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

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Speaker 1: Rob Lamb.

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Speaker 2: And I'm Joe McCormick, and today we're featuring an older

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Speaker 2: episode of Weird House Cinema. This one originally published on

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Speaker 2: November eleventh, twenty twenty two. And let's see, I was

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Speaker 2: not on this episode. This is one that you recorded

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Speaker 2: with our friend and colleague Annie Reese. This was on

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Speaker 2: the movie Congo. Oh boy, we were just talking about Congo,

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Speaker 2: the weird Michael Crichton written jungle adventure movie with an

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Speaker 2: animatronic gorilla, talking gorilla, and very importantly Tim Curry in

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Speaker 2: just an unbelievable Peter Lorii role.

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Speaker 1: Yeah, it's a super fun film. This one came up

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Speaker 1: in our recent Listener Mail episode and I was like, oh,

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Speaker 1: well that was a fun episode and we've never rerun it,

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Speaker 1: so we're going to rerun it here now. This one,

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Speaker 1: As I recall, Annie presented a list of movies she

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Speaker 1: would be open to talking about, and this was on

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Speaker 1: the list. I was like, it's got to be Congo.

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Speaker 2: Laura Lenny, Ernie Hudson, Joe Don Baker, what's not to love?

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Speaker 1: Yes, all right, let's jump right in.

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Speaker 3: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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

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Speaker 1: and I'm Annie Reese. That's right.

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Speaker 4: Can I just jump in? Yeah?

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Speaker 1: Yeah, that's perfectly, perfectly fine. That's the way to do it. Yes, everyone,

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Speaker 1: it's Annie Reese of Stuff Mom Never told you and

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Speaker 1: save her. She is going to join me as my

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Speaker 1: guest co host today as Joe is still very much

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Speaker 1: on parental leave, and we kind of had a back

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Speaker 1: and forth about what to discuss here, and eventually there

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Speaker 1: was just no denying the appeal of nineteen ninety five's Congo.

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Speaker 4: I think it was my first option, and I'm very

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Speaker 4: sorry if I overwhelmed you, because I do love movies.

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Speaker 4: I do love bad slash weird. I don't want to

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Speaker 4: put them in the same category, but I do love

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Speaker 4: movies that kind of make you raise your eyebrow like huh.

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Speaker 4: So when you asked, I was super excited and immediately

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Speaker 4: sent you I think like fifteen suggestions, but Congo was

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Speaker 4: the first one. And I hope Joe's not mad that

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Speaker 4: we're doing it without him, because I've talked about Congo

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Speaker 4: with him, but it is just something that is hard

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Speaker 4: to explain. And in fact, last night I was going

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Speaker 4: over some of your notes and I was laughing aloud

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Speaker 4: at your notes because it's just a strange film. So

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Speaker 4: much of it is hard to describe, and I kind

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Speaker 4: of love that about it. I'm kind of endeared by

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Speaker 4: how strange it is, if that makes sense.

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Speaker 1: Yeah, it's one of those films where, oh, on one hand,

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Speaker 1: I can't imagine Congo is anyone's favorite movie. No, and

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Speaker 1: yet it's hard not to love, if not parts of

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Speaker 1: the film or the whole film itself, you've still got

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Speaker 1: to admire sort of the the guts to try and

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Speaker 1: put together something like this like this was. It's like

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Speaker 1: a throwback to older jungle adventure movies, but with the

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Speaker 1: high tech Michael Crichton edge to it. And I'm not

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Speaker 1: sure ultimately anybody was really clamoring for this, but it's

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Speaker 1: hard to argue with the fun results here.

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Speaker 4: Yes, yes, I think that's It's such a It's a

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Speaker 4: movie that continually is asking you, like, well, don't ask

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Speaker 4: too many questions. Just come along with this journey. We

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Speaker 4: don't have to explain this. It's just going to be

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Speaker 4: fun and it's it does end up being very fun,

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Speaker 4: even though at the end you're like, but wait, and

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Speaker 4: it just like switches genres a million times. It's never

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Speaker 4: entirely clear like what it's trying to be. It's very

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Speaker 4: obviously in the shadow of Jurassic Park, because it had

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Speaker 4: come out in the wake of Jurassic Park. But there's

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Speaker 4: something about about so much of the acting in it

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Speaker 4: that is just fullhearted despite what is going on around,

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Speaker 4: like maybe even because of what is going on in

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Speaker 4: the script that is just hard not to kind of

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Speaker 4: it just kind of winds you over. You're like, oh, yeah, sure,

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Speaker 4: let's go on this journey.

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Speaker 1: It has a lot of energy, and it has some

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Speaker 1: great performers in it, who many of which really decide

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Speaker 1: to chew the scenery, which I think is the right

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Speaker 1: impulse for a film like this. And then yeah, the

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Speaker 1: genre I wouldn't I won't say it's necessarily a genre confusion,

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Speaker 1: but there are elements of this movie that are kind

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Speaker 1: of monster film and perhaps even seem like they might

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Speaker 1: venture into horror. But there's also plenty of stuff that's

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Speaker 1: just kind of this old fashioned, essentially like a jungle

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Speaker 1: cruise kind of adventure. And if you go in just

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Speaker 1: hungry for the killer gorillas. You get a little bit

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Speaker 1: at the beginning, and then you got to wait a

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Speaker 1: long time before you get back to them.

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Speaker 4: I think I read I read an article that said,

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Speaker 4: if you're for a movie that was like promising killer gorillas,

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Speaker 4: you only really get them at the one hundred minute mark,

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Speaker 4: just constantly like but wait where okay?

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Speaker 1: But then they they and then the ultimate I guess. Yeah,

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Speaker 1: they're not on screen a lot, but there are a

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Speaker 1: lot of gorillas on screen when they are on screen,

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Speaker 1: so you do get to see a lot of really

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Speaker 1: amazing gorilla costumes. And I'm a sucker. I'm a sucker

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Speaker 1: for a bad gorilla costume. You bring a great gorilla costume,

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Speaker 1: and I'm totally on board.

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Speaker 4: Yes, and I if you would allow me, I would

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Speaker 4: love to tell the very complicated story of how I

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Speaker 4: saw congo.

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Speaker 1: Oh, let's hear it.

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Speaker 4: Yes, okay, okay, So come along with this journey like

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Speaker 4: this is oh so I One of the first movies

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Speaker 4: I ever saw in theaters was Jurassic Park. I snuck

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Speaker 4: into the theater. I was like three or four. I

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Speaker 4: should not have been there, and I had a nightmare

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Speaker 4: about Raptors. That night, I couldn't hide that I had

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Speaker 4: seen this movie because it became very clear. So I

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Speaker 4: got in very big trouble for it. But I loved

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Speaker 4: the movie, and after that I became Once I got older,

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Speaker 4: I read a lot of Michael Crichton. I really liked sphear.

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Speaker 4: I think my interest was sort of reignited in the

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Speaker 4: two thousand's after Lost, because there was a big loss

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Speaker 4: theory about the book Prey. Yeah, so I started reading

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Speaker 4: it again, and somehow Congo never entered this year. I

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Speaker 4: did not know it was written by Michael Crichton. I

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Speaker 4: because I'm kind of a gullible and sometimes terrible at

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Speaker 4: deciphering sarcasm, had been told that Congo was an Oscar

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Speaker 4: winning movie and like best Film level, okay, So I

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Speaker 4: thought it was going to be this really dramatic sade

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Speaker 4: on I don't know, diamonds and or gorillas in Africa, which,

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Speaker 4: by the way, that is one thing that does not

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Speaker 4: age well in this movie. So I was preparing it

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Speaker 4: for it to be a really emotional, sad film, and

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Speaker 4: because of that I had put it off. I'd put

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Speaker 4: off seeing it for years and years and years, still

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Speaker 4: not knowing it's Michael Crichton, and so at the beginning

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Speaker 4: of the pandemic, when it's like, oh gosh, I'm just

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Speaker 4: gonna have to start, I'm gonna stream everything because that's

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Speaker 4: what I that's what I have to only love to

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Speaker 4: me to do. I was with a friend of mine,

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Speaker 4: a very very good friend of mine, and I was like,

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Speaker 4: you know what, tonights the night I'm gonna I'm gonna

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Speaker 4: do Congo, I'm gonna stream it. I'm gonna be sad

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Speaker 4: and it's gonna be great. And I So we kept

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Speaker 4: putting it off even into the night, and so it

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Speaker 4: was like two am, and I was kind of tipsy,

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Speaker 4: and I started watching it, and she went. She went

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Speaker 4: to lay down in a room next to me so

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Speaker 4: she could still hear me, but she wasn't watching it.

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Speaker 4: So what follows was me desperately trying to make sense

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Speaker 4: in my head about how this could be a Best

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Speaker 4: Picture Oscar movie and me shouting at Katie like, oh

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Speaker 4: my god, Tim Curry showed up and he's got some

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Speaker 4: accents I can't explain, and her being like what and

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Speaker 4: me being like, oh my gosh, there's a talking gorilla

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Speaker 4: and it likes Martini's what's going on? And just like

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Speaker 4: my brain desperately trying to make this make sense. And

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Speaker 4: I think it's a real testament to like what you

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Speaker 4: think a movie is when you go into it, of

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Speaker 4: how hard I was trying to well there's I mean,

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Speaker 4: surely it's something. I'm maybe I'm missing something or and

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Speaker 4: so I it wasn't until the lasers lasering of the

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Speaker 4: gorillas at the end that I was finally like, I'm

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Speaker 4: I'm not sure this movie won any all screws. Then

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Speaker 4: when they escape in the hot air balloon, I was like, O, Katie,

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Speaker 4: they're in a hot air balloon. I don't think I

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Speaker 4: don't think this was an award winning movie at all.

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Speaker 4: And so then I desperately like go online and I

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Speaker 4: search what is this movie? And to my delight, I

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Speaker 4: found several several articles about it that were like exactly that,

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Speaker 4: what is this movie? And I read them all and

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Speaker 4: then I said, we are watching this again, and I

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Speaker 4: need you to witness what I just saw. So it

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Speaker 4: was like only a couple of years ago I saw it,

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Speaker 4: and I just it still left such a mark on

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Speaker 4: me because I was the whole time, what is going

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Speaker 4: on here?

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Speaker 1: Oh wow, that's so. Yeah. If you go into into

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Speaker 1: the film Congo expecting one of those, and then there

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Speaker 1: were I believe several like serious films that came out

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Speaker 1: at least in the decade follow dealing with serious dramatic

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Speaker 1: scenarios in Africa. This is this is not one of them. No,

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Speaker 1: but I can imagine, Yeah, you're surprised when these various

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Speaker 1: speculative and fantastic elements begin to pop up.

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Speaker 4: Oh my gosh, the hot air ballue. It's the funniest

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Speaker 4: part to me is that I made it all the

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Speaker 4: way to that part before I was finally like, something's

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Speaker 4: off here. I think I've been told a lie about

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Speaker 4: what it is.

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Speaker 1: Oh wow, that is that's amazing. So the second viewing

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Speaker 1: you had that was the one where you went in

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Speaker 1: having full knowledge of what Congo was and what you're

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Speaker 1: going to get out of it.

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Speaker 4: Yes, and now I've seen it several several times, and

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Speaker 4: it's kind of a tradition, a tradition with me and

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Speaker 4: some friends that we watch it and mostly we just

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Speaker 4: are like, look at what Tim Curry is doing, because

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Speaker 4: he's really, like you said, a lot of the actors

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Speaker 4: are chewing up the scenery. Him and Ernie Hudson are

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Speaker 4: just it feels like they're having a good time. And yeah,

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Speaker 4: I hope so, because they it's it's shining through and

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Speaker 4: it's so fun to just watch them have that fun.

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Speaker 5: Yeah.

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Speaker 1: Yeah, I'm looking forward to talking more about about Ernie

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Speaker 1: Hudson in a bit because it is a great Ernie

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Speaker 1: Hudson role, perhaps his best role. It's amazing. Now my

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Speaker 1: history with Congo it very much connected to Jurassic Park,

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Speaker 1: you know, because nineteen ninety three, Jurassic Park comes out

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Speaker 1: in theaters. I think I was fourteen at that point,

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Speaker 1: and like a lot of kids of that age in

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Speaker 1: that time period, like instantly you're in on Michael Crichton books.

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Speaker 1: You pick up a copy of Jurassic Park, you read that,

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Speaker 1: and they both provide very similar but slightly differing experiences.

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Speaker 1: And I remember my dad had read and was reading

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Speaker 1: some Michael Crichton at the time, so we kind of

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Speaker 1: had that to bond over, and I read I read

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Speaker 1: a series of them at the time. I think I

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Speaker 1: read Fear, which I think I've mostly forgotten, Eaters of

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Speaker 1: the Dead, which I enjoyed a lot, and then the

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Speaker 1: nineteen eighty novel Congo, which of course is the basis

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Speaker 1: for this film. So looking back on it, I think

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Speaker 1: I was drawn in more to the more fantastic of

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Speaker 1: the Michael Crichton books, the ones that involve dinosaurs coming

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Speaker 1: back from the dead, cannibal cavemen attacking vikings, and of

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Speaker 1: course this wonderful tale of strange lost gorillas and lost

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Speaker 1: cities in the jungle and superpowered lasers.

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Speaker 4: Of course, and diamonds that somehow, you know, that's one

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Speaker 4: of my other favorite parts of this movie. And I

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Speaker 4: am a big sucker for this period of technology where

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Speaker 4: I experienced it. I grew up with it, but it

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Speaker 4: feels so outdated and kind of like wonky now, and

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Speaker 4: it's clear that, like the understanding wasn't entirely there. So

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Speaker 4: I love the plot line of just like, don't ask

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Speaker 4: too many questions, but this diamond is how we're going

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Speaker 4: to revolutionize commune occasions technology and it is necessary for satellites.

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Speaker 1: Yeah, the techno aspect of the film is it's one

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Speaker 1: of the aspects of Michael Crichton's work that I think

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Speaker 1: tended to set a lot of his stuff apart, especially

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Speaker 1: from this period of his writing, because he had a

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Speaker 1: real knack for like adventure and thriller stories, but then

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Speaker 1: would bring in this level of technology and technological speculation,

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Speaker 1: and yeah, it made things feel more alive at the time.

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Speaker 1: Some of it maybe it has not aged as well,

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Speaker 1: just because that's how that's how cutting edge sci fi works.

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Speaker 1: As you eventually reach the period where you read Neuromancer

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Speaker 1: again and you're like, whoa, they're sending faxes. That doesn't

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Speaker 1: feel very cyberpunk, but it's just talid cos.

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Speaker 4: Yeah, and I do love it. I mean, there's so

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Speaker 4: many parts of this movie where it is very fun,

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Speaker 4: which again I'll use that word a lot because I

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Speaker 4: do think Congo is a very fun movie to look

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Speaker 4: back at the technology and just smile to yourself and

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Speaker 4: be like, well, it was a different time and they

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Speaker 4: were trying.

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Speaker 1: Yeah, it's I mean, this is a pretty pricey film.

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Speaker 1: I don't think it's the most expensive film that we've

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Speaker 1: watched on Weird House, but it's up there. It was

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Speaker 1: a big summer blockbuster, and the weird thing is that

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Speaker 1: it was successful. I understand it, maybe not critically, but

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Speaker 1: it made money at the box. I was people went

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Speaker 1: out and saw it and they enjoyed it, and yet

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Speaker 1: it is It is the right level of blockbuster where

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Speaker 1: it is sort of culturally forgotten by a lot of people,

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Speaker 1: which allows someone like you to come around later and

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Speaker 1: go into it not knowing exactly what you're going to

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Speaker 1: get out of it. Yeah.

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Speaker 4: Such a lot of the articles I read before this,

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Speaker 4: a lot of people said that, like, people are rediscovering

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Speaker 4: Congo and asking the same questions I did after watching it.

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Speaker 4: And it is interesting because, as you said, people saw

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Speaker 4: it and it had a huge marketing push, huge marketing push.

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Speaker 4: From what I understand, I think there was a quote

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Speaker 4: from one of the somebody higher up the film that

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Speaker 4: he basically said, anybody who doesn't see Congo is a

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Speaker 4: terrible person or something like. They were really really hyping this,

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Speaker 4: and I'm surprised that. Yeah, it just I guess people

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Speaker 4: were like, sure there was this talk and Gorilla, let's

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Speaker 4: move on to another thing. But now people are rediscovering

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Speaker 4: it and it is it's just a ride. I'm excited

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Speaker 4: for any listeners who haven't seen it to just describing

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Speaker 4: the plot. That was one of the most fun things

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Speaker 4: that night when I was watching it the first time

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Speaker 4: and just shouting these random phrases to my friend in

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Speaker 4: the other Boom, like I had to share it with

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Speaker 4: her because this is so bizarre to explain to someone.

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Speaker 1: Yeah, it's it's the story behind it is kind of

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Speaker 1: bizarre too. I was reading a little bit about this. Like,

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Speaker 1: one thing we have to keep in mind is that

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Speaker 1: coming back to nineteen eighty the period that the book

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Speaker 1: comes out, So by the late seventies, Michael Crichton was

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Speaker 1: all already a big name, both with books but also

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Speaker 1: with movies. We'll get into that in a bit, but

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Speaker 1: the story goes that he had this idea to do

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Speaker 1: a modern King Solomon's Minds type movie, a modern jungle

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Speaker 1: adventure but updated for modern audiences with lots of you know,

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Speaker 1: Michael Crichton technos stuff in it. And twentieth Century Fox

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Speaker 1: loved it. In fact, they loved it so much as

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Speaker 1: they signed him to a contract to write the novel,

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Speaker 1: the screenplay, and direct it before there was even a book.

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Speaker 1: He signed. But then he got massive writer's block and

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Speaker 1: had to use an isolation tank to overcome it, and

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Speaker 1: that is where Congo comes from. It emerges from the

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Speaker 1: isolation tank.

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Speaker 4: That makes sense. That makes sense, And he had some

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Speaker 4: really this original take on the film that he was

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Speaker 4: going to do sounds like it was going to be

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Speaker 4: extremely different, and also kind of gave me the vibes

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Speaker 4: of like, how is this going to get made? How

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Speaker 4: are we going to translate this story to a movie?

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Speaker 1: Mm hmm, yeah, And I think there were there were

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Speaker 1: some some issues early on, just like how would you

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Speaker 1: create like the gorillas. And I think one of the

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Speaker 1: reasons they ended up making it, They're like, well, we've

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Speaker 1: done Jurassic Park, now we can do anything. Let's make

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Speaker 1: cgi gorillas. And I think it didn't take them long

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Speaker 1: to realize that that a that wasn't really achievable, mainly

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Speaker 1: because of the fur issue. But then also I think

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Speaker 1: they encountered something that that that filmmakers have have sort

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Speaker 1: of have to rekeep reminding them, and that is gorilla

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Speaker 1: suits absolutely work. The gorilla suits are great. You get

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Speaker 1: a good physical actor in there who can move around properly,

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Speaker 1: and and it's amazing. It totally. In fact, it works

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Speaker 1: so well. You know you'll encounter films like say, hell Boy.

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Speaker 1: I remember seeing some behind the scenes stuff with Giamo

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Speaker 1: del Toro who was talking about creating these like secondary

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Speaker 1: demon monsters that hell Boy battles, and he was like, well, Bay,

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Speaker 1: we said, let's start with a gorilla suit and let's

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Speaker 1: just monster it out. Make it not a gorilla but

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Speaker 1: a demon. But performance wise, it's essentially a gorilla suit

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Speaker 1: because that absolutely works. Yeah.

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Speaker 4: Yeah, that's really interesting because I do think and I

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Speaker 4: just watched a documentary about this the other day about

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Speaker 4: special effects, and I do think it's interesting that like

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Speaker 4: Jurassic Park was such this like touchstone in terms of

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Speaker 4: technology what we can do, and it was a lot

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Speaker 4: in a lot of ways, like they had so many

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Speaker 4: practical things, but they also had CGI, and so I

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Speaker 4: think there was a lot of like, well maybe CGI

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Speaker 4: sounds cooler, like this technology is newer, so much must

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Speaker 4: be better. And I think that we have seen and

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Speaker 4: have talked about, like CGI is obviously gotten a lot

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Speaker 4: better since then, but in those early days especially, there

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Speaker 4: was something better. It worked better to have these gorilla

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Speaker 4: suits as opposed to trying to do something with CGI.

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Speaker 4: Like there Stan Winston who was behind it, like he

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Speaker 4: he created these and I don't think I think it

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Speaker 4: would have been much worse if they had tried to

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Speaker 4: go a different route, especially because as we're going to

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Speaker 4: talk about there. I can't say it enough. This gorilla

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Speaker 4: like drinks some martini. Oh yeah, Like we can't. I

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Speaker 4: think if they had tried to see gi some of

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Speaker 4: this stuff, or gone a different way than gorilla suits,

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Speaker 4: then it would be funnier in a way that they

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Speaker 4: absolutely didn't intend. There are certain scenes in this movie

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Speaker 4: where I'm like, I can't tell if you meant for

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Speaker 4: this to be funnier or not.

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Speaker 1: Yeah, but they had got on cgi gorillas, it would

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Speaker 1: be an entirely different piece. Because there's plenty of stuff

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Speaker 1: about this film that does feel dated, be it the

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Speaker 1: sort of high tech stuff or the general like nineteen

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Speaker 1: ninety five sheen that is over everything, and like the

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Speaker 1: film doesn't have like a visual vision. I guess that

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Speaker 1: really supersedes that ninety fiveness of the whole picture. But

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Speaker 1: the gorilla suits amy that they all look very real.

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Speaker 1: You still buy them like they hold up, even if

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Speaker 1: there are other aspects of the film that don't.

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Speaker 6: It's true, it's true.

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Speaker 1: So but before we go move on to the trailer,

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Speaker 1: and one more thing I want to add is that, yeah,

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Speaker 1: I very much remember enjoying the book. I did read

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Speaker 1: the book first, on this one. It's full of a

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Speaker 1: lot of traditional jungle adventure story elements, but with the

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Speaker 1: added laser technology that's very much in there, it does

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Speaker 1: get progressively weirder as you end up learning more about

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Speaker 1: these mysterious gray apes and this lost city. And I

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Speaker 1: think a lot of this ties into some elements of

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Speaker 1: essentially what was kind of darwin'sploitation fiction of Yesteryear. We

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Speaker 1: see this in in the works of HP Lovecraft's facts

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Speaker 1: concerning the late author German J. E. R. N y N,

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Speaker 1: but also Sir Arthur Cunnan Doyle. He had one of

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Speaker 1: the Sherlock Home adventures called The Adventure of the Crooked Man.

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Speaker 1: And then there's also it's also worth noting that the

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Speaker 1: Lovecraft tale in question kind of links back to an

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Speaker 1: Edgar Rice Burrough story from nineteen sixteen titled Tarzan and

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Speaker 1: the Jewels of Opar, which also seems very It seems

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Speaker 1: like it was probably a primary inspiration on Michael Crichton here,

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Speaker 1: because it concerns a lost city and it also concerns

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Speaker 1: a group of human ape hybrids that protect it. And

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Speaker 1: all of these films, I mean, all these stories that

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Speaker 1: I just mentioned, they all have elements of human ape

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Speaker 1: hybridity and strange things, strange apes and sort of evolution

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Speaker 1: tinged danger.

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Speaker 4: Yeah. Yeah, that's a good point. And I do have

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Speaker 4: a quote I want to read at the end, but

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Speaker 4: somebody was reviewing it and was just asking, like the

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Speaker 4: monstrous gray apes in this, if you dig too deep

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Speaker 4: into why they exist, it doesn't really make sense.

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Speaker 1: No, no, it.

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Speaker 4: Doesn't really make sense at all. But that's true. Yeah,

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Speaker 4: that kind of evolution gone wrong, or maybe like even

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Speaker 4: our fears around evolution and even some of those past

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Speaker 4: perhaps scared stories and sometimes not scared stories of experiments

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Speaker 4: done with humans and apes and like the Soviet Union

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Speaker 4: and stuff like that, but then you always had kind

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Speaker 4: of the comedic tinge of you know, Harrying the Hintersons,

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Speaker 4: Like there was a lot going on in that genre act.

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Speaker 4: We are in that kind of specific idea. So that's interesting.

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Speaker 1: All right, Well, it is again a jungle adventure movie,

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Speaker 1: but with satellites and lasers. Let's go ahead and hear

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Speaker 1: that fabulous mid nineties trailer audio Activate the remote.

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Speaker 7: In the race for the world's most advanced communications technology,

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Speaker 7: a shocking discovery has been made.

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00:23:19,359 --> 00:23:21,200
Speaker 4: Block You're remote, give me a thermal reading result of

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Speaker 4: six six.

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Speaker 7: Relatively, it will take two young scientists into the heart

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Speaker 7: of the African jungle. A secret hidden for two thousand

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Speaker 7: years owns the.

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Speaker 4: Key to the future. This is Karen Ross eight one

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Speaker 4: four five two Houston.

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Speaker 7: Do you read you used to work for the CIA,

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Speaker 7: and now you're trafical. Some will come to it for science.

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Speaker 2: The delts.

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Speaker 4: This is a big five. Some for fortune and diamond

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Speaker 4: line of incredible bounty, and some to return home. She

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Speaker 4: doesn't really belong anywhere to No, she belongs here.

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Speaker 7: Together they will search my boss.

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Speaker 4: You thought I wasn't gonna make it. We sent another expedition,

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Speaker 4: drawn deep into a mystery castroyed people dead, great gorilla gorilla.

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Speaker 4: I saw one.

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Speaker 7: And the more they discover the same aheroglyphics, over and over,

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Speaker 7: the greater the danger. What did they say, we are

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Speaker 7: watching you?

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Speaker 1: You never saw an animal.

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Speaker 4: Move like that? How intelligent are they?

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Speaker 1: Smart?

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Speaker 7: The two damn spots.

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Speaker 1: We're getting out of here them put them on the.

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Speaker 6: Danger species left.

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Speaker 3: From the best selling novel by the author of Jurassic.

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Speaker 6: Art fil.

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Speaker 7: Of The feel Isn't true.

433
00:25:08,240 --> 00:25:12,280
Speaker 3: Congo, Where you are the endangered species?

434
00:25:19,080 --> 00:25:20,879
Speaker 1: See it sounds like it's gonna be an adventure. It

435
00:25:20,880 --> 00:25:22,840
Speaker 1: sounds like something that you're gonna you're gonna buy a

436
00:25:22,880 --> 00:25:26,639
Speaker 1: lot of popcorn and cola for and you just just

437
00:25:26,760 --> 00:25:28,320
Speaker 1: try not to pee the entire time.

