**This transcript was generated and may not be entirely accurate**

00;00;28;10 - 00;00;54;01
Harry-Scott Sullivan

00;00;54;03 - 00;01;01;22
Harry-Scott Sullivan
This is death by DVD. And you are listening to Harry Scott Sullivan, your host.

00;01;01;24 - 00;01;06;21
Linnea Quigley
I'm Linnea and I like Death By DVD. It’s a statement.

00;01;06;21 - 00;01;37;05
Harry-Scott Sullivan
And on this episode, you're going to feel the love, the cold, ooey gooey, slimy, maggot infested love. Because we are talking about NEKROMATIK two, the return of the loving dead or Die Rückkehr der Liebenden Toten on this fresh from the grave episode of death by DVD. Yeah, that sounded authentically German. Die Rückkehr der Liebenden Toten.

00;01;37;05 - 00;02;15;25
Harry-Scott Sullivan
I'm accenting it oh so very much. This movie is the sequel to the seminal, I'm going to call it seminal 1987 West German film NEKROMANTIK, written and directed by Jörg Buttgereit, Franz Rodenkirchen. Born in 1963, Berlin, West Germany, Jorg has consistently throughout his career always had an alternative outlook for what you could easily call horror movies, and I hope I'll get back to this point later on throughout the show.

00;02;16;00 - 00;02;42;13
Harry-Scott Sullivan
But in my mind, there is a debate whether or not NEKROMANTIK and NEKROMANTIK two are horror movies. Dirt ho to. Also Schramm, I think is very open and closed as a horror film. I think very much that necromantic 1987 is not a horror movie. NEKROMANTIK two don't really think this is a horror movie. It's got the aspects of it.

00;02;42;13 - 00;03;01;17
Harry-Scott Sullivan
It looks like a horror movie. It acts like a horror movie at times, somewhat a necromantic. You can definitely say acts like a horror movie, but NEKROMANTIK two, it's its own thing. And initially I was really, really excited to use death by DVD as a platform to talk about NEKRomantik to. And unfortunately, this has happened to me before.

00;03;01;19 - 00;03;20;10
Harry-Scott Sullivan
The more I've thought about it, the more I've conceptualized it. I have the biggest difficulty talking about movies that I really, really like that I really feel passionate about because it gets to a point where it's like, well, I like it. That's why I like it. That's it. That's the show, I like it. We could end right here and that's no fun.

00;03;20;16 - 00;03;49;22
Harry-Scott Sullivan
That's nothing. That's not a show and maybe a show to a lot of other people. But it's not a show here at death by DVD. I don't know why. It seems to be harder for me to deeply discuss movies. I fervently like, and it's not like movies that have gone into great detail on this program. I don't like it's the maximum attitude of how much I like it, I guess, which is a weird way to say things, but I really, really, really like necromantic two.

00;03;49;23 - 00;04;16;06
Harry-Scott Sullivan
Now I'm sure you can go back and hear me say the same thing about necromantic, but I like this one a lot more, and I don't think that one is better than the other, because without part one, you wouldn't have part two without part one. Part two. It's not that it wouldn't make sense. I don't feel you have to have seen the first movie to enjoy this, because the first movie is explained throughout this film, and mostly in the first few moments of this film.

00;04;16;12 - 00;04;43;09
Harry-Scott Sullivan
But it does help, and it does help, perhaps give you a deeper appreciation of the second movie, because the first movie, I think is a little bit more cruel. The first movie is darker, and despite being a love story, it's a sad love story. And this film arguably sure, it could be interpreted as a sad love story, but I don't.

00;04;43;11 - 00;05;02;22
Harry-Scott Sullivan
It's fucking crazy. Don't think it is. And if you've seen this movie, you know why? I think that's fucking crazy. If you haven't, well, spoilers are going to come. Let's get that out of the way. Now I'm just going to talk about the entirety of this film. I'm sure I'll bounce around from different places. I'm not going to start at the beginning and go all the way through the end.

00;05;02;27 - 00;05;50;19
Harry-Scott Sullivan
We're just going to talk about necromantic two heavy spoilers. If this is your introduction to this film, if this is your introduction to the work of your boot, great. He. What's the least I can say? It's abnormal comparative to even your most unusual horror films. If you are familiar with the work of Lucio Fuji or Dario Argento, Jody Yamato, Jess Franco, even John Carpenter, Wes Craven, there are a lot of unusual concepts in their films Wes Craven's The Hills Have Eyes, you've got these new killer cannibals living out in the desert, eating people, baby eating, dog eating, all sorts of rough territory, abstract, unusual concepts.

00;05;50;22 - 00;06;21;06
Harry-Scott Sullivan
Your work is is far off from even those territories. And of course, his his his most famous work is necromantic. It's about how eloquently to say it corpse fucking. There's a lot more to it than just corpse fucking. But predominantly that's the movie. That's what it's known for. It's in the fucking title. Necromantic. You gotta have some idea of what's going to happen with a movie called necromantic.

00;06;21;06 - 00;06;44;11
Harry-Scott Sullivan
Dared to to scheme, you could say, is entirely about suicide. But I done a whole episode on that film as well, and you can go back and listen to it. I have some alternative opinions on what it's about. They're thematically and all of your work is love. Love is the greatest substance for all of his work, and he's a very intricate, bizarre person.

00;06;44;11 - 00;07;17;02
Harry-Scott Sullivan
I don't mean that insultingly whatsoever. I'm a bizarre person myself. His way of showing love is just completely alternative, alternative filmmaking to what you are used to or what anyone really is used to. But I stand by all of my statements I've made before that necromantic is a love film, but this is like the ultimate love film. You could take all the scenes of violence, you could take the whole corpse thing out of the movie and recut it, and it would be such a quaint, artistic love movie.

00;07;17;07 - 00;07;42;27
Harry-Scott Sullivan
It would be so questionable, questionable, questionable. Oh, that's already starting this early into the episode. Questionable what the subtext of the movie would be without the necrophilia, but it still would stand on its own two feet. It would be, its entire own production. Even if you cut all of that out. That's how strong of a movie this is.

00;07;43;04 - 00;08;14;20
Harry-Scott Sullivan
Now, necromantic is 75 minutes. It's hour and 15 minutes. Necromantic two is 111 minutes, which is one hour and 51 minutes. We have maximized our time when it comes to this depiction of love, and in the first film there are a lot of wandering shots. There is a lot of artistic stuff. I mean, it's not like it's an influence, but it's very young people working on their first films and all that's very dreamlike.

00;08;14;24 - 00;08;35;25
Harry-Scott Sullivan
You could pull out of your ass some French director's name that it might have been influenced, as this movie is a little bit tighter, but it clearly can't be because it's so much more longer. It doesn't wander in these dreamlike and I hate this term. I know I used it on the previous episode, Fever Dream. It doesn't put you in a world like that.

00;08;35;29 - 00;08;59;18
Harry-Scott Sullivan
It's much more concise and it's much more straight to the point with what you are getting to see on screen. But man, some scenes run an excessive amount of time. But the argument that could be had for that is the excessive amount of time these scenes run really builds an anticipatory factor that kind of destroys you. It really pushes you because you're expecting.

00;08;59;26 - 00;09;25;24
Harry-Scott Sullivan
If you've seen the first film especially so much, and you're just waiting for it to happen and all of what you are expecting and more, it does show up in the movie. But that anticipatory factor pushing you with these ridiculously long running scenes, it keeps you itching, it keeps you hungering for it. And then when you see it is there's some extravagant stuff in this movie where at the beginning of the episode right now, those so a hold on to that.

00;09;25;24 - 00;09;58;00
Harry-Scott Sullivan
I will bite my tongue because I'm not expecting everybody to know. Necromantic necromantic to the work of your boot. Great. You could, I guess, easily say that this is an extreme film underground. I don't think you can get away with. Certainly once upon a time, this this could be considered an underground movie. I think when I first saw this film, it was probably considered an underground film, but you can get it on Blu ray and beautiful quality.

