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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob

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Speaker 1: Lamb and Hey, this is a fun one for you.

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Speaker 1: This was I think one of three or four different

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Speaker 1: Florida movies that we did back in twenty twenty one,

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Speaker 1: including the likes of Frogs and Zat you know, the

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Speaker 1: Bloodwaters of Doctor z. But this is the nineteen seventy

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Speaker 1: seven picture shock Waves. This one is indeed about Nazi

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Speaker 1: zombies emerging off the coast of Florida and attacking people

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Speaker 1: in the ruins of a huge Florida hotel. This is

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Speaker 1: one that really creeped me out when I saw it

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Speaker 1: on TBS back in the day. I think it was

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Speaker 1: TBS anyway, and I think it holds up pretty well.

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Speaker 1: So this is a fun discussion. Let's jump right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird Cinema. This is Rob Lamb.

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Speaker 3: And I'm Joe McCormick, and we're back to complete our

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Speaker 3: trilogy of Florida movies. Now recently on Weird House Cinema,

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Speaker 3: we looked at the movie Frogs starring Sam Elliott, which

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Speaker 3: is about as Florida as a movie can Get and

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Speaker 3: then we also recently discussed the movie Zat, which is

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Speaker 3: about a man who dreamed he was a catfish and

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Speaker 3: then turned himself into one, though didn't really look like

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Speaker 3: a catfish, but just sort of like went around settling

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Speaker 3: grudges and getting revenge and semi catfish form. And it's

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Speaker 3: more Florida again. This time it's going to be Florida

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Speaker 3: Nazi zombies.

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Speaker 1: That's right. We're going to be looking at the nineteen

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Speaker 1: seventy seven film shock Waves. I believe it was actually

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Speaker 1: filmed in nineteen seventy five, so it's still a few

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Speaker 1: years later than our two previous Florida films, but it

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Speaker 1: is very much a product of the nineteen seventies, and

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Speaker 1: it is I should make it clear here. It's actually

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Speaker 1: supposed to take place on a Caribbean island, but it's

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Speaker 1: very much filmed in Florida, and I think it's ultimately

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Speaker 1: a Florida movie to its core. It has elements in

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Speaker 1: common with our previous two picks, but it's also doing

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Speaker 1: its own thing.

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Speaker 3: You know. I think it's fitting that we discuss our

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Speaker 3: final Florida movie today because I have to be honest

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Speaker 3: and say I am running like, right now, my gas

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Speaker 3: tank is full of sand. So Rob, I hope you

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Speaker 3: can bring the life to inject into this podcast today.

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Speaker 1: I'm going to do my best, all right, All right,

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Speaker 1: Well I have my tea here, so I hopefully that

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Speaker 1: will invigorate me as well. Okay, So, yeah, this movie

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Speaker 1: has things in common with both zat and Frogs, but

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Speaker 1: it's very much doing its own thing because for starters,

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Speaker 1: it's a zombie movie. Furthermore, it digs into two different

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Speaker 1: sub genres of zombie movies by being both an aquatic

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Speaker 1: zombie movie and a Nazi zombie movie. And you know,

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Speaker 1: it's pretty early in either of these subgenre traditions. And

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Speaker 1: I think you could also make a strong case that

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Speaker 1: this is this film might be the true trend setter,

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Speaker 1: if not one of the key trend setters, for both.

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Speaker 3: You know. I think I've said on the show before

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Speaker 3: for that, of all the different types of creatures in

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Speaker 3: horror movies, I feel like, on average, it's zombie movies

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Speaker 3: that are the most often trying to say something with

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Speaker 3: the story they tell. You know, the zombies, for some

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Speaker 3: reason just lend themselves quite well to cultural commentary. This movie,

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Speaker 3: I don't think it's trying to say anything.

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Speaker 1: No, I don't think it is. I think you can

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Speaker 1: lean into we'll discuss you might be able to lean

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Speaker 1: into it a little bit and draw maybe a little

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Speaker 1: bit of nuance from it. But for the most part,

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Speaker 1: this is a film that just wants to scare you

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Speaker 1: and have some creepy stuff going on in it, and

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Speaker 1: and it ultimately succeeds.

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Speaker 3: Yeah, yeah, yeah, this is a I would say a

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Speaker 3: success on the front of stylish horror movie, and that

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Speaker 3: the creatures look creepy, and you spend a lot of

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Speaker 3: this movie just looking at them. They're just like popping

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Speaker 3: up out of the water, popping up from behind roots,

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Speaker 3: kind of like you might open a drawer in the

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Speaker 3: kitchen and there's one of these zombies in there and

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Speaker 3: it's just looking up at you with those goggles. And yeah,

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Speaker 3: that's what it does. It does it well, and I

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Speaker 3: give it all all credit.

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Speaker 1: Yeah, So we'll talk about the zombies in this film

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Speaker 1: a bit more now. Now on the zombie front, on

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Speaker 1: the Nazi zombie front, rather, there are only a handful

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Speaker 1: of cinematic predecessors to this movie. There's nineteen forty three's

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Speaker 1: Revenge of the Zombies, which had John Carodine in it.

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Speaker 1: Who's also in this film that involved a mad scientist

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Speaker 1: trying to create zombies for the Third Reich?

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Speaker 3: But Wadiams hasn't it, hasn't it been proven that John

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Speaker 3: Carodine is actually in all films ever made?

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Speaker 1: Just about Yeah, well, we'll do a proper breakdown on

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Speaker 1: Kerodine in a bit. But he's come up before, because yeah,

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Speaker 1: he has a tremendous filmography.

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Speaker 3: Well wait a minute, I challenge you name a film

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Speaker 3: John Carrodine was not in. You can't do.

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Speaker 1: It within his lifetime. Or well, he was actually in

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Speaker 1: some films outside of his lifetime, which fu get we'll discuss.

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Speaker 1: But yeah, there was also a nineteen sixty six film

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Speaker 1: called The Frozen Dead which at thaw Nazis zombies in it,

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Speaker 1: and there are a handful of other films that also

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Speaker 1: involved Nazis in the occult as part of a general

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Speaker 1: trend in science fiction and horror, as well as new

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Speaker 1: age and conspiracy thinking. Because the filmmakers behind Shockwaves they're

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Speaker 1: pretty upfront about citing a nineteen sixty book titled The

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Speaker 1: Morning of the Magicians as a prime influence. So this

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Speaker 1: I think We've briefly discussed this book before, talking about

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Speaker 1: like ancient alien stuff before, but this was a popular

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Speaker 1: book in conspiracy theory circles. Remains popular in conspiracy theory

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Speaker 1: circles because it entails just a whole host of their

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Speaker 1: favorite topics like UFOs and Nazi occultism and so forth.

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Speaker 3: Though it's funny we think about the I don't know

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Speaker 3: the occult Nazi sub genre as a I don't know

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Speaker 3: the special remit of sort of obscure drek in the

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Speaker 3: film world, but it's easy to forget that some of

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Speaker 3: the most mainstream movies ever got into this territory. This

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Speaker 3: is what Indiana Jones is about. It's all like occult

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Speaker 3: not stuff.

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Speaker 1: Yeah, Raiders the Lost Arc is the biggest Nazi occultist

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Speaker 1: film of all time. And later on you had to

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Speaker 1: Gaielmo de Toro's hell Boy got into the same territory,

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Speaker 1: but that was that was a little bit later. Initially,

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Speaker 1: like Shockwaves was was a big trendsetter. There's a film

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Speaker 1: in nineteen eighty called Zombie Lake that I think was

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Speaker 1: a French Spanish production that was I think heavily inspired

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Speaker 1: by Shockwaves, if not just kind of a you know,

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Speaker 1: very very much followed in its footsteps, because you went

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Speaker 1: on to see people like Joel Schumacher get involved in

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Speaker 1: the Nazi zombie subgenre, like two thousand and nine Blood Creek.

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Speaker 1: You see it in all sorts of video games. So

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Speaker 1: it's become something that that sci fi and horror is

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Speaker 1: really latched onto. And I think a lot of that

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Speaker 1: probably has to do with just the simple formula of

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Speaker 1: taking you know, human evil and supernatural evil and combining them,

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Speaker 1: taking traditional movie villains and traditional movie monsters and combining them.

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Speaker 1: And maybe if you're, you know, daring to get a

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Speaker 1: little contemplative, you might say, you know, the fear of

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Speaker 1: re emergence of a dreadful and destructive ideology, plus the

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Speaker 1: just the obvious metaphor of reanimated corpses.

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Speaker 3: Oh yeah, I mean that would be an interesting thematic resonance,

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Speaker 3: though I don't think I can honestly say that this

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Speaker 3: movie seems like it had that on its mind.

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Speaker 1: No, no, no, no, no, that would that would be

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Speaker 1: an add on if you just think too hard about chockwtz.

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Speaker 3: Right, if you were to try to make an intellectually

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Speaker 3: curious zombie Nazi movie, that would be a good direction

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Speaker 3: to go with it.

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Speaker 1: Yeah, oh, but I should mention on the aquatic zombie front.

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Speaker 1: Aren't a lot of films that may be come to

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Speaker 1: mind in this category. There's nineteen seventy nine's Zombie from

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Speaker 1: Lucio Fulci, which had a pretty tremendous scene with an

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Speaker 1: underwater zombie, a shark and I think a snorkeler. It's

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Speaker 1: been a while since I've seen Zombie.

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Speaker 3: It's best remembered for the zombie fighting the shark, and

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Speaker 3: I think the zombie wins. I think it like bites

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Speaker 3: the shark and Okay, that's it.

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Speaker 1: Well it is called zombie, not sharks, so that makes sense.

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Speaker 1: But that was seventy nine.

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Speaker 3: Now I can't stand by that. Sorry, I'm not sure.

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Speaker 1: Maybe it's a draw, I don't know. But at any rate,

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Speaker 1: that came after shock Waves. A film that came before it,

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Speaker 1: but just barely was The Ghost Gallleon from nineteen seventy four.

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Speaker 1: That was one of Amando Diasario's Blind Dead films. I

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Speaker 1: don't know if you've seen any of these, Joe. They're

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Speaker 1: they're pretty low budget and they have a bunch of

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Speaker 1: undead templars engaging in generally they're just chasing people down

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Speaker 1: and killing them, but in this particular one, they're engaging

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Speaker 1: in some beach in underwater horror.

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Speaker 3: Oh well, so the undead templars connects to a thing

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Speaker 3: I was going to ask you about, which is I

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Speaker 3: was trying to think if there is something else like that,

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Speaker 3: you know, because there are tons of these Nazi zombie movies,

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Speaker 3: if there's something else like that, like a group of

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Speaker 3: like it's all zombies, but they're united by something they

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Speaker 3: had in common in life, maybe like they are certain

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Speaker 3: type of soldier. And I really couldn't think. I could

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Speaker 3: think of tons of Nazi zombie movies, but couldn't really

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Speaker 3: think of many other examples. So it makes me think

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Speaker 3: that what's attractive about this subgenre is not that it's like,

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Speaker 3: oh they are you know, they all have this in

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Speaker 3: common and then they become undead. It's the specific historical

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Speaker 3: resonances of the Nazis. And I think that's I think

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Speaker 3: you're exactly right when you say it's probably as simple

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Speaker 3: as what's the evilest human thing you can think of

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Speaker 3: and then just make it supernatural?

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Speaker 1: Yeah, yeah, I think so, And it remains a winning formula,

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Speaker 1: Like now more so than ever.

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Speaker 3: But anyway, the templars thing here, you said that would

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Speaker 3: be one counter example. Okay, here's something else. This is

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Speaker 3: like they're all templars and now they're templar zombies.

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Speaker 1: Yes, and maybe there's some other examples out there in

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Speaker 1: the film world I'm just not aware of. So if

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Speaker 1: they're if there's something like maybe there's are there zombie

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Speaker 1: Samurai films? I don't know, nothing's coming to mind, but

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Speaker 1: maybe I'm missing something obvious.

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Speaker 3: Are there zombie Chicago Bears or like a specific sports team.

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Speaker 1: A zombie that sounds like it could be like a

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Speaker 1: good sort of field goally movie, you know where it's

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Speaker 1: like there's nothing in the rule book that says a

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Speaker 1: team of zombies can't take to the field and try

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Speaker 1: to win the Super Bowl. And then it happens, and

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Speaker 1: it's magical for everybody.

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Speaker 3: You producers out there, we're just feeding your gold day

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Speaker 3: after day. I know I'm going to send us the checks.

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Speaker 1: All right, let's get to the elevator pitch for this film.

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Speaker 1: It's pretty simple. Aquatic Nazi zombies left over from World

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Speaker 1: War Two rise from the deep in the Caribbean to

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Speaker 1: hunt down tourists through a desolated beach resort in the

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Speaker 1: mid nineteen seventies.

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Speaker 3: Yeah, with Peter Cushing. Yes, Peter Cushing just happens to

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Speaker 3: be in the mix.

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Speaker 1: All right, let's have some of that trailer audio.

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Speaker 4: You are now in the deep end of horror, shock

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Speaker 4: waves once they were almost human. You mean to say

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Speaker 4: that what we all saw out there is just a mirage.

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Speaker 4: It was a minor underwater disturbance, the hot sky acting

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Speaker 4: on Nicole Current, coming from a mile down below. Something unknown,

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Speaker 4: something unforeseen, something unspeakable, lives below, and it lives to destroy.

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Speaker 4: They have risen.

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Speaker 3: All right, So who directed this thing?

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Speaker 1: This film was directed by Ken Viderhorn, director and writer,

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Speaker 1: and while this was his big breakout film, he went

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Speaker 1: on to direct a number of genre features, including Eyes

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Speaker 1: of a Stranger, Return of the Living Dead two, Dark Tower,

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Speaker 1: which I believe is a haunted skyscraper movie. I haven't

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Speaker 1: actually seen it, and he also directed seven episodes of

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Speaker 1: Freddy's Nightmares, as well as A House in the Hills.

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Speaker 3: I think I have seen Dark Tower. I think somehow

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Speaker 3: I just found that on the internet one night and

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Speaker 3: put it on and it was pretty bad. Return to

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Speaker 3: the Living Dead two I haven't seen, but Return of

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Speaker 3: the Living Dead one is one of my favorite comedy

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Speaker 3: horror movies. That movie is near perfect.

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Speaker 1: Yeah, Dan O'Bannon on that one. Yeah, that's a great one.

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Speaker 3: Yeah, but I've heard that the second one is still

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Speaker 3: I've heard it described as still pretty fun, but sort

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Speaker 3: of taking the premise of the first movie to a

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Speaker 3: kind of Looney Tunes elevation.

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Speaker 1: All right, now, I mentioned Viderhorn. It was one of

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Speaker 1: the writers. The co writer on this was John Kent Harrison,

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Speaker 1: who enjoyed quite a writing and directing career after this,

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Speaker 1: though not a lot of stuff that I'm personally familiar with.

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Speaker 1: But his credits include nineteen ninety nine's You Know My

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Speaker 1: Name starring Sam Elliott, as well as a bear named Winnie,

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Speaker 1: which I think it's like a Winnie the Pooh or

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Speaker 1: it's a maybe it's a biopic about the creator of

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Speaker 1: Winnie the Pooh. It starred Michael Fassbender as Winnie the Pooh.

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Speaker 1: Michael Fassbender was in I think he was in a

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Speaker 1: Nazi zombie movie, the one directed by Joel Schumacher by

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Speaker 1: the way, Okay, as well as Stephen Frye. I was

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Speaker 1: also in that Wow. Yeah. Also responsible for the Courageous

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Speaker 1: Heart of Irene Sendler starring Anna Paquin. So yeah, this

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Speaker 1: guy went on to do a lot of stuff and

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Speaker 1: is still active.

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Speaker 3: Did the writer of Shockwaves write mister Hollands Opus.

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Speaker 1: I don't think so. But that's like the sort of

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Speaker 1: genre of film that he seemed to have gone on to.

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Speaker 3: Uh huh.

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Speaker 1: All right, well let's talk about the cast here top billing,

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Speaker 1: and we've already mentioned him. Peter Cushing is in this.

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Speaker 1: He plays SS Commander no given name for this character.

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Speaker 1: They're light on names, that's right.

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Speaker 3: He never says his name, Yeah.

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Speaker 1: Yep, doesn't introduce himself.

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Speaker 3: Also, I don't think he even tries a German accent,

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Speaker 3: does he. I don't recall one.

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Speaker 1: You know. It's a little it's a little German. It's

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Speaker 1: it's very clearly identifiable as Peter Cushing. It's Peter Cushing,

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Speaker 1: like germaned up ten percent.

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Speaker 3: Okay, apology for misremembering.

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Speaker 1: So Peter Cushing, of course lived nineteen thirteen through nineteen

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Speaker 1: ninety four. He's a legend. This is Hammer's Doctor Frankenstein,

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Speaker 1: this is Star Wars Grand Moth Tarkin, enthusiastic war gamer

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Speaker 1: and the man with the sharpest cheekbones and the biz

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Speaker 1: he can.

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Speaker 3: Use multiple parts of his face as an ice pick.

