Deep Red
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This week, we dive into a whole new subgenre of film – the Italian giallo pic – with one of Dario Argento’s finest pictures: Deep Red.
Deep Red (1975)
Episode 19, 2 Guys and a Chainsaw
Hello, and welcome to another episode of Two Guys and a Chainsaw. I’m Todd I’m Greg. And today we decided to go in a bit of a different direction. We felt like Italian tonight, a good, uh, two hours and six minutes of Italian. Yeah, this is a movie called Deep Red. It is a very popular, famous movie, especially when it came out.
It was a huge hit internationally by a fellow named Dario Argento. Who many of our listeners probably, if they haven’t seen deep read, they’ve probably heard of Suspiria, which is the one that, uh, you, I think had, have you seen Suspiria? Yes. It’s. It’s that’s and I’m in that boat. I mean, I know that he’s pretty prolific as a filmmaker, but that’s the one, I don’t know if I’ve seen any others.
That’s the one I’m certain I’ve seen. And now this one. Yeah. And Suspiria and this one all sort of fall from a similar . Right. And giallo is the Italian word for yellow and it’s has its origins actually in a certain kind of literature, kind of pulp novel that was really popular in the sixties, in the seventies.
And refers to the covers of those novels were typically yellow to set them apart. They would be. Murder type mysteries, pretty gruesome, lots of sex, lots of almost, I guess you can say the Italian version of the Philip Marlowe type stories, but not at all like that. It kind of occupied a similar place on a shelf.
People who just want a cheap entertainment, wanted to read something gruesome with sex and blood and, and murders and mystery in it. And then. Those books basically spawned a genre of film that was started out being based on those books. Some of them literally based on particular geology books and then went off on their own, the films developed a styles of their own.
Right. And, uh, really became one of my guilty pleasures. I really liked giallo pictures. I liked them for so many reasons we’re probably going to get into, but if you were to sit me down on the evening, when it’s really cold outside and I’m really warm inside and I’m just. Feeling like some mindless fun entertainment.
I have two options. I’m either going to put on a Godzilla movie or some kind of large Japanese monster film, or I’m going to watch a giallo pick. I just love the style. I love the time period. I love the feeling that those movies give me. They’re just almost time capsules, really of a particular time and a particular place.
Much in the way that Godzilla films are for me as well. You know, those giant monster films. I like them, not just because of a rubber guy in a big suit and the corniness of that. But I like seeing Japan of the sixties and seventies, it’s really fun for me. And so that is where a, sort of my love for these, this goes.
And then as a filmmaker, I love the style. I love the color. Giallo pics are really known for highly saturated, almost comic book type imagery. Absolutely. And our gentle a major innovator in this sphere. He, along with and Mario Bava are really. About the three crown princes of the geology genre, and each of them had their own different take on it.
Bhava even before Argento really, uh, with a movie called the girl who knew too much, which is kind of a take obviously a literal takeoff of Alfred. Hitchcock’s the man who knew too much. And that was shot in black and white. And that was arguably one of the first Glo pictures to come out, but much like.
This film and some of the other jello movies, they do have a sword and Hitchcockian sensibility to them. Wouldn’t you say? Definitely. Yeah, that was just a big lesson for me. I didn’t know any of that stuff. I didn’t know the origins or anything. And Argento is really the only name that I’m really familiar with that you mentioned.
And so when I think of these types of films, I think of a very specific type of style. Uh, and I guess, you know, is that strictly Argento or were the others kind of similar and. They did play off of each other a bit. So there was a style that you can kind of identify, like if you go and see the other Glo picks, especially the ones that were done.
Right. I mean, almost in the same year, they were like 60, some of these, you know, produced in Italy. But if you look at some of the better ones, you’ll see, they’re all copying off of each other considerably. So that, that with, with some modifications, obviously each director puts their own spin on it. But yeah, they’re very similar in the fact that.
They tend to be highly stylized. This was a, a really great medium for directors and young directors to experiment with and also heavy on violence, heavy on really gruesome violence. Yeah. I mean, what I’m really familiar with, uh, is more the style and the imagery, which is kind of the draw for me. You know, this isn’t a genre that I’ve really immersed myself in.
Like I said, I’ve only kind of seen Suspiria. So I, I was really familiar with the violence and the Gore, the really saturated colors. I mean, that’s what I think of, you know, that really, really bright red in the blood that doesn’t look real. It looks more like paint or something, but it looks. It’s still gruesome and it comes across as really artistic, which is the other thing that I think about these films, this one, for me being the first time I had seen it, there were times when I found it a little bit hard to follow, but I wasn’t bored because the imagery is so striking.
It almost looks like you’re looking through a book of stills of still shots. Um, and, and I feel like he does. That quite a bit here. I, you know, I don’t know about his Uber of work, but he, he took time with shots. You know, he gave you an opportunity to kind of look around and it, it looked like a photograph and in some places he really made, he took full advantage of the scenery, which throughout was just really cool to look at.
Isn’t it. Right. Um, really interesting use of color. I mean, not so. So it’s, it seemed a lot. I don’t really remember Suspiria that well. Um, I, I, more so remember images, you know, like I remember lots of, of really intense colors, blues and greens and reds and entire scenes being lit in those really strange colors.
I remember specific images. Like I remember. A scene in a swimming pool, I think. And I, I think I remember an old lady sitting in a chair, you know, just like strange, strange images that, uh, I can recall. I don’t even, I kind of remember what happens at the end, but more so I can just picture it in my head.
And I have a feeling that, that, you know how I’m going to remember this too. I’m going to remember it more for the imagery, I think, than for. The story, not that the story was bad, but, uh, the style I think, was more appealing to me. Um, well, do you remember Suspiria also not making a lot of sense necessarily kind of, yeah.
It’s kind of dreamlike and whatnot, which I think works in the horror. You know, we were even talking about this last week with Phantasm, which again, the director Phantasm, Don Cascarelli had mentioned that he drew a lot of inspiration from our gentle ants. Suspiria. And I see that you definitely can. And on that, that aspect where the motivations of the characters are not really realistic, the clues and leads that they follow are pretty out there and don’t make it a lot of sense.
That was one of the things that I was thinking about, um, was, you know, it, now that you’ve told me about the, the type of booklet it comes from, that makes perfect sense to me because we’re not going for necessarily, really. In Trickett Lee woven PLI, you know, it’s this centers around a mystery, it’s a murder mystery.
