WEBVTT - Weirdhouse Cinema: Forbidden Planet 0:00:00.440 --> 0:00:06.720 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:11.039 --> 0:00:13.760 Hey, welcome to Weird House Cinema. 0:00:13.840 --> 0:00:16.720 This is Rob Lamb and this is Joe McCormick, and 0:00:16.760 --> 0:00:19.520 today we are going to be talking about the nineteen 0:00:19.680 --> 0:00:24.920 fifty six American science fiction adventure Forbidden Planet, starring Walter 0:00:25.040 --> 0:00:29.680 Pigeon and Francis and Leslie Nielsen. Yes, that Leslie Nielsen. 0:00:29.760 --> 0:00:32.520 You know, before he went full irony mode with movies 0:00:32.560 --> 0:00:35.400 like Airplane and The Naked Gun, he was a stern, 0:00:35.840 --> 0:00:39.920 square jawed ham from outer space. And this movie makes 0:00:39.960 --> 0:00:41.640 the best and the worst use of him. 0:00:42.159 --> 0:00:46.639 Yes, this movie is full of male actors, just like that. 0:00:47.120 --> 0:00:50.800 I had such a good time rewatching Forbidden Planet. This 0:00:50.920 --> 0:00:52.880 wasn't the first time I'd seen it, but the first 0:00:52.960 --> 0:00:55.880 time in a while. And it's one of those classic 0:00:55.920 --> 0:01:00.240 films that both holds up so well and doesn't and 0:01:00.240 --> 0:01:03.400 and both ways are good. Like it is at once gorgeous, 0:01:03.560 --> 0:01:08.200 thoughtful and clever and also dated, corny and numb skullish, 0:01:08.360 --> 0:01:11.320 and like both aspects make for a very good time. 0:01:11.920 --> 0:01:14.560 I will say that, at least in my viewing of 0:01:14.600 --> 0:01:19.800 the film, it never felt completely offensive, and it never was, 0:01:19.840 --> 0:01:22.840 but it was never boring. I guess it is a 0:01:22.840 --> 0:01:27.039 film that has a well earned place in sci fi 0:01:27.120 --> 0:01:31.280 cinema legend, and if it's easy to go into Forbidden 0:01:31.319 --> 0:01:34.840 Planet expecting it to like wholly and completely live up 0:01:34.920 --> 0:01:37.840 to that legend. But this is a film that is 0:01:37.880 --> 0:01:40.040 clearly trying to do multiple things at the same time 0:01:40.720 --> 0:01:43.840 in essence to justify its budget. I imagine, you know, 0:01:44.200 --> 0:01:46.959 it needs to be a film with a brilliant sci 0:01:46.959 --> 0:01:50.240 fi vision. It also needs to have laughs, It needs 0:01:50.280 --> 0:01:53.920 to have some you know, some winky sex appeal. It 0:01:55.040 --> 0:01:57.640 needs to deliver on all of these things, and you know, 0:01:57.760 --> 0:02:00.240 ultimately it does and does so in a way that 0:02:00.960 --> 0:02:05.800 is not completely shameful decades later. So I think I 0:02:05.800 --> 0:02:07.800 have to tip my hat to it in that regard. 0:02:08.120 --> 0:02:11.000 You know, I had completely forgotten about the sixty gallons 0:02:11.000 --> 0:02:17.320 of whiskey scene. That really adds a whole other dimension 0:02:17.440 --> 0:02:20.320 to the Forbidden Planet experience. You did not think this 0:02:20.440 --> 0:02:24.200 movie would be so much about men stranded in space 0:02:24.280 --> 0:02:26.320 who are horny and want booze. 0:02:26.720 --> 0:02:30.200 Yeah, there's a huge element of mad men in space, 0:02:30.280 --> 0:02:34.079 with a bunch of Don Draper esque male characters essentially 0:02:34.160 --> 0:02:39.320 hitting on relentlessly, hitting on the one female in their vicinity. 0:02:39.480 --> 0:02:43.160 Only instead of a like a secretary and in like 0:02:43.160 --> 0:02:46.520 a New York office space, it is the daughter of 0:02:46.560 --> 0:02:49.119 a brilliant scientist on a distant world. 0:02:49.200 --> 0:02:51.639 The one true extraterrestrial we get to meet in the movie. 0:02:51.720 --> 0:02:53.840 Though she is a human, but she's from another planet. 0:02:54.200 --> 0:02:56.919 Now, Joe, you fished up one of the posters for 0:02:56.919 --> 0:03:01.080 Forbidden Planet, and oh it's so beautiful. It of course 0:03:01.160 --> 0:03:06.200 features a non human entity carrying an unconscious, beautiful woman. 0:03:07.200 --> 0:03:09.839 I can't recall. Does Robbie the Robot ever carry Ann 0:03:09.880 --> 0:03:11.160 Francis in this picture? 0:03:11.440 --> 0:03:14.160 I don't remember if he does. He does carry the 0:03:14.240 --> 0:03:16.160 doctor Doc Austro, remember that. 0:03:16.600 --> 0:03:18.520 I wonder that that should have been on the poster. 0:03:18.680 --> 0:03:21.399 Close enough, Yeah, it should have been like a uniformed 0:03:21.440 --> 0:03:24.320 guy who just got his brains apped by an alien computer. 0:03:25.440 --> 0:03:28.160 But no, he's carrying a blonde lady here. And she 0:03:28.200 --> 0:03:30.560 doesn't look that much like Anne Francis, Like her hair's 0:03:30.600 --> 0:03:33.960 really long, But you know, it's close enough. This was 0:03:34.000 --> 0:03:36.760 the format at the time they tore Johnson to Robbie 0:03:36.760 --> 0:03:37.360 the Robot. 0:03:39.480 --> 0:03:41.760 I love it. Well, Yeah, this film is gonna be 0:03:41.760 --> 0:03:43.600 a lot of fun to talk about I believe this 0:03:43.640 --> 0:03:46.560 is the third time we've covered a movie that's referenced 0:03:46.880 --> 0:03:49.520 in the lyrics of science fiction double feature from the 0:03:49.600 --> 0:03:53.120 Rocky Horror Picture Show. Because we've done Doctor X, and 0:03:53.160 --> 0:03:57.560 we've done Tarantula, and now we've done Forbidden Planet. Of course, 0:03:57.680 --> 0:03:59.920 in the chorus we get to hear we are reminded 0:04:00.840 --> 0:04:04.640 several times that Anne Francis stars in Forbidden Planet. 0:04:05.160 --> 0:04:08.520 Ah, because planet runs with Janet. Yeah, yeah, it's perfect. 0:04:09.120 --> 0:04:11.760 In addition to the film score, I will I won't 0:04:11.760 --> 0:04:14.720 say that I have the film score to Forbidden Planet 0:04:14.840 --> 0:04:17.320 stuck in my head. It's not really an earworming score 0:04:17.360 --> 0:04:20.800 in the traditional sense, but I've certainly had science fiction 0:04:20.880 --> 0:04:24.599 double feature in my head all week ever since I 0:04:24.680 --> 0:04:25.840 watched Forbidden Planet. 0:04:26.160 --> 0:04:29.560 You know, one thing that I think really sets Forbidden 0:04:29.600 --> 0:04:32.800 Planet apart from most of the science fiction of the 0:04:32.880 --> 0:04:36.719 nineteen fifties is that it is an extreme example of 0:04:36.760 --> 0:04:40.440 our show category of a rub the fur movie. It 0:04:40.520 --> 0:04:46.480 is an overwhelming experience of pleasing visual and sonic textures. 0:04:46.600 --> 0:04:49.280 Like even if the movie had no dialogue or story 0:04:49.400 --> 0:04:52.840 at all, I think it would be a wonderful experience 0:04:52.960 --> 0:04:56.720 just to sit and absorb the sets and the painted backdrops, 0:04:56.760 --> 0:04:59.920 the special effects, the costumes and the props. I'm thinking 0:05:00.040 --> 0:05:02.800 about so many things that are just you know, caramel 0:05:02.880 --> 0:05:06.400 chocolate to the eyes, like you know, the green sky 0:05:06.600 --> 0:05:09.760 and the mountains that we see on Altair four, the 0:05:09.760 --> 0:05:13.120 mid century future chic decor of the Morbius House with 0:05:13.240 --> 0:05:16.800 that pink mod furniture and all the loosight beams and everything, 0:05:17.800 --> 0:05:21.120 the forced perspective shots of the Krell technology where you've 0:05:21.120 --> 0:05:24.320 got these bridges going over the bottomless pits of the 0:05:24.320 --> 0:05:28.240 power generators and whatever those big white globes are that 0:05:28.320 --> 0:05:30.800 are like riding belts up and down the walls into 0:05:30.839 --> 0:05:34.160 the darkness. You've got that great alien garden around the 0:05:34.200 --> 0:05:37.599 Morbius swimming pool. You've got the design of Robbie the robot, 0:05:37.640 --> 0:05:39.720 which is just I don't know, we should come back 0:05:39.760 --> 0:05:44.440 to that, because that alone is unbelievable, those great diamond 0:05:44.440 --> 0:05:48.640 shaped archways. And I love, of course, when we finally 0:05:48.680 --> 0:05:52.560 see the hand animated blood red outline of the beast 0:05:52.640 --> 0:05:55.360 in the movie, the id beast that hunts the astronauts, 0:05:56.040 --> 0:05:58.320 and also not just the visual but the sonic textures 0:05:58.320 --> 0:06:00.240 as well. As you were just alluding to, it might 0:06:00.279 --> 0:06:04.360 not be earworms. But the sounds of the movie are 0:06:04.520 --> 0:06:09.440 so interesting. It's just a corn ucopia of fascinating ambient sound. 0:06:10.600 --> 0:06:14.440 And so I was thinking that while we are today 0:06:14.760 --> 0:06:18.279 quite used to thinking of sci fi movies as rubbed 0:06:18.279 --> 0:06:21.159 the fur events, full of pleasing images and sounds, just 0:06:21.200 --> 0:06:25.159 great textures, having watched a lot of sci fi movies 0:06:25.160 --> 0:06:28.320 from the nineteen fifties for the show, I would argue 0:06:28.400 --> 0:06:31.159 that this was not the norm at the time. A 0:06:31.400 --> 0:06:34.640 ton of sci fi movies from the fifties are not 0:06:35.800 --> 0:06:39.200 full of pleasing visual and sonic textures. They are low 0:06:39.240 --> 0:06:43.200 budget affairs without much exciting to show you other than 0:06:43.240 --> 0:06:45.680 maybe like a monster costume. Even a lot of the 0:06:45.720 --> 0:06:50.599 better ones are usually good because of the premise or 0:06:50.640 --> 0:06:54.360 they're about ideas in some interesting way, and they consist 0:06:54.440 --> 0:06:58.760 primarily of dudes standing around talking in a sparsely decorated set. 0:06:59.279 --> 0:07:01.800 Yeah, I agree. I was just looking back at the 0:07:01.839 --> 0:07:04.160 films we've covered from the nineteen fifties, and some of 0:07:04.200 --> 0:07:08.200 them are, you know, definitely lower budget affairs. But yeah, 0:07:08.440 --> 0:07:11.080 they're generally and that's part of it. You know, they're 0:07:11.080 --> 0:07:16.040 making do with less, they're leaning more into the ideas, 0:07:16.880 --> 0:07:20.080 and we're not getting into that rub defer territory that 0:07:20.160 --> 0:07:22.400 we get with Forbidden Planet, which again is just like 0:07:22.960 --> 0:07:25.800 it's not like you can even single out well one 0:07:25.880 --> 0:07:28.800 or two visual elements or sonic elements as well, Like 0:07:28.840 --> 0:07:31.400 they're just so many. It's like it's just a feast 0:07:31.400 --> 0:07:32.080 for the eyes. 0:07:32.440 --> 0:07:34.680 Every scene is full of shots that are just like 0:07:34.720 --> 0:07:37.920 a poster you'd want to hang on your wall. And 0:07:38.720 --> 0:07:42.440 one reason, of course, is an obvious thing. Forbidden Planet 0:07:42.440 --> 0:07:45.080 stands out because it was shot in color. Specifically, the 0:07:45.120 --> 0:07:49.320 color process was Eastman color, and almost all of the 0:07:49.360 --> 0:07:51.480 other sci fi movies from the fifties that I can 0:07:51.480 --> 0:07:55.720 think of were in black and white. And this was funny, actually, 0:07:55.800 --> 0:07:58.280 I was trying to find a list of exceptions. I 0:07:58.320 --> 0:08:00.600 was like, okay, what were the other color sci fi 0:08:00.680 --> 0:08:04.280 movies from the fifties? And when I did a Google search, 0:08:04.360 --> 0:08:07.280 the AI summary at the top of the search results 0:08:07.360 --> 0:08:11.240 kept telling me, insisting that movies like The Thing from 0:08:11.240 --> 0:08:14.280 Another World The Incredible Shrinking Man, both of which we 0:08:14.400 --> 0:08:16.400 watched for the show, were in color. No, they're not, 0:08:17.280 --> 0:08:19.440 it said The Day the Earth Stood Still was in color. 0:08:19.560 --> 0:08:22.480 The original one is not. You know, I've seen these 0:08:22.480 --> 0:08:25.920 movies they're in black and white. But there are some examples. 0:08:25.960 --> 0:08:27.960 I can think of a few that I've seen. One 0:08:28.040 --> 0:08:31.200 is Invaders from Mars from nineteen fifty three, directed by 0:08:31.240 --> 0:08:35.520 William Cameron Menzies. Though this was shot in something called 0:08:35.720 --> 0:08:39.560 super Cinicolor, which is a two color process that doesn't 0:08:39.640 --> 0:08:42.679 quite end up looking like full color. It has an 0:08:42.840 --> 0:08:47.040 interesting color palette, but it's kind of pale and faded, faded, 0:08:47.120 --> 0:08:50.319 kind of greenish gold. And then the same year there 0:08:50.360 --> 0:08:53.160 was a color adaptation of H. G. Wells War of 0:08:53.200 --> 0:08:56.280 the Worlds directed by Byron Haskin that was in technicolor. 0:08:57.559 --> 0:08:59.680 There was an adapt there was the adaptation of Twenty 0:08:59.679 --> 0:09:01.400 Thousand Leagues. Of course we talked about that just a 0:09:01.400 --> 0:09:03.960 week or two ago, the one with James Mason that 0:09:04.080 --> 0:09:06.160 was in nineteen fifty four. That's in color and it 0:09:06.200 --> 0:09:09.200 looks great. There is, of course This Island Earth in 0:09:09.280 --> 0:09:10.800 fifty five that's in color. 0:09:11.240 --> 0:09:13.720 Yeah, and I think This Island Earth is indeed probably 0:09:13.800 --> 0:09:18.000 Forbidden Planet's closest peer. You know, it doesn't have a robot, 0:09:18.040 --> 0:09:21.040 but it has a wonderful monster. It has, you know, 0:09:21.080 --> 0:09:24.360 a lot of color and bizazz to it. But the 0:09:24.400 --> 0:09:28.560 thing about about this Island Earth much smaller budget. Forbidden 0:09:28.559 --> 0:09:30.560 Planet costs more than twice as much. 0:09:31.240 --> 0:09:34.400 Yeah. So there are some other examples of great looking 0:09:34.440 --> 0:09:37.160 color sci fi films from the fifties, but not many, 0:09:37.320 --> 0:09:39.679 and it just was not the norm for sci fi 0:09:39.760 --> 0:09:42.720 movies at the time. Frankly, a lot of these movies 0:09:43.160 --> 0:09:45.960 from the fifties, even the relatively good ones, are not 0:09:46.120 --> 0:09:49.880 any more visually exciting than It Conquered the World. You know, 0:09:49.960 --> 0:09:53.120 what makes them good might be good writing or good acting. 0:09:53.760 --> 0:09:57.480 Yeah, or maybe how well they shoot the monster costume 0:09:58.040 --> 0:09:58.760 and so forth. 0:09:59.400 --> 0:10:01.720 And as we were just saying, even when you consider the 0:10:01.760 --> 0:10:05.040 other color pictures, I just don't think there is another 0:10:05.120 --> 0:10:08.080 one that even comes close to Forbidden Planet. It's just 0:10:08.320 --> 0:10:11.480 exquisite to look upon this the whole box of crayons. 0:10:12.000 --> 0:10:15.640 Yeah, I mean, nine years later you would get Planet 0:10:15.640 --> 0:10:18.600 of the Vampires, which, of course is another film we've 0:10:18.600 --> 0:10:20.400 talked about on the show that is set in space 0:10:20.440 --> 0:10:24.680 and has brilliant use of sets and costumes. Yeah, but 0:10:24.720 --> 0:10:27.599 this is this is a this is this is the forerunner. 0:10:27.640 --> 0:10:29.280 And you could probably make a very strong case that 0:10:29.320 --> 0:10:32.199 a film like Planet of the Vampires wouldn't exist if 0:10:32.200 --> 0:10:35.160 you didn't have Forbidden Planet getting there early and setting 0:10:35.160 --> 0:10:35.560 the trend. 0:10:36.000 --> 0:10:38.160 Yeah, I think Planet of the Vampires has got to 0:10:38.200 --> 0:10:40.360 be at least in part inspired by the look of 0:10:40.400 --> 0:10:44.400 Forbidden Planet. Okay, so we've established it's a ten course 0:10:44.440 --> 0:10:47.480 dinner for the eyes. But another thing I wonder if 0:10:47.640 --> 0:10:50.280 is this a good place to talk about this movie's 0:10:50.320 --> 0:10:54.200 relationship to Shakespeare's The Tempest, because that's the thing. A 0:10:54.240 --> 0:10:57.120 lot of people commenting on this over the years have 0:10:57.200 --> 0:11:00.800 pointed out the plot of Forbidden Planet, and it seems 0:11:01.080 --> 0:11:06.320 like a very loose adaptation of Shakespeare's The Tempest. And 0:11:06.760 --> 0:11:08.520 I think that was kind of interesting because I know 0:11:08.559 --> 0:11:11.840 I've heard it said before that compared to most of 0:11:11.880 --> 0:11:16.440 the plays of Shakespeare, The Tempest is rarely put on 0:11:16.600 --> 0:11:19.440 film in anything like its original form. It's just not 0:11:19.520 --> 0:11:23.160 a play that gets a straight adaptation to film very much. 0:11:23.880 --> 0:11:28.240 Adaptations of The Tempest in cinema are almost always very loose. 