1 00:00:03,000 --> 00:00:05,400 Speaker 1: Welcome to Stuff to Blow your Mind production of My 2 00:00:05,519 --> 00:00:15,520 Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is 3 00:00:15,600 --> 00:00:18,599 Speaker 1: Rob Lamb and this is Joe McCormick. And Oh, I 4 00:00:18,720 --> 00:00:22,239 Speaker 1: feel a cool Pacific breeze ruffling the hairs on my 5 00:00:22,400 --> 00:00:25,840 Speaker 1: forearm because it's time to find the Beast of the 6 00:00:25,840 --> 00:00:29,680 Speaker 1: beaches in in Uh I stalled out there. We're doing 7 00:00:29,680 --> 00:00:33,640 Speaker 1: a Hawaii movie, that's right. Um Now, when when we 8 00:00:33,680 --> 00:00:36,440 Speaker 1: say Hawaii movie, what do you think of me? Maybe 9 00:00:36,479 --> 00:00:40,800 Speaker 1: you think about classic Hawaii dramas or Elvis movies. Maybe 10 00:00:40,800 --> 00:00:43,080 Speaker 1: you think of big budget films like Jurassic Park, where 11 00:00:43,080 --> 00:00:46,479 Speaker 1: they need a lush jungle environment, maybe some flyovers, so 12 00:00:46,520 --> 00:00:49,680 Speaker 1: they go to the Hawaiian islands. But you might be wondering, 13 00:00:50,080 --> 00:00:55,800 Speaker 1: where are the b movies? Where specifically are the monster movies. Yeah, 14 00:00:55,880 --> 00:00:57,520 Speaker 1: this is a really good question. So a lot of 15 00:00:57,560 --> 00:01:00,360 Speaker 1: movies and TV shows are shot in Hawaii because it's 16 00:01:00,360 --> 00:01:02,440 Speaker 1: a it's a convenient place to get a tropical looking 17 00:01:02,520 --> 00:01:05,640 Speaker 1: jungle location, but they're not actually set in Hawaii. I 18 00:01:05,680 --> 00:01:08,559 Speaker 1: was trying to think of movies that are set in Hawaii, 19 00:01:09,959 --> 00:01:13,360 Speaker 1: especially in in our sort of wheelhouse, the closest. The 20 00:01:13,400 --> 00:01:15,520 Speaker 1: first thing that came to my mind actually is do 21 00:01:15,600 --> 00:01:19,400 Speaker 1: you ever see Big Jim McClain. No, but I think 22 00:01:19,680 --> 00:01:23,120 Speaker 1: I think I remember a Mystery Science Theater jokes about it. 23 00:01:23,120 --> 00:01:28,400 Speaker 1: It was a John Wayne anti communist propaganda thriller where 24 00:01:28,440 --> 00:01:31,000 Speaker 1: he plays I think John Wayne is like an agent 25 00:01:31,120 --> 00:01:35,040 Speaker 1: for the House on American Activities Committee, um, and he's 26 00:01:35,120 --> 00:01:39,240 Speaker 1: just running around punching comy rats in Hawaii. Okay, No, 27 00:01:39,440 --> 00:01:41,319 Speaker 1: I haven't seen that, but that does sound part of 28 00:01:41,319 --> 00:01:43,480 Speaker 1: the course in terms of the whole Hawaii movies that 29 00:01:43,520 --> 00:01:46,080 Speaker 1: you find. Yeah. The other main thing in terms of 30 00:01:46,160 --> 00:01:48,040 Speaker 1: Hawaii B movies, I was trying to think of Hawaii 31 00:01:48,120 --> 00:01:52,120 Speaker 1: horror movies. There's almost nothing that came to mind except 32 00:01:52,320 --> 00:01:57,280 Speaker 1: I think Snakes on a Plane begins in Hawaii. But 33 00:01:57,600 --> 00:01:59,960 Speaker 1: the but the the thing that really comes to my 34 00:02:00,200 --> 00:02:03,240 Speaker 1: with Hawaii B movies is not be horror or be 35 00:02:03,360 --> 00:02:06,880 Speaker 1: sci fi, but be action movies. They're like seemingly a 36 00:02:06,960 --> 00:02:10,640 Speaker 1: million action movies in the eighties set in Hawaii that 37 00:02:10,720 --> 00:02:13,520 Speaker 1: are about drug dealers, and they're the sort of like 38 00:02:13,600 --> 00:02:19,760 Speaker 1: Bikinian machine guns sub genre. Okay, yeah, yeah, the Bikinian 39 00:02:19,840 --> 00:02:23,400 Speaker 1: machine guns genre being one that can basically take place anywhere. 40 00:02:23,440 --> 00:02:25,639 Speaker 1: But it helps if it's a if it's essentially a 41 00:02:25,720 --> 00:02:29,560 Speaker 1: vacation uh type environment, if it's tropical, if there's if 42 00:02:29,560 --> 00:02:32,320 Speaker 1: their palm trees in the background right right. The bad 43 00:02:32,360 --> 00:02:35,520 Speaker 1: guys always Dan Hadeia or somebody like that as a 44 00:02:35,520 --> 00:02:39,800 Speaker 1: as a drug kingpin. Yeah, so I was. I was 45 00:02:39,840 --> 00:02:42,400 Speaker 1: recently in Hawaii, and while I was there, I was 46 00:02:42,400 --> 00:02:45,440 Speaker 1: pondering this because this is what I do on on trips, 47 00:02:45,440 --> 00:02:47,960 Speaker 1: and I wonder what what kind of monster movie was 48 00:02:48,000 --> 00:02:51,160 Speaker 1: filmed here? You know? And uh, I actually I found one. 49 00:02:51,200 --> 00:02:54,640 Speaker 1: I found a good one, or a good selection for 50 00:02:54,720 --> 00:02:58,040 Speaker 1: weird house cinema. It is a werewolf movie set in 51 00:02:58,080 --> 00:03:02,200 Speaker 1: Hawaii and filmed excl elusively in Hawaii, entirely on the 52 00:03:02,240 --> 00:03:05,160 Speaker 1: island of Kawaii. Wow. So I don't know if I'd 53 00:03:05,160 --> 00:03:06,920 Speaker 1: go with you on good one, but it is a 54 00:03:06,960 --> 00:03:10,079 Speaker 1: good selection. It gives us a lot to talk about, well, 55 00:03:10,240 --> 00:03:12,960 Speaker 1: you know, being that I think it is the I mean, 56 00:03:13,000 --> 00:03:14,720 Speaker 1: if you don't count snakes on the plane, and I 57 00:03:14,720 --> 00:03:17,160 Speaker 1: don't really count snakes on the plane. Given that it's 58 00:03:17,200 --> 00:03:21,600 Speaker 1: like the only monster movie, and given the wide um uh, 59 00:03:21,639 --> 00:03:25,360 Speaker 1: the wide swath of quality that it could occupy, I 60 00:03:25,360 --> 00:03:28,320 Speaker 1: feel like it lands in a comfortable place like it's 61 00:03:28,320 --> 00:03:32,680 Speaker 1: it's watchable. Uh, it has decent actors in it, it's 62 00:03:33,080 --> 00:03:37,320 Speaker 1: competently directed. Uh sort of said, yeah, I mean it's 63 00:03:37,600 --> 00:03:39,880 Speaker 1: it's it's we'll discuss here. It's a TV movie, so 64 00:03:40,280 --> 00:03:43,280 Speaker 1: it has that that TV competency to it, you know, 65 00:03:43,440 --> 00:03:47,520 Speaker 1: like that there were network checks in place here. Um. 66 00:03:47,560 --> 00:03:49,800 Speaker 1: So yeah, I feel like it. It passes the litmus 67 00:03:49,840 --> 00:03:52,840 Speaker 1: test um and it it is I think the best 68 00:03:53,400 --> 00:03:57,080 Speaker 1: Hawaii monster movie. I challenge anyone to show me a 69 00:03:57,080 --> 00:04:01,240 Speaker 1: better one out of those Elvis movies count No, no, well, 70 00:04:01,240 --> 00:04:03,960 Speaker 1: those are great examples. They they're not monster movies. But yes, 71 00:04:04,040 --> 00:04:07,320 Speaker 1: two of of the Elvis Hawaii movies are of particular 72 00:04:07,360 --> 00:04:12,320 Speaker 1: note here in Blue Hawaii in ninety six Paradise Hawaiian style. 73 00:04:12,800 --> 00:04:16,720 Speaker 1: They were shot on the Isle of Kauai, specifically at 74 00:04:16,800 --> 00:04:20,400 Speaker 1: Coco Palms Resort, which was a famous resort of the 75 00:04:20,480 --> 00:04:24,080 Speaker 1: day with all sorts of Hollywood ties and controversy due 76 00:04:24,080 --> 00:04:27,880 Speaker 1: to ancestral land claims by Native Islanders. Uh this, uh, 77 00:04:27,960 --> 00:04:30,760 Speaker 1: this is actually the location the filming location of our 78 00:04:30,800 --> 00:04:34,360 Speaker 1: movie today, our Wearwolf film was filmed at Coco Palms Resort. 79 00:04:34,640 --> 00:04:38,080 Speaker 1: You see it almost all the time in the film. 80 00:04:38,200 --> 00:04:40,520 Speaker 1: Um the ruins of it are still around the day 81 00:04:40,800 --> 00:04:43,880 Speaker 1: because it was it was destroyed by Hurricane and Ikey 82 00:04:44,000 --> 00:04:48,159 Speaker 1: in the most powerful hurricane to strike Hawaiian recorded history, 83 00:04:48,560 --> 00:04:51,880 Speaker 1: and as of this recording, it has never been rebuilt. 84 00:04:52,320 --> 00:04:55,240 Speaker 1: There have been some efforts and some plans, but nothing 85 00:04:55,279 --> 00:04:58,480 Speaker 1: has come to pass, so it just remains ruins. This 86 00:04:58,520 --> 00:05:01,680 Speaker 1: is funny because some of the bad Hawaiian action movies 87 00:05:01,760 --> 00:05:06,400 Speaker 1: I've seen feature ruins of a multi story building that 88 00:05:06,520 --> 00:05:08,560 Speaker 1: looks kind of like this. I wonder if those things 89 00:05:08,600 --> 00:05:11,040 Speaker 1: were also shot here. Well, it's kind of like when 90 00:05:11,040 --> 00:05:14,520 Speaker 1: we're talking about in our our Florida movie trilogy that 91 00:05:14,600 --> 00:05:16,920 Speaker 1: you have, you have any kind of place that has 92 00:05:16,920 --> 00:05:20,160 Speaker 1: a very um in a very hot climate, and you know, 93 00:05:20,279 --> 00:05:24,880 Speaker 1: proximity to the ocean and a vacation industry, you're gonna 94 00:05:24,960 --> 00:05:28,160 Speaker 1: end up with these kind of ruins there and and 95 00:05:28,160 --> 00:05:31,960 Speaker 1: and that's just irresistible to filmmakers, especially if you're you 96 00:05:32,040 --> 00:05:35,320 Speaker 1: need some sort of lonely location for your monsters or ghosts. 97 00:05:35,600 --> 00:05:38,040 Speaker 1: I guess so. But but we should be clear that 98 00:05:38,240 --> 00:05:41,400 Speaker 1: in this movie that we're talking about today, the resort 99 00:05:41,560 --> 00:05:44,440 Speaker 1: is still active and intact. It is not it is 100 00:05:44,480 --> 00:05:46,359 Speaker 1: not a ruin like this, it's a place with the 101 00:05:46,400 --> 00:05:48,680 Speaker 1: golf course. In fact, it is that they show off 102 00:05:48,760 --> 00:05:51,320 Speaker 1: many aspects of the resort, almost as if maybe the 103 00:05:51,360 --> 00:05:54,000 Speaker 1: resort was was paying to be in the film or something. 104 00:05:54,200 --> 00:05:57,279 Speaker 1: I'm not actually alleging that, but well, it's prominently featured 105 00:05:57,320 --> 00:06:00,000 Speaker 1: in the credits. But but again, there were Hollywood connects 106 00:06:00,000 --> 00:06:01,360 Speaker 1: and there. I think it was kind of like, you know, 107 00:06:01,360 --> 00:06:05,400 Speaker 1: a number of movies have been shot here, so clearly 108 00:06:05,440 --> 00:06:08,839 Speaker 1: this was the place to shoot your movie. So this movie, 109 00:06:08,960 --> 00:06:10,760 Speaker 1: I don't think we actually gave the top line yet. 110 00:06:10,839 --> 00:06:14,200 Speaker 1: It is called Death Moon, and like many made for 111 00:06:14,279 --> 00:06:17,159 Speaker 1: TV movies for the late seventies early eighties, this is 112 00:06:17,160 --> 00:06:19,640 Speaker 1: a very title first kind of thing. We've we've talked 113 00:06:19,680 --> 00:06:23,359 Speaker 1: about poster first type movies, title first type movies. This 114 00:06:23,400 --> 00:06:26,240 Speaker 1: fits right in there. I am convinced that there was 115 00:06:26,240 --> 00:06:28,840 Speaker 1: a title before there was a script. It was like, 116 00:06:28,960 --> 00:06:31,359 Speaker 1: give me a TV movie called Death Moon, and the 117 00:06:31,400 --> 00:06:35,279 Speaker 1: writers said, okay, boss, yeah, yeah, a TV movie. It 118 00:06:35,320 --> 00:06:39,360 Speaker 1: originally aired. I looked this up May thirty one, seventy eight, 119 00:06:39,400 --> 00:06:42,960 Speaker 1: in the nine pm time slot on CBS, following an 120 00:06:42,960 --> 00:06:45,279 Speaker 1: episode of The Incredible hahul So this is a Wednesday 121 00:06:45,400 --> 00:06:49,680 Speaker 1: night TV werewolf movie. Now, if you speak English but 122 00:06:49,800 --> 00:06:52,960 Speaker 1: not Dutch, an easy way to make any film more 123 00:06:53,000 --> 00:06:55,960 Speaker 1: amusing is to watch it with Dutch subtitles, which we 124 00:06:56,040 --> 00:06:59,680 Speaker 1: did because the version that we found had had them 125 00:06:59,680 --> 00:07:01,920 Speaker 1: from I guess maybe it was a Dutch TV broadcast. 126 00:07:01,960 --> 00:07:04,080 Speaker 1: I'm not sure, but the but the great thing about 127 00:07:04,160 --> 00:07:06,799 Speaker 1: Dutch is if you're an English speaker, you won't understand 128 00:07:06,920 --> 00:07:09,680 Speaker 1: most of it, but you get a few cognates that 129 00:07:09,720 --> 00:07:12,840 Speaker 1: are quite amusing. And so the first thing I learned 130 00:07:12,880 --> 00:07:17,640 Speaker 1: upon watching Death Moon was that the Dutch translation for 131 00:07:17,680 --> 00:07:22,200 Speaker 1: the English word workaholic is work beast w e r 132 00:07:22,280 --> 00:07:25,720 Speaker 1: K b e E s T. I think technically would 133 00:07:25,760 --> 00:07:29,840 Speaker 1: be like work based, but you know, work beast. It's 134 00:07:29,880 --> 00:07:33,200 Speaker 1: what's for dinner. Yes, this this was very exciting for 135 00:07:33,240 --> 00:07:35,960 Speaker 1: me as well, because on one level, it's it's perfect, 136 00:07:36,120 --> 00:07:38,960 Speaker 1: Like if it's it actually makes the movie better to 137 00:07:39,120 --> 00:07:41,760 Speaker 1: have the term work beast thrown in there, because it's 138 00:07:41,760 --> 00:07:44,760 Speaker 1: about a workaholic who goes on vacation and turns into 139 00:07:44,800 --> 00:07:47,880 Speaker 1: a werewolf. Uh so it's it's perfect to think of 140 00:07:47,920 --> 00:07:50,400 Speaker 1: him as a work beast. Um, do you think it 141 00:07:50,480 --> 00:07:54,120 Speaker 1: was trying to say something I don't know. I mean, 142 00:07:54,560 --> 00:07:57,400 Speaker 1: I mean, I imagine, you know, when you translate a 143 00:07:57,440 --> 00:07:59,080 Speaker 1: film and you do the subtitles, you have a certain 144 00:07:59,120 --> 00:08:01,360 Speaker 1: amount of leeway, and maybe that was part of it. 145 00:08:01,400 --> 00:08:03,600 Speaker 1: They were like, you know, we could they could have 146 00:08:03,640 --> 00:08:07,200 Speaker 1: just gone with a straight translation of of Workaholic perhaps 147 00:08:07,320 --> 00:08:10,120 Speaker 1: or some other translation, you know, but they realized work 148 00:08:10,200 --> 00:08:13,960 Speaker 1: Beast was perfect. Uh so you know, you know, tip 149 00:08:14,000 --> 00:08:16,600 Speaker 1: of the hat to whoever did these Dutch subtitles back 150 00:08:16,600 --> 00:08:18,920 Speaker 1: in the day. Okay, so the reason you picked this 151 00:08:18,960 --> 00:08:22,080 Speaker 1: movie out is because it's basically the only be monster 152 00:08:22,200 --> 00:08:24,840 Speaker 1: movie that is set in Hawaii that you could find. 153 00:08:25,040 --> 00:08:27,080 Speaker 1: But the other thing that's important to talk about with 154 00:08:27,120 --> 00:08:29,679 Speaker 1: it is it's a It's a great example of a form, 155 00:08:29,800 --> 00:08:34,000 Speaker 1: which is the late seventies made for TV movie. Like 156 00:08:34,160 --> 00:08:36,640 Speaker 1: late seventies and early eighties made for TV movies are 157 00:08:36,760 --> 00:08:39,600 Speaker 1: very interesting to me in a lot of ways. One 158 00:08:39,640 --> 00:08:41,520 Speaker 1: that always comes to my mind when I think about 159 00:08:41,559 --> 00:08:44,880 Speaker 1: other sort of prototype examples of this is the nine 160 00:08:45,559 --> 00:08:50,800 Speaker 1: four Wes Craven directed movie Invitation to Hell, which is 161 00:08:50,840 --> 00:08:54,680 Speaker 1: about a family who like moves to a planned community 162 00:08:54,800 --> 00:08:57,200 Speaker 1: I think because the dad gets a new job and 163 00:08:57,200 --> 00:08:59,400 Speaker 1: they try to join a country club, but it's actually 164 00:08:59,480 --> 00:09:03,080 Speaker 1: run by eight. Okay, that sounds about right for you know, 165 00:09:03,240 --> 00:09:06,160 Speaker 1: some of Wes Craven's work that was it at least 166 00:09:06,160 --> 00:09:11,040 Speaker 1: got into a shallow amount of social commentary. You know, yeah, 167 00:09:11,120 --> 00:09:13,120 Speaker 1: uh and and maybe it's just me, I wonder what 168 00:09:13,200 --> 00:09:16,120 Speaker 1: you think about about this. It seems to me that 169 00:09:16,160 --> 00:09:18,360 Speaker 1: a thing that a lot of these late seventies early 170 00:09:18,440 --> 00:09:22,800 Speaker 1: eighties made for TV horror movies have in common is 171 00:09:22,880 --> 00:09:27,000 Speaker 1: that they are somewhere between a regular low budget feature 172 00:09:27,000 --> 00:09:31,440 Speaker 1: horror film and one of those like social trend segments 173 00:09:31,480 --> 00:09:35,559 Speaker 1: on sixty minutes and by the ladder. I mean, it's 174 00:09:35,600 --> 00:09:37,400 Speaker 1: kind of hard to define, but they often have this 175 00:09:37,520 --> 00:09:40,840 Speaker 1: element of a segment on sixty minutes that would be 176 00:09:40,880 --> 00:09:44,079 Speaker 1: like you may have noticed more urban professionals moving from 177 00:09:44,080 --> 00:09:46,640 Speaker 1: the East Coast to the Bay Area. That's because of 178 00:09:46,640 --> 00:09:50,559 Speaker 1: a burgeoning new industry based on this known as a semiconductor. 179 00:09:50,679 --> 00:09:53,760 Speaker 1: They're used in everything from calculators to clock radios, and 180 00:09:53,880 --> 00:09:56,520 Speaker 1: you know, and like uh and and so that they 181 00:09:56,600 --> 00:09:59,360 Speaker 1: base a movie around that, it often just feels like 182 00:09:59,440 --> 00:10:03,520 Speaker 1: it has this ephemeral connection to some kind of trend 183 00:10:03,679 --> 00:10:08,320 Speaker 1: of that people might be observing or talking about that week. Yeah, yeah, 184 00:10:08,360 --> 00:10:10,720 Speaker 1: I feel I feel what you mean. And also the 185 00:10:10,760 --> 00:10:13,960 Speaker 1: idea that this movie in particular came out on a 186 00:10:14,000 --> 00:10:17,840 Speaker 1: Wednesday night, just you know, just out in the middle 187 00:10:17,840 --> 00:10:20,079 Speaker 1: of nowhere, and then it's gone. You know. It's very 188 00:10:20,360 --> 00:10:23,240 Speaker 1: ephemeral in that sense. Yeah, yeah, And that they often 189 00:10:23,280 --> 00:10:26,040 Speaker 1: feel like they've got some kind of very loose news 190 00:10:26,240 --> 00:10:31,600 Speaker 1: peg or they often feel like, um, like they partially 191 00:10:31,600 --> 00:10:35,679 Speaker 1: exist to educate you about a subject, like a particular 192 00:10:35,760 --> 00:10:38,480 Speaker 1: place or you know, so in this example, it could 193 00:10:38,520 --> 00:10:40,720 Speaker 1: be the Hawaiian island that's talking about. Though, I think 194 00:10:40,800 --> 00:10:44,319 Speaker 1: whatever you would learn from this movie would be entirely wrong, right, Yeah. 195 00:10:44,320 --> 00:10:46,640 Speaker 1: About the only thing you could learn that would be 196 00:10:47,720 --> 00:10:50,880 Speaker 1: correct is like, here's this resort. Like I'm actually looking 197 00:10:50,880 --> 00:10:53,080 Speaker 1: at this resort, and I could at the time, I 198 00:10:53,120 --> 00:10:55,120 Speaker 1: could travel there and see the same things that are 199 00:10:55,200 --> 00:10:57,920 Speaker 1: werewolf sees. But like, if you're a credulous you could 200 00:10:57,960 --> 00:11:00,640 Speaker 1: get the impression that this movie is may be teaching 201 00:11:00,679 --> 00:11:05,480 Speaker 1: you something about like Polynesian religious traditions or something, which 202 00:11:05,520 --> 00:11:08,880 Speaker 1: again I don't think it is. It absolutely is not. Um. 203 00:11:09,160 --> 00:11:11,079 Speaker 1: I will say there are some some nice scenes of 204 00:11:11,120 --> 00:11:14,439 Speaker 1: them driving around, uh that that at least a little 205 00:11:14,440 --> 00:11:18,600 Speaker 1: bit give you an idea of the beautiful landscape there. 