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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick.

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Speaker 2: And on today's episode of Weird House Cinema, we're discussing

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Speaker 2: what I think I have to now rank as my

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Speaker 2: second favorite Bible movie of all time. So I'm gonna

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Speaker 2: put it right behind the Last Temptation of Christ. But

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Speaker 2: I'm even gonna put it ahead of that one where

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Speaker 2: Vincent Price lashes Chuck Heston with a bull whip. This one,

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Speaker 2: I think is a solid number two.

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Speaker 3: Wait, you just remember Vincent Price is in the Ten Commandments?

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Speaker 2: Really? Yeah? Yeah, he's like and it's been a long time,

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Speaker 2: but I believe he plays an Egyptian slave driver of

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Speaker 2: some sort. And so there's a scene where he's whipping

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Speaker 2: Yeah is it one omega man whipping another omega man

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Speaker 2: in at least one sequence?

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Speaker 3: Wow? Okay, sorry, I just had to pause to look

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Speaker 3: this up because I couldn't be sure. But you'll Brinner's

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Speaker 3: in that he plays the Pharaoh. I haven't seen this

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Speaker 3: movie since I was a kid.

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Speaker 2: Yeah, yeah, Vincent Price is not the main antagonist, but

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Speaker 2: he is he's one of the supporting I think Egyptian

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Speaker 2: villains in the piece.

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Speaker 3: Yeah, but the ten Commandment is not what we're talking

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Speaker 3: about today. We're talking about a totally different biblical epic,

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Speaker 3: that's right.

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Speaker 2: Nineteen eighty three's Adam and Eve the First Love Story

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Speaker 2: aka Adam and Eve Versus Cannibals or the Cannibals. And

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Speaker 2: despite what that second title suggests, this film is not

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Speaker 2: a mindless mashup of early eighties Italian schlock and biblical narrative.

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Speaker 3: It's not.

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Speaker 2: I mean, it is at times totally, but at the

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Speaker 2: same time there are strong and perhaps dominant vibes of

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Speaker 2: a film attempting to tell an artful and even tasteful

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Speaker 2: rendition of the story of Adam and Eve, but then

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Speaker 2: also engaging in this impulse to tell an exciting, entertaining

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Speaker 2: and titillating adventure story that is very tempted to become

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Speaker 2: an Italian exploitation film of one genre or another, but

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Speaker 2: for the most part, shows restraint in that area.

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Speaker 3: Most of the story is not anything from the Bible,

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Speaker 3: but it's kind of based on a biblical starting point,

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Speaker 3: I guess. So it's like the bones of the story

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Speaker 3: are mutated Bible bones, and then the flesh of the

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Speaker 3: story is I would say, one part sort of emotional

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Speaker 3: softcore erotica, and the other part is just exploitation cannibal movie.

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Speaker 2: Yes, but without going to the extremes you would you

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Speaker 2: would expect in an Italian cannibal movies of this time. Yes,

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Speaker 2: I think it's very clearly that this was in some

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Speaker 2: ways a passion project, now a passion project with the

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Speaker 2: asses and passion or dollar signs to be clear. So

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Speaker 2: I'm not saying it's completely removed from the financial exercise

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Speaker 2: of filmmaking at the time, but I think there is

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Speaker 2: passion in the finished product. Obviously made on a limited

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Speaker 2: budget with a fair amount of stock and other or

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Speaker 2: otherwise borrowed or stolen footage, but the editing is solid,

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Speaker 2: I thought. I think the performances are engaging, the writing

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Speaker 2: is at least always interesting, like it's not just boring.

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Speaker 2: The locations are amazing, yes, and and I'm to understand

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Speaker 2: these are these are all locations in Italy and Spain.

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Speaker 2: It's with the exception of any thing that is possibly

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Speaker 2: stock footage thrown in there as well.

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Speaker 3: Oh okay, I didn't realize that some of the places

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Speaker 3: looked to me like they were definitely in the United States,

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Speaker 3: Like there were parts that looked like they were US

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Speaker 3: national parks.

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Speaker 2: Yeah, well, it's certainly those scenes where you know, where

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Speaker 2: we don't have that our main characters interacting with those environments.

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Speaker 2: But but yeah, I think all the all the and

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Speaker 2: there are a number of breathtaking scenes where you know

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Speaker 2: we're very much on location. I'm to understand those are

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Speaker 2: Italian and Spanish locations, you know.

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Speaker 3: As far as Passion Project with dollar signs for the

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Speaker 3: essays goes, I was thinking that this might have some

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Speaker 3: similar logic behind it to what we see with Roger

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Speaker 3: Corman's Edgar Allan Poe adaptations. It's like, already in the

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Speaker 3: public domain, got a built in audience in that case

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Speaker 3: from schools, and people are probably reading something, you know,

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Speaker 3: The Raven in schools. So if we make a movie

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Speaker 3: adaptation that's at least called The Raven, whatever that actually

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Speaker 3: means plot wise, we've got some like built in audience

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Speaker 3: there here. I don't know how much take up they

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Speaker 3: were going to get from like showing this movie in

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Speaker 3: Sunday schools. I would imagine probably not much, but they

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Speaker 3: might trick some people into it.

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Speaker 2: I mean, you know, there were films shown in kind

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Speaker 2: of like church sanctioned or church environment, certainly in Italy

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Speaker 2: at the time, and maybe there's the idea that you're

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Speaker 2: exporting this to various other markets, maybe they could at

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Speaker 2: least accidentally show it in a Sunday school environment.

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Speaker 3: I'm not sure that would be hilarious. I've actually got

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Speaker 3: something to connect to this in just a minute here.

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Speaker 3: But I wonder if were like religious schools where somebody

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Speaker 3: didn't know what they were getting into and they rented

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Speaker 3: a copy of this to show in Bible class.

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Speaker 2: It's maybe not the worst thing you could show, that's true.

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Speaker 3: Yeah, they could have brought in like one Picero Simon's

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Speaker 3: pieces or something like that, but I don't know. It's

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Speaker 3: also probably not the best.

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Speaker 2: Yeah. Yeah, so this again, this film is a lot

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Speaker 2: of fun. I originally watched this a number of years

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Speaker 2: ago on a disc of unknown origin and really didn't

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Speaker 2: expect it to ever get a proper official release, And

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Speaker 2: then over the past year, Seven Films released a blu

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Speaker 2: ray that features a four K scan from the original

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Speaker 2: camera negative. So it looks amazing. It's never looked this

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Speaker 2: good so much. Like when I first watched it, there

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Speaker 2: was a lot to admire in it, but I wouldn't

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Speaker 2: able to really admire like the location so much. And

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Speaker 2: this disc also features a short interview with the films editor.

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Speaker 2: This is Gianfranco. I'm Akuci, and I'm going to refer

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Speaker 2: back to some of the things that he shared about

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Speaker 2: the making of the film. It's a short making up

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Speaker 2: feature and he doesn't have a whole lot to say

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Speaker 2: specifically about this production, but it is if you want

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Speaker 2: to hear like an old hand talking about like what

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Speaker 2: he refers to as the golden age of Italian cinema,

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Speaker 2: and like how you would get stock footage back in

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Speaker 2: the day, and sort of like the scrappy nature of

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Speaker 2: editing at times. It's pretty fun.

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Speaker 3: A significant amount of this movie is composed of stock footage,

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Speaker 3: and I think that's funny because some of the stock

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Speaker 3: footage is so grainy and does not look good at all.

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Speaker 3: Whereas the original location shots in this movie, whatever else

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Speaker 3: you want to say about the movie, the plot, the

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Speaker 3: concept as a whole, the original landscape location shots are beautiful.

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Speaker 3: They are truly gorgeous.

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Speaker 2: Yeah, and this is something that Emacouchie talks about this

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Speaker 2: is not going to come as a surprise to anyone

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Speaker 2: who watches the sorts of films that we watch in

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Speaker 2: weird house cinema, and that is that stock footage, especially

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Speaker 2: in this at this in this time, rarely matched up

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Speaker 2: with the film quality that you were actually working with.

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Speaker 2: So there would be there's an obvious difference between your

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Speaker 2: stock footage and your your actual footage. And he points out, like,

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Speaker 2: you know, you end up trying to disguise it and

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Speaker 2: you know, dirty it up or clean it up and

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Speaker 2: so forth and make it match, but it almost never does.

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Speaker 2: It's almost always an exercise and failure. But it's you know,

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Speaker 2: it's how you stitch together a film. It's like the

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Speaker 2: difference between having a Frankenstein's monster that can walk across

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Speaker 2: the room and one that would you know, just be

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Speaker 2: incapable of crawling.

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Speaker 3: Yeah.

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Speaker 2: So one of the things that Amakuchi explains is that

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Speaker 2: the film was something something of a passion project for

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Speaker 2: producer in Zodoria, and again passion with dollar signs. He's

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Speaker 2: very much like looking to make money off of this

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Speaker 2: and other productions. But you know, he kind of was like,

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Speaker 2: I got this idea and you know, I, you know,

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Speaker 2: I just really want to see this through. And and

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Speaker 2: so he would up calling Amacucci up for editing help

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Speaker 2: when he couldn't figure out something on his own. And

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Speaker 2: he says that he basically worked on Adam and Eve

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Speaker 2: as kind of a favor for a friend, and he

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Speaker 2: characterizes the film as something that was put together pieces

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Speaker 2: at a time, often in a ramshackle and budget strapped way.

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Speaker 2: But again, I think you do see the passion there,

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Speaker 2: even if at the same time it seems to be

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Speaker 2: cashing in on multiple Italian cinematic trends and tropes at

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Speaker 2: the same time.

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Speaker 3: Okay, that's a good thing to get into. Let's talk

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Speaker 3: about a few of the different elements that are coming

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Speaker 3: together here, both in a from a creative standpoint, like

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Speaker 3: the elements that are going into the filmmaking itself, and

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Speaker 3: then also I think maybe market oriented slip streams that

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Speaker 3: may be trying to ride on.

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Speaker 2: All right, I think first and foremost, this is absolutely

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Speaker 2: inspired by nineteen eighties A Blue Lagoon, and it is

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Speaker 2: absolutely a Blue Lagoon inspired survival romance. We get a

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Speaker 2: good looking couple, put them out there on a on

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Speaker 2: a desert island and then they're having to like figure

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Speaker 2: it out while also figuring out their relationship, so that

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Speaker 2: that's very much in play here in a major way.

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Speaker 3: Wasn't one of the alternate titles of this movie something

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Speaker 3: like Blue Paradise It had the word blue in it.

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Speaker 2: Yeah, like a lot of films of this time period

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Speaker 2: that are, you know, clearly exported into markets all around

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Speaker 2: the world. It has like a dozen different titles, some

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Speaker 2: more accurate than others, and some like you know, Adam

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Speaker 2: and Eve versus the Cannibals, very much like going after

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Speaker 2: a particular market of like Italian horror and exploitation. When again,

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Speaker 2: it dips its toes maybe I would say dips up

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Speaker 2: to the knee in that genre, but doesn't go full

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Speaker 2: cannibal a hog here. Also, this film is definitely a

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Speaker 2: prehistoric adventure film. This, of course, is a long standing

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Speaker 2: cinematic trope, and it had recently resurfaced in a mainstream

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Speaker 2: way with eighty one's Quest for Fire.

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Speaker 3: What was the sort of comedy adventure caveman movie that

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Speaker 3: had Ringo in it?

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Speaker 2: Oh, yeah, that one was. I forget the year on

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Speaker 2: that one, and I also forget the title, but that

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Speaker 2: one is also very much. I think that came before

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Speaker 2: this as well. But we're also this film comes before

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Speaker 2: Clan of the Cave Bear, if I remember correctly. But

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Speaker 2: you know, it's like prehistoric adventure films. They're always coming back.

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Speaker 3: You know.

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Speaker 2: We haven't had one, I guess in a few years,

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Speaker 2: but we'll get another one, for sure.

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Speaker 3: I think there was a big one with Raquel Welch.

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Speaker 3: I don't remember if that's the same one as the

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Speaker 3: Ringo one or a different one.

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Speaker 2: This a different one, and we'll refer back to that

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Speaker 2: one because this movie actually borrows a special effects frame

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Speaker 2: from that picture. Nice, Okay, this is we've been referring to.

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Speaker 2: This movie is absolutely a cannibal movie. You know. Obviously

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Speaker 2: this was big an Italian b cinema at the time,

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Speaker 2: and so we get a little cannibal action.

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Speaker 3: I've seen some of these eighties Italian cannibal movies. These

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Speaker 3: I think are about as gross as filmmaking gets. It's

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Speaker 3: stuff that I don't know. I watched some weird stuff,

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Speaker 3: but that a lot of these movies even really just

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Speaker 3: make me feel unhappy, like there it went some dark places.

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Speaker 2: Yeah, Like you look at films like nineteen eighties Cannibal Holocaust,

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Speaker 2: and you know, these these are films where it's like

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Speaker 2: tallow cannibalism films in there, like almost their purest sense,

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Speaker 2: but it's it's too pure, you don't you want to

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Speaker 2: cut that with something. So I much prefer what was

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Speaker 2: the cannibal film we watched with John Saxon that was

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Speaker 2: filmed Indicated Georgia.

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Speaker 3: Cannibal Apocalypse.

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Speaker 2: Cannibal Apocalypse like that one. I like that one a

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Speaker 2: lot because it's it's not just a people go into

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Speaker 2: the jungle and get eaten by cannibal's film. It's like

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Speaker 2: it's a few other different genres mashed together. And then

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Speaker 2: also John Saxon saying like, Okay, I'm not gonna I'm

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Speaker 2: not gonna do this scene. I'm not gonna do that.

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Speaker 2: So there's like some star induced restraint in that picture,

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Speaker 2: you know.

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Speaker 3: So there are some people I know who defend the

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Speaker 3: artistic credentials of Cannable Holocaust, and they say the movie

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Speaker 3: is actually making the point that like the real savages

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Speaker 3: are like the American filmmakers you know, who come down

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Speaker 3: there and they like exploit the situation and exploit people

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Speaker 3: and actually commit some of the worst acts in the movie.

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Speaker 3: I've actually never seen that movie in full, but it

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Speaker 3: is notorious. It's also notorious though, just as perhaps questionable

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Speaker 3: ethics in filmmaking, Like there's a lot of I think

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Speaker 3: genuine animal cruelty involved in making it and that kind

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Speaker 3: of thing.

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Speaker 2: Yeah, so I'm in no hurry to watching it full myself.

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Speaker 2: I accidentally watched the first ten minutes of it or

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Speaker 2: so thinking it was a different cannibal movie, and I'm like, oh, wait,

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Speaker 2: this is the one I signed up for. Yeah, let's see. Also,

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Speaker 2: Adam and Eve is definitely a disaster movie in some ways.

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Speaker 2: You know, this is another big This was a big

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Speaker 2: deal in the seventies in the early eighties. So we

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Speaker 2: get volcanoes erupting and floods and so forth. You know,

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Speaker 2: we get some of that special effects footage. And also

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Speaker 2: it is a romantic comedy about a bickering couple. There's

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Speaker 2: no small amount of this. They do not stop arguing.

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Speaker 3: The arguing goes on and on, and when you think

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Speaker 3: you're past the arguing portion of the movie, it comes back.

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Speaker 2: Yeah. But you know, I think for the most part

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Speaker 2: it works to sort of pad things out and keep

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Speaker 2: things It kind of keeps the tone from getting too

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Speaker 2: dark at times. I don't know, it mostly work, even

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Speaker 2: though like they're bickering is also very cliche the things

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Speaker 2: that they're fighting about. But I guess that's also the

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Speaker 2: way they were trying to make the characters more relatable

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Speaker 2: to a modern audience, because how how are we going

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Speaker 2: to relate to Adam and Eve otherwise? Right, like mythic

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Speaker 2: sort of like pre human culture individuals, the First Man

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Speaker 2: and Woman.

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Speaker 3: One of the things that I noticed more on my

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Speaker 3: second viewing was how much the movie is also like

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Speaker 3: one of those aliens learning how to be human movies.

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Speaker 2: Yeah, and as we've discussed before, I think of these

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Speaker 2: as dull people movies. Yeah, sometimes, and it can be

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Speaker 2: a careful balance because if you don't want your characters

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Speaker 2: to necessarily come off as full blown doll people, because

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Speaker 2: then it's just goofy and you're like they just come

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Speaker 2: off like like dummies, you know. This film, I think,

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Speaker 2: for the most part, does a good job of sort

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Speaker 2: of creating this like naive, curious, developing human nature in

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Speaker 2: these two, Like they never come off like, well, there

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Speaker 2: is that one scene where it's unsure if Adam is

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Speaker 2: playing with the surface of the water, or he just

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Speaker 2: doesn't know what it is. There are a few scenes

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Speaker 2: like Peekaboo in the pond surface. Yeah, yeah, so I

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Speaker 2: don't know. At times, maybe it gets a little silly,

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Speaker 2: but for the most part, I feel like they handle

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Speaker 2: it well here. But I would argue that, yeah, the

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Speaker 2: survival romance vibe is the predominant one, and when we

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Speaker 2: do veer into Itallo zombie cannibal gut munching, it certainly

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Speaker 2: takes a momentary back seat to the gore. But I

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Speaker 2: think the romance vibe is the Those are the main

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Speaker 2: t train tracks were on here.

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Speaker 3: Yeah, I'd agree with that. Now, earlier you said we

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Speaker 3: were talking about some second places. You were saying that

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Speaker 3: this is now your second place favorite Bible movie. After

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Speaker 3: I almost said the Passion of the Christ, but the

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Speaker 3: Last Temptation of Christ the good one. But I was

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Speaker 3: thinking about how so now Adam and Eve the first

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Speaker 3: love story. There is no question at all it takes

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Speaker 3: the crown for the weirdest Bible movie I have ever seen.

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Speaker 3: But I was trying to think, what was the weirdest

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Speaker 3: Bible movie I had ever seen before this? Like what

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Speaker 3: is now in second place? And I was thinking for

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Speaker 3: a bit and I remembered one. Unless I'm forgetting something

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Speaker 3: that's even weirder, I think the second place position has

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Speaker 3: got to be occupied by the nineteen ninety nine made

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Speaker 3: for TV Noah's Arc movie starring John Voight and Mary

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Speaker 3: Steve Virgin, in which the Arc is attacked by pirates. Robert, Yes,

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Speaker 3: I have not seen this now. The pirates are led

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Speaker 3: by f Murray Abraham. He's got an eyepatch. I haven't

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Speaker 3: seen it since middle school. I would really like to

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Speaker 3: watch it again. It's probably not very good, but I

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Speaker 3: found the full thing on YouTube and I just pulled

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Speaker 3: it up and like got at the very opening, there's

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Speaker 3: some fake Biblical script where text appears on screen that says,

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Speaker 3: for dramatic effect, we have taken poetic license with some

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Speaker 3: of the events of the Mighty Epic of Noah and

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Speaker 3: the flood. So yeah, there's a lot of just filling

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Speaker 3: in random stuff in the story that of course is

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Speaker 3: not in the Bible, which you've got to do really

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Speaker 3: if you make a Bible movie, because when you go

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Speaker 3: into the text of the Bible, most of the narratives

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Speaker 3: are quite scanty on detail, you know, you've got to

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Speaker 3: fill them in somehow with extra narrative. We talked about

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Speaker 3: this actually in our Last Temptation of Christ episode, like,

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Speaker 3: you can't just directly make the text of the Bible

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Speaker 3: into a movie because there's not enough detail in there

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Speaker 3: to fill out a narrative.

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Speaker 2: Really, yeah, and why not pirates? Really? I mean yeah,

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Speaker 2: the only guy with a boat, they had to have

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Speaker 2: been a boat full of pirates.

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Speaker 3: Sure, yeah, so so pirates. I think they're also you know,

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Speaker 3: they encounter multiple people on the water. From what I recalled,

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Speaker 3: the funny thing about this is I so I was

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Speaker 3: in I don't know, probably seventh or eighth grade, and

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Speaker 3: I was shown this movie in a Bible class.

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Speaker 2: Oh wow.

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Speaker 3: So obviously I think the you know, the conservative theology

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Speaker 3: of the Bible teacher I was learning from at the

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Speaker 3: time probably would not have approved of the stuff added

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Speaker 3: into the story here. But you also got to take

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Speaker 3: into consideration laziness.

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Speaker 2: Yeah, sometimes you've got to show a movie in Clint.

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Speaker 3: You got to put a movie on, yeah, even if

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Speaker 3: it's got pirates in it.

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Speaker 2: And so this is a great cast though, I mean, yeah,

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Speaker 2: oscar winning talent. I just looked it up. Carroll is

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Speaker 2: in it.

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Speaker 3: She is, Yeah, I don't remember what she does in it.

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Speaker 3: I do remember. It's one of those movies that really

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Speaker 3: emphasizes the the the lasciviousness of the dancing of the pagans.

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Speaker 3: So yeah, that kind of thing. And also it's the

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Speaker 3: look of the movie once we get into the after

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Speaker 3: the flood begins section when they're on the boat and

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Speaker 3: the pirates are attacking, it's a very water world. It

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Speaker 3: feels influenced by Kevin Costner.

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Speaker 2: Yeah, just these stills that I'm looking at of f

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Speaker 2: Marray Abraham Pirate King, he's Dennis Hopper and yeah, yeah, yeah,

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Speaker 2: strong Dennis Hopper vive here. So sorry, that's a tangent,

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Speaker 2: but we may have to come back to the naw

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Speaker 2: Ark movie at some point. Downside is that I think

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Speaker 2: it's like two and a half hours. I don't know

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Speaker 2: if we want to watch something that long. Yeah, it's

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Speaker 2: always We've encountered that issue before with some of these

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Speaker 2: movies where it's like, I really want to watch this,

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Speaker 2: but that's that's a big commitment. Sometimes we have to

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Speaker 2: pull back and like, let's pull up Corman, nice solid

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Speaker 2: hour plus.

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Speaker 3: Of movie, sixty five minute creature feature. Yeah, got to

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Speaker 3: love it. Now, another thing I wanted to talk about

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Speaker 3: at the beginning here. I had to make sure about

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Speaker 3: this because I was doubting my own reaction from first viewing,

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Speaker 3: but on second viewing I confirmed it. For a Bible movie,

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Speaker 3: there is very little God in this film. In fact,

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Speaker 3: almost none. God is mentioned by the narrator at the

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Speaker 3: very beginning when he says things like God created the

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Speaker 3: heavens and the earth. After that, there is almost nothing

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Speaker 3: about God in Adam and Eve. We never see God.

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Speaker 3: We don't get the scene where he's walking in the

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Speaker 3: garden as described in Genesis. He's walking in the garden

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Speaker 3: and finds them, you know, having covered up their nakedness

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Speaker 3: and asks what have you done? So we never see him,

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Speaker 3: we never hear his voice, and even when characters seem

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Speaker 3: to refer to God's acts or commandments, it's indirect and

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Speaker 3: put in like the passive voice or you know, God

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Speaker 3: as a subject is taken out of the sentence. So,

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Speaker 3: for example, Adam says that Eve is forbidden from eating

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Speaker 3: the fruit of the tree, but he doesn't say by whom.

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Speaker 2: Yeah, yeah, that's right. These these commandments are just sort

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Speaker 2: of like like Adam knows it. It's like a gut feeling.

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Speaker 2: He's like, this is forbidden or this is the way

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Speaker 2: it is. And I guess we're sort of left to

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Speaker 2: imagine that this is in some way God speaking through

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Speaker 2: Adam's knowledge of the world. But yeah, yeah, we don't

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Speaker 2: actually hear the booming voice of God when it's time

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Speaker 2: for our characters to be cast out of Eden. We

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Speaker 2: don't see an angel with a flaming sword. I'm assuming

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Speaker 2: George Eastman and or Helgi Dena were both busy on

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Speaker 2: other projects and they couldn't go in either direction, and

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Speaker 2: so they're just like, no angels.

