Conquest (with Vincenzo Natali)

[00:00:04] Welcome to Movie Oubliette, the film review podcast for movies that most people have mercifully forgotten.

[00:00:10] I'm Dan and I'm Conrad and in each episode we drag a forsaken film out of the Oubliette.

[00:00:17] Discuss it and judge it to decide whether it should be set free

[00:00:21] or whether it should be thrown back and consigned to oblivion forever.

[00:00:30] Movie Oubliette, Movie Oubliette, Movie Oubliette, Maybe review the films others tend to forget.

[00:00:36] Come with us and let's not make the movie Oubliette.

[00:00:40] Welcome to episode 158 of Movie Oubliette, the bi-continental podcast for forgotten fantastical films with me, Conrad.

[00:00:49] Getting ready to fly in Cambridge, UK?

[00:00:53] Exciting and me, Dan, catching up on horror down here in Melbourne, Australia.

[00:00:59] We focus on forgotten fantasy sci-fi and horror films because we love bare-breasted supervillains, magical laser weapons

[00:01:07] and werewolf men tearing naked women limb from limb.

[00:01:11] Oh, of course! That's exactly what we like to see.

[00:01:17] Hello Conrad, how are you today?

[00:01:19] Well, I'm excited because I'm going on holiday soon and it's my favourite type of holiday.

[00:01:26] It's a movie-related holiday. I'm actually going to a film festival

[00:01:30] and when this episode comes out, I will be in the midst of fest, so should be fun.

[00:01:38] Yes, yes, it's amazing. And Conrad, where are you going?

[00:01:43] So I'm going to Toronto for the very first time.

[00:01:47] Wow, Canada.

[00:01:49] Indeed, yes. So I'll be able to meet up with Joe Lipset, often of this parish.

[00:01:54] Yes, yes, yes.

[00:01:55] So that should be fun. We should be able to watch some movies together at TIFF, the Toronto International Film Festival.

[00:02:02] Oh, I'm so jealous. It's going to be amazing.

[00:02:05] It's going to be great. I've checked the weather is going to be great.

[00:02:08] Loads of really great movies and to top it all, because I entered us as a podcast.

[00:02:17] They've given me press credentials so I can go and watch anything I want.

[00:02:22] That's amazing.

[00:02:25] So yeah, I will be doing some reviews for our patrons.

[00:02:30] I will be doing some roving reporting while I'm there.

[00:02:33] And then you know what I think are the films I see. Stay tuned on Patreon for that.

[00:02:38] Oh, rubbing shoulders with the celebrities as well as other content creators.

[00:02:45] Yes, I hope so. Yeah, might even find some future guests and collaborators we shall see.

[00:02:50] Oh, great.

[00:02:51] That's really great.

[00:02:53] And you're catching up with horror?

[00:02:55] Oh, yeah. I don't know. I always go long stints of just not watching any horror movies.

[00:03:00] So I've been watching a few recently. I checked out The Ruins.

[00:03:05] We were talking about natural horror movies.

[00:03:09] Yeah, I really do like movies with plants, killer plants.

[00:03:15] Like I haven't seen Day of the Trifids or read the book.

[00:03:18] So maybe we should check that out.

[00:03:20] But yeah, it's an interesting genre killer plants.

[00:03:23] Yeah, it is. I watched the classic BBC TV series Day of the Trifids in the early 80s

[00:03:30] with my brother over Christmas and it's still a really potent piece of apocalyptic drama.

[00:03:37] I thought I really enjoyed it.

[00:03:39] Oh, OK. I should check it out.

[00:03:41] I think it's on canopy here. But yeah, I need to check it out.

[00:03:44] Another horror movie we watched last night that is quite shocking was Min.

[00:03:50] I was tricked by Alex Garland.

[00:03:53] And oh my God, I did not need to see that.

[00:03:58] No.

[00:03:59] I need to burn out my eyes now.

[00:04:02] That is all levels of shocking.

[00:04:07] It is. Yeah.

[00:04:09] That final scene.

[00:04:11] Wow. Yeah. David Cronenberg wouldn't even make that kind of thing.

[00:04:16] But yes, just catching up on my horror.

[00:04:20] It's been good. It's been good.

[00:04:22] So I guess we should move on to Mailbag now, Conrad.

[00:04:25] Whatever our listeners been saying.

[00:04:27] Well, they've been catching up on our previous episodes.

[00:04:30] So long time listener Nick got in touch to say that on long weekend

[00:04:34] had never heard of this movie before but watched it and loved it.

[00:04:38] Thanks guys.

[00:04:40] There's something about a beautifully shot 70s thriller

[00:04:43] that just holds up so well before CGI came along and ruined everything.

[00:04:49] Yes, yes, yes.

[00:04:51] Yeah, I do love anything pre 90s.

[00:04:54] No matter how bad the movies are or like low budget, they do hold up purely because of no CGI.

[00:05:01] Yeah. And location shooting as well.

[00:05:02] It feels like the 70s was an era when people were really taking the cameras out on the road.

[00:05:07] Yeah, exactly. Yes.

[00:05:09] Love it.

[00:05:11] Melinda got in touch on People Under the Stairs.

[00:05:14] She said, I love this movie when I first saw it.

[00:05:17] I'm doubting it would hold up to a second viewing.

[00:05:20] What do you think?

[00:05:22] Oh, so has she had a second viewing of it?

[00:05:25] No.

[00:05:28] She should.

[00:05:30] Yeah, I think so.

[00:05:31] I think you'd get more out of it.

[00:05:33] You watched it the second time.

[00:05:34] See the first time I saw it, I was disappointed it wasn't a Westgraven.

[00:05:37] You know, horror movie.

[00:05:41] So I needed to see it again to really appreciate it, I think.

[00:05:45] Yeah, yeah, I think so.

[00:05:47] And finally we heard from Serge of Cold Crash Pictures.

[00:05:51] Hello Serge.

[00:05:51] Hello Serge.

[00:05:53] Yeah.

[00:05:54] And we'll be saying hello to Serge again soon.

[00:05:57] Yeah.

[00:05:58] Wes Craven always had a satirical streak in him, but the People Under the Stairs might

[00:06:02] be his one true satire, a sledgehammer blunt condemnation of land lordism and gentrification

[00:06:10] that's as funny as it is disturbing.

[00:06:14] Yeah, yeah, yeah.

[00:06:15] Absolutely right.

[00:06:16] Yeah, the balance was done well, I thought.

[00:06:19] Yeah.

[00:06:20] And yeah, he's right.

[00:06:21] I think it is probably his only genuinely funny or intentionally funny movie.

[00:06:27] I found Scream funny when I first watched it.

[00:06:30] No, that's true.

[00:06:31] Like it is very.

[00:06:32] Mostly Matthew Lillard.

[00:06:33] Yeah, it's very satirical and meta to the point where it is laugh, like intentionally laughable.

[00:06:42] Yeah.

[00:06:42] I think more so as it goes on like Scream 2 where there's a movie within the movie.

[00:06:47] Yeah, it gets ridiculous.

[00:06:49] Yeah, yeah.

[00:06:49] I thought that was very funny.

[00:06:51] Yeah, genuinely funny.

[00:06:53] But yes, thank you everyone for writing in.

[00:06:55] We do love hearing from you.

[00:06:57] Yeah, yeah, we do.

[00:06:59] Okay, let's move on to the movie today Conrad.

[00:07:03] What are we doing?

[00:07:05] Well, let me just run in slow motion towards the uber yet.

[00:07:09] Find out.

[00:07:14] It's really foggy in here.

[00:07:16] Oh, well, no visibility Conrad.

[00:07:18] No idea where I'm going.

[00:07:21] Luckily there's just grass everywhere.

[00:07:23] Oh, needles.

[00:07:26] So many needles.

[00:07:27] Get down.

[00:07:29] I found the movie coming back.

[00:07:33] I offer you my body, my soul.

[00:07:36] Oh, hopefully you didn't get hit by any of those.

[00:07:39] There's loads of them.

[00:07:40] I'm just brushing them off now.

[00:07:42] Oh dear.

[00:07:43] Okay Conrad, what do you have?

[00:07:45] Well, I have the 1983 Italian dark fantasy film Conquest directed by Luccio Fulcci.

[00:07:54] Based on a screenplay by Gino Capone, Carlos Fasala and Jose Antonio Delaloma.

[00:08:02] And who's in this movie?

[00:08:03] It stars Jorge Rivera, Andrea Ocapinti, I'm massacring these surnames, Conrado San Martín and Sabrina Siani.

[00:08:14] So Fulcci tackling fantasy.

[00:08:17] What happens?

[00:08:20] Well, Dan, in an unspecified ancient time a handsome young hero named Ilias

[00:08:25] leaves his native home of dreamy double exposures to do battle with evil in a smog shrouded wilderness

[00:08:33] armed only with a magical bow that will become even more powerful when he achieves manhood.

[00:08:39] Oh.

[00:08:40] Ilias finds himself in a cruel world where small tribes of simple folk are torn apart

[00:08:45] by roving bands of werewolves, the minions of a sinister sorceress named Ocron

[00:08:51] who wears little more than a bronze mask and has rather intimate relationships with her pet snake.

[00:09:00] Ocron has a vision that Ilias will bring about her downfall

[00:09:04] so she promises her body and soul to the great Zora if he kills Ilias.

[00:09:09] Fortunately, Ilias finds an unlikely friend in Mace,

[00:09:13] a roguish nomad who lives at one with nature and only eats dead animals he can steal from other people

[00:09:20] that he sometimes kills.

[00:09:22] The pair do battle with swamp zombies, cobwebbed rock monsters

[00:09:28] and vicious clumps of grass but can they defeat Ocron and rid the land of her evil

[00:09:35] or will one of them be beheaded in the second act

[00:09:38] and the other burn his body and smear himself in their ashes?

[00:09:42] Who knows?

[00:09:44] Fight out after the break.

[00:09:47] Yes, and we will be joined by a special guest to help us.

[00:09:51] A very special guest, yes, who chose this movie.

[00:10:11] Our special guest today is a writer-director of original intelligent and riveting films

[00:10:16] such as Cubes, Splice, Haunter and Cypher.

[00:10:20] He deservedly received the Canadian Trailblazer Award at this year's Fantasia Film Festival in Montreal

[00:10:26] where he urged audiences to embrace weirdness to beat the algorithm,

[00:10:32] a principle that might help us for today's film choice.

[00:10:35] It is, of course, returning champion Vincienzo Natali.

[00:10:39] Hey!

[00:10:41] Thank you, Conrad.

[00:10:42] Thank you, Dan.

[00:10:43] Welcome back.

[00:10:43] What a wonderful introduction that is.

[00:10:45] Well, welcome back.

[00:10:46] What have you been up to?

[00:10:47] How have you been?

