Episode 621: L'Age D'or (1930)

Episode Transcript
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(00:05):
Hold you is, folks, Itshow time. People pay good money to
see this movie. When they goout to a theater. They want cold
sodas, hot popcorn, and nomonsters. In the projection booth. Everyone
pretend podcasting isn't boring of Welcome tothe projection booth. I'm your host.

(01:12):
Mike White joined me once again.Is mister Rob Saint Mary. It's all
section violins front and center. Alsoback in the booth is mister Robert Bellissimo.
Hello everyone, bonjou and olah forthe French and Spanish fans. We
conclude French Month with Louis Bunol's nineteenthirty film Las Or. Released in the

(01:34):
wake of the Sound Revolution, thefilm straddles the line between silence and sound,
presenting a series of stories that representthe five prismatic segments of a scorpion's
tale. We will be spoiling eachof these as we go along, So
if you haven't seen las Or,turn off the podcast and come back after
you have, we will still behere. So, Rob, when did
you first see the movie? Inwhat did you think? Sir? My

(01:57):
entry into Bunol was probably discreet,charm and, as I said on the
discreet charm episode and I've talked aboutbut well before. When I first saw
his I didn't understand it. Itwas in my late deads. It didn't
connect with me at all. WhenI went back a few years later and
we rewatched it and then became obviouslyone of my favorite films of all time,
if not the number one. Itthen led me down the path to

(02:20):
try and watch everything that I couldget my hands on. Working at Thomas
Video was good because I could getsat the time, which was mostly what
you had to get. So Ithink I may have seen this originally on
a VHS tape. It wasn't avery good dub, subtitles, garbage trags,

(02:42):
it parts, and I don't thinkthat I really appreciated it the first
time I saw it because I wasexpecting something more in line with the later
work. Not that his stuff isnarratively heavy at times, but at least
had something that felt more together.Shan and delous. These images that stick
in your head, there's some inhere that's stick in your head for different

(03:04):
reasons. Like I said, Ijust thought it was okay. It was
only in later years that I wentback and looked at it and said Jenna
Andaloo gives you sort of visual hencelater work. This gives you a lot
of thematic. This is a protoversion. This is Stooges to punk rock
or something. It's yeah, Igo listen to that stuff and then you
can understand where it comes from.So it's only grown in years, but

(03:29):
it's not one that I watch onthe regulars. One i'd probably see maybe
once every five years or more.And Robert, how about yourself. I'm
new with boon Well. Part ofthe appeal for doing this episode on your
show, Mike was just because he'sa director I've been meaning to get to,
and I just I've seen Baldejore andTristan, I had seen The Milky

(03:53):
Way, but he's just someone Ihadn't got into yet. And so you
don't have to know much about boonWell to know what he was interested in.
His films, which are making footof the bourgeois sexual fetishes and tearing
the religious Catolic Church apart, andso you certainly see that in this film.

(04:13):
But I knew it was gonna betoff watch. I just had an
instinct, so I thought, I'mgonna have to watch us a few times.
So what you do with any reallyany great artists, you go back
time and time again. But whenI first saw it, just maybe a
month ago or so, my initialfeeling was that is this is fucking crazy,

(04:34):
but in a good way. AndI just immediately took to it.
I just let it hit me,and I could clearly see those themes we
mentioned, it mentioned, and whathe was getting at. And when I
watched it again about a week ago, I was able to then appreciate it
much more. And it's a filmthat I feel invites you to participate in

(05:00):
having your own takes, in opinionsand possibilities, and those things may change
with each of you doing. Butit's a challenging watch but at the same
time is very funny. And seejust his audacity and boldness and just not
caring what anyone thinks or worried aboutanyone criticizing him. That's ultimately from what

(05:27):
I read him. And Daddy wantedthat wants to shock people, wants to
wake people up, wants they showedup at the movie theaters with rocks in
their pockets just because they thought Iwas for their short film. There might
be some protests, so let's makesure we're armed. But I don't know,
I just took to it. Ijust really loved it. I just
really felt I could feel what hewas getting to. And I know some

(05:51):
people hate things that don't make senseon a narrative level, but if you're
trying to make sense out of thisand some kind of traditional story, you're
gonna be lost. You're gonna hateit. You can't watch it that way.
But I don't know, I justloved it. So I'm looking forward
to just really diving in with thetwo of you to see really what we

(06:12):
think of what's going on here.Now. I can't remember if I said
this during our discrete Charm episode ornot, but the first Bunwal film that
I watched was Lu and shen Andalu, and I watched it this interesting colorized
version that they had for MTV.It would show it as like a break
which was weird because the movies twentysome minutes long. And then I saw

(06:35):
the original and I was like,this is pretty much the movie that I
saw. But my first exposure tohim was seeing this and not really knowing
what I was looking at, andwas starting off with the cloud across the
moon and the eyeball getting slice thatwas all right there on MTV for me
to enjoy throughout the years. Andoccasionally there'd be a shot where was somebody

(06:58):
looking at the camera and then backgroundwould blow out in this animation thing.
So it was actually very well donein the way that they did this,
and then the constant music going throughthe entire thing. So that was my
first exposure to moonwal even not reallyconnecting that this was a director of many
things and that's something I needed tolook out for. Probably ninety one,

(07:20):
I was in David's books up inann Arbor and I found a look at
the script of Lodge Door and Iremember reading on the back how it talked
about this movie caused riots, andI was just like, how could a
movie cause riots? I just didn'tunderstand. That was my first idea,
my first concept that a movie couldhave that much power that it would cause

(07:42):
riots. I still didn't watch themovie. It took until twenty nineteen when
I went to the Nitrate Film Festivalout in Rochester where they actually showed at
night rate print of Lodge Door,and they didn't have it was the original
French so they didn't have subtimes itsburned onto it. And they didn't do
over titles or anything. Was actuallyone of the organizers of the festival,

(08:05):
our friend Jared Case, who's beenon the show several times, him with
a microphone, reading the translation aswe were going through, so like the
title cards, the dialogue, anyof that. He's up there reading this
as the movie's going along. Veryunique experience for me and seeing this beautiful

(08:26):
print from I can't remember if itwas from the actual cinema attack or where
it was from, but it wasgorgeous the sea, and as soon as
I saw it, I was justlike, I have to do an episode
on this. So that it's beenbeen the backlog for a while as far
as okay, yeah, we're goingto get to this. And then when
I was like putting together this yearand there are all these French films and

(08:46):
like, okay, cool, fine, they going to do last or this
will be great, and yeah,revisiting this it's of course it doesn't make
a whole lot of sense, butthat's what I love about it. And
then like you were saying, wherethis is that almost like a Rosetta stone
as far as translating these obsessions andthings from the early days, all the
way up until his later films.It's funny because last week we talked about

(09:11):
Rules of the Game and there's guestOn modou in there as the game's keeper.
I forgot that he was also inBuilding a Paradise, which we talked
about two weeks ago. So he'sshot through this entire month pretty much.
So him as the man back inthis nineteen thirty film because there are no
real character names, so it's basicallylike your roles. He's terrific and he

(09:33):
makes me want to see more filmswith him in it because he's just wonderful,
especially how angry he gets through thiswhole thing, and especially when he
kicks that dog. It's probably oneof my favorite things. That was the
thing I put in my notes.I go, yeah, I'm sure Peta
loves this film. Oh God,between the dog and the scorpions and the
rat and how the blind man.It don't care if humans get hurt,

(09:56):
it's just the animals. He hadsuch a great look, looks like a
football player or like an athlete ora hockey player. You just don't see
those kinds of faces. And he'sreally compelling this and Rules of the Game.
I'm gonna have to seek out moreof his films performances. Yeah,
I forgot. He's in Peppe theMoco, which I've been wanting to do
a rewatch of that. So yeah, I'm probably going to be having a

(10:18):
guest on the Dope Film Festival overhere at some point. But he doesn't
even show up in the movie untilwe have two of these sequences where we've
got this Nature documentary about scorpions andtalking about scorpions, and of course it's
one of those even though I wassaying joking, lad, this movie doesn't
make sense, there are reasons forall of this. I feel like there

(10:39):
are reasons for every single thing thatwe see on screen, and so starting
it off with the scorpions, I'mjust like, Okay, what do scorpions
represent? And that's scorpio? Arewe talking about this? We're talking about
just what are we think about thesescorpions and this Nature documentary all about scorpions,
and how do we see that playingthrough the to this film. Other

(11:01):
than the idea of the five segmentsof the tale with the venom sack,
we've got a very venomous ending tothis film. The whole thing was scorpions.
To me, plays into when youlearn about Budwell's biography. He was
a I may say word versus bugs, so anthropologists people who study bugs.