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Speaker 1: Yeah. I used to own the Blue Underground DVD of

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Speaker 1: this film and somehow lost it. But I remember in

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Speaker 1: the various extras on that they talked to some of

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Speaker 1: the cast members on this and they talked about working

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Speaker 1: with Peter Cushing, and like everybody else, it seems they

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Speaker 1: just had nice things to say about him. He was

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Speaker 1: just like a total professional, super nice. And I think

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Speaker 1: the only even slightly negative thing is like is one

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Speaker 1: of the actors said something to the effect of like, yeah,

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Speaker 1: he showed up and he was He just had all

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Speaker 1: his lines memorized and he was so professional that he

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Speaker 1: made me feel like a little crappy for not being

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Speaker 1: as on top of things as he was. But yeah,

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Speaker 1: everybody seems to have loved Cushing.

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Speaker 3: That's something I'm always kind of curious about when you

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Speaker 3: hear those little things about which actors memorize their lines

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Speaker 3: in which one.

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Speaker 1: Stone Yeah, cushion was. I think he was one of

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Speaker 1: yea with total pro like. He doesn't matter what caliber

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Speaker 1: of film it was, he showed up and he did

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Speaker 1: the job all right. Did we mention you we did mention.

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Speaker 1: John Carrodine is in this.

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Speaker 3: Yeah.

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Speaker 1: He has the distinction of playing the only character with

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Speaker 1: a last name really place. Yeah, he plays Captain Ben Morris.

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Speaker 3: I don't say really because I am surprised nobody else

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Speaker 3: had a last name. I'm surprised because I didn't remember

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Speaker 3: him having one.

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Speaker 1: Now, but maybe that was one of his demands. He's like,

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Speaker 1: I'll do it, but you've got to give me a

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Speaker 1: last name. I'm not playing a character with just a

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Speaker 1: first name or no name. You leave that to Cushing.

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Speaker 3: Oh, he's kind of grizzled in this.

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Speaker 1: Yeah. So yeah. This is another film legend, certainly a

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Speaker 1: horror screen legend. He was in any and everything from

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Speaker 1: nineteen thirty to nineteen ninety five, yes, seven years after

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Speaker 1: his death. A little film called Jacko that I think

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Speaker 1: you've seen.

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Speaker 3: Yeah, I don't even know how to describe that one.

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Speaker 3: It's like a It's an mega grade direct to video

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Speaker 3: Halloween themed movie that has him in scenes where he

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Speaker 3: is not on screen with anybody else because I think

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Speaker 3: the footage his footage in the movie appears to have

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Speaker 3: been shot approximately seventeen years before the rest of the film.

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Speaker 3: Otherwise it's got like Linea Quigley and a bunch of

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Speaker 3: teenagers running around getting attacked by this thing with a pumpkinhead.

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Speaker 1: I think, okay, sounds like a winning concept. So yeah, Kerodeine,

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Speaker 1: he was in a lot of Indian horror films, but

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Speaker 1: we have to remember he was also in the Grapes

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Speaker 1: of Wrath. He was in Stagecoach, he was in The

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Speaker 1: Ten Commandments, which also featured Vincent Price. Speaking of horror icons. Yeah,

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Speaker 1: and of course John Carrodine was also notable as the

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Speaker 1: patriarch of the Carrodeine family, the father of David Keith

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Speaker 1: and Robert Carrodine, who all carried on this tradition of

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Speaker 1: being in you know, all different sorts of films, but

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Speaker 1: also doing a good job. Like Krodine is always John Canary,

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Speaker 1: He's always watchable.

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Speaker 3: I was really hoping he would sing a song in

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Speaker 3: this one, though, like you couldn't even do so. He's

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Speaker 3: done the Night Train to Mundo Fie. He could he

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Speaker 3: not come up with a you know, the Island of

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Speaker 3: those shock Waves. It seems like they should have put

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Speaker 3: in the effort.

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Speaker 1: I've I've I've either read or remember from the digital

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Speaker 1: I'm not Digital Underground Blue Underground DVD, that that he

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Speaker 1: did all of his stunts in this, which don't really

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Speaker 1: amount to a lot, but he was seventy one years

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Speaker 1: old at the time and like he did like all

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Speaker 1: the physicality that was asked of him in this, so

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Speaker 1: oh so quite a.

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Speaker 3: Trooper at the part when you see his dead body

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Speaker 3: under the glass as they have they like ride a

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Speaker 3: glass bottom boat over his corpse and he's there shirtless

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Speaker 3: with his hair swinging around in the water. So that's him.

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Speaker 3: That's yeah, yeah, okay, so yeah, all right.

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Speaker 1: All right. The so that they these guys get top billing,

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Speaker 1: you know, because they're the horror icons and they're the

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Speaker 1: ones you want to put on your horror post here.

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Speaker 1: But the real star, like our lead and our main hero,

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Speaker 1: is the character Rose, played by Brooke Adams born nineteen

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Speaker 1: forty nine.

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Speaker 3: I love Brook Adams. Brook Adams is in one of

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Speaker 3: my all time favorite horror movies, the nineteen seventy eight

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Speaker 3: remake of Invasion of the Body Snatchers, which you've never

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Speaker 3: seen is just excellent, just one of the best ever made.

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Speaker 1: This is the Philip Kaufman win Yes, yes, yeah, So

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Speaker 1: at the time of Shockwaves. She was an Indian TV actor,

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Speaker 1: though she had appeared uncredited. I think a very bit

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Speaker 1: role in nineteen seventy four is The Great Gatsby. But her, yeah,

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Speaker 1: her career took off after Shockwaves. Maybe because of Shockwaves,

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Speaker 1: I don't know. She was in Terrence Malix Days of

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Speaker 1: Heaven the following year. You already mentioned Body Snatchers. She

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Speaker 1: also went on to star opposite Christopher Walken and David

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Speaker 1: Cronenberg's adaptation of Stephen King's The Dead Zone. She was

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Speaker 1: in The Stuff The Unborn, and she did a whole

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Speaker 1: lot of TV work. And it's a bit of trivia.

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Speaker 1: She's been married to actor Tony Shaloub since nineteen ninety ten.

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Speaker 3: Oh, I had no idea. Yeah, Broke Adams is great.

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Speaker 3: She's got that great screen presence of the kind of

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Speaker 3: just instantly likable always.

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Speaker 4: Yeah.

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Speaker 1: Yeah. She checks off all the major boxes for female

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Speaker 1: lead in the seventies horror film in this while also

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Speaker 1: like having that extra you know, bit of charisma and talent.

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Speaker 1: You know you could it's not surprising that she went

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Speaker 1: on to be in all these other things. You know.

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Speaker 1: There's sometimes just the way she delivers certain lines in

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Speaker 1: this that might otherwise be throwaway lines. She's able to

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Speaker 1: inject a certain amount of nuance or comedy into it.

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Speaker 3: Yeah, okay, So who's our mustache for the movie?

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Speaker 1: Oh well, this is Luke Halpin playing Keith. Halpin was

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Speaker 1: born in nineteen forty seven, a handsome fellow with a

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Speaker 1: maximum mid seventies mustache, and his main claim to fame

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Speaker 1: prior to this is that he played the character Sandy Rix,

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Speaker 1: a child in the nineteen sixty three film Flipper opposite

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Speaker 1: Chuck Connors, and then played the same role in the

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Speaker 1: TV show to follow, though in this the TV show

390
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Speaker 1: did not have Chuck Conners and a dolphin. It had

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Speaker 1: Brian Kelly and a dolphin. Fun fact, Brian Kelly has

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Speaker 1: a single executive producer credit on IMDb, and it's for

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Speaker 1: Blade Runner. But anyway, it happens good in this. I

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Speaker 1: liked him. Yeah, maybe it's his mustache. I don't know.

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Speaker 3: We can call him the Mustache Runner from here on out.

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Speaker 3: I always thinking he's very seventies. To me, he looks

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Speaker 3: like one of the members of Still Water, You know that.

398
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Speaker 3: He looks like he just lost four cases of beer

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Speaker 3: playing cards with Humble Pie.

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Speaker 1: Yeah, yeah, I mean, he's got a certain I mean

401
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Speaker 1: he's no, he's no Sam Elliott, you know, but but

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Speaker 1: he has he has a certain laid back mid seventies

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Speaker 1: style to him that it works well on the film.

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Speaker 1: And and he's he's he's also decent at at bringing

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Speaker 1: across a certain level of fear and anxiety that becomes

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Speaker 1: absolutely necessary in a film like this.

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Speaker 4: Yeah.

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Speaker 3: Now, the rest of the cast just sort of is

409
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Speaker 3: rounded out mostly by these people playing tourists who are

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Speaker 3: zombie fodder.

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Speaker 1: Yeah. Yeah, and I'm not sure how many of them

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Speaker 1: are necessarily worth spending a lot of time on, but

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Speaker 1: they're all pretty good in their role. You have this

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Speaker 1: guy Fred Butch I believe it is. I lived thirty

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Speaker 1: five through twenty twelve. Yeah, plays the character Chuck. This

416
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Speaker 1: is a guy who had various roles in eighties movies,

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Speaker 1: including Cocoon and Caddy Shack. And he looks like he

418
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Speaker 1: was in another Florida movie, this time of slasher titled

419
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Speaker 1: Nightmare Beach from nineteen eighty nine that Romberto Lindsay was

420
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Speaker 1: involved in and that also featured Michael Parks and John Saxon.

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Speaker 3: But yeah, I was thinking of Chuck in this movie

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Speaker 3: as Bacardi Man. I didn't know what his name was,

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Speaker 3: so I just called him Bacardi Man the whole time.

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Speaker 1: Yeah, he has a signature look, often shirtless, sometimes just

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Speaker 1: in tidy white. He's running around on the deck of

426
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Speaker 1: a ship. He's great because he's kind of like you.

427
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Speaker 1: You always have to have your your array of characters

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Speaker 1: from detestable to likable or lovable, and he's nicely situated

429
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Speaker 1: in the middle. You know, you don't really hate him,

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Speaker 1: but he's You're not going to be that disappointed when

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Speaker 1: a zombie kills him.

432
00:22:06,960 --> 00:22:10,359
Speaker 3: He also has a seemingly out of character freak out

433
00:22:10,400 --> 00:22:12,600
Speaker 3: toward the end of the movie. That's pretty amusing.

434
00:22:12,960 --> 00:22:13,240
Speaker 1: Yeah.

435
00:22:13,400 --> 00:22:16,240
Speaker 3: Yeah, Oh, but then we also have like this angry,

436
00:22:16,240 --> 00:22:18,760
Speaker 3: aggressive nerd character named Norman.

437
00:22:19,400 --> 00:22:23,000
Speaker 1: Yes, Norman is great, played by Jack Davidson born nineteen

438
00:22:23,040 --> 00:22:25,720
Speaker 1: thirty six. This actor did a lot of small parts

439
00:22:25,720 --> 00:22:28,880
Speaker 1: in films, including eighty seven's The Secret of My Success

440
00:22:28,880 --> 00:22:31,840
Speaker 1: eighty three is Trading Places. In this he is a

441
00:22:31,960 --> 00:22:36,120
Speaker 1: used car salesman on vacation with his wife Beverly, and

442
00:22:36,520 --> 00:22:39,040
Speaker 1: oh man, he is not satisfied and he will be

443
00:22:39,080 --> 00:22:40,080
Speaker 1: speaking to your manager.

444
00:22:40,200 --> 00:22:44,240
Speaker 3: Yes, he exudes not satisfied with my service. That is

445
00:22:44,320 --> 00:22:45,399
Speaker 3: his personality.

446
00:22:45,920 --> 00:22:50,240
Speaker 1: Yeah, Beverly is great in this too, played by DJ Sidney,

447
00:22:50,280 --> 00:22:51,840
Speaker 1: but she wasn't really in much beyond this.

448
00:22:52,840 --> 00:22:55,280
Speaker 3: Oh, and then there's also Dobbs. He's like Bacardi Man

449
00:22:55,359 --> 00:22:57,879
Speaker 3: number two. This movie has multiple Bacardi men.

450
00:22:58,480 --> 00:23:01,520
Speaker 1: Dobbs is your straight Bcarardy man, though he is going

451
00:23:01,520 --> 00:23:04,720
Speaker 1: to drink the Baccardi straight, no no mixers, no ice,

452
00:23:04,760 --> 00:23:07,800
Speaker 1: and he will have it for breakfast. He plays our

453
00:23:08,280 --> 00:23:11,240
Speaker 1: the dive boats alcoholic cook and I guess like sort

454
00:23:11,240 --> 00:23:16,080
Speaker 1: of general like boat guy played by a Cola based

455
00:23:16,119 --> 00:23:21,080
Speaker 1: actor Don Scout who lived nineteen twenty three through two

456
00:23:21,080 --> 00:23:23,399
Speaker 1: thousand and four. And even he's good and this is

457
00:23:23,480 --> 00:23:26,520
Speaker 1: kind of a you know, a throwaway role, I guess.

458
00:23:26,520 --> 00:23:29,720
Speaker 1: But he's he's amusing, He's this. Yeah, just this, this

459
00:23:29,840 --> 00:23:32,240
Speaker 1: alcoholic boat guy who you know is not going to

460
00:23:32,280 --> 00:23:34,520
Speaker 1: make it far into the film. But he is also

461
00:23:34,560 --> 00:23:36,080
Speaker 1: not you know, you're not he's not hateable.

462
00:23:36,400 --> 00:23:39,000
Speaker 3: He has an interesting death scene we'll get too later on.

463
00:23:39,200 --> 00:23:43,240
Speaker 1: Yeah, just a small role. But there's a fisherman that

464
00:23:43,240 --> 00:23:45,840
Speaker 1: shows up early on, played by the actor Clarence Thomas

465
00:23:45,840 --> 00:23:48,600
Speaker 1: who lived thirty four through two thousand and nine. An

466
00:23:48,640 --> 00:23:53,120
Speaker 1: actor and according to IMDb, which again can sometimes be incorrect,

467
00:23:53,200 --> 00:23:57,560
Speaker 1: but IMDb claims he was the first African American Florida

468
00:23:57,560 --> 00:24:00,000
Speaker 1: Branch president of the Screen Actors Guild from two thousd

469
00:24:00,320 --> 00:24:02,000
Speaker 1: to two thousand and two. So there you go.

470
00:24:02,480 --> 00:24:06,000
Speaker 3: Now, there's one reason I know you must have wanted

471
00:24:06,000 --> 00:24:09,000
Speaker 3: to do this movie, which is it has an electronic score.

472
00:24:09,720 --> 00:24:12,080
Speaker 1: Yes, as far as I'm concerned, one of the and

473
00:24:12,080 --> 00:24:14,480
Speaker 1: I think this is essential for my understanding of the

474
00:24:14,520 --> 00:24:16,920
Speaker 1: Florida movie. But yeah, one of the true stars of

475
00:24:16,960 --> 00:24:21,800
Speaker 1: this film is Richard Einhorn because he is responsible for

476
00:24:22,280 --> 00:24:26,560
Speaker 1: Shockwave's tremendous score. I think it's absolutely top shelf composed

477
00:24:26,600 --> 00:24:30,320
Speaker 1: and performed by contemporary classic musical composer Richard Einhorn.

478
00:24:30,720 --> 00:24:33,760
Speaker 3: So this is not an Italian composed score, but I

479
00:24:33,800 --> 00:24:35,679
Speaker 3: would say it feels Italian to me.

480
00:24:36,600 --> 00:24:39,280
Speaker 1: Yeah, yeah, it definitely has some of those vibes going on.

481
00:24:39,600 --> 00:24:43,600
Speaker 1: It's it's worth that a lot of electronic music in

482
00:24:43,680 --> 00:24:47,679
Speaker 1: the genre score world, they come from individuals who, in

483
00:24:47,720 --> 00:24:50,200
Speaker 1: some cases they were largely self taught, or they came

484
00:24:50,280 --> 00:24:54,520
Speaker 1: up playing for and working with bands. Einhorn, however, was

485
00:24:54,520 --> 00:24:57,879
Speaker 1: a graduate of Columbia University where he studied electronic music

486
00:24:57,920 --> 00:25:02,240
Speaker 1: and composition under the of some individuals that are apparently

487
00:25:02,280 --> 00:25:07,320
Speaker 1: major names in that field of not just popular electronic

488
00:25:07,359 --> 00:25:12,840
Speaker 1: music but like classical composition and electronic music, like Vladimir

489
00:25:13,119 --> 00:25:17,240
Speaker 1: Yusuchevsky and Mario david Offsky. And Einhorn went on to

490
00:25:17,280 --> 00:25:22,000
Speaker 1: compose such works as The Origin and opera that was

491
00:25:22,040 --> 00:25:25,280
Speaker 1: inspired by Charles Darwin's life and work with lyrics by

492
00:25:25,280 --> 00:25:26,680
Speaker 1: poet Katherine Barnett.

493
00:25:27,119 --> 00:25:27,679
Speaker 3: Interesting.

