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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and I'm Joe McCormick, and today we're going

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Speaker 1: to be talking about the nineteen sixty three Toho special

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Speaker 1: effects Bonanza Atragon, directed by Ishiro Honda, who was probably

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Speaker 1: most famous for making the original nineteen fifty four Godzilla,

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Speaker 1: but who did a bunch of other things. I mean,

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Speaker 1: made dramatic movies as well, but made some of the

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Speaker 1: Kaiju classics like Mothra and things like that, but also

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Speaker 1: some of the weirder ones I was seeing in the

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Speaker 1: film list. Looks like Honda did, like Matango, the movie

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Speaker 1: about the mushroom Island. Yeah, the mushroom people in it.

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Speaker 1: Yeah yeah. I mean we'll get into him a little

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Speaker 1: bit more in a bit, but he he's he is,

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Speaker 1: without a doubt, Kaiju Royalty. It's not to say that

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Speaker 1: that Kaiju movies would not have existed without Issu Rojanda.

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Speaker 1: They might have, but they wouldn't have been the same

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Speaker 1: with a trigaon here. I would say, I went in

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Speaker 1: thinking I was going to get a straight Kaiju movie,

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Speaker 1: but actually this turned out to be something very different

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Speaker 1: than what I expected. It's, uh, I would say, primarily

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Speaker 1: a morality tale about the dangers of nationalism and the

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Speaker 1: virtues of cooperation in the face of great obstacles. And

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Speaker 1: there is a there is a strange beast in it.

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Speaker 1: There is a dragon monster featured towards the end of

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Speaker 1: the film. But I'd say the real special effects spectacle

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Speaker 1: centerpiece here is the submarine. This is also a movie

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Speaker 1: about how submarines can fly. Yes, yes, this is more

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Speaker 1: of a model submarine movie than a rubber monster movie

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Speaker 1: in the end. And and yeah, I too was was

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Speaker 1: It was surprised because the trailers and the emotional images

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Speaker 1: for this film, they really sell the fantasy elements of it,

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Speaker 1: and you think you're going to get more of a

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Speaker 1: you know, sort of a you know, a Pulp era

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Speaker 1: Flash Gordon sque clashing of human civilization and some sort

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Speaker 1: of fantastic hidden civilization that just also happens to be

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Speaker 1: humans and you know, different outfits. But yeah, there's this

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Speaker 1: this deeper message they were going for here. Yeah, this

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Speaker 1: was interesting. So I was reading a write up about

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Speaker 1: this in a book called American International Pictures, A Comprehensive filmography.

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Speaker 1: Now This was a Toho Studios movie, uh when it

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Speaker 1: was made in Japan, but it was released by a

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Speaker 1: I P internationally or at least in the United States. Uh.

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Speaker 1: This is a book by Rob Craig, and one of

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Speaker 1: the things he points out about the film that the

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Speaker 1: villainous entity in the film, the MoU Empire, is that

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Speaker 1: it's an example of an anachronistic motif that was common

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Speaker 1: during the golden age of pulp fiction, the so called

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Speaker 1: lost Empire. Would you know, there's like a nation of

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Speaker 1: people which secretly still exists, unknown to anyone outside of it.

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Speaker 1: And usually this empire combines the esthetics of some kind

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Speaker 1: of pre industrial society with futuristic technological superiority. So they've

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Speaker 1: you know, they're like ancient Egypt with ray guns or something. Yeah,

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Speaker 1: this is um. This is a whole idea of like

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Speaker 1: lost continents and so forth, and that you see. Of course,

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Speaker 1: it's part of a whole occult movement back in the

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Speaker 1: day and and sort of you know, sudo like not pseudo,

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Speaker 1: but I guess a pre conspiracy theory. We would call

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Speaker 1: it conspiracy theory thinking today, I guess, uh, turn in

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Speaker 1: in the culture. But but also of course it leaked

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Speaker 1: into various fictions. So you see it, you see it

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Speaker 1: in uh, in both pulp science fiction and pulp fantasy

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Speaker 1: of the old days, you know, like various like Roberty

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Speaker 1: Howard and Clark Ashton Smith tails. They often concern things

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Speaker 1: that happened on some continent it doesn't exist anymore, so

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Speaker 1: sort of you know, I've forgotten iron age or have

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Speaker 1: forgotten um, you know, history in which these fantastic tales

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Speaker 1: could happen. And then also, uh, you know you can

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Speaker 1: you can cast about and find numerous examples of undersea

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Speaker 1: Kingdom style uh and adventure shows from back in the day.

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Speaker 1: But coming back to the idea of this movie as

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Speaker 1: a moral melodrama, I would say a lot of Kaiju

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Speaker 1: movies have a clearly identifiable moral. It's usually not super complex,

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Speaker 1: you know, It's something kind of simple, like war is

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Speaker 1: bad and should be avoided, or you know, we should

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Speaker 1: not pollute and damage the planet Earth. But despite the

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Speaker 1: simplicity of of these themes, I'd say, for me, somehow,

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Speaker 1: the moral of a Kaiju movie usually comes through with

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Speaker 1: a kind of weird sense of integrity, despite the fact

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Speaker 1: that it is writing into your brain on the vehicle

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Speaker 1: of two radioactive lizards suplexing each other. So the central

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Speaker 1: conflict in this movie is that the Earth is threatened

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Speaker 1: by a force called the MoU Empire. It is a

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Speaker 1: sort of evil atlantis at the bottom of the Pacific.

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Speaker 1: It's ruled by an empress with red hair who wants

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Speaker 1: to subjugate and destroy everyone and the the The Empress

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Speaker 1: will not be satisfied until all of the land lovers

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Speaker 1: on the planet are either killed or kneeling before her,

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Speaker 1: and over the course of the film we find out

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Speaker 1: that there's really only one weapon capable of standing against

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Speaker 1: the superior technology and the and arguably the magic of

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Speaker 1: the MoU Empire, and it is a giant submarine which

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Speaker 1: can fly in the air, drill through rock, and shoot

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Speaker 1: freeze raise. But that submarine belongs to a Japanese naval

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Speaker 1: commander for whom World War two basically never ended, so

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Speaker 1: the war is over, but he goes into hiding after

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Speaker 1: the war and continues to work on this super weapon,

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Speaker 1: which he wants to use to restore the Japanese in

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Speaker 1: Pire to its place of glory and in when he's

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Speaker 1: presented with the situation in the movie, he refuses to

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Speaker 1: join in common cause with the other nations of the

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Speaker 1: world against the MoU Empire, because he's only interested in

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Speaker 1: fighting for the glory of the Japanese Empire specifically, or

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Speaker 1: in the I'm sure it wasn't saying this in the original.

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Speaker 1: In the dub that I watched, one line called it

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Speaker 1: the imperial Empire of Japan. But anyway, the moral ark

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Speaker 1: of the film is his discovery that he must put

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Speaker 1: aside his his sense of nationalistic honor and superiority and

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Speaker 1: and stand up with a good of humankind as a whole.

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Speaker 1: And I think this was a common theme in Japanese

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Speaker 1: films at the time that would sort of promote the

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Speaker 1: idea of international cooperation and and be critical of the

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Speaker 1: idea of nationalism or imperialism. But it uh, it seems

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Speaker 1: to fit also very well with issue ro Honda's particular sensibilities. Yeah. Yeah,

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Speaker 1: it's a you know, it's a it's a monster movie.

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Speaker 1: It's a more like I said, more of a submarine movie.

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Speaker 1: But it is a it is a fantasy adventure. But

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Speaker 1: you gotta fill up. The rest of the film was

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Speaker 1: something and it's not just um, just popcorn in the area.

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Speaker 1: It's a film that's that's trying to say something uh,

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Speaker 1: while also entertaining us with toy submarines and rubber monsters. Now,

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Speaker 1: a note on the title. The Japanese title for the

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Speaker 1: film literally translates to the Undersea Warship, but Toho went

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Speaker 1: with the Atragon for the international title, presumably because it

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Speaker 1: combines the English words atomic and dragon. I guess the

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Speaker 1: worship is the titular atomic dragon here, though, I guess

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Speaker 1: you could also make a case for maybe maybe the

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Speaker 1: actual dragon is an atomic dragon. I don't know. It's

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Speaker 1: supposed to be pretty powerful. I love these Toho portmanteaus.

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Speaker 1: You remember the story about the origin of the word

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Speaker 1: godzilla That was from combining the words for guerrilla and whale.

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Speaker 1: Oh yeah, that's right, it's the guerrilla whale. He's not

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Speaker 1: really either of those things. No, no, now the Yeah.

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Speaker 1: The trailer for this is uh is pretty flashy and impressive.

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Speaker 1: It's it's hard to once you start seeing the looking

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Speaker 1: at the posters for this film, once you start looking

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Speaker 1: at the trailer footage, it's hard to not be pulled

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Speaker 1: into it. It's like a whirlpool. That's how we wound

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Speaker 1: up here, looking around for some sort of Kaiju or

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Speaker 1: Kaiju adjacent film to watch and the uh uh for

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Speaker 1: the elevator pitch. You can't get much better than than

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Speaker 1: what is actually featured on at least some of the

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Speaker 1: English language posters. It is see the Juggernaut of Destruction

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Speaker 1: challenge the Incredible Empire beneath the Sea, which is accurate.

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Speaker 1: That's that's kind of what That's basically what you see

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Speaker 1: in the film, but with a little more padding than that.

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Speaker 1: Well yeah, well, one thing I will also say about

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Speaker 1: this movie is it takes a long time to get

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Speaker 1: to the Moon Empire. There is a lot of this

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Speaker 1: movie has a surprising amount of plot, Like there's a

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Speaker 1: ton of intrigue people sort of chasing each other around.

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Speaker 1: There's a lot of characters that it spends the first

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Speaker 1: twenty minutes introducing all these different characters and essentially just

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Speaker 1: positioning them all on the chessboard to eventually move them

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Speaker 1: to the island where the the Japanese naval commander Jing

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Speaker 1: Gucci is working on his his super weapons submarine. Yeah,

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Speaker 1: it's it's an interestingly kind of complex plot in a way.

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Speaker 1: The way it's constructed here and the way it differs

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Speaker 1: from from your pure Kaiju film, it does make me

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Speaker 1: wonder if something like you could have, like a Shin

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Speaker 1: a Trogon movie take place to you know, be produced

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Speaker 1: today where they take this this basic concept just ultra seriously. Yeah,

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Speaker 1: so we see all the meetings and the rescheduling of

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Speaker 1: the meetings and the moving the meetings to a different location,

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Speaker 1: and yeah, yeah, my mind turns back to to Shin Godzilla.

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Speaker 1: I guess anytime I watch a film that involves you know, Kaiju,

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Speaker 1: and even in the slightest and I guess one of

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Speaker 1: the great things about Shin Godzilla is it's kind of

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Speaker 1: a um, you know, the fantasy there is is both

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Speaker 1: the monsters, but also it kind of presents this optimistic

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Speaker 1: view in which modern governments work, in which they they

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Speaker 1: like all the things they are doing, or a can

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Speaker 1: can actually be pushed in a beneficial direction and solve

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Speaker 1: big problems like monsters attacking the you know, the country,

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Speaker 1: or other things like, um, you know, some of the

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Speaker 1: wicked problems in the world or climate change, etcetera. It's funny.

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Speaker 1: Just the other day I was rewatching one of the

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Speaker 1: original trailers for Shin Godzilla that I think is just

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Speaker 1: a great trailer doesn't reveal too much about the movie.

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Speaker 1: It's just a very well chosen edit of of short

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Speaker 1: sort of scenes of characters again going to meetings and stuff.

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Speaker 1: But it's got this soundtrack set to it, this uh

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Speaker 1: escalating sort of uh string riff that's recorded on almost

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Speaker 1: what sounds like an old timey telephone line or something. Uh,

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Speaker 1: and it it creates this wonderful sense of impending doom.

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Speaker 1: It's really all right. Well, on that note, let's go

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Speaker 1: ahead and hear the trailer audio for the English trailer

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Speaker 1: for Arica. Atrigon the most devastating device the mind of

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Speaker 1: man has yet created. It travels on land and in

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Speaker 1: the sea. It tunnels through the earth. It's cruel. All

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Speaker 1: superman with superweapons can freeze their enemies and enslave them.

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Speaker 1: Fire and fear are the gods of terror. On the

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Speaker 1: hidden content, no thing, no man, no adventure can match

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Speaker 1: the nine amazing wonders of Atrigon, nor the massive powers

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Speaker 1: of its allegoric destroyer. You will see wonders that challenge

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Speaker 1: the imagination. You will see flying saucers. You will know

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Speaker 1: terror that panics the world. At moroccos On me I

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Speaker 1: am Agent number twenty three of the Mule Empire. This

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Speaker 1: earthquake is not accidental. Sounds pretty exciting, right, Dragon, submarines, freeze,

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Speaker 1: raise everything you could possibly ask for an emotion picture.

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Speaker 1: So let's talk about some of the people involved. Certainly

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Speaker 1: at the top we already mentioned is Shiro Honda, who

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Speaker 1: lived in nineteen eleven through legendary tote film director of

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Speaker 1: course Hill nineteen Godzilla, the movie that started at all.

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Speaker 1: He directed forty four pictures in total. Eight of those

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Speaker 1: were Godzilla films, culminating in ninety Terror of Mecca Godzilla.

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Speaker 1: But yeah, he also directed Rodan, The Mysteriens, The Human

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Speaker 1: Vapor Matango, Frankenstein Versus Beragon, The War of the Gargantuans.

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Speaker 1: Those are both films that deal with giant Frankenstein's I

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Speaker 1: was that I think has grown from a Nazi brain

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Speaker 1: or something. Um. I think I was reading the Michael

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Speaker 1: Weldon summary of Frankenstein Versus Bearragon and invited memory serves

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Speaker 1: the heart of Frankenstein's monster is like sustained or resurrected

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Speaker 1: by Nazi scientists to get shipped off to Japan, where

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Speaker 1: a young boy eats it and then transforms into a

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Speaker 1: gigantic Frankenstein. That's basically the plot of Jason goes to Hell. Yeah, yeah,

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Speaker 1: and and and Honestly, it's pretty true to Mary Shelley's vision.

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Speaker 1: I don't think she would disagree with this film at all. Uh.

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Speaker 1: Was just there a part where the giant Frankenstein reads

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Speaker 1: Paradise Lost. Yeah, probably it's they have. That's how they

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Speaker 1: try and um and defeat it. I'm guessing is they

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Speaker 1: have to build a gigantic copy of Paradise Lost it

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Speaker 1: out there with Banks and try and trick him into

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Speaker 1: reading it, make it realize that it is satan. Yeah.

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Speaker 1: Let's see other movies. There's a Space Amba and others.

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Speaker 1: He was a friend of legendary Japanese director at Cua Kasawa,

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Speaker 1: and you see him popping up on some of his

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Speaker 1: projects as well. For instance, he served, as I've seen it,

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Speaker 1: listed as director counselor but also chief assistant director on

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Speaker 1: Kurassow epic Ron. This is the one that is basically

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Speaker 1: like a samurai uh, sort of riff on king Lear. Yeah,

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Speaker 1: it's a great one. Yeah, has unbelievably staged battle scenes. Yeah. Honda.