[00:10:48] I've been very well.

[00:10:50] I've also been very dull.

[00:10:51] So I don't have a lot of interesting things to tell you as it has been a slow recovery from the strike.

[00:10:58] But things are looming on the horizon, I hope.

[00:11:02] A lot of the time to watch movies.

[00:11:03] Okay. Anything you particularly enjoyed recently?

[00:11:06] You know, I saw a film that I had to kind of let it sink in before I even knew how I felt about it,

[00:11:14] but I quite liked I saw the TV glow.

[00:11:17] Do you know it?

[00:11:18] I've heard of it.

[00:11:19] I haven't seen it.

[00:11:20] I'm hoping to catch it on my flight, actually.

[00:11:22] Oh, yeah.

[00:11:23] You know what? That would work.

[00:11:24] It's that kind of movie.

[00:11:25] It could work on an airplane because it's very meta.

[00:11:29] And at this stage in my life, I'm just interested in new things.

[00:11:32] And I thought it was a very fresh voice.

[00:11:35] Talking about interesting things that aren't usually presented in the mainstream film.

[00:11:39] So, yeah, it was good.

[00:11:41] So have you got anything coming up soon that you can talk about or is it all in the early stages?

[00:11:46] You know, I did something insane and I'm not sure I would recommend it for anybody, but I recorded an album of music.

[00:11:56] Wow.

[00:11:56] Yeah.

[00:11:57] It's on all the streaming platforms for anyone who cares to punish themselves, but it's called Delicate Machine.

[00:12:03] Oh.

[00:12:04] Yeah, it's my experiment.

[00:12:07] I'm not a musician.

[00:12:09] I have no musical ability, but I so enjoy creating music and soundscapes.

[00:12:14] I finished the thing.

[00:12:15] I thought, well, why not?

[00:12:16] Wow.

[00:12:17] So it's out there.

[00:12:18] What sort of genre would you say it is?

[00:12:21] Same genre as Conquest.

[00:12:23] Oh, okay.

[00:12:25] As in like very weird and confused.

[00:12:28] It's ambient, but it has its toes and things that are a little more structured.

[00:12:33] There's some piano in there.

[00:12:34] There's a little bit of melody.

[00:12:35] Okay.

[00:12:36] Not too much.

[00:12:37] Yeah.

[00:12:38] So that was fun.

[00:12:39] And then I think since I last spoke to you, I put out a graphic novel that I wrote

[00:12:43] and illustrated called Tech.

[00:12:45] I think you did mention that.

[00:12:47] So that's out now, and that is also available wherever you can buy things online.

[00:12:52] So yeah, those are kind of the two new things I have in the world.

[00:12:55] Check them out.

[00:12:56] You haven't ventured into the world of Brog Rock, synthesizer music by any chance.

[00:13:02] Well, there's a little bit of that coin.

[00:13:05] Okay.

[00:13:06] Yeah, there's a little bit of that.

[00:13:08] Nothing at the level of the Claudio Cimmanetti score that we hear in Conquest.

[00:13:12] Indeed.

[00:13:14] Yes.

[00:13:14] So you've chosen for us a fascinating film, Conquest from 1983.

[00:13:21] I think you'd loosely call it a sword and sorcery film directed by Lucio Fulci,

[00:13:26] something that neither I nor Dan knew existed.

[00:13:30] No.

[00:13:31] I'd never seen it, Dan.

[00:13:32] You'd never seen it.

[00:13:33] So Vincenza, what's your history with this movie?

[00:13:36] How did it end to your life?

[00:13:37] What was the meat cute of Conquest?

[00:13:40] Well, I feel like I need to give you a long explanation.

[00:13:44] Okay, go for it.

[00:13:45] It sort of took me years to come to this point.

[00:13:51] But the short version is not so long ago I was on a quest to watch sword and sorcery type

[00:13:58] movies that I hadn't seen.

[00:14:00] And I somehow stumbled on this thing.

[00:14:02] I realized that Lucio Fulci had made a sword and sorcery film, which was absolutely

[00:14:06] mind-blowing to me.

[00:14:07] Yeah.

[00:14:07] There's nothing else like that on his resume.

[00:14:10] And then when I saw photos from it, I just, I instantly had to see it.

[00:14:13] Like I had no choice.

[00:14:16] And I don't believe it was streaming at that point.

[00:14:18] I think I just ordered the DVD and I was not disappointed.

[00:14:23] It was everything I sort of hoped it would be and more.

[00:14:28] And I've seen it a number of times since then.

[00:14:30] This was maybe four or five years ago.

[00:14:32] And my affection for it has grown and my admiration has grown with each viewing.

[00:14:38] But the long story, and I try not to make it long, is that I am of a certain vintage.

[00:14:44] So I was a kid in the 70s and I have a memory that predates Star Wars.

[00:14:51] And that time was very rife or ripe with sword and sorcery literature and comic books and art.

[00:15:00] There weren't really many movies.

[00:15:01] There were Ray Harryhausen films.

[00:15:04] In fact, the first memory I have of seeing a movie in a movie theater was the golden voyage of Sinbad.

[00:15:09] Which to this day as a movie I have great affection for.

[00:15:13] But that was about it in the arena of cinema.

[00:15:17] But in all these other media, it was very present.

[00:15:21] And I think it was partly because it was embraced by the counterculture of the 60s.

[00:15:25] And then that had spread out to the larger culture in the 1970s.

[00:15:29] So by the time Star Wars came out, people were, even if they didn't know it,

[00:15:35] were so hungry for something like that.

[00:15:38] And I count Star Wars as a fantasy film, not really a science fiction movie.

[00:15:42] Because I often think fantasy films tend to be spiritual and pure science fiction tends to be philosophical.

[00:15:50] And to me, Star Wars is very spiritual.

[00:15:52] There's nothing philosophical about it.

[00:15:55] And then of course what Star Wars did then, because of its massive success,

[00:15:59] was it opened the gates for all these other things to come into the world.

[00:16:04] And so by the early 80s, and our film that we're talking about today was released in 1983,

[00:16:11] there was a plethora of fantasy.

[00:16:13] People I think realized at the time that while Star Wars was a sci-fi movie,

[00:16:17] it was really in its heart a fantasy film.

[00:16:19] So there was just an incredible, I would say, renaissance of fantasy films in that period

[00:16:25] lasting up until probably the end of the 80s.

[00:16:29] That was my coming-of-age time.

[00:16:31] So it's very infused into who I am and how I evolved or devolved.

[00:16:38] And that's why we come to this place with conquest.

[00:16:43] Yes, that's a great scene setter.

[00:16:46] So I'm a fulcci virgin.

[00:16:47] I've not seen anything of it.

[00:16:49] So this is my entry point for fulcci.

[00:16:52] How great.

[00:16:54] That's a strange entry point.

[00:16:55] Yes, I watched the Beyond today to try and give myself more of a feel

[00:17:00] for what he's primarily known for, which is a series of very gory,

[00:17:04] visually stylish movies in the early to mid-80s.

[00:17:08] And this is kind of an anomaly, or at least it feels that way to people

[00:17:12] who remember fulcci because they remember him for the horror,

[00:17:15] which was probably his biggest peak.

[00:17:17] But reading up on it appears that the Italian movie industry is very much

[00:17:22] governed by very, very short, intense trends whereby they are reacting

[00:17:29] to a hit movie and all of a sudden dozens of movies in the same vein

[00:17:33] get put into production rapidly.

[00:17:37] And so fulcci may have been well known for his horror

[00:17:39] because horror was so big at that point and he did some.

[00:17:42] But he apparently was also involved in Western's Children's Adventure films.

[00:17:48] He did a couple of white fang movies, period costume dramas,

[00:17:52] crime thrillers, a dystopian sci-fi tale.

[00:17:56] And in amongst all of these is this, which I think is a reaction

[00:18:00] to Quest for Fire from 1981 as well as Conan, the first Conan movie.

[00:18:05] Yeah.

[00:18:06] So he just suddenly finds himself a gun for hire in this genre.

[00:18:10] And I think he gave it a unique fulcci flavor.

[00:18:13] Yeah, no, he really did.

[00:18:15] And I've, you know, fulcci, I'm not like a super fan or anything,

[00:18:19] but I am rarely disappointed by him because I think anything that I've seen

[00:18:25] of his and I certainly haven't seen everything this like 60 films on his resume.

[00:18:29] There is always something extraordinary.

[00:18:32] Yes.

[00:18:33] There may be things that are not so great,

[00:18:34] but he always goes somewhere where no one else would go.

[00:18:38] And, you know, as you reach my age, you're like,

[00:18:41] you've seen a lot of movies.

[00:18:42] It's like being a gourmand and you develop an interest in unusual tastes.

[00:18:48] So it's like, you know, suddenly you might be very interested in sea urchin.

[00:18:52] Yes.

[00:18:53] Right.

[00:18:53] And so fulcci is kind of like cinematic sea urchin to me because he's like,

[00:18:59] you know, he's giving you something that's unique, sometimes slightly unpleasant,

[00:19:03] but is entirely his own and is very, very provocative.

[00:19:08] Yeah.

[00:19:08] And I think that's true of this film.

[00:19:10] Yes.

[00:19:11] I have seen a few fulcci movies.

[00:19:13] I'm always surprised when Conrad tells me this is the first one.

[00:19:17] I went through a huge zombie phase.

[00:19:19] So of course, you know, he is like one of the godfathers of zombie movies.

[00:19:24] So I had to watch zombie and the beyond.

[00:19:27] And my actual first fulcci movie is City of the Living Dead,

[00:19:31] otherwise known as the Gates of Hell.

[00:19:34] I watched it during a movie marathon.

[00:19:37] I went to a film festival when I lived in New Zealand and they showed like five movies

[00:19:42] one night and City of the Living Dead was one of them.

[00:19:47] And that was, yeah, blew me away.

[00:19:49] Fulcci has a way of like showing things you didn't know were possible

[00:19:52] or you didn't know needed to be seen.

[00:19:56] Like in zombie, you've got a zombie attacking a shark.

[00:20:00] You've got that famous eye gouging splinter scene as well.

[00:20:04] It's just iconic.

[00:20:05] And yeah, this movie on paper, it sounds crazy.

[00:20:08] It's like, oh, fulcci doing high fantasy.

[00:20:11] Like how would that work out?

[00:20:13] And then you watch it and you realize, oh, yeah, of course.

[00:20:16] Of course, it's going to be pretty much a zombie movie.

[00:20:20] This guy is a fantasy movie, which is amazing.

[00:20:24] Yeah, it's very gore.

[00:20:26] It's very special.

[00:20:27] There isn't a lot of films out there that you could compare it to.

[00:20:32] No.

[00:20:33] Sorry, I should say you could compare it to a lot of things,

[00:20:34] but there's not a lot of things out there that do what it's doing.

