Midweek Mention... Chinatown

Chinatown

Sidey: hugging.

There's

watermelon I didn't the flavor. thought, is that another one Yes.

like a numbing spray. you put

it by nine

Reegs: Yeah, just, trying to do a copy

Sidey: they've just copied our pump.

Reegs: Yeah, I don't even No,

A

punch. I, it means [00:01:00] you know, like a punch. It's not,

I'm

sour. A punch for

There's nothing

happening

Sidey: Alright. Uh, trying to,

uh,

not waving a little bit.

How long, how long is that?

Oh, fuck no. Get this done so we can, we can get this done in half an you're gonna win one N up Why don't

Reegs: there.

Sidey: yeah.

Reegs: Oh, because I've got my notes on there though.

Sidey: I can tell you

Reegs: nil is

Sidey: worry about it.

Who you playing? West Water

Alright. wow. What's the highlights there?

Reegs: fuck

Sidey: Sla, that's also an option,

Reegs: life is a series of fucking never ending [00:02:00]

Sidey: And then you die. Yeah.

Cris: yeah. But

Sidey: La, la, la, la, la. See bus

Reegs: Well,

but if it was Newcastle you'd be sitting there

Sidey: watching Well, I suppose, Hey, I'm not fucking watching that.

Reegs: spares on now.

Sidey: No. Eight o'clock. Alright.

Reegs: wouldn't,

Cris: I wouldn't be that, um, selfish, you know, I'm just saying,

Sidey: Uh, right. The town of China.

Chinatown.

Reegs: Yeah, Chinatown.

Cris: Chinatown. Uh, to be fair, I, I wish I could have said a word or something from Dan, a message in Thai or something, because he is closer to China than we are, but not necessarily closer to Chinatown. Than

Reegs: not necessarily,[00:03:00]

Cris: But, uh, this hasn't got anything to do with Dan or Thailand, so,

Sidey: Uh,

Cris: really with Chinatown.

Sidey: Well, it, it does end in Chinatown. He, he previously Yeah. Had

Reegs: It's the title of the movie and a big

Cris: I know. Can I, can I go straight into it? Because I, um, I was really confused. I have quite a few questions about this film and I purposely didn't ask the internet because I thought if we're gonna talk about the film, I'd rather ask you and see what your opinion is.

What, and, and I might be stupid, which has been said before, has been alluded about me before. Um, why is it called Chinatown? Because nothing actually happens in Chinatown except for the last 10 minutes

Sidey: he had previously worked in

Reegs: Yeah. I think it ties back to the final line of the film. Forget it, Jake.

It's Chinatown. And uh, it's saying kind of just leave it, let it, it's too big. You're gonna disrupt the system too much. It's such a bleak

Sidey: Yeah, it's fucking hell.

Reegs: I mean, we're gonna go straight into talking about it, but

Cris: [00:04:00] Anyway, I, I just, I understand that, but I was just saying, surely there has to be, they could have just called it.

Los Angeles detective. I dunno. Chinatown is just pointless.

Reegs: They do actually give the backstory to Chinatown. It was edited out, but you can know what happened to Jake if you, if you want to. Um,

Cris: ah, right.

Reegs: it adds anything to the story really, knowing what they thought was happening, you know, that backstory.

But

Sidey: yeah, they had wanted to do, um, Gatsby. But then they decided that, um. They couldn't improve on that story. So they came up with this original story, um, the Guy, Robert Town. Yeah. Um, and it, let's get outta the way it's directed by, um, a favorite Sodomizer. Um,

Cris: yeah, your friend of

mine Lanky.

Sidey: Polansky.

Yes. Stars in

Cris: Who makes an appearance in it, even I recognize him.

Reegs: Yeah. He does

Sidey: thought the least convincing sort of thug. Um,

Cris: Well, he's four foot three.

Sidey: Yeah. He's [00:05:00] not super intimidating. Don't think. Um, so

We have to separate the art from the, um, rapist, I Yeah. Uh, but any, so we've done that as out, think that's done.