00;09;58;00 - 00;10;19;16
Harry-Scott Sullivan
I own the cult epics dual disc seven has necromantic one and necromantic two looks wonderful. Just just insane. The first film was shot on super eight and 16 millimeter. This was shot on 16 and then blown up to 35 to present at film festivals and whatnot, but it looks, I don't know, just a couple years later, so much of a deeper professional edge.

00;10;19;16 - 00;10;45;26
Harry-Scott Sullivan
And perhaps I'm using this term incorrectly because I don't mean it in the sense of the film style. I mean it more in the sense of the music genre. This film is a little bit more new wave. It's it's just got a vibrancy that wasn't available beforehand. There's a color palette. It's basic colors too, that exists throughout certain characters, whole worlds and things that represent the characters.

00;10;46;01 - 00;11;07;24
Harry-Scott Sullivan
And I want to say, now, before we go farther, this isn't that deep of a movie. Neither is necromantic. In fact, both of these films have something in common, and I think they're two to scheme. I daresay has something in common with them all. They don't ask anything of you. They don't make you sit down and think for hours.

00;11;07;24 - 00;11;37;27
Harry-Scott Sullivan
Well, what did that mean? What does this color correspond to? What interpretation of an ancient Greek tragedy? Am I being shown by the director? I don't feel any of that's really a part of the movie. You watch it and there's a simplicity to it. This love story in either film, in this case necromantic two, is shown to you from beginning to end, without any prejudice, without any interpretation of who's a good person or who is a bad person.

00;11;37;27 - 00;11;55;10
Harry-Scott Sullivan
There is absolutely no villain ization of who these people are. We are just interjected into their lives and we are watching this story, for better or for worse. And also just because I say it's a love story, just because I have the spin and this interpretation on the film doesn't mean that you have to have those feelings too.

00;11;55;10 - 00;12;14;29
Harry-Scott Sullivan
They're not invalid, they're not wrong. It's kind of the point of the whole fucking show. It's my opinion on the matter. You don't have to take it close to heart, but it might. And my hope, my goal is to make. If you've seen the film, a different thought process available for you, because not everybody enjoys stuff like this.

00;12;15;01 - 00;12;33;28
Harry-Scott Sullivan
And if you haven't seen the film to give you something to look at and a perspective to have as you watch it. But truly, when the credits roll at the end of the film, there is no long aghast moment of you putting your head in your hand and thinking, well, what is all this represent? It's given to you.

00;12;34;06 - 00;13;00;28
Harry-Scott Sullivan
It's given to you very cleanly, very articulately. I think there is a further articulation in this film than the first film, necromantic, that film. It's not that it appears to be or feel like a student film, but it seems like a student of film. It seems like somebody's really trying to get things to stick to the wall, just throwing them at the wall.

00;13;01;00 - 00;13;22;01
Harry-Scott Sullivan
Does this work? Will this work? It's very dreamlike. It almost seems to hesitate at times to really give you both barrels, to really shoot what the concept of the movie is at you. As to where this film has no stuttering, it has no hesitation. From the very beginning, you were introduced to the world of these people and it's sturdy.

00;13;22;01 - 00;13;45;12
Harry-Scott Sullivan
It really sticks to what I think the backbone, the ethos of of this movie, these movies, I guess I should say, because of the pair of them, mattered together. What it what it really is. And it's love. It's a love story. Nothing more, nothing less. Just a love story.

00;13;45;15 - 00;14;12;16
Harry-Scott Sullivan
So I won't do the whole plot and dive into absolutely every scene. But let's tell you what this movie is about. It's a pretty simple format for a story. Girl meets boy. Things don't work out. Girl meets another boy. She's enchanted by her previous love. It's all that she understands and knows about, and she tries her hardest to accept her new reality in what the new world is her new lover.

00;14;12;16 - 00;14;39;01
Harry-Scott Sullivan
She works so hard at achieving normalcy before, quote unquote, normalcy. We'll get more into that in a minute and realizes that her love is just so strong with the previous partner. It's a mortal. It's forever. It's death defying. It's a classical love story. It could be a Byron poem. Someone loves someone just so absolutely much, so deeply, so invigorating.

00;14;39;07 - 00;15;08;20
Harry-Scott Sullivan
Heavy. That they will do anything to be with them, to feel sensuality, to feel the connection with them. The catch is the person she loves. They're dead. And this is what I mean, that your mood great has a unusual method with his madness, with his storytelling. You could take a subject matter like this and you can make it very, very obscene.

00;15;08;20 - 00;15;32;10
Harry-Scott Sullivan
You could make it very, very racy. And I don't think he did. I don't think either of the films are particularly obscene. And I can certainly say, I don't think there's any violence for the sake of violence or any violence that indulges in violent fantasy or promoting a form of violence whatsoever. I've heard your boot great himself talk about violence.

00;15;32;10 - 00;15;55;20
Harry-Scott Sullivan
Being celebrated is like heat. There's a good one, Michael Mann. There's an incredible amount of violence, and it's so simplistic in that film. People get shot, they fall down, they're dead. There is no concept on them living. There's no concept on them being individual human beings that lived then possessed time that we all share that they weren't a force of energy.

00;15;55;20 - 00;16;24;17
Harry-Scott Sullivan
They just die. They just go away. Neither of the necromantic films do something like that. The first film, we get to see even how the corpse is procured, the person before they died, how it was brought forth into the apartment and becoming a part of this couple's love affair. Because of that first film, we have the wonderful setup for the very first scene of this movie, our lead characters introduced to us almost immediately Monica, played by Monica m.

00;16;24;17 - 00;17;01;20
Harry-Scott Sullivan
She finds the corpse of Robert Shymansky, played by Daktari. Laurens. James. Daktari. Lauren's our hero, let's say, from the first film who achieved his ultimate goal of love at the end of that film, and the first scenes of necromantic to show you the oh so wonderful climax of necromantic Come and Blood. Absolutely everywhere within the first 60s of this movie.

00;17;01;22 - 00;17;27;22
Harry-Scott Sullivan
And Monica digs up Rob's body and takes it home. And this is where, admittedly, there are some extravagantly long sequences that just run and run and run, and it gives you that art movie feeling. It does feel particularly European. There is a particular emptiness, and that's really because of how this movie was shot and the time that this movie was shot.

00;17;27;24 - 00;17;43;22
Harry-Scott Sullivan
The Berlin Wall had just come down and people were afraid of the cameras. George shot this mostly guerilla style. They had no permits from the German government whatsoever to do it, but people saw the cameras and were like, well, let's get the fuck out of the way. We don't want to be on the news. We don't know what's going on.

00;17;43;24 - 00;18;04;11
Harry-Scott Sullivan
And so much of the movie there is just a lack of people. The cast is very, very tight itself. You do have a sequence that takes place in a bar and there's like a patron, maybe two, and the bartender. So at the most G's, you have a scene that takes place in a movie theater, but much of the people in the movie theater, George Boot, great.

00;18;04;11 - 00;18;36;27
Harry-Scott Sullivan
The director himself is in that scene, I believe writer Franz Rodney is in that scene. Several crew members are in that scene. There aren't other people. It seems almost fantasy like in its emptiness. And you don't notice it. You don't. You don't pay attention to it. And I think maybe most people, I'm willing to say when they when they watch this film or when they hunt this film down, when people see it for the first time, it's because they're looking for something explicit and very shocking.

00;18;37;00 - 00;19;08;25
Harry-Scott Sullivan
It is a lurid movie. It's been banned all around the world. It's still banned in several places to this day. And you really want to see the audacious horror aspects of this movie. You don't look for anything else. You're just waiting the entire time to see something offensive, something violent. And because of that, I feel general audiences, mass audiences for this movie and have really missed out on the beauty of it because there are a lot of articulate shots in this movie.