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Speaker 3: Then, just wind just in pterosaurs.

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Speaker 2: Yes. I should note that this is, of course not

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Speaker 2: our first Adam and Eve film on Weird House Cinema.

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Speaker 2: We previously discussed the nineteen seventy experimental check film Fruit

400
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Speaker 2: of Paradise, rather different film. I believe you described it

401
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Speaker 2: as a biblical surrealist comedy drama.

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Speaker 3: Yeah, that's a more loosely narrative kind of surreal art film.

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Speaker 2: Yeah. We also did an episode on the stupendous nineteen

404
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Speaker 2: eighty musical The Apple, which is also an Adam and

405
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Speaker 2: Eve's story of sorts, So technically our third Adam and

406
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Speaker 2: Eve film.

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Speaker 3: Hey Hey, hey, Bim's on the way.

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Speaker 2: And yeah, there of course this is a subgenre unto itself.

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Speaker 2: There have been numerous Adam and Eve film projects of

410
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Speaker 2: varying quality, varying artistic intents, you know, from obvious comedies

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Speaker 2: to other things. And you know, it's not uncommon to

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Speaker 2: see like a see these films as like a thinly

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Speaker 2: veiled religious excuse to shoot a movie view about a

414
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Speaker 2: couple of naked people. There's a nineteen sixty nine Mexican adaptation,

415
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Speaker 2: The Cinematic Sin of Adam and Eve that had Jorge

416
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Speaker 2: Rivero in it of Conquest fame. I'm actually wearing my

417
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Speaker 2: Conquest shirt today and beauty, Yeah, thank you, and yeah

418
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Speaker 2: memory serves like this was one that was like controversial

419
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Speaker 2: when it came out, like has a little more skin

420
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Speaker 2: than was allowed in Mexican cinema at the time. But

421
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Speaker 2: it's a Bible story, so they were you know, there's

422
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Speaker 2: this there's at least this attempt to get away with

423
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Speaker 2: more just because you are presenting this biblical story at

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Speaker 2: least to some extent.

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Speaker 3: It's educational, sacred even.

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Speaker 2: Yeah, the papal Seal of Approval is on this film

427
00:22:42,600 --> 00:22:48,280
Speaker 2: on biblically accurate. So yeah, my elevator pitch for this movie,

428
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Speaker 2: I'm just going it's like Adam and Eve out of

429
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Speaker 2: Eden and into the Wasteland.

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Speaker 3: It's like Adam and Eve Hunter from the Future.

431
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Speaker 2: Yes, yes, that's a good one.

432
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Speaker 3: I think I did text you about this, So the

433
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Speaker 3: first time I watched it, I was like, man, I

434
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Speaker 3: just did not expect so much your DNA in this.

435
00:23:04,240 --> 00:23:07,040
Speaker 2: Yeah, and there, as we'll discuss, there's actual music from

436
00:23:07,160 --> 00:23:10,840
Speaker 2: your in this myth So that assessment was correct.

437
00:23:10,680 --> 00:23:14,680
Speaker 3: Joe that. Yeah, Unfortunately the music they use is not

438
00:23:15,000 --> 00:23:18,080
Speaker 3: the amazing Your Hunter from the Future theme with the

439
00:23:18,200 --> 00:23:22,040
Speaker 3: lyrics yours world. You know, there is a man from future,

440
00:23:22,160 --> 00:23:23,080
Speaker 3: a man of mystery.

441
00:23:23,800 --> 00:23:23,919
Speaker 2: Uh.

442
00:23:24,400 --> 00:23:27,359
Speaker 3: This movie, though, much like Your Hunter from the Future,

443
00:23:27,560 --> 00:23:31,919
Speaker 3: has a theme song with lyrics that plays multiple times

444
00:23:31,960 --> 00:23:35,800
Speaker 3: in the film. It's called My First Love and it's

445
00:23:37,440 --> 00:23:40,560
Speaker 3: you know, I Oh, okay. I was gonna say, I

446
00:23:40,600 --> 00:23:42,680
Speaker 3: don't want to be mean, but it's it's no Your

447
00:23:42,760 --> 00:23:43,800
Speaker 3: Hunter from the Future thing.

448
00:23:43,880 --> 00:23:47,200
Speaker 2: It's it's sappy. Uh, It's I'm not gonna say it's

449
00:23:47,240 --> 00:23:49,920
Speaker 2: necessarily catchy. I'm not gonna I haven't been humming it

450
00:23:50,160 --> 00:23:52,520
Speaker 2: or anything, but I don't know.

451
00:23:52,600 --> 00:23:53,000
Speaker 3: I liked it.

452
00:23:53,080 --> 00:23:54,159
Speaker 2: I liked it when they played it.

453
00:23:54,480 --> 00:23:58,480
Speaker 3: It's like very it's very plodding romantic song of the time.

454
00:23:58,720 --> 00:24:02,200
Speaker 3: You can in too my life.

455
00:24:02,760 --> 00:24:05,000
Speaker 2: Yeah, she kind of has We'll get back to the

456
00:24:05,080 --> 00:24:07,639
Speaker 2: credits on this, but the singer here has kind of

457
00:24:07,680 --> 00:24:11,120
Speaker 2: like almost Carly Simon vibe, I think, you know, yeah,

458
00:24:11,240 --> 00:24:12,840
Speaker 2: so that's what kind of what kind of kind of

459
00:24:12,840 --> 00:24:15,480
Speaker 2: comes off as. All right, if you would like to

460
00:24:15,600 --> 00:24:20,280
Speaker 2: go watch Adam and Eve from nineteen eighty three, you can.

461
00:24:20,520 --> 00:24:23,760
Speaker 2: You can absolutely view it. The Severn disc is absolutely

462
00:24:24,080 --> 00:24:26,280
Speaker 2: the way to go. Joe, you have you have this

463
00:24:26,440 --> 00:24:30,000
Speaker 2: disc and I rendered my copy from Atlanta's own video drone.

464
00:24:30,080 --> 00:24:32,880
Speaker 2: Let me punk show it the right way up. Yeah,

465
00:24:32,920 --> 00:24:34,560
Speaker 2: they don't actually look like that in the film. They

466
00:24:34,640 --> 00:24:38,199
Speaker 2: look mostly like that, But yeah, this is a great release.

467
00:24:39,359 --> 00:24:41,080
Speaker 2: They were excited to tell me when they got it in.

468
00:24:41,160 --> 00:24:42,880
Speaker 2: They're like, hey, we're getting that weird Adam and Eve

469
00:24:42,960 --> 00:24:45,440
Speaker 2: movie you like, And they have a new Severn disc

470
00:24:45,520 --> 00:24:48,320
Speaker 2: of it, so you may be able to stream it somewhere.

471
00:24:48,400 --> 00:24:50,359
Speaker 2: But I can't vouch for the quality. This is a

472
00:24:50,440 --> 00:24:53,200
Speaker 2: movie that I think the locations really pop, especially in

473
00:24:53,359 --> 00:24:58,040
Speaker 2: high quality. Yeah it might so, yeah, just check the stream.

474
00:24:58,080 --> 00:24:59,920
Speaker 2: I don't know, you get it it watching it is

475
00:25:00,000 --> 00:25:02,120
Speaker 2: good qualities, you can get it. But that severing disc

476
00:25:02,200 --> 00:25:05,200
Speaker 2: is absolutely the best way to go, especially for physical media.

477
00:25:05,560 --> 00:25:08,639
Speaker 3: Yeah. I would emphasize again that it is shocking given

478
00:25:08,760 --> 00:25:12,520
Speaker 3: how like ugly and clunky looking some parts of the

479
00:25:12,640 --> 00:25:16,119
Speaker 3: movie are. How beautiful other parts are, Like the landscapes

480
00:25:16,200 --> 00:25:17,560
Speaker 3: really are incredible.

481
00:25:17,880 --> 00:25:29,720
Speaker 2: Absolutely, all right, let's talk about the people behind this film.

482
00:25:30,000 --> 00:25:35,040
Speaker 2: So the credited director, whether he's credited as John Wilder, which,

483
00:25:35,200 --> 00:25:36,960
Speaker 2: as we've discussed a lot of times, they would do

484
00:25:37,080 --> 00:25:40,639
Speaker 2: this and like have an American, you know, foreign sounding

485
00:25:40,760 --> 00:25:44,359
Speaker 2: name like John Wilder as an attempt to help market

486
00:25:44,440 --> 00:25:47,000
Speaker 2: it and you know where people would be like, oh,

487
00:25:47,040 --> 00:25:49,560
Speaker 2: this must be an American film, you know, or something

488
00:25:49,600 --> 00:25:52,600
Speaker 2: to that effect. So credited as John Wilder. But the

489
00:25:52,800 --> 00:25:55,359
Speaker 2: director Andy Heing else has a story credit on this

490
00:25:55,560 --> 00:25:58,560
Speaker 2: is Luigi Russo, who lived nineteen thirty one through twenty

491
00:25:58,640 --> 00:26:02,280
Speaker 2: twenty one, the allion writer and director whose other directorial

492
00:26:02,359 --> 00:26:04,840
Speaker 2: credits seemed to lean a bit more into just pure

493
00:26:04,920 --> 00:26:09,239
Speaker 2: knockoff territory with eighty two's Blue Island, which is an

494
00:26:09,280 --> 00:26:13,919
Speaker 2: overt Blue Lagoon knockoff seventy seven's Beauty and the Beast,

495
00:26:14,160 --> 00:26:17,520
Speaker 2: which I've seen described as a de camera in ripoff

496
00:26:18,040 --> 00:26:21,280
Speaker 2: that also attempts to cash in on the prestige slash

497
00:26:21,359 --> 00:26:25,800
Speaker 2: controversy of nineteen seventy five's The Beast by casting one

498
00:26:25,840 --> 00:26:30,240
Speaker 2: of its stars Elizabeth Hummel, and his other directed features

499
00:26:30,240 --> 00:26:33,520
Speaker 2: are a mix of sex comedies dramas. There's also the

500
00:26:33,600 --> 00:26:37,479
Speaker 2: nineteen eighty nine Shallo film Dangerous Woman, which itself may

501
00:26:37,560 --> 00:26:41,640
Speaker 2: be a ripoff of fifty five's Diabolical Women, and as

502
00:26:41,720 --> 00:26:44,800
Speaker 2: a writer, he'd earlier worked on a handful of de

503
00:26:44,920 --> 00:26:49,119
Speaker 2: camera in films, and then seventy two's Death Falls Lightly.

504
00:26:50,359 --> 00:26:53,240
Speaker 3: I don't think I've seen another Russo movie.

505
00:26:54,000 --> 00:26:56,320
Speaker 2: I don't think I have either. Now this is this

506
00:26:57,000 --> 00:27:00,080
Speaker 2: to me, this is the most well known one, and

507
00:27:00,720 --> 00:27:03,920
Speaker 2: I think probably the one that's most worth checking out.

508
00:27:04,520 --> 00:27:08,000
Speaker 2: But let's see also the producer on this in Soodri

509
00:27:08,080 --> 00:27:11,840
Speaker 2: as I mentioned already thirty six through twenty nineteen is

510
00:27:11,920 --> 00:27:15,760
Speaker 2: listed as an uncredited director on IMDb, and I think

511
00:27:15,800 --> 00:27:18,600
Speaker 2: some of the other data bases he was also an

512
00:27:18,800 --> 00:27:24,560
Speaker 2: uncredited co director on Blue Island. As a producer let's

513
00:27:24,600 --> 00:27:26,480
Speaker 2: say his credits include sixty nine is the Year of

514
00:27:26,520 --> 00:27:30,199
Speaker 2: the Cannibals, seventy one Short Night of Glass Dolls, seventy

515
00:27:30,280 --> 00:27:32,840
Speaker 2: two's A Noose Is Waiting for You, Trinity. That is

516
00:27:32,880 --> 00:27:37,400
Speaker 2: obviously a spaghetti Western title, as Kloskinski in it. There's

517
00:27:37,480 --> 00:27:40,320
Speaker 2: seventy fours Beyond the Door, which I understand is an

518
00:27:40,400 --> 00:27:42,920
Speaker 2: exorcist Rosemary's Baby knockoff. Do you know this one?

519
00:27:43,080 --> 00:27:46,399
Speaker 3: I have watched this one. Yeah, that one is tremendously weird.

520
00:27:46,480 --> 00:27:48,120
Speaker 3: We may come back to that on the podcast.

521
00:27:48,200 --> 00:27:52,119
Speaker 2: Okay, so producer on that, also a producer on seventy

522
00:27:52,200 --> 00:27:55,480
Speaker 2: seven s Tentacles. This one has John Houston, Shelley Winters,

523
00:27:55,520 --> 00:27:57,040
Speaker 2: Bo Hopkins, and Henry Fonda.

524
00:27:57,640 --> 00:27:58,119
Speaker 3: Don't know it?

525
00:27:58,520 --> 00:28:00,720
Speaker 2: Yeah, I think it's come up just because the connections

526
00:28:00,840 --> 00:28:04,080
Speaker 2: kind of pop. Seventy eight, I think so. Yeah, like

527
00:28:04,440 --> 00:28:09,520
Speaker 2: Jaws with Tentacles. Okay, seventy eight's Cave of Sharks with

528
00:28:09,640 --> 00:28:14,159
Speaker 2: Janet Agrin and Arthur Kennedy, and then Enzog Castellari's The

529
00:28:14,280 --> 00:28:16,520
Speaker 2: Shark Hunter in seventy nine and just many more.

530
00:28:16,720 --> 00:28:19,840
Speaker 3: Speaking of weird songs, earlier, you recognize the name Janet

531
00:28:19,880 --> 00:28:22,480
Speaker 3: Agrin from She's in City of the Living Dead, she

532
00:28:22,640 --> 00:28:24,879
Speaker 3: was the right hands of steel and she sang the

533
00:28:25,000 --> 00:28:28,600
Speaker 3: song teddy Bear, Teddy Bear.

534
00:28:29,280 --> 00:28:31,960
Speaker 2: Yeah, we should start referring to as Janet teddy Bear

535
00:28:32,080 --> 00:28:35,800
Speaker 2: agrin for sure. Okay, so with the film this all

536
00:28:35,880 --> 00:28:37,880
Speaker 2: over the place, you better believe they are even more

537
00:28:37,920 --> 00:28:42,960
Speaker 2: writers involved. I do not know their specific tasks, like

538
00:28:43,040 --> 00:28:46,560
Speaker 2: who had relationship content and who had cannibal content. I

539
00:28:46,600 --> 00:28:48,680
Speaker 2: guess you can sort of guess in some cases, but

540
00:28:48,880 --> 00:28:52,600
Speaker 2: at any rate, let's see. We got Gazella Lungo dates unknown,

541
00:28:52,920 --> 00:28:56,400
Speaker 2: story but also set decorator. She also has a story

542
00:28:56,440 --> 00:28:59,000
Speaker 2: credit on The Shark Hunter, but otherwise worked in costumes

543
00:28:59,160 --> 00:29:03,560
Speaker 2: art in production to We also have Dominico Raffelli also

544
00:29:03,720 --> 00:29:06,800
Speaker 2: dates unknown, one of the writers on eighty nine's A

545
00:29:06,960 --> 00:29:10,880
Speaker 2: Moire in Corso, which won some awards. We also have

546
00:29:11,400 --> 00:29:15,320
Speaker 2: Eugenio Benito dates unknown as well. Also worked on the

547
00:29:15,320 --> 00:29:19,080
Speaker 2: screenplay for eighty four's A Man Called Rage and acted

548
00:29:19,240 --> 00:29:22,000
Speaker 2: had a small role I think in eighty two's Bacterion,

549
00:29:22,400 --> 00:29:25,120
Speaker 2: which I haven't seen, but that one has also enjoyed

550
00:29:25,280 --> 00:29:27,360
Speaker 2: a recent re release some blu ray and is I

551
00:29:27,440 --> 00:29:30,520
Speaker 2: think being re examined by folks. Is it about a

552
00:29:31,400 --> 00:29:36,800
Speaker 2: bacterium or it's something I don't want to miss represented here,

553
00:29:36,840 --> 00:29:39,520
Speaker 2: but I think it's it has some sort of body horror,

554
00:29:39,800 --> 00:29:42,160
Speaker 2: zombie or zombie adjacent qualities to it. But again I

555
00:29:42,200 --> 00:29:43,320
Speaker 2: haven't actually seen it myself.

556
00:29:44,400 --> 00:29:47,160
Speaker 3: Oh but hey, we should mention that we're revisiting some

557
00:29:47,280 --> 00:29:50,640
Speaker 3: of the cast from last week's weird house movie nineteen

558
00:29:50,760 --> 00:29:54,920
Speaker 3: ninety The Bronx Warriors, directed by Enzo g Castellari. The

559
00:29:55,080 --> 00:29:59,920
Speaker 3: star of that movie was an Italian bodybuilder turned actor

560
00:30:00,240 --> 00:30:04,280
Speaker 3: named Mark Gregory, playing in that film a man called trash,

561
00:30:04,480 --> 00:30:07,160
Speaker 3: but in this he's playing a man called Adam, which

562
00:30:07,200 --> 00:30:10,400
Speaker 3: translates to man. There you go, a man called man.

563
00:30:10,840 --> 00:30:13,120
Speaker 2: That's right, Yes, second Mark Gregory film in a row.

564
00:30:13,760 --> 00:30:16,280
Speaker 2: They lived sixty four through twenty thirteen. I'm not going

565
00:30:16,360 --> 00:30:18,760
Speaker 2: to rehash everything we discussed about him last week in

566
00:30:18,800 --> 00:30:22,520
Speaker 2: our episode on eighty two's Bronx Warriors, other than to

567
00:30:22,600 --> 00:30:25,000
Speaker 2: say that, yeah, he was a pretty big name in

568
00:30:25,200 --> 00:30:27,960
Speaker 2: Italian cinema and at least in sort of the action

569
00:30:28,160 --> 00:30:31,760
Speaker 2: and post apocalyptic subgenres from eighty two through eighty nine

570
00:30:32,240 --> 00:30:35,880
Speaker 2: before abruptly leaving the business. In that extra on the

571
00:30:35,920 --> 00:30:39,720
Speaker 2: Blu Ray, Amakuci points out that Gregory really had all

572
00:30:39,760 --> 00:30:42,000
Speaker 2: the elements for a successful star at the time. You know,

573
00:30:42,120 --> 00:30:44,240
Speaker 2: he had the looks. Yeah. He points out that he

574
00:30:44,320 --> 00:30:46,520
Speaker 2: knew how to move in front of the camera, which

575
00:30:46,920 --> 00:30:49,840
Speaker 2: I think is something that probably is lost on us

576
00:30:50,000 --> 00:30:53,040
Speaker 2: non filmmakers. But I get the impression this means that

577
00:30:53,120 --> 00:30:56,640
Speaker 2: filmmakers like working with him because like he would listen

578
00:30:56,720 --> 00:30:59,880
Speaker 2: to them and like would hit his mark and so forth,

579
00:31:00,360 --> 00:31:02,640
Speaker 2: like like he was just maybe easy to work with

580
00:31:02,800 --> 00:31:07,000
Speaker 2: in like a physical manner. Yeah, And furthermore, he said

581
00:31:07,040 --> 00:31:08,479
Speaker 2: that he was just he was also just a very

582
00:31:08,560 --> 00:31:12,920
Speaker 2: reserved and very nice guy, like almost too nice. He said,

583
00:31:12,920 --> 00:31:15,120
Speaker 2: this alone was notable in a business that generally just

584
00:31:15,160 --> 00:31:17,640
Speaker 2: has so many aggressive personalities in it. There's a lot

585
00:31:17,680 --> 00:31:20,280
Speaker 2: of you know, people like trying to to really you know,

586
00:31:20,400 --> 00:31:22,320
Speaker 2: succeed and move on to the next thing. And then

587
00:31:22,560 --> 00:31:24,840
Speaker 2: Mark Gregory by all counts was the guy that you know,

588
00:31:24,880 --> 00:31:27,360
Speaker 2: he was plucked out of a gym, like literally and

589
00:31:27,680 --> 00:31:30,480
Speaker 2: like sort of launched into this career. And you know,

590
00:31:30,560 --> 00:31:33,360
Speaker 2: maybe that has something to do with his eventual leaving

591
00:31:33,440 --> 00:31:37,360
Speaker 2: of it as well. But as far as his performance

592
00:31:37,400 --> 00:31:39,360
Speaker 2: in Adam and Eve goes, you know, I think he's

593
00:31:39,400 --> 00:31:42,680
Speaker 2: good in this. You know, obviously, first and foremost in

594
00:31:42,840 --> 00:31:47,040
Speaker 2: any Adam and Eve movie, your two main stars, they

595
00:31:47,080 --> 00:31:49,360
Speaker 2: need to look good standing naked behind a bush or

596
00:31:49,400 --> 00:31:53,120
Speaker 2: wearing a loincloth, and obviously he does that, but he

597
00:31:53,280 --> 00:31:56,920
Speaker 2: also feels believable. I think it's this naive character who's

598
00:31:57,000 --> 00:32:01,040
Speaker 2: not fully a dull person, who can be both incredibly

599
00:32:01,080 --> 00:32:04,480
Speaker 2: empathetic at times but also incredibly selfish and in a

600
00:32:04,600 --> 00:32:07,720
Speaker 2: largely believable sort of mix. Like I for the most

601
00:32:07,760 --> 00:32:10,960
Speaker 2: part bot that. Yeah, this it makes sense that this young,

602
00:32:11,160 --> 00:32:15,520
Speaker 2: not fully like activated human is sort of ping ponging

603
00:32:15,600 --> 00:32:20,720
Speaker 2: between these emotional states. Yeah, we also get plenty of

604
00:32:20,760 --> 00:32:24,000
Speaker 2: scenes where there's no dialogue and far from what I

605
00:32:24,200 --> 00:32:26,400
Speaker 2: generally expect from a lot of the sort of pluck

606
00:32:26,440 --> 00:32:28,640
Speaker 2: from the gym sort of actors. I felt like I

607
00:32:28,680 --> 00:32:30,960
Speaker 2: could see the gears turning in his performance. You know,

608
00:32:31,720 --> 00:32:34,480
Speaker 2: there's like there's at least a fair amount of nuance there. So,

609
00:32:34,600 --> 00:32:37,440
Speaker 2: you know, all things considered, I feel like he's pretty

610
00:32:37,480 --> 00:32:37,840
Speaker 2: great in this.

611
00:32:39,200 --> 00:32:42,080
Speaker 3: I think personally, I think i'd moderate a little bit

612
00:32:42,160 --> 00:32:46,120
Speaker 3: from that assessment to the mean. But also he but yeah,

613
00:32:46,200 --> 00:32:48,280
Speaker 3: he like he hits his pose as good and he

614
00:32:49,280 --> 00:32:50,960
Speaker 3: He has a lot of shots in the movie where

615
00:32:50,960 --> 00:32:55,120
Speaker 3: he's just supposed to like look epic and he this

616
00:32:55,320 --> 00:32:58,040
Speaker 3: is the first man ever, though that's questionable once you

617
00:32:58,080 --> 00:33:01,320
Speaker 3: actually get into the plot of the movie. But this

618
00:33:01,520 --> 00:33:03,480
Speaker 3: is the first man. And so he'll be like standing

619
00:33:03,560 --> 00:33:06,120
Speaker 3: on top of a hill against the sunset as like

620
00:33:06,200 --> 00:33:09,400
Speaker 3: a silhouette or looking out over you know, the greatest

621
00:33:09,560 --> 00:33:12,480
Speaker 3: canyon and that's ever been in the earth, with his

622
00:33:12,600 --> 00:33:15,880
Speaker 3: hair blowing in the wind, and he's you know, he's great.

