He ate this entire thing of meat with his hands
and he did not wipe his fingers. He, I was watching.
I'm kind of a neat freak when it comes to eating.
Like I'm always wiping my hands after ribs or
something. He doesn't do that. He literally,
he doesn't lick his fingers. He doesn't do anything.
He just gets his coat and goes on. And from that
point on, I was like, I can't with this man.
He's going around with sticky meat fingers. You
know what, Vincent? He doesn't have to conform
to your rules. Hello and welcome to Camp Kaiju
Monster Movie Podcast. We're your hosts, Matt
Levine. And Vincent Hanna. And we're talking
about all our favorite monster movies, the good,
the bad, and the downright campy, and asking
if they stand the test of time. Traditional kaiju
creature features, space invaders, the supernatural,
and everything in between. All strange beasts
are welcome here. Camp Kaiju is brought to you
by Zack Linder and the Zack Pack, powered by
Coldwell Banker Realty. Whether you're looking
for your dream home, a savvy investment property,
or expert guidance in home rehab and flipping,
the Zach Pack has you covered. Check the link
in the show notes for more information. The end
of life. Toma! Pegue o dinheiro do chão! Vamos!
Hey Vincent, how's it going? Hey Matt, good.
How you doing? I'm doing well, thank you. I'm
especially excited. Tonight we're talking about
a very interesting movie called At Midnight I'll
Take Your Soul, a Brazilian movie, some would
say the first Brazilian horror movie from 1964,
and extra excited because we have a special guest
on the episode tonight. Hello again to Frank
Olson. Hello. How you doing, Frank? I'm doing
okay. Awesome. Thank you again for joining us,
Frank. Longtime listeners will know Frank well,
all the Frankaholics out there. I feel like this,
I'm pretty sure this is the first episode that
you've joined this season. So it's good to have
you back, Frank. Yeah. Yeah. The last one I was
on, not counting like the year on special was
when we did The Addiction last year. So yeah,
that was like toward the end of the last season.
Yeah. Cool. Yeah. Interesting vampire movie.
Good conversation. A lot of like. religious themes
in that one i guess we'll have some more maybe
more anti -religious themes tonight that we'll
talk about but yeah it would be a pretty good
double feature actually these two movies i think
it would be yeah yeah i feel like this might
be admin i don't take your soul might be a good
double feature with alu karda as well which we
talked about on the podcast so it's been kind
of fun we've been doing like globe trotting monster
movies this season i feel like that was maybe
a little bit unintentional but it's worked out
well so far Yeah, so again, tonight we'll be
going to Brazil to talk about At Midnight I'll
Take Your Soul. All you listeners out there,
thank you so much for hanging out with us. Please
rate and review the show and follow us on patreon
.com slash campkaiju for additional videos, reviews,
merchandise, and more. Other ways to get in touch
include email at campkaiju at gmail .com, on
our website, campkaijupodcast .com, on Instagram,
and our voicemail number, 612 - As always, a
special thank you to our current Patreon members,
Jason, Chris, Sean, Peggy, our anonymous patron,
Don, Steffi, and Jim Chaney. I feel like that
list has grown a little bit since last time.
It hasn't, but it feels like it, doesn't it?
That's okay. That's awesome. Thank you all so
much. We really appreciate your support. Couldn't
do it without you. Honestly, thank you. So yeah,
as always on Camp Kaji, we do a special little
thing today around this time in monster movie
history, calling out a couple horror monster
movies that have been made throughout cinematic
history. So I have kind of a long list of monster
movies that have come out around early April.
Do any of those titles stand out to you guys?
Frank, you can go first if you'd like. Well,
a title that stands out to me, although I don't
know anything about this movie, is The Ghost
in the Invisible Bikini. That is a wild title.
But in terms of a movie I actually know something
about, that's an interesting movie. The Thousand
Eyes of Dr. Mabuse from 1960, which is the last
of Fritz Lang's three Dr. Mabuse films, and also
his last film before he died that he directed.
But I guess I'll... bring that one up because
one of the first episodes I was on with you guys
was years ago. We did the second movie in that
series, the Testament of Dr. Mabuse, which is
one of my favorite movies, but the thousand eyes
is not quite as good as that, but it's, it's
very interesting. It's kind of an update of the,
just the idea of that Dr. Mabuse character being
this kind of like all like borderline omnipotent
super villain. And in this one, it's more like
he's doing a lot of video surveillance stuff.
So it's kind of been updated for the era it came
out. And it's a really interesting movie. It
makes me wonder, you know, if somebody were to
do a Dr. Mabuse movie today, incorporating like
modern technology, like the internet or social
media or whatever, how, you know, how they could
kind of expand on those themes. Yeah, I'm so
glad you called out that movie. I love that movie.
I saw it last year for the first time. I was
also thinking of Mabusa. I feel like this might
be kind of a stretch, but I feel like a similarity
between Mabusa and Coffin Joe, who we'll be talking
about later tonight, is that they're not really
monsters, but it's sort of on the verge of men
slash monsters. They don't have a lot of supernatural
abilities, but still something kind of, I don't
know. paranormal almost is going on. So there's
kind of a connection there. Maybe there's a,
for sure a supernatural element. Yeah. Whether
or not, but, but whether or not it's in their
head or in reality there, we can have a debate,
but there's certainly some spooky things going
on. Yeah. I think that the climax of the movie
and what ultimately happens to coffin Joe is
a little bit similar actually to the first Dr.
Mabuse movie, Dr. Mabuse, the gambler. you know,
from way back in the silent era, you know, which
that movie, you know, spoiler alerts from a movie
that's over a hundred years old, but at the end
of that movie, like the ghosts of a lot of the
people who Dr. Mabuse says wrong to kind of come
back to, to haunt him and kind of a similar thing
happens to, to Joe and in the movie we're going
to talk about tonight. That's a good choice,
Frank. And also, I'm glad you called out the
ghost with the invisible bikini. I added some
titles on here that I have no idea what the movie
is, but the title is just too great to not put
on there. Another example of that is Joe Nosferatu,
Homeless Vampire, which apparently is a movie
that came out in 2004. I'm not expecting it to
actually be good, but I am kind of morbidly curious
to see that movie now. Absolutely. Yeah, yeah.
Vincent, what about you? Any of those movies
jump out at you? Yeah. One of my favorite sequels,
actually, from 1996, it's Tremors 2, Aftershocks.
This movie was actually a direct -to -video sequel.
With that said, though, the practical effects
are still there. It looks like a main A picture.
It doesn't look cheap in any way. Sorry, the
actors are Fred Ward. He's returning as his character
from the first Tremors, Earl. And Michael Gross
also returns as Burt Gummer. So yeah, I think
it's worth checking out. It continues the story.
It's not just a rehash of the first. And it does
some interesting things. Introduces some key
developments in the Tremors saga. So Tremors
2 Aftershocks. Dig it. I've never seen it. I'll
have to check that out. It's actually been a
long time since I've seen the original also,
but I'd never really heard much of anything about
the second one. So you're selling it though.
It makes it sound interesting. I think it, I
think it's a classic and stands the test of time.
Nice. There's the episode right there. We don't
even have to do it. I've also never seen that
movie. We talked about tremors maybe like two
years ago, two or three. It was fun to revisit
that. It had been a long time for me. I think
the movie that I'm going to pick off of this
list is Dario Argento's Inferno from 1980. Argento
is a little bit hit or miss, but like his hits
are some of the best horror movies of all time.
Suspiria is definitely very high up there. I
really love opera and phenomena as well. But
Inferno is great. It's so beautiful. It's not
as gory as Suspiria. So if you're a little bit
squeamish about gore, you don't really have to
worry with that movie too much. There aren't
extreme close -ups of somebody's heart getting
stabbed, so don't worry about that. But it's
so beautiful. It's so strange. It's the second
part of his... like mother trilogy, which is
Suspiria, which is mother of size. Mother of
tears is the last one. I can't remember like
the, which mother that's an Inferno, but it's
very, very good. Love that movie. Have either
of you seen that? Yeah. Good, good movie. Really
good musical score too, by I think Keith Emerson,
maybe. That sounds right. Yeah. Cause it's not
Goblin who did the score for Suspiria. Yeah.
Yeah. It's not Goblin, which is weird because
they soundtrack so many of his movies. But yeah,
Inferno. See it if you have not seen it, if you're
an Argento fan especially. Underrated, I would
say. In terms of new and upcoming monster movies,
I'm curious if either of you have seen The Bride
yet. I saw it. Unfortunately, I was disappointed.
I like the basic premise of The Bride of Frankenstein
being... you know, reanimated into this role
as the bride of Frankenstein, but then kind of
rejecting it. But that was kind of, I mean, not
kind of, it was done a lot better just a few
years ago in the movie, poor things more or less.
And also in this movie, it's just so muddled
with other just like random storylines that go
nowhere. Like there's a thing where the, like
Frankenstein's monster is this like obsessive
fan of, Fred Astaire -style song and dance movie
star, and that goes nowhere. There's something
where the bride at random points is possessed
by the spirit of Mary Shelley, who is presented
as this sort of punk feminist, which I don't
know a ton. I'm not a big Mary Shelley scholar
or anything, but it seems to have nothing to
do with her real life. considerable real achievements
or her legacy or anything it just seems like
a totally random just a totally random thing
and she speaks like when she becomes possessed
by Mary Shelley she's speaking in this like Catherine
Hepburn accent for some reason and I'm like what
where is any of this coming from and there's
just all it's just like really cluttered and
the tone not just from scene to scene but even
like within scenes like from moment to moment
the tone keeps like wildly changing which makes
the movie sort of like lively but it's it also
eventually just kind of gets tedious because
there's like no real like momentum being built
because it's just the movie's just all over the
place so there's a couple good performances like
jesse buckley like her she's she's the bride
and her performance is very like uninhibited
and she's kind of like throwing everything against
the wall, so periodically she'll just have some
really crazy line reading or body movement or
something that's amusing because it's so strange,
but it doesn't really add up to a great performance
overall. And Christian Bale is actually very
good as Frankenstein's monster. It's a relatively
more restrained performance compared to hers,
but yeah, overall it's just not very good. I
was disappointed. I still want to see it, though.
