Welcome to 2026 with Blood and Black Rum Podcast! This year we’re starting out with what would be considered a precursor to the giallo genre, with the overlooked A Hyena in the Safe. This Italian production melds Agatha Christie with some tropes of Italian murder mysteries to create a unique blend with… Bond influences? We talk about this and more, thanks to Celluloid Dreams’ new US Blu-ray release.
We’re drinking Southern Tier Brewing Company’s Irish Coffee Cream Ale this time around!
Approximate timeline
0:00-10:00 Intro
10:00-17:00 Beer talk
17:00-end A Hyena in the Safe
Hit that play button above to listen in.
Transcript – A Hyena in the Safe (auto-generated)
Click to expand full transcript
0:12
No, no, no, it’s too peppy.
I told you there are multiple murders in this game.
Why is it so peppy?
Fine, whatever can it.
1:01
None.
Hey guys, welcome back to the Blood and Black Rum Podcast.
I’m Ryan from coldexploitation.com and I’m joined with my Co host Mark.
How’s it going?
Well, I should say happy 2026 is the last time I didn’t know it’s something it’s it’s already been a year and what, 2 weeks.
1:25
So, but yeah, we the last time we, we left, we did our New Year’s episode, which dropped on New Year’s Eve just before New Year’s Day.
So we haven’t technically had an episode in 2026 yet.
So happy 2026.
1:42
We’re here doing another Year of Blood and Black Chrome podcast.
Probably not much is going to change, you know, yeah, we’re, we’re, we’re, we’re deep into 350 something episodes.
So probably not much is going to change.
1:58
And we have got a pretty good, pretty good routine that we do and I’m going to stick with it.
You know, yeah, it’s going to be year 12 for us.
It’s true.
They should put us on like when you think of like the Mount Rushmore podcast, right?
2:18
You got, you know, Marc Maron, who just, you know, yeah, finally called, finally called it quits.
You have, you know, I don’t know Rogan, I guess Rogan and then do you have like probably some I would put like Dan Carlin on there, you know, nice long.
2:46
I’ll be honest with you, a lot of people are like hardcore George Carlin fans tuning in, but you know, he got or Dan George Carlin, Dan Carlin, but you know.
If you besmirched a good name of George Carlin on the spot, I fight and then sure, and then us, you know, we’re right up there.
3:05
Yeah, yeah, we, we’ve been there for for quite a while.
So, you know, 12 years is something.
But yeah, like I said, I don’t think we’re going to change all that much.
But you know, today we are covering a movie that, you know, again, we weren’t really doing any sort of themes or anything.
3:20
So it was kind of up in the air open to what we wanted to do.
And, you know, I thought it would would be kind of interesting to get back to some of the the Jello films of the, you know, what we initially started this podcast for was to do, you know, Jello films and, you know, spaghetti westerns and all kinds of other sort of like Italian and, you know, those types of cult films.
3:46
And we don’t, we haven’t done actually that many of them in the past.
So the one that I picked today is actually it was kind of worked out serendipitously for me because I did, I just reviewed it for closeplitation.com.
And so I thought it would be, you know, fit in with that.
4:03
But then also I thought it would be nice to cover this because it is right in our wheelhouse and it’s something that is not really well known.
So there’s probably not that many podcasts that have done episodes on this film.
4:19
I would venture to guess, you know, maybe I could think of one or two that have that may have covered this in the past.
But another reason that it’s not really that well known is because it has never really had a wide release in America.
It’s probably been around, if you are very, very hardcore into like the bootleg industry, you might have seen it around and you might have gotten like a poorly subtitled version of it.
4:46
But it is certainly never been widely released in America, and it also was never dubbed in English.
So very unlikely that you would have seen a quality version of this, which you could even understand.
5:03
Even if you were to have seen it.
It might have been hard to come by in an actual, you know, translated version of the film.
So it all is a perfect opportunity for Blown by Crumb podcast to kind of venture out and do something strange and weird and cultish like this.
5:22
And do want to thank Cellulite dreams as well, which is a fairly new Blu-ray boutique Blu-ray company putting out mostly, UH, DS4KS and, you know, sometimes venturing into Blu-ray territory as well.
They’ve recently started and they have been very, very much engrossed in the Jello film.
5:42
Their first 4K was a jello film, their second 4K was a jello film, and then their third, which is this Blu-ray version of the movie, is also what you would call a proto jello or one that was sort of predating the general consensus of 1.
6:00
The jello proliferated in Italy and in a as a film genre.
And then not only that, this technically would not be considered a yellow at all because it’s not based on a novel.
It’s not based on an Italian yellow book story because this is a a a authentic story written for film.
6:23
So all that to say, recovering a hyena in the safe today from 1968, we’re also known as in its original Italian una ayina in casaforte, which literally translates to a hyena and safe.
6:40
So you know.
One good thing about this film never being really brought over and distributed means we don’t have a billion stupid silly titles like, you know, One key cigarette goes again, you know?
6:56
No, Yeah, that’s true.
I mean, it’s, it’s really. 55 Europeans and a woman.
You’re, you’re right.
That’s it.
There’s no other.
There’s really no other.
I think there is.
Maybe there’s it looks like there’s a Greece Greek title as well that includes Amsterdam in it, which would be a reference to the Bank of Amsterdam that’s in the film.
7:18
But you’re right, there’s no other titles for it.
It was always known as Ahina and the safe.
It’s never really been like popularized.
And that means that it never got of alternative titles.
And it really had a fairly limited release, I think as well, both in Italy.
7:37
And then, you know, obviously, as I said, it didn’t really get any sort of release in America.
So no dubbing, No, no nothing.
So yeah, I I suppose I should start by saying you’ve never heard of hyena in the safe, right?
God no.
And I’ll be honest with you, I had never heard of it either.
7:55
It’s something that I think, you know, again, people that go into the blue boutique Blu-ray, you know, area, they are looking for these types of titles that have maybe been missed or just discovered and and uncovered based on like did we find the negative somewhere like hidden away in somebody’s attic and, you know, somebody had it and they’re like, yeah, do you guys want to buy this this shallow that no one knows about because we’ve we’ve got it available.
8:25
So it’s actually pretty cool.
You know, restoration for film is really cool and everyday these companies are discovering for good and bad, you know, lost film that we just really have never seen before.
8:41
And I think a hyena and the safe is one of those.
I mean, obviously people had seen it in Italy, but you know, it’s been what like 60 years since the film released almost and it’s never really been talked about.