0:11:29.240 --> 0:11:32.120 Yeah, And you know, I took a few different Shakespeare 0:11:32.160 --> 0:11:35.280 classes in college, and we never directly covered The Tempest, 0:11:35.280 --> 0:11:39.120 as I recall, so maybe in part because we didn't 0:11:39.160 --> 0:11:43.320 have as many adaptations to watch on video to discuss it. 0:11:43.400 --> 0:11:47.360 But yeah, this is frequently cited as an adaptation of 0:11:47.400 --> 0:11:52.040 the Tempest. We have the we have a prospero character, 0:11:52.120 --> 0:11:54.960 our Miranda, and I guess we have our Caliban of 0:11:55.040 --> 0:11:58.120 sorts as well, our monstrous creature, not to be confused 0:11:58.120 --> 0:12:01.440 with the Caliban in class for the Titans. Was he 0:12:01.440 --> 0:12:03.440 called Caliban and that I can't recall, but he the 0:12:03.520 --> 0:12:07.240 character in that is very much based on this element 0:12:07.280 --> 0:12:08.200 of the Tempest as well. 0:12:09.080 --> 0:12:12.360 Yeah. I think people have said have pointed out that 0:12:12.520 --> 0:12:16.480 Robbie the robot is kind of aerial from the Tempest. Ah, yeah, yeah, 0:12:16.520 --> 0:12:20.880 and that Adams is the Leslie Nielsen character is sort 0:12:20.920 --> 0:12:22.640 of I forget the name, a bit like one of 0:12:22.679 --> 0:12:25.240 the Italian nobles that gets a lured to the island. 0:12:25.640 --> 0:12:27.880 And who's cook Cook? 0:12:27.960 --> 0:12:30.319 Have a don't know, don't know about cook? 0:12:30.480 --> 0:12:32.800 All right, we'll get back to cook. So yeah, we 0:12:32.840 --> 0:12:37.640 have a groundbreaking sonic and visual science fiction film here, 0:12:38.040 --> 0:12:42.000 shot in color with a health very healthy by budget, 0:12:42.280 --> 0:12:45.719 and it has Shakespearean elements in it's plotting. All right, Joe, 0:12:45.720 --> 0:12:47.200 do you have an elevator pitch for this film? 0:12:47.920 --> 0:12:50.360 I couldn't get it down to one sentence, but here's 0:12:50.360 --> 0:12:54.400 the setup. By the twenty third century, humankind has colonized 0:12:54.480 --> 0:12:57.120 the galaxy with the help of faster than light travel, 0:12:57.800 --> 0:13:00.120 but one mission, a mission to an exo plan in 0:13:00.160 --> 0:13:05.720 it called Altaar four by the explorationship Bellerophon, has gone 0:13:05.760 --> 0:13:09.920 silent after it arrived. Twenty years later, a United Planet's 0:13:10.080 --> 0:13:14.160 starship under Commander JJ Adams is sent to the Altair 0:13:14.280 --> 0:13:17.520 system to investigate the fate of the lost ship and 0:13:17.559 --> 0:13:20.760 its crew. Once there, Adams and his men find that 0:13:20.840 --> 0:13:24.280 the only survivor of the Bellerophon is a language scholar 0:13:24.400 --> 0:13:27.640 named doctor Morbius, as well as his twenty year old 0:13:27.720 --> 0:13:32.040 daughter Altara, who was born on the planet. What happened 0:13:32.040 --> 0:13:34.360 to the rest of the crew? How have Morbius and 0:13:34.440 --> 0:13:37.640 Altara survived all this time? And where can a guy 0:13:37.720 --> 0:13:40.640 find bourbon and kissing lessons on a planet such as this? 0:13:42.880 --> 0:13:45.720 All this and more will be explored. All right, Let's 0:13:45.720 --> 0:13:55.600 go ahead and listen to a little trailer on you you. 0:13:55.520 --> 0:13:58.480 Imagine yourself as one of the crew of this faster 0:13:58.600 --> 0:14:02.960 than light spaceship of the future, sharing their curiosity to 0:14:03.040 --> 0:14:07.959 know the unknown, their tension, their readiness for inconceivable adventures. 0:14:09.080 --> 0:14:12.480 When you reach the forbidden planet, you will meet doctor 0:14:12.600 --> 0:14:16.600 Morbius played by Walter Pigeon. The doctor is sole owner 0:14:16.640 --> 0:14:21.080 of this fabulous world. Anne Francis is his alluring daughter, Alta, 0:14:21.480 --> 0:14:24.280 who has never seen a young man till she meets 0:14:24.320 --> 0:14:28.960 Commander Adams played by talented Leslie Nielson. You will meet 0:14:28.960 --> 0:14:32.480 a charming character in the robot, able to produce on 0:14:32.680 --> 0:14:36.080 order ten tons of lead or a slinky evening gown, 0:14:36.520 --> 0:14:41.960 always at your service. You explore all the wonders of 0:14:42.000 --> 0:14:47.480 a vanished civilization. You travel deep down into the heart 0:14:47.560 --> 0:14:51.240 of the Forbidden Planet to discover the incredible marvels of 0:14:51.280 --> 0:14:55.960 this lost, genious race. These magnificent scenes in striking Eastman 0:14:56.040 --> 0:15:00.680 color stagger the imagination. Yet the wonders of planet al 0:15:00.760 --> 0:15:07.360 tear four and see you a strange and evil force, unknown, irresistible. 0:15:26.280 --> 0:15:28.920 All right, well, you may be wondering, Well, where can 0:15:29.000 --> 0:15:33.080 I watch Forbidden Planet? Well, this was a major release. 0:15:33.440 --> 0:15:36.320 It has been released on all formats over the years. 0:15:36.400 --> 0:15:39.600 It is definitely available on Blu ray I belief from 0:15:39.840 --> 0:15:43.080 Warner Home Video or something, And I'm not I didn't 0:15:43.160 --> 0:15:45.160 check for this, but it's possible, I guess. Given in 0:15:45.200 --> 0:15:48.040 this an MGM film, maybe MGM plus has its streaming, 0:15:48.160 --> 0:15:50.960 you might check around for that. I, however, watched this 0:15:51.000 --> 0:15:54.080 film on the big screen. I saw it over the 0:15:54.080 --> 0:15:57.880 weekend at Atlanta's Historic Plaza Theater, presented as part of 0:15:57.920 --> 0:16:00.560 the Silver Screen Spook Show series, and I have to 0:16:00.560 --> 0:16:04.840 say looks terrific watching it in those old squeaky chairs there. 0:16:06.520 --> 0:16:10.600 You know, the colors are fantastic. The sound is just 0:16:10.680 --> 0:16:13.440 resonating around you and sometimes feeling like it's moving from 0:16:13.480 --> 0:16:18.080 ear to ear. So I highly recommend seeing films like 0:16:18.160 --> 0:16:20.840 this in the theater if you do get a chance 0:16:21.160 --> 0:16:23.680 to see them. Silver Screens Spook Show. By the way, 0:16:23.760 --> 0:16:27.800 we'll be doing mathra versus Godzilla on May seventeenth, two 0:16:27.880 --> 0:16:31.240 shows as usual, a family friendly mattinee and a late 0:16:31.320 --> 0:16:33.680 night show for grown ups if you're in the Atlanta 0:16:33.760 --> 0:16:34.840 area on that date. 0:16:42.880 --> 0:16:44.840 All right, Should we get into the connections. 0:16:45.520 --> 0:16:49.560 Yeah. Starting at the top with the director. It's Fred M. Wilcox, 0:16:49.640 --> 0:16:53.120 who lived nineteen oh seven through nineteen sixty four, American 0:16:53.160 --> 0:16:55.840 director who started out at MGM as an assistant to 0:16:55.920 --> 0:16:59.240 King Vidor, eventually working his way up through the MGM 0:16:59.320 --> 0:17:02.720 Shorts department to direct the nineteen forty three feature Lassie 0:17:02.720 --> 0:17:06.560 Come Home. Which starred a fourteen year old Roddy McDowell. 0:17:06.720 --> 0:17:08.879 Is he the voice of the kid yelling Lassie? 0:17:09.920 --> 0:17:12.439 I mean, he's the kid that presumably yells Lastie. So 0:17:12.480 --> 0:17:13.320 I guess so okay? 0:17:14.080 --> 0:17:14.320 Cool. 0:17:14.359 --> 0:17:17.760 I felt this one was evidently a success because it 0:17:17.800 --> 0:17:20.880 had a sequel nineteen forty six is Courage of Lassie, 0:17:21.040 --> 0:17:23.280 and this one had a fully grown Elizabeth Taylor in it. 0:17:23.680 --> 0:17:26.679 Okay, did it also still have Roddy McDowell. No, No, 0:17:26.760 --> 0:17:27.399 Roddy McDowell. 0:17:27.600 --> 0:17:32.720 Okay, Elizabeth Taylor only ic okay, and then Roddy McDowell. 0:17:32.760 --> 0:17:35.560 He went from Lassie to laser Blast. That's amazing. 0:17:36.080 --> 0:17:39.600 Yeah. Another filming director of nineteen forty nine is The 0:17:39.640 --> 0:17:42.600 Secret Garden, which had a twelve year old Dean Stockwall 0:17:42.600 --> 0:17:46.160 in it. Huh yeah, yeah. You can look up screenshots 0:17:46.160 --> 0:17:49.840 from the Secret Garden and there's a little kid Dean Stockwell. 0:17:50.800 --> 0:17:53.720 Fact to check, Dean Stockwell was never twelve years old. 0:17:54.520 --> 0:17:57.600 It's amazing. He also did nineteen fifty two Shadow in 0:17:57.600 --> 0:18:01.720 the Sky with Nancy Reagan. Planet was produced by Willcox's 0:18:01.800 --> 0:18:06.200 nephew in law, producer Nicholas Nefek, and he was apparently 0:18:06.240 --> 0:18:11.000 going to produce another big budget sci fi film with 0:18:11.040 --> 0:18:14.760 a title something like Robot Planet, and Wilcock was going 0:18:14.800 --> 0:18:17.679 to direct that as well, but Neffact died in nineteen 0:18:17.720 --> 0:18:21.640 fifty eight. Wilcock directed one more film himself, and then 0:18:21.680 --> 0:18:24.440 he also died in nineteen sixty four at the age 0:18:24.480 --> 0:18:27.800 of fifty six. But I believe this is one of 0:18:27.840 --> 0:18:32.120 those examples where the director didn't come out of science fiction, 0:18:32.760 --> 0:18:36.080 and his life and career wasn't long enough afterwards to 0:18:36.440 --> 0:18:39.400 return to any science fiction, So you know, it kind 0:18:39.400 --> 0:18:41.719 of stands out as a one off. But boy, what 0:18:41.760 --> 0:18:43.720 a one off. This is easily the film he's best 0:18:43.720 --> 0:18:47.639 remembered for, all right. The screenplay is by Cyril Hume, 0:18:47.760 --> 0:18:51.560 who lived nineteen hundred through nineteen sixty six, American writer 0:18:51.680 --> 0:18:53.920 whose first novel, The Wife of the Centaur, was a 0:18:53.920 --> 0:18:56.720 big hit in nineteen twenty three and adapted into a 0:18:56.800 --> 0:19:00.280 King vidor Silent film in nineteen twenty four. He wrote 0:19:00.320 --> 0:19:03.280 a few more novels, but mostly transitioned into screenwriting, working 0:19:03.280 --> 0:19:06.399 on several Tarzan movies in the nineteen thirties, a nineteen 0:19:06.440 --> 0:19:10.000 forty nine adaptation of The Great Gatsby and then also 0:19:10.040 --> 0:19:14.120 a nineteen fifty six film titled Ransom exclamation Point, which 0:19:14.280 --> 0:19:19.080 was remade in nineteen ninety six, the Mel Gibson picture 0:19:19.160 --> 0:19:22.400 that some of you might remember. But it's worth noting 0:19:22.440 --> 0:19:25.680 that the nineteen fifty six Ransom was itself an adaptation 0:19:26.119 --> 0:19:29.399 of a nineteen fifty four episode that aired on the 0:19:29.400 --> 0:19:31.920 anthology series of The United States Steel Hour. 0:19:32.080 --> 0:19:34.760 What the United States Steel Out? Oh? It was just 0:19:34.880 --> 0:19:38.080 named after a sponsor. Yeah, yeah, Like what should we 0:19:38.119 --> 0:19:38.399 call it? 0:19:38.400 --> 0:19:41.320 Should we call it like action or thriller or you know, 0:19:41.680 --> 0:19:44.240 maybe some sort of a zone And they're like, nope, 0:19:44.280 --> 0:19:45.680 the United States Steel Hour. 0:19:46.000 --> 0:19:47.680 Oh, it's like the Colgate Comedy Hour. 0:19:47.960 --> 0:19:52.040 Yeah, yeah, yeah, I guess somewhere to deal. Hume also 0:19:52.080 --> 0:19:55.560 did some westerns. His only other sci fi screenplay was 0:19:55.640 --> 0:19:58.840 nineteen fifty seven's The Invisible Boy, a sort of sequel 0:19:58.880 --> 0:20:01.080 spin off to Forbidden Play, which we'll come back to. 0:20:02.240 --> 0:20:06.280 Forbidden Planet is Hume's most famous work, again highly influential, 0:20:06.520 --> 0:20:09.560 and is itself, at least a very loose adaptation of 0:20:09.600 --> 0:20:12.560 Shakespeare's The Tempest. Now there are a couple of story 0:20:12.600 --> 0:20:18.840 credits Irving Block and Alan Adler. Alan Adler lived nineteen 0:20:18.840 --> 0:20:21.320 sixteen through nineteen sixty four. Also worked on a film 0:20:21.359 --> 0:20:25.000 in fifty nine called The Giant Behemoth, and then Block 0:20:25.760 --> 0:20:28.080 lived nineteen ten through nineteen eighty six. He was a 0:20:28.280 --> 0:20:31.320 I think mostly a special effects and visual effects guy 0:20:31.760 --> 0:20:36.000 who worked exclusively in genre pictures, often B movies, mostly 0:20:36.040 --> 0:20:39.720 science fiction, and he sometimes contributed story ideas, this being 0:20:39.880 --> 0:20:43.080 the first case of that. Other story credits include fifty 0:20:43.119 --> 0:20:46.320 seven's Kronos, as well as Oh Boy, There's here's a 0:20:46.359 --> 0:20:48.800 title for you, The Saga of the Viking Women and 0:20:48.840 --> 0:20:50.960 their Voyage to the Waters of the Great Sea Serpent. 0:20:51.760 --> 0:20:52.600 I've seen that one. 0:20:52.920 --> 0:20:55.240 Yeah. Yeah, Does that title cover everything? 0:20:56.200 --> 0:20:56.600 No? 0:20:56.600 --> 0:21:02.119 No, there's more, Okay, a longer title as possible. He 0:21:02.200 --> 0:21:05.199 also has story credits on Roger Corman's War of the 0:21:05.280 --> 0:21:07.160 Satellites in fifty eight. 0:21:07.440 --> 0:21:09.040 Those are both Roger Corman movies. 0:21:09.119 --> 0:21:11.560 Oh so the Saga the Viking Women and their Voyage 0:21:11.600 --> 0:21:14.480 to the Waters of the Great Sea Serpent also. 0:21:14.280 --> 0:21:16.760 Corman also Corman I think in the same year. 0:21:17.400 --> 0:21:19.160 Yeah, yeah, that's right, they're both fifty eight. 0:21:19.280 --> 0:21:20.320 Yeah. 0:21:20.400 --> 0:21:23.040 And then he also has story credits on The thirty 0:21:23.040 --> 0:21:26.080 foot Bride of Candy Rock and Atomic Submarine, both in 0:21:26.119 --> 0:21:26.720 fifty nine. 0:21:27.320 --> 0:21:29.720 I haven't seen it, but I've just I have a 0:21:29.760 --> 0:21:33.480 premonition that the movie Atomic Submarine is super boring. 0:21:35.200 --> 0:21:38.399 Getting into the cast. Let's start at the top in 0:21:38.480 --> 0:21:42.240 terms of billing with Doctor Morbius played by Walter Pigeon, 0:21:42.280 --> 0:21:46.159 who lived eighteen ninety seven through nineteen eighty four. Walter Pigeon, 0:21:46.240 --> 0:21:49.399 a two time Oscar nominee who had not done I 0:21:49.440 --> 0:21:51.560 don't believe he'd really done a sci fi film up 0:21:51.600 --> 0:21:55.000 to this point, having been mostly known for stuff like 0:21:55.080 --> 0:21:58.800 nineteen forty one's How Green Was My Valley? After Forbidden Planet, 0:21:58.840 --> 0:22:00.640 he'd go on to appear in a handful of other 0:22:00.680 --> 0:22:03.359 sci fi flicks, sixty one's Voyage to the Bottom of 0:22:03.400 --> 0:22:06.879 the Sea, seventy three is the Neptune Factor. Oh, and 0:22:06.920 --> 0:22:09.080 then this was interesting. This is apparently a like a 0:22:09.119 --> 0:22:11.879 made for TV film movie of the Week situation nineteen 0:22:11.960 --> 0:22:15.640 seventy fours Live Again, Die Again, which is like about 0:22:15.680 --> 0:22:19.840 a woman who is cryogenically frozen and then is brought 0:22:19.880 --> 0:22:22.280 back to life and her husband is old now and 0:22:22.320 --> 0:22:23.439 played by Walter Pigeon. 0:22:23.880 --> 0:22:28.320 Oh okay, you know, I was thinking I like the 0:22:28.840 --> 0:22:32.639 line that Walter Pigeon rides in this movie between hero 0:22:32.760 --> 0:22:36.439 and villain for much of the film. You can't quite 0:22:36.520 --> 0:22:40.080 tell how like what his intentions are. So he's that 0:22:40.240 --> 0:22:43.959 kind of character who's mostly polite and helpful and seems 0:22:44.040 --> 0:22:47.280 mostly forthright, but also maybe seems to be hiding something. 0:22:47.320 --> 0:22:48.960 You don't know how much you can trust him. 0:22:49.200 --> 0:22:51.119 Yeah, like he is he going to be? Is he 0:22:51.200 --> 0:22:53.199 Captain Nemo? Like that's kind of the big question that 0:22:53.240 --> 0:22:55.000 had to be on a lot of people's minds. 0:22:55.119 --> 0:22:58.640 Yeah, yeah, yeah, And so I don't know, I could 0:22:58.680 --> 0:23:01.439 see him, I could see him in another life of 0:23:01.520 --> 0:23:05.160 playing having played a Bond villain or something like maybe 0:23:05.200 --> 0:23:07.960 maybe nothing against Michael Lonsdale. He's great, but like he 0:23:08.000 --> 0:23:09.159 could have been in Moonreaker. 0:23:09.640 --> 0:23:12.000 Yeah, yeah, yeah, things have played out differently. 0:23:12.080 --> 0:23:13.000 Yeah yeah. 0:23:13.040 --> 0:23:17.680 I also like the ambiguity regarding his character. You're never 0:23:17.720 --> 0:23:21.639 really sure that he's a villain or what villainous elements 0:23:21.640 --> 0:23:24.160 he might have, but you also don't completely trust him. 0:23:25.119 --> 0:23:27.520 I guess it's easier as a modern viewer of this 0:23:27.560 --> 0:23:29.600 film to assume that he's up to no good. That's 0:23:29.840 --> 0:23:31.960 my kid also watched the film with me and they 0:23:31.960 --> 0:23:35.320 were like, oh, yeah, yeah, I knew he was hiding something, But. 0:23:35.359 --> 0:23:38.480 Did he know he was hiding something. I guess he 0:23:38.560 --> 0:23:41.200 knew he was hiding something, but maybe not the thing 0:23:41.240 --> 0:23:41.919 you're thinking of. 0:23:42.320 --> 0:23:46.360 Yeah. Yeah, he also did some horror movies. He appeared 0:23:46.359 --> 0:23:49.240 in seventy two's The Screaming Woman, and also a couple 0:23:49.280 --> 0:23:51.680 of gorilla movies in the twenties and thirties. I think 0:23:51.720 --> 0:23:54.679 they're two separate gorilla movies and not the same gorilla movie. 