00;19;08;25 - 00;19;30;01
Harry-Scott Sullivan
There's a lot of beautiful shots. In fact, when the film is beginning, it's just very lonely shots of the cemetery and the grave being dug up. You've got some really great shots of Monica m and we we see her, we take her in. There is no prejudice. Now, there's a stipulation, of course, because the movie begins with somebody digging up a dead body.

00;19;30;01 - 00;19;57;09
Harry-Scott Sullivan
So inherently, your thoughts are led to, well, that's wrong. That's desecration. Really. Both of the films begin the same way. Necromantic has a scene of desecration and death at the very beginning of the film. This begins with a desecration, but it's not death that's tied with it. It's love. It's pushing love forward even more from that first movie, because it's hard, and I admit to grasp whose love you're feeling.

00;19;57;09 - 00;20;28;01
Harry-Scott Sullivan
The representation. You have two different characters in that film, and both of them morally sure they're not doing the right thing, digging up corpses and collecting body parts and fucking them. We can collectively, I think, agree on that being wrong. Especially morally wrong, sure, but that's not the point. It's not the point of the movies whatsoever. Sure, it could be the shock value, but it's not the point.

00;20;28;04 - 00;20;52;08
Harry-Scott Sullivan
There is no elaborate backstory. There is no well, this is why Monica loved Rob so much. All you can assume is that there was something similar in their hearts. There's not an explicit scene telling you that the story of Robert Shymansky has been put all over the news, but there's a representation and an idea that this person didn't just die.

00;20;52;10 - 00;21;14;20
Harry-Scott Sullivan
The last time we see Rob is the end of necromantic, where he is stabbing himself in the stomach and coming at the same time with his gigantic fucking cock. And then the credits roll. But someone had to find the body. At some point, someone had to know that he died and as we see in that film, his apartment is littered with all sorts of body parts kept in jars with formaldehyde.

00;21;14;24 - 00;21;38;29
Harry-Scott Sullivan
He has a very extensive collection of death. So Monica, whoever she is, has followed the case, has fallen in love with the idea of this person. It's it's ships passing in the night. This lonely idea of love, infatuation. Really? You could even compare it now to these, like parasocial relationships people have with celebrities or Instagram models and things like that.

00;21;38;29 - 00;22;01;11
Harry-Scott Sullivan
You don't know the person, you know an idea of them. And you fallen in love with that. Ryan Gosling in Blade Runner 2049 with the whole simulation thing. You fall in love with an idea, but that idea can just capture your heart because it's all that you have. It's all that you know. Monica, we can assume, isn't living a normal life because of her.

00;22;01;13 - 00;22;22;25
Harry-Scott Sullivan
I daresay, fetishes, but I don't really think it's a fetish. We don't really explore, and there's no need to, though I think exploring would negate the point of who these people are. And that's what kind of makes things perfect, that you don't know who they are. You don't know who anyone is. You don't know who that person is that sits next to you at work, or the person that's on the bus, a seat away from you, the clerk, the cashier at the store.

00;22;22;26 - 00;22;47;25
Harry-Scott Sullivan
You don't know who anybody is at all. And even people that you really know, do you think that they share with you their deepest, darkest secrets? Probably not. Especially when they're as deep and as dark as what Monica's secrets are. Because necrophilia, there's no ifs, ands or buts. It's pretty fucking weird. It's. It's really fucking weird. Weird might not actually be the right word for it.

00;22;47;25 - 00;23;12;07
Harry-Scott Sullivan
It's not. Let's just say it's not fucking normal. But what is normal? See? Obscenity. Filth? Does it exist or is it in your head? There are things that morally yes or wrong, but are they obscene? And of course, the argument comes down to the morals of man and the land and all sorts of things of what makes things moral.

00;23;12;07 - 00;23;32;28
Harry-Scott Sullivan
But I've brought this up before. There's morality, there's laws, there's normalcy, but then there's love. I feel morality is something that is natural. Love, on the other hand, I don't think that's entirely natural. So the concept of love being introduced as the driving force for this film kind of throws morality out the window, because you have an unnatural force.

00;23;32;28 - 00;23;56;08
Harry-Scott Sullivan
Hate could be considered something that is a natural feeling. You could burn yourself and you hate that fire. You know that fire is painful. You know what that fire can do but love? There are so many more questions. There isn't any force. There isn't any one, two, three. There isn't any science behind love. Fire hurts. Fire does figures.

00;23;56;08 - 00;24;14;06
Harry-Scott Sullivan
Fire melts you away. You can hate that. You can hate with that forces. But love. How could you even really describe love? I mean, what are you going to say? Well, I love my wife. I have this feeling for her. Well, can you be more descriptive? What do you mean, a feeling? I have a feeling when I have to take a shit.

00;24;14;06 - 00;24;39;28
Harry-Scott Sullivan
What do you mean, a feeling? You can't. And I'm sure linguists and beautiful people. Shakespeare can break down. Love has broken down love. There are soliloquies out the ass describing what love feels like to very specific people, but fucking scientifically, what is it because of that question? Because of what is it you're allowed to? And I'm not saying this is a rule.

00;24;39;28 - 00;25;00;24
Harry-Scott Sullivan
This isn't some like, film school horseshit. This is just me. Because of that, you're allowed to really do whatever the fuck you want with your interpretation of love. Even if it's violent love, even if it's necro file love. And I'm not saying because of that, if you consider violence, love That I Spit on Your Grave is a romance movie.

00;25;00;27 - 00;25;32;27
Harry-Scott Sullivan
No, that's that's not at all the point I'm trying to make. And I would very much disagree with you, but with this question, with this almost anon amenity of what love is, necromantic and necromantic to go into just unknown territory, you can't pin down these people and even in the first film you don't know who they are. You get maybe a more clear cut idea of their lives than you do with the people in this film.

00;25;32;27 - 00;26;00;05
Harry-Scott Sullivan
Monica, we find out at one point, is a nurse, which is very disturbing, very, very disturbing. And we've not even gotten to the male lead yet who has a very, very interesting jump at the point that I am trying to make, I hope I made is because of this question mark, because of this lack of definition of love itself and possibly the unnatural ity.

00;26;00;07 - 00;26;25;21
Harry-Scott Sullivan
I don't know if that's a word of love itself. You're allowed to really drift. You're allowed to go into a head space to a whole realm that you may have never thought about before. You can easily become infatuated with people you've never met. You can fall in love with people that you have never met in person. So what's there to say that you can't fall in love with the dead?

00;26;25;23 - 00;26;50;03
Harry-Scott Sullivan
And that is the beginning of this movie. That is what happens. Monica is very much in love with somebody that is very, very, very dead. And then we get to meet our male lead, Mark, who's played by Mark Reeder, a very, very fascinating man. One of the most important people, I think, in in electronic music, which is a very weird right turn from talking about a corpse fucking movie.

00;26;50;03 - 00;27;29;05
Harry-Scott Sullivan
Now all of a sudden we're talking about electronic music. I heavily suggest you look up mark reader R e Dr.. Not only is he the lead in this film, but incredibly, incredibly important to not just the European electronic music scene and synth pop, but worldwide. He's a musician, record producer, very, very talented person, and I think I could probably take 30 minutes talking about all the awesome, cool things that he did with the new wave scene, the electronic music scene, dance music scene, his discovery and producing of other artists.

00;27;29;05 - 00;27;50;04
Harry-Scott Sullivan
This guy is the lead in the corpse fucking movie. We're segue and out of the Mark reader story. He also formed frantic Elevators. Lot of stuff. Wow. Mark Reader has a great deal of achievements in this film. He plays a pretty normal person who you can understand having problems with their love life. When you learn what they do for a living.