[00:20:37] And that kind of dark fantasy certainly has vanished in the following decades.

[00:20:43] I mean, the only place you can really find it is on television,

[00:20:46] with Game of Thrones or House of the Dragon or The Witcher or something like that.

[00:20:51] But they don't really make those movies.

[00:20:53] I suspect just because, like the same reason there aren't a lot of cyberpunk movies

[00:20:57] because they're expensive to make and there are not enough people out there

[00:21:01] to make them successful.

[00:21:02] So I think that it's very special that this film exists.

[00:21:07] And even at the time, I don't think there are many fantasy films

[00:21:10] that are as infused with horror as this one.

[00:21:14] Sorry, and I should preface that by saying like sword and sorcery

[00:21:17] quest type movies that have that much horror in them.

[00:21:20] And it's a wonderful blend.

[00:21:21] Yeah.

[00:21:27] There are kind of two types of fantasy movies that existed in the 80s.

[00:21:31] There was an action adventure, family friendly wizards

[00:21:35] and civilisation type fantasy movies.

[00:21:37] And then there were the big burly dudes with huge swords

[00:21:41] like killing everyone type fantasy movies.

[00:21:45] And this is yet that type of fantasy movie doesn't really exist.

[00:21:49] Like you do have camera threads, but they're all very civilised.

[00:21:52] There's lots of bureaucracy and politics and it's a different tone.

[00:21:57] Whereas this is yeah, it's just like bare bones, like just surviving.

[00:22:03] You got to kill people to survive.

[00:22:05] Like it's quite bleak as well.

[00:22:07] Like it's a very savage, brutal world that conquest lives in.

[00:22:14] And very dreamlike.

[00:22:15] Yes.

[00:22:16] It's kind of a barbarian fever dream.

[00:22:19] It is.

[00:22:19] It's peculiar, is it?

[00:22:20] I mean, because you start with our hero, Ilias, I think he's called.

[00:22:24] And he appears to be in some sort of strange double exposure world

[00:22:28] that sort of half reminded me of Clash of the Titans,

[00:22:33] the realm of the gods and sort of like Olivia Newton, John Xanadu.

[00:22:39] With a similar score.

[00:22:40] Yeah, exactly.

[00:22:41] I didn't know whether he was going to create a roller disco

[00:22:43] or conquer the Titans.

[00:22:44] It was one of the two.

[00:22:45] So it starts there and then when he goes down to the dark realm

[00:22:49] that you can sort of sense his family really doesn't want him to go to

[00:22:52] because it's, you know, it's bad down there.

[00:22:54] It appears to have been shot entirely during a forest fire, this movie

[00:22:59] because there is not a frame of it that isn't suffused in smoke.

[00:23:03] Yes.

[00:23:04] It's very dreamy, the whole movie.

[00:23:06] And a lot of shots where people are framed with the sun

[00:23:09] or some other light source directly behind them.

[00:23:12] I read that it was a conscious choice to help hide the less

[00:23:16] than impressive makeup stuff that she had to work with.

[00:23:20] But it's a very striking looking movie and the palette of it

[00:23:25] is straight out of a Frank Frazetta painting.

[00:23:28] And they shot a lot at Magic Hour.

[00:23:31] This is like days of heaven.

[00:23:32] Like they must have, I don't know what their shooting schedule

[00:23:34] is like or how they made it work,

[00:23:36] but there's a lot of Magic Hour stuff.

[00:23:38] So you have these beautiful bruised skies.

[00:23:40] And as you said, these silhouetted figures.

[00:23:43] And then it's all shot through, you know,

[00:23:45] some kind of Vaseline on the lens or some sort of filter.

[00:23:50] It's very soft focus.

[00:23:51] So it ends up being very evocative

[00:23:54] and it falls into a certain category of film.

[00:23:58] It's not like a movie about a mythology or a myth.

[00:24:02] It feels like a movie from the time of that mythology

[00:24:06] or myth.

[00:24:08] You're presented with something that isn't working hard

[00:24:11] to explain itself to you.

[00:24:12] You're dropped into this world without a map as a tourist

[00:24:16] and you just kind of have to figure out how things work.

[00:24:19] And there's even a kind of morality at play

[00:24:22] that is very diffuse and difficult to decipher.

[00:24:26] If anything in these kinds of movies,

[00:24:27] morality is very, very clear.

[00:24:29] You know, there's always like extreme good

[00:24:31] and extreme evil, but you know,

[00:24:33] we see Mace, one of the heroes,

[00:24:35] kill some innocent guy walking by,

[00:24:41] you know, completely shoots him in the front,

[00:24:43] but from like a sniper from a position

[00:24:46] he could possibly see and cold blood kills him.

[00:24:49] And I think that makes the movie interesting

[00:24:51] because you aren't entirely sure how to take that.

[00:24:54] He's very principled when it comes to animals.

[00:24:57] He doesn't kill animals to eat them,

[00:24:59] but he will kill humans and steal the animals

[00:25:02] that they've killed.

[00:25:03] It doesn't seem to be following the hero's journey either

[00:25:07] because there are some striking divergences

[00:25:10] from the hero's journey.

[00:25:11] Yeah, yeah.

[00:25:12] I mean, I did want to ask, is Ilias like a demigod?

[00:25:16] Like is the first scene some sort of heavenly other world

[00:25:21] and then he goes down to earth or something.

[00:25:24] What is he tasked with with saving the land?

[00:25:28] Like he's given the bow by the wise people

[00:25:31] and sent to this land to save them.

[00:25:34] Is that his quest?

[00:25:35] It feels like his quest is like one of self empowerment.

[00:25:38] Like he's going to go somewhere,

[00:25:40] they don't seem to be specified where he should go.

[00:25:43] You just go somewhere and then prove his metal.

[00:25:46] Right, yes.

[00:25:47] Yes, at which point his bow will be upgraded.

[00:25:50] It will level up to a laser bow

[00:25:52] that can fire six lasers at once through rock.

[00:25:56] Yeah, yeah.

[00:25:58] I love that.

[00:25:59] That's great.

[00:26:00] And he's seeking as well.

[00:26:02] You don't even have to aim the thing, it's amazing.

[00:26:04] Yeah, no, I know what you mean, Dan.

[00:26:08] I looked at it and thought, is he a demigod?

[00:26:09] Is he sort of Perseus?

[00:26:11] Again, I was thinking Clash of the Titans,

[00:26:13] but I'm not sure because, I mean, of course,

[00:26:16] spoilers here for anybody who's listening

[00:26:18] who hasn't heard Conquest

[00:26:19] and if you haven't stopped this now

[00:26:21] and go and watch it,

[00:26:23] he does not survive the movie.

[00:26:25] And I was quite shocked when May stumbled upon

[00:26:28] his headless corpse hanging upside down from the ceiling.

[00:26:32] Yeah.

[00:26:32] Because he's killed off-screen even.

[00:26:34] It's really amazing.

[00:26:35] I think that the movie is doing things

[00:26:38] that other Cambelian heroes,

[00:26:41] Quest movies would never consider doing.

[00:26:43] And they're often a little bit underwhelming

[00:26:46] or retrograde, I would say,

[00:26:48] because there's no damsel to save.

[00:26:52] The only moment there's a damsel,

[00:26:54] she's very quickly killed brutally.

[00:26:57] So it's just about these two men.

[00:26:59] And I think the movie consciously

[00:27:01] avoids a lot of the cringy kind of sexual politics

[00:27:05] that are often associated with these kinds of movies

[00:27:09] because it's just about these two guys

[00:27:10] and it's a story of friendship.

[00:27:12] And Mace, who is the Jose Riviera character

[00:27:16] who Ilias meets on his journey,

[00:27:19] is a misanthrope.

[00:27:20] He doesn't want to be with people.

[00:27:21] He doesn't want to have friends.

[00:27:22] He doesn't like humans.

[00:27:23] He just likes animals.

[00:27:24] And yet Ilias does become his friend.

[00:27:27] And by the end of the movie,

[00:27:29] Mace is covering his body in Ilias ashes.

[00:27:33] It's very powerful.

[00:27:34] And it's very unique to that genre.

[00:27:38] I mean, they essentially become one being

[00:27:40] because he adopts Ilias' bow powers

[00:27:44] and is able to teleport for some reason.

[00:27:48] So they are like one entity at the end.

[00:27:53] Yeah.

[00:27:53] And it's sort of like Obi-Wan Kenobi through the force

[00:27:56] bestowing his power upon Luke

[00:27:58] as the teacher passing the torch.

[00:28:00] But here, oh no, no, it's the younger man

[00:28:03] who dies and then asks the older

[00:28:06] sort of roguish grizzled hero

[00:28:08] to smear himself in his ashes

[00:28:10] after a lengthy corpse-burning scene

[00:28:14] that in true Fulci star

[00:28:16] goes on for far too long and in far too much detail

[00:28:19] whilst Progrock plays.

[00:28:22] Yes, having watched the Beyond,

[00:28:23] I've gotten used to the idea that his kink

[00:28:25] is basically long, lingering shots of injuries

[00:28:28] with Progrock, which is astonishing.

[00:28:32] But yeah, no, it's a really bizarre inversion

[00:28:34] of the passing the torch from the teacher

[00:28:37] to the pupil.

[00:28:38] And yeah, the pupil dies

[00:28:39] and empowers the older man,

[00:28:41] which is quite peculiar.

[00:28:42] And was it just me or is there a sort of

[00:28:44] a touch of the homoeroticism about the pair of them?

[00:28:48] Yes.

[00:28:48] But perhaps I'm just imagining that.

[00:28:50] Oh, I think absolutely.

[00:28:51] I mean, I don't think it's sexual,

[00:28:53] but it's a love story.

[00:28:54] I mean, they fall in love.

[00:28:56] Yeah, I think so.

[00:28:57] I mean, certainly Mace tending Ilias's wounds

[00:29:00] and bringing him back to health

[00:29:01] when he sort of erupts in pussy lumps.

[00:29:04] Yeah.

[00:29:05] Is quite tender and intimate, I thought.

[00:29:07] It really is.

[00:29:08] And I think what you're talking about,

[00:29:09] all the body horror and the emphasis

[00:29:12] on the destruction of the human body

[00:29:14] also plays against the genre,

[00:29:17] which usually celebrates the human form

[00:29:19] in its perfection.

[00:29:21] Like if it's Conan and we're like lingering

[00:29:23] lovingly on Arnold Schwarzenegger's

[00:29:25] Hectoral Muscles,

[00:29:26] all these movies have sequences like that where

[00:29:29] and this one doesn't.

[00:29:31] This one lingers on puss

[00:29:33] coming out of a wound in his leg.

[00:29:35] Yeah, a lot of puss.