(11:22):
So he had an obsession books,Like I think if he had to become
a filmmaker, he probably would havebecame a scientist of study books, because
there's like a lot in his biographywhere he talks about collecting samples and collecting
bugs and so he so I thinkthere's some of that. But I would
also say that kind of delicateness venomit gets damned in for humanity in some

(11:43):
way that it's like he's saying,look at this thing. It can be
very destructive. A lot of thethings that run through the film is this
question of appearances and how do wemake appearances within society and what society expects
of us, and how far willsociety go to forces into these positions,

(12:05):
the most obvious being, the mostover the top being the literal sex on
the beach. So we could talkingabout that a bit. Like I say,
the first time you see it,you're like, okay, the eat
your documentary, and then it's neverbrought up again, so you have to
think of what is it signifying We'reno different than these scorpions who can be

(12:26):
destructive. Shows that he's swallowing upa rat. I love that he shows
one of them going that doesn't likethis. They don't like the sun.
They like to be isolated, andthey like to be alone. And then
one of them goes under a rockand the other one is trying to follow,
and you see it just obviously wasgetting pushed aggressively kicked back. I

(12:46):
didn't get a chance to read allof that BFI book that you shared,
Mike, but the writer mentioned Idon't know how obvious it is, but
two of the scorpions look like they'rehaving sex, and one of them just
rams through them, which, ofcourse, as we see time time and
time again in this film, sohe could be I think he's saying a
combination of this. We are basicallywe are animals, but we still have

(13:11):
this kind of behaviors, and peoplehate to think, oh, how can
you compare a human too behavior ofan animal. But I think what he's
saying is, no, we dobehave in this ferocious manner that scorpions do.
Or perhaps it's a warning in thesense that if you keep oppressing people,
they're going We're going to go backto the Neanderthal times and start to

(13:35):
it's just going to be total destruction. So I really saw it as a
simple metaphor what he was getting atthere. The other aspect that I was
thinking of that you brought up there, Robert, is the Surrealists were about
trying to make friends with or acceptthat which was thin us and the passions

(13:56):
that we have and as human animals. And so I can see that reading
as well, where it's fine byitself. It's only when the outside world
comes in and starts playing with itthat it's kind to attack. So it's
if you allow the creature to liveas it is, to be in its
natural state, it's fine. It'sjust don't hit it in that way.

(14:20):
And which brings me to I actuallylearned to read. So if anyone,
it's amazing almost three years of collegewill do for you. In the past
three years during COVID. This isan ongoing joke for those who haven't listened
my previous appearances on the show,Mike would always read the books. I
didn't ever have time to read thebooks, so notoriously slow reader. I

(14:41):
want to thank. Al Gore saidto me many years ago this is a
book from the late seventies, VirginiaKicking Bottom, and I think that to
me when I read analysis here shesaid that basically A Shennanalou was a personal
vision of erotic obsession and anxiety willlodge door when on to indict social institutions

(15:01):
and beliefs that repress the individual spotanity. That's the difference between those two early
films and how one builds on theother. And I think this is maybe
to the point even in those earlyframes talking about those scorpions pressing the spotaneity.
Yeah, from what I've read,scorpions are symbols of protection, transformation,

(15:22):
independence, solitude, and intelligence,but they're also the symbol of death,
raybirth, a symbol of power,and also lost sex and fertility.
In the commentary, the commentator talksabout how scorpions are more the symbol of
genitals and the anus, and I'mjust like, Okay, that's got Dally

(15:43):
written all over him, which iswonderful. Dolly didn't really have that much
to do this one. According towhat you read is sometimes people say yes,
he had a ton to do withthis, and other times no,
he didn't. There's this whole fallingout between Bunwell and Dolly at some point,
and I guess he didn't like Gala. Bunol didn't like Gala at all

(16:03):
and was just like, get thislady out of here. I want nothing
to do with you. Maybe thislittle jealous I don't know, but it's
not as in your face with someof the ally stuff. Even though when
we move on to the next segment, we've got all of these consider them
bandits. I suppose there's this wholecrutch thing. There's least one that has

(16:25):
a crutch, and I'm just like, okay, because you see those like
crutches inside of Dolly's paintings a lot, like holding up different things. So
I was seeing that as being aDolly touched to that. But yeah,
with these scorpions, yeah, Idefinitely agree. The whole idea of the
bitis interrupt us trying to push theother scorpion out of the way, very
pushy with this stuff, and embracingthat animal nature and seeing the rest of

(16:52):
the people in this movie as scorpionsand just to them of the behavior,
I would say, is what I'mgetting from this early segment. And I
like how poorly framed this nature documentaryis quite a few times. There's like
a lot of times where you canbarely see the scorpions, they're down at
the bottom of the frame. Andthen you get this very dry not necessarily

(17:15):
David Attenborough, but these intertitles inhere, and I like that. The
last inner title that you see iswhat's it saying? It says some hours
later, and that takes us tothe next section of the film, and
that totally reminds me of when shenAndalou and just all of those time transitions
last week on Sunday in the Spring, just all of those different transitions that

(17:40):
he has, and he does thata few times in this one as well,
where you're just like, wait,how much time has passed? Because
we move on to that next sectionwhere it's all taking place at the shore,
you have one of the bandits comingacross this group of I guess they're
bishops, these religious figures, andthey're all chanting on the soundtrack, and

(18:00):
he leaves, and then in thesubsequent sequence we see them and they're all
skeletons and we're just like, wait, how much time has passed here?
And we see the cornerstone for Romebeing laid down, and then we cut
to quote unquote imperial Rome and it'sbasically the modern city. So I'm like,
what can't really trust to Time inthis at all? I think he's

(18:22):
it's partly a joke and then partlyjust to say here were these beggars,
and we see these few religious peoplebegin to come and then they clearly took
over the land, and then wesee these boatloads of bourgeois and the religious
figures coming and finding the bones there. So I think, ultimately what that

(18:45):
is really what he wants you totake from it. So I think the
Time thing was just a way tomess with you. Even in the short
film, it's sixteen years earlier andthen it's no one looks any different.
This is what happened, and onlyhad built up to Rome, and slowly
it came these old loads of peopletaking over. I guess that's what he

(19:07):
was getting at with the Time.That was the thing that I liked.
And some of the readings was talkingabout how the censors originally just thought it
was a big joke. They couldn'tunderstand why anyone this is of that kind
of ridiculousness that you're talking about.Yeah, that whole thing with this group
of beggars, bandits, hunters.I'm calling them bandits because they looked like
beggars. They all have guns,so I'm like, Okay, maybe they're

(19:30):
out robbing people or maybe they're justhunting. I don't know, but they
are all hold up like they're starvingtoo. They're like on their deathbed.
Yeah, so they're terrible hunters.Yes, they don't have a lot to
choose from, and this very desolateshoreline that they're on. Maybe they're members
of PEDA. Like they said that, they seem to be accepting their feets

(19:52):
because they're like, oh, weknow it's over for us, but we're
gonna go anyway. So it wasalmost like they were going to fight it
out. And then I don't knowif you guys saw, I could have
swore that when the boatload of peoplecame and they found their bones, you
see the hats of the religious figures, I could have swore one of the
hats that the beggar who found thebodies, he's just like this big farmer's

(20:17):
hat. So I don't know ifif he's getting at that. There was
some fight that broke out and thatand they all died right there together.
But I don't know if you guyshave picked up on that. They look
to me, like, what thehat that guy's hat was? With all
of those bishops there, there's somuch detail and times that it's you have
to watch it several times to getcertain things, and if you have like

(20:41):
attention problems, you may have torewind it. Watch the sea, you
can't figure out what the hell youjust saw because you moved from one segment
to another a lot of times withoutany warning. It's just okay, we're
off to this new thing. Yeah, we're bored trying to move on to
the next thing, which I thinkis why it's so important. I won't
say is a fellow movie YouTuber thatI know he reviewed it and hated it

(21:06):
because it doesn't make sense. AndI'm like, again, do your dreams
make sense? I don't know aboutyou guys, but I have that have
vivid dreams and they make no sense, and you could take something from it,
but I think it's much more valuableto just look at what do the
people do and what does that sayabout the story? What is actually forget
about traditional narrative. I don't understandwhy people get so hung up on that

(21:29):
there was a great I mean,I think it was like just two or
three images of Dart. And Idon't know if this was from an actual
interview that was translated or not.I can't say where it was, but
it was something like Goddard saying,you're married and you don't like same movies,
you're bound to get divorced. Sotalking about my ex wife, I
was a putting well fan. Shewas like, I have enough ambiguity in

(21:52):
my life. I don't want itin my art. So this was a
lady like to watch in no offenseto anyone. He enjoys it, just
arathods of like Coulkeye files. Yeah, I'm a side life on the streets
in one order. So she wanted, oh, structured work. She couldn't
get her head into it. Shewas just like, no, She's like,
how don't mind watch Ford film?Jesus don't make me watch another foot

(22:14):
in. Wilson could tell that ourrelationship at the end. At that point,
Robert, you mentioned that BFI book, The Paul Hammond One, and
I had to say, I haven'tbeen doing a lot of drugs lately,
but my god, I felt likeI was high when I was reading his
book. I was just having sucha hard time understanding what he was saying
a lot of times because he wouldflip from talk about the movie and then

(22:37):
he would flip to the making ofthe movie and then go back into the
movie, and there was no realagain talking about transitions, there was no
transition between I'm like, oh,now we're talking about the movie again.
Okay, now we're talking about themaking of again, all right. But
it just all flowed from one tothe other. And there were so many
parentheticals where I was just like,what are you doing here? What are
you trying to talk about here?I was so confused. He would wrote

(23:00):
it like a Boonwall film. Baby, I think that's what you're going to
stay Rob, I go, Soit appears to book structures by the film.
Yeah, yeah, yeah, thoseare all I don't know if you've
read a lot of those, beif I bye. I find them all
a little hard to read. They'renot easier to read. I've read some
good ones, but they're extremely intellectual. I've gone back and reread passages,

(23:23):
got my dictionary handy. They're definitelyvery dense. But I've read some good
ones, but yeah, they're thatthis one in particular was very challenging.
The one thing I liked that hedid was he would go through some of
the actors and talk about who theywere, Like, I recognize Max Stearns
as the bandit leader inside of thelittle hunting lodge hideaway type thing that he's

(23:48):
doing, and I think he's theone that has the first line of the
film where he just yells at therest of them to stop it. That's
cool, But then Hammond would gothrough a lot of the other actors in
the film and tell you, oh, it's this person, was this,
and this person was. Then gaveyou like a little bit of a biography
of each surrealist that was showing upin the film, which I thought was

