Episode 17 - Street Trash! A Conversation with Ryan Kruger plus Eli Oslberg - Punk Vacation: An Unofficial Vinegar Syndrome Podcast

Episode Transcript
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Speaker 1 (00:01):
You are now listening to the Someone's Favorite Productions podcast network.

Speaker 2 (00:45):
All Right, all, welcome back mid April episode of Punk
Vacation and Unofficial Vinegar Syndrome Podcast. This is episode seventeen.
My name is Chris. I started this, I guess seventeen
episodes ago, now looking to celebrate the way the Vinegar
Syndrome finds the joy in unfettered creativity. I'm treating this

(01:06):
as a podcast. It's just trying to bring awareness to
well awareness and context to movies of any budget, from
anywhere and during any time in history. I love the
journey of Vinegar Syndrome is on and I always try
to find guests who are excited to celebrate this journey
with me. And I'm super excited today to invite back
Eli Olsberg, who's in the LA area. He's a comedian,

(01:29):
has an expanding movie night that we're going to talk about,
and is a dedicated Vinegar Syndrome lover. Eli. Thank you
so much for coming back.

Speaker 3 (01:37):
Thanks for having me. Chris, very very happy to be back. Actually,
I love I loved our last episode and I'm happy
to talk more about mainline stuff because I think last
time was much more poorn centric which wasn't a bad thing.
But happy to talk about the mainline stuff too.

Speaker 2 (01:51):
Hell yeah, No, I was telling you this off the year,
but we got a lot of good comments talking about
the way you talk about the movies and our chemistry,
so I thought this would be appropriate to have you
back on. So yeah, man, thanks, thanks for making time
for this.

Speaker 3 (02:05):
I'd love hearing that, so thank you.

Speaker 2 (02:08):
Yeah, hell yeah. So we're going to be talking about
the releases that came out in March right off the top.
I do want to say it's kind of interesting. So
I typically get shipping notifications around like the twenty eighth
or the twenty second of March if I order in
like March first, and then I'll get them a few
days after that. But we're recording this on the thirteenth.

(02:31):
I think this is probably going to drop on the sixteenth,
But we're recording this on the thirteenth, and I've already
had my shipping notification for like three days now.

Speaker 3 (02:40):
Uh yeah, mine's arriving, I believe Tuesday or Wednesday. Oh
that's great, so crazy. Yeah, that's that happened last year.
I would get them earlier. I know that they had
that Black Friday kind of and then it kind of
later as they were catching up the V Day sale too,
like like there's a bunch of sales that I think
push things back, and I had no problem with it

(03:01):
because I was so far behind that I absolutely needed it.
And it's funny that this one came early. But I'm
also okay with it because there's some stuff I really
want to dive into, like like the minute I opened
the box, but also because I know the next shipment
isn't until after the halfway to Black Friday sale, so
I have so much time to finally catch up. And

(03:24):
will I catch up, Absolutely not. There's going to be
eighteen other things I'm going to watch too, and being
being in LA, you're a little spoiled with the repertory stuff,
and so we were just talking about this off air,
but like I got to see The Instructor on sixteen
millimeters yesterday, which was a real bucket list thing and
for anyone listening who hasn't seen that, it's like one

(03:44):
of VSA's best releases. But yeah, same thing. I'm just
surprised how early it came, and again, fine by me,
I know.

Speaker 2 (03:53):
Yeah, that's a good point though, So where yeah, if
you're listening to this in April that you know, they'll
have some section of time titles available to order on
May first, right, but it's going to be probably partner labels,
and then maybe they'll introduce like the mainline stuff. I'm
trying to remember how this goes.

Speaker 3 (04:09):
And then from from my memory, it's two mainline titles.
Two will be a surprise on Memorial Day, like when
the sale happens, and then I think one like one
or two sub labels, and then the same thing, like
a couple of sub labels will drop on ye on
Memorial Day or that that weekend.

Speaker 2 (04:24):
I should say, yeah, that's right, But then they don't
ship until and then June is just a partner label month,
so essentially just after the sale, they'll just start shipping
out that stuff so people will be getting it throughout
June basically.

Speaker 3 (04:37):
Yeah.

Speaker 2 (04:38):
Yeah, man, So I guess let's let's catch up with you. So,
last time I spoke with you, you were doing one.

Speaker 3 (04:46):
Night a week, right, your once a month, once a.

Speaker 2 (04:49):
Month, excuse me, one night a month. But I've heard
that that's been going well.

Speaker 3 (04:54):
Yeah, it has, so it's been I guess for anyone
who didn't listen to the previous episode. I run a
month monthly series called Pussycat Theater Night in West Hollywood
at a restaurant that also has a cannabis lounge and
a bar, and I show soft core cuts of hardcore films,
mostly put up by Vinegar Syndrome or Meluscene since they

(05:16):
and their sub labels, because they're pretty much the only
ones doing restorations with you know, obviously a few exceptions
here and there with like Mondo and Severn, but I
also show like sexploitation. I just showed The Immoral Three
by Doris Wishman, which crushed with that crowd. And this
month I'm showing The Telephone Book, which is a very

(05:37):
early VS release and not a print one. And if
this if this is dropping on Wednesday, it's actually Wednesday,
the sixteenth is when it's screening. So if anyone's in
LA and listens to this in time, you should come
out and then in I don't have it finalized yet,
but may through basically most of the summer. I have
a lot of Radley Metzger coming up and really great

(06:00):
surprise title that I can't announce yet, but yeah, I'm
actually expanding it it's it's a test run. But I'm
actually doing a hardcore night in another neighborhood here called
Highland Park, which is in a northeast LA at a
place called One Third Space. It's a bookstore. They're going
to have a space with a projector and working on

(06:22):
finalizing the titles. But the as far as the hardcore goes,
it's not like it's not one of the more like
edited together loop style ones. It's obviously the more story
driven ones. Some of the titles in the works I
can say, I don't. I just don't know. The date
isn't confirmed yet. It's going to be in mid May.
It's either going to be potentially roommates or a labor

(06:44):
of love or I'm finally gonna I hope, I hope
it's this one bat Pussy. I need to I need
to show that to an audience. I need to see
how people feel about it as an audience that has
no idea what they're in store for. But yeah, because
because they don't have because it's not a place that

(07:05):
has like a liquor license or serves cannabis, I can
actually show hardcore stuff there. So it's uh, the show
I've been doing the softcore one is free to attend
for anyone who shows up, because you know, it's a restaurant.
Since you're eating, you're already spending, you're you're already supporting
or smoking. But if the one that'll be in Highland

(07:26):
Park at the bookstore, if you follow one Third Space
or me Eddie Leielsberg will will be announcing it that
one's gonna have tickets just because that's the only way
they can obviously support doing it. But yeah, I'm super
super stoked for it. I cannot fucking wait. I hope
it goes really well because I like having the dichotomy
of one place that's more like uh, sexploitation is or

(07:49):
you know, a little more audience friendly, and then one
for like real heads and like an intimate venue that
you know it's only it's going to be like watching
it in like a speakeasy almost.

Speaker 2 (07:59):
I just quick, I have to say two things you said,
so telephone book. I'm going to try to help promote
like maybe like the day before this drops or something,
just talk about trying to push people there because that
movie has to be seen in a group.

Speaker 3 (08:11):
Like Holy, couldn't agree more. I love it so much.
It's such a I mean that was one of their
earlier releases, I know, like real early on, but what
a fucking find. It's like a great discovery.

Speaker 2 (08:21):
And if it wasn't for that ending animation sequence, I
don't even think it would have a hardcore rating. Like
the movie itself is more like you know that old
movie Candy that came out where, Yeah, it's almost more
like that style in a way, except more artistic. And
then I mean, I guess some of the way they
talk to each other is pretty pretty hardcore. That when

(08:42):
they get home sex stuff, but they don't show it right.

Speaker 3 (08:46):
It's like weirdly raunchy. And then also very artistic and
very progressive by nineteen seventy one standards. And if I
remember correctly, on the on the Blu ray box on
the case, I should say, it says that it was
like Steve Martin calls it one of his favorite films
of the seventies.

Speaker 2 (09:06):
I mean, there's a Yeah, we won't get into a
telephone book podcast, but maybe sure next time around we
can talk about it because like that guy has ties
a Saturday Night Live. I mean, it's just super interesting
backstory too.

Speaker 3 (09:16):
Yeah, yeah, it is a fact. Yeah, the Blue Sheet, which,
like you said, we don't need it, but yeah, you
should do if you ever want to do this at
some point, maybe like an old out of print episode
or something like. There's stuff that that something like that
I think would be cool. I mean, it's it's kind
of like taunting people, like being like, hey, here's this
thing you can't buy. But I think there's things that
are a lot of them are like available on two

(09:37):
B and stuff, and I think they're worth talking about
because a lot of those movies, don't you know it,
just because they're out of print doesn't mean they're not
worth seeing and and like and some of them just
also because they're out of print aren't necessarily expensive to get,
but they're just there's a lot of gems I just
saw for the first time, and again I don't want
to get too far into it, but like I just

(09:57):
watched a bunch of the like Pig the Children, okay,
and they were great. I had a fucking blast with them.
Some of them aren't even out of completely out of print,
they're just I think the slips went out of print.
But but yeah, I think something like that I would
love to if you ever want to do do an
oldie zep or something that would be super fun.

Speaker 2 (10:16):
That's cool. Yeah, yeah, I think that would be That's
a really good idea actually. And then separately, just talking
about bed pussy for so uh, Brett Berg lives in
the LA area, so I don't even know if they
would help promote that, but but.

Speaker 3 (10:29):
They ACTFA does. When I showed The Immoral Three, they
they like reposted it when I posted it.

Speaker 2 (10:34):
Good Yeah yeah, but that's like, man, talk about another
movie that's great in a crowd, you kind of have
to you have to kind of have to tailor the
crowd a little bit to make sure. Absolutely, but like
with the right audience that that thing is just that's
one of the funniest things I've ever seen.

Speaker 3 (10:48):
I couldn't agree more. Dying Man, Like, yeah, yeah, absolutely,
it's so funny. And it looks like, you know, it's
it's a it's like the soul surviving print they got,
so it's like it's like blood red. It's like it
truly is like you're watching like like you just found
it in a ditch somewhere and you're like, what is
this and and it's just so it's so unsexy and

(11:10):
unerotic and so bad on every level that it that
it's intending to be, even as like something locally weird,
it's weird because you know that ray Denis Steckler set.
You know, Vinegar Syndrome put out a lot of his
that's a severe box set, but they put out a
lot of their a lot of his hardcore stuff on DVD.
Vinegar Syndrome did, and his hardcore porn is like unwatchable.

(11:32):
It's like not even on a on a fun level.
There's a handful maybe that kind of sort of pass,
get a pass, but Batpussy is like if that became
like not nightmare fuel, but some kind of uh, some
kind of why just like like yeah, I would rather
watch that than one of Steckler's pornos. You know, I
don't know how much of an endorsement that is for
people listening, but.

Speaker 2 (11:53):
I think the biggest thing to me is just how
angry they are the whole time. Like I just noticed
anybody that like, it doesn't seem possible that people would
have sex in that way because they're just yelling at
each other and cussing it.

Speaker 3 (12:03):
Right, And I've never seen this is a funny way
to talk about a porno. But boy, if you ever
want to see a dick, want to make a point
to not get hard so badly, like I've never seen it.
Like it's almost like it's trying to retreat from the camera.
It's so un sexy and the guy just cannot get
into it. And but no, nobody can get into it.

(12:26):
But it's just it's so crazy, how what a what
a mind melter. It is in the best way possible, obviously, yes, yes.

Speaker 2 (12:33):
Yes, well it's good that we're I think this is
a perfect segue into March titles. Unless there's anything else
you wanted to promote, I.

Speaker 3 (12:42):
Can't, No, no, that was it.

Speaker 4 (12:44):
That was it.

Speaker 3 (12:44):
I just wanted the movie nights are are happening. I
you know, like I said, if you just follow me,
it's Addie Leyelsburg on all the socials. And you know,
every time I've done it, whether it's been a Vinegar
Syndrome licensed title or Agfar whoever, they've all reposted it.
They've always been like really cool about supporting it. I
just saw the telephone book was promoted in one of

(13:04):
their stories for Vinegar Syndrome and Melusine plugged. When I
did Dracula Sucks. They did on both the So it's
been great and it has helped bring people out because
it's a real interesting like cross section of people that
come between promotion through the venues and the shows that
you know, I have a stand up show next door

(13:25):
at the Pleasure Chest. That's how I hooked this up,
which is a stand up show and a sex shop.
If you notice, I have a brand, but I literally
flyed the seats with like telephone book like QR codes
so people can come out. So it's like a great
mix of people, all of whom are like really enjoying it.
And I've been getting people returning, so I've been really
happy about that. So yeah, so let's jump into March.

(13:47):
I don't want to take up anymore. Thank you for
letting me talk about it.

Speaker 2 (13:50):
No, that's great, man. I hope people. I hope people
support it. That's really cool. So I think just just
the way that my mind likes to work going in order.
Starting off the month was VS. Four ninety five, which
is another box set for them, which is Forgotten Jelly
number eight.

Speaker 3 (14:09):
Now, yeah, it feels like seven was just three months ago.
It was a little It really was like five five
months ago, but my god, it's like they keep churning
them out.

Speaker 2 (14:19):
Yeah, it doesn't feel like five months for sure. In fact,
when I first when it was first announced, I did
a quick check to see if for volume seven was
the previous month, because it really does seem just like
right around the corner. Volume seven for me, was my
favorite of the Forgotten Jolly Boxes as a whole. Volume
eight I wouldn't say surpassed it, But that's not a

(14:40):
knock on it. There's some really there's some really fun
movies in here.

Speaker 3 (14:43):
Yeah, I think so. I may have mentioned this when
we were kind of talking about VS on the whole
last time, but I think what I like about this
series is that once they kind of knocked out the
more relatively known like second tier titles in the first
two volumes. It's funny because those two go for like
an arm and two legs on like third party markets.

(15:06):
But I actually think those are and again it's like
you're saying it's not a knock on it, but I
think those are actually some of the weaker titles, or
like I think once three hit it, they totally started
kind of becoming more thematic. And also because once you
start kind of running out of real straight faced Jallo's.
You really like get these ones that think outside the box.

(15:27):
I think that's why seven was so good, because they're
like they're mostly like late eighties, which is where it
either you had no middle ground. They were either like
just completely rigid, or they really went off the fucking
you know, like with Obsession it tastes for fear, or
you know, a movie that doesn't even announce it's taking
place into the future until like forty minutes into it

(15:49):
when a laser gun comes out or stuff like that.
I will say this one I did have a harder
time with, Like I, I guess you could I'm in
and introduce the movies. But I will say that it
was a little bit more of a mixed bag compared
to the other. Compared to seven especially and like six

(16:10):
and five, I think it was like a little bit
more of a mixed bag. Though it does have the
theme of kind of like I guess, uh, sex work,
and not that most of them don't, but like a
theme of that and like school girls or girls coming
of age, that kind of thing was like a real overlap.
But yeah, I'm the first one. I have some really
good things to say. The second, the second and third,

(16:31):
I'm curious to hear your takes because I have I
have some mixed bag stuff about them.

Speaker 2 (16:36):
Well, I think, so let's jump into it. So they
did label them ABC, so A is probably what you're
talking about. Is the first one, correct, is a loose
the third of a loose trilogy, the daughter's trilogy?

Speaker 3 (16:50):
Well, school girls in peril?

Speaker 2 (16:52):
School girls in peril? Thank you, that's what? Yeah, yeah,
what have you done to so launch?

Speaker 3 (16:57):
And then it was it was it was Delemano's I'm
sorry if I'm mispronouncing his name off the top of
my head, but it's what have they done to your daughters?

Speaker 5 (17:07):
And what have they done?

Speaker 3 (17:08):
And yeah, yeah, and it's uh yeah, Massimo Dalamano he directed,
And again I apologize if I'm mispronouncing his name, but
it was that, uh and what have you done to Solange?
And then this one.

Speaker 2 (17:20):
So mamoo, Yeah, that's right. And he was loosely connected
to this one in the beginning, but then it dropped
out and then Albert and he.

Speaker 3 (17:28):
Didn't drop out, he passed away. That's why, that's why,
that's why he didn't finish it. That's why he didn't
finish it. He passed away. And then uh, and then
that's why this director took over.

Speaker 2 (17:38):
That's yeah, man, that's that's crazy. And it's It's interesting though,
because these three are certainly not like super connected, but
you know they they they have some common themes, right,
Like I think that's why people loop them together. Three
crime films. This one, I would say, so it's Rings

(18:00):
of Fear, Red Rings of Fear. It's got multiple titles
it has. It was released as Virgin tra in Canada,
is released as Trauma. It was released as see is
there any other big ones? Randomly it was the Death

(18:25):
Orgies in Western Germany, which.

Speaker 3 (18:28):
These get better, these titles get better, more please.

Speaker 2 (18:31):
And then Virgin Killer, which is an unfortunate title because
it's a little bit of a spoiler. But I think
the interesting thing for me about this one, it's probably
my favorite of the bunch. I would say it's a
very interesting movie, and like they do something that you
don't see in a lot of jolly movies. I mean,

(18:53):
there's always twists, but like this one is a twist
in a way where I genuinely wasn't kind of expecting
it because you find out who the killer is, you think,
what with like twenty minutes left, and then you're like, well,
hold on a minute.

Speaker 3 (19:09):
Right, Yeah, totally I had the same thought. I was like, well,
I mean, also, the killer reveal isn't necessarily not obvious,
but I will say how it resolves, how that killer's
arc gets resolved is fucking hilarious. And yeah, you're right,
you're like, wait, there's still something else, there's this, there's

(19:32):
this one thread, and then it just really fucking knocks
you on your ass. Also has an incredible interrogation sequence
in which Fabio Testy takes a guy on a roller
coaster and tries to make him talk while he's like
stonefaced on this roller coaster and this other suspect is
having like a heart attack.

Speaker 5 (19:52):
Yeah.

Speaker 2 (19:52):
I was actually I'm glad you brought that up. I
was gonna had a note about that because they either
do roller coasters differently. That was just a little bit
dramatic because that dude was terrified.

Speaker 3 (20:05):
Yeah, and then and he leaves him on there for
another round and the guy's freaking out even more, and uh, yeah,
it's it's hilarious because he has to know that that
guy scared of roller coasters. But if he got a
guy who just loved roller coasters, you know, like what
would happen? Then he would just he'd be like, Yeah,
let's go. Where else do you want to go? Take
me to six Flags or you know whatever the equivalent
of that is in Italy. And like I I just remember,

(20:29):
like when watching that, I was like, well, you know,
this is why I watch this stuff, Like this is
exactly what I want in something that like if it's
gonna be fairly routine in some other ways or you know,
have that, you know, because you I think at this
point too, it's it's hard to run out of ones
that are even like sleazier than like what's been But

(20:51):
you know, it's it's got enough I think for like
the lizard brain part of me that watches these for
these reasons that like it. It definitely tickles that a
couple of times. It also it to me this one
plays more like a hangout movie for a little while,
Like Fabio Testy is just like going around town. Either
he's hanging out in a Jallo or he's hanging out
in a Poliicio Teski film, Like you know what, I like,

(21:13):
It's it weirdly plays is both all around a boarding school,
you know, and the girl even though this is before
Twin Peaks, so it's been anachronistic, but there's like a
her body's discovered, like Laura Palmer style.

Speaker 5 (21:26):
Yeah, and it.

Speaker 3 (21:28):
Yeah, it's not like it's interesting. I was thinking for
a while, I'm like, this is kind of unremarkable. But
then as I'm watching it, I don't know, his girlfriend's
like a kleptomaniac and that has nothing to do with
the movie. She's just they just have a thing about,
you know, they talk about how she likes to steal.
And what I will say is I was surprised at

(21:49):
the the arc of that relationship. Sorry he's at terminga
but like, the the kind of arc of that relationship
actually has a nice little emotional gut punch when she's
kind of finally had enough of his ship. This isn't
spoiling anything, but like it's already kind of a relationship
that's on shaky ground, and when she finally kind of
I was surprised that. I was like, you know what, here,

(22:09):
I am sitting here thinking, well, this movie might be
a little unremarkable, and then I actually found myself being
like Oh, this is an emotional moment, not out of like,
it's not a Michael Mann level thing, but it hits
like it hits more than you'd think for something like this,
I guess, is what I And that's not to devalue
the movie. It's just it's nice when something like that
can surprise you.

Speaker 2 (22:29):
No, no, no, I totally agree. In fact, it's it's
probably worth mentioning. You know the writer. Well, there's multiple
writers for this because of some of the different directors
and some of the different drafts that went through and stuff.
But one of the key writers was Franco Farini.

Speaker 3 (22:41):
And I mean that's right.

Speaker 2 (22:43):
I had a massive career man like, he was one
of the writers on Once upon a Time in America,
he worked on Phenomena, Demons and then Opera Like. He
was very active, and then he started getting into Hollywood
a little bit. And even let's see, he did what's
the big one that I'm Goodbye kiss.

Speaker 3 (23:05):
That's right, well he's.

Speaker 2 (23:07):
An Italian movie. Sorry, that's he's working with Mikilo Suave.
So he got working with Mikilo Suave and Argento a lot.

Speaker 3 (23:13):
And oh he did he directed one in I'm sorry
I interrupted you go ahead, I'll uh it.

Speaker 2 (23:18):
He just a very accomplished horror writer.

Speaker 3 (23:21):
He directed. His sole directorial effort was actually in Forgotten
Jolly Volume seven. He directed Sweets from a Stranger.

Speaker 5 (23:30):
That's right.

Speaker 3 (23:31):
Yeah, but you're right. He worked a lot with obviously
Argento as well. I think he wrote opera. He wrote
Argento's Dark Glasses, the one that came out a few
years ago, which I personally enjoyed. And yeah, you're right.
I mean, it's just like you were saying the sorry,
I think I went over a little bit of what
you just said. But like he I'm glad he wrote this.

(23:54):
And I'm sure not a knock on the other writers,
but that's probably why this probably played a little better.
It just it definitely had more polish and more and
also just swerves into the wildest happy ending humanly possible.
I cannot believe that as as bleak as that movie
gets or as sleazy, and when the final final reveal

(24:16):
that you're referring to happens, it weirdly ends with like
everybody kind of walking off into the sunset with a smile,
which fucking rocks. Like. I actually prefer that over like
because most of these have downer endings or some kind
of ending that's more like you know that nothing will
ever be the same kind of thing, whereas this one
almost has like an after school special thirty second punch

(24:39):
at the end. It's so funny.

Speaker 2 (24:41):
But I think part of that is because Alberta and
the Green was a big time TV director, right, I
mean right, this guy's whole career was in TV. Yeah,
And I can't remember the comparison. I've heard they were
talking about this on one of the special features or
the commentary, but they were talking about him as known
as like something like James Cameron TV. It wasn't James Cameron,

(25:02):
but like like he was known as like the guy
to go to for like massive TV productions and like okay,
big stuff, and like he would do these big, sweeping
historical epics and like like he was a very accomplished
TV director. It wasn't you know, just interesting.

Speaker 3 (25:15):
Wow. Yeah, especially for the seventies. That's saying a lot
because it was it was like that was that was
having as much of a boom as movies were, you know,
TV was like really so that totally tracks I mean
that that period was so it's still as even though
it had been around already, TV had been around for
like fifteen twenty years at least on a more mass

(25:35):
you know, on that kind of scale. That's still uh,
that's that's awesome. So that that makes sense too in
terms of his why it plays the way it plays
it at certain points.

Speaker 2 (25:45):
Yeah, and he's so confident, right, I mean, because they
I don't I just feel like I have to put
this disclaimer. I don't like how Europeans are so comfortable
with underage nudity.

Speaker 3 (25:55):
Like.

Speaker 2 (25:56):
Absolutely, like the var of the young girl for like,
for like minutes right in the beginning, yeah, like or
multiply when they're in that whole like locker room sequence
or whatever. Yeah, you know, like and I don't really
know what to do with that. Like I wish it
wasn't there, but you know, like if you can like it.
I mean, at this point we're just talking about stuff

(26:18):
that was there, not whether or not it should have been.

Speaker 3 (26:20):
Right.

Speaker 2 (26:22):
The movie itself is extremely competently made, and he handles
I think, considering that it goes into some pretty bat
shit territory as far as like the strength he gives
some of the kids and stuff, like, handles it all
confidently and it wants it becoming a good watch.

Speaker 3 (26:38):
Yeah, I think, I mean, yeah, you're right. It's one
of those things where it's like, well, you know what
this was, how many years ago, and how many of
these people can get you know, what do we know
about even the the people who were in it, like
their attitudes towards it, you know, So it's it's hard
to say, but like even then you're you're right, it's
like you do wonder like what was this set, Like

(27:00):
what is this shit like back then? And but again
you're right, it could be an entire that's an entire
different continent and attitudes towards those things. So it like,
ultimately it's like one of those things where it's just
kind of the name of the game at a certain point.
But with certain titles obviously you can you know, it's
with certain things that get released, it's it's it's up

(27:23):
to the viewer. But yeah, I know exactly what you mean,
because especially with schoolgirls in Peril and like that genre.

Speaker 2 (27:31):
So yeah, there's a movie that funds that he put
out a few years back called Billitus.

Speaker 3 (27:36):
That's right.

Speaker 2 (27:37):
That movie was made by a guy who was known
for shooting underage New photography. That's right, he based his
career and that it's like Jesus Man anyways. But yeah,
just a different era, right, different time, and so I try.
I mean I hated those scenes, but like just you know,
watch them kind of fast forward through it or whatever,
just I don't know they're there. And luckily, I think

(27:59):
once it gets past that chunk, then it's not like
it's throughout the film, you know, right, the only the
only movie that have you ever seen?

Speaker 5 (28:06):
A mind of the wait?

Speaker 3 (28:07):
I sorry, I do want to say one thing. As
far as I know, though, the character the actors are
not underage, so I think even though you're you're it's
implicit in that. I don't think. I think they have
the same laws in regards to that kind of stuff
as American films do, because I remember a few years
before that, Luccio Fulci had to actually attend like a
hearing for it Don't Torture at Duckling because there's a

(28:28):
scene where a like a ten year old is in
front of a full a naked woman and he actually
had to show that it was a little person or something,
that it wasn't an actual minor.

Speaker 2 (28:39):
Oh okay, okay, Well, that's so.

