Ep. 16 - Last Embrace (1979)

[00:00:00] It's Showtime Folks!

[00:00:02] Some bad had hairings.

[00:00:04] I was the way to the car when you got it out.

[00:00:07] You know right from room? You're just no kidding.

[00:00:10] But wait, oh, some some good shit.

[00:00:13] I didn't know.

[00:00:16] I didn't know.

[00:00:20] You're gonna need a bigger watch.

[00:00:22] Hello and welcome to Episode 16 of The Complete Works Season 4.

[00:00:27] A deep dive into the career and films of actor, Roy Scheider.

[00:00:31] My name is Mike Smith and join me on this journey across the Scheiderverse is my friend, co-host, and fellow, Roy Boy.

[00:00:37] Mike Crushoe.

[00:00:38] How do you know, Mike?

[00:00:39] I'm doing just great.

[00:00:40] I'm excited for today's episode like always, but like especially today.

[00:00:44] I mean it this time.

[00:00:46] I've been... I've been faking it for the past 15 episodes.

[00:00:49] But this time, I'm jazzed about this one.

[00:00:51] It's been Pleasantries up until Episode 16.

[00:00:55] But now it's real.

[00:00:57] And today, we are talking about the early days of film maker Jonathan Demi.

[00:01:02] Yes.

[00:01:03] Now Jonathan Demi, are you Jonathan Demi fan Mike?

[00:01:05] I just had a curious last day.

[00:01:06] I was thinking about that today as I was mentally preparing to record.

[00:01:09] And I was like, I can name maybe two.

[00:01:12] I can name the two.

[00:01:14] You know, sure.

[00:01:16] And that's about it.

[00:01:17] So I might have seen some of this other movies and not have known.

[00:01:20] They're Jonathan Demi movies.

[00:01:22] But broadly from the two that I do know that I have seen.

[00:01:26] And I like it.

[00:01:27] And also this one down?

[00:01:28] Yeah, no.

[00:01:28] Jonathan Demi is one of those filmmakers who even though he directed at least a couple

[00:01:33] of movies that are today considered like all time classics like probably the two of

[00:01:36] the year thinking of a stop making sense and silence the lambs.

[00:01:39] Those of these two?

[00:01:40] He is still somehow I think consistently underrated.

[00:01:44] So I have not seen the whole Demi body of work.

[00:01:46] And I still have a lot of blind spots.

[00:01:47] But anytime I watch one of this films the first time, I feel like I'm always reminded

[00:01:51] of just how good he was at what he did.

[00:01:54] Rachel getting married is a great one.

[00:01:55] I don't know if you haven't seen that one.

[00:01:57] I think you've probably seen the Mentionary Incans, they had two thousand four remake.

[00:02:00] That's a Jonathan Demi picture.

[00:02:01] I did not know that.

[00:02:02] Okay.

[00:02:02] So let's see.

[00:02:03] There's more.

[00:02:04] I can.

[00:02:05] It's cage teet also.

[00:02:07] Yeah.

[00:02:07] I've never seen that.

[00:02:08] But I know that's what of his movies.

[00:02:10] His is what it early movies.

[00:02:11] Yes.

[00:02:12] Philadelphia, with Tom Hanks, is Jonathan Demi movie.

[00:02:14] His final movie was Ricky in the Flash with Marital Streep which I liked.

[00:02:18] I thought it was pretty good.

[00:02:20] I remember when I came out.

[00:02:20] People kind of ignored it.

[00:02:22] But I thought it was very charming.

[00:02:23] So there's that.

[00:02:24] But I feel like I'm always reminded just how good Jonathan Demi was at what he did.

[00:02:28] Now, Demi really broke out in the 80s with films like Melvin and Howard, something wild

[00:02:33] and married to the mob.

[00:02:35] And of course, not making sense.

[00:02:36] But he directed several films in the 70s.

[00:02:38] And he got his start.

[00:02:39] Like so many other filmmakers working for Roger Corman, RIP.

[00:02:44] Yeah.

[00:02:44] And I have this all-association.

[00:02:46] I feel like between Jonathan Demi and a similar trajectory I think of John

[00:02:51] Sales.

[00:02:52] Like I feel like they're both like when you see a movie and you're like, oh shit, that's

[00:02:55] a John Sales movie.

[00:02:55] That's amazing.

[00:02:57] And similar career paths a little bit.

[00:02:59] Yeah.

[00:03:00] Yeah.

[00:03:00] And both started on Carmen movies and all that stuff.

[00:03:02] Yeah.

[00:03:02] Roger Corman was involved with Demi's first three films as a director.

[00:03:07] Caged Heat, Crazy Mama, and Fighting Mad.

[00:03:10] And then afterwards, Demi graduate, there's a Roger Corman title.

[00:03:14] Yes.

[00:03:16] Afterwards, Demi graduated into the studio system with 1977's Citizens Band aka

[00:03:21] Handel with Care.

[00:03:23] Now, this period of Demi's filmography is often overlooked.

[00:03:26] And that includes Demi's own Wikipedia page, which overlooks...

[00:03:30] This video.

[00:03:30] Just says like it dot dot dot and it skips over the...

[00:03:33] Well, the Wikipedia page for Jonathan Demi calls 1980's Melvin and Howard his next film

[00:03:39] after Handel with Care.

[00:03:41] That's incredible.

[00:03:42] It just skips over today's movie entirely.

[00:03:44] It was not.

[00:03:45] Melvin and Howard was not his next film this one.

[00:03:47] Wow.

[00:03:48] The first film, because today's film was released in between those two films and Roy

[00:03:53] Shiner is in it.

[00:03:54] We've got to talk about...

[00:03:55] Last Embrace.

[00:03:57] From first kiss to last Embrace.

[00:04:02] All the mystery and fear and terror that love can hold.

[00:04:06] I like you, Ellie.

[00:04:07] You've been damn good for me in this past.

[00:04:11] I'm not going anybody should be around right now.

[00:04:13] That's not you.

[00:04:25] Demi!

[00:04:29] That's your name.

[00:04:30] Who sent you?

[00:04:31] You want to say think with someone about people up to a railroad station,

[00:04:34] can I get just to push you under a train?

[00:04:36] Very if I wanted to.

[00:04:37] Dad, you think you'd be walking around here?

[00:04:39] You better watch out for Dave Harry.

[00:04:41] You'd be right back.

[00:04:45] Whatever he goes, fear seems to fall.

[00:04:50] Terror seems to wait.

[00:04:51] I want to know if something's going down that I don't know about it.

[00:04:56] I don't know what you think is going on, but it's not us.

[00:04:58] I just hope it's not you.

[00:05:02] The trick is not to panic.

[00:05:12] Think of the mind as a wee, a fairy.

[00:05:15] A fabric.

[00:05:17] Some of your threads happen to get a bit overstretched.

[00:05:22] Well, I need you to look at work.

[00:05:24] I'm scared for you, Harry.

[00:05:26] It's those that some sort of new death threat.

[00:05:29] You do have a certain distinction.

[00:05:31] What's that?

[00:05:33] You seem to be the only one who's still alive.

[00:05:35] I don't know what are these guys. I don't fit anywhere.

[00:05:40] Somebody thinks you do, Mr. Hannon.

[00:05:51] I definitely think you should go to the police.

[00:05:55] Hannon, you had a breakdown.

[00:06:03] He's a drunken.

[00:06:15] Roy Scheider,

[00:06:18] Janet Martin,

[00:06:21] and all the mystery and fear,

[00:06:25] and terror that love get hold of.

[00:06:27] I love you.

[00:06:29] From first kiss to last embrace.

[00:06:39] So last embrace,

[00:06:40] say direct homage to the films of one,

[00:06:42] Mr. Alfred Hitchcock,

[00:06:44] particularly movies like Vertigo and North by Northwest.

[00:06:47] Now, Jonathan Demi spent time studying Hitchcock films

[00:06:50] and the way they tell their stories.

[00:06:51] Symptographer, Tokfujimoto took pains to make it look like a Hitchcock film

[00:06:55] and composer, Miklos Roja,

[00:06:57] who also scored the Hitchcock film spellbound,

[00:06:59] kind of altered his style to be more similar to Hitchcock's

[00:07:03] more famous composer collaborator Bernard Herman.

[00:07:06] And there were a lot of like Hitchcock accolades

[00:07:09] got happening around this time.

[00:07:11] You have high anxiety happening in 77,

[00:07:13] I think, ML Brooks Film.

[00:07:15] Brian DePama is making his way.

[00:07:17] That's probably the example you thought you thought

[00:07:19] he was going to go with for.

[00:07:19] I did.

[00:07:20] I do appreciate the high anxiety call out today.

[00:07:22] I mean, yeah.

[00:07:23] I think Hitchcock is very much in the public ether at this moment.

[00:07:26] And I think partially because I think Hitchcock,

[00:07:28] as maybe just died around this time.

[00:07:30] I know his final film is 1976, which is Family Plot,

[00:07:33] which is a pretty good movie.

[00:07:35] You know, I think the last few years of Hitchcock's career

[00:07:37] are spotty, but I do like Family Plot quite a bit.

[00:07:39] It's really fun.

[00:07:40] Yeah, so he dies around this time.

[00:07:42] Hying's IIT comes at around this time.

[00:07:44] Brian DePomas on the rise and he's very heavily borrowing

[00:07:47] from Hitchcock from movies of blowout and dress to kill.

[00:07:50] Richard Franklin is very much a Hitchcock accolay

[00:07:52] and makes Psycho 2, as well as Cloken Dagger,

[00:07:55] which is basically a Hitchcock for kids,

[00:07:57] movie it's really fun too.

[00:07:58] There's a lot of Hitchcock in the air around this time

[00:08:01] and this is another one of them,

[00:08:03] which might explain why this movie got over looked a little bit.

[00:08:05] Yeah, that makes sense.

[00:08:06] It's just one of those movies it feels like,

[00:08:09] or it's one of those periods in movies

[00:08:11] where there's so much, I think it was Drew McQueeny

[00:08:13] who did 80s all over or something?

[00:08:15] I forget exactly.

[00:08:16] He had some newsletter thing.

[00:08:18] He was on a podcast, like, in New Zealand,

[00:08:19] where he's reviewing every movie released

[00:08:21] in the US, in the 80s, in order.

[00:08:23] And he was talking about,

[00:08:25] whatever we he was plugging our mention was that

[00:08:27] having a newsletter that week,

[00:08:29] there was I think eight or 10 new releases

[00:08:32] that week and it's just like, if we have four now.

[00:08:36] It's like, that's a lot of movies to see.

[00:08:38] Yeah, like, on the floor,

[00:08:39] when we see theaters and not like 20 originals

[00:08:42] on Netflix or something, exactly.

[00:08:44] 20 red notices or whatever.

[00:08:46] So yeah, it's just, you know,

[00:08:47] there's so much film happening at this time

[00:08:51] and so much culture.

[00:08:53] It's, you know, some of them were bound

[00:08:54] to slip through the cracks, even for stuff like John and Demi.

[00:08:57] Yeah, absolutely.

[00:08:58] And this is, you know,

[00:08:58] and his before John and Demi was John and Demi,

[00:09:01] you know, before he was more of a well-known name.

