WEBVTT 00:00:00.140 --> 00:00:03.379 Hello and welcome to Camp Kaiju Monster Movie 00:00:03.379 --> 00:00:07.099 Reviews. We are your hosts, Matt Levine and Vincent 00:00:07.099 --> 00:00:09.939 Hannum. And we're talking about all of our favorite 00:00:09.939 --> 00:00:12.560 monster movies, the good, the bad, and the downright 00:00:12.560 --> 00:00:15.099 campy, and asking if they stand the test of time. 00:00:15.859 --> 00:00:18.739 Traditional kaiju, creature features, space invaders, 00:00:18.839 --> 00:00:20.679 the supernatural, and everything in between. 00:00:20.699 --> 00:00:24.260 All strange beasts are welcome here. Camp Kaiju 00:00:24.260 --> 00:00:27.199 is sponsored by BanditsEmporium .com, where you 00:00:27.199 --> 00:00:29.539 can shop exclusive monster -inspired t -shirts 00:00:29.539 --> 00:00:31.699 with part of the proceeds supporting this show. 00:00:32.659 --> 00:00:35.079 BanditsEmporium .com, hit the link in our bio. 00:00:35.259 --> 00:00:38.719 As they say, we sell shirts. As Camp Kaiju says, 00:00:39.079 --> 00:00:43.689 stay campy, everybody. Camp Kaiju also says, 00:00:43.929 --> 00:00:46.530 sometimes in order to experience death, you have 00:00:46.530 --> 00:00:49.509 to F a gallbladder. Is that the quote? That's 00:00:49.509 --> 00:00:52.329 maybe more of a paraphrase, but tonight we are 00:00:52.329 --> 00:00:54.530 talking about Flesh for Frankenstein, in which 00:00:54.530 --> 00:00:57.770 Udo Kier, as Baron Frankenstein, speaks that 00:00:57.770 --> 00:01:01.390 immortal line. So welcome to the episode, and 00:01:01.390 --> 00:01:05.109 welcome back, Frank. Yay, Frank! Not the most 00:01:05.109 --> 00:01:07.310 family -friendly episode for not the most family 00:01:07.310 --> 00:01:11.319 -friendly movie, I guess. Well, I'm not going 00:01:11.319 --> 00:01:13.260 to like start swearing right off the bat. I'm 00:01:13.260 --> 00:01:15.400 going to censor myself at least initially, but 00:01:15.400 --> 00:01:20.239 probably not going to last. That line is so wickedly 00:01:20.239 --> 00:01:24.760 over the top. It deserves the full Monty. So 00:01:24.760 --> 00:01:28.120 sometime by the end of the episode, Matt, just 00:01:28.120 --> 00:01:31.439 let it rip. Nice. I definitely will. Unless Frank 00:01:31.439 --> 00:01:33.019 wants to. I know Frank loves that line, too. 00:01:33.459 --> 00:01:35.640 Well, I have to tell you, too. So while I was 00:01:35.640 --> 00:01:40.390 watching this movie the other night, I. I actually 00:01:40.390 --> 00:01:44.629 rewound that part and got my phone out to video 00:01:44.629 --> 00:01:47.650 it and then texted it to my brother to make him 00:01:47.650 --> 00:01:48.650 laugh because I knew he would think that was 00:01:48.650 --> 00:01:52.129 really funny. And there were a couple other lines 00:01:52.129 --> 00:01:54.370 of dialogue, too, which I guess we can get into 00:01:54.370 --> 00:01:56.010 later, which I did the same thing for, actually. 00:01:56.030 --> 00:01:57.769 I did that like three or four times during this 00:01:57.769 --> 00:02:01.689 movie. Frank, what did your brother... Has he 00:02:01.689 --> 00:02:03.310 seen this movie? I know he's a big horror fan. 00:02:04.329 --> 00:02:06.790 I don't think he has, surprisingly. I actually 00:02:06.790 --> 00:02:10.340 had asked him... last time i saw him if he had 00:02:10.340 --> 00:02:13.680 a copy of the movie um but he did not which surprised 00:02:13.680 --> 00:02:16.520 me a little bit because i saw um you know the 00:02:16.520 --> 00:02:20.759 companion film to this one uh but oh god now 00:02:20.759 --> 00:02:22.479 i'm blanking on the name is it blood for dracula 00:02:22.479 --> 00:02:25.819 yeah i i watched that one with him years and 00:02:25.819 --> 00:02:29.020 years ago and remember not really liking it um 00:02:29.020 --> 00:02:32.539 but i just figured since you know that he would 00:02:32.539 --> 00:02:34.979 have seen this one too but apparently not apparently 00:02:35.739 --> 00:02:37.900 He has not seen this one somehow, even though 00:02:37.900 --> 00:02:40.500 he's a huge horror aficionado. I would imagine 00:02:40.500 --> 00:02:44.240 that he'll be amused by it, to say the least. 00:02:44.680 --> 00:02:48.099 I have not seen Blood for Dracula, but if it's 00:02:48.099 --> 00:02:50.039 anything like this movie, I really do want to 00:02:50.039 --> 00:02:53.099 watch it soon. I've heard that it's not as good 00:02:53.099 --> 00:02:55.580 as Flesh for Frankenstein, but not as good might 00:02:55.580 --> 00:02:58.340 be kind of a relative phrase in this case. Right. 00:02:58.400 --> 00:03:00.879 What I've heard is that it maybe takes itself 00:03:00.879 --> 00:03:06.629 more seriously. That's one person's take. I haven't 00:03:06.629 --> 00:03:11.389 seen Blood for Dracula. I have heard there is 00:03:11.389 --> 00:03:16.370 humor in Flesh for Frankenstein. I see that what 00:03:16.370 --> 00:03:20.009 people talk about, the aforementioned line, for 00:03:20.009 --> 00:03:25.069 example. But I will get into it later, but I 00:03:25.069 --> 00:03:29.210 feel like the humor was a bit lost on me. Maybe 00:03:29.210 --> 00:03:32.960 not my type. yeah no that's certainly understandable 00:03:32.960 --> 00:03:37.139 um i feel like any range of reactions to this 00:03:37.139 --> 00:03:39.800 movie from just like completely hating it and 00:03:39.800 --> 00:03:41.620 thinking it's the worst piece of trash ever made 00:03:41.620 --> 00:03:44.180 to like loving it and like watching it constantly 00:03:44.180 --> 00:03:47.039 and being totally delighted by it all like both 00:03:47.039 --> 00:03:48.919 of those reactions totally make sense to me in 00:03:48.919 --> 00:03:51.819 this case which is great i mean i love a movie 00:03:51.819 --> 00:03:55.539 that can elicit such a wide response yeah um 00:03:55.539 --> 00:03:57.460 i'm interested to see what you guys think about 00:03:57.460 --> 00:04:00.449 it and later on i'll I'm burying the lead here, 00:04:00.569 --> 00:04:02.610 but I'll let you know how I feel about it as 00:04:02.610 --> 00:04:09.310 we move along. I would expect so. Yeah. So thank 00:04:09.310 --> 00:04:11.289 you again, Frank. Frank Olson has been on the 00:04:11.289 --> 00:04:13.069 show several times in the past. It's always a 00:04:13.069 --> 00:04:15.900 pleasure to have you on. Thanks to all of you 00:04:15.900 --> 00:04:17.720 out there as well for hanging out and listening 00:04:17.720 --> 00:04:20.879 to the show. Please rate and review Camp Kaiju 00:04:20.879 --> 00:04:22.680 wherever you listen. You can also share this 00:04:22.680 --> 00:04:26.639 podcast with a friend. Also, make sure to check 00:04:26.639 --> 00:04:29.300 out our website and Patreon. Vincent, do you 00:04:29.300 --> 00:04:31.199 want to talk a little bit more about those? Sure. 00:04:32.199 --> 00:04:35.100 CampKaijuMovieReviews .com features past episodes 00:04:35.100 --> 00:04:40.089 of this podcast. Links to other reviews of ours 00:04:40.089 --> 00:04:43.670 that matt and i and potential guest uh reviewers 00:04:43.670 --> 00:04:47.730 are typing up weekly and links to our patreon 00:04:47.730 --> 00:04:51.769 you can visit patreon .com slash camp kaiju for 00:04:51.769 --> 00:04:55.430 all sorts of bonus features special series and 00:04:55.430 --> 00:04:58.769 other kinds of perks our lowest tier is just 00:04:58.769 --> 00:05:01.610 three dollars a month and our highest is only 00:05:01.610 --> 00:05:05.509 15 a month all that money helps us support the 00:05:05.509 --> 00:05:10.040 show and give back to all you for your support. 00:05:10.360 --> 00:05:14.160 So thank you to you all, including Frank. You 00:05:14.160 --> 00:05:19.500 are a patron. And Chris and Kelly and Peggy and 00:05:19.500 --> 00:05:24.100 our anonymous patrons. And for you all, we have 00:05:24.100 --> 00:05:29.519 one very special gong to hit. Frank, are you 00:05:29.519 --> 00:05:33.879 ready and willing to hit the Gamera gong? I am, 00:05:33.879 --> 00:05:37.509 and I know it's an audio medium, but yes. Imagine 00:05:37.509 --> 00:05:41.089 that I'm swinging it like a mace above my head 00:05:41.089 --> 00:05:58.230 here. Wow, that was worth like the six windups 00:05:58.230 --> 00:06:01.269 you gave it. It was like a cartoon Looney Tunes 00:06:01.269 --> 00:06:04.689 windup. It was really impressive. Good job. I 00:06:04.689 --> 00:06:09.160 hope I didn't break it. We have some other great 00:06:09.160 --> 00:06:12.000 stuff coming up on Camp Kaiju as well. Later 00:06:12.000 --> 00:06:13.800 in April, we're going to be talking about The 00:06:13.800 --> 00:06:16.240 Valley of Gwangi, which I think is our first 00:06:16.240 --> 00:06:18.120 Ray Harryhausen movie that we're going to be 00:06:18.120 --> 00:06:21.720 talking about on the podcast. Yeah, some dinosaurs 00:06:21.720 --> 00:06:25.980 and cowboys. Very excited to talk about that. 00:06:26.660 --> 00:06:29.319 Then after that, we're going to get back to Godzilla 00:06:29.319 --> 00:06:34.519 with Godzilla vs. King Ghidorah from 1991. And 00:06:34.519 --> 00:06:38.360 then... rounding out the rest of this first half 00:06:38.360 --> 00:06:42.740 of the year. Wolf, directed by Mike Nichols, 00:06:42.779 --> 00:06:45.660 I believe, and starring Jack Nicholson. I've 00:06:45.660 --> 00:06:47.160 heard it makes it. Yeah, it is 94. You're right. 00:06:48.139 --> 00:06:50.160 Yeah, I'm excited. I've heard mixed things about 00:06:50.160 --> 00:06:53.240 it, but it sounds very interesting to me. A friend 00:06:53.240 --> 00:06:55.160 of mine described it as not so much a werewolf 00:06:55.160 --> 00:06:56.759 movie and more about the publishing industry. 00:06:57.000 --> 00:07:02.040 So I am intrigued. And Gary Dansu, former Camp 00:07:02.040 --> 00:07:04.319 Kaiju host, will be returning for both of those 00:07:04.319 --> 00:07:07.290 two films. Wolf and Godzilla vs. King Ghidorah. 00:07:07.730 --> 00:07:12.170 Then we're going to talk about the OG blob from 00:07:12.170 --> 00:07:17.750 the 1950s. And then our final movie before Kaijulai 00:07:17.750 --> 00:07:22.350 is Porco Rosso. And Frank, are you still on to 00:07:22.350 --> 00:07:26.209 help us talk about that one? Yeah, yeah, looking 00:07:26.209 --> 00:07:28.670 forward to it. Yeah, I saw that, I don't know, 00:07:28.709 --> 00:07:30.670 maybe 10 or so years ago and remembered really 00:07:30.670 --> 00:07:32.209 liking it. So it's been one I've been wanting 00:07:32.209 --> 00:07:35.220 to revisit anyway. Yeah, definitely excited to 00:07:35.220 --> 00:07:39.079 get into that one. Me too. The whole Studio Ghibli 00:07:39.079 --> 00:07:42.639 is like a whole world unto itself. I'm going 00:07:42.639 --> 00:07:46.939 to enjoy doing my homework for Porco Rosso. Yeah, 00:07:46.980 --> 00:07:49.459 I really love Miyazaki, but I've only seen for 00:07:49.459 --> 00:07:51.040 the most part, I've only seen his latter day 00:07:51.040 --> 00:07:52.980 movies and not a lot of his earlier movies. So 00:07:52.980 --> 00:07:55.980 I'm excited to visit Porco Rosso for the first 00:07:55.980 --> 00:08:00.850 time. Yeah. All right. So Flesh for Frankenstein 00:08:00.850 --> 00:08:02.449 is the movie that we're talking about tonight 00:08:02.449 --> 00:08:06.529 from 1974, directed by Paul Morrissey. I've always 00:08:06.529 --> 00:08:08.269 been really fascinated to see it. I mean, it 00:08:08.269 --> 00:08:10.949 just sounds so sleazy and trashy and gory and 00:08:10.949 --> 00:08:13.370 like filled with sex and nudity and just like 00:08:13.370 --> 00:08:15.629 such a product of its time in the early 70s. 00:08:16.730 --> 00:08:19.529 And like, you know, the idea of like taking that 00:08:19.529 --> 00:08:21.850 approach with such a classic of literature, Mary 00:08:21.850 --> 00:08:24.189 Shelley's Frankenstein, which this movie sort 00:08:24.189 --> 00:08:26.750 of bastardizes quite a bit, I think you could 00:08:26.750 --> 00:08:31.000 say. Despite this movie's many flaws, I still 00:08:31.000 --> 00:08:32.500 think it's going to be pretty fascinating to 00:08:32.500 --> 00:08:35.100 talk about. So I'll turn it over to Frank. What 00:08:35.100 --> 00:08:37.539 was your experience with this film and just kind 00:08:37.539 --> 00:08:39.639 of this whole world of films around this time? 00:08:39.759 --> 00:08:42.620 I had seen Blood for Dracula. To be honest, remember 00:08:42.620 --> 00:08:45.000 that one being kind of boring. You know, that 00:08:45.000 --> 00:08:48.059 one was filmed, I think, like immediately after 00:08:48.059 --> 00:08:51.639 Flesh for Frankenstein and done as kind of like 00:08:51.639 --> 00:08:54.080 a, you know, he convinced the studio to finance 00:08:54.080 --> 00:08:57.450 both of them together, basically. So there's 00:08:57.450 --> 00:08:59.690 a lot of the same cast and crew and everything. 