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

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Speaker 2: Hey, welcome to Weird House Cinema.

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

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Speaker 3: today we are going to be talking about the nineteen

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Speaker 3: fifty six American science fiction adventure Forbidden Planet, starring Walter

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Speaker 3: Pigeon and Francis and Leslie Nielsen. Yes, that Leslie Nielsen.

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Speaker 3: You know, before he went full irony mode with movies

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Speaker 3: like Airplane and The Naked Gun, he was a stern,

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Speaker 3: square jawed ham from outer space. And this movie makes

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Speaker 3: the best and the worst use of him.

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Speaker 2: Yes, this movie is full of male actors, just like that.

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Speaker 3: I had such a good time rewatching Forbidden Planet. This

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Speaker 3: wasn't the first time I'd seen it, but the first

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Speaker 3: time in a while. And it's one of those classic

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Speaker 3: films that both holds up so well and doesn't and

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Speaker 3: and both ways are good. Like it is at once gorgeous,

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Speaker 3: thoughtful and clever and also dated, corny and numb skullish,

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Speaker 3: and like both aspects make for a very good time.

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Speaker 2: I will say that, at least in my viewing of

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Speaker 2: the film, it never felt completely offensive, and it never was,

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Speaker 2: but it was never boring. I guess it is a

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Speaker 2: film that has a well earned place in sci fi

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Speaker 2: cinema legend, and if it's easy to go into Forbidden

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Speaker 2: Planet expecting it to like wholly and completely live up

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Speaker 2: to that legend. But this is a film that is

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Speaker 2: clearly trying to do multiple things at the same time

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Speaker 2: in essence to justify its budget. I imagine, you know,

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Speaker 2: it needs to be a film with a brilliant sci

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Speaker 2: fi vision. It also needs to have laughs, It needs

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Speaker 2: to have some you know, some winky sex appeal. It

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Speaker 2: needs to deliver on all of these things, and you know,

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Speaker 2: ultimately it does and does so in a way that

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Speaker 2: is not completely shameful decades later. So I think I

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Speaker 2: have to tip my hat to it in that regard.

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Speaker 3: You know, I had completely forgotten about the sixty gallons

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Speaker 3: of whiskey scene. That really adds a whole other dimension

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Speaker 3: to the Forbidden Planet experience. You did not think this

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Speaker 3: movie would be so much about men stranded in space

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Speaker 3: who are horny and want booze.

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Speaker 2: Yeah, there's a huge element of mad men in space,

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Speaker 2: with a bunch of Don Draper esque male characters essentially

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Speaker 2: hitting on relentlessly, hitting on the one female in their vicinity.

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Speaker 2: Only instead of a like a secretary and in like

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Speaker 2: a New York office space, it is the daughter of

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Speaker 2: a brilliant scientist on a distant world.

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Speaker 3: The one true extraterrestrial we get to meet in the movie.

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Speaker 3: Though she is a human, but she's from another planet.

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Speaker 2: Now, Joe, you fished up one of the posters for

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Speaker 2: Forbidden Planet, and oh it's so beautiful. It of course

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Speaker 2: features a non human entity carrying an unconscious, beautiful woman.

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Speaker 2: I can't recall. Does Robbie the Robot ever carry Ann

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Speaker 2: Francis in this picture?

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Speaker 3: I don't remember if he does. He does carry the

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Speaker 3: doctor Doc Austro, remember that.

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Speaker 2: I wonder that that should have been on the poster.

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Speaker 3: Close enough, Yeah, it should have been like a uniformed

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Speaker 3: guy who just got his brains apped by an alien computer.

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Speaker 3: But no, he's carrying a blonde lady here. And she

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Speaker 3: doesn't look that much like Anne Francis, Like her hair's

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Speaker 3: really long, But you know, it's close enough. This was

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Speaker 3: the format at the time they tore Johnson to Robbie

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Speaker 3: the Robot.

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Speaker 2: I love it. Well, Yeah, this film is gonna be

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Speaker 2: a lot of fun to talk about I believe this

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Speaker 2: is the third time we've covered a movie that's referenced

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Speaker 2: in the lyrics of science fiction double feature from the

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Speaker 2: Rocky Horror Picture Show. Because we've done Doctor X, and

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Speaker 2: we've done Tarantula, and now we've done Forbidden Planet. Of course,

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Speaker 2: in the chorus we get to hear we are reminded

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Speaker 2: several times that Anne Francis stars in Forbidden Planet.

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Speaker 3: Ah, because planet runs with Janet. Yeah, yeah, it's perfect.

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Speaker 2: In addition to the film score, I will I won't

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Speaker 2: say that I have the film score to Forbidden Planet

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Speaker 2: stuck in my head. It's not really an earworming score

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Speaker 2: in the traditional sense, but I've certainly had science fiction

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Speaker 2: double feature in my head all week ever since I

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Speaker 2: watched Forbidden Planet.

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Speaker 3: You know, one thing that I think really sets Forbidden

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Speaker 3: Planet apart from most of the science fiction of the

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Speaker 3: nineteen fifties is that it is an extreme example of

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Speaker 3: our show category of a rub the fur movie. It

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Speaker 3: is an overwhelming experience of pleasing visual and sonic textures.

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Speaker 3: Like even if the movie had no dialogue or story

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Speaker 3: at all, I think it would be a wonderful experience

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Speaker 3: just to sit and absorb the sets and the painted backdrops,

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Speaker 3: the special effects, the costumes and the props. I'm thinking

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Speaker 3: about so many things that are just you know, caramel

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Speaker 3: chocolate to the eyes, like you know, the green sky

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Speaker 3: and the mountains that we see on Altair four, the

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Speaker 3: mid century future chic decor of the Morbius House with

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Speaker 3: that pink mod furniture and all the loosight beams and everything,

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Speaker 3: the forced perspective shots of the Krell technology where you've

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Speaker 3: got these bridges going over the bottomless pits of the

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Speaker 3: power generators and whatever those big white globes are that

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Speaker 3: are like riding belts up and down the walls into

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Speaker 3: the darkness. You've got that great alien garden around the

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Speaker 3: Morbius swimming pool. You've got the design of Robbie the robot,

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Speaker 3: which is just I don't know, we should come back

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Speaker 3: to that, because that alone is unbelievable, those great diamond

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Speaker 3: shaped archways. And I love, of course, when we finally

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Speaker 3: see the hand animated blood red outline of the beast

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Speaker 3: in the movie, the id beast that hunts the astronauts,

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Speaker 3: and also not just the visual but the sonic textures

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Speaker 3: as well. As you were just alluding to, it might

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Speaker 3: not be earworms. But the sounds of the movie are

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Speaker 3: so interesting. It's just a corn ucopia of fascinating ambient sound.

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Speaker 3: And so I was thinking that while we are today

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Speaker 3: quite used to thinking of sci fi movies as rubbed

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Speaker 3: the fur events, full of pleasing images and sounds, just

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Speaker 3: great textures, having watched a lot of sci fi movies

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Speaker 3: from the nineteen fifties for the show, I would argue

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Speaker 3: that this was not the norm at the time. A

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Speaker 3: ton of sci fi movies from the fifties are not

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Speaker 3: full of pleasing visual and sonic textures. They are low

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Speaker 3: budget affairs without much exciting to show you other than

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Speaker 3: maybe like a monster costume. Even a lot of the

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Speaker 3: better ones are usually good because of the premise or

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Speaker 3: they're about ideas in some interesting way, and they consist

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Speaker 3: primarily of dudes standing around talking in a sparsely decorated set.

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Speaker 2: Yeah, I agree. I was just looking back at the

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Speaker 2: films we've covered from the nineteen fifties, and some of

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Speaker 2: them are, you know, definitely lower budget affairs. But yeah,

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Speaker 2: they're generally and that's part of it. You know, they're

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Speaker 2: making do with less, they're leaning more into the ideas,

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Speaker 2: and we're not getting into that rub defer territory that

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Speaker 2: we get with Forbidden Planet, which again is just like

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Speaker 2: it's not like you can even single out well one

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Speaker 2: or two visual elements or sonic elements as well, Like

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Speaker 2: they're just so many. It's like it's just a feast

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Speaker 2: for the eyes.

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Speaker 3: Every scene is full of shots that are just like

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Speaker 3: a poster you'd want to hang on your wall. And

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Speaker 3: one reason, of course, is an obvious thing. Forbidden Planet

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Speaker 3: stands out because it was shot in color. Specifically, the

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Speaker 3: color process was Eastman color, and almost all of the

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Speaker 3: other sci fi movies from the fifties that I can

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Speaker 3: think of were in black and white. And this was funny, actually,

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Speaker 3: I was trying to find a list of exceptions. I

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Speaker 3: was like, okay, what were the other color sci fi

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Speaker 3: movies from the fifties? And when I did a Google search,

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Speaker 3: the AI summary at the top of the search results

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Speaker 3: kept telling me, insisting that movies like The Thing from

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Speaker 3: Another World The Incredible Shrinking Man, both of which we

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Speaker 3: watched for the show, were in color. No, they're not,

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Speaker 3: it said The Day the Earth Stood Still was in color.

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Speaker 3: The original one is not. You know, I've seen these

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Speaker 3: movies they're in black and white. But there are some examples.

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Speaker 3: I can think of a few that I've seen. One

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Speaker 3: is Invaders from Mars from nineteen fifty three, directed by

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Speaker 3: William Cameron Menzies. Though this was shot in something called

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Speaker 3: super Cinicolor, which is a two color process that doesn't

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Speaker 3: quite end up looking like full color. It has an

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Speaker 3: interesting color palette, but it's kind of pale and faded, faded,

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Speaker 3: kind of greenish gold. And then the same year there

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Speaker 3: was a color adaptation of H. G. Wells War of

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Speaker 3: the Worlds directed by Byron Haskin that was in technicolor.

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Speaker 3: There was an adapt there was the adaptation of Twenty

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Speaker 3: Thousand Leagues. Of course we talked about that just a

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Speaker 3: week or two ago, the one with James Mason that

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Speaker 3: was in nineteen fifty four. That's in color and it

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Speaker 3: looks great. There is, of course This Island Earth in

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Speaker 3: fifty five that's in color.

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Speaker 2: Yeah, and I think This Island Earth is indeed probably

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Speaker 2: Forbidden Planet's closest peer. You know, it doesn't have a robot,

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Speaker 2: but it has a wonderful monster. It has, you know,

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Speaker 2: a lot of color and bizazz to it. But the

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Speaker 2: thing about about this Island Earth much smaller budget. Forbidden

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Speaker 2: Planet costs more than twice as much.

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Speaker 3: Yeah. So there are some other examples of great looking

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Speaker 3: color sci fi films from the fifties, but not many,

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Speaker 3: and it just was not the norm for sci fi

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Speaker 3: movies at the time. Frankly, a lot of these movies

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Speaker 3: from the fifties, even the relatively good ones, are not

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Speaker 3: any more visually exciting than It Conquered the World. You know,

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Speaker 3: what makes them good might be good writing or good acting.

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Speaker 2: Yeah, or maybe how well they shoot the monster costume

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Speaker 2: and so forth.

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Speaker 3: And as we were just saying, even when you consider the

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Speaker 3: other color pictures, I just don't think there is another

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Speaker 3: one that even comes close to Forbidden Planet. It's just

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Speaker 3: exquisite to look upon this the whole box of crayons.

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Speaker 2: Yeah, I mean, nine years later you would get Planet

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Speaker 2: of the Vampires, which, of course is another film we've

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Speaker 2: talked about on the show that is set in space

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Speaker 2: and has brilliant use of sets and costumes. Yeah, but

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Speaker 2: this is this is a this is this is the forerunner.

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Speaker 2: And you could probably make a very strong case that

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Speaker 2: a film like Planet of the Vampires wouldn't exist if

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Speaker 2: you didn't have Forbidden Planet getting there early and setting

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Speaker 2: the trend.

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Speaker 3: Yeah, I think Planet of the Vampires has got to

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Speaker 3: be at least in part inspired by the look of

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Speaker 3: Forbidden Planet. Okay, so we've established it's a ten course

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Speaker 3: dinner for the eyes. But another thing I wonder if

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Speaker 3: is this a good place to talk about this movie's

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Speaker 3: relationship to Shakespeare's The Tempest, because that's the thing. A

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Speaker 3: lot of people commenting on this over the years have

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Speaker 3: pointed out the plot of Forbidden Planet, and it seems

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Speaker 3: like a very loose adaptation of Shakespeare's The Tempest. And

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Speaker 3: I think that was kind of interesting because I know

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Speaker 3: I've heard it said before that compared to most of

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Speaker 3: the plays of Shakespeare, The Tempest is rarely put on

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Speaker 3: film in anything like its original form. It's just not

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Speaker 3: a play that gets a straight adaptation to film very much.

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Speaker 3: Adaptations of The Tempest in cinema are almost always very loose.

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Speaker 2: Yeah, And you know, I took a few different Shakespeare

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Speaker 2: classes in college, and we never directly covered The Tempest,

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Speaker 2: as I recall, so maybe in part because we didn't

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Speaker 2: have as many adaptations to watch on video to discuss it.

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Speaker 2: But yeah, this is frequently cited as an adaptation of

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Speaker 2: the Tempest. We have the we have a prospero character,

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Speaker 2: our Miranda, and I guess we have our Caliban of

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Speaker 2: sorts as well, our monstrous creature, not to be confused

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Speaker 2: with the Caliban in class for the Titans. Was he

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Speaker 2: called Caliban and that I can't recall, but he the

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Speaker 2: character in that is very much based on this element

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Speaker 2: of the Tempest as well.

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Speaker 3: Yeah. I think people have said have pointed out that

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Speaker 3: Robbie the robot is kind of aerial from the Tempest. Ah, yeah, yeah,

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Speaker 3: and that Adams is the Leslie Nielsen character is sort

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Speaker 3: of I forget the name, a bit like one of

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Speaker 3: the Italian nobles that gets a lured to the island.

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Speaker 2: And who's cook Cook?

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Speaker 3: Have a don't know, don't know about cook?

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Speaker 2: All right, we'll get back to cook. So yeah, we

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Speaker 2: have a groundbreaking sonic and visual science fiction film here,

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Speaker 2: shot in color with a health very healthy by budget,

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Speaker 2: and it has Shakespearean elements in it's plotting. All right, Joe,

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Speaker 2: do you have an elevator pitch for this film?

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Speaker 3: I couldn't get it down to one sentence, but here's

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Speaker 3: the setup. By the twenty third century, humankind has colonized

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Speaker 3: the galaxy with the help of faster than light travel,

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Speaker 3: but one mission, a mission to an exo plan in

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Speaker 3: it called Altaar four by the explorationship Bellerophon, has gone

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Speaker 3: silent after it arrived. Twenty years later, a United Planet's

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Speaker 3: starship under Commander JJ Adams is sent to the Altair

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Speaker 3: system to investigate the fate of the lost ship and

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Speaker 3: its crew. Once there, Adams and his men find that

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Speaker 3: the only survivor of the Bellerophon is a language scholar

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Speaker 3: named doctor Morbius, as well as his twenty year old

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Speaker 3: daughter Altara, who was born on the planet. What happened

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Speaker 3: to the rest of the crew? How have Morbius and

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Speaker 3: Altara survived all this time? And where can a guy

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Speaker 3: find bourbon and kissing lessons on a planet such as this?

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Speaker 2: All this and more will be explored. All right, Let's

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Speaker 2: go ahead and listen to a little trailer on you you.

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Speaker 4: Imagine yourself as one of the crew of this faster

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Speaker 4: than light spaceship of the future, sharing their curiosity to

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Speaker 4: know the unknown, their tension, their readiness for inconceivable adventures.

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Speaker 4: When you reach the forbidden planet, you will meet doctor

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Speaker 4: Morbius played by Walter Pigeon. The doctor is sole owner

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Speaker 4: of this fabulous world. Anne Francis is his alluring daughter, Alta,

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Speaker 4: who has never seen a young man till she meets

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Speaker 4: Commander Adams played by talented Leslie Nielson. You will meet

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Speaker 4: a charming character in the robot, able to produce on

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Speaker 4: order ten tons of lead or a slinky evening gown,

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Speaker 4: always at your service. You explore all the wonders of

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Speaker 4: a vanished civilization. You travel deep down into the heart

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Speaker 4: of the Forbidden Planet to discover the incredible marvels of

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Speaker 4: this lost, genious race. These magnificent scenes in striking Eastman

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Speaker 4: color stagger the imagination. Yet the wonders of planet al

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Speaker 4: tear four and see you a strange and evil force, unknown, irresistible.

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Speaker 2: All right, well, you may be wondering, Well, where can

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Speaker 2: I watch Forbidden Planet? Well, this was a major release.

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Speaker 2: It has been released on all formats over the years.

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Speaker 2: It is definitely available on Blu ray I belief from

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Speaker 2: Warner Home Video or something, And I'm not I didn't

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Speaker 2: check for this, but it's possible, I guess. Given in

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Speaker 2: this an MGM film, maybe MGM plus has its streaming,

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Speaker 2: you might check around for that. I, however, watched this

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Speaker 2: film on the big screen. I saw it over the

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Speaker 2: weekend at Atlanta's Historic Plaza Theater, presented as part of

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Speaker 2: the Silver Screen Spook Show series, and I have to

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Speaker 2: say looks terrific watching it in those old squeaky chairs there.

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Speaker 2: You know, the colors are fantastic. The sound is just

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Speaker 2: resonating around you and sometimes feeling like it's moving from

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Speaker 2: ear to ear. So I highly recommend seeing films like

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Speaker 2: this in the theater if you do get a chance

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Speaker 2: to see them. Silver Screens Spook Show. By the way,

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Speaker 2: we'll be doing mathra versus Godzilla on May seventeenth, two

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Speaker 2: shows as usual, a family friendly mattinee and a late

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Speaker 2: night show for grown ups if you're in the Atlanta

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Speaker 2: area on that date.

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Speaker 3: All right, Should we get into the connections.

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Speaker 2: Yeah. Starting at the top with the director. It's Fred M. Wilcox,

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Speaker 2: who lived nineteen oh seven through nineteen sixty four, American

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Speaker 2: director who started out at MGM as an assistant to

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Speaker 2: King Vidor, eventually working his way up through the MGM

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Speaker 2: Shorts department to direct the nineteen forty three feature Lassie

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Speaker 2: Come Home. Which starred a fourteen year old Roddy McDowell.

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Speaker 3: Is he the voice of the kid yelling Lassie?

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Speaker 2: I mean, he's the kid that presumably yells Lastie. So

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Speaker 2: I guess so okay?

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Speaker 3: Cool.

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Speaker 2: I felt this one was evidently a success because it

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Speaker 2: had a sequel nineteen forty six is Courage of Lassie,

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Speaker 2: and this one had a fully grown Elizabeth Taylor in it.

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Speaker 3: Okay, did it also still have Roddy McDowell. No, No,

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Speaker 3: Roddy McDowell.

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Speaker 2: Okay, Elizabeth Taylor only ic okay, and then Roddy McDowell.

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Speaker 3: He went from Lassie to laser Blast. That's amazing.

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Speaker 2: Yeah. Another filming director of nineteen forty nine is The

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Speaker 2: Secret Garden, which had a twelve year old Dean Stockwall

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Speaker 2: in it. Huh yeah, yeah. You can look up screenshots

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Speaker 2: from the Secret Garden and there's a little kid Dean Stockwell.

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Speaker 3: Fact to check, Dean Stockwell was never twelve years old.

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Speaker 2: It's amazing. He also did nineteen fifty two Shadow in

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Speaker 2: the Sky with Nancy Reagan. Planet was produced by Willcox's

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Speaker 2: nephew in law, producer Nicholas Nefek, and he was apparently

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Speaker 2: going to produce another big budget sci fi film with

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Speaker 2: a title something like Robot Planet, and Wilcock was going

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Speaker 2: to direct that as well, but Neffact died in nineteen

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Speaker 2: fifty eight. Wilcock directed one more film himself, and then

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Speaker 2: he also died in nineteen sixty four at the age

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Speaker 2: of fifty six. But I believe this is one of

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Speaker 2: those examples where the director didn't come out of science fiction,

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Speaker 2: and his life and career wasn't long enough afterwards to

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Speaker 2: return to any science fiction, So you know, it kind

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Speaker 2: of stands out as a one off. But boy, what

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Speaker 2: a one off. This is easily the film he's best

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Speaker 2: remembered for, all right. The screenplay is by Cyril Hume,

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Speaker 2: who lived nineteen hundred through nineteen sixty six, American writer

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Speaker 2: whose first novel, The Wife of the Centaur, was a

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Speaker 2: big hit in nineteen twenty three and adapted into a

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Speaker 2: King vidor Silent film in nineteen twenty four. He wrote

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Speaker 2: a few more novels, but mostly transitioned into screenwriting, working

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Speaker 2: on several Tarzan movies in the nineteen thirties, a nineteen

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Speaker 2: forty nine adaptation of The Great Gatsby and then also

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Speaker 2: a nineteen fifty six film titled Ransom exclamation Point, which

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Speaker 2: was remade in nineteen ninety six, the Mel Gibson picture

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Speaker 2: that some of you might remember. But it's worth noting

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Speaker 2: that the nineteen fifty six Ransom was itself an adaptation

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Speaker 2: of a nineteen fifty four episode that aired on the

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Speaker 2: anthology series of The United States Steel Hour.