494
00:25:28,280 --> 00:25:31,719
Speaker 1: Another composition, Voices of Light, was inspired by the Silent

495
00:25:31,800 --> 00:25:34,359
Speaker 1: Joan of Arc film, and you can find this particular

496
00:25:35,080 --> 00:25:38,359
Speaker 1: piece of music on Spotify and various other streaming sites.

497
00:25:38,640 --> 00:25:40,680
Speaker 3: Buddy also did some trash horror.

498
00:25:40,320 --> 00:25:45,760
Speaker 1: Movies YEP, including ultimately several Viderhorn movies. He did Eyes

499
00:25:45,760 --> 00:25:49,200
Speaker 1: of a Stranger as well as he also did the

500
00:25:49,640 --> 00:25:52,160
Speaker 1: influential nineteen eighty one slasher film The Prowler.

501
00:25:52,760 --> 00:25:55,120
Speaker 3: Oh yeah, that was when we talked about. When I

502
00:25:55,160 --> 00:25:58,680
Speaker 3: was a guest on Movie Crush with Chuck Bryant and

503
00:25:59,000 --> 00:26:02,400
Speaker 3: several of our other friends from the office, we talked

504
00:26:02,400 --> 00:26:06,200
Speaker 3: about slasher movies that one's not I mean, there really

505
00:26:06,240 --> 00:26:09,080
Speaker 3: are no slasher movies that are like really good movies.

506
00:26:09,119 --> 00:26:12,880
Speaker 3: Maybe Halloween or something, but that one's just in terms

507
00:26:12,920 --> 00:26:15,760
Speaker 3: of slasher style, it's got a lot going for it.

508
00:26:15,760 --> 00:26:18,359
Speaker 3: It's got a very menacing looking killer in terms of

509
00:26:18,400 --> 00:26:21,560
Speaker 3: the costume, which is similar to what this movie really

510
00:26:21,560 --> 00:26:22,320
Speaker 3: has going for it.

511
00:26:22,640 --> 00:26:26,840
Speaker 1: Yeah, definitely menacing looking adversaries. Now, Einhorn also did Let's

512
00:26:26,840 --> 00:26:29,600
Speaker 1: See Blood Rage, Dead of Winter, The Dark Tower, but

513
00:26:29,640 --> 00:26:34,200
Speaker 1: he also composed the scores for, in particular the score

514
00:26:34,240 --> 00:26:37,960
Speaker 1: for nineteen ninety one's Closet Land. This starred Madeline Stowe

515
00:26:38,000 --> 00:26:41,280
Speaker 1: and Alan Rickman, and Philip Glass was involved as that

516
00:26:41,320 --> 00:26:45,960
Speaker 1: as well as creative musical supervision, and from there he

517
00:26:46,000 --> 00:26:50,800
Speaker 1: also did various work for documentaries and art films. Now, interestingly,

518
00:26:51,359 --> 00:26:54,439
Speaker 1: Einhorn lost his hearing at the age of fifty seven,

519
00:26:54,840 --> 00:26:57,800
Speaker 1: and there's a twenty eleven New York Times article that

520
00:26:57,880 --> 00:27:00,840
Speaker 1: details how the use of a hearing allowed him to

521
00:27:00,920 --> 00:27:04,800
Speaker 1: enjoy live music again. So if you're interested, I recommend

522
00:27:05,080 --> 00:27:07,800
Speaker 1: looking that article up and reading it. It's quite it's

523
00:27:07,880 --> 00:27:10,400
Speaker 1: quite breath tacking because it gets into the technology a bit,

524
00:27:10,640 --> 00:27:13,000
Speaker 1: but also just talking to Einhorn about how, you know

525
00:27:13,040 --> 00:27:15,639
Speaker 1: he'd lost his hearing, he thought that he'd never be

526
00:27:15,640 --> 00:27:21,119
Speaker 1: able to enjoy live musical performances again. And then he's

527
00:27:21,280 --> 00:27:24,640
Speaker 1: trying on this loop and he went to see Wicked,

528
00:27:24,720 --> 00:27:26,520
Speaker 1: I think, or something like that, and he said, I'm

529
00:27:26,560 --> 00:27:31,959
Speaker 1: not even a fan of musicals, but the experience reduced

530
00:27:32,040 --> 00:27:34,800
Speaker 1: him to tears, you know, because he was able to

531
00:27:35,119 --> 00:27:38,359
Speaker 1: hear this again. So it's a really great read that's inspiring.

532
00:27:38,960 --> 00:27:41,920
Speaker 1: Now the score for Shockwaves again, in my opinion, I

533
00:27:41,920 --> 00:27:46,800
Speaker 1: think it's absolutely great, legitimately jarring, deeply disturbing. I think

534
00:27:46,880 --> 00:27:49,440
Speaker 1: Shockwaves would have ultimately been an interesting film with a

535
00:27:49,480 --> 00:27:52,359
Speaker 1: different score, but I'm not sure it would have really

536
00:27:52,359 --> 00:27:55,280
Speaker 1: succeeded to the level that it does because Einhorn just

537
00:27:55,320 --> 00:27:58,840
Speaker 1: fills the picture with sonic dread that makes everything else

538
00:27:58,880 --> 00:28:01,520
Speaker 1: work ten times as well as it would otherwise. There

539
00:28:01,560 --> 00:28:04,280
Speaker 1: are bits where he bleeds in the audio of like

540
00:28:05,160 --> 00:28:07,960
Speaker 1: Chance from the Third Reich, and there are also some

541
00:28:08,000 --> 00:28:12,879
Speaker 1: really unsettling nature sounds as well, underwater reverberations. There's this

542
00:28:12,960 --> 00:28:16,679
Speaker 1: disturbing shrieking sound at one point. So the music really

543
00:28:17,080 --> 00:28:18,359
Speaker 1: really keeps you on your toes.

544
00:28:18,800 --> 00:28:30,320
Speaker 3: Let's hear some of it now.

545
00:28:30,359 --> 00:28:33,040
Speaker 1: I don't think the score is officially available anywhere in

546
00:28:33,119 --> 00:28:36,040
Speaker 1: digital form. Sadly, you may be able to find some

547
00:28:36,119 --> 00:28:40,320
Speaker 1: unofficial streams, but Waxwork Records has it out on vinyl,

548
00:28:40,480 --> 00:28:43,200
Speaker 1: and I'm again I'm not a vinyl collector. I don't do,

549
00:28:43,280 --> 00:28:46,040
Speaker 1: not have a record player, but this looks absolutely splendid

550
00:28:46,080 --> 00:28:51,400
Speaker 1: because it's remastered and it's available in Seafoam Green. The

551
00:28:51,440 --> 00:28:54,080
Speaker 1: actual record is Seafoam Green, and then it has some

552
00:28:54,720 --> 00:28:57,680
Speaker 1: custom art on the front and on the back and

553
00:28:57,720 --> 00:29:01,120
Speaker 1: some new liner notes. So any vinyl fans out there,

554
00:29:01,840 --> 00:29:04,720
Speaker 1: if you're interested, check this out, and if you already

555
00:29:04,720 --> 00:29:06,640
Speaker 1: own it, tell me what it is like.

556
00:29:07,040 --> 00:29:09,280
Speaker 3: Oh, I may have to order this one. Yeah, it

557
00:29:09,280 --> 00:29:10,680
Speaker 3: has good art, all right.

558
00:29:11,160 --> 00:29:15,160
Speaker 1: I guess a couple of more connections here in passing.

559
00:29:15,760 --> 00:29:18,800
Speaker 1: Alan Ormsby was born nineteen forty three is responsible for

560
00:29:18,840 --> 00:29:21,200
Speaker 1: the special makeup we see in the picture of these

561
00:29:21,320 --> 00:29:24,480
Speaker 1: Nazi zombies, and while he worked special makeup in a

562
00:29:24,520 --> 00:29:27,760
Speaker 1: few films previously, including Children Shouldn't Play with Dead Things,

563
00:29:28,040 --> 00:29:30,520
Speaker 1: he also wrote that film and actually served as a

564
00:29:30,560 --> 00:29:34,120
Speaker 1: screenwriter for many years, with credits that include Paul Schrader's

565
00:29:34,160 --> 00:29:38,040
Speaker 1: Cat People, the nineteen ninety one horror anthology film Popcorn,

566
00:29:38,560 --> 00:29:42,160
Speaker 1: The Substitute starring Tom Behringer and its various sequels, which

567
00:29:42,200 --> 00:29:46,320
Speaker 1: I think we've talked about and confused it with other

568
00:29:46,360 --> 00:29:48,720
Speaker 1: films on that previous episodes of Weird House.

569
00:29:48,920 --> 00:29:52,440
Speaker 3: I think, on reflection, I have not actually seen that movie.

570
00:29:52,480 --> 00:29:55,680
Speaker 3: I just find it conceptually funny because it's Tom Barringer

571
00:29:55,760 --> 00:29:56,640
Speaker 3: looking so stern.

572
00:29:57,080 --> 00:29:59,080
Speaker 1: Yeah yeah, I think that's the only thing he does

573
00:29:59,080 --> 00:30:02,240
Speaker 1: in it. But then also Ormsby has an additional story

574
00:30:02,320 --> 00:30:07,520
Speaker 1: material credit on Disney's animated version of Mulan, So yeah,

575
00:30:07,640 --> 00:30:10,960
Speaker 1: strange connections on this one. But yeah, the death Cord

576
00:30:11,360 --> 00:30:14,080
Speaker 1: troopers in this do look very creepy with the goggles

577
00:30:14,120 --> 00:30:19,040
Speaker 1: and the model pale flesh and wet seaweed like blonde hair.

578
00:30:19,400 --> 00:30:21,960
Speaker 3: This is one of those movies that knows it has

579
00:30:22,040 --> 00:30:25,760
Speaker 3: a great looking monster and so they just show it.

580
00:30:25,840 --> 00:30:27,840
Speaker 3: You know. It reminds me of the story about the

581
00:30:27,840 --> 00:30:30,520
Speaker 3: production of the first Friday the Thirteenth movie when they

582
00:30:30,560 --> 00:30:33,840
Speaker 3: had oh, what's his name, who's doing the blood the

583
00:30:33,840 --> 00:30:37,560
Speaker 3: makeup effects, Tom Savini, Tom Savini doing the makeup effects,

584
00:30:37,600 --> 00:30:40,440
Speaker 3: and they realized the makeup effects looked so good. They

585
00:30:40,440 --> 00:30:42,960
Speaker 3: were like, wellet we got to put those more on screens.

586
00:30:43,160 --> 00:30:45,800
Speaker 3: They's just play it. Up. You get the sense that's

587
00:30:45,840 --> 00:30:49,560
Speaker 3: what was going on here. I suspect the zombies in

588
00:30:49,600 --> 00:30:53,280
Speaker 3: this movie ended up looking creepier than the director might

589
00:30:53,320 --> 00:30:55,640
Speaker 3: have hoped, and so we end up just seeing them

590
00:30:55,760 --> 00:31:00,680
Speaker 3: a lot.

591
00:31:05,040 --> 00:31:08,080
Speaker 1: Well, let's get into the plot breakdown for this film.

592
00:31:08,560 --> 00:31:10,200
Speaker 1: Let's explore shockwaves.

593
00:31:10,440 --> 00:31:13,480
Speaker 3: Okay, Well, this is one of those movies that starts

594
00:31:13,520 --> 00:31:18,600
Speaker 3: with a Texas chainsaw massacre style grim voiceover before you

595
00:31:18,640 --> 00:31:20,840
Speaker 3: get any action or meet any of the characters.

596
00:31:21,160 --> 00:31:24,240
Speaker 1: Yeah, it wants you to know this really happened, or

597
00:31:24,480 --> 00:31:25,760
Speaker 1: to a certain extent.

598
00:31:25,640 --> 00:31:28,480
Speaker 3: The following is a true story about Nazi zombies.

599
00:31:28,760 --> 00:31:30,880
Speaker 1: Yeah, and I'll just go ahead and read it verbatim

600
00:31:30,880 --> 00:31:34,000
Speaker 1: real quick, you know, in a creepy voice. Shortly before

601
00:31:34,040 --> 00:31:36,200
Speaker 1: the start of World War Two, the German High Command

602
00:31:36,280 --> 00:31:39,360
Speaker 1: began a secret investigation into the powers of the supernatural.

603
00:31:39,840 --> 00:31:42,520
Speaker 1: Ancient legend told of a race of warriors who used

604
00:31:42,680 --> 00:31:46,120
Speaker 1: neither weapons nor shields, and whose superhuman power came from

605
00:31:46,160 --> 00:31:49,240
Speaker 1: within the earth itself. As Germany prepared for war, the

606
00:31:49,360 --> 00:31:51,760
Speaker 1: s s secretly enlisted a group of scientists to create

607
00:31:51,760 --> 00:31:54,680
Speaker 1: an invincible soldier. It is known that the bodies of

608
00:31:54,720 --> 00:31:57,680
Speaker 1: soldiers killed in battle were returned to a secret laboratory

609
00:31:57,800 --> 00:32:00,440
Speaker 1: near Koblin's, where they were used in a veryvariety of

610
00:32:00,480 --> 00:32:03,560
Speaker 1: scientific experiments. It was rumored that toward the end of

611
00:32:03,560 --> 00:32:07,200
Speaker 1: the war, Allied forces met German squads that fought without weapons,

612
00:32:07,440 --> 00:32:10,200
Speaker 1: killing only with their bare hands. No one knows who

613
00:32:10,200 --> 00:32:12,320
Speaker 1: they were or what became of them, but one thing

614
00:32:12,360 --> 00:32:15,120
Speaker 1: is certain. Of all the SS units, there was only

615
00:32:15,160 --> 00:32:17,840
Speaker 1: one that the Allies never captured a single member of.

616
00:32:18,840 --> 00:32:20,160
Speaker 3: This is not a true story.

617
00:32:20,360 --> 00:32:23,040
Speaker 1: No, this is not true at all, but it does.

618
00:32:23,680 --> 00:32:26,280
Speaker 1: It sets the stage, and you know you're going to

619
00:32:26,320 --> 00:32:29,360
Speaker 1: see all the soldiers in the photo again in an

620
00:32:29,360 --> 00:32:32,040
Speaker 1: altered form. And if you weren't paying attention, don't worry.

621
00:32:32,040 --> 00:32:34,200
Speaker 1: Peter Cushing will come around later in the film and

622
00:32:34,240 --> 00:32:35,720
Speaker 1: he'll basically tell you everything again.

623
00:32:35,800 --> 00:32:36,640
Speaker 3: Oh yeah, that's true.

624
00:32:36,680 --> 00:32:36,880
Speaker 4: Yeah.

625
00:32:36,920 --> 00:32:40,800
Speaker 3: You get a second exposition dump which somewhat varies from

626
00:32:40,800 --> 00:32:43,239
Speaker 3: the narration at the beginning, which makes you wonder if

627
00:32:43,240 --> 00:32:45,680
Speaker 3: Peter Cushing is maybe lying a little bit, or I

628
00:32:45,720 --> 00:32:47,800
Speaker 3: don't know, or maybe I don't know, maybe I'd only

629
00:32:47,840 --> 00:32:51,000
Speaker 3: perceive the differences anyway. So we start off with a

630
00:32:51,120 --> 00:32:53,880
Speaker 3: fishing boat rescue. There are some fishermen who were out

631
00:32:53,880 --> 00:32:56,840
Speaker 3: on the high seas and they spy a small boat

632
00:32:56,880 --> 00:33:00,440
Speaker 3: adrift and they pull alongside to help, and we get

633
00:33:00,440 --> 00:33:04,400
Speaker 3: some more narration, not by the John Laraquet style narration

634
00:33:04,520 --> 00:33:07,800
Speaker 3: from the beginning, but instead from Brook Adams. And she's

635
00:33:07,920 --> 00:33:10,360
Speaker 3: lying there in the boat, and you hear her saying

636
00:33:10,440 --> 00:33:13,320
Speaker 3: in voiceover, I don't know how long that dinghy floated

637
00:33:13,360 --> 00:33:15,880
Speaker 3: around with me lying in it. All I can remember

638
00:33:16,000 --> 00:33:18,640
Speaker 3: was the sound of the water slapping against the side.