0:23:55.320 --> 0:23:57.520 But you know, someone had to starring gorilla movies, so 0:23:58.440 --> 0:23:59.280 more power to him. 0:23:59.440 --> 0:24:01.920 Was he in any of the Machist Goes to Hell movies? 0:24:04.200 --> 0:24:07.040 All right? Well, again, we know that Ann Francis stars 0:24:07.080 --> 0:24:10.719 in Forbidden Planet, and indeed she does, playing Altara Morbius, 0:24:10.960 --> 0:24:14.560 the daughter of doctor Morbius. Anne Francis lived nineteen thirty 0:24:14.560 --> 0:24:17.439 through twenty and eleven. She's our lone female character in 0:24:17.480 --> 0:24:21.560 the film, the daughter of doctor Morbiuss, again seemingly doomed 0:24:21.600 --> 0:24:24.280 to never know love or Earth, at least until the 0:24:24.359 --> 0:24:26.600 rest of the cast shows up to just relentlessly hit 0:24:26.640 --> 0:24:29.320 on her again like she's a secretary and a Madman 0:24:29.480 --> 0:24:34.480 era office. She's our Miranda character, Golden Globe winning actress 0:24:34.840 --> 0:24:37.399 whose other films include nineteen fifty five's Bad Day at 0:24:37.480 --> 0:24:40.520 Black Rock, and nineteen sixty eight's Funny Girl, which also 0:24:40.560 --> 0:24:43.800 co starred Walter Pigeon. Her screen credits begin in the 0:24:43.880 --> 0:24:46.560 late forties. I believe she appeared on Broadway as a child, 0:24:47.000 --> 0:24:49.560 and she remained active, especially on TV up through two 0:24:49.600 --> 0:24:52.439 thousand and four, and she did two episodes of the 0:24:52.440 --> 0:24:53.719 original Twilight Zone. 0:24:54.200 --> 0:24:56.560 I also like Anne Francis in this role quite a 0:24:56.560 --> 0:25:00.720 lot because she she does bring a kind of in 0:25:00.800 --> 0:25:04.160 a way that you don't expect when you first meet 0:25:04.200 --> 0:25:07.240 the character. Like, so the character, as we'll get into later, 0:25:08.680 --> 0:25:12.200 I was describing her as sort of like Arnold Schwarzenegger 0:25:12.240 --> 0:25:15.800 and Twins, Like she has learned all of the you know, 0:25:15.880 --> 0:25:18.280 all of the academic subjects, as she knows all the 0:25:18.320 --> 0:25:22.439 sciences and literature and everything, but is hopelessly naive about 0:25:22.520 --> 0:25:24.560 society and human interactions. 0:25:25.440 --> 0:25:27.359 Yeah, kind of a subset of like she's not a 0:25:27.400 --> 0:25:30.880 full blown doll person where she's just like a child 0:25:30.960 --> 0:25:34.040 in in an adult's body. She knows plenty of things, 0:25:34.080 --> 0:25:35.920 she just doesn't have like a lot of like social 0:25:36.600 --> 0:25:39.200 real world experience because she's never been to Earth. 0:25:39.320 --> 0:25:41.639 Yeah, she has no street smarts or savvy, so like 0:25:42.240 --> 0:25:44.440 doesn't know what to do when somebody is like trying 0:25:44.480 --> 0:25:46.800 to lie to her or take advantage of her. So 0:25:46.840 --> 0:25:49.720 there's a scene where this where a creep character is 0:25:49.760 --> 0:25:53.480 giving her kissing lessons. But she has a great kind 0:25:53.520 --> 0:25:56.239 of turn in that scene because he's like, he's like, oh, 0:25:56.280 --> 0:25:59.399 let's try kissing again, and she's like, I don't get it. 0:25:59.440 --> 0:26:00.760 There's is not very good. 0:26:02.280 --> 0:26:04.560 That got a lot of laughs with the audience, the 0:26:04.640 --> 0:26:08.920 live audience. So there's the humor in this film. You know, 0:26:08.960 --> 0:26:12.320 it mostly holds up sometimes. I mean it holds it 0:26:12.400 --> 0:26:14.879 holds up in places, and it's just kind of hammy 0:26:14.960 --> 0:26:18.000 and too old fashioned in other places, but in both 0:26:18.040 --> 0:26:22.800 regards generates laughter, so still effective. But yeah, I agree. 0:26:22.840 --> 0:26:25.240 I think she's good in the role. And of course 0:26:25.359 --> 0:26:28.720 she's a real beauty, no denying that. But I was 0:26:28.760 --> 0:26:32.719 surprised at how skimpy the outfits get in this picture. 0:26:32.920 --> 0:26:37.400 Oh like there is. I was confused by the bathing sequence. 0:26:37.400 --> 0:26:39.880 At first it seems like she's bathing nude, and then 0:26:39.920 --> 0:26:42.359 maybe she's wearing a garment, but maybe that's also a 0:26:42.400 --> 0:26:45.040 garment that they wore in movies at the time to 0:26:46.000 --> 0:26:48.600 make it seem like someone was bathing naked. I'm not sure. 0:26:48.760 --> 0:26:51.840 It does seem to be really pushing the limits of 0:26:51.840 --> 0:26:54.280 what like an MGM picture would have allowed in the 0:26:54.359 --> 0:26:58.159 nineteen fifties. But yeah, she's in the scene where she's swimming. 0:26:58.160 --> 0:27:00.720 I think she is supposed to be nude, and she's 0:27:00.800 --> 0:27:02.760 just like you know, when she gets out of the 0:27:02.760 --> 0:27:05.719 pool in a brief shot. I think she's wearing a 0:27:05.760 --> 0:27:08.639 garment match to her skin. And then it's supposed to 0:27:08.680 --> 0:27:10.760 just go by real quick. But maybe they weren't expecting 0:27:10.800 --> 0:27:12.760 to have the kind of definition that people have on 0:27:12.800 --> 0:27:13.560 screens today. 0:27:13.680 --> 0:27:15.880 It's true, like later in the picture, there's some very 0:27:15.920 --> 0:27:19.679 delicate wire work that allows Robbie the robot to carry 0:27:19.760 --> 0:27:25.120 the doctor's body and or doc's body, and it's very 0:27:25.119 --> 0:27:27.600 good wire work because you can barely see it even 0:27:27.640 --> 0:27:30.080 in like higher definition, so I'm guessing it would have 0:27:30.119 --> 0:27:33.760 been mostly invisible at one point. All Right, it's time 0:27:33.760 --> 0:27:37.080 to talk about Leslie Nielsen. He's our leading man here 0:27:37.480 --> 0:27:41.440 playing Commander Adams. Lesli Nielsen lived nineteen twenty six through 0:27:41.480 --> 0:27:46.400 twenty ten, and I think many many of you out there, 0:27:46.920 --> 0:27:50.080 myself included, for a long time anyway, when I thought 0:27:50.080 --> 0:27:54.080 about this Canadian actor, I mostly or even exclusively thought 0:27:54.080 --> 0:27:58.480 about his late career reinvention as a dead pan, comedic 0:27:58.560 --> 0:28:01.920 goof all of this coming in the wake of nineteen 0:28:02.000 --> 0:28:06.240 eighties Airplane and this era gay like that lasted the 0:28:06.280 --> 0:28:08.360 rest of his life and career gave us the likes 0:28:08.359 --> 0:28:12.000 of TV's Police Squad, It's Naked Gun spinoff films. I 0:28:12.000 --> 0:28:15.440 believe there were three of those, and such spoofs as 0:28:15.480 --> 0:28:18.840 mel Brooks Dracula Dead and Loving It from nineteen ninety five, 0:28:19.160 --> 0:28:23.159 and just a host of other goofy pictures where Leslie 0:28:23.240 --> 0:28:29.080 Nielsen continually plays these kind of either deadpan, funny characters 0:28:29.640 --> 0:28:35.919 or increasingly goofy characters. But they all stem from this 0:28:36.040 --> 0:28:42.360 initial Airplane Naked Gun phase where and these were both 0:28:42.360 --> 0:28:44.360 the work of David and Jerry Zucker. 0:28:44.800 --> 0:28:47.400 It's impossible to know, but I almost feel I could 0:28:47.440 --> 0:28:51.280 have predicted his career would or should take that turn, 0:28:51.480 --> 0:28:53.840 if you were to transport me back to the fifties 0:28:53.880 --> 0:28:57.280 and just show me his performance and Forbidden Planet, because 0:28:57.960 --> 0:29:01.240 he's playing the role totally serious. But he is such 0:29:01.440 --> 0:29:05.520 a natural ham He's just he's one of those guys 0:29:05.560 --> 0:29:09.960 who the more serious and deadpan and stern. He tries 0:29:10.000 --> 0:29:11.840 to act the funnier it gets. 0:29:12.800 --> 0:29:13.080 Yeah. 0:29:13.200 --> 0:29:16.360 Yeah, And I think the important thing to realize about 0:29:16.680 --> 0:29:21.560 this late career reinvention as a comedic actor, especially with 0:29:21.600 --> 0:29:24.560 those early examples, they work entirely on the basis that 0:29:24.680 --> 0:29:28.280 Nielsen was known for these straightforward, serious roles that were 0:29:28.280 --> 0:29:32.240 a little bit hammy and you know, maybe lacking in 0:29:32.320 --> 0:29:37.760 a lot of nuance and his roleand Forbidden Planet is 0:29:37.760 --> 0:29:40.520 probably like the most famous example, you know, along side 0:29:40.520 --> 0:29:42.360 some other films and a great deal of TV work. 0:29:42.960 --> 0:29:45.480 Yeah. We've talked on the show before about the concept 0:29:45.480 --> 0:29:49.000 of the nineteen fifties movie the leading man as the 0:29:49.040 --> 0:29:52.640 rectangle as sort of a character type. Leslie Nielsen in 0:29:52.680 --> 0:29:57.160 this movie is the ultimate rectangle. Yeah, that is exactly 0:29:57.200 --> 0:29:59.920 what he is. He is just he is just there 0:30:00.480 --> 0:30:05.200 to sternly and straightforwardly execute the main motions of the 0:30:05.280 --> 0:30:07.760 plot and then eventually to kiss the girl. 0:30:08.400 --> 0:30:11.080 Yeah. I think we would not be talking about him 0:30:11.120 --> 0:30:12.959 as much if he did not go on to all 0:30:13.000 --> 0:30:16.280 these other interesting things, because it's it's not a character 0:30:16.280 --> 0:30:19.080 that I found myself really connecting with on any level. 0:30:19.120 --> 0:30:22.960 Like he's just this this sort of hyper masculine ideal 0:30:23.080 --> 0:30:23.360 of the. 0:30:23.320 --> 0:30:28.000 Fifties, but not in an interesting way, not an interesting way. Yeah. Yeah, 0:30:28.040 --> 0:30:30.560 it doesn't like get into that as themes like in 0:30:30.600 --> 0:30:33.680 say The Incredible Shrinking Man or something. Instead, it's just 0:30:33.720 --> 0:30:37.040 sort of unexamined. There are interesting characters in the movie, 0:30:37.280 --> 0:30:41.280 like Morbius and Altara are interesting, but yeah, uh, Doc. 0:30:41.560 --> 0:30:43.360 I think Doc who will get to in a second, 0:30:43.480 --> 0:30:46.680 like he's the character that in many ways should be 0:30:46.920 --> 0:30:49.480 like the main point of focus for us as the 0:30:49.520 --> 0:30:52.080 audience because he does the most amazing things. 0:30:52.320 --> 0:30:56.280 Yes, but Adams is almos. It almost feels like he's 0:30:56.360 --> 0:31:00.000 made boring on purpose. Yeah. 0:31:00.240 --> 0:31:05.720 Now, And of course this is not entirely Leslie Nielsen's fault. 0:31:05.800 --> 0:31:09.720 And I want to point out that Nielsen did have 0:31:09.800 --> 0:31:13.520 I think a pretty strong villain era. He appears as 0:31:13.520 --> 0:31:16.280 a villain in one of my favorite Night Gallery episodes 0:31:16.400 --> 0:31:19.680 nineteen sixty nine. Is a question of fear. I believe 0:31:19.720 --> 0:31:23.640 he's like a former mercenary, just a real ruthless character, 0:31:24.000 --> 0:31:26.640 and I think he ultimately did that really well, playing 0:31:27.760 --> 0:31:29.840 as he aged out of being any kind of a 0:31:30.040 --> 0:31:33.320 leading man character. He could play these like ruthless, cold 0:31:33.400 --> 0:31:36.240 characters really well. He plays one in Stephen King's Creep 0:31:36.280 --> 0:31:39.520 Show from nineteen eighty two, in which he viciously murders 0:31:39.520 --> 0:31:42.800 his wife and her lover, who's played by Ted Danson. 0:31:42.680 --> 0:31:45.040 And then gets some supernatural vengeance. 0:31:45.160 --> 0:31:47.440 Oh yeah, there's some zombie action of course. 0:31:47.560 --> 0:31:50.520 Or vengeance visited upon him gets the vengeance. 0:31:50.680 --> 0:31:54.320 Yeah. Other villain roles of note include nineteen seventy seven's 0:31:54.400 --> 0:31:56.440 Day of the Animals, in which he plays a really 0:31:56.560 --> 0:31:59.520 nasty character, and also nineteen eighty seven's Nuts. 0:32:00.200 --> 0:32:01.840 I'm gonna have to see some more of the Leslie 0:32:01.880 --> 0:32:04.320 Nielsen villain stuff. I'm interested in that. 0:32:04.680 --> 0:32:06.720 And it is interesting that some of these villain roles 0:32:06.760 --> 0:32:09.240 that we just mentioned they occurred after airplanes, so he 0:32:09.800 --> 0:32:11.520 was really It's not like he just was like, oh, 0:32:11.600 --> 0:32:14.080 airplanes here, I can just do comedy from here on out. Like, No, 0:32:14.160 --> 0:32:16.560 he was sort of, you know, keeping it a little 0:32:16.640 --> 0:32:19.160 varied there for a bit, you know, playing a real 0:32:19.200 --> 0:32:21.680 dirt bag here, and then you know, hamming it up 0:32:21.720 --> 0:32:23.240 for laughs on the other side. 0:32:23.640 --> 0:32:26.480 Yeah. Yeah, at some point the rectangle was just cut loose. 0:32:26.840 --> 0:32:28.800 You got some curves, got some corners. 0:32:29.320 --> 0:32:31.800 Yeah, all right. The next character we want to talk 0:32:31.800 --> 0:32:35.400 about is Lieutenant doc Ostro, played by Warren Stevens, who 0:32:35.440 --> 0:32:38.600 of nineteen nineteen through twenty twelve. This is the character 0:32:39.040 --> 0:32:42.240 that I think is the most interesting. He's the male 0:32:42.360 --> 0:32:45.280 character that I found myself relating to the most because 0:32:45.320 --> 0:32:47.959 he seemed most on mission. I think he was the 0:32:48.000 --> 0:32:51.360 only one that was not concerned with hitting on the 0:32:51.400 --> 0:32:55.320 strange alien woman. He's the one who actually attempts to 0:32:55.360 --> 0:32:58.440 solve problems that are the larger problems of the plot 0:32:59.200 --> 0:33:03.200 and has a tragic trajectory as opposed to the heroic 0:33:03.240 --> 0:33:06.120 trajectory of Leslie Nielsen's character. 0:33:06.640 --> 0:33:09.920 You know, I feel like there are things said about 0:33:10.160 --> 0:33:14.640 this character that are not fully demonstrated in any way 0:33:14.680 --> 0:33:17.440 that I recall, and that makes me wonder if there 0:33:17.480 --> 0:33:20.720 were more originally in the script, maybe some more interactions 0:33:20.720 --> 0:33:23.560 with him that didn't make it to the final cut. Specifically, 0:33:23.640 --> 0:33:29.960 I'm thinking of how it's implied that when Morbius meets 0:33:30.040 --> 0:33:33.200 the main members of the crew that he really sort 0:33:33.240 --> 0:33:36.680 of bonds with Ostro about like Ostro being a kind 0:33:36.680 --> 0:33:40.040 of scholar, a man of learning, somebody who's interested in 0:33:41.200 --> 0:33:44.560 learning scientific complexities and stuff like that, which, unless I'm 0:33:44.720 --> 0:33:47.959 forgetting something, I don't think we ever really see demonstrated 0:33:47.960 --> 0:33:50.800 about the character. It's just sort of said about him. 0:33:51.240 --> 0:33:54.920 It's worth noting that this film in many ways influenced 0:33:54.920 --> 0:33:57.760 Star Trek. We'll get to some examples of that with 0:33:58.000 --> 0:34:01.200 from a visual standpoint in a bit. But also you 0:34:01.200 --> 0:34:04.880 can easily look at Commander Adams Leslie Nielsen's character as 0:34:04.920 --> 0:34:07.480 sort of being a proto Kirk, and you can kind 0:34:07.520 --> 0:34:10.280 of look at Ostro as being a proto Spock. 0:34:11.080 --> 0:34:14.239 Kind of. Yeah, you would think Bones because the doctor Bones. Yeah, 0:34:14.600 --> 0:34:17.120 but no, Yeah, he's a little bit more spocky. He's 0:34:17.120 --> 0:34:18.720 somewhere between Bones and Spock. 0:34:19.160 --> 0:34:21.160 He does the sort of thing that I guess you 0:34:21.160 --> 0:34:25.439 could see Bones or Spock doing what this character ultimately does, 0:34:25.480 --> 0:34:26.440 but especially Spock. 0:34:26.800 --> 0:34:29.040 Yeah. And then the third guy in the main three 0:34:29.280 --> 0:34:31.160 landing party is just like Kirk two. 0:34:32.239 --> 0:34:35.480 Yes, yeah, I'll get to him and well, I'll go 0:34:35.520 --> 0:34:37.600 ahead mention him and then come back to to Stevens. 0:34:37.640 --> 0:34:41.240 But yeah. Jack Kelly plays Lieutenant Farman who live nineteen 0:34:41.280 --> 0:34:44.000 twenty seven through nineteen ninety two, American actor whose other 0:34:44.040 --> 0:34:46.839 credits include sixty one's A Fever in the Blood and 0:34:46.920 --> 0:34:50.840 the TV show Maverick Warren Stevens. He also did a 0:34:50.880 --> 0:34:54.839 fair amount of TV best Remembered for his role here 0:34:54.880 --> 0:34:57.439 and Forbidden Planet. His other film credits include nineteen fifty 0:34:57.440 --> 0:34:59.600 four is Gorilla at Large Again, You gotta have a 0:34:59.640 --> 0:35:02.560 Gorilla movie in there somewhere, and The Barefoot Contests I 0:35:02.640 --> 0:35:05.360 believe from the same year, opposite Humphrey Bogart and Ava 0:35:05.400 --> 0:35:09.319 Gardner nineteen sixty six is Cyborg twenty eighty seven, and 0:35:09.440 --> 0:35:12.440 he apparently has a cameo in nineteen ninety one Samurai Cup. 0:35:12.480 --> 0:35:16.840 Wow Man Cyborg twenty eighty seven. That sounds like the 0:35:16.960 --> 0:35:19.600 name of a movie from the eighties, not a movie 0:35:19.600 --> 0:35:20.600 from the sixties. 