October 16, 2025 • 58 mins
Aaron and Darlene watch some classic sci-fi from the 1950s and '60s, good and bad. They talk about what makes these films memorable and fun, and if you should take a trip back in time and enjoy these films as well.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
But aren't you fellows ever positive only about doomsday?
Speaker 2 (00:03):
What could be worse than disappointing a little girl disappointing
a big girl.
Speaker 1 (00:08):
I have other ways of securing your cooperation. Sorry, miss
I was giving myself an oil job.
Speaker 2 (00:16):
When was it just azumbly as we've seen attitude to
it since we gave to a few low cabbages.
Speaker 3 (00:24):
An intellectual carrot.
Speaker 2 (00:25):
That mind boggles you see you see your stupid lives. Stupid, stupid,
I said Santa Claus. Long enough, we will.
Speaker 1 (00:33):
Bring him to Mars.
Speaker 2 (00:34):
I've been afraid a lot of times in my life,
but I didn't know the real meaning of fear until
until I kiss peck me.
Speaker 1 (00:40):
One thing will be clear. It's not from man to
interfere in the ways of God's life.
Speaker 2 (01:07):
Good evening, everybody, and welcome to Earth Versus Soup, Episode
two seventy eight. I'm Aaron Pollier and I'm Darlinge. We
dove back into the Paul Nashy collections and we originally
were going to watch one movie, but after reading like
the summation of it, we decided that it really didn't
have enough supernatural horror, or any supernatural horror about this mystery, right, Yeah,
(01:30):
it was just a mystery. So then we looked at
The Devil's Possessed from nineteen seventy four and it looked
like a it had supernatural horror. And I should explain
here that for Earth versus Soup in general, our criteria
for whether a movie should be covered by us or
not is if there's science fiction. Clearly we kind of
(01:54):
that that's different for everybody, and in a horror film
there might be some science fiction elements or supernatural elements
that counts. This looked like there was supernatural elements, and
let's be fair, we're still going to cover it, but
there wasn't, and we'll explain that in the plot. It's
(02:14):
not a spoiler to say that either.
Speaker 1 (02:16):
The other name is the Marshal from Hell. That's the
translation of.
Speaker 2 (02:23):
The Spanish, okay. And the other thing I think I
think we should say is with all of the Paul
Nashy movies that we have talked about so far, Paul
Nashy movies tend to be insane. Not insane as in
like crazy people, but like you don't really know what
is coming, you don't really know what's going to happen next,
(02:46):
You're generally surprised all the way through it, where this
is a very different film. This seems to be a
very straightforward plot where you kind of know what's going
to happen.
Speaker 1 (02:59):
Well, it's about a supposed to be about a a
villain from the Middle Ages.
Speaker 2 (03:06):
Yes, a real it's based on a real person, very vaguely,
very vaguely. Yeah.
Speaker 1 (03:13):
They actually even use his real his first name.
Speaker 2 (03:17):
Okay, as the baron, baron whatever.
Speaker 1 (03:21):
Yeah, he is a person that was a serial killer, Yeah,
of male children.
Speaker 2 (03:31):
So little boys. That's the real person back in like
the fourteenth century.
Speaker 1 (03:36):
Or something, and was hung by the French king.
Speaker 2 (03:39):
Okay, rightly, so, rightly so. So this is based on
kind of a real person, very loosely.
Speaker 1 (03:48):
I e.
Speaker 2 (03:49):
If you did not tell me that this was based
on that person, I would not make that connection at all,
which is very strange.
Speaker 1 (03:57):
And one of the other things they tell you that
the connection to is Macbeth.
Speaker 2 (04:02):
Do you see.
Speaker 1 (04:02):
Macbeth in this?
Speaker 2 (04:04):
I do not at all see Macbeth in this. So Okay.
It might sound like we're complaining about this movie and
that we didn't like it. There are many things about
this movie that are very good. If you've listened to
our previous Paul Nashy reviews Paul Nashy movie reviews, you
can probably guess what we will say works really well
(04:25):
in these movies. But let's let's talk about the plot.
Let's get into the plot.
Speaker 1 (04:29):
Well, there's one more thing I want to say. It
was released only in Spain and Belgium. Okay, one of
them was in June. One of them was in Maine,
May of nineteen seventy four.
Speaker 2 (04:41):
Okay, maybe there is a couple other things that we
can talk about before we get into the plot. One
of the things that I was surprised about, based on
other Paul nashi movies that we have seen, there is
no nudity in this none. There is the implication of
violence towards women, but there is never nudity in there.
There is clearly violence towards you know, mail and male
(05:03):
violence there because there's murders in this. But I was
surprised that there was no nudity because there were many
scenes where I thought, that's exactly where this is going.
There isn't this is almost kid friendly, almost, I won't.
Speaker 1 (05:17):
Say it, because there's there's an.
Speaker 2 (05:22):
There's there's implied violence towards women. There's also a beheading
and it's very that is also very strange, so it's.
Speaker 1 (05:30):
Not and then there's the whole satan thing.
Speaker 2 (05:35):
The other thing I wanted to talk about was the
only person that you may know in this film is
Paul Nashy, Like everybody else seems to be fairly unknown
actors and actresses.
Speaker 1 (05:48):
But I really got to say the second not Paul Nashy,
but the other guy Estone, Yeah, the one that plays Stone.
He was really good, really good. Yeah.
Speaker 2 (06:03):
Yeah, So okay, let's get into the plot now, because
this is fairly straightforward and also a little strange, just
a little, a little. It's very tame compared for for
a Paul nash year.
Speaker 1 (06:16):
It starts with the credits. The credits with medieval iluminations.
Speaker 2 (06:23):
Yeah, and these are actually kind of cool, these these
old like medieval art, because it sees like we saw
we see pictures of witches being burned, and I'm thinking,
are we going to see burning witches?
Speaker 1 (06:34):
No?
Speaker 2 (06:35):
No, we do see people getting Should.
Speaker 1 (06:37):
We see a burning witch? Yes?
Speaker 2 (06:41):
Actually we should, even though it's not a witch that
isn't this there actually theoretically should have been. I wouldn't
have been surprised if somebody was tied to a steak
and set on fire. Let's put it that way. It
does not happen in this film. There's priests, there's people
being killed in weird ways. And we then segue into
our first and we see writers approaching a castle. Inside
(07:03):
there's a woman who's sitting there petting a fox.
Speaker 1 (07:07):
Yeah, there's three women. One is playing instrument, the one
is is spinning, spinning, and the one that was petting
the fox was in front of her was a embroidery tapestries.
Speaker 2 (07:24):
Now that the woman who is petting the fox is
our arguably our leading lady. Who is Georgelle played by
Norma Sebree. She is a villain in this movie.
Speaker 1 (07:38):
Yeah, she and the person that's Grace Grasella. Is about Griscilla,
a equal in females, being in this Oh.
Speaker 2 (07:48):
I think Georgelle's in this movie far more, far more,
but as she definitely deserves second billing with Paul Paul
Nashy being first for sure. But she's there, she's petty
putting a fox, and then one of the ladies in
waiting like yells the Marshal's return. The Marshal's returned now
I I generally write down Paul Nashy's character's name as
(08:11):
the baron in my notes. He's actually Baron Guiles de
Lancre or something like that.
Speaker 1 (08:16):
Yeah, and this is all supposed to take place in France.
Speaker 2 (08:20):
It does not seem like it takes it.
Speaker 1 (08:22):
It is very much Spain Spain, and.
Speaker 2 (08:25):
It is actually confusing with certain things because it is
clearly made in Spain. Everyone seems to use Spanish equipment
and they or Spanish style like armor and things like that.
But they're and.
Speaker 1 (08:44):
There, and they're they're they're using a castle that's actually
got Spanish, old Spanish furniture in it too.
Speaker 2 (08:54):
Yeah, so it's confusing, but just go with it.
Speaker 1 (08:57):
And there's one matt playing where the castle was so
huge and this was the.
Speaker 2 (09:03):
Tournament, yeah, later on in the movie, and so you're like,
holy crap, it.
Speaker 1 (09:07):
Is it is just absolutely ridiculous.
Speaker 2 (09:10):
So maybe I should say right now that while there's
a weird mat painting, yes, they filmed clearly in like
a real place. Again, this is what most Paul Nashy
movies do. It's pretty clear they're filming in like an
old castle or a castle ruins somewhere.
Speaker 1 (09:27):
And the abbey ruins is an abbey, is a monastery
or I would actually say a cathedral that was ruined.
Speaker 2 (09:36):
In probably the Civil War, maybe maybe the.
Speaker 1 (09:39):
Civil War, maybe the Napoleon War.
Speaker 2 (09:43):
Could it could have been. So all of the scenes
that take place inside the castle, especially inside the castle,
look really good like they they look.
Speaker 1 (09:54):
Outside, they're definitely showing you that it's a ruin looking castle.
Speaker 2 (09:59):
So he comes back in this woman kisses Paul Nashy's character,
the Marshall Baron. So and so he was denied alone
by the king. Okay, that's he had gone off to
see the French king and asked for a loan. It
was denied. And so because he was denied alone, and
this is where I think the logic of the movie
breaks down is since he was denied alone, he's going
(10:22):
to and he's broke. He hires an alchemist and throws
a kingdom's worth of money at the alchemist.
Speaker 1 (10:31):
I think he already threw a kingdom's.
Speaker 2 (10:34):
Worth of No, we don't hear that later.
Speaker 1 (10:37):
I don't know.
Speaker 2 (10:37):
Well, it's anyway, he has all this money to pay
the alchemist enough that he's having to later on ravaged
the countryside and the peasants that serve him on extreme
taxes in order to pay for this alchemist. But he's
also broke already.
Speaker 1 (10:57):
And we have a bit of a question on or
other Georgiella is his wife or is mistress. I don't
think there are some issues there.
Speaker 2 (11:08):
Well, you see the ladies in waiting refer to her
as my lady one time. I don't know if they
would refer to her as that if she wasn't a
member of a noble house of some sort. But I
don't know. I don't know French royal noble etiquette from
this period of time, which we're not given the exact
(11:31):
period of time. No, But so I shouldn't complain there anyway.
Speaker 1 (11:36):
Uh.
Speaker 2 (11:36):
He basically, this alchemist comes in and he's like, Simon
dud Brockoville is this alchemist name? And he's like, Okay, dude, look,
I have this new science called alchemy, and they often
refer to it as a science all the way through this.
Speaker 1 (11:53):
One of them says, so be it actually translates in
the bottom or something.
Speaker 2 (11:58):
Yeah, Because we watched the dub and we had the
English subtitles on, which is usually closer to what the
subtitles are usually closer to the actual translation, because we
had somebody muttering and we we couldn't hear, and we needed.
Speaker 1 (12:10):
A yeah dubber. He muttered a lot.
Speaker 2 (12:18):
He's like, I'm gonna turn Okay, So Paul Nashy's character,
the Baron, He's like, I have seen you, mister alchemist,
turned turn glass into spun gold. You will make the
Philosopher's Stone for me. But what do you need. You
can have anything I can get a hold of. And
the alchemist is like, uh, okay, well I need a maid.
(12:41):
I need maiden's blood from a sacrifice of the maiden
based on these ancient rituals. And I'm like, okay, okay,
wait a second, this is ft up right. Uh we're
in France. Fine, it comes across as to me, so
I keep thinking of it as pain, but I need
(13:05):
to come out right now and maybe jump ahead a
few scenes. The point is this alchemist is a complete fraud, right.
Speaker 1 (13:13):
Yes, And George Jella knows it.
Speaker 2 (13:15):
George Ella knows it and is acting along with the
alchemist for some reason, and they're faking everything in this
movie that we don't. We learned fairly quickly on that
all these weird sacrifices are completely pointless.
Speaker 1 (13:35):
But we also find out that the baron has is uh.
Speaker 2 (13:42):
He has PTSD is what the baron.
Speaker 1 (13:45):
He has that? But he has it all the way
through it.
Speaker 2 (13:48):
Yeah.
Speaker 1 (13:48):
Yeah, but he happens to be taking girls from his his.
Speaker 2 (13:56):
Well that's the point. He's taking girls from peasant families.
Speaker 1 (14:00):
But he was doing that before and Georgiella allowed it,
allowed it and was even telling the girls to be hay.
That was that first scene with the girl.
Speaker 2 (14:11):
Which is very strange. That is very strange because again
Georgella comes across as being his wife in many, many
many ways.
Speaker 1 (14:20):
Yeah, I have to be careful because I have it
as wiife.
Speaker 2 (14:24):
Yeah. And then there's times where she's just like, oh, yeah,
you need to serve the baron physically and act this
way for him, and so she's acting kind of like
a madam for peasant girls as well. It's a I
don't know, there's a lot of questions that are raised
and aren't really answered in this film. So any let
(14:45):
me get back to the plot. At this point. This
is the one thing that, like Paul Nashy's character, the
baron says one thing to this alchemist. It's the only
time the Baron seemingly has any kind of soul in
this movie before becoming a complete, one hundred percent total
(15:07):
irredeemable monster. He goes, science should not be related to crime.
