.
Well, these kids are not right in the head and they are kind of the same person.
And they're torn in different directions.
It's really weird.
Yeah.
Well, though the incest angle is kind of gross as well, especially knowing that Jackie's not interested.

(44:40):
This is not what Jackie wants from her brother.
She doesn't mind clinging to his side all the time, but she doesn't want it to be sexual.
That's what he wants.
It's evident from the very beginning.
The first time we see her naked, he's looking at her and his eyes just grow heavy with lust.
And then he goes to her and he starts pawing at her.
And she's beating him off.

(45:02):
But this has happened before you can tell.
But she puts up with it because she does feel like this is her other half.
And she has no choice but to be with him where he goes.
She goes and where she goes.
He goes.
So she doesn't deny that part.
But she does want to have a little autonomy.
And that's kind of what drives his insanity, I think.
And her insanity is just putting up with it.

(45:23):
I think we need to talk a little bit about Clive and his accent.
Oh, what the F was that accent?
I thought at first it was Irish.
There were points where it sounds Cajun.
Yeah, when he's talking about his car being repot.
They done repot my car.
And that's what he sounds like.
And I didn't quote them but some of the reviews said he had a bad transatlantic accent.

(45:46):
Which in my mind is like what carry grant in Catherine Hepburn sound like.
And that was the case.
It was a very bad transatlantic accent.
And when we looked up Alexis Canter's background, we found out he was born in France.
We moved to Montreal at age two.
Then he went back to England to do college and started his career.
He did some acting on stage and then he went into movies.
So I can kind of see where his accent is kind of a mishmash.

(46:10):
And there probably is some of that.
We also have never seen him in anything else.
And maybe he was doing a bit here.
Maybe that was a actor's choice to do a strange accent.
It could be.
He's been in some other stuff that seemed pretty good.
But he has to watch and find out.
But it was hard to tell what he was saying a lot of the times.
Yeah, unfortunately the Blu-ray did not include subtitles.

(46:32):
We do count on those a lot, don't we?
But really it was his sideburns that stole the show.
They were so odd.
I'm not one for sideburns.
So I don't ever find them attractive or necessary.
But you know you do you?
Well, between the teddy bear and the sideburns, that's too uncredited characters that deserve mentioning.
Well Agamemnon did get his own article about him.

(46:55):
But there's no article I could find about the sideburns.
Do you feel like the had to die in the end?
Do you feel like that was inevitable?
I was mentioning Greek tragedy before.
Do you feel like they had to die in the ending?
Well, it's supposed to be Greek tragedy they did.
It's based on a novel.
So I'm sure that's how the novel ended.
As we said earlier, the novel starts with Jackie in James's apartment trying to piece together her memories,

(47:20):
whereas the film told everything linearly.
So I'm sure that it all came back and then she found Julian and went on from there and...
If he had any sympathy towards her, he would have let her go.
And so I do blame him more than her, but she enabled him.
I don't know what happened to their parents.

(47:43):
Their parents were very hands off obviously, leaving these two to their kind of sick upbringing,
to their really unnatural closeness.
Nobody tried to establish those boundaries.
And they never had the chance to grow up.
These are 20-year-old kids and they're act like they're 14.
If that mature, the first thing we do is seeing them playing games in the Master bedroom.

(48:09):
They're hide and seek or chasing each other around.
And it just seems like that's their mentality all the time.
Even though they function as adults, I guess, by going to parties and having sex,
there's still little kids on the inside.
And that makes the movie profoundly uncomfortable to watch.
It is hard to feel sorry for them because the characters in this movie,
none of them are really likable.

(48:31):
Not a one.
I was annoyed at Denise for complaining about how badly she's being treated here,
when she's under no obligation to stay and endure this treatment.
I have no idea what she sees in Clive and why she's always pallying around with him.
She apparently has money and better options, but she decides to party with these degenerates for some reason.
She's the closest thing probably to a normal character in the film.

(48:54):
The Greek chorus maybe, the only one who speaks truthfully and logically in the whole movie.
And yet she's seen as a nag and annoying person, which she is, but like I said,
she's the only one telling them like it is.
I don't know why she's so invested in them though, it doesn't make sense.
I'm not sure this film really showed the swaying London scene of 1970,
the way it purports it did.