0:35:21.000 --> 0:35:22.759 Yeah, I'm gonna have to look into that one more. 0:35:23.360 --> 0:35:26.280 Another crew member to briefly mention, we have Richard Anderson 0:35:26.320 --> 0:35:29.960 playing Chief Quinn. He lived nineteen twenty six through twenty seventeen, 0:35:30.000 --> 0:35:33.400 American actor who also appeared in Stanley Kubrick's nineteen fifty 0:35:33.400 --> 0:35:36.719 seven war picture Paths of Glory. I don't remember who 0:35:36.760 --> 0:35:39.439 exactly he was in that. It's been a while since 0:35:39.440 --> 0:35:43.400 I've seen that movie. But he was also a regular 0:35:43.480 --> 0:35:47.040 cast member on TV's The Six Million Dollar Man. But 0:35:47.120 --> 0:35:50.840 now it's time to talk about Cook Coook. What a character. 0:35:51.600 --> 0:35:53.239 I think at some point the other day I just 0:35:53.320 --> 0:35:56.960 texted you the word Cook. Yeah. 0:35:57.040 --> 0:35:59.279 Cook. I was not expecting Cook. I should also add 0:35:59.480 --> 0:36:01.960 I had not scene Forbiden Planet before before seeing it 0:36:02.000 --> 0:36:06.040 in the theater, and I think I was kind of 0:36:06.360 --> 0:36:11.839 expecting more like pure high minded science fiction. So the 0:36:11.840 --> 0:36:16.040 Hammier elements kind of surprised me, and then Cook really 0:36:16.080 --> 0:36:20.960 surprised me. A pure comic relief character who initially just 0:36:21.040 --> 0:36:24.279 kind of like wanders into the scene like stirring some 0:36:24.320 --> 0:36:28.040 biscuits or something and starts asking wise guy questions about 0:36:28.040 --> 0:36:28.560 the plot. 0:36:28.960 --> 0:36:32.240 Yeah. I mean, so they're going to another star system 0:36:32.360 --> 0:36:35.359 on this like multi year voyage to Altara four, and 0:36:35.440 --> 0:36:37.920 some of the crew members are just guys like Cook. 0:36:38.040 --> 0:36:40.840 Cook is just a total bumpkin who is looking for 0:36:40.960 --> 0:36:43.080 whiskey on the other edge of the galaxy. 0:36:44.120 --> 0:36:46.440 Yeah, He's like he sees Robby the rovine. He's like, well, 0:36:46.520 --> 0:36:48.040 what is it as a man? Is it a woman? 0:36:50.000 --> 0:36:50.239 What? 0:36:51.680 --> 0:36:55.040 Yeah, we we have a lot to say about Cook here, 0:36:55.080 --> 0:36:57.640 played by Earl Holloman who lived in nineteen twenty eight 0:36:57.640 --> 0:37:00.680 through twenty twenty four. Real Mike Nelson and looking guy 0:37:00.760 --> 0:37:01.480 after say. 0:37:01.960 --> 0:37:04.680 Yeah, yeah, I could see Cook was almost like a 0:37:04.920 --> 0:37:07.200 character Mike Nelson would have played in one of the 0:37:07.239 --> 0:37:08.640 early show skits. 0:37:08.480 --> 0:37:12.600 Yes, exactly. I could have easily imagined Mike Nelson, you know, 0:37:12.719 --> 0:37:15.000 walking out on the set of The Sidle Lot of Love, 0:37:15.280 --> 0:37:19.000 like stirring the pot here. Now, Holloman's pretty interesting because 0:37:19.000 --> 0:37:20.359 he went on to appear in a number of big 0:37:20.400 --> 0:37:22.960 films in the nineteen fifties. He was in A fifty 0:37:23.000 --> 0:37:27.080 six Giant. He was also in The rain Maker and 0:37:27.880 --> 0:37:30.240 The rain Maker. His role in that earned him a 0:37:30.239 --> 0:37:34.200 Golden Globe Award for Best Supporting Actor, and he remained 0:37:34.200 --> 0:37:37.120 active up until I believe two thousand, doing a lot 0:37:37.120 --> 0:37:39.759 of TV, as well as popping up in nineteen eighty one. 0:37:39.840 --> 0:37:43.239 Sharky's Machine, which keeps coming up on the show in 0:37:43.280 --> 0:37:45.040 the Connections, I've never seen it, but it is a 0:37:45.080 --> 0:37:48.600 neo noir set in Atlanta, directed by Burt Reynolds. So 0:37:48.600 --> 0:37:50.120 at some point I need to actually sit down and 0:37:50.120 --> 0:37:51.080 watch Sharky's Machine. 0:37:51.120 --> 0:37:52.839 I guess, yeah, I've never seen it either. 0:37:53.239 --> 0:37:54.839 I mean I don't even know that it actually has 0:37:54.840 --> 0:37:58.280 a machine. I had that question pop into my head 0:37:58.600 --> 0:38:00.640 and I was looking at the wikiped the article and 0:38:00.680 --> 0:38:02.920 like the plot summary, It's like, well, is there a 0:38:02.960 --> 0:38:04.719 machine or is there not a machine. I think the 0:38:04.800 --> 0:38:07.600 machine is one of the supporting characters. I don't know. 0:38:08.400 --> 0:38:10.680 I know Sharky is Burt Reynolds. That's oh okay. 0:38:11.440 --> 0:38:14.279 Maybe a machine is like a like a system of 0:38:14.400 --> 0:38:18.320 people doing something like a like a crime. Crime syndicate 0:38:18.440 --> 0:38:19.719 is a machine in some way. 0:38:20.239 --> 0:38:24.840 And speaking of machines, this film also famously stars Robbie 0:38:24.840 --> 0:38:27.240 the Robot playing Robbie the Robot. 0:38:27.840 --> 0:38:28.920 They give him billing. 0:38:29.560 --> 0:38:33.399 He has billing, and I am just ever pleased by 0:38:33.400 --> 0:38:36.480 the fact that he has his own IMDb page. He 0:38:36.600 --> 0:38:41.080 is treated by IMDb as an actual actor, alongside various 0:38:41.120 --> 0:38:44.600 dogs and cats and of course living in deceased human beings. 0:38:45.920 --> 0:38:50.080 This was his screen debut. Robbie the Robot was essentially 0:38:50.120 --> 0:38:52.480 born in nineteen fifty five. He was born in the 0:38:52.600 --> 0:38:57.400 MGM Props Department, with credit generally going to A. Arnold Gilepsi, 0:38:57.960 --> 0:39:02.200 Doug Hubbard, and Robert kin Shida. He's voiced here by 0:39:02.280 --> 0:39:05.320 Marvin Miller, who lived nineteen thirteen through nineteen eighty five, 0:39:05.800 --> 0:39:09.920 with Frankie Darrow who lived nineteen seventeen through nineteen seventy six. Actually, 0:39:10.040 --> 0:39:14.439 in the suit, it is a suit. It's a big, 0:39:14.560 --> 0:39:20.040 clunky prop. Shane Morton, the host of the Silver Screens 0:39:20.040 --> 0:39:24.480 Spook Show, mentioned that in the intro to the presentation 0:39:24.520 --> 0:39:26.880 of the picture that it was apparently really loud, and 0:39:26.920 --> 0:39:30.480 if you watch Forbidden Planet a lot, you can maybe 0:39:30.560 --> 0:39:33.440 note that actors are maybe speaking a little louder when 0:39:33.440 --> 0:39:36.000 they're sharing a screen time with Robbie the Robot, because 0:39:36.000 --> 0:39:38.839 he had all sorts of clunky of business going on 0:39:38.960 --> 0:39:43.479 in his body, and it is probably a clunky, old 0:39:43.480 --> 0:39:46.480 fashioned design by today's standards, but it's an amazing build 0:39:46.600 --> 0:39:49.360 that you know, certainly resonated with sci fi fans. It 0:39:49.400 --> 0:39:53.600 made him icon of the genre. Is you think about 0:39:53.760 --> 0:39:57.160 robots from the nineteen fifties and sixties, you're probably going 0:39:57.239 --> 0:39:58.560 to think about Robbie the Robot. 0:39:58.920 --> 0:40:02.920 Oh Man, flunkiness does not downgrade him at all in 0:40:03.000 --> 0:40:06.040 my mind. I think Robbie is still to this day 0:40:06.800 --> 0:40:09.799 one of the best robots ever put on film. I 0:40:10.080 --> 0:40:13.480 love so much about his design. I love the non 0:40:13.719 --> 0:40:17.600 humanoid moving parts, so not just the arms and legs, 0:40:17.640 --> 0:40:22.680 but things like the cycling typewriter guts inside, the clear 0:40:22.719 --> 0:40:26.960 plastic dome of his head, and the chemical analyzer, the 0:40:27.000 --> 0:40:31.000 male slot mouth thing in his chest, the spinning navigation 0:40:31.120 --> 0:40:34.480 an tinny. It's just one of the best robot designs ever, 0:40:34.560 --> 0:40:38.040 and I love every moment he's on screen. I love 0:40:38.120 --> 0:40:41.600 the I think this is what you were just alluding to, 0:40:41.960 --> 0:40:46.560 being very loud. I love the clacking sound that starts 0:40:46.600 --> 0:40:50.000 as like the parts are moving inside before he starts talking. 0:40:50.480 --> 0:40:53.920 Yeah, yeah, it's a great design. I love his shape. 0:40:54.000 --> 0:40:57.799 He has a great silhouette, instantly recognizable. I love his 0:40:57.880 --> 0:41:04.359 little centaur, a vehicle that he climbs into to roam 0:41:04.400 --> 0:41:05.640 about on the planet's surface. 0:41:05.760 --> 0:41:06.920 Oh the buggy, Yeah. 0:41:06.840 --> 0:41:10.080 Yeah, so yeah, Robbie the Robot. He followed this up 0:41:10.120 --> 0:41:13.160 with the spinoff The Invisible Boy, in which a boy 0:41:13.239 --> 0:41:16.000 named Timmy in the year nineteen fifty seven is given 0:41:16.040 --> 0:41:19.319 a given super intelligence by a supercomputer and then he 0:41:19.520 --> 0:41:22.799 like reassembles Robbie again. This is kind of like a 0:41:22.840 --> 0:41:25.840 loose spin off sequel. I don't think it really necessarily 0:41:25.880 --> 0:41:29.120 supposed to think it is a legitimate follow up to 0:41:29.160 --> 0:41:33.560 Forbid the Planet, But Robbie the Robot mostly appeared in 0:41:33.600 --> 0:41:37.080 TV cameos after this. He showed up on the Twilight Zone, 0:41:37.320 --> 0:41:42.040 The Adams Family Lost in Space opposite the Robot the 0:41:42.120 --> 0:41:45.960 Robot from Lost in Space is another iconic robot costume 0:41:46.000 --> 0:41:49.360 of the time period. Showed up on Colombo, Wonder Woman, 0:41:49.480 --> 0:41:52.520 Mork and Mindy the Love Boat, and then you know 0:41:52.600 --> 0:41:55.719 of later appearances and things like Earth Girls Are Easy. 0:41:55.320 --> 0:41:55.400 And. 0:41:57.520 --> 0:42:00.560 Sometimes at IMDb he's credited as toy. I'm guessing like 0:42:00.560 --> 0:42:03.040 maybe he just shows up as a Robbie the Robot toy, 0:42:03.080 --> 0:42:04.319 which isn't quite the same thing. 0:42:04.680 --> 0:42:07.120 Yeah, some of his cameos are just he's a prop 0:42:07.160 --> 0:42:08.080 in the background. 0:42:08.400 --> 0:42:11.040 Yeah, but I think on like The Twilight Zone, he 0:42:11.400 --> 0:42:14.400 shows up as like it is a plot element to 0:42:14.440 --> 0:42:19.240 some extent, like he has a robot. 0:42:23.960 --> 0:42:26.920 So I mentioned earlier that the special effects throughout the 0:42:26.920 --> 0:42:31.800 film just look fantastic, Robbie of course being a major 0:42:31.840 --> 0:42:34.440 one of them, the prop created there. But also there 0:42:34.480 --> 0:42:38.520 are some animation effects in this movie that are I 0:42:38.560 --> 0:42:42.320 think just unparalleled, just absolutely spectacular. 0:42:43.080 --> 0:42:47.279 That's right, because eventually we begin we begin to have 0:42:47.360 --> 0:42:50.920 these attacks by some sort of a monster, but it 0:42:50.960 --> 0:42:53.880 is an invisible monster for the most part, and we 0:42:54.000 --> 0:42:57.920 only get glimpses of its form as it interacts with 0:42:58.000 --> 0:43:01.920 various force fields and so forth, various like you know, 0:43:02.440 --> 0:43:06.920 energy sources, and the like. And when this occurs, we 0:43:06.960 --> 0:43:10.480 are seeing special effects that I believe are largely the 0:43:10.520 --> 0:43:14.120 work of one Joshua Maydor, who lived nineteen eleven through 0:43:14.200 --> 0:43:18.880 nineteen sixty five. He's credited with special effects through courtesy 0:43:18.920 --> 0:43:22.320 of Walt Disney Productions, because indeed he was an animator 0:43:22.320 --> 0:43:25.080 and special effects artist who had worked on numerous Walt 0:43:25.120 --> 0:43:29.480 Disney animated features such as thirty seven Snow White nineteen forties, 0:43:29.880 --> 0:43:34.319 Fantasia nine fifties, Cinderella later on, as well as such 0:43:34.360 --> 0:43:37.160 live action productions as fifty four to twenty thousand Leagues 0:43:37.200 --> 0:43:40.479 under the Sea, which we just mentioned. And so yeah, 0:43:40.520 --> 0:43:44.840 his talents helped bring to life the invisible monstrosity. You know, 0:43:44.840 --> 0:43:47.080 they have some practical effects too, like you know, a 0:43:47.120 --> 0:43:50.200 tree getting knocked over on the set when the creature passes, 0:43:50.440 --> 0:43:53.600 But then also these animated effects that kind of give 0:43:53.680 --> 0:43:56.160 us a glimpse of this big kind of you know, 0:43:56.280 --> 0:43:59.319 monstrous almost I don't know, kind of like dog like 0:43:59.400 --> 0:44:01.200 bear like grimlin like being. 0:44:01.680 --> 0:44:04.480 I mean, we never see a very clear picture of 0:44:04.520 --> 0:44:07.360 what it is, which makes it all the more interesting. 0:44:07.480 --> 0:44:12.120 Like you only get these sort of illuminated electric outlines 0:44:12.160 --> 0:44:14.640 of the face in which it is. It is something 0:44:14.680 --> 0:44:18.600 that's kind of raging. It has a snarling, toothy mouth. 0:44:18.719 --> 0:44:22.359 It's gigantic, of course, and it also appears to be 0:44:22.800 --> 0:44:24.880 I don't know, almost kind of pyramid shaped. 0:44:25.360 --> 0:44:29.040 Yeah, so it's really cool and I think these effects 0:44:29.040 --> 0:44:33.040 hold up really well made or Outside of this, would 0:44:33.080 --> 0:44:36.279 mostly continue to work on Disney films and TV projects 0:44:36.320 --> 0:44:38.880 for the rest of his career, including animation effects on 0:44:38.920 --> 0:44:41.560 Darby Ogill and The Little People in fifty nine. He 0:44:41.640 --> 0:44:43.240 was also apparently an accomplished painter. 0:44:44.400 --> 0:44:46.399 Now, Rob, I know you already said you had been 0:44:46.520 --> 0:44:49.600 listening to the sounds from the film. I don't know 0:44:49.640 --> 0:44:53.279 if they called it a soundtrack in this in this 0:44:53.360 --> 0:44:56.200 case because a lot of it is not exactly what 0:44:56.239 --> 0:44:59.000 we'd think of as music, but is very important for 0:44:59.080 --> 0:45:02.359 the feeling of the film. But it was produced by 0:45:02.480 --> 0:45:04.440 actually a pair of creators, right. 0:45:04.560 --> 0:45:07.480 Yeah, a husband and wife team Beebe and Lewis Baron. 0:45:08.680 --> 0:45:10.880 Boebe lived nineteen twenty sixty two thousand and eight and 0:45:11.000 --> 0:45:14.279 Lewis lived nineteen twenty through nineteen eighty nine, and they 0:45:14.320 --> 0:45:20.279 are credited as composer electronic tonalities, which is perfect a 0:45:21.800 --> 0:45:25.880 perfect way to describe the music that they create. But 0:45:25.920 --> 0:45:31.080 I think there were also some technicalities regarding unions where 0:45:31.120 --> 0:45:34.040 they weren't allowed to say that it was a film 0:45:34.080 --> 0:45:38.640 score because they were not in the Music Film Score 0:45:38.760 --> 0:45:42.200 Union at the time, and I think therefore were also 0:45:42.320 --> 0:45:47.480 not eligible for OSCAR nomination. But yes, the score is terrific. 0:45:47.560 --> 0:45:50.640 It is an historic score in that it is the 0:45:50.760 --> 0:45:54.840 first fully electronic score for a motion picture. By nineteen 0:45:54.880 --> 0:45:58.480 fifty six, movies had been utilizing electronic elements in their 0:45:58.520 --> 0:46:01.520 sound design for quite a while. I was reading a 0:46:01.560 --> 0:46:03.799 little bit about the use of the therem and in 0:46:03.920 --> 0:46:06.560 film in a twenty eighteen article for The Script Lab 0:46:06.680 --> 0:46:11.320 by Claire Nina Anarelli, pointing out that the Theoreman was 0:46:11.360 --> 0:46:16.240 invented in nineteen twenty and by around nineteen thirty nineteen 0:46:16.280 --> 0:46:19.800 thirty one it was used in the Russian film auDNA 0:46:19.960 --> 0:46:23.080 or Alone. This was originally going to be a silent film, 0:46:23.120 --> 0:46:26.839 but then apparently had music, sound effects and some dialogue 0:46:26.920 --> 0:46:30.440 recorded in post and then played alongside it, and among 0:46:30.480 --> 0:46:35.760 those sounds we had Theramy music. There's another electronic instrument 0:46:35.880 --> 0:46:38.520 of the time period. In an early electronic instrument called 0:46:38.560 --> 0:46:42.480 the let's say the one Martineau, and this was also 0:46:42.600 --> 0:46:48.160 used in various scores and sound designs, including Bride of Frankenstein. 