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

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Speaker 2: Hey, welcome to Weird House Cinema.

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

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Speaker 3: once more, we return to the realm of the great

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Speaker 3: and powerful Lucha doors Mexican wrestling cinema and the encounters

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Speaker 3: of these wrestlers with villains of the supernatural, science fiction,

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Speaker 3: and generally weird persuasion. You know, before we came on

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Speaker 3: Mike today, Rob, you and I in the chat were

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Speaker 3: talking about just other Mexican wrestling movies that come up

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Speaker 3: that look interesting, but I guess they're just not really

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Speaker 3: within our purview because they don't have either magic or

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Speaker 3: science fiction technology in it. I think we have to

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Speaker 3: limit ourselves just to those and even just walling off

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Speaker 3: that sort of subset. There's still so many riches to discover.

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Speaker 2: All right. Yeah, every time we dive into Lucca films,

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Speaker 2: I feel like I'm discovering new, potentially tantalizing titles. And

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Speaker 2: I mean, I think the same goes for just Mexican

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Speaker 2: cinema in general. There's just so much there, so many

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Speaker 2: different genres, and not all of it has really gone

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Speaker 2: on to resonate certainly with modern audiences, but also with

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Speaker 2: modern audiences outside of Mexico. Now.

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Speaker 3: In the past, we've covered a couple of other supernatural

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Speaker 3: Mexican wrestling movies. One was Santo and the Treasure of

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Speaker 3: Dracula from nineteen sixty nine, in which I would say

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Speaker 3: easily the most popular ever lucid or hero Santo. He

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Speaker 3: invents a time machine which somehow leads to a vampire

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Speaker 3: being unleashed upon the world, and in the middle of

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Speaker 3: this chaos, Santo must simultaneously fight the unearthly evil of

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Speaker 3: the Dracool and avoid being photographed in any of the

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Speaker 3: gratuitous nude scenes that were added for the euro market.

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Speaker 2: Yeah yeah, fun movie, fun episode. Definitely see the European

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Speaker 2: version if you get a chance, though, because it is

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Speaker 2: the one that is in glorious color and has been

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Speaker 2: just lovingly restored.

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Speaker 3: That was a real highlight, but also excellent was another

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Speaker 3: one we covered, the nineteen sixty three film Doctor of Doom,

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Speaker 3: which was mainly about two heroic luchadoras, Gloria Venus I

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Speaker 3: think that was the one played by Lorrain of Alaskaz

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Speaker 3: and Golden Ruby, who must defeat a mad scientist and

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Speaker 3: his plot too, I think kidnap women and transplant their

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Speaker 3: brains into a gorilla, or maybe put gorilla brains inside

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Speaker 3: the women's heads. I was a little fuzzy on that.

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Speaker 2: I think maybe a little bit of both goes on.

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Speaker 2: But yeah, that one was super fun. That one also

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Speaker 2: had the excellent Roberto Canedo playing the villain, the mad scientist,

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Speaker 2: and both of the pictures we just mentioned were directed

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Speaker 2: by Renee Cardona.

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Speaker 3: Yes, now today we are coming home to another El

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Speaker 3: Santo adventure, but this time it's more directly in the

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Speaker 3: science fiction realm. Though I guess both of the other

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Speaker 3: movies we talked about did have science fiction elements, because

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Speaker 3: it's always easy to forget. The Dracula movie has time

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Speaker 3: travel in it, it's full on time machine. But this

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Speaker 3: one is like your straight up alien invasion movie. Planet

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Speaker 3: Earth is in the crosshairs. The Martians are here and

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Speaker 3: they want full control. So this movie is Santo in

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Speaker 3: the Martian Invasion from nineteen sixty seven. I was thinking

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Speaker 3: for a while, I was a little confused, like, oh,

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Speaker 3: is this even technically a Santo in name movie? Because

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Speaker 3: a lot of the times in the movie they were

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Speaker 3: calling him Silver Mask, but I realize no, they also

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Speaker 3: call him Santo in the movie. They use both names

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Speaker 3: basically interchangeably.

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Speaker 2: Yeah, that was one of his monikers, the Man in

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Speaker 2: the Silver Mask. He gets confusing, I think, especially when

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Speaker 2: we're dealing with English language releases of some of the

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Speaker 2: Santo films, where they may call him something else, like Samson,

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Speaker 2: because the name Santo wasn't as firmly established in other regions.

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Speaker 3: Oh okay, kind of like in other like in the

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Speaker 3: peplam subgenre, you might get like Hercules Versus Machiste or

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Speaker 3: Samson and in different releases.

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Speaker 2: Yeah.

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Speaker 3: Now, I would say, in my opinion of the three

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Speaker 3: Mexican wrestling movies with supernatural elements that we have watched,

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Speaker 3: this I think is the least of the three. Doctor

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Speaker 3: of Doom and Santo and The Treasure of Dracula are

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Speaker 3: both really special in their own ways, But despite coming

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Speaker 3: in third, the Martian Invasion I think is still a

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Speaker 3: lot of fun. And if this makes any sense, Rob,

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Speaker 3: I think it should win some kind of award for

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Speaker 3: some of the funniest blocking in all of the movies

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Speaker 3: we've watched, just the way characters are kind of arranged

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Speaker 3: on stage or on the set for the camera to

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Speaker 3: look at is often in itself so funny.

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Speaker 2: Yeah, it has a lot of things going for it.

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Speaker 2: None of those things going for it are its story

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Speaker 2: and character. They're virtually like no story and character beats throughout.

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Speaker 3: But though Santo as always is flawless.

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Speaker 2: Santo's flawless. Santo doesn't need to grow as a character.

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Speaker 2: He is already, so like any criticisms about his character

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Speaker 2: is redundant because he is.

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Speaker 3: Missing that point.

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Speaker 2: Yeah. Yeah, what it lacks in those departments, arguably it

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Speaker 2: makes up for in just weirdness wackiness. I would say

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Speaker 2: the beefcake factor is pretty high in this one.

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Speaker 3: Yeah.

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Speaker 2: The ladies are really gorgeous as well, so it seems

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Speaker 2: it gives the viewers a lot to look at. And

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Speaker 2: I think has more teleportation and disappearance and reappearance scenes

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Speaker 2: than perhaps some of the Star Trek movies. Uh, they

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Speaker 2: really like this effect. They pull it off well and

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Speaker 2: they it just happens all the time.

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Speaker 3: Yes, they're really into the teleportation, which they accomplish by

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Speaker 3: the way. I like just this little physical prop not

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Speaker 3: by way of a button or by way of a

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Speaker 3: switch or a lever, but by a dial. It's like

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Speaker 3: the oven dials turn a dial on their belt and

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Speaker 3: that makes them vanish and reappear at the spaceship.

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Speaker 2: I love it. I love good tactile science fiction equipment.

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Speaker 2: Nowadays you watch it's all you know, like virtual interfaces

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Speaker 2: and floating holograms and you know, or Star Trek next

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Speaker 2: generation like flat screen stuff. I like that. I like

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Speaker 2: it when there's a chonky button and a dial and

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Speaker 2: a big lever.

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Speaker 3: Well, the implications of the dial are kind of fascinating,

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Speaker 3: especially for teleportation, because I would think teleportation is an

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Speaker 3: on off function. You either you teleport or you don't.

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Speaker 3: But a dial is for graduated functions like the you know,

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Speaker 3: the power of a stove burner or something. So it

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Speaker 3: makes you wonder like can do you kind of half

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Speaker 3: teleport or do you two thirds of the way teleport?

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Speaker 3: We never see that happen in the movie. They always

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Speaker 3: turn it to full crank.

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Speaker 2: It's kind of reckless because I think maybe you used

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Speaker 2: slowly tune it so that you maintain consciousness between this

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Speaker 2: incarnation and the next, as this one is destroyed and

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Speaker 2: the next one is created. But if you just turn

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Speaker 2: it really fast, I don't know. Maybe it still happens. Appropriately,

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Speaker 2: this movie's not really concerned with those questions.

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Speaker 3: No, this glosses over a lot of the finer points

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Speaker 3: of the Martian technology and the invasion plot and what

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Speaker 3: the humans are doing. I've got to once we get

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Speaker 3: into the plot, I really have questions about to what

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Speaker 3: extent the people understand that a Martian invasion is happening.

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Speaker 3: It seems to alternate scene to scene, whether people are like, yep,

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Speaker 3: we're being invaded, or whether it's like, we've got to

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Speaker 3: keep this a secret.

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Speaker 2: Yeah. Yeah. Oh. I will also add the Martian technology

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Speaker 2: is of course five hundred years ahead of ours, so

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Speaker 2: of course it is difficult to understand. Seems like magic.

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Speaker 3: Yes, they say that many many times. Rob, I don't

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Speaker 3: know if you have an elevator pitch for this one,

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Speaker 3: but I would say, imagine War of the Worlds, but

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Speaker 3: take out the heat ray and most of the social

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Speaker 3: commentary and put in muscles, beefcake and burlesque dancing.

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Speaker 2: Yeah, yeah, pretty much. I will say. One of the

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Speaker 2: things I really liked about this one is that, since

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Speaker 2: it is I guess leaning into sci fi of the

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Speaker 2: time period, this is a film that does have a

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Speaker 2: message to it. It does have a pretty persistent anti

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Speaker 2: war and anti nuclear weapon standpoint, which I respect.

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Speaker 3: I guess that's right. I don't know why I said

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Speaker 3: take out the social commentary. I guess take out any

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Speaker 3: subtle social commentary. Instead, it's just like bluntly delivered morals.

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Speaker 3: It's like will humanity? A narrator comes on and says,

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Speaker 3: will humanity ever stop these crazy nuclear experiments?

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Speaker 2: We don't know, but it's more than we got in

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Speaker 2: Santo and the Treasure of Dracula, Like there wasn't really,

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Speaker 2: I mean, they were like, we must not have time

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Speaker 2: machines or draculas. Like they weren't really, you know, there

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Speaker 2: wasn't really a message attached to that picture. All right, Well,

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Speaker 2: let's go ahead and listen to just a little of

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Speaker 2: the trailer audio. I believe this is Spanish language trailer,

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Speaker 2: So we'll just give you just a little sample of

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Speaker 2: some of the sights and sounds here one of the sides,

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Speaker 2: but just the sounds.

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Speaker 4: Hera miters a parison and you come for the portivo

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Speaker 4: right right era, there's a parison brisona e strano phenomeno

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Speaker 4: provocconcierto elpanico, ela steria Collectiva Asta Secretoso, Sequestras Cambinino purind

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Speaker 4: and Extranaturai stampidiendo He stays Lato Marcin Grablao Costa Ricola's

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Speaker 4: Yaman Mexico.

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Speaker 2: Now.

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Speaker 3: I don't know if the trailer tries to mislead you

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Speaker 3: on this front, but the glorious poster for this film

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Speaker 3: does definitely mislead as to the plot contents because it

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Speaker 3: shows Santo appearing to hold a sort of green martian

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Speaker 3: in one arm, seemingly unconscious. Looks kind of like Blanca

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Speaker 3: from Street Fighter who got that under his one arm.

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Speaker 3: In the other hand, he's holding a gun, which what

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Speaker 3: would Santo wheeld a gun like that? It seems completely

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Speaker 3: out of character. Well, it doesn't make sense at all.

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Speaker 3: And he's standing on the surface of another planet, probably

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Speaker 3: the Moon, because we can see the Earth in the background.

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Speaker 3: Santo does not leave Earth in this.

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Speaker 2: Movie, right, and he never brandishes a laser pistol or

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Speaker 2: a plasma rife or whatever this is. But yeah, this

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Speaker 2: is a great poster for a different movie. None of

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Speaker 2: this actually happens.

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Speaker 3: Santra just shamelessly using the weapon of the enemy. It's yeah,

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Speaker 3: admire the art style, though it's lavishly realized.

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Speaker 2: Yeah, as we'll explore, Santo uses grapples, punches, kicks, especially

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Speaker 2: like well timed kicks, and legs scissors to an opponent's legs,

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Speaker 2: that sort of thing. He does not need a laser gun.

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Speaker 3: Now Here is where we often talk availability. I was

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Speaker 3: kind of surprised when we were going into this week

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Speaker 3: because I wanted to do another Luca movie. I was

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Speaker 3: kind of surprised how many of these classic Santo movies

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Speaker 3: are apparently hard to get in a good release these days.

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Speaker 3: Like there are tons of them that do not have

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Speaker 3: a solid remaster or good Blu Ray release.

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Speaker 2: Yeah, and a lot of times higher quality versions are

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Speaker 2: really lacking, Like Santo and the Treasure of Dracula. When

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Speaker 2: they found that reel and were able to restore it,

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Speaker 2: like that was big news. I found the Reuter's News

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Speaker 2: article about that, like everyone's excited there like this one.

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Speaker 2: As far as I know, there are no Blu Ray

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Speaker 2: versions of it, no restored versions of the footage, no

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Speaker 2: color versions or anything like that. Nothing like we had

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Speaker 2: with the Treasure of Dracula. What we do have is

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Speaker 2: perfectly watchable. I watched it on a DVD release this

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Speaker 2: is I think like VCI and or Mech DVD rented

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Speaker 2: from Atlanta's own Video Drome. They have a number of

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Speaker 2: Santo films there you can rent again perfectly watchable quality.

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Speaker 2: He was in Spanish with English subtitles, and the disc

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Speaker 2: also had some extras also in Spanish, but with subtitles

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Speaker 2: that are worth seeking. So that's worth seeking out of you.

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Speaker 2: If you want the physical media experience for this film. Yeah,

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Speaker 2: I don't know how available it is right now though,

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Speaker 2: but you can rent it at Video Drum. All right,

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Speaker 2: shall we get into the people behind and in this film?

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Speaker 3: Yes, I want to know more. So this is a

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Speaker 3: different director than our previous Lucha outings.

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Speaker 2: That's right. The director here is Alfredo B. Crevena. He

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Speaker 2: lived nineteen fourteen through nineteen ninety six German born Mexican

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Speaker 2: film director and screenwriter who directed more than one hundred

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Speaker 2: and fifty films between the mid forties in the mid nineties.

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Speaker 2: An acclaim filmmaker in his own right of the Mexican

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Speaker 2: Golden Age of cinema. Among his most well received works

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Speaker 2: are the nineteen fifty six drama Talpa and the nineteen

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Speaker 2: fifty one film Girls in Uniform. Now this is a

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Speaker 2: boarding school drama based on a nineteen thirty one German

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Speaker 2: film of the same name. The German film I was

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Speaker 2: reading about it suffered multiple waves of censorship, but is

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Speaker 2: today held up as a cult classic of lesbian cinema.

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Speaker 2: I haven't seen Crevenna's version of this, but I'm to

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Speaker 2: understand it grapples with these themes as well while also

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Speaker 2: pushing up against its own censorship issues. At the time,

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Speaker 2: I realized, Girls in Uniform may sound like a sketchy title,

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Speaker 2: but this is like, this is a serious These are

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Speaker 2: serious film projects, and I think the original German film

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Speaker 2: was based on a play.

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Speaker 3: Yeah, I can see the phrasing could give the wrong idea.

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Speaker 3: It sounds like a like women in Prison type title.

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Speaker 2: Yeah yeah, but nothing of that sort. I have not

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Speaker 2: seen either of these films, but they are very well regarded,

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Speaker 2: or at least the German version is very well regarded,

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Speaker 2: and people seem to like the Mexican version as well. Now,

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Speaker 2: outside of dramas and comedies, Curvenna also directed multiple santo

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Speaker 2: and other lucha libre movies, some zoro films, some Mexican noir,

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Speaker 2: and also some horror. A couple of titles that jumped

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Speaker 2: out of me include Planet of the Female Invaders from

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Speaker 2: sixty six. This starred Elizabeth Campbell Mari Monte who will

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Speaker 2: get into Loreno Valasquez, who we'd already mentioned, a nineteen

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Speaker 2: eighty film called The Dracula Dynasty. I'm already intrigued. A

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Speaker 2: nineteen seventy nine film called The Whip Versus Satan, which

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Speaker 2: is supposed to be a zoro esque adventure where the

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Speaker 2: zoro esque character has occult powers and battle Satan.

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Speaker 3: Oh okay, so it really is the Whip Versus Satan,

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Speaker 3: It's not. Yeah, Satan has the whip. No, that's Pen's type.

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Speaker 2: Yeah. Yeah. And then there's a nineteen ninety two film

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Speaker 2: called On the Edge of Terror, said to be a

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Speaker 2: very weird and disturbing ventriloquist horror film with Robert Canedo

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Speaker 2: in a supporting role.

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Speaker 3: Okay, I'd be done for watching it.

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Speaker 2: Of these. Yeah, it sounds like I say every time

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Speaker 2: we dive into Mexican cinema. There are so many titles

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Speaker 2: that jump out and sound I booked I footnoted a

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Speaker 2: few of these to explore later.

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Speaker 3: Man, just from the title and cast list. Planet of

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Speaker 3: the Female Invaders. Sounds like it may have a lot

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Speaker 3: in common with another show favorite that we did, Ship

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Speaker 3: of Monsters, which also had Lorraine of Alaskaz, and was

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Speaker 3: about women invaders coming to Earth to find the perfect

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Speaker 3: man to I don't know, like replenish their species.

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Speaker 2: Yeah, that one was a musical that was great.

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Speaker 3: Yes, which was wonderful.

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Speaker 2: I love that movie all right. The writer for this

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Speaker 2: picture is Rafael Garcia Trevesi, who lived nineteen ten through

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Speaker 2: nineteen eighty four, Mexican screenwriter who wrote loads of Santo

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Speaker 2: films in addition to just seemingly loads of everything else.

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Speaker 2: His credits include nineteen sixty two Santo and the Vampires,

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Speaker 2: as well as non Santo movies like the horror film

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Speaker 2: Spiritism from sixty two and the historical thriller Black Wind

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Speaker 2: from sixty five.

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Speaker 3: I don't want to be mean, but I will say

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Speaker 3: I don't think the writing is a huge highlight on

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Speaker 3: this one.

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Speaker 2: No, No, you know it. It gave them something to shoot,

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Speaker 2: you know. Yeah, But like I said, at least some

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Speaker 2: of the films that this writer did, you know, are

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Speaker 2: are were well received and are you know the thing

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Speaker 2: about Luke, we should mention a lot of The thing

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Speaker 2: about a lot of these Lucha Libre films is that

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Speaker 2: they are they are essentially low budget, swiftly produced genre pictures.

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Speaker 2: So yeah, they're not necessarily, you know, great examples of

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Speaker 2: what everyone involved was capable of, especially when you're talking

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Speaker 2: about the people behind the scenes.

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Speaker 3: Yeah, I mean you can tell from a business perspective.

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Speaker 3: I think a lot of times the idea was, like,

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Speaker 3: we have an extremely popular and charismatic wrestler. We want

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Speaker 3: to find a way to string together a number of

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Speaker 3: different fight scenes with some unusual texture and costumes. How

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Speaker 3: can we kind of like thread all that together?

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Speaker 2: All right? The star of this one, and of course

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Speaker 2: we've talked about him before in our previous episode, is

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Speaker 2: El Santo. Now we know now that El Santo's given

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Speaker 2: name was Ridolfo Guzman Herte and he lived nineteen seventeen

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Speaker 2: through nineteen eighty four. But it's worth noting that at

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Speaker 2: the time period, and during this time period and even today,

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Speaker 2: lucha libre stars their actual name is not necessarily a

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Speaker 2: matter of public record. And during El Santo's day, like

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Speaker 2: this guy like lived the gimmick. You did not see

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Speaker 2: pictures of El Santo without the mask anywhere he went

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Speaker 2: and was known. I guess he would go to the

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Speaker 2: grocery store. I'm to understand, you know, he would not

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Speaker 2: be wearing the mask, but he would be incognito. Anytime

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Speaker 2: he was appearing as El Santo, he was wearing the mask,

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Speaker 2: no one saw his face. And it's still the same

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Speaker 2: today with some wrestlers in Mexico. The people don't have

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Speaker 2: their access to the details of their their non gimmick life.

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Speaker 3: Seems like there could be some advantages to that from

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Speaker 3: the wrestler's point of view. I mean, if you're like,

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Speaker 3: it's a way of being a famous person while still

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Speaker 3: being able to have some privacy in your regular life.

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Speaker 2: Yeah. So yes. El Santo the Saint probably the most

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Speaker 2: famous and instantly identifiable luchador of all time. He was

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Speaker 2: active for five decades and in addition to being a

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Speaker 2: superstar in the ring, he was able to spin that

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Speaker 2: off into becoming a comic book superhero, and that led

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Speaker 2: to numerous films where he's generally playing the role of

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Speaker 2: a superhero or a crime fighter, taking on everything from

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Speaker 2: crime and corruption to supernatural evil, and of course invasions

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Speaker 2: from other planets. As we'll be discussing today he was

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Speaker 2: the ultimate good guy or technico. He never lost his mask,

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Speaker 2: but he did famously reveal his face on TV prior

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Speaker 2: to his death from a heart attack in nineteen eighty four.

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Speaker 2: He was appearing on their mask and it wasn't something

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Speaker 2: they promoted. They were like, oh, Santo's going to reveal

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Speaker 2: his face today. It was like, almost casually, He's like,

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Speaker 2: this is my face, and he showed his face and

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Speaker 2: then put his mask back on.

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Speaker 3: I've seen the footage. It's very brief. It's almost like

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Speaker 3: like he doesn't give you a real good look. He

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Speaker 3: just kind of peels it up and then pulls it

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Speaker 3: right back down.

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Speaker 2: Yeah, but it's still there's there's an emotional quality to it,

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Speaker 2: not as emotional as some of the footage you'll find

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Speaker 2: of older luchadors losing their mask in a match where

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Speaker 2: they put their mask on the line and they lose

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Speaker 2: it and then they have to as like in a

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Speaker 2: ceremonial fashion, reveal their face and revealed their full name

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Speaker 2: to the audience, and generally like tears are streaming, family

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Speaker 2: members are presents, very emotional, but there wasn't is no

354
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Speaker 2: bigger deal than Santo. It wasn't just a lucha star.

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Speaker 2: He was and is a cultural icon. I mentioned this

356
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Speaker 2: the last time we talked about him, but wrestling journalist

357
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Speaker 2: Dave Meltzer has pointed out that it's difficult to really

358
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Speaker 2: point to a figure quite like Santo in American culture,

359
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Speaker 2: Like you can't really compare him to any American wrestling

360
00:20:01,920 --> 00:20:04,040
Speaker 2: name in terms of how important he was and is.

361
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Speaker 2: So you can't say, oh, well, he was like hul Kogan,

362
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Speaker 2: or he was like the Rock even, No, you'd have

363
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Speaker 2: to point to a superstar like Muhammad Ali or Elvis

364
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Speaker 2: Presley to even get close. And again, especially during their heyday,

365
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Speaker 2: Like you'd really have to look to Elvis Presley during

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Speaker 2: the height of his fame and you'd probably get close

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Speaker 2: to what Santo was there.