(24:10):
pretty cool. But then again,I'm just like trying to make sense of
it. We're already talking about amovie that doesn't hould together a lot more
narratively, But then the book itselfhas that weird structure where I'm just like,
what the house happening? So I'mglad that I wasn't the only one
that was a little confused by thatone, to the point where I was
looking for reviews to be like,is it just me? Am I just

(24:33):
being dumb or what's happening? Sorus partly why I put it down.
I'm like, I'm just gonna gowatch it again and read other things on
it. There's spoken dialogue in this, and it reminds me of Hitchcock.
Like Hitchcock's first sound silent film wasBlackmail, where he shot it silently and
then he went back and he addedsound bits to it. You already have

(24:55):
him using like subjective sound. Sowhen the murder us, here's somebody talking
about a knife, Like she doesn'thear the rest of the conversation. She
just hears the word knife over andover again after she had stabbed this artist.
And in this one, here weare it's a few years after the

(25:15):
sound revolution is starting, but we'vegot straight dialogue, people just talking,
okay. You've got unsourced sounds,so you have things that are on the
soundtrack where you're just like, I'mnot exactly sure where that's coming from.
You have sound effects like when yousee those bishops the first time, you
hear them chanting, but you can'treally make out what they're saying. Necessarily,

(25:37):
you've got thought conversations later on inthe film where people are just thinking
things and we're supposed to think thatthe other person can almost hear them,
and then you even have at onepoint there's a telephone conversation and it just
sounds like cartoon voices and they arenot matched up to mouths whatsoever. And
it's just what am I seeing?But I love that he's playing was sound

(26:00):
so much in his first sound film, that he's just doing all of these
different things with it. And thatwas the first time when I watched this
movie in Rochester, I was justlike, am I supposed to be hearing
something? Was this added later on? You know? What was the life
cycle of this movie? Was itall silent at first but then they added
sound. It's really tough to tell, but I think that he was just

(26:22):
like, Okay, I've got thisnew tool. I'm just going to mess
around with it as much as possible. The thing that's interesting here about that
use of sound as when you thinkabout the fact that it's not only his
first sound film, but it's myunderstanding, it's like one of the first
sound film out of France, andat the same time, also consider the
use of sound experimentation outside of atheater context. There really wasn't a lot

(26:45):
because radio. It only started lessthan ten years before, and a lot
of that was just live music andlive read so you didn't have a ton
of special sound effects and different thingslike that. They were just starting to
get into those kind of radio playdramas and things like it would come later
into the thirties. When we watchit now as a modern audience, if

(27:07):
we don't understand that historically, guessit's the same as watching I don't know,
maybe like Passion Joan of Arc goingoh the deal close ups, but
you have to understand it in contextat the time, as opposed to now
where it's shit close ups all daylong, like TikTok so what So It's
one of those things where you haveto have a historical understanding in order to

(27:27):
get something. It's funny because Ididn't find these Nothing in the sound was
throwing me unless it maybe I've seenenough old the older films that it doesn't
necessarily pop out as being unusual.I did. The fact that he was
using very like music, was veryhappy, which I love, which was

(27:49):
such an interesting that hitch good Dadsometimes as well. Sometimes his music was
very direct, but the imaged necessarilyalways match the music was using but again,
is that mess with people? Isthat a joke? Is that to
make it feel like these things couldhappen to you do? And so we're
used to seeing there's happy music onfilms, so it brings you a little

(28:12):
more into it as opposed to beingsomething from a distance or out of an
over film. On YouTube, someoneremixed the sound of it, like uploaded.
On my second viewing, I waslike, I don't remember these sounds,
and the whole time that someone coughingand moan was and I was like,
this is really interesting. I don'teven remember this. And then I

(28:33):
and then in the car I waslike, I don't think this is it.
And then in the comments someone said, the hell remixed? You could
find it on YouTube. Bizarre,but it's really good. Like I would
not recommend anyone do that to anyone, touch anyone's movies, but in this
case it was bizarre. It wasreally unique. This is a couple of
things in there. As someone whoworked in radio for a long time that

(28:55):
I'm just like, this stuff isnot like sound effects. We're not trying
to be seamless in a way.They were not trying to be naturalists,
but they were not mixed at aparticular level in order to make them seem
normal, quote unquote, to bringyou into a realism. There were a
lot of them were heightened, alot of them were you could tell that

(29:18):
they were not from that scene,they were from somewhere else. In that
way, the use of the music, as you were saying, could be
early form of musical commentary. Likewe often think about Tente Banger or Martin
Scorsese using ironic music. I can'tthink of anyone who was doing ironic music
in nineteen thirty film. She wassaying, Yeah, that was that would

(29:42):
take another thirty years, but there'sall that in there, and I think
that's a really interesting thing, Likeyou say, for an early soundship,
I did find her scream and theywere a big sex on the beach there.
At first I thought someone screaming,like it sounded like someone was being

(30:02):
kit or killed. And then I'mlike, are they what's kind of like
is he raping her? Like?Are they having sex? Is it?
I'm like, is he hitting her? I don't know if that was intentional,
because it's not like it obvious sexsounds. It sounds maybe that's because
of the oppression that it's just likecoming out in Screams and Pleasure at the
same time, that to me wasa little jarring. When you think about

(30:25):
one of the big influences, andthis is later in the film that influence
really shows up was Marquitisad. Sothe idea of on the surrealists they discovered,
They saw it and just thought hewas great and a kind of liberator
type. So when you're talking about, okay, well maybe there's like this
violent screaming sexuality that might not betoo far removed from that idea within the

(30:49):
Surrealists in that period. One thingthat I picked up on the first time
I watched this and was I thoughtit was in there a lot more,
but it's only a few mentions,but they're in enough sections that I thought
it was interesting. Is the bandism. One point they say the Majorcans are
here, and then we've got referencesto Majorca throughout a lot of this movie.

(31:12):
And that was one thing that Iwas glad that Hammond talked about,
was this what treaty that was signedin Majorca. And that's maybe this is
commentary on that because Majorka, Imean, it's just this tiny little island
out there in the right off thecoast of Spain. We'll probably not right
off the coast, but off thecoast of Spain. And yeah, there's
Majorkans come throughout this whole movie.There are little references to Majorca on them

(31:37):
because apparently all of these people thatare arriving on the shore are all from
Majorca, and there's a lot ofthem. Like you said, they do
feel like very much an invading forceand they all feel very bourgeois. And
that's where we get introduced to GuestanMadoe and Leah liss Is the woman's same.
I believe all of these people arewalking across these kind of barren dscapes

(32:00):
by the shore. See the bishopstheir skeletons, They give them a salute,
and off they go. I guessthey're there to dedicate this kind of
cornerstone to child our land now.And that's where we meet the man and
the woman and them in the mudhaving sex. And you mentioned that screen
that we have that even sages usseeing them, people around them having to

(32:24):
pull them apart and take them away. She gets taken away first, he's
there in the mud, and thenthey finally get him up. And these
two men just march him off,and then really, for a long time,
this movie is cutting back and forthbetween her and what she's doing,
kind of fantasizing about him, andthen him being marched by these guys.

(32:47):
And yeah, he sees this dogand this dog is just bothers him.
And the way that he breaks awayfrom the men to go up and kick
this dog. Oh, and hebreaks away later to smash a bug,
and he breaks away again and hekicks a blind man. He's just the
spont of rage. Yes, that'sthe meat cute, I guess, because

(33:09):
the rest of the film is reallya romatic comedy. They want to get
back together, so it's like,how did we be? We were fucking
on the beach in front of everyoneand we got really dirty and then people
came but said, no, Ican't do that. So trying to get
together ever since. There's one thingyou didn't mention is the toilet sea And
I was thinking about this, andgranted we don't actually see it flush,

(33:30):
but we hear it. So Iremember thinking like, like, oh,
Psycho showed a toilet flush of theinnovation, so I'm like, maybe boom
Well was thirty years ahead of that. You hear the toilet flush and he's
cutting to it looks either like mudor shit, just spiraling down. And
I saw that as the interim howthey were both feeling. It's like,

(33:52):
you're just making our life shit andcrap and flushing it right down to it.
And what I liked about the factthat, again, how he's playing
with time is it's okay. Sothe major gains came, it took over,
and then we see this couple therehaving sex on the beach, and

(34:12):
it's just like, this feeling ofthis has happened right away, right away
they started to tell people what todo, how to control people. He's
just he doesn't gradually work its wayup to it. It's like it's happening
right now, and it doesn't evenfeel like they just met there. It
just feels like they've they've been togetherfor years. And I think that's why

(34:35):
he had this rage of not beingallowed to have sex with this woman and
so kicking the dog, kicking theblind man, squashing the beatle. This
has been happening forever, and Ithink that's why it goes all the way
back to the major gains in theAncient Rome. And he's making you feel
like This isn't just a few scenesa month or a week, his years

(35:00):
and years of oppression. And whatI also really I didn't spotted until this
third time I stopped, was theother people that he cuts to gives you
the impression. And it's not justthis couple, it's everybody, Like the
one guy he comes out of acafeer at bar and he also has like
mud or dust all over his jacket, and then they follow him and he's

(35:22):
kicking the violin and I'm thinking,yeah, so I took that as okay,
So it's not just this couple forwhatever reason, it's everybody, down
to that conductor at the end whosuddenly stops and he's got this throbbing headache
again. I think he's say,this is what oppression does. It's like
people can't get on with their lives. It's like with the what you said,

(35:44):
rob with the scorpions. If youstop them from their natural state of
being in spontaneity, they're gonna,they're gonna bite, they're gonna they're gonna
get aggressive, but they're not gonnabe able to do what they need,
what they want to do. Anddown to that conductor at the end with
that brobbing headache. I really likethat. I really like that he doesn't
just make it all about these twopeople. It's like everybody, everybody's experiencing