0:46:49.400 --> 0:46:52.440 And the author here points out that the instruments, this 0:46:52.520 --> 0:46:55.000 instrument that Theram in particular in particular, began to pop 0:46:55.080 --> 0:46:58.600 up in Hollywood films during the mid nineteen forties, generally 0:46:58.600 --> 0:47:02.240 to at first to emphasize instability, such as in nineteen 0:47:02.280 --> 0:47:06.799 forty five Spellbound, so a destabilizing sonic effect, but then 0:47:06.880 --> 0:47:10.240 it began to be associated with sci fi and spaceships 0:47:10.640 --> 0:47:14.640 in nineteen fifty with rocket Ship XM, and then of 0:47:14.680 --> 0:47:17.280 course in nineteen fifty one's The Day the Earth Stood Still, 0:47:17.680 --> 0:47:21.759 which features a traditional orchestral score but with two theremins 0:47:22.440 --> 0:47:27.000 so again. Up until this point, cinema had been playing 0:47:27.080 --> 0:47:29.600 with a little electronic sound, but no one had fully 0:47:29.640 --> 0:47:35.480 committed to a full length motion picture with exclusively electronic 0:47:35.560 --> 0:47:39.920 music until now. And apparently, like I was reading, apparently 0:47:39.960 --> 0:47:41.680 the way it started out, they were like, well, let's 0:47:41.760 --> 0:47:44.880 these guys were doing some really interesting work BB and Lewis. 0:47:45.000 --> 0:47:46.640 Let's bring them in to do you know, a few 0:47:46.680 --> 0:47:50.040 minutes worth of sound. And then like the right people 0:47:50.160 --> 0:47:51.759 liked it, and they were like, let's have them do 0:47:51.840 --> 0:47:56.759 the whole thing. Let's let's do this exclusively, which you know, 0:47:57.680 --> 0:48:01.759 for various reasons, this wasn't popular with everyone, and I 0:48:01.800 --> 0:48:04.160 can imagine, yeah, there were probably some people who are like, 0:48:04.200 --> 0:48:07.280 this doesn't sound like a film score, this doesn't sound 0:48:07.360 --> 0:48:11.200 like music. I mean, I would disagree. But their work 0:48:11.960 --> 0:48:17.160 was apparently very avant garde. They you know, they used 0:48:17.960 --> 0:48:22.160 ring modulator circuits and then altered the results with reverb, 0:48:22.400 --> 0:48:26.239 tape delay and other editing techniques. Apparently there was a 0:48:26.320 --> 0:48:30.120 very high unpredictability with their work, Like if they successfully 0:48:30.160 --> 0:48:33.440 created a certain soundscape, they couldn't necessarily come back and 0:48:33.480 --> 0:48:36.560 recreate it in the same way. So it was kind 0:48:36.560 --> 0:48:39.400 of a roll of the dice and then and then 0:48:39.440 --> 0:48:42.000 an editing exercise to get something that they wanted. 0:48:42.480 --> 0:48:45.120 Yeah, I think a lot of music creators today might 0:48:45.200 --> 0:48:47.080 know that effect. If you've got like a pedal board 0:48:47.080 --> 0:48:50.280 that you run through and you might create some sound 0:48:50.360 --> 0:48:52.560 you really like, but then you mess with the knobs 0:48:52.600 --> 0:48:54.080 and then you can't get it to sound the same 0:48:54.120 --> 0:48:55.640 way again, you forget how you did it. 0:48:56.080 --> 0:48:58.719 Oh wow wow. So yeah, at this point, yeah, they 0:48:58.719 --> 0:49:02.920 were very avant garde. They had been contributing electronic sounds 0:49:02.960 --> 0:49:05.759 to various generally like short art films like the work 0:49:05.800 --> 0:49:09.120 of Ian Hugo. I believe he did some adaptations of 0:49:09.120 --> 0:49:12.400 an highs nin short stories, that sort of thing, so 0:49:12.480 --> 0:49:16.319 nothing that was at all mainstream Hollywood. And then here 0:49:16.360 --> 0:49:21.879 they are scoring the tonalities of Forbidden Planet, and I think, yeah, 0:49:21.920 --> 0:49:25.160 it's it's tremendous, but it is deeply weird and alien. 0:49:25.280 --> 0:49:30.120 It is largely devoid of any melodic content. It just 0:49:31.040 --> 0:49:34.040 the sounds like twinkle like stars against the dark void. 0:49:34.080 --> 0:49:37.160 They drip like liquid metal and alien caves, and it 0:49:37.239 --> 0:49:41.600 just delivers an overwhelming vibe of just inhuman mystery, which 0:49:42.160 --> 0:49:46.120 works exceedingly well with various aspects of the plot and 0:49:46.160 --> 0:49:49.080 certainly the look of the picture. Maybe less so with 0:49:49.120 --> 0:49:52.480 the more you know, hammy aspects of it. But to 0:49:52.520 --> 0:49:55.640 their credit, nobody went in and added like goofy sound 0:49:55.640 --> 0:49:59.320 effects for the comedic moments, like all the sound design 0:49:59.400 --> 0:50:01.279 we have here is exclusively sci fi. 0:50:01.640 --> 0:50:05.239 I think it's the kind of thing that too audiences 0:50:05.280 --> 0:50:09.640 going back today feels less groundbreaking because we have experienced 0:50:09.680 --> 0:50:13.160 a lot of what followed in its footsteps, and that 0:50:13.239 --> 0:50:16.560 if we were to be there in nineteen fifty six. 0:50:16.680 --> 0:50:20.399 We would probably recognize the sound of this movie as 0:50:20.440 --> 0:50:24.840 being more we would recognize it for being how unique 0:50:24.880 --> 0:50:25.839 in time it was. 0:50:26.880 --> 0:50:30.399 Yeah, I mean, it seems I can imagine people being 0:50:30.640 --> 0:50:34.239 surprised though, because it at least, you know, to my ears, 0:50:34.239 --> 0:50:36.680 it hits pretty hard. It seems. It feels pretty far 0:50:36.760 --> 0:50:39.440 removed from something like, you know, some of the work 0:50:39.440 --> 0:50:41.440 of say Wendy Carlos, you would get a little over 0:50:41.480 --> 0:50:45.120 a decade later, was like Switched on Bach melodic. Yeah, yeah, 0:50:45.239 --> 0:50:48.239 very melodic, but very electronic at the same time. And 0:50:48.280 --> 0:50:51.600 this is just like, yeah, this stuff is just alien. 0:50:51.800 --> 0:50:53.879 It does not have the human touch, and I love 0:50:53.920 --> 0:50:56.760 it for that. But it it seems like a minor 0:50:56.800 --> 0:50:59.239 miracle that this score exists at all. It seems like 0:50:59.360 --> 0:51:02.880 exactly the sort of score that some sort of producer 0:51:02.920 --> 0:51:04.839 would come along and say and say, like, we can't 0:51:04.920 --> 0:51:07.160 use this. You can use it when the spaceship's landing, 0:51:07.360 --> 0:51:09.880 but let's get some stock music in here so that 0:51:09.920 --> 0:51:11.440 the humans can connect with the plot. 0:51:11.640 --> 0:51:14.919 Yeah that's too weird. Yeah, but no, they got away 0:51:14.960 --> 0:51:17.640 with it, and I'm glad they did. All Right, you 0:51:17.640 --> 0:51:19.120 want to talk about the plot. 0:51:19.120 --> 0:51:20.720 Let's get into the plot. 0:51:20.800 --> 0:51:23.440 Warning that this movie does have, in my opinion, some 0:51:23.480 --> 0:51:26.760 pretty good twists and reveals in it, especially the ending, 0:51:26.760 --> 0:51:28.840 and we are going to be talking about those. So 0:51:28.960 --> 0:51:31.240 if you want to see it without having anything spoiled, 0:51:31.520 --> 0:51:33.920 I would suggest pausing and doing that now. 0:51:35.200 --> 0:51:36.800 But you're still here, so I guess it's okay. 0:51:37.000 --> 0:51:40.439 Yeah, So opening monologue, I'm just going to read this 0:51:40.680 --> 0:51:43.440 to set the tone. The voice over tells us. In 0:51:43.520 --> 0:51:46.400 the final decade of the twenty first century, men and 0:51:46.440 --> 0:51:50.440 women in rocket ships landed on the Moon. Great start. 0:51:50.480 --> 0:51:51.759 Do you think we're going to make it to the 0:51:51.760 --> 0:51:57.200 Moon by the twenty nineties. By twenty two hundred AD, 0:51:57.400 --> 0:51:59.920 they had reached the other planets of our Solar system 0:52:00.400 --> 0:52:04.000 almost at once. There followed the discovery of hyperdrive, through 0:52:04.040 --> 0:52:07.040 which the speed of light was first attained and later 0:52:07.280 --> 0:52:11.600 greatly surpassed. And so at last mankind began the conquest 0:52:11.640 --> 0:52:16.440 and colonization of deep space. United Planets Cruiser C fifty 0:52:16.480 --> 0:52:19.320 seven D now more than a year out from Earth 0:52:19.360 --> 0:52:22.480 base on a special mission to the planetary system of 0:52:22.520 --> 0:52:26.680 the great main sequence star Altair. And so it's showing 0:52:26.760 --> 0:52:28.839 us the spaceship as it tells us what it is 0:52:29.960 --> 0:52:33.640 one thing I want to note here. In Forbidden Planet, 0:52:33.920 --> 0:52:39.240 the spaceship used by the human heroes is a flying saucer, 0:52:40.160 --> 0:52:42.440 and I think this is notable because while the flying 0:52:42.480 --> 0:52:46.000 saucer was absolutely well known in science fiction of the time, 0:52:46.040 --> 0:52:49.480 it had already been used in multiple movies. I think 0:52:49.560 --> 0:52:52.840 it was usually the form of ship used by non 0:52:53.080 --> 0:52:58.640 human aliens. More often, human ships are shown as elongated 0:52:58.719 --> 0:53:02.000 and cylindrical, vaguely rocket shaped, or maybe they were shaped 0:53:02.080 --> 0:53:05.800 like an airplane. I don't know if there is anything 0:53:05.840 --> 0:53:08.640 to read into this choice as far as the intentions 0:53:08.680 --> 0:53:12.080 of the filmmakers go, but at least to me, the 0:53:12.160 --> 0:53:16.400 choice of putting humans inside the flying saucer instead of 0:53:16.440 --> 0:53:20.040 having that be the alien vessel suggests that we are 0:53:20.160 --> 0:53:23.280 the aliens, which is relevant to the movie in multiple ways. 0:53:23.320 --> 0:53:25.480 One of these will be a spoiler, so again spoiler 0:53:25.480 --> 0:53:29.080 warning number one. Of course, in this story, the humans 0:53:29.120 --> 0:53:33.120 are colonizing an exoplanet far beyond Earth, so we are 0:53:33.239 --> 0:53:35.719 the aliens in the scenario. We're not in our own 0:53:35.760 --> 0:53:39.920 cosmic neighborhood. But the other sense in which humans are 0:53:40.040 --> 0:53:42.279 the aliens in this movie has to do with the 0:53:42.320 --> 0:53:46.600 big twist at the end. The supposedly alien force that 0:53:46.760 --> 0:53:50.320 is attacking the humans is not actually of alien origin 0:53:50.600 --> 0:53:53.520 but of human origin. And so anyway, I was thinking 0:53:53.520 --> 0:53:55.040 about this for a bid. It made me think it 0:53:55.120 --> 0:53:57.279 might be interesting at some point to come back into 0:53:57.320 --> 0:54:01.480 a deep dive on the history of this ship form, 0:54:01.560 --> 0:54:04.440 on the idea of the flying saucer as a shape, 0:54:05.360 --> 0:54:07.520 to kind of look at that in history as far 0:54:07.560 --> 0:54:10.840 as like UFO reports go, and then also in popular culture, 0:54:11.520 --> 0:54:14.240 but then also compare that to real you know, flying 0:54:14.280 --> 0:54:15.279 machine designs. 0:54:16.040 --> 0:54:19.480 Yeah, yeah, I'm all for it. One quick note on 0:54:19.520 --> 0:54:24.440 ship design again, this film was very influential on the 0:54:24.440 --> 0:54:27.640 the ultimate shape that Star Trek would take. And it's 0:54:27.680 --> 0:54:31.040 often pointed out that the stars the Starship Enterprise is 0:54:31.080 --> 0:54:34.279 in many ways a disc based ship as well. It 0:54:34.360 --> 0:54:37.919 is a flying saucer, but with other elements added to it. Yeah, 0:54:38.200 --> 0:54:41.080 you know, with engines and the lower you know, engineering 0:54:41.080 --> 0:54:43.719 portion of the ship and all, but you know, it's 0:54:43.800 --> 0:54:48.799 mostly flying saucer and and part of that seems to 0:54:49.000 --> 0:54:50.280 come from Forbidden Planet. 0:54:50.520 --> 0:54:52.120 Yeah, it's kind of like a it's like a flying 0:54:52.120 --> 0:54:55.960 saucer with a stem and legs. Yeah. So anyway, I'm 0:54:55.960 --> 0:54:58.520 going to try to summarize the setup of the film here. So, 0:54:58.760 --> 0:55:02.480 the crew of the uninspiringly named C fifty seven D 0:55:03.400 --> 0:55:06.400 are on a mission to the planet Alta four to 0:55:06.600 --> 0:55:11.239 investigate what happened to a ship named the Bellerophon, which 0:55:11.360 --> 0:55:14.760 ventured out to the planet twenty years prior. In command 0:55:14.800 --> 0:55:18.520 of this mission is JJ Adams, A by God Rectangle. 0:55:18.560 --> 0:55:22.919 If we ever saw one gruff, tough, no nonsense, you'd 0:55:22.960 --> 0:55:25.680 really get the feeling that he expects a rost ready 0:55:25.719 --> 0:55:29.399 when he gets home from space. Yes, yeah, So when 0:55:29.480 --> 0:55:33.440 the crew reaches the vicinity of Altar four, they receive 0:55:33.600 --> 0:55:36.720 a radio message from a man. It's a human voice. 0:55:36.719 --> 0:55:39.640 He comes on the radio and identifies himself as doctor 0:55:39.760 --> 0:55:43.400 Edward Morbius. They check that against the manifest of the 0:55:43.440 --> 0:55:46.160 original mission, and they verified that was part of the 0:55:46.160 --> 0:55:50.520 original crew. Morbius is supposed to be there, though curiously 0:55:50.600 --> 0:55:54.480 they note that he was a philologist, a language expert, 0:55:54.560 --> 0:55:56.840 which is not exactly what you imagine in the landing 0:55:56.880 --> 0:56:01.760 party among your geologists and exobiology and engineers and so forth. 0:56:02.719 --> 0:56:06.520 Morbius warns them not to land. He says doing so 0:56:06.600 --> 0:56:10.880 would put them in grave danger, but Adams is not deterred. 0:56:11.040 --> 0:56:14.279 It's the mission, gentlemen, We've got a land. So they 0:56:14.280 --> 0:56:16.960 come and set down in the middle of this vast 0:56:17.160 --> 0:56:21.720 desert plain surrounded by jagged mountains, and oh, I love 0:56:22.120 --> 0:56:25.120 love the design of the surface of all Ta four. 0:56:25.239 --> 0:56:29.520 Here there is a painted backdrop which has a green 0:56:29.640 --> 0:56:33.880 sky and sort of different strata of clouds with multiple 0:56:33.960 --> 0:56:37.799 moons in the background. I love the rocky mountains. But 0:56:37.840 --> 0:56:40.359 also this is not a barren, rocky planet, like we're 0:56:40.400 --> 0:56:42.800 looking at a kind of desert plain, but different parts 0:56:42.800 --> 0:56:47.200 of the planet have more vegetation, have strange looking trees 0:56:47.640 --> 0:56:49.280 and brush and things like that. 0:56:49.800 --> 0:56:53.360 Yeah, it does just look absolutely terrific. You can just 0:56:53.440 --> 0:56:57.880 imagine how sci fi fans of the time just probably 0:56:57.920 --> 0:57:01.399 lost their mind when they'd seen this. You know, this 0:57:01.480 --> 0:57:03.759 was you know, obviously this was before two thousand and 0:57:03.800 --> 0:57:08.120 one a Space Odyssey, which you know, really set an 0:57:08.160 --> 0:57:12.319 all new standard for what visions of a sci fi 0:57:12.400 --> 0:57:15.040 future might look like in space. But man, it Forbidden 0:57:15.040 --> 0:57:16.280 Planet just looks amazing. 0:57:17.120 --> 0:57:20.000 So the crew lands on the surface, and I like 0:57:20.080 --> 0:57:24.360 here how the different members of the crew have different 0:57:24.400 --> 0:57:27.080 reactions to it, Like they debate how pleasant it is. 0:57:27.200 --> 0:57:29.920 One person likes it, another person is put off and 0:57:30.000 --> 0:57:34.120 just misses Earth. And so the crew they get out 0:57:34.160 --> 0:57:37.120 and they are greeted by a robot whom they first 0:57:37.200 --> 0:57:39.640 see hot rotting a buggy through the desert like they 0:57:39.720 --> 0:57:43.479 just see dust kicking up in the desert in the distance, like, Wow, 0:57:43.520 --> 0:57:46.120 something's coming to meet us. And when it pulls up. 0:57:46.880 --> 0:57:49.640 When they first got there, I couldn't remember exactly what 0:57:49.680 --> 0:57:51.480 was happening. I was like, Oh, did they get attacked 0:57:51.520 --> 0:57:55.200 by the monster this early? No, that's not It's just 0:57:55.320 --> 0:57:58.560 Robbie driving a buggy that he really looks like he 0:57:58.600 --> 0:58:00.840 would be weighing down the front of this thing and 0:58:00.880 --> 0:58:02.840 making it do I don't know whatever. The opposite of 0:58:02.920 --> 0:58:05.160 pop and a wheelie is like coming down in the front, 0:58:05.160 --> 0:58:09.480 but somehow it stays. It stays on all four wheels, 0:58:10.160 --> 0:58:13.000 and it arrives and sort of a cage opens in 0:58:13.080 --> 0:58:16.880 the front and Robbie walks out, and oh boy, what 0:58:16.960 --> 0:58:19.240 a vision he is. We've already talked about how much 0:58:19.240 --> 0:58:23.040 I like the design of Robbie the robot, but the 0:58:23.120 --> 0:58:26.880 meeting is a magical moment and the crew were kind 0:58:26.880 --> 0:58:28.800 of at a loss for words. He's like, you know, 0:58:29.240 --> 0:58:32.480 I am monitored to respond to the name Robbie, and 0:58:32.520 --> 0:58:34.520 he tries to say, hey, if you don't speak English, 0:58:34.600 --> 0:58:36.240 you know, I speak one hundred and eighty seven other 0:58:36.320 --> 0:58:40.880 languages and there are various various sub tongues, and they're like, 0:58:40.960 --> 0:58:45.280 no English is okay? And they say hi to each other, 0:58:45.320 --> 0:58:47.360 and we get a lot of kind of yuck yuck moments. 