Prepare yourself for the terror the prison of madness.

We have a few inter and Nonritter.

Welcome to Unsung Horrors with Lungs.

And Denica.

Leave all your sanity behind.

It can't help you.

Now.

Welcome to another episode of Unsung Horrors, the podcast where we discuss underseen horror films, specifically those with less than one thousand views or logs on Letterboxed.

I'm Lance and I'm Erica.

And for this episode, like we've done a few times in the past, we are kind of straying away from the hard coded horror genre label and I've picked a film that, while it does have horror elements, which we'll be talking about, is a Western, but more specifically, it can be considered an acid Western.

So this is a subgenre that I just recently learned about when we covered The Devil's Mistress last year, which is written and directed by Orville Wanzer.

The film we're going to be talking about for this episode is Run Home Slow, released in nineteen sixty five.

But when I was researching for The Devil's Mistress last year and Wanser's ties to Las Crusis New Mexico, I became aware of this acid Western subgenre, and this led me to finding someone living in Las Crusis who just so happened to be working on a documentary about Wanzer and the acid Western subgenre.

This was doctor Julia Smith, and I reached out to her while we weren't able to get her onto that podcast for The Devil's Mistress, and she provided a bunch of ton of interesting information about the subgenre.

Gave me a lot of details about The Devil's Mistress, which made me sound a lot smarter than I am for that episode.

So that's true, and I knew I wanted her to be a guest at some point, and we're lucky to have her joining us today for this episode.

Welcome Julia, Hello, thank you so much for having me Lance and Erica.

I also just want to say that Devil's Mistress episode was incredible and I was just taking notes, you know, throughout the whole thing, at the associations and connections you guys are making so sweet.

That's why I was so excited.

Can we do run home slow?

Because I don't know who could be better to nerd out on this film that so I was like, I need to deep dive with these two.

Yeah, I do want to point out that I am wearing the Devil's Mistress T shirt today.

Hey, Erica, nice, everybody should go pick up tease.

Julia has them on her site.

Yeah, and we're going to share all We're going to have show notes links to all her good stuff, and of course I'm going to ask you to pimp all that stuff here at the end of the episode.

Oh yes, but yeah, thanks so much for joining us.

Definitely, And like Julie, I just want to point out Julia is the one who recommended and suggested Run Home Slow to me, and I watched it.

I really enjoyed it.

I felt there were enough horror elements for it to be an episode pick.

But really I just wanted her on the episode.

Even if it was a comedy, I would have picked.

So.

Yeah, I just mentioned that you've been working on a documentary called Birth of the Acid Western, and the acid Western subgenre isn't very well known, Like I just learned about it when I picked randomly The Devil's Mistress and started and actually, you know, located your your work and dove a little deeper into the subgenre.

I guess it could be a little broad, but can for our listeners who aren't aware of this subgenre.

Can you can you explain what an acid Western is, Julia.

Yes, I'll try and explain it as substinctly as I can, despite the fact that it is a sort of broad and elusive genre that is mostly alive on the internet.

You know.

It's like there's these acid list of acid westerns online, you know, like AFI has one that I kind of used as my framework when I also was sort of thinking about this genre that I associate mostly with al Topo by Alejandro Jodorowski, who made this acid Western in nineteen seventy, I believe is when it premiered and it was brought in by Yoko and John and it was the first midnight movie.

So I really attach it to that sort of time period as well.

You know, maybe this sort of transition from the sixties to seventies, as we know, like there's a very dark turn and then American censorship laws change and then you know, the brutality and the sexuality are just maximized.

You know.

So when I found The Devil's Mistress and was sort of thinking about it as an acid Western, it was like, well, it's early, you know, there's not it's kind of ahead of its time in that way, and so it also doesn't totally connect with al Topo, even though there's overlaps.

But as I'm finding and these lists of acid Westerns, they all have these kind of distinct things about them that make them acidic in some way or shape.

Where I was kind of thinking about it yesterday is like it sort of starts turning against itself or eating away at itself in this sort of negative turn or this death drive where the characters are sort of unknowable and filled with sort of impulsivity and violence and the irrational.

So I do think, you know, this is something I was thinking about with Run Home Slow, not to deviate too much, but really thinking about the influence of American Gothic on this kind of like Western Gothic tradition that becomes more internal and existential and psychological kind of horror, if that makes sense.

So then like you know that the good and evil is more dubious, and there's a kind of feeling of going into an underworld.

Yeah.

Absolutely, the characters, I mean, and the Devil's Mistress, it's the cowboy group, the Gang of Bandits.

And then if you look at these characters and run home slow.

They are kind of one of the major horror elements of the film because they are completely unhinged.

They're kind of battling their own demons, and they're just kind of out crazying each other, which is kind of scary to watch unfold.

That's that domestic horror, the stuff that happens behind you know, the veil.

Yeah, exactly.

Again, I love the work you've been doing.

You've been sharing a lot of stuff on social media with all the work, and you've been having a lot of screenings.

I know you had a screening last night for The Devil's Mistress, which is very exciting.

Do you do you have any more screenings planned for that?

I just want to.

That's a good question, you know, as I'm kind of saying right now, I've been working on this thing for so long that I'm ready to stop cooking it and just deliver it.

So I'm hoping if there are more screenings, it'll be in conjunction with like a rough cut of the document or you know, some new thing that's longer to show, even if it's a bit more of a preview that's more polished.

So it's possible, but hopefully, you know, I can focus full force now on finishing the documentary, and I feel like I've resurrected it enough that, like when it comes out, hopefully there'll be even more people chomping at the bit to see this on a big screen throughout the date.

So yeah, kind of strategizing the type of promotion or focus that should happen right now.

So I'm hoping this summer, like it's, the editing will be pretty close to done, or I'll have a really clear sense of like the last things that need to be done.

If I get more money, I could raise the production value, for example, but I'm not counting on that.

I'm just trying to make enough to get the edit together as best do I have it now.

Yeah, and every like I said, we'll be providing links and stuff in show notes, but everybody should check out acid Western dot com, said western doc dot com.

Yeah, and you know, I sorry to interrupt.

I was going to say one more thing about the acid Western genre, which is what is published is a really incredible essay on al topo by Pauline Kale in The New Yorker nineteen seventy I think was probably the year and in that she really articulates.

She doesn't call, she doesn't name the acid Western, but she does almost everything but do that in this where she's critiquing the film, but also like the audience and the cultural context that this is emergent from, and sort of sees it as like a commercialized surrealism, you know, it's this attempt to be profound, but because of its exploitative value, it loses that potency and it kind of seems like, Oh, it's these dead heads, these burnt out hippies, who are you know, enjoying this dark turn in the count culture.

Not that it wasn't there before, but now it's just explicit it's creating this sort of upheaval or you know, against the status quo.

And then the second is Jonathan Rosenbaum, who wrote about the acid Western genre in nineteen ninety five with his short novella on dead Man by Jim Jarmish, and in that he kind of articulates the genre as this sort of night miarish view of the West, disrupting manifest destiny and showing this kind of againstness towards like the centrality of imperialist or militaristic you know whatever.

These countercultural revolutions were about, and he sees that film as kind of fulfilling this dream that wasn't quite achieved in the nineteen sixties.

It's kind of interesting to read that way that the acid Western combines sort of European art cinema with American exploitations cinema is like the sort of larger cultural conditions or environment that sort of allows this genre to emerge.

I suppose can you pinpoint like when acid Western was first coined, Like is there an article or do we know where that came from?

As far as I know, there's this question of like did Jim Jarmish do it?

Or did Pauline Kale do it?