623
00:33:16,040 --> 00:33:16,680
Speaker 3: He's great for that.

624
00:33:17,160 --> 00:33:19,680
Speaker 2: Yeah, he has a kind of lupine quality I feel

625
00:33:19,720 --> 00:33:22,000
Speaker 2: in this, you know, like we've discussed before, a very

626
00:33:22,080 --> 00:33:23,440
Speaker 2: long limbed god.

627
00:33:23,680 --> 00:33:23,920
Speaker 3: Yeah.

628
00:33:24,200 --> 00:33:28,719
Speaker 2: So yeah, he yeah, different, different sort of body compared

629
00:33:28,800 --> 00:33:34,000
Speaker 2: to like Jorge Rivera, so different, different, different physicality.

630
00:33:33,840 --> 00:33:39,440
Speaker 3: Less bulky than Rivero. He's Mark Gregory. His arms are

631
00:33:40,200 --> 00:33:43,360
Speaker 3: surprisingly long. Sometimes when you see him reach out, he's

632
00:33:43,400 --> 00:33:45,760
Speaker 3: almost I don almost say he's like the guy in

633
00:33:45,880 --> 00:33:48,080
Speaker 3: Mutant Hunt who reaches all the way up the wall

634
00:33:48,200 --> 00:33:50,720
Speaker 3: for the machete. But you know, you see where I'm going.

635
00:33:50,960 --> 00:33:53,600
Speaker 2: Yeah, yeah, all right, So that's our Adam and then

636
00:33:53,640 --> 00:33:57,880
Speaker 2: our Eve is played by Andrea Goldman age unknown for

637
00:33:58,000 --> 00:34:02,040
Speaker 2: this actress and this is her only row. Some databases

638
00:34:02,080 --> 00:34:04,960
Speaker 2: confuse her with another more recent actress with the same name,

639
00:34:05,040 --> 00:34:07,320
Speaker 2: but as far as I can tell, little to nothing

640
00:34:07,440 --> 00:34:10,120
Speaker 2: is known about the actress playing Eve in this film,

641
00:34:10,239 --> 00:34:13,319
Speaker 2: and it's just it's one and done. So I would

642
00:34:13,360 --> 00:34:15,839
Speaker 2: say everything I said about Mark Gregory's performance pretty much

643
00:34:15,840 --> 00:34:18,399
Speaker 2: applies to Goldman as well, except I'd argue that she's

644
00:34:18,440 --> 00:34:20,719
Speaker 2: even better and gets to explore a broader range of

645
00:34:20,800 --> 00:34:24,120
Speaker 2: emotional states. As far as I can tell, there's no

646
00:34:24,200 --> 00:34:26,399
Speaker 2: way of knowing how she ended up doing this movie,

647
00:34:26,760 --> 00:34:29,080
Speaker 2: why she didn't do any other movies in this era,

648
00:34:29,280 --> 00:34:32,279
Speaker 2: because I can very much imagine her killing it in

649
00:34:32,360 --> 00:34:35,680
Speaker 2: a variety of Italian B movie roles, be it you

650
00:34:36,160 --> 00:34:40,120
Speaker 2: screaming as a zombie approaches, or you know, screaming as

651
00:34:40,160 --> 00:34:42,799
Speaker 2: someone stabs her with a knife, but also of roles

652
00:34:42,840 --> 00:34:46,080
Speaker 2: that maybe don't involve screaming. But yeah, yeah, I thought

653
00:34:46,120 --> 00:34:46,759
Speaker 2: she was great here.

654
00:34:47,719 --> 00:34:50,560
Speaker 3: You're right that the script gives Eve as a character

655
00:34:50,719 --> 00:34:53,680
Speaker 3: a greater range of emotions to display in the story

656
00:34:54,200 --> 00:34:57,520
Speaker 3: than Adam gets, though I guess it's also just that

657
00:34:57,680 --> 00:35:00,840
Speaker 3: in Mark Gregory's performance, he is a little bit more reserved,

658
00:35:00,920 --> 00:35:03,000
Speaker 3: like he's playing it a little bit closer, and she's

659
00:35:03,400 --> 00:35:07,400
Speaker 3: getting to act out more fully, and you know she

660
00:35:09,600 --> 00:35:12,240
Speaker 3: I would have some critiques of the way this character

661
00:35:12,440 --> 00:35:15,440
Speaker 3: is written, but she she does pretty well with what

662
00:35:15,560 --> 00:35:18,400
Speaker 3: she's got and and plays well between the you know,

663
00:35:18,560 --> 00:35:21,160
Speaker 3: the more serious scenes and then the scenes that get

664
00:35:21,239 --> 00:35:26,440
Speaker 3: into kind of dumpty dump romantic comedy squabbling kind of things.

665
00:35:27,080 --> 00:35:30,120
Speaker 2: Yeah. Yeah, So I say, all things considered, these are

666
00:35:30,280 --> 00:35:32,640
Speaker 2: these are two fine performances, especially when some of the

667
00:35:32,719 --> 00:35:36,880
Speaker 2: factors you consider are like in one case, first and

668
00:35:37,000 --> 00:35:39,080
Speaker 2: only film. In the other case with Mark Gregory, like

669
00:35:39,160 --> 00:35:41,920
Speaker 2: thinks is what his second film, So they're very green.

670
00:35:42,400 --> 00:35:46,520
Speaker 2: They're playing characters that are more like mythic cardboard cutouts

671
00:35:46,960 --> 00:35:51,200
Speaker 2: that have been ultimately rather lightly developed, Like they're not

672
00:35:51,280 --> 00:35:55,239
Speaker 2: even like fully formed characters that we would otherwise have

673
00:35:55,320 --> 00:35:58,600
Speaker 2: a lot to relate to. But you know, you know,

674
00:35:59,239 --> 00:36:01,560
Speaker 2: these factors considered, I feel like they do a pretty

675
00:36:01,560 --> 00:36:05,160
Speaker 2: good job, all right. There are a number of other

676
00:36:06,400 --> 00:36:10,720
Speaker 2: characters in this film, various cave people that they encounter.

677
00:36:11,400 --> 00:36:13,360
Speaker 2: Most of these characters have no names, so I'm not

678
00:36:13,440 --> 00:36:15,799
Speaker 2: gonna mention everyone. Some of them are Italian actors who

679
00:36:15,800 --> 00:36:18,680
Speaker 2: pop up in other genre films. The only other character

680
00:36:18,800 --> 00:36:22,319
Speaker 2: that almost has a name. I think he's referenced as

681
00:36:22,560 --> 00:36:27,000
Speaker 2: bear Killer in the databases, but is just a nameless

682
00:36:27,040 --> 00:36:29,919
Speaker 2: green hunk in this movie, like it has green paint

683
00:36:30,000 --> 00:36:34,920
Speaker 2: on his skin. He's played by Angelle Alcazar, who lived

684
00:36:34,960 --> 00:36:39,280
Speaker 2: nineteen fifty five through twenty thirteen. He plays mild spoiler

685
00:36:39,360 --> 00:36:43,359
Speaker 2: for the film. He plays Eve's rebound fling and he's

686
00:36:43,360 --> 00:36:45,719
Speaker 2: a member of the tribe of the green skin Paint.

687
00:36:46,320 --> 00:36:48,759
Speaker 2: Spanish actor who credits go back to seventy eight and

688
00:36:48,840 --> 00:36:51,880
Speaker 2: he enjoyed a pretty long career. His other credits include

689
00:36:51,920 --> 00:36:55,759
Speaker 2: Pedro Almodovar's nineteen eighty two film Labyrinth of Passion, which

690
00:36:55,800 --> 00:36:59,839
Speaker 2: also featured Helga Line, and then ninety fives Nobody will

691
00:36:59,840 --> 00:37:03,719
Speaker 2: speak with Us when We're dead. So in this middle movie, though,

692
00:37:03,800 --> 00:37:07,400
Speaker 2: to be clear, more of your traditional loincloth role and performance.

693
00:37:07,600 --> 00:37:10,120
Speaker 2: But you know, he does a good job with it.

694
00:37:10,160 --> 00:37:13,640
Speaker 3: I guess he doesn't speak any lines that are intelligible

695
00:37:13,680 --> 00:37:15,520
Speaker 3: in the film. I mean he does speak in a

696
00:37:15,800 --> 00:37:18,640
Speaker 3: in what the movie just calls like primitive language, and

697
00:37:18,680 --> 00:37:19,400
Speaker 3: the do.

698
00:37:19,400 --> 00:37:22,960
Speaker 2: You have the subtitles? Ye speaking in privately did not

699
00:37:23,080 --> 00:37:26,480
Speaker 2: translate and barking and caveman that sort of thing.

700
00:37:26,800 --> 00:37:29,040
Speaker 3: But Adam and Eve speak to him in English, in

701
00:37:29,120 --> 00:37:31,040
Speaker 3: the English dub at least, I guess in Italian. They

702
00:37:31,080 --> 00:37:33,400
Speaker 3: speak to him in Italian and he understands them, but

703
00:37:33,480 --> 00:37:34,480
Speaker 3: he doesn't speak back.

704
00:37:34,760 --> 00:37:37,040
Speaker 2: But they are the children of Eden, so maybe there's

705
00:37:37,080 --> 00:37:39,319
Speaker 2: something to that. We'll come back to that question.

706
00:37:39,560 --> 00:37:41,480
Speaker 3: They have universal translator there you go.

707
00:37:41,640 --> 00:37:45,719
Speaker 2: Yeah, yeah, where they speak the language of Eden. Maybe

708
00:37:45,800 --> 00:37:48,160
Speaker 2: and just like these people inherently understand it, I don't know.

709
00:37:48,320 --> 00:37:51,799
Speaker 2: This is all pre babble, so we don't know, all right,

710
00:37:52,239 --> 00:37:54,160
Speaker 2: So those are the only cast members are going to

711
00:37:54,239 --> 00:37:58,680
Speaker 2: mention briefly. Behind the scenes. We mentioned Gianfranco i'm acuci earlier.

712
00:37:58,719 --> 00:38:02,560
Speaker 2: The editor again interviewed on the Severn disk active from

713
00:38:02,600 --> 00:38:05,239
Speaker 2: seventy three through two thousand and eight, and his many

714
00:38:05,280 --> 00:38:10,360
Speaker 2: credits include numerous connections to Enzog Castellari films, including seventy

715
00:38:10,360 --> 00:38:14,040
Speaker 2: four Street Law, seventy six is Koma, seventy eight's The

716
00:38:14,200 --> 00:38:18,040
Speaker 2: Inglorious Bastards, both of the Bronx movies of which he

717
00:38:18,239 --> 00:38:20,560
Speaker 2: was pretty proud, like in that interview he's like, go

718
00:38:20,800 --> 00:38:24,759
Speaker 2: go watch Bronx Warriors. He's like, it's fun and you know,

719
00:38:24,880 --> 00:38:27,120
Speaker 2: we made that on a pretty low budget and it

720
00:38:27,200 --> 00:38:29,000
Speaker 2: looks pretty good, and you know I'd agree with that.

721
00:38:29,520 --> 00:38:30,160
Speaker 3: Yeah, you know, the.

722
00:38:30,280 --> 00:38:33,520
Speaker 2: Editing is tight, it's great. It was the eighty one's

723
00:38:33,560 --> 00:38:36,399
Speaker 2: The Last Shark, the New Barbarians from eighty three, eighty nine,

724
00:38:36,480 --> 00:38:38,399
Speaker 2: Sinbat of the Seven Seas, and just a whole bunch

725
00:38:38,440 --> 00:38:42,680
Speaker 2: of other pictures attiging pictures from this time period, and

726
00:38:42,840 --> 00:38:47,040
Speaker 2: then the music. So the music is credited to a

727
00:38:47,120 --> 00:38:53,440
Speaker 2: pair of composers. They're brothers. There's Guido Deangelus and Marizzio DeAngelis,

728
00:38:54,360 --> 00:38:56,560
Speaker 2: the former born nineteen forty four of the latter born

729
00:38:56,640 --> 00:39:01,040
Speaker 2: nineteen forty seven, both still out there, still working as

730
00:39:01,200 --> 00:39:05,719
Speaker 2: of this recording. They're both closely aligned with Mzog Castellari,

731
00:39:05,920 --> 00:39:11,000
Speaker 2: having worked on Street Law, Koma, Shark Hunter, The Last Shark,

732
00:39:11,640 --> 00:39:14,839
Speaker 2: and Their other scores include seventy threes, Torso, eighty three

733
00:39:14,920 --> 00:39:17,000
Speaker 2: is a Blade in the Dark, seventy eight, Slave of

734
00:39:17,080 --> 00:39:20,640
Speaker 2: the Cannibal God, eighty three is twenty eighteen After the

735
00:39:20,719 --> 00:39:23,920
Speaker 2: Fall of New York, nineteen eighties, Alien two on Earth,

736
00:39:24,440 --> 00:39:28,480
Speaker 2: eighty three's Raiders of Atlantis, and eighty threes You're the

737
00:39:28,640 --> 00:39:30,280
Speaker 2: Hunter from the Future.

738
00:39:31,560 --> 00:39:35,920
Speaker 3: One of my favorite leather diaper Barbarian movies. It's got

739
00:39:36,080 --> 00:39:39,480
Speaker 3: oh what's his name? I'm blanking on his name. He

740
00:39:39,760 --> 00:39:43,960
Speaker 3: was in The Howling too, he was in Space Mutiny.

741
00:39:44,280 --> 00:39:45,720
Speaker 2: Red Brown, Red Brown.

742
00:39:46,160 --> 00:39:48,839
Speaker 3: Red Brown is the Conan in You're the Hunter from

743
00:39:48,880 --> 00:39:52,040
Speaker 3: the Future. He's a guy in a loin cloth who fights,

744
00:39:52,680 --> 00:39:54,880
Speaker 3: you know, he fights dinosaurs and then in the ND

745
00:39:54,960 --> 00:39:56,040
Speaker 3: has to fight Darth Vader.

746
00:39:56,960 --> 00:39:58,839
Speaker 2: I've seen this film before, but I feel like I've

747
00:39:58,840 --> 00:40:00,880
Speaker 2: forgotten a lot of it. We should, we should come

748
00:40:00,960 --> 00:40:03,160
Speaker 2: back to it. So, yeah, not only did they do

749
00:40:03,440 --> 00:40:06,719
Speaker 2: the music on Your Near's Me Again, there's music from

750
00:40:06,800 --> 00:40:09,279
Speaker 2: Your in this movie. Like they they reuse some of it.

751
00:40:10,239 --> 00:40:13,960
Speaker 2: And these brothers are still composing and they're also producers

752
00:40:14,040 --> 00:40:16,760
Speaker 2: now I believe they They sort of started producing films

753
00:40:16,800 --> 00:40:19,960
Speaker 2: in nineteen eighty eight with the fame knockoff Dance Academy.

754
00:40:20,640 --> 00:40:23,719
Speaker 2: So I love all of the music in Adam and Eve.

755
00:40:24,239 --> 00:40:27,160
Speaker 2: Just a synth treat from beginning to end and again.

756
00:40:27,200 --> 00:40:30,959
Speaker 2: It also features that riveting romantic single My First Love,

757
00:40:31,719 --> 00:40:35,399
Speaker 2: My First Love, performed by Tanya Soulmik and written by

758
00:40:35,600 --> 00:40:40,160
Speaker 2: the Deangelist Brothers with Susan Duncan. Smith also credited again,

759
00:40:40,280 --> 00:40:42,799
Speaker 2: kind of a Carly Simon vibe. I guess you maybe

760
00:40:42,840 --> 00:40:45,880
Speaker 2: described this as light disco, like it's not pumping disco,

761
00:40:46,040 --> 00:40:51,040
Speaker 2: but it's like a disco era Electrono love anthem, and

762
00:40:51,160 --> 00:40:53,160
Speaker 2: it was released as a single. You can look it

763
00:40:53,239 --> 00:40:56,680
Speaker 2: up on discogs. And you know, there's also another one,

764
00:40:57,000 --> 00:40:59,200
Speaker 2: a Woman Without Love, which I don't think is in

765
00:40:59,320 --> 00:41:02,440
Speaker 2: the picture, but it might have been made for this

766
00:41:02,600 --> 00:41:04,200
Speaker 2: movie and they just didn't use it. I can't tell

767
00:41:04,440 --> 00:41:09,640
Speaker 2: oh Man or separately and just got cobbled in. I'm

768
00:41:09,680 --> 00:41:13,320
Speaker 2: not sure how these things came together, but I believe

769
00:41:13,440 --> 00:41:15,120
Speaker 2: Tanya Selmik is still out there. I think she went

770
00:41:15,200 --> 00:41:17,080
Speaker 2: understood this. She was very young at the time, and

771
00:41:17,120 --> 00:41:19,040
Speaker 2: I think she went on to study world and folk

772
00:41:19,239 --> 00:41:22,920
Speaker 2: music and essentially had like one or two additional musical

773
00:41:23,000 --> 00:41:26,120
Speaker 2: careers after this, this the pop career.

774
00:41:35,120 --> 00:41:37,480
Speaker 3: All right, Rob, are you ready to talk about the plot.

775
00:41:38,320 --> 00:41:39,840
Speaker 2: Yeah, let's let's do it.

776
00:41:40,520 --> 00:41:42,840
Speaker 3: And in warning, we're gonna spoil what happens in the

777
00:41:42,880 --> 00:41:46,600
Speaker 3: Garden of Eden story, including all of the terrosaur encounters.

778
00:41:46,760 --> 00:41:48,960
Speaker 2: It's it's like Jurassic Park. You're watching it and you're

779
00:41:49,000 --> 00:41:50,839
Speaker 2: just like, I hope this goes on forever and nothing

780
00:41:50,920 --> 00:41:53,000
Speaker 2: goes bad, and then it does, of course, because that's

781
00:41:53,040 --> 00:41:56,960
Speaker 2: how you get the movie. But yeah, this this movie

782
00:41:57,080 --> 00:41:58,759
Speaker 2: is a treat right from the start, at least for me,

783
00:41:58,960 --> 00:42:06,240
Speaker 2: because we just get cosmic stock footage like Nebula and stuff,

784
00:42:06,440 --> 00:42:09,160
Speaker 2: and then we have some soothing synth music on top

785
00:42:09,239 --> 00:42:09,400
Speaker 2: of it.

786
00:42:09,960 --> 00:42:13,440
Speaker 3: Yeah, you get grainy ad space footage and music from

787
00:42:13,440 --> 00:42:14,240
Speaker 3: the Hearts of Space.

788
00:42:14,520 --> 00:42:17,880
Speaker 2: Yeah, lovely, I'm already on board. But it had me

789
00:42:17,960 --> 00:42:20,759
Speaker 2: thinking like, we're okay, we're in Genesis at this point,

790
00:42:20,880 --> 00:42:25,480
Speaker 2: maybe even pre Genesis. So our pre credits considered pre

791
00:42:25,600 --> 00:42:27,640
Speaker 2: creation within the context of this film.

792
00:42:27,800 --> 00:42:30,280
Speaker 3: Coming back to our recent topic on the show about

793
00:42:30,960 --> 00:42:33,400
Speaker 3: creation narratives that have a what the world was like

794
00:42:33,560 --> 00:42:36,800
Speaker 3: before the creation happened. Yeah, there's sort of some of

795
00:42:36,880 --> 00:42:39,800
Speaker 3: that going on here. There's kind of a metadata of

796
00:42:39,920 --> 00:42:43,160
Speaker 3: the universe in the credits. You could even think, yeah.

797
00:42:44,040 --> 00:42:46,760
Speaker 2: Yeah, so is this the state of affairs before the creation?

798
00:42:46,960 --> 00:42:50,400
Speaker 2: All this the cosmic stock footage is cosmic stock footage

799
00:42:50,480 --> 00:42:55,719
Speaker 2: what existed before you know, God, I guess pushes things

800
00:42:55,760 --> 00:42:56,760
Speaker 2: into the next gear.

801
00:42:56,960 --> 00:43:01,399
Speaker 3: Makes the Garden of Eden golf course to go. Yeah,

802
00:43:01,480 --> 00:43:04,880
Speaker 3: so before there's any narration before there's before we see

803
00:43:05,040 --> 00:43:07,360
Speaker 3: like the creation of land and sea and plants and

804
00:43:07,440 --> 00:43:09,719
Speaker 3: animals and all that there is. We just see like

805
00:43:09,880 --> 00:43:13,600
Speaker 3: swirling fire in space and synth music. So that does

806
00:43:13,680 --> 00:43:19,160
Speaker 3: feel like an interesting it's the chaos. It's the I'm

807
00:43:19,160 --> 00:43:21,279
Speaker 3: afraid I'm gonna pronounce this wrong though, like tohu at

808
00:43:21,320 --> 00:43:26,440
Speaker 3: bohu or whatever it is in Genesis the Welter and Waste.

809
00:43:27,840 --> 00:43:30,120
Speaker 3: By the way, I think you were looking at the

810
00:43:30,160 --> 00:43:32,080
Speaker 3: same disc as me, so I guess we both got

811
00:43:32,120 --> 00:43:35,560
Speaker 3: the same title sequence. But I was looking online and

812
00:43:35,640 --> 00:43:39,560
Speaker 3: I realized there are multiple versions of the title frame.

813
00:43:40,320 --> 00:43:43,800
Speaker 3: Like my version was English text and it said Adam

814
00:43:43,840 --> 00:43:45,879
Speaker 3: and Eve of the First Love Story. But I think

815
00:43:46,440 --> 00:43:48,840
Speaker 3: there are versions of this movie where the title just

816
00:43:48,880 --> 00:43:51,040
Speaker 3: says Adam and Eve, and then of course they're the

817
00:43:51,080 --> 00:43:55,279
Speaker 3: ones that are in Italian as well. Yeah, anyway, there

818
00:43:55,480 --> 00:43:58,000
Speaker 3: is So there's all this stock footage used in the

819
00:43:58,360 --> 00:44:02,439
Speaker 3: pre creation sequence. We get explosions in the earth. Looks

820
00:44:02,520 --> 00:44:05,200
Speaker 3: like it's like throwing up these big plumes of soil

821
00:44:05,360 --> 00:44:07,480
Speaker 3: and dust into the air. And I wonder if this

822
00:44:07,560 --> 00:44:11,320
Speaker 3: is footage of detonations from mining or maybe a volcanic eruption,

823
00:44:11,880 --> 00:44:15,240
Speaker 3: because we definitely. We see something later that is unmistakably

824
00:44:15,280 --> 00:44:19,760
Speaker 3: a volcanic eruption, but it's more like a flowing molten lava.

825
00:44:19,920 --> 00:44:23,360
Speaker 3: So there's like red molten lava frothing and splattering everywhere,

826
00:44:23,440 --> 00:44:26,120
Speaker 3: turning into a river, and we follow the lava as

827
00:44:26,160 --> 00:44:28,759
Speaker 3: it goes down and mingles with sea water, and there

828
00:44:28,760 --> 00:44:31,319
Speaker 3: are ocean waves crashing into the coast where the lava

829
00:44:31,400 --> 00:44:33,320
Speaker 3: is pouring in, and you get these big columns of

830
00:44:33,440 --> 00:44:38,920
Speaker 3: steam and then suddenly we're somewhere else. I really liked

831
00:44:39,000 --> 00:44:42,880
Speaker 3: this shot actually, where we cut to like a red world,

832
00:44:43,239 --> 00:44:45,440
Speaker 3: a place that feels like it's kind of covered and

833
00:44:45,600 --> 00:44:49,080
Speaker 3: surrounded with just a red light shining down on sand.