00:08:59.970 --> 00:09:02.590 But honestly, when you asked me to come on to 00:09:02.590 --> 00:09:05.409 do this one, I was willing to do it, but I wasn't 00:09:05.409 --> 00:09:08.389 super thrilled about the selection necessarily. 00:09:09.389 --> 00:09:13.730 But this one I think is a more interesting movie. 00:09:14.210 --> 00:09:17.570 I don't really have a lot of knowledge of what 00:09:17.570 --> 00:09:20.850 Paul Morrissey has done. I know he kind of comes 00:09:20.850 --> 00:09:27.870 from the Andy Warhol Like, that group of, you 00:09:27.870 --> 00:09:31.629 know, just eccentrics that Andy Warhol hung out 00:09:31.629 --> 00:09:36.190 with. And, you know, I know this movie also had 00:09:36.190 --> 00:09:39.649 been released under the title Andy Warhol's Frankenstein. 00:09:39.649 --> 00:09:42.850 And somehow, sometimes known as that, even though 00:09:42.850 --> 00:09:45.070 it seems like Warhol had basically nothing to 00:09:45.070 --> 00:09:47.289 do with it. You know, I know a little bit about, 00:09:47.309 --> 00:09:49.470 like, Andy Warhol's movies. I've seen a handful 00:09:49.470 --> 00:09:51.710 of them, and this doesn't really resemble them 00:09:51.710 --> 00:09:54.049 in any way. Pretty different than, like, his... 00:09:54.460 --> 00:09:57.200 you know movie empire which is the like eight 00:09:57.200 --> 00:10:00.279 hour uh continuous shot of the empire state building 00:10:00.279 --> 00:10:04.860 so maybe flesh for frankenstein is the empire 00:10:04.860 --> 00:10:10.860 of sleazy horror adaptations yeah um but yeah 00:10:10.860 --> 00:10:13.220 no let's i'll turn it over to vincent now vincent 00:10:13.220 --> 00:10:15.559 what is your experience with flesh for frankenstein 00:10:15.559 --> 00:10:19.179 if any well i first heard about this film last 00:10:19.179 --> 00:10:26.559 fall september i was In one of my yearly Frankenstein 00:10:26.559 --> 00:10:30.259 deep dives. For long -time listeners, for you 00:10:30.259 --> 00:10:33.500 guys, you probably know Frankenstein, the 1933... 00:10:33.500 --> 00:10:37.700 No. Oh, my God. What year did that movie come 00:10:37.700 --> 00:10:41.480 out? The original one was Boris Karloff. Or maybe 00:10:41.480 --> 00:10:47.019 31. I think it's 31. It is 31. 31 is right. Oh, 00:10:47.059 --> 00:10:50.019 wow. I just lost my Frankenstein cred there. 00:10:50.240 --> 00:10:53.830 Okay. Yeah. Grew up with that movie. Love that 00:10:53.830 --> 00:10:56.769 movie. But for the longest time, the Universal 00:10:56.769 --> 00:10:59.809 series was really my only exposure to cinematic 00:10:59.809 --> 00:11:05.169 Frankensteins. And this movie definitely had 00:11:05.169 --> 00:11:08.809 me curious with the Andy Warhol name attached 00:11:08.809 --> 00:11:12.970 to it, which is the point of his whole producing 00:11:12.970 --> 00:11:15.669 there. And yeah, I didn't see it, though, until 00:11:15.669 --> 00:11:21.960 just last week. And it was... Both what I expected 00:11:21.960 --> 00:11:25.460 and also not what I expected. I can't wait to 00:11:25.460 --> 00:11:27.139 talk about it. I love the production history 00:11:27.139 --> 00:11:31.480 of this movie. I love how it came into existence. 00:11:32.159 --> 00:11:34.600 I would also like to add that you wrote your 00:11:34.600 --> 00:11:37.240 own adaptation of Frankenstein, a stage adaptation. 00:11:37.720 --> 00:11:39.840 So I don't think your Frankenstein credentials 00:11:39.840 --> 00:11:42.679 can ever be revoked. I think they will last you 00:11:42.679 --> 00:11:45.179 your entire life now. Thank you. Thank you. I 00:11:45.179 --> 00:11:49.669 like to think... No, then that gets in my way 00:11:49.669 --> 00:11:52.690 to like, I, I love the Frankenstein story so 00:11:52.690 --> 00:11:56.210 much. I don't mind seeing it bastardized, like, 00:11:56.250 --> 00:11:58.889 whatever, I don't care, like, make something 00:11:58.889 --> 00:12:01.509 interesting. But sometimes it could also get 00:12:01.509 --> 00:12:04.950 in my way of like, no, that's not the that's 00:12:04.950 --> 00:12:08.649 not how Victor Frankenstein should act. And it's 00:12:08.649 --> 00:12:10.990 like, well, how should he act? That's the conversation. 00:12:11.129 --> 00:12:13.519 So probably more interesting to see something 00:12:13.519 --> 00:12:15.940 that's not faithful to the original source material 00:12:15.940 --> 00:12:18.340 you know because it's so well known at this point 00:12:18.340 --> 00:12:20.820 but you know what's the point of really making 00:12:20.820 --> 00:12:24.299 an ultra faithful version of it anyway so right 00:12:24.299 --> 00:12:28.820 so i i do want to see all the other crazy sounding 00:12:28.820 --> 00:12:32.759 frankensteins like frankenhooker or blackenstein 00:12:32.759 --> 00:12:37.059 or frankenstein meets the space monster there's 00:12:37.059 --> 00:12:40.950 just a whole slew of of those types of frankenstein 00:12:40.950 --> 00:12:44.269 adaptations that i'm here for even if i don't 00:12:44.269 --> 00:12:47.350 like them i'm here for them i hope we talk about 00:12:47.350 --> 00:12:51.309 many of them on this show in the future blackenstein 00:12:51.309 --> 00:12:53.649 was on the criterion channel recently and i really 00:12:53.649 --> 00:12:55.289 really wanted to watch it and then i think it 00:12:55.289 --> 00:12:57.490 left at the end of march so i did not get a chance 00:12:57.490 --> 00:13:03.210 but bummer uh it looks uh unique i'll probably 00:13:03.210 --> 00:13:05.549 refer to flesh for frankenstein as unique numerous 00:13:05.549 --> 00:13:07.669 times because like that avoids me saying good 00:13:07.669 --> 00:13:10.399 or bad which like You know, so it's a good invasion 00:13:10.399 --> 00:13:14.720 in that way. Right. Well, if you guys are ready, 00:13:14.779 --> 00:13:17.779 we can jump into a brief plot synopsis. Let's 00:13:17.779 --> 00:13:20.460 do it. This gory, campy, sex -filled adaptation 00:13:20.460 --> 00:13:23.379 in name only of Mary Shelley's novel features 00:13:23.379 --> 00:13:26.620 a more sadistic version of Baron Frankenstein 00:13:26.620 --> 00:13:28.940 than you've ever seen before. He's married to 00:13:28.940 --> 00:13:31.620 his sister and even has two kids with her. So 00:13:31.620 --> 00:13:33.600 right off the bat, the movie is chock full of 00:13:33.600 --> 00:13:38.299 incest. The Baron and his assistant, Otto, attempt 00:13:38.299 --> 00:13:40.919 to reanimate two beings, a male and a female, 00:13:41.080 --> 00:13:44.620 using dead tissue from corpses. The Baron's ultimate 00:13:44.620 --> 00:13:47.940 goal is to create a master Serbian race descending 00:13:47.940 --> 00:13:51.500 from himself. He also achieves sexual gratification 00:13:51.500 --> 00:13:54.419 from the female monster, fondling and opening 00:13:54.419 --> 00:13:57.259 her surgical wounds and doing unthinkable things 00:13:57.259 --> 00:14:01.610 with her innards. Disappointed with the lack 00:14:01.610 --> 00:14:04.509 of sexual libido in his male creation, the Baron 00:14:04.509 --> 00:14:06.789 and Otto find a handsome farmhand named Sasha 00:14:06.789 --> 00:14:09.850 as he's leaving a brothel and decapitate him, 00:14:10.029 --> 00:14:13.309 hoping to plant his head onto the monster's body. 00:14:13.789 --> 00:14:16.529 The plot thickens when Sasha's friend, Nicholas, 00:14:16.870 --> 00:14:19.429 is hired by the Baron's wife -slash -sister, 00:14:19.629 --> 00:14:24.309 Katrin, as a manservant and to provide her with 00:14:24.309 --> 00:14:27.389 sexual favors. It all leads to a violent climax 00:14:27.389 --> 00:14:30.230 filled with disembowelment, death by lovemaking 00:14:30.230 --> 00:14:33.649 and an impalement that must have really been 00:14:33.649 --> 00:14:38.169 something in the film's original 3d release yeah 00:14:38.169 --> 00:14:41.889 and i actually didn't realize it was released 00:14:41.889 --> 00:14:45.289 as a 3d movie something like something like the 00:14:45.289 --> 00:14:48.110 end impalement totally makes sense now why it 00:14:48.110 --> 00:14:52.110 was shot that way but at the same time the way 00:14:52.110 --> 00:14:55.169 it's framed regardless of the 3d nature i was 00:14:55.169 --> 00:14:58.000 like that's a dynamic shot I really enjoy that 00:14:58.000 --> 00:15:00.840 shot too. There's also the moment pretty early 00:15:00.840 --> 00:15:04.059 on when the Baron and Otto are first sort of 00:15:04.059 --> 00:15:06.799 like handling a bunch of guts and like the Baron 00:15:06.799 --> 00:15:09.179 is like holding all like all the entrails like 00:15:09.179 --> 00:15:11.879 directly out to the camera pretty much. And yeah, 00:15:11.940 --> 00:15:13.860 like I also didn't realize till after I saw it 00:15:13.860 --> 00:15:17.879 that it was released in some areas in 3D, but 00:15:17.879 --> 00:15:19.840 only some in other places it was released in 00:15:19.840 --> 00:15:21.299 2D. There were a lot of different versions of 00:15:21.299 --> 00:15:24.740 this movie that were released. So, yeah, like 00:15:24.740 --> 00:15:26.779 it's kind of like, you know, all the sort of 00:15:26.779 --> 00:15:30.259 horror 3D movies like Friday the 13th 3D and 00:15:30.259 --> 00:15:32.700 Jaws 3D and stuff where like there are so many 00:15:32.700 --> 00:15:34.899 or there are some gratuitous moments where like, 00:15:34.940 --> 00:15:38.059 you know, viscera pops out of the screen to like 00:15:38.059 --> 00:15:40.720 take advantage of that 3D technology. And it's 00:15:40.720 --> 00:15:42.179 yeah, it can be kind of fun in this movie at 00:15:42.179 --> 00:15:45.539 times. The 3D element of it and, you know, watching 00:15:45.539 --> 00:15:49.190 in, you know, not 3D. It's not nearly as distracting 00:15:49.190 --> 00:15:51.309 as it is in a lot of other movies like this. 00:15:51.370 --> 00:15:53.429 There's not like the cheesy stuff where someone's 00:15:53.429 --> 00:15:55.470 like, you know, got like the ping pong paddle 00:15:55.470 --> 00:15:58.049 that they're like shaking directly at the screen 00:15:58.049 --> 00:16:01.090 or any like real obvious stuff like that. Like, 00:16:01.110 --> 00:16:03.690 you know, like you were saying that that kind 00:16:03.690 --> 00:16:06.370 of impalement shot toward the end is just kind 00:16:06.370 --> 00:16:08.909 of a cool looking shot, even in 2D anyway. Yeah, 00:16:08.990 --> 00:16:11.700 I would agree with that. And I do love the end 00:16:11.700 --> 00:16:13.559 of this movie, just like how many people die 00:16:13.559 --> 00:16:15.620 like right in a row and their bodies are literally 00:16:15.620 --> 00:16:18.519 piled right on top of each other. I can only 00:16:18.519 --> 00:16:20.340 assume that's intentionally humorous because 00:16:20.340 --> 00:16:23.639 I found it hilarious. The film was directed by 00:16:23.639 --> 00:16:25.700 Paul Morrissey, pretty interesting figure in 00:16:25.700 --> 00:16:27.799 himself. It was part of Andy Warhol's factory 00:16:27.799 --> 00:16:32.179 for quite a long time. worked with Warhol, co 00:16:32.179 --> 00:16:36.159 -directed with him on several films. Chelsea 00:16:36.159 --> 00:16:38.580 Girls might be one of the most famous films that 00:16:38.580 --> 00:16:40.360 he directed. I think he co -directed that one 00:16:40.360 --> 00:16:42.600 with Warhol, however. Morrissey also directed 00:16:42.600 --> 00:16:44.799 The Velvet Underground and Nico, A Symphony of 00:16:44.799 --> 00:16:48.940 Sound in 1966, and a movie called Flesh from 00:16:48.940 --> 00:16:52.450 1968. which also stars Joe D 'Alessandro. We'll 00:16:52.450 --> 00:16:54.029 talk about him in just a couple moments here. 00:16:54.610 --> 00:16:56.789 Morrissey also directed the first film featuring 00:16:56.789 --> 00:17:00.450 a transgender actress. Her name was Holly Woodlawn, 00:17:00.470 --> 00:17:03.870 and the film was called Trash from 1970. That 00:17:03.870 --> 00:17:06.269 film also starred D 'Alessandro. So, you know, 00:17:06.289 --> 00:17:09.329 Morrissey seems to be kind of like a countercultural, 00:17:09.390 --> 00:17:13.710 forward -thinking, somewhat, you know, pushing 00:17:13.710 --> 00:17:17.140 the boundaries of film form a little bit. However, 00:17:17.240 --> 00:17:19.359 at the same time, he was a self -avowed right 00:17:19.359 --> 00:17:21.259 -winger. He called himself very conservative. 00:17:21.380 --> 00:17:25.019 He served in the US Army. He publicly protested 00:17:25.019 --> 00:17:28.160 against immorality and anti -Catholicism. That 00:17:28.160 --> 00:17:31.799 kind of, you know... anti -immorality strain 00:17:31.799 --> 00:17:33.960 goes back to his first short, All Aboard the 00:17:33.960 --> 00:17:37.460 Dreamland Choo Choo, which sounds like a very 00:17:37.460 --> 00:17:40.140 disturbing and abrasive movie, and it's kind 00:17:40.140 --> 00:17:42.039 of a scathing indictment of hippie culture and 00:17:42.039 --> 00:17:44.880 just how hippies can't take gratification in 00:17:44.880 --> 00:17:47.660 anything, and even the most extreme sex and violence 00:17:47.660 --> 00:17:51.140 fails to excite them. So, just a lot of contradictions 00:17:51.140 --> 00:17:53.279 here. The fact that Morrissey made this movie 00:17:53.279 --> 00:17:56.640 and has worked with Warhol so much, who was such 00:17:56.640 --> 00:18:00.039 an avant -garde leftist figure. even though Morrissey 00:18:00.039 --> 00:18:02.160 apparently was not, although that's obviously 00:18:02.160 --> 00:18:06.400 open to discussion. The film has Andy Warhol's 00:18:06.400 --> 00:18:09.099 name attached to it, but he didn't really have 00:18:09.099 --> 00:18:12.299 very much to do with the making of the film. 00:18:12.420 --> 00:18:14.839 He reportedly visited the set once during production 00:18:14.839 --> 00:18:16.680 and then once again during the editing process. 00:18:17.160 --> 00:18:19.079 So that was really a case where his name was 00:18:19.079 --> 00:18:21.420 attached to it in a way to generate publicity 00:18:21.420 --> 00:18:24.279 and get more people to see the movie. Well, just 00:18:24.279 --> 00:18:27.039 a little bit about him. He was an American visual 00:18:27.039 --> 00:18:30.859 artist and was really at his height in the 60s 00:18:30.859 --> 00:18:32.920 counterculture. But he started his career in 00:18:32.920 --> 00:18:35.980 the 50s and all the way up until his death in 00:18:35.980 --> 00:18:38.920 1987. His works generally explore the relationship 00:18:38.920 --> 00:18:42.220 between artists and their expression, advertising 00:18:42.220 --> 00:18:45.599 and celebrity culture. So you see those things 00:18:45.599 --> 00:18:48.980 in some of his most famous works like the Campbell 00:18:48.980 --> 00:18:53.680 Soup. cans and the Marilyn Diptych silk print. 00:18:54.099 --> 00:18:57.500 So he worked a lot in silk screens, as well as 00:18:57.500 --> 00:19:00.599 painting, photography, film, and experimental 00:19:00.599 --> 00:19:03.880 films like Empire, which keeps coming back. So 00:19:03.880 --> 00:19:06.460 that's, yeah, that's Andy Warhol in a soup can 00:19:06.460 --> 00:19:08.980 for you. Despite Warhol's relatively limited 00:19:08.980 --> 00:19:11.220 involvement in the film, it still seems like 00:19:11.220 --> 00:19:14.079 a pretty good example of Warhol's, you know, 00:19:14.079 --> 00:19:16.480 post -modernism. He's like one of the most... 00:19:17.039 --> 00:19:19.599 like emblematic postmodern artists of all time 00:19:19.599 --> 00:19:22.099 and like the flesh for frankenstein still definitely 00:19:22.099 --> 00:19:24.500 seems like a movie which like and it's kind of 00:19:24.500 --> 00:19:28.160 like crude aesthetic and it's sort of uh extremely 00:19:28.160 --> 00:19:30.900 self -aware approach to the material still seems 00:19:30.900 --> 00:19:33.180 identifiably like it's coming from warhol's factory 00:19:33.180 --> 00:19:36.720 i think the second unit director antonio margariti 00:19:36.720 --> 00:19:40.059 who shot some of the special effects scenes Margariti 00:19:40.059 --> 00:19:42.839 was actually credited as the director in some 00:19:42.839 --> 00:19:45.059 of the Italian prints so that they could get 00:19:45.059 --> 00:19:48.200 tax breaks from the Italian government. We also 00:19:48.200 --> 00:19:51.720 have the film also has music by Claudio Gizzi. 00:19:52.180 --> 00:19:55.119 Surprisingly, very somber score, I think. At 00:19:55.119 --> 00:19:56.799 times, this movie kind of plays like a parody 00:19:56.799 --> 00:19:58.720 of a European art movie, in my opinion. And I 00:19:58.720 --> 00:20:01.180 think the music goes a long way in suggesting 00:20:01.180 --> 00:20:05.539 that. Cinematography by Luigi. Cuvée, who had 00:20:05.539 --> 00:20:07.599 an accomplished career working on films such 00:20:07.599 --> 00:20:09.940 as Investigation of a Citizen Above Suspicion 00:20:09.940 --> 00:20:13.200 by Elio Petri, and Avanti, I've heard of that 00:20:13.200 --> 00:20:16.180 one, by Billy Wilder, Dario Argento's Deep Red, 00:20:16.319 --> 00:20:18.819 and many others. And the special effects were 00:20:18.819 --> 00:20:22.000 by Carlo Rambaldi, who worked with Mario Bava, 00:20:22.200 --> 00:20:25.880 Federico Fellini, Pier Paolo Pasolini, and Dario 00:20:25.880 --> 00:20:28.359 Argento, so like all of the big names of Italian 00:20:28.359 --> 00:20:30.579 cinema from that time. He did special effects 00:20:30.579 --> 00:20:33.299 work on... on other things as well like planet 00:20:33.299 --> 00:20:36.759 of the vampires deep red which i just saw recently 00:20:36.759 --> 00:20:42.019 uh the 1976 remake of king kong close encounters 00:20:42.019 --> 00:20:47.039 of the third kind possession alien et the extraterrestrial 00:20:47.039 --> 00:20:51.480 the original dune so wow a bit of a big shot 00:20:51.480 --> 00:20:53.930 in the special effects world there Yeah, and 00:20:53.930 --> 00:20:57.869 this is one of his earliest special effects productions 00:20:57.869 --> 00:20:59.710 where he was kind of the head of the special 00:20:59.710 --> 00:21:03.150 effects for the film. And they're, you know, 00:21:03.210 --> 00:21:04.869 they're definitely bare bones. They seem very 00:21:04.869 --> 00:21:08.009 cheap at times, but sometimes they're pretty 00:21:08.009 --> 00:21:10.049 well done. They're pretty stylish and visceral, 00:21:10.109 --> 00:21:13.430 I think. There's a decapitation scene, which 00:21:13.430 --> 00:21:15.250 I definitely will be talking about later. So 00:21:15.250 --> 00:21:18.089 moving on to the cast of the film a little bit. 00:21:18.170 --> 00:21:21.950 Udo Kier. The legendary Udo Kier is Baron Frankenstein. 00:21:22.430 --> 00:21:24.470 He's maybe one of the main reasons I think this 00:21:24.470 --> 00:21:27.089 movie has such a cult status because every single 00:21:27.089 --> 00:21:30.269 one of his line readings is so over the top and 00:21:30.269 --> 00:21:32.829 hammy and ridiculous and amazing. He was an openly 00:21:32.829 --> 00:21:36.329 gay actor who, you know, all throughout his career, 00:21:36.410 --> 00:21:40.299 he was very open about his homosexuality. He's 00:21:40.299 --> 00:21:42.920 appeared in over 220 movies throughout his career. 00:21:43.119 --> 00:21:45.539 He's collaborated with Lars von Trier on almost 00:21:45.539 --> 00:21:48.359 all of von Trier's movies since 1987's Epidemic. 00:21:48.619 --> 00:21:52.900 He's also in Dario Argento's Suspiria, Fassbender's 00:21:52.900 --> 00:21:56.339 Lily Marlene, Gus Van Sant's My Own Private Idaho, 00:21:56.539 --> 00:21:58.940 not to mention Hollywood blockbusters like Ace 00:21:58.940 --> 00:22:01.339 Ventura Pet Detective, Barb Wire, Blade, and 00:22:01.339 --> 00:22:03.940 Armageddon. Just one of the weirdest filmographies 00:22:03.940 --> 00:22:06.940 you can possibly find. I know him best from Ace 00:22:06.940 --> 00:22:11.490 Ventura Pet Detective. I had no idea but those 00:22:11.490 --> 00:22:14.170 eyes he's very striking eyes that I was gonna 00:22:14.170 --> 00:22:16.329 say I always think of him as being sort of like 00:22:16.329 --> 00:22:19.309 you know Christopher Walken if Christopher Walken 00:22:19.309 --> 00:22:23.430 was German then like not a very good actor basically 00:22:23.430 --> 00:22:27.630 he has the same kind of just like general like 00:22:27.630 --> 00:22:30.069 weirdness where he just like looks like he you 00:22:30.069 --> 00:22:32.069 know does not belong on this planet basically 00:22:32.619 --> 00:22:35.339 And he just has the voice and the accent where, 00:22:35.400 --> 00:22:37.599 like, you could listen to him read from the phone 00:22:37.599 --> 00:22:39.519 book for hours and I would be totally entertained, 00:22:39.759 --> 00:22:43.500 you know? You've also got Joe D 'Alessandro as 00:22:43.500 --> 00:22:47.380 Nicholas, the handsome stable boy. Morrissey 00:22:47.380 --> 00:22:50.500 had directed D 'Alessandro in Trash, which predate 00:22:50.500 --> 00:22:53.500 the sexual frankness and the dark humor of Flesh 00:22:53.500 --> 00:22:56.339 for Frankenstein. D 'Alessandro became a sex 00:22:56.339 --> 00:22:58.960 symbol for the gay subculture in the 60s and 00:22:58.960 --> 00:23:02.759 70s and is bisexual in real life. He had a troubled 00:23:02.759 --> 00:23:05.119 childhood running away from his foster family 00:23:05.119 --> 00:23:07.819 numerous times and stealing cars and joining 00:23:07.819 --> 00:23:10.819 gangs in New York City. And he started modeling 00:23:10.819 --> 00:23:14.759 nude at 16 years old before meeting Warhol and 00:23:14.759 --> 00:23:19.440 Morrissey. Yeah, and he plays a lot with, no 00:23:19.440 --> 00:23:23.279 pun intended, Monique Van Voren, who plays Katrin, 00:23:23.480 --> 00:23:27.099 Frankenstein's wife and sister. She was a Belgian 00:23:27.099 --> 00:23:32.230 actress, musician, and writer. sardan zelenovac 00:23:32.230 --> 00:23:36.190 as sasha ironically the only serbian in the cast 00:23:36.190 --> 00:23:38.529 even though