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Speaker 3: What the United States Steel Out? Oh? It was just

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Speaker 3: named after a sponsor. Yeah, yeah, Like what should we

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Speaker 3: call it?

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Speaker 2: Should we call it like action or thriller or you know,

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Speaker 2: maybe some sort of a zone And they're like, nope,

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Speaker 2: the United States Steel Hour.

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Speaker 3: Oh, it's like the Colgate Comedy Hour.

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Speaker 2: Yeah, yeah, yeah, I guess somewhere to deal. Hume also

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Speaker 2: did some westerns. His only other sci fi screenplay was

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Speaker 2: nineteen fifty seven's The Invisible Boy, a sort of sequel

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Speaker 2: spin off to Forbidden Play, which we'll come back to.

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Speaker 2: Forbidden Planet is Hume's most famous work, again highly influential,

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Speaker 2: and is itself, at least a very loose adaptation of

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Speaker 2: Shakespeare's The Tempest. Now there are a couple of story

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Speaker 2: credits Irving Block and Alan Adler. Alan Adler lived nineteen

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Speaker 2: sixteen through nineteen sixty four. Also worked on a film

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Speaker 2: in fifty nine called The Giant Behemoth, and then Block

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Speaker 2: lived nineteen ten through nineteen eighty six. He was a

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Speaker 2: I think mostly a special effects and visual effects guy

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Speaker 2: who worked exclusively in genre pictures, often B movies, mostly

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Speaker 2: science fiction, and he sometimes contributed story ideas, this being

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Speaker 2: the first case of that. Other story credits include fifty

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Speaker 2: seven's Kronos, as well as Oh Boy, There's here's a

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Speaker 2: title for you, The Saga of the Viking Women and

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Speaker 2: their Voyage to the Waters of the Great Sea Serpent.

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Speaker 3: I've seen that one.

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Speaker 2: Yeah. Yeah, Does that title cover everything?

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Speaker 3: No?

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Speaker 2: No, there's more, Okay, a longer title as possible. He

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Speaker 2: also has story credits on Roger Corman's War of the

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Speaker 2: Satellites in fifty eight.

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Speaker 3: Those are both Roger Corman movies.

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Speaker 2: Oh so the Saga the Viking Women and their Voyage

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Speaker 2: to the Waters of the Great Sea Serpent also.

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Speaker 3: Corman also Corman I think in the same year.

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Speaker 2: Yeah, yeah, that's right, they're both fifty eight.

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Speaker 3: Yeah.

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Speaker 2: And then he also has story credits on The thirty

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Speaker 2: foot Bride of Candy Rock and Atomic Submarine, both in

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Speaker 2: fifty nine.

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Speaker 3: I haven't seen it, but I've just I have a

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Speaker 3: premonition that the movie Atomic Submarine is super boring.

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Speaker 2: Getting into the cast. Let's start at the top in

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Speaker 2: terms of billing with Doctor Morbius played by Walter Pigeon,

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Speaker 2: who lived eighteen ninety seven through nineteen eighty four. Walter Pigeon,

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Speaker 2: a two time Oscar nominee who had not done I

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Speaker 2: don't believe he'd really done a sci fi film up

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Speaker 2: to this point, having been mostly known for stuff like

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Speaker 2: nineteen forty one's How Green Was My Valley? After Forbidden Planet,

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Speaker 2: he'd go on to appear in a handful of other

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Speaker 2: sci fi flicks, sixty one's Voyage to the Bottom of

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Speaker 2: the Sea, seventy three is the Neptune Factor. Oh, and

387
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Speaker 2: then this was interesting. This is apparently a like a

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Speaker 2: made for TV film movie of the Week situation nineteen

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Speaker 2: seventy fours Live Again, Die Again, which is like about

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Speaker 2: a woman who is cryogenically frozen and then is brought

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Speaker 2: back to life and her husband is old now and

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Speaker 2: played by Walter Pigeon.

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Speaker 3: Oh okay, you know, I was thinking I like the

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Speaker 3: line that Walter Pigeon rides in this movie between hero

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Speaker 3: and villain for much of the film. You can't quite

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Speaker 3: tell how like what his intentions are. So he's that

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Speaker 3: kind of character who's mostly polite and helpful and seems

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Speaker 3: mostly forthright, but also maybe seems to be hiding something.

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Speaker 3: You don't know how much you can trust him.

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Speaker 2: Yeah, like he is he going to be? Is he

401
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Speaker 2: Captain Nemo? Like that's kind of the big question that

402
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Speaker 2: had to be on a lot of people's minds.

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Speaker 3: Yeah, yeah, yeah, And so I don't know, I could

404
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Speaker 3: see him, I could see him in another life of

405
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Speaker 3: playing having played a Bond villain or something like maybe

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Speaker 3: maybe nothing against Michael Lonsdale. He's great, but like he

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Speaker 3: could have been in Moonreaker.

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Speaker 2: Yeah, yeah, yeah, things have played out differently.

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Speaker 3: Yeah yeah.

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Speaker 2: I also like the ambiguity regarding his character. You're never

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Speaker 2: really sure that he's a villain or what villainous elements

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Speaker 2: he might have, but you also don't completely trust him.

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Speaker 2: I guess it's easier as a modern viewer of this

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Speaker 2: film to assume that he's up to no good. That's

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Speaker 2: my kid also watched the film with me and they

416
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Speaker 2: were like, oh, yeah, yeah, I knew he was hiding something, But.

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Speaker 3: Did he know he was hiding something. I guess he

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Speaker 3: knew he was hiding something, but maybe not the thing

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Speaker 3: you're thinking of.

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Speaker 2: Yeah. Yeah, he also did some horror movies. He appeared

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Speaker 2: in seventy two's The Screaming Woman, and also a couple

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Speaker 2: of gorilla movies in the twenties and thirties. I think

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Speaker 2: they're two separate gorilla movies and not the same gorilla movie.

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Speaker 2: But you know, someone had to starring gorilla movies, so

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Speaker 2: more power to him.

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Speaker 3: Was he in any of the Machist Goes to Hell movies?

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Speaker 2: All right? Well, again, we know that Ann Francis stars

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Speaker 2: in Forbidden Planet, and indeed she does, playing Altara Morbius,

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Speaker 2: the daughter of doctor Morbius. Anne Francis lived nineteen thirty

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Speaker 2: through twenty and eleven. She's our lone female character in

431
00:24:17,480 --> 00:24:21,560
Speaker 2: the film, the daughter of doctor Morbiuss, again seemingly doomed

432
00:24:21,600 --> 00:24:24,280
Speaker 2: to never know love or Earth, at least until the

433
00:24:24,359 --> 00:24:26,600
Speaker 2: rest of the cast shows up to just relentlessly hit

434
00:24:26,640 --> 00:24:29,320
Speaker 2: on her again like she's a secretary and a Madman

435
00:24:29,480 --> 00:24:34,480
Speaker 2: era office. She's our Miranda character, Golden Globe winning actress

436
00:24:34,840 --> 00:24:37,399
Speaker 2: whose other films include nineteen fifty five's Bad Day at

437
00:24:37,480 --> 00:24:40,520
Speaker 2: Black Rock, and nineteen sixty eight's Funny Girl, which also

438
00:24:40,560 --> 00:24:43,800
Speaker 2: co starred Walter Pigeon. Her screen credits begin in the

439
00:24:43,880 --> 00:24:46,560
Speaker 2: late forties. I believe she appeared on Broadway as a child,

440
00:24:47,000 --> 00:24:49,560
Speaker 2: and she remained active, especially on TV up through two

441
00:24:49,600 --> 00:24:52,439
Speaker 2: thousand and four, and she did two episodes of the

442
00:24:52,440 --> 00:24:53,719
Speaker 2: original Twilight Zone.

443
00:24:54,200 --> 00:24:56,560
Speaker 3: I also like Anne Francis in this role quite a

444
00:24:56,560 --> 00:25:00,720
Speaker 3: lot because she she does bring a kind of in

445
00:25:00,800 --> 00:25:04,160
Speaker 3: a way that you don't expect when you first meet

446
00:25:04,200 --> 00:25:07,240
Speaker 3: the character. Like, so the character, as we'll get into later,

447
00:25:08,680 --> 00:25:12,200
Speaker 3: I was describing her as sort of like Arnold Schwarzenegger

448
00:25:12,240 --> 00:25:15,800
Speaker 3: and Twins, Like she has learned all of the you know,

449
00:25:15,880 --> 00:25:18,280
Speaker 3: all of the academic subjects, as she knows all the

450
00:25:18,320 --> 00:25:22,439
Speaker 3: sciences and literature and everything, but is hopelessly naive about

451
00:25:22,520 --> 00:25:24,560
Speaker 3: society and human interactions.

452
00:25:25,440 --> 00:25:27,359
Speaker 2: Yeah, kind of a subset of like she's not a

453
00:25:27,400 --> 00:25:30,880
Speaker 2: full blown doll person where she's just like a child

454
00:25:30,960 --> 00:25:34,040
Speaker 2: in in an adult's body. She knows plenty of things,

455
00:25:34,080 --> 00:25:35,920
Speaker 2: she just doesn't have like a lot of like social

456
00:25:36,600 --> 00:25:39,200
Speaker 2: real world experience because she's never been to Earth.

457
00:25:39,320 --> 00:25:41,639
Speaker 3: Yeah, she has no street smarts or savvy, so like

458
00:25:42,240 --> 00:25:44,440
Speaker 3: doesn't know what to do when somebody is like trying

459
00:25:44,480 --> 00:25:46,800
Speaker 3: to lie to her or take advantage of her. So

460
00:25:46,840 --> 00:25:49,720
Speaker 3: there's a scene where this where a creep character is

461
00:25:49,760 --> 00:25:53,480
Speaker 3: giving her kissing lessons. But she has a great kind

462
00:25:53,520 --> 00:25:56,239
Speaker 3: of turn in that scene because he's like, he's like, oh,

463
00:25:56,280 --> 00:25:59,399
Speaker 3: let's try kissing again, and she's like, I don't get it.

464
00:25:59,440 --> 00:26:00,760
Speaker 3: There's is not very good.

465
00:26:02,280 --> 00:26:04,560
Speaker 2: That got a lot of laughs with the audience, the

466
00:26:04,640 --> 00:26:08,920
Speaker 2: live audience. So there's the humor in this film. You know,

467
00:26:08,960 --> 00:26:12,320
Speaker 2: it mostly holds up sometimes. I mean it holds it

468
00:26:12,400 --> 00:26:14,879
Speaker 2: holds up in places, and it's just kind of hammy

469
00:26:14,960 --> 00:26:18,000
Speaker 2: and too old fashioned in other places, but in both

470
00:26:18,040 --> 00:26:22,800
Speaker 2: regards generates laughter, so still effective. But yeah, I agree.

471
00:26:22,840 --> 00:26:25,240
Speaker 2: I think she's good in the role. And of course

472
00:26:25,359 --> 00:26:28,720
Speaker 2: she's a real beauty, no denying that. But I was

473
00:26:28,760 --> 00:26:32,719
Speaker 2: surprised at how skimpy the outfits get in this picture.

474
00:26:32,920 --> 00:26:37,400
Speaker 2: Oh like there is. I was confused by the bathing sequence.

475
00:26:37,400 --> 00:26:39,880
Speaker 2: At first it seems like she's bathing nude, and then

476
00:26:39,920 --> 00:26:42,359
Speaker 2: maybe she's wearing a garment, but maybe that's also a

477
00:26:42,400 --> 00:26:45,040
Speaker 2: garment that they wore in movies at the time to

478
00:26:46,000 --> 00:26:48,600
Speaker 2: make it seem like someone was bathing naked. I'm not sure.

479
00:26:48,760 --> 00:26:51,840
Speaker 3: It does seem to be really pushing the limits of

480
00:26:51,840 --> 00:26:54,280
Speaker 3: what like an MGM picture would have allowed in the

481
00:26:54,359 --> 00:26:58,159
Speaker 3: nineteen fifties. But yeah, she's in the scene where she's swimming.

482
00:26:58,160 --> 00:27:00,720
Speaker 3: I think she is supposed to be nude, and she's

483
00:27:00,800 --> 00:27:02,760
Speaker 3: just like you know, when she gets out of the

484
00:27:02,760 --> 00:27:05,719
Speaker 3: pool in a brief shot. I think she's wearing a

485
00:27:05,760 --> 00:27:08,639
Speaker 3: garment match to her skin. And then it's supposed to

486
00:27:08,680 --> 00:27:10,760
Speaker 3: just go by real quick. But maybe they weren't expecting

487
00:27:10,800 --> 00:27:12,760
Speaker 3: to have the kind of definition that people have on

488
00:27:12,800 --> 00:27:13,560
Speaker 3: screens today.

489
00:27:13,680 --> 00:27:15,880
Speaker 2: It's true, like later in the picture, there's some very

490
00:27:15,920 --> 00:27:19,679
Speaker 2: delicate wire work that allows Robbie the robot to carry

491
00:27:19,760 --> 00:27:25,120
Speaker 2: the doctor's body and or doc's body, and it's very

492
00:27:25,119 --> 00:27:27,600
Speaker 2: good wire work because you can barely see it even

493
00:27:27,640 --> 00:27:30,080
Speaker 2: in like higher definition, so I'm guessing it would have

494
00:27:30,119 --> 00:27:33,760
Speaker 2: been mostly invisible at one point. All Right, it's time

495
00:27:33,760 --> 00:27:37,080
Speaker 2: to talk about Leslie Nielsen. He's our leading man here

496
00:27:37,480 --> 00:27:41,440
Speaker 2: playing Commander Adams. Lesli Nielsen lived nineteen twenty six through

497
00:27:41,480 --> 00:27:46,400
Speaker 2: twenty ten, and I think many many of you out there,

498
00:27:46,920 --> 00:27:50,080
Speaker 2: myself included, for a long time anyway, when I thought

499
00:27:50,080 --> 00:27:54,080
Speaker 2: about this Canadian actor, I mostly or even exclusively thought

500
00:27:54,080 --> 00:27:58,480
Speaker 2: about his late career reinvention as a dead pan, comedic

501
00:27:58,560 --> 00:28:01,920
Speaker 2: goof all of this coming in the wake of nineteen

502
00:28:02,000 --> 00:28:06,240
Speaker 2: eighties Airplane and this era gay like that lasted the

503
00:28:06,280 --> 00:28:08,360
Speaker 2: rest of his life and career gave us the likes

504
00:28:08,359 --> 00:28:12,000
Speaker 2: of TV's Police Squad, It's Naked Gun spinoff films. I

505
00:28:12,000 --> 00:28:15,440
Speaker 2: believe there were three of those, and such spoofs as

506
00:28:15,480 --> 00:28:18,840
Speaker 2: mel Brooks Dracula Dead and Loving It from nineteen ninety five,

507
00:28:19,160 --> 00:28:23,159
Speaker 2: and just a host of other goofy pictures where Leslie

508
00:28:23,240 --> 00:28:29,080
Speaker 2: Nielsen continually plays these kind of either deadpan, funny characters

509
00:28:29,640 --> 00:28:35,919
Speaker 2: or increasingly goofy characters. But they all stem from this

510
00:28:36,040 --> 00:28:42,360
Speaker 2: initial Airplane Naked Gun phase where and these were both

511
00:28:42,360 --> 00:28:44,360
Speaker 2: the work of David and Jerry Zucker.

512
00:28:44,800 --> 00:28:47,400
Speaker 3: It's impossible to know, but I almost feel I could

513
00:28:47,440 --> 00:28:51,280
Speaker 3: have predicted his career would or should take that turn,

514
00:28:51,480 --> 00:28:53,840
Speaker 3: if you were to transport me back to the fifties

515
00:28:53,880 --> 00:28:57,280
Speaker 3: and just show me his performance and Forbidden Planet, because

516
00:28:57,960 --> 00:29:01,240
Speaker 3: he's playing the role totally serious. But he is such

517
00:29:01,440 --> 00:29:05,520
Speaker 3: a natural ham He's just he's one of those guys

518
00:29:05,560 --> 00:29:09,960
Speaker 3: who the more serious and deadpan and stern. He tries

519
00:29:10,000 --> 00:29:11,840
Speaker 3: to act the funnier it gets.

520
00:29:12,800 --> 00:29:13,080
Speaker 4: Yeah.

521
00:29:13,200 --> 00:29:16,360
Speaker 2: Yeah, And I think the important thing to realize about

522
00:29:16,680 --> 00:29:21,560
Speaker 2: this late career reinvention as a comedic actor, especially with

523
00:29:21,600 --> 00:29:24,560
Speaker 2: those early examples, they work entirely on the basis that

524
00:29:24,680 --> 00:29:28,280
Speaker 2: Nielsen was known for these straightforward, serious roles that were

525
00:29:28,280 --> 00:29:32,240
Speaker 2: a little bit hammy and you know, maybe lacking in

526
00:29:32,320 --> 00:29:37,760
Speaker 2: a lot of nuance and his roleand Forbidden Planet is

527
00:29:37,760 --> 00:29:40,520
Speaker 2: probably like the most famous example, you know, along side

528
00:29:40,520 --> 00:29:42,360
Speaker 2: some other films and a great deal of TV work.

529
00:29:42,960 --> 00:29:45,480
Speaker 3: Yeah. We've talked on the show before about the concept

530
00:29:45,480 --> 00:29:49,000
Speaker 3: of the nineteen fifties movie the leading man as the

531
00:29:49,040 --> 00:29:52,640
Speaker 3: rectangle as sort of a character type. Leslie Nielsen in

532
00:29:52,680 --> 00:29:57,160
Speaker 3: this movie is the ultimate rectangle. Yeah, that is exactly

533
00:29:57,200 --> 00:29:59,920
Speaker 3: what he is. He is just he is just there

534
00:30:00,480 --> 00:30:05,200
Speaker 3: to sternly and straightforwardly execute the main motions of the

535
00:30:05,280 --> 00:30:07,760
Speaker 3: plot and then eventually to kiss the girl.

536
00:30:08,400 --> 00:30:11,080
Speaker 2: Yeah. I think we would not be talking about him

537
00:30:11,120 --> 00:30:12,959
Speaker 2: as much if he did not go on to all

538
00:30:13,000 --> 00:30:16,280
Speaker 2: these other interesting things, because it's it's not a character

539
00:30:16,280 --> 00:30:19,080
Speaker 2: that I found myself really connecting with on any level.

540
00:30:19,120 --> 00:30:22,960
Speaker 2: Like he's just this this sort of hyper masculine ideal

541
00:30:23,080 --> 00:30:23,360
Speaker 2: of the.

542
00:30:23,320 --> 00:30:28,000
Speaker 3: Fifties, but not in an interesting way, not an interesting way. Yeah. Yeah,

543
00:30:28,040 --> 00:30:30,560
Speaker 3: it doesn't like get into that as themes like in

544
00:30:30,600 --> 00:30:33,680
Speaker 3: say The Incredible Shrinking Man or something. Instead, it's just

545
00:30:33,720 --> 00:30:37,040
Speaker 3: sort of unexamined. There are interesting characters in the movie,

546
00:30:37,280 --> 00:30:41,280
Speaker 3: like Morbius and Altara are interesting, but yeah, uh, Doc.

547
00:30:41,560 --> 00:30:43,360
Speaker 2: I think Doc who will get to in a second,

548
00:30:43,480 --> 00:30:46,680
Speaker 2: like he's the character that in many ways should be

549
00:30:46,920 --> 00:30:49,480
Speaker 2: like the main point of focus for us as the

550
00:30:49,520 --> 00:30:52,080
Speaker 2: audience because he does the most amazing things.

551
00:30:52,320 --> 00:30:56,280
Speaker 3: Yes, but Adams is almos. It almost feels like he's

552
00:30:56,360 --> 00:31:00,000
Speaker 3: made boring on purpose. Yeah.

553
00:31:00,240 --> 00:31:05,720
Speaker 2: Now, And of course this is not entirely Leslie Nielsen's fault.

554
00:31:05,800 --> 00:31:09,720
Speaker 2: And I want to point out that Nielsen did have

555
00:31:09,800 --> 00:31:13,520
Speaker 2: I think a pretty strong villain era. He appears as

556
00:31:13,520 --> 00:31:16,280
Speaker 2: a villain in one of my favorite Night Gallery episodes

557
00:31:16,400 --> 00:31:19,680
Speaker 2: nineteen sixty nine. Is a question of fear. I believe

558
00:31:19,720 --> 00:31:23,640
Speaker 2: he's like a former mercenary, just a real ruthless character,

559
00:31:24,000 --> 00:31:26,640
Speaker 2: and I think he ultimately did that really well, playing

560
00:31:27,760 --> 00:31:29,840
Speaker 2: as he aged out of being any kind of a

561
00:31:30,040 --> 00:31:33,320
Speaker 2: leading man character. He could play these like ruthless, cold

562
00:31:33,400 --> 00:31:36,240
Speaker 2: characters really well. He plays one in Stephen King's Creep

563
00:31:36,280 --> 00:31:39,520
Speaker 2: Show from nineteen eighty two, in which he viciously murders

564
00:31:39,520 --> 00:31:42,800
Speaker 2: his wife and her lover, who's played by Ted Danson.