206 00:11:18,920 --> 00:11:21,839 Speaker 1: And then also there's some neat there's some neat scenes 207 00:11:21,880 --> 00:11:24,480 Speaker 1: of them walking around downtown in a little town there 208 00:11:24,480 --> 00:11:29,480 Speaker 1: in Kauai, which, especially given that it's the late nineties seventies, uh, 209 00:11:29,760 --> 00:11:32,000 Speaker 1: it feels like a time capsule, and ultimately, like this 210 00:11:32,080 --> 00:11:34,839 Speaker 1: whole movie feels like a time capsule, especially when you're 211 00:11:34,880 --> 00:11:39,319 Speaker 1: watching a VHS transfer from a like a Dutch or 212 00:11:39,440 --> 00:11:42,839 Speaker 1: European VHS release, um, you know, from back in the day. 213 00:11:42,840 --> 00:11:44,640 Speaker 1: Because I don't think we've stressed this yet. But I 214 00:11:44,640 --> 00:11:47,200 Speaker 1: don't think you can get this film anywhere today legitimately, 215 00:11:47,320 --> 00:11:49,319 Speaker 1: I think, I mean, the best you can do is 216 00:11:49,360 --> 00:11:51,200 Speaker 1: you can find it where we found it on YouTube, 217 00:11:51,200 --> 00:11:55,679 Speaker 1: where I think it's been uploaded since for people to 218 00:11:55,679 --> 00:11:58,880 Speaker 1: to share and enjoy. But yeah, a DVD, a Blu ray, 219 00:11:58,960 --> 00:12:00,840 Speaker 1: I don't think it's ever happy and I'd love, I'd 220 00:12:00,840 --> 00:12:03,000 Speaker 1: love for it to happen, but yeah, I think this 221 00:12:03,240 --> 00:12:06,600 Speaker 1: it remains this kind of echo from the past. Another 222 00:12:06,679 --> 00:12:10,079 Speaker 1: thing that's extremely common about these late seventies early eighties 223 00:12:10,120 --> 00:12:13,920 Speaker 1: made for TV thrillers is that they pretty much all 224 00:12:14,040 --> 00:12:17,360 Speaker 1: have something like an elevator pitch that you could deliver 225 00:12:17,559 --> 00:12:20,560 Speaker 1: very succinctly. There the what's the name for that format? 226 00:12:20,600 --> 00:12:23,440 Speaker 1: It's like Dracula in Miami or something, you know, just 227 00:12:23,520 --> 00:12:26,880 Speaker 1: like X in Y Yeah, and and and in that 228 00:12:26,920 --> 00:12:30,600 Speaker 1: respect it fits nicely into um into a like a 229 00:12:30,640 --> 00:12:34,520 Speaker 1: TV promo, you know, Uh, stay tuned after incredible, incredible 230 00:12:34,559 --> 00:12:37,120 Speaker 1: hawk for Death Moon, what happens if a if a 231 00:12:37,160 --> 00:12:40,600 Speaker 1: werewolf lands on a holiday in Hawaii, that sort of thing. 232 00:12:40,640 --> 00:12:43,320 Speaker 1: And then you're watching the film and I will say 233 00:12:43,320 --> 00:12:46,440 Speaker 1: I tried really hard to find such a clip to 234 00:12:46,480 --> 00:12:49,080 Speaker 1: find like a network trailer for this movie, and I couldn't. 235 00:12:49,080 --> 00:12:51,439 Speaker 1: I could not find anything. Uh So, if anyone out 236 00:12:51,440 --> 00:12:54,600 Speaker 1: there has it on some like old VHS or something, 237 00:12:54,920 --> 00:12:57,040 Speaker 1: I sent it to us because I'd like to hear it. 238 00:12:57,400 --> 00:13:00,200 Speaker 1: So we couldn't find a trailer or promo of any mine, 239 00:13:00,280 --> 00:13:02,160 Speaker 1: but maybe we can give you just a little bit 240 00:13:02,160 --> 00:13:05,400 Speaker 1: of audio from the film. Let's do it. That was 241 00:13:05,440 --> 00:13:10,520 Speaker 1: Lieutenant Court from the police. I wanted to know if 242 00:13:10,520 --> 00:13:14,200 Speaker 1: I treading think during the night not a struggle? Did 243 00:13:14,200 --> 00:13:17,880 Speaker 1: you now? I was out of it again? I crashed. 244 00:13:20,320 --> 00:13:28,320 Speaker 1: Well are you all right now? I am? But what 245 00:13:28,320 --> 00:13:32,120 Speaker 1: what is it? H? The lieutenant didn't tell me this, 246 00:13:32,200 --> 00:13:34,079 Speaker 1: but I overheard a couple of his men talking in 247 00:13:36,320 --> 00:13:40,680 Speaker 1: she was torn apart, torn apart. I don't know what 248 00:13:40,800 --> 00:13:48,240 Speaker 1: you just heard, presumably something really enticing. UM uh yeah, 249 00:13:48,280 --> 00:13:51,080 Speaker 1: I'll be excited to find out what it was. But yeah, 250 00:13:51,160 --> 00:13:53,280 Speaker 1: let's go ahead and get into the people who brought 251 00:13:53,360 --> 00:13:57,319 Speaker 1: this film to life. First up, the director Bruce Kessler 252 00:13:57,400 --> 00:14:02,400 Speaker 1: born Kesler. Really he has the late twentieth century TV pedigree. 253 00:14:02,520 --> 00:14:06,319 Speaker 1: He directed episodes of The Monkeys, Mission, Impossible, Coultrack, The 254 00:14:06,440 --> 00:14:11,000 Speaker 1: night Stalker, Barnaby Jones, Chips, night Rider, you name it, 255 00:14:11,040 --> 00:14:13,600 Speaker 1: just just about any if you watched Mystery Science Theater 256 00:14:13,720 --> 00:14:16,400 Speaker 1: back back in the nineties, just about any old TV 257 00:14:16,520 --> 00:14:20,040 Speaker 1: show that the Joel or and or Mike would reference 258 00:14:20,520 --> 00:14:22,640 Speaker 1: and you wouldn't know as a child what those shows were, 259 00:14:22,760 --> 00:14:26,160 Speaker 1: but you laughed anyway. Like all those shows, Kessler had 260 00:14:26,200 --> 00:14:30,000 Speaker 1: his his fingers in um. He even directed an episode 261 00:14:30,000 --> 00:14:34,120 Speaker 1: of The Master Ak Master Ninja starring Levan Cliff, which 262 00:14:34,200 --> 00:14:36,720 Speaker 1: there was like a movie cutoff that was featured on 263 00:14:36,800 --> 00:14:39,640 Speaker 1: Mystery Science Theater, I think earlier in his career, So 264 00:14:39,680 --> 00:14:42,080 Speaker 1: a lot of the TV work is in the seventies 265 00:14:42,080 --> 00:14:44,280 Speaker 1: and the eighties, but earlier in his career he did 266 00:14:44,320 --> 00:14:48,320 Speaker 1: a couple of exploitation films. Yeah, he directed the nineteen 267 00:14:48,360 --> 00:14:52,280 Speaker 1: sixty eight biker exploitation film Angels from Hell, as well 268 00:14:52,320 --> 00:14:54,880 Speaker 1: as a film that I haven't seen, but it has 269 00:14:54,920 --> 00:14:58,880 Speaker 1: a certain um uh, it has a certain mystique about it. 270 00:14:59,000 --> 00:15:03,040 Speaker 1: Nine Simon King of the Witches, which starred Andrew Pine. Yeah. 271 00:15:03,040 --> 00:15:04,880 Speaker 1: I haven't seen this either, but I've read about it. 272 00:15:04,880 --> 00:15:09,280 Speaker 1: It is supposedly a kind of hippie culture expose that 273 00:15:09,480 --> 00:15:12,880 Speaker 1: was promoted as like a Manson family type film to 274 00:15:12,960 --> 00:15:15,640 Speaker 1: cash in on that panic. But but it wasn't really 275 00:15:15,680 --> 00:15:18,760 Speaker 1: about that. It's just about like a guy who believes 276 00:15:18,800 --> 00:15:20,960 Speaker 1: he can do magic and he ends up hanging out 277 00:15:20,960 --> 00:15:24,120 Speaker 1: with hippies. Yeah, yeah, I think that's pretty much the vibe. 278 00:15:24,440 --> 00:15:26,840 Speaker 1: But I was poking around in Bruce Kessler's career and 279 00:15:26,840 --> 00:15:31,040 Speaker 1: found some some very interesting recurring themes. So one was 280 00:15:31,120 --> 00:15:35,920 Speaker 1: that Kessler also directed a Christmas episode of the show 281 00:15:35,960 --> 00:15:40,320 Speaker 1: t J. Hooker, remember the detective show starring um William Shatner, 282 00:15:40,840 --> 00:15:43,760 Speaker 1: and the the episode was called Sleigh Ride s L 283 00:15:43,840 --> 00:15:46,480 Speaker 1: A Y, which is the source of any images you 284 00:15:46,520 --> 00:15:48,960 Speaker 1: may have seen of William Shatner in a Santa suit. 285 00:15:49,160 --> 00:15:51,120 Speaker 1: I've attached one for you to look at here, Rob, 286 00:15:51,160 --> 00:15:54,680 Speaker 1: he looks the Santa is not happy. Yeah, he's intense. 287 00:15:55,160 --> 00:15:57,000 Speaker 1: And then in the same year, so these are both 288 00:15:57,080 --> 00:15:59,520 Speaker 1: nineteen eighty three, you mentioned that he did episodes of 289 00:15:59,600 --> 00:16:03,480 Speaker 1: Night Right or his Christmas themed episode of night Rider 290 00:16:03,840 --> 00:16:07,840 Speaker 1: called Silent Night k and I g H T. I 291 00:16:07,880 --> 00:16:10,760 Speaker 1: was unable to discover if Hasselhoff ever dressed up as 292 00:16:10,800 --> 00:16:13,400 Speaker 1: bell Snickel in this one, but he is he? In 293 00:16:13,520 --> 00:16:17,920 Speaker 1: eighty three, he did two different Christmas episodes of cop shows, 294 00:16:18,960 --> 00:16:20,680 Speaker 1: So I want to know the story behind that. Did 295 00:16:20,720 --> 00:16:22,520 Speaker 1: he what did he? He's like, Oh, I've got a 296 00:16:22,560 --> 00:16:24,960 Speaker 1: Christmas guy this year, you know, look up with all 297 00:16:24,960 --> 00:16:27,560 Speaker 1: the Santa suits and everything you need. Or maybe he's 298 00:16:27,560 --> 00:16:29,800 Speaker 1: just leaning into Christmas. Yeah, it's just like I'm in 299 00:16:29,840 --> 00:16:31,960 Speaker 1: the I'm in the spirit. Give me some give me 300 00:16:32,000 --> 00:16:35,400 Speaker 1: some Christmas episodes, right like he got ah, he ate 301 00:16:35,440 --> 00:16:38,080 Speaker 1: a bad candy Cane and then he just couldn't stop. 302 00:16:39,080 --> 00:16:41,880 Speaker 1: But in addition to Kessler's TV work and his early 303 00:16:41,960 --> 00:16:45,080 Speaker 1: exploitation movies, it seems like in the late seventies he 304 00:16:45,120 --> 00:16:48,400 Speaker 1: went on a minor binge of made for TV cinema. 305 00:16:48,840 --> 00:16:52,040 Speaker 1: So this was like seventy seven seventy eight, including this 306 00:16:52,120 --> 00:16:56,320 Speaker 1: beauty I came across called Cruise Into Terror from seventy eight. 307 00:16:56,360 --> 00:16:59,960 Speaker 1: I'm going to read the IMDb synopsis and Egyptian stark 308 00:17:00,040 --> 00:17:03,560 Speaker 1: cophagus that is, cargo on a pleasure cruise ship has 309 00:17:03,600 --> 00:17:07,200 Speaker 1: a secret. It contains the son of Satan, and its 310 00:17:07,200 --> 00:17:11,080 Speaker 1: effects start to make the ship's passengers behave Strangely, Now 311 00:17:11,160 --> 00:17:15,360 Speaker 1: that that lines up rather interestingly well with our movie today, 312 00:17:15,760 --> 00:17:22,359 Speaker 1: like vacation, like typical stereotypical American vacation plus classic movie monster. 313 00:17:22,760 --> 00:17:24,840 Speaker 1: What do you know? I mean, you're right on the money. 314 00:17:24,960 --> 00:17:27,600 Speaker 1: I looked this up, except that this movie looks even 315 00:17:27,840 --> 00:17:32,040 Speaker 1: more dreadful than than than the werewolf in Hawaiian movie. 316 00:17:32,080 --> 00:17:35,920 Speaker 1: Cruise Into Terror has on its side Ray Milan, who 317 00:17:35,920 --> 00:17:39,960 Speaker 1: played the nasty old creep in Frogs, Remember the old 318 00:17:39,960 --> 00:17:43,239 Speaker 1: man who's yeah yeah, yelling at frogs towards the end, 319 00:17:43,320 --> 00:17:46,159 Speaker 1: ye right, And so in this movie. I found it. Also, 320 00:17:46,280 --> 00:17:48,160 Speaker 1: this has been ripped and put up on the internet. 321 00:17:48,200 --> 00:17:51,600 Speaker 1: So I was poking around and Cruise into Terror and uh, yeah, 322 00:17:51,840 --> 00:17:54,119 Speaker 1: it just looks awful. But there was a very funny 323 00:17:54,160 --> 00:17:58,760 Speaker 1: scene of Ray Milan yelling at a sarcophagus. Al right, 324 00:17:58,800 --> 00:18:01,919 Speaker 1: well that at yeah, it's like I don't know if 325 00:18:01,960 --> 00:18:04,840 Speaker 1: it doesn't look fully watchable. But the scenes towards the 326 00:18:04,920 --> 00:18:07,360 Speaker 1: end where it's like a bad copy of the King 327 00:18:07,359 --> 00:18:10,840 Speaker 1: tut sarcophagus and he's just you know, he's like holding 328 00:18:10,880 --> 00:18:14,040 Speaker 1: an axe and being like you've haunted me for thirty years. 329 00:18:15,920 --> 00:18:19,560 Speaker 1: Oh wow. Alright, well, let's talk about the writers here briefly. 330 00:18:19,680 --> 00:18:24,359 Speaker 1: J Benson and George Shank. Benson was mostly a career 331 00:18:24,400 --> 00:18:26,800 Speaker 1: TV producer, and Shank did a lot of TV production 332 00:18:26,840 --> 00:18:29,439 Speaker 1: work as well, but but wrote a lot more. And 333 00:18:29,440 --> 00:18:32,440 Speaker 1: when I say he wrote, we're talking forty five episodes 334 00:18:32,440 --> 00:18:35,280 Speaker 1: of n C I S which you may not watch, 335 00:18:35,320 --> 00:18:38,480 Speaker 1: but somebody in your family watches it. I assure you. Uh. 336 00:18:38,600 --> 00:18:41,080 Speaker 1: He also served as ep on in C I S, 337 00:18:41,320 --> 00:18:45,480 Speaker 1: and he co wrote ninety six Future World, a sequel 338 00:18:45,640 --> 00:18:48,560 Speaker 1: to Westworld, is in C I S. The one that 339 00:18:48,640 --> 00:18:52,359 Speaker 1: has the it's like a lab and there's a goth lady. 340 00:18:52,840 --> 00:18:56,240 Speaker 1: I think, so yeah, and it has um Oh, I 341 00:18:56,240 --> 00:18:59,879 Speaker 1: can't remember his name. George Harmon said his name Mark Harmon. 342 00:19:00,080 --> 00:19:02,200 Speaker 1: I think Mark Harmon's in it. Maybe I'm wrong, I'm 343 00:19:02,200 --> 00:19:04,600 Speaker 1: not sure I know who that is. Yeah, I don't 344 00:19:04,600 --> 00:19:07,200 Speaker 1: know this show. I've only seen it on while visiting relatives. 345 00:19:07,440 --> 00:19:10,199 Speaker 1: Is it about goths who solve crimes? No, there's just 346 00:19:10,240 --> 00:19:12,520 Speaker 1: a goth on the team, on the tech team. There's 347 00:19:12,560 --> 00:19:14,680 Speaker 1: one god. It is a team including a goth who 348 00:19:14,680 --> 00:19:18,920 Speaker 1: solves crimes. Yes, okay, I think it stands for National 349 00:19:19,240 --> 00:19:25,240 Speaker 1: Crimes in Space or anyway it exists. And yeah, so yeah, 350 00:19:25,320 --> 00:19:28,240 Speaker 1: I mean it's a highly successful show, and and one 351 00:19:28,240 --> 00:19:31,919 Speaker 1: of the writers of Of of Death Moon went on 352 00:19:32,000 --> 00:19:33,720 Speaker 1: to be a part of it, so we know we're 353 00:19:33,760 --> 00:19:36,560 Speaker 1: in good hands. Yeah. Well, shall we talk about our 354 00:19:36,600 --> 00:19:40,119 Speaker 1: our actors then, right? Okay, So the main character in 355 00:19:40,119 --> 00:19:43,639 Speaker 1: this movie is a work beast named Jason Palmer, and 356 00:19:43,720 --> 00:19:47,240 Speaker 1: he has played by this guy, Robert Foxworth, who I 357 00:19:47,280 --> 00:19:51,640 Speaker 1: don't think I was really familiar with. Yeah, he uh, 358 00:19:51,680 --> 00:19:54,960 Speaker 1: you know, after I started looking into him and I'm like, oh, yeah, 359 00:19:54,960 --> 00:19:57,120 Speaker 1: I totally know this guy. But when I first encountered 360 00:19:57,119 --> 00:20:01,600 Speaker 1: our leisure suit wearing hero here, I wasn't sure i'd 361 00:20:01,600 --> 00:20:03,280 Speaker 1: seen him before. He just kind of looked like some 362 00:20:03,320 --> 00:20:06,440 Speaker 1: different people. But he's perhaps best known to modern film 363 00:20:06,480 --> 00:20:09,960 Speaker 1: fans as the voice of Ratchet in the Transformers movies, 364 00:20:11,200 --> 00:20:13,520 Speaker 1: which I don't even know what ratchet sounds like, so 365 00:20:13,520 --> 00:20:14,679 Speaker 1: I don't know if that's a good thing or a 366 00:20:14,680 --> 00:20:17,480 Speaker 1: bad thing. Well, unfortunately, all this is doing is making 367 00:20:17,480 --> 00:20:20,880 Speaker 1: me imagine other Transformers voice actors in this lead role, 368 00:20:20,960 --> 00:20:23,480 Speaker 1: so like Peter Cullen, the guy who does Optimus Prime, 369 00:20:24,720 --> 00:20:27,040 Speaker 1: or or oh you know that, you really could have 370 00:20:27,080 --> 00:20:29,480 Speaker 1: gotten a good movie out of the guy who does 371 00:20:29,520 --> 00:20:33,879 Speaker 1: the voice of Star Scream turning into a werewolf. At anyway, 372 00:20:33,920 --> 00:20:36,080 Speaker 1: it's a major film, so good for for Foxworth, but 373 00:20:37,520 --> 00:20:40,360 Speaker 1: also he uh for I guess for our older viewers, 374 00:20:41,119 --> 00:20:43,800 Speaker 1: you might recognize him as the character Chase on the 375 00:20:43,840 --> 00:20:48,520 Speaker 1: primetime soap opera Falcon Crest, which ran from one through seven. 376 00:20:49,240 --> 00:20:52,880 Speaker 1: He also played Bernard at Chinawith on six Ft Under 377 00:20:53,480 --> 00:20:55,800 Speaker 1: I don't think I watched enough six Ft Under two 378 00:20:55,840 --> 00:20:57,199 Speaker 1: to catch him on that, and he also had a 379 00:20:57,240 --> 00:21:00,600 Speaker 1: recurring role on The West Wing m but he also 380 00:21:00,600 --> 00:21:03,040 Speaker 1: has on The West Wing um he was one of 381 00:21:03,040 --> 00:21:05,600 Speaker 1: these characters that popped up for like three or four episodes, 382 00:21:05,640 --> 00:21:08,280 Speaker 1: I think, so I'm assuming he played a politician or 383 00:21:08,320 --> 00:21:12,400 Speaker 1: maybe a maybe a journalist, but I can't say for sure. 384 00:21:12,880 --> 00:21:17,840 Speaker 1: Senator George Montgomery. Okay, I'm not all right, Okay, but 385 00:21:17,880 --> 00:21:21,280 Speaker 1: he also has some strong TV genre credentials. He played 386 00:21:21,320 --> 00:21:24,959 Speaker 1: Victor Frankenstein in the nineteen seventy three TV movie, and 387 00:21:25,000 --> 00:21:30,000 Speaker 1: he guest starred in sequest DSV Babylon five, Star Trek, 388 00:21:30,040 --> 00:21:33,800 Speaker 1: Deep Space nine, and Star Trek Enterprise. He was also 389 00:21:33,880 --> 00:21:37,639 Speaker 1: in the film's Damien Omen two and was the lead 390 00:21:37,840 --> 00:21:41,680 Speaker 1: in nineteen seventy nine prophecy the Mutant Bear picture. Oh 391 00:21:41,720 --> 00:21:44,639 Speaker 1: I never saw that one. Uh. And the thing the 392 00:21:44,680 --> 00:21:46,840 Speaker 1: most recent thing that I definitely saw him in he 393 00:21:46,880 --> 00:21:49,120 Speaker 1: was in a really fun episode of The Outer Limits 394 00:21:49,840 --> 00:21:52,480 Speaker 1: from the nineties in which he played a bunker bound 395 00:21:52,600 --> 00:21:56,399 Speaker 1: US president during an alien attack, like a very unpleasant 396 00:21:56,560 --> 00:22:00,560 Speaker 1: US president, you know, it's very grumpy and demanding, uh, 397 00:22:00,560 --> 00:22:02,640 Speaker 1: and he's trying to deal with the fact that the 398 00:22:02,680 --> 00:22:04,520 Speaker 1: world is being attacked by aliens and you didn't know 399 00:22:04,520 --> 00:22:08,000 Speaker 1: if you should trust the aliens, trust his advisors, etcetera. 400 00:22:08,400 --> 00:22:11,800 Speaker 1: A fun episode. Uh. Well, I will say in this movie, Uh, 401 00:22:11,960 --> 00:22:13,800 Speaker 1: I don't know if this can really be chalked up 402 00:22:13,800 --> 00:22:17,000 Speaker 1: to to Foxworth as an actor, but the character he 403 00:22:17,040 --> 00:22:21,080 Speaker 1: plays in this film really has no identifiable vices or 404 00:22:21,200 --> 00:22:23,879 Speaker 1: virtues except for the fact that he's a work beast. 405 00:22:24,080 --> 00:22:27,360 Speaker 1: That's that's pretty much his entire personality. Yeah, I mean, 406 00:22:27,440 --> 00:22:31,160 Speaker 1: he he comes off likable without you know, a tremendous 407 00:22:31,200 --> 00:22:34,560 Speaker 1: amount of dimension to his character. But yeah, from it 408 00:22:34,840 --> 00:22:36,639 Speaker 1: seems like a lot of times in I don't know, 409 00:22:36,720 --> 00:22:38,800 Speaker 1: I guess you can go either way with a werewolf movie. 410 00:22:38,880 --> 00:22:43,719 Speaker 1: Sometimes in a werewolf movie, the beset individual is just cursed. 