[00:09:03] But Ray Shider is in this movie

[00:09:05] and he is your classic Hitchcock protagonist, Harry Hanen,

[00:09:08] a secret agent, returning to work after a nervous breakdown,

[00:09:12] only defined that his life is falling apart

[00:09:13] and everyone he knows is trying to kill him.

[00:09:16] He ends up teaming with the woman subletting

[00:09:17] as apartment, Ellie Fabian, played by Janet Margolin,

[00:09:20] who was also in Annie Hall,

[00:09:22] which we covered on the Jeff Goldloom season.

[00:09:23] Oh, I don't remember that.

[00:09:26] But there's also a lot of people in Annie Hall.

[00:09:27] There are a lot of people in Annie Hall.

[00:09:28] I think she is like,

[00:09:30] I'm not gonna say a major supporting character,

[00:09:31] but more than a minor supporting character,

[00:09:33] I think, if I had to take a stab at it

[00:09:36] and I haven't seen Annie Hall in like a few years

[00:09:38] and I don't really remember

[00:09:39] which what her character did,

[00:09:41] I think she was like a friend of Annie Hall.

[00:09:44] Like the wife of like his tennis buddy kind of thing,

[00:09:46] you know, that kind of thing.

[00:09:48] But again, I don't remember at all.

[00:09:50] But I don't know she was in Annie Hall.

[00:09:51] John Glover, who played Lex Luthers dad on Smallville,

[00:09:54] plays Richard Peabody,

[00:09:55] filmed a war character actor Sam Levine plays Sam Ordell,

[00:09:59] Charles Napier, who appeared in the ton of Jonathan's

[00:10:00] any movies, plays Dave Quittle,

[00:10:02] the brother of Harry's wife, who tries to kill Roy Shader,

[00:10:05] Christopher Walkin with a mustache,

[00:10:07] plays Eckert's Harry's Boss,

[00:10:10] which that's a very fun surprise

[00:10:11] and Christopher Walkin shows up, love that.

[00:10:12] This must've been,

[00:10:13] oh man, what was that other Goal Plum?

[00:10:16] The twist like the brother or next up,

[00:10:17] where the next up, right in the village?

[00:10:19] Is that an next up, right in the trailer?

[00:10:19] Was that, yeah, Chris Walkins and that?

[00:10:22] I mean, yeah.

[00:10:23] Yeah, so it's around this era also, right?

[00:10:25] I think.

[00:10:25] Yes, yeah, or are you think of Annie Hall?

[00:10:27] Christopher Walkins also went Annie Hall.

[00:10:28] He plays the brother of Annie Hall.

[00:10:30] It might be Annie Hall.

[00:10:31] I remember it's them sitting in a bedroom

[00:10:33] and Chris Walkin telling like a weird story.

[00:10:35] That's Annie Hall.

[00:10:36] That's Annie Hall.

[00:10:37] Okay, yeah, that's the same that came to mind.

[00:10:39] Yeah, he tells a story about how sometimes he drives at night

[00:10:42] and like, you know, just let's go with a wheel

[00:10:43] and close your eyes and see so happens.

[00:10:45] And then it cuts to them driving with him,

[00:10:48] like he's driving.

[00:10:50] That's the scene.

[00:10:51] Yes, Annie Hall.

[00:10:53] Yeah, come back to the guy at the center

[00:10:54] but Annie Hall pretty good movie.

[00:10:56] David Margolese, who was the mayor in Ghostbusters,

[00:10:59] plays Rabbi Drexel, Marsha Rod,

[00:11:01] who was also in Jonathan Demi's film Handle

[00:11:02] with Care, plays Adrian Gary Goatsman,

[00:11:05] who later became a major producer

[00:11:06] but also acted in a ton of Demi movies,

[00:11:09] plays the tour guide,

[00:11:10] a very young, at Mandy Patinken,

[00:11:12] appears as first commuter,

[00:11:15] which I believe is on the train platform early on the movie.

[00:11:17] I must be, there's also a lot of guys

[00:11:19] in that scene.

[00:11:20] I got a show and watch that holy shit.

[00:11:22] Yeah, I think he must have gotten a line

[00:11:24] because he has credit here.

[00:11:26] But yeah, Mandy Patinken's in there somewhere,

[00:11:28] which is fun.

[00:11:29] Also, Max Wright from Alpha appears as second commuter

[00:11:32] so probably in that scene as well.

[00:11:34] Sandemic Lod, an independent filmmaker who worked

[00:11:36] with Demi for a while

[00:11:37] and directed several talking heads, music videos,

[00:11:40] plays Roy Shatter's wife Dorothy in the beginning.

[00:11:43] She was also the script supervisor for the film.

[00:11:46] And then finally, we got another three-peat,

[00:11:49] Roy Shatter reunion here, Mike.

[00:11:51] Is it only three or feels like he's been

[00:11:52] along with a 16 episode?

[00:11:54] Is this basically a Joe Smith L,

[00:11:56] she's not the fuckess?

[00:11:58] We can only be so lucky.

[00:12:00] Yeah, no, after appearing in the seven ups and sorcerer

[00:12:04] give it up for another Joe Smith L cameo as man in Cantina,

[00:12:09] which is like right when the movie starts,

[00:12:10] Joe Smith L shows up.

[00:12:11] Like opening credits, boom, Joe Smith L's plays.

[00:12:14] So hi, very exciting.

[00:12:16] And then he is not in the rest of the movie.

[00:12:19] He only has that one scene, but man, it was cool to see.

[00:12:22] Beloved character actor, Joe Smith.

[00:12:26] Yeah, now this has been a delight

[00:12:27] charting the career of Joe Smith L alongside Roy Shatter's.

[00:12:31] That's been great.

[00:12:32] The film was written by David Chaper

[00:12:34] who also co-wrote Walter Hills the Warriors

[00:12:37] and it was directed by Jonathan Demi in two years

[00:12:39] after handle with care

[00:12:40] and one year before Melvin and Howard.

[00:12:43] So last and brace was released on May 4th, 1979.

[00:12:47] And number one that weekend was not any haul,

[00:12:49] but a different Woody Allen movie.

[00:12:51] Manhattan came out around that time.

[00:12:53] Okay.

[00:12:54] Yeah, I've always been less fun to have Manhattan than any haul.

[00:12:57] Have you ever seen Manhattan?

[00:12:58] Probably not.

[00:12:58] It's the one that is most difficult

[00:13:00] to divorce from the Woody Allen episode, I think.

[00:13:03] Because the plot of the movie is Woody Allen's character

[00:13:07] being in love with like a 17 year old.

[00:13:09] Yes.

[00:13:09] And so as the years have gone on,

[00:13:12] it's been like watching Manhattan

[00:13:14] for the first time a few years ago.

[00:13:15] I was like, I don't know about this one.

[00:13:17] Yeah, yeah, maybe not.

[00:13:19] I don't know if I could do this.

[00:13:20] So yeah, Manhattan was in its second-meacable

[00:13:22] these this weekend.

[00:13:24] The number one movie of 1979

[00:13:26] was that year's best picture winner,

[00:13:28] might you want to stab at it?

[00:13:29] Do you know what it is?

[00:13:31] Not a chance.

[00:13:33] Fair enough.

[00:13:34] Creamer versus Cramer was the number one movie in 1979.

[00:13:38] Never went out there.

[00:13:41] I feel like it's a movie that sort of gets overlooked a little bit.

[00:13:44] Obviously it was a best picture winner, it was big.

[00:13:46] And it was the number one movie the year.

[00:13:48] But I feel like in the pantheon of best picture winners,

[00:13:50] it's like, oh yeah, it's a fine solid familiar drama.

[00:13:54] I've seen it, it's good.

[00:13:55] It's very good movie, I think.

[00:13:56] I like her.

[00:13:57] I think I have seen it.

[00:13:59] But I can't really remember it a whole lot.

[00:14:02] But that's the best picture winner curse kind of thing.

[00:14:05] Is that what?

[00:14:06] Oh, you know, this happens especially in this era.

[00:14:08] Unless you're the ones from 75 or whatever.

[00:14:11] You don't like to talk about what around jaws and all that stuff.

[00:14:13] It's like, yeah, okay, whatever.

[00:14:15] Who remembers the artist?

[00:14:17] I mean, that is the thing.

[00:14:18] I was trying to think back in some of the best picture winners

[00:14:20] in the last 20 years or whatever.

[00:14:23] And thinking back and like, oh, which ones

[00:14:24] like didn't generate a ton of backlash afterwards?

[00:14:28] And I think the only ones I could really think of.

[00:14:30] I think Moonlight didn't because partially because

[00:14:33] of the wild surprise of like, oh,

[00:14:35] if they thought it was that one, and it turns out Moonlight won.

[00:14:37] It had like pre-lash.

[00:14:39] Everyone was so mad at that one, I'm like,

[00:14:41] yes, exactly.

[00:14:43] And I think Parasite is also the one of the

[00:14:45] only other ones where everybody was like on board like,

[00:14:48] yes, good.

[00:14:49] Good.

[00:14:49] I'm glad this happened.

[00:14:51] Yeah.

[00:14:52] You know, I think and even going back to like,

[00:14:54] I was thinking about like, oh, no country for real men.

[00:14:56] What a great movie, great that one best picture.

[00:14:58] But it was up against there will be blood.

[00:15:00] I was like, but I don't remember

[00:15:01] they're being a ton of like,

[00:15:02] I think you were on team one movie or the other.

[00:15:05] But like in the end of the day, everyone wins.

[00:15:07] They're both pretty movies.

[00:15:09] Yeah, we're exactly.

[00:15:10] The cinema's one.

[00:15:11] Exactly.

[00:15:11] Yeah, the movie's one night.

[00:15:14] Emphasize Zodiac should have been the real winner of

[00:15:15] Best Picture as Realme.

[00:15:17] In 2007.

[00:15:19] The creamer was the creamer was number one at the box office

[00:15:22] 1979.

[00:15:23] The rest of the top 10 consisted of the Amityville horror

[00:15:26] at number two.

[00:15:27] What?

[00:15:28] That's surprising to me.

[00:15:29] That's crazy.

[00:15:31] Number three, Rocky II.

[00:15:33] Number four, apocalypse now.

[00:15:35] Well, yeah.

[00:15:36] And just when I'm reading the author's list,

[00:15:38] remember that the Amityville horror beat whole of them.

[00:15:41] Uh, Rocky II, apocalypse now.

[00:15:43] Star Trek, the motion picture,

[00:15:45] the original Star Trek film, Alien, a movie called 10.

[00:15:49] The jerk.

[00:15:49] I guess I can't remember a movie called 10.

[00:15:52] The movie, 10 is the title.

[00:15:54] I know.

[00:15:54] Yeah, I know what 10 is.

[00:15:55] That's what you didn't know it's 10.

[00:15:57] I'm unfamiliar with 10.

[00:15:59] It's like a deadly more thing, right?

[00:16:01] Yeah, it's the famous bow derrick running on the beach in slow motion.

[00:16:03] Oh, it's 10.

[00:16:04] Yeah, okay.

[00:16:05] I've seen that gift before.

[00:16:07] Yeah.

[00:16:08] Yeah.

[00:16:08] Yeah, 10 was in the top 10 here.