639
00:33:19,000 --> 00:33:22,120
Speaker 3: Then I heard the engine sound getting closer. That was

640
00:33:22,160 --> 00:33:25,720
Speaker 3: when I realized I was still alive. And it's Brook

641
00:33:25,760 --> 00:33:29,080
Speaker 3: Adams in the boat, delirious with terror. She is helped

642
00:33:29,120 --> 00:33:31,760
Speaker 3: onto the fishing boat by the captain of the fishing boat,

643
00:33:31,800 --> 00:33:35,160
Speaker 3: and she tries to tell her rescuers what happened, but

644
00:33:35,240 --> 00:33:37,560
Speaker 3: she seems like she can't speak. She's just sitting there

645
00:33:37,600 --> 00:33:40,920
Speaker 3: kind of catatonic. And she says in the voiceover that

646
00:33:40,960 --> 00:33:45,160
Speaker 3: it's only now that she remembers. So we immediately cut

647
00:33:45,160 --> 00:33:47,520
Speaker 3: to the past and now we're on a pleasure boat,

648
00:33:47,560 --> 00:33:49,040
Speaker 3: I guess. So we're not on the boat. We see,

649
00:33:49,040 --> 00:33:51,600
Speaker 3: like you know, Brook Adams is diving around a reef

650
00:33:51,680 --> 00:33:54,959
Speaker 3: with flippers and the diving mask, and she says it

651
00:33:55,000 --> 00:33:57,640
Speaker 3: was the second day on one of those small dive

652
00:33:57,680 --> 00:34:00,720
Speaker 3: boats that takes you around the islands. The engine had

653
00:34:00,760 --> 00:34:05,880
Speaker 3: broken down for the second time. And yeah, immediately you

654
00:34:05,960 --> 00:34:08,160
Speaker 3: noticed something about the boat that I noticed too.

655
00:34:08,640 --> 00:34:11,239
Speaker 1: Yeah, small dive boat is not how I would I

656
00:34:11,280 --> 00:34:13,360
Speaker 1: would describe this. This looks pretty big. I've been on

657
00:34:13,400 --> 00:34:16,319
Speaker 1: some dive boats and they were all smaller than this.

658
00:34:16,520 --> 00:34:18,520
Speaker 3: Yeah, this is a large boat, but it is. It

659
00:34:18,600 --> 00:34:21,440
Speaker 3: is a large boat, and it is a struggling boat.

660
00:34:21,640 --> 00:34:24,239
Speaker 3: We have a struggle boat here, chugging around in the

661
00:34:24,280 --> 00:34:27,120
Speaker 3: water as best it can. But they do communicate that

662
00:34:27,160 --> 00:34:30,960
Speaker 3: this boat has seen better days. And then no fooling around.

663
00:34:31,120 --> 00:34:35,880
Speaker 3: We have Carodine. We immediately get Carrodine, as often happened,

664
00:34:35,880 --> 00:34:38,719
Speaker 3: So Carrodine, there were like two captains of the ship.

665
00:34:38,800 --> 00:34:42,759
Speaker 3: Or Carodine is the captain maybe and still water boy

666
00:34:42,800 --> 00:34:45,960
Speaker 3: with the mustache is the first mate. Maybe, but he's

667
00:34:46,040 --> 00:34:49,120
Speaker 3: like steering the ship and John Krodine just choose him

668
00:34:49,160 --> 00:34:52,400
Speaker 3: out a lot. But as often happens, when we first

669
00:34:52,400 --> 00:34:56,319
Speaker 3: meet John Carodine in this movie, he walks on set

670
00:34:56,680 --> 00:34:59,799
Speaker 3: looking and sounding like he just ate three jars of

671
00:34:59,800 --> 00:35:03,319
Speaker 3: ca right before he came onto the camera, he's just

672
00:35:03,920 --> 00:35:09,640
Speaker 3: he's just briny and dyspeptic. From word one. Absolutely, he's saying, like,

673
00:35:09,719 --> 00:35:12,120
Speaker 3: keep at half speed, no sense putting strain on a

674
00:35:12,160 --> 00:35:17,000
Speaker 3: crank shaft. And uh, there's immediately conflicts between them because

675
00:35:17,000 --> 00:35:18,720
Speaker 3: I guess you know, you got you got your old

676
00:35:18,760 --> 00:35:21,280
Speaker 3: cap'ain and you got your young captain. And old cap'n

677
00:35:21,880 --> 00:35:25,399
Speaker 3: is dressed like he's in some kind of auxiliary naval unit.

678
00:35:25,480 --> 00:35:28,960
Speaker 3: This is, of course Carodine, and young cap'n looks like

679
00:35:29,239 --> 00:35:32,520
Speaker 3: seventies rock and roll. You know, he's been playing cards

680
00:35:32,520 --> 00:35:35,480
Speaker 3: with humble Pie and now he's out here not taking

681
00:35:35,520 --> 00:35:40,080
Speaker 3: his responsibilities seriously. And there's just some glorious chewing out

682
00:35:40,080 --> 00:35:42,600
Speaker 3: that goes on at you know, John Carodine's saying, it's

683
00:35:42,680 --> 00:35:46,920
Speaker 3: north northwest, not northwest, you slob. We must have accurate

684
00:35:47,000 --> 00:35:51,160
Speaker 3: navigation the sailor's best friend. And oh, and he goes

685
00:35:51,200 --> 00:35:54,120
Speaker 3: into this speech about how you can't be a good

686
00:35:54,160 --> 00:35:57,840
Speaker 3: captain just by being good looking. It's his ability to

687
00:35:58,000 --> 00:36:02,040
Speaker 3: navigate that makes him a good captain. Also, did you

688
00:36:02,120 --> 00:36:06,080
Speaker 3: notice that so during the boat piloting scenes. There's a

689
00:36:06,239 --> 00:36:08,719
Speaker 3: problem that I notice in a lot of movies, which

690
00:36:08,800 --> 00:36:12,960
Speaker 3: is an implausible amount of characters who are used to

691
00:36:13,040 --> 00:36:16,920
Speaker 3: doing something talking about what they're doing, you know, So

692
00:36:16,960 --> 00:36:19,720
Speaker 3: they're just saying back and forth to each other steer

693
00:36:19,760 --> 00:36:22,239
Speaker 3: one sixty five and keep her steady and that kind

694
00:36:22,239 --> 00:36:24,480
Speaker 3: of thing. But they're standing right next to each other.

695
00:36:24,640 --> 00:36:26,120
Speaker 3: It just feels like the kind of thing that they

696
00:36:26,160 --> 00:36:27,600
Speaker 3: wouldn't need to say out loud.

697
00:36:28,239 --> 00:36:30,279
Speaker 1: Yeah, like even if this is the first day they've

698
00:36:30,320 --> 00:36:33,319
Speaker 1: worked together, and yeah, even though you have the you know,

699
00:36:33,400 --> 00:36:38,120
Speaker 1: clearly the elder captain here, you know, trying to instruct

700
00:36:38,239 --> 00:36:39,560
Speaker 1: the younger seventies guy.

701
00:36:39,920 --> 00:36:43,680
Speaker 3: Yeah, Now immediately we get some spooky underwater stuff. We

702
00:36:44,040 --> 00:36:48,680
Speaker 3: start seeing these shots of a sunken submarine, and it's

703
00:36:48,719 --> 00:36:51,480
Speaker 3: weird because in some ways, I would say this movie

704
00:36:51,640 --> 00:36:55,960
Speaker 3: is for the most part, not stylistically anything to write

705
00:36:55,960 --> 00:36:58,520
Speaker 3: home about in terms of photography and all that. But

706
00:36:58,719 --> 00:37:02,480
Speaker 3: there they were like a select number of underwater shots

707
00:37:02,520 --> 00:37:06,280
Speaker 3: and shots of the zombies that are actually very stylish

708
00:37:06,280 --> 00:37:08,520
Speaker 3: and cool. And some of the underwater footage here where

709
00:37:08,600 --> 00:37:12,759
Speaker 3: they capture schools of fish sort of darting around back

710
00:37:12,800 --> 00:37:16,360
Speaker 3: and forth in unison, and the synchronized swimming patterns in

711
00:37:16,480 --> 00:37:19,280
Speaker 3: the wreckage of this submarine. We see at the bottom

712
00:37:19,320 --> 00:37:21,720
Speaker 3: of the water. That's all great stuff.

713
00:37:22,080 --> 00:37:24,920
Speaker 1: Yeah, in its best moments, this film feels like a

714
00:37:24,960 --> 00:37:29,400
Speaker 1: traumatic dream in the best way possible for a horror film.

715
00:37:29,520 --> 00:37:32,239
Speaker 3: But okay, so something spooky is under the water. The

716
00:37:32,320 --> 00:37:35,040
Speaker 3: music lets us know, you know, as we're going around

717
00:37:35,040 --> 00:37:38,440
Speaker 3: this wreckage there's something wrong with it, something supernaturally wrong.

718
00:37:39,200 --> 00:37:42,640
Speaker 3: And then something happens with the sun. Everything turns orange.

719
00:37:42,760 --> 00:37:45,319
Speaker 3: This is not really explained, and I didn't really get

720
00:37:45,320 --> 00:37:47,480
Speaker 3: what was going on, but suddenly there's just an orange

721
00:37:47,480 --> 00:37:48,600
Speaker 3: filter on the camera.

722
00:37:49,080 --> 00:37:50,840
Speaker 1: Yeah, I think, and I don't know how much of

723
00:37:50,840 --> 00:37:53,000
Speaker 1: this is me reading into it knowing you know that

724
00:37:53,040 --> 00:37:55,440
Speaker 1: they were high on the morning of the Magicians when

725
00:37:55,440 --> 00:37:57,719
Speaker 1: they put this together. But I think this is like

726
00:37:57,760 --> 00:38:01,959
Speaker 1: some sort of a solar phenomenon, or there's some sort

727
00:38:01,960 --> 00:38:04,680
Speaker 1: of like like because later we keep hearing from them

728
00:38:04,680 --> 00:38:07,719
Speaker 1: about how the compass isn't working anymore, you know, and

729
00:38:08,360 --> 00:38:11,120
Speaker 1: clearly it's had some other weird effects on their surroundings.

730
00:38:11,200 --> 00:38:14,040
Speaker 1: So perhaps it's kind of again, maybe kind of Texas

731
00:38:14,080 --> 00:38:16,320
Speaker 1: Chainsaw MASc here in a way like that film opens

732
00:38:16,440 --> 00:38:21,040
Speaker 1: up with this implied astrological disorder, and maybe here we're

733
00:38:21,040 --> 00:38:23,880
Speaker 1: getting a more overt astrological disorder.

734
00:38:24,239 --> 00:38:27,480
Speaker 3: Okay, so you know Saturn is in retrograde or something,

735
00:38:27,520 --> 00:38:29,880
Speaker 3: and that's when the zombies wake up from the bottom

736
00:38:29,880 --> 00:38:33,320
Speaker 3: of the ocean. I see. So then we start meeting

737
00:38:33,360 --> 00:38:37,120
Speaker 3: the other characters. We get to meet Norman and his

738
00:38:37,160 --> 00:38:41,200
Speaker 3: wife Beverly, and they're arguing about whether the captain knows

739
00:38:41,200 --> 00:38:45,279
Speaker 3: what he's doing, and there's great like Norman decides he's

740
00:38:45,320 --> 00:38:48,520
Speaker 3: going to go up and help the captain steer the boat. Norman,

741
00:38:48,600 --> 00:38:51,720
Speaker 3: as I said earlier, is a cranky, aggressive nerd.

742
00:38:52,280 --> 00:38:57,359
Speaker 1: Yeah, he's a joy to watch, but he is such

743
00:38:57,440 --> 00:39:01,279
Speaker 1: a such a complainer, Like he just can't wait for

744
00:39:01,400 --> 00:39:04,040
Speaker 1: yelp to be invented so he can properly review this

745
00:39:04,120 --> 00:39:04,880
Speaker 1: dive company.

746
00:39:05,120 --> 00:39:09,040
Speaker 3: This guy's he's a terror at restaurants. He gets cashiers

747
00:39:09,080 --> 00:39:13,000
Speaker 3: fired everywhere he goes. Yeah, but on the way up

748
00:39:13,040 --> 00:39:16,359
Speaker 3: to chew out the captain, he meets Biccardi Man who

749
00:39:16,360 --> 00:39:19,040
Speaker 3: I think his name is Chuck, who is more laid back.

750
00:39:19,360 --> 00:39:21,879
Speaker 3: Bacardi Man is making a house of cards, one might

751
00:39:21,920 --> 00:39:25,600
Speaker 3: say a bunker of cards, and his characteristics when we

752
00:39:25,640 --> 00:39:28,600
Speaker 3: first meet him, or that he's got his shirt unbuttoned

753
00:39:28,920 --> 00:39:32,879
Speaker 3: several more buttons down than Norman does, so you can

754
00:39:32,920 --> 00:39:36,719
Speaker 3: tell he's cooler. And he just drinks rum and chills out.

755
00:39:37,120 --> 00:39:40,440
Speaker 1: Yep, just having having rum and coke and stacking cards.

756
00:39:41,320 --> 00:39:43,520
Speaker 3: And then of course we meet Dobbs, the cook we

757
00:39:43,600 --> 00:39:47,680
Speaker 3: already talked about, who takes his Bacardi straight, unlike Chuck,

758
00:39:47,719 --> 00:39:50,759
Speaker 3: who likes his with Coca cola. And Dobbs is sort

759
00:39:50,760 --> 00:39:56,600
Speaker 3: of Coleridge's ancient mariner. He's got strong, unhandbeat graybeard loon energy.

760
00:39:57,400 --> 00:39:59,759
Speaker 3: Oh and then they all meet up for dinner. And

761
00:39:59,840 --> 00:40:02,080
Speaker 3: so during this dinner you're supposed to be paying attention

762
00:40:02,120 --> 00:40:05,080
Speaker 3: to the dialogue because John Carrodine and Norman get into

763
00:40:05,120 --> 00:40:08,280
Speaker 3: this big blow up about I don't know about whether

764
00:40:08,440 --> 00:40:11,279
Speaker 3: the ship is seaworthy or not, I think. But the

765
00:40:11,320 --> 00:40:14,080
Speaker 3: main thing I couldn't stop paying attention to was this

766
00:40:14,200 --> 00:40:18,280
Speaker 3: old school can of craft grated parmesan cheese on the table,

767
00:40:18,360 --> 00:40:22,640
Speaker 3: and the can looks blue. Now that product is decidedly

768
00:40:22,680 --> 00:40:25,399
Speaker 3: in a green can, and I was trying to figure out, Okay,

769
00:40:25,400 --> 00:40:28,240
Speaker 3: were these cans blue in the eighties or the color

770
00:40:28,320 --> 00:40:30,040
Speaker 3: is screwed up on the film.

771
00:40:30,120 --> 00:40:31,919
Speaker 1: Yeah, or I get well, this would have been seventy five,

772
00:40:32,000 --> 00:40:34,360
Speaker 1: so maybe they were blue in the mid seventies.

773
00:40:34,040 --> 00:40:36,320
Speaker 3: Yeah, the seventies, okay, or.

774
00:40:36,080 --> 00:40:39,040
Speaker 1: Perhaps that astrological disorder. One of the things it did

775
00:40:39,080 --> 00:40:43,719
Speaker 1: is it flipped the colors on the graded parmesan cheese cannon.

776
00:40:43,560 --> 00:40:49,560
Speaker 3: Products are blue now yeah, yeah, reverse polarity, and also

777
00:40:49,719 --> 00:40:51,800
Speaker 3: change the color of graded parmesan canisters.

778
00:40:52,000 --> 00:40:55,200
Speaker 1: Uh huh. But let's get back to Norman's mutiny here.

779
00:40:55,760 --> 00:40:58,200
Speaker 3: What is Dobs serving that with? Though he's got the

780
00:40:58,239 --> 00:41:00,840
Speaker 3: graded parmesan on the boat, did he make it Italian food?

781
00:41:03,040 --> 00:41:05,480
Speaker 1: I guess. I mean, we see his kitchen later and

782
00:41:05,520 --> 00:41:08,120
Speaker 1: it is awful looking, like it's just it's got like

783
00:41:08,239 --> 00:41:11,400
Speaker 1: just it's pin ups, like plastered to the wall, like

784
00:41:11,400 --> 00:41:14,400
Speaker 1: like just like a fixed in place with bile or something,

785
00:41:14,440 --> 00:41:17,080
Speaker 1: and chewing them and then just like junk all over

786
00:41:17,120 --> 00:41:20,000
Speaker 1: the floor. It looks like there has been some just design.

787
00:41:20,040 --> 00:41:21,480
Speaker 1: I mean, maybe the idea is supposed to have been

788
00:41:21,480 --> 00:41:24,040
Speaker 1: at that point there's been like rough seas, but I

789
00:41:24,040 --> 00:41:25,640
Speaker 1: don't know. It just looks it looks gross.

790
00:41:25,880 --> 00:41:28,640
Speaker 3: He lights the burner on his stove with old playboys.

791
00:41:29,080 --> 00:41:30,040
Speaker 1: Yeah.

792
00:41:30,040 --> 00:41:32,160
Speaker 3: But as I was saying earlier, Norman does not like

793
00:41:32,200 --> 00:41:34,680
Speaker 3: the way Carrodine is running things, and he I think

794
00:41:34,719 --> 00:41:38,360
Speaker 3: he basically literally proposes a mutiny, Like he talks to

795
00:41:38,400 --> 00:41:41,400
Speaker 3: the other he's trying to talk to the other tourists

796
00:41:41,440 --> 00:41:42,880
Speaker 3: into taking over the boat.

797
00:41:43,719 --> 00:41:46,400
Speaker 1: Yeah, they're They're like, what you were gonna take over?