411 00:22:43,760 --> 00:22:45,600 Speaker 1: You know, they're in the wrong place at the wrong time, 412 00:22:45,640 --> 00:22:49,000 Speaker 1: they're out on the moors, they get bit by a werewolf, 413 00:22:49,000 --> 00:22:50,640 Speaker 1: and now they're stuck with it, and you know, it's 414 00:22:50,680 --> 00:22:53,679 Speaker 1: not really a commentary on their vices, etcetera. Is just 415 00:22:53,720 --> 00:22:55,479 Speaker 1: what they got. And I guess that's more of what 416 00:22:55,520 --> 00:22:59,000 Speaker 1: we have here with the Jason character. But but in 417 00:22:59,000 --> 00:23:01,520 Speaker 1: other cases, it seems like they you lean more into 418 00:23:01,560 --> 00:23:05,359 Speaker 1: the idea of of caanthropy as as a as a 419 00:23:05,480 --> 00:23:10,000 Speaker 1: as an overt physical manifestation of inner monstrosity. So in 420 00:23:10,040 --> 00:23:11,960 Speaker 1: this he's uh, yeah, I think as an actor he's 421 00:23:11,960 --> 00:23:14,879 Speaker 1: perfectly fine in this. He has amazing hair. Um, he's 422 00:23:14,920 --> 00:23:16,919 Speaker 1: a great at conveying a sort of uh, you know, 423 00:23:17,000 --> 00:23:22,080 Speaker 1: detached unraveling beneath his his style and he does. He's 424 00:23:22,119 --> 00:23:24,120 Speaker 1: really rock in the seventies style on this because he's 425 00:23:24,160 --> 00:23:27,480 Speaker 1: he's legitimately wearing a leisure suit, uh in in a 426 00:23:27,560 --> 00:23:30,600 Speaker 1: number of scenes, which I feel like it is rare 427 00:23:30,640 --> 00:23:33,320 Speaker 1: to really find in the wild in your cinema. You know, 428 00:23:33,359 --> 00:23:35,520 Speaker 1: there's a lot of talk of leisure suits, but you 429 00:23:35,640 --> 00:23:39,240 Speaker 1: kind of forget what one looks like. Well, behold, here's 430 00:23:39,320 --> 00:23:43,360 Speaker 1: Jason Palmer, our leisure suit wearing entertainment agent who might 431 00:23:43,480 --> 00:23:47,280 Speaker 1: just be overworking himself. He's an entertainment agent. That's what 432 00:23:47,359 --> 00:23:50,280 Speaker 1: his career is. I believe that's correct, or maybe I 433 00:23:50,280 --> 00:23:53,439 Speaker 1: imagined that. I might have imagined that I thought he 434 00:23:53,480 --> 00:23:56,560 Speaker 1: was in real estate. Oh wait, you're right, somebody is 435 00:23:56,600 --> 00:23:59,320 Speaker 1: an entertainment agent in this right, I believe you, But 436 00:23:59,359 --> 00:24:01,960 Speaker 1: I don't know. Maybe I'm wrong on that. Anyway, his 437 00:24:02,520 --> 00:24:04,080 Speaker 1: there's not really you're not really given much to go 438 00:24:04,160 --> 00:24:06,159 Speaker 1: on he has. I think maybe he does mention real 439 00:24:06,280 --> 00:24:09,920 Speaker 1: estate once. But basically he is a stereotypical successful American 440 00:24:09,960 --> 00:24:13,879 Speaker 1: business type. Yes, uh, with very very nice head of 441 00:24:13,880 --> 00:24:16,960 Speaker 1: curly hair and uh. And I gotta say the main 442 00:24:17,040 --> 00:24:19,560 Speaker 1: thing that I appreciated in this movie was the jiggle 443 00:24:19,720 --> 00:24:21,760 Speaker 1: that he does when he starts about when he's like 444 00:24:21,800 --> 00:24:24,479 Speaker 1: about to wolf out, you know, the moon cuts in 445 00:24:24,520 --> 00:24:27,840 Speaker 1: between the clouds and the synth stings start happening, and 446 00:24:27,880 --> 00:24:30,399 Speaker 1: then he just starts to jiggle and like, you know, 447 00:24:30,440 --> 00:24:32,600 Speaker 1: his face kind of wiggles and his shoulders go up 448 00:24:32,640 --> 00:24:35,760 Speaker 1: and down. He's getting into it. He's got his very 449 00:24:35,800 --> 00:24:39,320 Speaker 1: expressive eyes, and his face was just like the right 450 00:24:39,400 --> 00:24:41,720 Speaker 1: amount of doughey, you know, like it's not like he 451 00:24:41,720 --> 00:24:43,640 Speaker 1: he had a his kind of a baby face without 452 00:24:43,720 --> 00:24:46,040 Speaker 1: having like a full baby face, and it works well 453 00:24:46,040 --> 00:24:47,720 Speaker 1: and scenes like this. It also gives him a sort 454 00:24:47,720 --> 00:24:50,399 Speaker 1: of a boyish innocence despite the fact you know that 455 00:24:50,440 --> 00:24:51,920 Speaker 1: he's you know, he's he's got a little gray hair 456 00:24:51,960 --> 00:24:54,760 Speaker 1: in there, all right. So that's our lead. That is 457 00:24:54,760 --> 00:24:57,640 Speaker 1: our that's our work beast. We'll come back to him 458 00:24:57,680 --> 00:25:01,120 Speaker 1: at length. But then our second a character here who 459 00:25:01,200 --> 00:25:03,840 Speaker 1: is I guess sort of a hero in his own right, 460 00:25:04,359 --> 00:25:08,440 Speaker 1: is the character Rick Blaydon played by Joe Penny born 461 00:25:08,560 --> 00:25:12,800 Speaker 1: nineteen fifty six. He is the house detective. So I 462 00:25:12,920 --> 00:25:15,240 Speaker 1: was trying so hard to understand what's going on here. 463 00:25:15,359 --> 00:25:20,720 Speaker 1: He is a detective who works for the hotel. Yes uh, 464 00:25:20,760 --> 00:25:22,800 Speaker 1: and I this was not on my radar as a 465 00:25:22,880 --> 00:25:25,639 Speaker 1: thing at all. But but after we've initially talked about this, 466 00:25:25,720 --> 00:25:28,040 Speaker 1: I looked into it a bit more and it seems 467 00:25:28,080 --> 00:25:32,000 Speaker 1: like the house detective was actually a thing. Um. I 468 00:25:32,040 --> 00:25:34,760 Speaker 1: guess it's kind of been replaced to a certain extent 469 00:25:35,000 --> 00:25:37,359 Speaker 1: in modern times by more of like a full blown 470 00:25:37,359 --> 00:25:41,160 Speaker 1: security coordinator and you have a lot more technology involved. 471 00:25:41,560 --> 00:25:44,440 Speaker 1: But I was reading a piece for Travel and Leisure 472 00:25:44,480 --> 00:25:48,399 Speaker 1: from two thousand nine by George uh Kylo Gerax, and 473 00:25:48,920 --> 00:25:52,040 Speaker 1: basically the situation was you'd have an ex cop working 474 00:25:52,080 --> 00:25:55,400 Speaker 1: at a hotel and doing a bit more than mere 475 00:25:55,480 --> 00:25:59,520 Speaker 1: security guard stuff, so kind of overseeing, like overall security 476 00:26:00,119 --> 00:26:03,399 Speaker 1: checking on, um, you know, anybody that was being a 477 00:26:03,440 --> 00:26:06,440 Speaker 1: little bit fishy, uh, looking into into stuff that was 478 00:26:06,480 --> 00:26:09,119 Speaker 1: going on in the hotel. And it apparently picked up 479 00:26:09,119 --> 00:26:12,199 Speaker 1: a lot of steam in in noir works, specifically in 480 00:26:12,200 --> 00:26:15,600 Speaker 1: the works of of Raymond Chandler. Now I've only read 481 00:26:15,640 --> 00:26:18,000 Speaker 1: The Big Sleep, which was which was great, I loved it, 482 00:26:18,080 --> 00:26:21,120 Speaker 1: but it looks like hotel detectives pop up in at 483 00:26:21,200 --> 00:26:23,840 Speaker 1: least three works of his. So this is kind of like, 484 00:26:24,200 --> 00:26:26,800 Speaker 1: I don't know, like the Master at Arms on the Titanic, 485 00:26:26,920 --> 00:26:31,399 Speaker 1: but for a Landlobb hotel. Yeah. Yeah. For example, in 486 00:26:31,640 --> 00:26:35,240 Speaker 1: Um and Chandler is a The Little Sister from ninety nine. 487 00:26:35,280 --> 00:26:39,000 Speaker 1: There's a bit where our main character is saying. He says, look, 488 00:26:39,040 --> 00:26:41,159 Speaker 1: I said, you're gonna find this hard to believe, but 489 00:26:41,200 --> 00:26:43,040 Speaker 1: I came over here with the queen idea that you 490 00:26:43,080 --> 00:26:45,120 Speaker 1: might be a girl who needed some help and would 491 00:26:45,160 --> 00:26:47,280 Speaker 1: find it rather hard to get anyone you could bank on. 492 00:26:47,560 --> 00:26:49,359 Speaker 1: I figured you went to that hotel room to make 493 00:26:49,400 --> 00:26:51,159 Speaker 1: some kind of a payoff. And the fact that you 494 00:26:51,200 --> 00:26:53,639 Speaker 1: went by yourself and took chances on being recognized, and 495 00:26:53,640 --> 00:26:56,800 Speaker 1: we're recognized by a house Dick. That's the house detective. 496 00:26:56,840 --> 00:27:01,479 Speaker 1: House Dick Dick detective, you know, um, he continues, who 497 00:27:01,560 --> 00:27:04,000 Speaker 1: standard of ethics would take about as much strain as 498 00:27:04,040 --> 00:27:06,960 Speaker 1: a very tired old cobweb. All this made me think 499 00:27:07,000 --> 00:27:09,040 Speaker 1: you might be one of those Hollywood jams that really 500 00:27:09,080 --> 00:27:12,919 Speaker 1: mean curtains. Anyway, there's more to that, but basically, like 501 00:27:12,960 --> 00:27:16,080 Speaker 1: there's an allusion here to a house detective, the the 502 00:27:16,200 --> 00:27:20,000 Speaker 1: guy who is on the job looking out for any 503 00:27:20,080 --> 00:27:24,120 Speaker 1: kind of illicit activity. And in some cases and in 504 00:27:24,200 --> 00:27:26,280 Speaker 1: some stories, I think there's the idea too that there 505 00:27:26,280 --> 00:27:29,119 Speaker 1: maybe they can be a little bit crooked. Um, but 506 00:27:29,200 --> 00:27:31,320 Speaker 1: other times like they're there too, you know, they're they're 507 00:27:31,320 --> 00:27:33,760 Speaker 1: really strict and they're not gonna let any kind of uh, 508 00:27:33,800 --> 00:27:38,000 Speaker 1: you know, unsavory business slide. Well. Yeah, so they're like 509 00:27:38,040 --> 00:27:40,600 Speaker 1: a private detective, like a private dick, except they work 510 00:27:40,720 --> 00:27:43,800 Speaker 1: for the for the hotel. Right. Yeah, and that's our 511 00:27:43,880 --> 00:27:48,480 Speaker 1: character Rick here, he's he's the house detective. And you 512 00:27:48,560 --> 00:27:50,320 Speaker 1: might be wondering, well, where have I seen Joe Penny 513 00:27:50,359 --> 00:27:52,439 Speaker 1: for before? Well, if you ever watched Jake and the 514 00:27:52,440 --> 00:27:58,080 Speaker 1: Fat Man from seven, Joe Penny was Jake opposite William 515 00:27:58,160 --> 00:28:03,639 Speaker 1: Conrad's titular fat Man. Wait, was this the thing that 516 00:28:03,760 --> 00:28:09,040 Speaker 1: was parodied on on the Simpsons with Wigham p I? 517 00:28:09,040 --> 00:28:11,640 Speaker 1: I guess I don't remember Wigham p I offhand. Oh, 518 00:28:11,680 --> 00:28:14,320 Speaker 1: it was on the episode the Simpsons spin off Showcase. 519 00:28:14,400 --> 00:28:16,920 Speaker 1: It's where Chief Wigham and Seymour Skinner go to New 520 00:28:17,000 --> 00:28:20,520 Speaker 1: Orleans and become private dicks. There their private detectives there 521 00:28:20,520 --> 00:28:23,600 Speaker 1: in town. Um, that's that's probably what it was. Yeah, 522 00:28:23,920 --> 00:28:26,800 Speaker 1: that's the one with uh with the look big daddy 523 00:28:26,800 --> 00:28:30,879 Speaker 1: it's regular daddy. Oh yeah, I do remember that line. Um, 524 00:28:31,800 --> 00:28:34,240 Speaker 1: So Joe Penny He was also in some other TV 525 00:28:34,280 --> 00:28:36,720 Speaker 1: shows of this era and the Law, also in the 526 00:28:37,520 --> 00:28:41,320 Speaker 1: slasher film Bloody Birthday and in the night one sci 527 00:28:41,360 --> 00:28:45,640 Speaker 1: fi film Lifepod. Have not seen them, but but they exist. 528 00:28:45,840 --> 00:28:48,360 Speaker 1: And yeah, that's Joe Penny. We'll we'll talk about his 529 00:28:48,440 --> 00:28:51,320 Speaker 1: character Rick a bit more as we proceed. So question 530 00:28:51,440 --> 00:28:53,600 Speaker 1: if you noticed this about Joe Penny in this movie. 531 00:28:53,640 --> 00:28:57,240 Speaker 1: Occasionally he's supposed to be I think, kind of a 532 00:28:57,320 --> 00:28:59,840 Speaker 1: kind of a slick hunk, Like he's really into fitness. 533 00:28:59,840 --> 00:29:02,760 Speaker 1: He does a lot of pushups and exercise and stuff. 534 00:29:02,960 --> 00:29:06,040 Speaker 1: But occasionally you'll get a certain angle on his face 535 00:29:06,080 --> 00:29:10,480 Speaker 1: where his eyes look very Peter Lori. Yeah, yeah, he does. 536 00:29:10,920 --> 00:29:14,920 Speaker 1: He's like a fitness buff Peter Lorii. Uh, to a 537 00:29:14,960 --> 00:29:17,760 Speaker 1: certain extent, I think. Yeah. The fact that he's buff 538 00:29:17,880 --> 00:29:21,080 Speaker 1: and can do one handed push ups on the beach. 539 00:29:21,400 --> 00:29:24,000 Speaker 1: That's really one of his defining characteristics in this Like, 540 00:29:24,040 --> 00:29:26,480 Speaker 1: we really don't know a lot about this guy except 541 00:29:26,520 --> 00:29:28,840 Speaker 1: that he's really good at one handed pushups. He has 542 00:29:28,840 --> 00:29:32,680 Speaker 1: a microscope in his office, which I thought was very funny. 543 00:29:33,800 --> 00:29:36,560 Speaker 1: All right, there's a romantic interest in this picture, right, 544 00:29:36,640 --> 00:29:38,800 Speaker 1: we work Beast falls in love because, of course, if 545 00:29:38,840 --> 00:29:40,640 Speaker 1: you're a work beast, you go to Hawaii, you fall 546 00:29:40,680 --> 00:29:42,520 Speaker 1: in love while you're there, and the lady he falls 547 00:29:42,520 --> 00:29:46,280 Speaker 1: in love with is a character named Diane Yes, played 548 00:29:46,280 --> 00:29:50,640 Speaker 1: by Barbara trentam And. Um, she was and she she's 549 00:29:50,680 --> 00:29:55,320 Speaker 1: a interesting character. She would play Daphne in Ball. She 550 00:29:55,480 --> 00:29:58,400 Speaker 1: wasn't in much else, but it's worth noting. She was 551 00:29:58,520 --> 00:30:03,360 Speaker 1: a Monty Python member John Cleese's second wife from one 552 00:30:03,400 --> 00:30:07,400 Speaker 1: through nine nine. So she's the mother of actress Camilla Cleice. Uh. Yeah, 553 00:30:07,400 --> 00:30:09,360 Speaker 1: and I'll say she's perfectly fine in this role. She 554 00:30:09,520 --> 00:30:12,680 Speaker 1: you know, it's a standard love interest role for the 555 00:30:12,720 --> 00:30:16,000 Speaker 1: most part, but you also buyer is a highly successful businesswoman. Sure. 556 00:30:16,240 --> 00:30:17,520 Speaker 1: I mean this is kind of a straight down the 557 00:30:17,560 --> 00:30:20,160 Speaker 1: middle kind of role. She's just like, very earnest and 558 00:30:20,280 --> 00:30:23,160 Speaker 1: very helpful and well meaning. Right now, there's a bit 559 00:30:23,280 --> 00:30:26,920 Speaker 1: character worth noting in this, Uh, the character of Sherry 560 00:30:27,080 --> 00:30:31,440 Speaker 1: played by um uh Debrayley Scott. Uh. She's basically just 561 00:30:31,480 --> 00:30:34,240 Speaker 1: a stewardess slasher victim in this, but she's a comedic 562 00:30:34,280 --> 00:30:37,440 Speaker 1: actress who popped up in a number of notable films 563 00:30:37,480 --> 00:30:40,200 Speaker 1: of the day, and she was in nine American Graffiti. 564 00:30:40,240 --> 00:30:43,800 Speaker 1: I think she plays uh Harrison Ford's girlfriend in that 565 00:30:45,160 --> 00:30:48,280 Speaker 1: his character's girlfriend who was in UH seventy four Earthquake. 566 00:30:48,400 --> 00:30:51,400 Speaker 1: She was in Police Academies one in three. She popped 567 00:30:51,480 --> 00:30:54,080 Speaker 1: up on a number of TV shows, including Welcome Back Cotter, 568 00:30:54,240 --> 00:30:58,040 Speaker 1: and played a corpse in Dirty Harry. Now there's another 569 00:30:58,080 --> 00:31:00,280 Speaker 1: actor in this I wanted to mention by the name 570 00:31:00,280 --> 00:31:04,800 Speaker 1: of Brandscomb Richmond born nineteen fifty five, who plays a 571 00:31:04,880 --> 00:31:08,760 Speaker 1: character named Vince, who is I guess he's some kind 572 00:31:08,760 --> 00:31:11,200 Speaker 1: of security guard at the hotel. He's dressed like a cop, 573 00:31:11,280 --> 00:31:13,640 Speaker 1: but I guess that could just be a security guard outfit. 574 00:31:14,320 --> 00:31:16,080 Speaker 1: He spends a lot of the a lot of his 575 00:31:16,120 --> 00:31:18,920 Speaker 1: scenes in the movie chasing around a room thief who 576 00:31:18,920 --> 00:31:22,200 Speaker 1: has been stealing from the hotel guests. But Richmond is 577 00:31:22,240 --> 00:31:23,800 Speaker 1: actually probably to a lot of people, are gonna be 578 00:31:23,880 --> 00:31:27,760 Speaker 1: very recognizable as a character actor and stuntman because he's 579 00:31:27,800 --> 00:31:31,240 Speaker 1: been in a million movies, often playing a tough guy, 580 00:31:31,400 --> 00:31:35,880 Speaker 1: a biker, a bar brawler, a villain's henchman in eighties 581 00:31:35,920 --> 00:31:40,440 Speaker 1: action movies. According to his IMDb biography quote, he's been 582 00:31:40,480 --> 00:31:43,200 Speaker 1: on the receiving end of the fists of Arnold Schwarzenegger 583 00:31:43,280 --> 00:31:47,840 Speaker 1: in Commando gotten pummeled by Carl Weathers in Action Jackson 584 00:31:48,160 --> 00:31:51,720 Speaker 1: and tangled with Steven Seagal and Hard to Kill. Uh. 585 00:31:51,760 --> 00:31:55,920 Speaker 1: It seems like in reality, Uh, Richmond is a motorcycle enthusiast. 586 00:31:56,040 --> 00:31:58,440 Speaker 1: I've dug up a few pictures from movies he was in. 587 00:31:58,560 --> 00:32:01,360 Speaker 1: I think I found a picture or of him about 588 00:32:01,400 --> 00:32:05,480 Speaker 1: to get punched by Arnold Schwarzenegger in Commando. Um. You 589 00:32:05,560 --> 00:32:08,959 Speaker 1: might also recognize him from Batman Returns as a violent 590 00:32:09,080 --> 00:32:14,160 Speaker 1: crime clown who attacks Michelle Peiffer. Uh. He also apparently 591 00:32:14,160 --> 00:32:16,600 Speaker 1: had a small part in Star Trek three The Search 592 00:32:16,680 --> 00:32:20,120 Speaker 1: for Spock, where he played like a Klingon gunner. But 593 00:32:20,280 --> 00:32:23,840 Speaker 1: he's definitely an oh that guy kind of actor. Like. 594 00:32:23,920 --> 00:32:25,800 Speaker 1: You might not know his name, but you've probably seen 595 00:32:25,880 --> 00:32:28,320 Speaker 1: him in at least a dozen movies, especially if you've 596 00:32:28,360 --> 00:32:31,440 Speaker 1: watched action movies of the eighties. So we were trying 597 00:32:31,480 --> 00:32:33,040 Speaker 1: to figure out how to pronounce the name of the 598 00:32:33,080 --> 00:32:35,480 Speaker 1: next actress in this movie, and I actually looked up 599 00:32:35,520 --> 00:32:39,200 Speaker 1: an interview with her where a film historian who was 600 00:32:39,240 --> 00:32:42,280 Speaker 1: interviewing her introduced her and pronounced her name with a 601 00:32:42,440 --> 00:32:49,440 Speaker 1: with a French inflection, so he called her France New Yanky. Yeah, France, 602 00:32:49,520 --> 00:32:53,200 Speaker 1: new Yn born nine and this she plays uh to 603 00:32:53,960 --> 00:32:57,640 Speaker 1: a helpful witch. So for a film set in in Hawaii, 604 00:32:57,840 --> 00:33:01,520 Speaker 1: we have I think virtually no Polini Asian actors, um, 605 00:33:01,560 --> 00:33:03,920 Speaker 1: but she's the most prominent Asian actor in the film. 606 00:33:04,000 --> 00:33:06,480 Speaker 1: She's a French citizen of Asian descent. She popped up 607 00:33:06,480 --> 00:33:09,640 Speaker 1: in a number of titles before becoming a psychological counselor. 608 00:33:09,920 --> 00:33:12,360 Speaker 1: Her first film role was in nineteen fifty eight South 609 00:33:12,400 --> 00:33:15,320 Speaker 1: Pacific and she went on to appear in nineteen seventy 610 00:33:15,360 --> 00:33:17,280 Speaker 1: three Battle for the Planet of the Apes. She was 611 00:33:17,320 --> 00:33:21,400 Speaker 1: in the Joy Luck Club, and she appeared in the 612 00:33:21,440 --> 00:33:25,680 Speaker 1: nineteen nineties Outer Limits as well, along with some classic 613 00:33:25,680 --> 00:33:28,520 Speaker 1: track episodes and also Gun Smokes. So she was pretty 614 00:33:28,560 --> 00:33:31,800 Speaker 1: impressive filmography. Yeah, so I was poking around in her 615 00:33:31,880 --> 00:33:35,280 Speaker 1: filmography and h I found one thing that was quite odd. 616 00:33:35,320 --> 00:33:39,160 Speaker 1: So she was in a nineteen seventy three TV movie, 617 00:33:39,200 --> 00:33:43,440 Speaker 1: again made for TV called The Horror at thirty seven 618 00:33:43,440 --> 00:33:48,720 Speaker 1: thousand Feet and it starred William Shatner and Chuck Connors. Now, 619 00:33:48,720 --> 00:33:51,280 Speaker 1: if this is sort of tingling your brain in a 620 00:33:51,400 --> 00:33:54,600 Speaker 1: strange way, maybe this will help make sense of it. 621 00:33:55,080 --> 00:34:00,160 Speaker 1: There was also a classic Twilight Zone episode called Nightmare 622 00:34:00,000 --> 00:34:04,720 Speaker 1: at twenty thousand Feet, which also starred William Shatner. But 623 00:34:04,800 --> 00:34:07,640 Speaker 1: in that episode of the Twilight Zone, Shatner played a 624 00:34:07,680 --> 00:34:10,680 Speaker 1: man who sees a grimlin on the wing of an airplane. 