Shutter Shock: Diving Deep into 'Snapshot' 1979

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Annette: You're listening to Monster Kid Podcast.

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Pete: Hi and welcome to A Dingo Ate My Movie, a podcast that

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features classic osploitation and other weird, wonderful,

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overlooked and underappreciated Australian films from the 70's,

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80's and beyond.

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My name is Pete and I'm your host.

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Welcome to a Dingo Echmovie, a podcast about weird, wonderful

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Australian films from the 70's, 80's, 90's and whenever.

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So today I am joined by Annette .

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She is a podcaster and a host of Two Crones and a book and

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also the Stiletto Banshees, and today we're going to be

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discussing Snapshot from 1979.

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Good morning, afternoon, evening, annette.

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Annette: Hello to you, Pete, all the way on the other side of

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the world.

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My goodness Can't believe you're drinking whiskey at seven

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o'clock in the morning and I'm having a Just kidding, I'm

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kidding, and I'm having obviously just a hot milk and

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biscuits.

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Pete: We weren't going to talk about that, but yeah, when we

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got on here and it had a nice looks like a glass of nice white

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wine, which is her time zone friendly drink and my time zone

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friendly drink this morning is black coffee.

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Annette: Yes, so anyway.

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Pete: So we're going to talk about this interesting movie

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Snapshot from 1979.

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So the description I got from IMDB.

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I used to write my own, but I just get it from IMDB now

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because it's quicker and easier and I'm lazy and Naive.

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Headresser is spurred by her vivacious friend into becoming a

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nude model, but soon discovers that everyone she knows wants a

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piece of her.

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And don't they ever?

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Annette: That's just a bit.

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Pete: I don't know what's going on with this film.

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She gets stalked by I don't know how many people We'll get

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on to it, but there's the guy in the bar, and then there's the

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movie producer guy who's the real villain, I guess, and then

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her ex-boyfriend, who's a real villain as well.

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Annette: And then we find out at the end another person who we

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didn't.

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They came with a skin of me.

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Pete: We're going to spoil the shit out of this.

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So if you haven't watched it, watch it first, or just listen

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and then watch it, it doesn't really matter.

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So the cast for this movie is Chantel Contoury, and I can't

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remember the character's name.

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What was her character's name?

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Annette: It was Mads Madison.

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Pete: That's right, it was Mads Madison and Sigrid Thornton was

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Angela Hughes Keyes-Burn, who's in half of the movies I do he

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plays a photographer guy and Denise Drysdale and Vince Gill.

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So it's an interesting cast.

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There's some real people, like I said, hughes Keyes-Burn we've

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had in, like we've done Mad Max, stone man from Hong Kong, mad

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Max, fury Road Lots of movies he's done.

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Vince Gill we've had him for Stone, mad Max and he was in

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Body Milk, widley Enough.

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Chantel Contoury was in Thirst.

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So I haven't done Thirst yet, but I think it's coming up.

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Have you seen Thirst?

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It's really good.

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Annette: No, I haven't seen that one.

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Pete: It's like a modern day If a modern day was in 1979, 1989,

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1980, vampire movies Very interesting.

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And Sigrid Thornton who, when I listen to the Conventory,

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everyone just calls her C, which is weird because in Australia C

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is slang for C.

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Annette: Yeah, it is.

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Pete: But obviously they do it with an S.

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She's well known for the getting of wisdom the FJ Holden.

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She was in prisoner.

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I didn't know she was in prisoner.

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Annette: Yeah, that's actually the only place I know her from

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was from Prisoner Cell, block H.

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Pete: Okay, so I think it's called that there Because I

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always knew it is prisoner.

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I don't know if it's still.

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It's not still on, is it?

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Annette: It was reinvented as Wentworth, wasn't it?

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Oh, they tried.

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I remember that yeah.

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Pete: Yeah, now the crew is really interesting because the

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crew is like a who's who of Osploitation in Australia mostly

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.

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So we've got Simon Wincer who is the director of Harlequin,

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which we haven't done yet, but I want to do that as well.

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I actually also directed Free Willy and Crocodile Dundee in LA

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.

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Annette: Not the Forbidden Franchise.

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Pete: Yes, I know the Forbidden Franchise which I'm getting very

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close to thinking I'm going to do, I know right.

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So film was written by Everett DeRoch, who wrote, oh my God,

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nearly every Osploitation movie.

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He wrote Patrick, long Weekend, harlequin Road, gaines,

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razorback, frog Dreaming, etc.

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Etc.

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Cinematography was Vincent Montan, who shot Long Weekend

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Road, gaines and Thirst, and they're great movies and Long

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Weekend's amazing looking movies .

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That's a great one.

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Music by Brian May not that Brian May, as we also have.

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I've got these friends of mine that also do an Osploitation

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podcast and occasionally be in Marseille on my show and

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whenever I've always said not that Brian May, and I think

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they're the same.

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It's always interesting when we do it.

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I listen to one of the episodes of Brian May's the Composer.

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They always say not that Brian May, and I've always said

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nothing.

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Annette: That is definitely some merch in the future.

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I think you've got that Pete, I think so, jesus, that's a great

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idea actually.

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Pete: Yeah, brian May is quite prolific as well, like Patrick

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Mad Max Road Gaines, turkey.

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Shoot Freddie's Dead the Final Nightmare.

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Annette: That's so crap.

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Pete: And the other one that I didn't jot down on my notes but

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I remember was Dr Giggles.

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Annette: Oh no, I hate that book .

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Yes, what's up Mary?

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Pete: I've never seen it, but anyway.

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Annette: It's so stupid, I love it.

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Pete: I love stupid movies, so I really need to see it?

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Annette: Yeah, definitely.

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Pete: It's produced by Anthony Ghanane, who is Osploitation

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royalty.

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I think he's produced nearly every Osploitation movie he's

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done.

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He's produced Phantasm, patrick , thirst, harlequin, strange

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Behavior, turkey Shoot, goes on.

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So this is like on the production side, this is a

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really who's who of Osploitation .

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All we needed was Brian Trenchard Smith in there

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somewhere and it would have been perfect.

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Yeah, the budget was like $300 and there's no I can't

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see anything that says how it went but it didn't do well in

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Australia, but apparently it did quite well in the US and it did

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quite well in a few other countries.

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So interesting, yeah, and I think at that time, when I was

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listening to one of the commentaries or reading

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something, I think it might have been Anthony Ghanane saying

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that at the time a lot of Australian movies, especially

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like these genre movies and Osploitation films, were not

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really popular in Australia with critics and audiences, but they

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actually found a home overseas.

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So it's quite interesting, yeah, where to watch this?

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Well, it's available on Prime and Broly in Australia.

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So Broly, if you haven't heard, is pretty new.

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It's a streaming service that's run or owned by Umbrella

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Entertainment.

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So Umbrella to all the Blu-ray, all these great Osploitation

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Blu-rays and all these other.

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They're a great distributor and it's a brand new streaming

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service.

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This is an unpaid plug, thank you, but it is really good.

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It's free, so it's ad supported , so it's a bit like 2B, but we

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watched the whole movie the other night, umbrella, and

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didn't get one ad, so it was really interesting and it's

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actually really good.

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I'm not sure if you can get it from other countries it might

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just be Australian, but VPN is your friend.

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And also, of course, umbrella have a Blu-ray of this, which I

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have.

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It's part of their Osploitation series that they have

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unfortunately stopped producing.

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They stopped at number 20, I think it was, but they were

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really nice packaged and had little extras, but still when

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they released Osploitation films .

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Now they still have nice extras and stuff, but they had a nice

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slip case and they're very good.

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So, yeah, when did you?

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Annette: watch this.

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I had to look around.

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You suggested it, but I couldn't access it.

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I don't have a decent VPN.

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Luckily, in the UK you can actually get it on Shudder, but

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it's not regular Shudder, it's the Amazon Prime only.

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Pete: Shudder.

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Oh, that's weird.

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Annette: I know it's very odd.

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So I had to do a seven day free trial so make sure I got to

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watch it.

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But what's really funny, pete, is that after we discussed doing

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it, I found out that there's going to be I think it's a

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Blu-ray or 4K release in the UK at the end of February.

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So that's out of us, so in about a month's time from when

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we were recording.

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But it looks it's got like some documentaries and things with

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it as well.

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Okay, sounds like it might be the.

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Pete: I wonder who's releasing it?

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Who is releasing?

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Annette: it.

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I don't have it off the top of my head, I'm sorry.

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Pete: I think, is it Broly?

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Have a no, probably Umbrella, have some sort of relationship

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with one of the larger distributors as well.

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Is it not vinegar syndrome?

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Maybe I don't remember, but I know that they have some sort of

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relationship, partnership, with one of those companies as well.

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Oh right, yeah, interesting.

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But yeah, it's available pretty much everywhere.

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Annette: If you're hunting around, you'll find it.

