October 23, 2025 • 49 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? What
could be worse than disappointing a little girl disappointing a
big girl. 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. That mind boggles you see you see
your stupid lives.
Speaker 2 (00:29):
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 nine. I'm Aaron Pollier, I'm Darlinge. Last time
Darlene wanted to go back to do a hammer horror
movie after we had watched a whole bunch of Paul
Nashy Spanish horror films. Uh, at least we have been
maybe to get back to a little bit of I
don't know a little less madness.
Speaker 1 (01:28):
I wanted to judge a werewolf movie to a werewolf movie,
a English to a Spanish.
Speaker 2 (01:36):
Okay, but we already have watched the only werewolf Hammer movie.
We've already reviewed that. Yeah, and we've watched all of
the universal werewolf movies except except for the Abbott and
Costello movie.
Speaker 1 (01:50):
Don't get me wrong.
Speaker 2 (01:51):
I like Costell, and we are gonna do those movies.
Speaker 1 (01:54):
I just don't think it fits.
Speaker 2 (01:56):
No, we are gonna do those movies because we have
done Monster Squad for Earth a Soup, and that is
less fitting than the universal movies. Let's put it that way.
And Darlene's sticking her tongue out at me, because it
is true. We will be doing the the the Aven
Costello movies. So we went to Hammer and said, all right, fine,
what do I have a physical copy of that we
(02:18):
can watch? And we have not reviewed yet. And you
would think that this would be kind of difficult to do,
being that we're on episode two seventy nine, but it's true.
We found one evil in Frankenstein from nineteen sixty four.
It's a Hammer movie. It was released in May of
nineteen sixty four. Darlene doesn't have a whole bunch of
information because she decided not to sit on her pad
(02:41):
for the entire time being.
Speaker 1 (02:43):
In being nasty to me right now.
Speaker 2 (02:46):
Yeah, because a lot of times I have to like
pause the movie at the beginning as Darlene spends.
Speaker 1 (02:51):
Time looking up stuff.
Speaker 2 (02:53):
But you don't have that this time. So it's May
nineteen sixty four. It was released in Have you seen
it before?
Speaker 1 (03:00):
I think I have.
Speaker 2 (03:02):
Okay, you think you have.
Speaker 1 (03:04):
Yes, There's certain things that I do remember, Okay.
Speaker 2 (03:07):
I think this is a movie that I may have
also seen at some point, but.
Speaker 1 (03:13):
It's I don't think I actually sat down and watched it.
I think I was like watching it talking to somebody, okay,
having a social gathering with it on the phone.
Speaker 2 (03:26):
If I have seen it, it was when I was
a kid wg on Saturdays. And the reason I say
that is the one the redheaded woman in this for
some reason, stands out as somebody that I felt all
the scenes that she was in, I thought that I was.
I had seen it before, but I couldn't remember anything
(03:49):
that happened. Her character does not have a name except
for Begger Girl. She is a deaf mute in this
movie played by an actress named Katie Wilde who's a
Welsh actress, so she does not speak in it, but
she actually has a fairly I won't say significant role,
but let's say important enough that her actions actually impact
(04:14):
the entire film and for for for the positive. Really,
But that's that's the only thing that I can really
say that seemingly jumped out in my head. Other than that,
I don't really remember it. Anything else about the actors
or actresses in this Yes there are, but you had
something to say, well, I.
Speaker 1 (04:33):
Was gonna say Peter Cushions at the top of the billing,
and I do not think the person was playing.
Speaker 2 (04:39):
Zoltan deserves second billing, certainly not.
Speaker 1 (04:45):
The chief of police is third.
Speaker 2 (04:48):
Absolutely, if you wanted to have my opinion, it was
you have doctor Frankstein, Peter Cushing, his assistant, his assistant hands,
and the girl and beggar girl which she needs to
have a name. I'll just call her like, I don't know,
we should just give her a name. I don't want
to keep calling her like.
Speaker 1 (05:06):
We'll call her by Katie.
Speaker 2 (05:07):
Katie, Okay, we'll say Katie. She really deserved arguably third
billing in this She was in it a lot. But anyway,
we don't have like your standard Hammer director or writer here. Well,
the writer is the writer's the writer is Anthony Hines.
(05:28):
But your regular director that has done a lot of
these films isn't there. This is directed by Freddy Francis,
who is known for Hammer. But you know, anyway, anything
else we want to talk about before we jump.
Speaker 1 (05:42):
Into the plot, not I don't have anything.
Speaker 2 (05:46):
Okay, So it is autumn and there is a wooden
hovel I called it a hovel, but it's more like
a cabin, right, and there's a couple that leaves it.
They're crying, two old people, yeah, an older couple, and
a man watches them leave. Inside this cabin, there's a
(06:06):
body that is laying at rest. Clearly the person has
just died. There's like a crucifix on their chest.
Speaker 1 (06:15):
I guess it's supposed to be night because you have
the owl hooting yea and the wind that is blowing harsh.
Speaker 2 (06:22):
I will I will say at this point because it's
it's worth noting at this point there is average day
for night shots in this movie, but there's never good ones,
and there are a couple bad ones. I'll be fair
about it. I'll be fair about it. This is where
Hammer I think might have actually kind of done something
(06:42):
wrong for once. Usually they're there there day for night. Well,
you wouldn't have.
Speaker 1 (06:47):
Been able to see anything if you true did it's true,
and I really think that was twilight.
Speaker 2 (06:55):
When they Yeah, there's like I said, there's average ones,
but then there's oh, this is very clearly day not great. Well, anyway,
the body starts getting dragged out by the man that
we saw watching this older couple leave earlier, and then
a girl screams. The little girl runs through the roods
but runs into doctor Frankenstein played by Peter Cushing, and
(07:19):
he's just kind of like he stares at her and
she shuts up.
Speaker 1 (07:23):
She shuts up and then runs the back the way.
Speaker 2 (07:25):
She's Yeah, because you know, Peter Cushing, if you just
ran into him in the middle of the woods after
seeing a dude steal like one of your family member's corpses,
like that'd be kind of scary. But you know, Peter
Cushing is a big, big, loving man, so I mean,
like he's just a lovey, dovey, cuddly guy in real
life comes across as scary.
Speaker 1 (07:44):
Old couple was going and getting the priest.
Speaker 2 (07:48):
Yeah. A priest comes in and says, oh, what the hell,
who would ever do a thing? And we have Frankenstein
and his assistant hands are at a lab and it's
actually at a watermill. Right, it's a mill powered by
a big water wheel. Yes, it is, okay, And because
I was thinking, boy, it is a mill. It was
a mill. I was because it had these big gears inside.
(08:11):
And I thought this is either a windmill or a
water mill.
Speaker 1 (08:14):
Because you guessed it as a windmill.
Speaker 2 (08:15):
Which I was wrong. It is a water mill because
we it wasn't very clear what it was at first. Okay,
And Frankenstein ends up paying off the gray brother and
his assistant gives gets this guy out of there, and
we actually have a scene while the credits play where
Frankenstein is actually cutting the heart out of the body.
(08:39):
As the credits are playing. It's not like it's a
freeze frame or anything like that. We see him operating, well,
we don't see him see him operating. It focuses so
that it's below the shot what you see happening, which
I thought, good job. And he ends up cutting the
heart out and he puts the heart into a jar,
(09:00):
and we have the priest immediately confronting the grave robber outside,
going you did this? What the hell is going on?
We go back to see Frankenstein turning on electricity that's
being generated by this watermelon, and he actually shocks himself
like a couple times, and I think that's acting. I
(09:21):
think that's acting.
Speaker 1 (09:24):
But he drops the body into the river.
Speaker 2 (09:28):
And then he hooks up the heart to a couple
pumps and you can hand him. He hand pumps it.
He hand pumps it for a little bit as the
electricity is going through it. Now when he has the heart,
it's it's to me, it looks very it's a very
real heart. It's like a pig's heart when he's massaged it.
Though to start it beating, it's a fake heart, okay,
(09:51):
but it is there beating. And at this point there's
pounding on the door. The priest comes in and he
starts barges in. He just barges in and and Frankenstein's like,
you have intruded on private property, sir, you need to leave.
And the priest is like, this is my parish and
just starts wailing on stuff with his cane.
Speaker 1 (10:14):
Yeah, breaks in, breaks down into the electrical yeah.
Speaker 2 (10:19):
And Frankenstein is like, go get the police then if
you think I've done something wrong.
Speaker 1 (10:26):
And then the fish tank that the hearts in goes.
Speaker 2 (10:29):
It gets busted, and the priest is like, I'll go
get the police. And at this point, like Frankenstein is
really pissed off, and he goes, why do ignorant people
always wreck things? Now? Is Frankenstein in the right in
any of this?
Speaker 1 (10:43):
No?
Speaker 2 (10:43):
No, he is morally and ethnically in the wrong. But
so is the priest. If the priest thought that there
was something wrong, why didn't he just go get the magistrate.
Speaker 1 (10:54):
Instead of following the child.
Speaker 2 (10:58):
With the child going to get at the grave robber
and then just busting in and breaking things because the
priest thinks he has the moral moral right to do that,
which is he doesn't. He really doesn't. But Frankenstein is
right in saying that, like why do people always have
why do ignorant people have to wreck things all the time?
(11:20):
Doesn't give Franknstein the right to have had had a
body stolen and and and like Frankenstein would have been
perfectly legitimate if he went up to like that family
and said, uh, I understand that you've just had a loss.
I'd like to pay for the proper burial of your
your loved one. Can I have his heart for science
and then give it back to you? But these, yeah,
(11:44):
I know, but if he if he did that, if
he did that, that would have been good.
Speaker 1 (11:47):
But in his time, he probably had to go around
the whole.
Speaker 2 (11:51):
Oh of course, of course, we see.
Speaker 1 (11:53):
Because too many of these.
Speaker 2 (11:57):
Well anyway, they always destroy everything. And then Frankenstein says, look,
we need to get the hell out of dodge. Let's
get in the carriage, Let's get It's been ten years
since I have been back in my home village Ish
where castle Frankenstein is carl Stand Karlstadt or something like that.
(12:17):
And he says, look, we'll go back to my castle
and sell my possessions for funds. Now we learned that
he had been booted out because of the original experiments. Right,
that makes sense. So we end up meeting.
Speaker 1 (12:34):
Now we almost we was going to kill the priest.
Speaker 2 (12:38):
Because the priest was thrashing around wildly knocking over expensive
electrical equipment, and.
Speaker 1 (12:44):
His assistant stopped him from doing so.