And I think it's more attached with Jarmish, just because he's kind of calling it a subgenre, and I don't know that it existed as a kind of defined genre before then, even though it's not like it didn't exist, you know, there just wasn't that term for it.

So I think probably like mid nineties and it's very niche, you know.

So I really had heard of them only because of El Topo, and then from then had seen Westerns that I sort of recognized, as you know, moving into that territory, but didn't really think much about it until I saw The Devil's Mistress and found this kind of compelling way to think about the film in terms of this larger cultural context through this idea of the acid Western that is like very loose and ephemeral, even though there's distinct things that have to be there, but they look very different the acid westerns I've seen.

It kind of reminds me of the full course of genre in ways where it is it's very broad and you can pull in a lot of movies.

But I think, yeah, like you had mentioned with the article, was it from the nineteen seventy of the New York Times article that yeah, right, that seems to really like really kind of make these films a little more specific into the genre.

Because when I read the campaign book for Run Home Slow online, oh wow, in nineteen sixty five, they called it a psychological Western, which kind of is it's an acid Western kind of when you think about it, because it is it's a focus on these characters and them going against everything.

Because Run Home Slow it's kind of a classic Western revenge story.

You know, there's so many Westerns where usually it's a son and his father's killed, and the movie is him getting revenge on these bandits who did it.

But this is flipped where it's like the bandit's father's killed and they're killing the good guys, which I really I like it.

I think it's an original, original idea, especially in the sixties early sixties when it was filmed.

Well, I think it's flipped even further because those things for which they're getting revenge and then their actions after that aren't even shown.

They're just told, like we're never shown what the patriarch, like.

What all the father Hagen, Yes, rain.

Of Hair, it starts with it hanging.

I know we're getting ahead to like the plot and everything, but I think it's interesting that it is like such a I hate using the word like subverting expectations, but like it really does subvert a lot of what you expect from a Western, and that to be shown the shootout and the bank robbery and like all the things that he did to deserve being hanged, like all those sorts of things.

So I also just I wanted to take a step back to the AFI list that Julia mentioned.

There's a lot of interesting films on that list that I wouldn't have normally have thought of as an acid Western, And like, I think High Plane Strifter is one where like I've seen it, but then like putting it in that perspective, I'm like, oh, yeah, it does fit in that.

So it's like you said, like the full core thing where it's not something like El Topo where it would point to it and automatically be like, oh yeah, acid Western.

But reading about it so much, you know, I'm like, oh, okay, yeah, that does actually fit.

I'll put a link to the list in show notes so other folks can reference it, because I think it would be a great like I'm going to dive deep into this genre and get some reference points that are a little bit more off the map other than the stuff that we're going to talk about in this.

And correct me if I'm wrong, Julia.

But high Plane Strifter they they filmed some scenes in Las Crusis, New Mexico, right or was that a different place?

You know that The one I'm thinking of is Hang Them High.

I'm not sure about High Planes Drifter, but yeah, that is also considered an acid Western.

Hang Them High?

Nice.

Yeah, there's there's kind of rumors that and I suspect that the Devil's Mistress might have been the reason that a film was made out there so soon after, because it's highlighting this location and showing that, yeah, good looking films can be made in this area on a low budget, and they can be kind of off, you know, or a little bit pushing on overt symbolism or even kind of political countercultural themes that are questioning society or questioning the law and order you know that's been established over you know, the supposedly uncivilized territory.

Quick synopsis on Run Home, Slow, real quick for our listeners who don't watch the movie for some reason and just want to listen to our discussion.

On your dulcet voice.

Yeah, he go, here's a summary of it.

Grab a pill and listen to me.

Okay.

So the residents of Pebble Springs have revolted hanging jud Hagen, their self denointed ruler who thought himself as God, and they hang him in the middle of the night.

His children valve vengeance.

They rob the Pebble Springs bank, killing the tellers, and then visit the home of old Man Gately, who helped prod the lynch mob into hanging their father.

When they get their sloppy revenge, the gang of four fleet to Mexico.

The family includes Nell Hagen played by Mercedes McCambridge, who idolized her power hungry father, brother Rit Hagen played by Gary Kent, who's been badly wounded in the shootout, and there's Kirby.

They're hunchbacked and simple minded brother and the beautiful but equally simple minded Julie Ann played by Linda gay Scott, who was a cousin recruited to marry Ritt so that they could keep the Hagen blood line alive.

And then through a series of mishaps, they're going to have to make the track to Mexico without horses, guns, food, and water.

But they do have a donkey, a lot of money, and plenty of demons inside each of them, which will be their ultimate downfall.

Like I mentioned last episode, Run Home Slow only has currently forty seven logs on letterboxed, which is one of our lowest picks, and it's streaming on YouTube.

Very dark visually, which we'll talk about, I'm sure, but I want to jump into the cast, which is my favorite part of this movie.

It's a great cast.

I probably have too many notes on them, so I'm going to try and skip over some stuff.

But there's one standout actor who made me immediately fall in love with this movie, and that's Mercedes McCambridge.

She plays the lead role as the family leader Nell, and she's a pro at this point.

She's already won a Best Supporting Actress OSCAR for her first feature role as Sadie Burke in the nineteen forty nine Best Picture winner All the King's Men, and she was later nominated for another Supporting Actor Academy Award in nineteen fifty six.

Is a giant, so she plays the revenge cowwoman very well.

She's already established at this point, but before acting in TV and film, she began her career as a radio voice actor during the thirties and forties while also performing on Broadway.

Orson Wells called her quote the world's greatest living radio actress, and he ended up casting her in a few of his films, The Touch of Evil and the later released The Other Side of the Wind.

I watched a bunch of her movies for this episode and for june'splitation, which I'm going to dive into the movies more specifically when we record that episode next month.

But she's very distinctive, and I don't know if you guys are.

Obviously she's very distinctive with her voice, being a voice actor before a performer.

But I feel like she really acts with her eyes and her neck when she really jerks her heads around with her reaction, like she's going to give herself whiplash.

I particularly in All the Kings Men, and well, I saw it here in Run Home.

Slow watched a movie called Angel Baby too, where she's just like whipping her head around, Like what do you mean, Like, it's just it's beautiful.

All the Kings Men does have child kills, by the way, which I had seen.

Yeah, that's why you text me that one.

Okay, thank you.

Does Julia know because I feel like she might need context for that.

Oh yeah, do you you know that Erica had has written a book called The Sweetest Taboo about child kills and films?

Yes, yes, yeah, I was like remembering that the Une child kills in that lite.

But yeah, Mcambridge's voice.

Some horror nerds might recognize her as Pazuzu from the Exorcist.

She said, And this is me just reading like on Wikipedia pages and reviews that to make her voice sound as disturbing as possible, she swallowed raw eggs, chain smoked, and drank whiskey to make her voice sound much more aggressive.

I mean, that's my breakfasts right well.

And she she it's not.

She drinks whiskey and vodka throughout her whole career.

When I'm going to go over some of the stories from Gary Kent's book during the filming and run home slow.

But apparently William Freakin arranged for her to be bound to a chair during these recordings, so she felt like she was struggling against the restraints, which is interesting.

He also claimed that she initially requested no credit for the film because she thought it would take away from the attention of Linda Blair's performance as the possessed Reagan, but later she complained The Exorcist was very, very successful, and she ended up getting properly credited for her voice work.

Another Great Western role that she was in as Nicholas raised Johnny Guitar from nineteen fifty four, where she plays What's he name?

Emma Small, a landowner who hates Joan Crawford's character Vienna.