565
00:31:42,680 --> 00:31:45,040
Speaker 3: And then gets some supernatural vengeance.

566
00:31:45,160 --> 00:31:47,440
Speaker 2: Oh yeah, there's some zombie action of course.

567
00:31:47,560 --> 00:31:50,520
Speaker 3: Or vengeance visited upon him gets the vengeance.

568
00:31:50,680 --> 00:31:54,320
Speaker 2: Yeah. Other villain roles of note include nineteen seventy seven's

569
00:31:54,400 --> 00:31:56,440
Speaker 2: Day of the Animals, in which he plays a really

570
00:31:56,560 --> 00:31:59,520
Speaker 2: nasty character, and also nineteen eighty seven's Nuts.

571
00:32:00,200 --> 00:32:01,840
Speaker 3: I'm gonna have to see some more of the Leslie

572
00:32:01,880 --> 00:32:04,320
Speaker 3: Nielsen villain stuff. I'm interested in that.

573
00:32:04,680 --> 00:32:06,720
Speaker 2: And it is interesting that some of these villain roles

574
00:32:06,760 --> 00:32:09,240
Speaker 2: that we just mentioned they occurred after airplanes, so he

575
00:32:09,800 --> 00:32:11,520
Speaker 2: was really It's not like he just was like, oh,

576
00:32:11,600 --> 00:32:14,080
Speaker 2: airplanes here, I can just do comedy from here on out. Like, No,

577
00:32:14,160 --> 00:32:16,560
Speaker 2: he was sort of, you know, keeping it a little

578
00:32:16,640 --> 00:32:19,160
Speaker 2: varied there for a bit, you know, playing a real

579
00:32:19,200 --> 00:32:21,680
Speaker 2: dirt bag here, and then you know, hamming it up

580
00:32:21,720 --> 00:32:23,240
Speaker 2: for laughs on the other side.

581
00:32:23,640 --> 00:32:26,480
Speaker 3: Yeah. Yeah, at some point the rectangle was just cut loose.

582
00:32:26,840 --> 00:32:28,800
Speaker 3: You got some curves, got some corners.

583
00:32:29,320 --> 00:32:31,800
Speaker 2: Yeah, all right. The next character we want to talk

584
00:32:31,800 --> 00:32:35,400
Speaker 2: about is Lieutenant doc Ostro, played by Warren Stevens, who

585
00:32:35,440 --> 00:32:38,600
Speaker 2: of nineteen nineteen through twenty twelve. This is the character

586
00:32:39,040 --> 00:32:42,240
Speaker 2: that I think is the most interesting. He's the male

587
00:32:42,360 --> 00:32:45,280
Speaker 2: character that I found myself relating to the most because

588
00:32:45,320 --> 00:32:47,959
Speaker 2: he seemed most on mission. I think he was the

589
00:32:48,000 --> 00:32:51,360
Speaker 2: only one that was not concerned with hitting on the

590
00:32:51,400 --> 00:32:55,320
Speaker 2: strange alien woman. He's the one who actually attempts to

591
00:32:55,360 --> 00:32:58,440
Speaker 2: solve problems that are the larger problems of the plot

592
00:32:59,200 --> 00:33:03,200
Speaker 2: and has a tragic trajectory as opposed to the heroic

593
00:33:03,240 --> 00:33:06,120
Speaker 2: trajectory of Leslie Nielsen's character.

594
00:33:06,640 --> 00:33:09,920
Speaker 3: You know, I feel like there are things said about

595
00:33:10,160 --> 00:33:14,640
Speaker 3: this character that are not fully demonstrated in any way

596
00:33:14,680 --> 00:33:17,440
Speaker 3: that I recall, and that makes me wonder if there

597
00:33:17,480 --> 00:33:20,720
Speaker 3: were more originally in the script, maybe some more interactions

598
00:33:20,720 --> 00:33:23,560
Speaker 3: with him that didn't make it to the final cut. Specifically,

599
00:33:23,640 --> 00:33:29,960
Speaker 3: I'm thinking of how it's implied that when Morbius meets

600
00:33:30,040 --> 00:33:33,200
Speaker 3: the main members of the crew that he really sort

601
00:33:33,240 --> 00:33:36,680
Speaker 3: of bonds with Ostro about like Ostro being a kind

602
00:33:36,680 --> 00:33:40,040
Speaker 3: of scholar, a man of learning, somebody who's interested in

603
00:33:41,200 --> 00:33:44,560
Speaker 3: learning scientific complexities and stuff like that, which, unless I'm

604
00:33:44,720 --> 00:33:47,959
Speaker 3: forgetting something, I don't think we ever really see demonstrated

605
00:33:47,960 --> 00:33:50,800
Speaker 3: about the character. It's just sort of said about him.

606
00:33:51,240 --> 00:33:54,920
Speaker 2: It's worth noting that this film in many ways influenced

607
00:33:54,920 --> 00:33:57,760
Speaker 2: Star Trek. We'll get to some examples of that with

608
00:33:58,000 --> 00:34:01,200
Speaker 2: from a visual standpoint in a bit. But also you

609
00:34:01,200 --> 00:34:04,880
Speaker 2: can easily look at Commander Adams Leslie Nielsen's character as

610
00:34:04,920 --> 00:34:07,480
Speaker 2: sort of being a proto Kirk, and you can kind

611
00:34:07,520 --> 00:34:10,280
Speaker 2: of look at Ostro as being a proto Spock.

612
00:34:11,080 --> 00:34:14,239
Speaker 3: Kind of. Yeah, you would think Bones because the doctor Bones. Yeah,

613
00:34:14,600 --> 00:34:17,120
Speaker 3: but no, Yeah, he's a little bit more spocky. He's

614
00:34:17,120 --> 00:34:18,720
Speaker 3: somewhere between Bones and Spock.

615
00:34:19,160 --> 00:34:21,160
Speaker 2: He does the sort of thing that I guess you

616
00:34:21,160 --> 00:34:25,439
Speaker 2: could see Bones or Spock doing what this character ultimately does,

617
00:34:25,480 --> 00:34:26,440
Speaker 2: but especially Spock.

618
00:34:26,800 --> 00:34:29,040
Speaker 3: Yeah. And then the third guy in the main three

619
00:34:29,280 --> 00:34:31,160
Speaker 3: landing party is just like Kirk two.

620
00:34:32,239 --> 00:34:35,480
Speaker 2: Yes, yeah, I'll get to him and well, I'll go

621
00:34:35,520 --> 00:34:37,600
Speaker 2: ahead mention him and then come back to to Stevens.

622
00:34:37,640 --> 00:34:41,240
Speaker 2: But yeah. Jack Kelly plays Lieutenant Farman who live nineteen

623
00:34:41,280 --> 00:34:44,000
Speaker 2: twenty seven through nineteen ninety two, American actor whose other

624
00:34:44,040 --> 00:34:46,839
Speaker 2: credits include sixty one's A Fever in the Blood and

625
00:34:46,920 --> 00:34:50,840
Speaker 2: the TV show Maverick Warren Stevens. He also did a

626
00:34:50,880 --> 00:34:54,839
Speaker 2: fair amount of TV best Remembered for his role here

627
00:34:54,880 --> 00:34:57,439
Speaker 2: and Forbidden Planet. His other film credits include nineteen fifty

628
00:34:57,440 --> 00:34:59,600
Speaker 2: four is Gorilla at Large Again, You gotta have a

629
00:34:59,640 --> 00:35:02,560
Speaker 2: Gorilla movie in there somewhere, and The Barefoot Contests I

630
00:35:02,640 --> 00:35:05,360
Speaker 2: believe from the same year, opposite Humphrey Bogart and Ava

631
00:35:05,400 --> 00:35:09,319
Speaker 2: Gardner nineteen sixty six is Cyborg twenty eighty seven, and

632
00:35:09,440 --> 00:35:12,440
Speaker 2: he apparently has a cameo in nineteen ninety one Samurai Cup.

633
00:35:12,480 --> 00:35:16,840
Speaker 3: Wow Man Cyborg twenty eighty seven. That sounds like the

634
00:35:16,960 --> 00:35:19,600
Speaker 3: name of a movie from the eighties, not a movie

635
00:35:19,600 --> 00:35:20,600
Speaker 3: from the sixties.

636
00:35:21,000 --> 00:35:22,759
Speaker 2: Yeah, I'm gonna have to look into that one more.

637
00:35:23,360 --> 00:35:26,280
Speaker 2: Another crew member to briefly mention, we have Richard Anderson

638
00:35:26,320 --> 00:35:29,960
Speaker 2: playing Chief Quinn. He lived nineteen twenty six through twenty seventeen,

639
00:35:30,000 --> 00:35:33,400
Speaker 2: American actor who also appeared in Stanley Kubrick's nineteen fifty

640
00:35:33,400 --> 00:35:36,719
Speaker 2: seven war picture Paths of Glory. I don't remember who

641
00:35:36,760 --> 00:35:39,439
Speaker 2: exactly he was in that. It's been a while since

642
00:35:39,440 --> 00:35:43,400
Speaker 2: I've seen that movie. But he was also a regular

643
00:35:43,480 --> 00:35:47,040
Speaker 2: cast member on TV's The Six Million Dollar Man. But

644
00:35:47,120 --> 00:35:50,840
Speaker 2: now it's time to talk about Cook Coook. What a character.

645
00:35:51,600 --> 00:35:53,239
Speaker 3: I think at some point the other day I just

646
00:35:53,320 --> 00:35:56,960
Speaker 3: texted you the word Cook. Yeah.

647
00:35:57,040 --> 00:35:59,279
Speaker 2: Cook. I was not expecting Cook. I should also add

648
00:35:59,480 --> 00:36:01,960
Speaker 2: I had not scene Forbiden Planet before before seeing it

649
00:36:02,000 --> 00:36:06,040
Speaker 2: in the theater, and I think I was kind of

650
00:36:06,360 --> 00:36:11,839
Speaker 2: expecting more like pure high minded science fiction. So the

651
00:36:11,840 --> 00:36:16,040
Speaker 2: Hammier elements kind of surprised me, and then Cook really

652
00:36:16,080 --> 00:36:20,960
Speaker 2: surprised me. A pure comic relief character who initially just

653
00:36:21,040 --> 00:36:24,279
Speaker 2: kind of like wanders into the scene like stirring some

654
00:36:24,320 --> 00:36:28,040
Speaker 2: biscuits or something and starts asking wise guy questions about

655
00:36:28,040 --> 00:36:28,560
Speaker 2: the plot.

656
00:36:28,960 --> 00:36:32,240
Speaker 3: Yeah. I mean, so they're going to another star system

657
00:36:32,360 --> 00:36:35,359
Speaker 3: on this like multi year voyage to Altara four, and

658
00:36:35,440 --> 00:36:37,920
Speaker 3: some of the crew members are just guys like Cook.

659
00:36:38,040 --> 00:36:40,840
Speaker 3: Cook is just a total bumpkin who is looking for

660
00:36:40,960 --> 00:36:43,080
Speaker 3: whiskey on the other edge of the galaxy.

661
00:36:44,120 --> 00:36:46,440
Speaker 2: Yeah, He's like he sees Robby the rovine. He's like, well,

662
00:36:46,520 --> 00:36:48,040
Speaker 2: what is it as a man? Is it a woman?

663
00:36:50,000 --> 00:36:50,239
Speaker 3: What?

664
00:36:51,680 --> 00:36:55,040
Speaker 2: Yeah, we we have a lot to say about Cook here,

665
00:36:55,080 --> 00:36:57,640
Speaker 2: played by Earl Holloman who lived in nineteen twenty eight

666
00:36:57,640 --> 00:37:00,680
Speaker 2: through twenty twenty four. Real Mike Nelson and looking guy

667
00:37:00,760 --> 00:37:01,480
Speaker 2: after say.

668
00:37:01,960 --> 00:37:04,680
Speaker 3: Yeah, yeah, I could see Cook was almost like a

669
00:37:04,920 --> 00:37:07,200
Speaker 3: character Mike Nelson would have played in one of the

670
00:37:07,239 --> 00:37:08,640
Speaker 3: early show skits.

671
00:37:08,480 --> 00:37:12,600
Speaker 2: Yes, exactly. I could have easily imagined Mike Nelson, you know,

672
00:37:12,719 --> 00:37:15,000
Speaker 2: walking out on the set of The Sidle Lot of Love,

673
00:37:15,280 --> 00:37:19,000
Speaker 2: like stirring the pot here. Now, Holloman's pretty interesting because

674
00:37:19,000 --> 00:37:20,359
Speaker 2: he went on to appear in a number of big

675
00:37:20,400 --> 00:37:22,960
Speaker 2: films in the nineteen fifties. He was in A fifty

676
00:37:23,000 --> 00:37:27,080
Speaker 2: six Giant. He was also in The rain Maker and

677
00:37:27,880 --> 00:37:30,240
Speaker 2: The rain Maker. His role in that earned him a

678
00:37:30,239 --> 00:37:34,200
Speaker 2: Golden Globe Award for Best Supporting Actor, and he remained

679
00:37:34,200 --> 00:37:37,120
Speaker 2: active up until I believe two thousand, doing a lot

680
00:37:37,120 --> 00:37:39,759
Speaker 2: of TV, as well as popping up in nineteen eighty one.

681
00:37:39,840 --> 00:37:43,239
Speaker 2: Sharky's Machine, which keeps coming up on the show in

682
00:37:43,280 --> 00:37:45,040
Speaker 2: the Connections, I've never seen it, but it is a

683
00:37:45,080 --> 00:37:48,600
Speaker 2: neo noir set in Atlanta, directed by Burt Reynolds. So

684
00:37:48,600 --> 00:37:50,120
Speaker 2: at some point I need to actually sit down and

685
00:37:50,120 --> 00:37:51,080
Speaker 2: watch Sharky's Machine.

686
00:37:51,120 --> 00:37:52,839
Speaker 3: I guess, yeah, I've never seen it either.

687
00:37:53,239 --> 00:37:54,839
Speaker 2: I mean I don't even know that it actually has

688
00:37:54,840 --> 00:37:58,280
Speaker 2: a machine. I had that question pop into my head

689
00:37:58,600 --> 00:38:00,640
Speaker 2: and I was looking at the wikiped the article and

690
00:38:00,680 --> 00:38:02,920
Speaker 2: like the plot summary, It's like, well, is there a

691
00:38:02,960 --> 00:38:04,719
Speaker 2: machine or is there not a machine. I think the

692
00:38:04,800 --> 00:38:07,600
Speaker 2: machine is one of the supporting characters. I don't know.

693
00:38:08,400 --> 00:38:10,680
Speaker 2: I know Sharky is Burt Reynolds. That's oh okay.

694
00:38:11,440 --> 00:38:14,279
Speaker 3: Maybe a machine is like a like a system of

695
00:38:14,400 --> 00:38:18,320
Speaker 3: people doing something like a like a crime. Crime syndicate

696
00:38:18,440 --> 00:38:19,719
Speaker 3: is a machine in some way.

697
00:38:20,239 --> 00:38:24,840
Speaker 2: And speaking of machines, this film also famously stars Robbie

698
00:38:24,840 --> 00:38:27,240
Speaker 2: the Robot playing Robbie the Robot.

699
00:38:27,840 --> 00:38:28,920
Speaker 3: They give him billing.

700
00:38:29,560 --> 00:38:33,399
Speaker 2: He has billing, and I am just ever pleased by

701
00:38:33,400 --> 00:38:36,480
Speaker 2: the fact that he has his own IMDb page. He

702
00:38:36,600 --> 00:38:41,080
Speaker 2: is treated by IMDb as an actual actor, alongside various

703
00:38:41,120 --> 00:38:44,600
Speaker 2: dogs and cats and of course living in deceased human beings.

704
00:38:45,920 --> 00:38:50,080
Speaker 2: This was his screen debut. Robbie the Robot was essentially

705
00:38:50,120 --> 00:38:52,480
Speaker 2: born in nineteen fifty five. He was born in the

706
00:38:52,600 --> 00:38:57,400
Speaker 2: MGM Props Department, with credit generally going to A. Arnold Gilepsi,

707
00:38:57,960 --> 00:39:02,200
Speaker 2: Doug Hubbard, and Robert kin Shida. He's voiced here by

708
00:39:02,280 --> 00:39:05,320
Speaker 2: Marvin Miller, who lived nineteen thirteen through nineteen eighty five,

709
00:39:05,800 --> 00:39:09,920
Speaker 2: with Frankie Darrow who lived nineteen seventeen through nineteen seventy six. Actually,

710
00:39:10,040 --> 00:39:14,439
Speaker 2: in the suit, it is a suit. It's a big,

711
00:39:14,560 --> 00:39:20,040
Speaker 2: clunky prop. Shane Morton, the host of the Silver Screens

712
00:39:20,040 --> 00:39:24,480
Speaker 2: Spook Show, mentioned that in the intro to the presentation

713
00:39:24,520 --> 00:39:26,880
Speaker 2: of the picture that it was apparently really loud, and

714
00:39:26,920 --> 00:39:30,480
Speaker 2: if you watch Forbidden Planet a lot, you can maybe

715
00:39:30,560 --> 00:39:33,440
Speaker 2: note that actors are maybe speaking a little louder when

716
00:39:33,440 --> 00:39:36,000
Speaker 2: they're sharing a screen time with Robbie the Robot, because

717
00:39:36,000 --> 00:39:38,839
Speaker 2: he had all sorts of clunky of business going on

718
00:39:38,960 --> 00:39:43,479
Speaker 2: in his body, and it is probably a clunky, old

719
00:39:43,480 --> 00:39:46,480
Speaker 2: fashioned design by today's standards, but it's an amazing build

720
00:39:46,600 --> 00:39:49,360
Speaker 2: that you know, certainly resonated with sci fi fans. It

721
00:39:49,400 --> 00:39:53,600
Speaker 2: made him icon of the genre. Is you think about

722
00:39:53,760 --> 00:39:57,160
Speaker 2: robots from the nineteen fifties and sixties, you're probably going

723
00:39:57,239 --> 00:39:58,560
Speaker 2: to think about Robbie the Robot.

724
00:39:58,920 --> 00:40:02,920
Speaker 3: Oh Man, flunkiness does not downgrade him at all in

725
00:40:03,000 --> 00:40:06,040
Speaker 3: my mind. I think Robbie is still to this day

726
00:40:06,800 --> 00:40:09,799
Speaker 3: one of the best robots ever put on film. I

727
00:40:10,080 --> 00:40:13,480
Speaker 3: love so much about his design. I love the non

728
00:40:13,719 --> 00:40:17,600
Speaker 3: humanoid moving parts, so not just the arms and legs,

729
00:40:17,640 --> 00:40:22,680
Speaker 3: but things like the cycling typewriter guts inside, the clear

730
00:40:22,719 --> 00:40:26,960
Speaker 3: plastic dome of his head, and the chemical analyzer, the

731
00:40:27,000 --> 00:40:31,000
Speaker 3: male slot mouth thing in his chest, the spinning navigation

732
00:40:31,120 --> 00:40:34,480
Speaker 3: an tinny. It's just one of the best robot designs ever,

733
00:40:34,560 --> 00:40:38,040
Speaker 3: and I love every moment he's on screen. I love

734
00:40:38,120 --> 00:40:41,600
Speaker 3: the I think this is what you were just alluding to,

735
00:40:41,960 --> 00:40:46,560
Speaker 3: being very loud. I love the clacking sound that starts

736
00:40:46,600 --> 00:40:50,000
Speaker 3: as like the parts are moving inside before he starts talking.

737
00:40:50,480 --> 00:40:53,920
Speaker 2: Yeah, yeah, it's a great design. I love his shape.

738
00:40:54,000 --> 00:40:57,799
Speaker 2: He has a great silhouette, instantly recognizable. I love his

739
00:40:57,880 --> 00:41:04,359
Speaker 2: little centaur, a vehicle that he climbs into to roam

740
00:41:04,400 --> 00:41:05,640
Speaker 2: about on the planet's surface.

741
00:41:05,760 --> 00:41:06,920
Speaker 3: Oh the buggy, Yeah.