798
00:41:46,480 --> 00:41:47,920
Speaker 1: He's like, now we'll have one of these other people

799
00:41:47,920 --> 00:41:49,520
Speaker 1: do it. They're idiots, but they can do it, Like

800
00:41:49,560 --> 00:41:50,880
Speaker 1: he's he's just awful to have.

801
00:41:50,960 --> 00:41:53,120
Speaker 3: He's just like, we'll have daubs drive the boat.

802
00:41:54,800 --> 00:41:54,920
Speaker 1: Uh.

803
00:41:55,000 --> 00:41:57,680
Speaker 3: And this seems to be a reaction to quote what

804
00:41:57,920 --> 00:42:03,040
Speaker 3: happened earlier and some unspecified story that Dobb's allegedly told

805
00:42:03,080 --> 00:42:06,640
Speaker 3: about spooky doings out on the ocean, But again, what

806
00:42:06,760 --> 00:42:09,520
Speaker 3: actually happened earlier, like the sky turned orange? But I

807
00:42:09,560 --> 00:42:12,520
Speaker 3: don't get what happened that it is they're reacting to.

808
00:42:13,000 --> 00:42:17,600
Speaker 1: Yeah, I don't know, just sort of general Bermuda triangleness occurred.

809
00:42:17,640 --> 00:42:19,960
Speaker 1: You know, this guy went weird, the sun went weird,

810
00:42:20,280 --> 00:42:22,960
Speaker 1: compasses aren't working. Maybe they felt weird as well. I

811
00:42:23,000 --> 00:42:23,319
Speaker 1: don't know.

812
00:42:23,880 --> 00:42:26,759
Speaker 3: You know, there's a great scene where Brooke Adams is

813
00:42:26,760 --> 00:42:28,919
Speaker 3: she supposed to be married to Biccardi man.

814
00:42:29,960 --> 00:42:32,799
Speaker 1: No, oh, it may not be completely clear in the

815
00:42:32,840 --> 00:42:35,200
Speaker 1: early stages, as we're trying to feel out these characters,

816
00:42:35,200 --> 00:42:37,440
Speaker 1: but it becomes clear that yeah, they're not married.

817
00:42:37,520 --> 00:42:40,960
Speaker 3: Oh okay, okay, but she After this, it's like the

818
00:42:41,000 --> 00:42:45,200
Speaker 3: middle of the night and maximum mustaches driving the boat

819
00:42:45,719 --> 00:42:48,839
Speaker 3: and Brook Adams comes up to talk to him and

820
00:42:48,920 --> 00:42:51,400
Speaker 3: it's great. So it's like nighttime out on the ocean,

821
00:42:51,719 --> 00:42:54,799
Speaker 3: and we find out from this conversation that he likes

822
00:42:54,840 --> 00:42:57,680
Speaker 3: to be alone up here and he doesn't know where

823
00:42:57,680 --> 00:43:02,600
Speaker 3: they are. Oh. But then their little moment is interrupted

824
00:43:02,640 --> 00:43:04,719
Speaker 3: because a ghost ship comes out of the dark and

825
00:43:04,800 --> 00:43:09,319
Speaker 3: slams into their boat. Yeah, and so they argue about this.

826
00:43:09,440 --> 00:43:11,640
Speaker 3: John Carodine does not believe it. He's like, oh the

827
00:43:11,760 --> 00:43:14,520
Speaker 3: ghost ship, huh, I bet you believe in fairies too.

828
00:43:15,320 --> 00:43:17,040
Speaker 3: But then they find a bunch of damage on the

829
00:43:17,120 --> 00:43:19,360
Speaker 3: hull and they shoot a flare out into the dark

830
00:43:19,400 --> 00:43:22,040
Speaker 3: and there it is. And this is a good creepy scene.

831
00:43:22,200 --> 00:43:24,359
Speaker 1: Yeah, yeah, because what's going on? Where did this ghost

832
00:43:24,360 --> 00:43:25,120
Speaker 1: ship come from?

833
00:43:25,880 --> 00:43:28,600
Speaker 3: But then in the morning, all kinds of problems. In

834
00:43:28,640 --> 00:43:31,440
Speaker 3: the morning, the boat is beached on a mysterious island.

835
00:43:32,080 --> 00:43:36,120
Speaker 3: Captain Carrodine is just gone, and so everybody has to

836
00:43:36,160 --> 00:43:38,759
Speaker 3: go ashore until they can get the ship free of

837
00:43:38,840 --> 00:43:42,279
Speaker 3: the shoal that it has run aground on. Oh and

838
00:43:42,280 --> 00:43:44,640
Speaker 3: then I mentioned this moment earlier, but while Norman and

839
00:43:44,680 --> 00:43:47,960
Speaker 3: Beverly are being rowed ashore by Keith, they're being rowed

840
00:43:48,000 --> 00:43:51,239
Speaker 3: ashore in a glass bottom dinghy, which I've never heard

841
00:43:51,280 --> 00:43:53,280
Speaker 3: of before. I mean, I've heard of glass bottomed boats,

842
00:43:53,320 --> 00:43:56,560
Speaker 3: but those usually tend to be have more passengers. I think.

843
00:43:56,719 --> 00:43:58,440
Speaker 1: I guess it's because since this is supposed to be

844
00:43:58,480 --> 00:44:03,640
Speaker 1: a vacation boat, they have a glass bottom boat on hand.

845
00:44:04,680 --> 00:44:08,720
Speaker 1: But yeah, it's effective because yeah, they're they're moving right along,

846
00:44:08,760 --> 00:44:12,120
Speaker 1: and then there's Carradine's corpse just bobbing up against the glass.

847
00:44:12,280 --> 00:44:16,279
Speaker 3: Yeah, he's bubbling in the water right, praying to Mundopi.

848
00:44:17,640 --> 00:44:21,440
Speaker 3: And so anyway on the island, Bacardi man climbs a

849
00:44:21,480 --> 00:44:24,640
Speaker 3: palm tree, he sees a building and so they're like, okay,

850
00:44:24,719 --> 00:44:27,120
Speaker 3: that's where we're going. So everybody hikes through the jungle

851
00:44:27,200 --> 00:44:30,640
Speaker 3: to reach this building, which is a sort of classic

852
00:44:31,160 --> 00:44:34,640
Speaker 3: Caribbean or Florida kind of Spanish opulent style.

853
00:44:35,719 --> 00:44:37,800
Speaker 1: Yeah, so I want to mention real quick, this is

854
00:44:37,840 --> 00:44:42,480
Speaker 1: pretty fun because this is this is this hotel that

855
00:44:42,560 --> 00:44:45,680
Speaker 1: we visit here is very much a real place in Florida,

856
00:44:46,239 --> 00:44:49,600
Speaker 1: this ruined hotel. They apparently paid something like two hundred

857
00:44:49,600 --> 00:44:52,240
Speaker 1: and fifty dollars to rent the entire thing for the picture,

858
00:44:53,600 --> 00:44:56,480
Speaker 1: but it was It was subsequently fixed back up a

859
00:44:56,480 --> 00:45:00,400
Speaker 1: few years later and is known as the Biltmore Hotel.

860
00:45:00,440 --> 00:45:04,239
Speaker 1: It's in Coral Gables, Florida, just outside of Miami, and

861
00:45:04,600 --> 00:45:05,920
Speaker 1: you can look it up online. You can go to

862
00:45:05,920 --> 00:45:08,960
Speaker 1: build More hotel dot com and see it. It is.

863
00:45:09,600 --> 00:45:14,320
Speaker 1: It's super fancy. The story here, according to Jason Scott

864
00:45:14,320 --> 00:45:16,640
Speaker 1: Degan at golf Pass, that's where I always go to

865
00:45:16,640 --> 00:45:21,240
Speaker 1: get my shirts, my stories about sets in seventies zombie movies.

866
00:45:22,160 --> 00:45:24,759
Speaker 1: It opened in the twenties and was the sort of

867
00:45:24,800 --> 00:45:27,960
Speaker 1: fancy Florida destination for the likes of al Capone and

868
00:45:28,040 --> 00:45:31,600
Speaker 1: President Franklin D. Roosevelt. But then it was converted into

869
00:45:31,640 --> 00:45:34,759
Speaker 1: a hospital in nineteen forty two, and it remained one

870
00:45:35,160 --> 00:45:37,920
Speaker 1: all the way through nineteen sixty eight, and then it

871
00:45:37,960 --> 00:45:40,520
Speaker 1: was just empty for more than a decade, and that

872
00:45:40,640 --> 00:45:43,279
Speaker 1: was during that time, that's when they filmed Shockwaves there.

873
00:45:43,440 --> 00:45:45,839
Speaker 1: But then Coral Gables had it renovated and it opened

874
00:45:45,880 --> 00:45:48,840
Speaker 1: back up in eighty seven, entered private ownership in nineteen

875
00:45:48,920 --> 00:45:52,040
Speaker 1: ninety two, and I checked earlier. If you want to

876
00:45:52,040 --> 00:45:54,320
Speaker 1: get a room there, it's like two hundred and sixty

877
00:45:54,320 --> 00:45:57,719
Speaker 1: eight dollars a night or something like that. That probably changes.

878
00:45:57,760 --> 00:45:59,319
Speaker 1: Don't quote me on that if you're planned to stay there.

879
00:45:59,360 --> 00:46:02,960
Speaker 1: But the point is they rented the whole thing when

880
00:46:02,960 --> 00:46:06,160
Speaker 1: it was a ruin, for the duration of the filming

881
00:46:06,239 --> 00:46:08,560
Speaker 1: for just two hundred and fifty bucks. And so there

882
00:46:08,600 --> 00:46:10,759
Speaker 1: are gonna be some scenes in Shockwaves where they're in

883
00:46:10,760 --> 00:46:13,759
Speaker 1: like some sizable hallways and you see some columns and

884
00:46:13,840 --> 00:46:16,960
Speaker 1: a big fireplace in the background. It's fun because you

885
00:46:17,000 --> 00:46:18,920
Speaker 1: can pause the film and then you can go grab

886
00:46:18,960 --> 00:46:22,560
Speaker 1: your computer and you can look up current photos and

887
00:46:22,600 --> 00:46:25,480
Speaker 1: you can see like those same places that are now

888
00:46:25,520 --> 00:46:28,040
Speaker 1: super fancy and ritzy and colorful and just you know,

889
00:46:28,840 --> 00:46:32,440
Speaker 1: done up like a fancy golf course hotel. And I'm

890
00:46:32,480 --> 00:46:34,080
Speaker 1: looking at that, I'm like, oh man, how many people

891
00:46:34,080 --> 00:46:36,560
Speaker 1: are walking through that and they don't realize that Peter

892
00:46:36,640 --> 00:46:37,399
Speaker 1: Cushing was here.

893
00:46:37,719 --> 00:46:41,200
Speaker 3: You know, this was a Shockwaves no idea. They've never

894
00:46:41,280 --> 00:46:44,640
Speaker 3: been on the Shockwaves tour. I was thinking, so, okay,

895
00:46:44,719 --> 00:46:47,319
Speaker 3: if they had wanted to go a true direction, then

896
00:46:47,360 --> 00:46:51,320
Speaker 3: with this hotel, instead of the you know ss zombies direction,

897
00:46:51,760 --> 00:46:54,160
Speaker 3: they could have embraced the fact that this was where

898
00:46:54,200 --> 00:46:57,160
Speaker 3: al Capone and Franklin D. Roosevelt came. So they could

899
00:46:57,160 --> 00:47:02,799
Speaker 3: have zombie I guess prohibitions like liquor smugglers, and then

900
00:47:02,840 --> 00:47:05,560
Speaker 3: they could have what I don't know, zombie members of

901
00:47:05,600 --> 00:47:07,680
Speaker 3: the Spillion Conservation Corps.

902
00:47:07,680 --> 00:47:11,040
Speaker 1: I guess dead and zing as well does it. But

903
00:47:11,120 --> 00:47:13,000
Speaker 1: it could have changed the course, like that's that's of

904
00:47:13,360 --> 00:47:15,719
Speaker 1: of of media, that's where we would we would have

905
00:47:15,719 --> 00:47:19,120
Speaker 1: in video games now it would be uh, you know,

906
00:47:19,280 --> 00:47:23,040
Speaker 1: zombie Bootlegger video games. That would be the big craze.

907
00:47:23,239 --> 00:47:24,880
Speaker 3: I can maybe be interesting, I don't know.

908
00:47:24,960 --> 00:47:27,600
Speaker 1: I don't know anyway in this film though, Yeah, the

909
00:47:27,640 --> 00:47:30,400
Speaker 1: place looks it's just an effective Florida ruin, And I

910
00:47:30,400 --> 00:47:32,280
Speaker 1: think it's one of the things that makes that helps

911
00:47:32,320 --> 00:47:34,759
Speaker 1: make the movie work is that this is this is

912
00:47:34,960 --> 00:47:40,560
Speaker 1: like the ruined splendor of Florida, which you inevitably encounter,

913
00:47:41,640 --> 00:47:44,040
Speaker 1: you know, examples of you know, you can't have you know,

914
00:47:44,120 --> 00:47:48,480
Speaker 1: coastal tourism exist in a place without things following and

915
00:47:48,640 --> 00:47:51,520
Speaker 1: falling into disrepair and becoming kind of uh, you know,

916
00:47:51,640 --> 00:47:53,680
Speaker 1: mysterious or half mysterious ruins.

917
00:47:54,040 --> 00:47:56,000
Speaker 3: Yeah, so it's a good setting. And I would say

918
00:47:56,320 --> 00:47:59,799
Speaker 3: this moment is also where the movie shifts gears and

919
00:48:00,000 --> 00:48:03,480
Speaker 3: and it goes into what it remains actually for the

920
00:48:03,480 --> 00:48:07,400
Speaker 3: remainder of the movie, mostly, which is shots of zombies

921
00:48:07,480 --> 00:48:11,440
Speaker 3: lumen goggle zombies. Again, there's excellent costume and makeup design

922
00:48:11,600 --> 00:48:15,160
Speaker 3: because it's pretty simple. They're just in these old uniforms

923
00:48:15,160 --> 00:48:17,600
Speaker 3: and they've got kind of messed up looking skin, and

924
00:48:17,640 --> 00:48:20,360
Speaker 3: then they have these goggles and the goggles. The goggles

925
00:48:20,360 --> 00:48:22,879
Speaker 3: are just bottomless pits. It's really good.

926
00:48:23,239 --> 00:48:26,160
Speaker 1: Yeah, it all comes together to make a very evocative

927
00:48:28,200 --> 00:48:30,319
Speaker 1: adversary here. And at first they just seem to be

928
00:48:30,360 --> 00:48:33,520
Speaker 1: scouting things out like they've been They've clearly been awakened

929
00:48:33,920 --> 00:48:35,760
Speaker 1: and now they're scoping out the joint.

930
00:48:36,120 --> 00:48:40,600
Speaker 3: So meanwhile, our tourists wander through the old hotel Bacardi

931
00:48:40,680 --> 00:48:44,640
Speaker 3: man and Dobbs, who is also swinging Baccardy, They find

932
00:48:44,719 --> 00:48:49,440
Speaker 3: a tank full of fish. Are these frogfish? Like your

933
00:48:49,560 --> 00:48:52,640
Speaker 3: checklist for Florida movies? It has tanks of fish in it.

934
00:48:53,000 --> 00:48:54,920
Speaker 1: Yeah. Yeah, I'm not sure off hand what this was.

935
00:48:54,960 --> 00:48:57,560
Speaker 1: Maybe scorpion fish, but either way, it's got some big

936
00:48:57,640 --> 00:49:00,600
Speaker 1: zat energy going on and I love it. Yeah, And

937
00:49:00,680 --> 00:49:03,640
Speaker 1: Dobbs it becomes clear has this this never ending supply

938
00:49:03,680 --> 00:49:05,880
Speaker 1: of booze on his person. He pulls out the largest

939
00:49:05,920 --> 00:49:08,880
Speaker 1: flask I've ever seen in some of these these scenes. Like,

940
00:49:08,920 --> 00:49:12,000
Speaker 1: it's not a hip flask, it's like a leg flask.

941
00:49:12,239 --> 00:49:13,640
Speaker 3: It's like a backpack flask.

942
00:49:13,880 --> 00:49:14,840
Speaker 1: Yeah.

943
00:49:14,880 --> 00:49:17,239
Speaker 3: But also at this point it's Cushing time. So they're

944
00:49:17,280 --> 00:49:20,480
Speaker 3: they're wandering around. Oh, I think they somehow come across

945
00:49:20,600 --> 00:49:24,200
Speaker 3: a like a there's like an old phonograph that starts

946
00:49:24,200 --> 00:49:28,560
Speaker 3: playing warped, creepy music, and everybody comes and finds that thing.

947
00:49:28,600 --> 00:49:31,840
Speaker 3: And they're standing in this big hallway and then from

948
00:49:31,880 --> 00:49:34,560
Speaker 3: out of somewhere you get you get Cushing voice, kind

949
00:49:34,560 --> 00:49:38,759
Speaker 3: of nasal Cushing voice, disembodied eternal, saying why have you

950
00:49:38,800 --> 00:49:41,600
Speaker 3: come to this place? And they say where are you?

