Dead of Night

We go waaaaay back for the third entry in our month of horror anthology films. Dead of Night is the granddaddy of them all - one of the first ever. It's not likely to scare you to death, but there's a lot to enjoy in here, particularly the creepiest story of them all involving a malevolent ventriloquist dummy.

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Dead of Night (1945)

Episode 286, 2 Guys and a Chainsaw

Todd: Hello and welcome to another episode of Two Guys and a Chainsaw. I’m Todd.

Craig: And I’m Craig.

Todd: we’re going on week three of our month of anthologies. And this week I picked a film. This was a movie that had been on our list forever. It’s a film that I had seen, I think back during one of those months before we were doing the podcast, when I would, uh, on Halloween and try to watch a horror movie a day, we’re going back a little earlier than we usually do.

This is a 1945 British anthology horror film, Dead of Night. It is a bit rare because during this time horror films were generally banned from production in Britain. At least they were during the war. This film got produced, I guess it was just after the war. Right? 1945. I’m not very good with history. So we’re just going to pretend I know what I’m talking about made by Ealing studios.

And the reason that I chose to watch it originally is this has very good, critical reviews, good reviews on rotten tomatoes. It has a lot of 1930’s and 40’s British stars in it. Um, some people who are quite famous for the. Back in the sort of glamorous Hollywood times. It is in black and white. So it’s a movie that Craig doesn’t usually choose to watch, but we did pretty well.

The last time we watched a black and white movie, I think that was way back. Um, was it, uh, eyes without a face? Is that what we saw? That might be the last one we saw that French movie and, uh, I think you ended up enjoying that thought it was simply creepy. We sure liked it. This one I remembered when I watched it years ago.

Pleasantly surprised. Uh, it ended up a little bit darker and a little more sophisticated than I thought it would be for a horror film of this era. And in watching it this time around, I, I think I, I feel the same way. I was really happy to put it on the docket and I figured the only way I could get it on the docket here was if I snuck it in, on Craig during our horror anthology month.

So here we are. I’m I don’t know, man. I’m sorry. Does it sound like I’m trashing you or something? I just know, I know you don’t like these really old or at least you don’t tend to seek out these really old horror films. And you’ve admitted to me in the past that black and white, even just isn’t really your thing.

You maybe I’m selling you a little too short here. I’m just anticipating how you might feel about it, but maybe I better just let you speak for. 

Craig: Well, I mean, you’re not wrong, but to say, to say that you have to sneak it in that’s bullshit, like 

Todd: fair enough. Well, it’s not, like I 

Craig: say, I never say no. I never say no, I’m not going to watch this.

That’s true, but you’re right. You know, I don’t typically watch stuff like this. That’s not to say that I. I don’t know, I just don’t really seek them out, but there are movies like to kill a Mockingbird is one of my favorite movies. I love that movie and it’s old and in black and white, I like the wizard of Oz.

You know, like I like some black and white. I know I like some old Hollywood stuff. The, you know, the original, um, uh, of mice and men. Uh, I probably, I don’t know if I’ve seen that one, but you know, it’s, I I’m, I’m willing to give them a shot. I, I don’t write them off outright just because they’re older, but this, uh, Yeah, I, I, I didn’t love it.

It, it just, it, it felt really old. This style of acting is fine, but it’s, it’s just, it’s very old Hollywood. There’s, there’s something that’s a little bit more, and I say, Hollywood, this isn’t made in Hollywood. This is a British film, but it feels very old Hollywood in that the acting style is just a little, I feel like today we anticipate a little bit more authenticity.

Like people acting like people in the real world, whereas in old Hollywood and in this movie, it feels very much like actors. In fact, this feels much to me. Like a play. 

Todd: Yeah. Well, it’s, it’s very presentational, right? The acting style back then. You’re right. It, it, it’s, it’s sort of in between realistic, but presentational much like a stage actor is right.

I suppose 

Craig: so. Right. Which again, nothing inherently wrong with that. Just not really my cup of tea and this movie. I mean, it’s, I totally see. And I’m sure that you have done the research and will inform me on all of this, but I, I see how this is a precursor to all of these anthology films that we love, but in being from 1945, For me in 2022, it’s just a little too tame and 

Todd: it’s not going to scare the pants off.

You 

Craig: know, I didn’t find it scary at all. That’s not to say that the ideas weren’t clever. And if I read them in short story form, I think that I would think that they were clever, but watching them play out in film in this kind of presentational way, it just, I don’t know. It felt like something I would watch with my grandma.

Todd: It probably is something you’d watch with your grandma. I haven’t been to 

Craig: it reminded. Yeah. I mean, it reminded me of when I was a little kid and I would go out to my grandparents’ farm and they would only have, you know, like the three network channels and we would sit and watch like Bonanza. Or something like that, it felt like it was for old people.

Todd: I think you’ve many people credit this movie as being maybe the first horror anthology film, or at least one of the first films that have this format of a wrap-around story. And these Twilight Zoney tails in the middle, and most of them are based on short stories. In fact, one of them is based on an HG Wells’ story and not the one I thought it would be actually when I went back and looked it up.

But yeah, they’re, they’re probably very good literary stories, but in told in this way, with the constraints of the time period, I think what was acceptable on screen, what was not. And like you said, also just sort of the technical and, and act just the way movies were done. They were generally more for all audiences back then.

You couldn’t do films that, um, or at least you couldn’t do films and expect to make any money on. You know that we’re a little too narrow in their focus. And this is right at the time of the Hays code and Hollywood Britton had the same thing, uh, where, you know, they were just things you couldn’t say and do on in movies.

You can apply a bit, you know, you could kind of use coded stuff. And there’s a little bit of that in here. Slyly stuck in, but on the whole, you don’t even get like the ghostly scares that you get. And there are films actually from this period, do manage to become creepier and have some of those ghostly scares.

Despite it, all this film just doesn’t even really attempt it. This is like a Twilight zone episodes. I think that’s what it feels part of what makes it a little tedious at times to sit through is because, you know, the endings of myeloma. Because you’ve seen these stories a thousand times since then.

Right? So most of them don’t feel terribly original, although maybe they felt more original at the era, you know, back in 1945. 

Craig: Right. I mean, even, even the twist, like E even the frame story has a twist, but it’s so clearly projected right. From the beginning that you know exactly what’s going on. So there, there are no surprises, honestly, 

Todd: it’s almost like they’re not even trying.

Right. I mean, you know, like you said, it’s kind of like, they discuss it during the framing story and then it ends up being. Kind of more or less what they thought it was or what at least one character thinks it is. Right. 