He doesn't want to sacrifice a maiden for the Philosopher's
Stone for eternal life to make all the gold that
he wants because he's totally broke. But he's also has
enough money to give an incredible amount of money to
(15:28):
this alchemist, etc. Like Yeah, anyway, he goes, science should
not be related to crime. I underline that in my notes.
I thought that was a really good line. It's the
one time he has a soul. After this point, there
are no heroes in this movie except for our hero Gastone.
Everyone else seemingly is kind of shitty. So we have
(15:51):
peasants that are afraid of the Baron's writers. And these
writers circle a family and take the gird girl.
Speaker 1 (15:57):
In the film in the field doing far.
Speaker 2 (16:00):
Yeah, they take the young daughter, they kill the father,
and then they bring this daughter back. Okay, now she's
clearly supposed to be underage. She's supposed to be like thirteen,
fourteen something like that. I don't think the actress was
the actress was not, or maybe the actress was because
you read somewhere that like the first girl that was killed,
(16:23):
she actually died when she was eighteen.
Speaker 1 (16:25):
Yeah, I'm sorry.
Speaker 2 (16:28):
So anyway, we have Georgielle telling this girl to be nice,
or that her mother and brothers will be tortured and
killed because she already somehow knows that they killed her father.
The baron comes in and it basically looks like he's
going to physically assault her in a sexual way. Let's
(16:52):
not use the R word because I don't like using it,
but yeah, okay, fair enough, Let's just say he's going
to rape her, because it's clear that it's not consensual.
She cries as he kisses her. And later that night
he seems to have a seizure and this girl is
screaming and freaking.
Speaker 1 (17:09):
Out and she's undressed in sheets.
Speaker 2 (17:13):
Yeah that's pretty uncomfortable. Oh, this whole sequence was pretty uncomfortable.
And I have to think that this actress was underage
at the time, at least for us. I don't know
if it was under age for Spain at the time,
and they clearly didn't do anything. And by the way,
there is no nudity here. Everything looks very actually like
(17:34):
a modern film in a way that it didn't seem
it didn't seem creepy. Does that make sense. It was
still uncomfortable when you know that that girl could have
been seventeen or something like that during the filming of
this movie. But again there was no nudity. He never
kisses her on the mouth. It always he like puts
(17:55):
his head into her neck like her shoulder to kiss her.
It seems actually like they were respecting this woman as
an actress as like a.
Speaker 1 (18:04):
Young I have no idea.
Speaker 2 (18:07):
That's me, that's me to me. It did not come
across as creepy at all. We've seen some pretty creepy things, yes,
this was not one of.
Speaker 1 (18:13):
Them, and we've heard of creepy things.
Speaker 2 (18:17):
So he has a seizure and then he says it
was a nightmare, and there's people like constantly condemning him
in his nightmares for being an evil person. Guess what, buddy,
you are evil. You deserve all the condemnation.
Speaker 1 (18:29):
So well, later on you get him saying that it's
he's killed all his friends.
Speaker 2 (18:35):
His colleagues, all the good people that have been around him.
You know, things like that. George Jello, George Ella, and
this alchemist. Well, anyway, we get to meet a man
named Gastone who is our hero. He is attacked by brigands,
but he disarms them and they say, hey, look, oh buddy,
(18:56):
look we made a mistake. We actually recognize you. You're
a good guy. You're not working with the Baron. You're
not working with the Baron, and you clearly don't know
what has happened locally recently.
Speaker 1 (19:13):
And we find out that he'd been in prison for
something for well, during the war, he was he.
Speaker 2 (19:21):
Was captured by the British. Yes, okay, So anyway, the
bandits are like, look, we're not bandits, we're just resisting
the Baron because the Baron is a piece of shit.
Speaker 1 (19:32):
And Gastone can't believe that because he was there with
the Baron during the Baron during the war. And this
I will say, I looked up the other person that's
he supposed.
Speaker 2 (19:45):
To who Gastone is supposed to be.
Speaker 1 (19:47):
Yeah, and he did have a lot of battles that
he was in.
Speaker 2 (19:53):
Oh oh, the guy that this is based on the Yeah, okay, okay,
So anyway, he's like, okay, fine, look, I'm not going
to kill you bandits. The band it's like, we're not
gonna kill you, and you know what, We're gonna let
you go, but you're gonna come back looking for us
when you find out what the hell's going on, and
guess them's like, ah, come on, really, this is all
over blown. So we go back now to the baron,
(20:15):
Georgelle and the alchemist and they have a peasant girl
from earlier chain to a slab. The alchemist gives Georgelle
a knife and then calls upon Satan to give them power.
She slits the girl's throat, gathers the blood and the
chalice for the baron then to drink.
Speaker 1 (20:33):
And this is the girl that was eighteen.
Speaker 2 (20:36):
When she died. When she died, it was right after
this film, so it's possible she was seventeen when they
were filming this. And that's okay. Again, we see there
is no nudity nothing, so it's not creepy like and
you know other films. But anyway, this this is also
strange because there are multiple, multiple sacrifices that are made
(21:00):
this movie right, and they are hailing Satan and all
of this stuff throughout the film. At these sacrifices they
have like flags up of a pentagram.
Speaker 1 (21:11):
Well, he even went to go do in one part,
he went to do penance. Yeah, to the monastery, and
then he kills all the monks. And my thought on
this one was the church would be after him at
this point.
Speaker 2 (21:28):
Okay, not only the church. But the point is is
that it's it's semi open everything that they're doing in
this film because they're doing it in the ruins. There's
guards around. Yeah, okay, you might say my guards are
loyal or whatever. They're gonna say something about the Satanic
ritual that they just saw last night and how cool
it was to see the baron drink blood, and somebody
(21:50):
that isn't super loyal to the baron is going to
hear that and go, boys, we gotta do something, and
let's talk to the church.
Speaker 1 (21:59):
Or the war. First one was that they attacked the manta.
Speaker 2 (22:03):
Killed all the monks, Because they killed all.
Speaker 1 (22:05):
The monks, but they also attacked male blacks.
Speaker 2 (22:09):
Oh well, we we'll get to that later. We'll get
to that later, because there's full on stuff that should
have actually resulted in the king coming down very quickly
and putting the boot down hard.
Speaker 1 (22:21):
Well, first, when you have nothing coming in from.
Speaker 2 (22:25):
Taxes, taxes that raises, and.
Speaker 1 (22:29):
You have free freemasons free not free Masons.
Speaker 2 (22:36):
What are you?
Speaker 1 (22:37):
I'm not freemasons. What do they call them? I'm losing
my freeman, freeman. You would have freeman leaving.
Speaker 2 (22:44):
Yeah, you'd have complaints from the serfs that their parents
are getting murdered, like the fathers are getting murdered and
their daughters are being taken. Yeah. And then you would
have reports of the baron attacking other noble families, other
landed gentry, which means vassals are now warring under your charge.
(23:06):
This is something that needs to be taken care of immediately, right,
And yes, it would probably result in all of the
people involved, whether they were really at fault or not,
having the boot put down. But still the boot needed
to be put down. And the thing is it never.
Speaker 1 (23:22):
Does which in the real life it did get put
down because he was hung for his.
Speaker 2 (23:30):
Crimes because the king had to come in, right.
Speaker 1 (23:32):
Yes, the king had to come in.
Speaker 2 (23:34):
None of that happens here. It seemingly it's just all
kind of shrugged about later on. But we'll get to it.
We'll get to it. So we already have the sacrifice,
guess Stone arrives at a pub. We learned here that
he's been in prison for four years by the British,
and he stands up for a barmaid being attacked by
some of the baron's men who got handsy with her.
And this is actually a good fight. Remember this where
(23:56):
he's like he swings on a chandelier.
Speaker 1 (23:59):
A lot of wash black in this movie.
Speaker 2 (24:04):
And it was actually pretty damn entertainment.
Speaker 1 (24:05):
And I gotta say that, I think the guy that's
the guy that plays guessed On actually actually does his stunt.
Speaker 2 (24:16):
Still looks like that Paul nashi does not do his
stunts in this and I'm okay with that because Paul Nashy,
the liability on Paul Nashy at this point might have
been a little too high for him to do his
own swashbuckling stunts. Or it's also possible that he got wounded,
because remember there's times in some of the Hammer movies
where some of the big name actors actually got wounded
(24:37):
and that was a big deal. So maybe Spanish cinema
was like, dude, Paul Nashy, can't do your own stunts, dude.
Speaker 1 (24:43):
If not, if he was, he was elevated to the
place that he he was.
Speaker 2 (24:50):
Yeah, so we have Gastone doing that. The baron torture
is a man on the rack wanting to know where
the other bandits are, and the man man does not
do it. And then then the baron orders the guy
to be like impaled on the battlements as a warning
to everybody else. And again, this is already like there's
(25:12):
stuff that's going on here that the king. Okay, what,
he's a baron, right, That means there has to be
other nobles above him. Correct that he's a vassal to
somebody else besides the king. Possibly, yes, it's possible that
he's a direct fascal to the king, but unlikely. I
(25:33):
don't know. It just seems like there's already stuff going
on here that would have gotten others involved. The baron
says that they still don't have the Philosopher's Stone. A
man's beheaded, and Georgelle places the head on a platter,
And this is where we learned that Georgelle is basically
just scamming the baron entirely by pretending to have Satan
(25:55):
talk to him by a guy sitting behind the wall
with a speaking.
Speaker 1 (25:58):
That was the alchemist.
Speaker 2 (26:00):
Yes, it was but this is where we learn, as
the viewers, all of this magic shit is complete bullshit.
There isn't really any kind of like Satan here. There
isn't any like real it's table tipping. And what's Georgelle
getting out of this?
Speaker 1 (26:19):
I don't have any clue. And she seemed like at
the end loving that she loves the baron, but then.
Speaker 2 (26:29):
She knows, she knows this hole.
Speaker 1 (26:32):
Is a scam because she's in with the alchemists and
he's talking through what it's a speaking to. It's a
speaking tube like you would have on a naval vessel.
Speaker 2 (26:47):
So they're like, you must sacrifice seven maidens and you
will rule France. You will become the king of France.
And we see a man behind the wall talking through
the tube and it's the alchemist. And the Baron's men
start killing people and taking their daughters, stringing the bodies
up to show the public that they must pay taxes.
And at this point we're seeing like peasants saying we're
(27:10):
dead broke, and the Baron's men coming in and saying, fine,
we'll take payment with your your daughters.
Speaker 1 (27:16):
Or h and it kills the kills the father and
then kills the.
Speaker 2 (27:23):
Son, like a little kid, like a six or seven
year old kid. Yeah, and I'm thinking, you assholes not
only are just being evil, but you're also being like
really short sighted because everyone says, everyone is saying, the
baron is broke. How do you get taxes to people
working your land? What are you doing? You're killing all
(27:44):
the people that work for your land and then sacrificing
their daughters and not getting anything out of it.
Speaker 1 (27:50):
So your next generation is gone.
Speaker 2 (27:52):
And no one's gonna want to move in as like
freemen or even like, what are you gonna do? Ask
other nobles nearby to give you serfs? You're literally like
you're salting the earth at this point, the guy's crazy. Anyway.
At this point, Gastone goes to see the baron because
(28:13):
he's like, dude, there's something weird going on, and they
they feast together, and he says he'd like to hire Gastone,
but Gastone refuses and says he no longer wishes to fight.
I'm a pacifist, et cetera, et cetera. The Baron takes
Gastone down to see the alchemist, and at this point
it's it's obvious to even the most dullard of people
(28:36):
that are watching this movie. The guests that that georgella
And and the Alchemist are completely scamming everyone around them,
and I'm pretty sure I am pretty sure that gas
Stone realizes that too. At this point, he has to
realize because there's these knowing looks and like shameful looks
(28:56):
between georgella And and the Alchemist going, oh, yeah, you know,
we're making the Philosopher's Stone, and the Baron's like, yes,
I have the finest clay from the bags of the
Dead Sea, you know, blah blah blah, and he's going
through all this crap. It's it's I don't know.
Speaker 1 (29:12):
There's also the fact that there's the the main his
main captain. Yeah, Baron's main captain is a.
Speaker 2 (29:24):
Say this the sorts or a psychopath.
Speaker 1 (29:26):
He's a psychopath. He likes doing his.
Speaker 2 (29:30):
Job, which is just murdering people randomly.
Speaker 1 (29:33):
And how many doggone torturers do they go through?
Speaker 2 (29:36):
Two? Two? There's two torturers in this because one gets
murdered by the Baron because he's just kind of ticked off,
like okay, anyway, at this point, George Georgelle is like, Baron,
you need to kill Gastone because he's gonna kill you
at some point, and the Baron's like, no, no, no, no.
Gastone's a good man, he's a loyal man. He won't
do anything. And at this point, like Georgelle and the
(30:01):
baron make love, and we have a guy that actually
ends up coming into Gastone's room to try to murder him.
So it's again clear that George Elle is the one
setting all this stuff up. And Gastone just murders this
guy that came in to kill him and jumps out
the window.
