The Witch Movie Project. I'm still not used to that spooky violin and that witch laughing and all that. Courtney, we're back though. The Witch Movie Project, Episode 2. Awesome.

Can't wait. Are you excited for this one? Oh yeah. These were new movies to me, so I am thrilled. And I was pumped to toss you these two movies.

I can't wait to get into it, but before we do, we got to talk about the big event, October 26, presented by Novel Daybreak by Crescent Communities. The Witch Movie Project, live podcast taping and movie screening. That's what we're building to, Courtney. Are you ready for that? Yeah, you can vote for your favorite movie.

So we're reviewing two different movies. This week they happen to be the same movie, sort of, but not quite. And you get to shoot us your favorite so you can vote every time. That's right. So hit us up at, by the way, media across the board on social media at Prism-Healing or Prism Underscore Healing, depending on the social platform you're on.

Yep. Just find me. Find me, Courtney Pearl, wherever I'm at. Yeah, they don't have underscores. They don't have hack, whatever it is.

But I'm super, super excited. So let's just get into it. Let's go to this episode. Let's get to these two movies, Courtney. Now, where do you start on these movies other than, you know, I've got the red on, you've got the green going.

We already got green light. I love it. Like we got the colors on deck. We're talking about Suspiria. Yeah.

1977. Talk about horror movies. This is now these two right here. Where do we start? Because the 1977 movie by Dario Argento was a masterpiece, first of all, I will say.

But it was very, it was violent. So people did not really take to it. It even sent Dario, it sent him on a deep, dark path, almost to lead to suicide. Like that's how bad this took hold on the people around them. It's, what were your initial thoughts on the first Suspiria?

Well, I do remember at one point, and this was later in the movie when I was watching, we were like, you know, probably closer to the end. But my dad walked in and he walked through the living room while we're watching. And I said to him, Dad, were all the movies from the 70s just like super weird? And he just goes, yeah, yep. And then he just walked out of the room.

I was like, I am all caught up in this whole like otherworldly, you know, kind of trippy, colorful, Alice in Wonderland sort of vibe. Right? Yes. Yes. So that color scheme is on purpose.

Now Dario Argento actually filmed Suspiria to look like an acid trip. That's why you see the wavy stuff. He uses some technicolor, a modded technicolor basically that for your people out there who know all that technical terms, basically it made it look distorted. It made things off. That paired with a Grammy Award performance from the Goblins.

That's the soundtrack to this entire thing. A band called the Goblins. Now that's it's got this eerie, ethereal, whatever kind of sound you want to say, but it's unsettling. There's whispers in there. There's all this weird stuff going on.

They actually filmed that score for this movie before the movie was filmed. So they had the score for the movie and what they did, what Dario did, what the people on the set did, they would blast that Goblins score while people were acting and stuff. So it was unsettling at all times. What you think about that music? Yeah, I kept asking Matt, my husband, because he's a percussionist and he knows instruments a little bit.

I was like, what is that sound? Is it like a didgeridoo? What is this wah-wah sound and these African drumming? I mean, it's just all kind of unsettling because you don't know what it is. It's almost like it's not music, but it's...

I looked up the Greek instrument, a bouzouki. Bouzouki? I'm not sure how you say it, but that was in the... Some of the weird sounds that you're hearing. It's like a kind of obscure, you don't hear it very often instrument.

That's great knowledge right there. So you're saying that's what the Goblins were playing there. Yeah, a Greek instrument. Did they invent that themselves? Yeah, you would think.

I've never heard it before. It really is that unsettling. It's almost like when people play the saw and they have that wah sound to it. Or the theremin. The theremin, the thing that you do with your hands.

Have you ever seen one? Very weird. Making more thunder sounds and distorted kind of. We'll put some of that in right now. We'll weave some of that in underneath.

Let's get to the beginning of the movie though, because we'll start with the 1977 version. You've got Susie Banyan. That's your lead character here. Susie Banyan played by Jessica Harper, I believe, right? Mm-hmm.

Who makes a cameo in the newer one. She does. She does. I love that cameo also. It's a great one to catch.

We'll get to that one. But Susie arrives in Germany. It's stormy. The atmosphere, the mood's already set. It's like, okay, this is not going good.

She gets in a taxi cab. As she gets to the academy though, it's already something weird going on, because a girl comes running out. That's Pat. We find out later. So already from the get, this is less than 10 minutes in.

We're already looking around. We're thinking, what's going on? Then the murder. There's some foreshadowing. I noticed they do this a lot in the movie.

They stop on a frame and show something or even come back to it and show it several times. It was kind of an era type thing, 1970s movies. It makes you question, why are we looking at this window several times? Why are we looking at this thing that seemingly has nothing to do with anything? It was kind of foreshadowing what was going to happen to Pat.

What you're describing there, that's called giallo. This is a genre of movie called giallo style. It's Italian. I believe Dario Argento was one of the main ones for it. Mario Bava, Lucio Fulci.

They all did this. Now, during the 70s, giallo style, which giallo is Italian for yellow. That's what it means. So yellow is... That was a pulp novel series from giallo Mondadori in the 1920s.

That's what all of these quick shots and these real close... You see the eyeballs and you see all of these crazy shots. That's what it is. It was used to distort and it was to add to the murder mystery. They also included elements of this in all slasher, thriller, psychological horror movies.

This falls into all those categories. But they made this popular. The 2018 film has some of this in there. It has some of the giallo style treatment. The shots, the close-ups, the quick shots.

But then there's also these... In this 1977 and both films, there's also these long drawn out shots that are unsettling in their own because you're like, I'm used to these choppy chop chop chops. And then all of a sudden, why am I on this one shot down the hallway for 30 seconds? Or this little detail for an extra long amount of time. And we weren't sure if that was just because of the era that it was filmed or if it was a style.

We kept joking about it because we're like, oh, we're going to look at this one thing for 20 minutes now or something like that. We were having fun while we were watching it. Now, let's talk about the murder scene right from the beginning. This is when Pat and her friend, they brutally, brutally murdered. And I do mean brutal.

That was done on purpose to disturb. And it did. Back in the 70s, when this thing was released in 77, that was the most disturbing murder scene. And to this day, maybe one of the most disturbing murder scenes in a movie ever. Yeah.

Yeah, it was pretty shocking even for the time period. I'm like, oh, I don't know older movies very well, but wondering how far they were going to take it, how far they were going to show blood and bodies and cutting throats and all the things. But I did take note that in the bathroom before she's murdered, she's in the bathroom. The artwork on the wall is Sky and Water by M.C. Escher, which is a it's like a optical illusion.

It looks like fish coming, you know, a bunch of fish. And then they turn into geese. So it's like flight and water. It's a famous piece of art, but it's supposed to be kind of an optical illusion. And there was a lot of like art deco style, 1920s style in this movie particularly.

So it sucks you in. It really sucks. Yeah. Yeah. And if nothing is quite what you think it's going to be vibe is what that's telling me.

I don't know if that was on purpose, but I think everything's on purpose. So it definitely is on purpose. And then also you can actually see Dario himself in the mirror reflect as the hands that is killing the victim here. That's on purpose, too. He mentioned later on.

Is it really? Maybe. I think it was. I think it was because it was almost like he put his signature in an iconic scene and he knew what he was doing. I don't think he did anything by accident.