Speaker 3 (28:42):
Yeah, I do think, like I I meant to say
that right up top, but like, you know, I think
part of that is I don't think, I know, like
the movie you were talking about, the one that Fun
City put out, that's a little different or like I
know what some people their fan aka a fan. Yeah,
that can be a tough one. But but as far
as like, uh, these movies go, I think their reputations

(29:02):
would already be known if they were doing And again
I could be wrong, but just as far as I
know that, I use that don't Torture a Duckling story
as a baseline for Italy clearly. Also, given how religious
they are, that even if they're doing this kind of stuff,
I think they do probably have some overlap of their
like morality laws with their laws laws. Okay, they're like

(29:24):
they're you know, church and state.

Speaker 2 (29:25):
I guess that makes me feel a little bit better
than yeah, but I do just I appreciate the clarification
on that. I do want to point people to, you know,
like these the other two movies in this series just quickly, yeah,
because What Have They Done to Your Daughters has just
an amazing performance by Mary Adorf, who I love Yeah,

(29:46):
he's just one of the original like ham actors. I
love him. Man, he always goes big and and then
obviously Claudio Cassinelli is big in that. But yeah, yeah,
I don't know, I think, And then what have they
done this elunch? These two movies are both just excellent.

Speaker 3 (30:01):
Very good movies. Yeah, those are those are arrow drops
and it does have I mean this one does have
another guy in a biker helmet. It rings a fear
so so it is it is a trilogy not just
for schoolgirls in peril, but but but sleez bags and
motorcycles and helmets.

Speaker 2 (30:22):
Yeah, I mean this to me, this is an easy win,
very happy it's in this set. I was really glad
to Yeah, agreed. Okay, So then the second one, I guess,
number or letter B in the set is Reflections in Black,
and this is one that is uh, I don't know,

(30:45):
I found it, Okay. I'm trying to think of how
to be kind of balanced talking about it, you know,
like I think it it starts off with the brutal
murder of a young woman, and there you keep seeing
these women get murdered, and it's plays more like a
like a crime film, kind of like a dark crime film, like, yeah,

(31:08):
it is sleezy. I guess in a little bit like that. Oh,
I forgot to mention that up top. This was the
reputation of Volume Mate when it was coming out, was
that this is going to be one of the sleaziest volumes.
Mm hmm. And I don't think. I wouldn't say that's
necessarily true for Rings of Fire. I mean, I guess
a little bit, but I wouldn't put that as like

(31:28):
a super sleezy entry.

Speaker 3 (31:31):
I think implication wise, it is because there is kind
of this weird like uh like sex cult thing happening
like a like a There's there's a kind of allusions
to like to like an underage group running a like
a like a or I should say the school girls.
Are they in peril? Or are they are they running
an eyes white hut party? You decide, But like, but

(31:53):
you know, I I think a lot of it. With
the other two that we're about to talk about, I
think they are Yeah, I guess they're sleezy. I I
it's hard to say, like because are you talking to
a a vinegar syndrome real head that watches this. No,
it's probably not sleazy by their standards, but I'm sure to. Yeah,
I'm sure to like a new person who's just jumping

(32:15):
into this these types of box sets. Yeah, I think
it might. They might fall out of their chair a
couple of times. I think that's a good way of
I think that's a good like line of demarcation. Right, Yeah,
So how did you feel about this one? Oh?

Speaker 2 (32:28):
Sorry, go ahead, No, I was gonna say this one
is probably the most like twisty out of all of them.
I think it kind of follows that you know where
you're never really quite sure who it is, and it
changes a lot and it surprises you a bit as
the plot goes on.

Speaker 3 (32:43):
Yeah, it's it's directed by an actor in the movie,
but it weirdly doesn't play like a vanity project the Yeah,
it's the guy who plays kind of like the main detective,
though I don't even know if he's the lead. It's
a strange movie. I ultimately, you know a movie like
this when I when I find myself having kind of

(33:04):
like when I'm a little more checked out on the story,
I go boar with vibes at that point, like are
the vibes in the atmosphere kind of keeping me in?
And I thought this one was a little bit more
of a dial tone to be honest, like, I, I,
it's you're right, it's not like it's not it's not.
It's certainly not bad bad by any means, I guess,

(33:25):
but I, yeah, I didn't. This is probably my least
favorite of the bunch. I I weirdly. Here's the thing
I was. I was the way I was kind of
watching everything to prep for the podcast, so I wasn't
like rushing myself or overdoing it to kind of stay balanced.
Is I would watch one of the porno's that I
that we were covering on the Celeste part of the

(33:45):
Celest's Corner and or the fifteen Minutes with Celeste, and
so I watched a porno right before I watched this one,
and this one felt more What I wrote in my
letterbox review was that here I actually want to pull
it up because I think this articulates it well for me,
which is that I wrote that I watched the Golden
Age porn right before this, and this one feels more

(34:05):
porny in a derogatory sense, like it weirdly feels like
a movie that you're like, oh, this feels like it
wants to be more of a porno that's a jallo
at times, but it doesn't fully commit to that. It
just yeah, it's very uneven, probably you know, not a
spoiler necessarily, but probably since we have one more to
talk about, but probably my least favorite of the three.

Speaker 2 (34:29):
Yeah, yeah, I think that's probably the same way for
me too, although I do think if you're looking from
like a production standpoint, I think this is better made
than Triple A Missus.

Speaker 3 (34:40):
Oh for sure.

Speaker 2 (34:41):
Yeah, yeah, yeah, this one at least does feel like
a like a studio film in that way. I mean
not the Triple A Missus totally doesn't. But we'll get
into that in just a second. But I did find
myself less engaged here. I mean I'm trying to think of,
like how much to talk about. I mean there's a

(35:02):
basically there's a woman who's having an affair with these
people and then like mysteriously they're they're all like dropping off, right,
and the murders right yeah.

Speaker 3 (35:13):
Oh, but also the key is it's being they're being
murdered by a woman in a like a black coat,
like it's a it's normally it's the usual jallo tropes
of like uh like a coat, black gloves, you know,
the face, you can't see the top out and all that,
but it's it's very clear. What they want you to
know is that you see the boots, that it's clearly
a woman doing the murdering or that's what they want

(35:35):
you to think. Yeah, and uh and then like yeah,
they're all connected to this other woman and so uh,
that's kind of the basic the basic start of the plot.

Speaker 2 (35:47):
Yeah, I do. I do want to quickly call out
that we forgot to do this on Rings of Fear,
and we can we can jump right back into this
one show. But Rings of Fear has a commentary that's
really interesting with Eugenio Kolani, Troy Haworth, and Nathaniel Thompson.
And the thing I like about it was that they
each take a different approach. They all have like a

(36:09):
different sort of thing that they bring and on the
commentary they kind of stay in their lanes, not in
a derogatory but like like they kind of say, like,
you know, Eugenie will give more of like the sort
of cultural background and like the you know, the background
of like the actors and those kind of things, and
then Troy and Nathaniel bring in their own expertise, in
their own like academic approach to it in an interesting way,

(36:32):
so it becomes like a pretty informative commentary. And then
they do get Alberta Agreen to talk as well as
Franco Farini to talk, which is really cool, and Fabio Testy,
like the special features on Red Rings, I just wanted
to call it, I mean, yeah, Red Rings of Fear
I wanted to call out because those were also my
favorite of this set.

Speaker 3 (36:51):
Oh, I think just to even as a good bedrock
for everyone listening. If some people don't like special features,
and that's that's fine. I waiver on them. Depend on
obviously on the pornos, I think they're especially crucial if
they have them, but I know sometimes that's not possible.
But like on a lot of these releases, I will say,
like even if you because some of these movies, I remember,

(37:14):
like a while back, there was something I was watching
that I wasn't very hot on, and I remember I
then watched a little bit of like the interviews and
some of the video essays, and it did actually re
like the next time I revisited the movie. And I
don't know why I'm forgetting what it is, but when
I revisited the movie and had more of like political

(37:34):
context and that kind of stuff, I did appreciate it
a little more. I think it was oh you know
what it was. It was a movie that I actually
did already like, but it was I remember with this
was a seven release. But when I watched the four
k of Rats excuse me, Night of Terror, super fun,
super fun movie, probably Bruno Matte's best, which, for depending
on who you are, that might not say much, but

(37:56):
I think it's it's his best film probably or my
favorite at least. Watching the the all the interviews and
all the stuff that's attached on those features made like
that movie even more. And so just to loop it
back to the to the series, I think that I
will say, with all of these box sets, you do
get your money's worth in that capacity. And so if

(38:17):
it's a movie that you don't find yourself vibing with
or you don't care too much about the you know,
maybe potentially discovering a twist sometimes going into the features
and then diving in is actually probably more cinematically nutritious.

Speaker 2 (38:31):
Yeah, I think so too, And especially if you don't
if you're okay with not knowing, like with having spoilers,
basically because the background sometimes is really helpful. I didn't
get to hear all of the commentary commentary from Rachel
nisbit for for Reflections in Black, but she does a
great job and what I've heard, and I'll probably finish
it here before too long. It's you know, I think

(38:54):
the the interview with I think his name is a
Dominico Monetti, the guy. He's a biographer of Tanoosa, which
is interesting here that that background. It's a it's a
pretty cool featurette as well for this one. So yeah,
I mean there's an interesting layer here a little bit.
I mean, I'm I don't want to say this movie

(39:15):
is necessarily really strong on you know, themes and metaphor
and stuff, but there is an interesting layer with the
woman who is a countess in Italy as like the lead,
and she's basically like a lesbian in secret, and so
there's a little bit of that element of like the
people closest to her kind of know it. But like
so she she plays on that a little bit, which

(39:37):
is just an interesting I don't know, it's a different
angle to the film. So yeah, but yeah, I don't know,
to me, this one's okay, uh, the women in it
are striking, but that doesn't really I mean, that's.

Speaker 3 (39:54):
Common, not a hard not a hard thing to find
in some jalas. I think, Yeah you do if I
do think like for complete us or more adventurous jolly enthusiasts, Yeah,
there's definitely some something there to discover, I suppose. But yeah,
I'm I'm, I'm even though the next one I also

(40:17):
have a mixed bag on it. I'm actually very excited
to talk about it just for a couple of yees,
Like I just had a couple couple thoughts on it.

Speaker 2 (40:22):
But yeah, well, nineteen seventy five Demo Philo Fiddani Demo
Philo Fiddani puts out a something that to me really
felt like a vanity project. I was digging in to
see if it was, but it's I don't think it is.
It's just a really quirky vibe to the whole movie.
And the title is one of the worst jolly titles

(40:45):
from the perspective of like having a long sentence as
opposed to actually phrased. It's triple a missus good looking
offers for services.

Speaker 3 (40:54):
So depending on how you've oriented yourself, I think it's
also one of the best titles because it it so
distills the genre in some ways, you know what I mean,
Like because when I when I saw that title, I
was like, oh my god, this actually is kind of
brilliant that they just went with like the most with
like the most placeholder title possible exactly because it it

(41:16):
it it for people who don't know. I don't know
if this is true of Italy, but I think one
of the reasons it's it has triple A in the
front is because that used to be back in the
days of the Yellow Pages and the white Pages, actually
mostly the Yellow Pages. If you wanted your business to
get attention, the theory was whatever, if you were a plumber,
if you were whatever you were, you wanted to be
on the first page you would have your title would

(41:38):
be start with an A. Because everybody started doing that,
people would then put a second A, so it'd be
like AA plumbing services or you know, I'm sure somewhere
somebody put a AAA plumbers or whatever, you know, And
so yeah, I think that's what this is. I think
that's what this is in reference to, but it yeah,

(42:00):
I don't know. I think it's like for a Jalla.
It definitely you're like, well, is this like a Jalla
that's going to be on Cinemax? Why does it have
this title? Because it sounds more like a soft core
sex comedy or something. But in some ways that's what
you get. Like the opening credit sequence plays like an
NBC Movie of the Week.

Speaker 2 (42:21):
Where they do like they freeze frame on the people's faces.

Speaker 3 (42:24):
Yes, of things that happen in the movie later on
while it's cutting in between a horse racing thing. So
you think it's about I don't know, you think it's
about people who work at like a race track.

Speaker 2 (42:38):
Yeah, no, So it's probably this guy that made the
movie Demo Filo Fordani. He's a He was definitely not
like a one off kind of guy, like he was
in the system. He was a production designer, he was
a writer, he was a director. His writing career is
kind of pretty wide. Like he did some westerns that

(43:02):
was like some spaghetti westerns. It was probably his most
common genre. He made one of he wrote one of
the Sardana movies or I'm sorry Sartana movies, or maybe
two of them. And then he was he made some
of the coffin full of dollars Audios Company. It was
like he was all over the spaghetti western genre and
then as a director.

Speaker 3 (43:24):
He also did Sartana and he did he did some
Jengo movies.

Speaker 5 (43:28):
I think, well, I.

Speaker 2 (43:29):
Think, yeah, I think he did a Jengo and Sartana film,
But I could be yeah, he like he would one
of the ones he did with Jengo and Sartana. But
I think he was kind of a part of that
Tartana series, which in and of itself is a pretty
awesome series. I would push people towards if they haven't
seen those that he's a He's an interesting character. He

(43:50):
makes conflicted leads very well, and you know, like the
anti hero, he does a good job with the anti hero,
and there's an interesting I think that plays well in
one capacity here. I do want to call out, like
the production design on this is pretty limited, Like like
this is a pretty bare film in a lot of ways.
It's you know, the basic premise is that there's a

(44:14):
girl who feels like a young woman I guess, who
feels like she has an overbearing father, and she goes
out to try to make her own way, and the
best way to kind of make it is through offering
up like these massages and then obviously just as being
like a call girl essentially, And there's a funny moment,
Like you talk about the sex comedy thing, there are

(44:34):
some funny moments like the first time she goes out
to a massage thinking she's gonna be ready to have
sex and the guy brings his mom in for like
asiatic massage.

Speaker 3 (44:42):
Yeah, and they set that up like like the guy
is like out of an eighty sex comedy. He's like
but he's like pumping weights in like a thong and
he's just like, oh god, I look so good. So
you think, obviously that's what he called is gonna call
her over for us to like to like get his
fucking to get off. And then he but then he's
sincere is like, oh my mom, can you give her
a massage twice a month? And like it just is

(45:05):
so And I don't know why I just did like
the weak Italian accent because it's not like everyone speaking
English in this or anything, but it does kind of
add to the humor because you are like, oh, okay,
I mean you, it isn't a jalla really until like
forty five minutes in, I think, like I at one
point think I forgot that I was watching something from
this box set until like a throat gets very poorly

(45:26):
slashed off screen, and uh, yeah, that's you know, because
we were talking about that. You're right, the production on
the last movie, on Reflections in Black, is better, but
this one's a little more watchable, just in the sense
of like that it has this unintentional and then sometimes
self aware humor about itself that I was never bored

(45:48):
by it, and no, you know, and like even and
also the other thing is the killer is so obvious
they and I was shocked that it really saw the conclude,
the very predictable conclusion. I was thinking. I was like, no,
at some point they're going to do some kind of
thing where it doesn't really play by any rules in
the discovery of the killer. Is some kind of split

(46:10):
personality or something, you know, some weird thing. Nope, this
is very very like telegraph. Yeah, I mean, like it's
so many times that I I it kind of that's
part of the like, I guess, the unintentional funny part
of it that you're like, you know what, it commits
to the bit in more ways than one. And it
also is very uncommitted as a Jalla.

Speaker 2 (46:33):
Yeah, actually I kind of find it endearing in a way.
That's a weird thing to say about, Like it's totally yeah,
like you can tell that they were sort of either
trying to make just like a romantic like a sexy
comedy or just like a sexy film and sort of
we're forced it in to become a Jalla movie maybe,

(46:54):
but it doesn't like that part does feel forced, like
you know, it does, I don't. I just but it's
it's endearing though. It didn't put me off from the
movie at all, Like, like you said, it's very entertaining
up front, and then when they do get to the killings,
it's like this little almost like a little short film
that tapped on to the end with like a crime

(47:14):
mystery tapped on to the end, and they never really Yeah,
they didn't do the typical thing of having one hundred twists,
and it was all or like a bunch of what's
it called was like fake like false.

Speaker 3 (47:25):
Starts or whatever, oh like a red herring, red.

Speaker 2 (47:27):
Hairing kind of stuff. There wasn't really too much of that.
There was really only one or two people it could
even have been.

Speaker 3 (47:33):
No, and it has like it does have some nice
kind of commentary on like on like parents, like kind
of the specifically how the attitude of like men towards
women because you know, she she she gets a pimp
and they have a kind of tenuous relationship, but because
he thinks just because he's just he's her pimp, that
he can fuck her, and she's like she actually rejects

(47:54):
him at first, you know, like in terms of and
even that sort of plays like a sex comedy that
their whole thing because he and he gets turned down.
He turns into like a huffy, puffy frat bro about
it and like it's it's a it's a strange movie.
But but again not like what we've talked about. I
think on the last episode it's not even if it's
not a good movie, it's not a bad time.

Speaker 2 (48:13):
No, I think it's fun. And what's the one with
George she Scott where he plays his daughter hardcore hardcore? Right,
it's got like a little bit of like a loose
cousin of hardcore kind of.

Speaker 3 (48:22):
Oh that's good. Yeah, yeah, I didn't even think about that.

Speaker 2 (48:25):
You're right, because this overbearing father type is more moral
father type coming in through the whole thing. Actually, like
if we're just saying purely, like fun. I had the
most fun with this one. Yeah, I do think red
Rings of Fear or I think they just call it
Rings of Fear in the Box. Yeah, I do think
that's like the best.

Speaker 3 (48:45):
Probably of by a mile.

Speaker 6 (48:47):
Yeah, but I had the most fun with this one,
I think, And like they they do not skimp on
the nudity either, Like it's there's a lot, there's a ton,
and she's naked for most of the film.

Speaker 3 (49:00):
Yeah. I think her name is Paula Cerentini.

Speaker 2 (49:04):
I might by she goes by a stage name in this,
so let me see if I can quickly find it,
or maybe that's her stage name, but she goes by
I can find it really quickly. Yeah.

Speaker 3 (49:14):
Well, while you're pulling it up, what I'll just say
is that, like, yeah, I know. I I think when
you had on Eugenio or Colani on your pod, he
talked about like she Unfortunately she she was, she's very striking,
and she went on to have a bit of a career,
but then had like a she had some issues with
like a drug arrest or something and kind of like
halted her career, which is unfortunate because this was a

(49:35):
hell of a debut.

Speaker 2 (49:37):
Yeah, she's not the one that had a pseudonym. I'm sorry.
They had Simone Blondelle in this as well, and.

Speaker 3 (49:42):
That's right, Yeah, Paula Sanatori was her name. Sorry, I
just had to look it up.

Speaker 5 (49:47):
I was driving.

Speaker 3 (49:47):
I mean, that's I hate when I get like a
part of a name wrong.

Speaker 2 (49:50):
Yeah, paul Senatore. But Simonetta Vitelli is in this. She
goes by Simone Blondell and she's famous, and she does
a good job as like the friend in this, and
there's some.

Speaker 3 (50:03):
Funny she is really good. Yeah, you're right, she's great.

Speaker 2 (50:06):
And there's some funny nods to her career because the
guy keeps telling her she should she should use her
body to be and like in different kind of things
and she rejected in the film. But but someone Blundella
is a is a legend as well. So anyways, you know,
I think this is fun, man, This is a fun
set for me. I like this one a lot.

Speaker 3 (50:27):
Yeah, I enjoyed it. It's it's probably if I if
I was stacking the box sets. I think I still
think that run they had kind of up until part seven,
like in the middle there it was such a such
a strong run. Yeah, that like it. I wouldn't put
it above those, but it's it's certainly not my least
favorite of the bunch.

Speaker 2 (50:46):
I don't think, yeah, I'm with you on that, anything
worth calling out here. There's another. They actually get someone
Blundell to talk on here, which is really cool. I
haven't seen it yet, but I can't wait. And then
they get a brief interview with Howard Ross, whose real
name is We're not overseeing.

Speaker 3 (51:03):
It's funny scene and those never get old to me
when when you hear the American pseudonyms and like, like
you know, Louis Lucio, Fulci, Lewis Fuller, like those kinds
of things, they never never get old exactly.

Speaker 2 (51:16):
It's awesome. Then the Eugenio I have to call out
his interview on here. Eugenio, if you're listening, you're a
dapper looking dude. Man. I didn't I didn't realize Eugenia
was so handsome. But he's dressed up to the nines
for this interview, and he does a good job running
through all of the like the history kind of surrounding it,

(51:38):
typical well researched fashion. He gives. It's a hell of
a lot of information in a quick twenty minutes, and
then I was really impressed. I want to hear more
from Luca Reya. So Luca does an interview as well.
He's just sort of an Italian film like historian. I
haven't heard from him a lot, but he's great, Like
he's another one I'd love to hear more from. So

(52:00):
it's awesome. Yeah, yeah, no, this that's good. So this
is for seventy four ninety five. Now we're going to
get into my favorite release of this bunch yep. Same
here you're saying, okay, released four ninety six, which is
a double feature. And it kills me that this is

(52:21):
a double feature because these both should have had individual releases.
But that's okay. Double Fetus and Her Vengeance just right
off the top. I have to say, Holy hell, Like
what a what a series of movies?

Speaker 3 (52:36):
Couldn't agree more? Yeah, I actually saw Double Fetus for
the first time, I want to say in twenty sixteen,
twenty seventeen, somewhere in that period. It played as part
of a marathon at the American Cinema Techs. It was
this really beat up print, like it was faded, discolored,
but it was the original cut, and of course with
an audience, it fucking melted everyone's faces, especially the last

(52:59):
twenty men. And it's it's like it really needs both
of these for different reasons, need to be seen to
be believed. But just to yeah, I'll let you take it.
For Devile Fetus, I just wanted to say that it
was nice to actually have seen it. So when I
did revisit it this time, my brain was in kind
of a different space rather than like, you know, kind

(53:20):
of that that first time watch of you know what
to make of it?

Speaker 2 (53:24):
Yeah, well, no, it's fine. I mean, you know, the
director for Devil Fetus is a guy named Lao Hong
Chen got famous as a cinematographer. And nothing that I
would say is necessarily like I mean, he was just
you know, he was shot a lot of movies, but
mostly around the camera and cinematography, and I do think

(53:46):
it shows here the oh this this movie realizes I think, well,
I love this movie, not necessarily because of just like
the cinematography, Like I don't think there's a lot more
to the movie than just that, but it was framed
and shot and staged well like it was a very
like it has a very artistic lens to the whole thing.

Speaker 3 (54:07):
Yeah, yeah, and the transfer does justice to it really well, because,
like I know, with a lot of the the the
specifically with like Fortune Star and a lot of those
labels from Hong Kong and they are studio supplied, like
a lot of the transfers, and then they kind of
can do some extra grading and whatever VS is doing

(54:28):
with what they're given. There's there's still like great, great
fucking transfers like beautiful and so yeah, you're watching this
really goopy batshit, you know, like movie and it looks
you know it And maybe I've said this before, but
like you know, a lot of these there's a charm
to seeing them kind of in like grindhouse mode where
they're like, you know these these fucked up scans or

(54:51):
whatever or you know whatever. But but also there is
something to be said about getting like the criteria level
treatment for something like this and be able to see
it that way too, because it makes you appreciate particularly
with like I think, especially with Hong Kong cinema, and
I think also with Italian movies and and you know that,
just to not to bring it back to forgotten jolly

(55:11):
Vall you mate, but like that volume, a lot of
those I think only one of them was scanned from
the negative. The other ones are like cris and like
like preservation prints or something, so they kind of have
a grain to them that is like a little heavier,
like you know, it's a little noisier, but it still
looks great. And I think that like having being able
to kind of bounce between the two is so nice.

(55:33):
But like you also, when you get these like really
nice transfers, like on something like Devil Fetus or even
like stuff like like those Severn ones that they put out,
those fucking real brutal ones like the Italian cannibal ones
and stuff like the Vergara Deodata ones, you really get
to appreciate how elegant they are within their within their
kind of insane or sleazy origins, they still have this

(55:56):
incredibly elegant and beautiful foundation. Also because they were shot
on so they're gonna look better just just literally just
by being photographed on film. Looks better than whatever the
fuck just came out this month in theaters totally.

Speaker 2 (56:09):
I mean did thought it was an interesting one too,
because he really pays so much attention to the music
that those movies are like kind of kind of beautiful
experiences all the way through, even though some of the
content is pretty rough. Yes, but this one, you know,
I do want to quickly, I know we're kind of
jumping back and forth a little bit. I did hate
the music in Triple A Missus.

Speaker 3 (56:27):
I did want to call it, yeah, well because it
was that fucking cloud music for like a sitcom, you
know what I mean, Like it had that kind of
like weird Uh it's not exactly like like like circus
music or anything, but it is. Yeah, no, you're right,
but yeah, it's it's so and again that kind of
adds to that weird flavor.

Speaker 2 (56:47):
By the end of it, d you kind of it
kind of became part of it. But what is this
is it felt like it was added afterwards. Yeah, double feated.
So we haven't really said so. I think the thing
that I about Double Fetus is it's the kind of
Cat three that like got me into Cat three, right,
Like I came in to Cat three through like Riccio
or like whatever these kind of things, right, and so

(57:10):
like for me, this is just such a beautiful example
of a director and a writer and a and like
a production team that used that cat three rating to
just make something that has like completely unhinged creativity, and
like it starts off in a in a basically like
a square. Right, there's like an open market. This woman

(57:32):
buys a vase is supposed to have some kind of
special powers, and this particular thing that she buys I
think it's a vase, but anyways, like some kind.

Speaker 3 (57:41):
Of Yeah, it's like it's a it's a jade. It's
I think it's like a dick. Well it looks like
a huge deck.

Speaker 2 (57:47):
Yeah, it looks like and she sort of masturbates with it.
I think it's an implied masturbation. It's she kind of
gets like intimate with it, but doesn't actually like it's
like weird. It's almost like I don't even know, like
like the Cassanova from Fellini or something where that's right.

Speaker 3 (58:08):
Oh so wait, sorry, I just want to backtrack for
that open market thing where she buys it. She buys
it at an auction. It's not like she just saw
it and it's calling to her and she just purchases it.

Speaker 4 (58:18):
You know.