Craig: All right. Well, unless you have a history lesson for us,

Todd: I’m not going to launch into a 15 minute thing on horror comics or the 19 filmmaking of the 1940s. If that’s what you’re anticipating now, you just want to dive in. And 

Craig: I was going to a nice change of pace. I 

Todd: suppose. I introduced the movie next time, you know, 

Craig: thank you very much, but no, the reason I say we should get into, okay.

First of all, a lot of stories, there’s a lot of stories. You said you had originally picked something else and you, you changed your mind and said, don’t read anything about this in advance, which, you know, I appreciate that warning. I like to be surprised. Yeah. To have surprises spoiled. So I didn’t read anything about it, but right before watching it, I did go to the IMDP page just to kind of, you know, see what it was rated, which it’s not see if I recognized any of the actors, which I didn’t.

And, uh, but one of the things that I was excited to see was that it was only an hour and 17 minutes long. And then I pull up the video and it was about an hour 40, I think. Um, so as it turns out, the people who distributed the American release decided that the original European cut was too long. And so they cut out, uh, two of the segments, which led to some confusion in American audiences because in the finale of the movie, things converge and, uh, it w it was confusing.

And I can imagine, um, Y I would have been very, yeah, I would have been very confused. What we watched, I believe is, uh, the original European cut. And so it has all of the stories and there are a lot of them, and I want to talk about all of them, but we’re going to have to move through them pretty quickly if we want to keep it at about an hour.

So the wraparound story. There are long opening credits like annoyingly long. Then you see this guy, his name is Walter Craig, and I think they call him Craig. Most of the time he drives up to this nice country, a state, and as soon he drives up to it and he stops in front of it and he looks, and he’s got this very puzzled look on his face.

Like you can tell already he’s feeling like something is off or strange or whatever. And he’s greeted by a guy named Elliot. It was kind of difficult to keep up with some of the dialogue. And I found myself, um, pausing and going back a lot. Uh, is, is Walter the architect of this? 

Todd: Uh, well, he’s an architect.

I don’t know if he’s an architect of this house, but they want to do some renovations on this house. So that’s why he’s been called yet. 

Craig: So he’s there for like a consultation and elegant brings them in. You can just tell right from the beginning, he it’s like he’s experiencing deja VU or something. Like he he’s familiar with the house.

He’s familiar with the people there, Mrs. Foley, which is Elliot’s mother greets him and brings him into this parlor where there are several people gathered and she introduces him to the rest of the guests. Um, there’s a Mrs. Joan Cortland, who is, um, I would guess kind of a younger middle aged. She looks like kind of a, a woman of high class she’s got kind of this dark up do, um, pretty whatever.

Then there’s a Dr. Van Stratton, who is this heavyset. Doctor with glasses. I, I think he’s German or something. He’s got an accent. He has 

Todd: that very stereotypical doctor. Yeah. 

Craig: Sigmund Freud or something. I don’t know. Um, then there’s a guy named Hugh Granger who is a race car driver. He’s tall, dark and handsome.

And then there’s a girl named Sally. Who’s young, probably in her late teens or very early twenties, but she’s obviously played young and he’s acting weird and he’s like, oh, you’re all still here. So it isn’t a dream this time. Like I said, like, it’s just so clearly projected. Like as soon as he says that, you’re like, oh, he’s been through this before.

And they just, they keep reiterating, he keeps talking about it and he keeps predicting things that will happen and they keep happening. Dr. Van 

Todd: psychiatrist. To treat me now, forgive me. I 

Craig: don’t quite understand the joke just in the jail only we should, where I’ve seen you in my dreams. It sounds like a sentimental song.

I’ve dreamed about you over and over again. Doctor, the hardly turns you into a mental case are recurring dreams are quite common, but how did I come to dream about you? And I’ve never sent eyes on you in my life. He says he seen them in his dreams and he says, somebody else will be joining them later. A pretty girl who needs money.

And that ends up happening. And Dr. Van Stratton is the. Cynical realist of the group. And he doesn’t believe any of this, but all of the other guests are at least interested and each of them have had an experience in their life that has been somewhat unexplainable. And so each of them tells their story and that’s what the stories are made up of.

Todd: Although, you know, I think the framing story was like, like, like we said earlier, I don’t think it was meant to be too twisty. Just because, like you said, it’s, it’s projected from the beginning. It’s almost hammered into your head. It’s what the characters discuss is that he believes he’s been here before and that he knows bad things are going to happen after a certain time someone’s going to break their glasses.

All that’s doled out bit by bit, but pretty heavy on in the beginning, I feel like the purpose of the framing story. And this is more the discussion. I thought interesting because every time somebody tells a story or every time he talks about what might happen and what comes up and what ends up happening, Dr.

Van Strutton always has like a scientific explanation for it. You recognize me because you must have seen me in my picture, in the paper earlier, or, you know, this person reminds you so much of a person who, you know, you meant a lot to you in the past and, and brings up that thing of that event. That’s why you get these pictures.

Honestly, these are even modern explanations for deja VU. And so I, I liked this sort of tension between. Um, you know, the movie doesn’t commit to, Hey, this is all supernatural. It seems to relish in, batting it back and forth, and you do get this sense that it like everybody else’s appropriately skeptical, but not nearly as skeptical as the doctor is who just won’t believe anything as supernatural at all, but he’s willing to entertain the stories and give his explanations.

And I actually liked that bit of it. And, and, and so I thought the, I thought the wraparound story was a little more sophisticated than you usually find in these kinds of movies. Think it 

Craig: works really well as a wraparound. You’re right. I agree. I mean, it is a story in itself. It doesn’t feel superfluous.

It’s it’s, it’s fine. Um, and, and I did appreciate too, that the other characters, like you said are appropriately skeptical, but they’re also. Curious because they’ve had these experiences that they can’t really explain either. So they’re at least open to the notion that maybe something could be going on, but they’re not concerned or scared either.

Like, oh, maybe. Okay. Well, 

Todd: I mean, it just conjures up and this is one thing I really like about this movie. Uh, for me movies or escapism. And I think another reason why I like these old movies as it conjures up a different time, it’s like a window in the past. Basically the contemporary past of when this movie was made, when people had a different way of entertaining themselves, you know, we weren’t sitting around watching movies together.

There was no television. You look back on it. It’s very quaint. And these, what would you call them like parlor dramas, right? Where people spend their evenings sitting around the fire, drinking and smoking, and just entertaining each other, trying to tell witty stories and trying to give witty smart observations, but also being very polite and respectful of each other because you don’t want to be rude and have a big argument.