(36:08):
this. That's also part of itis that when people watch this, if
they're used to conventional narrative, theymay go, Okay, who is he
and who is she? And whatare their names and what is their backstory?
And it's no, They're just manand woman. They're just humanity.
They're not characters through symbolic ideas ofalerture issue. I love how we have

(36:31):
different views of the toilet scene incertain ways. Because I thought that was
lava. So there was part ofme that thinks, oh, this is
lava, This is passion inside that'sbeing pushed down or submerged. We have
to submerge these things. We haveto hide these things. We have to
get rid of these things, thesethings that the outside world says are filthy

(36:54):
or dirty, we have to hidethem and be clean and respect. Yeah.
I thought that was also lava ormudflow or something. Yeah, And
it almost seemed like it was reversedout the way that the footage was being
shown. I think there might havebeen another reverse shot as far as that
goes, But like we see thenegative image and I forgot that they are

(37:15):
there too. That only that cornerstone, but it's also it's a dedication to
the Majorcans who died there in nineteenthirty, which is the year that this
movie is coming out. And alsowhile the man is being marched through the
city, feels like they're going totake him to jail or something. He

(37:35):
sees man with a placard and there'sa set of legs on there. So
of course he's thinking of his girlfriend, thinking of the woman, and just
thinking of her legs. But there'salso another moment where we have this picture
of a hand and then he imaginesthe hand becoming her hand, and this
we're going to talk about wigs andhair and stuff, but we have this

(37:58):
kind of mound of hair all soin that image, and it's so completely
a masturbation image. It's undeniable.Even when we see that placard with the
legs, and it's more like thecrotch than the legs is what I'm seeing
when it comes to that, AndI'm going to get her crotch much later
on in this film as well.He's just so obsessed with her sex.

(38:22):
I think it would be very easyfor a filmmaker to have male masturbation,
but for it to be female masturbationwith the way the fingers are being Like
in nineteen thirty, it's like peoplewere really uptight about talking about men at
alone, how a woman would here'syour Dolly reference, because when you read
anything about Dolly, he was guiltritten constantly, shame and guilt ritten over

(38:47):
the amount of masturbation. And itcomes out in his art like it's all
over the place, it is work. So I'm like, Okay, that's
definitely a Dolly. It's all themasturbatorist. She's planning this party that we
see later at this chateau. Ifyou notice I didn't spot this to the
third time, but she has abandage on her finger, and I think

(39:08):
it's her sister. I think thatwas her sister, and who says,
oh, I was Jerry. Ithink she asks like, oh, the
your finger or whenever she's like,oh yeah, it's been like this for
a weekik or so, And Iwas like, Okay, if he has
her finger bandage, just gotta bea reason. So I took that as
she's been massed, he's been boresthe mass only masturbatedge. She's been masturbating

(39:30):
so much that she injured herself.I was like, that must have been
what he was getting at, butI just thought that as hilarious. That's
one other thing that I liked aboutthat Hammond book was that he could translate
the French and also talk about howwords and French have different meanings. Those
French have a different word for everything, but just like the word bandaged also

(39:52):
refers to like sexual stuff. Sowhen her mother says bandaged, she just
asked that rather than says anything else, just that one word and you know,
oh, yes, it's been sorefour weeks as the woman. Bandage
has us different context over there.And there's a few other times where he
would point out things that would havedevil sometimes triple on andres and almost owe

(40:15):
us related to sex. So it'sus having different critical code words for sex
as we talk about things, andthe French are the same when it comes
to this word could also mean this, and this one could mean this.
A Cleveland steamer could be a hotdog, or it could be something completely
different. It was also interesting therebecause you don't even have to think about

(40:37):
this too much. But in termsof the time we talked about gay cutting
back and forth between time and messingwith does. But the guy gets hauled
off of her and arrested, andshe, you assume, goes home.
It seems as if more time haspassed. With her, she's in different
Wardjobe. She's planning this party againthe bandage, whereas with him, it's

(41:00):
like the next shot is what wejust saw, So it's for him,
it's like the next half an hour. It seems like for her it's like
the next week at least. Sowhy he did that, I don't know,
but I like it again, it'ssurrealist nature of it all. But
this thing with time, I wantto go see it again, just to

(41:20):
see if there was be something I'mmissing about that. There's the one inner
title that says sometimes on Sundays andthen we have this looks like a tidal
wave or something. All these buildingsare collapsing, and they show that a
few times, and it's just okay. Sometimes on Sundays. This happens Sundays,
which, of course people go tochurch, which I must have been
intentional. It's like he would obstructionthem to society, knock down some buildings,

(41:45):
why not once they pull him offthe beach. I always got this
feeling that they were like going totake him to jail ors, because there's
the two guys, he's handcuffed,he walking between him, and he never
ends up there. He ends upactually free of them. So there's part
of me that goes Maybe it's justthe idea that he's saying there is that

(42:06):
we hold each other together, likewe in a way kind of force each
other into this position where we're tryingto get these needs met, we're interested
in these other things that we're talkingabout. He has these images of the
posters coming to life and things likethat. That's where we go if we
weren't held in literal bondage in cuffsby those who are around us. One

(42:32):
that amazing thing that he's doing againwas sound like at one point, the
woman goes into her bedroom and there'sa cow on the bed, and the
cow gets off, and you don'tsee the cow anymore, but you hear
the cowbell. But then you cutback to the man and you hear the
cowbell over the soundtrack, or he'sthere walking and there's a barking dog,

(42:52):
which probably makes them very angry becausethey probably want to kick that dog.
And then you cut back to herand you hear the dog on her soundtrack,
or then it's very windy where he'sat, and then you cut back
to her and her hair is blowingin the breeze, as if she is
experiencing the same wind. It's likethey are so tied together that they even

(43:13):
experience the same sounds from one toanother. It's almost like this huge psychic
connection that they have. Those soundelements didn't pop out to me as much
clearly they did because I was thinkingabout that as well, why are we
hearing these sounds she can only hearand then seeking hear what you mentioned with
the cow bows. How can hesuddenly be hearing that if we're cutting back

(43:35):
to him. But that's how Itook it. It's like they are they
are one almost, They're thinking thesame thoughts, they're they know what each
other are thinking or what each otheris, what they're both experiencing at the
same time. So just interesting becauseit feels like he's not even separating yet,
and as sense, even though peopleare trying to separate yet, it's
like they have this spiritual connection.So yeah, that's it's really interesting how

(43:59):
either that with the sounds, theuse of sound. Yeah, and then
we have a flashback because suddenly,I don't know where, I don't know
why the man hasn't done this before, but he's just hey, wait a
second, and he hands them thesepapers, and then we have a flashback
to when he got the papers.The international good Will Delegate has given him

(44:22):
their decree that he's on now ona good will mission. And so great
because the guys are reading this andthe man just basically just walks away from
them, breaks away just like,hey, I'm not a good will mission,
leaves his papers with them. Hegoes over. There's a taxi that's
pulling up. There's a blind manwho's I guess maybe waiting for the taxi

(44:43):
or whatever. But he goes overand he has to kick the blind man
before he sent in a taxi.This guy's good will mission isn't working out
so well. Yeah, that wasthe great hire Nye. And what I
liked was like it seemed he sayssomething about politics there too, like how
privileged they are. It's like they'rearresting this guy for what he did.
But because it seems as if hehas some kind of political position. Oh,

(45:06):
it's like you're work for the government. Yeah, no problem, you
can if you can be corrupt,you could abuse your power. No worries.
I was thinking of it. Andmaybe this is just because, as
I was saying, I've been inschool too long during COVID, that there's
a certain amount of respectability that comeswith having degrees or education within the society.

(45:29):
So I saw it as he musthave passed something, he was given
this honor, so therefore he isa higher status than just an average person,
and therefore he can get away withcertain he's allowed to have a certain
amount of freedom within the context ofthe box that they've given him, which
includes being able to basically hate onthe people who are lower than him,

(45:52):
which obviously a blind man would bebecause he's of course he's a blind man.
So why not kick the blind man? Why not kick the dog?
Why not? Oh, be shittyto the people that have it worse than
you. That's acceptable. There's there'sactually a document there's a documentary on YouTube,
and he's his personality shines in hismovies. Certainly, if anyone who's

(46:15):
watched him in interviews, he mentionshis I hope I'm getting to someone right.
I probably should have went back tosay what he said, but he
mentioned something about not trusting anyone blindor not liking anyone blind. Just think
about it. If they're the onescutting your meat in the Delhi He's like,
would you trust He's like, that'sa surrealist image right there, blind

(46:37):
man cutting the meat. I'm like, okay, yeah, the blind butcher.
So I was as as funny asjust when he said that. I
thought, Oh, no, wonderhe's got Maybe he didn't like dogs either.
I don't who knows. Oh.I love that we've been talking about
this movie longer than this movie hasbeen running, because we're about halfway through

(46:59):
the film, just at this pointwhere we get to meet the Marquis of
X and the first time we seehim, he's got all of these dead
flies all over his face. Ilove it. And this is the party
scene, and the party is reallygoing to take us through pretty much the
rest of the movie other than thisday New Mob the Venom Sack, as

(47:19):
I mentioned earlier, but this wholething of this big party. You've got
this car pulling up and these guyscoming out, and there's this I just
described as a symbol. I wasn'texactly sure what this thing was that they
take out of the car that peopleget out, they put the symbol back
in the backseat of the car.I think it was a reliquary, which
ir reliquary is a looks like afrost. It stands up and it usually