So I fully believe that we get we get to Susie's first day at the Academy. Weird. It's already weird. Like it's it's she meets Madame Blanc and she meets Miss Tanner. And this is strange stuff.

And then what somebody fainted during the rehearsal. Eerie. Yeah, you could tell. Yeah, a lot of things are happening to Susie. Like she's getting nauseous and she's kind of feeling warped.

She's walking down halls and it like almost funhouse kind of vibes like she's, you know, not walking straight and kind of bumping into walls and doesn't feel well. Yeah, I wrote down because it was at the beginning and it was the ballerina school or dance school. I wrote down Black Swan vibes. Yes. Like, you know, the movie Natalie Portman.

It's like how kind of trippy or like things are odd and you can't quite put your finger on why. And it has something to do with the art of dance. Right. Yes. Yes.

No, that's a very good. That's a good take right there. And I did get Black Swan vibes. That's a great movie. I mean, that's Oscar.

That's Oscar winner there, I believe. So, yeah, we're only 30 minutes deep into the movie, though, and it's it's a it's a weird watch up until this point. It's a weird watch. And you're trying to get you. Yeah.

As a viewer, as a viewer, you're trying to get your footing. You're trying to find out what the fuck am I looking at? Like, honestly, like, that's what it is. And yeah, it really takes you like you're Susie coming from a regular average world. She comes from the airport.

She's in a taxi cab. But like when she gets to the dance studio, everything's bright colors like that art deco. But it almost feels like everything's also a stage. Yeah. Did you get that too?

Like it was on purpose made to look like it was a set. Like it wasn't real stairs, wasn't real buildings. It was just almost felt like it was even Pat when she sees Pat running through the woods. It's like a strobe light. Yeah, that was really cool.

I liked that effect that they did. That's in both movies, I believe, right? That kind of the that glow that almost that I call it. It was a the Donnie Darko when he had the thing coming out. It's the Donnie Darko glow.

But it was a version of the die darko. You that came up, whatever came out of his chest, you know. So Suspiry, so Susie moves into Olga's apartment. And then this is when a this is when weird stuff starts happening, too. She's counting the steps.

She's figuring out, wait a minute, that doesn't go there. That is, you know, something something's weird going on, but we still don't know what. Yeah, well, there was something that happened before she goes. Oh, I'm trying to remember what it was. Oh, the the conversation between the dancers when she's borrowing shoes.

And there was this little conversation. So when I found out later that this was written about a boarding school, like the original, the story that it was taken from was a boarding school with young girls. Yeah. And later when I found that out, I was like, oh, now I get why the script was written that way, because there was this moment where these dancers were teasing each other. And she's like, oh, your name is S like a snake.

You're Susie and you're Sarah and you're like a snake. And then the girls are hissing at each other. And it's really weird. Like, we're all kind of watching this like, what? This is weird.

And Susie is watching it like this is weird. And and it turns out that that was supposed to be like little girls. Like, that's why it seems so juvenile. It was little girls talking instead of like grown women, you know, the dancers. But I thought it was really important because I was like, there's already this weird vibe going on where you're like, why are grown women talking to each other this way?

No, but you're but you're definitely on to something there because it's absolutely true. Salvatore, Salvatore Argento, that's Dario's father. He's the one that acts down and said, no, you cannot use young girls because it was written for young girls. So they had a cast hire. They couldn't they couldn't do this with young girls because of how violent.

Could you imagine this movie? I know. Girls in there instead of dancing like that. I mean, oh, my God, like they had to put these guys in jail. Salvatore and and Dario would had to go in jail.

The Argento family, you got Salvatore, you got Dario, you got Mike Argento out in Toluca Lake doing his thing. That's a plug from a buddy of mine I used to work with. His last name was Argento is Argento. He's still around now. Back to back to this, though.

They did have to cast older, but Dario did not rewrite the script. So that's yeah, dialogous, childish. It even goes a little bit further because if you if you really pay attention, the doorknobs on all the doors, they're at a height. They have to reach up. So it's almost it gives these girls this childlike features when they're of age.

So it's this it's a weird it's a weird line that they kind of walked there. But yeah, that's that's a great, great, great, great. Fine. Look at you, Courtney. Look at you.

Fine. Well, I do think the conversation was already odd. And so later I was like, oh, when you think about it as little girls saying this to each other, that makes sense. But grown women being like, you're a snake. Your name starts with S.

I'm like, OK, I guess. Me. Weird. But all right. So let's see that.

You got all the oh, my God. Now you got the you got a disgusting scene in here, too. The maggots falling from the ceiling like, yes. That's enough right there to send me running from the theater. That's enough right there.

I was like, you. This was disgusting. This was this was. You know, not something that you want to see. Yeah.

And it was honestly it was people it was some of the cat. The crew sprinkling rice down on onto the girls acting. But still, it just. It makes. They do close up shots.

And when you find the food in the attic that's gone bad and it's just covered in maggots, it's a really graphic scene like it's it may not be blood and gore yet, but it was like enough to make me cringe and like have to check myself to make sure I didn't have bugs crawling on me. Oh, yeah. Now, now, now let's talk about. The men that we see. Now you have you have Daniel.

We haven't even talked about these these characters yet. You got Daniel who is he's the one with the blind piano player. Yep. And then you have what's the other guy's name there? The the butler guy, I guess.

Yeah. He was honestly I know he was a local person that Dario found and loved him. So he put him in a movie. And so that was that was the other the other guy that was. Yeah.

The I guess a butler I don't know what he was but. Yeah, he's kind of got Igor going on like the. The kind of I don't know, assistant who's just a little creepy and a little bit, you know, not not very talkative. No, not at all. I don't think he said I don't think it says anything.

So but but but Daniel, though. Yeah, yeah, he has his German shepherd, which I laughed and I wrote down in my notes. I'm like, so this is in Germany. We have to have a German shepherd. And that caused me to look up what is the most common dog breed in Germany?

And it's actually Chihuahua. So little fun fact for you about Germany. Now, we need. Yeah. So so Chihuahua is in Germany.

Yeah, not German shepherds. But I thought it's not a little cliche. Like we have this, you know, this guy has a seeing eye dog, but it's German shepherd. It becomes important, though. It's all right.

Yeah. He's walking this dog. This is after he gets cast out of the dance studio. Now, let's go to that part because. They cast or actually, yeah, what he gets mad and then he leaves.

How did this even go down? Because I don't even remember this because of what happens next. Yeah. Well, was there something between I think I missed it. I think I must have like stepped out of the room or something for a second because Matt, my husband was watching with me and he said the dog did something to the boy, the little boy.

And that's they got mad at him and they kicked him out or something. See, I don't have to watch their dance. Right now, I can't remember what happened right there either. But when he's walking his dog. At night.

Yeah. It's just, you know, something's about to happen. Yeah, they keep doing that close up of the building, like those shots that feel like what's going on. They are showing these these buildings around him and the statues in the buildings like for a long time, like not quick shots, but like long shots. You're just waiting.

You're waiting and the anticipation is growing and. It's. You know where he is? He's in Koenig's plot, which is in Germany. Now, that is a historical place because that's where Hitler and the Nazis made where Hitler had some of his most hate, most, most, most hate, hated words come out of his mouth.