0:58:47.360 --> 0:58:50.439 So with the more bumpkinny members of the crew trying 0:58:50.440 --> 0:58:53.640 to figure out what to make of Robbie. Yeah, So 0:58:53.840 --> 0:58:58.560 Robbie takes Adams, his lieutenant Jerry Farman, and the ship's doctor, 0:58:58.640 --> 0:59:02.720 Doc Astro to the home of Edward Morbius, the guy 0:59:02.760 --> 0:59:06.640 they talked to on the radio, and Morbius greets them 0:59:06.760 --> 0:59:10.800 courteously and invites them in for lunch. Now, what would 0:59:10.840 --> 0:59:13.640 you say is what's your read on Morbius when we 0:59:13.680 --> 0:59:14.560 first meet him here? 0:59:15.360 --> 0:59:17.880 I mean, it's very much a Captain Nemo sort of 0:59:18.200 --> 0:59:21.720 vibe and and and you know, this is a highly 0:59:21.760 --> 0:59:24.240 influential film like it, you know, there are also elements 0:59:24.480 --> 0:59:26.840 like it reminds me of Alien Covenant a bit like, yeah, okay, 0:59:26.880 --> 0:59:29.840 there's there's a guy here and he seems to be 0:59:29.840 --> 0:59:32.200 doing just fine on a world where everyone else is 0:59:32.240 --> 0:59:36.840 absolutely dead something here is us. But that being said, 0:59:37.200 --> 0:59:41.080 Morbius comes off very pleasant, you know, in his his 0:59:41.280 --> 0:59:45.760 crib is just luxurious. I love the blast curtains that 0:59:45.800 --> 0:59:49.360 the oh, stop motion blast curtains that he demonstrates. I mean, 0:59:50.080 --> 0:59:52.400 so he wins us over with charm, but you know, 0:59:52.560 --> 0:59:54.120 remains suspicious. 0:59:54.320 --> 0:59:56.200 Yeah, the blast curtains you're talking about. There's like an 0:59:56.240 --> 0:59:59.320 open design of the house. It's one of those mid 0:59:59.360 --> 1:00:02.680 century kind of West Coast designs where it's all glass 1:00:02.680 --> 1:00:05.880 walls all around or loose sight maybe. But then yeah, 1:00:05.920 --> 1:00:08.640 suddenly he can like snap his fingers or press a 1:00:08.680 --> 1:00:11.440 button and all of the windows get replaced with like 1:00:11.560 --> 1:00:12.280 solid lead. 1:00:12.840 --> 1:00:15.680 Yeah, yeah, which is which is created via some sort 1:00:15.720 --> 1:00:18.120 of a stop motion approach. But it looks really good. 1:00:18.160 --> 1:00:21.280 Like I totally buy this as a technology. 1:00:21.920 --> 1:00:24.480 So they get to know each other here over over 1:00:24.520 --> 1:00:27.120 a pleasant lunch, and we learn about Robbie. We learned 1:00:27.120 --> 1:00:30.480 that Robbie is immensely strong, and that he has the 1:00:30.560 --> 1:00:34.480 power to synthesize any object or material that he analyzes 1:00:34.560 --> 1:00:37.240 in his sort of male slot mouth in his chest. 1:00:38.080 --> 1:00:40.680 I think we correct me if I'm wrong, But it 1:00:40.840 --> 1:00:43.600 sort of suggested that the delicious food they just ate 1:00:43.920 --> 1:00:46.680 was somehow extruded out of Robbie's holes. 1:00:47.120 --> 1:00:48.600 I guess so. Yeah. 1:00:48.640 --> 1:00:50.800 And also we learned, I think, in borrowing from some 1:00:50.880 --> 1:00:55.160 other science fiction, that Robbie has some of the laws 1:00:55.160 --> 1:00:59.600 of robotics written into him, like that Isaac Asimov, Susan Calvin, 1:00:59.680 --> 1:01:04.240 robos psychology stories, the laws of robotics. So Morbius demonstrates, 1:01:04.240 --> 1:01:08.240 for example, that Robbie cannot harm a human by and 1:01:08.320 --> 1:01:11.120 he demonstrates this in a great way. He's like, mister Adams, 1:01:11.160 --> 1:01:13.560 you know, give me your gun, and he takes it. 1:01:13.920 --> 1:01:16.800 He puts it in Robbie's hand first as Robbie zap 1:01:16.840 --> 1:01:19.840 a plant in their garden, and then he's like, okay, 1:01:19.880 --> 1:01:23.680 point the blaster at Commander Adams and kill him. But 1:01:24.320 --> 1:01:26.640 Robbie can't do it. He starts to sizzle and fry. 1:01:26.680 --> 1:01:30.000 All these like purple sparks shoot inside his head. And 1:01:30.040 --> 1:01:33.760 this is caused by a contradiction between receiving the order 1:01:33.800 --> 1:01:36.560 which he is supposed to follow and his inability to 1:01:36.600 --> 1:01:38.920 harm anyone. And he just stands there, frozen in that 1:01:38.960 --> 1:01:41.160 state until Morbius says, canceled the order. 1:01:41.720 --> 1:01:47.640 Yeah, And they're very forgiving of doctor Morbius's terrifying demonstration 1:01:47.760 --> 1:01:48.240 of power. 1:01:49.120 --> 1:01:52.880 I would say we also get the impression that Morbius 1:01:52.960 --> 1:01:55.800 is not too happy about this visit from the crew. 1:01:55.920 --> 1:01:59.320 He is not rude to them, but he says, for 1:01:59.600 --> 1:02:02.880 one of the lines, is how ironic that a simple 1:02:02.880 --> 1:02:07.120 scholar with no ambition beyond a modest measure of seclusion, should, 1:02:07.120 --> 1:02:09.960 out of the clear sky find himself besieged by an 1:02:10.080 --> 1:02:14.120 army of fellow creatures, all grimly determined to be of service. 1:02:14.720 --> 1:02:17.240 Yeah, but Adams is like, we've got to do it 1:02:17.240 --> 1:02:19.479 by the book, you know, We've we've got to stick around, 1:02:19.520 --> 1:02:21.080 and then we have to follow up. 1:02:21.240 --> 1:02:36.360 The mission, so we learn what happened to the rest 1:02:36.400 --> 1:02:39.880 of the crew, the original crew of the Bellerophon. Morbius 1:02:39.920 --> 1:02:42.760 tells the story of how after they landed and began 1:02:42.800 --> 1:02:48.480 to explore the planet, something started going wrong, something started happening. Eventually, 1:02:48.840 --> 1:02:53.600 every other member of the crew was murdered, literally torn 1:02:53.840 --> 1:02:58.760 limb from limb by what he calls an invisible planetary force, 1:02:59.480 --> 1:03:02.600 and in a certain group of the only survivors who 1:03:02.600 --> 1:03:05.680 were left, say for Morbius tried to flee the planet 1:03:05.720 --> 1:03:10.600 in their spaceship. That ship was obliterated upon takeoff. Now, 1:03:10.640 --> 1:03:14.000 Morbius himself has no idea what the force was, but 1:03:14.320 --> 1:03:18.600 it seems he is somehow immune to it, as is 1:03:18.880 --> 1:03:22.960 surprise we find out about his twenty year old daughter, Altara, 1:03:23.160 --> 1:03:26.760 who was born right after their arrival on the planet. 1:03:27.160 --> 1:03:31.520 Altara's mother was another scientist of the original Bellerophon Crewe. 1:03:31.880 --> 1:03:34.560 She and Morbius fell in love and married on the 1:03:34.600 --> 1:03:38.920 way to the planet, but unfortunately Altara's mother also died, 1:03:39.000 --> 1:03:42.880 though she died of natural causes. So whatever it was 1:03:43.040 --> 1:03:46.200 that literally ripped apart the bodies of the other members 1:03:46.200 --> 1:03:49.480 of the crew, for some reason, it has never tried 1:03:49.520 --> 1:03:51.760 to harm Morbius or his daughter. 1:03:51.800 --> 1:03:57.560 Which is also deeply suspicious. And when we meet Altaria again, 1:03:57.600 --> 1:03:59.640 I hadn't seen the film before, so it's like she 1:04:00.120 --> 1:04:03.560 she a space vampire. She is she a robot? Is 1:04:03.600 --> 1:04:06.760 she an evil destructive force? I was trusting neither of 1:04:06.800 --> 1:04:07.160 these two. 1:04:07.200 --> 1:04:09.400 Really. Yeah, we don't know what to make of her 1:04:09.440 --> 1:04:14.240 at first, and especially because it seems Morbius was hoping 1:04:14.280 --> 1:04:17.720 to keep Altera's existence a secret from Adams and the crew. 1:04:17.840 --> 1:04:19.600 It's like he was trying to hide her. And when 1:04:19.680 --> 1:04:23.840 she becomes her existence becomes revealed, He's like, oh no, She. 1:04:23.880 --> 1:04:26.880 Like wanders out like it's past her bedtime, and like 1:04:26.960 --> 1:04:28.960 guests have come over and it's like, oh, honey, go 1:04:29.040 --> 1:04:30.920 back to bed, and there may be a go There 1:04:30.960 --> 1:04:32.800 are at least a couple of scenes where she is 1:04:32.800 --> 1:04:35.120 told to go to bed. Yeah the male characters. 1:04:35.400 --> 1:04:39.320 Yeah, yeah. So we already talked about Altara how she 1:04:39.520 --> 1:04:43.520 is at once brilliant and naive. Like she you know, 1:04:43.600 --> 1:04:46.360 she is schooled in all of the arts and sciences, 1:04:46.400 --> 1:04:51.040 but she has no experience dealing with human society. She's 1:04:51.080 --> 1:04:53.760 also kind of like snow White in that she has 1:04:53.880 --> 1:04:57.560 animal friends like is deer and a tiger and stuff 1:04:57.560 --> 1:04:59.600 that run out of the garden and just hang out 1:04:59.640 --> 1:05:04.120 with her. And the tiger represents no threat. When it 1:05:04.160 --> 1:05:06.800 first shows up, Adams is like pulling out his gun, 1:05:07.200 --> 1:05:10.040 but they're like no, no, no, wait, watch and yeah, 1:05:10.400 --> 1:05:12.680 it just wants to hang. So Adams and the rest 1:05:12.720 --> 1:05:16.320 offered to take Morbius and Altara home to Earth, but 1:05:16.520 --> 1:05:20.720 Morbius has no desire to go. And after this there's 1:05:20.760 --> 1:05:22.800 some kind of technical work that has to be done. 1:05:22.960 --> 1:05:24.800 I don't remember exactly what the deal is. I think 1:05:24.840 --> 1:05:26.960 the crew of the ship has to build like a 1:05:27.240 --> 1:05:30.680 faster than light radio transmitter to communicate with Earth and 1:05:30.720 --> 1:05:32.840 find out what their orders are or something like that. 1:05:33.360 --> 1:05:35.520 Yeah, yeah, there's something in stalls them. So there's a 1:05:35.520 --> 1:05:37.920 little time to meander about and get into trouble. 1:05:38.160 --> 1:05:41.040 Yeah, time for kissing lessons. So here's where we get 1:05:41.040 --> 1:05:44.960 to that portion of the story. Essentially, al Tara is 1:05:45.240 --> 1:05:47.600 she's very interested in all of the young men who 1:05:47.600 --> 1:05:50.600 have arrived on this ship, and many of this the 1:05:50.640 --> 1:05:53.200 men on the ship are interested in hers. Some of 1:05:53.240 --> 1:05:56.120 the lovelorn dudes and the crew get obsessed with Altara. 1:05:56.800 --> 1:05:58.960 She's known as Alta for short, by the way, so 1:05:59.080 --> 1:06:01.840 that was kind of confusing first, but sometimes Morbies is 1:06:01.840 --> 1:06:05.720 calling her Alta, And there is a scene where Jerry Farman, 1:06:06.040 --> 1:06:10.400 the lieutenant sort of adams Is number two, takes Alta 1:06:10.440 --> 1:06:12.600 for a walk on the planet's surface and they sort 1:06:12.600 --> 1:06:15.680 of wander into the forest and he ends up trying 1:06:15.720 --> 1:06:19.080 to convince her that he needs to teach her how 1:06:19.080 --> 1:06:21.560 to kiss so that she can be in proper health, 1:06:21.600 --> 1:06:23.640 because you need to kiss in order to be healthy. 1:06:24.840 --> 1:06:28.440 This scene is both pretty cringey, but also, as I 1:06:28.480 --> 1:06:32.280 was mentioning earlier, kind of funny because Alta does say these, 1:06:32.320 --> 1:06:35.400 like really cutting things at him. She's like, isn't this 1:06:35.440 --> 1:06:40.320 supposed to be stimulating? I don't find it remarkable. Yeah, 1:06:40.360 --> 1:06:43.400 And in the middle of all this, Adams catches them 1:06:43.680 --> 1:06:46.680 and so he chews out Jerry. But then he also 1:06:46.720 --> 1:06:52.280 gets super flustered and he criticizes Alta for wearing revealing clothes, 1:06:53.040 --> 1:06:57.000 and in one funny note, adams freak out here contains 1:06:57.000 --> 1:06:59.880 a rant about like how attractive and sext up his 1:07:00.080 --> 1:07:05.040 men are. Yeah, He's like, all of my crew members 1:07:05.080 --> 1:07:07.800 are the prizest specimens of twenty four year old men 1:07:07.880 --> 1:07:11.640 on Earth. But I was thinking, like even Cook, Is 1:07:11.640 --> 1:07:12.800 that what he thinks about Cook? 1:07:13.120 --> 1:07:14.840 Well, Cook is in a supporting role, you know. 1:07:15.280 --> 1:07:18.640 Yeah, no offense to the looks of Cook. I just mean, like, 1:07:18.760 --> 1:07:22.200 is he the best Earth has at cooking? 1:07:22.760 --> 1:07:24.959 Maybe we didn't know this was a breeding. 1:07:24.680 --> 1:07:28.160 Mission, Yeah, exactly so. Anyway, but al Tara, after this, 1:07:29.080 --> 1:07:32.240 goes home and commissions Robbie to make her a new 1:07:32.320 --> 1:07:35.400 dress that will cover her whole body. Of course, we 1:07:35.440 --> 1:07:37.720 will see that dress later, and it also looks beautiful. 1:07:37.760 --> 1:07:42.160 It's kind of a Greek goddess kind of address, but 1:07:43.040 --> 1:07:47.720 interesting things in the scene, like the uncomfortable sexual politics 1:07:47.720 --> 1:07:51.800 of it. Aside, the scene is interesting because it is 1:07:52.200 --> 1:07:56.160 supposed to be I think Alta's first real experience with 1:07:56.240 --> 1:08:00.840 the rest of humanity, with people who would judge her unfairly, 1:08:00.960 --> 1:08:03.919 with people who would lie to her and treat her unkindly, 1:08:04.600 --> 1:08:07.360 with people who would exploit and take advantage of her. 1:08:07.840 --> 1:08:12.360 She's coming into collision with human nature after having grown 1:08:12.480 --> 1:08:15.520 up in what's presented as a sort of perfect bubble 1:08:15.640 --> 1:08:22.080 of cool, detached, trustworthy, scholarly enlightenment, and she's learning that 1:08:22.200 --> 1:08:26.920 human nature has a dark and bestial side as well. Meanwhile, 1:08:27.040 --> 1:08:30.200 things also start going wrong at the ship. In the 1:08:30.240 --> 1:08:33.880 middle of the night, something invisible sneaks into the ship. 1:08:34.360 --> 1:08:37.840 And I love the special effects in these nighttime sneaking scenes, 1:08:37.840 --> 1:08:40.160 by the way, But something sneaks into the ship and 1:08:40.240 --> 1:08:41.880 sabotages the equipment. 1:08:42.640 --> 1:08:46.880 Yeah yeah, so already we're getting little invisible attacks that 1:08:46.920 --> 1:08:49.360 are sabotaging the ship, keeping it from leaving. 1:08:49.960 --> 1:08:52.160 Now. The next day, Adams goes to the home of 1:08:52.400 --> 1:08:55.800 Morbius and Alta to apologize to Alta for one thing 1:08:55.840 --> 1:08:58.559 for his behavior the day before. He sort of realizes 1:08:58.600 --> 1:09:01.639 he was in the wrong and when he arrives, Alta 1:09:01.760 --> 1:09:04.519 is swimming naked in the pool and Adams gets all 1:09:04.560 --> 1:09:07.519 super flustered again. He's like, oh uh, I don't know 1:09:07.560 --> 1:09:10.840 what to do. But in a scene after this, it 1:09:10.920 --> 1:09:14.200 becomes clear that they are both interested in each other, 1:09:14.560 --> 1:09:19.320 and Alta kisses Adams, and while they are kissing, they 1:09:19.360 --> 1:09:23.240 are suddenly attacked by Alta's tiger friend. The tiger they 1:09:23.240 --> 1:09:26.320 saw earlier that was so friendly and you know, not 1:09:26.400 --> 1:09:28.920 a threat at all, appears on a sort of ledge 1:09:28.920 --> 1:09:31.599 above them and then leaps at them, claws out as 1:09:31.600 --> 1:09:34.960 if ready to attack. Adams just at the last second 1:09:35.000 --> 1:09:38.000 has to zapf it with his phaser gun, and it's 1:09:38.080 --> 1:09:41.880 like there's this feeling Alta has of how why, Like 1:09:41.920 --> 1:09:44.640 the tiger had never tried to harm her before and 1:09:44.720 --> 1:09:46.520 suddenly it has turned hostile. 1:09:47.080 --> 1:09:50.240 Yeah, something has changed. And this was also I was 1:09:50.240 --> 1:09:53.840 really shocked by this scene when the tiger was completely 1:09:54.720 --> 1:09:58.880 annihilated in mid air by the laser gun, absolutely disintegrated. 1:09:59.120 --> 1:10:01.040 Now from here we move move on to a big 1:10:01.160 --> 1:10:04.000 reveal and a sequence of a lot of the best 1:10:04.439 --> 1:10:08.240 sets and special effects shots in the movie. Morbius comes 1:10:08.439 --> 1:10:11.960 to talk to Adams and doctor Ostro. Ostro was like 1:10:12.040 --> 1:10:14.240 a long for the whole time, so just hanging out 1:10:14.240 --> 1:10:18.280 for the kissing and the tiger killing. But Morbius comes 1:10:18.280 --> 1:10:22.000 to tell Adams in Austro about the secrets of the planet, 1:10:22.520 --> 1:10:26.120 the main secret being that all Tier four was once 1:10:26.240 --> 1:10:31.519 inhabited by an extremely technologically advanced species of alien known 1:10:31.560 --> 1:10:35.440 as the Krell. And here I'm going to read Morbius's 1:10:35.479 --> 1:10:39.120 monologue about the Krell. He says, in times long past, 1:10:39.360 --> 1:10:41.880 this planet was the home of a mighty and noble 1:10:42.000 --> 1:10:46.280 race of beings which called themselves the Krell. Ethically as 1:10:46.360 --> 1:10:50.160 well as technologically, they were a million years ahead of humankind, 1:10:50.680 --> 1:10:53.880 for in unlocking the mysteries of nature, they had conquered 1:10:53.960 --> 1:10:57.479 even their baser selves. And when in the course of 1:10:57.560 --> 1:11:01.479 eons they had abolished sickness and an insanity, and crime 1:11:01.880 --> 1:11:06.200 and all injustice, they turned still with high benevolence outward 1:11:06.320 --> 1:11:10.200 towards space. Long before the dawn of man's history, they 1:11:10.200 --> 1:11:14.200 had walked our Earth and brought back many biological specimens 1:11:15.240 --> 1:11:19.479 like the tiger exactly. He goes on the heights they 1:11:19.479 --> 1:11:23.160 had reached, but then, seemingly on the threshold of some 1:11:23.320 --> 1:11:27.360 supreme accomplishment, which was to have crowned their entire history. 