834
00:44:49,920 --> 00:44:54,640
Speaker 3: And then the same sand is like something is uncovered

835
00:44:54,719 --> 00:44:57,440
Speaker 3: and the sand is revealed to be outside. The red

836
00:44:57,560 --> 00:45:00,879
Speaker 3: light disappears, and the sky opens up and then it's

837
00:45:00,960 --> 00:45:03,560
Speaker 3: blue and filled with clouds and it starts to rain

838
00:45:03,719 --> 00:45:04,320
Speaker 3: on the sand.

839
00:45:05,280 --> 00:45:06,839
Speaker 2: Yeah, something's cooking. Yeah.

840
00:45:07,480 --> 00:45:09,560
Speaker 3: We get steam rising from the earth, and then a

841
00:45:09,680 --> 00:45:13,320
Speaker 3: spotlight falls on this single lonely tree seedling. It's the

842
00:45:13,400 --> 00:45:15,680
Speaker 3: only one in the ground. But then there are suddenly more.

843
00:45:16,280 --> 00:45:20,320
Speaker 3: There are plants are multiplying, and then we cut to

844
00:45:20,760 --> 00:45:24,120
Speaker 3: fully grown forests, like a mountains covered with forest with

845
00:45:24,239 --> 00:45:28,440
Speaker 3: fluffy clouds beyond. And then the narrator. Narrator comes in

846
00:45:28,560 --> 00:45:30,960
Speaker 3: and says, in the beginning, God created the heavens and

847
00:45:31,000 --> 00:45:35,279
Speaker 3: the earth. So so far, nothing too out of the

848
00:45:35,440 --> 00:45:38,680
Speaker 3: ordinary as far as envisioning the Biblical creation goes. We've

849
00:45:38,719 --> 00:45:41,840
Speaker 3: probably seen it like this in other movies and sequences,

850
00:45:41,960 --> 00:45:45,040
Speaker 3: just kind of cosmic stuff. And then you know, maybe

851
00:45:45,640 --> 00:45:47,880
Speaker 3: like the earth moving and then plants coming up out

852
00:45:47,920 --> 00:45:50,520
Speaker 3: of the ground. But then we zoom in on a

853
00:45:50,600 --> 00:45:55,239
Speaker 3: little patch of dirt and the dirt starts throbbing. There

854
00:45:55,360 --> 00:46:01,360
Speaker 3: is something throbbing under the dirt. It's a big pulsing mass.

855
00:46:01,520 --> 00:46:05,560
Speaker 3: We realized that is covered in some kind of pink membrane.

856
00:46:06,680 --> 00:46:09,680
Speaker 3: And what's about to happen here is we are going

857
00:46:09,760 --> 00:46:14,480
Speaker 3: to watch Adam, the first Man, basically hatch out of

858
00:46:14,600 --> 00:46:17,120
Speaker 3: a juicy elastic gore egg.

859
00:46:17,800 --> 00:46:22,120
Speaker 2: Yes, yeah, kind of like a meat cocoon or like

860
00:46:22,200 --> 00:46:26,719
Speaker 2: a necro embryonic sack. Is just like pulsing underneath the

861
00:46:26,800 --> 00:46:31,440
Speaker 2: ground becomes increasingly exposed and you know, without an egg

862
00:46:31,760 --> 00:46:35,520
Speaker 2: tooth or you know, an egg beak or anything. Our

863
00:46:35,600 --> 00:46:37,920
Speaker 2: first man, Adam is going to have to like muscle

864
00:46:38,040 --> 00:46:42,800
Speaker 2: his way out of this raw meat cocoon that he's.

865
00:46:42,680 --> 00:46:46,080
Speaker 3: In, poking his fingers through the meat the meat mask.

866
00:46:46,440 --> 00:46:50,040
Speaker 2: Yeah, and it's this is so weird. I'd forgotten about

867
00:46:50,080 --> 00:46:53,560
Speaker 2: this scene. It's so weird. And it's especially in high

868
00:46:53,640 --> 00:46:55,839
Speaker 2: quality where you can really see all of the gut meat,

869
00:46:56,480 --> 00:46:59,239
Speaker 2: like it feels like it feels like something out of

870
00:46:59,320 --> 00:47:01,080
Speaker 2: a like a Leuciofolci movie.

871
00:47:01,160 --> 00:47:01,320
Speaker 3: You know.

872
00:47:01,400 --> 00:47:05,279
Speaker 2: It's like that level of like gross and visceral and

873
00:47:05,719 --> 00:47:08,000
Speaker 2: kind of perfect for this movie since it does sort

874
00:47:08,040 --> 00:47:12,160
Speaker 2: of exist at the convergence points of different Italian BT

875
00:47:12,200 --> 00:47:14,080
Speaker 2: cinema subgenres.

876
00:47:14,280 --> 00:47:17,000
Speaker 3: So it's like he's peeling himself out of a giant

877
00:47:17,200 --> 00:47:20,840
Speaker 3: beef kidney, but also all the fiber material on it.

878
00:47:20,960 --> 00:47:25,040
Speaker 3: It's like the beef kidney is partially composed of spiderwebs

879
00:47:25,080 --> 00:47:26,040
Speaker 3: and cotton candy.

880
00:47:26,560 --> 00:47:30,120
Speaker 2: Yeah, and as memory memory serves it, it doesn't quite

881
00:47:30,640 --> 00:47:34,160
Speaker 2: work like this in the Bible. But you know, you

882
00:47:34,280 --> 00:47:35,759
Speaker 2: have to make some choices of how you're going to

883
00:47:35,800 --> 00:47:36,960
Speaker 2: depict things, so why not.

884
00:47:37,880 --> 00:47:40,760
Speaker 3: There were several parts where, while I was making notes

885
00:47:40,800 --> 00:47:44,320
Speaker 3: on the movie, something that the closed captions on my

886
00:47:44,440 --> 00:47:47,320
Speaker 3: disc said something was really funny there, And I just

887
00:47:47,400 --> 00:47:49,719
Speaker 3: had to make a note here. The closed caption said

888
00:47:49,880 --> 00:47:56,440
Speaker 3: parentheses dirt rustling, and then so the narrator says, and

889
00:47:56,520 --> 00:48:00,960
Speaker 3: then God created man. Okay, so the camera, Oh this

890
00:48:01,120 --> 00:48:03,920
Speaker 3: is funny. The camera lingers on Adam's butt as he

891
00:48:04,040 --> 00:48:06,040
Speaker 3: is sliding out of the meat egg. It's like, check

892
00:48:06,080 --> 00:48:08,560
Speaker 3: out Adam's butt. This is the first man's butt.

893
00:48:08,840 --> 00:48:11,840
Speaker 2: Yeah, with like obvious yeah, like raw meat from the

894
00:48:11,840 --> 00:48:15,120
Speaker 2: butcher shot clinging to him because so.

895
00:48:15,239 --> 00:48:19,320
Speaker 3: Later we see him fully emerged. He's naked, he's jacked muscles,

896
00:48:19,680 --> 00:48:22,920
Speaker 3: he's standing as a silhouette against the sun. And the

897
00:48:23,080 --> 00:48:29,040
Speaker 3: narrator announces, he says Adam, and it's like, oh, it's Adam.

898
00:48:29,160 --> 00:48:32,440
Speaker 3: I was wondering who that was gonna be. Yeah, I

899
00:48:32,560 --> 00:48:34,640
Speaker 3: was feeling like they were going to play his entrance music.

900
00:48:35,040 --> 00:48:35,279
Speaker 2: Yeah.

901
00:48:35,840 --> 00:48:38,239
Speaker 3: And then another note I had to make about the

902
00:48:38,320 --> 00:48:40,080
Speaker 3: shot where he's standing up on the hill with the

903
00:48:40,160 --> 00:48:42,880
Speaker 3: sun in the background. Looks almost exactly like a shot

904
00:48:42,960 --> 00:48:45,720
Speaker 3: in Albert Pune's Nemesis that we talked about.

905
00:48:46,160 --> 00:48:49,160
Speaker 2: Yeah, it's a really good shot. Great, Yeah, great use

906
00:48:49,160 --> 00:48:52,919
Speaker 2: of location and natural lighting here, So Golden Hour.

907
00:48:53,360 --> 00:48:56,359
Speaker 3: Yeah, Adam walks around smiling, at things, and there are

908
00:48:56,840 --> 00:49:00,160
Speaker 3: as we've been saying, some beautiful location shots here. I

909
00:49:00,239 --> 00:49:04,120
Speaker 3: think this is a waterfall somewhere in Italy, and so

910
00:49:04,239 --> 00:49:06,680
Speaker 3: they are like these beautiful cliffs and he stands at

911
00:49:06,719 --> 00:49:09,840
Speaker 3: the base of this waterfall with these terraced pools underneath it,

912
00:49:10,360 --> 00:49:13,960
Speaker 3: just smiling at things like wow, that's cool. And we

913
00:49:14,920 --> 00:49:17,719
Speaker 3: see some shots of the Garden of Eden. So there

914
00:49:17,760 --> 00:49:20,640
Speaker 3: are doves running around on grass that is trimmed so

915
00:49:20,960 --> 00:49:23,759
Speaker 3: close it looks like a putting green. Yeah, like God

916
00:49:23,880 --> 00:49:26,319
Speaker 3: is really keeping up with the lawn care. Also, there

917
00:49:26,440 --> 00:49:29,400
Speaker 3: is a lion prowling around. It's just wandering the golf

918
00:49:29,480 --> 00:49:32,759
Speaker 3: course and the lion very much is looking around like Okay,

919
00:49:32,800 --> 00:49:34,080
Speaker 3: where am I supposed to go next?

920
00:49:35,280 --> 00:49:39,480
Speaker 2: I mean, cats are not great actors, so this is

921
00:49:39,560 --> 00:49:41,480
Speaker 2: pretty good for a cat of any size.

922
00:49:41,560 --> 00:49:43,919
Speaker 3: Yeah, there's also there are multiple big cats here. There's

923
00:49:43,960 --> 00:49:47,000
Speaker 3: a jaguar in the tree and Adam pets it. Well,

924
00:49:47,040 --> 00:49:48,840
Speaker 3: it just looks kind of slightly annoyed.

925
00:49:49,160 --> 00:49:54,160
Speaker 2: Yeah, yeah, fully naked. He's petting this big cat. There

926
00:49:54,200 --> 00:49:57,239
Speaker 2: are multiple scenes here where humans are in close brought

927
00:49:57,360 --> 00:49:59,680
Speaker 2: naked humans are in close proximity to big cats and

928
00:49:59,800 --> 00:50:01,200
Speaker 2: it's it's a little terrifying.

929
00:50:01,360 --> 00:50:05,680
Speaker 3: I was wondering, how did they shoot this? What was

930
00:50:05,800 --> 00:50:09,440
Speaker 3: going on here? Is this like a declawed, defanged jaguar

931
00:50:09,680 --> 00:50:12,320
Speaker 3: or did they Was it shot full authorisine or what?

932
00:50:12,640 --> 00:50:16,880
Speaker 2: I don't know, but yeah, there are some several interactions

933
00:50:16,920 --> 00:50:20,239
Speaker 2: with big cats and apparently nobody is mauled, so I

934
00:50:20,400 --> 00:50:21,320
Speaker 2: guess it went okay.

935
00:50:23,120 --> 00:50:25,399
Speaker 3: Yeah. There are also a lot of birds. We see

936
00:50:25,400 --> 00:50:28,600
Speaker 3: plenty of macaws, you know, brightly colored tropical.

937
00:50:28,239 --> 00:50:31,160
Speaker 2: Birds, hornbills. Yeah, there's some beautiful birds here.

938
00:50:31,640 --> 00:50:34,720
Speaker 3: There's a scene of Adam marveling at his own reflection

939
00:50:35,000 --> 00:50:37,759
Speaker 3: in the pond. He's kind of playing peekaboo with it,

940
00:50:37,880 --> 00:50:39,960
Speaker 3: as we said earlier, and then he falls in the water.

941
00:50:40,160 --> 00:50:43,360
Speaker 3: Fortunately he does know how to swim. And then the

942
00:50:43,480 --> 00:50:47,480
Speaker 3: narrator finally comes in again and says, but man wandered

943
00:50:47,560 --> 00:50:51,040
Speaker 3: the earth alone, So he's alone. And we see Mark

944
00:50:51,120 --> 00:50:54,360
Speaker 3: Gregory sitting naked on a beach, staring out at the waves,

945
00:50:55,000 --> 00:50:58,600
Speaker 3: and he's obviously sad because he's lonely. But he starts

946
00:50:58,920 --> 00:51:02,040
Speaker 3: with his hand. He startsqu wheezing sand in his fingers,

947
00:51:02,560 --> 00:51:05,719
Speaker 3: and then he gets a brilliant idea to make a

948
00:51:05,920 --> 00:51:09,920
Speaker 3: sand woman, so he starts like shaping. It's making a

949
00:51:10,040 --> 00:51:13,680
Speaker 3: sand castle basically, but in the shape of a woman's body.

950
00:51:14,840 --> 00:51:17,920
Speaker 3: Interesting questions one could introduce here, like how did he

951
00:51:18,040 --> 00:51:20,200
Speaker 3: know how to make a female human body which he

952
00:51:20,280 --> 00:51:21,000
Speaker 3: has never seen?

953
00:51:21,480 --> 00:51:23,640
Speaker 2: Yeah, I mean, I guess some choices might seem like

954
00:51:23,680 --> 00:51:26,480
Speaker 2: a no brainer, but it's hard to imagine that he'd

955
00:51:26,520 --> 00:51:28,120
Speaker 2: get the inside parts right as well.

956
00:51:28,239 --> 00:51:30,560
Speaker 3: Yeah, here's where the heart goes. Yeah, he's never seen

957
00:51:30,600 --> 00:51:32,800
Speaker 3: inside his thorax, Like what does he?

958
00:51:34,120 --> 00:51:36,680
Speaker 2: But I get I guess, you know, if we're leaning

959
00:51:36,719 --> 00:51:39,200
Speaker 2: into what we discussed earlier, the idea that it's like

960
00:51:39,360 --> 00:51:43,239
Speaker 2: God's will seems to be exerted through Adam's impulses, then

961
00:51:43,320 --> 00:51:45,720
Speaker 2: I guess it makes sense like this is God working

962
00:51:45,800 --> 00:51:48,440
Speaker 2: through Adam. God knows what a woman should look like,

963
00:51:48,880 --> 00:51:50,840
Speaker 2: and that's why that's how he's able to get the

964
00:51:50,920 --> 00:51:51,560
Speaker 2: nose just right.

965
00:51:51,960 --> 00:51:54,760
Speaker 3: I've shaping the nose. That part's cute.

966
00:51:54,840 --> 00:51:57,600
Speaker 2: Yeah, yeah, we've all I don't know about this hall,

967
00:51:57,640 --> 00:52:00,359
Speaker 2: but I know I've definitely tried to make sand people

968
00:52:00,440 --> 00:52:02,600
Speaker 2: in the sand before sculpt him, and the nose is

969
00:52:02,640 --> 00:52:06,680
Speaker 2: always so hard, Like even if you have great sand texture,

970
00:52:07,160 --> 00:52:08,880
Speaker 2: that nose is going to be a little bit crumbly,

971
00:52:09,160 --> 00:52:10,600
Speaker 2: so I'm glad that he was able to stick the

972
00:52:10,680 --> 00:52:11,400
Speaker 2: landing on this one.

973
00:52:11,680 --> 00:52:15,680
Speaker 3: Yeah. So anyway, he makes the sand woman, but then

974
00:52:16,320 --> 00:52:19,319
Speaker 3: it starts raining and you can feel Adam's pain here.

975
00:52:19,400 --> 00:52:21,800
Speaker 3: He is really sad, and this part I was feeling

976
00:52:21,840 --> 00:52:23,480
Speaker 3: for him. I was like, oh no, this it's going

977
00:52:23,560 --> 00:52:26,800
Speaker 3: to come down. It's going to ruin his companion. So

978
00:52:26,960 --> 00:52:29,400
Speaker 3: he before this, it shows him like lying next to

979
00:52:29,480 --> 00:52:31,920
Speaker 3: the woman. I think he's like feeling, you know, comforted

980
00:52:32,000 --> 00:52:34,120
Speaker 3: by the presence of this other body he has made

981
00:52:34,160 --> 00:52:36,360
Speaker 3: in the sand. And so he goes to kind of

982
00:52:36,440 --> 00:52:38,960
Speaker 3: cover the sandwoman up with his own body to prevent

983
00:52:39,080 --> 00:52:42,759
Speaker 3: it being washed away by the rains. But somehow the

984
00:52:42,960 --> 00:52:47,600
Speaker 3: sand woman in the ground has incubated a real live

985
00:52:47,719 --> 00:52:51,399
Speaker 3: woman inside. So the outer sand washes off and here

986
00:52:51,600 --> 00:52:55,480
Speaker 3: is Eve. This is Andrea Goldman, so like washes away

987
00:52:55,560 --> 00:52:57,480
Speaker 3: parts from her skin a little bit at a time,

988
00:52:57,600 --> 00:52:59,800
Speaker 3: and then you can see her face coming out. And

989
00:53:00,080 --> 00:53:02,920
Speaker 3: then it starts playing that theme song. You know, it

990
00:53:03,000 --> 00:53:08,319
Speaker 3: starts with you came into My Life And there are

991
00:53:08,360 --> 00:53:10,239
Speaker 3: a lot of lyrics here because it just seems like

992
00:53:10,280 --> 00:53:11,800
Speaker 3: this song loops like forever.

993
00:53:12,360 --> 00:53:15,479
Speaker 2: Yeah, so it feels like it goes on so long,

994
00:53:15,800 --> 00:53:18,480
Speaker 2: and we'll hear it again, and we'll hear instrumental versions

995
00:53:18,560 --> 00:53:20,719
Speaker 2: of it, and you know, they got they got a

996
00:53:20,760 --> 00:53:21,600
Speaker 2: lot out of this track.

997
00:53:22,000 --> 00:53:24,960
Speaker 3: But Adams lifts Eve up out of the ground and

998
00:53:25,080 --> 00:53:27,839
Speaker 3: you can kind of see that, Andrey Goldman has got

999
00:53:28,160 --> 00:53:30,440
Speaker 3: like some sand in her mouth and in her eyes.

1000
00:53:30,560 --> 00:53:33,839
Speaker 3: She's kind of wincing and puckering, like she's getting ready

1001
00:53:33,880 --> 00:53:37,520
Speaker 3: to spit the sand out. But Adam carries her away

1002
00:53:37,640 --> 00:53:41,120
Speaker 3: into the sunrise, and the song keeps playing on this

1003
00:53:41,360 --> 00:53:43,839
Speaker 3: loop while we see them getting to know each other.

1004
00:53:43,880 --> 00:53:46,680
Speaker 3: They're running around on the beach and smiling at each other,

1005
00:53:46,800 --> 00:53:50,760
Speaker 3: swimming in the water. Did you notice that multiple shots

1006
00:53:50,800 --> 00:53:54,120
Speaker 3: in this movie there are multiple times where both of

1007
00:53:54,200 --> 00:53:58,000
Speaker 3: our two leads seem to have like scrapes and little

1008
00:53:58,080 --> 00:54:01,480
Speaker 3: wounds on their butts, Like, oh, what is that about?

1009
00:54:01,560 --> 00:54:04,200
Speaker 3: But then right after this, I saw the scene where

1010
00:54:04,200 --> 00:54:06,920
Speaker 3: they're like sitting naked on these sharp river rocks, and

1011
00:54:07,040 --> 00:54:09,640
Speaker 3: I was like, oh, I bet they they're just while

1012
00:54:09,640 --> 00:54:11,759
Speaker 3: they're shooting this, they're kind of getting their their butt

1013
00:54:11,800 --> 00:54:12,360
Speaker 3: scraped up.

1014
00:54:12,760 --> 00:54:16,680
Speaker 2: Yeah, yeah, I think the wages of high definition restoration here,

1015
00:54:16,840 --> 00:54:20,520
Speaker 2: because yeah, like Eve's backside in particular, is clearly scraped

1016
00:54:20,600 --> 00:54:24,719
Speaker 2: up in one of these sequences. And yes, so yeah,

1017
00:54:25,120 --> 00:54:27,279
Speaker 2: and you recognize these some of these scrapes like sort

1018
00:54:27,320 --> 00:54:29,279
Speaker 2: of like the nature like, oh those are those? Are

1019
00:54:29,360 --> 00:54:32,480
Speaker 2: you know, sharp rocks in the water scrapes right there? Yeah.

1020
00:54:33,920 --> 00:54:37,200
Speaker 2: So the later we see that in Arcadio Ego.

1021
00:54:37,680 --> 00:54:43,319
Speaker 3: Yeah. So later they're in the garden, we see flamingos

1022
00:54:43,400 --> 00:54:46,560
Speaker 3: that just roll up and they're squawking all over the place.

1023
00:54:46,960 --> 00:54:49,279
Speaker 3: And Adam and Eves they spend all day playing in

1024
00:54:49,320 --> 00:54:52,480
Speaker 3: the waterfall, discussing which fruit they are and are not

1025
00:54:52,640 --> 00:54:55,840
Speaker 3: allowed to eat. You know, it's it's idyllic.

1026
00:54:56,480 --> 00:55:00,480
Speaker 2: Yeah, yeah, some big fruit around here, to be clear too, Apples.

1027
00:55:00,600 --> 00:55:03,360
Speaker 2: When we see the apple, the apples are gigantic.

1028
00:55:03,719 --> 00:55:07,800
Speaker 3: Yeah. They don't look like red delicious, much to my relief.

1029
00:55:08,040 --> 00:55:10,080
Speaker 3: I don't know what kind there. Yeah, I think I've

1030
00:55:10,080 --> 00:55:11,719
Speaker 3: said on the show that's like the only apple I

1031
00:55:11,840 --> 00:55:15,080
Speaker 3: don't like. I don't know. They look like they're sort

1032
00:55:15,120 --> 00:55:16,960
Speaker 3: of lighter colored, big and plump.

1033
00:55:17,760 --> 00:55:20,080
Speaker 2: Yeah, I mean, I don't know. We just don't have

1034
00:55:20,160 --> 00:55:23,640
Speaker 2: the side of apple anymore because this is Eden, I guess. So.

1035
00:55:24,800 --> 00:55:27,080
Speaker 3: Oh oh, and there's the scene where Mark Gregory is

1036
00:55:27,160 --> 00:55:30,120
Speaker 3: like getting physical with what seems to be a cheetah cub.

1037
00:55:30,320 --> 00:55:33,839
Speaker 3: It's like very little and cute and he's just wrestling it. Yeah.

1038
00:55:34,200 --> 00:55:37,120
Speaker 2: Yeah, also a little terrifying. But again I don't think

1039
00:55:37,160 --> 00:55:41,360
Speaker 2: anybody was hurt, so I guess it's all right people

1040
00:55:41,800 --> 00:55:44,000
Speaker 2: or cats as far as I know, So I guess

1041
00:55:44,080 --> 00:55:46,600
Speaker 2: it's fine. But you know, all this is, you know,

1042
00:55:46,680 --> 00:55:49,480
Speaker 2: we're in eat and everything seems to be good. Everybody

1043
00:55:49,560 --> 00:55:52,440
Speaker 2: seems happy. It's time for a little temptation to enter

1044
00:55:52,520 --> 00:55:52,920
Speaker 2: the picture.

1045
00:55:53,080 --> 00:55:55,920
Speaker 3: Yeah, yep, we got to meet a snake. So eventually

1046
00:55:56,080 --> 00:55:59,480
Speaker 3: Eve Mosey's on over to the apple tree. Snake comes

1047
00:55:59,520 --> 00:56:01,640
Speaker 3: out of the tree. It's not animated or anything. This

1048
00:56:01,800 --> 00:56:04,879
Speaker 3: is live footage of a real snake. I don't think

1049
00:56:05,160 --> 00:56:07,520
Speaker 3: it is stock footage. I think they must have had

1050
00:56:07,520 --> 00:56:08,439
Speaker 3: a snake on set.

