1 00:00:04,640 --> 00:00:07,720 Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob 2 00:00:07,800 --> 00:00:10,879 Speaker 1: Lamb and today we have a fun episode for you. 3 00:00:10,960 --> 00:00:14,840 Speaker 1: This is our episode from seven, nineteen twenty twenty four 4 00:00:15,240 --> 00:00:18,279 Speaker 1: about the nineteen fifty eight space horror film it The 5 00:00:18,400 --> 00:00:21,279 Speaker 1: Terror from Beyond Space. This one's a lot of fun. 6 00:00:21,320 --> 00:00:25,000 Speaker 1: It's considered one of the key influences on the nineteen 7 00:00:25,440 --> 00:00:28,840 Speaker 1: seventy nine classic alien Let's jump right in. 8 00:00:32,640 --> 00:00:38,400 Speaker 2: Welcome to Stuff to Blow your Mind production of iHeartRadio. 9 00:00:42,640 --> 00:00:44,720 Speaker 1: Hey, welcome to Weird House Cinema. 10 00:00:44,800 --> 00:00:47,440 Speaker 3: This is Rob Lamb and I am Joe McCormick. 11 00:00:47,640 --> 00:00:50,239 Speaker 1: And this week on Weird House Cinema, we're continuing some 12 00:00:50,320 --> 00:00:53,600 Speaker 1: of our alien related explorations with a film that is 13 00:00:53,960 --> 00:00:57,440 Speaker 1: frequently cited as one of the b movie influences on 14 00:00:57,560 --> 00:01:01,360 Speaker 1: alienscribe Dan O'Bannon, along with the likes of Mario Bob 15 00:01:01,400 --> 00:01:04,440 Speaker 1: as Planet the Vampires, which we've discussed in the show before, 16 00:01:04,760 --> 00:01:07,920 Speaker 1: but this week we're talking about it The Terror from 17 00:01:07,959 --> 00:01:08,960 Speaker 1: Beyond Space. 18 00:01:09,600 --> 00:01:11,440 Speaker 3: If you couldn't tell from the way Rob said it, 19 00:01:11,440 --> 00:01:14,160 Speaker 3: there is an exclamation point in the middle of the title. 20 00:01:15,880 --> 00:01:19,240 Speaker 3: I love midline punctuation other than a colon in a 21 00:01:19,319 --> 00:01:21,680 Speaker 3: title like it's this is two sentences. 22 00:01:22,160 --> 00:01:25,560 Speaker 1: Yes, I think we could have fit a question mark 23 00:01:25,560 --> 00:01:27,800 Speaker 1: in there as well, though, like it the Terror from 24 00:01:27,840 --> 00:01:29,479 Speaker 1: beyond Space? We don't know. 25 00:01:29,840 --> 00:01:32,360 Speaker 3: I really liked this movie, but I feel like the 26 00:01:32,400 --> 00:01:36,479 Speaker 3: title is misleading. In what way is the Terror from 27 00:01:36,760 --> 00:01:40,039 Speaker 3: beyond space? It's just like a thing somewhere out there 28 00:01:40,080 --> 00:01:42,400 Speaker 3: in space. It's from another planet, a known planet. 29 00:01:42,440 --> 00:01:45,080 Speaker 1: Actually, well, I guess you know, at this point, maybe 30 00:01:45,400 --> 00:01:47,520 Speaker 1: people had seen enough movies where the terror is from 31 00:01:47,520 --> 00:01:49,840 Speaker 1: space and they're like, well, can we get beyond that? 32 00:01:49,920 --> 00:01:51,240 Speaker 1: What's the next logical step? 33 00:01:51,840 --> 00:01:55,040 Speaker 3: It suggests some kind of like interdimensional love crafty and 34 00:01:55,160 --> 00:01:57,920 Speaker 3: sort of origin. It's not there. This is the Terror 35 00:01:57,960 --> 00:01:58,640 Speaker 3: is from Mars. 36 00:01:59,000 --> 00:02:02,600 Speaker 1: Yes. I really like some of the posters for this 37 00:02:02,640 --> 00:02:05,840 Speaker 1: particular movie. One of them that I pulled up and 38 00:02:05,880 --> 00:02:08,840 Speaker 1: included in our notes here is the nice horizontal poster 39 00:02:09,440 --> 00:02:12,560 Speaker 1: we see some version of the monster holding a woman. 40 00:02:12,600 --> 00:02:17,920 Speaker 1: Of course, one of the classic staples of the old 41 00:02:17,960 --> 00:02:21,120 Speaker 1: Monster movie is one that I love, and I love 42 00:02:21,160 --> 00:02:24,520 Speaker 1: some of the promises on this particular poster. It says 43 00:02:24,560 --> 00:02:28,320 Speaker 1: it reaches through space, it scoops up men and women, 44 00:02:28,680 --> 00:02:30,280 Speaker 1: it gorges on blood. 45 00:02:31,360 --> 00:02:34,760 Speaker 3: Now, is there any way to reach other than through space. 46 00:02:34,919 --> 00:02:37,919 Speaker 3: I guess one could reach through time, possibly with one's 47 00:02:38,000 --> 00:02:39,000 Speaker 3: mind or something. 48 00:02:39,400 --> 00:02:41,360 Speaker 1: Yeah, yeah, I guess I'll reached through space. Is it's 49 00:02:41,480 --> 00:02:43,040 Speaker 1: reached through time, I'm not sure. 50 00:02:43,320 --> 00:02:46,440 Speaker 3: But it scoops up men and women, It scoops them. 51 00:02:46,919 --> 00:02:49,160 Speaker 1: Here's the thing. It definitely scoops up men. Does it 52 00:02:49,200 --> 00:02:50,240 Speaker 1: ever scoop up a woman? 53 00:02:50,720 --> 00:02:54,560 Speaker 3: I don't recall it scoop It's gonna get men multiple times. 54 00:02:54,720 --> 00:02:57,519 Speaker 1: Yeah, another case where the monster holding a woman is 55 00:02:57,520 --> 00:02:59,400 Speaker 1: a complete lie on the poster. 56 00:03:00,400 --> 00:03:02,600 Speaker 3: I was trying to think, what's the name of the 57 00:03:02,639 --> 00:03:04,480 Speaker 3: wrestling move that it does with the guy where it 58 00:03:04,560 --> 00:03:07,919 Speaker 3: just like fully like you know, presses a guy above 59 00:03:08,600 --> 00:03:09,320 Speaker 3: above its head. 60 00:03:09,680 --> 00:03:12,639 Speaker 1: That is fitting least, I believe, sometimes called a gorilla press, 61 00:03:13,520 --> 00:03:16,880 Speaker 1: which is fitting because, as we'll discuss, we have a 62 00:03:17,000 --> 00:03:19,800 Speaker 1: veteran gorilla suit actor playing our monster. 63 00:03:20,360 --> 00:03:23,680 Speaker 3: It the Terror from Beyond Space aka Mars, has a 64 00:03:23,760 --> 00:03:27,240 Speaker 3: sort of a gorilla esque silhouette, especially in some shots. 65 00:03:27,600 --> 00:03:30,560 Speaker 1: Absolutely, and the silhouettes work really well. This is a 66 00:03:30,600 --> 00:03:33,080 Speaker 1: movie that has a, I think, especially for the time, 67 00:03:33,360 --> 00:03:36,680 Speaker 1: a pretty great monster costume. There's some flaws, as we'll discuss, 68 00:03:37,120 --> 00:03:40,880 Speaker 1: that weren't necessarily within the control of the monster suit maker, 69 00:03:42,360 --> 00:03:46,080 Speaker 1: but more importantly one of I mean, the most important 70 00:03:46,080 --> 00:03:47,920 Speaker 1: thing about a monster suit is you've got to you 71 00:03:48,000 --> 00:03:49,960 Speaker 1: got to shoot it right, you gotta light it correctly, 72 00:03:50,280 --> 00:03:52,280 Speaker 1: you gotta know what to show and what not to show. 73 00:03:52,360 --> 00:03:55,360 Speaker 1: And they don't do that perfectly in this film either, 74 00:03:55,400 --> 00:03:57,520 Speaker 1: but there are moments where it works really well. 75 00:03:57,800 --> 00:04:00,760 Speaker 3: I agree. The movie has a pretty good understanding of 76 00:04:00,800 --> 00:04:04,080 Speaker 3: how to use how to use shadows, and how to 77 00:04:04,120 --> 00:04:07,080 Speaker 3: obscure the monster so as to heighten the suspense, and 78 00:04:07,360 --> 00:04:11,040 Speaker 3: to use what looks good about the monster performance and 79 00:04:11,120 --> 00:04:13,800 Speaker 3: try to avoid what doesn't look so good about it. 80 00:04:14,080 --> 00:04:16,520 Speaker 3: And in fact, you may recall the director of this movie, 81 00:04:16,680 --> 00:04:19,840 Speaker 3: Edward el Kahn, also directed another movie we did on 82 00:04:19,880 --> 00:04:23,960 Speaker 3: Weird House, the Creature with the Adam Brain, and that 83 00:04:24,760 --> 00:04:26,800 Speaker 3: was a hoot. Of course, that one I think was 84 00:04:26,880 --> 00:04:30,599 Speaker 3: much funnier than this movie. This one, I think overall 85 00:04:31,440 --> 00:04:34,640 Speaker 3: works better on its own terms when taken more seriously, 86 00:04:35,320 --> 00:04:38,279 Speaker 3: But in both cases the director was good at using 87 00:04:38,360 --> 00:04:42,240 Speaker 3: like shadows of the creature instead of a direct shot 88 00:04:42,279 --> 00:04:42,880 Speaker 3: of the creature. 89 00:04:43,320 --> 00:04:45,719 Speaker 1: Yeah, yeah, it's you know, it's obviously a lower budget 90 00:04:45,800 --> 00:04:49,320 Speaker 1: late fifties affair. But still it's a fun and an 91 00:04:49,320 --> 00:04:53,800 Speaker 1: effective ride. Like not everything is great, but everything comes 92 00:04:53,839 --> 00:04:56,640 Speaker 1: together enough that it has this kind of structural integrity, 93 00:04:56,680 --> 00:05:01,080 Speaker 1: the structural completeness that is very enjoyable, especially when you 94 00:05:01,120 --> 00:05:04,600 Speaker 1: consider that this film was shot in well as many 95 00:05:04,640 --> 00:05:07,040 Speaker 1: as two weeks. I've seen two weeks sighted, but I've 96 00:05:07,040 --> 00:05:11,640 Speaker 1: also seen six days sided as the shooting period for 97 00:05:11,680 --> 00:05:12,200 Speaker 1: this picture. 98 00:05:12,480 --> 00:05:14,520 Speaker 3: I think. Isn't that what John Carpenter said about it 99 00:05:14,560 --> 00:05:16,000 Speaker 3: in the interview. 100 00:05:15,560 --> 00:05:18,839 Speaker 1: We watched, Yeah, Carpenter in Let's see what was this? 101 00:05:18,960 --> 00:05:22,400 Speaker 1: A twenty fifteen appearance on Turner Classic Movies, he says 102 00:05:22,440 --> 00:05:24,960 Speaker 1: it was shot in six days, which does not seem 103 00:05:25,080 --> 00:05:28,799 Speaker 1: unreasonable given what we know about the director and productions 104 00:05:28,800 --> 00:05:29,600 Speaker 1: of this time period. 105 00:05:30,080 --> 00:05:32,360 Speaker 3: It's a fun interview Carpenter does about the movie because 106 00:05:32,360 --> 00:05:35,680 Speaker 3: he clearly has great affection for it. This is something 107 00:05:35,800 --> 00:05:39,080 Speaker 3: he saw as a child and it stuck with him, 108 00:05:39,120 --> 00:05:42,680 Speaker 3: Like you know, you can tell he's still even as 109 00:05:42,680 --> 00:05:45,160 Speaker 3: an adult going back and watching it, sees it with 110 00:05:45,240 --> 00:05:49,159 Speaker 3: a little kid brain and appreciates it in that way. 111 00:05:49,200 --> 00:05:52,160 Speaker 3: And you know, that's something I always enjoy when I'm 112 00:05:52,200 --> 00:05:54,080 Speaker 3: able to do it, when I'm able to like turn 113 00:05:54,120 --> 00:05:57,479 Speaker 3: off adult brain and become a child again watching a 114 00:05:57,560 --> 00:06:01,840 Speaker 3: movie maybe on the sillier end of the spectrum. And yeah, 115 00:06:02,320 --> 00:06:05,800 Speaker 3: but he says another thing about the movie, which is that, Okay, 116 00:06:05,839 --> 00:06:10,240 Speaker 3: it does have some pretty large technical flaws, and we 117 00:06:10,279 --> 00:06:12,080 Speaker 3: can talk about some of those as we go on, 118 00:06:12,640 --> 00:06:16,920 Speaker 3: but considering how small the budget was, how fast it 119 00:06:17,000 --> 00:06:21,799 Speaker 3: was made, it's actually a pretty impressively effective picture. He says. 120 00:06:21,880 --> 00:06:23,919 Speaker 3: A quote about it is something like it has a 121 00:06:23,960 --> 00:06:26,640 Speaker 3: great little engine that runs it or something like that, 122 00:06:27,120 --> 00:06:32,680 Speaker 3: and I totally agree. There is a strong sort of 123 00:06:33,400 --> 00:06:36,800 Speaker 3: mechanical tactle feeling to the plot and a lot of 124 00:06:36,800 --> 00:06:38,720 Speaker 3: the scenes, and it works really well. It just kind 125 00:06:38,720 --> 00:06:39,679 Speaker 3: of pushes you through. 126 00:06:40,200 --> 00:06:41,800 Speaker 1: Yeah, Yeah, it's kind of I guess it's like thinking 127 00:06:41,839 --> 00:06:43,440 Speaker 1: about what is a car supposed to do? Is supposed 128 00:06:43,440 --> 00:06:45,279 Speaker 1: to drive you from point A to point B. What's 129 00:06:45,279 --> 00:06:47,680 Speaker 1: a movie supposed to do? Well, answer is a little 130 00:06:47,680 --> 00:06:50,599 Speaker 1: more complicated, but essentially entertain us and tell us a 131 00:06:50,640 --> 00:06:53,280 Speaker 1: story and allow us to be immersed in that story. 132 00:06:53,560 --> 00:06:55,839 Speaker 1: And this film does all of those things. Even if 133 00:06:55,880 --> 00:06:57,600 Speaker 1: you were to be picky about it, you could be like, well, 134 00:06:57,600 --> 00:06:59,919 Speaker 1: look at that hubcap, look at that tail light, you know, 135 00:07:01,080 --> 00:07:03,080 Speaker 1: but hey, it all comes together and you make it 136 00:07:03,120 --> 00:07:03,919 Speaker 1: to your destination. 137 00:07:04,240 --> 00:07:06,640 Speaker 3: Look at that whatever chin or something poking out of 138 00:07:06,640 --> 00:07:07,560 Speaker 3: the monster's mouth. 139 00:07:08,120 --> 00:07:11,360 Speaker 1: Yeah, and in the end too. You know, it's like, 140 00:07:11,400 --> 00:07:14,920 Speaker 1: we have some some pretty pretty solid performances in here. 141 00:07:15,360 --> 00:07:19,640 Speaker 1: We have some effective scenes, some that are I think 142 00:07:19,680 --> 00:07:21,840 Speaker 1: actually quite scary, that still hold up and have a 143 00:07:21,840 --> 00:07:25,120 Speaker 1: certain amount of tension and terror to them. Michael Weldon 144 00:07:25,160 --> 00:07:27,720 Speaker 1: and the Psychotronic Film Guide praised it as a quote 145 00:07:27,880 --> 00:07:31,239 Speaker 1: pretty scary space horror, and uh, you know, I think 146 00:07:31,560 --> 00:07:34,360 Speaker 1: it depends what you compare it to. You know, obviously 147 00:07:34,600 --> 00:07:37,880 Speaker 1: it it's a very interesting exercise to compare this to Alien, 148 00:07:38,840 --> 00:07:41,240 Speaker 1: but it's also a little unfair to hold it to that, 149 00:07:42,480 --> 00:07:45,440 Speaker 1: to that level, you know. But on its own terms, 150 00:07:45,560 --> 00:07:49,280 Speaker 1: it has some some scares, some jump scares, some some 151 00:07:49,320 --> 00:07:51,680 Speaker 1: creepy atmospheric moments. I really liked it. 152 00:07:51,880 --> 00:07:54,160 Speaker 3: I agree, And I also agree that as far as 153 00:07:54,200 --> 00:07:57,080 Speaker 3: the sort of set pieces, the horror set pieces go, 154 00:07:57,880 --> 00:08:02,200 Speaker 3: I think O'Bannon correctly selected the best elements to lift. 155 00:08:02,440 --> 00:08:04,560 Speaker 3: Like some of the best stuff in the movie is 156 00:08:04,640 --> 00:08:08,600 Speaker 3: the stuff that gets copied over into the alien plot. Yeah. 157 00:08:08,680 --> 00:08:10,200 Speaker 1: So we'll have more to say about all of this 158 00:08:10,240 --> 00:08:14,000 Speaker 1: as we proceed, but elevator picture of this film, I 159 00:08:14,040 --> 00:08:16,400 Speaker 1: think all you have to say is alien stow away. 160 00:08:17,000 --> 00:08:19,920 Speaker 3: I'd add another element. I'd say there's like two parallel 161 00:08:20,240 --> 00:08:23,480 Speaker 3: elevator pitches. One is Alien stow Away, the other is 162 00:08:23,640 --> 00:08:24,720 Speaker 3: murder on Mars. 163 00:08:24,840 --> 00:08:28,560 Speaker 1: Question monk, that's true, I would say that's the bet 164 00:08:28,600 --> 00:08:33,280 Speaker 1: plot that sadly kind of gets shuffled aside. But it's 165 00:08:33,280 --> 00:08:36,079 Speaker 1: a nice what if, Like what if they had really 166 00:08:36,080 --> 00:08:39,200 Speaker 1: been able to deliver both in equal volumes, or if 167 00:08:39,200 --> 00:08:40,560 Speaker 1: someone were to re explore. 168 00:08:40,200 --> 00:08:42,160 Speaker 3: It today intriguing idea. 169 00:08:42,559 --> 00:08:45,320 Speaker 1: Yeah, well, if you want to watch it the Terror 170 00:08:45,360 --> 00:08:47,959 Speaker 1: from Beyond Space before proceeding here. This one is pretty 171 00:08:47,960 --> 00:08:52,360 Speaker 1: widely available in digital and physical formats, including a twenty 172 00:08:52,440 --> 00:08:55,719 Speaker 1: twenty three KL Studio Classics Blu ray release that has 173 00:08:55,720 --> 00:08:59,120 Speaker 1: a new HD master, a FEATURETTE, and I think three 174 00:08:59,200 --> 00:09:01,920 Speaker 1: different commentary tracks. I ended up not being able to 175 00:09:01,920 --> 00:09:03,560 Speaker 1: pick this one up. I think they do have it 176 00:09:03,559 --> 00:09:06,680 Speaker 1: at Video Drone, but I ended up watching a quality 177 00:09:06,720 --> 00:09:09,040 Speaker 1: stream of that I think must be the HD master, 178 00:09:09,960 --> 00:09:11,640 Speaker 1: and it looks pretty darn good. 179 00:09:12,120 --> 00:09:14,520 Speaker 3: The stream I watched also looked pretty sharp. 180 00:09:14,920 --> 00:09:17,439 Speaker 1: All right, let's get into the people here. So we 181 00:09:17,760 --> 00:09:20,400 Speaker 1: mentioned the director already. And again we have talked about 182 00:09:20,400 --> 00:09:24,000 Speaker 1: this director before because it is the One Week Wonder. 183 00:09:24,040 --> 00:09:26,960 Speaker 1: It is Edward L. Cohn who lived eighteen ninety nine 184 00:09:27,120 --> 00:09:30,440 Speaker 1: through nineteen sixty three, who also directed the Creature with 185 00:09:30,480 --> 00:09:33,080 Speaker 1: the Adam Brain that was released in fifty five. 186 00:09:33,800 --> 00:09:36,200 Speaker 3: So I've really enjoyed both of the movies of his 187 00:09:36,440 --> 00:09:39,520 Speaker 3: we watched, but I recall Creature with the Adam Brain 188 00:09:40,280 --> 00:09:47,400 Speaker 3: being more silly, being more very fun, but a more ludicrous, goofy, 189 00:09:48,000 --> 00:09:51,760 Speaker 3: low budget monster movie, and this one being surprisingly tight 190 00:09:51,880 --> 00:09:52,640 Speaker 3: by comparison. 191 00:09:53,120 --> 00:09:55,320 Speaker 1: Yeah. Yeah, Creature with the Adam Brain had kind of 192 00:09:55,320 --> 00:09:59,400 Speaker 1: a serial energy to it, like old old action serial 193 00:09:59,480 --> 00:10:02,280 Speaker 1: kind of vibe, and this one is, you know, it's 194 00:10:02,400 --> 00:10:06,160 Speaker 1: very identifiable as as space horror proto space horror in 195 00:10:06,160 --> 00:10:08,040 Speaker 1: many ways, and you can you can see why it 196 00:10:08,080 --> 00:10:08,920 Speaker 1: was such an influence. 197 00:10:09,240 --> 00:10:12,199 Speaker 3: Creature with the Adam Brain was the movie that had 198 00:10:12,240 --> 00:10:14,720 Speaker 3: the news broadcasts by Dick Cutting. 199 00:10:15,040 --> 00:10:16,720 Speaker 1: Yes, Oh, good old Dick Cutting. 200 00:10:16,800 --> 00:10:17,400 Speaker 3: Yes. 201 00:10:18,200 --> 00:10:21,720 Speaker 1: So con was a highly prolific low budget director for 202 00:10:21,760 --> 00:10:25,720 Speaker 1: three decades, directing one hundred and twenty eight films. Many 203 00:10:25,720 --> 00:10:27,760 Speaker 1: of you may be familiar with some of his nineteen 204 00:10:27,760 --> 00:10:30,480 Speaker 1: fifties horror in sci fi films such as fifty seven's 205 00:10:30,480 --> 00:10:33,240 Speaker 1: Invasion of the Saucermen and The Zombies of Mara Tau. 206 00:10:33,720 --> 00:10:36,800 Speaker 1: Nineteen fifty six is The She Creature, nineteen fifty nine 207 00:10:36,840 --> 00:10:39,920 Speaker 1: is Invisible Invaders, and The Four Skulls of Jonathan Drake. 208 00:10:40,200 --> 00:10:43,600 Speaker 1: He also did a lot of westerns action films, biker films, 209 00:10:43,920 --> 00:10:47,480 Speaker 1: and various social exploitation films of the thirties, forties, fifties 210 00:10:47,520 --> 00:10:51,160 Speaker 1: and early sixties. So it just to give you an 211 00:10:51,200 --> 00:10:53,800 Speaker 1: idea of like how fast he was pumping these out, 212 00:10:53,880 --> 00:10:56,199 Speaker 1: how fast the one week wonder was getting these done? It. 213 00:10:56,520 --> 00:10:59,280 Speaker 1: The Terror from Beyond Space is one of five con 214 00:10:59,320 --> 00:11:01,640 Speaker 1: films released in the year nineteen fifty eight. 