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Speaker 1: His name continues to a year in the credits on

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Speaker 1: Godzilla movies moving forward, of course, but also you see

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Speaker 1: there are also other homages to him in various Godzilla

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Speaker 1: and Godzilla adjacent pictures. Alright. The screenplay was by Shinichi

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Speaker 1: uh secon Zawa, who lived nineteen twenty through nineteen ninety two,

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Speaker 1: a frequent collaborator with Honda. Inscribe of many Godzilla movies,

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Speaker 1: beginning with nineteen sixty two's King Kong Versus Godzilla, and

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Speaker 1: then this is interesting, This is not a The screenplay

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Speaker 1: was not based on one novel, but kind of took

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Speaker 1: ideas from two different books and sort of mashed them

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Speaker 1: together and then use that as a space, uh to

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Speaker 1: to to comment on the things. I guess that that

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Speaker 1: Honda and the secon Zawa wanted to comment on. That

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Speaker 1: makes sense. Yeah, I can see this being a mash up. Yeah,

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Speaker 1: and I think that's something that ultimately works in its favor.

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Speaker 1: So the first novel would be this, UM. This novel

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Speaker 1: UM The Undersea Warship by shoonro O Chicawa who lived

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Speaker 1: eighteen seventy six through nineteen fourteen, Japanese author and journalist

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Speaker 1: who was also a pioneer in Japanese science fiction. UM,

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Speaker 1: I don't think His influence was was was felt outside

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Speaker 1: of Japan, but was it was very influential within Japanese

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Speaker 1: um uh you know, pulp writing of the time, science

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Speaker 1: fiction of the time. He was inspired in large part

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Speaker 1: by the works of Jules Verne uh So, of course

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Speaker 1: he wrote about sci fi submarines, but in his book

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Speaker 1: apparently the villains are themselves Japanese imperialist who build a

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Speaker 1: great drill headed submarine. Now, the second book is won

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Speaker 1: by Shigeru Kamatsuzaki uh the novel being The Undersea Kingdom.

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Speaker 1: So Kamatsuzaki worked in the in the art departments on

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Speaker 1: this film as well as Honda's fungal horror film A Tango.

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Speaker 1: And he was a prolific artist in Japanese science fiction,

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Speaker 1: specializing in futuristic vehicles. He did in a lot of

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Speaker 1: covered illustrations for model kits, particularly model kits that had

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Speaker 1: some sort of like sci fi TV show or movie

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Speaker 1: tie in, And it's a definite style that I think

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Speaker 1: many people will recognized, Like even if you're not familiar

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Speaker 1: with his work, if you look up his name and

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Speaker 1: look at some of these galleries of particularly of these

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Speaker 1: uh these plastic model kit boxes you'll you'll recognize the

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Speaker 1: style and it's you know, it's it's very like like

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Speaker 1: you know, you know, classic sci fi, a lot of

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Speaker 1: fantastic vehicles with unnecessary drills on them, that sort of thing,

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Speaker 1: polished shiny metal on the surfaces, things that look like

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Speaker 1: flying toasters. Yeah. Yeah, flying toasters is a good a

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Speaker 1: good description. But yeah. He also wrote this novel, Undersea Kingdom,

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Speaker 1: which serves this partial basis for this film, and it

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Speaker 1: concerns an undersea kingdom threat. Okay, so smashing these together,

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Speaker 1: you take what's originally the idea of a sort of

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Speaker 1: remnant Japanese imperialist who who builds a dangerous super weapons submarine,

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Speaker 1: and that's originally the villain of one novel, but in

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Speaker 1: this it's do you take that same character and turn

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Speaker 1: them into a reluctant hero or somebody who starts as

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Speaker 1: uncooperative with the heroes but then comes around. Yeah, and

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Speaker 1: then you combine this with the actual villain being this

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Speaker 1: golden arrow of pulp fiction kind of idea of a

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Speaker 1: lost empire, except it's under the sea and they have

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Speaker 1: a dragon at their command and they have all kinds

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Speaker 1: of technology. Yes. Now, normally we talk mostly about some

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Speaker 1: human actors in this film, but like I said, most

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Speaker 1: of them were Kaiju movie regulators, and we'll mention a

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Speaker 1: few of them when we get into the plot. But

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Speaker 1: really the real stars of this film are are the

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Speaker 1: submarine and then also the dragon of the submarine battles.

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Speaker 1: Um So, I guess starting with the submarine. The submarine

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Speaker 1: is called the Go Tingu um or Go Tango, which

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Speaker 1: apparently literally means roaring heavens, which a nice name for submarine.

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Speaker 1: Like you said, it is the ultimate submarine warship, and

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Speaker 1: it is so ultimate that it not only travels beneath

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Speaker 1: the sea, it can also tunnel through solid stone, it

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Speaker 1: can fly through the air, and it is a spectacular

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Speaker 1: model in a movie that's filled with a lot of

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Speaker 1: really solid model work. Um And, I think it shouldn't

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Speaker 1: be a surprise at all that this apparently sold a

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Speaker 1: number of Gotango model kits over the years, um So.

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Speaker 1: I included a picture from from one of these model

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Speaker 1: kit boxes. I do very much love the look of

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Speaker 1: the design, though I have some practical concerns about this

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Speaker 1: submarine I can raise later now. The Gotango here it

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Speaker 1: was simply just too good to remain in one motion picture,

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Speaker 1: so it would ultimately ultimately return you and Godzilla Island,

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Speaker 1: a TV show that ran through Godzilla Final Wars in

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Speaker 1: two thousand and four, super Fleet Caesar X the movie

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Speaker 1: in two thousand five, and god Zaban, which has been

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Speaker 1: is a web show that at least started in twenty

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Speaker 1: nine and is perhaps still going based on what I

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Speaker 1: could tell on the on the wiki zilla dot com website.

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Speaker 1: I don't think I know any of these except Final Wars. Yeah,

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Speaker 1: and then I should also mention that there was there was.

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Speaker 1: There was also an Intragon two part anime series that

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Speaker 1: came much later, which of course features the submarine You

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Speaker 1: can't You can't do a movie about the Atomic Dragon,

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Speaker 1: about having the Atomic Dragon itself in it uh And

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Speaker 1: speaking of dragons, that brings us to Manda Uh. This

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Speaker 1: is the god bio weapon of them of the move

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Speaker 1: a great serpentine sea dragon that strongly resembles traditional Japanese

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Speaker 1: depictions of dragons, which is one of the things that's

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Speaker 1: into instantly interesting about this this monster design, because you know,

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Speaker 1: you see things like Godzilla. Godzilla just looks kind of

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Speaker 1: like a well, I guess a whale and a gorilla,

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Speaker 1: but more more or less like a big dinosaur and

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Speaker 1: other creatures that Godzilla battles or Gammera battles. You know,

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Speaker 1: they don't they don't really look like monsters that one

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Speaker 1: is instantly going to necessarily identify with Um with pre

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Speaker 1: Kaiju Japanese culture. But here's Manda, and Manda basically looks like,

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Speaker 1: you know, a traditional depiction of some sort of a

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Speaker 1: serpentine Japanese dragon. Um And I think that that ultimately

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Speaker 1: works in its favor um And I imagine it was

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Speaker 1: quite intentional. Apparently it was. Originally some of the early

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Speaker 1: UH pre production art showed Manda is like a big snake,

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Speaker 1: but then they made him a dragon instead, And you

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Speaker 1: think about, like what he's supposed to be. He's kind

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Speaker 1: of a manifestation of war and imperialism, certainly for the

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Speaker 1: people of MoU. But MoU is all so again presented

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Speaker 1: is this dark reflection a kind of underwater world to

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Speaker 1: mirror this this you know, the remnants of warlike sentiments

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Speaker 1: in Japanese culture of the nineteen sixties. So it makes

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Speaker 1: sense that the horrors of the past might be symbolized

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Speaker 1: by a monster that is also draped in history. Yeah,

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Speaker 1: that that makes sense to me. Now he's brought to

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Speaker 1: life via or I can say he it could be

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Speaker 1: a sheet or we don't know. Manda has brought to

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Speaker 1: life via puppetry. But it's not you know, so it's

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Speaker 1: not a rubber suit Kaiju. Uh. So it's uh, it's

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Speaker 1: a slightly different beast than say Godzilla and so forth.

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Speaker 1: But that doesn't stop Manda from coming back in other

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Speaker 1: films and so again. This list is via wiki zilla

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Speaker 1: dot com. Manda returns at least as in a cameo

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Speaker 1: in Destroy All Monsters in sixty eight, All Monsters Attack

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Speaker 1: in sixty nine. That's stock footage. Also comes back at

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Speaker 1: stock footage in Terror of Mecca, Godzilla in seventy five,

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Speaker 1: and then also Godzilla Final Wars in two thousand and four, uh,

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Speaker 1: god Zaban uh in nineteen, and then Godzilla Singular Point

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Speaker 1: a TV series in one so a, Manda still very

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Speaker 1: much part of the Kaiju Toho Pampion. Now, as I mentioned,

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Speaker 1: though Manda is not a major figure throughout most of

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Speaker 1: the film's runtime, Manda pops up basically right at the

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Speaker 1: end um And one of the things that I think

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Speaker 1: makes Manda interesting is that it uh some of it's

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Speaker 1: like big confrontation and fight scene involves underwater puppetry, which

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Speaker 1: I don't know what the challenges were in shooting that,

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Speaker 1: but I found that interesting. Yeah, the underwater scenes, I

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Speaker 1: think are are brought to life rather well in this film,

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Speaker 1: you know, through the use of models and puppetry. Uh.

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Speaker 1: And then I mean there are scenes also with some

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Speaker 1: aquatic humanoids or frog band uh, swimming their way through

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Speaker 1: the water, and it's you know, it's clear that they're

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Speaker 1: they're not actually filmed underwater. They're just they're like hang

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Speaker 1: by wires or something, but it still works. I gotta say,

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Speaker 1: any movie that has long underwater sequences is where where

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Speaker 1: you're actually like out swimming around in the water. I

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Speaker 1: don't mean like in the interior of a submarine or

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Speaker 1: something that's got to fight uphill to hold my attention.

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Speaker 1: I'm not quite sure why, but I think about a

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Speaker 1: lot of movies that have diving scenes, and I just

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Speaker 1: think a lot of those scenes I I tend to

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Speaker 1: want to doze off, Like Thunderball. You know, the James

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Speaker 1: Bond movie Thunderball has got like twenty minutes of just

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Speaker 1: diving underwater, fighting between divers with masks, and stuff and

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Speaker 1: uh and it's it's nearly impossible for me to pay

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Speaker 1: attention throughout that entire sequence. Yeah, and you often have

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Speaker 1: like a prolonged sequence on deck, putting the swim the

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Speaker 1: swim gear on, putting on the wet suit, so that

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Speaker 1: kind of drags it out as well. Weirdly, I would

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Speaker 1: say the same is true for underwater levels and video games.

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Speaker 1: People almost even like those. You ever heard people complain

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Speaker 1: about this. I feel like that's a common sentiment. It's like, oh,

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Speaker 1: it's a water level. Huh, Well I never really thought

400
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Speaker 1: about that. I mean sometimes it's great. I mean, like

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Speaker 1: the video game Solma that we've talked about before, Like, oh,

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Speaker 1: that is great. But I feel like that's different because

403
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Speaker 1: that's a sort of atmospheric horror thing instead of something

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Speaker 1: where you're just waiting for the pace of of the

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00:25:17,920 --> 00:25:20,720
Speaker 1: action to pick up. Yeah. A lot of times watching

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Speaker 1: an underwater scene in a movie feels like watching an

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Speaker 1: extended slow motion sequence, you know. Yeah, Well, it's often

408
00:25:26,920 --> 00:25:29,120
Speaker 1: a great place to dump some stock footage as well.

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Speaker 1: You need to pad out the picture. But like I said,

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Speaker 1: I was, I was okay with the underwater stuff in

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Speaker 1: this one. Real quick um. Note on the music here.

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Speaker 1: The music was by Akira if A Kubi, who lived

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Speaker 1: nineteen fourteen through two thousand and six. If A Kubi

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Speaker 1: was a Japanese classical composer who scored such films as

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Speaker 1: the Original Godzilla, Rodan Dimigen, and The Snow Woman, which

416
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Speaker 1: is a horror film. Uh so he did quite a bit.

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Speaker 1: But certainly this is the name that is also attached

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Speaker 1: to that icon Godzillam musing alright, so well, shall we

419
00:26:03,000 --> 00:26:05,280
Speaker 1: leap right into the action of the plot, much like

420
00:26:05,320 --> 00:26:08,520
Speaker 1: this movie leaps right into the action of the plot. Yeah,

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00:26:08,600 --> 00:26:10,800
Speaker 1: it does. I wonder if this was an artifact of

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Speaker 1: the version we watched. So I watched the one that

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Speaker 1: was on Amazon Prime, did did you? Well? Yeah? Okay, um, Well,

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Speaker 1: A couple of things about that. One thing is that

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Speaker 1: any any lines I quote are a product of that

426
00:26:23,280 --> 00:26:25,560
Speaker 1: particular English stub. I don't know if there are other

427
00:26:26,040 --> 00:26:28,760
Speaker 1: dubs or how well they capture the spirit of the original.

428
00:26:28,800 --> 00:26:31,919
Speaker 1: But there was some very weird and funny dialogue, and

429
00:26:31,960 --> 00:26:34,080
Speaker 1: I suspect that a lot of that has to do

430
00:26:34,119 --> 00:26:37,200
Speaker 1: with the translation. Yeah. In in general, this is often

431
00:26:37,240 --> 00:26:39,720
Speaker 1: the case. We can give the film the benefit of

432
00:26:39,720 --> 00:26:44,600
Speaker 1: the doubt regarding the the original dialogue in the motion picture. Yeah, yeah,

433
00:26:44,760 --> 00:26:47,080
Speaker 1: but so the version we watched also, it just open

434
00:26:47,280 --> 00:26:50,560
Speaker 1: just jumps right in, like you see a car driving

435
00:26:50,560 --> 00:26:53,720
Speaker 1: through streets at night, their tires screeching as it whips

436
00:26:53,760 --> 00:26:56,480
Speaker 1: around corners. It's going into tunnels. And then we see

437
00:26:56,520 --> 00:27:00,800
Speaker 1: inside the car there is a strange driver in sunglasses

438
00:27:00,920 --> 00:27:04,560
Speaker 1: and it's nighttime but he's wearing sunglasses, and a passenger

439
00:27:04,640 --> 00:27:06,760
Speaker 1: riding in the back seat. And then the guy in

440
00:27:06,800 --> 00:27:09,639
Speaker 1: the back seat suddenly looks around as if he is

441
00:27:09,800 --> 00:27:13,440
Speaker 1: as confused as the audience about what's happening right now,

442
00:27:13,840 --> 00:27:15,880
Speaker 1: and he goes, hey, what's up? Where are we going?

443
00:27:17,240 --> 00:27:19,600
Speaker 1: And uh, and he tries to like grab the driver,

444
00:27:19,840 --> 00:27:22,840
Speaker 1: but it's it's almost as if the driver is hot

445
00:27:22,960 --> 00:27:25,119
Speaker 1: or something like he pulls his hand away. He's like

446
00:27:26,280 --> 00:27:29,600
Speaker 1: and then sort of wilts into the back seat. And

447
00:27:29,640 --> 00:27:33,119
Speaker 1: then next we immediately cut to an unrelated scene where

448
00:27:33,160 --> 00:27:38,960
Speaker 1: there are two goofball photographers and a model. The model

449
00:27:39,040 --> 00:27:41,480
Speaker 1: is wearing a leopard print bikini and they're doing a

450
00:27:41,520 --> 00:27:45,399
Speaker 1: photo shoot, but they're doing it at like a deserted

451
00:27:45,560 --> 00:27:51,920
Speaker 1: shipyard at night. Yeah, yeah, okay, so it wasn't just me.