438
00:25:28,680 --> 00:25:30,720
Speaker 4: There's a part of me that wishes I had seen

439
00:25:31,640 --> 00:25:33,160
Speaker 4: I think if I had seen the trailer and had

440
00:25:33,160 --> 00:25:37,040
Speaker 4: no idea about the movie, I wish I I I'm

441
00:25:37,119 --> 00:25:39,640
Speaker 4: jealous I didn't get to have that experience. I suppose

442
00:25:41,560 --> 00:25:45,640
Speaker 4: because it's actually having seen it. It's a pretty accurate trailer.

443
00:25:45,720 --> 00:25:47,960
Speaker 4: I was expecting something cheesier, to be honest, but it

444
00:25:48,000 --> 00:25:52,880
Speaker 4: could be because I've seen Congo a lot by now,

445
00:25:54,600 --> 00:25:57,879
Speaker 4: so it didn't have exactly the as much of the

446
00:25:59,080 --> 00:26:02,040
Speaker 4: strangeness and dated vibe that I thought it would. And

447
00:26:02,080 --> 00:26:06,280
Speaker 4: it does feel very much like, Yeah, this is popcorn movie.

448
00:26:06,560 --> 00:26:10,200
Speaker 4: Come out and enjoy your popcorn, have fun, then go

449
00:26:10,240 --> 00:26:11,280
Speaker 4: and home and forget about it.

450
00:26:11,320 --> 00:26:14,720
Speaker 1: I guess yeah. I don't know that much of the

451
00:26:14,720 --> 00:26:18,000
Speaker 1: film really stuck with me. In fact, there are elements

452
00:26:18,000 --> 00:26:21,320
Speaker 1: of the film that I remembered as being different because

453
00:26:21,320 --> 00:26:23,760
Speaker 1: of the book, Like I just ended up assuming that

454
00:26:23,800 --> 00:26:27,240
Speaker 1: the parts of the book were were accurately depicted in

455
00:26:27,280 --> 00:26:29,399
Speaker 1: the film, and so I just remembered the film as

456
00:26:29,440 --> 00:26:33,880
Speaker 1: having those details, and we'll come back to what those

457
00:26:33,920 --> 00:26:36,639
Speaker 1: are in a bit. But if you are looking to

458
00:26:36,640 --> 00:26:39,800
Speaker 1: have your first Congo experience, or your first Congo experience

459
00:26:39,960 --> 00:26:44,280
Speaker 1: in decades, well, lucky for you, Congo is widely available,

460
00:26:44,359 --> 00:26:47,800
Speaker 1: even if it's partially forgotten, as much as a blockbuster

461
00:26:47,880 --> 00:26:50,800
Speaker 1: can be forgotten. I watched it on a very old

462
00:26:50,840 --> 00:26:54,000
Speaker 1: feeling DVD that I rented from Video Drum here in Atlanta.

463
00:26:55,160 --> 00:26:58,399
Speaker 1: There is a Blu ray from twenty fourteen and in

464
00:26:58,440 --> 00:27:02,600
Speaker 1: their HD digital cop you can rent or purchase online,

465
00:27:02,960 --> 00:27:05,640
Speaker 1: but I don't think it's received a full blown special edition,

466
00:27:06,080 --> 00:27:08,960
Speaker 1: so there are no like real Congo extras out there

467
00:27:08,960 --> 00:27:10,399
Speaker 1: floating around, which seems weird.

468
00:27:10,720 --> 00:27:14,639
Speaker 4: It does. I couldn't really get a good grasp on

469
00:27:14,760 --> 00:27:21,560
Speaker 4: that I own the DVD because I never wanted to

470
00:27:21,600 --> 00:27:25,320
Speaker 4: be without it after that first time watching it. But

471
00:27:25,400 --> 00:27:29,440
Speaker 4: it is one of those things where I honestly feel

472
00:27:29,480 --> 00:27:33,200
Speaker 4: like most of the cast gave it there all they

473
00:27:33,280 --> 00:27:38,240
Speaker 4: really did, but it's it's also got the vibe of like, okay,

474
00:27:38,240 --> 00:27:42,399
Speaker 4: we did that, let's not talk about it anymore. I

475
00:27:42,480 --> 00:27:46,879
Speaker 4: do know Ernie Hudson has said he would reprise his

476
00:27:47,040 --> 00:27:51,679
Speaker 4: role as Monroe. Oh that would be me, I know,

477
00:27:51,840 --> 00:27:53,919
Speaker 4: but I'm not sure, like if there's any talk at

478
00:27:54,000 --> 00:27:56,600
Speaker 4: all about a sequel. I just know he said that

479
00:27:56,680 --> 00:28:01,000
Speaker 4: he would do that. But yeah, and like you said,

480
00:28:01,000 --> 00:28:06,040
Speaker 4: it was it was financially successful, but I think it

481
00:28:06,200 --> 00:28:10,480
Speaker 4: wasn't because of the critical review, which was not good

482
00:28:10,600 --> 00:28:12,200
Speaker 4: if we didn't make clearer but I think we did,

483
00:28:12,240 --> 00:28:16,080
Speaker 4: but it was not good because of that, And I

484
00:28:16,119 --> 00:28:18,600
Speaker 4: don't think it did as well as they wanted, even

485
00:28:18,640 --> 00:28:20,679
Speaker 4: though it did way better than it should have. Given

486
00:28:20,720 --> 00:28:26,520
Speaker 4: the reviews, I think they've just sort of, yeah, put

487
00:28:26,520 --> 00:28:30,120
Speaker 4: that one up on the shelf. Let's just forget that

488
00:28:30,119 --> 00:28:30,760
Speaker 4: that happened.

489
00:28:31,440 --> 00:28:36,400
Speaker 1: Yeah, it is. Speaking of reviews, I had to revisit

490
00:28:36,960 --> 00:28:39,920
Speaker 1: Roger Ebert's review for the film because it's a pretty

491
00:28:39,920 --> 00:28:42,040
Speaker 1: fun review. It's a three star review, to be clear,

492
00:28:42,080 --> 00:28:44,640
Speaker 1: so he didn't he didn't go beyond three stars on it.

493
00:28:44,640 --> 00:28:47,280
Speaker 1: But it's also kind of a glowing review of the film,

494
00:28:47,400 --> 00:28:49,760
Speaker 1: Like he has a lot of very nice things to

495
00:28:49,760 --> 00:28:53,720
Speaker 1: say about it and some of the performances. So I'll

496
00:28:53,760 --> 00:28:55,800
Speaker 1: call back to that review a couple of times in

497
00:28:55,840 --> 00:28:56,120
Speaker 1: a bit.

498
00:28:57,240 --> 00:28:59,880
Speaker 4: Yeah, I read that to you and I was amused

499
00:28:59,880 --> 00:29:02,120
Speaker 4: by because I was expecting it to be negative, but

500
00:29:02,240 --> 00:29:05,720
Speaker 4: he kind of seemed to, I hesitate to say get

501
00:29:05,760 --> 00:29:09,120
Speaker 4: it because I mean, he kind of seemed to be like,

502
00:29:09,200 --> 00:29:12,600
Speaker 4: you know, this is just it's a fun movie. It's

503
00:29:12,600 --> 00:29:17,120
Speaker 4: got its issues, but I had a good time watching it.

504
00:29:17,480 --> 00:29:23,200
Speaker 1: Yeah, Ebert would would definitely fall on that line for

505
00:29:23,360 --> 00:29:26,160
Speaker 1: various film reviews if it was just the right type

506
00:29:26,200 --> 00:29:30,280
Speaker 1: of kind of weird film or pulpy film, like he would,

507
00:29:30,480 --> 00:29:33,880
Speaker 1: he would view it favorably. So yeah, I find myself

508
00:29:34,200 --> 00:29:38,880
Speaker 1: agreeing with Ebert a lot on certain films. All Right,

509
00:29:38,880 --> 00:29:41,360
Speaker 1: well let's get into some We've discussed some of the

510
00:29:41,360 --> 00:29:44,480
Speaker 1: people already, but just to go through the list, and

511
00:29:44,520 --> 00:29:48,800
Speaker 1: I think some of these will, especially behind the scenes names,

512
00:29:48,840 --> 00:29:50,720
Speaker 1: will help us sort of make sense of like what

513
00:29:50,880 --> 00:29:54,600
Speaker 1: Congo is. And I think, you know, pointing out that

514
00:29:54,880 --> 00:29:58,960
Speaker 1: Frank Marshall born nineteen forty six is both the director

515
00:29:59,040 --> 00:30:03,960
Speaker 1: and the executive this feels kind of key because Marshall

516
00:30:04,160 --> 00:30:07,440
Speaker 1: primarily known as a major Hollywood producer, and while he's

517
00:30:07,440 --> 00:30:10,400
Speaker 1: not involved in the current Star Wars stuff with his wife,

518
00:30:10,400 --> 00:30:12,920
Speaker 1: he's still very much a part of the Indiana Jones franchise,

519
00:30:13,000 --> 00:30:16,520
Speaker 1: the Jurassic Park franchise, which of course keeps coming back

520
00:30:16,600 --> 00:30:20,560
Speaker 1: to life and emerging from eggs various other film and

521
00:30:20,600 --> 00:30:24,000
Speaker 1: TV projects. His direct as a director's output has been

522
00:30:24,040 --> 00:30:28,920
Speaker 1: far smaller. But I think this is perhaps key, Like

523
00:30:29,400 --> 00:30:31,960
Speaker 1: if we think of the blockbuster as as not just

524
00:30:32,000 --> 00:30:34,120
Speaker 1: a film, not just like a piece of art, but

525
00:30:34,200 --> 00:30:38,000
Speaker 1: this sort of colossal business project. Congo I think does

526
00:30:38,160 --> 00:30:40,640
Speaker 1: kind of feel like that, Like, can you fault the

527
00:30:40,640 --> 00:30:43,880
Speaker 1: fact that the Congo exists as a finished film and

528
00:30:43,920 --> 00:30:46,080
Speaker 1: made more money than it costs? You know, it seems

529
00:30:46,120 --> 00:30:50,160
Speaker 1: to have been a financial success. It checks off all

530
00:30:50,160 --> 00:30:52,560
Speaker 1: the boxes. You can't really fault it for that. You

531
00:30:52,680 --> 00:30:57,040
Speaker 1: might fault it for vision, You might say, well, you know,

532
00:30:57,080 --> 00:30:58,640
Speaker 1: it has this kind I've seen people point out what

533
00:30:58,680 --> 00:31:01,480
Speaker 1: has kind of a like a TV almost look to it.

534
00:31:01,480 --> 00:31:07,240
Speaker 1: It doesn't feel suitably cinematic enough, et cetera. But there's

535
00:31:07,280 --> 00:31:09,080
Speaker 1: no faulting it from a business perspective.

536
00:31:09,440 --> 00:31:12,040
Speaker 4: Yeah, yeah, I mean it had all the ingredients there.

537
00:31:12,240 --> 00:31:16,160
Speaker 4: And I do think the timing of this is important

538
00:31:16,200 --> 00:31:18,960
Speaker 4: to keep in mind too, because again, it was a

539
00:31:19,000 --> 00:31:21,880
Speaker 4: time when technology was shifting, when what people had access

540
00:31:21,920 --> 00:31:24,520
Speaker 4: to in terms of technology was shifting when what people

541
00:31:24,600 --> 00:31:27,520
Speaker 4: could do in terms of creating things with technology was shifting.

542
00:31:29,280 --> 00:31:33,600
Speaker 4: So I think it very much was a product of

543
00:31:33,640 --> 00:31:37,560
Speaker 4: its time in that way where you know, the idea

544
00:31:37,560 --> 00:31:41,120
Speaker 4: of the blockbuster had been around since the seventies, but

545
00:31:41,640 --> 00:31:44,400
Speaker 4: it had kind of become a here's how you do

546
00:31:44,480 --> 00:31:47,880
Speaker 4: it by that point. But it also had these pieces

547
00:31:47,920 --> 00:31:51,880
Speaker 4: that were changing in terms of the technology especially, So

548
00:31:52,000 --> 00:31:54,200
Speaker 4: it is interesting to me that they did stick with

549
00:31:54,320 --> 00:32:01,560
Speaker 4: the gorillas and suits, but also having these people that

550
00:32:01,680 --> 00:32:04,920
Speaker 4: had been involved in one way or another in this

551
00:32:05,000 --> 00:32:07,400
Speaker 4: type of blockbuster business, as you say, because they did

552
00:32:07,480 --> 00:32:13,360
Speaker 4: very much a business. It's it's seeing what came out

553
00:32:13,400 --> 00:32:16,840
Speaker 4: of that because there are pieces. I feel like, this

554
00:32:16,880 --> 00:32:19,400
Speaker 4: is one of the things about Congo is there. It's

555
00:32:19,400 --> 00:32:25,000
Speaker 4: all there, but it's almost like they weren't matched or

556
00:32:25,040 --> 00:32:27,520
Speaker 4: they were like leaning in too hard at in this

557
00:32:27,640 --> 00:32:29,640
Speaker 4: comedic way at one point and too hard in this way.

558
00:32:29,640 --> 00:32:33,160
Speaker 4: Like it was kind of like a blockbuster, but not

559
00:32:33,240 --> 00:32:37,640
Speaker 4: one that was uniform, if that makes sense. Yeah, Like

560
00:32:37,680 --> 00:32:40,640
Speaker 4: there was a lot going on where they're like, oh,

561
00:32:40,760 --> 00:32:42,440
Speaker 4: let's try this, let's try this, let's try this, which

562
00:32:42,480 --> 00:32:44,640
Speaker 4: all can work in a blockbuster, but they did it

563
00:32:44,680 --> 00:32:47,240
Speaker 4: from almost like three or four different blockbusters and kind

564
00:32:47,240 --> 00:32:48,520
Speaker 4: of trying to jam it together.

565
00:32:50,760 --> 00:32:52,840
Speaker 1: Yeah, and I can see you might might chalk that

566
00:32:52,960 --> 00:32:56,960
Speaker 1: up to Marshall and like, like, what's the director's vision

567
00:32:57,000 --> 00:32:58,720
Speaker 1: for it, and how much of what works in the

568
00:32:58,720 --> 00:33:02,080
Speaker 1: film is ultimately coming from all of the people who

569
00:33:02,760 --> 00:33:05,120
Speaker 1: give it. They're all for this performance, of this bit

570
00:33:05,160 --> 00:33:07,240
Speaker 1: of the special effects. But still at the end of

571
00:33:07,280 --> 00:33:09,680
Speaker 1: the day, like Marshall is the one. He's landing the

572
00:33:09,680 --> 00:33:11,960
Speaker 1: plane here, he's the one bringing the ship to port.

573
00:33:12,240 --> 00:33:16,880
Speaker 1: So yeah, it's certainly have to give him credit to

574
00:33:17,600 --> 00:33:20,640
Speaker 1: all Right, Well, Michael Crichton we already mentioned him a

575
00:33:20,640 --> 00:33:23,480
Speaker 1: bit already, but lived nineteen forty two through two thousand

576
00:33:23,480 --> 00:33:25,680
Speaker 1: and eight. Probably one of the best known novelists of

577
00:33:25,720 --> 00:33:29,720
Speaker 1: the late twentieth century, and his work continues to resonate,

578
00:33:29,760 --> 00:33:32,360
Speaker 1: at least with some of the franchises that he helped establish,

579
00:33:32,440 --> 00:33:34,480
Speaker 1: particularly Jurassic Park in Westworld.

580
00:33:34,960 --> 00:33:37,920
Speaker 4: Yes, and I loved I loved Drastic Park, and I

581
00:33:37,960 --> 00:33:42,320
Speaker 4: read all of those books, and it is very because

582
00:33:42,320 --> 00:33:45,400
Speaker 4: i'd seen the movie first, and reading Drastic Park after

583
00:33:45,440 --> 00:33:47,120
Speaker 4: you've seen the movie, and Lost World after you've seen

584
00:33:47,160 --> 00:33:51,239
Speaker 4: the movie, it is a lot more there's a lot

585
00:33:51,280 --> 00:33:54,840
Speaker 4: more attention to detail, a lot more technology, a lot

586
00:33:54,880 --> 00:33:59,120
Speaker 4: more science, which I guess that makes sense in terms

587
00:33:59,120 --> 00:34:02,280
Speaker 4: of what can trance to film, especially a blockbuster film,

588
00:34:02,600 --> 00:34:05,160
Speaker 4: and what can be in a book. But that was

589
00:34:05,160 --> 00:34:06,920
Speaker 4: something that was interesting to me when I went back

590
00:34:06,920 --> 00:34:09,840
Speaker 4: and read those books, was Oh, wow, this is a

591
00:34:09,840 --> 00:34:14,000
Speaker 4: lot more detailed in terms of how this would actually work.

592
00:34:14,640 --> 00:34:14,879
Speaker 1: Yeah.

593
00:34:15,000 --> 00:34:17,560
Speaker 4: Yeah.

594
00:34:17,600 --> 00:34:20,399
Speaker 1: As a novelist, he wrote several novels under pen names

595
00:34:20,400 --> 00:34:22,520
Speaker 1: in the late nineteen sixties, but then he published The

596
00:34:22,520 --> 00:34:25,719
Speaker 1: Andromeda Strain that came out in nineteen sixty nine under

597
00:34:25,719 --> 00:34:29,680
Speaker 1: his own name, and this propelled him into bestseller status.

598
00:34:30,760 --> 00:34:33,439
Speaker 1: Very listed some of his big novels, but he also

599
00:34:33,520 --> 00:34:36,760
Speaker 1: entered into the film world pretty early, directing and writing

600
00:34:36,880 --> 00:34:39,719
Speaker 1: five films between nineteen seventy three and nineteen eighty four,

601
00:34:40,280 --> 00:34:45,040
Speaker 1: West World, Coma, The Great Train Robbery based on his

602
00:34:45,040 --> 00:34:50,359
Speaker 1: book Looker, and Oh are you familiar with Runaway? I'm

603
00:34:50,440 --> 00:34:56,200
Speaker 1: Not Runaway is this stupendous film that stars Tom Selleck

604
00:34:56,600 --> 00:35:00,239
Speaker 1: as like a cop who specialty is hunting down killer

605
00:35:00,400 --> 00:35:05,080
Speaker 1: robots that are the work of the diabolical roboticist played

606
00:35:05,080 --> 00:35:09,919
Speaker 1: by Gene Simmons of Kiss and I mean, that's already enough.

607
00:35:09,960 --> 00:35:12,320
Speaker 1: You got a that's a lot just going on visually

608
00:35:12,360 --> 00:35:15,280
Speaker 1: with these two actors. But the tiny robots in question,

609
00:35:15,960 --> 00:35:21,440
Speaker 1: So don't don't think like black Mirror asks scary killer robot.

610
00:35:21,719 --> 00:35:24,920
Speaker 1: These things look like something you would see in a

611
00:35:25,040 --> 00:35:28,640
Speaker 1: nineteen eighties special about the future of robots. You know,

612
00:35:28,920 --> 00:35:31,880
Speaker 1: these are about as scary as the little robot that

613
00:35:31,920 --> 00:35:35,040
Speaker 1: came with the original Nintendo system that puts the spinning

614
00:35:35,080 --> 00:35:36,200
Speaker 1: discs on the controller.

615
00:35:36,520 --> 00:35:38,120
Speaker 4: Oh wow, you have sold me.

616
00:35:39,000 --> 00:35:43,239
Speaker 1: Yeah, so it's worth it's worth coming back to. But

617
00:35:43,560 --> 00:35:45,960
Speaker 1: he also he also wrote nineteen seventy three is Extreme

618
00:35:46,000 --> 00:35:49,040
Speaker 1: Close Up. He directed the nineteen eighty Bert Reynolds movie

619
00:35:49,040 --> 00:35:51,759
Speaker 1: Physical Evidence. He didn't write that one, but that was

620
00:35:51,800 --> 00:35:57,000
Speaker 1: his final directing credit. And yeah, Michael Crichton again, I

621
00:35:57,000 --> 00:36:00,000
Speaker 1: feel like, you know, some of his works may feel

622
00:36:00,080 --> 00:36:02,680
Speaker 1: a bit dated tech wise now, but a lot of

623
00:36:02,719 --> 00:36:05,680
Speaker 1: it still holds up and it's still very enjoyable. But

624
00:36:05,840 --> 00:36:08,839
Speaker 1: he did not write the screenplay. The screenplay credit goes

625
00:36:08,880 --> 00:36:13,680
Speaker 1: to John Patrick Shanley. And this, I don't know if

626
00:36:13,680 --> 00:36:16,640
Speaker 1: this actually played into your expectations of being a serious

627
00:36:16,760 --> 00:36:19,120
Speaker 1: nighted film, but I could see where it might have

628
00:36:19,840 --> 00:36:21,839
Speaker 1: because this is a big name.

629
00:36:22,520 --> 00:36:25,439
Speaker 4: I don't I'm not familiar with it, with his name.

630
00:36:26,920 --> 00:36:31,560
Speaker 4: I'm glad to know that there could have been a

631
00:36:31,640 --> 00:36:34,880
Speaker 4: legitimate reason other than me misunderstanding what I think was

632
00:36:34,920 --> 00:36:38,920
Speaker 4: just a sarcastic joke. So I will take that lifeline

633
00:36:38,920 --> 00:36:41,359
Speaker 4: that you're throwing me, but please tell me.

634
00:36:41,360 --> 00:36:44,440
Speaker 1: More well to just think of it this way. You're

635
00:36:44,480 --> 00:36:47,960
Speaker 1: going into Congo, and you well, especially as a modern

636
00:36:48,040 --> 00:36:49,920
Speaker 1: viewer of Congo or a recent viewer of Congo, you

637
00:36:50,000 --> 00:36:52,000
Speaker 1: might well go into it and think, well, this is

638
00:36:52,040 --> 00:36:55,719
Speaker 1: written by the guy who won an Academy Award for

639
00:36:56,280 --> 00:36:59,160
Speaker 1: writing nineteen eighty seven's moons Truck. This is the guy

640
00:36:59,160 --> 00:37:02,279
Speaker 1: who won both a Pulitzer Prize for Drama and a

641
00:37:02,360 --> 00:37:05,439
Speaker 1: Tony Award for Best Play in two thousand and five

642
00:37:05,560 --> 00:37:09,399
Speaker 1: for Doubt a Parable. He Andy also wrote Joe Versus

643
00:37:09,480 --> 00:37:13,799
Speaker 1: the Volcano Alive and the nineteen eighty three animated film

644
00:37:13,800 --> 00:37:17,279
Speaker 1: Were Back a Dinosaur Story. But still a number of

645
00:37:17,280 --> 00:37:21,000
Speaker 1: big films there that, especially when you're when you're looking

646
00:37:21,040 --> 00:37:23,440
Speaker 1: at the credentials here, I could and if if this

647
00:37:23,520 --> 00:37:25,680
Speaker 1: is the only name you recognize going into the film,

648
00:37:25,719 --> 00:37:27,880
Speaker 1: you might think it's going to be more of a

649
00:37:28,040 --> 00:37:28,760
Speaker 1: more of a drama.

650
00:37:29,000 --> 00:37:31,719
Speaker 4: I wonder if they I'll have to go back and look.

651
00:37:31,760 --> 00:37:33,800
Speaker 4: I wonder if they include that, you know how, sometimes

652
00:37:33,800 --> 00:37:38,160
Speaker 4: they'll be like and coming from this award winning writer,

653
00:37:38,680 --> 00:37:41,000
Speaker 4: maybe they did include that, and I was like, ah,

654
00:37:41,040 --> 00:37:41,560
Speaker 4: the proof.

655
00:37:42,840 --> 00:37:45,279
Speaker 1: I think I've seen his name, and I've watched several

656
00:37:45,280 --> 00:37:47,480
Speaker 1: of the trailers and I'm not exactly sure which one

657
00:37:47,480 --> 00:37:50,000
Speaker 1: of them we ended up sourcing here in the episode,

658
00:37:50,040 --> 00:37:52,080
Speaker 1: but at least some of the trailers mentioned him by name,

659
00:37:52,120 --> 00:37:53,759
Speaker 1: so I think they were very much like, Hey, you

660
00:37:53,840 --> 00:37:57,160
Speaker 1: liked Moonstruck, Well, I hope you like Killer Apes because

661
00:37:57,239 --> 00:37:59,240
Speaker 1: Congo is coming to theaters.

662
00:37:59,480 --> 00:38:03,600
Speaker 4: But for a couple like twenty minutes you have to

663
00:38:03,640 --> 00:38:06,240
Speaker 4: wait get a taste in the beginning.

664
00:38:06,280 --> 00:38:18,680
Speaker 1: But otherwise, well, let's get into the cast here, because,

665
00:38:19,120 --> 00:38:23,879
Speaker 1: as we mentioned earlier, our lead here, our lead star,

666
00:38:24,080 --> 00:38:27,320
Speaker 1: as well as the lead character, is doctor Karen Ross,

667
00:38:27,400 --> 00:38:30,080
Speaker 1: played by the fabulous Laura Lenny Yes.

668
00:38:31,600 --> 00:38:35,959
Speaker 4: Who I love and probably and this might be saying

669
00:38:36,000 --> 00:38:37,640
Speaker 4: something about me, I don't know, but I know her

670
00:38:37,719 --> 00:38:43,360
Speaker 4: best from the Mothman Prophecies. Oh really that movie, which

671
00:38:43,400 --> 00:38:46,319
Speaker 4: I know is not. She is a great actor and

672
00:38:46,360 --> 00:38:49,160
Speaker 4: has done like amazing award winning work, and she did

673
00:38:49,200 --> 00:38:50,960
Speaker 4: a great job in that movie. But that is the thing.

674
00:38:51,000 --> 00:38:52,719
Speaker 4: When I was a kid, I loved that movie. I

675
00:38:52,719 --> 00:38:54,120
Speaker 4: w watch it all the time.

676
00:38:55,160 --> 00:38:57,880
Speaker 1: I remember very little that I think that's one that

677
00:38:57,920 --> 00:38:59,440
Speaker 1: was kind of on in the background for me. So

678
00:38:59,480 --> 00:39:04,640
Speaker 1: I just remember scenes of Richard gear like standing in

679
00:39:04,320 --> 00:39:07,839
Speaker 1: the dark, and there was a bridge, and there may

680
00:39:07,840 --> 00:39:09,799
Speaker 1: be being not as much Mothman as I thought there

681
00:39:09,800 --> 00:39:10,160
Speaker 1: would be.