1051
00:56:08,640 --> 00:56:11,040
Speaker 2: I think so because the quality is so good. Yeah,

1052
00:56:11,080 --> 00:56:12,800
Speaker 2: it makes me think this is one of the like,

1053
00:56:13,320 --> 00:56:16,600
Speaker 2: if we're filming at a zoos slash botanical garden, they

1054
00:56:16,640 --> 00:56:18,160
Speaker 2: had a snake and that's what they're using now.

1055
00:56:18,719 --> 00:56:21,760
Speaker 3: It also happens to be a quite ragged looking snake,

1056
00:56:21,800 --> 00:56:23,200
Speaker 3: which is an interesting choice.

1057
00:56:23,800 --> 00:56:27,280
Speaker 2: Yeah, like that, it's clearly mid mold or mid slouch,

1058
00:56:27,560 --> 00:56:30,320
Speaker 2: you know, losing this outer layer of skin, which I

1059
00:56:30,440 --> 00:56:32,440
Speaker 2: ended up quite quite liking. I think maybe this is

1060
00:56:32,560 --> 00:56:35,600
Speaker 2: an accidental detail, but you know, it kind of implies

1061
00:56:35,800 --> 00:56:39,920
Speaker 2: physical growth, transformation, even the shedding of one skin for another,

1062
00:56:40,040 --> 00:56:42,799
Speaker 2: which of course is what is kind of happening here

1063
00:56:42,960 --> 00:56:46,040
Speaker 2: with humanity in this myth, and this tail, like this

1064
00:56:46,200 --> 00:56:49,239
Speaker 2: previous stage of existence is about to radically change and

1065
00:56:49,360 --> 00:56:50,680
Speaker 2: a new one will take a hold.

1066
00:56:51,239 --> 00:56:55,920
Speaker 3: The snake always whispers when it talks, so it whispers.

1067
00:56:56,080 --> 00:56:58,960
Speaker 3: Eve Eve tastes the sweetest fruit in all the garden.

1068
00:56:59,120 --> 00:57:02,479
Speaker 3: It's an apple, Eat it, eat it. And so Eve

1069
00:57:02,640 --> 00:57:06,640
Speaker 3: reaches for the apple at the serpent's suggestion, but before

1070
00:57:06,680 --> 00:57:08,960
Speaker 3: she can pluck it from the tree, Adam appears and

1071
00:57:09,080 --> 00:57:13,000
Speaker 3: he like blocks her hand. He says, no, it's forbidden here.

1072
00:57:13,200 --> 00:57:16,400
Speaker 3: This flower smells much sweeter, and she's like, I don't

1073
00:57:16,440 --> 00:57:18,960
Speaker 3: want a flower. I'm hungry. And then he says, then

1074
00:57:19,000 --> 00:57:21,120
Speaker 3: you can eat this fruit, and he picks a different fruit.

1075
00:57:21,160 --> 00:57:24,000
Speaker 3: I think it's a plum. So she takes the safety

1076
00:57:24,080 --> 00:57:27,160
Speaker 3: fruit and she eats it reluctantly. But then from across

1077
00:57:27,240 --> 00:57:30,400
Speaker 3: the yard, the serpent is still whispering at her. It's saying, Eve,

1078
00:57:30,600 --> 00:57:34,880
Speaker 3: the apple is sweeter because it's forbidden, kind of turning

1079
00:57:34,960 --> 00:57:36,640
Speaker 3: subtext into text there.

1080
00:57:37,280 --> 00:57:42,400
Speaker 2: Yeah, yeah, but being very clear about it, like maybe

1081
00:57:42,520 --> 00:57:43,920
Speaker 2: she didn't need it spelled out for it, Like what

1082
00:57:44,000 --> 00:57:46,120
Speaker 2: does she know about subtext at this point?

1083
00:57:46,640 --> 00:57:49,720
Speaker 3: So Adam says, don't listen to him, come on, So

1084
00:57:50,280 --> 00:57:53,000
Speaker 3: they go, and the snake is whispering the whole time

1085
00:57:53,080 --> 00:57:56,200
Speaker 3: like Eve, don't go, you know, eat the fruit. And

1086
00:57:56,280 --> 00:57:59,080
Speaker 3: then we get a bedtime scene where Eve falls asleep

1087
00:57:59,160 --> 00:58:02,320
Speaker 3: on dryly in this blue filtered day for night shot,

1088
00:58:02,720 --> 00:58:05,640
Speaker 3: and then Adam comes and throws more dry leaves on

1089
00:58:05,760 --> 00:58:10,320
Speaker 3: top of her, and we watch a lion come and

1090
00:58:10,440 --> 00:58:11,720
Speaker 3: snuggle with them at night.

1091
00:58:11,880 --> 00:58:14,000
Speaker 2: So, oh, this is a cool scene because it's creeping

1092
00:58:14,120 --> 00:58:16,920
Speaker 2: up on him and the music's kind of implying that

1093
00:58:17,080 --> 00:58:20,520
Speaker 2: something might be happening here. But then it just lays down,

1094
00:58:20,600 --> 00:58:23,240
Speaker 2: has a nap with him. Because this is Eden, like,

1095
00:58:23,480 --> 00:58:25,880
Speaker 2: you know, there's no predation, right.

1096
00:58:25,960 --> 00:58:28,680
Speaker 3: Yeah, it's perfect Garden of Eden. It's perfect. There's no

1097
00:58:29,160 --> 00:58:31,640
Speaker 3: no need for anything to prey on anything else. So

1098
00:58:31,680 --> 00:58:34,200
Speaker 3: I guess this is a this is a vegetarian lion.

1099
00:58:34,720 --> 00:58:37,960
Speaker 2: Yeah, So the next.

1100
00:58:37,880 --> 00:58:41,360
Speaker 3: Morning before Adam wakes up, Eve gets up by herself.

1101
00:58:41,720 --> 00:58:45,000
Speaker 3: She wanders around in the grass and then she stares

1102
00:58:45,240 --> 00:58:49,320
Speaker 3: at stock footage of lions mating in the savannah and

1103
00:58:49,560 --> 00:58:53,000
Speaker 3: she kind of shakes her head like, what is this nonsense? Yeah,

1104
00:58:54,520 --> 00:58:58,000
Speaker 3: And then later the serpent tempts Eve again. This is

1105
00:58:58,080 --> 00:59:00,760
Speaker 3: while Adam is busy sitting naked on a really rough

1106
00:59:00,840 --> 00:59:06,040
Speaker 3: looking rock, and Eve says to the snake, if it's forbidden,

1107
00:59:06,120 --> 00:59:07,720
Speaker 3: why are you always telling me to eat it?

1108
00:59:08,880 --> 00:59:09,000
Speaker 2: Now?

1109
00:59:09,080 --> 00:59:11,480
Speaker 3: She's about to eat the fruit again, but Adam intervenes

1110
00:59:11,600 --> 00:59:13,880
Speaker 3: once again, and this leads to an argument, and I

1111
00:59:13,960 --> 00:59:16,560
Speaker 3: feel like this sets the tone for many arguments that

1112
00:59:16,640 --> 00:59:18,720
Speaker 3: will follow in the movie. So Adam comes in and

1113
00:59:18,800 --> 00:59:21,400
Speaker 3: he's like, don't eat that fruit, and Eve says, I'm

1114
00:59:21,480 --> 00:59:24,560
Speaker 3: just looking. It can't be forbidden just to look. Is

1115
00:59:24,600 --> 00:59:30,800
Speaker 3: it forbidden just to look? And Adam says no. So

1116
00:59:31,000 --> 00:59:33,240
Speaker 3: Eve keeps looking at it, but it's almost like a

1117
00:59:33,520 --> 00:59:36,160
Speaker 3: I'm not touching you. I'm not touching you. Like she's

1118
00:59:36,280 --> 00:59:38,760
Speaker 3: looking at it so close she's basically got her mouth

1119
00:59:38,920 --> 00:59:42,920
Speaker 3: on it. And then the snake whispers to her that

1120
00:59:43,080 --> 00:59:46,360
Speaker 3: if she eats the fruit, her life will change, and

1121
00:59:46,760 --> 00:59:49,720
Speaker 3: Adam's like, come on, let's go somewhere else. But Eve

1122
00:59:49,840 --> 00:59:53,120
Speaker 3: says where to have another bath, to watch another sunset?

1123
00:59:53,320 --> 00:59:56,960
Speaker 3: And then and Adam asks, you know, well, what is

1124
00:59:57,040 --> 00:59:58,920
Speaker 3: it you would like to do? And Eve is like,

1125
00:59:59,040 --> 01:00:02,480
Speaker 3: what else is there? Everything stays the same, It never changes.

1126
01:00:02,960 --> 01:00:06,840
Speaker 3: I feel the need to do something, something exciting, don't you.

1127
01:00:08,720 --> 01:00:11,560
Speaker 2: This is an interesting wrinkled introduced into the story, this

1128
01:00:11,720 --> 01:00:15,840
Speaker 2: idea that yeah, Eden is paradise, but there's something missing.

1129
01:00:15,960 --> 01:00:18,360
Speaker 2: It's there's something boring, and that's part of the temptation

1130
01:00:18,520 --> 01:00:21,360
Speaker 2: of the fruit. It's like like it's, you know, the

1131
01:00:21,440 --> 01:00:25,240
Speaker 2: problem of utopia. It's too perfect, Like where's the risk?

1132
01:00:25,280 --> 01:00:29,280
Speaker 2: Where's the danger? And to be clear, I think at

1133
01:00:29,280 --> 01:00:32,480
Speaker 2: this point we're to understand doing it has not been

1134
01:00:32,520 --> 01:00:35,800
Speaker 2: invented yet, so there's no there's no sex in this

1135
01:00:35,960 --> 01:00:38,880
Speaker 2: world aside from what the lions are doing, which Eve

1136
01:00:39,080 --> 01:00:42,640
Speaker 2: saw and we all saw through the stock footage, But

1137
01:00:42,760 --> 01:00:44,880
Speaker 2: that's reserved for the animals and it doesn't seem to

1138
01:00:44,960 --> 01:00:47,280
Speaker 2: be part of the created human existence.

1139
01:00:47,840 --> 01:00:50,560
Speaker 3: The other thing I wasn't sure about here was whether

1140
01:00:51,760 --> 01:00:54,200
Speaker 3: this is suppose this reaction is supposed to be something

1141
01:00:54,280 --> 01:00:57,480
Speaker 3: particular to Eve as a character for some reason, though

1142
01:00:57,480 --> 01:01:00,720
Speaker 3: I don't know where her individual character is sticks come from,

1143
01:01:00,880 --> 01:01:03,640
Speaker 3: or where atoms come from, because like they're the first

1144
01:01:03,760 --> 01:01:07,680
Speaker 3: people or to something about their situation, or whether it's

1145
01:01:07,920 --> 01:01:11,120
Speaker 3: sort of supposed to be like a sexist commentary on like, oh,

1146
01:01:11,200 --> 01:01:12,600
Speaker 3: women are never satisfied.

1147
01:01:14,040 --> 01:01:17,680
Speaker 2: Yeah, you get into like the sort of the gender

1148
01:01:17,840 --> 01:01:20,920
Speaker 2: politics of the story of Adam and Eve, right, And

1149
01:01:21,040 --> 01:01:24,720
Speaker 2: of course the story has obviously long been used to

1150
01:01:25,120 --> 01:01:29,000
Speaker 2: blame Eve for everything, like you know that the fall

1151
01:01:29,080 --> 01:01:31,600
Speaker 2: of man should be laid at her feet and all.

1152
01:01:32,600 --> 01:01:36,040
Speaker 2: And then of course this is often subverted and re examined,

1153
01:01:36,120 --> 01:01:38,280
Speaker 2: so there's like a rich tradition of just looking at

1154
01:01:38,320 --> 01:01:41,400
Speaker 2: it from whole different angles where this film ultimately falls

1155
01:01:42,320 --> 01:01:46,560
Speaker 2: either on purposely and accidentally. I guess it's ultimately kind

1156
01:01:46,560 --> 01:01:50,040
Speaker 2: of left to interpretation as well, not to say that

1157
01:01:50,160 --> 01:01:53,280
Speaker 2: it's you know, it's not heavy handed in moments with it,

1158
01:01:53,400 --> 01:01:56,040
Speaker 2: but I guess there's still at least a little wiggle

1159
01:01:56,120 --> 01:01:57,640
Speaker 2: room for interpretation.

1160
01:01:57,560 --> 01:02:00,880
Speaker 3: Well, whether it's supposed to be a sexist generalization or not,

1161
01:02:01,080 --> 01:02:04,760
Speaker 3: at least in their particular situation. What's going on is

1162
01:02:04,960 --> 01:02:07,160
Speaker 3: Adam is happy with the life they have, but Eve

1163
01:02:07,280 --> 01:02:09,320
Speaker 3: is not satisfied, And I feel.

1164
01:02:09,080 --> 01:02:12,080
Speaker 2: As a viewer, I'm inclined to side with Eve here,

1165
01:02:12,280 --> 01:02:15,880
Speaker 2: you know, because I'm buying that there's something lacking here,

1166
01:02:16,440 --> 01:02:19,760
Speaker 2: that maybe it's a little boring that Adam seems to

1167
01:02:20,680 --> 01:02:23,360
Speaker 2: you know, he doesn't want anything to change, And it

1168
01:02:23,480 --> 01:02:25,840
Speaker 2: makes sense that she's not completely satisfied, as well as

1169
01:02:25,880 --> 01:02:28,160
Speaker 2: these other questions like well, why is this fruit even

1170
01:02:28,200 --> 01:02:29,680
Speaker 2: here if we're not allowed to eat it? Like what

1171
01:02:29,840 --> 01:02:31,160
Speaker 2: is this weird setup?

1172
01:02:31,280 --> 01:02:31,320
Speaker 1: Like?

1173
01:02:32,040 --> 01:02:34,160
Speaker 2: And why am I having tempted to eat something that

1174
01:02:34,360 --> 01:02:37,280
Speaker 2: is forbidden to me? I'm just gonna have a bite

1175
01:02:37,320 --> 01:02:39,280
Speaker 2: of that apple and see what happens. That seems to

1176
01:02:39,360 --> 01:02:42,280
Speaker 2: be what everything is being set up to happen for me,

1177
01:02:42,440 --> 01:02:44,720
Speaker 2: Like this seems to be what I should do. Why not?

1178
01:02:45,160 --> 01:02:47,640
Speaker 3: Isn't it good to have knowledge of good and evil?

1179
01:02:47,720 --> 01:02:48,200
Speaker 2: Shouldn't you?

1180
01:02:48,280 --> 01:02:51,800
Speaker 3: Shouldn't you understand that lest we become wise? Do we

1181
01:02:51,880 --> 01:02:52,960
Speaker 3: not want to become wise?

1182
01:02:53,440 --> 01:02:53,640
Speaker 2: Yeah?

1183
01:02:54,280 --> 01:02:57,400
Speaker 3: So, anyway, she's not satisfied. She grabs the apple, she

1184
01:02:57,520 --> 01:03:00,080
Speaker 3: runs away with it. She takes a bite first, and

1185
01:03:00,160 --> 01:03:03,200
Speaker 3: she's making devil eyes at Adam while she bites the apple.

1186
01:03:03,600 --> 01:03:07,000
Speaker 2: Yeah, and sherotically charged apple eating. Yes, And I want

1187
01:03:07,040 --> 01:03:09,200
Speaker 2: to again mention, this is a huge apple. I feel

1188
01:03:09,360 --> 01:03:11,520
Speaker 2: like it might have been a little sexier with a

1189
01:03:11,600 --> 01:03:14,560
Speaker 2: smaller apple, because they really having to get in there

1190
01:03:14,600 --> 01:03:15,400
Speaker 2: to get those bites.

1191
01:03:15,600 --> 01:03:17,480
Speaker 3: She's getting a chunk out of it. Yeah, and she

1192
01:03:17,560 --> 01:03:20,040
Speaker 3: says it's only an apple, and then she gives it

1193
01:03:20,120 --> 01:03:23,600
Speaker 3: to him. He has some too, And yes, it is

1194
01:03:23,680 --> 01:03:28,600
Speaker 3: clearly a magically charged apple. Of course, in the biblical

1195
01:03:28,720 --> 01:03:30,920
Speaker 3: narrative it is you know that it is from the

1196
01:03:31,000 --> 01:03:34,800
Speaker 3: tree of the knowledge of good and evil. And there

1197
01:03:34,840 --> 01:03:37,120
Speaker 3: are plenty of other details we should add in the

1198
01:03:37,400 --> 01:03:39,880
Speaker 3: biblical narrative that are left out of the movie.

1199
01:03:40,160 --> 01:03:40,480
Speaker 2: Like in.

1200
01:03:42,280 --> 01:03:45,040
Speaker 3: The biblical narrative, Adam and Eve are told that if

1201
01:03:45,080 --> 01:03:46,800
Speaker 3: they eat the fruit of the tree, they will die,

1202
01:03:47,040 --> 01:03:49,280
Speaker 3: and the snake tells them, you will not die if

1203
01:03:49,320 --> 01:03:52,560
Speaker 3: you eat it, you know, And so there's other stuff.

1204
01:03:52,880 --> 01:03:57,360
Speaker 3: This is emphasizing rather the erotic qualities of the fruit

1205
01:03:57,440 --> 01:04:00,880
Speaker 3: of the tree, because the apple leads to immediate sex.

1206
01:04:00,960 --> 01:04:03,040
Speaker 3: They eat it and they're like, oh, okay, I know

1207
01:04:03,160 --> 01:04:03,480
Speaker 3: what's up.

1208
01:04:04,040 --> 01:04:05,760
Speaker 2: And then we cut away and we're pretty much in

1209
01:04:05,800 --> 01:04:09,120
Speaker 2: the aftermath of this act, and that's when it begins

1210
01:04:09,200 --> 01:04:13,200
Speaker 2: to become clear that oh, something, something bad. Has happened.

1211
01:04:13,520 --> 01:04:14,160
Speaker 2: This might have.

1212
01:04:16,000 --> 01:04:17,800
Speaker 3: Whoops, we send yeah, we.

1213
01:04:17,800 --> 01:04:19,880
Speaker 2: Get the the the idea. This might they might have

1214
01:04:20,000 --> 01:04:24,280
Speaker 2: violated the user agreement for the Earthly Paradise and they

1215
01:04:24,400 --> 01:04:24,920
Speaker 2: might have to.

1216
01:04:25,000 --> 01:04:30,280
Speaker 3: Leave warranty voided. Yeah, so dark clouds gather, thundercracks and

1217
01:04:30,720 --> 01:04:33,720
Speaker 3: a mighty storm descends on the land, driving Adam and

1218
01:04:33,760 --> 01:04:37,120
Speaker 3: Eve out of the garden. There's like howling wind and

1219
01:04:37,360 --> 01:04:40,120
Speaker 3: missed at one point it seems like something is grabbing

1220
01:04:40,200 --> 01:04:42,680
Speaker 3: Eve by the feet and pulling her into the bushes

1221
01:04:42,760 --> 01:04:44,680
Speaker 3: like a monster, But I think it's just the wind.

1222
01:04:46,040 --> 01:04:49,400
Speaker 3: Volcano erupts like fire. Fireworks are coming out of a

1223
01:04:49,600 --> 01:04:50,200
Speaker 3: big piece of.

1224
01:04:50,280 --> 01:04:53,160
Speaker 2: Rock, possibly from another movie. I didn't double I didn't

1225
01:04:53,200 --> 01:04:55,520
Speaker 2: check on that one, but this might be from another film.

1226
01:04:55,880 --> 01:04:58,240
Speaker 3: They add in a scene where Adam and Eve run

1227
01:04:58,640 --> 01:05:01,880
Speaker 3: down a tunnel from a boulder, like in Raiders of

1228
01:05:01,920 --> 01:05:04,439
Speaker 3: the Lost Ark, which had just come out two years before,

1229
01:05:04,560 --> 01:05:06,680
Speaker 3: So I think this is an obvious take from that.

1230
01:05:07,200 --> 01:05:09,360
Speaker 2: Yeah, and this is definitely a special effect that they

1231
01:05:09,440 --> 01:05:13,040
Speaker 2: did for this film, and it's yeah, the boulders stop motion,

1232
01:05:13,800 --> 01:05:15,760
Speaker 2: so it's you know, it's kind of cute there, you know,

1233
01:05:15,840 --> 01:05:17,960
Speaker 2: obviously it's a chroma key effect sort of a thing,

1234
01:05:18,040 --> 01:05:20,640
Speaker 2: you know, green screen type effect with them like running

1235
01:05:20,680 --> 01:05:24,120
Speaker 2: in front of something, but it's pretty fun. I liked it.

1236
01:05:24,800 --> 01:05:28,120
Speaker 3: Afterwards, they travel through a cave and then emerge from

1237
01:05:28,160 --> 01:05:31,360
Speaker 3: the cave into a bleak but beautiful landscape. They're up

1238
01:05:31,400 --> 01:05:34,240
Speaker 3: on like a bare mountaintop looking down over these rocky

1239
01:05:34,400 --> 01:05:38,560
Speaker 3: valleys of red clay earth, and then suddenly, out of nowhere,

1240
01:05:38,680 --> 01:05:42,040
Speaker 3: Eves starts saying, don't look at me. This theme actually

1241
01:05:42,240 --> 01:05:44,560
Speaker 3: is in the Bible, where after they eat the fruit

1242
01:05:44,640 --> 01:05:48,400
Speaker 3: of the tree, they they realize their nakedness and they

1243
01:05:48,480 --> 01:05:51,520
Speaker 3: become ashamed. Though the timing is backwards in the Bible,

1244
01:05:51,560 --> 01:05:54,680
Speaker 3: it happens before they leave the garden. They eat the fruit,

1245
01:05:54,880 --> 01:05:58,400
Speaker 3: they realize they're naked, they cover themselves with leaves, and

1246
01:05:58,520 --> 01:06:02,120
Speaker 3: then when when God finds them later, as God is

1247
01:06:02,160 --> 01:06:04,560
Speaker 3: walking in the garden, he's like, why are you doing that? Uh? Oh,

1248
01:06:04,800 --> 01:06:16,440
Speaker 3: that's you know, to tip off. So next time we

1249
01:06:16,480 --> 01:06:19,000
Speaker 3: see Adam and Eve, they're wearing loin cloths, and I

1250
01:06:19,200 --> 01:06:21,760
Speaker 3: think these have to win the award for the most

1251
01:06:22,040 --> 01:06:25,400
Speaker 3: uncomfortable looking loin cloths I've ever seen in a film.

1252
01:06:26,000 --> 01:06:30,960
Speaker 3: Just look incredibly rough looking, woody, spiny plant matter stuck

1253
01:06:31,000 --> 01:06:33,439
Speaker 3: in their butts. It does not look fun to wear.

1254
01:06:34,120 --> 01:06:38,040
Speaker 2: Yeah, yeah, literally their first working prototype of clothing, which

1255
01:06:38,080 --> 01:06:41,720
Speaker 2: they had to invent in the field, based on nothing

1256
01:06:41,840 --> 01:06:43,800
Speaker 2: other than like, what can we use to just cover

1257
01:06:43,920 --> 01:06:46,320
Speaker 2: up our nakedness? It's like if you tried to build

1258
01:06:46,320 --> 01:06:49,280
Speaker 2: a bikini out of just the items you buy at

1259
01:06:49,320 --> 01:06:52,040
Speaker 2: pet coat to go in a lizard tank. That's pretty

1260
01:06:52,080 --> 01:06:53,040
Speaker 2: much what's going on here.

