Episode 699: The Spirit of the Beehive (1973)

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Mm hm. Welcome to the projection booth. I'm your host. Mike White. Joined me once again is miss Heather Draine Hella.

Also back in the booth is mister Robert Bellissimo. Hey, Mike, thanks for having me back. We are kicking off in August of art films as we look at Victor Rise's nineteen seventy three film The Spirit of the Beehive. The film stars Anna torrent As Anna, a five year old who lives with her older sister Isabelle, her mother, and her distant father in a palatial estate. When the film Frankenstein comes to their little Castilian town, Anna becomes fascinated by the creature, killing little Maria.

She begins to deal with death in the world after this. There's a lot more to this film, and we plan on spoiling all of it. You have been warned, so, Heather, when was the first time you shaw The Spirit of the Beehive and what did you think? Well, the first time I got to actually sit down and watch the film was in preparation for this reporting, because when you had mentioned in your schedule, I was like, that's what I've always wanted to see. I've heard of it, of course, I was not disappointed.

Without going into me de deals because I know we're about to dive into it. I will say this film was such a I would consider like a gentle piece of cinema about a very harsh world. And that's how it strikes me. And Robert, how about yourself? Yeah, same with Heather.

This was the first time for me. I guess I'm doing all the Bees this year, Mike, because we did the Valley of the Bees and No Sphere of the BEI, so I took all the b related films. So yeah, this was the first time for me. I hadn't even heard of it until I saw your list that you were planning for the year, and I haven't heard of the filmmaker. Spanish cinema in general is a bit of a blind spot for me that I do something about that.

Outside of Boonwald, I probably don't know a lot of Spanish films, So it was a first for me and I watched it the first time. I didn't teach do it right away, and I thought why, I don't know, because it seemed like something I'd be much more interested in and then I was like, I got to dive into it again because I must be missing something. And when I watched it again, I was like, yeah, I could see why when I first saw it, I just wasn't in the right mindset for it, because it's not a film that you can watch like most films. I think I put it on when I was maybe in the mood to just consume as opposed to experience something much more challenging, and I think a lot of stuff went over my head. And then obviously reading more about the film, there was some great special features on the Criterion Channel where at Esa and the writers and the producers talk about it, which helped me see a lot more insight into it.

What I like so much about the film is nothing as obvious. It really leaves you thinking about what is this girl looking at a lot of the time, what is she thinking? Why is she so drawn to this Frankenstein I'm the connection with the Spanish Civil War, So it really it's a tough watch in a good way. But yeah, the second time I liked it a lot more, so I'm looking forward to diving in deeper. Yeah, this was also a first time watch for me.

I had been aware of this film for probably twenty some years. It's just got such an interesting title, and I don't remember where I first heard it or if I came across it, maybe like Facets was putting it out on VHS or something like that. I don't know, but yeah, it's just always been out there and always been something that I've wanted to check out, and so so much of well, so much of this show is me kicking my own ass and making myself watch things so and I'm almost always a better person for it, you know, like finally seeing the conformist, finally seeing this, finally seeing you know, more yr Sheeta films, just like, Yes, bring it on, and this one did not disappoint whatsoever. It is ironic because I don't know that much about Spanish cinema either, not nearly as much as I would like to, only to find out that Anna Torrent actually is in a movie that I like a lot and have seen a few times.

Even talked about it on christ Ashu's show The Culture Cast of Like the Bullet Wardingwaymedia dot Com talking about the film Thesis or tsis. She was the main character in that, which is a great Spanish horror film. If people haven't seen that one, I highly recommend it. And that was however many years later, I want to say, it was ninety six, so little Anna all grown up. But yeah, I love Anna that she is.

Like you said, she's kind of a blank slate, you know, just this little girl with these big, big brown eyes and just her taking in the world and her reaction to things. She's not a professional actress at this point, she admitted to publicly. She's like, yeah, no, I was just reacting against things. I didn't know what was going on. I didn't know how movies worked.

I wasn't able to take direction. She didn't know when they were calling her another name at first what they were talking about. So they ended up just calling her Anna, and I think they did the same thing for her sister as well, just made it a lot easier. In fact, the first few films that Ana Torrent was in, her character's name is Anna, because it's just a lot easier. It's kind of like Jackie Chan movies, right, just call him Jackie.

But yeah, just like you said, there's so many pieces and parts to this, and I mean even just the title The Spirit of the Beehive. Yes, there are beehives in here, and there's talk about spirits versus ghosts, which is interesting, but also when you think about it, the spirit of the beehive, we don't tend to use, or I don't tend to use here in the US, I don't tend to use the word spirit too often. But if I were to use ghost, if I were to call this the ghost of the beehive or the specter of the beehive, it's very Phantom of the opera. Is it something haunting the beehive or is it just this creature because the first time you see Anna's father, he's in that big beekeeper outfit. But it's probably one of the scarier images of the entire film.

I would say the whole thing with the spirit versus ghost, because we see the little girls and her sister after seeing Frankenstein talking about oh no, that's not a ghost, it's a spirit, and my first thought was, like, I've always thought they were one of the same, because you read about the whole there was that sort of fascinating sort of seance people I'm sure still do sands down, but that was like a big cultural fad in America in the twenties calling the spirits? But what are spirits in that? Ghost calling the dead? Yeah, And the whole alliteration of the title is so mysterious. It's like the title itself is a hint to like the rides you're in, because this film is beautifully up to in some ways.

And Roberto, I like a film that gives me room to be like, huh, but filmmaker telegraphs every single thing. Where's the magic in that? Where's the mystery? And you're also treating your viewers like they're dumb. I think sometimes if you do that too much.

And I love that there's a lot of room, a lot of breathing room in this film. You're not always sure the English translation is exactly what the people are saying. But yet he say and others were were referring to Frankenstein later on the Gorilla Fighter, the soldier that comes into that barn near where they live, and they refer to them as like stantum characters, so that it's phantom those spirits is their indifference and what does it all mean? And I think the fact that and as that scene where she's asked your mother, our spirits good or bad? Is something that she can't quite figure out.

And that's what fascinates me, is what is drawing her to Frankenstein in this film, we don't really know. It's there's only suggestions, and so you have to come up with your own answers. But naturally, this coming right off the Civil War, Franco has taken over in this small town in Spain. And YETI say was saying basically that watching Frankenstein basically gave the earth to their imagination, so to speak, that everything that they had experienced thus far has been people who are mute, people who aren't talking, who are sad or a distant. We see that this marriage is with their parents that they don't even talk.