682
00:39:10,719 --> 00:39:14,480
Speaker 4: There is very little moth Man. This is true. I

683
00:39:14,520 --> 00:39:17,759
Speaker 4: am somebody who does enjoy as much as I've been

684
00:39:17,800 --> 00:39:20,840
Speaker 4: making fun of Congo, I actually do really enjoy like

685
00:39:21,760 --> 00:39:25,920
Speaker 4: kind of like mystery. They would do like flashes of Mothman,

686
00:39:26,000 --> 00:39:28,000
Speaker 4: and if you'd like paused at the right time, you'd

687
00:39:28,000 --> 00:39:30,480
Speaker 4: be like, there is Like I liked that kind of

688
00:39:30,600 --> 00:39:32,960
Speaker 4: stuff a lot, so I think it worked for me,

689
00:39:33,000 --> 00:39:36,440
Speaker 4: and it did really scare me. I'm a very imaginative,

690
00:39:36,880 --> 00:39:39,799
Speaker 4: still am person, so I think I got I got

691
00:39:39,800 --> 00:39:41,400
Speaker 4: all up in my head about Mothman. There was a

692
00:39:41,440 --> 00:39:44,319
Speaker 4: screeching owl outside my window, and I was convinced it

693
00:39:44,360 --> 00:39:48,680
Speaker 4: was moth Man like, and yet I do like scary movies,

694
00:39:48,680 --> 00:39:50,319
Speaker 4: so I would watch it over and over again. Even

695
00:39:50,360 --> 00:39:51,400
Speaker 4: though it did scare me.

696
00:39:52,800 --> 00:39:55,320
Speaker 1: Well. At the time of this movie came out, Laara Lenny,

697
00:39:55,400 --> 00:39:57,880
Speaker 1: I think was best known for Tales of the City

698
00:39:58,600 --> 00:40:02,200
Speaker 1: and also some smaller role in various films. But of

699
00:40:02,200 --> 00:40:03,840
Speaker 1: course she's gone on to I mean, I think a

700
00:40:03,840 --> 00:40:06,520
Speaker 1: lot of people now know her for stellar performances in

701
00:40:06,640 --> 00:40:11,839
Speaker 1: series like Ozark, John Adams, the movie Kinsey and many more.

702
00:40:12,200 --> 00:40:14,600
Speaker 1: Like you said, she's she's a terrific actor. She's only

703
00:40:14,600 --> 00:40:17,799
Speaker 1: gotten better as of course, she's gotten better roles because

704
00:40:17,920 --> 00:40:20,439
Speaker 1: I guess when you come down to it, even though

705
00:40:20,440 --> 00:40:23,640
Speaker 1: this is the lead character, this is the she's got

706
00:40:23,640 --> 00:40:25,560
Speaker 1: the starring role here, and she does get a lot

707
00:40:25,600 --> 00:40:27,759
Speaker 1: to do a lot of heroic stuff. But she's a

708
00:40:27,840 --> 00:40:31,560
Speaker 1: she's a tech expert, she's a CIA operative. There. You know,

709
00:40:31,600 --> 00:40:34,640
Speaker 1: she's looking essentially for well not a lost love but

710
00:40:34,719 --> 00:40:37,960
Speaker 1: a former love who is now lost in the jungle

711
00:40:37,960 --> 00:40:41,960
Speaker 1: and possibly dead. So it's not like there's no you know,

712
00:40:42,040 --> 00:40:45,640
Speaker 1: dramatic material to sink her teeth into here. But also

713
00:40:45,719 --> 00:40:48,160
Speaker 1: like how much room does Congo really give her to

714
00:40:48,160 --> 00:40:48,440
Speaker 1: do that?

715
00:40:49,080 --> 00:40:55,160
Speaker 4: Yes, but like I said, I feel that these actors

716
00:40:55,360 --> 00:40:58,319
Speaker 4: really did give it their all and she did, and

717
00:40:58,360 --> 00:41:05,000
Speaker 4: I oh yeah, watching it as a modern viewer who

718
00:41:05,040 --> 00:41:07,319
Speaker 4: didn't really know what this was, but I knew it

719
00:41:07,360 --> 00:41:10,680
Speaker 4: was from nineteen ninety five. And I know we're gonna

720
00:41:10,680 --> 00:41:12,000
Speaker 4: talk about this in the plot because I have a

721
00:41:12,000 --> 00:41:13,360
Speaker 4: lot of thoughts about it. But I did find it

722
00:41:13,400 --> 00:41:17,960
Speaker 4: really fascinating that she was a woman who was an

723
00:41:18,080 --> 00:41:24,000
Speaker 4: XCIA operative, She was badass, she had They like tried

724
00:41:24,080 --> 00:41:27,319
Speaker 4: to make this romance between her and the other like

725
00:41:27,480 --> 00:41:29,719
Speaker 4: main male character that's not Ernie Hudson, who we're gonna

726
00:41:29,719 --> 00:41:33,120
Speaker 4: talk about, but they never tried too hard, which I

727
00:41:33,160 --> 00:41:38,400
Speaker 4: find really interesting and I do. I really do enjoy

728
00:41:38,440 --> 00:41:42,880
Speaker 4: that her Bruce Campbell very brief cameo who was her

729
00:41:42,960 --> 00:41:45,279
Speaker 4: ex fiance. It seems like they still care about each

730
00:41:45,320 --> 00:41:47,480
Speaker 4: other even though they're exes. Like there's just a lot

731
00:41:47,480 --> 00:41:51,479
Speaker 4: of interesting stuff that women, unfortunately in general, don't get,

732
00:41:53,000 --> 00:41:56,000
Speaker 4: especially in the kind of these blockbuster action roles like

733
00:41:56,960 --> 00:42:00,600
Speaker 4: that I did really enjoy, and I I really love

734
00:42:00,640 --> 00:42:03,520
Speaker 4: her and Ernie Hudson together being kind of like we're

735
00:42:03,600 --> 00:42:07,920
Speaker 4: running this whole thing. That's one of my very favorite parts.

736
00:42:07,920 --> 00:42:12,560
Speaker 4: So yeah, the role didn't give her like she can

737
00:42:12,600 --> 00:42:14,319
Speaker 4: do so much more than that, and it was pretty

738
00:42:14,400 --> 00:42:17,640
Speaker 4: limited in terms of what she could do. But I

739
00:42:17,680 --> 00:42:20,880
Speaker 4: did like that she had these pieces and again are

740
00:42:20,960 --> 00:42:24,360
Speaker 4: unfortunately pretty rare for a woman in a role like that,

741
00:42:24,480 --> 00:42:25,680
Speaker 4: especially at this time.

742
00:42:26,200 --> 00:42:28,880
Speaker 1: Now, she does have at least one really nice scene

743
00:42:29,120 --> 00:42:33,600
Speaker 1: with the top build male actor in the film, and

744
00:42:33,600 --> 00:42:38,200
Speaker 1: that's Dylan Walff playing Peter Elliott. He's our primatologist who

745
00:42:38,320 --> 00:42:42,680
Speaker 1: works with Amy, the talking gorilla born nineteen sixty three.

746
00:42:42,920 --> 00:42:45,040
Speaker 1: They do at least have one really nice scene together

747
00:42:45,120 --> 00:42:47,640
Speaker 1: on the airplane where we were sort of we see

748
00:42:48,440 --> 00:42:53,799
Speaker 1: doctor Elliott's whole deal with Amy, and now she's on

749
00:42:53,840 --> 00:42:57,920
Speaker 1: board and Amy is like jealous of her presence, and

750
00:42:58,000 --> 00:43:00,640
Speaker 1: so there's kind of a spat back and forth about

751
00:43:00,680 --> 00:43:03,840
Speaker 1: not only like how we sort of like how we

752
00:43:03,880 --> 00:43:06,840
Speaker 1: treat the natural world and animals, but also like what

753
00:43:07,040 --> 00:43:09,080
Speaker 1: is the purpose of this mission? And it's just a

754
00:43:09,120 --> 00:43:11,560
Speaker 1: nice little scene on the airplane. There's nothing really action

755
00:43:11,680 --> 00:43:12,399
Speaker 1: based going on.

756
00:43:12,880 --> 00:43:17,239
Speaker 4: Yeah, Yeah, I do love the Oh gosh, I can't

757
00:43:17,239 --> 00:43:19,520
Speaker 4: wait to talk about Amy, but I do love this

758
00:43:19,640 --> 00:43:25,959
Speaker 4: kind of jealousy she has around Laura Leni's character doctor

759
00:43:26,040 --> 00:43:34,959
Speaker 4: Ross and just parsing that is a fun thought exercise.

760
00:43:37,400 --> 00:43:40,480
Speaker 1: Now, now, Dylan Walsh, he's fine in this I'm not

761
00:43:40,480 --> 00:43:42,439
Speaker 1: going to knock his performance at all, and in fact,

762
00:43:42,440 --> 00:43:45,240
Speaker 1: it's kind of nice that it's a performance that allows

763
00:43:45,280 --> 00:43:48,880
Speaker 1: this character to fade into the background a bit and

764
00:43:47,560 --> 00:43:52,560
Speaker 1: not feel like he's an action hero that just just

765
00:43:52,640 --> 00:43:54,680
Speaker 1: kind of pushed to the background by the plot. Like

766
00:43:55,080 --> 00:43:58,680
Speaker 1: his role is there as Amy's kind of like father

767
00:43:58,760 --> 00:44:03,440
Speaker 1: figure and fulfills that really well. This is an actor

768
00:44:03,560 --> 00:44:07,000
Speaker 1: mostly of television, including the Hearts and Minds episode of

769
00:44:07,000 --> 00:44:10,040
Speaker 1: the nineties Outer Limits, which I'm not sure I've seen

770
00:44:10,080 --> 00:44:13,680
Speaker 1: but looks rather good. He also appeared in such films

771
00:44:13,680 --> 00:44:15,840
Speaker 1: as the two thousand and nine reboot of The Stepfather

772
00:44:16,200 --> 00:44:19,279
Speaker 1: in two thousand and six's of the Lake House, again

773
00:44:19,400 --> 00:44:24,120
Speaker 1: perfectly likable in this film. Yeah, no complaints, I agree.

774
00:44:24,440 --> 00:44:29,880
Speaker 4: I also think it's I like when we give the

775
00:44:29,880 --> 00:44:33,279
Speaker 4: so called heroes of something where they don't have to

776
00:44:33,320 --> 00:44:39,200
Speaker 4: be physical or like their heroism. Isn't that aspect? So

777
00:44:39,239 --> 00:44:41,200
Speaker 4: I actually, do you really enjoy that he has some

778
00:44:41,320 --> 00:44:44,280
Speaker 4: lines where he delivers them so well in their terrible lines,

779
00:44:44,680 --> 00:44:48,239
Speaker 4: like at one point he says, I'm a primatologist, not

780
00:44:48,280 --> 00:44:51,360
Speaker 4: a pound of sugar, Like there's only so much he

781
00:44:51,400 --> 00:44:53,800
Speaker 4: could have done as well, And I love that line.

782
00:44:53,840 --> 00:44:56,520
Speaker 4: It is very funny to me. But I'm sure as

783
00:44:56,560 --> 00:44:58,680
Speaker 4: an actor, you read.

784
00:44:58,520 --> 00:45:05,560
Speaker 1: That and you're like, who Okay, yeah, it's I guess

785
00:45:05,600 --> 00:45:07,800
Speaker 1: it's kind of a thankless job in some respects, like

786
00:45:08,040 --> 00:45:10,040
Speaker 1: just to have an actor leats who your role is

787
00:45:10,040 --> 00:45:15,080
Speaker 1: to is to at times make challenging lines believable, make

788
00:45:15,160 --> 00:45:18,440
Speaker 1: this character believable, but in doing so, he's inevitably going

789
00:45:18,480 --> 00:45:21,520
Speaker 1: to fade into the background. Compared to the more outrageous

790
00:45:21,600 --> 00:45:26,800
Speaker 1: characters such as Ernie Hudson's Captain Monroe Kelly. Oh, this

791
00:45:26,800 --> 00:45:29,240
Speaker 1: this character, this performance just absolutely rules.

792
00:45:29,680 --> 00:45:33,160
Speaker 4: He delivers every line where you're like, I just want

793
00:45:33,719 --> 00:45:36,080
Speaker 4: I just want you, I just want this whole movie

794
00:45:36,120 --> 00:45:39,840
Speaker 4: to be you. Yeah, does it so well. He's so

795
00:45:40,120 --> 00:45:46,919
Speaker 4: like charming and confident and just like overall unflustered even

796
00:45:46,920 --> 00:45:49,960
Speaker 4: when he is flustered. Like one of his favorite lines

797
00:45:50,480 --> 00:45:54,440
Speaker 4: for me is when he says so to me, hilariously,

798
00:45:54,960 --> 00:45:59,520
Speaker 4: I run away because he runs away from a charity gorilla,

799
00:46:00,200 --> 00:46:01,960
Speaker 4: and I just love that. I love that he kind

800
00:46:01,960 --> 00:46:04,960
Speaker 4: of embraces even after he told Dylan Watch's character like,

801
00:46:04,960 --> 00:46:07,880
Speaker 4: you don't run away, but he did it. I don't know.

802
00:46:07,920 --> 00:46:10,560
Speaker 4: There was a lot of subversions with him that I

803
00:46:10,800 --> 00:46:13,600
Speaker 4: very much enjoyed, and just the way he seemed to

804
00:46:13,719 --> 00:46:16,840
Speaker 4: be having the time of his life with his character,

805
00:46:19,400 --> 00:46:22,520
Speaker 4: it made it very enjoyable to watch this performance.

806
00:46:23,200 --> 00:46:26,040
Speaker 1: Yeah, this is one of those performances where every little

807
00:46:26,080 --> 00:46:28,680
Speaker 1: thing he does is so entertaining. Like there's this there's

808
00:46:28,719 --> 00:46:30,919
Speaker 1: a scene in the movie where they're just handing out

809
00:46:31,000 --> 00:46:35,040
Speaker 1: little air conditioning units for the tents and he accepts one,

810
00:46:35,520 --> 00:46:38,400
Speaker 1: and it's it's it's great, Like nothing is happening in

811
00:46:38,440 --> 00:46:42,400
Speaker 1: the scene except Captain Monroe Kelly accepted an air conditioning unit,

812
00:46:42,800 --> 00:46:44,520
Speaker 1: and it was it was so charming.

813
00:46:45,600 --> 00:46:49,800
Speaker 4: Yes, yeah, So much of what he did he clearly

814
00:46:51,400 --> 00:46:54,120
Speaker 4: like made the as an actor went through and made

815
00:46:54,120 --> 00:46:57,600
Speaker 4: the like fun decision or the decision like he thought

816
00:46:57,600 --> 00:47:00,000
Speaker 4: about his character. And so there's a lot of time

817
00:47:00,080 --> 00:47:02,680
Speaker 4: times things are you just are like, oh, I pick

818
00:47:02,719 --> 00:47:04,920
Speaker 4: up this air conditioning unit, but he like thought about

819
00:47:04,960 --> 00:47:07,960
Speaker 4: it and acted it and made it fun and memorable.

820
00:47:08,000 --> 00:47:10,839
Speaker 4: Like so much of his character is that. And there's

821
00:47:10,880 --> 00:47:15,560
Speaker 4: so many lines he he has that he delivers in

822
00:47:15,640 --> 00:47:19,879
Speaker 4: a way that is I mean, he just immediately makes

823
00:47:19,920 --> 00:47:23,560
Speaker 4: you blank him like it's just like, oh, this so

824
00:47:24,520 --> 00:47:28,680
Speaker 4: interesting and cool. And I love when Dylan wash Washer's

825
00:47:28,719 --> 00:47:32,000
Speaker 4: character has a leechkiness, which I'm sure we're going to

826
00:47:32,080 --> 00:47:35,960
Speaker 4: talk about, but he's just Captain Monroe Kelly is just

827
00:47:36,000 --> 00:47:38,040
Speaker 4: like you deal with it. It's your leech.

828
00:47:41,680 --> 00:47:42,680
Speaker 1: Cigar cigarette.

829
00:47:42,920 --> 00:47:46,760
Speaker 4: Yes, when he sees Amy, he just immediately is like, sure,

830
00:47:46,960 --> 00:47:51,560
Speaker 4: this gorilla wants something to smoke. Okay, he puts like

831
00:47:51,600 --> 00:47:53,839
Speaker 4: pills in her. There's just something about him that rolls

832
00:47:53,880 --> 00:47:57,680
Speaker 4: with the punches and does it in a way that

833
00:47:57,840 --> 00:48:00,440
Speaker 4: looks very cool, and it's very.

834
00:48:00,360 --> 00:48:05,160
Speaker 1: Charming, very cool, very charming. In Ebert's review, he did

835
00:48:05,360 --> 00:48:07,239
Speaker 1: he seemed to really love this performance as well, and

836
00:48:07,280 --> 00:48:09,440
Speaker 1: he points out that like there's a little bit Clark

837
00:48:09,480 --> 00:48:12,800
Speaker 1: Gable to this performance. There's a little bit Stuart Granger.

838
00:48:13,400 --> 00:48:17,160
Speaker 1: It's a droll performance, and the character has both sardonic

839
00:48:17,200 --> 00:48:20,720
Speaker 1: detachment but also heroic courage. So he's you know, he's,

840
00:48:21,320 --> 00:48:24,760
Speaker 1: he's he's kind of right there in the middle. He's

841
00:48:24,800 --> 00:48:26,960
Speaker 1: he's he's kind of a rogue, but not not to

842
00:48:27,000 --> 00:48:29,719
Speaker 1: the point where you're like, can we trust Captain Monroe Kelly.

843
00:48:29,760 --> 00:48:34,480
Speaker 1: They're not playing that game with this character. And yeah,

844
00:48:34,640 --> 00:48:37,400
Speaker 1: he has he has his flaws, but they're not tragic flaws.

845
00:48:38,360 --> 00:48:40,560
Speaker 1: He just a delight to watch on screen the whole time.

846
00:48:40,960 --> 00:48:43,880
Speaker 4: Yeah, and that is one thing that Congo did that

847
00:48:43,960 --> 00:48:46,640
Speaker 4: I can't really get a grasp on if they did

848
00:48:47,120 --> 00:48:51,279
Speaker 4: intentionally all the time. But they did subvert a lot

849
00:48:51,320 --> 00:48:55,480
Speaker 4: of like action movie tropes in particular. I mean they

850
00:48:55,560 --> 00:48:56,880
Speaker 4: leaned into a lot of it, but a lot of

851
00:48:56,920 --> 00:48:58,880
Speaker 4: it they did. They took things in a way I

852
00:48:58,920 --> 00:49:04,439
Speaker 4: wasn't expecting. So there's this towards the end where very

853
00:49:04,440 --> 00:49:06,799
Speaker 4: reminiscent of Jurassic Park, where Doctor Ross is like, I'm

854
00:49:06,840 --> 00:49:09,600
Speaker 4: going in this temple. I'm going in. Give me a gun,

855
00:49:09,680 --> 00:49:13,360
Speaker 4: give me a radio. I'm going and Monroe Kelly has it.

856
00:49:13,440 --> 00:49:16,360
Speaker 4: He's like, no, no, no, it's not safe, you know,

857
00:49:16,560 --> 00:49:19,200
Speaker 4: implied like for a woman, I'll do it. And then

858
00:49:19,239 --> 00:49:21,520
Speaker 4: he pauses for like a little second, and there's like,

859
00:49:21,960 --> 00:49:24,960
Speaker 4: but I'm also scarce, and he gives me the gun,

860
00:49:25,080 --> 00:49:27,360
Speaker 4: he gets the radio, and they go in together like

861
00:49:27,400 --> 00:49:28,640
Speaker 4: I'm not going in a lot like they have so

862
00:49:28,719 --> 00:49:32,239
Speaker 4: many fun moments like that where you're expecting it to

863
00:49:32,320 --> 00:49:36,239
Speaker 4: go one way and it doesn't. And I think for

864
00:49:36,600 --> 00:49:39,840
Speaker 4: this character where it is there's a little bit of

865
00:49:39,920 --> 00:49:43,960
Speaker 4: confusion about who's supposed to be the traditional hero, and

866
00:49:44,000 --> 00:49:46,160
Speaker 4: he sort of emerges as more of the like strong

867
00:49:46,280 --> 00:49:51,200
Speaker 4: leader that we typically align with hero. I like that

868
00:49:51,239 --> 00:49:54,319
Speaker 4: it's sort of more spread out with these characters, that

869
00:49:54,360 --> 00:49:57,319
Speaker 4: it's not just one. But he does have those kind

870
00:49:57,320 --> 00:49:59,719
Speaker 4: of moments where he's not like, he's like, no, you're

871
00:49:59,760 --> 00:50:02,080
Speaker 4: coming with me, I'm afraid to go in there too.

872
00:50:02,200 --> 00:50:07,560
Speaker 4: Like I like it that he just acknowledges that I

873
00:50:07,600 --> 00:50:10,799
Speaker 4: don't know. It is a very fun performance to watch,

874
00:50:10,840 --> 00:50:11,240
Speaker 4: for sure.

875
00:50:12,160 --> 00:50:14,719
Speaker 1: Now Ernie Hudson's been in just so many things since

876
00:50:14,840 --> 00:50:16,839
Speaker 1: I think the mid nineteen seventies, but of course he's

877
00:50:16,840 --> 00:50:19,920
Speaker 1: probably most famous as being Winston z Moore from the

878
00:50:19,920 --> 00:50:23,400
Speaker 1: Ghostbusters franchise. He was in The Crow, He was in

879
00:50:23,440 --> 00:50:28,080
Speaker 1: such TV series as Oz and The Family Business. But yeah,

880
00:50:28,080 --> 00:50:29,759
Speaker 1: I've seen him point out that this was one of

881
00:50:29,760 --> 00:50:33,160
Speaker 1: his favorite performances, if not his favorite performance that he

882
00:50:33,239 --> 00:50:33,680
Speaker 1: got to give.

883
00:50:34,040 --> 00:50:34,400
Speaker 4: M M.

884
00:50:35,880 --> 00:50:38,200
Speaker 1: All right. Now we've already mentioned him, but we also

885
00:50:38,320 --> 00:50:45,439
Speaker 1: have Tim Curry in this role playing Herkimer Homolka oh Man.

886
00:50:45,480 --> 00:50:48,600
Speaker 1: This is the role that Ebert described as the Peter

887
00:50:48,719 --> 00:50:52,000
Speaker 1: laure role, and I think that's I think it's pretty accurate.

888
00:50:52,000 --> 00:50:53,799
Speaker 1: This is the kind of role Peter Laurie would have

889
00:50:53,800 --> 00:50:56,880
Speaker 1: played in a jungle adventure movie like this, the mysterious

890
00:50:56,960 --> 00:51:03,120
Speaker 1: European figure with suspicious morals and aims, and Curry the

891
00:51:03,200 --> 00:51:05,840
Speaker 1: legend that Tim Curry is. Of course, he just breathed

892
00:51:05,880 --> 00:51:07,520
Speaker 1: so much life into this scoundrel.

893
00:51:07,920 --> 00:51:12,200
Speaker 4: Yes, oh my gosh, I think I have done at

894
00:51:12,280 --> 00:51:14,960
Speaker 4: least one viewing where I just watched Tim Curry the

895
00:51:15,160 --> 00:51:20,720
Speaker 4: entire time, and he is like in the background, acting

896
00:51:20,800 --> 00:51:24,279
Speaker 4: his ass off, Like they're like the scene where they

897
00:51:24,320 --> 00:51:29,239
Speaker 4: first get to Africa and Eddie Ventro, who all talk

898
00:51:29,320 --> 00:51:32,319
Speaker 4: about like is talking about how much Amy is worth.

899
00:51:32,520 --> 00:51:37,760
Speaker 4: He lowers his glasses and has the most like starstruck

900
00:51:38,239 --> 00:51:41,319
Speaker 4: shocked look. I mean he's not even the focus of

901
00:51:41,360 --> 00:51:44,279
Speaker 4: the scene, Like he's just back there doing his thing.

902
00:51:44,760 --> 00:51:49,840
Speaker 4: He's got the most unexplainable accent that he just leans

903
00:51:49,920 --> 00:51:52,440
Speaker 4: into so hard. And he has some of my favorite

904
00:51:52,440 --> 00:51:55,759
Speaker 4: lines where he's like that Gorilla knows where the lost

905
00:51:55,800 --> 00:52:00,960
Speaker 4: City of Zinge is, like he just, oh, there's something

906
00:52:01,000 --> 00:52:06,960
Speaker 4: about it that he elevated a thing, like he was like,

907
00:52:07,120 --> 00:52:11,200
Speaker 4: you know what, I'm gonna really lean into this suspicious

908
00:52:11,320 --> 00:52:15,600
Speaker 4: Romanian philanthropist going around the world and doing good. Who

909
00:52:15,640 --> 00:52:17,600
Speaker 4: really wants to find this los city of Zinge, Like

910
00:52:18,600 --> 00:52:19,400
Speaker 4: it's beautiful.

911
00:52:20,880 --> 00:52:25,000
Speaker 1: Oh yeah, he the accent, yes, is quite a mouthful.

912
00:52:25,120 --> 00:52:27,960
Speaker 1: That's that's definitely worth noting. But but yeah, there's so

913
00:52:27,960 --> 00:52:30,319
Speaker 1: many little moments, but then he gets those big moments too,

914
00:52:30,360 --> 00:52:32,600
Speaker 1: like when they finally enter the Lost City of Zinge

915
00:52:32,840 --> 00:52:35,800
Speaker 1: and he gets to just be star eyed and wonder

916
00:52:36,400 --> 00:52:37,960
Speaker 1: at all. And I think he has a line like

917
00:52:38,200 --> 00:52:41,040
Speaker 1: the myth of the killer the gorilla is true, you know,

918
00:52:41,160 --> 00:52:42,760
Speaker 1: and it's it's so wonderful.

919
00:52:43,760 --> 00:52:47,280
Speaker 4: Yes, oh my gosh. And I do love about him,

920
00:52:47,640 --> 00:52:54,040
Speaker 4: like he's the villain absolutely, but he's also kind of

921
00:52:54,080 --> 00:52:57,839
Speaker 4: the like bumbling, wide eyed, confused villain in a way

922
00:52:57,880 --> 00:52:59,200
Speaker 4: you don't see too often.

923
00:53:00,400 --> 00:53:02,480
Speaker 1: Yeah, Like he's in way over his head. I think

924
00:53:03,239 --> 00:53:04,480
Speaker 1: the key aspects of it.

925
00:53:04,960 --> 00:53:10,120
Speaker 4: He's constantly kind of like wide eyed and confused and

926
00:53:10,239 --> 00:53:14,560
Speaker 4: concerned his money flow is always getting interrupted, which I

927
00:53:14,680 --> 00:53:18,440
Speaker 4: very much enjoyed. There's just something that feels kind of

928
00:53:18,600 --> 00:53:24,480
Speaker 4: unique about his take on this very stereotypical, mysterious European

929
00:53:24,560 --> 00:53:30,279
Speaker 4: villain that is pretty funny. It's funny to see him

930
00:53:30,400 --> 00:53:33,799
Speaker 4: out of his depth, out of his league, and I

931
00:53:33,840 --> 00:53:35,480
Speaker 4: love how everybody knows who he is.

932
00:53:35,560 --> 00:53:39,279
Speaker 5: Everybody's like, oh, this guy, Yeah, don't trust him.