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Speaker 3: I mean, I am, by no means an expert in

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Speaker 3: the cultural reception of El Santo, but one thing I

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Speaker 3: noticed from all these movies is, Yeah, there is this

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Speaker 3: aura of absolute awe about him that I guess you

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Speaker 3: could compare to celebrities like Elvis. Except even with people

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Speaker 3: like Elvis, I don't know if there was also the

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Speaker 3: kind of holy veneration, Like there's just this understanding in

375
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Speaker 3: all the Santo stuff. I've seen that Santo is just

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Speaker 3: a perfectly honorable person. He is the ultimate law full good.

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Speaker 3: Even in a world where you can't trust anything else,

378
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Speaker 3: you can trust Santo.

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Speaker 2: That's right. Santo is the best office without any question.

380
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Speaker 2: And yeah, he does seem to like stand at this

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Speaker 2: perfect place where all these different energies in Mexican culture

382
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Speaker 2: come together. Like there's this like sacred Catholic element to him.

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Speaker 2: I mean, he is the saint at the same time

384
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Speaker 2: he is the superhero. He is a like Superman, but

385
00:21:28,000 --> 00:21:30,920
Speaker 2: he is he is also in that area where he

386
00:21:31,040 --> 00:21:34,080
Speaker 2: is both a comic book character and a real person.

387
00:21:34,800 --> 00:21:38,720
Speaker 2: He is a performer. Yeah, and he is absolutely good.

388
00:21:38,880 --> 00:21:42,280
Speaker 2: There are no shades of gray to this character. Everything

389
00:21:42,359 --> 00:21:47,640
Speaker 2: is silver, beautifully said. Yes. So the comics came first

390
00:21:47,680 --> 00:21:50,600
Speaker 2: again and this allowed this larger than life character to

391
00:21:50,760 --> 00:21:54,520
Speaker 2: then branch out into films, And there were so many

392
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Speaker 2: Santo films of the sixties, seventies, and eighties, and their

393
00:21:57,160 --> 00:22:04,400
Speaker 2: success allowed other luchador to crossover into cinema. And again,

394
00:22:04,440 --> 00:22:07,400
Speaker 2: these films are often cheap and fast, and they hopscotch

395
00:22:07,440 --> 00:22:11,440
Speaker 2: through different genres horror, science fiction, western, spy movies, crime,

396
00:22:11,520 --> 00:22:15,560
Speaker 2: flicks some outright comedies in the mix as well. All right,

397
00:22:15,600 --> 00:22:19,240
Speaker 2: so that's Elcento, but there are numerous other wrestlers in

398
00:22:19,320 --> 00:22:21,840
Speaker 2: this picture. There's there's quite a bit of grappling in

399
00:22:21,920 --> 00:22:25,920
Speaker 2: the movie, and I think that all the the other

400
00:22:26,119 --> 00:22:28,359
Speaker 2: main roles are also played by wrestlers.

401
00:22:28,920 --> 00:22:31,280
Speaker 3: That's right when the Martians arrive and there they are

402
00:22:31,320 --> 00:22:32,480
Speaker 3: bringing body slams.

403
00:22:34,000 --> 00:22:37,200
Speaker 2: All right. The essentially the leader of the Martian invasion

404
00:22:37,720 --> 00:22:41,680
Speaker 2: is a Martian who eventually takes on the human name

405
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Speaker 2: of Argos.

406
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Speaker 3: We don't know what their original names are.

407
00:22:44,960 --> 00:22:47,159
Speaker 2: Yeah, they as we'll discuss. There's a point in the

408
00:22:47,160 --> 00:22:48,920
Speaker 2: film where they're like, all right, we all have names

409
00:22:48,960 --> 00:22:51,919
Speaker 2: now we've taken them from human cultures, and.

410
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Speaker 3: They they transform themselves in something that lasts for about a.

411
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Speaker 2: Scene, like, yeah, they don't stick to this concept at all.

412
00:23:01,480 --> 00:23:05,879
Speaker 3: But yeah, the Martian leader, he transforms into Argos. And

413
00:23:06,160 --> 00:23:07,920
Speaker 3: I got to say, right at the beginning, when we

414
00:23:08,040 --> 00:23:11,600
Speaker 3: get to the plot section, I apologize because I may

415
00:23:12,280 --> 00:23:16,359
Speaker 3: misattribute which of the male Martians I am talking about

416
00:23:16,400 --> 00:23:19,080
Speaker 3: at any given time, because I was getting several of

417
00:23:19,160 --> 00:23:22,480
Speaker 3: them mixed up, but not this one, the main Martian.

418
00:23:22,560 --> 00:23:24,639
Speaker 3: I think I always knew who he was. This is

419
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Speaker 3: the Martian leader the Beefcake played by Wolf Ravinsky's.

420
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Speaker 2: Yeah. Wolf Ravinsky's lived nineteen twenty one through nineteen ninety nine.

421
00:23:34,600 --> 00:23:39,399
Speaker 2: He was a luchador turned actor, a Latvian of Jewish

422
00:23:39,440 --> 00:23:42,560
Speaker 2: descent whose family fled Europe for Argentina during the Second

423
00:23:42,600 --> 00:23:48,239
Speaker 2: World War. Eventually got into lucha libre and became established there. Now,

424
00:23:48,320 --> 00:23:51,120
Speaker 2: obviously Wolf was too handsome to wear a lucha hood,

425
00:23:51,400 --> 00:23:53,240
Speaker 2: and I think he was generally a rudo. I was

426
00:23:53,280 --> 00:23:56,680
Speaker 2: looking at Sometimes information on this time period is a

427
00:23:56,720 --> 00:23:59,800
Speaker 2: little record keeping stunt, all that great, but it looks

428
00:23:59,800 --> 00:24:02,879
Speaker 2: like he was rudo, often going up against Santo in

429
00:24:02,960 --> 00:24:05,879
Speaker 2: his allies, and he was eventually able to spin this

430
00:24:05,960 --> 00:24:09,240
Speaker 2: off the end into success as an actor. His filmography

431
00:24:09,280 --> 00:24:12,680
Speaker 2: includes a couple of Santo films, also the serious wrestling

432
00:24:12,760 --> 00:24:16,159
Speaker 2: drama the serious lucha libre drama The Magnificent Beast from

433
00:24:16,240 --> 00:24:19,520
Speaker 2: nineteen fifty three, But his biggest success came as the

434
00:24:19,640 --> 00:24:24,720
Speaker 2: star of the Neutron films, in which he plays the hero,

435
00:24:24,920 --> 00:24:28,680
Speaker 2: a masked, caped atomic superman, and there are several of these.

436
00:24:29,160 --> 00:24:32,000
Speaker 2: His other credits include the nineteen fifty noir film The

437
00:24:32,119 --> 00:24:35,960
Speaker 2: man without a face, which looks really interesting. And eventually,

438
00:24:36,080 --> 00:24:39,480
Speaker 2: after acting and wrestling, he became a restaurant tour in

439
00:24:39,880 --> 00:24:42,640
Speaker 2: Mexico City, I believe. I think it was Argentinian cuisine.

440
00:24:43,000 --> 00:24:46,600
Speaker 3: Oh interesting, If this makes any sense, I feel like

441
00:24:46,720 --> 00:24:51,440
Speaker 3: his presence in this movie is most often funny in

442
00:24:51,520 --> 00:24:54,240
Speaker 3: a way that is not necessarily intended. But that's not

443
00:24:54,560 --> 00:24:57,239
Speaker 3: because he's not a good actor. I don't know if

444
00:24:57,280 --> 00:25:00,960
Speaker 3: that really connects, but I think he's I consense that

445
00:25:01,080 --> 00:25:04,680
Speaker 3: he would be a good actor in many a role,

446
00:25:04,840 --> 00:25:10,359
Speaker 3: but he's just he is placed within hilarious scenarios and

447
00:25:10,560 --> 00:25:12,639
Speaker 3: he looks hilarious acting them out.

448
00:25:13,040 --> 00:25:15,119
Speaker 2: Right right now. But on the other hand, he always

449
00:25:15,119 --> 00:25:20,320
Speaker 2: looks jacked and handsome. And I don't know if this

450
00:25:20,480 --> 00:25:22,440
Speaker 2: is actually his voice that we hear. I don't know

451
00:25:22,480 --> 00:25:25,280
Speaker 2: if it's dubbed by another actor, but at least as

452
00:25:25,280 --> 00:25:29,159
Speaker 2: we experience it, he sounds commanding as well. Yeah. Now,

453
00:25:29,280 --> 00:25:33,800
Speaker 2: moving from the lead male martian, I guess we're going

454
00:25:33,840 --> 00:25:36,840
Speaker 2: to the lead female martian, though I don't know she's

455
00:25:36,840 --> 00:25:37,280
Speaker 2: actually the.

456
00:25:37,359 --> 00:25:39,360
Speaker 3: Leader, but she I'd say she's the number one.

457
00:25:39,440 --> 00:25:44,200
Speaker 2: Yeah, Okay, this is Afrodita, played by Maramanti, who I

458
00:25:44,280 --> 00:25:47,840
Speaker 2: mentioned earlier. Born nineteen forty two. Now she's a familiar

459
00:25:47,920 --> 00:25:50,920
Speaker 2: face for fans of weird Luchadora movies because she was

460
00:25:51,000 --> 00:25:54,520
Speaker 2: the star of Renee Cardona's nineteen sixty eight film The Batwoman,

461
00:25:55,080 --> 00:25:57,600
Speaker 2: which I do not think was authorized by DC Comics.

462
00:25:58,359 --> 00:26:02,359
Speaker 2: This is a terrifically enjoyable film which also has fish

463
00:26:02,440 --> 00:26:05,880
Speaker 2: monsters in it and a mad scientist played by Roberto Canido.

464
00:26:07,000 --> 00:26:10,160
Speaker 2: Recent Mystery Science Theater three thousand coverage on this one,

465
00:26:10,480 --> 00:26:14,680
Speaker 2: with Emily being the human riffer on that one. A

466
00:26:14,800 --> 00:26:18,159
Speaker 2: lot of fun. Monty appears in a handful of Luca films,

467
00:26:18,200 --> 00:26:23,399
Speaker 2: including sixty eight's The Treasure of Montezuma, which had Santo

468
00:26:23,520 --> 00:26:26,200
Speaker 2: in it as well as Jorge Rivera, and she was

469
00:26:26,240 --> 00:26:28,680
Speaker 2: also in nineteen sixty nine is the Vampires in nineteen

470
00:26:28,680 --> 00:26:29,960
Speaker 2: seventy one's Alien Terror.

471
00:26:30,359 --> 00:26:32,680
Speaker 3: Now I feel like I've seen The Batwoman, but I

472
00:26:32,720 --> 00:26:35,600
Speaker 3: don't remember anything about it as just a complete blank

473
00:26:35,640 --> 00:26:36,160
Speaker 3: in my brain.

474
00:26:36,880 --> 00:26:40,520
Speaker 2: There's a lot of running around in a really skimpy

475
00:26:40,560 --> 00:26:46,600
Speaker 2: batwoman costume, fish monsters, and like driving it's it's it's good.

476
00:26:47,000 --> 00:26:48,920
Speaker 2: I mean, it's it's very fun.

477
00:26:49,560 --> 00:26:53,280
Speaker 3: Well, I get to say Mara Monty is a striking

478
00:26:53,560 --> 00:26:57,280
Speaker 3: screen presence in this movie. Her aura is off the charts.

479
00:26:58,280 --> 00:27:02,359
Speaker 2: Yeah, yeah, I mean all the Martians are very charismatic,

480
00:27:03,480 --> 00:27:06,679
Speaker 2: the sort of the second in command, and if there

481
00:27:06,760 --> 00:27:09,280
Speaker 2: is a ranking system for the Martians, here second in

482
00:27:09,280 --> 00:27:12,760
Speaker 2: command of the female Martians we have Selene played by

483
00:27:13,240 --> 00:27:17,760
Speaker 2: Eva Norvind lived nineteen forty four through two thousand and six,

484
00:27:17,920 --> 00:27:20,760
Speaker 2: Norwegian born actress who went on to achieve greater success

485
00:27:21,359 --> 00:27:26,320
Speaker 2: as a professional dominatrix, but also award winning documentarian for

486
00:27:26,440 --> 00:27:29,639
Speaker 2: the nineteen eighty film Born Without I haven't seen this,

487
00:27:29,720 --> 00:27:32,880
Speaker 2: but I was reading about it. It's about handicapped Mexican

488
00:27:32,960 --> 00:27:38,040
Speaker 2: actor and musician Jose Flores. It also features some content

489
00:27:38,119 --> 00:27:41,879
Speaker 2: with Alejandro Jodrowski, and she served as a consultant on

490
00:27:42,040 --> 00:27:44,440
Speaker 2: nineteen ninety nine's The Thomas Crown Affair. I think she

491
00:27:44,600 --> 00:27:48,920
Speaker 2: was involved. She was like a Renee Russo's consultant on

492
00:27:49,480 --> 00:27:53,359
Speaker 2: something about her characters, like dominance or something. I'm not

493
00:27:53,440 --> 00:27:54,720
Speaker 2: sure if the full story is there.

494
00:27:55,359 --> 00:27:57,359
Speaker 3: That's a movie that I remember seeing when I was

495
00:27:57,480 --> 00:28:01,520
Speaker 3: way too young for it and finding it almost disturbingly

496
00:28:01,720 --> 00:28:03,320
Speaker 3: weird and not what I expected.

497
00:28:03,840 --> 00:28:06,480
Speaker 2: That's a remake of an older Steve McQueen movie, I believe.

498
00:28:07,000 --> 00:28:10,280
Speaker 3: Yeah, I remember Renee Russo and Pierce Brosnan after he

499
00:28:10,400 --> 00:28:11,880
Speaker 3: was coming off of being James Bond.

500
00:28:12,240 --> 00:28:14,360
Speaker 2: Yeah. Yeah, I never saw the remake. I did see

501
00:28:14,640 --> 00:28:17,080
Speaker 2: the original, and because I think it has this sung

502
00:28:17,720 --> 00:28:19,959
Speaker 2: like a circle in a spiral, like a wheel within

503
00:28:20,000 --> 00:28:25,240
Speaker 2: a wheel. And okay, anyway, Norvind is striking in this

504
00:28:25,720 --> 00:28:28,840
Speaker 2: as all the Martians are striking. Yeah, and some of them,

505
00:28:28,920 --> 00:28:33,400
Speaker 2: of course do actually strike because all the male Martians

506
00:28:33,480 --> 00:28:36,800
Speaker 2: are played by some of Santo's fellow luchador's.

507
00:28:36,800 --> 00:28:39,520
Speaker 3: That's right, So the male Martians are I think, yeah,

508
00:28:39,560 --> 00:28:43,600
Speaker 3: they are all wrestlers and the main one is Argos,

509
00:28:43,760 --> 00:28:47,680
Speaker 3: but the sort of second in command is Kronos, right.

510
00:28:48,240 --> 00:28:52,040
Speaker 2: Yes, a played by an actor billed as l Nazi.

511
00:28:52,960 --> 00:28:56,320
Speaker 3: When I saw that in the credits, I was I

512
00:28:56,400 --> 00:28:58,520
Speaker 3: didn't know what to think. We just see the names.

513
00:28:58,560 --> 00:29:02,360
Speaker 3: It's like Wolf Ravinsky's Hamiley l Nazi.

514
00:29:02,600 --> 00:29:06,680
Speaker 2: Yes, l Nazi. This was, of course the Luca name

515
00:29:06,960 --> 00:29:09,960
Speaker 2: for a guy by the name of Ignatio Gomez. He

516
00:29:10,040 --> 00:29:13,840
Speaker 2: lived nineteen thirty two through two thousand and eight. Obviously,

517
00:29:14,080 --> 00:29:17,480
Speaker 2: if it's not obvious, he was a rudo. He was

518
00:29:17,560 --> 00:29:20,120
Speaker 2: a bad guy. He made his career using a German

519
00:29:20,240 --> 00:29:24,920
Speaker 2: Nazi gimmick and his finishing maneuver. His finishing hold was

520
00:29:25,000 --> 00:29:27,800
Speaker 2: called the swastiko. I think it's like a variation of

521
00:29:27,880 --> 00:29:32,720
Speaker 2: the abdominal stretch. It was a different time, but there

522
00:29:32,760 --> 00:29:36,040
Speaker 2: are many examples of Nazi themed villains from Lucha libre history.

523
00:29:36,320 --> 00:29:38,880
Speaker 3: Yeah, but so we shouldn't understand this guy not as

524
00:29:39,160 --> 00:29:41,880
Speaker 3: like a wrestler who actually had Nazi sympathies, but who

525
00:29:41,960 --> 00:29:44,600
Speaker 3: is playing a villainous character. He would be like the

526
00:29:44,720 --> 00:29:47,840
Speaker 3: actor is playing the Nazi villains in the Indiana Jones movies.

527
00:29:48,080 --> 00:29:50,160
Speaker 2: Yeah. Yeah, I think if you think of like Red

528
00:29:50,240 --> 00:29:53,080
Speaker 2: Skull from Marvel comics, that kind of Okay, that's that's

529
00:29:53,120 --> 00:29:57,640
Speaker 2: probably the reference point here. All right, there's another guy now.

530
00:29:58,080 --> 00:30:01,320
Speaker 2: He takes on the name mor Morphio, and he is

531
00:30:01,360 --> 00:30:05,440
Speaker 2: played by ham Lee. This was his wrestling name anyway.

532
00:30:06,520 --> 00:30:09,440
Speaker 2: He lived nineteen thirty two through twenty eleven. He was

533
00:30:09,480 --> 00:30:12,600
Speaker 2: a Mexican luchador of Korean descent. I think he only

534
00:30:12,640 --> 00:30:15,240
Speaker 2: ever did two films, both of them Santo films. But

535
00:30:15,600 --> 00:30:19,120
Speaker 2: he's a memorable presence here. According to Luchawiki, which is

536
00:30:20,560 --> 00:30:26,160
Speaker 2: a great English language reference for anything and everything lucha libre.

537
00:30:27,240 --> 00:30:31,360
Speaker 2: He apparently actually wrestled unofficially as Santo in Japan, I

538
00:30:31,400 --> 00:30:34,520
Speaker 2: think in the early seventies, because he was stranded there

539
00:30:34,680 --> 00:30:37,600
Speaker 2: with some of his coworkers after like a shady promoter

540
00:30:37,880 --> 00:30:39,960
Speaker 2: like brought them in but didn't pay them, and so

541
00:30:40,080 --> 00:30:42,600
Speaker 2: they had to get enough money to fly themselves back

542
00:30:42,680 --> 00:30:44,719
Speaker 2: to Mexico. And so he's like, well, I guess I'll

543
00:30:44,800 --> 00:30:48,640
Speaker 2: dress up as Santo and do the style and do

544
00:30:49,160 --> 00:30:51,240
Speaker 2: some of the moves. And I guess they made it

545
00:30:51,320 --> 00:30:54,040
Speaker 2: back because I believe he ran a gym in Mexico

546
00:30:54,120 --> 00:30:55,000
Speaker 2: City for a long time.

547
00:30:55,280 --> 00:30:58,480
Speaker 3: Well, this is, I guess the serious question. If you

548
00:30:58,720 --> 00:31:02,800
Speaker 3: are a masked wrestling celebrity, how do you prevent somebody

549
00:31:02,920 --> 00:31:05,400
Speaker 3: else from coming in and saying they are you just

550
00:31:05,480 --> 00:31:07,080
Speaker 3: by using an identical costume.

551
00:31:08,800 --> 00:31:12,800
Speaker 2: I mean, it's it can be an issue and it

552
00:31:13,320 --> 00:31:14,160
Speaker 2: gets throughout.

553
00:31:14,200 --> 00:31:15,720
Speaker 3: Oh, in fact, it happens in this movie.

554
00:31:16,040 --> 00:31:19,120
Speaker 2: Yeah, it happens in this movie in a in a

555
00:31:19,280 --> 00:31:21,800
Speaker 2: rather unbelievable way. But it happens in real life too,

556
00:31:21,960 --> 00:31:25,880
Speaker 2: especially when you get into disputes between companies, Like one

557
00:31:25,960 --> 00:31:27,840
Speaker 2: company is like, well, we own the rights to this

558
00:31:28,040 --> 00:31:30,400
Speaker 2: mask and this character but then the guy who plays

559
00:31:30,440 --> 00:31:32,360
Speaker 2: it he leaves for another company, and now you have

560
00:31:32,680 --> 00:31:36,160
Speaker 2: two guys doing the same gimmick, but maybe one has

561
00:31:36,240 --> 00:31:39,680
Speaker 2: to alter their name slightly, that sort of thing. And

562
00:31:39,760 --> 00:31:42,480
Speaker 2: then there's been cases too where somebody passes away but

563
00:31:42,560 --> 00:31:44,680
Speaker 2: they keep the gimmick going with somebody else under the

564
00:31:44,760 --> 00:31:46,920
Speaker 2: same mask. You get into that again. You get into

565
00:31:46,960 --> 00:31:51,600
Speaker 2: that weird space with a luchador or a luchador especially

566
00:31:52,080 --> 00:31:54,920
Speaker 2: like it is a real person, but it is also

567
00:31:55,320 --> 00:31:57,880
Speaker 2: a fictional character. It's also a gimmick, and yet at

568
00:31:57,920 --> 00:32:00,520
Speaker 2: the same time, it doesn't always feel a appropriate that

569
00:32:00,600 --> 00:32:03,960
Speaker 2: someone else should play that role if something happens to

570
00:32:04,000 --> 00:32:07,880
Speaker 2: the original, unless it is passed down like officially, from

571
00:32:08,120 --> 00:32:10,760
Speaker 2: like a father to a son, or one relative to another,

572
00:32:10,960 --> 00:32:13,680
Speaker 2: or even from like a maestro to a mentor.

573
00:32:15,320 --> 00:32:17,600
Speaker 3: I was a little unclear on exactly his powers, because

574
00:32:17,600 --> 00:32:19,320
Speaker 3: they say the main thing about him is that he

575
00:32:19,440 --> 00:32:22,440
Speaker 3: has great powers of hypnotism. But I think all of

576
00:32:22,480 --> 00:32:25,440
Speaker 3: the Martians can hypnotize people. I think he can hypnotize

577
00:32:25,520 --> 00:32:30,320
Speaker 3: them better than everybody else. Allegedly, yes, yeah, but there

578
00:32:30,360 --> 00:32:31,840
Speaker 3: are a lot of good scenes of him, just like

579
00:32:32,000 --> 00:32:36,000
Speaker 3: standing there looking very like stern while people just stop

580
00:32:36,080 --> 00:32:37,720
Speaker 3: talking in the middle of a sentence and kind of

581
00:32:37,760 --> 00:32:38,240
Speaker 3: go limp.