Most hatred is in that very spot. So sure, there's there's some there's some there's some undertones here from from Dario and whatever about fascism and all that. But this is a very it's real subtle, though, not like the newer 2018 one, which really directly included historical things like the Holocaust and the Berlin Wall and the war and things going like they brought it right into the movie. Very like in your face. But I think it was like a subtle nod.

It wasn't like a main part of the movie, but they they must have like we want to put that in and have that be recognizable. Right. Oh, absolutely. And it was like that's it's menacing. And at that time, it was even more fresh in people's minds.

So when you saw that, like you knew you're like, oh, that's yeah, that's some some evil, some some evil shit went on right there. You know, so yeah, word spewed full of hate came from there, you know, like it was not a good place. And yeah, Daniel meets his demise right here. He's done. He gets it's done in.

Yeah. Really, really nice and graphic, too. They don't show the body, but when they show the dog eating, it's pretty I'm like, like your imagination in the blanks, you know what's going on there. Like just brutal, brutal once again. And so it's a good thing they didn't have a two while up because they needed the German Shepherd for the scene.

Right. Daniel instead that had been that had been it had been a long scene. It had been a longer scene that had been. So we're starting to at the studio at the dance studio with Suzy, Sarah, they're starting to investigate all the secrets. They're starting to figure out stuff.

Sarah. Yeah. There are meets her demise. Like it's there's a lot. There's a high body count for a movie here.

Not sure how many, but there's quite a few that drop on first. I mean, definitely would be noticeable when you're thinking about like, OK, Pat runs from this dance studio. She's dead and they're pretty open about it. They're like, yep, Pat died. The authorities are involved.

Super sad. And then they're like, oh, and that guy, the blind guy, you know, the piano player, he died. Super sad. Like they know what's going on. So they're telling that.

And like you would think if you were one of the students, a new student, you'd be like, oh, that's kind of a lot of people died. Right. Like, it's a pretty good sign that, yeah, we should probably stay clear of this place that things up. It could happen to me. That's for them.

I mean, my thought is like, hey, yeah, why are people disappearing around here? Yeah. And the Sarah's death was very interesting because they said that that was the one in the facts about the movie that she was actually hurt doing that scene. They only did it in one take. But I don't think anyone realized how hard it would be on her or how much it would hurt to jump into a room full of wires.

Yeah. Right. Like, sounds like a great idea to me. But no. Yeah.

They took the bar out of it. So it wasn't barbed wire. She still got poked. Thankfully, she was still getting poked by something. So, yeah, that's a great takeaway from that because she went through the pain for our pleasure.

You know, like, that's what it was. Our favorite part of that scene was the picking the lock. Oh, yeah. She's waiting in the room and she's trapped and she doesn't know what to do. And she sees the window.

She's going to climb up some boxes. But this whole scene takes a while. Like, she's in this room and it keeps cutting to the lock. And it's just one of those locks that all you'd have to do is push it up. And the person picking the lock has like a knife and is trying to pick the lock.

And it's just like, oh, not quite. Oh, oh, oops. Oh, not quite. Oh, and I wrote down what Matt said. He's like this limp dick trying to pick the lock here.

That's the description you can have right there. That's absolutely it. Like, it needs to build suspense. And so whoever it is, they just aren't good at it. They're just not quite getting that.

Not quite. So after this, after Sarah is chased and killed, then this is when it all comes to light. This is when we find out there are witches basically. And we're not talking about your friendly neighborhood witches here. We're talking about the dark, the evil, whatever.

What would you call them, types of witches? What are these? Well, they're what folklore would have you believe witches are. Which is they are needing these human sacrifices to power themselves. You know, the dance studio is basically or the dance school is kind of a front for them to be able to perform these rituals and to have human sacrifices or human girls to power their youth and their rejuvenation.

And they're, you know, it's the old folklore that witches eat children, basically. Oh, yeah. Yeah. Okay. So that so is that what it really is then?

Is that what this is a interpretation of that? Because here's the thing, too. I know that we haven't really gotten into the three mothers yet of what the witches really are. So, you know, should we do that? Should we get into the three witches now?

Yeah. And that would be like maybe my only. Well, I do like to poke fun, but it would be my only criticism of this movie in the 1977 version is that I don't think they go far enough in explaining that or to give that folklore its due diligence, because you kind of miss it. Like you kind of gloss over it. And then he does have this be one of the trilogy so that the three mothers are represented in the movies.

But but even when she goes to talk to the psychiatrist, which we'll talk about maybe in a minute. But I you know, he kind of tries to relate to her, the story or where Madam Marquis or the who is mother Suspirium, where she maybe comes from and the tale of the three witches. And I feel like it was just kind of glossed over. It wasn't really made to be at the forefront. And I feel like if you were just watching this movie one time through, you would kind of miss it.

Like you wouldn't really see it as well. But this was based on this story, an essay from Thomas de Quincey in the 18th century called The Three Sorrows, which were each one. The three mothers have their name. Right. I had this pulled up.

Three mothers, powerful witches, Mater Tinnibarum, the mother of darkness, Mater Lechramarium, the mother of tears and Mother Suspirium, mother of size. So this is supposed to be Marquis or Helena Marquis is this is leader of the witches and this dance academy. It's a you know, she's leading this coven and she's supposed to be the mother of size. Now, is this so you're saying this is not like based on some thousand year old. Ancient prophecies, ancient.

Yes, because there's there's three mothers and three goddesses in a lot of folklore mythology that does date back to ancient Egypt. You know, Greek mythology, things like that. The mother is the three goddesses are usually the maiden, the mother and the crone or someone somewhat separate representing those three parts of a woman's life or the goddess different goddesses that represent the maiden, the mother and the crone. So you see that three mothers theme come up a lot in fairy tale folklore and mythology. Gotcha.

So this is so it's kind of got some roots in something, but it's not taken directly from ancient folklore or anything like that. It's fairly recent. Yeah. So we mentioned it. There's a trilogy of these.

So the other two mothers are mentioned in the other two movies. And they're not on our list. So we won't go too far into those unless you unless you've got a couple of facts that you want to rip off about those you got anything for those. Not that's pretty much the gist of it as it was taken from that and yeah, inspired this movie and a true story about was it the one of the co writers of the script. She makes a little cameo appearance in the movie as well.

She had a grandmother that went to a boarding school, Daria Nicola, Nickelodeon. Yes. Yeah, she had had grandmother that went to a boarding school and apparently there were witches practicing black magic at this boarding school and it was discovered. Now I really question that I really question like what does that mean because if you look back that far and someone's accused of quote unquote black magic and that they're performing in a school you're just like well what were they just kind of like do we reading tarot cards in the basement or like what does that mean exactly. What is the black magic that they discovered they were doing.

But anyway that inspired the story of you know this movie of making a dance school and it turns out that it's run by witches and they need these young women to power and fuel their power. So, at this point in the movie. This is when I get to the to Dr. And that's when you get the background on Helena Marcos. Yeah, she's the founder of the Academy.

So, yeah, and we haven't seen her at all. Exactly. So we found the info owner we found out that this place is a coven and it's got a dark history and a connection to witchcraft. Like I said not your not your friendly witches. These are the vengeful they out there have to get you.

Yeah. This is when she also overhears. Are you going to skip over the we're not going to skip over the therapist part because. Well the one thing I wrote in my notes from that scene is Dr. patient confidentiality.