742
00:41:06,840 --> 00:41:10,080
Speaker 2: Yeah, so yeah, Robbie the Robot. He followed this up

743
00:41:10,120 --> 00:41:13,160
Speaker 2: with the spinoff The Invisible Boy, in which a boy

744
00:41:13,239 --> 00:41:16,000
Speaker 2: named Timmy in the year nineteen fifty seven is given

745
00:41:16,040 --> 00:41:19,319
Speaker 2: a given super intelligence by a supercomputer and then he

746
00:41:19,520 --> 00:41:22,799
Speaker 2: like reassembles Robbie again. This is kind of like a

747
00:41:22,840 --> 00:41:25,840
Speaker 2: loose spin off sequel. I don't think it really necessarily

748
00:41:25,880 --> 00:41:29,120
Speaker 2: supposed to think it is a legitimate follow up to

749
00:41:29,160 --> 00:41:33,560
Speaker 2: Forbid the Planet, But Robbie the Robot mostly appeared in

750
00:41:33,600 --> 00:41:37,080
Speaker 2: TV cameos after this. He showed up on the Twilight Zone,

751
00:41:37,320 --> 00:41:42,040
Speaker 2: The Adams Family Lost in Space opposite the Robot the

752
00:41:42,120 --> 00:41:45,960
Speaker 2: Robot from Lost in Space is another iconic robot costume

753
00:41:46,000 --> 00:41:49,360
Speaker 2: of the time period. Showed up on Colombo, Wonder Woman,

754
00:41:49,480 --> 00:41:52,520
Speaker 2: Mork and Mindy the Love Boat, and then you know

755
00:41:52,600 --> 00:41:55,719
Speaker 2: of later appearances and things like Earth Girls Are Easy.

756
00:41:55,320 --> 00:41:55,400
Speaker 1: And.

757
00:41:57,520 --> 00:42:00,560
Speaker 2: Sometimes at IMDb he's credited as toy. I'm guessing like

758
00:42:00,560 --> 00:42:03,040
Speaker 2: maybe he just shows up as a Robbie the Robot toy,

759
00:42:03,080 --> 00:42:04,319
Speaker 2: which isn't quite the same thing.

760
00:42:04,680 --> 00:42:07,120
Speaker 3: Yeah, some of his cameos are just he's a prop

761
00:42:07,160 --> 00:42:08,080
Speaker 3: in the background.

762
00:42:08,400 --> 00:42:11,040
Speaker 2: Yeah, but I think on like The Twilight Zone, he

763
00:42:11,400 --> 00:42:14,400
Speaker 2: shows up as like it is a plot element to

764
00:42:14,440 --> 00:42:19,240
Speaker 2: some extent, like he has a robot.

765
00:42:23,960 --> 00:42:26,920
Speaker 3: So I mentioned earlier that the special effects throughout the

766
00:42:26,920 --> 00:42:31,800
Speaker 3: film just look fantastic, Robbie of course being a major

767
00:42:31,840 --> 00:42:34,440
Speaker 3: one of them, the prop created there. But also there

768
00:42:34,480 --> 00:42:38,520
Speaker 3: are some animation effects in this movie that are I

769
00:42:38,560 --> 00:42:42,320
Speaker 3: think just unparalleled, just absolutely spectacular.

770
00:42:43,080 --> 00:42:47,279
Speaker 2: That's right, because eventually we begin we begin to have

771
00:42:47,360 --> 00:42:50,920
Speaker 2: these attacks by some sort of a monster, but it

772
00:42:50,960 --> 00:42:53,880
Speaker 2: is an invisible monster for the most part, and we

773
00:42:54,000 --> 00:42:57,920
Speaker 2: only get glimpses of its form as it interacts with

774
00:42:58,000 --> 00:43:01,920
Speaker 2: various force fields and so forth, various like you know,

775
00:43:02,440 --> 00:43:06,920
Speaker 2: energy sources, and the like. And when this occurs, we

776
00:43:06,960 --> 00:43:10,480
Speaker 2: are seeing special effects that I believe are largely the

777
00:43:10,520 --> 00:43:14,120
Speaker 2: work of one Joshua Maydor, who lived nineteen eleven through

778
00:43:14,200 --> 00:43:18,880
Speaker 2: nineteen sixty five. He's credited with special effects through courtesy

779
00:43:18,920 --> 00:43:22,320
Speaker 2: of Walt Disney Productions, because indeed he was an animator

780
00:43:22,320 --> 00:43:25,080
Speaker 2: and special effects artist who had worked on numerous Walt

781
00:43:25,120 --> 00:43:29,480
Speaker 2: Disney animated features such as thirty seven Snow White nineteen forties,

782
00:43:29,880 --> 00:43:34,319
Speaker 2: Fantasia nine fifties, Cinderella later on, as well as such

783
00:43:34,360 --> 00:43:37,160
Speaker 2: live action productions as fifty four to twenty thousand Leagues

784
00:43:37,200 --> 00:43:40,479
Speaker 2: under the Sea, which we just mentioned. And so yeah,

785
00:43:40,520 --> 00:43:44,840
Speaker 2: his talents helped bring to life the invisible monstrosity. You know,

786
00:43:44,840 --> 00:43:47,080
Speaker 2: they have some practical effects too, like you know, a

787
00:43:47,120 --> 00:43:50,200
Speaker 2: tree getting knocked over on the set when the creature passes,

788
00:43:50,440 --> 00:43:53,600
Speaker 2: But then also these animated effects that kind of give

789
00:43:53,680 --> 00:43:56,160
Speaker 2: us a glimpse of this big kind of you know,

790
00:43:56,280 --> 00:43:59,319
Speaker 2: monstrous almost I don't know, kind of like dog like

791
00:43:59,400 --> 00:44:01,200
Speaker 2: bear like grimlin like being.

792
00:44:01,680 --> 00:44:04,480
Speaker 3: I mean, we never see a very clear picture of

793
00:44:04,520 --> 00:44:07,360
Speaker 3: what it is, which makes it all the more interesting.

794
00:44:07,480 --> 00:44:12,120
Speaker 3: Like you only get these sort of illuminated electric outlines

795
00:44:12,160 --> 00:44:14,640
Speaker 3: of the face in which it is. It is something

796
00:44:14,680 --> 00:44:18,600
Speaker 3: that's kind of raging. It has a snarling, toothy mouth.

797
00:44:18,719 --> 00:44:22,359
Speaker 3: It's gigantic, of course, and it also appears to be

798
00:44:22,800 --> 00:44:24,880
Speaker 3: I don't know, almost kind of pyramid shaped.

799
00:44:25,360 --> 00:44:29,040
Speaker 2: Yeah, so it's really cool and I think these effects

800
00:44:29,040 --> 00:44:33,040
Speaker 2: hold up really well made or Outside of this, would

801
00:44:33,080 --> 00:44:36,279
Speaker 2: mostly continue to work on Disney films and TV projects

802
00:44:36,320 --> 00:44:38,880
Speaker 2: for the rest of his career, including animation effects on

803
00:44:38,920 --> 00:44:41,560
Speaker 2: Darby Ogill and The Little People in fifty nine. He

804
00:44:41,640 --> 00:44:43,240
Speaker 2: was also apparently an accomplished painter.

805
00:44:44,400 --> 00:44:46,399
Speaker 3: Now, Rob, I know you already said you had been

806
00:44:46,520 --> 00:44:49,600
Speaker 3: listening to the sounds from the film. I don't know

807
00:44:49,640 --> 00:44:53,279
Speaker 3: if they called it a soundtrack in this in this

808
00:44:53,360 --> 00:44:56,200
Speaker 3: case because a lot of it is not exactly what

809
00:44:56,239 --> 00:44:59,000
Speaker 3: we'd think of as music, but is very important for

810
00:44:59,080 --> 00:45:02,359
Speaker 3: the feeling of the film. But it was produced by

811
00:45:02,480 --> 00:45:04,440
Speaker 3: actually a pair of creators, right.

812
00:45:04,560 --> 00:45:07,480
Speaker 2: Yeah, a husband and wife team Beebe and Lewis Baron.

813
00:45:08,680 --> 00:45:10,880
Speaker 2: Boebe lived nineteen twenty sixty two thousand and eight and

814
00:45:11,000 --> 00:45:14,279
Speaker 2: Lewis lived nineteen twenty through nineteen eighty nine, and they

815
00:45:14,320 --> 00:45:20,279
Speaker 2: are credited as composer electronic tonalities, which is perfect a

816
00:45:21,800 --> 00:45:25,880
Speaker 2: perfect way to describe the music that they create. But

817
00:45:25,920 --> 00:45:31,080
Speaker 2: I think there were also some technicalities regarding unions where

818
00:45:31,120 --> 00:45:34,040
Speaker 2: they weren't allowed to say that it was a film

819
00:45:34,080 --> 00:45:38,640
Speaker 2: score because they were not in the Music Film Score

820
00:45:38,760 --> 00:45:42,200
Speaker 2: Union at the time, and I think therefore were also

821
00:45:42,320 --> 00:45:47,480
Speaker 2: not eligible for OSCAR nomination. But yes, the score is terrific.

822
00:45:47,560 --> 00:45:50,640
Speaker 2: It is an historic score in that it is the

823
00:45:50,760 --> 00:45:54,840
Speaker 2: first fully electronic score for a motion picture. By nineteen

824
00:45:54,880 --> 00:45:58,480
Speaker 2: fifty six, movies had been utilizing electronic elements in their

825
00:45:58,520 --> 00:46:01,520
Speaker 2: sound design for quite a while. I was reading a

826
00:46:01,560 --> 00:46:03,799
Speaker 2: little bit about the use of the therem and in

827
00:46:03,920 --> 00:46:06,560
Speaker 2: film in a twenty eighteen article for The Script Lab

828
00:46:06,680 --> 00:46:11,320
Speaker 2: by Claire Nina Anarelli, pointing out that the Theoreman was

829
00:46:11,360 --> 00:46:16,240
Speaker 2: invented in nineteen twenty and by around nineteen thirty nineteen

830
00:46:16,280 --> 00:46:19,800
Speaker 2: thirty one it was used in the Russian film auDNA

831
00:46:19,960 --> 00:46:23,080
Speaker 2: or Alone. This was originally going to be a silent film,

832
00:46:23,120 --> 00:46:26,839
Speaker 2: but then apparently had music, sound effects and some dialogue

833
00:46:26,920 --> 00:46:30,440
Speaker 2: recorded in post and then played alongside it, and among

834
00:46:30,480 --> 00:46:35,760
Speaker 2: those sounds we had Theramy music. There's another electronic instrument

835
00:46:35,880 --> 00:46:38,520
Speaker 2: of the time period. In an early electronic instrument called

836
00:46:38,560 --> 00:46:42,480
Speaker 2: the let's say the one Martineau, and this was also

837
00:46:42,600 --> 00:46:48,160
Speaker 2: used in various scores and sound designs, including Bride of Frankenstein.

838
00:46:49,400 --> 00:46:52,440
Speaker 2: And the author here points out that the instruments, this

839
00:46:52,520 --> 00:46:55,000
Speaker 2: instrument that Theram in particular in particular, began to pop

840
00:46:55,080 --> 00:46:58,600
Speaker 2: up in Hollywood films during the mid nineteen forties, generally

841
00:46:58,600 --> 00:47:02,240
Speaker 2: to at first to emphasize instability, such as in nineteen

842
00:47:02,280 --> 00:47:06,799
Speaker 2: forty five Spellbound, so a destabilizing sonic effect, but then

843
00:47:06,880 --> 00:47:10,240
Speaker 2: it began to be associated with sci fi and spaceships

844
00:47:10,640 --> 00:47:14,640
Speaker 2: in nineteen fifty with rocket Ship XM, and then of

845
00:47:14,680 --> 00:47:17,280
Speaker 2: course in nineteen fifty one's The Day the Earth Stood Still,

846
00:47:17,680 --> 00:47:21,759
Speaker 2: which features a traditional orchestral score but with two theremins

847
00:47:22,440 --> 00:47:27,000
Speaker 2: so again. Up until this point, cinema had been playing

848
00:47:27,080 --> 00:47:29,600
Speaker 2: with a little electronic sound, but no one had fully

849
00:47:29,640 --> 00:47:35,480
Speaker 2: committed to a full length motion picture with exclusively electronic

850
00:47:35,560 --> 00:47:39,920
Speaker 2: music until now. And apparently, like I was reading, apparently

851
00:47:39,960 --> 00:47:41,680
Speaker 2: the way it started out, they were like, well, let's

852
00:47:41,760 --> 00:47:44,880
Speaker 2: these guys were doing some really interesting work BB and Lewis.

853
00:47:45,000 --> 00:47:46,640
Speaker 2: Let's bring them in to do you know, a few

854
00:47:46,680 --> 00:47:50,040
Speaker 2: minutes worth of sound. And then like the right people

855
00:47:50,160 --> 00:47:51,759
Speaker 2: liked it, and they were like, let's have them do

856
00:47:51,840 --> 00:47:56,759
Speaker 2: the whole thing. Let's let's do this exclusively, which you know,

857
00:47:57,680 --> 00:48:01,759
Speaker 2: for various reasons, this wasn't popular with everyone, and I

858
00:48:01,800 --> 00:48:04,160
Speaker 2: can imagine, yeah, there were probably some people who are like,

859
00:48:04,200 --> 00:48:07,280
Speaker 2: this doesn't sound like a film score, this doesn't sound

860
00:48:07,360 --> 00:48:11,200
Speaker 2: like music. I mean, I would disagree. But their work

861
00:48:11,960 --> 00:48:17,160
Speaker 2: was apparently very avant garde. They you know, they used

862
00:48:17,960 --> 00:48:22,160
Speaker 2: ring modulator circuits and then altered the results with reverb,

863
00:48:22,400 --> 00:48:26,239
Speaker 2: tape delay and other editing techniques. Apparently there was a

864
00:48:26,320 --> 00:48:30,120
Speaker 2: very high unpredictability with their work, Like if they successfully

865
00:48:30,160 --> 00:48:33,440
Speaker 2: created a certain soundscape, they couldn't necessarily come back and

866
00:48:33,480 --> 00:48:36,560
Speaker 2: recreate it in the same way. So it was kind

867
00:48:36,560 --> 00:48:39,400
Speaker 2: of a roll of the dice and then and then

868
00:48:39,440 --> 00:48:42,000
Speaker 2: an editing exercise to get something that they wanted.

869
00:48:42,480 --> 00:48:45,120
Speaker 3: Yeah, I think a lot of music creators today might

870
00:48:45,200 --> 00:48:47,080
Speaker 3: know that effect. If you've got like a pedal board

871
00:48:47,080 --> 00:48:50,280
Speaker 3: that you run through and you might create some sound

872
00:48:50,360 --> 00:48:52,560
Speaker 3: you really like, but then you mess with the knobs

873
00:48:52,600 --> 00:48:54,080
Speaker 3: and then you can't get it to sound the same

874
00:48:54,120 --> 00:48:55,640
Speaker 3: way again, you forget how you did it.

875
00:48:56,080 --> 00:48:58,719
Speaker 2: Oh wow wow. So yeah, at this point, yeah, they

876
00:48:58,719 --> 00:49:02,920
Speaker 2: were very avant garde. They had been contributing electronic sounds

877
00:49:02,960 --> 00:49:05,759
Speaker 2: to various generally like short art films like the work

878
00:49:05,800 --> 00:49:09,120
Speaker 2: of Ian Hugo. I believe he did some adaptations of

879
00:49:09,120 --> 00:49:12,400
Speaker 2: an highs nin short stories, that sort of thing, so

880
00:49:12,480 --> 00:49:16,319
Speaker 2: nothing that was at all mainstream Hollywood. And then here

881
00:49:16,360 --> 00:49:21,879
Speaker 2: they are scoring the tonalities of Forbidden Planet, and I think, yeah,

882
00:49:21,920 --> 00:49:25,160
Speaker 2: it's it's tremendous, but it is deeply weird and alien.

883
00:49:25,280 --> 00:49:30,120
Speaker 2: It is largely devoid of any melodic content. It just

884
00:49:31,040 --> 00:49:34,040
Speaker 2: the sounds like twinkle like stars against the dark void.

885
00:49:34,080 --> 00:49:37,160
Speaker 2: They drip like liquid metal and alien caves, and it

886
00:49:37,239 --> 00:49:41,600
Speaker 2: just delivers an overwhelming vibe of just inhuman mystery, which

887
00:49:42,160 --> 00:49:46,120
Speaker 2: works exceedingly well with various aspects of the plot and

888
00:49:46,160 --> 00:49:49,080
Speaker 2: certainly the look of the picture. Maybe less so with

889
00:49:49,120 --> 00:49:52,480
Speaker 2: the more you know, hammy aspects of it. But to

890
00:49:52,520 --> 00:49:55,640
Speaker 2: their credit, nobody went in and added like goofy sound

891
00:49:55,640 --> 00:49:59,320
Speaker 2: effects for the comedic moments, like all the sound design

892
00:49:59,400 --> 00:50:01,279
Speaker 2: we have here is exclusively sci fi.

893
00:50:01,640 --> 00:50:05,239
Speaker 3: I think it's the kind of thing that too audiences

894
00:50:05,280 --> 00:50:09,640
Speaker 3: going back today feels less groundbreaking because we have experienced

895
00:50:09,680 --> 00:50:13,160
Speaker 3: a lot of what followed in its footsteps, and that

896
00:50:13,239 --> 00:50:16,560
Speaker 3: if we were to be there in nineteen fifty six.

897
00:50:16,680 --> 00:50:20,399
Speaker 3: We would probably recognize the sound of this movie as

898
00:50:20,440 --> 00:50:24,840
Speaker 3: being more we would recognize it for being how unique

899
00:50:24,880 --> 00:50:25,839
Speaker 3: in time it was.

900
00:50:26,880 --> 00:50:30,399
Speaker 2: Yeah, I mean, it seems I can imagine people being

901
00:50:30,640 --> 00:50:34,239
Speaker 2: surprised though, because it at least, you know, to my ears,

902
00:50:34,239 --> 00:50:36,680
Speaker 2: it hits pretty hard. It seems. It feels pretty far

903
00:50:36,760 --> 00:50:39,440
Speaker 2: removed from something like, you know, some of the work

904
00:50:39,440 --> 00:50:41,440
Speaker 2: of say Wendy Carlos, you would get a little over

905
00:50:41,480 --> 00:50:45,120
Speaker 2: a decade later, was like Switched on Bach melodic. Yeah, yeah,

906
00:50:45,239 --> 00:50:48,239
Speaker 2: very melodic, but very electronic at the same time. And

907
00:50:48,280 --> 00:50:51,600
Speaker 2: this is just like, yeah, this stuff is just alien.

908
00:50:51,800 --> 00:50:53,879
Speaker 2: It does not have the human touch, and I love

909
00:50:53,920 --> 00:50:56,760
Speaker 2: it for that. But it it seems like a minor

910
00:50:56,800 --> 00:50:59,239
Speaker 2: miracle that this score exists at all. It seems like

911
00:50:59,360 --> 00:51:02,880
Speaker 2: exactly the sort of score that some sort of producer

912
00:51:02,920 --> 00:51:04,839
Speaker 2: would come along and say and say, like, we can't

913
00:51:04,920 --> 00:51:07,160
Speaker 2: use this. You can use it when the spaceship's landing,

914
00:51:07,360 --> 00:51:09,880
Speaker 2: but let's get some stock music in here so that

915
00:51:09,920 --> 00:51:11,440
Speaker 2: the humans can connect with the plot.

916
00:51:11,640 --> 00:51:14,919
Speaker 3: Yeah that's too weird. Yeah, but no, they got away

917
00:51:14,960 --> 00:51:17,640
Speaker 3: with it, and I'm glad they did. All Right, you

918
00:51:17,640 --> 00:51:19,120
Speaker 3: want to talk about the plot.

919
00:51:19,120 --> 00:51:20,720
Speaker 2: Let's get into the plot.

920
00:51:20,800 --> 00:51:23,440
Speaker 3: Warning that this movie does have, in my opinion, some

921
00:51:23,480 --> 00:51:26,760
Speaker 3: pretty good twists and reveals in it, especially the ending,

922
00:51:26,760 --> 00:51:28,840
Speaker 3: and we are going to be talking about those. So

923
00:51:28,960 --> 00:51:31,240
Speaker 3: if you want to see it without having anything spoiled,

924
00:51:31,520 --> 00:51:33,920
Speaker 3: I would suggest pausing and doing that now.

925
00:51:35,200 --> 00:51:36,800
Speaker 2: But you're still here, so I guess it's okay.

926
00:51:37,000 --> 00:51:40,439
Speaker 3: Yeah, So opening monologue, I'm just going to read this

927
00:51:40,680 --> 00:51:43,440
Speaker 3: to set the tone. The voice over tells us. In

928
00:51:43,520 --> 00:51:46,400
Speaker 3: the final decade of the twenty first century, men and

929
00:51:46,440 --> 00:51:50,440
Speaker 3: women in rocket ships landed on the Moon. Great start.