933
00:53:39,280 --> 00:53:41,799
Speaker 1: You can't trust this guy what you're doing. Everyone who

934
00:53:41,880 --> 00:53:47,840
Speaker 1: encounters especially once they get to Africa, everyone there is

935
00:53:47,880 --> 00:53:53,440
Speaker 1: familiar with him, and he does not have a good reputation. No, Now,

936
00:53:53,840 --> 00:53:55,840
Speaker 1: what can we say about Tim Curry? I mean, obviously

937
00:53:56,120 --> 00:53:59,480
Speaker 1: a legend born nineteen forty six. Is probably one of

938
00:53:59,480 --> 00:54:01,719
Speaker 1: his most famous roles is, of Course, doctor Frankenfurter Are

939
00:54:01,760 --> 00:54:04,560
Speaker 1: from the Rocky Horror Picture Show back in nineteen seventy five.

940
00:54:05,040 --> 00:54:07,239
Speaker 1: He was in the original stage version as well. He

941
00:54:07,360 --> 00:54:10,040
Speaker 1: was Wadsworth and eighty five's Clue. He was the demon

942
00:54:10,200 --> 00:54:15,840
Speaker 1: Darkness in nineteen eighty five's Legend. Other memorable films include Annie,

943
00:54:16,000 --> 00:54:18,399
Speaker 1: the nineteen ninety adaptation of Yet, of Course, in which

944
00:54:18,400 --> 00:54:21,600
Speaker 1: he played Pennywise, the dancing clown. And he's also done

945
00:54:21,600 --> 00:54:23,720
Speaker 1: a lot of great voice work over the years, including

946
00:54:23,760 --> 00:54:26,759
Speaker 1: the Pirates of Dark Water and season five and six

947
00:54:26,920 --> 00:54:29,480
Speaker 1: of Star Wars The Clone Wars, in which he took

948
00:54:29,480 --> 00:54:33,440
Speaker 1: over the role of Palpatine slash Darth Sidius after the

949
00:54:33,480 --> 00:54:37,759
Speaker 1: passing of Ian Ambercrombie. Ambercrombie was pretty terrific in that role.

950
00:54:37,760 --> 00:54:40,400
Speaker 1: But Curry he also brought his own level of greatness

951
00:54:40,400 --> 00:54:41,719
Speaker 1: to that voice role as well.

952
00:54:42,120 --> 00:54:45,480
Speaker 4: Yeah, yeah, I think he's really really great at imbuing

953
00:54:45,960 --> 00:54:50,440
Speaker 4: so much character, so with like one line, he can

954
00:54:50,480 --> 00:54:52,680
Speaker 4: do it. So I often joke like, if somebody could

955
00:54:52,680 --> 00:54:54,680
Speaker 4: win an Oscar for one line, I would give it

956
00:54:54,719 --> 00:54:58,120
Speaker 4: to Tim Curry from hobolone two for how he says

957
00:54:58,239 --> 00:55:02,680
Speaker 4: pizza ever pronounced that word before? Because he's that's two

958
00:55:02,719 --> 00:55:05,240
Speaker 4: below him, Like, he does so much of that stuff

959
00:55:05,239 --> 00:55:08,879
Speaker 4: where he expresses so much with his voice and how

960
00:55:08,880 --> 00:55:09,880
Speaker 4: he delivers lines.

961
00:55:10,560 --> 00:55:13,200
Speaker 1: What is he doing in home alone too? I don't

962
00:55:13,200 --> 00:55:13,840
Speaker 1: remember he's.

963
00:55:13,719 --> 00:55:20,359
Speaker 4: The concient He should have won an Oscar for that role.

964
00:55:20,400 --> 00:55:24,480
Speaker 4: I like only half kidding, but he does that. He

965
00:55:24,480 --> 00:55:26,759
Speaker 4: does that so well where he that was a minor role,

966
00:55:27,239 --> 00:55:29,680
Speaker 4: but to me, like, I remember so much of how

967
00:55:29,680 --> 00:55:33,239
Speaker 4: he delivered that line, that one word, and it communicated

968
00:55:33,320 --> 00:55:38,239
Speaker 4: so much about that character. And I also I loved

969
00:55:38,320 --> 00:55:40,800
Speaker 4: him and these are this is a reflection of my childhood.

970
00:55:40,800 --> 00:55:44,279
Speaker 4: I loved him in a Muppet Treasure Island, Yes, and

971
00:55:44,440 --> 00:55:46,840
Speaker 4: Wild Thornberry's. He was a voice in the Wild thorn Berries.

972
00:55:47,400 --> 00:55:50,680
Speaker 4: That's right, Yeah, So He's done a lot, a lot

973
00:55:50,680 --> 00:55:54,400
Speaker 4: of stuff like that, and I just, yeah, there's so

974
00:55:54,480 --> 00:55:56,600
Speaker 4: many Like if if we wanted this episode to be

975
00:55:57,160 --> 00:55:58,920
Speaker 4: basically just as quoting the movie, so much of it

976
00:55:58,960 --> 00:56:03,719
Speaker 4: would just be me like loving Tim Curry's delivery of

977
00:56:03,880 --> 00:56:10,080
Speaker 4: these often very hilarious lines. I love it. I love it.

978
00:56:10,600 --> 00:56:12,520
Speaker 1: Those are some of the main actors involved here. But

979
00:56:12,560 --> 00:56:13,799
Speaker 1: we're going to roll through some of the other ones.

980
00:56:13,840 --> 00:56:15,200
Speaker 1: Maybe it may be a little quicker on some of

981
00:56:15,200 --> 00:56:18,239
Speaker 1: these because there's less to say about them. But I

982
00:56:18,239 --> 00:56:20,760
Speaker 1: thought I was gonna skip over this one. But Richard,

983
00:56:20,800 --> 00:56:24,640
Speaker 1: the secondary primatologist, is played by Grant Heslov born nineteen

984
00:56:24,680 --> 00:56:27,040
Speaker 1: sixty three. He's done a lot of acting over the years,

985
00:56:27,040 --> 00:56:29,600
Speaker 1: but he's primarily known as a producer. He's a long

986
00:56:29,680 --> 00:56:33,120
Speaker 1: time collaborator with George Clooney. Yeah, and he's fine in this,

987
00:56:33,920 --> 00:56:36,320
Speaker 1: no problems there. I think he's killed by guerrilla eventually,

988
00:56:36,600 --> 00:56:39,279
Speaker 1: like most.

989
00:56:38,040 --> 00:56:39,640
Speaker 4: In the film.

990
00:56:40,120 --> 00:56:43,200
Speaker 1: Oh and then we have Jodn Baker in the film.

991
00:56:43,680 --> 00:56:48,000
Speaker 1: Jodn Baker born nineteen thirty six plays RB Travis Baker,

992
00:56:48,040 --> 00:56:51,960
Speaker 1: of course, loud Texan actor who is perfect in this

993
00:56:52,080 --> 00:56:56,960
Speaker 1: as the enraged, just comedically greedy head of a massive

994
00:56:57,080 --> 00:57:01,240
Speaker 1: media corporation to his son. Right, This is like Bruce

995
00:57:01,239 --> 00:57:05,319
Speaker 1: Campbell's character is his son who is suddenly missing and

996
00:57:05,640 --> 00:57:11,360
Speaker 1: presumed murdered by gorillas in the jungle, and all he

997
00:57:11,520 --> 00:57:13,560
Speaker 1: can think about is those diamonds. We got to get

998
00:57:13,560 --> 00:57:17,280
Speaker 1: those diamonds, and I mean that's all and he just

999
00:57:17,440 --> 00:57:19,720
Speaker 1: rages the whole He's not on the screen a lot,

1000
00:57:19,760 --> 00:57:23,200
Speaker 1: but when he's there, he's swinging golf gloves at computer screens,

1001
00:57:23,240 --> 00:57:27,040
Speaker 1: He's yelling at Laura Lenny. Just a completely hate heable character.

1002
00:57:27,400 --> 00:57:30,440
Speaker 4: Yes, he also has many alignments that I'm like, I'm

1003
00:57:30,480 --> 00:57:32,840
Speaker 4: impressed with how much you gave this because it's not

1004
00:57:32,920 --> 00:57:34,480
Speaker 4: that great of a line. But one of my favorites

1005
00:57:34,600 --> 00:57:41,600
Speaker 4: is I can be human later. Yeah, yeah, yeah.

1006
00:57:40,680 --> 00:57:43,880
Speaker 1: Yeah, just just a caricature of a of like a

1007
00:57:43,920 --> 00:57:48,400
Speaker 1: media corporation head. But yeah, as a charac caricature, it's

1008
00:57:48,520 --> 00:57:52,000
Speaker 1: very well done. Baker, of course, has an impressive filmography

1009
00:57:52,040 --> 00:57:54,000
Speaker 1: going all the way back to the mid sixties. He

1010
00:57:54,040 --> 00:57:55,560
Speaker 1: did a lot of TV work, but he hit it

1011
00:57:55,640 --> 00:57:58,680
Speaker 1: big time in nineteen seventy three. He's Walking Tall. Some

1012
00:57:58,720 --> 00:58:01,240
Speaker 1: of his more memorable films and Flu nineteen seventy five's

1013
00:58:01,280 --> 00:58:05,600
Speaker 1: Mitchell nineteen eighty four's Final Justice, eighty five's Fletch. Oh,

1014
00:58:05,600 --> 00:58:08,520
Speaker 1: then we get into the James Bond era. He's one

1015
00:58:08,520 --> 00:58:12,000
Speaker 1: of those guys that has the has the honors of

1016
00:58:12,040 --> 00:58:15,400
Speaker 1: playing two different characters in different Bond films. So he

1017
00:58:15,440 --> 00:58:18,000
Speaker 1: was in nineteen eighty seven's The Living Daylights, where I

1018
00:58:18,080 --> 00:58:21,160
Speaker 1: think he's a villain, but then he's also in both

1019
00:58:21,200 --> 00:58:25,520
Speaker 1: GoldenEye and Tomorrow Never Dies playing a different character who's

1020
00:58:25,560 --> 00:58:26,880
Speaker 1: on the good guy side of things.

1021
00:58:28,240 --> 00:58:29,320
Speaker 4: Yeah, good for him.

1022
00:58:29,520 --> 00:58:32,840
Speaker 1: Jodan Baker. Okay, now we've mentioned Amy, the talking gorilla,

1023
00:58:32,880 --> 00:58:37,160
Speaker 1: who is just one of the greatest characters certainly in

1024
00:58:37,160 --> 00:58:39,120
Speaker 1: this film, and maybe you could make a role for

1025
00:58:39,280 --> 00:58:44,560
Speaker 1: like nineteen ninety Cinema as a whole. Oh indeed, Now

1026
00:58:44,560 --> 00:58:46,920
Speaker 1: this is a role that, again, like all the gorillas

1027
00:58:46,920 --> 00:58:50,680
Speaker 1: in this film, they are brought to life via fabulous

1028
00:58:50,720 --> 00:58:56,160
Speaker 1: gorilla costumes but also tremendous physical performances within the costume.

1029
00:58:56,600 --> 00:59:00,480
Speaker 1: And I believe they're two different individuals. Credited. One is

1030
00:59:01,280 --> 00:59:04,960
Speaker 1: Lola no born nineteen seventy two. Credited is playing Amy,

1031
00:59:05,800 --> 00:59:09,040
Speaker 1: the first of two short statured actors credited with the role.

1032
00:59:09,520 --> 00:59:12,720
Speaker 1: I think she's been more active as a producer, but

1033
00:59:12,760 --> 00:59:16,560
Speaker 1: the other is Misty Rosis born nineteen seventy three, and

1034
00:59:17,280 --> 00:59:20,960
Speaker 1: Roses is a wonderful performer responsible for bringing a live

1035
00:59:21,080 --> 00:59:25,200
Speaker 1: such characters as cool is It, kol. I can't remember

1036
00:59:25,200 --> 00:59:30,400
Speaker 1: this character's name. How I said, quel quel queel? Okay,

1037
00:59:30,200 --> 00:59:32,760
Speaker 1: the let's see. What does he keep saying in the

1038
00:59:32,760 --> 00:59:38,080
Speaker 1: Mandalorian He's like, I have spoken, I have spoken. Yeah,

1039
00:59:38,120 --> 00:59:41,000
Speaker 1: So she is the physical performer. Nick Nolty did the voice,

1040
00:59:41,000 --> 00:59:43,600
Speaker 1: of course, but she's the physical performer of that character.

1041
00:59:43,840 --> 00:59:46,600
Speaker 1: She was also the physical performer of the frog Lady

1042
00:59:47,160 --> 00:59:48,760
Speaker 1: in What the second season?

1043
00:59:49,160 --> 00:59:50,840
Speaker 4: Wow, that's awesome.

1044
00:59:51,240 --> 00:59:54,040
Speaker 1: So there are a number of Star Wars connections.

1045
00:59:53,480 --> 00:59:55,760
Speaker 4: To con Yeah, all.

1046
00:59:55,720 --> 00:59:57,880
Speaker 1: Right, this one's a blink and miss it role here.

1047
00:59:57,920 --> 01:00:01,360
Speaker 1: But Peter Jason plays a character named mister Janis. He's

1048
01:00:01,400 --> 01:00:03,480
Speaker 1: just one of the individuals at the airport before they

1049
01:00:03,560 --> 01:00:07,200
Speaker 1: leave for Africa. Born nineteen forty four. Memorable face from

1050
01:00:07,280 --> 01:00:09,720
Speaker 1: various films over the decade. He's popped up in things

1051
01:00:09,760 --> 01:00:13,200
Speaker 1: like Alien Nation, Prince of Darkness, Dream Skate They Live

1052
01:00:13,840 --> 01:00:16,360
Speaker 1: nineteen ninety five is Mortal Kombat and Escape from La

1053
01:00:16,840 --> 01:00:19,240
Speaker 1: And another one you might blink and miss is Jimmy

1054
01:00:19,280 --> 01:00:22,560
Speaker 1: Buffett shows up in this movie. He plays the pilot

1055
01:00:22,560 --> 01:00:25,680
Speaker 1: of the seven to twenty seven they that they bored

1056
01:00:25,840 --> 01:00:28,600
Speaker 1: to travel to Africa. So yeah, for some reason, the

1057
01:00:28,680 --> 01:00:32,040
Speaker 1: High parod Head himself is presence in Congo, and I

1058
01:00:32,040 --> 01:00:33,680
Speaker 1: guess has has blessed Congo.

1059
01:00:34,040 --> 01:00:36,080
Speaker 4: Yes, in that way, I mean it feels right for

1060
01:00:36,120 --> 01:00:38,240
Speaker 4: some reason. Of course he's there. I don't know.

1061
01:00:38,400 --> 01:00:51,040
Speaker 1: Yeah, now, real cool. We mentioned Bruce Campbell's in this, Yes,

1062
01:00:51,160 --> 01:00:54,200
Speaker 1: Bruce Campbell's in this. For a hot minute, this is

1063
01:00:54,280 --> 01:00:58,080
Speaker 1: of course. Yeah, he's at the very beginning of the film,

1064
01:00:58,320 --> 01:01:01,400
Speaker 1: and then he is kind of a spoiler. He is

1065
01:01:01,440 --> 01:01:04,880
Speaker 1: assaulted by some sort of killer ape, and the movie

1066
01:01:05,040 --> 01:01:07,640
Speaker 1: keeps the hope alive that he will come back. And

1067
01:01:07,680 --> 01:01:10,840
Speaker 1: I remember, by the time I saw this movie, I

1068
01:01:10,880 --> 01:01:13,880
Speaker 1: had already seen maybe Army of Darkness, so I was

1069
01:01:13,880 --> 01:01:16,640
Speaker 1: familiar with his work, even if I hadn't seen the

1070
01:01:16,640 --> 01:01:20,440
Speaker 1: Evil Dead movies yet. So I was excited that he

1071
01:01:20,520 --> 01:01:23,240
Speaker 1: was in here, and then I was disappointed that he

1072
01:01:23,400 --> 01:01:25,720
Speaker 1: was gone, But the movie kept the hope alive that

1073
01:01:25,720 --> 01:01:27,400
Speaker 1: we would find him again and he would help fight

1074
01:01:27,440 --> 01:01:30,400
Speaker 1: the gorillas, and of course we find out at the

1075
01:01:30,440 --> 01:01:32,160
Speaker 1: end he's just he's been dead the whole time. He's

1076
01:01:32,240 --> 01:01:36,160
Speaker 1: really dead. But in a way this in the film,

1077
01:01:36,160 --> 01:01:38,720
Speaker 1: it ended up kind of subverting expectations as well, because,

1078
01:01:38,920 --> 01:01:41,360
Speaker 1: especially as a kid, not knowing maybe how structures of

1079
01:01:41,440 --> 01:01:43,479
Speaker 1: these things for likely will work. You think, well, Bruce

1080
01:01:43,520 --> 01:01:45,520
Speaker 1: Campbell's in this, well, he's going to show up at

1081
01:01:45,520 --> 01:01:47,480
Speaker 1: the end and he's going to chain saw some apes.

1082
01:01:47,840 --> 01:01:49,080
Speaker 1: But that's not happened.

1083
01:01:49,640 --> 01:01:53,560
Speaker 4: No, we get lasers instead. And I will say a

1084
01:01:53,560 --> 01:01:56,880
Speaker 4: lot of the reviews I read from this time people

1085
01:01:56,960 --> 01:01:59,400
Speaker 4: seem to that was one of the big critiques people

1086
01:01:59,440 --> 01:02:03,600
Speaker 4: had was I guess they felt tricked that he was

1087
01:02:03,640 --> 01:02:06,360
Speaker 4: in it and then just never He's in it for

1088
01:02:06,960 --> 01:02:09,600
Speaker 4: like I said, maybe a minute, maybe a little more,

1089
01:02:09,640 --> 01:02:12,760
Speaker 4: but then he doesn't come back, and people were like,

1090
01:02:12,800 --> 01:02:16,160
Speaker 4: this is criminally this is a criminally short cameo.

1091
01:02:17,640 --> 01:02:21,600
Speaker 1: Yeah, because Armia Darkness came out ninety two, so it

1092
01:02:21,680 --> 01:02:24,720
Speaker 1: had had time to of course not only hit theaters,

1093
01:02:24,760 --> 01:02:27,880
Speaker 1: but to really dig into the VHS market in the

1094
01:02:27,880 --> 01:02:31,240
Speaker 1: home rental market. So again this is me my sort

1095
01:02:31,280 --> 01:02:35,560
Speaker 1: of childhood memory of this, but or junior high memory

1096
01:02:35,560 --> 01:02:38,840
Speaker 1: of this or whatever. I remember feeling like the world

1097
01:02:38,920 --> 01:02:44,160
Speaker 1: was hot for more Bruce Campbell action and maybe they weren't,

1098
01:02:44,240 --> 01:02:47,439
Speaker 1: or maybe the studio system that had not really caught

1099
01:02:47,480 --> 01:02:48,560
Speaker 1: wind of the Hunger yet.

1100
01:02:50,800 --> 01:02:52,680
Speaker 4: Yeah, I think you were. I think you were picking

1101
01:02:52,720 --> 01:02:55,040
Speaker 4: it though. I think people wanted Bruce Campbell, but you know,

1102
01:02:55,160 --> 01:02:56,959
Speaker 4: this is what we got.

1103
01:02:57,560 --> 01:03:02,880
Speaker 1: We also have Otta walleh Alkanawe Agbaje in this. He

1104
01:03:02,960 --> 01:03:05,280
Speaker 1: just plays I think there's one of the many soldier

1105
01:03:05,400 --> 01:03:08,120
Speaker 1: characters that sort of populates the background of the film.

1106
01:03:08,320 --> 01:03:11,920
Speaker 1: But this is a of course English fashion model turned

1107
01:03:12,000 --> 01:03:14,960
Speaker 1: actor born nineteen sixty seven, who had pretty big roles

1108
01:03:15,000 --> 01:03:19,000
Speaker 1: on TV's OZ and also Lost, which you mentioned earlier,

1109
01:03:19,440 --> 01:03:21,480
Speaker 1: but this was one of his first screen roles. He's

1110
01:03:21,480 --> 01:03:23,480
Speaker 1: gone into act in a number of big pictures including

1111
01:03:23,520 --> 01:03:26,439
Speaker 1: The Mummy Returns, The Bourne Identity, the remake of The Thing,

1112
01:03:26,960 --> 01:03:31,280
Speaker 1: the Second Thor Movie, and Suicide Squad, so he's been

1113
01:03:31,320 --> 01:03:33,160
Speaker 1: in quite a few things. He also writes and directs

1114
01:03:33,960 --> 01:03:38,200
Speaker 1: Now two, getting into two surprisingly uncredited performances in this.

1115
01:03:38,360 --> 01:03:41,360
Speaker 1: The first we have Delroy Lindo pop up in this

1116
01:03:41,520 --> 01:03:45,480
Speaker 1: playing Captain Wanta. This is one of This is a

1117
01:03:45,480 --> 01:03:48,720
Speaker 1: corrupt military official that they encounter again on the way

1118
01:03:48,880 --> 01:03:51,840
Speaker 1: to the Lost City and he like hits him up

1119
01:03:51,880 --> 01:03:56,080
Speaker 1: for a bribe and also just talks about how much

1120
01:03:56,120 --> 01:04:01,160
Speaker 1: he hates Tim Curry's character. He's really really hard on

1121
01:04:01,400 --> 01:04:03,600
Speaker 1: Homolka here, even telling him that he has to stop

1122
01:04:03,640 --> 01:04:08,320
Speaker 1: eating the sesame cake in the hotel twice twice.

1123
01:04:11,360 --> 01:04:13,280
Speaker 4: One of my favorite articles. And I was the next

1124
01:04:13,360 --> 01:04:14,680
Speaker 4: day after I watched this, and I was like, what

1125
01:04:14,720 --> 01:04:18,720
Speaker 4: did I just watch? Somebody wrote imagine a script that

1126
01:04:18,760 --> 01:04:22,240
Speaker 4: went through rewrites and still had to stop eating my

1127
01:04:22,280 --> 01:04:26,800
Speaker 4: sesame cake in there, not once, but twice.

1128
01:04:28,040 --> 01:04:30,720
Speaker 1: But Linda makes you believe it. It's a yeah, it's

1129
01:04:30,720 --> 01:04:35,280
Speaker 1: a small but memorable little performance here. Mm hmmm, Linda.

1130
01:04:35,320 --> 01:04:38,560
Speaker 1: Of course, some of his biggest films have included Malcolm X,

1131
01:04:38,640 --> 01:04:42,680
Speaker 1: Get Shorty to Five Bloods, and The Core. He's also

1132
01:04:42,760 --> 01:04:44,960
Speaker 1: slated to have a major role in the Blade reboot

1133
01:04:45,000 --> 01:04:47,600
Speaker 1: if they ever actually make that movie. I don't know

1134
01:04:47,640 --> 01:04:50,760
Speaker 1: what he's going to play in that, but I kind

1135
01:04:50,760 --> 01:04:52,760
Speaker 1: of have I'm wondering if he's going to play a

1136
01:04:52,760 --> 01:04:55,760
Speaker 1: Whistler character, if he's going to be like the mentor

1137
01:04:55,880 --> 01:04:58,840
Speaker 1: to Blade. But we'll see. And then you you mentioned

1138
01:04:58,840 --> 01:05:01,520
Speaker 1: this one already, but we this character Eddie Ventro who

1139
01:05:01,560 --> 01:05:05,560
Speaker 1: shows up and this is an uncredited performance by Joe Pontaliano.

1140
01:05:05,920 --> 01:05:10,360
Speaker 4: Yes, and I was a huge Matrix fan. I had

1141
01:05:10,400 --> 01:05:14,919
Speaker 4: an extremely embarrassing email address, which you unfortunately have seen,

1142
01:05:15,560 --> 01:05:19,720
Speaker 4: which I've told that story before, but anyway, because I

1143
01:05:19,720 --> 01:05:22,360
Speaker 4: had a huge crush on Neo Keanu Reeves from The Matrix,

1144
01:05:22,560 --> 01:05:23,880
Speaker 4: but I didn't know he was going to be in

1145
01:05:23,880 --> 01:05:27,200
Speaker 4: this movie, and uh when he showed up, that was

1146
01:05:27,200 --> 01:05:28,880
Speaker 4: one of the things I shouted to the other room,

1147
01:05:29,000 --> 01:05:34,520
Speaker 4: was like, it's Joey Pance, It's Cipher's here. My friend

1148
01:05:34,560 --> 01:05:37,000
Speaker 4: was like, what are you talking about.

1149
01:05:37,640 --> 01:05:41,280
Speaker 1: Yeah, it's a It's a great, slimy little role that

1150
01:05:41,320 --> 01:05:43,400
Speaker 1: he plays like that. I think one of the first

1151
01:05:43,400 --> 01:05:45,680
Speaker 1: things that he does is he offers to buy Amy

1152
01:05:45,720 --> 01:05:46,200
Speaker 1: the Gorilla.

1153
01:05:46,360 --> 01:05:55,000
Speaker 5: Yes, like immediately, immediately, Yeah, so yeah.

1154
01:05:55,120 --> 01:05:57,960
Speaker 1: Joe Pantleiano here probably yeah. Best known for playing Cipher

1155
01:05:58,000 --> 01:06:00,920
Speaker 1: in nineteen ninety nine Is the Matrix, Caesar in nineteen

1156
01:06:00,960 --> 01:06:03,680
Speaker 1: ninety six Is Bound, and he played the character Teddy

1157
01:06:03,720 --> 01:06:07,920
Speaker 1: in two thousands Memento. So yeah. A talented character actor

1158
01:06:08,240 --> 01:06:12,360
Speaker 1: that often plays kind of slimy, sleazy characters, morally ambiguous

1159
01:06:12,400 --> 01:06:14,680
Speaker 1: at past mm hmmm. I think he was also in

1160
01:06:14,680 --> 01:06:16,480
Speaker 1: a couple of tales from the Crypt episodes, which, of

1161
01:06:16,520 --> 01:06:19,760
Speaker 1: course perfect place to stick somebody with these talents.

1162
01:06:20,080 --> 01:06:22,600
Speaker 4: Yes, yes, I do love He has a scene where,

1163
01:06:22,840 --> 01:06:25,640
Speaker 4: like the he re emerges after I assumed we would

1164
01:06:25,640 --> 01:06:29,360
Speaker 4: never see him again, and he's getting off the plane

1165
01:06:29,440 --> 01:06:31,360
Speaker 4: and he has like a head injury and he makes

1166
01:06:31,360 --> 01:06:35,320
Speaker 4: the funniest sound to me where he's like, oh, I

1167
01:06:35,360 --> 01:06:37,040
Speaker 4: don't know. There's just something about how he did that

1168
01:06:37,040 --> 01:06:38,640
Speaker 4: that cracks me up every time I watch this.