00;27;50;04 - 00;28;20;01
Harry-Scott Sullivan
He works in the porn industry. He's not a porn star. He records the dubs for porn movies, so he spends his days watching fuck films. And I can say personally, after a point in time of watching a great deal of exploitation cult weird, strange last horror movies, you not so much get desensitized, but it certainly is a form of decent deception, desensitization, desensitization, desensitizing.

00;28;20;03 - 00;28;50;05
Harry-Scott Sullivan
Oh, here we go again. Nothing shocks you anymore. Maybe I feel too much like Max Renn from Videodrome, but you're constantly pushing yourself to find something more audacious, something more offensive, something that pushes you into those nether realms and comfort zones that necromantic and necromantic to happen to be able to do. But you lose touch with what the average person might consider to be shocking and offensive, and that is where Mark is in his life.

00;28;50;12 - 00;29;24;04
Harry-Scott Sullivan
He's struggling to get by in a world of loneliness. Now you can really interpret necromantic two more than the first realm to be deeply political. And certainly it is. I don't digress into that, though, for one specific reason. This is very political to the film makers and the people of that time period. The Berlin Wall coming down, though it seems so long ago, drastically changed the lives of everyone involved in those immediate areas and the political nature of this film, it hasn't faded.

00;29;24;06 - 00;29;46;08
Harry-Scott Sullivan
But if it's not something immediate to you, especially with your knowledge of German politics and why that wall was put up, it doesn't seem like it has a point just as much as necromantic two is a romance love film, it is also a political film. But unlike something like Cannibal Holocaust, which I seemingly can't get through an episode without bringing it up.

00;29;46;08 - 00;30;03;23
Harry-Scott Sullivan
But I do think it is the ultimate political horror film, and the essence of that movie rides on the politics of that movie. This can be taken either way. You don't have to look too deep into it. And as I said previously, this movie doesn't ask anything of you. It does not ask you to look into the political aspects of the film, but they do certainly exist.

00;30;03;28 - 00;30;34;19
Harry-Scott Sullivan
They are they are relevant, they are relevant, and they are in the film. But it's kind of hard to get to those points if you aren't understanding of the political climate. And I can say personally, I don't know fucking shit about fuck about West German 1990s politics. I just know it's there. I think there is a great chance, if you do understand those politics that the movie drastically could change tone.

00;30;34;19 - 00;30;56;11
Harry-Scott Sullivan
But I think from even the very, very beginning of the movie, it's seeped more in romance than anything else. It's just a completely unusual aspect of romance. But saying that really, is it so unusual? Let's go all the way back to Billy Shakespeare, Romeo and Juliet. Two teenagers fall in love with each other, and they make the suicide pact.

00;30;56;17 - 00;31;17;05
Harry-Scott Sullivan
And that's writing throughout the entirety of the whole story. My parents hate your parents or families were never going to be able to be together. So let's just kill ourselves and then we can be forever in heaven. Romeo and Juliet. The names themselves have become synonymous with love. They have become attached to it. I love you just like Romeo Juliet.

00;31;17;08 - 00;31;52;10
Harry-Scott Sullivan
That's pretty extreme. That might almost be unhealthy. And certainly the love in this film is very much unhealthy because Monica loves the dead guy. Rob stabbed himself multiple times in the stomach, and he has been underground for, I think like 6 or 7 months. He's turned dark blue, he's gooey, he's rotting, he's maggot infested. James Daktari Laurence, who played Robert Shymansky in Necromantic, was asked to come back into play the body in this film and apparently he didn't care for necromantic very much.

00;31;52;10 - 00;32;16;26
Harry-Scott Sullivan
He didn't like the final product of the film, and he declined to do so. But he did have his body and his head cast to create the corpse for the film. And it's just as much as a character as the corpse was in the first film and the first film. You see this person and you get to see them living and who they are, and they die, and they become part of the relationship from that point forward once the body is found, of course.

00;32;17;01 - 00;32;37;08
Harry-Scott Sullivan
But now we're following through from the first film. We know Rob. We know who he is. In fact, this might be the greatest thing for someone like him, his character, consistently, the whole journey of Nick romantic is just reaching out to the unknown for some sort of love, some sort of satisfaction to to fit in, to be acknowledged, to be a shining star.

00;32;37;10 - 00;33;06;21
Harry-Scott Sullivan
Now he is coveted. He is the most beloved object that this person Monica has whatsoever. It is the complete and total idea of affection. And Monica digs up this body and she takes it home to her apartment. And it's a very beautiful sequence, disgusting and grotesque and vile all the same, where she commits her first act of sensuality with the body, she fucks this corpse and then immediately throws up.

00;33;06;23 - 00;33;31;02
Harry-Scott Sullivan
It's covered in goo. It's. It's just kind of passing. It's perfect. It's a wonderful body. It just looks so horrifying. It pushes you through this movie of the disgust of her riding and grinding her hips against this thick fucking mucus. That's just oozing out of the car. It's terrifying.

00;33;31;04 - 00;34;02;05
Harry-Scott Sullivan
But it's sensual and it's handled sensually. It's handled just like any love scene that you would see between any two famous actors. Leonardo DiCaprio fucking somebody. It's handled in that same unique sense. The dim lighting, the low music. You get to focus on the body parts and you see them moving against each other. There is a surreal sensuality in the representations of these scenes, because it's nothing more than just a love scene, just because it's a dead body.

00;34;02;11 - 00;34;37;02
Harry-Scott Sullivan
And I know it's hard to suspend your morals. It's hard to step away from what you acknowledge and know to be right and wrong. I'm not arguing what's right and wrong. I think fucking a corpse is wrong. I don't think it's morally right at all, and I don't think it's right in any aspect. But when you can push that out of your head and especially understand that you're watching a movie and just take in that art, there is a great sensuality to what I think over the first film, in this very first love scene.

00;34;37;04 - 00;34;58;21
Harry-Scott Sullivan
And I've always questioned what happens next. She's sick. She gets up and she throws up and I don't. I used to think that it was a moral compass kind of kicking in the self-disgust. I can't believe what I'm doing. I'm going to throw up. And now I just kind of think it's stank now. Now, I don't think there's anything that disrupts her thought process.

00;34;58;21 - 00;35;19;27
Harry-Scott Sullivan
I don't think Monica ever wants changes that she knows deep down inside what she feels is right, and she just had to vomit because of how disgusting it is. That's my interpretation of it. And I've seen this movie. She's on and off for the last 20 years or so a lot. I mean, this this was a very early you have to see this film.

00;35;19;27 - 00;35;52;09
Harry-Scott Sullivan
And I think for most people, necromantic and necromantic two are things when you want to find strange and unusual films, when you begin an exploitation journey. These are immediate movies like Luchino Forges The Beyond, Argento's Suspiria, Roger Watkins House on Dead End Street. They're movies that you have heard so much about from other people and read about, and they've been covered in Fangoria, Rue Morgue, Deep Read everything you really want to find these films and you tend to you might not have seen it, and that's fine.

00;35;52;11 - 00;36;14;00
Harry-Scott Sullivan
Find them early into that journey and you see them and you understand what's going on in the movie, but you have blinders on to really what's going on. It's an exploitation cult horror movie you can so easily say and dismiss it for being just that. It's something that's shocking. There's animal violence in the film. I should have said at the beginning of the show that there's some animal violence.

00;36;14;00 - 00;36;37;21
Harry-Scott Sullivan
You've got footage of a seal autopsy. It's a little unusual. It's not seals being clubbed and skinned. It's just an autopsy of a seal. And all of this is interjected and given to you like the violence from the first film to question. Make you rather question. Why are you watching this? Why are you watching a horror movie? Your boot greed feels because so many people hide behind the excuse.

00;36;37;21 - 00;36;59;17
Harry-Scott Sullivan
I like the effects. I like the special effects. They don't want to admit why they're watching a horror film. Movies that interject this violence. Cannibal Holocaust again, as an example. They really make you question, and they give a duality to the reasoning of what this movie is and who the audience is. It's almost a litmus test for the audience.