582
00:32:38,640 --> 00:32:41,560
Speaker 2: Yeah. Other times he's wearing a suit and looks very dapper. Yes,

583
00:32:43,040 --> 00:32:45,320
Speaker 2: one more wrestler, I'm gonna mention, and we may we'll

584
00:32:45,400 --> 00:32:48,320
Speaker 2: rest We'll mention some more later on. But there's a

585
00:32:48,560 --> 00:32:52,040
Speaker 2: bald wrestler that shows up in the training sequences. This

586
00:32:52,240 --> 00:32:55,440
Speaker 2: is a guy whose real name was Nathaniel Leone who

587
00:32:55,480 --> 00:32:57,480
Speaker 2: of nineteen fifteen through two thousand and one, but his

588
00:32:57,560 --> 00:33:01,480
Speaker 2: wrestling name was Frankenstein. I don't think he wore a

589
00:33:01,560 --> 00:33:03,360
Speaker 2: mask or anything. It's just like they're like, you look

590
00:33:03,640 --> 00:33:06,920
Speaker 2: kind of like Frankenstein, so you're Frankenstein. He pops up

591
00:33:06,960 --> 00:33:09,560
Speaker 2: in a lot of Lucca and Mexican genre movies, you know,

592
00:33:09,680 --> 00:33:10,680
Speaker 2: just because he had a great look.

593
00:33:11,080 --> 00:33:13,400
Speaker 3: Yeah, he also has an interesting face.

594
00:33:13,840 --> 00:33:17,760
Speaker 2: Yeah. And oh, and I'll mention. There's a professor character,

595
00:33:17,920 --> 00:33:23,160
Speaker 2: Professor d Rica, played by Manuel Zozaiah. He lived nineteen

596
00:33:23,200 --> 00:33:26,800
Speaker 2: thirteen through nineteen eighty seven, but he was in a

597
00:33:26,960 --> 00:33:29,440
Speaker 2: number of films, often in a supporting role. But I

598
00:33:29,480 --> 00:33:31,959
Speaker 2: don't have much else to stay about him other than

599
00:33:32,000 --> 00:33:33,560
Speaker 2: he's in it, and they talk a lot about what

600
00:33:33,640 --> 00:33:34,680
Speaker 2: a great scientist he is.

601
00:33:35,000 --> 00:33:39,080
Speaker 3: Well, he's kind of an ambiguous character because he is

602
00:33:39,280 --> 00:33:43,000
Speaker 3: portrayed in this movie as like Santo's best friend. He's

603
00:33:43,080 --> 00:33:46,080
Speaker 3: the only guy who really we see Santo spending off

604
00:33:46,200 --> 00:33:47,800
Speaker 3: time with. I mean, we see him training with his

605
00:33:47,880 --> 00:33:51,120
Speaker 3: wrestling buddies, but you know, they're like hanging out together

606
00:33:51,240 --> 00:33:54,320
Speaker 3: and discussing things. But then really, by the time you

607
00:33:54,400 --> 00:33:56,480
Speaker 3: get to the end of the movie, to the extent

608
00:33:56,560 --> 00:33:59,960
Speaker 3: the film has a theme, it is the schism between

609
00:34:00,360 --> 00:34:03,000
Speaker 3: his view of the world and Santo's view of the world.

610
00:34:03,360 --> 00:34:05,760
Speaker 2: Right, yeah, yeah, yeah, that is true. They could have

611
00:34:05,800 --> 00:34:08,359
Speaker 2: maybe built it up more, but it is there all right.

612
00:34:08,440 --> 00:34:11,000
Speaker 2: And finally, the music here is once more the music

613
00:34:11,080 --> 00:34:15,160
Speaker 2: of Antonio Diez. Condi died in nineteen seventy six, prolific

614
00:34:15,239 --> 00:34:17,680
Speaker 2: Mexican composer who worked on a ton of beat pictures

615
00:34:17,760 --> 00:34:20,080
Speaker 2: during his time period. In fact, we previously mentioned him

616
00:34:20,120 --> 00:34:24,200
Speaker 2: in our episodes on Doctor Doom and Santa Claus. I

617
00:34:24,280 --> 00:34:28,040
Speaker 2: was kind of dismissive of his work in those previous films,

618
00:34:28,280 --> 00:34:30,840
Speaker 2: but this one had a lot of sci fi electronic

619
00:34:30,920 --> 00:34:34,040
Speaker 2: sound effects going on, so I enjoyed the sonic aspects

620
00:34:34,040 --> 00:34:35,239
Speaker 2: of this picture more.

621
00:34:35,320 --> 00:34:38,400
Speaker 3: I would say, that's how to hook, Rob, get plenty

622
00:34:38,400 --> 00:34:39,359
Speaker 3: of beat boops in there.

623
00:34:39,719 --> 00:34:41,759
Speaker 2: I know, I'm kind of a cliche. You just add

624
00:34:42,040 --> 00:34:43,920
Speaker 2: some beets and some boots and then I'll be like,

625
00:34:43,960 --> 00:34:44,960
Speaker 2: all right, this one's good.

626
00:34:45,360 --> 00:34:45,400
Speaker 1: No.

627
00:34:45,760 --> 00:34:49,480
Speaker 3: I like the beat boops too. They got us both.

628
00:34:58,280 --> 00:34:59,640
Speaker 2: All right, Well let's get into the plot.

629
00:35:00,239 --> 00:35:03,120
Speaker 3: Oh boy, Well we begin with stock footage of a

630
00:35:03,200 --> 00:35:05,680
Speaker 3: rocket taking off, So it's time to play the game

631
00:35:05,719 --> 00:35:09,560
Speaker 3: we've played before. Which mission is this public domain government

632
00:35:09,560 --> 00:35:12,680
Speaker 3: footage from? I can't be positive, but I do have

633
00:35:12,760 --> 00:35:15,440
Speaker 3: a best guess, and it's that it was one of

634
00:35:15,520 --> 00:35:18,799
Speaker 3: the Atlas rockets used in Project Mercury Rob. I found

635
00:35:18,840 --> 00:35:21,359
Speaker 3: a photo to compare it to that I put side

636
00:35:21,360 --> 00:35:23,319
Speaker 3: by side in the outline with the opening shots from

637
00:35:23,360 --> 00:35:25,000
Speaker 3: the film. Think it looks pretty close.

638
00:35:25,080 --> 00:35:25,600
Speaker 2: What do you think?

639
00:35:26,560 --> 00:35:29,880
Speaker 3: Yeah, I'm convinced this one was from the launch of

640
00:35:30,040 --> 00:35:34,160
Speaker 3: Friendships seven in nineteen sixty two, which was before this

641
00:35:34,320 --> 00:35:37,560
Speaker 3: film was released. But anyway, after we fiddle around with

642
00:35:37,600 --> 00:35:40,880
Speaker 3: a bunch of rocket stock footage, we get the title,

643
00:35:41,200 --> 00:35:45,480
Speaker 3: which appears over shots of spectators observing the space launch.

644
00:35:46,160 --> 00:35:48,960
Speaker 3: And the title here is Santo the Silver Mask versus

645
00:35:49,080 --> 00:35:52,880
Speaker 3: the Martian Invasion. Now I think it's interesting that we

646
00:35:53,080 --> 00:35:56,040
Speaker 3: see the space launch at the beginning here, because this

647
00:35:56,160 --> 00:35:59,520
Speaker 3: plays no role in the plot at all. But I

648
00:35:59,600 --> 00:36:01,560
Speaker 3: was thinking, yea, why we have it here, and then

649
00:36:01,640 --> 00:36:06,760
Speaker 3: thinking about how many other mid century low budget space

650
00:36:06,840 --> 00:36:12,200
Speaker 3: invasion movies have plot elements or include something however small,

651
00:36:12,840 --> 00:36:17,839
Speaker 3: about humans first sending a mission into space, which then

652
00:36:18,040 --> 00:36:23,040
Speaker 3: somehow triggers or provokes or leads to an alien attack

653
00:36:23,320 --> 00:36:26,680
Speaker 3: on Earth. Why do we so often have this element

654
00:36:26,760 --> 00:36:30,040
Speaker 3: of humans going into space and then the aliens like

655
00:36:30,280 --> 00:36:33,000
Speaker 3: retaliate or they come here. Why do you need the

656
00:36:33,080 --> 00:36:36,480
Speaker 3: element of humans launching something first? I don't know, but

657
00:36:36,560 --> 00:36:40,520
Speaker 3: I wonder if it's because actual human rocket launch footage

658
00:36:40,680 --> 00:36:43,719
Speaker 3: was easily obtained, and that's going to look more realistic

659
00:36:43,800 --> 00:36:46,239
Speaker 3: than any spaceship special effects we can throw together. So

660
00:36:46,400 --> 00:36:48,919
Speaker 3: why not work in a space mission of some kind

661
00:36:49,040 --> 00:36:50,120
Speaker 3: so we can use the tape?

662
00:36:50,520 --> 00:36:54,640
Speaker 2: Yeah, that seems reasonable to me. Yeah, because these films

663
00:36:54,719 --> 00:36:58,040
Speaker 2: can and will create their own spaceship effects. But you

664
00:36:58,120 --> 00:37:00,560
Speaker 2: got all this rocket footage, it's just set there. Why

665
00:37:00,640 --> 00:37:01,719
Speaker 2: not use it? Yeah?

666
00:37:02,239 --> 00:37:05,600
Speaker 3: But anyway, the movie proper starts with some voiceover narration

667
00:37:05,840 --> 00:37:09,920
Speaker 3: while showing astronauts in mid space walk don't know what

668
00:37:10,480 --> 00:37:14,200
Speaker 3: this is from But the narrator says, with the advance

669
00:37:14,280 --> 00:37:18,040
Speaker 3: of science come new mysteries. Is our planet the only

670
00:37:18,160 --> 00:37:22,320
Speaker 3: one inhabited by rational beings like us? And then this

671
00:37:22,480 --> 00:37:25,080
Speaker 3: is gonna sound kind of confusing, but I'm reading the

672
00:37:25,120 --> 00:37:30,560
Speaker 3: sub subtitles directly. If so, will we conquer those other worlds,

673
00:37:31,760 --> 00:37:35,520
Speaker 3: or on the contrary, will their inhabitants come to rule us?

674
00:37:37,239 --> 00:37:39,120
Speaker 3: I think maybe that should have been If not, I'm

675
00:37:39,160 --> 00:37:42,840
Speaker 3: not sure. But anyway, we start to see out in

676
00:37:42,960 --> 00:37:46,880
Speaker 3: space something approaching. It's almost like the beginning of you know, Predator,

677
00:37:47,800 --> 00:37:49,880
Speaker 3: one of these movies where you're out in the starfield

678
00:37:49,920 --> 00:37:52,439
Speaker 3: and you just see something coming toward the planet Earth.

679
00:37:52,840 --> 00:37:55,000
Speaker 3: In this case, it looks kind of like a kettle grill.

680
00:37:56,120 --> 00:37:59,239
Speaker 3: I don't know. I've seen different people online discussing what

681
00:37:59,440 --> 00:38:02,640
Speaker 3: this could be. Some people say hubcaps. I don't see hubcaps.

682
00:38:02,719 --> 00:38:05,040
Speaker 3: I see more of a cooking device of some kind,

683
00:38:05,120 --> 00:38:07,959
Speaker 3: maybe a kind of shallow Dutch oven. I'm not sure.

684
00:38:08,320 --> 00:38:10,440
Speaker 2: Yeah, yeah, it does seem like it came from the kitchen,

685
00:38:10,520 --> 00:38:11,040
Speaker 2: that's for sure.

686
00:38:11,440 --> 00:38:14,239
Speaker 3: But then, oh lord, we get a look inside the ship,

687
00:38:14,320 --> 00:38:17,560
Speaker 3: and this is so first glimpse of the Martians. I

688
00:38:18,280 --> 00:38:20,680
Speaker 3: was rolling. I don't even know how to begin to

689
00:38:20,800 --> 00:38:23,920
Speaker 3: describe the energy of this house party, but it is wild.

690
00:38:24,480 --> 00:38:29,279
Speaker 3: So the inside of the ships has windows that look

691
00:38:29,320 --> 00:38:32,120
Speaker 3: out into space that have like wooden slats, you know,

692
00:38:32,280 --> 00:38:37,120
Speaker 3: coming in between them. And then standing around a table,

693
00:38:37,280 --> 00:38:41,520
Speaker 3: are all these people in shiny gold, gold looking. I mean,

694
00:38:41,560 --> 00:38:43,680
Speaker 3: it's in black and white, but I imagine based on

695
00:38:43,800 --> 00:38:46,440
Speaker 3: the sheen of these things that it's all gold stuff.

696
00:38:46,440 --> 00:38:50,560
Speaker 3: They're wearing gold outfits with these big upside down teapot

697
00:38:50,719 --> 00:38:55,600
Speaker 3: helmets on. They've all got long blonde hair, kind of

698
00:38:55,960 --> 00:39:00,920
Speaker 3: you know, classic hulkster energy, and then just these gold

699
00:39:01,120 --> 00:39:05,120
Speaker 3: sort of foil looking capes. And the women are in

700
00:39:05,320 --> 00:39:08,280
Speaker 3: leotards with belts, and the men are just in pants

701
00:39:08,360 --> 00:39:11,279
Speaker 3: and shirtless with their big muscles bulging out, also wearing

702
00:39:11,360 --> 00:39:15,720
Speaker 3: wrestling style belts. And the blocking from the very beginning

703
00:39:16,320 --> 00:39:20,040
Speaker 3: is quite funny. And they all especially because when we

704
00:39:20,160 --> 00:39:22,600
Speaker 3: first see them, they just stand there, not moving or

705
00:39:22,640 --> 00:39:24,960
Speaker 3: speaking for a good long while, I guess, so we

706
00:39:25,040 --> 00:39:25,759
Speaker 3: can take it all in.

707
00:39:26,280 --> 00:39:30,880
Speaker 2: Yeah, everyone here is jacked or voluptuous, and their golden

708
00:39:30,960 --> 00:39:33,239
Speaker 2: helmets are blocking in a way that kind of looks

709
00:39:33,320 --> 00:39:36,239
Speaker 2: like their heads are big teeth. You know, like each

710
00:39:36,320 --> 00:39:40,239
Speaker 2: head is a big tooth, a big gold tooth, yeah, bicuspits,

711
00:39:40,320 --> 00:39:42,719
Speaker 2: yeah yeah, but with an eyeball on the front, which

712
00:39:42,920 --> 00:39:46,520
Speaker 2: on the forehead reminds me a lot of Santa Claus

713
00:39:46,600 --> 00:39:49,759
Speaker 2: conquers the Martians in this respect, because we have a

714
00:39:49,800 --> 00:39:53,640
Speaker 2: lot of questions I had anyway about whether this is

715
00:39:53,760 --> 00:39:57,279
Speaker 2: a helmet or part of their anatomy or both. Again,

716
00:39:57,320 --> 00:40:00,279
Speaker 2: their technology is five hundred years ahead of ours. You know,

717
00:40:00,400 --> 00:40:02,560
Speaker 2: they're beyond cybernetics at this point.

718
00:40:02,960 --> 00:40:05,600
Speaker 3: Yeah, there'll be a lot of questions about how we're

719
00:40:05,600 --> 00:40:08,279
Speaker 3: supposed to understand what we're looking at when we see them.

720
00:40:08,560 --> 00:40:10,879
Speaker 3: But anyway, so they stand there, we get a look

721
00:40:10,880 --> 00:40:13,879
Speaker 3: at them, and then the main beefy dude says, from

722
00:40:13,960 --> 00:40:16,400
Speaker 3: now on, we will speak in Spanish, for it is

723
00:40:16,440 --> 00:40:18,840
Speaker 3: the language used in the country we are traveling to

724
00:40:19,160 --> 00:40:23,000
Speaker 3: the country the Earthlings call Mexico. And then we got

725
00:40:23,120 --> 00:40:25,680
Speaker 3: a sort of Chekhov guy who tells them they're approaching

726
00:40:25,719 --> 00:40:28,399
Speaker 3: the planet, and the beef alien says it is time

727
00:40:28,480 --> 00:40:30,840
Speaker 3: to transmit their message to the people of Earth, or

728
00:40:30,840 --> 00:40:33,640
Speaker 3: at least to the people of Mexico. And then we

729
00:40:33,719 --> 00:40:37,919
Speaker 3: see them looking at this circular screen up in the wall,

730
00:40:38,000 --> 00:40:40,320
Speaker 3: and I really could not tell. Is this a window

731
00:40:40,520 --> 00:40:42,960
Speaker 3: where they're looking out at Earth or a TV screen.

732
00:40:43,000 --> 00:40:45,560
Speaker 3: I think it's a TV screen because later they're looking

733
00:40:45,600 --> 00:40:48,120
Speaker 3: at the same circle and they're like watching Santo do

734
00:40:48,200 --> 00:40:48,959
Speaker 3: a wrestling match.

735
00:40:49,440 --> 00:40:51,400
Speaker 2: Yeah. I mean it's hard for us to say what

736
00:40:51,520 --> 00:40:54,400
Speaker 2: this is, because again, their technology is so far ahead

737
00:40:54,440 --> 00:40:55,000
Speaker 2: of where we are.

738
00:40:55,680 --> 00:40:58,200
Speaker 3: Our puny brains can't even begin to comprehend.

739
00:40:58,480 --> 00:40:58,680
Speaker 2: Yeah.

740
00:40:59,320 --> 00:41:01,919
Speaker 3: But then we cut some Earth TV, so we see

741
00:41:01,960 --> 00:41:06,200
Speaker 3: some households, presumably in Mexico, you know, sitting around on

742
00:41:06,239 --> 00:41:09,640
Speaker 3: the couch watching television. So there's a nice program where

743
00:41:09,760 --> 00:41:12,920
Speaker 3: there is a band playing and a man singing a

744
00:41:13,040 --> 00:41:13,600
Speaker 3: love song.

745
00:41:14,280 --> 00:41:14,400
Speaker 2: Uh.

746
00:41:14,640 --> 00:41:16,920
Speaker 3: And the family is there on the couch. The mother's

747
00:41:16,960 --> 00:41:19,880
Speaker 3: doing some sewing, the father is reading a newspaper, or

748
00:41:19,920 --> 00:41:22,279
Speaker 3: the kids are watching TV. The boys taking like these

749
00:41:22,400 --> 00:41:25,480
Speaker 3: big slugs of some kind of soda from a bottle.

750
00:41:25,760 --> 00:41:27,800
Speaker 2: I think it's a oh.

751
00:41:27,960 --> 00:41:30,759
Speaker 3: Yeah, I couldn't tell on mine. Yeah, you must have

752
00:41:30,840 --> 00:41:31,520
Speaker 3: had higher res.

753
00:41:31,680 --> 00:41:34,120
Speaker 2: I think maybe i'd slightly higher res on my version. Yeah,

754
00:41:34,480 --> 00:41:35,080
Speaker 2: it's ata.

755
00:41:35,960 --> 00:41:38,840
Speaker 3: But then there's so uh oh, there's a TV malfunction.

756
00:41:38,920 --> 00:41:41,160
Speaker 3: They're trying to watch this music program and it starts

757
00:41:41,320 --> 00:41:46,080
Speaker 3: shorting out and TV's making weird sounds, and mom asks

758
00:41:46,160 --> 00:41:48,120
Speaker 3: what's happening. So we see the father get up and

759
00:41:48,200 --> 00:41:50,760
Speaker 3: he goes to adjust the TV, and then what comes

760
00:41:50,800 --> 00:41:53,759
Speaker 3: on the TV is all of the weird Martians we

761
00:41:53,920 --> 00:41:56,600
Speaker 3: just saw. So there's suddenly the TV is full of

762
00:41:57,719 --> 00:42:00,600
Speaker 3: full of just like jacked, half naked peeple wearing kind

763
00:42:00,640 --> 00:42:04,279
Speaker 3: of tenfoil outfits with these big goofy helmets on, and

764
00:42:04,520 --> 00:42:07,440
Speaker 3: the dad says, don't be frightened, it's a new program.

765
00:42:07,760 --> 00:42:10,080
Speaker 3: And when we see everyone visibly relieved.

766
00:42:10,760 --> 00:42:12,959
Speaker 2: Real Homer Simpson moment there like yeah.

767
00:42:15,160 --> 00:42:18,239
Speaker 3: And the first thing that the aliens say is what

768
00:42:18,400 --> 00:42:20,880
Speaker 3: you are watching on your screen is not a fantasy.

769
00:42:21,160 --> 00:42:25,040
Speaker 3: It is real. We are not just actors performing in

770
00:42:25,160 --> 00:42:28,520
Speaker 3: a scary movie. And then we start here like cutting

771
00:42:28,600 --> 00:42:31,279
Speaker 3: around and seeing not just this family watching TV, but

772
00:42:31,360 --> 00:42:34,440
Speaker 3: like people all over, like different households watching the same thing,

773
00:42:34,960 --> 00:42:37,960
Speaker 3: people in a bar watching a TV, drinking and like

774
00:42:38,120 --> 00:42:40,960
Speaker 3: laughing at the TV and all this, and the alien

775
00:42:41,000 --> 00:42:44,000
Speaker 3: message goes on while we see all the different households watching,

776
00:42:45,040 --> 00:42:48,239
Speaker 3: they say, this is our actual appearance. We are from

777
00:42:48,320 --> 00:42:52,840
Speaker 3: the planet that you call Mars, using scientific advancements surpassing

778
00:42:52,920 --> 00:42:57,080
Speaker 3: yours by more than five earth centuries. We have intercepted

779
00:42:57,120 --> 00:43:00,959
Speaker 3: transmissions from all across your planet. I loved this line.

780
00:43:01,239 --> 00:43:04,680
Speaker 3: The radar you are so proud of was powerless and

781
00:43:04,840 --> 00:43:11,239
Speaker 3: detecting our arrival. Earthlings famously proud of their radar. They say,

782
00:43:11,400 --> 00:43:15,040
Speaker 3: instead of using your scientific advancements to better humanity, you

783
00:43:15,320 --> 00:43:19,759
Speaker 3: Earthlings use them for your own destruction. And then once

784
00:43:19,800 --> 00:43:23,040
Speaker 3: again we see the Earthlings not just watching but mostly

785
00:43:23,280 --> 00:43:25,840
Speaker 3: laughing at this. We see the drunks at the bar laughing.

786
00:43:26,160 --> 00:43:28,279
Speaker 3: We see a scientist in a lab coat kind of

787
00:43:28,680 --> 00:43:31,719
Speaker 3: watching pensively and rubbing his chin. Then we also see

788
00:43:31,719 --> 00:43:34,560
Speaker 3: a priest in a frock watching pensively and rubbing his chin.

789
00:43:35,760 --> 00:43:39,400
Speaker 3: That means something. But then the speech continues. When you

790
00:43:39,560 --> 00:43:43,440
Speaker 3: wage war with your conventional weapons, you are the only

791
00:43:43,600 --> 00:43:47,280
Speaker 3: victims of your ambition and selfishness. But with the discovery

792
00:43:47,320 --> 00:43:50,960
Speaker 3: of nuclear energy and your mad experiments with the atomic bomb,

793
00:43:51,200 --> 00:43:54,720
Speaker 3: you are on the verge of destroying the entire planetary system.