Speaker 2 (12:47):
Yes, what the priest was doing could have easily resulted
in the death of everyone there because of electrical wires
being knocked around and water, especially after he shattered the
fish tank with the heart that was beating in it.
It honestly could have resulted in everyone's death. I don't
think that that's what the movie intended to show with
(13:08):
like I'm trying to restrain the priest and getting him
the hell out, But to me, knowing how much energy
was going through that water wheel, it could have killed everybody.
Speaker 1 (13:19):
Yes, he had a huge dog gone a motor on it.
Speaker 2 (13:26):
Well, there are a couple times in this movie where
there is electrical equipment and neon tubes that are extraordinarily large,
and you can see the heat like the air, the
wavy air coming off of them from the heat being
emanated from these things. And that's real. There's a lot, Yeah,
(13:51):
there is a lot of energy.
Speaker 1 (13:54):
Is the flashback when he tells his assistant.
Speaker 2 (13:57):
On My point is is that this equipment is incredibly powerful,
even like the special like this is special effect equipment,
but it's pumping out so much heat because it's a
real like neon and yeah, good. Well, anyway, we cut
away from Hans and doctor Frankenstein in.
Speaker 1 (14:16):
The carriage as they're telling the story.
Speaker 2 (14:18):
Well, no, we haven't even gotten there yet. We haven't
really gotten to that point where they do the whole
flashback yet, because we go to the village and we
meet Katie the Redhead. She's yeah, see, I know you
always like jumping ahead, but we have her begging for alms.
Speaker 1 (14:36):
I will because it just didn't fit.
Speaker 2 (14:41):
Yes, okay, So we have Katie begging for alms at
a carnival, and carnival workers harass her and treat her like, yeah,
kick her like, try to steal her money, and it's
very little. She's she's clearly a mute at this point.
We don't know that she's death, but she's clearly mute.
I will say that the actress does a fantastic job
(15:04):
all the way through this movie. I will also say
that her costume raises flags with me about being accurate
to the early eighteen hundreds.
Speaker 1 (15:14):
It looked like it was a World War two.
Speaker 2 (15:16):
It looked more like World War One to me, like
a World War one great coat. Yeah, it could have
been World War two. Ish point is that it did
not look like an early eighteen hundreds jacket. It did
look like a man's like military jacket though, let's put
it that way.
Speaker 1 (15:34):
Military long coat, military long coat, because she reminds she
reminded me of one of our kids that was in
my coat and a belt.
Speaker 2 (15:44):
Oh yeah, yeah yeah. So she actually runs from these
guys once she gets her bull back, and in arguably
the best stunt of this movie. And you'd blink if
you miss it, because I don't think it's really meant
to be a showy stunt, but my god, I was
impressed with it. She runs out in front of Frankenstein's
carriage and almost gets run down by the horse. This
(16:08):
was a real stunt. Woman, it might have been the actress.
This was a real horse moving at speed with a
carriage behind her. She almost gets run down by that horse.
That is an impressive stunt that could have easily resulted
in severe injury. I was impressed. I think you were too.
You're like, whoa, But it's a blink if you miss it,
(16:28):
like half second stunt piece. She runs away. Boom. They
go through this village. No one's really paying attention to
them because of this carnival, and we see Castle Frankenstein.
He's been gone for ten years, so it looks looted
from the outside and inside everything is trashed. It's clear
people have been through here, and we see later on
(16:51):
in the movie people have been through here and who
has been through here? And you know what, Frankenstein's pissed,
and he has every right to be pissed. And in fact, Darlene,
I'm willing to say, before we go further, in this movie,
Frankenstein might have moral and ethical issues here, but he's
not the villain of the movie. He's not. He's actually
(17:13):
kind of a victim of bullshit too. All the way
through this movie, like in the Universal films, you can
argue Frankenstein, the doctor Frankenstein is fully a villain just
as much as the villagers, maybe not in the first movie.
In the first movie, he's kind of like not really
(17:34):
a villain, but he's more like detached. But at least
in this movie, while Frankenstein is doing experiments with dead bodies,
he's not really doing anything to hurt anyone, whereas everyone
else in this movie is doing terrible things to other people,
(17:55):
like the other actual villains, and the actual other villains
hurt Doctor Frankenstein and.
Speaker 1 (18:02):
Cause most of the damage around, just like that priest.
Speaker 2 (18:05):
Did and I think that priest was a piece of shit,
even though he should have.
Speaker 1 (18:11):
He should have had some learning being a priest.
Speaker 2 (18:15):
But you just start swinging his cane around with like
sparking electrical equipment to like because he's just offended. Yeah,
he has every right to actually be offended that a
body of one of his parishioners was dissected.
Speaker 1 (18:26):
But at that point turn around, yeah and get the police.
Speaker 2 (18:31):
So anyway he goes in, people are pissed. This is
where we get the front flashback where Frankenstein explains the
experiments in the events of the first film. We see
the experiment in the storm, and all the science gear
in these flashback scenes is just chef's kiss. Chef's kiss.
Speaker 1 (18:52):
And the neon lights that you liked.
Speaker 2 (18:55):
Oh, I've never seen it neon lights like that before.
I really haven't outside of The Hammer. These Hammer movies,
like these things are like giant electrical like light bulbs,
like incandescent light bulbs, filled with filled with noble gas,
and they're being energized to the extent that like their
ends are glowing like blue, but not like the down
(19:19):
at the bottom where all the electrical.
Speaker 1 (19:20):
Creature when it was in when it was mummified, it
looked but when it wasn't, it looked like rags of
a face with grape paint.
Speaker 2 (19:36):
Okay, So in this flashback, the monster walks and falls
and Frankenstein takes notes. He's very kind of detached. Okay,
he feeds them. The monster spits out gruel and meat,
but then the monster eats meat afterwards. I'm not really
sure why that was right. But then he like escapes
and he's eating sheep. He's like tearing apart sheep and
(19:58):
eating sheep.
Speaker 1 (19:59):
He tries, it's this thing that he that frank Doctor Frankenstein,
actually Baron Frankenstein cuts for him, tries it, spits it
out too.
Speaker 2 (20:09):
But then goes back and eats another chunk of meat
from the same piece.
Speaker 1 (20:13):
Yeah, but then spits it out again. So I think
it's that he's just not being able to eat.
Speaker 2 (20:20):
That is also possible because at least in the Universal movies,
remember that he does not eat. It's that he is
entirely powered off of electricity and.
Speaker 1 (20:29):
Further into this thing. Since I'm the we're talking about
him eating.
Speaker 2 (20:34):
Yeah, kel Katie, Katie the Redhead.
Speaker 1 (20:40):
Katie the Red Head gives him bread and he's able
to eat it.
Speaker 2 (20:46):
Yes, he also drinks wine but gets trashed. It gets trashed,
and he also drinks it's.
Speaker 1 (20:53):
Not wine, it's actually brandy because okay.
Speaker 2 (20:55):
It's brandy. But he also drinks from aldehyde, not from aldehyde, chloroform.
He drinks, he spits it out, and he's like, thought
it was the Well that makes that makes it pretty
pretty clear that Frankenstein doesn't breathe unless he needs to,
because I mean, if it was chloroform, you'd think that,
like he'd gasp after trying to drink it and then
(21:16):
just completely Yeah. So anyway, the monster is hunted, well,
at least the monster is hunted and killed. Uh, Doctor
Frankenstein is exiled. And then so now we have we
go back to the present where Frankenstein and hounds decide
they're going to go on to go into town wear
masks because it's the carnival and they want to have food.
Speaker 1 (21:38):
Now the carnival, Oh my god, Well.
Speaker 2 (21:42):
Hold on, we we have the scene inside this in right,
and Frankenstein acts like a complete asshole. He is an asshole,
not all the time. Well, here's the thing, it's carnival, right.
They sit down and he goes and keep and keep.
I demand food, well, you know, and blah blah blah.
And this guy's like, we're not serving food here today.
(22:05):
It's the carnival. It's too busy. And he goes, you
are licensed to be an inn. That means you must
serve food, bring.
Speaker 1 (22:12):
Us yes, being in total asshole.
Speaker 2 (22:15):
And I'm like, wow, dude, you're you're you're trying to
like not draw attention to yourself.
Speaker 1 (22:20):
And you're drawing attention to yourself.
Speaker 2 (22:22):
And then he looks over and in the other room
we see two two honestly awful people, and it's the burgermeister,
who's you know.
Speaker 1 (22:31):
Like burgermeister with a very young woman.
Speaker 2 (22:34):
Very young, chesty woman, and the chief of police who's
also a preck and he Frankenstein stands up and demands satisfaction.
Speaker 1 (22:47):
The girl the Bergerman's wife, Bergermeister, Burgermeister and his wife
or whatever you want to call her, mistress mistress. The
mistress offends me. Oh, she's she's not just a two
dimensional character's just a character of.
Speaker 2 (23:12):
A blonde, dim witted she's only there for her looks.
But you know what, at the very least I will
say this because I agree with you. I will say this,
her looks are the only reason the Burgermeister has her
there anyway.
Speaker 1 (23:29):
Yes, I do understand that, but I am insulted by
this movie just giving her because it's not just her
in that performance. Sure, it's her when she's in the
bed giggling about later on with Frankenstein using her sheets
(23:53):
and coverings. Oh yes, and then it's it's every time
you see it, it's this play the stupidest woman you
can be.
Speaker 2 (24:03):
Look, the actress is actually Karen Gardner for that, and
she actually has quite a few credits to her name.
She's actually a pretty darn good actress. Believe it or not.
Speaker 1 (24:13):
I didn't say I was the writer and the character
and the director.
Speaker 2 (24:20):
At this point, he Frankenstein stands up and demands satisfaction
from the Burgermeister because he sees the Burgermeister has his
family's ring on his finger. Okay, and we can talk
about this now. The Burgermeister has basically looted the entirety
of Castle Frankenstein of all of its wealth. As the
(24:43):
chief and the chief of police. Here's the thing. Frankenstein
is a baron. That is his family's land and holdings,
he could be exiled, that's fine, but the possessions inside
that castle, that that manner home are of the barony,
(25:05):
not your shit. You didn't have the rights to steal
all that, to take his your own right. They didn't.
It should have actually gone on if.
Speaker 1 (25:16):
It got exiled, it would have went to the next
because he was still considered a baron, so he would
have not lost his title, so it would have been
property of his. But if he was exiled and had
relinquishing of title, but he never did. He never did.
(25:38):
But if he did, it would revert to the next
of kin, not the next of kin, the one that's
the higher up.
Speaker 2 (25:47):
Oh, it would have gone back to to whoever held
him as.