She wants her dead.

She wants to run her out of town.

She calls her like a tramp every chance she can get in this movie, very two strong personalities these two actresses had in real life.

Both were heavily drinking at the time.

They reportedly disliked each other intensely.

Mcambridge believe Crawford received preferential treatment from the director Nicholas Ray, who was having an affair with Crawford at that time.

Allegedly, but I think it can be confirmed based on everything I read.

She claimed that Crawford attempted to blacklist her, which led to a two year period of inactivity in her career, and the rivalry escalated to the point where crew members had to secretly film Mcambridge's scenes opposite Crawford, and that Crawford reportedly destroyed Mcambridge's costumes used in the film, tearing them to shreds and then throwing them in the middle of the highway.

I got mad respect for people who hold grudges.

Like that, Oh, for both of them.

Yeah, I'm not on anyone's side, but I'm on both their sides.

Like at the same time.

It escalates so quickly, you know, one wrongdoing leads to something tragic.

Right, I can see Crawford being like, Oh, here's this girl who came in her first feature role.

She wins an oscar, Where's mine?

Like?

Yeah.

Mcambridge later referred to Crawford as quote a mean, tipsy, powerful, rotten egg lady.

And I read to Sterling Hayden, who plays Johnny Guitar, he also did not like Crawford.

He was on Mercedes mccambridge's side.

But regardless of that few that movie rules.

Every character is super confident, especially mcambridge.

Like I said, I watched about like ten of her films for this thing, and I just love her dramatic line delivery.

She's made to play the tough cow woman she did have.

I watched the two films she did with Jess Franco, both in nineteen sixty eight.

She was in the Marquis de Sade's Justine and ninety nine Women, which is kind of a woman in prison type movie.

Yeah, there's a lot of animal death in that one there, but yeah, there is some animal death in there.

Sorry, no, it's it's fine.

I watched the scar of Angel Baby, which I brought up her dramatic reactions.

Do you guys remember The Family Dog TV series from Amazing Stories from nineteen eighty seven.

It's called The Family Dog.

It's called Family Dog.

Directed by Brad Bird, produced by Steven Spielberg, Tim Burton, Danny Elfman did the theme.

I watched this religiously as a kid, and I don't know if I recorded Amazing Stories on VHS and then just watched this pilot.

It was a pilot that ended up becoming a TV series.

But in the pilot, Mercedes mcambridge voices as a character and she sounds like Pazoozu like.

It's just It's one of her last credits in film and television in nineteen eighty seven.

I recommend it's on YouTube.

It's like twenty three minutes long.

It's fucking hilarious, it's funny, it's it's worth watching.

Or maybe I watched it on Vimeo, But anyway, I could easily spend an hour on Mercedes McCambridge.

So much interesting stuff.

She did write a memoir that I didn't get to dive into, called The Quality of Mercy, an autobiography which was published in nineteen eighty one, which I read.

She completed while she was a director of a rehabilitation Center for Alcoholics in Pennsylvania.

She passed away in two thousand and four, and I gotta throw this in.

I'm a sucker for tragic stories.

Whenever we're talking about cast and crew, I like to throw this in.

But this was a very tragic story about her son who committed suicide after murdering his whole family, his wife, his two daughters.

I'm going to bring the show down here, guys.

He left a long bitter note taking responsibility for these crimes he committed concerning financial fraud that involved her money and stuff.

But the letter said, initially you said, well we can work it out, but no, you refused.

You called me a liar, a cheated, a criminal.

Above you said, I've ruined your life.

You were never around much when I needed you.

So now my whole family are dead, so you can have your money.

Night mother.

Damn so American Gothic, that is.

Yeah.

When I was diving into Mercedes McCambridge, like Gary Kent, who I'm going to jump to here in a second, there's so many interesting tragic stories where I'm just like, oh, my goodness, like I want to read her memoir.

This was after the release of her book when all that tragic stuff occurred, but very fascinating actor, very fascinating career, deservedly an Oscar winner Gary Kent.

Okay, I'm just going to run through the family members real quick, So.

Real quick, though.

Have you been to some Alamo screenings when he's been there, as.

I haven't with Lars, he talks about him in his book, which is really good.

Okay, Yeah, I've been to a couple.

I think the last one I saw was Freebie and the Bean when he was there, and that was a lot of fun.

I think that's great story.

So, like I would love to read that book too.

I imagine it's just an amazing read.

It's probably a lot like Hal Needham's book.

Oh exactly.

Yeah, I mean he talks, and I know we had mentioned I don't think we talked about Gary Kent and our death in the Freeway episode.

I don't think so either, But I had said that Tarantino his inspiration for Cliff Booth from What's Upon a Time in Hollywood was Hal Needham, but everybody's saying it was Gary Kent, and I think it was just a kid accommodation.

Yeah, big personalities and huge and just great Hollywood stuntman.

So yeah, Gary Kent stuntman.

He was also an actor while he was doing a stunt work.

Later became a writer.

He was a director.

He plays brother Hagen Ritt The Injured One.

Yeah.

He worked closely with al Adamson, a lot, Gary Graver, Ray, Dennis Steckler, Don Jones, that whole group of kind of misfits and cast outs.

He did a ton of biker movies, usually playing the thug leader, a tough guy, asshole.

He starred in Don Jones's Schoolgirls and Chains from nineteen seventy three, which I recently watched.

He's a creepy guy who takes young girls into his house and locks them in a cellar, very psycho esque.

He's also in my personal favorite Steckler film to thrill Killers.

But his book it's called Shadows and Light Journey with Outlaws and Revolutionary Hollywood, which he shares just amazing stories about.

You know, the name's already listed.

A lot of the actors he worked with, Warren Oates, Jack Nicholson, Bruce Den.

He writes about his experience working at Spawn Ranch while the Manson family were living there.

Has our muddy Lars Nilsen in it because Kent lived in Austin and he passed away just two years ago, twenty twenty three, at eighty nine.

He does have a few pages, like a full chapter devoted to Run Home Slow, which was the reason I bought the book, crossing my fingers hoping he had blurbs about it, because there's just not a lot about this.

The production of his film, and he said that Ted Brinner, who is directed, he's credit as their director.

But I don't know if that's the fake name or if his name is actually Tim Sullivan, because on screen it says directed by Tim Sullivan, and in Kent's book he just calls him Tim Sullivan the whole time, so he goes by Tim Sullivan.

But he apparently Tim Sullivan planned to raise the film's budget free of the movie establishment.

He wanted to shoot, edit, promote, distribute this thing all by himself, so it obviously took him years and years to raise the money.

It took him over two years to raise the money.

He got friends and family, local firemen, housewives to invest into this movie.

The idea came to him in nineteen sixty one for Run Home Slow.

They didn't They began shooting in the LA area in nineteen sixty three, specifically in California's Elmerage Desert Flats.

Apparently the location was close to Edward's Air Force Base, where shot after shot was ruined due to the screaming jets overheard.

Did you yeah it sucks.

Heard sonic booms all the time.

Fuck that place.

Sounds like a great place to film an independent movie.

Yeah.

Kent said that aside from Mercedes Mcambridge, there was an experienced cameraman on set and the sound apartment were great and knew what they were doing, but no one else knew what they were doing on set.

A lot of first time filmmakers actors.

This was like his third or fourth film credit kins.

But he claimed that Mercedes Mcambridge, who liked to be called Mercy by the way, she liked to have people call her Mercy, brought some advice to the new actors, telling them to follow four simple rules of conduct.

Relax, concentrate, have patience, and have fun.