[00:16:10] The jerk with Steve Martin, Moon Riker,

[00:16:13] the James Bond movie and the Muppet movie

[00:16:15] ran into the top 10.

[00:16:16] What a absolute bananas.

[00:16:19] That's a, that's a banger year right then.

[00:16:21] It is a wild get stuff.

[00:16:24] And it's crazy to me.

[00:16:25] I mean, hey, Amityville horror beat all of them.

[00:16:27] But like, Kramer versus Kramer beat all of them.

[00:16:29] This, you know, small family drama,

[00:16:31] beat out Rocky II, Star Trek of the movie,

[00:16:34] Alien, James Bond and the Muppets.

[00:16:37] I noticed you didn't mention 10 to second time.

[00:16:39] And 10.

[00:16:40] Yeah, the Muppet film.

[00:16:42] That's crazy though.

[00:16:44] Yeah, the 70s, what a wild time.

[00:16:46] Yes, if Kramer was Kramer had been released today

[00:16:48] if it would have been.

[00:16:49] It wouldn't have been.

[00:16:50] Is that the one Netflix that it'd be called marriage story?

[00:16:52] Oh, yeah, there you go.

[00:16:53] Got him.

[00:16:54] That is true, boom, boom, boom, boom.

[00:16:56] I did see marriage story in a theater where it came out.

[00:16:59] Yeah, no, the Rocky played it for a week or two

[00:17:01] when we had it.

[00:17:02] That was back when Netflix used to be much more

[00:17:04] amenable to theatrical release windows.

[00:17:07] I mean, they would still, it would be in very selects

[00:17:09] theaters still.

[00:17:10] But back then, you could at least play them for a couple of weeks.

[00:17:13] And now, Netflix is pretty adabined, at least for us

[00:17:16] and other smaller theaters.

[00:17:17] Like, you get this movie for five days at most.

[00:17:20] Wow.

[00:17:21] And then they just shut it down.

[00:17:22] It's on Netflix.

[00:17:23] So we got the killer and mystro at the Rocky

[00:17:25] each for five days.

[00:17:27] Couldn't even get glass onion.

[00:17:28] I wanted to get glass.

[00:17:30] That's best.

[00:17:30] There's one alley also, own a couple theaters.

[00:17:32] So I'm sure they keep exclusive to their own shit.

[00:17:35] Yeah, and there's that too.

[00:17:37] Yeah, I mean, their whole business model is trying

[00:17:39] to put us out of business.

[00:17:41] So they want to give us as little as possible,

[00:17:44] which isn't fortunate, but that is how it is sometimes.

[00:17:48] But you know, it's not a Netflix.

[00:17:49] And it's a big loss for Netflix.

[00:17:51] It's last in price.

[00:17:52] Ha ha.

[00:17:53] If you feel like a champion at the bit to subscribe

[00:17:55] to extra e-mings service, to watch this.

[00:17:57] The second price in price goes on Netflix.

[00:17:59] It'll be number one at top 10 and movies.

[00:18:01] Number one, and it'll be there for six months straight.

[00:18:04] That's going to be on the feed.

[00:18:06] The IMDV plots andops is for last in brace reads,

[00:18:09] Harry breaks down and loses his job after his wife

[00:18:12] is assassinated.

[00:18:13] Could it be his turn next?

[00:18:18] That's incredible.

[00:18:19] Right, that's insane.

[00:18:20] I don't know.

[00:18:21] That is the IMDV plots andops.

[00:18:22] That's a great way to hypnotize the movie.

[00:18:26] I will say, I don't know if you saw the tagline

[00:18:28] for last in brace Mike.

[00:18:29] I don't think I did.

[00:18:30] OK, I got to pull it up because it's amazing.

[00:18:33] And I think there's a better plots andops

[00:18:34] as for the movie.

[00:18:36] In fact, here is the tagline for last in brace.

[00:18:39] It begins with an ancient warning.

[00:18:41] It ends at the edge of Niagara Falls.

[00:18:45] In between, there are five murders.

[00:18:47] Ha ha.

[00:18:49] Solve the mystery or die trying.

[00:18:51] Fuck yeah.

[00:18:52] Look at him.

[00:18:53] Let's go.

[00:18:54] Go, go, baby.

[00:18:56] Ready to do this Stone Cold Steve Alston,

[00:18:58] smash two beers and chuck them out for your read down.

[00:19:00] He fell yes.

[00:19:02] Let's go.

[00:19:03] So yeah, going in.

[00:19:04] Yeah, like I said, I have a lot of blind spots

[00:19:06] in the Jonathan's Emmy forography.

[00:19:07] But this is one that I had never even really heard of.

[00:19:11] It's a movie that wasn't really on my radar

[00:19:13] until we started doing the Royce Jitter podcast.

[00:19:16] And as we've mentioned, this movie

[00:19:17] is actually getting a restoration.

[00:19:19] A blue blue ray is coming out from cinematography,

[00:19:22] the off-shoot of vinegar syndrome that just Liberty is running.

[00:19:26] And so like that just happened a couple of weeks ago

[00:19:28] as if it's recording, we saw the trailer for that.

[00:19:30] And so, oh hey cool, there's this movie is right

[00:19:32] for rediscovery.

[00:19:34] I'm not sure I even knew that it was a Jonathan Demmy movie

[00:19:36] or I had forgotten about it maybe in the prep

[00:19:38] for the podcast and stuff.

[00:19:40] So yeah, what's in my radar at all?

[00:19:41] But I was looking forward to it.

[00:19:43] Might D, what were you expecting from last in brace?

[00:19:45] And what are your overall thoughts on this movie?

[00:19:47] Yeah, I mean, going into it seemed, seemed deal.

[00:19:49] Never heard of it other than just being like,

[00:19:50] this is a title for the Royce Jitter podcast.

[00:19:52] Like I did everything looked beyond that.

[00:19:54] When we were getting, doing all the prep work and stuff.

[00:19:58] And so then what I weirds in the city to have just a few weeks

[00:20:01] ago all of a sudden that blue ray be announced

[00:20:04] and it'd be like a pretty hyped sort of rediscovery

[00:20:07] of John and Demmy, filmography, Royce Jitter filmography,

[00:20:10] all this stuff.

[00:20:11] So I was very exciting for that.

[00:20:13] And other one to add to our list of blue rays

[00:20:15] that are announced as a result of interest

[00:20:16] from this podcast.

[00:20:17] That's right.

[00:20:18] We're doing the work for you, Saul.

[00:20:19] Um, and so off that, high post, like oh shit.

[00:20:24] Like, and I did watch the trailer or anything when that was announced

[00:20:28] because I just generally try not to.

[00:20:30] But seeing Johnathan Demmy name and sort of it's a hitchcock

[00:20:34] kind of throw a thriller type thing and I was like, wow,

[00:20:36] okay, I'm pretty excited for this now.

[00:20:38] And so to push play on that and have it just really,

[00:20:42] really pay off is so nice.

[00:20:44] You know?

[00:20:46] Yeah, I mean, there's been a few,

[00:20:47] there's been some fun discoveries that we've had this season.

[00:20:49] Absolutely.

[00:20:50] You know, I really love the outside man.

[00:20:52] You really love to set it up.

[00:20:54] You know, all right, thank we both feel like

[00:20:55] she'll have Ian is dead and living in New York.

[00:20:57] That's a sad one.

[00:20:58] But you know, there's also been stuff like, oh,

[00:20:59] the French conspiracy where it's like,

[00:21:01] ah, this sounds like it should be great.

[00:21:03] And it just didn't quite hit the mark or still let it out.

[00:21:05] You know, but the last thing.

[00:21:06] Or even the one with Fay D'Oneway,

[00:21:08] whose name I always forget, even though that crazy puzzle

[00:21:11] of a downfall child?

[00:21:12] Okay, maybe it's a little more crazy than I thought.

[00:21:14] Um, puzzle of a downfall child.

[00:21:15] Like, yeah, that was good.

[00:21:17] But I like, I was really like, open, you know.

[00:21:19] It's like we are for the most part.

[00:21:21] And I think for every episode, every movie to be just

[00:21:23] a real banger and, you know,

[00:21:25] a leave it's a John Academy to come through for us.

[00:21:28] Um, the movie really pulls comes through on the suspense

[00:21:32] and the twisty turnie and the hitchcock or quotes of it all.

[00:21:37] I think that maybe it's not necessarily like hitchcockian.

[00:21:41] I don't really know how to,

[00:21:43] what that would even like quantify as.

[00:21:45] But, you know, the man who sort of knew too much guy

[00:21:48] who's in the middle of a whole conspiracy thing.

[00:21:50] That's really all it takes.

[00:21:52] Um, and O'Bavis, he in the middle of a conspiracy.

[00:21:55] Um, and I love, I love the sort of ambiguous nature

[00:21:58] of like, oh, I work for the government.

[00:22:00] Air quotes, all that stuff and the, the,

[00:22:03] I forget what the department or whatever,

[00:22:05] like the keep all referencing it as type thing, right?

[00:22:08] And it's just so good.

[00:22:09] Um, yeah, I mean, he works in like the get smart,

[00:22:11] you know, like that.

[00:22:14] It's like two steps down from that.

[00:22:17] Like it's, it might as well be.

[00:22:19] Uh, he almost, you know, might as well have a shoe phone

[00:22:21] or whatever.

[00:22:21] And it's violent and exciting and sexy

[00:22:23] and, and Roy Shiders just a fucking hunk in this all the way

[00:22:26] throughout even, even with his, uh, untreated PTSD

[00:22:31] and all that stuff.

[00:22:33] It's like, it's so good.

[00:22:34] And I love the, the just like weirdly, like local New Yorkness

[00:22:39] of it all. Like

[00:22:40] it reminded me a lot of the seven ups where it's like

[00:22:43] oh, we're gonna have a car chase that ends in the Palisade's

[00:22:45] Parkway and he drew it like what's that about?

[00:22:47] We're gonna have a whole thing on Niagara Falls.

[00:22:51] That's so weird.

[00:22:51] And I guess that's part of the hitchcock.

[00:22:53] Like, um, yeah, and you get to see their whole ride

[00:22:54] through upstate New York to get to the Niagara Falls.

[00:22:57] Yeah, why is that a such a montage and imagine

[00:22:59] like the way that that scene plays that whole thing.

[00:23:04] He's like, come on baby, let's go on a trip

[00:23:05] and she's like, where are we going?

[00:23:07] Now long it takes to drive to Niagara.

[00:23:10] I like six hour drive.

[00:23:11] Yeah, it's like an eight hour drive.

[00:23:13] It's so far.

[00:23:14] Uh, moving from the city.

[00:23:16] Uh, yeah.

[00:23:16] And so yeah, we have in the city from where I was.

[00:23:18] It was like a six hour drive.

[00:23:19] Yeah, that makes just so funny to think about trying to keep it a secret

[00:23:22] that we're going to Niagara Falls for eight hours.

[00:23:26] Anyway, that's such a weird thing.

[00:23:28] Um, but yeah, I mean that ties into the hitchcock thing too.

[00:23:31] Like North by Northwest ending at all I can think is a monument value

[00:23:34] and that's not it.

[00:23:35] That's the, my rush point.

[00:23:36] My rush point.

[00:23:36] There we go because I was thinking monuments.