Speaker 1 (30:19):
He's like done out without half with half his clothes.
Speaker 2 (30:23):
Yeah, but Gastone says, I am not well, the baron says,
I'm not going to kill Gastone's family. I Am not
that kind of evil person. Dude, You've already been drinking
the blood of women that you have raped and then
sacrifice to Satan. Yeah, you, and you're drawing your you're
(30:45):
drawing your line.
Speaker 1 (30:46):
There because you're supposed to have a.
Speaker 2 (30:48):
Virgin maiden, it says maiden. And yes, that that's what
it implies is is virginal blood. But I mean maybe
that's part of like the ritual, is that you you
you I don't. I'm not going to go into it. It's
it's it's sick and wrong.
Speaker 1 (31:02):
But Gaston goes to I thought it was a priest,
but it happens to be the Lord of.
Speaker 2 (31:09):
Mal It's one of the nearby nobles.
Speaker 1 (31:14):
Yes, but he's part of that family in a way
because he's he's married not yet.
Speaker 2 (31:23):
Oh maybe I thought he was married to the daughter.
And that's why. Yeah, because they say anyway, yeah, I'm
pretty sure they are married at this point. But he
doesn't go see him yet. He goes to see Paul,
the head bandit, Paul you mean Esteban or whatever, the
(31:45):
head bandit, and they blindfold them and they lead him underground,
and we actually learned that his wife is there as
a part of the bandit group.
Speaker 1 (31:54):
Yeah, in men's clothes.
Speaker 2 (31:56):
In men's clothes, with short hair, with short hair, and
I'm thinking fourteenth century, nineteen seventies short hair. My problem
was is that here are these bandits. They know that.
I don't have a problem with a woman being in
the bandit group. I think that's totally legit.
Speaker 1 (32:16):
I thought that was fine. My thoughts that.
Speaker 2 (32:19):
She's in a noble family and if she gets caught
somehow her whole family's going to be like taken.
Speaker 1 (32:29):
Well, I should first, I should have said this earlier.
There are times when there is definite modern fabric, and
then there's sometimes when and you could be in the
same scene right beside each.
Speaker 2 (32:43):
Other with really really proper, really proper.
Speaker 1 (32:47):
Stuff, and then the person standing beside him is in
something that looks like a prom dress basically.
Speaker 2 (32:53):
Yeah, so there's a weird mix of costumes, but sometimes
some of the costumes in this are exquisite.
Speaker 1 (32:59):
And then you have the first scene you have of Goston,
He's in a checkered its supposed to be a leather
and gold and it really comes.
Speaker 2 (33:10):
Off as ple Yeah. Yeah, yeah, but there, like I said,
there's sometimes you have some of these costumes that are
like just exquisite.
Speaker 1 (33:23):
Am having that gold plate that was on him?
Speaker 2 (33:26):
Oh even though it looked cheesy, it still looked like, yeah,
that's that's legit. Anyway, let's get back to the plot.
Speaker 1 (33:30):
Well, we'll get back, but I could see it being
instead of being it'd be light black leather with maybe
a yellow dyed yet leather to make the gold look.
Speaker 2 (33:44):
Okay, So Gastone joins the Bandits and starts pulling some
Robin Hood stunts with a bow and arrow and proves
his fighting skills with the whole groups, so the whole
group allows him in a whole group of bandits ends
up attacking the baron's men that are transporting chest and
they kill all the low guards. But then like the
baron's head guard.
Speaker 1 (34:05):
The one that is the total.
Speaker 2 (34:08):
Like psychopath, they basically just make him take off his
pants and leave his sword to go to bring a
message to the baron that he shouldn't have around anymore.
Speaker 1 (34:18):
And left on his chain chain mail. Yeah, and I
had to see this is where I saw. The chain
mail is just tacked onto.
Speaker 2 (34:28):
The It's not a full shirt of chain mail. And
I'm okay with that because we have seen like legitimate
suits of armor that are like padded shirts with just
like patches of chain mail put onto it.
Speaker 1 (34:40):
But this was the sleeves being of chain mail put
onto it.
Speaker 2 (34:46):
Was a little weird, but it makes sense if you
look at some really old sets of armor that aren't
from like Kings or anything like that, that sometimes you
do get these very strange patchwork armor made up it. Okay,
I'm not saying that this was accurate.
Speaker 1 (35:04):
My part on this one is they would have stole
the chain man.
Speaker 2 (35:08):
Oh for sure.
Speaker 1 (35:09):
That's why chain mail would have been worth something.
Speaker 2 (35:12):
Oh yeah, it would have to.
Speaker 1 (35:14):
And they would have took the boots too, because boots
are expensive.
Speaker 2 (35:19):
And that's why I said in the end, they if
they wanted to send a message to the baron, they
would actually just strip this guy naked and send him out. Yeah. Yeah,
they would have left him his breeches or something like that.
But the point is you wanted to humiliate.
Speaker 1 (35:33):
Them, I said, breeze, not the underwear.
Speaker 2 (35:36):
Yeah, that's underwear breaches. Whatever. The point is you wanted
to humiliate this guy and send a message to the baron,
so why not strip him of everything of value anyway?
But then they opened this chest and there is so
much gold in this There is no way in.
Speaker 1 (35:54):
Hell that this looked like copper.
Speaker 2 (35:57):
But even if it was copper, that is an incredible
amount of money that is in that. There is no
way and shit that that came from the taxation of
a ravaged peasant class that has now been like no
cold almost and it looked like gold to me. It
was a huge crate. How is the baron broke if
(36:20):
he's just shipping this around with like three guards. The
point is is that what that comes across as is
that is so little money to the baron that it's
meaningless to properly guard.
Speaker 1 (36:33):
Yeah, but I don't think that was their intention.
Speaker 2 (36:35):
No, it wasn't, But that's how it came across.
Speaker 1 (36:38):
That's who they could afford to.
Speaker 2 (36:40):
I understand that. But then you know, hey, let's say,
if that's what we can afford, what's realistic that they
have maybe a pouch of gold on them or something,
and that's still that would still be worth a shit
ton of money to some group of bandits. But what
that bandit, what those bandits just got in that chest
could likely buy a huge chunk of land or pay
(37:01):
an army like it.
Speaker 1 (37:03):
Was the army is what that was.
Speaker 2 (37:05):
It was a huge amount.
Speaker 1 (37:07):
Of gold for a good few years.
Speaker 2 (37:10):
Like thousands of gold of gold doaballoons like or whatever.
Whatever the French currency was at the time, I don't know,
was it the Francis Francis currency.
Speaker 1 (37:19):
At the time Francis, I thought it.
Speaker 2 (37:21):
Was frank was still Franks even at that point. I
don't know what what France's currency of the fourteenth century
was but gold pieces, thousands and thousands of gold pieces.
Speaker 1 (37:32):
They did look like Spanish to blooms though.
Speaker 2 (37:34):
Yeah they did, didn't they. So the baron ends up
getting pretty pissed off, and uh, there's going to be
a joust, and Gastone's like, you know what, I'll attack
the baron there. I'll prove a point to the baron
that he is going to lose. So you better stop
because you know, the baron isn't so far gone that
he's sitting there just murdering girls on a slab and
(37:56):
I don't know, threatening everybody. So they actually end up
going to this. They take joust and they take out
a noble that's going another noble.
Speaker 1 (38:04):
Oh and this is the other thing that I had
of people. You do not just have you and your squire.
Speaker 2 (38:11):
At aust, you have a whole routine with you.
Speaker 1 (38:14):
Yes, this guy was him and his his squire with
a how a horse carrying.
Speaker 2 (38:24):
His a second horse carrying his jousting. Yeah, yeah, so
his Okay, was it possible that this guy was a
knight just just a regular night, I don't know. I
don't know, because why would the baron square off against
(38:45):
a knight of a random nearby realm.
Speaker 1 (38:48):
That's why I said he wouldn't have just been one person,
because if he was going from joust to joust to
jows and he was one of those yea famous joust,
winner of jousting tournament, a.
Speaker 2 (39:02):
Team with him, a team. So anyway, the bandits jump
this guy and basically take his armor and horse, and
I'm like, okay, well, I guess the guy doesn't really
deserve to have the armor of the horse if he's
unable to freaking defend himself against a couple the lightly
armed bandits. But they take him, and Gastone puts on
(39:22):
the armor and ends up jousting the baron and whooping his.
Speaker 1 (39:25):
Ass and let Georgiella no exactly who.
Speaker 2 (39:30):
He was, because he doesn't only beat the baron's ass,
he takes his eye for it and then goes smiles
at George l It just kind of walks away, and
no one stops him. All the baron's men are there,
all the barons men are there. The baron could have said,
stop that man. He wounded me grievously. I want to
(39:52):
see the man put on trial or something.
Speaker 1 (39:54):
But you don't go into a joust and then say
that you can't.
Speaker 2 (40:00):
I know. But the point is is that George Elle
just saw who that was, and she could have said
that's gas Stone, capture him.
Speaker 1 (40:09):
I mean anyway, I'm still it's.
Speaker 2 (40:12):
Because because Gastone gets away free and clear clear. So
the baron then tortures a man to how to sneak
into Gastone's castle to get his wife and wife's father
because remember Gastone is married into another noble family. And
this guy breaks under torture, which I don't look john too.
Speaker 1 (40:34):
Yeah, because he wasn't supposed to die. He was supposed
to be hung or something afterwards.
Speaker 2 (40:38):
Yeah, the baron was just torturing this man to get
enough information out of him about it. And the guy
does break, like I said, but he didn't. The baron
didn't think that he was tortured enough to die. He
wanted the man to suffer more and like hang outside
the castle. But then like he dies on the slab,
and then the baron kills his head torturer because he
(40:59):
screwed up and wasn't competent, like dude, and the the
head torture is like, dude, I was following your orders.
You told me to keep turning the screw, that's okay, fine,
the Baron's are already gone. We know that the Baron's gone.
Speaker 1 (41:14):
So Baron has another seizure.
Speaker 2 (41:17):
Baron has another seizure. So at this point, Gastone hears
about this guy that had been captured and was likely
being tortured about how to get into the castle. He's like,
we gotta go rescue him. There's no way he can
cry that. Yeah, so they're gonna go rescue him. And
at this point they realized that Gastone already has sent
troops to go take this castle and capture everybody. The
(41:40):
Baron kills the alchemist after he fails to produce the
Philosopher's Stone again, and then this is where the baron
ends up having another seizure slash panic attack, and the
bandits with Gastone attack. Gastone is wounded, the baron vows
to salt the earth to basically just destroy everybody.
Speaker 1 (41:58):
Baron has the soldiers after children, women, And this was
the one that got me. How do they say it
the elder not the elders, but some weird way I
don't know in translation, but both the the dubbing and
(42:18):
the okay was was different in both of them.
Speaker 2 (42:22):
So so at this point we have the baron hearing
screaming constantly around him. He just sits in his bedroom
like hearing screaming. The baron murders the monks, and yeah.
Speaker 1 (42:34):
He needs to go and find I get uh.
Speaker 2 (42:36):
Then he tries to go, hey, look, I have your
your wife and and and father in law. I'll tell
you what, Gastone, you come in, I'll trade you. They
can walk away. And Gaston's like, okay, fine, I'll do
that because I have a little bit of honor. The
baron has honor. Of course, the baron doesn't have honor.
He's killing all these women and children.
Speaker 1 (42:57):
And but it's the faith that he had before. Yes,
I know, and it was hard to break guess stone
from that that hat that.
Speaker 2 (43:07):
Of the old baron before he went completely mad. Yeah, yeah, yeah.
So the barons know they need the bandits, know that
they need to assault the baron's castle. The baron tortures
Gastone's father in law by placing red hot crown on
his head, killing him. It just kills him. You've always
wanted my crown, no, right, remember he.
Speaker 1 (43:27):
Why did he need the crown of the baron when
he had his own, his own stuff. That was I know.
Speaker 2 (43:34):
He takes up his crown in the fire and then
like kills him by putting it on his head, which
is they don't show anything that could have been really gruesome.
They didn't show anything. I'm glad they didn't. This movie
actually has restraint, which is kind of Again it's a
Paul Nashy movie that has restraint. That's weird. Uh. Then
we get the bandits attacking the castle and they they
(43:56):
basically take the castle walls and outer outer areas almost
without a fight, Like the guards just left the gates open.
Remember that that that was just strange.
Speaker 1 (44:09):
But they get Gastone and found out that Gray Shield
or whatever her.
Speaker 2 (44:14):
Name, Priscilla is going to be.
Speaker 1 (44:16):
Sacrificed, is not in the dungeon.
Speaker 2 (44:19):
And she's going to be sacrificed.
Speaker 1 (44:20):
So they find out that she's at the abbey to
be sacrificed.
Speaker 2 (44:24):
So they rushed to the ruins of the abbey to
stop the sacrifice, and his wife is about to have
her throat slit, but Gastone throws the sword into into
George L's back.
Speaker 1 (44:35):
He just and this is not a sword that you
could throw This.