(47:44):
has like raised to come out ofit, and in the center there's usually
a piece of flesh or clothing orsomething that is related to a saint.
So this is part of Catholicism inwhich reliquaries are that are given adoration,
they are prey to in that way. So that's what I saw that as

(48:07):
maybe something else, but that's whatit looked like to me. Makes as
much sense to me as anything else. And it did feel like it had
a religious symbolism to it. Andyeah, it felt like rays of the
sun coming out from this thing.I wasn't sure if it was that or
fell off the ark of the Covenantor what it was. This is the
hunter actually finally gets a chill orsomething. I don't know. It's like

(48:29):
somebody finally learns how to shoot thedamn gun. Ah. I didn't connect
that. Yeah, that's the bestpart that's just this little shit eating kids
a hunter outside. We cut tohim. He's outside of the party and
there's this little kid that comes up, and this little kid's being a jokester

(48:50):
and knocks this thing out of theguy's hand. Guy just fucking shoots him.
More than that, he fucking shootshis corpse, which is fantastic.
Oh my, again, I sawwhat I said with the man kicking the
violin, right, it's again it'slike, here's another character who's maybe experiencing
what the man and woman in thisfilm are experiencing him. So every little

(49:12):
thing that pisses him off is gonnacome out in a ferocious, violent manner,
kicking a dog, kicking a violin, and even shooting this poor kid.
God, and you get those shotsin here where we're in the ballroom
and you've got these two guys drinkingwine or whatever driving their wagon through the
middle of the ballroom. Or thepoor woman who comes out of the kitchen

(49:37):
looks like a maid and she's smokingand the fire, yeah, just shooting
out of the kitchen. Oh Ilove the fire. No one notices,
which again is the appathe from allof the bourgeois. And that's what I
took from the flies on the face. This guy can't even notice that there's

(49:57):
flies on his frigging face, justlike is it noticed a fire? And
again just no one carrying or feelingfor another. And when they all look
at the kids shot, they're like, oh, okay, back to the
party. Nobody cares. That's allI saw that sequence, which was again
funny and certainly audacious, that thatkitchen sequence after the jump. I want

(50:20):
to talk about how I see thatinfluenced another scene that I know. This
a great moment too, where theman finally shows up at the party and
he's got this dress and I'm guessingit's the woman's dress, and he is
dragging it on the floor, andthen through trick photography through backwards shooting,
he throws the dress onto this chairand it lends perfectly there, and then

(50:44):
we do a nice dissolve between thatdress and the woman who's wearing that dress
in the main part of the ballroom, or going back and forth before he
goes into ballroom itself and sees heracross the room and see the lust on
his face. He's trying to getover there, but her mother stops him.

(51:04):
Her mother gets to him a drinkspills a little bit on his hand,
and that's the only time where thebourgeois really react is when he stands
up and smacks her in the face. Yeah, yeah, you don't touch
one of ours. Everyone else isokay. But again, I see this
whole thing where they're like looking ateach other, and then I think there's

(51:25):
like a woman or something that comesover to the woman and starts talking to
her. So it's like, thisis the polite way in which we keep
you away from each other. Well, this isn't the forest. This is
oh, it's pleasant trees and conversation, all this stuff, like, how
do we mollify you to keep youfrom the thing, How do we keep
you socialized amongst each other? Thisgoes back to the scorpion, right,

(51:47):
Like the people coming in at thescorpion is scorpions pushing out of my old
And I saw the dress as anothertink, as another fetish. It's like
when you're when you're having sex,you always have these fantasies. Wouldn't it
be great if you wore this?He knew she was going to be there,
and here's the dress he wants herto wear. But that's all I

(52:07):
took that. So he gets kickedout of the party because of smacking your
mom, but then he just doesn'treally leave. He comes back, and
when he comes back, nobody saysanything. There's some unpleasant looks that he's
getting. There's at least one guywho's shooting daggers at him with his eyes,
but they just let him go along. And that's when they end up

(52:30):
going out into the I guess it'slike a rock garden or a topiari or
something. It looks like there's alittle bit of a edge maze happening here.
And then so much of the restof this film is them in this
area and then going back and forthbecause that's also where we've got the music
is starting. And you talked aboutthe violin being kicked down the street.

(52:52):
There's this whole thing about this lookslike some sort of like a munk or
a priest or something that he's reallygood with the violin. But then there's
pick. There's four of them inthe band itself. They all are dressed
the same. Reminds me of thosetwo priests that are being pulled on the
was it the back of piano andShenandalude? There there, and we keep
getting close ups of these figures inthe orchestra, going back and forth between

(53:16):
them and then the conductor, andyeah, we'll definitely talk about that conductor
in a bit, but we've gotthat amazing scene of them, the man
and woman sucking down each other's hands, and this bird trilling on the soundtrack.
And then the one thing that Iwhen I saw this the first time,
it was I was in a theater, so I couldn't say, oh,

(53:37):
I got to rewind that when suddenlythe hand is caressing her face,
but then you realize it doesn't haveany fingers, and I was like,
oh, okay, did she eathis fingers? But later on he's got
fingers again. It's kind of likehow that bandage appears or reappears. I
saw that as he couldn't eat becausethey've been separated for so long at it's

(54:00):
now it's not working out, it'snot gonna feel good. It's like he's
down to the fact that he's lostfingers. I mean, maybe that goes
back to the sore of dumb.He's had to now masturbate himself, masturbate
too much that he's lost his hand. Could be a castration fear. They
have their fingers in each other's mouths, and then the fingers aren't there.

(54:22):
It's vagina than Tata kind of thing. Oh she's want this, but I'm
afraid that she's going to take awaymy power. So there's this way in
which they have to negotiate themselves outsideof the context of what the society says.
Then their own their own mental issues. And then right after this,

(54:44):
I go, I know it's WoodenWells foot of the statue. I go
extra quint and Tarantino wouldn't well thinkingof the foot fetishes sun filed throughout its
films. It starts here. Ican't remember of a foot scene in the
Shennanalu, but it definitely starts here. It goes on and on through his
entire work. I love that scenebecause it's relatable in the sense of I

(55:09):
don't know about you guys, butit's sometimes you're just trying to get with
someone and so it's building in yourhead, and it's the imagination is so
strong that you think it's going tobe the greatest sex of your life.
And then when they finally have thetime together, they're disappointed because again the

(55:30):
oppression. It's like has been nowas a result, that has been built
up in their heads so much sothey at first can't even get comfortable.
Their heads are hitting together, theyhear the music, which stops them,
and even when they are kissing,it's like, oh, this is a
little disappointing, and so that's whenoh, look at this toe. Maybe
we'll bring this into this and it'sjust again it's outrageous, but I think

(55:54):
he was really getting at something atthe core. It was very emotional.
I found dan just the power ofthe imagination of how when who particularly would
sex when it's you're waiting and waiting, and finally it can be disappointed because
it's, you know, always thefantasy is always stronger sometimes whereas if it

(56:17):
had sex right away that maybe itwould have been the best sex ever.
But it goes down to that beingforced to hurt. Yeah, him staring
at that toe, and I appreciatethat he seems to be so fascinated by
that toe. But then she's theone that starts shrimming it. Yeah.
I love that he gets called away. The Minister of the Interior is on

(56:39):
the phone for you, sir Yea, to improvise with what's around it,
and I love that she clearly masturbatedand got herself off. So when he
comes back, she's I'm tired.I just want to go to bed.
Even that image of suddenly he's seeingher old and it's means it was just
like his fear of God, I'mnever gonna have this a little bit,

(57:00):
We're gonna be We're gonna be oldby the time we can be together.
He's eating at something there. Justin terms of relationships, it's when you
really want to be with someone,it's that fear that it's not gonna happen,
or it won't happen under an idealcircumstance, and then before you know
what, you're dead or you're atthat's door. That was really a really

(57:22):
powerful shot. I really memorable.I felt that call from the Minister of
Interior where you have just that.This is where I was talking about the
cartoon voices, because feels very muchthese are just and I know this is
strange to say, we're not comingfrom the actor's mouths whatsoever. They just
feel like they are really overdubbed onhere, and you've got this voice like

(57:45):
you're entirely to blame. No childsurvived and I'm just like, what is
happening? And then we go toa black screen. We hear a gunshot
and a thump, and then wesee the minister and he's dead, but
he's on the ceiling. He's noton the floor. Just that's a great
image. Yeah, I'm wrestling withthat one. It reminded me of Exorcist

(58:05):
three, when I forget which characterit wasn't suddenly crawling on the ceiling.
The fact that whatever the hell thisguy's job was, that he couldn't focus
on it to the point because ofbecause that he was so focused on epic
sex with this woman that he wasn'tallowed to sleep with it. Now everything
has just blown up and the world. I think he was getting at something

(58:28):
that it's like if again, likewith the Scorpion, if you take them
away from their spontaneity, shit getsferocious, right, and then this things
are gonna blow up, and tothe point where he doesn't even care.
He's like, I don't give ashit about those kids. You even see
that when he hits her mother,she's like pleased by it or she's like,
oh wow, this is she takespleasure from it. I just took

(58:52):
that as these warped reactions that wehave. When you know, when if
someone beats you down and beats youdown and beats you down and then you
see them get beat up, feelsgood and look, which is why she's
like even like what the kids gettingkilled? She has a line about it
where she's, yeah, this isjust so great. It's just it fucks

(59:13):
people right up. He even mentionslater on, when they're having these kind
of thought discussions, I think hesays, what joy and having killed our
children? This is twenty nine,nineteen thirty, and as we've talked about
a few years later, when weget into the universal horror cycle, there's
all of that residue of World WarOne. You know, what a joy

(59:34):
it isn't killing our children? Sendingthese young kids to die in a trench
out in the west of Eastern frontsthat wasn't too far removed from people's minds
at that point in the interwar beforethe Second World War kicks off in another
ten years. Maybe that's what thatcomment is. It's just basically, we
can't accept ourselves, you can't acceptour nature. We repress it, and

(59:58):
then we just destroy all the good. It's if we till the buildings,
the children ever, all of themtalking to each other via their thoughts.
We've got that amazing shot of himwith all the blood on his face and
it looks like one of his eyesis really screwed up, and that's just
a momentary thing before we go backto him looking the way that he did

(01:00:19):
before, and that says right aroundthe time where we've got the climax of
the music going on, and thenthe conductor, like you said before,
he just stops and he holds hishead like it was going to burst open
or something, and just wanders off, and he wanders down that same path
and wanders to where the couple is, and when the woman sees him,

(01:00:40):
she's just like oh and just runsover to the conductor and starts French kissing
this guy, making the man alittle angry. But then he stands up,
and he's a great comedy moment.He stands up and hits his head
out a potted plant. So thenhe starts grabbing his head and wandering back.