Speaker 1 (25:50):
A vas like back to the crown or whatever.
Speaker 2 (25:54):
Yeah yeah, okay, So technically at this point, and we
both said this, the burgermeister and the chief of Police
are very clearly guilty of theft like grand larceny and
likely crimes against the crown.
Speaker 1 (26:10):
And crimes against the community.
Speaker 2 (26:12):
Too, because that's like community Some of that is community goods, right,
but the point is like it's self enrichment based by
theft from the crown and the crown's.
Speaker 1 (26:23):
Bas and use of your position, use of your position
to get that money.
Speaker 2 (26:30):
So while Frankenstein is acting like an asshole, at the
very least, when he stands up and demands that the
Burgermeister be arrested by the chief of police, he has
every right to actually demand that.
Speaker 1 (26:41):
But the chief of police is guilty.
Speaker 2 (26:43):
And he's like, wait a second, I recognize you, and
then oh, they run like they have to run because
otherwise the chief police is going to arrest him for
breaking this exile or whatever.
Speaker 1 (26:52):
But you should have known if you set there and
like he sat there and watched these too. Yeah, they
were in together. Yes they were drinking, laughing and parting together,
so you'd have to assume that both of them were
in codes. So why did he stupidly for an intelligen
(27:15):
as intelligent person.
Speaker 2 (27:16):
I think he was just angry. I think he's because
at this point, Frankenstein's been like kicked out of whatever
village he was working in. Now he's come back and
his entire manner is looted and stripped right of things
that he expected to be there. And now look who
has them, the people that basically exiled him for reasons
(27:37):
that weren't really due to him, it was because of
their own ignorance and attacking the monster. Blah blah blah. Right,
So we're not criticizing the film here, folks. This isn't
a criticism of the film. This is us actually being
angry at some of the characters in this for being
so blatantly in the wrong that I don't think the
writers fully grasped.
Speaker 1 (27:59):
How well, then that was my point on bringing up
the white wife or mistress. Yeah, she was not even
two dimensional. She wasn't even one dimensional.
Speaker 2 (28:10):
Yeah, she was just boobs boobs in a low cut dress.
Even though the actress we know is actually a good actress,
that's the problem.
Speaker 1 (28:20):
She's a blow up doll at that point.
Speaker 2 (28:22):
Yeah, Yeah, that's all she is.
Speaker 1 (28:23):
And all they are everyone besides Baron, Frankenstein, Hans Hants,
Katie Zult Katie are.
Speaker 2 (28:38):
Even their cardboard cutouts. But they're basically all just asshole.
Speaker 1 (28:42):
You talk, take about it that one police officer is
a little bit more of a.
Speaker 2 (28:50):
Yeah, yeah, there is a little bit of it.
Speaker 1 (28:51):
But he gets killed for being a little bit of
a character.
Speaker 2 (28:54):
Yeah, but he actually had a little bit of a character.
I will I will say that, Yes, So what we
have Where are we, DARLINGE? You got me? You got me?
Speaker 1 (29:06):
We're at We're at them.
Speaker 2 (29:08):
They escape, they escape from the end. Okay, so they
go and they end up seeing a hypnotist performing named Zultan.
He makes uh Zultan makes a scene. The cops charge
after him. The cops stop this performance because they say,
you don't have a permit to perform, even though he's
there like hypnotizing people in a freaking carnival and clearly
(29:31):
has a whole setup that he must have taken freaking
a day and a half to set up. Why didn't
the cops check this before? Because you're all uncompetent. I
don't know.
Speaker 1 (29:39):
Anyway, Well, let's talk about some of those things that
are in the carnival. There's a person playing wild Bill
throwing knives at somebody that was supposed.
Speaker 2 (29:51):
To Oh yeah, I'm dressed in a very very stereotypically
nineteen sixties Native American garb. I e. Not accurate at
all and kind of offensive. But I was like, wait
a second, wait a second, is this a thing in
like Central Europe in the early eighteen hundreds. It would
have been, It actually would have been, but it seemed
(30:15):
weirdly out of place. Does that make sense? Yeah, it
just felt out of place, even though that would have
legitimately been a thing at that time, because you were
already had French explorers coming back from like even the
early seventeen hundreds.
Speaker 1 (30:29):
Well, when did Bob Bill wild Bill?
Speaker 2 (30:33):
It's not you are making the immediate comparison to wild Bill.
I am making the immediate comparison to explorers, Western explorers
coming back with native people to showcase to nobility in Europe.
Speaker 1 (30:50):
My thought was it was they were supposed to be
kind of trying to portray wild Bill.
Speaker 2 (30:57):
Absolutely not. No wild Bill. Well, it continued to make
do a show that had been happening in one way,
shape or form since like the seventeen hundreds. It's just
that wild Bill did it with a plume. It didn't
say wild Bill.
Speaker 1 (31:13):
But there was one time that he was touring Europe. Yeah,
and people would have copied him. Thank you for allowing
me to stay that.
Speaker 2 (31:22):
So they would have copied him in the late eighteen hundreds.
But I'm saying, like these shows happened before him. They did.
I'm just saying it felt out of place in this carnival,
like they could have had some sort of like roamy
knife throwing thing that would have been that would have
fit a little bit better.
Speaker 1 (31:43):
But it's probably when I had a boy with a snake. Yeah,
a person that was trying that was definitely not Indian,
playing somebody that was supposed to be Indian.
Speaker 2 (31:55):
Yeah, it felt weird. It felt weird. It felt weird. Anyway, Frankenstein,
Hans Frankenstein and hands flee. They flee up into the
mountains and they encounter Katie the Redhead and I can't
I keep saying Katie the Redhead, just because whatever Katie.
They encounter Katie Wilde, who plays the Beggar Girl, and
(32:20):
she motions to them to follow her because.
Speaker 1 (32:23):
They were talking about a storm coming in.
Speaker 2 (32:25):
The storm is coming in. They're on foot, they're really
exposed on the side of this mountain. Katie gets them
inside her cave and it's clear that this is where
she lives. Okay.
Speaker 1 (32:37):
She then puts down a mat of straw.
Speaker 2 (32:39):
Form she is and she has, okay, a mat of straw.
You're right. There's moss bedding in there that she uses,
and she offers them all of her food. She gives
them her.
Speaker 1 (32:52):
Food, which is what she was begging for.
Speaker 2 (32:55):
Yes, and I'm like, oh my god, this is like
everything she has. She sees these two people in need
and she wants to help. Good for her. This shows
that she is pure of heart, so to speak. But like,
at this point, Frankenstein takes takes the piece of bread.
It's not very much. He doesn't really eat it. He
(33:16):
takes like a piece of it and eats it. Hans
gets the bread and then like gives it, tries to
give it back to her because it was hands that
said this is all of her food. We can't eat this.
And she waved it off. She was like, no, you
need to eat, not me, And I thought, wow.
Speaker 1 (33:37):
She doesn't say anything.
Speaker 2 (33:39):
Yeah, I know, I know, but she waves it off.
And that's what comes across, right, And they fall asleep.
They fall asleep, and then they wake up.
Speaker 1 (33:47):
She's staring up.
Speaker 2 (33:49):
She's muttering, she's making noises, but they're not words. She's
just kind of.
Speaker 1 (33:56):
You know, but she's looking up. Yeah, and when doctor
Frankenstein looks up to where she is muttering up to,
he sees his creation.
Speaker 2 (34:08):
Yeah, the monster frozen in ice yet in the roof
of the cave. And they are going to now thaw
the monster because They're like, oh my god, this is amazing.
But here's the thing, Like Katie has clearly become attached
to the monster, and you know what, Doctor Frankenstein in
hands don't ever try to make her leave or shove
(34:32):
her away. She feels attached to the monster like that's
been her only friend.
Speaker 1 (34:37):
They bring her with them. Yeah, and she even helps
him take him down the mountain.
Speaker 2 (34:42):
Yep, she helps. So they thaw him out, They get
him out. They are going to awaken the creature, and
they do. They actually do end up awakening the creature
when a storm comes through, but the creature doesn't awaken
so to speak, like the.
Speaker 1 (34:59):
Creature's live, but moves his hand.
Speaker 2 (35:03):
Doctor Frankenstein says the life spark has been destroyed from
him after the brain was injured from the peasants shooting
him in the head and making him fall off the cliffs.
He's like, I don't know what the hell. So Frankenstein
theorizes that they need to have direct contact with the
monster's brain, so they go see the hypnotist because maybe
(35:24):
the hypnotist can get into the creature's brain. They bring
him back and he does actually make frank the monster
wake up and they knock him out as soon as
he starts getting frisky. The monster starts kind of getting
a little upset, and they all celebrate. The hypnotist wonders
how he's how doctor Frankenstein is going to make money,
(35:45):
and he's like, of course, I'm not going to make
money going to research. I'm going to bring life to death.
I'm going to end all of this suffering on earth.
Like that's kind of his Doctor Frankenstein actually has like
good intense. He's just going about it in the wrong way.
Does that make sense. He's going about it in an
(36:06):
unethical way, but he's trying to like alleviate suffering, and
he doesn't think about making money. It's not his thing.
Speaker 1 (36:14):
But you listen to what the hypnotist said. It was
It was that he will give him orders.
Speaker 2 (36:23):
Yeah, So what happens here is the hypnotist basically says,
I'm not leaving because the Monster's only going to listen
to me. I'm the one that can control his mind.
You can't. And franken Zin's pissed off and he basically
the Zultan says, I want a three way partnership. And
at this point Zultan becomes a drunkard. Really, he just
(36:43):
basically will drinking.
Speaker 1 (36:45):
He's drinking all that.
Speaker 2 (36:46):
All the brandy, the brandy. He does not assault Katie.
He uh likes scaring her, like getting right up in
her face and like booh or making weird faces because
she can't hear anything. She can't hear anything, she can't speak,
and he kind of uses that to his advantage.
Speaker 1 (37:07):
He's a jerk. He's just as bad as those people
that were throwing her ball around.
Speaker 2 (37:15):
Yeah, so at this point he's really drunk. And then
he basically tells the monster to go into town and
steal gold for him because he wants to.
Speaker 1 (37:22):
Be where it is.
Speaker 2 (37:24):
And he tells him where it is, and it's the church.
It's the church. And the monster goes into town, busts
open the door of the church, grabs a whole bunch
of crosses and things, and brings them back, scaring the
shit out a couple villagers that are drunk.
Speaker 1 (37:38):
Yeah, the drunk really.