Speaker 2 (44:39):
Is okay, This is the.
Speaker 1 (44:43):
You have a sword and then you have the one
that helps you.
Speaker 2 (44:47):
What are you talking about? The parrying the pairing?
Speaker 1 (44:49):
So that is what that is.
Speaker 2 (44:52):
You can darlinge okay, hold on, you can throw anything.
It's just that some things are easier throw.
Speaker 1 (45:00):
Won't go in the back. Such.
Speaker 2 (45:03):
Okay, look I have one of those parrying daggers. I do.
I have a couple old.
Speaker 1 (45:08):
I am not gonna stand around and let you stab.
Speaker 2 (45:11):
I'm just saying that, like, hey, look there is a
sharp point to it. It can go into an unarmored
woman's back. It won't you fly? Well, no, it won't.
I didn't say it would fly. Well, I'm saying you
can throw it, it could pierce you.
Speaker 1 (45:25):
It's it's more like to hit her head and her
and knock her out. I agree, but not stab in
the back.
Speaker 2 (45:34):
So he whips this thing at her, stabs in the back.
She falls over. There's a sword fight between Gastone and
the Baron, which is actually pretty good, even though you
can tell that Paul Nashy has a stunt double. That's fine,
It's actually pretty cool. And then the baron rants against
the bandits that surround him. He thinks he's immortal at
this point. It's clear he's completely out of reality at
this point because he's like holding out his hand that
(45:55):
has nothing in it and saying, look, look, I have
the power of God in my hand and you cannot
kill me. And then like one of the archers, well
there's like three or four bandits to have longbows. One
of the one of the bandits kind of looks at
the other and shrugs and then fires an arrow into
the into the baron.
Speaker 1 (46:10):
There's two arrows that going.
Speaker 2 (46:13):
Because I guess both these archers and the baron looks
down at its chest and goes, see, you fools, I'm immortal.
You can't kill me. And then again and then looking
at him, they look at each other and they're like,
what the hell I think we just need to fire
more into him. Yeah, and then one of them goes
right into his neck, through his neck, through his neck,
and uh, he falls over dead.
Speaker 1 (46:35):
And then falls falls over the whatever he's standing up on.
Speaker 2 (46:41):
Yeah, he just falls over the end like okay, okay, okay.
So it's all ended with the guitar music. There's like
fancy guitar music that happens.
Speaker 1 (46:53):
I thought Gueston got to kiss his wife.
Speaker 2 (46:56):
Yes, yes he does, but it's it's funny. I like
the freaking bandits looking at each other and just filling
them full of arrows.
Speaker 1 (47:05):
Well, let's test this one.
Speaker 2 (47:06):
Well, let's test this theory. Is he is he?
Speaker 1 (47:08):
God?
Speaker 2 (47:10):
Is he God? But he like it's funny because he
gets a couple of arrows in him, and and and
the Baron's like, see, I'm immortal. And it's just that
he's completely crazy and not really feeling pain at that
point and then wham done. He's done. So it's a
Paul Nashy movie that is restrained, that has a let's
(47:35):
not say a good plot, but a sensible plot, one
that that you can kind of tell where it's going.
Speaker 1 (47:42):
Yes, but it wouldn't have there's a lot of things
that wouldn't have worked.
Speaker 2 (47:46):
Okay, So what works? What works? What works?
Speaker 1 (47:49):
What worked? Some of the sets because they were real.
Some of them were too ruined.
Speaker 2 (47:58):
I would say all of the sets were in one way,
shape or form, because they were all very good looking
in general. Even the ruins. You're like, okay, fine, whatever,
it's a ruin.
Speaker 1 (48:07):
Okay. The setting that made that big, huge of the
castle hugest stuff and the little tiny.
Speaker 2 (48:13):
The mate painting's bad, but that's not a sad right.
We can say the mat painting's bad, but the sets
are great. I will say that overall the costumes work.
We can nitpick about some of the fabric, yes, but
even the things that are made from nylon or whatever
look pretty damn good. They look pretty good, are they?
Speaker 1 (48:34):
I'm giving them a dirty look?
Speaker 2 (48:36):
Look? No, no, no, I'm not saying they're accurate. I'm
not saying that they are period realistic. I'm saying that
they look pretty good for a movie from nineteen seventy
four that's supposed to be set in let's say the
thirteen hundred.
Speaker 1 (48:52):
It would have worked better if it was black and white.
Speaker 2 (48:55):
Oh that's a bold statement.
Speaker 1 (48:58):
Because then you wouldn't have seen that the fabric was.
Speaker 2 (49:04):
Maybe. Maybe I can't disagree with you, but I can't
agree with you either.
Speaker 1 (49:09):
Now, Gaston's wife's outfit when she was doing like the
non look, really looked good.
Speaker 2 (49:22):
You know what his.
Speaker 1 (49:24):
Black velvet tunic.
Speaker 2 (49:29):
Oh yeah, that was really good.
Speaker 1 (49:30):
Oh that was really good.
Speaker 2 (49:32):
So I would say that overall we can say that
the costumes work. That if it falls into the it
works category, I'll even go so far as to say
that in general, the restraint of the movie works, And
I know that's a weird category to like say this worked.
Point is that there are a dozen times in this
(49:55):
movie where, since it's a Spanish movie or a European movie,
you expect to see a woman's breasts exposed.
Speaker 1 (50:04):
They almost did that with gart when she was in
the uh Grizel Grizel, when she was in the air
which she was captured.
Speaker 2 (50:13):
They almost do it, but they don't. Every single time
you think they're going to do it, they don't.
Speaker 1 (50:18):
But they apply with her how her dress is torn, that.
Speaker 2 (50:22):
They assaulted her, that they imply it. Yeah, they but
they don't show it. And that's good. You don't need
to see that. Why what what do we gain from
seeing that? Right? And the point is that there's those times.
There's the times where the baron is clearly assaulting a
woman in his bedchamber where you think, now we're gonna
(50:42):
see and this is awful, and we don't never see it.
When they're sacrificing the women on the slab, you're like,
they're gonna take that that sheet down and like pierce
her through through her chest or something. We're gonna see her. Nope. Never,
it's restrained. And for a movie that has this kind
of theme to it, that's really rare. That's really rare,
(51:06):
and I kind of respect it. Even though there are
some dark things in this movie, it's never directly shown.
I have to say that.
Speaker 1 (51:16):
I'm gonna say the costumes worked and didn't work.
Speaker 2 (51:18):
Okay, we'll get back to that. But is there anything
else that we think works? The pacing? Maybe no, I
don't think. I think the pacing's okay. It just doesn't
fall into that it works or doesn't. I don't think anything.
Does anything truly not work in this The.
Speaker 1 (51:33):
Whole thing of of what the Barons?
Speaker 2 (51:39):
Why, Yeah, George l I do scam? I don't get it.
Speaker 1 (51:43):
I don't get it either.
Speaker 2 (51:44):
There's no reason for her to be scamming the Baron
because she's she's visibly not getting anything out of this.
Speaker 1 (51:52):
She's visibly in love with.
Speaker 2 (51:54):
Him, and so all of this results in his downfall.
And it's so obvious that it is that it makes
no sense that if she was doing this for anything
other than personal gain, that she'd be doing it. But
we never see her gaining anything out of this, and
it's clearly against her love of the Baron if that
(52:15):
she's doing this.
Speaker 1 (52:16):
The Alchemist doesn't get anything but the ability of the
just to.
Speaker 2 (52:21):
Have a place to live live, that's it, Like that's
all he's getting on it. Yes, I yeah, so I
don't get it. I think the movie would have worked
better if there really was some like real magic quote
unquote you know what I mean, Like, oh, there is
like a demon that lives in the ruins of this castle,
or you know, or in this abbey, or there's some
(52:42):
sort of like immortal being that that's why the abbey
is in ruins that has now like taken up residence there.
That would have worked a thousand times better. But the
way it is just because of George.
Speaker 1 (52:55):
Elle and it would explain why he goes goes mad.
Speaker 2 (52:58):
Yeah, the way it is that does not make sense
at all. And again, if it's based on a real
person from history without me being told that that is
and even saying, oh, this is this is based on
a guy that was a serial killer of little boys?
Was this guy was? Was? Was the Baron a serial
(53:21):
killer of little boys?
Speaker 1 (53:22):
In this? No? But I thought about that one. They
wouldn't have wanted to bring that.
Speaker 2 (53:26):
In, and so why based on a real character then
that then you don't have at all like the real character. Like, no,
it's that does not make sense. I think that I
will say that even though that is not really a
true part of the film. I have to say that
that doesn't work.
Speaker 1 (53:44):
Do you'd have better if they did take the McBeth
way and have the three witches? You would have had
a better.
Speaker 2 (53:52):
That he keeps going to these witches that are manipulating him.
I can't why is it? Where did you even read
that this is like a Macbeth.
Speaker 1 (54:00):
It had to deal with them saying it had a
similar plot to Blood.
Speaker 2 (54:08):
Oh, you're having to pull out your notes again. Okay,
I don't see it like.
Speaker 1 (54:12):
A Throne of Blood, which is a a Japanese from Toho. Okay, okay,
hold on, it's based on McBeth, So.
Speaker 2 (54:23):
It's based on another movie which is based on Macbeth.
That's like two steps too far, and that that's nonsense.
You cannot base it on on that. That's nonsense. But
I don't know, are we gonna recommend it? There's there's
lots of things that this movie could have done better,
but also also things that this movie did really well,
and I was actually surprised.
Speaker 1 (54:43):
About I don't think the dubbing and the words on
a Yeah, the close cap caption worked well because most
of the time it was saying.
Speaker 2 (54:56):
Two different things, two different things.
Speaker 1 (54:59):
I I would recommend it for somebody that speaks Spanish
to to have the Spanish one.
Speaker 2 (55:05):
I'm not recommending this film, but it's a light not recommendation.
Speaker 1 (55:09):
But it wouldn't be recommending it for our group.
Speaker 2 (55:12):
Yeah, yeah, no, And this is what is really strange
here said we're both not recommending it. Before we get
our to our between one and ten rating. All the
Paul Nashy movies that we've watched, we've been mixed about.
Speaker 1 (55:25):
I've been not like us.
Speaker 2 (55:27):
And I've generally liked them in weird ways. But they've
all been interesting to watch, which I think is worthy
to point out. I think all of them have actually
been like engaging and I want to keep watching more,
which which says at the very least that there are
(55:47):
aspects of these movies that really do grip you as
a viewer in a way that that at least I'm
not used to. So take that what you will.
Speaker 1 (55:58):
I think as a great squash boxing movie good.
Speaker 2 (56:01):
Well, I wouldn't say it's great. I would say it's
a nice washbuckling movie. It's it's it's fine. But what
out of ten would I give it? It's a four
out of ten. Yeah, it doesn't, it doesn't. It doesn't
make me feel bad watching it. It's it's very mediocre.
Speaker 1 (56:18):
And the Demon Devil Alchemists thing didn't work.
Speaker 2 (56:23):
Like the best stuff is Paul Nashy chewing the scenery
and the swashbuckling and in general the restraint that the
movie shows, which always surprised me, like, oh, you could
have a woman completely naked here, but you don't. You're
actually being respectful to the actress. What the hell? That's amazing?
Thank you? You know. I guess I might be like
(56:46):
traumatized by other movies, and I'm giving this movie more
credit because of that. I don't know. Is that weird? See?
I would give this a four. I what did you say?
Did you say your number?
Speaker 1 (56:56):
Well? I said, I think about four would be right.
Speaker 2 (57:00):
Well, I think we should leave it there. It's getting
kind of close to another hour. I don't know what
we're gonna do for our next film. What is it
going to be to?
Speaker 1 (57:08):
I said, We've probably need to do a Hammer movie.
A movie and we just got our other Paul said, said,
which has a werewolf one. Oh yeah, and maybe we
could do a werewolf one or something like that of
Hammer and.
Speaker 2 (57:27):
Then the un.
Speaker 1 (57:29):
The werewolf one.
Speaker 2 (57:30):
Because to me, his werewolf one at a zombie one.
Oh he does?
Speaker 1 (57:35):
He has a zombie one? Do we have a Hammer
zombie zombie? Well?
Speaker 2 (57:40):
I mean there's the Hammer Mummy ones, but I think
we've already done one of them. Have we done all
the universal Mummy ones? No, because we have not done
Abbott and Costello Meet the Mummy. I know we haven't
done that one. We need to do those. So I'm Aaron,
I'm Darline. Good evening, and keep watching the skies. At
no point and you're rambling incoherent response, were you even
(58:02):
close to anything that could be considered a rational thought?
Speaker 3 (58:08):
Thanks for listening to this episode of This Week in
Geek Hungry. For more, check out our website at this
Week in Geek dot Net. You can subscribe to the podcast,
browse our Twitter and Instagram, and leave your thoughts on
today's topics. If you'd like to give us some feedback,
send us an email at feedback at this week in
geek dot net.
Speaker 2 (58:25):
Tune in next time, and remember.
Speaker 3 (58:27):
Lower your shields and surrender your listenership.