But that's too bad to hear. Yeah. Yeah. I was
hoping it would be interestingly bad, but it
kind of just sounds bad for the most part. Well,
that's what I'm hoping for. Interesting bad.
If I've learned one thing on this podcast, it's
to appreciate the interestingly bad films. Yeah.
Yeah. I like her as an actress, but yeah, as
a writer and director, I'm not sure. I don't
know. She's more skilled as an actress than as
a writer or director, at least based on The Bride.
I haven't seen her first movie, The Lost Daughter,
but. I have seen The Lost Daughter, which I thought
was good and like, again, had good performances
and everything. But I was like, ah, this could
be like a little bit more like wild and crazy
and have more of like an intense visual style.
So when I saw the trailer for The Bride, I was
like, all right, this seems like a step in the
right direction, like a little more, you know,
formally audacious or whatever. But actually,
it might be a step in the wrong direction. So
I would like to see it at some point. It does
not sound very good, though. We shall find a
happy medium in our third movie. I don't know.
Yeah, I hope so. All right. What is coming up
on Camp Kaiju, Vincent? Next episode is called
The Black Scorpion. It's about the Black Scorpion
from 1957. It is a giant bug kaiju movie from
Hollywood, from the USA, in the age of atomic
monsters. What's noteworthy about this film,
it is brought to life by the stop motion effects
of Willis O 'Brien, who created King Kong in
1933 and The Lost World, which we'll be talking
about later, too. So I think it's a pretty interesting
glimpse into late career Willis O 'Brien, who
at this point was most certainly eclipsed by
Ray Harryhausen, his protege. But O 'Brien still
in the game, or at least he has something left
in the tank. So I'm excited to see what that
is in The Black Scorpion. That sounds cool. I
can't wait to see it. I'm glad that you're turning
me on to some more like 1950s stop motion animation
monster movies because I'm sorely undereducated
in that subgenre. So I'm looking forward to that.
We'll have a double feature with Willis O 'Brien
because we'll be talking about The Lost World
from 1925 and our episode after that. So yeah,
some good episodes coming up. By the way, you
mentioned Instagram before, and I wanted to shout
out a meme that you posted on the Camp Kaiju
channel earlier today, which is Hell Frazier.
And it's just a shot of Frazier Crane with like
the theme song from that sitcom. But he has like
pins all over his face, like pinhead. And I burst
out laughing at that and could not stop, even
though it's like kind of a stupid joke, but it
is hilarious. Good job on that meme. I also burst
out laughing. It was an instant reshare. I just
had to do it. Hell Frazier. I haven't even seen
the image, but that sounds hilarious. I'm just
imagining it. I couldn't believe it. Yeah, Frank,
check it out on the Camp Kaiju social Instagram
page. Another thing I want to see come to fruition
now, you know, it'd be amazing. I feel like Hellraiser
is not too far beyond Frasier. Like it's a natural
connection right there. Vincent, you have some
things in our other news category here on the
Google Doc. Yeah, sorry, guys, just real quick.
I know we're throwing a lot of things here, but
the Rondo Awards are open. The voting for this
is open. Now, if you're not familiar with the
Rondo Awards, I could paraphrase or I can just
read from their website, rondoaward .com. So
since 2002, the Rondos have been fandoms only
classic horror awards decided by fans for fans.
So every nominee below is recognized for significant
achievements in 2025. So listeners. Camp Kaiju
was nominated by fans, by you all. And we have
been chosen on a short list of nominees for Best
Website, which is not Best Podcast. We were nominated
for that category the previous year. But we have
a nomination, and we stand amongst giants of
classic horror fandom. But there's a whole ton
of categories. Everyone should check this out.
Link in the show notes. Yeah, I was not aware
of that. Cool. Yeah. After that bit of news,
Mothra Day, people. Mark your calendars. Bloomington,
Indiana, June 12th, Mothra Day. Our friend of
the pod, Beth Bredlaw, she worked her kaiju magic
and got the mayor of Bloomington, Indiana, to
declare that weekend Mothra Day, Mothra Weekend.
Just like last year, she did the same thing with
the mayor of Bloomington, who sounds like a great
guy, to declare it Godzilla Day and weekend last
year. And Beth orchestrated this great festival
with screenings at the local cinema. She's going
to do the same this year. Maybe Camp Kaiju will
be there as a guest panelist. We don't know.
It's only the second year for this wonderful
little festival. Props to Beth. Kudos to you
out there. And let's make it happen. I wonder
if the mayor of Bloomington, Indiana is like
an enthusiastic horror fan or something, or if
he's just like, Beth, leave me alone. We'll do
it. Fine. But either way, that's really cool.
Yeah. Yeah. After 20 more calls in one day, the
mayor of Bloomington has finally agreed to do
Mothra Day. That's amazing. I hope for Mothra
weekend, they just play the insanely catchy Mothra
theme nonstop, like public loudspeakers the entire
weekend. It'd be great. Throughout the whole
town. Yeah. Yep. Drive everybody insane. Also
in the summer, Matt, any updates on... Piranha
and Creature Features at the Heights? It's still
in the works. I can say at this point, it is
likely that Piranha will play May 8th at the
Heights Theater up here in Minneapolis. I should
be totally candid and say that I work at the
Heights, so there is kind of a inside connection
slash conflict of interest, but we'll go with
inside connection. Yeah, so Piranha, great Joe
Dante, fun, you know, monster movie, May 8th,
most likely will be playing. And then Vincent
and I kind of programmed a series of eight monster
movies that hopefully, fingers crossed, will
play at the Heights for like the next two months
after that, like on a weekly basis. So hopefully,
yeah, you know, Creature Features series at the
Heights this summer, but to be confirmed on that.
Sounds Jawsome. Yeah, although Jaws will not
be one of the movies in that series. I feel like
I need to say, but. But there will be, I mean,
if it all works, if it all comes to fruition,
there will be so many other good movies in that
series. Stay tuned for more info on that. Will
do. Okay. Yeah, so tonight we are talking about
Brazilian horror movie At Midnight I'll Take
Your Soul from 1964. I'm curious what your personal
histories are with this movie. Zero. Not since
last year when you suggested it, so. I watched
it for the first time the other night, did a
little research on this character, Coffin Joe,
Brazilian horror films. I'm ready to rock and
roll. You know, I knew of the Coffin Joe character
vaguely. Like, I knew enough to know that he
was, you know, either a South or Central American,
like, you know, horror icon of some sort. But
I wouldn't have even been able to tell you he
was from Brazil or like anything about the character,
really. So this was all pretty brand new to me,
aside from just vaguely knowing that he was a
popular character in that area of the world.
Well, I'm glad that my selection introduced both
of you guys to this character and this director.
Hopefully it was not a bad experience for you
guys. We'll learn more about that later. So at
minute, I'll take your soul. I think I first
saw it maybe in like 2010. So it's been kind
of a long time. I can't remember exactly how
I first heard about this movie. I think I just...
read the title somewhere, read that it was one
of the earliest, if not the first Brazilian horror
movie about a character named Coffin Joe. And
I was like, I need to see this movie. And I liked
it when I first saw it. It had been so long,
I barely remembered anything about it. It was
fun to rewatch. And like, I don't know, we'll
get into all the details. But if you're a horror
lover, there's so much to enjoy about this movie.
Like, it's just... Like the opening credits,
for example, you have like a cackling witch and
like eerie wind sound effects and spooky music.
It's like walking into like a Halloween funhouse,
you know? Not since Dracula stalked the earth
has the world known so terrifying a day or night.
It's I who renounce you. And in the name of Satan,
I place a curse upon you. Black Sunday is like
no motion picture you've ever seen. There are
those who believe and those who do not. But both
must know the suspense, the shock of meeting
the living dead and of bringing the dead to life.
Look into my eyes. Embrace me. You will die.
But I can bring you pleasures mortals cannot
know. Black Sunday. The most terrifying motion
picture you'll ever see. Satan, wearing strange
robes and fighting with all the furies of Hades,
arouses the countryside to a frenzy of black
terror. You can hide from Suspiria. Anything
more terrifying than the last 12 minutes of Suspiria.
For the first 92. The ghost in the invisible
bikini goes fun -haunting. Boris Karloff as Hiram
Stokely gives orders to Susan Hart as the ghost.
What you have to do is to see that my rightful
heirs get the money. They're on the wildest way
out weekend the in -crowd's ever had. Starring
Tommy Kirk, Deborah Wally, Aaron Kincaid. Harvey
Limbeck, Nancy Sinatra. You know, often on Camp
Kaiju, names in other languages can be a little
bit difficult sometimes. So I looked up the pronunciation
of his name. This is the director, co -writer,
and star of At Midnight I'll Take Your Soul,
Jose Mojica Marins, is apparently how you pronounce
it. So I'm not going to hold you guys to that
pronunciation, but I just wanted to figure out
the correct pronunciation. Yeah. So he... Oh,
yeah, there's not a lot of info on much of the
cast and crew in this movie, but there is a ton
of fascinating info about this guy. So we can
do a deep dive into Jose Mojica Maritz. He was
born on Friday the 13th, March 13th, 1936, to
be exact, in Sao Paulo, Brazil, to Spanish parents.