He's kind of telling her everything he's like, Oh, well, actually, Sarah was a patient of mine. And let me tell you all of these delusions she had about witches and starts just telling her everything and I'm like, We don't know Sarah's dead at this point so. I guess it's just like it moves the story along. You kind of need it, I guess, but I'm like, This is a probably a pretty big no no like therapy telling people what you say. I can't do that.

Like, maybe it's a different. Maybe in, in, in Germany, they didn't have to worry about that. I don't know. Maybe you can just tell anybody. Yeah, magic.

Just imagine going down the street. Hey, I heard you got hemorrhoids last week, you know. Yeah, this is important to the story. We need to know that. Okay.

Yeah. So now, I think we're at the where she finds the hidden passages. She hears them play. She knows now they're witches. Yeah, yeah, it's, it, we're coming to the climax like she's, she confronts Helen and Marco's she confronts her and who is the head which.

How does that go? How does that go for? Yeah, well, makeup is pretty good. I think I mean I had to write that down like for this time period and, you know, without kind of the more modern advances and the movie making that we've had. She's, she's pretty, she looks pretty ancient.

Pretty old looking there. And I don't know, do you think they were using Sarah's body for the ritual that she had been chosen to be the one? I think, I think, I think so. It's not specifically stated but I believe that would be my guess. It would be my guess it was Sarah's body for the ritual itself.

And then this thing all within like 10 minutes like this whole thing just, it collapses literally. Yeah, they decide she can overhear them saying the American girl is next she's got to go. Yeah. And then she kind of backs up into this extra room she sees Sarah's dead body she's like, oh crap there's my friend. And then she's kind of thrust into this secret hidden room where Helena Marcos is.

And the like the raspy breathing voice that they had heard early in the movie, which we forgot to say the backlighting that scene where they're all sleeping in the ballroom because of the maggots, and we did hear that raspy voice. Now why is she in that scene? I'm still not sure because she obviously has her own hidden bedroom down in some secret area. And when they're all sleeping in the ballroom and they've got these sheets up and there's this eerie red backlighting. For some reason, Helena Marcos goes and sleeps with these girls in the ballroom, but you never see her.

So you hear Sarah kind of saying like that's her. She's the head of the school and I think something is, you know, you hear that snoring that she's doing and something's off about it. And I'm like, why is she there? I'm not really sure. But maybe she's scoping out.

Maybe she was looking at her. Maybe. I think she was probably because if you think about it, that was when they're all in the same place together. Yeah. This chance and her sleep.

So it's creepy like that. Yeah. So where were we though? Because, oh, you know what I want to touch on is is Jessica Harper herself playing Susie. And speaking English.

Now we had an English dub of the entire movie, but all those actors and actresses, they didn't speak English. There was multiple languages involved on the set. A lot of times when they had to dialogue between themselves. Jessica Harper didn't speak German, so it was she was just talked to. They would they would use their feet to tap and give the cues of, all right, it's your turn to talk.

Oh, yeah. So, yeah. So on this set that since they did know that it was going to be dubbed, they didn't care about the audio around them. So there would be hammering going on. So it'd be people talking off screen all the time.

So you're acting scenes. All of those scenes had no audio that was used that was not dubbed later. That's to me. That's it. If you watch that movie, you know that and you watch the interactions between actors.

It's incredible that they figured out the language barrier because I don't know. Yeah. And that takes a really skilled actor to be able to respond appropriately because I have a little experience in acting. And I know a lot of the training that you do is like active listening. Yeah.

Sometimes we would have our director. We had our lines memorized, but they would have us switch parts in rehearsal so that we had to practice not just reciting our lines or our part, but be in active listening to what the other character is saying to you. So if she can't even understand what they're saying or they're just having to kind of give her a cue like, OK, now talk. She's got to somehow act like she totally understood what this other person said to her and respond and react appropriately. That's tough.

To me, this was that's an Oscar award winning performance there then, right? Like that should be. Could be. Could be. We're going to talk about what I think would be an Oscar award performance in the next movie.

But let's finish this off first because now we're at the climax. We have a battle. She stabs Helen Morehouse. Yeah. Catches on fire.

Yeah. Suzy is one of those like wrap it up tight and tidy. You think for a second, how in the world is she going to get out of there alive? And how is she going to kind of maybe defeat these witches, like get ahead of it? But it all happens like in one fell swoop.

She kills the head witch and it sends the entire dance studio aflame. Like all the other witches can't live without her. So in about that time frame that we talk about, that was it. It's literally boom, the climax, the witches die, burns up, Suzy walks out, the film's over. You see Suzy walking away and the dance academies burn up.

Yep. If you went to the bathroom during that time, you would be like, wait, what just happened? What were your final thoughts on this first movie without seeing the second one? I almost said part two. It's not part two.

It's not a remake. We'll get to that. But what were your final thoughts of what you saw here in Suspiria in 1977? Well, my thoughts always go back to the perception of witches. And like, obviously a lot of folklore and a lot of descriptions of witches over the last few centuries have been negative because it's really about like, well, they're in league with the devil.

They are satanic. They are dabbling in powers that come from evil places. They do harm. They eat babies. All of these kinds of things that came from like, you know, the campaign to deflect people from witches.

But I go back to like when you hear certain folklore about, for example, Baba Yaga that comes from Scandinavian folklore. She has a lot of folklore about her that's kind of dark and creepy and eerie, almost Hansel and Gretel, eats the children kind of vibes. But then there's stories about her where she's the fairy godmother in the story. She's the one that helps out the heroine in the story of Vasilisa. She still lives.

She flies through the night on her inner cauldron. She lives in a house in the woods on chicken legs, and she has a fence made of skeletons and bones. She's still got that going on. But in the story, she's the one that helps her out. And and I have to go back to that and remind people that, yeah, there was a lot of propaganda against witchcraft and against witches.

But I asked myself in this movie and the 1977 version, I asked, what was the purpose of the killing? Like, what was what was the motive here? Was it just to make a good story? Was it just to make us go and have a good horror film? Or, you know, was there like something else, another level to it that we just haven't explored or this movie didn't touch on yet?

And that's why I really loved going to the 2018 version and being able to see that there is a lot more going on here. Like, there are such other layers. It's not just what we see on the surface. Right. I think you hit it all right there.

And I think Dario Argento putting this film together. Dario is the Italian Alfred Hitchcock, but way more blood and guts like that. Definitely is. Yeah. Not a subtle.

There's definitely intention in the story and what he was laying out. And there's definitely intention in the design of the movie that he put together because those quick scenes and those shots and the way that it made you feel unsettled. The Goblin soundtrack. Everything was so plotted out that it did give you an experience. That's it.

That movie is an experience when you watch it. You can tell there's something special going on, even though you don't know what the fuck you're looking at. Like you're watching. You're like, what am I watching? It's special.

It's special. Like, it feels special. Yeah, the lighting, the green and red lighting that's unnatural. Like, obviously, she's not sitting there in her bedroom in red light. That wouldn't be a natural light to be in.

But the movie was like, no, you're in a different world here. We're going to make it really feel like a different world. So there's going to be green light and there's going to be red light and it's brazen and bright. Let's get to the 2018 remake. Oh, my gosh.