(49:16):
No, but we see drag acts or transvestite acts.
We see people partying in all hours, the gay nightlife.
I don't know.
It didn't seem that fun either.
It wasn't like anybody was having fun.
Nobody was really friends with each other.
Everyone was just sort of caddy and backbiting.
Even the party didn't seem like a good time.

(49:37):
You know, these people crowded elbow and elbow in a little houseboat.
There's plenty of booze though.
Bautles and bottles of whiskey.
And the music wasn't that good most of the time.
I did like that theme song, "Tell the World We're Not In" by the Pedalers.
It's very bluesy.
And I guess there's sub-song about the two of them.
I don't know which one it was.

(49:59):
I just didn't enjoy watching this movie very much.
Part of me recognized there were some good parts to it.
But the other part of me was like, "Ugh, why do I have to watch this again?"
So I'll see the nonsense, I think, is what one reviewer called it, and I would agree.
Well, there were a number of actors in this film that we've seen before.
We'll be seeing in the future.
Judy Geeson played Jackie.

(50:20):
We mentioned that she was into "Servant Love."
Yes.
It was kind of her big break.
And before this film, she appeared in "Two Gentlemen Sharing," which is an AIP film, which we'll be looking at in the future.
Yeah.
Betty Jones who played David Curry, the guy in the hammock, was Clooney and Kidnapped.
Oh, wow.
And we'll see him again in Old Dracula.
Oh, yeah, I kind of recognize him now.

(50:42):
Peter Jeffrey, of course, we talked about.
He was Detective Inspector Trout in the Fibes movies.
And here he has the same first name, Detective Inspector Kingsley.
It's weird how those guys always get hired by the police.
There's an actress named Hilda Berry who played stallholder.
And she was also woman in hall in "Horrors of the Black Museum."
Well, that's worth mentioning.
And the producer, Peter Snow, will also have a hand in "Julea Caesar," which was produced by United Producers and released through American International.

(51:09):
And in 1975, the film "Henesee," he also had a hand in.
Oh, yeah.
I haven't seen that yet, but I saw somebody else watching it.
Yeah, and once I'm a love, the marquee of the movie that Bob Bridges goes into "C" is "Henesee,"
but the film he actually watches is "Dillinger."
Oh, that's why I was confused.
So, Cheryl, giving your reluctance to watch this second time,

(51:31):
would you say they would have proved on your original viewing, or did it make the whole thing worse?
But tell me using our AIP scale, where "A" is awesome, "I" is intermediate, and "P" is pathetic.
Well, that seems like two different things you want to hear, Jeff, and the first is,
no, I don't think it made it any worse. The second viewing usually makes us understand the movie better,
because we actually pay attention to the dialogue, and then kind of see,

(51:55):
step by step, how the plot is going, and what leads to what.
Actually, the second time I watched it, when we got to the "Hourpoint,"
I couldn't believe there was still half an hour left, and I watched it once, and I couldn't remember how it ended.
It had completely been wiped out in my mind.
I remember it as we were watching it the second time, but it didn't stick with me.
It will now, because I wrote it down, but having it playing in front of my eyes one time,

(52:18):
it just didn't really hold in my brain.
So now I remember it, and honestly, I can't give it a "P" just because it's, you know, "Iky."
I'm not going to give it a "P" for that. "Iky" things happen all the time.
But the acting was good. I think that definitely, it could have been a lot better,
with perhaps a different screenplay, less emphasis on the,

(52:43):
I don't know what I even went less of.
Insessed.
No, I think the "Insessed" was actually important, because it was one-sided.
And without that, you don't have Julian's motivation for hanging on to Jackie.
You don't have Jackie's motivation for trying to break away.
So even though it's disgusting, it's important to the film.
I don't know, maybe just more emotion, and less seediness.

(53:08):
Julian never deals with what happened to him.
They never deal with that at all.
One thing I didn't understand is why didn't Jackie and Julian just let Rod take care of Clive?
All they had to do was not give him some money, hold out for a day,
and Rob would have beat the crap out of him.
They wouldn't have had to worry about him sending those photos anywhere.