Speaker 2 (37:41):
So at this point, the drunk says that he reports
it to the police that he saw the monster, but
they don't really believe him. Then Zoltan basically tells the monster.
Then the next day, Yeah, the next day that the
burgermeister and the chief of police need to be punished.
He then gets a little more handsy with the mute
(38:01):
woman with Katie, but he leaves her alone after just
tearing her blouse a little bit like and.
Speaker 1 (38:08):
Says, you're not worth it.
Speaker 2 (38:09):
You're not worth it, You're just slime or whatever. I'm like,
what the hell, man, Katie is worth more than a
thousand of these zultans because she actually had kindness in
her heart, kindness and selflessness.
Speaker 1 (38:23):
She's beautiful herself. But even if she was, her soul
is beautiful, even if she was an ugly old woman,
it would have been far more than Zultan Zultan because
he is a con artist.
Speaker 2 (38:38):
And it's because Katie is a good person. She helped
people in need even when other people wouldn't help her.
Speaker 1 (38:47):
In The hypnotist has nightmares during the time that the
creature is out killing the Yeah here, and he doesn't
kill the chief of police. He kills This is where
(39:08):
I said that there's a police officer that shows more
character character than any of.
Speaker 2 (39:16):
The other Yeah, because he's he's there like pretending to
be the chief of mocking. Yeah, the chief of.
Speaker 1 (39:21):
Police, mocking the chief of police on.
Speaker 2 (39:25):
Yes, missus, yes, Burgermeister, I will give your what you know,
I'll walk your wife.
Speaker 1 (39:30):
Down the wearing the helmet.
Speaker 2 (39:32):
The the monster thinks he's the chief of police and
kills him, but like he kills the Burgermeister, but like
slamming him repeatedly against the wall un till he's like
a bloody pulp with the blonde just screaming there in
the battle. At first she was and then she stopped
after she passed out.
Speaker 1 (39:50):
Oh, that's right, she did pass out.
Speaker 2 (39:52):
Okay, so we actually have uh. And the reason why
he the chief of police isn't there is that he's
been called the burger mi Mester's house to investigate the
murder that's happened because of all the screaming. So he's
come to the Burgermeister's house to investigate. So uh. At
this point, like the monster comes back to the castle
(40:13):
and doctor Frankenstein finds that there's blood on the monster's
hand and they're across it trying to clean it, and
the and the monsters allowing her to do it because
there is a connection there between them, and the monster
doesn't really like anybody else getting right next to him.
He likes being left alone whatever. But but Katie, Katie's cool.
(40:35):
Katie talked to him while he was frozen, and that's
the thing. I bet you that, like the monster was
kind of aware while being frozen for the longest time
and always just saw her talking to him and probably
like learned to And I'm.
Speaker 1 (40:48):
Really glad that they didn't do the whole thing that
I thought they were going to do, which was when
when Zoltan was assaulting Katie. I really thought that the
the creature would have attacked Zultan.
Speaker 2 (41:04):
But he did it well while he was like behind
a screen or something like that, right, I think that's
what it happens. So anyway, we have doctor Frankenstein tossing
Zultan out, but Zultan then like screams through a grate
for the monster to let him back in, and the
monster does because he has control of the monster's brain,
but then stabs him with the and then he says
(41:27):
attack doctor Frankenstein. Killed Doctor Frankenstein, And then like the
monster ends up killing Zultan and fleeing the castle because
he's like I don't want to kill my creator or
something like that, or I don't want to kill I
don't know. I don't know how the monster sees doctor Frankenstein,
but he didn't want to kill him. For whatever reason,
he did not want to kill him, and I don't.
(41:47):
It's at the very least one can say that in
this movie, doctor Frankenstein doesn't abuse the monster at all.
He doesn't. He's just he's cold. He's cold, he's clinical,
but he's not abusive, right at least that's the way
(42:07):
it comes across. To meet Arlie. So he ends up
like he ends up like the monster ends up fleeing.
The cops end up arresting doctor Frankenstein for all these murders.
Hands flees, and we have Katie following the monster back
to the cave and like trying to tend to him.
Speaker 1 (42:28):
She gives him brandy to heal the head, and he doesn't.
He doesn't like that, but then he's kind of like
realizes after a bit that, oh.
Speaker 2 (42:39):
That makes me feel good. Yeah. Yeah. So now like
the creepy villagers decide to go monster hunting, and doctor
Frankenstein has like chloroform and his in his jacket that
they never took from him. So he's like, okay, I'll
drop this gold sovereign or whatever, because he was going.
Speaker 1 (42:54):
To use the chlorofront to knock out as Hands was
going to chase after.
Speaker 2 (43:01):
Yeah, the cops nap. So so he drops this coin
on the ground and the guard like comes in to
try to like reach through the bars to grab it,
and he knocks the guard out to escape, and I'm like,
that's actually really smart. He then steals a uh he
steals a wagon, a wagon and decides I need to
get to the to the castle. And there the monster's
(43:22):
back at the castle, like drinking all this brandy and
just wrecking everything. Frankenstein gets Hands and Katie out of
the castle to try to subdue the monster because at
this point the monster's just wrecking everything. Right, Fires start
and the lab explodes.
Speaker 1 (43:40):
Because, uh, some liquid gets onto the electrical equipment. Electrical
equipment that was kind of flammable.
Speaker 2 (43:49):
Yeah, and then we see Hands and Katie looking back
at the castle as the entire tower of the castle
where the lab was it blows up collapses the Okay,
and that's.
Speaker 1 (44:01):
Pretty good considering it with a matte painting.
Speaker 2 (44:03):
Yeah, pretty good. So all right, it's a hammer film.
It's obviously good. It's obviously good. It's I don't think
i've really hit. A hammer film that's bad, maybe like
on the low end of average, But this was good,
This was entertaining. What worked? What were the things that
worked for you, Darling?
Speaker 1 (44:22):
I like to interplay between hants And and the Baron. Yeah,
that really worked as two real good friends.
Speaker 2 (44:36):
Yeah, scientists that are colleagues that are working together friends.
Speaker 1 (44:40):
We had too many villains in US.
Speaker 2 (44:43):
Yeah, because you have Zoltan the villain, you have the Burgermeister,
you have the chief of police, the priest. All the
villagers in general are kind of villains. I don't know. Katie,
the deaf mute woman, is fantastic in this.
Speaker 1 (44:57):
She's the only good person. The creature I can't even
say is good.
Speaker 2 (45:02):
Yeah, because he's kind of a dick to. I mean,
he's under control for the times that he actually does
something bad, so I can't really blame him for any
of the evil that he does. But okay, what works.
I think the acting overall is really good. Acting is
really good. Peter Cushing again a jem right.
Speaker 1 (45:20):
Some of the settings were set worked. I don't always
like how on the characters. The bad part was the
characters being less than even characters.
Speaker 2 (45:36):
Okay, that's fine. But that's fine. The characters you can
say overall don't work, but I'm still trying to think
of the things at work.
Speaker 1 (45:44):
I felt like they were like the villains and Flash Gordon.
Speaker 2 (45:48):
Okay, I think the pacing works. Yes, you're never really bored.
It's always it's the pacing keeps going. I like it.
What doesn't work you've already said, I don't think I
can really add anything else to that, you know, I
was still trying to go with what worked.
Speaker 1 (46:07):
Well, what it's half of one and bad the other.
Speaker 2 (46:11):
You know, with everything else, well, no, I wouldn't even
say bad the other. I don't think this movie really
does anything truly wrong. There's a couple special effect shots
that I didn't like that I'm like, oh, that's chroma key.
Speaker 1 (46:22):
That's oh with the wagon.
Speaker 2 (46:25):
Yeah, But but over all, the special effects of this movie,
come on, all the lab equipment is technically special effects.
That's fantastic.
Speaker 1 (46:32):
As the baron was chasing after yeah, to get to
the castle, he runs through the crowd and it's bad
chroma key, and it's bad chroma key.
Speaker 2 (46:45):
But that's like one thing. A couple maybe questionable day
for night shots, but like you know, over all the
special effects are pretty good. I won't put it into
the it works category just because of the couple really
bad ones. But and the monster makeup isn't that great,
so I can't put it into the it works but it's.
Speaker 1 (47:06):
But I can say that I was very impressed with
the shoes.
Speaker 2 (47:11):
Oh monster shoes.
Speaker 1 (47:12):
The monster shoes.
Speaker 2 (47:13):
They were copper, some of them.
Speaker 1 (47:16):
Some of the time it was copper that was painted.
Speaker 2 (47:19):
Okay, okay, So I think overall I would recommend this movie.
I'm gonna recommend this movie. I mean, it's hard for
me not to recommend a Hammer movie. Do you do?
You recommend it?
Speaker 1 (47:34):
It fits with with what we we like. But I'm
a I'm almost fence sitting on this. Maybe it goes
to a five and a half, really, but I really
think it's about five.
Speaker 2 (47:47):
Six and a half for me, And I'm not sure
why it would only be a five for you. That's
fine to have a different opinion, but I don't see
why it would be a five. Like you clearly enjoyed it.
Speaker 1 (47:57):
It's just that all the all the characters were sure.
Speaker 2 (48:01):
The characters are awful, but except for the main characters,
which are actually really good for once, all of them.
They're interesting.
Speaker 1 (48:09):
Seemed like they didn't have unless you were the even
Hants quite didn't have backstory of something.
Speaker 2 (48:20):
It just think but he had motivation and character. That's
the thing. Right.
Speaker 1 (48:25):
What I'm saying is it wasn't enough.
Speaker 2 (48:27):
Okay, that's fine. I think it. To me it was,
but that's okay to have a different opinion, so you
would say, yes, you do recommend it. It's about a
five to five and a half for you. For me,
it's a six and a half. I can't say it's
a it's a seven, but it's definitely above my average
(48:49):
of four to six. When I say, like an average
is four to six, it's outside of that. This is
pretty good. So I don't know. It's kind of a
it's a mixed positive review for us. Any final thoughts
not No, okay, I don't know what we're gonna do
for our next one. But it's what to eighty?
Speaker 1 (49:07):
What you're keeping the numbers on that it's too.
Speaker 2 (49:10):
Eighty, So yeah, it's gonna we need to find an
interesting movie to do, so I'll leave it there. I'm eron,
I'm Darlene.
Speaker 1 (49:16):
Good evening.
Speaker 2 (49:17):
You keep watching the Skies. At no point in your rambling,
incoherent response, were you even close to anything that could
be considered a rational thought?
Speaker 3 (49:29):
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. Tune in next time, and remember.