In fact, I’d really classify it more as like a psychological thriller than a horror film. It’s the excessive gore and violence that people, a lot of times think of it, uh, put it in a slasher type genre, but you’re right. It is, there’s a lot more plotting around and trying to figure out who done it in this.
You know, I call it plot holes, call it convenience, uh, DSX Mokena or whatever you want to call it. But it was just funny to me that the trail never went cold. Like you, you, you think, Oh, darn it. You know, they, they had a clue and you know, they were onto something. It looks like it’s going to go cold. Oh, wait.
Here’s something, nothing else. We discovered some tenuous little thing, right. And there, there happens to be an interesting drawing on the wall or all kinds of little things that realistically, well, just don’t look for realism know. And again, it’s, it’s like watching Phantasm, like we said last week. I don’t think you, you look at this movie to pick apart it from a plausibility angle.
Or try to figure out how this really happens in real life. You just kind of go with the feeling and you go with the mood. And that is you asked that is totally typical of the geology genre. All of these movies are pretty much like this. You’ve got to watch them a lot of times, you’d like to watch a lot of older European films.
Just watch them for the mood don’t drag, pick the part plot part. Cause they’re not as concerned about plot. Right. And, and for me, um, you know, like, like I told you, I’ll, I’ll watch anything in the horror genre that I can get my hands on and, uh, So watching this film and, you know, if we watch more in the future, it’s almost like an exercise in horror history.
Like you kind of, it kind of feels like it’s a required textbook and you’re in your study. I mean, you can’t ignore it. I don’t know if I’m as fond of it as you are, but you can’t ignore it. You know, it’s, it’s kind of an integral. Side aspect of, of the horror genre. And if you want to immerse yourself, um, you really have to kind of give it a go.
And I think it’s worthwhile. I mean, it’s interesting. It’s different fun. Well, if you look at some of the parallels you see, for example, one thing that our gentle was really passionate about. Was to find interesting ways for people to die, because he felt like people can’t really relate to getting shot with a gun.
Your audience just can’t. But, uh, getting stabbed with a knife, getting smashed in the face. Oh my gosh. That leads to some really gruesome imagery. That’s very reminiscent of the creativity that goes into something like a Friday, the 13th or nightmare on Elm street. Oh, sure. Absolutely. You know, interesting kills.
It’s not just, you know, one guy running around with a gun gunning people down or, or even a knife. I mean, there are some stabbings and things in here, but there are some really visceral things I read that I think I must have read the same thing that you do, that he wanted the audience. To have some frame of reference for what these things might actually feel like.
And there was one death in particular in the film that really got me. And I think we’ve talked about this before, but there’s something about mouths, you know, like your, your teeth being pulled or, you know, smashing your teeth into something. And, um, that featured really heavily in one of, uh, one of the murders here.
And I was, I was kind of cringing over in my, myself. So he was successful and that person, mountains, eyes, and ears, they’re the places you don’t want to go. And these guys will go there all the time. I think there was an eye thing in Suspiria. I may be wrong about that, but I will tell you that full cheek and you might have seen zombie it’s called zombie.
Oh, we should. We should watch that. That’s more straight whore and Lucia you’ll full cheat is from the same. Sort of bank of, of directors. And he took sort of a lot of geologists sensibilities into making these more straight horror films, a lot of zombie type pictures, and zombie has a. A lot of these really excruciating type kills, you know, even though the movies are fairly low budget, they’re extremely effective at getting to you maybe more by the content than the special effects.
Maybe, I don’t know, the, the effects are pretty. Pretty cool. I mean, again, we’re looking at a different timeframe. It’s, it’s kind of like looking into a window in the past when effects were just very different than they are today. You don’t have CGI, you know, it’s all practical done with makeup and dummies and fake blood and, and you can tell, but you so appreciate the effort that went into it.
Like I said before, with the blood, it doesn’t necessarily. Look real, but that doesn’t make it any less effective. And you can tell that the flesh that’s being cut into is not actual human flesh, but you’ve also, you also can tell that they’ve gone to every effort they can to make it look as real as possible with these practical effects.
And you just kind of have to appreciate the artistry and effort that goes into that. And it, it does. It still give you that feeling like you relate to it a little bit like, Oh yeah, like me getting cut with that knife. Uh, it’s not like you’re going to see your, somebody gets stabbed in a Hollywood movie, or honestly, even in some of the earlier Friday, the 13th movies, they weren’t close ups of knives.
Hacking away at your skin. Right. And like ripping through the flesh. I mean, it’s not just one jab through the chest or something, it’s, you know, really, you see the flesh pulling and ripping and yeah. Oh man, it’s very fun. And it’s really odd and unusual even for this time, period. I mean, there were people that were experimenting with this, obviously even before this, in the sixties, you had Herschel Gordon Lewis.
The godfather of Gore who started putting Gore in films and he’d go all out, but it looked extremely fake. It looked extremely bad, even still in a more mainstream film. You’re not going to see that level, even at this era until you get into these odd esoteric genre. So for a film like this to do so well and to have.
At least one fairly big name actor in it. You can imagine an audience not knowing what they’re getting into right. Coming in and seeing the way that this film just almost takes delight in leering on those really gruesome moments up close and personal for long periods of time. And you know, it’s coming and you kind of Oh yeah, absolutely.
Absolutely. Definitely a physical response. And what was this rated? That’s a good question. Um, You know, I, I think it probably had to take cuts to get anything less than an accident set this time. I think, you know, I, I just briefly glanced at, uh, the page and I MDB and it may have said X, it may have gotten an X rating here in the States.
I don’t know. Well, and I did have to cut it considerably to release it in the States. Uh, some of it was for content. A lot of it was just for time and to make the story move a little faster. And the version that we watched was 128 original cut version. It was kind of interesting. So, so here’s how these Italian movies and pretty much all Italian movies, these periods, except for the major productions work this way, where they would shoot it in English, but they would also shoot it without sound on set.
So the characters are speaking English, but then later they’d go into a sound booth and actually record their sound for the movie. So the lips match. Almost right. You can tell that the lips are forming the same words, but they’re not quite lining up. We’ll see. And that was something that I wondered because you had kind of explained this to me before, because I didn’t know we’re the same because it didn’t sound like it were the same actors doing both dubs where they sometimes, and sometimes not.
Probably not, especially for Mark the main character there. Yeah. And his girlfriend Giana, she, her voice when she was speaking in English seemed pretty high and feminine. And then when she was speaking in Italian, it was still not masculine, but a much lower Tambor. So I wondered, and I wondered, you know, were these actors bilingual or were they just.