This is the first time they've seen a movie. They're likely haven't. I don't know what school, No, we just see them at schools. But this has really sparked their imagination. So it's that leak reality giving birth to one's imagination.

And then from a child, what does that bring out? And there's so much, It's so layered and so ambiguous that really people have to come up with their own things. But I think ultimately it accept the mystery of it. But it's unexplainable. It's hard to talk about in some ways.

One thing that I thought was so captivating in this film is how quiet this film is. This is one of the most quiet films of the sound era, because even with there's dialogue, it's almost always whispered. It's this very whispery movie. And you touched upon this. I love this is that the adults in this universe that was obviously based in history in real life carried themselves.

It's they're almost like ghosts themselves. They have this even the way they move they have of heavy grief. They themselves have been muted because they've had to deal with destruction and trauma and oncoming poverty. Anna still has this fire. It's like the film lights this little fire in her of a world beyond the drabness.

Like the adults don't really other than the teacher. If the parents interact with the kids, but not much. Those kids are leftiffing for themselves largely, and they're left to their own devices. Her sister, it doesn't look that much older than her, but I guess it's just old enough to where she's already displaying signs of having what I'll call the cynicism of the adult world where Anna is still young enough where she has that purity of just being like, this is real to me. It seems like the only other person seeing this film that still has that ability to have imagination as her father.

And the housekeeper makes some comment to him while she's feeding the chickens about his head in the clouds or don't keep your head in the cloud something to that effect, and then later on we hear while he's working in his little office and having his tea, we hear that dialogue from Frankenstein where Victor Frankenstein is talking about that. And I think the reason a lot of children get into monster films is because it's a fantastic that can give you a comfort of dealing with real life horror. And I don't know if that's necessarily yeah, And that's the thing, because everything around her is the landscape looks like Oklahoma in the summer. It is not pretty. Almost all the color except for the golden light that we see pour into the house, which is beautiful, but everything other than that is very drab, except for the honey light in that far off green mountain that father's grandfather called the mushroom garden, and that in a distance looks really fertile, but everything else just looks like the fertility has been sucked out and no place for whimsy.

But a child needs wimcy, and it's I think horror can be such a great way to cope with trauma, especially when you're young, because you don't fully you're not stupid, you have an animal sense of something not being right, but you're still trying to make your way about it. Yeah, So much of this film for me is all about trauma and just the way that we experience things and process things, because it feels like Isabelle is not processing things very well at all, especially when she is joking the cat, which is one of the most horrific scenes for me, and then the cat scratches her to get away, and then she takes her finger with all that blood on it and then just starts rubbing it on her lips, doing lip gloss with the blood, and I'm like, Okay, yeah, I can kind of understand you're at that age where you're curious about makeup and these things, but at the same time, not blood and not from this injury that you got from nearly killing this cat.

That is such an upsetting scene and It's funny because so much of this movie is presaged in the opening credits, because you get those childhood drawings, very similar to another film that we've talked on about on here, Death Game with Colleen Camp and Sondra Locke. But you get these images and it looks like they were drawn either by Anna or Isabelle. And you get you know, the the beehive with the mask, and it's funny because she draws the mask in green. So at first I was like, well, is that Frankenstein? But no, and then you see all the bees going into the house.

But it's through that like wire mesh that he has set up. He has the bees actually living in the house in this protected way, which was very interesting. You get a picture of the cat as well. I mean, you get the two little girls, you get a few actually have the bee costume, which again his head is like a triangle. When you see that, you get the I think it's her mother with the letter writing and everything.

So you get like all of these images right at the beginning that are going to come back, which is always clever, but you're also seeing what these things are interpreted by a child, and that you know, that's this whole movie. I like what the father was saying about the beehive, because he almost like how Frankenstein becomes some sort of a seat of reality from reality. For Anna, that seems to be his comfort is the beehives. And he says when he showed somebody else the behive, when they looked in and they saw all the chaos, that they were horrified. But yet he seems to be comfortable inside that chaos.

And I suppose that there's alto them, be a metaphor for how they're feeling on the inside, nothing but chaos that's just bubbling and can't really and can't really come out. But that's what I took from the title of what the spirit all of the beehives or the spirits are. The Frankenstein, the faith and Frankenstein that Anna has is some kind of a spirit, and they're the inside this beehive. The honey coming in, the honey color with the bars on the glass window looks exactly like a beive. That hope that spirit is a good spirit and not.

That's what she's hearing and pointing with and trying to figure out is this a good thing? Is this a bad thing? And we don't know. It's really hopeful, I would say. I think the fact that at the end she's still calling out to him even after she visualized imagine him grabbing her.

I think it's a please to be saved. I think that's how I saw it. Anyways, I don't know if the two of you saw that any differently, but. Well, I'd love that she doesn't see what happens to the little girl in Frankenstein and that becomes her question, and that she doesn't see it. Well, we don't see it either because we cut away from that to the outside, but also the film itself was censored.

So this whole thing of her living in Franco Spain, nineteen forty, I think, is when this is set, and then nineteen seventy three is when this comes out. Being made probably in seventy two or early seventy three, and we're still what three two three years away from Franco dying. Yeah, he died in seventy five, so yeah. So this whole rain is under Franco, though back in the nineteen forties it was much more the whole fight between Franco's forces and the Republicans. So we get that the maquis or the Republican soldier hiding out in the barn and everything.

But just that again, going back to trauma, and just like all of those things that are happening outside of her realm, and it feels like the it really feels like the whole family is hiding inside of that palatial estate where there's barely any furniture. I think they're on very hard times. Like when they're eating, you don't see big meals or anything. It looks like they're just eating soup. So I'm like, I don't think they're doing very well.

I think they're just hanging on by a thread. Mom's got her letter, his dad's got his beehives, and the girls are just. Trying to make do the whole thing over and see with the cat that Legit made me so squeaming. I'm like, what it's wrong with you? Kid?

I don't know if that was Isabelle's way of coping with trauma. Definitely happens with kids, but I guess there's be foreshadowing with the blood makeup novel. As much as I was into horror movies as a little one, I was never tempted to be like, ooh, there's some blood gloss or anything. It kind of reminded me of Schindler's List. There's a scene where the Nazis are coming in to take some of the Jewish prisoners and the Jewish people, the Jewish women are like, we have to look healthy, so they literally start pricking their fingers and using blood as blush.