1169
01:06:39,160 --> 01:06:41,400
Speaker 1: In case I forget it for later. What happens to

1170
01:06:41,480 --> 01:06:43,600
Speaker 1: his character in this film? Do we see him killed

1171
01:06:43,600 --> 01:06:45,640
Speaker 1: by guerrilla or something, because at some point later in

1172
01:06:45,640 --> 01:06:46,880
Speaker 1: the film, I'm like, where did he go?

1173
01:06:47,800 --> 01:06:51,680
Speaker 4: He kind of just wanders. He's like, here's your equipment.

1174
01:06:52,000 --> 01:06:54,280
Speaker 4: Have fun? He doesn't. He says he doesn't like to

1175
01:06:54,360 --> 01:06:58,560
Speaker 4: leave the airport, so I assume he just haunts the airport.

1176
01:06:59,200 --> 01:07:02,920
Speaker 1: Okay, m Well, let's get into the plot a bit.

1177
01:07:03,280 --> 01:07:04,960
Speaker 4: Yes, Oh gosh, I'm so excited.

1178
01:07:06,640 --> 01:07:10,240
Speaker 1: So we open in sub Saharan Africa, presumably the Congo

1179
01:07:10,440 --> 01:07:13,200
Speaker 1: given the name of the film. We have Bruce Campbell's

1180
01:07:13,280 --> 01:07:17,880
Speaker 1: character Charlie, leading a team into the wild surrounding Mount Muchino,

1181
01:07:18,080 --> 01:07:21,439
Speaker 1: who we're told here some sort of volcanic mountain, and

1182
01:07:21,720 --> 01:07:23,920
Speaker 1: almost right away we see he's packing heat, like we

1183
01:07:23,960 --> 01:07:28,320
Speaker 1: see him holding the pistol there, and I guess this

1184
01:07:28,360 --> 01:07:30,880
Speaker 1: is all kind of nice subversion because they really kind

1185
01:07:30,880 --> 01:07:33,240
Speaker 1: of present him as like, this is our star, right,

1186
01:07:33,280 --> 01:07:35,600
Speaker 1: this is the action hero. This is the guy who's

1187
01:07:35,600 --> 01:07:37,360
Speaker 1: going to take us through the movie, right.

1188
01:07:37,280 --> 01:07:39,800
Speaker 4: And I do want to before we move on again.

1189
01:07:39,840 --> 01:07:43,160
Speaker 4: I love when you can watch a movie and be like, oh,

1190
01:07:43,240 --> 01:07:48,040
Speaker 4: this is the nineties or whatever. The Congo title is

1191
01:07:48,280 --> 01:07:53,160
Speaker 4: done in the most glorious like gold word art if

1192
01:07:53,160 --> 01:07:55,960
Speaker 4: you remember what that was, So it's like a fading

1193
01:07:56,000 --> 01:07:58,200
Speaker 4: of gold to orange, and then it has a blue

1194
01:07:58,680 --> 01:08:04,560
Speaker 4: drop shadow glow and that's like this nineties, Oh my gosh.

1195
01:08:04,720 --> 01:08:06,800
Speaker 4: So I'm a sucker for that kind of stuff. But yeah,

1196
01:08:07,040 --> 01:08:10,120
Speaker 4: I do think you know, if you have started watching

1197
01:08:10,160 --> 01:08:14,400
Speaker 4: this and you're like, I guess this is our hero,

1198
01:08:14,560 --> 01:08:16,160
Speaker 4: and then it doesn't really turn out to be what

1199
01:08:16,200 --> 01:08:18,120
Speaker 4: you think it's going to be at all.

1200
01:08:18,600 --> 01:08:20,400
Speaker 1: Right, Well, for one thing, it's like we're very much

1201
01:08:20,400 --> 01:08:23,160
Speaker 1: in sort of Indiana Jones territory, and then we cut

1202
01:08:23,200 --> 01:08:26,520
Speaker 1: to space. We're in orbits and we see this satellite,

1203
01:08:26,520 --> 01:08:29,320
Speaker 1: which this is one of the moments where the effects

1204
01:08:29,360 --> 01:08:32,559
Speaker 1: feel rather dated because it's like a very dated CGI

1205
01:08:32,760 --> 01:08:37,640
Speaker 1: satellite orbiting the Earth. And this, of course is going

1206
01:08:37,680 --> 01:08:39,360
Speaker 1: to be an important part of the plot. This is

1207
01:08:39,400 --> 01:08:43,960
Speaker 1: what is enabling him to communicate without any lag at

1208
01:08:44,000 --> 01:08:46,479
Speaker 1: all with a Houston Control center. That's where we go

1209
01:08:46,560 --> 01:08:50,639
Speaker 1: to next, and here we meet Laura Lenny as our

1210
01:08:50,680 --> 01:08:55,679
Speaker 1: former CIAgent, doctor Karen Ross, and they initiate a satellite

1211
01:08:55,760 --> 01:08:59,640
Speaker 1: call to Bruce Campbell's team around the volcano and they

1212
01:08:59,640 --> 01:09:01,400
Speaker 1: start to talking about blue diamonds.

1213
01:09:01,840 --> 01:09:04,559
Speaker 4: Yes, And as much as I make fun of the script,

1214
01:09:04,600 --> 01:09:06,439
Speaker 4: and I do, I will say they accomplish a lot

1215
01:09:06,760 --> 01:09:09,360
Speaker 4: pretty quickly. So when you first see Laura Lenni she's

1216
01:09:09,400 --> 01:09:11,280
Speaker 4: walking in with a colleague of hers who has a

1217
01:09:11,360 --> 01:09:14,840
Speaker 4: very hilarious password which is just his name Rudy, Rudy

1218
01:09:14,920 --> 01:09:19,639
Speaker 4: Rudy to get in. But it like immediately establishes that

1219
01:09:20,960 --> 01:09:25,040
Speaker 4: the character we're about to meet, who is Bruce Campbell's father, Travis,

1220
01:09:25,960 --> 01:09:30,799
Speaker 4: is paranoid. He's very very paranoid and he doesn't trust people.

1221
01:09:33,040 --> 01:09:36,479
Speaker 4: But yeah, I love to how quickly there's so much

1222
01:09:36,479 --> 01:09:39,360
Speaker 4: whiplash in this movie where you're like, oh, diamonds, oh,

1223
01:09:39,400 --> 01:09:41,240
Speaker 4: but for satellites.

1224
01:09:42,760 --> 01:09:46,080
Speaker 1: And of course, Bruce Campbell's character has brought a functional

1225
01:09:46,160 --> 01:09:49,639
Speaker 1: laser gun into the wild with him and immediately loads

1226
01:09:49,720 --> 01:09:52,519
Speaker 1: up one of these blue diamonds and test fires. It's

1227
01:09:52,520 --> 01:09:55,360
Speaker 1: starting a small fire behind him, and we're like, okay,

1228
01:09:55,880 --> 01:09:58,640
Speaker 1: I'm not completely clear on how all this works, but

1229
01:09:59,240 --> 01:10:03,960
Speaker 1: blue diamond and apparently works. Blue diamond lasers are important,

1230
01:10:04,200 --> 01:10:07,400
Speaker 1: and back in Houston, they're very pleased with how this

1231
01:10:07,520 --> 01:10:08,400
Speaker 1: is all shaping up.

1232
01:10:09,000 --> 01:10:12,760
Speaker 4: Yes, yes, I love how they don't bother to explain it.

1233
01:10:12,840 --> 01:10:15,040
Speaker 4: I like, legitimately love that when movies are like, you

1234
01:10:15,040 --> 01:10:16,840
Speaker 4: know what, we're not really about this part of it,

1235
01:10:17,080 --> 01:10:20,640
Speaker 4: so I can explain it. But he even makes a

1236
01:10:20,720 --> 01:10:23,639
Speaker 4: mention of like it's this isn't a good enough diamond, essentially,

1237
01:10:23,640 --> 01:10:27,200
Speaker 4: like we need a better diamond and then we'll really

1238
01:10:27,240 --> 01:10:28,000
Speaker 4: be in business.

1239
01:10:28,439 --> 01:10:29,320
Speaker 6: Yeah.

1240
01:10:29,640 --> 01:10:31,920
Speaker 1: So at this point, one of the other members of

1241
01:10:32,800 --> 01:10:36,000
Speaker 1: Bruce Campbell's characters, Charlie's team, calls him over and says, hey,

1242
01:10:36,040 --> 01:10:38,439
Speaker 1: I found something. Jump into this water here and swim

1243
01:10:38,479 --> 01:10:41,639
Speaker 1: under these ruins with me. And he's like, okay, I'll

1244
01:10:41,680 --> 01:10:45,120
Speaker 1: do that, and so they jump in and lo and behold,

1245
01:10:45,200 --> 01:10:48,799
Speaker 1: they discover a lost city hidden beneath the jungle canopy

1246
01:10:49,479 --> 01:10:52,960
Speaker 1: and the other guy character that will not be around

1247
01:10:53,000 --> 01:10:55,080
Speaker 1: for long, but we find out he'll be back actually,

1248
01:10:55,120 --> 01:10:57,240
Speaker 1: but then not be around for long. A guy named

1249
01:10:57,280 --> 01:11:00,679
Speaker 1: Jeffrey stresses that this is a big find, this is amazing,

1250
01:11:00,920 --> 01:11:03,759
Speaker 1: and he's telling him all this. They're standing in front

1251
01:11:03,760 --> 01:11:08,320
Speaker 1: of this ominous stone gorilla statue. They're sinister music playing.

1252
01:11:08,600 --> 01:11:10,840
Speaker 1: We can already tell nothing good it's gonna happen here.

1253
01:11:11,280 --> 01:11:14,280
Speaker 4: Yeah, it really ramps up pretty quickly. You're like, oh wow,

1254
01:11:14,439 --> 01:11:20,200
Speaker 4: something is just about to go wrong. And this has

1255
01:11:20,240 --> 01:11:24,519
Speaker 4: one of my very favorite like horror elements where one

1256
01:11:24,560 --> 01:11:27,800
Speaker 4: of them goes missing. Jeffrey goes missing. Bruce Campbell's kind

1257
01:11:27,800 --> 01:11:30,759
Speaker 4: of staring off in the distance, maybe getting you know, wind,

1258
01:11:30,880 --> 01:11:37,439
Speaker 4: something's not right, calls from his friend eyeball just out

1259
01:11:37,479 --> 01:11:41,679
Speaker 4: of nowhere. Here is a human eyeball in front of him.

1260
01:11:42,080 --> 01:11:44,360
Speaker 1: Yeah, and then we get we cut to the monster POV.

1261
01:11:44,720 --> 01:11:47,400
Speaker 1: There's this growl and then we get the shot of

1262
01:11:47,560 --> 01:11:52,040
Speaker 1: Bruce Campbell screaming, and it's kind of interesting to think

1263
01:11:52,080 --> 01:11:54,200
Speaker 1: like that, you try to put yourself in the mind

1264
01:11:54,200 --> 01:11:57,799
Speaker 1: of the monster here. So the grey gorilla, after brutally

1265
01:11:57,880 --> 01:12:01,639
Speaker 1: murdering the other guy. Pop is to pluck eyeballs out

1266
01:12:01,720 --> 01:12:04,559
Speaker 1: and then sort of mess with Charlie here, like just

1267
01:12:04,800 --> 01:12:07,160
Speaker 1: chunk a few eyeballs at him, get his attention, and

1268
01:12:07,200 --> 01:12:09,920
Speaker 1: then kill him. So very very twisted on the part

1269
01:12:09,920 --> 01:12:15,679
Speaker 1: of our our ape adversaries here. So back in Houston,

1270
01:12:15,680 --> 01:12:18,439
Speaker 1: they try and call back on the video chat. They

1271
01:12:18,439 --> 01:12:21,720
Speaker 1: see everyone is dead, something is running around, and Ape

1272
01:12:21,720 --> 01:12:24,240
Speaker 1: attacks the camera. They get kind of this freeze frame

1273
01:12:24,320 --> 01:12:26,320
Speaker 1: that they're gonna have to figure out later. So things

1274
01:12:26,320 --> 01:12:28,800
Speaker 1: get a little bit event horizon here. They've got some

1275
01:12:29,080 --> 01:12:31,639
Speaker 1: footage that they're going to have to tinker with later.

1276
01:12:32,280 --> 01:12:34,360
Speaker 1: It seems like there was a this was a thing

1277
01:12:34,400 --> 01:12:37,080
Speaker 1: for a while in cinema. There's always a situation where

1278
01:12:37,080 --> 01:12:40,479
Speaker 1: you have some strange footage and there's something computery you

1279
01:12:40,520 --> 01:12:43,440
Speaker 1: could do to it, and you could get everything enhanced

1280
01:12:43,479 --> 01:12:44,599
Speaker 1: and figured out later on.

1281
01:12:45,160 --> 01:12:47,920
Speaker 4: Yes, Yes, and there's a lot to there's a lot

1282
01:12:47,960 --> 01:12:50,320
Speaker 4: that I love about this part number one. This was

1283
01:12:50,360 --> 01:12:52,120
Speaker 4: such a trope in the nineties. I don't know if

1284
01:12:52,160 --> 01:12:54,240
Speaker 4: you ever saw the Mary Kate and Ashley movie. It

1285
01:12:54,280 --> 01:12:57,760
Speaker 4: takes two, but there was such a trope in the

1286
01:12:57,840 --> 01:13:02,880
Speaker 4: nineties that, like, if you could contray role communications like

1287
01:13:02,960 --> 01:13:06,120
Speaker 4: cell phones or new technology. You could control everything, and

1288
01:13:06,160 --> 01:13:09,360
Speaker 4: it was such like a evil villain trope. And I

1289
01:13:09,400 --> 01:13:13,360
Speaker 4: love how Travis immediately when you meet this character, who's like, yeah,

1290
01:13:13,400 --> 01:13:16,960
Speaker 4: the most over the top evil business corrupt capitalist guy.

1291
01:13:17,600 --> 01:13:20,840
Speaker 4: Is it like that he's going to dominate the communications

1292
01:13:20,880 --> 01:13:24,800
Speaker 4: industry with this diamond And all of this is interspersed

1293
01:13:24,840 --> 01:13:28,120
Speaker 4: with like the most nineties graphics and the most ninety

1294
01:13:28,240 --> 01:13:30,559
Speaker 4: sound effects to that, like camera that they're looking in

1295
01:13:30,640 --> 01:13:34,880
Speaker 4: on the campsite with. It is just there's something about

1296
01:13:34,920 --> 01:13:37,880
Speaker 4: it that feels so from that time that it's like

1297
01:13:38,320 --> 01:13:40,760
Speaker 4: a whole, a full body experience for me, like, oh, yes,

1298
01:13:40,800 --> 01:13:41,839
Speaker 4: this is nineties.

1299
01:13:42,800 --> 01:13:45,760
Speaker 1: Yeah. I think Tomorrow Never Dies one of the Bond

1300
01:13:45,760 --> 01:13:48,360
Speaker 1: film we referenced earlier. I think that the villain in

1301
01:13:48,400 --> 01:13:50,840
Speaker 1: that one, played by Jonathan Price, is also some sort

1302
01:13:50,880 --> 01:13:52,679
Speaker 1: of a media mobile type character.

1303
01:13:53,000 --> 01:13:57,000
Speaker 4: Yeah, it was such a thing, and I do love

1304
01:13:57,280 --> 01:13:59,439
Speaker 4: that he This is when his line I mentioned earlier

1305
01:13:59,439 --> 01:14:01,439
Speaker 4: of like I can be human later comes up like

1306
01:14:01,560 --> 01:14:06,880
Speaker 4: he's like immediately an overtop caricature. I love how Laurlanie's

1307
01:14:06,960 --> 01:14:09,960
Speaker 4: character literally she says to him, are you for real?

1308
01:14:11,120 --> 01:14:14,160
Speaker 4: And she's in the most nineties Khakis invest too, by

1309
01:14:14,200 --> 01:14:17,439
Speaker 4: the way, and this is when you kind of find

1310
01:14:17,439 --> 01:14:20,680
Speaker 4: out like she was dating Bruce Campbell. They were going

1311
01:14:20,720 --> 01:14:22,599
Speaker 4: to get married and then they broke up for whatever reason,

1312
01:14:22,640 --> 01:14:24,800
Speaker 4: but she still obviously cares about him. And she has

1313
01:14:24,800 --> 01:14:27,400
Speaker 4: this confrontation with Travis like, I'm not going in there

1314
01:14:27,479 --> 01:14:29,800
Speaker 4: unless you promised me you're doing it for your son.

1315
01:14:29,840 --> 01:14:32,519
Speaker 4: If you're doing it for Charlie, i'll go. But if

1316
01:14:32,560 --> 01:14:36,000
Speaker 4: I get one hint that this isn't for him, I'm

1317
01:14:36,000 --> 01:14:37,760
Speaker 4: gonna make you sorry.

1318
01:14:37,760 --> 01:14:42,080
Speaker 1: She says, yeah, I love that he does calm down

1319
01:14:42,120 --> 01:14:44,080
Speaker 1: a little bit, and he's like like, yeah, I'm doing

1320
01:14:44,080 --> 01:14:46,440
Speaker 1: it for him. I did not find it very believable,

1321
01:14:47,160 --> 01:14:51,040
Speaker 1: but it's good enough for her. She's like, Okay, all right, Yes,

1322
01:14:51,720 --> 01:14:54,559
Speaker 1: I believe you enough to go out and try and

1323
01:14:54,600 --> 01:14:55,439
Speaker 1: find him in the wild.

1324
01:14:55,840 --> 01:14:59,280
Speaker 4: Yes. And I also love one of my favorite parts,

1325
01:14:59,720 --> 01:15:02,519
Speaker 4: which like right before it he said something pretty offensive,

1326
01:15:02,560 --> 01:15:06,120
Speaker 4: which just like maybe it was locals, but then he's

1327
01:15:06,200 --> 01:15:10,799
Speaker 4: like or a rival company, Like there's just something about

1328
01:15:10,880 --> 01:15:17,960
Speaker 4: him that's so he's so paranoid. He's so so paranoid.

1329
01:15:18,360 --> 01:15:21,280
Speaker 4: I also agree that she perhaps believed him too readily.

1330
01:15:21,320 --> 01:15:24,400
Speaker 4: But I also think she wanted to go, Like she

1331
01:15:24,400 --> 01:15:29,280
Speaker 4: she does still care about Charlie. But yeah, he's not

1332
01:15:29,400 --> 01:15:32,479
Speaker 4: very believable at all, but maybe that's just his constant

1333
01:15:32,560 --> 01:15:35,240
Speaker 4: vibe is just this level of anger.

1334
01:15:35,720 --> 01:15:37,880
Speaker 1: So yeah, and I think I think you're right. I

1335
01:15:37,920 --> 01:15:41,000
Speaker 1: think like she she wanted to go. She wants to

1336
01:15:41,000 --> 01:15:43,360
Speaker 1: to try and find Charlie. And so it's not that

1337
01:15:43,400 --> 01:15:46,519
Speaker 1: she's saying I'm not going unless like she's not really

1338
01:15:46,560 --> 01:15:50,200
Speaker 1: looking for an affirmation from him. She's just trying to

1339
01:15:50,360 --> 01:15:53,160
Speaker 1: encourage the human side of him, like like, Okay, I'll

1340
01:15:53,200 --> 01:15:54,840
Speaker 1: do this, but I want to see it like some

1341
01:15:54,920 --> 01:15:58,479
Speaker 1: acknowledgment that part of this is because you love your son.

1342
01:15:58,760 --> 01:16:03,680
Speaker 4: Right exactly and uh not you know, not sending me

1343
01:16:03,760 --> 01:16:16,559
Speaker 4: off to get killed to get well that time is Yeah,

1344
01:16:16,600 --> 01:16:18,080
Speaker 4: but this is one of my This is when I

1345
01:16:18,160 --> 01:16:22,679
Speaker 4: was watching the movie, this cut that happens now, Oh whoa,

1346
01:16:23,439 --> 01:16:27,160
Speaker 4: this is what am I watching right now? And this

1347
01:16:27,200 --> 01:16:28,960
Speaker 4: is when we get introduced to Amy.

1348
01:16:29,400 --> 01:16:33,240
Speaker 1: That's right, we cut to our gorilla expert. This is

1349
01:16:33,320 --> 01:16:37,599
Speaker 1: we meet our primatologist characters and we meet Amy the gorilla,

1350
01:16:38,000 --> 01:16:40,960
Speaker 1: and Amy is doing art, Amy is is making things.

1351
01:16:40,960 --> 01:16:43,880
Speaker 1: But also we quickly learned that. Well, I guess we

1352
01:16:44,120 --> 01:16:46,040
Speaker 1: kind of build up to this, right because we meet

1353
01:16:46,080 --> 01:16:49,600
Speaker 1: Amy and she's great and she's totally believable as a

1354
01:16:49,439 --> 01:16:52,840
Speaker 1: as a younger female gorilla. I guess I don't know.

1355
01:16:52,920 --> 01:16:55,439
Speaker 1: I went back and forth on how old Amy is,

1356
01:16:55,520 --> 01:16:58,679
Speaker 1: because early on there is very much like a childlike

1357
01:16:58,720 --> 01:17:01,599
Speaker 1: aspect to Amy that we like to but she's also

1358
01:17:01,760 --> 01:17:06,160
Speaker 1: she drinks, she's drinking martini, she's smoking cigars and spoiler

1359
01:17:06,200 --> 01:17:07,720
Speaker 1: but at the end of the movie she goes off

1360
01:17:07,720 --> 01:17:11,320
Speaker 1: and marries a silver bag, so she's like, she's an

1361
01:17:11,360 --> 01:17:14,000
Speaker 1: adult woman gorilla too, and we shouldn't take that away

1362
01:17:14,000 --> 01:17:14,320
Speaker 1: from her.

1363
01:17:14,439 --> 01:17:16,599
Speaker 4: No, absolutely not. I mean those are some of our

1364
01:17:16,680 --> 01:17:21,559
Speaker 4: favorite parts of Amy. Amy is multifaceted, and I think

1365
01:17:23,240 --> 01:17:26,040
Speaker 4: I just I need people to watch this if they

1366
01:17:26,040 --> 01:17:29,280
Speaker 4: haven't seen it, because you're watching it and you're like, oh,

1367
01:17:29,280 --> 01:17:32,320
Speaker 4: here's this gorilla. This gorilla is drawing all these pictures

1368
01:17:32,320 --> 01:17:36,800
Speaker 4: that look very similar. And I believe this is what

1369
01:17:36,880 --> 01:17:39,080
Speaker 4: they introduce the stuffed animal named Lovey.

1370
01:17:39,640 --> 01:17:42,160
Speaker 1: Oh yes, she because yeah, and this is another thing

1371
01:17:42,160 --> 01:17:44,840
Speaker 1: that builds up the sort of childlike nature because she

1372
01:17:44,880 --> 01:17:47,639
Speaker 1: has her love right, she has the little stuffed animal

1373
01:17:47,640 --> 01:17:48,600
Speaker 1: that she's carrying.

1374
01:17:48,280 --> 01:17:52,599
Speaker 4: Around, right, So they're very much prompting you to believe, yeah,

1375
01:17:52,640 --> 01:17:57,400
Speaker 4: she's this, you know, more childlike gorilla and those other

1376
01:17:57,439 --> 01:17:59,679
Speaker 4: things which I can't wait to talk about more detail

1377
01:17:59,680 --> 01:18:02,880
Speaker 4: at the Martini and whatnot come later. But right in

1378
01:18:02,920 --> 01:18:08,799
Speaker 4: the beginning, okay, seems like a young sweet gorilla.

1379
01:18:09,640 --> 01:18:12,720
Speaker 1: Yes, but of course we keep talking about Amy, the

1380
01:18:12,760 --> 01:18:16,479
Speaker 1: talking gorilla, and to get there again, the movie really

1381
01:18:16,640 --> 01:18:18,559
Speaker 1: doesn't waste a lot of time. We like cut to

1382
01:18:18,840 --> 01:18:21,400
Speaker 1: essentially like a ted talk thing that doctor Elliot's doing

1383
01:18:21,400 --> 01:18:24,559
Speaker 1: at Berkeley. He's talking about language, he's talking about sign language,

1384
01:18:24,560 --> 01:18:27,799
Speaker 1: he's talking about virtual reality technology, and then he cuts

1385
01:18:27,840 --> 01:18:30,400
Speaker 1: to the real meat of everything. They have created a

1386
01:18:30,439 --> 01:18:35,000
Speaker 1: real time sign language audible translator with power glove that

1387
01:18:35,120 --> 01:18:40,560
Speaker 1: allows sign language literate animals like Amy allow them to

1388
01:18:41,000 --> 01:18:43,400
Speaker 1: actually speak out loud. She wears a little power glove,

1389
01:18:43,640 --> 01:18:47,200
Speaker 1: she does the signs, and this enables her to speak

1390
01:18:47,240 --> 01:18:49,840
Speaker 1: and say things like Amy, good gorilla.

1391
01:18:49,960 --> 01:18:52,360
Speaker 4: And this is one of my very favorite parts, because

1392
01:18:53,200 --> 01:18:56,240
Speaker 4: I mean this is when it in one way really

1393
01:18:56,280 --> 01:18:58,439
Speaker 4: goes off the rails, at least when I was watching it.

1394
01:18:59,600 --> 01:19:04,440
Speaker 4: But it has the funniest scene. It's like the funniest

1395
01:19:04,439 --> 01:19:07,200
Speaker 4: cut to the audience scene I've ever I think I've

1396
01:19:07,200 --> 01:19:10,080
Speaker 4: ever witnessed, because people are watching. He's talking. Yeah, he's

1397
01:19:10,080 --> 01:19:12,400
Speaker 4: talking about virtual reality. He's talking about all of this

1398
01:19:12,479 --> 01:19:16,799
Speaker 4: like really high tech stuff. And then he calls out Amy,

1399
01:19:17,880 --> 01:19:20,880
Speaker 4: and people, you know, turn and gasp and they see

1400
01:19:20,920 --> 01:19:23,800
Speaker 4: this gorilla coming down the aisle. It's just like a

1401
01:19:23,920 --> 01:19:25,280
Speaker 4: you know, where you would go to see a talk

1402
01:19:25,280 --> 01:19:28,920
Speaker 4: out of college or something. And Amy comes up and

1403
01:19:28,920 --> 01:19:30,800
Speaker 4: there's this guy and I don't know the actor's name,

1404
01:19:30,840 --> 01:19:34,160
Speaker 4: but he's kind of like bored flipping through the pamphlet

1405
01:19:34,439 --> 01:19:37,880
Speaker 4: and he looks up and then Amy says, yeah, you know, Amy,

1406
01:19:37,880 --> 01:19:42,800
Speaker 4: good Gorilla, Amy good Gorilla, And he kind of like

1407
01:19:42,920 --> 01:19:46,840
Speaker 4: is staring ahead in horror and an awe, and he

1408
01:19:46,920 --> 01:19:53,280
Speaker 4: says that gorilla is talking. It's so funny. It's such

1409
01:19:53,320 --> 01:19:55,559
Speaker 4: a great stand in for the audience, Like it really

1410
01:19:55,640 --> 01:19:59,160
Speaker 4: is because you're like having a similar reaction. But I

1411
01:19:59,240 --> 01:20:04,360
Speaker 4: love the cut to him of what this girl is donking.