Speaker 2 (49:48):
Lower your shields and surrender your listenership. 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? What
could be worse than disappointing a little girl disappointing a
big girl. 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. That mind boggles you see you see
your stupid lives.
Speaker 2 (00:29):
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 nine. I'm Aaron Pollier, I'm Darlinge. Last time
Darlene wanted to go back to do a hammer horror
movie after we had watched a whole bunch of Paul
Nashy Spanish horror films. Uh, at least we have been
maybe to get back to a little bit of I
don't know a little less madness.
Speaker 1 (01:28):
I wanted to judge a werewolf movie to a werewolf movie,
a English to a Spanish.
Speaker 2 (01:36):
Okay, but we already have watched the only werewolf Hammer movie.
We've already reviewed that. Yeah, and we've watched all of
the universal werewolf movies except except for the Abbott and
Costello movie.
Speaker 1 (01:50):
Don't get me wrong.
Speaker 2 (01:51):
I like Costell, and we are gonna do those movies.
Speaker 1 (01:54):
I just don't think it fits.
Speaker 2 (01:56):
No, we are gonna do those movies because we have
done Monster Squad for Earth a Soup, and that is
less fitting than the universal movies. Let's put it that way.
And Darlene's sticking her tongue out at me, because it
is true. We will be doing the the the Aven
Costello movies. So we went to Hammer and said, all right, fine,
what do I have a physical copy of that we
(02:18):
can watch? And we have not reviewed yet. And you
would think that this would be kind of difficult to do,
being that we're on episode two seventy nine, but it's true.
We found one evil in Frankenstein from nineteen sixty four.
It's a Hammer movie. It was released in May of
nineteen sixty four. Darlene doesn't have a whole bunch of
information because she decided not to sit on her pad
(02:41):
for the entire time being.
Speaker 1 (02:43):
In being nasty to me right now.
Speaker 2 (02:46):
Yeah, because a lot of times I have to like
pause the movie at the beginning as Darlene spends.
Speaker 1 (02:51):
Time looking up stuff.
Speaker 2 (02:53):
But you don't have that this time. So it's May
nineteen sixty four. It was released in Have you seen
it before?
Speaker 1 (03:00):
I think I have.
Speaker 2 (03:02):
Okay, you think you have.
Speaker 1 (03:04):
Yes, There's certain things that I do remember, Okay.
Speaker 2 (03:07):
I think this is a movie that I may have
also seen at some point, but.
Speaker 1 (03:13):
It's I don't think I actually sat down and watched it.
I think I was like watching it talking to somebody, okay,
having a social gathering with it on the phone.
Speaker 2 (03:26):
If I have seen it, it was when I was
a kid wg on Saturdays. And the reason I say
that is the one the redheaded woman in this for
some reason, stands out as somebody that I felt all
the scenes that she was in, I thought that I was.
I had seen it before, but I couldn't remember anything
(03:49):
that happened. Her character does not have a name except
for Begger Girl. She is a deaf mute in this
movie played by an actress named Katie Wilde who's a
Welsh actress, so she does not speak in it, but
she actually has a fairly I won't say significant role,
but let's say important enough that her actions actually impact
(04:14):
the entire film and for for for the positive. Really,
But that's that's the only thing that I can really
say that seemingly jumped out in my head. Other than that,
I don't really remember it. Anything else about the actors
or actresses in this Yes there are, but you had
something to say, well, I.
Speaker 1 (04:33):
Was gonna say Peter Cushions at the top of the billing,
and I do not think the person was playing.
Speaker 2 (04:39):
Zoltan deserves second billing, certainly not.
Speaker 1 (04:45):
The chief of police is third.
Speaker 2 (04:48):
Absolutely, if you wanted to have my opinion, it was
you have doctor Frankstein, Peter Cushing, his assistant, his assistant hands,
and the girl and beggar girl which she needs to
have a name. I'll just call her like, I don't know,
we should just give her a name. I don't want
to keep calling her like.
Speaker 1 (05:06):
We'll call her by Katie.
Speaker 2 (05:07):
Katie, Okay, we'll say Katie. She really deserved arguably third
billing in this She was in it a lot. But anyway,
we don't have like your standard Hammer director or writer here. Well,
the writer is the writer's the writer is Anthony Hines.
(05:28):
But your regular director that has done a lot of
these films isn't there. This is directed by Freddy Francis,
who is known for Hammer. But you know, anyway, anything
else we want to talk about before we jump.
Speaker 1 (05:42):
Into the plot, not I don't have anything.
Speaker 2 (05:46):
Okay, So it is autumn and there is a wooden
hovel I called it a hovel, but it's more like
a cabin, right, and there's a couple that leaves it.
They're crying, two old people, yeah, an older couple, and
a man watches them leave. Inside this cabin, there's a
(06:06):
body that is laying at rest. Clearly the person has
just died. There's like a crucifix on their chest.
Speaker 1 (06:15):
I guess it's supposed to be night because you have
the owl hooting yea and the wind that is blowing harsh.
Speaker 2 (06:22):
I will I will say at this point because it's
it's worth noting at this point there is average day
for night shots in this movie, but there's never good ones,
and there are a couple bad ones. I'll be fair
about it. I'll be fair about it. This is where
Hammer I think might have actually kind of done something
(06:42):
wrong for once. Usually they're there there day for night. Well,
you wouldn't have.
Speaker 1 (06:47):
Been able to see anything if you true did it's true,
and I really think that was twilight.
Speaker 2 (06:55):
When they Yeah, there's like I said, there's average ones,
but then there's oh, this is very clearly day not great. Well, anyway,
the body starts getting dragged out by the man that
we saw watching this older couple leave earlier, and then
a girl screams. The little girl runs through the roods
but runs into doctor Frankenstein played by Peter Cushing, and
(07:19):
he's just kind of like he stares at her and
she shuts up.
Speaker 1 (07:23):
She shuts up and then runs the back the way.
Speaker 2 (07:25):
She's Yeah, because you know, Peter Cushing, if you just
ran into him in the middle of the woods after
seeing a dude steal like one of your family member's corpses,
like that'd be kind of scary. But you know, Peter
Cushing is a big, big, loving man, so I mean,
like he's just a lovey, dovey, cuddly guy in real
life comes across as scary.
Speaker 1 (07:44):
Old couple was going and getting the priest.
Speaker 2 (07:48):
Yeah. A priest comes in and says, oh, what the hell,
who would ever do a thing? And we have Frankenstein
and his assistant hands are at a lab and it's
actually at a watermill. Right, it's a mill powered by
a big water wheel. Yes, it is, okay, And because
I was thinking, boy, it is a mill. It was
a mill. I was because it had these big gears inside.
(08:11):
And I thought this is either a windmill or a
water mill.
Speaker 1 (08:14):
Because you guessed it as a windmill.
Speaker 2 (08:15):
Which I was wrong. It is a water mill because
we it wasn't very clear what it was at first. Okay,
And Frankenstein ends up paying off the gray brother and
his assistant gives gets this guy out of there, and
we actually have a scene while the credits play where
Frankenstein is actually cutting the heart out of the body.
(08:39):
As the credits are playing. It's not like it's a
freeze frame or anything like that. We see him operating, well,
we don't see him see him operating. It focuses so
that it's below the shot what you see happening, which
I thought, good job. And he ends up cutting the
heart out and he puts the heart into a jar,
(09:00):
and we have the priest immediately confronting the grave robber outside,
going you did this? What the hell is going on?
We go back to see Frankenstein turning on electricity that's
being generated by this watermelon, and he actually shocks himself
like a couple times, and I think that's acting. I
(09:21):
think that's acting.
Speaker 1 (09:24):
But he drops the body into the river.
Speaker 2 (09:28):
And then he hooks up the heart to a couple
pumps and you can hand him. He hand pumps it.
He hand pumps it for a little bit as the
electricity is going through it. Now when he has the heart,
it's it's to me, it looks very it's a very
real heart. It's like a pig's heart when he's massaged it.
Though to start it beating, it's a fake heart, okay,
(09:51):
but it is there beating. And at this point there's
pounding on the door. The priest comes in and he
starts barges in. He just barges in and and Frankenstein's like,
you have intruded on private property, sir, you need to leave.
And the priest is like, this is my parish and
just starts wailing on stuff with his cane.
Speaker 1 (10:14):
Yeah, breaks in, breaks down into the electrical yeah.
Speaker 2 (10:19):
And Frankenstein is like, go get the police then if
you think I've done something wrong.
Speaker 1 (10:26):
And then the fish tank that the hearts in goes.
Speaker 2 (10:29):
It gets busted, and the priest is like, I'll go
get the police. And at this point, like Frankenstein is
really pissed off, and he goes, why do ignorant people
always wreck things? Now? Is Frankenstein in the right in
any of this?
Speaker 1 (10:43):
No?
Speaker 2 (10:43):
No, he is morally and ethnically in the wrong. But
so is the priest. If the priest thought that there
was something wrong, why didn't he just go get the magistrate.
Speaker 1 (10:54):
Instead of following the child.
Speaker 2 (10:58):
With the child going to get at the grave robber
and then just busting in and breaking things because the
priest thinks he has the moral moral right to do that,
which is he doesn't. He really doesn't. But Frankenstein is
right in saying that, like why do people always have
why do ignorant people have to wreck things all the time?
(11:20):
Doesn't give Franknstein the right to have had had a
body stolen and and and like Frankenstein would have been
perfectly legitimate if he went up to like that family
and said, uh, I understand that you've just had a loss.
I'd like to pay for the proper burial of your
your loved one. Can I have his heart for science
and then give it back to you? But these, yeah,
(11:44):
I know, but if he if he did that, if
he did that, that would have been good.
Speaker 1 (11:47):
But in his time, he probably had to go around
the whole.
Speaker 2 (11:51):
Oh of course, of course, we see.
Speaker 1 (11:53):
Because too many of these.
Speaker 2 (11:57):
Well anyway, they always destroy everything. And then Frankenstein says, look,
we need to get the hell out of dodge. Let's
get in the carriage, Let's get It's been ten years
since I have been back in my home village Ish
where castle Frankenstein is carl Stand Karlstadt or something like that.
(12:17):
And he says, look, we'll go back to my castle
and sell my possessions for funds. Now we learned that
he had been booted out because of the original experiments. Right,
that makes sense. So we end up meeting.
Speaker 1 (12:34):
Now we almost we was going to kill the priest.
Speaker 2 (12:38):
Because the priest was thrashing around wildly knocking over expensive
electrical equipment, and.
Speaker 1 (12:44):
His assistant stopped him from doing so.