Speaker 2 (58:29):
We would be on a if you would join us.
Thank you for your cooperation. Good night,
But aren't you fellows ever positive only about doomsday?
Speaker 2 (00:03):
What could be worse than disappointing a little girl disappointing
a big girl.
Speaker 1 (00:08):
I have other ways of securing your cooperation. Sorry, miss
I was giving myself an oil job.
Speaker 2 (00:16):
When was it just azumbly as we've seen attitude to
it since we gave to a few low cabbages.
Speaker 3 (00:24):
An intellectual carrot.
Speaker 2 (00:25):
That mind boggles you see you see your stupid lives. Stupid, stupid,
I said Santa Claus. Long enough, we will.
Speaker 1 (00:33):
Bring him to Mars.
Speaker 2 (00:34):
I've been afraid a lot of times in my life,
but I didn't know the real meaning of fear until
until I kiss peck me.
Speaker 1 (00:40):
One thing will be clear. It's not from man to
interfere in the ways of God's life.
Speaker 2 (01:07):
Good evening, everybody, and welcome to Earth Versus Soup, Episode
two seventy eight. I'm Aaron Pollier and I'm Darlinge. We
dove back into the Paul Nashy collections and we originally
were going to watch one movie, but after reading like
the summation of it, we decided that it really didn't
have enough supernatural horror, or any supernatural horror about this mystery, right, Yeah,
(01:30):
it was just a mystery. So then we looked at
The Devil's Possessed from nineteen seventy four and it looked
like a it had supernatural horror. And I should explain
here that for Earth versus Soup in general, our criteria
for whether a movie should be covered by us or
not is if there's science fiction. Clearly we kind of
(01:54):
that that's different for everybody, and in a horror film
there might be some science fiction elements or supernatural elements
that counts. This looked like there was supernatural elements, and
let's be fair, we're still going to cover it, but
there wasn't, and we'll explain that in the plot. It's
(02:14):
not a spoiler to say that either.
Speaker 1 (02:16):
The other name is the Marshal from Hell. That's the
translation of.
Speaker 2 (02:23):
The Spanish, okay. And the other thing I think I
think we should say is with all of the Paul
Nashy movies that we have talked about so far, Paul
Nashy movies tend to be insane. Not insane as in
like crazy people, but like you don't really know what
is coming, you don't really know what's going to happen next,
(02:46):
You're generally surprised all the way through it, where this
is a very different film. This seems to be a
very straightforward plot where you kind of know what's going
to happen.
Speaker 1 (02:59):
Well, it's about a supposed to be about a a
villain from the Middle Ages.
Speaker 2 (03:06):
Yes, a real it's based on a real person, very vaguely,
very vaguely. Yeah.
Speaker 1 (03:13):
They actually even use his real his first name.
Speaker 2 (03:17):
Okay, as the baron, baron whatever.
Speaker 1 (03:21):
Yeah, he is a person that was a serial killer, Yeah,
of male children.
Speaker 2 (03:31):
So little boys. That's the real person back in like
the fourteenth century.
Speaker 1 (03:36):
Or something, and was hung by the French king.
Speaker 2 (03:39):
Okay, rightly, so, rightly so. So this is based on
kind of a real person, very loosely.
Speaker 1 (03:48):
I e.
Speaker 2 (03:49):
If you did not tell me that this was based
on that person, I would not make that connection at all,
which is very strange.
Speaker 1 (03:57):
And one of the other things they tell you that
the connection to is Macbeth.
Speaker 2 (04:02):
Do you see.
Speaker 1 (04:02):
Macbeth in this?
Speaker 2 (04:04):
I do not at all see Macbeth in this. So Okay.
It might sound like we're complaining about this movie and
that we didn't like it. There are many things about
this movie that are very good. If you've listened to
our previous Paul Nashy reviews Paul Nashy movie reviews, you
can probably guess what we will say works really well
(04:25):
in these movies. But let's let's talk about the plot.
Let's get into the plot.
Speaker 1 (04:29):
Well, there's one more thing I want to say. It
was released only in Spain and Belgium. Okay, one of
them was in June. One of them was in Maine,
May of nineteen seventy four.
Speaker 2 (04:41):
Okay, maybe there is a couple other things that we
can talk about before we get into the plot. One
of the things that I was surprised about, based on
other Paul nashi movies that we have seen, there is
no nudity in this none. There is the implication of
violence towards women, but there is never nudity in there.
There is clearly violence towards you know, mail and male
(05:03):
violence there because there's murders in this. But I was
surprised that there was no nudity because there were many
scenes where I thought, that's exactly where this is going.
There isn't this is almost kid friendly, almost, I won't.
Speaker 1 (05:17):
Say it, because there's there's an.
Speaker 2 (05:22):
There's there's implied violence towards women. There's also a beheading
and it's very that is also very strange, so it's.
Speaker 1 (05:30):
Not and then there's the whole satan thing.
Speaker 2 (05:35):
The other thing I wanted to talk about was the
only person that you may know in this film is
Paul Nashy, Like everybody else seems to be fairly unknown
actors and actresses.
Speaker 1 (05:48):
But I really got to say the second not Paul Nashy,
but the other guy Estone, Yeah, the one that plays Stone.
He was really good, really good. Yeah.
Speaker 2 (06:03):
Yeah, So okay, let's get into the plot now, because
this is fairly straightforward and also a little strange, just
a little, a little. It's very tame compared for for
a Paul nash year.
Speaker 1 (06:16):
It starts with the credits. The credits with medieval iluminations.
Speaker 2 (06:23):
Yeah, and these are actually kind of cool, these these
old like medieval art, because it sees like we saw
we see pictures of witches being burned, and I'm thinking,
are we going to see burning witches?
Speaker 1 (06:34):
No?
Speaker 2 (06:35):
No, we do see people getting Should.
Speaker 1 (06:37):
We see a burning witch? Yes?
Speaker 2 (06:41):
Actually we should, even though it's not a witch that
isn't this there actually theoretically should have been. I wouldn't
have been surprised if somebody was tied to a steak
and set on fire. Let's put it that way. It
does not happen in this film. There's priests, there's people
being killed in weird ways. And we then segue into
our first and we see writers approaching a castle. Inside
(07:03):
there's a woman who's sitting there petting a fox.
Speaker 1 (07:07):
Yeah, there's three women. One is playing instrument, the one
is is spinning, spinning, and the one that was petting
the fox was in front of her was a embroidery tapestries.
Speaker 2 (07:24):
Now that the woman who is petting the fox is
our arguably our leading lady. Who is Georgelle played by
Norma Sebree. She is a villain in this movie.
Speaker 1 (07:38):
Yeah, she and the person that's Grace Grasella. Is about Griscilla,
a equal in females, being in this Oh.
Speaker 2 (07:48):
I think Georgelle's in this movie far more, far more,
but as she definitely deserves second billing with Paul Paul
Nashy being first for sure. But she's there, she's petty
putting a fox, and then one of the ladies in
waiting like yells the Marshal's return. The Marshal's returned now
I I generally write down Paul Nashy's character's name as
(08:11):
the baron in my notes. He's actually Baron Guiles de
Lancre or something like that.
Speaker 1 (08:16):
Yeah, and this is all supposed to take place in France.
Speaker 2 (08:20):
It does not seem like it takes it.
Speaker 1 (08:22):
It is very much Spain Spain, and.
Speaker 2 (08:25):
It is actually confusing with certain things because it is
clearly made in Spain. Everyone seems to use Spanish equipment
and they or Spanish style like armor and things like that.
But they're and.
Speaker 1 (08:44):
There, and they're they're they're using a castle that's actually
got Spanish, old Spanish furniture in it too.
Speaker 2 (08:54):
Yeah, so it's confusing, but just go with it.
Speaker 1 (08:57):
And there's one matt playing where the castle was so
huge and this was the.
Speaker 2 (09:03):
Tournament, yeah, later on in the movie, and so you're like,
holy crap, it.
Speaker 1 (09:07):
Is it is just absolutely ridiculous.
Speaker 2 (09:10):
So maybe I should say right now that while there's
a weird mat painting, yes, they filmed clearly in like
a real place. Again, this is what most Paul Nashy
movies do. It's pretty clear they're filming in like an
old castle or a castle ruins somewhere.
Speaker 1 (09:27):
And the abbey ruins is an abbey, is a monastery
or I would actually say a cathedral that was ruined.
Speaker 2 (09:36):
In probably the Civil War, maybe maybe the.
Speaker 1 (09:39):
Civil War, maybe the Napoleon War.
Speaker 2 (09:43):
Could it could have been. So all of the scenes
that take place inside the castle, especially inside the castle,
look really good like they they look.
Speaker 1 (09:54):
Outside, they're definitely showing you that it's a ruin looking castle.
Speaker 2 (09:59):
So he comes back in this woman kisses Paul Nashy's character,
the Marshall Baron. So and so he was denied alone
by the king. Okay, that's he had gone off to
see the French king and asked for a loan. It
was denied. And so because he was denied alone, and
this is where I think the logic of the movie
breaks down is since he was denied alone, he's going
(10:22):
to and he's broke. He hires an alchemist and throws
a kingdom's worth of money at the alchemist.
Speaker 1 (10:31):
I think he already threw a kingdom's.
Speaker 2 (10:34):
Worth of No, we don't hear that later.
Speaker 1 (10:37):
I don't know.
Speaker 2 (10:37):
Well, it's anyway, he has all this money to pay
the alchemist enough that he's having to later on ravaged
the countryside and the peasants that serve him on extreme
taxes in order to pay for this alchemist. But he's
also broke already.
Speaker 1 (10:57):
And we have a bit of a question on or
other Georgiella is his wife or is mistress. I don't
think there are some issues there.
Speaker 2 (11:08):
Well, you see the ladies in waiting refer to her
as my lady one time. I don't know if they
would refer to her as that if she wasn't a
member of a noble house of some sort. But I
don't know. I don't know French royal noble etiquette from
this period of time, which we're not given the exact
(11:31):
period of time. No, But so I shouldn't complain there anyway.
Speaker 1 (11:36):
Uh.
Speaker 2 (11:36):
He basically, this alchemist comes in and he's like, Simon
dud Brockoville is this alchemist name? And he's like, Okay, dude, look,
I have this new science called alchemy, and they often
refer to it as a science all the way through this.
Speaker 1 (11:53):
One of them says, so be it actually translates in
the bottom or something.
Speaker 2 (11:58):
Yeah, Because we watched the dub and we had the
English subtitles on, which is usually closer to what the
subtitles are usually closer to the actual translation, because we
had somebody muttering and we we couldn't hear, and we needed.
Speaker 1 (12:10):
A yeah dubber. He muttered a lot.
Speaker 2 (12:18):
He's like, I'm gonna turn Okay, So Paul Nashy's character,
the Baron, He's like, I have seen you, mister alchemist,
turned turn glass into spun gold. You will make the
Philosopher's Stone for me. But what do you need. You
can have anything I can get a hold of. And
the alchemist is like, uh, okay, well I need a maid.
(12:41):
I need maiden's blood from a sacrifice of the maiden
based on these ancient rituals. And I'm like, okay, okay,
wait a second, this is ft up right. Uh we're
in France. Fine, it comes across as to me, so
I keep thinking of it as pain, but I need
(13:05):
to come out right now and maybe jump ahead a
few scenes. The point is this alchemist is a complete fraud, right.
Speaker 1 (13:13):
Yes, And George Jella knows it.
Speaker 2 (13:15):
George Ella knows it and is acting along with the
alchemist for some reason, and they're faking everything in this
movie that we don't. We learned fairly quickly on that
all these weird sacrifices are completely pointless.
Speaker 1 (13:35):
But we also find out that the baron has is uh.
Speaker 2 (13:42):
He has PTSD is what the baron.
Speaker 1 (13:45):
He has that? But he has it all the way
through it.
Speaker 2 (13:48):
Yeah.
Speaker 1 (13:48):
Yeah, but he happens to be taking girls from his his.
Speaker 2 (13:56):
Well that's the point. He's taking girls from peasant families.
Speaker 1 (14:00):
But he was doing that before and Georgiella allowed it,
allowed it and was even telling the girls to be hay.
That was that first scene with the girl.
Speaker 2 (14:11):
Which is very strange. That is very strange because again
Georgella comes across as being his wife in many, many
many ways.
Speaker 1 (14:20):
Yeah, I have to be careful because I have it
as wiife.
Speaker 2 (14:24):
Yeah. And then there's times where she's just like, oh, yeah,
you need to serve the baron physically and act this
way for him, and so she's acting kind of like
a madam for peasant girls as well. It's a I
don't know, there's a lot of questions that are raised
and aren't really answered in this film. So any let
(14:45):
me get back to the plot. At this point. This
is the one thing that, like Paul Nashy's character, the
baron says one thing to this alchemist. It's the only
time the Baron seemingly has any kind of soul in
this movie before becoming a complete, one hundred percent total
(15:07):
irredeemable monster. He goes, science should not be related to crime.