So I think that's blush right on your cheeks there or roofs. Yeah, so they're doing that in order to make themselves look more attractive to the Nazis so that they won't be killed first, which is a horrible thing. And there was one article while I was reading talking about because again that has the famous girl in the red coat that you follow. You never really get to meet her, but you just see her fate. She's kind of in the background or foregrounded sometimes seeing her.

And I'm sorry if I'm getting this wrong, because I haven't seen it in this list since it was at the theaters because I was so friacking traumatized by it. So I'm not about to pop it on and just watch it for a good time or anything and take out. Yeah, I'm not going to make out in the theater while while it's playing or anything die Belt, But you know, that's a child in wartime, and this whole movie is about children in wartime, and you get that whole idea of, you know, what kind of innocence is being lost? So when you get and Isabelle almost shooking that cat, you're like, okay, even Isabelle, Isabelle pulls that. I mean, one of the things that I think is central to this movie is when she convey instances Anna that she's dead and plays dead in that room.

That to me, it feels like Anna is a completely different person after that moment. And I don't know if I watch this correctly, but I think that when she's there with her sister and her sister's laying Isabelle's on the ground and Anna's trying to wake her up or get her up, she leaves the room out of one doorway and kind of goes all the way around the compound and comes back, and it feels like she comes in a different doorway. And I swear it's almost like she's a different person at that point, because she just seems again very traumatized by that moment. It feels like she almost starts to get a little PTSD at that point, and then when her sister grabs her from behind like a total horror jump scare, You're just like, what the fuck is going on?

Like I was like, who is doing this? Because she's got those big gloves on, so you think it's a man grabbing her. But no, it's just her funny joke, right. I pretended that I was dead completely horrified on I can't even imagine what she was going through. It's it's interesting because in a sense it plays on what kind of an imagination even the audience may have, because when that was happening, I was like, oh, look, O stives buying you and they it.

Even I started to believe that this was that maybe they're going into like magical realistic, isn't it? And then I'm like, oh, okay, it's a prank. But I think you're right. There is a real change in or right after that, because immediately after that is where she's watching her sister jump over the fire, and then it goes into slow motion and then freees frame and it keeps cutting back to her close up watching it, which goes back to what the coolest shob effect where you know, which Hitchcock would talk about endlessly about how what he that he It's used all the time, but he would use it endlessly at his films. You look at an image of its beautiful woman and a guy looking at her than the audience, even if his expression is neutral, the audience knows, Oh, he's checking her out, he thinks she's attractive, or whatever.

Looks at a food, he must be hungry. In this case, there's a lot of that. But it's never, like I said earlier, it's never obvious. She does have just a neutral expression. And even there like you're looking at your sister jump over fire, but it's not like it's not just an obvious well looking at a girl, it's is she thinking, I want you to die because of what you hit to me.

I want you to burn now, did you stare the hell out of me? It's even with the mushrooms earlier, where the fathers showing you okay, dues are the bad mushrooms. If you eat them, you'll die. Don't go over to those mountains. And again it's cutting to Anna and looking at the mountains, and it's what, we don't really know what she It's not obvious.

It could be that she's thinking is Frankenstiegin over? There is the spirit over? There is the spirit? Good? Is the spirit bad?

The train, same thing, the train coming in. It's really interesting. I can't think of another film that sort of dud did something like this, since from a child's perspective and how the imagination stimulates people and brings them into another reality that's existing only in their head, it's really original. I can't think of many films that did something like this. I guess people can see it in all kinds of ways, but I went back and just looked at some of those images of like, what is she thinking here?

It's really open ended. Well, the conversation changes because we have the two sisters talking to each other in bed, and now after that moment, after that fire scene, after we see that freeze frame, we get them back in bed together again or separate beds, and now Isabelle is asking questions of and Anna just turns over. It's like, Nope, I'm not talking to you anymore. I'm not answering your questions. Oh something has definitely shifted inside of her, and even Isabelle has lied to her once already telling her about oh yeah, no, the Frankenstein monster.

He's not dead. I saw him in town, like he's here, you know, he's resurrected or like the whole thing that we were talking about earlier on as far as spirit versus ghost, No, he's not a ghost. He's a spirit. Even though there was Ghost of Frankenstein I believe was one of the Universal films, but yeah, not Spirit of Frankenstein. But yeah, she's then you know, Anna is obsessed after a while and just like, oh, I'm where does Frankenstein live?

Okay, I'm going to go out to this old sheep shed with the two doors, which is very fascinating too, speaking of doors, to see how Anna almost always goes in one door and then comes out the other. And there's a really good moment towards the end of the film where she goes in and the camera just tracks along the side until she comes out the other door, which I thought was kind of nice. And in that case, you don't see what's inside, and you don't know what she's seeing when she goes in there, and sometimes we get that sometimes there are moments where she goes inside of this sheep shed and you don't ever see what's there. But that is also the place where the rebel soldier ends up being at and she I mean really, I find this film absolutely fascinating, and the way that Frankenstein comes back over and over again.

Like they're in class and there's the Don Jose dummy you like thing that is up at the top of the class where people are putting organs on this figurine. You know, it's like a slim good body type of thing where they're putting in these like, you know, stomach and lungs and arms. And then she goes up and she puts the eyes on it, which I find to be very fascinating. That's the eyes and like we've been talking about on on her big brown eyes and just how she's experiencing things. And then later on when she meets the soldier, she kind of remakes him too.

She brings all her father's clothes and either she's making another man or making a new image of her father. And that's how the soldier ends up getting that watch, which plays a crucial part in the film overall, because the watch was. In the pocket. I that something like a sense of trust was broken by that prank. It's because beforehand she relied on her older sister the whole thing about her calling the spirits by closing her eyes and saying her name is something isabel older, but now it's Isabelle has broken that.

And there is a weird sort of darkness in the way sometimes isabel looks. The shadows always seem to I feel like she's almost lit a little differently, not in a major obvious way, but I don't know, there's always just something a little more cruel about her, even before the whole cat thing, which was very traumatizing. I don't know if I've just gotten more sensitive to seeing animals and peril in general, but I feel like the older I get. There's a number of Italian horror movies, I have to believe the word certain light saying it's all like now, like Anna feels betrayed and so she just retreats within. Well, one thing I didn't pick up on until the second time I saw it was that Anna's sister says, she says, oh, if it's Frank, can't be a spirit because spirits stn't have body.