625 00:34:11,040 --> 00:34:14,800 Speaker 1: And in this movie Horror thirty seven thousand feet, William 626 00:34:14,840 --> 00:34:18,080 Speaker 1: Shatner is a priest who must confront a demon in 627 00:34:18,120 --> 00:34:23,799 Speaker 1: a baggage compartment. It sounds great, yeah, uh and uh, 628 00:34:23,840 --> 00:34:26,920 Speaker 1: and France new Yawn plays. And she's a passenger on 629 00:34:26,960 --> 00:34:29,200 Speaker 1: the airplane who I think is supposed to be a model. 630 00:34:30,040 --> 00:34:32,160 Speaker 1: I watched a funny scene where some guys trying to 631 00:34:32,239 --> 00:34:33,759 Speaker 1: chat her up and she kind of gives him the 632 00:34:33,760 --> 00:34:38,080 Speaker 1: cold shoulder. But from I was reading about this movie 633 00:34:38,120 --> 00:34:42,400 Speaker 1: from the IMDb trivia quote, William Shatner described his character's 634 00:34:42,440 --> 00:34:45,200 Speaker 1: demise in the movie as one of his unique ways 635 00:34:45,239 --> 00:34:48,400 Speaker 1: of dying. Quote. I get sucked out of an airplane 636 00:34:48,480 --> 00:34:52,160 Speaker 1: while carrying a lit torch into the airliner's baggage compartment 637 00:34:52,360 --> 00:34:56,400 Speaker 1: to try to confront a druid ghost. Well there you go, 638 00:34:56,560 --> 00:34:59,239 Speaker 1: a winning concept. Yeah, and I got some pictures for 639 00:34:59,280 --> 00:35:02,440 Speaker 1: you to look at. Doesn't it look just gorgeous? It 640 00:35:02,480 --> 00:35:08,000 Speaker 1: looks great. So the plane has stillactites. Am I seeing that? Right? Yeah, 641 00:35:08,280 --> 00:35:10,680 Speaker 1: it's like the plane floating around. I don't know, I 642 00:35:10,719 --> 00:35:12,920 Speaker 1: can't really tell. I think it is supposed to be. 643 00:35:12,960 --> 00:35:15,880 Speaker 1: The plane is like morphing into a cave and it 644 00:35:15,960 --> 00:35:20,000 Speaker 1: has stalactites in the bag and they're back. All right. Well, 645 00:35:20,040 --> 00:35:22,080 Speaker 1: let's round things out here. Who did the music on 646 00:35:22,120 --> 00:35:27,719 Speaker 1: this movie. It's Paul Hijara born Japanese American composer. He's 647 00:35:27,719 --> 00:35:31,680 Speaker 1: who's been extremely prolific, composed a good one hundred film scores, 648 00:35:31,719 --> 00:35:34,960 Speaker 1: and these include the likes of Corman's Death Race two 649 00:35:35,000 --> 00:35:38,400 Speaker 1: thousand from nineteen seventy five, which was directed by Paul 650 00:35:38,480 --> 00:35:41,600 Speaker 1: Paul Bartel, who we've we've mentioned on the show before. 651 00:35:41,960 --> 00:35:45,600 Speaker 1: His score for Death Moon is mostly traditional, but but 652 00:35:45,680 --> 00:35:48,560 Speaker 1: I think generally effective. And we also have this really 653 00:35:48,600 --> 00:35:51,600 Speaker 1: weird electronic bit that plays when where wolf stuff happens, 654 00:35:51,600 --> 00:35:55,040 Speaker 1: and I like that. Yeah, given the modulated stings you're 655 00:35:55,040 --> 00:35:57,800 Speaker 1: supposed to, I think hear them and feel a little 656 00:35:58,160 --> 00:36:01,160 Speaker 1: tingle or a shiver coming out of the moon. Yeah, 657 00:36:01,200 --> 00:36:05,440 Speaker 1: the lunacy uh striking you and the soul changing you 658 00:36:05,480 --> 00:36:17,719 Speaker 1: into the wolf. Now, Rob, here's a question. Could you 659 00:36:17,840 --> 00:36:20,760 Speaker 1: explain why the first thing we see in this movie 660 00:36:21,000 --> 00:36:25,759 Speaker 1: is a view from the surface of the moon. It 661 00:36:25,840 --> 00:36:29,759 Speaker 1: was a bold choice. You know, maybe this helped keep 662 00:36:29,800 --> 00:36:32,480 Speaker 1: some viewers who were still hanging around after Incredible Hulk, 663 00:36:32,680 --> 00:36:34,600 Speaker 1: who are thinking about going to bed early. And then 664 00:36:34,600 --> 00:36:36,440 Speaker 1: they were like, WHOA, what's this? I thought there was 665 00:36:36,480 --> 00:36:39,000 Speaker 1: some sort of a Hawaiian werewolf movie coming on. But 666 00:36:39,080 --> 00:36:42,160 Speaker 1: now we're in space, right, we're in So we're in space, 667 00:36:42,520 --> 00:36:45,600 Speaker 1: on the surface of the moon, the black, black horizon 668 00:36:45,640 --> 00:36:47,760 Speaker 1: in the background, and then we get a text crawl 669 00:36:47,960 --> 00:36:51,400 Speaker 1: and I don't know if it's significant that this was 670 00:36:51,480 --> 00:36:53,319 Speaker 1: the year after Star Wars came out, but we get 671 00:36:53,320 --> 00:36:57,759 Speaker 1: a yellow text crawl across the background of space which 672 00:36:57,800 --> 00:37:02,760 Speaker 1: reads as follows wherever fearsome beasts have roamed. The legend 673 00:37:02,760 --> 00:37:07,000 Speaker 1: of the werewolf persists even in the tropical paradise of 674 00:37:07,040 --> 00:37:10,960 Speaker 1: the Pacific, where it is said and believed that when 675 00:37:11,000 --> 00:37:13,759 Speaker 1: the shadow of the moon is cast, he who is 676 00:37:13,800 --> 00:37:17,799 Speaker 1: cursed will be transformed from an ordinary man into a 677 00:37:17,920 --> 00:37:21,640 Speaker 1: vicious beast. So, first of all, I don't think that's true. 678 00:37:21,800 --> 00:37:25,240 Speaker 1: I do not think that there is a werewolf tradition 679 00:37:25,280 --> 00:37:28,080 Speaker 1: in Hawaiian legend, though there might be some real world 680 00:37:28,520 --> 00:37:31,440 Speaker 1: analogs that we could talk about later on. But second, 681 00:37:31,600 --> 00:37:33,640 Speaker 1: it says that, so normally, how do you how do 682 00:37:33,680 --> 00:37:35,920 Speaker 1: you turn into a werewolf? What happens some there's some 683 00:37:36,000 --> 00:37:38,880 Speaker 1: kind of atmospheric phenomenon, or not atmospheric, some kind of 684 00:37:38,920 --> 00:37:42,839 Speaker 1: celestial phenomenon, which is the full moon. Right, the moon 685 00:37:43,000 --> 00:37:45,759 Speaker 1: is shining with its full disc down on your side 686 00:37:45,760 --> 00:37:49,200 Speaker 1: of the Earth at night. This says when the shadow 687 00:37:49,360 --> 00:37:52,040 Speaker 1: of the moon is cast. I don't know what that means. 688 00:37:52,239 --> 00:37:54,640 Speaker 1: Does that mean a solar eclipse? Because there are no 689 00:37:54,680 --> 00:37:57,400 Speaker 1: solar eclipses in this movie. I think it's just ultimately 690 00:37:57,400 --> 00:38:00,719 Speaker 1: what elegant variation where they just they didn't want to 691 00:38:00,760 --> 00:38:02,640 Speaker 1: just say when there's a full moon, but then in 692 00:38:02,719 --> 00:38:04,840 Speaker 1: trying to spice it up, they end up saying the 693 00:38:04,880 --> 00:38:09,880 Speaker 1: wrong thing. Yeah, I think you're right. But anyway, so 694 00:38:09,640 --> 00:38:12,520 Speaker 1: we're seeing this on the surface of the moon, like 695 00:38:12,600 --> 00:38:15,280 Speaker 1: we're standing there, and then we see the Earth rise photos, 696 00:38:15,280 --> 00:38:18,000 Speaker 1: so we see the Earth from the moon, and we 697 00:38:18,040 --> 00:38:21,319 Speaker 1: get the title death moon one word not to and 698 00:38:21,360 --> 00:38:23,640 Speaker 1: so immediately you're thinking, like why it was so, where 699 00:38:23,680 --> 00:38:25,560 Speaker 1: are we going to space in this movie? Or they're 700 00:38:25,560 --> 00:38:30,680 Speaker 1: going to be aliens? And ay, Nope, not at all. 701 00:38:30,800 --> 00:38:33,160 Speaker 1: You never come back to the moon, never go to 702 00:38:33,280 --> 00:38:36,080 Speaker 1: space again. We just for some reason see the Earth 703 00:38:36,200 --> 00:38:39,760 Speaker 1: from space. But you immediately cut from the opening sequence 704 00:38:39,800 --> 00:38:43,799 Speaker 1: after the credits to an echoe dreamlike vision of a 705 00:38:43,960 --> 00:38:47,200 Speaker 1: ritual dance where music is playing and a man is 706 00:38:47,440 --> 00:38:51,359 Speaker 1: dancing wearing a sort of wolf hat or some kind 707 00:38:51,360 --> 00:38:55,200 Speaker 1: of monstrous head where where the face of the wolf 708 00:38:55,320 --> 00:38:57,560 Speaker 1: is sort of on backwards. So when his head is 709 00:38:57,600 --> 00:38:59,640 Speaker 1: turned and you look at the back of his head, 710 00:38:59,680 --> 00:39:02,360 Speaker 1: you see the wolf's face. And meanwhile there is like 711 00:39:02,360 --> 00:39:06,080 Speaker 1: a priestess chanting in the background, and then you see 712 00:39:06,120 --> 00:39:09,040 Speaker 1: a guy who looks like he's dressed like a Catholic priest. 713 00:39:09,160 --> 00:39:13,000 Speaker 1: He has a chin strap beard, So I was trying 714 00:39:13,040 --> 00:39:15,000 Speaker 1: to think who he looks most like. You can kind 715 00:39:15,040 --> 00:39:19,360 Speaker 1: of imagine former Surgeon General, see Everett Coope or somebody 716 00:39:19,400 --> 00:39:23,400 Speaker 1: like like like if you picture David Letterman without a mustache, 717 00:39:23,480 --> 00:39:27,160 Speaker 1: but with the chin strap beard, that's that's sort of close. Yeah, 718 00:39:27,200 --> 00:39:30,080 Speaker 1: And I believe this is Foxworth playing this character as well, 719 00:39:30,800 --> 00:39:35,040 Speaker 1: just with a stick on beard, without a mustache, a 720 00:39:35,120 --> 00:39:38,239 Speaker 1: post it note on his cheek that says beard. So 721 00:39:38,360 --> 00:39:42,280 Speaker 1: something happens through this ritual the man doing the dance 722 00:39:42,640 --> 00:39:46,200 Speaker 1: and the channing priestess. Basically they cause something to pop 723 00:39:46,719 --> 00:39:50,200 Speaker 1: on the priests, the like guy dressed like the Catholic 724 00:39:50,200 --> 00:39:53,080 Speaker 1: priest with the chin strap beard. Something pops in his 725 00:39:53,239 --> 00:39:55,480 Speaker 1: neck and then blood sprays out of a hole in 726 00:39:55,520 --> 00:39:58,000 Speaker 1: his neck. So it's like a cheaper version of Scanners, 727 00:39:58,040 --> 00:39:59,959 Speaker 1: except it doesn't appear to kill him. He just spray 728 00:40:00,040 --> 00:40:02,719 Speaker 1: his blood out of his neck, right, But it was 729 00:40:02,760 --> 00:40:05,279 Speaker 1: all a dream. And then our hero and then he 730 00:40:05,320 --> 00:40:09,000 Speaker 1: will learn his name to Jason. He snaps awake, gasping, 731 00:40:09,200 --> 00:40:11,680 Speaker 1: clutching at his heart like oh like like he like 732 00:40:11,719 --> 00:40:14,640 Speaker 1: he was having a heart heart attack, but he's wearing 733 00:40:14,680 --> 00:40:16,959 Speaker 1: a vest and tie. He was sleeping in a vest 734 00:40:17,000 --> 00:40:20,160 Speaker 1: and tie. That's just that much of a work beast, 735 00:40:20,280 --> 00:40:22,520 Speaker 1: is that he's just working on stop and then you 736 00:40:22,560 --> 00:40:24,440 Speaker 1: don't go to bed. You just collapse and you wake 737 00:40:24,520 --> 00:40:26,400 Speaker 1: up and you work some more. I guess. So he 738 00:40:26,480 --> 00:40:28,319 Speaker 1: was on a couch, I think. And then the very 739 00:40:28,360 --> 00:40:31,200 Speaker 1: next thing, we're in his doctor's office and his doctor 740 00:40:31,400 --> 00:40:35,000 Speaker 1: is almost has slightly kind of a grouch show marks 741 00:40:35,000 --> 00:40:38,040 Speaker 1: sort of vibe. Uh, and the doctor is telling him, 742 00:40:38,120 --> 00:40:40,359 Speaker 1: he's like, look, Jason, you're a work beast. You gotta 743 00:40:40,400 --> 00:40:43,360 Speaker 1: ease up, you gotta light in the load. This is 744 00:40:43,400 --> 00:40:46,239 Speaker 1: clearly a problem they've talked about before. Jason just it 745 00:40:46,239 --> 00:40:48,360 Speaker 1: seems like he's working twenty four hours a day. He 746 00:40:48,400 --> 00:40:51,479 Speaker 1: never sleeps, he never relaxes, and so and the work 747 00:40:51,560 --> 00:40:54,600 Speaker 1: beastiness of his life is killing him. And so his 748 00:40:54,719 --> 00:40:57,839 Speaker 1: doctors like, you know, you gotta take some time off. Uh. 749 00:40:57,880 --> 00:41:00,600 Speaker 1: And meanwhile, Jason what he wants is for his doctor 750 00:41:00,680 --> 00:41:03,400 Speaker 1: to tell him what his dream means. But then he 751 00:41:03,440 --> 00:41:06,000 Speaker 1: explains that he can't remember what he dreamed, and he 752 00:41:06,040 --> 00:41:10,160 Speaker 1: never remembers his dreams, so I don't know. Uh. And 753 00:41:10,200 --> 00:41:13,160 Speaker 1: then the doctor offers to recommend a psychologist. I had 754 00:41:13,160 --> 00:41:15,359 Speaker 1: to write this down. He says, you know, someone into 755 00:41:15,440 --> 00:41:18,040 Speaker 1: dream analysis, YOUNGI and stuff a lot of good ones 756 00:41:18,040 --> 00:41:22,680 Speaker 1: in Los Angeles. But the doctor anyway, he's like, no, look, 757 00:41:22,760 --> 00:41:25,920 Speaker 1: work beast, you are too obsessed with hustling deals. You 758 00:41:25,960 --> 00:41:28,680 Speaker 1: need to take a vacation. He actually gets out his 759 00:41:28,760 --> 00:41:32,160 Speaker 1: prescription paper and he writes take a vacation on the paper. 760 00:41:33,600 --> 00:41:37,680 Speaker 1: Uh so. Uh So Jason goes down to the lobby. 761 00:41:38,040 --> 00:41:40,680 Speaker 1: He gets off the elevator. He looks at a travel 762 00:41:40,719 --> 00:41:44,720 Speaker 1: poster for Hawaii. It has an illustration of a mask. 763 00:41:45,040 --> 00:41:48,040 Speaker 1: The illustration of the mask scares him, and then we 764 00:41:48,120 --> 00:41:52,080 Speaker 1: immediately cut to work beasts arriving at his hotel in Hawaii. Yeah, 765 00:41:52,120 --> 00:41:55,000 Speaker 1: I mean basically, something other than work made him feel something, 766 00:41:55,000 --> 00:41:56,680 Speaker 1: and he's like, oh, well, that's the sign I need 767 00:41:56,680 --> 00:41:59,960 Speaker 1: to go to Hawaii. Right, So I would say somehow 768 00:42:00,080 --> 00:42:03,279 Speaker 1: a major premise of this film is Hawaii is scary, 769 00:42:03,400 --> 00:42:07,759 Speaker 1: which doesn't really work. Yeah, yeah, it when we'll get in, 770 00:42:07,840 --> 00:42:09,399 Speaker 1: we'll get into more of that there. There's a lot 771 00:42:09,560 --> 00:42:12,600 Speaker 1: to potentially discussed there. Uh and and I think ultimately 772 00:42:12,640 --> 00:42:16,920 Speaker 1: there's there's some shallow exploration of some deeper topics in 773 00:42:16,960 --> 00:42:19,440 Speaker 1: this film. But yeah, at any rate, he's he's drawn 774 00:42:19,480 --> 00:42:21,520 Speaker 1: to Hawaii and yet at the same time he's a 775 00:42:21,520 --> 00:42:23,879 Speaker 1: little afraid. But of course we we get to meet 776 00:42:23,920 --> 00:42:27,000 Speaker 1: the fabulous resort where he is staying, which his room 777 00:42:27,040 --> 00:42:28,680 Speaker 1: is not right on the beach. It looks more like 778 00:42:28,719 --> 00:42:30,800 Speaker 1: it's sort of on a golf course and a swamp, 779 00:42:31,400 --> 00:42:34,080 Speaker 1: but a really nice swamp, very very well manicured, yet 780 00:42:34,239 --> 00:42:40,560 Speaker 1: very well. All the alligators have monocles. It would probably 781 00:42:40,600 --> 00:42:44,400 Speaker 1: be interesting for for like Big Elvis Presley or Hawaiian 782 00:42:44,440 --> 00:42:46,520 Speaker 1: movie fans to watch this film and like and and 783 00:42:46,560 --> 00:42:48,520 Speaker 1: wonder if they see the same place. It's like, oh, yeah, 784 00:42:48,520 --> 00:42:51,560 Speaker 1: that's where Elvis, his character got married in this film 785 00:42:51,600 --> 00:42:54,240 Speaker 1: or whatnot. Yeah, he sang a song with the ukulele 786 00:42:54,400 --> 00:42:57,960 Speaker 1: here and then, but that's where where Uh the house 787 00:42:58,040 --> 00:43:02,600 Speaker 1: detective Rick is out for a job, hug so Jason. 788 00:43:02,680 --> 00:43:05,480 Speaker 1: When he gets there, he meets a bunch of airline 789 00:43:05,480 --> 00:43:08,319 Speaker 1: flight attendants who are staying at the resort, including one 790 00:43:08,320 --> 00:43:11,239 Speaker 1: of them the character Sherry we mentioned earlier. And they're 791 00:43:11,280 --> 00:43:14,520 Speaker 1: sort of walking around commenting on the poor quality of 792 00:43:14,560 --> 00:43:17,719 Speaker 1: men at the resort. Uh, they don't seem very interested 793 00:43:17,760 --> 00:43:20,319 Speaker 1: in work. Beast he's They're like, what about him? And 794 00:43:20,320 --> 00:43:23,359 Speaker 1: they're like and then they're like, but there is always Rick. 795 00:43:23,600 --> 00:43:26,200 Speaker 1: And then you just smash cut to Rick, who's like 796 00:43:26,280 --> 00:43:29,720 Speaker 1: in short shorts running on the beach, showing off his 797 00:43:29,719 --> 00:43:32,759 Speaker 1: his finally tuned physique. And I guess we're supposed to 798 00:43:32,800 --> 00:43:34,960 Speaker 1: take away from this that like that, like Rick is 799 00:43:35,000 --> 00:43:39,239 Speaker 1: hot stuff. And Rick, as we established earlier, is the 800 00:43:39,280 --> 00:43:43,960 Speaker 1: house detective of the hotel. Yeah, which again, when when 801 00:43:44,000 --> 00:43:45,760 Speaker 1: when I watched this as well, I had no idea 802 00:43:45,840 --> 00:43:48,040 Speaker 1: this was a thing. So just like the idea, you 803 00:43:48,080 --> 00:43:51,000 Speaker 1: have a guy like full time, like on staff, perhaps 804 00:43:51,120 --> 00:43:55,279 Speaker 1: lives in the hotel, who just investigates crimes, like ongoing 805 00:43:55,360 --> 00:43:58,319 Speaker 1: crimes in the hotel. But I enjoy being corrected in 806 00:43:58,320 --> 00:43:59,960 Speaker 1: this way because it's one of those times where I 807 00:44:00,239 --> 00:44:03,680 Speaker 1: was like, what this is so contrived, This lacks very similitude, 808 00:44:03,680 --> 00:44:05,680 Speaker 1: And then I find out, Oh no, there, that's actually 809 00:44:05,680 --> 00:44:08,480 Speaker 1: a real thing. I get, you know, And I was 810 00:44:08,520 --> 00:44:10,520 Speaker 1: thinking to like, Okay, maybe this is only a thing 811 00:44:10,560 --> 00:44:13,799 Speaker 1: in like big casino hotels where you know, there's a lot, 812 00:44:13,960 --> 00:44:16,680 Speaker 1: maybe a lot more going on. It's just a bigger infrastructure, 813 00:44:16,760 --> 00:44:19,600 Speaker 1: and you could you could make a case for needing 814 00:44:19,640 --> 00:44:21,480 Speaker 1: something like this, but I don't know. It sounds like 815 00:44:21,520 --> 00:44:24,440 Speaker 1: back in the day, you know, just a reasonably sized 816 00:44:24,480 --> 00:44:26,359 Speaker 1: you know, I guess like a big city hotel, you know, 817 00:44:26,400 --> 00:44:29,719 Speaker 1: the kind of hotel where detectives are going to be 818 00:44:29,800 --> 00:44:31,719 Speaker 1: popping up and showing up. You might need somebody in 819 00:44:31,800 --> 00:44:35,120 Speaker 1: house to deal with situations. And I think also sometimes 820 00:44:35,120 --> 00:44:38,600 Speaker 1: it's implied or or overtly stated to that you need 821 00:44:38,680 --> 00:44:43,080 Speaker 