So I think it’s pretty cool to get a release.
8:59
And and I guess we should start by saying that, like I said, this is a proto jello.
So it’s, it’s not in the Jello spectrum primarily because it was at the very start, very, very start of the Jello craze.
9:15
For one thing, the jello generally started around the, I mean, if you count some of Mario Baba’s more gothic films then around the 6th, like late 60s.
But in general, what we consider the Jello film today, specifically leather, you know, black leather bound gloved killers and, you know, flashy killings and potentially, you know, beautiful but grizzly cinematography, things like that killer and like a rain slicker.
9:53
Those tropes didn’t really come about until the 70s.
You just you just described urban legend.
Urban legend.
And I know what you did last summer right there.
These are.
Slickers.
Yeah, those tropes never really came around till the 70s and you know, more popularized by Argento.
10:12
And you know, we did 1 of Argento’s earlier works too on this not too long ago.
But this one is definitely at the very beginning of what you would consider Jello.
And as I said, doesn’t really fit any of the main tropes of the jello besides the fact that it is Italian and it has murderers in it.
10:37
And it’s a kind of a mystery of of whodunit and why done it and all that.
So I think you know, from that, we’ll kind of leave it for the introduction.
We’ll, we’ll, we’ll go into the rest of the movie as we we get into the proper part of this episode of the podcast.
10:55
But first, let’s take a break and talk about the beer that we have on the show today.
It was my turn and I, it was, you know, I think we’ve talked about this here and there, but it is getting very difficult now.
11:12
You know, again, like I said, we’ve, we’re over 350 episodes and that means approximately 350 different beers.
You know, we’ve obviously we’ve repeated a couple and we’ve done, you know, some other things, but we’ve done, I would say a good 300 different beers on the show.
11:30
And, you know, at over a time it gets really hard to find different things.
And I, I will say that I’ve just gotten kind of bored with seeing some of the main stuff that’s coming out, at least in our area that’s available for distribution.
But one thing that I noticed when I went to the Beer Store today is this new beer from Southern Tier Brewing Company.
11:54
Also known as the forgotten part of New York.
That’s right.
You know, and, you know, we’ve had Southern Tier on here a couple times and we, they’re, they’re OK.
I, you know, they’re not my favorite brewery by any means, but I think that they, you know, do a fairly good job with some of their beers.
12:10
I was interested in this one because it is sort of their spring lineup or at least getting ready for like Saint Patrick’s Day.
So this probably would have been a little bit better suited for like our leprechaun upcoming like leprechaun ish type podcast episode, whatever we’re doing for Saint Patrick’s Day, but.
12:28
Not Leprechaun I.
Think we’ve pretty much come to the end of those, but this one is their and I believe it’s new.
I don’t think they’ve been out before.
It’s their Irish Coffee Cream Ale and it’s oh, it has OK.
12:45
It’s not on their website but I see in yeah a local Instagram like beer place post like, you know, favorite seasonals come back.
I’ve never seen it before.
So that’s what it stood out to me.
It stood out to me for that and because you cream ale specifically, because you’re a big fan of cream ale and I know that.
13:06
And so I thought it would be an interesting beer to do.
I’ll let you go first.
What do you think about the Irish Coffee Cream Ale from Southern Tier?
So if you’ve ever had a Southern Tier beer which is based out of the Southern Tier of New York, try to blank on where.
13:28
It says brewed in Lakewood, NY.
OK, so, but I mean, if you know, we’ve done quite a few of their beers on the podcast because we get them quite frequently.
They’ve been around for quite a while.
They’re big claimed fame is doing very alcoholic beakers, big ABV beers with also big like like combos of like flavors like a Twix style imperial stout or a cane sugar cookie in golden ale imperial that we did like couple Christmases ago.
14:01
And so they like though we always kind of in like the beers like they’re fine enough.
They’re not anything that we ever really gravitate to because usually when they have these mash ups of like these, like either sugary type of styles mixed with the style, it’s usually 2 on the nose and artificial tasting and they kind of just makes the beer awkward.
14:36
Yeah.
Now here you would think Irish coffee cool, an Irish coffee cell could be great.
Well, the fact it’s a fucking cream ale really makes it weird.
Now I I get it because it’s like Irish coffee.
You have to have Irish cream.
14:51
So you know, cream ale.
But a cream ale, if you never had one, is like a mix between a Logger and Bond ale.
It’s got, you know, a higher ABV, more breadiness to it, but also crisp sugariness of an ale.
15:12
So here having this really big prominent in your face, over the top Irish coffee flavor, take you right in the balls and be right up front and then with a free male body and Christmas to the end.
15:32
It’s not bad, but it’s just really off putting it weird.
Like it doesn’t make sense.
And I think if you were, again, to do that, you have to find a better balance between the idea that you have in the beer style.
And here, like we’ve said before, with any other Southern Tier that we’ve ever done, they don’t ever quite find the balance because it’s too on the nose, too prominent.
15:59
It overshadows the style of beer to the point where, OK, like, is this drinkable?
Yes.
If you’re a huge fan of Irish coffee, I’d say give it a try, you know?
But like, be warned, it just slaps you right in the nuts.
Like, it’s just bam, right there.
16:16
And then you got the cream ale and you’re kind of like, now what?
Yeah.
Like if this is like a dessert beer, like on Saint Patty’s Day, you just got done with your corned beef and hash and you know, sure.
But like on its own, I guess a thing like no, it’s just too off putting.
16:39
Yeah, I would agree.
It definitely took me by surprise when I tried it.
First off, I didn’t really expect it to have such a very strong like vanilla Y sort of coffee flavour to it.
What I think really I noticed prominently and I don’t quite care for it, is this very artificial vanilla Y type flavour going on in it.
17:05
I think it has the same sort of impact that hit me when I when we tried that other beer, the Great Lakes Cookie Stout.
If you remember that one which had.
No, no, that was that was Southern Tier.
Was it Southern Tier?
Yeah, the sugar cookie.
No, not the not the sugar cookie one, the Great Lakes.
17:24
It was like a cookie grab bag or something like that.
Whereas a cookie milk stout, it has a very similar vibe to it.
But I will agree too.
Yeah, the sugar cookie one from Southern Tier is a very similar example of this very artificial vanilla Y flavour that’s trying to be like the cream flavour of like an Irish coffee.
17:48
I don’t know, it doesn’t sit quite well with me and I don’t really care for that like overly artificial sweetness taste to it.
So I think that’s what’s really off putting to me about this Irish coffee.