215 00:11:02,080 --> 00:11:05,160 Speaker 3: Even Roger Corman only did five movies in nineteen fifty eight, 216 00:11:05,320 --> 00:11:08,640 Speaker 3: Oh wow, but he did do eight in nineteen fifty seven. 217 00:11:09,280 --> 00:11:12,080 Speaker 1: I mean there are some years where Corman was pumping 218 00:11:12,120 --> 00:11:15,439 Speaker 1: him out in such quantity that he's unequaled. 219 00:11:15,920 --> 00:11:18,200 Speaker 3: Yeah, whenever you're feeling a little too proud of yourself, 220 00:11:18,200 --> 00:11:20,840 Speaker 3: you think, have I made eight movies this year, three 221 00:11:20,880 --> 00:11:23,320 Speaker 3: of which are about atomic radiation and two of which 222 00:11:23,360 --> 00:11:24,840 Speaker 3: have the word naked in the title. 223 00:11:26,960 --> 00:11:30,680 Speaker 1: Now getting to the screenplay, the screenplay is by Jerome Bixby, 224 00:11:31,040 --> 00:11:34,240 Speaker 1: who lived nineteen twenty three through nineteen ninety eight American 225 00:11:34,280 --> 00:11:37,800 Speaker 1: writer and composer, a graduate of the Juilliard School of Music, 226 00:11:38,400 --> 00:11:41,880 Speaker 1: who also wrote various short stories and two novels, Call 227 00:11:42,000 --> 00:11:44,880 Speaker 1: for an Exorcist and Space by the Tale, both published 228 00:11:44,880 --> 00:11:47,920 Speaker 1: in sixty four. His nineteen fifty three story It's a 229 00:11:47,920 --> 00:11:50,560 Speaker 1: Good Life was adapted as an episode of the Twilight 230 00:11:50,640 --> 00:11:53,840 Speaker 1: Zone in nineteen sixty one, and also revisited in Twilight 231 00:11:53,920 --> 00:11:55,839 Speaker 1: Zone the movie. This is the one about the six 232 00:11:55,880 --> 00:11:59,280 Speaker 1: year old boy with godlike powers that can wish you 233 00:11:59,280 --> 00:12:02,040 Speaker 1: into the corn field and so yeah, yeah, now it 234 00:12:02,160 --> 00:12:05,480 Speaker 1: the tearform. Beyond Space was only his second produced screenplay, 235 00:12:05,760 --> 00:12:08,840 Speaker 1: following CON's Curse of the Faceless Man from the same year. 236 00:12:09,400 --> 00:12:12,120 Speaker 1: He also has a story credit on nineteen sixty six 237 00:12:12,240 --> 00:12:15,800 Speaker 1: Is Fantastic Voyage. We often think about Isaac Asimov in 238 00:12:15,840 --> 00:12:17,920 Speaker 1: relation to that picture, but we have to remember he 239 00:12:18,000 --> 00:12:21,200 Speaker 1: only wrote the novelization, he was not involved in the screenplay, 240 00:12:22,240 --> 00:12:25,080 Speaker 1: and also Bixby wrote four episodes of the original Star 241 00:12:25,160 --> 00:12:25,800 Speaker 1: Trek series. 242 00:12:26,320 --> 00:12:28,400 Speaker 3: I'd say the screenplay, like some of the other things 243 00:12:28,440 --> 00:12:31,359 Speaker 3: we've been talking about, you could look at from multiple angles. 244 00:12:31,480 --> 00:12:32,280 Speaker 3: Is it high art? 245 00:12:32,559 --> 00:12:33,199 Speaker 2: No? Is it? 246 00:12:33,480 --> 00:12:34,720 Speaker 3: Is it super smart? 247 00:12:35,520 --> 00:12:35,559 Speaker 2: No? 248 00:12:35,760 --> 00:12:38,000 Speaker 3: I mean it's it's got some kind of gaps and 249 00:12:38,040 --> 00:12:42,920 Speaker 3: flaws in it and some failed characterization, but it's for 250 00:12:42,960 --> 00:12:45,640 Speaker 3: what it is, and for the level of movie this is. 251 00:12:45,840 --> 00:12:47,480 Speaker 3: I feel like it's a pretty tight plot. 252 00:12:48,080 --> 00:12:51,640 Speaker 1: Yeah, yeah, it's it's it's efficient, it's economic, there's not 253 00:12:51,679 --> 00:12:53,640 Speaker 1: really a dull moment, and it's got some nice little 254 00:12:53,640 --> 00:12:55,600 Speaker 1: splashes of dialogue here and there, which of course are 255 00:12:55,640 --> 00:12:59,600 Speaker 1: helped along by a really solid cast of character actors 256 00:12:59,600 --> 00:13:02,800 Speaker 1: and some leading act Yes, I agree. And speaking of 257 00:13:03,040 --> 00:13:06,480 Speaker 1: starting at the top, we have Marshall Thompson playing the 258 00:13:06,760 --> 00:13:11,920 Speaker 1: character Colonel Edward Carruthers. Thompson lived nineteen twenty five through 259 00:13:12,000 --> 00:13:15,440 Speaker 1: nineteen ninety two, All American actor, who we've talked about 260 00:13:15,480 --> 00:13:18,600 Speaker 1: on the show before because he was in a little 261 00:13:18,640 --> 00:13:21,560 Speaker 1: film from nineteen fifty eight titled Fiend Without a Face. 262 00:13:22,160 --> 00:13:24,840 Speaker 3: Ah. This is the Brain Attack movie, the one that 263 00:13:24,920 --> 00:13:27,720 Speaker 3: takes place at I think it's a research installation up 264 00:13:27,760 --> 00:13:30,480 Speaker 3: in Canada or in Alaska at some more sort of 265 00:13:30,640 --> 00:13:35,040 Speaker 3: arctic location. And the idea is that a remote military 266 00:13:35,040 --> 00:13:38,720 Speaker 3: base that's doing experimental I don't know whether something or 267 00:13:38,720 --> 00:13:42,760 Speaker 3: other gets attacked by invisible brains and spinal columns. 268 00:13:43,280 --> 00:13:47,840 Speaker 1: Yeah, a film that's mostly notable for really incredible stop 269 00:13:47,920 --> 00:13:51,440 Speaker 1: motion brain monsters and some very squishy sound effects to 270 00:13:51,440 --> 00:13:54,600 Speaker 1: go along with them, generally not notable for the acting. 271 00:13:54,640 --> 00:13:56,760 Speaker 1: In fact, I remember us just kind of commenting that 272 00:13:56,840 --> 00:14:00,200 Speaker 1: Marshall Thompson was kind of like a square job, you know, 273 00:14:00,280 --> 00:14:02,560 Speaker 1: kind of boring actor. Like there's just you know, very 274 00:14:02,679 --> 00:14:03,880 Speaker 1: lukewarm performance. 275 00:14:04,200 --> 00:14:05,960 Speaker 3: That is what I thought of him in that movie. 276 00:14:06,000 --> 00:14:08,679 Speaker 3: I'd say he's a good bit better in this actually. 277 00:14:08,800 --> 00:14:11,079 Speaker 1: Yeah, this film gives him a lot more to work with. 278 00:14:11,120 --> 00:14:13,760 Speaker 1: He has a more complex character. So on one level, 279 00:14:13,880 --> 00:14:17,160 Speaker 1: he is the square jot chick magnet hero per usual, 280 00:14:17,920 --> 00:14:20,240 Speaker 1: but especially early on in the picture, he's also the 281 00:14:20,280 --> 00:14:24,200 Speaker 1: lone survivor of a terrifying encounter on an alien world 282 00:14:24,680 --> 00:14:30,480 Speaker 1: who has subsequently been condemned to the firing squad you know, 283 00:14:30,880 --> 00:14:34,880 Speaker 1: all but officially for the murder of his crew. And 284 00:14:34,960 --> 00:14:38,400 Speaker 1: so he is able to work with that, and you 285 00:14:38,440 --> 00:14:40,200 Speaker 1: do see that in his performance. He has like kind 286 00:14:40,200 --> 00:14:44,120 Speaker 1: of a nice haunted look, especially throughout the first you know, 287 00:14:44,280 --> 00:14:45,080 Speaker 1: third of the picture. 288 00:14:45,520 --> 00:14:48,680 Speaker 3: Framed for homicide by a star beast. Yeah, Yeah, it's 289 00:14:48,680 --> 00:14:51,440 Speaker 3: an unusual type of character, but it's it's good. 290 00:14:51,640 --> 00:14:53,400 Speaker 1: Yeah. So I set out to be kind of again 291 00:14:53,800 --> 00:14:56,960 Speaker 1: bored by his performance, as one often is, I think 292 00:14:57,040 --> 00:14:59,520 Speaker 1: with leading man performances from genre pictures of this time 293 00:14:59,560 --> 00:15:02,760 Speaker 1: period for various reasons we've discussed in the show before, 294 00:15:02,800 --> 00:15:05,320 Speaker 1: but I ended up enjoying his performance. 295 00:15:04,880 --> 00:15:07,320 Speaker 3: Somewhat totally agree better than average. Yeah. 296 00:15:07,360 --> 00:15:09,200 Speaker 1: Yeah, I'm not gonna go through everything we said about 297 00:15:09,280 --> 00:15:11,240 Speaker 1: him last time, but basically he's a guy who kind 298 00:15:11,240 --> 00:15:17,000 Speaker 1: of has like two prongs to his filmography. They are 299 00:15:17,000 --> 00:15:20,200 Speaker 1: the cult films and then there is like the good 300 00:15:20,320 --> 00:15:22,840 Speaker 1: natured animal films. So he did like a horse movie 301 00:15:22,880 --> 00:15:26,480 Speaker 1: called Gallant Bess in forty six, and then sixty five's 302 00:15:26,520 --> 00:15:30,840 Speaker 1: Clarence the Cross Eyed Line, and so forth. His final 303 00:15:30,920 --> 00:15:34,120 Speaker 1: film role was a supporting role in nineteen ninety one's 304 00:15:34,200 --> 00:15:39,240 Speaker 1: mc bain, an action movie starring Christopher Walken, Michael Ironside 305 00:15:39,280 --> 00:15:43,520 Speaker 1: and also featuring Louise Gouzman in a supporting role. But 306 00:15:44,000 --> 00:15:46,680 Speaker 1: I don't think I was familiar with mc bain outside 307 00:15:46,760 --> 00:15:49,960 Speaker 1: of the yelling McBain on the Simpsons and having the 308 00:15:49,960 --> 00:15:53,720 Speaker 1: fictional action hero McBain, which when I looked into it 309 00:15:53,720 --> 00:15:57,040 Speaker 1: a little bit more. Apparently this movie, the ninety one 310 00:15:57,080 --> 00:16:00,600 Speaker 1: movie McBain, came out after the Simpsons jokes, and because 311 00:16:00,640 --> 00:16:03,720 Speaker 1: of it, the Simpsons had to stop making McMain jokes. 312 00:16:04,120 --> 00:16:05,880 Speaker 1: I don't know if that's completely true, but that's the 313 00:16:06,320 --> 00:16:07,040 Speaker 1: argument ever heard. 314 00:16:07,360 --> 00:16:10,080 Speaker 3: I don't think they stopped doing McBain jokes. I remember 315 00:16:10,160 --> 00:16:14,360 Speaker 3: McBain jokes going well into the last seasons I saw 316 00:16:14,440 --> 00:16:15,920 Speaker 3: at least like season seven and eight. 317 00:16:16,600 --> 00:16:18,720 Speaker 1: Maybe they came back after a while and they had 318 00:16:18,720 --> 00:16:20,960 Speaker 1: to like just hush it for a bit. I don't know. 319 00:16:21,160 --> 00:16:22,920 Speaker 1: But then again, I thought I was familiar with Christopher 320 00:16:22,920 --> 00:16:26,680 Speaker 1: Walken's filmography, and McBain feels like one that just came 321 00:16:26,720 --> 00:16:30,240 Speaker 1: out of nowhere that did not previously exist, And just 322 00:16:30,280 --> 00:16:32,160 Speaker 1: suddenly I jumped onto a different timeline. 323 00:16:32,480 --> 00:16:36,160 Speaker 3: Which episode is it where McBain is delivering a palette 324 00:16:36,160 --> 00:16:38,840 Speaker 3: of UNICEF pennies out of an airplane and then he 325 00:16:38,880 --> 00:16:41,680 Speaker 3: gets attacked by COMMI Nazi fighter jets. 326 00:16:42,720 --> 00:16:43,760 Speaker 1: I don't remember that one. 327 00:16:43,960 --> 00:16:46,680 Speaker 3: He has to jump down and punch through the cockpit. 328 00:16:48,080 --> 00:16:50,800 Speaker 1: Anyway, if anyone out there has seen mc bain from 329 00:16:50,880 --> 00:16:54,360 Speaker 1: nineteen ninety one, well right in and we would like 330 00:16:54,400 --> 00:17:04,639 Speaker 1: to hear from you, all right, continuing on with the 331 00:17:04,920 --> 00:17:06,639 Speaker 1: rest of the cast here, We're not going to do 332 00:17:06,640 --> 00:17:08,360 Speaker 1: the whole cast because this is still one of those 333 00:17:08,359 --> 00:17:10,960 Speaker 1: films where they are just a lot of, at least 334 00:17:11,760 --> 00:17:14,359 Speaker 1: on the surface, interchangeable guys. 335 00:17:15,000 --> 00:17:18,800 Speaker 3: But I really lost track of the guys multiple times 336 00:17:18,800 --> 00:17:19,080 Speaker 3: in this. 337 00:17:19,320 --> 00:17:22,040 Speaker 1: Yeah, though I did find it easier to keep track 338 00:17:22,080 --> 00:17:24,159 Speaker 1: of them on the whole compared to a lot of movies, 339 00:17:24,280 --> 00:17:27,920 Speaker 1: because on the whole, the cast is pretty good, and 340 00:17:28,080 --> 00:17:30,040 Speaker 1: you know, we got some nice character actors in there, 341 00:17:30,160 --> 00:17:32,840 Speaker 1: and the screenplay also seems to be doing a little 342 00:17:32,880 --> 00:17:34,880 Speaker 1: extra work to keep us from getting too confused. 343 00:17:35,200 --> 00:17:37,679 Speaker 3: Well, yeah, but I am going to ding it for 344 00:17:37,800 --> 00:17:40,560 Speaker 3: one thing, which is that they do a role call 345 00:17:40,720 --> 00:17:44,280 Speaker 3: of the cast early on, where you're like, oh great, Fortunately, 346 00:17:44,359 --> 00:17:47,439 Speaker 3: like all the cast members sound off, they call in 347 00:17:47,480 --> 00:17:49,639 Speaker 3: on the radio, they say their name and it shows 348 00:17:49,680 --> 00:17:51,640 Speaker 3: you their face. I'm like, this is a good way 349 00:17:51,720 --> 00:17:54,840 Speaker 3: to just familiarize you quickly with all the characters and 350 00:17:54,880 --> 00:17:57,359 Speaker 3: what their names are. But there are characters who don't 351 00:17:57,359 --> 00:18:00,960 Speaker 3: participate in the role call. Later you think you know 352 00:18:01,040 --> 00:18:02,840 Speaker 3: them all, and then just random other people are in 353 00:18:02,880 --> 00:18:04,880 Speaker 3: the mix. It's like, wait, I don't remember that guy. 354 00:18:05,119 --> 00:18:07,440 Speaker 1: Yeah, some sort of cast system in play here did 355 00:18:07,480 --> 00:18:10,840 Speaker 1: not say present. All right, So Marshall Thompson is playing 356 00:18:10,880 --> 00:18:14,480 Speaker 1: our doomed guy, or seemingly doomed guy who needs to 357 00:18:14,480 --> 00:18:17,159 Speaker 1: be picked up from Mars because his mission to Mars 358 00:18:17,640 --> 00:18:20,600 Speaker 1: ended in terror and death. Yeah, we have this rescue 359 00:18:20,640 --> 00:18:22,480 Speaker 1: crew coming in to pick him up, and that's where 360 00:18:22,480 --> 00:18:24,960 Speaker 1: we get into the rest of the cast. And this 361 00:18:25,080 --> 00:18:29,440 Speaker 1: mission is headed up by Colonel van Heusen, played by 362 00:18:29,560 --> 00:18:33,080 Speaker 1: Kim Spalding, who lived nineteen fifteen through the year two thousand. 363 00:18:33,400 --> 00:18:36,400 Speaker 1: American stage, screen and TV actor the forties, fifties, and sixties, 364 00:18:36,840 --> 00:18:39,399 Speaker 1: I think best known for this film. He worked in 365 00:18:39,480 --> 00:18:42,880 Speaker 1: various westerns. I think, sometimes played a villain, sometimes played 366 00:18:42,880 --> 00:18:45,760 Speaker 1: a hero. He has that kind of gaunt, stern look 367 00:18:46,080 --> 00:18:48,000 Speaker 1: that I think allowed him to jump back and forth 368 00:18:48,040 --> 00:18:48,760 Speaker 1: between the two. 369 00:18:49,280 --> 00:18:51,600 Speaker 3: Yeah, he played. The character he plays in this movie 370 00:18:51,640 --> 00:18:55,280 Speaker 3: is relatively stoic. You can imagine he has used well 371 00:18:55,320 --> 00:18:59,880 Speaker 3: as kind of like a moderately threatening man with dark moods. 372 00:19:00,600 --> 00:19:04,840 Speaker 1: Yeah. Yeah, I was reading on a classic film board 373 00:19:04,880 --> 00:19:08,680 Speaker 1: about some of his roles, and apparently he played Doc 374 00:19:08,760 --> 00:19:12,120 Speaker 1: Holiday in a nineteen fifty four TV western series called 375 00:19:12,200 --> 00:19:16,560 Speaker 1: Stories of the Century, and apparently he played a villainous 376 00:19:16,600 --> 00:19:19,280 Speaker 1: Doc Holiday in this. So Doc Holliday is like using 377 00:19:19,359 --> 00:19:24,240 Speaker 1: his dentistry to torture people or something. Whoa. So that's 378 00:19:24,240 --> 00:19:26,119 Speaker 1: the kind of range he had here. But in this 379 00:19:26,240 --> 00:19:31,320 Speaker 1: he's essentially one of the heroes. But there's some misunderstandings 380 00:19:31,320 --> 00:19:35,080 Speaker 1: that involved as well. All Right, we also have the 381 00:19:35,200 --> 00:19:39,359 Speaker 1: character Anne Anderson, one of the scientists aboard the vessel, 382 00:19:39,760 --> 00:19:42,879 Speaker 1: played by Shirley Patterson. I believe she's credited on this 383 00:19:42,920 --> 00:19:45,879 Speaker 1: as Sean Smith. This is She lived nineteen twenty two 384 00:19:45,920 --> 00:19:49,000 Speaker 1: through nineteen ninety five, Canadian actress of the forties and fifties, 385 00:19:49,240 --> 00:19:51,560 Speaker 1: best known for her roles in fifty six is World 386 00:19:51,600 --> 00:19:55,639 Speaker 1: Without End, fifty seven's The Land Unknown, and the nineteen 387 00:19:55,720 --> 00:19:59,080 Speaker 1: forty three Batman serial, which I've seen parts of. It's 388 00:19:59,320 --> 00:20:02,720 Speaker 1: very hard to wat because it's just it's boring. But 389 00:20:03,640 --> 00:20:06,320 Speaker 1: in this, yeah, she's a scientist, I think a geologist, 390 00:20:06,560 --> 00:20:08,360 Speaker 1: but she's also the captain's girlfriend. 391 00:20:08,359 --> 00:20:11,480 Speaker 3: Apparently this movie's approach to gender is not one of 392 00:20:11,520 --> 00:20:16,080 Speaker 3: its most sort of future anticipating moves. So like, there 393 00:20:16,080 --> 00:20:18,840 Speaker 3: are two women aboard the ship as members of the 394 00:20:18,920 --> 00:20:22,040 Speaker 3: crew and they are both scientists, but they are also 395 00:20:22,160 --> 00:20:26,159 Speaker 3: the significant others of other crew members, and they have 396 00:20:26,200 --> 00:20:28,440 Speaker 3: to do all the cooking and the serving of coffee. 397 00:20:28,520 --> 00:20:32,000 Speaker 3: So yeah, yeah, multiple reviewers have pointed that out. And 398 00:20:32,080 --> 00:20:33,919 Speaker 3: it's not the only movie of the time like that, 399 00:20:34,000 --> 00:20:36,160 Speaker 3: by the way, where there's like, oh, you know, there's 400 00:20:36,200 --> 00:20:39,359 Speaker 3: one woman on this crew. She is a scientist. We 401 00:20:39,400 --> 00:20:42,160 Speaker 3: are going to the dinosaur planet. She's also the ship's cook. 402 00:20:42,560 --> 00:20:45,439 Speaker 1: Yeah. Yeah, it's not one of the best aspects of 403 00:20:45,440 --> 00:20:48,200 Speaker 1: the picture. There's no Ripley on this crew. Ripley would 404 00:20:48,200 --> 00:20:50,480 Speaker 1: never Yeah, she would tell you to get your own 405 00:20:50,560 --> 00:20:52,760 Speaker 1: darn coffee. And you know, even if it is and 406 00:20:52,800 --> 00:20:54,480 Speaker 1: it's the best thing on the ships, of course you 407 00:20:54,480 --> 00:20:58,399 Speaker 1: should get your own coffee. Yeah. The other female that 408 00:20:58,440 --> 00:21:01,520 Speaker 1: you just alluded to on the ship is the character 409 00:21:01,640 --> 00:21:05,560 Speaker 1: Mary Royce. She's essentially the mom of the ship. That's 410 00:21:05,560 --> 00:21:08,600 Speaker 1: the way. She's supposed to be a scientist as well, 411 00:21:08,640 --> 00:21:11,600 Speaker 1: but she's everyone's mom. I guess. She seems to fulfill 412 00:21:11,640 --> 00:21:14,239 Speaker 1: that role for all of these these men that are 413 00:21:14,240 --> 00:21:15,879 Speaker 1: serving on board of the spaceship. 414 00:21:16,119 --> 00:21:19,280 Speaker 3: Yeah, she sort of scolds them for making crass jokes 415 00:21:19,320 --> 00:21:20,280 Speaker 3: and stuff. 