1:11:27.760 --> 1:11:31.479 This all but divine race perished in a single night 1:11:32.200 --> 1:11:36.599 in the two thousand centuries. Since that unexplained catastrophe, even 1:11:36.640 --> 1:11:40.840 their cloud piercing towers of glass and porcelain and adamantine 1:11:40.880 --> 1:11:44.519 steel have crumbled back into the soil of alta fur 1:11:44.920 --> 1:11:48.639 and nothing, absolutely nothing remains above ground. 1:11:49.400 --> 1:11:53.479 Yeah, so we're getting into some pretty ambitious science fiction here. 1:11:54.320 --> 1:11:58.320 Reminds me a bit of the various sublime civilizations in 1:11:58.439 --> 1:12:03.280 Ianimbank's Culture series. These civilizations that have advanced to a state 1:12:03.320 --> 1:12:05.680 where they end up leaving our dimension of space and 1:12:05.720 --> 1:12:09.320 time for higher dimensions, generally leaving behind a great deal 1:12:09.360 --> 1:12:13.040 of technology that's now redundant to them. But I guess 1:12:13.040 --> 1:12:15.720 in this scenario, it sounds like the Krell might have 1:12:15.840 --> 1:12:19.880 been on the cusp of subliming, of moving on, and 1:12:19.920 --> 1:12:23.599 then something terrible kept them from not only kept them 1:12:23.640 --> 1:12:27.040 from moving on to this next level of existence, but 1:12:27.160 --> 1:12:30.080 also just eradicated them entirely, and all we have left 1:12:30.439 --> 1:12:34.320 are the technological depths of the planet. 1:12:34.600 --> 1:12:37.679 That's right, when we get a tour of these technological depths, 1:12:37.720 --> 1:12:40.400 a tour of their underground facilities, and again I can't 1:12:40.439 --> 1:12:46.000 emphasize enough how amazing these sets and special effects are. 1:12:46.439 --> 1:12:48.560 Summer light paintings are just amazing. 1:12:48.760 --> 1:12:51.479 Yeah, it's so good. So they go through like a 1:12:51.520 --> 1:12:55.040 giant underground power plant that they say is a huge 1:12:55.160 --> 1:12:58.639 buried cube running something that's like twenty miles in every direction, 1:12:59.479 --> 1:13:02.880 which we see them. They're crossing this great chasm on 1:13:03.000 --> 1:13:06.080 a on a little suspension bridge, and we see these 1:13:06.120 --> 1:13:09.519 things moving up and down the chasm and electricity arcing 1:13:09.600 --> 1:13:14.280 through it. Also, there is a device they come across. 1:13:14.320 --> 1:13:18.080 They go to this essentially Krell's schoolhouse, where there was 1:13:18.160 --> 1:13:21.360 a device that the Krell used to train the brains 1:13:21.439 --> 1:13:25.640 of their young, and Morbius explains, when this device is 1:13:25.760 --> 1:13:29.559 used by humans, it is almost always fatal, but if 1:13:29.600 --> 1:13:32.639 you can use it and survive, it will double your IQ. 1:13:34.040 --> 1:13:36.200 And that's how Morbi's got so smart. By the way 1:13:36.600 --> 1:13:39.800 he increased his intelligence with the machine, I guess he 1:13:39.840 --> 1:13:42.720 started off pretty smart, though he's humble about it, but 1:13:42.760 --> 1:13:44.720 then he's like, you know, I took my normal, you know, 1:13:44.800 --> 1:13:47.040 my middling intellect when I first got here, and I 1:13:47.120 --> 1:13:50.280 doubled it with this machine. Everybody else who tried it 1:13:50.360 --> 1:13:55.400 was killed, but by surviving that process himself that allowed 1:13:55.479 --> 1:13:59.000 him to decipher the Krell histories and figure out parts 1:13:59.000 --> 1:14:02.799 of Krell technology and to for example, a symbol Robbie 1:14:02.840 --> 1:14:03.360 the robot. 1:14:03.960 --> 1:14:08.160 It's explained as well that this maybe not the device itself, 1:14:08.160 --> 1:14:10.519 but there's an element of the device that is like 1:14:10.560 --> 1:14:13.559 a high striker a strong man game from your fare 1:14:13.680 --> 1:14:16.799 or Carnival, you know, where you you hit a circle 1:14:16.840 --> 1:14:18.920 with a hammer or mallet as hard as you can 1:14:19.000 --> 1:14:22.720 and then it causes this little float be lee to go, 1:14:22.920 --> 1:14:25.439 you know, to rise up and with your brain, but 1:14:25.520 --> 1:14:28.519 with your brain. Yeah, so it's it's the smart man game. 1:14:29.120 --> 1:14:32.600 Yeah, and I liketriker. They put Leslie Nielsen on it 1:14:32.680 --> 1:14:34.519 and he can barely get the thing to go off, 1:14:34.520 --> 1:14:36.719 and they're like, well that's a you know, it doesn't 1:14:36.760 --> 1:14:38.600 take brains to command a starship. 1:14:40.120 --> 1:14:41.200 Yeah, massive dig on. 1:14:41.280 --> 1:14:44.320 Adam's here anyway, after learning about all this stuff that 1:14:44.479 --> 1:14:47.439 this like power this underground power plant that can generate 1:14:47.600 --> 1:14:50.519 generate what seems to be an infinite amount of energy, 1:14:51.120 --> 1:14:54.519 and this brain boosting machine, Adams says, you know what, 1:14:54.600 --> 1:14:57.840 this changes everything Earth has to know about these devices. 1:14:58.280 --> 1:15:01.840 But Morbius resists he's like, I think this is what 1:15:01.960 --> 1:15:04.479 he was trying to hide from them before. He's like, 1:15:04.600 --> 1:15:08.160 humans are not ready for this kind of power, and 1:15:08.800 --> 1:15:12.519 this technology may have been what wiped out the Krell, 1:15:13.120 --> 1:15:14.880 but if so, we don't know how. 1:15:15.439 --> 1:15:18.280 Yeah again, because the Krell we're millions of years ahead 1:15:18.280 --> 1:15:22.719 of humans, and something tripped them up in their dizzying 1:15:22.720 --> 1:15:26.040 ascent with this technology, so we're clearly not ready for it. 1:15:26.400 --> 1:15:28.880 Should we do something on the B plot here about 1:15:28.960 --> 1:15:32.280 cook and the synthesis of whiskey? Yeah? 1:15:32.680 --> 1:15:36.000 Yeah, yeah, this is so can you set this one up? 1:15:36.360 --> 1:15:38.840 So you know cook? I guess in sort of like 1:15:38.920 --> 1:15:42.439 the you know, you know, old fashioned US military sense 1:15:42.479 --> 1:15:45.679 of these kind of plot developments. He's supposed to acquire 1:15:45.720 --> 1:15:50.759 some local ingredients and also find like local illicit sources 1:15:50.800 --> 1:15:54.880 of hooch for cooking, but also clearly not for cooking. 1:15:55.040 --> 1:15:56.880 He's like, I need to go out and look for 1:15:57.520 --> 1:16:00.840 some wild radishes. Yeah, yeah, that's it. 1:16:01.560 --> 1:16:05.439 Yeah, And basically what he runs into Robbie the robot 1:16:05.479 --> 1:16:07.960 and he's like, hey, I need some more of this stuff, 1:16:08.000 --> 1:16:10.600 and he shows him like a mostly empty flask of 1:16:10.640 --> 1:16:14.200 whiskey and Robbie grabs it shoots it back into his 1:16:14.240 --> 1:16:17.960 mail slot, and Cook is like, well, well that was 1:16:18.120 --> 1:16:21.240 my last swig. How could you do that? And Robbie's like, 1:16:21.360 --> 1:16:24.680 I will now synthesize this for you. Will let you say, like, 1:16:24.840 --> 1:16:26.720 will sixty gallons be sufficient? 1:16:26.960 --> 1:16:31.280 Yes? Yeah? And then Cook comes back later and there's 1:16:32.000 --> 1:16:35.760 there's like a giant pyramid of heights of whiskey in 1:16:35.920 --> 1:16:38.320 their own individual glass bottles. 1:16:38.920 --> 1:16:42.160 And somehow Cook doesn't die at this moment, like I 1:16:42.200 --> 1:16:48.160 feel like later on in like in speculative media, like 1:16:48.200 --> 1:16:50.120 this would be the moment where the monster comes and 1:16:50.200 --> 1:16:52.000 kills him, you know where He's like, I have all 1:16:52.040 --> 1:16:54.400 the whiskey in the world. What could possibly go wrong? 1:16:54.439 --> 1:16:58.439 Instant monster death? Booze enough at last, yes, exactly, but 1:16:58.520 --> 1:17:00.519 no Cook will survive a little longer. 1:17:00.920 --> 1:17:03.400 So another thing that happens at this point in the 1:17:03.439 --> 1:17:07.719 story is that the attacks on the ship become much 1:17:07.760 --> 1:17:10.080 more severe. What we got in the first attack by 1:17:10.120 --> 1:17:13.919 the Invisible Force at night was just the sabotaging of equipment, 1:17:14.320 --> 1:17:18.280 but this escalates to in one instance, murder. I believe 1:17:18.360 --> 1:17:22.400 the communications officer Quinn is found murder. Did they say? 1:17:23.000 --> 1:17:25.320 They describe it in a quite grisly way. I think 1:17:25.320 --> 1:17:27.840 they say, he smeared all over the walls of the 1:17:27.840 --> 1:17:32.639 communication room, and then after that they set up a perimeter. 1:17:33.439 --> 1:17:35.120 You know what we should do sometime on the show, 1:17:35.160 --> 1:17:37.880 is we should set up a list of the best 1:17:38.120 --> 1:17:39.839 establishing a perimeter scenes. 1:17:40.280 --> 1:17:43.600 Yes, because this is pretty good though, I mean, the 1:17:44.280 --> 1:17:49.320 technology is convincing, and yeah, everyone left. I mean it 1:17:49.479 --> 1:17:51.880 really this also reminded me of what would come much 1:17:51.960 --> 1:17:54.000 later with Aliens, with you know, it's like, all right, 1:17:54.040 --> 1:17:57.599 is it it's inside the perimeter? You know, I'm reading 1:17:57.840 --> 1:17:59.799 it's reading right, and so forth. 1:18:00.160 --> 1:18:03.080 Yeah, it's very similar what happens here. In fact, I 1:18:03.080 --> 1:18:06.160 almost feel like that scene in Aliens. It feels like 1:18:06.200 --> 1:18:07.080 a callback to this. 1:18:07.479 --> 1:18:16.719 Yeah. 1:18:16.880 --> 1:18:20.400 Yeah, they establish a perimeter, and eventually this creature, this 1:18:20.479 --> 1:18:23.840 invisible creature, comes in a brazen frontal attack where the 1:18:23.920 --> 1:18:27.360 crew are resisting with big energy weapons, these big beam 1:18:27.400 --> 1:18:32.439 weapons and then handheld laser rifles. And when the thing, 1:18:32.600 --> 1:18:36.360 when the invisible creature gets illuminated by all of the 1:18:36.520 --> 1:18:40.040 energy weapons that are hitting it, we suddenly see pieces 1:18:40.160 --> 1:18:43.920 of its form and yeah, it's oh, it's frightening. I 1:18:43.960 --> 1:18:47.040 mean I've read things that like I think the producers 1:18:47.080 --> 1:18:51.200 were worried that this would be so frightening that like 1:18:51.280 --> 1:18:53.439 it would be, it would make the movie inappropriate for 1:18:53.520 --> 1:18:56.479 younger audiences. And I can see why. It's a truly 1:18:57.439 --> 1:19:01.080 scary thing that they conjure up. It's like a kind 1:19:01.120 --> 1:19:07.040 of a ram lion bulldog monster with sort of horns 1:19:07.160 --> 1:19:09.320 or something, and it's made out of flames. 1:19:09.880 --> 1:19:12.280 Yeah. To compare it to things that would come much 1:19:12.360 --> 1:19:15.160 later and may have been each in their own way 1:19:15.280 --> 1:19:18.040 or at least in their visualization on screen, been inspired by. 1:19:18.040 --> 1:19:20.719 This reminds me a bit of the ball Rog. Reminds 1:19:20.720 --> 1:19:22.920 me a bit of the red bull from The Last Unicorn. 1:19:23.320 --> 1:19:27.120 Yeah. Yeah. Oh and Jerry Farman, the lieutenant who is 1:19:27.479 --> 1:19:29.800 trying to do the kissing lessons, he gets killed in 1:19:29.840 --> 1:19:30.800 one of these attacks. 1:19:31.160 --> 1:19:34.599 Yeah. Eventually Cook does too, right, Cook's taken out by 1:19:34.600 --> 1:19:35.040 the monster. 1:19:35.160 --> 1:19:37.840 Oh is he? I didn't remember that? How could they 1:19:37.840 --> 1:19:40.479 do that to Cook? 1:19:40.560 --> 1:19:43.800 Thank God he's secured all that whiskey first bourbon read. 1:19:45.280 --> 1:19:48.000 But during this attack we start to get an indication 1:19:49.120 --> 1:19:52.599 of where this alien monster is coming from, because we 1:19:52.680 --> 1:19:56.360 cut away in the middle of the attack to Morbius, 1:19:56.680 --> 1:19:59.040 who is sleeping in his home. I think he's fallen 1:19:59.080 --> 1:20:03.799 asleep on his desk and he is maybe having a nightmare, 1:20:04.360 --> 1:20:07.400 and at one point suddenly he snaps awake in his 1:20:07.520 --> 1:20:09.840 home and then at the other end of the planet, 1:20:09.920 --> 1:20:11.960 not at the other end of the planet, but away where 1:20:11.960 --> 1:20:17.640 the monster is attacking, it suddenly vanishes. Oh oh. So 1:20:17.800 --> 1:20:22.080 after this attack, Adams goes back to the Morbius and 1:20:22.600 --> 1:20:25.880 Altara house to try to get I think the reason 1:20:25.960 --> 1:20:28.120 is he wants Altara to leave the planet with him. 1:20:28.200 --> 1:20:30.720 He's like, you know, this monster is attacking. We've got 1:20:30.720 --> 1:20:32.800 to go now, and for your own safety, you should 1:20:32.840 --> 1:20:33.280 come with me. 1:20:33.680 --> 1:20:36.519 Plus, we're in love. Now this is meant to be. 1:20:37.200 --> 1:20:38.240 You've got to run away with me. 1:20:38.560 --> 1:20:41.719 Yeah. And to be clear, it seems reciprocal, like she's 1:20:41.840 --> 1:20:42.880 very into him. 1:20:43.120 --> 1:20:45.880 Yeah, And that's part of you know, this part of 1:20:45.880 --> 1:20:48.840 the split that's going on here is that now she 1:20:49.240 --> 1:20:52.760 is more she is attracted to the outside world, the 1:20:52.800 --> 1:20:57.120 world of Adams, the world of Earth, and wants to leave. 1:20:57.400 --> 1:20:59.040 I mean, she wants to bring her father with her 1:20:59.040 --> 1:21:01.680 if possible, but she is also ready to leave her 1:21:01.720 --> 1:21:05.080 father's home, her father's world for the first time. 1:21:05.600 --> 1:21:09.439 I think. When so Adams and Astro go to the house, 1:21:09.439 --> 1:21:11.960 and when they first get there, Robbie's trying to block 1:21:12.000 --> 1:21:14.479 their way. He's like, I am monitored not to permit you. 1:21:14.520 --> 1:21:16.760 But they're kind of discussing, like what's he gonna do. 1:21:16.840 --> 1:21:19.160 He can't hurt us, so I think we could. But 1:21:19.200 --> 1:21:22.120 then we never see that tested, right, because eventually Altara 1:21:22.200 --> 1:21:24.240 shows up and is like, cancel the order, let them in. 1:21:24.720 --> 1:21:26.760 But I was curious about that. It's like, Okay, if 1:21:26.760 --> 1:21:28.720 he can't hurt them, could they couldn't they just force 1:21:28.800 --> 1:21:29.639 their way past him? 1:21:30.400 --> 1:21:31.960 Yeah, no, he is he's bulky. 1:21:32.400 --> 1:21:36.599 Yeah, that's true anyway. So, uh So, now we have 1:21:37.080 --> 1:21:41.000 Adams and Astro in the in the Morbius home, and 1:21:41.120 --> 1:21:44.679 at some point here Astro sneaks away because, oh, because 1:21:44.680 --> 1:21:47.559 this is another part of their plan. They're like, we've 1:21:47.560 --> 1:21:49.880 got to find a way to defeat this monster. So 1:21:50.320 --> 1:21:52.960 either Adams or Astro, one of them needs to use 1:21:53.040 --> 1:21:56.040 the brain enhance her machine, which you know they have 1:21:56.160 --> 1:21:59.000 learned will probably kill you, but if you can survive it, 1:21:59.000 --> 1:22:00.920 it'll make you super small art and they think they 1:22:00.920 --> 1:22:05.320 will need those extra smarts in order to survive. Well. 1:22:05.400 --> 1:22:08.120 While they're hanging out Robbie, Robbie at some point like 1:22:08.200 --> 1:22:12.120 comes in carrying the body of Ostro and it's like, uh, oh, 1:22:12.200 --> 1:22:14.800 he tried to he tried to get smart. Bad move. 1:22:15.120 --> 1:22:17.600 And this is an example of a scene that I 1:22:17.640 --> 1:22:20.000 wish we could have seen like this would have This 1:22:20.360 --> 1:22:24.000 is a highly dramatic moment for this character, and it 1:22:24.080 --> 1:22:27.920 occurs entirely off screen, and they're like, oh, by the way, 1:22:27.960 --> 1:22:30.559 he did it. He plugged in and now he's dying. 1:22:30.960 --> 1:22:32.719 But we do get some final last words. 