Then she goes, oh, no, that's just that the signs. And then I then it made sense later as to why you said, Mike, the don jose D the putting a mats on it, it's keep speaking her thing. This is the spirit of Fradet's side. And then yeah, like you said, with the soldier appears out of nowhere, and because that's it's the area where her sister told her the spirit is because she believes that he wears disgize. It's again that possibility of is this another spirit?

So I was really fascinated by that, all these different phantoms and what they all can potentially represent and how Again it's we don't know how and of what she hopes here for to find, but she's curious. I think the ultimate hope, like I said earlier, is some kind of salvation or some kind of healing power, a skill what a Stapst film perhaps, or even Heather said of finding comfort in horror films. I think that's ultimately the hope. But I was really interested in that. I mean, when you are really curious about something that you can't see, you don't We don't always know why we're so drawn to these things.

I'm not sure if she really knows. And even the fact that though these wars of this war has just happened, it makes me wonder what did the children necessarily see in this small town or is it just that they are responding off the despair of the parents and that something is just not right. She looks through the photo albums and when they look happy, and now they don't smile, they don't talk. It's that confusion. Really, that's another great moment, because you see them in that photo album.

It's almost like a little mini movie inside of the movie at one point, and you see the appearents and they're together and, like you said, very happy. And then you start seeing them in their own individual photos. And I want to say that they might even have their backs turned to each other in those photos, but for sure they are in separate photos because I don't remember who it was or probably many of the articles that I read talk about how you never see the mother and father frame together, even when they're there at dinner, and I just rewatch one of the dinner scenes just to make sure that they are just in individual shots. And that even comes to the girls. It is a series of close ups of these or medium shots of each one of the family members, like you might get some shots with you know, Anna or Isabelle with their mother, or Anna and Isabelle with their father, but the mother and father.

And that was one thing I wrote in my notes originally that it was the grandfather because I didn't realize how much older he looks than the mother, because the mother, absolutely she's out gorgeous. Yeah, much younger. He's old and just interested in as bees right now. And no, wonder if she's writing to some of you other flame. Well, yeah, that's what I wanted to ask.

They both have their voiceovers, which is great, Like he's got his notes that he's talking about bees and everything. She's got her letter that she's doing, and you hear her voice, I believe. And when I wrote my notes, I thought, oh, that's her sister that she's writing too. I don't know why I thought that, But then almost everybody else that I whose articles I read, they're like, oh no, that's a lover that she's writing too. Oh.

I feel so relieved because when I saw your script, Mike Crivis, and I saw a sister, and I'm like, oh God, did I misunderstated? Because I even thought with some of the photo album that one of the young gentlemen with her was not the father but the original flame. I was almost like is this a lover she had before or don't out. You're never quite sure and all of our defenses everything is up to So it's just we all could be right, we all could be wrong. That's kind of part of the fun of the journey and the Frankenstein Monster.

Something that I find most compelling about that is Frankenstein's monster is not the villain of Frankenstein. You could use it as a parable for humanity. He was not asked to be born. He's having to deal against, obviously against his wishes in wills, the slings and arrows of humanity's misunderstanding and ignorance and cruelty and judgment. And that's why the wrror community see a lot of people that are monster kids that feel othered at a very young age.

And that's because you had the edward empathy of yeah, I can relate to this monster because that's how I'm being treated. Or you see that strain of human intolerance around you in your real world, and obviously, if you're dealing with a small community that's very poor, that has just gone through a terrible civil war and is now dealing with some fascism on top of that, yes, you're seeing a whole lot of cruelty and intolerance around you. Dealing with anything that's fantastical. It's like a promise to you that there's something beyond your little world. You notice how much the night time shots.

We don't get a lot of them in the movie, but the nighttime shots do look beautiful and magical. The landscape as a whole looks dreary. It looks so dreary, and even when you have those great, like wide shots of the open landscape, it just looks God, this is where hope goes to Duff. It looks so sad. But the nighttime everything looks better in the dark and a little bit with the stars and the moon, and it's this is the dream time.

This is where the fantastic can really happen. That gives you hope. Even if it's misplaced hope, sometimes it still gives you hope. I noticed that when the soldier was chilled and they're talking over his body in I'm not sure exactly where they were where they brought the body inside the house or nearby, and it was it looks exactly like Frank like the scientists around the corpse, and I was like, that was so I must have been intentional, because I thought that was the only sort of a little bit more obvious nod from the things that she see, the tree, the mountain, the mushrooms, these things that she's looking at. That was one of the more obvious, sort of strong suggestions of that sphirit of Frankenside looming.

We know, but that was a real obvious shot. And it's not even her looking. It's just an objective shot. It's not her POV. Well, there's a lot of very flat shots, and I almost wonder if that is more of a child's POV type of thing, just head on, like when they're shooting like trucks coming into town or any of these things.

It feels very like just flat and like this could be a two dimensional image, if you know, if a child are drawing it, it would look like that basically. But that scene with the dead body with the soldier there, that might be that same place where they showed Frankenstein, because there's the. Oh yeah, that's right, that's right, that's what it is. That's what it is. Yeah.

Well, I don't know in religious practice, and I know that this is probably I mean, people were probably thrown out of windows over things like this, where when does the spirit inhabit the body? And this whole idea and I know this one was a major fight between factions of churches, which is being born with sin? You know, the original sin? Are you born with sin? Or are you born pure?

And then when you come to Frankenstein, he wasn't born, he was mate. He was sewn together from all of these pieces. Does he have a soul? So this whole idea of like is he a spirit? Is he a ghost?

You know, he's got something inside of him animating him, but he wasn't a born of man, you know. And that's also fascinating that Frankenstein is a female creation Mary wo Walston Craft Shelley writing this, and then to have two female protagonists because you could say Isabelle's a protagonist in this as well, but for sure one female protagonist with Anna, I was like, oh, that's really nice. And she basically is playing that Mary Shelley type role, putting the eyes onto you know, Don Jose and you know, creating the creature and then going out and then being Maria at the same time. And I love, Yeah, you get the hand coming towards her from that Frankenstein monster, and I love that Frankenstein is flesh colored too, that he's not green like we see him in posters and things.

And I'm like, well, that's interesting because she she maybe saw that poster, but in her mind she doesn't know it's a black and white movie, so what does the creature look like? I thought that was a great makeup job, and then yeah, I love that it's kind of a fade out and then we don't know what happened. But luckily she was okay. That makeup job was exquisite. If it had looked cartoony or really goody, it would kill something.