951
00:49:41,719 --> 00:49:43,719
Speaker 3: And he says, I am near but also far.

952
00:49:45,680 --> 00:49:46,239
Speaker 1: Yeah.

953
00:49:46,280 --> 00:49:49,560
Speaker 3: And so from this conversation, let's see, they explain how

954
00:49:49,600 --> 00:49:52,319
Speaker 3: they got here. Cushing tells them he can't help them.

955
00:49:52,760 --> 00:49:56,520
Speaker 3: They explain the ghost ship that rammed their boat. Actually

956
00:49:56,520 --> 00:49:59,240
Speaker 3: it is a long wrecked ship that's out on the reef.

957
00:50:00,080 --> 00:50:02,480
Speaker 3: And then this was pretty funny Cushing just freaks out

958
00:50:02,520 --> 00:50:05,840
Speaker 3: at this news, and then you see him and he

959
00:50:05,960 --> 00:50:07,520
Speaker 3: learns the name of the ship and he just sort

960
00:50:07,560 --> 00:50:09,719
Speaker 3: of busts out running through the forest to go look

961
00:50:09,800 --> 00:50:11,120
Speaker 3: at it.

962
00:50:11,120 --> 00:50:13,880
Speaker 1: It's kind of an interesting twist on what you might

963
00:50:13,920 --> 00:50:15,879
Speaker 1: expect in a lot of these films, where I mean,

964
00:50:16,120 --> 00:50:18,720
Speaker 1: not too big of a twist. I guess there's always

965
00:50:18,719 --> 00:50:22,120
Speaker 1: this idea that the mastermind or the mad scientist involved

966
00:50:22,120 --> 00:50:24,680
Speaker 1: in a scenario is going to be consumed by his

967
00:50:24,680 --> 00:50:28,719
Speaker 1: own creations. But there's never even any idea, like even

968
00:50:28,920 --> 00:50:32,000
Speaker 1: a pretense that he has control over these things, like

969
00:50:32,320 --> 00:50:34,960
Speaker 1: he's afraid of them as everyone else from the get go.

970
00:50:35,040 --> 00:50:36,920
Speaker 1: He just has a little more information.

971
00:50:36,920 --> 00:50:39,399
Speaker 3: Right exactly, So he goes out there to look at them.

972
00:50:39,440 --> 00:50:44,280
Speaker 3: He clearly is he's shaken. Meanwhile, the tourists establish camp

973
00:50:44,480 --> 00:50:47,399
Speaker 3: within Hotel SS. They just like go into a room

974
00:50:47,440 --> 00:50:50,919
Speaker 3: and they start getting pillows and after we get comfy, yeah,

975
00:50:51,000 --> 00:50:54,480
Speaker 3: they get comfy, and oh and then there's this great shot.

976
00:50:54,560 --> 00:50:54,840
Speaker 1: Again.

977
00:50:55,120 --> 00:50:57,360
Speaker 3: Most of what's the best about this movie is just

978
00:50:57,480 --> 00:51:01,760
Speaker 3: good creepy shots of zombies with in goggles doing creepy stuff.

979
00:51:02,160 --> 00:51:04,400
Speaker 3: One of my favorites is this moment that's coming right

980
00:51:04,480 --> 00:51:08,560
Speaker 3: up where the zombies have like these little cubicles of

981
00:51:08,760 --> 00:51:11,160
Speaker 3: coral that they appear to be sleeping in. They're like

982
00:51:11,280 --> 00:51:15,160
Speaker 3: laying down horizontally in these little boxes around the reef.

983
00:51:15,680 --> 00:51:17,960
Speaker 3: And there's one scene where one of them reaches up

984
00:51:18,000 --> 00:51:20,279
Speaker 3: from below the water and grips the part of the

985
00:51:20,320 --> 00:51:22,600
Speaker 3: reef that protrudes. It's very cool.

986
00:51:22,920 --> 00:51:24,480
Speaker 1: Yeah, and again this is one of those things like

987
00:51:24,560 --> 00:51:25,840
Speaker 1: imagery from a dark dream.

988
00:51:26,200 --> 00:51:36,919
Speaker 3: Yeah. But anyway, we're forty minutes in and I think

989
00:51:36,920 --> 00:51:40,120
Speaker 3: we've just officially reached the zombie attack part of the movie,

990
00:51:40,120 --> 00:51:42,439
Speaker 3: and that defines the rest of what goes on. There's

991
00:51:42,440 --> 00:51:44,520
Speaker 3: two main things that happen from here on out. It's

992
00:51:44,920 --> 00:51:48,920
Speaker 3: zombies being creepy looming looking at you with the goggles,

993
00:51:48,920 --> 00:51:51,760
Speaker 3: and zombies grabbing people and killing them.

994
00:51:51,960 --> 00:51:56,759
Speaker 1: Yeah. And it's pretty effective because you have basically two

995
00:51:56,760 --> 00:51:59,360
Speaker 1: locations go well three, I guess there's the surf and

996
00:51:59,440 --> 00:52:03,400
Speaker 1: out in the water there's the sort of Florida coastal jungle,

997
00:52:03,800 --> 00:52:06,239
Speaker 1: and then they are the ruins of the hotel. And

998
00:52:06,719 --> 00:52:10,479
Speaker 1: in all of those the the Death Corps troopers here.

999
00:52:10,840 --> 00:52:14,359
Speaker 1: They man, they just they move around in very interesting ways.

1000
00:52:14,360 --> 00:52:19,840
Speaker 1: They're not like shambling zombies. They're very deliberate and slow

1001
00:52:19,960 --> 00:52:24,120
Speaker 1: and stealthy, like when they stalk and hunt their prey

1002
00:52:24,160 --> 00:52:26,480
Speaker 1: in this and it's it's it's very unsettling.

1003
00:52:26,840 --> 00:52:30,279
Speaker 3: There is a moment where the cook Daubs he goes

1004
00:52:30,320 --> 00:52:32,759
Speaker 3: out to get supplies to cook food for everybody. I

1005
00:52:32,760 --> 00:52:34,360
Speaker 3: don't know what he plans to cook it on, but

1006
00:52:35,040 --> 00:52:36,920
Speaker 3: he does that, and I guess he's coming back with

1007
00:52:37,080 --> 00:52:40,239
Speaker 3: food supplies from the boat and he gets attacked by

1008
00:52:40,239 --> 00:52:44,840
Speaker 3: a goggle beast. But the attack is interesting. The goggle

1009
00:52:44,880 --> 00:52:48,880
Speaker 3: beast does not grab him. Instead, it menaces him until

1010
00:52:48,920 --> 00:52:52,600
Speaker 3: he falls to his death in a pool of sea urchins.

1011
00:52:52,640 --> 00:52:55,000
Speaker 3: And I think that is a first and only for me.

1012
00:52:55,360 --> 00:52:58,120
Speaker 3: I don't think I've ever seen pit of sea urchins

1013
00:52:58,239 --> 00:53:00,560
Speaker 3: otherwise used as a murder weapon movie.

1014
00:53:01,280 --> 00:53:03,719
Speaker 1: I winced when I saw this. It's been a while

1015
00:53:03,800 --> 00:53:06,120
Speaker 1: since I've seen it, so I'd forgotten about this scene.

1016
00:53:06,160 --> 00:53:09,000
Speaker 1: But I certainly have been around sea urchins, and you

1017
00:53:09,040 --> 00:53:11,560
Speaker 1: know sometimes when I'm in the water with them, and yeah,

1018
00:53:11,600 --> 00:53:13,160
Speaker 1: you have that in the back of your head. I

1019
00:53:13,160 --> 00:53:14,719
Speaker 1: don't want to touch that. I certainly don't want to

1020
00:53:14,760 --> 00:53:18,399
Speaker 1: fall on it with my face like Dobbs does. So

1021
00:53:18,520 --> 00:53:19,800
Speaker 1: this one gave me the all overs.

1022
00:53:20,120 --> 00:53:23,520
Speaker 3: Yeah. Oh, and then it's funny with everybody discovers that

1023
00:53:23,640 --> 00:53:26,240
Speaker 3: Dobbs has died. When Brooke Adams puts on the bathing

1024
00:53:26,280 --> 00:53:28,960
Speaker 3: suit and decides to go swimming in this fetid pond

1025
00:53:29,040 --> 00:53:30,120
Speaker 3: full of sea urchins.

1026
00:53:30,520 --> 00:53:32,000
Speaker 1: Yeah, well it's hot, it's hot out there.

1027
00:53:32,120 --> 00:53:36,520
Speaker 3: Yeah, but she just she literally bumps right into him.

1028
00:53:36,560 --> 00:53:39,040
Speaker 3: So he's all mangled laying there in the reeds and

1029
00:53:39,080 --> 00:53:42,640
Speaker 3: she back strokes into him and then yeah, freaks out. Whoops.

1030
00:53:42,920 --> 00:53:47,080
Speaker 1: This movie has more finding of drowned characters than any

1031
00:53:47,080 --> 00:53:49,960
Speaker 1: other film I've seen, but it's very well done, Like

1032
00:53:50,000 --> 00:53:53,880
Speaker 1: each discovery is horrific. And even though like all the

1033
00:53:53,960 --> 00:53:56,080
Speaker 1: kill I think all the kills in this film are bloodless,

1034
00:53:57,000 --> 00:53:58,920
Speaker 1: but they're still they tend to be disturbing.

1035
00:53:59,080 --> 00:54:03,240
Speaker 3: Oh yeah, yeah, they're disturbing because of the atmosphere, the music,

1036
00:54:03,400 --> 00:54:06,200
Speaker 3: the you know, the goggles and all that. It's, yeah,

1037
00:54:06,880 --> 00:54:09,279
Speaker 3: you don't need blood be to be disturbing. In fact,

1038
00:54:09,840 --> 00:54:12,320
Speaker 3: I was actually just talking about this with with Rachel

1039
00:54:12,440 --> 00:54:15,680
Speaker 3: not too long ago, about how when you go back

1040
00:54:15,719 --> 00:54:20,120
Speaker 3: and watch Texas Chainsaw Massacre, it's surprising how little blood

1041
00:54:20,160 --> 00:54:20,880
Speaker 3: there is in it.

1042
00:54:21,000 --> 00:54:24,440
Speaker 1: M M yeah, yes, it's definitely similar energy in this,

1043
00:54:24,840 --> 00:54:25,400
Speaker 1: but there's.

1044
00:54:25,239 --> 00:54:28,320
Speaker 3: Even less in this than there is in that. But anyway,

1045
00:54:28,520 --> 00:54:31,000
Speaker 3: so everybody goes back to the hotel, and in the meantime,

1046
00:54:31,080 --> 00:54:33,239
Speaker 3: I don't know what to make of this. Suddenly they

1047
00:54:33,320 --> 00:54:35,640
Speaker 3: go back to the hotel and there's stuff there that

1048
00:54:35,760 --> 00:54:37,920
Speaker 3: I don't remember seeing the previous time, which is that

1049
00:54:38,040 --> 00:54:41,560
Speaker 3: like Cushing has like swastika crap hanging up. He's like

1050
00:54:41,920 --> 00:54:46,520
Speaker 3: he's like put up Nazi decorations since they were last

1051
00:54:46,600 --> 00:54:49,719
Speaker 3: in his area. Is is that what we're supposed to understand.

1052
00:54:50,320 --> 00:54:52,239
Speaker 1: I thought it was maybe just a section of this

1053
00:54:52,360 --> 00:54:55,239
Speaker 1: big hotel that we hadn't seen yet, But yeah, he

1054
00:54:55,280 --> 00:54:58,600
Speaker 1: has it decorated with a billion mirrors, which I don't know.

1055
00:54:58,640 --> 00:55:01,520
Speaker 1: Maybe that's some sort of anxiety about things creeping up

1056
00:55:01,560 --> 00:55:05,359
Speaker 1: on him, like his own creations here or and then

1057
00:55:05,360 --> 00:55:09,279
Speaker 1: he has the Nazi flags up. But this is all

1058
00:55:09,320 --> 00:55:11,360
Speaker 1: we see of his life here. There's no mad science

1059
00:55:11,440 --> 00:55:14,000
Speaker 1: lab or anything. There's no even inclination that he's been

1060
00:55:14,080 --> 00:55:18,560
Speaker 1: up to anything the past, you know what. Ever, since

1061
00:55:18,600 --> 00:55:20,960
Speaker 1: the end of the Second World War, he's just been

1062
00:55:21,000 --> 00:55:24,440
Speaker 1: hanging out here in this ruined hotel, just doing nothing.

1063
00:55:24,520 --> 00:55:26,640
Speaker 3: What's he eating, what's he surviving on that?

1064
00:55:26,920 --> 00:55:29,839
Speaker 1: I don't know. He's not doing great though, I mean

1065
00:55:29,880 --> 00:55:30,840
Speaker 1: he looks.

1066
00:55:30,760 --> 00:55:32,640
Speaker 3: Really shabby, Yes he does.

1067
00:55:32,920 --> 00:55:35,000
Speaker 1: I don't think I've ever seen Peter Cushing and short

1068
00:55:35,000 --> 00:55:37,520
Speaker 1: sleeves before, but he's got these raggedy short sleeves and

1069
00:55:37,560 --> 00:55:39,879
Speaker 1: a kerchief tied around his neck. I mean he looks

1070
00:55:39,960 --> 00:55:41,480
Speaker 1: he looks shipwrecked the whole time.

1071
00:55:41,680 --> 00:55:43,920
Speaker 3: That's a good point. I did not notice the Cushing

1072
00:55:44,000 --> 00:55:46,600
Speaker 3: short sleeves. But you're right, and that is a defined

1073
00:55:46,640 --> 00:55:49,640
Speaker 3: I mean Cushing. Cushing is somebody who needs a jacket

1074
00:55:49,719 --> 00:55:53,359
Speaker 3: and tie. That's part of who he is. But here

1075
00:55:53,480 --> 00:55:57,920
Speaker 3: is here we get our exposition dump. Should we have

1076
00:55:58,000 --> 00:56:00,960
Speaker 3: exposition dump music that plays every time we get to

1077
00:56:01,000 --> 00:56:03,080
Speaker 3: that part of the plot. I don't know, Seth. I'll

1078
00:56:03,120 --> 00:56:08,400
Speaker 3: let you decide that anyway. But exposition dump Cushing is

1079
00:56:08,440 --> 00:56:11,440
Speaker 3: now explains everything to them. He's hanging out with Norman

1080
00:56:11,560 --> 00:56:14,160
Speaker 3: and Chuck and these goobers.

1081
00:56:13,719 --> 00:56:16,560
Speaker 1: And he's very succinct though, like he doesn't mess around.

1082
00:56:16,600 --> 00:56:18,840
Speaker 1: There's no gloating. He just tells it like it seems

1083
00:56:18,840 --> 00:56:19,040
Speaker 1: to be.

1084
00:56:19,320 --> 00:56:19,400
Speaker 2: No.

1085
00:56:19,560 --> 00:56:22,160
Speaker 3: Here are the facts from his exposition dump. It is

1086
00:56:22,360 --> 00:56:25,799
Speaker 3: you are dumb you should have left. Now you will die.

1087
00:56:26,200 --> 00:56:29,200
Speaker 3: Allow me to explain. I was an SS commander in

1088
00:56:29,239 --> 00:56:32,200
Speaker 3: World War two. I commanded a group of aquatic zombie

1089
00:56:32,320 --> 00:56:35,560
Speaker 3: SS troops that could live underwater without ever having to surface.

1090
00:56:36,480 --> 00:56:38,520
Speaker 3: And then there was one part I wanted to quote

1091
00:56:38,719 --> 00:56:41,680
Speaker 3: because it was so weird. He says, we created the

1092
00:56:41,719 --> 00:56:45,919
Speaker 3: perfect soldier from street hoodlums and thugs and a good

1093
00:56:46,000 --> 00:56:50,120
Speaker 3: number of pathological murderers and sadists. We called them the

1094
00:56:50,160 --> 00:56:54,480
Speaker 3: Totin Core. The Death Core creatures more horrible than any

1095
00:56:54,560 --> 00:56:58,360
Speaker 3: you can imagine, not dead, not alive, but somewhere in between.

1096
00:56:59,000 --> 00:57:01,560
Speaker 3: And then he starts complain about how they wouldn't obey

1097
00:57:01,680 --> 00:57:04,960
Speaker 3: orders and couldn't be controlled. But he says they made them.

1098
00:57:05,120 --> 00:57:08,520
Speaker 3: They just like tried to get pathological murderers and sadists.

1099
00:57:08,960 --> 00:57:11,480
Speaker 3: And then he starts complaining about how they would not

1100
00:57:11,560 --> 00:57:14,480
Speaker 3: obey orders and could not be controlled. And at the

1101
00:57:14,560 --> 00:57:17,000
Speaker 3: end of the war, Cushing came to this island, I guess,

1102
00:57:17,080 --> 00:57:20,600
Speaker 3: to escape justice, and he sank the ship containing the

1103
00:57:20,640 --> 00:57:24,600
Speaker 3: Death Core, And somehow in the past couple days the

1104
00:57:24,640 --> 00:57:27,840
Speaker 3: ship unsank and the Death Corps are now on the loose.