Speaker 3 (58:18):
Usually a lot of times it's like the monkey pause
thing where they're like you're gonna buy this, but here's
the warning this It like a little guy on the
top of the thing pops out at her like kind
of catches her attention, and and all these people are
bidding on a dick vase. They're like, they're like five
hundred one thousand, and she just comes up. She's just
like twenty five hundred and and everybody else is like, oh, well,

(58:40):
you know what, I as as delicious as this looks,
I ain't have it, obviously, Yeah, they let her take it.
It's just really funny to me that it's not just
that it's not just like an item for sale on
the street, that it's like people were going nuts for it,
like it was like the uncut Gems auction.

Speaker 2 (59:00):
So there's a scene. I don't think she realizes that
when she's masturbating with this vase or this thing, that
that it actually is like a demon who's fucking her.
Like I don't think she puches onto that. I think
it's happening without her noticing, but like we see it,
like it changes to this kind of demon and he
inciminates her, and then the then like it's just funny.

(59:25):
I mean, I don't know else to describe it. Like
everybody dies.

Speaker 3 (59:29):
Yeah, because the husband sees it. He like comes in
and he's like, oh no, I'm being cooked. So he
throws the vease like he he and it fucks up
it if I remember correctly, it fucks up his face like.

Speaker 2 (59:39):
Something in there, like some kind of whether it's smoke
or something in the liquid or something gets on his
face and he's gone.

Speaker 3 (59:45):
Yeah, he looks ridiculous, like but it's real, goofy. Yeah,
everybody dies. That's right, you're right, which right there, that's
just the beginning of the movie. We're just talking about,
like the cold open, yeah.

Speaker 2 (59:59):
Exactly, and then it just kind of continues on in
the insanity from there. I don't want to like Ruin
too much because it's really fun, I think to see
you play out, but like, yeah, I just I love
like this is the thing that I always say about
some of the best Cat three stuff is like I
could never write.

Speaker 3 (01:00:14):
That, right right, You're absolutely rascinating to me. It well
because it you know, and and for some people it depends.
This could be a feature or a bug. But I
feel like a lot of Hong Kong cinema it's like this,
you know, it's very genre blended and so you'll get
like this movie that has this insanely sleazy, you know,
like like fetishistic sex stuff, and then suddenly it turns

(01:00:38):
into like a real goofy, screwball comedy of like you know,
like people like people slipping on banana peels right after
they just like had like a demon gang bang. Right,
So it's like it's it always is kind of like
and I'm not saying that's what happened here for anyone listening.
I don't want them to write us and be like,
where was the demon gang bang? But you know what
I mean, It's always like that kind of stuff. It's
always that juxtaposition and so for some people that can

(01:01:01):
really be destabilizing and for others that's what makes it
a good meal. And obviously you and I fall in
kind of the latter category. But yeah, that's a great point,
Like how do they think up of Like it's obviously
a lot of cultural stuff of like being like, oh,
we have to this is how we approach the humor
of it. But then also here's this, what's the grossest

(01:01:22):
thing we could think of? And in like a fun way.

Speaker 2 (01:01:27):
Yeah, and I think this is not a body horror movie,
Like I don't want to put it at all, but
body horror movies do are typically where you see a
lot of this kind of goofiness of the goodiness and
like the that sort of you know, pussiness and that
kind of gross out stuff. And like, I think there's
a few Cat three movies that do that well, and

(01:01:48):
this is certainly one of them. I think this is
I don't know, man, this is just to me such
a classic, Like I just I really like, I genuinely
can't believe they didn't give this its own release and
I and I I still see like a lot of
copies left of this, and that kind of blows my mind.
I don't think people realize. The only thing I can
think about of why there's still yeah, over two thousand

(01:02:10):
copies of this left is wow.

Speaker 3 (01:02:12):
Yeah. I'm actually surprised too, because I feel like this
is when people when it got announced, people were like,
oh shit, finally Devil Fetus. You know. The only reason
I didn't do a cartwheel. I was happy because I,
for me, the big find was actually the next movie
on there, but because I'd been wanting to see that
for a while. But it's only because I had seen
Devil Fetus at a screening, so I wasn't like but

(01:02:33):
that said, I was like, oh great, it got it
finally got like an uncensored, full blooded restoration. So I
was happy about that. But I know a lot of
people were like, finally, I've only seen Devil Fetus on
like a shitty VHS or like, you know, I won
thirty three DVD, so it I thought like it was
a great mixture when I saw the announcements, so I

(01:02:54):
was happy about that. But yeah, you're right, it is
interesting that these two got paired together because they're both
Golden Harvest. I think was maybe the tie, but but yeah,
I one thing I will say about Devil Fetus though,
is they're both short movies, and this one does kind

(01:03:17):
of have a the pacings a little more scattered, so
it starts like you're really going, like they're they're really
swinging for the fucking fences right up top, and then
it kind of relaxes for a little bit, maybe a
bit to a fault, and but when it does finally
pick up, because you know, the family gets killed or

(01:03:38):
I'm sorry, the couple gets killed, but then after that
the family has this like some someone I forget, like
a somebody puts a like I think it's a priest
or something or some equivalent of that puts like a
hex or a protective.

Speaker 2 (01:03:53):
Curse on it.

Speaker 3 (01:03:56):
Yeah, so so it sets up that the family like
years later accidentally breaks that or reopens it. But it's
kind of building up to something. And then when you
finally get to about the last I want to say
twenty to thirty minutes. If you thought the first ten
to fifteen minutes was crazy, you ain't seen nothing yet.

(01:04:16):
Like the last the last act of this movie is
exactly why we watch this stuff like it's it's so
if anyone who hasn't seen it, this is exactly why
you play the game, Like it's so fucking great, how
bananas it gets.

Speaker 2 (01:04:34):
I love it. It's almost like you know, like Hupping the
Hupping vampire movies or the Madge.

Speaker 3 (01:04:37):
U huh Yeah.

Speaker 2 (01:04:39):
I almost feel like it is like a like an
X rated cousin or Cat three cousin of those. Like
it's got a lot.

Speaker 3 (01:04:45):
Of miss yeah in it.

Speaker 2 (01:04:46):
It's got a lot of the humor in it. It's
not it's not like a tough watch at all.

Speaker 3 (01:04:51):
Right, Yeah, no, you're absolutely right. It's completely and like
I said, what I'm saying with the pacing issues is
it more of like being like this is it's it.
I guess I wasn't trying to say it is necessarily
a knock, but more like I think for people to
temper their expectations because I think what happens with a
lot of movies that are bad shit, very few of them,
and I'm talking about in general. This isn't just Cat three.

(01:05:12):
Very few movies can sustain that kind of insanity for
like ninety minutes, like not everything's a bowl of syndrome,
I guess, for lack of a better example right right now,
but just to keep it in that that kind of wheelhouse.
But I think that like if people who haven't seen
this kind of stuff before are a little newer to it,
it it it sets itself up a little more like
like to bring you in with the sort of really

(01:05:33):
insane kind of this really hilariously wild opening, and then
it kind of settles in for a little while to
set up kind of this and then you really get
what you paid for in the last half an hour, now,
you know. I just think for people listening who haven't
seen it before, that's that's a that's a that's a
nice way to kind of set the expectations.

Speaker 2 (01:05:51):
Yep. And speaking of that shit crazy oh yeah, the
next movie in this double feature, And speaking of Ricky
Oh and some of the Cat three stuff, we've talked about.
One of my personal favorite directors probably ever, but certainly

(01:06:12):
in Hong Kong is lamb Night Choi, famous for Ricky Oh,
famous for Erotic Ghost Story, famous for the Cat I
think the cool thing is more of his movies are
now like coming out on physical media, which is really great.

Speaker 3 (01:06:27):
Yeah. I think Vinegar Syndrome. They did Seventh Curse just
a couple of months ago.

Speaker 2 (01:06:32):
There you go, Yeah, Seventh Curse, which was another double.

Speaker 3 (01:06:35):
Feature, Yeah, with another one where Chaion Fat shows up
for a few minutes.

Speaker 5 (01:06:41):
What was it?

Speaker 7 (01:06:41):
Uh? Oh?

Speaker 3 (01:06:42):
Which which Truman and Paul which.

Speaker 2 (01:06:43):
Of course which Yeah. But I'm glad he's having his
day in the sun a little bit here because I
just I just love his like aesthetic man, Like, I
just love his movie so much. He like whenever there's
like there's a rape, this is a rape revenge film
at its core, right, he never really focuses on like

(01:07:04):
even in Riccio like that, he never focuses on stuff.
It's emotionally tough for long, like he just wants to
have a good time. And I think in all of
his movies his idea of a good time is pretty
dark and twisted, but which is great for me because
like that's why.

Speaker 3 (01:07:21):
Yeah, totally, Hey, you're in good company there, No, I
agree exactly.

Speaker 2 (01:07:27):
I was thinking about how to describe this movie to somebody,
and I was like, you know what it is to me,
some of you, if you think there's any this, if
you like this or not, it's almost like a Cat
three version of Home Alone with the style of kills.

Speaker 3 (01:07:40):
So yes, I think for that part, you're totally spot on.
I would just to add to that because I believe
this was an explicit influence on the movie. It's like,
if it's like Home Alone meets I Spit on Your
Grave yea, yeah, yeah, sure, sure, which I Spit on
Your Grave arguably also has some Home Alone traps in
it here and there, but it's it's I think this

(01:08:03):
is way better than I Spent on Your Grave. I
always I always found that movie. It didn't it doesn't
hit for me the way it does for people who
really like it. I always thought it was. It's I
know it's foundational text for some people, but I think
this takes it in an entirely like in all the
right ways in terms of how it deals with both

(01:08:24):
the brutality and the catharsis. It also helps that I
watched this right after watching Night Train Murders.

Speaker 5 (01:08:32):
Okay, uh have.

Speaker 3 (01:08:33):
You seen that?

Speaker 2 (01:08:34):
No?

Speaker 3 (01:08:35):
Oh? Okay, so just I I. Yeah. The only reason
I want to bring this up is just for the
purpose of juxtaposition again, which is that uh seven put
out a four kV and I think eighty eight Films
is doing the one overseas. But it's a it's a
it's a ripoff of Last House on the Left, which
was a ripoff of Virgin Spring, and instead of taking

(01:08:55):
place on in like the backwoods and being like an
anxiety is about, you know, the nuclear family, post Vietnam,
that kind of stuff, this one is about takes place
in Europe and uses like more fascism as the artistic entryway,
and it dispenses all of the the Hong Kong clown

(01:09:19):
stuff of the Cops and Last House on the Left
that completely to me are so not do not belong
in the movie. Again, That's another one like as much
as I love a lot of the foundational texts, that's
another one that really I think Hills have eyes of superior.
But Nightrain Murders is basically it follows the exact same plot,

(01:09:41):
just on two different trains, and then eventually those guys
make it to the parents' house as well and they
enact their revenge, but it's done a lot less. It's
surprisingly more restrained than that part and then decidedly more
brutal in the assault scenes and how it lingers on that.
But watching Her Vengeance after that, I already was on

(01:10:03):
board at that movie. I loved Her Vengeance. I think
it's for me. You're right, this this pair is the
release of the month on the main lines for me.
But this movie is at the top of even that stack.
I love this movie through and through because I think
it handles. Especially after watching Night Train Murders. It made
me love it even more than I already did, and

(01:10:23):
I already liked it quite a bit, And it just
does a great job of walking that line of what
you're talking about, where it's like this really batshit stuffy
in ways that makes you want to take a shower,
and then also batshit in ways where you're like, this
is so goofy, but it never one doesn't cheap in

(01:10:44):
the other.

Speaker 2 (01:10:45):
No, I agree. I think he makes some fun choices too,
And I know funs a weird word to use, but
like fun in the sense that it almost becomes I
think Lonoi Choice is very good at creating like a
very comic book type feel in his movies, and I
think he does it a little bit here, just in
the sense that the bad guys don't die like the

(01:11:07):
stuff that happens to them. They're just almost invincible, which
makes you can have this kind of like repeated torture
on them as the revenge right, and it's very satisfying.

Speaker 4 (01:11:18):
It.

Speaker 3 (01:11:18):
Also, he does something that I doubt it was an
influence on one of the filmmakers I'm about to mention,
but it does weirdly pre date in a good way
both Park Chan Wook and Jeremy Solnier's stuff, in the
sense that the way it kind of deconstructs the revenge

(01:11:40):
movie because in a lot of those movies, for both
Park chan Wook, a lot of his has to do
with like the ethics of revenge obviously, and people who
are in over their head and so does Jeremy Sonnier
when he does like Blue Ruin and Green Room and
even to an extent, you know his like other stuff
like Reubel Ridge, where it he somehow makes it cathartic

(01:12:00):
but also reminding you that the person who wants the
revenge is in over their head. So this woman wants
to kill these people, but she also needs help because
she's fucking with criminals who can absolutely eviscerate her in
the right conditions. And so it never goes according to plan,
but not because there's like some element, some third party

(01:12:20):
element that throws it off, like a you know, a
passer by or something necessarily. But it's because like she'll
slip and fall or does something, but not in a
way that she's she's not stupid, and she's not she
doesn't have agency. She does have agency when she's doing it,
but it's just like it's very her errors are very human, yes,
And so when when she finally starts getting help from people,

(01:12:41):
or when she does, if she does manage to successfully
dispatch a guy or two, it's a lot of work
and it and it ends up costing her more in
ways that she doesn't anticipate. You know, I don't want
to spoil it, but like it. It really takes a
lot of the stuff that revenge movies now do, especially
like in such a poet postmodern way. It kind of

(01:13:03):
beats it to the punch in a lot of ways.

Speaker 2 (01:13:05):
Yeah, that's a good point. That's straight She's never she's
never presented as infallible or like the ultimate hero, which
which makes it more satisfying. And I love that her
her sidekick in this movie is a guy in a
wheelchair who's yeah, like some kind of mcguyver kung Fu master,
just like I don't know, he's amazing.

Speaker 3 (01:13:25):
And that's how that's how you know it's it's it's
uh this director, that's like his signature right there, because
when you're watching this it it doesn't exactly sync up
with like Seventh Curse or riki Oh, where like it's brutal,
but it has that comic book feel to it yet
and then because you're like, oh, this feels more like
a straightforward and then suddenly you get this guy, a
paraplegic who like is fucking just taking people down left

(01:13:49):
and right, and you're like, and in a way the
way he shoots it when he's like starts doing his
wheelchair training, you know, going on the ledge of a
building or whatever. You're like, okay, yeah, now now I
know who directed this for sure.

Speaker 5 (01:14:00):
There he is.

Speaker 3 (01:14:01):
He's just reminding you that he can. If he wants
to put this in a movie, he can.

Speaker 4 (01:14:07):
You know.

Speaker 2 (01:14:08):
I love it. I don't know. This is one of
those ones to me that's infinitely watchable, and I think
absolutely And Sam Deagan has a very very good essay
on here a video essay on here.

Speaker 3 (01:14:19):
Yes I watched the Yeah, it's on weirdly just as
a so people know as a heads up. They have
two versions, so all the features for both movies, the
special features are on the Devil Fetus disc, like the
Her Vengeance special features are also on the Devil Fetus disc.
I'm guessing because they probably couldn't do seamless branching or
something or you know. But there's two versions of Her

(01:14:41):
Vengeance on the Her Vengeance disc. It's like the Cat
three cut, which is like barely an hour and twenty minutes,
and then there's like a longer Cat three B which
is like I guess the the R two r NC seventeen. Yeah, uh,
And I didn't watch that version I watched the I'm
always gonna go for the harder version. It's maybe maybe

(01:15:01):
down the line, just as a curiosity. I like that
that VS gives you that option. I always love when
those kinds of things are available, kind of like that
Beyond six disc thing that like every version of The Beyond.
If you want it, you got it, baby. But uh
yeah it. I love Sam Deacon's essay as well. I

(01:15:22):
love her stuff. I love her podcast. I know you've
been on it. It's it's a really really great Like
the way she covers Hong Kong stuff on any of
the VS releases, I pretty much always go to her
stuff first. Yeah, if I see like her, any of
her features available, because the way she talks about them
and contextualizes them and writes about them is terrific.

Speaker 2 (01:15:42):
Well, it's coming from a place of passion, but she's
also a pandemic, so it's like a nice branch. I
I do want to quickly, just very very quickly call
out put out two episodes back to back, one about
Japanese V cinema with Tom mess and then So Good,
Oh my god.

Speaker 3 (01:15:59):
So good. I cannot wait to watch that box set.

Speaker 2 (01:16:01):
I know the way that Toms breaks into like what
d Cinema was and wasn't and and all that just
totally cow and then she then she just did right
after that, she put out another one which is a
just Franco episode, and it's just that's great.

Speaker 3 (01:16:20):
Any so good? Yeah, Yeah, I actually met those guys,
the Oscar Bait guys in in l Ay. They did
a they did a week here of Franco screenings at
different places, and I got to go to a double feature,
which watching two Francos back to back is I'm not
recommended for everyday consumption, but definitely consult your physician if

(01:16:41):
you are not familiar with Franco's filmography. But for me,
it was great. And yeah, and I like was talking
to them about my movie night and they were really
really cool.

Speaker 6 (01:16:52):
You know.

Speaker 3 (01:16:52):
We were just talking about like which Franco movie would
play well in a for like at Pussycat Theater night,
because it's it's really hard to reduce Just Franco to
people who you know as far as accessibility, but that
episode does a great job of really covering a certain
aspect of his career and and like, how you know

(01:17:15):
if you if you're gonna start a Franco because it's funny,
you know, the one that VS put out this year,
White Cannibal Queen couldn't be a less frank Like, that's
certainly not starter Franco. Yeah, so anyway, sorry, we're going
a little bit on a tangent, but yeah, you know,
you're you're right, it's a total that that that's a great,
great episod, both of those episodes rock and Yeah. I

(01:17:36):
loved her essay on here about rape revenge movies, particularly
in Cat three. If I remember correctly, she did one
on I Believe that the Chinese torture Champe. That's when
I first like, I think, one of the first ones
I've heard of hers. And I think also on Women
on the Run she had one.

Speaker 2 (01:17:52):
I haven't heard the Woman on the Run one. I
believe it's there. I haven't heard that one. But the
Chinese torture chamber story was great, and there's an amazing
another essay by Erica Schultz on that one about the
history of torture and yes, yes, just such a well
researched and cool essay.

Speaker 3 (01:18:07):
Yeah, and I like her podcast a lot too. She
has a great podcast called I Think It's Unsung Horror okay, good.

Speaker 2 (01:18:13):
Yeah, okay, going from the best to just firmly and
what the fuck territory Vas four ninety seven Brimstone and Shreacle.
So like, I generally I am not sure what I'm
going to say about this, but I have a lot
to say about it, if that makes sense. So yes,

(01:18:34):
So Sting plays essentially like a Malcolm McDowell type character
in Clockwork Orange. This was his first acting role, or
or at least lead acting role.

Speaker 3 (01:18:44):
Oh yeah, it was his first lead actor. He was
in Radio on a few years before this. But he
is it's it's this is Sting. My friend that I
watched this with a friend and he made a really
great point that this isn't just Sting, this is Sting
at the height of his career, like the Police were
performing in fucking Renaz at this point. So crazy, that's
very important. That's that's on par with Madonna at the

(01:19:06):
at one of her high points in Dangerous Game.

Speaker 2 (01:19:10):
Like think of it that way, you know, right, that's
a great analogy. And Richard long Crane, who I just
my nose just got shut down. But I'm just opening
back up again. But he was a established director. He
was a very workman type director.

Speaker 4 (01:19:28):
He was.

Speaker 2 (01:19:30):
He has thirty movies total in his filmography, kind of
switching back and forth between TV. He was all over
the BBC twenty years ago. He made a movie called
Wimbledon that got a lot of attention.

Speaker 3 (01:19:42):
That's right, Yeah, that was that was like a rom
com back when they were still when they were still
alive and kicking really well, that did I remember doing
relatively well here, I think, yeah, I remember that movie.
I didn't see it, but yeah he did. I mean,
you know, he did Richard the Third, He did Haunting
of Julia. He did a terrible movie with Harrison Ford
called Firewall that they might as well have just filmed
Harris and Ford counting money. I mean, he clearly was

(01:20:04):
like that was when he was starting his his his
like his pension movies, I guess, or whatever you want
to call him, where he was like clearly just like
all right, yeah, I want to just put some money
in the bank, even though I have probably more money
than God himself, but why not? But yeah, you're you're right.
He's definitely a journeyman to put it.

Speaker 2 (01:20:21):
To put it nicely, I'm just thinking of like how
to start. So this movie is based on a play
we should say that Dennis Potters play. Dennis Potter's another
well known name as a writer in the UK and
an international But the premise of this movie is just
so fucked Like Sting plays a guy that's essentially either

(01:20:43):
either a Mary Poppins type of character or maybe a
homeless person.

Speaker 3 (01:20:48):
And sorry, that's so spot on. It's like, it's like
if Mary Poppins was a like a transient.

Speaker 2 (01:20:57):
Yeah, like an unhoused Mary Poppins. Yeah, who is not
even really that good of a con artist, but convinces
this dnim Elliott, another wonderful actor, like take him home
because he threw his ways of getting to know people.
He finds out that the daughters become like, I forget

(01:21:18):
if they use the term vegetable anyways, the daughters not
like can't no longer move, and he plays up this
whole dramatic thing about how they knew each other and
and oh no, no, no, he doesn't convince him to.

Speaker 3 (01:21:30):
Go home, but he drops no, no, he tricks them
in and and does enough like does a confidence trick
to kind of get to the house.

Speaker 2 (01:21:37):
And he drops right and then yes, yeah, he sees
the address and then he's he wins over the mother.

Speaker 3 (01:21:43):
Like instantly, right, she got played by John plow right
another like wonderful rate, Right, she's so good in this.
She's so good in this.

Speaker 2 (01:21:51):
That's the weird thing is that she's great and dnim
Elliot is great and Sting is good. Yeah, the performances
are spot on in this.

Speaker 3 (01:21:58):
Yeah, you're right.

Speaker 2 (01:21:59):
And but so he meets the daughter and she is
in bed and she can't move much and she can't speak.
And I am actually gonna spoil this one because I
feel like we have to talk about it. Yes, I
really don't want to see Brimstone or hear Brimstone in
Triacle spoiled. Then I guess skip ahead a few minutes.

(01:22:19):
But like, the best I can tell, the point of
this movie is that like Sting raping her like wakes
her up and allows her to speak again, and then
he like goes off and into like you know, just
running other cons and maybe even he gets Condon at
the end. It's kind of a weird little twist.

Speaker 5 (01:22:36):
But like, but like.

Speaker 2 (01:22:39):
She's instantly not mad at Sting. She's just mad at
the dad for causing the affair and having an affair
and causing her injury and all this stuff to begin with.
But it's just like I was just watching this what
is happening, Like like I couldn't I just didn't understand
the point of this, like what they were trying to do.
Like this is such a weird movie, so.

Speaker 3 (01:22:56):
I I would classify this. When I was watching it
with my friend, the same friend who had mentioned that
the thing about Sting being at the height of his career,
what I said in the middle of the movie, because
I think we pausitive, just because like one of us
had to take a piss or something. And I was like,
you know, I don't know. I don't know what to
make of this movie yet. But what I will say is,
even though it's not I'm not sure if it's good
yet or not, it's definitely more interesting than good. And

(01:23:19):
that's not a bad thing. Like it it's through and through.
I mean it's barely ninety minutes. It's like eighty five minutes,
and for the whole running time, I still wasn't really
sure what it was up to. And it's not often
I feel destabilized by something to the point that I'm like,
where's this going? And I agree, I think it You know,
it culminates and basically sting being able to do two

(01:23:41):
things stay in a rich family's house and and molest
their daughter who's in a vegetative state after she witnesses
her father having an affair and she runs out of
the out of the room where he's having the affair
and gets hit by a truck and that's why she
is where she is. And it becomes this this thing
kind of about like, you know, his hypocrisies, you know,

(01:24:03):
trying to be like a traditional father who doesn't let
the wife leave the house and just take care of
the daughter while he's fucking the secretary. Like you know,
I guess at this point in movie history, we've seen
so much of it that you're you know, if this
is your first time seeing the movie, it's not going
to be necessarily anything groundbreaking in that sense. But how

(01:24:23):
it's shot, I think is what keeps it interesting. There's
this like this was just when music videos, you know,
MTV I think had become a channel, what a year
or two before this, and or maybe the same year,
I don't remember. I think it was eighty one, but
this was eighty two. So yeah, so this starts to
you already start seeing like music video stylization in this
like that kind of this. This really moody editing with

(01:24:46):
like some rapid cutting here and there, but it's very
cool that part. I liked it a lot and until
that point, but then when I sat with it when
it was over, I was like, you know, this is
somewhere between two and a half and just a heart
without any stars on letterbox. I couldn't figure out. I
ultimately went with two and a half, and like I said,
it's not a It's not a bad thing. If I

(01:25:08):
was in if I was even a little more charitable,
it would have been three. It's one of those things
where it really if you even I'm trying not to.
I was just talking about this with Celeste where we
were like, I was like, you know, I think star
people get really hung up on that, but this was
a great example of one where I truly was like,
I'm not really sure where to put this movie in
the you know, for my friend it was the opposite.
It just made him he it was just over the

(01:25:29):
line for him where he actually liked it because he's like,
you know what, this was a great portrait of a psychopath,
of like a guy who's like, really, you know, Sting
is like so repellent in this, but he's also the biggest,
one of the biggest rock stars in the world, and
that's that's so interesting and so yeah, I'm mixed on it,
but not in a bad way at all, Whereas like,

(01:25:51):
you know, some of those forgotten Jolly Ones we're talking
about are mixed, but you know, I know I'm not
going to see those again. This absolutely has the potential
to be revisited, and it made my friend even more
curious than me to see the actual the BBC television version,
where it's more expanded on and where it has to
be a little I think more restrictive, because this also

(01:26:12):
feels cut.

Speaker 5 (01:26:13):
Up a little.

Speaker 2 (01:26:14):
Well, it was meant to be a TV show, that's right. Yeah,
it may have even aired first, but it got to
the point where the subject matter was too controversial and
so they movie. I can't remember. I have this memory
of them saying it actually aired briefly and then there
was like a brief uproar about it.

Speaker 3 (01:26:31):
But right, I think you're right. I think you're right.
It came back later. I think it actually aired on TV. Yeah,
they actually ended up pulling it and then it came
back like way later on, like like much much later.
The movie actually, I think, technically speaking, beats to the punch.