Because this film is there's something so pristine about it as a whole and how it's composed, but also something like going back to the beginning is yeah, the whole contrast of getting to see a movie in this village where the village was like it's two hundred plus years old, and I don't mean just like, oh it's old. It looks like nothing's really been updated. And I'm sure part of that's because of the the war, but also they have a town crier like there's something like wow, you really get wow. This is really the cusp period of time in that century where there are still parts of the country that are basically in some ways very much steeped till the eighteen hundreds, but the modern world is creeping in ever so slowly.

To mean, that's such a fascinating contrast, because realistically, that wasn't that long ago. That's less than one hundred years from now, So it's just striking the thing we live in times. Everything is so much more accelerated. But that's why cinema one of the many gifts of cinemas, we get to see that bit of history and get reminded of that. I thought the makeup was really good as well.

And the cole writer just let Angel Fernandez Santos. She was saying that he told Victor, don't actually show Frankenstein because then the audience is going to be like, that's not Carlof, Like why would them. We'll see it looked even slightly different than in the movie, even if the maked up. So he just thought, just do something as strongly suggests that's Frankensteif, and Victor went ahead and just showed it. But I thought, I never thought that, Oh that's I just accepted it.

Yeah, that's that's frank site in the movie. I I could see why he'd be concerned, because what if it doesn't look right or look good, but it looks so good that it didn't take it didn't ruin anything for me. Well, yeah, I don't think we've said it explicitly, but this movie is so beautiful, so well framed, so well edited. You know, yes, it moves pretty darned slow to what we're used to, but I think that meditative pacing is very appropriate for this, and it just does keep you with it. Like I was sucked in the entire time.

I just was like, Okay, yeah, what's gonna happen under these girls? I'm so concerned about this and what is the story here? You know, what's happening with these letters? You know? All of these questions.

Doesn't answer everything, no, but it leaves me with so many good questions that it makes this movie so compelling. I'm just sitting there going, oh what about this? What about this? And looking for those visual rhymes and looking for those lines that are coming in, even seeing little things like at one point, the mother is I don't know if she's pretending to sleep or she is sleeping, but the father comes in and you just see the shadow move across her, and I swear there's a little horror sting, like a little jump jump scarce sting that comes in. I was just like, well, that's interesting.

Like the Father is almost the creature, you know, the Father is almost the antagonist at times in this movie. It feels like and really once he has that watch and shows it to Anna, so she's taken the watch from her father, given it accidentally to the soldier. You know, we hear the soldier play the little watch. It's very similar to the watch that Lee van Cleeve had in for a few dollars more. It's got the little song that plays.

Nobody gets shot at the end. Well I guess he does get shot at the end, but a few hours later, Yeah, and then the examiner ends up giving it back to the father. Now the Father is probably in mortal terror because how did this maquis, How did this rebel get my watch? And now the forces at be are probably suspecting me, and that's the last thing you want in this time of unrest. And so when he shows it to Anna, he's probably got one whole thing going on.

And then her with her reaction talking about that koolishov effect, her reaction to it, and just those big frickin' eyes. Again, she probably thinks that her father fucking killed this guy because she doesn't know, she doesn't hear the whole story. Yeah, she didn't see it, which I like that they also shot from such a douce student. We only see what she sees mostly. I don't know if this necessarily would fall under like slow experimental cinema and the way you like Shantal Lackerman's films do, because it's we don't have the long duration takes, but it is been that main But for me, it's you have to compare a film like this to meditating.

If you're you focus on your breadth when you're when your mind as you both, I'm sure we all know when your mind trails, you just go back to the bread because a film like this can easily just keep putting you in your head because you don't understand the context of everything that it can just feel like, ah, turn it off because this is confusing, and I people it's natural for people to hate to not know something, not know necessarily what's going on. But for me, you just have to look at the faces, look at the images and then they think about it later. And I really did that on my second viewing, and I was much more emotionally affected as well. And just just avoid the head because it can easily put you in your head.

It mirrors just how life would be like for a child like Anna in that time period, especially because I remember I was a little kid in the eighties and the middle of Arkansas, so it's obviously a world's away. On days, especially where you left to yourself, like summer days, time just becomes like a draggy It feels like it's just moving like molasses, And especially in this little village where there's really not much happening because people are more focused on probably trying to beat each other and survive and co and yeah, time is going to move a lot slower. And I love the fact that we're constantly wondering because I think that's always a lot of cases where people get frustrated what does that mean?

What does this mean? But I feel like a lot of things happen in real life that we don't know. To me, it's actually a really within recent every fill. It defends, but we don't always have answers for life. If it's we often have no answers for a lot of things in our lives.

That's reality. And I feel like this is such a smart film because of that. And also, Anna, I am so hot and cold when it comes to films where children are protagonists, because that can quickly turn into what I call the Kenny syndrome. For anybody that's seen those old gammera of films where the child protagonist is usually named Kenny and he somehow knows everything is, Oh, get prist doing this, because it's like, how do you know? Kid?

How do you know where? That's an example a maybe where you're asking questions because it's not because it's oh, that's like real life. It's more like, no, this is bad writing. This is not a good movie. And he's so cloying.

And it's not the actor. He's a kid, it's not his fault. But this is the adult's fault in this case. So many adults will have child actors be cloying, and they also treat their child characters like they're idiots. Adults do that in real life too.

They just assume like kids are stupid. It's like kids are very smart. They're just still trying to figure out who they are. They're still growing. They might not I have the vocabulary, but they know kids aren't dumb.

And Anna is such a fascinating character and it's such a great performance. I feel like having this actress. It's interesting that she's become with a big professional actress. That's awesome that it's almost like casting her as like a Cassavetti's kind of thing, Like you've like you're taking this real person with a very expressive face naturally and just having her do what she does, even while in her adult ears call her every once a while and make sure she's okay because he's worried about the film robbing her of her childhood. And I'm like, what I saw about this director, he just seems like a really good man.

He seems like so nice. That's always xs because there's nothing worst in being like, oh, I love of that film. I wonder what this person's up to and it's oh no. Also, on a totally superficial note, I want to know how he is living, right, because I mean it's like, what eighty seven Now? He looks good.

And one of the extras, I was like, which chapter is that? And then it hit I was like, oh, oh shit, it's a director. Really, Oh my god, how does he looks so amazing? Yeah, if sir, if you listen to this episode, please reach out to Mike and tell us your secrets. One of the few films I can actually reach out to the director and try to get it.