794
00:43:55,239 --> 00:43:58,120
Speaker 3: Before this happens, we warn you that we are prepared

795
00:43:58,200 --> 00:44:02,839
Speaker 3: to disintegrate all the inhabitants of Earth. And this last

796
00:44:02,920 --> 00:44:06,080
Speaker 3: line is delivered is delivered very forcefully. Wolf is like

797
00:44:06,200 --> 00:44:08,200
Speaker 3: looking right into the camera and he like barks it.

798
00:44:08,239 --> 00:44:10,520
Speaker 3: I will disintegrate all the inhabitants of Earth.

799
00:44:11,440 --> 00:44:11,560
Speaker 2: Uh.

800
00:44:11,840 --> 00:44:13,960
Speaker 3: He goes on to keep talking. He says, knowing the

801
00:44:14,000 --> 00:44:17,520
Speaker 3: skeptical attitudes of the Earthlings, we understand that you may

802
00:44:17,640 --> 00:44:21,319
Speaker 3: doubt the message and not take our warning seriously. Beginning now,

803
00:44:21,480 --> 00:44:24,320
Speaker 3: we will be forced to use the country called Mexico

804
00:44:24,760 --> 00:44:28,520
Speaker 3: to show our determination and power. We have weapons one

805
00:44:28,680 --> 00:44:32,239
Speaker 3: hundred times more powerful than yours. Here are our demands.

806
00:44:32,880 --> 00:44:33,000
Speaker 2: Uh.

807
00:44:33,120 --> 00:44:34,920
Speaker 3: And by the way, this is first of all, like

808
00:44:35,520 --> 00:44:38,280
Speaker 3: man sucks, sucks for Mexico. Why did they pick Mexico?

809
00:44:38,920 --> 00:44:40,720
Speaker 3: Are they going to use the weapons on Mexico?

810
00:44:40,920 --> 00:44:43,600
Speaker 2: I had I have a lot of thoughts about everything

811
00:44:43,640 --> 00:44:46,480
Speaker 2: they've been saying thus far. What but concerning Mexico. On

812
00:44:46,600 --> 00:44:48,919
Speaker 2: one hand, you can imagine in Mexico was like, well,

813
00:44:49,040 --> 00:44:51,959
Speaker 2: we're honored first of all that you would you would

814
00:44:52,000 --> 00:44:54,160
Speaker 2: come here. But secondly, like a lot of this is

815
00:44:54,239 --> 00:44:56,840
Speaker 2: not on us specifically, so it's kind of weird that

816
00:44:56,880 --> 00:44:57,759
Speaker 2: you're singling us out.

817
00:44:58,000 --> 00:45:00,640
Speaker 3: I don't think of Mexico as the most responsible for

818
00:45:00,760 --> 00:45:01,600
Speaker 3: nuclear warfare.

819
00:45:01,960 --> 00:45:04,800
Speaker 2: Yeah, but later on they do come back around to

820
00:45:04,840 --> 00:45:08,720
Speaker 2: this at least briefly, and they mention that they've singled

821
00:45:08,719 --> 00:45:11,960
Speaker 2: out Mexico because of Mexico's commitment to pacifism.

822
00:45:12,239 --> 00:45:14,799
Speaker 3: That seems completely the opposite of what they should be doing.

823
00:45:14,880 --> 00:45:17,680
Speaker 2: But yeah, at the same time, I will add, though,

824
00:45:17,880 --> 00:45:21,160
Speaker 2: it is always refreshing to watch a science fiction film

825
00:45:21,760 --> 00:45:26,080
Speaker 2: in which global considerations are in play and the United

826
00:45:26,120 --> 00:45:29,640
Speaker 2: States or the UK or maybe the Soviet Union are

827
00:45:29,719 --> 00:45:32,520
Speaker 2: not the primary focal point, you know, So it is

828
00:45:32,600 --> 00:45:35,800
Speaker 2: kind of it is nice that we have a Mexico

829
00:45:35,920 --> 00:45:38,440
Speaker 2: centric plot here as opposed to something we're more used to.

830
00:45:38,880 --> 00:45:40,640
Speaker 3: Oh sure, I mean, yeah, of course I want the

831
00:45:40,680 --> 00:45:43,080
Speaker 3: Santo movie to be focused on Mexico. It just seems

832
00:45:43,200 --> 00:45:45,799
Speaker 3: like within the logic of the film, like it makes

833
00:45:46,160 --> 00:45:48,760
Speaker 3: doesn't make a lot of sense, and seems incredibly unfair

834
00:45:48,880 --> 00:45:51,760
Speaker 3: that the Aliens would decide to make an example of Mexico.

835
00:45:52,040 --> 00:45:54,680
Speaker 2: Yeah, when they start get into the whole making examples off,

836
00:45:54,760 --> 00:45:58,319
Speaker 2: you would think that Mexican officials would be like, look,

837
00:46:00,000 --> 00:46:03,200
Speaker 2: can you take this like one north of here, because

838
00:46:03,239 --> 00:46:06,200
Speaker 2: that seems like a better focal point for whatever you're planning. Yeah.

839
00:46:06,200 --> 00:46:08,319
Speaker 3: I can think of at least two other countries who

840
00:46:08,360 --> 00:46:09,560
Speaker 3: are doing more cold warring.

841
00:46:10,000 --> 00:46:13,480
Speaker 2: Yeah, okay, but then their demands.

842
00:46:13,560 --> 00:46:16,640
Speaker 3: They've got demands. So this is the first moment we

843
00:46:16,680 --> 00:46:19,280
Speaker 3: see Santo sitting in a chair watching the TV broadcast

844
00:46:19,360 --> 00:46:22,760
Speaker 3: as well, and in a theme that will repeat throughout

845
00:46:22,800 --> 00:46:25,920
Speaker 3: the movie, Santo, even when at home on his own

846
00:46:26,000 --> 00:46:28,360
Speaker 3: leisure time, is in full costume, wearing a cape and

847
00:46:28,400 --> 00:46:29,120
Speaker 3: a mask.

848
00:46:29,160 --> 00:46:31,399
Speaker 2: Right, and no shirt. And he never wears a shirt

849
00:46:31,440 --> 00:46:33,719
Speaker 2: in this. Yes, in other Santo movies he'll wear like

850
00:46:33,800 --> 00:46:36,520
Speaker 2: a slick suit with his mask, but in this he's

851
00:46:36,640 --> 00:46:37,880
Speaker 2: always ready to grapple.

852
00:46:38,160 --> 00:46:40,960
Speaker 3: Yep, yep. But here are their demands. They say, all

853
00:46:41,080 --> 00:46:46,280
Speaker 3: governments of Earth completely disarmed, surrendering all weapons, eliminate all borders,

854
00:46:46,840 --> 00:46:52,040
Speaker 3: establish a universal language, establish a global government that does

855
00:46:52,120 --> 00:46:57,239
Speaker 3: not discriminate by race or religion. Foster earthly brotherhood, give

856
00:46:57,360 --> 00:47:00,279
Speaker 3: up war forever, which I would have thought that be

857
00:47:00,320 --> 00:47:03,000
Speaker 3: included under total disarmament, but I guess this goes a

858
00:47:03,080 --> 00:47:06,719
Speaker 3: step further in outlaws war using only like punching and sticks. Right,

859
00:47:07,640 --> 00:47:09,880
Speaker 3: And I love this list. It's like they're trying to

860
00:47:10,000 --> 00:47:13,440
Speaker 3: like make the new World order. Conspiracy theories theorists like

861
00:47:13,520 --> 00:47:17,080
Speaker 3: go berserk, which I you know, it's weird. I think

862
00:47:17,120 --> 00:47:18,600
Speaker 3: of that as a more recent thing, but that was

863
00:47:18,760 --> 00:47:21,520
Speaker 3: like that that ideation existed even at the time. It's

864
00:47:21,560 --> 00:47:23,080
Speaker 3: like what the John Birch Society was.

865
00:47:23,760 --> 00:47:25,560
Speaker 2: I mean, I was kind of nodding my head on

866
00:47:25,640 --> 00:47:28,680
Speaker 2: a lot of these. Aside from establish a universal language,

867
00:47:28,719 --> 00:47:31,040
Speaker 2: I'm like, yeah, these these alsound like fine points, and

868
00:47:31,120 --> 00:47:33,000
Speaker 2: we're obviously not going to do any of these things

869
00:47:33,040 --> 00:47:36,200
Speaker 2: on our own, So I think maybe Martian Big Brothers

870
00:47:36,239 --> 00:47:38,160
Speaker 2: should come and threaten us and make us do it.

871
00:47:39,440 --> 00:47:43,640
Speaker 3: Unfortunately, it's not so. I mean, you get different versions

872
00:47:43,840 --> 00:47:46,440
Speaker 3: of this premise in different movies. This is not the

873
00:47:46,520 --> 00:47:48,920
Speaker 3: first movie to do this, so you get everything from

874
00:47:49,120 --> 00:47:51,560
Speaker 3: The Day the Earth Stood Still to Plan nine from

875
00:47:51,560 --> 00:47:55,040
Speaker 3: Outer Space. This is almost an exact copy of the

876
00:47:55,160 --> 00:47:57,440
Speaker 3: idea of Plan nine from Outer Space. It's like, you

877
00:47:57,560 --> 00:48:01,880
Speaker 3: are doing atomic weapons and all that stupid Earth mind, stupid, stupid,

878
00:48:01,960 --> 00:48:03,080
Speaker 3: Now we must destroy you.

879
00:48:03,520 --> 00:48:07,799
Speaker 2: I believe Plan nine also mentioned the idea that our

880
00:48:08,000 --> 00:48:11,040
Speaker 2: nuclear weapons might destroy the Earth and beyond the Earth

881
00:48:11,120 --> 00:48:12,759
Speaker 2: like planets. Yeah.

882
00:48:12,800 --> 00:48:16,040
Speaker 3: Yeah, well it's because they think that next after nuclear weapons,

883
00:48:16,080 --> 00:48:18,520
Speaker 3: we will discover the solar night bomb, which he says

884
00:48:18,600 --> 00:48:23,080
Speaker 3: will explode the sunlight itself. Oh, that's right, But I

885
00:48:23,160 --> 00:48:26,040
Speaker 3: guess that's the sillier version. I mean, you can also

886
00:48:26,120 --> 00:48:27,919
Speaker 3: think of like the Day the Earth stood Still, which

887
00:48:28,000 --> 00:48:31,560
Speaker 3: I think maybe is a little less explicit, but it's

888
00:48:31,600 --> 00:48:35,560
Speaker 3: still kind of the idea that aliens try to establish contact,

889
00:48:36,080 --> 00:48:38,320
Speaker 3: and there is a principle where it's like if we

890
00:48:38,520 --> 00:48:42,840
Speaker 3: respond with just unnecessary violence and militarism, they will destroy

891
00:48:42,960 --> 00:48:43,560
Speaker 3: us possibly.

892
00:48:44,320 --> 00:48:46,520
Speaker 2: Yeah, I mean it's it works well in science fiction

893
00:48:46,640 --> 00:48:48,200
Speaker 2: because there's so many different ways of looking and on

894
00:48:48,280 --> 00:48:53,799
Speaker 2: one hand, the longing for an alien force to come

895
00:48:53,840 --> 00:48:56,960
Speaker 2: and solve our problems like this is this is a

896
00:48:57,080 --> 00:49:01,920
Speaker 2: regular part of many different strains of ufology and related

897
00:49:02,080 --> 00:49:04,520
Speaker 2: like new religious movements, you know, and it certainly ties

898
00:49:04,600 --> 00:49:08,759
Speaker 2: into other religious ideas that something beyond us will come

899
00:49:08,880 --> 00:49:10,279
Speaker 2: and tell us what to do and tell us how

900
00:49:10,280 --> 00:49:12,719
Speaker 2: to do things. And and then if you're getting into

901
00:49:12,840 --> 00:49:19,080
Speaker 2: like positioning it as the itinerary of an enemy, then yeah,

902
00:49:19,160 --> 00:49:24,279
Speaker 2: it serves as like a supernatural version of what you

903
00:49:24,400 --> 00:49:27,320
Speaker 2: might perceive as a threat in whatever your sort of

904
00:49:27,400 --> 00:49:30,360
Speaker 2: political opponent happens to be. Like you can apply it

905
00:49:30,480 --> 00:49:32,520
Speaker 2: to like, oh, this is what the communists want, or

906
00:49:32,640 --> 00:49:35,200
Speaker 2: this is what the you know, this is what the

907
00:49:35,480 --> 00:49:38,439
Speaker 2: capitalists want or you know, what have you. Somebody has

908
00:49:38,960 --> 00:49:41,200
Speaker 2: a script for a way to make the world a

909
00:49:41,239 --> 00:49:43,759
Speaker 2: better place, but it doesn't respect who I am and

910
00:49:43,840 --> 00:49:47,719
Speaker 2: what I want. And yeah, I mean it's kind of

911
00:49:47,760 --> 00:49:50,000
Speaker 2: like the idea, like the one main bullet point that

912
00:49:50,040 --> 00:49:51,560
Speaker 2: I wrote that I that I was like, well, that

913
00:49:51,600 --> 00:49:54,800
Speaker 2: doesn't sound so great. Establish a universal language that inevitably

914
00:49:54,920 --> 00:49:59,239
Speaker 2: means destroying other languages and you know, cultural associations within

915
00:49:59,280 --> 00:50:00,239
Speaker 2: those languages.

916
00:50:01,000 --> 00:50:03,560
Speaker 3: Because of course it's going to be French, right, I mean,

917
00:50:05,480 --> 00:50:06,239
Speaker 3: too bad for all the.

918
00:50:06,280 --> 00:50:09,800
Speaker 2: Others, esperanto. Right, that's all it said. Oh, yeah, we

919
00:50:09,880 --> 00:50:14,120
Speaker 2: got to come what's the William Shatner movie? That's completely annis. Yeah,

920
00:50:14,160 --> 00:50:15,120
Speaker 2: I'll have to come back to that.

921
00:50:15,719 --> 00:50:17,920
Speaker 3: But to come back to the list of alien demands here,

922
00:50:18,000 --> 00:50:19,960
Speaker 3: I mean, yeah, as much as the next guy, I

923
00:50:20,280 --> 00:50:24,520
Speaker 3: like the idea of earthly brotherhood, no discrimination, no more war.

924
00:50:24,680 --> 00:50:27,719
Speaker 3: That sounds great, but we will learn that not only

925
00:50:28,000 --> 00:50:32,560
Speaker 3: is the Martian enforcement mechanism of these demands quite hypocritical.

926
00:50:33,000 --> 00:50:35,160
Speaker 3: In fact, this is all just a ruse. There will

927
00:50:35,160 --> 00:50:36,000
Speaker 3: be a twist coming.

928
00:50:36,760 --> 00:50:39,680
Speaker 2: Yeah, And if you know, even if you take them

929
00:50:39,880 --> 00:50:43,200
Speaker 2: at their word, they just step off completely on the

930
00:50:43,239 --> 00:50:46,880
Speaker 2: wrong foot. Yeah, step one in making Earthlings follow this

931
00:50:47,000 --> 00:50:49,600
Speaker 2: plan is just a disastrous misstep.

932
00:50:57,840 --> 00:51:00,320
Speaker 3: So after this big speech, we see Santo kind of

933
00:51:00,360 --> 00:51:02,640
Speaker 3: he leans back in his chair and he thinks about

934
00:51:02,680 --> 00:51:05,080
Speaker 3: what he has just witnessed, and then we go straight

935
00:51:05,160 --> 00:51:08,080
Speaker 3: back to the Martian mothership where the number two goes

936
00:51:08,160 --> 00:51:12,279
Speaker 3: up to the main beef Martian and says, our electronic

937
00:51:12,400 --> 00:51:16,320
Speaker 3: interstellar brain indicates the Earthlings do not take our warning seriously.

938
00:51:17,800 --> 00:51:21,359
Speaker 3: Why not? Well, apparently we learned that the Earthlings didn't

939
00:51:21,440 --> 00:51:24,920
Speaker 3: realize they were real Martians. Most Earthlings thought that they

940
00:51:24,960 --> 00:51:29,040
Speaker 3: were just watching a comedy skit on TV. So they

941
00:51:29,120 --> 00:51:30,960
Speaker 3: come up with a new plan. They got to convince

942
00:51:31,000 --> 00:51:32,680
Speaker 3: the people of Earth. So they're going to land the

943
00:51:32,719 --> 00:51:36,000
Speaker 3: spaceship in a forest, go out and find a populated area,

944
00:51:36,520 --> 00:51:39,560
Speaker 3: let the Earthlings see them, and then melt the Earthlings

945
00:51:39,680 --> 00:51:44,480
Speaker 3: with a weapon that they called the astral Eye. It's

946
00:51:44,520 --> 00:51:46,600
Speaker 3: the only way they're going to take their order seriously.

947
00:51:47,920 --> 00:51:51,200
Speaker 3: So oh, but before coming down, we learn an important

948
00:51:51,239 --> 00:51:54,120
Speaker 3: piece of exposition. So the Martians talk about how Earth's

949
00:51:54,120 --> 00:51:56,759
Speaker 3: atmosphere is toxic to them, so they will need to

950
00:51:56,840 --> 00:52:01,160
Speaker 3: take capsules to survive. So they They're like, here are

951
00:52:01,160 --> 00:52:02,960
Speaker 3: all your pills. They've all got a little pouch on

952
00:52:03,040 --> 00:52:04,640
Speaker 3: their belt that has pills in it. They got to

953
00:52:04,680 --> 00:52:07,840
Speaker 3: take the pills or they will asphyxiate in the Earth's atmosphere.

954
00:52:08,800 --> 00:52:10,840
Speaker 3: Sounds like a good planet for them to invade, you know.

955
00:52:12,120 --> 00:52:15,920
Speaker 3: So they land amidst some model trees, and then we

956
00:52:16,080 --> 00:52:20,080
Speaker 3: cut to a big athletic complex with tennis courts, volleyball nets,

957
00:52:20,120 --> 00:52:22,440
Speaker 3: and a track and a bunch of onlookers in this

958
00:52:22,640 --> 00:52:26,839
Speaker 3: arena seating around a soccer game, and the narrator comes back.

959
00:52:26,920 --> 00:52:29,800
Speaker 3: I forgot about him for a second. The narrator tells

960
00:52:29,880 --> 00:52:33,040
Speaker 3: us the Martians, who claim to come from a world

961
00:52:33,239 --> 00:52:37,120
Speaker 3: much more civilized than ours, and whose scientific advancements surpassed

962
00:52:37,160 --> 00:52:38,880
Speaker 3: the Earths by more than what is.

963
00:52:38,920 --> 00:52:40,480
Speaker 2: It, five hundred years?

964
00:52:40,719 --> 00:52:44,680
Speaker 3: Five hundred years, nonetheless commit the same fatal error when

965
00:52:44,760 --> 00:52:48,799
Speaker 3: they accuse us attempting to impose peace and brotherhood through

966
00:52:48,880 --> 00:52:53,520
Speaker 3: fear and force, forgetting that violence only promotes destruction and hate.

967
00:52:54,600 --> 00:52:56,919
Speaker 3: I feel like maybe the narrator is explaining a little

968
00:52:56,960 --> 00:52:58,920
Speaker 3: too much, like yeah, I don't know.

969
00:52:59,280 --> 00:53:02,040
Speaker 2: Yeah, you know, it's a the to have the whole

970
00:53:02,160 --> 00:53:04,280
Speaker 2: They learn too late that man is a feeling creature

971
00:53:04,320 --> 00:53:05,920
Speaker 2: until the end of the picture. But they just want

972
00:53:05,960 --> 00:53:07,440
Speaker 2: to go ahead to make sure we have that in

973
00:53:07,560 --> 00:53:09,360
Speaker 2: our minds before we proceed.

974
00:53:10,040 --> 00:53:11,840
Speaker 3: But I don't know, maybe at least they wanted to

975
00:53:11,920 --> 00:53:15,400
Speaker 3: make clear that the irony of like end all wars

976
00:53:15,480 --> 00:53:19,680
Speaker 3: and practice brotherhood, practice worldwide brotherhood, or we will kill you,

977
00:53:19,920 --> 00:53:22,120
Speaker 3: that the irony is not lost on the filmmakers.

978
00:53:22,360 --> 00:53:24,399
Speaker 2: I don't know if they had test audiences, but maybe

979
00:53:24,480 --> 00:53:26,200
Speaker 2: that was like a point, like, too many people are

980
00:53:26,239 --> 00:53:29,480
Speaker 2: agreeing with the Martians at this point, we need to

981
00:53:29,719 --> 00:53:30,600
Speaker 2: couch that a little bit.

982
00:53:30,800 --> 00:53:33,680
Speaker 3: So anyway, here we see a man in a lucha mask.

983
00:53:33,840 --> 00:53:36,600
Speaker 3: This is Santo helpfully coaching a bunch of young children

984
00:53:36,719 --> 00:53:40,120
Speaker 3: in This looks like tumbling and acrobatics on the playground.

985
00:53:41,000 --> 00:53:44,759
Speaker 2: Yeah yeah, but also it's Luca Like they're grappling, they're

986
00:53:44,800 --> 00:53:47,560
Speaker 2: doing little flips and whatnot. So he's training the next

987
00:53:47,600 --> 00:53:49,840
Speaker 2: generation of Luciadors to some extent, and.

988
00:53:50,040 --> 00:53:53,080
Speaker 3: He's instilling not just physical lessons. This is not just

989
00:53:53,200 --> 00:53:56,239
Speaker 3: training in the techniques, but he's also instilling an ethos.

990
00:53:56,640 --> 00:53:59,239
Speaker 3: He says, everybody, grab a partner, begin to wrestle each

991
00:53:59,280 --> 00:54:02,920
Speaker 3: other without hurting anyone let's see how it goes. And

992
00:54:03,120 --> 00:54:06,000
Speaker 3: we see one boy named Luis who really just starts

993
00:54:06,040 --> 00:54:08,839
Speaker 3: wailing on another kid, and Santo has to stop him.

994
00:54:08,920 --> 00:54:11,279
Speaker 3: He says, Luis, how many times have I told you

995
00:54:11,520 --> 00:54:15,600
Speaker 3: not to inflict deliberate harm? And after this, Luis has

996
00:54:15,680 --> 00:54:19,400
Speaker 3: to affirm sort of the Santo school credo, which is

997
00:54:19,480 --> 00:54:22,960
Speaker 3: that these cutting edge rastling skills should never be used

998
00:54:23,640 --> 00:54:26,600
Speaker 3: in attack. They should only be used to counter aggression

999
00:54:26,840 --> 00:54:29,680
Speaker 3: or to protect the weak and defenseless. So it's kind

1000
00:54:29,680 --> 00:54:31,600
Speaker 3: of the Santo School of good sportsmanship.