452
00:27:52,080 --> 00:27:55,439
Speaker 1: It's like it would in fact not be normal to

453
00:27:55,640 --> 00:28:00,000
Speaker 1: stage a a swimsuit photo shoot at an empty concrete

454
00:28:00,119 --> 00:28:03,840
Speaker 1: pier in the dark. I mean not without significant lighting, right,

455
00:28:03,880 --> 00:28:06,520
Speaker 1: I mean, which I don't think these guys had. Is

456
00:28:06,560 --> 00:28:10,760
Speaker 1: this like Miss Shipyards nineteen sixty three. Yeah, it's for

457
00:28:10,800 --> 00:28:15,960
Speaker 1: the calendar. So the two photographers will become major characters

458
00:28:15,960 --> 00:28:19,800
Speaker 1: in the movie. They are named Susumu and Yoshido, and

459
00:28:19,840 --> 00:28:23,679
Speaker 1: the swimsuit model is played by an actress named Akimi Kita.

460
00:28:24,000 --> 00:28:26,960
Speaker 1: And if I understand correctly, I think marketing for the

461
00:28:27,000 --> 00:28:31,080
Speaker 1: American release of this movie may have possibly implied that

462
00:28:31,119 --> 00:28:34,080
Speaker 1: the bikini lady is a main character of the movie.

463
00:28:34,600 --> 00:28:36,480
Speaker 1: She is not. I think she's only in this one

464
00:28:36,520 --> 00:28:39,680
Speaker 1: scene for like thirty seconds. Yeah. I looked Akita up

465
00:28:39,720 --> 00:28:42,120
Speaker 1: and she was born in nineteen forty and actually has

466
00:28:42,160 --> 00:28:44,719
Speaker 1: fifty eight credits in IMDb. Looks like a lot of

467
00:28:44,720 --> 00:28:46,400
Speaker 1: it is. You know, it looks like she was in

468
00:28:46,400 --> 00:28:50,000
Speaker 1: the various crime thrillers of the day. Yeah, the stylish

469
00:28:50,080 --> 00:28:52,880
Speaker 1: kind you know, where there's some dude with black sunglasses

470
00:28:52,920 --> 00:28:55,480
Speaker 1: in it. Yeah, there's a lot of sunglasses in this movie.

471
00:28:56,160 --> 00:28:58,360
Speaker 1: Did you notice how all the people who we find

472
00:28:58,360 --> 00:29:02,200
Speaker 1: out our later agents of the moom Pire or wearing sunglasses. Well,

473
00:29:02,240 --> 00:29:04,000
Speaker 1: that makes sense that they're going to need him to

474
00:29:04,080 --> 00:29:07,720
Speaker 1: filter out the light of the sun. But anyway, so

475
00:29:07,800 --> 00:29:09,840
Speaker 1: back to the scene. This scene is a lot like

476
00:29:10,280 --> 00:29:14,120
Speaker 1: this movie generally is trying to cram a lot into

477
00:29:14,400 --> 00:29:17,400
Speaker 1: a little bit of run time. But that's especially true

478
00:29:17,440 --> 00:29:19,040
Speaker 1: in the first two minutes. So you've got the guy

479
00:29:19,080 --> 00:29:21,640
Speaker 1: in the car being driven by the sunglasses creep. He

480
00:29:21,720 --> 00:29:24,640
Speaker 1: starts to panic. Then you have the swimsuit photo shoot

481
00:29:24,720 --> 00:29:27,280
Speaker 1: down at the docks and that's going on, and you

482
00:29:27,320 --> 00:29:31,400
Speaker 1: have the model. She's like sneezing, I think because it's cold, um.

483
00:29:31,480 --> 00:29:34,640
Speaker 1: And then the photo shoot is interrupted when the model

484
00:29:34,720 --> 00:29:39,040
Speaker 1: sees a humanoid figure in a weird outfit emerging from

485
00:29:39,120 --> 00:29:43,160
Speaker 1: the ocean with steam pouring off of it. It looks

486
00:29:43,200 --> 00:29:48,400
Speaker 1: like it's wearing a wetsuit covered in crumpled aluminum foil. Yeah,

487
00:29:48,480 --> 00:29:50,240
Speaker 1: and it kind of it kind of walks that nice

488
00:29:50,360 --> 00:29:54,160
Speaker 1: line where you're not able to tell is this a

489
00:29:54,240 --> 00:29:57,600
Speaker 1: wetsuit that is dressed up to look like a monster

490
00:29:58,280 --> 00:30:00,520
Speaker 1: or is this supposed to be an alien wet suit?

491
00:30:00,640 --> 00:30:03,920
Speaker 1: You're not sure exactly what you're looking at, uh, given

492
00:30:03,920 --> 00:30:06,560
Speaker 1: the expectations for a film like this. But so she

493
00:30:06,640 --> 00:30:09,160
Speaker 1: starts screaming in terror. And then the goofy, or of

494
00:30:09,200 --> 00:30:11,640
Speaker 1: the two photographers is like, he says, come on, this

495
00:30:11,720 --> 00:30:15,280
Speaker 1: isn't a funeral, implying that what you normally do at

496
00:30:15,280 --> 00:30:18,200
Speaker 1: a funeral is scream. Yeah, that's got that's gotta be

497
00:30:18,200 --> 00:30:21,840
Speaker 1: in this translation. Yeah. Um. And then they they and

498
00:30:21,880 --> 00:30:24,200
Speaker 1: then they all see the creature. The photographers do to

499
00:30:24,400 --> 00:30:27,600
Speaker 1: they start screaming, they take pictures. The flash from the

500
00:30:27,640 --> 00:30:31,320
Speaker 1: camera seems to repel the creature back into the water. Uh.

501
00:30:31,360 --> 00:30:34,640
Speaker 1: And then immediately the car from earlier with the confused

502
00:30:34,680 --> 00:30:37,239
Speaker 1: passenger in the back, it just drives off the end

503
00:30:37,280 --> 00:30:39,520
Speaker 1: of the pier into the water and then there's steam

504
00:30:39,560 --> 00:30:43,960
Speaker 1: bubbling out everywhere. Then the credits. Yeah, this it really

505
00:30:44,120 --> 00:30:48,120
Speaker 1: captures this the feeling you have when you decide to

506
00:30:48,120 --> 00:30:50,320
Speaker 1: get popcorn despite the fact that you're running a little

507
00:30:50,360 --> 00:30:53,000
Speaker 1: bit late, and then when you get into the into

508
00:30:53,000 --> 00:30:55,520
Speaker 1: the theater itself, the movie is already up and running

509
00:30:55,520 --> 00:30:57,720
Speaker 1: and you have no idea what's happening. That's how it

510
00:30:57,760 --> 00:31:00,320
Speaker 1: feels if you're on time for the big ending of

511
00:31:00,320 --> 00:31:03,160
Speaker 1: this film. But this opening sequence sets up a mystery

512
00:31:03,160 --> 00:31:07,400
Speaker 1: in which the two photographers will be players. What actually happened,

513
00:31:07,680 --> 00:31:10,600
Speaker 1: What was the steamy man? Why did a car drive

514
00:31:10,640 --> 00:31:13,200
Speaker 1: into the ocean? Who was in it? The story moves

515
00:31:13,240 --> 00:31:16,000
Speaker 1: on with the car being retrieved from the water with

516
00:31:16,040 --> 00:31:19,000
Speaker 1: a big winch, and the photographers are being interviewed by

517
00:31:19,000 --> 00:31:22,680
Speaker 1: the police and they say they say he came up,

518
00:31:22,920 --> 00:31:24,640
Speaker 1: and I guess they're talking about the guy in the

519
00:31:24,920 --> 00:31:27,320
Speaker 1: frogman or the guy in the wet suit. He they

520
00:31:27,320 --> 00:31:30,240
Speaker 1: say he came up, he was steaming, He was steaming.

521
00:31:30,320 --> 00:31:33,400
Speaker 1: And then there's a police detective. They're talking to them,

522
00:31:33,480 --> 00:31:35,840
Speaker 1: and he's like, you expect me to believe that, And

523
00:31:35,880 --> 00:31:37,960
Speaker 1: the guy says, you have to. The camera got a

524
00:31:37,960 --> 00:31:41,000
Speaker 1: clear picture of him. The cops says, oh, I know

525
00:31:41,120 --> 00:31:44,960
Speaker 1: you guys and your trick photography. And then the photographer says,

526
00:31:45,000 --> 00:31:48,720
Speaker 1: oh no, not this time. So, like if they interacted before,

527
00:31:49,200 --> 00:31:52,160
Speaker 1: I'm not sure. Again, I think maybe something's being lost

528
00:31:52,200 --> 00:31:55,800
Speaker 1: in translation here, but they do make a connection with

529
00:31:55,840 --> 00:31:58,120
Speaker 1: what's happening. They say that the guy who was supposed

530
00:31:58,160 --> 00:32:01,800
Speaker 1: to be driving the stolen car was choked unconscious, and

531
00:32:01,800 --> 00:32:04,520
Speaker 1: and so somebody else posed as him to drive this guy,

532
00:32:05,000 --> 00:32:07,600
Speaker 1: and the driver says when he choked me, his hands

533
00:32:07,640 --> 00:32:11,240
Speaker 1: were very hot. So like, okay, that seems to connect

534
00:32:11,280 --> 00:32:13,720
Speaker 1: with the the steamy guy coming out of the water.

535
00:32:14,160 --> 00:32:16,800
Speaker 1: But Robi have a question, now that we have both

536
00:32:16,880 --> 00:32:20,400
Speaker 1: seen the whole movie in its entirety, did it ever

537
00:32:20,520 --> 00:32:24,560
Speaker 1: resolve why the agents of the MoU Empire are hot?

538
00:32:26,240 --> 00:32:28,880
Speaker 1: I don't think they did. This feels like something that

539
00:32:28,920 --> 00:32:32,800
Speaker 1: maybe was cut or maybe was it was was explored

540
00:32:32,880 --> 00:32:37,480
Speaker 1: more thoroughly in one of the source novels. Um So,

541
00:32:37,880 --> 00:32:40,280
Speaker 1: I don't know. I guess they for some reason, their

542
00:32:40,320 --> 00:32:43,640
Speaker 1: bodies need to run at a higher temperature. They're like cats,

543
00:32:44,040 --> 00:32:45,880
Speaker 1: I get, yeah, I don't know. So when they're in

544
00:32:45,920 --> 00:32:48,200
Speaker 1: the water, they're steamy. If they touch you there, they

545
00:32:48,280 --> 00:32:51,920
Speaker 1: burn you. It's yeah, I don't know. So if they

546
00:32:51,920 --> 00:32:55,240
Speaker 1: did explain that, it went past me. But from here,

547
00:32:55,560 --> 00:32:58,560
Speaker 1: right after the interview with the police that was just happening,

548
00:32:59,080 --> 00:33:02,880
Speaker 1: the photographers look up and they see a woman disembarking

549
00:33:02,920 --> 00:33:05,560
Speaker 1: from a ship. This is going to be another major character.

550
00:33:05,680 --> 00:33:10,880
Speaker 1: This is Makoto played by Yoko Fujiyama, and in one

551
00:33:10,920 --> 00:33:14,800
Speaker 1: of many many weird coincidences that drive the plot of

552
00:33:14,800 --> 00:33:18,640
Speaker 1: this movie, she will become a major player because she

553
00:33:19,000 --> 00:33:22,600
Speaker 1: is the daughter of the lost naval commander Jinguji, who

554
00:33:22,680 --> 00:33:24,760
Speaker 1: is the guy we were talking about at the beginning,

555
00:33:24,760 --> 00:33:28,080
Speaker 1: who is the uh, you know, the the the guy

556
00:33:28,120 --> 00:33:31,040
Speaker 1: who never gave up on World War Two. But here

557
00:33:31,240 --> 00:33:34,800
Speaker 1: she enters the action just because the two photographers happened

558
00:33:34,840 --> 00:33:37,240
Speaker 1: to see her coming off of a boat and they

559
00:33:37,280 --> 00:33:40,680
Speaker 1: both do the cartoon wolf eyes popping out thing or

560
00:33:40,800 --> 00:33:44,080
Speaker 1: they're they're like, I woo, and Susumu is like, hey,

561
00:33:44,280 --> 00:33:46,520
Speaker 1: look at that random woman we've never met. She's the

562
00:33:46,520 --> 00:33:49,960
Speaker 1: perfect model. We must photo her. So they like run

563
00:33:50,000 --> 00:33:53,400
Speaker 1: after her, yelling she's clearly not interested. These guys should

564
00:33:53,400 --> 00:33:55,640
Speaker 1: take a hint, but they do not, And so she

565
00:33:55,680 --> 00:33:57,840
Speaker 1: gets in a car and speeds away, and the dude

566
00:33:57,880 --> 00:34:02,320
Speaker 1: just takes pictures of the car. Yeah, and it's funny too,

567
00:34:02,320 --> 00:34:06,160
Speaker 1: because I mean, obviously, Makoto is beautiful, and the actor

568
00:34:06,200 --> 00:34:09,640
Speaker 1: playing Mikoto is is very beautiful. But are they so

569
00:34:09,719 --> 00:34:11,839
Speaker 1: beautiful that you're just going to run after the car

570
00:34:12,000 --> 00:34:15,359
Speaker 1: taking pictures of the back of the vehicle. I don't know.

571
00:34:15,760 --> 00:34:17,200
Speaker 1: You've got a great one of the back of her

572
00:34:17,239 --> 00:34:20,520
Speaker 1: head through the windshield. Yeah, And later there's a scene

573
00:34:20,560 --> 00:34:24,279
Speaker 1: where they're like they're developing photos in their dark room,

574
00:34:24,880 --> 00:34:27,799
Speaker 1: and Susumu is is telling Yoshido, He's like, you have

575
00:34:27,880 --> 00:34:30,960
Speaker 1: to find this woman. She's perfect, you know. I guess

576
00:34:31,040 --> 00:34:33,320
Speaker 1: he's he's just he sees her once and he's smitten

577
00:34:33,880 --> 00:34:36,120
Speaker 1: um and so he gives this order to Yoshido. But

578
00:34:36,200 --> 00:34:39,319
Speaker 1: Yoshido is like, hey, Tokyo has ten million people, at

579
00:34:39,400 --> 00:34:41,680
Speaker 1: least half of them are women. How am I supposed

580
00:34:41,680 --> 00:34:44,360
Speaker 1: to find her? I'd love that he crunches the numbers.

581
00:34:45,040 --> 00:34:46,680
Speaker 1: But of course they decide they're going to track her

582
00:34:46,719 --> 00:34:49,200
Speaker 1: down using the license plate number on the car which

583
00:34:49,200 --> 00:34:52,759
Speaker 1: he caught in those photos. Yes, by the way, I

584
00:34:52,760 --> 00:34:54,600
Speaker 1: remember how this is going to be a movie about

585
00:34:54,600 --> 00:34:58,279
Speaker 1: an undersea empire that threatens humankind with global war. Yes,

586
00:34:58,360 --> 00:35:03,239
Speaker 1: about a juggernaut battle. Yeah, an undersea kingdom. But there's

587
00:35:03,239 --> 00:35:05,880
Speaker 1: a lot in the beginning about just chasing this lady around.