frankenstein is supposed to be serbian 00:23:38.529 --> 00:23:42.069 in this movie and constantly comments on serbs 00:23:42.069 --> 00:23:45.970 being the quote superior race that that whole 00:23:45.970 --> 00:23:48.230 serbian thing really threw me off in this movie 00:23:48.230 --> 00:23:50.789 like i the first time uh frankenstein mentions 00:23:50.789 --> 00:23:55.519 like the serbian master race and like the superiority 00:23:55.519 --> 00:23:58.400 of serbian noses or whatever i'm like is he saying 00:23:58.400 --> 00:24:03.200 serbian like like clearly german and he's he's 00:24:03.200 --> 00:24:06.019 got that teutonic accent it seems like they're 00:24:06.019 --> 00:24:08.519 you know trying to sort of make him you know 00:24:08.519 --> 00:24:11.500 stand in for nazi scientists and stuff like i 00:24:11.500 --> 00:24:14.039 i don't quite get the serbian thing in the movie 00:24:14.039 --> 00:24:16.660 but it is something they bring up frequently 00:24:16.660 --> 00:24:19.450 the way that he always says nazim to talk about 00:24:19.450 --> 00:24:22.109 the Serbian nose, I think is really funny and 00:24:22.109 --> 00:24:24.670 almost kind of, like, cute in a way. Like, the 00:24:24.670 --> 00:24:27.890 character is not cute at all. He's very, very 00:24:27.890 --> 00:24:30.309 disturbing and sadistic. But, like, his obsession 00:24:30.309 --> 00:24:33.269 with the Nazim, I find very funny. Yeah, yeah. 00:24:34.230 --> 00:24:36.910 So, yeah, getting into the backstory, the production 00:24:36.910 --> 00:24:39.529 of the film a little bit. According to Paul Morrissey, 00:24:39.569 --> 00:24:41.670 it was Roman Polanski who originally pitched 00:24:41.670 --> 00:24:44.569 to him the idea of making a 3D version of Frankenstein. 00:24:46.359 --> 00:24:49.019 Who knows if that's true or not. Morrissey's 00:24:49.019 --> 00:24:53.000 own kind of, you know, tall tale, I guess. Yeah. 00:24:53.599 --> 00:24:55.859 Like we said, Morrissey was part of what was 00:24:55.859 --> 00:24:58.599 called the factory. So this was the headquarters 00:24:58.599 --> 00:25:03.039 of Andy Warhol. It was a literal factory where 00:25:03.039 --> 00:25:06.440 he employed people to produce his silk prints 00:25:06.440 --> 00:25:12.180 of his art. Of course, its reputation is beyond. 00:25:12.650 --> 00:25:17.430 Just that it was like a legendary hangout for 00:25:17.430 --> 00:25:21.549 Warhol and his closest friends and colleagues 00:25:21.549 --> 00:25:25.130 and artists and people like Keith Richards, Mick 00:25:25.130 --> 00:25:29.130 Jagger, Grace Jones, William S. Burroughs, just 00:25:29.130 --> 00:25:32.750 to name a very, very small number of really pop 00:25:32.750 --> 00:25:37.369 culture icons of the late 60s and 70s congregated 00:25:37.369 --> 00:25:39.190 there. There's a lot of drugs. There's a lot 00:25:39.190 --> 00:25:43.309 of sex, a lot of rock and roll. But it produced 00:25:43.309 --> 00:25:47.710 a lot of inspired art, I would say, including 00:25:47.710 --> 00:25:51.809 Flesh for Frankenstein, which I don't love. But 00:25:51.809 --> 00:25:57.029 I will say it is inspired. Like there was a there 00:25:57.029 --> 00:25:59.309 was some imagination going on in here. Yeah, 00:25:59.390 --> 00:26:01.569 definitely. Like the factory had like a lot of 00:26:01.569 --> 00:26:04.470 clout, I guess you could say, among like underground 00:26:04.470 --> 00:26:08.049 circles by this time, by 1974. So it's not hard 00:26:08.049 --> 00:26:11.720 to imagine why. Morrissey would be invited to 00:26:11.720 --> 00:26:15.839 Italy by executive producers Carlo Ponti and 00:26:15.839 --> 00:26:19.119 Andrew Brownsberg. Morrissey, again, had made 00:26:19.119 --> 00:26:22.059 a handful of movies, and his films with D 'Alessandro 00:26:22.059 --> 00:26:25.640 especially had a pretty big following in the 00:26:25.640 --> 00:26:28.200 underground gay communities, especially in New 00:26:28.200 --> 00:26:30.859 York. When the production went to Italy at the 00:26:30.859 --> 00:26:34.059 invitation of Ponte in Brownsburg, only Flesh 00:26:34.059 --> 00:26:36.039 for Frankenstein was originally supposed to be 00:26:36.039 --> 00:26:38.779 shot. But Morrissey convinced the executive producers 00:26:38.779 --> 00:26:42.180 to also fund the companion piece, Blood for Dracula. 00:26:42.680 --> 00:26:44.920 So that's why the two films were essentially 00:26:44.920 --> 00:26:47.660 shot back to back. I actually read earlier today 00:26:47.660 --> 00:26:50.259 that they finished shooting Flesh for Frankenstein, 00:26:50.380 --> 00:26:52.519 took a break for lunch and then started shooting 00:26:52.519 --> 00:26:54.480 Blood for Dracula in the afternoon, which I think 00:26:54.480 --> 00:26:56.700 is kind of awesome. And maybe an example of the 00:26:56.700 --> 00:26:58.900 level of preparation they had going into these 00:26:58.900 --> 00:27:02.039 movies. Flesh for Frankenstein was all improvised, 00:27:02.079 --> 00:27:04.869 right? Well, actually, no. Interestingly enough, 00:27:05.130 --> 00:27:07.230 Morrissey wanted it to be improvised, but because 00:27:07.230 --> 00:27:09.769 a lot of the cast was speaking English, which 00:27:09.769 --> 00:27:11.730 was not their first language, like that wasn't 00:27:11.730 --> 00:27:14.809 really a possibility. So Morrissey would kind 00:27:14.809 --> 00:27:16.869 of write dialogue every day, like on a day by 00:27:16.869 --> 00:27:18.650 day basis, he would scribble out the dialogue 00:27:18.650 --> 00:27:20.910 and and give it to the actors to shoot later 00:27:20.910 --> 00:27:24.210 that day. So not exactly improvised, but certainly 00:27:24.210 --> 00:27:26.410 kind of like written on the fly. And I think 00:27:26.410 --> 00:27:28.109 it's pretty easy to get that sense from the movie, 00:27:28.170 --> 00:27:30.250 you know. Yeah, it definitely sounds like a lot 00:27:30.250 --> 00:27:33.210 of the actors, including, you know, some of the 00:27:33.210 --> 00:27:37.269 main characters are reading the dialogue fanatically 00:27:37.269 --> 00:27:40.549 as they go. I again, I just really love the line 00:27:40.549 --> 00:27:42.789 readings in this movie, which make already ridiculous 00:27:42.789 --> 00:27:46.690 dialogue even more absurd. So I'm OK with it. 00:27:46.750 --> 00:27:50.009 You know, I think for me, it's it works well 00:27:50.009 --> 00:27:52.759 in its own way. So production of the film took 00:27:52.759 --> 00:27:56.380 place at Cinecitta Studios, a legendary film 00:27:56.380 --> 00:28:00.180 studio in Rome, 99 -acre studio lot. Films such 00:28:00.180 --> 00:28:03.539 as Ben -Hur, La Dolce Vita, Cleopatra, Gangs 00:28:03.539 --> 00:28:06.200 of New York, many, many others were shot. This 00:28:06.200 --> 00:28:09.019 is just a legendary studio in film history. There's 00:28:09.019 --> 00:28:13.920 a real distinct Cinecitta look to the sets and 00:28:13.920 --> 00:28:17.210 stuff. You know, it's mainly like a sleazy exploitation 00:28:17.210 --> 00:28:20.130 movie, but every once in a while you get these 00:28:20.130 --> 00:28:23.529 just like stray shots where you're like, am I 00:28:23.529 --> 00:28:25.650 all of a sudden like watching a Fellini movie 00:28:25.650 --> 00:28:29.170 or something? Like, especially like the doctor's 00:28:29.170 --> 00:28:32.869 lab set. And also there's one just kind of like 00:28:32.869 --> 00:28:35.450 randomly beautiful shot of them around the dinner 00:28:35.450 --> 00:28:38.569 table at one point. You really get just like 00:28:38.569 --> 00:28:42.029 the benefit of the Shinoshita studios, just like 00:28:42.029 --> 00:28:44.009 making things look good. Even one of the filmmakers. 00:28:44.750 --> 00:28:47.549 don't always seem totally confident you know 00:28:47.549 --> 00:28:49.750 it does like sometimes it even made me think 00:28:49.750 --> 00:28:51.769 like maybe the filmmakers do know what they're 00:28:51.769 --> 00:28:54.269 doing but like are intentionally going for a 00:28:54.269 --> 00:28:57.230 kind of like grade z aesthetic you know and i 00:28:57.230 --> 00:29:00.500 know that's like a very uh generous way to of 00:29:00.500 --> 00:29:02.160 looking at it but but you're right that there 00:29:02.160 --> 00:29:04.200 are some moments where the sets and the cinematography 00:29:04.200 --> 00:29:06.819 and like i said before i think the music is is 00:29:06.819 --> 00:29:09.059 pretty effective at times too like there are 00:29:09.059 --> 00:29:10.480 a couple seconds here and there where i'm like 00:29:10.480 --> 00:29:12.279 oh they actually do know what they're doing and 00:29:12.279 --> 00:29:14.460 then like a moment later you're like maybe not 00:29:14.460 --> 00:29:19.059 that's yeah uh yeah yeah it really kind of reminded 00:29:19.059 --> 00:29:22.160 me of uh caligula which i i believe was also 00:29:22.160 --> 00:29:24.819 shot in italy i don't know if they did it i mean 00:29:24.819 --> 00:29:29.200 this is a much more entertaining movie than Caligula 00:29:29.200 --> 00:29:32.180 I think Caligula is pretty terrible but but that's 00:29:32.180 --> 00:29:35.279 another like super sleazy movie that has you 00:29:35.279 --> 00:29:36.619 know just these moments where you're like man 00:29:36.619 --> 00:29:39.859 what this elaborate set is really beautiful and 00:29:39.859 --> 00:29:43.660 it's like so weird that it's in this the sleazy 00:29:43.660 --> 00:29:48.500 cheesy movie um the film was released in the 00:29:48.500 --> 00:29:51.759 United States and West Germany as Andy Warhol's 00:29:51.759 --> 00:29:54.619 Frankenstein The original Italian version, I 00:29:54.619 --> 00:29:57.559 find interesting, had less explicit sex scenes, 00:29:57.599 --> 00:30:00.359 but more gruesome violence. It was initially 00:30:00.359 --> 00:30:03.359 banned by Italian censors before it was recut. 00:30:03.400 --> 00:30:07.539 It was released with an X rating, at least in 00:30:07.539 --> 00:30:10.819 the United States, which actually wasn't all 00:30:10.819 --> 00:30:15.220 too uncommon at the time in the early 70s. Midnight 00:30:15.220 --> 00:30:17.940 Cowboy was released in the late 60s, famously 00:30:17.940 --> 00:30:22.000 as an X rated movie. Today, we hear X rating, 00:30:22.079 --> 00:30:24.160 and it's very pornographic. But at the time, 00:30:24.240 --> 00:30:28.779 not necessarily the case. The movie was a success, 00:30:28.980 --> 00:30:32.420 actually. So taking all that into account, the 00:30:32.420 --> 00:30:35.680 estimated budget was $300 ,000. And in 1974, 00:30:36.059 --> 00:30:39.180 the LA Times reported that the film had grossed 00:30:39.180 --> 00:30:43.079 $7 million. BanditsEmporium .com is the official 00:30:43.079 --> 00:30:46.779 t -shirt partner of Camp Kaiju. Check out BanditsEmporium 00:30:46.779 --> 00:30:49.440 .com or hit the link in our bio to check out 00:30:49.440 --> 00:30:52.359 their selection of monster -inspired tees. Part 00:30:52.359 --> 00:30:54.180 of the proceeds goes to supporting this very 00:30:54.180 --> 00:30:57.440 show. So visit BanditsEmporium .com. Whatever 00:30:57.440 --> 00:31:00.519 your style, they have you covered. As they say, 00:31:00.680 --> 00:31:05.900 we sell shirts as Camp Kaiju says. Matt, what's 00:31:05.900 --> 00:31:09.680 the line? As Camp Kaiju says, to no death, Otto, 00:31:09.880 --> 00:31:15.700 you have to fuck life in the gallbladder. Was 00:31:15.700 --> 00:31:21.819 that good? Brilliant. One take. And that's the 00:31:21.819 --> 00:31:25.119 end of your sponsorship deal. Yeah, exactly. 