Yeah. Um, and it says,

Reegs: widely regarded, even with that caveat about who, you know, directed is widely regarded as one of the best film noirs of all time.

Sidey: Yeah, it's absolutely Nori. Um, it's set in

Reegs: Yeah.

Sidey: It's, and it's got that Gatsby kind of, um, Charleston e Phil.

Reegs: It is got an amazing score by Jerry Goldsmith. It's all like moody trumpets at the beginning.

Sidey: Uh, I was thinking while I was watching it that this would've made a good. Companion piece, if we were doing that kind of, uh, pod week for like with LA Confidential, perhaps? Yeah, because, because the score, I think it sounds like a, we were talking off camera about Tron.

Yeah. The Nine Inch Nails sounds like a copy of the Daft Punk one. This seems to be like, and you know, all the noir films have that kind of. Vibe to it. [00:06:00] Yeah. But the other confidential wise is thinking, God, it sounds exactly like that in

Reegs: well, and it's down to a lot of stuff actually, like the art deco style credits and all sorts as well.

Sidey: So we're gonna be introduced to Jake Gi ez,

um, and I thought about three quarters of the way, if you're watching this, that that must be his name is repeated in the film. I, I

felt like if you did a supercar of people saying, Mr. Git is,

Reegs: it's Yeah,

Well, and two, two or three characters get it wrong on purpose. Like they mispronounce his name, you know,

Cris: The old boy is Git Call him. Calls him

Reegs: Yeah.

Sidey: First

of all, he's with Curly, isn't he?

Reegs: He's with Bert Young. Yeah. Uh, curly. Um, it's some Polaroids of some, a young couple canoodling in the park, isn't it?

And then curly, the distressed fishermen. Um, and I think, uh. This is, uh, Jake is, he sort of specializes, he's, he's a PI specializing in matrimonial work. Yeah. And he's super sharp dressed. He's got this cream suit on at the beginning.

Sidey: The tailoring in [00:07:00] this film.

Cris: Oh. It's cost. All the costumes, honestly, all the costumes, all the cars.

Sidey: He stays obviously handed these Polaroids over to Curly and he is distraught and he's like up against the window and he is like.

Don't eat the Venetians curly. I just had 'em put it. Yeah.

Reegs: And he offers him a stiff drink and he can't afford to pay him, I think. And he says something like, well, don't, you know, you'll owe me a favor or something.

wonder if that will come Um,

Cris: it's a recurring thing, right? Like any, it, it's, it's one of them that, any question he's got any thing, he lets off anything, it'll always come back in his favor. Anything he does, there's always a second.

Reegs: Yeah.

Sidey: I

think in his line of work, he's having to, you know, lean on people he needs favors, you know, all that sort of stuff.

Reegs: Well, but also in the story, I think what Chris is saying, it's, they call it a checkoffs gun where they write something in that it will come

Sidey: back

Cris: Yeah, yeah, yeah. Like he, he all the time there's something, but he always keeps it, he's always like, right.

Reegs: Feeding him some

Cris: know, even when he takes the cards from the guy's office, even when he does this, [00:08:00] there's not necessarily with something in mind, or maybe he has something in mind, but he's like, oh, this could be useful one one day or so.

This is one of the first ones, and then we, there'll be a few of them along the way in the

Reegs: Yeah. Um, so, uh, he sees off Curly and then a woman identifying, are we gonna do the whole pod in the dark or,

Sidey: it's moody. It's quite nice.

Cris: Yeah. I quite like this. This is good.

Reegs: All right. Okay. We're gonna keep her atmospheric. Um, so this woman turns up, she says that she's Evelyn Moray and she wants to hire. Uh, JJ

or Jake, um, to spy on her husband. He's having a fling.

Sidey: Yeah. Uh, and he does find him having, uh, an affair.

Reegs: Yeah. I mean, he first goes to see him.

He's this, uh, what is he? He's the chief engineer for the Los Angeles Department of Water and Power. And that job title is important. It plays into the plot.

Sidey: Did you massively judge him when he first saw him? Was thinking, there's no way that guy's having an

Reegs: Well, nerd, I thought, 'cause GI Getty's, uh, goes to the public.