416 00:21:20,560 --> 00:21:23,320 Speaker 1: Yeah. Played by Anne Doran, who have nineteen eleven through 417 00:21:23,320 --> 00:21:26,520 Speaker 1: the year two thousand, Doran appeared to be in more 418 00:21:26,560 --> 00:21:30,560 Speaker 1: than five hundred movies and one thousand TV shows from 419 00:21:30,640 --> 00:21:33,879 Speaker 1: nineteen twenty two through nineteen eighty eight. She apparently started 420 00:21:33,920 --> 00:21:36,399 Speaker 1: as a child actress, which of course helps if you're 421 00:21:36,440 --> 00:21:38,320 Speaker 1: going to rack up these kind of numbers. But her 422 00:21:38,359 --> 00:21:41,639 Speaker 1: mini credits include the nineteen fifty four giant ant movie Them, 423 00:21:42,119 --> 00:21:44,800 Speaker 1: nineteen fifty five's Rebel Without a Cause, and nineteen thirty 424 00:21:44,880 --> 00:21:46,600 Speaker 1: nine's Mister Smith Goes to Washington. 425 00:21:47,000 --> 00:21:49,240 Speaker 3: She was in two exclamation point movies. 426 00:21:51,119 --> 00:21:53,400 Speaker 1: They don't do enough exclamation point movies anymore. 427 00:21:54,080 --> 00:21:56,080 Speaker 3: Wait, I just had to check. I thought them has 428 00:21:56,119 --> 00:21:57,120 Speaker 3: an exclamation point. 429 00:21:57,160 --> 00:21:59,040 Speaker 1: It does, yeah, but I can't add that in the 430 00:21:59,119 --> 00:22:02,680 Speaker 1: notes exclamation points followed by commas. That's I just start 431 00:22:02,720 --> 00:22:05,359 Speaker 1: feeling crazy. If I do that, I do hold it 432 00:22:05,400 --> 00:22:09,119 Speaker 1: against you, all right. So that's Mary Royce, that's grandma 433 00:22:09,560 --> 00:22:13,840 Speaker 1: or mom. Who's who's the dad character of the ship. Well, 434 00:22:13,880 --> 00:22:19,560 Speaker 1: that's Eric Royce played by Dab's Greer, who was honestly, 435 00:22:19,720 --> 00:22:21,439 Speaker 1: like really good in this, Like he doesn't really have 436 00:22:21,480 --> 00:22:25,200 Speaker 1: that much to do. But sometimes in the ensemble cast 437 00:22:25,200 --> 00:22:27,159 Speaker 1: of a particular film. You know you have that you 438 00:22:27,160 --> 00:22:30,640 Speaker 1: know obviously, you know, a veteran character actor who can 439 00:22:30,720 --> 00:22:34,720 Speaker 1: really just infuse anything he has to say or any 440 00:22:34,760 --> 00:22:37,840 Speaker 1: scene where he's just present with a certain amount of 441 00:22:37,880 --> 00:22:41,760 Speaker 1: dignity and seriousness. And that's where Dad's gear comes in. 442 00:22:42,040 --> 00:22:44,640 Speaker 3: He absolutely is the dad. Wait is this the guy 443 00:22:44,640 --> 00:22:47,680 Speaker 3: who's playing chess and is he smoking a pipe or something? 444 00:22:47,720 --> 00:22:50,160 Speaker 1: Oh? Yeah, yeah, there's a lot of smoking on from 445 00:22:50,160 --> 00:22:52,800 Speaker 1: board the ship. That's something John Carpenter pointed out as well. 446 00:22:52,840 --> 00:22:56,639 Speaker 1: It's like everybody's smoking like constantly. If you listen to 447 00:22:56,640 --> 00:22:59,280 Speaker 1: our most recent stuff to Blow your Mind Core episode. 448 00:22:59,280 --> 00:23:02,000 Speaker 1: This is also funny because we were talking about like 449 00:23:02,080 --> 00:23:06,600 Speaker 1: oxygen levels on actual space flights, some of the risks, 450 00:23:06,640 --> 00:23:09,879 Speaker 1: and this movie is just completely alarming in light of 451 00:23:09,920 --> 00:23:12,080 Speaker 1: all of that, not only because of the smoking, but 452 00:23:12,119 --> 00:23:13,280 Speaker 1: because of other things as well. 453 00:23:13,880 --> 00:23:17,520 Speaker 3: I would say this movie's general understanding of like pressurized 454 00:23:17,560 --> 00:23:21,760 Speaker 3: exploration environments is a little fuzzy. So not only is 455 00:23:21,800 --> 00:23:27,960 Speaker 3: everybody constantly smoking and shooting firearms inside of a interplanetary spaceship, 456 00:23:28,040 --> 00:23:30,639 Speaker 3: they also just leave the door open on the surface 457 00:23:30,680 --> 00:23:31,600 Speaker 3: of Mars. 458 00:23:32,600 --> 00:23:34,280 Speaker 1: I mean, they didn't think anything would come in that's 459 00:23:34,359 --> 00:23:37,400 Speaker 1: the I mean, that's the fatal flaw. But they didn't 460 00:23:37,400 --> 00:23:40,200 Speaker 1: think there was anything that could crawl aboard. But anyway, Yeah, 461 00:23:40,280 --> 00:23:43,359 Speaker 1: Dad's career here is terrific. I think Carpenter also singled 462 00:23:43,400 --> 00:23:46,600 Speaker 1: him out as being a fine presence in the film. 463 00:23:47,000 --> 00:23:50,200 Speaker 1: Longtime American character actor whose credits include everything from fifty 464 00:23:50,200 --> 00:23:52,720 Speaker 1: three's House of Wax. I don't think we mentioned him 465 00:23:52,720 --> 00:23:55,080 Speaker 1: in that one. He's somewhere in the supporting cast. He's 466 00:23:55,080 --> 00:23:57,680 Speaker 1: in fifty six is Invasion of the Body Snatchers, which 467 00:23:58,040 --> 00:24:00,560 Speaker 1: is another film that absolutely holds up, and then you 468 00:24:00,640 --> 00:24:03,399 Speaker 1: also find him in nineteen ninety seven's con Air in 469 00:24:03,480 --> 00:24:04,960 Speaker 1: nineteen ninety nine is The Green Mile. 470 00:24:05,520 --> 00:24:07,639 Speaker 3: I don't remember what he was in either of those. 471 00:24:07,800 --> 00:24:10,360 Speaker 1: Well, I think looking at his dates, I mean, think 472 00:24:10,359 --> 00:24:14,080 Speaker 1: of the oldest person remember in either movie, and it 473 00:24:14,160 --> 00:24:15,080 Speaker 1: might have been Dab's greer. 474 00:24:15,440 --> 00:24:17,840 Speaker 3: He should have. Okay, so he's like smoking a pipe 475 00:24:17,920 --> 00:24:21,399 Speaker 3: or whatever. Playing chess got extreme Dad vibes, But they 476 00:24:21,400 --> 00:24:23,360 Speaker 3: should have gone all in. They should have given him 477 00:24:23,400 --> 00:24:26,200 Speaker 3: like a high backed chair to sit in and give 478 00:24:26,240 --> 00:24:27,280 Speaker 3: him a basset hound. 479 00:24:27,600 --> 00:24:29,840 Speaker 1: That would have been good. Yeah, every ship, I mean, 480 00:24:30,080 --> 00:24:32,800 Speaker 1: if the Nostromo gets a cat. Why shouldn't this ship 481 00:24:33,119 --> 00:24:35,119 Speaker 1: the name of which eludes me it does have a 482 00:24:35,200 --> 00:24:37,520 Speaker 1: name of Why does it not have a basket hunt? 483 00:24:37,720 --> 00:24:40,960 Speaker 3: Are you taking notes, Jerome Bixby, We're giving you good 484 00:24:40,960 --> 00:24:42,000 Speaker 3: notes here. All right. 485 00:24:42,080 --> 00:24:44,600 Speaker 1: I'm gonna skip over the rest of the human crew here, 486 00:24:44,680 --> 00:24:46,600 Speaker 1: but we may refer back to one or two is 487 00:24:46,680 --> 00:24:49,200 Speaker 1: when we get into the plot later on. But again, 488 00:24:49,280 --> 00:24:52,000 Speaker 1: like top to bottom, everybody's good in this There's nobody 489 00:24:52,000 --> 00:24:54,199 Speaker 1: that comes on screen and you're like, why did they 490 00:24:54,240 --> 00:24:57,199 Speaker 1: cast this person? Where did this person just walk in 491 00:24:57,280 --> 00:24:59,040 Speaker 1: off the street? Like No, they all seem to be 492 00:24:59,080 --> 00:25:03,240 Speaker 1: experienced actors, a solid cast. And then our monster suit. 493 00:25:03,320 --> 00:25:07,080 Speaker 1: I'm always interested who's inside the creature suit? And this 494 00:25:07,119 --> 00:25:09,960 Speaker 1: one's kind of a treat because we have Ray Crash Corrigan, 495 00:25:10,240 --> 00:25:13,440 Speaker 1: who lived nineteen oh two through nineteen seventy six playing 496 00:25:13,480 --> 00:25:17,560 Speaker 1: The Beast. He was a Hollywood physical fitness trainer turned 497 00:25:17,640 --> 00:25:22,640 Speaker 1: actor and creature suit specialist. So this is a guy who, 498 00:25:23,000 --> 00:25:24,960 Speaker 1: like some of these other Gorilla actors, had his own 499 00:25:25,000 --> 00:25:29,000 Speaker 1: gorilla costume, had his own suit, and war said suit 500 00:25:29,440 --> 00:25:31,640 Speaker 1: or I guess, sometimes supplied suits if there was something 501 00:25:31,680 --> 00:25:33,879 Speaker 1: specific they were going for that he could not provide 502 00:25:34,040 --> 00:25:37,959 Speaker 1: and I believe more than thirty different films from nineteen 503 00:25:38,040 --> 00:25:40,840 Speaker 1: thirty two through nineteen fifty eight, just going through IMDb 504 00:25:41,040 --> 00:25:43,240 Speaker 1: and looking for roles that he had that are called 505 00:25:43,240 --> 00:25:46,800 Speaker 1: like gorilla or ape or something to that effect. This 506 00:25:46,880 --> 00:25:49,200 Speaker 1: guy played a lot of gorillas. 507 00:25:49,440 --> 00:25:52,840 Speaker 3: We've talked before on the show about like ape suit specialists, 508 00:25:52,920 --> 00:25:56,960 Speaker 3: these creature performers who just do gorilla roles over and over. 509 00:25:57,080 --> 00:26:00,440 Speaker 3: Like I guess they formed a relationship with a particular 510 00:26:00,560 --> 00:26:04,040 Speaker 3: suit or style of performance and they're like, does your 511 00:26:04,040 --> 00:26:06,960 Speaker 3: movie need a large ape and I will play it. 512 00:26:07,240 --> 00:26:09,480 Speaker 1: Yeah. I think it's one of those things where people 513 00:26:09,520 --> 00:26:14,000 Speaker 1: don't necessarily realize how demanding such a performance is until 514 00:26:14,160 --> 00:26:15,680 Speaker 1: they either try to do it or they try and 515 00:26:15,720 --> 00:26:17,800 Speaker 1: just get some rando to do it, and then they 516 00:26:17,840 --> 00:26:21,240 Speaker 1: realize that, no, this is grueling. You know, it's gonna 517 00:26:21,240 --> 00:26:23,800 Speaker 1: be hot work, it's gonna be sweaty work, and you're 518 00:26:23,800 --> 00:26:26,720 Speaker 1: going to have to like change your the natural positioning 519 00:26:26,760 --> 00:26:29,760 Speaker 1: of your body move in different ways that can actually 520 00:26:29,800 --> 00:26:32,000 Speaker 1: actually actually just you know, carry you down if you're 521 00:26:32,000 --> 00:26:35,320 Speaker 1: not ready for it. Yeah. So you know, this is 522 00:26:35,560 --> 00:26:37,800 Speaker 1: something that I'm always delighted to see that it still 523 00:26:37,800 --> 00:26:41,600 Speaker 1: continues to this day. We still have actors active in 524 00:26:41,720 --> 00:26:44,159 Speaker 1: film who have kind of made it there specialty to 525 00:26:44,400 --> 00:26:47,760 Speaker 1: portray the physicality of gorillas and apes, even if they're 526 00:26:47,800 --> 00:26:50,520 Speaker 1: not necessarily wearing a suit. They may just be doing 527 00:26:50,560 --> 00:26:55,280 Speaker 1: mo cap, but they're still keeping the tradition alive. So anyway, yeah, 528 00:26:55,320 --> 00:26:57,639 Speaker 1: Crash Corgan did a lot of this. He also did 529 00:26:57,640 --> 00:27:01,520 Speaker 1: some like westerns as well, art you know, playing cowboys 530 00:27:01,520 --> 00:27:05,240 Speaker 1: not gorillas. But he started the Corriganville movie Ranch for 531 00:27:05,320 --> 00:27:07,920 Speaker 1: Western films and it was something that I think was 532 00:27:07,960 --> 00:27:10,720 Speaker 1: open for tourism on the weekends and holidays for a 533 00:27:10,760 --> 00:27:14,600 Speaker 1: long stretch as well. They would shoot westerns here and 534 00:27:14,640 --> 00:27:17,119 Speaker 1: then he eventually sold it to Bob Hope, I believe 535 00:27:17,119 --> 00:27:19,840 Speaker 1: in sixty six, and you can still find it. It's 536 00:27:19,840 --> 00:27:22,800 Speaker 1: out there. It's in California. It's called Corriganville Park and 537 00:27:22,840 --> 00:27:25,400 Speaker 1: it's in Semi Valley, California. So if we have any 538 00:27:25,400 --> 00:27:27,480 Speaker 1: Californians who want to check in on that location for 539 00:27:27,600 --> 00:27:30,119 Speaker 1: us and report back, we would love to hear from you. 540 00:27:30,800 --> 00:27:34,720 Speaker 1: All Right, So that's the guy in the creature costume. 541 00:27:34,880 --> 00:27:38,240 Speaker 1: But we also have to talk briefly about the guy 542 00:27:38,280 --> 00:27:43,440 Speaker 1: who built the creature costume. This is Paul Blasdell born 543 00:27:43,520 --> 00:27:47,600 Speaker 1: nineteen twenty seven died nineteen eighty three, uncredited, but he 544 00:27:47,760 --> 00:27:49,800 Speaker 1: is the suit designer and builder here. 545 00:27:50,880 --> 00:27:56,119 Speaker 3: So this alien design is not morphologically all that interesting. 546 00:27:56,160 --> 00:27:59,359 Speaker 3: It is basically humanoid in shape. It's like a big 547 00:28:00,080 --> 00:28:03,840 Speaker 3: sort of reptilian humanoid with a scary kind of bat face. 548 00:28:04,200 --> 00:28:05,720 Speaker 3: Would you say, yeah. 549 00:28:05,600 --> 00:28:08,239 Speaker 1: I mean it's it's not a gorilla costume, but it's 550 00:28:08,280 --> 00:28:12,000 Speaker 1: a gorilla actor in a suit essentially doing gorilla costume stuff. 551 00:28:12,359 --> 00:28:17,760 Speaker 3: Yeah, it's like a like a muscly humanoid reptilian with 552 00:28:18,000 --> 00:28:19,000 Speaker 3: kind of a bat face. 553 00:28:19,400 --> 00:28:23,720 Speaker 1: Yeah. Yeah, though is girmental. Toros has pointed out before, 554 00:28:23,800 --> 00:28:26,280 Speaker 1: like the gorilla costume is a great place to start 555 00:28:26,320 --> 00:28:29,360 Speaker 1: with any monster. You know, it's like it's it's it's 556 00:28:29,400 --> 00:28:34,520 Speaker 1: a hit for a reason. Yeah, the creature, the claws 557 00:28:34,560 --> 00:28:38,200 Speaker 1: look really good, the basic outline looks really good, and 558 00:28:38,280 --> 00:28:41,320 Speaker 1: the face really isn't bad. I mean, there's a lot 559 00:28:41,360 --> 00:28:44,000 Speaker 1: you can compare this monster to in the you know, 560 00:28:44,040 --> 00:28:47,200 Speaker 1: the fifties and sixties, and it's this is above average. 561 00:28:47,240 --> 00:28:50,320 Speaker 3: I would say, yeah. I think how good the costume 562 00:28:50,440 --> 00:28:53,280 Speaker 3: is depends on the shot. In some shots, it looks 563 00:28:53,400 --> 00:28:57,000 Speaker 3: quite good. Especially in shots where you're not seeing the 564 00:28:57,040 --> 00:29:01,240 Speaker 3: whole suit moving at once. There are like some scenes 565 00:29:01,240 --> 00:29:04,040 Speaker 3: where you say, the creature is reaching up through a 566 00:29:05,320 --> 00:29:08,440 Speaker 3: hole in a hatch that it has clawed, or is 567 00:29:08,480 --> 00:29:10,720 Speaker 3: sort of busting through a door and you only see 568 00:29:10,720 --> 00:29:13,640 Speaker 3: part of its body. Where the suit looks great, there 569 00:29:13,640 --> 00:29:17,160 Speaker 3: are places where it looks less good, where like you're 570 00:29:17,200 --> 00:29:20,600 Speaker 3: seeing the whole creature suit, the whole performer in the 571 00:29:20,640 --> 00:29:23,960 Speaker 3: whole suit, moving around in a space that's fairly well lit. 572 00:29:24,360 --> 00:29:27,400 Speaker 3: In which case my feeling was both the mask and 573 00:29:27,440 --> 00:29:30,440 Speaker 3: the suit. Something looks kind of odd about the fit 574 00:29:30,680 --> 00:29:33,440 Speaker 3: of it, Like the material is kind of thin, and 575 00:29:33,520 --> 00:29:35,040 Speaker 3: it's less impressive that way. 576 00:29:35,440 --> 00:29:37,480 Speaker 1: Yeah, and that is part of the story here, according 577 00:29:37,480 --> 00:29:39,280 Speaker 1: to some of the sources I was looking at, is 578 00:29:39,320 --> 00:29:42,760 Speaker 1: that they couldn't get Core again in for a proper 579 00:29:42,920 --> 00:29:47,240 Speaker 1: fitting for the suit ahead of time for some various reasons, 580 00:29:47,680 --> 00:29:50,240 Speaker 1: and so it doesn't quite fit him all the way. 581 00:29:51,440 --> 00:29:53,640 Speaker 1: And most notably already alluded to this. But he's like 582 00:29:53,760 --> 00:29:56,640 Speaker 1: chin is sticking out of the mask a bit, and 583 00:29:56,680 --> 00:29:58,480 Speaker 1: they ultimately just you know, did what they could to 584 00:29:58,520 --> 00:30:00,640 Speaker 1: incorporate that into the to the design. 585 00:30:01,080 --> 00:30:03,360 Speaker 3: But like I said, there there are some shots where 586 00:30:03,360 --> 00:30:06,200 Speaker 3: it looks quite good and is used very effectively, especially 587 00:30:06,280 --> 00:30:07,240 Speaker 3: the shadowy ones. 588 00:30:07,960 --> 00:30:10,680 Speaker 1: Yeah, I'm reminded a bit of of the Thing from 589 00:30:10,720 --> 00:30:14,479 Speaker 1: Another World, a film that does not have I mean, 590 00:30:14,520 --> 00:30:16,760 Speaker 1: it has a classic monster design, but it's not one 591 00:30:16,800 --> 00:30:19,520 Speaker 1: of my favorites. But if you just look at stills 592 00:30:19,680 --> 00:30:23,440 Speaker 1: all the monster, you're probably not going to be that impressed. 593 00:30:23,440 --> 00:30:26,000 Speaker 1: But if you watch the film, there are some terrifying 594 00:30:26,040 --> 00:30:31,719 Speaker 1: sequences with that monster. Again, the film filmmaking doesn't involve 595 00:30:31,920 --> 00:30:33,760 Speaker 1: just you know, putting a monster in front of a 596 00:30:33,760 --> 00:30:36,640 Speaker 1: camera and shooting it there. There are so many additional 597 00:30:36,680 --> 00:30:40,640 Speaker 1: elements that go into creating the illusion of terror. 598 00:30:40,920 --> 00:30:41,600 Speaker 3: Yeah, that's right. 599 00:30:42,560 --> 00:30:46,720 Speaker 1: So still on its own, I would say pretty great 600 00:30:46,760 --> 00:30:49,960 Speaker 1: monster suit. You know that they were working with a 601 00:30:49,960 --> 00:30:53,960 Speaker 1: limited budget with some additional constraints such as getting the 602 00:30:54,480 --> 00:30:57,440 Speaker 1: actor in for measurements, And there are also some alleged 603 00:30:57,520 --> 00:31:00,960 Speaker 1: performance issues with Corgan for this one. And you know, 604 00:31:00,960 --> 00:31:03,720 Speaker 1: I don't want to get into the old movie dirt, 605 00:31:03,840 --> 00:31:06,600 Speaker 1: but there are some allegations that maybe he wasn't in 606 00:31:06,680 --> 00:31:10,720 Speaker 1: the best condition to perform for this one, and maybe 607 00:31:10,760 --> 00:31:14,920 Speaker 1: there was some communication breakdowns between cor Agan and the director. 608 00:31:15,720 --> 00:31:19,440 Speaker 1: So all that taken into account, looks pretty good. And yeah. 609 00:31:19,480 --> 00:31:22,959 Speaker 1: Blasdell himself was responsible for a number of classic nineteen 610 00:31:23,000 --> 00:31:27,000 Speaker 1: fifties monster costumes, everything from the creature effects from nineteen 611 00:31:27,040 --> 00:31:29,720 Speaker 1: fifty five's The Beast with a Million Eyes and The 612 00:31:29,800 --> 00:31:33,920 Speaker 1: Day the World Ended to nineteen fifty six Is It 613 00:31:33,960 --> 00:31:34,840 Speaker 1: Conquered the World? 614 00:31:35,560 --> 00:31:38,040 Speaker 3: Ah, that's a Roger Corman movie. That's the one where 615 00:31:38,120 --> 00:31:40,960 Speaker 3: Earth is conquered by a psychic space or to choke. 616 00:31:41,320 --> 00:31:46,200 Speaker 1: Yeah, those are not Those are maybe not believable looking monsters. 617 00:31:46,240 --> 00:31:49,520 Speaker 1: They are very laughable, but they also are unique. They 618 00:31:49,560 --> 00:31:50,080 Speaker 1: stand out. 619 00:31:50,480 --> 00:31:51,360 Speaker 3: Yeah, they're great. 