1105
00:57:28,360 --> 00:57:31,040
Speaker 3: Oh Andy pulls out his Luger, and he says, now

1106
00:57:31,080 --> 00:57:32,880
Speaker 3: I want you to leave. If I see any of

1107
00:57:32,920 --> 00:57:34,560
Speaker 3: you at all, I will shoot on site.

1108
00:57:34,880 --> 00:57:39,840
Speaker 1: Yep. And they're like, okay, fair enough, gotcha.

1109
00:57:40,680 --> 00:57:43,400
Speaker 3: So then Cushing he starts running around. I couldn't quite

1110
00:57:43,440 --> 00:57:45,480
Speaker 3: understand what it was he was trying to do at

1111
00:57:45,480 --> 00:57:47,760
Speaker 3: this point, but he goes out waiting in the water,

1112
00:57:48,120 --> 00:57:51,640
Speaker 3: and then did you understand what he was trying to

1113
00:57:51,680 --> 00:57:52,440
Speaker 3: do at this point?

1114
00:57:52,680 --> 00:57:55,280
Speaker 1: Yeah, So my read on this, and it could be incorrect,

1115
00:57:55,440 --> 00:57:58,640
Speaker 1: is that is that I think ultimately that he was

1116
00:57:58,760 --> 00:58:01,960
Speaker 1: trying to distract them, trying to distract the death core

1117
00:58:02,400 --> 00:58:04,360
Speaker 1: because even though he's like, you guys are dumb. I

1118
00:58:04,400 --> 00:58:05,960
Speaker 1: told you how to get away and you didn't, and

1119
00:58:06,000 --> 00:58:07,600
Speaker 1: now you're just gonna die, like all of us are

1120
00:58:07,600 --> 00:58:10,080
Speaker 1: going to die. There there are a couple of lines

1121
00:58:10,120 --> 00:58:14,680
Speaker 1: where he admits some level of responsibility for all the

1122
00:58:14,720 --> 00:58:17,600
Speaker 1: deaths that have occurred because of these things, and so

1123
00:58:17,680 --> 00:58:20,040
Speaker 1: there's kind of a sense, but not like a super

1124
00:58:20,400 --> 00:58:22,920
Speaker 1: like Hammy sense, but there's this I kind of got

1125
00:58:22,920 --> 00:58:25,080
Speaker 1: a sense that he was he was trying to distract them,

1126
00:58:25,120 --> 00:58:27,360
Speaker 1: because he's like calling to the death cores and he

1127
00:58:27,400 --> 00:58:31,440
Speaker 1: always he can't control them. So the only alternative seems

1128
00:58:31,480 --> 00:58:35,160
Speaker 1: to be that he wants to distract them away from

1129
00:58:35,160 --> 00:58:38,800
Speaker 1: the others so that they can possibly escape and live.

1130
00:58:40,040 --> 00:58:43,400
Speaker 3: It's harder to buy him as remorseful given that he's

1131
00:58:43,400 --> 00:58:46,440
Speaker 3: still hanging up swastika flags where he lives.

1132
00:58:46,680 --> 00:58:49,320
Speaker 1: Yeah, he's not like, I'm not saying he's a he's

1133
00:58:49,320 --> 00:58:52,640
Speaker 1: not a character you feel for, but that that that's

1134
00:58:52,680 --> 00:58:54,840
Speaker 1: the only thing that makes any sense within the context

1135
00:58:54,840 --> 00:58:57,960
Speaker 1: of the plot, you know, because I otherwise, Yeah, I

1136
00:58:58,000 --> 00:59:00,080
Speaker 1: just I can't think of anything else. The listeners, if

1137
00:59:00,080 --> 00:59:01,680
Speaker 1: you've seen the film and you have an answer to this,

1138
00:59:02,080 --> 00:59:04,160
Speaker 1: let us know. But I think that's what they were

1139
00:59:04,160 --> 00:59:04,640
Speaker 1: going for.

1140
00:59:05,080 --> 00:59:05,280
Speaker 4: Yeah.

1141
00:59:05,320 --> 00:59:07,800
Speaker 3: Well, eventually, so he's running around all over the place

1142
00:59:07,880 --> 00:59:10,520
Speaker 3: and at some point he stops and lays down next

1143
00:59:10,560 --> 00:59:14,280
Speaker 3: to a pond to drink some stagnant giardia water, and

1144
00:59:14,360 --> 00:59:16,760
Speaker 3: a zombie just reaches up out of the water, pulls

1145
00:59:16,800 --> 00:59:17,760
Speaker 3: him in, drowns him.

1146
00:59:18,040 --> 00:59:20,480
Speaker 1: Yeah, good scene, good end of Cushing.

1147
00:59:21,240 --> 00:59:24,320
Speaker 3: Meanwhile, the tourists are trying to escape on a boat

1148
00:59:24,360 --> 00:59:26,600
Speaker 3: that Peter Cushing has told them about. It's just like

1149
00:59:26,640 --> 00:59:29,640
Speaker 3: a little rowboat. And there was a really funny scene

1150
00:59:29,680 --> 00:59:33,520
Speaker 3: of Norman the aggressive angry nerd carrying around his suitcases

1151
00:59:33,600 --> 00:59:34,680
Speaker 3: while he's trying to get in the boat.

1152
00:59:34,720 --> 00:59:37,720
Speaker 1: Ye, he still has all of his baggage. He's ready

1153
00:59:37,800 --> 00:59:40,360
Speaker 1: to climb on this tiny boat with several other people,

1154
00:59:40,360 --> 00:59:41,720
Speaker 1: and of course they call him on it. They're like,

1155
00:59:41,760 --> 00:59:42,440
Speaker 1: what are you doing?

1156
00:59:42,560 --> 00:59:45,120
Speaker 3: I know several of us have died, but I still

1157
00:59:45,160 --> 00:59:47,320
Speaker 3: have five suitcases I need to bring with us.

1158
00:59:47,400 --> 00:59:48,960
Speaker 1: Yeah, and then when they tell me can't bring him,

1159
00:59:48,960 --> 00:59:51,640
Speaker 1: he like throws them any tantrum. He's kind of like, fine,

1160
00:59:51,760 --> 00:59:55,560
Speaker 1: like I'm mad, I'm mad, don't get to keep my suitcase.

1161
00:59:56,600 --> 00:59:58,520
Speaker 3: One of the bags he's bringing with him looks like

1162
00:59:58,560 --> 01:00:01,760
Speaker 3: it's a folding one of those bat you transport suits in.

1163
01:00:02,360 --> 01:00:05,480
Speaker 3: So he's got like formal wear with him. Yeah, he's

1164
01:00:05,480 --> 01:00:09,640
Speaker 3: going to need that tuxedo after they escape. So anyway,

1165
01:00:09,560 --> 01:00:12,680
Speaker 3: they're trying to escape on a tiny row boat. This

1166
01:00:12,760 --> 01:00:14,919
Speaker 3: part I thought had some pretty cool shots of them,

1167
01:00:15,040 --> 01:00:18,560
Speaker 3: like paddling around through these mazes of mangrove roots while

1168
01:00:18,600 --> 01:00:21,920
Speaker 3: the Goggle boys are lurking beneath and all around spying

1169
01:00:21,960 --> 01:00:25,560
Speaker 3: on them. This part I thought was creepy. Yeah, yeah, oh,

1170
01:00:25,600 --> 01:00:29,480
Speaker 3: but then it just turns into a parade of errors. Mishap.

1171
01:00:29,520 --> 01:00:32,680
Speaker 3: After mishap, they run into a mud bank. They have

1172
01:00:32,720 --> 01:00:35,200
Speaker 3: to try to run the boat out of it. Beverly

1173
01:00:35,240 --> 01:00:38,280
Speaker 3: falls out, people go after her. Rose gets knocked out

1174
01:00:38,280 --> 01:00:41,360
Speaker 3: of the boat. That roses Broke Adams and then eventually,

1175
01:00:41,400 --> 01:00:44,040
Speaker 3: after a bunch of screwing around, the boat floats away

1176
01:00:44,200 --> 01:00:46,320
Speaker 3: under sail with no passengers. Whoops.

1177
01:00:46,600 --> 01:00:49,720
Speaker 1: Yeah, so now they've really failed. Well they failed for

1178
01:00:49,720 --> 01:00:52,280
Speaker 1: the second time here because now there's nothing they can

1179
01:00:52,320 --> 01:00:54,160
Speaker 1: do but run back to the hotel.

1180
01:00:54,600 --> 01:00:57,840
Speaker 3: Right, So there are various chases now, everybody's running around

1181
01:00:57,880 --> 01:01:00,840
Speaker 3: in different places. Norman gets attacked in the water and

1182
01:01:00,920 --> 01:01:04,919
Speaker 3: killed by by Norman. Brooke Adams gets chased, but there's

1183
01:01:04,920 --> 01:01:07,840
Speaker 3: a there's a cool moment where she manages to kill

1184
01:01:07,920 --> 01:01:13,760
Speaker 3: one of the zombies by knocking its goggles off. Here again,

1185
01:01:13,880 --> 01:01:15,920
Speaker 3: do you understand what was going on here? So the

1186
01:01:15,960 --> 01:01:19,680
Speaker 3: goggles come off and then somehow it's face like rapidly rots.

1187
01:01:19,920 --> 01:01:22,000
Speaker 1: I think it's like they're susceptible to the light, Like

1188
01:01:22,000 --> 01:01:23,680
Speaker 1: if the light gets in there and the sunlight gets

1189
01:01:23,680 --> 01:01:27,360
Speaker 1: in their eyes, it destroys them. And you know, we

1190
01:01:27,400 --> 01:01:29,480
Speaker 1: were also told that they draw their energy from the

1191
01:01:29,520 --> 01:01:31,960
Speaker 1: earth itself, So I think that's one of the reasons

1192
01:01:32,000 --> 01:01:33,880
Speaker 1: I guess that we have all those scenes of them

1193
01:01:33,920 --> 01:01:37,000
Speaker 1: like in the water, walking along on the bottom of

1194
01:01:37,040 --> 01:01:39,400
Speaker 1: the seafloor. Like it's nothing. Like they have some sort

1195
01:01:39,440 --> 01:01:42,960
Speaker 1: of supernatural connection to the earth, some sort of warped

1196
01:01:42,960 --> 01:01:46,480
Speaker 1: pagan magic that was co opted by the baddies.

1197
01:01:46,720 --> 01:01:50,040
Speaker 3: Okay, that would make sense anyway. Meanwhile, back at the hotel,

1198
01:01:50,560 --> 01:01:54,520
Speaker 3: so the remaining tourists, Chuck, Keith, Beverly, and Rose, they

1199
01:01:54,520 --> 01:01:58,600
Speaker 3: decided to hole up in a refrigerator overnight by locking

1200
01:01:58,600 --> 01:02:00,360
Speaker 3: the door hiding in there, we get to watch the

1201
01:02:00,480 --> 01:02:01,400
Speaker 3: zombies walk in.

1202
01:02:02,120 --> 01:02:05,360
Speaker 1: Yeah, yes, not like your refrigerator in your house, right,

1203
01:02:05,960 --> 01:02:08,120
Speaker 1: but a big one, a big walk in freezer thing.

1204
01:02:08,080 --> 01:02:10,320
Speaker 3: And it doesn't have power, so it's not like cold,

1205
01:02:11,560 --> 01:02:13,600
Speaker 3: but there is that. We get to watch the zombies

1206
01:02:13,640 --> 01:02:17,000
Speaker 3: wrecking the hotel. They're just like smashing mirrors and everything.

1207
01:02:17,800 --> 01:02:21,120
Speaker 3: And then inside the fridge, this is the moment I

1208
01:02:21,160 --> 01:02:24,240
Speaker 3: mentioned where Chuck has this kind of out of character

1209
01:02:24,320 --> 01:02:29,520
Speaker 3: freak out. He just starts ranting and screaming and hyperventilatings hyperventilating.

1210
01:02:29,520 --> 01:02:32,080
Speaker 3: He's saying, let me out, I'll take my chances. Maybe

1211
01:02:32,120 --> 01:02:35,480
Speaker 3: he's clusterrophobic or something, I guess, so, Yeah, but it's

1212
01:02:35,520 --> 01:02:38,200
Speaker 3: revealed he's got a flare gun. He starts pointing the

1213
01:02:38,240 --> 01:02:40,680
Speaker 3: flare gun at people and he accidentally shoots it. I

1214
01:02:40,680 --> 01:02:44,919
Speaker 3: think this blinds Beverly. And it's during the scene where

1215
01:02:44,920 --> 01:02:47,280
Speaker 3: they like all have to run out of the refrigerator

1216
01:02:47,320 --> 01:02:50,320
Speaker 3: because Chuck has shot this flare gun inside it that

1217
01:02:50,400 --> 01:02:53,560
Speaker 3: I noticed finally that Keith is wearing bell bottoms, and

1218
01:02:53,600 --> 01:02:55,560
Speaker 3: I suppose he has been the entire movie.

1219
01:02:55,760 --> 01:02:58,400
Speaker 1: Oh but of course, of course he has. Makes perfect sense.

1220
01:02:58,640 --> 01:03:02,880
Speaker 3: So then we're into endgame basically, like Chuck is running around,

1221
01:03:03,040 --> 01:03:05,800
Speaker 3: he's showing off his muscles and he's trying to fight

1222
01:03:05,880 --> 01:03:08,320
Speaker 3: back against the zombies. But he falls into a pool

1223
01:03:08,440 --> 01:03:10,040
Speaker 3: and he gets killed by zombies.

1224
01:03:10,440 --> 01:03:13,480
Speaker 1: Yeah, he effectively close lines one of them. Yeah, then

1225
01:03:13,480 --> 01:03:17,040
Speaker 1: they get him and that pool death scene is pretty horrifying.

1226
01:03:17,080 --> 01:03:21,320
Speaker 1: Now again, the sort of vacation world ruins of this place.

1227
01:03:21,720 --> 01:03:25,640
Speaker 3: Yeah, Keith and Roe is actually successfully hide till morning,

1228
01:03:25,800 --> 01:03:29,240
Speaker 3: I think inside a furnace. They like open this metal

1229
01:03:29,280 --> 01:03:31,720
Speaker 3: grade and hide in there, and then in the morning

1230
01:03:31,720 --> 01:03:34,000
Speaker 3: when they come out, they find Beverly dead in a

1231
01:03:34,040 --> 01:03:37,120
Speaker 3: fish tank, and they find Chuck dead in a pool,

1232
01:03:37,120 --> 01:03:39,240
Speaker 3: So then it's just to escape mode. It's you know,

1233
01:03:39,280 --> 01:03:42,120
Speaker 3: they're trying to escape in a boat. Keith doesn't do

1234
01:03:42,240 --> 01:03:44,160
Speaker 3: so well either. He gets dragged out of the boat

1235
01:03:44,240 --> 01:03:48,000
Speaker 3: multiple times, and eventually we get yet another sighting of

1236
01:03:48,000 --> 01:03:50,840
Speaker 3: a corpse through the glass bottom and it is only

1237
01:03:50,880 --> 01:03:53,600
Speaker 3: Brooke Adams who makes it out, but even does she

1238
01:03:53,760 --> 01:03:56,520
Speaker 3: Really Like the other Florida movies we've watched, this one

1239
01:03:56,560 --> 01:03:58,760
Speaker 3: has a downer ending where really nobody wins.

1240
01:03:59,480 --> 01:04:02,120
Speaker 1: Yeah, real gut touch of an ending, because first of all,

1241
01:04:02,160 --> 01:04:05,120
Speaker 1: everyone except Rose has been murdered by the Death Corps,

1242
01:04:05,320 --> 01:04:09,040
Speaker 1: like everybody except well the fishermen and his son. At

1243
01:04:09,080 --> 01:04:11,400
Speaker 1: the beginning, they're going, yeah, ok, yeah, they're doing right,

1244
01:04:11,440 --> 01:04:14,680
Speaker 1: but everybody else dead. And even though she survives being

1245
01:04:14,680 --> 01:04:18,040
Speaker 1: adrift at sea for days without water, she's obviously left

1246
01:04:18,120 --> 01:04:21,640
Speaker 1: terribly traumatized. And the account that she's been writing down

1247
01:04:21,680 --> 01:04:25,520
Speaker 1: in her journal. There's this really awesome scene there at

1248
01:04:25,560 --> 01:04:28,240
Speaker 1: the end where the camera pans around and we see

1249
01:04:28,480 --> 01:04:32,240
Speaker 1: she's been writing. We assume she's writing the narration, she's

1250
01:04:32,280 --> 01:04:35,120
Speaker 1: writing her story, but then we see that her journal

1251
01:04:35,160 --> 01:04:38,480
Speaker 1: is filled with nothing but nonsensical scribbles. So you have

1252
01:04:38,560 --> 01:04:42,000
Speaker 1: this this very classic weird horror ending, as our protagonist

1253
01:04:42,080 --> 01:04:45,280
Speaker 1: has survived physically but not mentally from a brush with

1254
01:04:45,320 --> 01:04:46,440
Speaker 1: supernatural horror.