Memorizing the English lines, you know, you got it both ways, honestly. And then the spaghetti westerns, you see this a lot at a lot. A lot of those actors, especially the lower tier ones, they didn’t really know English, but they would learn it phonetically and they’d say their English. And it didn’t matter because they’re going to be dubbed over by somebody else.
Right. So we’re watching this film like this, and that’s already a little distracting. And then because of this special cut that we have the missing all bout 20 minutes of missing footage is. Was inserted back in, but they don’t have the original English dubs for those 20 minutes. So every now and then the scene would switch to Italian and we’d get English subtitles, which was nice for us because we could tell which scenes had been reinserted had that had previously been cut.
And it was really good for me cause I hadn’t seen this movie in a while and the movie took on a slightly different tone with the new footage in it. I can, I wondered what you thought about that. Um, ’cause you, you commented on it as we were watching. And I could tell that it seemed like, excuse me, there were some scenes, especially, uh, between, um, the main guy Mark.
And I say his girlfriend, I don’t, they’re not really boyfriend and girlfriend. They just kind of have this flirtation really. And, and there, it seemed like a lot of the stuff between them was this stuff that got. Cut. And a lot of that stuff that was in the original Italian, almost bordered a little bit on rom Cami.
You know, like if, you know, if they recast, so this, you know, like in the nineties or something and American remake, you know, I could very easily see like Julia Roberts and Nick Naulty, you know, like it’s kind of, you know, they’re working on an investigation together, but they’re also. Flirting and joking around and she’s coming onto him and he seems more interested in the investigation, but he’s still giving it back.
There’s some light comedy there. I mean, it seemed like it was intentional and it seemed like a lot of that was what it ended up on the cutting room floor. So, I mean, is that the case? That is, yeah. Well, the first time, you know, the film version of this that I watched had none of that in it. And so there were implications that they were sleeping together.
There were maybe a bit or two where they’d have a little bit of banter back and forth. But these lengthy almost five, six minutes, scenes of them, arm wrestling to see whether men or women are stronger than theirs, you know, and again, that’s, it’s a product of its time as well. There’s a lot of this sort of women’s lib stuff inserted in there.
This arguing about the genders. Uh, which you see a lot of films at this time was not in it at all. So it was a lot more economical in telling that mystery story and not so concerned with the relationship with those two characters. And honestly, I don’t know if that made it better or worse. It’s funny. I know that you were kind of looking forward to yeah.
Todd’s been wanting to watch one of these movies for a long time and things just keep coming up or. Uh, we switched at the last minute for whatever, and we finally got around to it and, and, uh, he told me before that he hadn’t seen this cut and I could tell you’re excited about it. And it’s funny because for Christmas this year, just, you know, few weeks back, I got really super excited because I got the, uh, Blu-ray of legend with Tom cruise and Mia, Sarah and I was.
Silent about it because they have an uncut director’s cut restored version that not only has additional scenes, but it also uses the original score that the studio felt was too traditional and not like hip and cool enough. So I was so excited to see it and then we watched it and I thought. Yeah, I like the original better.
And I think a lot of that probably had to do with just nostalgia because I, you know, I was such a fan of that movie when I was a kid. Um, so to see it altered in any way, I think whether it was for the better or not, I think just to see it altered in that way, it just didn’t sit well with me. So I wondered if you kind of had the same experience.
Well, for me, the movie took on a little bit more of a dreamy quality. It took on a little more of a straight horror, uh, with an investigative element to it without those scenes. Uh, some of the other scenes that were inserted where the scenes of the police station and. Police chief kind of guy who was a little over the top and flamboyant, I noticed almost all of their shots were in Italian because I don’t really remember that much at all.
I actually remember the police being pretty much out of the picture. It seemed like he was forced to deal with this murder that he had happened into on his own. And now to see that the police were a little bit more involved, somewhat, and that he was co investigating this with this girl and they were kind of doing a back and forth on it.
Uh, definitely made it more of a, again, a detective movie. Yeah. The relationship stuff, the extra stuff that was clearly, you know, reinserted. Totally. It was a little bit different, but I thought that it actually kind of was good for the characterization because otherwise I think especially the, a reporter Giana is, uh, an investigative reporter.
I think that her character probably would have felt a little bit flat had it not been for these and really. And again, we’re always going to get into spoilers here, but for whatever reason, I don’t know if this would have been the case with the original edit. She was a big red herring for me. I thought that it was her all the way up until the end or at least that she was in on it.
And I would see that and I was trying to figure out all, you know, it seems like there are some reasons that maybe it couldn’t be her coincidentally, but I was really, really convinced that she had something to do with it. And she didn’t. So, uh, if anything, it was a good example of a misdirection. Well, and I’ll tell you her stabbing, uh, toward the end of the movie bothered me more than it did before, because she was some now, now a much more involved character that I cared about and thought, uh, know, she just, she was just cute and funny.
You know, I liked her. I have to say I liked that aspect of it. And, and I’m the guy who, I don’t watch this to be a horror film. Like I said, I watch it. Like I watch a Godzilla movie. I love the settings. I love the feeling. I love the style of the atmosphere. I like the costumes. I like the way that the European women at the time wear their hair and their makeup and stuff.
And all of that seems so stylized too. Like there are so many cool settings, you know, there is this outside and this is all supposed to be taking place in Rome. But I read that most of the exterior shots were actually filmed somewhere else in another, uh, Italian city. Um, But there’s like a huge, like kind of, I guess, courtyard area or square area outside the building where the main character Mark, excuse me, where he’s the main character and where he lives.
That’s where the first murder takes place. He’s, you know, outside, he’s going home, but he’s outside and he witnesses this murder. Well, anyway, this, this square or whatever, I mean, it’s just huge and it’s, it’s totally devoid of people except for. On one side of it, there’s a bar it’s like the blue bar or something.
And, uh, it is modeled after a really famous painting. Do you know? I mean, I can picture it, no, the painting, but everybody listening would know the painting. It’s sort of a bar on a European street. It’s dark outside, but you’re seeing in through all these windows, the glass windows, and you see the people sitting inside and I feel like didn’t it have like the neon signs or maybe just when, when we were.
I don’t know in the nineties, I remember seeing it everywhere. It’s a really iconic piece. Um, and so that was really cool to look at. There’s one point, he goes to investigate all over the place, but there’s one point where Mark goes, uh, to this big mansion. And I have no idea, you know, I don’t know about architecture, but it’s this.