620 00:31:51,520 --> 00:31:52,920 Speaker 1: They're pretty great in that respect. 621 00:31:53,080 --> 00:31:54,960 Speaker 3: I've got a big poster of it Conquered the World 622 00:31:55,040 --> 00:31:55,960 Speaker 3: up on my wall here. 623 00:31:56,360 --> 00:31:58,520 Speaker 1: Yeah, that's a fun film. We may have to come 624 00:31:58,520 --> 00:32:01,160 Speaker 1: back to that one. He also worked on the little 625 00:32:01,440 --> 00:32:05,360 Speaker 1: alien flying creatures in Not of This Earth from nineteen 626 00:32:05,360 --> 00:32:07,840 Speaker 1: fifty seven that we talked about on the show. He 627 00:32:07,880 --> 00:32:10,240 Speaker 1: worked on Invasion of the Saucermen from the same year, 628 00:32:10,360 --> 00:32:12,880 Speaker 1: and he also worked on nineteen fifty nine Teenagers from 629 00:32:12,920 --> 00:32:15,680 Speaker 1: Outer Space, which I don't know if that one has 630 00:32:15,720 --> 00:32:18,320 Speaker 1: creatures or not, but if I'm remembering correctly, that one 631 00:32:18,320 --> 00:32:20,480 Speaker 1: is the one that has a great dog zapping scene 632 00:32:20,520 --> 00:32:23,040 Speaker 1: where somebody shoots a dog with a ray gun and 633 00:32:23,040 --> 00:32:25,320 Speaker 1: turns it into a pile of smoking bones. I know 634 00:32:25,360 --> 00:32:27,360 Speaker 1: a lot of people don't like it when the dog dies, 635 00:32:27,400 --> 00:32:30,160 Speaker 1: but the dog dies well in this picture, it's worth it. 636 00:32:31,040 --> 00:32:34,480 Speaker 1: Paul also wore the Monstro suit in several films, including 637 00:32:34,520 --> 00:32:37,080 Speaker 1: The Day the World Ended, It Conquered the World, nineteen 638 00:32:37,120 --> 00:32:40,280 Speaker 1: fifty six, is the She Creature, and fifty seven's Invasion 639 00:32:40,320 --> 00:32:43,600 Speaker 1: of the Saucermen. He also helped make that giant typodermic 640 00:32:43,640 --> 00:32:46,800 Speaker 1: needle in nineteen fifty sevens The Amazing Colossal Man, which 641 00:32:47,000 --> 00:32:48,360 Speaker 1: I hope will come back to on the show if 642 00:32:48,360 --> 00:32:51,160 Speaker 1: they ever put it out on a proper Blu Ray release. 643 00:32:51,640 --> 00:32:53,840 Speaker 1: And he was a special designer on Attack of the 644 00:32:53,840 --> 00:32:56,360 Speaker 1: Puppet People from fifty eight, which we also talked about 645 00:32:56,360 --> 00:32:58,239 Speaker 1: on Weird House. That one did have a lot of 646 00:32:58,960 --> 00:33:02,400 Speaker 1: little people in a big word world gimmicks and props. 647 00:33:02,400 --> 00:33:04,440 Speaker 1: So I'm not sure what he worked on there, but 648 00:33:04,440 --> 00:33:06,080 Speaker 1: but I'm sure it was something spectacular. 649 00:33:07,280 --> 00:33:10,200 Speaker 3: Okay, So we have crossed paths many times. 650 00:33:10,200 --> 00:33:13,160 Speaker 1: Yes, yeah, and we'll and we'll undoubtedly come back to 651 00:33:13,240 --> 00:33:23,400 Speaker 1: him now on the music end of the spectrum. They're like, 652 00:33:23,600 --> 00:33:25,480 Speaker 1: there are three different individuals. I'm not going to spend 653 00:33:25,480 --> 00:33:27,880 Speaker 1: a lot of time on them. We have Paul Sattel 654 00:33:28,560 --> 00:33:31,360 Speaker 1: or Sawtel, I'm entirely sure on that one. And then 655 00:33:31,360 --> 00:33:35,920 Speaker 1: we also have bert A Schefter. Sautel was born nineteen 656 00:33:35,920 --> 00:33:39,200 Speaker 1: oh six died in nineteen seventy one. Schefter nineteen oh 657 00:33:39,240 --> 00:33:43,720 Speaker 1: fourth through nineteen ninety nine, the former Polish born films 658 00:33:43,800 --> 00:33:47,280 Speaker 1: core composer, the latter Russian born pianist and film composer. 659 00:33:47,600 --> 00:33:50,680 Speaker 1: They worked together on a lot of different pictures, especially 660 00:33:50,720 --> 00:33:54,000 Speaker 1: a string of low budget sci fi films. They also 661 00:33:54,080 --> 00:33:58,000 Speaker 1: did various other genres, westerns and so forth. In fact, 662 00:33:58,200 --> 00:34:02,640 Speaker 1: Sautel worked on at least via stock music. His music 663 00:34:02,800 --> 00:34:05,160 Speaker 1: was used, shall we say, in the US release of 664 00:34:05,240 --> 00:34:08,600 Speaker 1: nineteen sixty three's King Kong Versus Godzilla, and he actually 665 00:34:08,640 --> 00:34:12,200 Speaker 1: has a composer music themes credit on nineteen sixty five's 666 00:34:12,200 --> 00:34:14,920 Speaker 1: Faster Pussycat, Kill Kill, which I don't think we mentioned 667 00:34:14,920 --> 00:34:19,479 Speaker 1: in our episode on that movie. So we have those two, 668 00:34:19,800 --> 00:34:23,600 Speaker 1: and then we also have Jack Cookerly who lived nineteen 669 00:34:23,640 --> 00:34:29,200 Speaker 1: twenty six through twenty seventeen, uncredited composer electronic music on 670 00:34:29,280 --> 00:34:33,719 Speaker 1: this one. So Cookerly was a pioneering electronic musician who 671 00:34:33,719 --> 00:34:37,200 Speaker 1: contributed electronic sci fi sounds to various pictures. He often 672 00:34:37,280 --> 00:34:41,440 Speaker 1: worked with the aforementioned gentlemen on their scores and their 673 00:34:41,520 --> 00:34:44,680 Speaker 1: sound work. He developed many of his own instruments and 674 00:34:44,719 --> 00:34:48,320 Speaker 1: contributed sound effects to such titles as The Black Scorpion 675 00:34:48,360 --> 00:34:51,480 Speaker 1: from fifty seven, Space Children in fifty eight, The Colossus 676 00:34:51,520 --> 00:34:54,440 Speaker 1: of New York in fifty eight, Invisible Invaders in fifty nine, 677 00:34:54,440 --> 00:34:57,480 Speaker 1: and Robinson, Crusoe and Mars in sixty four. He also 678 00:34:57,560 --> 00:35:00,160 Speaker 1: did some work on the original Twilight Zone in Star Trek's. 679 00:35:01,560 --> 00:35:05,440 Speaker 3: This movie didn't really have amazing music themes that stood 680 00:35:05,480 --> 00:35:08,160 Speaker 3: out to me, but there are some nice sort of 681 00:35:08,239 --> 00:35:12,000 Speaker 3: ambient score moments that are very on the quiet side, 682 00:35:12,000 --> 00:35:15,680 Speaker 3: but they're effective, Like when there's the spacewalk scene. I 683 00:35:15,719 --> 00:35:19,640 Speaker 3: remember thinking the sound in that scene mostly by actually 684 00:35:19,800 --> 00:35:22,919 Speaker 3: by having a lack of sound in a very compelling way, 685 00:35:22,920 --> 00:35:25,560 Speaker 3: and what was there was minimal but effective. 686 00:35:26,080 --> 00:35:30,080 Speaker 1: Yeah. Yeah, we have a wonderfully tense, atmospheric and believable 687 00:35:30,120 --> 00:35:33,840 Speaker 1: space walk sequence like that, you know, totally suspended my 688 00:35:33,880 --> 00:35:39,360 Speaker 1: disbelief and it has this wonderful. Yeah, ambient electronic, minimalist 689 00:35:39,360 --> 00:35:42,600 Speaker 1: score going on. That sounds nice and spacey, and I 690 00:35:42,600 --> 00:35:44,319 Speaker 1: think we get a little splash of that towards the 691 00:35:44,320 --> 00:35:47,520 Speaker 1: beginning of the picture as well. Yeah, and speaking of that, 692 00:35:47,760 --> 00:35:49,759 Speaker 1: let's get into the beginning of the picture. Let's jump 693 00:35:49,840 --> 00:35:50,480 Speaker 1: into the plot. 694 00:35:50,680 --> 00:35:52,520 Speaker 3: They hit you right at the beginning with something that 695 00:35:52,600 --> 00:35:55,960 Speaker 3: looks great, which is a I don't know exactly how 696 00:35:56,000 --> 00:35:59,040 Speaker 3: they composed this shot. I think what we're looking at 697 00:35:59,560 --> 00:36:03,440 Speaker 3: is a is a miniature model set in the foreground 698 00:36:03,560 --> 00:36:07,600 Speaker 3: with a painting in the background, but it is supposed 699 00:36:07,640 --> 00:36:11,480 Speaker 3: to be a I guess the surface of Mars, but 700 00:36:11,600 --> 00:36:15,760 Speaker 3: it has these very steep, jagged knife like mountains reaching 701 00:36:15,840 --> 00:36:18,560 Speaker 3: up above a desert plain. And then the sky in 702 00:36:18,600 --> 00:36:21,399 Speaker 3: the background is a night sky, deep black, with a 703 00:36:21,480 --> 00:36:25,360 Speaker 3: transparent view of the stars and the constellations, and it 704 00:36:25,600 --> 00:36:28,600 Speaker 3: looks quite beautiful. It's a great opening shot. And in 705 00:36:28,680 --> 00:36:32,080 Speaker 3: the foreground we see a crashed spaceship of some kind. 706 00:36:32,520 --> 00:36:34,520 Speaker 1: Now, this is a black and white movie. I don't 707 00:36:34,560 --> 00:36:37,560 Speaker 1: think we mentioned that up front, but yeah, it's black 708 00:36:37,600 --> 00:36:40,239 Speaker 1: and white. But it looks great and really, given the 709 00:36:40,239 --> 00:36:43,680 Speaker 1: tone of the picture. In the space hor the red 710 00:36:43,719 --> 00:36:45,759 Speaker 1: planet looks great in black and white. Here. You know, 711 00:36:46,239 --> 00:36:48,440 Speaker 1: it is a planet that is supposed to be full 712 00:36:48,520 --> 00:36:52,360 Speaker 1: of terror and death, and so this very inky black 713 00:36:52,360 --> 00:36:54,120 Speaker 1: appearance to it looks nice. 714 00:36:54,120 --> 00:36:56,200 Speaker 3: And it hits you right with the title. It's it 715 00:36:56,960 --> 00:37:01,319 Speaker 3: exclamation point in these giant animated block letters that are 716 00:37:01,640 --> 00:37:04,600 Speaker 3: I don't know, they're supposed to look like the wall outside, 717 00:37:04,600 --> 00:37:07,360 Speaker 3: you know, the fortifications of a medieval city or something. 718 00:37:07,600 --> 00:37:09,600 Speaker 1: Yeah, it's like made out of little blocks or something. 719 00:37:09,600 --> 00:37:12,239 Speaker 1: It looks great. I do love it, and it's right 720 00:37:12,280 --> 00:37:15,600 Speaker 1: in your face. Whatever it is, it's going to be big. 721 00:37:15,719 --> 00:37:18,080 Speaker 3: So while looking at this, we get an opening voiceover 722 00:37:18,320 --> 00:37:22,160 Speaker 3: which says, this was the planet Mars as my crew 723 00:37:22,200 --> 00:37:27,040 Speaker 3: and I first saw it, dangerous, treacherous, alive with something 724 00:37:27,120 --> 00:37:30,560 Speaker 3: we came to know only as death. This was what 725 00:37:30,640 --> 00:37:33,480 Speaker 3: we faced when our spaceship cracked up in landing just 726 00:37:33,640 --> 00:37:37,920 Speaker 3: six months ago, in January of this year, nineteen hundred 727 00:37:37,960 --> 00:37:42,200 Speaker 3: and seventy three. Woo, but it seems as if six 728 00:37:42,320 --> 00:37:46,279 Speaker 3: centuries passed before a rescue ship arrived. For today, of 729 00:37:46,320 --> 00:37:50,000 Speaker 3: all my crew, I, Colonel Edward Carruthers of the United 730 00:37:50,000 --> 00:37:54,080 Speaker 3: States Space Command, have the only one alive. Now I 731 00:37:54,160 --> 00:37:56,920 Speaker 3: will be going back to face my superiors on Earth 732 00:37:57,400 --> 00:38:01,360 Speaker 3: in Washington, and perhaps there too, I will find another 733 00:38:01,520 --> 00:38:02,440 Speaker 3: kind of death. 734 00:38:02,840 --> 00:38:05,760 Speaker 1: Oh Man, Absolutely solid, just a great start. 735 00:38:06,160 --> 00:38:08,680 Speaker 3: And I don't know how metaphorical he's being there, because 736 00:38:08,680 --> 00:38:10,719 Speaker 3: they do end up talking about how he's going to 737 00:38:10,760 --> 00:38:13,800 Speaker 3: face a court martial and potentially a firing squad because 738 00:38:14,040 --> 00:38:19,839 Speaker 3: he's suspected of murdering his crew. But you could could 739 00:38:19,840 --> 00:38:22,400 Speaker 3: also read that as just like, oh Man, going back 740 00:38:22,440 --> 00:38:25,120 Speaker 3: to Earth after what I have seen is is like 741 00:38:25,160 --> 00:38:26,760 Speaker 3: a metaphorical kind of death. 742 00:38:27,120 --> 00:38:29,160 Speaker 1: Yeah, Like I'm just I'm not at all going to 743 00:38:29,160 --> 00:38:32,280 Speaker 1: be the same person I was, and so forth. Now, 744 00:38:32,840 --> 00:38:36,120 Speaker 1: this is again a film from the late fifties set 745 00:38:36,280 --> 00:38:39,480 Speaker 1: in the future of nineteen seventy three. I just want 746 00:38:39,480 --> 00:38:43,000 Speaker 1: to remind everybody about this cinematic setting. This is the 747 00:38:43,080 --> 00:38:46,400 Speaker 1: same setting year for the events of the Texas Chainsaw Massacre. 748 00:38:47,040 --> 00:38:50,239 Speaker 1: We get that in the intro. This is also the 749 00:38:50,239 --> 00:38:52,799 Speaker 1: setting for the opening sequence of the nineteen ninety three 750 00:38:52,800 --> 00:38:54,440 Speaker 1: Super Mario Brothers film. 751 00:38:54,640 --> 00:38:56,759 Speaker 3: What what was the opening sequence? 752 00:38:57,080 --> 00:38:57,279 Speaker 1: Oh? 753 00:38:57,400 --> 00:39:01,000 Speaker 3: Is that like there were many dyingas wars or something. 754 00:39:01,200 --> 00:39:04,480 Speaker 1: Yeah, when the eggs and the dinosaurs the cross dimensional 755 00:39:05,600 --> 00:39:07,440 Speaker 1: cross crossing there. 756 00:39:07,520 --> 00:39:10,040 Speaker 3: Oh, Yeah, that's when the lady leaves the egg at 757 00:39:10,040 --> 00:39:11,240 Speaker 3: the convent or whatever. 758 00:39:11,560 --> 00:39:13,880 Speaker 1: Yeah, that's seventy three, So that's taking place in the 759 00:39:13,920 --> 00:39:16,440 Speaker 1: same world. This is in the same world, same cinematic universe. 760 00:39:16,520 --> 00:39:20,719 Speaker 1: Perfect also nineteen seventy three. This is the year of 761 00:39:20,800 --> 00:39:24,480 Speaker 1: the opening flashback sequence in nineteen ninety six is space Jam, 762 00:39:24,680 --> 00:39:27,440 Speaker 1: in which a young Michael Jordan decides to take up 763 00:39:27,480 --> 00:39:29,840 Speaker 1: basketball to prevent alien invasions. 764 00:39:30,040 --> 00:39:33,239 Speaker 3: I remember that opening sequence. It tugs at the heart strings. 765 00:39:33,640 --> 00:39:36,320 Speaker 3: There's like a single overhead light and he's out shooting hoops. 766 00:39:36,560 --> 00:39:39,399 Speaker 1: Yeah, yeah, to protect the planet. So that's that's seventy three. 767 00:39:39,640 --> 00:39:41,480 Speaker 3: I think he talks to his dad or something. 768 00:39:41,600 --> 00:39:42,120 Speaker 1: Yeah. 769 00:39:42,239 --> 00:39:45,319 Speaker 3: Yeah, but in this nineteen seventy three everybody still has 770 00:39:45,360 --> 00:39:47,600 Speaker 3: that same flat top haircut then yeah. 771 00:39:47,719 --> 00:39:50,440 Speaker 1: Yeah, everything is still fifties to the max. 772 00:39:51,040 --> 00:39:53,520 Speaker 3: Yeah. This is a principle we've talked about on the 773 00:39:53,560 --> 00:40:00,480 Speaker 3: show before, about how every every time period's science fiction 774 00:40:01,200 --> 00:40:05,840 Speaker 3: just imagines that the future will take whatever fashion trends 775 00:40:06,000 --> 00:40:08,920 Speaker 3: are currently hot at the time the movie was made 776 00:40:09,280 --> 00:40:13,319 Speaker 3: and exaggerate them. So just like more like so the 777 00:40:13,360 --> 00:40:17,480 Speaker 3: future is imagined by the fifties is super fifties and 778 00:40:17,560 --> 00:40:21,279 Speaker 3: the future as imagined by the seventies is super seventies. 779 00:40:21,600 --> 00:40:24,239 Speaker 1: Yeah, like you know, it's if shoulder pads are in well, 780 00:40:24,480 --> 00:40:27,480 Speaker 1: future is going to be such shoulder pads you've never seen. 781 00:40:27,920 --> 00:40:29,920 Speaker 3: So anyway, we're here on the surface of Mars and 782 00:40:29,960 --> 00:40:33,080 Speaker 3: we see the second ship, the ship that came that 783 00:40:33,200 --> 00:40:36,080 Speaker 3: came to get cor others here, and it's one of 784 00:40:36,120 --> 00:40:39,200 Speaker 3: these fifties movie rocket ships that's got the fin the 785 00:40:39,239 --> 00:40:42,920 Speaker 3: three fins on the bottom, and it's got we see 786 00:40:42,920 --> 00:40:46,719 Speaker 3: basically the whole length of it is inhabited. So it's like, 787 00:40:46,800 --> 00:40:49,560 Speaker 3: where for movie rockets like this, where is the fuel stored? 788 00:40:50,239 --> 00:40:53,440 Speaker 1: I don't know, maybe they got like a central stem 789 00:40:53,480 --> 00:40:55,600 Speaker 1: in the middle or something that's pumping it down. 790 00:40:55,600 --> 00:40:55,960 Speaker 3: I don't know. 791 00:40:56,000 --> 00:40:58,319 Speaker 1: We don't really get a good handle on that, and 792 00:40:58,360 --> 00:41:01,040 Speaker 1: we but we otherwise do get a good handle of 793 00:41:01,080 --> 00:41:03,480 Speaker 1: the layout of the ship, just not maybe where all 794 00:41:03,480 --> 00:41:04,840 Speaker 1: the propulsion is handled. 795 00:41:05,000 --> 00:41:06,839 Speaker 3: Yeah, we'll come back to that. And then I love 796 00:41:06,920 --> 00:41:10,200 Speaker 3: they cut straight from this spaceship to the US Capitol Building. 797 00:41:10,040 --> 00:41:13,440 Speaker 1: An alarmingly mundane cut after such a nice opening, but 798 00:41:13,520 --> 00:41:16,359 Speaker 1: thank goodness they teased us with all this fun and 799 00:41:16,480 --> 00:41:18,719 Speaker 1: off world stuff before we go to what like, it's 800 00:41:18,760 --> 00:41:21,360 Speaker 1: like a press briefing at the White House. 801 00:41:21,640 --> 00:41:24,440 Speaker 3: Yeah, but I'm sorry, it's at the Capitol. Yeah, it's 802 00:41:24,560 --> 00:41:30,120 Speaker 3: like the Science Advisory Committee, Division of Interplanetary Exploration. Fortunately, 803 00:41:30,160 --> 00:41:32,480 Speaker 3: we will spend very little time here on Earth. It's 804 00:41:32,560 --> 00:41:35,799 Speaker 3: just an exposition thing. A guy comes in, a guy 805 00:41:35,840 --> 00:41:40,000 Speaker 3: who looks rather grizzled. Actually, he's kind of like mad 806 00:41:40,080 --> 00:41:43,279 Speaker 3: to be there, and he gives an opening narration that 807 00:41:43,400 --> 00:41:46,239 Speaker 3: sort of sets everything up for the plot. So I 808 00:41:46,320 --> 00:41:48,560 Speaker 3: might as well read a transcription of it, so you 809 00:41:48,640 --> 00:41:52,400 Speaker 3: know what we're dealing with here, The spokes guy says, 810 00:41:52,800 --> 00:41:55,040 Speaker 3: ladies and gentlemen of the press, As you know, the 811 00:41:55,080 --> 00:41:58,080 Speaker 3: first attempt to send a spaceship to the planet Mars 812 00:41:58,239 --> 00:42:01,240 Speaker 3: was made six months ago. We knew that that ship, 813 00:42:01,320 --> 00:42:04,640 Speaker 3: the Challenge one for one, had reached its destination, but 814 00:42:04,719 --> 00:42:09,279 Speaker 3: that's all we knew. Teleradio communication with Mars ceased immediately, 815 00:42:09,560 --> 00:42:11,680 Speaker 3: and we were forced to assume that the ship and 816 00:42:11,800 --> 00:42:14,279 Speaker 3: crew had been lost. The man in charge of this 817 00:42:14,400 --> 00:42:16,560 Speaker 3: expedition was a man who had become known to the 818 00:42:16,560 --> 00:42:19,720 Speaker 3: world as the first man to be shot into space, 819 00:42:20,200 --> 00:42:25,120 Speaker 3: the man who pioneered interplanetary space travel. Colonel Edward Carruthers. 