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Somewhere You'll find it, yeah for sure.

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Pete: Yeah, it's good.

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The extras are great.

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It's got lots of interesting stuff.

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It's got a VHS cut I don't know why they do that, but I

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actually think it's fun to watch like a really crappy pan and

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skin version of the movie, but it's nice because it's got.

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The one that I have on the Blu-rays has been nicely

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restored and it looks really nice.

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The other thing to know is this movie is also known by a few

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other names.

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Annette: The names.

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Pete: It's known as One More Minute, which is a strange name,

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but I figured it out because there's a line right near the

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end where one of the villains one of the villains talks about

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One More Minute and it's about yeah, and the other one is

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Weirdly Enough the Day After Halloween, which makes no sense.

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Annette: Did you read anything about that?

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Why they?

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Pete: gave it that title.

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I did Tell me.

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Annette: No, I read it was a Guardian article and they said

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that they named it that because it was a cash grab after

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Halloween being released in the US.

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Pete: Yeah, the distributor apparently.

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Annette: Yeah, and everyone was like oh, oh yeah.

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Pete: Yeah, it's quite funny because I think it was one of

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the extras on the Blu-ray.

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Anthony Gidey was talking about it and was saying that when he

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sold it to a US distributor, they basically said do you mind

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if we call it something else?

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And they wanted to call it the day after Halloween.

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And I think his response was something along the lines as

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long as you in E checks good, but cash is in, I don't care.

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Annette: I love it yeah.

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Pete: He's an interesting guy.

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I'm thinking of actually doing a whole episode on Anthony

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because he's done so many films and he's got some really

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interesting stuff.

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He's done Like he had this whole thing, like this movie was

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the middle of a three movie set .

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After this they went on and did thirst and they did it almost

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immediately after this movie and they actually did some reshoots

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for this movie while they were starting to get thirst together.

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It was really quite interesting and so, yeah, so it's, he's an

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interesting guy and, like I said , he's done lots of these films.

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He's produced lots of baby.

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He passed away a few years ago, unfortunately, but I hope not.

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I hope he's dead, but I hope I'm not saying he's not here and

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he's still here.

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I'm sorry I'm not coming out or not.

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Save it, if you're, anyway, anthony Goddine and your family.

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If you're not here, I'm sorry, but anyway he was fantastic and

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I don't think the whole genre of Ozploitation around without him

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or without him doing anything.

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Let's get on with the movie.

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It's a very strange movie.

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It's not strange, but it's just .

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I don't know.

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I've never been chased by a Mr Whippy van before.

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Annette: That's.

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It's like.

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I mean, they've always been sinister.

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To be fair, yeah, ice cream van .

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Pete: Oh yeah, Especially when you hear them coming down the

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road with green sleeves playing.

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Annette: Yeah, and just slightly peeking around corners at you,

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yeah.

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Pete: Do you have?

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You get, mr Whippy, kind of vans in the UK.

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Annette: Yeah, yeah, of course yeah.

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Pete: Have they called Mr Whippy or they call something else?

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Annette: No, we have Mr Whippy, and then there's varieties of

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others.

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Yeah, yeah.

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Pete: Now, it's all some trendy sort of ice cream stuff these

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days, but we still have a Mr Whippy van coming, oh yeah.

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It's funny.

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Ok, he used to know this guy who was real tight-ass and he

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used to tell.

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He used to tell his kids, if you could hear the music, they

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were out of ice cream.

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Annette: Yes, that's so true, eric, I see.

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No, that's the, that's the.

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There's none left, none.

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Pete: Yeah, none left, they're going back, yeah, yeah.

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In this case, if you hear the Mr Whippy van, you're getting

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stalked.

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Basically I don't know why he would be so obviously stalking

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you playing music though.

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Annette: It's a touch, but I don't know.

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I was almost disappointed when it turned out like it wasn't

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just the van on its own stalking her Alec Christine.

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Pete: Oh yeah, that would have been good actually.

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Annette: Oh do it.

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Fantastic, I was never driving the whole time, it was the van.

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Pete: Oh boy, so the driver of the van is her ex-boyfriend.

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Is it Darrell?

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Is that his name, Darrell?

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Annette: Yeah, Darrell.

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Pete: And he just can't accept that.

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She's broken up with him and apparently, from what I

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understand, they had sex twice and it's a bit, and a date used

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to be her coming to her place, him coming to her place and

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spending all the time talking to her mother.

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Annette: Yeah, I mean, I clocked the age difference.

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They got together when she was 16 and he was 27, even though he

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looked about 45.

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Yeah, he did.

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Pete: He's got that friar's patch in the back of his head.

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Yeah, I shouldn't talk, I'm losing my hair, but he's an

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interesting character.

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He's a really Obviously it's Vince Gill who plays him and

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it's interesting looking at Vince Gill.

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I don't know if you've ever seen have you seen?

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Body Melt.

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Annette: No, I haven't.

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Pete: So first you really need to see that movie.

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It's just nuts and in that he's completely different because

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he's probably this was in 1979.

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I think Body Melt is 1990-something.

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It's very close to the 2000s, so he's a lot older and he's a

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completely different kind of character.

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He looks better in that, but in this one he plays I don't know

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the guy.

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It's obviously the way he's been directed.

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He's quite a pathetic kind of character.

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Annette: Yeah, but quite intense as well, isn't he, at moments

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Super?

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Pete: intense.

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There's that whole conversation where he grabs, when he talks

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about something, about If you put your hand on the side of a

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goldfish bowl or a guppy bowl, the mother will eat the babies.

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Annette: I.

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But then he has this very bizarre relationship with her

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family, where you think the way he's manipulated the family to

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his side of everything but at the same time they're very

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willing to take his side in everything.

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Pete: Yeah, they're a strange family.

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Annette: Oh, they're odd.

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Pete: They're really odd.

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We'll get to that, but yeah.

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So the basic plot of the story is she's like this young

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hairdresser she wants to leave the country and live overseas

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and then she's totally, I guess, under the thumb of her terrible

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mother, who's right up there with Piper, laurie and Carrie,

00:17:23
almost who'll take the deep breaths and it's okay, sure.

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Annette: Yeah, take a sip.

00:17:28
Take a sip, calm down.

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Pete: And then she meets Madeline, who comes into the

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hairdressing cell on that she works at.

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And Madeline comes in and she's a bit of a diva right.

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She's described as a glamorous model, so she's quite nice.

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Chantel Conturi is quite nice to look at.

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Annette: Oh, she's gorgeous yeah .

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Pete: And she tries to pursue, you know, a modeling career and

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whatnot, and Angela agrees and they end up doing this shoot on

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the beach, which is an interesting scene, and she ends

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up going topless.

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It's really weird.

00:18:06
It's really weird.

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But and the guy what's the name ?

00:18:11
Lindsay, who's played by?

00:18:12
Yes, yes, he's an interesting character in this movie too,

00:18:16
actually, yeah, this obsession with photographing dead mice.

00:18:21
Yeah, yeah, it's a question.

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He thinks he's got the market corner.

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There's a whole conversation where she asks him why he

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photographs dead things, because apparently he does other

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animals as well.

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He's not just specializes in mice, but other animals as well

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and he responds along the lines of saying he's got the market

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cornered in photographing dead things.

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But he plays the part really well.

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He's keeps burning.

00:18:47
He plays the part of this really eccentric photographer

00:18:52
artist guy really well, even to the point where at one stage

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he's looking through photos or something and for some reason

00:19:01
he's got his one leg right up on the table Because he's like

00:19:08
it's like really weird, but I think it's just he's playing.

00:19:12
He's been told like this is all in the direction.

00:19:14
I'm sure he's told to play very eccentric, but he's a likable

00:19:19
character in this.

00:19:20
I like him.

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Annette: He is.

00:19:22
I did, I really liked him.

00:19:23
And when?

00:19:24
What was it?

00:19:26
When she was seeing the final photo in the layout and she

00:19:31
didn't seem to like it.

00:19:32
I really felt for him because he looked so wounded.

00:19:35
Pete: Yeah, he did.

00:19:35
He's a great actor, though he's a very good actor.

00:19:37
Oh, he's fantastic, he was.

00:19:40
I miss him.

00:19:40
Yeah, he's really eccentric but really good character.

00:19:44
Yeah, photographing dead birds, stuff like that Interesting, so

00:19:49
yeah.

00:19:49
So she goes and does this photo shoot and we get this great

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song by Sherbet, which we'll talk about later, about this

00:19:57
Angela song that you can go on.

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Annette: I was just going to say it was just so perky and light.

00:20:05
It's like you know this girl's been convinced, you know, to

00:20:08
take a top off.

00:20:08
You know it's meant to be.

00:20:10
Normally, if you watch a movie it's like, oh no, this is.

00:20:14
It's quite dark and seedy, but you got this really catchy pop

00:20:17
song.