And he said she would hide tiny bottles of vodka in or purse that she would empty into her cups of fruit juice to pretty much follow those rules.

But yeah, he has a lot of great stories.

People should buy this book.

He talks about meat or the first meeting, which is really humorous, and just how great she was on set.

I was excited because when I initially picked up the book, I checked out the index of names real quick and there were a ton of pages for Mercedes McCambridge spread out of this book, and I was like, oh great, And I quickly thumped through the pages and they are mistakenly flagged as a John Bud Cardos, who's another famous stuntman and production manager.

They were referring to his gal winged Mercedes bins that Kent would ride in all the time.

So not a whole lot of Mercedes.

There's a lot of Mercedes cacambridge, but not as much as the book as the index kind of claims.

But this is the first time he met Gary.

Kent met Bud Cardos, who they became lifelong friends and coworkers in film.

So again, like Mercedes, Gary Ken is someone who I could easily spend like an hour on.

Everybody should check out his book.

There is a documentary that was released in twenty eighteen about him, specifically his Hollywood stunt work called Danger, God Love and Other Stunts.

Wow, I want to.

I came out check that documentary out.

So you mentioned Bud Cardos.

So the opening credits they list his name, but there are no end credits to match who he played in the film.

Do you have because I looked it up and he's not credit like his name is listed as production manager and production manager.

But as far as the cast goes, I.

Would, yeah, I didn't.

He didn't list that in the book.

I couldn't figure that out.

I'm sure he's one of like the lynchmen in the beginning.

Yeah, because the director Tim Sullivan aka Ted Brinner plays jud Hagen, the guy that's getting hanged.

So I think a lot of crew members filled in with with some spot.

Another cast member, obviously is Kirby the slow Brother.

He's played by Alan Richards.

He's not an actor.

This is his only credit.

He was an investor in the film that got pulled in to play this role.

Who every time there's a close up of him on screen, I think of Trey Parker from like Cannibal the Musical's goofy looking.

Yeah.

And then the last cast member I just want to talk about is Linda Gay Scott, who plays Rit's wife Julie Anne Hagen.

Her biggest film role is probably that of Arlette and Michael Crichton's Westworld.

She was also in the original nineteen sixty six Batman series, playing a recurring role as the villain moth a henchwoman of the Riddler.

But she mostly just did television series, playing small parts in single episodes of some well known chose the Man from Uncle, Bewitched, Lost in Space, Green Hornet.

She was even in a Colombo episode.

Oh, I did watch one of her movies that she was and I watched it because Gary Kent was also credited in it called psych Out from nineteen sixty eight, starring Jack Nicholson, Dean Stockwell and Bruce Dern.

She was fine.

She didn't have a big role.

She plays like the jazz flute in it.

But she was born very rich.

She's the heiress to the Scott Paper company.

Damn fun fact.

I used Scott toilet paper.

Sharman girl over here, you're a Sharman girl.

I found out that she is still alive.

She has a website selling autographs.

She even did her own podcast a couple of years ago.

She's in her eighties, I believe, but her pot I listened to just one of her podcasts.

There are like thirty minute recordings of just her talking about a specific role.

So she did about a dozen or so of those.

She sells stuff on eBay.

This is something I'm very interested in, and Julia, I think it will interest you too.

But there's a collection of her scripts and movie notes and Run Home Slow with all her written notes on the script is for sale.

No way.

Yeah, I reached out to the buyer.

Would you great?

Yeah, keep me updated on that's that's a project in the making right there.

Yeah.

I think because there's some there's some dialogue in here that I'm that I'm gonna ask you guys questions about, because you know, obviously the quality that we all watch.

Is I'm going to be able to help.

I'm going to tell you that one.

Well, I want the script.

I want the script to answer some questions.

But I did the contact.

The seller did reply back.

I don't.

I think she's selling it through you know, a family member or some sort of manager.

But he's asking about eight hundred dollars for this.

It's not just the Run Home, it's tons of like all her handwritten notes.

It's a huge lot.

It's like, would you sell just the run home slow script, and he's like, possibly how much you ask?

So we're kind of in that.

We're kind of in that agline.

I'll keep you updated, Julia, and I can send it to you if you want to use it for any any reason or take a look at it.

Cool cool, Okay.

And that's that's that's the cast.

That's those four members the crew.

This will be quick.

I've been talking too long.

Tim Sullivan directed this or Ted Brinner.

I'm not sure which one's the real name.

Like I said, he plays the father who gets hanged in the beginning.

This is his only feature film.

He directed a few TV episodes in the fifties.

Gary Kin's book has a lot of stories about Tim.

Tim Sullivan though the close friends.

They did a lot of drinking and kind of partying together.

I want to talk about the original composer for this film, what some consider the most interesting part of this entire movie.

A super young unknown garage band drummer at the time was hired to do this, Frank Zappa.

The theme that he did I'm going to add to close out this episode, which I love.

I think it's a great theme.

Everything in between, he's really playing wild stuff, which I really respect pulling out the kazoo and stuff.

For some of it's just maddening, and it fits some of it.

I think makes the movie a little more comedic than I was then what's kind of presented on screen, but it works.

Oh, I was gonna says he had like the vampire like this.

Is gonna.

Bob Dylan stole that from.

Exactly he watched this movie and he's like, I'm gonna take that idea.

I'm gonna.

But this was Zappa's score.

It was kind of his first paid gig.

Really blended this job in a very interesting manner.

His high school English teacher, Don Serverus wrote the story in script.

I'm sorry, what's his last name?

Serveris?

Oh?

Serverus?

Okay, I thought it was Servers, like the three Oh might want that English teacher?

Okay, sorry, sorry.

Yeah, that would be cool.

I would have drawn that, like on the chalkboard and stuff, because that's but Serveris wrote the script for a Run Home Slow, and he reached out to his uh former student, Frank Zappa about doing the music, which he recorded in about nineteen eighty six, conducting a small ensemble with him.

He played guitar on the score.

He was compensated for the for the work, saying that he used the money to buy a new guitar and he was able to take over the lease at a local recording studio, renaming it Studio Z, which kind of started making his solo career at that point.

And he did reuse a lot of the music cues in this in the run home slow music it can be found.

There's a lot of recurring music melodies in his nineteen sixty eight album Lumpy Gravy and We're only in it for the money.

So people who become familiar with the theme and they listen, if you're happened to be a z App of Fanny, listen, there actually are recycled musical cues that he used later in his career.

Okay, yeah, I've been I've been talking kind of forever.

Let's so at A lot of people do say that Frank's app is the most interesting part of this movie, the reason to watch it.

But let's I want to now dive into the reasons or the reasons not to watch this movie, right, So I want to start with Julia, like, so horror, horror and acid western is.

I feel like a lot of aster and Westerns that are probably on that AFI list, it'd be hard to label them as horror.

The Devil's Mistress is I think the perfect prime example of a horror acid Western, and I do feel like there are a lot of horror elements and Run Home Slow when you suggested it, I watched it.

I thought it fit.

Did you when you first suggested it to me?

Did you have ideas of, like, yeah, I think this could work for a horror podcast, And do you have like specific or any reasons why you thought of this movie when you suggested it.

You know, I did think that it worked because of the psychopathic nature of it and the more psychological fears, you know, for example, like is my son going to become an ax murderer?

Sort of anxieties that I think are interesting with these types of acid Westerns.

It seemed to be you know, in the earlier sixties where they are kind of questioning like patriarchy and masculinity in these different ways that it becomes like a horror to be fixated on the law of the father, like the rules of the law, and so the fact that it kind of starts with a murder and then it's like more murder lays on top of it.