820 00:42:25,640 --> 00:42:28,480 Speaker 3: Two months ago, we sent a second ship to Mars 821 00:42:28,520 --> 00:42:31,440 Speaker 3: to learn the fate of Colonel Carruthers and his crew. 822 00:42:32,120 --> 00:42:34,319 Speaker 3: The President has asked me to pass on to you 823 00:42:34,440 --> 00:42:38,600 Speaker 3: this significant news. Colonel Edward Carruthers has been found alive 824 00:42:38,719 --> 00:42:42,200 Speaker 3: on Mars. But there's a tragic side to this history 825 00:42:42,200 --> 00:42:45,840 Speaker 3: making event. Colonel Carruthers was the sole survivor of this 826 00:42:45,960 --> 00:42:50,480 Speaker 3: first expedition. One hour ago, we received a teleradio communication 827 00:42:50,600 --> 00:42:54,279 Speaker 3: from Colonel Van Hewsen, the commander of the second spaceship. 828 00:42:54,600 --> 00:42:57,000 Speaker 3: This ship is now ready to take off for its 829 00:42:57,080 --> 00:43:00,880 Speaker 3: return trip to Earth from Mars, and Colonel Others is 830 00:43:00,920 --> 00:43:04,360 Speaker 3: being brought back for a court martial to face trial 831 00:43:04,520 --> 00:43:07,319 Speaker 3: for the murders of the rest of the crew. That's 832 00:43:07,360 --> 00:43:10,839 Speaker 3: a good setup. I think it is a great setup. Now, 833 00:43:10,920 --> 00:43:14,759 Speaker 3: presumably the second mission here is also doing some science, right, 834 00:43:14,840 --> 00:43:18,600 Speaker 3: I mean, they take scientists with them. It surely is 835 00:43:18,640 --> 00:43:22,680 Speaker 3: not just a rescue slash arrest mission. But we don't 836 00:43:22,680 --> 00:43:24,920 Speaker 3: really see any of the science that's going on. I mean, 837 00:43:25,040 --> 00:43:27,440 Speaker 3: the only science that's really done is once the creature 838 00:43:27,480 --> 00:43:30,640 Speaker 3: pops up, they do science about it. But yeah, well 839 00:43:30,680 --> 00:43:33,200 Speaker 3: I don't know what their original research project is. There 840 00:43:33,320 --> 00:43:37,160 Speaker 3: is a geologist, there is a they specify, a cold 841 00:43:37,280 --> 00:43:41,759 Speaker 3: temperature physicist. And what is what is Mary supposed to be? 842 00:43:41,920 --> 00:43:44,959 Speaker 3: She like a doctor, basically physician of some kind. 843 00:43:45,200 --> 00:43:47,200 Speaker 1: Yeah, yeah, some sort of doctor. So I mean, I 844 00:43:47,200 --> 00:43:49,680 Speaker 1: guess they have all these scientists in case they need 845 00:43:49,719 --> 00:43:52,840 Speaker 1: to tackle some problems on the way or you know, 846 00:43:52,880 --> 00:43:54,840 Speaker 1: on the way back, or on the surface of Mars. 847 00:43:54,840 --> 00:43:56,839 Speaker 1: But presumably I'm just gonna assume there were some other 848 00:43:56,880 --> 00:43:59,920 Speaker 1: science projects that also were handled in addition to our 849 00:44:00,200 --> 00:44:00,800 Speaker 1: plot points. 850 00:44:01,000 --> 00:44:03,880 Speaker 3: So after this monologue, the press corps immediately bolt for 851 00:44:03,920 --> 00:44:06,960 Speaker 3: the exit. They're practically climbing over each other to get 852 00:44:06,960 --> 00:44:10,319 Speaker 3: out and file their stories because in reality, I think 853 00:44:10,360 --> 00:44:13,120 Speaker 3: this would be a really big news story. Murder on Mars, 854 00:44:13,280 --> 00:44:14,480 Speaker 3: suspect apprehended. 855 00:44:14,880 --> 00:44:18,080 Speaker 1: I can't remember. Did they give us any newspaper shots, 856 00:44:18,080 --> 00:44:19,000 Speaker 1: any clipping song? 857 00:44:19,160 --> 00:44:20,640 Speaker 3: Oh we don't see any of the kerning. 858 00:44:21,080 --> 00:44:23,160 Speaker 1: Yeah, murder on Mars, I can see it. 859 00:44:23,480 --> 00:44:25,920 Speaker 3: So we go back to Mars and the voiceover by 860 00:44:25,960 --> 00:44:29,120 Speaker 3: Colonel Carruthers continues as we zoom in on the rocket ship. 861 00:44:29,440 --> 00:44:31,960 Speaker 3: He tells us basically, you know, they're making preparations to 862 00:44:32,000 --> 00:44:34,360 Speaker 3: return to Earth. The return journey is going to be 863 00:44:34,360 --> 00:44:37,239 Speaker 3: four months long, and the crew of the ship are 864 00:44:37,320 --> 00:44:40,080 Speaker 3: dedicated to making him face a court martial and a 865 00:44:40,120 --> 00:44:43,760 Speaker 3: military firing squad. And then we go inside the ship 866 00:44:43,840 --> 00:44:46,080 Speaker 3: and meet the crew. Now, the first person we meet, 867 00:44:46,120 --> 00:44:50,440 Speaker 3: I believe is Kim Spaulding as Colonel Van Heusen. He 868 00:44:51,000 --> 00:44:55,200 Speaker 3: is He's sitting at sort of a command seat and 869 00:44:55,280 --> 00:44:57,480 Speaker 3: he sees a flashing light on the wall and sends 870 00:44:57,480 --> 00:45:00,840 Speaker 3: an intercom announcement that the emergency. The airlock in C 871 00:45:01,080 --> 00:45:04,520 Speaker 3: compartment has been left open, and he's mad about this. 872 00:45:04,600 --> 00:45:07,720 Speaker 3: He's like, who left it open? And then another character 873 00:45:07,760 --> 00:45:11,200 Speaker 3: comes in. This is Paul Langton as Lieutenant James Calder. 874 00:45:11,480 --> 00:45:14,600 Speaker 3: He's sort of the number two around here. He says, Oh, yeah, 875 00:45:14,680 --> 00:45:17,200 Speaker 3: I left it open. Sorry, I was dumping trash outside 876 00:45:17,239 --> 00:45:17,800 Speaker 3: on Mars. 877 00:45:18,320 --> 00:45:20,800 Speaker 1: Langton, by the way, lived nineteen thirteen through nineteen eighty 878 00:45:20,840 --> 00:45:23,800 Speaker 1: another solid American character actor in this picture, whose credits 879 00:45:23,840 --> 00:45:26,920 Speaker 1: include a couple of classic Twilight Zone episodes in addition 880 00:45:26,960 --> 00:45:27,720 Speaker 1: to some other stuff. 881 00:45:28,040 --> 00:45:31,120 Speaker 3: Yeah, he looks like a man who would be dumping crates. 882 00:45:31,800 --> 00:45:33,440 Speaker 1: Well, they brought a lot of crates. This is a 883 00:45:33,480 --> 00:45:35,000 Speaker 1: cargo heavy craft. 884 00:45:34,880 --> 00:45:37,280 Speaker 3: Man they've got so many crates you wouldn't believe. 885 00:45:37,760 --> 00:45:40,440 Speaker 1: I will say that on the whole though, the sets 886 00:45:40,480 --> 00:45:43,440 Speaker 1: look really good, like it's it's definitely of the time, 887 00:45:43,560 --> 00:45:47,000 Speaker 1: you know. That's you know, all of the all of 888 00:45:47,000 --> 00:45:50,000 Speaker 1: the electronics and dials and all. It looks very archaic 889 00:45:50,040 --> 00:45:52,520 Speaker 1: and all, but in that lovable way, like you want 890 00:45:52,560 --> 00:45:55,760 Speaker 1: to see this in a nineteen fifties sci fi and 891 00:45:55,880 --> 00:45:58,160 Speaker 1: I feel like they put together a very believable set. 892 00:45:58,640 --> 00:46:01,960 Speaker 3: If you normally tell me it's a movie set entirely 893 00:46:02,040 --> 00:46:05,440 Speaker 3: within a nineteen fifty space ship set, I'm like, oh, 894 00:46:05,480 --> 00:46:07,880 Speaker 3: this is going to look boring, but no, it's it. Actually, 895 00:46:07,960 --> 00:46:12,200 Speaker 3: it's it's relatively interesting to the eyes for a bottle 896 00:46:12,239 --> 00:46:13,320 Speaker 3: episode of this sort. 897 00:46:13,560 --> 00:46:16,200 Speaker 1: Yeah, I never got a hint of cardboard off of anything. 898 00:46:16,239 --> 00:46:19,640 Speaker 1: Everything feels like it is. It is just hard steel. 899 00:46:20,040 --> 00:46:22,680 Speaker 3: But the other thing about this plot moment is like, 900 00:46:22,719 --> 00:46:25,280 Speaker 3: wait a minute, he left the airlock open. 901 00:46:25,880 --> 00:46:26,040 Speaker 4: Now. 902 00:46:26,080 --> 00:46:28,160 Speaker 3: At first I was thinking, Okay, maybe he only meant 903 00:46:28,200 --> 00:46:30,879 Speaker 3: one of the two doors, but nope. Then we see 904 00:46:30,920 --> 00:46:34,360 Speaker 3: it and both the inner and outer doors of the 905 00:46:34,400 --> 00:46:37,239 Speaker 3: airlock are hanging wide open to the surface of the 906 00:46:37,280 --> 00:46:41,239 Speaker 3: planet Mars. So Colonel Vinhugheson presses a button and then 907 00:46:41,280 --> 00:46:44,759 Speaker 3: they both begin to swing closed. And this is one 908 00:46:44,800 --> 00:46:48,040 Speaker 3: of many things in the movie that you know, doesn't 909 00:46:48,040 --> 00:46:50,319 Speaker 3: really detract from enjoyment at all, but it's just kind 910 00:46:50,320 --> 00:46:53,680 Speaker 3: of amusing, like how far off of the scientific reality 911 00:46:53,760 --> 00:46:56,160 Speaker 3: it is you can just leave the door open to mars. 912 00:46:56,560 --> 00:46:59,120 Speaker 1: My brain was extremely forgiving of this moment, I think, 913 00:46:59,160 --> 00:47:01,759 Speaker 1: because it's like they're talking about what's happening with the 914 00:47:01,800 --> 00:47:04,960 Speaker 1: air lock, and not only did I assume that only 915 00:47:05,000 --> 00:47:07,480 Speaker 1: one door was opened, but my brain just went in 916 00:47:07,480 --> 00:47:10,360 Speaker 1: and filled it, filled in the rest and just made 917 00:47:10,360 --> 00:47:13,600 Speaker 1: it be so I didn't even really notice this air anyway. 918 00:47:13,680 --> 00:47:16,200 Speaker 3: So we pan away from the doors as they close 919 00:47:16,360 --> 00:47:20,120 Speaker 3: to see a dark storage room filled with crates and 920 00:47:20,200 --> 00:47:23,799 Speaker 3: steel drums, and in the background, a shadow falls over 921 00:47:23,840 --> 00:47:27,920 Speaker 3: the wall, and it's a shadow of a very broad shouldered, 922 00:47:28,160 --> 00:47:32,600 Speaker 3: very muscly looking humanoid figure, not quite human but close 923 00:47:32,640 --> 00:47:37,839 Speaker 3: to human, just bulky, big, threatening, imposing, And then we 924 00:47:37,880 --> 00:47:41,080 Speaker 3: see a foot fall across the floor. It's a close 925 00:47:41,160 --> 00:47:45,040 Speaker 3: up of this three toed reptilian foot, and these feet 926 00:47:45,400 --> 00:47:48,760 Speaker 3: move along as something is stalking through the cargo hold, 927 00:47:48,960 --> 00:47:51,600 Speaker 3: and we hear a deep rasping breath, almost like the 928 00:47:51,719 --> 00:47:53,480 Speaker 3: growl of a crocodilian. 929 00:47:54,000 --> 00:47:56,719 Speaker 1: The feet are not the best feature of the costume. 930 00:47:57,400 --> 00:47:59,480 Speaker 1: The claws are great because of course the claws are 931 00:47:59,480 --> 00:48:03,000 Speaker 1: fully arelated the feet or not, so they the feet 932 00:48:03,080 --> 00:48:06,000 Speaker 1: kind of feel like big rubber monster feet. But I 933 00:48:06,000 --> 00:48:08,160 Speaker 1: don't know, it's not too bad. At least they're not 934 00:48:08,160 --> 00:48:12,040 Speaker 1: showing the whole monster yet. They're they're they're they're sparsing 935 00:48:12,040 --> 00:48:12,759 Speaker 1: it out a little bit. 936 00:48:14,120 --> 00:48:16,520 Speaker 3: So the colonel calls up for a name check on 937 00:48:16,560 --> 00:48:18,359 Speaker 3: the radio. This is the thing I was talking about. 938 00:48:18,480 --> 00:48:20,640 Speaker 3: It's like a convenient way for all of the characters 939 00:48:20,640 --> 00:48:23,000 Speaker 3: to announce their names as it shows their face to 940 00:48:23,080 --> 00:48:29,319 Speaker 3: the audience. So we meet Eric Royce ship dad, very 941 00:48:29,480 --> 00:48:31,239 Speaker 3: very much the dad. Yeah, this is the guy who 942 00:48:31,239 --> 00:48:32,960 Speaker 3: we said she'd have like a high back chair and 943 00:48:33,000 --> 00:48:35,719 Speaker 3: a dog. We meet Mary. 944 00:48:35,520 --> 00:48:37,080 Speaker 1: Royce yep ship mom. 945 00:48:37,680 --> 00:48:41,040 Speaker 3: She is the I think we're saying physician she does 946 00:48:41,320 --> 00:48:44,600 Speaker 3: later in the movie. She does medical research and autopsies, 947 00:48:46,000 --> 00:48:48,879 Speaker 3: but she's also the mom. Yeah, she like scolds you 948 00:48:48,920 --> 00:48:53,160 Speaker 3: for for dirty jokes and and brings you coffee. There 949 00:48:53,280 --> 00:48:55,000 Speaker 3: is Anne Anderson. 950 00:48:54,840 --> 00:48:55,880 Speaker 1: Yep ship wife. 951 00:48:56,160 --> 00:49:00,200 Speaker 3: Yes, uh, there is Major John Purdue. 952 00:49:00,239 --> 00:49:01,560 Speaker 1: Yeah, I don't know, ship uncle. 953 00:49:01,640 --> 00:49:05,200 Speaker 3: I guess ship Uncle, I think is very correct. Yeah, 954 00:49:05,239 --> 00:49:07,680 Speaker 3: this guy needs a he needs a COR's light in 955 00:49:07,680 --> 00:49:12,480 Speaker 3: his hand, and we got Bob Finelli. He's I don't 956 00:49:12,520 --> 00:49:14,160 Speaker 3: know ship something. 957 00:49:13,880 --> 00:49:16,120 Speaker 1: So yeah, I don't he doesn't really last long enough 958 00:49:16,160 --> 00:49:18,200 Speaker 1: to get proper classification. 959 00:49:19,200 --> 00:49:23,120 Speaker 3: And Lieutenant James Calder Yeah, other uncle. I guess it 960 00:49:23,200 --> 00:49:26,680 Speaker 3: is a ship of many uncles. But as I said earlier, 961 00:49:26,719 --> 00:49:28,759 Speaker 3: for some reason, it's not the entire crew. There are 962 00:49:28,760 --> 00:49:32,080 Speaker 3: at least two guys who do not sign off on 963 00:49:32,160 --> 00:49:35,000 Speaker 3: this role call. We got Gino and we got kind Holts, 964 00:49:35,040 --> 00:49:36,239 Speaker 3: and we'll meet them later. 965 00:49:36,440 --> 00:49:37,960 Speaker 1: They're both Red Shirts though, right. 966 00:49:38,080 --> 00:49:39,799 Speaker 3: Yeah, they are the first two to get killed. 967 00:49:39,880 --> 00:49:40,040 Speaker 1: Yeah. 968 00:49:40,080 --> 00:49:44,280 Speaker 3: Yeah. So there's a takeoff and they leave the planet Mars. 969 00:49:44,400 --> 00:49:46,600 Speaker 3: The ship leaves the atmosphere, and we see the planet 970 00:49:46,640 --> 00:49:49,280 Speaker 3: retreating into space on a view screen. And then finally 971 00:49:49,320 --> 00:49:53,880 Speaker 3: we meet Carruthers, our main character, the prisoner and murder suspect, 972 00:49:54,280 --> 00:49:57,920 Speaker 3: on one of the middle decks of the ship. Now, 973 00:49:58,000 --> 00:50:00,759 Speaker 3: I want to talk for a minute here about the 974 00:50:01,000 --> 00:50:03,799 Speaker 3: set of the movie. We've already talked about how as 975 00:50:03,840 --> 00:50:09,399 Speaker 3: far as nineteen fifties spaceship sets go it looks pretty good. 976 00:50:09,800 --> 00:50:12,120 Speaker 3: But there's another thing about the setting that I think 977 00:50:12,200 --> 00:50:15,840 Speaker 3: works quite well, and that there is a sort of 978 00:50:16,080 --> 00:50:20,239 Speaker 3: comprehensible geography to the ship that you don't get in 979 00:50:20,320 --> 00:50:23,240 Speaker 3: a lot of sci fi movies from any period. Really, 980 00:50:23,920 --> 00:50:27,280 Speaker 3: the basic layout of the ship is a vertical stack 981 00:50:27,320 --> 00:50:31,600 Speaker 3: of different decks that are accessed by these ladders, steep 982 00:50:31,600 --> 00:50:35,400 Speaker 3: staircase ladders. So you have a command deck on top, 983 00:50:35,800 --> 00:50:38,200 Speaker 3: and then below that you have living quarters, and then 984 00:50:38,200 --> 00:50:40,080 Speaker 3: you have a laboratory, and then you have a couple 985 00:50:40,120 --> 00:50:43,320 Speaker 3: of storage decks, and then you have the engine down below. 986 00:50:44,480 --> 00:50:48,120 Speaker 3: And something about the arrangement of these decks in a 987 00:50:48,200 --> 00:50:51,600 Speaker 3: way that feels like you can really understand where things 988 00:50:51,640 --> 00:50:54,800 Speaker 3: are happening in the film. It's kind of unique. Spaceship 989 00:50:54,840 --> 00:50:57,520 Speaker 3: layout is often vague in movies. It feels like it 990 00:50:57,640 --> 00:51:00,480 Speaker 3: changes to serve the needs of the plot or for 991 00:51:00,640 --> 00:51:03,719 Speaker 3: convenience of shooting, and this is a rare exception. It 992 00:51:03,719 --> 00:51:06,040 Speaker 3: feels like you can understand where things are and what's 993 00:51:06,080 --> 00:51:08,720 Speaker 3: going on. I think in part because of the linear 994 00:51:08,880 --> 00:51:11,920 Speaker 3: vertical arrangement of the decks as opposed to the normal 995 00:51:12,000 --> 00:51:16,000 Speaker 3: horizontal arrangement of like hallways and doors. 996 00:51:16,120 --> 00:51:19,960 Speaker 1: Yeah, Yeah, this is a great point, because you do 997 00:51:20,040 --> 00:51:22,120 Speaker 1: have a good sense of where everything is in this ship. 998 00:51:22,160 --> 00:51:25,520 Speaker 1: We get to see some maps, and yeah, it's not 999 00:51:25,560 --> 00:51:27,759 Speaker 1: the case in other examples. We can turn to. The one, 1000 00:51:27,760 --> 00:51:30,839 Speaker 1: of course, that I instantly thought about was Alien and 1001 00:51:30,840 --> 00:51:35,200 Speaker 1: then Nostromo. And I've seen Alien so many times over 1002 00:51:35,200 --> 00:51:36,759 Speaker 1: the years, but I don't know if that I've ever 1003 00:51:36,800 --> 00:51:40,680 Speaker 1: had a great understanding of the Nostromo's inner layout. But 1004 00:51:40,719 --> 00:51:42,960 Speaker 1: then again, the Nostromo is supposed to essentially be a 1005 00:51:42,960 --> 00:51:45,880 Speaker 1: haunted house, right, So as long as you have some 1006 00:51:46,000 --> 00:51:48,680 Speaker 1: vague idea of the house, the basement and the attic 1007 00:51:48,760 --> 00:51:51,879 Speaker 1: and classify those however you will within Nostromo, you're good 1008 00:51:51,880 --> 00:51:55,279 Speaker 1: to go. I guess you know there are going to 1009 00:51:55,320 --> 00:51:59,000 Speaker 1: be other sci fi films where it pays to understand 1010 00:51:59,000 --> 00:52:00,319 Speaker 1: where everything is a bit more. 1011 00:52:00,719 --> 00:52:03,200 Speaker 3: Yeah, I agree that it's not always a drawback. I 1012 00:52:03,239 --> 00:52:06,759 Speaker 3: think that the confusing, maze like nature of the Nostromo 1013 00:52:07,080 --> 00:52:10,160 Speaker 3: makes the movie more effective because it's, you know it 1014 00:52:10,320 --> 00:52:13,160 Speaker 3: to the audience. At least, it's it's confusing where you are. 1015 00:52:13,280 --> 00:52:17,480 Speaker 3: It feels it feels more claustrophobic that way. But in 1016 00:52:17,520 --> 00:52:20,440 Speaker 3: this movie, I think it works really well that you 1017 00:52:20,520 --> 00:52:23,200 Speaker 3: have such a grounded sense of place. I think it 1018 00:52:23,239 --> 00:52:26,160 Speaker 3: contributes to what John Carpenter said about that feeling that 1019 00:52:26,200 --> 00:52:29,680 Speaker 3: there's really just this little engine driving the movie. Something 1020 00:52:29,719 --> 00:52:33,240 Speaker 3: about the movie works in a very tactile physical sense, 1021 00:52:33,320 --> 00:52:36,400 Speaker 3: and the good understanding of the space I think helps 1022 00:52:36,560 --> 00:52:36,920 Speaker 3: with that. 1023 00:52:37,400 --> 00:52:49,160 Speaker 1: Yeah, I would agree. 1024 00:52:46,600 --> 00:52:51,399 Speaker 3: Anyway. Carrothers is sitting here looking melancholy as they drive 1025 00:52:51,440 --> 00:52:54,120 Speaker 3: into space, and then Colonel van Husen, the commander of 1026 00:52:54,160 --> 00:52:56,920 Speaker 3: the mission, he comes down the ladder from the deck above. 1027 00:52:57,239 --> 00:52:59,719 Speaker 3: He comes up to him and he says, what do 1028 00:52:59,760 --> 00:53:04,120 Speaker 3: you think thinking about? He says, then you think about 1029 00:53:04,160 --> 00:53:08,439 Speaker 3: those nine bodies you left down there, and carother says, yes, 1030 00:53:08,560 --> 00:53:11,399 Speaker 3: that is what he's thinking about. But he protests again. 