Speaker 2 (12:47):
Yes, what the priest was doing could have easily resulted
in the death of everyone there because of electrical wires
being knocked around and water, especially after he shattered the
fish tank with the heart that was beating in it.
It honestly could have resulted in everyone's death. I don't
think that that's what the movie intended to show with
(13:08):
like I'm trying to restrain the priest and getting him
the hell out, But to me, knowing how much energy
was going through that water wheel, it could have killed everybody.
Speaker 1 (13:19):
Yes, he had a huge dog gone a motor on it.
Speaker 2 (13:26):
Well, there are a couple times in this movie where
there is electrical equipment and neon tubes that are extraordinarily large,
and you can see the heat like the air, the
wavy air coming off of them from the heat being
emanated from these things. And that's real. There's a lot, Yeah,
(13:51):
there is a lot of energy.
Speaker 1 (13:54):
Is the flashback when he tells his assistant.
Speaker 2 (13:57):
On My point is is that this equipment is incredibly powerful,
even like the special like this is special effect equipment,
but it's pumping out so much heat because it's a
real like neon and yeah, good. Well, anyway, we cut
away from Hans and doctor Frankenstein in.
Speaker 1 (14:16):
The carriage as they're telling the story.
Speaker 2 (14:18):
Well, no, we haven't even gotten there yet. We haven't
really gotten to that point where they do the whole
flashback yet, because we go to the village and we
meet Katie the Redhead. She's yeah, see, I know you
always like jumping ahead, but we have her begging for alms.
Speaker 1 (14:36):
I will because it just didn't fit.
Speaker 2 (14:41):
Yes, okay, So we have Katie begging for alms at
a carnival, and carnival workers harass her and treat her like, yeah,
kick her like, try to steal her money, and it's
very little. She's she's clearly a mute at this point.
We don't know that she's death, but she's clearly mute.
I will say that the actress does a fantastic job
(15:04):
all the way through this movie. I will also say
that her costume raises flags with me about being accurate
to the early eighteen hundreds.
Speaker 1 (15:14):
It looked like it was a World War two.
Speaker 2 (15:16):
It looked more like World War One to me, like
a World War one great coat. Yeah, it could have
been World War two. Ish point is that it did
not look like an early eighteen hundreds jacket. It did
look like a man's like military jacket though, let's put
it that way.
Speaker 1 (15:34):
Military long coat, military long coat, because she reminds she
reminded me of one of our kids that was in
my coat and a belt.
Speaker 2 (15:44):
Oh yeah, yeah yeah. So she actually runs from these
guys once she gets her bull back, and in arguably
the best stunt of this movie. And you'd blink if
you miss it, because I don't think it's really meant
to be a showy stunt, but my god, I was
impressed with it. She runs out in front of Frankenstein's
carriage and almost gets run down by the horse. This
(16:08):
was a real stunt. Woman, it might have been the actress.
This was a real horse moving at speed with a
carriage behind her. She almost gets run down by that horse.
That is an impressive stunt that could have easily resulted
in severe injury. I was impressed. I think you were too.
You're like, whoa, But it's a blink if you miss it,
(16:28):
like half second stunt piece. She runs away. Boom. They
go through this village. No one's really paying attention to
them because of this carnival, and we see Castle Frankenstein.
He's been gone for ten years, so it looks looted
from the outside and inside everything is trashed. It's clear
people have been through here, and we see later on
(16:51):
in the movie people have been through here and who
has been through here? And you know what, Frankenstein's pissed,
and he has every right to be pissed. And in fact, Darlene,
I'm willing to say, before we go further, in this movie,
Frankenstein might have moral and ethical issues here, but he's
not the villain of the movie. He's not. He's actually
(17:13):
kind of a victim of bullshit too. All the way
through this movie, like in the Universal films, you can
argue Frankenstein, the doctor Frankenstein is fully a villain just
as much as the villagers, maybe not in the first movie.
In the first movie, he's kind of like not really
(17:34):
a villain, but he's more like detached. But at least
in this movie, while Frankenstein is doing experiments with dead bodies,
he's not really doing anything to hurt anyone, whereas everyone
else in this movie is doing terrible things to other people,
(17:55):
like the other actual villains, and the actual other villains
hurt Doctor Frankenstein and.
Speaker 1 (18:02):
Cause most of the damage around, just like that priest.
Speaker 2 (18:05):
Did and I think that priest was a piece of shit,
even though he should have.
Speaker 1 (18:11):
He should have had some learning being a priest.
Speaker 2 (18:15):
But you just start swinging his cane around with like
sparking electrical equipment to like because he's just offended. Yeah,
he has every right to actually be offended that a
body of one of his parishioners was dissected.
Speaker 1 (18:26):
But at that point turn around, yeah and get the police.
Speaker 2 (18:31):
So anyway he goes in, people are pissed. This is
where we get the front flashback where Frankenstein explains the
experiments in the events of the first film. We see
the experiment in the storm, and all the science gear
in these flashback scenes is just chef's kiss. Chef's kiss.
Speaker 1 (18:52):
And the neon lights that you liked.
Speaker 2 (18:55):
Oh, I've never seen it neon lights like that before.
I really haven't outside of The Hammer. These Hammer movies,
like these things are like giant electrical like light bulbs,
like incandescent light bulbs, filled with filled with noble gas,
and they're being energized to the extent that like their
ends are glowing like blue, but not like the down
(19:19):
at the bottom where all the electrical.
Speaker 1 (19:20):
Creature when it was in when it was mummified, it
looked but when it wasn't, it looked like rags of
a face with grape paint.
Speaker 2 (19:36):
Okay, So in this flashback, the monster walks and falls
and Frankenstein takes notes. He's very kind of detached. Okay,
he feeds them. The monster spits out gruel and meat,
but then the monster eats meat afterwards. I'm not really
sure why that was right. But then he like escapes
and he's eating sheep. He's like tearing apart sheep and
(19:58):
eating sheep.
Speaker 1 (19:59):
He tries, it's this thing that he that frank Doctor Frankenstein,
actually Baron Frankenstein cuts for him, tries it, spits it
out too.
Speaker 2 (20:09):
But then goes back and eats another chunk of meat
from the same piece.
Speaker 1 (20:13):
Yeah, but then spits it out again. So I think
it's that he's just not being able to eat.
Speaker 2 (20:20):
That is also possible because at least in the Universal movies,
remember that he does not eat. It's that he is
entirely powered off of electricity and.
Speaker 1 (20:29):
Further into this thing. Since I'm the we're talking about
him eating.
Speaker 2 (20:34):
Yeah, kel Katie, Katie the Redhead.
Speaker 1 (20:40):
Katie the Red Head gives him bread and he's able
to eat it.
Speaker 2 (20:46):
Yes, he also drinks wine but gets trashed. It gets trashed,
and he also drinks it's.
Speaker 1 (20:53):
Not wine, it's actually brandy because okay.
Speaker 2 (20:55):
It's brandy. But he also drinks from aldehyde, not from aldehyde, chloroform.
He drinks, he spits it out, and he's like, thought
it was the Well that makes that makes it pretty
pretty clear that Frankenstein doesn't breathe unless he needs to,
because I mean, if it was chloroform, you'd think that,
like he'd gasp after trying to drink it and then
(21:16):
just completely Yeah. So anyway, the monster is hunted, well,
at least the monster is hunted and killed. Uh, Doctor
Frankenstein is exiled. And then so now we have we
go back to the present where Frankenstein and hounds decide
they're going to go on to go into town wear
masks because it's the carnival and they want to have food.
Speaker 1 (21:38):
Now the carnival, Oh my god, Well.
Speaker 2 (21:42):
Hold on, we we have the scene inside this in right,
and Frankenstein acts like a complete asshole. He is an asshole,
not all the time. Well, here's the thing, it's carnival, right.
They sit down and he goes and keep and keep.
I demand food, well, you know, and blah blah blah.
And this guy's like, we're not serving food here today.
(22:05):
It's the carnival. It's too busy. And he goes, you
are licensed to be an inn. That means you must
serve food, bring.
Speaker 1 (22:12):
Us yes, being in total asshole.
Speaker 2 (22:15):
And I'm like, wow, dude, you're you're you're trying to
like not draw attention to yourself.
Speaker 1 (22:20):
And you're drawing attention to yourself.
Speaker 2 (22:22):
And then he looks over and in the other room
we see two two honestly awful people, and it's the burgermeister,
who's you know.
Speaker 1 (22:31):
Like burgermeister with a very young woman.
Speaker 2 (22:34):
Very young, chesty woman, and the chief of police who's
also a preck and he Frankenstein stands up and demands satisfaction.
Speaker 1 (22:47):
The girl the Bergerman's wife, Bergermeister, Burgermeister and his wife
or whatever you want to call her, mistress mistress. The
mistress offends me. Oh, she's she's not just a two
dimensional character's just a character of.
Speaker 2 (23:12):
A blonde, dim witted she's only there for her looks.
But you know what, at the very least I will
say this because I agree with you. I will say this,
her looks are the only reason the Burgermeister has her
there anyway.
Speaker 1 (23:29):
Yes, I do understand that, but I am insulted by
this movie just giving her because it's not just her
in that performance. Sure, it's her when she's in the
bed giggling about later on with Frankenstein using her sheets
(23:53):
and coverings. Oh yes, and then it's it's every time
you see it, it's this play the stupidest woman you
can be.
Speaker 2 (24:03):
Look, the actress is actually Karen Gardner for that, and
she actually has quite a few credits to her name.
She's actually a pretty darn good actress. Believe it or not.
Speaker 1 (24:13):
I didn't say I was the writer and the character
and the director.
Speaker 2 (24:20):
At this point, he Frankenstein stands up and demands satisfaction
from the Burgermeister because he sees the Burgermeister has his
family's ring on his finger. Okay, and we can talk
about this now. The Burgermeister has basically looted the entirety
of Castle Frankenstein of all of its wealth. As the
(24:43):
chief and the chief of police. Here's the thing. Frankenstein
is a baron. That is his family's land and holdings,
he could be exiled, that's fine, but the possessions inside
that castle, that that manner home are of the barony,
(25:05):
not your shit. You didn't have the rights to steal
all that, to take his your own right. They didn't.
It should have actually gone on if.
Speaker 1 (25:16):
It got exiled, it would have went to the next
because he was still considered a baron, so he would
have not lost his title, so it would have been
property of his. But if he was exiled and had
relinquishing of title, but he never did. He never did.
(25:38):
But if he did, it would revert to the next
of kin, not the next of kin, the one that's
the higher up.
Speaker 2 (25:47):
Oh, it would have gone back to to whoever held
him as.
