Rashomon / Glenrothes Bourbon Cask Reserve

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In 1950, director Akira Kurosawa
and star Toshiro Mufune gave the

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world a convoluted retelling of
crimes committed and feudal

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Japan.
In 2023 we take a trip to our

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favorite region in Scotland and
Brad.

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This has absolutely nothing to
do with the film of the day.

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The film is Rashomon.
The whiskey is the Glenn Rose

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Bourbon Cask, and we'll review
them both.

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This is.
The Film and Whiskey Podcast

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Welcome to the Film and Whiskey
Podcast, where each week we

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review a classic movie and a
glass of whiskey.

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I'm Bob Book.
I'm Brad G.

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And it is finally time.
Brad.

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You have been building this
moment up for yourself in a way

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that I fear can only let you
down.

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But we have built to Akira
Kurosawa Film and Whiskey

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Nation.
This is the first set of films

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we have ever done that are in a
language other than English.

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We're doing 5 movies by
Kurosawa, all of them very

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obviously Japanese films.
It is really, really great,

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Brad, to finally get into the
world of international cinema on

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film and whiskey.
I'm really excited for this man.

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Yeah, I am super excited as
well.

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I've been waiting for Chris are
for a very long time.

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He has been built up for me, not
just by myself, but by you and

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anyone else who loves cinema.
So there are there are some big

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shoes to fill in, in my
imagination at the very least.

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Let me ask you this, Brad.
So I mean, and it's very

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possible that a lot of people
listening to this episode may

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not have ever heard of Akira
Kurosawa before this episode.

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And so we'll get into talking
about why he's such an important

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figure in cinema.
About a year ago, you made a big

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purchase, Brad.
It was your first trip to Barnes

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and Noble to get yourself some
Criterion Collection movies

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during their big summer sale.
And I was so proud of you for

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finally investing in physical
media.

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And one of the movies that you
bought for yourself was 7

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Samurai, a movie that we're
going to be doing next week.

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And I remember saying at the
time, like, why did you do this,

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Brad?
You've never even seen this

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movie.
Isn't it really, really putting

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your trust in a guy that you're
going to like this movie?

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And I like, I remember you kind
of saying like, yeah, I mean,

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everyone says it's great, But,
you know, to be fair, I tell you

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that every movie on this podcast
is great and you know.

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It's a it's kind of a crapshoot
sometimes, whether you'll think

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a movie is great or not.
So what made you invest in

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Kurosawa before you ever saw a
Kurosawa?

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I think a large part of it was
the fact that, you know, and I

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mean really, the first time I
probably ever heard of Kurosawa

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was 7 Samurai, and it was in
reference to Star Wars.

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You know, Star Wars is famously,
you know, loosely based off of

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Seven Samurai and a lot of other
sources.

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But that's what I had always
heard that, you know, the the

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hero's journey, if you will, was
best illustrated in Seven

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Samurai, and that Lucas took
that as a huge inspiration.

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And so I was intrigued.
I was like, hey, it's a foreign

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film.
I'm turning into a film nerd.

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I might as well buy me some
Kurosawa.

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Check out Seven Samurai.
That's awesome.

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I hate to shoot down your your
brilliant little story there,

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but the movie that Lucas
actually lifted.

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For Star Wars is another
Kurosawa film called The Hidden

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Fortress, which is like the
first half of The Hidden

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Fortress is like Beat for Beat.
You know, the first, or you

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know, like the back half of of A
New Hope.

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So there's another one for you
to pick up at the next Criterion

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Sale.
But that all depends on whether

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or not you actually liked
watching a Kura Kurosawa.

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This is your first Kurosawa
film, I know for a fact.

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Brad, I don't even really need
to ask you if you've seen any of

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these before.
We're starting with Rashomon,

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his 1950 film, which really put
him on the map globally.

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This is a movie that it won
festivals in Europe and then it

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comes to America.
It wins a special Oscar for Best

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International Film in 1950.
It gets nominated, I believe, in

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at least one other category
where it's in contention

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against, you know, American
films.

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This is a huge breakthrough.
And, you know, just to set the

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historical stage, we're talking
about five years after the end

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of World War 2.
Like the the effects of World

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War Two are still very much
being felt, especially in Japan,

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as they're rebuilding.
But the tensions that we had as

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Americans with the Japanese
throughout World War Two are

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starting to just barely come
down a little bit.

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And here you have this guy who's
breaking out on the stage of

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world cinema and putting
Japanese movies on the map.

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He really was an ambassador.
For bridging the cultures of

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America and Japan and doing it
in a really kind of hot

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political climate after World
War 2, Yeah, I was going to say,

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you know, just a few years after
World War 2, pro Japanese

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sentiment probably wasn't at an
all time high, you know, So the

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the the fact that he's able to
jump into American mood, well, I

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wouldn't say he probably
attracted the average moviegoer,

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but at the very least, all the
cinephiles really loved him, I'm

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sure.
Yeah, 100%.

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All right, man.
So I think this is a good spot

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for us to just go right into our
first segment of the day, which

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we call Brad explains.
Brad's gonna give us the movie

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plots with only 60 seconds
ticking on the clock, so let's

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go ahead and do your take with
this little segment that we call

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Brad explains.
Brad Explains is the part of the

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podcast where Brad breaks down
the plot of the film that he has

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just seen, often for the first
time.

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This is his first time seeing
Rashomon.

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This is a doozy, man.
I'm I'm interested to see how

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you frame this, and I don't have
anything else to say.

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You have 60 seconds on the
clock.

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Break down this movie and go
Rashomon is a film about a

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priest, a local lumberjack and a
commoner that meets in the

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middle of a rainstorm, and the
lumberjack and the priest are

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telling the commoner this story
about a woman who was raped,

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samurai who was murdered, and a
bandit who was captured for

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those crimes.
They share how the each person

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has a different perspective on
the crime, and they tell the

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jury, the judge and jury
different stories.

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And at the end of the film, it
turns out that the lumberjack

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actually saw the crimes but
didn't tell it because he stole

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one of the valuable daggers from
the scene of the crime.

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But then he takes care of a
baby, so it's all okay the end.

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That was the most abstract
version of like, I feel like if

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you haven't seen this movie,
then all of the words you just

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said.
Feel so unrelated to each other.

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I love it.
All right, here's the deal.

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Crime happens.
People tell their own versions

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of the story that they want
others to hear.

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End of story.
That's, yeah, there you go.

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That like is there anything
else?

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Is it?
Is there anything?

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Else, No.
That's a really good summation.

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Man, you did it in four seconds.
I'm very proud of you.

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I appreciate it.
You really should be writing for

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Cliffs Notes at this point,
Brad's notes.

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All right, man, let's talk about
this movie a little bit.

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And I've been thinking about how
to dive into the film.

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You know, obviously we're going
to talk performances.

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We're going to talk Kurosawa and
what we noticed about him, even

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even as the first film of his,
we're going to review.

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But I want to talk a little bit
about the way the movie is

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structured, the way it's been
ripped off for years and years

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and years, and it's really
famous for this idea of.

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Conflicting perspectives on a
central crime or incident,

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right?
Like, you hear from everybody's

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point of view, and a lot of
times these movies are quietly

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wrapped up at the end with like,
here's what really happened, you

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know?
And in this movie, you don't

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really get that.
There's four perspectives on the

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same event.
And at the end of the movie, you

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are left with no clearer of a
picture of what actually

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happened in that story than you
were at the beginning.

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Now, Brad, I think we'll dive
into like the actual mechanics

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of the story and everything like
that, the and the idea of

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competing perspectives.
But the very first thing that

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stuck out to me watching this
movie is this idea of a story

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within a story.
And it may just be because, you

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know, a few weeks ago I went to
see the new Wes Anderson movie,

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and that dude is just burying
stories within stories within

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stories at this point.
But I was thinking about The

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Grand Budapest Hotel and how.
It like the central story in the

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movie is like at least two
layers deep.

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And it kind of feels like that
in this movie.

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Like the, you know, the central
characters of the Crime Story

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are embedded within this larger
framing device of these three

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guys caught in a rainstorm.
Just basically, you know,

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shooting the and saying like
hey.

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And here's a story that rocked
me to my core.

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You want to hear it?
And I just love when a movie is

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framed like that.
There's just something about

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like, do you want to hear a good
story as you're framing device?

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Yeah, no, I I agree with you.
I think that the the way that

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they're able to interact with
the story and play with it as

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characters within the movie
observing the story makes makes

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for a really neat storytelling
device.

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But is there a butt coming?
No, I don't think there's a

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butt.
Honestly, my brain just kind of

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farted on me and I don't
remember what I was going to

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say.
I had a thought as you were

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speaking, but then you talked
for so long I.

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Did talk for a long time, but
see, that escaped me.

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That's how you win, Brad.
You just keep talking and then

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there's nothing to argue with
anymore.

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Why?
Why would you say that?

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You're you're winning today as
if I'm going to lose.

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Well, I just Who's to say that
we're on opposite sides of the

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argument, Bob?
I think I've been around you

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long enough that I can tell when
you're holding.

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Something back and you're
waiting for the chance to like,

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throw down that Uno, you know
what I mean?

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Like, make me pick up 28 cards
and I just, I feel like it's

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coming.
So let me ask you this, Brad,

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just just straight up, How did
this movie work for you?

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Dude, I knew this was coming.
So here's the thing.

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The story felt like Akira
Kurosawa spent a year or like

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three years reading the Book of
Ecclesiastes over and over and

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over again.
And then he turned it into a

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movie.
So like story wise, I I think

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that he's doing something really
interesting here.

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Acting and cinematography and
sound and everything else was

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not my favorite.
So like the the story is great.

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The movie he put forth on the
screen was not great.

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Wow dude.
I I disagree so hard with you

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right now that I don't know
where to start.

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How?
How hard do you disagree?

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Like, so I kind of sensed that
you were gonna not jive with the

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acting in this movie because
it's the first of all.

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It's the first Curse Island
movie we're watching.

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It's not your first foreign
film, like just a couple weeks

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ago.
We were talking about how you

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watched The Bicycle Thief,
right?

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And that's a movie that is from
the Italian neorealist genre.

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Like it's the director used
nonprofessional actors.

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It's very naturalistic.
It's like set immediately post

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war, not over.
It's incredible.

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It's not overwrought, yeah.
And I think that it feels very

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modern as a result, right?
Like it feels like.

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Almost like an indie movie would
feel.

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This is the opposite of that.
This is like incredibly

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heightened theatrical.
You can see the influence of

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like kabuki theater on these
stories that Kurosawa tells.