You know. I was like, I didn't have any luck getting hold of him, But I'm like, this guy is still active, he's still directing. He just had a movie out last year and on a tour was in that. I totally agree, because yeah, he looks so good. Whenever these extras were shot, he just looked amazing and I'm just like wow, And even now, like I've seen press conferences from Close your Eyes when that came out in twenty twenty three, and I'm like, yeah, he looks really good.

I Yeah, whatever the Erisa diet is, I want it. The extras on the disc. We talked a little bit about this before. I believe and I really can't take credit for probably most of what Pup's sake because they he was really inside and filmmakers don't because they're the creators. They don't always necessarily can't always necessarily comment on their work, as well as maybe a really good scholar or critic.

But she and the writers too, and even the producer. They was like, I was like, wow, they really everything was so intentional and they really had a real real hold on this content of this storage because there's nothing confusing about what they say about the characters afterwards or nothing Laide. It's like really specific, and I was like, wow, these are great interviews with these great filmmakers. You have to see so many of the members of the cast after all these years. There's separate interviews with the man that plays the father, and then there's that great one I think it's called Footprints of a Spirit, where it's kind of a making of and you get to see on a torrent in there as well as the mother and the father and the filmmaker and the writer and just yeah, it was amazing that they could put this together.

The one thing that I have to shout out, and this is a good shout out for folks that are really interested in film, kind of like we are. If you go into archive dot org, there's a whole bunch of introductions and post film follow up discussions from See You and TV. It sounds like County, but it's not. See you and Why See You? And why TV?

There we go. And I'm not a huge fan of the host, but he does a pretty good job. He ums quite a bit, so every time I hear him, I'm editing him in my head. But the discussion that he had with one was a native Spanish person and the other one was a professor and I don't know if she was a film or what, but the conversation they had afterwards was fantastic. So you get to see the little intro and then they have the post discussion, and I've watched some of those for like Women in the Dunes and a few other ones, and those discussions are great, only about ten to fifteen minutes long, but it's a nice little supplemental thing as well.

I really had hoped that there would be an audio commentary for this disc, but apparently that I thought I had read that Linda Erlick had done an audio commentary. Not even on the criterion. There is on the disc. I don't know. Yeah, I guess you've gotta have the disc.

I do have the DVD. It's a two disc DVD, and I don't think they've put it out on Blu Ray yet. I could be wrong about that though, But yeah, all these extras are just fantastic, really well put together, and I don't always say that about Criterion, but this one was a definite home run. Yeah, I agree, I agree, And I really liked what the co writer said towards the end, after they find Anna and she's really shell shocked from her experience, and the doctor says, oh, she's young, and she'll forget And the writer was saying, I made these interpreting a little bit about what he was saying, but he was talking directly about the war, about how people say I'll just forget it in the past. We got to move on.

He was passionate. No, no, we don't forget it. We don't forget it if we in order for us to move forward, we have to look back. And like I'm paraphrasing what he said, that suggests to me what they were getting at there. And I guess they have to be careful because, as they said, this is still under frank though, the censorship is still really strong, and they could have just burned to the negative to shreds.

So I guess they they couldn't be so direct with some of their criticisms towards the dictatorship, but that was one for me. I once he said that, I'm like, he must have been talking about that ending with the doctor saying show forget. If we forget, we're just bound to repeat, which we're seeing again and again in this world. Did either of you see the film After Son a couple of years ago. I loved it as well, And that's about a little s girl on vacation with her father and he's very young, and everything's from her point of view, and there's clearly something wrong with her father, but she can't figure it out, and we only know what she knows.

And I was after I watched this, I'm like, can't help but wonder if this was an influence because it is very similar in a lot of ways. So if either of you ever check it out, let me know what you're saying, because I thought it's very the device is very similar that. I'm so glad you brought that up before we wrapped the first part of this up, because I also took that as being like, this is how so many generations treated trauma in general. You don't forget. Nobody forgets to being trauma, because even if they forget the facts, you have that muscle memory a PTSD.

But that's why it's important to remember and confront it and heal, because that way you can prevent future trauma. You know. I think I just remembered a scene where possibly the mother and father are in it together. It's when well, yeah, he falls as at the end that she takes care of him, which kind of shows to me that there is still a little bit of love there. She burns the letter, right.

I took it as hope that maybe their relationship will improve again, maybe because of the spirit. So I think it's that looming spirit that Anna is praying for it. But the only time you see them, yeah, that and then she calls out to him briefly when she's up on the balcony, and that's it. In that long shot, Yeah, that's it. Speaking of unforgettable shots, as you both talked about watching this features on the Criteria Channel, and Edie Say said one of the one of the most important shots he ever made is when Anna was watching frankenside and the when there's a look in her face where she suddenly gasps when Frankenstein is with the little girl, and he said, they approach it like a documentary that one scene is shot and handheld and they just put the movie on for the kids, so I don't know what.

So they're all watching that movie for the first time for real, like we're watching it like a documentary. So I don't know what he told them or if he just just watch it and I'm just going to film you guys. I don't know if he gave them any specific direction. But yeah, because I wrote even when I first saw it and I saw her reaction, I thought, how did they get her to do that? Because it is spontaneous and in the surprising that I was like, that must have just happened, and it did, and thank god he caught it.

And I rewatched Frankenstein last night just to kind of get myself more in the mood as well. And that really triggered me. When I saw all of the villagers with their pitchforks and torches, and I'm like, oh, yeah, they have the scene of them in this movie in Spirit of the Beehive where all of the adults are some of the adults are looking for Anna after she runs away. They don't have pitchforks, but they all have their torches and stuff, and I'm just like, oh, Okay, it's kind of a nice parallel scene to that. And then you get that amazing shot of because we keep seeing Anna looking into this well that's by that sheep shed, and she'll distort her own image and throw in the rocks and stuff, and you get that again later and you get that shot of her picking up the mushroom or just about to pick up the mushroom.

You're like, oh my god, is she going to kill herself? Because that's another thing, like she doesn't know shit about the world and her dad's trying to teach her, like, don't don't eat these mushrooms. These ones are okay, but this one, like he literally calls it a demon, which is also what Frankenstein is called in the movie. So you don't know if she's eating this mushroom. You see her by the water, you get the water moving with her reflection, and then Frankenstein's reflection comes up, and I just think that that is one of the best shots.

Yes, it's like, is she Frankenstein because I've seen that. I've read so many interpretations were a lot of like some people seem to think, oh, the dad's Frankensteide or this or. That, but it's late. No, she clearly has an affinity. She never acts terrified of Frankenstein.