Um.[00:09:00]

They're talking about building a new dam and he's like quite forthright and says, I won't do it. It's on shale. It's gonna

Sidey: there's been a previous fuck up.

Reegs: been a previous fuck up and I won't design it and I won't be a part of it. And he's like stood up for himself. And then a load of farmers turn up and sheep.

Sheep. Fucking

Cris: come into the court.

Sidey: Yeah. Because there is a drought that's also significant and the farmers are getting screwed over here.

Reegs: Yeah. So he goes and tails him afterwards. I think he goes down to this like, uh, dried out riverbed. That will become important later. Like you said, Chris. Lots and lots of times he'll see a Mexican

Sidey: Yeah.

Cris: horse. And the guy just chest to him, he writes something on the, on some map on, on the bonnet of his car.

Yeah. Uh, so there's a few things that where he kind of just the usual private investigator following this, subject, whatever it's called.

Reegs: He observes him, observes him, keeps observing him all the way until he gets him.

Finally, he's on a rooftop, isn't he? Uh, taking photos of him having, um, canoodling. Canoodling. Yeah. With his lady friend. And those pictures make the [00:10:00] papers, I

Sidey: but really quickly.

Reegs: Yeah.

Sidey: Um,

and then he is,

Cris: and then straight away Fa Dunaway

Sidey: Well, no, he has an interaction first with, um, with someone in the barbershop. Yes. Yeah. And, um, the guy sort of recognizes him and knows that he's in a kind of, he deems to be like a sleazy, kind of exploitative kind of line of work.

Reegs: I think that was the writer Robert Town

Sidey: Yeah. And, and, um.

Cris: Oh, the guy on the barber's

Reegs: chair. Yeah. The, when he is giving him

Cris: Right?

Sidey: Yeah. And jj, he goes back in and says, well, you, what do you do? And he's, oh, I, you know, mortgages and home loans. He's like, will you fucking, um, you know, take note. What do you call it, um, when you're defaulting your mortgage?

Cris: I dunno. I

Reegs: evicting

Sidey: effectively, he's saying, well, how many people, four, how many, how many houses have you foreclosed on this month? And he says, well, you know, that's part of the, and he is like, you know, I do an honest, I do honest work, you know, and I, I haven't, no one's homeless 'cause of me, blah, blah, blah.

Um, and then the barber tries to pate it by telling him this [00:11:00] joke, which we hear half

of.

Yeah.

And then he, he goes back to his office and bunch and he is like, and it's two cronies there. He starts relaying this joke. And the door opens behind him and it's fa dun away.

Reegs: And they're desperately trying

Sidey: and they're sort of like eyeballing her and like trying to give him the eye.

But he is just like too into this joke, which is super, super racist and sexist. He's really

Reegs: boardy as well. He is like, he's screwing her and screwing her and screwing her.

Sidey: And um, and then he tells the punchline. He is massively laughing to himself and he just looks around and is like, oops.

Reegs: Ooh. Yeah.

Sidey: And it turns out that this is Mo Ray's wife.

Reegs: This is Evelyn Moray. Yeah.

Sidey: wife. Sorry. Uh, this is the, the wife of Mr. Marray who's, um, he's been looking at and he's somehow been stitched up by someone else to plant this story.

Reegs: And she's just come down here to basically drop a lawsuit on him going, I dunno, you know how you've got involved in this, but you, you know, my lawyer's gonna be on the case. So now we know that the woman at the beginning was, was an [00:12:00] imposter.

And we've got this going on for Gettys as well. Um, so, uh, this is when he like puts it together in his head through bits of clues that he thinks Hollis the, uh, engineer guy is in danger. His life is in danger, doesn't he? So he starts to try to get that message through. He wants to go and see him, but that's when he is derailed by Escobar.

Who's the police? Uh, Lieutenant.

Cris: Yeah. Lou. Lou Escobar. Yeah.

Sidey: Well, he's, he's observed that water is being pumped out of the reservoir Yes. In a time of

Cris: by following Ellis

Sidey: that

something weird is going

Reegs: Yeah.