Jose's father operated a movie theater and the
family lived in an apartment above it. So Jose
was kind of conditioned to love movies ever since
he was a young kid. His son, Crunel, later said
that his father, Jose Mojica Marintz, loved Boris
Karloff, Bela Lugosi, Hitchcock, Orson Welles,
Charlie Chaplin. So just a movie lover, definitely
a horror lover, but also just a fan of cinema
in general. He started making movies from a very
young age. Jose, he would make short films with
a camera that his parents had given him as a
present. These short films often just starred
himself and his neighbors and his friends. I
mean, he would just screen them in churches and
amusement parks and wherever he possibly could.
First film was Terminator 2 Judgment Day. No,
sorry. It's just called Judgment Day. It was
shot on 8mm in 1948 when he was 12 years old.
He then got a 16mm camera and shot 17 movies
over three years, most of them melodramas, mysteries,
and supernatural horror. At 18 years old, Jose
founded the Atlas Film Company, acquiring an
abandoned synagogue and turning it into a film
studio. He gave acting lessons and trained technicians
in order to finance his films. Nice. Savvy of
him. Yeah. His low -budget movies often featured...
His friends and other amateur actors in sensational
genres like sexploitation and drugsploitation.
His first two features were a Western called
Adventure's Fate in 1958 and a gritty drama called
My Destiny in Your Hands in 1963. But his career
would truly take off with At Midnight I'll Take
Your Soul and the Coffin Joe character. Our director,
Jose. Mojica Marines is a fascinating person.
Did you know he owned his own perfume line, ran
for political office, and had 23 children with
various wives? But that's not the most interesting
thing. We'll go back to the political office.
The ballots weren't even allowed because people
voted for Coffin Joe instead of him. And he had
23 children with various wives. How Coffin Joe
of him. Yeah. I would love to know what his perfume
smelled like. I don't. Right. It cannot smell
good, right? Like, you know, weird candles and
tarantulas and like wood, like old wood. That's
what I imagine. But like, what an interesting
guy. His biography is just like a checklist of
like fascinating facts. I didn't put in this
section. I think I put it a little bit later
in the Google doc, but the like long fingernails
that the Coffin Joe character has in this movie.
Maureen's had, like, he wears his fingernails
that way. That wasn't especially, like, an element
of the character. He already had them that way.
So just a weird guy, fascinating guy. He died
in 2020. But yeah, what, you know, unique person.
That's kind of a good segue. Frank, are you able
to talk a little bit more about the Coffin Joe
character? Yeah, yeah. So this film was his first
appearance. After this, there were a couple other
movies. This Night I'll Possess Your Corpse.
And also the third, that came out in 1967. And
then the third film, Embodiment of Evil, came
out way later in 2008. So these ones apparently
loosely follow Coffin Joe's attempts to bear
a male son in order to achieve immortality through
procreation. So kind of continuing what he's
trying to do in this movie. I actually read a
little bit about the second movie earlier today,
This Night I'll Possess Your Corpse. I'm interested
in seeing it because apparently, although the
movie is mostly in black and white, just like
the one we're talking about tonight, is there's
a color sequence that's set in hell. And hell
is apparently cold instead of hot in this version.
And the actor, director, writer, etc. who plays
Coffin Joe also plays Satan in that scene, apparently.
So that sounds very interesting. I love it when
hell is depicted as actually a frozen wasteland.
Because literary nerd here, in Dante's Inferno,
the seven layers of hell, the final layer with
Satan himself, Lucifer, is ice cold. So you go
through all this fire to get to what's probably
equally painful and awful. Wow. I that's a cool
insight. I like that. Do you know if a paradise
lost, do you know if hell is kind of depicted
the same way in that? I don't actually. Okay.
I'm yeah, I'm not, uh, obviously not a literary
expert. So I wasn't even aware of Inferno and
have no idea about paradise lost, but I'd be
interested to find out more. Same. And the character,
uh, the coffin drill character also appeared
in films like awakening of the beast from 1970.
which has test subjects dosed with LSD who see
Coffin Joe and hallucinations. Sounds very 1970.
The bloody exorcism of Coffin Joe from 1974,
which is a self -reflexive movie about the director
being haunted by the character he created. That's,
that's a bit ahead of its time. That almost sounds
like, you know, Wes Craven's new nightmare or
something like 20 years later and hallucin. Hallucinations
of a Deranged Mind from 1978, in which a scientist
has nightmares about Coffin Joe and asks for
the director's help in exercising him from his
dreams. And a lot of these movies were actually
banned in Brazil because of their graphic violence,
sexual content. I can imagine also maybe some
of the blasphemy possibly getting it banned,
even though it's, you know, the blasphemy, at
least in this first movie, is depicted as being.
Yeah. I could see it still, you know, ruffling
some feathers in a heavily Christian country.
Right. Right. Heavily Catholic country too. Yes.
Yes. It looks like he also played the, the same
character in a bunch of TV shows, the strange
world of coffin Joe beyond far beyond the behind.
I love that. And the show from the other world.
And there's also a bunch of coffin Joe comic
books and music videos. I was also reading earlier
today about it. Apparently there's a DVD box
set re -release of these coffin Joe movies that
also include some of the comic books along with
it, which is cool. And I, sorry, go ahead. Coffin
Joe is played by the director, correct? Yes.
Right. Yep. So that's interesting in these kind
of spinoff. properties these other movies is
it the same actor same director is he involved
in any other way yeah it's him basically through
all of them he was so associated with this character
throughout his whole career like that's why when
he ran for office people were voting for coffin
joe instead of him because that's like how the
brazilian people knew him basically I think there
are a couple later movies in which other actors
play younger versions of Coffin Joe, like Embodiment
of Evil, I think, because that's from 2008. So
there's an older version of Coffin Joe, but then
I think there are flashbacks and a different
actor plays him. But for the most part, it's
Jose Mojica Marins the entire way. What a legacy.
Yeah. Yeah, it seems like the type of thing,
and I don't know whether this is true or not,
but it seems like the kind of thing where there
would probably be knockoffs. you know, like maybe
some other actors taking on the role, like unofficially,
it just seems like that kind of thing, sort of
like, you know, the Django series of spaghetti
Westerns or whatever, where there's all these
like unofficial sequels and things like that.
It seems like it would probably happen with coffin
jokes, although I don't know that for sure. Agreed.
Yeah. Yeah. Seems likely. Yeah. But yeah, just
to wrap up that section, Frank, thank you very
much. And he, Coffin Joe, just like such an iconic
figure in Brazilian culture. He's been described
as Brazil's national boogeyman and compared to
Freddy Krueger. So he really has kind of a, you
know, this huge pervasive like pop culture horror
icon status in Brazil. I feel like outside of
Brazil, though, you know, like we were talking
about before, most people don't really know about
Coffin Joe. You know, not as not as like famous
a figure, certainly in the United States, I think.
Yeah, this seems I'd be like, I'm not like a
horror junkie as much as I do love the genre.
I admit, like, especially with really cult things
and and things of this nature in terms of its
violence and whatnot. I'm not as schooled as
maybe some others. So if there are any listeners
out there who like. eat sleep and breathe horror
let us know if you have heard of coffin joe i'd
be really interested to see if it's just my ignorance
because i'm just not in tune with that that circle
of horror in particular yeah and if there are
other icons and like other national cultures
that we should talk about or like watch the movies
and we're not aware of them let us know those
too yeah but yeah i mean i think some of the
later coffin joe movies do get pretty like deranged
and sadistic. Like I feel like, Frank, your point
about the blasphemy in this movie, I feel like
the blasphemy is like the most shocking part
about it. And there are some scenes that are
kind of tough to watch in this movie, but in
terms of like, and like some gory moments, but
they're kind of like schlocky and cheesy a little
bit, you know? But from what I've read, like
the later movies do get like, you know, very
graphic and very demented. And I want to watch
them, but I'm also like a little bit nervous
to do so. like scenes in which women are like
in pits of live snakes and like tarantulas crawling
all over them and stuff. Like there's one tarantula
in this movie and that's, I think keeps on going
in some of the other coffin Joe movies. So yeah,
I don't know. I'll have to work up the nerve
to watch the rest of these movies. I did see
a screenshot from what I think might be the second
movie where a woman has tarantulas like all over
her body instead of just the one that's in this
movie. But yeah. Look, if we think about. international
films and the way distribution works, because
we talk about this with the Japanese films all
the time. I mean, it wasn't until the 21st century
that even Godzilla movies were widely accessible
in the West, in the United States. And then we're
talking about Godzilla, and everyone knew who
Godzilla was. So we're talking about the nature,
the controversial nature of these movies, the
Coffin Joe movies. It actually doesn't surprise
me that they never made it out of Brazil because
it would require a foreign distributor to say,
yeah, let's release that in Hollywood, in downtown
Cleveland. Nobody's going to do that. Nobody's
going to do that. And I think maybe it sounds
kind of counterintuitive, but I think the fact
that they are so hard to see like adds to their
cult status. And then this sort of like lore
builds up around them. And then people do. Like,
want to see them, and then distributors are like,
all right, we can make a profit putting this
stuff out there, you know? Well, yeah, but that's
the great thing now about the internet. You know,
I don't know. I watched this on Tubi, and Tubi
just, to me, seems like this net of, I don't
know, distribution? What's the word? But they're,
yeah, they seem to scoop up anything and everything.
And there it was. Yeah, and it's on Prime Video.