1261
01:06:53,320 --> 01:06:57,320
Speaker 3: Yeah, just you know, like thorns and Manila rope. Like

1262
01:07:00,040 --> 01:07:03,280
Speaker 3: there's more arguing, arguing about the weather, about where they

1263
01:07:03,320 --> 01:07:06,040
Speaker 3: should go next, about whether they should eat more fruit

1264
01:07:06,160 --> 01:07:07,960
Speaker 3: or not. There's a great part it was like, well,

1265
01:07:08,040 --> 01:07:10,000
Speaker 3: we're hungry, we got to find some fruit. I don't

1266
01:07:10,000 --> 01:07:12,240
Speaker 3: think we should eat any more fruit. I don't know.

1267
01:07:13,520 --> 01:07:16,200
Speaker 2: Yeah yeah, He's like fruit got us into this. Done

1268
01:07:16,240 --> 01:07:16,640
Speaker 2: with fruit.

1269
01:07:17,040 --> 01:07:20,280
Speaker 3: They also have an argument about whether they are already dead.

1270
01:07:20,560 --> 01:07:22,920
Speaker 3: Eve is like, aren't we already dead? And Adam's like,

1271
01:07:23,000 --> 01:07:26,760
Speaker 3: this isn't what death is. Eve at one point says,

1272
01:07:26,840 --> 01:07:30,360
Speaker 3: why is the heat gone? Adam says, the sun's cold

1273
01:07:30,560 --> 01:07:34,200
Speaker 3: because of you. It will never get hot again. He's

1274
01:07:34,240 --> 01:07:38,560
Speaker 3: blaming her, blaming her a bed. Eve thinks that eventually

1275
01:07:38,680 --> 01:07:41,520
Speaker 3: their punishment will be over and then they will get

1276
01:07:41,560 --> 01:07:44,000
Speaker 3: to go back into the garden and next time they'll

1277
01:07:44,040 --> 01:07:46,040
Speaker 3: be good, and they won't they won't mess it up.

1278
01:07:46,840 --> 01:07:50,200
Speaker 2: That's kind of what happens, but over over the course

1279
01:07:50,280 --> 01:07:52,240
Speaker 2: of a very long time.

1280
01:07:52,160 --> 01:07:55,080
Speaker 3: Right, they stop, and so they walk through many landscapes

1281
01:07:55,080 --> 01:07:59,280
Speaker 3: again like beautiful locations here, it's great desert valleys and vistas.

1282
01:07:59,360 --> 01:08:02,160
Speaker 3: They stop and they drink some stagnant looking water out

1283
01:08:02,200 --> 01:08:05,240
Speaker 3: of a marsh. They find some eggs in a nest,

1284
01:08:05,520 --> 01:08:08,560
Speaker 3: and then this leads into the terosaur attack.

1285
01:08:09,280 --> 01:08:13,640
Speaker 2: Yeah, we get this amazing effect sequence here where first

1286
01:08:13,680 --> 01:08:18,599
Speaker 2: we see the terrasaar, this prehistoric winged reptile flapping its

1287
01:08:18,640 --> 01:08:21,760
Speaker 2: wings atop a roost. And this is actually a Ray

1288
01:08:21,880 --> 01:08:24,880
Speaker 2: Harry House in effect that's lifted right out of nineteen

1289
01:08:24,920 --> 01:08:28,840
Speaker 2: sixty six is one million years BC. This film starred

1290
01:08:28,920 --> 01:08:33,439
Speaker 2: Raquel Welch and John Richardson. So they just they borrowed this,

1291
01:08:33,720 --> 01:08:36,599
Speaker 2: but probably they probably didn't pay for it, the editor

1292
01:08:36,680 --> 01:08:40,320
Speaker 2: points out. And then we cut from this to this

1293
01:08:41,080 --> 01:08:44,000
Speaker 2: grotesque puppet that feels like it just flew out of

1294
01:08:44,080 --> 01:08:47,040
Speaker 2: Jurassic Hell. This is the thing that our heroes are

1295
01:08:47,080 --> 01:08:50,160
Speaker 2: going to actually wrestle with brutally murder and then eat

1296
01:08:50,200 --> 01:08:51,559
Speaker 2: the flesh off Adam.

1297
01:08:51,800 --> 01:08:55,439
Speaker 3: Yeah. So Adam is like bashing it and twisting its neck.

1298
01:08:56,320 --> 01:08:59,760
Speaker 3: And then just as he's like ripping this squelching purse

1299
01:08:59,800 --> 01:09:03,360
Speaker 3: of guts open, uh, he says, but are you sure

1300
01:09:03,439 --> 01:09:06,680
Speaker 3: we can eat flesh or no way? Eve says that Eve,

1301
01:09:06,720 --> 01:09:08,880
Speaker 3: while Adam is like ripping into it, Eve's like, can

1302
01:09:08,960 --> 01:09:12,200
Speaker 3: we eat flesh? And Adam says, the animals eat dead things,

1303
01:09:12,400 --> 01:09:14,439
Speaker 3: so they're just going to gobble those guts.

1304
01:09:14,720 --> 01:09:16,760
Speaker 2: Okay, I guess that's how it worked in Eden where

1305
01:09:16,800 --> 01:09:19,759
Speaker 2: we had the animals were eating things that died already.

1306
01:09:19,880 --> 01:09:22,880
Speaker 2: I don't know, but but yeah, I love this secret.

1307
01:09:22,920 --> 01:09:26,440
Speaker 2: They're they're tearing it up, they're butchering this, this dead pterodactyl.

1308
01:09:26,920 --> 01:09:31,840
Speaker 2: And then Eve holds this bloody pterodactyl wingshred up over

1309
01:09:31,960 --> 01:09:34,559
Speaker 2: her crude loincloth like she's trying it on in front

1310
01:09:34,600 --> 01:09:38,120
Speaker 2: of a department store mirror. And the next shot, our

1311
01:09:38,200 --> 01:09:43,640
Speaker 2: biblical power couple have invented the the pterodactyl bikini, like

1312
01:09:43,760 --> 01:09:46,200
Speaker 2: they have. They're all decked out in wing flesh.

1313
01:09:46,560 --> 01:09:50,160
Speaker 3: It's beautiful. Yeah, so they the Eve is looking at it,

1314
01:09:50,280 --> 01:09:53,200
Speaker 3: she rips up the wing flesh, and she gets the

1315
01:09:53,280 --> 01:09:56,280
Speaker 3: ideas like, oh, we could replace these rough, you know,

1316
01:09:57,560 --> 01:10:01,160
Speaker 3: thorn bikinis with with pterosaur l bikinis. So that's what

1317
01:10:01,320 --> 01:10:06,120
Speaker 3: they moved on to. Yeah. So after this, the movie

1318
01:10:06,240 --> 01:10:11,160
Speaker 3: shifts abruptly into caveman mode, in which Adam and Eve

1319
01:10:11,240 --> 01:10:14,280
Speaker 3: will continue to have strife of their own, but they

1320
01:10:14,320 --> 01:10:18,400
Speaker 3: will just repeatedly encounter other groups of prehistoric humans using

1321
01:10:18,479 --> 01:10:22,599
Speaker 3: stone age technologies. Where did these other humans come from

1322
01:10:23,000 --> 01:10:25,320
Speaker 3: in creation not addressed in the film.

1323
01:10:25,920 --> 01:10:28,880
Speaker 2: Yeah, I mean we might infer that they were a

1324
01:10:29,000 --> 01:10:33,080
Speaker 2: separate creation, that they existed before the creation of Adam

1325
01:10:33,120 --> 01:10:35,840
Speaker 2: and Eve, which raises a number of questions. But yeah,

1326
01:10:35,880 --> 01:10:38,760
Speaker 2: they seem to have ventured out of Eden and are

1327
01:10:38,880 --> 01:10:45,519
Speaker 2: encountering already established prehistoric groups of people, some of which

1328
01:10:45,720 --> 01:10:48,439
Speaker 2: seem like, you know, essentially modern human beings much like themselves,

1329
01:10:48,479 --> 01:10:51,240
Speaker 2: and others are clearly meant to be hominid species that

1330
01:10:51,320 --> 01:10:54,000
Speaker 2: are you know, close relatives of humanity.

1331
01:10:54,280 --> 01:10:57,000
Speaker 3: Yeah, I think are the Are the Cannibals supposed to

1332
01:10:57,000 --> 01:10:58,320
Speaker 3: be Neanderthals or something?

1333
01:10:58,360 --> 01:11:02,120
Speaker 2: I guess though, Yeah, again highly fictionalized, but yeah, I'm

1334
01:11:02,120 --> 01:11:04,640
Speaker 2: gonna give a brief breakdown here of the tribes of

1335
01:11:04,720 --> 01:11:07,040
Speaker 2: Adam and Eve. So, first of all, we of course

1336
01:11:07,080 --> 01:11:09,320
Speaker 2: have Adam and Eve, our two person tribe of new

1337
01:11:09,439 --> 01:11:13,800
Speaker 2: human beings, created directly and immaculately by God, and in

1338
01:11:13,880 --> 01:11:16,839
Speaker 2: their natural state, they were of course beautiful, shameless, deathless,

1339
01:11:17,240 --> 01:11:21,040
Speaker 2: and with an innate power over nature, particularly otherwise fearsome

1340
01:11:21,080 --> 01:11:24,080
Speaker 2: animals like lions. And this last power is we'll see,

1341
01:11:24,120 --> 01:11:26,720
Speaker 2: seems to stick with them even after expulsion after their

1342
01:11:26,760 --> 01:11:27,880
Speaker 2: expulsion from Eden.

1343
01:11:28,760 --> 01:11:31,280
Speaker 3: Well only up to a point though, because later the

1344
01:11:31,800 --> 01:11:33,200
Speaker 3: animals battle with them.

1345
01:11:33,360 --> 01:11:37,720
Speaker 2: Yeah, I know, clearly they didn't work on the pterodactyls,

1346
01:11:37,800 --> 01:11:42,000
Speaker 2: so there are limits to their powers. Okay, so that's

1347
01:11:42,040 --> 01:11:44,640
Speaker 2: one group. Then we also have the trogs, the Troglodetes,

1348
01:11:44,680 --> 01:11:47,760
Speaker 2: and this is a tribe of bestial but intelligence sex

1349
01:11:47,880 --> 01:11:53,479
Speaker 2: positiveminids that live in fear of predator predatory carnivores. And

1350
01:11:54,160 --> 01:11:57,040
Speaker 2: there's a certain amount of intended comedy with these guys.

1351
01:11:57,080 --> 01:12:00,000
Speaker 2: These guys are very much sort of like b mood

1352
01:12:00,120 --> 01:12:01,080
Speaker 2: v cavemen.

1353
01:12:01,520 --> 01:12:04,840
Speaker 3: Yeah, pulling silly faces for the camera. And these guys

1354
01:12:04,920 --> 01:12:07,799
Speaker 3: all have haircuts that look like Davy Crockett hats.

1355
01:12:08,120 --> 01:12:11,120
Speaker 2: Yeah, a lot of extra hair glued to their bodies

1356
01:12:11,200 --> 01:12:14,960
Speaker 2: as well and glued their face. So that's one group.

1357
01:12:15,200 --> 01:12:18,840
Speaker 2: We're also going to later encounter the Greens, tribe of

1358
01:12:18,920 --> 01:12:22,519
Speaker 2: omnivorous Homo sapiens that ritually cover themselves with green clay

1359
01:12:22,920 --> 01:12:25,519
Speaker 2: and they are masters of stick, vine and rock based

1360
01:12:25,640 --> 01:12:28,120
Speaker 2: martial arts. We see them out training with their sticks.

1361
01:12:28,280 --> 01:12:31,439
Speaker 3: Yeah, so green body paint. They live in a forested area,

1362
01:12:32,360 --> 01:12:35,160
Speaker 3: green body paint, and sticks. They're all about sticks. They're

1363
01:12:35,240 --> 01:12:36,679
Speaker 3: always doing stuff with sticks.

1364
01:12:37,360 --> 01:12:40,000
Speaker 2: And then there are the cannibals, and this is a hostile,

1365
01:12:40,200 --> 01:12:43,920
Speaker 2: warlike tribe of hominids who seem to greatly enhance their

1366
01:12:44,000 --> 01:12:47,519
Speaker 2: diet through cannibalistic raids on the Greens and presumably the

1367
01:12:47,600 --> 01:12:51,639
Speaker 2: trogs as well. Just frightening in appearance, like truly scary,

1368
01:12:51,840 --> 01:12:55,200
Speaker 2: with like some you know, makeup prosthetics to give them

1369
01:12:55,240 --> 01:13:00,599
Speaker 2: that enhanced brow and everything. Total italo zombie cannibal gut munchers.

1370
01:13:00,720 --> 01:13:03,000
Speaker 2: These guys. Yeah, but we'll see them in a bit.

1371
01:13:03,080 --> 01:13:04,960
Speaker 2: They haven't been introduced yet, but this seems to be

1372
01:13:05,080 --> 01:13:09,840
Speaker 2: like the basic prehistoric caveman world that Adam and Eve

1373
01:13:09,960 --> 01:13:13,439
Speaker 2: have ventured out into, you know, with no expectations They're like,

1374
01:13:13,479 --> 01:13:15,080
Speaker 2: they're about to meet the other people.

1375
01:13:15,360 --> 01:13:17,840
Speaker 3: They I think they didn't know there were any other people, right,

1376
01:13:18,160 --> 01:13:21,719
Speaker 3: but they Yeah. They go out walking and Eve sees

1377
01:13:21,760 --> 01:13:23,800
Speaker 3: a trog that I like looking at them from behind

1378
01:13:23,840 --> 01:13:26,720
Speaker 3: a rock, and she tells Adam. He keeps dismissing her.

1379
01:13:26,840 --> 01:13:28,880
Speaker 3: He's like, no, you only saw an animal. Come on,

1380
01:13:29,040 --> 01:13:33,200
Speaker 3: let's wander further into this ravine. And eventually they get

1381
01:13:33,280 --> 01:13:36,040
Speaker 3: trapped down there and the trogs come out surround them,

1382
01:13:36,880 --> 01:13:39,920
Speaker 3: and then we cut to them later being carried hanging

1383
01:13:40,000 --> 01:13:42,640
Speaker 3: from poles like Han and Leah after the capture by

1384
01:13:42,640 --> 01:13:46,160
Speaker 3: the Ewoks, and I love how they continue bickering while

1385
01:13:46,240 --> 01:13:52,000
Speaker 3: dangling from the stakes though it's fun. The argument transforms

1386
01:13:52,160 --> 01:13:55,760
Speaker 3: into professions of love, where Adam says, I love you.

1387
01:13:56,040 --> 01:13:58,479
Speaker 3: I would die for you or live with you forever,

1388
01:13:59,200 --> 01:14:01,719
Speaker 3: and Eve says forever? And who would be the boss?

1389
01:14:02,200 --> 01:14:04,519
Speaker 3: Adam says, how could you ask such a question?

1390
01:14:04,840 --> 01:14:04,880
Speaker 1: Me?

1391
01:14:05,080 --> 01:14:05,599
Speaker 3: Of course?

1392
01:14:06,400 --> 01:14:08,519
Speaker 2: Who's the boss? One of the one of the great

1393
01:14:08,600 --> 01:14:11,559
Speaker 2: questions humanity was asking even at this early stage.

1394
01:14:11,640 --> 01:14:13,200
Speaker 3: It's the boss and me, of course.

1395
01:14:14,920 --> 01:14:18,040
Speaker 2: But again, this is a good example of where I

1396
01:14:18,320 --> 01:14:20,599
Speaker 2: liked the silliness of the dialogue. Here because it did

1397
01:14:20,720 --> 01:14:24,200
Speaker 2: sort of undercut the tension of the film, you know,

1398
01:14:24,320 --> 01:14:26,920
Speaker 2: because it seems like, and you could be horribly wrong

1399
01:14:27,080 --> 01:14:29,400
Speaker 2: in this expectation, but it seems like if they're having

1400
01:14:29,439 --> 01:14:31,960
Speaker 2: this silly interaction, it's probably not going to be too

1401
01:14:32,000 --> 01:14:34,240
Speaker 2: horrific in the next scene, Like, they're probably not going

1402
01:14:34,320 --> 01:14:35,679
Speaker 2: to be butchered and eton.

1403
01:14:36,040 --> 01:14:38,600
Speaker 3: Yeah, So they're taken back to the caves where this

1404
01:14:38,680 --> 01:14:41,599
Speaker 3: whole society lives. There's a lot of like checking out

1405
01:14:41,680 --> 01:14:45,640
Speaker 3: Adam's groin and poking at Eve. Adam really at one

1406
01:14:45,680 --> 01:14:48,920
Speaker 3: point really abandons Eve here. She's freaking out. She's like,

1407
01:14:49,000 --> 01:14:51,679
Speaker 3: make them stop messing with me, and he's like, calm down.

1408
01:14:51,800 --> 01:14:53,560
Speaker 3: They're just trying to figure out what we're made of.

1409
01:14:54,120 --> 01:14:56,439
Speaker 2: Yeah, I'm afraid. I'm afraid the cannibals later will be

1410
01:14:56,479 --> 01:14:58,519
Speaker 2: looking to do that too. Yeah, they want to. They

1411
01:14:58,600 --> 01:15:00,280
Speaker 2: want to get all in there and figure out what

1412
01:15:00,880 --> 01:15:02,439
Speaker 2: how this gut connects to this gut.

1413
01:15:03,360 --> 01:15:06,120
Speaker 3: So eventually a tiger comes along and then all of

1414
01:15:06,200 --> 01:15:09,160
Speaker 3: the Troglodites run away in fear. They hide in the caves.

1415
01:15:09,200 --> 01:15:11,240
Speaker 3: But Adam and Eve have no fear of tigers. They

1416
01:15:11,320 --> 01:15:12,960
Speaker 3: used to, you know, they used to snuggle them all

1417
01:15:13,000 --> 01:15:14,360
Speaker 3: the time in the garden, and.

1418
01:15:14,439 --> 01:15:16,720
Speaker 2: The Tiger's like, hey, okay, there enough.

1419
01:15:17,160 --> 01:15:20,960
Speaker 3: Yeah, And I think this kind of makes the troglodites

1420
01:15:21,040 --> 01:15:23,519
Speaker 3: regard Adam and Eve as like gods of some kind.

1421
01:15:23,560 --> 01:15:25,560
Speaker 3: They're afraid of them now, so Adam and Eve go

1422
01:15:25,680 --> 01:15:26,160
Speaker 3: on their way.

1423
01:15:26,600 --> 01:15:28,320
Speaker 2: I have to say, like this whole section with the

1424
01:15:28,360 --> 01:15:31,640
Speaker 2: prehistoric humans, it's it's pretty fun world building, Like, I mean,

1425
01:15:31,640 --> 01:15:34,080
Speaker 2: there's the world they build, and then all the just

1426
01:15:34,200 --> 01:15:38,400
Speaker 2: this the thoughts that it raises, Like what there's off

1427
01:15:38,479 --> 01:15:40,040
Speaker 2: the top of my head. I don't know the answer

1428
01:15:40,080 --> 01:15:43,760
Speaker 2: to this, but I wonder if other authors have explored

1429
01:15:43,800 --> 01:15:46,760
Speaker 2: this idea, like like cast Adam and Eve out of

1430
01:15:46,800 --> 01:15:49,360
Speaker 2: the garden into this into some sort of you know,

1431
01:15:49,439 --> 01:15:52,559
Speaker 2: clan in the cave bear like environment, and you see

1432
01:15:52,600 --> 01:15:54,519
Speaker 2: what happens build it up. I don't know. I think

1433
01:15:54,520 --> 01:15:55,760
Speaker 2: there's a lot of possibility here.

1434
01:15:56,000 --> 01:15:59,879
Speaker 3: M So they end up walking in their terosaur bikini

1435
01:16:00,160 --> 01:16:04,519
Speaker 3: over this dark volcanic landscape with twisted black rocks, and

1436
01:16:04,760 --> 01:16:07,120
Speaker 3: Adam says that he thinks they need to find the

1437
01:16:07,280 --> 01:16:10,360
Speaker 3: sea quote because life begins in the sea and we

1438
01:16:10,520 --> 01:16:14,200
Speaker 3: have to start again. Hmm. Seems like one of those

1439
01:16:14,240 --> 01:16:20,240
Speaker 3: atomisms here kind of just intuition. Eve offers some counterpoints.

1440
01:16:20,320 --> 01:16:22,640
Speaker 3: She's like, how do we even know what direction the

1441
01:16:22,680 --> 01:16:24,599
Speaker 3: sea is in? How do we know if we're getting

1442
01:16:24,680 --> 01:16:26,800
Speaker 3: closer or further away? How do we know if it

1443
01:16:26,880 --> 01:16:29,519
Speaker 3: even exists? Good question, how do we know if there

1444
01:16:29,600 --> 01:16:30,720
Speaker 3: is such a thing as the sea?

1445
01:16:31,600 --> 01:16:34,320
Speaker 2: Yeah, and through all of this, yeah, Adam has this

1446
01:16:34,479 --> 01:16:37,240
Speaker 2: sort of fool hardy like, yeah, yeah, I'll know it

1447
01:16:37,280 --> 01:16:38,800
Speaker 2: when I'll see it. I feel like this is the way,

1448
01:16:38,880 --> 01:16:41,120
Speaker 2: and you know, I guess within the context of the film,

1449
01:16:41,160 --> 01:16:44,120
Speaker 2: there's this idea that maybe God is speaking through him

1450
01:16:44,200 --> 01:16:46,680
Speaker 2: and like letting him know where to go. But that's

1451
01:16:46,760 --> 01:16:50,439
Speaker 2: not expressly stated either, and so you can can certainly

1452
01:16:51,160 --> 01:16:53,360
Speaker 2: you can certainly side with Eve here. It's like, yeah,

1453
01:16:53,520 --> 01:16:55,240
Speaker 2: this guy doesn't know where he's going. He doesn't know

1454
01:16:55,280 --> 01:16:58,240
Speaker 2: where that ocean is or what happens when we get there,

1455
01:16:58,800 --> 01:17:02,080
Speaker 2: Like why is he all the shots? Like, let's listen

1456
01:17:02,120 --> 01:17:03,640
Speaker 2: to Eve a little bit more here, This should be

1457
01:17:03,680 --> 01:17:04,240
Speaker 2: a partnership.

1458
01:17:04,960 --> 01:17:07,360
Speaker 3: But Adam has a counterpoint to that. So they argue

1459
01:17:07,400 --> 01:17:11,439
Speaker 3: a bit, and Adam Adam riotterts, Hey, remember it's your fault.

1460
01:17:11,520 --> 01:17:14,080
Speaker 3: We got kicked out of the garden, and Eve says,

1461
01:17:14,200 --> 01:17:17,400
Speaker 3: I thought you'd forgiven me for that. Adam says, I

1462
01:17:17,600 --> 01:17:20,760
Speaker 3: have forgiven you, but I'll never forgive myself for being

1463
01:17:20,880 --> 01:17:21,400
Speaker 3: led by you.

1464
01:17:22,920 --> 01:17:25,360
Speaker 2: Turned it around in the same thing, didn't he. Yeah, yeah,

1465
01:17:25,720 --> 01:17:29,120
Speaker 2: these two need a couple's therapists, but those don't exist yet.

1466
01:17:29,120 --> 01:17:32,080
Speaker 2: Those are not going to exist for thousands, about thousands

1467
01:17:32,120 --> 01:17:32,479
Speaker 2: of years.

1468
01:17:32,680 --> 01:17:34,160
Speaker 3: That's not a real apology.

1469
01:17:34,360 --> 01:17:34,559
Speaker 2: Yeah.