[00:29:37] And actually watching his body burn

[00:29:40] and the fact rendered

[00:29:42] the bubble and reduced to ash.

[00:29:46] Like in a sequence that I don't know,

[00:29:47] I should have timed it,

[00:29:48] but has to be three or four minutes?

[00:29:51] I don't know.

[00:29:52] Yeah.

[00:29:52] I don't think I'm exaggerating.

[00:29:53] No, no, no, it's got a full Claudio

[00:29:56] Simonetti track on it.

[00:29:58] It's a lengthy sequence.

[00:29:59] It is.

[00:30:00] Yes.

[00:30:01] Yeah.

[00:30:01] If there is a body that is glorified,

[00:30:04] I think we should probably look no further

[00:30:06] than Ochron,

[00:30:07] the villainess of the piece

[00:30:09] and yeah, she does not wear much

[00:30:13] throughout the movie.

[00:30:14] Basically, I think a cod piece

[00:30:15] or a rubbery merkin

[00:30:17] and a bronze helmet,

[00:30:19] which when you get to the end of the movie,

[00:30:21] you're very pleased that she's worn that

[00:30:23] bronze helmet because

[00:30:25] spoilers again,

[00:30:26] she is not a looker under there.

[00:30:28] No.

[00:30:29] It's a bit of a shock.

[00:30:31] She also seems to lose her voice

[00:30:32] when her helmet comes off.

[00:30:34] Yeah.

[00:30:36] Yes.

[00:30:36] The great Zora would have gotten a bit of a shock

[00:30:38] if they'd consummated her bargain.

[00:30:41] Oh, yes, that's right.

[00:30:43] She offered him her body.

[00:30:46] She didn't say anything.

[00:30:46] Not a face.

[00:30:47] Yeah.

[00:30:48] What was under the mask?

[00:30:49] No, she didn't know.

[00:30:51] But again, I feel like

[00:30:52] even though she is naked,

[00:30:54] she's very powerful.

[00:30:57] Like she doesn't present herself

[00:30:59] the way that for instance,

[00:31:01] the women in another film

[00:31:03] of the same era,

[00:31:04] Sword and the Sorcerer do.

[00:31:06] Yeah.

[00:31:06] You are very, you know,

[00:31:08] helpless and in need of saving

[00:31:10] and kind of incapable of doing anything.

[00:31:12] Like Ocaron is like tough as nails

[00:31:15] and she's using her power

[00:31:17] to control an entire civilization

[00:31:19] and consorts with, you know,

[00:31:21] a very large Python.

[00:31:23] That's nice.

[00:31:24] So even though she's sexualized,

[00:31:27] I feel like it's an empowered sexuality.

[00:31:29] Like I don't get that icky feeling

[00:31:32] of she's, you know, a male fantasy.

[00:31:35] I'm not sure.

[00:31:36] I think she's more a female fantasy.

[00:31:39] Yeah.

[00:31:39] So she is definitely powerful

[00:31:41] and going back to the

[00:31:43] ethereal aspect of Fulci's movies as well.

[00:31:47] Like her character felt very

[00:31:49] like almost like a Jodorowsky movie,

[00:31:52] like a very spiritual religious.

[00:31:54] She's almost like a cult leader

[00:31:56] and she has these prophecies

[00:31:58] and they're really strange prophecies.

[00:32:00] They're always of Ilias

[00:32:02] with no face, by the way.

[00:32:03] He has no face in these prophecies,

[00:32:05] like killing her every time

[00:32:07] with laser arrows.

[00:32:09] All the scenes with her,

[00:32:10] there is a real sense of ritual

[00:32:13] and like this is

[00:32:15] a process that is beyond understanding,

[00:32:18] I guess, which

[00:32:19] made her a really interesting villain

[00:32:21] as well.

[00:32:22] Like she wasn't just out to kill everyone.

[00:32:25] It had a sense of,

[00:32:26] yeah, religion.

[00:32:27] Like the scene where they're,

[00:32:29] what are they doing?

[00:32:29] They're doing blowing like cocaine

[00:32:31] into the other's mouth or something.

[00:32:33] I'm not sure.

[00:32:34] Everyone wanted to see

[00:32:36] werewolves do cocaine.

[00:32:38] This is the movie for you.

[00:32:39] Yeah, werewolves doing cocaine

[00:32:41] and then she writhes about on an altar

[00:32:44] with a snake in between her legs.

[00:32:46] Yeah.

[00:32:46] Many times.

[00:32:47] To get her visions of a faceless Ilias

[00:32:49] which again turns out to be

[00:32:51] apt because it's not Ilias.

[00:32:54] It is an embodiment

[00:32:55] of Ilias that finally has her down for

[00:32:58] but it is not him.

[00:32:59] Yeah, you can feel,

[00:33:00] and I've felt this with other Italian

[00:33:02] movies that dabble in this.

[00:33:04] Like you can feel their roots in Greek

[00:33:06] mythology and how

[00:33:07] often in Greek mythology

[00:33:09] mythical figures try to cheat their fate

[00:33:12] but never succeed.

[00:33:19] I did want to ask about the wolf men

[00:33:21] as well.

[00:33:22] So are they created?

[00:33:24] Like there's a scene where there's

[00:33:26] a big glowing slab

[00:33:27] and there's a wolf man burning on it

[00:33:30] or something.

[00:33:31] He doesn't look very happy.

[00:33:32] Is she creating these beings

[00:33:34] or are they just part of the landscape

[00:33:37] and she's enslaved them?

[00:33:38] Because in the end,

[00:33:39] when she is defeated,

[00:33:41] she turns into a wolf.

[00:33:42] So I'm just like,

[00:33:44] well, what's the whole meaning about this?

[00:33:46] It's entirely opaque to me.

[00:33:48] That's one of the wonders

[00:33:50] of conquest is,

[00:33:51] yes, it's impenetrable.

[00:33:52] We don't know.

[00:33:53] I mean, all of the creatures

[00:33:55] that are so strange,

[00:33:57] particularly those ones that

[00:33:59] live amongst the rocks.

[00:34:00] Yeah, the really chirpy bird sounding.

[00:34:03] Yes, covered in cobwebs

[00:34:05] and the locations are fantastic.

[00:34:08] I think it was shot in Sicily

[00:34:09] but there are these rock formations

[00:34:11] by the ocean that look like pillows.

[00:34:14] Like they're rock but they're all

[00:34:15] soft or it's kind of like a Salvador

[00:34:17] dali painting, you know?

[00:34:18] And these creatures are like in a fetal

[00:34:21] position tucked in the alcoves of these

[00:34:23] rocks and they are also white.

[00:34:25] It's really beautiful and weird

[00:34:26] and what are they?

[00:34:28] I mean, I don't know.

[00:34:29] And they don't even get...

[00:34:30] None of these things are even named.

[00:34:32] Yeah, yeah, yeah.

[00:34:33] Or explained.

[00:34:34] There are some swamp zombies

[00:34:36] that appear at one point

[00:34:38] that Mace has to just stab with

[00:34:40] a blunt branch like it looks.

[00:34:42] Awful.

[00:34:43] Yeah.

[00:34:43] Awful way to die.

[00:34:45] And then there are dolphins

[00:34:46] at one point that help Mace.

[00:34:50] It's just a playthrough of things.

[00:34:52] Yeah, that's after he falls into the sea

[00:34:54] whilst tied to a cross.

[00:34:56] This is a second film we've done with

[00:34:57] Yvincenza where there is a man

[00:35:00] crucifixing.

[00:35:01] Oh yes, that's true.

[00:35:02] For one of them.

[00:35:03] It must be a Catholic thing.

[00:35:04] It must be.

[00:35:05] Yeah.

[00:35:06] There are some great shots in there too.

[00:35:08] I mean, the swamp zombies when they are...

[00:35:10] You know, there's a great shot of them

[00:35:11] emerging from a moonlit swamp.

[00:35:13] I mean, it's beautiful, stylish stuff

[00:35:15] and sometimes it seems to be

[00:35:16] less interested in creating

[00:35:19] an exciting action-adventure movie

[00:35:22] as much it is in just creating atmosphere.

[00:35:25] Yeah.

[00:35:25] A lot of the times in the action scenes

[00:35:27] like Mace is introduced with slow-motion

[00:35:30] shots of him with his nunchucks.

[00:35:33] Are they?

[00:35:34] Yeah, your bone nunchucks

[00:35:36] or rock nunchucks.

[00:35:38] Very peculiar.

[00:35:38] And then you just get shot after shot

[00:35:40] of slow-motion werewolves trampolining

[00:35:43] over him.

[00:35:44] Towards him.

[00:35:45] Yes.

[00:35:46] And I just marveled at it and I thought,

[00:35:48] this is just astonishingly odd

[00:35:51] and so alienating as a viewer.

[00:35:54] You know, is it supposed to be this weird?

[00:35:57] Yeah.

[00:35:58] You know, I thought there's a scene

[00:36:00] where exactly what we were talking about

[00:36:03] where Mace is crucified and thrown

[00:36:05] into the ocean and Ilias shows up

[00:36:07] with his bow and it's the turning point

[00:36:10] for him as a character because he was

[00:36:12] leaving the dark land to return home

[00:36:14] and then he had a crisis of conscience

[00:36:16] and returns.

[00:36:17] And so when he does that and he takes out

[00:36:19] the bow, the bow becomes a laser bow.

[00:36:22] Of course, yeah.

[00:36:23] And you know, a normal typical director

[00:36:25] would then crank up the speed

[00:36:28] of the scene and there would be like,

[00:36:30] heroic music and things would go really fast.

[00:36:33] So what happens in this film is everything

[00:36:34] goes into slow-motion and gets all

[00:36:37] dreamy and then the sun

[00:36:39] because it's a sunny day on the beach

[00:36:40] turns blue and everything gets dark

[00:36:43] and weird and dreamy and then the bow

[00:36:45] lights up.

[00:36:46] So yes, he kind of works

[00:36:48] against what would be the traditional

[00:36:50] rhythm of an action sequence like that.

[00:36:53] He counterpoints it with these kind

[00:36:55] of slow, dreamy moments

[00:36:57] and the effect is unsettling,

[00:36:59] especially when you're not accustomed to that.

[00:37:02] And apparently this is a trend in Fulcci.

[00:37:04] I read Kim Newman's great history

[00:37:07] of horror movies and he said that

[00:37:09] Fulcci toned down the splatter

[00:37:11] to focus on quote, image-oriented

[00:37:13] lingering films, including

[00:37:15] Manhattan Baby or Possessed,

[00:37:18] which was also shot the same year

[00:37:19] which Kim Newman describes as

[00:37:21] quote, almost catatonic.

[00:37:23] So yeah, he was definitely interested

[00:37:25] in slowing these moments down

[00:37:27] and really focusing on them.