1001
00:54:32,000 --> 00:54:34,759
Speaker 2: It kind of gets into sort of like the heart

1002
00:54:34,960 --> 00:54:38,080
Speaker 2: of Lucha libre as well too, because this is not

1003
00:54:38,320 --> 00:54:45,000
Speaker 2: a legitimate competitive like martial art combat sport. It is

1004
00:54:45,719 --> 00:54:55,320
Speaker 2: a highly athletic, collaborative, cooperative entertainment product that ultimately affirms

1005
00:54:55,440 --> 00:54:59,040
Speaker 2: the victory of good over evil, of technicos over rudo's,

1006
00:54:59,360 --> 00:55:03,560
Speaker 2: and of righteousness over evil. So so yeah, I can

1007
00:55:03,600 --> 00:55:07,719
Speaker 2: see I can see this lining up with actual Santo theology.

1008
00:55:07,760 --> 00:55:10,239
Speaker 3: Here, I guess, did I already mention there's a big

1009
00:55:10,280 --> 00:55:11,520
Speaker 3: soccer match going on nearby?

1010
00:55:11,640 --> 00:55:13,239
Speaker 2: I think, oh, yeah, there's like a big soccer match

1011
00:55:13,280 --> 00:55:15,840
Speaker 2: in the background. There's so much sport happening I.

1012
00:55:15,840 --> 00:55:18,040
Speaker 3: Don't know what they're training like right next to the field,

1013
00:55:18,160 --> 00:55:21,879
Speaker 3: but suddenly we hear a buzz and Yonder materializes one

1014
00:55:21,920 --> 00:55:24,920
Speaker 3: of the beef Martians. I don't remember which one this is.

1015
00:55:25,040 --> 00:55:28,879
Speaker 3: It's either I think it's either Kronos or the one

1016
00:55:28,960 --> 00:55:30,560
Speaker 3: that will later be called Hercules.

1017
00:55:30,960 --> 00:55:34,120
Speaker 2: This one is played by Benny Gallant, who was a

1018
00:55:35,080 --> 00:55:37,240
Speaker 2: he was I think he was always billed as a Frenchman,

1019
00:55:37,719 --> 00:55:41,879
Speaker 2: but he was actually born in Spain, I think so. Yeah,

1020
00:55:41,920 --> 00:55:45,359
Speaker 2: the Martians have it's it's a it's really a cross

1021
00:55:45,400 --> 00:55:47,160
Speaker 2: continental cast here in many respects.

1022
00:55:47,440 --> 00:55:48,080
Speaker 3: Big stable.

1023
00:55:48,200 --> 00:55:48,359
Speaker 2: Yeah.

1024
00:55:49,280 --> 00:55:51,080
Speaker 3: And this guy has the thing on his head called

1025
00:55:51,120 --> 00:55:53,200
Speaker 3: the astral eye. It's like a third eye up on

1026
00:55:53,320 --> 00:55:57,280
Speaker 3: his forehead, the forehead part of his helmet. We don't

1027
00:55:57,800 --> 00:56:00,719
Speaker 3: see how it works exactly yet, but he has. This

1028
00:56:00,880 --> 00:56:03,240
Speaker 3: is the guy I was calling this murder Corey Energy.

1029
00:56:03,400 --> 00:56:06,520
Speaker 3: He somehow looks a little bit like a super jacked

1030
00:56:06,640 --> 00:56:09,440
Speaker 3: Corey Feldman adult Corey Feldman in the face.

1031
00:56:09,480 --> 00:56:11,359
Speaker 2: Do you see that, Yeah, I can see that. Yeah.

1032
00:56:12,320 --> 00:56:15,319
Speaker 3: But anyway, he approaches the bleachers of the soccer game

1033
00:56:15,480 --> 00:56:19,719
Speaker 3: and with a cruel smirk, the Martian activates his astral eye.

1034
00:56:20,360 --> 00:56:23,799
Speaker 3: It flashes with an internal light, and then the spectators

1035
00:56:23,920 --> 00:56:26,279
Speaker 3: see him. They begin to scream and run away, and

1036
00:56:26,360 --> 00:56:30,799
Speaker 3: then they suddenly start to vanish into thin air. Now,

1037
00:56:30,920 --> 00:56:34,560
Speaker 3: the astral eye, I think is an interesting weapon because

1038
00:56:34,600 --> 00:56:36,680
Speaker 3: on one hand, the effects that we see are not

1039
00:56:36,840 --> 00:56:39,799
Speaker 3: very gory, that we just see people like vanish from

1040
00:56:39,960 --> 00:56:44,080
Speaker 3: the frame, but it implies something even more devastating than

1041
00:56:44,200 --> 00:56:46,880
Speaker 3: like the heat ray in War the Worlds, which I

1042
00:56:46,880 --> 00:56:48,680
Speaker 3: don't remember if this was in the novel, but in

1043
00:56:48,760 --> 00:56:52,000
Speaker 3: the in the Spielberg adaptation, the movie adaptation, it would

1044
00:56:52,040 --> 00:56:54,680
Speaker 3: leave this pile of empty clothes behind. When it hits you,

1045
00:56:55,080 --> 00:56:58,640
Speaker 3: these people seem to disappear completely, not even leaving dust.

1046
00:56:58,760 --> 00:56:59,920
Speaker 3: It's like they never existed.

1047
00:57:00,719 --> 00:57:05,720
Speaker 2: Yeah, he just completely disintegrates loads and loads of people,

1048
00:57:06,040 --> 00:57:10,239
Speaker 2: like men, women and children. Like it just it's I mean,

1049
00:57:10,280 --> 00:57:12,719
Speaker 2: it's at this as I was watching, and I'm like, well,

1050
00:57:12,760 --> 00:57:14,960
Speaker 2: surely they're just disappearing and they'll be back later. But no,

1051
00:57:15,239 --> 00:57:16,800
Speaker 2: like they're completely disintegrated.

1052
00:57:16,920 --> 00:57:20,720
Speaker 3: No, he totally. He vaporizes children in the scene, and

1053
00:57:21,000 --> 00:57:23,680
Speaker 3: so Santo is looking on from the nearby playground and

1054
00:57:23,800 --> 00:57:26,360
Speaker 3: he when he realizes what's happening, he springs into action.

1055
00:57:26,920 --> 00:57:29,800
Speaker 3: He tackles the Martian Killer and they start to wrestle

1056
00:57:29,880 --> 00:57:32,840
Speaker 3: out on the grass. And so there's like one point

1057
00:57:32,880 --> 00:57:36,200
Speaker 3: where the Martian throws Santo and then he stops and

1058
00:57:36,280 --> 00:57:39,160
Speaker 3: takes a moment to vaporize four of Santo's students, and

1059
00:57:39,240 --> 00:57:42,240
Speaker 3: then the fight resumes. And I was thinking the same thing, like, well,

1060
00:57:42,280 --> 00:57:44,640
Speaker 3: is Santo gonna go Like did he teleport them? Santo's

1061
00:57:44,680 --> 00:57:47,960
Speaker 3: gonna go rescue them later? Nope, they're just vapor now. Yeah,

1062
00:57:48,720 --> 00:57:51,720
Speaker 3: a lot of throwing, flipping, and tumbling takes place in

1063
00:57:51,800 --> 00:57:53,560
Speaker 3: this fight. I thought it was a good fight.

1064
00:57:54,040 --> 00:57:57,080
Speaker 2: Yeah, it's a very fun lucha fight scene, especially considering

1065
00:57:57,120 --> 00:57:58,920
Speaker 2: it just takes place in the middle of a field.

1066
00:57:59,120 --> 00:58:01,840
Speaker 2: It like, as far as the location for a fight

1067
00:58:02,360 --> 00:58:04,800
Speaker 2: in a film in general, if this is the most

1068
00:58:04,920 --> 00:58:08,640
Speaker 2: mundane place it could ever go down. And yet it's

1069
00:58:08,760 --> 00:58:12,960
Speaker 2: really good, Like it's just really good lucha grappling by

1070
00:58:13,560 --> 00:58:16,760
Speaker 2: guys who really knew their craft. And I would say,

1071
00:58:17,440 --> 00:58:20,280
Speaker 2: you know, half jokingly but half serious. The best storytelling

1072
00:58:20,320 --> 00:58:23,400
Speaker 2: in this film is told in these little Luca fight scenes. Yeah.

1073
00:58:24,360 --> 00:58:26,600
Speaker 3: Now I had questions about what I'm seeing here, because

1074
00:58:26,600 --> 00:58:29,840
Speaker 3: you know a lot more about the conventions of wrestling

1075
00:58:29,880 --> 00:58:32,560
Speaker 3: in Luca than I do. The Martian uses a full

1076
00:58:32,640 --> 00:58:36,080
Speaker 3: nelson on Santo here, and I was wondering, is the

1077
00:58:36,160 --> 00:58:38,760
Speaker 3: full nelson like a dirty move or is that part

1078
00:58:38,800 --> 00:58:40,080
Speaker 3: of the legitimate move set.

1079
00:58:40,640 --> 00:58:43,880
Speaker 2: It's a legitimate move. It's I mean it can be

1080
00:58:44,000 --> 00:58:45,640
Speaker 2: used in a dirty way if you're going to hold

1081
00:58:45,720 --> 00:58:47,840
Speaker 2: somebody so that someone else can punch them in the face.

1082
00:58:48,240 --> 00:58:50,000
Speaker 2: And I think in that respect, you see the full

1083
00:58:50,040 --> 00:58:52,480
Speaker 2: nelson pop up in all sorts of like cowboy brawls

1084
00:58:53,080 --> 00:58:55,960
Speaker 2: in pictures. But you know, I think the big thing

1085
00:58:56,120 --> 00:58:59,640
Speaker 2: is that it's dramatic. You can see both wrestlers' faces,

1086
00:59:00,160 --> 00:59:03,320
Speaker 2: and it has a number of cool Luca counters. Yeah,

1087
00:59:03,560 --> 00:59:06,040
Speaker 2: and we see some of those here, several of those here.

1088
00:59:06,040 --> 00:59:08,280
Speaker 2: I think Santo busts out all his favorite counters to

1089
00:59:08,320 --> 00:59:09,800
Speaker 2: the full melson we see.

1090
00:59:09,720 --> 00:59:11,600
Speaker 3: Him throughout the movie, and in this case, I think

1091
00:59:11,640 --> 00:59:13,440
Speaker 3: he gets out of it by flipping the guy over

1092
00:59:13,560 --> 00:59:16,280
Speaker 3: top what you call it, like throws it that goes

1093
00:59:16,320 --> 00:59:17,360
Speaker 3: into a somersult throw.

1094
00:59:18,200 --> 00:59:21,200
Speaker 2: Yeah. Yeah. The Luca holds are really fun in this film,

1095
00:59:21,280 --> 00:59:24,560
Speaker 2: and in this fight in particular, the Martian here busts

1096
00:59:24,560 --> 00:59:27,120
Speaker 2: out the rare butterfly hold, which you don't see much

1097
00:59:27,120 --> 00:59:29,800
Speaker 2: anymore as a standalone hold. It's usually is more as

1098
00:59:30,120 --> 00:59:32,200
Speaker 2: a setup move for some sort of a bomb or

1099
00:59:32,240 --> 00:59:33,120
Speaker 2: a soup lex.

1100
00:59:34,080 --> 00:59:37,080
Speaker 3: Well, anyway, finally Santo gets the upper hand in this fight.

1101
00:59:37,560 --> 00:59:40,080
Speaker 3: He puts the Martian in a choke hold of some kind,

1102
00:59:40,560 --> 00:59:43,840
Speaker 3: but then suddenly the Martian fiddles with something on his

1103
00:59:43,960 --> 00:59:48,280
Speaker 3: belt and then de materializes and Santo is left grasping

1104
00:59:48,360 --> 00:59:50,960
Speaker 3: it air Like. I thought back to that footage we

1105
00:59:51,000 --> 00:59:53,160
Speaker 3: saw the raccoon who tried to wash the wad of

1106
00:59:53,240 --> 00:59:55,760
Speaker 3: cotton candy and it just disappears and he's there switching

1107
00:59:55,800 --> 00:59:59,520
Speaker 3: around in the water looking for it. Yep, yep, yeah, like,

1108
01:00:00,000 --> 01:00:03,200
Speaker 3: what happened? Where is it? I gotta say this several times.

1109
01:00:03,320 --> 01:00:05,880
Speaker 3: This happens throughout the movie, when the Martian disappears and

1110
01:00:05,960 --> 01:00:09,880
Speaker 3: Santo's just like looking around frantically. It is the rare.

1111
01:00:11,040 --> 01:00:13,960
Speaker 3: It is the rare exception to the rule of Santo

1112
01:00:14,160 --> 01:00:18,160
Speaker 3: always looking like totally like in control. In these moments,

1113
01:00:18,200 --> 01:00:20,320
Speaker 3: Santo looks a bit made a fool of, and I

1114
01:00:20,360 --> 01:00:22,480
Speaker 3: feel like, that's not what you want to go for.

1115
01:00:23,160 --> 01:00:26,880
Speaker 2: Well, yeah, he's he has trained exclusively. I'm grappling opponents

1116
01:00:27,040 --> 01:00:29,400
Speaker 2: that cannot vanish into thin air, so it just throws

1117
01:00:29,480 --> 01:00:31,080
Speaker 2: him off his game, at least for a few seconds.

1118
01:00:31,480 --> 01:00:34,200
Speaker 3: Anyway, after this, we get a long slow pan as

1119
01:00:34,280 --> 01:00:38,400
Speaker 3: Santo surveys the empty athletic field, and it's kind of like,

1120
01:00:38,480 --> 01:00:41,160
Speaker 3: what was that? What new terror am I facing?

1121
01:00:41,280 --> 01:00:41,400
Speaker 2: Now?

1122
01:00:43,000 --> 01:00:45,280
Speaker 3: But anyway, we go back to the spaceship and we

1123
01:00:45,440 --> 01:00:48,360
Speaker 3: check in with the Martians and they're like, good, good job,

1124
01:00:48,480 --> 01:00:53,840
Speaker 3: mission accomplished. The Earthlings are afraid now. However, the Martian

1125
01:00:53,960 --> 01:00:55,920
Speaker 3: who was out there and just had the fight has

1126
01:00:55,960 --> 01:00:57,919
Speaker 3: a little bit of a footnote to report. He says,

1127
01:00:57,960 --> 01:01:01,080
Speaker 3: there is one Earthling who dresses rangely and covers his

1128
01:01:01,240 --> 01:01:04,760
Speaker 3: face with a silver mask, and he almost managed to

1129
01:01:04,880 --> 01:01:08,760
Speaker 3: disrupt our plans. Should we disintegrate him? And then the

1130
01:01:08,840 --> 01:01:12,920
Speaker 3: head Martian says no, in fact, he is such an

1131
01:01:12,960 --> 01:01:17,440
Speaker 3: extraordinary specimen, really, the perfect biped. The only thing to

1132
01:01:17,520 --> 01:01:19,880
Speaker 3: do is capture him and take him back to Mars

1133
01:01:20,000 --> 01:01:20,520
Speaker 3: for study.

1134
01:01:21,920 --> 01:01:24,840
Speaker 2: And they'll expand this project as the film commences, where

1135
01:01:24,840 --> 01:01:27,000
Speaker 2: they'll realize, well, there are other humans that are kind

1136
01:01:27,000 --> 01:01:29,840
Speaker 2: of Santo's of the mind, and we should also bring

1137
01:01:29,920 --> 01:01:31,760
Speaker 2: them back as well, but Santo's the main one. If

1138
01:01:31,760 --> 01:01:33,840
Speaker 2: we could only bring one, it would be el Santo.

1139
01:01:34,200 --> 01:01:37,600
Speaker 3: Yeah, so next we reunite with Santo at a wrestling event.

1140
01:01:37,680 --> 01:01:39,640
Speaker 3: I think he's I don't know if this makes any

1141
01:01:39,720 --> 01:01:42,560
Speaker 3: Is he like in his office at the wrestling arena?

1142
01:01:43,280 --> 01:01:47,080
Speaker 2: Maybe? The establishing shot is that we're at Arena Mexico

1143
01:01:47,280 --> 01:01:50,040
Speaker 2: in Mexico City, which is a very prestigious home of

1144
01:01:50,120 --> 01:01:52,439
Speaker 2: Luja de Libra. It is built in nineteen fifty six,

1145
01:01:52,520 --> 01:01:55,360
Speaker 2: so I guess it was relatively young building at the time,

1146
01:01:55,440 --> 01:01:58,640
Speaker 2: but it's still in operation. It's the home of CMLL,

1147
01:01:58,720 --> 01:02:01,640
Speaker 2: which is like the biggest in traditional digital libret promotion

1148
01:02:02,080 --> 01:02:05,000
Speaker 2: in Mexico. You can still go there and see shows

1149
01:02:05,760 --> 01:02:09,560
Speaker 2: Lucha Libre shows at Arena Mexico. So maybe Santo has

1150
01:02:09,560 --> 01:02:10,480
Speaker 2: an office in the building.

1151
01:02:10,680 --> 01:02:13,680
Speaker 3: Yeah, but Santo has a friend here. This is when

1152
01:02:13,720 --> 01:02:16,880
Speaker 3: we first meet the professor we will later learn this

1153
01:02:16,960 --> 01:02:20,760
Speaker 3: is Professor Orto Rica, and they're discussing theories on what happened.

1154
01:02:20,800 --> 01:02:25,280
Speaker 3: Professor Orto Rica is a professor of nuclear physics, and

1155
01:02:25,720 --> 01:02:29,240
Speaker 3: they're Santo is saying, what cruel monster would vaporize even

1156
01:02:29,320 --> 01:02:32,840
Speaker 3: innocent children? So they talk it through, but it's not

1157
01:02:33,120 --> 01:02:36,400
Speaker 3: much of a talk because they just briefly consider, well,

1158
01:02:36,440 --> 01:02:39,320
Speaker 3: what if it was a warmongering foreign country trying to

1159
01:02:39,400 --> 01:02:42,760
Speaker 3: dominate them, and they both agreed that it can't be that.

1160
01:02:43,360 --> 01:02:46,440
Speaker 3: And then they both immediately go to the conclusion that

1161
01:02:46,520 --> 01:02:48,680
Speaker 3: the man with the astral eye must have come from

1162
01:02:48,720 --> 01:02:52,760
Speaker 3: another planet. That's just logic. So then we check in

1163
01:02:52,920 --> 01:02:55,920
Speaker 3: with some of the families who were watching TV earlier.

1164
01:02:56,360 --> 01:03:00,400
Speaker 3: They're all watching cowboy stuff. Now when suddenly broadcast signal

1165
01:03:00,480 --> 01:03:04,040
Speaker 3: Intrusion again. The Martians are back and they say, listen

1166
01:03:04,080 --> 01:03:07,400
Speaker 3: to Earthlings. You doubted the reality of our existence. Well

1167
01:03:07,840 --> 01:03:10,280
Speaker 3: you shouldn't have done that. Now you've seen our power.

1168
01:03:10,680 --> 01:03:13,600
Speaker 3: No scientific or military authority can stand up to us.

1169
01:03:14,040 --> 01:03:16,760
Speaker 3: We can destroy you all if we want. And then

1170
01:03:16,840 --> 01:03:19,560
Speaker 3: we see a priest and a church who's like under

1171
01:03:19,600 --> 01:03:24,760
Speaker 3: a crucifix and he begins to pray. Now, meanwhile, the

1172
01:03:24,880 --> 01:03:29,360
Speaker 3: Santo Professor friendship really starts cooking. They're thinking more about

1173
01:03:29,400 --> 01:03:32,160
Speaker 3: their theories. Now they're in the Professor's lab and one

1174
01:03:32,200 --> 01:03:34,120
Speaker 3: of them says, you know, something makes me think that

1175
01:03:34,240 --> 01:03:37,600
Speaker 3: the lost continent of Atlantis was inhabited by a race

1176
01:03:37,640 --> 01:03:41,919
Speaker 3: of people who also had the astral eye. I was like, oh, really, wow,

1177
01:03:42,000 --> 01:03:43,600
Speaker 3: I wonder where they're going with this. But I don't

1178
01:03:43,600 --> 01:03:45,960
Speaker 3: think you know what never comes up again.

1179
01:03:47,520 --> 01:03:50,080
Speaker 2: In a normal conversation, this would be the point where

1180
01:03:50,080 --> 01:03:52,440
Speaker 2: you would suddenly doubt your source, where you're like, this

1181
01:03:52,480 --> 01:03:55,960
Speaker 2: guy's talking about Atlantis. Now I don't know if he

1182
01:03:56,040 --> 01:03:59,400
Speaker 2: should really be my guy, my consult for the situation.

1183
01:04:00,040 --> 01:04:02,000
Speaker 3: Oh but while they're hanging out talking about Atlantis, the

1184
01:04:02,040 --> 01:04:04,920
Speaker 3: professor gets a call from the university and they're like, hey,

1185
01:04:05,000 --> 01:04:07,840
Speaker 3: the Martians are on TV. Watch them. Turn the TV on, so,

1186
01:04:08,120 --> 01:04:11,600
Speaker 3: you know, Santo and the Professor tune in, and this

1187
01:04:11,800 --> 01:04:14,240
Speaker 3: is the part where the Martians explained that they selected

1188
01:04:14,320 --> 01:04:18,360
Speaker 3: Mexico because it is a country dedicated to pacifism. And

1189
01:04:18,600 --> 01:04:21,680
Speaker 3: then the professor I thought this was great. He snaps

1190
01:04:21,720 --> 01:04:24,320
Speaker 3: a photo of the TV while the Martians are on TV.

1191
01:04:24,720 --> 01:04:25,680
Speaker 3: How's that going to come out?

1192
01:04:27,960 --> 01:04:29,640
Speaker 2: I mean, you can't push record at this point in

1193
01:04:29,720 --> 01:04:31,080
Speaker 2: no vc RS, Yeah, I guess so.

1194
01:04:31,600 --> 01:04:35,600
Speaker 3: But the Martian muscle guy says resistance is futile, and

1195
01:04:35,760 --> 01:04:39,080
Speaker 3: then they just returned to the regular schedule programming. It's

1196
01:04:39,120 --> 01:04:42,680
Speaker 3: back to the Cowboys show. Well after this, we finally

1197
01:04:42,720 --> 01:04:46,720
Speaker 3: get a confrontation. Here, the beefy Martian teleports into the

1198
01:04:46,800 --> 01:04:50,440
Speaker 3: room with Santo and the professor. Santo is unhappy with

1199
01:04:50,600 --> 01:04:53,160
Speaker 3: him because of all the people he vaporized earlier. But

1200
01:04:53,280 --> 01:04:58,200
Speaker 3: the Martian kind of waves away the criticism. He's like, hey, listen, YouTube, guys,

1201
01:04:58,360 --> 01:05:02,000
Speaker 3: are the best humanity has to offer. With your intelligence,

1202
01:05:02,240 --> 01:05:05,960
Speaker 3: strength and integrity, you will quote be the seed of

1203
01:05:06,080 --> 01:05:11,640
Speaker 3: a new humanity, more scientifically and morally advanced. So there,

1204
01:05:11,720 --> 01:05:14,720
Speaker 3: I was like, what, so are they suggesting Santo and

1205
01:05:14,800 --> 01:05:16,960
Speaker 3: the Professor are going to be like Adam and Eve

1206
01:05:17,040 --> 01:05:18,120
Speaker 3: of a new humankind?