1:22:33.240 --> 1:22:36.479 His final last words are solve the riddle. Solve the 1:22:36.560 --> 1:22:40.320 riddle of the movie. So by increasing his intelligence, he 1:22:40.360 --> 1:22:43.559 did doom himself to death, but he also was able 1:22:43.640 --> 1:22:47.200 to understand what happened to the Krell and how it's 1:22:47.240 --> 1:22:49.960 still affecting them now. So it turns out the big 1:22:50.000 --> 1:22:55.679 reveal is this giant underground power plant was created for 1:22:55.800 --> 1:23:00.799 the purpose of essentially doing away with all all need 1:23:00.920 --> 1:23:06.559 for mechanical labor and mechanical devices, and instead would would 1:23:06.720 --> 1:23:12.080 allow any of the Krell to make a physical reality 1:23:12.320 --> 1:23:16.800 manifest simply by thinking about it. So you can interface 1:23:16.880 --> 1:23:21.559 with this giant machine and it will interpret your thoughts 1:23:21.960 --> 1:23:27.439 and then manifest those thoughts as physical atoms and energy, 1:23:28.120 --> 1:23:31.280 which sounds great. Okay, it's just like infinite free energy 1:23:31.280 --> 1:23:34.040 and labor. You know, you can all want all kind 1:23:34.040 --> 1:23:37.400 of problems. Material problems are done away with, right. 1:23:37.560 --> 1:23:40.240 Yeah, if the rational mind can imagine it, then it 1:23:40.320 --> 1:23:42.000 is real and it is in action. 1:23:42.640 --> 1:23:45.960 Except the problem is what the Crell did not foresee 1:23:46.560 --> 1:23:50.000 and what Ostro figures out happened to them is it's 1:23:50.040 --> 1:23:53.000 not only the rational mind that's in the driver's seat now, baby, 1:23:53.360 --> 1:23:56.080 Both the rational mind and the sort of the ego, 1:23:56.200 --> 1:24:01.160 the rational mind and the base design of the ID 1:24:01.400 --> 1:24:04.519 are hooked up to this machine. And so it began 1:24:04.720 --> 1:24:10.320 manifesting the Krell's unconscious or subconscious thoughts and desires as well. 1:24:10.760 --> 1:24:14.479 Everything that they knew they shouldn't do but deep down 1:24:14.560 --> 1:24:18.519 secretly wanted that was manifest as well. And so what 1:24:18.560 --> 1:24:22.800 that turned into was the slaughter and extermination of their 1:24:22.960 --> 1:24:24.759 entire people, all. 1:24:24.560 --> 1:24:27.880 The demons of the mind unleashed on the planet with 1:24:28.479 --> 1:24:32.400 infinite power backing them up. Yeah. Yeah, it's it's amazing, 1:24:32.520 --> 1:24:35.040 like this is such a Again, when this movie goes 1:24:35.080 --> 1:24:41.280 hard on its on its genre elements, it's really spectacular. 1:24:41.560 --> 1:24:44.519 I agree. It's a great premise, and it not to 1:24:44.560 --> 1:24:47.880 spoil it by saying this, but I realized I came 1:24:47.880 --> 1:24:50.280 to these in backwards order. But when I was younger, 1:24:50.320 --> 1:24:53.759 I read the books Sphere by Michael Crichton, which essentially 1:24:53.840 --> 1:24:57.479 has the same premise. It's like they come across alien 1:24:57.520 --> 1:25:01.800 technology that can make your thoughts manifest, but then they realize, like, oh, 1:25:01.840 --> 1:25:06.479 it's also making subconscious thoughts manifest. So everybody's anxieties and 1:25:06.479 --> 1:25:10.639 fears are like becoming physical objects that are attacking them. 1:25:11.040 --> 1:25:14.559 And so, in fact, what the characters discover here in 1:25:14.640 --> 1:25:17.240 Forbidden Planet is not only is that what happened to 1:25:17.280 --> 1:25:21.280 the Krell, it's still operating that way, and so it 1:25:21.400 --> 1:25:28.639 is taking the subconscious fears and desires and complexes of 1:25:28.840 --> 1:25:32.400 doctor Morbius who has linked his brain to the machine 1:25:32.080 --> 1:25:37.080 by using it and making those manifest. And in fact, 1:25:38.200 --> 1:25:41.600 not all of the links are fully spelled out, but 1:25:41.760 --> 1:25:44.960 it's sort of suggesting the idea that like, he doesn't 1:25:45.000 --> 1:25:47.599 want to go back to Earth, he doesn't want Altera 1:25:47.720 --> 1:25:50.520 to go back to Earth. He doesn't want the corrupting 1:25:50.600 --> 1:25:54.880 influence of Earth to change his daughter, to sort of 1:25:54.960 --> 1:25:59.000 like corrupt the perfect precious existence he has created for them. 1:25:59.200 --> 1:26:01.760 And you know, you can kind of understand why. You 1:26:01.800 --> 1:26:05.920 can see how Altera's first encounter with the broader human 1:26:06.000 --> 1:26:10.280 kind involved, like, you know, some dudes being creeps to her. Yeah, 1:26:10.360 --> 1:26:12.479 so you can see where his desire is to kind 1:26:12.520 --> 1:26:14.800 of like just create a bubble and live in it 1:26:14.840 --> 1:26:19.120 with his family and live in that protective bubble without 1:26:19.160 --> 1:26:22.559 any intrusion where that desire comes from. But it is 1:26:22.680 --> 1:26:27.320 manifesting as the creation of a violent monster that lashes 1:26:27.360 --> 1:26:30.320 out to kill anything that threatens to puncture the bubble. 1:26:31.320 --> 1:26:34.599 Yeah, and now that we know what the monster is, 1:26:35.320 --> 1:26:38.120 it is coming for our main characters, and it is 1:26:38.360 --> 1:26:43.040 we realize inexorable. It is unstoppable. And this just leads 1:26:43.080 --> 1:26:47.960 to like an avalanche of scenes that are really highly effective. 1:26:48.200 --> 1:26:50.559 Yeah, exactly. And I like the way that it really 1:26:50.600 --> 1:26:53.280 does make sense taken given the premise of the story, 1:26:53.320 --> 1:26:55.960 because you might think, well, couldn't he just call it off? 1:26:56.560 --> 1:26:59.559 But as anybody who's ever had like a panic attack, 1:27:00.400 --> 1:27:04.680 you know, you can know rationally that the thing that 1:27:04.720 --> 1:27:08.120 you are afraid of is not something you should be 1:27:08.160 --> 1:27:10.840 afraid of, It's not a real threat, and yet you 1:27:10.960 --> 1:27:13.840 still just can't make your subconscious mind to give in. 1:27:13.920 --> 1:27:17.280 The subconscious is resistant to rational control. 1:27:17.960 --> 1:27:20.479 Yeah, yeah, so he can't call it off, he can't 1:27:20.520 --> 1:27:21.760 control it. 1:27:21.640 --> 1:27:22.000 It is. 1:27:22.080 --> 1:27:24.920 It is coming no matter what, and even like knowing 1:27:24.960 --> 1:27:27.320 what it is doesn't give him power over it, which 1:27:27.360 --> 1:27:30.519 you know matches up with some of these states of 1:27:30.560 --> 1:27:33.960 the mind as we experience them as well. I Mean, 1:27:34.000 --> 1:27:36.760 sometimes knowing can help, and that can be part of 1:27:36.800 --> 1:27:39.719 the tools of controlling things like anxiety in some cases. 1:27:39.800 --> 1:27:43.320 But but yeah, not necessarily at all. 1:27:44.160 --> 1:27:46.120 There are a lot of interesting things that happen in 1:27:46.160 --> 1:27:49.080 the climax here, Like at one point they try to 1:27:49.120 --> 1:27:52.439 command Robbie the robot to kill the monster that's attacking 1:27:52.479 --> 1:27:56.559 them in the house. But Robbie, knowing that the monster 1:27:56.760 --> 1:28:00.920 is a manifestation of a human mind, can't can't hurt it, 1:28:01.479 --> 1:28:03.000 right because he can't hurt a human. 1:28:03.560 --> 1:28:06.760 Yeah, that's excellent, And it just leads them to they 1:28:06.800 --> 1:28:10.040 have to like start retreating through these various levels of protection. 1:28:10.160 --> 1:28:13.160 So for instance, the homes, combat shades come up, and 1:28:13.280 --> 1:28:15.360 of course the doors, yeah, the blast doors, and the 1:28:15.400 --> 1:28:18.240 monster makes pretty quick work of that, and they have 1:28:18.280 --> 1:28:24.920 to retreat into the Krell subsurface chambers and they have 1:28:24.960 --> 1:28:28.559 all those really cool doors to move behind and the 1:28:28.600 --> 1:28:31.599 locking mechanism, but even that is not going to keep 1:28:31.600 --> 1:28:34.120 the monster at bay, and we get this terrific scene 1:28:34.120 --> 1:28:37.120 where the monster is like literally melting its way through 1:28:37.160 --> 1:28:37.799 the door. 1:28:38.000 --> 1:28:40.439 And we see the power plant. There's like a readout 1:28:40.479 --> 1:28:44.400 engine on this showing how much energy is being directed 1:28:44.439 --> 1:28:48.040 into the machine that this alien power plant is generating. 1:28:48.760 --> 1:28:51.360 And earlier we were seeing things happen where there's like, 1:28:51.439 --> 1:28:54.040 you know, fifty lights lined up and only the first 1:28:54.080 --> 1:28:57.240 one is barely lighting. But when the monster's trying to 1:28:57.240 --> 1:28:59.120 get through the door, we see it like lighting up 1:28:59.160 --> 1:29:01.160 all the way more, more and more, and like the 1:29:01.840 --> 1:29:05.360 energy produced is limitless, and they realize, like it's just 1:29:05.479 --> 1:29:09.120 not going to stop now. I think finally, Morbius was 1:29:09.200 --> 1:29:11.640 resistant to the idea at first that he was the 1:29:11.680 --> 1:29:14.280 one creating the monster, but he eventually comes to accept 1:29:14.320 --> 1:29:16.519 it and then sort of gets in the path of 1:29:16.560 --> 1:29:19.879 the monster, and I think as he is fatally injured 1:29:19.920 --> 1:29:24.000 by it, that sort of like makes it dematerialize for 1:29:24.040 --> 1:29:24.439 the moment. 1:29:25.040 --> 1:29:27.080 Yeah, Like he stands up to it, he basically has 1:29:27.160 --> 1:29:31.760 a you shall not pass moment. But yeah, at that, 1:29:32.000 --> 1:29:35.799 I mean, he still can't overpower it, and it manages 1:29:35.880 --> 1:29:38.000 to fatally injure him in the process. 1:29:38.320 --> 1:29:41.439 Yeah, and so at that point they somehow they end 1:29:41.520 --> 1:29:44.040 up setting a self destruct thing for the entire planet. 1:29:44.120 --> 1:29:48.679 You have ten minutes to reach minimum safe distance. They 1:29:48.720 --> 1:29:51.439 set up a self destruct for the planet, and then 1:29:51.479 --> 1:29:54.559 Adams and Altara have to escape back to the ship. 1:29:54.960 --> 1:29:56.880 Oh and I think Robbie comes with them, doesn't he 1:29:57.000 --> 1:29:57.960 as Robbie comes too. 1:29:58.040 --> 1:30:01.240 Yeah, yeah, yeah, Robbie is to come along for the ride. 1:30:01.439 --> 1:30:03.680 It's a fair trade. I mean like they made the 1:30:03.760 --> 1:30:06.320 right decision to set the self destruct like such a 1:30:06.600 --> 1:30:09.720 such a technology that makes all our thoughts manifest that 1:30:10.200 --> 1:30:13.520 there's no way that can be wielded correctly. You just 1:30:13.520 --> 1:30:17.320 just had to be destroyed. There's can't be good. But Robbie, 1:30:17.360 --> 1:30:19.519 I feel like Robbie's he's good tech. You can bring 1:30:19.600 --> 1:30:20.040 him with us. 1:30:20.280 --> 1:30:23.439 Yeah, his programming is sound, uh, and so yeah, he's 1:30:23.439 --> 1:30:26.120 a board. We have a moment where the surviving crew 1:30:26.120 --> 1:30:29.960 members there witness the destruction of the planet from afar, 1:30:31.800 --> 1:30:34.160 which is a little weird because Adams is like, there 1:30:34.160 --> 1:30:36.679 it goes your dad's on that planet or what's left 1:30:36.680 --> 1:30:39.160 of him, and yeah, it's like, well yes, obviously. 1:30:38.800 --> 1:30:43.320 But the ending line I remember is a little hokie. 1:30:43.400 --> 1:30:46.720 He has basically a he tampered in God's domain And yeah, 1:30:46.800 --> 1:30:50.760 a statement I think, but they but also there's a 1:30:50.800 --> 1:30:55.599 good observation where they're like, you know, what the crew 1:30:55.720 --> 1:30:58.719 achieved is not unique to the Krell. Maybe someday long 1:30:58.760 --> 1:31:01.280 in the future, humans will achieve the same level of 1:31:01.320 --> 1:31:04.560 technology and then we'll be facing the same problem. 1:31:05.040 --> 1:31:07.320 Yeah, and this is a valid point. We see this 1:31:08.000 --> 1:31:11.479 in sci fi time and time again. It remains pretty accurate, 1:31:11.760 --> 1:31:14.960 and that is that our technological achievements tend to outstrip 1:31:14.960 --> 1:31:21.320 our ability to control ourselves regarding that technology at a 1:31:21.320 --> 1:31:24.000 personal level or at like a governmental level. 1:31:24.400 --> 1:31:27.200 I think it's a plea for a kind of a 1:31:27.240 --> 1:31:31.840 regulatory or limiting consciousness about technology before it's achieved. It's 1:31:31.880 --> 1:31:36.080 recognizing that the story of the Krell is literally people 1:31:36.160 --> 1:31:39.599 achieving a power to do something before they've fully thought 1:31:39.680 --> 1:31:41.880 through what it would mean to have that power, and 1:31:41.920 --> 1:31:44.599 then of course it destroys them. And this is something 1:31:44.640 --> 1:31:47.439 we've seen happen again and again in technological history. People 1:31:47.600 --> 1:31:50.160 figure out how to do something before they've thought through 1:31:50.680 --> 1:31:52.679 all of the ways in which it could be used 1:31:52.680 --> 1:31:57.200 for ill and should thus be constrained or constrained to 1:31:57.240 --> 1:31:58.920 the extent that it could be constrained. I mean, some 1:31:58.920 --> 1:32:00.880 things are really hard to constrain, but you know, to 1:32:00.880 --> 1:32:03.840 whatever extent we have the power to. And so, yeah, 1:32:03.880 --> 1:32:05.840 we don't want to become like the Krell. We should 1:32:06.080 --> 1:32:10.920 think hard about how technological creations could go wrong before 1:32:10.920 --> 1:32:13.880 we create them. It's kind of a plea for science fiction. 1:32:14.840 --> 1:32:16.080 Yeah, yeah, absolutely. 1:32:16.439 --> 1:32:17.960 Anyway, that's Forbidden Planet. 1:32:18.120 --> 1:32:22.040 That is the Forbidden Planet. And yeah, I think it 1:32:22.080 --> 1:32:25.479 was an absolute delight. I highly recommend checking this one 1:32:25.479 --> 1:32:28.320 out if you've managed to not see it thus far. 1:32:28.960 --> 1:32:33.880 Like we said before, sometimes these highly influential films, they 1:32:33.920 --> 1:32:36.519 can be easy films to miss because you have at 1:32:36.600 --> 1:32:39.759 least sort of surface level understanding of what it's about, 1:32:40.120 --> 1:32:41.640 and it's easy to sort of put that one on 1:32:41.680 --> 1:32:44.479 the back burner. But this one's worth coming back to 1:32:44.640 --> 1:32:48.439 for sure. All Right, we would love to hear from 1:32:48.479 --> 1:32:51.280 everyone out there. What is your history with Forbidden Planet? 1:32:51.680 --> 1:32:54.719 What are your thoughts concerning it and other pictures from 1:32:54.760 --> 1:32:58.679 this timeframe? Are there other movies that you would compare 1:32:58.720 --> 1:33:02.760 favorably to Forbidden Plant from the nineteen fifties? Yeah, right 1:33:02.800 --> 1:33:05.080 in we'd love to hear from you. Just a reminder 1:33:05.080 --> 1:33:07.599 that Stuff to Blow Your Mind is primarily a science 1:33:07.880 --> 1:33:11.479 and culture podcast with core episodes of Stuff to Blow 1:33:11.479 --> 1:33:13.879 Your Mind. In the Stuff to Blow your Mind podcast 1:33:13.920 --> 1:33:16.639 feed on Tuesdays and Thursdays, but on Fridays we set 1:33:16.680 --> 1:33:18.720 aside most serious concerns to just talk about a weird 1:33:18.800 --> 1:33:21.880 film here on Weird House Cinema. And if you want 1:33:21.880 --> 1:33:24.880 a complete list of all the movies we've covered thus far, well, 1:33:25.120 --> 1:33:28.200 you can head on over to letterbox dot com. You 1:33:28.240 --> 1:33:30.400 can look us up. Our user name is weird House 1:33:30.760 --> 1:33:33.679 and we have an episode list of everything we've covered 1:33:33.840 --> 1:33:36.439 thus far. I believe at this point what are we 1:33:36.520 --> 1:33:41.880 up to? It is exactly one hundred and ninety five films, 1:33:41.880 --> 1:33:44.439 so we're closing in on two hundred. If you have 1:33:44.520 --> 1:33:46.720 an idea for what we should cover for our two 1:33:46.840 --> 1:33:50.480 hundredth episode of Weird House Cinema, right in with suggestions. 1:33:50.880 --> 1:33:54.719 Here's thanks, as always to our excellent audio producer JJ Posway. 1:33:55.040 --> 1:33:56.559 If you would like to get in touch with us 1:33:56.600 --> 1:33:59.080 with feedback on this episode or any other, to suggest 1:33:59.080 --> 1:34:01.599 a topic for the future, to suggest a two hundredth 1:34:01.600 --> 1:34:04.040 film for us to cover, or just to say Hi. 1:34:04.120 --> 1:34:06.960 You can email us at contact at stuff to Blow 1:34:06.960 --> 1:34:15.160 Your Mind dot com. 1:34:15.240 --> 1:34:18.200 Stuff to Blow Your Mind is production of iHeartRadio. For 1:34:18.280 --> 1:34:21.080 more podcasts from my heart Radio, visit the iHeartRadio app, 1:34:21.240 --> 1:34:24.000 Apple Podcasts, or wherever you listen to your favorite shows.