00:20:18
And then old guy with a pipe, it's just there watching.

00:20:22
Pete: The old per.

00:20:22
It's just I don't know if he's a per.

00:20:24
He's just walking along the beach right and he sees this and

00:20:28
I think anyone would stop and have a look what's going on.

00:20:30
Most people, I think, when they realize they're doing a photo

00:20:34
shoot and she was top was like probably just walk away and give

00:20:37
them a bit of space and let them do their thing right.

00:20:39
But this guy doesn't.

00:20:43
Annette: No, they shoo him away, and then, five minutes later,

00:20:45
they turn around and he's back again.

00:20:47
Pete: He's second on his pipe, second on his pipe and watching

00:20:53
what's going on.

00:20:53
But it's a good.

00:20:54
It's actually a good scene, though it's quite it's like a

00:20:57
montage, of course, but, and the song's quite cool, but yeah,

00:21:02
it's really good anyway.

00:21:02
So she poses on the beach and it's a perfume ad.

00:21:06
Right, you know women's bed.

00:21:07
Yeah, it ends up in Cleo, which is a.

00:21:10
It's really interesting.

00:21:11
This movie is quite a few true to life things.

00:21:13
I think it's Cleo magazine, because Cleo was a women's

00:21:16
magazine in the 70s and 80s.

00:21:17
I don't know if it's still around now, let me know, but so

00:21:21
yeah.

00:21:21
So then I think there's a scene where they go to a party, and

00:21:26
it's the one with that weird guy doing the singing and stuff the

00:21:31
cabaret.

00:21:31
Annette: Yeah, it's the.

00:21:33
It's like the weirdest disco ever.

00:21:35
Pete: Yeah, with a floor show.

00:21:37
Annette: Yeah.

00:21:41
Pete: It is strange and that guy who pops up a couple of times

00:21:45
and apparently Sigrid Thornton knew him and he was some sort of

00:21:50
performance artist in Melbourne and that's how they got him.

00:21:53
They roped him into the movie that way.

00:21:55
But yeah, it's really quite strange.

00:21:57
The first time I ever watched it, I think I saw this movie

00:22:02
like back on VHS days right back in the mid 80s, early 90s or

00:22:08
something like that, and I totally forgot about the scenes

00:22:11
with him, with the cabaret guy, yeah, and it's weird, it's so

00:22:16
strange, and he does that thing with the weird side lip and yeah

00:22:20
, cause he portrays these different characters different

00:22:22
characters, doesn't it?

00:22:23
Annette: Yeah, throughout it's.

00:22:25
Yeah, it's interesting, it is.

00:22:28
Pete: Yeah, it makes an interesting movie.

00:22:29
So, yeah, she goes to the nightclub and once you get home

00:22:33
from the nightclub she's been locked out of the house by her

00:22:35
mother, who obviously doesn't like that she's turned up late.

00:22:37
Annette: Yeah for turning up late.

00:22:38
For turning up late one night and you get booted out at four

00:22:42
in the morning.

00:22:44
Pete: And she'd even changed the locks.

00:22:46
Annette: Yeah, she could.

00:22:49
Pete: How did she do that?

00:22:49
She just called up a 24 hour locksmith and just got here.

00:22:53
Annette: It's a minute past quick and you're down.

00:22:57
Pete: So she ends up crashing at the studio, right At the

00:23:00
photography studio, which is a bit of a it's almost like a bit

00:23:03
of a commune because there's a few of them living there and it

00:23:05
sounds like people just come and go and I think Denise

00:23:08
Drozdowel's character talks about you just pay whatever you

00:23:11
can afford and the people that are doing okay go to support the

00:23:14
ones.

00:23:14
It's a bit of a commune kind of thing.

00:23:16
Yeah, and it's.

00:23:18
It's an interesting place.

00:23:19
Apparently, it was shot.

00:23:21
Those scenes in the studio was shot in the main office of

00:23:25
mushroom records in Melbourne, mushroom records is a pretty

00:23:29
well known Australian record label and it was one of the

00:23:34
first record labels in the country that major record labels

00:23:38
in the country in the seventies and lots of great artists go

00:23:41
through.

00:23:41
They're still going to this day , I think.

00:23:43
And yeah, so they shot those scenes and they didn't know that

00:23:47
until they watched the commentary.

00:23:48
But they shot those scenes in the offices of mushroom records

00:23:52
in Melbourne and then some of it , like her bedroom, I think

00:23:56
Sigrid thought, was saying it was in her father-in-laws some

00:24:01
house or something that he owned or something like that.

00:24:02
And it's really.

00:24:05
It's really.

00:24:05
I always find it interesting where they shoot things like

00:24:08
this.

00:24:08
Yeah, it's quite interesting as well.

00:24:10
Yeah, so she ends up crashing the night at the place and gets

00:24:15
a room, gets a mattress on the floor and the mattress looks

00:24:19
really dodgy and some guy been sleeping on it before.

00:24:24
Annette: And anyway.

00:24:26
Pete: So she seems, she seems to be quite happy there, though

00:24:28
she does all that sort of thing, and then she's yeah, that's

00:24:32
when things really weird things start happening.

00:24:33
We start getting, she starts getting stalked by all different

00:24:36
people, and then there's a scene in the club where the one

00:24:39
guy who turns out now he's the guy that eventually offers a job

00:24:43
right At the end of the movie he's got is it a?

00:24:46
What company?

00:24:48
Is he got a company?

00:24:49
Annette: Is this something like some sort of like lawyer or

00:24:51
something he wanted to hire as a PA?

00:24:54
Pete: That's right In Fiji.

00:24:55
I think it was a Fiji or something, yeah, yeah.

00:24:57
Which would be a nice place to go live, and so yeah, but he's

00:25:01
really weird with her.

00:25:02
First she's he's like touching her up, and then Madeline gives

00:25:06
him a knee to the nuts.

00:25:08
Annette: Yeah, she grabs all of them.

00:25:10
Pete: Oh, she grabs them no sorry, it's not a knee, she

00:25:12
actually grabs them with it.

00:25:14
Annette: No, she's going to rip it up, yeah.

00:25:17
Pete: But we turn out where it eventually works out that the

00:25:20
Madeline has, she has ulterior motives.

00:25:21
She's got a crush on her, I think, cause it turns out later

00:25:25
we find out that Madeline is a lesbian and and she obviously is

00:25:30
quite keen for Angela, and I think that's where a lot of that

00:25:34
comes from.

00:25:34
But also, I think she's trying to protect her.

00:25:36
I'm not sure, though, because sometimes I think she's almost

00:25:40
complicit in a lot that goes on in this movie.

00:25:43
Annette: Yeah, it's like dragging her into that world.

00:25:44
Was it all for a reason to get to that position at the end?

00:25:49
Yeah, yeah.

00:25:50
Pete: Yeah, it's quite strong, yeah, but she looks after her a

00:25:54
bit and she ends up being a bit of a sounding board for her and

00:25:57
things like that.

00:25:57
But yeah, she gets there, she grabs the guy in the nuts.

00:26:00
She's not in a good way and that's good.

00:26:03
And the look he gets on his face when he grabs her.

00:26:07
It's a bit of overacting, but it's funny.

00:26:10
So then she ends up.

00:26:13
Tell me if I'm missing anything , right, because then there's

00:26:17
there's a few extra scenes with her, and Can't forget Darrell, I

00:26:21
think his name is yet.

00:26:23
Darrell where he's comes around and he wants to know what she's

00:26:26
doing there and he comes looking for.

00:26:28
And then we get that, the scene with the mother, your favorite

00:26:32
scene, oh my god, finding where she lives and finding out that

00:26:37
she's a cause.

00:26:37
Angela earned A thousand dollars for this half day movie

00:26:42
film photo shoot.

00:26:43
She's got it in so seven years.

00:26:46
Right, it's in a nice envelope in the drug keeper.

00:26:49
To get a thousand dollars in an envelope, but anyway, cash is

00:26:54
king, as they say.

00:26:55
And yeah, alright, then we get the scene with the mother.

00:26:58
I think I'll let you run with the scene with the mother and

00:27:00
yet.

00:27:02
Annette: So it's so.

00:27:03
She's come home and someone's just this is when they're doing

00:27:06
the pitch downstairs For the advertising campaign.

00:27:10
They inform it, like there's someone to see you upstairs and

00:27:13
she's okay, fine.

00:27:14
She goes up and her mom's sitting on her bed and, oh my

00:27:19
god, it just it's the most infuriating Gaslight nightmare

00:27:29
situation, where I was literally off the chair shouting at the

00:27:34
screen of this moment.

00:27:35
The dog ran out of the.

00:27:37
Oh wow, yeah, it's sure I'm not staying for this.

00:27:41
Yeah, it's in this conversation .

00:27:43
She says she heard from Darrell and her little sister Becky why

00:27:49
their relationship ended and she didn't even ask Angela anything

00:27:53
about it.