I think it’s OK, it’s drinkable.
I definitely don’t see myself wanting to have like multiples of these at a time because it’s very it’s got a very particular flavor to it.
18:11
And while I think that it’s creamy and drinkable, I don’t know, I just, I think that overall sweetness is really not doing it for me.
So it’s OK.
I definitely wouldn’t get it again.
If this is like a seasonal for them, I probably wouldn’t care to, to get this one again.
18:29
And I do feel like, as you said, it’s pretty, it’s kind of a strange style overall to combine this Irish coffee flavour with like a, you know, the, the cream ale consistency.
And I understand what they’re going for.
It just didn’t really work for me, I feel like.
18:45
But if you look online, at least on untapped, it actually has a pretty, pretty fairly high rating, almost 444 out of five.
So what do we know?
I don’t know.
What do I know?
I just said yeah.
19:03
The only thing I would say is it’s it does taste very artificially to me.
So, you know, if you’re not one of those fans of like add really adjunct the beers that have like artificial flavouring added, I would steer clear of this one because it’s not, it’s not like the vanilla is like a very, you know, a realistic or, you know, vanilla bean type flavour.
19:25
It’s it’s definitely more artificial.
So it’s OK.
I wouldn’t get it again.
All right, let’s talk a hyena in the safe.
So First things first, let’s talk about the fact that this film has no one in it from 1968.
19:44
Even, you know, as I as I said, there’s really none of the actors in this movie are notable.
They either didn’t do anything else in some cases or they had maybe one or two roles.
20:00
Many of them.
I think the the one of the main women in this film, she was a model.
Really the only person that may be recognizable is Christina Guyoni.
And if you watch the film and the credits at the end, the psychedelic credits that they put in, they give her like special thanks.
20:19
Because it’s like, thank you for being in this film.
You’re really the only one anybody might know.
So.
So we’re going to give you special thanks for this one.
But yeah, it, it’s not like, you know, like normally with Jello films, you might see a few notable names that you’ve recognized from other Jello films.
20:40
You know, in Italy it was kind of a small production area.
So it would be very, very common for production companies to reuse or try to contract with actors for like 3 or 4 movies, and that is not the case for this one.
21:00
The director, Cesar Cannavari, not really super well known.
He did have a couple of films under his belt, specifically Italian movies that he did in the 60s and early 70s.
21:16
Probably the one that he is most well known for, and whether that is a good thing or a bad thing is the Gestapo’s Last Orgy, which is a Nazi exploitation film.
That was it.
Are we going to do that one of these days?
21:31
Yeah, we’ll have to do one of those.
I have.
I don’t have the Gestapo’s last orgy, but I do have s s Experiment Love camp, so we could do that one.
But yeah, that’s that.
We have not really have dived into the Nazi exploitation genre.
21:48
And again, very strange, but probably proliferating from the not so distant past of Nazism and fascism in Italy is, you know, it was a thing.
So that is another besides the high end and the safe.
22:06
Cesar Canavari, known for that one and that’s pretty much it.
The other stuff he did not probably not super well recognized except for maybe Metallo, which was another sort of almost, it was a spaghetti western style film, very similar to something like Django.
22:25
So that’s about it though.
And we’ve never done any of those movies.
So again, no connections on Blood Bike Rump podcast.
So let’s start out with the no.
No Franco Nero to be found.
No, that’s true.
That’s true.
Let’s start out with the plot of this movie.
22:42
I’ve talked a lot.
You can go ahead and describe the plot.
So basically the story is a lupon the third, like Mission Impossible get smart style, you know, clue whodunit mystery.
23:10
And I think one of the things I I you know, when you came to me and you asked me to do the film when you say probably not going to like it’s not really jelloey or whatever.
I appreciate that.
I appreciate that there’s no Jack off running around with just black gloves and a razor whispering into a phone the entire time and every film needs to have that.
23:32
But it’s a it’s a nice it’s a nice enough like whodunnit mystery and set up the idea of these people.
They just got done doing a bank robbery, Bank of Amsterdam.
They stole a bunch of jewels and the jewels were hidden away in a safe.
23:51
And because there’s six people who were in on this plot in that safe to get the safe open, they each have a key.
They all have to have the keys to open the safe, and one of the members is missing their key, the plot ensues.
24:08
It’s kind of stupid in some parts too, because again, like, you lost your key.
How are you trying to fuck us?
And it’s like, why would him losing the key fuck you with, you know, doesn’t doesn’t make any sense, but it’s a it’s fun enough.
24:24
And I like the fact that they’re all like, you know, different, you know, you know, they’re not all Italian.
You got the pissy German Klaus who looks like fucking Ric Flair with his hair.
You know, he just needs to go do a few struts and drunken cameos.
You know you got the Englishman with a limp and a cane, poor Spaniard Juan who has the meat sweats like nobody else and pounding cigars.
24:54
Yeah, I love, I love the fact that he just like has a they’ve they’ve been there for like a couple days throughout this movie and he just has an unlimited supply, like a suitcase.
He just brought a suitcase full of cigars.
Just like, you know what, I’m going to be here for a while.
I’ll come prepared.
Frigging also too.
25:13
What the hell?
The Frenchman, the opening, he’s got a, you know, nice heroin addicts.
Yeah.
Albion, you know, And I love the fact that one of the ladies, like, you know, she’s from Algeria, she’s from Tanzania, you know, because they’re like mixing it up, you know?
25:32
Yeah, yeah, it’s, it’s, you know, and again, I had mentioned this in my review, I mentioned it to you.
I definitely feel like there is a very the director Cannavari, who Co wrote this with screenwriter Alberto Pena.
25:50
I do feel like there was a lot of influence from Agatha Christie in this, you know, not just for the fact that this is a very similar set up to and then there were none or 10 little Indians or whatever you want to call it.
The the other very inappropriate name for that book as well.
26:07
I.
Think you mean Hagatha Caulfield.
Right.
Yeah.
Arnold’s short man’s from hang Arnold’s favorite author that’s.
Right.
Hagatha Caulfield.
I I think that like this movie is very much inspired by that because again, Agatha Christie would often bring these very disparate backgrounded people into one very intimate location, such as in a high end, a safe where they are all brought into this one massive villa.
26:40
Let’s not be, you know, stingy with how we describe this villa.
It’s absolutely ridiculous.
It actually became apparently it has become like a park in Italy, and various pieces of it have been portioned out to areas like it’s a parts of its college.
Parts of its.