1412
01:20:05,840 --> 01:20:09,000
Speaker 1: And then we also cut to Homolka there played by

1413
01:20:09,120 --> 01:20:12,600
Speaker 1: Jim Curry. He's in the audience and he's watching creepily

1414
01:20:12,720 --> 01:20:15,439
Speaker 1: and he has a ring with this kind of like

1415
01:20:15,560 --> 01:20:18,960
Speaker 1: I on it and we suddenly get this very mid

1416
01:20:19,080 --> 01:20:23,960
Speaker 1: nineties flash. Then of suddenly there's like scenes from Amy's dreams,

1417
01:20:24,000 --> 01:20:26,599
Speaker 1: something with a jungle and a flash of a gray

1418
01:20:26,680 --> 01:20:30,240
Speaker 1: monster a jumping across it, and uh, we're kind of left.

1419
01:20:30,680 --> 01:20:33,120
Speaker 1: I was left wondering like, well, what happened? Where did

1420
01:20:33,120 --> 01:20:35,559
Speaker 1: this come from? Did that happen? Because I looked into

1421
01:20:35,600 --> 01:20:41,479
Speaker 1: the ring because was that in in? Yeah? Did I'm cursed?

1422
01:20:41,520 --> 01:20:44,280
Speaker 1: Is that in his mind? Or is this Amy's dreams?

1423
01:20:44,960 --> 01:20:49,040
Speaker 1: But then we cut we cut ahead and we basically

1424
01:20:49,080 --> 01:20:51,519
Speaker 1: find out that well, she she doesn't seem to be sleeping. Well,

1425
01:20:51,880 --> 01:20:55,000
Speaker 1: Peter is worried that she's deteriorating mentally because she's not

1426
01:20:55,120 --> 01:20:56,960
Speaker 1: in the jungle. She needs to be in the jungle.

1427
01:20:57,320 --> 01:20:59,439
Speaker 1: He meets with the Dane and he's like, we need

1428
01:20:59,479 --> 01:21:02,320
Speaker 1: to raise a bunch of money to send our star

1429
01:21:02,479 --> 01:21:05,120
Speaker 1: talking gorilla back to the jungle. And the Dean's like,

1430
01:21:05,360 --> 01:21:06,400
Speaker 1: nobody's gonna pay for that.

1431
01:21:06,680 --> 01:21:08,920
Speaker 4: Yes, which I am of two minds about I think

1432
01:21:09,120 --> 01:21:12,200
Speaker 4: I can see. But you know, also these he believes

1433
01:21:12,240 --> 01:21:14,080
Speaker 4: these paintings are from the jungle, like this is what

1434
01:21:14,120 --> 01:21:20,839
Speaker 4: she's been doing. But enter Herkima Harmolka former Romanian traveling

1435
01:21:20,880 --> 01:21:23,599
Speaker 4: around the world and doing good. And guess what, I've

1436
01:21:23,640 --> 01:21:25,000
Speaker 4: got a lot of money, and I want to fund

1437
01:21:25,040 --> 01:21:28,719
Speaker 4: your trip to take this gorilla back to the jungle.

1438
01:21:29,160 --> 01:21:32,040
Speaker 1: Yeah, he's like, I have no ulterior motive. I just

1439
01:21:32,080 --> 01:21:36,200
Speaker 1: want to see Amy return to jungle. Yes, just sound

1440
01:21:36,320 --> 01:21:42,240
Speaker 1: like really like he's basically doing a Abella Lagosi Dracula character here.

1441
01:21:43,720 --> 01:21:45,880
Speaker 1: It's even more that than it is Peter Lourie.

1442
01:21:46,439 --> 01:21:50,639
Speaker 4: Yes, And the accent is so immediately you can't think

1443
01:21:50,680 --> 01:21:55,400
Speaker 4: of anything else. And I love like, for the audience,

1444
01:21:55,400 --> 01:21:57,280
Speaker 4: at least you've gotten all these hints that he's up

1445
01:21:57,320 --> 01:21:59,120
Speaker 4: to no good or he's got an ulterior motive, as

1446
01:21:59,160 --> 01:22:03,400
Speaker 4: you said. But it cuts to immediately from that scene

1447
01:22:03,479 --> 01:22:07,400
Speaker 4: to doctor Elliott being like, yes, his name's herker Mahomolka.

1448
01:22:07,400 --> 01:22:09,599
Speaker 4: I don't see the problem. He's gonna fund us to

1449
01:22:09,320 --> 01:22:09,680
Speaker 4: do this.

1450
01:22:10,640 --> 01:22:11,880
Speaker 1: I trust everyone.

1451
01:22:12,080 --> 01:22:15,679
Speaker 4: Yeah, yes, I love it. I love it. He's just like, yeah,

1452
01:22:15,720 --> 01:22:18,439
Speaker 4: I don't see any reason why we need to wonder

1453
01:22:18,479 --> 01:22:19,760
Speaker 4: about this anymore.

1454
01:22:20,600 --> 01:22:21,960
Speaker 1: And of course Amy's on board.

1455
01:22:22,240 --> 01:22:24,160
Speaker 4: Yes, we get Amy into three D glasses.

1456
01:22:24,320 --> 01:22:27,160
Speaker 1: Yeah, Yeah, a sweet scene where there they were in

1457
01:22:27,200 --> 01:22:29,360
Speaker 1: their three D glasses looking at a book. So another

1458
01:22:29,479 --> 01:22:31,400
Speaker 1: scene with a lot of childlike wonder for Amy.

1459
01:22:31,800 --> 01:22:33,559
Speaker 4: Mm hm. This is when she asked to be tickled

1460
01:22:33,600 --> 01:22:34,080
Speaker 4: the first time.

1461
01:22:34,120 --> 01:22:37,960
Speaker 1: I think, oh, yes, yes, hmmm mm hmmm. And so

1462
01:22:38,040 --> 01:22:40,080
Speaker 1: at this point, it seems like, okay, the expedition is

1463
01:22:40,120 --> 01:22:42,960
Speaker 1: ready to go. They get to the airport. Kamulka's like,

1464
01:22:43,040 --> 01:22:46,160
Speaker 1: everything seems good. They seems like they're loading the plane.

1465
01:22:46,160 --> 01:22:50,040
Speaker 1: But then uh oh they're unloading the plane. Uh and

1466
01:22:50,280 --> 01:22:52,759
Speaker 1: uh So there's this scene out there on the tarmac.

1467
01:22:52,800 --> 01:22:55,439
Speaker 1: I'm on the big the mid the crates. Everyone's a

1468
01:22:55,479 --> 01:22:57,559
Speaker 1: little stressed. Amy just wants to be tickled. She doesn't

1469
01:22:57,600 --> 01:23:00,599
Speaker 1: know what's going on. But then doctor Rossa up and

1470
01:23:00,600 --> 01:23:03,760
Speaker 1: she's like, hey, let my company pay for some of

1471
01:23:03,800 --> 01:23:06,160
Speaker 1: your trip and just let me bring my team along.

1472
01:23:06,439 --> 01:23:10,759
Speaker 4: Yeah. Basically, they need like she needs almost like a visa.

1473
01:23:10,800 --> 01:23:12,640
Speaker 4: She needs a reason why she's going. She has to

1474
01:23:12,720 --> 01:23:17,160
Speaker 4: join their expedition to get in because I guess if

1475
01:23:17,200 --> 01:23:19,880
Speaker 4: they report what's happened, like, they're not going to be

1476
01:23:19,880 --> 01:23:22,920
Speaker 4: able to get across the border to investigate what happened.

1477
01:23:23,640 --> 01:23:26,240
Speaker 4: So she's trying very very hard, has been for a

1478
01:23:26,240 --> 01:23:29,000
Speaker 4: long time. This is where I get my line that

1479
01:23:29,040 --> 01:23:31,880
Speaker 4: I said earlier, I'm a primatologist, not a pound of sugar.

1480
01:23:33,680 --> 01:23:38,040
Speaker 4: And we also see the beginnings of Amy being jealous

1481
01:23:38,040 --> 01:23:43,439
Speaker 4: of doctor Russ because Peter is like, oh, it's not me,

1482
01:23:43,600 --> 01:23:47,160
Speaker 4: it's Amy. You can't come because Amy doesn't like you.

1483
01:23:48,320 --> 01:23:51,360
Speaker 4: But yeah, they start unloading stuff off the plane and

1484
01:23:52,320 --> 01:23:56,160
Speaker 4: her molka, I love this. What does he say? There's

1485
01:23:56,200 --> 01:24:01,200
Speaker 4: been an interruption in my cash floor or something? And

1486
01:24:01,240 --> 01:24:03,559
Speaker 4: then doctor Ross knows like, ooh, I got you. You

1487
01:24:03,640 --> 01:24:03,960
Speaker 4: need me.

1488
01:24:04,400 --> 01:24:06,439
Speaker 1: Yeah, he can't pay for the fuel for the plane,

1489
01:24:06,479 --> 01:24:09,840
Speaker 1: but her company certainly can. And so basically we cut

1490
01:24:09,920 --> 01:24:13,599
Speaker 1: to everyone's on board the plane flying to Africa, and

1491
01:24:13,640 --> 01:24:15,439
Speaker 1: this is where we have that wonderful scene where we

1492
01:24:15,479 --> 01:24:20,840
Speaker 1: get some scenes where Amy is upset with Karen and

1493
01:24:20,840 --> 01:24:23,360
Speaker 1: and the primatologist and Karen have a nice back and

1494
01:24:23,400 --> 01:24:25,639
Speaker 1: forth about like what what is the trip is about?

1495
01:24:25,720 --> 01:24:28,799
Speaker 1: And what is what is the human relationship to animals

1496
01:24:28,800 --> 01:24:29,320
Speaker 1: and so forth.

1497
01:24:29,439 --> 01:24:32,320
Speaker 4: Yeah, because she's very curious and can't quite pin down

1498
01:24:32,439 --> 01:24:34,960
Speaker 4: why he did it, and he kind of gives like

1499
01:24:35,000 --> 01:24:38,719
Speaker 4: why did he train Amy to be able to speak? Essentially,

1500
01:24:40,040 --> 01:24:43,479
Speaker 4: and he says he gives her some quotes about you know,

1501
01:24:43,560 --> 01:24:45,920
Speaker 4: the face of the teacher and like why not and

1502
01:24:45,960 --> 01:24:48,320
Speaker 4: all this kind of stuff. But this is also when

1503
01:24:48,360 --> 01:24:51,080
Speaker 4: we get the infamous and I dare you to find

1504
01:24:51,160 --> 01:24:55,560
Speaker 4: any review who doesn't mention it scene where Amy is

1505
01:24:55,600 --> 01:24:59,679
Speaker 4: a nervous flyer. Yeah, she wants her rain drop juice. Yes,

1506
01:25:00,120 --> 01:25:04,080
Speaker 4: And it turns out that rain drop juice is a

1507
01:25:04,160 --> 01:25:08,880
Speaker 4: martine Yes. Yes, So we get a scene in a

1508
01:25:08,920 --> 01:25:13,920
Speaker 4: film where a gorilla is drinking a martini and looks

1509
01:25:14,120 --> 01:25:15,360
Speaker 4: very happy about it.

1510
01:25:15,840 --> 01:25:19,759
Speaker 1: Yeah, and totally totally believable scene too, I mean, aside

1511
01:25:20,080 --> 01:25:22,840
Speaker 1: from the ridiculousness of it, like you buy Amy the

1512
01:25:23,000 --> 01:25:26,519
Speaker 1: talking gorilla as a real individual who just likes a

1513
01:25:26,640 --> 01:25:31,120
Speaker 1: nice drink to take the edge off during a fly Well, yeah,

1514
01:25:31,160 --> 01:25:31,679
Speaker 1: of course.

1515
01:25:31,920 --> 01:25:34,720
Speaker 4: And I mean she she had been tense because she

1516
01:25:34,720 --> 01:25:37,599
Speaker 4: had also just thrown an egg at Karen.

1517
01:25:38,360 --> 01:25:42,200
Speaker 1: Yeah, she's called her an ugly woman and yeah, there's

1518
01:25:42,240 --> 01:25:43,920
Speaker 1: an egg at her. So then things are off to

1519
01:25:43,920 --> 01:25:46,040
Speaker 1: a rocky start between Karen and Amy.

1520
01:25:46,320 --> 01:25:48,720
Speaker 4: Yes. And this is also when like they have a

1521
01:25:48,720 --> 01:25:51,080
Speaker 4: discussion around the myth of the killer ape and like

1522
01:25:51,200 --> 01:25:56,160
Speaker 4: King Kong all of that stuff, so kind of you

1523
01:25:56,160 --> 01:26:00,240
Speaker 4: can see her Molcha starting to show his hand that

1524
01:26:00,280 --> 01:26:03,559
Speaker 4: he's interested in this, like he's got, he's got more

1525
01:26:04,360 --> 01:26:07,880
Speaker 4: than he's letting on and what he wants to get

1526
01:26:07,880 --> 01:26:08,679
Speaker 4: out of this trip.

1527
01:26:09,160 --> 01:26:12,040
Speaker 1: Now I'm gonna, I guess try and skip some of

1528
01:26:12,080 --> 01:26:15,360
Speaker 1: what happened. Like basically, they land in in Africa. They

1529
01:26:15,640 --> 01:26:17,240
Speaker 1: they land in one country, they need to go into

1530
01:26:17,280 --> 01:26:21,759
Speaker 1: another country, but already things are in a destabilized state.

1531
01:26:21,880 --> 01:26:27,479
Speaker 1: Here we meet Joe Pantoliano's character Eddie Ventro. He's immediately like, hey,

1532
01:26:28,040 --> 01:26:30,879
Speaker 1: can I buy that ape off you? And they're soldiers

1533
01:26:30,920 --> 01:26:33,720
Speaker 1: running around. Something blows up on the airfield in the

1534
01:26:33,760 --> 01:26:37,320
Speaker 1: back in the in the background, and and Elliott's like

1535
01:26:37,360 --> 01:26:39,800
Speaker 1: asking around for the guy that they hired. But that

1536
01:26:39,840 --> 01:26:42,280
Speaker 1: guy's know where to be seen because no looks like

1537
01:26:42,360 --> 01:26:46,479
Speaker 1: Big Media has paid for the best guide available, and

1538
01:26:46,520 --> 01:26:49,760
Speaker 1: that is Captain Monroe Kelly. And he's up and he's

1539
01:26:49,800 --> 01:26:52,880
Speaker 1: you know, he's suave. You know, he's very laid back

1540
01:26:52,920 --> 01:26:55,840
Speaker 1: about everything. But he basically saves all of them and

1541
01:26:55,960 --> 01:26:57,720
Speaker 1: he's working on getting them where he needs to go.

1542
01:26:57,880 --> 01:27:01,040
Speaker 1: He's he's all action and solutions. He piles everybody in

1543
01:27:01,040 --> 01:27:02,840
Speaker 1: the back of the military truck and they're on their

1544
01:27:02,880 --> 01:27:03,320
Speaker 1: way out.

1545
01:27:03,760 --> 01:27:07,439
Speaker 4: Yes, And one of my favorite things about this scene

1546
01:27:07,880 --> 01:27:09,920
Speaker 4: is we get two instances of seeing people being I

1547
01:27:09,920 --> 01:27:12,759
Speaker 4: guess totally on board and completely okay with a talking gorilla.

1548
01:27:12,840 --> 01:27:18,280
Speaker 4: But when Amy talks, Captain Monroe is just like, yeah, sure,

1549
01:27:18,720 --> 01:27:21,439
Speaker 4: and here's a smoke. Amy like, I guess that's what

1550
01:27:21,520 --> 01:27:25,759
Speaker 4: you want. But he immediately takes control of the situation

1551
01:27:25,800 --> 01:27:30,439
Speaker 4: and seems to immediately clock like one Hermolka is no good.

1552
01:27:30,840 --> 01:27:33,280
Speaker 4: He's one of the characters that's like, oh, I remember you.

1553
01:27:33,760 --> 01:27:37,000
Speaker 4: And then two that Karen is very competent and like

1554
01:27:37,040 --> 01:27:40,360
Speaker 4: that they will be working together to kind of lead

1555
01:27:40,479 --> 01:27:43,920
Speaker 4: this expedition. But also I guess three that everybody's in

1556
01:27:43,960 --> 01:27:47,400
Speaker 4: there for a different reason, and nobody's being completely honest

1557
01:27:47,520 --> 01:27:48,439
Speaker 4: except for maybe Peter.

1558
01:27:48,960 --> 01:27:54,559
Speaker 1: Right. Even Captain Kelly here is being a He's kind

1559
01:27:54,560 --> 01:27:56,559
Speaker 1: of he's a little uncertain as well, like you don't

1560
01:27:56,600 --> 01:27:58,720
Speaker 1: distrust him. But there's that part where one of the

1561
01:27:58,800 --> 01:28:00,640
Speaker 1: characters ask him, are you some kind a criminal? And

1562
01:28:00,640 --> 01:28:03,559
Speaker 1: he just says, aren't we all? And it's just another

1563
01:28:03,600 --> 01:28:09,080
Speaker 1: great Captain Monroe Kelly moment. We get some it sounds

1564
01:28:09,080 --> 01:28:11,960
Speaker 1: like Kelly is perhaps also an arms dealer. We're not

1565
01:28:12,200 --> 01:28:15,640
Speaker 1: entirely sure. I guess what he's he's involved in, but

1566
01:28:15,680 --> 01:28:18,479
Speaker 1: it also seems like he's the best, most expensive hope

1567
01:28:18,479 --> 01:28:22,080
Speaker 1: for them. He's hired by the tech company, but they

1568
01:28:22,080 --> 01:28:24,320
Speaker 1: don't get very far before the military stops them and

1569
01:28:24,360 --> 01:28:27,679
Speaker 1: like arrest everybody and says, look, nobody can go to Zaire,

1570
01:28:28,080 --> 01:28:30,040
Speaker 1: so you're all stuck in this hotel here. And this

1571
01:28:30,120 --> 01:28:33,560
Speaker 1: is where we get Captain Wanta played by del Roy Lindo.

1572
01:28:33,720 --> 01:28:37,920
Speaker 1: He shows up and people were interrogated and he does

1573
01:28:37,960 --> 01:28:40,599
Speaker 1: not seem to have good intentions and almost immediately hits

1574
01:28:40,640 --> 01:28:42,240
Speaker 1: them up for a massive bribe.

1575
01:28:42,640 --> 01:28:47,240
Speaker 4: Yes, and he receives it. And this is when we

1576
01:28:47,320 --> 01:28:51,839
Speaker 4: get the infamous stop eating my sesame cake line twice

1577
01:28:52,760 --> 01:28:57,160
Speaker 4: because Tim Curry is back there kind of nervously nibbling

1578
01:28:58,080 --> 01:29:01,280
Speaker 4: the sesame cake and when he sees the money, like

1579
01:29:01,280 --> 01:29:04,519
Speaker 4: his mouth drops open. Like his expressions during this whole scene,

1580
01:29:04,600 --> 01:29:08,320
Speaker 4: he is just like a befuddled, terrified, out of his

1581
01:29:08,479 --> 01:29:14,320
Speaker 4: league villain who gets called out yeah by Delroy Lindo.

1582
01:29:14,600 --> 01:29:17,599
Speaker 4: He's like, oh, this piece of trash, Like we don't

1583
01:29:17,760 --> 01:29:22,720
Speaker 4: work with him. He's terrible, And it's just one of

1584
01:29:22,760 --> 01:29:25,439
Speaker 4: those things where you're watching it, you're like, wow, I mean,

1585
01:29:25,479 --> 01:29:27,800
Speaker 4: these performances are amazing, But how in the world did

1586
01:29:27,840 --> 01:29:29,679
Speaker 4: this get made?

1587
01:29:31,000 --> 01:29:34,720
Speaker 1: So Captain Wanta has up with this bribe and and

1588
01:29:34,800 --> 01:29:37,599
Speaker 1: Karen pays it like she basically has just an enormous

1589
01:29:37,600 --> 01:29:40,000
Speaker 1: amount of cash on her. There's this nice scene where

1590
01:29:40,000 --> 01:29:43,680
Speaker 1: Captain Wanta is then stapling the brown sack that he

1591
01:29:43,720 --> 01:29:46,559
Speaker 1: put the money into shut and he tells them that

1592
01:29:46,640 --> 01:29:48,599
Speaker 1: it's the gorilla that's going to get them across the border,

1593
01:29:48,600 --> 01:29:51,920
Speaker 1: because no one wants to be seen in Western media

1594
01:29:51,960 --> 01:29:54,800
Speaker 1: being cruel to the gorilla. And so it looks like

1595
01:29:54,800 --> 01:29:55,879
Speaker 1: they're going to get to continue.

1596
01:29:56,160 --> 01:30:01,479
Speaker 4: Yes, yes, So this brings us to like another plane trip.

1597
01:30:02,880 --> 01:30:05,920
Speaker 4: A lot of jokes about uh, doctor Elliott and Amy

1598
01:30:05,960 --> 01:30:08,400
Speaker 4: being a husband and wife, which I think we've already

1599
01:30:08,439 --> 01:30:11,280
Speaker 4: had some of those two, but people witnessing their interactions

1600
01:30:13,640 --> 01:30:19,240
Speaker 4: and some of the funniest, least believable parts of the

1601
01:30:19,240 --> 01:30:24,680
Speaker 4: movie I think take place in this section because they

1602
01:30:24,760 --> 01:30:27,960
Speaker 4: get shot at while they're in a plane. In this plane,

1603
01:30:28,120 --> 01:30:31,800
Speaker 4: after Amy has been fed some kind of drug in

1604
01:30:31,840 --> 01:30:37,599
Speaker 4: a banana to calm her down, by the way, and Laura,

1605
01:30:37,680 --> 01:30:40,759
Speaker 4: Lenny badass that she is, gets a flare gun, kicks

1606
01:30:40,800 --> 01:30:46,160
Speaker 4: open the door to the airplane and uses the flare

1607
01:30:46,160 --> 01:30:50,400
Speaker 4: gun too, I guess distract to send the heat seeking

1608
01:30:50,439 --> 01:30:53,080
Speaker 4: missiles that way, which I don't think is how it works.

1609
01:30:56,920 --> 01:30:59,880
Speaker 4: But it's quickly joined by Monroe Kelly's like, yeah, this

1610
01:30:59,920 --> 01:31:02,080
Speaker 4: is a good idea. We're going to help you. It's

1611
01:31:02,080 --> 01:31:06,800
Speaker 4: a really cool, like badass scene. I just questioned legitimacy.

1612
01:31:07,200 --> 01:31:08,240
Speaker 4: That's how it works.

1613
01:31:08,800 --> 01:31:12,040
Speaker 1: Yeah, So yeah, they fire off these flares. They're able

1614
01:31:12,080 --> 01:31:15,880
Speaker 1: to redirect the heat seeking ground to air missiles that

1615
01:31:15,880 --> 01:31:19,200
Speaker 1: are being fired at them by the military. But it

1616
01:31:19,240 --> 01:31:21,000
Speaker 1: looks like the plane's been hit. Everyone's gonna have to

1617
01:31:21,040 --> 01:31:25,759
Speaker 1: parachute anyway. So we get some shenanigans here where Homolka

1618
01:31:25,840 --> 01:31:28,000
Speaker 1: of course is cowardly and has to be booted out

1619
01:31:28,000 --> 01:31:32,679
Speaker 1: of the plane Monroe Kelly. He grabs a drugged Amy.

1620
01:31:32,760 --> 01:31:34,759
Speaker 1: Amy has been given the I think they later referred

1621
01:31:34,760 --> 01:31:36,320
Speaker 1: to it as the banana with the dope in it,

1622
01:31:36,720 --> 01:31:39,240
Speaker 1: so she has she's already had her dope banana. So

1623
01:31:39,280 --> 01:31:42,599
Speaker 1: he scoops her up and jumps out. Gear is being

1624
01:31:42,680 --> 01:31:46,000
Speaker 1: dropped as well, and uh yeah, then we're in the

1625
01:31:46,120 --> 01:31:48,439
Speaker 1: jungle proper at this point, and.

1626
01:31:48,400 --> 01:31:50,559
Speaker 4: I think this is when we start getting answers about

1627
01:31:50,640 --> 01:31:52,640
Speaker 4: what some of the characters are up to. So we

1628
01:31:52,800 --> 01:31:56,479
Speaker 4: hear a little bit about, you know, the city of Solomon,

1629
01:31:56,520 --> 01:32:00,160
Speaker 4: the last city of Zinge Monroe. Kelly reveals he as

1630
01:32:00,200 --> 01:32:03,400
Speaker 4: a past history of a terrible expedition that went wrong

1631
01:32:03,439 --> 01:32:07,320
Speaker 4: with hermoca and caring them out at the jungle. We

1632
01:32:07,360 --> 01:32:12,320
Speaker 4: also learn a bit more about Laura Lenni's character and

1633
01:32:12,360 --> 01:32:14,439
Speaker 4: what she's looking for because she has this what she says,

1634
01:32:14,560 --> 01:32:19,679
Speaker 4: is a gadget that has features like you know, her

1635
01:32:19,840 --> 01:32:23,439
Speaker 4: ex Cia past is kind of talked about. So we're

1636
01:32:23,439 --> 01:32:26,800
Speaker 4: getting at some of these answers, these character answers about

1637
01:32:27,880 --> 01:32:30,880
Speaker 4: what people are looking into. And also I would like

1638
01:32:30,880 --> 01:32:32,720
Speaker 4: to point out this is when I was like, oh,

1639
01:32:32,800 --> 01:32:36,360
Speaker 4: this is a volcanoo as well. Good to know.

1640
01:32:37,800 --> 01:32:40,840
Speaker 1: Yeah, and it's it's like what you bring a cannon

1641
01:32:40,920 --> 01:32:43,840
Speaker 1: on stage, right, you bring a volcano on into the picture.

1642
01:32:43,920 --> 01:32:45,800
Speaker 1: You know that volcano is erupting at the end of

1643
01:32:45,800 --> 01:32:48,519
Speaker 1: the film. Yes, so, but we'll get we'll get to

1644
01:32:48,600 --> 01:32:50,439
Speaker 1: that part. So and An you're right, Yeah, they set

1645
01:32:50,520 --> 01:32:54,000
Speaker 1: up camp. The tents are great, the AC units are

1646
01:32:54,000 --> 01:32:56,800
Speaker 1: passed out. We already talked about that. We get more.