Speaker 2 (01:26:54):
Yeah, And I guess there's nothing in it that's explicit
in terms of nudity or that kind of thing, But
I think the subject matter is just so like dark.
I think. Yeah, And you know, I think it's interesting
that there's a there's a movie that Larry Cohen made
early in his career called Bone. Have you seen that?

(01:27:15):
By chance?

Speaker 3 (01:27:15):
No, I'm familiar with it, though I I I I
love Larry Cohen, so I try to be a completeist
with him, even if it doesn't work necessarily. But no,
I have not seen Bone. It's like one, Okay, I haven't.

Speaker 2 (01:27:24):
I would recommend seeing it because I think it does
a similar thing where it puts a male aggressor into
a very vulnerable family. M But there's a there's a
racial twist in Bone because it's it's a black man, right.
But but both times they make the lead character so

(01:27:46):
sting or I believe Bone is Yeah, at Koto, I
hope I'm not wrong about that, but it makes them
both sympathetic characters, and yeah, yeah at Koto, he's he's
such an amazing act so good, Yeah, I am, and
he has like the presence he has in Bone is
just off the charts, but like it does a good job.

(01:28:07):
In both of these movies, I think of having like
taking a look at morality and you can't you just
can't help but think about it and talk about it afterwards,
because like Brimstone and Treacle, I remember just finishing it.
Like you said, it's a very engaging movie. It's never boring,
like it's well made, really good performances. Can you imagine

(01:28:28):
seeing this live? Like what?

Speaker 3 (01:28:30):
Yeah, I think about that. You know, you're right, I
you know, it's one of those things where like one
thing that really is incredible And why I think this
is such a great time for physical media, not just
from them getting these beautiful restorations. It's that I do
think look right now, not in a negative way, but
it's just a fact I think right now, movies like

(01:28:52):
new releases, just the way we watch them and the
way they're made has a very specific I don't know, Oh,
it's just it feels like it as free as things are,
it also feels so restrictive in so many ways, or
so self aware and so many things that at the
moment turned me off. But it's not to say I'm
not seeing new stuff.

Speaker 2 (01:29:11):
I do.

Speaker 3 (01:29:11):
And there's stuff I like that I've seen this year plenty,
but I do. It makes watching something like this even
more like you really get to realize how good we
had at a certain point when like the world's biggest
rock star could be like, I'll do this thing that's
not based on some kind of ip that we grew
up on. You know whatever, it's not your chicken jockey's

(01:29:33):
not showing up. For lack of a better example, right now,
I hate to bring that up. It's such a hacky reference,
but like, you know, whatever it is that you're not
gonna see whatever Gambit show up or whoever. It's just
all those things. And again I'm kind of going with
low hanging fruit there, but like it just it is
something that people would just be like, oh, okay, Sting
is in this movie. I'm gonna go see this. That's

(01:29:54):
the power of Sting or you know, the power of whatever.
And and sometimes these would flop on delivery and then
suddenly get good word of mouth and really pop off
or become a big home video staple or you know whatever.
And so it it's such a great That's why I'm
not bummed that theaters aren't. Like I'm not using my

(01:30:16):
A list as much as I used to because i
have so much here to catch up on and I'm
rarely revisiting things. I'm actually seeing stuff like this, and
I don't feel like I'm wasting my time doing it.
You know, I have a pretty good gauge on what
I will and you know, I'm forty now, I have
a great, great radar on what I will and will
not respond to or what I'm open to being surprised to.

(01:30:37):
So I know, like I like when I started revisiting,
speaking of like Night Train Murders, I hadn't seen that,
but I had seen most of the Italian cannibal movies
that Severn just put out on their four k's, and
I a few of those I saw when I was sixteen,
and it's enough for this lifetime for me personally, But
you put it on four K you know what. I

(01:30:57):
ended up watching a few of them again and I
was like, God, this looks fucking great this way. Yeah,
but now I know I don't need to rewatch the
other ones necessarily. There's certain ones that I you know,
I can, I can and cannot do without and so
it's this, you know, but something like this great just
to I'm glad I watched it. That's that's what matters,
you know what I mean, Like, I know that sounds
like a weird way to work around an endorsement, but

(01:31:20):
I do think that that's It's like we were talking
about before, is it a good time or is it
an interesting time? That that beats if whether the movie's
good or not. Sometimes you know.

Speaker 2 (01:31:30):
Well, this is definitely one that there's lots of digest
in it. I think.

Speaker 1 (01:31:33):
You know.

Speaker 2 (01:31:33):
The other thing that Sting and Richard long Crane both
showed up on the commentary, which is.

Speaker 3 (01:31:38):
Just cool, awesome, so awesome. I wonder if VS pulled
that or if if that was like for something in Europe,
Like I wonder how that was even because I know
it's not a feature length commentary, it's like scene specific,
but still, the fact that they got him to even
sit for fucking half an hour, even if they just
did it in their fucking closet, cool, great, great, Like

(01:31:58):
good on Sting for.

Speaker 2 (01:31:59):
Not running away from this because the subject matter in
this movie is not light.

Speaker 3 (01:32:03):
Not at all Yeah, you're right. You're right. He could
disown this, but I don't think. Yeah, the fact that
he doesn't is pretty cool.

Speaker 2 (01:32:09):
Yeah. So that's the that's the mainline stuff for the month.
So that's we get through four ninety seven. Next time
we talk, we're going to get to talk about title
five hundred, which I'm excited about. It's just crazy.

Speaker 3 (01:32:19):
Oh yeah, it's it's fulchy right, it's murder on Murder, right,
that's great.

Speaker 2 (01:32:25):
I know, I'm good on them. I made the mistake
of thinking made it released two or three Folty movies,
but I got corrected. There was this is their first one,
which is crazy to me.

Speaker 3 (01:32:33):
But wow, yeah that is crazy.

Speaker 2 (01:32:37):
Yeah, just so much Folchi has come out on physical media.
I just kind of assumed at some point. But anyways, yes,
the first one.

Speaker 3 (01:32:44):
Yeah, you're right, you're right. It's mostly Blue Underground and Severn,
I guess, and a couple others you know here and there.
Obviously Grindhouse really like individual titles, but yeah, and I
know Cauldron did one, but yeah, you're right, that's that's
wild that it is kind of all over the place.
That's world ride rights for you. They got everybody's everybody
can get their hands on the pot.

Speaker 2 (01:33:04):
And no, that's the problem. But I think this is
a strong month, man. I mean it is just through
and through, like even Reflections in Black, which we weren't
you know, busting or like bustling over or whatever. Like
it's just yeah, it wasn't bad. Like you know, this
is what six movies now this month that we just covered,
and yeah, get on them. I mean that's cool. It's

(01:33:25):
a busy month.

Speaker 3 (01:33:26):
It does make I will say this this year in particular,
a lot of them have been like double and triple features,
and holy shit, has that made trying to watch all
the mainlines in one month exhausted? Like what I remember
when February came and it was just three individual movies.
I was like, thank fucking Christ, I needed this, like,
oh my god. And they were all nice and short

(01:33:46):
and very you know like it was. And that was
also an interesting month. I can't say that was that
was as strong of a month as but you're right,
I think this month it has a lot of the staples,
which is like some Hong Kong double, some Cat three
doubles forgotten jolly, those are those are household things at
the at the vs at the VS Factory and like

(01:34:07):
and even Brimstone and Treacle like like you know, we
talked about this when when you had me on last time.
But it even if it's not a movie you would
expect them to put out when you see it, it
has the elements of the kinds of things they put out,
you know what I mean. It has a kind of
this kind of sleazy, icky vibe in the way that
something like this would if they're going to put it out.

Speaker 2 (01:34:25):
You know, I'm not surprised at all that they're doing it,
especially as they as they dip into more and more
like studio affair there. There there's like a particular type
of studio films that they're focusing on, and this fits
I think very well with them.

Speaker 3 (01:34:37):
Like yeah, because the studios probably don't want to do
anything with them. They're probably freaked out. They're like, oh no,
we can't put this out nobody's you know, And they
also don't I don't think studios have the market to
push those kinds of things, Like if they whoever owns
Brimstone and Treacle, if it was MGM or Paramount, They're
not going to be like folks here it is stings
brim you know what I mean. They wouldn't know how
to market it. They'd have some fucking marketing exact who

(01:34:58):
would be like, who'd be like hit this QR code
on Sting's right eye to watch. You know, it'd be
the worst fucking thing in the planet, or.

Speaker 2 (01:35:06):
Just as simple as they'd have to put out one
hundred thousand copies to even do it right.

Speaker 3 (01:35:09):
And I mean that's right, Yeah, that's true.

Speaker 2 (01:35:11):
Like they're not going to sell that much of it,
that's right. So yeah, I'm moving like the there's a
lot to talk about in this month, even beyond the
mainline stuff. And I think what we'll do is, I've
seen a cinematograph title, but I don't think you have
correct correct, that's right. I have not seen the distribed
Picks title, but you have. Yeah, so let's do a

(01:35:33):
quick switch. So just starting quickly with this. Yeah. So
with the cinematograph title, they're up to sixteen now, which
is crazy because it feels like he just started. But wow.

Speaker 3 (01:35:43):
Yeah.

Speaker 2 (01:35:45):
So okay, last of the Red Hot Lovers. I'm gonna
I'm gonna be very honest. This is a genre of
movie I don't care about. Okay, So this is this
is like it's a tough sell for me personally. So
this is Alan Arkin being full Alan Arkins. So first
of all, if you're an you're gonna like love this
movie because it's very close to being a one man play.

(01:36:10):
It's not a one man play. There's other characters in it.
The basic premise is that he wants to have an affair.
He's generally like happy in life with his wife, but
like bored and he wants to have an affair. And
he keeps meeting these women that are like conceptually open
to having an affair, and either he's terrible at it,
or they're terrible at it, or it's just not the

(01:36:31):
right time. So it's like this series of comedy kind
of like you know, comedic missteps as they try to
go have an affair. Interesting enough plot. If this had
been a short film, I would have loved it. But
it's just I just don't. I don't really love that

(01:36:53):
this subgenre of movies where they take a successful play
and poured it over to film with a really changing
much like they make it feel like a play. There's
some there's some that can kind of pull it off,
like like you could argue John Cassavetti's a lot of
his stuff could port directly to the stage. But I

(01:37:15):
just think he understands like the cinematic language so well.
His movies are just so captivating to me. But this one, it's, oh,
I should mention it's a Neil Simon play, so it's
got a lot of that kind of comedy to it.

Speaker 3 (01:37:28):
Yeah, that's what I just to be honest to pipe
in for one second, I was like, you, I wasn't
really sold on this one. This is probably one of
the few ones where I wasn't like as curious. I
was kind of waiting more on word of mouth because
a lot of the filmmaker, I forget who's the director.
But yeah, yeah, that's right sex Yeah, and it genuinely

(01:37:50):
doesn't doesn't do much for me, but yeah, yeah, I.

Speaker 2 (01:37:55):
Mean, like I don't know. Gene Sas is an actor
as well. He's got a you know, he was like
he was the dad in Deconstructing Harry. But anyways, I mean,
you know, I'm trying to think if there's anything He
did direct The Odd Couple, which is obviously a very
you know well and Barefoot in the Park, so he
has some some big hits, huge hits, really, and there's

(01:38:19):
nothing wrong with this comedy. I should say that, Like
if you're if you're okay with if you like, if
you love Neil Simon, or if you love the kind
of one act style of plays where it's like just
just poorting over directly from the stage, I think you'll
probably love it. I mean, there's I can't find any
flaws with this, Like it's a classic American kind of

(01:38:40):
comedy about you know, bad people that are bad at sex. Right,
it has some good jokes in it, but like, I
don't know, it's just this is just not going to
be for me, Like I I I debated even turning
it off. Not because it's like so hard to watch
or anything like that. I just it's just so far
from what I would ever choose.

Speaker 3 (01:39:01):
Oh, it's like what we were just talking about, you
know what I was saying, Like I know, I know
what I do and don't respond to enough. Now that's like,
you know less unless everyone's coming out of the gate
being like oh this was the discovery of the bunth
kind of thing, or you know, then I would I
would probably pay attention, but no, I hear you. That's
exactly where how I feel about it. So that's it's

(01:39:22):
nice to get the confirmation.

Speaker 2 (01:39:24):
Yeah, and Howards Berger as a commentary. I'm almost tempted
to watch it again just for that because I love
Howard as Berger talking about like American sort of institutional filmmaking,
like he's a great historian and he's always extremely well researched.
And Nathaniel Thompson's on it too, is obviously you know,
one of the coats. I just I don't know. Yeah,

(01:39:44):
I don't have too much else to say about it.
I think by the short description you'll either know if
you love it or don't want to watch it. But
I would one hundred percent put this in try before
you buy a territory for anybody who's curious, take us home?
What about we'll not take us home?

Speaker 3 (01:40:00):
What about?

Speaker 2 (01:40:00):
What about distrip picks? How Is it's a double feature, right?

Speaker 3 (01:40:04):
Correct? Yeah, it's a Joel M. Reid double feature career
bed and sex by advertisement. And I guess I'll just
set it up by saying, if you don't know who
Joel Reid is, he directed Bloodsucking Freaks, which was later
acquired by Trauma. I was not on as hot on
that movie I saw at a young age, and I
remember when I first discovered Trauma, I I didn't like it.

(01:40:28):
I when the four K came out, I revisited it,
and I can't say that I liked it anymore, but
I did appreciate it more for sure, Like you really
realized that, you know, you're not going to get that
kind of you're not going to get that kind of
even by Troma standards, the kind of sleeves that that

(01:40:49):
movie does. So it kind of you kind of can
appreciate that. I know some people really love it as
like almost like ashe Herschel Gordon Lewis turned up to eleven.
But one thing I'll say about that movie that is
just a little fun fact to tie it to the
melosine side of vinegar syndrome is and and this will
tie to to the movies for this month, but uh,

(01:41:11):
Bloodsucking Freaks co stars Luis de Jesus, who was a
little person who starred in porno films mostly he was
He has been with quite a few of the Golden
Age leading ladies, including Vanessa del Rio, Andy Sprinkle. I
think he's done scenes with Lisa Delu like a couple
scenes and so it was always funny to see him

(01:41:33):
in that that that Joel Reid got him for that movie.
But anyway, so he also went sometimes went by the
name short Stud in his uh in his porn. That
was one of his porn non deplase. He actually went
by his real name too, or at least the name
he went by in Bloodsucking Freaks. But anyway, Careerbed is
UH and Sex by Advertisement. I forget which is which.

(01:41:55):
I believe Careerbed was his first film and Sex by
Advertisement was his second, or it was the other way around,
but I'll start with so Career beds the lead, the
kind of the leading feature of the two. It also
stars Jennifer Wells, who went on to do porn.

Speaker 5 (01:42:14):
Uh uh.

Speaker 3 (01:42:15):
Melosine put out a Jennifer Wells double feature last year.
I believe it was Little Orphan Sammy and oh, I
forget the other one, the Blue Something Man. It's one
of the few I didn't buy. I like Jennifer Wells
a lot, but I forget which what the second film was.
But AnyWho, she's the lead in this and this is
before she went to hardcore. It also features Georgina Spelvin,

(01:42:39):
who went on to be in the double Miss Jones
and a lot of other porn films, and she was
Miss Jones. But the film is about a woman who
uh so, Jennifer Wells plays this this girl whose mom
h so, she's the daughter, and her mom wants her
to be a movie are and in order to make

(01:43:02):
her a movie star in New York, she basically pimps
her out, to put it nicely, and and it's a
rather unique plot in that way where she's like, you're
gonna have to do whatever it takes to get you know,
and hold on to your virginity as long as you can,
because that's the real money maker.

Speaker 4 (01:43:17):
You know.

Speaker 3 (01:43:18):
Once you pop that cherry, you're gonna you know, your
stock's gonna go down like very quick. And but she
still sets her up with all these sleazy guys took
up with and do photo shoots and do all this
kind of work. And she even at one point, the
mom seduces Jennifer Wells's boyfriend and intentionally for Jennifer Wells
to walk in on and see and so she could

(01:43:40):
be like, see what a worthless piece of shit this
guy is. Now I'm gonna put you out on this,
you know, I'm gonna put you on the New York
streets to make money. And and of course, like any
good roughy from this period, and this, by the way,
isn't as rough as other films she it, but it
does feature a lot of that great New York cinematography
that you just get those those city skilled apes and

(01:44:01):
walking around. There's literally just shots of her walking around
the street, and and for it takes up I would
say like at least a tenth of the running time.
And it was I enjoyed it. I really really enjoyed it.
I thought it was a lot of fun. It's funny
because I thought of it more as like at first,
I'm like, maybe this is like a poor man's Joe Sarno,

(01:44:21):
or like, you know, it feels more those Joe Sarno's stuff.
He's had a strip Picks release the double feature with
nude and Charcoal in the Bed and how to Make It.
And Joe Sarno is a lot more serious in terms
of his work. I would say this is closer to
like something like that Herschel, Gordon Lewis or John Waters

(01:44:42):
would do, but not as raunchy or gross in in
a gory way. But it's got, it's it's beautifully photographed.
The restoration is incredible. It has a lot of fun
being like almost like a B tier C tier version
of like the repellent New York City, you know, like
like if you want an RC cola look of like

(01:45:04):
Who Killed Teddy Bear, which is like the best of
its kind. This is kind of a great even that
it's a little bit of a shaky reference, but the
cast was just very game, and it has a very
good self aware humor about itself. So I and it's
it barely clocks in at like an hour and eighteen
or nineteen minute. I think it's even shorter than that.

(01:45:24):
I think it's like an hour and ten minutes. Maybe
it flies right by though. And then the second film
was Sex by Advertisement, which is like a fake I
guess a mockumentary because it's it's doing it humorously, but
it's Georgina Spelvin is the lead in this one sort
of she or she's like the host who kind of

(01:45:46):
like she has these segments about like different types of sex,
like what's BDSM, you know, gay people? What are voyeurs?
You know, all this kind of stuff, just like what
underground sex is? Like a radio show style kind of
but like almost like almost like a like a like
a white coat movie. Are you familiar with that term? Yeah, so,

(01:46:07):
so it's like a it's like a white coat movie
where it serves it's like supposed to be educational while
showing you the stuff in a much you know, in
a stuff that in a way for I guess whoever's
paying to watch this to get their rocks off, because
this is what I guess used to be, you know,
what you would go watch before porn really had a
boom with hardcore. So I had a much harder time
with this one. It's definitely the weaker entry of the two.

(01:46:30):
I guess depended on how you how you orient your
viewing experience that that could be a fun way to
watch it, but I I just found it a lot
more like a hard time to stay engaged with it.
And and that's kind of I think that's part of
the distrip picks, and to a lesser extent with some
of these other ones too, that can sometimes be part

(01:46:52):
of the bargain when you're getting more than one movie
in these you know, it's sometimes it's like, uh, it's
because I'm trying to think of a better example of this.
But like you know, and I'll talk about this in
the segment with the less but like you know, they
put out one of the things we cover is like
a triple feature of Pakorama movies, and you know, results
definitely or mileage definitely varies, and I think with sex

(01:47:13):
by Advertisement, I just didn't. But that being said again,
it's like beautifully restored and it does have some images
that I have not forgotten since then. You know, some
stuff that you look at with you know, how people
are dressed and how people are acting and that kind
of stuff that you're like, Okay, I can't unsee that,
And so that's part of the fun of watching these.

(01:47:34):
But as far as the career beds, definitely the winner
and the one that I I will definitely be rewatching
it at some point.

Speaker 2 (01:47:42):
Interesting. Yes, it's really interesting to hear you talk about
like Jennifer Wells and.

Speaker 3 (01:47:48):
Who is the oh, Georgina Spelvin Well.

Speaker 2 (01:47:50):
Yeah, but there's another person that you just casually mentioned
one of the men.

Speaker 3 (01:47:58):
Oh it is Oh, yeah, go ahead, sorry, the you.

Speaker 2 (01:48:03):
Know, these all come up on the Rialta report, like
there's a there's a really real great episode about Jennifer
Wells on the real that's right. Yeah, it's just cool
to hear, like just to hear about this in a
different context is my only point for sure.

Speaker 3 (01:48:16):
Yeah, it is. It is interesting to see them like
before porn essentially, you know, before porn really like like
what because counterculture had already hit, you know, this was
like before before the seventies, so there's still some kind
of you know, there's still some leftover from when, like
you know, not the production code in the sense of

(01:48:38):
like the restrictiveness, but like these filmmakers who are making
movies in the sixties, obviously we're influenced by a certain
type of golden age of Hollywood, right, you even see
it in the porno so that that came out in
like the seventies and stuff. A lot of them will
reference their favorite films and the things that they're doing,
or like remakes of like Mankowitz films and stuff like that,
and so you'll you still have this elegance there that

(01:49:00):
it just you're you're not necessarily surprised to see it,
but it's just like a reminder of like what the sixties,
how cinema was being figured out in the sixties before
the before the New Hollywood started, and because that that
to me extends to exploitation and to porn as well
and to roughies and all that.

Speaker 2 (01:49:19):
I kind of like that though. It's like a transitional period,
right it is.

Speaker 3 (01:49:22):
Yeah, and they're and they're usually they're usually short and
sweet for lack of a better word, but because they're
not sweet movies.

Speaker 4 (01:49:30):
But you know, like.

Speaker 3 (01:49:33):
As far as this one goes, you know, I prefer
spending time with Joe Sarno or you know, Michael Finley
or ROBERTA. Finley in terms of their their filmmaking with
this kind of subject matter. But I do think I
because I was surprised when I saw Joel Reid's name.
I was like, well, you know, I wasn't that hot
on bloodsucking freaks the way other people were. So I
don't know what I'm gonna get here, but I did.

(01:49:54):
I definitely got what I paid for in the best
way possible with career bed. Yeah, sex by advertise definitely
has that kind of like white coat Mando, not Mondo,
but close enough, that kind of that kind of vibe
to it. So it's more of like a curiosity than
it is a full meal the way the other stuff.

Speaker 2 (01:50:12):
Is, yeah, the national geographic approach of getting able to see.

Speaker 3 (01:50:17):
Some right right and like and that being said, to
see these again like scanned in four K because they're
they're in black and white. Sometimes they're high contrast. Sometimes
you know, sometimes they're just they have this like uh,
but just the vibe of them and the look of
them are so beautiful because of the black and white
and like, so you never tire of watching it or

(01:50:40):
looking at it.

Speaker 2 (01:50:41):
I should say, well, distrip Picks just had a really
big announcement, so it'd be interesting if people revisit the
line they you know, I can't believe that of all
the places for a Last Tango in Paris to come out,
it's through distrip pix.

Speaker 3 (01:50:57):
I was just as surprised when I saw it because
it took me a second. I was like, ok, you know,
because the way the page is laid out is you're
going to see mainline first and then sub labels. So
I'm looking next to a trauma title that they announced
for the VSA, and then I see I'm like, oh wait,
that's I thought it was the first cinematograph because it
had the artwork of the Eiffel Tower, being broken off
like a dick had like a had like a kind

(01:51:19):
of not And I don't say that as a knock
or anything at all. I just literally was like, oh,
maybe this is a cinema you know, I kind of
had that. I was like, what, what the hell? Sorry
if I sounded like a tim al leader for a second,
but it it like really threw me off. And then
I was like whoa and I and I haven't seen this.
I know the movie, you know it can be some

(01:51:41):
people have a hard time watching it now knowing what
they know about the behind the scenes about it. And
but yeah, I couldn't believe it's been long enough for me.
I haven't seen it since I saw Bertolucci's The Dreamers,
I think in two thousand and three. That was last
time I watched this.

Speaker 2 (01:51:57):
Thank you for saying that Dreams was amazing, right.

Speaker 3 (01:51:59):
Oh, I think it's might be my favorite Burucci now,
it's so good. It's so good. I didn't say it
was his best for people listening, but I do think
it's for me personally, it might be my favorite. I
think it's a great, great film, especially considering the time
it came out. And yeah, but I'm also I yeah,
I cannot believe this is not only getting a four
K but through the distrip picks with their packaging and

(01:52:22):
all that stuff, and it totally it's a smart way
to also, I think get people to get because for
people listening who don't know this got two slip covers.
This has a unique slip cover to the VS site
and a unique slip cover to the Malusine site. And
when you go to Melosine, I think that's the better
slip cover than Melosine one. That one is still available,

(01:52:45):
I think I think the other one went out of
print already, the other slip cover, But I I think
it's a great way to get people to the Melosine
site who you know, might be like, oh, I don't
know if I can. I don't want to make it
look like I'm shopping for porn or you know whatever,
like kind of help sand down that stigma a little,
because there's some great stuff to discover on that site.

(01:53:05):
And and I think that you know, it's included in
your order, like as far as if you if you
buy anything else with your shipment, and I think that's
I think that's great. I think it's a great way
to just get attention there and to maybe see if
people will order order other stuff from that site.

Speaker 2 (01:53:21):
Well, uh, there's not an easy transition into the belly
of an architect. A couple of things stand out about
this one to me, So Brian Denahey, first of all,
just to kind of set the stage, like I'm sure
everybody knows him, but he's like, you know, he was
a he always plays these like tough guys. He always

(01:53:45):
plays He's kind of like a character actor almost. He
doesn't lead a lot he was.

Speaker 3 (01:53:51):
I mean most people would probably know him from Rambo, right,
or from First Blood exactly.

Speaker 2 (01:53:54):
First Blood, yeah, exactly. But he like he's got this
very much hismo kind of stostroone driven like American cop
or like American you know, corrupt politician, or like he's
always going to have that kind of vibed him. And
then he gets pulled into Italy to star in a
Peter Greenaway movie in nineteen eighty seven about an American

(01:54:18):
architect coming over to Italy to be celebrated, and the
movie set in some of the most beautiful and enduring
architecture and history, and it's you know, Greenaway was an
artist first, right, He's a painter and an artist, and
everything he does is kind of through that lens of
being like an artist. So whenever he makes a movie,
like even something like The Cook or Thief, the Wife

(01:54:41):
and His Lover or whatever, or like something like Draftsman
contract to some maybe some some level, like everything he
does is always going to be through the lens of
an artist first, even more like accessible narrative stuff. But
he also has some that are like not accessible, and
like really you have to commit to watching his stuff.
Like The Fall is a great example. It's like a
three hour movie. Have you seen it by chance?