You just want to make sure that everybody is a suitably entertained and, and nothing gets to tell. And, and, and that’s what I kind of liked about this and some of the stories that then therefore come, come about also show you a little bit more of what entertainment was like at this time. And so, uh, yeah, I, I liked that.

I really actually liked coming back to this framing story, almost as much as the individual stories itself, just to see how each of the participants would react and how they would treat each other and discuss what, what they had just heard. 

Craig: And I’ll agree with you that that is refreshing because if this movie were made today, it would not be a group of intelligent adults sitting around telling these stories.

It would be a group of two witty, too cynical. Sexy 20 somethings telling these stories and they would just be too witty for their own good too. And this is a little bit more grounded, you know, these feel like normal, intelligent adults, right. You know, except for Sally. Young, but just a young girl, that’s it.

But the first one to tell a stories, Hugh, and he’s the one who was a race car driver. He tells the story of how he wrecked his car in a race and he was badly hurt and he was hospitalized for some time. There’s some cute banter between him and a nurse, which was giving me all kinds of shades of like farewell to arms.

It’s very Hemingway, you know, with the wounded male, you know, flirting. Cute nurse and harassing the nurse. Oh yeah. Fever really inappropriate. But it was a more innocent time 

Todd: I expected at this time. Oh, man’s in bed. Cute. Nurse comes in and he’s got to, I think it was, you know, a check it off every script from this area.

Both of my, 

Craig: both of my grandfathers served in the military. My mother, his father served in world war II. He faced heavy combat. He was on the front lines. He didn’t like to talk about it, but every once in a while he would tell a little story and. I remember I was very small and, uh, I think that, um, it was probably just me and my dad, because sometimes we would get up very, very early, like three or four in the morning during hunting season and go out to his farm.

And, and he, at that point, like he wasn’t too old to go out. He was just too old to care to go out. So, um, he would get up in the morning, like three or four o’clock in the morning and make us breakfast, but then he would just say, Off. Um, but I remember one time, I don’t remember the context of it all and I wish I did.

I lost him when I was in seventh grade and I wish that I had had the opportunity to talk to him more about these things. But I remember him telling a story about how he had been injured in combat and, um, he was in the field hospital and he had been kind of flirting with this nurse. And, uh, I just remembered that the punchline of the story, and I believe this story to be true was that, you know, they had been kind of flirting and then one evening he woke up and she was in bed with him.

And that’s the, that’s the end of the story as I remember it, but 

Todd: that’s all he cared to tell you every dog ears, right? 

Craig: Oh, he wasn’t telling me he was telling my dad. And, and I can only imagine that my dad made me change the subject quickly. I don’t, I don’t know. But thinking back on it now, I I’m so charmed by that memory.

And I wish I’d had more opportunity, but it’s that kind of deal. And. That’s it like it’s just him in the hospital. What is it? I’m Joe bedtime. Isn’t daunting. I put it to, there’s only one way to kill me feminine. That’s demanded me. There’s no duty. And then she leaves him alone in the hospital. It’s like he hears something outside or something.

And he goes, and he opens the drapes of his windows and he sees a funeral carriage, like an old fashioned, like horse-drawn funeral carriage down below. And he looks down and the driver of the carriage looks up at him and says,

which kind of freaks him out. And he closes the drapes and goes back to his 

Todd: bed. He notices the time on the clock to is four 15. 

Craig: Well, in the time is passing very quickly. Like when he gets up, it’s like four 15 in the morning. But as soon as he goes back to bed, it’s like nine or is it like, just bizarre know.

Something’s not right. Then he goes and sees a psychiatrist and tells them about seeing this a funeral carriage. And the psychiatrist basically tells them that oftentimes when people are in life-threatening accidents or something like that, like death ideation is, is a normal. After effect, but when he leaves the psychiatrist, he goes to a board, a bus, and the Porter on the bus turns to him and it’s the funeral driver.

And he says we only have room for one more, which freaks him out so he doesn’t get on. And then he watches the bus drive away and it drives off bridge. 

Todd: That’s double Decker. English bus goes right off a bridge. It’s not a bad little model actually, to be honest, but, uh, 

Craig: yeah, it looks pretty good, but that’s it like, that’s, it’s just, that’s just his unexplained story, you know, and all of these stories are like that.

They’re all very simple and pretty brief. This is one of the briefer ones, but we can, I feel that we will be able to recap them all almost as quickly as I did that one, because not really a whole lot happens. It’s just kind of spooky situations and they’re they’re anecdotal and that’s, that’s 

Todd: fine. One other important thing was he asked a guy what time it was when he was standing align.

The guy said four 15. So also matched. Yeah. But you’re right. I feel like, um, they put the quicker stories at the beginning and say the longer stories toward the end, which is it’s smart pacing, really, but these stories, some of them end really abruptly, but it makes its point and it moves on, it’s like a very truncated Twilight zone episode, really.

But like you said, these are anecdotal. So you know that in the story, that’s not like they’re going to die. You know, that I die. They know that doesn’t, that’s not gonna happen. So it’s kind of clever how they are able to recount these while making them anecdotal. And it’s funny that you say 

Craig: that because actually having just watched tales from the Korean.

I wondered. I wonder if maybe that this was some sort of purgatory or something, and they were all telling stories that actually resulted in their deaths, but they just were unaware. It’s not, but I did wonder, 

Todd: well, he also had mentioned earlier that a penniless brunette was going to come in at some point when they, when everybody was asking, I’m sorry, I’m, I’m back to the Walter Craig at the, at the wraparound story.

And this woman does come in and mentioned that she didn’t have any money left to pay the fare. What is her name? She is one 

Craig: she’s married to one of them. Who is she? She’s Hugh’s wife. 

Todd: That’s right. That’s right. So she comes in and then, you know, Dr. Van Stratton kind of explains that one away by saying, it’s a joke.

They’re all playing on them, you know, and a bunch of them are denying it and whatever. And he’s like, well, you know, who knows? It’s just kind of a coincidence. The next story is Sally. And. Sally seems like she’s always kind of getting ready to leave. Maybe it’s getting past her bedtime or something, and she’s kind of getting ready to go and they’re kind of encouraging her to go, but she ends up staying because she says that this reminds her of an incident that happened to her that freaked her out.