[00:23:38] You know, having a, having a thing at a big landmark or monument.

[00:23:41] The climax hitchcock.

[00:23:43] Um, so yeah, I mean, yeah and, uh, you can get more into it in a second.

[00:23:46] But yeah, I think overall it's great.

[00:23:48] I had a lot of fun with it.

[00:23:49] Great total discovery.

[00:23:51] Um, excited to be on the sort of forefront leading edge of the cultural

[00:23:54] reclamation of last embrace.

[00:23:57] Yes, yeah, absolutely.

[00:23:58] I think this movie rocks.

[00:24:00] It was so fun.

[00:24:01] Uh, you know, it's one of the things like I ended up, you know, I started this movie

[00:24:05] at like 10 30 at night.

[00:24:07] Uh, and some, and you know, sometimes with movies from this era,

[00:24:10] you never really know what you're going to get.

[00:24:13] Sometimes it's like relatively slowly slow paste or that kind of thing.

[00:24:16] And, you know, when you start to movie that late at night, um, you know, where I'm like,

[00:24:19] okay, I'm going to be finishing this around 12 30, maybe even one o'clock, whatever it

[00:24:22] is like it's like it's sort of a gamble.

[00:24:24] You know, like how it, how it's going to work.

[00:24:27] Um, but I was pretty into this like from the get go.

[00:24:30] You know, where it starts off with you have this, uh, you know, confrontation.

[00:24:33] The shootout that happens in this Mexican Cantina.

[00:24:35] Like as soon as the end, the opening credits end.

[00:24:37] Yeah, yeah, as soon as Joe Spino walks on screen has like, all right,

[00:24:40] we're in for something.

[00:24:41] We got this crazy.

[00:24:43] Yeah, and, uh, you know, from there, I think Rich added performance is so good.

[00:24:46] And I think his chemistry with Janet Margollan is great.

[00:24:49] I saw some speculation that this really like an IMDB trivia thing.

[00:24:53] So I don't know the basis of fact or whatever.

[00:24:55] I couldn't find this anywhere else.

[00:24:57] Okay.

[00:24:57] But according to IMDB trivia, uh, there was different actors who was supposed

[00:25:02] to play the role and then Roy Shader called up the, uh, the production and asked his,

[00:25:07] asked if his girlfriend Janet Margollan could play her instead.

[00:25:11] That's a quote in IMDB trivia.

[00:25:12] I don't know if that's true.

[00:25:13] I do the Roy Shader was married at the time to send the a shader, uh, who also worked

[00:25:18] on this movie.

[00:25:19] I saw her name in the credits.

[00:25:20] So I don't know if that's true.

[00:25:23] You know, it was the 70s people were swinging around all the time, but true.

[00:25:27] Uh, I couldn't find any other like semblance of like, if that's an actual fact or

[00:25:31] not, or if it's just somebody posting stuff in IMDB could be either way.

[00:25:35] I guess.

[00:25:35] I mean, it kind of could do.

[00:25:36] I would believe it, but it seems like a stretch.

[00:25:40] Yeah, exactly.

[00:25:41] But, but I maybe put somebody put that because their chemistry in this movie is just so

[00:25:44] good.

[00:25:45] Like they feel believable in the movie together.

[00:25:48] The movie is like just really sharp and fun.

[00:25:50] Like the dialogue is like really witty and let their back and forth is so good.

[00:25:54] Uh, and it really like leans on that kind of like dry sense of humor that Roy Shader

[00:25:57] has that we've got that he does so well that we've talked about in other movies as well.

[00:26:01] Yeah, no, this movie rules.

[00:26:02] And I think the, the homage is a hitchcock or very overt.

[00:26:05] Um, but I think very, very, uh, well done.

[00:26:07] Uh, and like it really feels like to me.

[00:26:10] I know it feels like an homage to hitchcock without like going into self-parity of

[00:26:14] hitchcock.

[00:26:15] Uh, you know what I mean?

[00:26:15] Like this feels like it could have been like a lost hitchcock movie that just happened

[00:26:19] to come out in 1979.

[00:26:21] Yeah, I mean, it definitely does not feel like kind of anxiety.

[00:26:25] Uh, sure.

[00:26:25] Yeah, the literal hitchcock parody.

[00:26:28] Um, yeah, I guess maybe I haven't seen enough hitchcock movies to really pinpoint

[00:26:32] a ton of homage.

[00:26:34] I don't know.

[00:26:35] It's just exciting twisty turnyship.

[00:26:37] Yeah, I mean, I think North by Northwest and Vertigo are kind of the big ones that we're

[00:26:41] with.

[00:26:41] You know, I mean, I think even the clock tower sequence is very reminiscent of

[00:26:45] Vertigo.

[00:26:46] Uh, and yeah, this and like the entire climax is like, yeah, this is basically

[00:26:49] North by Northwest.

[00:26:51] Uh, but you know, given a more like kind of tragic spin to it all.

[00:26:54] I don't know.

[00:26:55] Because North by Northwest, ultimately has like a pretty like, you know, positive

[00:26:58] uplifting ending.

[00:26:59] Uh, I obviously that movie in a while, but the last time I did see it was on 35

[00:27:01] millimeter of the Roxie.

[00:27:02] And that was pretty cool.

[00:27:04] Got a time.

[00:27:06] Um, yeah.

[00:27:08] Yeah, I think it's you know, having seen the two Jonathan Demi movies and only

[00:27:14] one of those is an error in a feature.

[00:27:16] So um, you can see I feel I thought there wouldn't be much like visual similarity

[00:27:22] between sounds of the lambs and this because that's like the only touch tone I have.

[00:27:26] But it's there.

[00:27:27] That's crazy.

[00:27:28] Like they're not doing the center of the frame thing, but there's a lot of looking

[00:27:33] down the barrel of the camera, uh, just to make you feel uneasy, which is it's wild.

[00:27:39] The way brains work that like we're all trained to watch a movie and a movie is supposed

[00:27:43] to meet these expectations and have this sort of grammar to it.

[00:27:46] Uh, and when that gets broken, you're immediately like, you know,

[00:27:50] steepling your fingers and leaning forward in your chair.

[00:27:52] Like you know, you just immediately on edge and feel, uh, paranoid and scared,

[00:27:56] just just the way Roshaiders character fields, you know, like, yeah.

[00:28:00] I think by the end, he does one.

[00:28:01] Uh, when when he, when it's sort of the, the reveal of who's behind what, uh,

[00:28:06] I'm can't, it comes along.

[00:28:08] Whoa, this is so crazy.

[00:28:09] Yes, absolutely.

[00:28:10] Yeah.

[00:28:11] And I think that's, you know, it's part Demi and it's also part, uh,

[00:28:13] Tack Fuji Motto, who's cinematographer, um, who, uh, is also, like,

[00:28:17] he actually shot most of Jonathan Demi's movies, including sounds of the lambs.

[00:28:20] Uh, and I think there is a visual similarity here.

[00:28:22] Um, but they've been, they were working together from the beginning.

[00:28:25] Tack Fuji Motto, uh, also got to start working for Roger Corman, the, you know,

[00:28:28] shot K-T for Demi.

[00:28:29] He also shot Death Race 2000, um, which I discovered when I went to see Death Race 2000,

[00:28:34] the Rocks, the couple months ago and he's like, oh my god, the guy who shot sounds

[00:28:37] of the lambs, uh, shot this movie, that's insane.

[00:28:41] That's wild.

[00:28:42] Um, but yeah, he shot so many of Demi's movies and so many other things too.

[00:28:45] He also shot a few of, uh, shamelons early movies, the six cents and signs and all

[00:28:49] that kind of stuff.

[00:28:50] So he's a great cinematographer and I think you watch this movie.

[00:28:53] You don't expect, like, like, beautiful shots of, like, racer in the graveyard as

[00:28:59] the sun sets behind him.

[00:29:00] Oh my god.

[00:29:01] Yeah, you get it.

[00:29:02] You get it in this movie, maybe.

[00:29:04] So good.

[00:29:06] There's one, there's one moment, um, earlier at the movie, like part of that sequence, I

[00:29:11] think, actually, when he's, when he starts being followed.

[00:29:14] Yeah.

[00:29:15] Um, where he's walking through central park and he's passing that guy playing the little

[00:29:18] ukulele song and he stops in his tracks because he notices that he, like, figures

[00:29:23] that he feels a presence or whatever.

[00:29:25] And the camera just like, Dalie's passed some lattice just to reveal yes he is being followed

[00:29:32] because you know, it's, I don't know if it's like 100% clear at that point yet.

[00:29:35] Um, and then it Dalie's back over to, like, back over to Shader.

[00:29:39] Uh, all in one shot, like, it's just that like, it's one of those things like never forget

[00:29:42] where they took for us is all like a thing, like, especially in comparison to a lot of people

[00:29:47] been talking about Deadpool and Wolverine lately on Twitter and stuff.

[00:29:50] And posting clips from, I think the context I saw was a clip from Deadpool 2 and it was,

[00:29:57] like, David Leach had in recognizing your game, I'm sorry.

[00:30:00] Um, and somebody was like, compared to Sean Levy anything is good.

[00:30:05] Like, you're good.

[00:30:06] It's a dead little Wolverine.

[00:30:06] Anything looks incredible.

[00:30:08] Um, and generally we've talked about that a lot recently.

[00:30:11] Um, especially this podcast, um, watching movies from the 70s and you're just like,

[00:30:16] you're with literally a different art.

[00:30:18] Like, you know, it's crazy.

[00:30:20] Uh, this stuff that used to just do in movies casually that we just have seemed to have

[00:30:24] lost the technology to do.

[00:30:26] Yes.

[00:30:26] And, and, you know, that goes through like the 90s and even the early 2000s.

[00:30:30] I think what you get the switch to digital, uh, you know, everything changes and all that kind

[00:30:33] of stuff.

[00:30:34] But, uh, when you watch, like, even just like, you know, stuff that was completely dismissed

[00:30:38] in the 90s is like a trashy action movie or whatever.

[00:30:41] You know, you watch him now and you're like, um, man, that shot, like every shot in this movie

[00:30:45] is a painting.

[00:30:46] It's a mess.

[00:30:46] It's a masterpiece.

[00:30:48] I was watching, I watched Cliff hangar last year and I was like, oh my God, this, like,

[00:30:53] is this a masterpiece?

[00:30:54] This is the best thing I've ever seen.

[00:30:56] Uh, which granted Cliff hangar is very good.

[00:30:59] Yeah, actually he's a masterpiece.

[00:31:01] Yeah.

[00:31:01] You know, but you can even say that about like, oh, yeah, deep blue sea if you want to get

[00:31:04] further into the running Harlem fromography or something like that, right?

[00:31:06] Just like, oh, yeah, there's like, you know, there's craft here that doesn't exist in

[00:31:11] most modern blockbuster movies.

[00:31:13] Uh, and that's a bummer.

[00:31:16] It really feels like taking crazy pills.

[00:31:18] So it kind of puts us in the character headspace of right, right, right, right, right?

[00:31:23] Uh, being just blown away by filmmaking craft.

[00:31:26] Right.

[00:31:27] Yeah.

[00:31:27] As he's being blown away by conspiracies.

[00:31:32] Uh, yeah.