930
00:51:50,480 --> 00:51:51,759
Speaker 3: Do you think we're going to make it to the

931
00:51:51,760 --> 00:51:57,200
Speaker 3: Moon by the twenty nineties. By twenty two hundred AD,

932
00:51:57,400 --> 00:51:59,920
Speaker 3: they had reached the other planets of our Solar system

933
00:52:00,400 --> 00:52:04,000
Speaker 3: almost at once. There followed the discovery of hyperdrive, through

934
00:52:04,040 --> 00:52:07,040
Speaker 3: which the speed of light was first attained and later

935
00:52:07,280 --> 00:52:11,600
Speaker 3: greatly surpassed. And so at last mankind began the conquest

936
00:52:11,640 --> 00:52:16,440
Speaker 3: and colonization of deep space. United Planets Cruiser C fifty

937
00:52:16,480 --> 00:52:19,320
Speaker 3: seven D now more than a year out from Earth

938
00:52:19,360 --> 00:52:22,480
Speaker 3: base on a special mission to the planetary system of

939
00:52:22,520 --> 00:52:26,680
Speaker 3: the great main sequence star Altair. And so it's showing

940
00:52:26,760 --> 00:52:28,839
Speaker 3: us the spaceship as it tells us what it is

941
00:52:29,960 --> 00:52:33,640
Speaker 3: one thing I want to note here. In Forbidden Planet,

942
00:52:33,920 --> 00:52:39,240
Speaker 3: the spaceship used by the human heroes is a flying saucer,

943
00:52:40,160 --> 00:52:42,440
Speaker 3: and I think this is notable because while the flying

944
00:52:42,480 --> 00:52:46,000
Speaker 3: saucer was absolutely well known in science fiction of the time,

945
00:52:46,040 --> 00:52:49,480
Speaker 3: it had already been used in multiple movies. I think

946
00:52:49,560 --> 00:52:52,840
Speaker 3: it was usually the form of ship used by non

947
00:52:53,080 --> 00:52:58,640
Speaker 3: human aliens. More often, human ships are shown as elongated

948
00:52:58,719 --> 00:53:02,000
Speaker 3: and cylindrical, vaguely rocket shaped, or maybe they were shaped

949
00:53:02,080 --> 00:53:05,800
Speaker 3: like an airplane. I don't know if there is anything

950
00:53:05,840 --> 00:53:08,640
Speaker 3: to read into this choice as far as the intentions

951
00:53:08,680 --> 00:53:12,080
Speaker 3: of the filmmakers go, but at least to me, the

952
00:53:12,160 --> 00:53:16,400
Speaker 3: choice of putting humans inside the flying saucer instead of

953
00:53:16,440 --> 00:53:20,040
Speaker 3: having that be the alien vessel suggests that we are

954
00:53:20,160 --> 00:53:23,280
Speaker 3: the aliens, which is relevant to the movie in multiple ways.

955
00:53:23,320 --> 00:53:25,480
Speaker 3: One of these will be a spoiler, so again spoiler

956
00:53:25,480 --> 00:53:29,080
Speaker 3: warning number one. Of course, in this story, the humans

957
00:53:29,120 --> 00:53:33,120
Speaker 3: are colonizing an exoplanet far beyond Earth, so we are

958
00:53:33,239 --> 00:53:35,719
Speaker 3: the aliens in the scenario. We're not in our own

959
00:53:35,760 --> 00:53:39,920
Speaker 3: cosmic neighborhood. But the other sense in which humans are

960
00:53:40,040 --> 00:53:42,279
Speaker 3: the aliens in this movie has to do with the

961
00:53:42,320 --> 00:53:46,600
Speaker 3: big twist at the end. The supposedly alien force that

962
00:53:46,760 --> 00:53:50,320
Speaker 3: is attacking the humans is not actually of alien origin

963
00:53:50,600 --> 00:53:53,520
Speaker 3: but of human origin. And so anyway, I was thinking

964
00:53:53,520 --> 00:53:55,040
Speaker 3: about this for a bid. It made me think it

965
00:53:55,120 --> 00:53:57,279
Speaker 3: might be interesting at some point to come back into

966
00:53:57,320 --> 00:54:01,480
Speaker 3: a deep dive on the history of this ship form,

967
00:54:01,560 --> 00:54:04,440
Speaker 3: on the idea of the flying saucer as a shape,

968
00:54:05,360 --> 00:54:07,520
Speaker 3: to kind of look at that in history as far

969
00:54:07,560 --> 00:54:10,840
Speaker 3: as like UFO reports go, and then also in popular culture,

970
00:54:11,520 --> 00:54:14,240
Speaker 3: but then also compare that to real you know, flying

971
00:54:14,280 --> 00:54:15,279
Speaker 3: machine designs.

972
00:54:16,040 --> 00:54:19,480
Speaker 2: Yeah, yeah, I'm all for it. One quick note on

973
00:54:19,520 --> 00:54:24,440
Speaker 2: ship design again, this film was very influential on the

974
00:54:24,440 --> 00:54:27,640
Speaker 2: the ultimate shape that Star Trek would take. And it's

975
00:54:27,680 --> 00:54:31,040
Speaker 2: often pointed out that the stars the Starship Enterprise is

976
00:54:31,080 --> 00:54:34,279
Speaker 2: in many ways a disc based ship as well. It

977
00:54:34,360 --> 00:54:37,919
Speaker 2: is a flying saucer, but with other elements added to it. Yeah,

978
00:54:38,200 --> 00:54:41,080
Speaker 2: you know, with engines and the lower you know, engineering

979
00:54:41,080 --> 00:54:43,719
Speaker 2: portion of the ship and all, but you know, it's

980
00:54:43,800 --> 00:54:48,799
Speaker 2: mostly flying saucer and and part of that seems to

981
00:54:49,000 --> 00:54:50,280
Speaker 2: come from Forbidden Planet.

982
00:54:50,520 --> 00:54:52,120
Speaker 3: Yeah, it's kind of like a it's like a flying

983
00:54:52,120 --> 00:54:55,960
Speaker 3: saucer with a stem and legs. Yeah. So anyway, I'm

984
00:54:55,960 --> 00:54:58,520
Speaker 3: going to try to summarize the setup of the film here. So,

985
00:54:58,760 --> 00:55:02,480
Speaker 3: the crew of the uninspiringly named C fifty seven D

986
00:55:03,400 --> 00:55:06,400
Speaker 3: are on a mission to the planet Alta four to

987
00:55:06,600 --> 00:55:11,239
Speaker 3: investigate what happened to a ship named the Bellerophon, which

988
00:55:11,360 --> 00:55:14,760
Speaker 3: ventured out to the planet twenty years prior. In command

989
00:55:14,800 --> 00:55:18,520
Speaker 3: of this mission is JJ Adams, A by God Rectangle.

990
00:55:18,560 --> 00:55:22,919
Speaker 3: If we ever saw one gruff, tough, no nonsense, you'd

991
00:55:22,960 --> 00:55:25,680
Speaker 3: really get the feeling that he expects a rost ready

992
00:55:25,719 --> 00:55:29,399
Speaker 3: when he gets home from space. Yes, yeah, So when

993
00:55:29,480 --> 00:55:33,440
Speaker 3: the crew reaches the vicinity of Altar four, they receive

994
00:55:33,600 --> 00:55:36,720
Speaker 3: a radio message from a man. It's a human voice.

995
00:55:36,719 --> 00:55:39,640
Speaker 3: He comes on the radio and identifies himself as doctor

996
00:55:39,760 --> 00:55:43,400
Speaker 3: Edward Morbius. They check that against the manifest of the

997
00:55:43,440 --> 00:55:46,160
Speaker 3: original mission, and they verified that was part of the

998
00:55:46,160 --> 00:55:50,520
Speaker 3: original crew. Morbius is supposed to be there, though curiously

999
00:55:50,600 --> 00:55:54,480
Speaker 3: they note that he was a philologist, a language expert,

1000
00:55:54,560 --> 00:55:56,840
Speaker 3: which is not exactly what you imagine in the landing

1001
00:55:56,880 --> 00:56:01,760
Speaker 3: party among your geologists and exobiology and engineers and so forth.

1002
00:56:02,719 --> 00:56:06,520
Speaker 3: Morbius warns them not to land. He says doing so

1003
00:56:06,600 --> 00:56:10,880
Speaker 3: would put them in grave danger, but Adams is not deterred.

1004
00:56:11,040 --> 00:56:14,279
Speaker 3: It's the mission, gentlemen, We've got a land. So they

1005
00:56:14,280 --> 00:56:16,960
Speaker 3: come and set down in the middle of this vast

1006
00:56:17,160 --> 00:56:21,720
Speaker 3: desert plain surrounded by jagged mountains, and oh, I love

1007
00:56:22,120 --> 00:56:25,120
Speaker 3: love the design of the surface of all Ta four.

1008
00:56:25,239 --> 00:56:29,520
Speaker 3: Here there is a painted backdrop which has a green

1009
00:56:29,640 --> 00:56:33,880
Speaker 3: sky and sort of different strata of clouds with multiple

1010
00:56:33,960 --> 00:56:37,799
Speaker 3: moons in the background. I love the rocky mountains. But

1011
00:56:37,840 --> 00:56:40,359
Speaker 3: also this is not a barren, rocky planet, like we're

1012
00:56:40,400 --> 00:56:42,800
Speaker 3: looking at a kind of desert plain, but different parts

1013
00:56:42,800 --> 00:56:47,200
Speaker 3: of the planet have more vegetation, have strange looking trees

1014
00:56:47,640 --> 00:56:49,280
Speaker 3: and brush and things like that.

1015
00:56:49,800 --> 00:56:53,360
Speaker 2: Yeah, it does just look absolutely terrific. You can just

1016
00:56:53,440 --> 00:56:57,880
Speaker 2: imagine how sci fi fans of the time just probably

1017
00:56:57,920 --> 00:57:01,399
Speaker 2: lost their mind when they'd seen this. You know, this

1018
00:57:01,480 --> 00:57:03,759
Speaker 2: was you know, obviously this was before two thousand and

1019
00:57:03,800 --> 00:57:08,120
Speaker 2: one a Space Odyssey, which you know, really set an

1020
00:57:08,160 --> 00:57:12,319
Speaker 2: all new standard for what visions of a sci fi

1021
00:57:12,400 --> 00:57:15,040
Speaker 2: future might look like in space. But man, it Forbidden

1022
00:57:15,040 --> 00:57:16,280
Speaker 2: Planet just looks amazing.

1023
00:57:17,120 --> 00:57:20,000
Speaker 3: So the crew lands on the surface, and I like

1024
00:57:20,080 --> 00:57:24,360
Speaker 3: here how the different members of the crew have different

1025
00:57:24,400 --> 00:57:27,080
Speaker 3: reactions to it, Like they debate how pleasant it is.

1026
00:57:27,200 --> 00:57:29,920
Speaker 3: One person likes it, another person is put off and

1027
00:57:30,000 --> 00:57:34,120
Speaker 3: just misses Earth. And so the crew they get out

1028
00:57:34,160 --> 00:57:37,120
Speaker 3: and they are greeted by a robot whom they first

1029
00:57:37,200 --> 00:57:39,640
Speaker 3: see hot rotting a buggy through the desert like they

1030
00:57:39,720 --> 00:57:43,479
Speaker 3: just see dust kicking up in the desert in the distance, like, Wow,

1031
00:57:43,520 --> 00:57:46,120
Speaker 3: something's coming to meet us. And when it pulls up.

1032
00:57:46,880 --> 00:57:49,640
Speaker 3: When they first got there, I couldn't remember exactly what

1033
00:57:49,680 --> 00:57:51,480
Speaker 3: was happening. I was like, Oh, did they get attacked

1034
00:57:51,520 --> 00:57:55,200
Speaker 3: by the monster this early? No, that's not It's just

1035
00:57:55,320 --> 00:57:58,560
Speaker 3: Robbie driving a buggy that he really looks like he

1036
00:57:58,600 --> 00:58:00,840
Speaker 3: would be weighing down the front of this thing and

1037
00:58:00,880 --> 00:58:02,840
Speaker 3: making it do I don't know whatever. The opposite of

1038
00:58:02,920 --> 00:58:05,160
Speaker 3: pop and a wheelie is like coming down in the front,

1039
00:58:05,160 --> 00:58:09,480
Speaker 3: but somehow it stays. It stays on all four wheels,

1040
00:58:10,160 --> 00:58:13,000
Speaker 3: and it arrives and sort of a cage opens in

1041
00:58:13,080 --> 00:58:16,880
Speaker 3: the front and Robbie walks out, and oh boy, what

1042
00:58:16,960 --> 00:58:19,240
Speaker 3: a vision he is. We've already talked about how much

1043
00:58:19,240 --> 00:58:23,040
Speaker 3: I like the design of Robbie the robot, but the

1044
00:58:23,120 --> 00:58:26,880
Speaker 3: meeting is a magical moment and the crew were kind

1045
00:58:26,880 --> 00:58:28,800
Speaker 3: of at a loss for words. He's like, you know,

1046
00:58:29,240 --> 00:58:32,480
Speaker 3: I am monitored to respond to the name Robbie, and

1047
00:58:32,520 --> 00:58:34,520
Speaker 3: he tries to say, hey, if you don't speak English,

1048
00:58:34,600 --> 00:58:36,240
Speaker 3: you know, I speak one hundred and eighty seven other

1049
00:58:36,320 --> 00:58:40,880
Speaker 3: languages and there are various various sub tongues, and they're like,

1050
00:58:40,960 --> 00:58:45,280
Speaker 3: no English is okay? And they say hi to each other,

1051
00:58:45,320 --> 00:58:47,360
Speaker 3: and we get a lot of kind of yuck yuck moments.

1052
00:58:47,360 --> 00:58:50,439
Speaker 3: So with the more bumpkinny members of the crew trying

1053
00:58:50,440 --> 00:58:53,640
Speaker 3: to figure out what to make of Robbie. Yeah, So

1054
00:58:53,840 --> 00:58:58,560
Speaker 3: Robbie takes Adams, his lieutenant Jerry Farman, and the ship's doctor,

1055
00:58:58,640 --> 00:59:02,720
Speaker 3: Doc Astro to the home of Edward Morbius, the guy

1056
00:59:02,760 --> 00:59:06,640
Speaker 3: they talked to on the radio, and Morbius greets them

1057
00:59:06,760 --> 00:59:10,800
Speaker 3: courteously and invites them in for lunch. Now, what would

1058
00:59:10,840 --> 00:59:13,640
Speaker 3: you say is what's your read on Morbius when we

1059
00:59:13,680 --> 00:59:14,560
Speaker 3: first meet him here?

1060
00:59:15,360 --> 00:59:17,880
Speaker 2: I mean, it's very much a Captain Nemo sort of

1061
00:59:18,200 --> 00:59:21,720
Speaker 2: vibe and and and you know, this is a highly

1062
00:59:21,760 --> 00:59:24,240
Speaker 2: influential film like it, you know, there are also elements

1063
00:59:24,480 --> 00:59:26,840
Speaker 2: like it reminds me of Alien Covenant a bit like, yeah, okay,

1064
00:59:26,880 --> 00:59:29,840
Speaker 2: there's there's a guy here and he seems to be

1065
00:59:29,840 --> 00:59:32,200
Speaker 2: doing just fine on a world where everyone else is

1066
00:59:32,240 --> 00:59:36,840
Speaker 2: absolutely dead something here is us. But that being said,

1067
00:59:37,200 --> 00:59:41,080
Speaker 2: Morbius comes off very pleasant, you know, in his his

1068
00:59:41,280 --> 00:59:45,760
Speaker 2: crib is just luxurious. I love the blast curtains that

1069
00:59:45,800 --> 00:59:49,360
Speaker 2: the oh, stop motion blast curtains that he demonstrates. I mean,

1070
00:59:50,080 --> 00:59:52,400
Speaker 2: so he wins us over with charm, but you know,

1071
00:59:52,560 --> 00:59:54,120
Speaker 2: remains suspicious.

1072
00:59:54,320 --> 00:59:56,200
Speaker 3: Yeah, the blast curtains you're talking about. There's like an

1073
00:59:56,240 --> 00:59:59,320
Speaker 3: open design of the house. It's one of those mid

1074
00:59:59,360 --> 01:00:02,680
Speaker 3: century kind of West Coast designs where it's all glass

1075
01:00:02,680 --> 01:00:05,880
Speaker 3: walls all around or loose sight maybe. But then yeah,

1076
01:00:05,920 --> 01:00:08,640
Speaker 3: suddenly he can like snap his fingers or press a

1077
01:00:08,680 --> 01:00:11,440
Speaker 3: button and all of the windows get replaced with like

1078
01:00:11,560 --> 01:00:12,280
Speaker 3: solid lead.

1079
01:00:12,840 --> 01:00:15,680
Speaker 2: Yeah, yeah, which is which is created via some sort

1080
01:00:15,720 --> 01:00:18,120
Speaker 2: of a stop motion approach. But it looks really good.

1081
01:00:18,160 --> 01:00:21,280
Speaker 2: Like I totally buy this as a technology.

1082
01:00:21,920 --> 01:00:24,480
Speaker 3: So they get to know each other here over over

1083
01:00:24,520 --> 01:00:27,120
Speaker 3: a pleasant lunch, and we learn about Robbie. We learned

1084
01:00:27,120 --> 01:00:30,480
Speaker 3: that Robbie is immensely strong, and that he has the

1085
01:00:30,560 --> 01:00:34,480
Speaker 3: power to synthesize any object or material that he analyzes

1086
01:00:34,560 --> 01:00:37,240
Speaker 3: in his sort of male slot mouth in his chest.

1087
01:00:38,080 --> 01:00:40,680
Speaker 3: I think we correct me if I'm wrong, But it

1088
01:00:40,840 --> 01:00:43,600
Speaker 3: sort of suggested that the delicious food they just ate

1089
01:00:43,920 --> 01:00:46,680
Speaker 3: was somehow extruded out of Robbie's holes.

1090
01:00:47,120 --> 01:00:48,600
Speaker 2: I guess so. Yeah.

1091
01:00:48,640 --> 01:00:50,800
Speaker 3: And also we learned, I think, in borrowing from some

1092
01:00:50,880 --> 01:00:55,160
Speaker 3: other science fiction, that Robbie has some of the laws

1093
01:00:55,160 --> 01:00:59,600
Speaker 3: of robotics written into him, like that Isaac Asimov, Susan Calvin,

1094
01:00:59,680 --> 01:01:04,240
Speaker 3: robos psychology stories, the laws of robotics. So Morbius demonstrates,

1095
01:01:04,240 --> 01:01:08,240
Speaker 3: for example, that Robbie cannot harm a human by and

1096
01:01:08,320 --> 01:01:11,120
Speaker 3: he demonstrates this in a great way. He's like, mister Adams,

1097
01:01:11,160 --> 01:01:13,560
Speaker 3: you know, give me your gun, and he takes it.

1098
01:01:13,920 --> 01:01:16,800
Speaker 3: He puts it in Robbie's hand first as Robbie zap

1099
01:01:16,840 --> 01:01:19,840
Speaker 3: a plant in their garden, and then he's like, okay,

1100
01:01:19,880 --> 01:01:23,680
Speaker 3: point the blaster at Commander Adams and kill him. But

1101
01:01:24,320 --> 01:01:26,640
Speaker 3: Robbie can't do it. He starts to sizzle and fry.

1102
01:01:26,680 --> 01:01:30,000
Speaker 3: All these like purple sparks shoot inside his head. And

1103
01:01:30,040 --> 01:01:33,760
Speaker 3: this is caused by a contradiction between receiving the order

1104
01:01:33,800 --> 01:01:36,560
Speaker 3: which he is supposed to follow and his inability to

1105
01:01:36,600 --> 01:01:38,920
Speaker 3: harm anyone. And he just stands there, frozen in that

1106
01:01:38,960 --> 01:01:41,160
Speaker 3: state until Morbius says, canceled the order.

1107
01:01:41,720 --> 01:01:47,640
Speaker 2: Yeah, And they're very forgiving of doctor Morbius's terrifying demonstration

1108
01:01:47,760 --> 01:01:48,240
Speaker 2: of power.

1109
01:01:49,120 --> 01:01:52,880
Speaker 3: I would say we also get the impression that Morbius

1110
01:01:52,960 --> 01:01:55,800
Speaker 3: is not too happy about this visit from the crew.

1111
01:01:55,920 --> 01:01:59,320
Speaker 3: He is not rude to them, but he says, for

1112
01:01:59,600 --> 01:02:02,880
Speaker 3: one of the lines, is how ironic that a simple

1113
01:02:02,880 --> 01:02:07,120
Speaker 3: scholar with no ambition beyond a modest measure of seclusion, should,

1114
01:02:07,120 --> 01:02:09,960
Speaker 3: out of the clear sky find himself besieged by an

1115
01:02:10,080 --> 01:02:14,120
Speaker 3: army of fellow creatures, all grimly determined to be of service.

1116
01:02:14,720 --> 01:02:17,240
Speaker 2: Yeah, but Adams is like, we've got to do it

1117
01:02:17,240 --> 01:02:19,479
Speaker 2: by the book, you know, We've we've got to stick around,

1118
01:02:19,520 --> 01:02:21,080
Speaker 2: and then we have to follow up.