So then we go to her story and her story. Oh, by the way, did you look up who Sally was? No. Sally is Sally and house and she is truly scrumptious from Chitty Chitty, bang, bang. Oh, 

Craig: that movie, that’s a movie. That’s a movie that we could do on the podcast. It’s not a horror movie. Scared the shit out of me when I was a kid.

No, 

Todd: me too. I wanted to show that. I thought about showing that to my four year old. And then I was like, Hmm, no, I don’t think that movies read the keys a old enough yet. 

Craig: I saw it at school. They showed it to us in school. And that child catcher gave me not like I was probably watching nightmare on Elm street at home.

And then they showed me Chitty, Chitty, bang, bang at school. And I was terrified. 

Todd: Oh no, it was a terrifying movie for a kid. The child catch her in that he’s creepy. But she, um, she, it’s kind of cute. Actually. She actually died in the. Oh, I didn’t know that. Yeah. She died in December and apparently she was married to this man that was just the love of her life.

And they were inseparable starting in the seventies, I guess her, her nephew or whoever said that, as soon as he died, it was like, she just went like two months later. It happens a lot. I think she was cute though. And I liked her story. I liked her story too. 

Craig: It’s a classic ghost story. Yeah. I mean, it’s just a classic ghost 

Todd: story.

It’s great. She’s at a Christmas party at a mansion and it’s a bunch of kids and they’re all running around and they all have costumes on. It’s so cute. And there’s somebody playing the piano, you know? I mean, it was just so interesting. This sort of child entertainment and they say one of the, one of the boys, I don’t remember his name says, Hey, let’s play sardines.

And she’s like what sardines? And he says, well, it’s like hide and seek because you, who wants to be it. And she’s like, oh, I’ll, I’ll run and hide. So she runs off and hides and the kids all count and she goes upstairs, kind of to the landing and gets behind a curtain in front of a window. And this boy is the first one to find her.

And he 

Craig: it’s. All right, 

Todd: I’ll stop here 

Craig: with you. When somebody else finds this, they pack into like sardine Kona, that 

Todd: better. Yeah, this kid is still kind of trying to Mack on her as well. 

Craig: And the very 1940s innocent way. It’s cute. I mean, it’s just, it’s very, it’s very youthful and flirty. Yeah. 

Todd: And it’s cute and she’s being very debonair and she’s like, she stands up, you know, and it’s like, well, he’s like, wait a minute.

I have a better place. And I’m like, yeah, I bet you sure do. And they run upstairs to like the attic. Oh, his name is. I think, and he tells her that there was a horrible murder that actually that happened in this mansion and in this very spot that a boy was found with his head cut off. And some, uh, his sister or some girl had, had cut his throat or something.

She kind of runs around and he runs out. I don’t remember exactly how it ends up, but she ends up going deeper into the attic. And there’s like a door that it’s down this old hallway that looks like it hasn’t been used in a while. 

Craig: Hind a wardrobe. I thought that was kind of interesting. Like she, I, I don’t remember if she moved to the wardrobe or if like she opened the wardrobe and there was a hidden door inside.

Um, but it was kind of hidden away. And when she goes in at first, I thought like a bedroom, she later describes it as. Uh, nursery, which makes sense. And again, like, yeah, like, like I said, I mean, it’s just, it’s just classic 

Todd: ghost story stuff. Yeah. And it’s this little boy who’s crying, uh, sitting on a, on a chair and he says, his name is Francis Kent and he’s upset.

And he says, oh, I thought you were my sister Constance. I didn’t notice her either. 

Craig: Probably had to go see much younger than me. I wish you were my sister also kind of you, Sean kind, your daughter. She hates me. She said she got to kill. Oh, again, you’re tonic her hand. 

Todd: She tucks him into bed at night, sings him a song and walks out in the meantime, the kids are downstairs and they’re all together getting ready to eat.

And they’re like, wait a minute. Where did, where is she? And he, and he’s like, oh, I need to run back up and find her. So she comes down as he goes back up. And I swear as she leaves the room, I don’t know if it was just a portrait or what, but I thought I saw a girl in the background. I, 

Craig: I did not notice, but I did read that.

Yes, she is kind of lingering in the back. 

Todd: Yeah. I did a bit of a double-take and I was like, Ooh, that was creepy. But I think, I thought I wrote it off as a portrait that had been like set on the ground. Anyway, she comes downstairs and she explains to the house mom or whatever that, uh, you know, she met the boy can’t upstairs.

She’s like, what are you talking about? And, uh, she’s told by them that Francis can’t was murdered by his sister Constance. And then the day ends. That’s it? I mean, you kind of want a little bit more, right? Like, oh, are they all gonna rush upstairs? The room is empty or, you know, what’s, what’s going to happen.

But, but no, it just ends right there. That’s a little disappointing. I think that’s a weakness of the story is that it doesn’t feel satisfying conclusion. Well, yeah, 

Craig: but at the same time, I mean, I feel like that is typical of older ghost stories where it’s just like, she’s been dead for 50 is 

Todd: it’s like urban legend, scary stories to tell in the dark kind of material.

Right. Right. 

Craig: Which is, which is cute. And that’s one of the stories that was cut for the American release, which I don’t know how they made those decisions because I found that story to be one of the more charming ones. Apparently that’s not the ghost part obviously, but the, the murder was based on a true story.

This teen girl, teenage girl murdered her. Toddler brother. I think he was like four or something like that. And well, she can, she confessed to the murder. And then I guess there were all kinds of theories that maybe she had been coerced into confessing, or she had confessed to protect somebody else in her family or something like that.

But it’s kind of an unsolved thing. I don’t know. It’s kind of interesting. Yeah. 

Todd: And then we dive back into the wraparound story and I thought they did something kind of cute here because Craig mentions that, uh, oh, by the way, like Sally is going to get whisked away 

Craig: here. Well, he says that he doesn’t remember exactly what happens, but all he remembers is that at some point he hits Sally really hard.

Um, he says, but I don’t understand. How that could happen because you’re going to leave soon. And then she does her mother shows up and whisks her away. And her mother is hilarious. 

Todd: Your mother is funny, but, but they try to short, short circuit it, right? They say, oh, well then this is going to break the spell.

Or what has one person says, then we’re just going to make insist that Sally stays and she’s like, all right, then I’m staying. And like you said, her mother comes in and just very insistently says, you gotta, you gotta get going. You gotta get go. And you got a party to get to tomorrow or something like that.

And she won’t take no for an answer. So she whisks her away. So that ends up coming true. And that’s cute. You’re right. Her mother is hilarious, 

Craig: but there, but there’s still kind of the mystery. Cause he says, he knows that he hits her, but now she’s gone. So you like, is she going to come back? You know, I didn’t know what was going on, but then it jumps right into Joan’s story immediately.