1207
01:05:18,560 --> 01:05:22,080
Speaker 2: Sort of? Okay, I have to say in the screenshot

1208
01:05:22,120 --> 01:05:23,800
Speaker 2: that you grabbed a wolf here, he really looks like

1209
01:05:23,920 --> 01:05:25,160
Speaker 2: John Cena in the face.

1210
01:05:25,400 --> 01:05:28,360
Speaker 3: Yes, yeah, yeah, I can see that. I don't know

1211
01:05:28,600 --> 01:05:30,080
Speaker 3: what is it in the face I'm seeing, but I

1212
01:05:30,160 --> 01:05:33,440
Speaker 3: know what you're talking about there. But anyway, so Santo

1213
01:05:33,680 --> 01:05:36,480
Speaker 3: and the Martian argue. Santo is like, no, no, no,

1214
01:05:36,640 --> 01:05:38,880
Speaker 3: you're not going to tell me what to do. Also,

1215
01:05:39,120 --> 01:05:41,400
Speaker 3: was wrong to kill innocent people like you did earlier,

1216
01:05:41,760 --> 01:05:43,960
Speaker 3: and the Martian is like, it was necessary to do

1217
01:05:44,120 --> 01:05:47,480
Speaker 3: so because only by killing earthlings will they learn to

1218
01:05:47,520 --> 01:05:51,280
Speaker 3: live in peace. And then here it ends up with that,

1219
01:05:51,400 --> 01:05:53,040
Speaker 3: you know, the Martians like, you must come with me,

1220
01:05:53,400 --> 01:05:56,000
Speaker 3: and so Santo does a leg sweep and the fight begins.

1221
01:05:56,080 --> 01:05:59,200
Speaker 3: It's another fight. I noticed the Professor does not tag in.

1222
01:05:59,480 --> 01:06:02,000
Speaker 3: He does not help at all. He just watches, hiding

1223
01:06:02,120 --> 01:06:03,880
Speaker 3: behind a bunch of erlin Meyer flasks.

1224
01:06:03,960 --> 01:06:05,920
Speaker 2: Yeah, he doesn't go and try and break something over

1225
01:06:05,960 --> 01:06:07,840
Speaker 2: the villain's head. He knows he's an egghead and he

1226
01:06:07,880 --> 01:06:08,640
Speaker 2: should stay out of this.

1227
01:06:09,120 --> 01:06:12,160
Speaker 3: Yeah. Now, Santo holds his own in a fair fight.

1228
01:06:12,440 --> 01:06:16,160
Speaker 3: But then the Martian uses a dirty trick. He turns

1229
01:06:16,280 --> 01:06:20,520
Speaker 3: on his astral eye and doesn't disintegrate, but paralyzes our hero,

1230
01:06:20,800 --> 01:06:24,480
Speaker 3: leaving him frozen standing straight up. So then the Martian

1231
01:06:24,640 --> 01:06:29,240
Speaker 3: enforcer approaches the Professor, who's now defenseless, and he says,

1232
01:06:29,280 --> 01:06:31,000
Speaker 3: all you have to do is touch my hand. The

1233
01:06:31,120 --> 01:06:34,280
Speaker 3: dial on my belt will transport us to the spaces

1234
01:06:34,480 --> 01:06:37,240
Speaker 3: I think he means to the spaceship. He says, do

1235
01:06:37,360 --> 01:06:41,120
Speaker 3: not resist me. But then while he's there holding his

1236
01:06:41,200 --> 01:06:43,360
Speaker 3: hand out waiting for the Professor to hold his hand

1237
01:06:43,440 --> 01:06:47,000
Speaker 3: so they can go to Mars, something happens. The Martian

1238
01:06:47,160 --> 01:06:50,040
Speaker 3: is suddenly gripped by pain and surprise, as if like

1239
01:06:50,240 --> 01:06:53,240
Speaker 3: Darth Vader were just offscreen doing a force choke on him.

1240
01:06:53,320 --> 01:06:56,960
Speaker 3: What's going on, Well, this is the first payoff of

1241
01:06:57,360 --> 01:07:01,120
Speaker 3: the little talk earlier about Earth's toxic app sphere. The

1242
01:07:01,240 --> 01:07:04,960
Speaker 3: effects of the martians protective capsules are wearing off, so

1243
01:07:05,040 --> 01:07:08,440
Speaker 3: he starts struggling. He's clutching at his throat, and the

1244
01:07:08,520 --> 01:07:10,920
Speaker 3: Martian begins to reach for the pouch of pills on

1245
01:07:11,000 --> 01:07:13,320
Speaker 3: his belt. It's like, can I get down another one

1246
01:07:13,360 --> 01:07:15,960
Speaker 3: in time? I think in D and D terms, or

1247
01:07:15,960 --> 01:07:18,400
Speaker 3: at least Boulder skate terms, I think it would work

1248
01:07:18,480 --> 01:07:20,880
Speaker 3: like this in D and D. This seems to break

1249
01:07:20,960 --> 01:07:25,360
Speaker 3: his concentration on the paralyzed lucha spell, and Santo starts

1250
01:07:25,440 --> 01:07:26,240
Speaker 3: to come unfrozen.

1251
01:07:26,720 --> 01:07:27,280
Speaker 2: Yep, yep.

1252
01:07:28,400 --> 01:07:30,800
Speaker 3: And so while the Martian is struggling for the pills,

1253
01:07:30,920 --> 01:07:33,760
Speaker 3: Santo comes up behind him and applies a choke hold,

1254
01:07:34,240 --> 01:07:37,520
Speaker 3: and then the Professor watches as they struggle, but once

1255
01:07:37,560 --> 01:07:40,680
Speaker 3: again the Martian escapes. He escapes the anaconda like grip

1256
01:07:40,760 --> 01:07:43,480
Speaker 3: of Santo by flipping the dial on his belt buckle

1257
01:07:43,560 --> 01:07:46,040
Speaker 3: and teleporting back to the ship. And once again Santo

1258
01:07:46,160 --> 01:07:48,160
Speaker 3: is swiping around in the air like where did he go?

1259
01:07:48,680 --> 01:07:51,720
Speaker 3: But now now they are armed with knowledge, because the

1260
01:07:51,800 --> 01:07:54,880
Speaker 3: Professor has a clue as to the weakness of the Martians.

1261
01:07:55,200 --> 01:07:58,240
Speaker 3: Several of the atmosphere capsules were spilled on the floor,

1262
01:07:58,320 --> 01:08:01,960
Speaker 3: and he promises Santo to examine them thoroughly and to

1263
01:08:02,080 --> 01:08:12,440
Speaker 3: report back with what he finds. All right, now, here

1264
01:08:12,480 --> 01:08:16,120
Speaker 3: begins a segment where just there's random kidnappings, like some

1265
01:08:16,240 --> 01:08:20,040
Speaker 3: shirtless Martian hulksters appear in children's bedrooms while they're sleeping

1266
01:08:20,120 --> 01:08:21,880
Speaker 3: and just kidnap them. A bunch of the families we

1267
01:08:21,920 --> 01:08:24,840
Speaker 3: saw watching TV earlier just get kidnapped and taken back

1268
01:08:24,880 --> 01:08:28,040
Speaker 3: to the Martian spaceship. And then they get placed in

1269
01:08:28,120 --> 01:08:32,840
Speaker 3: this Martian spaceship jail that has one cool thing about

1270
01:08:32,840 --> 01:08:35,120
Speaker 3: it is an S shaped bench inside it.

1271
01:08:35,600 --> 01:08:36,799
Speaker 2: Oh, yes, the estering.

1272
01:08:37,160 --> 01:08:40,280
Speaker 3: It's like super jail. But here we get more Martian scheming.

1273
01:08:40,720 --> 01:08:42,560
Speaker 3: So after they put the people in the jail, the

1274
01:08:42,640 --> 01:08:46,680
Speaker 3: Martians talk about how they talk about how their appearance

1275
01:08:46,920 --> 01:08:51,160
Speaker 3: frightens Earthlings and somehow this is delaying their plans. I

1276
01:08:51,640 --> 01:08:55,080
Speaker 3: didn't understand why, but one of them says, why do

1277
01:08:55,200 --> 01:08:58,400
Speaker 3: we frighten them when our bodies are more perfectly evolved

1278
01:08:58,520 --> 01:09:02,640
Speaker 3: than their own? I don't know. But then one of

1279
01:09:02,720 --> 01:09:05,360
Speaker 3: them explains it is all in the mind, and then

1280
01:09:05,560 --> 01:09:07,439
Speaker 3: that that's the end of that, and so then they

1281
01:09:07,520 --> 01:09:10,040
Speaker 3: go They say, what we've got to do is go

1282
01:09:10,160 --> 01:09:14,439
Speaker 3: into the transformation chamber to transmogrify our bodies into a

1283
01:09:14,560 --> 01:09:18,000
Speaker 3: less threatening form that we will find disgusting but the

1284
01:09:18,160 --> 01:09:21,680
Speaker 3: Earthlings will find appealing. And so what this means is

1285
01:09:21,720 --> 01:09:24,360
Speaker 3: they all go into this adjoining room with big glass windows,

1286
01:09:24,360 --> 01:09:27,320
Speaker 3: and then it quickly fills up with smoke, and then

1287
01:09:27,360 --> 01:09:29,640
Speaker 3: they I was wondering, like, what are they going to

1288
01:09:29,680 --> 01:09:32,439
Speaker 3: be transformed into, like bunny rabbits to be, you know,

1289
01:09:32,640 --> 01:09:33,679
Speaker 3: not non threatening.

1290
01:09:33,960 --> 01:09:36,640
Speaker 2: I was expecting that they would walk out like in

1291
01:09:36,720 --> 01:09:39,439
Speaker 2: street clothes, looking like they would blend in. Yes, and

1292
01:09:39,560 --> 01:09:41,080
Speaker 2: later on in the film we do see them in

1293
01:09:41,120 --> 01:09:43,519
Speaker 2: street clothes, but that's not what we get initially.

1294
01:09:43,800 --> 01:09:44,519
Speaker 3: No, not at all.

1295
01:09:44,680 --> 01:09:44,720
Speaker 2: No.

1296
01:09:45,320 --> 01:09:49,960
Speaker 3: So they come out and they look exactly the same,

1297
01:09:50,600 --> 01:09:54,760
Speaker 3: except with shorter, darker hair, and with different costumes on.

1298
01:09:55,000 --> 01:09:58,320
Speaker 3: So now instead of golden space wrestler costumes with the

1299
01:09:58,360 --> 01:10:01,680
Speaker 3: kind of the tinfoil sheet, they're wearing some kind of

1300
01:10:01,840 --> 01:10:06,160
Speaker 3: Greek peplham wrestler costumes. And all of the lady Martians

1301
01:10:06,240 --> 01:10:10,439
Speaker 3: now have big hair as well, like voluminous mid century

1302
01:10:10,600 --> 01:10:13,280
Speaker 3: updues and that kind of bouffont helmet hair.

1303
01:10:13,840 --> 01:10:16,840
Speaker 2: Yeah there, I guess. With the women, you could say

1304
01:10:16,880 --> 01:10:19,760
Speaker 2: to their costumes are like a little less revealing than

1305
01:10:19,760 --> 01:10:24,200
Speaker 2: they were earlier, and their hair is bigger. And as

1306
01:10:24,320 --> 01:10:28,400
Speaker 2: for the guys, I don't know, they still look ridiculous.

1307
01:10:28,439 --> 01:10:30,280
Speaker 2: They still look like they're about to wrestle a match.

1308
01:10:30,560 --> 01:10:33,040
Speaker 3: They changed out of the tinfoil and now they're all

1309
01:10:33,080 --> 01:10:34,040
Speaker 3: dressed like masheiste.

1310
01:10:34,439 --> 01:10:37,120
Speaker 2: Yeah yeah with and the helmets are all gone obviously.

1311
01:10:37,400 --> 01:10:40,519
Speaker 3: Yeah. So the head Martian explains that they now will

1312
01:10:40,560 --> 01:10:44,960
Speaker 3: begin using names taken from the Earthlings mythology. So the

1313
01:10:45,040 --> 01:10:47,639
Speaker 3: captain of the ship is going to be Argos. There's

1314
01:10:47,760 --> 01:10:50,759
Speaker 3: the sort of Kirk Douglas looking Martian, they say, because

1315
01:10:50,800 --> 01:10:53,840
Speaker 3: he is a scholar excelling at the studies of time

1316
01:10:53,920 --> 01:10:59,040
Speaker 3: and space, he will be named Kronos. There's I think

1317
01:10:59,080 --> 01:11:01,840
Speaker 3: it's ham Lee who's going to be called Morphio because

1318
01:11:01,880 --> 01:11:05,920
Speaker 3: of his hypnotic powers. There is this might be the

1319
01:11:06,439 --> 01:11:10,719
Speaker 3: Benny Gallant guy who they are gonna call Hercules because

1320
01:11:10,760 --> 01:11:14,519
Speaker 3: of his physical strength. They say that the lady Martian

1321
01:11:14,600 --> 01:11:18,880
Speaker 3: with the hugest hair is Aphrodita because of her great beauty.

1322
01:11:19,560 --> 01:11:22,960
Speaker 3: Another Martian lady is Selina because she has the serenity

1323
01:11:23,000 --> 01:11:25,639
Speaker 3: of the moon. And then the last two Martian ladies

1324
01:11:25,680 --> 01:11:29,200
Speaker 3: are Artemisia and Diana. No explanation why, Yeah, it's like

1325
01:11:29,400 --> 01:11:33,880
Speaker 3: and the rest. So Captain Argos gives him a few reminders.

1326
01:11:33,960 --> 01:11:37,600
Speaker 3: He says, of all of you, only Hercules has the

1327
01:11:37,640 --> 01:11:40,200
Speaker 3: strength to match Santo, so he's the only one who's

1328
01:11:40,200 --> 01:11:41,840
Speaker 3: going to go toe to toe with him in a

1329
01:11:41,840 --> 01:11:45,840
Speaker 3: wrestling match. And they say, now that we have taken

1330
01:11:45,920 --> 01:11:49,519
Speaker 3: on these disgusting, undesirable human forms, we will no longer

1331
01:11:49,600 --> 01:11:51,720
Speaker 3: have the power of the astral eye, so we can

1332
01:11:51,840 --> 01:11:55,519
Speaker 3: neither vaporize nor paralyze humans at will. So we're gonna

1333
01:11:55,520 --> 01:11:57,680
Speaker 3: have to rely on our strength and our wits and

1334
01:11:57,880 --> 01:12:01,160
Speaker 3: our belts whatever those do. We are only told that

1335
01:12:01,200 --> 01:12:04,599
Speaker 3: the belts cannot make them invisible, but we're not told

1336
01:12:04,680 --> 01:12:06,520
Speaker 3: what they can do apart from teleportation.

1337
01:12:07,880 --> 01:12:09,880
Speaker 2: Now, all of this is I love it when a

1338
01:12:10,000 --> 01:12:13,479
Speaker 2: movie gives us the rules. No, but these rules are

1339
01:12:13,520 --> 01:12:17,040
Speaker 2: more guidelines. Yeah, play pretty fast and loose with all this.

1340
01:12:17,320 --> 01:12:21,120
Speaker 3: Yeah, And I can't stress enough It will be repeated many,

1341
01:12:21,280 --> 01:12:25,240
Speaker 3: many times that the Martians find their current hot body

1342
01:12:25,360 --> 01:12:29,160
Speaker 3: forms hideous and grotesque. But like, hey, this is what

1343
01:12:29,280 --> 01:12:32,960
Speaker 3: the Earthlings like. But the thing is they don't really

1344
01:12:33,080 --> 01:12:36,720
Speaker 3: look very different, Like, it's mostly just costume changes and

1345
01:12:36,880 --> 01:12:39,439
Speaker 3: some changes to like hair style and color.

1346
01:12:39,960 --> 01:12:41,960
Speaker 2: Yeah, these references would have made a lot more since

1347
01:12:42,040 --> 01:12:45,760
Speaker 2: had they been in like monster costumes earlier on. But no,

1348
01:12:45,960 --> 01:12:47,320
Speaker 2: it's just it's not that different.

1349
01:12:48,439 --> 01:12:51,600
Speaker 3: But somehow this is going to help them capture some Earthlings,

1350
01:12:51,720 --> 01:12:55,080
Speaker 3: and especially capture Santo and Professor Orto Rica and take

1351
01:12:55,120 --> 01:12:57,880
Speaker 3: them back to Mars to create the perfect human.

1352
01:12:58,200 --> 01:12:59,880
Speaker 2: Yeah, they don't really lay it out here, but the

1353
01:13:00,320 --> 01:13:03,760
Speaker 2: female Martians their main goal is to use siren like

1354
01:13:03,880 --> 01:13:09,720
Speaker 2: powers to bring in like key male captives, scientists, heads

1355
01:13:09,760 --> 01:13:12,559
Speaker 2: of industry, prominent sci fi writers, that sort of thing.

1356
01:13:12,720 --> 01:13:14,840
Speaker 3: Yeah, we'll see this in several scenes where just like

1357
01:13:14,920 --> 01:13:17,280
Speaker 3: a beautiful Martian lady walks up to a dude and

1358
01:13:17,400 --> 01:13:21,080
Speaker 3: he's like, oh hollo, and then she just hypnotizes him,

1359
01:13:21,120 --> 01:13:22,480
Speaker 3: and then they're at the spaceship.

1360
01:13:22,680 --> 01:13:22,880
Speaker 2: Yeah.

1361
01:13:23,840 --> 01:13:27,280
Speaker 3: So, anyway, what's going on with Santo and the Professor Now, well,

1362
01:13:27,439 --> 01:13:30,640
Speaker 3: the Professor's research figures out what the alien's pills are for,

1363
01:13:30,840 --> 01:13:33,479
Speaker 3: he figures out atmosphere is poisonous to them. They're going

1364
01:13:33,520 --> 01:13:36,280
Speaker 3: to die without the pills so they can use that information.

1365
01:13:36,880 --> 01:13:39,240
Speaker 3: But he also tells Santo that because the Martians have

1366
01:13:39,360 --> 01:13:42,599
Speaker 3: such smart brains, he can make a machine that will

1367
01:13:42,640 --> 01:13:46,840
Speaker 3: be able to locate them by detecting the mental vibrations

1368
01:13:47,000 --> 01:13:50,200
Speaker 3: that their brains put out. These are produced during moments

1369
01:13:50,240 --> 01:13:53,800
Speaker 3: of high tension or emotion, such as when they are

1370
01:13:53,920 --> 01:13:56,519
Speaker 3: on the attack. But it will be twenty four hours

1371
01:13:56,560 --> 01:13:59,240
Speaker 3: before this device is functional, so Santo can't have that

1372
01:13:59,400 --> 01:14:03,680
Speaker 3: device yet. The professor also mentions an additional way that

1373
01:14:03,840 --> 01:14:07,120
Speaker 3: Santo could locate the Martian hideout, though this would be

1374
01:14:07,280 --> 01:14:11,080
Speaker 3: so impossible it's ridiculous to even imagine, but that way

1375
01:14:11,120 --> 01:14:14,240
Speaker 3: would be to take control of one of their almost

1376
01:14:14,400 --> 01:14:18,080
Speaker 3: wrestling championship style belts and to use the dial on it.

1377
01:14:18,920 --> 01:14:21,519
Speaker 3: Santo is like, Okay, all that all makes sense, and

1378
01:14:21,600 --> 01:14:24,080
Speaker 3: now I've got to go practice wrestling, get to the gym.

1379
01:14:24,560 --> 01:14:26,880
Speaker 2: Yeah, it's like it's more important now than ever. I've

1380
01:14:26,960 --> 01:14:27,680
Speaker 2: got to work out.

1381
01:14:27,960 --> 01:14:31,720
Speaker 3: Yes. So here the movie kind of transitions into what

1382
01:14:32,000 --> 01:14:35,720
Speaker 3: feels less continuous and more just like a series of

1383
01:14:35,880 --> 01:14:39,760
Speaker 3: alien encounter episodes and fight scenes. So I thought, here

1384
01:14:39,840 --> 01:14:41,839
Speaker 3: we can just kind of like talk about some highlights.

1385
01:14:43,120 --> 01:14:45,920
Speaker 2: Yeah, because it really does flow like that the movie.

1386
01:14:45,960 --> 01:14:49,240
Speaker 2: It's kind of like highlight after highlight until the movie ends. Yeah,

1387
01:14:49,760 --> 01:14:53,720
Speaker 2: it doesn't. This film doesn't have a lot of I

1388
01:14:53,720 --> 01:14:56,839
Speaker 2: don't know, intentional flow to it, but it's still it's

1389
01:14:57,120 --> 01:14:58,400
Speaker 2: it's entertaining the whole way.

1390
01:14:59,280 --> 01:15:02,080
Speaker 3: So one thing is attempt to number two, to kidnap

1391
01:15:02,120 --> 01:15:04,280
Speaker 3: the Professor. This one comes pretty much right after what

1392
01:15:04,360 --> 01:15:06,479
Speaker 3: we were just talking about. The Professor is left alone

1393
01:15:06,600 --> 01:15:09,240
Speaker 3: he's working on the Martian brain wave detector when the

1394
01:15:09,320 --> 01:15:12,400
Speaker 3: Martians come back to get him. Fortunately, he has a

1395
01:15:12,439 --> 01:15:15,320
Speaker 3: brilliant idea. He knocks a bunch of chemistry beakers on

1396
01:15:15,400 --> 01:15:17,720
Speaker 3: the floor at the martians feet, causing a fire in

1397
01:15:17,800 --> 01:15:21,600
Speaker 3: his lab, and this makes them go away quick thinking Professor.

1398
01:15:21,640 --> 01:15:23,439
Speaker 2: Yeah, because they're like, oh, the fire, it's eating up

1399
01:15:23,479 --> 01:15:26,719
Speaker 2: the oxygen so forth. So yeah, yeah, but he also

1400
01:15:27,040 --> 01:15:28,920
Speaker 2: clearly burns his whole lab down in the process.

1401
01:15:29,439 --> 01:15:31,200
Speaker 3: I was just thinking of the line in the Attack

1402
01:15:31,240 --> 01:15:33,759
Speaker 3: of the Crab Monsters, you know, pity is all fires

1403
01:15:33,880 --> 01:15:37,519
Speaker 3: must one day burn out, let's see.

1404
01:15:38,280 --> 01:15:38,360
Speaker 2: Oh.

1405
01:15:38,439 --> 01:15:40,360
Speaker 3: I also want to note that in this scene, the

1406
01:15:40,479 --> 01:15:42,799
Speaker 3: Martians who come for him, which I believe are Argos

1407
01:15:42,840 --> 01:15:46,599
Speaker 3: and Chronos, they are already changed out of their new

1408
01:15:46,720 --> 01:15:50,320
Speaker 3: Greek hero clothes and back into essentially the original gold

1409
01:15:50,479 --> 01:15:53,120
Speaker 3: Martian outfits, except without the helmets on.

1410
01:15:53,640 --> 01:15:56,040
Speaker 2: Yeah, so we will almost immediately abandon all.