Sidey: Um, and then Moro turns up dead.

Reegs: Yeah.

Sidey: Um, which is quite significant

Reegs: with water in his lungs. He'd been drowned.

Sidey: Yeah. And he is been at the house and he is observed something in their pond. Um. Which seems kind of a little throwaway moment almost. Um,

Reegs: well, and also with the guy who's trying to tell him that the Chinese ground keeper bad for, he [00:13:00] misinterprets it as bad for glass, but he's trying to say bad for grass about the water, which we'll find out towards the end, Um,

Sidey: so there's, there's some big plot going on that he's been sort of put in the middle of

Reegs: Yeah. Sucked into, um, and it's a little bit about clearing his name. So he ends up, you know, he goes down to the morgue and finds out there was another guy who died, a drunk, who died on the same night. Also drowned, but apparently drowned in a place where he goes to visit later and there's like, just like no water

Cris: Well, that's what he says. He is like, how did he, uh, drown in a damn river bed? He's like,

Sidey: He's also, when he is been to the. Um, the offices of the Water and Power Department, whatever they're called. Yeah. Um, they've got like a hard goon there, which he sort of humiliates. Um, and he turns up later on at one of the, the site with Roman Polanski's, like nerdy little thug.

Yeah. And they slice his

Reegs: Yeah. About 45 minutes in. He gets a really vicious

Sidey: And I always think this is. [00:14:00] Quite cool. It's 'cause you've got, you know, Jack Knon, who's this super handsome, real known for being real ladies man. You know,

Reegs: and you're putting him

Sidey: and they just disfigure him and cover him, like cover his face up with a bandage for like half, more than half of the film.

Yeah. Um, you know, the leading man, they kind of like, can't think of the word for that either.

Reegs: Yeah, well they just disfigure him, don't they? Yeah, it's good. Um,

so

yeah, that happens when he finds out about all the water and all that, isn't he? He nearly gets drowned a couple of times that happens to Um.

So what

Cris: And then he gets all the clues, right?

He goes to the valley to finally the guy says, uh,

Reegs: well, he gets a call from Ida, who is the woman who was the imposter at the beginning, and she phones him up and says, look, I was put onto this, and I think she drops in it Hollis. Uh, underling, doesn't she?

She drops his name as well.

Cris: Mr. Under Underhill or Underworld or I dunno, whatever, something like

Reegs: The guy who's got his eye on [00:15:00] Hollis's job, he drop drops her and she says, oh, just look in the obituary column tomorrow. That'll give you the clues that you need. And so, you know, he sees the names in the obituary, tears him out, whatever.

Um, I can't remember exactly how he gets to it, but he goes to the hall of records, doesn't he?

Sidey: So he, he looks at the. It's to do with land ownership. Yeah. And deals that have gone through and people that are acquiring these land through these deals. And this is where the,

Reegs: remember how he makes the connection between those four names and this plot though, how

Sidey: how he

Cris: speaks in the car with, uh, Faye Dunaway. And he's like, they they repeat the name.

Yeah. And he's like, oh, this person is almost like John Van Dam, but it's like a, a three piece

Reegs: I remember it. Yeah.

Cris: and he, he's like, I know this name. And because he keeps all these little pieces of paper in his pocket and he takes it out, he's like, right. That's why. And then they make the connection with the old people's home.

Sidey: Yeah. And someone who owned land through these deals, [00:16:00] through checking the obituaries, had been dead Yeah. For a week. Prior to the deal being done,

Reegs: they'd purchased some land a week after they died, And he

Sidey: realized that

Reegs: of records. It is brilliant this bit. There's some nerdy guy with like massive zits

Sidey: Oh

Cris: he's, oh.

Reegs: And uh, he's like, oh, can I get a copy of this or can I check the book out? And he's like, it's one of these massive land registry things. Like, no, you can't. So he just goes like, he coughs, doesn't he?

Cris: And he just

Reegs: rips the whole page out. Uh, that's funny. Um, so yeah, he gets onto it and then he, they do go, him and Faye Donaway, they go to the, um, old people's home to kind of check out these other owners.