1119
01:02:21,240 --> 01:02:36,360
Speaker 3: The mission, so we learn what happened to the rest

1120
01:02:36,400 --> 01:02:39,880
Speaker 3: of the crew, the original crew of the Bellerophon. Morbius

1121
01:02:39,920 --> 01:02:42,760
Speaker 3: tells the story of how after they landed and began

1122
01:02:42,800 --> 01:02:48,480
Speaker 3: to explore the planet, something started going wrong, something started happening. Eventually,

1123
01:02:48,840 --> 01:02:53,600
Speaker 3: every other member of the crew was murdered, literally torn

1124
01:02:53,840 --> 01:02:58,760
Speaker 3: limb from limb by what he calls an invisible planetary force,

1125
01:02:59,480 --> 01:03:02,600
Speaker 3: and in a certain group of the only survivors who

1126
01:03:02,600 --> 01:03:05,680
Speaker 3: were left, say for Morbius tried to flee the planet

1127
01:03:05,720 --> 01:03:10,600
Speaker 3: in their spaceship. That ship was obliterated upon takeoff. Now,

1128
01:03:10,640 --> 01:03:14,000
Speaker 3: Morbius himself has no idea what the force was, but

1129
01:03:14,320 --> 01:03:18,600
Speaker 3: it seems he is somehow immune to it, as is

1130
01:03:18,880 --> 01:03:22,960
Speaker 3: surprise we find out about his twenty year old daughter, Altara,

1131
01:03:23,160 --> 01:03:26,760
Speaker 3: who was born right after their arrival on the planet.

1132
01:03:27,160 --> 01:03:31,520
Speaker 3: Altara's mother was another scientist of the original Bellerophon Crewe.

1133
01:03:31,880 --> 01:03:34,560
Speaker 3: She and Morbius fell in love and married on the

1134
01:03:34,600 --> 01:03:38,920
Speaker 3: way to the planet, but unfortunately Altara's mother also died,

1135
01:03:39,000 --> 01:03:42,880
Speaker 3: though she died of natural causes. So whatever it was

1136
01:03:43,040 --> 01:03:46,200
Speaker 3: that literally ripped apart the bodies of the other members

1137
01:03:46,200 --> 01:03:49,480
Speaker 3: of the crew, for some reason, it has never tried

1138
01:03:49,520 --> 01:03:51,760
Speaker 3: to harm Morbius or his daughter.

1139
01:03:51,800 --> 01:03:57,560
Speaker 2: Which is also deeply suspicious. And when we meet Altaria again,

1140
01:03:57,600 --> 01:03:59,640
Speaker 2: I hadn't seen the film before, so it's like she

1141
01:04:00,120 --> 01:04:03,560
Speaker 2: she a space vampire. She is she a robot? Is

1142
01:04:03,600 --> 01:04:06,760
Speaker 2: she an evil destructive force? I was trusting neither of

1143
01:04:06,800 --> 01:04:07,160
Speaker 2: these two.

1144
01:04:07,200 --> 01:04:09,400
Speaker 3: Really. Yeah, we don't know what to make of her

1145
01:04:09,440 --> 01:04:14,240
Speaker 3: at first, and especially because it seems Morbius was hoping

1146
01:04:14,280 --> 01:04:17,720
Speaker 3: to keep Altera's existence a secret from Adams and the crew.

1147
01:04:17,840 --> 01:04:19,600
Speaker 3: It's like he was trying to hide her. And when

1148
01:04:19,680 --> 01:04:23,840
Speaker 3: she becomes her existence becomes revealed, He's like, oh no, She.

1149
01:04:23,880 --> 01:04:26,880
Speaker 2: Like wanders out like it's past her bedtime, and like

1150
01:04:26,960 --> 01:04:28,960
Speaker 2: guests have come over and it's like, oh, honey, go

1151
01:04:29,040 --> 01:04:30,920
Speaker 2: back to bed, and there may be a go There

1152
01:04:30,960 --> 01:04:32,800
Speaker 2: are at least a couple of scenes where she is

1153
01:04:32,800 --> 01:04:35,120
Speaker 2: told to go to bed. Yeah the male characters.

1154
01:04:35,400 --> 01:04:39,320
Speaker 3: Yeah, yeah. So we already talked about Altara how she

1155
01:04:39,520 --> 01:04:43,520
Speaker 3: is at once brilliant and naive. Like she you know,

1156
01:04:43,600 --> 01:04:46,360
Speaker 3: she is schooled in all of the arts and sciences,

1157
01:04:46,400 --> 01:04:51,040
Speaker 3: but she has no experience dealing with human society. She's

1158
01:04:51,080 --> 01:04:53,760
Speaker 3: also kind of like snow White in that she has

1159
01:04:53,880 --> 01:04:57,560
Speaker 3: animal friends like is deer and a tiger and stuff

1160
01:04:57,560 --> 01:04:59,600
Speaker 3: that run out of the garden and just hang out

1161
01:04:59,640 --> 01:05:04,120
Speaker 3: with her. And the tiger represents no threat. When it

1162
01:05:04,160 --> 01:05:06,800
Speaker 3: first shows up, Adams is like pulling out his gun,

1163
01:05:07,200 --> 01:05:10,040
Speaker 3: but they're like no, no, no, wait, watch and yeah,

1164
01:05:10,400 --> 01:05:12,680
Speaker 3: it just wants to hang. So Adams and the rest

1165
01:05:12,720 --> 01:05:16,320
Speaker 3: offered to take Morbius and Altara home to Earth, but

1166
01:05:16,520 --> 01:05:20,720
Speaker 3: Morbius has no desire to go. And after this there's

1167
01:05:20,760 --> 01:05:22,800
Speaker 3: some kind of technical work that has to be done.

1168
01:05:22,960 --> 01:05:24,800
Speaker 3: I don't remember exactly what the deal is. I think

1169
01:05:24,840 --> 01:05:26,960
Speaker 3: the crew of the ship has to build like a

1170
01:05:27,240 --> 01:05:30,680
Speaker 3: faster than light radio transmitter to communicate with Earth and

1171
01:05:30,720 --> 01:05:32,840
Speaker 3: find out what their orders are or something like that.

1172
01:05:33,360 --> 01:05:35,520
Speaker 2: Yeah, yeah, there's something in stalls them. So there's a

1173
01:05:35,520 --> 01:05:37,920
Speaker 2: little time to meander about and get into trouble.

1174
01:05:38,160 --> 01:05:41,040
Speaker 3: Yeah, time for kissing lessons. So here's where we get

1175
01:05:41,040 --> 01:05:44,960
Speaker 3: to that portion of the story. Essentially, al Tara is

1176
01:05:45,240 --> 01:05:47,600
Speaker 3: she's very interested in all of the young men who

1177
01:05:47,600 --> 01:05:50,600
Speaker 3: have arrived on this ship, and many of this the

1178
01:05:50,640 --> 01:05:53,200
Speaker 3: men on the ship are interested in hers. Some of

1179
01:05:53,240 --> 01:05:56,120
Speaker 3: the lovelorn dudes and the crew get obsessed with Altara.

1180
01:05:56,800 --> 01:05:58,960
Speaker 3: She's known as Alta for short, by the way, so

1181
01:05:59,080 --> 01:06:01,840
Speaker 3: that was kind of confusing first, but sometimes Morbies is

1182
01:06:01,840 --> 01:06:05,720
Speaker 3: calling her Alta, And there is a scene where Jerry Farman,

1183
01:06:06,040 --> 01:06:10,400
Speaker 3: the lieutenant sort of adams Is number two, takes Alta

1184
01:06:10,440 --> 01:06:12,600
Speaker 3: for a walk on the planet's surface and they sort

1185
01:06:12,600 --> 01:06:15,680
Speaker 3: of wander into the forest and he ends up trying

1186
01:06:15,720 --> 01:06:19,080
Speaker 3: to convince her that he needs to teach her how

1187
01:06:19,080 --> 01:06:21,560
Speaker 3: to kiss so that she can be in proper health,

1188
01:06:21,600 --> 01:06:23,640
Speaker 3: because you need to kiss in order to be healthy.

1189
01:06:24,840 --> 01:06:28,440
Speaker 3: This scene is both pretty cringey, but also, as I

1190
01:06:28,480 --> 01:06:32,280
Speaker 3: was mentioning earlier, kind of funny because Alta does say these,

1191
01:06:32,320 --> 01:06:35,400
Speaker 3: like really cutting things at him. She's like, isn't this

1192
01:06:35,440 --> 01:06:40,320
Speaker 3: supposed to be stimulating? I don't find it remarkable. Yeah,

1193
01:06:40,360 --> 01:06:43,400
Speaker 3: And in the middle of all this, Adams catches them

1194
01:06:43,680 --> 01:06:46,680
Speaker 3: and so he chews out Jerry. But then he also

1195
01:06:46,720 --> 01:06:52,280
Speaker 3: gets super flustered and he criticizes Alta for wearing revealing clothes,

1196
01:06:53,040 --> 01:06:57,000
Speaker 3: and in one funny note, adams freak out here contains

1197
01:06:57,000 --> 01:06:59,880
Speaker 3: a rant about like how attractive and sext up his

1198
01:07:00,080 --> 01:07:05,040
Speaker 3: men are. Yeah, He's like, all of my crew members

1199
01:07:05,080 --> 01:07:07,800
Speaker 3: are the prizest specimens of twenty four year old men

1200
01:07:07,880 --> 01:07:11,640
Speaker 3: on Earth. But I was thinking, like even Cook, Is

1201
01:07:11,640 --> 01:07:12,800
Speaker 3: that what he thinks about Cook?

1202
01:07:13,120 --> 01:07:14,840
Speaker 2: Well, Cook is in a supporting role, you know.

1203
01:07:15,280 --> 01:07:18,640
Speaker 3: Yeah, no offense to the looks of Cook. I just mean, like,

1204
01:07:18,760 --> 01:07:22,200
Speaker 3: is he the best Earth has at cooking?

1205
01:07:22,760 --> 01:07:24,959
Speaker 2: Maybe we didn't know this was a breeding.

1206
01:07:24,680 --> 01:07:28,160
Speaker 3: Mission, Yeah, exactly so. Anyway, but al Tara, after this,

1207
01:07:29,080 --> 01:07:32,240
Speaker 3: goes home and commissions Robbie to make her a new

1208
01:07:32,320 --> 01:07:35,400
Speaker 3: dress that will cover her whole body. Of course, we

1209
01:07:35,440 --> 01:07:37,720
Speaker 3: will see that dress later, and it also looks beautiful.

1210
01:07:37,760 --> 01:07:42,160
Speaker 3: It's kind of a Greek goddess kind of address, but

1211
01:07:43,040 --> 01:07:47,720
Speaker 3: interesting things in the scene, like the uncomfortable sexual politics

1212
01:07:47,720 --> 01:07:51,800
Speaker 3: of it. Aside, the scene is interesting because it is

1213
01:07:52,200 --> 01:07:56,160
Speaker 3: supposed to be I think Alta's first real experience with

1214
01:07:56,240 --> 01:08:00,840
Speaker 3: the rest of humanity, with people who would judge her unfairly,

1215
01:08:00,960 --> 01:08:03,919
Speaker 3: with people who would lie to her and treat her unkindly,

1216
01:08:04,600 --> 01:08:07,360
Speaker 3: with people who would exploit and take advantage of her.

1217
01:08:07,840 --> 01:08:12,360
Speaker 3: She's coming into collision with human nature after having grown

1218
01:08:12,480 --> 01:08:15,520
Speaker 3: up in what's presented as a sort of perfect bubble

1219
01:08:15,640 --> 01:08:22,080
Speaker 3: of cool, detached, trustworthy, scholarly enlightenment, and she's learning that

1220
01:08:22,200 --> 01:08:26,920
Speaker 3: human nature has a dark and bestial side as well. Meanwhile,

1221
01:08:27,040 --> 01:08:30,200
Speaker 3: things also start going wrong at the ship. In the

1222
01:08:30,240 --> 01:08:33,880
Speaker 3: middle of the night, something invisible sneaks into the ship.

1223
01:08:34,360 --> 01:08:37,840
Speaker 3: And I love the special effects in these nighttime sneaking scenes,

1224
01:08:37,840 --> 01:08:40,160
Speaker 3: by the way, But something sneaks into the ship and

1225
01:08:40,240 --> 01:08:41,880
Speaker 3: sabotages the equipment.

1226
01:08:42,640 --> 01:08:46,880
Speaker 2: Yeah yeah, so already we're getting little invisible attacks that

1227
01:08:46,920 --> 01:08:49,360
Speaker 2: are sabotaging the ship, keeping it from leaving.

1228
01:08:49,960 --> 01:08:52,160
Speaker 3: Now. The next day, Adams goes to the home of

1229
01:08:52,400 --> 01:08:55,800
Speaker 3: Morbius and Alta to apologize to Alta for one thing

1230
01:08:55,840 --> 01:08:58,559
Speaker 3: for his behavior the day before. He sort of realizes

1231
01:08:58,600 --> 01:09:01,639
Speaker 3: he was in the wrong and when he arrives, Alta

1232
01:09:01,760 --> 01:09:04,519
Speaker 3: is swimming naked in the pool and Adams gets all

1233
01:09:04,560 --> 01:09:07,519
Speaker 3: super flustered again. He's like, oh uh, I don't know

1234
01:09:07,560 --> 01:09:10,840
Speaker 3: what to do. But in a scene after this, it

1235
01:09:10,920 --> 01:09:14,200
Speaker 3: becomes clear that they are both interested in each other,

1236
01:09:14,560 --> 01:09:19,320
Speaker 3: and Alta kisses Adams, and while they are kissing, they

1237
01:09:19,360 --> 01:09:23,240
Speaker 3: are suddenly attacked by Alta's tiger friend. The tiger they

1238
01:09:23,240 --> 01:09:26,320
Speaker 3: saw earlier that was so friendly and you know, not

1239
01:09:26,400 --> 01:09:28,920
Speaker 3: a threat at all, appears on a sort of ledge

1240
01:09:28,920 --> 01:09:31,599
Speaker 3: above them and then leaps at them, claws out as

1241
01:09:31,600 --> 01:09:34,960
Speaker 3: if ready to attack. Adams just at the last second

1242
01:09:35,000 --> 01:09:38,000
Speaker 3: has to zapf it with his phaser gun, and it's

1243
01:09:38,080 --> 01:09:41,880
Speaker 3: like there's this feeling Alta has of how why, Like

1244
01:09:41,920 --> 01:09:44,640
Speaker 3: the tiger had never tried to harm her before and

1245
01:09:44,720 --> 01:09:46,520
Speaker 3: suddenly it has turned hostile.

1246
01:09:47,080 --> 01:09:50,240
Speaker 2: Yeah, something has changed. And this was also I was

1247
01:09:50,240 --> 01:09:53,840
Speaker 2: really shocked by this scene when the tiger was completely

1248
01:09:54,720 --> 01:09:58,880
Speaker 2: annihilated in mid air by the laser gun, absolutely disintegrated.

1249
01:09:59,120 --> 01:10:01,040
Speaker 3: Now from here we move move on to a big

1250
01:10:01,160 --> 01:10:04,000
Speaker 3: reveal and a sequence of a lot of the best

1251
01:10:04,439 --> 01:10:08,240
Speaker 3: sets and special effects shots in the movie. Morbius comes

1252
01:10:08,439 --> 01:10:11,960
Speaker 3: to talk to Adams and doctor Ostro. Ostro was like

1253
01:10:12,040 --> 01:10:14,240
Speaker 3: a long for the whole time, so just hanging out

1254
01:10:14,240 --> 01:10:18,280
Speaker 3: for the kissing and the tiger killing. But Morbius comes

1255
01:10:18,280 --> 01:10:22,000
Speaker 3: to tell Adams in Austro about the secrets of the planet,

1256
01:10:22,520 --> 01:10:26,120
Speaker 3: the main secret being that all Tier four was once

1257
01:10:26,240 --> 01:10:31,519
Speaker 3: inhabited by an extremely technologically advanced species of alien known

1258
01:10:31,560 --> 01:10:35,440
Speaker 3: as the Krell. And here I'm going to read Morbius's

1259
01:10:35,479 --> 01:10:39,120
Speaker 3: monologue about the Krell. He says, in times long past,

1260
01:10:39,360 --> 01:10:41,880
Speaker 3: this planet was the home of a mighty and noble

1261
01:10:42,000 --> 01:10:46,280
Speaker 3: race of beings which called themselves the Krell. Ethically as

1262
01:10:46,360 --> 01:10:50,160
Speaker 3: well as technologically, they were a million years ahead of humankind,

1263
01:10:50,680 --> 01:10:53,880
Speaker 3: for in unlocking the mysteries of nature, they had conquered

1264
01:10:53,960 --> 01:10:57,479
Speaker 3: even their baser selves. And when in the course of

1265
01:10:57,560 --> 01:11:01,479
Speaker 3: eons they had abolished sickness and an insanity, and crime

1266
01:11:01,880 --> 01:11:06,200
Speaker 3: and all injustice, they turned still with high benevolence outward

1267
01:11:06,320 --> 01:11:10,200
Speaker 3: towards space. Long before the dawn of man's history, they

1268
01:11:10,200 --> 01:11:14,200
Speaker 3: had walked our Earth and brought back many biological specimens

1269
01:11:15,240 --> 01:11:19,479
Speaker 3: like the tiger exactly. He goes on the heights they

1270
01:11:19,479 --> 01:11:23,160
Speaker 3: had reached, but then, seemingly on the threshold of some

1271
01:11:23,320 --> 01:11:27,360
Speaker 3: supreme accomplishment, which was to have crowned their entire history.

1272
01:11:27,760 --> 01:11:31,479
Speaker 3: This all but divine race perished in a single night

1273
01:11:32,200 --> 01:11:36,599
Speaker 3: in the two thousand centuries. Since that unexplained catastrophe, even

1274
01:11:36,640 --> 01:11:40,840
Speaker 3: their cloud piercing towers of glass and porcelain and adamantine

1275
01:11:40,880 --> 01:11:44,519
Speaker 3: steel have crumbled back into the soil of alta fur

1276
01:11:44,920 --> 01:11:48,639
Speaker 3: and nothing, absolutely nothing remains above ground.

1277
01:11:49,400 --> 01:11:53,479
Speaker 2: Yeah, so we're getting into some pretty ambitious science fiction here.

1278
01:11:54,320 --> 01:11:58,320
Speaker 2: Reminds me a bit of the various sublime civilizations in

1279
01:11:58,439 --> 01:12:03,280
Speaker 2: Ianimbank's Culture series. These civilizations that have advanced to a state

1280
01:12:03,320 --> 01:12:05,680
Speaker 2: where they end up leaving our dimension of space and

1281
01:12:05,720 --> 01:12:09,320
Speaker 2: time for higher dimensions, generally leaving behind a great deal

1282
01:12:09,360 --> 01:12:13,040
Speaker 2: of technology that's now redundant to them. But I guess

1283
01:12:13,040 --> 01:12:15,720
Speaker 2: in this scenario, it sounds like the Krell might have

1284
01:12:15,840 --> 01:12:19,880
Speaker 2: been on the cusp of subliming, of moving on, and

1285
01:12:19,920 --> 01:12:23,599
Speaker 2: then something terrible kept them from not only kept them

1286
01:12:23,640 --> 01:12:27,040
Speaker 2: from moving on to this next level of existence, but

1287
01:12:27,160 --> 01:12:30,080
Speaker 2: also just eradicated them entirely, and all we have left

1288
01:12:30,439 --> 01:12:34,320
Speaker 2: are the technological depths of the planet.

1289
01:12:34,600 --> 01:12:37,679
Speaker 3: That's right, when we get a tour of these technological depths,

1290
01:12:37,720 --> 01:12:40,400
Speaker 3: a tour of their underground facilities, and again I can't

1291
01:12:40,439 --> 01:12:46,000
Speaker 3: emphasize enough how amazing these sets and special effects are.

1292
01:12:46,439 --> 01:12:48,560
Speaker 2: Summer light paintings are just amazing.

1293
01:12:48,760 --> 01:12:51,479
Speaker 3: Yeah, it's so good. So they go through like a

1294
01:12:51,520 --> 01:12:55,040
Speaker 3: giant underground power plant that they say is a huge

1295
01:12:55,160 --> 01:12:58,639
Speaker 3: buried cube running something that's like twenty miles in every direction,

1296
01:12:59,479 --> 01:13:02,880
Speaker 3: which we see them. They're crossing this great chasm on

1297
01:13:03,000 --> 01:13:06,080
Speaker 3: a on a little suspension bridge, and we see these

1298
01:13:06,120 --> 01:13:09,519
Speaker 3: things moving up and down the chasm and electricity arcing

1299
01:13:09,600 --> 01:13:14,280
Speaker 3: through it. Also, there is a device they come across.

1300
01:13:14,320 --> 01:13:18,080
Speaker 3: They go to this essentially Krell's schoolhouse, where there was

1301
01:13:18,160 --> 01:13:21,360
Speaker 3: a device that the Krell used to train the brains

1302
01:13:21,439 --> 01:13:25,640
Speaker 3: of their young, and Morbius explains, when this device is

1303
01:13:25,760 --> 01:13:29,559
Speaker 3: used by humans, it is almost always fatal, but if

1304
01:13:29,600 --> 01:13:32,639
Speaker 3: you can use it and survive, it will double your IQ.

