Episode 105: The Devil’s Backbone (2001)

The guys head to a secluded Spanish wartime orphanage for this week’s podcast on Guillermo Del Toro’s 2001 film, The Devil’s Backbone. The film is somewhat of a spiritual predecessor to the highly revered Pan’s Labyrinth a few years later, so much of the Bit Players’ discussion is spent on comparing the two films, while trying not to let the perfection of Pan’s Labyrinth bring down their perception of the older work. They do have a lot in common, however: the Civil War backdrop to a fantastical story (in this case a ghost named Santi, played by Junio Valverde, rather than woodland creatures), an oppressive and frightening world in which Del Toro’s child characters must find solace, and a rotten-to-the-core villain in Eduardo Noriega’s Jacinto. The most striking differences are visual — The Devil’s Backbone’s desert landscapes and surrounding emptiness provide a sense of isolation that runs counter to the promise of a world beneath the woods in Pan’s Labyrinth — and in character development — the orphanage caretakers Carmen (Marisa Paredes) and Dr. Casares (Federico Luppi) provide a sense of warmth and caring that could easily be absent in a ghost story such as this. The guys talk about all this and more, including the film’s interest in the theme of these lost children like Carlos (Fernando Tielve) and Jaime (Íñigo Garcés), left to live their lives in war without the parents taken by it as another real-life representation of Del Toro’s concept of ghosts, doomed suspended in their death state forever.

The Devil's Backbone (2001)
Director
Guillermo Del Toro
Stars
Marisa Paredes, Eduardo Noriega, Federico Luppi, Fernando Tielve, Íñigo Garcés

Selected By
Jarryd

4.2

Aired October 16, 2017

The guys head to a secluded Spanish wartime orphanage for this week's podcast on Guillermo Del Toro's 2001 film, The Devil's Backbone. The film is somewhat of a spiritual predecessor to the highly revered Pan's Labyrinth a few years later, so much of the Bit Players' discussion is spent on comparing the two films, while trying not to let the perfection of Pan's Labyrinth bring down their perception of the older work. They do have a lot in common, however: the Civil War backdrop to a fantastical story (in this case a ghost named Santi, played by Junio Valverde, rather than woodland creatures), an oppressive and frightening world in which Del Toro's child characters must find solace, and a rotten-to-the-core villain in Eduardo Noriega's Jacinto. The most striking differences are visual — The Devil's Backbone's desert landscapes and surrounding emptiness provide a sense of isolation that runs counter to the promise of a world beneath the woods in Pan's Labyrinth — and in character development — the orphanage caretakers Carmen (Marisa Paredes) and Dr. Casares (Federico Luppi) provide a sense of warmth and caring that could easily be absent in a ghost story such as this. The guys talk about all this and more, including the film's interest in the theme of these lost children like Carlos (Fernando Tielve) and Jaime (Íñigo Garcés), left to live their lives in war without the parents taken by it as another real-life representation of Del Toro's concept of ghosts, doomed suspended in their death state forever.

Featuring "Yo No Se Que Me Han Hecho Tus Ojos" by Carlos Gardel

03:05 Number-Crunching
14:47 The Devil's Backbone Introduction
16:29 A Ghost Story & Comparisons to Pan's Labyrinth
21:05 Favorite Characters & The Making a Jacinto's Villainry
28:30 "The Devil's Backbone"
30:00 Guillermo Del Toro's Fascination with the Supernatural Interacting with the Real World
39:05 The Subtle Use of Violence in Del Toro Films
44:00 Unpacking the Film's Visual Metaphors
47:41 Clark's Corner: Recast, Netflix Search Query, Genre Game, Porno Version, Most of the Budget Went To....
1:01:40 Ratings

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Episode 53: Pan’s Labyrinth (2006)

The guys pull out their book of fairy tales and head into the twisted mind of Guillermo Del Toro for 2006’s Pan’s Labyrinth. They discuss the role of magic in the film and whether Del Toro’s is a world in which magic exists or if it serves as a coping mechanism for our heroine Ofelia, how Del Toro subverts the fairy tale dynamic with his treatment of his princess, and the impeccable style that is used to tell this amazing and stark story. They also decide if Pan’s Labyrinth passes the sleepover test, is better than Star Wars, and what the cast would be for the American remake. They pick their favorite bathroom reading material and torture method of choice.

Pan's Labyrinth (2006)
Director
Guillermo Del Toro
Stars
Ivana Baquero, Sergi López, Maribel Verdú, Doug Jones

Selected By
Jarryd

5.0

what movies are
About

Aired Wednesday, May 4, 2016

The guys pull out their book of fairy tales and head into the twisted mind of Guillermo Del Toro for 2006's Pan's Labyrinth. They discuss the role of magic in the film and whether Del Toro's is a world in which magic exists or if it serves as a coping mechanism for our heroine Ofelia, how Del Toro subverts the fairy tale dynamic with his treatment of his princess, and the impeccable style that is used to tell this amazing and stark story. They also decide if Pan's Labyrinth passes the sleepover test, is better than Star Wars, and what the cast would be for the American remake. They pick their favorite bathroom reading material and torture method of choice.