College.
Why is like this beautiful villa?
26:57
I have this wonderful pool covered in a bio Dome.
Yeah, it’s like AI guess is it maybe it’s supposed to be like because it’s heated, because it looks like it’s giving off like steam and it’s like in the Italian it’s still.
Like you’re like.
27:12
I know, I know.
Yeah, it’s.
It’s very, it just looks so tacky and like something that like the set late 60s and 70s would create like, you know what, you got a nice pool there.
You need a giant fucking like the, the, the glass for that Biodome is like the glass you would see in the 90s in the bathroom.
27:29
It’s like you can kind of see who’s peeing back there, but you know.
It is very much like that.
Or it’s like, it’s almost like they took like a bunch of like just plastic wrap and just all over it.
Just like, yeah, we’ll keep the steam and don’t worry about it.
27:47
There’s a little plastic wrap here and there, yes, But this villa is absolutely ginormous.
It’s crazy.
Like, the film gets a lot of mileage out of just being at this villa, for one thing, because.
You know the whole film’s there.
What did you say?
28:04
The whole film’s there.
Well, yeah, the whole film is there, but also like just cinematography wise, there’s a lot of mileage is being able to be like, yeah, we’ll just get a top down shot of the the garden and we’ll just get a you know, and and it’s all very nicely symmetrical and, you know, it’s it’s great.
28:21
So like, again, this film did not have to, you know, budget wise, it did not have to have a huge budget because I believe they’ve just let them film there.
And so they were like, quite look at it, look at this is it’s like, you know, the set is done, the design is all all there for us.
28:38
So you know, this very, very elaborate art Deco design we have thanks to shooting at this villa.
So really it was very simple.
They get all these people together at the villa and you know, just shoot it basically in various rooms and and settings on the villa.
28:58
It’s great.
And but my point being that it’s very Christy like to bring these people into an intimate location from varying backgrounds.
And as you said, it’s also very sort of like this 60 style of espionage type thriller thing going on of like you don’t know who you can trust partially because you don’t even culturally share relevance to each other.
29:26
You know, you don’t.
Who trusts the Frenchman, you know, who’s obviously got a drug addiction?
And, you know, why am I going to trust this very strange man with a cane who seems to be very serious all the time?
And you know, Quan, of course, can’t be trusted because he’s always smoking cigars and sweating just.
29:43
Imagine what that that fucking foyer smells like.
They have like 7 different bot decanted bottles of different whiskeys.
Great and liquors I got like you see clear 1A red one like yeah it’s like like it’s got everything under the sun.
They’re all smoking like chimneys.
30:00
I also loved when Claws picks up the decanter with his like middle fingers yes like he was like swirling it around with his ass like I’ve never even thought to.
Yeah, it’s so high class and prickly like you, like you would see, like you know, oh, what’s his dots?
30:17
Who’s the blonde ass little shithead from Harry Potter?
Oh, he’s got the same Malfoy.
Yeah, like, you know, like if he was like, yeah, like an adult like.
Really.
Yeah.
I I was like, wow, that’s like a great.
30:32
I mean, if I don’t know, I doubt that was written in.
I think that’s something that Stan O’gadwin did, and it’s just like a great little smart, smarmy little thing that he does of like, this is how I pull it, which you can turn.
Which again, which you can too, it makes it more Lupani because it is like like a like so character and like everyone here is also too.
30:53
They do lean into like their fucking like, you know, like well, because he’s German, like they’ll have him be like 9-9, you know, you know, and like really kind of lean into this.
You know, this the open stereotype not too bad, but I mean, it’s just it’s they’re just like cartoonish and sure, yeah, definitely like, you know, played up.
31:21
Not a bad way.
Like again, I think, I think the film works well enough.
The idea like this is like something that, you know, at the time was definitely not, you know, original because they’re pumping out, you know, film, you know, films like this in this mid to late 60s left and right.
31:39
But like, now watching it, it’s like refreshing because it’s like, when’s the last time you’ve seen like a film like this in from Hollywood?
Sure, sure.
Yeah.
It’s it’s, it’s, it’s almost like, well, I mean, I guess now we’re kind of getting that with the the Knives Out style of harkening back to Agatha Christie.
31:58
And it it’s I think it like, again, even those are very difficult to try to mimic the style of these types of movies because again, the Knives Out is like vastly over budgeted compared to something like a high end and safe, which is like very intimate because it had to be very well also.
32:19
Also too though, like they think the fact though that again, like the the the 60s aesthetic is also something that I think like, you know.
It’s hard.
Then you can’t replicate Yeah, like, you know, and just makes it that much, at least for me because I get IA big fan of this like kind of look and aesthetic of the, you know, the late the mid 60s, you know, late 60s.
32:43
So it works like, you know, everyone looks dapper and wonderful.
The only ones that don’t are the 2 poor women in this film.
Yes, because awful.
Awful dresses.
Yeah.
Awful makeup.
Well, three women, sorry, and the hair what why is like one of them?
33:04
Why is Anna like have like a little bell knob and then she puts it like under her chin like fucking?
Yes, fucking eye home.
Never seen.
I don’t think I’ve ever seen even from the 60s, I don’t think I’ve seen a hairstyle quite like that Where where like I think I’ve probably in my wildest dreams maybe imagine somebody doing that just like a in a goofball way look.
33:31
I could tie my hair underneath my chin but like just to wear it as a serious hairstyle.
Not only.
That the poor Janini’s got this awful Nancy Sinatra boots are made for walk in Fuck, You know, I could take a bullet to do it.
33:51
Rag of a hair.
Like to be honest with you, I think it’s like a wig and they all have very terrible like why couldn’t you just have your normal eyebrows?
Why they have to be these penciled in incredibly, they just look hideous.
34:07
I don’t know why the only reason you could think of like why these men are, you know, and like, because all they’re doing is drinking and.
Smoking for like 1 day, what do you expect?
There’s no Playboy around.
Wild.
34:24
Rage, at least, at least in honor.
Her Majesty’s Secret Service, James Bond, George Lazenby.
He gets to read Playboy, you know, halfway.
Through I I can’t tell or not if that’s Christina Galloni’s real hair.
It might be.
I feel like they were going for like, well, she’s kind of trampy, like on purpose, you know, like sort of.
34:42
No, I get it.
But it’s like, it’s just the whole like very, like I said, like Nancy Sinatra boots are made for walk and this thing can take a bullet for you.
I know this that you know, Anna, she her hair for a good portion of the movie, it looks like she has bangs for days.