So I've already messed up and call it a remake. It's not a remake. I just messed up. No. Yeah, we were discussing this before we hit record that the director, Dario said when they said, hey, they're remaking your movie.

He was like, no, no, no. That movie was made exactly the way it should have been made. I'm paraphrasing. This isn't a direct quote, but he was like, hey, you know, I made it exactly the way this movie needed to be made. If they make it exactly the same way, it's a copy.

And if they don't make it the exact same way, it's a completely new movie. So he would not even call it a remake. Now, Luca Guadagnino, Guadagnino. I hope I don't know if I'm getting that right. My tongue doesn't work that way sometimes.

But Luca is the director of the 2018 version. And he even said it's not a remake. This was actually this project itself was even in development before this and scrapped basically or put to the side before it got picked up. And he calls this thing basically his interpretation, a reinterpretation, a reimagining. Reimagined.

Yeah. And it is. It is. But it's also a remake. It's the same movie.

It's the same character names, the same basic plot. It's just not a shot for shot or script. It's not the same script. But I think they did a very good job having the same feeling. And vibes while also updating it.

You're absolutely right. And there's a lot of work that went into this movie like Dakota Johnson herself. I'm a huge Dakota Johnson fan. You know what? There's two people in this movie that I am like huge fans of.

We'll watch anything. Three actually. We'll get to those. But yeah, but right out the gate. Pat, played by Chloe Grace.

Right. Yep. From Dark Shadows, from Carrie. I love her. She's amazing.

Dakota Johnson put in years of learning dance for this role and it shows. I'll go ahead and tell you my other two. Mia Goff. I love Mia Goff. I watch anything she's in.

She plays Sarah in this. And then you got Tilda Swinton. Oh my God. We can talk about her all day. We'll get to Tilda because Tilda played three roles in this movie.

And I didn't know that until after I'd finished watching it. I was like something is. Oh yeah. I kept suspecting something throughout the movie. Yeah.

We'll talk about that a little more. But this movie. I mean, right off the beginning, it's almost like you said, it's not shop scene for scene, but there's the same vibe. You go, Suzy Banyan arriving in Berlin. She's it.

Is it raining? It's raining too, right? Yep. Yep. Raining.

She gets to the Academy like it's the same type of stuff. It's got the same feel, same vibe. Same atmosphere. And I think they use the mirrors too. I wrote down mirrors because when she gets into the dance academy, there's a big mirror.

Like everywhere you go, there's mirrors that it shows you the reflection of her in, almost like in The Secret Window. If you remember, they would go into the mirror and show the reflection of the main character. And that was kind of foreshadowing as to like you're not really in the real world because we're watching all of this from the mirror. So it gives you that vibe of like going into a different world. We are Alice in the Looking Glass.

Some of the inspirations for this movie, the original movie. Yeah. Like you're in a different world here. This isn't just regular life. No, that's like that.

And we see this, the mirrors come into play later too, quite a few times. Like with, yeah. That's disturbing if you ask me as the original. Like it's got its own scenes that you're like, that's sticking with me for a while. Like you think that.

Yeah. I mean, you update it with technology and movie making magic that they have been able to create over the years, the gap of difference. I mean, in some of the 1977 scenes, you're like, oh, they probably cut a pig. Like you can kind of tell that whatever, you know, but you're imagining it and it's gruesome nonetheless. You know what?

That's a great point because the blood in the 1977 is bright, bright red. It's orange. Not a blood color. So that's a very good point. Go ahead.

I didn't mean to interrupt you there. Finish that point. Well, just that, you know, then when we see some of the scenes, like the very first is Olga. When Olga doesn't quite die. But what happens to her in the mirror scene is like, I'll be honest, I had to shut my eyes for most of it.

I kept trying to watch it and I was like, oh my gosh, I cannot watch this. It was too real. That was that's that seems that seems crazy. That's when Dakota Johnson, Suzy is dancing too. So it's yes.

Transfer of energy transfers. Yes. And that's when you kind of get a foreshadowing because it's not really the the dance instructors or, you know, they're they talk about Marcos energy. They're like, she has an energy because when she walks in the room, all the dancers are like, oh, like, oh, what do you want me to do? Like, I just want to impress you.

I'm you know, and she has this energy and she's she's very nurturing and sweet, but also like tough and very stern. It's kind of yeah, it's it's it's a whole thing. But it's not them that seem to be doing this to Olga. When Suzy starts her dance, she's doing this amazing like movement dance. And as she's moving, it's causing Olga in a different part of the school to go through this horrific thing that she's going through.

Yeah, there's it's Suzy that seems to be causing it. Right. Yeah. But you don't and we see more of this later. So Suzy even says, I think, is this the time that she passes out?

And she even says that doesn't normally happen or something. She's she you can tell there's something different going on with Suzy herself because her energy, something's strange. She's thinking she even says it. Like I said, this doesn't normally happen. There's something along those lines and she can tell herself that it's it's weird.

There's there's something different here. Yes. Yeah. Oh, that whole scene. Well, I wanted to make a note to you before that scene.

The you hear the well, first of all, I'm like, wait, wait, go back. Hold on. There's there's a lot of really cool conversations going on throughout the movie between the witches. The opening scene is Pat, but she's talking to the therapist, the analysts, the psychoanalysts. And they are very upfront about it being witches right from the very beginning.

Yes. Where that is the hidden thing you find out in the original. You don't know what's going on. You just know something is. And so the reveal is this dance school is run by witches.

But in this one, I noticed I'm like right out the gate. Pat is like their witches. Yeah. And she just says it. And, you know, she's upfront about it.

And, you know, their witches, because you see the scene where the witches are all talking around the table. They have a vote. They're talking and they're discussing like Sarah and some of the students. And they're saying like, oh, Sarah, she really loves it here. She really wants to belong here.

We really feel like she belongs here. And I think there's like a theme there about belonging, about coming to the school and feeling like you are welcomed here and embraced here. So it's a little bit different feeling. It's almost cultish. It's almost a cultish type feel.

It's yeah. Kind of going back to Midsommar last week's episode we did, which was like this gives the main character the sense of like I finally made it to the place I belong. Yeah. Yeah. This this the 2018 movie Suspiria is definitely.

Multi-layered. It's got way more layers than the 1977 version. And this is one of them that's really come. This is one that's really seen right here. And let's get let's get to the to the right after the August contortion scene.

Yeah. Because like you said, she's not dead because we find out later that this was just a need her gruesome display of witchcraft with some some bone cracking. And like it never ended like like you said, you had to close your eyes. And then we went from that to I believe that was part of Susie's first dance. That was her first dance for the studio, right?

Yeah. She she claimed she can she can dance the lead to the. Vogue. Vogue. Yeah.

I love that Vogue. And then we get to the Vogue performance, which is the last performance of Vogue. I love dance so much. I always wished that I could have been a dancer, but I never I never did. You still can.

It's not too late. I dance in my own special way. It's just not very good looking. But OK, are we at the doctor? Dr.

Klipper Klipper because. Yeah. Yeah, let's talk about him. I was immediately like something's not quite right. He's maybe he's played by a younger man, maybe because I just thought there's just something like you could kind of just tell that he was wearing makeup to be older.

Yep. But I also second guess that all the whole time I'm like, well, maybe not. Maybe this is just an older gentleman playing this role or whatever. Yeah, I know. I am thrilled to be both right and wrong about that.