00:27:53
So I'll just take it from them and not believe you.

00:27:56
And oh well, I'm getting riled thinking about it.

00:28:01
I can't be keep on.

00:28:02
So yeah, so she's obviously not .

00:28:05
We said she's kicked her out of the house, but she's the only

00:28:08
reason she's come there.

00:28:09
She knows that she's.

00:28:10
She's heard that she's earned some money, figured out, she's

00:28:12
earned some money apparently, and saying that her sister Becky

00:28:16
needs it.

00:28:16
She's in the hospital, she's had an accident, yes, and all

00:28:21
this, and then I did.

00:28:24
But then, at the same time, she's saying and then so you

00:28:27
must be.

00:28:27
She's assuming she's the money.

00:28:30
Prostitute in herself, I think, is what she's alluding to.

00:28:34
But then she's it's all very it .

00:28:38
Everything's Angela's fault.

00:28:39
She's the problem.

00:28:40
But oh, woe is us.

00:28:41
Can't you help us?

00:28:42
But it was like it was changing From sentence to sentence and

00:28:47
you like on this roller coaster of oh my god.

00:28:50
Pete: Yeah, she's so.

00:28:51
It's like I said.

00:28:53
It's really like pipe a lorry in carry almost.

00:28:56
Annette: Yeah, and then like when did she and she let slip

00:29:00
that she's noticed that she has nine hundred dollars?

00:29:03
Like how do you know I have nine hundred dollars?

00:29:05
You've been going through my things, is it?

00:29:08
Pete: I quickly changes she was looking for something or

00:29:11
something like that.

00:29:12
Yeah, she was looking for a piece of paper to write a note

00:29:15
on.

00:29:16
Annette: Yeah, no, on to say that she's been there, yeah, and

00:29:20
then she even looks through the magazine where the pictures,

00:29:24
and she doesn't even notice that Angela's there is in that

00:29:28
picture for the advertising yeah , yeah.

00:29:30
And it wasn't until Angela holds it up to it.

00:29:34
This is how I got it, and that was the most accuses her of

00:29:37
being a whore and to never darken her doorstep again and

00:29:41
takes off.

00:29:41
Yeah and then Angela has my realize it goes to look through

00:29:45
the draw and the money's gone yeah.

00:29:48
That woman.

00:29:49
I mean, I probably missed massive chunks of that

00:29:51
conversation because, as I said, I was.

00:29:55
Pete: But it's such a dysfunctional family right,

00:29:58
obviously, and her sister's a piece of work even oh my god,

00:30:03
they just.

00:30:03
And then, of course, it turns out that we find out later that

00:30:08
nothing happened to a sister.

00:30:09
She didn't ever, she didn't end up in the hospital, she was

00:30:11
taking her job in the hairdressers.

00:30:13
Yeah, she pinched the job.

00:30:16
Annette: Yeah, I was.

00:30:18
No, that was one of those.

00:30:20
No, I have to take a walk for a minute.

00:30:22
No, I have to pause.

00:30:24
I have to go.

00:30:24
No, something else distract me.

00:30:26
I'm livid, my god.

00:30:29
I didn't think I was gonna have that kind of reaction in this

00:30:31
movie, but oh my god.

00:30:34
Pete: Yeah, she's quite a piece of it, but I think we see her

00:30:36
again after this scene.

00:30:37
That's pretty much it, so but what a scene to have that was a

00:30:41
masterclass in manipulation.

00:30:43
She's great actor, though she was in.

00:30:45
Have you seen Patrick, the original 70.

00:30:49
Annette: No, that's okay, I'm telling you I'm gonna start.

00:30:52
I'm going through my movie list and I'm going to up my

00:30:56
exploitation knowledge so she's in Patrick, she plays the.

00:31:00
Pete: she's like the main Matron of the medical play medical

00:31:04
center, where Patrick is the hospital thing and she's really

00:31:09
good in that as well.

00:31:09
She plays a really Nurse, ratchet, nurse sort of thing,

00:31:13
and so she perfected the mega very good yeah, she's very stuff

00:31:18
.

00:31:18
Yes, so she definitely has an impact in this film.

00:31:25
Annette: Just a bit.

00:31:25
I'm never gonna forget her.

00:31:31
Pete: Elmer guy.

00:31:32
Right, he's the guy from the modeling agency at this man.

00:31:36
Annette: Madeline's husband that's right.

00:31:38
Pete: it's really weird.

00:31:39
This is where I think Madeline Is almost complicit, because I

00:31:45
don't know if Madeline set this up like they have some weird

00:31:47
relationship, something Like between her husband or is he

00:31:52
strange movie?

00:31:54
Annette: It knows a movie producer and obviously she said

00:31:57
she says early on in the movie he does his thing, I do my thing

00:32:01
yeah, yeah.

00:32:01
And so he obviously goes for these younger models and things

00:32:06
like that.

00:32:06
So it's, I don't know, maybe I mean I was probably given away a

00:32:11
bit much for them and bit, but maybe it was that was a whole

00:32:16
idea that she could have a cake and eat it.

00:32:18
No, he could she.

00:32:20
Pete: Have this relationship she wants, but she also gets all of

00:32:23
his money she gets told that it's going to be a barbecue with

00:32:27
a whole lot of other people and she turns up to the house and

00:32:30
it's just him and he even fakes a phone call from Madeline.

00:32:34
So creepy, right he does I mean ?

00:32:37
Yeah, I can't really.

00:32:40
The number is not the type.

00:32:41
Annette: Sorry, I was gonna say be another title for this movie

00:32:44
with the, with the hundred others could be the red flag

00:32:46
movie, because it is not seen.

00:32:48
Pete: But Very much.

00:32:51
I don't know why she doesn't see him.

00:32:52
She sees him a bit late most of the time.

00:32:54
That's otherwise you'd have no movie, I guess.

00:32:57
But but she turns up and he fakes a phone call and when I

00:33:03
was watching this is my she was saying.

00:33:05
I remember doing that, but I can't remember.

00:33:07
She couldn't remember the number you used to have to punch

00:33:09
in.

00:33:09
There was like a certain number you could punch into your phone

00:33:13
and then a couple minutes or a few seconds later ring.

00:33:17
Annette: Yeah, I like to test the line.

00:33:18
Pete: Yeah and so he goes through and he does that.

00:33:21
He has this.

00:33:21
Her acting is actually really good in this part, because when

00:33:25
he's on the phone and he says it's Madeline, she turns around

00:33:29
as anyone would like.

00:33:30
When she hears somebody is on the phone, that she likes to

00:33:34
turn around, his big smile, but she's very no, angel is pretty

00:33:38
naive, right, and obviously he plays it up really well with the

00:33:43
phone call and all this sort of stuff.

00:33:44
And then, of course, madeline's not coming home and then he

00:33:48
starts wanting to take photos of her.

00:33:49
This is where we find out how creepy he is.

00:33:52
And he first starts by saying to her hey, he's a phone number

00:33:57
of producer guy or something and He'll be able to get you into

00:34:01
movies and all this sort of thing.

00:34:02
And then he gets his little codec in stomach camera, which I

00:34:07
got with the flashes that shows up a few times of these movies

00:34:11
movie.

00:34:13
It's really great.

00:34:14
It's such a for old for an old fart like me it's.

00:34:19
It's like a nice flashback.

00:34:20
All that sort of vintage stuff.

00:34:24
Annette: No, it's true, I remember them going through the

00:34:26
house.

00:34:26
Obviously I'm sorry people.

00:34:28
I was born in 79.

00:34:29
Sorry, I apologize, but I remember like we, my parents,

00:34:36
have loads of all camera gear and finding flashes like that

00:34:40
what the hell is this.

00:34:45
Pete: Isn't it amazing how far we've come?

00:34:46
Right, we've come from these cameras where you actually plonk

00:34:50
a flash on the top that only works once.

00:34:53
Once you take the photo, you throw it away.

00:34:56
Yeah, having a thing in your pocket that you can shoot

00:35:01
amazing photos with, it's unbelievable and we thought we

00:35:05
were so fancy in the eighties with those long ones, with the

00:35:08
one little.

00:35:08
Oh yeah, the long skinny ones, yeah yeah.

00:35:11
And the flash you used to work all the time.

00:35:15
But yeah, I miss that noise.

00:35:19
Annette: I miss that sound of a flash, you know, yeah, yeah,

00:35:23
it's gone off.

00:35:24
Pete: Chainsaw massacre.

00:35:25
So yeah, yeah, yeah and yeah, he takes these photos with the

00:35:31
codec film and the camera and they all look a bit dodgy and

00:35:35
then he gets it a strip off a little bit more.

00:35:37
A little bit more.

00:35:38
At first it's interesting, so first she goes along with it and

00:35:41
then it dawns on her what's happening and cause he's done a

00:35:46
good job to try and get a drunk and he's such a creepy looking

00:35:50
guy too.