He doesn't want to sacrifice a maiden for the Philosopher's
Stone for eternal life to make all the gold that
he wants because he's totally broke. But he's also has
enough money to give an incredible amount of money to
(15:28):
this alchemist, etc. Like Yeah, anyway, he goes, science should
not be related to crime. I underline that in my notes.
I thought that was a really good line. It's the
one time he has a soul. After this point, there
are no heroes in this movie except for our hero Gastone.
Everyone else seemingly is kind of shitty. So we have
(15:51):
peasants that are afraid of the Baron's writers. And these
writers circle a family and take the gird girl.
Speaker 1 (15:57):
In the film in the field doing far.
Speaker 2 (16:00):
Yeah, they take the young daughter, they kill the father,
and then they bring this daughter back. Okay, now she's
clearly supposed to be underage. She's supposed to be like thirteen,
fourteen something like that. I don't think the actress was
the actress was not, or maybe the actress was because
you read somewhere that like the first girl that was killed,
(16:23):
she actually died when she was eighteen.
Speaker 1 (16:25):
Yeah, I'm sorry.
Speaker 2 (16:28):
So anyway, we have Georgielle telling this girl to be nice,
or that her mother and brothers will be tortured and
killed because she already somehow knows that they killed her father.
The baron comes in and it basically looks like he's
going to physically assault her in a sexual way. Let's
(16:52):
not use the R word because I don't like using it,
but yeah, okay, fair enough, Let's just say he's going
to rape her, because it's clear that it's not consensual.
She cries as he kisses her. And later that night
he seems to have a seizure and this girl is
screaming and freaking.
Speaker 1 (17:09):
Out and she's undressed in sheets.
Speaker 2 (17:13):
Yeah that's pretty uncomfortable. Oh, this whole sequence was pretty uncomfortable.
And I have to think that this actress was underage
at the time, at least for us. I don't know
if it was under age for Spain at the time,
and they clearly didn't do anything. And by the way,
there is no nudity here. Everything looks very actually like
(17:34):
a modern film in a way that it didn't seem
it didn't seem creepy. Does that make sense. It was
still uncomfortable when you know that that girl could have
been seventeen or something like that during the filming of
this movie. But again there was no nudity. He never
kisses her on the mouth. It always he like puts
(17:55):
his head into her neck like her shoulder to kiss her.
It seems actually like they were respecting this woman as
an actress as like a.
Speaker 1 (18:04):
Young I have no idea.
Speaker 2 (18:07):
That's me, that's me to me. It did not come
across as creepy at all. We've seen some pretty creepy things, yes,
this was not one of.
Speaker 1 (18:13):
Them, and we've heard of creepy things.
Speaker 2 (18:17):
So he has a seizure and then he says it
was a nightmare, and there's people like constantly condemning him
in his nightmares for being an evil person. Guess what, buddy,
you are evil. You deserve all the condemnation.
Speaker 1 (18:29):
So well, later on you get him saying that it's
he's killed all his friends.
Speaker 2 (18:35):
His colleagues, all the good people that have been around him.
You know, things like that. George Jello, George Ella, and
this alchemist. Well, anyway, we get to meet a man
named Gastone who is our hero. He is attacked by brigands,
but he disarms them and they say, hey, look, oh buddy,
(18:56):
look we made a mistake. We actually recognize you. You're
a good guy. You're not working with the Baron. You're
not working with the Baron, and you clearly don't know
what has happened locally recently.
Speaker 1 (19:13):
And we find out that he'd been in prison for
something for well, during the war, he was he.
Speaker 2 (19:21):
Was captured by the British. Yes, okay, So anyway, the
bandits are like, look, we're not bandits, we're just resisting
the Baron because the Baron is a piece of shit.
Speaker 1 (19:32):
And Gastone can't believe that because he was there with
the Baron during the Baron during the war. And this
I will say, I looked up the other person that's
he supposed.
Speaker 2 (19:45):
To who Gastone is supposed to be.
Speaker 1 (19:47):
Yeah, and he did have a lot of battles that
he was in.
Speaker 2 (19:53):
Oh oh, the guy that this is based on the Yeah, okay, okay,
So anyway, he's like, okay, fine, look, I'm not going
to kill you bandits. The band it's like, we're not
gonna kill you, and you know what, We're gonna let
you go, but you're gonna come back looking for us
when you find out what the hell's going on, and
guess them's like, ah, come on, really, this is all
over blown. So we go back now to the baron,
(20:15):
Georgelle and the alchemist and they have a peasant girl
from earlier chain to a slab. The alchemist gives Georgelle
a knife and then calls upon Satan to give them power.
She slits the girl's throat, gathers the blood and the
chalice for the baron then to drink.
Speaker 1 (20:33):
And this is the girl that was eighteen.
Speaker 2 (20:36):
When she died. When she died, it was right after
this film, so it's possible she was seventeen when they
were filming this. And that's okay. Again, we see there
is no nudity nothing, so it's not creepy like and
you know other films. But anyway, this this is also
strange because there are multiple, multiple sacrifices that are made
(21:00):
this movie right, and they are hailing Satan and all
of this stuff throughout the film. At these sacrifices they
have like flags up of a pentagram.
Speaker 1 (21:11):
Well, he even went to go do in one part,
he went to do penance. Yeah, to the monastery, and
then he kills all the monks. And my thought on
this one was the church would be after him at
this point.
Speaker 2 (21:28):
Okay, not only the church. But the point is is
that it's it's semi open everything that they're doing in
this film because they're doing it in the ruins. There's
guards around. Yeah, okay, you might say my guards are
loyal or whatever. They're gonna say something about the Satanic
ritual that they just saw last night and how cool
it was to see the baron drink blood, and somebody
(21:50):
that isn't super loyal to the baron is going to
hear that and go, boys, we gotta do something, and
let's talk to the church.
Speaker 1 (21:59):
Or the war. First one was that they attacked the manta.
Speaker 2 (22:03):
Killed all the monks, Because they killed all.
Speaker 1 (22:05):
The monks, but they also attacked male blacks.
Speaker 2 (22:09):
Oh well, we we'll get to that later. We'll get
to that later, because there's full on stuff that should
have actually resulted in the king coming down very quickly
and putting the boot down hard.
Speaker 1 (22:21):
Well, first, when you have nothing coming in from.
Speaker 2 (22:25):
Taxes, taxes that raises, and.
Speaker 1 (22:29):
You have free freemasons free not free Masons.
Speaker 2 (22:36):
What are you?
Speaker 1 (22:37):
I'm not freemasons. What do they call them? I'm losing
my freeman, freeman. You would have freeman leaving.
Speaker 2 (22:44):
Yeah, you'd have complaints from the serfs that their parents
are getting murdered, like the fathers are getting murdered and
their daughters are being taken. Yeah. And then you would
have reports of the baron attacking other noble families, other
landed gentry, which means vassals are now warring under your charge.
(23:06):
This is something that needs to be taken care of immediately, right,
And yes, it would probably result in all of the
people involved, whether they were really at fault or not,
having the boot put down. But still the boot needed
to be put down. And the thing is it never.
Speaker 1 (23:22):
Does which in the real life it did get put
down because he was hung for his.
Speaker 2 (23:30):
Crimes because the king had to come in, right.
Speaker 1 (23:32):
Yes, the king had to come in.
Speaker 2 (23:34):
None of that happens here. It seemingly it's just all
kind of shrugged about later on. But we'll get to it.
We'll get to it. So we already have the sacrifice,
guess Stone arrives at a pub. We learned here that
he's been in prison for four years by the British,
and he stands up for a barmaid being attacked by
some of the baron's men who got handsy with her.
And this is actually a good fight. Remember this where
(23:56):
he's like he swings on a chandelier.
Speaker 1 (23:59):
A lot of wash black in this movie.
Speaker 2 (24:04):
And it was actually pretty damn entertainment.
Speaker 1 (24:05):
And I gotta say that, I think the guy that's
the guy that plays guessed On actually actually does his stunt.
Speaker 2 (24:16):
Still looks like that Paul nashi does not do his
stunts in this and I'm okay with that because Paul Nashy,
the liability on Paul Nashy at this point might have
been a little too high for him to do his
own swashbuckling stunts. Or it's also possible that he got wounded,
because remember there's times in some of the Hammer movies
where some of the big name actors actually got wounded
(24:37):
and that was a big deal. So maybe Spanish cinema
was like, dude, Paul Nashy, can't do your own stunts, dude.
Speaker 1 (24:43):
If not, if he was, he was elevated to the
place that he he was.
Speaker 2 (24:50):
Yeah, so we have Gastone doing that. The baron torture
is a man on the rack wanting to know where
the other bandits are, and the man man does not
do it. And then then the baron orders the guy
to be like impaled on the battlements as a warning
to everybody else. And again, this is already like there's
(25:12):
stuff that's going on here that the king. Okay, what,
he's a baron, right, That means there has to be
other nobles above him. Correct that he's a vassal to
somebody else besides the king. Possibly, yes, it's possible that
he's a direct fascal to the king, but unlikely. I
(25:33):
don't know. It just seems like there's already stuff going
on here that would have gotten others involved. The baron
says that they still don't have the Philosopher's Stone. A
man's beheaded, and Georgelle places the head on a platter,
And this is where we learned that Georgelle is basically
just scamming the baron entirely by pretending to have Satan
(25:55):
talk to him by a guy sitting behind the wall
with a speaking.
Speaker 1 (25:58):
That was the alchemist.
Speaker 2 (26:00):
Yes, it was but this is where we learn, as
the viewers, all of this magic shit is complete bullshit.
There isn't really any kind of like Satan here. There
isn't any like real it's table tipping. And what's Georgelle
getting out of this?
Speaker 1 (26:19):
I don't have any clue. And she seemed like at
the end loving that she loves the baron, but then.
Speaker 2 (26:29):
She knows, she knows this hole.
Speaker 1 (26:32):
Is a scam because she's in with the alchemists and
he's talking through what it's a speaking to. It's a
speaking tube like you would have on a naval vessel.
Speaker 2 (26:47):
So they're like, you must sacrifice seven maidens and you
will rule France. You will become the king of France.
And we see a man behind the wall talking through
the tube and it's the alchemist. And the Baron's men
start killing people and taking their daughters, stringing the bodies
up to show the public that they must pay taxes.
And at this point we're seeing like peasants saying we're
(27:10):
dead broke, and the Baron's men coming in and saying, fine,
we'll take payment with your your daughters.
Speaker 1 (27:16):
Or h and it kills the kills the father and
then kills the.
Speaker 2 (27:23):
Son, like a little kid, like a six or seven
year old kid. Yeah, and I'm thinking, you assholes not
only are just being evil, but you're also being like
really short sighted because everyone says, everyone is saying, the
baron is broke. How do you get taxes to people
working your land? What are you doing? You're killing all
(27:44):
the people that work for your land and then sacrificing
their daughters and not getting anything out of it.
Speaker 1 (27:50):
So your next generation is gone.
Speaker 2 (27:52):
And no one's gonna want to move in as like
freemen or even like, what are you gonna do? Ask
other nobles nearby to give you serfs? You're literally like
you're salting the earth at this point, the guy's crazy. Anyway.
At this point, Gastone goes to see the baron because
(28:13):
he's like, dude, there's something weird going on, and they
they feast together, and he says he'd like to hire Gastone,
but Gastone refuses and says he no longer wishes to fight.
I'm a pacifist, et cetera, et cetera. The Baron takes
Gastone down to see the alchemist, and at this point
it's it's obvious to even the most dullard of people
(28:36):
that are watching this movie. The guests that that georgella
And and the Alchemist are completely scamming everyone around them,
and I'm pretty sure I am pretty sure that gas
Stone realizes that too. At this point, he has to
realize because there's these knowing looks and like shameful looks
(28:56):
between georgella And and the Alchemist going, oh, yeah, you know,
we're making the Philosopher's Stone, and the Baron's like, yes,
I have the finest clay from the bags of the
Dead Sea, you know, blah blah blah, and he's going
through all this crap. It's it's I don't know.
Speaker 1 (29:12):
There's also the fact that there's the the main his
main captain. Yeah, Baron's main captain is a.
Speaker 2 (29:24):
Say this the sorts or a psychopath.
Speaker 1 (29:26):
He's a psychopath. He likes doing his.
Speaker 2 (29:30):
Job, which is just murdering people randomly.
Speaker 1 (29:33):
And how many doggone torturers do they go through?
Speaker 2 (29:36):
Two? Two? There's two torturers in this because one gets
murdered by the Baron because he's just kind of ticked off,
like okay, anyway, at this point, George Georgelle is like, Baron,
you need to kill Gastone because he's gonna kill you
at some point, and the Baron's like, no, no, no, no.
Gastone's a good man, he's a loyal man. He won't
do anything. And at this point, like Georgelle and the
(30:01):
baron make love, and we have a guy that actually
ends up coming into Gastone's room to try to murder him.
So it's again clear that George Elle is the one
setting all this stuff up. And Gastone just murders this
guy that came in to kill him and jumps out
the window.
Speaker 1 (30:19):
He's like done out without half with half his clothes.