There's that that expected thing where her sister's like, ooh, Frankenstein's in her closet or whatever whatever, something silly like that. Yeah. So I love how she can smell the poison the semestery room. That's such I don't know, it's so cute the way she does that where she's like, oh, it smells that. They're like, oh, it smells incredible, and her dad's like, don't touch it.

That's like, don't eat that. The way smashes it. As You both talked about watching this Teachers on the Criteria channel, and Eddie Say said one of the one of the most important shots he ever made is when Anna was watching Frankenstide and the look when there's a look in her face when she suddenly gasps when Frankensteid is with the little girl, and and he said, they approach it like a documentary, that one scene is shot and handheld and they just put the movie on for the kids. So I don't know what, So they're all watching that movie for the first time for real, like we're watching it like a documentary. So I don't know what he told them or if he just just watch it and I'm just going to film you guys.

I don't know if he gaed them any specific direction, but yeah, because I wrote even when I first saw it and I saw her reaction, I thought, how did they get her to do that? Because it is spontaneous and in the surprising that I was like, that must have just happened, and it did, and thank god he caught it. Yeah, it's so good. And to think, you know, when this movie is set in forty I mean, it's almost remarkable that this print, like who knows the providance of this print that has been dubbed into Spanish and comes over to this little village has been cut up by the censors and it's only at this point nine years old in the world of the story, and just yeah, like it must have just blown people's minds.

I mean that they had to have that little intro to the movie to be like, freak out, you know, this is gonna be scary. I love that, and I know that that's just total showmanship and everything, but I just think that that's great. And because rewatching it again last night, I was just like, yeah, I can see where this would really scare the shit out of a little five year old, because I think that's how much she's supposed to be in this. I think she was really seven, but I mean, she just looks so young, and those eyes just help because they just look like saucers on her face. Oh totally.

I loved by the way. I loved the showmanship. I wish we could go back to that with film. Is like having that bit of a theater that it makes everything feel so much more bigger. Oh yeah, when he comes out, well, mister Lamel didn't want us to put.

This on without Yeah, okay, guys, I love it. All right, We're going to take a break and we'll be right back after these brief messages. Break Home A Quiet Place, Day one by on Digital Now. Lupetanyongo and Joseph Quinn star in the film. Critics say is panned with nail biting tension and thrills, included with over fifty minutes u behind the scenes footage and deleted scenes, written and directed by Michael Sarnowsky, Available at participating retailers.

By A Quiet Place Day one on Digital Today, rated PG thirteen from Paramount. Pictures, All right, we're back, and we were talking about the Spirit of the Beehive and Robert you mentioned earlier as far as not knowing other films that are somewhat similar to this, and I was making a little list of stuff. For sure, this had major influence on Germo del Toro. I mean, I don't pay collaborate between the Devil. Yeah, for sure.

Having a female protagonist in Pants Labyrinth I think was very, very smart. I mean you really get to see the brutality of the war, especially through that father or stepfather character. It's been a little while since I've seen it. I remember loving the Devil's Backbone, and that's all set during the Spanish Civil War as well. The other one that I kept thinking of was Heavenly Creatures and just that whole world that they create.

The two girls created that, and the way that they the way that Anna is fascinated by Frankenstein reminds me of the way that the two girls were fascinated by well, both Mario Alonza, but more with Orson Wells from The Third Man, and you get that cgi Orson Wells like early primitive effects from Weta, but looked amazing. I don't know if they hold up now in twenty twenty four, but way back when when I saw him and the Creatures, I think I saw that at the Theater three. I haven't seen that that much. Oh it's so good. I'm going to put it on my list.

It was one of my favorite Peter Jackson films. On film this made me think of was Viva Lamerte by our Ball. Oh yes, that whole child's point of again. And obviously it's a far more brutal and direct film though though it also has a lot of surrealist images too, because of course our Ball part of the Panic movement with Wadarowski and Roland to port that even like the intro, even though like the art and the intro, Viva Lamerte is like those old kind of really terrifying, like wood cut type art. You have the children singing and it's I don't know.

It just made me think that, like that would be an interesting double bill. I would almost do Vivi Labitte first, though, because this film is so much more gentle, Like you needs something a little nicer out of Viva Lamberte. And I say that as somebody who loves Fernando ara Ball and loves that movie. Well, I'll tell you again with that opening with that child sing song. The song kind of reminds me of Dear Old Dad from Death Game again.

But I'm not obsessed with that movie or anything. That's amazing. Now everybody should be up sence a dead name. I've never seen the Tin Drum, but it feels like this could be possibly related to that as far as like. That's a German grow up that Yeah, what's his name?

Yes, Yes, I've been meaning to see that same. Yeah. I might have to kick my own ass to watch that movie because that's one I've never seen that and one that I I want to see it, but I don't want to see it at the same time as fucking come and see because I just hear. How oh God saying no I saw. I've been avoiding that even though I want to see it, but I'm not ready.

I just can't, but I will. I love that we're all in the same boat because I watched a video where this film Reverea was talking about it and it was a great breakdown. But that traumatized me just seeing this review. Well, so I do want to see it too, because it looks incredible and sometimes the best start. Is the art that carl and Ellison and I love Carla Nelson.

Sometimes it's the art that knocks you on your ass and completely savages you. Sometimes as healthy. But yeah, I'm with you guys, like gosh, sometimes you got to be in a specific you have to be prepped for that one film. Actually, and this was I'm going to give you credit because you have it listed, But at the minute I saw you invoking this, I'm like, that's brilliant. Is the Reflecting Skin.

And again, it's a lot darker of a movie than this one by far. I'd almost put it with Evil word Day as far as like trauma, but it's so beautiful at the same time. But it also you have the child protagonist who's channeling different kind of trauma, like he lives in a world of trauma too, And the way it's handled is very different in this one, where the horror is more built into on top of the human horror. But I think it's I think it would be an interesting companion piece for sure, And that's an incredible I think that's also another incredible work at cinema. You're both giving me a lot to add to my letter boxed watch list.

Here because I haven't seen I haven't seen that one either. I'm just looking it up. Beagle Mortism. Yeah, it's harrowing, but it's one of those films that is it's gorgeous and it will brick you asunder at the same time. That's how I would describe reflecting skin.

So you may want to have like some munny python or something or cheech and shown. Ready. A friend of mine described that movie to me just by telling me about the frog scene from at the beginning of the film. That's all I had to hear. And then I said, Okay, I have to watch this movie.