(01:01:00):
And I thought he would go upand start conducting the music again,
because it just feels like they're switchingplaces with the whole thing of the hands
on the head and walking blindly downthis path. That's why I felt he
was another character who clearly was alsoexperiencing this oppression, who can't then do
what he wants to do or needsto do. These headaches come and so

(01:01:22):
when she kisses him, it's alittle like medicine. For now he's okay,
but these headaches are going to probablycome up again, and so it
gets transferred over too, because heposes in the exact same way. He
walks away with his hands on hishead, and it's been now transferred over
it to him. And then itgets even worse as he goes home and
rips the pillow apart, throws thefrigging the bishops out the window. I

(01:01:47):
just like, again, it's justthis destruction, and from one person to
the next, it's just the violencebeing transferred over and over again. And
I can see the conductor's position andas he's another one who is not just
oppressed by things, but he's alsothe manager of the culture. So I

(01:02:09):
look at him and go he's beengiven position of authority, but at the
same time, he still asked toplay the music that they want, like
he's got to follow the sport.There there's a script that he has so
bebe. At some point it justbecomes I'm battling between my position and myself,
and that's why my head is theway it is. That's why I

(01:02:30):
had to go off, and Icouldn't do this anymore. I was looking
at conductor and classical music as beingthis representation of what high culture was supposed
to be, but was expected asthough, of course, if you're an
educated person, if you're the leadperson, of course you would love this
stuff because it's considered the pinnacle ofEuropean music. You've got him going back

(01:02:54):
to that room, tearing up thatpillow, and then and there's a I
guess it's like a plow wars somethingon the floor. He's getting angry at
that before he starts to tear upthe pillow, and then he goes and
after he's tearing up stuff, hedecides that he's going to start throwing things
out the window. He mentioned hethrows the bishop out the window. He
throws that plow out the window.To get that very obvious miniature shot where

(01:03:17):
he throws a giraffe out the window. Looks like a flaming Christmas tree.
Yeah, that starts it all off. Yeah, the whole thing with the
giraffe. I'm just like, Okay, that's totally Dolly right there. He
was obsessed with giraffes. His scriptfor The March Brothers was called Giraffes on
Horseback Salad. There's the burning giraffepainting. Giraffes just show up in a

(01:03:40):
lot of his work. It's oneof those no offense to giraffes that are
listening to this, But giraffes areridiculous looking animals, and I think he
just really got off on just howcrazy these things look. It's just almost
like a surrealist animal. I thinkthat's part of it. But I also
read again this maybe masspiratory thing inmatch Dolly had erection issues, So I

(01:04:05):
think maybe the long neck of thegiraffe sitsider stand in for a very well
and outdirection. I saw that asa connection to the cow in a sense,
because here's these people took over theland and built up all these chateaus,
but now these poor animals can't evenbe in their own habitat that they
got to live in this fucking chateau, and we don't give a shit about

(01:04:27):
these animals. Throw these girafts outthe window. I like that read as
well. Yeah, I would haveloved to have seen the producer of the
day. The cow had to befilmed, guys, do we really need
this? How are we going toget this cow in the room on the
bed, off the bed that musthave been. I could just see them
fighting, like, no, wemust shoot this, and I'm glad they
did because it's love it. Ilove that of all the images from this

(01:04:49):
movie, the cow on the bedand the woman's sucking on the toe,
those are like the two things thatI remember seeing for years before I ever
saw the film. The woman suckingon the toe was on the front of
that screenplay or book about Lodge toWar that I saw way back in ninety
one, even before the BFI bookcame out. Like I know you said

(01:05:11):
you saw this in a movie theateror people laughing or were they just what
the fuck? Or both. Everybodythat was there was a film fan so
if not a film fanatic, andit was people driving from or flying from
all over the world to come tothis nitrate film festival. We are there
for these movies. And even myfriend Jeff, who isn't into movies that

(01:05:34):
much, but he goes with meto this night trate Festival, which I
really love him for doing that.He was just absolutely fine with that.
He was just like, yep,he's there for it, and yeah,
I know what the hell was thatwhen we left the theater, which was
nice. And plus they do thatlittle speech before they show any movies to
put it into context as well.Oh we didn't get the screen like they

(01:05:57):
did in nineteen thirty. I wouldlove to see this in a movie theater.
I actually regret they showed it recentlyhere in Toronto at a movie theater.
I fucking wish I had went.I didn't realize how any Obviously,
any movie in a theater is goingto be a much different, richer experience,
but this particular, I feel likeseeing this when people would be really

(01:06:19):
valuable and so hopefully I'm sure it'llhappen again. But they I was curious
what it was like to see itwith an audience. Yeah, it was
really good. Like I said,everybody was there for it, so it
wasn't like some little old lady walkedin from off the street and it's just
what is this and no one's yellingscandal or shaquies or anything. There were

(01:06:41):
no right wing French extremists there totry to burn down the theater. Film
is really in three parts, ifyou think about it, is that what
you think Mike I was saying.I've the assumption that this is told like
a scorpion's tale is a good wayto read it. And some of the
parts are smaller than the Obviously thisparty sequence is probably the longest sequence of

(01:07:03):
the film. But then we getto that poison sack that we'll talk about
in a second. Mean, yeah, I figure five, but I could
see three. I saw a threescorpion, a couple and then the last
like the saylo Jesus orgy. That'show I saw it. Yeah, I
saw it more and more as three. Yeah, we are right at the

(01:07:23):
title card that talks about how thesurvivors are emerged in a returning to Paris,
and there's a miniature of this castleup on the cliff. And if
we get more of this title cardand actually get to scroll now at this
point and it talks about how onehundred and twenty days earlier, these four

(01:07:44):
godless scoundrels locked themselves in a castleto indulge in bestial orgies. We are
right there in decd territory with this, and I love how the door opens
and the first person to leave isfucking Jesus Christ himself, just this beatific,
has that kind of far away lookin his eyes, as if mess

(01:08:06):
have really gotten his rocks off reallywell in that orgy he had a great
time, which, oh my god, but I can't bring myself to see
the Passoweni. I love Pasomini,but it looks like really disturbing. I
can't bring myself to say, butthat's the same story, right, and
I to take it from the samestory. It's one of our favorite episodes,

(01:08:28):
or as I like to call it, on our episode Children's Programming.
We'll make sure to link that one. Listen. Apparently Roger Edberg died without
ever he couldn't bring himself to watchit. He just thought it looked like
I think he didn't think it wasgoing to be good. But I think
he was afraid of it, that'sall. I feel like. I'm like,
I can't go there. I can'tthe clips I've seen him look,

(01:08:49):
oh god, it's definitely afraid ofit for a long time. And that
I watched it and then it asI talked about in the episode, It
reminds me of Francis Bacon painting,or there's another painter, Jerome Wicken,
who does these really dark scenes,and I'm like, I don't mind going
to museum to see those paintings,but I don't want them over my couch.

(01:09:12):
That's basically want to each it everyso often. I don't. That's
not everything, No, But thething that's really funny about one hundred twenty
Days is sodom I actually read alarge portion of it, is that it's
so over the top, so ridiculousin terms of the stories, that you
can't help but to laugh at it. It's so ridiculous. Dasad's writing is

(01:09:35):
just over the top in terms ofhis description. Even though it's like horrific
things, it's just done in sucha way that it's such a burlesque that
it just I don't think anyone couldtake it seriously but in the hands of
pastility. And what he was tryingto do is to take that idea and
say, this is fashion. Thisis the core of what it is in

(01:09:58):
here. I think what Bunwell isbecause that's why I asked about the three
segments is to me, with thescorpions, you can say, okay,
that is about humanity or animal nature. This is about man and woman nature.
And then this is about what happenswhen the aristocrats, that the bourgeois,
go too far, when they becomeso nihilistic that nothing matters anymore,

(01:10:21):
literally nothing matters. That it becomesthey sub will be that it will be.
This nihilism is really what I alwaysuse if Day sad by both and
then also Pessolini, you're certainly ontosomething there, and he down to like
the last shot of the crucif thingswith the scalps. At first I was

(01:10:43):
like, what the hell is that? Is that some arth? But it's
that, and then I just that'sthat's when people in saying it is.
I'm like, wow, women scalpson a crucifix. Jesus Christ literally so
yeah, So Jesus comes out,three libertines follow him from out of this
chet or castle, and then asurvivor comes out, this poor girl who

(01:11:05):
is just very worse for wear,so they have to take care of her.
And other than it being one ofthe three other libertines, it's Jesus
that goes back into the castle quoteunquote, takes care of her, comes
out, he's missing his beard now, but he still has that same beatific
look on his face. And thenyeah, we cut to that cross and

(01:11:27):
that cross, so you talked abouthow it's like women's scalps on there.
I was also thinking of the hairwe saw earlier with the masturbation sequence Jesus's
beard as well. I'm just like, okay, maybe that's up on this
cross, but what an amazing wayto end this movie with this real middle
finger of Jesus being one of theselibertines. I even took it one further

(01:11:49):
and that maybe when Well was saying, Okay, it's one thing to be
destroyed by a bunch of libertines,it's another thing to be destroyed or taken
over the church, which Jeeus represented, that's the final absolute assault on the
individual for him being an atheist.Thank God, as he would say that

(01:12:10):
is hopefully the worst thing is notso much that violence under you by man,
but the violence by the church that'sa level higher. It was still
wrestling with what this was, whyhe suddenly went to this, But what
you're boat sitting makes a lot ofsense to me. And again just the
audacity in a good way. DesBoon Well and Dally to do that.