35:01
Like they just keep going up her head and you’re like, how?
How does she have so much bang going on?
Where does the bang stop and the rest of the hair begin?
Wraps around her head.
Yes, yes.
And then you know, Karina has more of that sort of like 60s flip do going on like that one is probably the most.
35:23
She’s the most, you know, balanced of the three, Yeah, like, you know, style wise and luck.
But holy shit, the other two, yeah, they spent all the money on poor the French guys Coat, Yeah.
35:38
That bears like, yeah, that that crazy stripy coat.
That he’s got now.
So what do you so like the whole idea of the movie right is that there is this safe that the six people can open because they have these keys they have they have 6 keys.
35:56
The keys open the safe, the safest in a bad like a fountain that they raise up from below to to get to the safe and then like I said, they have.
Did did you hear Bert Ward yell in the background?
Holy holy waterfall, Batman.
36:14
And and not only do they have to have the six keys, but like, inside the safe is really what they want, which is these like a package of diamonds that they’ve stolen from the Bank of Amsterdam.
And the film really is very vague about how this all occurred, right?
So it’s like these people were somehow involved.
36:33
There was a heist.
The Bank of Amsterdam was there.
One of the vaults was drilled into.
They grab the diamonds, they snuck them out with this vault and now they’ve kept it for this one day of the year, which is happens to be Carnival, which is an Italian thing.
36:50
Like we don’t have this holiday, but in Italy they celebrate the car like this holiday called Carnival where everybody goes.
It’s kind of like it seems like a New Year’s Eve style celebration.
I think they do in Brazil.
Too.
Yeah, and and why are they?
37:05
Why are they wearing?
Like fucking sombreros.
And you know I.
Don’t.
I don’t know, honestly.
Like, yeah, maybe they stumble forever, like a little western, you know?
So I mean spaghetti western side during it.
Because yeah, they’re what?
37:21
Why am I drawing a blank?
The fucking poncho.
Not poncho the you know.
Yeah, the serape.
Yeah, like they’re wearing like that, like sombrero, Yeah.
I don’t, I don’t, I don’t know really the full extent of carnival, unfortunately.
37:39
But I do like though, when the the jeweler guy comes in and the one woman just like blows confetti all over him.
He’s like he’s just walking with his nice suit down the path with like a confetti just covering him.
I thought that was great.
Yeah.
But this, the idea is that these people are meeting during carnival so that like, there’s no, I guess no suspicion and they’re going to open the safe.
38:01
They’re all brought their keys, or so they thought.
Although Al Bear can’t find his because he’s a drug addict.
And it’s sort of like having like Donald Trump junior over there who had no idea what’s going on and, you know, basically.
38:17
And.
And he brings Janine, who is his girlfriend and not involved in the heist whatsoever.
And he’s just like shows up with everybody’s like, why the why would you bring this person who’s not even involved in this?
And you, you like thought it was a good idea already setting the stage for this anxiety that’s going to play out as the six of them begin to try to figure out ways to make sure that they don’t need to split the diamonds so they they can, you know, they can get more of their share.
38:46
So ultimately, the whole idea is that this anxiety starts to spiral, and eventually Albert is the first one who ends up dead.
And no one really knows who did it, but they just know someone probably killed him because he misplaced that key and he was trying to, you know, screw with us for some reason.
39:06
And so eventually it just keeps spiraling and people start dying.
And it did.
People dwindle.
And the film starts out as, like, who did it?
But then eventually it reveals many of the characters who have done it.
39:22
And actually, it’s multiple people, right?
Like, so there’s no real one killer, Like in a jello film where it’s like, oh, you know, somebody’s targeting all of these people.
They’re mostly doing some infighting here to kill each other off.
The thing is with that infighting though, is there’s not enough.
39:39
The dialogue I don’t think is good enough to make it be really intriguing.
They just kind of like split off and they’re like, what do you think?
I don’t know.
What do you think?
We got to find a way to get that money.
Yeah, we got to find a way to get that money.
OK.
And that’s it.
And then it’s like keeps doing that like 4 different times and then eventually it’s like, haha, so and so did that.
40:01
Yeah.
I.
Definitely.
I definitely agree with that.
I do think that the middle act of this movie is very slow.
It’s I think to some extent it is like you said, doesn’t do enough to really cement the suspicions.
40:23
It like it repeats itself over and over again.
There’s a lot of female whiles to this as well, like sort of a Black Widow esque element to it, where Janine is really obvious, obviously playing Albert and she’s playing Juan as well, when he, you know, basically comes on to her and makes her sleep with him.
40:46
And then on the other hand, you have Anna, who it seems really like the brains of this operation for the most part, even though her her not her husband, but she she makes that clear in the film that he wasn’t her husband, but her live in conspirator Boris has died.
41:03
She really seems like the brains of this operation.
And I think the film kind of plays its hand a little bit when it shows you that somebody has a camera in the jewel in like the crystal chandeliers.
And we get to see multiple times this person managing the cameras throughout the building as they are looking down from the chandeliers to watch what everybody is doing.
41:25
And it’s I think it’s pretty clear right then and there.
It’s like, OK, well, it has to be Anna.
She’s the only one that has access to the whole property, right?
I don’t know.
Did you feel like that too, like when you saw this like Bond Ian or almost like it almost reminds me of Claw from Inspector Gadget who’s like yes, yes, and you only see the hand watching on the video cameras.
41:51
It definitely like made me think immediately like this can only really be Anna.
There’s no other explanation for this video camera.
Yeah, I was going to ask you what your thoughts on the red herring attempt, because usually in these films, it’s part of the fun you’re giving red herring so you can get who done it, be engaged in the mystery.
42:17
Problem is, though, they do that for like a second and then it goes off to the wayside.
I think it’s a really wasted opportunity for the story because I was thinking the whole time, well, we know it’s got to be Anna.
But also too we we’re starting to see, as you were saying, like somebody’s watching the cameras, like in the chandeliers, like claw.
42:39
Like, I was thinking like, it’s got to be Boris.
Like it’s all just one big clever ruse that they did, you know, to screw over their partners in crime.
You know, Boris is actually alive.
And yeah, you know, and we’re going to take them out.
And it doesn’t end up being that clever.
It’s just like, oh, she’s it’s her and Steve and her and Juan and her and, you know, they’re all just, you know, fighting.
43:00
She’s just, you know, doing the whole Black Widow bit of like giving the coochie away and then they’re like, you whore, you woman, and I love you, you whore, you love you.