588
00:35:06,160 --> 00:35:08,920
Speaker 1: Ye Oh. But then right after this, there's a funny

589
00:35:08,960 --> 00:35:11,920
Speaker 1: thing where their secretary in their office like buzzes on

590
00:35:11,960 --> 00:35:15,640
Speaker 1: the intercom and says, excuse me, have you done something wrong?

591
00:35:15,680 --> 00:35:18,839
Speaker 1: There's a policeman here, and so the police are here

592
00:35:18,880 --> 00:35:22,440
Speaker 1: to inform the photographers that another man has been kidnapped

593
00:35:22,480 --> 00:35:25,280
Speaker 1: and taken to the ocean, and just like the previous

594
00:35:25,360 --> 00:35:28,200
Speaker 1: guy who got kidnapped, he was a civil engineer and

595
00:35:28,400 --> 00:35:32,640
Speaker 1: an expert in geologic faults. So, m it seems like

596
00:35:33,239 --> 00:35:36,919
Speaker 1: these people getting driven into the ocean and cars are

597
00:35:37,040 --> 00:35:40,560
Speaker 1: like they've they've got similar expertise engineers who know about

598
00:35:40,560 --> 00:35:43,839
Speaker 1: earthquakes and seizemic activity. So it's got to be those

599
00:35:43,840 --> 00:35:46,920
Speaker 1: steaming man that's right. In fact, they yeah, they're talking

600
00:35:46,920 --> 00:35:49,359
Speaker 1: to the police and one of the Susumu I think,

601
00:35:49,440 --> 00:35:51,960
Speaker 1: is like, was there a vapor man again? And the

602
00:35:52,040 --> 00:36:06,840
Speaker 1: detective says, according to witnesses, he was very steamy, okay,

603
00:36:06,840 --> 00:36:10,160
Speaker 1: And then it's onto introducing more characters again. As I said,

604
00:36:10,200 --> 00:36:13,080
Speaker 1: this movie has a lot of characters. So we follow

605
00:36:13,200 --> 00:36:15,799
Speaker 1: Mikoto to her place of work. You know, she she's

606
00:36:15,800 --> 00:36:19,080
Speaker 1: the beautiful woman who the photographers had to find and

607
00:36:19,280 --> 00:36:23,319
Speaker 1: uh so she works as an assistant to the retired

608
00:36:23,560 --> 00:36:28,840
Speaker 1: Rear Admiral Kousumi played by Ken Yuhara, and in Kasumi's office,

609
00:36:29,200 --> 00:36:32,600
Speaker 1: Makoto informs him that there is a visitor asking to

610
00:36:32,640 --> 00:36:36,719
Speaker 1: see him. It is a journalist named Mr. Umino or Mr.

611
00:36:37,560 --> 00:36:40,279
Speaker 1: I think his name was translated in different ways, but

612
00:36:40,760 --> 00:36:42,399
Speaker 1: in the dub they were I think they were calling

613
00:36:42,480 --> 00:36:45,480
Speaker 1: him umn No, but they say he's a journalist and

614
00:36:45,520 --> 00:36:49,440
Speaker 1: he works for True Story magazine. This guy is my favorite.

615
00:36:49,840 --> 00:36:52,799
Speaker 1: I love umin No. I love his whole vibe. So

616
00:36:52,880 --> 00:36:56,560
Speaker 1: he's played by an actor named Kinji Sahara. And in

617
00:36:56,600 --> 00:37:00,080
Speaker 1: this movie, he's a big guy wearing this big and

618
00:37:00,440 --> 00:37:04,880
Speaker 1: overcoat along with what looks like a red velvet plaid

619
00:37:05,120 --> 00:37:09,399
Speaker 1: flat hat and a red scarf. And he's always wearing sunglasses,

620
00:37:09,440 --> 00:37:13,920
Speaker 1: even indoors, and he is sporting a wicked chin strap beard.

621
00:37:14,360 --> 00:37:18,640
Speaker 1: He looks like a minnonite beat poet. Yeah. Yeah, And

622
00:37:18,680 --> 00:37:21,160
Speaker 1: this guy, this guy, he was actually present in an

623
00:37:21,160 --> 00:37:23,239
Speaker 1: earlier scene of the scene that the docks where they're

624
00:37:23,239 --> 00:37:25,520
Speaker 1: fishing the car. He was just hanging around, kind of

625
00:37:25,680 --> 00:37:29,400
Speaker 1: leaning over people's shoulders, acting weird. Yeah. This actor, by

626
00:37:29,400 --> 00:37:32,879
Speaker 1: the way, Kinji Sahara born. And I still I think

627
00:37:32,880 --> 00:37:36,359
Speaker 1: it's still I think he's still around. Um. But yeah,

628
00:37:36,440 --> 00:37:39,840
Speaker 1: not only is the visual presentation of this character great,

629
00:37:39,960 --> 00:37:41,960
Speaker 1: but I feel like he has also has the most

630
00:37:41,960 --> 00:37:46,880
Speaker 1: outrageous English dub. He has this wonderful, wonderfully gruff voice.

631
00:37:46,880 --> 00:37:51,279
Speaker 1: So every time he says something, he has your complete attention. Yeah,

632
00:37:51,320 --> 00:37:55,080
Speaker 1: everything is like, oh, you're not in a yeah exactly,

633
00:37:55,400 --> 00:37:58,200
Speaker 1: which is I feel like that is a staple English

634
00:37:58,239 --> 00:38:02,040
Speaker 1: dub voice of Japanese these films, because I know I've heard,

635
00:38:02,120 --> 00:38:05,839
Speaker 1: if not the same voice actor, I've heard somebody doing

636
00:38:05,920 --> 00:38:09,320
Speaker 1: essentially that same voice for certain characters, probably in spaghetti

637
00:38:09,400 --> 00:38:14,320
Speaker 1: westerns as well. Yeah. Yeah, but anyway, I love Umino.

638
00:38:14,440 --> 00:38:17,200
Speaker 1: Kinji Sahara is great in this role. I love his outfit,

639
00:38:17,400 --> 00:38:21,399
Speaker 1: I love his energy. He's just he's just powerful. Uh

640
00:38:21,520 --> 00:38:24,719
Speaker 1: So the um though, so he's not in the room yet,

641
00:38:24,760 --> 00:38:28,239
Speaker 1: Like Makoto comes in and says to Kasumi, um you

642
00:38:28,280 --> 00:38:30,520
Speaker 1: know this journalist wants to see you. And he's like, well,

643
00:38:30,520 --> 00:38:32,600
Speaker 1: do you know what he wants and she says yes,

644
00:38:32,680 --> 00:38:35,520
Speaker 1: he wants to talk to you about some naval mystery

645
00:38:35,640 --> 00:38:39,319
Speaker 1: during the war, and Kasumi says, naval mystery. Tell him

646
00:38:39,360 --> 00:38:42,560
Speaker 1: I'm not in, but uh, Umino is already in the

647
00:38:42,640 --> 00:38:45,920
Speaker 1: room and he's like, oh, so you're not in huh

648
00:38:46,000 --> 00:38:49,440
Speaker 1: and uh And then so I was trying to understand

649
00:38:49,440 --> 00:38:51,520
Speaker 1: that the doving he says, oh so you're not in huh.

650
00:38:51,560 --> 00:38:54,320
Speaker 1: And then he says I am in, and I couldn't

651
00:38:54,320 --> 00:38:56,879
Speaker 1: tell if that was Kasumi saying it or if that

652
00:38:56,960 --> 00:39:00,680
Speaker 1: was Umino saying it, but either way it was funny. Yeah,

653
00:39:01,000 --> 00:39:05,160
Speaker 1: oh you're not in, ha, Well, I am in. But anyway,

654
00:39:05,200 --> 00:39:08,600
Speaker 1: Once they're alone, the journalist reveals that he knows about

655
00:39:08,640 --> 00:39:12,440
Speaker 1: some secret prototype submarine that is connected to kassume He's past.

656
00:39:13,239 --> 00:39:16,879
Speaker 1: And honestly, I did not care very much about all

657
00:39:16,920 --> 00:39:20,920
Speaker 1: of the like different submarine model intrigue, where the different

658
00:39:21,040 --> 00:39:23,319
Speaker 1: the the A four oh one or the A four

659
00:39:23,320 --> 00:39:25,880
Speaker 1: oh two or the A four oh three. Uh So

660
00:39:25,960 --> 00:39:28,000
Speaker 1: I do not really plan on trying to keep all

661
00:39:28,000 --> 00:39:30,319
Speaker 1: of that stuff straight. I will just say the the

662
00:39:30,440 --> 00:39:34,080
Speaker 1: weird journalist claims to have knowledge of submarine doings and

663
00:39:34,160 --> 00:39:38,640
Speaker 1: Kasumi he wants consuming to tell him about more submarine doings,

664
00:39:38,800 --> 00:39:42,400
Speaker 1: and Kasumi will not. Yeah, for the most part, we

665
00:39:42,440 --> 00:39:44,120
Speaker 1: just want to see the submarines. At this point, like

666
00:39:44,160 --> 00:39:46,399
Speaker 1: he keeps talking about submarines. Let's just see him, Let's

667
00:39:46,400 --> 00:39:49,400
Speaker 1: see him in action. Yeah, exactly. But then the journalist

668
00:39:49,480 --> 00:39:53,240
Speaker 1: reveals something else. He says that the naval commander Jing Guji,

669
00:39:53,360 --> 00:39:55,920
Speaker 1: who was presumed to have died in the war, is

670
00:39:56,000 --> 00:40:00,680
Speaker 1: actually still alive. Somewhere in hiding. And it turns out

671
00:40:00,719 --> 00:40:03,319
Speaker 1: also this is the scene where we find out that

672
00:40:03,480 --> 00:40:08,520
Speaker 1: Jinguji is Mikoto's father, so she has believed him dead

673
00:40:08,640 --> 00:40:12,600
Speaker 1: this whole time. And Kasumi rear. Admiral Kasumi here, the

674
00:40:12,600 --> 00:40:16,760
Speaker 1: retired admiral was jingu Chi's friend, and he swore to

675
00:40:16,800 --> 00:40:20,200
Speaker 1: take care of Makoto, to to bring her up, and

676
00:40:20,280 --> 00:40:23,920
Speaker 1: Kasumi does not accept the journalists proposition that Jinguji is

677
00:40:23,920 --> 00:40:26,040
Speaker 1: still alive, and he gives a speech. He says, like,

678
00:40:26,400 --> 00:40:29,239
Speaker 1: your father was a great naval officer and a genius

679
00:40:29,280 --> 00:40:32,160
Speaker 1: when it came to marine engineering. On the very night

680
00:40:32,200 --> 00:40:33,840
Speaker 1: he left us, he came to me and asked me

681
00:40:33,880 --> 00:40:36,000
Speaker 1: to take care of you. He wanted you to have

682
00:40:36,080 --> 00:40:38,680
Speaker 1: a good life. And then she says, if he wanted

683
00:40:38,680 --> 00:40:40,440
Speaker 1: me to have a good life, why did he go

684
00:40:40,520 --> 00:40:44,080
Speaker 1: away and leave me? And then the retired admiral says,

685
00:40:44,120 --> 00:40:47,799
Speaker 1: he had to do his duty to his country. That's patriotism.

686
00:40:47,880 --> 00:40:50,200
Speaker 1: You young people don't seem to understand the word, but

687
00:40:50,239 --> 00:40:53,360
Speaker 1: it meant a lot to us. And I thought that

688
00:40:53,400 --> 00:40:55,560
Speaker 1: this is a good scene. Yeah, yeah, and you know,

689
00:40:55,560 --> 00:41:00,239
Speaker 1: because we're establishing uh this uh, this tension between these

690
00:41:00,239 --> 00:41:04,600
Speaker 1: two characters, but also one of the underlying cultural tensions

691
00:41:04,640 --> 00:41:08,360
Speaker 1: has explored in the in the picture right Meanwhile, the

692
00:41:08,640 --> 00:41:11,240
Speaker 1: we cut back to the two photographers, who are still

693
00:41:11,280 --> 00:41:14,959
Speaker 1: just being frivolous perverts. Uh. They're trying to track down

694
00:41:15,000 --> 00:41:17,680
Speaker 1: Mikodo to see if she will model for them, and

695
00:41:17,760 --> 00:41:20,480
Speaker 1: in doing so, they get into a car chase where

696
00:41:20,520 --> 00:41:24,920
Speaker 1: they inadvertently help foil a plot to kidnap Mikoto and

697
00:41:24,960 --> 00:41:28,600
Speaker 1: Kasumi and take them beneath the ocean. Uh. So if

698
00:41:28,640 --> 00:41:31,239
Speaker 1: this I'll try to make sense of this whole thing.

699
00:41:31,280 --> 00:41:34,520
Speaker 1: So Uh, Kasumi and Makoto are riding along in a car.

700
00:41:34,600 --> 00:41:37,440
Speaker 1: They're being driven somewhere, and they start talking about how

701
00:41:37,440 --> 00:41:40,560
Speaker 1: a strange man has been following Mikodo around lately. But

702
00:41:40,680 --> 00:41:45,080
Speaker 1: she's not talking about the the magazine perverts. She's talking

703
00:41:45,080 --> 00:41:48,640
Speaker 1: about a different guy who also keeps popping up. But

704
00:41:48,719 --> 00:41:51,680
Speaker 1: then right in the middle of this, we see that

705
00:41:51,760 --> 00:41:54,800
Speaker 1: the driver of their car is dressed like the driver

706
00:41:54,960 --> 00:41:56,719
Speaker 1: of the car and the opening of the movie the

707
00:41:56,719 --> 00:42:00,520
Speaker 1: guy with the sunglasses. Uh. And but the sky also

708
00:42:00,520 --> 00:42:03,319
Speaker 1: he's not just wearing sunglasses. He's wearing a captain's hat

709
00:42:03,520 --> 00:42:07,200
Speaker 1: like Skipper. I wonder if it's just like you know

710
00:42:07,239 --> 00:42:09,719
Speaker 1: the Moo agents is they're sent out into the world.