They're like looking in this ballroom full of fucking dribbling 90 year olds. Like these are the wealthiest landowners in, um, in this state. So, oh, and they have to con, they says to the guy, um, uh, are you letting any Jewish people in here? He is like, no, absolutely not. Thank God. I was like, check it. Yeah.

Yeah. Very good.

Sidey: So they, they're gonna fuck. [00:17:00] Because it turns out that she's bit of a player as well. She's been, um, having relations.

Reegs: Yeah. Well 'cause when it comes out about, we've sort of skipped over it 'cause it's a very dense movie, but it comes out with her being part of it as well with the police and all that.

She starts to downplay it and giddy questions are why Do you remember that bit where she's so nervous? Like she's smoking two cigarettes at once?

Cris: when they speak about her father, when

Reegs: they speak about her father. 'cause that all this stuff.

Sidey: Um, but they have sex. Um, and she takes a call, uh, I think in the morning after they've done the

Reegs: well, this is where they talk about Chinatown as well. It's the first time where he starts to talk about Chinatown and it's where the sort of bleakness of it all. Um, when she says, what did you do there? And he says, as little as possible. Um,

Sidey: Um, but she does, she takes a call and she's panicked by it.

She says, well, don't you know, don't go anywhere. Stay where you are. Yeah. Um, but she then has to try and downplay to him 'cause obviously like his mind's straight away from be like, what the fuck going on [00:18:00] there? Yeah. Um, and she goes, oh, sure enough, he's gonna follow her. He has to know. Um, and he sees her with this girl,

Reegs: Mm-hmm.

Sidey: lady, woman, young woman.

Cris: Well, the fling, no, the, her husband's fling.

Reegs: Yeah, it's the, the, the woman. Yeah.

Cris: That was, that's, and, and obviously he doesn't. Know what the deal is. The

The

young girl is really distraught. Yeah. She feeds her fa Dunaway, feeds her some pills.

Reegs: It looks like she's holding her

Sidey: Yeah, it does. Yeah. and

Reegs: is in on the plot to sort of make Hollis look, um, which is also her husband, um, and her father's business partner. Yeah. There's a

Sidey: It's a twisted web. Yeah. It's gonna get worse. Um, so he, um,

Reegs: he sees all this and he does confront her about it and she's like, oh, it's my sister, sister. Which he doesn't quite buy at first bit,

Cris: but he, he slaps her quite a few times. And then, like my sister knows, my daughter is, my sister is my daughter.

He keeps slapping her

Reegs: He does. It's

Sidey: [00:19:00] she, um, a. He was not doing it very convincingly. He so fa Dun said, you're just gonna have to fucking hit me. And so he does. He does.

Cris: fucking in, in, so he actually hits her.

Sidey: He does hit you.

Yeah. It's, it gives her like a real fucking hiding. Yeah. Um, and she just breaks down.

Um, should we just say what it is?

Reegs: Uh, yeah, yeah, yeah, of course.

Sidey: is her sister and also her daughter. Yeah,

because she,

Cris: yeah, she was raped by her dad.

Reegs: Not raped. This is where it's a bit weird because, and this is where it ties back to Polanski a little bit.

'cause he says, were you raped? And

Cris: doesn't really say anything.

Yeah,

Sidey: It's still rape.

Reegs: Yes.

Sidey: But it's fucking

Reegs: weird. But the way it's

Sidey: it's completely twisted. It's twisted.

Reegs: It's twisted,

Sidey: Yeah. Yeah. It's fucking grim. It is just awful. So it's an incestuous

Reegs: relationship. yeah.

Yeah. The producer child. Anyway.

Cris: And then she kind [00:20:00] of tells him, look, I went to Mexico, uh, away from my dad, and then the daughter was born there and Ellis came to look after me and looked after the girl.

And this is not all what it seems and whatever. And now I'm trying to take her away and leave this place and stay away. We go as far away as I can from my dad.

Reegs: Yeah. Who also, oh, well, have we tied together the whole scheme yet as

Sidey: He's behind the.