1255
01:04:46,720 --> 01:04:49,520
Speaker 3: This is actually extremely close to the ending of Zat,

1256
01:04:49,560 --> 01:04:53,760
Speaker 3: where it seems like all of the human characters who

1257
01:04:53,840 --> 01:04:58,120
Speaker 3: are not catfishified are either dead or there's one who

1258
01:04:58,320 --> 01:05:01,400
Speaker 3: was apparently saved but now just wants to march into

1259
01:05:01,400 --> 01:05:01,920
Speaker 3: the ocean.

1260
01:05:02,440 --> 01:05:04,920
Speaker 1: Yeah. I guess the thing is that at least you

1261
01:05:04,960 --> 01:05:07,480
Speaker 1: feel good for doctor Leopold because it's like, well, doctor

1262
01:05:07,520 --> 01:05:09,560
Speaker 1: Leopold won, he got what he wanted, and I guess

1263
01:05:09,560 --> 01:05:12,560
Speaker 1: it's good for the fish. But in this like nobody

1264
01:05:12,720 --> 01:05:16,080
Speaker 1: really wins, like the I mean, I guess the Death

1265
01:05:16,160 --> 01:05:19,440
Speaker 1: Corps wins, but they don't really want things. They just murder,

1266
01:05:19,560 --> 01:05:22,040
Speaker 1: you know. So it's just it's kind of a nihilistic

1267
01:05:22,160 --> 01:05:29,040
Speaker 1: ending but feels, you know, honestly nineteen seventies, you know,

1268
01:05:29,080 --> 01:05:31,320
Speaker 1: it's kind of It also reminds us a little bit

1269
01:05:31,320 --> 01:05:34,840
Speaker 1: of Texas Chainsaw Massacre, where in that our final girl

1270
01:05:35,040 --> 01:05:39,040
Speaker 1: gets away but she's like laughing maniacally. There's a sense that,

1271
01:05:39,720 --> 01:05:43,960
Speaker 1: yeah that perhaps she has not survived completely survived physically

1272
01:05:44,040 --> 01:05:47,640
Speaker 1: but not you know, mentally or emotionally.

1273
01:05:48,000 --> 01:05:49,520
Speaker 3: Oh well, I guess you could read it that way,

1274
01:05:49,560 --> 01:05:53,640
Speaker 3: But then again, I don't know. I can scarcely think

1275
01:05:53,920 --> 01:05:59,360
Speaker 3: of a movie ending where the protagonist escaping danger is

1276
01:05:59,440 --> 01:06:02,640
Speaker 3: as arctic and feels as rewarding as the end of

1277
01:06:02,680 --> 01:06:05,760
Speaker 3: Texas Chainsaw Massacre. True, like when she gets into the

1278
01:06:05,760 --> 01:06:08,080
Speaker 3: truck and gets away at the end of TCM, Like

1279
01:06:08,520 --> 01:06:13,200
Speaker 3: that is probably like the biggest, like just absolutely visceral

1280
01:06:13,320 --> 01:06:15,960
Speaker 3: in the body sense of relief I can think of

1281
01:06:16,040 --> 01:06:17,560
Speaker 3: in any movie I've ever seen.

1282
01:06:17,760 --> 01:06:19,880
Speaker 1: You're right it, really it does feel like a victory

1283
01:06:19,960 --> 01:06:21,960
Speaker 1: at the end of TCM, like she has gotten away.

1284
01:06:22,240 --> 01:06:27,120
Speaker 1: Leather Face is defeated and gets it. In this though, yeah,

1285
01:06:27,160 --> 01:06:30,560
Speaker 1: the baddies for the most part didn't get it, and

1286
01:06:30,640 --> 01:06:33,120
Speaker 1: she's in kind of a sad state. So yeah, it's

1287
01:06:33,160 --> 01:06:35,120
Speaker 1: a like I say, I got punch of an ending,

1288
01:06:35,160 --> 01:06:39,680
Speaker 1: but one that feels, you know, on message. For this film.

1289
01:06:40,040 --> 01:06:42,200
Speaker 3: We don't get to see the Death Corps doing chainsaw

1290
01:06:42,320 --> 01:06:45,040
Speaker 3: ballet on the beach like we do with the Leather Pace.

1291
01:06:45,840 --> 01:06:48,880
Speaker 1: All right, So let's say Florida movie checklist. We had

1292
01:06:48,880 --> 01:06:52,800
Speaker 1: Florida ruins, we had oppressive Florida wilderness, we had marine

1293
01:06:52,880 --> 01:06:56,760
Speaker 1: life and tanks. We had electronic music, and we had

1294
01:06:56,760 --> 01:06:59,760
Speaker 1: a dark ending. So really the only things we're lacking

1295
01:07:00,040 --> 01:07:03,240
Speaker 1: that were present in previous movies are well, I was

1296
01:07:03,240 --> 01:07:04,880
Speaker 1: gonna say shots of animals in the wild, but we

1297
01:07:04,920 --> 01:07:08,919
Speaker 1: do have some fish scenes early on, so see urchins. Yeah,

1298
01:07:09,080 --> 01:07:11,000
Speaker 1: just yes, the urchins are in there, just maybe not

1299
01:07:11,040 --> 01:07:15,120
Speaker 1: as much wildlife as we saw in Frogs certainly or

1300
01:07:15,160 --> 01:07:18,400
Speaker 1: in Za. And also we don't have an ecological message.

1301
01:07:18,520 --> 01:07:21,560
Speaker 3: That's true this one. Uh, those two movies both, even

1302
01:07:21,600 --> 01:07:25,680
Speaker 3: if it was maybe not super well articulated, Yeah, they've

1303
01:07:25,680 --> 01:07:28,240
Speaker 3: got an ecological message. I don't think this movie really

1304
01:07:28,240 --> 01:07:31,720
Speaker 3: has any message at all. Yeah, none that is intended.

1305
01:07:32,200 --> 01:07:34,919
Speaker 3: If it is, it's just like, don't create a death core.

1306
01:07:35,600 --> 01:07:39,280
Speaker 3: You do not screw around with making undead superhuman Nazi soldiers.

1307
01:07:39,680 --> 01:07:45,120
Speaker 1: Yeah, or properly research your your your scuba outlets before

1308
01:07:45,200 --> 01:07:49,760
Speaker 1: you have gone a vacation. But yeah, this one I

1309
01:07:49,840 --> 01:07:53,640
Speaker 1: think is pretty effective. I remember seeing I think I

1310
01:07:53,640 --> 01:07:58,360
Speaker 1: saw the last maybe thirty percent of it on TBS

1311
01:07:58,480 --> 01:08:00,760
Speaker 1: or TNT back in the day, like all during the

1312
01:08:00,840 --> 01:08:04,400
Speaker 1: day at my grandparents' house and was really creeped out

1313
01:08:04,480 --> 01:08:06,479
Speaker 1: by it. And it's a it's actually It's a great

1314
01:08:06,480 --> 01:08:08,479
Speaker 1: horror movie to have seen during the day because most

1315
01:08:08,520 --> 01:08:11,680
Speaker 1: of the action takes place in the day. Like it,

1316
01:08:11,680 --> 01:08:17,719
Speaker 1: it makes daytime in Florida horrifying, you know, effectively horrifying.

1317
01:08:17,800 --> 01:08:20,000
Speaker 1: It doesn't have to be dark in Florida for you

1318
01:08:20,080 --> 01:08:20,719
Speaker 1: to be afraid.

1319
01:08:21,160 --> 01:08:27,200
Speaker 3: Actually, this violates a lot of rules about movie monsters. Usually,

1320
01:08:27,360 --> 01:08:31,080
Speaker 3: I think movie monsters are better when seen, less when

1321
01:08:31,160 --> 01:08:34,960
Speaker 3: kept in the dark more, you know, following the Jaws rule,

1322
01:08:35,000 --> 01:08:36,880
Speaker 3: like if you're going to finally see the monster, you

1323
01:08:36,920 --> 01:08:38,960
Speaker 3: want to wait towards the end of the movie to

1324
01:08:39,000 --> 01:08:41,679
Speaker 3: do it. This movie, no is just putting its monsters

1325
01:08:41,680 --> 01:08:44,320
Speaker 3: front and center, tons of screen time, showing you all

1326
01:08:44,360 --> 01:08:48,080
Speaker 3: the time. Much like that, actually, but very different from Za.

1327
01:08:48,720 --> 01:08:51,439
Speaker 3: The monsters look very menacing in this and that actually

1328
01:08:51,520 --> 01:08:53,360
Speaker 3: works better when you see a ton of them.

1329
01:08:53,840 --> 01:08:56,800
Speaker 1: Yeah. Yeah, And in fact, there's one scene in particular

1330
01:08:56,840 --> 01:08:59,760
Speaker 1: where I think we've effectively killed one of them at

1331
01:08:59,760 --> 01:09:01,559
Speaker 1: this point once you pull the goggles off, and then

1332
01:09:01,600 --> 01:09:05,880
Speaker 1: we still see there's so many and I mean chalk

1333
01:09:05,920 --> 01:09:08,839
Speaker 1: it up to a good film. I was when that happened.

1334
01:09:08,840 --> 01:09:10,519
Speaker 1: In my recent reviewing of it, I was like, oh

1335
01:09:10,560 --> 01:09:12,360
Speaker 1: my goodness, Like I felt my heart sink. There were

1336
01:09:12,400 --> 01:09:14,280
Speaker 1: so many of them, even though I knew what was

1337
01:09:14,320 --> 01:09:14,880
Speaker 1: going to happen.

1338
01:09:15,080 --> 01:09:17,160
Speaker 3: I wonder what those goggles actually were were They were

1339
01:09:17,200 --> 01:09:19,160
Speaker 3: like welding goggles. What do you think that was they

1340
01:09:19,200 --> 01:09:19,599
Speaker 3: were wearing.

1341
01:09:19,920 --> 01:09:22,400
Speaker 1: I don't know. They looked familiar, but I don't know

1342
01:09:22,400 --> 01:09:26,360
Speaker 1: where I've seen them before. But good find costuming department

1343
01:09:26,360 --> 01:09:30,000
Speaker 1: on that. Yeah, good job, all right. So you're probably

1344
01:09:30,040 --> 01:09:33,439
Speaker 1: wondering where can I see Shockwaves? Well, I mentioned that

1345
01:09:33,520 --> 01:09:35,679
Speaker 1: I used to own it on Blue Underground on DVD

1346
01:09:35,720 --> 01:09:37,680
Speaker 1: from Blue Underground, and I think it's on Blu Ray

1347
01:09:37,800 --> 01:09:41,439
Speaker 1: from Blue Underground as well. I misplaced it over the years,

1348
01:09:41,920 --> 01:09:44,599
Speaker 1: but it's really good. It's got a lot of good extras.

1349
01:09:44,640 --> 01:09:47,120
Speaker 1: It's a great restoration of the film. I think to

1350
01:09:47,160 --> 01:09:51,720
Speaker 1: a certain degree, there's a certain seventies graininess to this

1351
01:09:51,800 --> 01:09:54,479
Speaker 1: film that I think is essential, Like I wouldn't want

1352
01:09:54,479 --> 01:09:57,519
Speaker 1: to see it into fine a quality you know it needs.

1353
01:09:57,560 --> 01:10:01,280
Speaker 1: That's seventies ness to it. But yeah, the Blue Underground

1354
01:10:01,360 --> 01:10:04,360
Speaker 1: edition is nice, has some fun extras. You can also

1355
01:10:04,760 --> 01:10:07,439
Speaker 1: rent it digitally, buy it digitally most places, and if

1356
01:10:07,479 --> 01:10:10,000
Speaker 1: you want, if you if you want to find like

1357
01:10:10,080 --> 01:10:13,880
Speaker 1: a sort of a loophole to get it. I have

1358
01:10:14,040 --> 01:10:17,559
Speaker 1: noticed that if you do a free trial of the

1359
01:10:17,560 --> 01:10:20,280
Speaker 1: full Moon Entertainment channel, like you can get through like

1360
01:10:20,320 --> 01:10:23,640
Speaker 1: Amazon Prime, you know, like a seven day trial, you

1361
01:10:23,680 --> 01:10:26,599
Speaker 1: can you can watch shock Waves through that channel.

1362
01:10:26,680 --> 01:10:29,320
Speaker 3: There's a Charles Band app now.

1363
01:10:30,120 --> 01:10:31,880
Speaker 1: I guess it's an app. Yeah, it's at least it's

1364
01:10:31,880 --> 01:10:33,720
Speaker 1: an Amazon Prime channel, and I think you can get

1365
01:10:33,720 --> 01:10:35,720
Speaker 1: it on. It's probably on like Roku and stuff like that.

1366
01:10:35,800 --> 01:10:38,560
Speaker 1: I don't I'm not superversed in all that, okay, but

1367
01:10:38,960 --> 01:10:40,600
Speaker 1: but yeah, there's there are some ways to see this

1368
01:10:40,680 --> 01:10:42,200
Speaker 1: if you don't if you don't want to, you know,

1369
01:10:42,200 --> 01:10:44,719
Speaker 1: straight up rent or buy it or pick up that DVD,

1370
01:10:44,880 --> 01:10:46,920
Speaker 1: but subscribe.

1371
01:10:46,320 --> 01:10:47,960
Speaker 3: To band Tube.

1372
01:10:48,439 --> 01:10:49,960
Speaker 1: I didn't check too B to see if it was

1373
01:10:49,960 --> 01:10:50,360
Speaker 1: on two B.

1374
01:10:50,920 --> 01:10:52,000
Speaker 3: Oh, yeah I didn't either.

1375
01:10:52,320 --> 01:10:52,799
Speaker 1: Yeah.

1376
01:10:52,880 --> 01:10:54,639
Speaker 3: You know, you were talking about the look of this movie.

1377
01:10:54,640 --> 01:10:56,759
Speaker 3: One thing, last thing I have to say I realized

1378
01:10:56,840 --> 01:10:59,920
Speaker 3: is the look of this movie is a blue can

1379
01:11:00,320 --> 01:11:04,519
Speaker 3: of craft graded parmesan cheese from the seventies. That's what

1380
01:11:04,560 --> 01:11:05,400
Speaker 3: the esthetic is.

1381
01:11:06,040 --> 01:11:09,120
Speaker 1: Yes, all right, Well, on that note, we would love

1382
01:11:09,120 --> 01:11:12,839
Speaker 1: to hear from everyone out there about your memories, especially

1383
01:11:12,880 --> 01:11:15,280
Speaker 1: you know from older listeners. Your memories of craft cheese

1384
01:11:15,280 --> 01:11:18,880
Speaker 1: canisters of the mid nineteen seventies. When did it change?

1385
01:11:18,920 --> 01:11:20,960
Speaker 1: Why did it change? Did it change? I don't know.

1386
01:11:22,200 --> 01:11:24,360
Speaker 1: Have you seen this movie? Did you see it on

1387
01:11:24,400 --> 01:11:26,240
Speaker 1: TVs back in the day when you were a child

1388
01:11:26,280 --> 01:11:29,880
Speaker 1: and when we're partially traumatized by it like me, or

1389
01:11:30,160 --> 01:11:32,200
Speaker 1: you know, did you check it out later? Let us know.

1390
01:11:32,240 --> 01:11:35,200
Speaker 1: We'd love to hear from you and you just in

1391
01:11:35,240 --> 01:11:37,600
Speaker 1: general about other films we've done on Weird House Cinema,

1392
01:11:38,000 --> 01:11:40,479
Speaker 1: films you think we should cover in the future, or

1393
01:11:40,720 --> 01:11:43,400
Speaker 1: like a lot of our listeners, just continue to write

1394
01:11:43,400 --> 01:11:46,840
Speaker 1: in about Sean Connery's accent and Highlander and to what

1395
01:11:46,880 --> 01:11:50,240
Speaker 1: degree it makes sense and what kind of backflips we

1396
01:11:50,280 --> 01:11:52,519
Speaker 1: have to do mentally to have it make sense.

1397
01:11:53,360 --> 01:11:56,320
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1398
01:11:56,400 --> 01:11:58,760
Speaker 3: Nicholas Johnson. If you would like to get in touch

1399
01:11:58,800 --> 01:12:01,160
Speaker 3: with us with feedback on episode or any other, to

1400
01:12:01,200 --> 01:12:03,639
Speaker 3: suggest a topic for the future, or just to say hello,

1401
01:12:04,080 --> 01:12:06,760
Speaker 3: you can email us at contact at stuff to Blow

1402
01:12:06,800 --> 01:12:14,960
Speaker 3: your Mind dot com.

1403
01:12:15,200 --> 01:12:18,120
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1404
01:12:18,200 --> 01:12:21,000
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app

1405
01:12:21,160 --> 01:12:23,920
Speaker 2: Apple Podcasts or wherever you listen to your favorite shows,