[00:31:33] So the movie kicks off with a very shatter.

[00:31:35] He's with his wife in Mexican Cantina.

[00:31:38] Uh, these guys come in and there's a shootout that happens.

[00:31:41] And his wife gets caught in the crossfire and she does.

[00:31:44] She's just all in slow motion and big squibs and you're like, oh, that's happening.

[00:31:49] Yes.

[00:31:49] Like that.

[00:31:50] And so as a result, you know, his wife dies and he has a nervous breakdown.

[00:31:54] Uh, and he spends five months in an insane asylum before he comes back to work.

[00:31:58] And you start to learn about his job.

[00:32:00] The movie kind of like parcels out the information very slowly about what his job actually

[00:32:04] is.

[00:32:05] And you don't think even really ever get a full picture, but he's clearly like some kind of secret agent

[00:32:09] for the government.

[00:32:10] Yeah, he's in a sense under something.

[00:32:12] Yeah.

[00:32:12] And so he returns to work and Christopher Walken is his boss and he's got a mustache

[00:32:17] and that's what he has.

[00:32:19] He has little glasses of mustache.

[00:32:21] Uh, that's a delight.

[00:32:22] Really loved seeing that.

[00:32:23] And he's only in like two or three scenes in this movie.

[00:32:25] But uh, yeah, he's great.

[00:32:26] He's super fun in this movie.

[00:32:28] Yeah.

[00:32:28] And that's right away where that looking down the barrel of the lens thing starts.

[00:32:32] As he's, uh, there immediately, I forget exactly what the numbers are, but they, they like,

[00:32:37] squabble a little bit over how long Rashad or was in that institution.

[00:32:40] He says like three months.

[00:32:41] I think it was fine for like, otherwise they go back and forth a couple times.

[00:32:45] Uh, and every time he's looking right down the barrel, uh, when it cuts to, to, to, to,

[00:32:49] cause for walking.

[00:32:50] And it's just right away puts you at, uh, at, you know, makes you an easy put to you on guard of like,

[00:32:55] what's happening?

[00:32:56] Uh, and it's just like, oh man, that's fucking awesome.

[00:32:58] And I've generally, like genuinely was not expecting that to happen because it happens.

[00:33:02] It's so famous from sound to the lamb.

[00:33:04] I was like, right.

[00:33:04] He can't do that multiple times.

[00:33:06] I ain't got no idea.

[00:33:08] Um, and it's a little different.

[00:33:09] Like I said, they're not center center frame and like doing that whole thing.

[00:33:12] Like the hour and sounds of the lens, but they are, he's looking right down the camera.

[00:33:15] Oh yeah.

[00:33:16] So it's good shit.

[00:33:17] Yeah, and it feels like he's sort of like mescaround like different camera techniques in this movie.

[00:33:20] There's a first person camera that happens on the train.

[00:33:24] Uh, who you?

[00:33:24] At one point to which uh, really places like in the character shoes and, uh, yeah, all that kind of stuff.

[00:33:29] There's different techniques that they're trying out here.

[00:33:32] Uh, and it really feels like they're just, there's, there's, there's, there's

[00:33:33] a lot of different kinds of things that we're trying to do.

[00:33:33] Yeah, yeah, yeah, yeah.

[00:33:33] And stuff and see what works.

[00:33:35] There's one woman on the train that's so funny.

[00:33:38] Uh, one of the, they're on the train a couple times actually.

[00:33:40] Um, yeah.

[00:33:41] But uh, right shiter like looks back so over his shoulder because he thinks he's being watched

[00:33:45] and every man lifts the newspaper up as soon as he turns his leg down.

[00:33:50] Like they're all watching him.

[00:33:52] So funny.

[00:33:53] Yes.

[00:33:53] He also is a great rat.

[00:33:54] He like pretends to stumble off of the train and like onto the track as the train is pulling

[00:33:58] his, is blowing past him.

[00:33:59] Uh, but it's like, I play to grab the guys like, oh, you're watching.

[00:34:03] You're not really sure if somebody is watching Roy Shutter or if he's just going

[00:34:08] insane.

[00:34:09] Right.

[00:34:09] Did he get pushed?

[00:34:10] What's happening?

[00:34:11] Did he just trip?

[00:34:12] He's, he's, uh, immediately devolving and then he's trying to take his medicine.

[00:34:16] And he realizes one of the pills is not the right pill.

[00:34:19] And all like, and he, it's a whole lot of the pills he realizes is cyanide.

[00:34:23] Yeah.

[00:34:23] He discovers that it's cyanide and he knows somebody's trying to kill him and it's somebody

[00:34:26] who was in his apartment.

[00:34:28] Uh, and when he gets his apartments, a woman is staying there.

[00:34:32] Janet, a woman's character.

[00:34:35] Uh, and he's very confused by the whole thing, but she's been subletting the apartment

[00:34:38] and it turns out like, yeah, while he's been in the, while he's been away, I, like,

[00:34:42] the government, I guess owns the apartment or the agency that he works for owns the apartment

[00:34:46] and they sublet it to somebody else.

[00:34:48] Uh, and why is got cross or something?

[00:34:51] And she's still there and has nowhere else to go.

[00:34:53] Right.

[00:34:53] Yeah.

[00:34:53] He tries to pull, yeah.

[00:34:55] He tries to play it off.

[00:34:56] That, um, well, I was on vacation and, and the, the agency or whatever.

[00:35:00] Yeah, the, wherever he works for owns the apartment, but he lives there.

[00:35:04] And they must have got the dates mixed up for my return and she's like, no, they said you'd be

[00:35:08] gone indefinitely and he's like, oh, our wires got crossed.

[00:35:11] Whatever.

[00:35:12] Uh, he's trying to play it off like this is all part of the plan, you know, yes.

[00:35:16] And it's all part of her plan.

[00:35:17] It turns out, well, well, well, the mystery.

[00:35:20] Uh, yes.

[00:35:21] Yeah, before we get into any of that, Rashid is performance.

[00:35:24] Oh, what, what do you think of Rashid in this movie, like?

[00:35:26] Um, incredible.

[00:35:27] He's so good.

[00:35:28] I think he, he really plays that balance of the cool collected, with the sarcastic guy

[00:35:35] that we were seeing in a bunch of his movies, right?

[00:35:37] That we, like, the typical Rashid or thing.

[00:35:39] But mixed with the person post slash currently going through a nervous breakdown.

[00:35:45] Constantly, uh, second guessing himself paranoid.

[00:35:47] Like we said, uh, grabbing strangers and like throwing them against walls and, and like,

[00:35:52] uh, his legs giving out and his hand shaking and all this stuff and he can't keep it together.

[00:35:57] Yep.

[00:35:58] And he, I think he really effectively plays that.

[00:36:00] It's, it's a little over the top, but like I think that totally fits the deranged nature of

[00:36:04] the conspiracy that he's been thrust into.

[00:36:06] It matches his energy.

[00:36:08] Um, yes.

[00:36:08] Which the conspiracy is insane.

[00:36:12] Um, really is.

[00:36:15] Uh, because yeah, he, like, uh, shows up going to all his like usual spots to get assignments

[00:36:19] and like things are off right?

[00:36:21] He goes to like a jewelry counter to pick up a, a tube of lipstick and like, expect to see

[00:36:25] something inside, but like there's nothing right.

[00:36:27] Yeah, it's like a blank piece of paper.

[00:36:29] Uh, and then I think in his apartment, um, he discovers, uh, or Jan and my goal and like,

[00:36:33] tell us him, like, oh, this is like, so it was something to the door.

[00:36:35] I was left for you.

[00:36:36] And it is a message that he can't decipher because it's an Hebrew and he's trying to figure out

[00:36:41] what he needs to be precise.

[00:36:42] We're just so funny to make.

[00:36:44] You're doing that in the movie.

[00:36:46] But yeah, so he's trying to like decipher this message and he goes, he goes to a local

[00:36:50] rabbi and he can only kind of like partially figure it out, but it says it means like a

[00:36:53] danger of blood and it's sort of this like, you know, sort of a death note sort of

[00:36:57] where like, you know, they're coming for you.

[00:36:59] You've been marked.

[00:37:01] And so there are other people that are also being killed like during all this, like the tagline

[00:37:05] said in between there are five murders.

[00:37:08] And so he is trying to figure out who's doing these killings while also trying not to

[00:37:13] kill themselves as a result of it.

[00:37:15] But yeah, the ultimate thing of it all, like it's, it's very like steeped in

[00:37:19] sort of like ancient Jewish texts that he is kind of trying to decipher and navigate

[00:37:23] and so he's talking to rabbi, getting through all this.

[00:37:26] And then the ultimate thing that we discover is that Ellie is in fact the one doing

[00:37:32] themers.

[00:37:32] She is the one killing people and it's out of this like retribution for her grandmother

[00:37:37] I think right?

[00:37:39] Mm-hmm.

[00:37:39] Her Jewish grandmother like, Roy Scheider is ancestor and like the ancestors are like all the

[00:37:44] guys that she was killing sort of like sold her into like a white slavery sort of thing

[00:37:48] kind of situation right?

[00:37:50] Yeah, it's sex trafficking basically.

[00:37:51] Yeah, sex trafficking.

[00:37:52] Yeah, and so this is like a revenge, like she can't get revenge on the people who actually

[00:37:56] did it but she can get revenge on their descendants.

[00:38:00] And so that's what she's doing.

[00:38:02] It's crazy.

[00:38:03] But along the way, she sort of falls in love with Roy Scheider and yeah, I mean who

[00:38:07] can blame Roy?

[00:38:08] Right.

[00:38:08] Well, I mean it's so funny too because for the whole first two acts of the movie or whatever,

[00:38:13] Ellie keeps talking about like oh, I'm so ugly that I have no luck with men and it's like

[00:38:18] kind of holding and like nobody likes me.

[00:38:20] Yeah, I'm like what are you talking?

[00:38:21] What's going on?

[00:38:22] Like and Roy Scheider is like yeah, not so bad.

[00:38:26] Like what is happening?

[00:38:27] Let your head out and put on some lipstick.

[00:38:29] You have it.

[00:38:30] But then when it reveals that Ellie is doing this and is using being a sex worker as a

[00:38:38] front to lure these men to being alone as like oh okay.

[00:38:43] Like the movie she's in her she's gorgeous and then she knows it and she's using

[00:38:46] that as a reference.

[00:38:48] And she's doing that to throw Roy Scheider off right and that all thing because it was just one of those

[00:38:53] little things.

[00:38:54] It was like this is so weird that the movie keeps taking time to be like, aren't I so

[00:38:58] homely?

[00:38:59] Wait, what?

[00:39:00] What's happening?

[00:39:02] Yeah, then finally kind of you discover the truth about her when I think it cuts to her like

[00:39:07] a hotel in Niagara Falls before they go there.

[00:39:10] And yeah, she is she lures this guy, Bernie Meckler, you know, she's like oh yeah,

[00:39:14] she's like, I believe so soon.

[00:39:15] Oh, we can hang out and she's like dressed in lingerie and stuff and then they go into the

[00:39:19] bath together and she drowns him in the bath tub.

[00:39:21] Yeah, and yeah, it's a great scene.

[00:39:23] It's really good.

[00:39:24] It's awesome.