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And I think it's going to be
interesting Brad, as we move

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forward because like I've I've
very specifically also selected

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movies that are not set in like
samurai times and the ones that

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are set.
In modern day are not acted the

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same way as the ones that are
set in modern times.

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And it's like it does feel like
it's a very intentional decision

225
00:13:10,430 --> 00:13:15,470
to have his actors act with such
a physicality in these movies.

226
00:13:15,990 --> 00:13:17,670
So I didn't expect it to work
for you.

227
00:13:18,110 --> 00:13:20,350
What I'm really going to dig my
heels in on those.

228
00:13:20,350 --> 00:13:23,910
Like this is one of the most
beautifully shot movies we've

229
00:13:23,950 --> 00:13:27,390
ever watched in this podcast.
Every single shot in this movie.

230
00:13:28,100 --> 00:13:30,780
Is like a perfect shot, dude.
What do you mean you didn't like

231
00:13:30,780 --> 00:13:33,460
the cinematography?
I didn't think it was very

232
00:13:33,460 --> 00:13:38,140
engaging.
Oh my God, it.

233
00:13:38,420 --> 00:13:42,740
He chooses to linger on certain
scenes for way too long, and

234
00:13:42,740 --> 00:13:46,860
then he goes way too quickly in
other sequences.

235
00:13:47,420 --> 00:13:52,780
And the acting within what you
see on the screen takes away

236
00:13:52,780 --> 00:13:56,020
from anything that you could see
from the camera movement from

237
00:13:56,020 --> 00:13:59,300
what he's doing.
Like it, It just feels like

238
00:13:59,300 --> 00:14:01,220
there's a ton of different
clashing things.

239
00:14:01,220 --> 00:14:05,060
Like his camera style is often
very smooth, He kind of smoothly

240
00:14:05,060 --> 00:14:08,620
moves through zooming and
panning and and and works the

241
00:14:08,620 --> 00:14:12,420
camera in a really nice way.
But while he's doing that, you

242
00:14:12,420 --> 00:14:19,380
have our our star Toshiro just
like jumping up and down like a

243
00:14:19,380 --> 00:14:24,220
buffoon and it it just never
works well together.

244
00:14:24,420 --> 00:14:28,560
It's always clashing and I don't
think it it serves to tell a

245
00:14:28,560 --> 00:14:31,160
good story.
So yes, Bob, I don't find it

246
00:14:31,160 --> 00:14:33,960
very engaging.
So it seems like you actually do

247
00:14:33,960 --> 00:14:38,760
like the cinematography, but you
feel like the acting distracts

248
00:14:38,760 --> 00:14:41,360
from it.
Well in parts, but then in other

249
00:14:41,360 --> 00:14:44,440
parts the cinematography is just
boring.

250
00:14:44,440 --> 00:14:47,400
It's just rain falling on the
ground.

251
00:14:48,680 --> 00:14:52,240
For this movie is like 85
minutes long and it moves really

252
00:14:52,240 --> 00:14:55,800
quickly.
Dude, I don't like so OK, let me

253
00:14:55,800 --> 00:14:58,600
start here.
I was thinking about this as I

254
00:14:58,600 --> 00:15:01,040
watched the movie.
This movie came out the same

255
00:15:01,040 --> 00:15:05,360
year as Sunset Blvd. and All
about Eve.

256
00:15:06,360 --> 00:15:08,880
Those are, I think, the other
two 1950 movies.

257
00:15:08,880 --> 00:15:11,200
Two of my favorite movies.
Think.

258
00:15:11,200 --> 00:15:15,400
About the way those movies are
paced, think about the way that

259
00:15:15,400 --> 00:15:19,880
you transitioned from scene to
scene in Hollywood in 1950.

260
00:15:19,880 --> 00:15:23,640
Like there was a slow dissolve
from scene to scene.

261
00:15:24,330 --> 00:15:27,890
And you watch a movie like this
and like the editing and.

262
00:15:28,210 --> 00:15:30,370
And for me it's the
cinematography and the editing

263
00:15:30,370 --> 00:15:33,170
combined.
But like, there are hard cuts

264
00:15:33,170 --> 00:15:35,050
between scenes.
There are hard cuts.

265
00:15:35,050 --> 00:15:40,010
Like, he always cuts on motion.
So like, I'm thinking there's a

266
00:15:40,010 --> 00:15:44,530
really specific shot in the
wife's tale where she's talking

267
00:15:44,530 --> 00:15:47,250
about how she approaches her
husband with the knife and you

268
00:15:47,250 --> 00:15:50,970
kind of see her lunge with the
knife and then it cuts to her in

269
00:15:50,970 --> 00:15:52,810
that exact spot.
It's a match cut.

270
00:15:53,840 --> 00:15:57,080
In front of the courtroom and
I'm like, wow, dude, that is

271
00:15:57,080 --> 00:16:00,200
like 30 years ahead of its time.
Like people weren't cutting like

272
00:16:00,200 --> 00:16:04,880
that until, you know, the the at
least the 1960s and 70s in

273
00:16:04,880 --> 00:16:09,440
America.
Like it is a revolutionary way

274
00:16:09,440 --> 00:16:13,000
of cutting a movie.
And I think that like every

275
00:16:13,000 --> 00:16:16,200
single shot in this movie,
whether it's a static shot where

276
00:16:16,200 --> 00:16:19,360
there's movement happening
across the screen, like Tashiro

277
00:16:19,360 --> 00:16:21,610
Mifune.
You know, jumping up and down

278
00:16:21,610 --> 00:16:24,770
like a buffoon.
Or if it's a if it's one of

279
00:16:24,770 --> 00:16:30,050
these really elaborate moving
cameras that are very clearly

280
00:16:30,050 --> 00:16:32,450
where Steven Spielberg gets the
One.

281
00:16:32,450 --> 00:16:35,530
Or from, like, if there was
anything I thought we'd talk

282
00:16:35,530 --> 00:16:40,330
about today, it's like, oh, this
guy moves the camera better than

283
00:16:40,330 --> 00:16:44,490
anyone except maybe Spielberg.
And I can see how Spielberg was

284
00:16:44,490 --> 00:16:47,260
influenced by him.
Yeah, you can.

285
00:16:47,260 --> 00:16:51,380
You can 100% see that there's a
few specific shots in this where

286
00:16:51,380 --> 00:16:54,260
the camera is moving in such a
way where I'm like, Oh yeah,

287
00:16:54,300 --> 00:16:56,820
they're like this is Spielberg,
like you.

288
00:16:56,820 --> 00:17:00,700
You can see it in a heartbeat.
So yeah, no, I'm I'm with you.

289
00:17:00,700 --> 00:17:03,420
The the camera work can be good
at times.

290
00:17:04,300 --> 00:17:06,140
Man, you are like really playing
it close to the.

291
00:17:06,220 --> 00:17:08,660
I don't know if it's because you
don't want to, like, offend me

292
00:17:08,700 --> 00:17:11,380
or if you just don't have much
to say about the movie.

293
00:17:12,200 --> 00:17:15,319
I I feel like I've said a lot
about the movie so far, Bob.

294
00:17:15,319 --> 00:17:15,880
Well.
That's good.

295
00:17:15,960 --> 00:17:17,240
All right, let's talk about the
acting.

296
00:17:17,319 --> 00:17:18,960
Because it sounds like you
weren't a fan of it.

297
00:17:18,960 --> 00:17:26,640
So do I make you aware of upon
whom you when you stunt to Shiro

298
00:17:26,640 --> 00:17:29,800
Mfune?
Or should I just let you stun

299
00:17:29,800 --> 00:17:31,880
him?
I mean that, Bob.

300
00:17:31,880 --> 00:17:34,280
You're you are your own unique
soul.

301
00:17:34,640 --> 00:17:37,600
You are an agent of your own
fortune.

302
00:17:38,240 --> 00:17:41,560
You have your own free will.
You do whatever you want to do,

303
00:17:41,560 --> 00:17:44,200
man.
All right, so Toshiro Mifune is

304
00:17:44,680 --> 00:17:49,600
perhaps the biggest star in the
history of Japanese cinema, and

305
00:17:49,600 --> 00:17:53,400
it's mostly because of his
collaborations with Kurosawa.

306
00:17:53,760 --> 00:17:55,480
I think they made 16 movies
together.

307
00:17:55,680 --> 00:17:59,760
He was not the most utilized
actor that Kurosawa used.

308
00:17:59,760 --> 00:18:02,720
That would actually be Takashi
Shimura, who plays the

309
00:18:02,720 --> 00:18:05,520
woodcutter in this movie, who I
think is just absolutely

310
00:18:05,520 --> 00:18:08,200
fantastic.
But Mifune is a really

311
00:18:08,200 --> 00:18:11,910
interesting actor because.
When he is not made-up to look

312
00:18:11,910 --> 00:18:15,790
like a crazy person, he really
does have like matinee idol good

313
00:18:15,790 --> 00:18:17,590
looks.
He is like a really good looking

314
00:18:17,590 --> 00:18:22,710
dude and if you see him in some
other Kurosawa movies, he is

315
00:18:22,710 --> 00:18:25,950
like a chameleon.
He really can become this like

316
00:18:26,230 --> 00:18:30,070
low down in the mud thief kind
of guy in Rashomon.

317
00:18:30,070 --> 00:18:32,910
And then he could be a very
upper crust kind of person in a

318
00:18:32,910 --> 00:18:35,550
movie like High and Low, which
we'll watch in a little while

319
00:18:35,550 --> 00:18:38,620
here.
I really love his ability to

320
00:18:38,620 --> 00:18:40,900
blend in and out of those type
of roles.

321
00:18:42,220 --> 00:18:45,020
I'm with you a little bit, Brad.
I don't think it's a bad

322
00:18:45,020 --> 00:18:48,500
performance and it's like one of
his iconic ones, but I like it

323
00:18:48,500 --> 00:18:54,700
when Mifune goes subtle more
than when he goes and and he

324
00:18:54,700 --> 00:18:59,420
kind of just does that
throughout the movie and like it

325
00:18:59,420 --> 00:19:02,220
works and it's going to work
again next week in Seven Samurai

326
00:19:02,220 --> 00:19:03,500
because that's his character
there.

327
00:19:04,130 --> 00:19:07,490
And it it works really well in
one of my favorite Kurosawa

328
00:19:07,490 --> 00:19:11,090
movies, which is called Throne
of Blood, which is a take on

329
00:19:11,090 --> 00:19:14,210
Macbeth.
And he's freaking great as a guy

330
00:19:14,210 --> 00:19:17,890
losing his mind as Macbeth.
But there is something to be

331
00:19:17,890 --> 00:19:20,490
said of like, you know,
sometimes you can be a little

332
00:19:20,490 --> 00:19:24,930
bit more subtle than this too.
So you know, yeah, I think what

333
00:19:24,930 --> 00:19:29,680
I realized about halfway through
the film was that I was seeing

334
00:19:29,680 --> 00:19:33,160
as best as I can tell because I
haven't watched Japanese cinema

335
00:19:33,160 --> 00:19:37,520
or animation or anything.
I I've watched just enough anime

336
00:19:38,000 --> 00:19:41,840
to see the origin of anime in
this movie.