Know, beautiful big mansion. And we get both the exterior and the interior, which seemed to match up, you know, like they just scouted these really cool places. And like I said before, he really took his time, like showing us around that, that investigation scene arguing too long, arguably too long Jules were so neat.
I did kind of find myself feeling like. I feel like I’m supposed to be catching things like these are little clues or things, and I don’t think they were, I think that he was just trying to set up the atmosphere and show off these really cool sets. And so, like I said before, it’s almost like you’re looking through a book of photography.
Every shot is really beautifully set up. That makes it worthwhile to me visually. It’s it’s beautiful. You know, I think it’s interesting that you say that because I think that he does. Intentionally set this up throughout the film, to where the background you are, maybe sometimes paying more attention to the background than you are the foreground, because you’re waiting for something to happen.
You’re looking for something that might be coming around the corner, a little shadow. Sometimes you’re rewarded with that. Sometimes you’re not, but. I feel like through that framing, he’s always trying to keep you a little on edge. Like maybe something significant as about Sherman because the whole movie really revolves around, around the significance of noticing something and missing a visual and a lot of our Gentiles jellos the bird with the crystal plumage is another perfect example of this, where they follow this formula where the man just kind of an every man it’s, it’s very much a kind of a Hitchcockian formula.
Where the, every man in this case case, Mark stumbles upon a murder and then gets wrapped up in it. And he has information that nobody else has because he was the only eye witness to it. So he’s down with his buddy Mark and his Mark is a drunk. He works at this blue thing and, um, Um, I’m sorry, Carl’s a drunk.
He works down at the blue bar. Mark is a jazz pianist, works at the conservatory and they’re both pianos and somehow they know each other anyway, uh, they hear a scream and Mark says, I don’t know what that could be. And Carl looks up and sees that there’s a woman who has basically been pushed through a pane of glass.
Right, right. It’s it’s Mark Marco. That is the. The main one, the guy that sees the witnesses and right, like you said, he is just kind of this, every man who just kind of accidentally or coincidentally gets tied up in this thing, this, this woman who gets murdered just happened to live directly below him.
She was a psychic, which I thought was going to play more into the plot line, but it really ended up being insignificant. Except for that, that’s kind of what sparked her murder. She was giving like a seminar where she was demonstrating her abilities and. Someone in the, she was saying, I can’t predict the future.
All I can do is kind of read thoughts and read energy and whatnot.
I can feel
in this room,
I feel present
the mind. Sending me thoughts
you have, and you will kill again. And she was going to give that information to a reporter or something. And so that’s why she had to be killed. That’s what sets the whole thing in motion. But, uh, Mark just happens to witness this. And so then he’s the one the police are investigating. And then when the reporter, uh, Giana shows up, she takes a photograph, a close-up photograph of Mark as the eyewitness and publishes it on the phone.
One page of the paper. Thank you, geode. Right? So, so now. In it, you know, like he kind of has to try to investigate this stuff, to try to figure out who the killer is for his own safety, because he knows that he could be at risk, having been the only eyewitness to it. And he’s really light on Jianna for that, to be honest.
And he’s a Londoner he’s in Italy, teaching, working, working. Yeah. So he’s foreign. And when he goes into, see the body, he walks through the hallway. And this is something that there was an extra scene in the movie that really hammered this point home. After the police questioned him for about four hours, he says, he’s back in that courtyard.
And he’s talking with his friend, Carl again, there’s something else. That’s funny. You know, it’s very strange. And I don’t even know if it’s true or not, but, but when I went into her apartment first, I thought I saw it. I thought I started painting. And then a few minutes later it was gone. Now, could that be.
Maybe the painting was made to disappear because it represented something. Sorry, watch something important. And Carlos says, uh, you know, sometimes when you see things, what does he say? Uh, think about it, you know, it’s, it’s halfway between dream and reality, but it’s, it’s, it’s important, right? Your mind marks it because it’s important.
And it’s funny because as he was walking through the hallway, right. You know, he’s seen the woman, uh, get. Smashed through a window and killed, which I guess is, is an Argento thing. Like that’s kind of a trademark of his, um, he goes up and is before he actually comes upon her. Body’s walking through a hall and she’s a psychic, and she’s got all these strange, uh, paintings, which are kind of these grotesque groupings of faces, ghostly faces.
And it’s funny because as he was walking through, one of them caught my eye and I thought that one looks different, but you only get just the tiniest glimpse of it. And then later when he said something was different, I said, I thought I knew it was, you know, something was different. That picture looked different and that ends up being a really, you know, that’s, that’s the pivotal clue in the end, but it takes him going through all of this roundabout investigation to finally get back there and really ultimately.
To just remember, like, you know, like all of the investigation up to that point really is fairly insignificant. If he just would’ve had that memory or hilarious, that’s not true. And you’ll find that same thing, I think with a, of the crystal plumage, you know, I mean, it’s, it’s. It’s funny. It’s almost like he has to clear out his head.
He’s got to go through this process of mental decluttering and push everything aside so we can get a clear vision of it. And of course revisit the same crime scene, which you think he would have done earlier. It was kind of what you’re getting at. Yeah. I mean, it goes through a lot of different stuff. Uh, but he meets Giana and they form a friendship and there’s some really cute scenes.
Right. And they have, you know, a mutual interest, you know, he wants to find out who this killer is. And, and so does she, because, you know, this is her big story and she wants to get the story. And so, you know, I feel like it would be really tedious to go through all the plot points because it’s really just a lot of investigation.
Right. And it’s, and it’s investigation that doesn’t make a lot of sense. Right. Like somebody mentions at one point, Oh, I heard about a haunted house one because the killer plays, uh, like a musical, like a child’s musical song before he’s coming. Right, right, right. Before the murders, he plays this it’s like it almost like music boxy, but it’s um, Clearly, you know, a children’s song.
And at one point, somebody who’s kind of helping them with the investigation says, Oh, this woman wrote this book about hauntings. And, uh, they said that at one point before some murderer, they heard children singing in the house and it’s all those kinds of really impossible connections that just lead him from one location to the next.
So he calls Giana and he says, you know, find out. Uh, who the author of this book is, I want to visit her. Well, then we jump immediately to this woman who we’ve never seen before. It’s her, it’s the author. And she gets dispatched next. So every time they get a new clue and they’re going to a new place, it’s almost like the killer is one step ahead of them, which is why I thought it was Giana because he is, he always tells her first.
Um, and at that point I thought that she was the only one who knew. That he was looking for that woman. Now I, after we watched, I looked up on EMTB and apparently there was a point of view shot where we were supposed to know that the killer overheard that conversation, I missed it. So, um, I was thinking, well, she’s the only one that always knows where he’s going.