Reegs: he is, yeah. So he's been driving down, he's been, um, moving water out of the state, uh, away from these farmers that it was, uh, promised to. That's where he, um.

Yeah, followed earlier and, uh, driving the price down of the land, he's then gonna build a dam at the pub with the public purse, the thing that Hollis was objecting to at the beginning.

Yeah. And then the price of that water is gonna go right back up. Uh, price of that land's gonna go right back

Cris: again.

Yeah. And

Sidey: And Hollis had figured it out and that's why he'd been killed. Yeah. Yeah.

Reegs: Uh, 'cause Hollis's thing had always been, the water [00:21:00] belongs to the people. So he didn't wanna make, he was his business partner and didn't wanna make the money, wanted to give it back to the people.

Cris: Yeah.

Sidey: So Jake, um, says, well, look, you need to fuck off. I'll, I'll help you. Um, do a runner to Mexico Um, and says to meet him in Chinatown.

Reegs: Chinatown.

Sidey: Yeah. This is such a fucking barren ending. Yeah. Because when they get there, the police are there, they're met, they're met by the police. Yeah. And everyone Um, it

Cris: well, he gets, uh, currently involved again.

Reegs: Yeah, well 'cause Escobar is um Right. Giving him a load of grief. Like, you've gotta give up the girl. Now she's responsible for all of this. 'cause he's told her about, he's told him about her holding. The Hollis's girlfriend. So, and then when this story comes out, he's like, he can't give her up.

So he says, oh, I'll take you to her maid's. It's down in San Pedro, whatever. He's like, oh, well no, I'll go with you. And drives him down there. It's to Curly's [00:22:00] house. Yeah. Curly's wife opens the door.

Cris: a black

Reegs: a massive black eye, like, and uh, then curly like takes him and the rest of the gang on a little jaunt to sort of take them down to China down and sort it all out, isn't

Sidey: Yeah. But they don't sort it all

Reegs: no. So cross, uh, well, there's a confrontation

first crosses at, at, at the, at,

Cris: at the woman's house,

Reegs: at Faye Dunaway's

Cris: uh, where he shows him the specs that he found in the pool. Yeah. And

Reegs: And this is when the scheme comes

Sidey: And that's, that's where, um, Moray, um, had been killed.

Yeah. 'cause they, they think it's in the reservoir.

Reegs: but it, it was salt

Sidey: it was salt water and it that's the salt water pond they've got in the house. Yeah. So he figures that's where the murder happened. Um, yeah.

Reegs: Uh, so yeah, they do end up, down in Chinatown because that's where everybody finds

Cris: and that's where they kind of just have a massive confrontation in the middle of the street.

Reegs: Yeah.

Cris: Everyone, the police is there. [00:23:00] Jake Faye Dunaway, the dad, everyone, the, the young girl

Reegs: But the police just arrest Jake straight away, don't they? Because they've had enough of all this. Yeah, and they're trying to get her, but she just sort of pushes the girl into

Sidey: car. Yeah, she has a huge scream, grabs the girl, fleas in the car, but um, they just open fire and you see the car sort of slow and,

Reegs: yeah.

Sidey: Just

go to the side of the road.

Cris: you hear the,

Reegs: like you hear the horn. Yeah, yeah. It's not like a big Hollywood like shootout because the guns are like shitty and all that. So it's quite a lucky shot. Like, and the way it plays out is really slow and Yeah. Um, the, yeah, you hear the horn and then she's dead shot right through that floor in the eye.

they talked about,

Sidey: Yeah,

Reegs: earlier.

Um, and that's it. The girls screaming

Sidey: screaming of her. She died today.

Reegs: Did she really? The girl who played, um, Catherine.

Sidey: Uh, Diane Ladd. Alright. Yeah. I say she was, um,[00:24:00]

Laura Dunn's mother. uh, that's an aside. Yeah.

Reegs: John Houston's there as well. He is been shot, but he's sort of cradling his daughter,

sister

whatever, whatever.