Speaker 2 (30:23):
Yeah, but Gastone says, I am not well, the baron says,
I'm not going to kill Gastone's family. I Am not
that kind of evil person. Dude, You've already been drinking
the blood of women that you have raped and then
sacrifice to Satan. Yeah, you, and you're drawing your you're
(30:45):
drawing your line.
Speaker 1 (30:46):
There because you're supposed to have a.
Speaker 2 (30:48):
Virgin maiden, it says maiden. And yes, that that's what
it implies is is virginal blood. But I mean maybe
that's part of like the ritual, is that you you
you I don't. I'm not going to go into it. It's
it's it's sick and wrong.
Speaker 1 (31:02):
But Gaston goes to I thought it was a priest,
but it happens to be the Lord of.
Speaker 2 (31:09):
Mal It's one of the nearby nobles.
Speaker 1 (31:14):
Yes, but he's part of that family in a way
because he's he's married not yet.
Speaker 2 (31:23):
Oh maybe I thought he was married to the daughter.
And that's why. Yeah, because they say anyway, yeah, I'm
pretty sure they are married at this point. But he
doesn't go see him yet. He goes to see Paul,
the head bandit, Paul you mean Esteban or whatever, the
(31:45):
head bandit, and they blindfold them and they lead him underground,
and we actually learned that his wife is there as
a part of the bandit group.
Speaker 1 (31:54):
Yeah, in men's clothes.
Speaker 2 (31:56):
In men's clothes, with short hair, with short hair, and
I'm thinking fourteenth century, nineteen seventies short hair. My problem
was is that here are these bandits. They know that.
I don't have a problem with a woman being in
the bandit group. I think that's totally legit.
Speaker 1 (32:16):
I thought that was fine. My thoughts that.
Speaker 2 (32:19):
She's in a noble family and if she gets caught
somehow her whole family's going to be like taken.
Speaker 1 (32:29):
Well, I should first, I should have said this earlier.
There are times when there is definite modern fabric, and
then there's sometimes when and you could be in the
same scene right beside each.
Speaker 2 (32:43):
Other with really really proper, really proper.
Speaker 1 (32:47):
Stuff, and then the person standing beside him is in
something that looks like a prom dress basically.
Speaker 2 (32:53):
Yeah, so there's a weird mix of costumes, but sometimes
some of the costumes in this are exquisite.
Speaker 1 (32:59):
And then you have the first scene you have of Goston,
He's in a checkered its supposed to be a leather
and gold and it really comes.
Speaker 2 (33:10):
Off as ple Yeah. Yeah, yeah, but there, like I said,
there's sometimes you have some of these costumes that are
like just exquisite.
Speaker 1 (33:23):
Am having that gold plate that was on him?
Speaker 2 (33:26):
Oh even though it looked cheesy, it still looked like, yeah,
that's that's legit. Anyway, let's get back to the plot.
Speaker 1 (33:30):
Well, we'll get back, but I could see it being
instead of being it'd be light black leather with maybe
a yellow dyed yet leather to make the gold look.
Speaker 2 (33:44):
Okay, So Gastone joins the Bandits and starts pulling some
Robin Hood stunts with a bow and arrow and proves
his fighting skills with the whole groups, so the whole
group allows him in a whole group of bandits ends
up attacking the baron's men that are transporting chest and
they kill all the low guards. But then like the
baron's head guard.
Speaker 1 (34:05):
The one that is the total.
Speaker 2 (34:08):
Like psychopath, they basically just make him take off his
pants and leave his sword to go to bring a
message to the baron that he shouldn't have around anymore.
Speaker 1 (34:18):
And left on his chain chain mail. Yeah, and I
had to see this is where I saw. The chain
mail is just tacked onto.
Speaker 2 (34:28):
The It's not a full shirt of chain mail. And
I'm okay with that because we have seen like legitimate
suits of armor that are like padded shirts with just
like patches of chain mail put onto it.
Speaker 1 (34:40):
But this was the sleeves being of chain mail put
onto it.
Speaker 2 (34:46):
Was a little weird, but it makes sense if you
look at some really old sets of armor that aren't
from like Kings or anything like that, that sometimes you
do get these very strange patchwork armor made up it. Okay,
I'm not saying that this was accurate.
Speaker 1 (35:04):
My part on this one is they would have stole
the chain man.
Speaker 2 (35:08):
Oh for sure.
Speaker 1 (35:09):
That's why chain mail would have been worth something.
Speaker 2 (35:12):
Oh yeah, it would have to.
Speaker 1 (35:14):
And they would have took the boots too, because boots
are expensive.
Speaker 2 (35:19):
And that's why I said in the end, they if
they wanted to send a message to the baron, they
would actually just strip this guy naked and send him out. Yeah. Yeah,
they would have left him his breeches or something like that.
But the point is you wanted to humiliate.
Speaker 1 (35:33):
Them, I said, breeze, not the underwear.
Speaker 2 (35:36):
Yeah, that's underwear breaches. Whatever. The point is you wanted
to humiliate this guy and send a message to the baron,
so why not strip him of everything of value anyway?
But then they opened this chest and there is so
much gold in this There is no way in.
Speaker 1 (35:54):
Hell that this looked like copper.
Speaker 2 (35:57):
But even if it was copper, that is an incredible
amount of money that is in that. There is no
way and shit that that came from the taxation of
a ravaged peasant class that has now been like no
cold almost and it looked like gold to me. It
was a huge crate. How is the baron broke if
(36:20):
he's just shipping this around with like three guards. The
point is is that what that comes across as is
that is so little money to the baron that it's
meaningless to properly guard.
Speaker 1 (36:33):
Yeah, but I don't think that was their intention.
Speaker 2 (36:35):
No, it wasn't, But that's how it came across.
Speaker 1 (36:38):
That's who they could afford to.
Speaker 2 (36:40):
I understand that. But then you know, hey, let's say,
if that's what we can afford, what's realistic that they
have maybe a pouch of gold on them or something,
and that's still that would still be worth a shit
ton of money to some group of bandits. But what
that bandit, what those bandits just got in that chest
could likely buy a huge chunk of land or pay
(37:01):
an army like it.
Speaker 1 (37:03):
Was the army is what that was.
Speaker 2 (37:05):
It was a huge amount.
Speaker 1 (37:07):
Of gold for a good few years.
Speaker 2 (37:10):
Like thousands of gold of gold doaballoons like or whatever.
Whatever the French currency was at the time, I don't know,
was it the Francis Francis currency.
Speaker 1 (37:19):
At the time Francis, I thought it.
Speaker 2 (37:21):
Was frank was still Franks even at that point. I
don't know what what France's currency of the fourteenth century
was but gold pieces, thousands and thousands of gold pieces.
Speaker 1 (37:32):
They did look like Spanish to blooms though.
Speaker 2 (37:34):
Yeah they did, didn't they. So the baron ends up
getting pretty pissed off, and uh, there's going to be
a joust, and Gastone's like, you know what, I'll attack
the baron there. I'll prove a point to the baron
that he is going to lose. So you better stop
because you know, the baron isn't so far gone that
he's sitting there just murdering girls on a slab and
(37:56):
I don't know, threatening everybody. So they actually end up
going to this. They take joust and they take out
a noble that's going another noble.
Speaker 1 (38:04):
Oh and this is the other thing that I had
of people. You do not just have you and your squire.
Speaker 2 (38:11):
At aust, you have a whole routine with you.
Speaker 1 (38:14):
Yes, this guy was him and his his squire with
a how a horse carrying.
Speaker 2 (38:24):
His a second horse carrying his jousting. Yeah, yeah, so
his Okay, was it possible that this guy was a
knight just just a regular night, I don't know. I
don't know, because why would the baron square off against
(38:45):
a knight of a random nearby realm.
Speaker 1 (38:48):
That's why I said he wouldn't have just been one person,
because if he was going from joust to joust to
jows and he was one of those yea famous joust,
winner of jousting tournament, a.
Speaker 2 (39:02):
Team with him, a team. So anyway, the bandits jump
this guy and basically take his armor and horse, and
I'm like, okay, well, I guess the guy doesn't really
deserve to have the armor of the horse if he's
unable to freaking defend himself against a couple the lightly
armed bandits. But they take him, and Gastone puts on
(39:22):
the armor and ends up jousting the baron and whooping his.
Speaker 1 (39:25):
Ass and let Georgiella no exactly who.
Speaker 2 (39:30):
He was, because he doesn't only beat the baron's ass,
he takes his eye for it and then goes smiles
at George l It just kind of walks away, and
no one stops him. All the baron's men are there,
all the barons men are there. The baron could have said,
stop that man. He wounded me grievously. I want to
(39:52):
see the man put on trial or something.
Speaker 1 (39:54):
But you don't go into a joust and then say
that you can't.
Speaker 2 (40:00):
I know. But the point is is that George Elle
just saw who that was, and she could have said
that's gas Stone, capture him.
Speaker 1 (40:09):
I mean anyway, I'm still it's.
Speaker 2 (40:12):
Because because Gastone gets away free and clear clear. So
the baron then tortures a man to how to sneak
into Gastone's castle to get his wife and wife's father
because remember Gastone is married into another noble family. And
this guy breaks under torture, which I don't look john too.
Speaker 1 (40:34):
Yeah, because he wasn't supposed to die. He was supposed
to be hung or something afterwards.
Speaker 2 (40:38):
Yeah, the baron was just torturing this man to get
enough information out of him about it. And the guy
does break, like I said, but he didn't. The baron
didn't think that he was tortured enough to die. He
wanted the man to suffer more and like hang outside
the castle. But then like he dies on the slab,
and then the baron kills his head torturer because he
(40:59):
screwed up and wasn't competent, like dude, and the the
head torture is like, dude, I was following your orders.
You told me to keep turning the screw, that's okay, fine,
the Baron's are already gone. We know that the Baron's gone.
Speaker 1 (41:14):
So Baron has another seizure.
Speaker 2 (41:17):
Baron has another seizure. So at this point, Gastone hears
about this guy that had been captured and was likely
being tortured about how to get into the castle. He's like,
we gotta go rescue him. There's no way he can
cry that. Yeah, so they're gonna go rescue him. And
at this point they realized that Gastone already has sent
troops to go take this castle and capture everybody. The
(41:40):
Baron kills the alchemist after he fails to produce the
Philosopher's Stone again, and then this is where the baron
ends up having another seizure slash panic attack, and the
bandits with Gastone attack. Gastone is wounded, the baron vows
to salt the earth to basically just destroy everybody.
Speaker 1 (41:58):
Baron has the soldiers after children, women, And this was
the one that got me. How do they say it
the elder not the elders, but some weird way I
don't know in translation, but both the the dubbing and
(42:18):
the okay was was different in both of them.
Speaker 2 (42:22):
So so at this point we have the baron hearing
screaming constantly around him. He just sits in his bedroom
like hearing screaming. The baron murders the monks, and yeah.
Speaker 1 (42:34):
He needs to go and find I get uh.
Speaker 2 (42:36):
Then he tries to go, hey, look, I have your
your wife and and and father in law. I'll tell
you what, Gastone, you come in, I'll trade you. They
can walk away. And Gaston's like, okay, fine, I'll do
that because I have a little bit of honor. The
baron has honor. Of course, the baron doesn't have honor.
He's killing all these women and children.
Speaker 1 (42:57):
And but it's the faith that he had before. Yes,
I know, and it was hard to break guess stone
from that that hat that.
Speaker 2 (43:07):
Of the old baron before he went completely mad. Yeah, yeah, yeah.
So the barons know they need the bandits, know that
they need to assault the baron's castle. The baron tortures
Gastone's father in law by placing red hot crown on
his head, killing him. It just kills him. You've always
wanted my crown, no, right, remember he.
Speaker 1 (43:27):
Why did he need the crown of the baron when
he had his own, his own stuff. That was I know.
Speaker 2 (43:34):
He takes up his crown in the fire and then
like kills him by putting it on his head, which
is they don't show anything that could have been really gruesome.
They didn't show anything. I'm glad they didn't. This movie
actually has restraint, which is kind of Again it's a
Paul Nashy movie that has restraint. That's weird. Uh. Then
we get the bandits attacking the castle and they they
(43:56):
basically take the castle walls and outer outer areas almost
without a fight, Like the guards just left the gates open.
Remember that that that was just strange.
Speaker 1 (44:09):
But they get Gastone and found out that Gray Shield
or whatever her.
Speaker 2 (44:14):
Name, Priscilla is going to be.
Speaker 1 (44:16):
Sacrificed, is not in the dungeon.
Speaker 2 (44:19):
And she's going to be sacrificed.
Speaker 1 (44:20):
So they find out that she's at the abbey to
be sacrificed.
Speaker 2 (44:24):
So they rushed to the ruins of the abbey to
stop the sacrifice, and his wife is about to have
her throat slit, but Gastone throws the sword into into
George L's back.
Speaker 1 (44:35):
He just and this is not a sword that you
could throw This.
Speaker 2 (44:39):
Is okay, This is the.
Speaker 1 (44:43):
You have a sword and then you have the one
that helps you.