So it must be her, but really the, the killer was just keeping very close, keeping a very close eye and was kind of remaining one step ahead of them all along. And there are, you mentioned the point of view shots. There are a lot of those in this film. And I li I love that about this, and that is again, part of this style.
I think that it serves a couple purposes. It really keeps you on edge because there are moments where you’re not sure if you’re just seeing a, sort of a voyeuristic camera angle, or if you’re seeing through the eyes of somebody else. It’s both at different times. And so you’re not really sure. I mean, you kind of get before the murders, you almost always get one of those POV shots, but just because you’re getting one doesn’t necessarily mean it’s leading you where yeah.
You think it’s going to exactly. And I think it also makes the kills a little more disturbing because it really puts you behind. Oh, in almost every kill in this movie, you’re through the eyes of the killer at some point, uh, maybe approaching them maybe as you, as the knife is being raised or something, you’re seeing these hands out in front of you almost like you’re playing a third person shooter or a first person shooter, you know, uh, and it’s, it’s a little unsettling to be in that position.
I think psychologically it is, but, you know, I think it’s also a technical thing, you know, they. They can’t show us who the killer is. So we’ve got to S you know, either they’re going to have to do that. Some interesting things with lighting or, or, you know, keep it really in shadow or only show really specific angles or go the POV route, where we are seeing from their perspective.
And so all we really ever see of the, of the killer are these gloved hands. Which, by the way, we’re Dario, Argento is hands and all those shots. And then every once in a while, we’ll see the killer from the back. Uh, and the killer wears black or Brown, like rain, slicker and boots. And that’s it very nondescript.
So, uh, you know, there’s really no knowing based on what we see who it is. And frankly, I was very shocked by the ending. I didn’t see it coming. However, I didn’t think. Oh, that’s so stupid. You know? Cause I kept, as I kept thinking, it’s gotta be somebody we know it’s gotta be somebody in the film that we know and it kept people just kept kind of getting clicked off the list.
Oh, I guess it can’t be him. I guess it can’t be her who is left and, and by the end I was starting to think, Oh, it’s just going to be somebody random killer. And we’re going to just get some random explanation for why all this was going on. And. To a certain degree. It is a little bit, but there’s also enough connection that I thought.
Okay, well maybe had I been paying a little bit closer attention. I maybe could have had a little bit more hint at this, but I wasn’t disappointed. I was surprised. Yeah, you don’t feel. Cheated at the end that I’ll come on, please. Even though the, the process leading up to it is rather convoluted and ridiculous, uh, at the end of the day that the final explanation of satisfying, right?
And, and there’s, you know, that’s one of the interesting things about this too, because he moves around the main guy Mark moves around so much talking to so many different people. There are kind of, there is kind of a pool of interesting characters to choose from. I mean, you’ve got, uh, Carlo who’s the drunk friend, but you think he can’t be the killer because he basically witnesses it.
I mean, he, he just walks away from, uh, Mark seconds before he sees that first murder. Um, then you’ve got, uh, uh, we find out, um, Mark discovers that Carlo has a transgender lover, which would have probably been a little bit scandalous, uh, at the time. So you think maybe that. You could try something to do with it, although it’s surprisingly downplayed in the movie.
Yeah. I was kind of surprised aggressive, and then there’s a bit of a red herring too, because. There a few of these odd little cutaway scenes where it’s like you’re in the killer’s apartment or you’re on his desk or something. And you’re seeing that person put on the gloves. You’re seeing them play with some toys, little children’s toys.
It’s it’s odd. And there’s one moment where the cure puts on some mascara. Oh yeah. I let her a couple of times heavy black eyeliner. Which again, there’s a scene towards the end, after Mark investigates this, um, this big mansion and he finds some clues there there’s like some drawings on the wall or whatnot, and then he ends up finding a corpse.
Um, well, as soon as he makes those discoveries, he’s hit over the head. And when he wakes up, he’s laying in. Juliana’s lap and she’s got heavy mascara on. And I thought I knew it. I knew it. I had it figured out for so long. I was, you know, kind of patting myself on the back and ready to tell you at the end, I knew that all along and she is, I think pretty odd in that scene too.
It’s, uh, it, you know, it’s kind of weird, but then they continue investigating and pretty shortly after that, uh, she gets. Stab still. I mean, her attack, her assault occurs completely off screen, which is the only one, right. That takes place off screen. And the brutality is, is far less in her case. She’s just kind of stabbed maybe a few inches in the abdomen where these other people have been beaten, you know, up against wall slashed with meat, cleavers, um, all kinds of really gruesome stuff.
So I was still thinking, you know, maybe she’s just playing it up. Maybe it’s that. Oh, I can’t be the killer. Cause I got. Stab C um, but really scream. Right, right. Um, but no, it’s not, I don’t even know, you know, without making it perfectly obvious. I don’t even know how to, to introduce, uh, uh, who the killer is.
And maybe at this point, there’s no sense in trying to hide it. But, um, it’s interesting because there’s a, there’s a, there’s that red herring reveal where I guess we go in, well, we go through this process and it’s clear to us and this, and one thing we neglected to mention was during the beginning of the credits, There’s a scene that’s inserted in the middle of the credits, like the credit stop, this scene happens and then the credits continue and then the movie starts, right.
You just see it’s almost psycho ask, you know, just this a silhouette, you know, shadow of a stabbing. And then, um, It’s Christmas time. There’s music playing the children’s music, playing in the back, and then you see what appear to be a child’s feet walk into frame, but that’s all you see. And then that’s it.
I mean, I it’s obviously significant, but you don’t know. And then the clues that start to add up, you know, the. Somebody mentioned the haunted house. So he goes and looks a library for this house. And then they, they find a book that has the house in it. And then he goes around asking all of them. He’s like a bargainer right in front of the house, which is smart, you know, days before Google, this is what you had to do, you know, they’re, they’re in, uh, Italy and, you know, there’s these like tropical plants.
And so that he uses that to track that down then in the house, he investigates the house. He. He notices that the, the, the plaster is cracking in a place and he very meticulously like gets rid of the plaster and restores this. What looks like a children’s drawing underneath. And the drawing is of a child standing in front of a Christmas tree.
And then what appears to be a larger figure, looks like a mean figure, um, who has been, you know, stabbed, there’s a big gash and there’s blood everywhere. And then as he walks out more, he doesn’t see this, but more plaster falls out and we see that there’s actually somebody else in the picture. Now that’s an interesting moment.