00;36;59;19 - 00;37;25;23
Harry-Scott Sullivan
Nobody wants to make it through that. You're going so fast forwards through the animal scenes. They're not a representation of who these people are, which is something of note to bring up Necromantic and Necromantic to York was a fairly young man when he was making these films. They're not masturbatory or fantasies of what he wants to do. You're not getting a representation of this is the director.

00;37;25;25 - 00;37;52;17
Harry-Scott Sullivan
This is who they are as a person. It's just an extension of I already referenced him earlier, but almost Byron esque love stories. There's an infinite sadness to both of these films, because all of the characters, they're lusting for something that they can never quite obtain. Mark readers character conveniently named Mark. He's a very lonely person. Everyone at the beginning of this movie is steeped in loneliness, and they're just looking for some form of comfort.

00;37;52;17 - 00;38;20;07
Harry-Scott Sullivan
And as we progress and move throughout the lengthy body of this movie, that's all we really get. Is these lonely hands reaching out in the shadows at the night, hoping that they can connect with one another. When Mark and Monica connect, there isn't an immediate passion, but they think there's compatibility and there's a wonderful scene. I think this is one of the most marking and telling scenes of the film, where they go to the fair and they're riding a Ferris wheel, and they're happy.

00;38;20;10 - 00;38;38;29
Harry-Scott Sullivan
Both of them seem genuinely happy with one another, and the commitment that they're making to one another, the moments that they're sharing with one another. All is right in the world. Things seem blissful and immediately following the sequence, Monica goes home and she's got this rotting body of Robert. She had a key in her house and she dismembered him.

00;38;38;29 - 00;39;04;10
Harry-Scott Sullivan
It's not because the body is rotting and it smells. It's because she is trying to attain and achieve some aspect of normalcy, a normality in her life that she formerly couldn't have. And with this body in the house she can't have. Mark seems great. Every time they have sex, he has to lie still and pretend he's dead. But aside from having a pulse, he seems fantastic.

00;39;04;10 - 00;39;25;28
Harry-Scott Sullivan
She's actually happy with. And we're allowed to see all those sequences at the fair and on the Ferris wheel. We experience their happiness. It feels like they're working together to give themselves a future. Things are a little scary for Mark. He's not used to this type of attention. He's not used to what you could say are Monica's fetishes.

00;39;25;28 - 00;39;48;28
Harry-Scott Sullivan
She likes to take strange bondage photos of him where he appears to be dead. I can understand why that might make somebody slightly uncomfortable. And all of this intimacy is shown to us. And she goes, and she dismembered the body and she can't get rid of everything. She keeps the penis and she keeps the head and you can make that funny joke on your own.

00;39;48;28 - 00;40;23;18
Harry-Scott Sullivan
She keeps both heads. There's a connection between love and death. Thought and coming. She keeps both of them. But essentially, from that point has washed your hands of this love. You adjust to this and it's it's it's sort of sentimental. Not sort of. It really is sentimental. It's a grotesque, terrifying scene of this woman cutting up this rotting, postulating body, dark blue, coagulated blood.

00;40;23;21 - 00;40;46;11
Harry-Scott Sullivan
And it's heartbreaking because you understand what she's doing. She is giving herself to Mark. She's committing herself up to this point. She's been cheating on Mark the entire time with Rob. Or I guess you could say she's been cheating on Rob with Mark, but seemingly it would appear that she has decided her future is with Mark and lets go of the past.

00;40;46;18 - 00;41;09;02
Harry-Scott Sullivan
In between all of this is a really great scene where Beatrice M yes, that's right, both leads from Necromantic and Necromantic to went with their last name, Beatrice Minsky. She had done Wings of Desire with them vendors. The year a couple of years maybe before doing necromantic. And she wanted to carry on and do other films and not get just known for doing necromantic.

00;41;09;02 - 00;41;35;16
Harry-Scott Sullivan
So she went by Beatrice M and when they went to make necromantic two, there's actually a funny story of how you augment Monica m. He asked her to use the last initial to have some similarities. They were all actually at a triple feature. I believe it was a Lucio Fulci triple feature at a German theater. The production team, your good great friends Rod and Curtain and Company, and they saw this woman.

00;41;35;16 - 00;41;50;26
Harry-Scott Sullivan
They were looking to cast the lead in the movie. Jorg thought she was perfect. And about halfway through the second movie, I think I may be wrong. I think it was House by the cemetery. She got up and decided to leave and York followed her out, ran after her and said, I just got to be in a movie.

00;41;51;02 - 00;42;12;19
Harry-Scott Sullivan
Like the biggest cliche on the planet. Believe it or not, that's how Monica landed the job for this film. And now back to the whole reason why I told the story. Beatrice M she appears as Betty, Rob's girlfriend from the first film. That leaves him looking for his body. And here you've got this stellar roller coaster of emotion.

00;42;12;21 - 00;42;34;20
Harry-Scott Sullivan
You've got Monica deciding that she's going to get rid of Rob's body and that she's committing herself to Mark. And then this emptiness, his body is completely gone. She's cutting it up. And now Betty, played by Beatrice M, has come back to retrieve the infinite for her. The reason she left Rob in the first movie is that he couldn't continue pleasing her anymore.

00;42;34;22 - 00;42;58;10
Harry-Scott Sullivan
It's almost like the Hemingway book The Sun Also Rises throughout that whole story. You've got the lead character who was injured in World War One, and he can't have sex anymore, and he falls in love with somebody whose intimacy is completely through having sex. They can't commit and fall in love with the quote unquote hero of the film because they can't fulfill their needs.

00;42;58;10 - 00;43;18;09
Harry-Scott Sullivan
And that book ends so sadly, with the characters sitting on the bench talking to the woman, saying, isn't it so pretty to think so? Is wouldn't it be great if I could just get a raging hard fucking cock and spurt creamy goo all over you? It's fucking a filthy ending. It sounds so beautiful. These two people thinking about the love life they can have.

00;43;18;09 - 00;43;42;10
Harry-Scott Sullivan
But it comes down to the point that this motherfucker can't get his cock hard. That's it. That's the book, Rob. He can't procure the dead anymore. He gets fired from his job. We don't need to go into the whole dissection of the first film because there's an episode available about that already. So now in Death, Rob can fulfill all of these things for Betty, and it's just a momentary scene in the movie.

00;43;42;10 - 00;44;09;05
Harry-Scott Sullivan
Maybe a minute 50s at that might even be shorter of Betty coming to the grave, throwing the shovel in. And it's in just disgust and angst and hate and such woe, because you understand the concept of that first film and you feel the concept of that first film, and it's just it's disturbing and disgusting and heartbreaking. I mean, just the idea of the desecration.

00;44;09;10 - 00;44;44;07
Harry-Scott Sullivan
But for these people, for these characters, what it's so much really be desecration or would it be the infinite happiness? Now, for the first time in his entire life, Rob has two people that love him. Unfortunately, they just couldn't love him while he was alive. There's a duality. There's the disgust that constantly sits on your shoulder while you are watching either of these films, and it's yelling at you that you should morally be objective to what you're watching, and you just gotta turn that stupid goddamn voice off and you need to watch it from the middle of the road.

00;44;44;07 - 00;45;03;29
Harry-Scott Sullivan
You have to take this film truly, from the idea that it's a love story, and then it becomes so hurtful and so woeful when you when you think about this character that really isn't present in the movie, Rob's just a dead body, but all the things he wanted, all of his hopes and all of his dreams, just this thing that everybody wants.

00;45;03;29 - 00;45;25;25
Harry-Scott Sullivan
Everybody in this world wants to be loved. They want to be accepted. You want to be accepted. I want to be accepted. I want to be loved. You want to be loved. It's just universal. And he only achieves it in death. Something that I think looms over everyone's head. Am I good enough? Am I? Am I going to be loved or am I going to die alone yet alone?