The

Sidey: so

Reegs: daughter and granddaughter or whatever it is at the same

Sidey: Yeah. What is the relation?

Cris: Well, it is his daughter, but also his granddaughter, right?

Reegs: Mm-hmm.

Sidey: Yeah,

Reegs: I think that's weird. Yeah. Um, very. So, um, yeah, and that's how it ends. Like Jake is released by the police, uh, because they just want to hash everything over, let the big guys, you know, win, uh, that it

Sidey: I assume like he was gonna then end up with all the land. Like it

Reegs: the bad guy wins, man. They just walk off in, it is happened in Chinatown, so effectively nowhere, like, you know, it's only in front of all these Chinese people who cares basically. And that's how it, you know, forget it, Jake. It's Chinatown. They walk off lost in the, in the [00:25:00] crowd as they

Cris: because it's all the, yeah, it's all the China PE Chinese people. They just kind of, you can see they're all looking around to see the body or whatever, and then everyone else just kind of

Reegs: they can make whatever story up they want to. And the bad guy is so fucking bleak, like.

Sidey: Yeah.

it's grip.

Reegs: Yeah.

It's good though, isn't it?

Sidey: It's excellent. I don't, you know, there's a lot of plot. Um, so we probably, uh, probably,

Reegs: Oh, we've butchered it, but it's never, not interesting in the way that it's like constantly dropped in the way that you referenced Chris, where every bit of information, every little conversation is called back to or has something important within the plot. And it all clips along I think at a pretty good pace because there's a lot of stuff happening.

Sidey: the you know,

there's the roles of women in this is, you know, because it's a long time ago and even when he sort of. Effectively busts into the office. Yeah. And the secretary's right outside.

She doesn't go in to stop him. She has to go and get a bloke to come in because he has loads of time in that office to go through the [00:26:00] drawers. Yeah. To take business cards and, and, and look through blueprints and whatever. And he sees something written down. She could have just gone in at some point, said, get the fuck out.

Reegs: There's a great scene as well where she, he goes back later and the guy's hiding in his office. He's like, well, don't worry. I sometimes take lunch all day.

And he's like, just sitting out there and just start smoking whistling, like playing with the pictures. That's where he learns about cross though, of course. So it's important. um, yeah, I mean like really deeply unpleasant and all that, but it's a film noir and it's got

Sidey: yeah, it's very noir. I mean, it's super, no noir, great. Tailoring, super hats,

Reegs: the music, um, the way it looks.

Sidey: Yeah. It's, it's a super

Reegs: the incest

Sidey: Horny is anything, uh, I say this is a super, super strong recommend.

Reegs: Yeah, it would've won all the Oscars, but of course it was released the same year as Godfather part two. So it did win an Oscar for best screenplay.

Um, but Godfather Part two swept up.

Cris: Yeah. It's a shame that it was [00:27:00] directed by Polanski and, and out of all the, I have to say, out of all the people that, uh, the actors was really good, even the old people in the old people's hou house, everyone had a point in this.

Like even the, the Lady Ida, whatever the, the initial one that they, they find they're dead and there's all these, like all the, all these people have an important role and they come back at some point in the film and. The, the way, the way it's set with everything. There's a step and then there's another turn.

There's another turn. There's the farmers, then the kid on the horse, then the dam. Then it's, it's all connected, but it doesn't really seem connected at, at, at that time. There's a few, there's quite a few actors that afterwards, because obviously this is what, 75?

Reegs: 74 it was. Yeah.

Cris: it was 74. There's, there's so many actors that are.

Films that I've seen after, but when I see them, they're, oh so young. Or she's, so, it's just like, yeah, I was brilliant. I, [00:28:00] I really enjoy this.

Reegs: And John Houston's really good in this as

well.

Cris: he could have done another ending

Reegs: No, man. This is one of the great endings.

Cris: it's just so

Sidey: It's not a, it's not a mega happy ending,

Cris: and then it just stops. Yeah. Oh, it's, yeah. I mean, I get it.

Reegs: the mid score.

Cris: I get it. But yeah.

Sidey: strong,

Cris: Strong, recommend.