1: somebody that is that's not the actual cops to get involved, 822 00:44:43,360 --> 00:44:46,920 Speaker 1: particularly if it's an important client of the hotel. Right, well, 823 00:44:46,960 --> 00:44:48,680 Speaker 1: I think we're Yeah, maybe that's where some of the 824 00:44:48,719 --> 00:44:51,279 Speaker 1: crookedness comes in, because it's like, you don't want to 825 00:44:51,320 --> 00:44:55,120 Speaker 1: necessarily have the law applied equally. You want some kind 826 00:44:55,120 --> 00:44:57,920 Speaker 1: of discretion. That's really you know, you're sort of like 827 00:44:57,960 --> 00:45:01,520 Speaker 1: at the service of your your wealthy paying guests. Yeah, 828 00:45:01,560 --> 00:45:04,240 Speaker 1: but at any rate, Rick doesn't sound Ricks just seems 829 00:45:04,239 --> 00:45:06,000 Speaker 1: like this young guy like we were. And I think 830 00:45:06,040 --> 00:45:08,640 Speaker 1: in real life the house detective would be like a 831 00:45:08,719 --> 00:45:12,759 Speaker 1: retired police officer or hired detective. Not this this young 832 00:45:12,800 --> 00:45:14,759 Speaker 1: hot guy running on the beach and doing two arms up, 833 00:45:14,840 --> 00:45:18,000 Speaker 1: doing one arm up push ups, right, not not beach 834 00:45:18,000 --> 00:45:21,960 Speaker 1: crime muscle boy. But so he's investigating beach crime because 835 00:45:21,960 --> 00:45:24,080 Speaker 1: that's what he does. Apparently there have been multiple break 836 00:45:24,120 --> 00:45:27,319 Speaker 1: ins at the hotel and uh, and so Sherlock Rick 837 00:45:27,480 --> 00:45:30,560 Speaker 1: starts snooping around the hotel office looking for clues, and 838 00:45:30,600 --> 00:45:33,000 Speaker 1: he finds something. I was trying to figure out what 839 00:45:33,080 --> 00:45:35,759 Speaker 1: this was through the kind of large grain visuals of 840 00:45:35,800 --> 00:45:37,480 Speaker 1: the version we saw. It looked kind of like a 841 00:45:37,560 --> 00:45:41,080 Speaker 1: partially chewed up piece of carrot. But maybe that's just 842 00:45:41,360 --> 00:45:43,680 Speaker 1: I don't know, Maybe maybe that's just my experiences with 843 00:45:43,760 --> 00:45:46,520 Speaker 1: dogs coloring this. It looked like maybe it could be 844 00:45:46,560 --> 00:45:48,640 Speaker 1: a cheese it. Yeah. It was something kind of large 845 00:45:48,640 --> 00:45:51,520 Speaker 1: and orange. Yeah. And then meanwhile we we see what 846 00:45:51,640 --> 00:45:54,200 Speaker 1: Jason's doing at the at the hotel. Here, he goes 847 00:45:54,239 --> 00:45:56,760 Speaker 1: a lounging by the pool. He dozes off and starts 848 00:45:56,800 --> 00:46:00,239 Speaker 1: having ominous dream visions. He dreams of a lady booming 849 00:46:00,320 --> 00:46:04,120 Speaker 1: over him ominously, and you know, and I guess you 850 00:46:04,200 --> 00:46:05,880 Speaker 1: wonder it's like maybe he should have just gone to 851 00:46:05,960 --> 00:46:09,719 Speaker 1: that Youngian analyst and in Los Angeles. But uh, but 852 00:46:09,760 --> 00:46:12,359 Speaker 1: then we cut back to Sherlock Rick, and he, as 853 00:46:12,360 --> 00:46:15,120 Speaker 1: I mentioned earlier, has a microscope in his lab, and 854 00:46:15,160 --> 00:46:17,480 Speaker 1: he does not a lab, it's just an office in 855 00:46:17,480 --> 00:46:20,400 Speaker 1: the hotel, but with a microscope. When he's looking at slides, 856 00:46:21,160 --> 00:46:23,960 Speaker 1: and he confers with his cop friend, I think this 857 00:46:24,040 --> 00:46:25,640 Speaker 1: is Vince. I'm not sure if I remember right. I 858 00:46:25,680 --> 00:46:27,000 Speaker 1: didn't make a note of who it was, but he 859 00:46:27,360 --> 00:46:30,839 Speaker 1: has a a sort of cop buddy here, and Rick 860 00:46:30,960 --> 00:46:35,600 Speaker 1: concludes that we're dealing with a professional room thief. Uh, 861 00:46:35,640 --> 00:46:39,279 Speaker 1: someone who is like a a pro at working hotels 862 00:46:39,400 --> 00:46:43,000 Speaker 1: and like making copies of keys to hotel rooms and 863 00:46:43,040 --> 00:46:45,799 Speaker 1: then going in and stealing the things that belonged to 864 00:46:45,800 --> 00:46:48,360 Speaker 1: the guests. Oh and this is where I think maybe 865 00:46:48,400 --> 00:46:50,080 Speaker 1: this thing that we thought was the chewed up piece 866 00:46:50,080 --> 00:46:52,239 Speaker 1: of carrot is like a piece of wax that would 867 00:46:52,239 --> 00:46:55,680 Speaker 1: have been used in making copies of keys. Yeah, all right, 868 00:46:55,760 --> 00:46:57,920 Speaker 1: that makes sense and then ultimately makes sense like if 869 00:46:57,960 --> 00:47:00,880 Speaker 1: you if you have a big enough hotel, I guess, 870 00:47:01,040 --> 00:47:04,680 Speaker 1: high profile clientele, it might make sense that you have 871 00:47:04,840 --> 00:47:07,800 Speaker 1: at a house detective to deal with this sort of thing. Yeah. Sure. 872 00:47:08,440 --> 00:47:11,000 Speaker 1: So later this night, we see Jason getting to know 873 00:47:11,120 --> 00:47:13,520 Speaker 1: people who are vacationing there with him. Like he's hanging 874 00:47:13,520 --> 00:47:16,959 Speaker 1: out with a couple of people watching a musical performance. Uh. 875 00:47:16,960 --> 00:47:19,919 Speaker 1: And Jason's talking about his investments and he's like, well, 876 00:47:19,960 --> 00:47:23,080 Speaker 1: I'm mostly into real estate. Uh. And It's like, I thought, 877 00:47:23,120 --> 00:47:26,279 Speaker 1: you work beast. You cannot turn off your work beast. Right, 878 00:47:26,320 --> 00:47:30,719 Speaker 1: he's here on vacation, he's still just talking about investments. Yeah. Well, 879 00:47:30,719 --> 00:47:32,319 Speaker 1: I mean he you know, he just got there. He's 880 00:47:32,320 --> 00:47:33,919 Speaker 1: he's going to take a little time to turn it off. 881 00:47:33,960 --> 00:47:37,120 Speaker 1: I think. Yeah. But in the background, we see another 882 00:47:37,160 --> 00:47:40,440 Speaker 1: conversation where these guys are talking to a lady and 883 00:47:40,440 --> 00:47:42,560 Speaker 1: they're like, we've got a prospectus. You can look at 884 00:47:42,680 --> 00:47:45,920 Speaker 1: time is money and so it's just I think maybe 885 00:47:45,960 --> 00:47:48,239 Speaker 1: the movie I couldn't tell if the movie knew it 886 00:47:48,280 --> 00:47:50,760 Speaker 1: was trying to say something or not, but it seems 887 00:47:50,800 --> 00:47:55,239 Speaker 1: like even on vacation, everyone's just trying to do business. Yeah, 888 00:47:55,280 --> 00:47:57,920 Speaker 1: I think there's this there is part part of the Again, 889 00:47:57,960 --> 00:48:01,319 Speaker 1: this shallow alchemy of this film I think is commentating 890 00:48:01,480 --> 00:48:05,600 Speaker 1: in in part on like American work culture and uh 891 00:48:05,640 --> 00:48:08,280 Speaker 1: and you know the degree to which it is poisoning 892 00:48:08,360 --> 00:48:11,520 Speaker 1: us or was poisoning us, and it it's still poison us. Well, yeah, 893 00:48:11,520 --> 00:48:13,200 Speaker 1: to be I mean if this was true at the 894 00:48:13,239 --> 00:48:15,839 Speaker 1: time in the seventies, it definitely seems true today that 895 00:48:16,000 --> 00:48:18,319 Speaker 1: you know, for a lot of people with their work 896 00:48:18,400 --> 00:48:20,719 Speaker 1: sort of is their life. Well, and you see that 897 00:48:20,719 --> 00:48:23,439 Speaker 1: in like the term workaholic, right, we were talking about 898 00:48:23,440 --> 00:48:26,359 Speaker 1: this a little off off Mike before we recorded here, 899 00:48:26,360 --> 00:48:29,040 Speaker 1: Like which is a better term, work beast or workaholic? 900 00:48:29,320 --> 00:48:32,960 Speaker 1: Because workaholic if you if you just actually look at 901 00:48:33,000 --> 00:48:36,480 Speaker 1: the word it it implies, you know, it's espresisly states 902 00:48:36,560 --> 00:48:39,000 Speaker 1: that like this is something that is harmful to you 903 00:48:39,080 --> 00:48:41,120 Speaker 1: have an illness, Yeah, I have an illness. This is 904 00:48:41,200 --> 00:48:43,440 Speaker 1: something that this is not good. I shouldn't be bragging 905 00:48:43,520 --> 00:48:45,839 Speaker 1: about being or you know, patting myself on the back 906 00:48:46,200 --> 00:48:51,160 Speaker 1: for being a workaholic. Um. Whereas work beast does sound 907 00:48:51,200 --> 00:48:54,280 Speaker 1: more fun in some respects, but also does sound monstrous 908 00:48:54,320 --> 00:48:57,040 Speaker 1: as well, something that just takes over your body, like 909 00:48:57,200 --> 00:48:59,839 Speaker 1: like antherpy and you know you have to go out 910 00:49:00,160 --> 00:49:04,279 Speaker 1: and slaughter the farmers, sheep herd or whatever. But I 911 00:49:04,400 --> 00:49:06,759 Speaker 1: think I ultimately like work beast best. I think people 912 00:49:06,760 --> 00:49:10,520 Speaker 1: should start using it in their job interviews and and 913 00:49:10,600 --> 00:49:12,600 Speaker 1: you know, don't be afraid to tell your boss. Look, 914 00:49:13,400 --> 00:49:15,680 Speaker 1: if if you can't handle me at my work worst, 915 00:49:15,800 --> 00:49:20,520 Speaker 1: you don't deserve me at my work beast. Okay, I apologize, 916 00:49:20,600 --> 00:49:24,400 Speaker 1: let's keeping no, no, no, that's fabulous. But anyway, so 917 00:49:24,480 --> 00:49:27,239 Speaker 1: the lady who's got a perspect us on her way, 918 00:49:27,280 --> 00:49:30,720 Speaker 1: this is Diane. This is who who, of course Jason 919 00:49:30,840 --> 00:49:32,360 Speaker 1: is going to fall in love with. We can already 920 00:49:32,400 --> 00:49:35,200 Speaker 1: tell just immediately when they need. They made eyes at 921 00:49:35,239 --> 00:49:38,919 Speaker 1: the pool earlier, and they start chatting and she's like, well, 922 00:49:39,239 --> 00:49:41,839 Speaker 1: I can tell you're on vacation instead of business, even 923 00:49:41,880 --> 00:49:45,360 Speaker 1: though he's usually on business. And uh. And so they 924 00:49:45,440 --> 00:49:48,279 Speaker 1: watch a musical number where the band plays a song, 925 00:49:48,480 --> 00:49:51,080 Speaker 1: and this is one of those things, and it's very common. 926 00:49:51,480 --> 00:49:53,239 Speaker 1: I don't know if this matches your experience. I think 927 00:49:53,239 --> 00:49:55,920 Speaker 1: it's very common and made for TV movies of the 928 00:49:56,000 --> 00:49:59,160 Speaker 1: late seventies to slightly pad out their run time with 929 00:49:59,320 --> 00:50:02,080 Speaker 1: musical numbers. So like, what if we had characters go 930 00:50:02,200 --> 00:50:03,960 Speaker 1: to a bar where a band was playing, and then 931 00:50:03,960 --> 00:50:06,359 Speaker 1: we just watched part of a song. Yeah, I mean 932 00:50:06,440 --> 00:50:08,560 Speaker 1: it is a good way to to lengthen the film. 933 00:50:08,600 --> 00:50:11,480 Speaker 1: I mean that it's pretty long because it contains two 934 00:50:11,680 --> 00:50:15,080 Speaker 1: songs and it's in their entirety. Meanwhile, metal Storm the 935 00:50:15,120 --> 00:50:17,480 Speaker 1: Destruction of Jared Sin a little on the short side, 936 00:50:17,640 --> 00:50:19,840 Speaker 1: could have used some full musical numbers. I would I 937 00:50:19,880 --> 00:50:22,880 Speaker 1: would definitely take some metal Storm songs. But this is 938 00:50:22,960 --> 00:50:26,200 Speaker 1: one where the lyrics of the song also described the 939 00:50:26,239 --> 00:50:28,839 Speaker 1: plot of the movie so far, so I wrote them down. 940 00:50:28,880 --> 00:50:31,720 Speaker 1: The lyrics go, I was just minding my own business 941 00:50:31,920 --> 00:50:35,200 Speaker 1: the way I always do. Nose to the Grindstone, heart 942 00:50:35,239 --> 00:50:37,920 Speaker 1: to the floor, when you smiled at me, A smile 943 00:50:38,040 --> 00:50:41,439 Speaker 1: that opened the door. Oh yeah. Like lyrically, it could 944 00:50:41,480 --> 00:50:44,120 Speaker 1: be a Jackson Brown song, though when it's not a 945 00:50:44,200 --> 00:50:48,400 Speaker 1: Jackson Brown song, I was trying to think of a 946 00:50:48,800 --> 00:50:51,040 Speaker 1: to sing like doctor my Eyes. But it's about seeing 947 00:50:51,080 --> 00:50:55,720 Speaker 1: these ominous visions. Yeah, it doesn't quite work, okay, especially 948 00:50:55,880 --> 00:50:57,960 Speaker 1: he couldn't remember the vision, so that this is the 949 00:50:58,000 --> 00:51:00,480 Speaker 1: thing that's not really making sense to me. He's being 950 00:51:00,560 --> 00:51:03,400 Speaker 1: troubled by these dreams that he's having of this ancient, 951 00:51:03,680 --> 00:51:07,000 Speaker 1: of this ritual. But he says that he can't remember 952 00:51:07,080 --> 00:51:09,840 Speaker 1: his dreams. So how does he know that's what's troubling 953 00:51:09,920 --> 00:51:12,560 Speaker 1: him or how does he like he It's implied that 954 00:51:12,640 --> 00:51:14,759 Speaker 1: he doesn't remember what the dreams are when he wakes up, 955 00:51:15,080 --> 00:51:16,880 Speaker 1: and it sounds like a very sort of question that 956 00:51:16,880 --> 00:51:19,680 Speaker 1: would be posting the lyrics of Jackson Brown song. I 957 00:51:19,800 --> 00:51:22,400 Speaker 1: have to say, um, but but yeah, he we have 958 00:51:22,480 --> 00:51:25,440 Speaker 1: privileged information as the viewer. We see clips of his 959 00:51:25,560 --> 00:51:27,719 Speaker 1: dream and but he clearly doesn't retain all of this 960 00:51:28,040 --> 00:51:32,200 Speaker 1: except for some sort of vague feeling that, uh, you know, 961 00:51:32,560 --> 00:51:36,600 Speaker 1: Hawaii is attractive yet scary. I don't know, right, right, 962 00:51:36,920 --> 00:51:38,960 Speaker 1: So Jason and Diane they get to know each other, 963 00:51:39,120 --> 00:51:41,960 Speaker 1: talking about business, they talk about achievement. You know, they're 964 00:51:42,040 --> 00:51:44,640 Speaker 1: they're like, they're like the big lebowskiter there. We are 965 00:51:44,680 --> 00:51:47,440 Speaker 1: people who are able to achieve, and they talk about 966 00:51:47,440 --> 00:51:50,359 Speaker 1: what schools they got into and becoming the executive vice 967 00:51:50,480 --> 00:51:53,720 Speaker 1: president at work. Uh oh, while the camera keeps cutting 968 00:51:53,760 --> 00:51:55,759 Speaker 1: to the moon, and every time it cuts to the moon, 969 00:51:55,880 --> 00:51:59,480 Speaker 1: it plays this this little synthesizer sting that's like the 970 00:51:59,600 --> 00:52:01,960 Speaker 1: finger of the moon coming down to touch you with 971 00:52:02,040 --> 00:52:05,000 Speaker 1: a little tingle and uh and every time it sends 972 00:52:05,120 --> 00:52:07,759 Speaker 1: Jason a little tingle, it makes it harder for him 973 00:52:07,800 --> 00:52:11,279 Speaker 1: to pay attention to his conversation. And Diane starts sending 974 00:52:11,320 --> 00:52:13,600 Speaker 1: like she's speaking from the bottom of a well, and 975 00:52:13,719 --> 00:52:16,960 Speaker 1: suddenly Jason just gets up and runs away, clutching his chest. 976 00:52:17,120 --> 00:52:21,319 Speaker 1: And then he turns into a werewolf in the bushes. Yeah, 977 00:52:21,800 --> 00:52:24,080 Speaker 1: which is great because there's a couple who like hears it. 978 00:52:24,200 --> 00:52:27,160 Speaker 1: They like, walk by this rat shaking bush and they 979 00:52:27,200 --> 00:52:29,920 Speaker 1: hear this snarling and they go immediately report it to Rick, 980 00:52:30,560 --> 00:52:33,759 Speaker 1: and Rick investigates and he finds wolf slashes in the 981 00:52:33,840 --> 00:52:37,680 Speaker 1: palm tree trunk. So the next morning, Jason, of course 982 00:52:37,760 --> 00:52:39,840 Speaker 1: does not remember what happened last night. I guess this 983 00:52:39,920 --> 00:52:42,279 Speaker 1: goes along with him never remembering his dreams. But Rick 984 00:52:42,400 --> 00:52:45,120 Speaker 1: is on the case. He's investigating, and uh, and we 985 00:52:45,239 --> 00:52:47,480 Speaker 1: do then get some insight into what's going on with 986 00:52:47,600 --> 00:52:49,840 Speaker 1: the room thief. I wondered if this would connect to 987 00:52:49,880 --> 00:52:51,719 Speaker 1: the werewolf thing, but it doesn't at all. There's just 988 00:52:51,800 --> 00:52:54,480 Speaker 1: a creep who's just stealing from the rooms. He's got 989 00:52:54,560 --> 00:52:57,120 Speaker 1: a key cutter and he's making copies of keys, and 990 00:52:57,239 --> 00:52:59,560 Speaker 1: at first it looks like maybe he's also making a 991 00:52:59,640 --> 00:53:02,799 Speaker 1: silver her bullet, Like he's got a little casting thing 992 00:53:02,880 --> 00:53:04,600 Speaker 1: and he pours some metal into it. But I think 993 00:53:04,680 --> 00:53:07,319 Speaker 1: maybe he's just making keys. Yeah, yeah, I don't think 994 00:53:07,320 --> 00:53:10,600 Speaker 1: there's any silver going on here, which ultimately yeah is 995 00:53:10,800 --> 00:53:13,200 Speaker 1: we'll discuss. It's kind of a missed opportunity. There's nothing 996 00:53:13,360 --> 00:53:16,800 Speaker 1: there's nothing really in the film about There's nothing special 997 00:53:16,880 --> 00:53:19,000 Speaker 1: about the slaying of a werewolf or the detecting of 998 00:53:19,040 --> 00:53:22,040 Speaker 1: a werewolf. There's nothing like that, be it silver bullets. 999 00:53:22,080 --> 00:53:26,760 Speaker 1: There's some sort of uh, you know, um like Hawaiian tradition. 