Speaker 3 (01:55:03):
No, I'm familiar with it. There was a retrospective of
his work here. They actually flew him out and did
like almost everything of his and he did like these
presentations and like he was he was fully involved. He
didn't just come and just do like a quick quick talk.
Usually it's just like a Q and A and then
they fuck off, right, and then like here, he really
went all out. And I was very sad to miss
most of it, but like, yeah, I know, if I'm

(01:55:26):
not mistaken, he this is a movie. He doesn't he's
not necessarily he doesn't disown it or anything, but I know,
and he hasn't spoken like he doesn't think this is
his best work, right, No, and.

Speaker 2 (01:55:40):
I don't either. But there's a couple of things that
are touches on this that I was really happy to see.
And I do think you know, we talked to this
about this a little bit with the slog of bloodline.
You know, the worst thing you can do is, if
you're going to make a movie it's not great, is
to make it long, right right. You do kind of

(01:56:02):
feel the two hour runtime a bit. However, if you
look at like seen by scene, the framing and the
lighting and the colored choices and like like this is
one hundred percent as beautiful as like what's a good example,
Barry Lindon or something like it's just a beautiful movie. Yeah,
And like he really really leans on the architecture of

(01:56:24):
Rome to sort of set it up, like like he
really just he leans into like this beautiful Italian architecture.

Speaker 5 (01:56:36):
And like.

Speaker 2 (01:56:39):
The the only thing, uh, I guess, well, one more thing.
The music is amazing, Like I was, I was trying
to remember, I was trying to quickly look up who
did the music, but I'll find it in a second.
But the music's amazing in this like it really captures
the spirit well, Dannahe does a good job. But the
premise of the movie is just something where you can

(01:56:59):
see like maybe this sounded good on paper, but it's
just tough to relay on the film. So the basic
premise is that Brian Denna, he goes to accept this award,
he starts having stomach problems, like stomach pain, and the
doctors can't really tell. You think he's faking it. But
then he digs more and more into it, and he

(01:57:20):
figures out that all the best architects throughout history had
like stomach problems and their lives ended prematurely because of
their like stomach pain. And you know, it just screams
like this is a metaphor that he's trying to make.
Like I didn't quite pick up on what the metaphor was.
So this is more of like an experimental film, I

(01:57:42):
guess in a way than like a straight narrative, even
though it has some elements of like a narrative feature.
And I think that it was. It was just a
little it felt a little bit messy to me, like
he didn't he didn't fully lean into it being an
experimental film because it kind of played like a narrative,
like it it was laid out like a narrative, so
tonally it was a bit off. But then when you

(01:58:04):
really get into like if you think about the movie,
you're like, man, this is a really weird premise of
a movie like this would make sense the most as
like an experimental short or like something that you know
maybe wouldn't be two hours long. His character does go
through an arc of sorts. I mean, it's written in
that way, but I just I think it's a little
bit messy.

Speaker 3 (01:58:26):
Well, I just speaking to the thing about the stomach
ache as a metaphor. I can tell you obviously I
haven't seen I haven't seen the movie, but I can
just tell you someone who as to who spent years
performing in front of live audiences, there's a lot of
stress that comes with creating things, and I think depending
on the per I mean, for me, there was a

(01:58:47):
period I was just talking to a friend that I
started doing stand up with like sixteen years ago, and
we were saying, how like about the first three or
four years of doing stand up, we wouldn't eat before
our sets because it suddenly made you want to either
throw up or shit everything ever because of your nerves, right,
And so yeah, I also wouldn't. I don't. I'm not sober,

(01:59:09):
but I don't drink. But back then I did, And
I even wouldn't have drinks before shows to combin nervous
because it didn't help. It actually made things worse. So
I think it probably is something about the stresses of creation,
because I do think like at a certain point when
you're trying to run all these things and do all
these things. It obviously the one thing I did learn

(01:59:32):
at one point in my life is that if you
let stress get to you enough, it fucks with your
digestive system, it can fuck with your literally your your eyesight,
it can do any It didn't, thankfully for me, But
but I just know that, Like there's like all these
books about it now. Very famously there was this thing
published called The Divided Mind about how it actually manifests
in physical ways. So I wouldn't be surprised if there's

(01:59:53):
something to that or like self, you know, attitudes about
about you know, having to be a tortured artist to
create great things. You know that that kind of myth
kind of like the inverse of David Lynch, you know
where David Lynch is like, oh yeah, just meditate for
twenty minutes twice a day and you'll you'll it'll really help.
And whereas I'm sure and again like this is pure speculation,

(02:00:15):
but I'm just trying to add to maybe if when
revisiting the movie or when I watch it, like as
a means of unpacking it, because I do think when
you are watching Peter Greenaway stuff, you're not you know
what you're signing up for. It's not going to be
you know, you're not going to get conventional stuff, and
even if you do, it's going to come with some
with a lot of ambiguities and things for you to

(02:00:39):
kind of take home, and never in a lazy way. Thankfully,
I'm so happy that he isn't just being vague to
be opaque for the sake of like opaqueness.

Speaker 2 (02:00:47):
You know, no, I think yeah, I mean yeah, I'm
just trying to think of this movie and the context
of what you just said.

Speaker 3 (02:00:59):
Well, oh sorry, I just want to say, because now
I can you can put a full three course meal
on stage while I talk, and I don't get I
can I can chow right through it? You know what
I mean? Like it takes a long time to get
to those things. But there's still other anxieties now that
I have from all that stuff. So it's like, I
wonder if that's part of what he's unpacking.

Speaker 2 (02:01:17):
No, No, that piece I think could fit well into
the movie. I'd be curious what you think as you
watch it, just about the ambiguity. I think that that's
That's specifically what I was trying to say, is I
think that, like, to me, I wanted it to be
more ambiguous, if that makes sense. Like it's almost sure.
It's almost like he didn't fully commit to it being
like a Greenaway movie. In a weird way, It's like

(02:01:38):
he was trying to make something that was maybe more
more commercial, even though like it really wasn't set up
that way. And he's not really like that guy. Like
I mean, he probably said he wanted to commit suicide
at eighty years old. Thankfully he didn't, you know, but yeah,
like he's just he was a very I mean, he
was a tortured artist. So you could be exactly right,
like that that could be very much what it was.

Speaker 5 (02:02:00):
It could.

Speaker 3 (02:02:01):
It sounds like it sounds like his Dune where he
was a compo, where he was like making his the version,
because you know, he's such an idiosyncratics filmmaker that if
you're getting something that's more conventional, that is probably, by
by his account, probably something he's not thrilled about.

Speaker 4 (02:02:15):
You know.

Speaker 3 (02:02:15):
It's like it's right right, It's it's almost like when
you watch like certain, I remember what was it. I
remember watching the beach Bum, the Harmony Kren movie, which
I liked, but I remember thinking, like, wow, I think
he finally made a regular This is the closest thing
he's got to like a fucking regular movie. Some people
might argue spring Breakers is that I don't think so,

(02:02:36):
but like I think that it it, that's probably. I mean,
he obviously is old enough to know that he likes
that stuff. But I obviously that movie didn't do really well.
So I wonder if that's what pushed him into making
whatever first person video game thing he's doing now. But
in a similar way, you know, Greenaway is in that
space though, where he's one of those guys that doesn't

(02:02:56):
care much for the initial well I don't want to
put words in his mouth, but as far as making
movies goes making them in a very traditional way, he's
not interested in it. So if that's what he's doing here,
I can totally see why he isn't why he wouldn't
hold it, you know, in a stack of his films
near the top, or why it would be kind of

(02:03:16):
more in the middle.

Speaker 2 (02:03:17):
Yeah, no, I agree, And there's some really beautiful shots
and it's clear that he had a very clear vision
of what how he wanted the movie to look. And
it's interesting because Eugenio Orkellani actually got his dad to
do a special feature on this, which feels a bit
weird to say.

Speaker 3 (02:03:38):
That's awesome.

Speaker 2 (02:03:39):
Yeah, his dad's an architect in Italy and like the
perspectives he brings is very actually academic and like really good.
Like it doesn't it doesn't seem like, oh, it's just
some guy that got his dad on there, like his
dad's awesome.

Speaker 3 (02:03:52):
No, that's what I mean. Like if you're going to
get your as soon as you said that, because I'm like,
you know, one thing, I'll tell you this that this.
You know, we're all, especially you know, movie fans, were
all kind of weirdos who do our own thing. You know.
I say that in a very endearing way, like we
all have our things, and I'll tell you one of them.
Isn't bringing our parents into the fold? Like you know
when I tell when I tell, you know, I remember

(02:04:12):
my mom once asked She's like, well, what are you
watching this week? I go, oh, yeah, Devil Feet and
she's like, all right, well I've heard enough, you know,
Like she like, I'm not. It's it's I love my
mom and we get along so well. But I know
she's not going to want to watch her vengeance with
me or you know, I and so to be able
to be like, hey, dad, come and beyond this, that's
a that's a big I think that's a pretty big deal. Actually,
So as soon as you said his dad, I was like,

(02:04:34):
whatever it's about. That's great because hey, to want to
bring your one of your parents out and like put
them on a on a on a disc, which is
you know, a preserved element in a way, that's awesome.

Speaker 2 (02:04:46):
Yeah, hell yeah, he does a great job. So yeah,
that's of an architect for me, it's a it's a
fantastic VSL release in the sense of like fits there
what they're trying to do wonderfully. And I mean I'm
still holding out hope that you know, like Zoo and
the Falls and some of these early ones, I don't
think they've ever been like a beautiful release in Region A. Yeah, right,

(02:05:10):
So I hope that maybe this is them testing the
waters on that. But we'll see as we wrap up.
And I know, I know you're gonna record with so
least I'm gonna let y all just take that one.
But as we wrap up, I just have to talk
about something it's not a Vinegar Syndrome release briefly because
I know you've seen it. Oh yeah, I finally caught
up on Cafe Flesh. Oh yes, just like the fuck man.

(02:05:34):
Like you know, sometimes I just have this I'm just
sitting there watching a movie and this is one of
these ones for me where I'm just like, I don't
care your perspective on hardcore movies or your perspective on
like anything, Like I would show that. I would show
Cafe Flesh to anybody. I mean over eighteen, let's say, yea,
of course, but like, I would show that to anybody

(02:05:57):
because the art, what they're able to do from a
visual and like artistic perspective in that film to me
just absolutely blew me away.

Speaker 3 (02:06:08):
Oh I So that's for people who don't know he's
directed by Steven SAYERI and I mispronounced his last name
a lot, but he goes by the name Rinn's Dream
when he's directing porn. And he made kind of this. Really,
he's made quite a bit of porn, but his his
notable trilogy is one of them is Not Born, which
is Doctor Kligari. I mean yeah, yeah, yeah, yeah. He

(02:06:32):
directed that, and which is like a it has the
exact same aesthetics as this, but he made He also
made another movie called Night Dreams, and and and Cafe
Flesh and and again. He's made a couple other things,
but he wrote them with Jerry Stall, the author who
as far as his biggest mainstream film writing credit, I

(02:06:54):
believe Jerry Stall is credited on Bad Boys Too, so
the co writer of Bad Boys Too, who wrote Cafe Flesh.
And Yeah, it's this film about like it's it's a
post apocalyptic you know, what's what's the best Golden age porn?
It's either real downbeat, weird anti erotic stuff or these

(02:07:14):
like these like sex comedies, right, and this one squarely
falls in that anti erotic kind of like just super artistic,
very visually inventive. It's like if a black box theater
group got together and made porn. And I don't say
that in a bad way, but edited like in the
style of like that that MTV style we were talking
about before. It very much like part of it looks

(02:07:35):
like a Robert Palmer music video and like simply irresistible.
I thought of a few times while watching it, and
I've seen it before, but man, that Mando Macabro four
K is beautiful. The features are incredible. One of the
performs so I had mentioned on the previous episode the
podcast I used to have a way back in the
day called The Moorning After where we interviewed performers in

(02:07:57):
the adult industry. A friend of the show, Stoya, is
on there. She does one of the interviews of watching
that movie. When she was making a film one the
director told her to watch it and she was like
blowing away at like this is what an erotic film
could be, right, ye, yeah, and so and you know

(02:08:18):
it's it's short. It's like eighty minutes if that, I
think seventy five minutes, and it's just great and yeah,
and he worked with the lead actor was a mainstream actor.
She went on to do some mainstream stuff and I
think she went by a different name in this. Her
real name is Michelle Bauer.

Speaker 2 (02:08:39):
She did.

Speaker 3 (02:08:40):
Sorority Babes and Slinball, bull Rama, Hollywood, Chansaw Hookers. She
was in like a lot of I think a few
other like David Dakoto films, and she was a Nightmare
Sisters and she's the lead, but there is a body double.
I think people shouldn't, you know, I don't know if
anyone cares about that part. But you know, for her
hardcore scenes, she's not in the hardcore scenes, she is

(02:09:03):
naked and in a lot of the scenes, but like
you know, it's like this incredible overlap in kind of
so many different ways of like mainstream and storytelling, and
you know, just really really incredible, incredible film. I'm glad
you dug it. I mean also calling like a bomb

(02:09:23):
going off and like leveling the country, calling it the
Nuclear Kiss is an incredible post touch. Yeah, truly, truly,
that's exactly right. It's poetry, yeah it is.

Speaker 2 (02:09:35):
No, it's love it. And I felt like i'd bring
it up because that might be a good transition to
you in your hardcore segment with Celeste. But I just
wanted to, like, I just wanted to call it out
because man, like I remember with the first time I
saw a female prisoner Scorpion seven oh one, I wasn't
sure what to expect and I just sat there the
whole time in complete awe. Like it's one of those

(02:09:55):
movies where I just phone down, like what is happening?
Beautiful movie that. Yeah, I think some Roman pornos have
the same effect where you're just not expecting them to
be so well produced and like beautiful to look at.
Almost like it's just there's just certain movies that are
kind of shocking in the way that you don't expect
it going in of yeah, street that's behind it, and

(02:10:17):
this is one hundred percent falling into that category from
it totally.

Speaker 3 (02:10:20):
Yeah, I think there's a reason because this was a
crossover hit and and also so just so people know,
this is always my favorite factoid to drop about this movie.
In the song more Human than Human by White Zombie,
there's there's a part at the beginning of the song
where there's a woman orgasming on the on the audio

(02:10:40):
track you hear very loudly, obviously not on the radio,
but on the you know, the real version. She's just
moaning and moaning until the song fully kicks in. That
is a sample from Cafe Flesh, and I know that
I know that song so well from growing up on
White Zombie and Rob Zombie that when I watch the
movie now and I hear that exact one, I know
exactly the moment and I'm like, oh, when is more

(02:11:00):
human than a human gonna kick? It's just always my
favorite factoid to drop about that movie.

Speaker 2 (02:11:05):
That's awesome. Good, Okay, rubs on me.

Speaker 4 (02:11:09):
Cool.

Speaker 2 (02:11:09):
Well, Eli, It's been a pleasure, and enjoy your time with.

Speaker 3 (02:11:12):
Celest here shortly, thank you, thank you again for having
me Chris, I really appreciate this was so fun. I
hope to I hope down the line we can do
it again.

Speaker 2 (02:11:19):
I know you will. Thanks all right, y'all, A quick
detour here Instead of running through the OCN labels, since
we've got a partner label month coming up very quickly here,
I thought we'd do something a little bit different. So
we are extremely lucky to sit down with Ryan Krueger,

(02:11:44):
director of Street Trash, Fred Berry and just a lot
of really interesting, experimental, kind of fun, dark comedy work
from South Africa. And so I'm going to play this
interview with Ryan Krueger now, and then we'll dive into
the final segment, which is back between Celest and Eli,

(02:12:06):
running through the melow scene and the hardcore titles. All right, Well,
I was teasing this earlier and I didn't want to
promote it specifically because I didn't want to jinx it.
So thrilled one of the exciting new directors and filmmakers
that I think has a voice that is waiting to
really bust out in a big way, Ryan Krueger, is
here to talk about Street Trash, among other things. Ryan,

(02:12:29):
thank you so much for doing this.

Speaker 5 (02:12:31):
Oh, Matt, it's a pleasure. Thanks, thanks so much for
having me.

Speaker 2 (02:12:34):
Yeah, of course. Look, I want to talk about a
lot of different things. But just in seeing the shorts,
I was able to watching some of the music videos
you make, I was able to watching fried Berry and
then Street Trash. I just have to say, like, I
love people that have an eye for visuals and seem
to make filmmaking from like a visual aesthetic, and I

(02:12:54):
just think you're really good at it. I just want
to call that out of the top, like that seems
to be something you really care about.

Speaker 5 (02:13:00):
Cool man.

Speaker 4 (02:13:00):
Yeah, yeah, no, thanks a lot I you know, I
got into music videos, you know, you know, obviously, you know,
I always wanted to do you know, features, and I
always loved music videos. But the cool thing about getting
into music videos than doing short films straight away, which

(02:13:21):
I did with my own little shitty.

Speaker 5 (02:13:22):
Camera when I was a kid that made like one
hundred crap films, But the thing was making music videos.

Speaker 4 (02:13:27):
What was different about that than making a short film
when you've got no budgets and stuff like that and
you've got to keep the budget low is you know,
a band already has an audience. They already have you know, audience,
and then you know, if you make a short film,
you can put it on TV at like, you know,
maybe four AM, when nobody's watching. But the cool thing

(02:13:49):
about video music video is you also don't need the
sound masted. You don't need sound on set because the
band's already paid for the track and all that stuff,
and you know, you can put it on platforms and
get music and get it on music video channels and
stuff like that. So it was always a cool platform

(02:14:10):
to get my work out there more than short films
just because of how wide you know, it can it
can go.

Speaker 2 (02:14:18):
Ah, Okay, I love that. Well, let's talk about that
very quickly and then we can just jump straight into
the street tress because I have a lot to say.
But so you you started off in music videos, can
I what what was that connection?

Speaker 1 (02:14:32):
Like?

Speaker 2 (02:14:32):
Like how did you get started there out of you know,
as opposed to just jumping straight into movies like the features,
Like I kind of how did that path go for you?

Speaker 5 (02:14:40):
Yeah, like I said, it was you know, it was
just a good starting point.

Speaker 3 (02:14:45):
You know. I did the.

Speaker 4 (02:14:48):
Listen when I was like, you know, growing up at
thirteen fourteen, you know, making short films and stuff like that,
and they were all bad and we all had like
American accents for.

Speaker 5 (02:14:57):
Some reason, all these these films.

Speaker 4 (02:15:01):
And then you know, then I started doing the music
videos and it's just as I said, it was just
easier to do that and cheaper to.

Speaker 5 (02:15:08):
Do that, easier to get out there.

Speaker 4 (02:15:13):
So and you know, and I dig music videos, you know,
I loved always loved watching like MTV and watching like
Beastie Boys and you know all those videos and Chris
Cunningham and you know, all these directors and you know,
all these cool artists. So I just thought it was
a good stepping stone, and you know, for music videos

(02:15:34):
that I've done over the years in South Africa, it
was one of those things where I was known for
like narrative storytelling within a music video. So yeah, I
did some performance videos, but it was either story cut
into band performance or just story.

Speaker 5 (02:15:49):
And that was cool.

Speaker 4 (02:15:51):
So it was cand of still making short films within
a music video and still getting a lot of good airtime,
whether it was on MTV or different music channels. So yeah,
I think it was just a good stepping stone to eventually,
you know, go into other short films or experimental films,

(02:16:11):
and obviously the big dream was always to go into
feature films.

Speaker 2 (02:16:16):
Well yeah, that's amazing. So right, there's a couple of
things that jump out to me just as an audience member,
just somebody that i've you know, seeing a little bit
of your stuff. Now, it seems to me similar to
maybe someone like Scooter McCrae or somebody like maybe from
a storytelling perspective, maybe somebody like Spike Jones. You don't
seem to mind going wherever the story naturally will take you.

(02:16:40):
And I love there's specifically in Friedberry and in Street Trash.
It both scenes if it requires some shocking content, or
if it requires something that's a little bit that pushes
the envelope a little bit, you don't flinch from it.
And I just I love that because not a lot
of filmmakers I think, I hate to the word brave
sounds so kind of like cliche, but I think it

(02:17:01):
does take a certain amount of just like no, like
I know the story I want to tell, I know
a way I want it to be shown, and we're
gonna do it this way. And I feel you're in
like a small group of directors in my mind that
I know that whatever wherever direction you want the scene
to go, you're just gonna go there. You're not gonna
hint at it like we're gonna see it, and you're
gonna use some of the shocking content to help tell

(02:17:24):
the story in a way.

Speaker 4 (02:17:25):
And I love, Yeah, I think that, you know, I
think a lot of people do it just for like
shock value. I like to keep everything organic where you
know it could go this way, it could go that way.
But I think the biggest thing and I and it's
it's not for shock value. Yes, I love the darker

(02:17:46):
side of life of things, and also making it whether
it's funny or just like very abrupt. But at the
same time, I think the thing is that, you know,
when you I think a lot of filmmakers don't think
about like if I mentioned a movie and I'll go, like,
let's just for example, I'd say, pull fiction. What comes

(02:18:09):
to mind straight away? Like what comes to mind?

Speaker 2 (02:18:12):
Probably the I don't know some of the dialogue. I
guess the way that they kind of talk to each other, maybe.

Speaker 3 (02:18:16):
Some of the scenes.

Speaker 4 (02:18:18):
Yeah, So when when you you know, when you think
of certain films, you either you know, you picture them,
you know, dancing on the dance floor, or it's the
fucking gim scene, or it's the things that like pop up.
And that's like with every film that you like, there's
certain scenes that you remember, and I think filmmakers sometimes forget,
you know, when you're making a film, Yes, you've got

(02:18:39):
a story and you've got a story to tell, but
also an entertainment value, and also on top of that
is just you know, there's certain scenes that I write
that I want the audience to talk about, that I
want the audience to remember. And it sounds so simple
just doing that, but I think a lot of people
forget to do that because you can watch a film
and going yeah, it's okay, but then you can go

(02:19:00):
tell me about it, and then it'll be like a
week or two late and they go like, yeah, I
don't know, I can't really tell you too much about it.
So it's important to get certain scenes in the film,
whether it's shockun or stylistic or dialogue or whatever, that
people remember that people remember and talk about that scene.

Speaker 5 (02:19:21):
And that was very important every time I have.

Speaker 4 (02:19:24):
A script, every time I write something that will go,
this is a scene that they'll remember, this is a
this is the thing that they'll talk about.

Speaker 2 (02:19:32):
Yeah, I love that, And before we get into street
chursh which we can in just a second in fred Berry.
For me, I think some of those scenes are the
way that people, like the women in Barry's life after
he gets abducted, whenever he's fucking them, they're just like
losing their minds and like his face is so blank,

(02:19:52):
like it's but it just seemed like it's it. I
was cracking up, man, and I remember that still, like
it just like those stood out to me so well
because it's like the people react to him in such
a way that like it doesn't really like fit.

Speaker 4 (02:20:09):
Well, this is this is the thing you know that
when you look at the film, it's this alien experiencing
the world, you know, through the drug addicts eyes. And
then the people that he meets, it's them. It's their
perspective of of what the fuck is going on? You

(02:20:31):
know what, what's happening here? But everything is either you know,
with Barry or or watching or going you know, going
on this journey, and it's him experiencing you know everything
for the you know everything for the first time. And
that's why I always say it's like a road movie
without the car, but barries the car and he's just

(02:20:53):
you know, meeting all these different people.

Speaker 5 (02:20:55):
As as as as time passes.

Speaker 2 (02:20:57):
I love it. And your your career, I guess can't
really be talked about without at least mentioning Gary Green
because he's been around your movies for so long. Now,
how is it working with him? It seems like you'll
have a good connection.

Speaker 4 (02:21:09):
Yeah, I mean Gary is like an interesting he's it
definitely interesting fucking dude. I've known him now for many,
many years, and he used to do a lot of
extra work on like some of the short films and
music videos that I did, and then when I did
the Fry Barry experimental short, I didn't even know I

(02:21:32):
was going to do a feature that was just that short,
and then I thought, how can I make this into
a feature and keep this character?

Speaker 2 (02:21:40):
And Alien Dick was the name of the short, right, No.

Speaker 4 (02:21:44):
No, So that's that's another one. Gary is that one
as well? Okay, but yeah, it's Yeah, working with Gary's interesting.
But he's not a trained actor at all, and it's
I just know how to work with him. So the
thing is with Gary is because he's got no training whatsoever,
and he's a bit odd. So it takes me a

(02:22:07):
long time to get exactly what I want from him,
like a long time sometimes. But I mean the other
day we were shooting this other thing and there was
two scenes, very very short, very easy. Took four hours
to do more hours. But sometimes it's like that. But

(02:22:29):
I love working with Gary. He always gives one hundred
and ten percent. He's he's very passionate about what he does.
But yeah, it's it's I've got like a process working
with them and the patients, working with them to get
exactly what I want. And there's there's like a three
step stage.

Speaker 7 (02:22:49):
I do.

Speaker 5 (02:22:50):
So I rehearse a lot with Gary and go through
things and rehearse, rehearse them.

Speaker 4 (02:22:54):
We're on set, and then we'll do that same thing again,
and the blocking will always be different, and this stuff
where I'm behind the camera giving them direction so or
he must copy my face or blah blah blah this
or this, and then the third one is always in
post where I make him look better in a sense

(02:23:15):
of all those beats. So it's you know, it's always
been like, you know, I film, you know, the one
actor and get all his dialogue and then I'll turn
it round and then I have to get the line
delivery over and over and over again until to get it,
which is every line and sometimes every word.

Speaker 5 (02:23:37):
And then there's also you know, it will.

Speaker 4 (02:23:40):
Be when he's not speaking, but something needs to be
going on while the other actor. So then it's like, okay, Gary,
so you're looking at the glass. You're looking at the glass,
and then when I say you're gonna you're gonna look
up at the other actor, but don't look up with
your head, don't till your head up, just your eye
and then he'll move his eyes. So I've got to

(02:24:02):
do stuff like that, to get all those moments. So
when you see him in Fry Barry, people are like, fuck,
this guy's got comic, comical timing and he's there that's
edits and breaking everything up and making look Gary look good.
But the thing is Gary gives. As I said, I

(02:24:23):
love working with him. He gives one hundred percent every
single time. He doesn't give up. And he's got this
cool fucking look and that's what I love. You know,
He's got this very cool, unique look that gives him
this presence. So working together, I think we're very We're
a very good team to you know, get I get
the best out of him. Even this other film now

(02:24:45):
that I've shot with Gary is again, he's very different
than this film.