Sort of this domino effect really reminded me too of The Devil's Mistress, where even though we don't see the crime with the outlaws at the beginning of the film, it's just happened.

And so they're also sort of escaping society going to Mexico.

So we're kind of following the story of the evil characters and finding ourselves sort of wrapped up in their drama in these sort of inversions and kind of juxtapositions of opposing things that creates that sort of uncanny or disgust in us as the viewers as well.

So it's kind of like reaching into that like psychological horror genre, especially around the family, which to me is what makes it so American Gothic, you know, those kind of threats of incest or sexual abuse that kind of makes me think of like Texas Chainsaw Massacre, or like these movies that are kind of like The Poor Whites and like how power is easily manipulated in these kind of like lawless environments that you can kind of revel in the perversity, you know.

Yeah, yeah, these people are unhinged and as soon as they're introduced at the Gatelies, you can tell they all have a little bit of crazy in them.

And you know the Gatelies kind of the son and the father are talking and how they they're introducing us to these characters before they're shown, we know that they're they're a little out of their minds.

They thought their father was God in some regards.

The black and white filming really sets the mood.

Obviously, the transfer that's out there is like super dark.

But you're right, I think the psychology of like the family, it's very Spider Baby from Jack Hill's Masterpiece.

I even read somebody referred to them as the Fretellies from Goonies with no kind of being the mother and Kirby is definitely the sloth character, right.

It also gave me Vibes, which is a horror subgenre movie of Sonny Boy with David Carrodine and Brad Doriff, which takes place kind of in the desert, and it's just this this family that is you know, they're committing murders and stuff, but they're you're not really watching the murders, You're just watching them live there kind of unsettling life, and it's unsettling, like I find great entertainment in it.

And I love the Haigen family even though they're kind of despicable people, but you know they're evil.

I mean, that's kind of even if you know they quote simple minded characters.

He's hacking up burrows and and and his sister's wife and stuff where he chokes her.

But yeah, I think I think this movie's creepy, especially the way it's filmed.

I mean, I think it's beautiful, and I wish it was a cleaned up copy of it.

And I hate to point this out, but I did it last episode when I introduced it.

But there could be an inspiration to Rob Zombies characters the Firefly family, who, like you mentioned with Texas Chainsaw massacres, kind of like the stereotypical backwoods kooky family that are just crazy for the sake of being crazy.

I like the Hagen's better than the Firefly Family, thank you.

I mean, I don't feel like that's much of a contest, but I have serious hatred for Rob Zombie movies, So I mean, I just I'm like, bro, just stay in your lane, like I don't mind your Like I don't personally listen to his music, but I am not defended by it, right.

I think he puts on a great theatrical stage show, kind of like Alice Cooper, not anywhere near as good, but it's Alice Cooper because I would actually listen to Alice Cooper's music.

I digress.

I fucking hate Rob Zombie movies.

I hate his dialogue so goddamn much because every fucking other word is fuck, fuck this, fuck that.

It's like, yeah, that's more Joe but Bagos or Hugh yeah even.

I mean, I don't mind Rob Zombie movies.

I like how of a Thousand Corpses when that first came out.

The other like Devil's Rejects, is very grotesque for just the sake of it.

Yeah, Yeah, I'm just I'm not a fan, and like you, you put.

It in my head, and that's why you don't like this as much.

I think there's a few things I think that if I didn't have that in my head, or if I never had I think I would have got that had you not even put it in my head, right, But I think I probably would have liked it more had I never seen a Rob Zombie movie, I would have immediately jumped to Spider Baby or something or my double feature pick.

I because the Julianne character is very cherry movie.

Yes, yeah, very very much so, like I would I would be floored if Rob Zombie had not seen this film.

Yeah, same.

Do you have a favorite character, Julie?

Do you have a favorite character of the Hagen family?

I mean, it's gotta be now.

She's just so incredible.

Like it's not just her dialogue, it's the way she moves her body around and like you're saying something about the way she jerks herself in this sort of stiff legged, grotesque kind of moments as well, Like I love that moment where she lifts her shirt and like pats her belly.

It was like, man, I wish I had like a better quality of this because that's also very unusual for you know, a film, for a woman to show her body in that way that's so non sexual.

I don't know, I really loved that.

But she just doesn't give a fuck, and just like.

Yeah, I got that from most of the roles I watched m Cambridge and like she's ahead of her time, and I mean she's not ahead of her time in an actor point of view, but she's just I've almost feel like I can't name anybody who's more confident in her role in their roles, Like she just sells every single role.

And again in Run Home Slow, she's already established the Johnny guitar.

She's a giant.

She's playing the cowwoman.

But I don't know.

Yeah, you can't eat her character in this, and I think the dialogue helps too.

I don't know how much was ad libbed.

I don't know how much was actually Servius's script, but it sounds to me like she's just making up this character.

She goes along and she has it down pat.

And also in Gary Kin's book, I had read that McCambridge urged each actor to find some sort of piece of what she called bric a brac, like a talisman that they believe that the character that they're portraying may have carried around with them.

And so Gary Kent said that he found an old leather coin purse that belonged to his grandfather for his writ character.

Again, Gary Kent is completely underutilized, which that's his character.

He's just lying there dying.

Alan Richards, who plays Kirby, he had an old bible, but that's written in the script and I don't know if that was written, like maybe it's his own bible.

I don't know.

And then of course Julianne's character had the pink parasol, the umbrella.

M Cambridge wore silver spurs that Gary Cooper had gifted her.

But yeah, I'd love Mcambridge.

I feel like, have you guys.

I'm gonna go back to another TV because I was watching her.

There was a TV series I used to watch called The Young Riders.

I'm aging myself.

I know you're about the Pony Express.

There's a character named Tea Spoon, and she reminded me so much of this character Teaspoon played by Anthony Serb.

How do you say Serby?

And his name was Aloisious Teaspoon.

Oh yeah, that's my granddad's middle name.

That's amazing.

Her name was Kermit.

But yeah, some of the lines she delivered, you damn fool, you jackass, damn fool was talking to Kirby.

Uh.

And then there was another uh, no more posses for gately unless they got horses in hell, and everybody starts laughing.

She lets off a like like a fake kind of like I'm a genius laugh.

She's got like a real like method actress, you know energy to her, which is also very masculine.

You know, she's absolutely and there's this kind of Southern Gothic to me as well, where like the script kind of has that affectation, especially at the beginning with the father and the son, like it's kind of conversation that almost seems like stagy, you know, not in a bad way to me, but there's these you know, monologues or these kind of one liners, you know, or these kind of strange moments where she says something completely insane like maybe Paul willed it that they're here, you know, and kind of gets more metaphysical, like she's becoming her father, which is interesting.

I didn't realize she was in the Exorcist, But there is that kind of possession fyel to her as well that you know, she just plays so well through her affectation and her voice, these kind of subtleties.

I definitely got the stage play vibe from it, going back to what I said sort of at the beginning, where it's like all of the real action happens off screen, like we don't see the patriarch and his you know, iron fists and everything that he did to deserve getting hanged, and we don't see the bank robbery or the teller is getting killed and anything like that, which is and you have, like, like Julia said, these long sort of monologues, it's more about the characters themselves.

It's very limited in location.

Yeah, it's essentially a single location, like Hateful Aid or something.

So it does feel I definitely got that sense, and it feels like a stage play, and so I think once I sort of put myself in that frame of mind when watching it, I enjoyed it more.

I still think it's and this is not at all the film's fault, but it's such a poor quality right that I watched that, it was a frustrating watch for me.