Todd: think the movies kind of does an interesting subversion here because you’ve gotten to stories that are still. I mean they’re sinister, but they’re still pretty light and tone. And I feel like this third story took a turn for the dark. I, 

Craig: I guess, I don’t know. I mean, you’ve said a couple of times now Twilight zone and, and the old original Twilight zone.

That is very much what this reminds me of, you know, spooky and creepy, but Tang well and a 

Todd: variety and a variety. Yes. There were Twilight zone episodes that were just like comedic. Yes. And we get some of that here too 

Craig: later. And there were some that were, you know, more Saifai and there was some that were more horror.

Like there, there was a variety, I’ve always liked the twilights. And I’ve like, I haven’t seen the most recent iteration, you know, every 10, 20 years they revive it. And, um, I remember watching it in the eighties and I liked it. So it’s not that I don’t like this type of stuff. And it’s really not even that I don’t like this movie.

I just didn’t love it. But Joan’s story again, really? Not anything that you haven’t seen before. It’s about a haunted mirror. There are, I mean, my goodness, how many movies and stories that we read about haunted mirror is a bazillion. Okay. So she bought her husband, this old mirror for his birthday and they hang it up in their bedroom.

And when he initially, when they, when they both initially look in it together, he kind of acts like he sees something strange in it, but they just brushed it off. But then when he’s alone, he looks into the mirror and he sees himself reflected in it. The mirror reflects and shows him in an unfamiliar room.

It is not the room that he’s 

Todd: in. Not at all the room he’s in is very plain. Oh, 

Craig: very, yes. Little to nothing on the walls. It’s basically just a bed in a room, but the room that was reflected back is ornate. Like, it looks like a room in a old mansion or a castle or something. It’s got a, a very heavy four poster canopy bed and, um, like a dressing table and handled walls, fireplace.

Oh yeah. Fireplace, all kinds of ornate decorations and furnishings. And the first time he sees it, he kind of does the thing that people do in movies. Probably in real life, he squeezes his eyes closed real tight and kinda rubs them. And he opens his eyes and it’s gone, but he tells Joan about it at dinner.

They just shrug it off. But he sees it again later that night. And when he tries to make it go away, it won’t. And then Joan is like narrating the story. She says, well, and then some time went by, we were really busy planning our wedding and we were looking for a new house, but she says pier all along was acting strange and kind of irritable.

He calls 

Todd: her a nag at one point. 

Craig: Yeah. Uncharacteristically. Like he just kind of, she says something. I mean, no. Offensive at all. And he just snaps at her and he, and she calls him on it and, and he apologizes and he just says, I haven’t been sleeping well. And he tells her, he tells her what’s going on with the mirror.

And he says, now it’s gotten worse. And he sees it every night and he can’t make it go away. And he says, and I feel like there’s something like the mirror is trying to draw me in. He says, it’s like, there’s something waiting for me. On the other side, something he, the, 

Todd: uh, 

Craig: she offers to get rid of it, which.

Easy solution idea. Um, but he’s like, oh no, no, I’m sure it’s just in my head, but well, maybe, but maybe we should postpone the wedding. 

Todd: I love that. And he’s like, he’s like something about, you know, maybe you should just divorce me now or whatever. And she says, look, she says my favorite line in this movie.

It’s I loved it 

Craig: a little bit too fast for me. Let’s get the wedding over and then we can start making divorce arrangements afterwards, but that was a great 

Todd: line, but she, she kind of curious her mother, at least they think that he she’s cured him of it because she says, look, describe it to me. And he describes there’s the four poster.

There’s the, whatever, you know, it, it has the vines running up. The top of it carved into the, into the posts and blah, blah, blah, blah, blah. And she says, well, come over here and look at it with me, with me in there. And the thing is he can’t see her in the mirror, even when he’s, she’s standing right next to him, but she holds his hand.

And that somehow seems to kind of break the spell. And when she holds his hands, suddenly he can see the room again, the 

Craig: actual room, not the ghost 

Todd: room or whatever, right. The actual room. So at this point, the reason they don’t get rid of the mirror, I think is he thinks that they’ve gotten over it.

They’ve solved it. And it’s all in his mind. Anyway, this is another story I think, where he’s going to see a psychologist, right. And the psychologist is trying to explain a way it’s, what’s going on. Just says your mental state is weird right now because of blah-blah-blah. I don’t remember the reason he gives, but no.

Craig: Well, you know, they’re getting married, they’re moving, you know, there’s all kinds of change going on. They get married and, um, they moved to a new house and take the mirror with them and she needs to she’s going on a trip to visit her mother. And she was. Him to go with her and tries to convince him to go with her, but he won’t.

And once she’s gone, the ghostly room is back when he looks in the mirror and while she’s away visiting her mother, I don’t know if her mother lives in the same city. I, I, it doesn’t matter. But she happens to walk by the shop where she got the mirror and looking in the window. She notices that the bed from the ghostly room, which he had described to her in detail, she notices that it’s in there.

And so she goes, and she talks to the shop owner about it, and she asks about the mirror and she asks about the bed. And he’s like, funny, you should ask because they both came from the same estate. And the shop holder says they, that they both belong to the same guy and this guy was disabled in an accident.

And then he went crazy because he believed his wife was being unfaithful. And so. He strangled his wife and killed her and then sat down in front of the mirror and slit his own throat, which freaks her out 

Todd: currently. So this is framed really well, by the way, the cinematography in this movie, the lighting, everything is really good.

And I love the way that this is framed because as he’s standing and talking to her and she’s sitting there and the camera slowly dialing in on them, you see the portrait of this guy who he’s talking about, you know, this 1836 guy or whatever between them kind of stare. Between them at them, as he’s telling the story, it’s like a little shadow hanging over him, telling the story it’s suitably creepy, I think.

But yeah, she returns home and he is not himself. He is sitting there and he’s talking about how he’s been, you know, stuck in this room and you know, you, you were gone. Oh, I know you, you know, I know why you were gone. You were gone to see, I don’t know, so-and-so he basically accuses her of being unfaithful.

He goes crazy. And uh, he says he’s going to end things and he picks up his, a scarf or something and stands up and starts to strain. And so they have a tussle in front of the mirror and she grabs a candlestick and swings it at the mirror and shatters the mirror, which breaks the spell. And she walks over and kind of like starts to somewhat gingerly, pull the mirror apart.