1647
01:32:57,920 --> 01:33:01,519
Speaker 1: They spill more details about the Las city of Karen

1648
01:33:01,560 --> 01:33:04,000
Speaker 1: gets satellite gear set up, she checks in with Texas.

1649
01:33:04,360 --> 01:33:06,559
Speaker 1: They send her the creature analysis. They're like, we've we've

1650
01:33:06,600 --> 01:33:09,320
Speaker 1: done some work on the footage. It is gorilla alike,

1651
01:33:09,560 --> 01:33:11,760
Speaker 1: but maybe not a gorilla. And oh, by the way,

1652
01:33:11,800 --> 01:33:14,439
Speaker 1: that volcano is probably gonna blow up. And she's like,

1653
01:33:14,520 --> 01:33:17,559
Speaker 1: all right, fine, we can we can handle it. But

1654
01:33:17,800 --> 01:33:20,240
Speaker 1: they're not even able to finish the call because then

1655
01:33:20,640 --> 01:33:25,040
Speaker 1: Amy and Elliott come racing through the camp like children.

1656
01:33:25,080 --> 01:33:28,120
Speaker 1: They knock over the satellite gear and destroy it, like

1657
01:33:28,160 --> 01:33:29,520
Speaker 1: it's no longer functional.

1658
01:33:29,880 --> 01:33:36,200
Speaker 4: Yep, yep, just destroy her equipment. And this is also

1659
01:33:36,240 --> 01:33:38,320
Speaker 4: when the scene you mentioned when we see kind of

1660
01:33:38,400 --> 01:33:42,640
Speaker 4: this gear kind of overkill perhaps that Karen bought with

1661
01:33:42,760 --> 01:33:47,519
Speaker 4: the ac and the tents setting up with that. But yeah,

1662
01:33:47,560 --> 01:33:54,240
Speaker 4: now so now they're cut off from that and they've

1663
01:33:54,280 --> 01:33:56,200
Speaker 4: got to check through the jungle and they've got this

1664
01:33:56,280 --> 01:34:01,000
Speaker 4: volcano threat looming over them and a miss serious creature

1665
01:34:01,080 --> 01:34:03,040
Speaker 4: that is not a gorilla but close.

1666
01:34:03,640 --> 01:34:06,559
Speaker 1: Yeah, so we we get a fun scene at night

1667
01:34:06,640 --> 01:34:09,280
Speaker 1: where there are all these monkey sounds in the forests

1668
01:34:09,400 --> 01:34:13,080
Speaker 1: and everyone's a little wigged out except for Captain Monroe Kelly,

1669
01:34:13,760 --> 01:34:15,800
Speaker 1: and he has some some fun lines there, but then

1670
01:34:15,840 --> 01:34:19,040
Speaker 1: it rains, it mud slides. There's a ridiculous scene where

1671
01:34:19,040 --> 01:34:21,680
Speaker 1: somebody sees a snake and they're scary music and they

1672
01:34:21,760 --> 01:34:24,479
Speaker 1: chop the snake with a machete, a scene that serves

1673
01:34:24,479 --> 01:34:27,040
Speaker 1: no purpose in the film, just to say that, like, oh,

1674
01:34:27,080 --> 01:34:29,920
Speaker 1: and they're also snakes, but don't worry, they don't factor.

1675
01:34:29,680 --> 01:34:32,080
Speaker 4: Into the plot, right. And this is also where we

1676
01:34:32,120 --> 01:34:37,840
Speaker 4: get the leach scene on the penis. This is kind

1677
01:34:37,880 --> 01:34:40,960
Speaker 4: of like a montage of all of the stuff, the

1678
01:34:41,080 --> 01:34:47,160
Speaker 4: terrain and environment they're having to deal with. Inexplicable singing

1679
01:34:47,240 --> 01:34:49,160
Speaker 4: scene where they all start singing is also in this

1680
01:34:49,280 --> 01:34:49,800
Speaker 4: kind of section.

1681
01:34:50,040 --> 01:34:55,840
Speaker 1: Yell California. Also, Yeah, we also get members of a

1682
01:34:55,920 --> 01:34:59,240
Speaker 1: native tribe show up, the Ghost tribe they describe them

1683
01:34:59,280 --> 01:35:03,320
Speaker 1: as and they're like, hey, they they're doctor Monroquel, I

1684
01:35:03,320 --> 01:35:05,800
Speaker 1: mean Captain Monroe. Kelly can speak their language, so he

1685
01:35:05,800 --> 01:35:07,960
Speaker 1: speaks with them and he's like, hey, they have a

1686
01:35:08,600 --> 01:35:10,760
Speaker 1: they have a dead man or a nearly dead man,

1687
01:35:11,880 --> 01:35:13,960
Speaker 1: and they want us to see him. They he has

1688
01:35:14,040 --> 01:35:17,479
Speaker 1: this TC symbol on his clothing. Karen quickly realizes, well,

1689
01:35:17,479 --> 01:35:19,600
Speaker 1: that's my company. We need to see what this is

1690
01:35:19,640 --> 01:35:23,120
Speaker 1: all about. And they check in on this kind of

1691
01:35:23,160 --> 01:35:26,519
Speaker 1: like tribal ceremony that some sort of a funeral rite.

1692
01:35:27,280 --> 01:35:30,080
Speaker 1: It seems like it's maybe patterned after a scene from Baraka.

1693
01:35:30,680 --> 01:35:33,400
Speaker 1: I'm not sure on that, but it's it's it's impressive

1694
01:35:33,400 --> 01:35:36,120
Speaker 1: to watch and then they realize, Okay, is this man Charles. No,

1695
01:35:36,200 --> 01:35:39,040
Speaker 1: it's not. It's Bob, someone else from that group. He

1696
01:35:39,120 --> 01:35:42,760
Speaker 1: wakes up, he sees Amy the gorilla and immediately just

1697
01:35:42,800 --> 01:35:44,000
Speaker 1: freaks out to death.

1698
01:35:44,160 --> 01:35:46,920
Speaker 4: Which is classic classic scene if you know, being scared

1699
01:35:46,920 --> 01:35:49,320
Speaker 4: to death of something. I do think this is one

1700
01:35:49,439 --> 01:35:53,120
Speaker 4: scene that did a disservice to the like payoff, And

1701
01:35:53,200 --> 01:35:55,639
Speaker 4: I know they wanted the final product to be really scary,

1702
01:35:55,680 --> 01:35:58,320
Speaker 4: but they just weren't that scary. So like the fact

1703
01:35:58,320 --> 01:36:01,320
Speaker 4: that he sees Amy and is like it just really

1704
01:36:01,360 --> 01:36:02,720
Speaker 4: it was like it built it up and you're like,

1705
01:36:02,760 --> 01:36:05,320
Speaker 4: oh my gosh, this must be terrifying. It killed him,

1706
01:36:05,320 --> 01:36:08,719
Speaker 4: It scared him to death. I mean it was really

1707
01:36:08,760 --> 01:36:12,599
Speaker 4: it was effective. It served a lot in terms of

1708
01:36:12,680 --> 01:36:17,120
Speaker 4: building your fear and anxiety around whatever it is they're

1709
01:36:17,160 --> 01:36:19,639
Speaker 4: going to eventually face, so they keep going.

1710
01:36:19,640 --> 01:36:21,360
Speaker 1: They're not going to be deterred by this. There are

1711
01:36:21,360 --> 01:36:26,400
Speaker 1: more zing revelations King Solomon's legendary Diamond mine and the Congo.

1712
01:36:27,080 --> 01:36:30,200
Speaker 1: Others have sought it, none have come back, and Hamolka

1713
01:36:30,200 --> 01:36:33,400
Speaker 1: insists that Amy knows where the city is the open

1714
01:36:33,439 --> 01:36:36,840
Speaker 1: Eye symbol. She saw it in her dream. So they

1715
01:36:36,960 --> 01:36:40,120
Speaker 1: keep going and eventually they're traveling by boat at night

1716
01:36:40,520 --> 01:36:45,760
Speaker 1: and this is like straight up Disney Jungle cruise adventure here,

1717
01:36:45,800 --> 01:36:48,479
Speaker 1: but we get this terrifying hippo attack where the hippos

1718
01:36:48,479 --> 01:36:51,519
Speaker 1: are attacking the boat and then a plane is shot

1719
01:36:51,600 --> 01:36:54,720
Speaker 1: down in the night. It crashes and they're like, well,

1720
01:36:55,200 --> 01:36:57,720
Speaker 1: I don't know what that's about. That's bad. They reach

1721
01:36:57,800 --> 01:37:01,880
Speaker 1: the volcano, they two orders have run away. Amy wants

1722
01:37:01,880 --> 01:37:05,160
Speaker 1: her glove and at this point navigation is becoming difficult,

1723
01:37:05,280 --> 01:37:09,840
Speaker 1: like her little multipurpose device isn't really working, and Homolko says, well,

1724
01:37:09,840 --> 01:37:14,280
Speaker 1: we should let Amy lead us. Let Amy lead the expedition,

1725
01:37:14,600 --> 01:37:16,599
Speaker 1: and everyone's like, you know, he's right, we should let

1726
01:37:16,640 --> 01:37:17,120
Speaker 1: Amy leave.

1727
01:37:18,360 --> 01:37:21,439
Speaker 4: That's Gorilla knows where it is. I love that line

1728
01:37:21,479 --> 01:37:24,880
Speaker 4: so much. Yeah, so they're all like, yeah, let's follow,

1729
01:37:25,320 --> 01:37:29,040
Speaker 4: Let's follow Amy. And this leads us to another one

1730
01:37:29,040 --> 01:37:31,240
Speaker 4: of my very favorite scenes. This is when they meet

1731
01:37:31,600 --> 01:37:35,120
Speaker 4: at big silver back gorilla. And this is after they

1732
01:37:35,200 --> 01:37:37,960
Speaker 4: kind of transverse what seems to be straight up a volcano.

1733
01:37:38,360 --> 01:37:40,120
Speaker 4: I don't know that their path makes a lot of sense,

1734
01:37:40,120 --> 01:37:44,479
Speaker 4: but anyway, they meet this big silver back gorilla. Monroe

1735
01:37:44,520 --> 01:37:50,200
Speaker 4: tells Peter like, don't run gorillas as a challenge, and yes,

1736
01:37:50,680 --> 01:37:53,679
Speaker 4: he doesn't run. The gorilla backs away, and that's when

1737
01:37:53,720 --> 01:37:57,120
Speaker 4: Monroe realizes, like, oh, he did run away, and then

1738
01:37:57,479 --> 01:38:00,080
Speaker 4: I love this. Amy tries to communicate with the grill

1739
01:38:00,280 --> 01:38:02,320
Speaker 4: and they look at her and they're like nah, and

1740
01:38:02,360 --> 01:38:03,280
Speaker 4: they walk away.

1741
01:38:04,479 --> 01:38:06,920
Speaker 1: But it's it's sad. You watch it and you're like, oh,

1742
01:38:07,200 --> 01:38:09,600
Speaker 1: he was trying to communicate with the gorillas and she

1743
01:38:09,680 --> 01:38:12,040
Speaker 1: can't because she's been trained in this new system, and

1744
01:38:12,720 --> 01:38:15,840
Speaker 1: it's it's it's sad, it is, but we're holding out hope.

1745
01:38:15,840 --> 01:38:18,160
Speaker 1: We feel like she'll probably get another shot at this.

1746
01:38:28,880 --> 01:38:31,680
Speaker 1: So they press on, and it should come as no

1747
01:38:31,760 --> 01:38:34,479
Speaker 1: surprise they do find the lost city of Zinge. We

1748
01:38:34,520 --> 01:38:38,559
Speaker 1: see this fabulous looking, ruinous lost city with a big

1749
01:38:39,120 --> 01:38:42,759
Speaker 1: We see this like this head statue with these big eyes,

1750
01:38:43,080 --> 01:38:46,320
Speaker 1: and Homolka is just in tears. Uh. The eye on

1751
01:38:46,400 --> 01:38:50,200
Speaker 1: his ring matches the great statue. These amber eyes, and

1752
01:38:50,240 --> 01:38:53,000
Speaker 1: we get some just wonderful scene showing by Tim Curry here.

1753
01:38:53,240 --> 01:38:55,920
Speaker 4: Yeah, because he really does have an emotional moment and

1754
01:38:55,960 --> 01:38:59,760
Speaker 4: for all the cowardice he has and I'm this is

1755
01:38:59,800 --> 01:39:02,080
Speaker 4: big you're telling of his character, because he's still a

1756
01:39:02,160 --> 01:39:06,280
Speaker 4: huge coward. But he says I must go because he

1757
01:39:06,280 --> 01:39:09,840
Speaker 4: wants to go in. He wants to find these diamonds.

1758
01:39:09,920 --> 01:39:12,880
Speaker 4: And it's just like the culmination of everything he's been

1759
01:39:12,920 --> 01:39:15,880
Speaker 4: talking about. And he does have a line where I'm

1760
01:39:15,960 --> 01:39:17,400
Speaker 4: kind of like, I don't believe this at all, but

1761
01:39:17,439 --> 01:39:21,400
Speaker 4: he says we can all share, we can all share

1762
01:39:21,520 --> 01:39:23,680
Speaker 4: the loops of the diamonds if we go in.

1763
01:39:26,520 --> 01:39:28,639
Speaker 1: So at this point we are here in the last

1764
01:39:28,640 --> 01:39:32,559
Speaker 1: city of Zine. Obviously we have reached the final portion

1765
01:39:32,640 --> 01:39:35,599
Speaker 1: of the film, last thirty minutes of the film, and

1766
01:39:35,680 --> 01:39:40,120
Speaker 1: everything is about to just get really wild. So for Starters,

1767
01:39:40,400 --> 01:39:43,120
Speaker 1: the guns are out now killing his team or inspecting everything.

1768
01:39:43,120 --> 01:39:47,439
Speaker 1: They're wisely on guard because they realize some serious violence

1769
01:39:47,479 --> 01:39:50,280
Speaker 1: has gone down around here and they don't entirely know

1770
01:39:50,320 --> 01:39:54,519
Speaker 1: what's behind it. And Homolka tells them this story about

1771
01:39:54,760 --> 01:39:59,920
Speaker 1: the establishment of Solomon's mine here and the city around it,

1772
01:40:00,080 --> 01:40:02,680
Speaker 1: about how the savageness of the guards was famous, and

1773
01:40:02,720 --> 01:40:05,360
Speaker 1: then about how this it fell into ruin. But when

1774
01:40:05,400 --> 01:40:06,880
Speaker 1: they perhap press and they're like, why did it fall

1775
01:40:06,920 --> 01:40:10,200
Speaker 1: into ruin, He's like, nobody knows. But they're like, okay,

1776
01:40:10,280 --> 01:40:12,639
Speaker 1: let's go in and explore. So we're in full blown

1777
01:40:12,840 --> 01:40:17,679
Speaker 1: ruin exploration mode. And some of these scenes are effectively creepy,

1778
01:40:17,760 --> 01:40:20,560
Speaker 1: like the lighting is just right, you know, it's the

1779
01:40:20,600 --> 01:40:22,799
Speaker 1: typical shots you have in films like this of people

1780
01:40:23,040 --> 01:40:29,560
Speaker 1: pointing their flashlights at hieroglyphics and checking out hallways and

1781
01:40:30,320 --> 01:40:32,559
Speaker 1: you're just expecting something to jump out at any moment.

1782
01:40:33,000 --> 01:40:36,360
Speaker 4: Yes, and that's built by the fact that Amy was

1783
01:40:36,760 --> 01:40:39,200
Speaker 4: not feeling it. She did not want to come in,

1784
01:40:40,479 --> 01:40:43,240
Speaker 4: so some of them, some of the members of the

1785
01:40:43,280 --> 01:40:48,360
Speaker 4: group stayed outside. Amy stayed outside. And then there are

1786
01:40:48,439 --> 01:40:54,800
Speaker 4: these hieroglyphics on the wall that doctor Elliott translates and

1787
01:40:55,520 --> 01:41:00,559
Speaker 4: it basically boils down to they trained these gorillas to

1788
01:41:00,680 --> 01:41:05,320
Speaker 4: guard the mines on a volcano whose activity is getting

1789
01:41:05,360 --> 01:41:08,960
Speaker 4: more intense by the way, to guard the diamonds, and

1790
01:41:09,000 --> 01:41:12,320
Speaker 4: then the gorillas turned on the people there, and I

1791
01:41:12,320 --> 01:41:16,479
Speaker 4: guess have just been living there guarding the diamonds. Getting

1792
01:41:17,360 --> 01:41:19,040
Speaker 4: more and more violins.

1793
01:41:20,280 --> 01:41:24,640
Speaker 1: Yeah, and perhaps like imbread like it's a very small population.

1794
01:41:24,800 --> 01:41:24,920
Speaker 7: Yea.

1795
01:41:25,360 --> 01:41:28,160
Speaker 1: Every time we see the gray gorillas like they do

1796
01:41:28,240 --> 01:41:30,640
Speaker 1: look diseased. And I don't know how much of this

1797
01:41:30,840 --> 01:41:33,479
Speaker 1: is like seriously trying to figure out, like what is

1798
01:41:33,479 --> 01:41:37,360
Speaker 1: the genetic decline of a small population of primates's going

1799
01:41:37,400 --> 01:41:39,280
Speaker 1: to look like? And then how much of it is

1800
01:41:40,080 --> 01:41:42,759
Speaker 1: like notes coming back or the or from the stiff

1801
01:41:42,760 --> 01:41:46,080
Speaker 1: from the studio or just the effects team looking at it, like, well,

1802
01:41:46,080 --> 01:41:49,479
Speaker 1: how scary can we make these gorillas? And you look

1803
01:41:49,479 --> 01:41:50,880
Speaker 1: at when you look at them, like the sort of

1804
01:41:50,920 --> 01:41:53,400
Speaker 1: freeze frame of the of the grays that they look.

1805
01:41:53,439 --> 01:41:55,559
Speaker 1: They look very frightening. They did a great job making

1806
01:41:55,640 --> 01:41:59,719
Speaker 1: monstrous gorillas. It's just when it comes to actually seeing

1807
01:41:59,760 --> 01:42:03,080
Speaker 1: them moving around, I don't know. I think it probably

1808
01:42:03,120 --> 01:42:04,920
Speaker 1: does come back to the lighting and just some of

1809
01:42:04,960 --> 01:42:09,679
Speaker 1: the you know that perhaps you can imagine these costumes

1810
01:42:09,760 --> 01:42:11,000
Speaker 1: being better utilized.

1811
01:42:11,040 --> 01:42:15,479
Speaker 4: I don't know, Yes, absolutely, And there they were trying

1812
01:42:15,520 --> 01:42:19,160
Speaker 4: to do a lot of things I will say in

1813
01:42:19,200 --> 01:42:23,040
Speaker 4: this movie with special effects and technology, and one of

1814
01:42:23,080 --> 01:42:27,599
Speaker 4: the most bizarre and jarring ones is in this section.

1815
01:42:27,800 --> 01:42:33,120
Speaker 4: Because so Richard had stayed outside with Amy, and then

1816
01:42:33,439 --> 01:42:40,840
Speaker 4: he runs in screaming and is killed by this big,

1817
01:42:41,600 --> 01:42:49,080
Speaker 4: angry killer gorilla. And the group you know, tries to

1818
01:42:49,080 --> 01:42:53,200
Speaker 4: to shoot at this gorilla and it's like inexplicable stop

1819
01:42:53,360 --> 01:42:58,040
Speaker 4: motion camera work, like it's out of nowhere. They don't

1820
01:42:58,080 --> 01:43:02,000
Speaker 4: do it again. It just felt like, oh, let's let's

1821
01:43:02,040 --> 01:43:04,920
Speaker 4: experiment with this, and I do again. I go. That

1822
01:43:05,040 --> 01:43:07,559
Speaker 4: makes me wonder how much of it was, Oh, this

1823
01:43:07,600 --> 01:43:09,479
Speaker 4: is new technology we could try, but also how much

1824
01:43:09,520 --> 01:43:13,360
Speaker 4: of it was these costumes aren't working out like we thought,

1825
01:43:13,479 --> 01:43:14,479
Speaker 4: or like maybe yeah.

1826
01:43:14,400 --> 01:43:17,000
Speaker 1: Or at least the resulting footage was not as scary

1827
01:43:17,000 --> 01:43:19,120
Speaker 1: as we thought what it might be. What can we do,

1828
01:43:19,240 --> 01:43:22,920
Speaker 1: Let's tinker with it until we have something that creates

1829
01:43:22,920 --> 01:43:24,120
Speaker 1: more of an emotional response.

1830
01:43:24,520 --> 01:43:27,559
Speaker 4: Yes, absolutely, I feel like that's another thing every review

1831
01:43:27,560 --> 01:43:30,799
Speaker 4: mentions is that, like where did that come from?

1832
01:43:31,160 --> 01:43:34,160
Speaker 1: Yeah? But at this point, like everybody's basically in the

1833
01:43:34,200 --> 01:43:35,599
Speaker 1: mode of like, Okay, I guess we need to get

1834
01:43:35,640 --> 01:43:38,360
Speaker 1: out of here because gorillas are attacking us. Amy shows

1835
01:43:38,439 --> 01:43:42,000
Speaker 1: up for a nice jump scare. One great gorilla has

1836
01:43:42,000 --> 01:43:44,719
Speaker 1: been taken down, but there are more. They leave the ruins,

1837
01:43:44,720 --> 01:43:49,160
Speaker 1: they find more bodies. Hamolka thinks this is whine the

1838
01:43:49,240 --> 01:43:51,880
Speaker 1: mines had to close down in ancient times. I guess

1839
01:43:52,000 --> 01:43:54,679
Speaker 1: makes sense. Killer gorillas. So they go back to camp

1840
01:43:55,320 --> 01:43:58,360
Speaker 1: and it's tech time because Amy gloves up and starts

1841
01:43:58,360 --> 01:44:01,080
Speaker 1: talking about the bad gorillas. And then in one of

1842
01:44:01,120 --> 01:44:03,439
Speaker 1: the I can't even honestly remember if this was in

1843
01:44:03,439 --> 01:44:05,080
Speaker 1: the book or not. I think it might have been,

1844
01:44:05,479 --> 01:44:08,720
Speaker 1: but at this point the team Karen and or the

1845
01:44:08,720 --> 01:44:12,000
Speaker 1: team remember, oh yeah, amid the gear that we have,

1846
01:44:12,280 --> 01:44:15,479
Speaker 1: we have automated machine gun drones that we can set

1847
01:44:15,560 --> 01:44:19,240
Speaker 1: up that use lasers to detect movement and will fire

1848
01:44:19,320 --> 01:44:23,240
Speaker 1: at anything. And they set this up around the perimeter

1849
01:44:23,320 --> 01:44:28,200
Speaker 1: of the camp. And I remember loving this in the

1850
01:44:28,240 --> 01:44:30,120
Speaker 1: film and perhaps in the book if it was in

1851
01:44:30,160 --> 01:44:33,320
Speaker 1: the book when I was younger, but especially now, you like,

1852
01:44:33,439 --> 01:44:36,720
Speaker 1: this is just so ridiculous. This is just ludicrous that

1853
01:44:36,800 --> 01:44:40,560
Speaker 1: they brought automated machine gun Like what was the original

1854
01:44:41,240 --> 01:44:44,080
Speaker 1: like rationale behind this was that just killer gorillas may

1855
01:44:44,080 --> 01:44:46,599
Speaker 1: show up in the hundreds, we will need machine gun

1856
01:44:46,720 --> 01:44:49,840
Speaker 1: drones because otherwise, it's, like you were, these are like

1857
01:44:49,880 --> 01:44:54,200
Speaker 1: weapons of war you're bringing into this other country, right.

1858
01:44:54,000 --> 01:44:56,759
Speaker 4: And people could have shown up, like anything could have happened,

1859
01:44:58,840 --> 01:45:01,960
Speaker 4: and they also have so Laura Lenny is cool as

1860
01:45:01,960 --> 01:45:04,400
Speaker 4: a cucumber during this part, by the way, and they

1861
01:45:04,439 --> 01:45:07,559
Speaker 4: set up a laptop, an old laptop, and she can

1862
01:45:07,640 --> 01:45:10,160
Speaker 4: like see their shapes on it, like see where they

1863
01:45:10,200 --> 01:45:14,800
Speaker 4: are and how many of them are. But it I mean, again,

1864
01:45:15,040 --> 01:45:16,880
Speaker 4: I think the lighting didn't really work in the scene.

1865
01:45:16,880 --> 01:45:19,479
Speaker 4: But it could have been really scary because you would

1866
01:45:19,520 --> 01:45:22,800
Speaker 4: just see like the guns turn shoot at something. The

1867
01:45:22,880 --> 01:45:26,320
Speaker 4: lasers were kind of goofy, but like the seeing this turn.

1868
01:45:26,439 --> 01:45:30,600
Speaker 4: You couldn't really necessarily see where the gorillas were, but

1869
01:45:30,640 --> 01:45:34,120
Speaker 4: they were all around. Like it ended up feeling very

1870
01:45:36,040 --> 01:45:38,479
Speaker 4: humorous and over the top where I think it could

1871
01:45:38,520 --> 01:45:41,280
Speaker 4: have been scary. I'm not sure that this movie ever

1872
01:45:41,320 --> 01:45:45,400
Speaker 4: succeeds really it being scary. I think it's much more

1873
01:45:45,439 --> 01:45:47,240
Speaker 4: a fun action romp. So I don't know that it

1874
01:45:47,240 --> 01:45:50,920
Speaker 4: would have worked anyway given the rest of what we've

1875
01:45:50,960 --> 01:45:57,320
Speaker 4: seen already. But yeah, it's like fireworks and lasers, guns

1876
01:45:57,360 --> 01:45:58,440
Speaker 4: and chiller rapes.

1877
01:45:58,640 --> 01:46:00,960
Speaker 1: It feels kind of like like this is Hongo the Ride,

1878
01:46:02,080 --> 01:46:04,160
Speaker 1: which isn't too much of a knock because what is

1879
01:46:04,200 --> 01:46:06,400
Speaker 1: a blockbuster film? Like, it's kind of like the approach

1880
01:46:06,479 --> 01:46:10,080
Speaker 1: to a big like Disneyland ride or a Blockbuster film.

1881
01:46:10,120 --> 01:46:12,360
Speaker 1: It's kind of the same energy, so I guess it's

1882
01:46:12,360 --> 01:46:14,800
Speaker 1: fine that they feel it feels much the same here.

1883
01:46:15,080 --> 01:46:19,400
Speaker 4: Yes, and then it's buttoned with Hermolka saying I've translated

1884
01:46:19,600 --> 01:46:23,559
Speaker 4: this phrase and it says we are watching you. So

1885
01:46:23,600 --> 01:46:26,800
Speaker 4: it's kind of this like goofy action set piece and

1886
01:46:26,880 --> 01:46:31,000
Speaker 4: then oh wait, go back to scary stuff.