So if anything, that would definitely be a reason for me to watch it again.

If there were to be a restoration, you know, put out down the road, that I would I would love to see this where I'm not like squinting at the screen or like the audio is cleaned up and I'm able to better understand what some characters are saying.

So anything like that, I anything critical I have to say about it is not the movie's fault.

It's like the quality that was available to watch.

I do think a lot of ratings is and you know, I get it.

It's people rate subjectively.

It's based on not only viewing or not only what they if they enjoyed the movie, but their viewing experience.

And I think a lot of the low ratings could be due to the reason of the quality out there.

I would like to think that because I obviously I always overrate and rate highly.

But I love these set.

The sound is a little busted on the on this version.

Gary Kent made a point, like I said earlier, that there are only a few people that kind of knew what they were doing, and the soundman Ken Carlson and his boom man were some of the most experienced people.

And I loved the sound of nonstock crickets, like I don't know if you guys picked up on that or like just the wind kind of blowing in the background.

And I loved those little elements that were added by that team.

But yeah, the dialogue, it's at the end where I couldn't make out what Nell was saying exactly.

There's two versions online.

One is better than the other, So I'll just throw that out that there are two versions, they're both bad.

But one is better and it says restored audio in parentheses at the end on YouTube, right.

Yeah, that one.

I think the audio is a bit better on that, and I think it's because.

Something that it's a little clear.

Yeah, but it's bad.

When I was looking at this campaign book, all the black and white stills that are out there, it looks so clean and crisp and beautiful.

I'm like, I just want to see I want to see that so bad.

That's how Devil's Mistress is as well, you know, and it suffers from similar critiques.

Yeah, they're just so old and uncared for.

You know, they're so long.

Because there's great scenes like of the cracked desert, you know, the lizard.

Yeah, there's there's that snake scene, which I kind of wish they did a little more with.

Uh.

Yeah, they did a lot of visual play kind of stuff that I really liked.

Yeah, and I think it's foreshadowing or just kind of these these little clues that these people are destined to die, like that scene where they're digging for water and they're arguing and they walk away and then the water starts coming out, and then the rattle snake, which is obviously a sign of a warning, you know, death incoming.

Yeah.

I really like I think those little kind of clues like these characters are they're going to meet their end.

Yeah.

I really liked that moment with the water, you know, that that desperation and it's kind of mixed with this kooky soundtrack that's kind of tickling a little bit or like almost like hearted in this disney esque way.

And then there's that moment where the water you know, comes up behind them, and I just I really liked the feel of that because it almost feels like, oh man, it's like such a waste, Like if they had only been twenty feet back, they would have, you know, gotten this water.

So it almost in that moment feels like this excess and like a waste.

But then it like is a foreshadowing later.

But I like how it kind of gives us that mixed feeling about the water coming up.

Yeah.

The music that's a very acid Western to me.

Yeah, Yeah, it's a great scene.

The music really adds to it feels misplaced a lot of times, but it does make you.

Yeah, it makes scenes like that really pop and memorable.

Yeah, and you know, not just as a side note, like that kind of mixing is I think part of the perversity of these films, you know, that like that it would add some kind of ticklish and nature to the desperation and the psychopathy of this mother patriarch that's leading them in a no there's no turning back, and like they're walking dead, you know.

But then there's this kind of music that's like, oh, and it's kind of you know, connected with Julianne and Kirby, you know, because they're sort of silly and childish, and so they're not taking it fully.

Well, Kirby is, but Julianne's isn't, isn't, you know.

So it gives it that way that you can be sort of taking pleasure in it because it lightens it, but then you feel, you know, fucked up about it too.

Yeah, And she's always like humming or singing some sort of melody that Zappa's score actually plays off of a lot, and she wants to change her name to Melody at the end of the movie, too, right, right, yeah, So let's I guess, let's jump to the end, like how does everybody Obviously I already said they're destined to die.

These characters are going to meet their demise, and they all do except Fornell, who I felt like when she was collapsing at the end and she's you know, she walks outside, so Rit hangs himself yep, in record time, by the way, is as she's shot and she's out there, and like she's out there for like forty five seconds because Kirby accidentally falls on an axe after strangling and killing Julianna and carrying her back to the to the house, to their hideout.

And I thought when she'd fall to the rock, I thought, maybe the rattlesnakle pop out and boom get her.

I thought that'd be that'd be fittingly.

But she kind of just slithers off into the desert as a snake herself, which I enjoyed.

There is one scene though, though, as as she's walking out of that that that shack, she says, my name is Hagen, and then she says another word a couple of times, and it sounds to me like she says diego or get go, but I think it's diego.

So Hagen is a name that apparently means either protect or or protected one that's like the meaning of the name that I looked up and diego means supplanter or successor or heir.

So I'm wondering if she said, like, that's why I want to read this script because it sounds like she says, my name is Hagen Diego diego and she said, and I'm like, what is she saying?

Everywound it A couple of times I didn't get it either.

I could be thinking too deeply into this, I mean you could, but it also fits.

So you did you like the ending?

I do.

I love a good downbeat ending, especially when it's like self destructive.

It's like, I mean, you know it's head in that way.

I do.

I just you know, I do love a good downbeat ending.

I know that technically, you know, Nell lives like she's leaving, but I think it's just kind of, you know, getting back to what Julia said about them, just sort of like you know, being the walking dead, like she's just she's walking to her own death essentially, like so we don't see her physically die on screen.

But yeah, I sort of liked to snake bite in her like foment at the mouth for the black dirt.

And yeah, it would be like coming full circle kind of thing.

Like I think that would have made.

Yeah, I wanted it a little darker the whole movie, not not visually I don't do that, but like just yeah, a darker tone.

But overall, I really I love this movie.

I think it's great.

I think there's a I think the the not shown everything that's not shown, and you kind of know these people are bad, so it's probably kind of terrible what they did, like to the bank tellers, because when they killed the gatelies, it's very sloppy.

It's like accidental shooting and stuff.

But they're Yeah, I just I love the characters.

Yeah.

I liked that full circle idea with the film too, And that also reminded me of The Devil's Mistress, where not only are they like dead men, but they're condemned.

You know, there's there their sins are going to be met with the thing they fear most, which is very similar to The Devil's Mistress, with these questions of like playing God or like the sins of the Father are repeated through the sins of the suns.

And I like that that way that these films, you know, they are metaphysical and psychological in that way in which they like are asking you to think about good and evil in these like very specific ways that connect to the traditional Western.

There is some you know, something nice about like Julianne's kind of disassociative psychopathy, how she's dealing with it, you know, Like I love that line of like we can watch the moonlight bounce off of Ret's dead body or something like that is kind of like, yeah, this sort of way that she also articulates that there is no good and bad anymore.

Like there's this the little girl at the beginning, like why are you all doing this?

What are you going to get out of it?

And Julianne's like, like, you know, there's no good any like, we don't need good, Like I forget what she said.

Nail says, this is something else, you know, and it's like it's revenge and it's a death drive, you know, and then it's kind of like, well, that is where it's gonna lead, even though they're perversely trying to avoid it or postponent.

It's very similar to the Devil's Mistress in that kind of way of putting us in that position, you know, of like the guilt that is also in us, which I like, you know, I can imagine, you know, I just I was thinking about.

We talked about the rob zombie films as well, but that again like this question of like incest and sadism as being this having this connection with what you know, these grabs for power that are happening in the Western that you can't kind of like divorce them from a sort of sadism, like an enjoyment and taking power through violence.

Yeah, that's another reason why I think Nell stand up because in most Westerns, I mean almost all Westerns, they're male characters.