Craig: And she talks about it’s all rotten, like the wood behind the frame is all rotten and stuff. Well, 

Todd: yeah, I was just like, Ooh, careful, careful. Don’t cut yourself. 

Craig: Well, right. But I guess in an interview decades later, she talked about how she only had one take to do this because it was not within their budget.

To replace the mirror and do it again. And so she said, so I just went to town on it,

which I thought was great, but the spell is broken and that’s again, that’s it. That’s the end 

Todd: of the story. Yeah. But, but after this, I think that the interstitial like visibly gets darker. It’s darker outside, but like I said, this story is a little darker and it, it clearly they’re moving towards a more dark tone overall with the movie 

Craig: in this very brief back to the frame story, very briefly, van Stratton is still very skeptical and, and has a rational explanation for everything.

But Walter is the, you know, the paranoid guy is, is scared and he wants to leave. He feels like leaving is the only way that he can break. Spell or whatever it is, but van Stratton says that he should stay or else the delusion wins. And as Walter is trying to leave Elliot kind of sidesteps him and gets him to stay by launching into his story.

And you said that, you know, at this point, the movie is getting darker, but street, then this story Elliot’s story is a comedy it’s comedy. Yeah. I mean, again, it’s kind of a classic ghost story, but it’s a comic 

Todd: ghost story. Well, and this is also pretty typical of a lot of the anthology, not a lot, but many of the anthologies we’ve seen where suddenly they’ll throw a comedic thing in to sort of lighten the mood a little bit.

And I suppose the idea is that they’re creating some balance or things are getting a little too frightening for the audience. So we need to lighten it up a little bit before we, you know, before we end it. I 

Craig: mean, it is typical of anthology, film, man anthology. Series because you kind of never know what you’re going to get.

It’s always a hodgepodge of things and sometimes there’ll be dark and serious and sometimes there’ll be lightened comedic. I mean, tales from the crypt was like that too. And that was one of the things that I liked about it. Sometimes those episodes were really funny and this one is funny, but again, it’s just so old school that I think it’s just kind of before my time.

I mean, it’s not as farcical, but it’s a little bit kind of like Abbott and Costello kind of stuff. 

Todd: It’s also very much, I think, a product of its time because it’s actually a reference to some well-known characters from an other movie. 

Craig: Well, the, these, these two actors, I think we’re known for playing to other care.

Like they, they, they worked together and had kind of this character duo and I think that they are playing basically their famous roles. They just changed the names to. Like copyright infringement 

Todd: or what exactly. Yeah. They were like obsessed with cricket and they were characters on the train in the lady vanishes the 1938 Alfred Hitchcock version.

They have played those characters sometimes under different names, sometimes obsessed with a different sport, but the same guys, essentially playing the same characters in lots of different movies and even on stage. So this, this would be a reference that nobody today would get, but maybe people at the time would have been charmed by a, and so they maybe knew what they were getting, uh, instantly sense sort of this goofy, silly story about these two guys.

We’re obsessed with golf and both rapidly, fall in love with the same woman, 

Craig: right. They’re best friends, but then this beautiful woman, Mary comes in between them and they are both smitten with her and she smitten with both of them and can’t decide which one to pick. So they decide that they will play a round of golf and whoever wins wins her.

And she’s like, yes, that’s a perfect 

Todd: idea. Might as well flip a coin. But yeah, so, 

Craig: so they played golf, um, and they get to the last hole and it’s very close George wins, but Larry thinks that he cheated. And so. He just walks into the water hazard and drowns 

Todd: himself just slowly walks into the lake until he’s under the water.

And just his hat is floating into the top. Yep. 

Craig: Just casually. Nobody says anything. Nobody tries to stop him, like, guess he’s dead now. Okay. So, so then Mary is with George and George is out playing golf before they get married and he hears Larry’s voice by the water has the all right. I returned from my watery grave on, and then there’s very comedic scene where the ghost is like messing with the golf ball.

And these, you know, I will say the terrible effects only because they’re a product of their time. I mean, for the time fine. But like the ball is floating around. The, the actor is acting like he’s trying to swing his golf club, but something is like preventing him, like some, like some ghostly forces holding onto his club and then the golf ball, like they do this hilarious thing where the two actors on screen, like just track the golf ball with their eyes, like swinging in a big circle.

And then it lands right back in front of them. It’s really funny. And then eventually, uh, Larry appears to George in the lodge saying that he’ll haunt him forever. He’ll go away under two conditions that he leaves. And then he gave up golf. He’s 

Todd: already to leave Mary. Well, I guess what I got to do, but he’s like give up golf and he’s just like throws his chair backwards.

It goes crazy. I might as well be dead. Oh, it’s really hilarious actually. Oh, 

Craig: it was really funny. And then George was basically like, listen, come on. I realized that what I did to you was bad, but we were friends or forever cut me a break. And Larry’s like, ah, you know what? You’re right. I’ll leave you alone.

And he tries to disappear, but he can’t, like he says, he can’t remember 

Todd: how, like what gestures he has to use or something. Yeah. 

Craig: Yeah. It’s all very silly and slapsticky, but George is trying to help him. And of course, you know, like the bartender sees him and he looks ridiculous and looks crazy. And Larry says, well, I guess if I can’t disappear, I’m just going to be with you forever.

And I have to be within six feet of you. The rules. So George and Mary get married and then they’re on their honeymoon is Larry. And Larry’s just, they’re like sitting on the couch next to them, encouraging George to get romantic with Mary. But like George can’t cause like his friend is just sitting there on the couch 

Todd: with it’s funny, I’ve eat.

She he’s like kissing, you know, he’s covering his eyes while George was kissing her. And then, um, he’s like, oh, come on. This is crazy. And she’s like, well, I think it’s about time for me to me to turn in for the night. And he’s like, yeah, I guess I’m the time for me to turn into. So they start to walk towards the bedroom door and of course, you know, uh, Larry is following right behind them.

And George is like, come on, man. You can’t come in here. And he’s like, sorry, man. I don’t make the rules at six feet. Then he says something to kind of trick him. And, uh, Larry kind of stands there and isn’t paying attention. George goes into the. Further than six feet shuts the door. Suddenly Larry disappears and immediately George and Larry come walking out of the room again.

Cause he reappeared apparently right next to George. It was funny. I really liked this byplay actually, 

Craig: it was funny. It was cute. George tries to help Larry figure out how to disappear and accidentally makes himself disappear. So hilarious. Like, oh man, what do I do? Well I’m guess I go to bed with Mary and he walks towards the bedroom.