Speaker 1 (25:50):
A vas like back to the crown or whatever.
Speaker 2 (25:54):
Yeah yeah, okay, So technically at this point, and we
both said this, the burgermeister and the chief of Police
are very clearly guilty of theft like grand larceny and
likely crimes against the crown.
Speaker 1 (26:10):
And crimes against the community.
Speaker 2 (26:12):
Too, because that's like community Some of that is community goods, right,
but the point is like it's self enrichment based by
theft from the crown and the crown's.
Speaker 1 (26:23):
Bas and use of your position, use of your position
to get that money.
Speaker 2 (26:30):
So while Frankenstein is acting like an asshole, at the
very least, when he stands up and demands that the
Burgermeister be arrested by the chief of police, he has
every right to actually demand that.
Speaker 1 (26:41):
But the chief of police is guilty.
Speaker 2 (26:43):
And he's like, wait a second, I recognize you, and
then oh, they run like they have to run because
otherwise the chief police is going to arrest him for
breaking this exile or whatever.
Speaker 1 (26:52):
But you should have known if you set there and
like he sat there and watched these too. Yeah, they
were in together. Yes they were drinking, laughing and parting together,
so you'd have to assume that both of them were
in codes. So why did he stupidly for an intelligen
(27:15):
as intelligent person.
Speaker 2 (27:16):
I think he was just angry. I think he's because
at this point, Frankenstein's been like kicked out of whatever
village he was working in. Now he's come back and
his entire manner is looted and stripped right of things
that he expected to be there. And now look who
has them, the people that basically exiled him for reasons
(27:37):
that weren't really due to him, it was because of
their own ignorance and attacking the monster. Blah blah blah. Right,
So we're not criticizing the film here, folks. This isn't
a criticism of the film. This is us actually being
angry at some of the characters in this for being
so blatantly in the wrong that I don't think the
writers fully grasped.
Speaker 1 (27:59):
How well, then that was my point on bringing up
the white wife or mistress. Yeah, she was not even
two dimensional. She wasn't even one dimensional.
Speaker 2 (28:10):
Yeah, she was just boobs boobs in a low cut dress.
Even though the actress we know is actually a good actress,
that's the problem.
Speaker 1 (28:20):
She's a blow up doll at that point.
Speaker 2 (28:22):
Yeah, Yeah, that's all she is.
Speaker 1 (28:23):
And all they are everyone besides Baron, Frankenstein, Hans Hants,
Katie Zult Katie are.
Speaker 2 (28:38):
Even their cardboard cutouts. But they're basically all just asshole.
Speaker 1 (28:42):
You talk, take about it that one police officer is
a little bit more of a.
Speaker 2 (28:50):
Yeah, yeah, there is a little bit of it.
Speaker 1 (28:51):
But he gets killed for being a little bit of
a character.
Speaker 2 (28:54):
Yeah, but he actually had a little bit of a character.
I will I will say that, Yes, So what we
have Where are we, DARLINGE? You got me? You got me?
Speaker 1 (29:06):
We're at We're at them.
Speaker 2 (29:08):
They escape, they escape from the end. Okay, so they
go and they end up seeing a hypnotist performing named Zultan.
He makes uh Zultan makes a scene. The cops charge
after him. The cops stop this performance because they say,
you don't have a permit to perform, even though he's
there like hypnotizing people in a freaking carnival and clearly
(29:31):
has a whole setup that he must have taken freaking
a day and a half to set up. Why didn't
the cops check this before? Because you're all uncompetent. I
don't know.
Speaker 1 (29:39):
Anyway, Well, let's talk about some of those things that
are in the carnival. There's a person playing wild Bill
throwing knives at somebody that was supposed.
Speaker 2 (29:51):
To Oh yeah, I'm dressed in a very very stereotypically
nineteen sixties Native American garb. I e. Not accurate at
all and kind of offensive. But I was like, wait
a second, wait a second, is this a thing in
like Central Europe in the early eighteen hundreds. It would
have been, It actually would have been, but it seemed
(30:15):
weirdly out of place. Does that make sense? Yeah, it
just felt out of place, even though that would have
legitimately been a thing at that time, because you were
already had French explorers coming back from like even the
early seventeen hundreds.
Speaker 1 (30:29):
Well, when did Bob Bill wild Bill?
Speaker 2 (30:33):
It's not you are making the immediate comparison to wild Bill.
I am making the immediate comparison to explorers, Western explorers
coming back with native people to showcase to nobility in Europe.
Speaker 1 (30:50):
My thought was it was they were supposed to be
kind of trying to portray wild Bill.
Speaker 2 (30:57):
Absolutely not. No wild Bill. Well, it continued to make
do a show that had been happening in one way,
shape or form since like the seventeen hundreds. It's just
that wild Bill did it with a plume. It didn't
say wild Bill.
Speaker 1 (31:13):
But there was one time that he was touring Europe. Yeah,
and people would have copied him. Thank you for allowing
me to stay that.
Speaker 2 (31:22):
So they would have copied him in the late eighteen hundreds.
But I'm saying, like these shows happened before him. They did.
I'm just saying it felt out of place in this carnival,
like they could have had some sort of like roamy
knife throwing thing that would have been that would have
fit a little bit better.
Speaker 1 (31:43):
But it's probably when I had a boy with a snake. Yeah,
a person that was trying that was definitely not Indian,
playing somebody that was supposed to be Indian.
Speaker 2 (31:55):
Yeah, it felt weird. It felt weird. It felt weird. Anyway, Frankenstein,
Hans Frankenstein and hands flee. They flee up into the
mountains and they encounter Katie the Redhead and I can't
I keep saying Katie the Redhead, just because whatever Katie.
They encounter Katie Wilde, who plays the Beggar Girl, and
(32:20):
she motions to them to follow her because.
Speaker 1 (32:23):
They were talking about a storm coming in.
Speaker 2 (32:25):
The storm is coming in. They're on foot, they're really
exposed on the side of this mountain. Katie gets them
inside her cave and it's clear that this is where
she lives. Okay.
Speaker 1 (32:37):
She then puts down a mat of straw.
Speaker 2 (32:39):
Form she is and she has, okay, a mat of straw.
You're right. There's moss bedding in there that she uses,
and she offers them all of her food. She gives
them her.
Speaker 1 (32:52):
Food, which is what she was begging for.
Speaker 2 (32:55):
Yes, and I'm like, oh my god, this is like
everything she has. She sees these two people in need
and she wants to help. Good for her. This shows
that she is pure of heart, so to speak. But like,
at this point, Frankenstein takes takes the piece of bread.
It's not very much. He doesn't really eat it. He
(33:16):
takes like a piece of it and eats it. Hans
gets the bread and then like gives it, tries to
give it back to her because it was hands that
said this is all of her food. We can't eat this.
And she waved it off. She was like, no, you
need to eat, not me, And I thought, wow.
Speaker 1 (33:37):
She doesn't say anything.
Speaker 2 (33:39):
Yeah, I know, I know, but she waves it off.
And that's what comes across, right, And they fall asleep.
They fall asleep, and then they wake up.
Speaker 1 (33:47):
She's staring up.
Speaker 2 (33:49):
She's muttering, she's making noises, but they're not words. She's
just kind of.
Speaker 1 (33:56):
You know, but she's looking up. Yeah, and when doctor
Frankenstein looks up to where she is muttering up to,
he sees his creation.
Speaker 2 (34:08):
Yeah, the monster frozen in ice yet in the roof
of the cave. And they are going to now thaw
the monster because They're like, oh my god, this is amazing.
But here's the thing, Like Katie has clearly become attached
to the monster, and you know what, Doctor Frankenstein in
hands don't ever try to make her leave or shove
(34:32):
her away. She feels attached to the monster like that's
been her only friend.
Speaker 1 (34:37):
They bring her with them. Yeah, and she even helps
him take him down the mountain.
Speaker 2 (34:42):
Yep, she helps. So they thaw him out, They get
him out. They are going to awaken the creature, and
they do. They actually do end up awakening the creature
when a storm comes through, but the creature doesn't awaken
so to speak, like the.
Speaker 1 (34:59):
Creature's live, but moves his hand.
Speaker 2 (35:03):
Doctor Frankenstein says the life spark has been destroyed from
him after the brain was injured from the peasants shooting
him in the head and making him fall off the cliffs.
He's like, I don't know what the hell. So Frankenstein
theorizes that they need to have direct contact with the
monster's brain, so they go see the hypnotist because maybe
(35:24):
the hypnotist can get into the creature's brain. They bring
him back and he does actually make frank the monster
wake up and they knock him out as soon as
he starts getting frisky. The monster starts kind of getting
a little upset, and they all celebrate. The hypnotist wonders
how he's how doctor Frankenstein is going to make money,
(35:45):
and he's like, of course, I'm not going to make
money going to research. I'm going to bring life to death.
I'm going to end all of this suffering on earth.
Like that's kind of his Doctor Frankenstein actually has like
good intense. He's just going about it in the wrong way.
Does that make sense. He's going about it in an
(36:06):
unethical way, but he's trying to like alleviate suffering, and
he doesn't think about making money. It's not his thing.
Speaker 1 (36:14):
But you listen to what the hypnotist said. It was
It was that he will give him orders.
Speaker 2 (36:23):
Yeah, So what happens here is the hypnotist basically says,
I'm not leaving because the Monster's only going to listen
to me. I'm the one that can control his mind.
You can't. And franken Zin's pissed off and he basically
the Zultan says, I want a three way partnership. And
at this point Zultan becomes a drunkard. Really, he just
(36:43):
basically will drinking.
Speaker 1 (36:45):
He's drinking all that.
Speaker 2 (36:46):
All the brandy, the brandy. He does not assault Katie.
He uh likes scaring her, like getting right up in
her face and like booh or making weird faces because
she can't hear anything. She can't hear anything, she can't speak,
and he kind of uses that to his advantage.
Speaker 1 (37:07):
He's a jerk. He's just as bad as those people
that were throwing her ball around.
Speaker 2 (37:15):
Yeah, so at this point he's really drunk. And then
he basically tells the monster to go into town and
steal gold for him because he wants to.
Speaker 1 (37:22):
Be where it is.
Speaker 2 (37:24):
And he tells him where it is, and it's the church.
It's the church. And the monster goes into town, busts
open the door of the church, grabs a whole bunch
of crosses and things, and brings them back, scaring the
shit out a couple villagers that are drunk.
Speaker 1 (37:38):
Yeah, the drunk really.
Speaker 2 (37:41):
So at this point, the drunk says that he reports
it to the police that he saw the monster, but
they don't really believe him. Then Zoltan basically tells the monster.