[00:37:30] It feels sometimes like a French perfume

[00:37:32] ad or...

[00:37:33] Right.

[00:37:33] Because it's also beautiful, you know,

[00:37:35] and it's all soft and sexy

[00:37:38] looking and I think

[00:37:39] wardrobe is great.

[00:37:41] Like Ilya's leather

[00:37:42] outfit is really neat and

[00:37:45] perfectly tailored and there's a lot of

[00:37:47] very pretty imagery on display

[00:37:50] in the midst of all the gore

[00:37:52] and, you know, business of, you know,

[00:37:55] ripping people in half and so on.

[00:37:57] Yeah, I mean we should mention that.

[00:37:59] Like the gore is extreme gore.

[00:38:02] This is not for the faint-hearted.

[00:38:04] It's not for vegetarians.

[00:38:05] Yeah, you've got a woman literally

[00:38:08] pulled in half by her legs.

[00:38:10] Like her body rips

[00:38:12] in half and you see that,

[00:38:14] which is great.

[00:38:16] That's really good.

[00:38:17] You have Okron's chest exploding

[00:38:19] every time she's killed

[00:38:20] and also her face is not

[00:38:23] something you should be showing every day.

[00:38:25] Swamp zombies getting

[00:38:27] staked with blunt branches

[00:38:29] and yeah, just so much blood

[00:38:31] in this movie.

[00:38:33] More so than any other fantasy

[00:38:35] movie I've ever seen.

[00:38:37] But yeah, it's very folktree though.

[00:38:39] That's the thing.

[00:38:40] Yeah, immediately after the

[00:38:41] torn limb from limb scene

[00:38:43] I was marveling at the fact that we had a bare-breasted

[00:38:45] woman in a bronze mask

[00:38:46] eating the dead girl's brains

[00:38:48] from her disembodied head.

[00:38:51] Yeah, yeah, you have two

[00:38:53] decapitated head scenes

[00:38:54] and they are very detailed

[00:38:59] heads, especially

[00:39:00] in the end with Ilyse's head

[00:39:02] and then it comes alive as well.

[00:39:04] Like he opens his eyes.

[00:39:05] I'm assuming that's his actual face.

[00:39:07] But yeah, it's disturbing.

[00:39:10] Yeah, I think the brutality of it

[00:39:12] also is what makes it feel like

[00:39:14] it's from this other place.

[00:39:16] It comes from a place with different

[00:39:18] moral values and from a much more

[00:39:20] primitive, crueler world

[00:39:22] than the one in pitiless

[00:39:24] world than the one that we existed.

[00:39:26] And by the way, it should be mentioned that

[00:39:27] the dark world that Ilyse goes to

[00:39:29] is very primitive and you mentioned

[00:39:32] quest for fire. Like the people there

[00:39:33] don't look like they're

[00:39:35] even fully evolved as humans

[00:39:38] or they look like early humans

[00:39:39] and they're living in caves

[00:39:40] and they're living in also it's squalor

[00:39:43] and misery. There's just a sense

[00:39:45] of raudus and

[00:39:47] that this is a world that is

[00:39:49] primordial and untamed.

[00:39:52] Yeah, yeah, I mean even going with

[00:39:53] their weapons, they will rock.

[00:39:56] It's very, very

[00:39:58] makeshift, early

[00:39:59] primitive weapons

[00:40:01] and I would hazard to say

[00:40:03] I'm not sure whether anyone would agree

[00:40:05] but I feel like the movie, it is

[00:40:07] beautiful but it is also quite

[00:40:09] ugly. It's quite

[00:40:11] filthy. Like everything looks

[00:40:13] grimy and filthy and it could

[00:40:15] be because of the soft focus as well

[00:40:17] and the amount of fog everywhere

[00:40:19] but it really looks

[00:40:22] dirty. Like the whole

[00:40:23] film doesn't have this sort of pristine

[00:40:26] Conan glistening

[00:40:27] look. It has a really dusty

[00:40:30] grimy

[00:40:31] feel to everything. You know, and that's

[00:40:33] the other thing that I quite enjoy

[00:40:35] and appreciate about it is that it's all

[00:40:37] shot on real locations minus

[00:40:39] perhaps the cave interiors

[00:40:41] and I think falls a little bit

[00:40:43] in line with if you've ever seen

[00:40:46] Pasolini's fantasy films

[00:40:47] like A Thousand and One Night

[00:40:49] or His Edepis Rex

[00:40:52] or His Medea

[00:40:53] or Canterbury Tales, I strongly

[00:40:55] recommend them because

[00:40:57] he would only shoot them in real locations

[00:41:00] mostly with non-professional

[00:41:01] actors. And the effect is

[00:41:04] it feels really authentic and

[00:41:06] their shot verite style

[00:41:07] conquest isn't really but you feel kind of like

[00:41:10] oh we're a documentary crew

[00:41:11] in Arabia, A Thousand

[00:41:14] Years Before Christ. And you know, Pasolini

[00:41:16] would be one of the best known Italian

[00:41:17] filmmakers of the time and I

[00:41:19] can't believe that Fulci wouldn't have seen those films

[00:41:21] and perhaps be influenced by them and I feel like

[00:41:24] some of that has been carried over

[00:41:25] into this movie. Right, right, right

[00:41:29] Now it's time for

[00:41:30] Random Trivia

[00:41:31] So Dan, what thrilling piece of trivia

[00:41:35] did you discover

[00:41:36] tied to a rock zombie today?

[00:41:38] My piece of trivia is not about this film

[00:41:40] but it is about Fulci's

[00:41:42] renowned film

[00:41:43] Zombie. It's very confusing

[00:41:46] because when it came out

[00:41:47] it was marketed as Zombie 2

[00:41:50] A Sequel to

[00:41:52] Dawn of the Dead, but it's not

[00:41:54] at all. And apparently

[00:41:56] back then you could

[00:41:58] declare something as a sequel

[00:41:59] without permission or something

[00:42:02] So in Italy, yeah

[00:42:03] I think Italy played fast and loose

[00:42:05] and the great thing about that, I mean you're always talking about

[00:42:08] Italy having this very

[00:42:11] responsive

[00:42:11] to trends approach

[00:42:13] to filmmaking

[00:42:15] Fulci managed to get Zombie 2

[00:42:18] into cinemas

[00:42:19] two months after Dawn of the Dead was

[00:42:22] released in Italy and took the box office

[00:42:25] by storm. Amazing. So that's

[00:42:27] pretty fast moving

[00:42:29] I don't know whether he was in production

[00:42:31] whilst Dawn of the Dead was

[00:42:33] finalizing or whether it was

[00:42:35] just very quick to turn around

[00:42:37] Yeah, yeah

[00:42:39] And I think he also

[00:42:41] wrote and co-directed

[00:42:44] or partly directed Zombie 3

[00:42:45] as well. Which is

[00:42:47] it's just so confusing because there's not

[00:42:49] there's no zombie one

[00:42:51] really

[00:42:53] Yeah

[00:42:54] It's just Dawn of the Dead, they just stole it

[00:42:57] Yeah

[00:42:58] And that's our trivia

[00:43:00] Yes

[00:43:05] The film was

[00:43:06] not a success

[00:43:07] According to Italian film historian Roberto

[00:43:11] Kurti it yielded

[00:43:12] less than 100 million Italian

[00:43:14] lira in the box office in April

[00:43:16] 1983

[00:43:18] which sounds like a lot of course but lira

[00:43:20] being lira that's about

[00:43:22] $66,000 in

[00:43:24] $1983 which is about

[00:43:26] $200,000

[00:43:27] It was supposed to be it was the first in a

[00:43:30] two picture deal for Fulci

[00:43:32] with the producer Giovanni Di Clemente

[00:43:34] but he didn't make

[00:43:36] the second film because

[00:43:38] the two of them fell out

[00:43:40] quote from Fulci

[00:43:41] I had a contract make two films

[00:43:43] with Giovanni Di Clemente

[00:43:46] but he was such a terrible producer

[00:43:48] that after Conquest I refused

[00:43:50] to make the second one consequently

[00:43:52] he tried to sue me but I won

[00:43:54] the lawsuit because the Italian

[00:43:56] constitution says that if you don't

[00:43:57] wish to work you're not obliged

[00:43:59] to. Right

[00:44:00] There's a constitution for you that was an interview

[00:44:03] from 1993 so apparently

[00:44:06] he had little to do with the post

[00:44:07] production of Conquest he left it to

[00:44:10] his frequent editor

[00:44:11] Vincenzo Tomasi

[00:44:13] he just checked the results but he was

[00:44:16] not terribly invested in the

[00:44:17] finished product. In sort of

[00:44:19] summaries of his career it tends to be

[00:44:21] treated as sort of like a

[00:44:23] ugly step child that they don't really

[00:44:25] want to mention which is a shame

[00:44:27] because I mean again I

[00:44:29] haven't seen a lot of his movies but it feels

[00:44:31] like a fascinating gem. Yeah I agree

[00:44:34] I feel like it's very

[00:44:35] solid it's a good story

[00:44:37] I think it ends in a really interesting

[00:44:39] way I think that there's

[00:44:41] some really shocking turns

[00:44:43] and it's structured very simply

[00:44:45] but economically and

[00:44:47] for me it accomplished everything

[00:44:49] that I helped it would it seems to have

[00:44:51] achieved what it set out to do and

[00:44:53] if it wasn't successful at the time well maybe

[00:44:55] it's just because the world wasn't ready for it.

[00:44:58] Yeah one thing I wanted

[00:44:59] to bring up is there

[00:45:01] isn't a lot of dialogue in this

[00:45:03] movie and a lot of the

[00:45:05] talking by the characters isn't

[00:45:07] a language that we don't even understand

[00:45:09] as well there's no subtitles

[00:45:11] I guess it's a made up language

[00:45:13] and the dialogue that does exist

[00:45:15] I guess it's dubbed right like a lot

[00:45:17] of Italian movies at a time

[00:45:19] so you're kind of visually

[00:45:21] following a story like it does

[00:45:23] more with visuals and

[00:45:25] actions rather than dialogue

[00:45:27] and maybe that for most

[00:45:29] viewers that's not interesting I

[00:45:31] guess I don't know. It could be with

[00:45:33] substances. Well yeah

[00:45:36] well maybe

[00:45:37] maybe it wasn't released well

[00:45:38] either I mean I was alive at that time

[00:45:40] and looking for that kind of thing I'd

[00:45:42] never heard of it I didn't hear of it until

[00:45:44] 2020 or something like that

[00:45:46] so you know it probably

[00:45:48] was a little bit of a victim

[00:45:50] of poor distribution. Yeah it's

[00:45:52] one of my favorite cold sheet films

[00:45:53] in my list I would put it in the top 5

[00:45:56] and I think

[00:45:58] it is uniquely him and

[00:46:00] I think he's done something with that

[00:46:02] sub-jara that no one else did

[00:46:04] so it's very special

[00:46:06] and it's a lower budgeted film

[00:46:08] we see the seams

[00:46:10] but that's part of

[00:46:12] what makes it so charming

[00:46:14] and there's a kind of naivete

[00:46:16] to the presentation of some

[00:46:18] things that is actually in keeping with

[00:46:20] the material so I don't have a problem with it.