1031 00:53:11,440 --> 00:53:14,320 Speaker 3: He says, I didn't kill them, and then Van Heusen, 1032 00:53:14,480 --> 00:53:17,759 Speaker 3: shaking his head, says, still sticking to your story about 1033 00:53:17,800 --> 00:53:22,560 Speaker 3: a mysterious creature. And from this conversation we learned that 1034 00:53:22,640 --> 00:53:25,640 Speaker 3: they never found the bodies of the rest of Carrether's crew, 1035 00:53:26,120 --> 00:53:29,120 Speaker 3: but Van Heuson thinks there is still enough evidence to 1036 00:53:29,200 --> 00:53:33,399 Speaker 3: convict him. Van Heuston starts acting like a prosecutor. He's 1037 00:53:33,560 --> 00:53:37,480 Speaker 3: articulating a theory of motive, he says, okay. When the 1038 00:53:37,600 --> 00:53:42,120 Speaker 3: challenge one for one broke up. Upon landing, Carrothers realized 1039 00:53:42,239 --> 00:53:45,840 Speaker 3: that their limited food rations would not allow them all 1040 00:53:45,960 --> 00:53:49,839 Speaker 3: to survive until rescue showed up, so he killed all 1041 00:53:49,880 --> 00:53:53,319 Speaker 3: of his crew in order to extend his chances of 1042 00:53:53,360 --> 00:53:58,240 Speaker 3: survival until rescue to make more rations for himself and Carrothers, 1043 00:53:58,280 --> 00:54:02,319 Speaker 3: of course, maintains that his crew was by something not me. 1044 00:54:03,080 --> 00:54:06,680 Speaker 1: I love this conflict. I think it's it's it's a 1045 00:54:06,719 --> 00:54:09,160 Speaker 1: minor tragedy that they don't do as much with it, 1046 00:54:09,520 --> 00:54:12,560 Speaker 1: and that we know from the get go that Corruthers 1047 00:54:12,760 --> 00:54:16,160 Speaker 1: is probably correct. You know that we've seen the monster. 1048 00:54:16,280 --> 00:54:19,680 Speaker 1: We know there's a monster, so we we believe him. 1049 00:54:19,800 --> 00:54:23,319 Speaker 1: We're never we never really doubt him, even though the 1050 00:54:23,400 --> 00:54:26,080 Speaker 1: performance is such that we could read that into it, 1051 00:54:26,120 --> 00:54:29,120 Speaker 1: we could read guilt into it and so forth, So 1052 00:54:28,960 --> 00:54:32,000 Speaker 1: that they don't. They don't really explore this possibility as 1053 00:54:32,080 --> 00:54:34,600 Speaker 1: much as they could, and they don't really explore another 1054 00:54:34,600 --> 00:54:36,640 Speaker 1: possibility that came to mind while I was watching it then, 1055 00:54:36,880 --> 00:54:39,319 Speaker 1: and that is that you could have both right, You 1056 00:54:39,360 --> 00:54:42,840 Speaker 1: could have a situation where it's at least some members 1057 00:54:42,880 --> 00:54:45,759 Speaker 1: of the crew were killed by a creature, and perhaps 1058 00:54:46,120 --> 00:54:50,080 Speaker 1: you decide, well, my chances to survival were better if 1059 00:54:50,440 --> 00:54:53,759 Speaker 1: there are fewer people to consume the remaining rations and 1060 00:54:53,760 --> 00:54:58,440 Speaker 1: so forth. Like I feel like I wanted more of 1061 00:54:58,520 --> 00:55:02,120 Speaker 1: I wanted this to be milked more. And the film 1062 00:55:02,200 --> 00:55:04,680 Speaker 1: ultimately has to move past it and get to the 1063 00:55:04,719 --> 00:55:07,319 Speaker 1: main plot concerning what to do about the monster on 1064 00:55:07,440 --> 00:55:07,840 Speaker 1: the ship. 1065 00:55:08,239 --> 00:55:09,920 Speaker 3: Yeah. I agree with all that, but I think a 1066 00:55:10,000 --> 00:55:14,000 Speaker 3: very strong setup. Yeah. So then Van Heusen takes Carrothers 1067 00:55:14,000 --> 00:55:16,799 Speaker 3: to his cabin to show him something which is a 1068 00:55:17,000 --> 00:55:20,799 Speaker 3: human skull, clean and polished with a hole in the 1069 00:55:20,800 --> 00:55:24,040 Speaker 3: top of the head, and he says, there's only one 1070 00:55:24,160 --> 00:55:27,440 Speaker 3: kind of monster that uses bullets. So he says, you know, 1071 00:55:27,520 --> 00:55:30,120 Speaker 3: we found this near the ship. Now, at first he 1072 00:55:30,160 --> 00:55:32,719 Speaker 3: says they didn't find any bodies, but he did find 1073 00:55:32,719 --> 00:55:35,080 Speaker 3: a human skull. I guess that's part of a body. 1074 00:55:36,320 --> 00:55:39,480 Speaker 3: And it's like, look, you know, we know you did it, 1075 00:55:39,560 --> 00:55:42,880 Speaker 3: not some monster, because look, this is a wound inflicted 1076 00:55:42,920 --> 00:55:43,440 Speaker 3: by a human. 1077 00:55:44,520 --> 00:55:47,960 Speaker 1: I mean, I assume they found a head and they 1078 00:55:48,000 --> 00:55:51,360 Speaker 1: had Mary boil it down to that skull. That was 1079 00:55:51,400 --> 00:55:53,360 Speaker 1: some of the science that was taking place before they 1080 00:55:53,440 --> 00:55:55,960 Speaker 1: left Mars can't bring a whole head back, boil. 1081 00:55:55,680 --> 00:55:58,239 Speaker 3: It down the stew that night was so good. 1082 00:55:59,239 --> 00:55:59,920 Speaker 1: It's a harsh plan. 1083 00:56:00,640 --> 00:56:03,799 Speaker 3: Yeah, by the way, I just we started noticing I 1084 00:56:03,800 --> 00:56:06,080 Speaker 3: think around the scene. I watched it with Rachel and 1085 00:56:06,120 --> 00:56:08,560 Speaker 3: she was really struck by all of the shiny zippers 1086 00:56:08,600 --> 00:56:12,080 Speaker 3: on their jumpsuits. Is there they got a lot of pockets. 1087 00:56:12,280 --> 00:56:14,200 Speaker 1: It's a great point. I didn't give this film a 1088 00:56:14,239 --> 00:56:17,560 Speaker 1: lot of a lot of points for its space suits 1089 00:56:17,560 --> 00:56:21,320 Speaker 1: and its jumpsuits, but those zippers are really shiny. 1090 00:56:21,560 --> 00:56:23,480 Speaker 3: So then we got another thing that's a little bit 1091 00:56:23,520 --> 00:56:26,560 Speaker 3: similar to Alien. There's like a mess hall dinner scene 1092 00:56:26,600 --> 00:56:29,719 Speaker 3: where everybody's sort of ribbing each other and having little 1093 00:56:29,760 --> 00:56:33,480 Speaker 3: bits of banter and jokes. They're talking about being excited 1094 00:56:33,520 --> 00:56:35,400 Speaker 3: to get back to Earth. One guy's like, I'm going 1095 00:56:35,480 --> 00:56:37,600 Speaker 3: to jump out of the airlock and roll around in 1096 00:56:37,600 --> 00:56:41,120 Speaker 3: the grass. Now this is where we get to the 1097 00:56:41,120 --> 00:56:44,080 Speaker 3: thing we mentioned earlier that the thing that many reviewers 1098 00:56:44,160 --> 00:56:47,440 Speaker 3: have noticed, which is that the two women of the 1099 00:56:47,480 --> 00:56:51,080 Speaker 3: crew are just going around serving everyone coffee and almost 1100 00:56:51,080 --> 00:56:52,360 Speaker 3: like taking their orders. 1101 00:56:53,280 --> 00:56:56,359 Speaker 1: Yeah. Yeah, so if it is comparable to the mess 1102 00:56:56,400 --> 00:56:59,120 Speaker 1: all scene and Alien, it's like eighty percent more sexist. 1103 00:56:59,440 --> 00:57:04,040 Speaker 3: Yeah. The crew members are commenting on how every time 1104 00:57:04,360 --> 00:57:08,319 Speaker 3: Van Houston sees Ann Anderson, the geologist, which must be 1105 00:57:08,440 --> 00:57:12,160 Speaker 3: often because they're occupying a small spaceship together. They say, 1106 00:57:12,160 --> 00:57:14,960 Speaker 3: every time he sees her, he floats, even though this 1107 00:57:15,080 --> 00:57:20,080 Speaker 3: ship is equipped with artificial gravity. Yuck, yuck. And then 1108 00:57:20,160 --> 00:57:23,520 Speaker 3: Ann Anderson replies, these days, he seems more concerned with 1109 00:57:23,560 --> 00:57:29,240 Speaker 3: a man hunt than a woman hunt. 1110 00:57:27,360 --> 00:57:29,880 Speaker 1: You know. Speaking of artificial gravity, though, one thing I 1111 00:57:29,880 --> 00:57:31,720 Speaker 1: wanted to mention about the layout of the ship is 1112 00:57:31,760 --> 00:57:35,480 Speaker 1: that this is a case where the artificial gravity is 1113 00:57:35,680 --> 00:57:38,800 Speaker 1: somewhat believable because I guess, given the way it's laid 1114 00:57:38,800 --> 00:57:41,400 Speaker 1: out with the decks, it would be propulsion. 1115 00:57:40,920 --> 00:57:43,240 Speaker 3: Based yeah, linear acceleration. 1116 00:57:42,800 --> 00:57:45,680 Speaker 1: Yeah yeah. Now it doesn't work throughout the entire picture 1117 00:57:46,040 --> 00:57:47,880 Speaker 1: because they also walk in the sides of the ship, 1118 00:57:48,280 --> 00:57:51,160 Speaker 1: and I'm not sure how they're doing that, but at 1119 00:57:51,280 --> 00:57:54,160 Speaker 1: least in small doses you can say this works. 1120 00:57:54,360 --> 00:57:57,800 Speaker 3: Now, there are at least two established couples within the 1121 00:57:57,880 --> 00:58:02,480 Speaker 3: crew of this Mars Rescue Slash mission, so Eric and 1122 00:58:02,560 --> 00:58:07,520 Speaker 3: Mary Royce are married again. Eric is the ship dad 1123 00:58:07,680 --> 00:58:10,960 Speaker 3: and Mary is the ship mom. And then Van Heuson 1124 00:58:11,000 --> 00:58:15,360 Speaker 3: and Anderson are I guess dating, but possibly their relationship 1125 00:58:15,440 --> 00:58:18,479 Speaker 3: is on the rocks because Van Heuston cares more about 1126 00:58:18,560 --> 00:58:20,600 Speaker 3: murder on Mars than he does about romance. 1127 00:58:21,520 --> 00:58:22,320 Speaker 1: It is his job. 1128 00:58:22,680 --> 00:58:26,720 Speaker 3: Yeah, he does seem extremely focused, like he announces at 1129 00:58:26,720 --> 00:58:29,760 Speaker 3: dinner quote by the time we reach Earth, I'll have 1130 00:58:29,840 --> 00:58:32,480 Speaker 3: his confession on tape, and. 1131 00:58:32,640 --> 00:58:35,120 Speaker 1: Den Caruthers come down the stairs, like right after that, 1132 00:58:35,440 --> 00:58:37,400 Speaker 1: he's kind of he's still looking for Luren, and he's 1133 00:58:37,440 --> 00:58:38,800 Speaker 1: kind of like, oh man, I'm right here. 1134 00:58:39,880 --> 00:58:44,520 Speaker 3: Yeah, that's right. I guess this is an unusual circumstance 1135 00:58:44,600 --> 00:58:47,320 Speaker 3: for relationship troubles in storytelling. I mean, I guess in 1136 00:58:47,840 --> 00:58:51,000 Speaker 3: one in the generic sense. It's not because people often 1137 00:58:51,040 --> 00:58:53,440 Speaker 3: have the issue of like work coming between them in 1138 00:58:53,480 --> 00:58:56,960 Speaker 3: a relationship, just not this kind of work. Anyway, we 1139 00:58:57,000 --> 00:59:01,480 Speaker 3: see Anderson showing some tenderness for Corrother the prisoner, like 1140 00:59:01,520 --> 00:59:04,800 Speaker 3: she brings him a sandwich and she says, such a cold, 1141 00:59:04,920 --> 00:59:08,040 Speaker 3: desolate world, we saw so little of it. I guess 1142 00:59:08,040 --> 00:59:11,000 Speaker 3: she's talking about Mars. And they start kind of chatting, 1143 00:59:11,040 --> 00:59:13,320 Speaker 3: and she makes clear that she wants to hear his 1144 00:59:13,480 --> 00:59:15,840 Speaker 3: side of the story, so he tells it here we're 1145 00:59:15,880 --> 00:59:18,960 Speaker 3: going to get a monologue that explains what happened from 1146 00:59:19,000 --> 00:59:22,880 Speaker 3: Crother's point of view. He says, we were all outside 1147 00:59:22,880 --> 00:59:26,760 Speaker 3: the ship exploring the southern tip of Curtis Major. Suddenly 1148 00:59:26,920 --> 00:59:30,200 Speaker 3: a sandstorm came up and we started back. I was 1149 00:59:30,320 --> 00:59:34,520 Speaker 3: driving the jeep, so it was a jeep. Sand was 1150 00:59:34,600 --> 00:59:37,600 Speaker 3: so thick we could barely see. We were almost back 1151 00:59:37,640 --> 00:59:41,160 Speaker 3: to the ship when Cartwright just disappeared. One minute he 1152 00:59:41,240 --> 00:59:44,040 Speaker 3: was there, and the next minute he was gone, as 1153 00:59:44,040 --> 00:59:46,360 Speaker 3: if something had plucked him out of the jeep like 1154 00:59:46,560 --> 00:59:49,680 Speaker 3: candy out of a box. We heard a weird sort 1155 00:59:49,720 --> 00:59:52,720 Speaker 3: of sound. We thought we saw a dark shape running 1156 00:59:52,760 --> 00:59:55,479 Speaker 3: near the jeep and started shooting at it. A few 1157 00:59:55,840 --> 00:59:58,680 Speaker 3: moments later, Kenner and the rest were all gone. By 1158 00:59:58,680 --> 01:00:01,120 Speaker 3: the way, Kenner was the guy the skull belonged to. 1159 01:00:01,640 --> 01:00:04,080 Speaker 3: We learned that I was the only one who made 1160 01:00:04,120 --> 01:00:06,880 Speaker 3: it back to the ship. When the sandstorm quit, I 1161 01:00:06,920 --> 01:00:09,560 Speaker 3: went out and searched all over. There wasn't a sign 1162 01:00:09,600 --> 01:00:10,560 Speaker 3: of them. 1163 01:00:11,000 --> 01:00:13,720 Speaker 1: Curtis Major, by the way, is indeed a massive shield 1164 01:00:13,800 --> 01:00:17,280 Speaker 1: volcano in the eastern hemisphere of Mars. It was first 1165 01:00:17,440 --> 01:00:20,880 Speaker 1: the first documented surface feature of another planet, discovered by 1166 01:00:21,160 --> 01:00:23,560 Speaker 1: Christian Hugens in sixteen fifty nine. 1167 01:00:23,960 --> 01:00:26,520 Speaker 3: Ah, so that part is very real. But wait, I 1168 01:00:26,560 --> 01:00:29,400 Speaker 3: would have assumed that this creature was picking them off 1169 01:00:29,440 --> 01:00:31,680 Speaker 3: one at a time. And it sounds like his entire 1170 01:00:31,760 --> 01:00:34,920 Speaker 3: crew was killed all in one event, right at the 1171 01:00:35,000 --> 01:00:36,439 Speaker 3: very beginning of the time he was there. 1172 01:00:36,800 --> 01:00:38,920 Speaker 1: You know. I mean, it's not out of keeping with 1173 01:00:38,960 --> 01:00:41,080 Speaker 1: what we know of natural world organisms. You know, it's 1174 01:00:41,120 --> 01:00:43,760 Speaker 1: like like a fox in the hen house. What's called 1175 01:00:43,960 --> 01:00:47,320 Speaker 1: surplus killing or I think in house syndrome sometimes. 1176 01:00:47,960 --> 01:00:50,120 Speaker 3: Oh yeah, So the Mars beast got excited in the 1177 01:00:50,160 --> 01:00:54,880 Speaker 3: presence of all this food, this human biomass, and was like, yum, yum, 1178 01:00:54,880 --> 01:00:56,720 Speaker 3: I'm gonna eatma, I'm gonna get them all. 1179 01:00:57,000 --> 01:00:57,400 Speaker 1: Yeah. 1180 01:00:57,520 --> 01:01:00,479 Speaker 3: So Anderson, she listens to the story and she's like, yeah, 1181 01:01:00,520 --> 01:01:03,040 Speaker 3: I don't know. I don't believe you, but I also 1182 01:01:03,080 --> 01:01:06,320 Speaker 3: don't disbelieve you. And we can see she's softening on 1183 01:01:06,440 --> 01:01:08,840 Speaker 3: him because she and Van have an argument about it. 1184 01:01:08,920 --> 01:01:11,560 Speaker 3: Van he's a hardliner and he wants to crack him, 1185 01:01:12,000 --> 01:01:15,080 Speaker 3: and Anderson thinks it is not for them to judge 1186 01:01:15,080 --> 01:01:19,760 Speaker 3: his guilt. Oh and then after this, Van calls Anderson chicken, 1187 01:01:20,160 --> 01:01:22,480 Speaker 3: and he goes, Okay, Chicken, I'll let up on the 1188 01:01:22,520 --> 01:01:25,760 Speaker 3: third degree, and then they ask what about everybody else? 1189 01:01:25,800 --> 01:01:29,560 Speaker 3: Do they believe her others? And Lieutenant Calder says, Mars 1190 01:01:29,600 --> 01:01:32,480 Speaker 3: is almost as big as Texas. Maybe it's got monsters. 1191 01:01:33,400 --> 01:01:37,000 Speaker 1: This is a great line and the actor delivers it perfectly. 1192 01:01:37,760 --> 01:01:38,600 Speaker 1: I really liked it. 1193 01:01:38,920 --> 01:01:42,240 Speaker 3: So time passes, the ship drifts through space, but eventually 1194 01:01:42,280 --> 01:01:45,680 Speaker 3: we get to the first attack, and it occurs late 1195 01:01:45,680 --> 01:01:48,040 Speaker 3: at night when a crew member named Kine Holtz is 1196 01:01:48,040 --> 01:01:51,400 Speaker 3: sitting up he's looking at what it looks like architectural 1197 01:01:51,480 --> 01:01:54,040 Speaker 3: drafts or something. He's sitting at a table looking at 1198 01:01:54,080 --> 01:01:58,280 Speaker 3: these big sheets, and we hear some crashing and growling 1199 01:01:58,280 --> 01:02:00,760 Speaker 3: in the lower decks and see a claw reach out 1200 01:02:00,760 --> 01:02:03,600 Speaker 3: from behind something and scrape across the top of a 1201 01:02:03,680 --> 01:02:07,400 Speaker 3: table and good looking clause as you mentioned earlier, Rob, 1202 01:02:07,920 --> 01:02:11,240 Speaker 3: but kind Holts goes down to investigate the strange sounds 1203 01:02:11,240 --> 01:02:17,280 Speaker 3: in the cargo deck and here begins a sedate, slow, quiet, 1204 01:02:17,720 --> 01:02:21,960 Speaker 3: suspenseful investigation process as kind Holts goes down the decks 1205 01:02:22,000 --> 01:02:24,280 Speaker 3: one by one looking for the source of the sound. 1206 01:02:25,360 --> 01:02:27,280 Speaker 3: And I really like the pace here. This is one 1207 01:02:27,320 --> 01:02:30,200 Speaker 3: of these scenes that's just mechanically quite effective. We have 1208 01:02:30,240 --> 01:02:32,840 Speaker 3: a good idea of what's going to happen. But I 1209 01:02:32,960 --> 01:02:37,320 Speaker 3: just like watching the investigation. It's kind of calm but 1210 01:02:37,440 --> 01:02:40,080 Speaker 3: suspenseful at the same time, and it reminds me of 1211 01:02:40,160 --> 01:02:42,880 Speaker 3: scenes in Alien, like when Harry Dean Stanton is looking 1212 01:02:42,920 --> 01:02:44,720 Speaker 3: for the cat in the cargo area. 1213 01:02:45,120 --> 01:02:48,800 Speaker 1: Yeah. Yeah, solid reference point. Yeah, because it's it is. 1214 01:02:48,840 --> 01:02:51,840 Speaker 1: It is laid back. This guy's not like super concerned, 1215 01:02:51,840 --> 01:02:55,440 Speaker 1: he's not expecting to find anything, but we know what's 1216 01:02:55,480 --> 01:02:57,800 Speaker 1: down there for him. We know that this guy's going 1217 01:02:57,880 --> 01:03:01,960 Speaker 1: to get it any moment, but that moment is delayed, 1218 01:03:02,280 --> 01:03:03,960 Speaker 1: and so there are several moments where we think it's 1219 01:03:03,960 --> 01:03:05,480 Speaker 1: going to jump out and get him and it doesn't. 1220 01:03:05,720 --> 01:03:08,800 Speaker 1: And then when it finally occurs, it's it's satisfying. 1221 01:03:09,000 --> 01:03:10,920 Speaker 3: It ends with a really good jump scare. I thought, 1222 01:03:10,960 --> 01:03:13,880 Speaker 3: where there is like there's a scream and we don't 1223 01:03:13,920 --> 01:03:16,560 Speaker 3: see it. We see the shadow of the creature grabbing 1224 01:03:16,640 --> 01:03:18,520 Speaker 3: him and doing that wrestling move you called it a 1225 01:03:18,560 --> 01:03:21,160 Speaker 3: gorilla press where he lifts the guy up above his head. 1226 01:03:21,280 --> 01:03:25,640 Speaker 1: Yep, yeap, smashes him down, breaks him. Yeah, very well done. 1227 01:03:26,280 --> 01:03:29,680 Speaker 3: Now. Meanwhile, Carruthers is playing a game of chess with 1228 01:03:29,880 --> 01:03:32,960 Speaker 3: ship Dad Royce and he hears the scream and the 1229 01:03:33,000 --> 01:03:35,640 Speaker 3: crash when no one else in the room does, and 1230 01:03:35,720 --> 01:03:38,560 Speaker 3: he there, you know, he's like, did you hear that? 1231 01:03:38,640 --> 01:03:40,360 Speaker 3: And they're all like no, and he says, I learned 1232 01:03:40,360 --> 01:03:42,680 Speaker 3: to hear all over again on Mars, so he gave 1233 01:03:42,760 --> 01:03:47,640 Speaker 3: him superhering and the men go to investigate. Initially, all 1234 01:03:47,680 --> 01:03:51,480 Speaker 3: the other crew they're very skeptical of Corrothers looking into this, 1235 01:03:51,600 --> 01:03:55,640 Speaker 3: but things do start to appear. It starts to appear 1236 01:03:55,680 --> 01:03:58,040 Speaker 3: that something is wrong. Kind of Holts is not at 1237 01:03:58,040 --> 01:04:00,680 Speaker 3: his post. They look for him in his he's not 1238 01:04:00,760 --> 01:04:04,120 Speaker 3: there either. Corrothers checks for him across the intercom and 1239 01:04:04,160 --> 01:04:07,000 Speaker 3: there's no response. After a while, I think it becomes 1240 01:04:07,000 --> 01:04:09,880 Speaker 3: clear to all the characters that really something is wrong, 1241 01:04:09,960 --> 01:04:12,000 Speaker 3: and the whole crew wakes up and as symbols to 1242 01:04:12,000 --> 01:04:15,000 Speaker 3: look for kind Holts, they're like, let's split up, so they, 1243 01:04:15,080 --> 01:04:18,560 Speaker 3: you know, look in different places. And while isolated in 1244 01:04:18,600 --> 01:04:22,080 Speaker 3: the cargo area, another crew member named Gino Finelli is 1245 01:04:22,120 --> 01:04:25,440 Speaker 3: attacked and the cigarette drops right out of his mouth. 