Then the next day, Yeah, the next day that the
burgermeister and the chief of police need to be punished.
He then gets a little more handsy with the mute
(38:01):
woman with Katie, but he leaves her alone after just
tearing her blouse a little bit like and.
Speaker 1 (38:08):
Says, you're not worth it.
Speaker 2 (38:09):
You're not worth it, You're just slime or whatever. I'm like,
what the hell, man, Katie is worth more than a
thousand of these zultans because she actually had kindness in
her heart, kindness and selflessness.
Speaker 1 (38:23):
She's beautiful herself. But even if she was, her soul
is beautiful, even if she was an ugly old woman,
it would have been far more than Zultan Zultan because
he is a con artist.
Speaker 2 (38:38):
And it's because Katie is a good person. She helped
people in need even when other people wouldn't help her.
Speaker 1 (38:47):
In The hypnotist has nightmares during the time that the
creature is out killing the Yeah here, and he doesn't
kill the chief of police. He kills This is where
(39:08):
I said that there's a police officer that shows more
character character than any of.
Speaker 2 (39:16):
The other Yeah, because he's he's there like pretending to
be the chief of mocking. Yeah, the chief of.
Speaker 1 (39:21):
Police, mocking the chief of police on.
Speaker 2 (39:25):
Yes, missus, yes, Burgermeister, I will give your what you know,
I'll walk your wife.
Speaker 1 (39:30):
Down the wearing the helmet.
Speaker 2 (39:32):
The the monster thinks he's the chief of police and
kills him, but like he kills the Burgermeister, but like
slamming him repeatedly against the wall un till he's like
a bloody pulp with the blonde just screaming there in
the battle. At first she was and then she stopped
after she passed out.
Speaker 1 (39:50):
Oh, that's right, she did pass out.
Speaker 2 (39:52):
Okay, so we actually have uh. And the reason why
he the chief of police isn't there is that he's
been called the burger mi Mester's house to investigate the
murder that's happened because of all the screaming. So he's
come to the Burgermeister's house to investigate. So uh. At
this point, like the monster comes back to the castle
(40:13):
and doctor Frankenstein finds that there's blood on the monster's
hand and they're across it trying to clean it, and
the and the monsters allowing her to do it because
there is a connection there between them, and the monster
doesn't really like anybody else getting right next to him.
He likes being left alone whatever. But but Katie, Katie's cool.
(40:35):
Katie talked to him while he was frozen, and that's
the thing. I bet you that, like the monster was
kind of aware while being frozen for the longest time
and always just saw her talking to him and probably
like learned to And I'm.
Speaker 1 (40:48):
Really glad that they didn't do the whole thing that
I thought they were going to do, which was when
when Zoltan was assaulting Katie. I really thought that the
the creature would have attacked Zultan.
Speaker 2 (41:04):
But he did it well while he was like behind
a screen or something like that, right, I think that's
what it happens. So anyway, we have doctor Frankenstein tossing
Zultan out, but Zultan then like screams through a grate
for the monster to let him back in, and the
monster does because he has control of the monster's brain,
but then stabs him with the and then he says
(41:27):
attack doctor Frankenstein. Killed Doctor Frankenstein, And then like the
monster ends up killing Zultan and fleeing the castle because
he's like I don't want to kill my creator or
something like that, or I don't want to kill I
don't know. I don't know how the monster sees doctor Frankenstein,
but he didn't want to kill him. For whatever reason,
he did not want to kill him, and I don't.
(41:47):
It's at the very least one can say that in
this movie, doctor Frankenstein doesn't abuse the monster at all.
He doesn't. He's just he's cold. He's cold, he's clinical,
but he's not abusive, right at least that's the way
(42:07):
it comes across. To meet Arlie. So he ends up
like he ends up like the monster ends up fleeing.
The cops end up arresting doctor Frankenstein for all these murders.
Hands flees, and we have Katie following the monster back
to the cave and like trying to tend to him.
Speaker 1 (42:28):
She gives him brandy to heal the head, and he doesn't.
He doesn't like that, but then he's kind of like
realizes after a bit that, oh.
Speaker 2 (42:39):
That makes me feel good. Yeah. Yeah. So now like
the creepy villagers decide to go monster hunting, and doctor
Frankenstein has like chloroform and his in his jacket that
they never took from him. So he's like, okay, I'll
drop this gold sovereign or whatever, because he was going.
Speaker 1 (42:54):
To use the chlorofront to knock out as Hands was
going to chase after.
Speaker 2 (43:01):
Yeah, the cops nap. So so he drops this coin
on the ground and the guard like comes in to
try to like reach through the bars to grab it,
and he knocks the guard out to escape, and I'm like,
that's actually really smart. He then steals a uh he
steals a wagon, a wagon and decides I need to
get to the to the castle. And there the monster's
(43:22):
back at the castle, like drinking all this brandy and
just wrecking everything. Frankenstein gets Hands and Katie out of
the castle to try to subdue the monster because at
this point the monster's just wrecking everything. Right, Fires start
and the lab explodes.
Speaker 1 (43:40):
Because, uh, some liquid gets onto the electrical equipment. Electrical
equipment that was kind of flammable.
Speaker 2 (43:49):
Yeah, and then we see Hands and Katie looking back
at the castle as the entire tower of the castle
where the lab was it blows up collapses the Okay,
and that's.
Speaker 1 (44:01):
Pretty good considering it with a matte painting.
Speaker 2 (44:03):
Yeah, pretty good. So all right, it's a hammer film.
It's obviously good. It's obviously good. It's I don't think
i've really hit. A hammer film that's bad, maybe like
on the low end of average, But this was good,
This was entertaining. What worked? What were the things that
worked for you, Darling?
Speaker 1 (44:22):
I like to interplay between hants And and the Baron. Yeah,
that really worked as two real good friends.
Speaker 2 (44:36):
Yeah, scientists that are colleagues that are working together friends.
Speaker 1 (44:40):
We had too many villains in US.
Speaker 2 (44:43):
Yeah, because you have Zoltan the villain, you have the Burgermeister,
you have the chief of police, the priest. All the
villagers in general are kind of villains. I don't know. Katie,
the deaf mute woman, is fantastic in this.
Speaker 1 (44:57):
She's the only good person. The creature I can't even
say is good.
Speaker 2 (45:02):
Yeah, because he's kind of a dick to. I mean,
he's under control for the times that he actually does
something bad, so I can't really blame him for any
of the evil that he does. But okay, what works.
I think the acting overall is really good. Acting is
really good. Peter Cushing again a jem right.
Speaker 1 (45:20):
Some of the settings were set worked. I don't always
like how on the characters. The bad part was the
characters being less than even characters.
Speaker 2 (45:36):
Okay, that's fine. But that's fine. The characters you can
say overall don't work, but I'm still trying to think
of the things at work.
Speaker 1 (45:44):
I felt like they were like the villains and Flash Gordon.
Speaker 2 (45:48):
Okay, I think the pacing works. Yes, you're never really bored.
It's always it's the pacing keeps going. I like it.
What doesn't work you've already said, I don't think I
can really add anything else to that, you know, I
was still trying to go with what worked.
Speaker 1 (46:07):
Well, what it's half of one and bad the other.
Speaker 2 (46:11):
You know, with everything else, well, no, I wouldn't even
say bad the other. I don't think this movie really
does anything truly wrong. There's a couple special effect shots
that I didn't like that I'm like, oh, that's chroma key.
Speaker 1 (46:22):
That's oh with the wagon.
Speaker 2 (46:25):
Yeah, But but over all, the special effects of this movie,
come on, all the lab equipment is technically special effects.
That's fantastic.
Speaker 1 (46:32):
As the baron was chasing after yeah, to get to
the castle, he runs through the crowd and it's bad
chroma key, and it's bad chroma key.
Speaker 2 (46:45):
But that's like one thing. A couple maybe questionable day
for night shots, but like you know, over all the
special effects are pretty good. I won't put it into
the it works category just because of the couple really
bad ones. But and the monster makeup isn't that great,
so I can't put it into the it works but it's.
Speaker 1 (47:06):
But I can say that I was very impressed with
the shoes.
Speaker 2 (47:11):
Oh monster shoes.
Speaker 1 (47:12):
The monster shoes.
Speaker 2 (47:13):
They were copper, some of them.
Speaker 1 (47:16):
Some of the time it was copper that was painted.
Speaker 2 (47:19):
Okay, okay, So I think overall I would recommend this movie.
I'm gonna recommend this movie. I mean, it's hard for
me not to recommend a Hammer movie. Do you do?
You recommend it?
Speaker 1 (47:34):
It fits with with what we we like. But I'm
a I'm almost fence sitting on this. Maybe it goes
to a five and a half, really, but I really
think it's about five.
Speaker 2 (47:47):
Six and a half for me, And I'm not sure
why it would only be a five for you. That's
fine to have a different opinion, but I don't see
why it would be a five. Like you clearly enjoyed it.
Speaker 1 (47:57):
It's just that all the all the characters were sure.
Speaker 2 (48:01):
The characters are awful, but except for the main characters,
which are actually really good for once, all of them.
They're interesting.
Speaker 1 (48:09):
Seemed like they didn't have unless you were the even
Hants quite didn't have backstory of something.
Speaker 2 (48:20):
It just think but he had motivation and character. That's
the thing. Right.
Speaker 1 (48:25):
What I'm saying is it wasn't enough.
Speaker 2 (48:27):
Okay, that's fine. I think it. To me it was,
but that's okay to have a different opinion, so you
would say, yes, you do recommend it. It's about a
five to five and a half for you. For me,
it's a six and a half. I can't say it's
a it's a seven, but it's definitely above my average
(48:49):
of four to six. When I say, like an average
is four to six, it's outside of that. This is
pretty good. So I don't know. It's kind of a
it's a mixed positive review for us. Any final thoughts
not No, okay, I don't know what we're gonna do
for our next one. But it's what to eighty?
Speaker 1 (49:07):
What you're keeping the numbers on that it's too.
Speaker 2 (49:10):
Eighty, So yeah, it's gonna we need to find an
interesting movie to do, so I'll leave it there. I'm eron,
I'm Darlene.
Speaker 1 (49:16):
Good evening.
Speaker 2 (49:17):
You keep watching the Skies. At no point in your rambling,
incoherent response, were you even close to anything that could
be considered a rational thought?
Speaker 3 (49:29):
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. Tune in next time, and remember.
Speaker 2 (49:48):
Lower your shields and surrender your listenership. We would be
on a if you would join us. Thank you for
your cooperation. Good night,
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