00;45;25;27 - 00;45;57;19
Harry-Scott Sullivan
Am I going to die alone and then be fucked by a bunch of people afterward? The concept of the first movies skyrockets after you see the second movie, and when you focus on what is happening, what's going on with these characters yet alone? The film at hand. Necromantic two return of the Loving Dead. We're at a point in the movie where you think you are led to believe that Monica and Marc are going to go off into the sunset and things are all going to be okay.

00;45;57;21 - 00;46;24;13
Harry-Scott Sullivan
Mark has this crazy dream. Of course. Of course, you had to have a fucking dream sequence. You have a music sequence in this movie too. You do get, it almost feels like a parody of art. So, like, the first film has a lot of artsy fartsy feeling and artsy fartsy scenes that really drag out. And despite there being a great length and dragging out of scenes in this movie, when you do get the artsy fartsy sequences, they're almost parodies of what you would expect from an art movie of the music sequence.

00;46;24;13 - 00;46;53;17
Harry-Scott Sullivan
And you've got this baffling dream where Marc's head is just laying in a field and Monica steps on it. It looks like some deep seated art room, and it would have some extravagant, deep meaning to things. But frankly, in my opinion, the dream sequence and the musical interlude are simply to stretch the time of this film. I don't know if, but Great and Company were attempting to get a full two hour production underway.

00;46;53;17 - 00;47;19;26
Harry-Scott Sullivan
They got fucking really close. I don't know why there was a push to make the movie so long. It doesn't seem to me to feel like a nearly two hour long movie, despite so much wandering and so many shots just lingering and not going anywhere. It doesn't. It doesn't feel like a burden. It definitely doesn't impose upon itself whatsoever.

00;47;19;28 - 00;47;43;20
Harry-Scott Sullivan
Each time we do get a new sequence, each time we do linger with a new sequence. I think there's something telling in all of it. For example, there is a sequence where Monica has a date with Marc, and prior to that, she's doing like a film club. I believe it's all the actresses that had tried out for Monica and didn't get the role or in the scene might be wrong with that.

00;47;43;20 - 00;48;04;14
Harry-Scott Sullivan
And this is the seal scene. There were no animals harmed for the making of this movie. It was acquired footage, apparently in the late 90s early 80s, there was a massive rash of a disease that was killing hundreds and hundreds of seals at a time. And your loot crate acquired some footage of an autopsy of one of these seals, its place into the film.

00;48;04;14 - 00;48;22;23
Harry-Scott Sullivan
It is extremely long. It's like ten minutes, and there's no explanation for this scene. I've always had a fascination with it and who these people are. I feel you could do a whole movie about this, this group of people that they're watching a movie. But when Monica comes out, she's already dismembered Rob's corpse and she just puts the head on the table.

00;48;22;28 - 00;48;46;14
Harry-Scott Sullivan
So in one thought, Rob's watching the movie with them because she cares about him. Because she loves Rob, she loves the idea of who he was and has respect for that. And it sounds insane, but he is now a character. He's watching the movie. No one questions this. It's a rotting postulating. It's now become dark, black and rotted.

00;48;46;16 - 00;49;14;28
Harry-Scott Sullivan
It's just a head sitting on the table. Everyone's having coffee, smoking cigarets and they watch this footage of the seal autopsy. Nobody bats an eyelash. Everyone seems very entertained by it. And then Mark shows up for the date. He's dressed wonderfully. He's so excited to be there. He's brought a porno. I think the idea is it's one he's dubbed for her to see when she has everyone leave, and invites Marc to watch the film with her to where he's disgusted.

00;49;15;01 - 00;49;38;05
Harry-Scott Sullivan
He's just absolutely shocked by what's going on in this film. He can't watch it, he doesn't want to watch animal violence, and he doesn't understand why she's entertained by this at all. And this is very pivotal because this is the deciding point. This is the scene that turns everything you've seen on its head. And it's very simplistic. It seems like something, normal because she goes, okay, whatever.

00;49;38;08 - 00;49;57;27
Harry-Scott Sullivan
There's no anger, there is no yelling. This is a love story, and there is no place for the overwhelming emotion you usually get. There's lots of yelling, there's lots of drama. People can't love each other because they're from different type clients. It all goes back to Romeo and Juliet. We can't love each other because of our parents, because of who our families are.

00;49;57;27 - 00;50;28;00
Harry-Scott Sullivan
We have to die. We can only love each other in death. And interestingly enough, the movie begins with a quote about something in that kind of facet. Ted Bundy I want to be a master of life and death, though it's not Ted Bundy. I love that the opening of this movie, it says Theodore Robert Bundy. It gives some sort of a steamed and of course, that's his real name, but it just gives this esteem to it, like Dostoyevsky.

00;50;28;00 - 00;51;01;09
Harry-Scott Sullivan
Oh, Theodore Robert Bundy, I understand Ernest Hemingway, not a guy that killed about 200 women by bludgeoning their heads in and then fucking their dead bodies. But Theodore, Robert Bundy, the learned attorney, was even attorney. Did he actually passed the bar? I don't know, I digress, who gives a fuck? Clearly. Obviously there's a difference between life and death, but to be a master of them both, what would that mean?

00;51;01;11 - 00;51;25;27
Harry-Scott Sullivan
What does that mean? I think from that opening scene giving you that idea, the following movie, everything that we've seen up to this point is a mixture of a mastership of life and death. And that's what Monica is struggling with. It's not so much maybe her fascination with death or dying. She's not suicidal. It's a little love of the dead now.

00;51;25;28 - 00;51;46;14
Harry-Scott Sullivan
Was she in Necro file beforehand? Is she got a mental disorder and obsesses with the dead? Who knows? Who cares? All we know is that she has fallen so deeply, head over heels in love with this person, Robert Shymansky, who is very, very much dead. That's it. That's her motivation. And we're at a scene that is very simplistic.

00;51;46;16 - 00;52;16;25
Harry-Scott Sullivan
Mark doesn't want to watch a movie, just doesn't like it. Fine. Fair seal autopsy. I gotta say, I personally wouldn't be very happy with it either, but that's just because I've seen that one before. But, but for Monica, this is something crucial because she realizes at this point that Mark isn't her eternal love. She has found somebody that she felt was her equal, a little different, somebody that could understand her, somebody that could accept her.

00;52;16;28 - 00;52;40;19
Harry-Scott Sullivan
That's, of course, what Robert Shymansky felt that he had found with Betty in the first film. These two lost souls that have met in the shadows and can equally share their love of the dead together. But unfortunately, Rob's love was death itself. Now dead and loving it. He's just a head and a penis, and that's all that Monica can see.

00;52;40;22 - 00;53;13;15
Harry-Scott Sullivan
That's every time she looks at Mark. The visage that appears upon his face is Robert's festering, rotted, decapitated head. And then the two commence the beautiful art of lovemaking. And it's just triumphant. The following scene spoilers. Oh, man. It's it's maybe one of the best decapitations out there. You had to see it coming. Coming? You had to, though.

00;53;13;17 - 00;53;41;15
Harry-Scott Sullivan
Monica takes off Mark's head, cuts it right the fuck off. Just slap chop. Cut. Yow! There it goes. Blood is everywhere. Her apartment, this beautiful yellow painted, bright lit place covered in blood. And she places Rob's head right where his used to be. And then zip ties the still erect penis of Mark and rides it into the sunset.

00;53;41;17 - 00;53;44;16
Harry-Scott Sullivan
Oh, I'm.

00;53;44;18 - 00;54;07;29
Speaker 1
I'm I'm I'm, 000.