337
00:19:43,240 --> 00:19:48,480
Like the acting in this feels
like a live action anime set

338
00:19:48,480 --> 00:19:50,520
piece over and over and over
again.

339
00:19:51,000 --> 00:19:57,060
And I just, I So for those of
you anime watchers out there, I

340
00:19:57,060 --> 00:20:01,500
have watched Attack on Titan and
I've watched the first season of

341
00:20:01,500 --> 00:20:08,060
that so oh and and I'm sorry, I
have watched One Punch Man.

342
00:20:08,100 --> 00:20:10,260
I was going to say I know you've
recommended that one to me

343
00:20:10,260 --> 00:20:11,940
before.
One Punch Man is one of the

344
00:20:11,940 --> 00:20:13,260
funniest things I've ever
watched.

345
00:20:14,060 --> 00:20:18,700
Attack on Titan Season One is a
great story.

346
00:20:19,550 --> 00:20:22,030
But the only reason I'm watching
it is because my best friend

347
00:20:22,030 --> 00:20:23,990
really, really, really wants me
to.

348
00:20:24,350 --> 00:20:33,270
And the the the overwrought,
dramatic nature in which Attack

349
00:20:33,270 --> 00:20:40,990
on Titan represents itself is
seen here in Rashaband, and I

350
00:20:40,990 --> 00:20:44,310
frankly can't stand it.
I like it.

351
00:20:44,310 --> 00:20:48,710
Just feels.
So self serious and so

352
00:20:48,710 --> 00:20:52,910
ridiculous and so like I don't
need my movies to be like a

353
00:20:52,950 --> 00:20:55,110
perfect representation of real
life.

354
00:20:55,110 --> 00:20:58,390
Like I like I understand that
the movies you can heighten

355
00:20:58,390 --> 00:21:01,910
certain things to illustrate
stuff that goes on in real life

356
00:21:01,910 --> 00:21:04,550
that you might not always see.
So I like, I get it.

357
00:21:04,790 --> 00:21:09,230
Movies don't have to be a more
right where it where it's so

358
00:21:09,230 --> 00:21:11,270
realistic that it's just no fun
at all.

359
00:21:12,360 --> 00:21:16,440
But I think we've swung from a
more on one side of the pendulum

360
00:21:17,040 --> 00:21:21,120
to so far on the other side that
I I just it.

361
00:21:21,120 --> 00:21:25,280
It's just so ridiculous.
The acting style from the wife

362
00:21:25,680 --> 00:21:31,680
to the to to the bandit to the
Samurai.

363
00:21:31,760 --> 00:21:34,480
And like the Samurai probably
has some of the few moments that

364
00:21:34,480 --> 00:21:36,840
I like the most.
Like when he's looking down at

365
00:21:36,840 --> 00:21:38,840
his wife with contempt in her
story.

366
00:21:39,390 --> 00:21:42,230
I like, got the chills and I'm
like, I need more of that.

367
00:21:42,310 --> 00:21:46,390
I need more acting like that.
Not what the bandit is doing,

368
00:21:46,390 --> 00:21:48,670
jumping up and down and laughing
like a buffoon.

369
00:21:49,230 --> 00:21:51,270
I'm going to disagree with you
on the wife though, because I

370
00:21:51,270 --> 00:21:53,790
actually think that her
performance, her name is Machico

371
00:21:53,790 --> 00:21:56,030
Kyo.
She was my favorite performance

372
00:21:56,030 --> 00:21:59,510
in the whole movie, I think
because she has the task.

373
00:22:00,230 --> 00:22:02,470
You know, I'm going to keep
comparing this movie to movies

374
00:22:02,470 --> 00:22:05,950
we've watched this season, and I
love it when you start finding

375
00:22:05,950 --> 00:22:09,030
themes in between these movies.
But, like, think about a movie

376
00:22:09,030 --> 00:22:12,790
like Memento, and it's it's kind
of crazy that this movie would

377
00:22:12,790 --> 00:22:15,870
line up right after our Nolan
miniseries, but it makes a lot

378
00:22:15,870 --> 00:22:19,030
of sense with all the
manipulation of time.

379
00:22:19,030 --> 00:22:22,150
But I think about, like, Carrie
Ann Moss's performance in

380
00:22:22,150 --> 00:22:26,190
Memento, and we talked about
how, like, I'm not crazy about

381
00:22:26,470 --> 00:22:31,030
that character, but that was a
hard role to play because you

382
00:22:31,030 --> 00:22:32,830
had to play it a whole bunch of
different ways.

383
00:22:32,830 --> 00:22:36,030
And we said the same thing about
Rebecca Hall in The Prestige.

384
00:22:37,000 --> 00:22:40,080
I feel that way about her in
this movie because from story to

385
00:22:40,080 --> 00:22:44,160
story, the person with the most
layers to their performance, I

386
00:22:44,160 --> 00:22:47,120
think is her because sometimes
she's just straight up evil.

387
00:22:47,480 --> 00:22:52,880
Sometimes she is a woman caught
in, like, I just got raped and

388
00:22:52,880 --> 00:22:56,960
now this guy's threatening me
that if I don't marry him, he's

389
00:22:56,960 --> 00:22:58,840
going to murder me.
So it's fear.

390
00:22:59,120 --> 00:23:01,720
Then there's like the the idea
of saving face.

391
00:23:01,720 --> 00:23:05,970
Then there's the idea of like my
husband doesn't love me or, you

392
00:23:05,970 --> 00:23:08,570
know, he has contempt for me and
I think she plays.

393
00:23:08,570 --> 00:23:11,530
The honor and shame culture.
Yeah, it's like super huge.

394
00:23:11,610 --> 00:23:15,170
I think she plays all those
notes like pitch perfect, man.

395
00:23:16,290 --> 00:23:19,650
See.
But even there like so I agree

396
00:23:19,650 --> 00:23:22,050
with you.
When you go from story to story,

397
00:23:22,370 --> 00:23:25,730
the part that I struggle with
is, and this is I think it comes

398
00:23:25,730 --> 00:23:30,130
back to the writing within one
story.

399
00:23:30,130 --> 00:23:33,490
So like when you get the medium
holding the seance.

400
00:23:33,820 --> 00:23:39,060
To bring the voice of the dead
samurai back which fun fun twist

401
00:23:39,420 --> 00:23:43,940
when you move into mediums and
ghosts and and all that great

402
00:23:43,940 --> 00:23:49,860
time when he is telling his
story and she like belittles

403
00:23:49,980 --> 00:23:55,340
both the bandits and the samurai
and like rips into them like she

404
00:23:55,340 --> 00:23:57,420
does a great job.
It's incredible she, like,

405
00:23:57,420 --> 00:24:01,700
transforms into this evil femme
fatale as as you would put it

406
00:24:01,700 --> 00:24:06,760
for Carrie Anne Moss.
And then immediately Withers

407
00:24:06,760 --> 00:24:12,840
back into this like weeping
shivering mess and and I just,

408
00:24:12,840 --> 00:24:14,760
I'm like, what?
What's going on with the writing

409
00:24:14,760 --> 00:24:17,480
here?
Why does her character lay into

410
00:24:17,480 --> 00:24:20,760
them?
And then the two men have like

411
00:24:20,760 --> 00:24:25,880
the wobbliest fight ever.
That's just it just doesn't fit.

412
00:24:26,680 --> 00:24:30,370
It doesn't make any sense.
And then you go back to her and

413
00:24:30,370 --> 00:24:33,170
she's like, shivering in the
background, like, Oh my

414
00:24:33,170 --> 00:24:36,450
goodness, what's going on?
I'm like, whoa, whoa, you can't

415
00:24:36,450 --> 00:24:38,450
have it both ways.
You can't have her be all

416
00:24:38,450 --> 00:24:42,250
vicious and evil and then
suddenly be terrified again

417
00:24:42,250 --> 00:24:43,570
like.
But I think that's supposed to

418
00:24:43,570 --> 00:24:46,530
be like a visual representation
that like none of these

419
00:24:46,530 --> 00:24:48,970
narrators are reliable.
Like, even within their own

420
00:24:48,970 --> 00:24:53,330
stories, their characters are
acting in contradictory ways.

421
00:24:53,530 --> 00:24:56,930
Like she's evil one minute and
then cowering the next.

422
00:24:57,720 --> 00:25:01,440
And you know the the samurais
are are wobbly in their fight

423
00:25:01,440 --> 00:25:04,560
because this is, you know, the
quote, UN quote truth version,

424
00:25:04,560 --> 00:25:06,280
right?
Like you have all these versions

425
00:25:06,280 --> 00:25:08,720
where they valorize themselves,
but here's the quote, UN quote

426
00:25:08,720 --> 00:25:10,680
truth version.
And then even at the end of that

427
00:25:10,680 --> 00:25:12,520
one you find out that's probably
not the truth.

428
00:25:12,600 --> 00:25:17,480
Like, I think they they have
events happen in each telling

429
00:25:18,080 --> 00:25:21,880
that are contradictory within
that own little mini story to

430
00:25:21,880 --> 00:25:25,040
help tip you off as an audience
that like this doesn't make

431
00:25:25,040 --> 00:25:26,760
sense.
I don't believe this anymore.

432
00:25:27,380 --> 00:25:33,860
See, and that's the point where
at like philosophically I just

433
00:25:33,860 --> 00:25:38,140
disagree with this movie.
Like, like on a very deep level,

434
00:25:38,140 --> 00:25:41,460
I I get it.
It's the most postmodern movie

435
00:25:41,460 --> 00:25:43,580
we have ever watched.
No, I don't know about that.

436
00:25:44,580 --> 00:25:46,180
What do you mean you don't know
about that?

437
00:25:46,500 --> 00:25:50,620
Postmodernism is the idea that
every modern has as you.

438
00:25:51,830 --> 00:25:57,150
Well, I this movie is the single
most postmodern movie we have

439
00:25:57,150 --> 00:26:01,750
ever watched on this podcast.
Literally the entire movie is

440
00:26:02,070 --> 00:26:03,910
everyone has their own
perspective.

441
00:26:04,350 --> 00:26:07,550
Postmodernism is everyone has
their own perspective.

442
00:26:07,990 --> 00:26:11,590
Like like that's where this
movie lies.