00:31:25.839 --> 00:31:27.940 We're going to force Bandit's Emporium to change 00:31:27.940 --> 00:31:33.240 their slogan to that line of dialogue. One of 00:31:33.240 --> 00:31:34.920 the most interesting things about this movie, 00:31:34.940 --> 00:31:38.599 I think, is... it's camp value and you know we 00:31:38.599 --> 00:31:41.660 we talk about camp a lot on camp kaiju we have 00:31:41.660 --> 00:31:44.180 our the good the bad and the campy section um 00:31:44.180 --> 00:31:46.420 and you know for the most part we've had a pretty 00:31:46.420 --> 00:31:48.440 loose definition of camp kind of just anything 00:31:48.440 --> 00:31:50.779 that's funny and ridiculous we throw into that 00:31:50.779 --> 00:31:52.619 category and i love that i think that's the way 00:31:52.619 --> 00:31:55.019 you know uh the way it should be on camp kaiju 00:31:55.480 --> 00:31:58.240 But there is a more true and exact definition 00:31:58.240 --> 00:32:00.920 of camp, especially as offered by Susan Sontag 00:32:00.920 --> 00:32:03.039 in her famous essay, which I think is called 00:32:03.039 --> 00:32:06.700 Notes on Camp. And Flesh for Frankenstein like 00:32:06.700 --> 00:32:10.400 so utterly fits this description. So Sontag wrote, 00:32:10.559 --> 00:32:13.720 camp is a sensibility that revels in artifice, 00:32:13.960 --> 00:32:18.000 stylization, theatricalization, irony, playfulness, 00:32:18.140 --> 00:32:22.200 and exaggeration rather than content. It is seen 00:32:22.200 --> 00:32:24.539 as connected to postmodernism and queerness. 00:32:25.460 --> 00:32:28.660 Sontag wrote, by exaggerating sexual characteristics 00:32:28.660 --> 00:32:31.380 and personality mannerisms, queer inflected camp 00:32:31.380 --> 00:32:34.079 could be said to contend that all behavior is 00:32:34.079 --> 00:32:37.579 really performative. And finally, Sontag wrote, 00:32:37.779 --> 00:32:40.759 camp sees everything in quotation marks. Many 00:32:40.759 --> 00:32:43.019 examples of camp are things which, from a serious 00:32:43.019 --> 00:32:46.000 point of view, are either bad art or kitsch. 00:32:46.319 --> 00:32:48.859 That last line in particular, I think, just so 00:32:48.859 --> 00:32:52.559 like exactly applies to Flesh for Frankenstein. 00:32:52.839 --> 00:32:54.920 So in my opinion, this might be the most purely 00:32:54.920 --> 00:32:57.119 campy movie we've talked about so far in Camp 00:32:57.119 --> 00:33:00.500 Kaiju. Which I that doesn't make it good or bad. 00:33:00.579 --> 00:33:02.880 I just think it's like it's such a fascinating 00:33:02.880 --> 00:33:07.420 reflection of like this. It's not even really 00:33:07.420 --> 00:33:10.140 a subgenre, like kind of a category or like an 00:33:10.140 --> 00:33:13.940 artistic mode that is so hard to describe. But 00:33:13.940 --> 00:33:16.380 I feel like this movie fits it to a T. it's so 00:33:16.380 --> 00:33:18.380 funny we're talking about camp on camp kaiju 00:33:18.380 --> 00:33:21.059 getting a little meta but but this these words 00:33:21.059 --> 00:33:22.980 are really great in highlighting the specific 00:33:22.980 --> 00:33:26.759 identity of camp because it's for me it's kind 00:33:26.759 --> 00:33:29.480 of like you just know it when you see it um in 00:33:29.480 --> 00:33:34.140 this movie i don't know maybe maybe it was so 00:33:34.140 --> 00:33:39.980 so campy it just like it went over my head a 00:33:39.980 --> 00:33:42.460 little bit Like I understand, like it was, it 00:33:42.460 --> 00:33:45.200 was larger than life, but I, my initial reading 00:33:45.200 --> 00:33:49.319 was, this is just bad art, which is Sontag's 00:33:49.319 --> 00:33:53.400 whole point. Yeah. And I think like in a way. 00:33:54.000 --> 00:33:56.460 It's kind of Warhol's point at times, too, like 00:33:56.460 --> 00:33:58.380 when he does the paintings of the Campbell soup 00:33:58.380 --> 00:34:01.380 cans, for example, or the Marilyn diptych, which 00:34:01.380 --> 00:34:03.819 is, you know, Marilyn Monroe kind of repeated 00:34:03.819 --> 00:34:07.700 several times, twice, I guess. Yeah, like I feel 00:34:07.700 --> 00:34:09.800 like part of his postmodern mission as well is 00:34:09.800 --> 00:34:13.280 to say like the boundaries between like highbrow 00:34:13.280 --> 00:34:16.579 and lowbrow and like. classic art and postmodern 00:34:16.579 --> 00:34:19.179 art are kind of irrelevant uh like really trying 00:34:19.179 --> 00:34:21.639 to break down all those boundaries you know uh 00:34:21.639 --> 00:34:24.760 i think you know like how intentionally flesh 00:34:24.760 --> 00:34:27.019 for frankenstein is trying to do that is another 00:34:27.019 --> 00:34:28.940 question maybe it's not really trying to do that 00:34:28.940 --> 00:34:30.980 and it's just a poorly made movie but i think 00:34:30.980 --> 00:34:33.360 the end result is it's campy as hell and like 00:34:33.949 --> 00:34:36.510 Just interesting to think about what it's trying 00:34:36.510 --> 00:34:38.989 to do, if anything. Is it just a poorly made 00:34:38.989 --> 00:34:42.530 movie? Or is it trying to take this enshrined 00:34:42.530 --> 00:34:45.630 classic of gothic literature and make it as sleazy 00:34:45.630 --> 00:34:48.190 and trashy as possible? Again, a generous reading. 00:34:48.429 --> 00:34:53.309 But I think the choosing of such an established 00:34:53.309 --> 00:34:59.670 classic in which to bastardize seems intentional. 00:34:59.809 --> 00:35:01.949 Otherwise, they could have just made an original... 00:35:03.059 --> 00:35:07.360 sexploitation film which sure but the whole point 00:35:07.360 --> 00:35:12.400 of camp or post -modernist approach to established 00:35:12.400 --> 00:35:15.420 classics is to turn it on its head you know that 00:35:15.420 --> 00:35:17.659 the political viewpoint of the movie and talking 00:35:17.659 --> 00:35:19.679 about the viewpoint of the movie which you know 00:35:19.679 --> 00:35:22.440 is also a little bit hard to figure out what's 00:35:22.440 --> 00:35:26.159 intentional and what's not and what the point 00:35:26.159 --> 00:35:28.960 of view is if there is a consistent point of 00:35:28.960 --> 00:35:31.889 view here Because some people see it as like 00:35:31.889 --> 00:35:35.469 a denunciation of the upper class as represented 00:35:35.469 --> 00:35:38.929 by, you know, kind of these despicable, wealthy 00:35:38.929 --> 00:35:42.090 characters who live in this castle and exploit 00:35:42.090 --> 00:35:45.150 and demean their peasants and their servants 00:35:45.150 --> 00:35:48.690 around them. And, you know, even literally take 00:35:48.690 --> 00:35:50.929 their lives for their experiments in some cases. 00:35:51.409 --> 00:35:54.349 And some other people also see it as like a conservative 00:35:54.349 --> 00:35:59.329 mockery of the counterculture. with people who 00:35:59.329 --> 00:36:02.769 are so disassociated that no kinds of sex or 00:36:02.769 --> 00:36:06.190 violence can satisfy. But whether or not the 00:36:06.190 --> 00:36:08.010 movie actually has anything politically coherent 00:36:08.010 --> 00:36:12.190 to say is debatable, I think. I would agree with 00:36:12.190 --> 00:36:14.329 that. It seems to kind of throw everything at 00:36:14.329 --> 00:36:16.869 the wall to try to provoke people, but probably 00:36:16.869 --> 00:36:19.230 doesn't have a clear viewpoint of its own. I 00:36:19.230 --> 00:36:23.789 feel like I've seen movies that are just as exploitative, 00:36:23.869 --> 00:36:30.250 but... the focus is sharper where any sort of 00:36:30.250 --> 00:36:33.809 messaging is loud and clear while also being 00:36:33.809 --> 00:36:36.510 campy and gory and sexy and blah, blah, blah. 00:36:36.710 --> 00:36:40.230 And this movie for me just wasn't focused enough 00:36:40.230 --> 00:36:43.269 in the madness. Like, you know what I mean? Definitely 00:36:43.269 --> 00:36:45.170 a long history of, you know, horror movies and 00:36:45.170 --> 00:36:47.489 other kinds of exploitation movies that do have, 00:36:47.489 --> 00:36:50.150 you know, a clear political point of view and 00:36:50.150 --> 00:36:53.460 are, you know, sometimes either. smuggling that 00:36:53.460 --> 00:36:56.639 message in or or just making it very overt but 00:36:56.639 --> 00:37:00.920 uh but yeah this one definitely is not as as 00:37:00.920 --> 00:37:03.760 clear about what its meaning is and you know 00:37:03.760 --> 00:37:05.639 like we're saying it's not even clear if there 00:37:05.639 --> 00:37:09.219 is really an intent there Yeah, yeah, exactly. 00:37:09.380 --> 00:37:11.460 I you know, reading about some of Morrissey's 00:37:11.460 --> 00:37:13.239 early short films, which I haven't seen myself, 00:37:13.420 --> 00:37:16.219 but like reading descriptions of them, like his 00:37:16.219 --> 00:37:18.699 first short All Aboard the Dreamland Choo Choo 00:37:18.699 --> 00:37:22.500 is about somebody who is taking drugs. I think 00:37:22.500 --> 00:37:23.980 it's heroin, although I could be wrong about 00:37:23.980 --> 00:37:26.719 that. And then they kind of just like look very 00:37:26.719 --> 00:37:28.679 vacant and passive and then like stab themselves 00:37:28.679 --> 00:37:30.840 in the leg with a knife at the end of the short 00:37:30.840 --> 00:37:34.179 film. That film has been read as like, again, 00:37:34.219 --> 00:37:36.719 a mockery of hippies who just like no matter 00:37:36.719 --> 00:37:39.000 how many drugs. they take or or what they do 00:37:39.000 --> 00:37:40.960 they just can never sort of like experience uh 00:37:40.960 --> 00:37:43.639 a thrill or like passion from life it would be 00:37:43.639 --> 00:37:45.820 easy enough to like extend that theme to flesh 00:37:45.820 --> 00:37:48.780 for frankenstein but then we have the baron and 00:37:48.780 --> 00:37:51.659 katrin sort of explicitly saying like we're so 00:37:51.659 --> 00:37:53.639 much better than all these peasants they're worthless 00:37:53.639 --> 00:37:56.639 they're just like literally flesh for us to use 00:37:56.639 --> 00:38:00.179 so so yeah that's just a like i totally agree 00:38:00.179 --> 00:38:02.019 that like what it's trying to say is all over 00:38:02.019 --> 00:38:04.099 the place and and i don't think you can really 00:38:04.099 --> 00:38:06.260 get one clear interpretation out of it have you 00:38:06.260 --> 00:38:09.530 guys I don't know. Have you guys been to the 00:38:09.530 --> 00:38:12.309 MoMA in New York City? Museum of Modern Art? 00:38:12.449 --> 00:38:15.150 I haven't. Not for a long time. I was there like 00:38:15.150 --> 00:38:17.610 20 years ago, I think. Well, that's just like 00:38:17.610 --> 00:38:19.889 the best example of a modern art museum I can 00:38:19.889 --> 00:38:22.789 think of. But any type of modern art, like when 00:38:22.789 --> 00:38:24.969 I was a kid, I was like, this is just a waste 00:38:24.969 --> 00:38:28.090 of time. But now as an adult, like I do love 00:38:28.090 --> 00:38:30.190 it. I do love sitting in a dark room in a museum 00:38:30.190 --> 00:38:33.630 and watching a weird avant -garde film for eight 00:38:33.630 --> 00:38:36.320 minutes. where at the end someone just stabs 00:38:36.320 --> 00:38:39.940 themselves in the leg um translated to a feature 00:38:39.940 --> 00:38:42.760 -length film it kind of runs out of steam for 00:38:42.760 --> 00:38:45.460 me with like flesh if flesh for frankenstein 00:38:45.460 --> 00:38:51.119 is like an art house piece great but for a feature 00:38:51.119 --> 00:38:53.360 -length film again it ran out of steam for me 00:38:53.360 --> 00:38:56.300 yeah and there are very tedious long stretches 00:38:56.300 --> 00:38:59.289 of this movie where like just yeah like for you 00:38:59.289 --> 00:39:01.530 know for all the mayhem and carnage and ridiculousness 00:39:01.530 --> 00:39:03.570 that happens in other parts in the movie like 00:39:03.570 --> 00:39:05.889 there are other scenes and stretches that are 00:39:05.889 --> 00:39:07.969 just pretty boring to be honest so it's like 00:39:07.969 --> 00:39:11.269 yeah it kind of um over indulges that for sure 00:39:11.269 --> 00:39:15.670 um so one theme that becomes very apparent from 00:39:15.670 --> 00:39:19.929 the beginning is like the the quest for a superhuman 00:39:19.929 --> 00:39:26.150 race of men um which echoes the fascism of nazi 00:39:26.150 --> 00:39:29.329 germany And for me, yes, the story is always 00:39:29.329 --> 00:39:31.730 about Frankenstein, Dr. Frankenstein creating 00:39:31.730 --> 00:39:36.210 the perfect human, whatever that is. But in this 00:39:36.210 --> 00:39:40.590 adaptation, it's very explicit. I think master 00:39:40.590 --> 00:39:44.570 race is used, like even that language, which 00:39:44.570 --> 00:39:50.289 to me runs counter to Shelley's warning of of 00:39:50.289 --> 00:39:54.929 super men run amok. In this one, the Baron is, 00:39:55.030 --> 00:39:57.389 that's what he is seeking. He wants a master 00:39:57.389 --> 00:40:01.050 race of Serbians. But in the early 1970s, there 00:40:01.050 --> 00:40:03.989 was no way that Italian and other European audiences 00:40:03.989 --> 00:40:06.409 wouldn't have connected that anyways with World 00:40:06.409 --> 00:40:10.289 War II and the Holocaust and Hitler's ambitions. 