It's on YouTube. So it's like, and Frank, like
you were saying, it's part of that. I think it's
an Arrow video box set as well. So it's like
not really hard to find these days, but it was
for a long time. I bet. Like I said before, it's
hard to find information about the rest of the
cast and crew. Most of them were amateurs and
unprofessionals and just people that were part
of Marine's film school. But I did want to shout
out a couple of the cast members. because they
are put in some very uncomfortable positions,
it seems, in this movie. Magda Mai plays Teresina,
who's the woman that Coffin Joe is kind of obsessed
with and wants to bear his child. Navaldo Lima
as Antonio, who is maybe the only person in the
movie that Coffin Joe could call a friend, although
it does not end well for Antonio. We also have
Valeria Vasquez as Lenita, who starts off as
Coffin Joe's wife. Things also don't end well
for her. She's the poor person who has a tarantula
crawling all over her. And then the last actor
I want to shout out is Elidio Martins Simoes
and his amazing hair, like matinee idol hair,
playing Dr. Rodolfo. I know nothing more than
their names to these actors, but they make an
impression in this movie. So let's talk a little
bit more about the production backstory of At
Midnight I'll Take Your Soul. Again, this is
commonly seen as the first Brazilian horror movie
from 1964. Marins said the idea came to him in
a dream where he dragged himself into a cemetery
while wearing Coffin Joe's signature black costume
and lowered himself into his own grave, which
was already marked with his tombstone. Maureen
said that he woke up from this dream like screaming
and totally petrified and his family was very
nervous and called for a doctor right away. And
that day, Maureen was like, all right, I have
to make a movie with this character in it. Ironically,
though, he did not initially intend to play the
character himself. He was trying to cast a different
actor in the role of Coffin Joe, but it was hard
to do so. Maureen Slater said nobody wanted to
look like a fool. They weren't scared of the
blasphemy or the violence or anything like that.
They just basically didn't want to look stupid.
So he took the role himself. He financed it by
selling his car and apartment and even had his
wife move back in with her parents throughout
the duration of the shoot, which I'm sure was
a tricky conversation. Although maybe with him,
who knows? Maybe he threatened to put a tarantula
on her or something. She didn't do it. He charges
acting students to appear in the film instead
of paying them and compensated only a few members
of the production. I do find it interesting that
he teaches acting because I would not say, although
he definitely has a presence, I would not say
he's like a conventionally talented actor judging
by this movie. In one infamous anecdote, the
crew was refusing to shoot a scene because there
just wasn't enough sunlight. And the director
forced them to proceed with the shot by pointing
a gun at the cameraman. Some real Werner Herzog
type stuff. And to recover the cost on the production,
he sold the distribution rights to Elidio. Oh
boy. The guy who plays Dr. Rodolfo. I'm not going
to try to pronounce his real name. He sold the
distribution rights to him before the premiere,
which worked out well for both of them. Marantz
does not sound like the easiest guy to live with
or work with. He was married numerous times throughout
his career. And just hearing some of these production
stories, it's like you, I don't know, I'm fascinated
by stories of like directors who run their film
sets like a dictator, you know, like just like
forcing people to do their bidding. I wouldn't
want to work with him, but I find that fascinating.
Fascinating, but like, is he? I don't know. I'm
speaking from a place of ignorance. Frank, you
mentioned Werner Herzog. Did he kind of have
a similar incident with a gun? What's going on
there? What's going on with Werner? He's just
known for like, you know, doing super crazy kind
of like dangerous things to film his movies.
Like, you know, he has a movie Fitzcarraldo,
for example, where the part of the plot of that
movie involves like taking this gigantic ship
through the jungle and they have to like take
it up like this. extremely muddy hill and and
they actually did that like they like actually
did it when they were filming it and like people
died doing it and stuff and he also worked uh
a lot with the actor klaus kinski and i i know
they kind of had some like violent incidents
with each other during shoots and things like
that like getting it i guess my my big question
it's just a big question i don't have a definitive
answer who does At what point can your, let's
say, let's say abusive eccentricities be maybe
more tolerated because you are Werner Herzog
and you're making, you know, a masterpiece or
you're you're making At Midnight I'll Take Your
Soul, which has its own merits. But can we can
we excuse this director for that kind of. Yeah,
I don't know that there's anything in it that's
worth pointing a gun at somebody for. Yeah. I
would say that, yeah. And that's not to excuse
that if Spielberg pointed a gun at somebody,
I'd still say that's unacceptable, good sir.
Yeah. But I hope my point is just out there and
you get where I'm coming from. Yeah. Yeah, my
own stance on stuff like that is I kind of, you
know. separate that i guess from the results
on screen a little bit you know i don't think
that like praising a work of art is necessarily
you know praising the person who created it because
obviously a lot of artists are very you know
damaged flawed people even if they're they're
geniuses of what they do but yeah but yeah like
you say everyone's going to have their own own
line with that sort of thing I kind of think
of Kubrick directing Shelley Duvall in The Shining
and some of the emotional turmoil that he put
her through. Great example. Like William Friedkin
on the set of The Exorcist, right before they
shot a scene, he slapped the actor who played
the priest really hard to get that sort of dazed
expression on his face. And yeah, it's an interesting
ethical question. Do the ends justify the means?
I'm definitely not saying that. I just think
it's interesting, like larger than life people
who kind of are abrasive personalities. I don't
really want to know them or work with them, but
it's like fascinating to hear about that stuff,
you know? Yeah. We can go on and on about examples,
actors, directors, producers. It can get gross
pretty fast. So I don't mind moving on to plenty
of other gross things that we're going to talk
about. Yeah, yeah. This is a gross movie, for
sure. Sometimes in fun ways. I don't know if
that sounds like a paradox, but yeah, a gross,
fun movie. Hard to watch at times, though, too.
Apparently, other audiences thought so as well
in Brazil when it was released on November 9th,
1964. It was an unexpected hit. I tried to find
budget and box office figures, but maybe not
surprisingly, they are very hard to find on the
internet for this movie. But Brazilian film historians,
Laura Canepa is one example. I read an essay
that she wrote. She says that the first two Coffin
Joe films were major box office hits that allowed
horror films to find their place in Brazil. The
film did raise controversy when it was released.
There was a military dictatorship that had just
been established in Brazil about seven months
earlier in 1964 that later, like many, you know,
I think that dictatorship lasted like... 20 -some
years, and censorship got, you know, very strict,
more strict as time went on. But even in this
early stage, they did censor this movie. It was
still released, and in some places it was released
in like an uncensored version, but in other places
the government did censor the film. In one case,
a government bureaucrat actually rewrote the
dialogue in a late scene and dubbed over it.
Presumably some of the very blasphemous sacrilegious
dialogue is what the government took offense
with. The film, Admin That'll Take Your Soul,
helped give rise to a film movement called Cinema
da Boca do Lixo. I don't know if I'm pronouncing
that right. In English, that roughly translates
to Cinema of the Mouth of Garbage, through which
independent filmmakers in Brazil resisted the
increasingly strict censorship of the government.
And as we already talked about, the success of
this film and the second Coffin Joe film led
to the establishment of that character as a huge
pop culture figure in Brazil who remained popular,
if controversial, for several decades thereafter.
All right, time for our sponsor break. I don't
know how our sponsor feels about going right
from Coffin Joe to a sponsor break, but here
it is nonetheless. Camp Kaiju is brought to you
by Zack Linder and the Zack Pack, powered by
Coldwell Banker Realty. Whether you're looking
for your dream home, a savvy investment property,
or expert guidance in home rehab and flipping,
the Zach Pack has you covered. Check the link
in the show notes for more information. Vincent,
what do we have in Minya's mailbox today? Just
real quick from our Patreon supporter, Jim Chaney.
He recommends the movie Hail Mary that just came
out with Ryan Gosling. Project Hail Mary. Project
Hail Mary, correct. I've been hearing good things.
And I appreciate the word of mouth. I don't think
that happens enough with mainstream movies these
days. So, you know, maybe it's worth checking
out. Everyone's talking about it. I'm excited
to see it. We have an email from longtime listener
Kaiju Nick, who emailed us in support. Actually,
Kaiju Nick. commented on our website, CampKaijuPodcast
.com. He commented in response to our recent
special episode about Tom Shabilla's book, King
Kong vs. Godzilla. And Tom was on the episode
to talk about his book. But Kaiju Nick says,
Camp Kaiju, the Mozart string quartets, the Sistine
Chapel, King Kong escapes. Monet's water lilies,
Beethoven's symphonies, King Kong escapes. Great
achievements of mankind. Wow. Amazing. Kaiju
Nick, thank you. You always know just what to
say. I agree. King Kong Escapes. Don't sleep
on it, folks. I have a soft spot for the 1976.
Is that when it came out? That remake of King
Kong. I might like that one a little bit more
than King Kong vs. Godzilla or King Kong Escapes,
but that is just my opinion. We'll see. We'll
see. We're going to be watching and talking about
that movie soon. Yeah. So thank you, Kaiju Nick.
Thank you, Jim. Thank you to all writing in,
calling in. We have some voicemails we're going
to feature on our next episode, Black Scorpion.
So stay tuned. I didn't know we had voicemails.
That's exciting. Yeah. Is it cranky anchors?
I hope it is. Was it you? You finally listened
to it. I've been waiting for you to talk about
it. Maybe it was Peter Lorre. He's he's he's
he's going to talk. OK, so he's he's I don't
know. He's kind of in and out right now with
communication. I thought he was having a good
time on vacation doing his thing remote. But
I think his wife, Lenore, this is some sad news.
You know how she was a raven at the end of last
season and he recited the poem The Raven and
through the powers of black magic. Lenore became
a beautiful woman. You remember that, right?
Oh, yeah. Yeah. Well, sad news. Lenore is starting
to sprout feathers and turn back into a raven.