Speaker 5 (02:24:51):
And it took longer to do this one. But it's cool.
It's cool.

Speaker 4 (02:24:56):
There's a you know, I've just got the patients and
I think, you know, in the real world, with big
budgets and stuff like that, directors, you know, time is money.
They haven't got time to spend so much time with somebody.
But I have that patience for Gary, and yeah, it's awesome.

Speaker 2 (02:25:19):
And on the other end of the professional spectrum, if
you want to say it, like that is Shan, Sean
Cameron Michael, who's such a well known and established actor
in general, but y'all seem to have a great bond
together as well.

Speaker 5 (02:25:31):
Yeah, Seanson literally is literally one of my best mates.

Speaker 4 (02:25:34):
He's he's such a Yeah, he's a nice dude, such
a good actor, like even his you know, his range
and Fry Barry just in that in the Mental Institute,
you know, when he's chat. But Shawn has done a
lot of amazing work and as I said, his range
and the different roles that he's done over the years,

(02:25:54):
and the you know, the big actors that he's worked across,
you know, and and stuff like that. He's just awesome
what he does. And the thing is with Sean, we're
very much the same where we just love what we do,
you know what I mean. We love what we do
and you know, and we can talk about it for
hours just you know, it's one of those you know,

(02:26:16):
people that love like film and love the art of
filmmaking or acting or cinematography. You know, you can sit
there and you can talk for so long about it
and there's so many elements to talk about.

Speaker 5 (02:26:31):
Yeah, Sean is great.

Speaker 4 (02:26:34):
And very much like myself with that, just how passionate
we are and how we always want to improve, and
how we always want to grow, and how we always
want to.

Speaker 5 (02:26:43):
Just keep making stuff and keep making content.

Speaker 4 (02:26:47):
And you know, it's easy for somebody to say, oh,
you know, I love acting, but I think you know,
there's those certain people where it just runs through your
veins and you just youve got to do it.

Speaker 5 (02:26:56):
You have to do it, you know. Yeah.

Speaker 2 (02:26:57):
Yeah, Yeah, it's amazing to hear about him. That's not
surprising either, You're right, even in your stuff, he's such
a wide arrange not to mention what he's done in
Hollywood and South Africa and the UK like everywhere. Yeah, yeah,
so that's great to hear. Well, he's in he has
a big role in Street Trash as well, and I
guess that's a good transition. So that's your first time

(02:27:18):
working with vinegar syndrome in some capacity.

Speaker 5 (02:27:20):
Right, yeah?

Speaker 2 (02:27:21):
Yeah?

Speaker 5 (02:27:21):
Yeah?

Speaker 2 (02:27:22):
And how that relationship start, like did you did they
reach out to you? Like did the Joe connect at
the festival? Like how did that relationship even begin?

Speaker 5 (02:27:28):
Yeah?

Speaker 4 (02:27:29):
So, I mean originally it was the it was Matt
and Justin that producers of Joe Bob's Last driving. So
it was basically they saw Fry Barry. They had the
rights to Street Trash. I wanted to you know. They
they contacted me saying, would you be interested in write
in a script? And obviously, as a kid growing up,

(02:27:52):
I was a finish street trash and you know, it
was one of those films that I just watched in
my bedroom, like with my little small TV. And it
was one of those vhs' is that you know my friends,
you know, we watched and stuff, and yeah, they you know,
when they asked me to do the film, you know,
I wanted to make it more of a loose sequel.

(02:28:13):
I didn't want to touch or copy the original film.
So it's a loose sequel in that world reimagining or
whatever the fuck you want to call it.

Speaker 5 (02:28:23):
The street Trash Melt, the rich Melt.

Speaker 4 (02:28:26):
The rich was a tagline, but we actually probably should
have called it that because the thing is about Street Trash,
the original.

Speaker 5 (02:28:32):
It's one of those where it's like there's loads of people.

Speaker 4 (02:28:37):
Around our age and up know about it, but there's
a fucking shitload of people that don't fucking know about it.
You know. It's one of those where you know, my
street Trash is a loose sequel, but for a new audience,
it can be a standalone film. So yeah, So when
the producers when I gave them the script in the end,
and they.

Speaker 2 (02:28:57):
Were happy with it.

Speaker 4 (02:28:59):
You know, it was right from the start, we you know,
we were gonna you know, Vinigar syndrome only she you know, only.

Speaker 5 (02:29:04):
Has stuff on film.

Speaker 4 (02:29:05):
And we shot on thirty five and everything just worked
hand in hand and they were awesome and yeah, and
everything just came together and it was amazing just shooting
a movie on thirty five, which I never thought I
would ever do, so that was like a come true.

Speaker 5 (02:29:20):
So yeah, it was. It's one of those things where.

Speaker 4 (02:29:25):
I think, you know, like most people, like young people,
you know, we you know, we all we all want
to shoot on film and then some you know, I
shot on film like over ten years ago and with
a few short films. But then you know, you think
about all those things. Is it going to come out?

Speaker 5 (02:29:45):
You know, is it going to be there?

Speaker 4 (02:29:47):
You know, when everything gets processed, and like producing wise,
it's a fucking bad idea to shoot the.

Speaker 5 (02:29:54):
Film because if you lose, if you lose.

Speaker 4 (02:29:57):
Any footage or it doesn't come out you've just spent
spent so much money on an explosion or a prosthetic.
But it was pretty fucking easy shooting on film, and
like with anything, if you get the right people, you
get the right crew for the right things.

Speaker 5 (02:30:15):
Everybody knows what they're doing and it's fine. So it's
so everything was a lot easier.

Speaker 4 (02:30:21):
Than I than I thought, and we had an amazing
crew and and people on camera and it just it
just went smooth. And the only crazy thing was when
we were shooting. Because we haven't got the teal SNI
the developing the film here, we had to send it
to the UK so they you know, so we would

(02:30:43):
shoot for basically three or four days, send the footage
off and then only get it back three or four
days later, where we would be like, oh shit, this
is what we shot. So and then once we got
that first batch of film film back then, we were like,
all right, cool, well onto something. This looks fucking cool.

(02:31:04):
It's gonna be good. But it's very nerve reckoned where
you're still shooting for a week and you haven't even
seen anything that you fucking shot.

Speaker 2 (02:31:11):
It's crazy to take a week to see dailies. Yeah, yeah,
so so Brian Yusena made a movie called Society, and
then in Australia in the nineties there was a movie
called Body Milk from Australia from Trophy and I feel
like this plays a nice reference to a lot of
the classic like body horror, the gooey, like oozy, goopy

(02:31:34):
body horror that I love and like I've been so
I as within the first twenty minutes or so of
Street Trash, I was, I was just instantly in because
it felt like I was back in the eighties or nineties,
in that prime era for that super creative, bright colors.
You know, the storyline is super compelling. I don't know, man,

(02:31:57):
I was in like instantly. I loved it.

Speaker 4 (02:32:00):
You know what it's It's the same with Fry Barry
and the same with Street Trash. You know in the eighties,
you know, you had all those you know, all those
prosthetics and gore and melt, and you had all those
films and it was such a big part of your
childhood and watching these likes and shit. And I think

(02:32:21):
Street Trash and Fry Barry is films that I would
one hundred percent watch, like you said now, like as
a kid and it's one hundred percent films that I
would want to watch and want to make and feel
like we were back being a kid again and watching
these movies. And yeah, so I mean it was, Yeah,
it was a lot of fun just you know, recreating,

(02:32:45):
especially shooting on film. It just gave it that more
of that gritty like film look as well, you know,
and like those movies.

Speaker 2 (02:32:51):
I think the thing that I love about it is
that there's a there's a political message kind of similar
to and forgive me, I'm just being broadly maybe something
like Idiocracy or something where it's like, you know, there's
there's layers there that you can unpack, you know what.

Speaker 4 (02:33:09):
Absolutely, there's there's a lot of there's a lot of
social property and and and a lot of meaning laid
within the movie. And it's one of those where sometimes
you know, or go over somebody's head and they don't
think about that. And I've even saw I've even seen
where people mentioned, ah, yeah, they didn't have like a

(02:33:30):
message like they did with the original or something like that.
You know, it would be like a random thing that
they you know, somebody's watched. And then the thing is
there's there's a lot in there and it's it's probably
more relevant now than fucking ether with the you know,
with you know, gone through COVID and then the government
saying you've got to do this, you've got to do that,
and forcing you to do things and you know, and

(02:33:53):
to take those jabs and stuff, and then on top
of all that is the homeless. The homeless is a
fucking problem like around the whole fucking world, and it's
it's a it's a big fucking thing. And so yeah,
there's a lot of relevant stuff in there, and at
the same time, you know, I layer that stuff, but
at the end of the day, I'm not trying to
win a fucking Oscar and making a fucking melt movie.

Speaker 5 (02:34:14):
It is over the top.

Speaker 4 (02:34:15):
It's might be over the top, but if you pick
up on the things, then awesome. And you know, making
this film as well. When you get a lot of
these like independent like horror films, what's always ship about
some of them is that the acting is either is
either bad or the story is fucking bad, and then

(02:34:36):
the prosthetics is good or the prosthetics is shit, but
it's funny because it's bad. And so what I wanted
to do with this film is you know, have characters
that you love, have characters.

Speaker 5 (02:34:49):
That you want to go on this journey with.

Speaker 4 (02:34:51):
And you know, some people like we'll watch these films
and they don't care about that ship, but I fucking
care about that shit. And I need, you know, these
characters that are like makeable and you can go on
this journey with. And it's important again for the story,
but for me. Obviously there's lots of blood and goods
and gore throughout the whole movie, but I also wanted
to make a movie. Is if you know, if I

(02:35:13):
take all that shit out, we still got a movie. Yeah,
And that's the thing. So I think, you know, you've
got to tick you know, you've got to tick those boxes.
But yeah, I think it's one of those films where
you know, you either get the humor or you don't.
There's a lot of English humor in there, and and yeah,
there's it's a mixture. I think there's something for everybody

(02:35:36):
in it, but it's either you get it or you don't.

Speaker 2 (02:35:39):
I guess. Yeah. I've kind of as I've described it
to people who are asking if they should see it
or not, it's kind of imagine like Cronenberg style Gore
and and you know, some of the body horror stuff
with like a John Carpenter's style kind of commentary where
there's like that first layer when you watch something like
They Live, where there's just sort of a movie. But
then the more you think about it, the more you

(02:36:00):
kind of see that there's a message underneath. Yeah, And
I think there's a lot of intelligence in the script,
and I just it's it's just cool to watch this
film and now to talk to you and see how
intentional it is, because I it's I think horror. One
of my favorite things about horror genre is the ability
to put some you know, pretty poignant messages and relevant

(02:36:21):
social messages underneath some wacky ship that you you know,
it's fun to watch.

Speaker 5 (02:36:27):
Yeah, I think absolutely. And you know, I think Fried Barry,
A Street Trash are films that.

Speaker 4 (02:36:35):
You know, the second time you watch it, you'll pick
up like a lot more and uh and that's why
I and.

Speaker 5 (02:36:42):
That's another thing I also try to do that.

Speaker 4 (02:36:45):
You know, people watch it and then they go, you
know what, I want to watch it again or I
want the audience to watch it again. And that's pretty
fucking hard to do that. You know, most films you
know that I watch, I'm like, fucking watch that again,
you know, like the like the new films. So I
think I try put a lot of Easter eggs and

(02:37:07):
a lot of messages and a lot of things in there.
And yeah, sometimes it will go over, somebody said, But
then they'll watch it a second time they go, oh shit,
I picked up on this. How fuck I didn't realize
this and I didn't realize that. So it's one of
those things where yeah, you pick up more stuff on
the on the second watch, which is awesome because they're
watching it for a second time, which is great.

Speaker 2 (02:37:29):
Yeah, I love it. And if anybody is skeptical of
the fact that you're you know, quote unquote remaking Street Trash,
I love the special feature that was on the disc
where you kind of break that down and you're it's.

Speaker 5 (02:37:41):
Also not you know, I respect the original.

Speaker 4 (02:37:43):
You know, it's also I look growing up, you know,
I as a fan, so you know, there is those
you know, if you're a fan of the original Street
Trash and you watch my one, that is those nods
and respect you know to the original without doubt.

Speaker 2 (02:37:57):
You know, it's great. I would encourage people to to
get the disc and just to see the your your
breakdown of it, because I think it's it adds a
lot of important context to what you're trying to do
with the new one, to the reimagine. So Ryan, to
the extent you can talk about it, I see you
have some stuff in development. Can you can you talk
at all about what's next for you? Or is it

(02:38:18):
kind of in secret?

Speaker 5 (02:38:19):
So at the moment, yeah, at the moment. Now there's
there's there's quite.

Speaker 4 (02:38:24):
A few films in the talk in the talks at
the moment, but nothing solid. Yeah, there is one film. Uh,
it's a black and white maybe that I've just done
with Gary. It's this very gritty, independent odd house flick
if you want to call it that. And yeah, it's

(02:38:46):
about an act that can't act and.

Speaker 5 (02:38:51):
He ends up.

Speaker 4 (02:38:52):
It's not a biopic, it's it's it's yeah, and it's
starring Gary and he ends up going like full method
and starts like fucking killing people. So it's very different
than Street Trash and Fried Barry. It's I also wanted
to do something very different, So yeah, we're in post

(02:39:13):
production with that at the moment. Apart from that, I
have Rip, which is an experimental collection that I did
start advertising not so long ago. It's been literally eight
years in the making. I was men A released in January,
but I was on a project and I just haven't
had time. But yeah, and then literally by next month,

(02:39:34):
I'm going to start releasing them. I have a big
screen in here in South Africa and Cape Ton screening
all the experimental films and yeah, it's literally been eight
years in the making, which is insane. And like, the
only one that's online was Fried Barry the short, and
then apart from that, the rest of the experimentals, they've

(02:39:56):
been to film festivals, but none of them are online.
So yeah, I just want to push those out there.
And all these films was was was made before Street
Trash and during the making of of Fry Barry. So
it's been a long time coming and it's some of

(02:40:16):
my favorite work as well. It's it's it's cool as
a filmmaker, just to.

Speaker 5 (02:40:21):
You know. The reason why I started these before I
made Fried Barry was.

Speaker 4 (02:40:25):
Purely because you know, when I was doing music videos,
they let me do anything I wanted, which was awesome
and there.

Speaker 5 (02:40:32):
Was the trust there.

Speaker 4 (02:40:33):
But I could only do so much because I still
got to think about the music that I'm making, the
you know, the story, so you know, and I still
got to answer to a record label where you know,
I can't go too crazy and too you know, too
extreme what I want to do. So with these experimentals,
it was literally doing whatever the fuck I want to

(02:40:55):
do and I don't have to answer to anybody, and
I can just make some cool art.

Speaker 2 (02:41:01):
So it's great. And those are gonna be on Ryan
Kruger dot tv or you're gonna have different Yeah.

Speaker 4 (02:41:05):
Yeah, so I'll put it on my website, Ryan Kruger
dot tv and Instagram and Ryan Kruger thing and yeah
YouTube and all that, and yeah, I'm just excited to
get those out and release it as it's been.

Speaker 5 (02:41:19):
Eight years, which is insane.

Speaker 2 (02:41:22):
Yeah, you know, I think there's a I don't know
if you remember, I don't know exactly how old you are,
but when I was in the early two thousands, there
was a series of DVDs that came out Spike Jones,
I Am Man.

Speaker 5 (02:41:32):
That was the ship Man I was, I was. I
was speaking about that the other night.

Speaker 4 (02:41:35):
That was like I still got I think I borrowed
one of them to somebody and I never fucking got
it back.

Speaker 5 (02:41:42):
So I think I've got like one, I've got the
collection apart from like one, I think, but yeah, and
then there was a few of them.

Speaker 4 (02:41:51):
Yeah, it was like Spike Jones, Chris Kunnenham, Mark Ramanak.
Yeah there was a Yeah, there was a bunch, but
yeah that was that was.

Speaker 5 (02:42:01):
I fucking love that.

Speaker 4 (02:42:01):
I think That's what I always wanted was to have
that like DVD with all my music videos on and
experience shit that was like that was Yeah, that was
always a thing.

Speaker 2 (02:42:12):
I ever syndrum. If you're listening, to get on it,
because the world needs to see it. Like, you have
a very interesting visual style, and I think if people
spend thirty minutes or an hour watching your stuff, they'll
they'll pick up on it. Like you have a very
good voice. And I can't wait to see where you go.

Speaker 4 (02:42:25):
Man.

Speaker 2 (02:42:26):
I think, I really do think that in ten years
you're going to be too busy to talk to people,
or maybe two years, who knows, you're going to be
too busy to talk to people like me.

Speaker 5 (02:42:33):
So it means a lot to put you know, I
you know what I I I love what I do,
and you know I love I love what I do.

Speaker 4 (02:42:43):
And it's when you're in the middle of you know,
production or pretty prod or post and doing it, like
you know, sometimes it's really hard to like balance, you know,
balance time. And I always have time, you know, I
always have time people, and it's it's it's also you know,
it's also beneficial.

Speaker 5 (02:43:04):
You know, like doing an interview. You know, it's good
for you and it's good for me, and you know
what I mean. And that's awesome. And again talking about
people that love film.

Speaker 4 (02:43:12):
A freaking love film and I love talking about film
and just talking about talking to somebody else that loves film.
You know, there's no difference of sitting here chatting to
you you know, on the other side of the world,
and then sitting in a bar talking about fucking film.

Speaker 5 (02:43:28):
There's no difference. So that's awesome.

Speaker 4 (02:43:31):
So it's cool to take an hour out or half
an hour and go cool, let's talk about you know,
let's talk about the film. It's like, it's awesome, it's cool.

Speaker 2 (02:43:40):
Thank you for doing that. And I would encourage people
to watch Street Jush and Now and just follow your
career because it's it's going to be a fun one
for horse fan. So right, thanks so much for making time.

Speaker 5 (02:43:51):
For this awesome. Man, it's a pleasure. Thank you so
much for having me.

Speaker 4 (02:43:54):
Man.

Speaker 5 (02:43:54):
Yeah, it's been great chatting to you.

Speaker 2 (02:43:56):
Wonderful, thank you. Yeah, it's oh cool. All right, well
let's see let's see what Eli and celester upe to.

Speaker 7 (02:44:07):
Okay, good evening, everyone, Welcome to fifteen Minutes with You,
the segment where I and now sometimes a guest go
over the new releases on the Malucceine website, including its
affiliated partner labels. My name is Celeste Lecabra and with
me today is which care to introduce yourself?

Speaker 3 (02:44:25):
Of course, Eli Olsberg, listeners might know me from the
last forty five minutes to an hour and a half.
I just talked with Chris.

Speaker 8 (02:44:34):
Reintroducing very good yeah, good stuff. You are a sort
of expert on this stuff. I would say.

Speaker 7 (02:44:43):
I don't know if you would be that so bold
as to say that, but I had a really good
time with our last conversation for the Valentine's Day sale,
and you're just very knowledgeable and easy to talk to.
So you offered to do this segment with me this time,
and since you were already on the main feed episode
or the main segment. I suppose I was like, hell, yeah.

Speaker 3 (02:45:01):
Let's do it.

Speaker 7 (02:45:01):
I don't have to just yeap by myself all the time.
We can do a collaborative thing and this will be fun.
Maybe this will be a thirty minutes with you instead
of fifteen, but.

Speaker 3 (02:45:10):
Yeah, absolutely, Well, if we're going to make it a
good like a good porn discussion, it needs to be
sixty nine minutes to meet the brand, you know. But yeah,
happy to thank you for Sorry. I may have been
talking over you a little there, but it's just really
excited to hear that. So thank you for having me again.
I do you know, I when I think of like,
dare call myself an expert, I always think of like

(02:45:33):
Ashley West or you know, like Casey Scott and the
people who get the big bucks from from vinegar Syndrome
to come.

Speaker 5 (02:45:41):
Like do that.

Speaker 3 (02:45:42):
I think those are But that's like that's probably like
that's god to your expert level, you know, yeah, career level.
All that's to say, thank you, Yeah, you're welcome.

Speaker 7 (02:45:52):
I think it's fair and I think that they should
be hitting you up for these things, to be completely honest.
So all right, let's go ahead and discuss the titles
for the fuck what month was it?

Speaker 2 (02:46:02):
I don't even know.

Speaker 8 (02:46:03):
I'm behind. We're doing a catch up.

Speaker 3 (02:46:04):
February. Yeah, that's February, I think, I think you're right.

Speaker 8 (02:46:07):
February.

Speaker 3 (02:46:08):
Okay, it's February. Yeah, yeah, because the Image and Neon
Nights were the month.

Speaker 7 (02:46:11):
Yes, yeah, so yeah January, so February okay, And then
on the next segment, on the first or the next episode,
on the first, I'll be doing the March titles, and
then we'll be all caught up. I'm like fucking hustling
out making sure to get this shit caught up because
I had a stack going off, like I just got
to blow through this, you know.

Speaker 8 (02:46:29):
Thankfully, this month's Late had.

Speaker 7 (02:46:31):
Zero special features across all the releases, so I got
to do the pretty quickly, which was really nice because
last time fucking Neon Nights was brutal.

Speaker 5 (02:46:40):
It was so much on it.

Speaker 7 (02:46:43):
So yeah, this time, we're doing her Body from Film Movement,
We're doing Blond Goddess from Quality X, and we're doing
the oh can I remember the names off the top
of my head, The Vixens of Kung Fu Sunny and
and the night Bird triple feature from Pekarama.

Speaker 8 (02:47:03):
I think I got it. Yeah, type, So let's start
with her Body. This is the only one that you
haven't seen. You've seen all the rest, correct.

Speaker 3 (02:47:12):
Correct, Yeah, I'm familiar with the story because for people
who don't know this is based on a true story,
I am familiar with it. But I didn't get around
to it. I don't know what to be honest, I
something like this is my is like catnip for me.
And I was like, did this even play in LA

(02:47:33):
at some point? Because if even if something plays like
limited here, it usually like coincides with the release from
the OCN partner, like The Visitor, which I believe is
a March release for them, that just played here like
like like two three weeks ago. It played like right
around the same time the order. So sometimes I'll try
to catch it theatrically rather than buying it. But yeah,

(02:47:54):
I just for some reason this one went. Oh I
know why I went over it because there's ten thousand
titles I'm trying to get through every month, Like it's
just one of those things where it's just an overload,
and so I am I did miss it, But yeah,
how was it?

Speaker 8 (02:48:08):
I thought it was great?

Speaker 3 (02:48:09):
I loved it.

Speaker 7 (02:48:11):
Funny thing, since it is based on a true story,
I thought it was further than that. I thought this
was a straight up documentary. Like I thought that until
fifteen minutes into the movie, and like for the first
ten minutes or stuff or so, I was like, Wow,
they're getting really intimate shots here. They're really doing a
good job capturing like a fly on the wall thing.

Speaker 5 (02:48:27):
It's like.

Speaker 7 (02:48:30):
It's almost like they scripted this. And then at a
certain point I was like, hang on a second. I
looked it up and I was like, whoops.

Speaker 8 (02:48:35):
I was just fully wrong about that.

Speaker 2 (02:48:36):
But that's okay.

Speaker 7 (02:48:39):
That goes to show you how little I knew about
this story going into it, right, But the film is great. Like,
once I got my bearing straight, as it were, and
kind of got on the wavelength of what it was doing,
I thought it.

Speaker 8 (02:48:51):
Was really really good. And I'm a little bit disheartened
to see that.

Speaker 7 (02:48:55):
I think the reception on Letterbox is pretty decent because
that's a better crowd over there, But on IMDb it's
like really low and people are talking about how awful
it is, and I was just like, I feel like, y'all,
just I just don't want any stories about porn at all,
like because this is just a good movie, like straight up, Like,
I don't know if it was about a different subject
or I feel like the art house crowd would like it,
but maybe like it got a little bit beyond that

(02:49:16):
crowd do the salacious topic and people who aren't familiar
with this sort of thing, we're just kind of hoping.
I don't know what they were hoping for. Maybe it
was just a more big curiosity and they just didn't
end up enjoying it. There's really not a lot of
sex in the film. I mean, there are sex scenes,
and they're very obviously simulated. There is one insert shot

(02:49:37):
in it on the on the unrated cut, which is
on this Blu ray, So it's not a ton of that.
So maybe that's what they were looking for and they
didn't get it.

Speaker 2 (02:49:45):
I don't know.

Speaker 3 (02:49:47):
I think part of that. I think if it's if
it's not well received on IMDb, like the type of
stuff that sold through boutique labels, that means it's a
good chance it's actually gonna rip. Like you're right, butterbox
is probably a better metric in that case, because you know,
when you look at IMDb, you remember what like the
top two fifty is there. It's just so much more accessible,

(02:50:08):
so you're going to get more people who are less
about things that are off the beaten path or more
more hyper niche. And but I am glad to hear
that it was very good because I did end up
finally getting a copy. It's it's going to be I believe,
with the next subscription. But I am familiar with the story,

(02:50:31):
and I it reminded me. And it's hard not to
exist in the shadow of this because you get I
thought of the movie Pleasure, because anytime you get a
movie about the porn industry, you're always going to think
about the last movie about the porn industry because they're
so infrequent, you know, at least once they get theatrical releases.
And Pleasure was like a Neon release. I believe this

(02:50:51):
one was film movement. So those are like, you know,
reputable companies that if they're gonna if they're gonna take
any kind of more because even within niche markets, those
companies have to have their brand in a certain way.
Like when it's a Neon movie, it's weird because it's
like distributors do have some kind of autournis to them

(02:51:12):
now like people associate, you know, like a twenty four
lighting became a thing, and what that really just means
is a spring Breakers lighting. That's where that was born, right, So,
so Neon has this sort of hyperstylization, or at least
when it comes to American filmmaking. And so I and
Pleasure was not an American film, and the reason I

(02:51:34):
went to go see that, and I'll tie this back
to her Body, but it was basically that, you know,
it's a very similar movie where it's not hardcore. They
don't use any insert shots, but it's very very much uses.
Everything's just very carefully out of frame.

Speaker 4 (02:51:53):
And so for.