711
00:42:09,760 --> 00:42:13,000
Speaker 1: They just kind of grab surface human garments off of

712
00:42:13,000 --> 00:42:15,960
Speaker 1: a rack and guess at how humans actually dressed. Like

713
00:42:16,000 --> 00:42:18,600
Speaker 1: this guy just went into a costume shop and he's like,

714
00:42:18,640 --> 00:42:24,640
Speaker 1: I'll be a captain today. He's very yacht rock. So

715
00:42:24,840 --> 00:42:27,440
Speaker 1: Kasumi tries to protest. He's like, wait, where are we

716
00:42:27,480 --> 00:42:29,799
Speaker 1: where are we going? And and the guy tells them

717
00:42:29,800 --> 00:42:33,080
Speaker 1: to keep quiet and obey his orders, and then he

718
00:42:33,320 --> 00:42:36,600
Speaker 1: drives them to the beach. He points a gun at them,

719
00:42:36,600 --> 00:42:39,200
Speaker 1: and he gets gets him out of the car, order

720
00:42:39,360 --> 00:42:42,600
Speaker 1: marches them to the water's edge, and he's like, all right,

721
00:42:42,640 --> 00:42:45,360
Speaker 1: we're we're going to go to the MoU empire. And

722
00:42:45,400 --> 00:42:47,440
Speaker 1: it like they're standing there at the water with the

723
00:42:47,440 --> 00:42:50,440
Speaker 1: gunpoint and it really reminded me of the Simpsons episode

724
00:42:50,440 --> 00:42:53,960
Speaker 1: where where Mr Burns is uh pointing the gun at

725
00:42:54,000 --> 00:42:56,480
Speaker 1: Smithers and telling him to hop into the plane, but

726
00:42:56,560 --> 00:42:58,920
Speaker 1: it's a model plane he's holding in his hands, the

727
00:42:58,920 --> 00:43:03,759
Speaker 1: Casino episode yet one. Uh. There are multiple scenes in

728
00:43:03,800 --> 00:43:06,080
Speaker 1: this film where basically, if you get to the edge

729
00:43:06,080 --> 00:43:08,239
Speaker 1: of the water and you jump in, you're in the

730
00:43:08,400 --> 00:43:10,920
Speaker 1: Empire of move I don't know if it means that

731
00:43:11,000 --> 00:43:14,080
Speaker 1: like they're supposed to be buildings right there, or if

732
00:43:14,320 --> 00:43:16,800
Speaker 1: at any given point you can jump into the water

733
00:43:16,880 --> 00:43:20,200
Speaker 1: and there's probably a moose submarine nearby that will pick

734
00:43:20,200 --> 00:43:22,000
Speaker 1: you up and take you where you need to go. Yeah,

735
00:43:22,040 --> 00:43:25,160
Speaker 1: I think the implication is that these people who fall

736
00:43:25,200 --> 00:43:27,319
Speaker 1: into the water, like drive in in cars or just

737
00:43:27,440 --> 00:43:32,000
Speaker 1: jump into the waves, are picked up by submarines. But

738
00:43:32,120 --> 00:43:34,839
Speaker 1: you don't see that happen. So instead, it's just very

739
00:43:34,840 --> 00:43:36,879
Speaker 1: funny that it's like, Okay, get in the water, then

740
00:43:36,920 --> 00:43:39,560
Speaker 1: you then you yeah. Yeah, they're withholding a lot of

741
00:43:39,600 --> 00:43:42,920
Speaker 1: submarine footage for the at least the first third of

742
00:43:43,000 --> 00:43:45,799
Speaker 1: this picture, if not the first half. But then so

743
00:43:45,880 --> 00:43:49,760
Speaker 1: the two photographers, because they were chasing after this woman,

744
00:43:49,920 --> 00:43:53,080
Speaker 1: they run up on this hostage scene and they're like, hey,

745
00:43:53,120 --> 00:43:54,960
Speaker 1: what do you think you're doing, And the guy in

746
00:43:55,000 --> 00:43:57,640
Speaker 1: the sunglasses and the captain's hat points a gun at

747
00:43:57,680 --> 00:43:59,719
Speaker 1: them and says, I'm going to take these people to

748
00:43:59,760 --> 00:44:03,040
Speaker 1: the Empress of the Moo Empire. Okay, And that's the

749
00:44:03,040 --> 00:44:05,200
Speaker 1: first we hear about it in the movie. He says,

750
00:44:05,239 --> 00:44:08,200
Speaker 1: I'm an agent of the Moo Empire. I'm Agent number

751
00:44:08,239 --> 00:44:12,040
Speaker 1: twenty three, and then uh Kasumi, with a gun like

752
00:44:12,120 --> 00:44:14,960
Speaker 1: pointed into his stomach, says, listen, you must be crazy.

753
00:44:15,160 --> 00:44:18,600
Speaker 1: The Moo Empire is the legendary country which disappeared ten

754
00:44:18,680 --> 00:44:21,560
Speaker 1: thousand years ago, and I think they argue about that

755
00:44:21,600 --> 00:44:24,880
Speaker 1: a little bit, but then the agent says, I have

756
00:44:24,960 --> 00:44:27,480
Speaker 1: a special energy, so you can't hurt me, and he

757
00:44:27,520 --> 00:44:30,600
Speaker 1: demonstrates his power by like, I don't know, like magically

758
00:44:30,680 --> 00:44:32,719
Speaker 1: heating up a wringe. I think, oh, yeah, that's that

759
00:44:32,760 --> 00:44:35,880
Speaker 1: body heat coming into play again. Yeah, you can't physically

760
00:44:35,920 --> 00:44:39,120
Speaker 1: touch them. He certainly can't punch them because they're hot. Yeah,

761
00:44:39,120 --> 00:44:41,239
Speaker 1: he says, so I have a special energy, you can't

762
00:44:41,320 --> 00:44:44,000
Speaker 1: hurt me. I'm gonna kidnap Kasumi and Makoto take him

763
00:44:44,040 --> 00:44:46,440
Speaker 1: to the MoU Empire where they will be enslaved by

764
00:44:46,440 --> 00:44:50,600
Speaker 1: the Empress. And then there's a scene of tense music

765
00:44:50,640 --> 00:44:53,040
Speaker 1: as you see the masses of the sort of the

766
00:44:53,200 --> 00:44:56,879
Speaker 1: entourage of the Moo Empire coming towards the beach too,

767
00:44:57,000 --> 00:44:59,080
Speaker 1: I guess take them away. And this scene was actually

768
00:44:59,160 --> 00:45:01,759
Speaker 1: I thought kind of spooky when you see the the

769
00:45:01,840 --> 00:45:04,880
Speaker 1: vaporman poking their heads up out of the water, and

770
00:45:04,920 --> 00:45:09,080
Speaker 1: then there's a submarine rising behind them in the distance. Yeah, this,

771
00:45:09,080 --> 00:45:12,120
Speaker 1: this shot reminded me a lot of what we'd see

772
00:45:12,320 --> 00:45:15,399
Speaker 1: much later in nine seven Shock Waves, which we talked

773
00:45:15,440 --> 00:45:18,840
Speaker 1: about on Weird House Cinema. In in that movie, you

774
00:45:18,960 --> 00:45:23,279
Speaker 1: had undead Nazis emerging from the Florida surf in a

775
00:45:23,320 --> 00:45:25,040
Speaker 1: shot that that looks a lot like this. I don't

776
00:45:25,040 --> 00:45:27,880
Speaker 1: know if there's actually any connection here or if they're

777
00:45:27,920 --> 00:45:33,200
Speaker 1: both inspired by something else, but it's a nice visual. Nonetheless, Anyway,

778
00:45:33,280 --> 00:45:35,160
Speaker 1: what are we gonna do? You know? Agent twenty three,

779
00:45:35,200 --> 00:45:39,200
Speaker 1: he's got special energy. Well, despite his special energy, Susumu

780
00:45:39,400 --> 00:45:42,439
Speaker 1: disarms him, like the photographer guy just knocks the gun

781
00:45:42,440 --> 00:45:45,280
Speaker 1: out of his hand and wrestles him into submission. Because

782
00:45:45,280 --> 00:45:47,440
Speaker 1: sum he grabs the gun and points it at him

783
00:45:47,520 --> 00:45:50,279
Speaker 1: and he's like you're coming with us? Uh, and the

784
00:45:50,480 --> 00:45:53,480
Speaker 1: the agent just says basically, he's like no, no, and

785
00:45:53,520 --> 00:45:58,720
Speaker 1: then he jumps into the water, instantly picked up by submarine. Yeah.

786
00:45:58,880 --> 00:46:01,520
Speaker 1: So we regroup back at the police department where the

787
00:46:01,600 --> 00:46:06,000
Speaker 1: detectives are investigating the physical evidence for for this whole story,

788
00:46:06,080 --> 00:46:08,920
Speaker 1: including by looking at the gun, and the one detective

789
00:46:09,000 --> 00:46:11,200
Speaker 1: is is checking out the gun by pointing it at

790
00:46:11,239 --> 00:46:15,879
Speaker 1: his face, and clearing down the barrel. Yeah. And then

791
00:46:15,920 --> 00:46:18,120
Speaker 1: they so they're hanging out at the police station and

792
00:46:18,160 --> 00:46:20,960
Speaker 1: they receive a package in the mail. It is addressed

793
00:46:20,960 --> 00:46:25,040
Speaker 1: to Admiral Kasumi, care of the Metropolitan Police Department, and

794
00:46:25,080 --> 00:46:29,000
Speaker 1: it is from the MoU Empire Agent twenty three. This

795
00:46:29,080 --> 00:46:31,080
Speaker 1: is where the film really begins to kick it into

796
00:46:31,160 --> 00:46:34,200
Speaker 1: higher gear. Oh yes, oh yes, I love this. But

797
00:46:34,360 --> 00:46:37,000
Speaker 1: before we get to the contents of the package with

798
00:46:37,160 --> 00:46:39,319
Speaker 1: a guy in a white lab coat comes in. He says, hey,

799
00:46:39,360 --> 00:46:42,279
Speaker 1: the package might be dangerous, let me open it. So

800
00:46:42,400 --> 00:46:44,680
Speaker 1: they're all like, oh, it's a bomb. But then they

801
00:46:44,719 --> 00:46:47,600
Speaker 1: just stand around looking over his shoulder while he opens it,

802
00:46:47,760 --> 00:46:50,360
Speaker 1: so like they I don't know. They don't take it

803
00:46:50,400 --> 00:46:53,920
Speaker 1: to a secure location. But of course it's not a bomb.

804
00:46:53,960 --> 00:46:56,960
Speaker 1: It's a film strip. So then we're treated to a

805
00:46:57,000 --> 00:46:59,719
Speaker 1: movie within a movie. They they appear, they apparently gather

806
00:46:59,760 --> 00:47:02,200
Speaker 1: all the big wigs to watch this film strip that

807
00:47:02,239 --> 00:47:05,040
Speaker 1: has been sent to them by the agent, and it

808
00:47:05,120 --> 00:47:08,960
Speaker 1: is a like it is a short film made by

809
00:47:09,040 --> 00:47:12,560
Speaker 1: the MoU Empire explaining the MoU Empire to these people.

810
00:47:12,560 --> 00:47:15,040
Speaker 1: It's like, here's what we are. We're going to conquer you,

811
00:47:15,280 --> 00:47:17,960
Speaker 1: and this was one of my favorite parts of the movie.

812
00:47:18,320 --> 00:47:21,680
Speaker 1: It's a Moo propaganda film and it raises a number

813
00:47:21,719 --> 00:47:24,400
Speaker 1: of questions, like that, does the move Propaganda Department have

814
00:47:24,520 --> 00:47:28,040
Speaker 1: just like their own cinema uh squad down there? Have

815
00:47:28,120 --> 00:47:32,600
Speaker 1: they kidnapped cinematographers and cameraman and brought them down? If

816
00:47:32,640 --> 00:47:35,800
Speaker 1: they have their arther Jacques Gustas who have gone missing

817
00:47:36,160 --> 00:47:39,160
Speaker 1: so that they can be used for for this function,

818
00:47:39,440 --> 00:47:41,759
Speaker 1: And then of course I love that. You would think

819
00:47:41,800 --> 00:47:45,320
Speaker 1: if like an underwater imperial nation wants to make itself

820
00:47:45,400 --> 00:47:47,920
Speaker 1: known to the surface world, like they they wouldn't just

821
00:47:47,960 --> 00:47:50,960
Speaker 1: send it to a you know, a random admiral they like,

822
00:47:50,960 --> 00:47:53,360
Speaker 1: wouldn't this go to heads of state or something or

823
00:47:53,480 --> 00:47:57,520
Speaker 1: to the United Nations? No, no, they want Kasumi, like

824
00:47:57,719 --> 00:48:01,560
Speaker 1: for his eyes. So what that say? Well, they say,

825
00:48:01,600 --> 00:48:03,640
Speaker 1: this is the Pacific Ocean. They show a map of

826
00:48:03,680 --> 00:48:06,920
Speaker 1: the Pacific Ocean. Thank you, and then they say, for

827
00:48:07,000 --> 00:48:10,040
Speaker 1: twelve thousand years the MoU Empire has prospered at the

828
00:48:10,080 --> 00:48:13,160
Speaker 1: bottom of this ocean. This film will prove our existence

829
00:48:13,200 --> 00:48:16,200
Speaker 1: to you. So they go on to claim that throughout

830
00:48:16,239 --> 00:48:19,800
Speaker 1: ancient history, the MoU Empire ruled over the entire world,

831
00:48:20,239 --> 00:48:23,160
Speaker 1: but However, they say, quote, however, because of a curse,

832
00:48:23,320 --> 00:48:26,120
Speaker 1: our empire was buried beneath the waters of the Pacific

833
00:48:26,640 --> 00:48:30,520
Speaker 1: that I wish we knew more about the curse, but um. Nevertheless,

834
00:48:30,560 --> 00:48:34,160
Speaker 1: our ancestors managed to survive by utilizing the heat store

835
00:48:34,239 --> 00:48:37,680
Speaker 1: deep in Earth's center and other resources unknown to you.

836
00:48:38,680 --> 00:48:41,400
Speaker 1: We have we have made great progress, as you can see.

837
00:48:41,480 --> 00:48:44,560
Speaker 1: And well, this narration goes on. They show a bunch

838
00:48:44,560 --> 00:48:48,080
Speaker 1: of what appears to be futuristic cities in underground caverns,

839
00:48:48,160 --> 00:48:51,920
Speaker 1: and they have like, uh, I don't know, rail transport

840
00:48:52,040 --> 00:48:56,360
Speaker 1: and and futuristic looking I don't know, catwalks and stuff,

841
00:48:56,440 --> 00:49:00,640
Speaker 1: and and flying cars of course, and steam coming out things.

842
00:49:00,640 --> 00:49:03,759
Speaker 1: It's it's very good. I like the miniature models. Yeah,

843
00:49:03,920 --> 00:49:07,240
Speaker 1: huge caverns in the earth filled with glass and steel

844
00:49:07,400 --> 00:49:13,600
Speaker 1: and spheares and also like weirdly old fashioned looking clock towers, um,

845
00:49:13,680 --> 00:49:16,480
Speaker 1: and and all of it powered by geothermal energy, which

846
00:49:17,160 --> 00:49:19,520
Speaker 1: which is a cool sci fi concept for for something

847
00:49:19,560 --> 00:49:21,760
Speaker 1: like this. You know, if you're gonna have underground people

848
00:49:22,040 --> 00:49:25,440
Speaker 1: have geothermal power, makes sense to be their their energy source.

849
00:49:25,840 --> 00:49:29,520
Speaker 1: But they also revealed that they have possession of one

850
00:49:29,520 --> 00:49:31,640
Speaker 1: of those submarines that came up earlier of the A

851
00:49:31,880 --> 00:49:35,399
Speaker 1: four O three, a Japanese secret submarine that had been

852
00:49:35,440 --> 00:49:39,840
Speaker 1: commanded by Jinguji, And the film says that Jinguji was

853
00:49:39,920 --> 00:49:42,200
Speaker 1: not a board when they captured it, and he is

854
00:49:42,239 --> 00:49:46,640
Speaker 1: currently somewhere designing an even more powerful, more advanced submarine

855
00:49:46,920 --> 00:49:50,480
Speaker 1: in a secret base. And then the film orders Kasumi

856
00:49:50,600 --> 00:49:54,520
Speaker 1: to locate Jinguji and tell him to stop work on

857
00:49:54,560 --> 00:49:59,240
Speaker 1: the super sub immediately. Then the Moon Empire, it says

858
00:49:59,280 --> 00:50:02,640
Speaker 1: it intends to recover its former domination, and it says

859
00:50:02,719 --> 00:50:05,600
Speaker 1: the Impress move will soon be supreme ruler of the world.