[00:39:24] This is so good.

[00:39:25] And she's great throughout the whole movie too.

[00:39:27] Roy Scheider's great.

[00:39:28] I don't remember.

[00:39:28] Do we answer?

[00:39:28] Yeah, we did answer that question.

[00:39:30] Yeah, we, what do you think of Roy Scheider?

[00:39:31] But how do you think this fits into the Roy Scheider role that we've seen so far

[00:39:34] Mike?

[00:39:34] Oh my god.

[00:39:35] I didn't think you were going to ask this time.

[00:39:38] No, I think I think it is sort of a blend.

[00:39:42] Just like I was talking about before, the quick-witted sarcastic tough guy thing and the more

[00:39:48] sensitive sort of, I want to say normal because of the situation, the circumstance

[00:39:53] of his character in this movie.

[00:39:56] But you know, it reminded me of sort of like Sheila Vee and we were sort of just like a guy.

[00:40:00] You know, he's like sort of just going through it.

[00:40:01] A little bit.

[00:40:03] But also outside man where he's this cool assassin.

[00:40:06] Yeah, that's fucking hard ass.

[00:40:08] He's so good in that.

[00:40:09] It's really good.

[00:40:10] Yeah, I mean he's doing this.

[00:40:11] Yeah, the kind of hyper-competent thing that he does in like you know, a French connection

[00:40:14] or outside man, jaws to a degree short.

[00:40:18] Yeah, I think that's an element of it.

[00:40:19] But I think it sort of has that plus like the kind of like nervous breakdown element of

[00:40:24] it sort of reminds me of sorcerer and then I think the paranoid thriller aspect of it.

[00:40:28] You know his character is not the one thrust into it in marathon man.

[00:40:31] But marathon man, I think is probably the closest analogy to this movie that we've had so far.

[00:40:35] Yeah, yeah, definitely.

[00:40:36] I mean, does he create agent in marathon man or allegedly a secret agent right?

[00:40:39] So I think that's a really good pull for sure.

[00:40:42] What else in last and basically what I'm like, what do they see instead out to you?

[00:40:45] Um, all of it.

[00:40:46] No, I think the kind of gradual reveal of the mystery is really well done.

[00:40:53] I think where you know you sort of he gets this note.

[00:40:56] Well, read what you have that.

[00:40:57] I think that first act to story and touch and stuff of him trying to get a sign of min's right.

[00:41:01] He's getting like he talks about he's getting the blank piece of paper and the tube

[00:41:06] and I like the reveal that we meet that woman outside.

[00:41:09] And it's like, oh, she's also part of this agency or whatever right that whole thing.

[00:41:14] And all that stuff.

[00:41:15] So I think that's really good.

[00:41:16] The apartment stuff is really good.

[00:41:17] And then the note and then going to a rabbi and eventually having to go into like a Jewish,

[00:41:23] like, ancient historian guy in a college, right?

[00:41:25] Like that like how deep this mystery goes.

[00:41:28] Yeah.

[00:41:28] In time.

[00:41:29] It's really fun.

[00:41:30] It's got like an Indian a junk thing a little bit where they're running through museum labs.

[00:41:34] And university libraries and all that stuff is pretty fun.

[00:41:39] And then the reveal with that old guy who I don't remember exactly is part of the council, right?

[00:41:46] Isn't that like he says like, right?

[00:41:48] Like five Jewish guys died in New York.

[00:41:50] You gotta have a council, right?

[00:41:51] It's like his whole time.

[00:41:52] He doesn't even really know what's going on.

[00:41:55] Yeah, but he's just got like the history of the city and he recognizes the building as the sight of that brothel

[00:42:02] in the past and all that stuff.

[00:42:03] So yeah, I think just the whole parceling of the history of the mystery is really fun.

[00:42:07] And then also the climax and the agar falls is like pretty cool.

[00:42:11] It's pretty like they're just Niagara Falls.

[00:42:14] That's nuts.

[00:42:15] Yeah.

[00:42:15] So I mean, the movie ends with a you know, Roy Shatter has uncovered the fact that Ellie is the one that's been doing these murders,

[00:42:22] potentially trying to kill him.

[00:42:24] But they fall in love over the course of the movie and all that stuff.

[00:42:26] And so there's a lot of like weird feelings that are kind of mixed together.

[00:42:29] And so he's obviously very angry.

[00:42:32] They go together to go to Niagara Falls.

[00:42:35] They do the eight hours drive and silence.

[00:42:38] And so weird.

[00:42:39] But they get there and they're standing over the falls.

[00:42:42] And he is standing in front of the car as if kind of giving her the choice to, you know, just kill him right now or whatever.

[00:42:49] And she can't do it.

[00:42:50] And you know, she, you know, kisses him.

[00:42:52] No, I can't do it.

[00:42:53] I love you.

[00:42:54] But then he says like, I love you too.

[00:42:56] But I do have to turn you in.

[00:42:58] Like I do have to like tell people that it was you.

[00:43:01] And so she kicked him in the balls and runs away.

[00:43:05] Like just straight up in the balls.

[00:43:08] And so she runs and that's a run through the Niagara Falls power plant.

[00:43:12] And there's, it's like a 20 minute like final chase.

[00:43:15] Yeah, which is such a weird chasing.

[00:43:18] That is like really thrilling.

[00:43:19] But it's like done in like kind of fits and starts.

[00:43:21] And it's like sort of like, like they are trying to infiltrate like the tour group.

[00:43:25] And like she's like is is like with the tour group and gets in the tour bus.

[00:43:29] And he's like right behind you, but miss is the bus.

[00:43:31] And he's chasing after it.

[00:43:32] And he like ends up like commenting a car or something right.

[00:43:34] It's like almost bugs bunny level.

[00:43:37] Like yeah, in particular when she go when they go to that,

[00:43:40] The, the like tour group on like on the side of the falls with the ringcoats.

[00:43:44] Um, and it's just like a bug's bunny.

[00:43:46] Like you expect, it's just, you see the backs of a bunch of people in the same yellow ringcoats.

[00:43:51] Yeah.

[00:43:51] And you turn around.

[00:43:52] It's like one of them is going to be bugs bunny.

[00:43:53] But like oh no, it's, it's Ellie, right?

[00:43:54] And it like that's how you, he finds her because she turned around.

[00:43:57] But yeah, I don't know.

[00:43:58] It was just like such a weird thing.

[00:43:59] And yeah, she, he, he gets on a tour in that tour group on a bus.

[00:44:03] And then he just like runs on the empty tour bus behind them and just like,

[00:44:07] Like he still does.

[00:44:08] Yeah, drive in a tour bus.

[00:44:09] Like a double-decker tour bus after her double-decker tour bus.

[00:44:13] And the, and the Niagara Falls employees, like they do notice this is going on.

[00:44:17] But they don't like spend like a ton of energy trying to stop it.

[00:44:19] I loved that it almost has like, like a retail worker for this movie vibe.

[00:44:24] And the guy just pissed, he's like, please hurry up.

[00:44:27] Please, please keep up with the group.

[00:44:28] Like you just mad.

[00:44:30] And then all the tour guides are just angry that this is happening.

[00:44:33] He even makes that joke like about that spot on the side of the,

[00:44:36] Uh, the fall is being like a popular suicide.

[00:44:39] Yes.

[00:44:40] But he's like, if you have tendencies, just don't do it on my shift.

[00:44:43] Thank you.

[00:44:44] You just keep going.

[00:44:46] Yeah.

[00:44:46] But he looks like, yes, it's very good.

[00:44:47] There's the moment where, you know, they're all like kind of going through like the,

[00:44:50] You know, the metal, like door thing that they, you know,

[00:44:52] that's going through and right shot or jumps over it.

[00:44:55] And you see like two guys be like, hey, wait a minute.

[00:44:58] Then they don't do anything.

[00:45:00] They just cut away.

[00:45:02] Yeah, they have this whole chase like through the whole power plant

[00:45:04] And go behind the falls and all that stuff.

[00:45:06] He finally like chases through through the tunnels and they have this like big

[00:45:09] confrontation.

[00:45:10] And then she falls.

[00:45:12] Uh, she like, er, she just, yeah.

[00:45:14] Yeah, yeah, she slips.

[00:45:15] Uh, and he tries to grab onto her.

[00:45:17] And this is the poster of the movie.

[00:45:19] Uh, the poster of the movie is him holding her over the fall.

[00:45:23] Uh, and then she falls in the movie.

[00:45:25] Yeah.

[00:45:26] Yeah, by the raincoat, she's holding her by the raincoat.

[00:45:29] Yeah, she slips out of the bottom of it.

[00:45:31] And that's cut to credits basically.

[00:45:34] Like presumably she dies.

[00:45:37] This has been a lot of time setting up.

[00:45:38] How this is a popular suicide spot because you're almost guaranteed to die.

[00:45:41] Yeah.

[00:45:42] Kind of thing.

[00:45:42] And that's her group.

[00:45:43] And then yes, she falls.

[00:45:44] Yes.

[00:45:45] It's like, it's like, it's happening.

[00:45:46] It's such a wild, like, uh, there's no epilogue or anything like that.

[00:45:50] There's no moment.

[00:45:51] And I mean, we've talked with that a lot with the 70s movies and you know what those Michelle

[00:45:54] Yoh movies back then.

[00:45:56] This really felt like one of those like Hong Kong movies where it's like, like, yes,

[00:46:00] Maddoz men's with like, you know, shooting the guy and then everybody else being led to jail.

[00:46:04] And like, well, roll credits.

[00:46:07] Yeah.

[00:46:08] Yeah.

[00:46:08] We've defeated the warehouse full of bad guys.

[00:46:11] Roll credits.

[00:46:12] And yeah, I mean, I was, it's always thinking in the context,

[00:46:15] you have the like downer versus happy ending thing in the 70s and like,

[00:46:19] you know, you can't get much more of a downer than we talked about.

[00:46:21] Sorcerer being the most most downer of all downer movies.

[00:46:24] Sure.

[00:46:25] Yeah.

[00:46:25] For sure.

[00:46:26] But just in, uh, in terms of like personal, personal experiences that Roy Shader's character has.

[00:46:33] It's pretty high up there.

[00:46:34] Oh yeah.

[00:46:35] No, this is rough.

[00:46:35] I mean, at this point, you know, he lost his wife right at the beginning of the movie.

[00:46:39] Uh, spent several months in a sanitarium and finally got back, uh,

[00:46:43] you know, has now discovered that other people are trying to kill him.

[00:46:46] Uh, falls in love with this one woman and then turns out she's trying to kill him and also she's dead now.

[00:46:51] And also she's dead now.

[00:46:52] I did, I did really enjoy the, uh, the sort of turn that it is not the

[00:46:59] clandestine government assassins being trying to kill him that it is just this lady.

[00:47:04] You know, uh, is going through all this.

[00:47:06] So who seemingly has a lot of resources and can plan all these five murders and completely get away with them.

[00:47:11] Yeah, which is crazy.

[00:47:12] So I enjoyed that aspect of because it is like, it is the, the, you know,

[00:47:16] the classic like the red herring of, oh yeah.

[00:47:18] Also he works as a assassin.

[00:47:20] He's got to have.

[00:47:22] Yes.