1411
01:15:56,320 --> 01:16:00,200
Speaker 3: Yes, there's this huge like transformation scene and then it

1412
01:16:00,280 --> 01:16:04,080
Speaker 3: has almost no effect in the rest of the film.

1413
01:16:04,720 --> 01:16:07,439
Speaker 3: And I don't think do the Greek costumes ever return.

1414
01:16:07,680 --> 01:16:09,639
Speaker 2: No, They're like, we didn't like the way those felt,

1415
01:16:09,760 --> 01:16:11,599
Speaker 2: so we're just ticularly the old customs.

1416
01:16:12,360 --> 01:16:15,080
Speaker 3: So there is The next thing is ooh, I think

1417
01:16:15,200 --> 01:16:16,600
Speaker 3: this is a really good scene. This is one of

1418
01:16:16,640 --> 01:16:19,599
Speaker 3: my favorites in the movie. The hypnotic attack at Club

1419
01:16:19,680 --> 01:16:25,120
Speaker 3: de Luchadors is good, really good. In this sequence, Santo

1420
01:16:25,320 --> 01:16:27,519
Speaker 3: is training with a couple of his Lucca buddies and

1421
01:16:27,680 --> 01:16:30,320
Speaker 3: it's a tough fight, but they're all friends and it's

1422
01:16:30,360 --> 01:16:32,840
Speaker 3: good sportsmanship all around. So you know, he's wrestling with

1423
01:16:32,920 --> 01:16:35,760
Speaker 3: people they're they're fighting hard, but no hard feelings. These

1424
01:16:35,760 --> 01:16:36,439
Speaker 3: are all friends here.

1425
01:16:37,439 --> 01:16:39,120
Speaker 2: Yeah, and Frankenstein is one of the friends.

1426
01:16:39,400 --> 01:16:42,280
Speaker 3: Yes, and I should know that Santo is masked, but

1427
01:16:42,400 --> 01:16:47,000
Speaker 3: his two training partners are not anyway, So Santo's here

1428
01:16:47,240 --> 01:16:52,600
Speaker 3: and then suddenly disguised as beautiful Earth women and revealing Leotard's.

1429
01:16:53,439 --> 01:16:56,800
Speaker 3: The Martians are Temsa and Diana come into the gym

1430
01:16:56,960 --> 01:17:00,280
Speaker 3: to execute a plans. They walk through the doors as

1431
01:17:00,800 --> 01:17:03,559
Speaker 3: this is right after Santo's sparring matches over and Santo

1432
01:17:03,720 --> 01:17:06,840
Speaker 3: leaves for a minute, and the two Space ladies make

1433
01:17:06,960 --> 01:17:11,800
Speaker 3: eye contact at his two sparring partners, and they're of course.

1434
01:17:11,840 --> 01:17:14,120
Speaker 3: Both of these guys are like, hey, what's up. Hello,

1435
01:17:14,320 --> 01:17:18,560
Speaker 3: and the ladies walk up and they end up hypnotizing

1436
01:17:18,680 --> 01:17:22,360
Speaker 3: them so that when Santo comes back into the room later,

1437
01:17:22,880 --> 01:17:26,400
Speaker 3: his two sparring partners suddenly pounce on him with deadly intent.

1438
01:17:26,560 --> 01:17:31,439
Speaker 3: I think they say, and now you are finished. No, no, sorry,

1439
01:17:31,479 --> 01:17:35,040
Speaker 3: they say, your end has come. Also, I don't know

1440
01:17:35,080 --> 01:17:36,679
Speaker 3: if this even needs to be said, but the Martian

1441
01:17:36,760 --> 01:17:38,920
Speaker 3: ladies are no longer in their Greek outfits either. They're

1442
01:17:38,960 --> 01:17:40,479
Speaker 3: just wearing the tin foil cheek.

1443
01:17:40,800 --> 01:17:43,000
Speaker 2: Yeah, they didn't like that old like it was gross.

1444
01:17:43,720 --> 01:17:46,320
Speaker 3: So this fight I think is pretty good. It's like

1445
01:17:46,400 --> 01:17:49,600
Speaker 3: a no holds barred two on one fight with what

1446
01:17:49,840 --> 01:17:53,479
Speaker 3: I thought were some surprisingly brutal moments and moves, like

1447
01:17:54,080 --> 01:17:57,839
Speaker 3: at one point, the other two wrestlers they grab Santo

1448
01:17:58,439 --> 01:18:02,560
Speaker 3: and they pin Santo's arm across the two saddles on

1449
01:18:02,720 --> 01:18:06,320
Speaker 3: a bench press rack and start kicking his arm like

1450
01:18:06,400 --> 01:18:09,000
Speaker 3: to break it between the two metal hooks, and I

1451
01:18:09,160 --> 01:18:12,120
Speaker 3: was like, oof, that is a I don't know, that

1452
01:18:12,240 --> 01:18:16,240
Speaker 3: has much more kind of gory and brutal implications than

1453
01:18:16,280 --> 01:18:18,080
Speaker 3: a lot of Luca moves. I don't know if you

1454
01:18:18,160 --> 01:18:21,040
Speaker 3: felt the same way, but that it really struck me.

1455
01:18:21,439 --> 01:18:23,760
Speaker 2: Yeah, yeah, absolutely, yeah. This fight here, it does have

1456
01:18:23,920 --> 01:18:26,479
Speaker 2: Luca moves in it, but it also has these these

1457
01:18:26,520 --> 01:18:28,840
Speaker 2: brutal moments. I think on one hand, you have, of

1458
01:18:28,920 --> 01:18:33,080
Speaker 2: course performers here who are used to portraying violence in

1459
01:18:33,400 --> 01:18:36,960
Speaker 2: a way that is convincing. But then also maybe they're

1460
01:18:37,040 --> 01:18:39,080
Speaker 2: like leaning into it, working a little stiff here for

1461
01:18:39,200 --> 01:18:42,400
Speaker 2: the camera. But yeah, it's it's a brutal fight scene. Santo,

1462
01:18:42,479 --> 01:18:45,439
Speaker 2: of course is up up for the fight.

1463
01:18:45,920 --> 01:18:50,120
Speaker 3: Yes, yeah, oh, and I should say during the fight,

1464
01:18:50,200 --> 01:18:52,760
Speaker 3: we see Diana and Artemisa over at the other side

1465
01:18:52,760 --> 01:18:54,760
Speaker 3: of the room watching intently, and I don't know, it

1466
01:18:54,800 --> 01:18:59,000
Speaker 3: seems like they are enjoying what they see. But however,

1467
01:18:59,479 --> 01:19:02,680
Speaker 3: Santo prevails against it even these odds, even two on one,

1468
01:19:02,760 --> 01:19:05,439
Speaker 3: he wins, and when the Martian ladies see that he

1469
01:19:05,600 --> 01:19:07,920
Speaker 3: is going to win. They're like, oh, we gotta get

1470
01:19:07,920 --> 01:19:10,240
Speaker 3: out of here, and they use their belt dials to disappear.

1471
01:19:10,840 --> 01:19:14,080
Speaker 3: The spell immediately wears off, and then Santo's two buddies

1472
01:19:14,120 --> 01:19:16,600
Speaker 3: are just like, gorsh, we were trying to kill you.

1473
01:19:17,160 --> 01:19:20,679
Speaker 3: Wonder why, and it's there aren't a lot of questions

1474
01:19:20,680 --> 01:19:22,439
Speaker 3: about it. It's just kind of like, h, no harm,

1475
01:19:22,520 --> 01:19:24,439
Speaker 3: no foul. They shake it off and then yeah, we're

1476
01:19:24,439 --> 01:19:24,760
Speaker 3: all good.

1477
01:19:25,200 --> 01:19:27,160
Speaker 2: Santo knows it's good. Santo knows your heart.

1478
01:19:27,760 --> 01:19:30,479
Speaker 3: There's a scene after this where the Martians kidnaps more

1479
01:19:30,560 --> 01:19:35,040
Speaker 3: regular Earthlings. It's like a there's a cocktail party of

1480
01:19:35,240 --> 01:19:40,719
Speaker 3: these various scientists and government leaders, just various important big wigs.

1481
01:19:41,200 --> 01:19:42,639
Speaker 3: This is one of the scenes where I was getting

1482
01:19:42,680 --> 01:19:48,639
Speaker 3: really confused about what people understood about the Martian invasion.

1483
01:19:48,760 --> 01:19:50,760
Speaker 3: I'm not sure if I missed something or if this

1484
01:19:50,920 --> 01:19:55,280
Speaker 3: really is just inconsistent or nonsensical. In the movie, everybody

1485
01:19:55,600 --> 01:19:58,559
Speaker 3: usually seems to be aware of the Martians, Like everybody

1486
01:19:58,600 --> 01:20:01,479
Speaker 3: saw the message on TV and then they found out

1487
01:20:01,479 --> 01:20:06,160
Speaker 3: about the astral eye vaporizations. We see newspapers with headlines

1488
01:20:06,160 --> 01:20:09,439
Speaker 3: about the Martian invasion. Everybody seems to be talking about it.

1489
01:20:09,560 --> 01:20:12,680
Speaker 3: Whenever we get scenes of just regular people talking. And

1490
01:20:12,880 --> 01:20:15,680
Speaker 3: yet there is also a b plot that like, these

1491
01:20:15,760 --> 01:20:18,640
Speaker 3: big wigs are trying to keep the Martian attack a

1492
01:20:18,800 --> 01:20:22,800
Speaker 3: secret to avoid causing mass panic, and throughout the rest

1493
01:20:22,880 --> 01:20:25,519
Speaker 3: of the movie, the Martian invasion seems to be both

1494
01:20:25,840 --> 01:20:29,040
Speaker 3: common knowledge and a secret and the subject of a

1495
01:20:29,080 --> 01:20:29,519
Speaker 3: cover up.

1496
01:20:30,080 --> 01:20:34,639
Speaker 2: Yeah, yeah, it's I mean again, it's kind of commendable

1497
01:20:34,680 --> 01:20:38,920
Speaker 2: that the movie is acknowledging some of the complex dynamics

1498
01:20:38,960 --> 01:20:41,840
Speaker 2: that would be in play with a situation like this,

1499
01:20:42,560 --> 01:20:44,040
Speaker 2: But at the same time, it's like, this is not

1500
01:20:44,160 --> 01:20:46,360
Speaker 2: the place where you really get to explore those concepts

1501
01:20:46,640 --> 01:20:47,439
Speaker 2: to their fullest.

1502
01:20:48,080 --> 01:20:51,679
Speaker 3: Well, it's also not portrayal. So like the big wigs

1503
01:20:51,680 --> 01:20:53,640
Speaker 3: who are deciding that there must be a cover up,

1504
01:20:53,960 --> 01:20:57,000
Speaker 3: they stand around with their martinis and cigars and they're like, yes,

1505
01:20:57,120 --> 01:20:59,320
Speaker 3: we must lie to everyone, and we must start by

1506
01:20:59,400 --> 01:21:03,120
Speaker 3: lying to our Yeah. But then they don't really get

1507
01:21:03,120 --> 01:21:05,280
Speaker 3: a chance to lie to their wives yet because instead,

1508
01:21:05,680 --> 01:21:10,000
Speaker 3: suddenly Martian women come into the room. It's Afrodita and Selena.

1509
01:21:10,400 --> 01:21:13,040
Speaker 3: They wander into the party, they get ogled by the

1510
01:21:13,080 --> 01:21:16,320
Speaker 3: conspiracy dudes. They get some nasty looks from the conspiracy

1511
01:21:16,560 --> 01:21:19,559
Speaker 3: dudes wives, and then they teleport the big wigs away

1512
01:21:19,640 --> 01:21:23,240
Speaker 3: to space jail. Oh and then also I didn't understand

1513
01:21:23,280 --> 01:21:25,719
Speaker 3: why this was, but they kidnap a science fiction writer

1514
01:21:25,880 --> 01:21:28,439
Speaker 3: from a restaurant and take him to spaceship jail. That

1515
01:21:28,600 --> 01:21:30,280
Speaker 3: sounds like something written by a writer.

1516
01:21:30,880 --> 01:21:34,400
Speaker 2: Yeah. I have a feeling that the screenwriter was like,

1517
01:21:34,560 --> 01:21:37,519
Speaker 2: I'm just not connecting with any of these characters. I've

1518
01:21:37,560 --> 01:21:41,360
Speaker 2: got an idea, why can't I be kidnapped by the

1519
01:21:41,439 --> 01:21:42,040
Speaker 2: space women.

1520
01:21:42,680 --> 01:21:45,560
Speaker 3: Well he's like, yeah, I want to get seduced by Artemisa.

1521
01:21:46,479 --> 01:21:48,519
Speaker 3: So you know, she makes eyes at him at the

1522
01:21:48,600 --> 01:21:50,840
Speaker 3: restaurant and he follows her away from the table, and

1523
01:21:50,920 --> 01:21:53,120
Speaker 3: then they just blink. You they get teleported.

1524
01:21:53,680 --> 01:21:53,800
Speaker 2: Oh.

1525
01:21:53,880 --> 01:21:56,360
Speaker 3: But it is through the sci fi writers attempt to

1526
01:21:56,560 --> 01:21:59,280
Speaker 3: escape the spaceship that we learn the ship has a

1527
01:21:59,360 --> 01:22:02,040
Speaker 3: big level in the center of the room that causes

1528
01:22:02,120 --> 01:22:05,560
Speaker 3: the ship to explode if it is pulled, and so

1529
01:22:05,680 --> 01:22:07,200
Speaker 3: he goes and reaches for it. I don't know how

1530
01:22:07,240 --> 01:22:09,240
Speaker 3: the sci fi rider knew this. Maybe he's just randomly

1531
01:22:09,320 --> 01:22:12,320
Speaker 3: pulling it levers, but the Martians start yelling, no, that

1532
01:22:12,439 --> 01:22:13,720
Speaker 3: will make the ship blow up.

1533
01:22:14,760 --> 01:22:18,080
Speaker 2: You know, I'm really one of the last people to

1534
01:22:18,400 --> 01:22:21,800
Speaker 2: sexualize everything in a film, But this is the most

1535
01:22:21,880 --> 01:22:25,439
Speaker 2: phallic looking lever I think I've ever seen an emotion picture,

1536
01:22:26,160 --> 01:22:28,679
Speaker 2: and it just makes all of these scenes where folks

1537
01:22:28,760 --> 01:22:31,040
Speaker 2: are grabbing at it all the more hilarious.

1538
01:22:31,240 --> 01:22:34,440
Speaker 3: It's a big just like a handle that is protruding

1539
01:22:34,600 --> 01:22:38,679
Speaker 3: from a large round bass that looks like hips.

1540
01:22:40,960 --> 01:22:43,320
Speaker 2: Like it's somebody. This had to have been intentional on

1541
01:22:43,520 --> 01:22:47,000
Speaker 2: some level. Somebody designing this thing puts some thought into it.

1542
01:22:48,320 --> 01:22:49,960
Speaker 3: So yeah, it makes the ship will up. I wonder

1543
01:22:50,000 --> 01:22:52,160
Speaker 3: if this will come up again later. They do not

1544
01:22:52,280 --> 01:22:54,519
Speaker 3: succeed in blowing up the ship, but so then we

1545
01:22:54,880 --> 01:22:57,000
Speaker 3: just move on. Oh, we get some stuff with the

1546
01:22:57,040 --> 01:23:00,519
Speaker 3: people in the space jail. They're fed concentrated food and

1547
01:23:00,640 --> 01:23:01,160
Speaker 3: things like that.

1548
01:23:01,360 --> 01:23:04,320
Speaker 2: Oh yeap pills for dinner, kind of like Santa conquers

1549
01:23:04,320 --> 01:23:06,840
Speaker 2: the Martians. There's a lot of shared DNA between these

1550
01:23:06,880 --> 01:23:07,400
Speaker 2: two films.

1551
01:23:07,880 --> 01:23:11,120
Speaker 3: We also get more scenes. There are some repetitive things here,

1552
01:23:11,200 --> 01:23:14,200
Speaker 3: more scenes of the Martians all standing around looking sexy.

1553
01:23:14,280 --> 01:23:16,479
Speaker 3: They're all like, you know, flexing their muscles and looking

1554
01:23:16,520 --> 01:23:19,160
Speaker 3: at their bodies and they're like, I don't understand what

1555
01:23:19,280 --> 01:23:23,479
Speaker 3: earthlings see in this disgusting appearance. And in this scene,

1556
01:23:23,520 --> 01:23:25,519
Speaker 3: this is the part where they we get a twist,

1557
01:23:25,920 --> 01:23:29,679
Speaker 3: we learn more about the Martians motivations. So they're talking

1558
01:23:29,720 --> 01:23:31,840
Speaker 3: about they have to kidnap Santo, and they say, you know,

1559
01:23:31,880 --> 01:23:33,519
Speaker 3: when we get him to Mars, we're going to kill

1560
01:23:33,560 --> 01:23:36,720
Speaker 3: him and dissect his body for study. And it's like,

1561
01:23:36,880 --> 01:23:40,280
Speaker 3: why would they do that? Well, because Santo, it turns out,

1562
01:23:40,439 --> 01:23:44,400
Speaker 3: is even more advanced than the Martians themselves. They must so,

1563
01:23:44,600 --> 01:23:46,720
Speaker 3: like they're five hundred years ahead of us, and yet

1564
01:23:46,760 --> 01:23:49,320
Speaker 3: Santo's still ahead of them. So how many years ahead

1565
01:23:49,320 --> 01:23:52,240
Speaker 3: of regular humanity is Santo? I don't know, six hundred years.

1566
01:23:54,240 --> 01:23:57,080
Speaker 3: So they've got to study him. And the reason is this,

1567
01:23:57,640 --> 01:24:00,880
Speaker 3: they want to make copies of Santo use as super

1568
01:24:01,000 --> 01:24:04,280
Speaker 3: soldiers for the armies that they will soon use to

1569
01:24:04,479 --> 01:24:09,160
Speaker 3: launch a full scale invasion of Earth. Doun dun duh.

1570
01:24:09,479 --> 01:24:12,800
Speaker 3: Who could have seen this this twist coming? Because it

1571
01:24:13,000 --> 01:24:18,120
Speaker 3: turns out all that stuff about improving humankind, fostering universal brotherhood,

1572
01:24:18,160 --> 01:24:19,920
Speaker 3: all that it was just it was just for show.

1573
01:24:20,479 --> 01:24:23,320
Speaker 3: It was whoy. They don't actually care. They're just trying

1574
01:24:23,360 --> 01:24:25,400
Speaker 3: to soften us up so they can invade and take

1575
01:24:25,439 --> 01:24:26,240
Speaker 3: our planet.

1576
01:24:26,160 --> 01:24:30,360
Speaker 2: With an Army of dark Santo's Like, that's that's that's awful.

1577
01:24:30,280 --> 01:24:32,480
Speaker 3: Evil Santo's by the millions.

1578
01:24:33,400 --> 01:24:33,559
Speaker 2: Oh.

1579
01:24:33,640 --> 01:24:36,479
Speaker 3: Also after this, uh, we just get like a radio

1580
01:24:36,479 --> 01:24:40,000
Speaker 3: announcer we got talking into a microphone who says that

1581
01:24:40,960 --> 01:24:44,479
Speaker 3: the authorities, in an effort to calm the public, decided

1582
01:24:44,520 --> 01:24:47,519
Speaker 3: to use every tool in their arsenal, including letting people

1583
01:24:47,680 --> 01:24:52,360
Speaker 3: quote enjoy their favorite pastimes. Again, I think that means rastling.

1584
01:24:53,240 --> 01:24:55,760
Speaker 2: This is such a weird sequence. Yeah, because they're building

1585
01:24:55,840 --> 01:24:57,920
Speaker 2: us up, like just go to go to watch your

1586
01:24:57,960 --> 01:25:01,719
Speaker 2: local Lucas show as usual. Well, don't let this fear

1587
01:25:01,840 --> 01:25:05,439
Speaker 2: of alien invasion steer you in a different direction. But then,

1588
01:25:05,560 --> 01:25:08,599
Speaker 2: as we see, nobody actually shows up for resting that night.

1589
01:25:09,000 --> 01:25:10,320
Speaker 2: It's the arena they.

1590
01:25:10,320 --> 01:25:12,080
Speaker 3: Do in the first one. There are two. There are two.

1591
01:25:12,320 --> 01:25:14,920
Speaker 2: People don't show up the second. What's going on by

1592
01:25:14,960 --> 01:25:15,439
Speaker 2: the second one?

1593
01:25:15,760 --> 01:25:17,640
Speaker 3: The second one is when people don't show up the

1594
01:25:17,680 --> 01:25:18,960
Speaker 3: first one, it's a huge crowd.

1595
01:25:19,000 --> 01:25:20,879
Speaker 2: Oh, that's true. It is a big crowd for the first.

1596
01:25:21,080 --> 01:25:23,679
Speaker 3: They may be discouraged for the second one because martians

1597
01:25:23,720 --> 01:25:25,280
Speaker 3: show up at the end of the first match and

1598
01:25:25,360 --> 01:25:26,400
Speaker 3: start vaporizing people.

1599
01:25:26,960 --> 01:25:28,040
Speaker 2: Well that's understandable.

1600
01:25:28,400 --> 01:25:31,000
Speaker 3: But this first one it's is rob Is there a

1601
01:25:31,120 --> 01:25:35,240
Speaker 3: formal term in Lucca for the villain swap out? Like

1602
01:25:35,320 --> 01:25:37,759
Speaker 3: when the villain is you think it's one person behind

1603
01:25:37,800 --> 01:25:39,479
Speaker 3: the mask, but then the mask comes off and it

1604
01:25:39,560 --> 01:25:40,760
Speaker 3: turns out it with somebody else.

1605
01:25:41,439 --> 01:25:43,439
Speaker 2: I don't know if there's any kind of lingo for it. Yeah,

1606
01:25:43,479 --> 01:25:45,639
Speaker 2: but but it is a trope, I guess. Yeah.

1607
01:25:45,840 --> 01:25:47,960
Speaker 3: Well, anyway, here one of the beef aliens I think

1608
01:25:47,960 --> 01:25:50,560
Speaker 3: it's Hercules. He beats up and steals the mask of

1609
01:25:50,680 --> 01:25:54,679
Speaker 3: Santo's scheduled opponent for the night, a wrestler called Black Eagle,

1610
01:25:55,240 --> 01:25:58,200
Speaker 3: and this appears to be the kind of fight where

1611
01:25:58,240 --> 01:26:01,080
Speaker 3: the goal is to take off the opponent's mask. I

1612
01:26:01,120 --> 01:26:03,439
Speaker 3: think that's That's not every fight in Luca, right.

1613
01:26:03,840 --> 01:26:06,320
Speaker 2: No, in fact, I don't. I was kind of scratching

1614
01:26:06,320 --> 01:26:08,519
Speaker 2: my head at this, because generally a mask is on

1615
01:26:08,640 --> 01:26:12,559
Speaker 2: the line officially, in which if you lose the match

1616
01:26:13,080 --> 01:26:15,439
Speaker 2: you have to give up your mask in your previous identity.