00;54;08;01 - 00;54;12;14
Speaker 1
Oh yeah 000

00;54;12;16 - 00;54;35;05
Harry-Scott Sullivan
Oh. And all of this is fucking terrible. I mean, what I'm describing to you is just psychotic. This sounds like absolute horror. You could even say pornography, but I just don't agree with that at all. I really feel, and I'm not, like, trying to push this movie. I don't know your mood. Great. I don't know fucking anybody involved in this movie.

00;54;35;05 - 00;55;00;02
Harry-Scott Sullivan
I just enjoy it. I have spent years watching this movie and coming up with different concepts and different thoughts on it, and I'm sharing all of that more with you. There's no pushing it. I think in these final moments of the film, this blood soaked eroticism is a strange comfort, a unity where this person has finally accepted Monica, who she is and what she is.

00;55;00;02 - 00;55;24;29
Harry-Scott Sullivan
She has no shame anymore. She has transformed from the first time we saw her. Her doubts are now washed away, dripping with blood. Now, of course, none of this is good or positive for Mark, but there is no condemnation. We're not looking at any of these characters in a judgmental manner, and it's beautiful in all of your films, he manages to really portray and show people without any form of judgment.

00;55;25;06 - 00;55;47;27
Harry-Scott Sullivan
It's just what you're seeing. It's just this weird, dark, looney adventure and love. I was thinking about it and I thought it was kind of remarkable, and I'm a fan of the person I'm about to talk about. And I don't mean anything negative. And it might be the way I say it that comes off a little negative. I don't mean it that way at all.

00;55;48;03 - 00;56;17;24
Harry-Scott Sullivan
Lucky Mickey, great, wonderful artist. I love everything that this person has done. Their big first movie May. When you think about it, it's just necromantic two. It's almost the same movie, this outsider that is looking for somebody, and as soon as they've met somebody that presents themself a certain way comes through this arc of love and rides, these high highs and these low lows, just to find out that the person isn't how they really represented themselves.

00;56;18;01 - 00;56;42;17
Harry-Scott Sullivan
Now. Is Mark a faker? Is he faking anything? I don't think so. I don't think any time in necromantic to mark fakes who he is. He has an unusual job. He's into some unusual things, but he never wants lies about himself. He's just out there reaching for someone. Someone that he can connect with. And he happens to meet Monica, who is doing the same thing, and lucky McKee's.

00;56;42;17 - 00;57;08;13
Harry-Scott Sullivan
May you have somebody that is faking that is pretending to be much more esoteric and out there than they really are, but essentially the movies are the same, and I really think that May is almost a lesser, cheaper version of this now. I think the budget for May was much higher than what you have with necromantic two, and this isn't a debate on who's a better director.

00;57;08;13 - 00;57;26;21
Harry-Scott Sullivan
I think they're both incredibly talented people, but I think when when you look at May, when you look at the entire strategy and the construction of that movie, it's the same fucking thing. It's the exact same movie. And I may be wrong, but I'm pretty sure your put great is not thanked or credited for anything in that film.

00;57;26;24 - 00;57;51;11
Harry-Scott Sullivan
And it's kind of amazing because it's a very lauded film. Horror fans love it, I like it, it's great. It's a really good movie. So don't get things twisted with my statement here. I fucking like lucky. I like Angela Bassett, so like everything about it, but it's nothing different. It's nothing new. It it for some reason is what it is, being so edgy and so different.

00;57;51;12 - 00;58;14;21
Harry-Scott Sullivan
This is a type of love story you've never seen before, but fucking shit. Oh fucking shit. Because in 1991 we saw it with necromantic and I guess this is where some insult can be laid. I think necromantic a better film. I think there is a loneliness that is so wonderfully captured by this film, and a lot of it comes down to the score.

00;58;14;24 - 00;58;41;24
Harry-Scott Sullivan
I already talked to you fine folks in the graveyard about Mark reader, but a lot of the score comes from him. You've got the haunting piano theme from the first movie that reappears, and it's driven just so much more fluently. I think it's so much more of a successful display of this love story than the first film. I love necromantic, I really think it is a pivotal film.

00;58;41;29 - 00;59;09;28
Harry-Scott Sullivan
I think it's a bizarre, I don't want to say art film, and sure, I mean, you can and it's not swaying. The fact that York, but Great and company are artists, because I do think that was a big thought in it. I think just it's a simple love story. Both of them, they're masked with such audacious balls, the things that are represented and shown to you on screen.

00;59;09;28 - 00;59;36;28
Harry-Scott Sullivan
It takes a lot of balls and a lot of audacity to get this presentable for an audience to come up with these ideas and shove them in their face and almost insult them with stuff. But even like the musical sequence and stuff, it's almost joking. It's almost a parody of what you're expecting out of one of these long winded German art films, even parody of things like Fassbinder Rainer Werner Fassbinder films.

00;59;36;28 - 01;00;04;15
Harry-Scott Sullivan
At its core, of course, it's an exploitation film, but it's almost exploiting art films. It's exploiting romance films, all the while giving you the exact same stereotypical things that you receive. With an average romance film and I think it's terrific. I really think highly of it. I love let's just say I love necromantic too. It's just, it's not a different movie.

01;00;04;17 - 01;00;20;10
Harry-Scott Sullivan
It's so different from what you you are force fed. You have these forms in these shapes that you have to fit when you are trying to get a production off the ground. This is what a love story is. This is what a horror movie is. This is what a slasher movie is. This is what an action movie is.

01;00;20;17 - 01;00;46;27
Harry-Scott Sullivan
And all of these rules and laws are completely disobeyed and pushed aside when it comes to necromantic and necromantic to much more. With necromantic two, I think it really pushes the boundaries because the film masquerades itself as something that it isn't, and it does it several times. You keep getting these interludes in these scenes that make you think you're watching something else, and then it all comes back down to the hand we were dealt at the very beginning of the film.

01;00;46;29 - 01;01;10;17
Harry-Scott Sullivan
And you can never forget that first scene, somebody digging up a body for their own pleasure. As we traverse the galaxy of what this movie is, it's very easy to forget that first scene. And like I said at the beginning of this episode, you could cut out all of the scenes of violence. You could cut out her digging up the body at the beginning of the film, and it would be a very quaint love story.

01;01;10;22 - 01;01;36;05
Harry-Scott Sullivan
It would be so interesting. The characters themselves and the representations of them are interesting people. And you like Mark, you like Monica. Despite seeing at the beginning of the film that Monica is a necro file, there's no prejudice, there's no opinion. It's just this blank world that you are interjected into. And of course, you can make any form of opinion that you want to.

01;01;36;05 - 01;02;03;08
Harry-Scott Sullivan
You can find it disgusting, horrible. You can find Monica's actions to be the most morally bankrupt and wrong things you've ever seen in your life. And that's all fair. It's all fair, and none of it's really wrong. But at the end of the movie, it's still a love story. There's almost, a happiness that you feel for Monica, that she has finally achieved something most people don't achieve.

01;02;03;08 - 01;02;30;18
Harry-Scott Sullivan
True, absolute, unadulterated, compassionate love no matter what. She loves Robert with no regard to anything else. She doesn't care about his past. She doesn't care about his future. He's a rotting, fucking severed head. She loves him so unconditionally. It does not bother her that he is just a severed head. But of course, that's not the final scene of the movie.

01;02;30;18 - 01;03;02;17
Harry-Scott Sullivan
She doesn't just ride this headless body while it spurts blood into the sunset. Oh no. No, there's, But, bump. Sad trombone moment. A real piece of humor at the end of the movie where we find Monica going to the hospital and we find out she's pregnant. Mama mia. I mean, it's a real nut buster pun intended at the end of this film, and then it just goes straight to fucking black, straight to the credits, straight to a fucking skull.

01;03;02;17 - 01;03;24;03
Harry-Scott Sullivan
We just see the credits playing and yellow with a skull and bam! That's it. What a way to fuck with the audience. And it's tremendous. It's just so it's so twisted with the ending. Do you need anything more? Your imagination should be able to do it for you and just go running wildly through fields of rot and disgust.