So they so so Dr. Dr. Klipper is played by Lutz Ebersdorf. That's the name. Yeah.

The movie released. They built this whole story about this guy named Lutz Ebersdorf. To the point to where they even said they were going to say that he had passed away before the film came out. Oh, yeah. When Tilda Swinton said, that's kind of too far.

Let's just tell them it's me. I couldn't believe it either. That Tilda Swinton is Dr. Klipper, Luca, director Luca. Put Tilda in the role because it was a woman centric movie and he felt like a woman should play that man's role.

It should be in there until the pulled it off. The makeup. I love it. The set didn't even know. The only people who really knew were the main actors.

Dakota and it was the main actors who knew what was going on. And to me, that is an incredible thing to pull off. The last thing, Dorf is here's the meaning for it. Eber means boar or swine. Dorf means town.

So you've got swine town Swinton. Got it. It's last name. That character will get to that other character that Tilda plays. This really is an Oscar performance.

How do you do this? But I know. And how did the makeup team not win an Oscar for this? Right. How did they not get nominated for, you know, costume makeup, special effects.

Category. I mean, it's it's incredible that Tilda pulled this off. Tilda can pull off anything. I love Tilda movies. Everything.

Yeah. But in getting to his story, I like that they did this whole backstory of him having been, you know, what happened to him during the Holocaust and his wife went missing. And and they they brought a lot more into that into this movie. The radio was on a lot talking about the war and the wall in Berlin and, you know, the political kind of upheaval that was going on at that time. Well, it was a Dara.

Yeah. Passenger the flights, the hostage situation. Yeah. Weaved in and out. Like I said, this thing is multilayered.

Like it's got a lot of layers, a lot of different storytelling going on. And I think I interrupted what you were saying there. Don't let me do that. I don't remember what I was saying, but I was just saying that I I wrote that from the beginning that you kind of see that as Pat was a political activist. She was involved in all of that.

So you got all of that into it as well. And then you get all of doctors, Dr. Kemper's and backstory, which has a purpose as well. You know, you get to the end, you find out why that was all important. But yeah, so I liked that aspect of it, too.

That that was all in there. We hadn't even talked about how they how this movie is broke down in my acts, too. It's like Act one, Act two, Act three. And on top of that, there's different colors, variations with those graphics. Subtitles themselves have different colors.

It's like blue and red to distinguish between the different languages being spoken. There's a lot of going on, but it was broken down into a different way than the 1977 version. But I did I did like the acts. It's like a book on film. You know, it's yeah.

Yeah. Or a play kind of like that aspect again of the original kind of almost behaving like a play. Like everything was set. Everything looked like a set. It didn't look like they were trying to make it real.

And so it's kind of bringing that aspect into it as well. Like it's a play. You're just watching a play. You're watching something that's happening in real time. Let me ask you about that, about the set designs and anything that you notice, because like in Midsommar and Wicker Man, we saw symbols.

We saw pagan stuff. We saw little signs to think. Did you did you catch any of that in either of these movies? I didn't even ask you about as much as and I was really looking to I was like, I wonder if I'm going to see anything that stands out to me as like a connection. Obviously, in the original, there was like the evil eye in the triangle.

You could see certain things that were definitely connected to what we consider witchcraft. In the end scene, when all those orb crystals are rolling across the floor, I noticed that. And I was like, well, I don't know anybody who's practicing energy work or or witchcraft that doesn't have some crystal orbs in their work spaces. But yeah, I noticed more about little subtle nods like there's the blue iris that you turn to get to the secret passages in the original. And then in the newer film, they can they reference one of the ballrooms is called the Iris Ballroom.

Ah, nice. See, I didn't catch that. I didn't catch that. I love that. Now, yeah, the secret passage thing, though, that's when that now that's where we are pretty much in the movie.

This is when when Sarah gets curious, played by me, I got I love me. Mm hmm. She's investigating the wall. She's she thinks she knows the jump over anything because this is a point when the movie when she's looking around for Patricia, really. Yeah, she's still there and she starts counting.

This is the same. This is the same thing that happened in the 1977 version with her counting the steps saying, wait a minute, there's a secret hallway. Mia Golf, Sarah does the same thing here. And you see her counting the steps and then she starts counting them down. This is a long anticipation of just.

Uneasiness when she's walking through these places and. She she finds what she's looking for, and I don't think she wanted to. Yeah, and it's interesting that she's the one that goes to the therapist. Yeah. To to say something's not right.

I don't know what I should do. And he is talking to her when in the original, it's kind of Sarah she's looking for. And it's Susie that asks the therapist. So you kind of get a switch roles in how they're all participating. Yeah.

All at the same time, you got you got the the coven that they're out there preparing. They're trying to get ready. What is it basically to transfer? Helena Marcos soul, I guess it was a soul into Susie. Yeah, that's what's going to happen, really.

Right. Yeah, but I I was confused about characters because Marcos is that what they were calling Helena. The younger dance, you know, that head of the dance that everyone was so infatuated with. But the older Marcos is the one you don't see until the end. And it's like there's two different, you know.

And they're all voting on who is going to be the leader. So they vote on the older mother. They call her Mother Marcos. I think that's what they call her. Helena Marcos.

Is it same person? No, I don't know. Yeah, they're different people because there's a portrait in there when when the scene you're talking about, when Sarah comes in and she's overhearing conversations in the other room and she takes an artifact off the shelf. And there's a portrait there of Helena Marcos, the young and the older Mother Marcos. You're right.

And it's got the hair on it and whatever that is like it's. Yeah. So they kind of take the character that was just one character and they split it into two people. Interesting. I don't think I picked up on that.

Like that's a. Yeah, because I was getting confused. I'm like, wait, they keep calling her Marcos. Is she Helena Marcos or is it? So then who's the mother?

Like it was confusing because I was still stuck on what was going on in the original. Now, this is only about halfway through this movie now. I know. This movie is quite a bit longer than the first one. So this is only halfway through the 2018 version, but it never really lacks to me.

Never really. No. Slowdown moment. You know what I mean? Like, it's not like it.

Yeah. It moves. And there's just a lot of moving pieces going on. What's going on with the girls? What's going on with the relationship between Susie and Helena Marcos?

There's kind of this mentorship taking her under her wing. She's obviously like spending some special attention and time with her on helping her learn the bulk dance. And also we find out preparing her for the ritual of giving up her body to Mother Marcos, who's going to take over her body. Now. She is.

She accelerates very fast at some of these dances. Like you got the jump. Remember the jump she's doing. Yes. She's getting the energy from the other girls.

Yeah, because they're collapsing and they're having seizures and they're like stuff that's going on with them. So this is all part of the witches plans, I'm guessing. Like this is part of what they want to do. They know. They know that she's the one and they're trying to get her as strong as possible for the ritual.

Did I take that right? Is that what's happening here from a witch's standpoint? Well, like I said, a lot of it is like it's I mean, it's meant to be a fairy tale. It's meant to be fiction, but it's taking from what most of us who do practice energy work or witchcraft or anything you want to call it, even religious fervor. But like what we experience with that energy they keep talking about, that to me is very real.