443
00:26:11,590 --> 00:26:14,910
And so I I'm with you.
Everybody has their own

444
00:26:14,910 --> 00:26:18,670
perspective that's that's great
and fine, but if you just use

445
00:26:18,670 --> 00:26:23,330
that to justify.
Ridiculousness in a movie that

446
00:26:23,330 --> 00:26:26,450
doesn't really seem to fit with
what's going on.

447
00:26:26,450 --> 00:26:28,530
Then I I'm just kind of, I'm
checked out.

448
00:26:29,610 --> 00:26:30,490
That's interesting.
Yeah.

449
00:26:30,490 --> 00:26:33,610
I just think that you're, you're
interpreting this movie in a

450
00:26:33,610 --> 00:26:36,010
different way than I am.
You know, let's take a really

451
00:26:36,010 --> 00:26:39,250
lighthearted example.
So, like, every time Barney

452
00:26:39,250 --> 00:26:44,450
Stinson tells a story on How I
Met your Mother, there is a

453
00:26:44,450 --> 00:26:47,770
moment in that story where he
says something.

454
00:26:47,770 --> 00:26:50,730
And then the rest of the gang is
like, ah, you almost got us that

455
00:26:50,730 --> 00:26:52,890
time.
You know, like every time Ted's

456
00:26:52,890 --> 00:26:56,450
mom tells him your penis is
enormous, You know what I mean?

457
00:26:56,450 --> 00:26:58,850
Like, then it cuts back and
they're like, ah, we've.

458
00:26:59,090 --> 00:27:00,410
I thought I was really going
there.

459
00:27:00,890 --> 00:27:05,330
Like, there's an insertion of
something that breaks the logic

460
00:27:05,330 --> 00:27:10,090
of that that mini story, right?
But that mini story doesn't

461
00:27:10,090 --> 00:27:12,690
necessarily become the focus of
the movie, right?

462
00:27:12,690 --> 00:27:15,250
And that's why I started talking
about this whole framing device.

463
00:27:15,250 --> 00:27:20,280
Because to me, the message of
this movie is not everyone has

464
00:27:20,280 --> 00:27:22,280
their own perspective, period.
Full stop.

465
00:27:22,880 --> 00:27:25,920
It's that sometimes things
happen in a world that is broken

466
00:27:26,480 --> 00:27:29,040
that we will not be able to get
to the bottom of.

467
00:27:29,680 --> 00:27:34,880
And sometimes there are just
really, really awful, tragic

468
00:27:34,880 --> 00:27:37,600
things that happen that we
cannot explain.

469
00:27:37,600 --> 00:27:40,080
I think about, you know, you
were using a biblical example

470
00:27:40,080 --> 00:27:42,520
earlier, Brad.
I think about the Tower of

471
00:27:42,520 --> 00:27:47,370
Soloam in the Gospels and this
idea that, like, people came up

472
00:27:47,370 --> 00:27:50,210
to Jesus and wanted to know,
like, what's the cause of this?

473
00:27:50,210 --> 00:27:53,530
Who sinned to cause this?
Like, we need an explanation for

474
00:27:53,530 --> 00:27:55,650
this.
And there's not really one, you

475
00:27:55,650 --> 00:27:59,450
know.
And I think that in this movie

476
00:27:59,450 --> 00:28:03,250
in particular, everyone is
despairing at the end of the

477
00:28:03,250 --> 00:28:06,410
movie, and everyone's falling
into selfishness as a result.

478
00:28:06,410 --> 00:28:09,650
And you see that from this
commoner who, like, steals a

479
00:28:09,650 --> 00:28:13,090
baby's kimono and then accuses
everybody else of being like,

480
00:28:13,090 --> 00:28:14,530
you're all just as selfish as
me.

481
00:28:14,530 --> 00:28:18,610
So let's just, like, live it up
and do what we can to survive.

482
00:28:19,450 --> 00:28:23,810
And the central question of the
movie is like, you may not know

483
00:28:23,810 --> 00:28:27,370
the truth.
You may not know what happened

484
00:28:27,370 --> 00:28:31,890
in this central little fable
that we're trying to tell here.

485
00:28:32,490 --> 00:28:34,810
But how are you going to live as
a result?

486
00:28:34,810 --> 00:28:38,300
What are your morals and what
are you going to stand on and

487
00:28:38,300 --> 00:28:40,820
how are you going to restore
your faith in?

488
00:28:40,820 --> 00:28:43,620
In this movie they say faith in
humanity, but it could be your

489
00:28:43,620 --> 00:28:45,940
faith in whatever.
And I actually find that to be

490
00:28:45,940 --> 00:28:50,580
like the opposite of a
postmodern messaging at the end

491
00:28:50,580 --> 00:28:52,540
of the movie.
It's not saying that all truth

492
00:28:52,540 --> 00:28:55,660
is equal, it's not saying that
all perspectives are equal.

493
00:28:55,660 --> 00:28:59,060
In fact, it's saying like none
of these perspectives are true

494
00:28:59,060 --> 00:29:02,620
and everyone was bullshitting.
And like you can either become

495
00:29:02,620 --> 00:29:06,180
very nihilistic about that or
you can choose to latch onto

496
00:29:06,180 --> 00:29:08,500
something more than that in in
in effect.

497
00:29:08,940 --> 00:29:10,940
It's a lot like the ending of
Fargo, I think.

498
00:29:10,940 --> 00:29:15,100
For me, Brad.
Where somebody gets shoved into

499
00:29:15,100 --> 00:29:17,940
a wood chipper.
No, where you have the ending

500
00:29:17,940 --> 00:29:20,740
with Marge and her husband.
You're just trying to screw with

501
00:29:20,740 --> 00:29:24,100
me today, man.
When I When I think about the

502
00:29:24,100 --> 00:29:27,660
ending of Fargo, the first thing
that pops into my head is is the

503
00:29:27,660 --> 00:29:31,220
wood chipper.
I'm sorry, I'm with you the the

504
00:29:31,260 --> 00:29:32,940
end.
The actual ending of Fargo is

505
00:29:32,940 --> 00:29:36,080
incredible.
But my brain went straight to

506
00:29:36,080 --> 00:29:37,840
the wood chip man.
I tell you what, sometimes I

507
00:29:37,840 --> 00:29:42,120
give like the best 2-3 minute
little mini sermons here on this

508
00:29:42,480 --> 00:29:46,120
this year podcast and you give
me not only no credit, but

509
00:29:46,200 --> 00:29:48,960
immediately undermine the point
that I was trying to make.

510
00:29:49,520 --> 00:29:52,800
So here's the thing, though.
Like the end of the film, he You

511
00:29:52,800 --> 00:29:57,800
know, I think it ends in a
postmodern place where the

512
00:29:57,800 --> 00:30:01,120
commoner chooses selfishness in
light of all the different

513
00:30:01,120 --> 00:30:05,840
truths he has seen.
And the priest, well, the the

514
00:30:05,840 --> 00:30:11,840
lumberjack chooses to adopt this
orphan who magically appeared on

515
00:30:11,840 --> 00:30:16,160
the doorstep, and the priest
chooses to have his faith

516
00:30:16,160 --> 00:30:19,240
restored in humanity because of
the latter's actions rather than

517
00:30:19,240 --> 00:30:22,600
the formers.
And yet the former still did his

518
00:30:22,600 --> 00:30:25,240
thing, like he still has his
truth.

519
00:30:25,240 --> 00:30:27,960
He thinks that everyone is
selfish and he's not punished

520
00:30:27,960 --> 00:30:30,360
for it.
Like he just walks off with the

521
00:30:30,880 --> 00:30:34,350
with the stolen goods.
So I I think it it ends in a

522
00:30:34,350 --> 00:30:37,670
much more ambiguous place.
I disagree.

523
00:30:37,750 --> 00:30:40,470
I just, I I don't think that.
I don't think that the

524
00:30:40,470 --> 00:30:42,150
filmmakers are endorsing that
though.

525
00:30:42,150 --> 00:30:44,430
I don't think they're saying
like this is a valid way to

526
00:30:44,430 --> 00:30:46,710
live.
I think they're saying like

527
00:30:46,990 --> 00:30:50,110
sometimes people look at the
world and they think that it is

528
00:30:50,110 --> 00:30:55,910
all and they become Hugh Jackman
and clone themselves and and do

529
00:30:55,990 --> 00:30:58,030
you know what I mean?
And sometimes they don't do

530
00:30:58,030 --> 00:31:00,310
that, and that's the good thing,
and do that instead.

531
00:31:01,070 --> 00:31:02,710
I don't know.
I feel like there's a very, very

532
00:31:02,710 --> 00:31:07,150
ringing endorsement of rescuing
babies and not stealing things

533
00:31:07,150 --> 00:31:08,470
from them at the end of this
film.

534
00:31:09,390 --> 00:31:13,070
I mean, sure, like the sun, the
sun shines down when he takes

535
00:31:13,070 --> 00:31:14,670
the baby.
So we know that it's a good

536
00:31:14,670 --> 00:31:16,870
thing.
Like the rain stopped, but at

537
00:31:16,870 --> 00:31:20,750
the end of the day, like we
don't know what happened to

538
00:31:20,950 --> 00:31:24,030
like, you know, we don't know
the results of the case.

539
00:31:24,630 --> 00:31:28,790
Like I I'm I'm sure that they
hang our our bandits.

540
00:31:30,050 --> 00:31:34,890
Our bandit buffoon, if you will,
but you don't see a result of

541
00:31:34,890 --> 00:31:38,410
it.
And so I it it feels all a

542
00:31:38,410 --> 00:31:43,050
little bit wishy washy to me.
Yeah, I I think I'm, I'm

543
00:31:43,050 --> 00:31:45,370
interested to continue this
conversation because I think I

544
00:31:45,370 --> 00:31:48,170
could keep going and we could
keep just, you know, batting

545
00:31:48,170 --> 00:31:49,690
this back and forth to each
other.

546
00:31:49,690 --> 00:31:52,770
But I think we need to press
pause here, Brad, Let's try

547
00:31:52,770 --> 00:31:54,650
this.
Glenn Rhodes, 10, and then we'll

548
00:31:54,650 --> 00:31:57,010
come back and chat a little bit
more about Rashomon.

549
00:31:57,010 --> 00:31:59,250
What do you say?
Let's get to it.

550
00:32:05,930 --> 00:32:08,050
All right, everybody.
Today we are going to be

551
00:32:08,050 --> 00:32:12,250
drinking Glenn Rhodes Bourbon
cask, a whiskey that I know

552
00:32:12,250 --> 00:32:15,690
absolutely nothing about.
Bob, back to you.

553
00:32:17,020 --> 00:32:19,020
Brad, I knew I kept you around
for some reason, man.