Isn’t it? Did you think for a brief moment that this house was supposed to be haunted or, or I really didn’t. I mean, I don’t think that it would have been out of the realm of possibilities, especially since he does end up finding. Uh, corpse there, uh, at some point, but I felt like the movie didn’t really go there.
It felt like the lore of the house being haunted was more just atmospheric. It was a bit out of place, uh, for just that big chunk of plaster to fall. It wasn’t like it was tenuously teetering there on the edge when he left, slam the door or something. And that made it. Fall off, but again, then I’m thinking, Oh, well, there are, you know, there’s another figure.
There’s gotta be somebody else involved. It’s not the kid or whatever. And then the kid’s holding the knife in this photo, in this, in this drawing. And so you’re thinking the kid just stabbed this person, right. It’s not until that piece of plaster comes off, that you realize that anybody else present who was not stabbed, um, And then what does that lead to?
That leads them. Okay. That leads them to the landlords, the caretaker, the caretaker of this house, his daughter, who I don’t know what’s going on with is creepy too. And that was another weird sort of somewhat, I don’t know, supernatural. He keeps saying that she’s like a witch. What is it? You’re a little, which I told you not to do that again.
I want you to go, come on. And she likes to hurt animals and there’s a really disgusting part where she leaves up. A little lizard with a pin through it, which is a bit of animal cruelty. Right. It’s a little uncomfortable. In fact, I think they may have cut that. I think I may have read that they cut that in somewhere.
Yeah. There were a couple, yeah. That, and there’s a little bit of a shot of a dog fight for some reason that we saw. Right. Which I didn’t really understand what the purpose of it was, but it was really gruesome. I mean, it was clearly a real dog fight, um, kind of scary. And again, it was just a clip, but anyway, so there’s this little girl who’s, it’s been established that she’s weird.
Anyway, then she has. That same picture. Like she’s copied that picture from the wall onto a piece of paper and hung it up in her room. It’s just cause she’s weird. Anyway, probably hung up in her room, above her bed with everything else. And so logically one would think, Oh, she’s the caretaker’s daughter she’s snuck in there and seen it.
But no, she hasn’t. She couldn’t have, because it was plastered over before he revealed it. Unless it was, she went back within the day or two. That’s true. But no one day at her school, she had gotten in trouble and her punishment had been that she had had to clean up the archives and she had been going through old drawings of old students and she had seen it and she had copied it down, which makes a lot of sense that she would choose that one to copy.
And then it also makes a lot of sense that they go to this big fancy school that has this huge archive room. Wait a minute. They break into the school. They break in every, forget about, you know, going in the morning and telling the folks a, do you mind if we have a look at the archives, it’s for an investigation, now they break the window to get into the school.
Yeah. And they go in and they start looking around and they find the archives and it takes all about five minutes and all of these archives. Because they’re divided by year and subject area drawings are right over it. All of all the drawings. So we save them, the children who have gone to school, they would have no idea what subject matter or year they were looking for.
But apparently that’s helpful. At least it’s organized. Um, and lo and behold, she Giana hears a noise. Um, and goes off again, I’m thinking, Oh, she’s going to set something up. She’s conspiring with somebody, but Mark finds the drawing and the name is on it. So now he knows who it is. And, uh, and it’s Carlo, it’s his, uh, buddy, his drunk buddy.
Uh, who, yeah. Who, yeah, Joe’s up with the gun and pointed at him. Well, so now what are you going to do? Can you.
I’m sorry. Cause I like you,
but I have to give you,
I told you to stay out of it. It all sorta makes perfect sense. And so if you’re thinking about it, you, and you remember that scene from earlier, you could piece in your head that Carlos crazy killer. When he was a kid, he must’ve killed his father or something and drew a picture about it and blah, blah, blah.
And for some reason he murdered this woman and his murdering others. Right. Even, even at that point, You everyone, everybody like the guy Mark seemed to be, Oh gosh, I can’t believe it was my friend Carlo. And then like, he talks to the police. Well, first of all, Carlo tries to the police arrive because I guess Gianna had called them, I guess, right before, right before she had gotten stabbed, they arrived in the Nick of time and, and, uh, Carlos takes off running and then there’s a horribly gruesome.
Scene of his death. I mean, the inept police officers fire off like six or eight shots of him and totally missed just hitting everywhere around him. But then he steps out into the street, gets hit by a garbage truck. And not only does he get hit by it, but there’s like a hook on the outside of it that he gets hooked on.
And then it drags him around the city for a good minute or two. Well, they swing around the corner, wax them on the curb and then you hear a car rush. And at this moment, Craig goes. Oh, no, this is going to happen. And sure enough, a car tears over the front and runs right over his head. And it’s like a, I dunno.
Do you remember the toxic Avenger? Did you ever see that? Obviously not at the same level as this movie, but very similar in that you get that up close and personal view of the head getting crushed by the, uh, the wheel. Now that is what makes this a horror movie that’s like brings it into this other realm.
Fair enough. So anyway, apparently mystery salt, and, uh, Mark is just going to go home and he’s walking along and you can just see all of a sudden on his face, wait a second realization. And I feel like it’s even in voiceover that he says, yeah, no, it’s impossible. He was with me when hookah was killed,
couldn’t have been here. You’d like to do with it. Why. So he decides to go back to the original crime. Maybe I should go back to the original crime scene after all. And see if that thing that I thought was important for me to remember is still there. He goes back, he walks down the hall. He realizes that the reason that the painting that had caught his eye looked different and he had mistakenly thought that it had been removed.
It wasn’t that it had been removed. It was just that it looked different. And it was because in one kind of little offshoot hallway, the direction that he was walking down the hallway, Facing him in that offshoot hallway was a mirror that was reflecting a painting opposite of it. So it looked very much like the other paintings, because it was just a reflection of them, you know, uh, in a frame much like, uh, the others, but what he realizes.
Is that there was an actual person standing there and I knew it. I had seen it. I knew there was somebody there. Now we have gone all this way without even mentioning the name of who the killer is, which I feel like is kind of a cheat that I didn’t know how to introduce it without making it totally obvious.
So why don’t you explain? Well, um, Carlo has a mother that we only get to see because. Mark is looking for Carlo to ask him some questions and he goes to find him, and she’s the one who points him in the right direction. She is sort of a crackpot lady, but funny, funny in a humorous she’s comes across as comic.