00:35:50
Right, he's got the mo, he's got the mo, but every man in

00:35:53
this movie's got a mo, just about.

00:35:56
It's been the season for the year for it and I'm also really

00:36:01
big in the seventies.

00:36:02
My dad you separate will pushy mo, and it's been, it was my dad

00:36:06
did to there was a thing was a thing, and yes, so she gets out

00:36:10
of it by just leaving, basically , and he let to leave.

00:36:14
I'll give him that he does let her leave.

00:36:16
So good for him yeah, good for him what a what a hero.

00:36:22
He's a bit different next time.

00:36:24
Yeah, but yeah, so she gets away.

00:36:28
And then this is when she did.

00:36:30
She get caught up, she gets, she gets home.

00:36:34
Oh, there's a scene in this which I never picked up on, so

00:36:38
we're coming into the scene where she gets home from Getting

00:36:41
this being Orfully abused by this guy with the photos yeah to

00:36:48
coming home and find the pigs head in the big right and when I

00:36:52
first watch this I was like who put that there?

00:36:56
I was so stupid I didn't even think, and it was when I watched

00:36:59
it again the other night.

00:37:00
There's this little cut away scene while she's at Elmer's

00:37:04
house getting the photos done and having dinner with him.

00:37:06
There's a little scene where Darrell turns up to the place

00:37:11
and asked where Angela is and he's got a slung over his

00:37:16
shoulder.

00:37:16
He's got a big duffel bag and that's all in that scene.

00:37:20
He just asked where she is and then it cuts back to.

00:37:23
It was.

00:37:24
It took me till.

00:37:25
I probably watch the movie three times to go.

00:37:28
It's him.

00:37:29
He's the one with the pigs head because he had it in the duffel

00:37:33
bag and he was he lied then later.

00:37:36
Annette: how could he love?

00:37:39
Pete: I just like everyone else in this movie, he just gas

00:37:42
lights are right.

00:37:44
Annette: Oh my god, just a bit that they're good.

00:37:46
Pete: Note.

00:37:46
That'd be good name for this movie is all just gaslight, but.

00:37:50
Annette: We spoke to her with a list as we go, yeah.

00:37:53
Pete: Yeah, so I didn't realize because I used to think first.

00:37:56
I didn't know who tore up her dress.

00:37:58
That's the other one.

00:37:59
I don't know who did that.

00:38:00
Could have been anyone.

00:38:02
It's like everyone's after her for some reason.

00:38:05
Annette: And I thought it was gonna be possibly Madison to

00:38:10
make her think that this guy was worse, rather than just being

00:38:15
the creepy gaslighter that he was a dangerously stalky.

00:38:18
I'm gonna kill you guys like.

00:38:20
Pete: Yeah, I mean I still could be wrong, but I don't see

00:38:24
somebody turning up to the front door of a house asking where

00:38:27
someone is and having a big bag slung over his shoulder, and a

00:38:32
couple of scenes later we're finding a big pigs head in her

00:38:35
bed.

00:38:36
Annette: But then again, if it was Madison, she has free reign

00:38:39
of that place because they all know her.

00:38:41
Pete: Yeah, that's true too.

00:38:42
Yeah, they don't know him, but then we don't see.

00:38:45
If we don't see if they said to him she's not here and he just

00:38:50
says something like I've got something here I want to drop

00:38:52
off to her.

00:38:53
Because it was such an open kind of place, they probably

00:38:56
would have been just, oh yeah, just go up to her room and leave

00:38:58
it.

00:38:59
Annette: They would have to go over this for hours here where

00:39:01
you could try to trick her back.

00:39:03
One pigs head is causing so much conversation.

00:39:07
Pete: Well, and the other thing he could have kept that pigs

00:39:09
head cool in his ice cream truck .

00:39:14
Annette: I just don't smell like ice cream.

00:39:15
Pete: That's true.

00:39:16
Anyway, that's my theory.

00:39:19
But yeah, for a while I was like who left the pigs head?

00:39:22
I don't know.

00:39:25
Annette: I still don't know.

00:39:26
Pete: I know the title, yeah, the other one, I don't know.

00:39:31
I don't know who tore up her dress.

00:39:33
Annette: That one no.

00:39:34
Pete: I have no idea Was it a mother?

00:39:36
No, couldn't have been.

00:39:37
See, it's a really strange, which actually is not surprising

00:39:46
because apparently the whole script was written in four days.

00:39:48
I think it was like I was written in four days by Everett

00:39:54
DeRochie.

00:39:55
Apparently he got his wife to help out she's co-writer and

00:40:01
apparently he got his wife to help out, to help him a little

00:40:05
bit with the female scenes, to help him get an understanding of

00:40:08
how they would act.

00:40:09
I'm not sure if she gave him the right information or he just

00:40:14
wrote it wrong.

00:40:17
Annette: But I like it.

00:40:18
It provokes conversation.

00:40:19
I know it's plot holes and they're not really that bothered

00:40:22
, but I think that's great because it does make you look

00:40:26
into other scenes and create narratives that could be there.

00:40:30
I think it's part of the fun of watching a movie like this

00:40:34
Absolutely.

00:40:34
Pete: You don't know what's happening, where it's come from,

00:40:36
who's doing what.

00:40:37
I don't know, unfortunately.

00:40:41
I'd love to find out If anyone knows where the pig's head come

00:40:45
from, let me know.

00:40:46
If you're out there and I don't know.

00:40:49
Sigrid Thornton, if you hear this, can you tell me please?

00:40:53
Annette: And we love you.

00:40:58
Pete: Tell me where the pig's head came from, because I don't

00:41:00
know.

00:41:00
I'm sure it was your boyfriend and it thinks it could be

00:41:04
someone else.

00:41:06
Annette: I think it's Madison.

00:41:07
Pete: I think it's Madison.

00:41:08
Yeah, it could be so.

00:41:11
Yeah, so she finds the pig's head, and what does she do after

00:41:15
that?

00:41:15
Is that, when she runs off and she goes to the club again

00:41:19
Because she finds?

00:41:20
She goes to find Madeline again , and is it in the club?

00:41:24
Is she in the club?

00:41:26
Yeah, it's a bit fuzzy after that, but then she gets offered

00:41:29
the job in Fiji by the other guy who was touching her up earlier

00:41:33
in the movie.

00:41:35
Annette: Yeah.

00:41:37
Pete: And this is where everything starts to, I guess,

00:41:40
accelerate towards the end.

00:41:42
She gets the job offer in Fiji and then she's packing.

00:41:46
She rushes home to pack no one's home.

00:41:49
She thinks someone's there, so she packs really quickly and

00:41:52
then she hears the sound of the ice cream truck.

00:41:58
Annette: The most sinister truck in the world.

00:42:00
I loved it.

00:42:02
Pete: She's in there packing, near here, the ding, ding ever,

00:42:05
and she looks at the window and she can't see it.

00:42:07
So she hears the truck and then she rushes off, she packs

00:42:10
everything else in and she goes running and then she goes the

00:42:14
front steps, the front of the house.

00:42:16
Darrell's right there, obviously.

00:42:19
Yeah, because we heard the truck.

00:42:20
Of course I don't know why he bothers us so much, like I know

00:42:24
he's obsessed, right.

00:42:26
Annette: Yeah.

00:42:28
Pete: And he tells her he can't let her go and all this sort of

00:42:31
stuff, and she just drops everything like suitcases and

00:42:34
all and runs which she never goes back for them?

00:42:38
I don't think.

00:42:38
But yeah, and that's when she's got the little thing in the

00:42:42
seat.

00:42:42
She runs into the main street, which is looks like Ligon Street

00:42:46
or something in Melbourne, and pass all the old fashion shops

00:42:49
there and into the phone booth with the old Telstra phone and

00:42:53
makes the phone call rings up.

00:42:55
She actually calls Elmette, didn't she?

00:42:57
Yeah, even that.

00:42:59
Annette: And then, below my mind , I'm going to escape the creepy

00:43:02
stalker guy by being rescued by the creepy stalker guy.

00:43:06
Pete: I know right and she could have just dialed triple O got

00:43:10
the police, but anyway.

00:43:11
Annette: Yeah.

00:43:12
Pete: But yeah, so she calls him and he says he's going to send

00:43:16
a taxi for her and the first taxi she sees she gets into.

00:43:21
I mean, was that the taxi he sent?

00:43:23
I don't know Must have been what, the hell of a dial for $79

00:43:27
.

00:43:27
And of course you can see the Mr Whippy truck going up and

00:43:32
down the street and he's turning around and oh, there was the

00:43:36
peeking round the corner, like it's looking for itself.

00:43:40
I said to May, every time he pulled up in the truck I said

00:43:44
wouldn't be people coming up to the window of the truck going,

00:43:45
hello, can I get an ice cream?