00:40:11.389 --> 00:40:14.050 One of Frankenstein's speeches is even accompanied 00:40:14.050 --> 00:40:19.590 by a piece from a Wagner opera. So this all seems 00:40:19.590 --> 00:40:22.440 to be very intentional. Yeah, only like 30 years 00:40:22.440 --> 00:40:25.539 after the end of the war, the shadow looms large 00:40:25.539 --> 00:40:29.719 over this film in ways that, again, I don't know 00:40:29.719 --> 00:40:33.000 what is trying to be said by Morrissey. Are we 00:40:33.000 --> 00:40:38.019 espousing the eugenics here in the film? Or is 00:40:38.019 --> 00:40:42.579 it a criticism of the eugenics in the film? Unclear 00:40:42.579 --> 00:40:45.219 for me. I think he's definitely supposed to be 00:40:45.219 --> 00:40:47.860 like, you know, a villainous guy. But yeah, making 00:40:47.860 --> 00:40:51.090 it, you know. The fact that you could watch it 00:40:51.090 --> 00:40:54.949 and be unclear about whether the Nazi is supposed 00:40:54.949 --> 00:40:57.090 to be a good guy or not is a good indication 00:40:57.090 --> 00:41:00.010 of how kind of muddled this movie is, though. 00:41:00.690 --> 00:41:03.190 Like, you know, the question for me is like, 00:41:03.190 --> 00:41:08.690 the connection is so obvious to the recent history 00:41:08.690 --> 00:41:10.809 in Europe at the time this movie came out of 00:41:10.809 --> 00:41:13.510 fascism and xenophobia and genocide and eugenics 00:41:13.510 --> 00:41:15.230 and all that. But like, what is it trying to 00:41:15.230 --> 00:41:17.269 say about that? Like, if it's kind of just like, 00:41:17.309 --> 00:41:19.710 again, trying to be provocative and, you know, 00:41:19.710 --> 00:41:23.889 make these allusions to the Holocaust. this movie 00:41:23.889 --> 00:41:26.150 is so like schlocky and sleazy that it's not 00:41:26.150 --> 00:41:29.050 really kind of intentional or sophisticated enough 00:41:29.050 --> 00:41:32.369 to like make those connections meaningful, you 00:41:32.369 --> 00:41:34.710 know? So like, it's like, it's a provocative 00:41:34.710 --> 00:41:36.670 connection, but at the end of the movie, I'm 00:41:36.670 --> 00:41:38.110 like, all right, but what is, what's the point? 00:41:38.190 --> 00:41:40.150 What are you saying about that? You know? Right. 00:41:40.349 --> 00:41:42.710 And this is a great movie, great piece of art 00:41:42.710 --> 00:41:45.469 to talk about. Like, does art have to have meaning? 00:41:45.630 --> 00:41:48.550 Does it have to have a clear thematic message 00:41:48.550 --> 00:41:54.019 or can it just be? And. My personal taste is 00:41:54.019 --> 00:41:57.119 that it stands the test of time more if there 00:41:57.119 --> 00:41:59.659 is a clear message. But if not, I mean, that's 00:41:59.659 --> 00:42:02.139 OK, too. It's Vincent. Like, it's definitely 00:42:02.139 --> 00:42:04.219 a valid point that like art maybe doesn't necessarily 00:42:04.219 --> 00:42:06.699 have to have like a theme or a thing to say or 00:42:06.699 --> 00:42:08.639 whatever. But I think if you're making a connection 00:42:08.639 --> 00:42:11.159 to the Holocaust, like there should be a pretty 00:42:11.159 --> 00:42:12.880 good reason for it is my thinking, you know, 00:42:12.880 --> 00:42:16.389 like. So that, you know, even though I do like 00:42:16.389 --> 00:42:18.289 and appreciate this movie in many ways, like 00:42:18.289 --> 00:42:22.269 all of that stuff just seems excessive to me. 00:42:22.349 --> 00:42:25.110 And I know the movie is trying to be tasteless, 00:42:25.110 --> 00:42:27.010 but that's like a level of tastelessness that 00:42:27.010 --> 00:42:29.469 is hard to get over, I think, at times. So I 00:42:29.469 --> 00:42:31.969 wanted to bring up the kind of circularity of 00:42:31.969 --> 00:42:33.550 the plot, which I think is kind of interesting. 00:42:34.130 --> 00:42:37.449 The film begins with Frankenstein's human children, 00:42:37.570 --> 00:42:42.010 which he... has had with his sister they're kind 00:42:42.010 --> 00:42:43.989 of like dissecting a stuffed animal with these 00:42:43.989 --> 00:42:46.849 scalpels and then at the end of the film those 00:42:46.849 --> 00:42:49.269 same kids are like they have their scalpels again 00:42:49.269 --> 00:42:51.289 they seem like they're like about ready to start 00:42:51.289 --> 00:42:54.489 their dissection but it's like a human body that's 00:42:54.489 --> 00:42:58.070 like there for them to do experiments upon which 00:42:58.070 --> 00:43:00.610 seems to be a theme of like the sins committed 00:43:00.610 --> 00:43:03.690 by the father will be you know perpetrated by 00:43:03.690 --> 00:43:05.869 the children and like continue on for like the 00:43:05.869 --> 00:43:08.590 next generations so if i think if there is a 00:43:08.590 --> 00:43:10.909 theme of like all these points about fascism 00:43:10.909 --> 00:43:13.769 and the holocaust and stuff maybe the movie is 00:43:13.769 --> 00:43:16.610 trying to say probably giving the movie too much 00:43:16.610 --> 00:43:18.269 credit but maybe it's trying to say that like 00:43:18.269 --> 00:43:21.510 future generations can and probably will commit 00:43:21.510 --> 00:43:23.789 the same atrocities that our forefathers have 00:43:23.789 --> 00:43:25.750 done you know that's all i can get out of it 00:43:25.750 --> 00:43:28.510 i can buy that i think the inclusion of the children 00:43:28.510 --> 00:43:34.519 is probably the closest thing to an obvious through 00:43:34.519 --> 00:43:38.400 line of messaging of themes. So I'm glad that 00:43:38.400 --> 00:43:40.380 it had that button that it did bring it full 00:43:40.380 --> 00:43:43.090 circle. Flesh for Frankenstein and I think a 00:43:43.090 --> 00:43:45.010 lot of other exploitation movies from this period 00:43:45.010 --> 00:43:47.449 really lives on the border between trash and 00:43:47.449 --> 00:43:49.869 art. And as we already talked about, that's kind 00:43:49.869 --> 00:43:52.510 of like the postmodern tactic of like erasing 00:43:52.510 --> 00:43:55.510 those borders between highbrow and lowbrow. But 00:43:55.510 --> 00:43:56.630 I just think it's really interesting because 00:43:56.630 --> 00:43:59.869 you have these great 60s European modernist movies 00:43:59.869 --> 00:44:03.190 by like Antonioni, Bergman, Fellini, like, you 00:44:03.190 --> 00:44:05.980 know, those kind of great. directors are like 00:44:05.980 --> 00:44:09.780 very artful purposeful directors and i just think 00:44:09.780 --> 00:44:12.000 there's a fairly clear like lineage from those 00:44:12.000 --> 00:44:13.920 movies to movies like flesh for frankenstein 00:44:13.920 --> 00:44:16.039 and i'm not trying to put them at the same quality 00:44:16.039 --> 00:44:17.820 level because that is absolutely not the case 00:44:17.820 --> 00:44:20.019 but i think it's interesting to think about how 00:44:20.019 --> 00:44:23.239 like the themes of alienation and like human 00:44:23.239 --> 00:44:26.400 degradation and uh lack of connection things 00:44:26.400 --> 00:44:27.960 like that that some of those directors were trying 00:44:27.960 --> 00:44:31.170 to get at it's almost like it rots and decays 00:44:31.170 --> 00:44:33.710 and because become something like totally sleazy 00:44:33.710 --> 00:44:36.590 and disgusting by the 70s when at the same time 00:44:36.590 --> 00:44:39.010 like censorship constraints were just like thrown 00:44:39.010 --> 00:44:40.829 out the window and you could put any kind of 00:44:40.829 --> 00:44:42.949 sex and violence and like atrocity into movies 00:44:42.949 --> 00:44:46.329 you know so even though i don't really like exploitation 00:44:46.329 --> 00:44:49.329 movies and many of them seem very like cruel 00:44:49.329 --> 00:44:53.690 and uh empty provocation kind of i do think it's 00:44:53.690 --> 00:44:55.849 sort of interesting to think about like the connections 00:44:55.849 --> 00:44:59.230 between a movie like flesh for frankenstein And 00:44:59.230 --> 00:45:01.929 like, you know, something by Fellini or Antonioni 00:45:01.929 --> 00:45:06.510 or whatever. It reminds me of the fact that Last 00:45:06.510 --> 00:45:08.530 House on the Left by Wes Craven was a remake 00:45:08.530 --> 00:45:11.929 of The Virgin Spring by Ingmar Bergman. So I 00:45:11.929 --> 00:45:15.050 think, to be honest, I haven't really like thought 00:45:15.050 --> 00:45:17.130 through the connections here all that much. But 00:45:17.130 --> 00:45:19.329 I think we can trace this sort of like sordid 00:45:19.329 --> 00:45:22.050 genealogy from those great movies to something 00:45:22.050 --> 00:45:25.449 like this kind of schlocky, sleazy trash or whatever, 00:45:25.590 --> 00:45:27.090 you know? And I think that's really interesting 00:45:27.090 --> 00:45:30.550 to think about. That sounds like an essay just 00:45:30.550 --> 00:45:35.030 begging to be written, Matt. Yeah, we'll see 00:45:35.030 --> 00:45:36.969 if I ever have time to write that one. I don't 00:45:36.969 --> 00:45:38.570 know. And maybe there's nothing really there. 00:45:39.070 --> 00:45:42.750 It's very possible. But my mind was running, 00:45:42.969 --> 00:45:45.349 you know, just doing somersaults while I watched 00:45:45.349 --> 00:45:47.449 this movie thinking about that. The one thing 00:45:47.449 --> 00:45:49.110 that I'll add here, I guess I could put this 00:45:49.110 --> 00:45:51.710 in my bad category, but just like such an ugly 00:45:51.710 --> 00:45:54.409 film stock. I think even if like there are some 00:45:54.409 --> 00:45:56.269 like nice tracking shots and nice sets in this 00:45:56.269 --> 00:45:59.409 movie, but still, I was like, wow, like I don't 00:45:59.409 --> 00:46:01.150 know what it was about film stocks that they 00:46:01.150 --> 00:46:03.929 used in the early 70s, but they just do not look 00:46:03.929 --> 00:46:06.929 very good, especially compared to like, you know, 00:46:06.929 --> 00:46:09.389 like the nice, beautiful, shadowy black and white 00:46:09.389 --> 00:46:11.329 or like the brilliant technicolor of like the 00:46:11.329 --> 00:46:14.650 40s and 50s. You know, it had gotten pretty ugly 00:46:14.650 --> 00:46:17.280 generally by this point. Think of all the beautiful 00:46:17.280 --> 00:46:20.719 color movies, color cinematography movies from 00:46:20.719 --> 00:46:23.960 the 40s, 50s, and 60s. And there aren't nearly 00:46:23.960 --> 00:46:26.219 as many of those in the 70s. It is just kind 00:46:26.219 --> 00:46:30.260 of a flatter, more TV -style look that things 00:46:30.260 --> 00:46:33.139 move into. I guess presumably maybe for budget 00:46:33.139 --> 00:46:36.059 reasons, but yeah, definitely not for the better. 