1000 00:53:27,360 --> 00:53:31,000 Speaker 1: Nothing right. So Jason goes to see a doctor. He's 1001 00:53:31,000 --> 00:53:32,520 Speaker 1: already been to a doctor once in the movie. He 1002 00:53:32,600 --> 00:53:35,520 Speaker 1: goes again and the doctor just thinks it's an anxiety 1003 00:53:35,600 --> 00:53:39,120 Speaker 1: attack that's the product of overworking, sun exposure and alcohol, 1004 00:53:39,239 --> 00:53:41,120 Speaker 1: and he's like, just you know, you need to chill out. 1005 00:53:41,160 --> 00:53:43,600 Speaker 1: You need to go on vacation. Yeah, he's like I 1006 00:53:43,760 --> 00:53:45,520 Speaker 1: I used to be a big city doctor and then 1007 00:53:45,640 --> 00:53:47,880 Speaker 1: I came out here and I just took it down 1008 00:53:47,920 --> 00:53:49,560 Speaker 1: a notch. You need to do the same, he says. 1009 00:53:49,600 --> 00:53:54,120 Speaker 1: I finally learned how to relax, But surely people can 1010 00:53:54,160 --> 00:53:56,759 Speaker 1: be stressed out in Hawaii to right. Well, you know, 1011 00:53:56,840 --> 00:53:59,040 Speaker 1: I wondered if if that was part of like the 1012 00:53:59,440 --> 00:54:03,440 Speaker 1: genesis for this story. It's like somebody who who was 1013 00:54:03,520 --> 00:54:08,600 Speaker 1: experiencing vacation anxiety and and decided to explore it fictionally 1014 00:54:08,640 --> 00:54:11,520 Speaker 1: because you know, obviously that that is a thing like 1015 00:54:11,640 --> 00:54:14,360 Speaker 1: people who you know, it's just because you're you know, 1016 00:54:14,400 --> 00:54:16,280 Speaker 1: you're fortunate enough to get to go on vacation doesn't 1017 00:54:16,280 --> 00:54:18,880 Speaker 1: mean you you don't bring your your you know, existing 1018 00:54:18,920 --> 00:54:21,279 Speaker 1: anxieties with you. So and I'm wonder if that was 1019 00:54:21,320 --> 00:54:23,120 Speaker 1: a case where like one of the screenwriters had an 1020 00:54:23,200 --> 00:54:27,440 Speaker 1: experience like this and and did some you know, fictionalizing 1021 00:54:27,560 --> 00:54:30,680 Speaker 1: and and some some dream weaving around it. At least 1022 00:54:30,719 --> 00:54:33,319 Speaker 1: in the modern era. I find a very important way 1023 00:54:33,400 --> 00:54:36,640 Speaker 1: to avoid that is cutting off internet access. That is 1024 00:54:36,760 --> 00:54:42,719 Speaker 1: like key, yeah, yeah, Otherwise yeah, it's it's always lingering, Yeah, Yeah, 1025 00:54:42,760 --> 00:54:45,680 Speaker 1: you can always get a dose of anxiety as long 1026 00:54:45,719 --> 00:54:49,040 Speaker 1: as you have the password for the rooms of Wireless. Yeah. Yeah, 1027 00:54:49,640 --> 00:54:53,480 Speaker 1: you can feel bad no matter where you are. But 1028 00:54:53,600 --> 00:54:56,040 Speaker 1: so also on this outing, Jason and Diane end up 1029 00:54:56,120 --> 00:54:58,040 Speaker 1: going to an old church and we finally get a 1030 00:54:58,080 --> 00:55:00,560 Speaker 1: little bit of backstory. They go into of this church 1031 00:55:00,840 --> 00:55:02,480 Speaker 1: and they look at a picture of the guy we 1032 00:55:02,520 --> 00:55:04,319 Speaker 1: saw in the vision earlier, the guy with the chin 1033 00:55:04,400 --> 00:55:07,920 Speaker 1: strap beard, the priest, and we find out that that 1034 00:55:08,320 --> 00:55:11,960 Speaker 1: was in fact Jason's ancestor, who was a missionary in 1035 00:55:12,040 --> 00:55:17,239 Speaker 1: Hawaii in the eighteen seventies, which is a little I'm 1036 00:55:17,440 --> 00:55:19,640 Speaker 1: wondering if he's supposed to be a Catholic missionary, he's 1037 00:55:19,640 --> 00:55:23,000 Speaker 1: supposed to be a Catholic priest. Who is Jason's ancestor. Yeah, 1038 00:55:23,120 --> 00:55:24,640 Speaker 1: I don't know. They gave him kind of an Amish 1039 00:55:24,680 --> 00:55:29,000 Speaker 1: beard though, like, like's if he's an Amish missionary. But 1040 00:55:29,920 --> 00:55:31,960 Speaker 1: I think maybe they went with that weird beard just 1041 00:55:32,040 --> 00:55:34,520 Speaker 1: so you could recognize his face to some extent. Yeah, 1042 00:55:34,800 --> 00:55:39,400 Speaker 1: so you could see the resemblance between him and his ancestor. Yeah. Yeah. Anyway, 1043 00:55:39,480 --> 00:55:42,040 Speaker 1: back at the hotel, uh, we see a couple not 1044 00:55:42,360 --> 00:55:44,400 Speaker 1: Jason and Diane, and the other couple. I think the 1045 00:55:44,400 --> 00:55:47,000 Speaker 1: people who they were talking to about, I don't know, 1046 00:55:47,120 --> 00:55:50,719 Speaker 1: real estate investments earlier. Uh. They're watching a performance of 1047 00:55:50,800 --> 00:55:54,520 Speaker 1: what we are told is an ancient Polynesian ritual dance 1048 00:55:55,200 --> 00:55:58,960 Speaker 1: that was quote performed in secret until the altar was 1049 00:55:59,120 --> 00:56:03,080 Speaker 1: destroyed by missionaries in eight seventy eight. A curse, it 1050 00:56:03,239 --> 00:56:06,839 Speaker 1: is said and believed, haunts the descendants of the defilers. 1051 00:56:07,040 --> 00:56:11,360 Speaker 1: And she's like reading this from a pamphlet. So I 1052 00:56:11,640 --> 00:56:14,480 Speaker 1: should point out here that you know, this is obvious 1053 00:56:14,600 --> 00:56:18,319 Speaker 1: weird fictioning of Hawaiian culture, though at the same time 1054 00:56:19,080 --> 00:56:22,480 Speaker 1: the movie story is at least very shallowly acknowledging the 1055 00:56:22,560 --> 00:56:27,200 Speaker 1: destructive force of colonialism on Hawaiian culture. UM. I should 1056 00:56:27,239 --> 00:56:29,839 Speaker 1: also note that this dance sequence that we see here, 1057 00:56:29,880 --> 00:56:31,799 Speaker 1: and I think we see it again, there's this bit 1058 00:56:31,880 --> 00:56:33,960 Speaker 1: with the spinning dance with the mask on the back 1059 00:56:34,040 --> 00:56:37,600 Speaker 1: of the head that creates a transformation effect. Uh. It's 1060 00:56:37,600 --> 00:56:40,319 Speaker 1: actually pretty impressive. But I was wondering, like, where does 1061 00:56:40,360 --> 00:56:42,879 Speaker 1: this come from? I feel like I've seen this sort 1062 00:56:42,920 --> 00:56:45,879 Speaker 1: of dance before, but I I don't think i've seen 1063 00:56:45,960 --> 00:56:50,759 Speaker 1: it associated with UM with with Hawaiian dance. Maybe it's 1064 00:56:50,960 --> 00:56:53,160 Speaker 1: I don't know if it's associated with any Polynesian culture 1065 00:56:53,760 --> 00:56:55,239 Speaker 1: or maybe it is. I don't know. I couldn't find 1066 00:56:55,280 --> 00:56:57,080 Speaker 1: anything about it, but it's impressive. This is one of 1067 00:56:57,120 --> 00:57:00,160 Speaker 1: the more impressive sequences in the film, where there's this 1068 00:57:00,320 --> 00:57:02,840 Speaker 1: dance and there's this this kind of bestial mask on 1069 00:57:02,920 --> 00:57:05,600 Speaker 1: the back of the head, and he creates this transformation 1070 00:57:05,680 --> 00:57:07,799 Speaker 1: effect and then of course we keep cutting to him 1071 00:57:07,880 --> 00:57:10,640 Speaker 1: freaking out over it, and that helps as well. Right, Yeah, 1072 00:57:10,680 --> 00:57:13,400 Speaker 1: so Jason wanting he's trying to say his good nights 1073 00:57:13,719 --> 00:57:17,640 Speaker 1: um to to Diane, but he immediately starts wolfing out again. 1074 00:57:17,720 --> 00:57:21,520 Speaker 1: We see the moon and and the synthesizer stings come 1075 00:57:21,560 --> 00:57:24,440 Speaker 1: in and uh, and of course it is the prelude 1076 00:57:24,480 --> 00:57:27,040 Speaker 1: to wolf ing out. He stares directly into the camera 1077 00:57:27,160 --> 00:57:30,240 Speaker 1: and he jiggles his body, and then there's a wolf attack. 1078 00:57:30,440 --> 00:57:35,240 Speaker 1: So Rick the house detective and Sherry the flight attendant, 1079 00:57:35,480 --> 00:57:38,000 Speaker 1: they're hanging out and then Rick has to go do 1080 00:57:38,200 --> 00:57:41,600 Speaker 1: some kind of security business and then immediately work wolf 1081 00:57:41,880 --> 00:57:45,200 Speaker 1: busts in Mall's Sherry. But it's one of those attacks 1082 00:57:45,240 --> 00:57:47,800 Speaker 1: where it's only an extreme close up of a wolf 1083 00:57:47,920 --> 00:57:51,000 Speaker 1: eye and a claw and you really don't see anything 1084 00:57:51,040 --> 00:57:53,160 Speaker 1: that happens. And then the next morning there's been a 1085 00:57:53,240 --> 00:57:56,520 Speaker 1: murderer and Rick is investigating. And first of all, Rick 1086 00:57:56,600 --> 00:57:59,280 Speaker 1: does not seem all that upset. He just seems kind 1087 00:57:59,280 --> 00:58:02,960 Speaker 1: of confused. And he says, uh, he says to the 1088 00:58:03,040 --> 00:58:06,160 Speaker 1: other person he's investigating with, she wasn't into drugs or 1089 00:58:06,160 --> 00:58:09,400 Speaker 1: anything wrong. So this doesn't make sense. And I was like, 1090 00:58:09,760 --> 00:58:13,320 Speaker 1: what do people people normally get mauled by wolves as 1091 00:58:13,400 --> 00:58:16,480 Speaker 1: a result of being into drugs. I mean, I guess 1092 00:58:16,520 --> 00:58:19,200 Speaker 1: it's it's this is like a you know, psychedelic dark 1093 00:58:19,280 --> 00:58:21,439 Speaker 1: ages thing. You know, this is the idea of the kids. 1094 00:58:21,560 --> 00:58:24,760 Speaker 1: They'll they'll take the LSD, they'll take the mushrooms, and 1095 00:58:24,880 --> 00:58:27,600 Speaker 1: then they'll maul themselves to death. Yeah. I think this 1096 00:58:27,760 --> 00:58:30,000 Speaker 1: is just wor old fallacy, right, Like you you only 1097 00:58:30,080 --> 00:58:32,160 Speaker 1: get torn to pieces by a wolf if you're a 1098 00:58:32,240 --> 00:58:36,600 Speaker 1: bad person, must have done something. Clearly that is not true. 1099 00:58:36,960 --> 00:58:40,280 Speaker 1: Sherry Cherry, the flight attendant, did nothing to deserve getting work. 1100 00:58:40,320 --> 00:58:43,840 Speaker 1: Wolfed Um and the housekeeping worker, by the way, who 1101 00:58:43,920 --> 00:58:46,160 Speaker 1: says she discovered her. There's a scene where she's talking 1102 00:58:46,160 --> 00:58:48,320 Speaker 1: about it. She makes it clear that she was literally 1103 00:58:48,480 --> 00:58:50,840 Speaker 1: torn into pieces. She said that half of her was 1104 00:58:50,880 --> 00:58:53,240 Speaker 1: on the bed, half on the floor, and we don't 1105 00:58:53,240 --> 00:58:55,280 Speaker 1: see a drop of blood. I guess this is because 1106 00:58:55,320 --> 00:58:58,080 Speaker 1: it's made for TV, but it made me think about 1107 00:58:58,320 --> 00:59:02,080 Speaker 1: how it's interesting what is acceptable on TV that you 1108 00:59:02,240 --> 00:59:07,680 Speaker 1: can fully evoke the fact of a gruesome, gory dismemberment 1109 00:59:07,880 --> 00:59:10,840 Speaker 1: death if you describe it in words you, but you 1110 00:59:10,920 --> 00:59:14,520 Speaker 1: can't show any of it on the screen, uh, which 1111 00:59:14,800 --> 00:59:16,600 Speaker 1: I don't know. I suddenly had that moment of like, 1112 00:59:16,720 --> 00:59:18,919 Speaker 1: why is it like that? Like why why would TV 1113 00:59:19,040 --> 00:59:21,920 Speaker 1: standards prevent you from showing the fake blood but not 1114 00:59:22,120 --> 00:59:26,440 Speaker 1: prevent you from verbally describing a dismemberment. Yeah, because ultimately, 1115 00:59:26,640 --> 00:59:28,480 Speaker 1: like the irony with a film like this is that 1116 00:59:29,080 --> 00:59:32,360 Speaker 1: the description and then remembering what she looks like and 1117 00:59:32,440 --> 00:59:35,600 Speaker 1: remembering like the very you know, bubbly lifelike qualities of 1118 00:59:35,680 --> 00:59:38,600 Speaker 1: the of the actress, Like that's worse than anything they 1119 00:59:38,640 --> 00:59:41,240 Speaker 1: could have conceivably pulled off in the film, you know, 1120 00:59:41,360 --> 00:59:44,720 Speaker 1: any kind of effect they might have used with splattered 1121 00:59:44,760 --> 00:59:48,440 Speaker 1: fake blood or or you know, half torso effects, anything 1122 00:59:48,560 --> 00:59:51,200 Speaker 1: like that. Like, instead, the version that we have in 1123 00:59:51,240 --> 00:59:54,160 Speaker 1: our mind is actually pretty gruesome. Of course, as the viewer, 1124 00:59:54,280 --> 00:59:57,400 Speaker 1: we know that it was Jason in beast in beast form, 1125 00:59:57,600 --> 01:00:00,600 Speaker 1: but obviously, once again he doesn't remember any thing, and 1126 01:00:00,960 --> 01:00:03,760 Speaker 1: so the police arrived to investigate. They're sort of I 1127 01:00:03,840 --> 01:00:06,760 Speaker 1: think they're sort of competing now with with Rick versus 1128 01:00:06,840 --> 01:00:09,600 Speaker 1: this police detective who's sort of got a George C. 1129 01:00:09,800 --> 01:00:14,240 Speaker 1: Scott vibe, and they're they're having somewhat territorial dispute over 1130 01:00:14,280 --> 01:00:17,320 Speaker 1: who does this investigation. Well, I like how they're they're 1131 01:00:17,360 --> 01:00:20,240 Speaker 1: quick to remind Rick, Hey, Rick, you know you're not 1132 01:00:20,320 --> 01:00:23,480 Speaker 1: a real cop, right like I'm I'm the actual police here. 1133 01:00:23,880 --> 01:00:27,200 Speaker 1: Uh you're not, so please, you know, don't overstep yourself. 1134 01:00:27,360 --> 01:00:28,960 Speaker 1: And this is the point. I was thinking about this 1135 01:00:29,000 --> 01:00:31,800 Speaker 1: when I was taking a shower earlier today. I was like, oh, 1136 01:00:31,880 --> 01:00:35,240 Speaker 1: my goodness, what if all this werewolf stuff? This is 1137 01:00:35,320 --> 01:00:39,480 Speaker 1: the this is the fiction in reality, um Rick is 1138 01:00:39,560 --> 01:00:42,840 Speaker 1: the serial killer? Um because you know, you think about 1139 01:00:43,920 --> 01:00:46,160 Speaker 1: I can't remember to what extent this is a thing 1140 01:00:46,280 --> 01:00:48,760 Speaker 1: in the actual world, but I know that in various 1141 01:00:49,080 --> 01:00:51,840 Speaker 1: serial murderer fiction they often point that, oh, well, you know, 1142 01:00:51,880 --> 01:00:54,240 Speaker 1: a lot of times the murderer is drawn to the 1143 01:00:54,320 --> 01:00:57,240 Speaker 1: world of of law enforcement, and sometimes they'll take on 1144 01:00:57,320 --> 01:00:59,920 Speaker 1: a role that is, uh, you know, like a secure 1145 01:01:00,040 --> 01:01:02,040 Speaker 1: the personnel or something like they want to be a 1146 01:01:02,080 --> 01:01:05,840 Speaker 1: police officer, they want proximity to the world of crime 1147 01:01:05,920 --> 01:01:08,040 Speaker 1: and murder. But they you know, but they don't have 1148 01:01:08,120 --> 01:01:10,760 Speaker 1: it together enough to do that, so they end up, 1149 01:01:11,000 --> 01:01:14,200 Speaker 1: you know, being something like maybe a house detective, um 1150 01:01:14,720 --> 01:01:18,040 Speaker 1: and um. And then there's something like this version. Yeah, yeah, 1151 01:01:18,080 --> 01:01:22,400 Speaker 1: there'll be some more evidence for this hypothesis later. Okay. Meanwhile, 1152 01:01:22,440 --> 01:01:26,120 Speaker 1: also we get Jason and Diane frawlinking around. You know, 1153 01:01:26,160 --> 01:01:28,080 Speaker 1: they're just running around on a beach, having a great 1154 01:01:28,120 --> 01:01:31,440 Speaker 1: time together. They're clearly falling in love. Uh. And I 1155 01:01:31,480 --> 01:01:34,160 Speaker 1: will say it's not the most convincing love story ever, 1156 01:01:34,280 --> 01:01:37,120 Speaker 1: but it's probably better at establishing it than Metal Storm, 1157 01:01:37,200 --> 01:01:39,520 Speaker 1: which once again I was just thinking about earlier today 1158 01:01:39,560 --> 01:01:42,960 Speaker 1: and was I was laughing at that with with Dojin 1159 01:01:43,040 --> 01:01:46,720 Speaker 1: and Kelly Preston in that movie, like absolutely nothing. They're 1160 01:01:46,720 --> 01:01:49,120 Speaker 1: just like, well, we're in love for some reason. Now 1161 01:01:49,280 --> 01:01:51,600 Speaker 1: we are they but we bind each other together. We 1162 01:01:51,720 --> 01:01:54,200 Speaker 1: have known each other for five minutes of screen time. 1163 01:01:54,920 --> 01:01:57,920 Speaker 1: Whereas yeah, and this, I think one of the reasons 1164 01:01:57,960 --> 01:02:00,760 Speaker 1: that this film ultimately you know, works as well as 1165 01:02:00,800 --> 01:02:02,440 Speaker 1: it does for me is that I do kind of 1166 01:02:02,520 --> 01:02:06,120 Speaker 1: buy into their their TV love. You know, it's it's 1167 01:02:06,200 --> 01:02:08,680 Speaker 1: it's made for TV love. But you know it'll work, 1168 01:02:09,000 --> 01:02:14,000 Speaker 1: you know, if you're coasting after the Hulk, it's good enough. Yeah. Um. 1169 01:02:14,280 --> 01:02:16,640 Speaker 1: But anyway, so there's a part that again I think 1170 01:02:16,720 --> 01:02:21,200 Speaker 1: informs the backstory. Diane finds a birthmark behind Jason's ear, 1171 01:02:21,760 --> 01:02:25,040 Speaker 1: and Jason says, oh, something my grandmother told me about 1172 01:02:25,080 --> 01:02:27,040 Speaker 1: my great grandfather. She told me that he had a 1173 01:02:27,160 --> 01:02:30,760 Speaker 1: scar on his neck, just like my birthmark. Uh. So 1174 01:02:31,120 --> 01:02:33,520 Speaker 1: we think back to in the opening vision that he 1175 01:02:33,600 --> 01:02:36,480 Speaker 1: doesn't remember about where the chin strap beard guy it 1176 01:02:36,600 --> 01:02:40,080 Speaker 1: was spraying blood out of his neck. Ah, this is 1177 01:02:40,160 --> 01:02:43,880 Speaker 1: the mark. Okay, Yeah, anyways, nighttime again another full moon. 1178 01:02:44,080 --> 01:02:46,640 Speaker 1: Like in many Werewolf movies, this movie seems to think 1179 01:02:46,680 --> 01:02:48,880 Speaker 1: that you just get like a weak straight of full 1180 01:02:48,960 --> 01:02:52,800 Speaker 1: moons all in a row. Well, I guess there's there 1181 01:02:52,920 --> 01:02:54,880 Speaker 1: keeps being enough of a full moon. You know, you 1182 01:02:54,920 --> 01:02:56,880 Speaker 1: don't have to have like a full full moon, right, 1183 01:02:56,960 --> 01:02:58,840 Speaker 1: It's just you just have to be close enough and 1184 01:02:58,880 --> 01:03:02,600 Speaker 1: it's going to trigger the chain. Give us will do it? Um? Okay? 1185 01:03:02,640 --> 01:03:04,880 Speaker 1: So and oh and then also, uh, this is the 1186 01:03:04,920 --> 01:03:07,240 Speaker 1: first time in the movie where we really get anything 1187 01:03:07,320 --> 01:03:10,240 Speaker 1: like a a full peak at at work beast in 1188 01:03:10,360 --> 01:03:13,680 Speaker 1: wolf form. It's not great. I gotta say it's not great. 1189 01:03:14,280 --> 01:03:18,560 Speaker 1: He's just very, very hairy all over and has some fangs. 1190 01:03:19,000 --> 01:03:23,080 Speaker 1: And yeah, well I think we we do have to 1191 01:03:23,320 --> 01:03:25,840 Speaker 1: to be fair. Uh. First of all this the whole 1192 01:03:25,840 --> 01:03:28,640 Speaker 1: TV movie thing. But then also I think that the 1193 01:03:28,720 --> 01:03:32,440 Speaker 1: werewolf transformation and effects in this film are ultimately, you know, 1194 01:03:32,480 --> 01:03:34,680 Speaker 1: they're very old school. They're more in the vein of 1195 01:03:34,760 --> 01:03:39,400 Speaker 1: Lawn Cheney Jr. As opposed to the revolution in cinematic 1196 01:03:39,440 --> 01:03:41,800 Speaker 1: werewolf depictions that would come in the early eighties with 1197 01:03:41,920 --> 01:03:45,280 Speaker 1: films like An American Werewolf in London, The Howling, The 1198 01:03:45,400 --> 01:03:47,800 Speaker 1: Thriller Music Video, and so forth. If you think of 1199 01:03:48,200 --> 01:03:51,840 Speaker 1: nineteen seventies werewolf films like stuff like stuff like Werewolves 1200 01:03:51,840 --> 01:03:56,320 Speaker 1: on Wheels, you know, they all the beasts must Die. 1201 01:03:56,720 --> 01:03:59,120 Speaker 1: I actually can't remember what the wolf was like in 1202 01:03:59,200 --> 01:04:01,360 Speaker 1: The Beast Must Die, but it may have been more 1203 01:04:01,400 --> 01:04:03,800 Speaker 1: of like a straight up wolf that they shot. Uh. 1204 01:04:04,560 --> 01:04:06,320 Speaker 1: But but for the most part, a lot of the 1205 01:04:06,360 --> 01:04:09,520 Speaker 1: werewolves of this era were still based on that old 1206 01:04:09,600 --> 01:04:13,520 Speaker 1: school idea of Lawn Cheney Jr. In a fur costume, 1207 01:04:13,680 --> 01:04:15,320 Speaker 1: you know, like that was your idea of what a 1208 01:04:15,360 --> 01:04:18,840 Speaker 1: werewolf was, and it was only in the eighties that 1209 01:04:18,920 --> 01:04:21,360 Speaker 1: we really moved further into this idea of a more 1210 01:04:21,880 --> 01:04:25,439 Speaker 1: loopine hybrid beast. That's right, Yeah, I was thinking about 1211 01:04:25,480 --> 01:04:28,360 Speaker 1: the same thing. You've got a couple of competing strains 1212 01:04:28,440 --> 01:04:31,200 Speaker 1: of werewolf morphology in the movie Cannon, and one is 1213 01:04:31,240 --> 01:04:33,680 Speaker 1: the one you're talking about, the lawn Cheney junior style, 1214 01:04:34,200 --> 01:04:37,920 Speaker 1: which is typically full humanoid body, fully by petal, but 1215 01:04:38,080 --> 01:04:41,400 Speaker 1: covered with hair, with claws and fangs, and often the 1216 01:04:41,520 --> 01:04:43,800 Speaker 1: hair on the head in this style forms a sort 1217 01:04:43,840 --> 01:04:47,840 Speaker 1: of rectangular shape, but it's basically a flat humanoid face. 1218 01:04:48,480 --> 01:04:50,800 Speaker 1: And then I would say the major differences with the 1219 01:04:51,200 --> 01:04:55,080 Speaker 1: more updated werewolf morphology that I think a really I 1220 01:04:55,120 --> 01:04:56,920 Speaker 1: don't think this was the first movie to do it 1221 01:04:57,000 --> 01:04:59,800 Speaker 1: this way, but it was really influential, was like you say, 1222 01:04:59,840 --> 01:05:02,360 Speaker 1: I'm Erican Werewolf in London, which came out in eighty one, 1223 01:05:03,120 --> 01:05:05,480 Speaker 1: and they're the big difference I think is that the 1224 01:05:05,560 --> 01:05:08,600 Speaker 1: werewolf has a long snout and a more dog like skull. 