554
00:32:19,020 --> 00:32:21,620
It's for those incredible intros
that you give.

555
00:32:22,540 --> 00:32:25,980
So I I also know very little
about this because it's a sample

556
00:32:25,980 --> 00:32:28,940
that was sent to us by our
friend Austin Dupree from the

557
00:32:28,940 --> 00:32:32,660
Bourbon Nearing channel on
Instagram and you know, an

558
00:32:32,740 --> 00:32:36,460
occasional podcast as well.
So thank you to Austin for this,

559
00:32:36,820 --> 00:32:39,420
Brad.
This is a space side single malt

560
00:32:39,740 --> 00:32:44,860
Scotch whiskey that was aged
exclusively in ex Bourbon casks.

561
00:32:45,220 --> 00:32:47,460
The only thing about it that I
don't know is the age.

562
00:32:47,460 --> 00:32:52,140
Statement because it is a non
age stated Scotch so I have no

563
00:32:52,140 --> 00:32:56,100
idea how old the oldest.
In this is, but you know it's

564
00:32:56,100 --> 00:32:58,580
not a super young Scotch, we can
say that.

565
00:32:59,100 --> 00:33:02,620
Yeah, It seems to me that we
like bourbon, Bob.

566
00:33:03,340 --> 00:33:04,260
We do.
We do.

567
00:33:04,260 --> 00:33:07,340
Tend to like bourbon.
We also tend to like space side

568
00:33:07,340 --> 00:33:10,820
Scotch whiskey, so this seems.
Like a match made in heaven,

569
00:33:10,820 --> 00:33:13,340
Brad.
Yeah, it it does.

570
00:33:13,380 --> 00:33:14,700
I I don't know.
Is there anything else you want

571
00:33:14,700 --> 00:33:17,460
to say about the whiskey, or
should I get into my nosing

572
00:33:17,460 --> 00:33:18,980
notes?
Well, I will say this.

573
00:33:19,700 --> 00:33:21,860
I have not tried it yet.
I'm sipping it live.

574
00:33:22,380 --> 00:33:25,180
All I know about it is that it
is very light in color in the

575
00:33:25,180 --> 00:33:29,540
glass and that it is 80 proof.
So folks, that's all I've got to

576
00:33:29,540 --> 00:33:31,740
give you.
Brad has much more complex and

577
00:33:31,740 --> 00:33:34,500
complicated notes than I do, but
I'm going to give it a sip and a

578
00:33:34,500 --> 00:33:38,740
nose while he talks.
Yeah, let's me pull out to my

579
00:33:38,740 --> 00:33:41,780
complex and complicated notes
there, Robert.

580
00:33:42,770 --> 00:33:47,930
The nose here is decent.
It reminds me of Sherry a lot.

581
00:33:48,250 --> 00:33:49,770
It's got kind of that
fruitiness.

582
00:33:50,170 --> 00:33:54,250
It had some fresh bread notes to
it, and it had a really nice

583
00:33:54,250 --> 00:33:59,090
lemony citrus Zing to it.
Nothing about it really stood

584
00:33:59,090 --> 00:34:01,210
out.
It was very palatable.

585
00:34:01,770 --> 00:34:03,930
I give it a six and a half.
Yeah.

586
00:34:03,930 --> 00:34:06,330
I'm about there with you, Brad,
although I think it's a little

587
00:34:06,330 --> 00:34:10,170
less palatable.
So it's definitely very fruity.

588
00:34:10,250 --> 00:34:12,850
It's definitely like citrus is a
good word for it.

589
00:34:13,090 --> 00:34:16,330
For me, it's like a really
bright white wine, almost a

590
00:34:16,330 --> 00:34:18,570
champagne, like Prosecco or
something.

591
00:34:18,889 --> 00:34:23,650
But I think that there's really
no bourbon character to this at

592
00:34:23,650 --> 00:34:24,810
all.
It's not really imparting

593
00:34:24,810 --> 00:34:27,530
anything from the bourbon casks
and the alcohol.

594
00:34:27,530 --> 00:34:30,850
The ethanol on the nose is
almost a little bit harsh and

595
00:34:30,850 --> 00:34:34,290
astringent for me, and it really
kind of undercuts what's a

596
00:34:34,290 --> 00:34:37,409
really bright, lovely nose
otherwise.

597
00:34:37,830 --> 00:34:39,949
I'm going to give it a 6 1/2 as
well because I'm a little

598
00:34:39,949 --> 00:34:41,989
nervous of where it's going to
go on the palate.

599
00:34:42,750 --> 00:34:46,389
Well, I for me it took an
upswing on the palate.

600
00:34:46,429 --> 00:34:50,469
It had like a really nice honey
drizzle flavor to it.

601
00:34:51,429 --> 00:34:55,710
It almost tasted the bread went
from being like a fresh bread

602
00:34:56,070 --> 00:34:59,550
into like a nice piece of toast
with a little bit of butter on

603
00:34:59,550 --> 00:35:02,510
it.
And then as it got into the more

604
00:35:02,990 --> 00:35:06,110
the the back part of my palate I
got a lot of pear.

605
00:35:06,770 --> 00:35:09,490
And a little bit of like an
almond flavor.

606
00:35:09,730 --> 00:35:13,730
I I like this decently well.
I came up from a six and a half.

607
00:35:13,730 --> 00:35:16,090
I'm going to give the pallet a 7
1/2.

608
00:35:16,770 --> 00:35:19,850
I guess I want to give it a 7
1/2, but if I'm being honest,

609
00:35:20,530 --> 00:35:23,410
like it's good.
I forgot that I had just drank

610
00:35:23,410 --> 00:35:25,010
it as I was listening to you
talk.

611
00:35:25,010 --> 00:35:27,130
You know what I mean?
Like, it is a very.

612
00:35:27,130 --> 00:35:31,370
I don't want to call it a
mindless whiskey because that

613
00:35:31,370 --> 00:35:33,570
sounds like an insult, but it's
something that you can drink and

614
00:35:33,570 --> 00:35:35,050
not think about while you drink
it.

615
00:35:35,900 --> 00:35:39,260
Definitely not offensive at all.
The graininess is there, but

616
00:35:39,260 --> 00:35:43,140
it's not like super forward on
the palate.

617
00:35:43,140 --> 00:35:46,340
It doesn't taste young.
There's like a nice bit of

618
00:35:46,340 --> 00:35:49,420
saline to it and also a little
bit more kind of carmelly

619
00:35:49,420 --> 00:35:52,140
sweetness on the palate than
there was on the nose.

620
00:35:53,100 --> 00:35:54,900
But again, it's like this was
fine.

621
00:35:55,220 --> 00:35:58,300
And by the time we record our
next episode, Brad, I will not

622
00:35:58,300 --> 00:35:59,900
remember anything about this
whiskey.

623
00:36:00,220 --> 00:36:02,460
So for that I actually.
I'm just going to give it a 7

624
00:36:02,460 --> 00:36:06,470
out of 10 on the palate.
Yeah, the finish for me was a 7

625
00:36:06,470 --> 00:36:09,670
out of 10.
It got kind of like peachy fruit

626
00:36:09,710 --> 00:36:12,630
on the end.
Some of the cardamom type spices

627
00:36:12,630 --> 00:36:16,590
came through, but it it, it just
soured a little bit where it

628
00:36:16,590 --> 00:36:20,230
kind of had a sour barley flavor
on the, you know, after I was

629
00:36:20,230 --> 00:36:23,670
done drinking it, it was OK.
It it wasn't anything to write

630
00:36:23,670 --> 00:36:26,390
home about, but it was solid.
So seven out of 10.

631
00:36:26,830 --> 00:36:28,830
Yeah, I think I'm about in the
same place as you, man.

632
00:36:28,830 --> 00:36:31,750
Like this is a very.
Boring review because there's

633
00:36:31,750 --> 00:36:33,750
just nothing here that really
excites me.

634
00:36:33,790 --> 00:36:36,660
You know what I mean?
I think that the the aftertaste

635
00:36:36,660 --> 00:36:41,220
here does get just a little bit
bitter if I'm being honest, but

636
00:36:41,620 --> 00:36:44,060
it's not even bitter enough to
be offended by.

637
00:36:44,340 --> 00:36:46,780
Like this is a very middle of
the road.

638
00:36:47,020 --> 00:36:49,380
Scotch whiskey.
It is fine.

639
00:36:49,420 --> 00:36:51,700
This is very fine.
Everything is fine.

640
00:36:51,740 --> 00:36:54,900
I will give it a 7 out of 10 on
the finish.

641
00:36:55,420 --> 00:36:57,260
Yeah.
And that brings me the balance.

642
00:36:57,540 --> 00:37:01,380
Honestly, Bob, this is just kind
of like average to a bud, the

643
00:37:01,420 --> 00:37:05,090
average flavors throughout that.
That don't offer a ton of

644
00:37:05,090 --> 00:37:09,290
complexity or depth of
experience, so I'll give it a

645
00:37:09,290 --> 00:37:12,450
six out of 10.
On balance it's fine, but but

646
00:37:12,530 --> 00:37:14,690
just not enough to really wow
me.

647
00:37:15,290 --> 00:37:18,690
You know, usually, Brad, when we
have a nose, taste and finish

648
00:37:18,690 --> 00:37:21,850
that are all within the same
score as each other, that

649
00:37:21,850 --> 00:37:24,850
usually results in us bumping
the balance up a little bit

650
00:37:24,850 --> 00:37:26,850
because it means that it was
consistent throughout.

651
00:37:27,370 --> 00:37:30,090
I think the problem here is that
it was consistently.

652
00:37:31,390 --> 00:37:34,910
Under it's underwhelming.
The word lackluster, I guess.

653
00:37:35,390 --> 00:37:37,310
Like, it's just fine.
It's a fine whiskey.

654
00:37:37,910 --> 00:37:40,910
I think it's decently balanced,
just like the rest of it is

655
00:37:40,910 --> 00:37:44,230
decent, but I think that only is
going to result in me giving it

656
00:37:44,230 --> 00:37:48,430
a 6 1/2 year on balance.
Yeah, and here's where we get to

657
00:37:48,630 --> 00:37:52,560
value now.
This isn't an outrageously

658
00:37:52,560 --> 00:37:55,480
priced Scotch.
It is $50.00.

659
00:37:56,120 --> 00:37:59,440
I I don't think you can buy in
the state of Ohio, but from what

660
00:37:59,440 --> 00:38:02,560
I'm seeing online, it's anywhere
from like 45 to 60 bucks.

661
00:38:02,560 --> 00:38:04,280
So what is it?
We'll just call it 50.