That is sad news. Support for Peter and Lenore
in this moment. I don't know what's going to
happen with that situation, but bless him. He's
recording his things and he's sending them in
as he can. This week's episode is about a 1946.
film called The Face of Marble. Our Letterboxd
synopsis reads, The Last Gasp in Chillers. It
is the story of Dr. Charles Randolph, a scientist
dedicated to deciphering the secrets of life
and death. Aided by assistant David Cochran,
Charles conducts experiments that have horrifying
side effects. Charles' lonely wife, Elaine, is
frightened by his work, and in order to protect
her, Housekeeper Maria unleashes a torrent of,
here it is, voodoo that wreaks havoc. Mad scientists,
voodoo witch doctors. Sure. You can either go
very wrong or be just perfect. I don't know yet.
I'm hoping for just perfect. For Peter Lorre's
sake, I'm hoping for just perfect. He needs a
feel -good movie these days. Maybe this will
be it for him. He loves this stuff. Yeah. John
Carradine is in this movie, I just want to mention.
I get the Carradines mixed up. Am I the only
one? Do you guys get the Carradines mixed up
as well? No. Because Keith Carradine is the younger
one, okay. Right? John Carradine is the older
one? John Carradine, I believe, is the father
of Keith Carradine and even Robert Carradine.
And there's... David Carradine? David Carradine.
David might be the most well -known one, right?
Is he the one that's in Kill Bill? Yeah. Yeah.
David's the only one where I can like for sure
picture him offhand. I'm sure I'd like recognize
the other guys if I saw them. But yeah, he's
the only one where I'm like, all right, this
this face goes with this guy. Right. Keith Carradine.
Aha. Was Keith and Q the winged serpent? One
of the Carradines was, I think. We're getting
real off base now. Sorry. You know, Carradine
podcast coming to you. Yes. David Carradine.
Right. He had the unfortunate demise in a closet.
But I was thinking of the other Carradine who
just died, actually, but he was in Revenge of
the Nerds. He was the youngest. Oh. He just died?
Yeah, he did. His name is Robert Carradine. He
was also the dad on Lizzie McGuire. Okay. Yes.
I hope we bring Lizzie McGuire to the podcast
someday, too. It's only a matter of time, right?
You know, if we're doing this when we're 80,
I will welcome Lizzie McGuire on the show. Out
of monster movies. We'll find some extremely
thin way to connect it. I don't know how exactly.
Yeah. Rest in peace, the Carradines. And thank
you, Mr. Laurie. I hope Lenore is doing all right.
He loved Lenore as a raven, right? So maybe he's
kind of okay with her reverting to avian form.
You know, you just have you never know. You know,
relationships are personal. They're private.
You know, I'm not going to I know how I would
feel if Ellen turned into a bird. Not great.
But I'm not I'm not Peter Lorre, who is a reanimated
corpse among the living. So who knows? You never
know with that guy. Yeah. Welcome to the Poverty
Row Studios on the other side of Hollywood, where
the stars were dimmer and the red carpets dripped
with blood. Together we will watch the best of
the worst. Yes, movies known for their limited
budgets, outlandish concepts, and questionable
performances. But with enough haunted houses,
zombies, ape men, and devil bats to keep you
up at night, this is the Poverty Row Picture
Show. And I dare you to sleep through these nightmares.
Greetings, guys and ghouls. I am your devilish
host, Peter Lorre. You may remember me from such
sinister cinematic movies as M. Do you remember?
The Fritz Lang picture that came after L and
right before N. And, oh, who am I kidding? Listeners.
I have not been my usual quick -witted self these
days. You see, my beautiful Lenore, once a raven,
is inexplicably returning to that frightening
feathered form. Oh, Lenore. Lenore, I do not
have it in me to recite another poem, and yet...
Oh, ye gods, what am I to do? Well, keep calm
and carry on, they say. This week I am reviewing
a monogrammed film called The Face of Marble
from 1946. It stars John Carradine, yes, as a
scientist who seeks to bring the dead back to
life through some electroshock mechanism. In
true B -movie fashion, his experiments with the
contraband cadavers naturally runs afoul of the
law and his beloved. But that is not all. The
Face of Marble truly takes a turn for the bizarro
when the housekeeper... is a voodoo witch doctor
and through a series of unfortunate events mistakenly
kills Carradine's wife. But fear not. The dearly
departed is, yes, you guessed it, brought back
to life through the mad machinations of the doctor.
Except not. Except she is more of a ghost who
is now roaming the house for revenge with her
dog who died earlier and is now also a ghost.
Listeners, The Face of Marble is as strange as
its title. It hardly makes a lick of sense, and
yet, somehow in its 70 minutes, perhaps, perhaps
it is strange enough to sit through. Perhaps
our next movie will be even more bizarre. A monster
flick called The Flying Serpent starring that
rascal George Zuko. What? What is this? What?
My podcasting microphone is picking up a message.
It appears to be a coded signal from the gods.
No, it cannot be. But yes, yes, listeners, it
is coming from out there, from a world beyond
ours. Perhaps it is a message of hope for Lenore.
Speak to me, ye gods of the outer limits. Speak
to me. The artist. The poet. The figure model
who loves to show it. You suppose he could be
physically attracted to her? No, man, he ain't
the type. He don't get enough vitamin E. All
these are beat. All these you'll meet in a bucket
of blood. Let us make the scene. Crazy. Come.
Enjoy yourself. Where the hilarious enjoy the
horrifying. In a bucket of blood. Now you're
going to shoot me. Don't shoot. Come to the land
of living dreams. Where realists dream of the
unreal. Walter, you've done something to me.
Something deep down inside of my prana. Oh, Walter,
I want to be with you. You're creative. Beatniks
at their bawdiest. The creative urge at its most
primitive. I'm deeply moved. And I shall compose
a poem. Love is art. Art is love. It's the weirdest
and the wildest. I don't want to make statues
anymore. I want to get married. To you. I hope
they're doing well. So back to At Midnight, I'll
Take Your Soul. For better or worse, we'll go
back to that movie. So what themes are in this
movie? I do have some written down here, but
I feel like maybe we can just say what's on the
top of our heads. Any themes jump out at you
guys? I think one thing that's interesting about
this movie is the... Well, first of all, the
protagonist is also the bad guy, clearly. He's
a horrible human being. you know, murder and
rapist and, uh, you know, just a all around horrible
guy. And, but he is the, the, the monsters who
sort of wind up haunting him or, you know, attacking
him in some ways are not, not exactly necessarily
like these godly figures, but it sort of seems
like. The god who he doesn't believe in is sort
of getting a revenge on him through these monsters,
which is an interesting reversal from how it
normally is. Normally in horror movies, it's
like people don't believe in these demonic forces
or something, and then those are attacking them.
But in this case, this is a guy who's very staunchly
denouncing religion. that religion in some form
seems to be coming back to, to haunt him. Yeah.
Religion's huge in this movie. There's, there's
a whole day of the dead, a period of time in
the film. I think the climax happens on the,
the day of the dead, which is a holy day in this
movie and other towns, people like they won't
even venture out. Everyone's shut in because
they respect the spirits that they do believe
in. And Coffin Joe is just laughing in the face
of all and any, I don't know, moral code or respect
for not just religion, but like, because at that
point, it's almost like beyond religion. It's
like, these are our beliefs. This is our culture.
And Coffin Joe has no respect for any sort of
grounding element in these people's lives. Like
they're, they believe because it helps them through
their day. And he's like, no, I just want to,
I don't know, do what I want to do. He's taking
care of number one. Yeah. Yeah. Yeah. Yeah. There's,
but I will say the, there are moments where he
does struggle with his faith. Those are the more
interesting point parts of the film to me. He
has this really long monologue rant. shaking
his fist at the heavens scene where he's, I think,
effectively, well, it's shot and performed effectively
to convey his internal struggle in very outsized
terms. So I found that effective. Yeah, I read
an interesting review that said that even though
he has no belief in God or religion or the afterlife
or any kind of moral code, basically, Still,
when like the witch, the evil witch, the old
hag, I think is what the credits call her, not
very kindly. But when she gives him his like
very, you know, gloomy, you know, she reads his
fortune and it's very, she's like, you're going
to die. You're going to be sucked down to hell,
basically. You'll be tormented. I mean, he's
like, you know, he gets very angry. He's even
maybe scared a little bit. So one of the reviews
I read was like, he doesn't really believe in
this stuff. And yet he's also terrified that
it might be true. yeah that's that's universal
that's very identifiable i mean even the faithful
among us we still have of you know we still think
yeah but like we don't know and it's that idea
i mean i reverse the example but like if you're
not faithful i you still don't know like nobody
knows you know i i was just gonna say i think
it's interesting too that it's like the director's
own bad experiences with Catholicism informed
this movie because I, I had the impression watching
it that, you know, it almost plays a little bit
like a, like a grim fairy tale or something,
you know, where like, it, it seems like the,
the ultimate lesson is he should have believed
in, in God and all these, these things that are
like inherent in Brazilian culture that he's
railing against. Because, you know, ultimately
it kind of overtakes, you know, he's sort of
proven wrong by the end of the movie. But yeah,
so I think that's interesting that he, you know,
the real person is sort of anti -Catholicism
because it just seems like it's such an ingrained
part of the culture that he comes from that he's
still on some level. You know, it's just so much
a part of him and everything he was raised with
that it must inform everything he does, you know?
Yeah, and the fact that Coffin Joe is him, like,
he became so closely entwined with his alter
ego, essentially. Like, that is such an interesting
layer to this whole conversation because I'm
just speaking personally. And based on what I
what little I do know about Jose Marines, I don't
know if I'm watching a character like I feel
like I'm watching a man who has been given permission
to like bring his fantasies to life through the
construct of film. And that that that makes me
uncomfortable. Yeah, this man makes me uncomfortable.