1617
01:26:15,960 --> 01:26:20,400
Speaker 2: But then also it is mask ripping, and the unmasking

1618
01:26:20,520 --> 01:26:24,360
Speaker 2: is also a common shenanigan that takes place in Luca masks.

1619
01:26:24,400 --> 01:26:28,120
Speaker 2: So like the rudo's will start tugging at the technico's mask,

1620
01:26:28,520 --> 01:26:30,559
Speaker 2: the raff will get on to them for it. They

1621
01:26:30,680 --> 01:26:33,320
Speaker 2: may pull off a mask and then get a quick

1622
01:26:33,360 --> 01:26:37,680
Speaker 2: pin while the hero's distracted. And then also if memory serves, like,

1623
01:26:37,800 --> 01:26:42,759
Speaker 2: actually snatching the mask off your opponent's face is a dq. So, honestly,

1624
01:26:43,120 --> 01:26:45,840
Speaker 2: maybe it was different back then. I don't know. Maybe

1625
01:26:45,880 --> 01:26:48,559
Speaker 2: they did have matches like this in the fifties and sixties,

1626
01:26:48,640 --> 01:26:51,960
Speaker 2: but it also kind of felt I don't know, I

1627
01:26:52,000 --> 01:26:54,720
Speaker 2: didn't fully understand it. Yeah, but for some reason it

1628
01:26:54,800 --> 01:26:56,720
Speaker 2: seems to be the case that you can end this

1629
01:26:56,840 --> 01:26:58,639
Speaker 2: match by pulling off your opponent's mask.

1630
01:26:58,920 --> 01:27:00,920
Speaker 3: Well, I thought this was a solid fight, and it

1631
01:27:01,000 --> 01:27:03,559
Speaker 3: had a lot of twists and turns and some weird

1632
01:27:03,760 --> 01:27:08,559
Speaker 3: interesting moves and rules. What the weirdest move I think

1633
01:27:08,640 --> 01:27:11,920
Speaker 3: in the entire movie is this match has a clear

1634
01:27:12,000 --> 01:27:14,200
Speaker 3: I'm not exaggerating. There is a move that's like a

1635
01:27:14,400 --> 01:27:16,600
Speaker 3: head butt to the perineum.

1636
01:27:17,080 --> 01:27:20,280
Speaker 2: Yes, yeah, this was great. I'd never seen it before.

1637
01:27:21,320 --> 01:27:24,759
Speaker 2: But there used to be a lot more butt based combat,

1638
01:27:24,800 --> 01:27:26,920
Speaker 2: you know, like the atomic drop used to be big

1639
01:27:27,040 --> 01:27:29,840
Speaker 2: money back in the day. That's the one where you

1640
01:27:30,479 --> 01:27:32,320
Speaker 2: do like it's like you're gonna do a belly to

1641
01:27:32,360 --> 01:27:34,519
Speaker 2: back suplex, but then you bring the opponent down so

1642
01:27:34,680 --> 01:27:39,200
Speaker 2: that their butt lands on your knee. Okay, And you know,

1643
01:27:39,320 --> 01:27:43,200
Speaker 2: it's like it makes sense in a wrestling world, you know,

1644
01:27:43,280 --> 01:27:45,519
Speaker 2: because it's like, oh, impact of the spine, like that's

1645
01:27:45,520 --> 01:27:49,200
Speaker 2: a full body you know effect right there. But it

1646
01:27:49,320 --> 01:27:51,560
Speaker 2: also is kind of funny because you're hitting somebody in

1647
01:27:51,560 --> 01:27:53,120
Speaker 2: the butt, so you don't see it as much anymore.

1648
01:27:53,439 --> 01:27:55,800
Speaker 3: Okay, Okay, I accept it. I mean I don't want

1649
01:27:55,840 --> 01:27:57,240
Speaker 3: to be head butted in the butt either.

1650
01:27:58,320 --> 01:28:00,680
Speaker 2: Yeah. I'd never seen an attack like this before. This

1651
01:28:00,840 --> 01:28:01,400
Speaker 2: was pretty great.

1652
01:28:09,880 --> 01:28:13,840
Speaker 3: At one point, Hercules gets the gets the better of Santo, though,

1653
01:28:13,960 --> 01:28:17,240
Speaker 3: and he rips off Santo's mask oh no, only to

1654
01:28:17,400 --> 01:28:20,600
Speaker 3: reveal that Santo is wearing a second mask underneath.

1655
01:28:21,080 --> 01:28:21,280
Speaker 2: Yeah.

1656
01:28:21,320 --> 01:28:24,160
Speaker 3: And then somehow Hercules the alien knows to like throw

1657
01:28:24,400 --> 01:28:26,320
Speaker 3: the first mask that he took off. He throw it

1658
01:28:26,360 --> 01:28:28,360
Speaker 3: on the ground and stomp on it and squish it.

1659
01:28:29,720 --> 01:28:32,960
Speaker 3: And somebody starts to rebuke Santo for this. He's like

1660
01:28:33,479 --> 01:28:35,519
Speaker 3: suggesting it's some kind of cheating I think, to be

1661
01:28:35,600 --> 01:28:38,760
Speaker 3: wearing more than one mask. But Santo counters that his

1662
01:28:38,880 --> 01:28:42,000
Speaker 3: opponent is not actually an Earthling but a Martian, and

1663
01:28:42,439 --> 01:28:45,519
Speaker 3: I guess that's a that is a legitimate counter argument,

1664
01:28:45,840 --> 01:28:48,160
Speaker 3: and he proves this by pinning him and ripping off

1665
01:28:48,240 --> 01:28:51,920
Speaker 3: his mask, and for some reason this makes the Martian

1666
01:28:52,040 --> 01:28:56,479
Speaker 3: transform into his original Martian hair and helmet, which causes

1667
01:28:56,520 --> 01:28:58,719
Speaker 3: the people in the arena to freak out and scatter.

1668
01:28:59,120 --> 01:29:01,960
Speaker 3: And then the Martians appear and start astral eye blasting

1669
01:29:02,000 --> 01:29:06,760
Speaker 3: everybody in, vaporizing them yep. And then of course they

1670
01:29:06,880 --> 01:29:08,439
Speaker 3: turn the dial again and escape.

1671
01:29:09,080 --> 01:29:12,080
Speaker 2: So clearly some other form of attack is going to

1672
01:29:12,120 --> 01:29:13,599
Speaker 2: be necessary to defeat Santa.

1673
01:29:14,240 --> 01:29:17,680
Speaker 3: That's right. Now they try a seduction as well. How

1674
01:29:18,120 --> 01:29:19,880
Speaker 3: well do you think this is going to work on Santo?

1675
01:29:20,000 --> 01:29:21,439
Speaker 2: Oh, this is not going to work. In fact, I

1676
01:29:21,600 --> 01:29:24,280
Speaker 2: was a little it seems like it's working, and I

1677
01:29:24,439 --> 01:29:24,880
Speaker 2: was shocked.

1678
01:29:25,160 --> 01:29:27,320
Speaker 3: Yes, but it's it turns out it's like a dream

1679
01:29:27,439 --> 01:29:30,519
Speaker 3: fake out. So we see Santo at home in his

1680
01:29:30,640 --> 01:29:32,680
Speaker 3: full outfit with the mask on, lying on his bed

1681
01:29:32,760 --> 01:29:35,439
Speaker 3: reading a book, and then who should appear at the

1682
01:29:35,439 --> 01:29:38,280
Speaker 3: opposite end of the room but Afrodita, the most powerful

1683
01:29:38,360 --> 01:29:42,439
Speaker 3: seductress of the Martian operators, and she's like, hey, Santo,

1684
01:29:42,640 --> 01:29:45,160
Speaker 3: and then she blows some smoke into the air and

1685
01:29:46,320 --> 01:29:49,560
Speaker 3: the Martian love goddesses they I think they're multiple of

1686
01:29:49,680 --> 01:29:53,240
Speaker 3: them there, and they hypnotize Santo start kissing him and

1687
01:29:53,400 --> 01:29:55,560
Speaker 3: remove his mask. Now we don't see his face, we

1688
01:29:55,640 --> 01:29:57,719
Speaker 3: only see from behind, but we see like his hair,

1689
01:29:58,200 --> 01:30:00,719
Speaker 3: and I was just like you, s it can't be true.

1690
01:30:00,760 --> 01:30:04,040
Speaker 3: It can't be Santo is he cannot be defeated in

1691
01:30:04,120 --> 01:30:06,479
Speaker 3: this way. But it turns out it's all like a

1692
01:30:06,560 --> 01:30:08,960
Speaker 3: horrible dream. He wakes up and she's still there, but

1693
01:30:09,080 --> 01:30:12,240
Speaker 3: he hasn't actually kissed her or anything, and his mask

1694
01:30:12,360 --> 01:30:14,479
Speaker 3: is still on, and he's like, you know, if you

1695
01:30:14,560 --> 01:30:17,040
Speaker 3: try to kidnap me, I might steal your belt and

1696
01:30:17,160 --> 01:30:20,400
Speaker 3: your Martian technology. And that threat alone is enough to

1697
01:30:20,439 --> 01:30:21,960
Speaker 3: make her be like, oh, never mind, and.

1698
01:30:21,960 --> 01:30:25,360
Speaker 2: Then they just back away and then teleport.

1699
01:30:25,680 --> 01:30:28,720
Speaker 3: Next there is a scene where Marsh where he ends

1700
01:30:28,800 --> 01:30:31,519
Speaker 3: up using the device that the Professor made to track

1701
01:30:31,600 --> 01:30:34,599
Speaker 3: the Martians to a Catholic church where they're there arguing

1702
01:30:34,720 --> 01:30:37,080
Speaker 3: with the priest about I don't know, they're just like

1703
01:30:37,240 --> 01:30:41,400
Speaker 3: having a moral argument with the priest, and there is

1704
01:30:41,479 --> 01:30:43,760
Speaker 3: a weird kind of discussion of whether or not they

1705
01:30:43,760 --> 01:30:45,960
Speaker 3: should fight inside the church. I think they have to

1706
01:30:46,000 --> 01:30:47,200
Speaker 3: take the fight outside.

1707
01:30:47,640 --> 01:30:52,000
Speaker 2: Yeah, Like the basically the priest here is like he

1708
01:30:52,080 --> 01:30:53,920
Speaker 2: pulls out some highlander lord and he's like, this is

1709
01:30:53,960 --> 01:30:56,240
Speaker 2: holy ground. You can't actually fight here, and they're like,

1710
01:30:56,360 --> 01:30:58,960
Speaker 2: fair enough, yep, we respect holy ground.

1711
01:30:59,520 --> 01:31:01,960
Speaker 3: Then one of the most baffling things in the movie

1712
01:31:02,040 --> 01:31:05,800
Speaker 3: after this is the Professor is invited to some kind

1713
01:31:05,880 --> 01:31:09,920
Speaker 3: of celebration of scientific achievement, which takes the form of

1714
01:31:10,280 --> 01:31:15,120
Speaker 3: a party with burlesque dancing. So it's there, it's like

1715
01:31:15,200 --> 01:31:18,880
Speaker 3: people there with their families to receive awards for scientific achievements.

1716
01:31:19,680 --> 01:31:22,599
Speaker 3: But then of course there are four burlesque dancers who,

1717
01:31:22,720 --> 01:31:27,280
Speaker 3: of course they get hypnotized by the Martian ladies, who

1718
01:31:27,400 --> 01:31:31,680
Speaker 3: then steal their costumes and do the dance themselves. The

1719
01:31:32,200 --> 01:31:34,840
Speaker 3: costumes are hilarious. It's like something out of Doctor Seuss.

1720
01:31:34,880 --> 01:31:36,080
Speaker 3: It looks like the lore Axe.

1721
01:31:36,240 --> 01:31:39,040
Speaker 2: Yeah, I mean, it's really it's really classy stuff. It's

1722
01:31:39,560 --> 01:31:42,320
Speaker 2: I guess it's kind of chorus line, right.

1723
01:31:42,720 --> 01:31:45,800
Speaker 3: Yeah, yeah, I guess. So I don't know the terminology here,

1724
01:31:46,360 --> 01:31:48,839
Speaker 3: But what are the dancers going to do here? Obviously

1725
01:31:48,880 --> 01:31:53,000
Speaker 3: they're here to kidnap the professor, and so they take

1726
01:31:53,040 --> 01:31:55,240
Speaker 3: the professor they send him back to the ship as well.

1727
01:31:55,840 --> 01:31:57,920
Speaker 3: Now later we see the Martians at the ship and

1728
01:31:58,120 --> 01:32:00,599
Speaker 3: they're like, uh, oh, we're in trouble now, all out

1729
01:32:00,600 --> 01:32:03,040
Speaker 3: of our atmosphere pills, and it's it's do or die.

1730
01:32:03,240 --> 01:32:05,960
Speaker 3: It's this is our last chance chance to capture Santo

1731
01:32:06,080 --> 01:32:08,800
Speaker 3: before we must leave this planet because we you know,

1732
01:32:08,920 --> 01:32:12,120
Speaker 3: the atmosphere is killing us. So Santo comes up with

1733
01:32:12,160 --> 01:32:14,960
Speaker 3: a plan that involves guess what what's it going to be?

1734
01:32:15,040 --> 01:32:21,200
Speaker 3: It's another wrestling match, So they get that going. Uh,

1735
01:32:21,600 --> 01:32:23,600
Speaker 3: there's not a whole lot to explain here, It's just

1736
01:32:23,720 --> 01:32:26,080
Speaker 3: like they have another match. This time there's nobody in

1737
01:32:26,200 --> 01:32:29,120
Speaker 3: the arena, but it still manages to trick the Martians

1738
01:32:29,160 --> 01:32:32,519
Speaker 3: into showing up. Santo beats them up and he they

1739
01:32:32,600 --> 01:32:34,519
Speaker 3: fall right into his trap. He beats them up and

1740
01:32:34,640 --> 01:32:38,439
Speaker 3: he manages to steal one of the belts, which earlier

1741
01:32:38,479 --> 01:32:41,640
Speaker 3: they said that would be impossible. So now he's got

1742
01:32:41,680 --> 01:32:44,040
Speaker 3: a belt and that man and that allows him to

1743
01:32:44,240 --> 01:32:47,559
Speaker 3: teleport to where the ship is, so it's on now.

1744
01:32:47,760 --> 01:32:50,559
Speaker 3: He goes back to the Martian ship and arrives actually

1745
01:32:50,600 --> 01:32:53,720
Speaker 3: to find the Martians all generally asphyxiating, and he like

1746
01:32:53,880 --> 01:32:56,360
Speaker 3: fights them in the state, which I don't know. It

1747
01:32:56,360 --> 01:32:59,920
Speaker 3: felt a little anti climactic. But he frees the hostage.

1748
01:33:00,120 --> 01:33:03,080
Speaker 3: Is they all run outside, and here is where they get.

1749
01:33:03,520 --> 01:33:06,040
Speaker 3: We get a brief discussion between Santo and the professor,

1750
01:33:06,360 --> 01:33:08,680
Speaker 3: because the professor is like, hey, we should save the

1751
01:33:08,760 --> 01:33:11,040
Speaker 3: Martian ship. We've got to use it to advance Earth

1752
01:33:11,120 --> 01:33:15,040
Speaker 3: technology by five hundred years, right, and Santo says, no, no, no,

1753
01:33:15,400 --> 01:33:17,840
Speaker 3: we must destroy it because we are not ready for

1754
01:33:17,960 --> 01:33:20,080
Speaker 3: such power. It must be eliminated.

1755
01:33:20,680 --> 01:33:22,640
Speaker 2: I mean, this is this is a part of the

1756
01:33:22,800 --> 01:33:24,920
Speaker 2: film where it's like, all right, this is they're cooking

1757
01:33:24,960 --> 01:33:28,560
Speaker 2: a little bit here with these ideas. Yeah, Santo's like, like,

1758
01:33:28,640 --> 01:33:30,519
Speaker 2: we're going out there to destroy it, not to bring

1759
01:33:30,640 --> 01:33:31,600
Speaker 2: back and.

1760
01:33:32,720 --> 01:33:36,080
Speaker 3: Right, yeah, he's the ripley in the scenario nukid for morbid,

1761
01:33:36,479 --> 01:33:38,679
Speaker 3: which he does by running back into the ship once

1762
01:33:38,720 --> 01:33:42,080
Speaker 3: more and pulling the lever. Pulling the lever we talked about,

1763
01:33:42,120 --> 01:33:45,040
Speaker 3: the lever of death. He pulls it real good. He

1764
01:33:45,680 --> 01:33:48,519
Speaker 3: jumps out of the ship. There's a big explosion. Santo

1765
01:33:48,640 --> 01:33:51,120
Speaker 3: and the freed prisoners watch the ship burn, and then

1766
01:33:51,160 --> 01:33:54,200
Speaker 3: the narrator comes in and says, the human race has

1767
01:33:54,240 --> 01:33:57,000
Speaker 3: been saved for the moment. Will we learn our lesson

1768
01:33:57,439 --> 01:34:00,920
Speaker 3: or insist on carrying on? Crazy nuclear experiments until we

1769
01:34:01,000 --> 01:34:04,160
Speaker 3: disappear from the face of the earth, and the narrator

1770
01:34:04,280 --> 01:34:07,200
Speaker 3: is saying this as we just watch Santo turn around

1771
01:34:07,320 --> 01:34:10,719
Speaker 3: and wander into the woods, leaving the freed prisoners alone

1772
01:34:10,840 --> 01:34:11,560
Speaker 3: by themselves.

1773
01:34:12,000 --> 01:34:15,040
Speaker 2: I really like this sending, though, because it's like Santa's saying, Look,

1774
01:34:15,200 --> 01:34:16,920
Speaker 2: I'm not always going to be here to fight your

1775
01:34:16,920 --> 01:34:18,800
Speaker 2: battles for you and to clean things up for you.

1776
01:34:18,800 --> 01:34:21,320
Speaker 2: You've got to figure this out for your own humanity.

1777
01:34:22,280 --> 01:34:24,880
Speaker 2: You've got to decide what you want for this world

1778
01:34:25,080 --> 01:34:28,559
Speaker 2: and for your lives. And yeah, so Santo leaves them there.

1779
01:34:29,000 --> 01:34:32,000
Speaker 3: Great, Yeah, all right, So that was Santo in the

1780
01:34:32,040 --> 01:34:32,879
Speaker 3: Martian invasion.

1781
01:34:33,800 --> 01:34:40,080
Speaker 2: Yes, he successfully defeated the invasion, did not find it

1782
01:34:40,240 --> 01:34:44,320
Speaker 2: necessary to then go and conquer the Martians. Leave that

1783
01:34:44,720 --> 01:34:45,719
Speaker 2: for Santa Claus.

1784
01:34:47,439 --> 01:34:49,400
Speaker 3: Someday we'll have to come back and explore all of

1785
01:34:49,439 --> 01:34:51,479
Speaker 3: the parallels between Santo and Santa Claus.

1786
01:34:52,479 --> 01:34:59,040
Speaker 2: Number Yeah, like the attempt to kidnap Santo and Santa

1787
01:34:59,080 --> 01:35:03,240
Speaker 2: Claus the head, the food pills. I mean, you know,

1788
01:35:03,320 --> 01:35:05,760
Speaker 2: I guess they're both pulling on a lot of sci

1789
01:35:05,880 --> 01:35:08,120
Speaker 2: fi ideas that were very much in the heather at

1790
01:35:08,160 --> 01:35:08,519
Speaker 2: that time.

1791
01:35:08,840 --> 01:35:13,559
Speaker 3: You never see them out of costume. They're paragons of virtue.

1792
01:35:14,240 --> 01:35:14,439
Speaker 2: Yeah.

1793
01:35:14,640 --> 01:35:16,880
Speaker 3: Yeah, they teach the children to do right.

1794
01:35:17,120 --> 01:35:19,799
Speaker 2: Yeah. But we had no divisions this time in Martian

1795
01:35:20,520 --> 01:35:22,760
Speaker 2: the Martian camp. You know, we didn't have like pro

1796
01:35:22,920 --> 01:35:25,600
Speaker 2: Santo anti Santo camp. That would have been interesting. But

1797
01:35:25,920 --> 01:35:30,280
Speaker 2: oh yeah, there's no dropo. This movie needed to drive.

1798
01:35:30,320 --> 01:35:32,960
Speaker 2: That would be my other main criticism is that Santo

1799
01:35:33,000 --> 01:35:37,839
Speaker 2: and the Treasure of Dracula had a nice comic relief SIDEKICKO. Yeah, parago,

1800
01:35:38,000 --> 01:35:39,760
Speaker 2: and we didn't have a perago. We didn't have a

1801
01:35:39,840 --> 01:35:42,600
Speaker 2: dropoh in this in this picture, I'm not sure we

1802
01:35:42,680 --> 01:35:43,160
Speaker 2: had room for.

1803
01:35:43,600 --> 01:35:45,920
Speaker 3: Can't have everything, Rob, that's true, that's true.

1804
01:35:46,600 --> 01:35:48,439
Speaker 2: All right, we're gonna go ahead and call it for

1805
01:35:48,520 --> 01:35:50,760
Speaker 2: this episode, but we'd love to hear your thoughts on

1806
01:35:51,240 --> 01:35:55,320
Speaker 2: this and other Santo movies, Luchador movies, Luchadora movies. Write in.

1807
01:35:55,520 --> 01:35:57,719
Speaker 2: We would love to hear from you. Just a reminder

1808
01:35:57,760 --> 01:35:59,200
Speaker 2: of the stuff to Blow your Mind is primarily a

1809
01:35:59,280 --> 01:36:02,160
Speaker 2: science and podcast with core episodes on Tuesdays and Thursdays,

1810
01:36:02,200 --> 01:36:04,280
Speaker 2: but on Fridays, we set aside most serious concerns to

1811
01:36:04,320 --> 01:36:06,360
Speaker 2: just talk about a weird film on Weird House Cinema.

1812
01:36:06,760 --> 01:36:09,240
Speaker 2: You can find us on a letterboxed we are Weird House,

1813
01:36:09,320 --> 01:36:11,160
Speaker 2: and you can also find us on Instagram, where we

1814
01:36:11,280 --> 01:36:12,879
Speaker 2: are STBYM podcast.

1815
01:36:13,240 --> 01:36:16,719
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1816
01:36:16,960 --> 01:36:18,519
Speaker 3: If you would like to get in touch with us

1817
01:36:18,600 --> 01:36:20,880
Speaker 3: with feedback on this episode or any other, to suggest

1818
01:36:20,920 --> 01:36:22,880
Speaker 3: a topic for the future, or just to say hello,

1819
01:36:23,240 --> 01:36:25,880
Speaker 3: you can email us at contact stuff to Blow your

1820
01:36:25,960 --> 01:36:26,800
Speaker 3: Mind dot com.

1821
01:36:33,360 --> 01:36:36,280
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1822
01:36:36,400 --> 01:36:39,160
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1823
01:36:39,320 --> 01:36:42,080
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