860
00:50:06,120 --> 00:50:08,840
Speaker 1: And they show like scenes from the throne room inside

861
00:50:08,920 --> 00:50:12,880
Speaker 1: the Palace of Moo and all these adoring citizens bowing

862
00:50:12,960 --> 00:50:16,120
Speaker 1: before the Empress in this throne room with big flames,

863
00:50:16,160 --> 00:50:19,800
Speaker 1: with a vaguely ancient Egyptian theme. Yeah, yeah, but I

864
00:50:19,840 --> 00:50:22,520
Speaker 1: think you could also say, maybe, uh, stuff that looks

865
00:50:22,600 --> 00:50:26,359
Speaker 1: sort of like elements of ancient Greek or Mesoamerican all

866
00:50:26,440 --> 00:50:29,360
Speaker 1: kind of mixed together. Yeah, also reminds one of various

867
00:50:29,400 --> 00:50:31,799
Speaker 1: like the Sword and Sandal epics. You know, a lot

868
00:50:31,800 --> 00:50:34,919
Speaker 1: of a lot of robes going on. Dude standing around

869
00:50:34,960 --> 00:50:38,600
Speaker 1: with spears, and you know, I feel like this now.

870
00:50:38,719 --> 00:50:41,080
Speaker 1: I want I want to really I want to like

871
00:50:41,440 --> 00:50:44,320
Speaker 1: the move propaganda agency here, but I feel like they

872
00:50:44,400 --> 00:50:48,640
Speaker 1: really miscalculated things. Like basically, they're saying, hey, there's a

873
00:50:48,680 --> 00:50:51,080
Speaker 1: guy out there who has a weapon and we're afraid

874
00:50:51,080 --> 00:50:53,520
Speaker 1: of it. Uh, you need to stop him because we

875
00:50:53,520 --> 00:50:55,640
Speaker 1: want to take over the world. And then you look

876
00:50:55,640 --> 00:50:58,680
Speaker 1: at us, behold all of our our weird mix of

877
00:50:58,680 --> 00:51:02,840
Speaker 1: of advanced technology, but also um uh you know, spears

878
00:51:02,880 --> 00:51:06,480
Speaker 1: and fires, open flames, and yes, we had to steal

879
00:51:06,480 --> 00:51:09,840
Speaker 1: a submarine. So it seems it seems like they would

880
00:51:10,080 --> 00:51:12,400
Speaker 1: something more subtle would have made more sense, Like couldn't

881
00:51:12,400 --> 00:51:15,239
Speaker 1: you just like leak the location or the existence of

882
00:51:15,280 --> 00:51:18,440
Speaker 1: this uh advanced submarine that you want taken out of

883
00:51:18,440 --> 00:51:20,640
Speaker 1: the picture. I don't know. Yeah, it is strange that

884
00:51:20,680 --> 00:51:23,759
Speaker 1: they're like they're saying, Okay, we're going to conquer you,

885
00:51:23,840 --> 00:51:26,439
Speaker 1: and the only way that you could prevent us from

886
00:51:26,440 --> 00:51:28,560
Speaker 1: doing that is with this submarine. So we need you

887
00:51:28,640 --> 00:51:32,520
Speaker 1: to stop making that submarine immediately, and that appears to

888
00:51:32,520 --> 00:51:37,480
Speaker 1: be true. They're not lying that, so okay. Yeah, well,

889
00:51:37,520 --> 00:51:41,879
Speaker 1: I mean they are an isolated totalitarian society, so maybe

890
00:51:41,880 --> 00:51:44,640
Speaker 1: they just don't know how to interact with the world

891
00:51:44,680 --> 00:51:49,080
Speaker 1: at large anymore. Not great at at negotiating or diplomacy. Yeah,

892
00:51:49,200 --> 00:51:51,880
Speaker 1: oh sorry. One last thing is they say, if you

893
00:51:51,920 --> 00:51:55,120
Speaker 1: don't surrender to the new Empire immediately, our god Amunda

894
00:51:55,280 --> 00:51:58,520
Speaker 1: will bring destruction down upon your heads. I know, we've

895
00:51:58,520 --> 00:52:02,600
Speaker 1: been saying both Manda and Munda with an A or

896
00:52:02,600 --> 00:52:05,480
Speaker 1: an u. It's been spelled both ways. All right, so

897
00:52:05,640 --> 00:52:07,920
Speaker 1: balls in your court, surface world, How are you going

898
00:52:07,960 --> 00:52:11,520
Speaker 1: to respond? Oh yeah, yeah, yeah, exactly. So we this

899
00:52:11,719 --> 00:52:15,360
Speaker 1: the film has been screened for this large gathering of

900
00:52:15,600 --> 00:52:19,280
Speaker 1: political and military big wigs, and they review the film

901
00:52:19,320 --> 00:52:21,520
Speaker 1: and discuss how to respond. They're saying things like, do

902
00:52:21,560 --> 00:52:23,799
Speaker 1: you think the Moon Empire really intends to take over

903
00:52:23,840 --> 00:52:26,280
Speaker 1: the world? I think it's all a big fake, etcetera.

904
00:52:26,440 --> 00:52:28,759
Speaker 1: So they argue about it. But one thing I love

905
00:52:28,840 --> 00:52:32,800
Speaker 1: is in this scene, the two photographers are still there

906
00:52:32,840 --> 00:52:35,480
Speaker 1: and they're like dominating the conversation about what to do.

907
00:52:36,840 --> 00:52:39,080
Speaker 1: It's one of those classic cases of I mean, I

908
00:52:39,080 --> 00:52:40,759
Speaker 1: guess there are a lot of movies like this, but like,

909
00:52:41,000 --> 00:52:44,440
Speaker 1: why is this person still allowed to be part of

910
00:52:44,440 --> 00:52:47,560
Speaker 1: the decision making process here? Yeah? Yeah, Especially these are

911
00:52:47,600 --> 00:52:50,719
Speaker 1: just photographers who just who earlier we're chasing around a

912
00:52:50,800 --> 00:52:54,440
Speaker 1: stranger trying to see if she wanted to become a model. Well, anyway,

913
00:52:54,480 --> 00:52:58,400
Speaker 1: from here, it's segues into UH into showing us a

914
00:52:58,440 --> 00:53:00,880
Speaker 1: bunch of attacks by the Moon em Are on the

915
00:53:00,880 --> 00:53:03,640
Speaker 1: world of the surface. But but first it shows us

916
00:53:03,680 --> 00:53:07,319
Speaker 1: a newspaper headline that is translated in the subtitles as

917
00:53:07,560 --> 00:53:13,400
Speaker 1: film threatens Nations. Nice, but it says there's an emergency

918
00:53:13,400 --> 00:53:15,360
Speaker 1: meeting at the U n how are we going to

919
00:53:15,480 --> 00:53:18,160
Speaker 1: deal with the problem? And then we see ships out

920
00:53:18,160 --> 00:53:22,200
Speaker 1: in the water being attacked by submarines. We learned through

921
00:53:22,239 --> 00:53:25,640
Speaker 1: newspaper headlines that the New Empire has attacked and destroyed

922
00:53:25,680 --> 00:53:29,480
Speaker 1: the cities of Venice and Hong Kong. Uh. And then uh,

923
00:53:29,520 --> 00:53:32,719
Speaker 1: in a minute, there is a conflict with a submarine

924
00:53:32,760 --> 00:53:35,680
Speaker 1: and this is a very weird scene we actually rob

925
00:53:35,719 --> 00:53:39,239
Speaker 1: Do you want to describe the Red Satan scene? Yeah? So, yeah,

926
00:53:39,239 --> 00:53:41,920
Speaker 1: we're introduced to a submarine that is known as the

927
00:53:42,000 --> 00:53:45,960
Speaker 1: Red Satan. And I know that sounds exciting and it's

928
00:53:45,960 --> 00:53:48,759
Speaker 1: bringing all sorts of fantastic images to your mind. But

929
00:53:48,960 --> 00:53:51,279
Speaker 1: we're showing this submarine and it just looks like a submarine.

930
00:53:51,360 --> 00:53:53,719
Speaker 1: It's a it's a nice submarine. It's a like like

931
00:53:53,760 --> 00:53:57,200
Speaker 1: all the toy submarines in this movie. It's very well executed.

932
00:53:57,600 --> 00:54:03,040
Speaker 1: Uh wa Utterer and models. It's kind of like flames

933
00:54:03,239 --> 00:54:06,120
Speaker 1: and models and pictures. You know. If the scale is wrong,

934
00:54:06,680 --> 00:54:09,160
Speaker 1: if they don't know what they're doing, things can really

935
00:54:09,160 --> 00:54:11,799
Speaker 1: look like like like toys on fire and toys in

936
00:54:11,840 --> 00:54:15,000
Speaker 1: the bathtub, and you don't really get a toy submarine

937
00:54:15,000 --> 00:54:17,239
Speaker 1: in the bathtub. Feel. From most of this picture, I

938
00:54:17,239 --> 00:54:19,800
Speaker 1: feel like they did a really good job. That being said,

939
00:54:20,200 --> 00:54:23,080
Speaker 1: the Red Satan is basically a Red Shirt submarine because

940
00:54:23,719 --> 00:54:26,640
Speaker 1: the Surface Nations they send it out to follow the

941
00:54:26,680 --> 00:54:29,719
Speaker 1: move submarine and find its base. But in pursuing the

942
00:54:29,800 --> 00:54:33,600
Speaker 1: move vessel, it travels too deep and the pressure crushes it.

943
00:54:34,040 --> 00:54:37,640
Speaker 1: And uh, this scene too is uh is pulled off

944
00:54:37,640 --> 00:54:40,160
Speaker 1: with models and it looks really good. Uh you see

945
00:54:40,160 --> 00:54:42,759
Speaker 1: the pressure crush this thing like a tin can. Yeah?

946
00:54:42,840 --> 00:54:46,360
Speaker 1: I like that. But so the big question is whose

947
00:54:46,520 --> 00:54:50,239
Speaker 1: submarine is this? Like? The crew appears to be from

948
00:54:50,280 --> 00:54:56,799
Speaker 1: their accents, a combination of American, French and maybe Russian too. Yeah,

949
00:54:56,840 --> 00:55:00,680
Speaker 1: I don't know a United Nations submarine. I'm not sure.

950
00:55:00,920 --> 00:55:02,600
Speaker 1: I mean, I don't as far as I know that

951
00:55:02,640 --> 00:55:06,560
Speaker 1: there's no such thing as like a an attack submarine

952
00:55:06,719 --> 00:55:09,360
Speaker 1: with an international crew that belongs to no nation, and

953
00:55:09,360 --> 00:55:11,839
Speaker 1: maybe there is, I don't know, but uh, like this

954
00:55:11,880 --> 00:55:15,960
Speaker 1: isn't an exploratory scientific vessel or something. This is military

955
00:55:16,160 --> 00:55:19,319
Speaker 1: war submarine. Yeah. Yeah, well, you know, these are changing times,

956
00:55:19,320 --> 00:55:22,640
Speaker 1: these are challenging times, so the surface world is having

957
00:55:22,640 --> 00:55:24,960
Speaker 1: to to try new things out. Yeah, and it would

958
00:55:24,960 --> 00:55:28,200
Speaker 1: fit with the themes of the movie about international cooperation

959
00:55:28,320 --> 00:55:31,080
Speaker 1: and uh, you know, the good of humanity as a

960
00:55:31,120 --> 00:55:43,920
Speaker 1: whole superseding the narrow nationalistic interest. All right, So at

961
00:55:43,920 --> 00:55:47,400
Speaker 1: this point we actually have toy submarines in this movie,

962
00:55:47,760 --> 00:55:50,640
Speaker 1: but we need more toy submarines, so our fractures have

963
00:55:50,680 --> 00:55:52,440
Speaker 1: to go out and find them, right, So at this

964
00:55:52,520 --> 00:55:55,640
Speaker 1: point the movie is propelled to the next stage where okay,

965
00:55:55,680 --> 00:55:59,680
Speaker 1: finally we've assembled this huge cast of characters and they've

966
00:55:59,719 --> 00:56:03,160
Speaker 1: all been introduced so that they can end up traveling

967
00:56:03,160 --> 00:56:06,880
Speaker 1: to the mysterious island where Captain Jinguchi has been hiding

968
00:56:07,239 --> 00:56:10,920
Speaker 1: ever since the war, which again he basically hasn't given

969
00:56:11,000 --> 00:56:13,600
Speaker 1: up on um. And so how we actually get there

970
00:56:13,719 --> 00:56:16,160
Speaker 1: is we meet that you remember the creepy guy who

971
00:56:16,239 --> 00:56:20,080
Speaker 1: Makoto says, has been following her around. Well, it turns

972
00:56:20,080 --> 00:56:24,280
Speaker 1: out this guy works for Commander Jinguchi, for for the captain,

973
00:56:24,880 --> 00:56:27,000
Speaker 1: and he has been with this guy on his island

974
00:56:27,000 --> 00:56:28,560
Speaker 1: base for a long time. But I guess he's been

975
00:56:28,600 --> 00:56:32,279
Speaker 1: sent back to Tokyo to watch over his daughter. Or wait,

976
00:56:32,440 --> 00:56:34,000
Speaker 1: was that the reason? I actually didn't make a note

977
00:56:34,000 --> 00:56:36,120
Speaker 1: of this. I don't remember exactly why he says the

978
00:56:36,160 --> 00:56:38,480
Speaker 1: reason he came back. I think that's it. But when

979
00:56:38,480 --> 00:56:42,000
Speaker 1: they start interrogating him, they find out, okay, he can

980
00:56:42,080 --> 00:56:46,200
Speaker 1: take us to to Jinguji's island, and he's very cagy

981
00:56:46,239 --> 00:56:48,080
Speaker 1: about where it is, like he won't just say, but

982
00:56:48,160 --> 00:56:50,560
Speaker 1: he will lead them there by boat. So our cast

983
00:56:50,600 --> 00:56:53,960
Speaker 1: of characters are swooshed away to the island of Jinguji

984
00:56:54,440 --> 00:56:58,440
Speaker 1: where he, as the documentary film by the Moon Empire suggested,

985
00:56:58,520 --> 00:57:01,799
Speaker 1: he has in fact building a new submarine that is

986
00:57:01,840 --> 00:57:05,640
Speaker 1: the ultimate weapon. Not only can the submarine fight under water,

987
00:57:06,040 --> 00:57:08,160
Speaker 1: it can fly in the air and it has a

988
00:57:08,280 --> 00:57:12,400
Speaker 1: drill allowing it to travel through rock. And not to

989
00:57:12,440 --> 00:57:15,960
Speaker 1: be pedantic, because like, the submarine can fly, and I'm

990
00:57:15,960 --> 00:57:19,040
Speaker 1: not bothered by the fact that it can fly. That's great. Somehow,

991
00:57:19,080 --> 00:57:21,160
Speaker 1: I was a little bit bothered by the fact that

992
00:57:21,240 --> 00:57:25,440
Speaker 1: the drill submarine, like it has a subterine function. To

993
00:57:25,520 --> 00:57:27,280
Speaker 1: go back to something we've talked about in a couple

994
00:57:27,280 --> 00:57:31,000
Speaker 1: of episodes, Uh, it has a drill bit, but the

995
00:57:31,080 --> 00:57:35,720
Speaker 1: drill bit is narrower in diameter than the sub itself. Yeah,

996
00:57:35,800 --> 00:57:38,080
Speaker 1: that that wouldn't quite work with it. No, And not

997
00:57:38,160 --> 00:57:40,360
Speaker 1: only that, the submarine also has a sail, you know,

998
00:57:40,400 --> 00:57:44,680
Speaker 1: the part that sticks out at the top. So yeah,

999
00:57:44,800 --> 00:57:47,040
Speaker 1: well we do see I think we see a scene

1000
00:57:47,080 --> 00:57:51,760
Speaker 1: where that that that part of the vessel can retract. Yeah,

1001
00:57:51,920 --> 00:57:53,840
Speaker 1: I don't know. I don't remember if we actually see

1002
00:57:53,880 --> 00:57:57,120
Speaker 1: it retract later on when this thing sails through solid rock.