End of story. A funny back to the frame story. Brent van Stratton tells Walter that if something horrible were to have happened, it should have already happened because all of the things that Walter had predicted have already come true. And if they’ve already come true, then the evil should have already happened or whatever.

Yeah. So van Stratton tells his story, which again is very typical. We’ve seen this story before, but I thought that it was well done here. I think that maybe this one was my favorite one. This 

Todd: is the first time we’ve really seen this story. This was the inspiration for countless stories like it afterwards movies and stories 

Craig: like magic with Anthony Hopkins.

Todd: It’s very groundbreaking. I think there, 

Craig: there are a bunch of them, but it’s okay. So van Stratten tells this story. There was this guy named Maxwell for. Who was a ventriloquist who is accused of attempted murder van Stratton, being a doctor is called into like examine him. And Frere says before, he’ll talk you once it’s dummy back.

And so the police give van Stratton this, um, statement from a guy named ki who it turns out was the guy that tried to murder. But I don’t know if we know that initially through the statement we find out that he went to see for air perform and fair is very popular. Um, well known than Trilla Quist, and he’s doing his thing with Hugo, the dummy that you can just kind of tell from the beginning that the dummy is RO that Frere is really not in control of what the dummy does or says, and he kind of just has to roll with it 

Todd: sort of sweating it, you know, and I actually, God, I thought the acting was fantastic in this one.

The guy 

Craig: who plays Frere does a really 

Todd: good job. Yeah. He’s Michael Redgrave, Vanessa Redgrave’s father, you know, to sir, sir, Michael Redgrave, you know, back when it was pretty rare to actually be like knighted for acting he’s, you know, like kind of a peer of Lawrence, Olivia and those folks. I mean, he is well decorated, very, very famous acting dynasty family.

So I just, I was totally taken in by his thing. And I also felt like. At times it was a little nebulous. Like, I feel like I’m watching a horror movie. I expect this to be supernatural, but I’m still not quite sure if the dummy itself has its own personality or if he still is sort of like himself, maybe like has kind of a multi-part personality thing.

And he’s kind of a psychological thing, you know, I found my. In the psychologist shoes for the first time, kind of arguing for the rational explanation as I was watching this. 

Craig: Yeah. And I think that they it’s intentionally a little bit ambiguous, especially at the end, what happens is the ventriloquist and the dummy are conversing with people in the audience.

And when they talk to this guy key, it turns out that key is also a ventriloquist and Hugo, the dummy immediately takes interest in him and start saying like, um, maybe I’ll leave this dumb ass and, and join you. And he, you know, plays along like, yeah. Okay. Whatever. And then it seems like. The dummy goes totally rogue.

Like they’re supposed to sing a song and the dummy refuses to sing and Frere is like visibly anxious. Like he’s sweating and clearly nervous. And he eventually just retreats off stage. And then the dummy peaks back out from behind the curtain, it was like, Hey key, come see me back in my dressing room, we’ve got to talk or whatever.

And so he does go back there to talk to him. And at first he hears the dummy, talking to him and Frere is nowhere to be found. And the dummy says a couple of things to him before he locates where the dummy is sitting,

let’s get down. And when he locates where the dummy is sitting, he doesn’t say anything more at that point. And for air comes out of the bathroom and he’s like, oh, you’ll have to teach me that trick. And the guy’s like, oh, did he talk to you? What did he say? And he’s like, oh, ha ha. Very funny. But then a later.

Frere is out at the bar, presumably of this hotel that they’re staying at or whatever. And, um, he’s drunk and he’s just got the dummy sitting there next to him. And these women come in with this guy and it seems like they are a little boozy too, and they recognize Frere. And one of them goes over and starts messing with the dummy a little bit.

And the dummy says some of noxious things to her and she’s offended and goes back and tells the guy that she’s with, you know, go defend my honor or whatever. And he does, he goes over to Frere and starts, you know, threatening him. And the dummy continues to say insulting things. So this guy gets up and fares face, but ki kind of gets in between them and gets them away and takes for upstairs.

To his room. And for as completely drunk, he puts him in bed, covers him up, sits the dummy on the bed with him. And then he goes back to his room in the middle of the night. There’s frantic knocking on his door and he opens it up and it’s Frere. And he’s like, where is he? I know you have him. And he’s like, I don’t know what you’re talking about.

But eventually fairs, like looking around the room and he finds Hugo the dummy and Ky is obviously surprised. Like he has no idea how he got there, but Frere is incensed picks up the dummy, but then pulls a gun and shoots key several 

Todd: times. I thought he was dead. 

Craig: Yeah. So then van stadion after reading, this wants to truck to Frere again.

And so he goes to his jail cell and he brings Hugo with him. And at first. Frere is afraid of the dummy. Like he gets up and like retreats into a corner of the room, but they lock the dummy in there with them and van stadion watches them talk to one another. And the dummy is really mean like talking about how he’s going to leave for air and there to rod.

And he’s going to go find key and they’re going to have a great career and maybe they’ll visit him in the loony bin or whatever as van Stalin’s watching and eventually calling for the orderlies Frere tries to smother Hugo and eventually stomps his head. And then apparently some time passes and then startin brings key.

The guy who was shot to visit Frere, hoping that seeing him will cure him or something. I don’t know, a little 

Todd: nebulous, isn’t it. 

Craig: What’s going on. We see that since the stomping of the Dunham. Frere has been catatonic. He’s just sitting in a bed, staring off into space. They try to talk to him. And when he realizes, when Frere realizes that it’s key, that’s there to see him.

He starts talking to him, but he has this frozen kind of smile on his face. And when he talks it’s Hugo’s voice. So it’s like, I don’t know, like he either Hugo has possessed for lack of a better word Frere, or there was some psychological maybe if, if you know, your theory is correct, maybe it was psychological all the time.

Maybe it was like a split personality, kind of 

Todd: it’s a very well constructed a bit because there’s never a moment where the dummy talks like where his, the dummy’s mouth is moving, the dummies being animated where Frere doesn’t have his hands on it. 

Craig: We never see. I mean, the, the dummy talks to ki 

Todd: when he first comes into the room, but he doesn’t move his mouth.

No mouth isn’t 

Craig: moving or at least we don’t see it. We don’t, we don’t see him talking at all. We just. Yeah, right. We never see him animated. We never see him animated if the other guy is 

Todd: exactly. So it’s still a little nebulous. Exactly. What’s going on. I want to believe as a possessed dummy, but, uh, gosh, Redgrave really sells this one, man.