Top 10 Films of 2015

2015 will always be a special year for the Bit Players when it comes to film, not only because it was the year that the podcast actually began, but it was actually a great year for new movies. Childhood dreams were realized when we got more Star Wars, the character of Rocky Balboa was gloriously revitalized in Creed, Pixar delivered one of their finest and most impactful offerings to date, some of the obligatory novel adaptations were actually quite good, Mad Max redefined what it means to be an action movie, and a whole lot of characters horrifically died in gorgeous snowy settings. We predict that it was a year of films that, when we look back years later, will continue to offer some of our lifelong favorite watches, and our top 25 films of 2015 is the list that best embodies what was so great this year and will continue to be so for years to come.

Aired Monday, February 22, 2016

2015 will always be a special year for the Bit Players when it comes to film, not only because it was the year that the podcast actually began, but it was actually a great year for new movies. Childhood dreams were realized when we got more Star Wars, the character of Rocky Balboa was gloriously revitalized in Creed, Pixar delivered one of their finest and most impactful offerings to date, some of the obligatory novel adaptations were actually quite good, Mad Max redefined what it means to be an action movie, and a whole lot of characters horrifically died in gorgeous snowy settings. We predict that it was a year of films that, when we look back years later, will continue to offer some of our lifelong favorite watches, and our top 25 films of 2015 is the list that best embodies what was so great this year and will continue to be so for years to come.

First Watch: Crimson Peak

The world of Guillermo Del Toro’s ninth feature film Crimson Peak is one that is announced with its very first utterance: “Ghosts are real. This much I know,” Edith Cushing (Mia Wasikowska) narrates over footage of her bloodied and frightened on a snowy backdrop which is later explicated. Del Toro quickly asserts the claim by bringing forth these ghosts, never turning a blind eye to them for gimmickry and cheap thrills at sudden spooks. The sudden spooks come not despite this forthrightness, but actually because of them. They’re inescapable in a way that turning the lens to an empty corridor or revealing it was only the wind could never achieve; the lens turns to a corridor with a plodding, smoky ghost, and it’s the wind, but it’s so much more, and we’re just going to have to deal with that reality for Crimson Peak’s duration.

The world of Guillermo Del Toro's ninth feature film Crimson Peak is one that is announced with its very first utterance: "Ghosts are real. This much I know," Edith Cushing (Mia Wasikowska) narrates over footage of her bloodied and frightened on a snowy backdrop which is later explicated. Del Toro quickly asserts the claim by bringing forth these ghosts, never turning a blind eye to them for gimmickry and cheap thrills at sudden spooks. The sudden spooks come not despite this forthrightness, but actually because of them. They're inescapable in a way that turning the lens to an empty corridor or revealing it was only the wind could never achieve; the lens turns to a corridor with a plodding, smoky ghost, and it's the wind, but it's so much more, and we're just going to have to deal with that reality for Crimson Peak's duration.

By establishing his world in this way, Del Toro is able to better hide the true horrors of the film. Edith, an aspiring author, later defends her novel by saying that it's "not a ghost story, but a story with ghosts in it," and the same can be said of Crimson Peak itself. The ghosts are merely facts, remnants from another realm that will always stand for the horrors done in this one. By diverting our shaken attention around every corner of the terrible Allerdale Hall, looking for the next phantasm to provide some answers, the truth lurks right at the surface in the brutal deeds done by the crumbling manor's living residents. Del Toro frames his shocking imagery of jarringly realistic violence within the familiar Gothic fantasy land to stunning effect, but it's not a sleight of hand.

In fact, everything is hidden in plain sight with Crimson Peak.

The fatal burst of passionate evil that erupts in Lucille Sharpe (Jessica Chastain) is always contained in her silently pulsing promise of harm that is barely contained through the duration of the film. But the eruption is no less the dazzling for it. If Crimson Peak has a greatest strength it would be this fact, that all of its cards are revealed from the start and we still clap in delight when Del Toro turns one over to show us our card. Somehow it's this fulfillment of promise that makes the film work in a mode that had long been dried up, where houses creak and come to life and ghosts glide through their walls and mysterious lords who are not what they seem are exactly what they seem.

Del Toro's vision, of course, is carried out by the performances pulled out of the actors on screen. Every second of Chastain's performance, from the silent dark breezes of the film's first half to the ravenous storm that befalls Allerdale Hall in Crimson Peak's climax is completely dazzling. Her chemistry with Tom Hiddleston (playing her brother Thomas) and Wasikowska in their warped domestic triangle create near breathless tension and her violent surges plummet the action of the film into joyful chaos by its end, creating ghosts of all, in one way or another. Her presence truly does haunt the film, in the best possible way, which Del Toro makes sure to allude to in Crimson Peak's final shot of her specter, plucking away at her piano lullaby.

Of course, the fantastic performances of Chastain, Hiddleston, Wasikowska, and Charlie Hunnam (Dr. Alan McMichael, who is pretty much just Jax Teller with better bedside manner and wardrobe) were basically a bonus with Crimson Peak. Del Toro hardly needed talent that immense to make a film that looks this good tell a captivating story. Everything put forth on the screen was utter eye candy, from the gorgeously tragic Allerdale Hall and its bloodmud-stained terrain to the turn of the century costuming and special effects. Del Toro has proclaimed that this is his most composed film, and the payoff of that thought and effort is brought to bear in full here. WIth Crimson Peak, he has not only created a world in which ghosts are real, but one in which the horror and the beauty of that realization is to be experienced firsthand.