1003
00:57:57,480 --> 00:57:59,600
Speaker 1: So when we get to the island, the characters finally

1004
00:57:59,680 --> 00:58:03,080
Speaker 1: meet the commander who's been built up so much, Captain

1005
00:58:03,160 --> 00:58:07,400
Speaker 1: Jing Gucci, and he and Kasumi, his old friend, are reunited.

1006
00:58:07,520 --> 00:58:10,240
Speaker 1: He and his daughter are They sort of meet each

1007
00:58:10,240 --> 00:58:12,040
Speaker 1: other for the first time. I guess she was three

1008
00:58:12,120 --> 00:58:15,280
Speaker 1: when he left um. But it's a sort of bitter

1009
00:58:15,320 --> 00:58:18,880
Speaker 1: sweet reunion because it turns out he is not very

1010
00:58:18,960 --> 00:58:21,800
Speaker 1: interested in helping them out with their problem. They're like, hey,

1011
00:58:21,840 --> 00:58:24,360
Speaker 1: we're here on behalf of the entire world. We're being

1012
00:58:24,400 --> 00:58:27,160
Speaker 1: threatened by the MoU Empire. We've got to do something

1013
00:58:27,240 --> 00:58:28,880
Speaker 1: about it. They so they want to get him to

1014
00:58:28,960 --> 00:58:31,240
Speaker 1: join in with the rest of humanity and use his

1015
00:58:31,320 --> 00:58:35,640
Speaker 1: super sub to protect it. But Jing Gucci will not budge.

1016
00:58:35,800 --> 00:58:38,520
Speaker 1: He is he is a hard man, and he is stubborn,

1017
00:58:38,840 --> 00:58:43,000
Speaker 1: and he's just still overwhelmed with nationalistic pride. The only

1018
00:58:43,080 --> 00:58:45,800
Speaker 1: thing he wants to use this submarine for is to

1019
00:58:45,960 --> 00:58:49,760
Speaker 1: restore the Japanese Empire after its defeat. And again, I

1020
00:58:49,800 --> 00:58:52,840
Speaker 1: like this because it's You can compare this to various

1021
00:58:52,880 --> 00:58:55,320
Speaker 1: Saint James Bond films, like what if you had to

1022
00:58:55,360 --> 00:58:58,080
Speaker 1: seek out the super villain with his super weapon, but

1023
00:58:58,200 --> 00:59:00,920
Speaker 1: not to stop him, but to say, hey, that's a

1024
00:59:01,000 --> 00:59:04,000
Speaker 1: nice super weapon you got there. Might you help us

1025
00:59:04,040 --> 00:59:06,680
Speaker 1: defeat another threat with it? Yeah? I would. This is

1026
00:59:06,760 --> 00:59:08,560
Speaker 1: kind of like if there was a James Bond villain

1027
00:59:09,200 --> 00:59:12,000
Speaker 1: and James Bond's mission was to go to that guy

1028
00:59:12,040 --> 00:59:14,240
Speaker 1: and say, hey, I know you wanted to use your

1029
00:59:14,280 --> 00:59:16,640
Speaker 1: heat ray against whatever you know the enemy of your

1030
00:59:16,640 --> 00:59:19,600
Speaker 1: country is, but actually we're being invaded by aliens and

1031
00:59:19,640 --> 00:59:22,560
Speaker 1: we need it for that. Yeah, Specter, only you can

1032
00:59:22,600 --> 00:59:25,120
Speaker 1: save us. Uh, don't. Don't you want to do the

1033
00:59:25,240 --> 00:59:27,400
Speaker 1: right thing here? And the question is will he come

1034
00:59:27,400 --> 00:59:29,439
Speaker 1: through in the end? I think you can. You can

1035
00:59:29,480 --> 00:59:32,080
Speaker 1: guess yeah, we will get a happy ending. Jing Guji

1036
00:59:32,200 --> 00:59:35,400
Speaker 1: will be one back over by the by the appeals

1037
00:59:35,440 --> 00:59:38,560
Speaker 1: of his daughter for his daughter's love because you like,

1038
00:59:38,600 --> 00:59:40,520
Speaker 1: they have an argument where he's like, you know, you

1039
00:59:40,560 --> 00:59:43,800
Speaker 1: don't understand. I have duty, I have I have patriotism,

1040
00:59:43,880 --> 00:59:47,760
Speaker 1: I I have responsibilities to uphold and she she's just

1041
00:59:47,840 --> 00:59:49,640
Speaker 1: like not having it. She's like you, you know, I

1042
00:59:50,000 --> 00:59:52,240
Speaker 1: didn't expect you to be like this, and I hate you.

1043
00:59:52,880 --> 00:59:55,640
Speaker 1: And that clearly cuts him to the core. And he

1044
00:59:55,720 --> 00:59:58,240
Speaker 1: eventually comes around in the end and says, yes, he

1045
00:59:58,320 --> 01:00:01,320
Speaker 1: will stick up for humanity against the move. But there

1046
01:00:01,320 --> 01:00:03,240
Speaker 1: are a bunch of other things to talk about along

1047
01:00:03,280 --> 01:00:06,120
Speaker 1: the way, because eventually we get some uh some more

1048
01:00:06,200 --> 01:00:09,200
Speaker 1: conflict with the MoU Empire itself, such as meeting the

1049
01:00:09,280 --> 01:00:15,439
Speaker 1: MoU Impress and the Excellent High Priest of the MoU Empire. Yes, oh, man,

1050
01:00:15,520 --> 01:00:18,800
Speaker 1: I love this guy's whole hair situation. He's great. The

1051
01:00:18,840 --> 01:00:21,240
Speaker 1: MoU Empress also has a great hair situation. She has

1052
01:00:21,520 --> 01:00:27,160
Speaker 1: like like like candy red hair. Um and uh always

1053
01:00:27,200 --> 01:00:30,360
Speaker 1: she always looks really mad. Yeah, she has kind of

1054
01:00:30,400 --> 01:00:34,720
Speaker 1: a like a moody pop goddess look to her. Uh

1055
01:00:34,800 --> 01:00:37,560
Speaker 1: if a moody pop goddess was in a like a

1056
01:00:37,720 --> 01:00:41,880
Speaker 1: sort of biblical epic of the nineteen sixties, Yeah, a

1057
01:00:41,880 --> 01:00:44,040
Speaker 1: lot of folks standing around. And then I did find

1058
01:00:44,080 --> 01:00:47,160
Speaker 1: it interesting that the uh the the ethnic makeup of

1059
01:00:47,520 --> 01:00:51,720
Speaker 1: the people of MoU, it's um it's fairly diverse, much

1060
01:00:51,760 --> 01:00:54,640
Speaker 1: like our scenes of the people of Earth. Uh, you know,

1061
01:00:54,640 --> 01:00:59,960
Speaker 1: the various political uh um groups, different nations coming together

1062
01:01:00,000 --> 01:01:02,200
Speaker 1: and trying to decide what to do. Yeah. I think

1063
01:01:02,240 --> 01:01:05,640
Speaker 1: I read that they reasoned that because MoU is actually gigantic,

1064
01:01:05,720 --> 01:01:08,320
Speaker 1: it's like a continent under the Pacific, that it is

1065
01:01:08,360 --> 01:01:12,040
Speaker 1: a a massive, multi ethnic continent that I guess they

1066
01:01:12,040 --> 01:01:14,600
Speaker 1: have banded together in common purpose to destroy all the

1067
01:01:14,680 --> 01:01:20,560
Speaker 1: land lovers. Yes, so they've overcome their differences. Yeah, yeah,

1068
01:01:20,600 --> 01:01:22,800
Speaker 1: why why can't we? I mean, well, they've they've overcome

1069
01:01:22,840 --> 01:01:25,480
Speaker 1: their differences, but they just want to conquer the world.

1070
01:01:25,920 --> 01:01:30,120
Speaker 1: They're not an example we should aspire to exactly, but

1071
01:01:30,120 --> 01:01:32,400
Speaker 1: but still we have to stop them. Now, there is

1072
01:01:32,440 --> 01:01:35,640
Speaker 1: a great plot line I really liked where Makoto and

1073
01:01:35,720 --> 01:01:39,400
Speaker 1: one of the photographers is kidnapped and taken to the

1074
01:01:39,480 --> 01:01:43,640
Speaker 1: MoU Empire by a double crossing double agent. Can you

1075
01:01:43,720 --> 01:01:46,320
Speaker 1: guess who the double agent among the main cast is.

1076
01:01:46,880 --> 01:01:49,440
Speaker 1: It's Jan Strap, of course, of course it was. He

1077
01:01:49,520 --> 01:01:52,200
Speaker 1: was wearing sunglasses inside all the time. Of course it

1078
01:01:52,280 --> 01:01:54,120
Speaker 1: was going to be him. Yeah. Yeah. Plus he's got

1079
01:01:54,120 --> 01:01:56,520
Speaker 1: that great gravelly voice. Yeah. And there's a there's a

1080
01:01:56,560 --> 01:01:59,640
Speaker 1: really good scene where, uh, they're trying to he you know,

1081
01:01:59,680 --> 01:02:01,880
Speaker 1: he's like you're going to the moo impress and they

1082
01:02:01,880 --> 01:02:03,600
Speaker 1: try to struggle with him, but he can do a

1083
01:02:03,680 --> 01:02:07,320
Speaker 1: thing where he like makes their their head flash with

1084
01:02:07,400 --> 01:02:10,800
Speaker 1: like an overexposed camera effect, and then they just pass out.

1085
01:02:11,520 --> 01:02:13,440
Speaker 1: That's that that body heat, which, by the way, you

1086
01:02:13,480 --> 01:02:15,080
Speaker 1: think they would have picked up on that, right if

1087
01:02:15,080 --> 01:02:16,840
Speaker 1: he's a if he's a move operative, how do they

1088
01:02:16,880 --> 01:02:19,080
Speaker 1: keep from steaming all over the place. Yeah, that's a

1089
01:02:19,120 --> 01:02:21,880
Speaker 1: good question. Maybe they can. Maybe they only steam on command,

1090
01:02:23,280 --> 01:02:27,240
Speaker 1: or they they're constantly eating ice cream, constantly have an

1091
01:02:27,240 --> 01:02:30,840
Speaker 1: ice pop or something. So Makoto and Susumu are kidnapped

1092
01:02:30,840 --> 01:02:34,240
Speaker 1: by the reporter. Uh, and I think the reporter or

1093
01:02:34,280 --> 01:02:36,919
Speaker 1: some other double agents somebody plants a bomb in the

1094
01:02:37,080 --> 01:02:42,160
Speaker 1: in the hangar where Jinguji is super super Sub is captain,

1095
01:02:42,640 --> 01:02:44,640
Speaker 1: and you think, oh wow, that's that's it for Earth.

1096
01:02:44,720 --> 01:02:47,720
Speaker 1: But actually the super Sub survives the bomb attack, and

1097
01:02:47,760 --> 01:02:50,320
Speaker 1: I think it's the fact that Makoto has been kidnapped

1098
01:02:50,400 --> 01:02:54,680
Speaker 1: that sort of finally breaks through Jinguji's shell and he's like, okay,

1099
01:02:54,720 --> 01:02:57,000
Speaker 1: I will help, I will help. Now there is just

1100
01:02:57,080 --> 01:02:59,000
Speaker 1: a lot of plot going on in this. I feel

1101
01:02:59,040 --> 01:03:02,640
Speaker 1: like this should have been a television series or a

1102
01:03:02,680 --> 01:03:04,960
Speaker 1: board game or something. Oh yeah, yeah, I mean I

1103
01:03:05,000 --> 01:03:07,600
Speaker 1: feel like you really could have stretched this out, because

1104
01:03:07,840 --> 01:03:12,840
Speaker 1: this is actually a type of plot I really enjoy

1105
01:03:12,920 --> 01:03:15,240
Speaker 1: which has been done in some other science fiction works,

1106
01:03:15,240 --> 01:03:18,880
Speaker 1: where like a sort of outside or alien force threatens

1107
01:03:18,880 --> 01:03:22,960
Speaker 1: Earth as a whole, and especially uh undercuts our ability

1108
01:03:22,960 --> 01:03:27,920
Speaker 1: to defend ourselves by exploiting national divisions and exploiting divisions

1109
01:03:27,960 --> 01:03:31,200
Speaker 1: within Earth to keep us squabbling with each other and

1110
01:03:31,320 --> 01:03:34,120
Speaker 1: not banding together to fight them. Yeah. I mean that

1111
01:03:34,240 --> 01:03:36,080
Speaker 1: this is one of the things that made Game of

1112
01:03:36,120 --> 01:03:39,880
Speaker 1: Thrones so enjoyable. Oh yeah, yeah, that's basically what's going

1113
01:03:39,920 --> 01:03:42,360
Speaker 1: on there, and it's always something we can relate to

1114
01:03:42,960 --> 01:03:48,320
Speaker 1: UM as an international community, as an international viewers can

1115
01:03:48,360 --> 01:03:49,960
Speaker 1: look at this and be like, yeah, why why can't

1116
01:03:50,000 --> 01:03:53,160
Speaker 1: we work together towards these bigger problems? Why are we

1117
01:03:53,200 --> 01:03:57,960
Speaker 1: wasting all of this energy on on strife amongst ourselves. Yeah,

1118
01:03:58,040 --> 01:04:01,000
Speaker 1: it's always easy for some narrow concerned seem more pressing

1119
01:04:01,080 --> 01:04:04,080
Speaker 1: at the moment. So, I mean it's a great type

1120
01:04:04,080 --> 01:04:05,880
Speaker 1: of story. Other sci fi things have done it well,

1121
01:04:05,880 --> 01:04:08,920
Speaker 1: and I think this, Yeah, you could totally have stretched

1122
01:04:08,960 --> 01:04:11,800
Speaker 1: out this, uh the the idea of a trigon over

1123
01:04:11,840 --> 01:04:14,400
Speaker 1: a whole series, or you know, the more of the

1124
01:04:14,440 --> 01:04:17,560
Speaker 1: politics comes into play and stuff like that. But you know,

1125
01:04:17,640 --> 01:04:19,880
Speaker 1: ultimately in the end, we need to have some submarine

1126
01:04:19,880 --> 01:04:22,320
Speaker 1: fights and some monster attacks. So that is what we're

1127
01:04:22,360 --> 01:04:25,320
Speaker 1: gonna get. So we see the New Empire attacking. We

1128
01:04:25,360 --> 01:04:28,160
Speaker 1: know they've already destroyed the cities of Venice and Hong Kong,

1129
01:04:28,600 --> 01:04:32,400
Speaker 1: and now we see them attacking within Japan itself. Yeah,

1130
01:04:32,480 --> 01:04:34,840
Speaker 1: so in this we get into the last third of

1131
01:04:34,880 --> 01:04:39,080
Speaker 1: the picture, which is just constant submarine battles. We finally

1132
01:04:39,160 --> 01:04:43,760
Speaker 1: see uh Manda or Munda released. I really like that scene,

1133
01:04:43,800 --> 01:04:46,400
Speaker 1: by the way, where they basically throw open a door

1134
01:04:46,880 --> 01:04:49,920
Speaker 1: and they're like behold Munda and you just see like

1135
01:04:49,960 --> 01:04:53,280
Speaker 1: a wall of scales there at first, which I really like. Yeah,

1136
01:04:53,400 --> 01:04:55,920
Speaker 1: well I think they do that when they're telling the

1137
01:04:55,960 --> 01:04:59,160
Speaker 1: prisoners from Earth that they're going to be sacrificed to Munda.

