Tuesday, November 30, 2021
Saturday, November 27, 2021
We dig into why we enjoy this film as much as we do with much attention paid to the strength of the central performance. We point to reoccurring plot elements within Franco’s work and his love of a certain visual metaphor involving boats at sea. We discuss the movie’s odd choice to rush past the possible mad scientist idea at the beginning to get to the righteous vengeance at the heart of things. We try to define what makes Soledad such a memorable screen actress even as this film refuses to even give her character a first name. Each of the murders is dissected as we try to understand what Franco might have had in mind as his story gains force, climaxing in a fascinating sequence in which the director is himself the victim. It certainly raises some questions about Jess’ sexual desires and points toward what might have been included in future unrealized projects.
Friday, November 26, 2021
Thursday, November 25, 2021
Monday, November 22, 2021
Sunday, November 21, 2021
Saturday, November 20, 2021
Wednesday, November 17, 2021
Sunday, November 14, 2021
Friday, November 12, 2021
Tuesday, November 09, 2021
Troy and I rejoin the Universal Horror Films of the 1940’s, already in progress.
With FRANKENSTEIN MEETS THE WOLF MAN (1943) Universal’s monster films took off in a radical and cinema altering direction. For the first time the studio combined characters from two different series into one new story regardless of the things that have to be ignored to make this work. In what decade are we supposed to think this movie is happening? It’s a sequel to THE WOLF MAN (1941) which took place firmly in the 1940’s but it’s also a sequel to THE GHOST OF FRANKENSTEIN (1942) which seemed to be happening in the early 1900’s. And dialog clearly states here that four years have passed since Larry Talbot was killed by his father, so mid-1940’s would seem to be accurate. But everything feels like WWI never occurred and certainly like WWII wasn’t a factor in anyone’s thinking. Welcome to the alternative world of Universal Land where several European decades are mashed together with bits taken from any time and place to create a habitat where monsters can come together to work toward shared goals. And then try to kill each other!
We plunge immediately into our long-awaited discussion of this classic, pulling on every loose plot string we can find and marveling at the bizarre changes from the previous movies. Was the last film’s finale set in a modern hospital or an ancient ancestral castle? Who cares! We just need to get a massive amount of dynamite into the hands of the local hot-headed pub owner so we can drown everyone and a castle looks much cooler being ripped apart by water. Fire last time so water this time! How did they never end one of these movies using an earthquake? It seems like the obvious next step. And then a tornado. But, I digress.
In just under two hours we talk about the fine cast, the wonderful atmosphere, the decision to edit out all of Bela Lugosi’s dialog and some subtle moments that are often overlooked even by fans. To us it seems clear that the written work of Doctor Frankenstein must be destroyed if for no other reason than it has the power to turn even the most mild-mannered physician into a mad scientist. I mean, damn! Has there ever been a faster turn to the dark side than Dr. Mannering? Were there any warning signs at all?
We hope you enjoy the show and email@example.com is how we can be contacted. The next film in this series is another Sherlock adventure and we’ll have a new NaschyCast episode up soon too. Thanks for listening.