I'm not going to lie. This character, this director,
I'm uncomfortable with this whole thing. Yeah,
the character certainly is not a good dude. The
director, that's probably a little more debatable,
but the character definitely is not somebody
you want to emulate for sure. I'm not really
up on my Nietzschean philosophy, but some of
the dialogue is verbatim from the theory of the
Ubermensch or the Superman who thinks that he's
superior to everybody else because everybody
else is kind of ignorant and foolish and believes
in these superstitions. And the Ubermensch is
the only one who has the courage to understand.
the world and like get whatever he wants. Basically,
it's a very Nietzschean concept. So there have
been some things written about that aspect of
Coffin Joe's character. But yeah, basically,
he's just a selfish prick, you know, like he
and he's punished for it. Frank, I think what
you said, you know, he's punished by the God
that he doesn't believe in. I really like that
point a lot. And I think it is interesting to
think like how much Catholicism has permeated
Brazilian culture that, you know, it's so much
a part of this movie, even if it's supposedly
against that, you know? There's a really good
quote by this critic named Dan Stalkup. I'd never
heard of him before. Maybe I can add a link to
the show notes later, but it's a really good
review. And he writes, whether God is real and
righteously bestowing vengeance to the sacrilegious
Joe, or God is a myth and Joe simply drives himself
mad with his exaggerated nihilism, it ultimately
does not matter because the concept of God defeats
Joe either way. I really love that line. And
I think that kind of gets to the tension at the
heart of the movie a little bit. I'll try to
make it brief, but we're talking about philosophy
now. I didn't expect to go in this direction.
I love it. To me, it's directly tying back into
our addiction episode, which was all about philosophy.
And it was all about, I don't remember the exact
terms or schools of philosophy, but if you're
talking about, that's a legit study. We all have
Coffin Joe's tendencies. Many would argue, but
we keep them in check through cultural norms,
through our own codes. But like, you know, if
we chose to, we could all be as violent as coffin
Joe. So in that sense, this movie shouldn't be
viewed as like a realistic movie. It should be
viewed as almost a fantasy. Like here's a, here's
the ego gone mad. This is what, what it could
look like. Yeah. Do whatever the hell you want.
Ultimately, there is a consequence. I don't know.
You can go in a lot of different directions with,
with what we're talking about here. Yeah. I thought
also was interesting that he's, you know, he's
sort of a guy who considers himself like genetically
superior and everything. And yet he's kind of,
even though he is like a creepy guy, he's kind
of like this, like weird little twerp, which,
you know, you see. Not to get too much into modern
culture war stuff that we're all tired of, but
you see that sort of thing play out in society
a lot with people who maybe consider themselves
to be sort of a part of a quote -unquote superior
race or whatever. And then you look at them and
you're like, okay, but you're like a gross little
guy. I don't know. It kind of reminded me of
that a bit as well. So one kind of interesting
subtext to the Coffin Joe character that I did
not put in the program notes, but Marines didn't
include this in any of the Coffin Joe films,
but he did say in an interview that the way he
saw it, he thought Coffin Joe served in World
War II for Brazil, like in the Air Force, I think,
like Brazil was an ally during World War II.
So the way he sees it, Coffin Joe served in the
Air Force for Brazil during World War II and
then returned home and discovered that his wife
had cheated on him. And that kind of like leads
to his obsession with like having a son and also
his misogyny and also his like overall like violence
towards the world. You know, like I think that's
interesting in a way. I kind of think the character
is better without knowing that detail. But I
don't know if that like throws light on anything
we're talking about, like the sort of eugenics
master race stuff that Frank was talking about,
you know. Maybe better to kind of just forget
that Maureen said that, though. We can certainly
do that. Well, I think it's important to talk
about his ostensible driving force is to have
a son for, quote, immortality. I think that's,
I mean, I do think that's a valid theme. I mean,
it's something I thought about, like, not to
that extent. Like, I need a child so I can live
on. But there is, I think there is a universal
sense of passing on your own. dna to the next
generation and family legacy and in a greater
sense like how are we remembered after we go
we're we are recording a podcast that will be
available on the internet long after we're dead
and in that way are we immortal i don't know
whether or not that theme i think is like really
invested in in this movie that's a different
topic yeah i was kind of surprised that You know,
the movie does set up that theme, but like for
like, I don't know, the second half of the movie,
that doesn't seem to be a major part of it. You
know, it's more about like just coffin Joe in
general being like a terrorizer to this small
community. And then like the punishment that
he gets, the torment that he, he receives himself,
whether it's a fantasy or not. So I thought like
the, the drive to have a son. You know, I think
that could be interesting subject matter for
a horror film. And I was kind of surprised how
little the movie goes into that, which might
actually be a good thing because like the scene
where that is really conveyed is when he beats
a woman on screen, which is very hard to watch.
And then he rapes her off screen. And it's some
stuff in this movie is kind of like schlocky
and fun, but obviously not that stuff. It's very
disturbing. And like, I feel like if the movie
had gone more into that, it just obviously would
have been a harder watch. So I guess I'm kind
of happy they didn't go more into that theme.
But yeah, and I do think like later Coffin Joe
movies are more about that. But this one sets
up that theme and then kind of abandons it, in
my opinion. I feel like kind of along with the
anti -religion elements, there's also sort of
a satire of like small town narrow mindedness
and superstition. This actually was kind of...
inspired by something that actually happened
to Marins when he was a little kid. He was at
a funeral in Sao Paulo and they had mistakenly
pronounced the person dead, but he was actually
in a coma. And so when the corpse awoke at his
own funeral, everybody in the church ran away
screaming, thinking it was a sign from God or
they had all sinned in some way. And Marins was
at that funeral at a very young age and kind
of led to his you know, belief that people in
some Brazilian villages, like, you know, maybe
that element of Maureen's personality worked
its way into Coffin Joe's very disdainful, superior
attitude. But then, like we were saying before,
I feel like that's kind of negated because it
turns out that, like, they're more right than
Coffin Joe is, you know, like these forces do
actually seem to exist. Yeah, my read on the
movie, and again, why I was kind of surprised
to see that, you know, the director had had bad
experiences with Catholicism. My, my read on
the movie was basically that, you know, the moral
is you should believe in this stuff. And if you
don't, it's, you know, going to end up very badly
for you. Cause that's kind of how the movie plays
out. But yeah. Yeah, definitely. I haven't seen
the second coffin Joe movie. I need to read the
title again. Cause I love the title this night.
I'll possess your corpse. from 1967. I haven't
seen it yet, but I've read that at the start
of that movie, Coffin Joe is still alive and
has learned no lessons. He still does not believe
in religion, does not believe in God. He blasphemes
all the time. So I agree that this movie does
have that trajectory. And then apparently in
the sequels, they kind of abandoned that for
whatever reason. So I do think there's one other
theme that might be good to talk about. I don't
know. Historically in Brazil, I think it was
kind of an interesting time in 1964. As we briefly
talked about earlier, there had been a military
dictatorship that kind of installed a coup in
April of 1964, which was backed by the United
States. They like ousted a democratically elected
president who was socialist and left wing, and
then kind of set up this new president who, or
this new military dictatorship that then like
kind of like ran Brazil for many, many years
afterwards. So I've read some things that kind
of say that At Midnight I'll Take Your Soul is
like a comment on that, the military dictatorship,
which maybe seems like kind of a stretch because
it had just started like seven months before
the movie came out. So it's hard to really think
it's too much of like an indictment of that.
But I would maybe buy the fact that like there
probably was a sense of like paranoia and anxiety
in like Brazilian society at the time. There
was all this kind of political stuff going on
and it would only get worse over the next several
decades. So yeah, I don't know. I was curious
what you guys thought of that. I just think to
come out the same year as a military dictatorship
kind of comes to power in Brazil is just an interesting
sort of coincidence or not coincidence, you know?
Probably a coincidence, but at the same time,
the sort of thing that would be so just in the
atmosphere that, you know, it would be unavoidable
for it to not somehow seep into the movie, you
know? Yeah. Yeah. If anything, I mean, I have
no idea what Brazil was like in the early 60s,
late 50s. But if it was I mean, you look at the
horror cinema in the States or in Europe, in
Japan. I mean, they were all kind of all the
all the films were trending towards this more
explicitly violent tendency. Psycho comes to
mind immediately. Other movies I've heard of
but haven't seen. Dementia 13. mario bava's films
black sunday so i think there was just maybe
something in in this in this this new generation
born after world war ii kind of kind of rebelling
against the the buttoned up more conservative
nature of the 1950s yeah yeah that's a good point
and i you know it might just come down to box
office too like i think directors especially
like you know, aspiring filmmakers who didn't
have big budgets to work with, I think they were
realizing that like violence and shock value
generates publicity and people want to see those
movies. So I think that's, you know, probably
a big part of it as well. Yeah. All right. So
as always on Camp Kaju, we talk about the good,
the bad, and the campy. I'll get us going if
that's okay with you guys. I think there's a
lot of good to this movie. I'm a fan of it, even
though it is heavily flawed. But yeah, I'll start
with the good. I just think if you're a horror
fan, there's so much to love. It starts with
Coffin Joe giving a monologue directly to the
camera about the nature of life and death and
existence. And then the opening credits, I was
talking to Vincent about this before, but you
have a cackling witch and eerie wind sound effects
and hand -drawn ghosts. It's like entering a
Halloween funhouse. It's so fun at the start
of this movie. And then I think the low budget
black and white style is like so over the top,
especially at the end when Coffin Joe experiences
these ghosts, like coming back from the dead
to, to haunt him. Like we, you have like solarized
images. Like it looks like kind of like a, like
negative film instead of the film that you usually
see. There's even a moment where Maureen's glued
glitter onto the film frame by frame. It's when
Antonio, like the ghost of Antonio first appears.