You betrayed me, you know.
So yes, yeah, I I do think that there was some element where they could have worked in Boris because again, there’s a lot of red herrings on on that aspect to kind of indicate that potentially he is still around because again, his grave is empty.
43:29
There’s like that whole idea of like there is a grave and they keep messing with letters and like his let the names of his, his name on the grave is like all wiggly wobbly and they’re able to move the letters around and stuff.
So it does.
There’s some asshole flying around going I’m the bond.
43:46
I want to, you know, I want half the diamonds.
Like, that is pretty hilarious too, because that is that is very much like over the top sort of get smart style, like villain around and hovering, hovering in the helicopter around the villa.
44:03
Like, I’ll be down there soon.
You guys better prepare.
Yes, that is very, very funny when that actually occurs because for the most part, this film really does try to take itself pretty seriously.
44:19
But then you just got this guy hovering around in a helicopter for no reason.
So.
Yeah, it’s hilarious.
But yes, in a lot of ways, again, it’s movie does remind me of, you know, kind of a tongue in cheek Bond film.
It has a lot of that type of 60s technology of like what the 60s thought would be sort of a futuristic technology.
44:44
So you got, like I said, the crystal chandeliers that have cameras in them that apparently can just like zoom in and out and zoom.
And you know, you don’t really see the zoom, but you can see clear sometimes and see God.
Bless like the film restoration because like it makes it all look good and not like shit as probably you know what have originally, you know, it actually looks like Oh yeah, you know, like nice camera.
45:05
Yeah, you’ve got like the the whole garage that’s electrified.
So like, there’s this, you know, Juan goes, Anna talks him into going to the garage.
He’s like, oh, yeah, just go open the garage and get the car ready and everything.
45:21
We’ll get out of here.
And he goes to the garage, puts his hand on the door and shocked, dead.
And you could have Will Ferrell’s Mustafa being.
Like oh, I.
Asked my hands and everybody badly burned you.
Can somebody get me some ointments like you get to the same?
45:39
Yes.
Not only that, the fucking Klaus step where she cons him into going down to the garage and he’s like, I didn’t get shocked was like which again, I was thinking the whole time we sit there like throwing the key on to see like like you know it like was electrocuting people put a pair of rubber gloves on you dip shit. 2 when he opens it up and the door closes like you, they call, he calls like you know the phone and he’s like hello.
46:08
Oh, Anna, the door is locked.
What am I going to do?
Looks like you hear that He’s like you’re a lot and she’s like, that’s the sound of death.
And then she starts flooding the place through the most slow hilarious because it keeps going for him to like, oh, no, I’m going to drown.
46:28
I’m going to drown to her and the the one guy standing there with like elevator music playing like.
It’s just so ridiculous, like why the fuck you could just like shot the guy?
Like why did you have to put him in?
46:45
Right.
Yeah, there’s a very elaborateness to the fact that you got to send him to the garage, close the garage door automatically from like, you know, remote control, then flood the garage, recognize that he’s, you know, it’s, it’s flooded enough that he’s going to drown, and then open the garage back up so that it all drains back out.
47:05
I don’t, I don’t know.
It’s like 10 minutes and it’s just, it goes a little, it’s like funny, but it goes on too long.
I do like the fact that they got Albert’s like grayed up dead body cock eye like you know.
They’re.
Constantly like panning to him.
You got Klaus yelling like I don’t want to die, like I don’t want to die like what a manly man he is.
47:23
And you know which, he’s a dumb ass too because the whole, the whole thing didn’t get flooded.
He didn’t flog to the top if he didn’t like, you know.
Go into the.
Car sit in the car.
He could have like been fine.
We see tin cans, you know like Castor oil like floating at the top.
47:40
So it’s like but you just, all you had to do is just sit there because you know, but like what is like it’s just hilarious because it’s like you went through all that trouble when you had a gun like 2 minutes ago.
You could have just plugged the guy when he wasn’t looking.
I guess that’s that’s too cold blooded for for first.
47:59
Yeah, she would have to do the job herself.
Like all I’m, I’m all I’m thinking of is Seth Green and Austin Powers.
Like, wait, you’re not going to watch this?
Make sure he’s dead.
Yeah, why don’t we?
I got a gun in my room.
Why don’t we go out back?
Well, bam, we’ll be dead.
Scott, you you just don’t get it.
Do that.
48:16
And then and then so that’s kind of sets us up for the ending of the movie, which is it actually has like 3 endings, right?
Like it it just keeps going with its endings.
So the first ending is that, oh, and it’s the only one left with the jeweler guy.
So the, you know, the this jeweler guy who’s just been sitting around here again, this guy has been called in like the next day after.
48:38
They know that they don’t have the keys.
They don’t have all six keys.
He just comes on the property.
He’s just sitting there around like, yeah, I guess I’m just getting a free vacation in this village.
It’s like sitting around just doing nothing.
There’s booze on the counter.
I can just sit around.
When they tell me to like someone dead to throw their satchel away of their share, I just go.
48:59
And he’s just waiting to appraise the jewels, basically.
And so eventually, at the end, it’s just Anna and him.
And they’re kind of, it kind of makes it seem like, oh, they, you know, they’ve been working together.
This guy is, you know, working with Anna.
And they’re going to like, yeah, he’s going to appraise the jewels and then they’re going to make off with them.
49:18
Well, at the end and I is able to get all the keys, take the jewels out and then he starts fondling them and he’s like, you know what?
These aren’t even real.
These are fake gems, very good fake gems, but the fake gems And so you’ve got nothing here.
49:36
And that’s why the cops weren’t interested in this because you’ve drilled into the wrong vault.
And eventually, so like that causes Anna to go insane, right?
There’s like this little psychedelic spin around of her hands on nuts.
Hence the hyena.
49:51
She’s left like, you know exactly.
And then so eventually the film ends and it it, I actually like this.
This is a really strange thing in the movie.
And it’s something that if you’ve watched a lot of Italian movies or even, you know, classic movies in general, you would be expecting this to occur.
50:14
So at the end, after Anna goes crazy and the jeweler’s kind of walking away, there’s this little yellow BLOB that comes into the corner of the movie and you’re expecting it to come up and be like, and yeah, then whatever.
Because that’s generally how these types of films ended.
50:31
And really interestingly, the BLOB just sits there in the left hand corner for like another 5 minutes of the film running as the jeweler goes out to his car and he meets with another woman and he’s like, Yep, she fell for it.