662
00:38:05,840 --> 00:38:09,440
Is that a good value, Bob?
I just don't think this is good

663
00:38:09,440 --> 00:38:12,440
enough to to say it's a good
value at 50 bucks.

664
00:38:12,440 --> 00:38:14,160
Here's the complicating factor,
Brad.

665
00:38:14,160 --> 00:38:19,200
It's actually discontinued now.
So but but that's the thing,

666
00:38:19,240 --> 00:38:22,080
it's been discontinued and it's
still only 50 bucks.

667
00:38:22,320 --> 00:38:26,200
So like there must not be very
much demand for this out there

668
00:38:26,200 --> 00:38:28,360
because it seems to be widely
available.

669
00:38:28,360 --> 00:38:35,560
Still I think $50.00 is a decent
price point for a single malt

670
00:38:35,560 --> 00:38:39,320
Scotch whiskey.
However it being non age stated,

671
00:38:39,320 --> 00:38:43,240
it being blended and it not
being that good does kind of

672
00:38:43,240 --> 00:38:45,480
Ding it a little bit for me I
actually think.

673
00:38:45,870 --> 00:38:48,630
So I'm being frank, the the
value might be the highest

674
00:38:48,630 --> 00:38:52,150
scoring category here.
Even though I don't really like

675
00:38:52,150 --> 00:38:55,030
it that much, I'm going to give
it a 7 out of 10 on the value.

676
00:38:56,110 --> 00:39:00,390
Yeah, I I think for me, the the
whiskey inside just doesn't

677
00:39:00,390 --> 00:39:04,230
impress enough to go that high.
I I think I'll just sit right in

678
00:39:04,230 --> 00:39:05,830
the middle and give it a 5 out
of 10.

679
00:39:07,230 --> 00:39:10,750
Man, Brad, this has been a very
rough day for you between

680
00:39:10,750 --> 00:39:13,910
Rashomon and Glen Rove's Bourbon
cask.

681
00:39:14,380 --> 00:39:16,740
Yeah, Rash Man is not impressing
me a ton.

682
00:39:17,060 --> 00:39:20,700
Rash Man, The worst superhero of
all time.

683
00:39:22,780 --> 00:39:25,660
Don't worry, I'm is he here to,
like, fix your rash?

684
00:39:25,980 --> 00:39:31,060
I don't think so.
Man.

685
00:39:31,100 --> 00:39:34,020
All right, I'm coming out to a
34 out of 50.

686
00:39:34,020 --> 00:39:35,180
What are you coming out to,
Brad?

687
00:39:35,700 --> 00:39:38,580
I'm just a little below you.
I'm at a 32 out of 50.

688
00:39:38,860 --> 00:39:40,260
All right.
So that's very easy for us to

689
00:39:40,260 --> 00:39:42,740
average.
We're coming out to a 33.

690
00:39:43,120 --> 00:39:47,000
Out of 50 or a 66?
Out of 100, This is well below

691
00:39:47,000 --> 00:39:50,080
the mark where we normally start
recommending that you try or

692
00:39:50,080 --> 00:39:51,800
buy.
I don't really think it's

693
00:39:51,800 --> 00:39:53,560
necessary to do either of those,
Brad.

694
00:39:53,920 --> 00:39:56,840
Like it's not a bad whiskey, but
I don't know that I would

695
00:39:56,840 --> 00:39:58,840
recommend someone pay money for
it.

696
00:39:59,760 --> 00:40:03,160
Yeah, it just doesn't check off
enough boxes to be worth 50

697
00:40:03,160 --> 00:40:05,240
bucks.
Like like it's not a bad

698
00:40:05,240 --> 00:40:07,560
whiskey.
There's just way too many better

699
00:40:07,560 --> 00:40:11,840
options in the 45 to $60.00
Scotch range.

700
00:40:12,780 --> 00:40:15,060
All right, man.
Well, I have once again let you

701
00:40:15,060 --> 00:40:18,100
down with both the movie and the
whiskey.

702
00:40:18,220 --> 00:40:20,020
Let's get back into talking
about Rashomon.

703
00:40:20,020 --> 00:40:22,820
What do you say?
At the very least, I can beat

704
00:40:22,820 --> 00:40:26,260
you in 2 facts and a falsehood.
So that's what you think.

705
00:40:27,220 --> 00:40:33,700
Let's get back to it, Bob.
All right, everybody.

706
00:40:33,700 --> 00:40:38,020
That was Glenn Roth's Bourbon
cask, a whiskey that just didn't

707
00:40:38,220 --> 00:40:41,620
quite try hard enough for the
price that it costs.

708
00:40:42,010 --> 00:40:44,170
Kind of sounds like your opinion
on this movie, Brad.

709
00:40:44,610 --> 00:40:47,010
Yeah, I mean, I don't know how
much money he spent on it.

710
00:40:47,290 --> 00:40:49,370
Maybe.
Maybe he spent just the right

711
00:40:49,370 --> 00:40:51,370
amount of money to get what he
got.

712
00:40:51,370 --> 00:40:53,530
You are being quite the
literalist today, I tell you.

713
00:40:54,210 --> 00:40:56,170
Metaphor is lost on you in this
world.

714
00:40:57,170 --> 00:41:01,150
That's that's Dagon, right, Bob?
All right, man.

715
00:41:01,750 --> 00:41:06,230
I am interested to see what you
dug up for our next segment,

716
00:41:06,230 --> 00:41:08,430
which we call 2 facts and a
falsehood.

717
00:41:09,270 --> 00:41:15,230
Is going to try to stumpy ball 2
All right and what is wrong?

718
00:41:16,830 --> 00:41:20,070
2 facts and a falsehood.
That's right, two facts and a

719
00:41:20,070 --> 00:41:22,070
falsehood.
The part of the podcast where I

720
00:41:22,070 --> 00:41:26,870
try to stump Bob by giving him 3
facts, one of which is actually

721
00:41:26,870 --> 00:41:31,280
a falsehood.
And these facts are usually

722
00:41:31,280 --> 00:41:34,160
called from the IMDb trivia
page.

723
00:41:40,560 --> 00:41:42,320
Yeah, that's probably the best
way of putting it.

724
00:41:34,160 --> 00:41:37,280
So facts is always in
quotations, but only one of them

725
00:41:37,280 --> 00:41:39,360
was written by Brad to try to
stump me.

726
00:41:40,040 --> 00:41:45,520
Brad I.
Yeah. 22 facts in quotation

727
00:41:45,520 --> 00:41:48,840
Marks and one thing.
That Brad wrote in falsehood?

728
00:41:48,880 --> 00:41:52,480
Yeah, yes.
I don't know what my record is

729
00:41:52,480 --> 00:41:54,920
right now on the year, Brad.
I did not tally it up before we

730
00:41:54,920 --> 00:41:57,320
press record.
I promise before next week I

731
00:41:57,320 --> 00:42:00,800
will know exactly where I'm at.
I'm hovering around 500 and that

732
00:42:00,800 --> 00:42:03,240
seems to be the case all season
so far.

733
00:42:03,840 --> 00:42:08,040
Yeah, it's been a good season.
Vegas would have a hard time

734
00:42:08,040 --> 00:42:11,240
putting odds on this, I believe.
You know, it's funny.

735
00:42:11,480 --> 00:42:13,520
It's funny you say that before
you get into two facts in a

736
00:42:13,520 --> 00:42:15,760
falsehood.
I was thinking about this in the

737
00:42:15,760 --> 00:42:18,700
first half.
You know how like on FanDuel or

738
00:42:18,700 --> 00:42:22,260
just in general, like you can do
prop bets on a game, You know,

739
00:42:22,300 --> 00:42:25,260
like first person to hit a three
pointer or whatever.

740
00:42:26,780 --> 00:42:30,060
I realized that if I was going
to do prop bets on our podcast,

741
00:42:30,100 --> 00:42:32,300
I would lose every single one I
placed.

742
00:42:32,540 --> 00:42:36,380
Because like when you said that
the cinematography in this movie

743
00:42:36,380 --> 00:42:41,380
was bad, I swear to God, I
thought like as I was watching

744
00:42:41,380 --> 00:42:43,820
this movie, I was like, if
there's nothing else we can talk

745
00:42:43,820 --> 00:42:47,080
about on this episode.
I know Brad's going to love the

746
00:42:47,080 --> 00:42:50,520
camera work in this movie.
That's the one thing I would bet

747
00:42:50,520 --> 00:42:54,280
my house on and.
You know what I'm realizing?

748
00:42:54,280 --> 00:43:00,240
What's that?
I think that the acting and the

749
00:43:00,240 --> 00:43:03,720
script just distracts from it.
Shut up.

750
00:43:05,120 --> 00:43:08,520
Shut up.
Are you realizing that right

751
00:43:08,520 --> 00:43:09,770
now, Brad?
I.

752
00:43:09,770 --> 00:43:12,490
Am Yeah, man, what an original
thought.

753
00:43:12,930 --> 00:43:15,970
I couldn't even pay attention to
the cinematography because of

754
00:43:15,970 --> 00:43:18,450
how ridiculous what was
happening.

755
00:43:18,730 --> 00:43:20,530
All the things happening on the
screen were.

756
00:43:21,210 --> 00:43:23,530
All right, man, let's get into
two facts in a falsehood.

757
00:43:24,370 --> 00:43:29,570
Fact #1 During shooting, the
cast approached Kurosawa on mass

758
00:43:29,770 --> 00:43:32,850
with the script and asked him
what does it mean.

759
00:43:33,210 --> 00:43:36,450
The answer Kurosawa gave them
was that Rashman is a reflection

760
00:43:36,450 --> 00:43:39,010
of life.
And life does not always have

761
00:43:39,010 --> 00:43:42,810
clear meanings.
Fact #2 during shooting of the

762
00:43:42,810 --> 00:43:46,930
film, Kurosawa would often have
the actors practice the parts of

763
00:43:46,930 --> 00:43:50,370
the other characters, saying
that the film would work best if

764
00:43:50,450 --> 00:43:53,970
each actor understood the
perspective of each character.

765
00:43:55,570 --> 00:43:58,650
Fact #3 In the downpour scenes
showing the Rashimond Gate,

766
00:43:58,690 --> 00:44:01,970
Akira Kurosawa found that the
rain in the background simply

767
00:44:01,970 --> 00:44:04,850
wouldn't show up against the
light Gray backdrop.

768
00:44:05,300 --> 00:44:08,180
To solve this problem, the crew
ended up tinting the rain by

769
00:44:08,180 --> 00:44:10,980
pouring black ink into the tank
of the rain machine.

770
00:44:11,420 --> 00:44:15,380
The ink is clearly visible on
Woodcutter's face just before

771
00:44:15,380 --> 00:44:18,660
the rain stops.
I like that one.