Speaker 3 (02:51:56):
Like, I guess what I'm getting at is with because
they also use the lot of performers outside of the
lead who was Swedish and the writer director was as well,
the rest of the cast were actually mostly working American
performers in the adult industry. And I'm curious, did her
Body do that at all or was it all pretty
much across the board actors? And do you know as

(02:52:18):
far as the inserts go, I don't. I would imagine
that the lead actors didn't participate in that part.

Speaker 7 (02:52:24):
Yeah, I had to kind of do a little bit
of digging for that. I think in the IMDb Parents
Guide is the only place I could find that actually
like confirmed this, but I believe it's all actors. And
then that it's literally one shot is an insert shot
for an adult performer.

Speaker 3 (02:52:43):
That's enough to get on melly scene. Yeah, that's it.

Speaker 7 (02:52:46):
And then the rest of it is, Yes, this very
careful shot blocking and framing such that I mean it
is it almost qualifies as softcore for a lot of
the time. Like she does go out, like she does
put herself out there, and it is a very vulnerable performance,
and it is very sexually explicit for like mainstream film

(02:53:06):
or whatever, like non hardcore film standards. But if you're
looking for a bunch of like unsimulated sex in a
in a non hardcore movie, you're not going to get it.
You know.

Speaker 8 (02:53:20):
It's a different thing.

Speaker 3 (02:53:20):
Even if you even if you did, you know, it's
funny because it's it is a European film, So if
you European films and attitudes towards porn is the same
difference as European porn versus American porn. In this, you know,
like European porn is very very different when it comes
to being hardcore and like and how they push their

(02:53:42):
limits and how they kind of work and I and
oftentimes I think European films about sex, whether it's in
commerce like this or even when it's something like by
Catherine Brea, you know, something like along those lines, it's
still either more confrontational or more Yeah, if not confrontational,
more they're just not as hung up about it in

(02:54:05):
certain ways. So it's gonna be like it it's only
erotic if they want it to be erotic. And I
think the calculation to be like more dispassionate is probably
gonna be more obvious while watching it, you know what
I mean, Like, it's not gonna titillate you in the
same way also because it just doesn't work that way anymore.
Like when when like movies in like the nineties and

(02:54:27):
early two thousands, like Nine Songs or if I'm trying
to oh, I think Anatomy of Hell? Was that the
one with Rockos of Freddie I'm blanking. I think that's
the title. But all that to say, like back then
it was a little more salacious because porn was just
starting to become more accessible on the internet, you know,
it was still a dial up speed, so like to

(02:54:50):
see that in mainstream things, it was often people would
find ways to pull those clips to put them on
mister skin or whatever. You know, that that kind of shit,
And I just don't know that not to say it
still wouldn't work this way. I'm sure people would would
if if that happened in an American film or European
film where there are these really hardcore shots. But I

(02:55:10):
also think the it's a different selling point now because
of how accessible and personal and direct porn is on
the internet, if that makes sense. Yeah, So I guess
all that to say, sorry, sorry, I just wanted to say,
because I know that went on a tangent, but like

(02:55:31):
just to say that, like the the that's probably why
you had that one hardcore insert versus a movie that
was like really making a point of being like putting
it in where where it could no pun intended, right
right right.

Speaker 7 (02:55:47):
So I forgot to mention that this is a check film,
so it is not in English, and it is definitely
the kind of European art house thing. Female director, which
is really cool. Really, I'm always making a point to
highlight female filmmaker. I do the like Letterbox challenge to
watch at least fifty two films directed by women every year,
so it's nice to add that to this, to add

(02:56:08):
this to that list as well. So you're familiar with
the real life story of this, which I clearly was
not at all. So all of this was like a
surprise for me watching it as it unfolded. I mean,
I knew the basic premise, like, we have a professional
athlete that hurts herself and then goes into the adult
industry to kind of pivot since you can't train at
a professional level or really at any level anymore for

(02:56:29):
her own safety. That's kind of all I knew about
it going into it. Anything past that, It's kind of
tough when you're talking about real life stories. Is it
a spoiler to talk about what happens after that? So
I'm going to let the audience decide and just say
we're going to issue a blanket spoiler warning for the
next five ten minutes. And if you want to go
into this completely blind, skip ahead. If you want to

(02:56:51):
know more about the story and about this film before
you watch it, before you buy it, or if you
just don't care about.

Speaker 8 (02:56:55):
That kind of thing, strap in. Because it's the other
reason this isn't particularly here is that the story is
pretty bleak.

Speaker 7 (02:57:01):
It's not a good time, you know. So I'll let
you take over for a second. What do you know
about this real life person?

Speaker 3 (02:57:10):
So I know that she was it was either a
swimmer or a diver. I believe a diver, right, Yeah,
she's a professional diver who sustained a pretty bad injury
and could no longer be a professional diver. She eventually,
I mean, this is just the cliffs notes version, but
basically she ended up pivoting to I believe, initially modeling.

(02:57:33):
If I remember, I should have had my notes to
the side, But from what I remembered, she should pivoted
to modeling, like nude modeling and stuff.

Speaker 2 (02:57:40):
You know.

Speaker 3 (02:57:40):
It kind of like one led to the other, and
she eventually went into hardcore porn. However, as far as
I know from the real story, she wasn't like you know,
this was in the two thousands, so she I believe
started in like the or the very very late nineties,
like ninety nine. But basically when like you know, the
thing about the early two thousands that to me is

(02:58:04):
probably when porn was at its most gonzo because it
had just become very accessible on the Internet. So from
about I want to say, like two thousand and two,
two thousand and three ish till maybe like twenty twelve,
you could This argument's a bit subjective, but for me,
the period when you started getting into porn into porn

(02:58:26):
is when like reality the pro am stuff really started
to merge. You know, you had like people taking the
idea of like Jamie Gillis's on the Prowl and turning
into Midnight Prowl and and like these big gangbang scenes
were starting, and like like really intense, intense pornography that
would put a person's literal body under quite it's it's

(02:58:49):
a lot, it's a lot. And so now it's it's
a little different because of OnlyFans and those kinds of things.
You can kind of the performer can kind of, I think,
have more not just more agents, would ye, right, right?
And yeah, and it gives a lot less of well
they're really enduring it for the money kind of thing,

(02:59:09):
because it was truly insane stuff. And by the way,
just as a quick PostScript for people the midnight the
guy who are you familiar with Midnight Prowl? No, do
you know what that is? Oh okay, A guy who
I want to say around the early two thousand started
a network of really just the absolute most depraved porn

(02:59:30):
and Midnight Prowl was a take on the Prowl, the
Jamie Gillis series where a woman would go to like
an adult bookstore or a porn shop and pick random
guys up to fuck and then they would take guys
back to the hotel room. It on the Prowl was
pretty low key. This really took it to a level
because the guy, it's like he took the worst parts

(02:59:53):
of Jamie Gillis when he was at his most like depraved,
and that's all this guy's personality was. And he made it.
He made these sites. One was like a white guy
who dressed as like a pimp who it was like
a fake casting couch thing. And another one was, uh,
I'm forgetting the name of the site, I think, but
they were all really really brutal sites and they had

(03:00:13):
like very focused on stuff like pissing on women but
while talking really fucking degrading to them. All that to say,
guy who started it, his real name is Mark. He
is now in jail for like tac tax evasion or something.
He got locked up like three or four years ago,
and it was revealed that he was like a big
donor to a bunch of southern California elected officials. He

(03:00:38):
was like this huge real estate mogul. I just I
couldn't not just bringing up Midnight Prowl automatically bought that up,
and it would be it would be ridiculous to leave
that out. But she started during that period, so I
know she did some pretty intense scenes, nothing that hardcore
as what I mentioned, but that was around the time
she eventually unfortunately at a very young age I want to.

Speaker 7 (03:01:02):
Say, like twenty eight, maybe twenty twenty nine. Yeah, really,
I think twenty seven, actually, I think it was I
think Reber. Wow, that's how old I am.

Speaker 3 (03:01:11):
I was like, oh man, oh okay. She unfortunately passed
away of cancer. She yeah, which is really sad because
like none of this you know usually when you which
is why this is a tantalizing story, because you're it's
this isn't someone who passed away from any It seems
to like almost reject every cliched story about a girl

(03:01:32):
and porn that you see in movies every step of
the way, like you know, she wasn't forced into this,
but she had quite the cachet to use to get
into porn. And similar to China, you know from WWE,
you know, where she used that cachet to do porn
because of a quote unquote leaked sex tape. Unfortunately, she

(03:01:53):
had a much sadder story. Not sorry, not a much
sadder story. What I should say is her story fit
the sadder that cliche more is what I meant to say.
And yeah, and she uh, but she unfortunately just passed
away because she passed away because of cancer, not because
of any kind of like ode or his brain to.

Speaker 8 (03:02:12):
Like really rapid onset brain cancer.

Speaker 3 (03:02:16):
Oh my god.

Speaker 7 (03:02:17):
Just yeah, just watching that movie. Okay, so that's probably
a good foundation. So like, you know, you see this
like extremely competitive, sports focused sort of family, where like
her whole life is training to be the best diver
in the world and training for the literal Olympics. She
I don't know how this works. I mean, like, I

(03:02:39):
guess you gotta be real careful diving at those heights,
and like if you hit the wrong angle, she essentially
like broke her spine and like it was very very
close to where she almost could never walk again, and
you know, right after that, she's like, well, okay, I
can walk now, So back I go back in the suddle,
let's dive.

Speaker 8 (03:02:57):
And her trainer's like, what the fuck are you talking about?

Speaker 5 (03:03:00):
Your go home? You can't do this.

Speaker 7 (03:03:01):
And so she's just kind of living with her parents,
like lost her reason for a living, and gets kind
of linked up with this this guy who I don't
think he produces it, but he works as a cinematographer
for porn shoots and porn sets and stuff, and.

Speaker 8 (03:03:17):
She's just like, let me get it on this.

Speaker 7 (03:03:19):
And for the bulk of the film, you just see
her like finally reclaim her agency and have something worth
living for, and like finally gain financial independence and like
gain the like fame that I'm sure she always wanted
through the diving and everything, and like just have her
own fan base and win awards and just be very
good at this.

Speaker 8 (03:03:40):
But that comes with the unfortunate.

Speaker 7 (03:03:42):
Reality for I would say ninety nine out of one
hundred people, is that their family decides to be pieces
of shit about it. And it's just really sad. Like
her mom tries because she's like, oh, you're still competing.
You're the best at this that's awesome. You know that
her dad is not about it, and her younger sister
is surprisingly like a real bitch about it, and like

(03:04:03):
shout out to that actor.

Speaker 8 (03:04:04):
Because man, I fucking hated her.

Speaker 7 (03:04:08):
And then it's just kind of in the last ten
minutes of the movie, it hits you with this like
like real punch to the gut, real like rug pull.

Speaker 8 (03:04:16):
It's like, oh, you have brain cancer.

Speaker 7 (03:04:19):
And then like the PostScript is like, oh, she fucking
died like twenty seven years old, and I'm just like
what the fuck?

Speaker 8 (03:04:25):
Like is that related?

Speaker 7 (03:04:27):
I had to wonder because like what catastrophic bad luck
to like injure yourself that badly, to like, you know,
get your dreams dashed like that, and then right after
you have a you have a pivot and you're just
as good as something else like this happens and you
just fucking die. Like I had to wonder, like is
this kind of brain cancer somehow related to spinal injuries

(03:04:48):
or something? Did that create you know, some kind of
higher likelihood because like what bad luck?

Speaker 3 (03:04:53):
You know, right? I yeah it is. It does make
you wonder because cancers so like it it's it's brutal, obviously,
but yeah, the way it does happen, Like you do
wonder like, yeah, maybe that injury when she was getting
treatments or some kind of medication or who knows, but
it must have been. It couldn't not be related, like

(03:05:15):
because you do wonder like if she never obviously damaged
her spine and got to the place where she had to,
like if she had just stayed a diver, would she
have still gotten brain cancer at twenty seven? And would
this be the same story at least for that part.
It's very hard to say, but I mean, whether that's
the case or not, that was still a life lived,
like really lived, you know.

Speaker 7 (03:05:37):
Yeah, I was like reading about the type of cancer
and like it is so rare to get it that young,
that like it's not even on doctor's radar or anything,
you know, like it's not even a thing that makes
sense to like be worried about her screen for or whatever.
And I'm just like, man, that's just like I don't know,
truth stranger than action, you know, like you couldn't.

Speaker 3 (03:05:55):
Make Yeah, that's like that's so crazy because like it
is that it is a thing where she got it
and she passed. From what you're saying, she it wasn't
like a thing that she could even like. It was
an aggressive form of it.

Speaker 8 (03:06:07):
So it just came in and it was what I understand.

Speaker 7 (03:06:10):
Yeah, I think maybe a year less than a year
or something like that if I'm remember correctly. Like anyway,
I've basically spoiled the whole film.

Speaker 8 (03:06:17):
But it is a real person in a real life So.

Speaker 7 (03:06:21):
I still think even if you know all that, it's
worth watching. It's it's really well done. The lead actress
fucking shout out. She does an incredible job. All the
supporting characters are really good too, like her friends in
the industry, her family members, like they're all it's it's
easy to forget that these are actors and not real
people that you need to be mad at because they
do a really good job at their performances.

Speaker 1 (03:06:40):
You know.

Speaker 7 (03:06:42):
So this is a very high recommendation for me. I
think it's great. I don't know if you do scores,
but I like scores, so I get I give this
one an eight out of ten.

Speaker 5 (03:06:50):
Big fan.

Speaker 7 (03:06:52):
Great, Yeah, high recommend Okay, I think that's probably a
good time to pivot to one that I liked quite
a bit less, but not necessarily one that I hated
or anything blonde goddess from Quality X. Do you want
to give the the tight sort of oh, and I
guess if you're skipping ahead, this is the part where
it's safe to start listening again.

Speaker 8 (03:07:13):
But do you want to give the or sure?

Speaker 3 (03:07:17):
Yeah, yeah, it's a it's about a comic book artist
that works for Marble Comics, which is which is very
funny because this was made in the early eighties, so
so Marvel Comics had a completely different cachet than they
do now. But yeah, he works for Marvel Comics and
he he which is also funny because this is more

(03:07:40):
of a tribute to cereals, like like the kinds of
stuff that like George Lucas and Spielberg probably grew up
on then then like comic book people. But but he
basically makes these uh it's he's in charge of coming
up with stories for there for Marvel Comics, and he
keeps coming up with really low ideas And there's parodies

(03:08:03):
of like Flash Gordon or Buck Rogers. Take to take
your pick on that. I would say probably actually probably
closer to Buck Rogers because he's like a working class
guy teleported to the future. There's Louisiana Smith, which is
obviously related. But yeah, that was a great name. There
was a noir one which this is the second noir

(03:08:25):
I should say, this is the second scene I've seen
in within two months of that was in black and
white and meant to be a callback to the thirties
or forties. The other one was Naked Came the Stranger
by Radley Metzger. There's a black and white scene that's
entirely played as a silent film, and here it's played
as a noir. And each of those scenes in the

(03:08:48):
Marvel Comics is obviously has a hardcore touch to it.
Did I did?

Speaker 4 (03:08:57):
I know?

Speaker 7 (03:08:57):
Oh?

Speaker 3 (03:08:57):
Yeah, And there's one that's like a a German like
a like a like a dog fight for World War One.
I believe I like that.

Speaker 8 (03:09:05):
That one's pretty brief.

Speaker 3 (03:09:08):
Yeah, it's it's I mean, that's basically the gist of
the of the of the plot and it was shot
on sixteen and it it's like you said, I'm glad
these didn't really have any features, like special features, because
I I this one in particular, I wasn't too curious
about the making of it. I think it's very handsomely
photographed and I love the the sets. It ultimately has

(03:09:30):
acted in a heightened way that almost plays like a
like when you're watching a mainstream film and it cuts
to like a porno someone's watching in the moo, you know,
where people play like with very punny words and that
kind of stuff. Not a bad thing, but you know
a lot of times when you watch this stuff, this
is kind of why we play the game of Like,

(03:09:52):
you know, it's got great set design, it's got all
these things you can kind of compliment, but it doesn't.
It's cool that they put together these sets, but ultimately
I'm more attracted to like, and we'll talk about this later,
but stuff where it's more you know, the photography of
what New York actually looked like at the time or
those kinds of things. I ultimately wash was ready for
it to be over probably halfway through the film.

Speaker 7 (03:10:14):
Ah, that's kind of where I was at. Even somehow
this is almost an accomplishment, even with the plot changing
every twenty thirty minutes, Like it dragged so hard and
I was just like it felt like it was two
and a half hours and it's like eighty minutes or
something like that. You know, I gotta say my favorite
part is the last segment with the sci fi shit
and like the weird like villain in a mask or whatever,

(03:10:37):
and they're like zero G sixty nine ing and stuff.
That was at least interesting.

Speaker 3 (03:10:43):
Yeah, no, no, without question, that was the best scene
because also you get that seat where the bad guy
hits the good guy with the palm of his hand
and it hollows out his chest in the shape of
the palm of the guy's hand.

Speaker 8 (03:10:56):
And it goes seeks again, which is fun exactly.

Speaker 3 (03:10:59):
Yeah, yeah, it generates from the power of love making.
But when you do see something like that, it is
obviously a lot of fun because they're having there's a
little more ambition there. But also because I think that
when you're like, oh okay, yeah, you're not going to
get this in any other movies, mostly outside of watching

(03:11:21):
the nineteen eighty Flash Gordon, maybe you're not going to
get this kind of nonsense and in a good way.
And it's like exactly what we're talking about, which is
like why you kind of watch these things, because the
first round with like the Louisiana Smith stuff, which is
like bookends the movie, and like those those scenes you
can really see in any porno. I think even if
this one has a little bit more of a budget,

(03:11:41):
or at least more of an ambition to.

Speaker 8 (03:11:43):
Ambition is the word I come back to thinking about this.

Speaker 3 (03:11:46):
Yeah, right, and like you know the one, the noir one.
I guess you could say, hey, you know, shot in
black and white, or or they shot it and maybe later.
But but either way, like that last scene is the
one where you where that idea really actually cooks.

Speaker 8 (03:12:04):
Yeah, I really do feel like the.

Speaker 7 (03:12:08):
The the ambition outpaced what they could actually pull off,
and I have to admire that and I have to
appreciate it. But yeah, I don't know, it's it's fun
for what it is. I do think the poster is
great and it definitely over sells what it can deliver,
but also the movie itself over sells what it could deliver.

Speaker 3 (03:12:27):
You know, right, Well, that poster is a great example
of great exploitation because you're gonna always get artwork that's
better than than what the movie is gonna give you.

Speaker 7 (03:12:38):
Yeah, And I got this in my vinegar synterron box
and I looked at and I was like, oh, this
looks fun. Yeah, I'm excited for some like high fantasy
exploit like hardcore stuff and it's like, well, yeah, we're
aiming for for it, but you know, right anyway, it's okay.
I went with a five out of ten for this one.

(03:12:58):
It's just the pacing is pretty.

Speaker 3 (03:13:00):
True to go with your like when you're talking about ratings,
like I go closer to like I used to do,
like when I was in high school. My best friend
in Sydney and I used to do out of ten
and then I like with like in letterbox terms. Because
people get really hung up on the star ratings. I
try to do them accordingly as well. But I do
think this one is a great example of something I

(03:13:23):
did not give a star rating, but I just threw
it a heart because that's good enough. Like I think
the ambition was there. I'll give it a heart because
otherwise I don't think it would make the I remember
getting to be like, this is two and a half
or three. I'm like, you know what, it doesn't matter,
just gets a heart.

Speaker 5 (03:13:37):
Yeah, basically all right.

Speaker 7 (03:13:40):
Moving on to our triple feature content, Heavy Features, Light,
Pikorama disc I mean they're all like under eighty minutes,
so it makes sense that they could fit three of them.
I kind of like this idea that they have here
because the pe karama is usually a double feature, but
they have so much in the vaults that they just
need to get out on HD, like we could start.

Speaker 8 (03:14:01):
They're doing triples. You know, if you don't have any
features for.

Speaker 3 (03:14:03):
It, why not. You know, I'm all for it for
several reasons, the main one being a lot of these
were ones that went out of print when they were
on DVD, and then they they put them on that
Five Years five Movies. But like back in like twenty eighteen,
for people who don't know vinegar Syndrome put out these
blu rays called five Years five Movies. They did four
volumes and they were DVD upgrades that at the time

(03:14:26):
they didn't couldn't justify probably from a business perspective, but
they couldn't justify putting them out on individual releases. And
that's clearly still the case because almost seven years later
they have to put them on one, which is I agree,
totally fine. I like that they're an HD, that they're
not just on DVD. I like that the one you
know that people don't get stuck in a thing where

(03:14:46):
just because they're discovering vinegar syndrome. Later Yep, they don't
need to be not punished for it, but they didn't
miss out, you know.

Speaker 8 (03:14:52):
Yeah, exactly.

Speaker 3 (03:14:54):
I absolutely love that and not go ahead, de fish ahead.
Oh oh, I was just going to say that, And
and particularly I know Vixen's of Kung Fu is one
that was on one of those, and I believe the
Canterbury one on the previous month release was on one
of the other ones. I think some of these movies
for the these seem to sometimes sell better too. I

(03:15:15):
know High Patiently was mentioned on I think it was
on The Disconnected that said that Joe Rubin or somebody
had said that that Hya patient Ly is a big seller,
and so obviously if they're gonna they are still a business.
So I think if they have to put stuff out
that does or doesn't work for people. But I think
when you get these bundles like this, it also is

(03:15:38):
a good way to temper your expectations because I think
the ones that are like real home runs typically get
much more lavish releases, whereas I think this, and again
that's not to say it's a bad movie, but it
is a good way of putting out stuff that I
think otherwise on its own. People probably wouldn't get.

Speaker 7 (03:15:56):
Yeah, yeah, or it would just be pretty bare bones,
not really do much on its own.

Speaker 3 (03:16:01):
Yeah.

Speaker 7 (03:16:02):
Joe Rubin from Vineger Syndrome had a really good post
on the blu Ray forum bluary dot com forum where
he was kind of baffled at the criticism that he's
been receiving for the reissues and upgrades, because I mean,
it would be I would kind of understand it if
it did a big run on Blu Ray and then
we were just reissuing stuff on Blu Ray like whatever
and that took.

Speaker 8 (03:16:22):
Up the spot up like a new release or something.
But like, these are.

Speaker 7 (03:16:24):
Old ass, dusty, out of print DVDs, not in HD.
Why would you not want that to be one more
accessible and two in better quality, you know, for a
much more absolutely.

Speaker 3 (03:16:35):
Oh, you know, I completely forgot about that someone had
sent that to me. They're like, I didn't know that
that was Joe Rubin that post. I thought it didn't
occur to me to look look at the name, but
I I did see like a screen cap of it,
and yes, he said in there too that it's just like, yeah,
it's making it more accessible, it's actually putting it on
h D it's not just on a standard, you know,

(03:16:56):
and like obviously they have to go with what's selling
of reinforces what we're what we were just talking about.
But like, also one thing he really makes a point
of in there is that it you know, there's clearly
a ceiling with this market.

Speaker 5 (03:17:13):
Yep.

Speaker 3 (03:17:14):
And obviously they have a very loyal following because they
just on just on the day they released these, you know,
a few hundred usually fly out the door. But if
they're doing two thousand and three thousand slip covers or
whatever and only half of them are selling and then
they have to like put them on massive discount later,
obviously it's either going to shrink the amount of slips
that they print or they're going to have to be

(03:17:35):
much more selective of what they're putting out. And obviously
if these things are moving a lot more like the
Pikorama stuff, because I saw he had mentioned one thing.
I think it was the Hyghapatial Lee Want actually maybe
or something else, but they outpaced like everything since like
most of twenty twenty four's drops, which is.

Speaker 7 (03:17:53):
The specifics where he was like, look, y'all are complaining
that we're not putting out enough, like new to disc stuff,
and we did that with alex and and it didn't
sell well. And then we reissued Ribbled Tales of Canterbury
and it's sold better than anything we put out in months,
which is just a DVD upgrade. So like I want,
I also want to put out new stuff, but like
you gotta buy both, or you gotta buy the new

(03:18:14):
stuff if that's what you want.

Speaker 3 (03:18:15):
You know, So heart breaking here. But oh, by the way, that's.

Speaker 8 (03:18:19):
A that's my plug to go buy Alexandracau.

Speaker 5 (03:18:22):
That movie's great.

Speaker 3 (03:18:23):
Not really, That's why I was saying it's heartbreaking. That's
exactly why I was saying was heartbreaking because like Alexandra
is I think one of their best releases of twenty
twenty four. Like if I stacked the list, that would
be that would be up there.

Speaker 8 (03:18:34):
It's great.

Speaker 3 (03:18:36):
Yeah, it's really good.

Speaker 7 (03:18:37):
Anyway, old Vinegar Syndrome fans maybe have been around since
the beginning and are like, I have all these DVDs,
why are you reissuing this? Still confusing to me because
I would want the futu very regardless. But like I'm
a person that got into this like twenty twenty two,
so like I'm the person you're describing. We're like, this
is all new to me, and so I'm excited. I'm
having fun.

Speaker 2 (03:18:54):
You know.

Speaker 3 (03:18:54):
That's a that's why, right, Oh, totally. I well, I
before I forget. I think the other reason is people
are speaking as collectors. I was talking to my friend
who had sent me this we kind of got. I
was chatting with about like three different people about this,
and one of them kind of made a similar point
where they because I was like, well, this is like
someone who I think just likes that they have it

(03:19:15):
on their shelf and that other people don't, and he's
like yeah, Or they're talking like collectors who are reselling
shit like they're mad that they're out of print item
that they may be paid like fifty dollars for after
the fact, is now worth the ten dollars that it
initially sold for or whatever, you know. And also, sadly,
like a lot of I've also seen in interviews or

(03:19:38):
like secondhand posts that like stuff like like the Altered
Innocent stuff didn't sell well, or like a lot of
the Wakefield Pool stuff, it sold out, but I think
it took a long time to sell out, like a
lot of because vinegar Syndrome does have a lot of
gay porn as well in their vaults, but they just
don't do the numbers. And that's a shame because Wakefield

(03:20:01):
Pool stuff should be. I know that there's still stuff
being put out through Altered Innocence, and some of it's
not with PAMA.

Speaker 8 (03:20:07):
They're doing the Arthur Perisson stuff, but the Wakefield poo stuff.