I told her they were fake and they’re really real.
50:47
So I’ve got to stick around here and we’re going to get these jewels back and then you’re like, OK, all right, so he was in on it too.
So now he’s going to steal the jewels.
The end.
Nope, the fee and a doesn’t pop up yet again.
Now he calls like the International Insurance Agency is like, yes, this is inspector So and so, and I found the jewels and you guys can come and pick them up and then we’re expecting to wait for them and, and it eventually, you know, his girlfriend drives off with the jewels.
51:19
And that’s still not the end.
It’s it’s a, it’s a very elaborate ending to this movie of the conclusion.
It’s just like, you know, I feel like there was a a sort of a a thought that it was like, well, you know what, maybe this movie of like a whodunit to a why done it to a what done it isn’t really all that surprising.
51:38
So we’re going to have like these multiple fake out endings.
What do you what do you think about the fake out?
I would would have been fine if it just ended with the fake out.
Just like have it be like he tricks her and then he they make off with it, you know, like they’re actually a really dumb bitch.
51:56
Let’s go, Hon, you know, not this.
Oh, they’re real.
Hold on.
I got to call the insurance to let them know that we have them back.
Yeah.
Nope, Nope.
No problem.
Hey, you got to get those back on Whoop.
I got pushed out of the car, you know, like, you know, I’m like, I just.
52:15
It’s just too much like it’s.
I feel like it was a way to sort of work in this this what I said in my review is like a Poirot esque type or even, you know, you could say now a lupon ask like inspector person that is the one that’s been, you know, facilitating things all around is at the same time, though, do you really think the insurance company is going to be like satisfied when he says like, yeah, I watched them murder each other, but we got the jewels back.
52:47
Like, the police are going to come in and be like, you’re an accomplice, man.
You’re like, yeah.
Like like what?
Happened you just you just.
Sat around while they all killed each other.
No, don’t worry, I’m back in Amsterdam.
It’s OK, yeah.
Yeah, it’s, it’s very elaborate to say the least.
53:05
And I think it’s, you know, it’s an interesting approach.
I I think it is cool though, the way that they put that little BLOB in there to sort of I was.
Wondering if it was like at first, if it was like a, a misprint or something.
It was like like I was expecting it to pop off like the end and I was just sitting there and I’m like, what the hell?
53:21
And like, why are you?
Experimental.
Yeah, it’s very cool.
What do you think about the the the soundtrack?
Because we haven’t talked about that, but that is really the first and last thing that you’re presented with in this movie is this very wacky, zany soundtrack.
53:39
Again, like I like I hate the cop, you know, constantly.
But it is like Loop on the third, like the original Green Jacket series where the music is just like ever present and like silly, like, you know, like Loop on Yeah, he’s a nice skin man machine.
Crap.
Bang, bang.
53:54
There’s no music here that like has words like that.
But it’s just like the opening, like woman walking like 20 minutes.
Hey, they’re like they’re talking like it’s fun and very Italian and like it’s sometimes misplaced and sometimes overused, but like I, I find it to be, you know, fun and off like it’s a like enjoyable, makes it like feel more quirky and enjoy like cartoony.
54:40
I do think like it’s meant in a little bit to be a reference to the fact which I I also think that the carnival is sort of a more of more importance then it initially appears in that the film does make a point to show that carnival is happening and people are having a lot of fun at carnival, right?
54:59
But then these people, very serious crooks worked very hard to, you know, get these jewels and then start killing each other off.
They’re not having much fun right during carnival.
And I think it is a reference to the fact that, like crooks, you know, while they think they’re going to make it rich, you know, the work is not worth it.
55:20
And you’re you’re putting yourself in unnecessary danger while other people are just off living their life during carnival.
And I do think that the the film’s soundtrack is in an attempt to sort of mimic that idea of like, look at this is almost, it’s almost like a ridiculousness to the fact that these people are putting in all of this work to try to make a quick buck when it’s not worth it.
55:45
So that’s, that’s my thought on the zany soundtrack.
I mean, it’s definitely not out of place for an Italian film such as this.
It’s this was a pretty common thing to have in movie soundtracks at the time.
But it is noticeable, you know, because the film, I think it really only has that one song.
56:04
I think there’s there’s another song that it does incorporate, but that’s just on the radio.
I think the, you know, the primary element is this one song that it has on the on a soundtrack that kind of facilitates the whole movie.
Anything else that I didn’t bring up or rediscuss?
56:23
I think that covers it.
Think so too.
All right, so we have to give a hyena in the safe.
So on a scale of zero to 10 outrageous covered pools, hexagonal covered pools, what would you give that?
56:48
Could be that could very well be a Pauly Shore and Baldwin brother movie.
There you go.
I don’t know be honest with you.
I’ll give it a 7 out of 10.
Like the I thought it was fun enough.
Pleasantly surprised by this one.
I like The Who done in heist aspect of it.
57:06
I like the aesthetic and style for a low budget film, it does a pretty damn good job of like looking good.
There’s a lot of really good, I think cinematography in this film.
They do a lot of like, you know, really good shots like the whole pushing the whiskey car in the parlour over to, you know, the one guy was like a really nice shot.
57:32
The close up, you know, the guys watching the car in the beginning, like with the, you know, the film looks good.
I think everyone does a good job.
No one’s a great actor.
They’re competent.
I think it works though, and it also works against it because, again, it’s an Italian film.
57:50
They don’t ever fucking record audio.
So there’s a lot of like acting that is, you know, overly dramatic and ridiculous and look silly and nonsensical with dialogue and, you know, expression through the voice once it’s re dubbed that don’t really match up.
58:10
But that’s again an Italian thing and it kind it works for this film.
It’s definitely a fun enough film.
Like there’s like the stories, not great.
There’s a lot of like idiot inconsistencies and for who don’t it’s not that.
58:29
Excuse me?
Nothing like engaging, but I think it is fun enough and I did like, you know, I didn’t like quite a bit.
It was nice to just turn off and enjoy the show.
So 7 out of 10.
I was pleasantly surprised at this one.
Yeah, I’ll give it a six and a half 510.
58:44
I think it’s a pretty good movie.
I think that on, at least on the Blu-ray, the critics and essayists made a good case for the reason why this movie.
It may be better thematically and cinematographically then it might be plot wise, like on the surface.
59:05
However, I do think that it is also a fairly overall slow movie.
I don’t think that it does a great job of setting up the characters.