772
00:44:18,660 --> 00:44:21,660
I'm going to say that's true.
Just sounds cool.

773
00:44:21,740 --> 00:44:23,940
And if you made it up that I
want to give you your props.

774
00:44:25,220 --> 00:44:29,100
One and two are so similar that
it's kind of hard to figure out

775
00:44:29,100 --> 00:44:32,580
which one is the truth and which
one's the falsehood, I'm going

776
00:44:32,580 --> 00:44:36,430
to say.
I don't freaking know, man.

777
00:44:37,430 --> 00:44:39,230
Whichever one I think is going
to be wrong, I'm going to say

778
00:44:39,230 --> 00:44:41,830
one is the falsehood.
Yeah, you're wrong.

779
00:44:41,950 --> 00:44:44,670
Yeah, yeah.
Was it 2?

780
00:44:45,390 --> 00:44:46,670
It was 2.
Nice.

781
00:44:46,670 --> 00:44:47,190
Nice.
Nice.

782
00:44:47,830 --> 00:44:49,510
Yeah.
Hey, look at me.

783
00:44:49,790 --> 00:44:51,950
You did it.
Just winning on All Friends

784
00:44:51,950 --> 00:44:54,790
tonight.
I like your strategy of like I'm

785
00:44:54,790 --> 00:44:58,270
going to write a fact that is
almost identical to this other

786
00:44:58,270 --> 00:45:00,550
fact.
What are you talking?

787
00:45:00,550 --> 00:45:02,110
About I just like they were so
similar.

788
00:45:02,460 --> 00:45:05,820
Now the first fact they were all
asking him what the script meant

789
00:45:06,260 --> 00:45:09,980
and the second one was about how
Kurosawa acted as a director.

790
00:45:10,620 --> 00:45:11,380
All right.
That's fair.

791
00:45:12,060 --> 00:45:13,620
Yeah.
Take your point.

792
00:45:14,220 --> 00:45:16,380
We're just going to butt heads
on everything tonight.

793
00:45:17,380 --> 00:45:20,340
I think we are, man.
Honestly, You know The funny

794
00:45:20,340 --> 00:45:23,020
thing about this?
I haven't revisited this movie

795
00:45:23,020 --> 00:45:27,340
in years and years, and it's
been so long since I've watched

796
00:45:27,340 --> 00:45:29,260
this movie.
Brad, The Criterion Collection

797
00:45:29,260 --> 00:45:33,400
came out with the like.
The restored version of this

798
00:45:33,400 --> 00:45:36,080
movie I want to say in like 08
or 09.

799
00:45:37,120 --> 00:45:42,280
And that was right when they had
started doing DVD's and Blurays

800
00:45:42,840 --> 00:45:45,920
and I was like, I want to get a
Bluray player one of these days,

801
00:45:45,920 --> 00:45:49,280
but they're really expensive.
I have such an extensive DVD

802
00:45:49,280 --> 00:45:53,680
collection and and from what I
hear these new Bluray players

803
00:45:53,920 --> 00:45:58,720
they up convert so like they
play DVD's in.

804
00:45:59,240 --> 00:46:01,240
HD quality, that's what.
That's how they were like

805
00:46:01,240 --> 00:46:03,520
selling them at the time.
So I was like, I'm going to get

806
00:46:03,520 --> 00:46:06,920
the DVD and not get the Blu-ray.
Smart.

807
00:46:07,000 --> 00:46:09,720
Yeah, right.
So I have it on DVD.

808
00:46:10,000 --> 00:46:11,800
That's how.
That's how long it's been since

809
00:46:11,800 --> 00:46:14,840
I've watched this movie.
That's incredible.

810
00:46:15,280 --> 00:46:17,840
So did you stream it or did you
watch your DVD?

811
00:46:17,840 --> 00:46:19,360
I absolutely did not watch the
DVD.

812
00:46:19,360 --> 00:46:22,720
I streamed it on Macs.
The point I was going to make

813
00:46:22,720 --> 00:46:25,200
was this.
This was not one that I had

814
00:46:25,200 --> 00:46:28,570
circled as like.
Brad must love this movie cuz

815
00:46:28,570 --> 00:46:31,890
like I haven't even watched it
in you know, 10/12/15 years,

816
00:46:31,890 --> 00:46:35,930
whatever it's been.
And I really loved it this time

817
00:46:35,930 --> 00:46:38,130
man.
Like I I thought it was

818
00:46:38,130 --> 00:46:42,370
incredibly powerful and as I was
watching the ending like I'm

819
00:46:42,370 --> 00:46:46,170
tearing up and it was the
combination of like this is just

820
00:46:46,170 --> 00:46:51,490
working for me, but also like
you can see the tentacles coming

821
00:46:51,490 --> 00:46:54,770
off of this movie and
influencing.

822
00:46:55,250 --> 00:46:58,850
So many other movies we've
talked about in this podcast and

823
00:46:58,850 --> 00:47:01,850
I think that like regardless of
the fact that I could tell you

824
00:47:01,850 --> 00:47:04,770
didn't like this movie very
much, I am interested to hear

825
00:47:04,770 --> 00:47:09,770
Brad, like what movies came to
mind for you, if any of like, Oh

826
00:47:09,770 --> 00:47:12,610
yeah, that was clearly
influenced by Rashomon.

827
00:47:14,930 --> 00:47:21,210
We have done over 200 Movies
Now, probably over like 350

828
00:47:21,210 --> 00:47:23,290
episodes if you include bonus
episodes.

829
00:47:24,700 --> 00:47:30,780
And our very first Japanese
film, you use the word

830
00:47:30,780 --> 00:47:34,900
tentacles.
You have never once said that

831
00:47:34,900 --> 00:47:44,620
word before on our podcast.
Oh, that killed me, man.

832
00:47:44,780 --> 00:47:47,380
You're you're just you're firing
on all cylinders.

833
00:47:47,460 --> 00:47:48,660
I guess so.
I guess so.

834
00:47:50,820 --> 00:47:54,710
What movies did I see?
Here's the thing, man.

835
00:47:54,790 --> 00:48:01,030
I don't know if I really saw any
other movies in this as I

836
00:48:01,030 --> 00:48:04,230
watched it.
I like, I know that that's not a

837
00:48:04,230 --> 00:48:08,870
fun, engaging answer for our
listeners to to hear, but I

838
00:48:08,870 --> 00:48:12,750
think I was just so enthralled
in the performances.

839
00:48:15,870 --> 00:48:18,470
Oh man.
Bob, why don't you tell me what

840
00:48:18,470 --> 00:48:21,070
movies you saw in this and I
can.

841
00:48:21,070 --> 00:48:23,150
I feel like you're being
dismissive now, Like I.

842
00:48:23,920 --> 00:48:26,240
I mean, Brad, there's there's so
many.

843
00:48:26,240 --> 00:48:30,400
Like we we literally just sat
down with Jay Arisman at New

844
00:48:30,400 --> 00:48:33,200
Riff and he talked about this
for like 20 minutes.

845
00:48:34,160 --> 00:48:37,360
This is the first movie that
really did this idea of like,

846
00:48:38,040 --> 00:48:41,840
you know, different perspectives
on a thing or I don't know, like

847
00:48:41,840 --> 00:48:44,240
I was even thinking about movies
that we've watched recently.

848
00:48:44,240 --> 00:48:46,760
I've already said Memento, I've
said The Prestige.

849
00:48:46,760 --> 00:48:50,000
I I think there's a lot of
Unforgiven in this movie and

850
00:48:50,000 --> 00:48:52,920
this idea of like.
The stories that we tell

851
00:48:52,920 --> 00:48:54,640
ourselves, the myths that we
build up.

852
00:48:54,680 --> 00:48:57,080
And then the reality.
You know, when you were talking

853
00:48:57,080 --> 00:49:03,320
about the samurai like cowering
and shaking as he's fighting the

854
00:49:03,320 --> 00:49:07,720
the bandit, like that reminds me
of the way that little Bill gets

855
00:49:07,720 --> 00:49:11,360
killed at the end of Unforgiven.
Like it's not pretty and we need

856
00:49:11,360 --> 00:49:13,280
to stop like valorizing those
things.

857
00:49:13,280 --> 00:49:16,960
So I don't know, man.
I just think, I think there are

858
00:49:16,960 --> 00:49:19,960
a lot of films that.
I'm not going to say they don't

859
00:49:19,960 --> 00:49:23,920
get made without Rashiman, but
like this was the first one to

860
00:49:23,920 --> 00:49:26,880
do it and you can draw a very
clear line from A to B.

861
00:49:28,200 --> 00:49:32,240
Yeah, I sure.
Even that though is like

862
00:49:32,240 --> 00:49:36,200
something that I I wouldn't
necessarily know, like, like

863
00:49:36,200 --> 00:49:39,280
sure, this is a story within a
story, but you go back to Double

864
00:49:39,280 --> 00:49:43,400
Indemnity like that is a a story
within a story.

865
00:49:44,200 --> 00:49:44,680
Right.
Yeah.

866
00:49:44,840 --> 00:49:46,360
Yeah.
I mean, I don't mean like just

867
00:49:46,360 --> 00:49:48,640
the story within a story, but
like the idea of.

868
00:49:49,090 --> 00:49:52,050
So like the story about the
samurai and the wife, and this

869
00:49:52,050 --> 00:49:57,010
is the first movie ever that did
the three separate takes on the

870
00:49:57,010 --> 00:50:00,090
same event, and they're all from
different perspectives kind of a

871
00:50:00,090 --> 00:50:01,050
thing.
Yeah, yeah.

872
00:50:01,050 --> 00:50:04,610
I mean, I I think that there's
I, I guess I'll say this, the

873
00:50:04,610 --> 00:50:09,330
one filmmaker I did think about
was Nolan was Nolan.

874
00:50:09,770 --> 00:50:10,970
Yeah.
I mean, that's partially because

875
00:50:10,970 --> 00:50:13,610
we just watched, you know, three
of his movies.

876
00:50:13,610 --> 00:50:17,930
But sure, like this feels like,
you know, he doesn't bend time

877
00:50:17,930 --> 00:50:22,280
in any way.
But he bends perspective on a on

878
00:50:22,280 --> 00:50:24,080
a chronological event.
Yeah.

879
00:50:24,440 --> 00:50:27,160
So I'm like, yeah, sure, there's
part of me that's like, oh, I

880
00:50:27,160 --> 00:50:30,640
can see how Nolan probably
picked up a few things from here

881
00:50:30,640 --> 00:50:36,000
as he uses, you know, time and
different storytelling to to

882
00:50:36,000 --> 00:50:38,200
mess with our perspectives as as
an audience.