Speaker 2 (44:47):
What are you talking about? The parrying the pairing?
Speaker 1 (44:49):
So that is what that is.
Speaker 2 (44:52):
You can darlinge okay, hold on, you can throw anything.
It's just that some things are easier throw.
Speaker 1 (45:00):
Won't go in the back. Such.
Speaker 2 (45:03):
Okay, look I have one of those parrying daggers. I do.
I have a couple old.
Speaker 1 (45:08):
I am not gonna stand around and let you stab.
Speaker 2 (45:11):
I'm just saying that, like, hey, look there is a
sharp point to it. It can go into an unarmored
woman's back. It won't you fly? Well, no, it won't.
I didn't say it would fly. Well, I'm saying you
can throw it, it could pierce you.
Speaker 1 (45:25):
It's it's more like to hit her head and her
and knock her out. I agree, but not stab in
the back.
Speaker 2 (45:34):
So he whips this thing at her, stabs in the back.
She falls over. There's a sword fight between Gastone and
the Baron, which is actually pretty good, even though you
can tell that Paul Nashy has a stunt double. That's fine,
It's actually pretty cool. And then the baron rants against
the bandits that surround him. He thinks he's immortal at
this point. It's clear he's completely out of reality at
this point because he's like holding out his hand that
(45:55):
has nothing in it and saying, look, look, I have
the power of God in my hand and you cannot
kill me. And then like one of the archers, well
there's like three or four bandits to have longbows. One
of the one of the bandits kind of looks at
the other and shrugs and then fires an arrow into
the into the baron.
Speaker 1 (46:10):
There's two arrows that going.
Speaker 2 (46:13):
Because I guess both these archers and the baron looks
down at its chest and goes, see, you fools, I'm immortal.
You can't kill me. And then again and then looking
at him, they look at each other and they're like,
what the hell I think we just need to fire
more into him. Yeah, and then one of them goes
right into his neck, through his neck, through his neck,
and uh, he falls over dead.
Speaker 1 (46:35):
And then falls falls over the whatever he's standing up on.
Speaker 2 (46:41):
Yeah, he just falls over the end like okay, okay, okay.
So it's all ended with the guitar music. There's like
fancy guitar music that happens.
Speaker 1 (46:53):
I thought Gueston got to kiss his wife.
Speaker 2 (46:56):
Yes, yes he does, but it's it's funny. I like
the freaking bandits looking at each other and just filling
them full of arrows.
Speaker 1 (47:05):
Well, let's test this one.
Speaker 2 (47:06):
Well, let's test this theory. Is he is he?
Speaker 1 (47:08):
God?
Speaker 2 (47:10):
Is he God? But he like it's funny because he
gets a couple of arrows in him, and and and
the Baron's like, see, I'm immortal. And it's just that
he's completely crazy and not really feeling pain at that
point and then wham done. He's done. So it's a
Paul Nashy movie that is restrained, that has a let's
(47:35):
not say a good plot, but a sensible plot, one
that that you can kind of tell where it's going.
Speaker 1 (47:42):
Yes, but it wouldn't have there's a lot of things
that wouldn't have worked.
Speaker 2 (47:46):
Okay, So what works? What works? What works?
Speaker 1 (47:49):
What worked? Some of the sets because they were real.
Some of them were too ruined.
Speaker 2 (47:58):
I would say all of the sets were in one way,
shape or form, because they were all very good looking
in general. Even the ruins. You're like, okay, fine, whatever,
it's a ruin.
Speaker 1 (48:07):
Okay. The setting that made that big, huge of the
castle hugest stuff and the little tiny.
Speaker 2 (48:13):
The mate painting's bad, but that's not a sad right.
We can say the mat painting's bad, but the sets
are great. I will say that overall the costumes work.
We can nitpick about some of the fabric, yes, but
even the things that are made from nylon or whatever
look pretty damn good. They look pretty good, are they?
Speaker 1 (48:34):
I'm giving them a dirty look?
Speaker 2 (48:36):
Look? No, no, no, I'm not saying they're accurate. I'm
not saying that they are period realistic. I'm saying that
they look pretty good for a movie from nineteen seventy
four that's supposed to be set in let's say the
thirteen hundred.
Speaker 1 (48:52):
It would have worked better if it was black and white.
Speaker 2 (48:55):
Oh that's a bold statement.
Speaker 1 (48:58):
Because then you wouldn't have seen that the fabric was.
Speaker 2 (49:04):
Maybe. Maybe I can't disagree with you, but I can't
agree with you either.
Speaker 1 (49:09):
Now, Gaston's wife's outfit when she was doing like the
non look, really looked good.
Speaker 2 (49:22):
You know what his.
Speaker 1 (49:24):
Black velvet tunic.
Speaker 2 (49:29):
Oh yeah, that was really good.
Speaker 1 (49:30):
Oh that was really good.
Speaker 2 (49:32):
So I would say that overall we can say that
the costumes work. That if it falls into the it
works category, I'll even go so far as to say
that in general, the restraint of the movie works, And
I know that's a weird category to like say this worked.
Point is that there are a dozen times in this
(49:55):
movie where, since it's a Spanish movie or a European movie,
you expect to see a woman's breasts exposed.
Speaker 1 (50:04):
They almost did that with gart when she was in
the uh Grizel Grizel, when she was in the air
which she was captured.
Speaker 2 (50:13):
They almost do it, but they don't. Every single time
you think they're going to do it, they don't.
Speaker 1 (50:18):
But they apply with her how her dress is torn, that.
Speaker 2 (50:22):
They assaulted her, that they imply it. Yeah, they but
they don't show it. And that's good. You don't need
to see that. Why what what do we gain from
seeing that? Right? And the point is that there's those times.
There's the times where the baron is clearly assaulting a
woman in his bedchamber where you think, now we're gonna
(50:42):
see and this is awful, and we don't never see it.
When they're sacrificing the women on the slab, you're like,
they're gonna take that that sheet down and like pierce
her through through her chest or something. We're gonna see her. Nope. Never,
it's restrained. And for a movie that has this kind
of theme to it, that's really rare. That's really rare,
(51:06):
and I kind of respect it. Even though there are
some dark things in this movie, it's never directly shown.
I have to say that.
Speaker 1 (51:16):
I'm gonna say the costumes worked and didn't work.
Speaker 2 (51:18):
Okay, we'll get back to that. But is there anything
else that we think works? The pacing? Maybe no, I
don't think. I think the pacing's okay. It just doesn't
fall into that it works or doesn't. I don't think anything.
Does anything truly not work in this The.
Speaker 1 (51:33):
Whole thing of of what the Barons?
Speaker 2 (51:39):
Why, Yeah, George l I do scam? I don't get it.
Speaker 1 (51:43):
I don't get it either.
Speaker 2 (51:44):
There's no reason for her to be scamming the Baron
because she's she's visibly not getting anything out of this.
Speaker 1 (51:52):
She's visibly in love with.
Speaker 2 (51:54):
Him, and so all of this results in his downfall.
And it's so obvious that it is that it makes
no sense that if she was doing this for anything
other than personal gain, that she'd be doing it. But
we never see her gaining anything out of this, and
it's clearly against her love of the Baron if that
(52:15):
she's doing this.
Speaker 1 (52:16):
The Alchemist doesn't get anything but the ability of the
just to.
Speaker 2 (52:21):
Have a place to live live, that's it, Like that's
all he's getting on it. Yes, I yeah, so I
don't get it. I think the movie would have worked
better if there really was some like real magic quote
unquote you know what I mean, Like, oh, there is
like a demon that lives in the ruins of this castle,
or you know, or in this abbey, or there's some
(52:42):
sort of like immortal being that that's why the abbey
is in ruins that has now like taken up residence there.
That would have worked a thousand times better. But the
way it is just because of George.
Speaker 1 (52:55):
Elle and it would explain why he goes goes mad.
Speaker 2 (52:58):
Yeah, the way it is that does not make sense
at all. And again, if it's based on a real
person from history without me being told that that is
and even saying, oh, this is this is based on
a guy that was a serial killer of little boys?
Was this guy was? Was? Was the Baron a serial
(53:21):
killer of little boys?
Speaker 1 (53:22):
In this? No? But I thought about that one. They
wouldn't have wanted to bring that.
Speaker 2 (53:26):
In, and so why based on a real character then
that then you don't have at all like the real character. Like, no,
it's that does not make sense. I think that I
will say that even though that is not really a
true part of the film. I have to say that
that doesn't work.
Speaker 1 (53:44):
Do you'd have better if they did take the McBeth
way and have the three witches? You would have had
a better.
Speaker 2 (53:52):
That he keeps going to these witches that are manipulating him.
I can't why is it? Where did you even read
that this is like a Macbeth.
Speaker 1 (54:00):
It had to deal with them saying it had a
similar plot to Blood.
Speaker 2 (54:08):
Oh, you're having to pull out your notes again. Okay,
I don't see it like.
Speaker 1 (54:12):
A Throne of Blood, which is a a Japanese from Toho. Okay, okay,
hold on, it's based on McBeth, So.
Speaker 2 (54:23):
It's based on another movie which is based on Macbeth.
That's like two steps too far, and that that's nonsense.
You cannot base it on on that. That's nonsense. But
I don't know, are we gonna recommend it? There's there's
lots of things that this movie could have done better,
but also also things that this movie did really well,
and I was actually surprised.
Speaker 1 (54:43):
About I don't think the dubbing and the words on
a Yeah, the close cap caption worked well because most
of the time it was saying.
Speaker 2 (54:56):
Two different things, two different things.
Speaker 1 (54:59):
I I would recommend it for somebody that speaks Spanish
to to have the Spanish one.
Speaker 2 (55:05):
I'm not recommending this film, but it's a light not recommendation.
Speaker 1 (55:09):
But it wouldn't be recommending it for our group.
Speaker 2 (55:12):
Yeah, yeah, no, And this is what is really strange
here said we're both not recommending it. Before we get
our to our between one and ten rating. All the
Paul Nashy movies that we've watched, we've been mixed about.
Speaker 1 (55:25):
I've been not like us.
Speaker 2 (55:27):
And I've generally liked them in weird ways. But they've
all been interesting to watch, which I think is worthy
to point out. I think all of them have actually
been like engaging and I want to keep watching more,
which which says at the very least that there are
(55:47):
aspects of these movies that really do grip you as
a viewer in a way that that at least I'm
not used to. So take that what you will.
Speaker 1 (55:58):
I think as a great squash boxing movie good.
Speaker 2 (56:01):
Well, I wouldn't say it's great. I would say it's
a nice washbuckling movie. It's it's it's fine. But what
out of ten would I give it? It's a four
out of ten. Yeah, it doesn't, it doesn't. It doesn't
make me feel bad watching it. It's it's very mediocre.
Speaker 1 (56:18):
And the Demon Devil Alchemists thing didn't work.
Speaker 2 (56:23):
Like the best stuff is Paul Nashy chewing the scenery
and the swashbuckling and in general the restraint that the
movie shows, which always surprised me, like, oh, you could
have a woman completely naked here, but you don't. You're
actually being respectful to the actress. What the hell? That's amazing?
Thank you? You know. I guess I might be like
(56:46):
traumatized by other movies, and I'm giving this movie more
credit because of that. I don't know. Is that weird? See?
I would give this a four. I what did you say?
Did you say your number?
Speaker 1 (56:56):
Well? I said, I think about four would be right.
Speaker 2 (57:00):
Well, I think we should leave it there. It's getting
kind of close to another hour. I don't know what
we're gonna do for our next film. What is it
going to be to?
Speaker 1 (57:08):
I said, We've probably need to do a Hammer movie.
A movie and we just got our other Paul said, said,
which has a werewolf one. Oh yeah, and maybe we
could do a werewolf one or something like that of
Hammer and.
Speaker 2 (57:27):
Then the un.
Speaker 1 (57:29):
The werewolf one.
Speaker 2 (57:30):
Because to me, his werewolf one at a zombie one.
Oh he does?
Speaker 1 (57:35):
He has a zombie one? Do we have a Hammer
zombie zombie? Well?
Speaker 2 (57:40):
I mean there's the Hammer Mummy ones, but I think
we've already done one of them. Have we done all
the universal Mummy ones? No, because we have not done
Abbott and Costello Meet the Mummy. I know we haven't
done that one. We need to do those. So I'm Aaron,
I'm Darline. Good evening, and keep watching the skies. At
no point and you're rambling incoherent response, were you even
(58:02):
close to anything that could be considered a rational thought?
Speaker 3 (58:08):
Thanks for listening to this episode of This Week in
Geek Hungry. For more, check out our website at this
Week in Geek dot Net. You can subscribe to the podcast,
browse our Twitter and Instagram, and leave your thoughts on
today's topics. If you'd like to give us some feedback,
send us an email at feedback at this week in
geek dot net.
Speaker 2 (58:25):
Tune in next time, and remember.
Speaker 3 (58:27):
Lower your shields and surrender your listenership.
Speaker 2 (58:29):
We would be on a if you would join us.
Thank you for your cooperation. Good night,
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