01;03;24;09 - 01;03;46;05
Harry-Scott Sullivan
The end of the movie leaves so much to your imagination. It's perfect. But again, it doesn't ask anything of you. It doesn't impose upon itself. It doesn't force you to sit and dwell in the subject matter. You can take it as an exploitation film. You can take it as a horror film. You can watch it simply as a movie, just for the shock value.

01;03;46;07 - 01;04;06;15
Harry-Scott Sullivan
You could comparatively something like, a Serbian Film. You could just watch it for the sake of its shock. You don't have to like it for political subtext, which A Serbian Film is a deeply political film just as well as necromantic do is, but you can enjoy it from either side of the fence. You don't have to acknowledge the love story whatsoever.

01;04;06;15 - 01;04;26;01
Harry-Scott Sullivan
You can watch a movie just because you want to watch someone's head getting cut off, and that's fine. But you do have to ask yourself and your boots, right? Ask this to why do you like horror movies? Don't just tell me it's because of the special effects. Don't just say that. That's not why you like horror movies. You don't have to feel shame.

01;04;26;03 - 01;04;48;22
Harry-Scott Sullivan
You don't have to feel like you're being attacked. But there is something in the morbid nature of death and love and life that attracts people. Now, you could just like watching Jason movies because you think he's really neat, but at the same time, that motherfucker's slashing people's heads off left and right. There's something about love. There's something about death.

01;04;48;29 - 01;05;08;24
Harry-Scott Sullivan
It brings all of us in. You can sit and watch bridges over Madison County or even Saltburn. All of these movies or romance films and all of them have different facets and levels of romance films. But at the top, the ultimate movie gone with the motherfucking wind. There's one for you. There's some romance. There's a lot of romance in that.

01;05;08;29 - 01;05;43;03
Harry-Scott Sullivan
When Harry met Sally, Pretty Woman, Dirty Dancing, Eternal Sunshine of the Spotless Mind, Titanic, The Notebook, Brokeback Mountain, Romeo and Motherfucking Juliet, The Shape of Water, Blue Lagoon, Breakfast at Tiffany's, An Affair to Remember, Bringing a Baby, All These and more. Necromantic, I dare say, offers a much more sensual and, yes, depraved look into the ideas of what love has to offer.

01;05;43;08 - 01;06;10;07
Harry-Scott Sullivan
I mean, how often can you truly say unconditional love is represented so perfectly in a film? Because you can't have an argument against that? Monika loves Rob so completely and unconditionally. There is no better representation on film because there's just no other movie that shows someone committing to love as much as Monika does. Is it positive? I don't know, I don't think so.

01;06;10;07 - 01;06;31;14
Harry-Scott Sullivan
Is it negative? I don't know, I don't think so. Is it violence for the sake of violence? Absolutely, and certainly not. There is no fun depiction of violence in this film. There is nothing pleasing about the depiction of violence in this film. Everything we see is graphic and grotesque for a reason, and that is the representation of wrong and right.

01;06;31;14 - 01;07;08;06
Harry-Scott Sullivan
And all of these moralistic things that you yourself can come up with on your viewing experience of. Necromantic The Return of the Loving Dead, 1991 Germany. Directed by Your Boot Grade, co-written by York Boot Crate and Fran's Rotten Kitchen a love story. And that brings us to the end of this episode. My whole goal here, of course, always the goal with Death by DVD is to introduce you to movies you may have not seen before, or movies you might have been afraid to see.

01;07;08;08 - 01;07;28;16
Harry-Scott Sullivan
Of course, if you've already seen this film, I do hope that it gives you a different perspective. If you hate this movie, if you don't like the work of your boot grad, I do recommend watching it again. Maybe some of the things I said might turn you on to some different ideas and prospects. I really think highly of your boot grade.

01;07;28;16 - 01;07;50;01
Harry-Scott Sullivan
I have a deep appreciation for him as an artist, despite the fact that I may not always see his name correctly. I love his thought process, I love his perspective on things, and his work constantly intrigues me. I wish so much that in the modern era, the now that we are living in, that he was able to make more films.

01;07;50;03 - 01;08;15;11
Harry-Scott Sullivan
And of course, making films is very, very hard and has progressively gotten harder and harder as the years have gone on since this movie came out in 1991. I love everything that York does, but so deeply wish that we could not a sequel, a sequel would be fine. I wouldn't complain, but something new, something deep from the mind of this maestro and I do consider your boot.

01;08;15;11 - 01;08;37;11
Harry-Scott Sullivan
Create a master of horror. We have the list, of course, of the masters of horror that are known to all, from Mick Garris and the show Masters of Horror. But you've got to move forward. You've got to be progressive. There are so many more than exist in this world. And the art that your boot great has given us, bestowed on to us, I think is irreplaceable.

01;08;37;11 - 01;08;59;26
Harry-Scott Sullivan
I think he has found his home permanently in the annals of horror history, as one of the most successful artists when it comes to portraying something different, something new. You even have the energy of somebody like Dario Argento. You look at a film like Suspiria and how shocking and how different and how gorgeous that movie is. You look at your work.

01;09;00;03 - 01;09;26;02
Harry-Scott Sullivan
There is so much beauty to be found inside of it. Though most of these films were shot on super eight and 16 millimeter, they still exude a deep beauty and I have a very deep appreciation for them. You don't have to, but I do hope you enjoyed hearing this episode about my appreciation of your boot. Great work and this episode about necromantic to Return of the Loving Dead.

01;09;26;05 - 01;09;58;11
Harry-Scott Sullivan
Such a great tagline. But that's it. The show is over, the Astra is full and the bottle is empty. Be sure to check out our website you don't have by dvd.com where episodes are always available. First, you can support death by DVD on Patreon for as low as $4 a month. Over 50 audio and video episodes available. Absolutely nowhere else, with much more coming soon and all our original shows and segments you won't be able to find anywhere else all on Patreon.

01;09;58;11 - 01;10;21;29
Harry-Scott Sullivan
And if that wasn't exciting enough, did you know there is now officially a YouTube for death by DVD? That's right, we've got episodes of the show with exciting new videos available for you, as well as an all new originals show from death by DVD, death by DVDs, Trailer Park, where we bring you the best and exploitation cult weird, strange.

01;10;21;29 - 01;10;45;13
Harry-Scott Sullivan
Lost. Rare, terrifying films, each episode with a new theme. So now you never have to say, I don't know what to watch because all you have to do is join us in the graveyard and check out Death by DVDs Trailer Park. It's fun, fun, fun for everyone. And now that the salesman pitch is out of the way, that's it.

01;10;45;13 - 01;10;59;12
Harry-Scott Sullivan
This is the end of the episode once more. Thank you so much for joining me. Thank you for listening. Thank you for supporting death by DVD. Until next time. Pleasant. Tomorrow's.

01;10;59;14 - 01;11;20;23
Linnea Quigley
Death by DVD is recorded in front of a dead studio audience.

01;11;20;25 - 01;11;45;09
Speaker 1
Portions of today's programing have been mechanically reproduced.

01;11;45;12 - 01;12;15;27
Linnea Quigley
Death by the radio. Broadcast from Old Town blue Crystal sunshine around Anytown, USA, with transmitters on top. The Empire State Building.

01;12;15;29 - 01;12;30;15
Speaker 1
The management and the staff wish you a pleasant good night and good morning.

01;12;30;17 - 01;12;49;16
Speaker 1
Girls.

01;12;49;18 - 01;12;53;14
Speaker 1
You.

01;12;53;17 - 01;13;04;27
Unknown
More than me. Turn.

01;13;04;29 - 01;13;10;21
Unknown
Your.

01;13;10;23 - 01;13;12;07
Unknown
Blue.