And I don't think there's anyone on the planet who cannot sense and feel energy in some sense in some way. I mean, you know, when you walk into a room, when the energy is high or the vibe is high, I mean, we talked about it with the Fresh King Benjamin. And when you get on stage and you're a comedian, you can sense the energy of the audience and you know what you're getting back from them. And, you know, that exchange of energy is not a make believe or fictional thing. So being able to take it into a fictional movie, in a sense, and to be like, OK, so what would that look like or be like if we had this coven of witches who then could kind of harness the power of these young dancers?

This is maybe what it would look like. I mean, definitely this is what it would look like if you ask me. But I know I haven't been into these covens before, so I'm not too familiar. Well, honestly, and I wrote down to what the doctor Kemper says that. Oh, he says something about love and manipulation share houses.

I wrote that down because that's a good quote. But it was Helena Marcos that says when she takes Susie aside and they're practicing the jumps and stuff and she says poems, prayers, spells. And even the dance, they're all the same, right? So they're going to do this ritual with dance, but it's going to be no different than someone who writes out a poem or writes out a spell or puts their intention, emotional energy. Into something.

I think that's brilliant. I mean, I think people who do any kind of art anywhere, any form can understand what that's like. You're putting your emotional experience into a projection that's going to go out into the world. I love that. That's that's that's incredible.

And then that takes us right here to the dance itself, the vault dance. Well, they well, they lured Dr. Kemper to the to the Academy like they get him in there. Yeah, he gets he witnesses some of the evil going on. He's already I mean, he already knows he already suspects because he's talked to Susie and Sarah at this point, I believe.

Correct. Yeah. Yeah, he's been talking to Sarah. I think he was worried about her because he took the odd object that she stole, took it and. Yeah, she takes it and he takes it and he's like, I just want you to be careful.

I want you to, you know, be careful about this. And he was investigating Pat with her like Pat was his client. So he's like, yeah, something's up. And then he's like, the girls disappeared and kind of like my wife, you know, going back to his personal story, he's invested. He's emotionally invested.

He's like, this woman's gone missing. And now Sarah, he goes to see the dance and Sarah's not there. She's not there. So he's got to think something's up. And you see the dancers also saying, where's Sarah?

Where's Sarah? Well, Sarah was out in the. Not so good place finding Patricia and that other thing without arms and oh, my God, I know I don't I who do you think that was? I don't know. Maybe that was Olga, right?

Oh, pulled Olga in and she was all distorted and I couldn't quite tell. I was like, yeah, obviously, there's some people in here and Olga comes back at the end, too. So Olga, Pat and Sarah play a part in the final ritual. Yeah. And before that, though, we get to see the this is what we've got the red on.

We get to see the the extravagant costumes, the dance of Vogue. I don't know if this is is this a real dance? Was this something that's? I don't know. I would love to find out.

I should have researched that because I just love that. That dance was incredible. I mean, I was mesmerized. If anybody out there knows if that's real, let us know. I want to know.

I want to reenact it. I want to get a reenacted of the the the dance of and here's the thing, too, with all the technology, with all this stuff out there in the filmmaking process, there was very little CGI used in this scene. This dance was done by the dancers. I think when Dakota Johnson learned this, it was it was, you know, a production in itself within the movie. Yeah, I love that.

I thought it was beautiful. Amazing. So from what I can tell from Google, it was created just for the movie. OK, we're going to redo it anyway. We're going to.

It was it was powerful. It was definitely like the contemporary style of dancing with the breathing and the. Yeah. Woof gives me chills. It was long.

It was it was I love it's long. It's a long dance scene. Yeah, it definitely is a dance that as you're talking about it in rehearsals, too, you can tell that it was a dance created to be a story to have its own like acts. Like there's the big, you know, the beginning of the dance and she's talking about leading it up to the end of the dance when they're jumping and all that. Yeah.

And this is now this is the dance of death. So you got Susie, this is Susie basically performing, you know, a ritualistic dance. And then it culminates in this big, bloody, chaotic craziness. It's almost like you're watching this scene and you think. After it's all over, you're like, how did I get from that to that?

You know, I mean, without. Yeah, it's it's it's it's insane. What you think about that? So you're talking about building up to the end. Yeah, yeah, yeah.

You think about it in just that piece from the start of the dance to the very end. Oh, yeah. It's like, how did you go from this thing to this? Like it was bizarre. It's bizarre to me if you think about how you got from point A to point B, all the stuff in between.

Well, I can tell you all that thread is definitely Susie. Like from the very beginning of the movie and as you follow her story through this, this is something this is the part where it really differs from the original because the original you're experiencing it as a normie, a normal a muggle, if you will. You know, we're the muggle Susie and we're going into a dance studio and something's weird. And obviously, I mean, through the whole movie, she's she's experiencing the same confusion and revulsion and and shock as we the audience are feeling it. But in the 2018 version, we're experiencing it as a thread through Susie, but it's not the same.

It's like, what's up with Susie? Yeah. Right. No, you find out at the end, there was something the whole time. And I knew there would be some other big reveal because we already revealed that they're witches that already got revealed early.

So there's got to be something else. Right. Right there in the final. This is where the final the final act like Susie does reveal her true nature right here. Yeah.

What is she? She ends up being actually Mother Suspirium. And Mother Marcos has been calling herself Mother Suspirium this whole time. So everyone voted for her believing she was she was the mother, the mother. But she wasn't not the mother, not the mama.

Remember that dinosaur? Not the mama. Yeah, she was not. Which, I mean, that's exactly why we were taken through this movie in a different way. Susie was experiencing something else and it shows those flashbacks and those dream sequences where Susie's like always wanted to go to Berlin, always wanted to be a part of this dance troupe, this specific dance company.

It was something she had known from the moment she was born that she needed to she had this drive to do because she wasn't in a ritual that made her Mother Suspirium. It was she was reincarnated or reborn as Mother Suspirium. And her Amish Mennonite mother was dying on her deathbed and said, I gave birth to the sin, to a mark of sin on this world or something like that. Yeah, yeah, that's we didn't touch that scene. And that's very powerful right there.

So it's almost that's a foreshadow then right there where she's letting you know, hey, there's something a little bit off. And what about the what about Helena Marcos right there making her making an appearance, the old shriveled up version? Oh, that's Tilda. Yes, that was I mean, it's like they went out of their way with costume makeup CGI to make her the most grotesque creature I think I've maybe ever seen in a movie ever. Like limbs coming out of parts of her body, tumors, like you can just oh, it's not pretty.

It's not pretty at all. And thankfully, Suzy does her in right here. Like she she can spread it out. And that's the big reveal. The twist, as you call it, was his mother's asperium kills Helena Marcos, which is Tilda Swinton right here.

And then it's not over. It's not over. You got the aftermath, the epilogue. You also have the appearance of Jessica Harper. Yes, from the original who was Joseph Klempers wife.

Wife. Yeah. Yeah. What an incredible cameo right here, right? Right.

Yeah, that was amazing. And the fact that he gets lured there for this ritual. He's naked and sobbing on the floor. He's going to be sacrificed. I'm sure that's why they brought him there.

He was probably going to be another, you know, human sacrifice for this ritual. But he survives because she gets in there and she's like, you're dead. You're dead. You're dead. The most bloody, gory scene where this creature of death arrives and just starts.

Bam, bam, bam. Anyone who voted for Marcos, mother Marcos in the original vote, what you saw earlier in the movie, they get deleted, exploded. Yeah, deleted. Just straight, boom, gone. Suzy erases Dr.