1470
01:17:36,200 --> 01:17:38,760
Speaker 3: So eventually Eve climbs a tree here. She won't come

1471
01:17:38,840 --> 01:17:40,840
Speaker 3: down for some reason, so Adam tells her she's on

1472
01:17:40,920 --> 01:17:45,000
Speaker 3: her own and they part ways. Big breakup scene. So

1473
01:17:45,360 --> 01:17:48,080
Speaker 3: middle of the movie, Eve goes out wandering in the

1474
01:17:48,160 --> 01:17:51,240
Speaker 3: forest and then we're gonna get more cavemane cannibal stuff.

1475
01:17:51,320 --> 01:17:54,160
Speaker 3: She gets captured by a man covered in green body paint.

1476
01:17:54,760 --> 01:17:58,120
Speaker 3: He catches her takes her back to his village. These

1477
01:17:58,200 --> 01:18:01,120
Speaker 3: are the green the people with the green paint you

1478
01:18:01,240 --> 01:18:04,439
Speaker 3: mentioned earlier. They spend a lot of time hitting things

1479
01:18:04,520 --> 01:18:08,120
Speaker 3: with big sticks, like pounding food items, processing foods, and

1480
01:18:08,160 --> 01:18:12,320
Speaker 3: then hitting other sticks, like dueling with sticks. There's at

1481
01:18:12,360 --> 01:18:15,040
Speaker 3: some point here there's kind of a dispute within the

1482
01:18:15,120 --> 01:18:17,639
Speaker 3: tribe over a dead bird that I didn't understand.

1483
01:18:17,920 --> 01:18:21,280
Speaker 2: I think our green hunk here bear killer. I think

1484
01:18:21,439 --> 01:18:24,000
Speaker 2: the idea is he's like, Hey, I've met this this

1485
01:18:24,160 --> 01:18:28,240
Speaker 2: fancy lady from another tribe, and I really need to

1486
01:18:28,280 --> 01:18:30,640
Speaker 2: impress her. I need this dead bird, this dead like

1487
01:18:30,760 --> 01:18:33,160
Speaker 2: golden pheasant or whatever it is. I'm going to run

1488
01:18:33,200 --> 01:18:35,240
Speaker 2: off with her, like no, we had plans for that pheasant,

1489
01:18:36,000 --> 01:18:37,519
Speaker 2: so I think because he brings it to her like

1490
01:18:37,600 --> 01:18:40,880
Speaker 2: as an offering, being like hey, like it's a bouquet

1491
01:18:40,920 --> 01:18:44,080
Speaker 2: of flowers, like, hey, you're special to me. Here's a

1492
01:18:44,160 --> 01:18:44,599
Speaker 2: dead bird.

1493
01:18:45,040 --> 01:18:48,559
Speaker 3: It's it's beautiful. Meanwhile, Adam stares at the Grand Canyon

1494
01:18:48,720 --> 01:18:50,720
Speaker 3: for a long time or whatever this is. If it's

1495
01:18:50,800 --> 01:18:54,120
Speaker 3: not the Grand Canyon, if it's pretty grand plan, it's huge. Yeah,

1496
01:18:54,880 --> 01:18:57,559
Speaker 3: and then he just walks around for a long time

1497
01:18:57,600 --> 01:19:01,919
Speaker 3: by himself, naked, not naked, he's got the leather terosaur

1498
01:19:02,000 --> 01:19:06,559
Speaker 3: leather bikini at this point, standing on hilltops looking solemn. Eventually,

1499
01:19:07,040 --> 01:19:10,920
Speaker 3: eve Eve starts to kind of like the guy she's

1500
01:19:11,000 --> 01:19:13,640
Speaker 3: with now at this tribe, so it's not just like

1501
01:19:13,680 --> 01:19:16,639
Speaker 3: a captive situation. She's like flirting with him. She's like, Oh,

1502
01:19:16,720 --> 01:19:18,880
Speaker 3: you should wash that green paint off your body. You'd

1503
01:19:18,920 --> 01:19:22,040
Speaker 3: be much more handsome without it, so he does. Once

1504
01:19:22,080 --> 01:19:25,799
Speaker 3: he's all washed off, Eve is obviously into him. She's flirting,

1505
01:19:26,320 --> 01:19:28,920
Speaker 3: and then later that night they have sex next to

1506
01:19:29,000 --> 01:19:32,160
Speaker 3: a waterfall, and Adam happens to arrive the next morning

1507
01:19:32,200 --> 01:19:34,800
Speaker 3: and find them dozing together on the rocks, and then

1508
01:19:34,840 --> 01:19:39,200
Speaker 3: he walks away looking sad. So this is Adam's Adam's

1509
01:19:39,240 --> 01:19:43,800
Speaker 3: first experience of that feeling, I guess. And then there's

1510
01:19:43,800 --> 01:19:46,120
Speaker 3: a cannibal attack. Finally we're going to get the cannibals

1511
01:19:46,160 --> 01:19:49,400
Speaker 3: showing up. So the cannibalmen attack the village of the

1512
01:19:49,439 --> 01:19:52,600
Speaker 3: people with the green body paint. These the people with

1513
01:19:52,720 --> 01:19:55,640
Speaker 3: the body paint, retreat by climbing trees. I thought this

1514
01:19:55,800 --> 01:19:58,240
Speaker 3: was kind of a cool twist. They climb the trees,

1515
01:19:58,840 --> 01:20:00,559
Speaker 3: and then it turns out that they're Their body paint

1516
01:20:00,680 --> 01:20:04,280
Speaker 3: is not just decorative, it's camouflage because they blend into

1517
01:20:04,320 --> 01:20:08,000
Speaker 3: the leaves and the cannibals can't find them. And then

1518
01:20:08,200 --> 01:20:11,320
Speaker 3: the people in the trees launch a counter attack, swinging

1519
01:20:11,400 --> 01:20:14,400
Speaker 3: from vines, hitting with sticks. So it is a war

1520
01:20:14,600 --> 01:20:19,160
Speaker 3: of cannibals versus the green body paint and fighting breaks

1521
01:20:19,200 --> 01:20:22,240
Speaker 3: out all over. There are some gore sequences here, like cannibals.

1522
01:20:22,320 --> 01:20:25,400
Speaker 3: The cannibals just start eating defeated villagers while the fight

1523
01:20:25,520 --> 01:20:27,320
Speaker 3: is still going on. I would think, shouldn't they wait

1524
01:20:27,360 --> 01:20:28,120
Speaker 3: till the fight's over.

1525
01:20:28,400 --> 01:20:30,960
Speaker 2: Nope, it's time to rip up in those abdomens and

1526
01:20:31,040 --> 01:20:32,800
Speaker 2: go right with the guts. So that's when we get

1527
01:20:32,840 --> 01:20:33,920
Speaker 2: some gut munching.

1528
01:20:33,680 --> 01:20:36,080
Speaker 3: Here Egal roads jog On.

1529
01:20:37,720 --> 01:20:39,439
Speaker 2: Yes, so we do get the sense that like this

1530
01:20:39,600 --> 01:20:42,479
Speaker 2: is a known interaction that's happening here, Like the green

1531
01:20:42,520 --> 01:20:46,240
Speaker 2: people have a protocol that they follow and at some

1532
01:20:46,360 --> 01:20:49,120
Speaker 2: point the cannibals are just going to attack. In the Cannibals,

1533
01:20:50,000 --> 01:20:54,600
Speaker 2: I would say their tactics are very brutal and you know,

1534
01:20:55,040 --> 01:20:58,560
Speaker 2: but also not particularly refined. Like again, they just come in,

1535
01:20:58,680 --> 01:21:01,160
Speaker 2: they start killing people, and they're gonna him on the spot. Yeah,

1536
01:21:02,400 --> 01:21:04,719
Speaker 2: we'll see, they'll take some people away, but their hunger

1537
01:21:04,840 --> 01:21:07,120
Speaker 2: is too great. They've got a bunch of guts on location.

1538
01:21:07,479 --> 01:21:09,920
Speaker 3: Like thag, we're still fighting. You know, it's not time

1539
01:21:10,000 --> 01:21:14,200
Speaker 3: to eat yet, so eat, time to eat guts. There's

1540
01:21:14,200 --> 01:21:15,719
Speaker 3: a lot of head bashing with rocks.

1541
01:21:15,760 --> 01:21:18,719
Speaker 2: Also big rocks, too big, like I guess paper mache

1542
01:21:18,920 --> 01:21:20,519
Speaker 2: rocks or something, and they don't look too bad. But

1543
01:21:20,960 --> 01:21:23,120
Speaker 2: you can tell that the way people are brandishing them

1544
01:21:23,200 --> 01:21:26,360
Speaker 2: that like nobody's got that much upper arm strength. Yeah,

1545
01:21:26,479 --> 01:21:29,480
Speaker 2: these things are bigger than their heads the side of watermelons.

1546
01:21:30,200 --> 01:21:34,120
Speaker 3: Sometime during the fight, Adam tries to sneak into the village,

1547
01:21:34,160 --> 01:21:36,240
Speaker 3: but he gets he gets his feet caught in a

1548
01:21:36,280 --> 01:21:40,000
Speaker 3: snare trap and is left dangling upside down. Eve and

1549
01:21:40,160 --> 01:21:43,120
Speaker 3: her new boyfriend are captured by the cannibals and thrown

1550
01:21:43,160 --> 01:21:45,160
Speaker 3: into a pit. I guess they're being stored for a

1551
01:21:45,240 --> 01:21:49,280
Speaker 3: later meal. And then while the cannibals are distracted kind

1552
01:21:49,280 --> 01:21:51,880
Speaker 3: of slurping up the flesh of another lady from the pit,

1553
01:21:52,400 --> 01:21:56,240
Speaker 3: Adam appears to rescue Eve and her new boyfriend. And

1554
01:21:56,360 --> 01:21:59,599
Speaker 3: there's some funny editing and fight choreography in the sequence,

1555
01:21:59,680 --> 01:22:01,560
Speaker 3: Like Adam appears at the top of the pit, he

1556
01:22:01,680 --> 01:22:04,320
Speaker 3: throws the body of a dead cannibal down into the well,

1557
01:22:04,560 --> 01:22:08,040
Speaker 3: so I guess Adam killed him. And then Eve recognizes him.

1558
01:22:08,120 --> 01:22:11,160
Speaker 3: She's like Adam. They start climbing up the side, and

1559
01:22:11,240 --> 01:22:15,479
Speaker 3: then we just abruptly cut to the boyfriend stabbing a

1560
01:22:15,560 --> 01:22:19,040
Speaker 3: cannibal with a spear and Adam slowly walking up holding

1561
01:22:19,120 --> 01:22:21,599
Speaker 3: a huge boulder and smashing the cannibal's head.

1562
01:22:22,200 --> 01:22:25,240
Speaker 2: Yeah, So we're like really tense in the escape sequence here,

1563
01:22:25,320 --> 01:22:27,120
Speaker 2: and then we just kind of like seem missing. We

1564
01:22:27,320 --> 01:22:31,160
Speaker 2: cut yeah, two further along in the escape, which you know,

1565
01:22:31,240 --> 01:22:34,360
Speaker 2: maybe it was a situation where like the footage wasn't

1566
01:22:34,360 --> 01:22:36,880
Speaker 2: as good or they just wasn't coming together, and they

1567
01:22:36,920 --> 01:22:38,519
Speaker 2: were just like we got we got tom. Just move

1568
01:22:38,520 --> 01:22:39,479
Speaker 2: ahead to the next thing.

1569
01:22:40,080 --> 01:22:43,400
Speaker 3: And this cannibal head bashing is happening in this beautiful

1570
01:22:43,479 --> 01:22:48,920
Speaker 3: field of wheat against the sunset, and so our trio escapes, Adam,

1571
01:22:49,160 --> 01:22:52,519
Speaker 3: Eve and Eve's new boyfriend now all traveling together. They

1572
01:22:52,600 --> 01:22:56,320
Speaker 3: swim down a river clutching a log, and here we're

1573
01:22:56,360 --> 01:22:59,080
Speaker 3: treated to a lot of shots of hippos and crocodiles

1574
01:22:59,160 --> 01:23:01,479
Speaker 3: in the river. The hip was moved very gracefully under

1575
01:23:01,520 --> 01:23:01,840
Speaker 3: the water.

1576
01:23:02,280 --> 01:23:05,879
Speaker 2: Fascinating hippo stock footage. Like this is some stock footage.

1577
01:23:05,920 --> 01:23:08,880
Speaker 2: You can really enjoy watching the way that they kind of, yeah,

1578
01:23:09,200 --> 01:23:13,680
Speaker 2: prance along the bottom. Terrifying I'm assuming nile crocodile here.

1579
01:23:15,000 --> 01:23:17,080
Speaker 2: This reminds me of the bid in the interview with

1580
01:23:17,160 --> 01:23:19,519
Speaker 2: the editor. He's talking about in the old days, Like

1581
01:23:19,600 --> 01:23:22,600
Speaker 2: so this would have been like early eighties roam. You

1582
01:23:22,880 --> 01:23:24,720
Speaker 2: want stock footage for a movie, you had to go

1583
01:23:24,760 --> 01:23:27,640
Speaker 2: down to an actual office and you tell them what

1584
01:23:27,720 --> 01:23:29,800
Speaker 2: you need and they like show you the footage. We

1585
01:23:29,880 --> 01:23:31,920
Speaker 2: were talking about this, like they do you see what

1586
01:23:32,000 --> 01:23:34,160
Speaker 2: it looks like? Did that they projecting it? Or are

1587
01:23:34,160 --> 01:23:36,200
Speaker 2: you like holding up negatives and looking at it with

1588
01:23:36,240 --> 01:23:39,120
Speaker 2: a little lens? But what however the case, it's like

1589
01:23:39,240 --> 01:23:40,479
Speaker 2: you look at it and you're like, yeah, this is

1590
01:23:40,520 --> 01:23:41,800
Speaker 2: what I would like, and they like give you the

1591
01:23:41,880 --> 01:23:44,360
Speaker 2: negatives and then you take it back and you cut

1592
01:23:44,439 --> 01:23:47,439
Speaker 2: it in, which I thought was just pretty fascinating. I

1593
01:23:47,560 --> 01:23:48,759
Speaker 2: never thought about that before.

1594
01:23:58,160 --> 01:24:00,639
Speaker 3: So at this point, what could be left in the movie.

1595
01:24:00,680 --> 01:24:04,120
Speaker 3: We've already had cannibals, pterosaurs. What if we get a

1596
01:24:04,160 --> 01:24:07,360
Speaker 3: bear attack in there? Sure throw it need a bear suit.

1597
01:24:07,560 --> 01:24:10,639
Speaker 3: So by the riverside, Eve is attacked by a man

1598
01:24:10,720 --> 01:24:13,840
Speaker 3: in a bear suit. We're not treated to like a

1599
01:24:13,920 --> 01:24:16,439
Speaker 3: long good look at the costume. It's mostly kind of

1600
01:24:16,520 --> 01:24:18,760
Speaker 3: close ups of the face and claws and then some

1601
01:24:18,920 --> 01:24:21,400
Speaker 3: fleeting shots of the whole body as it's wrestling with

1602
01:24:21,479 --> 01:24:25,960
Speaker 3: the humans. And here in this fight, Eve's boyfriend saves

1603
01:24:26,000 --> 01:24:28,240
Speaker 3: the day. He stabs the bear with his trusty stick.

1604
01:24:28,920 --> 01:24:31,280
Speaker 2: I have to say I was on my rewatch. I

1605
01:24:31,360 --> 01:24:33,240
Speaker 2: was expecting the bear to look a lot worse, and

1606
01:24:33,320 --> 01:24:36,120
Speaker 2: it ended up looking better than I remembered looking. Not

1607
01:24:36,280 --> 01:24:40,240
Speaker 2: to say it looks amazing, but it looks good enough

1608
01:24:40,280 --> 01:24:42,800
Speaker 2: that it makes me suspect that there's another movie with

1609
01:24:42,880 --> 01:24:45,479
Speaker 2: a worse bear suit that I was kind of comparing

1610
01:24:45,520 --> 01:24:47,559
Speaker 2: it to him. I and if we watched another movie

1611
01:24:47,600 --> 01:24:50,760
Speaker 2: with a terrible bearsuit, we have watched some bad bear suits. Yeah,

1612
01:24:51,360 --> 01:24:54,559
Speaker 2: that must be that this one is not great, not terrible,

1613
01:24:54,680 --> 01:24:55,439
Speaker 2: It's okay.

1614
01:24:55,720 --> 01:25:00,240
Speaker 3: Yeah. So after the fight is over, Eve's boyfri friend

1615
01:25:00,320 --> 01:25:02,400
Speaker 3: is feeling good. He's like, yeah, I stabbed that bear.

1616
01:25:02,640 --> 01:25:04,719
Speaker 3: So he goes over to Eve and he starts making

1617
01:25:04,840 --> 01:25:07,679
Speaker 3: romantic overtures like did you like how I stab that bear?

1618
01:25:08,320 --> 01:25:12,120
Speaker 3: And Adam is not into this. He yells for this

1619
01:25:12,240 --> 01:25:15,519
Speaker 3: guy to get away from Eve. They start fighting, and

1620
01:25:15,720 --> 01:25:18,200
Speaker 3: Eve initially does not intervene or try to stop them.

1621
01:25:18,280 --> 01:25:20,519
Speaker 3: She's just kind of standing there watching, I guess, waiting

1622
01:25:20,560 --> 01:25:21,320
Speaker 3: to see who wins.

1623
01:25:21,600 --> 01:25:25,000
Speaker 2: Yeah, let's let this play out, let's tire each other out,

1624
01:25:25,080 --> 01:25:26,360
Speaker 2: and well, yeah, see how it goes.

1625
01:25:26,640 --> 01:25:30,160
Speaker 3: Finally, when the new boyfriend gets the upper hand and

1626
01:25:30,360 --> 01:25:32,840
Speaker 3: is about to smash Adam's head with the rock. Eve

1627
01:25:32,960 --> 01:25:36,400
Speaker 3: finally calls out. She says no, So it seems like

1628
01:25:36,840 --> 01:25:39,240
Speaker 3: even after everything, after all the fighting and all that,

1629
01:25:39,479 --> 01:25:44,040
Speaker 3: she still loves her first boyfriend, Adam. And when this

1630
01:25:44,160 --> 01:25:46,160
Speaker 3: becomes clear, the other guy takes it pretty well. He

1631
01:25:46,240 --> 01:25:48,000
Speaker 3: looks kind of sad for a second, then he just

1632
01:25:48,160 --> 01:25:49,880
Speaker 3: jogs away, never to be seen again.

1633
01:25:50,000 --> 01:25:52,240
Speaker 2: He's like, their killer is a gentleman, and he's like,

1634
01:25:53,000 --> 01:25:57,240
Speaker 2: the lady has chosen fair enough, I shall go back

1635
01:25:57,320 --> 01:25:57,960
Speaker 2: into the wild.

1636
01:25:58,520 --> 01:26:01,679
Speaker 3: Gentlemen out there, take notice, take take take the example

1637
01:26:01,720 --> 01:26:04,360
Speaker 3: of bear Killer here. You know he respects her decision.

1638
01:26:05,520 --> 01:26:06,880
Speaker 3: Uh so, uh is it?

1639
01:26:07,200 --> 01:26:07,400
Speaker 2: Yeah?

1640
01:26:07,560 --> 01:26:08,960
Speaker 3: I don't know where he's gonna go though. Is he

1641
01:26:09,040 --> 01:26:10,559
Speaker 3: gonna go get back in the cannibal pit?

1642
01:26:11,160 --> 01:26:12,840
Speaker 2: I mean I guess he's gonna return to the Green

1643
01:26:12,920 --> 01:26:16,040
Speaker 2: tribe and just like, hey didn't work out with that

1644
01:26:16,160 --> 01:26:18,840
Speaker 2: lady from another tribe, and there they're gonna be like, oh, yeah,

1645
01:26:18,920 --> 01:26:21,200
Speaker 2: we knew that would not work out. A lady that

1646
01:26:21,200 --> 01:26:24,400
Speaker 2: you gave our fancy pheasant too. Yeah, yeah, not surprised

1647
01:26:24,439 --> 01:26:24,640
Speaker 2: at all.

1648
01:26:24,720 --> 01:26:27,560
Speaker 3: Bert. Oh, that's going to be a cold return for

1649
01:26:27,680 --> 01:26:31,080
Speaker 3: bear Killer. You know, so we're into the final act

1650
01:26:31,120 --> 01:26:34,080
Speaker 3: of the movie. At this point, Adam and Eve wander

1651
01:26:34,160 --> 01:26:38,679
Speaker 3: around wearing furs and increasingly cold environments. In a moment

1652
01:26:38,760 --> 01:26:42,519
Speaker 3: shortly after the previous scene, Eve says to Adam, you're angry,

1653
01:26:42,720 --> 01:26:45,760
Speaker 3: but I'm happy, very happy because now I know you

1654
01:26:45,960 --> 01:26:50,000
Speaker 3: love me. And Adam's like, uh, you know, what was

1655
01:26:50,040 --> 01:26:53,120
Speaker 3: the deal with that guy? And Eve swears he's like

1656
01:26:53,200 --> 01:26:56,479
Speaker 3: pretty much says exactly that. It's like, she's like, he

1657
01:26:56,560 --> 01:26:59,240
Speaker 3: meant nothing to me, nothing at all. And then the

1658
01:27:00,320 --> 01:27:02,080
Speaker 3: This is another point where I had to include the

1659
01:27:02,120 --> 01:27:07,160
Speaker 3: closed caption. It's parentheses. Gentle synth music continues. Ah, that's good,

1660
01:27:09,800 --> 01:27:12,840
Speaker 3: and Adam starts right after this. By the way, Adam

1661
01:27:12,960 --> 01:27:16,479
Speaker 3: just starts practicing stick based martial arts, which he learned

1662
01:27:16,520 --> 01:27:19,839
Speaker 3: from you know, Eve's other dude, which seems embarrassing, especially

1663
01:27:19,920 --> 01:27:20,519
Speaker 3: in this moment.

1664
01:27:20,960 --> 01:27:22,800
Speaker 2: Yeah, but he's like, like, I'm trying to get better.

1665
01:27:22,880 --> 01:27:25,960
Speaker 2: You saw how that bear killer did with a stick. Yeah,

1666
01:27:26,360 --> 01:27:27,599
Speaker 2: as good as that Wasn't.

1667
01:27:27,439 --> 01:27:29,439
Speaker 3: He so strong and handsome or remember him?

1668
01:27:31,000 --> 01:27:32,720
Speaker 2: See, they should have worked it out. There's could have

1669
01:27:32,760 --> 01:27:34,720
Speaker 2: been some arrangement. They could have the three of them

1670
01:27:34,760 --> 01:27:35,519
Speaker 2: come to I think.

1671
01:27:35,880 --> 01:27:39,960
Speaker 3: Yeah, so Suddenly, after stick practice my first Love, the

1672
01:27:40,080 --> 01:27:42,679
Speaker 3: song starts playing again and they segue into a tender

1673
01:27:42,760 --> 01:27:43,320
Speaker 3: love scene.

1674
01:27:43,800 --> 01:27:48,559
Speaker 2: Okay, so there, it's good again. There the relationship back on.

1675
01:27:48,680 --> 01:27:51,840
Speaker 3: Track, Adam. And even this segment of the movie, they

1676
01:27:51,880 --> 01:27:54,360
Speaker 3: watch some more nature documentaries, like they stop to look

1677
01:27:54,400 --> 01:27:56,920
Speaker 3: at cheetahs eating a dead gazelle and they're like, oh,

1678
01:27:58,479 --> 01:28:03,519
Speaker 3: that's scary. And then Eve at one point says Adam,

1679
01:28:03,600 --> 01:28:05,040
Speaker 3: I want to be with you, but I want to

1680
01:28:05,080 --> 01:28:07,599
Speaker 3: be with other people too. You saw how they help

1681
01:28:07,640 --> 01:28:09,720
Speaker 3: each other, protect each other. So I think she means

1682
01:28:09,760 --> 01:28:12,320
Speaker 3: not romantically, she wants to live within a compage.