1246 01:04:25,720 --> 01:04:27,800 Speaker 1: And he's he going in to get more cigarettes. 1247 01:04:28,160 --> 01:04:29,000 Speaker 3: That's what it looks like. 1248 01:04:29,160 --> 01:04:33,440 Speaker 1: Yeah, and there, you know, there's there their strategic supply 1249 01:04:33,600 --> 01:04:37,160 Speaker 1: of various tobacco products because there's also pipes being smoked 1250 01:04:37,200 --> 01:04:40,240 Speaker 1: on board very smoky spaceship. 1251 01:04:40,840 --> 01:04:44,680 Speaker 3: So after the crew or after Geno disappears, the crew 1252 01:04:44,800 --> 01:04:47,640 Speaker 3: run around looking for him as well. Vans like, it 1253 01:04:47,640 --> 01:04:49,920 Speaker 3: doesn't make any sense, there's nowhere on this ship for 1254 01:04:49,960 --> 01:04:54,160 Speaker 3: a man to hide. But we see Corrothers walk past 1255 01:04:54,240 --> 01:04:57,560 Speaker 3: a metal grate in front of an opening that says 1256 01:04:57,600 --> 01:05:00,600 Speaker 3: air generation and Moisture Recovery section, so it's like an 1257 01:05:00,640 --> 01:05:04,000 Speaker 3: air duct access and he's standing there and then suddenly 1258 01:05:04,000 --> 01:05:07,760 Speaker 3: we see behind him a limp hand drops down on 1259 01:05:07,800 --> 01:05:10,000 Speaker 3: the other side of the grate. Another good jump scare, 1260 01:05:10,720 --> 01:05:13,400 Speaker 3: and they recover kind Holtz his body from the air 1261 01:05:13,480 --> 01:05:17,480 Speaker 3: duct and it has a very creepy appearance. It's zombie 1262 01:05:17,640 --> 01:05:20,760 Speaker 3: like with pale skin and dark sunken eyes. I love 1263 01:05:20,840 --> 01:05:23,720 Speaker 3: the makeup on the victims the monster here. 1264 01:05:24,160 --> 01:05:26,920 Speaker 1: Yeah, this has been some sort of unnatural death has 1265 01:05:26,960 --> 01:05:30,400 Speaker 1: occurred here, And I guess this is another area where 1266 01:05:30,440 --> 01:05:32,320 Speaker 1: I kind of wondered, like, why didn't they try and 1267 01:05:32,400 --> 01:05:36,480 Speaker 1: keep the heat on Carruthers by saying by casting some 1268 01:05:36,520 --> 01:05:38,880 Speaker 1: suspicion on him for this murder. But I guess at 1269 01:05:38,880 --> 01:05:40,160 Speaker 1: the end of the day. We have to remember this 1270 01:05:40,240 --> 01:05:43,320 Speaker 1: is a short film and it's it's it has deadline, 1271 01:05:43,480 --> 01:05:45,960 Speaker 1: so we don't have we don't have room for too 1272 01:05:46,080 --> 01:05:49,080 Speaker 1: much more additional plot shenanigans. We've got to we've got 1273 01:05:49,120 --> 01:05:49,920 Speaker 1: to get to the goods. 1274 01:05:50,240 --> 01:05:53,080 Speaker 3: So they conclude that Geno may also be somewhere in 1275 01:05:53,120 --> 01:05:55,480 Speaker 3: the air ducts. So they move a bunch of crates 1276 01:05:55,480 --> 01:05:57,520 Speaker 3: out of the way and get to an access event 1277 01:05:57,560 --> 01:06:00,480 Speaker 3: and Lieutenant Calder crawls in with he's got a pistol 1278 01:06:00,560 --> 01:06:04,200 Speaker 3: on his belt. And here we got another big similarity 1279 01:06:04,200 --> 01:06:08,640 Speaker 3: with Alien, these scenes of a leader of the crew 1280 01:06:08,840 --> 01:06:13,400 Speaker 3: crawling into these large air ducks to look for to 1281 01:06:13,400 --> 01:06:16,080 Speaker 3: look for a victim and look for a creature. And 1282 01:06:16,240 --> 01:06:19,080 Speaker 3: this scene I thought was also great because he crawls 1283 01:06:19,160 --> 01:06:22,680 Speaker 3: through the ducks and then finds Gino in there, also 1284 01:06:22,760 --> 01:06:26,880 Speaker 3: with this incredibly creepy makeup the war boy zombie look. 1285 01:06:27,280 --> 01:06:30,480 Speaker 1: Yeah, yeah, this indeed a great sequence. You can definitely 1286 01:06:30,560 --> 01:06:33,000 Speaker 1: see this as having an influence on the duct scenes 1287 01:06:33,000 --> 01:06:36,960 Speaker 1: an Alien, and on deleted scenes that they ended up 1288 01:06:37,000 --> 01:06:41,000 Speaker 1: not using in the theatrical cut, involving finding like cocooned 1289 01:06:41,120 --> 01:06:45,000 Speaker 1: members of the Nostromo crew that are being slowly transformed 1290 01:06:45,000 --> 01:06:48,360 Speaker 1: into eggs. Again not a part of the theatrical cut 1291 01:06:48,360 --> 01:06:50,640 Speaker 1: of the picture, but you know, available and like an 1292 01:06:50,680 --> 01:06:53,840 Speaker 1: extended cut. They came out years later and in deleted sequences. 1293 01:06:54,200 --> 01:06:57,920 Speaker 3: Yeah. Yeah, So there's a creature jump here, the lieutenants 1294 01:06:58,040 --> 01:07:01,760 Speaker 3: trying to get Geno, but the like the the alien 1295 01:07:01,800 --> 01:07:04,120 Speaker 3: pops out and it slashes that in with his claws 1296 01:07:04,440 --> 01:07:06,720 Speaker 3: and he ends up shooting at it, so he crawls 1297 01:07:06,760 --> 01:07:08,600 Speaker 3: back out. They seal up the entrance to the air 1298 01:07:08,680 --> 01:07:13,560 Speaker 3: duct and then in a hilarious move, they trap the 1299 01:07:14,040 --> 01:07:17,240 Speaker 3: air duct opening with a bunch of grenades. Why do 1300 01:07:17,280 --> 01:07:18,240 Speaker 3: they have grenades? 1301 01:07:18,360 --> 01:07:19,960 Speaker 1: Oh my god. So this is, of course, is a 1302 01:07:20,040 --> 01:07:23,680 Speaker 1: huge difference between alien and you have the terarform beyond 1303 01:07:23,680 --> 01:07:27,400 Speaker 1: space because an alien they have very few, almost no weapons. 1304 01:07:27,440 --> 01:07:30,600 Speaker 1: It's basically improvised, improvised weapons, like they have to make 1305 01:07:30,640 --> 01:07:34,520 Speaker 1: their own flamers. You know, they have a harpoon gun 1306 01:07:34,560 --> 01:07:36,280 Speaker 1: of course that gets used later, but for the most 1307 01:07:36,280 --> 01:07:37,640 Speaker 1: part they're having to make it up as they go, 1308 01:07:37,760 --> 01:07:41,520 Speaker 1: make a like a cattle prode type device. Here they 1309 01:07:41,560 --> 01:07:43,520 Speaker 1: are armed to the teeth and this is the you know, 1310 01:07:43,560 --> 01:07:46,080 Speaker 1: we saw the pistol earlier and you're like, Okay, I 1311 01:07:46,120 --> 01:07:48,080 Speaker 1: guess they have one pistol on board. They were going 1312 01:07:48,120 --> 01:07:50,680 Speaker 1: to make an arrest, fair enough. But this is where 1313 01:07:50,720 --> 01:07:52,920 Speaker 1: we find out, Oh, they have an entire like you know, 1314 01:07:53,240 --> 01:07:57,760 Speaker 1: like small like wooden crate of grenades like military grenades. 1315 01:07:58,080 --> 01:08:00,800 Speaker 1: And yeah, they have they like string up a bandolier 1316 01:08:00,880 --> 01:08:03,800 Speaker 1: of like eight of these things for the entrance to 1317 01:08:03,800 --> 01:08:04,520 Speaker 1: the air ducks. 1318 01:08:04,760 --> 01:08:07,480 Speaker 3: Why do they need that manial? We would would at 1319 01:08:07,520 --> 01:08:10,280 Speaker 3: that point would eight be any better than one? 1320 01:08:11,040 --> 01:08:14,200 Speaker 1: And to say nothing of the whole of this ship. This, 1321 01:08:14,200 --> 01:08:18,920 Speaker 1: this ship's hull is just absolutely impregnable. And this is 1322 01:08:19,000 --> 01:08:20,880 Speaker 1: just the first sign of it. We will have even 1323 01:08:20,920 --> 01:08:23,080 Speaker 1: more evidence of this as we move forward. 1324 01:08:23,320 --> 01:08:25,360 Speaker 3: So the humans fall back to the upper deck and 1325 01:08:25,439 --> 01:08:28,920 Speaker 3: begin to review their arsenal, once again, talking about all 1326 01:08:28,960 --> 01:08:31,559 Speaker 3: the weapons they have. What we see this table with 1327 01:08:31,760 --> 01:08:34,600 Speaker 3: just its guns, guns, guns everywhere. 1328 01:08:35,080 --> 01:08:38,840 Speaker 1: They have so many weapons, like its pistols, it's high 1329 01:08:38,880 --> 01:08:42,000 Speaker 1: caliber rifles. Like why did they bring all this stuck. 1330 01:08:41,960 --> 01:08:44,519 Speaker 3: I don't know, A bunch of Yeah, and they've got 1331 01:08:44,520 --> 01:08:46,000 Speaker 3: a bazuka. 1332 01:08:45,360 --> 01:08:49,040 Speaker 1: Also, they legit have a bazuka. Like the bazuka made 1333 01:08:49,080 --> 01:08:51,280 Speaker 1: me laugh out loud because I was already thinking this 1334 01:08:51,320 --> 01:08:53,640 Speaker 1: is too much. And then they have a Bazuka and 1335 01:08:53,680 --> 01:08:56,240 Speaker 1: they're gonna They're gonna load it up and potentially use 1336 01:08:56,280 --> 01:09:01,800 Speaker 1: it on board the spacecraft with with computer equipment right 1337 01:09:01,840 --> 01:09:05,320 Speaker 1: behind it. Yeah. Yeah, not that it matters at that point. 1338 01:09:05,600 --> 01:09:09,920 Speaker 3: Well perfect. Meanwhile, Mary and Anne are checking out the 1339 01:09:09,960 --> 01:09:12,280 Speaker 3: body of kind Holts. They're like, what happened to him? 1340 01:09:12,920 --> 01:09:15,800 Speaker 3: He looks very desiccated, he looks in bad shape. He 1341 01:09:15,800 --> 01:09:20,840 Speaker 3: looks shiny and chrome. And Mary says, every bone in 1342 01:09:20,880 --> 01:09:23,559 Speaker 3: his body must be broken, but I'm not sure that's 1343 01:09:23,560 --> 01:09:27,760 Speaker 3: what killed him. The shriveled up effect it. I'll have 1344 01:09:27,800 --> 01:09:31,240 Speaker 3: to do an autopsy. So she's going to do an autopsy. Meanwhile, 1345 01:09:31,600 --> 01:09:36,000 Speaker 3: Van Hughson asks Carrothers, Okay, He's like, clearly you were right. 1346 01:09:36,160 --> 01:09:39,000 Speaker 3: Do you know what it is? And Carrother says no, 1347 01:09:39,160 --> 01:09:41,240 Speaker 3: he may have faced it before, but he doesn't know 1348 01:09:41,280 --> 01:09:44,040 Speaker 3: how to beat it. And then Dad comes in with 1349 01:09:44,080 --> 01:09:48,320 Speaker 3: some thoughts. So Dad's like, you say, it's man shaped humanoid. 1350 01:09:49,160 --> 01:09:52,320 Speaker 3: Here's his explanation. He says, perhaps there was once a 1351 01:09:52,479 --> 01:09:58,280 Speaker 3: civilization on Mars. It ended disease war, something terrible. The 1352 01:09:58,320 --> 01:10:02,479 Speaker 3: Martians that were left went back to barbarism. Savage murders. 1353 01:10:02,680 --> 01:10:04,479 Speaker 3: Maybe that's what we've got on board. 1354 01:10:04,840 --> 01:10:08,240 Speaker 1: I mean, he delivers it perfectly here though. I mean 1355 01:10:08,280 --> 01:10:12,320 Speaker 1: it's like the performance is solid enough, and I'm like, yeah, yeah, 1356 01:10:12,360 --> 01:10:14,280 Speaker 1: I think that might be it. And again this is 1357 01:10:14,360 --> 01:10:18,599 Speaker 1: Dab's Greer, so you know, solid actor here. It makes 1358 01:10:18,640 --> 01:10:19,200 Speaker 1: you believe it. 1359 01:10:19,600 --> 01:10:22,720 Speaker 3: They also reason out that the alien must be intelligent 1360 01:10:22,800 --> 01:10:25,559 Speaker 3: and not just an animal, because it's able to open 1361 01:10:25,640 --> 01:10:29,880 Speaker 3: doors and close and travel between compartments. And they deduce 1362 01:10:29,920 --> 01:10:32,800 Speaker 3: a motive for the attacks. They say, it's hungry. It's 1363 01:10:32,840 --> 01:10:37,320 Speaker 3: eating us, all right. So some time passes and there's 1364 01:10:37,360 --> 01:10:40,200 Speaker 3: a scene where the monster trips the traps. It's crawling 1365 01:10:40,200 --> 01:10:42,439 Speaker 3: through the air ducts and it tries to crawl out 1366 01:10:42,479 --> 01:10:45,040 Speaker 3: and the grenades blow up in its face, but it 1367 01:10:45,160 --> 01:10:49,240 Speaker 3: is not killed. Instead, it seems just really annoyed and 1368 01:10:49,280 --> 01:10:53,000 Speaker 3: it starts running around smashing boxes in a rage. So 1369 01:10:53,120 --> 01:10:55,000 Speaker 3: at this point the crew go down to meet it 1370 01:10:55,040 --> 01:10:57,760 Speaker 3: with pistols drawn, and there it is, right there. It 1371 01:10:58,760 --> 01:11:01,679 Speaker 3: grabs a rifle from one of them and just bends 1372 01:11:01,720 --> 01:11:04,160 Speaker 3: it in half, basically ties it in a bow. That's 1373 01:11:04,160 --> 01:11:04,840 Speaker 3: a great scene. 1374 01:11:04,920 --> 01:11:05,240 Speaker 1: M hm. 1375 01:11:05,640 --> 01:11:09,559 Speaker 3: They retreat blasting the monster. There's a really well staged 1376 01:11:09,560 --> 01:11:11,800 Speaker 3: shot here that looks great where the monster is like 1377 01:11:11,960 --> 01:11:15,360 Speaker 3: clawing its way through a closed door from like it's 1378 01:11:15,479 --> 01:11:18,479 Speaker 3: very it's lit very brightly from behind, but clowing its 1379 01:11:18,520 --> 01:11:21,360 Speaker 3: way into a darkened room with the smoke coming out 1380 01:11:21,400 --> 01:11:22,120 Speaker 3: as beautiful. 1381 01:11:22,360 --> 01:11:24,599 Speaker 1: Yeah, this is a great shot. I love this one. 1382 01:11:24,800 --> 01:11:28,639 Speaker 3: Yeah, really cool. And Carruthers shows bravery here as there, 1383 01:11:28,760 --> 01:11:30,720 Speaker 3: you know, he covers the retreat as they go back 1384 01:11:30,760 --> 01:11:33,599 Speaker 3: up the ladder and they close the hatch. It's like, okay, 1385 01:11:33,640 --> 01:11:37,280 Speaker 3: so that didn't work at all. Next, Mary suggests an idea. 1386 01:11:37,640 --> 01:11:40,800 Speaker 3: He says, we've got gas grenades. Gino made them. He 1387 01:11:40,840 --> 01:11:43,639 Speaker 3: says he made them in case they ran into any 1388 01:11:43,760 --> 01:11:45,160 Speaker 3: dinosaurs on Mars. 1389 01:11:45,479 --> 01:11:49,599 Speaker 1: Time to bust out the chemical weapons aboard the space ship. 1390 01:11:49,880 --> 01:11:52,400 Speaker 3: So they put on gas masks and they open the 1391 01:11:52,439 --> 01:11:54,960 Speaker 3: hatch and chuck the gas grenades down. But the creature 1392 01:11:55,040 --> 01:11:57,200 Speaker 3: is like right there, and so when they open the hatch, 1393 01:11:57,240 --> 01:12:00,400 Speaker 3: it starts reaching through and it gets some good wipes 1394 01:12:00,439 --> 01:12:03,960 Speaker 3: in on Van Heusen's foot. It's like claws up his 1395 01:12:04,000 --> 01:12:04,840 Speaker 3: boot really bad. 1396 01:12:05,120 --> 01:12:06,840 Speaker 1: Yeah, this is one of those moments where it's not 1397 01:12:06,880 --> 01:12:10,320 Speaker 1: a bloody film obviously, like you know, but these moments 1398 01:12:10,320 --> 01:12:13,000 Speaker 1: where stuff does happen, Like I kind of felt like 1399 01:12:13,080 --> 01:12:16,280 Speaker 1: it like totally flat his foot even though you see 1400 01:12:16,320 --> 01:12:18,519 Speaker 1: nothing graphic, like your mind fills in the rest and 1401 01:12:18,560 --> 01:12:19,560 Speaker 1: it's it's horrifying. 1402 01:12:19,720 --> 01:12:22,720 Speaker 3: Yeah, yeah, totally. But they do manage to get the 1403 01:12:23,080 --> 01:12:25,960 Speaker 3: door closed again. But the gas grenades obviously did not 1404 01:12:26,439 --> 01:12:29,400 Speaker 3: affect it, it did not subdue it. So we get 1405 01:12:29,439 --> 01:12:32,519 Speaker 3: autopsy results and Mary Royce tells us there is not 1406 01:12:32,680 --> 01:12:35,920 Speaker 3: a molecule of oxygen or a drop of water left 1407 01:12:35,960 --> 01:12:39,400 Speaker 3: in kind Holtz this body. Every ounce of edible fluid 1408 01:12:39,479 --> 01:12:42,280 Speaker 3: in his body is gone, in which case I would 1409 01:12:42,320 --> 01:12:45,280 Speaker 3: think it would be more significantly reduced in volume than 1410 01:12:45,280 --> 01:12:45,879 Speaker 3: it appears. 1411 01:12:46,479 --> 01:12:49,800 Speaker 1: Yeah, I think it would. It would look more like, Yeah, 1412 01:12:49,800 --> 01:12:51,479 Speaker 1: it would look more like a zombie husk. It's what 1413 01:12:51,479 --> 01:12:55,120 Speaker 1: it would look like. Yeah, but limitations fair enough. 1414 01:12:55,200 --> 01:12:58,680 Speaker 3: Yeah, so they they reason, they start thinking about this, 1415 01:12:58,720 --> 01:13:02,360 Speaker 3: They're all right, Mars is world without oxygen or water. 1416 01:13:02,520 --> 01:13:06,160 Speaker 3: That's what they believe. So this creature's entire being is 1417 01:13:06,200 --> 01:13:09,519 Speaker 3: designed to feed on the oxygen and water contents of 1418 01:13:09,600 --> 01:13:13,120 Speaker 3: smaller creatures. So that's what it's doing. It's trying to 1419 01:13:13,160 --> 01:13:15,760 Speaker 3: get them so it can suck out all of their 1420 01:13:15,800 --> 01:13:19,400 Speaker 3: oxygen and water. Meanwhile, there's some stuff going on with 1421 01:13:19,439 --> 01:13:22,120 Speaker 3: the monster. It's like sort of laying siege to them, 1422 01:13:22,560 --> 01:13:24,439 Speaker 3: to the crew members that are hold up on the 1423 01:13:24,560 --> 01:13:26,960 Speaker 3: upper decks. It's trying to claw its way through the hatches, 1424 01:13:27,360 --> 01:13:30,599 Speaker 3: and we learn from Mary that the slashes on Van's 1425 01:13:30,640 --> 01:13:34,719 Speaker 3: foot are infected with an alien bacterium of some kind 1426 01:13:34,800 --> 01:13:38,120 Speaker 3: and it's making him sick. And I gotta say, there 1427 01:13:38,200 --> 01:13:42,880 Speaker 3: is something. The romantic subplot of this movie is shockingly 1428 01:13:43,120 --> 01:13:47,880 Speaker 3: cold and weird. Like, basically, the moment we find out 1429 01:13:48,040 --> 01:13:52,440 Speaker 3: Van Huson is infected with the alien pathogen, his girlfriend 1430 01:13:52,520 --> 01:13:55,960 Speaker 3: Anderson starts moving in on Carruthers. She goes up to 1431 01:13:56,000 --> 01:13:57,759 Speaker 3: him and she's like, you were right, we were wrong, 1432 01:13:57,840 --> 01:14:00,639 Speaker 3: and she's grabbing his hands right in front of Van 1433 01:14:00,760 --> 01:14:01,400 Speaker 3: on the cot. 1434 01:14:01,640 --> 01:14:04,760 Speaker 1: Yeah, it's an it's an icky love triangle that I 1435 01:14:04,760 --> 01:14:06,000 Speaker 1: don't think we really need it. 1436 01:14:06,600 --> 01:14:09,600 Speaker 3: I think it seems especially cold because it's like she 1437 01:14:09,720 --> 01:14:12,920 Speaker 3: turns to her others as soon as Van becomes weakened. 