1305
01:13:34,040 --> 01:13:36,200
Speaker 3: And that's how Morbi's got so smart. By the way

1306
01:13:36,600 --> 01:13:39,800
Speaker 3: he increased his intelligence with the machine, I guess he

1307
01:13:39,840 --> 01:13:42,720
Speaker 3: started off pretty smart, though he's humble about it, but

1308
01:13:42,760 --> 01:13:44,720
Speaker 3: then he's like, you know, I took my normal, you know,

1309
01:13:44,800 --> 01:13:47,040
Speaker 3: my middling intellect when I first got here, and I

1310
01:13:47,120 --> 01:13:50,280
Speaker 3: doubled it with this machine. Everybody else who tried it

1311
01:13:50,360 --> 01:13:55,400
Speaker 3: was killed, but by surviving that process himself that allowed

1312
01:13:55,479 --> 01:13:59,000
Speaker 3: him to decipher the Krell histories and figure out parts

1313
01:13:59,000 --> 01:14:02,799
Speaker 3: of Krell technology and to for example, a symbol Robbie

1314
01:14:02,840 --> 01:14:03,360
Speaker 3: the robot.

1315
01:14:03,960 --> 01:14:08,160
Speaker 2: It's explained as well that this maybe not the device itself,

1316
01:14:08,160 --> 01:14:10,519
Speaker 2: but there's an element of the device that is like

1317
01:14:10,560 --> 01:14:13,559
Speaker 2: a high striker a strong man game from your fare

1318
01:14:13,680 --> 01:14:16,799
Speaker 2: or Carnival, you know, where you you hit a circle

1319
01:14:16,840 --> 01:14:18,920
Speaker 2: with a hammer or mallet as hard as you can

1320
01:14:19,000 --> 01:14:22,720
Speaker 2: and then it causes this little float be lee to go,

1321
01:14:22,920 --> 01:14:25,439
Speaker 2: you know, to rise up and with your brain, but

1322
01:14:25,520 --> 01:14:28,519
Speaker 2: with your brain. Yeah, so it's it's the smart man game.

1323
01:14:29,120 --> 01:14:32,600
Speaker 3: Yeah, and I liketriker. They put Leslie Nielsen on it

1324
01:14:32,680 --> 01:14:34,519
Speaker 3: and he can barely get the thing to go off,

1325
01:14:34,520 --> 01:14:36,719
Speaker 3: and they're like, well that's a you know, it doesn't

1326
01:14:36,760 --> 01:14:38,600
Speaker 3: take brains to command a starship.

1327
01:14:40,120 --> 01:14:41,200
Speaker 2: Yeah, massive dig on.

1328
01:14:41,280 --> 01:14:44,320
Speaker 3: Adam's here anyway, after learning about all this stuff that

1329
01:14:44,479 --> 01:14:47,439
Speaker 3: this like power this underground power plant that can generate

1330
01:14:47,600 --> 01:14:50,519
Speaker 3: generate what seems to be an infinite amount of energy,

1331
01:14:51,120 --> 01:14:54,519
Speaker 3: and this brain boosting machine, Adams says, you know what,

1332
01:14:54,600 --> 01:14:57,840
Speaker 3: this changes everything Earth has to know about these devices.

1333
01:14:58,280 --> 01:15:01,840
Speaker 3: But Morbius resists he's like, I think this is what

1334
01:15:01,960 --> 01:15:04,479
Speaker 3: he was trying to hide from them before. He's like,

1335
01:15:04,600 --> 01:15:08,160
Speaker 3: humans are not ready for this kind of power, and

1336
01:15:08,800 --> 01:15:12,519
Speaker 3: this technology may have been what wiped out the Krell,

1337
01:15:13,120 --> 01:15:14,880
Speaker 3: but if so, we don't know how.

1338
01:15:15,439 --> 01:15:18,280
Speaker 2: Yeah again, because the Krell we're millions of years ahead

1339
01:15:18,280 --> 01:15:22,719
Speaker 2: of humans, and something tripped them up in their dizzying

1340
01:15:22,720 --> 01:15:26,040
Speaker 2: ascent with this technology, so we're clearly not ready for it.

1341
01:15:26,400 --> 01:15:28,880
Speaker 3: Should we do something on the B plot here about

1342
01:15:28,960 --> 01:15:32,280
Speaker 3: cook and the synthesis of whiskey? Yeah?

1343
01:15:32,680 --> 01:15:36,000
Speaker 2: Yeah, yeah, this is so can you set this one up?

1344
01:15:36,360 --> 01:15:38,840
Speaker 2: So you know cook? I guess in sort of like

1345
01:15:38,920 --> 01:15:42,439
Speaker 2: the you know, you know, old fashioned US military sense

1346
01:15:42,479 --> 01:15:45,679
Speaker 2: of these kind of plot developments. He's supposed to acquire

1347
01:15:45,720 --> 01:15:50,759
Speaker 2: some local ingredients and also find like local illicit sources

1348
01:15:50,800 --> 01:15:54,880
Speaker 2: of hooch for cooking, but also clearly not for cooking.

1349
01:15:55,040 --> 01:15:56,880
Speaker 3: He's like, I need to go out and look for

1350
01:15:57,520 --> 01:16:00,840
Speaker 3: some wild radishes. Yeah, yeah, that's it.

1351
01:16:01,560 --> 01:16:05,439
Speaker 2: Yeah, And basically what he runs into Robbie the robot

1352
01:16:05,479 --> 01:16:07,960
Speaker 2: and he's like, hey, I need some more of this stuff,

1353
01:16:08,000 --> 01:16:10,600
Speaker 2: and he shows him like a mostly empty flask of

1354
01:16:10,640 --> 01:16:14,200
Speaker 2: whiskey and Robbie grabs it shoots it back into his

1355
01:16:14,240 --> 01:16:17,960
Speaker 2: mail slot, and Cook is like, well, well that was

1356
01:16:18,120 --> 01:16:21,240
Speaker 2: my last swig. How could you do that? And Robbie's like,

1357
01:16:21,360 --> 01:16:24,680
Speaker 2: I will now synthesize this for you. Will let you say, like,

1358
01:16:24,840 --> 01:16:26,720
Speaker 2: will sixty gallons be sufficient?

1359
01:16:26,960 --> 01:16:31,280
Speaker 3: Yes? Yeah? And then Cook comes back later and there's

1360
01:16:32,000 --> 01:16:35,760
Speaker 3: there's like a giant pyramid of heights of whiskey in

1361
01:16:35,920 --> 01:16:38,320
Speaker 3: their own individual glass bottles.

1362
01:16:38,920 --> 01:16:42,160
Speaker 2: And somehow Cook doesn't die at this moment, like I

1363
01:16:42,200 --> 01:16:48,160
Speaker 2: feel like later on in like in speculative media, like

1364
01:16:48,200 --> 01:16:50,120
Speaker 2: this would be the moment where the monster comes and

1365
01:16:50,200 --> 01:16:52,000
Speaker 2: kills him, you know where He's like, I have all

1366
01:16:52,040 --> 01:16:54,400
Speaker 2: the whiskey in the world. What could possibly go wrong?

1367
01:16:54,439 --> 01:16:58,439
Speaker 2: Instant monster death? Booze enough at last, yes, exactly, but

1368
01:16:58,520 --> 01:17:00,519
Speaker 2: no Cook will survive a little longer.

1369
01:17:00,920 --> 01:17:03,400
Speaker 3: So another thing that happens at this point in the

1370
01:17:03,439 --> 01:17:07,719
Speaker 3: story is that the attacks on the ship become much

1371
01:17:07,760 --> 01:17:10,080
Speaker 3: more severe. What we got in the first attack by

1372
01:17:10,120 --> 01:17:13,919
Speaker 3: the Invisible Force at night was just the sabotaging of equipment,

1373
01:17:14,320 --> 01:17:18,280
Speaker 3: but this escalates to in one instance, murder. I believe

1374
01:17:18,360 --> 01:17:22,400
Speaker 3: the communications officer Quinn is found murder. Did they say?

1375
01:17:23,000 --> 01:17:25,320
Speaker 3: They describe it in a quite grisly way. I think

1376
01:17:25,320 --> 01:17:27,840
Speaker 3: they say, he smeared all over the walls of the

1377
01:17:27,840 --> 01:17:32,639
Speaker 3: communication room, and then after that they set up a perimeter.

1378
01:17:33,439 --> 01:17:35,120
Speaker 3: You know what we should do sometime on the show,

1379
01:17:35,160 --> 01:17:37,880
Speaker 3: is we should set up a list of the best

1380
01:17:38,120 --> 01:17:39,839
Speaker 3: establishing a perimeter scenes.

1381
01:17:40,280 --> 01:17:43,600
Speaker 2: Yes, because this is pretty good though, I mean, the

1382
01:17:44,280 --> 01:17:49,320
Speaker 2: technology is convincing, and yeah, everyone left. I mean it

1383
01:17:49,479 --> 01:17:51,880
Speaker 2: really this also reminded me of what would come much

1384
01:17:51,960 --> 01:17:54,000
Speaker 2: later with Aliens, with you know, it's like, all right,

1385
01:17:54,040 --> 01:17:57,599
Speaker 2: is it it's inside the perimeter? You know, I'm reading

1386
01:17:57,840 --> 01:17:59,799
Speaker 2: it's reading right, and so forth.

1387
01:18:00,160 --> 01:18:03,080
Speaker 3: Yeah, it's very similar what happens here. In fact, I

1388
01:18:03,080 --> 01:18:06,160
Speaker 3: almost feel like that scene in Aliens. It feels like

1389
01:18:06,200 --> 01:18:07,080
Speaker 3: a callback to this.

1390
01:18:07,479 --> 01:18:16,719
Speaker 2: Yeah.

1391
01:18:16,880 --> 01:18:20,400
Speaker 3: Yeah, they establish a perimeter, and eventually this creature, this

1392
01:18:20,479 --> 01:18:23,840
Speaker 3: invisible creature, comes in a brazen frontal attack where the

1393
01:18:23,920 --> 01:18:27,360
Speaker 3: crew are resisting with big energy weapons, these big beam

1394
01:18:27,400 --> 01:18:32,439
Speaker 3: weapons and then handheld laser rifles. And when the thing,

1395
01:18:32,600 --> 01:18:36,360
Speaker 3: when the invisible creature gets illuminated by all of the

1396
01:18:36,520 --> 01:18:40,040
Speaker 3: energy weapons that are hitting it, we suddenly see pieces

1397
01:18:40,160 --> 01:18:43,920
Speaker 3: of its form and yeah, it's oh, it's frightening. I

1398
01:18:43,960 --> 01:18:47,040
Speaker 3: mean I've read things that like I think the producers

1399
01:18:47,080 --> 01:18:51,200
Speaker 3: were worried that this would be so frightening that like

1400
01:18:51,280 --> 01:18:53,439
Speaker 3: it would be, it would make the movie inappropriate for

1401
01:18:53,520 --> 01:18:56,479
Speaker 3: younger audiences. And I can see why. It's a truly

1402
01:18:57,439 --> 01:19:01,080
Speaker 3: scary thing that they conjure up. It's like a kind

1403
01:19:01,120 --> 01:19:07,040
Speaker 3: of a ram lion bulldog monster with sort of horns

1404
01:19:07,160 --> 01:19:09,320
Speaker 3: or something, and it's made out of flames.

1405
01:19:09,880 --> 01:19:12,280
Speaker 2: Yeah. To compare it to things that would come much

1406
01:19:12,360 --> 01:19:15,160
Speaker 2: later and may have been each in their own way

1407
01:19:15,280 --> 01:19:18,040
Speaker 2: or at least in their visualization on screen, been inspired by.

1408
01:19:18,040 --> 01:19:20,719
Speaker 2: This reminds me a bit of the ball Rog. Reminds

1409
01:19:20,720 --> 01:19:22,920
Speaker 2: me a bit of the red bull from The Last Unicorn.

1410
01:19:23,320 --> 01:19:27,120
Speaker 3: Yeah. Yeah. Oh and Jerry Farman, the lieutenant who is

1411
01:19:27,479 --> 01:19:29,800
Speaker 3: trying to do the kissing lessons, he gets killed in

1412
01:19:29,840 --> 01:19:30,800
Speaker 3: one of these attacks.

1413
01:19:31,160 --> 01:19:34,599
Speaker 2: Yeah. Eventually Cook does too, right, Cook's taken out by

1414
01:19:34,600 --> 01:19:35,040
Speaker 2: the monster.

1415
01:19:35,160 --> 01:19:37,840
Speaker 3: Oh is he? I didn't remember that? How could they

1416
01:19:37,840 --> 01:19:40,479
Speaker 3: do that to Cook?

1417
01:19:40,560 --> 01:19:43,800
Speaker 2: Thank God he's secured all that whiskey first bourbon read.

1418
01:19:45,280 --> 01:19:48,000
Speaker 3: But during this attack we start to get an indication

1419
01:19:49,120 --> 01:19:52,599
Speaker 3: of where this alien monster is coming from, because we

1420
01:19:52,680 --> 01:19:56,360
Speaker 3: cut away in the middle of the attack to Morbius,

1421
01:19:56,680 --> 01:19:59,040
Speaker 3: who is sleeping in his home. I think he's fallen

1422
01:19:59,080 --> 01:20:03,799
Speaker 3: asleep on his desk and he is maybe having a nightmare,

1423
01:20:04,360 --> 01:20:07,400
Speaker 3: and at one point suddenly he snaps awake in his

1424
01:20:07,520 --> 01:20:09,840
Speaker 3: home and then at the other end of the planet,

1425
01:20:09,920 --> 01:20:11,960
Speaker 3: not at the other end of the planet, but away where

1426
01:20:11,960 --> 01:20:17,640
Speaker 3: the monster is attacking, it suddenly vanishes. Oh oh. So

1427
01:20:17,800 --> 01:20:22,080
Speaker 3: after this attack, Adams goes back to the Morbius and

1428
01:20:22,600 --> 01:20:25,880
Speaker 3: Altara house to try to get I think the reason

1429
01:20:25,960 --> 01:20:28,120
Speaker 3: is he wants Altara to leave the planet with him.

1430
01:20:28,200 --> 01:20:30,720
Speaker 3: He's like, you know, this monster is attacking. We've got

1431
01:20:30,720 --> 01:20:32,800
Speaker 3: to go now, and for your own safety, you should

1432
01:20:32,840 --> 01:20:33,280
Speaker 3: come with me.

1433
01:20:33,680 --> 01:20:36,519
Speaker 2: Plus, we're in love. Now this is meant to be.

1434
01:20:37,200 --> 01:20:38,240
Speaker 2: You've got to run away with me.

1435
01:20:38,560 --> 01:20:41,719
Speaker 3: Yeah. And to be clear, it seems reciprocal, like she's

1436
01:20:41,840 --> 01:20:42,880
Speaker 3: very into him.

1437
01:20:43,120 --> 01:20:45,880
Speaker 2: Yeah, And that's part of you know, this part of

1438
01:20:45,880 --> 01:20:48,840
Speaker 2: the split that's going on here is that now she

1439
01:20:49,240 --> 01:20:52,760
Speaker 2: is more she is attracted to the outside world, the

1440
01:20:52,800 --> 01:20:57,120
Speaker 2: world of Adams, the world of Earth, and wants to leave.

1441
01:20:57,400 --> 01:20:59,040
Speaker 2: I mean, she wants to bring her father with her

1442
01:20:59,040 --> 01:21:01,680
Speaker 2: if possible, but she is also ready to leave her

1443
01:21:01,720 --> 01:21:05,080
Speaker 2: father's home, her father's world for the first time.

1444
01:21:05,600 --> 01:21:09,439
Speaker 3: I think. When so Adams and Astro go to the house,

1445
01:21:09,439 --> 01:21:11,960
Speaker 3: and when they first get there, Robbie's trying to block

1446
01:21:12,000 --> 01:21:14,479
Speaker 3: their way. He's like, I am monitored not to permit you.

1447
01:21:14,520 --> 01:21:16,760
Speaker 3: But they're kind of discussing, like what's he gonna do.

1448
01:21:16,840 --> 01:21:19,160
Speaker 3: He can't hurt us, so I think we could. But

1449
01:21:19,200 --> 01:21:22,120
Speaker 3: then we never see that tested, right, because eventually Altara

1450
01:21:22,200 --> 01:21:24,240
Speaker 3: shows up and is like, cancel the order, let them in.

1451
01:21:24,720 --> 01:21:26,760
Speaker 3: But I was curious about that. It's like, Okay, if

1452
01:21:26,760 --> 01:21:28,720
Speaker 3: he can't hurt them, could they couldn't they just force

1453
01:21:28,800 --> 01:21:29,639
Speaker 3: their way past him?

1454
01:21:30,400 --> 01:21:31,960
Speaker 2: Yeah, no, he is he's bulky.

1455
01:21:32,400 --> 01:21:36,599
Speaker 3: Yeah, that's true anyway. So, uh So, now we have

1456
01:21:37,080 --> 01:21:41,000
Speaker 3: Adams and Astro in the in the Morbius home, and

1457
01:21:41,120 --> 01:21:44,679
Speaker 3: at some point here Astro sneaks away because, oh, because

1458
01:21:44,680 --> 01:21:47,559
Speaker 3: this is another part of their plan. They're like, we've

1459
01:21:47,560 --> 01:21:49,880
Speaker 3: got to find a way to defeat this monster. So

1460
01:21:50,320 --> 01:21:52,960
Speaker 3: either Adams or Astro, one of them needs to use

1461
01:21:53,040 --> 01:21:56,040
Speaker 3: the brain enhance her machine, which you know they have

1462
01:21:56,160 --> 01:21:59,000
Speaker 3: learned will probably kill you, but if you can survive it,

1463
01:21:59,000 --> 01:22:00,920
Speaker 3: it'll make you super small art and they think they

1464
01:22:00,920 --> 01:22:05,320
Speaker 3: will need those extra smarts in order to survive. Well.

1465
01:22:05,400 --> 01:22:08,120
Speaker 3: While they're hanging out Robbie, Robbie at some point like

1466
01:22:08,200 --> 01:22:12,120
Speaker 3: comes in carrying the body of Ostro and it's like, uh, oh,

1467
01:22:12,200 --> 01:22:14,800
Speaker 3: he tried to he tried to get smart. Bad move.

1468
01:22:15,120 --> 01:22:17,600
Speaker 2: And this is an example of a scene that I

1469
01:22:17,640 --> 01:22:20,000
Speaker 2: wish we could have seen like this would have This

1470
01:22:20,360 --> 01:22:24,000
Speaker 2: is a highly dramatic moment for this character, and it

1471
01:22:24,080 --> 01:22:27,920
Speaker 2: occurs entirely off screen, and they're like, oh, by the way,

1472
01:22:27,960 --> 01:22:30,559
Speaker 2: he did it. He plugged in and now he's dying.

1473
01:22:30,960 --> 01:22:32,719
Speaker 2: But we do get some final last words.

1474
01:22:33,240 --> 01:22:36,479
Speaker 3: His final last words are solve the riddle. Solve the

1475
01:22:36,560 --> 01:22:40,320
Speaker 3: riddle of the movie. So by increasing his intelligence, he

1476
01:22:40,360 --> 01:22:43,559
Speaker 3: did doom himself to death, but he also was able

1477
01:22:43,640 --> 01:22:47,200
Speaker 3: to understand what happened to the Krell and how it's

1478
01:22:47,240 --> 01:22:49,960
Speaker 3: still affecting them now. So it turns out the big

1479
01:22:50,000 --> 01:22:55,679
Speaker 3: reveal is this giant underground power plant was created for

1480
01:22:55,800 --> 01:23:00,799
Speaker 3: the purpose of essentially doing away with all all need

1481
01:23:00,920 --> 01:23:06,559
Speaker 3: for mechanical labor and mechanical devices, and instead would would

1482
01:23:06,720 --> 01:23:12,080
Speaker 3: allow any of the Krell to make a physical reality

1483
01:23:12,320 --> 01:23:16,800
Speaker 3: manifest simply by thinking about it. So you can interface

1484
01:23:16,880 --> 01:23:21,559
Speaker 3: with this giant machine and it will interpret your thoughts

1485
01:23:21,960 --> 01:23:27,439
Speaker 3: and then manifest those thoughts as physical atoms and energy,

1486
01:23:28,120 --> 01:23:31,280
Speaker 3: which sounds great. Okay, it's just like infinite free energy

1487
01:23:31,280 --> 01:23:34,040
Speaker 3: and labor. You know, you can all want all kind

1488
01:23:34,040 --> 01:23:37,400
Speaker 3: of problems. Material problems are done away with, right.

1489
01:23:37,560 --> 01:23:40,240
Speaker 2: Yeah, if the rational mind can imagine it, then it

1490
01:23:40,320 --> 01:23:42,000
Speaker 2: is real and it is in action.

1491
01:23:42,640 --> 01:23:45,960
Speaker 3: Except the problem is what the Crell did not foresee

1492
01:23:46,560 --> 01:23:50,000
Speaker 3: and what Ostro figures out happened to them is it's

1493
01:23:50,040 --> 01:23:53,000
Speaker 3: not only the rational mind that's in the driver's seat now, baby,

1494
01:23:53,360 --> 01:23:56,080
Speaker 3: Both the rational mind and the sort of the ego,

1495
01:23:56,200 --> 01:24:01,160
Speaker 3: the rational mind and the base design of the ID

1496
01:24:01,400 --> 01:24:04,519
Speaker 3: are hooked up to this machine. And so it began

1497
01:24:04,720 --> 01:24:10,320
Speaker 3: manifesting the Krell's unconscious or subconscious thoughts and desires as well.