00:43:47
We're going to get an ice cream .

00:43:48
And he's like, oh fuck, I'm trying to track all these people

00:43:52
with ice cream.

00:43:53
How am I supposed to stalk while you want an ice cream?

00:44:01
Anyway, yes, she gets away from him and gets inverted commas

00:44:08
rescued by Elmer by going to his office and I don't know.

00:44:13
He must have just organised this whole thing like she calls

00:44:17
him up.

00:44:17
I don't know how he did it, because he didn't know she was

00:44:20
going to call.

00:44:20
Really, no.

00:44:22
Unless he was in cahoots with Darrell, but I doubt it.

00:44:26
Annette: Couch scene.

00:44:27
Pete: And in the time between when she called him and she gets

00:44:31
to the office, which I assume is probably less than an hour,

00:44:35
he sent everyone home from the office.

00:44:38
Annette: The entire office is Darrellic.

00:44:40
Pete: There is nobody that is no one there and he sent them all

00:44:43
home.

00:44:43
And she arrives in the office and can't find anyone and goes

00:44:48
downstairs and walks into that room, which is actually one of

00:44:51
the better scenes in the movie, where she walks into the room

00:44:54
and he's got the whole room plastered with the photo from

00:44:59
the ad.

00:44:59
Annette: Yeah, when Pia says plastered, he means like the

00:45:02
floor and ceiling and walls is nothing but her photo.

00:45:06
Pete: This movie is creepy in some places.

00:45:08
It actually gets a bit creepy here and then when he comes in

00:45:11
and he looks really serious and I'm like, okay, he's.

00:45:13
What's he going to do?

00:45:14
I don't know whether he just wanted to again take photos of

00:45:19
her, or if he wanted to rape her , or whatever he was going to do

00:45:22
.

00:45:22
I got a feeling that he's probably the latter.

00:45:24
Annette: There was definitely lead into that.

00:45:26
It was a different kind of intensity he had.

00:45:29
Pete: Yeah.

00:45:30
And so he goes to take more photos of her and she looks

00:45:33
terrible, Like she's terrified, and then he starts dousing her

00:45:38
with I don't know if it's I'm assuming it's petrol, or it's

00:45:44
some sort of film stuff or I don't know what is but he just

00:45:49
happens to have a can of it on a shelf.

00:45:52
Annette: Whatever it is, it's a flammable material.

00:45:54
Pete: It's a flammable material, exactly.

00:45:56
Annette: We'll go with that.

00:45:58
Pete: He locks the door and he puts his little bit on the.

00:46:00
He's very careful how much he pours on the floor.

00:46:02
He's on some movies they toss it.

00:46:04
He's well, just get this little bit, that's enough.

00:46:06
Just enough to scare you, just enough to scare you.

00:46:09
I think that's what it is.

00:46:10
And then he lines it up, yeah, and then he puts it.

00:46:13
He, then she tries to get it from him in the struggle.

00:46:18
Annette: She tries to yeah, she tries to bolt out the door.

00:46:21
Pete: Yeah, and she's got the whatever the accelerant is,

00:46:26
she's got it on her and he's got it on him and all of a sudden

00:46:29
he steps into the fire and one flash in your ash Right and it

00:46:37
does his great burn.

00:46:38
And that's Grant Page, which is one to get another Osploitation

00:46:42
alumni who's been in everything .

00:46:44
He's a stunt man and he's done everything in Australian film in

00:46:47
that era as far as stunts go, and he did this amazing burn.

00:46:50
Apparently he was very careful when he spoke to us.

00:46:54
He had thought about where she was going to stand and he went

00:46:56
through everything about where to stand.

00:46:58
And the reason she's so wet is they this was one of the first

00:47:02
times they use this like a gel they put on them to so they

00:47:07
could burn.

00:47:08
And apparently what would happen is you could burn but you

00:47:11
only had a certain amount of time and then you had to get put

00:47:13
out because obviously you start going through that layer and

00:47:17
burn your skin.

00:47:17
And so the reason she was wet, besides looking like she had

00:47:21
this stuff on her, but she apparently had the gel on her as

00:47:23
well, just in case.

00:47:24
So then Elma gets burned to the ground, basically yeah, and

00:47:32
she's rescued, of course, by Darrell.

00:47:35
Annette: What are you here?

00:47:38
Pete: I don't know how he found her there.

00:47:41
Annette: Yeah, they must have followed the taxi.

00:47:45
I guess, Maybe I guess, but it's such a gap, though, between

00:47:49
him getting there and what was going on.

00:47:52
Pete: Yeah, another plot hole, but then you wouldn't get the

00:47:54
movie without it.

00:47:55
Annette: There we go.

00:47:56
Pete: And then, yeah, so she tells him that she's moving and

00:48:01
all this sort of stuff on the places on fire.

00:48:03
Oh, we forgot to mention.

00:48:04
This is one of those movies that begins at the end.

00:48:08
Annette: Yes.

00:48:09
Pete: And has the whole the fiber gate and everything going

00:48:12
on, and that's the beginning.

00:48:14
And then obviously we see how we get to that point.

00:48:16
I don't know how new that sort of concept was in those days.

00:48:20
I don't know if it was used that often, but it was

00:48:22
interesting concept.

00:48:23
I'm sure it was used before, but it was interesting.

00:48:26
It was always the plan apparently.

00:48:27
I was listening again the commentary they're talking about

00:48:30
it and someone asked the question.

00:48:31
The commentary is really good.

00:48:32
It's got.

00:48:33
There's one.

00:48:33
There's about three commentaries on the Blu-ray and

00:48:36
the one I listened to is Sigrid Thornton and the director and a

00:48:41
few of the other people.

00:48:42
It's really interesting to what they talk about.

00:48:44
And one of them just asks if that was the case that it was

00:48:47
tagged on, Did they do it in editing or was it always the

00:48:50
plan?

00:48:50
It was always the plan to have the end at the beginning, sort

00:48:53
of thing.

00:48:53
So yeah, so Darryl turns up and wants to take her away from

00:48:58
everything, of course, and doesn't want to let her go, and

00:49:01
they have a nice little struggle in a lane way and all of a

00:49:04
sudden he gets run over by a wee bee bear.

00:49:06
What a way to go, what a way to go and it gets basically driven

00:49:14
into a wall.

00:49:15
Annette: I think it's not very it's not very gory, but no, but

00:49:20
it was a shock though, because I did not see that coming.

00:49:23
Pete: It came out of nowhere right.

00:49:26
Annette: Yeah, it was like maybe my dream is coming true, Maybe

00:49:28
it was the van the whole time.

00:49:31
Pete: And guess who was driving?

00:49:32
The Mr Whippy van.

00:49:35
Annette: It was the little.

00:49:37
What the?

00:49:38
Pete: whole time.

00:49:39
It was her the whole time.

00:49:41
She gets out of the Mr Whippy van and of course, Angela's

00:49:45
pretty happy about this.

00:49:46
I don't have a weird stalker anymore.

00:49:49
I don't have an ex-boyfriend anymore.

00:49:52
He's gone.

00:49:53
What?

00:49:55
Annette: No, what was skipped there?

00:49:57
It was in the midst of the fire and Angela didn't want to be

00:49:59
seen by everybody, that's right.

00:50:01
And she went off with Daryl, that's right.

00:50:03
Mads did turn up and I don't know if you noticed she was

00:50:07
screaming for Angela, not her husband.

00:50:10
Pete: She was yeah, that's right .

00:50:11
Yes, exactly, so it's like yeah , yeah.

00:50:16
Annette: And then there's more.

00:50:16
But yeah, when she popped out of that van it was like no.

00:50:21
Pete: Yeah, I wonder.

00:50:22
There you got me thinking.

00:50:24
I wonder if it was her plan all along to be in cahoots with her

00:50:28
husband to a point and then use it to her.

00:50:31
But then how would she know that Angela was going to get out

00:50:34
of a burning place on her own as well?

00:50:36
Do you know what I mean?

00:50:39
Annette: Yeah, Again the plot holes, I mean.

00:50:41
Pete: Yeah, like I said, we're written in four days.

00:50:44
Yeah, so they go off together.

00:50:48
I think Did I see it right that she was going to go with her.

00:50:53
Annette: Yeah, they were going to go off to Fiji together.

00:50:55
Pete: That's it, yeah, yeah so.

00:50:57
Annette: So then was the job a whole set up, because she knew

00:51:00
that guy with the mustache in the office wasn't for her all

00:51:04
along.

00:51:04
But you could just yeah, I don't know.

00:51:07
Pete: Or she could have stayed put and just had a model inquiry

00:51:10
.

00:51:10
You know I don't.

00:51:12
Who knows, who knows I want a sequel now.

00:51:16
I do Snapshot 2.

00:51:19
Get ready to get the guest lit again.

00:51:23
She could have, I mean, she could have Got together with

00:51:32
what's the photographers know again, lindsay.