1225 01:05:08,800 --> 01:05:12,560 Speaker 1: That's that's the big difference. Yeah, and ultimately also a 1226 01:05:12,640 --> 01:05:17,800 Speaker 1: more ambitious bit of special effects creation here, I mean 1227 01:05:17,840 --> 01:05:21,480 Speaker 1: going beyond special effects makeup. Uh. So ultimately, if you 1228 01:05:21,520 --> 01:05:23,920 Speaker 1: had to create one, uh go and you don't have 1229 01:05:24,080 --> 01:05:26,480 Speaker 1: much to work with. The Lon Chaney junior direction is 1230 01:05:26,560 --> 01:05:28,720 Speaker 1: the is the way to go? Yeah exactly. I mean 1231 01:05:28,800 --> 01:05:31,760 Speaker 1: even most werewolf movies in the years since don't look 1232 01:05:31,800 --> 01:05:33,960 Speaker 1: as good as American Werewolf in London. So you know 1233 01:05:34,080 --> 01:05:37,800 Speaker 1: that that was a special, very special, unique achievement. But 1234 01:05:38,120 --> 01:05:39,800 Speaker 1: I will say as they don't show much of the 1235 01:05:39,880 --> 01:05:42,440 Speaker 1: werewolf and Deathman is especially at this point in the film, 1236 01:05:42,920 --> 01:05:45,240 Speaker 1: it's kind of a flash. It's kind of then close 1237 01:05:45,320 --> 01:05:49,240 Speaker 1: up on eyes, maybe teeth, and that helps it remain effective. 1238 01:05:58,040 --> 01:06:01,120 Speaker 1: Now this is mid movie some so they spend sometimes 1239 01:06:01,120 --> 01:06:04,280 Speaker 1: sort of waiting around in in some b plots, Rick 1240 01:06:04,360 --> 01:06:06,960 Speaker 1: ens up running around after the room thief. Like there's 1241 01:06:07,120 --> 01:06:11,440 Speaker 1: a chase scene that's almost Benny Hill like, uh doesn't 1242 01:06:11,480 --> 01:06:14,640 Speaker 1: quite have yakety sex, but it does have trombones. Yeah. 1243 01:06:14,640 --> 01:06:16,919 Speaker 1: And it's hard to be too invested in the room 1244 01:06:17,040 --> 01:06:20,600 Speaker 1: thief scenario. I I mean I was staying in um 1245 01:06:21,640 --> 01:06:24,120 Speaker 1: essentially like a hotel room in y at the time, 1246 01:06:24,600 --> 01:06:26,720 Speaker 1: so I kind of thought about this a little bit 1247 01:06:26,760 --> 01:06:28,640 Speaker 1: of like what if there's a room thief? Now, you know, 1248 01:06:28,800 --> 01:06:30,360 Speaker 1: what if they're running around out there and there's a 1249 01:06:31,600 --> 01:06:34,560 Speaker 1: house detective chasing them. But really it's hard to get 1250 01:06:34,600 --> 01:06:37,200 Speaker 1: invested in this plot. What if there was simultaneously a 1251 01:06:37,320 --> 01:06:39,640 Speaker 1: room thief and a work beast, what would you be 1252 01:06:39,760 --> 01:06:43,320 Speaker 1: more concerned about? I mean, I guess ultimately the work beast, 1253 01:06:43,520 --> 01:06:46,280 Speaker 1: because the workbeasts will just straight up tear you in half, 1254 01:06:46,760 --> 01:06:48,560 Speaker 1: right there. Yeah, that's my point. So I think that 1255 01:06:48,680 --> 01:06:51,880 Speaker 1: the room thief subplot doesn't doesn't work super well. But 1256 01:06:53,040 --> 01:06:56,280 Speaker 1: but anyway, so we're back with Jason and he goes 1257 01:06:56,320 --> 01:06:58,360 Speaker 1: back to the doctor again. So the third time in 1258 01:06:58,440 --> 01:07:00,520 Speaker 1: the movie he goes to the doctor. He's just like, 1259 01:07:00,600 --> 01:07:04,200 Speaker 1: I don't know, doctor, feel bad and the doctor at 1260 01:07:04,240 --> 01:07:06,040 Speaker 1: this point, I think the doctor should just be like 1261 01:07:06,160 --> 01:07:08,560 Speaker 1: in I want to reference the Simpsons again, Sir, you 1262 01:07:08,680 --> 01:07:12,800 Speaker 1: need a quack, you know. But meanwhile, Rick is being 1263 01:07:12,880 --> 01:07:17,040 Speaker 1: assisted now by his criminology colleague Julie, and together they're 1264 01:07:17,160 --> 01:07:19,760 Speaker 1: looking for clues, and in fact, Julie finds a clue. 1265 01:07:20,160 --> 01:07:24,240 Speaker 1: She discovers traces of canine hair. I think it is 1266 01:07:24,600 --> 01:07:28,040 Speaker 1: at the crime scenes and Ricks like, but but we 1267 01:07:28,200 --> 01:07:32,920 Speaker 1: don't allow dogs in the hotel. And another thing that 1268 01:07:33,040 --> 01:07:35,160 Speaker 1: was funny is it's hard to hear the dialogue in 1269 01:07:35,200 --> 01:07:38,320 Speaker 1: the scene. It's like poor audio mixing where the phones 1270 01:07:38,440 --> 01:07:42,400 Speaker 1: ringing in the background are louder than Rick's lines. But anyway, 1271 01:07:42,480 --> 01:07:45,920 Speaker 1: so you know Jack and Diane, their romance is still developing, 1272 01:07:46,000 --> 01:07:49,720 Speaker 1: their hitting it off, and Diane is at her work conference. 1273 01:07:49,800 --> 01:07:52,800 Speaker 1: She's trying to close the big deal. But Jason reveals 1274 01:07:52,880 --> 01:07:55,439 Speaker 1: that he has made reservations for them as something called 1275 01:07:55,560 --> 01:07:59,280 Speaker 1: the Paradise Retreat, which, from what I can tell, is 1276 01:07:59,320 --> 01:08:02,600 Speaker 1: like a second order vacation. It's like, your vacation is 1277 01:08:02,640 --> 01:08:06,160 Speaker 1: not vacation enough, so you take a vacation from your vacation. 1278 01:08:06,760 --> 01:08:09,919 Speaker 1: Well that that sounds like a total work beast move, Like, Okay, 1279 01:08:09,960 --> 01:08:11,720 Speaker 1: the vacation is not working, we need to take this 1280 01:08:11,840 --> 01:08:13,960 Speaker 1: to the next level. Yes, so they're going to leave 1281 01:08:14,000 --> 01:08:17,360 Speaker 1: the resort hotel and go to Paradise Retreat, which, uh, 1282 01:08:17,479 --> 01:08:19,200 Speaker 1: to be fair, I think he did explain that the 1283 01:08:19,320 --> 01:08:23,479 Speaker 1: major differences it's like they don't have TV and phones 1284 01:08:23,560 --> 01:08:25,640 Speaker 1: and stuff. So I don't know, maybe that's kind of 1285 01:08:25,720 --> 01:08:28,840 Speaker 1: like disconnecting the Internet like I was talking about earlier. Yeah, 1286 01:08:28,920 --> 01:08:31,840 Speaker 1: it's it's it's even more. Uh, it's like on the 1287 01:08:31,880 --> 01:08:34,080 Speaker 1: other side of the island or something, right, But before 1288 01:08:34,120 --> 01:08:36,080 Speaker 1: they go to that, there's one more night at the 1289 01:08:36,120 --> 01:08:38,240 Speaker 1: resort hotel. They're gonna leave for that the next day. 1290 01:08:38,720 --> 01:08:40,679 Speaker 1: H So of course we're gonna get yet another wolf 1291 01:08:40,760 --> 01:08:43,280 Speaker 1: out evening. So we at this point in the movie, 1292 01:08:43,360 --> 01:08:46,360 Speaker 1: I will say, is somewhat repetitive because it's just another night, 1293 01:08:46,400 --> 01:08:49,800 Speaker 1: another full moon due to tacks again. But this time 1294 01:08:50,200 --> 01:08:54,839 Speaker 1: we get work beast versus room thief that the streams cross, 1295 01:08:55,360 --> 01:08:58,120 Speaker 1: and it is not a close call. No, I mean, 1296 01:08:58,200 --> 01:09:00,720 Speaker 1: they should have made the room thief the Ava Empire, right, 1297 01:09:01,360 --> 01:09:03,400 Speaker 1: that would have been really that wouldn't or maybe even 1298 01:09:03,479 --> 01:09:07,840 Speaker 1: another werewolf. But it's just a guy who steals keys 1299 01:09:07,920 --> 01:09:10,719 Speaker 1: and makes copies of keys and then sneaks into rooms 1300 01:09:10,760 --> 01:09:13,000 Speaker 1: and steals stuff. So of course he just gets torn 1301 01:09:13,040 --> 01:09:15,719 Speaker 1: to pieces by our our wolf, right, and so people 1302 01:09:15,840 --> 01:09:19,439 Speaker 1: find him floating in the water the next morning, face down. Uh. 1303 01:09:19,479 --> 01:09:22,519 Speaker 1: And so the room thief problem that is solved. But 1304 01:09:22,880 --> 01:09:25,400 Speaker 1: a thing that's funny is every morning we see Jason 1305 01:09:25,640 --> 01:09:27,840 Speaker 1: in a kind of days after, you know, he's like, 1306 01:09:27,920 --> 01:09:30,400 Speaker 1: what happened last night? I don't know. Usually he's in 1307 01:09:30,520 --> 01:09:33,240 Speaker 1: his bed, but in this case we see him wandering 1308 01:09:33,320 --> 01:09:36,400 Speaker 1: in a daze in filthy clothes where while like Moody 1309 01:09:36,520 --> 01:09:39,479 Speaker 1: Wolf for Morse music plays in the background, and he 1310 01:09:39,640 --> 01:09:42,840 Speaker 1: just stumbles past Rick early in the morning, doing one 1311 01:09:42,960 --> 01:09:47,439 Speaker 1: handed push ups and getting pumped up. Yeah. Yeah, And 1312 01:09:47,720 --> 01:09:50,000 Speaker 1: even though his clothing is grabby, it doesn't look nearly 1313 01:09:50,040 --> 01:09:51,559 Speaker 1: as grabby as it should have been if he had 1314 01:09:51,600 --> 01:09:55,040 Speaker 1: torn a man to pieces just a few hours prior. Yeah, agreed, 1315 01:09:55,160 --> 01:09:57,400 Speaker 1: where's the blood? I guess they couldn't show that on 1316 01:09:57,520 --> 01:10:00,920 Speaker 1: TV right anyway, Diane and Jason they go off to 1317 01:10:00,960 --> 01:10:04,080 Speaker 1: their to their paradise retreat and so they're they're like 1318 01:10:04,200 --> 01:10:06,560 Speaker 1: on the road heading off to that place. But but 1319 01:10:07,400 --> 01:10:09,280 Speaker 1: but Rick is still on the case back at the 1320 01:10:09,640 --> 01:10:12,560 Speaker 1: hotel and he's hanging out in the lobby when the 1321 01:10:12,800 --> 01:10:16,400 Speaker 1: doctor who Jason kept going to arrives at the hotel 1322 01:10:16,520 --> 01:10:19,840 Speaker 1: inquiring for for work beast at the front desk, uh 1323 01:10:19,920 --> 01:10:21,840 Speaker 1: and I'm like, why didn't he just call on the phone? 1324 01:10:21,920 --> 01:10:24,840 Speaker 1: I'm not sure, but Rick overhears him and he wants 1325 01:10:24,880 --> 01:10:28,680 Speaker 1: to pick his brain. Absolutely no respect for medical privacy here. 1326 01:10:28,800 --> 01:10:31,479 Speaker 1: The doctor just explains to Rick that he's like, well, 1327 01:10:31,560 --> 01:10:35,720 Speaker 1: I've got his lab tests or or I can't believe them. Uh. 1328 01:10:35,840 --> 01:10:39,120 Speaker 1: And so he explains that Jason's lab results came back 1329 01:10:39,560 --> 01:10:42,280 Speaker 1: and he needs to consult with a specialist on the mainland. 1330 01:10:42,840 --> 01:10:45,160 Speaker 1: And Rick says, what's wrong with him? Doc? And I 1331 01:10:45,240 --> 01:10:46,960 Speaker 1: thought the doctor was going to be like, it's the 1332 01:10:47,040 --> 01:10:50,040 Speaker 1: strangest thing. His blood was not human, it was work 1333 01:10:50,080 --> 01:10:53,240 Speaker 1: beast blood. But he doesn't say that. He just says like, 1334 01:10:53,360 --> 01:10:57,320 Speaker 1: I don't know. I just don't know. So that scene 1335 01:10:57,400 --> 01:10:59,280 Speaker 1: kind of fizzles out when it could have gone somewhere, 1336 01:11:00,200 --> 01:11:03,439 Speaker 1: but it's implied like the wolf, the blood is wolf blood. 1337 01:11:03,479 --> 01:11:07,000 Speaker 1: There's something wolfie about this blood, right exactly. But then 1338 01:11:07,240 --> 01:11:09,720 Speaker 1: Rick makes a very smart move. He's like, Okay, I've 1339 01:11:09,760 --> 01:11:11,720 Speaker 1: just been looking for clues. What I really need to 1340 01:11:11,800 --> 01:11:16,240 Speaker 1: do is go consult a wise sorcerer. Um. So instead 1341 01:11:16,360 --> 01:11:19,439 Speaker 1: he goes to to visit this wise and powerful witch 1342 01:11:19,680 --> 01:11:24,120 Speaker 1: named Tapulua, who is again the character played by France 1343 01:11:24,200 --> 01:11:29,080 Speaker 1: new Yawn. And she, of course, because of course, speaks 1344 01:11:29,080 --> 01:11:32,000 Speaker 1: about herself in the third person, so she's like, Tapulua 1345 01:11:32,120 --> 01:11:35,960 Speaker 1: knows everything and everyone on this island. And Rick thinks 1346 01:11:36,080 --> 01:11:38,400 Speaker 1: that she can tell him something about what's going on, 1347 01:11:39,240 --> 01:11:42,000 Speaker 1: and uh, and she she tells him first of all. 1348 01:11:42,280 --> 01:11:44,320 Speaker 1: This is a direct quote. She says, my powers are 1349 01:11:44,400 --> 01:11:48,840 Speaker 1: more powerful. She says they're they're rooted deeper, they're as 1350 01:11:48,880 --> 01:11:52,800 Speaker 1: old as the islands. But Tapulu ends up being cool 1351 01:11:52,880 --> 01:11:55,760 Speaker 1: with Rick because she says she's watched him and she 1352 01:11:55,920 --> 01:11:58,800 Speaker 1: knows that he has great love for the island. That's 1353 01:11:58,800 --> 01:12:01,560 Speaker 1: a quote. Again. Have we seen any evidence of this? 1354 01:12:02,120 --> 01:12:06,960 Speaker 1: Absolutely none that you know. There's only all we really 1355 01:12:07,000 --> 01:12:10,439 Speaker 1: know about Rick is that he takes his position as 1356 01:12:10,439 --> 01:12:14,840 Speaker 1: a house detective a little too seriously and keeps in shape. Yeah, 1357 01:12:14,880 --> 01:12:17,719 Speaker 1: we don't see him, uh, you know, engaging in local 1358 01:12:17,840 --> 01:12:22,120 Speaker 1: politics or standing up for the native population. We don't 1359 01:12:22,160 --> 01:12:24,920 Speaker 1: see him particuting, being protective of the environment, or any 1360 01:12:24,960 --> 01:12:27,120 Speaker 1: other kind of spin you might take on it. Uh, 1361 01:12:27,240 --> 01:12:30,479 Speaker 1: you know, you know, even in just a film like this, uh, 1362 01:12:31,080 --> 01:12:34,360 Speaker 1: it ends up having this kind of almost dark place 1363 01:12:34,400 --> 01:12:37,479 Speaker 1: with Garth MARENGHI vibe to it where she's like, oh, no, 1364 01:12:37,800 --> 01:12:40,479 Speaker 1: you were you were the you know, you're a good 1365 01:12:40,560 --> 01:12:44,080 Speaker 1: Hawaiian citizen just because I say so. Of course you are. 1366 01:12:44,120 --> 01:12:46,439 Speaker 1: You're the hero of the film. But yeah, nothing is 1367 01:12:46,479 --> 01:12:49,439 Speaker 1: presented to back this up, and it's it's very I 1368 01:12:49,560 --> 01:12:53,280 Speaker 1: just graduated Harvard College, jail where I got an a yeah, 1369 01:12:54,080 --> 01:12:57,080 Speaker 1: so so yeah. I think there's ultimately a lot you 1370 01:12:57,120 --> 01:13:00,200 Speaker 1: could unravel there about the positioning of this of a 1371 01:13:00,280 --> 01:13:02,280 Speaker 1: character like this in a film like this, a film 1372 01:13:02,320 --> 01:13:07,080 Speaker 1: that again at least very shallowly is contemplating uh like 1373 01:13:07,200 --> 01:13:11,160 Speaker 1: the impact of colonialism on Hawaiian culture and uh and 1374 01:13:11,479 --> 01:13:15,439 Speaker 1: and the on the Hawaiian islands, um, but without really 1375 01:13:15,520 --> 01:13:18,040 Speaker 1: doing anything with it, like barely getting its toes wet. 1376 01:13:18,560 --> 01:13:20,800 Speaker 1: And then but then they prop up this character as 1377 01:13:20,960 --> 01:13:25,280 Speaker 1: as just totally okay, like nothing nothing problematic about Rick. 1378 01:13:25,560 --> 01:13:27,280 Speaker 1: I mean, she'll vouch for him, so I guess we 1379 01:13:27,400 --> 01:13:29,280 Speaker 1: just got to take her word for it. She she 1380 01:13:29,439 --> 01:13:32,320 Speaker 1: obviously saw something that we didn't see. She was she 1381 01:13:32,479 --> 01:13:34,960 Speaker 1: got to see the scenes that were cut. But this also, 1382 01:13:35,240 --> 01:13:39,840 Speaker 1: this supports my serial killer hypothesis because Rick has it 1383 01:13:39,880 --> 01:13:42,960 Speaker 1: seems like Rick has delusions perhaps not only not only 1384 01:13:43,000 --> 01:13:45,599 Speaker 1: a strong interest in the supernatural as well as law enforcement, 1385 01:13:45,880 --> 01:13:49,400 Speaker 1: but also has clear delusions about being like this, this 1386 01:13:49,600 --> 01:13:52,760 Speaker 1: kind of hero of the islands without any evidence to 1387 01:13:52,800 --> 01:13:55,160 Speaker 1: support it. Oh yeah, clearly, because when she's like, I 1388 01:13:55,280 --> 01:13:58,280 Speaker 1: know you're good because you have great love for this island, Rick, 1389 01:13:59,040 --> 01:14:04,360 Speaker 1: I think he says that's true. Uh, and she explains 1390 01:14:04,400 --> 01:14:07,320 Speaker 1: to him about the werewolf curse. Um. Not that there's 1391 01:14:07,520 --> 01:14:09,519 Speaker 1: much left to figure out for the audience, right, Like 1392 01:14:09,960 --> 01:14:12,240 Speaker 1: the audience is up to speed, but Rick is not. 1393 01:14:13,000 --> 01:14:16,000 Speaker 1: So she explains that work Beast had an ancestor who 1394 01:14:16,160 --> 01:14:18,920 Speaker 1: was a brutal missionary who destroyed the altar of the 1395 01:14:18,960 --> 01:14:21,519 Speaker 1: people who lived there, and they put a curse on 1396 01:14:21,680 --> 01:14:24,120 Speaker 1: him and his descendants so that if they came back 1397 01:14:24,160 --> 01:14:26,439 Speaker 1: to the island, they would turn into a werewolf. And 1398 01:14:26,640 --> 01:14:31,160 Speaker 1: that's what's happening and weirdly localized course curse ultimately, but yes, 1399 01:14:31,400 --> 01:14:33,479 Speaker 1: so it goes well, it's part of the curse also 1400 01:14:33,560 --> 01:14:36,560 Speaker 1: that he would be like psychically lured back there. Like 1401 01:14:36,720 --> 01:14:39,360 Speaker 1: it's not really ever explained that there's any good reason 1402 01:14:39,439 --> 01:14:41,439 Speaker 1: why he came, except that he knew he had an 1403 01:14:41,479 --> 01:14:45,519 Speaker 1: ancestor who was a brutal missionary here. Yeah, yeah, I 1404 01:14:45,560 --> 01:14:47,759 Speaker 1: don't know. It's yeah, it's not not very well supported. 1405 01:14:47,840 --> 01:14:49,639 Speaker 1: I guess he's kind of drawn back by that poster, 1406 01:14:49,840 --> 01:14:52,120 Speaker 1: but who knows. Well Anyway, Rick tries to go to 1407 01:14:52,200 --> 01:14:54,640 Speaker 1: the police detective, the George C. Scott type guy and 1408 01:14:54,760 --> 01:14:57,400 Speaker 1: explain everything to him, and he brings a book called 1409 01:14:57,600 --> 01:15:00,600 Speaker 1: The Legend and History of Like and thro Hopes, and 1410 01:15:00,760 --> 01:15:03,960 Speaker 1: the detective is not buying it. And again I liked 1411 01:15:04,240 --> 01:15:07,960 Speaker 1: how much crap the the actual police detective gives him 1412 01:15:08,000 --> 01:15:11,280 Speaker 1: over this. It's like, come on, uh, you you were ridiculous. 