1498
01:24:10,760 --> 01:24:14,479
Speaker 3: Everything that they knew they shouldn't do but deep down

1499
01:24:14,560 --> 01:24:18,519
Speaker 3: secretly wanted that was manifest as well. And so what

1500
01:24:18,560 --> 01:24:22,800
Speaker 3: that turned into was the slaughter and extermination of their

1501
01:24:22,960 --> 01:24:24,759
Speaker 3: entire people, all.

1502
01:24:24,560 --> 01:24:27,880
Speaker 2: The demons of the mind unleashed on the planet with

1503
01:24:28,479 --> 01:24:32,400
Speaker 2: infinite power backing them up. Yeah. Yeah, it's it's amazing,

1504
01:24:32,520 --> 01:24:35,040
Speaker 2: like this is such a Again, when this movie goes

1505
01:24:35,080 --> 01:24:41,280
Speaker 2: hard on its on its genre elements, it's really spectacular.

1506
01:24:41,560 --> 01:24:44,519
Speaker 3: I agree. It's a great premise, and it not to

1507
01:24:44,560 --> 01:24:47,880
Speaker 3: spoil it by saying this, but I realized I came

1508
01:24:47,880 --> 01:24:50,280
Speaker 3: to these in backwards order. But when I was younger,

1509
01:24:50,320 --> 01:24:53,759
Speaker 3: I read the books Sphere by Michael Crichton, which essentially

1510
01:24:53,840 --> 01:24:57,479
Speaker 3: has the same premise. It's like they come across alien

1511
01:24:57,520 --> 01:25:01,800
Speaker 3: technology that can make your thoughts manifest, but then they realize, like, oh,

1512
01:25:01,840 --> 01:25:06,479
Speaker 3: it's also making subconscious thoughts manifest. So everybody's anxieties and

1513
01:25:06,479 --> 01:25:10,639
Speaker 3: fears are like becoming physical objects that are attacking them.

1514
01:25:11,040 --> 01:25:14,559
Speaker 3: And so, in fact, what the characters discover here in

1515
01:25:14,640 --> 01:25:17,240
Speaker 3: Forbidden Planet is not only is that what happened to

1516
01:25:17,280 --> 01:25:21,280
Speaker 3: the Krell, it's still operating that way, and so it

1517
01:25:21,400 --> 01:25:28,639
Speaker 3: is taking the subconscious fears and desires and complexes of

1518
01:25:28,840 --> 01:25:32,400
Speaker 3: doctor Morbius who has linked his brain to the machine

1519
01:25:32,080 --> 01:25:37,080
Speaker 3: by using it and making those manifest. And in fact,

1520
01:25:38,200 --> 01:25:41,600
Speaker 3: not all of the links are fully spelled out, but

1521
01:25:41,760 --> 01:25:44,960
Speaker 3: it's sort of suggesting the idea that like, he doesn't

1522
01:25:45,000 --> 01:25:47,599
Speaker 3: want to go back to Earth, he doesn't want Altera

1523
01:25:47,720 --> 01:25:50,520
Speaker 3: to go back to Earth. He doesn't want the corrupting

1524
01:25:50,600 --> 01:25:54,880
Speaker 3: influence of Earth to change his daughter, to sort of

1525
01:25:54,960 --> 01:25:59,000
Speaker 3: like corrupt the perfect precious existence he has created for them.

1526
01:25:59,200 --> 01:26:01,760
Speaker 3: And you know, you can kind of understand why. You

1527
01:26:01,800 --> 01:26:05,920
Speaker 3: can see how Altera's first encounter with the broader human

1528
01:26:06,000 --> 01:26:10,280
Speaker 3: kind involved, like, you know, some dudes being creeps to her. Yeah,

1529
01:26:10,360 --> 01:26:12,479
Speaker 3: so you can see where his desire is to kind

1530
01:26:12,520 --> 01:26:14,800
Speaker 3: of like just create a bubble and live in it

1531
01:26:14,840 --> 01:26:19,120
Speaker 3: with his family and live in that protective bubble without

1532
01:26:19,160 --> 01:26:22,559
Speaker 3: any intrusion where that desire comes from. But it is

1533
01:26:22,680 --> 01:26:27,320
Speaker 3: manifesting as the creation of a violent monster that lashes

1534
01:26:27,360 --> 01:26:30,320
Speaker 3: out to kill anything that threatens to puncture the bubble.

1535
01:26:31,320 --> 01:26:34,599
Speaker 2: Yeah, and now that we know what the monster is,

1536
01:26:35,320 --> 01:26:38,120
Speaker 2: it is coming for our main characters, and it is

1537
01:26:38,360 --> 01:26:43,040
Speaker 2: we realize inexorable. It is unstoppable. And this just leads

1538
01:26:43,080 --> 01:26:47,960
Speaker 2: to like an avalanche of scenes that are really highly effective.

1539
01:26:48,200 --> 01:26:50,559
Speaker 3: Yeah, exactly. And I like the way that it really

1540
01:26:50,600 --> 01:26:53,280
Speaker 3: does make sense taken given the premise of the story,

1541
01:26:53,320 --> 01:26:55,960
Speaker 3: because you might think, well, couldn't he just call it off?

1542
01:26:56,560 --> 01:26:59,559
Speaker 3: But as anybody who's ever had like a panic attack,

1543
01:27:00,400 --> 01:27:04,680
Speaker 3: you know, you can know rationally that the thing that

1544
01:27:04,720 --> 01:27:08,120
Speaker 3: you are afraid of is not something you should be

1545
01:27:08,160 --> 01:27:10,840
Speaker 3: afraid of, It's not a real threat, and yet you

1546
01:27:10,960 --> 01:27:13,840
Speaker 3: still just can't make your subconscious mind to give in.

1547
01:27:13,920 --> 01:27:17,280
Speaker 3: The subconscious is resistant to rational control.

1548
01:27:17,960 --> 01:27:20,479
Speaker 2: Yeah, yeah, so he can't call it off, he can't

1549
01:27:20,520 --> 01:27:21,760
Speaker 2: control it.

1550
01:27:21,640 --> 01:27:22,000
Speaker 3: It is.

1551
01:27:22,080 --> 01:27:24,920
Speaker 2: It is coming no matter what, and even like knowing

1552
01:27:24,960 --> 01:27:27,320
Speaker 2: what it is doesn't give him power over it, which

1553
01:27:27,360 --> 01:27:30,519
Speaker 2: you know matches up with some of these states of

1554
01:27:30,560 --> 01:27:33,960
Speaker 2: the mind as we experience them as well. I Mean,

1555
01:27:34,000 --> 01:27:36,760
Speaker 2: sometimes knowing can help, and that can be part of

1556
01:27:36,800 --> 01:27:39,719
Speaker 2: the tools of controlling things like anxiety in some cases.

1557
01:27:39,800 --> 01:27:43,320
Speaker 2: But but yeah, not necessarily at all.

1558
01:27:44,160 --> 01:27:46,120
Speaker 3: There are a lot of interesting things that happen in

1559
01:27:46,160 --> 01:27:49,080
Speaker 3: the climax here, Like at one point they try to

1560
01:27:49,120 --> 01:27:52,439
Speaker 3: command Robbie the robot to kill the monster that's attacking

1561
01:27:52,479 --> 01:27:56,559
Speaker 3: them in the house. But Robbie, knowing that the monster

1562
01:27:56,760 --> 01:28:00,920
Speaker 3: is a manifestation of a human mind, can't can't hurt it,

1563
01:28:01,479 --> 01:28:03,000
Speaker 3: right because he can't hurt a human.

1564
01:28:03,560 --> 01:28:06,760
Speaker 2: Yeah, that's excellent, And it just leads them to they

1565
01:28:06,800 --> 01:28:10,040
Speaker 2: have to like start retreating through these various levels of protection.

1566
01:28:10,160 --> 01:28:13,160
Speaker 2: So for instance, the homes, combat shades come up, and

1567
01:28:13,280 --> 01:28:15,360
Speaker 2: of course the doors, yeah, the blast doors, and the

1568
01:28:15,400 --> 01:28:18,240
Speaker 2: monster makes pretty quick work of that, and they have

1569
01:28:18,280 --> 01:28:24,920
Speaker 2: to retreat into the Krell subsurface chambers and they have

1570
01:28:24,960 --> 01:28:28,559
Speaker 2: all those really cool doors to move behind and the

1571
01:28:28,600 --> 01:28:31,599
Speaker 2: locking mechanism, but even that is not going to keep

1572
01:28:31,600 --> 01:28:34,120
Speaker 2: the monster at bay, and we get this terrific scene

1573
01:28:34,120 --> 01:28:37,120
Speaker 2: where the monster is like literally melting its way through

1574
01:28:37,160 --> 01:28:37,799
Speaker 2: the door.

1575
01:28:38,000 --> 01:28:40,439
Speaker 3: And we see the power plant. There's like a readout

1576
01:28:40,479 --> 01:28:44,400
Speaker 3: engine on this showing how much energy is being directed

1577
01:28:44,439 --> 01:28:48,040
Speaker 3: into the machine that this alien power plant is generating.

1578
01:28:48,760 --> 01:28:51,360
Speaker 3: And earlier we were seeing things happen where there's like,

1579
01:28:51,439 --> 01:28:54,040
Speaker 3: you know, fifty lights lined up and only the first

1580
01:28:54,080 --> 01:28:57,240
Speaker 3: one is barely lighting. But when the monster's trying to

1581
01:28:57,240 --> 01:28:59,120
Speaker 3: get through the door, we see it like lighting up

1582
01:28:59,160 --> 01:29:01,160
Speaker 3: all the way more, more and more, and like the

1583
01:29:01,840 --> 01:29:05,360
Speaker 3: energy produced is limitless, and they realize, like it's just

1584
01:29:05,479 --> 01:29:09,120
Speaker 3: not going to stop now. I think finally, Morbius was

1585
01:29:09,200 --> 01:29:11,640
Speaker 3: resistant to the idea at first that he was the

1586
01:29:11,680 --> 01:29:14,280
Speaker 3: one creating the monster, but he eventually comes to accept

1587
01:29:14,320 --> 01:29:16,519
Speaker 3: it and then sort of gets in the path of

1588
01:29:16,560 --> 01:29:19,879
Speaker 3: the monster, and I think as he is fatally injured

1589
01:29:19,920 --> 01:29:24,000
Speaker 3: by it, that sort of like makes it dematerialize for

1590
01:29:24,040 --> 01:29:24,439
Speaker 3: the moment.

1591
01:29:25,040 --> 01:29:27,080
Speaker 2: Yeah, Like he stands up to it, he basically has

1592
01:29:27,160 --> 01:29:31,760
Speaker 2: a you shall not pass moment. But yeah, at that,

1593
01:29:32,000 --> 01:29:35,799
Speaker 2: I mean, he still can't overpower it, and it manages

1594
01:29:35,880 --> 01:29:38,000
Speaker 2: to fatally injure him in the process.

1595
01:29:38,320 --> 01:29:41,439
Speaker 3: Yeah, and so at that point they somehow they end

1596
01:29:41,520 --> 01:29:44,040
Speaker 3: up setting a self destruct thing for the entire planet.

1597
01:29:44,120 --> 01:29:48,679
Speaker 3: You have ten minutes to reach minimum safe distance. They

1598
01:29:48,720 --> 01:29:51,439
Speaker 3: set up a self destruct for the planet, and then

1599
01:29:51,479 --> 01:29:54,559
Speaker 3: Adams and Altara have to escape back to the ship.

1600
01:29:54,960 --> 01:29:56,880
Speaker 3: Oh and I think Robbie comes with them, doesn't he

1601
01:29:57,000 --> 01:29:57,960
Speaker 3: as Robbie comes too.

1602
01:29:58,040 --> 01:30:01,240
Speaker 2: Yeah, yeah, yeah, Robbie is to come along for the ride.

1603
01:30:01,439 --> 01:30:03,680
Speaker 3: It's a fair trade. I mean like they made the

1604
01:30:03,760 --> 01:30:06,320
Speaker 3: right decision to set the self destruct like such a

1605
01:30:06,600 --> 01:30:09,720
Speaker 3: such a technology that makes all our thoughts manifest that

1606
01:30:10,200 --> 01:30:13,520
Speaker 3: there's no way that can be wielded correctly. You just

1607
01:30:13,520 --> 01:30:17,320
Speaker 3: just had to be destroyed. There's can't be good. But Robbie,

1608
01:30:17,360 --> 01:30:19,519
Speaker 3: I feel like Robbie's he's good tech. You can bring

1609
01:30:19,600 --> 01:30:20,040
Speaker 3: him with us.

1610
01:30:20,280 --> 01:30:23,439
Speaker 2: Yeah, his programming is sound, uh, and so yeah, he's

1611
01:30:23,439 --> 01:30:26,120
Speaker 2: a board. We have a moment where the surviving crew

1612
01:30:26,120 --> 01:30:29,960
Speaker 2: members there witness the destruction of the planet from afar,

1613
01:30:31,800 --> 01:30:34,160
Speaker 2: which is a little weird because Adams is like, there

1614
01:30:34,160 --> 01:30:36,679
Speaker 2: it goes your dad's on that planet or what's left

1615
01:30:36,680 --> 01:30:39,160
Speaker 2: of him, and yeah, it's like, well yes, obviously.

1616
01:30:38,800 --> 01:30:43,320
Speaker 3: But the ending line I remember is a little hokie.

1617
01:30:43,400 --> 01:30:46,720
Speaker 3: He has basically a he tampered in God's domain And yeah,

1618
01:30:46,800 --> 01:30:50,760
Speaker 3: a statement I think, but they but also there's a

1619
01:30:50,800 --> 01:30:55,599
Speaker 3: good observation where they're like, you know, what the crew

1620
01:30:55,720 --> 01:30:58,719
Speaker 3: achieved is not unique to the Krell. Maybe someday long

1621
01:30:58,760 --> 01:31:01,280
Speaker 3: in the future, humans will achieve the same level of

1622
01:31:01,320 --> 01:31:04,560
Speaker 3: technology and then we'll be facing the same problem.

1623
01:31:05,040 --> 01:31:07,320
Speaker 2: Yeah, and this is a valid point. We see this

1624
01:31:08,000 --> 01:31:11,479
Speaker 2: in sci fi time and time again. It remains pretty accurate,

1625
01:31:11,760 --> 01:31:14,960
Speaker 2: and that is that our technological achievements tend to outstrip

1626
01:31:14,960 --> 01:31:21,320
Speaker 2: our ability to control ourselves regarding that technology at a

1627
01:31:21,320 --> 01:31:24,000
Speaker 2: personal level or at like a governmental level.

1628
01:31:24,400 --> 01:31:27,200
Speaker 3: I think it's a plea for a kind of a

1629
01:31:27,240 --> 01:31:31,840
Speaker 3: regulatory or limiting consciousness about technology before it's achieved. It's

1630
01:31:31,880 --> 01:31:36,080
Speaker 3: recognizing that the story of the Krell is literally people

1631
01:31:36,160 --> 01:31:39,599
Speaker 3: achieving a power to do something before they've fully thought

1632
01:31:39,680 --> 01:31:41,880
Speaker 3: through what it would mean to have that power, and

1633
01:31:41,920 --> 01:31:44,599
Speaker 3: then of course it destroys them. And this is something

1634
01:31:44,640 --> 01:31:47,439
Speaker 3: we've seen happen again and again in technological history. People

1635
01:31:47,600 --> 01:31:50,160
Speaker 3: figure out how to do something before they've thought through

1636
01:31:50,680 --> 01:31:52,679
Speaker 3: all of the ways in which it could be used

1637
01:31:52,680 --> 01:31:57,200
Speaker 3: for ill and should thus be constrained or constrained to

1638
01:31:57,240 --> 01:31:58,920
Speaker 3: the extent that it could be constrained. I mean, some

1639
01:31:58,920 --> 01:32:00,880
Speaker 3: things are really hard to constrain, but you know, to

1640
01:32:00,880 --> 01:32:03,840
Speaker 3: whatever extent we have the power to. And so, yeah,

1641
01:32:03,880 --> 01:32:05,840
Speaker 3: we don't want to become like the Krell. We should

1642
01:32:06,080 --> 01:32:10,920
Speaker 3: think hard about how technological creations could go wrong before

1643
01:32:10,920 --> 01:32:13,880
Speaker 3: we create them. It's kind of a plea for science fiction.

1644
01:32:14,840 --> 01:32:16,080
Speaker 2: Yeah, yeah, absolutely.

1645
01:32:16,439 --> 01:32:17,960
Speaker 3: Anyway, that's Forbidden Planet.

1646
01:32:18,120 --> 01:32:22,040
Speaker 2: That is the Forbidden Planet. And yeah, I think it

1647
01:32:22,080 --> 01:32:25,479
Speaker 2: was an absolute delight. I highly recommend checking this one

1648
01:32:25,479 --> 01:32:28,320
Speaker 2: out if you've managed to not see it thus far.

1649
01:32:28,960 --> 01:32:33,880
Speaker 2: Like we said before, sometimes these highly influential films, they

1650
01:32:33,920 --> 01:32:36,519
Speaker 2: can be easy films to miss because you have at

1651
01:32:36,600 --> 01:32:39,759
Speaker 2: least sort of surface level understanding of what it's about,

1652
01:32:40,120 --> 01:32:41,640
Speaker 2: and it's easy to sort of put that one on

1653
01:32:41,680 --> 01:32:44,479
Speaker 2: the back burner. But this one's worth coming back to

1654
01:32:44,640 --> 01:32:48,439
Speaker 2: for sure. All Right, we would love to hear from

1655
01:32:48,479 --> 01:32:51,280
Speaker 2: everyone out there. What is your history with Forbidden Planet?

1656
01:32:51,680 --> 01:32:54,719
Speaker 2: What are your thoughts concerning it and other pictures from

1657
01:32:54,760 --> 01:32:58,679
Speaker 2: this timeframe? Are there other movies that you would compare

1658
01:32:58,720 --> 01:33:02,760
Speaker 2: favorably to Forbidden Plant from the nineteen fifties? Yeah, right

1659
01:33:02,800 --> 01:33:05,080
Speaker 2: in we'd love to hear from you. Just a reminder

1660
01:33:05,080 --> 01:33:07,599
Speaker 2: that Stuff to Blow Your Mind is primarily a science

1661
01:33:07,880 --> 01:33:11,479
Speaker 2: and culture podcast with core episodes of Stuff to Blow

1662
01:33:11,479 --> 01:33:13,879
Speaker 2: Your Mind. In the Stuff to Blow your Mind podcast

1663
01:33:13,920 --> 01:33:16,639
Speaker 2: feed on Tuesdays and Thursdays, but on Fridays we set

1664
01:33:16,680 --> 01:33:18,720
Speaker 2: aside most serious concerns to just talk about a weird

1665
01:33:18,800 --> 01:33:21,880
Speaker 2: film here on Weird House Cinema. And if you want

1666
01:33:21,880 --> 01:33:24,880
Speaker 2: a complete list of all the movies we've covered thus far, well,

1667
01:33:25,120 --> 01:33:28,200
Speaker 2: you can head on over to letterbox dot com. You

1668
01:33:28,240 --> 01:33:30,400
Speaker 2: can look us up. Our user name is weird House

1669
01:33:30,760 --> 01:33:33,679
Speaker 2: and we have an episode list of everything we've covered

1670
01:33:33,840 --> 01:33:36,439
Speaker 2: thus far. I believe at this point what are we

1671
01:33:36,520 --> 01:33:41,880
Speaker 2: up to? It is exactly one hundred and ninety five films,

1672
01:33:41,880 --> 01:33:44,439
Speaker 2: so we're closing in on two hundred. If you have

1673
01:33:44,520 --> 01:33:46,720
Speaker 2: an idea for what we should cover for our two

1674
01:33:46,840 --> 01:33:50,480
Speaker 2: hundredth episode of Weird House Cinema, right in with suggestions.

1675
01:33:50,880 --> 01:33:54,719
Speaker 3: Here's thanks, as always to our excellent audio producer JJ Posway.

1676
01:33:55,040 --> 01:33:56,559
Speaker 3: If you would like to get in touch with us

1677
01:33:56,600 --> 01:33:59,080
Speaker 3: with feedback on this episode or any other, to suggest

1678
01:33:59,080 --> 01:34:01,599
Speaker 3: a topic for the future, to suggest a two hundredth

1679
01:34:01,600 --> 01:34:04,040
Speaker 3: film for us to cover, or just to say Hi.

1680
01:34:04,120 --> 01:34:06,960
Speaker 3: You can email us at contact at stuff to Blow

1681
01:34:06,960 --> 01:34:15,160
Speaker 3: Your Mind dot com.

1682
01:34:15,240 --> 01:34:18,200
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1683
01:34:18,280 --> 01:34:21,080
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1684
01:34:21,240 --> 01:34:24,000
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.