So when you have McCambridge stepping up and becoming the family lead, I'm just like, this is fun to watch.

Yeah.

Yeah, it's like the representation of women in these Westerns kind of it's nice to think about that.

Like the woman becomes, you know, the anti hero, but it's almost because she's trying to become her father, this kind of masculinization that is like a way.

But then there's also like the Julianne character, you know, the one who her body is the site where male sadism is sort of demonstrated.

She's weak and small and the Hagen boys are big and strong.

You know, it's this kind of interesting move, you know, for her to be like rejecting her status as a woman, even though she's wanting to you produce her son.

You know, it's you know, right, it's like nails, Nail's infatuation.

The only reason she wants to keep Julianne around is just for the Hagen family name.

Because there's, yeah, there's that one scene and you'd pointed out, Julia where there's in the very beginning between the Gatelys where it's just it's very stagy, but it's there's a lot of you know, set up, and a lot of introduction to characters, and it's it's just interesting to watch.

There's a scene where Nell is talking to her brother Ritt, who's laid out and he's and she's talking about big men, full of strength, full of peat, full of power, Paul, and I'm like Jesus.

The only reason she makes a comment to Julianne too like about her hair looks like a whole whole mess of long yellow worms crawling right out of her skull.

And she seems so grossed out by by the FEMININDI one hundred.

But she knows, she she doesn't know, she just she does.

She seems to know and realize that it's necessary to make more Paul Hagens and it's yeah, it's just a fascinating character.

And I do want to read the original script to see if any was ad lived or if because like I obviously I'm in love with Mercedes Mcambridge.

I want to see if she created and if in in lind and Linda gay Scott's script, if there's a bunch of crossed out dialogue that she wrote in that Mercedes may have delivered or changed.

I kind of want to see if that's in there or herself Lynda gay Scott's because I feel like these characters are locked in with the dialogue they're given, except for probably Kirby and sadly Gary Ken's character, who he overacts like crazy in this there's hate in your soul.

It's just like that's a lot.

That that kind of you know that the actor going into these states of like extreme evil is really compelling to me as well, Like it really makes me think of David Lynch too, and like something like Dennis Hopper moving into the character of Frank.

You know, like that there has to be maybe some loss of consciousness around seeing and thinking that way where you're like seeing you're you're turn you're degrading the humanity of another person, and you kind of have to become perverse in the action.

So you're right, like, there is something like, how could the scriptwriter have known to say that her hair looks that way?

It almost seems like she came up with it based on how this character looks in this moment, you know there.

Yeah, And I forgot to mention this too, but that just triggered they did actually want to cast.

Mary asked her, do you all know the actress?

Mary asked, she was on the Maltese Falcon and oh, okay, okay from the early thirties forties, huge Hollywood star and they interviewed her before they checked in.

Tim Sullivan and Gary Kent said he went with her too to meet her, and he's Gary Kent left and he's like, oh my god, we're gonna at Mary asked her for this movie.

This is huge and right away Tim Sullivan's like, I can't, I can't, I can't cast her.

He's like, what are you talking about.

He's like, well, I don't think she's going to get her hands dirty at all.

I need somebody who's just gonna let go and then they found Mercedes McCambridge, who, again, I think it was born to play characters like this, Like you said, Julie that, yeah, Frank from Blue Velvet, like that's she.

I feel like she lost herself, not to that extreme, but she was so confident and you know, just she presented the character like that was her, Like nobody else could have played this role.

Yeah.

I believe that she like wanted to kill Julianne and like really despised her and really was praying to her father like hold me back, Eddie.

Okay, so let's jump to double features.

What what do we think will pair weear at well with Run Home Slow, Julia.

You're our guest.

You will kick it off.

I feel like you guys will have much more interesting deep cuts than me.

But I was, you know, thinking about reproductive horror as a kind of subgenre going on here that I you know, it's kind of present in other you know, psychopathic film type, you know, inceste narratives.

But for that reason, I thought of Polanski's Rosemary's Baby because there was also this way that I saw Nell's character and the demonic characters in Rosemary's Baby, even though there's many of them, it's both men and women, And there's this kind of way that it's like the mother and the father are converged in this sort of evil union in order to take control of the reproduction of their evil father or whatever demonic forces they're trying to will into the material realm.

But that way that like it's hard to see it, but this movie's putting it on full display.

You know.

That's like a paranoia that I think a lot of women, you know, is like, like, is my stepma or my mother in law just you know, only interested in me because I can make a family for her son.

Like, that's still a huge anxiety that a lot of women face.

You know.

It's not the either evil stepmother, it's the evil mother in law, you know.

But that's also this sort of patriarchal impulse, you know.

So it's this that horror of like the mother as the father kind of turning against you as well, which I think is distinctive of sadism.

Is that kind of elimination of the mother and an incest between the father and the daughter, which kind of seems like what happened to Nell.

You know, there's at least a hint of that that like this is an unhealthy emotional bond that she's sharing with her father.

So yeah, so I was thinking of that and the other like quick little moment.

This doesn't count, but I thought of Robin Hood, Prince of Thieves with Kevin Coostner.

Do you guys remember that film?

Oh yeah, The Wich the Witch and her relationship with the Sheriff of Nottingham.

And there's this like fucked up moment at the end of the film where the maid Marian it finally like is in her layer and the first thing she does is like grabs her belly, and you know, it's like we are going to put a baby in you.

You know, this kind of like that's her attack.

You know, it's not a threat on killing her.

It's actually like we're implanting something in you and you have no control over that.

So I really like that putting on display that kind of reproductive horror element.

So that's my pick.

That's a great pick.

That's a lot more thoughtful than my p I was so dumb and low brown.

Give.

I mean, there's there's a lot we've already talked about like that I think would pair great with this.

I think obviously Devil's Mistress would go great with it.

Spider Baby if you like rob zombie movies, fine, one of those.

I would never But I wanted to do a family, am I right?

Double feature and just have like a really just sort of polar opposite but equally fucked up family double feature.

So I'm going with The Baby from nineteen seventy three.

I think a lot of folks have seen this one, but if not, it's basically it's another short film.

It's under ninety minutes, so that's always always a bonus there.

But it's about a social worker who's investigating the Wadsworth family, and it's a mother to grown daughters and their brother who is a bottle sucking baby, but he's twenty one years old and he lives.

He is treated like a baby and acts like a baby, and it's a pretty fucked up family dynamic and has I wouldn't say is equally downbeat ending, but it's definitely we're sort of leading to our own destruction type of type of ending.

So the Baby, Oh, it's Ted Post who also directed Hang Them High.

Yes, Oh yeah, I look at that.

There's a good connection to weird.

Yeah, what about you?

Lance Gary's stomach is really going.

Sorry, Yeah, of course if listeners, if you haven't yet watched The Devil's Mistress, I think it would be a perfect double feature.

Sunny Boy, I think would work too if you want to do like a Mercedes McCambridge double feature, any of her stuff is just you could probably do the same with Gary Kent.

Oh, I forgot.

One of my other things I was thinking about was the Bud Cardos double feature, so downbeat ending.

Also Kingdom of the Spiders quick plug.

When we were on Driving Asylum with Sam and Bill, that was the movie that we covered with them, so should watch it.

I did watch a movie called The Pyramid which Gary Kent directed.

It gave me John Hooker the passing vibes, very strange, very dark.

That one also has childkills.

That's the one with the school bus.

Yeah, I texted you that.

But yeah, you can't go wrong with the Mercedes mcambridge double feature or Gary Kent.