[00:47:22] And then he, other people are trying to kill him too.

[00:47:25] Right.

[00:47:25] There's this guy, Dave, uh, who, uh, you know, is following him at the graveyard.

[00:47:30] Um, you know, these sees and he's actually the brother of Roy Shader's wife.

[00:47:34] Um, and so has like resentment to him for, you know, like she was even supposed to be there with you man.

[00:47:39] Like that kind of thing.

[00:47:40] After that meeting, he gets an assignment to kill Roy Shader.

[00:47:43] And so he does go to do it.

[00:47:45] Uh, and there's a big shootout between him and Dave in the clock tower.

[00:47:47] Yeah.

[00:47:48] And man, that's cool.

[00:47:49] This is great moment where Roy Shader starts utilizing the bells in the clock tower.

[00:47:53] It's like mess with the guys hearing.

[00:47:55] And that's pretty great.

[00:47:56] Love that.

[00:47:57] It's awesome.

[00:47:57] Yeah.

[00:47:57] It's like the clear, the clear verb to go.

[00:48:00] If I think they might even do the like dolly zoom thing where he looks down the clock tower.

[00:48:03] I think so.

[00:48:04] Yeah.

[00:48:04] That's the thing.

[00:48:05] And yeah, that that seems awesome.

[00:48:06] And that's when the like, uh, member of the Jewish council or whatever is like revealed when he kills Dave.

[00:48:14] And he's like, yeah, all these bodies we're getting hired hard to handle.

[00:48:18] Like whatever with all the murders going on.

[00:48:21] Yes.

[00:48:21] And so he's able to help him out with like, you know, investigating the clues and all that stuff.

[00:48:26] No, it's, uh, it's a wild ride.

[00:48:27] I mean, it's weird.

[00:48:28] Like the plot is like very complex, I think.

[00:48:31] There's a lot going on in the movie.

[00:48:33] And it's difficult to like recount a lot of elements of it.

[00:48:37] But I think while you're watching it, it all plays.

[00:48:40] Like it all feels like it's just like moving right along.

[00:48:42] It's very fun.

[00:48:43] It's very fresh.

[00:48:44] Uh, and it all like plays pretty well.

[00:48:47] Like I felt like I understood everything that was happening despite the fact that I really don't think I'd.

[00:48:51] Yeah.

[00:48:52] It stops.

[00:48:52] It stops like one one step short of having a exciting scene of Roy Shader looking through

[00:48:58] My girlfriend.

[00:48:59] You know, like we're all like we're just about there.

[00:49:01] Um, but it has a lot of a lot of other running through stacks in the library and then like deep in

[00:49:08] Synagogue libraries and stuff like that.

[00:49:11] Uh, and it's good shit man.

[00:49:12] That's just exciting movies.

[00:49:13] You know?

[00:49:14] Yes.

[00:49:14] Yeah.

[00:49:14] Absolutely.

[00:49:15] Yeah.

[00:49:15] It's, it's so wild that, you know, watching this.

[00:49:18] I mean, I looked up like the outside man or Sheila Levine both movies I really really loved

[00:49:23] And were like great discoveries for me.

[00:49:25] But I looked at them and I was like, I could see how this could look through the cracks.

[00:49:28] Like I can see how like these didn't like, you know, get reclaimed or like,

[00:49:31] I haven't had been rediscovered or that kind of thing.

[00:49:34] Or just like didn't hit when they first came out.

[00:49:36] Last embrace is one where I'm like, how has this not been?

[00:49:39] I felt like you discovered yet and it sounds like, you know, with with this new blue right

[00:49:43] Coming out maybe more people will see it.

[00:49:45] I hope that's the case.

[00:49:47] But just, you know, being a Roy Shader movie, being an early Jonathan Demi picture and one that's like this

[00:49:51] A short and like so fun.

[00:49:54] Uh, I don't know.

[00:49:54] This feels like something that like, people should know about at this point.

[00:49:58] It's nothing but the Wikipedia page should skip.

[00:50:00] I know how to jump to me.

[00:50:03] Oh, no, not the top.

[00:50:05] I don't know if it's just because it is, um, you hear like, Oh,

[00:50:09] Hitchcock, oh my gosh, Hitchcock rip off whatever.

[00:50:12] It's like, oh, Brian DePapa right?

[00:50:13] And those are much, much flashier movies.

[00:50:15] They make they draw much more attention, uh, like just.

[00:50:19] Visually.

[00:50:20] Um, yeah, to the devices they're using with all the split screens and all that crazy

[00:50:23] ship.

[00:50:23] Um, so I wonder if that, that those sort of just take the shine away from movie like last embrace,

[00:50:28] which is much more kind of just a traditional like Kitchcock thriller type movie

[00:50:33] without all that extra stuff.

[00:50:35] Um, so I wonder if that sucks the oxygen a little bit, you know, from last embrace.

[00:50:38] Speaking of Brian DePapa, there was a split diaptor shot and emnite

[00:50:41] Shamilon's trap.

[00:50:43] And there was, I was pretty stoked to see it.

[00:50:46] Uh, I think I literally thought split that diaptor like,

[00:50:50] Yeah, the glow movies.

[00:50:52] We're doing it, maybe.

[00:50:54] Everyone else, nobody knows how to direct movies except for emnite Shamilon.

[00:50:57] There's a link with Pan.

[00:50:59] It's like, take we're going to do this.

[00:51:00] There's one piano reveal in trap that was like the hardest I've heard a crowd laugh at

[00:51:05] a lunch.

[00:51:07] Check for a trap was pretty good.

[00:51:08] No reason to be as fun as it was.

[00:51:09] I had a great time with trap.

[00:51:11] Uh, I am definitely in the minority for people at the Rocksy.

[00:51:16] Um, but I saw a couple reviews of letter box.

[00:51:18] And I've been like the only like Shamilon champion there for a while.

[00:51:22] I was like, oh, guys, oh, they was good.

[00:51:26] Not the cabin.

[00:51:27] What a picture.

[00:51:27] Like, one of my top 20 and, uh, yeah, no, has, but the rest of the staff has not taken to it.

[00:51:33] But I did get the theater to play trap.

[00:51:35] Uh, so, uh, is it taking that money?

[00:51:37] Is it doing it?

[00:51:37] It's doing okay.

[00:51:38] It's not doing as good as the fourth week of twisters.

[00:51:41] Uh, but it's.

[00:51:42] But what would you know, I mean, if you feel it, chase it.

[00:51:46] Uh, any other thoughts about last embrace, my guy.

[00:51:50] I think any other scenes that you wanted to mention anything else that we haven't talked about yet.

[00:51:53] No particular scenes, but I definitely, maybe afraid to pre order that that blue ray before we watched it because I was like, well, what if?

[00:51:59] You know, yeah, um, but like definitely going to go pre or go on a,

[00:52:04] a video to determine pre-order that goes.

[00:52:05] Yeah, I think that's fair.

[00:52:06] Yeah, that's fair.

[00:52:07] You know, I have a couple of blue rays that like I got for like gold blue and seasons or that kind of thing.

[00:52:11] I had that my translvania 65,000 blue ray.

[00:52:13] Yeah, that I'm, that I'm, that I'm really, really,

[00:52:15] I probably never going to watch again on a little bit of our stories on DVD.

[00:52:19] Uh, I got that through a Netflix disc plan that was a master like this.

[00:52:23] And so, uh, I don't own it anymore.

[00:52:25] Uh, I think you do have the DVD though, right?

[00:52:27] I did buy it on eBay for like $7.

[00:52:29] Yeah, I did buy the welcome to Hollywood DVD.

[00:52:32] That's right.

[00:52:33] I have that.

[00:52:33] See myself maybe one day being like, what a weird curiosity that was.

[00:52:38] Turn that on again and see how it has.

[00:52:40] See how it is.

[00:52:41] Maybe the same could be said to translvania 65,000.

[00:52:42] I don't see it happening anytime soon.

[00:52:44] It's going to be a good journey.

[00:52:45] It does have a big with junior and junior Davis as a sexy vampire or woman who thinks she's a sexy vampire.

[00:52:51] I think, or no, it's not like the only person in the movie who actually is the monster is the monster.

[00:52:56] Right?

[00:52:56] Because the whole thing is like there's a town overrun by monsters,

[00:52:59] but it's all people who think their monsters except for junior Davis who is just actually a vampire.

[00:53:03] Uh, that's a good bit.

[00:53:03] That's pretty funny.

[00:53:05] Uh, you know what we should watch translvania 65.

[00:53:07] It's time for a revisit.

[00:53:08] I think it's time for a revisit.

[00:53:15] I think there's what a picture.

[00:53:17] Uh, R.A.P. to Jonathan Demi.

[00:53:18] Uh, he was a great filmmaker.

[00:53:20] Uh, and yeah, this is definitely an under scene movie in his biography that I hope more people get the chance to check out.

[00:53:25] Yeah, I mean, I wonder how many logs it has on letterboxes.

[00:53:27] It's got to be pretty low.

[00:53:28] I think it's in the hundreds if I remember right.

[00:53:30] You know, I, uh, let me see here.

[00:53:32] Uh, haven't checked it on that stat in a while.

[00:53:34] Yeah, that's because it's like jaws.

[00:53:37] Yeah, a lot of people have seen jaws.

[00:53:39] A lot of people have seen jaws.

[00:53:40] Like for comparison, sick.

[00:53:41] I think jaws has like over a million people, like a million watches.

[00:53:46] Uh, and last in braze has 4.3,000.

[00:53:49] Okay.

[00:53:50] It's like that.

[00:53:50] It's got that.

[00:53:53] But, and I will say like, I know a lot of people who looks like they've seen last in braze.

[00:53:58] Uh, at least like as part as like my letterboxes followers go.

[00:54:01] My like the people I follow in letterboxes for a bunch of, you know, film weirdos.

[00:54:05] Uh, there's, there's like a solid like 10 people here who have watched last in braze.

[00:54:09] Uh, and you knew the last to find out about.

[00:54:12] We're the last to find out.

[00:54:15] Yeah, everyone else was following the Joe Spanel podcast and they were there.

[00:54:19] They'd be just there there months.

[00:54:21] Yeah.

[00:54:22] Yeah.

[00:54:22] All right.

[00:54:23] We should get in some letterboxes, but I can see what this is.

[00:54:25] Uh, about last in braze.

[00:54:27] I got a four star of you here from Sydney, which reads, please watch this movie.

[00:54:32] You will say, what the fuck out loud more than once, and it will be great.

[00:54:37] This looks incredible.

[00:54:37] And I don't know why Demi didn't make a whole boatload of these non-sensical, twisty crime thrillers.

[00:54:43] Because this is fucking excellent.

[00:54:45] The Christopher Walken scenes, the shot of the sun setting behind Shader at the cemetery,

[00:54:49] the bell tower scene, the climax on and on.

[00:54:52] I suppose this isn't popular because it makes so little sense, but that could not matter less in this case.

[00:54:57] As an aside, has there ever been a scientific study on how a Roy Shader can have a face that looks so rough

[00:55:03] and so welcoming at the same time?

[00:55:05] Unquestionably, one of the great faces in film.

[00:55:08] True.

[00:55:08] True.

[00:55:09] We just don't make them like that anymore.