00:51:34
Yeah she could have.

00:51:36
I don't think he had a thing for anyone, but no, he was very

00:51:40
much his own person.

00:51:41
He's only his own little world in his head.

00:51:43
But yeah, so they go off and live happily ever after, I guess

00:51:48
.

00:51:51
But, yeah, even the end titles are unsettling.

00:51:54
In the end titles you've got like the really heavy music and

00:52:01
then these shots of Angela that the guy has just taken before he

00:52:04
burnt to death and she looks really vulnerable, and all this

00:52:08
and it even it doesn't even end on a nice note, because the last

00:52:11
note is To the end.

00:52:14
Annette: I know.

00:52:14
I mean because there was a scene we didn't talk about where

00:52:18
obviously it was when Mads came out to Angela that she was gay

00:52:23
and that she was attracted to her and obviously Angela wasn't

00:52:26
into it, but she.

00:52:27
It was the only time when someone respectfully out of

00:52:30
everyone that was just after this girl.

00:52:32
Pete: Yeah, yeah.

00:52:35
Annette: Respectfully stood back and it was like it was really

00:52:37
nice, it's like we can carry on being friends and it doesn't

00:52:39
have to be weird and it was all.

00:52:41
But then you have this.

00:52:42
It's like you're a little bit Dangerous, but you're a bit

00:52:48
Cookies or cookbooks, what you do.

00:52:49
She's killed a guy happily ever after a feature.

00:52:52
Pete: Yeah, I don't think.

00:52:55
When they make these movies in these days, I don't even know, I

00:52:58
don't think they think much about.

00:53:01
Especially these movies like cost three hundred thousand

00:53:04
dollars and they're just there to make a few dollars for them

00:53:07
and yeah, of course, they don't think it's a Friday, saturday

00:53:12
night movie fodder, isn't it?

00:53:13
It is.

00:53:13
It's the day after Halloween.

00:53:14
Oh, it's a strange one, but it's actually so.

00:53:22
For me, I think it's a.

00:53:24
It's an enjoyable movie, though .

00:53:27
I enjoyed it.

00:53:29
Annette: I'm not going to lie, I enjoyed it as well.

00:53:31
Pete: It's quite enjoyable.

00:53:32
The acting is OK.

00:53:33
There's no really bad acting in the whole thing.

00:53:35
It's all pretty well done, it's nicely shot, locations are

00:53:40
interesting, it's all shot in Melbourne and yeah, it's just

00:53:43
those questions.

00:53:44
I'll just never get over the pigs head and work.

00:53:49
Annette: We will solve it one day, Pete.

00:53:50
We will do it.

00:53:52
Pete: Janata reminded me of when she came home and that she

00:53:55
looked like someone else was in her bed.

00:53:57
I once, I once was traveling for work and was booked into a

00:54:02
hotel and was checked in, given the room key and everything,

00:54:07
opened the door in the room and there was someone in the bed and

00:54:12
they checked me into the wrong room.

00:54:14
And it's so strange.

00:54:17
This is back in like the early 90s, I think it happened.

00:54:22
Annette: It's so weird, oh my God.

00:54:24
Pete: So strange.

00:54:25
Yeah, it's weird.

00:54:25
They just shut the door quietly .

00:54:28
Annette: We're back as a.

00:54:30
Pete: I think you've given me the wrong room.

00:54:33
Annette: Oh my God, you could have been anybody.

00:54:35
I know they could have been anyone, If that was my security

00:54:39
right?

00:54:40
Pete: Yeah, we are.

00:54:41
I am surprised the person in the bed didn't even stir.

00:54:43
They could have been dead for a long year.

00:54:45
There was no smell, so she and they were right.

00:54:48
Annette: But yeah, it was crazy anyway.

00:54:53
Pete: The other thing I want to mention about this movie is A

00:54:56
lot of the people in the production side and the film

00:54:58
side of this came from TV.

00:55:02
They all work for what's known as Crawford Productions in

00:55:05
Melbourne.

00:55:06
So at the time they were shooting Matlock and Homicide

00:55:10
and they're all like cop shows right, and a lot of the, a lot

00:55:14
of the team came from that and there was a lot of talk about

00:55:18
that on the commentary and just a lot of in general.

00:55:21
There's a lot of these people that all made their mark in TV.

00:55:24
I think Sigrid Thornton was in was on TV very early as well,

00:55:29
working for Crawford Productions .

00:55:31
Annette: She did stuff like the Sullivan as well.

00:55:33
Exactly, it was Crawford.

00:55:35
Pete: Yeah, yeah.

00:55:36
Did you ever see the Sullivan's in there, over here, over there

00:55:39
?

00:55:40
Annette: It did.

00:55:40
I very vaguely remember it's always the Sylvins and Sons and

00:55:44
Daughters.

00:55:45
The theme tunes are very much from my childhood.

00:55:48
Pete: Oh, really Sons and.

00:55:49
Daughters.

00:55:50
Wow, that's a callback.

00:55:51
What's the other one Country practice was the other one.

00:55:56
Annette: Oh yeah, Flying doctors .

00:55:58
Pete: God, you got all the Australian shows, didn't you?

00:56:00
And of course you got Neighbours right.

00:56:02
You guys went nuts for Neighbours.

00:56:03
Annette: Neighbours and Home and Away.

00:56:04
But yeah, I mean like I watched all like the kids shows as well

00:56:07
.

00:56:07
I don't know if you're the Henderson kid Pugwall, pugwall,

00:56:11
sumer around, the twist around the twist.

00:56:14
Yeah, oh yeah.

00:56:16
Pete: It's crazy.

00:56:17
It's interesting, interesting TV that goes between Australia

00:56:21
and the UK.

00:56:23
Annette: I tell you one of my all time favourites.

00:56:24
I'm going off track here, but I don't know if you remember it

00:56:27
was a comedy from the early 90s and it was Let the Blood Run

00:56:30
Free.

00:56:30
Oh, yeah, yeah, I was obsessed.

00:56:33
It used to be on like one in the morning, so I'd be like I'm

00:56:36
supposed to be getting up for school.

00:56:38
Pete: But no, I'm going to stay awake yeah.

00:56:40
So any final thoughts on this film.

00:56:47
Annette: I'm going to say as much I don't know from our

00:56:50
description whether somebody would willingly going to watch

00:56:54
this if they've listened to us first.

00:56:57
But what I will say is, honestly, it's so bizarre and

00:57:03
wonderful and obviously problematic to a modern audience

00:57:10
, but also nostalgic, and you have to let stuff go to a

00:57:15
certain extent and just enjoy the ride of what this crazy ice

00:57:20
cream truck of a movie is.

00:57:21
Pete: It is, I definitely would.

00:57:22
I'd actually recommend watching it if you can get hold of it?

00:57:26
Annette: I definitely, or just check it out on Prime.

00:57:28
Pete: if you're in Australia or Broly or something like that,

00:57:31
it's definitely worth a watch.

00:57:33
Annette: I have to admit I'm funny with, because there's such

00:57:37
a certain intensity with a lot of Australian cinema that I get

00:57:41
nervous watching them.

00:57:42
Sometimes it's going to be too much.

00:57:43
And this is just from that kind of era where there is a lot of,

00:57:47
like, sexual references and things like that I can't watch,

00:57:55
like rape, revenge and things like that.

00:57:57
It's not my thing.

00:57:58
Pete: Right.

00:57:59
Annette: And I have an interpretation when it goes into

00:58:03
stepping into that kind of, because a lot of that was very

00:58:05
obviously prevalent in the 70s and 80s.

00:58:07
Yeah, but this actually because when you read the substance, oh

00:58:12
God, the nudity is happening.

00:58:14
Then there'll be other things.

00:58:15
But no, it's involved but it's not explicit.

00:58:18
There's nothing really explicit about this movie which I

00:58:22
appreciated on that point for myself personally yeah, it's not

00:58:26
one hairy bum shot and an aperibus.

00:58:29
That's it.

00:58:30
Pete: You get the boobs.

00:58:31
I think what was the hairy bum shot?

00:58:34
Annette: There was a bit where Mads and Angela go back to the

00:58:37
house and there's two people having sex on the floor and you

00:58:40
just get one shot of the guy's hairy bum.

00:58:44
Pete: Forget that.

00:58:46
Annette: You're probably mentally blocked out.

00:58:47
You don't say to be.

00:58:52
Pete: Interesting, interesting, but anyway, yeah, it's, it's

00:58:55
interesting, it's not too problematic.

00:58:57
I know a lot of the films we cover here are quite problematic

00:59:02
just because of the era, more than anything, and I think

00:59:06
there's a certain language that you have to excuse.

00:59:10
Annette: There's one or two phrases like that, but you just

00:59:12
move on, yeah it's, yeah, it's.

00:59:15
Pete: I've had some of the movies I've done before.