Just a wild ending. It looks so amazing. And
it's, you know, I think like the controversy
of the Coffin Joe character, it's pretty easy
to understand how this became such a huge figure
in Brazilian culture. Like there are negative
things about it for sure. And I don't know if
it totally works, but you know, just Vincent,
you were talking about this, but like the dark
elements, like the ego coming out. I think in
some sense, that's why we love monsters in horror
movies, because those are the things that we
suppress, but we kind of want to unleash sometimes.
So I just think the character of Coffin Joe is,
yeah, hideous and disturbing, but also fascinating.
I don't want to talk about all the good stuff,
though. I'll turn it over to you guys. I liked
a lot of this movie. I liked a lot of individual
moments, I should say. Yeah, the beginning grips
you by the throat, and it's very gothic in nature,
in tone, extremely macabre. This Rasputin imagery
I would also add to the Coffin Joe look with
the beard and the hat and the cape. Look, I think
the eye -gouging scene was one of the most horrifying
things I've ever seen in a movie, but damn. It's
it's it's brutally effective. Like I I had to
look away. I was like, oh, no, that's a good
thing. As disturbing as it was, it was a good
thing. Yeah, I would say the the scenes of violence
in this movie do have a really. They're really,
really potent, I guess is the word I would use.
So even when they maybe cross the lines of good
taste or get really uncomfortable, like in the
scene Matt was talking about where he's beating
that woman, they have a real visceral nastiness
to them that I think is pretty effective. And
yeah, the eye gouging scene that Vincent mentioned
was particularly nasty in that way. you know,
really any of, any of those moments are, are
pretty striking. And the, the big, you know,
kind of set piece of the end where, you know,
all of the corpses are sort of rising up and,
and kind of coming to get their revenge on him
is just, it's, it's just gross, but in like a
really, really like effective way. And it is
very interesting. Yeah. So, yeah, I would say
all of the horror elements in this are really
good. If, you know, if anyone, listening to this
hasn't seen it and they're like a Fangoria subscriber
or something I would say that type of person
would probably love this movie because there's
just a lot of really like nasty vile imagery
in it I'll reiterate same as you two this movie
finishes very strong and like the final image
of him slumped over with his eyes bulging out
was very captivating yeah And I do think it has
like a very dark sense of humor as well. And
it is disturbing too. But like, you know, the
scene where he's like eating the leg of lamb
with like a funeral, like not a funeral procession,
but like a religious procession going on in the
window, like right behind him when like nobody
else is eating meat throughout the entire day.
I thought that was kind of funny. I have to say,
I thought that scene was pretty funny too, because
throughout the movie, whenever he's like railing
against this societal. structures and things
you know most of the time he's doing like really
like you know he's committing atrocities basically
but then this one time he's just like very obnoxiously
eating that huge piece of meat that day when
that's what i thought that was funny because
it it wasn't like the first thing he did it came
like after i think he'd already killed some people
and stuff so yeah yeah yeah And like some of
his dialogue is pretty funny. I think there's
one line where he says like, funerals always
make me hungry or something like that. I thought
that was kind of a funny line. Let's see here.
I think there's some other stuff too that I thought.
Like, you know, he's talking about how Antonio
and Teresina are about to go see the witch to
get their fortunes told. And Coffin Joe says,
it'll be fun to see two superstitious fools under
the spell of a witch. Like some lines like that
are like kind of like a very dark kind of vicious
sense of humor, but I appreciated the dark sense
of humor there. I'm going to add one more good
thing that I'll bring up again, ironically later
on as a, as a not so good thing, but I truly
in the moment I was, I was on board with what
he was, what the director was doing. So this
movie opens with. Our character's breaking the
fourth wall and giving us a warning about what
we're going to watch. The movie then transitions
to the first scene, which is a funeral and a
person being buried. Anyone who's seen Frankenstein,
James Wales' Frankenstein, a thousand times like
I have, that's exactly how that movie starts.
Edward Van Sloan breaks the fourth wall and we
open on a funeral in a graveyard. where Dr. Frankenstein
and Fritz are watching. So I like that. And now,
Matt, because of your wonderful notes, I know
that our director was a fan of old Hollywood
monster movies. So he's probably seen that movie
quite a few times himself. So I think he knew
exactly what he was doing. I love that connection.
I wouldn't have even thought of that. Yeah. Nice
homage that I immediately picked up on. Cool.
Yeah, I think in general, like just, you know,
we've all said this already, but if you're a
horror fan, there's a lot to like about this
movie. I think there are like lots of little
homages like that, you know? I like the transitions
too. Some of the scene transitions, like there
aren't any star wipes per se, but it's like almost
at that level. Like there's one where it looks
like the screen is like glass shattering when
it cuts to the next image. I just, I like stuff
like that. I don't know. Not very classy, but
highly entertaining, I would say. It fits right
in. This is not a classy movie. Indeed, yes.
Very, very true. Probably a good segue to the
bad stuff in the movie. So my good part was basically
just all the horror moments. And I would say
the bad part is everything that's not a horror
moment. Any of the stretches where it's just
people talking or where there's not much action
going on, it's like... pretty boring and for
a movie that's not even 90 minutes long it can
feel kind of sluggish at times and you know and
those are the parts too where i feel like the
low budget is really showing like you know when
there's not gory stuff happening on screen it's
really not very visually interesting it just
kind of looks like you know like a crappy home
movie sometimes and and the acting you know for
the most part i would say is is pretty terrible
in the movie The director who plays Coffin Joe
at least has a good presence, I would say, even
if he's not a conventionally good actor. But
everyone else is pretty terrible, especially
the old sorceress lady. Very over the top. Just
seems like someone who would be working at a
haunted house or something. So yeah, it definitely
has a lot of the flaws you would expect from
a movie with no budget, basically. You know,
there is some interesting thematic stuff in this
movie, but I also think it's muddled. It's hard
to know exactly what the movie's trying to say.
And I think we kind of talked about that tension
a little bit. Like, is it, you know, is it trying
to be anti -religion? And if so, why does the
end of the movie seem to say, like you said,
Frank, you should believe in this stuff. If you
don't believe in this stuff, then you'll be punished
somehow. And I don't think that's intentional.
I think the film doesn't really know what it's
trying to say, if it's trying to say anything.
And I think the fun horror elements, like the
schlocky tone. Like the cackling witch, like
the fake owl that flies at the screen and stuff.
It does not mesh well with the truly disturbing
stuff in this movie. And I'm okay with dark subject
matter if it's for a purpose and it's trying
to deliver an important point. But I don't think
it is in this movie. And from what I've read,
again, the movies later in the series go even
more in that direction. I don't know how well
that works, but yeah, that mix of like fun schlocky
Halloween type movie and like very dark subject
matter. It's just always a rough combination
and definitely in this movie. The Frankenstein
homage in the beginning, which I believe it was,
worked and that was fun. And yet after watching
the rest of the movie and understanding this
was like the work of an, it was like not his
first feature, but. marines didn't really have
any maybe formal training i was just like is
it clever homage or is it more pastiche or at
worst derivative like it's a spooky funhouse
vibe but i think that's just maybe because that's
all he knew he just watched a bunch of movies
and made his own version but without anything
truly you like a different take on that tone
I agree. I thought I found the characters unremarkable.
I found the acting unremarkable. Again, I love
some of the visual stuff that the director does,
especially at the end and at the beginning. But
but overall, I found the use of violence, sexual
and physical violence in this movie just without
like any artistic integrity. Like I just felt
like it was exploitative and mean spirited. I
just I don't know why this director did this
movie other than to make something shocking.
And that doesn't that just really doesn't interest
me for 90 minutes, maybe a short film, you know,
but 90 minutes is a long haul when it's just
OK. Coffin Joe's doing another terrible thing
with no repercussions. Yeah, I agree. And I think
a lot of times horror works best when it. like
it feels like any horrible thing might happen
at any moment. And you're kind of like feeling
that tension of like, Oh God, am I going to like
see something I shouldn't see or whatever. But
you know, like a, you know, Texas chainsaw massacre
is like a classic example of that, where it's
like not really as gory as its reputation would
suggest, but it just like, it like feels like,
Oh God, like what's, what's going to happen next,
you know? And this one kind of. It crosses that
line a few times with the scene Matt mentioned
earlier and just. Yeah, like you're saying, Vincent,
it seems like it's just more set up for kind
of tawdry thrills than like to really make any
particular point or anything. I thought so. And
I not to not to judge anybody who loves those
kinds of movies, but like that's the type of
horror movie that I'm not really into. Maybe
it's equivalent to the torture porn stuff from
the 2000s. I've literally never seen such a film,
so I can't speak from experience, but I just,
eh, it's just not what I gravitate to as a viewer.
Yeah. Have you guys seen any movies by Herschel
Gordon Lewis, which were also kind of coming
out around this time, late 50s and early 60s?
Did he do Bucket of Blood? Yeah. I've seen that,
yeah. The Godfather of Gore is another movie
that he made. You probably saw by the titles
what they are, basically. Yeah. Are they like
this? I haven't seen them. Well, they're like
this, I think, in the sense that they are gory.