00:46:36.260 --> 00:46:39.800 I like a beautiful visual aesthetic, and I missed 00:46:39.800 --> 00:46:42.360 it quite a bit in this movie, I would say. Vincent, 00:46:42.500 --> 00:46:45.019 do you want to start us off with the good category? 00:46:45.500 --> 00:46:48.260 The first thing I did note that I was like, I 00:46:48.260 --> 00:46:51.679 like this is the score. I felt like whatever 00:46:51.679 --> 00:46:55.119 nonsense was happening on the screen, the music 00:46:55.119 --> 00:46:59.760 grounded it in a sincerity that I appreciated. 00:47:00.019 --> 00:47:02.300 Mostly like I love, you know, there's a pulsating 00:47:02.300 --> 00:47:05.840 pair of lungs and a couple shots. I thought that 00:47:05.840 --> 00:47:09.800 was really well done. And then finally, my favorite 00:47:09.800 --> 00:47:13.079 thing was just the set design of the lab. And 00:47:13.079 --> 00:47:16.159 there's like cut off limbs hanging out in a pile 00:47:16.159 --> 00:47:18.639 in one corner. There's like naked bodies over 00:47:18.639 --> 00:47:22.480 laying in a mangled pile in another corner. And 00:47:22.480 --> 00:47:24.440 there's like Greco Roman statues everywhere. 00:47:24.719 --> 00:47:28.000 I thought this is not like any other Frankenstein 00:47:28.000 --> 00:47:30.320 movie I've seen. And I love it. Yeah, I think 00:47:30.320 --> 00:47:33.139 that early like tracking shot through the lab 00:47:33.139 --> 00:47:36.539 is pretty cool, too. It has like sort of a weird 00:47:36.539 --> 00:47:39.630 elegance to it and a movie that otherwise. not 00:47:39.630 --> 00:47:42.710 very elegant um but where it's just you know 00:47:42.710 --> 00:47:45.889 they've got like a body up on like a gurney and 00:47:45.889 --> 00:47:48.230 they're moving it around and then at the end 00:47:48.230 --> 00:47:50.829 it kind of gets uh put in this heap of other 00:47:50.829 --> 00:47:53.469 bodies that have been hacked up and stuff which 00:47:53.469 --> 00:47:57.230 you know it's really like macar but it it has 00:47:57.230 --> 00:48:00.309 a sort of like weird beauty to it just the way 00:48:00.309 --> 00:48:03.070 the camera is gliding around the room for me 00:48:03.070 --> 00:48:06.460 with with this movie the the good and the campy 00:48:06.460 --> 00:48:09.579 categories are kind of inseparable. I mean, I 00:48:09.579 --> 00:48:14.300 was mostly really entertained by the, just some 00:48:14.300 --> 00:48:18.119 of the like terrible line readings. They're really 00:48:18.119 --> 00:48:20.460 like amusingly terrible ones. I mean, there's 00:48:20.460 --> 00:48:24.820 one early on where Baron Frankenstein is explaining 00:48:24.820 --> 00:48:27.789 to his assistant Otto. uh like a little bit about 00:48:27.789 --> 00:48:30.789 his plan to find parts for his male monster because 00:48:30.789 --> 00:48:32.769 he's got at that point he's got the female one 00:48:32.769 --> 00:48:34.670 set but he needs a male one to mate her with 00:48:34.670 --> 00:48:38.269 and uh he's explaining how you know at some point 00:48:38.269 --> 00:48:41.710 in his past he's been to uh bordello and then 00:48:41.710 --> 00:48:47.530 although it goes like oh bordello you baron and 00:48:47.530 --> 00:48:52.090 then and then he's like yes yes me or whatever 00:48:52.090 --> 00:48:55.550 and he's like oh and that that one made me laugh 00:48:55.980 --> 00:48:58.320 i uh recorded that one and sent it to my brother 00:48:58.320 --> 00:49:00.739 uh there was another one later when they're actually 00:49:00.739 --> 00:49:03.440 at the brothel or they're outside the brothel 00:49:03.440 --> 00:49:05.880 kind of waiting for the people to come out and 00:49:05.880 --> 00:49:08.760 uh there's like two naked women that run out 00:49:08.760 --> 00:49:13.440 and uh they see the one guy emerge and uh says 00:49:13.440 --> 00:49:18.659 uh it's something to the effect of like two women 00:49:18.659 --> 00:49:25.980 one man he must be very powerful i was like oh 00:49:25.980 --> 00:49:28.519 my god that's like that sounds like a line from 00:49:28.519 --> 00:49:33.840 young frankenstein yeah yeah for sure um for 00:49:33.840 --> 00:49:36.639 me in the good category uh in addition to all 00:49:36.639 --> 00:49:38.760 that stuff and like just all the kind of like 00:49:39.480 --> 00:49:41.539 uh putting it in like its historical context 00:49:41.539 --> 00:49:43.880 of like camp and post -modernism and stuff like 00:49:43.880 --> 00:49:46.639 that uh there are some moments that i think must 00:49:46.639 --> 00:49:49.480 be intentionally funny because it's just impossible 00:49:49.480 --> 00:49:51.599 that it wouldn't be intentional for example the 00:49:51.599 --> 00:49:54.219 part where the baron's hand is cut off towards 00:49:54.219 --> 00:49:56.940 the end and he like tries to reattach it just 00:49:56.940 --> 00:49:59.840 by like shoving it back on his stump and that 00:49:59.840 --> 00:50:01.500 doesn't work and then he throws his own hand 00:50:01.500 --> 00:50:04.280 at nicholas yeah like that's so silly like that 00:50:04.280 --> 00:50:07.380 has to be intentionally funny um and then the 00:50:07.380 --> 00:50:10.559 part where katrin and nicholas are having sex 00:50:10.559 --> 00:50:13.179 uh or they're not quite having sex but she's 00:50:13.179 --> 00:50:17.719 like trying to uh you know get him to do so and 00:50:17.719 --> 00:50:20.119 the way that she does so is by like sucking his 00:50:20.119 --> 00:50:23.500 armpit uh like very loudly and for a very long 00:50:23.500 --> 00:50:25.940 time one last thing that i want to mention for 00:50:25.940 --> 00:50:28.960 the good category uh there are just like entrails 00:50:28.960 --> 00:50:32.199 that are just like bright red crimson just like 00:50:32.199 --> 00:50:35.760 dripping with like viscera you know um and you 00:50:35.760 --> 00:50:39.139 know for a horror lover it is very visceral it's 00:50:39.139 --> 00:50:42.139 you know to use the actual origin of that word 00:50:42.139 --> 00:50:45.099 it's very visceral it's really intense it's sort 00:50:45.099 --> 00:50:48.079 of it looks pretty cool at times and you know 00:50:48.079 --> 00:50:51.539 like the the best example is uh sasha's decapitation 00:50:51.539 --> 00:50:54.500 with the garden shears where bright red blood 00:50:54.500 --> 00:50:57.099 just starts like spraying out like a geyser and 00:50:57.099 --> 00:50:59.159 then we see this headless body kind of just like 00:50:59.159 --> 00:51:01.219 stumble around and blood is still flying everywhere 00:51:01.219 --> 00:51:03.980 uh obviously it's very disgusting over the top 00:51:03.980 --> 00:51:07.750 tasteless but i mean you know if you love horror 00:51:07.750 --> 00:51:09.769 that's probably what you're watching this movie 00:51:09.769 --> 00:51:11.429 for and i think that scene is pretty well done 00:51:11.429 --> 00:51:14.210 the high point of the film for sure on that note 00:51:14.210 --> 00:51:17.570 um yeah moving on to the bad i can start real 00:51:17.570 --> 00:51:19.849 quick i feel like i have less in the bad category 00:51:19.849 --> 00:51:21.849 than you guys you know we've already talked about 00:51:21.849 --> 00:51:24.230 a lot of the bad stuff the kind of boring stretches 00:51:24.230 --> 00:51:26.789 it doesn't really look all that great And and 00:51:26.789 --> 00:51:28.909 I would just say that for a movie like this, 00:51:28.989 --> 00:51:31.349 it's it's hard. You know, the fact that you can't 00:51:31.349 --> 00:51:33.650 really take it seriously means that it's not 00:51:33.650 --> 00:51:35.909 like emotionally powerful or it probably won't 00:51:35.909 --> 00:51:39.190 really stay with me all that much. So, you know, 00:51:39.190 --> 00:51:41.170 a movie like this can never really be a masterpiece 00:51:41.170 --> 00:51:43.670 because it seems like it's not even taking itself 00:51:43.670 --> 00:51:48.630 seriously. Yeah, I found the performances. way 00:51:48.630 --> 00:51:51.389 not just over the top but just like bad like 00:51:51.389 --> 00:51:54.570 some of the supporting actors whoever it is who 00:51:54.570 --> 00:51:57.329 who has a he didn't even try to cover up his 00:51:57.329 --> 00:52:00.710 New York his New York accent he's just he's just 00:52:00.710 --> 00:52:03.010 hey I'm in New York and but now I'm in Europe 00:52:03.010 --> 00:52:06.530 that rubbed me the wrong way the rape of the 00:52:06.530 --> 00:52:12.150 female body the or necrophilia um it was like 00:52:12.150 --> 00:52:17.179 really slow and drawn out And Baron is grunting 00:52:17.179 --> 00:52:20.619 and orgasming. And my stomach's getting a little 00:52:20.619 --> 00:52:22.539 queasy thinking about it right now, which maybe 00:52:22.539 --> 00:52:25.960 is the point, but not for me. Yeah, I'm with 00:52:25.960 --> 00:52:27.800 you. Like some of the campy gore, like I was 00:52:27.800 --> 00:52:30.239 just talking about, is entertainingly over the 00:52:30.239 --> 00:52:33.139 top. But that scene is just really gross and 00:52:33.139 --> 00:52:36.199 disturbing at a level that like, you know, again, 00:52:36.300 --> 00:52:38.519 if you're going to make something so repugnant, 00:52:38.579 --> 00:52:40.320 like I think you should have a pretty good reason 00:52:40.320 --> 00:52:43.679 for it. Like, um. You know, the movie Solo by 00:52:43.679 --> 00:52:45.860 Pasolini, which I have to admit I've never actually 00:52:45.860 --> 00:52:48.320 seen, but that's just a movie about like the 00:52:48.320 --> 00:52:51.320 lowest depths of like human behavior. And so 00:52:51.320 --> 00:52:53.599 like if you're making a comment like that, I 00:52:53.599 --> 00:52:55.579 feel like maybe you can like get away with depictions 00:52:55.579 --> 00:52:58.139 like that, but not so much in flesh for Frankenstein. 00:52:58.139 --> 00:53:00.500 That scene is like like extremely disturbing 00:53:00.500 --> 00:53:02.739 for no real discernible reason. Because it didn't 00:53:02.739 --> 00:53:05.500 even come off as campy or over the top. It was 00:53:05.500 --> 00:53:09.780 like real. There was no sense of absurdity to 00:53:09.780 --> 00:53:12.599 it. And I think that's what made it uncomfortable. 00:53:12.920 --> 00:53:15.400 It's not really even like disturbing or anything 00:53:15.400 --> 00:53:18.300 either. It's just kind of like, it's just disgusting 00:53:18.300 --> 00:53:21.880 basically. Yeah. It's kind of like partially. 00:53:22.730 --> 00:53:24.250 you know, the line of dialogue at the end of 00:53:24.250 --> 00:53:26.349 that scene, like partially kind of justifies 00:53:26.349 --> 00:53:29.150 it. I was going to say, you kind of have to feel 00:53:29.150 --> 00:53:31.429 for the actress, right? Who's like, you know, 00:53:31.429 --> 00:53:33.389 naked the whole time, like she's strapped down 00:53:33.389 --> 00:53:35.070 to this table and it looks extremely uncomfortable. 