He really sells it and it’s very Nat. I think very naturalistic acting, actually, he’s just sweating bullets and you just see his breakdown. He’s drunk at one point, you know, he’s just nervous. He’s just doesn’t even seem to be there. You know, like his mind is on other things, fantastic acting. And we can’t talk about this episode without mentioning Biola, the character of baby.

Oh, yeah. Who is, um, an actually an African-American actress in a shockingly progressive role for an, for a person of color at this time who are normally relegated to dumb little comedic roles or your 

Craig: surface roles, right? 

Todd: Yeah. She is like the owner of this club or something she’s like super successful or is she a singer in there?

She talks with. Very glamorous standing here right next to these, these aliased actors holding her own. She gets a bit of a song number in there. It’s actually kind of clever. Like she starts singing a song and I thought, oh, this is charming. Are we going to be treated to an entire musical number in the middle of this?

But you know, after about a minute of that, then it cuts to that whole scene that happens in Fair’s dressing room. And it’s like, the length of that scene is the length of her song. You can hear it faintly in the background the whole time. And then by the time they come out, it cuts back to her and she finishes the tune.

It’s really, really cute. Clever, 

Craig: I think the whole very progressive for 1945, like incredibly progressive, 

Todd: this woman got really lucky. I mean, don’t get me wrong. She’s very talented. But like, even that didn’t often matter. And, uh, and she had a lot of big roles, uh, in screen and on stage and live a much better.

Life as an African American actress than most of her peers at this time. So I, and this movie was one of her first big roles where it, where she did that and even reviews at the time kind of mentioned how she was a bright star in this film. So 

Craig: kudos to her and kudos to the filmmakers. That’s great. And then it goes back to, uh, the frame story where everything pays.

Um, van Stotten breaks his glasses as was predicted the lights dim as was predicted. And Walter says it’s started. And then for some reason, he requests to be left alone with van Stotten, like he just wants to talk to him alone and like, okay. And so they all leave, Walter. I don’t know, he talks a little bit, but basically it’s like, I knew this was going to happen.

It was inevitable. And now I have an urge to kill you and he strangles him with something and then he starts running through the house. But actually what he runs through is all the stories, which is really kind of cool. Like he, he runs through these scenarios that we had seen. So he runs through the Christmas party.

And as he’s running through the Christmas party, he bumps into Sally who starts screaming. And so he punches her and knocks her out as he predicted he would earlier in the movie he runs through, I think all of them. But he ends up in the cell Freres cell from the last story. And Hugo is in there, but this time Hugo is played by what must be a little person or a child.

So he’s definitely wearing some sort of dummy head mask, but he gets up and walks towards him and hovers over him. And then Hugo starts start. It was very creepy. Hugo starts strangling him. And then all of a sudden you hear the sound of an alarm clock. And Walter wakes up in his bed in his home. His wife is there and immediately he gets a telephone call from a guy named Elliot.

Asking him to come do a consultation at Pilgrim’s farm. And Walter says to his wife, I wonder why that sounds so familiar. And then it just cuts back to the opening scene where you see his car approaching this state and you see him stop in front of it and look at it quizzically. And then the end comes up on the screen and that’s it.

I mean, like it was, it was obvious that that was going to happen, but at the same time, it was a little satisfying to actually see it play 

Todd: out. Well, interestingly enough, an odd bit of trivia is that this movie directly inspired three mathematicians and astronomers to come up with the steady state theory of the universe.

These guys are Thomas gold, Fred Hoyle and Hermann Bondi, who, uh, were discussing with one another. Hey, wait. Do you see that movie dead of night? Maybe this is how the universe really is. It’s constantly in a steady state and just looping back on itself. And from a physics perspective, the idea is that although the universe is expanding, the matter is constantly being created and forming new galaxies.

So that the average number of galaxies in any part of the universe is, is approximately the same really interesting. I don’t know. I don’t know how much credence that’s given nowadays, but, uh, to think that this horror movie inspired this notion is kind of 

Craig: cute. Yeah. I mean, when all is said and done, and gosh, this happens all the time and I always feel kind of stupid and redundant saying it, but talking it out with you makes me appreciate it even more.

I do appreciate it for what it is. I think that it. Good storytelling, charming storytelling, a different style of acting, but well done on the less. I’m not going to watch it again. I don’t know that I would necessarily recommend it to my friends, but it was not a waste of my time. It’s an interesting kind of charming piece of nostalgia that, you know, gives you some, a window into a different time.

And I do love these, uh, anthology movies. And if this in any way, paved the way for those movies that I love, then I am grateful for that. And so, um, I’m not mad about it, you know, I didn’t, I didn’t hate it. I’m not mad at you for picking it, not my cup of tea, but, uh, I get it. I get why it’s been well received.

I get why it has a following. I understand why you picked it. I’ll go as far as it’s a good. 

Todd: It is good. I mean, it’s definitely good. I mean, technically it’s great. Seriously. The cinematography, the lighting is very moody. It’s very well done. Very well thought out. The acting is top-notch, even though it’s a different style of acting than we’re used to, these are all beautiful people doing a fantastic job and highly influential.

We rattle off a whole bunch of ways that this movie influenced the movies that came after it. You remember that movie triangle that took place on that boat? Yep. This movie directly inspired Christopher Smith who wrote and directed that, that movie for its concept, Martin Scorsese puts this as like number five on his list of the 11th scariest, horror movies.

I don’t know how that could be, but I think what he probably means is just movies that he thinks has a, have a, have a deep impact or impacted him. So, yeah, it’s very well respected, I think for very good reason. And, uh, I found it enjoyable to watch and I’m glad we watched a long version, but I would say I was ready for it to be done by the time it was done.

And I thought that, like you said, the last one was definitely the best. It was the most complex and most interesting. It was the one that had me guessing the most wondering where it was going to go and whether this was supernatural or whether this was just a freaky guy and just ventriloquist dummies.

They’re just creepy. Yeah. Yeah. Really enjoyed it. And I’m glad this could be, uh, uh, dive way back into the past to a bit of the origins of our horror anthology series coming up, we have one more selected for you. That’s definitely going to be a bit more modern and we hope you’ve enjoyed what we’ve been doing this month.

If you do enjoy it, please find us online. Just Google two guys, and a chainsaw. Find our website, find our Facebook page, our Twitter feed, let us know what you think. Let us know some anthologies we should review, and we will come back and revisit this, this topic from time to time. Of course, there’s a lot of them out there until next time.

I’m Todd and I’m Craig with Two Guys and a Chainsaw.


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