1683
01:28:12,439 --> 01:28:15,080
Speaker 2: Yeah. She needs more than just this relationship. She needs

1684
01:28:15,120 --> 01:28:16,240
Speaker 2: to be a part of a community.

1685
01:28:16,400 --> 01:28:19,320
Speaker 3: Yeah, Adam says, when I saw you with that other man,

1686
01:28:19,560 --> 01:28:23,160
Speaker 3: it made me feel bad. Yeah, this is one of

1687
01:28:23,200 --> 01:28:24,960
Speaker 3: the parts where I was thinking of this movie. It's

1688
01:28:25,040 --> 01:28:27,960
Speaker 3: really like aliens learning how to be human. He's like,

1689
01:28:28,080 --> 01:28:31,000
Speaker 3: what was that? What is jealousy? What is that feeling?

1690
01:28:32,720 --> 01:28:35,719
Speaker 3: And so after this, they go walking around in snow

1691
01:28:35,760 --> 01:28:39,360
Speaker 3: covered landscapes with cool geological formations, and then they go

1692
01:28:39,439 --> 01:28:42,719
Speaker 3: into a big cedar forest. In this part of the movie,

1693
01:28:42,920 --> 01:28:46,640
Speaker 3: Eve becomes pregnant. She discloses this to Adam and they

1694
01:28:46,720 --> 01:28:49,320
Speaker 3: argue about this too. She says, I'm making a baby,

1695
01:28:49,680 --> 01:28:52,160
Speaker 3: and Adam says, you can't do that. Only the animals

1696
01:28:52,200 --> 01:28:54,760
Speaker 3: can do that, and then she gets mad at him,

1697
01:28:55,280 --> 01:28:57,920
Speaker 3: and then he says, what kind of a baby? She says,

1698
01:28:58,040 --> 01:29:00,559
Speaker 3: a baby like you? He says, how can a baby

1699
01:29:00,640 --> 01:29:01,120
Speaker 3: be like me?

1700
01:29:02,200 --> 01:29:04,800
Speaker 2: Yeah, some new stuff. There's a lot of changes going

1701
01:29:04,840 --> 01:29:08,479
Speaker 2: on here. Then I would say that in general, like

1702
01:29:08,720 --> 01:29:10,320
Speaker 2: you were like, what else is there to do in

1703
01:29:10,400 --> 01:29:13,160
Speaker 2: this movie? True enough, at this point in the movie,

1704
01:29:13,320 --> 01:29:16,320
Speaker 2: like all the best parts have already happened.

1705
01:29:16,560 --> 01:29:20,679
Speaker 3: I would say the last fifteen minutes is not the best. Yeah,

1706
01:29:20,920 --> 01:29:23,160
Speaker 3: it gets kind of it's a little bit of a

1707
01:29:23,200 --> 01:29:25,200
Speaker 3: slog I mean, there's still some beautiful locations.

1708
01:29:25,240 --> 01:29:28,559
Speaker 2: The locations are pretty. The locations and the clunky dialogue

1709
01:29:29,320 --> 01:29:30,800
Speaker 2: or at times kind of clunky dog these are the

1710
01:29:30,840 --> 01:29:32,519
Speaker 2: main things pulling you along at this point.

1711
01:29:32,880 --> 01:29:35,280
Speaker 3: So, like, where are they going? I guess they're still

1712
01:29:35,320 --> 01:29:37,479
Speaker 3: looking for the sea, like Adam said at the beginning.

1713
01:29:37,840 --> 01:29:39,759
Speaker 3: At one point, they end up crawling through a narrow

1714
01:29:39,840 --> 01:29:43,280
Speaker 3: tunnel in a cave and this emerges into a wolf

1715
01:29:43,400 --> 01:29:46,519
Speaker 3: stin and Adam has to fight the wolves. It's a

1716
01:29:46,600 --> 01:29:49,000
Speaker 3: long fight with these wolves to drive them away so

1717
01:29:49,120 --> 01:29:51,679
Speaker 3: they can get through. I did not really enjoy this part.

1718
01:29:51,800 --> 01:29:53,920
Speaker 3: It seemed like it went on forever. At the end,

1719
01:29:54,000 --> 01:29:58,360
Speaker 3: he strangles a wolf with his hands, and fortunately I

1720
01:29:58,520 --> 01:30:00,599
Speaker 3: was like, oh my god, has he really hurt that dog?

1721
01:30:00,680 --> 01:30:02,280
Speaker 3: But then we see the dog as like, we can

1722
01:30:02,320 --> 01:30:04,080
Speaker 3: see it breathing when it's supposed to be dead.

1723
01:30:05,800 --> 01:30:08,960
Speaker 2: But I was afraid to look too closely. But yeah,

1724
01:30:09,000 --> 01:30:10,720
Speaker 2: I think it should have been where Wolve's here, or

1725
01:30:10,920 --> 01:30:12,680
Speaker 2: glacier zombies or anything like.

1726
01:30:12,680 --> 01:30:15,720
Speaker 3: We've already to go snowmen. Yeah, yeah, there you go.

1727
01:30:15,840 --> 01:30:20,120
Speaker 2: It's like to go from like cannibal tribes raiding other

1728
01:30:20,600 --> 01:30:24,479
Speaker 2: homined civilizations, to go from that to just wolves. It's

1729
01:30:24,520 --> 01:30:26,800
Speaker 2: a little lackluster. It needed something a little bit more

1730
01:30:26,840 --> 01:30:27,759
Speaker 2: fantasy oriented.

1731
01:30:27,840 --> 01:30:29,880
Speaker 3: Here on the other side of the cave, they come

1732
01:30:29,920 --> 01:30:32,840
Speaker 3: out onto a glacier. We see some yaks tromping around

1733
01:30:32,880 --> 01:30:36,160
Speaker 3: in the snow. Eve is cold and exhausted. Things seem

1734
01:30:36,280 --> 01:30:39,920
Speaker 3: kind of dire. Adam builds them an igloo of some kind,

1735
01:30:40,320 --> 01:30:41,920
Speaker 3: but he goes out looking for food and says he

1736
01:30:42,000 --> 01:30:43,200
Speaker 3: can't find anything to eat.

1737
01:30:43,360 --> 01:30:45,880
Speaker 2: They have some yaks. They were just like a million yaks.

1738
01:30:45,920 --> 01:30:47,519
Speaker 2: I guess they're pretty big, pretty big.

1739
01:30:47,920 --> 01:30:50,919
Speaker 3: So they argue some more. Eve's like, can't you understand

1740
01:30:51,000 --> 01:30:54,639
Speaker 3: there's no hope in this land? No hope. But then

1741
01:30:54,960 --> 01:30:58,120
Speaker 3: they kind of switch rolls. At some point, Adam collapses

1742
01:30:58,160 --> 01:31:00,479
Speaker 3: in the snow, and now Eve is telling him they

1743
01:31:00,560 --> 01:31:03,760
Speaker 3: have to go on. But Adam has a realization. He says,

1744
01:31:03,920 --> 01:31:06,840
Speaker 3: I know what's going on. We're already at the sea.

1745
01:31:07,080 --> 01:31:09,880
Speaker 3: The sea is beneath us, and if we're patient, all

1746
01:31:09,960 --> 01:31:11,080
Speaker 3: of this will melt away.

1747
01:31:12,200 --> 01:31:12,760
Speaker 2: It's a plan.

1748
01:31:13,120 --> 01:31:17,519
Speaker 3: Yeah. Eve says, how will but how will we be

1749
01:31:17,600 --> 01:31:21,200
Speaker 3: able to survive? And Adam says, this is great. Something

1750
01:31:21,280 --> 01:31:22,080
Speaker 3: will happen.

1751
01:31:22,479 --> 01:31:25,080
Speaker 2: Something will come along to save the Simpsons children.

1752
01:31:25,200 --> 01:31:28,759
Speaker 3: Right, Yeah, So he's like you, like you were saying earlier,

1753
01:31:28,800 --> 01:31:31,679
Speaker 3: He's following his intuitions. It's almost like God is piping

1754
01:31:32,320 --> 01:31:35,040
Speaker 3: guidance into him, just making it feel like it's coming

1755
01:31:35,080 --> 01:31:39,200
Speaker 3: from his own thoughts. And it turns out these intuitions

1756
01:31:39,200 --> 01:31:42,759
Speaker 3: are correct. Wind blows in the ice starts cracking and splitting.

1757
01:31:42,800 --> 01:31:45,440
Speaker 3: We see a bunch of stock footage again of avalanches

1758
01:31:45,520 --> 01:31:48,920
Speaker 3: pouring down mountain sides and glaciers crashing into the sea.

1759
01:31:49,760 --> 01:31:53,240
Speaker 3: And then icebergs like icebergs bubbling and shifting in the water.

1760
01:31:53,479 --> 01:31:56,280
Speaker 3: And at some point it becomes clear they're supposed to

1761
01:31:56,360 --> 01:31:58,880
Speaker 3: be on an iceberg floating in the ocean.

1762
01:31:59,000 --> 01:32:01,599
Speaker 2: Now, yeah, yeah, like they are on that. They're they're

1763
01:32:01,640 --> 01:32:06,280
Speaker 2: on like starship iceberg now just being like it's drifting along. Yeah,

1764
01:32:06,640 --> 01:32:07,880
Speaker 2: so this is their escape route.

1765
01:32:08,000 --> 01:32:09,800
Speaker 3: I got kind of interested in this. I'm like, oh,

1766
01:32:09,880 --> 01:32:11,839
Speaker 3: what's going to happen Now they're on a slowly melting

1767
01:32:11,920 --> 01:32:16,000
Speaker 3: iceberg as it's floating, floating into the ocean. We're nothing.

1768
01:32:16,120 --> 01:32:19,439
Speaker 3: Just cut straight to sometime later. They're living on a

1769
01:32:19,520 --> 01:32:22,280
Speaker 3: beach in a warm looking place. I guess the iceberg

1770
01:32:22,400 --> 01:32:26,360
Speaker 3: somehow took them there, and they're living near a village

1771
01:32:26,439 --> 01:32:28,920
Speaker 3: with other people. So we see Adam catching fish and

1772
01:32:29,040 --> 01:32:31,360
Speaker 3: then he trades with the villagers. I think he trades

1773
01:32:31,400 --> 01:32:34,800
Speaker 3: fish for pomegranates, gourds, and a stick that's on fire.

1774
01:32:35,400 --> 01:32:37,760
Speaker 2: I love this little sequence because it feels kind of

1775
01:32:37,800 --> 01:32:41,160
Speaker 2: like they're inventing bartering on the spot, Like atm without words,

1776
01:32:41,200 --> 01:32:43,519
Speaker 2: Adam's kind of like, all right, if I I'm going

1777
01:32:43,560 --> 01:32:46,000
Speaker 2: to take this fruit from you, but I'm going to

1778
01:32:46,040 --> 01:32:48,880
Speaker 2: move this dead fish a little closer to you. We're

1779
01:32:48,920 --> 01:32:51,200
Speaker 2: still cool, right, We're cool, all right? What if I

1780
01:32:51,400 --> 01:32:54,400
Speaker 2: was to take another fruit? Still cool? All right? And

1781
01:32:54,479 --> 01:32:57,760
Speaker 2: then it beds like too many fruits? Yeah, And then

1782
01:32:57,800 --> 01:32:59,960
Speaker 2: he kind of like, then there's the fire stick. It's

1783
01:33:00,000 --> 01:33:01,400
Speaker 2: it's like, I kind of get the impression. It's like

1784
01:33:01,479 --> 01:33:04,720
Speaker 2: one free fire stick with every purchase. It's like, as

1785
01:33:04,760 --> 01:33:06,720
Speaker 2: an afterthought, it's like, you can take the fire with

1786
01:33:06,920 --> 01:33:08,840
Speaker 2: you and then you can cook food. And he's like,

1787
01:33:08,880 --> 01:33:10,920
Speaker 2: all right, let's try it out, and they do. They

1788
01:33:11,000 --> 01:33:14,240
Speaker 2: cook a fish and it seems to be great, a

1789
01:33:14,400 --> 01:33:15,000
Speaker 2: real game.

1790
01:33:14,960 --> 01:33:18,800
Speaker 3: Changer, delicious. But then Eve starts going into labor. While

1791
01:33:18,920 --> 01:33:22,240
Speaker 3: this is happening, Adam reminds her that quote you have

1792
01:33:22,439 --> 01:33:25,559
Speaker 3: to suffer. Oh thanks a lot, dude. Yeah, yeah, thanks

1793
01:33:25,600 --> 01:33:29,880
Speaker 3: for the reminder. And then we go into the climax

1794
01:33:29,960 --> 01:33:33,280
Speaker 3: of the movie, where Eve remembers that, as they said earlier,

1795
01:33:33,400 --> 01:33:36,160
Speaker 3: life must start again in the sea. So she goes

1796
01:33:36,240 --> 01:33:39,559
Speaker 3: down to the water to give birth. Labor is difficult.

1797
01:33:39,680 --> 01:33:42,320
Speaker 3: Eve is in great pain, but then Adam comes to

1798
01:33:42,400 --> 01:33:45,320
Speaker 3: her side to help deliver the baby. Things look kind

1799
01:33:45,320 --> 01:33:47,439
Speaker 3: of scary for a minute there, but then finally they

1800
01:33:47,560 --> 01:33:50,559
Speaker 3: lift the prop baby up into the air over their heads,

1801
01:33:51,040 --> 01:33:54,080
Speaker 3: and My First Love starts playing on a freeze frame

1802
01:33:54,120 --> 01:33:56,360
Speaker 3: of Adam and Eve in the surf with their beautiful

1803
01:33:56,439 --> 01:33:59,679
Speaker 3: first child, who you might remember from the Bible would

1804
01:33:59,760 --> 01:34:03,439
Speaker 3: tech be Caine, who will also become the first murderer,

1805
01:34:03,880 --> 01:34:04,960
Speaker 3: the first murder.

1806
01:34:04,880 --> 01:34:09,200
Speaker 2: Of non caveman to be clear, caveman, I don't count

1807
01:34:09,320 --> 01:34:12,599
Speaker 2: for the like the tally I guess in the Bible. Yeah,

1808
01:34:12,680 --> 01:34:14,000
Speaker 2: that's the only way I can, because I have to

1809
01:34:14,040 --> 01:34:17,679
Speaker 2: find a way to make these two works work together.

1810
01:34:18,040 --> 01:34:22,719
Speaker 3: Yeah, yeah, okay, So that's that's the end. That's Adam

1811
01:34:22,760 --> 01:34:25,800
Speaker 3: and Eve freeze frame on holding the baby up in

1812
01:34:25,880 --> 01:34:27,360
Speaker 3: the water, My First Love.

1813
01:34:28,680 --> 01:34:33,320
Speaker 2: That's such a weird film. Uh, incredibly weird. Yeah, I

1814
01:34:33,439 --> 01:34:35,679
Speaker 2: love it, and I love how like there are aspects

1815
01:34:35,720 --> 01:34:39,280
Speaker 2: of it where like clearly some level of the original

1816
01:34:39,400 --> 01:34:42,200
Speaker 2: vision is really coming to fruition here other things seem

1817
01:34:42,920 --> 01:34:45,759
Speaker 2: like almost an accidental conversions. And I guess it's always

1818
01:34:45,840 --> 01:34:47,360
Speaker 2: that way with film. You know, there's the things you

1819
01:34:47,439 --> 01:34:49,400
Speaker 2: plan for and the things that are the accident, and

1820
01:34:49,800 --> 01:34:52,360
Speaker 2: and that's where the good or the bad emerges. And

1821
01:34:52,560 --> 01:34:54,760
Speaker 2: but but I feel like overall, like, yeah, this this

1822
01:34:54,920 --> 01:34:59,840
Speaker 2: is such a weird Bible movie. It it plays fast,

1823
01:35:00,120 --> 01:35:03,960
Speaker 2: loose with the Biblical text, engages in some I think

1824
01:35:04,040 --> 01:35:07,360
Speaker 2: really interesting world building, Like I want to see other

1825
01:35:07,439 --> 01:35:12,360
Speaker 2: people explore this motif of Adam and Eve escaping into

1826
01:35:12,439 --> 01:35:16,479
Speaker 2: an almost sword and sorcery world, prehistoric world, like that's

1827
01:35:16,479 --> 01:35:19,240
Speaker 2: what we needed. We needed some caveman wizards, and we

1828
01:35:19,320 --> 01:35:21,240
Speaker 2: needed some were wolves and zombies, and I think it

1829
01:35:21,280 --> 01:35:25,280
Speaker 2: would have been even more amazing. I guess we kind

1830
01:35:25,320 --> 01:35:28,960
Speaker 2: of get that in Lucio Fulci's Conquest, where we kind

1831
01:35:29,000 --> 01:35:32,719
Speaker 2: of have a like a prehistoric era bone nun chucks,

1832
01:35:33,280 --> 01:35:37,559
Speaker 2: sword and sandals or you know, sort and fantasy sword

1833
01:35:37,600 --> 01:35:38,840
Speaker 2: and sorcery kind of a world.

1834
01:35:39,120 --> 01:35:41,719
Speaker 3: Also has werewolves, also has zombies. Also.

1835
01:35:41,880 --> 01:35:44,280
Speaker 2: Yeah. Yeah, I guess I'm just saying all more movies

1836
01:35:44,320 --> 01:35:48,760
Speaker 2: should be like Conquest. That's what I'm looking for. But

1837
01:35:48,880 --> 01:35:51,040
Speaker 2: this was pretty great in and of itself. So yeah,

1838
01:35:51,160 --> 01:35:53,840
Speaker 2: big fan of this film, And if you're into this

1839
01:35:53,920 --> 01:35:56,080
Speaker 2: sort of thing I do, I do highly recommend it.

1840
01:35:56,520 --> 01:35:59,120
Speaker 3: All Right, next week, you want to do three hours

1841
01:35:59,160 --> 01:36:05,120
Speaker 3: of NBC John Boyd, Mary Stein, Virgin F Murray Abraham, Pirates.

1842
01:36:05,280 --> 01:36:08,160
Speaker 2: Noah, I mean I can't say no to F Murray Abraham.

1843
01:36:08,280 --> 01:36:10,720
Speaker 2: So you know, maybe let's at least consider it for

1844
01:36:10,800 --> 01:36:14,040
Speaker 2: the future. All right, well, we're gonna go and close

1845
01:36:14,080 --> 01:36:17,040
Speaker 2: out this episode. But along those lines, I would love

1846
01:36:17,080 --> 01:36:19,559
Speaker 2: to hear from anyone out there who has thoughts about

1847
01:36:19,600 --> 01:36:25,160
Speaker 2: this picture. Obviously, but if you have favorite weird religious films,

1848
01:36:25,320 --> 01:36:28,360
Speaker 2: especially you know, Bible films that you would like to

1849
01:36:28,640 --> 01:36:30,920
Speaker 2: tell us about, please write in. And these can be

1850
01:36:31,000 --> 01:36:33,320
Speaker 2: films or any other kind of like treatment you know,

1851
01:36:33,680 --> 01:36:36,479
Speaker 2: TV shows and whatnot. It's something that's like retelling a

1852
01:36:36,560 --> 01:36:40,080
Speaker 2: Bible story but making some very strange choices or even

1853
01:36:40,160 --> 01:36:43,240
Speaker 2: questionable choices. Yeah, share those with us. We would love

1854
01:36:43,280 --> 01:36:44,000
Speaker 2: to hear about them.

1855
01:36:44,520 --> 01:36:47,439
Speaker 3: I mean, one place in which there's tons of that

1856
01:36:47,600 --> 01:36:50,280
Speaker 3: kind of media is stuff that's not a direct adaptation

1857
01:36:50,400 --> 01:36:53,439
Speaker 3: to the Bible, but like in times prophecy movies and

1858
01:36:53,720 --> 01:36:57,920
Speaker 3: there you get they really go bananas. But yeah, what

1859
01:36:58,080 --> 01:37:03,559
Speaker 3: I'm interested in specifically is weird adaptations of stories appearing

1860
01:37:03,640 --> 01:37:04,240
Speaker 3: in the Bible.

1861
01:37:04,680 --> 01:37:08,040
Speaker 2: Yeah, yeah, yeah, So that'll be fun to discuss on

1862
01:37:08,280 --> 01:37:11,479
Speaker 2: future listener Mail episodes for sure, and future Weird House

1863
01:37:11,520 --> 01:37:13,160
Speaker 2: if we you know, because we'll there's a very good

1864
01:37:13,240 --> 01:37:15,400
Speaker 2: chance we'll come back and do some sort of an

1865
01:37:15,439 --> 01:37:19,920
Speaker 2: additional Bible related picture. Let's see. Just a reminder that

1866
01:37:19,920 --> 01:37:21,840
Speaker 2: Stuff to Blow Your Mind is primarily a science and

1867
01:37:21,840 --> 01:37:24,240
Speaker 2: culture podcast with core episodes and Tuesdays and Thursdays, but

1868
01:37:24,400 --> 01:37:26,680
Speaker 2: on Fridays we set aside most serious concerns and we

1869
01:37:26,760 --> 01:37:29,599
Speaker 2: just talk about a weird film here on Weird House Cinema.

1870
01:37:30,400 --> 01:37:32,559
Speaker 2: If you are on letterbox dot com, look us up.

1871
01:37:32,600 --> 01:37:33,920
Speaker 2: We are a weird house and we have a nice

1872
01:37:33,960 --> 01:37:35,680
Speaker 2: list of all the movies we've covered over the years,

1873
01:37:35,720 --> 01:37:38,280
Speaker 2: and sometimes a peek ahead at what comes up next.

1874
01:37:38,880 --> 01:37:40,960
Speaker 2: You know what Mark Gregory movie are we doing next?

1875
01:37:41,160 --> 01:37:43,960
Speaker 2: We don't know. There are only so many to choose from.

1876
01:37:44,600 --> 01:37:47,400
Speaker 2: And then finally, however you get this podcast if you're

1877
01:37:47,439 --> 01:37:50,080
Speaker 2: listening to us, they just make sure that you rate, review,

1878
01:37:50,240 --> 01:37:53,280
Speaker 2: and subscribe wherever you get your podcasts, and if you

1879
01:37:53,360 --> 01:37:55,840
Speaker 2: are watching and viewing on Netflix, where we have this

1880
01:37:56,000 --> 01:37:59,280
Speaker 2: video component, just make sure that you are giving us

1881
01:37:59,280 --> 01:38:01,280
Speaker 2: a couple of thumbs up. And then you're asking you're

1882
01:38:01,320 --> 01:38:04,479
Speaker 2: asking to be reminded about future episodes. These are all

1883
01:38:04,560 --> 01:38:05,320
Speaker 2: things that help us.

1884
01:38:05,280 --> 01:38:08,400
Speaker 3: Out huge thanks as always to our excellent audio producer

1885
01:38:08,520 --> 01:38:11,000
Speaker 3: JJ Posway. If you would like to get in touch

1886
01:38:11,040 --> 01:38:13,040
Speaker 3: with us with feedback on this episode or any other,

1887
01:38:13,160 --> 01:38:15,320
Speaker 3: to suggest a topic for the future, or just to

1888
01:38:15,400 --> 01:38:18,479
Speaker 3: say hello. You can email us at contact at stuff

1889
01:38:18,520 --> 01:38:19,800
Speaker 3: to Blow your Mind dot com.

1890
01:38:26,840 --> 01:38:29,760
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1891
01:38:29,880 --> 01:38:32,639
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1892
01:38:32,840 --> 01:38:35,559
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.