00:53:35.469 --> 00:53:38.050 Like, yeah, I mean, I'm sure she was a willing, 00:53:38.090 --> 00:53:40.510 willing actor, a paid actor, obviously, but like, 00:53:40.510 --> 00:53:43.409 it must have been like pretty. you know difficult 00:53:43.409 --> 00:53:46.070 and uncomfortable to be in that scene for her 00:53:46.070 --> 00:53:47.969 i would think on the subject of the sex scenes 00:53:47.969 --> 00:53:51.210 too i like one kind of nitpick you know they 00:53:51.210 --> 00:53:52.909 do the thing in this movie a few times where 00:53:52.909 --> 00:53:57.070 you see like the uh the male and and female creatures 00:53:57.070 --> 00:54:01.989 kind of like propped up on on stuff uh so that 00:54:01.989 --> 00:54:04.750 they're kind of in a standing position and they're 00:54:04.750 --> 00:54:08.289 naked except for like cloth over their like these 00:54:08.289 --> 00:54:11.079 cloth patches over their genitalia And I always 00:54:11.079 --> 00:54:13.800 think it's stuff like that. Like, okay, if this 00:54:13.800 --> 00:54:17.219 was like somehow a real situation, which obviously 00:54:17.219 --> 00:54:19.840 this is totally ridiculous, but if it was somehow 00:54:19.840 --> 00:54:21.639 a real situation, like they wouldn't have those 00:54:21.639 --> 00:54:25.019 cloth pieces on. And I'm not saying like, you 00:54:25.019 --> 00:54:27.099 know, the actor should have been forced to do 00:54:27.099 --> 00:54:30.579 full frontal nudity, but like, I don't know, 00:54:30.619 --> 00:54:32.400 maybe just like shoot it in a different way then 00:54:32.400 --> 00:54:34.300 where you're just only showing them waist up 00:54:34.300 --> 00:54:37.239 or something instead of just, you know, doing 00:54:37.239 --> 00:54:39.539 these things that draw attention. Right. Because 00:54:39.539 --> 00:54:42.119 I don't think Baron or Otto have scruples about 00:54:42.119 --> 00:54:45.519 that. That was just for the audiences. Not a 00:54:45.519 --> 00:54:47.039 big deal, but just one of those things that was 00:54:47.039 --> 00:54:50.420 sort of annoying me. Yeah, it makes an already 00:54:50.420 --> 00:54:54.340 very implausible movie even more impossible to 00:54:54.340 --> 00:54:57.139 believe. For the most part, I think the worst 00:54:57.139 --> 00:54:58.639 thing about this movie is kind of what we've 00:54:58.639 --> 00:55:00.679 brought up a few times, where it just doesn't 00:55:00.679 --> 00:55:05.219 seem to have any particular consistent point 00:55:05.219 --> 00:55:07.730 of view. you know point that it's trying to get 00:55:07.730 --> 00:55:12.190 across or basic viewpoint it just it seems overall 00:55:12.190 --> 00:55:14.570 pretty random and and while it has you know a 00:55:14.570 --> 00:55:17.329 lot of entertaining individual moments it doesn't 00:55:17.329 --> 00:55:20.070 doesn't really hold together for me as a full 00:55:20.070 --> 00:55:22.750 movie definitely all valid criticisms for sure 00:55:22.750 --> 00:55:27.070 yeah um we've already talked a lot about the 00:55:27.070 --> 00:55:30.170 campy aspects of the film uh do we want to say 00:55:30.170 --> 00:55:32.190 any more of the ridiculous lines of dialogue 00:55:32.190 --> 00:55:34.489 just to have a little bit of fun here at the 00:55:34.489 --> 00:55:36.869 end well i i have one thing i want to add to 00:55:36.869 --> 00:55:39.530 my campy okay a couple things they involve auto 00:55:39.530 --> 00:55:43.429 so auto after cutting off what's his name's head 00:55:43.429 --> 00:55:46.969 he like beats the body with a stick or something 00:55:46.969 --> 00:55:50.110 but that was very funny and also at the end when 00:55:50.110 --> 00:55:54.079 they put the the male and the female now living 00:55:54.079 --> 00:55:56.940 creatures together uh both the baron and otto 00:55:56.940 --> 00:56:01.380 are like peeking down at the male's genitalia 00:56:01.380 --> 00:56:04.219 to see if there's any sort of arousal it's just 00:56:04.219 --> 00:56:07.420 like otto is just doing this as a choice by the 00:56:07.420 --> 00:56:10.260 by and i was like this is cracking me up this 00:56:10.260 --> 00:56:12.340 is so funny but that whole scene i think it's 00:56:12.340 --> 00:56:16.539 the same scene where um uruk here keeps going 00:56:16.539 --> 00:56:23.199 like kiss kiss yes yes kiss him yeah Pretty entertaining 00:56:23.199 --> 00:56:26.000 moment. So another one of my favorite examples 00:56:26.000 --> 00:56:27.619 is during that same scene you were talking about, 00:56:27.719 --> 00:56:29.880 Frank, where Frankenstein is talking about how 00:56:29.880 --> 00:56:32.639 he was convinced to go to the bordello by his 00:56:32.639 --> 00:56:35.079 school friends or whatever. And he's talking 00:56:35.079 --> 00:56:37.119 about the prostitutes and Frankenstein says, 00:56:37.340 --> 00:56:40.260 with their filthy movements and dirty talk, it 00:56:40.260 --> 00:56:42.880 was terrible. I really love that line a lot. 00:56:44.420 --> 00:56:47.360 And then later on when he says to Katrin, his 00:56:47.360 --> 00:56:51.679 wife slash sister, shut up, you sex maniac. I 00:56:51.679 --> 00:56:54.619 really love that line as well. There are probably 00:56:54.619 --> 00:56:57.000 dozens more lines that we could say right now, 00:56:57.059 --> 00:56:58.940 but those are my favorite. All right, we have 00:56:58.940 --> 00:57:03.219 four ratings here on Camp Kaiju. Our highest 00:57:03.219 --> 00:57:06.059 rating is, it is a timeless classic. It definitely 00:57:06.059 --> 00:57:09.039 stands the test of time. Our second rating is, 00:57:09.139 --> 00:57:11.579 there may be some antiquated moments, but overall 00:57:11.579 --> 00:57:14.599 it's great and stands the test of time. Our third 00:57:14.599 --> 00:57:16.559 rating is, it may be historically significant 00:57:16.559 --> 00:57:19.420 or just fun, but it doesn't stand the test of 00:57:19.420 --> 00:57:23.239 time. And our worst rating, it is not worth revisiting 00:57:23.239 --> 00:57:25.340 and definitely does not stand the test of time. 00:57:25.480 --> 00:57:28.139 You know, I do kind of admire this movie in some 00:57:28.139 --> 00:57:32.179 ways. Like, it is really trashy, really sleazy. 00:57:32.199 --> 00:57:34.460 It has a lot of flaws for sure. But I think it's 00:57:34.460 --> 00:57:36.679 really interesting to think about. I think it's 00:57:36.679 --> 00:57:38.559 like a pretty interesting reflection of like 00:57:38.559 --> 00:57:42.420 where cinema was at in the early 70s. I think... 00:57:42.730 --> 00:57:46.289 like placing it in the context of like uh yeah 00:57:46.289 --> 00:57:49.150 camp and post -modernism and like low art versus 00:57:49.150 --> 00:57:51.949 high art uh and then kind of connecting that 00:57:51.949 --> 00:57:54.510 to warhol's factory a little bit all that stuff 00:57:54.510 --> 00:57:56.849 is pretty fascinating to me but the movie itself 00:57:56.849 --> 00:58:00.670 is not like yeah not not especially well made 00:58:00.670 --> 00:58:02.210 and doesn't really seem to have anything to say 00:58:02.210 --> 00:58:05.349 so i want to be a little provocative maybe i'm 00:58:05.349 --> 00:58:07.539 inspired by the movie So I'm going to say there 00:58:07.539 --> 00:58:09.320 may be some antiquated moments, but overall, 00:58:09.380 --> 00:58:11.940 it's great and stands the test of time. I can 00:58:11.940 --> 00:58:14.059 see myself watching this movie again in the future 00:58:14.059 --> 00:58:18.320 and just being really like amused and like bewildered 00:58:18.320 --> 00:58:23.380 by it all over again. I love it. I disagree. 00:58:24.519 --> 00:58:27.659 But I get what you mean. If I'm being generous, 00:58:27.920 --> 00:58:30.519 I would say that this film is historically significant. 00:58:30.840 --> 00:58:34.289 I can give it that. But I got to be honest, you 00:58:34.289 --> 00:58:35.949 guys, first time I watched it, I couldn't finish. 00:58:36.050 --> 00:58:37.969 I fell asleep. The second time I tried to watch 00:58:37.969 --> 00:58:41.269 it, I also fell asleep by the end. The third 00:58:41.269 --> 00:58:43.949 time I was just skipping around the last 10 minutes 00:58:43.949 --> 00:58:46.329 because I was like, this movie has just completely 00:58:46.329 --> 00:58:51.210 devolved into mayhem. And I don't understand 00:58:51.210 --> 00:58:52.969 what's happening. I don't care what's happening. 00:58:54.730 --> 00:58:57.610 Nothing interests me anymore. And it started 00:58:57.610 --> 00:59:00.190 off strong. So it's a shame that by the end, 00:59:00.190 --> 00:59:02.889 I was like, I don't care. Though I don't think 00:59:02.889 --> 00:59:06.030 it stands the test of time. Historically, sure. 00:59:06.329 --> 00:59:08.670 Yeah, I would put it in that same category as 00:59:08.670 --> 00:59:12.289 you, Vincent. I disagree slightly because I don't 00:59:12.289 --> 00:59:14.030 know that this movie is that historically significant. 00:59:14.710 --> 00:59:20.230 I don't know. I do think it's somewhat fun, though. 00:59:20.289 --> 00:59:25.570 I mean, a lot of the terrible dialogue delivered 00:59:25.570 --> 00:59:27.789 by terrible actors, like we've talked about, 00:59:27.929 --> 00:59:31.250 is kind of fun. And there are some actual, like, 00:59:31.500 --> 00:59:33.340 you know like we've talked about some cool sets 00:59:33.340 --> 00:59:36.699 uh you know a few few cool camera movements and 00:59:36.699 --> 00:59:40.139 things like that but uh but yeah i i don't think 00:59:40.139 --> 00:59:42.599 it's a very good movie overall i'd say it's not 00:59:42.599 --> 00:59:44.820 one i'd probably go back to again Honestly, I 00:59:44.820 --> 00:59:46.480 was kind of hoping that we would have like a 00:59:46.480 --> 00:59:48.440 pretty wide range of reactions because it's a 00:59:48.440 --> 00:59:51.500 very polarizing movie. So certainly understand 00:59:51.500 --> 00:59:53.860 your criticisms. I think they're all extremely 00:59:53.860 --> 00:59:56.980 valid. I'll stick up for this movie a little 00:59:56.980 --> 00:59:59.280 bit more. I get tired of liking everything I 00:59:59.280 --> 01:00:02.739 see. So it's good to really dislike something. 01:00:03.719 --> 01:00:07.260 Yeah. If nothing else, I'm proud of bringing 01:00:07.260 --> 01:00:09.219 a movie to the podcast that you actively hated. 01:00:09.320 --> 01:00:12.050 I feel like I achieved something. There's always 01:00:12.050 --> 01:00:14.030 Porco Rosso. I'm excited to talk about that in 01:00:14.030 --> 01:00:17.090 a couple months. On that note, thank you again, 01:00:17.150 --> 01:00:18.610 Frank. It's always a pleasure to have you on 01:00:18.610 --> 01:00:20.710 the show. This was a great conversation. Thanks 01:00:20.710 --> 01:00:23.449 for having me. Yeah, thanks, Frank. And thank 01:00:23.449 --> 01:00:25.250 you all for hanging out. If you liked what you 01:00:25.250 --> 01:00:27.230 heard, please tell a friend, leave a rating and 01:00:27.230 --> 01:00:30.050 review, and visit CampKaijuMovieReviews .com, 01:00:30.170 --> 01:00:33.630 Instagram, or Patreon .com slash CampKaiju for 01:00:33.630 --> 01:00:35.969 more monster movie content. We can't thank you 01:00:35.969 --> 01:00:38.639 enough. And before I forget, Camp Kaiju is sponsored 01:00:38.639 --> 01:00:41.559 by BanditsEmporium .com, where you can shop exclusive 01:00:41.559 --> 01:00:44.000 monster -inspired t -shirts with parts of the 01:00:44.000 --> 01:00:46.420 proceeds supporting this show. BanditsEmporium 01:00:46.420 --> 01:00:49.380 .com. Hit the link in our bio. As they say, we 01:00:49.380 --> 01:00:52.400 sell shirts. And as Camp Kaiju says, thanks again, 01:00:52.460 --> 01:00:57.400 friends. Until next time, stay campy. To know 01:00:57.400 --> 01:01:03.239 death, Otto, you have to fuck life in the gallbladder.