883
00:50:38,480 --> 00:50:41,960
Yeah, well, Brad, I can tell
that you don't really want to

884
00:50:41,960 --> 00:50:47,300
talk about this movie.
This let's wind down, man.

885
00:50:47,300 --> 00:50:49,140
I think we should just check out
for the day.

886
00:50:49,660 --> 00:50:52,860
Like I said, I don't have like a
unique personal attachment to

887
00:50:52,860 --> 00:50:55,300
this movie.
It's not like when you come at

888
00:50:55,300 --> 00:50:58,780
ET or something.
But I think there also comes a

889
00:50:58,780 --> 00:51:01,700
point where it's like, all
right, I think Brad's done now.

890
00:51:01,700 --> 00:51:04,540
So let's let's get to our last
couple.

891
00:51:04,920 --> 00:51:07,360
Segments of the day here.
The first one is one that we

892
00:51:07,360 --> 00:51:09,000
call.
Let's make it a double.

893
00:51:09,000 --> 00:51:12,360
We're near the end of the
episode, so thanks listening to

894
00:51:12,360 --> 00:51:15,200
the film and whiskey show.
Let's favor another film with

895
00:51:15,200 --> 00:51:16,600
this one, even if it's
struggling.

896
00:51:16,600 --> 00:51:19,080
It's a final segment of the day.
Now let's make it a double.

897
00:51:19,840 --> 00:51:22,200
Let's make it a double is the
part of the show where we pick a

898
00:51:22,200 --> 00:51:25,240
movie to pair up with this one
to make the perfect double

899
00:51:25,240 --> 00:51:28,080
feature.
Brad, as you have clearly been

900
00:51:28,080 --> 00:51:30,480
thinking about all of the movies
this reminds you of.

901
00:51:31,320 --> 00:51:34,200
I'm gonna let you go first, man.
What's your Make it a double.

902
00:51:34,830 --> 00:51:41,630
Oh man, I think that there is
another movie that deals with

903
00:51:41,630 --> 00:51:45,750
alternate perspectives and a lot
of different people trying to

904
00:51:45,750 --> 00:51:49,550
figure out how to do the right
thing in a crazy effed up world.

905
00:51:50,590 --> 00:51:52,670
I'm going to pair this with Pulp
Fiction.

906
00:51:53,150 --> 00:51:54,510
Oh, nice.
I like it.

907
00:51:55,350 --> 00:51:58,070
Yeah, Yep.
Because then I would actually

908
00:51:58,070 --> 00:52:00,270
enjoy myself watching one of the
two.

909
00:52:00,270 --> 00:52:01,710
You.
Just had to get one more in,

910
00:52:01,790 --> 00:52:05,850
didn't you?
Brad, actually go ahead I think.

911
00:52:05,850 --> 00:52:09,370
Thematically, though, Pulp
Fiction feels like a a really

912
00:52:09,370 --> 00:52:13,130
good modern fit on Rajaman.
There's a movie that I would

913
00:52:13,130 --> 00:52:14,970
really love for you to watch at
some point.

914
00:52:14,970 --> 00:52:16,890
It's not Japanese, it's Chinese
movie.

915
00:52:16,890 --> 00:52:20,410
It's called Hero Stars Jet Li,
it is.

916
00:52:20,810 --> 00:52:23,490
I mean, it's just a fantastic
movie, but it follows the same

917
00:52:23,490 --> 00:52:28,570
kind of structure where Jet Li's
character goes before, like the

918
00:52:28,770 --> 00:52:31,090
the governor of a province or
something, and he's telling him

919
00:52:31,090 --> 00:52:33,460
this story.
And he tells it from three

920
00:52:33,460 --> 00:52:37,140
different perspectives.
And it is very obviously

921
00:52:37,140 --> 00:52:39,020
Rashomon.
I think you'd like that one

922
00:52:39,020 --> 00:52:40,300
better.
There's a couple more, there's

923
00:52:40,340 --> 00:52:43,500
more action elements in it.
I think that's kind of the

924
00:52:43,500 --> 00:52:46,500
obvious pick here.
I was also thinking about a

925
00:52:46,500 --> 00:52:49,460
movie like Life of Pi, where at
the end of the movie, like you

926
00:52:49,460 --> 00:52:52,900
are very much left with this
choice of here are the two

927
00:52:52,900 --> 00:52:57,060
options for how this went down.
Which one do you think is the

928
00:52:57,060 --> 00:52:59,020
better story?
And I think that's kind of like

929
00:52:59,020 --> 00:53:01,620
what the movie leaves you with
at the end here.

930
00:53:02,080 --> 00:53:04,200
But the movie, I'm really going
to go with, Brad, you actually

931
00:53:04,200 --> 00:53:07,440
already said the name of it.
I was thinking about it pretty

932
00:53:07,440 --> 00:53:09,120
much through the whole end of
the movie.

933
00:53:09,560 --> 00:53:15,680
When you have a tragic tale like
the tale of the the bandit and

934
00:53:15,680 --> 00:53:19,600
the wife and the samurai, and
you have to kind of pick up the

935
00:53:19,600 --> 00:53:23,720
pieces after and decide what are
you going to do in a situation

936
00:53:23,720 --> 00:53:27,200
where no one has done the right
thing and it's do the right

937
00:53:27,200 --> 00:53:29,120
thing.
I mean the.

938
00:53:30,320 --> 00:53:34,240
The monologue that Samuel L
Jackson as the DJ gives at the

939
00:53:34,240 --> 00:53:37,920
end of that movie where he says,
you know, are we going to live

940
00:53:37,920 --> 00:53:39,840
together together?
Are we going to live?

941
00:53:40,200 --> 00:53:41,800
I think it just fits really well
here.

942
00:53:41,800 --> 00:53:43,640
So that's going to be my pick.
Do the right thing.

943
00:53:44,160 --> 00:53:47,320
Yeah, that's a great pick, dude.
I think that you have a lot

944
00:53:47,320 --> 00:53:51,840
going on and do the right thing
in Rashomon Where.

945
00:53:52,420 --> 00:53:57,420
You just don't know what's going
on and and that's like, OK, you

946
00:53:57,420 --> 00:53:59,700
got to you got to figure it out
for yourself as an audience

947
00:53:59,700 --> 00:54:03,460
member and and they're both 10
out of 10 movies, right, Bob?

948
00:54:03,860 --> 00:54:06,060
Oh yeah.
All right, Brad, let's give this

949
00:54:06,060 --> 00:54:08,060
movie some final scores.
I'm just going to go ahead and

950
00:54:08,060 --> 00:54:09,820
say it.
I didn't expect to give this

951
00:54:09,820 --> 00:54:11,900
A10.
I think it's a 10 out of 10.

952
00:54:11,900 --> 00:54:14,380
Dude, I loved it.
I thought that the camera

953
00:54:14,380 --> 00:54:17,540
movements every single shot was
beautifully done.

954
00:54:18,710 --> 00:54:20,750
I mean, I'm just excited to see
where we go from here with

955
00:54:20,750 --> 00:54:23,990
Kurosawa and so I'm going to set
the bar pretty high here at a 10

956
00:54:23,990 --> 00:54:28,670
out of 10.
That is 1 might say as high as

957
00:54:28,670 --> 00:54:32,870
the bar could go.
So that is a very high bar

958
00:54:32,870 --> 00:54:34,510
indeed.
I will set it a little bit

959
00:54:34,510 --> 00:54:35,950
lower.
I'm going to give it some

960
00:54:35,950 --> 00:54:38,830
realistic expectations.
I'm going to give Rashomon a six

961
00:54:38,830 --> 00:54:43,390
and a half.
It did not work for me.

962
00:54:44,000 --> 00:54:47,960
Dang.
Bro and I have no shame at this

963
00:54:47,960 --> 00:54:50,720
point in my movie watching
career.

964
00:54:51,080 --> 00:54:53,040
I got no shame man.
I know what I think.

965
00:54:53,040 --> 00:54:54,440
You certainly don't have any
shame.

966
00:54:54,440 --> 00:54:58,680
I know that for a fact.
I would not fit well in a honor

967
00:54:58,680 --> 00:55:01,160
and shame society like feudal
Japan.

968
00:55:01,840 --> 00:55:05,040
We're coming out to an average
of an 8.25 out of 10 on this

969
00:55:05,040 --> 00:55:07,720
one, which puts us pretty much
right in line with where this is

970
00:55:07,720 --> 00:55:10,980
at an IMDb.
I think this sits at like #130,

971
00:55:10,980 --> 00:55:13,700
something in the top 250 at like
an 8.2.

972
00:55:13,820 --> 00:55:17,180
So for every person like me out
there, there is a brat.

973
00:55:17,300 --> 00:55:19,380
And that's just the way of the
world, folks.

974
00:55:21,580 --> 00:55:25,660
Yeah, but honestly, I want to
know how much you guys agree

975
00:55:25,660 --> 00:55:27,660
with me.
And so if you want to do that,

976
00:55:27,660 --> 00:55:31,820
you can go ahead and find us on
Instagram, Facebook, Twitter and

977
00:55:31,820 --> 00:55:35,080
TikTok.
At Film Whiskey, or if you want

978
00:55:35,080 --> 00:55:37,520
to join the conversation, you
can jump onto our Discord.

979
00:55:37,520 --> 00:55:39,720
Discord is an awesome place
where we get to have

980
00:55:39,720 --> 00:55:43,800
conversations with a small group
of people, and the entire

981
00:55:43,800 --> 00:55:46,320
Internet doesn't have to see it.
And that's kind of awesome.

982
00:55:46,600 --> 00:55:50,160
So come join our Discord, talk
about Rashomon, talk about all

983
00:55:50,160 --> 00:55:52,440
sorts of things.
You can find a link to it at the

984
00:55:52,480 --> 00:55:54,360
end of every single one of our
show notes.

985
00:55:54,880 --> 00:55:58,440
Well, Brad, if the if the one
hour and 30 minute version of

986
00:55:58,440 --> 00:56:01,040
Kurosawa didn't work for you,
I'm pretty pumped to see what

987
00:56:01,040 --> 00:56:04,400
the three hour and 30 minute
version of Kurosawa does for

988
00:56:04,400 --> 00:56:06,720
you.
Cuz next week we're looking at 7

989
00:56:06,720 --> 00:56:10,120
Samurai, you finally get to pull
out of your criterion Blu-ray.

990
00:56:11,000 --> 00:56:12,680
All right.
So join us for that next week.

991
00:56:12,680 --> 00:56:15,480
But until then, I'm Bob Book.
I'm Brad G.

992
00:56:15,800 --> 00:56:17,040
And we'll see you next time.