Now. There's one other that you might want to add to your list if you haven't seen this one already, Robert, which is Diamonds of the Night, which is two. That's Chattoo Boys who escape from. A Yeah, that's really concentration camp. Yeah that really.

That's another one where just harrowing and just showing the effects of you know, because that is one of the things you know that we're pulling apart these themes here is just the effects of war on children and using child protagonists inside of these war films to really show us the futility the horror, you know, the way that it really does imprint on you, because, yeah, if you're you know, if you're twenty five and in a wartime situation, you're supposed to just blow it off like that, whereas kids, you know, might be traumatized. No, of course, parents are traumatized as well, Men are traumatized, women are traumatized. Innocent victims, and so many of these children are just the innocent victims of all this.

So it is an interesting use of children to have them as these protagonists. And then I'll go back to the whole thing of having two female protagonist I think was great because you can just you can make it a lot easier on yourself if you just use boys basically, but with girls, it feels like there's a lot more to it, and it just feels like it's even more harrowing to see these little girls going through this experience. Sometimes, like you said, Heather, you can get a Kenny and you just don't give a shit about a Kenny, whereas with an Anna, it's just like, oh my god, just looking at this girl's ripping my heart out, and then to see her go through any sort of trauma just makes me, you know, weep.

Of course again, it helps that this is a beautifully written and well thought out movie, and some of those seventies camera films are are not that I love my Tidu, but but the many that Kenny, you're like, oh God, no, like eat them, Gamera, Like it makes you a monster. You're end up being the monster because you're hoping that this child gets eaten. I mean, I know that there's enough talk about children in war films that I believe that, yeah, there's a This is just Children in Film by Karen Lurie from Rutgers University Press from twenty ten. That was pretty remarkable to read her book and just even get more of these childhood trauma things because we're not even talking about We're mostly concentrating on war films.

We're not even talking about some of the other childhood trauma things like horror films or any of these other things. Even little Miss Sunshine was pretty traumatized at a few points. Which I haven't seen either. I know this is we might as well call the segment the letter box statistic. I'm like, oh, cramp, I got to add to mine.

That's a film I saw when it came out, and I watched it again recently and really enjoyed it. I got one more movie to recommend, which is Total La Hero, which I've talked about on the show before, and that's another her childhood. Like almost everything's through the pov of a kid. In that one, he thinks that his parents aren't really his parents, that he was supposed to end up with this family down the block, and he thinks that those parents are much better, and so he basically hates the kid that is their kid and wants to switch places if it even means killing that other kid. It's pretty good.

Total La Hero, all right. On the watch was Mike White you are a letterbox? Mike White recommends yes. And then you could put in privacies not that Mike White. Yeah, I just feel it with like the White Lotus and Chuck and Buck and School of Rock.

Yeah, twist because it's like, oh wow, that's our Mike White. Well, now if you look for me in movie credits, I have started to go I think it was Josh Johnson thanked me in a movie once and it was Mike not Ginger White. So that's my new credit name. Yes, it's mister fancy over here in my and some of the films I've been. Crushing, and.

Well, that's that's because I shell out the big books on kickstarre Go. Hey, that'll do it when an ugly still winning baby. Accounts gotta get those IMDb credits buffed up somehow. All right, let's go ahead and take another break and play a preview for next week's show right after these brief messages at. A back an.

That's right, we'll be back next week with a look at Radio On. Until then, I want to thank my co host Heather and Robert. So Heather, what is happening with you, ma'am? I have recently appeared on two different podcasts. I was on the VHUS podcast talking about Devil Doll, or should I say Devil Dolls, because we're talking about the Todd Browning classic with Littel Barrymore, which is incredible, the nineteen sixties Devil Doll, which was also great, very different movie but a lot of fun.

And we even talked about the band Devil Doll, not the not the hatchet ratchet rockabilly one, the amazing European one fronted and founded by mister Doctor, so definitely check that out. I was also on Dark Habits podcast with the Great Spencer and Bradley from Movies from Hell, where we talked about John Waters Desperate Living and that was a lot of fun, and we may have also talked about sleep paralysis demons. You just have to listen to it. In the meantime, you could find me over at my website Mondoheather dot com and for links to all sorts of my Sundry activities go to linktree dot com, forward Slash, Mondo. Heather and Robert.

How about yourself. I'm working on my weekly podcast, Let's Talk Robert Belisimo at the Movies. That's a YouTube video podcast, so episodes come out on Sunday yesterday. I know I mentioned Acriment earlier. I just dropped an episode on J two e L which was her debut film that I really and I mentioned the Heather earlier in Mike because Heather does a lot on Orror, and unfortunately ORR never works for me.

I don't know why I need more of the horror community on my channel. So I just did Kerrie yesterday, so that'll be out on Sunday. And I do a lot of books. I'd interview a lot of writers who have upcoming books, so I'm currently reading Ferocious Crawford about Joan Crawford by Robert Dance, which I'm really enjoying, and it occurred to me I'd only seen maybe four or five of her movies, so I'm doing like a deep dive into Crawford and man, she's such a good actor. I knew she was, but seeing more and more, I'm like, Wow, she is an incredible actor.

So you could check me out at YouTube dot com, slash Robert Belissimo at the Movies. I'm on Instagram, say may I at Robert Belissimo at the Movies. Same with Facebook and the Twitter x slash x is a little bit different. It's at rb at the Movies and Blue Sky I'm also there as well. Well.

Thank you so much folks for being on the show. Thanks to everybody for listening. If you want to hear more of me shooting off my mouth, check out some of the other shows that I work on. They are all available at Weirdingwaymedia dot com. Thanks especially to our Patreon community.

If you want to join the community, visit Patreon dot com slash Projection Booth. Every donation we get helps the Projection Booth take over the world. Oh, they mention you this morning, but I feel that I don't know you my whole life. My score, sophistication head, a mini scut head, tumbling over in naughty eyes, sweet, smarter and touch like a million in sex, walking over there and entering my ears, crawling around and coming out in the four more words. Like I can't resist you.

Say around in the gardener in. The dead of night, when your head in the flows. I've been getting to suspense you might be if we be transformed into an alien child. You moved it straight away the Perveta system for my life where I contact experiments, he is passing around the HISI to say, hello, yeah, there's more to you. How can I love you when you murder.

My whif you're insane? Steve the Bating, how two speceis is just too fantastic? Did if youre so? Was it out of some kind of fever gory flags? I'd be like to let him go and print away down that money go rivers up and let bream.

I can't bred miss spell Up the shore that I want to