Right? Right. Like she’s, she’s the crazy old lady, you know, she’s kind of. Forgetful or has, you know, certain notions in her mind, but we laugh at it because you know, of course, Mark is, is annoyed and is trying to be efficient and get things done. And this, yeah, this crazy lady is kind of like trying to flirt with them and engage with them.
And I used to be a movie star and look at me on the walls. And I mean, she, she seems a little bit off her rocker, but. In a funny way. Yeah. And, uh, and he keeps saying, Oh, I’m a pianist. And she says, Oh, are you the engineer? He was like, no, I’m the PS. Oh, you also play piano. That’s great. She keeps thinking of him as the engineer.
And it’s funny yet it turns out that, uh, she, uh, was the killer and that scene that we had seen earlier of Christmas, and that was referenced in the wall with all these drunk child drawings was actually. Her stabbing her husband in the back because she was clearly a little nuts and he wanted to take her to the hospital, psychiatric hospital probably.
And she didn’t want to go. So Christmas time as he is approaching his son, Carlo, she comes up behind stabs him in the back and then he pulls the knife out of the back and just sort of tosses it in front of him and Carlos picks it up and holds it up. And so that is really the image that was traced was Carla holding the knife.
Uh, in shock his dad dead. And then his mother is to the other side. Um, and all of that happens, you know, it’s, it’s that reveal moment. It’s like, okay, we’ve led you up. We’ve shown you her face. You know, you see her face again in the mirror. Um, as he’s walking through, we see who it is. And then they’re like, okay, here’s the scene that we’re going to explain it.
Right. And that’s kind of cheap. I mean, as far as storytelling is concerned, but it didn’t bother me because I was so surprised and because I thought I never would have thought of her. I mean, she, she kind of seemed like an extraneous character, but then when it was revealed, I thought. That’s plausible.
We’ve known. She was crazy from the get out. Exactly has been depressed and drink, you know, like drinking himself to death. Almost apparently what has happened is that he’s been trying to watch out for his mother, cover her tracks, you know, keep her reined in or whatever. So it makes sense that he was having a really.
Hard time with that. And you know what we’ve seen of her, she was unhinged. She didn’t necessarily seem violent, but it doesn’t seem like a stretch of the imagination that she could be. And I didn’t feel cheated. In fact, it felt like a really unexpected and kind of fun twist at the end. I agree with you completely.
I really do. Uh, there’s a great little. A scene there where they have a bit of a showdown and they go out into the hallway and her necklace gets caught in the elevator and he takes advantage of that opportunity to hit the elevator, to go down. And it’s one of those old fashioned great elevators. So it’s easy to do.
And it just pulls her head clean off. Right, right. Well, I have to say I was actually a little bit disappointed. I wanted to see a little bit more of her being crazy, running around with the meat Cleaver. It happens really fast. She does get one hack at him with a meat Cleaver and he goes down to the ground and it’s kind of when she’s coming at him again, that her necklace gets trapped in the, like the Gates of those old fashion elevators.
Right. That must be a super expensive necklace because I’ve never seen a necklace not break right at the slightest opportunity. Right. But that’s it, you know, she gets to capita. We don’t even really see that. I mean, we see the chain cutting into her neck, which is a, an effective, gross, gross effect. But then we just kind of get the point of view of seeing the chain get pulled and it finally gets pulled all the way through.
Of course it’s covered in blood. And then the last shot, which goes into the credits. Is Mark, I guess, kind of his face kind of hovering over the puddle of blood and just reflected in this bright puddle of blood and then the credits roll. And yeah, you know, this movie has a lot of great imagery. It’s obviously done with lots of care.
It’s very stylized. It could come off as an exploitation film where it not for it being so artistic and so well done because it is so gruesome and brutal. And it just seems to revel in that. But there’s some real style there. The notion that the killer wears the black gloves and the raincoats, you’re going to find that every movie that you see, but in this film in particular, they had had some really fun moments.
I really like. The every time that it seems like Mark gets on the phone, he’s in an extremely noisy location to the point where you could see the visible frustration on his face. And there’s a really cute moment where he is calling her from a cafe and. You know the scene when somebody is calling a news reporter and on the other end of the line, the news reporters in this super busy office with typewriters going, and it’s just super loud, except this time on the other end, he’s also in this super busy, loud.
You want to do that for putting the bloody machine next to you? What’s the matter? Nothing, nothing. When you try and find out for me, the name is Bree. Jackie.
She’s probably got some other information to call you back on call. I will call you back. I can’t hear.
And it’s an interesting juxtaposition of the typewriters and everything going. With the pinball machine right next to him whacking. And this guy behind him was trying to pour cappuccino and, and, you know, he’s getting stuff blasted in his face. I thought there was just some really neat touches, some comedy in there that, uh, right.
I thought so too. And that’s not again, I don’t remember it really well, but it seemed like Suspiria was darker and a little bit more serious. This had a little bit more of a light hearted nature to it. And of course, Suspiria was kind of dealing also a little bit in the supernatural and I feel like it was even more.
Stylized than this. You didn’t have as much saturation of color here as it was utilized in Suspiria. Um, it was, it was still there, but it was more subtle. It would be color more in the background as opposed to the entire scene being lit in that one strong color, but yeah, little touches of humor. Uh, really interesting style choices.
You know, it’s interesting too, this movie really plays on the idea of vision. It plays on the mirror thing and the painting thing obviously ends up being a big deal at the end. But if you go back now having watched it through knowing how the ending was going to go and looking for these little touches in a cinematography way, he’s really done some interesting things, his whole choice of having the blue bar there, which is so iconic of a.
Painting a very famous painting that you don’t miss. It is an interesting backdrop to have when the clue to the entire thing lies in a painting. Well, and the people like. Even, you know, it it’s live action, but even in silhouette it looks like a painting. Oh, they’re totally staged like the paint. And even when you, when you’re inside, there’s one scene where you’re inside and, uh, Mark and Carlo are dueting on, on the piano.
Everybody’s just standing or sitting around very still, like there’s a woman standing, you know, very. Pick a risk, uh, you know, next to the piano. And then there’s a guys at the counter who might move to take a drag of their cigarette, but that’s kind of it, um, really cool, cool stuff. Interesting touch. When he visits the mother for the first time, the crazy woman, and we’re laughing at them, but they’re having their conversation.
And between them is a mirror. On the wall. And it’s just a nice little touch there that for forecasts that’s when you see, and of course the child’s drawings playing into it as well. There are paintings on walls. And when he goes down the hallway in the empty house to break down that what’s, you know, the door to the old room has been plastered over there.