[00:46:22] Yeah I mean one thing that is

[00:46:24] very unique about this movie

[00:46:26] and for someone from Genzo

[00:46:28] you've just released an album but

[00:46:29] the music of this movie

[00:46:31] fantasy does not normally

[00:46:33] have synth scores. Yeah

[00:46:35] and it's a great score. Yeah they

[00:46:37] tend to go for romantic orchestra

[00:46:39] don't they to try and get the

[00:46:41] sense of classicism even though

[00:46:43] of course the time period is totally wrong but

[00:46:45] no it's an odd score so

[00:46:47] it's a member of Goblin of course.

[00:46:49] Yeah it's a great score and it's full of

[00:46:51] you know ambient tracks as well

[00:46:53] like it's an interesting synth score it's not

[00:46:55] like Alan Parsons project doing

[00:46:57] Lady Hawk. Yes. Oh

[00:46:59] it doesn't work.

[00:47:00] Which I really feel was a bad choice.

[00:47:03] Yeah. In this case I think it

[00:47:05] meshes with the movie very nicely

[00:47:07] and you know there is

[00:47:09] a science-fictional quality

[00:47:11] to the movie as well like maybe

[00:47:13] it takes place in the far future

[00:47:15] it doesn't really specify

[00:47:16] we don't know and perhaps

[00:47:19] it was at that time popular

[00:47:21] to use synth scores.

[00:47:23] Tangerine Dream did Ridley Scott's

[00:47:25] legend famously replacing

[00:47:26] Jerry Goldsmith's score. Sacrilege.

[00:47:30] Yes.

[00:47:31] But that was a number of years later.

[00:47:33] Yeah 85 yeah. I mean

[00:47:35] I think why the synth score works for this

[00:47:37] movie is it's not

[00:47:39] trying to sound 80s I guess

[00:47:41] I mean it is 80s like

[00:47:43] you can't

[00:47:45] really get away from that but

[00:47:47] it's quite experimental, it's quite

[00:47:49] ethereal, it's quite strange

[00:47:51] and how they've scored it

[00:47:53] also it's not trying to sound

[00:47:55] like an orchestra as well, it's really embracing

[00:47:57] its electronic sound

[00:47:59] like it doesn't sound like

[00:48:01] oh here's some fake strings. I mean there are parts

[00:48:03] where there are flutes I guess but it's

[00:48:05] not trying to sound very authentically

[00:48:07] fluty like it's still

[00:48:09] very electronic

[00:48:11] and very strange

[00:48:13] it fits the vibe of the movie

[00:48:15] and also a lot of the sound effects

[00:48:17] the sound of the bow is all

[00:48:19] synth sounds I'm assuming

[00:48:20] like it's not all the sound

[00:48:22] effects aren't trying to be

[00:48:24] too authentic, it does have that

[00:48:26] science fiction element that you mentioned

[00:48:28] Vincenzo. Yeah I would

[00:48:30] even say that there are points where I can't

[00:48:33] distinguish between the music and the

[00:48:34] sound design in a good way

[00:48:36] and I love it when music and atmosphere

[00:48:39] and sound design blend together

[00:48:40] and I guess you know the other thing

[00:48:42] to mention is I quite like the cat

[00:48:44] I like Jorge Riviero, he's great

[00:48:47] he has real presence and there's

[00:48:49] a soulfulness to him

[00:48:51] and a kind of sensitivity

[00:48:52] like you really emotionally connect with

[00:48:55] him and I like

[00:48:56] Andrea, I'm going to mispronounce

[00:48:58] his name, Al Capinti who plays

[00:49:01] Ilias too. I think he's very

[00:49:02] pretty and has all the necessary

[00:49:05] qualities for that type of

[00:49:06] Luke Skywalker character and I like

[00:49:09] Sabrina Sellers who plays

[00:49:11] O'Cron. I don't know if that's her voice

[00:49:12] or not but I actually like the voice

[00:49:14] of O'Cron. Yeah I mean essentially

[00:49:16] you only really have four

[00:49:18] characters in the movie

[00:49:20] and just a bunch of side characters

[00:49:22] because most of the other characters are

[00:49:24] masked as well or they're

[00:49:26] wolf men so you never

[00:49:28] see anyone's face.

[00:49:31] Yeah and although

[00:49:32] you do get a quote-unquote love

[00:49:34] interest for Ilias at one

[00:49:36] point she's brutally killed

[00:49:38] right before the moment where you're expecting

[00:49:40] the love scene to start. Yeah

[00:49:42] yeah that's right. That was an amazing moment

[00:49:44] so shocking and brutally

[00:49:46] killed like suddenly. Yeah.

[00:49:48] It's horrific. Yeah and again one of the

[00:49:50] reasons why you know along with

[00:49:52] O'Cron rather than being a passive

[00:49:54] objective desire being a figure

[00:49:56] to be admired and feared

[00:49:58] it also avoids the gauzy

[00:50:00] sex scene. Yeah I really think that

[00:50:02] you know has aged well. Yeah. I think

[00:50:04] Zora is a fun character.

[00:50:06] Yes. Yes. Because you know

[00:50:08] he's invoked by O'Cron and O'Cron

[00:50:10] really gives him a lot right her body

[00:50:12] her soul anything

[00:50:14] to kill this guy who supposedly

[00:50:17] she predicts will kill her

[00:50:18] and Zora you know what he delivers

[00:50:20] yeah he brings over the head of Ilias

[00:50:23] and then at the

[00:50:24] very end when they're

[00:50:26] out on this outcropping of rock

[00:50:28] where O'Cron

[00:50:30] greets the sun every morning because

[00:50:32] she claims that she's responsible for the

[00:50:34] sun rising. So while

[00:50:36] she's you know a witch she's also

[00:50:37] a bit of a charlatan too which I think is fun

[00:50:40] then Mace shows up

[00:50:42] with the bow and Zora says

[00:50:43] he just goes uh and he vanishes

[00:50:46] like he's like I'm done with you.

[00:50:48] Yeah yeah I mean

[00:50:50] Zora is also really interesting because he attacks

[00:50:52] Mace at one point

[00:50:54] by being Mace

[00:50:56] so you have a fight scene with Mace

[00:50:58] fighting another Mace

[00:51:00] but he doesn't quite look like Mace

[00:51:02] I thought hey he looks different

[00:51:04] like they obviously got a body double

[00:51:06] that looks very similar

[00:51:08] but yeah it's an interesting fight scene

[00:51:10] Yeah a doppelganger scene

[00:51:11] still has so much stuff. Yeah just going

[00:51:14] back to one of the episodes we did

[00:51:15] earlier this year we did Eric the Viking

[00:51:18] and I complained about that movie because

[00:51:19] it is another fantasy movie a journey

[00:51:22] but only really three things

[00:51:24] happen in that movie whereas a lot

[00:51:26] of things does happen

[00:51:27] in this movie like there is constantly

[00:51:30] peril they're constantly

[00:51:32] getting attacked by O'Cron's

[00:51:34] men and there's the

[00:51:36] weird poison quill

[00:51:38] barrage scene

[00:51:39] you don't even see what is shooting

[00:51:42] those things but um

[00:51:44] Shooting out of a bush? Yeah

[00:51:46] Like

[00:51:47] did Zora transform himself

[00:51:49] into a bush? Yeah

[00:51:51] Or is he hiding in the bushes? I don't know

[00:51:53] I'm not sure. Hey fever is really

[00:51:56] violent back then

[00:51:58] It's bad

[00:52:00] I see yeah

[00:52:01] Yeah

[00:52:03] Coming to you live from the movie

[00:52:05] Ubliet Theatre it's the prestigious

[00:52:07] Moobly Awards

[00:52:12] Hello it's everyone's favorite part

[00:52:15] of the pod it's the Moobly Awards

[00:52:17] where we nominate our favorite blue

[00:52:18] laser arrow piercing parts of the film

[00:52:20] in a number of disgustingly

[00:52:22] blood spitting categories

[00:52:25] Best Quote

[00:52:27] I like no one can rule

[00:52:29] the sun. Ah yes

[00:52:31] Which

[00:52:32] actually is a good lucky. Yeah

[00:52:34] It is although O'Cron is convinced

[00:52:37] she can and is

[00:52:39] She is full of the wolf people

[00:52:41] into thinking so anyway

[00:52:42] Yes definitely

[00:52:43] She does like doing her

[00:52:46] her rallies

[00:52:47] with the wolf people

[00:52:50] How much consist of like seven or eight people in a goat?