But ultimately I'm going with an old black and white silent film from nineteen twenty six filmed in the Soviet Union by the Law, written and directed by Lev Koleyshoff and I had chatted about this film and with the best of first time watches for last year, I think twenty twenty four.

But as I was watching Run Home Slow, I kept thinking about By the Law, which was one of my favorite movies I watched last year.

So that's that's a big reason why I enjoyed Run Home Slow so much, other than a Cambridge.

But it's based on Jack London's short stories The Unexpected and Just Meet from the early nineteen hundreds.

It's about a group of gold prospectors in the Yukon region of Canada during the Klondike Gold Rush.

And there's this married couple leading the expedition with a group of men, and the members and the team.

They all are spending their their time when they're not finding any type of goal, just conspiring against each other and kind of descending into this madness, and each of the characters are kind of fighting their own demons, want to go home but want to be successful, which ultimately leads to some grizzly murders at the end.

Like Run Home Slow, the weather plays are a character worsening the conditions.

There's some frontier justice.

Characters are just getting into their own in each other's heads.

And also this one's about eighty minutes long, so it'd be a cool, cool night of black and white features.

It's also tagged as a Western on Letterboxton IMDb, so yeah, if you haven't checked that out, Julie, check it out.

Maybe acid Western.

It's a Western because it takes place I think in the country, but it's just it's a Soviet Union film, like how Western?

Can you?

Yeah?

I mean that sounds really interesting, especially thinking about the Soviet Montage and the influence of more art cinema styles in the Acid Western.

Yeah, it's a fun one.

It was one of my it was my favorite watch of last year.

So had you heard that one?

Cool?

Yeah, I'm excited to check that out.

Sweet.

So, Julia, thank you so much for spending time with us.

Thank you, Thank you guys so much for having me.

I really appreciate this conversation.

And I did want to just give a shout out to Brian Albright who recommended Run Home Slow to me because he wrote the book Regional Horror.

I forget the subtitle, but the lovers of regional horror films should definitely check out his book.

He actually has an entry for the Devil's Mistress in that book, which is how I found him, and that's the only other book that has any awareness of the film besides New Mexico filmmaking by somebody who actually lived in Las Crusis.

So I was really impressed by his level of research, and he sent me a ton of cool stuff you know, around The Devil's Mistress.

So yeah, he would have been a fascinating person to dig into this film with as well, because I was like, are there other movies like this?

And he's like, check out Run Home Slow and mentioned Zappa, you know, so I was like, what the fuck.

Well, thank you, Brian, because I would have known it if Julia hadn't recommended it to me, and she would have known it about it if you were in there.

So that's awesome.

Yeah, it makes me happy, you know, even though these films are hard to watch because of the quality, it makes me happy that, you know, there's this lost there's this like piece of the puzzle in some way with these movies that I find really fascinating.

You know.

Some people ask me, like they think I love acid Westerns, and it's like, you know, it's I'm not always interested in films because I like them, you know, as movies in the in some scale that we would, you know, think about.

It's more like they're doing something and revealing something that I think is really valuable to talk about, right, So I really appreciate you guys digging into it with me.

Of course.

Yeah.

And where can people follow you?

Where can people check out your work on the documentary and just see you?

Yeah, So I kind of have most of my online media under the paradigm of Acid Western Doc.

So you can email me at Acid Western Doc at gmail dot com.

My website is Acid westerndoc dot com.

And I'm also on Facebook and Instagram, which Instagram is where I'm most active as an elder millennial, it's the easiest place for me to disseminate information.

So I'm also at Acid Western Doc on those two as well.

Yeah.

Thanks, thanks for anyone who follows and takes an interest.

I would like to bring this to Austin at some point.

I feel like it's the next appropriate, you know, place besides all Passo.

I agree.

Yeah, and we know some programmers like maybe we can put in a good word and see if we can get that to happen, even if it's just like you have been doing.

You could watch The Devil's Mistress in Austin for like the thousandth time you've been watching this movie.

I think exactly probably be a great.

Austin Film Society would be good.

It'd be great.

The Real Film Club might even Oh cool.

They're a lot smaller but much more grassroots, so that might that vibe would totally work too.

I don't know.

Alamos can be a tough nut to crack sometimes, but you never know how.

Yeah, they go through they go through a lot of changes quick.

Yeah, but yeah, I think it would play really well in Austin.

Yeah.

Yeah, it's coming down hopefully in conjunction with the documentary.

I can't wait for the documentary.

I can, but I'm really excited about it.

It feels like it's happening fast now.

You know, there's this way in which it's like there's all this work behind the scenes, and now it's kind of like I feel like it'll happen fast, even though it feels like there's a lot to do.

It seems like it's big enough now that it's sort of happening beyond me.

It's like inevitable feelings.

Oh it's yeah, yeah, I think it'll be done soon finally, and I can stop saying I'm working on this documentary.

Well, whatever it's done, we're very excited to see it.

Thank you guys so much.

You are both so awesome.

I look up to anyone who's into two films the way you guys are, so I really value the conversation and the connection.

Thanks a lot.

Thanks guys, have a great rest of the weekend to you too.

Hi, Okay, what's our next pick?

I'm I'm in rough, I don't know, six eight months or so.

I need familiarity.

I need a comfort blanket.

I need someone we know and love and is not going to require too much work on the back end.

I like where this is going, so obviously that means eighties Italian horror, one of our favorite decades, countries, genres.

Obviously, so my next pick is Umberto Lens The House of Lost Souls nineteen eighty nine.

As of this recording, it has seven hundred and three views on Letterboxed.

I don't know some haunted house.

Shit happens in a house.

Whatever it's in the I've seen it.

I love it because it is just that comfort blanket of eighties Italian horror.

It's in Cauldron Films, Houses of Doom box set, but it is also on YouTube.

However, the version on YouTube is about five minutes shorter than the Blu ray, So just you'll be fine if you watch the YouTube version, but just know that there's some stuff cut out of it.

But yeah, umberto Lendsai if you have the box set.

Sam Degan's got a commentary on this movie in particular, I'm gonna be listening to that and stealing all of her idea.

Not stealing.

I will absolutely give her credit for all of her things that she points out about this film.

But we have not done a Lendsay film.

We haven't.

No, we haven't.

Really Well, it's sometimes difficult to do some of the bigger name Italian directories, like we did Dial Help, which was Dia Donna.

But sometimes, you know, usually the Italian ones are sort of the lesser I would say, more like, you know, second third tier, sometimes like fifth or sixty.

But I feel like Lendsay is first year, so.

Yeah, I feel like the closest we can get to Lindsay was Primal Age.

Yeah.

Well we both picked Nightmare Beach for.

I mean, it is the perfect double feature pick it is there is no other answer for that.

So I know we're running along in this episode, so Lenzi's House of Last Soul nin House of Lost Souls nineteen eighty nine is the next pick.

We do also have our June'sploitation episode coming up.

I don't know what order any of these are coming out or what days, so just three episodes coming next month.

I don't know which days, which is coming when, but we'll let you know.

Be in our you know, join our discord.

You'll get more information there.

Yeah.

Thanks, So if you're not already, join our discord or you can also follow us on Instagram or Facebook.

I'm on letterbox and Instagram at Hex Massacre.

I'm there as well at El Schiby.

All right, thanks everyone for listening.

Thanks once again to Julia for joining us.

Yes, and we'll see you back next episode for I don't know either Lensie or June'splitation one of the two.

Bye bye.

Thank you for listening.

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I am Adam Lundy, co host of They Live by Film, a podcast dedicated to bringing you film discussion and interviews from around the world every week.

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