He’s going down a hallway. That’s very reminiscent of that original hallway that it was in the murdered woman’s room, except all of the paintings on the wall are missing to the point where there’s like a little. Pattern around them where they’ve been removed from the wall and all the walls. Interesting.
I hadn’t noticed that makes perfect sense. It’s a big clue and I’ll bet there’s. I bet if I knew more about art and things, I’ll bet there are a lot of different touches like that in this film, even in the very beginning when the psychic and the very first scene is going crazy because she thinks there’s a murderer in the, a person with dark thoughts in the theater, we get our first POV shot of the, who we later learn as the killer.
Standing up and sidling his way toward the bathroom. And he goes into the bathroom, turns on the water and the camera slowly pans up and there’s a mirror, but the mirror is dirty and it’s broken and stuffs. You can’t see who it is. Just a lot of playing with that, that, uh, that shows some real, uh, it makes.
A second watch of this film. Really fun. Yeah. I hadn’t, no, I mean, I kind of noticed, you know, the obscurity of the mirror, I just kind of felt like that was just to hide the identity, but now the connection makes perfect sense. I think you’re right. I think on pond, uh, another viewing, we probably pick up on a lot more.
Yeah. Speaking of mirrors, I have a question for you because I couldn’t figure this part out of the author of that book that they go to see when she gets killed. The killer turns on the bath water and turns on the basically burns her alive, essentially in the bath water. And Fogg’s up her whole wall in there as a mirror.
And she falls down close to it, reaches over and starts to write something in the fog. And then it’s, it’s almost as horribly horrible moment when the window is open and the fog starts to go away. And you wonder if anyone’s ever going to see what she wrote and then the other guy, uh, who was the one of the psychics, right?
I think his name was Jordani. Yeah, that’s right. Kind of going off on his own little mini investigation, following his own little leads in here, he eventually gets killed, but he visits that house. He’s the one to check out the body or where the body was and he gets the idea and he Fogg’s up the room and sees asked, written on.
I have no idea. I couldn’t make it out. And I, I don’t know what it was. It looked like, I think it was Italian for is the killer is because the subtitle there said that the killer is now. I’m not sure if we’re supposed to believe that she finished writing, but it was out of the frame and we didn’t, we didn’t get to see it.
He did. Right. Because when he leaves the room, he. He seems like he’s put it all together. Right. Am I wrong? It did kind of seemed like that, but I don’t know. It’s odd because he didn’t even know those people or neither did the author. So how would they know? I mean maybe if they, if she was going to say the killer as a woman or something like that, I don’t know, but I don’t know.
I couldn’t figure it out. That would be the only reason he would die. Right. Is if he, the killer believed that he learned something at that scene and just her writing is on the wall and nothing else, uh, wouldn’t have gotten him anywhere. Right. Maybe, you know, uh, Carla was just trying to tie up loose ends.
I don’t know. Yeah. But no, sorry. I don’t know. I can’t clarify for you. His death was pretty creepy. It was a little, um, saw Asquith with this Heath. Oh. And that doll. Oh, right. I forgot about that. Creepy doll. Just running right towards him. Wow. Yeah. That was weird. You weren’t expecting, I mean, you did have the motif with the killer playing with toys and things, but we had never seen them like employed in the movie, the level of sophistication that they had sort of planted this large wind up doll.
There was a creepy prop. Oh my gosh. Yes. You know, the guy who was Mark in this movie is a David helmets. David Hemmings. Did, did he look familiar to you a little bit, but it seemed like whatever I knew him from, he was probably older. I don’t know. What have, have you ever seen peeping Tom? I don’t know, it’s a close it’s like the British hitch.
It, people call it the British psycho. Cause it came out around that same time. It was a serial killer movie. When you know, nobody else had ever really made a serial killer movie except Hitchcock. Yeah. I’ve read about it. I haven’t seen it. Yeah. He’s Thomas in that movie. That’s that’s another really good creepy atmospheric, but British film.
He was all over British TV and film. He did look somewhat familiar, but I don’t know. I don’t know, great acting I thought from him, especially, uh, it’s hard to tell with everybody else because you’re not sure what’s mugging and what is just getting kind of flubbed by the, the switching back and forth, right?
Yeah. The dubbing and stuff. And apparently the woman who played, uh, the killer was indeed a famous actress, but we’re talking like back from the twenties and thirties. And the, the, it seems that the photographs that she referred to on the walls were authentic photographs of her. And, uh, if that’s the case, she was very beautiful woman in her youth, still striking in a very interesting look, you know, this, we saw that we think this was like her second to last.
Yeah. Um, even though she died like in the nineties, right, right. She’s still, I mean, she was, she had, she had a great face for a character and she played the character really well. I liked her performance in hindsight is probably my thing. Favorite? Uh, just because she was playing on hinged all along, but never really casting any, she seemed to noxious.
She didn’t seem like she posts any kind of threatened. I never would’ve guessed. It was her. Um, so I think there must’ve been some subtlety there, whether it be in the script or her performance or both, but I really enjoyed her performance. Good. So your first giallo pick outside of Suspiria, but more hardcore giallo do you think you’ll see another one.
I’m sure I will. I’m sure. You’ll make me
know. I wouldn’t say that it’s my favorite genre, but there’s so much that I appreciate about it. And so much that I respect about the artistry that goes into it. It may not, you know, just like I’m not big into rap music, but I can appreciate, you know, those who are really skilled at it and, and, and their artistry.
So yes, I will watch them again. And I’ll go in with an open mind because, uh, Yeah, I liked this movie. It’s certainly not one that I would have picked to watch on my own, but I’m glad that you picked it. I’m glad we did it. Know if you’re ever, if you ever have an evening where, uh, you do feel like tackling this again and now that you kind of know what to expect, because they are very similar check out the bird with the crystal plumage also by, uh, Dario Argento.
And it is. Also, I think fantastic. Maybe that one and deep red, I had a very hard time choosing which one would watch tonight. We’ll do. We’ll do. All right. Well, thank you so much. Thanks for joining us for this episode. If you enjoyed this, please share it with a friend. Find us on iTunes and on Stitcher and like us on Facebook.
So don’t hesitate to give us a comment. If you like what you’re hearing or you want us to contribute a little bit more to the conversation or give us a suggestion? Yeah, sure. Why not move you to a wall? We don’t plan these things out very hard to say, what are we watching next week, Craig? I have no idea.
Neither do I until then. I’m Todd and Craig with Two Guys and a Chainsaw.