1138
01:04:59,280 --> 01:05:02,280
Speaker 1: If I can't remember, if something doesn't happen, if Jinguji

1139
01:05:02,400 --> 01:05:05,600
Speaker 1: doesn't turn over the submarine or something. Yeah, I like

1140
01:05:05,680 --> 01:05:08,920
Speaker 1: this this uncertainty about the monster. Is it is it

1141
01:05:08,960 --> 01:05:11,080
Speaker 1: just a monster? Is it like a bioweapon? Or is

1142
01:05:11,080 --> 01:05:14,160
Speaker 1: it or is it a god? You know, they speak

1143
01:05:14,200 --> 01:05:16,160
Speaker 1: of it as if it is their god. Yes. But

1144
01:05:16,240 --> 01:05:20,400
Speaker 1: eventually what happens is the heroes are able to kidnap

1145
01:05:20,560 --> 01:05:25,000
Speaker 1: the Impress of MoU and take her to the submarine. Uh.

1146
01:05:25,040 --> 01:05:28,320
Speaker 1: And so she's she's there, and uh. There's a scene

1147
01:05:28,320 --> 01:05:30,480
Speaker 1: where they try to negotiate with her. They're like, hey,

1148
01:05:30,560 --> 01:05:32,640
Speaker 1: just you know, tell your tell your monster is tell

1149
01:05:32,680 --> 01:05:35,560
Speaker 1: your people to surrender and we can end this. And

1150
01:05:35,600 --> 01:05:38,440
Speaker 1: she is not having it. She's like, no, no, it

1151
01:05:38,600 --> 01:05:41,360
Speaker 1: is victory or death. Yeah. She's like you can kill me.

1152
01:05:41,600 --> 01:05:44,000
Speaker 1: They'll just keep coming because that's what they've been told

1153
01:05:44,000 --> 01:05:47,280
Speaker 1: to do. So, because he believes he has no other choice,

1154
01:05:47,480 --> 01:05:51,480
Speaker 1: Captain Jinguji is like, okay, I've got a sabotage their technology,

1155
01:05:51,560 --> 01:05:55,320
Speaker 1: so he activates the drill. Oh well, actually first he

1156
01:05:55,360 --> 01:05:58,680
Speaker 1: has to fight munda Um, which they do with a

1157
01:05:58,720 --> 01:06:02,520
Speaker 1: freeze ray up and you know, so this thing is

1158
01:06:02,560 --> 01:06:05,320
Speaker 1: not dead, it's frozen. It can come back in another movie.

1159
01:06:05,640 --> 01:06:08,040
Speaker 1: That's right, and and and does to a certain extent.

1160
01:06:08,520 --> 01:06:12,000
Speaker 1: We do get a nice sequence there where uh Ramondo

1161
01:06:12,080 --> 01:06:17,040
Speaker 1: Amanda wraps itself around the submarine, which of course is

1162
01:06:17,080 --> 01:06:20,360
Speaker 1: great because this is such a Jewels Verne esque moment

1163
01:06:20,400 --> 01:06:22,560
Speaker 1: in the picture. And I've seen that there have been

1164
01:06:22,680 --> 01:06:25,520
Speaker 1: a number I'm not sure if they're model kits or

1165
01:06:25,880 --> 01:06:29,840
Speaker 1: maybe high end model kits or like high end collectibles,

1166
01:06:29,880 --> 01:06:33,240
Speaker 1: but you can see I see that there various statues

1167
01:06:33,320 --> 01:06:38,160
Speaker 1: at least of this interaction between the monster in the submarine. Right.

1168
01:06:38,160 --> 01:06:41,560
Speaker 1: But so after this fight, the submarine drills into the

1169
01:06:41,560 --> 01:06:44,880
Speaker 1: technology at the core of the Moon Empire, shuts down

1170
01:06:44,880 --> 01:06:47,400
Speaker 1: their ability to wage war, but it also causes this

1171
01:06:47,520 --> 01:06:51,560
Speaker 1: cataclysmic explosion that destroys the palace and they so they

1172
01:06:51,720 --> 01:06:54,480
Speaker 1: escape to the surface in the submarine. The Moo Empress

1173
01:06:54,520 --> 01:06:56,360
Speaker 1: is still with them, and I thought there was an

1174
01:06:56,440 --> 01:06:58,640
Speaker 1: interesting scene right at the end, as like things are

1175
01:06:58,680 --> 01:07:01,680
Speaker 1: exploding in the water us the palace is still blowing up,

1176
01:07:02,120 --> 01:07:04,800
Speaker 1: and they she just swims away into the fire and

1177
01:07:04,840 --> 01:07:07,920
Speaker 1: they go They're like, they're like, she wants to die

1178
01:07:07,960 --> 01:07:09,760
Speaker 1: in her own empire or something like that. They're like,

1179
01:07:09,840 --> 01:07:13,400
Speaker 1: let her go. Yeah, yeah, that was that was That

1180
01:07:13,520 --> 01:07:16,680
Speaker 1: was a nice moment, I guess. But also when when

1181
01:07:16,720 --> 01:07:19,720
Speaker 1: MoU is exploding there, it really does look apocalyptic on

1182
01:07:19,760 --> 01:07:24,320
Speaker 1: the surface, all these like billowing like dark reddish clouds

1183
01:07:24,360 --> 01:07:27,440
Speaker 1: of smoke ascending into the atmosphere, and I think this,

1184
01:07:27,560 --> 01:07:30,720
Speaker 1: this can't be good for for for the surface world entirely.

1185
01:07:30,720 --> 01:07:32,400
Speaker 1: I mean, they had to defeat Move, I guess, but

1186
01:07:32,720 --> 01:07:35,920
Speaker 1: I wonder what the ramifications of this are. Yeah, I

1187
01:07:35,960 --> 01:07:38,840
Speaker 1: guess we didn't talk much about, but they're they're extensive

1188
01:07:38,880 --> 01:07:41,720
Speaker 1: shots earlier when the MOVE is uh, when the Moon

1189
01:07:41,800 --> 01:07:46,600
Speaker 1: Empire is attacking Japan of like these strange uh bombing

1190
01:07:46,760 --> 01:07:49,120
Speaker 1: like guided bomb devices that come up out of a

1191
01:07:49,200 --> 01:07:52,880
Speaker 1: volcano and the stuff. Yeah, yeah, I did. I didn't

1192
01:07:53,000 --> 01:07:56,560
Speaker 1: quite get exactly what those were supposed to be, but uh,

1193
01:07:57,040 --> 01:08:00,040
Speaker 1: it looks great. In via archive footage from another A

1194
01:08:00,120 --> 01:08:03,120
Speaker 1: motion picture, it's shown that the Move also have satellites

1195
01:08:03,240 --> 01:08:06,240
Speaker 1: in space, which I don't know. I thought that kind

1196
01:08:06,280 --> 01:08:10,520
Speaker 1: of undercut the idea of an undersea kingdom reaching up

1197
01:08:10,560 --> 01:08:14,280
Speaker 1: into the surface world. But fair enough. Um, there there's all.

1198
01:08:14,360 --> 01:08:17,600
Speaker 1: And they also have the move submarine, which one of

1199
01:08:17,640 --> 01:08:19,400
Speaker 1: the details I liked about that is that they have

1200
01:08:19,439 --> 01:08:22,439
Speaker 1: a debt cannon that shaped like a dragon that shoots

1201
01:08:22,520 --> 01:08:25,839
Speaker 1: laser beams. Yes, well wait, I actually had a question

1202
01:08:26,640 --> 01:08:32,080
Speaker 1: the laser beams. So that was a cannon on the submarine.

1203
01:08:32,120 --> 01:08:36,559
Speaker 1: It wasn't actually supposed to be Munda himself, I don't

1204
01:08:36,600 --> 01:08:38,280
Speaker 1: think so when it when I first saw it, I

1205
01:08:38,320 --> 01:08:39,920
Speaker 1: thought that's what it was. I was like, Oh, it

1206
01:08:39,920 --> 01:08:42,639
Speaker 1: looks like here's here's the monster. But then I think

1207
01:08:42,640 --> 01:08:44,960
Speaker 1: we see that cannon again after the monster has been

1208
01:08:45,000 --> 01:08:47,439
Speaker 1: frozen on the bottom of the ocean. Okay, all right,

1209
01:08:47,840 --> 01:08:50,479
Speaker 1: that makes sense. But it is hard to tell, especially

1210
01:08:50,479 --> 01:08:53,920
Speaker 1: in a pictures like this. Okay, I think that's all

1211
01:08:53,960 --> 01:09:01,160
Speaker 1: I've got on atrigone. Yeah, that's atrigone. There's a lot there. Um.

1212
01:09:02,000 --> 01:09:05,240
Speaker 1: I would struggle to say that it's must see. Um

1213
01:09:05,280 --> 01:09:07,840
Speaker 1: it is. It is an interesting picture. It's interesting and

1214
01:09:07,880 --> 01:09:11,200
Speaker 1: what it tried to achieve. Um, it has some some

1215
01:09:11,360 --> 01:09:15,080
Speaker 1: creative ideas, some creative plot elements. Um. If you if

1216
01:09:15,120 --> 01:09:17,120
Speaker 1: you happen to. I think it would be a fun

1217
01:09:17,160 --> 01:09:19,479
Speaker 1: one to put on in the background, uh, if you

1218
01:09:19,560 --> 01:09:22,800
Speaker 1: were having some sort of a get together or whatnot. Um,

1219
01:09:22,840 --> 01:09:26,200
Speaker 1: the trailers really nice and if you want to watch

1220
01:09:26,240 --> 01:09:28,599
Speaker 1: it as well, well you can do what we did

1221
01:09:28,640 --> 01:09:31,920
Speaker 1: and find a digital rental of it. I think we

1222
01:09:32,000 --> 01:09:34,400
Speaker 1: got our through Prime, but I believe I noticed some

1223
01:09:34,439 --> 01:09:36,160
Speaker 1: other places had it as well that you could at

1224
01:09:36,240 --> 01:09:38,200
Speaker 1: least watch as part of some sort of a package

1225
01:09:38,320 --> 01:09:41,559
Speaker 1: or or by trying the streaming service or another. You

1226
01:09:41,600 --> 01:09:45,200
Speaker 1: can also get it on DVD from Tokyo Shock. And

1227
01:09:45,520 --> 01:09:49,679
Speaker 1: there was also a two part anime follow up, super Atragon,

1228
01:09:50,120 --> 01:09:53,280
Speaker 1: which I don't know much about other than it appears

1229
01:09:53,320 --> 01:09:56,400
Speaker 1: to have the submarine and the dragon in it. Again,

1230
01:09:56,680 --> 01:09:58,759
Speaker 1: I'm not sure if it's a sit full on sequel

1231
01:09:58,880 --> 01:10:01,559
Speaker 1: or just kind of a reamat jenning off the same plot,

1232
01:10:01,640 --> 01:10:03,439
Speaker 1: but hey, maybe somebody out there is familiar with it

1233
01:10:03,680 --> 01:10:07,400
Speaker 1: and can chime in. Alright, alright, so where there we are,

1234
01:10:07,400 --> 01:10:10,519
Speaker 1: we're gonna go ahead and close it out. But hey,

1235
01:10:10,560 --> 01:10:14,040
Speaker 1: we invite everyone out there to share your thoughts on

1236
01:10:14,120 --> 01:10:17,600
Speaker 1: a trigon about any of the various Kaiju movies, uh

1237
01:10:17,720 --> 01:10:20,280
Speaker 1: that we have discussed here will remind you that we're

1238
01:10:20,280 --> 01:10:23,280
Speaker 1: primarily a science podcast with core episodes that publishing the

1239
01:10:23,280 --> 01:10:26,600
Speaker 1: Stuff to Blow Your Mind podcast feed on Tuesdays and Thursdays,

1240
01:10:26,640 --> 01:10:29,200
Speaker 1: but on Fridays we put aside most serious concerns and

1241
01:10:29,240 --> 01:10:32,040
Speaker 1: just talk about a weird film here on Weird House Cinema.

1242
01:10:32,680 --> 01:10:38,599
Speaker 1: UM I blog about these movies on Samuda music dot com. Also,

1243
01:10:38,840 --> 01:10:42,000
Speaker 1: we do have a letterboxed account that's l E T

1244
01:10:42,000 --> 01:10:44,320
Speaker 1: T E R b O x D. If you're not

1245
01:10:44,360 --> 01:10:46,960
Speaker 1: familiar with this website, it's like a sort of social

1246
01:10:47,000 --> 01:10:50,400
Speaker 1: media site just about films, and if you want to

1247
01:10:50,400 --> 01:10:54,160
Speaker 1: look us up there, our user name is just weird House.

1248
01:10:54,479 --> 01:10:56,160
Speaker 1: I try to put in Weird House Cinema, but that's

1249
01:10:56,200 --> 01:10:58,679
Speaker 1: too many characters. I would have to do weird House

1250
01:10:59,200 --> 01:11:02,120
Speaker 1: Cinema or something, and that that just doesn't work. Yeah,

1251
01:11:02,479 --> 01:11:06,040
Speaker 1: he's thanks as always to our excellent audio producer Seth

1252
01:11:06,160 --> 01:11:08,639
Speaker 1: Nicholas Johnson. If you would like to get in touch

1253
01:11:08,680 --> 01:11:11,439
Speaker 1: with us with feedback on this episode or any other,

1254
01:11:11,520 --> 01:11:13,600
Speaker 1: to suggest a topic for the future, or just to

1255
01:11:13,680 --> 01:11:16,439
Speaker 1: say hello, you can email us at contact at Stuff

1256
01:11:16,479 --> 01:11:25,920
Speaker 1: to Blow your Mind dot com. Stuff to Blow Your

1257
01:11:25,920 --> 01:11:28,839
Speaker 1: Mind It's production of I Heart radio. For more podcasts

1258
01:11:28,880 --> 01:11:30,960
Speaker 1: for my heart Radio, visit the i heart Radio app,

1259
01:11:31,120 --> 01:11:33,840
Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.