1438 01:14:14,000 --> 01:14:15,600 Speaker 3: I don't know, it feels sad. 1439 01:14:15,720 --> 01:14:18,760 Speaker 1: Yeah, like yeah, like she like she can't exist without 1440 01:14:18,800 --> 01:14:21,280 Speaker 1: a strong man around her, and so she has to 1441 01:14:21,320 --> 01:14:24,040 Speaker 1: just jump ship to Grothers now like I don't know, 1442 01:14:24,080 --> 01:14:27,240 Speaker 1: it just did. Yeah, I guess it. It doesn't really work. 1443 01:14:27,840 --> 01:14:30,320 Speaker 1: It's not like completely believable and just feels if it 1444 01:14:30,400 --> 01:14:33,000 Speaker 1: is believable, it's cold. So it's like, what how am 1445 01:14:33,040 --> 01:14:34,040 Speaker 1: I supposed to feel about this? 1446 01:14:34,400 --> 01:14:36,400 Speaker 3: Yeah? So I think the romantic subplot, I mean I 1447 01:14:36,400 --> 01:14:40,280 Speaker 3: would saying it's kind of unique for this sort of movie, 1448 01:14:40,320 --> 01:14:42,120 Speaker 3: but I don't know if it really works as like 1449 01:14:42,280 --> 01:14:45,880 Speaker 3: generating any like romantic feelings other than like, oh that's 1450 01:14:45,960 --> 01:14:47,519 Speaker 3: weird and kind of kind of dark. 1451 01:14:47,560 --> 01:14:50,759 Speaker 1: But yeah, the kids were making out to this apparently, 1452 01:14:51,200 --> 01:14:53,560 Speaker 1: like how did how they feel about it? 1453 01:14:54,280 --> 01:14:58,560 Speaker 3: Yeah? Okay, next plot development Space Dad Dad has a 1454 01:14:58,600 --> 01:15:02,120 Speaker 3: plan again. Uh, the can get in behind the creature 1455 01:15:02,720 --> 01:15:05,920 Speaker 3: by putting on EVA suits and doing a spacewalk on 1456 01:15:05,960 --> 01:15:08,400 Speaker 3: the outside hull of the ship down to the deck 1457 01:15:08,439 --> 01:15:11,800 Speaker 3: below it. And I really like this set piece. So 1458 01:15:12,080 --> 01:15:16,519 Speaker 3: it's Corruthers and I think Lieutenant Oh, it's Lieutenant Calder also. 1459 01:15:16,680 --> 01:15:19,240 Speaker 3: So they suit up, they put their suits on, and 1460 01:15:19,240 --> 01:15:21,120 Speaker 3: they go out on the outside of the ship and 1461 01:15:21,200 --> 01:15:25,080 Speaker 3: walk down the hull. I thought this scene looked great, 1462 01:15:25,120 --> 01:15:28,360 Speaker 3: it sounded great. I love the atmosphere. It's creepy. Quiet 1463 01:15:28,400 --> 01:15:30,519 Speaker 3: and a really compelling way, very strong. 1464 01:15:30,720 --> 01:15:33,720 Speaker 1: Yeah, firing on all cylinders, and we're really not even 1465 01:15:33,760 --> 01:15:36,439 Speaker 1: seeing the monster for the most part during this sequence. 1466 01:15:36,880 --> 01:15:39,559 Speaker 1: I mean, we get some we get some hints of them, because, 1467 01:15:39,640 --> 01:15:42,960 Speaker 1: as we'll discuss, they're having to distract the monster in 1468 01:15:43,080 --> 01:15:44,559 Speaker 1: order to try and pull this off. 1469 01:15:44,880 --> 01:15:47,400 Speaker 3: That's right. So the plan is that the people left 1470 01:15:47,439 --> 01:15:51,120 Speaker 3: inside the ship distracted the beast while making a They're 1471 01:15:51,120 --> 01:15:53,920 Speaker 3: making noise up above while the strike team gets in 1472 01:15:54,000 --> 01:15:56,240 Speaker 3: behind the beast to set a trap. They're going to 1473 01:15:56,439 --> 01:16:00,280 Speaker 3: electrocute it by rigging wires to the metal stairs. This 1474 01:16:00,320 --> 01:16:02,880 Speaker 3: is basically the plan from the Thing from Another World. 1475 01:16:02,920 --> 01:16:05,479 Speaker 3: They're gonna they're gonna shock it from below. Yeah. 1476 01:16:05,520 --> 01:16:07,519 Speaker 1: Yeah, they're gonna pull a thing from another world on it. 1477 01:16:07,920 --> 01:16:08,160 Speaker 3: Yeah. 1478 01:16:08,360 --> 01:16:11,160 Speaker 1: I was really concerned that it was gonna work because 1479 01:16:11,520 --> 01:16:13,880 Speaker 1: because I mean, they also did this in Creature, which 1480 01:16:13,880 --> 01:16:15,360 Speaker 1: we watched a couple of weeks ago. 1481 01:16:15,520 --> 01:16:18,519 Speaker 3: Oh yeah, yeah uh, And it's sort of worked in Creature, 1482 01:16:18,560 --> 01:16:21,439 Speaker 3: but only temporarily. He doesn't even doesn't even appear to 1483 01:16:21,479 --> 01:16:24,200 Speaker 3: work at all in this, Like the crawls down onder 1484 01:16:24,240 --> 01:16:27,000 Speaker 3: the stairs. They've got the wires rigged up, they zap 1485 01:16:27,080 --> 01:16:30,080 Speaker 3: it and it's just like, oh no, I'm I'm I'm 1486 01:16:30,120 --> 01:16:33,880 Speaker 3: not happy, so it attacks them. Lieutenant Calder gets his 1487 01:16:34,040 --> 01:16:38,120 Speaker 3: leg broken and is trapped behind a large metal cylinder. 1488 01:16:38,600 --> 01:16:40,640 Speaker 3: He's got a blow torch in his hand that he 1489 01:16:40,680 --> 01:16:43,840 Speaker 3: can use to protect himself from the beast while Carrothers 1490 01:16:43,960 --> 01:16:45,960 Speaker 3: escapes to the outside and I think he think he 1491 01:16:46,040 --> 01:16:48,320 Speaker 3: makes it back up the outside of the ship hull 1492 01:16:48,400 --> 01:16:49,280 Speaker 3: to everybody else. 1493 01:16:49,600 --> 01:16:51,760 Speaker 1: Yeah, I don't know how long he's supposed to be 1494 01:16:51,800 --> 01:16:53,920 Speaker 1: stuck down there, but like it's it seems like he's 1495 01:16:53,960 --> 01:16:57,479 Speaker 1: probably down there for hours, the monster lunging at him 1496 01:16:57,520 --> 01:17:00,560 Speaker 1: like every few seconds, and having to like hold a 1497 01:17:00,600 --> 01:17:02,320 Speaker 1: blow torch up to protect himself. 1498 01:17:02,560 --> 01:17:05,160 Speaker 3: Yeah. He's talking to the rest of the crew via 1499 01:17:05,280 --> 01:17:07,600 Speaker 3: radio and he's like, yeah, I'm stuck down here. I 1500 01:17:07,640 --> 01:17:09,800 Speaker 3: can see it. It's looking at me, and every time 1501 01:17:09,840 --> 01:17:12,000 Speaker 3: it comes for me, I hold the blow torch in 1502 01:17:12,040 --> 01:17:15,120 Speaker 3: its eyes. It's a predicament. He's in a tight spot. 1503 01:17:15,280 --> 01:17:19,600 Speaker 3: He's in a pickle. Yeah. So later we learn that 1504 01:17:19,720 --> 01:17:22,160 Speaker 3: Van's infection is taking a turn for the worse. He 1505 01:17:22,280 --> 01:17:27,160 Speaker 3: is delirious and the bacteria are they're attacking his bone marrow. 1506 01:17:27,320 --> 01:17:30,519 Speaker 3: They say it gives him a condition similar to leukemia, 1507 01:17:30,680 --> 01:17:33,960 Speaker 3: and the romance between Anderson and Coruthers really picks up. 1508 01:17:34,439 --> 01:17:37,799 Speaker 3: But they the crew decide, okay, Van, he needs blood, 1509 01:17:37,880 --> 01:17:39,719 Speaker 3: so we got to go down to storage to get 1510 01:17:39,760 --> 01:17:44,400 Speaker 3: blood out of the blood blood box. He needs blood. 1511 01:17:44,960 --> 01:17:48,800 Speaker 3: So Calder witnesses the creature going into the reactor room, 1512 01:17:49,360 --> 01:17:52,559 Speaker 3: and here Carrother sees a chance to act, so they 1513 01:17:52,640 --> 01:17:55,880 Speaker 3: remotely close the door to the reactor and seal the 1514 01:17:55,920 --> 01:17:58,720 Speaker 3: creature inside, and then a team of men goes down 1515 01:17:58,760 --> 01:18:02,800 Speaker 3: to get the blood. They're blood jacking, and they've only 1516 01:18:02,880 --> 01:18:04,960 Speaker 3: got a tight window to get the blood in. But 1517 01:18:05,080 --> 01:18:08,559 Speaker 3: in the middle of all this, a delirious Van gets 1518 01:18:08,600 --> 01:18:11,920 Speaker 3: the idea to open up the reactor core with the 1519 01:18:11,960 --> 01:18:15,320 Speaker 3: creature in the reactor room, saying, okay, the radiation will 1520 01:18:15,360 --> 01:18:19,240 Speaker 3: kill it. We couldn't kill it with grenades, with gunfire, 1521 01:18:19,400 --> 01:18:23,559 Speaker 3: with gas, grenades, with electricity, but we can try radiation, 1522 01:18:24,760 --> 01:18:28,759 Speaker 3: and so he does this. Unfortunately, while the blood jacking 1523 01:18:28,800 --> 01:18:32,439 Speaker 3: team are down there right next to it, and this 1524 01:18:32,720 --> 01:18:35,840 Speaker 3: of course just makes the beast furious. The radiation does 1525 01:18:35,880 --> 01:18:38,200 Speaker 3: not kill it, drives it out of the reactor room 1526 01:18:38,439 --> 01:18:41,120 Speaker 3: where it meets the blood jacking team and kills a 1527 01:18:41,160 --> 01:18:44,559 Speaker 3: crew member named Bob. So the remaining the surviving crew 1528 01:18:44,560 --> 01:18:46,640 Speaker 3: members retreat to the upper deck. They're up in the 1529 01:18:46,640 --> 01:18:50,720 Speaker 3: command deck and here we're sort of approaching the final showdown. 1530 01:18:51,040 --> 01:18:53,840 Speaker 3: Somewhere around here, Van really catches on what's happening with 1531 01:18:53,880 --> 01:18:57,960 Speaker 3: Anderson and Cruthers. He's like, are you going to him now? 1532 01:18:57,960 --> 01:19:00,200 Speaker 3: Are you leaving me for him? And she's just like, 1533 01:19:00,280 --> 01:19:04,000 Speaker 3: let's talk about it later. And this this goes up 1534 01:19:04,000 --> 01:19:06,639 Speaker 3: to a final showdown where they are sort of like 1535 01:19:07,040 --> 01:19:09,439 Speaker 3: they're dug in. They've all got their weapons aimed at 1536 01:19:09,439 --> 01:19:11,960 Speaker 3: the hatch coming up from the floor below where the 1537 01:19:12,000 --> 01:19:16,240 Speaker 3: creature is. And finally the creature starts busting through the hatch, 1538 01:19:16,360 --> 01:19:20,280 Speaker 3: tearing through the metal, coming up into the room, and 1539 01:19:20,360 --> 01:19:22,599 Speaker 3: they literally blast it with a bazooka. 1540 01:19:22,800 --> 01:19:25,280 Speaker 1: They even fire the bazuki, and I think Mary fires 1541 01:19:25,320 --> 01:19:27,880 Speaker 1: it right, like that sounds right. Yeah, she may have 1542 01:19:27,920 --> 01:19:29,800 Speaker 1: to fetch coffee for everyone else, but she gets to 1543 01:19:29,840 --> 01:19:34,160 Speaker 1: fire the bazuka, that's right. And it doesn't kill everyone, yeah, 1544 01:19:34,280 --> 01:19:35,400 Speaker 1: or even the monster. 1545 01:19:35,360 --> 01:19:38,280 Speaker 3: Or the monster but they've already tried explosives, why would 1546 01:19:38,280 --> 01:19:43,040 Speaker 3: this work? But finally they get the idea, Hey, everybody, 1547 01:19:43,439 --> 01:19:46,439 Speaker 3: put on your eva suits we're gonna vent the air 1548 01:19:46,560 --> 01:19:50,200 Speaker 3: out the air lock. And here we have another comparison 1549 01:19:50,280 --> 01:19:52,920 Speaker 3: with alien, Right, how do they defeat the alien? How 1550 01:19:52,920 --> 01:19:55,920 Speaker 3: does Ripley, the only one left, defeat the alien? At 1551 01:19:55,920 --> 01:19:58,760 Speaker 3: the end, she vents the atmosphere in the escape pod 1552 01:19:58,920 --> 01:20:02,280 Speaker 3: to the to the outside, and the creature is blown 1553 01:20:02,280 --> 01:20:05,200 Speaker 3: out of the airlock. Now, in this case, the alien 1554 01:20:05,280 --> 01:20:08,080 Speaker 3: is not blown out of the airlock, but venting the 1555 01:20:08,160 --> 01:20:13,160 Speaker 3: atmosphere out of the command deck causes the creature to 1556 01:20:13,160 --> 01:20:15,880 Speaker 3: to not have the air it needs to breathe, and 1557 01:20:15,960 --> 01:20:17,720 Speaker 3: it dies by I guess suffocation. 1558 01:20:18,680 --> 01:20:20,679 Speaker 1: Yeah, it's it's still satisfying in a way. It's even 1559 01:20:20,680 --> 01:20:22,800 Speaker 1: more satisfying because I thought, oh, they're gonna blast it 1560 01:20:22,840 --> 01:20:27,760 Speaker 1: out the airlock. I've seen this before, granted from from 1561 01:20:27,800 --> 01:20:31,400 Speaker 1: a film that comes decades later, but it was still 1562 01:20:31,400 --> 01:20:33,880 Speaker 1: it was refreshing that it wasn't quite that solution. It 1563 01:20:33,920 --> 01:20:36,639 Speaker 1: was this alternate solution, even if it's also a solution 1564 01:20:36,760 --> 01:20:39,080 Speaker 1: that if you think about it too much, you might ask, well, 1565 01:20:39,120 --> 01:20:42,639 Speaker 1: why didn't they try this earlier? But that can often 1566 01:20:42,680 --> 01:20:46,520 Speaker 1: be the case with films where they try multiple solutions 1567 01:20:46,560 --> 01:20:48,840 Speaker 1: to a given problem, it's always the last one. You 1568 01:20:48,840 --> 01:20:49,479 Speaker 1: try anyway. 1569 01:20:49,960 --> 01:20:53,320 Speaker 3: So finally we go back to Earth to the spokes 1570 01:20:53,400 --> 01:20:55,599 Speaker 3: the spokesman at the you know, he's doing a press 1571 01:20:55,640 --> 01:20:58,800 Speaker 3: conference of the Capitol Building, and he says, you've been 1572 01:20:58,840 --> 01:21:01,759 Speaker 3: called here again to see further information about the story 1573 01:21:01,800 --> 01:21:04,680 Speaker 3: which you didn't hear last night. I will read you 1574 01:21:04,720 --> 01:21:07,719 Speaker 3: the text of a teleradio message received from the Challenge 1575 01:21:07,800 --> 01:21:11,080 Speaker 3: one forty two, less than an hour ago. This is 1576 01:21:11,240 --> 01:21:14,200 Speaker 3: Eric Royce talking of the nineteen men and women who 1577 01:21:14,240 --> 01:21:17,200 Speaker 3: have set foot on the planet Mars six will return. 1578 01:21:17,600 --> 01:21:20,719 Speaker 3: There's no longer a question of murder, but of an alien, 1579 01:21:20,880 --> 01:21:24,960 Speaker 3: an elemental life force, a planet so cruel, so hostile, 1580 01:21:25,200 --> 01:21:28,000 Speaker 3: that man may find it necessary to bypass it in 1581 01:21:28,080 --> 01:21:32,120 Speaker 3: his endeavor to explore and understand the universe. Another name 1582 01:21:32,200 --> 01:21:35,479 Speaker 3: for Mars is death. And then it just goes straight 1583 01:21:35,520 --> 01:21:38,559 Speaker 3: to the end. I love that the last words the 1584 01:21:38,600 --> 01:21:42,280 Speaker 3: movie has to say, or not about like the indomitable 1585 01:21:42,320 --> 01:21:45,479 Speaker 3: spirit of humankind, or or about the courage of the 1586 01:21:45,680 --> 01:21:48,240 Speaker 3: you know, the people who gave their lives fighting against 1587 01:21:48,240 --> 01:21:52,559 Speaker 3: this beast. It's like, Mars is terrible. Don't ever go there. 1588 01:21:52,640 --> 01:21:53,719 Speaker 3: It's just trash. 1589 01:21:54,040 --> 01:21:56,600 Speaker 1: Mars is death. Mars is dead to us. We're just 1590 01:21:56,640 --> 01:21:58,720 Speaker 1: gonna skip over that. What's next, what's the next one, 1591 01:21:58,760 --> 01:22:01,120 Speaker 1: because we're gonna go there in steay nothing on Mars 1592 01:22:01,160 --> 01:22:01,479 Speaker 1: for us. 1593 01:22:01,760 --> 01:22:06,320 Speaker 4: Jupiter is life maybe maybe, but yeah, but you know, 1594 01:22:06,360 --> 01:22:08,600 Speaker 4: it is kind of a hint of some of the 1595 01:22:08,960 --> 01:22:12,639 Speaker 4: I don't know, partially cosmic horror inspired stuff to come, 1596 01:22:12,640 --> 01:22:16,120 Speaker 4: including alien like this idea that yeah, humans should never 1597 01:22:16,160 --> 01:22:18,559 Speaker 4: have left Earth and of course they're going to encounter, 1598 01:22:19,080 --> 01:22:22,320 Speaker 4: you know, unspeakable horrors out there because we were not 1599 01:22:22,439 --> 01:22:23,200 Speaker 4: meant to know of it. 1600 01:22:23,680 --> 01:22:26,760 Speaker 3: Mm hm. So, as we said earlier, it the terror 1601 01:22:26,800 --> 01:22:29,719 Speaker 3: from beyond space. I feel like a pretty strong thumbs 1602 01:22:29,800 --> 01:22:32,360 Speaker 3: up for what it is. It is a modest science 1603 01:22:32,400 --> 01:22:35,320 Speaker 3: fiction movie. It's kind of it has bottle episode vibes, 1604 01:22:35,400 --> 01:22:37,599 Speaker 3: but given all that, quite strong. 1605 01:22:38,240 --> 01:22:40,800 Speaker 1: Yeah, yeah, absolutely, I was really impressed with it. I 1606 01:22:40,840 --> 01:22:42,439 Speaker 1: think this one would have scared me a bit if 1607 01:22:42,439 --> 01:22:43,960 Speaker 1: i'd seen it when I was when I was a 1608 01:22:43,960 --> 01:22:47,439 Speaker 1: lot younger, and I would love to hear from folks 1609 01:22:47,439 --> 01:22:50,439 Speaker 1: out there who saw it in on the big screen 1610 01:22:50,479 --> 01:22:53,439 Speaker 1: at some point in a drive in environment. That would 1611 01:22:53,439 --> 01:22:57,519 Speaker 1: have been neat Again, the performances are solid. The monster 1612 01:22:57,600 --> 01:23:00,439 Speaker 1: costume for the most part, looks really good, like to 1613 01:23:00,479 --> 01:23:04,040 Speaker 1: mention that there are some shots where, at least in silhouette, 1614 01:23:04,120 --> 01:23:06,280 Speaker 1: it reminds me a bit of the aliens from Earth. 1615 01:23:06,320 --> 01:23:10,360 Speaker 1: Girls are easy, but you know, because something about the 1616 01:23:10,400 --> 01:23:12,439 Speaker 1: head shape kind of reminds me of the helmets that 1617 01:23:12,479 --> 01:23:15,120 Speaker 1: those aliens have. But again, for the most part, I 1618 01:23:15,120 --> 01:23:17,760 Speaker 1: love the monster here. All right. There you have it, 1619 01:23:17,960 --> 01:23:22,000 Speaker 1: it the terror from beyond Space. We're going to remind 1620 01:23:22,000 --> 01:23:25,360 Speaker 1: everybody here that Stuff to Blow Your Mind is primarily 1621 01:23:25,439 --> 01:23:28,160 Speaker 1: a science podcast with core episodes and the Stuff to 1622 01:23:28,160 --> 01:23:30,880 Speaker 1: Blow Your Mind podcast feed on Tuesdays and Thursdays, short 1623 01:23:30,920 --> 01:23:34,080 Speaker 1: form episodes on Wednesdays and on Fridays. We set aside 1624 01:23:34,080 --> 01:23:36,320 Speaker 1: most serious concerns to just talk about a weird film 1625 01:23:36,360 --> 01:23:38,960 Speaker 1: on Weird House Cinema. If you want to see a 1626 01:23:38,960 --> 01:23:41,240 Speaker 1: full list of the films we've watched over the years, 1627 01:23:41,360 --> 01:23:43,360 Speaker 1: go to letterbox dot com. It's l E T T 1628 01:23:43,479 --> 01:23:46,240 Speaker 1: E R bo x D dot com. Our username there 1629 01:23:46,280 --> 01:23:48,559 Speaker 1: is weird House and that's where you'll find the list. Hey, 1630 01:23:48,640 --> 01:23:51,280 Speaker 1: and if you're on Instagram, follow Stuff to Blow your 1631 01:23:51,280 --> 01:23:55,160 Speaker 1: Mind at st b ym podcast. That's our handle. And 1632 01:23:55,560 --> 01:23:56,800 Speaker 1: you know, even if you're only in it for the 1633 01:23:56,800 --> 01:24:00,639 Speaker 1: Weird House, We've got some. We generally have some little 1634 01:24:00,680 --> 01:24:02,280 Speaker 1: videos that go out to give you just like a 1635 01:24:02,439 --> 01:24:05,439 Speaker 1: taste of the trailers on there as well as well 1636 01:24:05,439 --> 01:24:07,840 Speaker 1: as reminders of what the core episodes are as they're 1637 01:24:07,840 --> 01:24:08,360 Speaker 1: coming out. 1638 01:24:08,960 --> 01:24:12,599 Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway. 1639 01:24:13,000 --> 01:24:14,720 Speaker 3: If you would like to get in touch with us 1640 01:24:14,720 --> 01:24:17,280 Speaker 3: with feedback on this episode or any other, to suggest 1641 01:24:17,280 --> 01:24:19,360 Speaker 3: a topic for the future, or just to say hello, 1642 01:24:19,439 --> 01:24:22,000 Speaker 3: you can email us at contact at stuff to Blow 1643 01:24:22,040 --> 01:24:29,960 Speaker 3: your Mind dot com. 1644 01:24:30,080 --> 01:24:33,040 Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For 1645 01:24:33,120 --> 01:24:35,920 Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app, 1646 01:24:36,040 --> 01:24:39,360 Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.