I mean, there's a lot of... Tons of fake blood,
like dismemberments, stuff like that, you know,
but also it's like so obviously fake and so low
budget and so like cartoonish almost. Okay. It's
like a weird combination. And I feel like Admin,
I'll Take Your Soul is more disturbing than those
movies, but like. part of the same impulse. Cause
like Herschel Gordon Lewis was not trying to
make great cinema. Like he, he wanted to make
money off of movies and he knew that gore and
violence was the way to do that, you know? But
still, I feel like he's remembered for like being
kind of, you know, instrumental in like accepting
gore, like kind of like just increasing amounts
of violence in movies. And even though like by
most conventional standards, they're not good
movies. They're important in a way and like very
amusing, sometimes entertaining and sometimes
very boring. So I just feel like there's a lot
of overlap between them in this movie. Sure,
sure. Yeah, they sounded more campy maybe in
their violence. Like I love campy violence and
blood and guts and gore. Evil Dead fan here.
But at midnight, I'll take your soul. Ironically,
because the Coffin Joe character is so over the
top and yet. It just seemed really too real.
Like it didn't have a sense of flair to it. Again,
I feel like that's a good segue because, you
know, is there a lot of camp in this movie? I
don't know if like some of it's campy, but it
also it's it carries like a dark undercurrent.
And therefore, I don't know if the camp is very
entertaining. You know, what did you guys think
of the campy elements in this movie? Yeah, you
kind of already brought this up, Matt, but it's
kind of like an awkward mix of super campy stuff
and then this stuff that's like, you know, like
Vincent said, borderline torture porn type stuff
at the same time. So yeah, it's a weird, it's
an interesting mix, I think, because it does
make it unpredictable and you really don't know
what's going to happen. even though the opening
credits kind of like inexplicably spoil, like
some of the highlights of the movie, some of
the, the major kill scenes, but, but it, it is
definitely like unstable and, and awkward. Hmm.
I, so like there's things I can, I'm going to
make fun of, but there's one thing that I think
was legitimate camp in the film. Cause like by
the end, when, when coffin Joe is in the tavern,
it's the day of the dead. Like he his antics
are so at this point, like, are you kidding me?
Like, you're not a real person at this point.
And he's talking to this man who's the uncle
of a woman in the tavern. And Coffin Joe's talking
to him and just puts his hand on the woman's
breast. He's just like fondling her in front
of the patrons in a very campy way. Like it was
like, of course you are, because you are at this
point a cartoon. You're so over the top. Over
the top is right. Yeah. Yeah. And then just some
funny things that just like drove me crazy. Cause
they're like from the get go. I did not like
the coffin Joe character because he ate this
entire thing of meat with his hands and he did
not wipe his fingers. He, I was watching, I'm
kind of a neat freak when it comes to eating.
Like I'm always wiping my hands after ribs or
something. He doesn't do that. He literally,
he doesn't lick his fingers. He doesn't do anything.
He just gets his coat and goes on. And from that
point on, I was like, I can't with this man.
He's going around with sticky meat fingers with
those long nails. And I was extremely put off
the entire movie. You know what, Vincent? He
doesn't have to conform to your rules. Damn it,
this is my religion. Wipe your fingers. He's
an ubermensch. He cares not for your ethical
codes. Yeah. Yeah, I think you guys already covered
the campy stuff pretty much. I do love those
opening credits, and I don't think they really
kind of give you... And I should specify, not
the opening credits where we see the murder scenes.
I'm talking about when it's kind of wandering
around that room, and it's kind of fun and spooky
and everything. That's what I think is campy.
And then the other stuff is pretty disturbing,
as we've already talked about. Yeah, the fake
owl, the hand -drawn ghosts over those opening
credits. Yeah, that's fun. Yeah. Yeah. But again,
it just doesn't mesh well with the rest of the
movie, you know? Yeah. Then you see a woman brutalized
and I was like, I don't really want to watch
this, but I'm going to, it's my fault. I'm sorry.
I, you probably should not see the rest of the
movies in this series. I haven't either, but
I, yeah, I think they get worse in terms of that
kind of thing. I kind of want to see the second
one just for that, uh, like scene in color where
it's in hell. but I'm definitely interesting
to me. Yeah. I'm intrigued by that. Like the
sound of some of the later ones where it's like
the meta cinematic stuff, you know, featuring
Marines himself as a director. Like I'd be interested
to see that, but those are also some of the most
controversial ones with like, you know, sadistic
scenes of torture and stuff. So I don't know.
I don't know if I'll get to those or not. Yeah.
Movie night. The least fun movie night you can
possibly imagine. Unless you like the Saw movies,
then it's right up your alley. I do like the
first Saw. The first one's okay. Yeah. And I
haven't seen, I've seen like some of the sequels,
but not all of them. Same, same. Maybe I just
don't understand the mythology. That could be
it. The mythology of Jigsaw. All right. Well,
we've come to the point at every Camp Kaiju episode
where we give the film a rating. As always, our
highest rating is it is a timeless classic. It
definitely stands the test of time. Second rating
is there may be some antiquated moments, but
overall, it's great. It stands the test of time.
Number three, it may be historically significant
or just fun, but it does not stand the test of
time. And our lowest rating, it is not worth
revisiting. It definitely does not stand the
test of time. I'm a little scared to hear what
both of your ratings are going to be for this
film, but Vincent, do you want to go first? I'll
go first. I'll keep it brief. You can't not say
it's not historically significant. It clearly
is. But I think as a standalone film, this movie
is a hard watch. From the pacing, from the style,
and then from the violence. In 2026, I mean,
it's just shocking for shocking sake in my estimation.
It holds no real artistic integrity in its depictions
of rape and murder and suicide. That even Alucarda,
which was a hard watch, but I liked that movie.
I felt like that had some, I'll use that term,
artistic integrity. That I found sorely missing
in this movie, and I do not think it stands the
test of time. Not worth revisiting, though historically
significant. I would go with, you know, it may
be historically significant or just fun, but
doesn't stand the test of time. You know, I think
there are parts of it that are fun. Definitely
not the whole thing. I mean, I think that final
scene. is like a knockout like that that was
a great ending and i i do like some of the some
of the like scenes of violence i i think are
pretty effective just in like you know being
imaginatively macabre but but yeah and and that
was also one thing i forgot to mention that benson
kind of brought up there was the suicide thing
i did think just in like a dumb lizard brain
way the the concept of the woman like committing
suicide specifically so that she'll go to hell
so that she can come back and haunt him was kind
of kind of a like badass idea but but yeah I
think it's definitely worth seeing for anyone
who like I said earlier anyone who's like a Fangoria
subscriber who likes that more like violent or
you know kind of extreme style of horror would
definitely want to check this out, but it is
kind of a mess. It is pretty clunky. And, you
know, at times the filmmaking is borderline,
like Edward, like, so it's, it's definitely an
interesting movie. Not one I'd probably watch
again, I would say, but I'm glad I saw it. I'm
glad you said that last part, Frank, because
I was about, I was starting to feel pretty bad
that I made you guys watch this for this episode.
I feel a little called out by some of the things
you guys said. Hey, never feel bad for bringing
anything to this podcast. Both of you are right
about everything you said. With strong reservations,
I'm going to give this our second highest rating.
There are antiquated moments for sure. There
are inept moments. There are disturbing offensive
moments. I don't know if I would say overall
it's great. Overall, I would say it's... Unforgettable.
Like, you know, certain scenes. And like, I think
it's really interesting in the context of like
Catholicism in Brazil in terms of historically
when it was released. You're right that like
some scenes are borderline Ed Wood level and
some other scenes show such great visual imagination.
And like the level of like low budget ingenuity,
I do think is pretty impressive at times, especially
in that ending again. And then lastly, I just
think Coffin Joe. While it's such a despicable,
sadistic, reprehensible character, I think the
very fact that that character went on to be such
an icon is itself pretty fascinating. Again,
in some pretty disturbing, uncomfortable ways.
So yeah, again, with strong reservations, this
is one of those instances where I wish we had
a two and a half rating because it would fall
right in the middle for me. You should watch
it if you have a strong stomach, if you like
horror, and if you are just interested in the
history of horror cinema, I do think this is
kind of a significant kind of installment in
that timeline, you know, especially on like a
global scale. Yeah, so I liked this better than
both of you guys. Sorry about that. Oh, well
said, man. All those points are valid. There's
a lot I did like. There's some I liked. So it
is certainly unforgettable. For better or for
worse. Yeah, some images. Like, again, the eye
gouging. And, like, the fingers coming right
at the camera, you know? Man, sorry. I can see
the look of horror on your face again, Vincent.
It's haunting. It's haunting. Yeah. I don't like
long nails. Weird thing about me, I guess. And
an eye gouging in a movie. Oh, it always gets
me. Yeah. Eye trauma is really difficult for
me, too. I read that, sorry, a very quick tangent.
Jose Mojica Marins, he had an eye operation later
in life, and he included footage from that operation
in one of his later movies. So that's like a
level of shock value that he goes for. Whether
or not that's a good thing, up to each individual
viewer, obviously. Wow. But don't watch that
movie. Yeah, that's it. Thank you so much, Frank.
I'm really glad, even if this wasn't a great
movie, I'm glad you joined us to talk about it.
Yeah, I am glad to have seen it. I thought it
was very interesting, even if far from great.
Yeah. Always a pleasure to have you on. Thank
you so much. Hopefully, you know, we'll have
you on the podcast again at some point in the
future. Next time on Camp Kaiju, again, we'll
be talking about the Black Scorpion. So join
us for that. Thanks again for hanging out with
us, friends. Please rate and review the show
and follow us on Patreon .com slash Camp Kaiju.
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612 -470 -2612. Camp Kaiju is recorded in Minneapolis,
St. Paul with Minya's Mailbox music by Ben Cook
-Felts. Thanks, friends. And until next time,
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