(01:12:36):
Even if someone did this now,it would be and I think you'd get
the same reaction. It's not worse, it's quite something. All right,
So let's go ahead. We're gonnatake a break and we'll be right back
after these brief messages. Build yourcollection of cinematic classics, now available for
the first time in studying four KUltra HD Academy Award winner Humphrey Bogart and

(01:13:00):
the Multese Falcon Academy Award winner PaulNewman and cool Hand Luke and Iconic James
Dean and Rebel without a Cause.Be sure to go to www dot WB
one hundred that's WB one zero zerodot com and pick up the four K
Classic Movie Bundle today. All right, we're back, and we were talking
about Lage Door and Bobby mentioned beforehow this is the opening salvo here from

(01:13:28):
mister Boonewell. Of course we hadto win Shenandalu, which had a lot
of stuff, But I would saythat's really more Dolly and Boonewal, whereas
this one feels more I would say, like ninety percent Boonewell and ten percent
Dolly. But what are your thoughtson that? I definitely see a lot
of the through line sing here.In terms of his later work, there

(01:13:49):
is party scenes in those clue thingssuch as Discrete Charmigel, even some of
the other films. You could lookat the whole thing with Jesus with the
beard, without the beard. It'sthe milky way. You can see.
There's different things in here that comeup again and again. Foot stuff,
It's all over the place. There'sso much foot fetish stuff, like we

(01:14:12):
talked about, like I was jokingabout Tarantino and his love of feet.
WoT well was there before and hedid it in a much out of your
weight at Tarantino did it for noreason other than that he likes But I
actually think when well like feet two. So I'm not knocking it for it.
It's just that it was more subtleto me to actually notice it in
I had had to go back.I was watching it and go, okay,

(01:14:34):
there's that again. There's the shoesagain. There's there's all these but
me a lot of the early kindof proto social commentaries, he obviously taking
apart the bourgeois, the church clergy, all the way up until his last
felt you look at that obscure objectivedesire is all about people wrestling with sexuality,

(01:14:55):
people wrestling with their attractions. Howdo they engage those This was made
nineteen thirty. For the next fortyseven years, the man basically was making
you want to talk about tour theory. It's in there in terms of thematics.
One of the things I thought wasinteresting, Like I said, since
I learned how to read over thecourse of COVID, went back over my

(01:15:17):
last side, and there's a coupleof things in here. You were talking
about Gala in Dali, and hetalks about here, and he says how
basically when Gala came into his life, just everything is over, says our
ideas clashed to such an extent wefinally stopped collaborating on Lajdor. It was
complete metamorphosis. I'll he would talkabout with Gala, he echoed or every
word utterance, and you just gotmore and more tired of dealing with him.

(01:15:41):
The thing that I like here isso Lajdor was actually made at a
gift by account nobleman basically a memberof the bourgeois, as a gift to
his wife. And he would dothis every year, where he would hire
an artist to make something and typicallyfor this some sculpture, paints, whatever.
So he started making these films andhe was invited to this dinner where

(01:16:05):
he met this guy and he wastold, okay, here's our proposal.
He said, you can make atwenty minute film. We'll have complete freedom
to do whatever you want, onlyone condition. Stravinsky has to write the
music for it. Sorry, Ireplied, you can imagine me collaborating with
someone who's always falling on his kneesand beating his breast. That's what I

(01:16:26):
was saying about Stravinsky. His reactiontotally unexpected. He goes, you're right,
you and Stravinsky would never get along. Choose your composer, make the
film you want, we'll get somethingelse for Igor. So basically he was
left to go do whatever he wants. Now, I think, to a
certain extent, maybe the conductor characteris also boun well, poking at Stravinsky
as well. That's interesting that yousay that, right, because when I

(01:16:47):
was talking way back at the beginningof this episode, when I read about
lajd War causing a riot, theother piece of art that I thought of
was the Right of Spring. Howthat also caused a riot. So that's
funny that they almost worked together atleast two very controversial figures. Yeah,

(01:17:08):
and Stravinsky in that period was likethe punk. He was like the rock
star. He was this guy whowas taking classical music in a direction at
the people who thought, oh youwould changed to that, He's just taking
it in directions. I mean,go listen to the Right of Spring,
which was actually a ballet as well. One of my favorites is the Firebirds,

(01:17:28):
amazing piece of modern classical music.So it's interesting to me, like,
how, like I said, Struvinskyis mixed up in this and I
go, maybe he's making fun upServinsky in subway with the conductor. The
other thing here, it says inits final version, the film ran about
an hour bunch longer than shen Andalou. Dolly gave me several ideas. One
of them they found its way intothe film was a man with a rock

(01:17:51):
on his head walking through a publicgarden. He pauses that a statue that
also has a rock on its head. Oh yes, I forgot about that.
Looks like in America, he toldme. Is was Dolly's idea of
a compliment simply, undoubtedly from atechnical point of view, that it was
more put together. Keith later sayshis intentions in writing the screenplay were to

(01:18:13):
expose the shameful machinations of contemporary societyfor me, and the film was about
passion, an irresistible force to thrusttwo people together at about the impossibility of
ever becoming one. Oh yeah.After they made the film, it said,
apparently the church threatnecks communicate him,this was the aristocrat, and gave
them money. His mother had togo to Rome to negotiate. Oh like

(01:18:36):
sen. Lajador opened at Studio twentyeight, where a play to packed houses
for six days, and then theright wing press, however, attacked the
theater in full battle dress, laceratingpainting, surrealist exhibit in the foyer,
smashing chairs, the annuals of Parishistory. The episode was known as the
Lajador scandal. A week later,police Chief Chef closed the theater. The

(01:19:00):
film was centered who remained so forfifty years. So this book was written
and released in nineteen eighty two orthree. It was only seen in private
screenings and in cinema techs, andthen eventually opened in New York in nineteen
eighty and in Paris in nineteen eightyone. He said that he would go
back and see this nobleman from timeto time, and everas in Paris,
he said he never blamed me forany of the trouble of the film.
In fact, he was actually delighted. Three lists received, three lists received,

(01:19:23):
and so enthusiastically. I remember oneof the parties in nineteen thirty three
where all the artists were invited,were told to do whatever they wanted.
Fearing trouble, Dolly and another frienddeclined the invitation. So he was just
saying that I just love the factthat the guy made for it. Was
like could have got excommunicating from thechurch and then really wasn't like, yeah,

(01:19:43):
it's fine, like you pissed offabout that happened, Hey, it
happens. Documentary. I saw youmentioning that people didn't see this for forty
fifty years that they showed on thedocumentary. Maybe you guys saw it,
but some of the people worked onit, they brought damn to see it,
and it was so fascinating to seethem watching it after a fifty years

(01:20:05):
for the first time, because theyliterally cut from the movie to them just
watching it, which must have beenlike surreal in a sense. To now
like they probably never thought they'd eversee it again, and how they commented
on to them how well it stillstood up. So it's an interesting documentary
that you could find on YouTube.And I don't know it when Well actually

(01:20:27):
ever saw the film again, becausehe said in the book, which for
those who don't know, the bookwas basically it was written by Jean Claukerrier
his collaborator, but he didn't takecredit. He basically just interviewed Well and
then wrote it. But it's saidin there in that section unlashed or that
basically he he has memories of it, he members of making it, but

(01:20:47):
he I haven't seen it since thepremiere and so and this book came out
right around the time he died.So there's part of me to think of
me being never saw it again afterit came up and then was banned.
One of the things that I thinkit's funny when we talk about also again
influence I'm going well is in Diaryof the Chambermain which he made in sixty

(01:21:08):
three sixty four. I believe thatthe final scene because this takes place in
the twenties, right around the timein twenties and thirties right around the time
Flash Door is the final scene orthe fascist marching, and he's got this
guy who's screaming Viva Ship, VivaShip over and over again, which is
the name of the police commander whoultimately banned Flage Door. So to me,

(01:21:30):
I think that's been well like havingfun and giving the finger to the
suit who censured in most of manyyears ago. Always there's a great film.
Also, I just saw it andloved it. That's a film you
got to go back again it againbecause it's there's so much going on.
It's a tough watch also. ButI was also thinking about beyond influence of

(01:21:55):
you can trace back to this film. Everything that kind of comes after for
him is the influence of this filmonto other pieces of film that we may
know. And the first one thatkind of stuck out to me is the
fingers and the fingers sucking scene feelslike John Water's toe sucking scene in Pink
Flamingos. Oh God, yeah,I haven't seen that yet, but I

(01:22:20):
could now. I haven't seen thatone. Oh you are in for a
treat, my friend. He's anotherguy I don't know very well, but
it just reminds you of that samekind of something that's not typically sexual being
sexualized in that way. The otherthing that I was thinking of is that
scene with the kitchen the fire.It's almost beat for beat, the same