1887
01:46:32,080 --> 01:46:32,320
Speaker 1: Yeah.

1888
01:46:33,000 --> 01:46:34,320
Speaker 4: Yeah.

1889
01:46:34,439 --> 01:46:37,759
Speaker 1: So the next morning, people are missing, including Amy and Homolka.

1890
01:46:38,600 --> 01:46:42,040
Speaker 1: Amy's out wandering. She encounters the other gorillas again. They

1891
01:46:42,080 --> 01:46:45,400
Speaker 1: acknowledge her this time, but they're they're standoffish, so it

1892
01:46:45,439 --> 01:46:52,280
Speaker 1: seems like some progress is being made in Amy gorilla relations. Meanwhile,

1893
01:46:52,320 --> 01:46:54,439
Speaker 1: the team heads back into the ruins and they're just

1894
01:46:54,600 --> 01:46:56,680
Speaker 1: armed to the teeth. They just just bringing all the

1895
01:46:56,720 --> 01:47:00,719
Speaker 1: guns this time, and they find evidence on the walls.

1896
01:47:00,720 --> 01:47:03,240
Speaker 1: They find more not hieroglyphics this time, but more like

1897
01:47:03,280 --> 01:47:08,320
Speaker 1: actual images that are te like sequential art, and it

1898
01:47:08,400 --> 01:47:13,280
Speaker 1: seems that the gorillas were bred using gorillas and humans apparently,

1899
01:47:14,040 --> 01:47:16,680
Speaker 1: and to serve as guardians for the mines, but they

1900
01:47:16,680 --> 01:47:19,559
Speaker 1: eventually turned on their masters, and they find the bones

1901
01:47:19,600 --> 01:47:22,280
Speaker 1: of normal gorillas with crushed skulls.

1902
01:47:22,360 --> 01:47:25,920
Speaker 4: Yes, quite a few. Yeah, and this is when we

1903
01:47:26,000 --> 01:47:30,719
Speaker 4: see Amy, who's like the volcano it's shaking, it's about

1904
01:47:30,760 --> 01:47:34,120
Speaker 4: to go off. Some of the building collapses. So Amy

1905
01:47:34,800 --> 01:47:37,800
Speaker 4: is determined to help our human friends to fight these

1906
01:47:37,840 --> 01:47:42,559
Speaker 4: bad gorillas, grabs her asl gear and makes her way

1907
01:47:43,360 --> 01:47:45,400
Speaker 4: to the temple to the building.

1908
01:47:45,479 --> 01:47:48,720
Speaker 1: And so here we are the team. Eventually they have

1909
01:47:48,760 --> 01:47:50,960
Speaker 1: some trouble. It seems like they're the mines may be

1910
01:47:51,080 --> 01:47:53,599
Speaker 1: closed off, and then of course there's seismic activity and

1911
01:47:53,760 --> 01:47:55,840
Speaker 1: there are cave ins, and so they just keep going,

1912
01:47:55,880 --> 01:47:59,040
Speaker 1: you know, very very dungeons and dragons at this point like, okay,

1913
01:47:59,080 --> 01:48:01,040
Speaker 1: we got we got to keep the party moving deeper

1914
01:48:01,080 --> 01:48:05,639
Speaker 1: into the dungeon here and then they emerge into well

1915
01:48:06,439 --> 01:48:08,240
Speaker 1: dungeons and dragging theons wives. This would be when the

1916
01:48:08,320 --> 01:48:11,320
Speaker 1: dungeon master would pull out the feature map where the

1917
01:48:11,320 --> 01:48:13,920
Speaker 1: big battle is going to take place. It's this is

1918
01:48:13,920 --> 01:48:16,640
Speaker 1: apparently the mine. It's kind of this little valley with

1919
01:48:17,040 --> 01:48:21,040
Speaker 1: the stream going through it. They're all these like alcoves

1920
01:48:21,160 --> 01:48:24,680
Speaker 1: or cave openings in the walls, and the ground is

1921
01:48:24,760 --> 01:48:28,120
Speaker 1: just filthy with blue diamonds, like they're just poking up

1922
01:48:28,120 --> 01:48:31,360
Speaker 1: out of the ground like like big diamond baseballs.

1923
01:48:31,640 --> 01:48:33,400
Speaker 4: Yeah, you're right, that is very d and d like,

1924
01:48:33,520 --> 01:48:37,920
Speaker 4: look at these shiny things. I know you want them,

1925
01:48:38,320 --> 01:48:41,519
Speaker 4: no problem here, and Harmocha he can't resist. He's like

1926
01:48:41,600 --> 01:48:45,080
Speaker 4: immediately just shoving these diamonds into his bag.

1927
01:48:45,760 --> 01:48:50,400
Speaker 1: Yes, oh yeah, he kisses one of them. And meanwhile,

1928
01:48:50,400 --> 01:48:53,400
Speaker 1: the great gorillas are starting to file out there. It

1929
01:48:53,479 --> 01:48:54,960
Speaker 1: is kind of creepy at first because they are in

1930
01:48:55,000 --> 01:48:58,000
Speaker 1: the shadows a bit, but then they're they're they're actively

1931
01:48:58,040 --> 01:49:01,240
Speaker 1: coming out. They're like, okay, we're on this is what

1932
01:49:01,280 --> 01:49:04,360
Speaker 1: we were trained for. We did kill all of our trainers,

1933
01:49:04,360 --> 01:49:08,360
Speaker 1: but this is why we live here. And so yeah,

1934
01:49:08,400 --> 01:49:10,840
Speaker 1: great shots of great gorillas creeping in the dark. We

1935
01:49:10,880 --> 01:49:15,479
Speaker 1: see some flashes of their monster faces. And now Homolka

1936
01:49:15,520 --> 01:49:18,400
Speaker 1: has gone too far. He realizes too late that he

1937
01:49:18,520 --> 01:49:21,559
Speaker 1: was too concerned with scooping up diamonds and that death

1938
01:49:21,640 --> 01:49:22,679
Speaker 1: is all around him now.

1939
01:49:23,240 --> 01:49:27,360
Speaker 4: Yeah, and he does have probably the most one of

1940
01:49:27,400 --> 01:49:31,760
Speaker 4: the most violent doths we see on the screen, because no,

1941
01:49:31,800 --> 01:49:37,280
Speaker 4: the killer gorillas are not happy about this, and they

1942
01:49:38,320 --> 01:49:42,640
Speaker 4: they kill him quite violently. And this is when the

1943
01:49:42,640 --> 01:49:45,400
Speaker 4: rest of the party is like, oh wow, there are

1944
01:49:45,400 --> 01:49:48,080
Speaker 4: a lot of these killer gorillas they're going to kill

1945
01:49:48,160 --> 01:49:53,040
Speaker 4: us all. So they all start getting out their weapons.

1946
01:49:53,800 --> 01:49:58,519
Speaker 4: They discover a geode, a giant diamond, and they also

1947
01:49:58,720 --> 01:50:00,640
Speaker 4: as they're kind of running away trying to find a

1948
01:50:00,640 --> 01:50:04,719
Speaker 4: way out, they find Karen's ex Charlie, amongst a bunch

1949
01:50:04,760 --> 01:50:07,760
Speaker 4: of like other bones and stuff, and she takes his

1950
01:50:07,840 --> 01:50:11,000
Speaker 4: satellite gun thing and puts a diamond in it.

1951
01:50:11,479 --> 01:50:13,439
Speaker 1: Right, Yeah, she has a laser gun.

1952
01:50:13,760 --> 01:50:15,280
Speaker 4: And now she has a laser gun.

1953
01:50:15,560 --> 01:50:19,000
Speaker 1: Yeah, so the battle, Yeah, the battle continues to rage here.

1954
01:50:19,479 --> 01:50:24,000
Speaker 1: It's soldiers and party members versus killer Greg gorillas. Looks

1955
01:50:24,040 --> 01:50:27,720
Speaker 1: like they're deaths on both sides, and you know, we

1956
01:50:27,840 --> 01:50:31,240
Speaker 1: found Charlie, and it seems like the gorillas are are

1957
01:50:31,280 --> 01:50:34,280
Speaker 1: gaining ground. They're they're killing left and right, and it

1958
01:50:34,320 --> 01:50:37,760
Speaker 1: looks like they're moving in to kill Elliott. And then

1959
01:50:37,800 --> 01:50:41,160
Speaker 1: Amy jumps into the rescue and she says, ugly gorillas,

1960
01:50:41,280 --> 01:50:44,320
Speaker 1: Ugly go away. And this is a nice moment because

1961
01:50:44,320 --> 01:50:47,960
Speaker 1: you kind of expect when this happens, you're like, oh, no, Amy,

1962
01:50:48,000 --> 01:50:49,760
Speaker 1: they don't know what you're saying. They're not going to

1963
01:50:49,840 --> 01:50:52,360
Speaker 1: listen to you. But the Greg Gorillas are thrown off

1964
01:50:52,360 --> 01:50:54,519
Speaker 1: on this. They're like, whoa wait, this is a gorilla. Guys,

1965
01:50:54,560 --> 01:50:56,360
Speaker 1: we've got to at least hear her out, or they're

1966
01:50:56,360 --> 01:50:57,400
Speaker 1: at least confused by it.

1967
01:50:57,560 --> 01:50:59,360
Speaker 4: Yeah, I think that's what. I think. It's inn rosa.

1968
01:50:59,400 --> 01:51:01,120
Speaker 4: It's like they don't know what to make. They don't

1969
01:51:01,120 --> 01:51:05,000
Speaker 4: know what to make. They're just confused. And here in

1970
01:51:05,080 --> 01:51:09,679
Speaker 4: comes one of the best lines because Laurel Annie doctor

1971
01:51:09,760 --> 01:51:13,519
Speaker 4: Karen Ras shows up with this laser gun and she

1972
01:51:13,680 --> 01:51:16,800
Speaker 4: says of the like great killer apes, put them on

1973
01:51:16,840 --> 01:51:20,479
Speaker 4: the endangered species list, and then starts shooting them with

1974
01:51:20,560 --> 01:51:23,960
Speaker 4: a beam of blue laser, just like arms flying off.

1975
01:51:24,560 --> 01:51:29,960
Speaker 4: Body's getting cut in half, and when asked what she's using,

1976
01:51:30,000 --> 01:51:36,040
Speaker 4: she calls it the latest thing in communication. It's just

1977
01:51:36,280 --> 01:51:42,160
Speaker 4: wild and ludicrous and absurd. Just this killer gorilla is

1978
01:51:42,160 --> 01:51:45,720
Speaker 4: getting just decimated by a laser.

1979
01:51:46,320 --> 01:51:48,639
Speaker 1: Yeah, just straight up cut in half by this thing.

1980
01:51:49,040 --> 01:51:51,600
Speaker 1: And then we cut to the outside and the volcano

1981
01:51:51,800 --> 01:51:55,640
Speaker 1: is erupting, and it's I think I laughed at this

1982
01:51:55,720 --> 01:52:00,160
Speaker 1: point because the footage or the or the sequence we

1983
01:52:00,200 --> 01:52:03,719
Speaker 1: see from Afar of the volcano erupting is so intense

1984
01:52:03,800 --> 01:52:05,880
Speaker 1: that I felt like, well, there's no way everyone would

1985
01:52:05,920 --> 01:52:08,599
Speaker 1: just be killed instantly by this thing. They're like inside

1986
01:52:08,600 --> 01:52:12,080
Speaker 1: this volcano or inside the mountain when this level of

1987
01:52:12,080 --> 01:52:15,599
Speaker 1: a volcanic event is taking place. But it's a movie volcano,

1988
01:52:15,680 --> 01:52:17,400
Speaker 1: so the rules are a little different, like lava is

1989
01:52:17,439 --> 01:52:20,960
Speaker 1: not actually hot unless you're in it, and other rules

1990
01:52:21,000 --> 01:52:21,599
Speaker 1: like that apply.

1991
01:52:22,040 --> 01:52:25,920
Speaker 4: Yes, and I do think it is a rule in

1992
01:52:25,960 --> 01:52:28,719
Speaker 4: these action adventure movies you got to have your classic

1993
01:52:28,840 --> 01:52:31,040
Speaker 4: like the set is falling apart at the end, like

1994
01:52:31,560 --> 01:52:34,000
Speaker 4: everything is collapsing and you've got to get out. And

1995
01:52:34,040 --> 01:52:36,200
Speaker 4: so that's what this scene is is very much like

1996
01:52:36,560 --> 01:52:41,160
Speaker 4: you know, ground, the ground is falling, pieces of like stone,

1997
01:52:41,439 --> 01:52:45,240
Speaker 4: all these structures are falling. We get to see another

1998
01:52:45,840 --> 01:52:49,600
Speaker 4: odd scene of like gorillas jumping in the lava. The

1999
01:52:49,640 --> 01:52:53,000
Speaker 4: killer Gorilla's jumping in to the lava and dying. But yeah,

2000
01:52:53,040 --> 01:52:55,559
Speaker 4: this is very much that, like, oh, we're in the

2001
01:52:55,640 --> 01:52:59,680
Speaker 4: end game now the entire set is collapsing.

2002
01:53:00,560 --> 01:53:00,880
Speaker 5: Yep.

2003
01:53:01,439 --> 01:53:03,240
Speaker 1: We also get us sing. They make it out of

2004
01:53:03,280 --> 01:53:06,040
Speaker 1: the mountain and of course the ground opens up. There's

2005
01:53:06,080 --> 01:53:09,080
Speaker 1: this huge chasm that opens in the earth, and so

2006
01:53:09,240 --> 01:53:11,400
Speaker 1: Karen whips out that laser gun again use it to

2007
01:53:11,400 --> 01:53:14,200
Speaker 1: cut down a tree to make a bridge that they

2008
01:53:14,200 --> 01:53:16,840
Speaker 1: all escape over. And meanwhile, the city of Zene is

2009
01:53:16,920 --> 01:53:18,639
Speaker 1: just crumbling into ruin behind them.

2010
01:53:18,960 --> 01:53:23,519
Speaker 4: Oh inge, yes, and this brings us to one of

2011
01:53:23,560 --> 01:53:25,800
Speaker 4: my very very favorite things, because I can't stress enough.

2012
01:53:26,280 --> 01:53:30,000
Speaker 4: They escape via a hot air balloon. Yeah, and on

2013
01:53:30,040 --> 01:53:35,400
Speaker 4: my rewatch one too many rewatches, they do hint at

2014
01:53:35,400 --> 01:53:38,840
Speaker 4: this hot air balloon throughout Yeah, yeah, because earlier on

2015
01:53:39,400 --> 01:53:41,760
Speaker 4: they kind of joked with doctor Ross like do you

2016
01:53:41,800 --> 01:53:43,479
Speaker 4: really need a hot air balloon and she said no,

2017
01:53:45,280 --> 01:53:47,519
Speaker 4: well here they are.

2018
01:53:49,520 --> 01:53:52,000
Speaker 1: And but before that happens, though, she does check back

2019
01:53:52,000 --> 01:53:54,679
Speaker 1: in with Houston though. Remember she she gets some gear

2020
01:53:54,720 --> 01:53:57,559
Speaker 1: off of that crash that second plane, she fixes her

2021
01:53:57,600 --> 01:54:01,479
Speaker 1: satellite system, calls back, and this is a nice little

2022
01:54:01,479 --> 01:54:05,719
Speaker 1: sequence where she touches base with Travis and she tells

2023
01:54:05,800 --> 01:54:09,360
Speaker 1: him about his son. She's like, yeah, Charles's dad, I

2024
01:54:09,600 --> 01:54:13,760
Speaker 1: have to confirm this. And of course does Travis say,

2025
01:54:13,560 --> 01:54:15,680
Speaker 1: take a moment to reflect on this. No, He's like,

2026
01:54:15,760 --> 01:54:18,560
Speaker 1: tell me about those diamonds. I want those blue diamonds.

2027
01:54:18,840 --> 01:54:22,640
Speaker 4: Yes, And I mean he doesn't even ask about the

2028
01:54:22,680 --> 01:54:25,200
Speaker 4: crew because everybody on that plane was working for him, Like, yeah,

2029
01:54:25,479 --> 01:54:28,920
Speaker 4: there's a blind earlier where Laurelinni is like, this is

2030
01:54:28,960 --> 01:54:31,519
Speaker 4: such needless loss of life. But yeah, He's immediately like,

2031
01:54:32,040 --> 01:54:34,720
Speaker 4: did you get the diamond? And she Laurel Nnie, She's

2032
01:54:34,720 --> 01:54:39,680
Speaker 4: got a good cold, like calculated face, is realizing this

2033
01:54:40,280 --> 01:54:43,000
Speaker 4: and she says, you remember what I told you. If

2034
01:54:43,080 --> 01:54:44,880
Speaker 4: I ever got the hint that you sent me out

2035
01:54:44,920 --> 01:54:47,080
Speaker 4: here for anything other than Charlie, I would make you sorry.

2036
01:54:47,200 --> 01:54:49,120
Speaker 4: And then she does a bunch of technobabble that doesn't

2037
01:54:49,160 --> 01:54:51,720
Speaker 4: make any sense. I'm convinced, but she puts it in

2038
01:54:51,760 --> 01:54:55,320
Speaker 4: the coordinates of the satellite into this diamond laser gun

2039
01:54:56,200 --> 01:55:01,200
Speaker 4: and then Presto blows up his very fancy satellite.

2040
01:55:01,520 --> 01:55:07,800
Speaker 1: She blows up a satellite. Yeah, yes, yes, yeah, and

2041
01:55:07,840 --> 01:55:11,520
Speaker 1: then she's like yeah in transmission obviously, and moves on

2042
01:55:11,600 --> 01:55:14,240
Speaker 1: for then may bust out the balloon. They get in

2043
01:55:14,240 --> 01:55:15,960
Speaker 1: the balloon and at this point, yeah, it's just what

2044
01:55:16,520 --> 01:55:18,680
Speaker 1: it's Ross Elliott and Kelly.

2045
01:55:18,720 --> 01:55:18,880
Speaker 4: Oh.

2046
01:55:18,880 --> 01:55:20,920
Speaker 1: But before that, Amy goes off into the wild. We

2047
01:55:20,960 --> 01:55:25,000
Speaker 1: finally gets a third try. Will the gorillas accept me?

2048
01:55:26,000 --> 01:55:30,080
Speaker 1: Will the silverback gorilla potentially marry me? And yeah, she

2049
01:55:30,200 --> 01:55:32,520
Speaker 1: goes They say yeah, come on, and so she moves

2050
01:55:32,560 --> 01:55:34,840
Speaker 1: on to be with the silverback gorilla and is like

2051
01:55:34,920 --> 01:55:35,720
Speaker 1: three other wives.

2052
01:55:36,040 --> 01:55:38,560
Speaker 4: Yes, it is a very touch and good vibe between Peter,

2053
01:55:38,760 --> 01:55:41,760
Speaker 4: doctor Elliott, and Amy, who he had been adamant throughout,

2054
01:55:41,760 --> 01:55:43,360
Speaker 4: like this is where she belongs, even though she'd have

2055
01:55:43,520 --> 01:55:46,400
Speaker 4: these clear signs that it was gonna be difficult for

2056
01:55:46,400 --> 01:55:48,280
Speaker 4: her to adapt, and even her mocal was like, this

2057
01:55:48,400 --> 01:55:54,080
Speaker 4: is not gonna work. But he they have this fawn farewell.

2058
01:55:54,840 --> 01:55:56,560
Speaker 4: This is also a very funny part to me where

2059
01:55:56,560 --> 01:56:00,520
Speaker 4: suddenly his shirt is like wide open and I'm like,

2060
01:56:00,640 --> 01:56:04,360
Speaker 4: you were trying. You guys were really trying, very very nineties.

2061
01:56:04,400 --> 01:56:08,640
Speaker 4: But yeah, now it's the three. It's Karen, Monroe and

2062
01:56:08,680 --> 01:56:13,360
Speaker 4: Peter in his hot air balloon floating off. Karen asked

2063
01:56:13,360 --> 01:56:17,560
Speaker 4: Peter to throw away the diamond, which he does, and

2064
01:56:17,760 --> 01:56:21,240
Speaker 4: Roe is not happy about that. I did find it

2065
01:56:21,280 --> 01:56:23,800
Speaker 4: interesting that they kind of have this like lovely escape

2066
01:56:23,800 --> 01:56:25,840
Speaker 4: in hot air balloon, but like their plane had been

2067
01:56:25,880 --> 01:56:28,600
Speaker 4: shot down, like two planes had been shot down. I

2068
01:56:28,640 --> 01:56:32,800
Speaker 4: don't know, maybe these are not questions I should be asking,

2069
01:56:34,400 --> 01:56:37,760
Speaker 4: but yeah, that's I mean, the hot air balloon is

2070
01:56:37,760 --> 01:56:40,720
Speaker 4: what really got me. I was not anticipating that. And

2071
01:56:40,720 --> 01:56:42,240
Speaker 4: there's a lot of things. There was a lot of

2072
01:56:42,240 --> 01:56:44,200
Speaker 4: build up of like, oh wow, there's a talking gorilla,

2073
01:56:44,240 --> 01:56:45,720
Speaker 4: Oh wow, she drinks, Martine. There was a lot of

2074
01:56:45,760 --> 01:56:47,840
Speaker 4: things I could never have anticipated, to be honest, but

2075
01:56:47,920 --> 01:56:49,840
Speaker 4: that was the final thing where I was like, Wow,

2076
01:56:49,920 --> 01:56:52,320
Speaker 4: they are escaping. They a hot air balloon.

2077
01:56:53,400 --> 01:56:56,520
Speaker 1: Yeah. Yeah, they take off and they look at the

2078
01:56:56,560 --> 01:56:58,960
Speaker 1: diamond one last time and then they throw it over

2079
01:56:59,000 --> 01:56:59,879
Speaker 1: the side.

2080
01:57:00,520 --> 01:57:02,520
Speaker 4: Yes, and I think we get another We get one

2081
01:57:02,560 --> 01:57:06,320
Speaker 4: more shot of Amy who looks happy in her new Yes,

2082
01:57:06,720 --> 01:57:08,680
Speaker 4: her new crew. She looks like she's going to live

2083
01:57:08,680 --> 01:57:09,320
Speaker 4: a good life.

2084
01:57:09,520 --> 01:57:11,120
Speaker 1: And that's the end of the movie. That's Congo.

2085
01:57:12,440 --> 01:57:16,840
Speaker 4: What a ride? All right?

2086
01:57:16,960 --> 01:57:19,720
Speaker 1: Well, Annie, thanks for joining me here on this episode

2087
01:57:19,720 --> 01:57:22,800
Speaker 1: of Weird House. This was a lot of fun rewatching

2088
01:57:23,840 --> 01:57:25,560
Speaker 1: Congo and then discussing it with you here.

2089
01:57:25,800 --> 01:57:27,960
Speaker 4: Yes, thank you, thank you, Thank you so much for

2090
01:57:28,000 --> 01:57:29,400
Speaker 4: having me. It was so fun.

2091
01:57:30,240 --> 01:57:35,600
Speaker 1: Absolutely so again. Your your podcasts are stuff Mom never

2092
01:57:35,640 --> 01:57:38,600
Speaker 1: told you and Savor people can find those wherever you

2093
01:57:38,600 --> 01:57:41,400
Speaker 1: get your podcasts. Have have you done any movie related

2094
01:57:41,400 --> 01:57:43,360
Speaker 1: episodes of either of the shows recently?

2095
01:57:44,080 --> 01:57:46,120
Speaker 4: Well, we do once a month. We do Feminist Movie

2096
01:57:46,160 --> 01:57:50,480
Speaker 4: Friday and sometimes Spoiled Saturdays on stuff I've never told you.

2097
01:57:50,520 --> 01:57:53,919
Speaker 4: We just did for Savior, we just did Pans Labyrinth.

2098
01:57:54,320 --> 01:57:57,320
Speaker 4: It's kind of like a nice Halloween because it's her savor.

2099
01:57:57,400 --> 01:58:01,880
Speaker 4: We do like foods in fictional proper, so I would

2100
01:58:01,880 --> 01:58:02,840
Speaker 4: recommend that for sure.

2101
01:58:03,120 --> 01:58:07,320
Speaker 1: Excellent. All right, well, yeah, you can find those shows

2102
01:58:07,320 --> 01:58:10,040
Speaker 1: wherever you get your podcast everyone, And just a reminder

2103
01:58:10,040 --> 01:58:14,040
Speaker 1: that Weird House Cinema is a show on Fridays and

2104
01:58:14,040 --> 01:58:16,200
Speaker 1: the Stuff to Blow your Mind podcast feed. We're primarily

2105
01:58:16,240 --> 01:58:18,680
Speaker 1: a science podcast, but on Fridays we set aside most

2106
01:58:18,680 --> 01:58:21,640
Speaker 1: serious concerns to just talk about a weird film. If

2107
01:58:21,680 --> 01:58:24,360
Speaker 1: you want to follow the films that we've covered here,

2108
01:58:24,440 --> 01:58:27,280
Speaker 1: I blog about them at simmutamusic dot com. But also

2109
01:58:27,400 --> 01:58:30,080
Speaker 1: we have a letterboxed account that's l E T T

2110
01:58:30,240 --> 01:58:32,560
Speaker 1: E R b o x d dot com. You can

2111
01:58:32,600 --> 01:58:35,640
Speaker 1: look us up. Our username is weird House and there's

2112
01:58:35,680 --> 01:58:37,120
Speaker 1: a list there and you can see all the films

2113
01:58:37,160 --> 01:58:40,800
Speaker 1: we've done in order, and also include links to where

2114
01:58:40,840 --> 01:58:43,240
Speaker 1: you can listen to them, and also sometimes go ahead

2115
01:58:43,360 --> 01:58:45,400
Speaker 1: and give you a preview of what's coming up next.

2116
01:58:45,800 --> 01:58:49,200
Speaker 1: Thanks as always to Seth Nicholas Johnson for producing the

2117
01:58:49,240 --> 01:58:52,240
Speaker 1: show here and stitching everything together. And if you would

2118
01:58:52,280 --> 01:58:54,720
Speaker 1: like to reach out and if you have anything to

2119
01:58:54,760 --> 01:58:58,320
Speaker 1: say about Congo, if you have suggestions, for the future. Well,

2120
01:58:58,400 --> 01:59:00,800
Speaker 1: you can email us at contact had Stuff to Blow

2121
01:59:00,840 --> 01:59:09,040
Speaker 1: Your Mind dot com.

2122
01:59:09,200 --> 01:59:12,120
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

2123
01:59:12,200 --> 01:59:16,040
Speaker 3: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

2124
01:59:16,120 --> 01:59:17,920
Speaker 3: or wherever you listen to your favorite shows.