As you said, it does kind of stagnate in that second act where it basically everyone is doing the same thing, which is just sitting in a room, probably drinking, smoking and talking about what they’re going to do or how they’re going to get the jewels or keys or, you know, whatever.
59:30
It’s it’s it kind of, it doesn’t move very far from where it starts.
And I think that’s probably 1 of this, you know, the biggest issues with the movie that it takes a really, really long time to get into the meat of the plot.
When it gets there though, when it gets to this sort of Bondian style of, you know, Jello film, like Pardo Jello again, it’s not doesn’t really share that many similarities to what we consider a contact like a regular Jello or a 1970s style jello.
1:00:00
Once it gets to that point where it sort of starts to mimic like the Agatha Christie and Then There Were None, I think it gets to be kind of interesting and, and, and goes in experimental directions, sometimes psychedelic directions.
But it just takes a long time to get there.
1:00:15
So you really have to sit through that.
I think the second act is really the one where it goes goes off the rails a little bit.
With that said, I think they it’s a pretty interesting movie all around. 1:00 That’s not very, you know, watched much, not recognized, doesn’t have any characters or actors that you would like, pinpoint or no.
1:00:38
So with that said, I think it has a lot going for it that would offer itself up to people who do appreciate films of this time period.
And you know, as a precursor to some of the other Jello films of the time and even the German creamy or the, you know, some of the British tea cozy mysteries that we get.
1:00:58
I think it’s an interesting enough film and I think there are is an audience out there for it.
So 6 1/2 out of 10 for me.
All right, well, that’s our episode on a hyena in the Safe.
What do you think?
What do you think you want to do next in about two weeks?
1:01:14
Any ideas?
Any.
Are we going back to Woodsboro?
Sat till February though.
I don’t know.
Yeah Scream 7 in February but I do.
I would be interested in, do you think?
Do you think sorry to cut you off, Do you think Scream 7 is going to be since February?
1:01:33
Valentine’s Day, man, I don’t.
Know that’d be that’d be cool like they did they did Halloween right in there the previous one now they’re going to incorporate Valentine’s Day.
I’d be fine with that.
I think it’s cool.
I think, like, again, Scream as a whole, as a genre, is sort of like treading water at this point.
1:01:50
Like it really has no idea what it’s doing, so it’s throwing stuff.
So if it wants to do Valentine’s Day, sure, let’s do it.
Are you saying without Kevin Williamson and Wes Craven it’s a rudderless ship?
Well, I actually think Scream 7 is Kevin Williamson production.
1:02:07
I believe so.
So there is.
Reason.
Oh, and he’s directing it.
Yeah.
So there is reason to be interested.
At the same time, everything I’ve seen so far about it is makes me not interested.
OK, hold on premise.
Sydney Prescott has built a new life for herself in a quiet town, a pine Grove.
1:02:25
Hold on, she’s rebuilt her life in like 4 different films.
Yeah, exactly.
Scream Three.
Scream 4.
Scream 5.
Because the target, it’s like exactly the same idea.
So I’ll be interested to see what Kevin Williamson can bring to this though, see if he can breathe new life into scream.
1:02:46
But I what I was going to say is I am interested in seeing this new Sam Sam Raimi movie.
Send help.
I would be interested in covering that one that 1 releases on January 30th.
So maybe not for next time, but the time, the week, the the episode after we would do.
1:03:04
So we can probably double up with that and the the new scream.
Yeah.
Yeah, no, I just said it’s funny.
This is how you know, I have it sent to my phone, not, you know, have Facebook tracks yet at when you mentioned that I was like, oh, I haven’t heard of that.
1:03:22
What popped up on Facebook?
The Send Help trailer.
Yeah, I just recently saw that it was coming out and I really didn’t know anything about it.
So I’m interested for that and it will probably pick something in between.
1:03:39
This looks like a really weird sequel to Doctor Strange.
Yeah, yeah, yeah.
No Doctor Strange.
Almost a Strangelove.
Yeah, and then there’s always, you know, too, we never did 28 years later and then the new one is actually coming out to.
1:04:00
Well, we never did.
We haven’t done 28.
Weeks later either, yeah.
We’ve only done the first one.
Yeah, so like.
What in the hell is going on for them to pump out these films like left and right now?
Like, yeah, doesn’t, doesn’t.
1:04:18
Is that Ray Fines in there?
Yeah.
It’s like, yeah, like what is he?
Has he reached the level?
I mean, he is getting there, so he it makes sense.
But is he like reached the thespian level of like a just, you know, Sir Patrick Stewart, you know, Ian McClellan and like Christopher Lee, where he’s just doing it for the love of the game, like he’s.
1:04:45
Just showing up.
No, I don’t know.
I, like I said again, I, I mean, yeah, 28 we didn’t see 28 years later.
I don’t know what all of a sudden they were thinking where they’re like, you know what we need to do franchise.
It well, that’s see, that’s what I’m saying.
1:05:01
That’s what because I told you I was like, do you want to go watch 28 years later and you’re like, absolutely not.
I was like, because I remember like, like lobbying for just because it’s like, you know, it’s we’ve, you know, well, I don’t mean I don’t blame you, but it’s just funny though, like out of all the films in the world to like crawl out of the dead for a fit, like, you know.
1:05:28
Yeah, I know.
And I’ve only seen 28 like weeks later I think once.
Oh yeah, me too.
Yeah, no, I.
Haven’t I?
Because it came out, because it was coming out like right at the time when like you couldn’t escape anything zombies.
1:05:44
So they were just fucking everywhere.
I know, I know 28 Days Later is ahead of the curve, but still like, you know, it’s like, yeah, we’ll see you.
Know yeah we’ll, we’ll we’ll pick something else for next time and we’ll see see how what happens right well, thanks for listening to our episode Hope you’re having a good 2026 so far.
1:06:07
And we’re going to sneak out of blaxploitation.
There you go.
That’s right.
We’ll have to do.
We’ll have to do like Black Dynamite.
There you go.
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1:06:27
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1:06:43
So we appreciate that in advance.
Thanks for listening to our episode on a Hyena in the safe.
Check it out.
So I’m Blu-ray from Celluloid Dreams.
So you know you can find that and if you order it from their website you get like 8 photo boost stills that you can get So the you know like lobby cards that we used to have way back when well the photo boost were the Italian versions of those and you get like reprints of them.
1:07:07
It’s pretty cool.
I have the 8 reprints myself so pretty awesome.
But anyway thanks for listening, hope you enjoyed and we’ll we’ll see you next time.
Until then, take care.