(53:29):
While he was in the hospital, they could have gone to his flat and picked him up,
and the negatives. They should have just done that.
So I think it just needed to make more sense to me.
I'm giving it an eye. I can't really recommend that you watch it, but there are good parts to it.
They acting anyway. What do you think, Jeff?
Well, I think that when you question the twins' response to Clive's blackmail

(53:51):
and not letting Rod take care of it, the real driving force behind anything they do is Julian.
Yeah.
Julian is the wild card here.
Jackie is a little more restrained in every way.
Julian is the one who drives them to murder Clive.
Julian is one who's always going out and getting into trouble.
Julian is the one who murdered Clive.
Only one knife went into him.

(54:13):
And it was his. It had to be.
We just saw a knife.
We couldn't tell which one was holding.
Right. Jackie said she didn't intend to kill him.
So I don't believe she did.
And Julian's eyes, they're one person.
So when he says that we killed him, he's not lying.
True.
I don't know. This movie is just so strange.
And not necessarily in a good way.

(54:36):
No, not always.
I really had trouble with it just because there was nobody relatable in this film.
You described it as CD and it's really a good word to describe it.
I think that the thing it keeps it from just being totally grimy is that,
except for the occasional blood, this movie looks pretty pristine.
Yeah.
The house is, as I said, Goddy, but it's pretty immaculate.

(54:59):
Yeah, even though they off the housekeeper, it's still pretty clean.
Yeah, it was something with her.
And Lee were just laying on the stairs because she didn't go to hospital or she would have told the police.
And the houseboat is very, very white on the inside.
And even James's flat is very well kept.
I imagine he has a housekeeper.
He's not out there vacuuming and washing the walls.
I don't know if he could be bringing 20-something girls home with he had a housekeeper stopping

(55:23):
him from time to time.
A doubt he brings 20-year-old girls home that often.
But if he does, I'm sure the housekeeper comes home to his house.
How many days of every chance he gets?
I'm sure they go home in the morning and then the housekeeper arrives.
And every chance he gets is doing a lot of heavy lifting in that sentence.
So I don't know if this is a film that really needed to be made.
It's based on the book Ask Agamemnon.
But the name Agamemnon is only uttered once in the entire film.

(55:46):
Right.
When Jillian goes and asks Agamemnon if he should go with Clive.
And Agamemnon really steered him wrong there.
He did. He gave some very bad advice.
Well, I think that proves that you shouldn't take advice from a teddy bear.
Just for any kids listening out there.
Don't do it.
And as I said, it tries to show the swing London scene.
But it's a very, very small part of the swing London scene.

(56:09):
And if that's what it's remembered for today, then I think it's a failure.
But I think it's an okay film.
I didn't hate watching it.
I certainly didn't love it.
So I'm going to agree that this is an intermediate eye.
Yeah, well, I think we once again agree.
I don't know.
Should we even have done this movie?
It's not even officially a IP.
It's a TV.
We argued about that.

(56:30):
But then we agreed that we would at least some of us agreed more than others.
But in the end, we both agreed.
Yeah, I'm not saying we're going to look at all of those films that were in that package.
But a few that I think deserve to be looked at.
Well, it's our podcast.
We can do what we want.
And we decided this is when we were going to watch.
And now you listen to it.

(56:51):
So thank you very much.
And if you'd like to find out more about the podcast and the movies that we talk about, go
to our website.
It’s aippod.com.
There you can see trailers, look at posters and lobby cards.
Find out more information about the movies and the stars.
And there's a way to contact us.
And you may tell us how you feel about the movies we've talked about.
Suggest things that we can look at in the future.

(57:12):
And maybe even hook us up with some of the movies that we can't find from the American International Catalog.
Again, that’s aippod.com.
Hope to see you there.
And with that, we're going to say goodbye to Goodbye Gemini and goodbye to you for the American International
Podcast.
I'm Jeff Markin and I'm Cheryl Lightfoot and we'll meet you at the drive in.
Follow the American International podcast on Instagram and letterbox @aip_pod and on Facebook

(57:38):
at facebook.com/americaninternationalpodcast.
The American International Podcast is produced and edited by Jeff Markin.
A man whose mind is distorted by hatred.
And Cheryl Lightfoot.
A girl hungry for too many things.
The American International Podcast is part of the Pop Culture Entertainment Network.

(58:10):
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