[00:52:53] Yeah, yeah

[00:52:54] That's right

[00:52:57] Yeah

[00:52:58] Mine is more of a conversation than

[00:53:00] an individual line but it's

[00:53:03] Mace's introduction to Ilias

[00:53:05] and Ilias asks

[00:53:06] what his name is

[00:53:08] and Mace says my enemies call me Mace

[00:53:11] and Ilias replies and your friends

[00:53:13] and Mace says I don't have any

[00:53:16] friends

[00:53:18] So

[00:53:18] He has no name

[00:53:22] Best Hero Costume

[00:53:25] I'll nominate

[00:53:26] O'Cron's warned G-string

[00:53:28] Yeah

[00:53:29] for spiked G-string

[00:53:32] It is rather special isn't it

[00:53:35] Is it a G-string or is it just a

[00:53:37] Merkin that's glued on

[00:53:39] Something

[00:53:40] I think it's a G-string

[00:53:41] I'm not entirely clear of my definitions

[00:53:44] but it's not like just taped on

[00:53:46] Right, yeah, yeah

[00:53:49] That's a relief

[00:53:49] We're stuck on

[00:53:51] Yeah, I quite liked

[00:53:54] Ilias' outfit as well

[00:53:57] Is it called a peplum

[00:53:58] because that's a whole genre of

[00:54:00] Italian movies isn't it

[00:54:02] It's the peplum movies

[00:54:04] All of the barbarians

[00:54:06] and gladiators and so on

[00:54:09] would have these little

[00:54:10] tiny sort of skirts I guess

[00:54:12] Right

[00:54:15] He's got that arrow quiver in his boot

[00:54:17] Yes

[00:54:20] Most 80s movement

[00:54:21] For most 80s

[00:54:23] I put Evil Queens trying

[00:54:25] to stop a self-fulfilling prophecy

[00:54:27] Ah, yeah

[00:54:29] Thinking particularly of Bav Mordor in Willow

[00:54:32] who's so desperate

[00:54:33] to stop the baby that she's heard will

[00:54:35] result in her damnation

[00:54:37] that she blows herself up

[00:54:39] Princess Monbie in Return to Oz

[00:54:41] Ursula and the Little Mermaid in 89

[00:54:43] Tarimus in

[00:54:45] Conan the Destroyer

[00:54:47] Lots of Evil Queens

[00:54:49] in the 80s

[00:54:50] Yeah, it's true

[00:54:53] You know anything that glows

[00:54:55] counts as 80s

[00:54:56] as far as I'm concerned

[00:54:58] I'm a sucker for it

[00:55:00] If somebody's eyes glows I'm in

[00:55:02] If somebody's weapon glows

[00:55:05] I'm in

[00:55:05] I can't get too much of it, I don't know why

[00:55:08] That kind of glowing neon rotoscope

[00:55:11] to animation really is

[00:55:12] a signature of the 80s

[00:55:15] I think in animation

[00:55:16] live action

[00:55:17] Star Wars movies, everything

[00:55:21] Never grows tired from it

[00:55:24] No

[00:55:24] Favourite scene

[00:55:25] My favourite scene was probably the

[00:55:28] where we'll fight scene where there was just lots

[00:55:30] of trampolining stunts

[00:55:32] Just because it was just not the action

[00:55:34] scene that I was expecting at all

[00:55:36] It sort of slowed down and reveled in the beauty

[00:55:38] of the whole thing which I thought was quite

[00:55:40] an interesting choice

[00:55:42] An unexpected one and I enjoyed it a lot

[00:55:45] It had a grace and beauty to it

[00:55:47] that I was not expecting

[00:55:49] Was that the introduction of Mace

[00:55:51] that scene?

[00:55:53] Yes, because you have Ilias

[00:55:55] running out of arrows

[00:55:57] to start off with

[00:55:58] So he's just fleeing

[00:56:00] these people and they catch up to him

[00:56:02] and you think, oh this is going to be a very short movie

[00:56:05] But then

[00:56:07] Mace shows up with his

[00:56:08] slow mo num chucks and defeats them all

[00:56:11] It's a great introduction

[00:56:13] to Mace

[00:56:14] It is, yeah

[00:56:15] He's definitely the hero of the piece

[00:56:17] It's Signaled Early

[00:56:20] Favourite scene for you Vincenzo

[00:56:22] For me it would have to be where we'll

[00:56:24] snort in cocaine

[00:56:25] I don't think there's any way

[00:56:28] to top that

[00:56:32] Whatever it is

[00:56:34] that they're snorting

[00:56:35] Yeah

[00:56:35] And the way they do it too because

[00:56:38] it's like straw that's a two feet long

[00:56:43] Most cliche moment

[00:56:45] I would say

[00:56:47] The Magical Weapon

[00:56:48] in fantasy films

[00:56:51] Yeah, you've got the Claven

[00:56:53] Krull, the Trisword

[00:56:55] and Sword and Sorcerer

[00:56:57] and you've got the Magical Laser Bow

[00:56:59] in Conquest

[00:57:01] You've got to have it

[00:57:03] You've got to have a Magical Weapon that only

[00:57:05] works in the finale

[00:57:07] Well, I suppose this one works

[00:57:08] Yeah

[00:57:11] Maybe Ilias's dad

[00:57:13] Ah yes

[00:57:14] The Zeus-like figure

[00:57:16] Yes, the archetypal kill

[00:57:19] Whitebearded Zeus god

[00:57:21] Daddy

[00:57:22] You've got to have that

[00:57:24] Best special effect

[00:57:25] Might sound an odd thing to say but I quite like

[00:57:28] the growing pus filled boils

[00:57:31] on Ilias as he

[00:57:33] succumbs to the poison darts

[00:57:34] of the grasses of the dark realm

[00:57:36] Yeah, I thought

[00:57:38] they were really good, really disgusting

[00:57:40] and visceral and

[00:57:43] delightfully gloopy, I thought it was very

[00:57:44] impressive work

[00:57:45] A lot of close ups of them

[00:57:48] It just gets progressively worse

[00:57:51] I'm very partial

[00:57:52] to those weird

[00:57:55] white webby creatures

[00:57:56] that live on the rocks

[00:57:58] It's such a simple

[00:58:00] effect, I don't even know

[00:58:02] that their mouths are moving

[00:58:03] even though they talk

[00:58:05] but there's just something inherent in their design

[00:58:08] it's the simplicity of their design

[00:58:09] that is really striking

[00:58:12] and instantly

[00:58:13] they have a character, like a very specific

[00:58:15] character to them

[00:58:17] and I think what I appreciate about it

[00:58:19] is the minimalism

[00:58:21] of that approach

[00:58:23] and how effective that can be

[00:58:25] Yeah, yeah, yeah. I mean you also see them

[00:58:28] during the day as well

[00:58:29] so you see everything

[00:58:31] like the whole creature design

[00:58:34] and the eyes

[00:58:35] the weird looking eyes as well

[00:58:37] Yeah, and it's just so inexplicable why they're

[00:58:40] covered in web even though

[00:58:41] they're on these rocks by the ocean

[00:58:44] Yeah, yeah

[00:58:45] Yeah, they're very striking

[00:58:47] quite original creation I think

[00:58:49] I can't remember anything like them

[00:58:51] in fantasy cinema of the 80s

[00:58:54] they almost remind me of something from

[00:58:56] Miyazaki people

[00:58:57] Yeah, yeah, yeah. They have that quality

[00:59:00] I guess because of the sound

[00:59:01] they make it's very odd as well

[00:59:03] they're not, it's a really high

[00:59:06] pitched kind of chirpy

[00:59:07] I think it's a synth as well

[00:59:09] like it doesn't sound acoustic

[00:59:11] it sounds electronic

[00:59:14] That's my pick for favourite sound

[00:59:15] It sounds like electronic howler monkeys

[00:59:20] Right, yeah, yeah

[00:59:23] Favourite sound, in fact

[00:59:25] I mean I would say the bow

[00:59:27] sound or the

[00:59:29] even the start when they summon the bow

[00:59:31] has a very synthy

[00:59:34] wooshy sound

[00:59:36] but yeah when the

[00:59:37] arrows are formed

[00:59:39] it has this kind of science fictiony

[00:59:41] synthy sound effect to it

[00:59:43] It's great. Yeah, I love that

[00:59:45] and I will go for any gory

[00:59:47] sound which are all wet and juicy

[00:59:49] and central

[00:59:51] All those blood spurting scenes

[00:59:54] just very wet

[00:59:55] sounding

[00:59:56] Oh my god. So wet

[00:59:59] And anytime someone gets hit in the head

[01:00:00] everything just, you know, scalp

[01:00:03] has to disintegrate

[01:00:05] the most disgusting, melon crushing

[01:00:07] out of the fact

[01:00:09] Yeah and everybody's brains made out of like

[01:00:11] oats, oats and blood

[01:00:15] Most funniest moment

[01:00:17] For me the funniest moment is when that poor guy

[01:00:19] is like, you know, caught a goat

[01:00:21] or something and he's happily

[01:00:23] merrily walking through the valley and

[01:00:24] and is struck in the chest with an arrow

[01:00:27] Yeah

[01:00:31] And then dies slowly

[01:00:33] Yes

[01:00:33] Like he doesn't

[01:00:34] That's right

[01:00:34] That's like a slow, painful, happy

[01:00:38] He was just getting his dinner

[01:00:40] Yeah, yeah, poor guy

[01:00:43] Funniest moment for you Conrad

[01:00:45] So my funniest moment, I have multiple

[01:00:47] but my absolute favourite

[01:00:49] which made me roar for some reason

[01:00:51] I don't know why is when

[01:00:53] Mace is fighting a bunch of werewolves

[01:00:55] there is a point during the fight

[01:00:56] where he looks down

[01:00:58] and discovers that there are two

[01:01:02] feasting on his meaty thighs

[01:01:03] Oh yes, that's right

[01:01:04] It's almost like they're like

[01:01:07] insects or parasites

[01:01:08] It's just like oh, yeah

[01:01:10] I've got a couple of these chomping away

[01:01:12] I ought to deal with that too

[01:01:15] It's like an afterthought

[01:01:16] It made me roar, I thought it was ridiculous

[01:01:20] Oh no

[01:01:22] And that's our Moobly

[01:01:23] Hi, this is Duncan Skiles, director of The

[01:01:29] Clofage Killer and you're listening to

[01:01:31] Movie Oobliette

[01:01:35] Oh yes, it's final verdict time

[01:01:37] Should Lucho Fulcci's conquest be set free

[01:01:40] from its forgotten prison

[01:01:42] to pillage the minds of many

[01:01:43] and be praised once more

[01:01:45] or should it be clobbered with a rock

[01:01:47] num chuck dismembered

[01:01:50] and dumped back in the depths of the

[01:01:52] Oobliette, never to be

[01:01:54] talked about again

[01:01:56] Vincenzo, you have

[01:01:58] introduced us to

[01:01:59] the glory of conquest

[01:02:01] What do you recommend this movie?

[01:02:03] I have been conquered by conquest

[01:02:06] I like this movie

[01:02:07] The more I talk about it, the more I see it

[01:02:10] So please release it, set conquest free

[01:02:13] Yeah, yeah

[01:02:15] In terms of Fulcci movies, it's so

[01:02:17] interesting that he's taken

[01:02:20] fantasy in this direction

[01:02:21] I just would never have expected it

[01:02:23] And yeah, I really do want to watch more

[01:02:25] Fulcci movies, like I've seen three

[01:02:28] No, four now

[01:02:29] I have to watch more of his stuff

[01:02:32] And yeah

[01:02:33] I think what he brings to

[01:02:35] any genre is

[01:02:37] obviously his splatter gore

[01:02:39] but also

[01:02:41] his sense of ethereal

[01:02:43] weirdness

[01:02:44] and sort of art direction that is

[01:02:47] very strange

[01:02:49] to watch, especially in a fantasy

[01:02:51] movie

[01:02:53] But I would 100% recommend

[01:02:55] this movie to people

[01:02:57] Yes, I would agree

[01:02:58] It was not what I was expecting

[01:03:01] at all

[01:03:02] I guess I was just looking

[01:03:04] for, you know, expecting like a bit of a trashy

[01:03:06] cheap Italian cone and the barbarian

[01:03:09] rip-off

[01:03:09] And it is so much not that, even though

[01:03:11] possibly the investors wanted that

[01:03:14] but they did not get it

[01:03:15] They got this curious ethereal

[01:03:18] movie with quite a few surprises

[01:03:20] if you're expecting the traditional hero's journey

[01:03:23] So it's just

[01:03:24] aesthetically quite

[01:03:26] odd, narratively quite challenging

[01:03:28] And I was never bored

[01:03:30] to put it that way

[01:03:31] I was very much entertained

[01:03:33] It was that sort of

[01:03:35] strange seafood dish

[01:03:37] that you might crave if you're a little bit

[01:03:39] bored of other 80s fantasy

[01:03:41] movies, so yeah, I would actually

[01:03:43] I was quite bewitched by it all

[01:03:46] Ah, this makes me so happy

[01:03:48] I didn't know how you guys

[01:03:50] were going to respond to it

[01:03:51] I would not have immediately

[01:03:54] assumed that you would let it out of the uber yet

[01:03:56] Yeah, I mean I would warn people

[01:03:58] it's not for the squeamish

[01:03:59] it is definitely

[01:04:01] If you don't like it, go on

[01:04:03] do not watch this movie

[01:04:05] No, and I'm not sure everyone will

[01:04:07] appreciate it in the way

[01:04:09] that we have. I mean some people

[01:04:11] will just see

[01:04:13] cheapness and silliness

[01:04:15] and I think it takes a certain kind of

[01:04:17] twisted mind

[01:04:18] to fully understand

[01:04:21] what's special about it

[01:04:22] Well let's check in with our patrons

[01:04:26] to see what they thought

[01:04:27] I'd be curious to know

[01:04:29] Hello Hal

[01:04:31] What's the result of the patrons vote please?