Klempers' memories of the events too. Yep. And that's basically it. You got Suzy revealing or Suzy talking to Dr. Klepper about what?

His wife. Yeah, tells him the story of her death so that he can have some peace, I guess, about, you know, she wasn't alone. She was surrounded by other women. She survived, I think, 20 days into when, you know, after they were arrested. And anyway, just kind of this really emotional scene that was actually really, you know, Oscar worthy.

She's telling her, like, I'm here to let you know she, she, you know, this is how she died. This is what happened to her so that you cannot worry about it anymore. You don't have to think about it anymore. And that's almost nice ending. I don't know what to say.

Yeah. Right. And I don't know. I mean, at this point, you're like, so OK, I assume or at least a lot of people on Reddit that I could see assume that she's now going to take over the dance and she's going to be in charge and she's going to take over the coven. And she's in charge now and she's wiped out everybody who was not on board.

Yeah, basically. Yeah. And so it's like this question of like, so is she a good witch or a bad witch? Or like, you know, she the young Helena Marcos. It was clear there was conflict because she didn't like the way things were run and she didn't like this sacrifice part.

She didn't like that someone had to give up. She's like, we've always been at odds about this. And they had kind of tension about that. So I, I wonder if the actual mother Suspirium, if she's going to run this dance studio a different way or she's going to be the one who is maternal and protects these girls and makes it a safe haven for them instead of doing it like the the old lady did. Now, there's there's a after credit scene.

Did you see that? I don't know. Did I? Because in the after credit scene is Susie, Dakota Johnson, and she raises her arm in a subtle gesture and it just makes it leaves the viewers kind of feeling uneasy again. I don't know if you saw that.

Yeah. It just adds a new layer of interpretation you can take from it. But I think it goes to your point here. It leaves it open. It's like, huh, huh.

But I liked it. I don't mind. I don't like when the movies tell you right out. Yeah, kind of like midsummer. You're not actually sure what's going to happen at the end of it.

Like, now what? Same exact theme and concept right here because you don't exactly you don't know if she belongs. It's that same sense of belonging. You don't know if she belongs with the witches just like in midsummer she belonged with the maid, the maid queen. You know, like, yeah, it's it's it's yeah, that's a that's a great thing to kind of pick out of that.

And another layer. That's just another layer that they added to this movie. What else we got to hit on this? What's your final thoughts on 2018's The Spirit? Oh, yeah, I OK.

I keep going back to the theme that we talked about a little bit in last week's episode, Midsummer. It does kind of have that same vibe of like here was Suzy. I guess grew up in a very like very religious Mennonite Amish. I wasn't really sure which but house upbringing. And she comes to this dance studio with the same feeling of like belonging.

So even as we the audience are unsettled by these events happening and we feel like, oh, or oh, that's uncomfortable or like, why is that going on? There's a scene where she goes, she sneaks into a room she's not supposed to be in. And she happens to catch the witches like have the police officers detectives are like bewitched and in a trance. And they're just like poking fun at them and laughing at them. And that would probably disturb people typically.

But Suzy just laughs about it. And she's like, yeah. So there's this sense that she is not uncomfortable with all of this. She is actually where she's always meant to be. And you get that that same theme of belonging in Midsummer where it's like, yeah, we're all a little uncomfortable with this cult, this witchy evilness going on.

But the main character, this is her. This is her jam. She's like, I'm home. That's great. I love that because it's like, yeah, yeah.

The main characters are they're like, oh, yeah, I'm good with this. Yeah, kind of. I got it. I got I forgot. We didn't mention I got to point out that we talked about the Goblins soundtrack in 1977.

Hey, 2018 had Tom York from Radiohead do his first score for a movie. And it was it was no less uneasy, unsettling. We keep using that word, those words, but it was no less. It was very haunting. It added to it.

It was another depth to the movie. I think I love Radiohead. I love Tom York. I love what he does. I knew you would love that.

I knew that would be a point you'd have to bring up because yeah, let me tell you side story. I saw Radiohead. I missed Radiohead in 2002. We bought the tickets so far in advance that we forgot when the concert was. Me and my friend of mine, we woke up, we thought it was this day.

Guess what? It was last night. So he gets his mom's credit card and he buys us front row ticket, second row tickets to see Radiohead in Madison Square Garden. So that's where I ended up seeing them. And it ended up working out better.

So I got to see that tour. Incredible. It was incredible. Yeah. But Tom York with the score.

Yeah. Like it just that along with the visuals, both movies. Yeah. Movies compare even though they're not a it's not a remake. Whatever.

No, but I think I think I was set up to kind of think it might not be good or something when when I heard what the director had said about it not being a remake. And I was like, OK, well, then I guess we'll just see what what happens when I watch it. Like, what is it going to be? But I truly believe that it is the best kind of remake if it was a remake. It's like we did not try to mess with what it was originally.

We just tried to make it its kind of own new thing. Come to the table with something new. Right. I mean, they added an hour. They added an hour of extra content is what I think it's.

Oh, yeah. I went to bed late that night. Yeah. Right. With visions of blood and gore in my mind as I rested my head on my little pillow.

That's the best way to go. That's how I go every night. So well, next week we have much tamer's which movies we've been doing some horror, some really like out there. But the next two on the list are my picks and I'm a little bit more of the family friendly or subtle which movies. Great movies nonetheless, though.

I'm really excited to talk about them. I can't wait to do that. Wow. That is going to be two movies that are going to be really tough to pick the old original Suspiria and the newer made one. You know what?

That was like I said, that's one of my first times kind of. I'm one of my first time seeing the older 1977 Suspiria because it's so hard to find. I feel like when Amazon put out the newer one that they tried to erase that old one because all the free streaming services out there, it would say, yeah, they have it. You look it's not there. So yeah, it definitely deserves its due.

I don't bury that movie. Don't be. Come on, Amazon. Yep, it deserves its own place for sure. But remember, you can vote for which one you liked and send those to our socials.

But all that leading up to the event on October 26th at Novel. Novel Daybreak by Crescent Communities is sponsoring the Which Movie Project live podcast taping and movie screening. If you want tickets to that thing, look around on our social media. You can find out how to get tickets to that. You don't want to miss it.

You know, it's going to be amazing and you can dress up. Come on, ladies, don your witches and come on out to this. If you don't dress up, I might not let them in. If people don't dress up. That's a good idea.

Yeah. Yeah. Good old fashioned frat party. What kind of costume can I pull up? I have to work on that.

Yeah, I need to. I got to get it together quick, though, because this is coming up October 26th. Once again at Novel Daybreak by Crescent Communities. Love all the people over there. Max Randy, you got Esther Sigefredo.

I got his name right. I think. Please tell me. I love that. I love all the people over there.

Amazing. We can't wait to get over there and do that. And also, we can't forget one of our sponsors. It's Pure Sweat and Float Studio at South Jordan. Go to puresweatstudios.com or follow them on social media at Pure Sweat South Jordan.

Yep. What else we got this week? Is that it? That and Lift Cake Parties is helping us plan this event. So let's not forget to mention them.

Lift Cake Parties. I love Carla and all she does. This thing's going to be incredible. It's going to get big over there. We're going to be turning people away at the door.

I hope so. We'll see you guys.