Speaker 3 (03:20:11):
Right, you're right, Print, You're right. I'm sorry. That's actually
what I meant to say, was the Arthur Proissan stuff. Yeah,
they never Altered Innocence. I don't think I ever got
the Wakefield Pool stuff that I think is but yeah,
I mean, you know, it's I think it's great that
they moved them also because and maybe if you want
to segue into this, but it's I'm glad because Vixen's

(03:20:32):
of Kung Fu is not a good movie. Put it nicely.

Speaker 8 (03:20:37):
Yeah, okay, yeah, let's start with that. So this one,
I might have a hot take. It's not good, but
I liked it more than most people.

Speaker 5 (03:20:45):
I think.

Speaker 7 (03:20:45):
I thought it looked beautiful, like I really like the
out there like in the Wood cinematography, and there were
shots in this where I was like, that's a dope
ass fucking shot, like they actually know what they're doing.
Like this was clearly like creatively put together. There's this
beautiful shot that's like through a branch that kind of
frames the people in the shot, and it's just like

(03:21:06):
really gorgeous. And then there's this really cool scene where
she's like hanging off of a tree or whatever. Yes,
and like I don't know, just like the scenes of
them like meditating naked in the woods, like they're just
kind of shot in a nice, like slow and meditative fashion,
and I just.

Speaker 8 (03:21:21):
I just kind of liked it.

Speaker 7 (03:21:22):
Aside from the fact that it is sort of inherently
really offensive and like probably shouldn't exist, Like if it's
going to exist, I like the way that it's shot
and the kung fu sequences are so bad that they
actually kind of turn around into becoming amazing.

Speaker 3 (03:21:40):
To go to back the letterboxed. Some people seemed very
disappointed that the kung fu wasn't good, and I'm sorry
to say that this is not the place to expect
good kung fu. You would want Compton kung fu, sure,
And I don't even think it really meets that great theory.
Aside from maybe some of it is't that.

Speaker 8 (03:22:00):
Yeah, it's hutting.

Speaker 3 (03:22:02):
Yeah, I mean, you're right, it was a lot of
that stuff was dated before it even hit the screen.
And in terms of it's some of it's how it
deals with some certain stereotypes and for people who don't
know the movie is about what it is, crossing a
couple of different things. It's it's making. It's basically a
cross between a martial arts exploitation film, like it takes

(03:22:22):
a lot of that stuff that played on on you know,
grindhouse screens and weirdly mixes in a scene that's meant
to I think be a parody of Deliverance, a gang
rape scene at the beginning. And you're right, it's very
beautifully shot. But to paraphrase my own letterbox review, this

(03:22:43):
was like a lot of these titles when we when
when when you get a good one on Meliu scene,
when you get a real winner, it's usually because the
ambition for the filmmaker who tended to be a crossover filmmaker,
which the guy who directed this I believe did it
was Bill Bill Milling, I believe it was a director
and he went on to do a couple of mainstream films,

(03:23:04):
one of which Vinegar Syndrome put out as a movie
called wolf Pack. It was, yeah, really cool.

Speaker 7 (03:23:09):
I've sermainly seen half of it, but it's a really cool,
like anti fascist political allegory.

Speaker 8 (03:23:13):
It's actually very smart. It's interesting to see this, you know.

Speaker 3 (03:23:16):
See this right, and like so he made a couple
of things, but but that obviously he his ambitions were there.
And you know, when you watch Radley Metzker's stuff or
anyone else who usually does crossover stuff, they even if
they don't want to do the porn, like ROBERTA. Finley
or Roger Watkins, their artistry is still going to come through,

(03:23:36):
whether they you know, just by default of their talent.
This one, I feel like the ambition was forty second
Street through and through. They were not. There was no
even if it's beautifully photographed, the ambition there was clearly
to be you know, if it was the first, it
was the first on a double or triple bill, or
if it was the only thing showing, they knew it
wasn't going to go past forty second Street. And uh so, yeah,

(03:24:01):
you're right. It looks great, especially the outdoor stuff.

Speaker 5 (03:24:03):
And C. J.

Speaker 3 (03:24:04):
Lang never met a role. She notoriously c j. Lang
is one of the I guess the co leads, you
know she's in. She's an incredible performer, and she notoriously
hated being pegged as an actor in any capacity.

Speaker 5 (03:24:19):
She did not.

Speaker 3 (03:24:20):
She was one of the few performers who thought it
was just a job where you suck and you fuck
and you clock out. And she never really made it
a point to at least on record that I could find.
I haven't done a deep dive into her, as much
as I love her, but I just remember some cursory
research reading that she was not a fan of being

(03:24:41):
labeled as such, and she just saw sex films as
sex films. And she still has never met a fucking
role that she couldn't just fucking radiate, Like just even
in this when she's like a little like she's barely
in the movie aside of a you know, her sex scenes,
Like she's not as as plot centric if there is

(03:25:01):
a plot, but she's still like so radiant on screen.

Speaker 2 (03:25:06):
Yeah.

Speaker 5 (03:25:07):
Yeah.

Speaker 7 (03:25:09):
This film opens with like a really beautiful, like establishing
shot and then the voiceover comes in and like, I'll
eat crow on this if I'm wrong, but I'm ninety
nine percent sure that this is a white guy doing
a really offensive Asian accent.

Speaker 3 (03:25:21):
Just absolutely. I actually don't know either, but I would
venture to say the same thing.

Speaker 8 (03:25:27):
Yeah, so you know, it is what it is.

Speaker 7 (03:25:30):
You kind of gotta take your mileage on this sort
of thing. May vary, your own personal sensibility, may vary.
It's not really justifiable, but you kind of pick out
the parts that are worth appreciating, even in the year
of Our Lord twenty twenty.

Speaker 3 (03:25:46):
Five, oh for sure. And that's like, that's the that's
the bargain. When you watch something like this, you know
what you're getting into. But it is. It is seventy
minutes and ever state as welcome it doesn't know. There
were a few times where I got a little fidgety,
but but not to the point that and not the
good kind of fidgety. But uh, but I I think that, Yeah,

(03:26:09):
it's if you just want an hour to kill and
watch something, you certainly could do a lot worse this
take this, Yeah, totally.

Speaker 7 (03:26:19):
I watched this by myself in my room on my
laptop actually, so as to not uh, my roommate has
company over right, and I'm not trying to be the
person watching this in the living room, So like, not the.

Speaker 8 (03:26:34):
Bideal viewing conditions, but you know, I still.

Speaker 2 (03:26:36):
Have fun with it.

Speaker 5 (03:26:37):
So it is what it is.

Speaker 8 (03:26:39):
Uh, just again for my own purposes. Five out of
ten on this one.

Speaker 5 (03:26:43):
For me, it is what it is.

Speaker 7 (03:26:45):
This next one, though, is my favorite of the of
the three films.

Speaker 5 (03:26:48):
I think it.

Speaker 8 (03:26:48):
I gave it a six, but it might be closer
to a seven.

Speaker 7 (03:26:51):
Again, I didn't have ideal viewing conditions, but if I
rewatched it again, I might increase my appreciation of it.

Speaker 8 (03:26:56):
It's a film called Sonny. It's got a little bit of.

Speaker 3 (03:26:58):
A comedy yet.

Speaker 8 (03:27:00):
But I really enjoyed this.

Speaker 3 (03:27:03):
I did too. Yeah, I Well, for me, I'm a
very easy mark. When it comes to and I've pronounced
her name, I'm still not sure if I've pronounced it
correctly or not. It's Candida Royale is what I've always
heard it as, and then a few times i've heard
I think I heard an interview with Veronica Hart where
she said Canada like Canada but with two d's, So

(03:27:24):
I was like, okay, sure, But she is an amazing performer.
She's such a great actor. There's a great book you
can actually get on the Melusine site about her and
her life, and she also tragically passed away from cancer,
but at a much older age. And yeah, she was

(03:27:46):
you know, not to get too much into her career,
but because at this point she hadn't really she was
still just working, I believe during this time. But eventually
she started to really try to Uh, she was at
odds with like her feminism and and she was trying
to do something about that in a very productive way.

(03:28:06):
I don't think she was there yet with this one,
but I agree wholeheartedly. I mean, this was shot by
Shan Costello, who did the Passions of Carol, but is
at I think, Yeah, who's a great He's he's a
great example of a guy who he knew what he
was making, but he still bought the artistry. If you
listen to I Believe It's the Midnight Desires commentary, there's
like a point where Joe Rubin is moderating the conversation

(03:28:28):
and he's like complimenting a shot and Shawn Costello's like, yeah, sure, Okay,
it's a great shot. Why not Like he doesn't he's
not too he's not too precious about it. But that said, like,
you're gonna get stuff in this that you won't get
in any porno or mainstream film. I guess if you

(03:28:48):
want to give the plot first, so I can. And then,
because I don't want to give this part away without
kind of setting up a plot to it.

Speaker 7 (03:28:54):
I guess sure, let me give my quick sort of
thoughts on this real quick. I've been sitting on this
joke for a second. I think Canada with two d's
would be a wonderful tagline for a DP scene with
somebody with a performer named Canada.

Speaker 8 (03:29:09):
That's I just had to cont out of my.

Speaker 5 (03:29:14):
What else.

Speaker 7 (03:29:15):
Uh. Yeah, this was my introduction to Candida Royale, and
I thought she was great.

Speaker 8 (03:29:21):
Like I was just like, who is this?

Speaker 7 (03:29:22):
This person rules? And then I recognized the book cover
and I was like, oh, I know, I know of
this person. Okay, it's nice to finally be more intimately acquainted.
And yeah, she became like a director, and like, I
know that her story has a lot more to it
than just a performer who came and went. So I'm
excited to uh dive deeper as it were, Shaka Stello

(03:29:47):
yet again.

Speaker 3 (03:29:47):
Way sorry just to say the book was called I
Believe It's Candida Royale and the Sexual Revolution for people
because we were saying that it was the book I
just forget.

Speaker 7 (03:29:55):
Yeah, yeah, yeah, Shawn Castello, I think that this is
much more oppotent than the Passions of Carrol. That one
is clearly like a shoe string kind of thing. I mean,
it still looks really good, but it's like there's it's
rough around the edges, and this one, I think is
way more polished.

Speaker 8 (03:30:10):
And maybe I think you're saving this reveal here.

Speaker 7 (03:30:14):
But he's a real sick freak and he's very open
about that, and that element certainly comes through in this
in ways that I found highly entertaining and.

Speaker 5 (03:30:24):
Enjoyable.

Speaker 8 (03:30:25):
But what else uh uh oh.

Speaker 7 (03:30:30):
Yeah, that's like it's another one that's still really beautifully shot.

Speaker 8 (03:30:34):
Like I love the initial sequence on the boat.

Speaker 7 (03:30:37):
There's like a blowjob scene that has like the sunlight
and like just like beautiful framing, and I'm just like, man,
these people knew what they were doing.

Speaker 8 (03:30:44):
Like this is good stuff here, you.

Speaker 3 (03:30:45):
Know, absolutely. I think that it's like it's so I
can't find I had some notes for this one, but
I can't pull I think I might have exed it
and not saved it. But so I just kind of
looked at my letterbox review to see if I put
any facts on there, but I actually open it with
saying another perverse yet elegant affair from Sean Costello, which

(03:31:07):
sums it up. But you're right like it. There's like
a shot there's like a sex scene on a boat
that is shot with like sun flares that make it
look really beautiful, like it makes a particularly blowjob scene
look incredible, and then and going back to him. And
also there's like a great elegant scene on a fucking

(03:31:27):
Marry Go Round, like the way Candid de Royale takes
a seat on the Merry Go Round while Marlene Willoughby,
who also by the way, great fucking performance, are just
talking on a Merry Go Round. And the way it's
shot and edited, like the whole combination is just so
fucking great. It's not like anything. I'm not saying. It's

(03:31:50):
like a breathtaking thing. But when even when you're seeing
this in any other movie, you would be like, oh,
this is really great. This is so well shot and
so well edited. It's barely eighty minutes and it interestingly,
and this will come up more in the next for
the next movie too, the final film in the in
this little trilogy that they have on the On the

(03:32:11):
Blue Rape set. But the sex the plot ratio is
shockingly even, like it's an even split thing, Like it's
a lot more plot. It's a pretty plot heavy movie.
It's a it's a it's about it, yes, and delivered
great between the two, especially between the male performer. I'm

(03:32:31):
forgetting his name.

Speaker 8 (03:32:33):
I could he's taking good, but I forgot his name.

Speaker 3 (03:32:36):
So he thought.

Speaker 7 (03:32:36):
He's been in a few films I've seen, and I
generally think he's pretty good.

Speaker 3 (03:32:40):
Yeah, I yeah, I thought he was. I thought he
was okay in this. I think because he was so
overshadowed by Marlene Willoughby especially and Candida Royal. They were
so they're just so fucking like magnetic in this. And
so the plot for for I guess we should we
should kind of expand on. It is about a woman

(03:33:00):
who a wealthy woman whose wealth is tied to her
son and he she's trying to basically get his money
by getting him a man. It's funny. I'm actually thinking I.

Speaker 7 (03:33:16):
Pivoted from describing the plot and I didn't quite understand it,
to be honest.

Speaker 3 (03:33:21):
Basically it is. Yeah, it's a very complicated inheritance plot.
But basically Candida Rail plays the title character Sonny, and
she's a she's an escort for like a high end service,
and she's basically hired to basically mess with this dude,
not just sexually but like mentally to get part of

(03:33:44):
an inheritance scheme. But she eventually wants the money all
for herself. She actually wants to screw over Marlene Willoughby
as well and make sure no one gets any things. Yeah,
and then this movie really truly like and then the
reveals it kind of has along the way or with
like incest themes. This, by the way, beats Taboo to

(03:34:04):
the Punch by a year. Taboo is obviously a little
different because it's more it's it's more of a suburban thing.
But and this is dealing with more like rich to
brave to people on you know, on Epstein Island or
whatever type type wealth. But you know, yeah, there's a
there's there's incest in it. There's like, uh, there's an

(03:34:26):
incredible scene that I like, I almost fell out of
my chair with like a a woman of a certain age,
let's say, a woman in her golden years who uh
smokes opium with Candida Royale and then coaches her through
an entire sex scene. And she is in this scene.
For when I say she's in the scene, I don't

(03:34:47):
mean she's like on the other side of the room.
At certain points, Candida Royal is literally laying on this
woman's body, and then the woman's sitting right next to
her while she's blowing this guy to comple. I wouldn't
be surprised if she got hit with some come uh
like she But the reason that the scene is so
amazing isn't just because of that. I tried to find

(03:35:10):
as much information as I could about this lady. Excuse me.
As far as I can tell, she never did anything else,
which is such a fucking baller move. Like she's never
been in a mainstream film. She's I don't think she's
been in other pornos as far as I can tell.
It just yeah, just top top tier stuff right there,
just because she's so committed to it. She's not like

(03:35:34):
she's not like just doing the scene. I mean, because
what does she get out of being in the scene,
you know what I mean? It's not like it's not
like Sean Costello's her her son and she's trying to
help him achieve his dreams of making a film, right, Like,
she clearly is someone connected to this who was like, well,
I've lived a full life. Why not, Like that's the
only thing I could think of. It's but anyway, check
off totally in a way that like it's just really incredible.

(03:35:57):
So yeah, and then eventually, as complicated as the plot is,
it resolves rather quickly and easily, and suddenly it literally
just like cuts when you.

Speaker 7 (03:36:08):
Least expect it to. Yeah, all right, I know you're
on a bit of a time crunch. Let's maybe pivot
to our third and final feature here.

Speaker 3 (03:36:16):
It's called that. Oh yeah, go ahead, sorry real quick.
I just want to say, yeah, I totally agree with you.
It's it's the highlight of the of the three and
I think I gave oh yeah, I have it right here.
I gave it three and a half on letter box.
So that's a good H's Yeah, it's it's good. It's
definitely the reason if you're going to get this set.

Speaker 7 (03:36:32):
To me for sure, I mean, like it's a tope
for the price of one, you might as well check.

Speaker 5 (03:36:37):
Yeah.

Speaker 8 (03:36:37):
Yeah, let's pivot to my least favorite.

Speaker 7 (03:36:39):
This is called The Night Bird it's I got to
be honest, I gave up with this one trying to
figure out what's going on. It's like about a disco
club and there's some kind of racially based uh gang
rivalry or something, and.

Speaker 8 (03:36:55):
I don't know, just like, no, go ahead, oh go ahead,
I am I familiar with it all right.

Speaker 3 (03:37:01):
Oh if you're familiar with what they're what it was
like not exactly a parody of but what they.

Speaker 7 (03:37:06):
Were Saturday Night Fever, right, I've never seen it, so
that's probably where the disconnect is happening. But this to
me was just wall to wall slurs and like extremely
unpleasant male characters and like a pretty decent orgy scene
and some cool like disco lighting and sets and like
dance sequences that kind of saved it from me like

(03:37:28):
entirely hating this, But I was mainly just watching some
of the most unpleasant people I've ever sat through in
a hardcore feature for a while and I was just like, man,
this is rough, so not for me.

Speaker 8 (03:37:40):
I might like to take over on this one.

Speaker 3 (03:37:43):
Sure, Uh yeah, So it's you're right. Basically, it's a
it's a take on Saturday Night Fever. These three guys
the only difference is in Saturday Night Fever, they the
John travolt character is already he you know, hit dancing
is a key thing, and this one the lead character,
who I guess would technically be the stand in for
the Travolta character, wants to learn to dance. Later on,

(03:38:07):
it becomes it literally just takes up the last ten minutes.
He Yeah, it's about a group of guys who are
at war with another gang, but like, you never really
see the war until there's like this one random bar explosion.
I and even the way, so, since you haven't seen

(03:38:28):
the movie, Saturday Night Fever has a particularly harrowing rape
sequence where most of the group is It's been a
long time since I've seen the movie, but like most
from what I remember, most of the group is present,
and it's a very downbeat story. So that's why it's
weird to call this a parody because this sticks to
the downbeatness of it. And they even sort of recreate

(03:38:54):
that scene with like a woman who they take to
their car and bring her out. But she the only
it says this is a consensual scene. She she wants
to do it.

Speaker 8 (03:39:03):
I wasn't sure what the fuck was happening.

Speaker 3 (03:39:06):
Right, Yeah, And and so I guess you're right. Vixen's
of Kung Fu is probably more fun in that in
that kind of, for lack of a better term, so bad,
it's a good way. This one isn't. I think the
only reason I would probably give this one the edge
for me is because it it It has a lot
of that New York photography that I respond to. You know,

(03:39:28):
anytime any city you put any city, it doesn't have
to be New York, Like when I'm watching ones that
are set in San Francisco or La or even that
that that one the Media club release that hot summer
in the city, and it gives you Detroit. It just
gives you these these, these these things. And so I
do like that, and I you're right, the disco club
has this kind of vibe to it, and that the

(03:39:51):
scenes there are shot really well. This is the sole
directing credit on Letterbox for this director. I actually wasn't
too familiar with this beforehand. It was of the three,
it was the only one I wasn't really I didn't
know much about it, kind of kind of had missed it.
But they had credits for some cinematography outside of this

(03:40:12):
I think like one or two other credits, so that
maybe why it looks a lot better than it plays
for to put it nicely, yeah, I definitely was bored.
I checked out at certain points. Sometimes you have to
fast forward through the sex scenes if you're just trying
to get through it. Nothing wrong with that, That's what

(03:40:32):
I'll say with certain because they can't. We're only on
this planet for so long, and a lot of these
only have so much that you could really enjoy for
the artistry. So I won't pretend that I wasn't a
little boored myself sometimes, but that again, that's kind of
the bargain with the triple Features and even with some
of the other ones. But yeah, I do hope overall,

(03:40:52):
I do hope that they keep this line going, which
it sounds like they will because based on that when
you were talking about that post on blueray dot com
the they were talking, I know, at the end he
mentioned that they have a lot of original releases plan
in four k's, but they also are clearly still going
to continue this line of re releasing things, So I
do hope it still happens. What am I saying, They

(03:41:14):
just they're putting out a double feature. This month. The
subscription package I ordered had Baby Rosemary and Hot Lunch,
which I believe one or both of those were also
on the five years line, but those are only on DVD,
so I'm thrilled that those are very excited to particularly
so extensive.

Speaker 8 (03:41:33):
I'm just like, yeah, give me all of it, you know,
to double triple features.

Speaker 7 (03:41:37):
Hit me up with a fucking ten film box that
if you want, just get this stuff out there in
printing on HD. You know, like that's such bare minimum
stuff for this project. You know, it's really bizarre to me.

Speaker 8 (03:41:48):
I think you're right.

Speaker 7 (03:41:49):
It really literally is just people like, oh well, now
everyone has the thing that I had that made me
feel special and I'm upset about that. Or now I
can't flip a ten dollars DVD into a fifty dollars DVD.

Speaker 8 (03:42:00):
Oh no, whatever shall I do? My investment has not
paid off? Like you know, it's literally just.

Speaker 3 (03:42:04):
That, I think, right exactly, And if you're gonna do
that ultimately, like on a more sincere level, like if
that's if that's where your bread is, then open you know,
open up an Amba music or whatever. You know, it's
not sold.

Speaker 8 (03:42:16):
Now if that was their plan.

Speaker 3 (03:42:17):
Yes, exactly, come on, that's exactly You're right. Yeah, you're
absolutely right. Yeah, absolutely, these things, especially a fucking DVD,
get out of here. Like there's so few of those
that really retain that like value anyway, just by you know, Like, yeah,
I would argue VHS holds more value if it's an
ever on disc, if if we're going to play that game.
But but yeah, I think that also, like when I'm

(03:42:41):
watching something on my Blue Hit Player when it's not
a DVD that it's upscilling, you could still see the difference.
I mean I watched you know, I had I Have
Hot and Sazy Pizza Girls on DVD, and I'm sure
that's going to get an upgrade because that's a really
big that's the title people want. And I remember when
watching it, I'm like, oh, the audio is going to
really be It's what you're going to hear so much

(03:43:02):
better on Blu Ray. The picture still looked great, and
I think that I think they're clearly going to use
the same scan, it's just going to have a higher
bit rate.

Speaker 7 (03:43:10):
Yeah, I was really what's great with HD and especially
I mean the audio track it can be completely uncompressed.
That was The main thing is when I first started
really collecting, and I would still stream stuff and then
watch stuff on disc. I would I would watch something
on HBO Max and be like, this looks sounds like shit,
Like it looks fine, but it sounds terrible, and then
I'd switch it just night and.

Speaker 3 (03:43:30):
Day, you know, so absolutely yeah, and I and then
for I guess for ratings on this one, I gave
night Bird two and a half.

Speaker 5 (03:43:39):
That's what I gave it to.

Speaker 8 (03:43:40):
I felt generous, yeah, so pleasant to me.

Speaker 7 (03:43:44):
I don't know, but like, you know, there are parts where,
like the disco scenes, they're so colorful and there's so
much lighting. There is a skill to shooting that and
it looking good.

Speaker 8 (03:43:53):
So I appreciated that totally.

Speaker 4 (03:43:56):
Yeah.

Speaker 3 (03:43:56):
Yeah. The acting is what's what leaves something to be desired.

Speaker 7 (03:43:59):
And I don't hear the same slur so many times
in a non Scorsese type movie and be like, Okay,
let's move on.

Speaker 4 (03:44:06):
You know, right.

Speaker 3 (03:44:07):
And also the voices they're just being so like, ay,
that's pretty much all there.

Speaker 7 (03:44:11):
Rating Okay, the first scene, this guy says the word
man at the end of every single clause and every
single sentence, And I was like, this is so greating.

Speaker 8 (03:44:19):
I can't take this. Yeah, all right, well that's the slate.
Did you have any final thoughts?

Speaker 3 (03:44:28):
Uh? Now, looking forward to uh to the March titles.
I'm actually really excited. I ordered all of them and
uh uh. And then I'm looking forward to your thoughts
on the February ones because I actually excuse me on
the looking forward to April, I should say, but looking
forward to your thoughts on March because I think that
also had a pretty rate. It was very diverse slate,

(03:44:49):
and I thought the distrip the distript Picks title was
the real high point for me. But yeah, nothing nothing
else for this one.

Speaker 8 (03:44:55):
I guess you're missed for me. So I'm excited to
h to dive in if it that's a better one.
So cool.

Speaker 3 (03:45:02):
Yeah, for sure, And thank you again for having me.
Always happy to come back whenever you want to do
these galson.

Speaker 8 (03:45:07):
Thank you. All right, I will throw it back to Chris,
I guess. Thanks y'all.

Speaker 2 (03:45:14):
Hey, all right, so y'all we did it Episode seventeen
in the books. Thank you Celeste, thank you Eli, thank
you Brian, and thank you everybody who made it through
this Mammoth episode.

Speaker 5 (03:45:28):
Y'all.

Speaker 2 (03:45:28):
Please leave comments. You know, like I said one hundred
times now, I don't have a preference for how this
is structured. I'm just kind of talking about movies that
I love to talk about and bringing on other guests,
so it's not just me. I'd love to hear your feedback.
Already had some good ideas for guests. I can tell
you we have an exciting couple of guests coming up,

(03:45:52):
including somebody that everybody that I've spoken to at Vinegar
Syndrome says, Oh, I can't believe you got her. I
can't wait to hear what she has to say, so
I'll tease that. So yeah, we have a couple of
exciting months coming up, and hoping to just continue to
grow this and grow the community and and grow the
people that are on here representing Vinegar Syndrome and their
love for it. So thank you all for everything, and

(03:46:15):
see you online.

Speaker 1 (03:47:04):
Thank you for listening to hear more shows from the
Someone's Favorite Productions podcast network. Please select the link in
the description.

Speaker 8 (03:47:17):
Hey, this is Jason Kleeberg from the Force five podcast,
a show that forces a guest to come up with
a movie themed top five list topic and then we
reveal our picks on air top five heist films, top
five tier jerkers, top five movie dogs. Every show, you'll
be asking yourself what would be on my list. Guests
include directors, screenwriters, actors, podcasters, musicians, authors, and even a

(03:47:39):
professional wrestler. Subscribe to the Force five podcast and you
won't just be a listener, You'll be a listen neer.
The Force five podcast available wherever you are listening now

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On Purpose with Jay Shetty

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 17 - Street Trash! A Conversation with Ryan Kruger plus Eli Oslberg