[01:04:36] You'll never guess

[01:04:37] they want to set it free

[01:04:38] Oh, yes

[01:04:40] they have that 67%

[01:04:43] to 33% so it was

[01:04:45] not unanimous

[01:04:47] Eddie Coulter says I saw this

[01:04:49] gem at the way too young age of 11

[01:04:51] at a drive-in

[01:04:52] Wow, that's very young

[01:04:56] And I've been a fan ever since

[01:04:58] this movie needs to be freed

[01:05:00] for the uberia just so the insanity

[01:05:02] can be seen

[01:05:07] Film aficionado

[01:05:08] says Italian audiences

[01:05:10] were right this is trash

[01:05:12] uncompelling characters

[01:05:14] tiresome action

[01:05:15] bargain bin wolf men

[01:05:17] an expected delts of

[01:05:19] Fulci's usual misogyny

[01:05:21] and those are just the parts I could see

[01:05:22] through the incessant fog and darkness

[01:05:24] throw this boring mess

[01:05:26] back into the uberiet along with

[01:05:28] the rest of Fulci's movies

[01:05:33] to which jasmine replied

[01:05:34] I vote this is the best movie

[01:05:36] uberiet comment of the month for all this

[01:05:41] Yes jasmine

[01:05:42] also not a fan

[01:05:44] I don't think I have seen far more

[01:05:46] of the cone in the barbarian bandwagon jump

[01:05:48] as than I can count and I have no idea

[01:05:50] why I do that to myself

[01:05:52] only a small handful of legitimately

[01:05:55] good films the best I can hope

[01:05:56] when I watch one is either

[01:05:58] moderately entertaining or so awful

[01:06:00] it's funny, conquest

[01:06:02] commits the crime of being neither

[01:06:04] its leads are just slightly more convincing

[01:06:06] than the terrible special effects but mostly

[01:06:09] it's just plain boring

[01:06:11] and silly instead

[01:06:12] of interesting and exciting

[01:06:14] on the other hand it's still more entertaining

[01:06:16] than most of the Fulci horror movies I have endured

[01:06:21] well it seems that

[01:06:23] the people who don't like

[01:06:24] if you don't like Fulci this is a good indicator

[01:06:26] for you out there

[01:06:28] if you don't like Fulci do not go to visit Conquest

[01:06:31] Yeah

[01:06:33] I do think

[01:06:34] Fulci is kind of a quiet taste

[01:06:36] I guess

[01:06:38] it's definitely not for everyone

[01:06:39] It depends what you're going in for

[01:06:42] if you have a certain set

[01:06:44] of expectations going in it's not going

[01:06:47] to meet them but if you're in

[01:06:48] for a bit of a surprise I think it will deliver

[01:06:51] Yeah

[01:06:51] Well we're setting this one free

[01:06:54] Yes

[01:06:54] Off you go Conquest, you have Conquested

[01:07:01] I'm so delighted

[01:07:02] Yes well thank you so much

[01:07:04] for bringing this movie to us

[01:07:06] Vincenzo where can people

[01:07:08] follow you and find out more about

[01:07:10] what you have going on

[01:07:12] Well I am on

[01:07:14] Twitter at

[01:07:15] Vincenzo underscore Natali

[01:07:17] and I am also on

[01:07:19] Instagram

[01:07:21] at Vincenzo

[01:07:22] if you can manage to spell that

[01:07:25] Oh yes

[01:07:25] And I like to mention that I do have a

[01:07:28] digital archive online

[01:07:31] which is essentially just

[01:07:32] all of my storyboards and scripts

[01:07:35] and various ephemera related to things

[01:07:37] that I've done

[01:07:38] and that's vincenzo-natali.com

[01:07:41] and I also want to mention

[01:07:43] that somewhat by coincidence

[01:07:45] I will be presenting

[01:07:47] a 35mm

[01:07:48] print of Conquest here in Toronto

[01:07:51] at my favorite movie theater

[01:07:53] the Review Cinema

[01:07:54] on October 22nd

[01:07:57] and furthermore I have

[01:07:58] painted a poster

[01:08:01] for that screening

[01:08:03] the review is known for

[01:08:05] these amazing posters that they do

[01:08:07] for their individual screenings

[01:08:09] and so when they

[01:08:10] brought this up I was like please let me do a poster

[01:08:13] Wow, amazing

[01:08:15] So if you're in Toronto please come by

[01:08:17] I'll be there. It's absolutely beautiful

[01:08:19] Oh thank you

[01:08:22] You've captured the palette of the movie perfectly

[01:08:24] and of course Ochron is the focal

[01:08:27] point and she looks magnificent

[01:08:30] I must say I do like Ochron

[01:08:32] I feel like you know

[01:08:33] if you know the artist Richard Corbin

[01:08:36] Conquest could almost be a Richard Corbin comic

[01:08:38] and for those who don't know Richard Corbin

[01:08:41] did

[01:08:41] various comics for

[01:08:43] heavy metal as well as

[01:08:45] things that he released independently

[01:08:47] and he is a brilliant artist

[01:08:49] and his stuff is very sensual

[01:08:52] and very

[01:08:53] primitive like there's a rawness

[01:08:55] not just in the design

[01:08:57] but also in his

[01:08:59] presentation of the stories

[01:09:01] what he was prepared to put on the page

[01:09:02] it was quite shocking and so I

[01:09:05] in my own humble limited way

[01:09:07] tried to emulate him in this poster

[01:09:10] I think you did an incredible job

[01:09:12] in fact I was going to ask if you would

[01:09:13] mind us using it as the

[01:09:15] image for this episode

[01:09:17] I was hoping you would ask that

[01:09:18] Ah, great

[01:09:22] Marvelous, thank you

[01:09:23] This is wonderful

[01:09:24] So if you are in Toronto

[01:09:26] do check out the review cinemas Halloween

[01:09:29] Season where they will be

[01:09:30] presenting a retrospective for the

[01:09:32] Godfather of Gore. They've got 4K

[01:09:34] Restorations, Anniversary

[01:09:36] Screenings and Rare 35mm

[01:09:38] prints of his films

[01:09:40] including Conquest

[01:09:43] The earlier show will be

[01:09:45] City of the Dead

[01:09:46] Ah, nice, nice

[01:09:48] And if you want to keep up to date

[01:09:51] with everything Movie

[01:09:53] UbiLiet releases

[01:09:54] you can find us on all platforms

[01:09:57] as movie UbiLiet

[01:09:58] and you can email us at

[01:09:59] movie.ubliot.gmail.com

[01:10:02] And if you would like to support the show

[01:10:04] head on over to Patreon where for as little

[01:10:06] as a dollar you can get access to extended

[01:10:08] portions of the show and nominate films

[01:10:10] for us to cover in future episodes

[01:10:12] For $5 you get access to our

[01:10:14] exclusive monthly Minisodes

[01:10:17] This month we

[01:10:18] checked out one of our Patrons

[01:10:20] frequent nominations, Freddie

[01:10:22] as FRO7

[01:10:27] Fascinating

[01:10:28] British animated movie

[01:10:30] And you can also

[01:10:32] vote on the

[01:10:34] Final verdict as well

[01:10:35] And for $10 you can be an executive producer

[01:10:38] like Chazilla, Eddie Coulter

[01:10:40] Isaac Sutton, Dr. Doggie

[01:10:42] Surge, Iconographer, Ryan A. Potter

[01:10:44] and Evan Goodchild

[01:10:46] Oh yes, yes, yes

[01:10:47] We have merchandise

[01:10:50] on Redbubble, a YouTube channel

[01:10:52] And please if you

[01:10:54] haven't already give us a rating

[01:10:56] and review on whatever

[01:10:58] you're listening to us on

[01:11:00] it does help us out a lot

[01:11:02] It does indeed, yes

[01:11:04] So Dan

[01:11:05] I won't be here for the next episode

[01:11:08] What will you be covering?

[01:11:10] I know, I know

[01:11:11] I will be joined by Surge, long time

[01:11:14] guest

[01:11:15] so we'll be in good hands

[01:11:18] We will be covering

[01:11:20] From 1993

[01:11:21] The American Science Fiction Horror Film

[01:11:26] Carnosaur

[01:11:28] Ooh, dinosaurs

[01:11:29] Yes, I know

[01:11:31] I actually explicitly requested

[01:11:33] a dinosaur movie with

[01:11:35] Serge because

[01:11:36] he loves dinosaurs and we've never done one

[01:11:39] on, I don't think we've ever done

[01:11:42] a dinosaur movie on the pod

[01:11:43] So I'm really looking forward to this

[01:11:45] It's a waste not to

[01:11:47] when you've got Surge right there

[01:11:48] I know, I know, yeah

[01:11:50] So it's a classic Roger Corman

[01:11:53] sort of rip-off

[01:11:55] movie

[01:11:56] directed by Adam Simon

[01:11:58] So again, yes, another Roger Corman

[01:12:00] film that

[01:12:02] I'm looking forward to checking out

[01:12:04] Yeah, I can't wait to hear what you make of it

[01:12:07] Yeah, me too

[01:12:10] Thanks again, Vinchenzo, for joining us

[01:12:13] Thank you Conrad, thank you Dan

[01:12:15] It was wonderful, bye for now

[01:12:16] Goodbye

[01:12:25] Come with us and we'll not

[01:12:27] the movie you be at

[01:12:28] Take on my ashes and

[01:12:30] anoint yourself