So Lloyd’s already got the methylene blue on hand, because it’s also a lab-sample dye. Nice.
It's used as such to this day! And it really is about the color and saturation of blue ink, which is what I assume is playing it in Decoy.
(Hey, is that a wedding ring? I don’t think he’s meant to be actually married to his nurse though they were clearly in a relationship till Margot came along, so I’m guessing the actor just forgot to take off his own ring and because this had a budget of $29.99 they didn’t reshoot or even likely notice.)
I also interpreted him as involved with, not married to, his nurse, and figured the ring belonged to the actor. Wendell Corey wore the same signet ring in every one of his screen roles and it was never even lampshaded by one of them.
That morgue attendant would love the phrase “die-rect hit.”
He probably would. I love his enthusiasm for "dichotomy. What a beautiful word." He doesn't even read out the definition!
Lloyd’s surreptitious use of the stethoscope adds to my handwave that he called Frankie’s death a little early.
The doctor also seems to give him a shot under cover of the sheet on the gurney, presumably a preliminary dose of methylene blue, but then all the telemetry cues him as so initially flatlined and unbreathing that I have difficulty interpreting him in something like a state of suspended animation as opposed to just plain dead. I like the bookending of his last sight of the gas chamber fuzzing out and his first view of Dr. Lloyd fuzzing in.
Wait are they just going to leave him there? Doesn’t that sort of negate the “getting rid of a loose end” advantage of killing him?
Yeah, I assumed from the way the scene ran to that point that the driver would be delivered to the crematorium in lieu of Frankie, but then there wouldn't have been any clue for Jojo to catch hold of. Boris Karloff would not have made this mistake.
Also, trying to figure out if the mustachioed guy who offed him was the creep from the bar earlier.
I believe them to be two different mustachioed creeps. It's just a bad scene for mustaches.
Good soundtrack for the revival scene, and look at Margot expertly strapping Frankie down and attaching the electrodes. Just what the hell is the part of here backstory that fits between a little mill-town in the north of England and the post-war here-and-now?
I unironically love the scoring of the reanimation, specifically that high, icy drone that switches on right before Dr. Lloyd starts the process. The other point in the score that really stood out for me is climatically in tandem with Margot. I don't know if people interweave words and music that way in film scores anymore: it's intensely theatrical and I really enjoy it.
Legitimately I have no idea of her deal, except that it seems completely unsurprising that she should have all of these skills, so long as they are in some way dangerous.
Somebody remembered Karloff as the Creature, trying to grasp the sun.
Oh, nice catch.
Actually that can’t-believe-I’m-alive acting is convincing enough I find it slightly painful to watch.
no subject
It's used as such to this day! And it really is about the color and saturation of blue ink, which is what I assume is playing it in Decoy.
(Hey, is that a wedding ring? I don’t think he’s meant to be actually married to his nurse though they were clearly in a relationship till Margot came along, so I’m guessing the actor just forgot to take off his own ring and because this had a budget of $29.99 they didn’t reshoot or even likely notice.)
I also interpreted him as involved with, not married to, his nurse, and figured the ring belonged to the actor. Wendell Corey wore the same signet ring in every one of his screen roles and it was never even lampshaded by one of them.
That morgue attendant would love the phrase “die-rect hit.”
He probably would. I love his enthusiasm for "dichotomy. What a beautiful word." He doesn't even read out the definition!
Lloyd’s surreptitious use of the stethoscope adds to my handwave that he called Frankie’s death a little early.
The doctor also seems to give him a shot under cover of the sheet on the gurney, presumably a preliminary dose of methylene blue, but then all the telemetry cues him as so initially flatlined and unbreathing that I have difficulty interpreting him in something like a state of suspended animation as opposed to just plain dead. I like the bookending of his last sight of the gas chamber fuzzing out and his first view of Dr. Lloyd fuzzing in.
Wait are they just going to leave him there? Doesn’t that sort of negate the “getting rid of a loose end” advantage of killing him?
Yeah, I assumed from the way the scene ran to that point that the driver would be delivered to the crematorium in lieu of Frankie, but then there wouldn't have been any clue for Jojo to catch hold of. Boris Karloff would not have made this mistake.
Also, trying to figure out if the mustachioed guy who offed him was the creep from the bar earlier.
I believe them to be two different mustachioed creeps. It's just a bad scene for mustaches.
Good soundtrack for the revival scene, and look at Margot expertly strapping Frankie down and attaching the electrodes. Just what the hell is the part of here backstory that fits between a little mill-town in the north of England and the post-war here-and-now?
I unironically love the scoring of the reanimation, specifically that high, icy drone that switches on right before Dr. Lloyd starts the process. The other point in the score that really stood out for me is climatically in tandem with Margot. I don't know if people interweave words and music that way in film scores anymore: it's intensely theatrical and I really enjoy it.
Legitimately I have no idea of her deal, except that it seems completely unsurprising that she should have all of these skills, so long as they are in some way dangerous.
Somebody remembered Karloff as the Creature, trying to grasp the sun.
Oh, nice catch.
Actually that can’t-believe-I’m-alive acting is convincing enough I find it slightly painful to watch.
Robert Armstrong is not phoning it in!