(01:22:43):
as in Brazil where he goes tohave lunch with his mother and that the
boom the bomb goes off in thekitchen. Doors fly open with the big
blast of fire, and then it'slike, oh, everything's fine, we'll
clean that up. So to me, it almost feels exactly the same staging,
like it could even be shot orshot against each other, because the

(01:23:04):
framing really reminded me of that lastof fire out the kitchen. I feel
like we are probably missing so muchof the context of this movie from it
being what ninety three years old.How I talked about the whole majorcan thing
Terry Jones, We did a wholething Canterbury Tales, and he said,

(01:23:28):
Canterbury Tales are fucking hilarious. Theproblem is most of us don't know what
the hell the references are too,so it's not funny to us. They
thought they were a spree for usbeing able to get as much as we
can, and then also having thehistorical thing. When I think about movies
like this when we talk about historicalreferences or the jokes or whatever. It's

(01:23:51):
almost like back in the day wewere talking about watching the version Vishinna and
the Loo on MTV. One ofthe things I always like, because I
was a fucking was pop up videoover on beach one. I always thought
it was interesting put the little thingsin a point at various things, but
annotated look at things. It almostfeels like he would need something like that

(01:24:12):
for this. The only connection betweenthese two was to putt Well edited a
version of this film when he workedat almap Is. I was thinking about
the Triumph with Will. I owna copy of Triumph of Will, that
is copy that was fundraising for theHolocausts in the US, and there is
a historian commentary track, and there'salso sub there's like a subtitle I think

(01:24:35):
that can come up that will pointto you as to who certain people are.
Because if you're not that hip tounderstanding who all of these guys in
the fucking Third Reich are and whatthe positions were and why they fucking matter,
all you know is you're like,Hey, there's Hitler, and there's
Curing, and there's sucking the Hibler. Yeah, like you might know,
like the top five, and sohim going Okay, this guy is this

(01:24:59):
is why he and this is whenhe's talking about this, he's talking about
this history. So there's all ofthese things that just an average person watching
it just may not yet and somaybe hope would be good. Sadly,
like I said, I watched thison YouTube and I know that I used
to have a version that I thinkKeno put out maybe twenty years ago on

(01:25:21):
DVD, and to be honest,the YouTube version didn't look much better than
the Keno version. Is I wouldlove to see them take that copy.
I'm willing to bet maybe that's almostcopy or something that you saw at the
Nitratee Festival. And to have someonereally transfer this and cleaned it up.
I know there's no money in it, because there isn't, but it would
be great if somebody could do areally nice version, really cleaned it up,

(01:25:45):
beautiful scan and to have someone dothat context to really give us an
understanding a little bit more in it. At the same time, do you
think that bun Well a lot oftimes was very much against explaining his own
work. He hated that. Hewas like, don't ask me what it's
about. You figure it out.It's the eye of the duck, the

(01:26:06):
not to put anybody down. Butthe commentary track for this off of that
keynote disc, it only runs approximatelytwenty six minutes, so it's not the
first twenty six minutes either. Hejust dips in and out throughout this whole
thing, and you're just like,this movie's only sixty seven minutes long.
He does a good job with whathe says, but it's just no,

(01:26:27):
I want talk the whole time.Like I feel like I would get fired
if I did a commentary track foran hour long movie and only handed in
twenty six minutes. That just doesn'twork. Give me the stuff that we've
talked about. Give me you hisfuture stuff, how this influenced things later.
Give me more of that relationship withDali and Gala. Give me more

(01:26:47):
of this is Max Stearnston. Thisis this person and this is this person
and how they all relate. Weget a little bit of that story of
Is, but we don't really evenget the whole thing of the reaction to
it. As I was watching itagain yesterday and listening to the commentary,
I'm like, is he going totalk about the riots. Is he going
to talk about the reception of thisfilm? It never does, just kind

(01:27:11):
of ends go, Okay, there'sa place not only just for a film
whole story, and but also forthe story and art movements and surrealism,
because one of the things that youread about when you talk about this film
is the shift for surrealism when fromthe internal to the extra, and there
was a lot of debate on that. There was a lot of splintering in
the late twenties and into the thirtieswhere there was a lot of people who,

(01:27:34):
I think this is give you asimilar movement that I know a decent
amount about for my own research,is like punk rock, where there were
those who go, now, punkis your own thing, it's for you.
Fuck the establishment, fuck the order, fuck everything cares about that.
We're not engaging, that this isjust about me and my own thing.
And then there were those that go, no, it's about this, and

(01:27:57):
then being political, it's about thisto fix that out there. So there
were these splinterings within surrealism where therewere those who were like, no,
we need to maintain what the purityof the surreal surrealist movement was, and
then there were those that say,no, we need it because we're seeing
the rise of fascists, we're seeingauthoritarianism, we're seeing all of these things,

(01:28:19):
and that those comments on the richand the powerful in the church and
all of these things can be theway to wake people up so that we
don't go down these horrible paths,which eventually they did, which eventually led
to If you read My Last Sight, Well talks about the death of Lorca,

(01:28:39):
and Lorca it was Lrcadali and whenWeld who were all in school together
and Lorca was killed by the fascistSpain and Francokine. So that loss for
him was so profound. Don't thinkit plays into his work so much,
but it definitely plays into his life, and that he lost this great trend
of his who was amazing quot anartist. And there's a lot of conjecture

(01:29:02):
as to why he was killed.Was he killed just because he was an
artist and a poet. Was hekilled because he was gay? Was some
combination? But two that's another aspectof when I read Glenwell's book, that
I go for a guy who wasso evolved and fuck you to the system.
He still couldn't accept that Laura wasgay. It bothered him. So
there was all of this and theretoo, so it interesting, Like I

(01:29:25):
say, I look at that movementand say, I don't think it kept
it Obviously didn't keep Europe from becomingfascist takeover, but I think he definitely
poked the air a bit and gotsome people to think and had an influence.
He said something in this documentary Isaw which was interesting was that he
didn't care that he had artistic success, Like he wanted these his worked and

(01:29:48):
Daly and these people to change theworld, and so he saw them he
saw it as a failure. Hecould care less that people liked the movies,
which again is really should stay wherewe live in a world where people
mostly put myself in that or careabout six succeeding in their own lives.

(01:30:11):
And here's a guy who had thissuccess, but it's like he didn't kiddy,
wasn't enoughs not, didn't have thevalue that he wanted, which was
to change the world with these films. I was pretty impressed by, pretty
admirable. I felt, all right, let's go ahead and take a break
and we'll play preview for next week'sshow. In my lifetime, I have

(01:30:31):
recorded some sixty cases demonstrating the singulargift of my friend Sherlock Holmes. But
there were other adventures which, forreasons of discretion I have decided to withhold
from the public until this much datadate. They involve matters of a dedicate
sunt sometimes scandalous nature, as willshortly become a film. Why did you

(01:30:59):
bring her here? I found thisinner end two hundred twenty one beat Bake
Streets. One of you is Sherlockconst whose We've never had a case like
this. We don't know who thewoman is, we don't know what the
problem is. Don't you find thatchallenging? Quine as you like to put
it in your chronicles, The gameis a foot. There's more to this

(01:31:24):
case than meets the eye. Hascome to my attention that you are interested
in the whereabouts to a certain engineer. When I said drop this case,
it's not merely a suggestion, Kiowefrom Rocknation, I swear to you I
saw it as clear as any blotsare you clients? That's right. We'll

(01:31:48):
be back next week when they lookat the private life of Sherlock Holmes,
which kicks off a whole month ofdiscussions all about Sherlock Holmes's career vas seventies
Incarnations of the Master Sleuth till thenI want to thank my co host Robin
Robert. So, Rob, whatis the latest with you, sir?
I'm just finishing up my third degreein three years, Masters and nonprofit administration

(01:32:12):
should be done in August. Afterthat, I don't know, but it
is my understanding that beyond this episodeyou may be hearing me speak again about
movies on the show. And Ialways love coming on and hanging out with
you. Of course, my kidwhomever whoever you have as a guest co
host, which is great. Soit's I think is the first time I've
done on with Robert, so itwas a lot of fun. And remembert

(01:32:34):
how about yourself. I have myYouTube channel which keeps me busy on my
exploration of films. So if peoplewant to check out the podcast I suppose
or vodcast I suppose you call itif it's a video, it's www dot
YouTube dot com slash Robert Bellissimo atthe Movies and I'm also on Twitter at

(01:32:57):
rb at the Movies, a littledifferent and Instagram and Facebook is the same
as the YouTube channel at Robert Bellissimoat the movies. So I do about
six episodes a month with guests wherewe just do deep dive explorations similar to
Mike and just exploring storytelling on filmin general is the focus of the podcast,

(01:33:20):
as well as interviews with people whowork in film and television and theater.
Yeah. So I'm also an actorand an acting teacher, and I
teach virtually still even in the whatpost pandemic world, So if you're looking
for a class, you could goto my website our Bellissimo dot CAA.
So this has been a treat,This has been great. Thanks so much

(01:33:43):
Mike for having me on, andMike Rob it was nice to meet you.
I learned a lot and got toexplore such a fantastic filmmaker. So
thanks for having me, Thank you, and thanks everybody for listening. You
want to hear more of me shootingoff my mouth, check out some of
the other shows I work on.They're all available at Weirdingwaymedia dot com.
Thanks especially to our patriarch community.If you want to join the community,
is it Patreon dot com slash ProjectionBooth. Every donation we get helps the

(01:34:08):
Projection Booth take over the world.M M. Y

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Episode 621: L'Age D'or (1930)

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