[00:55:11] Yeah.

[00:55:11] No, absolutely.

[00:55:12] We should all support out.

[00:55:13] You know, I don't think we ever see Roy Shader in shorts in this movie.

[00:55:16] However, he does appear in his underwear at one point.

[00:55:18] True.

[00:55:19] Yeah, you're right.

[00:55:20] So I feel like maybe we should count that?

[00:55:22] I don't know.

[00:55:23] It's a point five.

[00:55:24] Yeah, it's a point five there, but there you go.

[00:55:26] Here is a three and a half star of you from Prostalite Magazine.

[00:55:29] Even in one of Demi's darkest, most expensive and most uncharacteristic movies.

[00:55:33] They're still room for a man in the bench playing a happy little ukulele.

[00:55:39] I'm glad that you could lay the stood out all the time.

[00:55:42] That's impressive.

[00:55:42] It's such a great little detail and that's it.

[00:55:44] Yeah, it's so nice.

[00:55:45] Here is a four star of you from Justin Little Liberty, who is the one spearheading the

[00:55:49] bringing it to Blu-ray.

[00:55:51] Perhaps Demi had his most unrestrained equally a labyrinthine mystery, something resembling a romance

[00:55:56] and an unbridled work of character, idiosyncrasy.

[00:55:58] If nothing else, no other filmmaker could have opened their secret agent film

[00:56:02] with an assassination carried out by Joe Spanell and Jim McBride

[00:56:05] and closed it with a histrionic blue mask gender squabble at Niagara Falls

[00:56:10] with an all-time or stun sequence.

[00:56:12] Often regarded as Demi's hitchcock film, but if anything, this is Demi's Demi film

[00:56:16] through, through.

[00:56:18] Well, say yeah, big fan of the movie, which is why he's bringing it to Blu-ray.

[00:56:21] Yes, that tracks.

[00:56:22] I also appreciate the Joe Spanell shout out.

[00:56:24] Yes, yeah, I mean, who doesn't love Joe Spanell shout out right there?

[00:56:27] And hopefully Joe Spanell's in more movies.

[00:56:29] I really hope that, like it's so fun.

[00:56:31] I really hope Joe Spanell is too Roy Shider, what I don't know, like Walter Mathau is to...

[00:56:38] I hope you check, I'm in Jack Levin, who I'm thinking of?

[00:56:40] Yeah, yeah.

[00:56:42] I hope he's the Michael Lerner of this season.

[00:56:44] I hope he just gets up in the five or six territory.

[00:56:47] It's like suddenly, Michael Lerner isn't this.

[00:56:49] Yeah, yeah, I would love for there to be like a five-peat Joe Spanell reunion.

[00:56:53] We'll see what happens.

[00:56:54] I'm not all of these single scene.

[00:56:57] Just small, I don't want anything bigger than like a one-line of dialogue.

[00:57:02] All right, here's a four-star review from Spaghetti Noir.

[00:57:06] Recently, Widow's secret agent Roy Shider tries to figure out who's trying to kill him if anyone at all,

[00:57:11] while perpetually dressed for Easter.

[00:57:14] Yeah.

[00:57:15] Yeah, it fits pretty good in this movie.

[00:57:17] It does, yeah.

[00:57:18] In this thriller from Jonathan Demi, fits well with the Arizona Paranoid Pix, like Winter

[00:57:23] kills in a fragment of fear, since there's never a moment of even footing in a plot that's just as jumpy as its protagonist.

[00:57:29] Rounded out by a great supporting cast included Demi, regular Charles Napier, Christopher Walken,

[00:57:33] staring into your soul and a quick visit from Joe Spanell among others.

[00:57:37] Call me crazy, but this is my favorite Demi film.

[00:57:40] Yep, more than that one about the lambs.

[00:57:42] And so that it may finally find an audience thanks to cinematography.

[00:57:46] Our cinematograph.

[00:57:47] I'm not sure exactly.

[00:57:48] Yeah, I don't know how to pronounce it because it's also French, so...

[00:57:51] Yeah, cinematograph.

[00:57:52] Yeah, that's not an Italian.

[00:57:53] Yeah, I don't know.

[00:57:54] Something with the Lumier Brothers I forget with the origin of that name is...

[00:57:59] Yeah, no other dressed for Nell shout out.

[00:58:00] Great.

[00:58:01] And yeah, I think the just...

[00:58:03] There really is never a moment of sure footing as a good way that that person puts it.

[00:58:08] Because it is basically just, like we said, opening credits, wife gets shot, nervous breakdowns.

[00:58:14] It's just like right away and the whole rest of the movie is like that.

[00:58:17] Absolutely.

[00:58:17] So, yeah, so much fun.

[00:58:18] Such a great discovery for this podcast, Last Embrace.

[00:58:21] So glad that we got to watch it.

[00:58:22] I've been kind of updating my race-shatter ranking as we've been going along.

[00:58:26] Like kind of just updating the weatherbox list.

[00:58:28] So by the time we get to our top 10 episode, I've got it all locked in.

[00:58:31] Wow, you're so smart.

[00:58:32] Honestly, I think I'm going to have a really tough time with my top 10 this year.

[00:58:36] Or when we get to the end of the season.

[00:58:37] Personally because like the first five, like one through five, have all got to be like the big ones.

[00:58:45] Like your jaws, you're all that jazz, your French connections, source for all that.

[00:58:49] And then like the rest of them have to be like these discoveries I think.

[00:58:53] But like part of me's like, ah, but what if I like, you know, last embrace more than cloo?

[00:58:57] I don't know how much tough one if it needs to go up higher, you know?

[00:59:01] At the outside man, like that's got to be in there somewhere, like to like kind of like it more than source for.

[00:59:06] Am I in my crazy?

[00:59:08] What if it ends up being those like 90s HBO movies?

[00:59:11] Or whatever, like it just sweep.

[00:59:14] I would love nothing more than to discover that I like a 90s HBO movie more than I like jaws.

[00:59:23] Anything possible?

[00:59:24] Anything good happen, anything good happen.

[00:59:26] Yeah.

[00:59:27] All right, I think that's going to be it for this reception of the podcast, Mike D.

[00:59:31] Work when we find you on Lendus Week.

[00:59:32] You can find me at MD Film Blog on Twitter and Letterbox and Blue Sky.

[00:59:36] I forgot what's for you on my Blue Sky.

[00:59:37] Oh, who can forget about Blue Sky?

[00:59:40] You can find me at MD Film Blog there as well.

[00:59:43] You can donate to support the show on our co-fee page, which is co-fee.com slash Mike at Mike Pads,

[00:59:48] where you can donate $50 and pick a topic for bonus episode.

[00:59:52] Make us talk about whatever you want on Mike and Mike go to the movies.

[00:59:54] And if you want merch we have merch available on our red bubble, which is Mike and Mike Pads.redbubble.com.

[01:00:00] That's right.

[01:00:00] If I'm in line, I am a Smith Film Blog on Twitter.

[01:00:02] Mike Smith Film on Letterbox.

[01:00:04] Radio Mike Sandwich and Instagram.

[01:00:05] Thanks so much for listening to the complete works.

[01:00:07] Mike Smith, that's my Ducrecio.

[01:00:08] Don't forget to rate in a view of the show on Apple Podcasts or any other podcast

[01:00:11] app.

[01:00:12] And if you want to contact us, you can tweet at us at CompleteWorksPod.

[01:00:15] The WRKS, no-oh in the word works.

[01:00:17] And you can find the rest of our podcast and wrap your press alongside many other podcast,

[01:00:21] well-cons, comic books, and movie news, and all that good stuff.

[01:00:24] Our theme song was Created by Kyle Colon, who you can reach for your own podcast.

[01:00:27] The theme is at Kyle's podcast, Theems and Gmail.com.

[01:00:30] And our logo was designed by MacVee or at FearlessGuard on Twitter.

[01:00:33] Next week, we are closing out Roy Shiders,

[01:00:37] 1970s Run with another all-timeer Bob Fossies, all that jazz,

[01:00:43] which Mike D is never seen.

[01:00:45] Correct, have never seen it.

[01:00:46] I'm excited to cross a, I guess, bucket list movie off the list.

[01:00:51] It's a big one. It's great.

[01:00:52] I just watched it for the first time last year.

[01:00:55] And I am excited for the chance to rewatch it again.

[01:00:57] It's going to be really fun, I think.

[01:00:58] This also made my list of my top 10 discoveries of last year too.

[01:01:03] We're going to get my top 3 maybe. It sounds familiar.

[01:01:06] And I think that's before we knew we were doing Roy Shiders.

[01:01:08] It's like, oh hey, cool.

[01:01:09] It's all that jazz again.

[01:01:11] So that's pretty exciting.

[01:01:14] And so soon.

[01:01:15] And so soon. Yeah.

[01:01:16] So yeah, looking forward to that.

[01:01:17] So all that jazz, I mean, next week in the podcast.

[01:01:19] And I'm not sure exactly when this will be happening,

[01:01:21] but we should mention that Jeff Goldblum's TV show comes out pretty soon.

[01:01:25] Do you have one?

[01:01:26] Oh, this is the easiest thing.

[01:01:27] Yeah, this is the chaos on Netflix,

[01:01:30] which I think we'll have to do on the show.

[01:01:32] And that one, I'll at least have the first two episodes of something like that.

[01:01:35] Cause I'm betting, yeah.

[01:01:36] It's a Michelle Yoth thing where Zeus shows up at the end of the first episode.

[01:01:41] I don't know, they're one trailer, but it seems like it's about Zeus.

[01:01:44] Oh, I have watched the trailer yet.

[01:01:45] I saw one trailer for it.

[01:01:47] I guess the announcement because Netflix doesn't market any of their shit.

[01:01:50] It's like I've been seeing Jeremy Solnier trying to go hard

[01:01:53] because his Netflix movie comes out next month.

[01:01:55] Oh, yeah. Yes.

[01:01:56] I forgot that's how it happened.

[01:01:57] How are they? Come on.

[01:01:58] Market a thing once.

[01:01:59] Anyway.

[01:01:59] Yes.

[01:02:00] But yeah, it seems like it's about Zeus.

[01:02:03] But okay.

[01:02:03] But also I wouldn't be surprised if he is only in the last episode.

[01:02:06] Or the last five minutes of the first episode and then he gets a bigger than I ever

[01:02:10] or yeah.

[01:02:11] I don't know.

[01:02:11] Well, we'll find out.

[01:02:12] But yeah, chaos is going to be coming up in the near future as talk about it.

[01:02:15] Actually, but maybe by the time the episode comes out,

[01:02:17] we'll have already recorded and talked about chaos.

[01:02:19] Like, but like, it'll already be out there.

[01:02:21] I don't know.

[01:02:21] We'll see what happens.

[01:02:23] But all that jazz next week in the podcast.

[01:02:25] And remember to check out other podcasts.

[01:02:26] Mike, Mike, my go to the movies,

[01:02:27] and all the other movies, all kinds of other movie related stuff, including

[01:02:29] recent releases, ranked list, general discussions, and a lot more.

[01:02:33] Thanks so much, listening guys.

[01:02:34] And remember to always,

[01:02:36] Royad between the lines.

[01:02:38] Feels good to have it back.

[01:02:39] Proud of fact.