00:59:16
There's stuff in it that you call quite racist and that sort

00:59:20
of stuff, but it's hard, it's this whole conversation to be

00:59:25
had.

00:59:25
I think, about separating what is acceptable today from what

00:59:33
was made 40 or 50 years ago in film, because I really hate this

00:59:38
.

00:59:38
I think the recent one I heard is like they were sitting on

00:59:41
Disney Plus.

00:59:42
They had the French connection, the movie the French connection

00:59:45
, and they cut pieces out of it recently Because they didn't

00:59:50
think it was fit today.

00:59:53
And I'm like, why do that?

00:59:55
Why do that?

00:59:56
Why not just have a little piece at the start of the movie

00:59:59
just saying, hey, things depicted in this movie we

01:00:01
understand aren't acceptable these days, but it was made of

01:00:04
this time, blah, blah, blah.

01:00:06
I think I have a disclaimer like that on the bottom of my

01:00:08
notes for my podcast every episode.

01:00:11
That basically just says, like some of the subjects we cover

01:00:15
and not something it would be acceptable today, but it's just

01:00:19
because of the time they were made, right.

01:00:21
Annette: Exactly.

01:00:22
You've got to think of it in its own time capsule and you

01:00:26
can't put your modern sensibilities on something that,

01:00:28
like you said, was created that long ago.

01:00:30
So if you are okay to do that, to compartmentalize it for

01:00:35
yourself, go ahead and enjoy it.

01:00:37
If you can't do that, just do it much.

01:00:40
That maybe.

01:00:41
Then yeah, it's not for you and don't put yourself in that

01:00:43
position.

01:00:44
Pete: Yeah, exactly, and don't tell everyone else they can't

01:00:46
watch it.

01:00:47
Annette: I'm sorry, but I have to say Exactly.

01:00:50
Pete: It's like just don't watch it right.

01:00:52
Annette: Yeah, exactly, there are certain, like I said, when

01:00:54
it comes to, like, rape prevention movies, they are not

01:00:57
for me.

01:00:58
I know that.

01:00:59
I'm just not going to watch those, and that's fine.

01:01:01
People want to watch them, that's their business and I'm

01:01:05
not going to judge anyone or anything because, the stuff I

01:01:07
watch, that they will, I mean, crack it.

01:01:10
I've watched Real Housewives before and I don't expect people

01:01:13
to judge me and I'll talk to me , I guess I hope.

01:01:19
Pete: Yeah, it's because you watch Real Housewives.

01:01:27
Annette: I just do it because I like to laugh.

01:01:30
Pete: That's right.

01:01:30
I mean, look, every year I say I'm not going to watch it, but

01:01:34
my wife always for some reason watches, married at first sight.

01:01:38
I don't know if you have that show over there, but anyway.

01:01:41
Annette: Yeah, I know that one.

01:01:43
Pete: I always say this is a load of shit, and she knows it

01:01:46
is too and she watches it, I think for the same reason.

01:01:48
Yeah, exactly, and eventually, what will happen a bit further

01:01:51
down the track in the season?

01:01:53
We'll sit together and we'll be watching it, or something like

01:01:55
that, and I'll go, oh, this is shit.

01:01:56
But then I end up starting to make comments about different

01:02:00
people and I can't believe they did that and I'm like, oh shit,

01:02:03
I'm into it.

01:02:04
What's going on?

01:02:07
Annette: It's only about the drama.

01:02:08
I don't care about the rest.

01:02:10
Pete: It's crazy, just a drama.

01:02:11
I think it may plant actors in those shows.

01:02:15
Annette: Oh yeah, they have to 100% Anyway.

01:02:18
Pete: so yeah, so that was Snapshot and it was a fun watch

01:02:22
for all, I think.

01:02:24
Annette: Yeah, definitely.

01:02:25
I appreciate you letting me watch this with you, Pete.

01:02:27
I really did enjoy it.

01:02:28
Pete: It was fun it was fun as we close up, so give us a bit of

01:02:32
an idea of what's happening with you, where people can find

01:02:35
you.

01:02:37
Annette: Oh gosh, yes, I'm on two podcasts.

01:02:39
Thank you very much.

01:02:40
Two different podcasts.

01:02:41
Pete: I don't know how you find time.

01:02:43
Annette: I can squeeze it in.

01:02:44
I'm on Stiletto Banshees with Tab and Micah that you've had on

01:02:50
the show before and I think we've got some more recording to

01:02:54
do and I think there's going to be a couple more releases

01:02:56
coming very shortly, I hope.

01:02:57
Obviously, there is an Instagram page for Stiletto

01:03:03
Banshees as well, if you want to have a look there at bits and

01:03:06
bobs.

01:03:06
We've done what we'll be doing, and my main podcast is Two

01:03:10
Crohn's in a Book which I host with my friend from childhood,

01:03:15
michelle.

01:03:15
We've known each other since the first day of primary school.

01:03:19
Pete: You can tell yeah.

01:03:23
Annette: Yeah, and we just we mainly started to discuss books

01:03:27
in the horror genre and we also, as well as review books.

01:03:31
We have Ramble episodes where we'll be posed a question.

01:03:35
It started off book related but it stretched out to just

01:03:38
different things where we just go off and have such an absolute

01:03:41
giggle.

01:03:42
They're really fun to make and it's a really good laugh and

01:03:46
we're broadening our book spectrum as we're going into.

01:03:49
We've just finished come out of our second year now, so we're

01:03:53
really enjoying ourselves.

01:03:55
So, yeah, it's a lot of fun and you can find us on TikTok.

01:03:59
We'd Tab makes us these brilliant little audiograms.

01:04:03
Pete: Yeah, they're awesome.

01:04:04
I love seeing them.

01:04:05
I see them in TikTok all the time.

01:04:07
Annette: Yeah Well, tab puts those together for us, and so

01:04:11
she just takes clips of episodes to give you an idea of what

01:04:15
we're about.

01:04:15
And that's just so funny.

01:04:17
She actually puts in little images to go along with it.

01:04:20
They're so funny, they're great .

01:04:22
Yeah, we're on TikTok Two Crohn's in a Book.

01:04:24
We're also on Instagram at Two Crohn's in a Book and there is a

01:04:29
Facebook page, but that's not as lively as it used to be, but

01:04:34
I still throw in the audiograms and if we see an occasional

01:04:37
thing we find funny, we'll pop it on there as well.

01:04:39
So yeah, just check us out.

01:04:41
We're on all platforms If anyone wants to interact.

01:04:45
We absolutely love interaction with listeners.

01:04:47
It just makes our day completely.

01:04:49
Pete: Yeah, that's great.

01:04:50
It's really good.

01:04:51
I've listened to a couple of episodes.

01:04:52
I must say I haven't listened to all of them, but the TikToks

01:04:55
are amazing.

01:04:56
They're really funny.

01:04:57
I could say actually I'll hear one of those.

01:04:59
I go oh, I need to listen to that episode of Sins.

01:05:01
Like a Lot of Fun.

01:05:02
So they're doing their job.

01:05:03
Annette: I'm Tastic, oh Pete, oh , you made my day.

01:05:08
Pete: Anyway, thank you so much for coming on.

01:05:11
It was a ball, it had a great time, it was really good and

01:05:15
definitely have your back for sure.

01:05:16
We'll have to do something.

01:05:17
Have to do something.

01:05:18
I've got a heap to do this year .

01:05:20
I only did nine episodes, I think last year I really need to

01:05:23
catch up this year.

01:05:23
I want to get to my 50th episode this year, if I can.

01:05:27
Annette: Oh wow, how hard is it to get to 50?

01:05:29
Pete: Just to get to 20 of us.

01:05:30
It's crazy, it's nuts anyway.

01:05:32
Annette: Yeah.

01:05:33
Pete: It's all good, all right, thank you so much, and when we

01:05:37
come back I'll talk about what's coming up next.

01:05:38
And now preview time.

01:05:49
Annette: When it comes to entertainment, you can't beat a

01:05:52
good film.

01:05:54
Pete: So let's take a look at what's coming your way.

01:05:57
Next, on A Dingo Aid my Movie, I'm joined by Matt Fulton to

01:06:16
talk about the Alvin Purple Double Alvin Purple and Alvin

01:06:20
Rides.

01:06:20
Again, thanks for taking the time to listen to this episode.

01:06:43
Thank you to all my guests who give their time to make this

01:06:46
podcast possible, and a special thanks to you for listening.

01:06:49
Don't forget, you can follow A Dingo Aid my Movie on social

01:06:53
media.

01:06:53
We're at Dingo Movie on Twitter , dingo Movie Pod on Facebook

01:06:57
and Instagram and on the web at DingoMoviePodcom.

01:07:01
Once again, thanks for listening, stay safe and I'll

01:07:06
see you on the next episode of A Dingo Aid my Movie.

01:08:06
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