1413 01:15:11,439 --> 01:15:13,679 Speaker 1: You're not a real police officer, and you just brought 1414 01:15:13,760 --> 01:15:16,519 Speaker 1: me a book about werewolves. Again, I think this is 1415 01:15:16,640 --> 01:15:18,880 Speaker 1: this is a warning sign right here. Uh. And this 1416 01:15:19,000 --> 01:15:20,960 Speaker 1: would this would later on you would see an interview 1417 01:15:21,040 --> 01:15:23,920 Speaker 1: with this detective saying, yeah, we should have seen it 1418 01:15:24,040 --> 01:15:27,760 Speaker 1: coming because he was he was raving about werewolves. Um, 1419 01:15:27,960 --> 01:15:30,080 Speaker 1: and it turns out he killed all these people in 1420 01:15:30,120 --> 01:15:32,040 Speaker 1: this hotel and was blaming it on some sort of 1421 01:15:32,080 --> 01:15:35,360 Speaker 1: mythological beast. What's the name of the true crime podcast 1422 01:15:35,439 --> 01:15:40,479 Speaker 1: about Rick the uh, the room thief serial killer. Maybe 1423 01:15:40,520 --> 01:15:44,840 Speaker 1: it's called Paradise Retreat. Anyway. At the Paradise Retreat, Jason 1424 01:15:44,920 --> 01:15:47,360 Speaker 1: and Diane are like, Wow, it's so much it's so 1425 01:15:47,479 --> 01:15:50,280 Speaker 1: nice to get away from vacation. And they're giving each 1426 01:15:50,320 --> 01:15:52,840 Speaker 1: other back rubs and talking about what they're gonna do 1427 01:15:53,000 --> 01:15:55,320 Speaker 1: once the trip is over. I think, you know, they're like, well, 1428 01:15:55,360 --> 01:15:57,160 Speaker 1: we're in love. Now, we've got to find a way 1429 01:15:57,200 --> 01:16:00,200 Speaker 1: to see each other. But then oh, the move fun, 1430 01:16:00,680 --> 01:16:04,120 Speaker 1: and Jason starts yet again his pro form a wolf out. 1431 01:16:04,600 --> 01:16:07,439 Speaker 1: He starts jiggling in the moonlight, and he dashes away, 1432 01:16:08,240 --> 01:16:11,040 Speaker 1: and Diane is like, Jason, what's happening? You know, are 1433 01:16:11,080 --> 01:16:14,600 Speaker 1: you undergoing some kind of hideous transformation? And she she 1434 01:16:14,880 --> 01:16:18,120 Speaker 1: chases him and he starts snarling, and I think at 1435 01:16:18,240 --> 01:16:22,360 Speaker 1: one point, while he's snarling and she's gasping, he actually says, 1436 01:16:22,560 --> 01:16:27,760 Speaker 1: I am a wolf now, because definitely the subtitles in 1437 01:16:27,920 --> 01:16:32,840 Speaker 1: Dutch say it been wolf. I'm I am a wolf. Okay, 1438 01:16:33,160 --> 01:16:36,280 Speaker 1: I mean it been work beast, it's been wolf. I 1439 01:16:36,360 --> 01:16:39,040 Speaker 1: mean it's hard on vacation when you you know you're 1440 01:16:39,080 --> 01:16:41,840 Speaker 1: having to share a bathroom and occasionally you turn into 1441 01:16:41,880 --> 01:16:45,840 Speaker 1: a werewolf. It's everybody knows what that's like. It's really 1442 01:16:45,920 --> 01:16:48,479 Speaker 1: bad sharing a bathroom with a werewolf because the drains, 1443 01:16:48,520 --> 01:16:51,760 Speaker 1: the drains, i mean just just totally clogged. Oh and 1444 01:16:51,800 --> 01:16:54,559 Speaker 1: then finally we get to see a full transformation scene. 1445 01:16:55,280 --> 01:16:57,800 Speaker 1: I'm not sure exactly what you call this technique. It's 1446 01:16:57,840 --> 01:17:00,960 Speaker 1: the kind that has match cuts where you're progressively more 1447 01:17:01,040 --> 01:17:05,439 Speaker 1: wolfy in each shot. Um and as he becomes a werewolf. 1448 01:17:05,520 --> 01:17:07,479 Speaker 1: One thing, I don't know if you notice the same thing. 1449 01:17:07,560 --> 01:17:10,200 Speaker 1: So his face of course becomes more here suit, but 1450 01:17:10,400 --> 01:17:13,679 Speaker 1: it also becomes more wrinkled. And I was wondering why 1451 01:17:13,800 --> 01:17:17,040 Speaker 1: why is he more wrinkly as a wolf? M yeah, 1452 01:17:17,080 --> 01:17:18,600 Speaker 1: I don't know. He ends up he does end up 1453 01:17:18,640 --> 01:17:21,800 Speaker 1: looking older. I don't know if that was just part 1454 01:17:21,840 --> 01:17:23,640 Speaker 1: of the just part of the design or they, you know, 1455 01:17:24,000 --> 01:17:25,720 Speaker 1: if they put a lot of thought into that. But yeah, 1456 01:17:25,760 --> 01:17:27,599 Speaker 1: he does look a bit a bit more aged as 1457 01:17:27,640 --> 01:17:30,519 Speaker 1: a wolf. But then, of course we're into the end 1458 01:17:30,560 --> 01:17:32,439 Speaker 1: of game here, so he turns into a wolf. He's 1459 01:17:32,439 --> 01:17:36,200 Speaker 1: got underbyte fangs, he's hairy now, and he morphs, and 1460 01:17:36,280 --> 01:17:38,320 Speaker 1: the question is is he going to kill his his 1461 01:17:38,439 --> 01:17:41,760 Speaker 1: beloved Diane, And he's not really himself anymore. He doesn't 1462 01:17:41,760 --> 01:17:44,800 Speaker 1: seem to recognize her, so he just runs around and 1463 01:17:44,880 --> 01:17:47,400 Speaker 1: then you think he's going to kill Diane. But then 1464 01:17:47,520 --> 01:17:51,040 Speaker 1: Rick arrives to save the day. Of course, so there's 1465 01:17:51,040 --> 01:17:54,280 Speaker 1: a chase scene involving the three characters that is extremely 1466 01:17:54,400 --> 01:17:56,920 Speaker 1: dimly lit. Uh and in the end Rick has to 1467 01:17:57,000 --> 01:18:00,519 Speaker 1: shoot the work beasts to save Diane. Uh and uh, 1468 01:18:00,600 --> 01:18:02,760 Speaker 1: And he's not immediately dead he gets shot and then 1469 01:18:02,800 --> 01:18:06,280 Speaker 1: he starts wandering into a cave having vision visions of 1470 01:18:06,360 --> 01:18:10,000 Speaker 1: the ritual again and uh, and they kind of play 1471 01:18:10,040 --> 01:18:12,040 Speaker 1: it for pity. It's kind of sad, like, you know, 1472 01:18:12,160 --> 01:18:15,920 Speaker 1: poor poor beast um. And then he gets shot one 1473 01:18:16,000 --> 01:18:19,880 Speaker 1: last time and he turns back into Jason form and dies, 1474 01:18:20,560 --> 01:18:23,400 Speaker 1: and Diane just seems kind of confused. Now they do 1475 01:18:23,560 --> 01:18:25,759 Speaker 1: have a nice little bit at the end. It actually 1476 01:18:25,840 --> 01:18:29,120 Speaker 1: got me because he guns down the werewolf Rick does. 1477 01:18:29,200 --> 01:18:30,960 Speaker 1: He runs over and he's like, check doing that thing, 1478 01:18:31,040 --> 01:18:32,920 Speaker 1: would you always do? You know, check and see if 1479 01:18:32,920 --> 01:18:36,760 Speaker 1: the monster is dead. And then wolf Claw comes comes 1480 01:18:36,920 --> 01:18:38,639 Speaker 1: up from the ground and grabs him by the neck, 1481 01:18:39,720 --> 01:18:41,600 Speaker 1: and we get that synth music again. And I was like, 1482 01:18:41,680 --> 01:18:43,760 Speaker 1: oh my goodness, they're gonna do it. They're gonna have 1483 01:18:43,880 --> 01:18:46,800 Speaker 1: him kill Rick and we're gonna have this dark ending 1484 01:18:47,120 --> 01:18:51,160 Speaker 1: on a Wednesday night on CBS Night. But now then 1485 01:18:51,200 --> 01:18:53,920 Speaker 1: he dies, then the hand falls dead and becomes a 1486 01:18:54,000 --> 01:18:56,240 Speaker 1: human arm, so that that would have been a good reveal. 1487 01:18:56,320 --> 01:18:59,200 Speaker 1: So he reaches up, he he strangles Rick, and then 1488 01:18:59,360 --> 01:19:02,400 Speaker 1: he revered olds that actually Rick was the killer the 1489 01:19:02,479 --> 01:19:06,720 Speaker 1: whole time. Yeah, I mean, I still kind of think 1490 01:19:06,760 --> 01:19:09,560 Speaker 1: it's the case that Rick's the real killer. But like 1491 01:19:09,640 --> 01:19:12,200 Speaker 1: I said, Diane does not, She doesn't seem all that said. 1492 01:19:12,320 --> 01:19:15,840 Speaker 1: She just seems like, what like she's very confused. And 1493 01:19:15,960 --> 01:19:18,920 Speaker 1: then uh, Diane and Rick walk away together and they 1494 01:19:19,040 --> 01:19:21,280 Speaker 1: stare at the moon looking at the moon like I 1495 01:19:21,439 --> 01:19:24,479 Speaker 1: know it was you. And then we see the dead 1496 01:19:24,600 --> 01:19:28,479 Speaker 1: Jason and his his eyeballs turn yellow for some reason. 1497 01:19:29,320 --> 01:19:32,759 Speaker 1: Do you do you understand what that? What that implies 1498 01:19:32,840 --> 01:19:35,360 Speaker 1: that he's not dead or the curse is not over, 1499 01:19:35,840 --> 01:19:38,760 Speaker 1: or maybe it's trying to be clever and saying like 1500 01:19:38,840 --> 01:19:41,479 Speaker 1: the curse is not just about Rick, it's about like 1501 01:19:41,600 --> 01:19:44,320 Speaker 1: a lot like it's about our our culture as a whole. 1502 01:19:44,439 --> 01:19:47,760 Speaker 1: It's about our our the way we handle work in America. 1503 01:19:48,040 --> 01:19:49,840 Speaker 1: I don't know, no time to hash it out. Roll 1504 01:19:49,920 --> 01:19:52,360 Speaker 1: credits yep, yep, and then we gotta we gotta cut 1505 01:19:52,400 --> 01:19:55,280 Speaker 1: to the local news. Oh man, and that this is 1506 01:19:55,439 --> 01:20:00,000 Speaker 1: this is so so made for TV. Yeah, yeah, absolutely 1507 01:20:00,240 --> 01:20:04,760 Speaker 1: it um clearly they had to they had to land 1508 01:20:04,840 --> 01:20:07,479 Speaker 1: this one in a certain amount of time. But I 1509 01:20:07,640 --> 01:20:10,080 Speaker 1: feel like they told up. They told a fun story 1510 01:20:10,160 --> 01:20:11,760 Speaker 1: for the most part. You know, it's very much at 1511 01:20:11,760 --> 01:20:14,640 Speaker 1: wearable story. By the books, there's not nothing really in 1512 01:20:14,720 --> 01:20:20,360 Speaker 1: this film that's surprising Death Moon, as we encounter again 1513 01:20:21,479 --> 01:20:25,320 Speaker 1: it's ultimately just a TV monster movie, But it is 1514 01:20:25,400 --> 01:20:28,040 Speaker 1: kind of interesting that it does seem to get into 1515 01:20:28,160 --> 01:20:32,120 Speaker 1: some very shallow treatment of um of of some some 1516 01:20:32,320 --> 01:20:37,640 Speaker 1: topics such as American work culture, stereotypical Hawaiian vacations, the 1517 01:20:37,760 --> 01:20:42,200 Speaker 1: legacy of colonialism, and cultural and inherited guilt. Like there 1518 01:20:42,240 --> 01:20:45,160 Speaker 1: seemed to be some of these ideas floating around in 1519 01:20:45,240 --> 01:20:48,280 Speaker 1: the script and in the final product that we have 1520 01:20:48,439 --> 01:20:51,720 Speaker 1: with Death Moon, they're just again very shallow, not not 1521 01:20:51,880 --> 01:20:54,960 Speaker 1: really explored. But the particles are there, you know what 1522 01:20:55,040 --> 01:20:57,480 Speaker 1: I'm saying. You can almost see them on the horizon 1523 01:20:57,640 --> 01:21:00,160 Speaker 1: and you wonder if they're a mirage or not. Yeh. 1524 01:21:00,160 --> 01:21:02,320 Speaker 1: It's one of these moments where it's like, students, what 1525 01:21:02,560 --> 01:21:07,519 Speaker 1: is this movie almost but not quite saying? Or what 1526 01:21:07,720 --> 01:21:10,559 Speaker 1: is this movie? Students? What is this movie? Um almost 1527 01:21:10,640 --> 01:21:13,560 Speaker 1: but not saying about any of these topics? What is 1528 01:21:13,600 --> 01:21:17,400 Speaker 1: it almost confronting but then shying away from completely? Oh? 1529 01:21:17,520 --> 01:21:19,639 Speaker 1: I mean, that's actually one of my favorite things about 1530 01:21:19,680 --> 01:21:22,519 Speaker 1: sort of lower brow movies, B movies made for TV 1531 01:21:22,680 --> 01:21:25,559 Speaker 1: junk and all that is, sometimes they expose interesting kind 1532 01:21:25,640 --> 01:21:29,519 Speaker 1: of vague anxieties and awarenesses that aren't even really fully 1533 01:21:29,560 --> 01:21:32,960 Speaker 1: recognized by the creators. Yeah, and in and in other 1534 01:21:33,040 --> 01:21:35,479 Speaker 1: cases too. It's the kind of thing where you could 1535 01:21:35,520 --> 01:21:38,680 Speaker 1: make an argument that, say, a great artist could seriously 1536 01:21:38,880 --> 01:21:42,640 Speaker 1: contemplate these ideas in a film, but but maybe not, 1537 01:21:42,920 --> 01:21:46,040 Speaker 1: maybe not well or or you know, the bar would 1538 01:21:46,040 --> 01:21:47,960 Speaker 1: be so much higher to pull it off at like 1539 01:21:48,040 --> 01:21:50,639 Speaker 1: a at a like a you know, a high level, 1540 01:21:51,360 --> 01:21:54,320 Speaker 1: but at the low level of the B of B cinema. Yeah, 1541 01:21:54,800 --> 01:21:57,719 Speaker 1: almost anything is fair game. I got an alternate title, 1542 01:21:58,680 --> 01:22:03,200 Speaker 1: Work Beast goes Well Beast. Oh no, not very good. Huh. 1543 01:22:03,920 --> 01:22:06,519 Speaker 1: You mean like work Beasts goes west to the Hawaiian Islands, 1544 01:22:06,640 --> 01:22:09,400 Speaker 1: or are you proposing a sequel where work Beast comes 1545 01:22:09,479 --> 01:22:12,880 Speaker 1: back and goes on even further. I don't know, it 1546 01:22:12,960 --> 01:22:15,439 Speaker 1: goes to Japan or something else. Oh yeah, work Beast 1547 01:22:15,479 --> 01:22:19,000 Speaker 1: goes east and goes Uh. I mean work Beast takes Manhattan. 1548 01:22:19,080 --> 01:22:22,240 Speaker 1: There's so many directions you could go in. Um, well, 1549 01:22:22,280 --> 01:22:24,479 Speaker 1: work Beast is a great title. I want to see 1550 01:22:24,680 --> 01:22:27,320 Speaker 1: someone take it and run with it. Um so uh. 1551 01:22:27,840 --> 01:22:30,760 Speaker 1: You know, if if you're out there listening, go for it. Uh. 1552 01:22:31,080 --> 01:22:33,120 Speaker 1: And certainly I would love to hear from any listeners 1553 01:22:33,200 --> 01:22:37,040 Speaker 1: who uh you know with with with Dutch backgrounds, Uh, 1554 01:22:37,280 --> 01:22:38,760 Speaker 1: you know who can who can tell it it really 1555 01:22:38,800 --> 01:22:41,479 Speaker 1: fill us in about the work beast thing. Yeah, but 1556 01:22:41,560 --> 01:22:44,120 Speaker 1: also if you know about any notable Hawaiian or Polynesian 1557 01:22:44,160 --> 01:22:46,920 Speaker 1: horror movies or or other like be sci fi movies, 1558 01:22:46,960 --> 01:22:49,320 Speaker 1: anything like that that that we didn't come across, Yes, 1559 01:22:49,680 --> 01:22:55,360 Speaker 1: right us. So this is the point in the episode 1560 01:22:55,360 --> 01:22:57,960 Speaker 1: where we were going to have a section discussing the 1561 01:22:58,080 --> 01:23:02,240 Speaker 1: mere notion of were wolves in Hawaii, uh, the Hawaiian 1562 01:23:02,280 --> 01:23:05,680 Speaker 1: islands where there have never been wolves, uh, and get 1563 01:23:05,760 --> 01:23:10,320 Speaker 1: into a little related Polynesian mythology, because there doesn't seem 1564 01:23:10,400 --> 01:23:14,599 Speaker 1: to be anything quite like a Western werewolf in Hawaiian 1565 01:23:14,680 --> 01:23:18,679 Speaker 1: folklore and mythology for a variety of reasons. However, there 1566 01:23:18,720 --> 01:23:23,240 Speaker 1: are human animal hybrids, there are animal transformations, there are 1567 01:23:23,320 --> 01:23:27,360 Speaker 1: heroes and gods that have hybrid qualities. There's there's a 1568 01:23:27,400 --> 01:23:31,080 Speaker 1: hog child. There, even the dog men, and even at 1569 01:23:31,160 --> 01:23:35,680 Speaker 1: least one quote unquote cannibalistic dog man that is from 1570 01:23:35,720 --> 01:23:40,519 Speaker 1: the work of early American folkloreist Martha Warren Beckwith So 1571 01:23:41,400 --> 01:23:44,280 Speaker 1: these are not Western werewolves. And to be clear, what 1572 01:23:44,400 --> 01:23:47,080 Speaker 1: we see in Death Moon is very much a classic 1573 01:23:47,200 --> 01:23:50,760 Speaker 1: horror movie Wolfman, you know, a wolfman born out of 1574 01:23:50,840 --> 01:23:56,080 Speaker 1: Western um were wolf beliefs and ideas. Uh So, anyway, 1575 01:23:56,400 --> 01:23:57,880 Speaker 1: there's a lot to break down here, and I kept 1576 01:23:57,920 --> 01:24:01,440 Speaker 1: adding information to the notes on really late did Hawaiian mythology, 1577 01:24:01,600 --> 01:24:04,120 Speaker 1: and Joe was digging up some stuff as well, and 1578 01:24:04,200 --> 01:24:06,000 Speaker 1: then we just realized it was getting a bit long, 1579 01:24:06,200 --> 01:24:08,000 Speaker 1: and this might be might be more appropriate for a 1580 01:24:08,040 --> 01:24:11,439 Speaker 1: future episode of stuff to blow your mind itself, either 1581 01:24:11,560 --> 01:24:14,960 Speaker 1: focusing on Hawaiian mythology and a broader sense, or doing 1582 01:24:15,000 --> 01:24:19,879 Speaker 1: a kind of survey of beast man myths in various cultures. 1583 01:24:19,960 --> 01:24:22,040 Speaker 1: So if that's the sort of thing you're interested in, 1584 01:24:22,680 --> 01:24:28,599 Speaker 1: let us know. Now for the rest of you, if 1585 01:24:28,600 --> 01:24:31,439 Speaker 1: you're wondering, well, where can I see Deathman there there 1586 01:24:31,479 --> 01:24:33,720 Speaker 1: there are three ways to go about it. One is 1587 01:24:33,920 --> 01:24:37,800 Speaker 1: find yourself probably a European VHS release of this. Uh 1588 01:24:37,880 --> 01:24:39,800 Speaker 1: you're not gonna find it on DVD or Blu ray, 1589 01:24:40,120 --> 01:24:42,640 Speaker 1: and then have a VHS player so you can watch it, 1590 01:24:42,720 --> 01:24:45,760 Speaker 1: I think, as far as I can tell. Yeah, that's 1591 01:24:45,800 --> 01:24:48,200 Speaker 1: the only way it was ever released to h to 1592 01:24:48,360 --> 01:24:50,800 Speaker 1: home audiences. Another way you can see this movie is 1593 01:24:50,840 --> 01:24:54,880 Speaker 1: by traveling back in time to and catching it on 1594 01:24:55,040 --> 01:24:58,400 Speaker 1: the Wednesday night line up on CBS, or you can 1595 01:24:58,439 --> 01:25:01,080 Speaker 1: simply go to YouTube, where again, there's been a rip 1596 01:25:01,160 --> 01:25:06,000 Speaker 1: of it with with Dutch subtitles on YouTube since so 1597 01:25:06,280 --> 01:25:09,800 Speaker 1: I imagine it's still around. Um, nobody seems to care. 1598 01:25:10,240 --> 01:25:12,519 Speaker 1: That's that's where you can watch it. Uh, and it's 1599 01:25:12,640 --> 01:25:15,080 Speaker 1: it's not a bad rip, It's not perfect. Ultimately, I 1600 01:25:15,360 --> 01:25:16,960 Speaker 1: think i'd love to see this film pop up on 1601 01:25:17,040 --> 01:25:20,479 Speaker 1: Blu Ray. Um, I'd love to see what I mean, 1602 01:25:20,760 --> 01:25:23,519 Speaker 1: if restored footage is even possible, I would like to 1603 01:25:23,560 --> 01:25:25,800 Speaker 1: see it. I think it's ultimately kind of a fun 1604 01:25:25,920 --> 01:25:28,920 Speaker 1: film that could do with a little more exposure. So 1605 01:25:29,000 --> 01:25:31,880 Speaker 1: shout Factory if you're listening, get on it. Give me that, 1606 01:25:32,240 --> 01:25:35,240 Speaker 1: Give me that that Deathman and Blu Ray the VHS 1607 01:25:35,360 --> 01:25:38,200 Speaker 1: cover for whatever release this was. I guess this. This 1608 01:25:38,360 --> 01:25:41,680 Speaker 1: may have been uh Dutch or Germany or something that 1609 01:25:41,760 --> 01:25:44,960 Speaker 1: says wolf smand this really gives the wrong idea about 1610 01:25:44,960 --> 01:25:48,600 Speaker 1: the movie. Yeah, it looks, uh, you know, very exploitive 1611 01:25:49,200 --> 01:25:51,439 Speaker 1: based on this VHS box art, I can imagine the 1612 01:25:51,479 --> 01:25:55,200 Speaker 1: disappointment of people who picked it up. All right, if 1613 01:25:55,200 --> 01:25:57,120 Speaker 1: you want to listen to more Weird How Cinema. You 1614 01:25:57,240 --> 01:25:59,960 Speaker 1: can find it in the Stuff table in your Mind 1615 01:26:00,040 --> 01:26:03,320 Speaker 1: podcast feed wherever you get your podcast. Weird How Cinema 1616 01:26:03,400 --> 01:26:06,439 Speaker 1: comes out on Friday's that's uh, that's our time to 1617 01:26:07,520 --> 01:26:09,840 Speaker 1: put the science aside and just focus on a on 1618 01:26:09,920 --> 01:26:12,400 Speaker 1: a weird movie. The rest of the time, we are 1619 01:26:12,439 --> 01:26:15,200 Speaker 1: a science podcast two season Thursdays, those are our core 1620 01:26:15,280 --> 01:26:19,680 Speaker 1: episodes in which we take on scientific, cultural, sometimes philosophic 1621 01:26:19,800 --> 01:26:22,360 Speaker 1: topics and then yeah, on Friday, we put we throw 1622 01:26:22,400 --> 01:26:24,080 Speaker 1: all that out the window and we just talk about 1623 01:26:24,120 --> 01:26:27,080 Speaker 1: bad wearwolf films and the like huge things. As always 1624 01:26:27,120 --> 01:26:30,160 Speaker 1: to our excellent audio producer Seth Nicholas Johnson. If you 1625 01:26:30,160 --> 01:26:32,160 Speaker 1: would like to get in touch with us with feedback 1626 01:26:32,200 --> 01:26:34,439 Speaker 1: on this episode or any other, to suggest topic for 1627 01:26:34,520 --> 01:26:36,840 Speaker 1: the future, or just to say hello, you can email 1628 01:26:36,920 --> 01:26:40,000 Speaker 1: us at contact. That's Stuff to Blow your Mind dot com. 1629 01:26:47,320 --> 01:26:49,760 Speaker 1: Stuff to Blow Your Mind's production of I Heart Radio. 1630 01:26:50,160 --> 01:26:52,240 Speaker 1: For more podcasts for My Heart Radio, visit the I 1631 01:26:52,320 --> 01:26:55,080 Speaker 1: Heart Radio app, Apple Podcasts, or wherever you listen to 1632 01:26:55,160 --> 01:26:55,960 Speaker 1: your favorite shows.